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hub rules, hub applications & more
product update, 5 november 2017
niccolo blocked follow following nov 5, 2017
new week, new update!
last week we released an update which included a test foritting queues from queues. while this was supposed to be a test limited for the weekend, we decided to extend it by a few days to gather more data. the data that we have been seeing is promising and probably address the results of the test in the next blog post.
but now stop talking about the past and start looking into new!
hub updates
this release includes quite a few changes on the hubs. as these are still in a sort of beta phase, we are adding a lot of things based on your feedback.
this release includes:
hub applications
hub owners can now activate applications in the hub settings for private hubs. this is all done in the settings tab in your hub.
when enabled, players will have the ability to apply to join your hub with the requirements you set out to have in form.
once an application is submitted, a hub owner or admin can review it and choose if a player should be allowed in to the hub or not.
match management
starting this week we are introducing our admin tool into the hubs admin system. this means that i) hub owners can now give permissions to manage live and old matches to any role within the hub and ii) users in the hub can have a direct line of contact to the admins.
as a user if the admin tool is enabled in the hub you will see a “contact admin” button in the middle of the match page. clicking this button opens a live issue into the hubs’ admin section. an admin will now be able to manage the issue from that section and coordinate through the match chat.
as an admin of the hub you can access the match management tools in the admin tab of the hub. here you can select whether to display issues opened by users directly (live issues) or whether to display all matches (matches).
for each of these issues / matches you can filter by status, team name and and take actions such as restarting a match, setting results or cancelling a match.
this is currently active in ~80% of the open hubs. in the coming days we are going to add it as a setting in all newly created hubs and tournaments. please remember that when talking to an admin through the admin tool you are not talking with a representative, but rather with an admin of the you are playing in.
hub rules
we’re now making it easier to communicate rules and general information about the hub.
as the owner of a hub, you can set your own rules under settings and rules.
the rules page will appear in the hub navigation menu together with an automatically generated section with details about the settings and policies displayed above the rules text.
client update
this week we had a minor client update, while most of the update is not visible (i.e. performance, bug fixing etc.), the one thing that is visible is that the website now knows if you have your client open.
this means that whenever you input a in your browser while the client is running you can now choose to open that section directly on the client instead of the website.
additionally, based on your feedback we tried to make information about players in the match room more accessible. with the new update profile pages of players in the match room and in the chats are now opened in a modal, which means that you can quickly browse a stats without ever moving from the match room.
if you tried out the client yet, you can find it through the link below.
new payment methods
over the past two years a lot of you have been asking us to accept more payment methods beyond credit cards and paypal. we never focused on increasing the amount of revenues for the company, but rather to improve the experience, which is probably why we never improved this before. that said in the last weeks we have been working into organizer subscriptions (i.e. the one currently used by and many other subscriber only in-house leagues) to support organizers directly. this allowed us to upgrade our payment systems and finally add a ton of different payment methods and currencies!
through this update you can now use over 700 payment methods on including local bank cards, options, mobile subscriptions and prepaid cards. in fact, you could even pay with bitcoin! additionally, subscriptions are now priced in local currency when available, making it easier to understand how much you are actually spending.
other, misc. and bug fixing:
added grouping for chrome notifications, from now on if you get more than one notification of the same type (i.e. message, friend request etc.) while you are offline, you will only see a single notification
hope you enjoyed the update. see you on!
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həb rulz, həb ˌæpləˈkeɪʃənz mɔr ˈprɑdəkt ˈəpˌdeɪt, 5 noʊˈvɛmbər 2017 blɑkt ˈfɑloʊ ˈfɑloʊɪŋ noʊv 5 2017 nu wik, nu ˈəpˌdeɪt! læst wik wi riˈlist ən ˈəpˌdeɪt wɪʧ ˌɪnˈkludɪd ə tɛst fər ˈsplɪtɪŋ kjuz frəm kjuz. waɪl ðɪs wɑz səˈpoʊzd tɪ bi ə tɛst ˈlɪmɪtɪd fər ðə ˈwiˌkɪnd, wi ˌdɪˈsaɪdɪd tɪ ɪkˈstɛnd ɪt baɪ ə fju deɪz tɪ ˈgæðər mɔr ˈdætə. ðə ˈdætə ðət wi hæv bɪn siɪŋ ɪz ˈprɑməsɪŋ ənd ˈprɑbəˌbli ˈæˌdrɛs ðə rɪˈzəlts əv ðə tɛst ɪn ðə nɛkst blɔg poʊst. bət naʊ stɑp ˈtɔkɪŋ əˈbaʊt ðə pæst ənd stɑrt ˈlʊkɪŋ ˈɪntu nu! həb ˈəpˌdeɪts ðɪs riˈlis ˌɪnˈkludz kwaɪt ə fju ˈʧeɪnʤɪz ɔn ðə həbz. ɛz ðiz ər stɪl ɪn ə sɔrt əv ˈbeɪtə feɪz, wi ər ˈædɪŋ ə lɔt əv θɪŋz beɪst ɔn jʊr ˈfidˌbæk. ðɪs riˈlis ˌɪnˈkludz: həb ˌæpləˈkeɪʃənz həb ˈoʊnərz kən naʊ ˈæktəˌveɪt ˌæpləˈkeɪʃənz ɪn ðə həb ˈsɛtɪŋz fər ˈpraɪvət həbz. ðɪs ɪz ɔl dən ɪn ðə ˈsɛtɪŋz tæb ɪn jʊr həb. wɪn ɪˈneɪbəld, pleɪərz wɪl hæv ðə əˈbɪləˌti tɪ əˈplaɪ tɪ ʤɔɪn jʊr həb wɪθ ðə rɪkˈwaɪrmənts ju sɛt aʊt tɪ hæv ɪn fɔrm. wəns ən ˌæpləˈkeɪʃən ɪz səbˈmɪtəd, ə həb ˈoʊnər ər ˈædmɪn kən ˌrivˈju ɪt ənd ʧuz ɪf ə pleɪər ʃʊd bi əˈlaʊd ɪn tɪ ðə həb ər nɑt. mæʧ ˈmænɪʤmənt ˈstɑrtɪŋ ðɪs wik wi ər ˌɪntrəˈdusɪŋ ɑr ˈædmɪn tul ˈɪntu ðə həbz ˈædmɪn ˈsɪstəm. ðɪs minz ðət aɪ) həb ˈoʊnərz kən naʊ gɪv pərˈmɪʃənz tɪ ˈmænɪʤ lɪv ənd oʊld ˈmæʧɪz tɪ ˈɛni roʊl wɪˈθɪn ðə həb ənd ii*) ˈjuzərz ɪn ðə həb kən hæv ə dɪˈrɛkt laɪn əv ˈkɑnˌtækt tɪ ðə ˈædmɪnz. ɛz ə ˈjuzər ɪf ðə ˈædmɪn tul ɪz ɪˈneɪbəld ɪn ðə həb ju wɪl si ə admin”*” ˈbətən ɪn ðə ˈmɪdəl əv ðə mæʧ peɪʤ. ˈklɪkɪŋ ðɪs ˈbətən ˈoʊpənz ə lɪv ˈɪʃu ˈɪntu ðə hubs’*’ ˈædmɪn ˈsɛkʃən. ən ˈædmɪn wɪl naʊ bi ˈeɪbəl tɪ ˈmænɪʤ ðə ˈɪʃu frəm ðət ˈsɛkʃən ənd koʊˈɔrdəˌneɪt θru ðə mæʧ ʧæt. ɛz ən ˈædmɪn əv ðə həb ju kən ˈækˌsɛs ðə mæʧ ˈmænɪʤmənt tulz ɪn ðə ˈædmɪn tæb əv ðə həb. hir ju kən səˈlɛkt ˈwɛðər tɪ dɪˈspleɪ ˈɪʃuz ˈoʊpənd baɪ ˈjuzərz dɪˈrɛkli (lɪv ˈɪʃuz) ər ˈwɛðər tɪ dɪˈspleɪ ɔl ˈmæʧɪz (ˈmæʧɪz). fər iʧ əv ðiz ˈɪʃuz ˈmæʧɪz ju kən ˈfɪltər baɪ ˈstætəs, tim neɪm ənd ənd teɪk ˈækʃənz səʧ ɛz riˈstɑrtɪŋ ə mæʧ, ˈsɛtɪŋ rɪˈzəlts ər ˈkænsəlɪŋ ə mæʧ. ðɪs ɪz ˈkərəntli ˈæktɪv ɪn 80 əv ðə ˈoʊpən həbz. ɪn ðə ˈkəmɪŋ deɪz wi ər goʊɪŋ tɪ æd ɪt ɛz ə ˈsɛtɪŋ ɪn ɔl ˈnuli kriˈeɪtɪd həbz ənd ˈtərnəmənts. pliz rɪˈmɛmbər ðət wɪn ˈtɔkɪŋ tɪ ən ˈædmɪn θru ðə ˈædmɪn tul ju ər nɑt ˈtɔkɪŋ wɪθ ə ˌrɛprɪˈzɛnətɪv, bət ˈrəðər wɪθ ən ˈædmɪn əv ðə ju ər pleɪɪŋ ɪn. həb rulz naʊ ˈmeɪkɪŋ ɪt ˈiziər tɪ kəmˈjunəˌkeɪt rulz ənd ˈʤɛnərəl ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə həb. ɛz ðə ˈoʊnər əv ə həb, ju kən sɛt jʊr oʊn rulz ˈəndər ˈsɛtɪŋz ənd rulz. ðə rulz peɪʤ wɪl əˈpɪr ɪn ðə həb ˌnævəˈgeɪʃən ˈmɛnju təˈgɛðər wɪθ ən ˌɔtəˈmætɪkli ˈʤɛnərˌeɪtɪd ˈsɛkʃən wɪθ ˈditeɪlz əˈbaʊt ðə ˈsɛtɪŋz ənd ˈpɑləsiz dɪˈspleɪd əˈbəv ðə rulz tɛkst. klaɪənt ˈəpˌdeɪt ðɪs wik wi hæd ə ˈmaɪnər klaɪənt ˈəpˌdeɪt, waɪl moʊst əv ðə ˈəpˌdeɪt ɪz nɑt ˈvɪzəbəl (i.e*. pərˈfɔrməns, bəg ˈfɪksɪŋ ˌɛtˈsɛtərə.), ðə wən θɪŋ ðət ɪz ˈvɪzəbəl ɪz ðət ðə ˈwɛbˌsaɪt naʊ noʊz ɪf ju hæv jʊr klaɪənt ˈoʊpən. ðɪs minz ðət wɛˈnɛvər ju ˈɪnˌpʊt ə ɪn jʊr ˈbraʊzər waɪl ðə klaɪənt ɪz ˈrənɪŋ ju kən naʊ ʧuz tɪ ˈoʊpən ðət ˈsɛkʃən dɪˈrɛkli ɔn ðə klaɪənt ˌɪnˈstɛd əv ðə ˈwɛbˌsaɪt. əˈdɪʃəˌnəli, beɪst ɔn jʊr ˈfidˌbæk wi traɪd tɪ meɪk ˌɪnˌfɔrˈmeɪʃən əˈbaʊt pleɪərz ɪn ðə mæʧ rum mɔr ækˈsɛsəbəl. wɪθ ðə nu ˈəpˌdeɪt ˈproʊˌfaɪl ˈpeɪʤɪz əv pleɪərz ɪn ðə mæʧ rum ənd ɪn ðə ʧæts ər naʊ ˈoʊpənd ɪn ə ˈmoʊdəl, wɪʧ minz ðət ju kən kˈwɪkli braʊz ə stæts wɪˈθaʊt ˈɛvər ˈmuvɪŋ frəm ðə mæʧ rum. ɪf ju traɪd aʊt ðə klaɪənt jɛt, ju kən faɪnd ɪt θru ðə lɪŋk bɪˈloʊ. nu ˈpeɪmənt ˈmɛθədz ˈoʊvər ðə pæst tu jɪrz ə lɔt əv ju hæv bɪn ˈæskɪŋ ˈjuˈɛs tɪ əkˈsɛpt mɔr ˈpeɪmənt ˈmɛθədz bɪɔnd ˈkrɛdɪt kɑrdz ənd paypal*. wi ˈnɛvər ˈfoʊkɪst ɔn ˌɪnˈkrisɪŋ ðə əˈmaʊnt əv ˈrɛvəˌnuz fər ðə ˈkəmpəˌni, bət ˈrəðər tɪ ˌɪmˈpruv ðə ɪkˈspɪriəns, wɪʧ ɪz ˈprɑbəˌbli waɪ wi ˈnɛvər ˌɪmˈpruvd ðɪs ˌbiˈfɔr. ðət sɛd ɪn ðə læst wiks wi hæv bɪn ˈwərkɪŋ ˈɪntu ˈɔrgəˌnaɪzər səbˈskrɪpʃənz (i.e*. ðə wən ˈkərəntli juzd baɪ ənd ˈmɛni ˈəðər səbˈskraɪbər ˈoʊnli ˌɪnˈhaʊs ligz) tɪ səˈpɔrt ˈɔrgəˌnaɪzərz dɪˈrɛkli. ðɪs əˈlaʊd ˈjuˈɛs tɪ ˈəpˈgreɪd ɑr ˈpeɪmənt ˈsɪstəmz ənd ˈfaɪnəli æd ə tən əv ˈdɪfərənt ˈpeɪmənt ˈmɛθədz ənd ˈkərənsiz! θru ðɪs ˈəpˌdeɪt ju kən naʊ juz ˈoʊvər 700 ˈpeɪmənt ˈmɛθədz ɔn ˌɪnˈkludɪŋ ˈloʊkəl bæŋk kɑrdz, ˈɔpʃənz, ˈmoʊbəl səbˈskrɪpʃənz ənd priˈpeɪd kɑrdz. ɪn fækt, ju kʊd ˈivɪn peɪ wɪθ bitcoin*! əˈdɪʃəˌnəli, səbˈskrɪpʃənz ər naʊ praɪst ɪn ˈloʊkəl ˈkərənsi wɪn əˈveɪləbəl, ˈmeɪkɪŋ ɪt ˈiziər tɪ ˌəndərˈstænd haʊ məʧ ju ər ˈæˌkʧuəli ˈspɛndɪŋ. ˈəðər, misc*. ənd bəg ˈfɪksɪŋ: ˈædɪd ˈgrupɪŋ fər kroʊm ˌnoʊtəfəˈkeɪʃənz, frəm naʊ ɔn ɪf ju gɪt mɔr ðən wən ˌnoʊtəfəˈkeɪʃən əv ðə seɪm taɪp (i.e*. ˈmɛsɪʤ, frɛnd rɪkˈwɛst ˌɛtˈsɛtərə.) waɪl ju ər ˈɔˌflaɪn, ju wɪl ˈoʊnli si ə ˈsɪŋgəl ˌnoʊtəfəˈkeɪʃən hoʊp ju ˌɛnˈʤɔɪd ðə ˈəpˌdeɪt. si ju ɔn!
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the boycott by the opposition has raised the possibility of and is a setback to [afp]
two of turkey's principal opposition parties have boycotted parliament's to protest against a ban on jailed candidates who won seats in june's parliamentary elections.
the decisions by the secularist, republican people's party (chp) and the peace and democracy party (bdp) meant that more than 30 per cent of candidates elected abstained from tuesday's ceremony.
"we will not take the oath unless the way is open for all our deputies to take the oath," kemal kilicdaroglu, the leader, said earlier in the day.
the, which won 135 seats in the legislature in the june 12 election, took its decision after a court rejected an appeal for the release of two of its victorious candidates.
"these people received the support of the people, and people expressed their will on behalf of these two deputies, and i think our action is designed to make sure that the right to elect and to be elected is fully respected,", a member, told al jazeera.
"we understand that this action is not going to produce the desired outcome until the governing majority party comes up with a solution that is acceptable."
'lame' institution
logoglu said that while the parliament would still be able to function, as the ruling party holds a majority, it would do so as a "lame" institution.
the bdp, which won 36 seats, announced its decision last week after the election commission ruled a candidate must forfeit his seat because of a conviction for spreading "terrorist propaganda" and awarded the seat to a runner-up from the party.
the boycott has raised the possibility of and is a setback to, the turkish prime minister.
read more about the turkish elections 2011
there is a rule that if more than five per cent of resign, their seats will be thrown open for.
however, the fact that candidates cannot resign unless they have been sworn-in, leaves the issue in a grey area.
erdogan, who heads the party, has pledged to build bridges and seek consensus with the opposition as he prepares to draft a new constitution to replace one written during military rule.
the opposition parties argue that the jailed politicians are entitled to parliamentary immunity and should be freed to take up their seats in the house.
they have also called on to amend the necessary laws to facilitate the release of detained candidates.
but has indicated his party had no immediate plans for an amendment, saying the problem would be solved later with a more democratic constitution.
he the opposition parties for nominating jailed candidates late on monday, saying: "could they not have found other candidates? they nominated these people knowing that it would cause such a problem."
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ðə ˈbɔɪˌkɑt baɪ ðə ˌɑpəˈzɪʃən həz reɪzd ðə ˌpɑsəˈbɪləˌti əv ənd ɪz ə ˈsɛtˌbæk tɪ [afp*] tu əv ˈtərkiz ˈprɪnsəpəl ˌɑpəˈzɪʃən ˈpɑrtiz hæv ˈbɔɪˌkɑtɪd ˈpɑrləmɛnts tɪ ˈproʊˌtɛst əˈgɛnst ə bæn ɔn ʤeɪld ˈkænədɪts hu wən sits ɪn ʤunz ˌpɑrləˈmɛntəri ɪˈlɛkʃənz. ðə dɪˈsɪʒənz baɪ ðə ˈsɛkjələrɪst, rɪˈpəblɪkən ˈpipəlz ˈpɑrti (chp*) ənd ðə pis ənd dɪˈmɑkrəsi ˈpɑrti (bdp*) mɛnt ðət mɔr ðən 30 pər sɛnt əv ˈkænədɪts ɪˈlɛktɪd əbˈsteɪnd frəm ˈtuzˌdeɪz ˈsɛrəˌmoʊni. "wi wɪl nɑt teɪk ðə oʊθ ənˈlɛs ðə weɪ ɪz ˈoʊpən fər ɔl ɑr ˈdɛpjətiz tɪ teɪk ðə oʊθ," kəˈmɑl kilicdaroglu*, ðə ˈlidər, sɛd ˈərliər ɪn ðə deɪ. ðə, wɪʧ wən 135 sits ɪn ðə ˈlɛʤəsˌleɪʧər ɪn ðə ʤun 12 ɪˈlɛkʃən, tʊk ɪts dɪˈsɪʒən ˈæftər ə kɔrt rɪˈʤɛktɪd ən əˈpil fər ðə riˈlis əv tu əv ɪts vɪkˈtɔriəs ˈkænədɪts. "ðiz ˈpipəl rɪˈsivd ðə səˈpɔrt əv ðə ˈpipəl, ənd ˈpipəl ɪkˈsprɛst ðɛr wɪl ɔn bɪˈhæf əv ðiz tu ˈdɛpjətiz, ənd aɪ θɪŋk ɑr ˈækʃən ɪz dɪˈzaɪnd tɪ meɪk ʃʊr ðət ðə raɪt tɪ ɪˈlɛkt ənd tɪ bi ɪˈlɛktɪd ɪz ˈfʊli rɪˈspɛktɪd,", ə ˈmɛmbər, toʊld æl ʤəˈzirə. "wi ˌəndərˈstænd ðət ðɪs ˈækʃən ɪz nɑt goʊɪŋ tɪ ˈproʊdus ðə dɪˈzaɪərd ˈaʊtˌkəm ənˈtɪl ðə ˈgəvərnɪŋ məˈʤɔrəti ˈpɑrti kəmz əp wɪθ ə səˈluʃən ðət ɪz əkˈsɛptəbəl." 'leɪm' ˌɪnstɪˈtuʃən sɛd ðət waɪl ðə ˈpɑrləmɛnt wʊd stɪl bi ˈeɪbəl tɪ ˈfəŋkʃən, ɛz ðə ˈrulɪŋ ˈpɑrti hoʊldz ə məˈʤɔrəti, ɪt wʊd du soʊ ɛz ə "leɪm" ˌɪnstɪˈtuʃən. ðə bdp*, wɪʧ wən 36 sits, əˈnaʊnst ɪts dɪˈsɪʒən læst wik ˈæftər ðə ɪˈlɛkʃən kəˈmɪʃən ruld ə ˈkænədɪt məst ˈfɔrfɪt hɪz sit bɪˈkəz əv ə kənˈvɪkʃən fər ˈsprɛdɪŋ "ˈtɛrərɪst ˌprɑpəˈgændə" ənd əˈwɔrdɪd ðə sit tɪ ə ˈrənərˌəp frəm ðə ˈpɑrti. ðə ˈbɔɪˌkɑt həz reɪzd ðə ˌpɑsəˈbɪləˌti əv ənd ɪz ə ˈsɛtˌbæk tɪ, ðə ˈtərkɪʃ praɪm ˈmɪnɪstər. rɛd mɔr əˈbaʊt ðə ˈtərkɪʃ ɪˈlɛkʃənz 2011 ðɛr ɪz ə rul ðət ɪf mɔr ðən faɪv pər sɛnt əv rɪˈzaɪn, ðɛr sits wɪl bi θroʊn ˈoʊpən fər. ˌhaʊˈɛvər, ðə fækt ðət ˈkænədɪts ˈkænɑt rɪˈzaɪn ənˈlɛs ðeɪ hæv bɪn sworn-in*, livz ðə ˈɪʃu ɪn ə greɪ ˈɛriə., hu hɛdz ðə ˈpɑrti, həz plɛʤd tɪ bɪld ˈbrɪʤɪz ənd sik kənˈsɛnsəs wɪθ ðə ˌɑpəˈzɪʃən ɛz hi pərˈpɛrz tɪ dræft ə nu ˌkɑnstəˈtuʃən tɪ ˌriˈpleɪs wən ˈrɪtən ˈdʊrɪŋ ˈmɪlɪˌtɛri rul. ðə ˌɑpəˈzɪʃən ˈpɑrtiz ˈɑrgju ðət ðə ʤeɪld ˌpɑləˈtɪʃənz ər ɛnˈtaɪtəld tɪ ˌpɑrləˈmɛntəri ˌɪmˈjunɪti ənd ʃʊd bi frid tɪ teɪk əp ðɛr sits ɪn ðə haʊs. ðeɪ hæv ˈɔlsoʊ kɔld ɔn tɪ əˈmɛnd ðə ˈnɛsəˌsɛri lɔz tɪ fəˈsɪləˌteɪt ðə riˈlis əv dɪˈteɪnd ˈkænədɪts. bət həz ˈɪndəˌkeɪtɪd hɪz ˈpɑrti hæd noʊ ˌɪˈmiˌdiət plænz fər ən əˈmɛndmənt, seɪɪŋ ðə ˈprɑbləm wʊd bi sɑlvd ˈleɪtər wɪθ ə mɔr ˌdɛməˈkrætɪk ˌkɑnstəˈtuʃən. hi ðə ˌɑpəˈzɪʃən ˈpɑrtiz fər ˈnɑməˌneɪtɪŋ ʤeɪld ˈkænədɪts leɪt ɔn ˈmənˌdeɪ, seɪɪŋ: "kʊd ðeɪ nɑt hæv faʊnd ˈəðər ˈkænədɪts? ðeɪ ˈnɑməˌneɪtəd ðiz ˈpipəl noʊɪŋ ðət ɪt wʊd kɔz səʧ ə ˈprɑbləm."
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lucas move from arsenal to la is edging closer before the end of the transfer window.
arsenal began the summer demanding for the striker they signed from the spanish club last summer in a deal.
but the gunners are now set to accept a loan move with a modest fee.
spanish striker lucas perez is poised to leave arsenal after just one season in england
the 28-year-old, seen in training above, is close to rejoining la on loan
perez started only four matches after christmas last season and did not start a game after the cup win at sutton in february.
arsenal had wanted a transfer fee beyond but are increasingly resigned to accepting a loan deal.
there has been interest from valencia and marseille but perez is steadfast in his determination to return to.
the spanish club want to do a loan deal with a fee of around with a view to a future transfer.
perez only scored one premier league goal for arsenal but got a champions league
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ˈlukəs muv frəm ˈɑrsənəl tɪ lɑ ɪz ˈɛʤɪŋ ˈkloʊzər ˌbiˈfɔr ðə ɛnd əv ðə ˈtrænsfər ˈwɪndoʊ. ˈɑrsənəl bɪˈgæn ðə ˈsəmər dɪˈmændɪŋ fər ðə ˈstraɪkər ðeɪ saɪnd frəm ðə ˈspænɪʃ kləb læst ˈsəmər ɪn ə dil. bət ðə ˈgənərz ər naʊ sɛt tɪ əkˈsɛpt ə loʊn muv wɪθ ə ˈmɑdəst fi. ˈspænɪʃ ˈstraɪkər ˈlukəs ˈpɛrɛz ɪz pɔɪzd tɪ liv ˈɑrsənəl ˈæftər ʤɪst wən ˈsizən ɪn ˈɪŋglənd ðə 28-year-old*, sin ɪn ˈtreɪnɪŋ əˈbəv, ɪz kloʊz tɪ riˈʤɔɪnɪŋ lɑ ɔn loʊn ˈpɛrɛz ˈstɑrtɪd ˈoʊnli fɔr ˈmæʧɪz ˈæftər ˈkrɪsməs læst ˈsizən ənd dɪd nɑt stɑrt ə geɪm ˈæftər ðə kəp wɪn æt ˈsətən ɪn ˈfɛbruˌɛri. ˈɑrsənəl hæd ˈwɔntɪd ə ˈtrænsfər fi bɪɔnd bət ər ˌɪnˈkrisɪŋgli rɪˈzaɪnd tɪ əkˈsɛptɪŋ ə loʊn dil. ðɛr həz bɪn ˈɪntəˌrɛst frəm vəˈlɛnsiə ənd mɑrˈsaɪl bət ˈpɛrɛz ɪz ˈstɛdˌfæst ɪn hɪz dɪˌtərməˈneɪʃən tɪ rɪˈtərn tɪ. ðə ˈspænɪʃ kləb wɔnt tɪ du ə loʊn dil wɪθ ə fi əv əraʊnd wɪθ ə vju tɪ ə fˈjuʧər ˈtrænsfər. ˈpɛrɛz ˈoʊnli skɔrd wən prɛˈmɪr lig goʊl fər ˈɑrsənəl bət gɑt ə ˈʧæmpiənz lig
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as i already revealed in my list of lesser known star trek facts , in the early stages of star production the uss enterprise was called the uss yorktown, this was possibly after the aircraft carrier of the same name that was commissioned by the united states navy in 1937 - it also ties in with career as a decorated combat are the voyages of the star ship yorktown." - it doesn't have the same ring, does it? in the same way that the word 'enterprise' is now forever connected to the legacy of star trek, so are the two actors william shatner and leonard nimoy. however, neither of them were originally pursued for the series. like many other television shows several different actors were considered for the leading roles first. so lets take a look at two of them, who, if they had accepted the parts, may have completely altered the feel of the entire kirk ended up being played by canadian actor william shatner, but would you believe that jack lord (hawaii) was initially considered to play the role? lord, who's real name was john joseph patrick ryan, was a well known broadway performer and film star around that time. he hadn't reached the level of lead actor, but he'd appeared in a number of westerns, and also portrayed felix leiter in 'dr no", the big screen debut of james bond. on the strength of these performances he was considered for the role of eliot ness in the untouchables, narrowly losing out to robert was emerging as a bit of a pin up and his his personal profile was on the rise, thanks to a steady stream of job offers. in terms of the role of kirk, it would appear that the main stumbling block was that lord demanded 50% ownership of the show, which was unsurprisingly deemed as totally unacceptable. you can see why he would be considered for the role though, lord had a powerful charisma and could have reflected the attributes of kirk superbly well. eventually, of course, he went on to find international stardom in hawaii (1968-1980) playing steve mcgarrett. had the star trek deal panned out we may well have missed out of that classic "book 'em more mystifying was the original casting of spock, largely because it's difficult to imagine anyone other than leonard nimoy playing the part, but martin landau was in line to assume the role. he was also a familiar face to an american audience and had been in several successful stage productions before being cast in hitchcock's classic 'north by northwest' alongside cary grant and james there are certain aspects of the actors performance that could arguably fit with character. he could seem distant and dispatch his lines without any hint of emotion. he seemed to revel in roles in which you never got beneath the first layer of skin (possibly a reflection of his capabilities or limitations?). it would appear that the only reason he did not accept the part, was the emergence of a new programme that caught his interest - mission impossible (1966-1973), where he was cast as a master of disguise - rollin digested this information, you may want to consider how these appointments might have altered the complexion of the show, or if it would have made any difference at all. perhaps star trek would have gone on to conquer the galaxy with jack lord and martin landau as the two main players, and its astounding success is down to the uniqueness of the idea and visionary scripts. others of you may think it highly unlikely, and that the chemistry between william shatner and leonard nimoy gave the original series the edge to propel it to the hearts of fans your view, it's an interesting one to ponder. for me personally, the casting of shatner and nimoy was absolutely perfect, i'm not detracting from the abilities of lord or landau but it seemed that fate intervened in one way or another to gift us with the perfect pairing - but i guess we'll never really know how it may have time we'll take a look at the visionary behind star trek, gene roddenberry.
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ɛz aɪ ɔˈrɛdi rɪˈvild ɪn maɪ lɪst əv ˈlɛsər noʊn stɑr trɛk fækts ɪn ðə ˈərli ˈsteɪʤɪz əv stɑr pərˈdəkʃən ðə ˈjuˈɛˈsɛs ˈɛnərˌpraɪz wɑz kɔld ðə ˈjuˈɛˈsɛs ˈjɔrkˌtaʊn, ðɪs wɑz ˈpɑsəbli ˈæftər ðə ˈɛrˌkræft ˈkɛriər əv ðə seɪm neɪm ðət wɑz kəˈmɪʃənd baɪ ðə juˈnaɪtɪd steɪts ˈneɪvi ɪn 1937 ɪt ˈɔlsoʊ taɪz ɪn wɪθ kərɪr ɛz ə ˈdɛkərˌeɪtɪd ˈkɑmbæt ər ðə ˈvɔɪɪʤɪz əv ðə stɑr ʃɪp ˈjɔrkˌtaʊn." ɪt ˈdəzənt hæv ðə seɪm rɪŋ, dɪz ɪt? ɪn ðə seɪm weɪ ðət ðə wərd 'ˈɛnərˌpraɪz' ɪz naʊ fərˈɛvər kəˈnɛktɪd tɪ ðə ˈlɛgəsi əv stɑr trɛk, soʊ ər ðə tu ˈæktərz ˈwɪljəm ˈʃætnər ənd ˈlɛnərd ˈniˌmɔɪ. ˌhaʊˈɛvər, ˈniðər əv ðɛm wər ərˈɪʤənəli pərˈsud fər ðə ˈsɪriz. laɪk ˈmɛni ˈəðər ˈtɛləˌvɪʒən ʃoʊz ˈsɛvərəl ˈdɪfərənt ˈæktərz wər kənˈsɪdərd fər ðə ˈlidɪŋ roʊlz fərst. soʊ lɛts teɪk ə lʊk æt tu əv ðɛm, hu, ɪf ðeɪ hæd ækˈsɛptɪd ðə pɑrts, meɪ hæv kəmˈplitli ˈɔltərd ðə fil əv ðə ɪnˈtaɪər kərk ˈɛndɪd əp biɪŋ pleɪd baɪ kəˈneɪdiən ˈæktər ˈwɪljəm ˈʃætnər, bət wʊd ju bɪˈliv ðət ʤæk lɔrd (həˈwaɪˌi wɑz ˌɪˈnɪʃəli kənˈsɪdərd tɪ pleɪ ðə roʊl? lɔrd, huz ril neɪm wɑz ʤɑn ˈʤoʊzəf ˈpætrɪk raɪən, wɑz ə wɛl noʊn ˈbrɔdˌweɪ pərˈfɔrmər ənd fɪlm stɑr əraʊnd ðət taɪm. hi ˈhædənt riʧt ðə ˈlɛvəl əv lɛd ˈæktər, bət hid əˈpɪrd ɪn ə ˈnəmbər əv ˈwɛstərnz, ənd ˈɔlsoʊ pɔrˈtreɪd ˈfilɪks ˈlaɪtər ɪn 'ˈdɑktər noʊ", ðə bɪg skrin ˈdeɪbju əv ʤeɪmz bɑnd. ɔn ðə strɛŋθ əv ðiz pərˈfɔrmənsɪz hi wɑz kənˈsɪdərd fər ðə roʊl əv ˈɛliət nɛs ɪn ðə ənˈtəʧəbəlz, ˈnɛroʊli ˈluzɪŋ aʊt tɪ ˈrɑbərt wɑz ˈimərʤɪŋ ɛz ə bɪt əv ə pɪn əp ənd hɪz hɪz ˈpərsɪnəl ˈproʊˌfaɪl wɑz ɔn ðə raɪz, θæŋks tɪ ə ˈstɛdi strim əv ʤɑb ˈɔfərz. ɪn tərmz əv ðə roʊl əv kərk, ɪt wʊd əˈpɪr ðət ðə meɪn ˈstəmbəlɪŋ blɑk wɑz ðət lɔrd dɪˈmændɪd 50 ˈoʊnərˌʃɪp əv ðə ʃoʊ, wɪʧ wɑz ˌənsərˈpraɪzɪŋli dimd ɛz ˈtoʊtəli ˌənækˈsɛptəbəl. ju kən si waɪ hi wʊd bi kənˈsɪdərd fər ðə roʊl ðoʊ, lɔrd hæd ə ˈpaʊərfəl kərˈɪzmə ənd kʊd hæv rɪˈflɛktɪd ðə əˈtrɪˌbjuts əv kərk ˈsupərbli wɛl. ɪˈvɛnʧəwəli, əv kɔrs, hi wɛnt ɔn tɪ faɪnd ˌɪnərˈnæʃənɑl ˈstɑrdəm ɪn həˈwaɪˌi pleɪɪŋ stiv mcgarrett*. hæd ðə stɑr trɛk dil pænd aʊt wi meɪ wɛl hæv mɪst aʊt əv ðət ˈklæsɪk "bʊk 'ɛm mɔr ˈmɪstəˌfaɪɪŋ wɑz ðə ərˈɪʤənəl ˈkæstɪŋ əv spɑk, ˈlɑrʤli bɪˈkəz ɪts ˈdɪfəkəlt tɪ ˌɪˈmæʤən ˈɛniˌwən ˈəðər ðən ˈlɛnərd ˈniˌmɔɪ pleɪɪŋ ðə pɑrt, bət ˈmɑrtɪn ˈlænˌdaʊ wɑz ɪn laɪn tɪ əˈsum ðə roʊl. hi wɑz ˈɔlsoʊ ə fəˈmɪljər feɪs tɪ ən əˈmɛrɪkən ˈɔdiəns ənd hæd bɪn ɪn ˈsɛvərəl səkˈsɛsfəl steɪʤ pərˈdəkʃənz ˌbiˈfɔr biɪŋ kæst ɪn ˈhɪʧˌkɑks ˈklæsɪk 'nɔrθ baɪ ˌnɔrθˈwɛst' əˈlɔŋˈsaɪd ˈkɛri grænt ənd ʤeɪmz ðɛr ər ˈsərtən ˈæˌspɛkts əv ðə ˈæktərz pərˈfɔrməns ðət kʊd ˈɑrgjuəbli fɪt wɪθ ˈkɛrɪktər. hi kʊd sim ˈdɪstənt ənd dɪˈspæʧ hɪz laɪnz wɪˈθaʊt ˈɛni hɪnt əv ˈiˌmoʊʃən. hi simd tɪ ˈrɛvəl ɪn roʊlz ɪn wɪʧ ju ˈnɛvər gɑt bɪˈniθ ðə fərst leɪər əv skɪn (ˈpɑsəbli ə rɪˈflɛkʃən əv hɪz ˌkeɪpəˈbɪlətiz ər ˌlɪmɪˈteɪʃənz?). ɪt wʊd əˈpɪr ðət ðə ˈoʊnli ˈrizən hi dɪd nɑt əkˈsɛpt ðə pɑrt, wɑz ðə ˈimərʤəns əv ə nu ˈproʊˌgræm ðət kɔt hɪz ˈɪntəˌrɛst ˈmɪʃən ˌɪmˈpɑsəbəl wɛr hi wɑz kæst ɛz ə ˈmæstər əv dɪsˈgaɪz ˈroʊlɪn ˈdaɪˌʤɛstɪd ðɪs ˌɪnˌfɔrˈmeɪʃən, ju meɪ wɔnt tɪ kənˈsɪdər haʊ ðiz əˈpɔɪntmənts maɪt hæv ˈɔltərd ðə kəmˈplɛkʃən əv ðə ʃoʊ, ər ɪf ɪt wʊd hæv meɪd ˈɛni ˈdɪfərəns æt ɔl. pərˈhæps stɑr trɛk wʊd hæv gɔn ɔn tɪ ˈkɑŋkər ðə ˈgæləksi wɪθ ʤæk lɔrd ənd ˈmɑrtɪn ˈlænˌdaʊ ɛz ðə tu meɪn pleɪərz, ənd ɪts əˈstaʊndɪŋ səkˈsɛs ɪz daʊn tɪ ðə juˈniknəs əv ðə aɪˈdiə ənd ˈvɪʒəˌnɛri skrɪpts. ˈəðərz əv ju meɪ θɪŋk ɪt ˈhaɪli ənˈlaɪkli, ənd ðət ðə ˈkɛmɪstri bɪtˈwin ˈwɪljəm ˈʃætnər ənd ˈlɛnərd ˈniˌmɔɪ geɪv ðə ərˈɪʤənəl ˈsɪriz ðə ɛʤ tɪ prəˈpɛl ɪt tɪ ðə hɑrts əv fænz jʊr vju, ɪts ən ˈɪntəˌrɛstɪŋ wən tɪ ˈpɑndər. fər mi ˈpərsənəli, ðə ˈkæstɪŋ əv ˈʃætnər ənd ˈniˌmɔɪ wɑz ˌæbsəˈlutli ˈpərˌfɪkt, əm nɑt dɪˈtræktɪŋ frəm ðə əˈbɪləˌtiz əv lɔrd ər ˈlænˌdaʊ bət ɪt simd ðət feɪt ˌɪntərˈvind ɪn wən weɪ ər əˈnəðər tɪ gɪft ˈjuˈɛs wɪθ ðə ˈpərˌfɪkt ˈpɛrɪŋ bət aɪ gɛs wɪl ˈnɛvər ˈrɪli noʊ haʊ ɪt meɪ hæv taɪm wɪl teɪk ə lʊk æt ðə ˈvɪʒəˌnɛri bɪˈhaɪnd stɑr trɛk, ʤin ˈrɑdənbɛri.
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level of support for labour leader to head country falls but predicted vote share remains strong despite infighting
labour poll lead grows to four points but only 1 in 5 sees as pm
labour has extended its poll lead to four points but just one in five people can imagine ed as prime minister, according to a poll.
the survey put labour on 34%, unchanged from last month despite infighting within the opposition ranks and speculation about’s leadership, with the tories down one point on 30%.
the study for the sunday mirror and independent on sunday put on 19%, the liberalocrats up one point on 8% and the green party down one point on 3%.
the proportion of people who said they could imagine in no 10 has fallen to 20%, down from 25% 12 months ago, with those disagreeing up six points on 59%.
only 50% of labour voters said they could imagine as prime minister, a fall of nine points compared to november 2013.
almost a quarter (24%) of lib voters said they could imagine in no 10.
only 29% of those asked trusted to stand up for working people, compared with 22% for david cameron.
and half of those surveyed expect cameron to make deep cuts to public services if he is in no 10 after the 2015 election, compared with 24% for.
comres interviewed british adults online between november 12 and 14. data was weighted to beographically representative of all british adults and by past vote recall.
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ˈlɛvəl əv səˈpɔrt fər ˈleɪbər ˈlidər tɪ hɛd ˈkəntri fɔlz bət prɪˈdɪktɪd voʊt ʃɛr rɪˈmeɪnz strɔŋ dɪˈspaɪt ˈɪnˌfaɪtɪŋ ˈleɪbər poʊl lɛd groʊz tɪ fɔr pɔɪnts bət ˈoʊnli 1 ɪn 5 siz ɛz piɛm ˈleɪbər həz ɪkˈstɛndɪd ɪts poʊl lɛd tɪ fɔr pɔɪnts bət ʤɪst wən ɪn faɪv ˈpipəl kən ˌɪˈmæʤən ɛd ɛz praɪm ˈmɪnɪstər, əˈkɔrdɪŋ tɪ ə poʊl. ðə ˈsərˌveɪ pʊt ˈleɪbər ɔn 34 ənˈʧeɪnʤd frəm læst mənθ dɪˈspaɪt ˈɪnˌfaɪtɪŋ wɪˈθɪn ðə ˌɑpəˈzɪʃən ræŋks ənd ˌspɛkjəˈleɪʃən əˈbaʊt ˈlidərˌʃɪp, wɪθ ðə ˈtɔˌriz daʊn wən pɔɪnt ɔn 30 ðə ˈstədi fər ðə ˈsənˌdi ˈmɪrər ənd ˌɪndɪˈpɛndənt ɔn ˈsənˌdi pʊt ɔn 19 ðə ˈlɪˌbərəl ˈdɛməˌkræts əp wən pɔɪnt ɔn 8 ənd ðə grin ˈpɑrti daʊn wən pɔɪnt ɔn 3 ðə prəˈpɔrʃən əv ˈpipəl hu sɛd ðeɪ kʊd ˌɪˈmæʤən ɪn noʊ 10 həz ˈfɑlən tɪ 20 daʊn frəm 25 12 mənθs əˈgoʊ, wɪθ ðoʊz dɪsəˈgriɪŋ əp sɪks pɔɪnts ɔn 59 ˈoʊnli 50 əv ˈleɪbər ˈvoʊtərz sɛd ðeɪ kʊd ˌɪˈmæʤən ɛz praɪm ˈmɪnɪstər, ə fɔl əv naɪn pɔɪnts kəmˈpɛrd tɪ noʊˈvɛmbər 2013 ˈɔlˌmoʊst ə kˈwɔrtər 24 əv lɪb ˈvoʊtərz sɛd ðeɪ kʊd ˌɪˈmæʤən ɪn noʊ 10 ˈoʊnli 29 əv ðoʊz æst ˈtrəstɪd tɪ stænd əp fər ˈwərkɪŋ ˈpipəl, kəmˈpɛrd wɪθ 22 fər ˈdeɪvɪd ˈkæmərən. ənd hæf əv ðoʊz ˈsərˌveɪd ɪkˈspɛkt ˈkæmərən tɪ meɪk dip kəts tɪ ˈpəblɪk ˈsərvɪsɪz ɪf hi ɪz ɪn noʊ 10 ˈæftər ðə 2015 ɪˈlɛkʃən, kəmˈpɛrd wɪθ 24 fər. ˈɪntərvˌjud ˈbrɪtɪʃ ˈædəlts ˈɔnˌlaɪn bɪtˈwin noʊˈvɛmbər 12 ənd 14 ˈdætə wɑz ˈweɪtɪd tɪ bi ˌdɛməˈgræfɪkli ˌrɛprɪˈzɛnətɪv əv ɔl ˈbrɪtɪʃ ˈædəlts ənd baɪ pæst voʊt ˈriˌkɔl.
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mr, 30, displayed his modified his scooter, with an flame thrower operated by the flick of switch, in the press earlier this week.
but lincolnshire police spotted the pictures of mr allegedly riding his scooter on a public highway and arrested him on thursday.
he was held on suspicion of possessing an object converted into a firearm, and was released on unconditional police bail without charge until may 6 pending further police investigation.
possession of a firearm carries a maximum prison sentence of five to seven years at crown court.
speaking before his arrest, he said: ''everybody wants a flame thrower on a motor bike.
''i don't need a flame thrower on the back of my bike, i'm not going to set fire to people's car's, it's just something interesting to do.''
the scooter, which was built before christmas, was mr's third attempt at the project after the first did not ignite and the second burst into flames.
a lincolnshire police spokesman said: ''a man was arrested on suspicion of possessing an object converted to a firearm on thursday. he was released on unconditional bail.''
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ˈmɪstər, 30 dɪˈspleɪd hɪz ˈmɑdəˌfaɪd hɪz ˈskutər, wɪθ ən fleɪm θroʊər ˈɑpərˌeɪtəd baɪ ðə flɪk əv swɪʧ, ɪn ðə prɛs ˈərliər ðɪs wik. bət ˈlɪŋkənˌʃɪr pəˈlis ˈspɑtɪd ðə ˈpɪkʧərz əv ˈmɪstər əˈlɛʤədli ˈraɪdɪŋ hɪz ˈskutər ɔn ə ˈpəblɪk ˈhaɪˌweɪ ənd ərˈɛstɪd ɪm ɔn ˈθərzˌdeɪ. hi wɑz hɛld ɔn səˈspɪʃən əv pəˈzɛsɪŋ ən ˈɑbʤɛkt kənˈvərtɪd ˈɪntu ə ˈfaɪˌrɑrm, ənd wɑz riˈlist ɔn ˌənkənˈdɪʃənəl pəˈlis beɪl wɪˈθaʊt ʧɑrʤ ənˈtɪl meɪ 6 ˈpɛndɪŋ ˈfərðər pəˈlis ˌɪnˌvɛstəˈgeɪʃən. pəˈzɛʃən əv ə ˈfaɪˌrɑrm ˈkɛriz ə ˈmæksəməm ˈprɪzən ˈsɛntəns əv faɪv tɪ ˈsɛvən jɪrz æt kraʊn kɔrt. ˈspikɪŋ ˌbiˈfɔr hɪz ərˈɛst, hi sɛd: ''ˈɛvriˌbɑdi wɔnts ə fleɪm θroʊər ɔn ə ˈmoʊtər baɪk. ''aɪ doʊnt nid ə fleɪm θroʊər ɔn ðə bæk əv maɪ baɪk, əm nɑt goʊɪŋ tɪ sɛt faɪər tɪ ˈpipəlz kɑrz, ɪts ʤɪst ˈsəmθɪŋ ˈɪntəˌrɛstɪŋ tɪ du.'' ðə ˈskutər, wɪʧ wɑz bɪlt ˌbiˈfɔr ˈkrɪsməs, wɑz ˈmɪstər θərd əˈtɛmpt æt ðə ˈprɑʤɛkt ˈæftər ðə fərst dɪd nɑt ˌɪgˈnaɪt ənd ðə ˈsɛkənd bərst ˈɪntu fleɪmz. ə ˈlɪŋkənˌʃɪr pəˈlis ˈspoʊksmən sɛd: ''ə mæn wɑz ərˈɛstɪd ɔn səˈspɪʃən əv pəˈzɛsɪŋ ən ˈɑbʤɛkt kənˈvərtɪd tɪ ə ˈfaɪˌrɑrm ɔn ˈθərzˌdeɪ. hi wɑz riˈlist ɔn ˌənkənˈdɪʃənəl beɪl.''
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decriminalization of sex work: policy background document
i.
policy overview
amnestyonal is opposed to the criminalization or punishment of activities related to the buying or selling of consensual sex between adults. amnestyonal believes that seeking, buying, selling and soliciting paid sex are acts protected from state interference as long as there is no coercion, t or violence associated with those acts. legitimate restrictions may be i on the practice of sex work if they comply withonal human rights law (
i.e.
, they are for a legitimate purpose, appropriate to meet that purpose, proportionate and non- discriminatory). amnestyonal believes states have a positive obligation to reform their laws and develop and implement systems and policies that eliminate discrimination against those engaging in sex work. additionally, states must actively seek to empower the most marginalized in society, including through supporting the rights to freedom of association of those engaging in sex work, establishing frameworks that ensure access to appropriate, quality health services and safe working conditions, and through combating discrimination or abuse based on sex, sexual orientation gender identity or expression. amnestyonal understands the imperfect context in which individualsoose to become sex workers (or miners or foreign domestic workers). we know that some individuals engaged in sex work do not have the necessary resources or information to leave commercial sex work when they want to. at the same time, we believe human rights principles requires to value the voices of those who are directly affected by inequality and discrimination. we believe that policies which purport to support and improve the situation of the must focus on empowering the disenfranchised and directly addressing structural disadvantages such as poverty, not on devaluing their decisions andoices or criminalizing the contexts in which they live their lives. we believe that a policy based on human right principles that values the input and experiences of sex workers is the most likely to ensure that no one enters or stays in sex work involuntary. amnestyonal considersildren involved in commercial sex acts to be victims of sexual exploitation, entitled to support, reparations, and remedies, in line withonal human rights law. states must take all appropriate measures to prevent violence a exploitation of ildren. the best interests of theild should, in all cases, be a primary consideration and the state should preserve the right of theild to be heard and to have his or her views given due weight in accordance with their age and maturity. see amnesty
onal’s
policy on decriminalization of sex work for a more detailed explanation of the
organization’s
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1 diˌkrɪmənələˈzeɪʃən əv sɛks wərk: ˈpɑləsi ˈbækˌgraʊnd ˈdɑkjəmɛnt aɪ. ˈpɑləsi ˈoʊvərvˌju ˈæmnəsti ˌɪnərˈnæʃənɑl ɪz əˈpoʊzd tɪ ðə ˌkrɪmənələˈzeɪʃən ər ˈpənɪʃmənt əv ækˈtɪvɪtiz rɪˈleɪtɪd tɪ ðə baɪɪŋ ər ˈsɛlɪŋ əv kənˈsɛnʃuəl sɛks bɪtˈwin ˈædəlts. ˈæmnəsti ˌɪnərˈnæʃənɑl bɪˈlivz ðət ˈsikɪŋ, baɪɪŋ, ˈsɛlɪŋ ənd səˈlɪsətɪŋ peɪd sɛks ər ækts prəˈtɛktɪd frəm steɪt ˌɪnərˈfɪrəns ɛz lɔŋ ɛz ðɛr ɪz noʊ koʊəˈrʃən, ti ər ˈvaɪələns əˈsoʊʃiˌeɪtəd wɪθ ðoʊz ækts. ləˈʤɪtəmət riˈstrɪkʃənz meɪ bi aɪ ɔn ðə ˈpræktɪs əv sɛks wərk ɪf ðeɪ kəmˈplaɪ wɪθ ˌɪnərˈnæʃənɑl ˈjumən raɪts lɔ i.e*. ðeɪ ər fər ə ləˈʤɪtəmət ˈpərpəs, əˈproʊpriˌeɪt tɪ mit ðət ˈpərpəs, prəˈpɔrʃənət ənd nɑn- dɪˈskrɪmənəˌtɔri). ˈæmnəsti ˌɪnərˈnæʃənɑl bɪˈlivz steɪts hæv ə ˈpɑzətɪv ˌɑbləˈgeɪʃən tɪ rɪˈfɔrm ðɛr lɔz ənd dɪˈvɛləp ənd ˈɪmpləmənt ˈsɪstəmz ənd ˈpɑləsiz ðət ɪˈlɪməˌneɪt dɪˌskrɪməˈneɪʃən əˈgɛnst ðoʊz ɪnˈgeɪʤɪŋ ɪn sɛks wərk. əˈdɪʃəˌnəli, steɪts məst ˈæktɪvli sik tɪ ɪmˈpaʊər ðə moʊst ˈmɑrʤənəˌlaɪzd ɪn soʊˈsaɪɪti, ˌɪnˈkludɪŋ θru səˈpɔrtɪŋ ðə raɪts tɪ ˈfridəm əv əˌsoʊʃiˈeɪʃən əv ðoʊz ɪnˈgeɪʤɪŋ ɪn sɛks wərk, ɪˈstæblɪʃɪŋ ˈfreɪmˌwərks ðət ɪnˈʃʊr ˈækˌsɛs tɪ əˈproʊpriˌeɪt, kˈwɑləti hɛlθ ˈsərvɪsɪz ənd seɪf ˈwərkɪŋ kənˈdɪʃənz, ənd θru kəmˈbætɪŋ dɪˌskrɪməˈneɪʃən ər əˈbjuz beɪst ɔn sɛks, ˈsɛkʃuəl ˌɔriɛnˈteɪʃən ˈʤɛndər aɪˈdɛntəˌti ər ɪkˈsprɛʃən. ˈæmnəsti ˌɪnərˈnæʃənɑl ˌəndərˈstændz ðə ˌɪmˈpərfɪkt ˈkɑntɛkst ɪn wɪʧ ˌɪndəˈvɪʤəwəlz ʧuz tɪ bɪˈkəm sɛks ˈwərkərz (ər ˈmaɪnərz ər ˈfɔrən dəˈmɛstɪk ˈwərkərz). wi noʊ ðət səm ˌɪndəˈvɪʤəwəlz ɪnˈgeɪʤd ɪn sɛks wərk du nɑt hæv ðə ˈnɛsəˌsɛri ˈrisɔrsɪz ər ˌɪnˌfɔrˈmeɪʃən tɪ liv kəˈmərʃəl sɛks wərk wɪn ðeɪ wɔnt tɪ. æt ðə seɪm taɪm, wi bɪˈliv ˈjumən raɪts ˈprɪnsəpəlz rikˈwaɪərz tɪ ˈvælju ðə ˈvɔɪsɪz əv ðoʊz hu ər dɪˈrɛkli əˈfɛktɪd baɪ ˌɪnɪkˈwɑləti ənd dɪˌskrɪməˈneɪʃən. wi bɪˈliv ðət ˈpɑləsiz wɪʧ ˈpərˌpɔrt tɪ səˈpɔrt ənd ˌɪmˈpruv ðə ˌsɪʧuˈeɪʃən əv ðə məst ˈfoʊkɪs ɔn ɪmˈpaʊərɪŋ ðə dɪsɪnˈfrænˌʧaɪzd ənd dɪˈrɛkli æˈdrɛsɪŋ ˈstrəkʧərəl ˌdɪsədˈvænɪʤz səʧ ɛz ˈpɑvərti, nɑt ɔn dɪˈvæljuɪŋ ðɛr dɪˈsɪʒənz ənd ˈʧɔɪsɪz ər ˈkrɪmənəˌlaɪzɪŋ ðə ˈkɑnˌtɛksts ɪn wɪʧ ðeɪ lɪv ðɛr lɪvz. wi bɪˈliv ðət ə ˈpɑləsi beɪst ɔn ˈjumən raɪt ˈprɪnsəpəlz ðət ˈvæljuz ðə ˈɪnˌpʊt ənd ɪkˈspɪriənsɪz əv sɛks ˈwərkərz ɪz ðə moʊst ˈlaɪkli tɪ ɪnˈʃʊr ðət noʊ wən ˈɛnərz ər steɪz ɪn sɛks wərk ˌɪnˈvɑlənˌtɛri. ˈæmnəsti ˌɪnərˈnæʃənɑl kənˈsɪdərz ˈʧɪldrən ˌɪnˈvɑlvd ɪn kəˈmərʃəl sɛks ækts tɪ bi ˈvɪktɪmz əv ˈsɛkʃuəl ˌɛkˌsplɔɪˈteɪʃən, ɛnˈtaɪtəld tɪ səˈpɔrt, ˌrɛpərˈeɪʃənz, ənd ˈrɛmədiz, ɪn laɪn wɪθ ˌɪnərˈnæʃənɑl ˈjumən raɪts lɔ. steɪts məst teɪk ɔl əˈproʊpriˌeɪt ˈmɛʒərz tɪ prɪˈvɛnt ˈvaɪələns ə ˌɛkˌsplɔɪˈteɪʃən əv ildren*. ðə bɛst ˈɪntərɪsts əv ðə ʧaɪld ʃʊd, ɪn ɔl ˈkeɪsɪz, bi ə ˈpraɪˌmɛri kənˌsɪdərˈeɪʃən ənd ðə steɪt ʃʊd prɪˈzərv ðə raɪt əv ðə ʧaɪld tɪ bi hərd ənd tɪ hæv hɪz ər hər vjuz ˈgɪvɪn du weɪt ɪn əˈkɔrdəns wɪθ ðɛr eɪʤ ənd məˈʧʊrəti. si ˈæmnəsti ˈpɑləsi ɔn diˌkrɪmənələˈzeɪʃən əv sɛks wərk fər ə mɔr dɪˈteɪld ˌɛkspləˈneɪʃən əv ðə
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in the midst of the current, often burning, upheaval in kashmir, it would be instructive to recall the last crisis of similar though not identical magnitude. late one evening in the last week of december 1963, newspaper offices in delhi received telegrams from their srinagar correspondents (that was the fastest means of communication then) stating that a holy relic, much revered by the kashmiri people, had disappeared from the shrine causing widespread resentment and anger.
the gravity of the situation sunk in, however, only the next day when reports came in that, despite the bitter cold and heavy snowfall, huge crowds from all over were converging on. i took the first available plane to capital. the entire foreign press corps was on the same flight. only after reaching srinagar did the intensity of the popular outrage hit us. the reason was obvious. the vanished holy relic according to the state government, it was "found missing" was a single hair of the beard that had venerated generation after generation. they called it (sacred hair). their fury was boundless. even in normal times they could have its (which means the same thing as darshan) only on fixed days in the year and that too, for a short time. now they wept and wailed, fearing that they had lost the blessing forever, and cursed whoever they thought was behind the sacrilege. some alleged that someone had stolen the relic, if not to destroy it, then at least to insult the prophet of islam. hundreds of thousands of mourners who surrounded the shrine were absolutely and refused to move away from there, as days passed without any trace of the missing relic. they greeted the state government's reassuring noises with contempt.
mercifully, there was no violence even though the prevalent rage was unmistakable and the situation was becoming more menacing with the passage of time.
what compounded the situation was that the state government, to say nothing of the administration, was at that time in a shambles. bakshi ghulam mohammed, chief minister for a decade, had had to leave under the plan some four months earlier. he had seen to it, however, that no one with political weight succeeded him. the man he chose for the job was a virtual non-entity named shamsuddin. the people nicknamed him "chamchuddin", a play on the word that in indian political lore means a sycophant.
the consequences of this state of affairs became manifest on the day when it looked that the sleepless, tired and angry crowds were on the verge of losing patience. mohammed, deputy commissioner of srinagar, panicked that the situation would spin out of control. it did seem as if the whole valley was hanging by a slender thread. he approached the nearest brigade commander and asked him to "take over". the brigadier replied that he would surely do his duty but he must have the request in writing. "agar dena hai," said mohammed who later became chief secretary of jammu and kashmir, mein bakshi se aaoon" (if this has be to be given in writing, then let me consult bakshi"). the bakshi, let it be repeated, held no official position in the state at that time!
at the very beginning of the crisis, new delhi had sent to srinagar a team of very competent officers headed by home secretary v.. its brief was to watch the situation, advise the state government only when necessary and otherwise refrain from interfering with it. briskly and tirelessly busy entirely on his own was the intelligence czar of that era, b. n.. luckily, on the day when the situation looked like it was blowing up, was able to announce that the holy relic had been recovered, a caretaker at had been arrested and, therefore, everybody could thank god and happily go home.
if he thought that he would be applauded as a hero, he was mistaken. those who had by then assumed the leadership of the angry crowds were sceptical. the wily government must have crafted a copy of their cherished relic to hoodwink the people, they said. what the ib chief had brought must be properly verified as genuine. (verification) was their buzzword and within minutes, it became the slogan of the masses. at this stage, intervened and refused the demand. renewed tension mounted fast.
in new delhi, nehru, though in indifferent health in january 1964, was monitoring the situation minutely. immediately, he sent his chief troubleshooter lal to srinagar. with tremendous patience and skill negotiated with the of verification and persuaded them not to insist on but told them that a "special" was perfectly in order. however, the process was so arranged as to be acceptable to both sides.
at the appointed time, the crowds around were mammoth but disciplined. there was a hush. saeed masoodi, a respected leader, took the microphone and asked the enormous audience: "is there anyone among you who knows better than shah"? there was total silence. shah then came forward and held the recovered holy relic before his eyes for a full minute. the suspense during these 60 seconds would have surprised even hitchcock. then he bowed his head and said a low but clear voice, "it is". wild cheers greeted him. the crisis was resolved but not the underlying issue.
for months, crowds went on agitating: koo" (present the real culprit). almost everyone knew that the imprisoned caretaker was a mere scapegoat. also it was believed then and confirmed later that there was nothing ulterior behind what was planned to be a temporary and harmless removal of the holy relic. apparently, a terminally ill lady in the bakshi family wanted to have its before dying. unfortunately, its absence was noticed almost immediately. in his account of his years with nehru, however, blandly states: "the holy recovery was an intelligence operation, never to be disclosed".
the writer is a political commentator
also read the taper tigers
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ɪn ðə mɪst əv ðə ˈkɑrənt, ˈɔfən ˈbərnɪŋ, əˈphivəl ɪn ˈkæʃmɪr, ɪt wʊd bi ˌɪnˈstrəktɪv tɪ ˈriˌkɔl ðə læst ˈkraɪsəs əv ˈsɪmələr ðoʊ nɑt aɪˈdɛntɪkəl ˈmægnəˌtud. leɪt wən ˈivnɪŋ ɪn ðə læst wik əv dɪˈsɛmbər 1963 ˈnuzˌpeɪpər ˈɔfəsɪz ɪn ˈdɛli rɪˈsivd ˈtɛləˌgræmz frəm ðɛr ʃˈrinəˌgɑr ˌkɔrəˈspɑndənts (ðət wɑz ðə ˈfæstəst minz əv kəmˌjunəˈkeɪʃən ðɛn) ˈsteɪtɪŋ ðət ə ˈhoʊli ˈrɛlɪk, məʧ rɪˈvɪrd baɪ ðə kæʃˈmiri ˈpipəl, hæd ˌdɪsəˈpɪrd frəm ðə ʃraɪn ˈkɔzɪŋ ˈwaɪdˈsprɛd rɪˈzɛntmənt ənd ˈæŋgər. ðə ˈgrævɪti əv ðə ˌsɪʧuˈeɪʃən səŋk ɪn, ˌhaʊˈɛvər, ˈoʊnli ðə nɛkst deɪ wɪn rɪˈpɔrts keɪm ɪn ðət, dɪˈspaɪt ðə ˈbɪtər koʊld ənd ˈhɛvi sˈnoʊfɑl, juʤ kraʊdz frəm ɔl ˈoʊvər wər kənˈvərʤɪŋ ɔn. aɪ tʊk ðə fərst əˈveɪləbəl pleɪn tɪ ˈkæpɪtəl. ðə ɪnˈtaɪər ˈfɔrən prɛs kɔrz wɑz ɔn ðə seɪm flaɪt. ˈoʊnli ˈæftər ˈriʧɪŋ ʃˈrinəˌgɑr dɪd ðə ˌɪnˈtɛnsɪti əv ðə ˈpɑpjələr ˈaʊˌtreɪʤ hɪt ˈjuˈɛs. ðə ˈrizən wɑz ˈɑbviəs. ðə ˈvænɪʃt ˈhoʊli ˈrɛlɪk əˈkɔrdɪŋ tɪ ðə steɪt ˈgəvərnmənt, ɪt wɑz "faʊnd ˈmɪsɪŋ" wɑz ə ˈsɪŋgəl hɛr əv ðə bɪrd ðət hæd ˈvɛnərˌeɪtɪd ˌʤɛnərˈeɪʃən ˈæftər ˌʤɛnərˈeɪʃən. ðeɪ kɔld ɪt (ˈseɪkrɪd hɛr). ðɛr fˈjʊri wɑz ˈbaʊndləs. ˈivɪn ɪn ˈnɔrməl taɪmz ðeɪ kʊd hæv ɪts (wɪʧ minz ðə seɪm θɪŋ ɛz darshan*) ˈoʊnli ɔn fɪkst deɪz ɪn ðə jɪr ənd ðət tu, fər ə ʃɔrt taɪm. naʊ ðeɪ wɛpt ənd weɪld, ˈfɪrɪŋ ðət ðeɪ hæd lɔst ðə ˈblɛsɪŋ fərˈɛvər, ənd kərst huˈɛvər ðeɪ θɔt wɑz bɪˈhaɪnd ðə ˈsækrələʤ. səm əˈlɛʤd ðət ˈsəmˌwən hæd ˈstoʊlən ðə ˈrɛlɪk, ɪf nɑt tɪ dɪˈstrɔɪ ɪt, ðɛn æt list tɪ ˌɪnˈsəlt ðə ˈprɑfət əv ˌɪsˈlɑm. ˈhənərdz əv ˈθaʊzənz əv ˈmɔrnərz hu sərˈaʊndɪd ðə ʃraɪn wər ˌæbsəˈlutli ənd rɪfˈjuzd tɪ muv əˈweɪ frəm ðɛr, ɛz deɪz pæst wɪˈθaʊt ˈɛni treɪs əv ðə ˈmɪsɪŋ ˈrɛlɪk. ðeɪ ˈgritɪd ðə steɪt ˈgəvərnmənts ˌriəˈʃʊrɪŋ ˈnɔɪzɪz wɪθ kənˈtɛmpt. ˈmərsɪfəˌli, ðɛr wɑz noʊ ˈvaɪələns ˈivɪn ðoʊ ðə ˈprɛvələnt reɪʤ wɑz ˌənmɪˈsteɪkəbəl ənd ðə ˌsɪʧuˈeɪʃən wɑz bɪˈkəmɪŋ mɔr ˈmɛnəsɪŋ wɪθ ðə ˈpæsɪʤ əv taɪm. wət kəmˈpaʊndɪd ðə ˌsɪʧuˈeɪʃən wɑz ðət ðə steɪt ˈgəvərnmənt, tɪ seɪ ˈnəθɪŋ əv ðə ædˌmɪnɪˈstreɪʃən, wɑz æt ðət taɪm ɪn ə ˈʃæmbəlz. ˈbækʃi ˈgjulæm moʊˈhæmɪd, ʧif ˈmɪnɪstər fər ə ˈdɛkeɪd, hæd hæd tɪ liv ˈəndər ðə plæn səm fɔr mənθs ˈərliər. hi hæd sin tɪ ɪt, ˌhaʊˈɛvər, ðət noʊ wən wɪθ pəˈlɪtɪkəl weɪt səkˈsidɪd ɪm. ðə mæn hi ʧoʊz fər ðə ʤɑb wɑz ə ˈvərʧuəl nɑˈnɛntəti neɪmd shamsuddin*. ðə ˈpipəl ˈnɪkˌneɪmd ɪm "chamchuddin*", ə pleɪ ɔn ðə wərd ðət ɪn ˈɪndiən pəˈlɪtɪkəl lɔr minz ə sycophant*. ðə ˈkɑnsəkˌwɛnsəz əv ðɪs steɪt əv əˈfɛrz bɪˈkeɪm ˈmænəˌfɛst ɔn ðə deɪ wɪn ɪt lʊkt ðət ðə sˈlipləs, taɪərd ənd ˈæŋgri kraʊdz wər ɔn ðə vərʤ əv ˈluzɪŋ ˈpeɪʃəns. moʊˈhæmɪd, ˈdɛpjəti kəˈmɪʃənər əv ʃˈrinəˌgɑr, ˈpænɪkt ðət ðə ˌsɪʧuˈeɪʃən wʊd spɪn aʊt əv kənˈtroʊl. ɪt dɪd sim ɛz ɪf ðə hoʊl ˈvæli wɑz ˈhæŋɪŋ baɪ ə sˈlɛndər θrɛd. hi əˈproʊʧt ðə ˈnɪrəst brɪˈgeɪd kəˈmændər ənd æst ɪm tɪ "teɪk ˈoʊvər". ðə ˌbrɪgəˈdɪr rɪˈplaɪd ðət hi wʊd ˈʃʊrli du hɪz ˈduti bət hi məst hæv ðə rɪkˈwɛst ɪn ˈraɪtɪŋ. "ˈeɪgər ˈdinə hai*," sɛd moʊˈhæmɪd hu ˈleɪtər bɪˈkeɪm ʧif ˈsɛkrəˌtɛri əv ʤəˈmu ənd ˈkæʃmɪr, min ˈbækʃi seɪ aaoon*" (ɪf ðɪs həz bi tɪ bi ˈgɪvɪn ɪn ˈraɪtɪŋ, ðɛn lɛt mi kənˈsəlt ˈbækʃi"). ðə ˈbækʃi, lɛt ɪt bi rɪˈpitɪd, hɛld noʊ əˈfɪʃəl pəˈzɪʃən ɪn ðə steɪt æt ðət taɪm! æt ðə ˈvɛri bɪˈgɪnɪŋ əv ðə ˈkraɪsəs, nu ˈdɛli hæd sɛnt tɪ ʃˈrinəˌgɑr ə tim əv ˈvɛri ˈkɑmpətɪnt ˈɔfɪsərz ˈhɛdɪd baɪ hoʊm ˈsɛkrəˌtɛri vi.. ɪts brif wɑz tɪ wɔʧ ðə ˌsɪʧuˈeɪʃən, ədˈvaɪz ðə steɪt ˈgəvərnmənt ˈoʊnli wɪn ˈnɛsəˌsɛri ənd ˈəðərˌwaɪz rɪˈfreɪn frəm ˌɪnərˈfɪrɪŋ wɪθ ɪt. ˈbrɪskli ənd ˈtaɪrləsli ˈbɪzi ɪnˈtaɪərli ɔn hɪz oʊn wɑz ðə ˌɪnˈtɛləʤəns zɑr əv ðət ˈɪrə, bi. ɛn.. ˈləkəli, ɔn ðə deɪ wɪn ðə ˌsɪʧuˈeɪʃən lʊkt laɪk ɪt wɑz bloʊɪŋ əp, wɑz ˈeɪbəl tɪ əˈnaʊns ðət ðə ˈhoʊli ˈrɛlɪk hæd bɪn rɪˈkəvərd, ə ˈkɛrˌteɪkər æt hæd bɪn ərˈɛstɪd ənd, ˈðɛrˌfɔr, ˈɛvriˌbɑdi kʊd θæŋk gɑd ənd ˈhæpəli goʊ hoʊm. ɪf hi θɔt ðət hi wʊd bi əˈplɔdɪd ɛz ə ˈhɪroʊ, hi wɑz mɪˈsteɪkən. ðoʊz hu hæd baɪ ðɛn əˈsumd ðə ˈlidərˌʃɪp əv ðə ˈæŋgri kraʊdz wər sceptical*. ðə ˈwaɪli ˈgəvərnmənt məst hæv ˈkræftɪd ə ˈkɑpi əv ðɛr ˈʧɛrɪʃt ˈrɛlɪk tɪ ˈhʊdˌwɪŋk ðə ˈpipəl, ðeɪ sɛd. wət ðə ˈaɪˈbi ʧif hæd brɔt məst bi ˈprɑpərli ˈvɛrəˌfaɪd ɛz ˈʤɛnjuˌaɪn. (ˌvɛrəfəˈkeɪʃən) wɑz ðɛr ˈbəzwərd ənd wɪˈθɪn ˈmɪnəts, ɪt bɪˈkeɪm ðə sˈloʊgən əv ðə ˈmæsɪz. æt ðɪs steɪʤ, ˌɪntərˈvind ənd rɪfˈjuzd ðə dɪˈmænd. rɪˈnud ˈtɛnʃən ˈmaʊnɪd fæst. ɪn nu ˈdɛli, ˈneɪˌru, ðoʊ ɪn ˌɪnˈdɪfərənt hɛlθ ɪn ˈʤænjuˌɛri 1964 wɑz ˈmɑnətərɪŋ ðə ˌsɪʧuˈeɪʃən ˈmɪnətli. ˌɪˈmiˌdiətli, hi sɛnt hɪz ʧif ˈtrəbəlˌʃutər læl tɪ ʃˈrinəˌgɑr. wɪθ trɪˈmɛndəs ˈpeɪʃəns ənd skɪl nɪˈgoʊʃiˌeɪtɪd wɪθ ðə əv ˌvɛrəfəˈkeɪʃən ənd pərsˈweɪdɪd ðɛm nɑt tɪ ˌɪnˈsɪst ɔn bət toʊld ðɛm ðət ə "ˈspɛʃəl" wɑz ˈpərfəktli ɪn ˈɔrdər. ˌhaʊˈɛvər, ðə ˈprɔˌsɛs wɑz soʊ əreɪnʤd ɛz tɪ bi əkˈsɛptəbəl tɪ boʊθ saɪdz. æt ðə əˈpɔɪntɪd taɪm, ðə kraʊdz əraʊnd wər ˈmæməθ bət ˈdɪsəplənd. ðɛr wɑz ə həʃ. sɑid masoodi*, ə rɪˈspɛktɪd ˈlidər, tʊk ðə ˈmaɪkrəˌfoʊn ənd æst ðə ɪˈnɔrmɪs ˈɔdiəns: "ɪz ðɛr ˈɛniˌwən əˈməŋ ju hu noʊz ˈbɛtər ðən ʃɑ"? ðɛr wɑz ˈtoʊtəl ˈsaɪləns. ʃɑ ðɛn keɪm ˈfɔrwərd ənd hɛld ðə rɪˈkəvərd ˈhoʊli ˈrɛlɪk ˌbiˈfɔr hɪz aɪz fər ə fʊl ˈmɪnət. ðə səˈspɛns ˈdʊrɪŋ ðiz 60 ˈsɛkəndz wʊd hæv səˈpraɪzd ˈivɪn ˈhɪʧˌkɑk. ðɛn hi boʊd hɪz hɛd ənd sɛd ə loʊ bət klɪr vɔɪs, "ɪt ɪz". waɪld ʧɪrz ˈgritɪd ɪm. ðə ˈkraɪsəs wɑz riˈzɑlvd bət nɑt ðə ˌəndərˈlaɪɪŋ ˈɪʃu. fər mənθs, kraʊdz wɛnt ɔn ˈæʤəˌteɪtɪŋ: koʊ karo*" (ˈprɛzənt ðə ril ˈkəlprɪt). ˈɔlˌmoʊst ˈɛvriˌwən nu ðət ðə ˌɪmˈprɪzənd ˈkɛrˌteɪkər wɑz ə mɪr ˈskeɪpˌgoʊt. ˈɔlsoʊ ɪt wɑz bɪˈlivd ðɛn ənd kənˈfərmd ˈleɪtər ðət ðɛr wɑz ˈnəθɪŋ əlˈtɪriər bɪˈhaɪnd wət wɑz plænd tɪ bi ə ˈtɛmpərˌɛri ənd ˈhɑrmləs rɪˈmuvəl əv ðə ˈhoʊli ˈrɛlɪk. əˈpɛrəntli, ə ˈtərmənəli ɪl ˈleɪdi ɪn ðə ˈbækʃi ˈfæməli ˈwɔntɪd tɪ hæv ɪts ˌbiˈfɔr daɪɪŋ. ənˈfɔrʧənətli, ɪts ˈæbsəns wɑz ˈnoʊtɪst ˈɔlˌmoʊst ˌɪˈmiˌdiətli. ɪn hɪz əˈkaʊnt əv hɪz jɪrz wɪθ ˈneɪˌru, ˌhaʊˈɛvər, ˈblændli steɪts: "ðə ˈhoʊli rɪˈkəvəri wɑz ən ˌɪnˈtɛləʤəns ˌɑpərˈeɪʃən, ˈnɛvər tɪ bi dɪˈskloʊzd". ðə ˈraɪtər ɪz ə pəˈlɪtɪkəl ˈkɑmənˌteɪtər ˈɔlsoʊ rɛd ðə ˈteɪpər ˈtaɪgərz pliz rɛd ɑr tərmz əv juz ˌbiˈfɔr ˈpoʊstɪŋ ˈkɑmɛnts
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in fiscal year 2015, hydro paid $1.064 billion to independent power producers (ipps), an average of a kwh.
in fiscal year 2016, hydro paid $1.229 billion to independent power producers and, in the quarter ended march 31 2016, it paid a kwh, a 23% increase of the unit cost in the preceding fiscal year.
in fiscal year 2015, hydro sold electricity to alberta and western usa for $775 million, netting an average of a kwh.
in fiscal year 2016, hydro sold electricity to alberta and western usa for $460 million, netting an average of a kwh, a 14% decrease in the unit cost in the preceding fiscal year.
had sold their power for the same price that hydro realized in trade markets, they would have realized:
in 2015, $591 million less ;
; in 2016, $782 million less.
the deals will get better for ipps. website now announces that it has contracted for from these private producers. that is 35% more than purchases in the just completed fiscal year and follows an established trend.
the chart is prepared from annual sales reports issued by hydro. this shows the total sales to the three main customers groups: residential, commercial and heavy industrial.
this entire subject is not one that liberals like to discuss. told they have hydro working on a revised demand forecast and have had major problems trying to force square pegs into round holes. even without site c, it would be impossible to justify further purchases from private power producers. if hydro continues dumping power on external trade markets, prices will be reduced to even lower levels.
that outcome will make expensive site c power an even bigger financial disaster.
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ɪn ˈfɪskəl jɪr 2015 ˈhaɪˌdroʊ peɪd ˈbɪljən tɪ ˌɪndɪˈpɛndənt paʊər prəˈdusərz (ipps*), ən ˈævərɪʤ əv ə kwh*. ɪn ˈfɪskəl jɪr 2016 ˈhaɪˌdroʊ peɪd ˈbɪljən tɪ ˌɪndɪˈpɛndənt paʊər prəˈdusərz ənd, ɪn ðə kˈwɔrtər ˈɛndɪd mɑrʧ 31 2016 ɪt peɪd ə kwh*, ə 23 ˌɪnˈkris əv ðə ˈjunɪt kɔst ɪn ðə priˈsidɪŋ ˈfɪskəl jɪr. ɪn ˈfɪskəl jɪr 2015 ˈhaɪˌdroʊ soʊld ɪˌlɛkˈtrɪsəti tɪ ælˈbərtə ənd ˈwɛstərn ˈjuˈɛˈseɪ fər 775 ˈmɪljən, ˈnɛtɪŋ ən ˈævərɪʤ əv ə kwh*. ɪn ˈfɪskəl jɪr 2016 ˈhaɪˌdroʊ soʊld ɪˌlɛkˈtrɪsəti tɪ ælˈbərtə ənd ˈwɛstərn ˈjuˈɛˈseɪ fər 460 ˈmɪljən, ˈnɛtɪŋ ən ˈævərɪʤ əv ə kwh*, ə 14 ˈdiˌkris ɪn ðə ˈjunɪt kɔst ɪn ðə priˈsidɪŋ ˈfɪskəl jɪr. hæd soʊld ðɛr paʊər fər ðə seɪm praɪs ðət ˈhaɪˌdroʊ ˈriəˌlaɪzd ɪn treɪd ˈmɑrkɪts, ðeɪ wʊd hæv ˈriəˌlaɪzd: ɪn 2015 591 ˈmɪljən lɛs ɪn 2016 782 ˈmɪljən lɛs. ðə dilz wɪl gɪt ˈbɛtər fər ipps*. ˈwɛbˌsaɪt naʊ əˈnaʊnsɪz ðət ɪt həz ˈkɑntræktəd fər frəm ðiz ˈpraɪvət prəˈdusərz. ðət ɪz 35 mɔr ðən ˈpərʧəsɪz ɪn ðə ʤɪst kəmˈplitɪd ˈfɪskəl jɪr ənd ˈfɑloʊz ən ɪˈstæblɪʃt trɛnd. ðə ʧɑrt ɪz priˈpɛrd frəm ˈænjuəl seɪlz rɪˈpɔrts ˈɪʃud baɪ ˈhaɪˌdroʊ. ðɪs ʃoʊz ðə ˈtoʊtəl seɪlz tɪ ðə θri meɪn ˈkəstəmərz grups: ˌrɛzɪˈdɛnʃəl, kəˈmərʃəl ənd ˈhɛvi ˌɪnˈdəstriəl. ðɪs ɪnˈtaɪər ˈsəbʤɪkt ɪz nɑt wən ðət ˈlɪˌbərəlz laɪk tɪ dɪˈskəs. toʊld ðeɪ hæv ˈhaɪˌdroʊ ˈwərkɪŋ ɔn ə rɪˈvaɪzd dɪˈmænd ˈfɔrˌkæst ənd hæv hæd ˈmeɪʤər ˈprɑbləmz traɪɪŋ tɪ fɔrs skwɛr pɛgz ˈɪntu raʊnd hoʊlz. ˈivɪn wɪˈθaʊt saɪt si, ɪt wʊd bi ˌɪmˈpɑsəbəl tɪ ˈʤəstəˌfaɪ ˈfərðər ˈpərʧəsɪz frəm ˈpraɪvət paʊər prəˈdusərz. ɪf ˈhaɪˌdroʊ kənˈtɪnjuz ˈdəmpɪŋ paʊər ɔn ɪkˈstərnəl treɪd ˈmɑrkɪts, ˈpraɪsɪz wɪl bi rɪˈdust tɪ ˈivɪn loʊər ˈlɛvəlz. ðət ˈaʊtˌkəm wɪl meɪk ɪkˈspɛnsɪv saɪt si paʊər ən ˈivɪn ˈbɪgər ˌfaɪˈnænʃəl dɪˈzæstər.
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i am writing this from room 613 of the quality inn in richmond, virginia. when i went to book the room earlier this week, the website for the hotel noted that among the usual amenities like a and microwave my room would be on the top floor, and that it had a city view. they wrong:
i took that picture from my window, which is just above the ac unit. i also took that picture while in my socks. once the picture was taken, i realized that my socks felt wet. after walking over to the bathroom sink to make sure that i splashed a bunch of water on the floor while brushing my teeth earlier, i walked back to the window, placed my hand on the carpet, and quickly realized that water was dripping from the bottom of the ac unit, sopping up every bit of carpet in its vicinity. that detail of the room was not noted on the website.
the website also failed to mention that their free, supposedly high-speed wireless internet would be inaccessible for long stretches, and be excruciatingly slow at all other times. i even been able to send emails or post comments those had to go through my data plan.
the quality of a wifi is one of those things that you have no way of determining until you arrive in your room and fire up your laptop or tablet. even then, much unpredictability remains, as a strong chance that the strength of the connection will decrease as more and more people arrive at the hotel and fire up their laptops or tablets. the unreliability of the network connection can quickly get aggravating, and not just for those who need to use a wifi for work (i.e. me) or for those whose hobby involves writing high-quality posts for a travel blog (i.e. also me also, shut up) it also affects the many, many people who use streaming services to watch tv, or want to access the increasing number of games on their phone or tablet that require an active internet connection to play. it gets in the way of those who like to skype their buddies while traveling. it turns something menial like sharing a picture on facebook or twitter into a experience. and it makes it really difficult to watch online porn, according to a friend of mine.
as with the cheap hotel experience in general, the best thing to do when it comes to hotel wifi is to set your expectations really, really low. that way, anything beyond a level of connectivity similar to what you experienced when you first unplugged the line from your phone and stuck it in the back of your compaq presario should count as a bonus. what has led to so much of my frustration this weekend after a good stretch with steady, reliable wifi in hotels, i was expecting more of the same upon arriving at this quality inn. shame on me.
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beyond the unpredictable quality of the connection, what else should you expect out of the wifi at a cheap hotel (or motel recall that i use the terms interchangeably)? go the route with this one.
1) will it be free?
almost definitely. my current hotel is owned by choice hotels, which also owns such properties like comfort inn, lodge, and rodeway inn. the wyndham group owns even more of these types of hotels super 8, travelodge, days inn, ramada, howard johnsons, and knights inn. both of these companies promise free wifi at all of their properties. good for them.
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other brands like red roof inn and best value inn also provide free wifi. the only one of the that offer free wifi consistently is motel 6, which usually charges $2.99 per 24 hour period (i say usually because if they have taken over another hotel, or brought a mom and pop place into the franchise fold in most cases, they will continue to use the free wifi network that the previous ownership had in place).
here’s a quick motel tip: though they are consistently the cheapest option, the added cost of wifi access puts the price of a motel 6 on par with those of other motels like super 8 and lodge that regularly offer a few more amenities (for one, more breakfast options than just crappy coffee) than motel 6. keep that in mind whenever comparison shopping for a motel.
also keep in mind that talking about the lower end of the hotel scale here. if thinking of splurging for a hotel, note that a lot of those charge stupid amounts for wifi use. also, if driving and the in the heart of the downtown, likely going to pay an even stupider amount for daily parking. put those two together, and your splurging can get out of control quickly.
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2) is the strength of the wifi going to be more reliable at a place, especially one that charges for it?
no! oh goodness, no. well . . . maybe. let me explain.
i need to gather more examples before i can say this with total confidence, but close to getting there: chains have wifi than the cheaper ones. and why is this? because the places are usually bigger, have more than just floors, and run their wifi through one access points that everyone in the 100+ rooms connect to, which causes the connection to become slower and less reliable as more people sign in. the hell been dealing with at this quality inn, which wifi and leaky ac aside actually offers a very nice room. also dealt with this in other instances where decided to pony up a little extra and get something a bit nicer than the $40 knights inn off of the highway. meanwhile, the $40 knights inn off of the highway in columbia, south carolina where i stayed this past wednesday had wifi so speedy that i was able to stream a baseball game on my tablet while watching an episode of archer on while also downloading the episode of fargo that i missed the night before, which was possible because the motel though spread out over four, buildings had separate networks set up for each building, which is exactly what any hotel should offer on each of its floors so as to justify the extra goddamn expense.
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i’m really pissed at this wifi, guys.
3) so can i watch the hbo go account whose password i got through my neighbor?
if you can, consider it a victory. savor that episode of real sex 52. remember, though, if you stream something flawlessly in the afternoon, you might not be so lucky in the evening as more folks show up at the hotel.
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4) and i can stuff, too, because immoral?
most likely. red roof inn blocks these types of programs. been a while since stayed at a motel 6, but i believe they do, too. most other hotel chains do not.
5) hey, speaking of immorality, what about . . . you know . . . the naughty stuff?
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i know, because quite saintly. however, according to that one guy i know who is also quite versed in traveling cheaply only been one time in all his years of travel in which tried to access a porn site and has been blocked by a filters. this did not occur at a chain hotel (it was the saratoga in saratoga springs, new york, which has an awesome indoor pool that goes the entire length of the hotel, and is a great place to swim away all your dirty thoughts) he has never had an issue at a chain hotel. i sure hope he tips the housekeepers well when done with the room.
6) will my connection be throttled if i use a certain amount of bandwidth?
are you in canada? if so, then very possible. last year, the majority of the hotels i stayed at in alberta and saskatchewan had their wifi network operated by the same company, and that company specified in their terms and services that access would be throttled after using an unspecified amount of bandwidth (and they kidding i had several instances in which the baseball game i was streaming on my tablet pooped out halfway through; also, that guy i know who also happened to travel around alberta and saskatchewan last year said the same thing happened to him while checking out a gals). i speak for the rest of canada on this one, though find out more later this year when i head up to new brunswick and quebec.
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meanwhile, back in the good ole u.s.a., never come across a wifi network at a hotel that has mentioned throttling service. however and sorry for getting all broken record here going to feel that way a lot of times in the evening as more people arrive at the hotel and access the network.
and my cue for wrapping things up. looking down from my window - and getting my socks soggy again because, fuck, i forgot about the leaky ac unit - i can see the parking lot of the hotel start to fill, which means my chance of actually getting this column posted today is starting to decrease rapidly. if you disagree with anything in this post, your chance to leave a nasty comment, as i might not be able to get back online until tomorrow afternoon, when i arrive at my next hotel, which - happily - is a $40 knights inn off of the highway.
previously:
dealing with bugs | the difference between a motel and a hotel? | trusting wifi |dealing with other motel guests | dealing with expectations | when should you opt for the cheap motel? | should you tip the housekeeper?
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the motel life: trusting wifi i am writing this from room 216 of the lodge in macon, georgia. the place looks a bit… read more read
this is the second of two posts i had planned about motel wifi - the first one focused on whether or not you can trust unsecured motel wifi networks, and can be found at the link above. my motel posts are usually accompanied by a picture of the decor in the room where i write the post, but - in the case of this quality inn - none of the decor is interesting enough to merit a photograph. if still like to check out pictures of comforters curtains from the places i stay at while traveling, head on over to my tumblr page, motel interiors. comments are always welcome and much appreciated. if rather email me, drop me a line at carl@honeybrownblues.com.
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aɪ æm ˈraɪtɪŋ ðɪs frəm rum 613 əv ðə kˈwɑləti ɪn ɪn ˈrɪʧmənd, vərˈʤɪnjə. wɪn aɪ wɛnt tɪ bʊk ðə rum ˈərliər ðɪs wik, ðə ˈwɛbˌsaɪt fər ðə hoʊˈtɛl ˈnoʊtɪd ðət əˈməŋ ðə ˈjuʒəwəl əˈmɛnətiz laɪk ə ənd ˈmaɪkrəˌweɪv maɪ rum wʊd bi ɔn ðə tɔp flɔr, ənd ðət ɪt hæd ə ˈsɪti vju. ðeɪ rɔŋ: aɪ tʊk ðət ˈpɪkʧər frəm maɪ ˈwɪndoʊ, wɪʧ ɪz ʤɪst əˈbəv ðə ˈeɪˈsi ˈjunɪt. aɪ ˈɔlsoʊ tʊk ðət ˈpɪkʧər waɪl ɪn maɪ sɑks. wəns ðə ˈpɪkʧər wɑz ˈteɪkən, aɪ ˈriəˌlaɪzd ðət maɪ sɑks fɛlt wɛt. ˈæftər ˈwɔkɪŋ ˈoʊvər tɪ ðə ˈbæθˌrum sɪŋk tɪ meɪk ʃʊr ðət aɪ splæʃt ə bənʧ əv ˈwɔtər ɔn ðə flɔr waɪl ˈbrəʃɪŋ maɪ tiθ ˈərliər, aɪ wɔkt bæk tɪ ðə ˈwɪndoʊ, pleɪst maɪ hænd ɔn ðə ˈkɑrpət, ənd kˈwɪkli ˈriəˌlaɪzd ðət ˈwɔtər wɑz ˈdrɪpɪŋ frəm ðə ˈbɑtəm əv ðə ˈeɪˈsi ˈjunɪt, ˈsɑpɪŋ əp ˈɛvəri bɪt əv ˈkɑrpət ɪn ɪts vɪˈsɪnɪti. ðət ˈditeɪl əv ðə rum wɑz nɑt ˈnoʊtɪd ɔn ðə ˈwɛbˌsaɪt. ðə ˈwɛbˌsaɪt ˈɔlsoʊ feɪld tɪ ˈmɛnʃən ðət ðɛr fri, səˈpoʊzədli ˈhaɪˌspid ˈwaɪrlɪs ˈɪntərˌnɛt wʊd bi ˌɪnəkˈsɛsəbəl fər lɔŋ ˈstrɛʧɪz, ənd bi ˌɛkˈskrusiˌeɪtɪŋli sloʊ æt ɔl ˈəðər taɪmz. aɪ ˈivɪn bɪn ˈeɪbəl tɪ sɛnd iˈmeɪlz ər poʊst ˈkɑmɛnts ðoʊz hæd tɪ goʊ θru maɪ ˈdætə plæn. ðə kˈwɑləti əv ə ˈwiˌfi ɪz wən əv ðoʊz θɪŋz ðət ju hæv noʊ weɪ əv dɪˈtərmənɪŋ ənˈtɪl ju əraɪv ɪn jʊr rum ənd faɪər əp jʊr ˈlæpˌtɑp ər ˈtæblət. ˈivɪn ðɛn, məʧ ˌənprəˌdɪktəˈbɪlɪti rɪˈmeɪnz, ɛz ə strɔŋ ʧæns ðət ðə strɛŋθ əv ðə kəˈnɛkʃən wɪl ˈdiˌkris ɛz mɔr ənd mɔr ˈpipəl əraɪv æt ðə hoʊˈtɛl ənd faɪər əp ðɛr ˈlæpˌtɑps ər ˈtæbləts. ðə ˌənriˌlaɪəˈbɪlɪti əv ðə ˈnɛtˌwərk kəˈnɛkʃən kən kˈwɪkli gɪt ˈægrəˌveɪtɪŋ, ənd nɑt ʤɪst fər ðoʊz hu nid tɪ juz ə ˈwiˌfi fər wərk (i.e*. mi) ər fər ðoʊz huz ˈhɑbi ˌɪnˈvɑlvz ˈraɪtɪŋ ˌhaɪkˈwɑləti poʊsts fər ə ˈtrævəl blɔg (i.e*. ˈɔlsoʊ mi ˈɔlsoʊ, ʃət əp) ɪt ˈɔlsoʊ əˈfɛkts ðə ˈmɛni, ˈmɛni ˈpipəl hu juz ˈstrimɪŋ ˈsərvɪsɪz tɪ wɔʧ ˌtɛləˈvɪʒən, ər wɔnt tɪ ˈækˌsɛs ðə ˌɪnˈkrisɪŋ ˈnəmbər əv geɪmz ɔn ðɛr foʊn ər ˈtæblət ðət ˌrikˈwaɪər ən ˈæktɪv ˈɪntərˌnɛt kəˈnɛkʃən tɪ pleɪ. ɪt gɪts ɪn ðə weɪ əv ðoʊz hu laɪk tɪ skaɪp ðɛr ˈbədiz waɪl ˈtrævəlɪŋ. ɪt tərnz ˈsəmθɪŋ ˈminiəl laɪk ˈʃɛrɪŋ ə ˈpɪkʧər ɔn ˈfeɪsˌbʊk ər tˈwɪtər ˈɪntu ə ɪkˈspɪriəns. ənd ɪt meɪks ɪt ˈrɪli ˈdɪfəkəlt tɪ wɔʧ ˈɔnˌlaɪn pɔrn, əˈkɔrdɪŋ tɪ ə frɛnd əv maɪn. ɛz wɪθ ðə ʧip hoʊˈtɛl ɪkˈspɪriəns ɪn ˈʤɛnərəl, ðə bɛst θɪŋ tɪ du wɪn ɪt kəmz tɪ hoʊˈtɛl ˈwiˌfi ɪz tɪ sɛt jʊr ˌɛkspɛkˈteɪʃənz ˈrɪli, ˈrɪli loʊ. ðət weɪ, ˈɛniˌθɪŋ bɪɔnd ə ˈlɛvəl əv kənɛkˈtɪvɪti ˈsɪmələr tɪ wət ju ɪkˈspɪriənst wɪn ju fərst ˈənˈpləgd ðə laɪn frəm jʊr foʊn ənd stək ɪt ɪn ðə bæk əv jʊr ˈkɑmˌpæk prɪˈsɑriˌoʊ ʃʊd kaʊnt ɛz ə ˈboʊnəs. wət həz lɛd tɪ soʊ məʧ əv maɪ frəˈstreɪʃən ðɪs ˈwiˌkɪnd ˈæftər ə gʊd strɛʧ wɪθ ˈstɛdi, rɪˈlaɪəbəl ˈwiˌfi ɪn hoʊˈtɛlz, aɪ wɑz ɪkˈspɛktɪŋ mɔr əv ðə seɪm əˈpɑn ərˈaɪvɪŋ æt ðɪs kˈwɑləti ɪn. ʃeɪm ɔn mi. ˌædvərˈtaɪzmənt bɪɔnd ðə ˌənprɪˈdɪktəbəl kˈwɑləti əv ðə kəˈnɛkʃən, wət ɛls ʃʊd ju ɪkˈspɛkt aʊt əv ðə ˈwiˌfi æt ə ʧip hoʊˈtɛl (ər moʊˈtɛl ˈriˌkɔl ðət aɪ juz ðə tərmz ˌɪnərˈʧeɪnʤəbli)? goʊ ðə rut wɪθ ðɪs wən. 1 wɪl ɪt bi fri? ˈɔlˌmoʊst ˈdɛfənətli. maɪ ˈkɑrənt hoʊˈtɛl ɪz oʊnd baɪ ʧɔɪs hoʊˈtɛlz, wɪʧ ˈɔlsoʊ oʊnz səʧ ˈprɑpərtiz laɪk ˈkəmfərt ɪn, lɑʤ, ənd ˈroʊdˌweɪ ɪn. ðə ˈwɪndəm grup oʊnz ˈivɪn mɔr əv ðiz taɪps əv hoʊˈtɛlz ˈsupər 8 ˈtrævəˈlɑʤ, deɪz ɪn, rəˈmɑdə, haʊərd ˈʤɑnsənz, ənd naɪts ɪn. boʊθ əv ðiz ˈkəmpəˌniz ˈprɑməs fri ˈwiˌfi æt ɔl əv ðɛr ˈprɑpərtiz. gʊd fər ðɛm. ˌædvərˈtaɪzmənt ˈəðər brændz laɪk rɛd rʊf ɪn ənd bɛst ˈvælju ɪn ˈɔlsoʊ prəˈvaɪd fri ˈwiˌfi. ðə ˈoʊnli wən əv ðə ðət ˈɔfər fri ˈwiˌfi kənˈsɪstəntli ɪz moʊˈtɛl 6 wɪʧ ˈjuʒəwəli ˈʧɑrʤɪz pər 24 aʊər ˈpɪriəd (aɪ seɪ ˈjuʒəwəli bɪˈkəz ɪf ðeɪ hæv ˈteɪkən ˈoʊvər əˈnəðər hoʊˈtɛl, ər brɔt ə mɑm ənd pɑp pleɪs ˈɪntu ðə ˈfrænˌʧaɪz foʊld ɪn moʊst ˈkeɪsɪz, ðeɪ wɪl kənˈtɪnju tɪ juz ðə fri ˈwiˌfi ˈnɛtˌwərk ðət ðə ˈpriviəs ˈoʊnərˌʃɪp hæd ɪn pleɪs). ə kwɪk moʊˈtɛl tɪp: ðoʊ ðeɪ ər kənˈsɪstəntli ðə ˈʧipəst ˈɔpʃən, ðə ˈædɪd kɔst əv ˈwiˌfi ˈækˌsɛs pʊts ðə praɪs əv ə moʊˈtɛl 6 ɔn pɑr wɪθ ðoʊz əv ˈəðər moʊˈtɛlz laɪk ˈsupər 8 ənd lɑʤ ðət ˈrɛgjələrli ˈɔfər ə fju mɔr əˈmɛnətiz (fər wən, mɔr ˈbrɛkfəst ˈɔpʃənz ðən ʤɪst ˈkræˌpi ˈkɔfi) ðən moʊˈtɛl 6 kip ðət ɪn maɪnd wɛˈnɛvər kəmˈpɛrəsən ˈʃɑpɪŋ fər ə moʊˈtɛl. ˈɔlsoʊ kip ɪn maɪnd ðət ˈtɔkɪŋ əˈbaʊt ðə loʊər ɛnd əv ðə hoʊˈtɛl skeɪl hir. ɪf ˈθɪŋkɪŋ əv ˈsplərʤɪŋ fər ə hoʊˈtɛl, noʊt ðət ə lɔt əv ðoʊz ʧɑrʤ ˈstupɪd əˈmaʊnts fər ˈwiˌfi juz. ˈɔlsoʊ, ɪf ˈdraɪvɪŋ ənd ðə ɪn ðə hɑrt əv ðə ˈdaʊnˈtaʊn, ˈlaɪkli goʊɪŋ tɪ peɪ ən ˈivɪn ˈstupɪdər əˈmaʊnt fər ˈdeɪli ˈpɑrkɪŋ. pʊt ðoʊz tu təˈgɛðər, ənd jʊr ˈsplərʤɪŋ kən gɪt aʊt əv kənˈtroʊl kˈwɪkli. ˌædvərˈtaɪzmənt 2 ɪz ðə strɛŋθ əv ðə ˈwiˌfi goʊɪŋ tɪ bi mɔr rɪˈlaɪəbəl æt ə pleɪs, əˈspɛʃəli wən ðət ˈʧɑrʤɪz fər ɪt? noʊ! oʊ ˈgʊdnɪs, noʊ. wɛl ˈmeɪbi. lɛt mi ɪkˈspleɪn. aɪ nid tɪ ˈgæðər mɔr ɪgˈzæmpəlz ˌbiˈfɔr aɪ kən seɪ ðɪs wɪθ ˈtoʊtəl ˈkɑnfədɛns, bət kloʊz tɪ ˈgɪtɪŋ ðɛr: ʧeɪnz hæv ˈwiˌfi ðən ðə ˈʧipər wənz. ənd waɪ ɪz ðɪs? bɪˈkəz ðə ˈpleɪsɪz ər ˈjuʒəwəli ˈbɪgər, hæv mɔr ðən ʤɪst flɔrz, ənd rən ðɛr ˈwiˌfi θru wən ˈækˌsɛs pɔɪnts ðət ˈɛvriˌwən ɪn ðə 100 rumz kəˈnɛkt tɪ, wɪʧ ˈkɔzɪz ðə kəˈnɛkʃən tɪ bɪˈkəm sloʊər ənd lɛs rɪˈlaɪəbəl ɛz mɔr ˈpipəl saɪn ɪn. ðə hɛl bɪn ˈdilɪŋ wɪθ æt ðɪs kˈwɑləti ɪn, wɪʧ ˈwiˌfi ənd ˈliki ˈeɪˈsi əˈsaɪd ˈæˌkʧuəli ˈɔfərz ə ˈvɛri nis rum. ˈɔlsoʊ dɛlt wɪθ ðɪs ɪn ˈəðər ˈɪnstənsɪz wɛr ˌdɪˈsaɪdɪd tɪ ˈpoʊˌni əp ə ˈlɪtəl ˈɛkstrə ənd gɪt ˈsəmθɪŋ ə bɪt ˈnaɪsər ðən ðə 40 naɪts ɪn ɔf əv ðə ˈhaɪˌweɪ. ˈminˌwaɪl, ðə 40 naɪts ɪn ɔf əv ðə ˈhaɪˌweɪ ɪn kəˈləmbiə, saʊθ ˌkɛrəˈlaɪnə wɛr aɪ steɪd ðɪs pæst ˈwɛnzˌdeɪ hæd ˈwiˌfi soʊ ˈspiˌdi ðət aɪ wɑz ˈeɪbəl tɪ strim ə ˈbeɪsˈbɔl geɪm ɔn maɪ ˈtæblət waɪl ˈwɑʧɪŋ ən ˈɛpɪˌsoʊd əv ˈɑrʧər ɔn waɪl ˈɔlsoʊ ˈdaʊnˌloʊdɪŋ ðə ˈɛpɪˌsoʊd əv ˈfɑrˌgoʊ ðət aɪ mɪst ðə naɪt ˌbiˈfɔr, wɪʧ wɑz ˈpɑsəbəl bɪˈkəz ðə moʊˈtɛl ðoʊ sprɛd aʊt ˈoʊvər fɔr, ˈbɪldɪŋz hæd ˈsɛpərˌeɪt ˈnɛtˌwərks sɛt əp fər iʧ ˈbɪldɪŋ, wɪʧ ɪz ɪgˈzæktli wət ˈɛni hoʊˈtɛl ʃʊd ˈɔfər ɔn iʧ əv ɪts flɔrz soʊ ɛz tɪ ˈʤəstəˌfaɪ ðə ˈɛkstrə ˌgɑˈdæm ɪkˈspɛns. ˌædvərˈtaɪzmənt ˈrɪli pɪst æt ðɪs ˈwiˌfi, gaɪz. 3 soʊ kən aɪ wɔʧ ðə ˈeɪʧbiˈoʊ goʊ əˈkaʊnt huz ˈpæsˌwərd aɪ gɑt θru maɪ ˈneɪbər? ɪf ju kən, kənˈsɪdər ɪt ə ˈvɪktəri. ˈseɪvər ðət ˈɛpɪˌsoʊd əv ril sɛks 52 rɪˈmɛmbər, ðoʊ, ɪf ju strim ˈsəmθɪŋ ˈflɔləsli ɪn ðə ˌæftərˈnun, ju maɪt nɑt bi soʊ ˈləki ɪn ðə ˈivnɪŋ ɛz mɔr foʊks ʃoʊ əp æt ðə hoʊˈtɛl. ˌædvərˈtaɪzmənt 4 ənd aɪ kən stəf, tu, bɪˈkəz ˌɪˈmɔrəl? moʊst ˈlaɪkli. rɛd rʊf ɪn blɑks ðiz taɪps əv ˈproʊˌgræmz. bɪn ə waɪl sɪns steɪd æt ə moʊˈtɛl 6 bət aɪ bɪˈliv ðeɪ du, tu. moʊst ˈəðər hoʊˈtɛl ʧeɪnz du nɑt. 5 heɪ, ˈspikɪŋ əv ˌɪmərˈælɪti, wət əˈbaʊt ju noʊ ðə ˈnɔti stəf? ˌædvərˈtaɪzmənt aɪ noʊ, bɪˈkəz kwaɪt ˈseɪntli. ˌhaʊˈɛvər, əˈkɔrdɪŋ tɪ ðət wən gaɪ aɪ noʊ hu ɪz ˈɔlsoʊ kwaɪt vərst ɪn ˈtrævəlɪŋ ˈʧipli ˈoʊnli bɪn wən taɪm ɪn ɔl hɪz jɪrz əv ˈtrævəl ɪn wɪʧ traɪd tɪ ˈækˌsɛs ə pɔrn saɪt ənd həz bɪn blɑkt baɪ ə ˈfɪltərz. ðɪs dɪd nɑt əˈkər æt ə ʧeɪn hoʊˈtɛl (ɪt wɑz ðə ˌsɛrəˈtoʊgə ɪn ˌsɛrəˈtoʊgə spərɪŋz, nu jɔrk, wɪʧ həz ən ˈɔsəm ˈɪnˌdɔr pul ðət goʊz ðə ɪnˈtaɪər lɛŋθ əv ðə hoʊˈtɛl, ənd ɪz ə greɪt pleɪs tɪ swɪm əˈweɪ ɔl jʊr ˈdərti θɔts) hi həz ˈnɛvər hæd ən ˈɪʃu æt ə ʧeɪn hoʊˈtɛl. aɪ ʃʊr hoʊp hi tɪps ðə ˈhaʊˌskipərz wɛl wɪn dən wɪθ ðə rum. 6 wɪl maɪ kəˈnɛkʃən bi θˈrɑtəld ɪf aɪ juz ə ˈsərtən əˈmaʊnt əv ˈbændwɪdθ? ər ju ɪn ˈkænədə? ɪf soʊ, ðɛn ˈvɛri ˈpɑsəbəl. læst jɪr, ðə məˈʤɔrəti əv ðə hoʊˈtɛlz aɪ steɪd æt ɪn ælˈbərtə ənd sæˈskæʧəˌwɔn hæd ðɛr ˈwiˌfi ˈnɛtˌwərk ˈɑpərˌeɪtəd baɪ ðə seɪm ˈkəmpəˌni, ənd ðət ˈkəmpəˌni ˈspɛsəˌfaɪd ɪn ðɛr tərmz ənd ˈsərvɪsɪz ðət ˈækˌsɛs wʊd bi θˈrɑtəld ˈæftər ˈjuzɪŋ ən ənˈspɛsəˌfaɪd əˈmaʊnt əv ˈbændwɪdθ (ənd ðeɪ ˈkɪdɪŋ aɪ hæd ˈsɛvərəl ˈɪnstənsɪz ɪn wɪʧ ðə ˈbeɪsˈbɔl geɪm aɪ wɑz ˈstrimɪŋ ɔn maɪ ˈtæblət pupt aʊt ˈhæfˈweɪ θru; ˈɔlsoʊ, ðət gaɪ aɪ noʊ hu ˈɔlsoʊ ˈhæpənd tɪ ˈtrævəl əraʊnd ælˈbərtə ənd sæˈskæʧəˌwɔn læst jɪr sɛd ðə seɪm θɪŋ ˈhæpənd tɪ ɪm waɪl ˈʧɛkɪŋ aʊt ə gælz). aɪ spik fər ðə rɛst əv ˈkænədə ɔn ðɪs wən, ðoʊ faɪnd aʊt mɔr ˈleɪtər ðɪs jɪr wɪn aɪ hɛd əp tɪ nu ˈbrənzwɪk ənd kwəˈbɛk. ˌædvərˈtaɪzmənt ˈminˌwaɪl, bæk ɪn ðə gʊd ˌoʊˈleɪ u.s.a*., ˈnɛvər kəm əˈkrɔs ə ˈwiˌfi ˈnɛtˌwərk æt ə hoʊˈtɛl ðət həz ˈmɛnʃənd θˈrɑtəlɪŋ ˈsərvɪs. ˌhaʊˈɛvər ənd ˈsɑri fər ˈgɪtɪŋ ɔl ˈbroʊkən ˈrɛkərd hir goʊɪŋ tɪ fil ðət weɪ ə lɔt əv taɪmz ɪn ðə ˈivnɪŋ ɛz mɔr ˈpipəl əraɪv æt ðə hoʊˈtɛl ənd ˈækˌsɛs ðə ˈnɛtˌwərk. ənd maɪ kju fər ˈræpɪŋ θɪŋz əp. ˈlʊkɪŋ daʊn frəm maɪ ˈwɪndoʊ ənd ˈgɪtɪŋ maɪ sɑks ˈsɑgi əˈgɛn bɪˈkəz, fək, aɪ fərˈgɑt əˈbaʊt ðə ˈliki ˈeɪˈsi ˈjunɪt aɪ kən si ðə ˈpɑrkɪŋ lɔt əv ðə hoʊˈtɛl stɑrt tɪ fɪl, wɪʧ minz maɪ ʧæns əv ˈæˌkʧuəli ˈgɪtɪŋ ðɪs ˈkɑləm ˈpoʊstɪd təˈdeɪ ɪz ˈstɑrtɪŋ tɪ ˈdiˌkris ˈræpədli. ɪf ju dɪsəˈgri wɪθ ˈɛniˌθɪŋ ɪn ðɪs poʊst, jʊr ʧæns tɪ liv ə ˈnæsti ˈkɑmɛnt, ɛz aɪ maɪt nɑt bi ˈeɪbəl tɪ gɪt bæk ˈɔnˌlaɪn ənˈtɪl təˈmɑˌroʊ ˌæftərˈnun, wɪn aɪ əraɪv æt maɪ nɛkst hoʊˈtɛl, wɪʧ ˈhæpəli ɪz ə 40 naɪts ɪn ɔf əv ðə ˈhaɪˌweɪ. ˈpriviəsli: ˈdilɪŋ wɪθ bəgz ðə ˈdɪfərəns bɪtˈwin ə moʊˈtɛl ənd ə hoʊˈtɛl? ˈtrəstɪŋ ˈwiˌfi |ˈdilɪŋ wɪθ ˈəðər moʊˈtɛl gɛsts ˈdilɪŋ wɪθ ˌɛkspɛkˈteɪʃənz wɪn ʃʊd ju ɑpt fər ðə ʧip moʊˈtɛl? ʃʊd ju tɪp ðə ˈhaʊˌskipər? ˌædvərˈtaɪzmənt ðə moʊˈtɛl laɪf: ˈtrəstɪŋ ˈwiˌfi aɪ æm ˈraɪtɪŋ ðɪs frəm rum 216 əv ðə lɑʤ ɪn ˈmeɪkən, ˈʤɔrʤə. ðə pleɪs lʊks ə bit…*… rɛd mɔr rɛd ðɪs ɪz ðə ˈsɛkənd əv tu poʊsts aɪ hæd plænd əˈbaʊt moʊˈtɛl ˈwiˌfi ðə fərst wən ˈfoʊkɪst ɔn ˈwɛðər ər nɑt ju kən trəst ˌənsɪˈkjʊrd moʊˈtɛl ˈwiˌfi ˈnɛtˌwərks, ənd kən bi faʊnd æt ðə lɪŋk əˈbəv. maɪ moʊˈtɛl poʊsts ər ˈjuʒəwəli əˈkəmpənid baɪ ə ˈpɪkʧər əv ðə ˈdeɪkɔr ɪn ðə rum wɛr aɪ raɪt ðə poʊst, bət ɪn ðə keɪs əv ðɪs kˈwɑləti ɪn nən əv ðə ˈdeɪkɔr ɪz ˈɪntəˌrɛstɪŋ ɪˈnəf tɪ ˈmɛrət ə ˈfoʊtəˌgræf. ɪf stɪl laɪk tɪ ʧɛk aʊt ˈpɪkʧərz əv ˈkəmfərtərz ˈkərtənz frəm ðə ˈpleɪsɪz aɪ steɪ æt waɪl ˈtrævəlɪŋ, hɛd ɔn ˈoʊvər tɪ maɪ ˈtəmblər peɪʤ, moʊˈtɛl ˌɪnˈtɪriərz. ˈkɑmɛnts ər ˈɔlˌweɪz ˈwɛlkəm ənd məʧ əˈpriʃiˌeɪtɪd. ɪf ˈrəðər iˈmeɪl mi, drɔp mi ə laɪn æt carl@honeybrownblues.com*.
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when miguel opened his first laundry delivery service, slate, in 2005, he pitched customers convenience: he would pick up their laundry (literally: he was both ceo and courier), and his subcontracted dry cleaners would clean it however they saw fit. two years later, he opened his own laundry facility, which for several years cleaned dresses for rental service rent the runway. two years after that, he added home cleaning to the business. it until 10 years after starting the laundry service, in january 2015, that repositioned slate as a tech company.
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at first glance, slate looks a lot like other “on-demand” apps that leverage mobile technology in order to allow the masses (or, at least, the masses who have disposable income) to summon anything from a late-night taco to a home cleaner. like these startups’ workers, visit every day to make beds, do light cleaning tasks, and tidy and pack up laundry for pick-up by slate tasks and schedule through a mobile portal. like these startups’ customers, homeowners make requests about how and when they want tasks completed directly through a newly launched app. but business, which started with service operations and later added technology, has been built with almost an opposite business philosophy as startups like courier service, grocery delivery service, cleaning service handy, errand marketplace taskrabbit, and the many other startups that embrace an business model. while those “uber for x” startups seek to distance themselves from the driving, cleaning, and delivering they facilitate, instead functioning only as a technology layer on top of other businesses, slate fully believes that it is a cleaning and laundry company. “we’re not techies,” says. “we’re cleaning 130, 140 houses every day.”, who over the years has both subcontracted and owned his laundry services, believes better for business to own more of the process, not less. “there is no doubt to us that if we want to be successful, and if we want to be in the cleaning of clothes business, then we have to own that business,” he says. “it’s very difficult to get the kind of consistent quality that you need to provide to keep customers without doing it yourself.” once promised as the future of “everything,” the “uber for x” model has recently come under scrutiny as startups in the category falter. some, like parking services and zirx, have pivoted. others, like, have raised prices. and many others have struggled to live up to high valuations. pundits have even gone so far as to forecast an “on-demand apocalypse.” but there is more than one way to coordinate and deliver conveniences through more than one way to do it for a lower not all of them are dead. while the first generation of “on-demand” companies had a business model similar to the one made famous by uber, many new startups are instead launching, or pivoting toward, a philosophy more aligned with slate. these entrepreneurs are not launching technology companies or even “on demand” companies. they are instead starting companies, retail stores, restaurants, and laundry services that use mobile technology not only for delivery, but as a way to be more efficient at every step of their operations. “you’re seeing models evolve,” says ron johnson, the former ceo of j.c. penney and creator of the apple store, who nine months ago started a electronics retailer called enjoy. “and what expect in a new area of the economy.”
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photo: flickr user john floyd why the uber model fails katie shea, cofounder of the relaunched slate, experienced the flaws of the uber model firsthand. as the former new york city for company, she managed an operation that matched house cleaners with customers. because added a 20% fee for coordinating the setup, customers expected it to be better than a service they could arrange by themselves. that meant the service had to be perfect, shea says, especially “in a city like new york or any other big city, where at one mess-up, you just go back to the downstairs laundromat, or the cleaning lady that you paid cash from a friend.” because all of the cleaners were classified as contractors rather than employees, and was just playing matchmaker, shea legally allowed to provide much training or guidance. “we had to be very indirect about it,” she says. “we had to be like, we tell you what to do, but we can tell you that other cleaners who have done this have gotten five stars.” that made performance hard to achieve. it turns out shuttling a passenger from point a to point are a lot of varied expectations regarding what constitutes a “clean” house. and dissatisfaction showed: according to one report, only about 15% to 20% of customers booked again within a month. amid worker lawsuits, shut down in july 2015. the only company that found providing good service as a company to be difficult. at first glance, grocery shopping seems simple enough. but knowing how to identify a beefsteak tomato and when an avocado is ripe entirely intuitive. so in june, hired some of its workers as employees. “this is not something you can just enable with technology,” founder and ceo mehta told me about the decision. “this is something that people need to be trained on and coached on, on a regular basis. and how we succeed as a company, by making sure that a business that customers want to use over and over again.”, a company that picks up, packages, and ships items for its users, made a similar transition to hiring employees for some roles in july. in a blog post, ceo kevin gibbon explained that the change was “an investment in a relationship with our couriers, which we believe will ultimately create the best experience for our customers.” uber has scaled to the point where it can beat the price of alternative options, but “uber for x” has struggled to accomplish the same. and the appeal of paying a premium for instant delivery is dubious beyond transportation and food delivery. you might be hungry right now, or need to get somewhere right now, and are willing to pay a premium to fill that need now, but for most goods and services, chances are that amazon delivery works just fine. most people would rather wait a day for an order of paper towels than pay an $8 delivery fee to have them in an hour. ditto for a sweater, a coffee grinder, or laundry service. companies like starbucks, mcdonalds, and target have with companies because it is an easy way to shift their delivery costs onto pay hefty, often obscured fees for the convenience—but, as ceo argued in one particularly brutal of the food trend, “transferring costs from one party to another is not ‘innovative.’”
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photo: flickr user charley lhasa next for a $7 delivery fee and a service fee, will hire a courier to bring me an $11 burger from my favorite restaurant in new york city. for a $9.50 delivery fee and a $19 service fee, it will bring me an ipad from the apple store. startups that have stepped outside of business model, however, will bring me lunch or an ipad for free. one of these startups, maple, is a restaurant. it uses mobile apps not only to coordinate the delivery of its food, but also to make the entire process more efficient by adding tiny efficiencies throughout its entire operation, contributing to a pace of sales almost three times faster than chipotle. meals typically cost around $12, including delivery. enjoy, the service that will deliver an ipad for free, is a store that trains the employees who deliver products to help install them and answer customers’ questions. instead of a delivery fee, enjoy makes its profit the same way any retailer would make a profit: on product margins. because it uses mobile phones to bring products to customers, it need a storefront, which makes its margins better than traditional retailers. it also charges a fee to some partners, like at&t, who offer enjoy as a delivery option on their websites. “what doing is really hard,” says johnson, founder and ceo. “there are a lot of companies that can do delivery, but not a lot of value-add. just logistics. what adding is a human connection. really hard to do. the missing link in a digital world.” johnson says that in first nine months of business, it has received reviews 97% of the time. many of them mentioned an employee by name. trusted, a new babysitter app based in san francisco, is another example of a startup that has chosen to create a service business rather than just a technology layer. while competitors like match parents and caregivers through a portal, trusted decided quality in a category like child care mattered enough that parents would pay more if guaranteed highly vetted babysitters. the startup, which charges $25 per hour, hires employees after an extensive interview, three reference calls, and training about how to use the app, which manages schedules and payments. “our north star metric is how often parents come back to use our service, and that comes back to if they have a experience very time,” says ceo anand iyer. “it’s not like, just try to do the best job we can in matching people.” founders also aim for customers who are willing to pay slightly more for a high-quality daily service than they would for a weekly clean. “at the end of the day, any home service is a person business,” says shea. “we’re dealing with people. and people are imperfect. something that a lot of people forget when launching these businesses. like, my tech platform, going to revolutionize this industry.” the “uber for x” model is certainly not dead. soothe, an massage app, for instance, raised $35 million earlier this month. and owning the entire operation is not an instant success maker: spoonrocket, a restaurant that cooked and delivered food, recently shut down. not yet a runaway success story for the model that can compare to uber itself.
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but the appearance of other models is promising for the “on-demand” space, whatever that term might come to encompass. the idea that technology could not only fix anything, but the same technology could fix anything, in many cases proved arrogant. just as an interface may seem stupidly simple to someone with no knowledge of code or product design, every service industry—cleaning, delivery, grocery shopping, caring for complicated in its own ways, and often in ways that technology alone cannot improve.
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wɪn mɪˈgɛl ˈoʊpənd hɪz fərst ˈlɔndri dɪˈlɪvəri ˈsərvɪs, sleɪt, ɪn 2005 hi pɪʧt ˈkəstəmərz kənˈvinjəns: hi wʊd pɪk əp ðɛr ˈlɔndri (ˈlɪtərəli: hi wɑz boʊθ ˈsiˌiˈoʊ ənd ˈkəriər), ənd hɪz səbˈkɑntræktɪd draɪ ˈklinərz wʊd klin ɪt ˌhaʊˈɛvər ðeɪ sɔ fɪt. tu jɪrz ˈleɪtər, hi ˈoʊpənd hɪz oʊn ˈlɔndri fəˈsɪlɪti, wɪʧ fər ˈsɛvərəl jɪrz klind ˈdrɛsɪz fər ˈrɛntəl ˈsərvɪs rɛnt ðə ˈrənˌweɪ. tu jɪrz ˈæftər ðət, hi ˈædɪd hoʊm ˈklinɪŋ tɪ ðə ˈbɪznɪs. ɪt ənˈtɪl 10 jɪrz ˈæftər ˈstɑrtɪŋ ðə ˈlɔndri ˈsərvɪs, ɪn ˈʤænjuˌɛri 2015 ðət ˌripəˈzɪʃənd sleɪt ɛz ə tɛk ˈkəmpəˌni. ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt æt fərst glæns, sleɪt lʊks ə lɔt laɪk ˈəðər ““on-demand”*” æps ðət ˈlɛvərɪʤ ˈmoʊbəl tɛkˈnɑləʤi ɪn ˈɔrdər tɪ əˈlaʊ ðə ˈmæsɪz (ər, æt list, ðə ˈmæsɪz hu hæv dɪˈspoʊzəbəl ˈɪnˌkəm) tɪ ˈsəmən ˈɛniˌθɪŋ frəm ə ˈleɪtˌnaɪt ˈtɑkoʊ tɪ ə hoʊm ˈklinər. laɪk ðiz startups’*’ ˈwərkərz, ˈvɪzɪt ˈɛvəri deɪ tɪ meɪk bɛdz, du laɪt ˈklinɪŋ tæsks, ənd ˈtaɪdi ənd pæk əp ˈlɔndri fər ˈpɪˌkəp baɪ sleɪt tæsks ənd ˈskɛʤʊl θru ə ˈmoʊbəl ˈpɔrtəl. laɪk ðiz startups’*’ ˈkəstəmərz, ˈhoʊˌmoʊnərz meɪk rɪkˈwɛsts əˈbaʊt haʊ ənd wɪn ðeɪ wɔnt tæsks kəmˈplitɪd dɪˈrɛkli θru ə ˈnuli lɔnʧt æp. bət ˈbɪznɪs, wɪʧ ˈstɑrtɪd wɪθ ˈsərvɪs ˌɑpərˈeɪʃənz ənd ˈleɪtər ˈædɪd tɛkˈnɑləʤi, həz bɪn bɪlt wɪθ ˈɔlˌmoʊst ən ˈɑpəzɪt ˈbɪznɪs fəˈlɑsəfi ɛz ˈstɑrˌtəps laɪk ˈkəriər ˈsərvɪs, ˈgroʊsəri dɪˈlɪvəri ˈsərvɪs, ˈklinɪŋ ˈsərvɪs ˈhændi, ˈɛrənd ˈmɑrkɪtˌpleɪs taskrabbit*, ənd ðə ˈmɛni ˈəðər ˈstɑrˌtəps ðət ɪmˈbreɪs ən ˈbɪznɪs ˈmɑdəl. waɪl ðoʊz fər x”*” ˈstɑrˌtəps sik tɪ ˈdɪstəns ðɛmˈsɛlvz frəm ðə ˈdraɪvɪŋ, ˈklinɪŋ, ənd dɪˈlɪvərɪŋ ðeɪ fəˈsɪləˌteɪt, ˌɪnˈstɛd ˈfəŋkʃənɪŋ ˈoʊnli ɛz ə tɛkˈnɑləʤi leɪər ɔn tɔp əv ˈəðər ˈbɪznɪsɪz, sleɪt ˈfʊli bɪˈlivz ðət ɪt ɪz ə ˈklinɪŋ ənd ˈlɔndri ˈkəmpəˌni. nɑt techies,”*,” sɪz. ˈklinɪŋ 130 140 ˈhaʊsɪz ˈɛvəri day.”*.”, hu ˈoʊvər ðə jɪrz həz boʊθ səbˈkɑntræktɪd ənd oʊnd hɪz ˈlɔndri ˈsərvɪsɪz, bɪˈlivz ˈbɛtər fər ˈbɪznɪs tɪ oʊn mɔr əv ðə ˈprɔˌsɛs, nɑt lɛs. ɪz noʊ daʊt tɪ ˈjuˈɛs ðət ɪf wi wɔnt tɪ bi səkˈsɛsfəl, ənd ɪf wi wɔnt tɪ bi ɪn ðə ˈklinɪŋ əv kloʊðz ˈbɪznɪs, ðɛn wi hæv tɪ oʊn ðət business,”*,” hi sɪz. ˈvɛri ˈdɪfəkəlt tɪ gɪt ðə kaɪnd əv kənˈsɪstənt kˈwɑləti ðət ju nid tɪ prəˈvaɪd tɪ kip ˈkəstəmərz wɪˈθaʊt duɪŋ ɪt yourself.”*.” wəns ˈprɑməst ɛz ðə fˈjuʧər əv ““everything,”*,” ðə fər x”*” ˈmɑdəl həz ˈrisəntli kəm ˈəndər ˈskrutəni ɛz ˈstɑrˌtəps ɪn ðə ˈkætəˌgɔri ˈfɔltər. səm, laɪk ˈpɑrkɪŋ ˈsərvɪsɪz ənd zirx*, hæv ˈpɪvətɪd. ˈəðərz, laɪk, hæv reɪzd ˈpraɪsɪz. ənd ˈmɛni ˈəðərz hæv ˈstrəgəld tɪ lɪv əp tɪ haɪ væljuˈeɪʃənz. ˈpəndɪts hæv ˈivɪn gɔn soʊ fɑr ɛz tɪ ˈfɔrˌkæst ən apocalypse.”*.” bət ðɛr ɪz mɔr ðən wən weɪ tɪ koʊˈɔrdəˌneɪt ənd dɪˈlɪvər kənˈvinjənsɪz θru mɔr ðən wən weɪ tɪ du ɪt fər ə loʊər nɑt ɔl əv ðɛm ər dɛd. waɪl ðə fərst ˌʤɛnərˈeɪʃən əv ““on-demand”*” ˈkəmpəˌniz hæd ə ˈbɪznɪs ˈmɑdəl ˈsɪmələr tɪ ðə wən meɪd ˈfeɪməs baɪ ˈubər, ˈmɛni nu ˈstɑrˌtəps ər ˌɪnˈstɛd ˈlɔnʧɪŋ, ər ˈpɪvətɪŋ təˈwɔrd, ə fəˈlɑsəfi mɔr əˈlaɪnd wɪθ sleɪt. ðiz ˌɑntrəprəˈnərz ər nɑt ˈlɔnʧɪŋ tɛkˈnɑləʤi ˈkəmpəˌniz ər ˈivɪn demand”*” ˈkəmpəˌniz. ðeɪ ər ˌɪnˈstɛd ˈstɑrtɪŋ ˈkəmpəˌniz, ˈriˌteɪl stɔrz, ˈrɛˌstrɑnts, ənd ˈlɔndri ˈsərvɪsɪz ðət juz ˈmoʊbəl tɛkˈnɑləʤi nɑt ˈoʊnli fər dɪˈlɪvəri, bət ɛz ə weɪ tɪ bi mɔr ɪˈfɪʃənt æt ˈɛvəri stɛp əv ðɛr ˌɑpərˈeɪʃənz. siɪŋ ˈmɑdəlz evolve,”*,” sɪz rɑn ˈʤɑnsən, ðə ˈfɔrmər ˈsiˌiˈoʊ əv j.c*. ˈpɛni ənd kriˈeɪtər əv ðə ˈæpəl stɔr, hu naɪn mənθs əˈgoʊ ˈstɑrtɪd ə ˌɪˌlɛkˈtrɑnɪks ˈriˌteɪlər kɔld ˌɛnˈʤɔɪ. wət ɪkˈspɛkt ɪn ə nu ˈɛriə əv ðə economy.”*.” ˌædvərˈtaɪzmənt ˈfoʊˌtoʊ: ˈflɪkər ˈjuzər ʤɑn flɔɪd waɪ ðə ˈubər ˈmɑdəl feɪlz ˈkeɪti ʃeɪ, ˈkoʊˈfaʊndər əv ðə riˈlɔnʧt sleɪt, ɪkˈspɪriənst ðə flɔz əv ðə ˈubər ˈmɑdəl ˈfərsthænd. ɛz ðə ˈfɔrmər nu jɔrk ˈsɪti fər ˈkəmpəˌni, ʃi ˈmænɪʤd ən ˌɑpərˈeɪʃən ðət mæʧt haʊs ˈklinərz wɪθ ˈkəstəmərz. bɪˈkəz ˈædɪd ə 20 fi fər koʊˈɔrdəˌneɪtɪŋ ðə ˈsɛˌtəp, ˈkəstəmərz ɪkˈspɛktɪd ɪt tɪ bi ˈbɛtər ðən ə ˈsərvɪs ðeɪ kʊd əreɪnʤ baɪ ðɛmˈsɛlvz. ðət mɛnt ðə ˈsərvɪs hæd tɪ bi ˈpərˌfɪkt, ʃeɪ sɪz, əˈspɛʃəli ə ˈsɪti laɪk nu jɔrk ər ˈɛni ˈəðər bɪg ˈsɪti, wɛr æt wən mess-up*, ju ʤɪst goʊ bæk tɪ ðə ˈdaʊnˈstɛrz ˈlɔndrəˌmæt, ər ðə ˈklinɪŋ ˈleɪdi ðət ju peɪd kæʃ frəm ə friend.”*.” bɪˈkəz ɔl əv ðə ˈklinərz wər ˈklæsəˌfaɪd ɛz ˈkɑnˌtræktərz ˈrəðər ðən ɪmˈplɔɪiz, ənd wɑz ʤɪst pleɪɪŋ ˈmæʧˌmeɪkər, ʃeɪ ˈligəli əˈlaʊd tɪ prəˈvaɪd məʧ ˈtreɪnɪŋ ər ˈgaɪdəns. hæd tɪ bi ˈvɛri ˌɪndərˈɛkt əˈbaʊt it,”*,” ʃi sɪz. hæd tɪ bi laɪk, wi tɛl ju wət tɪ du, bət wi kən tɛl ju ðət ˈəðər ˈklinərz hu hæv dən ðɪs hæv ˈgɔtən faɪv stars.”*.” ðət meɪd pərˈfɔrməns hɑrd tɪ əˈʧiv. ɪt tərnz aʊt ˈʃətəlɪŋ ə ˈpæsənʤər frəm pɔɪnt ə tɪ pɔɪnt ər ə lɔt əv ˈvɛrid ˌɛkspɛkˈteɪʃənz rɪˈgɑrdɪŋ wət ˈkɑnstəˌtuts ə ““clean”*” haʊs. ənd ˌdɪsætɪsˈfækʃən ʃoʊd: əˈkɔrdɪŋ tɪ wən rɪˈpɔrt, ˈoʊnli əˈbaʊt 15 tɪ 20 əv ˈkəstəmərz bʊkt əˈgɛn wɪˈθɪn ə mənθ. əˈmɪd ˈwərkər ˈlɔˌsuts, ʃət daʊn ɪn ˌʤuˈlaɪ 2015 ðə ˈoʊnli ˈkəmpəˌni ðət faʊnd prəˈvaɪdɪŋ gʊd ˈsərvɪs ɛz ə ˈkəmpəˌni tɪ bi ˈdɪfəkəlt. æt fərst glæns, ˈgroʊsəri ˈʃɑpɪŋ simz ˈsɪmpəl ɪˈnəf. bət noʊɪŋ haʊ tɪ aɪˈdɛntəˌfaɪ ə ˈbifˌsteɪk təˈmɑˌtoʊ ənd wɪn ən ˌævəˈkɑdoʊ ɪz raɪp ɪnˈtaɪərli ˌɪnˈtuətɪv. soʊ ɪn ʤun, haɪərd səm əv ɪts ˈwərkərz ɛz ɪmˈplɔɪiz. ɪz nɑt ˈsəmθɪŋ ju kən ʤɪst ɪˈneɪbəl wɪθ technology,”*,” ˈfaʊndər ənd ˈsiˌiˈoʊ ˈmɛtə toʊld mi əˈbaʊt ðə dɪˈsɪʒən. ɪz ˈsəmθɪŋ ðət ˈpipəl nid tɪ bi treɪnd ɔn ənd koʊʧt ɔn, ɔn ə ˈrɛgjələr ˈbeɪsɪs. ənd haʊ wi səkˈsid ɛz ə ˈkəmpəˌni, baɪ ˈmeɪkɪŋ ʃʊr ðət ə ˈbɪznɪs ðət ˈkəstəmərz wɔnt tɪ juz ˈoʊvər ənd ˈoʊvər again.”*.”, ə ˈkəmpəˌni ðət pɪks əp, ˈpækɪʤɪz, ənd ʃɪps ˈaɪtəmz fər ɪts ˈjuzərz, meɪd ə ˈsɪmələr trænˈzɪʃən tɪ ˈhaɪrɪŋ ɪmˈplɔɪiz fər səm roʊlz ɪn ˌʤuˈlaɪ. ɪn ə blɔg poʊst, ˈsiˌiˈoʊ ˈkɛvɪn ˈgɪbən ɪkˈspleɪnd ðət ðə ʧeɪnʤ wɑz ˌɪnˈvɛstmənt ɪn ə riˈleɪʃənˌʃɪp wɪθ ɑr ˈkəriərz, wɪʧ wi bɪˈliv wɪl ˈəltəmətli kriˈeɪt ðə bɛst ɪkˈspɪriəns fər ɑr customers.”*.” ˈubər həz skeɪld tɪ ðə pɔɪnt wɛr ɪt kən bit ðə praɪs əv ɔlˈtərnətɪv ˈɔpʃənz, bət fər x”*” həz ˈstrəgəld tɪ əˈkɑmplɪʃ ðə seɪm. ənd ðə əˈpil əv peɪɪŋ ə ˈprimiəm fər ˈɪnstənt dɪˈlɪvəri ɪz ˈdubiəs bɪɔnd ˌtrænspərˈteɪʃən ənd fud dɪˈlɪvəri. ju maɪt bi ˈhəŋgri raɪt naʊ, ər nid tɪ gɪt ˈsəmˌwɛr raɪt naʊ, ənd ər ˈwɪlɪŋ tɪ peɪ ə ˈprimiəm tɪ fɪl ðət nid naʊ, bət fər moʊst gʊdz ənd ˈsərvɪsɪz, ˈʧænsɪz ər ðət ˈæməˌzɑn dɪˈlɪvəri wərks ʤɪst faɪn. moʊst ˈpipəl wʊd ˈrəðər weɪt ə deɪ fər ən ˈɔrdər əv ˈpeɪpər taʊəlz ðən peɪ ən 8 dɪˈlɪvəri fi tɪ hæv ðɛm ɪn ən aʊər. ˈdɪtoʊ fər ə sˈwɛtər, ə ˈkɔfi ˈgraɪndər, ər ˈlɔndri ˈsərvɪs. ˈkəmpəˌniz laɪk ˈstɑrˌbəks, məkˈdɑnəldz, ənd ˈtərgət hæv wɪθ ˈkəmpəˌniz bɪˈkəz ɪt ɪz ən ˈizi weɪ tɪ ʃɪft ðɛr dɪˈlɪvəri kɔsts ˈɔntu peɪ ˈhɛfti, ˈɔfən əbˈskjʊrd fiz fər ðə convenience—but*, ɛz ˈsiˌiˈoʊ ˈɑrgjud ɪn wən ˌpɑrˈtɪkjələrli ˈbrutəl əv ðə fud trɛnd, kɔsts frəm wən ˈpɑrti tɪ əˈnəðər ɪz nɑt ‘‘innovative.’”*.’” ˌædvərˈtaɪzmənt ˈfoʊˌtoʊ: ˈflɪkər ˈjuzər ˈʧɑrli ˈlɑsə nɛkst fər ə 7 dɪˈlɪvəri fi ənd ə ˈsərvɪs fi, wɪl haɪər ə ˈkəriər tɪ brɪŋ mi ən 11 ˈbərgər frəm maɪ ˈfeɪvərɪt ˈrɛˌstrɑnt ɪn nu jɔrk ˈsɪti. fər ə dɪˈlɪvəri fi ənd ə 19 ˈsərvɪs fi, ɪt wɪl brɪŋ mi ən ˈaɪˌpæd frəm ðə ˈæpəl stɔr. ˈstɑrˌtəps ðət hæv stɛpt ˈaʊtˈsaɪd əv ˈbɪznɪs ˈmɑdəl, ˌhaʊˈɛvər, wɪl brɪŋ mi lənʧ ər ən ˈaɪˌpæd fər fri. wən əv ðiz ˈstɑrˌtəps, ˈmeɪpəl, ɪz ə ˈrɛˌstrɑnt. ɪt ˈjuzɪz ˈmoʊbəl æps nɑt ˈoʊnli tɪ koʊˈɔrdəˌneɪt ðə dɪˈlɪvəri əv ɪts fud, bət ˈɔlsoʊ tɪ meɪk ðə ɪnˈtaɪər ˈprɔˌsɛs mɔr ɪˈfɪʃənt baɪ ˈædɪŋ ˈtaɪni ɪˈfɪʃənsiz θruaʊt ɪts ɪnˈtaɪər ˌɑpərˈeɪʃən, kənˈtrɪbjutɪŋ tɪ ə peɪs əv seɪlz ˈɔlˌmoʊst θri taɪmz ˈfæstər ðən ʧɪˈpoʊˌtli. milz ˈtɪpɪkəli kɔst əraʊnd 12 ˌɪnˈkludɪŋ dɪˈlɪvəri. ˌɛnˈʤɔɪ, ðə ˈsərvɪs ðət wɪl dɪˈlɪvər ən ˈaɪˌpæd fər fri, ɪz ə stɔr ðət treɪnz ðə ɪmˈplɔɪiz hu dɪˈlɪvər ˈprɑdəkts tɪ hɛlp ˌɪnˈstɔl ðɛm ənd ˈænsər customers’*’ kˈwɛsʧənz. ˌɪnˈstɛd əv ə dɪˈlɪvəri fi, ˌɛnˈʤɔɪ meɪks ɪts ˈprɑfɪt ðə seɪm weɪ ˈɛni ˈriˌteɪlər wʊd meɪk ə ˈprɑfɪt: ɔn ˈprɑdəkt ˈmɑrʤənz. bɪˈkəz ɪt ˈjuzɪz ˈmoʊbəl foʊnz tɪ brɪŋ ˈprɑdəkts tɪ ˈkəstəmərz, ɪt nid ə ˈstɔrˌfrɑnt, wɪʧ meɪks ɪts ˈmɑrʤənz ˈbɛtər ðən trəˈdɪʃənəl ˈriˌteɪlərz. ɪt ˈɔlsoʊ ˈʧɑrʤɪz ə fi tɪ səm ˈpɑrtnərz, laɪk at&t*, hu ˈɔfər ˌɛnˈʤɔɪ ɛz ə dɪˈlɪvəri ˈɔpʃən ɔn ðɛr ˈwɛbˌsaɪts. duɪŋ ɪz ˈrɪli hard,”*,” sɪz ˈʤɑnsən, ˈfaʊndər ənd ˈsiˌiˈoʊ. ər ə lɔt əv ˈkəmpəˌniz ðət kən du dɪˈlɪvəri, bət nɑt ə lɔt əv value-add*. ʤɪst ləˈʤɪstɪks. wət ˈædɪŋ ɪz ə ˈjumən kəˈnɛkʃən. ˈrɪli hɑrd tɪ du. ðə ˈmɪsɪŋ lɪŋk ɪn ə ˈdɪʤɪtəl world.”*.” ˈʤɑnsən sɪz ðət ɪn fərst naɪn mənθs əv ˈbɪznɪs, ɪt həz rɪˈsivd rəvˈjuz 97 əv ðə taɪm. ˈmɛni əv ðɛm ˈmɛnʃənd ən ɪmˈplɔɪi baɪ neɪm. ˈtrəstɪd, ə nu ˈbeɪbiˌsɪtər æp beɪst ɪn sæn frænˈsɪskoʊ, ɪz əˈnəðər ɪgˈzæmpəl əv ə ˈstɑrˌtəp ðət həz ˈʧoʊzən tɪ kriˈeɪt ə ˈsərvɪs ˈbɪznɪs ˈrəðər ðən ʤɪst ə tɛkˈnɑləʤi leɪər. waɪl kəmˈpɛtɪtərz laɪk mæʧ ˈpɛrənts ənd ˈkɛrˌgɪvərz θru ə ˈpɔrtəl, ˈtrəstɪd ˌdɪˈsaɪdɪd kˈwɑləti ɪn ə ˈkætəˌgɔri laɪk ʧaɪld kɛr ˈmætərd ɪˈnəf ðət ˈpɛrənts wʊd peɪ mɔr ɪf ˌgɛrənˈtid ˈhaɪli ˈvɛtɪd ˈbeɪbiˌsɪtərz. ðə ˈstɑrˌtəp, wɪʧ ˈʧɑrʤɪz 25 pər aʊər, haɪərz ɪmˈplɔɪiz ˈæftər ən ɪkˈstɛnsɪv ˈɪntərvˌju, θri ˈrɛfərəns kɔlz, ənd ˈtreɪnɪŋ əˈbaʊt haʊ tɪ juz ðə æp, wɪʧ ˈmænɪʤɪz ˈskɛʤʊlz ənd ˈpeɪmənts. nɔrθ stɑr ˈmɛtrɪk ɪz haʊ ˈɔfən ˈpɛrənts kəm bæk tɪ juz ɑr ˈsərvɪs, ənd ðət kəmz bæk tɪ ɪf ðeɪ hæv ə ɪkˈspɪriəns ˈvɛri time,”*,” sɪz ˈsiˌiˈoʊ ˈænənd aɪər. nɑt laɪk, ʤɪst traɪ tɪ du ðə bɛst ʤɑb wi kən ɪn ˈmæʧɪŋ people.”*.” ˈfaʊndərz ˈɔlsoʊ eɪm fər ˈkəstəmərz hu ər ˈwɪlɪŋ tɪ peɪ sˈlaɪtli mɔr fər ə ˌhaɪkˈwɑləti ˈdeɪli ˈsərvɪs ðən ðeɪ wʊd fər ə ˈwikli klin. ðə ɛnd əv ðə deɪ, ˈɛni hoʊm ˈsərvɪs ɪz ə ˈpərsən business,”*,” sɪz ʃeɪ. ˈdilɪŋ wɪθ ˈpipəl. ənd ˈpipəl ər ˌɪmˈpərfɪkt. ˈsəmθɪŋ ðət ə lɔt əv ˈpipəl fərˈgɛt wɪn ˈlɔnʧɪŋ ðiz ˈbɪznɪsɪz. laɪk, maɪ tɛk ˈplætˌfɔrm, goʊɪŋ tɪ ˌrɛvəˈluʃəˌnaɪz ðɪs industry.”*.” ðə fər x”*” ˈmɑdəl ɪz ˈsərtənli nɑt dɛd. suð, ən məˈsɑʒ æp, fər ˈɪnstəns, reɪzd 35 ˈmɪljən ˈərliər ðɪs mənθ. ənd ˈoʊnɪŋ ðə ɪnˈtaɪər ˌɑpərˈeɪʃən ɪz nɑt ən ˈɪnstənt səkˈsɛs ˈmeɪkər: spoonrocket*, ə ˈrɛˌstrɑnt ðət kʊkt ənd dɪˈlɪvərd fud, ˈrisəntli ʃət daʊn. nɑt jɛt ə ˈrənəˌweɪ səkˈsɛs ˈstɔri fər ðə ˈmɑdəl ðət kən kəmˈpɛr tɪ ˈubər ˌɪtˈsɛlf. ˌædvərˈtaɪzmənt bət ðə əˈpɪrəns əv ˈəðər ˈmɑdəlz ɪz ˈprɑməsɪŋ fər ðə ““on-demand”*” speɪs, ˌwəˈtɛvər ðət tərm maɪt kəm tɪ ɛnˈkəmpəs. ðə aɪˈdiə ðət tɛkˈnɑləʤi kʊd nɑt ˈoʊnli fɪks ˈɛniˌθɪŋ, bət ðə seɪm tɛkˈnɑləʤi kʊd fɪks ˈɛniˌθɪŋ, ɪn ˈmɛni ˈkeɪsɪz pruvd ˈɛrəgənt. ʤɪst ɛz ən ˈɪnərˌfeɪs meɪ sim ˈstupəˌdli ˈsɪmpəl tɪ ˈsəmˌwən wɪθ noʊ ˈnɑlɪʤ əv koʊd ər ˈprɑdəkt dɪˈzaɪn, ˈɛvəri ˈsərvɪs industry—cleaning*, dɪˈlɪvəri, ˈgroʊsəri ˈʃɑpɪŋ, ˈkɛrɪŋ fər ˈkɑmpləˌkeɪtəd ɪn ɪts oʊn weɪz, ənd ˈɔfən ɪn weɪz ðət tɛkˈnɑləʤi əˈloʊn ˈkænɑt ˌɪmˈpruv.
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religion has at times come in the way of love, happiness and friendship. but this time it wasn't to win.
rising above his religious beliefs and the faith he practiced, khan tikari, a resident of chhattisgarh, did what only a few of us have the heart to do. breaking all religious barriers, despite being a follower of islam, performed hindu rites for his deceased friend, santosh singh.
catch news
singh who belonged to area and was living with his family in baitul, was suffering from critical health condition to which he succumbed on 20 september. he is survived by his wife and their daughter.
unable to arrange money to perform proper religious rites for her deceased husband, wife was helpless. at this time, friend for years came forward and took the responsibility of carrying out all the religious rites and to cremate the body of his deceased friend., despite being a muslim, never let religion come in the way of his friendship. he performed all the rites as per hindu tradition and cremated body.
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"religion should not become a barrier in friendship," was quoted telling catch news.
this certainly leaves us with one thought - is it really so difficult to keep religion aside and believe in the power of love and friendship. well, with's live example it doesn't seem like it.
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rɪˈlɪʤən həz æt taɪmz kəm ɪn ðə weɪ əv ləv, ˈhæpinəs ənd ˈfrɛndʃɪp. bət ðɪs taɪm ɪt ˈwəzənt tɪ wɪn. ˈraɪzɪŋ əˈbəv hɪz rɪˈlɪʤəs bɪˈlifs ənd ðə feɪθ hi ˈpræktɪst, kɑn tikari*, ə ˈrɛzɪdənt əv chhattisgarh*, dɪd wət ˈoʊnli ə fju əv ˈjuˈɛs hæv ðə hɑrt tɪ du. ˈbreɪkɪŋ ɔl rɪˈlɪʤəs ˈbɛriərz, dɪˈspaɪt biɪŋ ə ˈfɑloʊər əv ˌɪsˈlɑm, pərˈfɔrmd ˈhɪnˌdu raɪts fər hɪz dɪˈsist frɛnd, ˈsɑnˌtɑʃ sɪŋ. kæʧ nuz sɪŋ hu bɪˈlɔŋd tɪ ˈɛriə ənd wɑz ˈlɪvɪŋ wɪθ hɪz ˈfæməli ɪn baitul*, wɑz ˈsəfərɪŋ frəm ˈkrɪtɪkəl hɛlθ kənˈdɪʃən tɪ wɪʧ hi səˈkəmd ɔn 20 sɛpˈtɛmbər. hi ɪz sərˈvaɪvd baɪ hɪz waɪf ənd ðɛr ˈdɔtər. əˈneɪbəl tɪ əreɪnʤ ˈməni tɪ pərˈfɔrm ˈprɑpər rɪˈlɪʤəs raɪts fər hər dɪˈsist ˈhəzbənd, waɪf wɑz ˈhɛlpləs. æt ðɪs taɪm, frɛnd fər jɪrz keɪm ˈfɔrwərd ənd tʊk ðə riˌspɑnsəˈbɪləti əv ˈkɛriɪŋ aʊt ɔl ðə rɪˈlɪʤəs raɪts ənd tɪ ˈkrimeɪt ðə ˈbɑdi əv hɪz dɪˈsist frɛnd., dɪˈspaɪt biɪŋ ə ˈməzlɪm, ˈnɛvər lɛt rɪˈlɪʤən kəm ɪn ðə weɪ əv hɪz ˈfrɛndʃɪp. hi pərˈfɔrmd ɔl ðə raɪts ɛz pər ˈhɪnˌdu trəˈdɪʃən ənd ˈkrimeɪtɪd ˈbɑdi. doʊnt mɪs keɪ ʃɛrz keɪ ʃɛrz keɪ ʃɛrz keɪ ʃɛrz keɪ ʃɛrz "rɪˈlɪʤən ʃʊd nɑt bɪˈkəm ə ˈbɛriər ɪn ˈfrɛndʃɪp," wɑz kˈwoʊtɪd ˈtɛlɪŋ kæʧ nuz. ðɪs ˈsərtənli livz ˈjuˈɛs wɪθ wən θɔt ɪz ɪt ˈrɪli soʊ ˈdɪfəkəlt tɪ kip rɪˈlɪʤən əˈsaɪd ənd bɪˈliv ɪn ðə paʊər əv ləv ənd ˈfrɛndʃɪp. wɛl, wɪθ lɪv ɪgˈzæmpəl ɪt ˈdəzənt sim laɪk ɪt.
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a belief in superstition and the ability to control luck is widespread, a phenomenon i explore in a personal journal article. a quarter of respondents to a gallup poll in 2005 said they believe in astrology, and only 55% firmly replied they believe “that the position of the stars and planets can affect lives.” a quarter of respondents also said they were very or somewhat superstitious the last time gallup asked that question, in 1996. american lotteries racked up $60.6 billion in sales in 2008, according to the north american association of state and provincial lotteries.
mathematicians, as a rule, a superstitious lot, nor are they prone to mathematically irrational behavior such as trying to beat the house in betting. the american mathematical society held a conference in las vegas since 1972, in part because of the discontent some mathematicians expressed then about the ambience of gambling. “we really do know the odds and they mean something to us, so we play,” said keith devlin, executive director of the institute at stanford university. devlin thinks that others’ belief in lucky numbers, what he calls “an irrational attachment of to numbers,” is “a proxy for our justified sense that numbers are really important to us.”
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ə bɪˈlif ɪn ˌsupərˈstɪʃən ənd ðə əˈbɪləˌti tɪ kənˈtroʊl lək ɪz ˈwaɪdˈsprɛd, ə fəˈnɑməˌnɑn aɪ ɪkˈsplɔr ɪn ə ˈpərsɪnəl ˈʤərnəl ˈɑrtɪkəl. ə kˈwɔrtər əv rɪˈspɑndənts tɪ ə ˈgæləp poʊl ɪn 2005 sɛd ðeɪ bɪˈliv ɪn əˈstrɑləʤi, ənd ˈoʊnli 55 ˈfərmli rɪˈplaɪd ðeɪ bɪˈliv ðə pəˈzɪʃən əv ðə stɑrz ənd ˈplænəts kən əˈfɛkt lives.”*.” ə kˈwɔrtər əv rɪˈspɑndənts ˈɔlsoʊ sɛd ðeɪ wər ˈvɛri ər ˈsəmˈwət ˌsupərˈstɪʃəs ðə læst taɪm ˈgæləp æst ðət kˈwɛʃən, ɪn 1996 əˈmɛrɪkən ˈlɑtəriz rækt əp ˈbɪljən ɪn seɪlz ɪn 2008 əˈkɔrdɪŋ tɪ ðə nɔrθ əˈmɛrɪkən əˌsoʊʃiˈeɪʃən əv steɪt ənd prəˈvɪnʃəl ˈlɑtəriz. ˌmæθəməˈtɪʃənz, ɛz ə rul, ə ˌsupərˈstɪʃəs lɔt, nɔr ər ðeɪ proʊn tɪ ˌmæθəˈmætɪkəli ˌɪˈræʃənəl bɪˈheɪvjər səʧ ɛz traɪɪŋ tɪ bit ðə haʊs ɪn ˈbɛtɪŋ. ðə əˈmɛrɪkən ˌmæθəˈmætɪkəl soʊˈsaɪɪti hɛld ə ˈkɑnfərəns ɪn ˈɛˈleɪˈɛs ˈveɪgəs sɪns 1972 ɪn pɑrt bɪˈkəz əv ðə dɪskənˈtɛnt səm ˌmæθəməˈtɪʃənz ɪkˈsprɛst ðɛn əˈbaʊt ðə ˈæmbiəns əv ˈgæmbəlɪŋ. ˈrɪli du noʊ ðə ɑdz ənd ðeɪ min ˈsəmθɪŋ tɪ ˈjuˈɛs, soʊ wi play,”*,” sɛd kiθ ˈdɛvlɪn, ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə ˈɪnstɪˌtut æt ˈstænfərd ˌjunəˈvərsəti. ˈdɛvlɪn θɪŋks ðət others’*’ bɪˈlif ɪn ˈləki ˈnəmbərz, wət hi kɔlz ˌɪˈræʃənəl əˈtæʧmənt əv tɪ numbers,”*,” ɪz ˈprɑksi fər ɑr ˈʤəstəˌfaɪd sɛns ðət ˈnəmbərz ər ˈrɪli ˌɪmˈpɔrtənt tɪ us.”*.”
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bloomberg news toll brothers says worries about the spill has hit consumer confidence, and thus sales of homes. here, a house being built in raleigh, n.c.
the oil spill is an environmental disaster and a serious blow to the businesses and property owners along the gulf coast.
but did you know it also was killing “mcmansion” sales across the nation?
toll brothers, the largest luxury home builder, warned late wednesday that its sales activity is running 20% lower than a year earlier. one reason: “worries about the oil spill in the gulf of mexico and its effects on the economy and the environment have negatively impacted the outlook of american consumers,’’ the chief financial officer joel said in a statement.
(other reasons include the expiration of the home buyer tax credit and the fiscal crisis in europe)
this the only time toll has blamed the housing problem on a disaster in the gulf of mexico (where incidentally, the company builds relatively few homes). retiring ceo bob toll said in late 2006 that hurricane katrina, which made the u.s. look like “bangladesh in a storm bodies floating upside down, the government seemingly unable to do anything about it” was the beginning of the end of the housing boom, because it shook american consumer confidence.
it be a surprise if the oil spill becomes a convenient scapegoat for what ails businesses.
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ˈblumbərg nuz toʊl ˈbrəðərz sɪz ˈwəriz əˈbaʊt ðə spɪl həz hɪt kənˈsumər ˈkɑnfədɛns, ənd ðəs seɪlz əv hoʊmz. hir, ə haʊs biɪŋ bɪlt ɪn ˈrɔli, n.c*. ðə ɔɪl spɪl ɪz ən ɪnˌvaɪrənˈmɛnəl dɪˈzæstər ənd ə ˈsɪriəs bloʊ tɪ ðə ˈbɪznɪsɪz ənd ˈprɑpərti ˈoʊnərz əˈlɔŋ ðə gəlf koʊst. bət dɪd ju noʊ ɪt ˈɔlsoʊ wɑz ˈkɪlɪŋ ““mcmansion”*” seɪlz əˈkrɔs ðə ˈneɪʃən? toʊl ˈbrəðərz, ðə ˈlɑrʤəst ˈləgʒəri hoʊm ˈbɪldər, wɔrnd leɪt ˈwɛnzˌdeɪ ðət ɪts seɪlz ækˈtɪvɪti ɪz ˈrənɪŋ 20 loʊər ðən ə jɪr ˈərliər. wən ˈrizən: əˈbaʊt ðə ɔɪl spɪl ɪn ðə gəlf əv ˈmɛksəˌkoʊ ənd ɪts ˈifɛkts ɔn ðə ɪˈkɑnəmi ənd ðə ɪnˈvaɪrənmənt hæv ˈnɛgətɪvli ˌɪmˈpæktɪd ðə ˈaʊˌtlʊk əv əˈmɛrɪkən consumers,’’*,’’ ðə ʧif ˌfaɪˈnænʃəl ˈɔfɪsər ʤoʊəl sɛd ɪn ə ˈsteɪtmənt. (ˈəðər ˈrizənz ˌɪnˈklud ðə ˌɛkspərˈeɪʃən əv ðə hoʊm baɪər tæks ˈkrɛdɪt ənd ðə ˈfɪskəl ˈkraɪsəs ɪn ˈjʊrəp) ðɪs ðə ˈoʊnli taɪm toʊl həz bleɪmd ðə ˈhaʊzɪŋ ˈprɑbləm ɔn ə dɪˈzæstər ɪn ðə gəlf əv ˈmɛksəˌkoʊ (wɛr ˌɪnsɪˈdɛntəli, ðə ˈkəmpəˌni bɪldz ˈrɛlətɪvli fju hoʊmz). rɪˈtaɪrɪŋ ˈsiˌiˈoʊ bɑb toʊl sɛd ɪn leɪt 2006 ðət ˈhərəˌkeɪnz kəˈtrinə, wɪʧ meɪd ðə juz. lʊk laɪk ɪn ə stɔrm ˈbɑdiz ˈfloʊtɪŋ ˈəpˈsaɪd daʊn, ðə ˈgəvərnmənt ˈsimɪŋli əˈneɪbəl tɪ du ˈɛniˌθɪŋ əˈbaʊt it”*” wɑz ðə bɪˈgɪnɪŋ əv ðə ɛnd əv ðə ˈhaʊzɪŋ bum, bɪˈkəz ɪt ʃʊk əˈmɛrɪkən kənˈsumər ˈkɑnfədɛns. ɪt bi ə səˈpraɪz ɪf ðə ɔɪl spɪl bɪˈkəmz ə kənˈvinjənt ˈskeɪpˌgoʊt fər wət eɪlz ˈbɪznɪsɪz. [klɪk bɪˈloʊ tɪ kip ˈrɛdɪŋ]
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i have just realised that i have never gave a mention to “my partner in crime” in the without any further ado i would like to introduce henry , my beautiful kitchen aid.
without henry my baking life would be absolutely dismal. just six months old now and so well trained. he knows just how i like my cakes mixed and gets my egg whites thick & shiny in no time at all. he really is my right hand in the kitchen but most unfortunately this is one of the rare times that i need him, not for this particular recipe. this recipe calls for bert his poor cousin the food processor who rarely a look in since henry joined our crew.
my brother lives in boston and i am always pestering him for “american family recipes”. his friend from alabama kindly sent me this particular one, her (her grandma’s) “chocolate orange ring cake” and in big letters it states must be made in a food processor.. i have absolutely know idea why.. but who am i to argue with the expertise of a “southern belle”– so henry is in the corner sulking like most men do when they get their own way!
i adapted the recipe a wee bit, because some of the ingredients like corn syrup be readily available in irish supermarkets, though you can get a very wide range of american ingredients in fallon & byrne in dublin. i also cut back on the sugar, there was way too much. my teeth felt funny just thinking about it. sure this could be made in a big cake pan or tin, but it said a ring cake tin and it just so happens i have a ring cake tin.. collecting cake tins is one of my hobbies (problems) that and cook books!!.
all in all the chocolate orange ring cake is an easy recipe, just quite a lot of it. this is a generous cake , it will give you 16 slices !! when i think of orange and chocolate i always think jaffa cake so i put my on twist on it by using a few jaffa cakes in the base and the topping. i also put in a tablespoon of orange liqueur only because i happen to have some left over.
no liqueur, just use orange extract
i layered up the batters in the tin like the recipe said and finished off with a layer of chopped up jaffa cakes. when the cake is turned out these will end up on the bottom, it gives the cake a bit of crunch. i used baking spray to grease up the tin, i find this much easier then brushing all the corners with melted butter.
“bert” is a small food processor so it was quite awkward using the food processor for such a large amount of batter. it bakes in a moderately hot oven for 55 it was baking i went ahead with the crowning glory the beautiful shiny “chocolate butter”. i really like this type of. i usually make mine with cream, but this was made with butter & water and it worked perfectly for pouring on top. will definitely use this again, it really is the biz for when you just need a quick but delicious cake topping. i finished the top off with chopped up jaffa cakes.
print chocolate orange "jaffa" ring cake prep time: 20 minutes cook time: 55 minutes total time: 1 hour, 15 minutes yield: 16 slices ingredients white chocolate or white chocolate chips
60g dark chocolate or dark chocolate chips
290g butter, room temperature
380g plain flour
1 baking powder
3/4 bicarbonate of soda
1/2 salt
4 eggs
300g caster sugar
250ml buttermilk
1 vanilla extract
3 finely grated orange zest & 1 orange extract
1 jaffa cakes chocolate: dark chocolate
40g butter
1 tbsp. water instructions oven to 180c. spray your ring tin with baking spray and dust with flour
melt dark chocolate with of the softened butter & stir until smooth. do the same with the white chocolate. leave to cool.
place flour, baking powder, bicarbonate of soda and salt into a food processor. whiz together until well mixed and transfer to a bowl.
beat the eggs together and empty into bowl with the salt and sugar into the processor and whiz for 1 minute. add remaining of butter to the egg mixture and process for 1 minute. pour in buttermilk and vanilla and whiz for 10 seconds. tip in flour mixture and pulse a few times until batter is just combined.
transfer half the batter to a bowl and stir in the white chocolate. add dark chocolate mixture and orange zest, extract to the batter in the processor and blend it in quickly until just combined...
chop up the jaffa cakes and leave to the side.
spread half the white chocolate batter into the bottom of the ring tin. dollop half the dark chocolate batter on top in an even layer. repeat the layers with remaining batter. drag a skewer right through the batter and swirl through gently. this will give a effect when the cake is baked.
scatter the chopped jaffa cakes over the top. pressing them down gently into batter
bake for 55 minutes or until a skewer inserted comes out clean. cool the cake in the tin for minutes, and then carefully loosen the edges of the cake and invert onto a rack to cool completely
meanwhile, make by melting the ingredients in a pot over a low heat until melted and smooth. leave to cool slightly
pour the over the cake and let it set. decorate with the rest of the chopped up jaffa cakes. http://irishbakingadventures.com/henry-my-partner-in-crime-a-chocolate-orange-jaffa-ring-cake/ please note these recipes are my own and copy righted to http://irishbakingadventures.com/
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aɪ hæv ʤɪst ˈriəˌlaɪzd ðət aɪ hæv ˈnɛvər geɪv ə ˈmɛnʃən tɪ ˈpɑrtnər ɪn crime”*” ɪn ðə wɪˈθaʊt ˈɛni ˈfərðər əˈdu aɪ wʊd laɪk tɪ ˌɪntrəˈdus ˈhɛnri maɪ ˈbjutəfəl ˈkɪʧən eɪd. wɪˈθaʊt ˈhɛnri maɪ ˈbeɪkɪŋ laɪf wʊd bi ˌæbsəˈlutli ˈdɪzməl. ʤɪst sɪks mənθs oʊld naʊ ənd soʊ wɛl treɪnd. hi noʊz ʤɪst haʊ aɪ laɪk maɪ keɪks mɪkst ənd gɪts maɪ ɛg waɪts θɪk ˈʃaɪni ɪn noʊ taɪm æt ɔl. hi ˈrɪli ɪz maɪ raɪt hænd ɪn ðə ˈkɪʧən bət moʊst ənˈfɔrʧənətli ðɪs ɪz wən əv ðə rɛr taɪmz ðət aɪ nid ɪm, nɑt fər ðɪs ˌpɑˈtɪkjələr ˈrɛsəpi. ðɪs ˈrɛsəpi kɔlz fər bərt hɪz pur ˈkəzən ðə fud ˈprɑˌsɛsər hu ˈrɛrli ə lʊk ɪn sɪns ˈhɛnri ʤɔɪnd ɑr kru. maɪ ˈbrəðər lɪvz ɪn ˈbɔstən ənd aɪ æm ˈɔlˌweɪz ˈpɛstərɪŋ ɪm fər ˈfæməli recipes”*”. hɪz frɛnd frəm ˌæləˈbæmə ˈkaɪndli sɛnt mi ðɪs ˌpɑˈtɪkjələr wən, hər (hər grandma’s*) ˈɔrɪnʤ rɪŋ cake”*” ənd ɪn bɪg ˈlɛtərz ɪt steɪts məst bi meɪd ɪn ə fud ˈprɑˌsɛsər.. aɪ hæv ˌæbsəˈlutli noʊ aɪˈdiə waɪ.. bət hu æm aɪ tɪ ˈɑrgju wɪθ ðə ˌɛkspərˈtiz əv ə belle”–*”– soʊ ˈhɛnri ɪz ɪn ðə ˈkɔrnər ˈsəlkɪŋ laɪk moʊst mɛn du wɪn ðeɪ gɪt ðɛr oʊn weɪ! aɪ əˈdæptɪd ðə ˈrɛsəpi ə wi bɪt, bɪˈkəz səm əv ðə ˌɪnˈgridiənts laɪk kɔrn ˈsɪrəp bi ˈrɛdəli əˈveɪləbəl ɪn ˈaɪrɪʃ ˈsupərˌmɑrkɪts, ðoʊ ju kən gɪt ə ˈvɛri waɪd reɪnʤ əv əˈmɛrɪkən ˌɪnˈgridiənts ɪn ˈfælən bərn ɪn ˈdəblɪn. aɪ ˈɔlsoʊ kət bæk ɔn ðə ˈʃʊgər, ðɛr wɑz weɪ tu məʧ. maɪ tiθ fɛlt ˈfəni ʤɪst ˈθɪŋkɪŋ əˈbaʊt ɪt. ʃʊr ðɪs kʊd bi meɪd ɪn ə bɪg keɪk pæn ər tɪn, bət ɪt sɛd ə rɪŋ keɪk tɪn ənd ɪt ʤɪst soʊ ˈhæpənz aɪ hæv ə rɪŋ keɪk tɪn.. kəˈlɛktɪŋ keɪk tɪnz ɪz wən əv maɪ ˈhɑbiz (ˈprɑbləmz) ðət ənd kʊk bʊks!!. ɔl ɪn ɔl ðə ˈʧɔklət ˈɔrɪnʤ rɪŋ keɪk ɪz ən ˈizi ˈrɛsəpi, ʤɪst kwaɪt ə lɔt əv ɪt. ðɪs ɪz ə ˈʤɛnərəs keɪk ɪt wɪl gɪv ju 16 sˈlaɪsɪz wɪn aɪ θɪŋk əv ˈɔrɪnʤ ənd ˈʧɔklət aɪ ˈɔlˌweɪz θɪŋk ˈʤæfə keɪk soʊ aɪ pʊt maɪ ɔn twɪst ɔn ɪt baɪ ˈjuzɪŋ ə fju ˈʤæfə keɪks ɪn ðə beɪs ənd ðə ˈtɑpɪŋ. aɪ ˈɔlsoʊ pʊt ɪn ə ˈteɪbəlˌspun əv ˈɔrɪnʤ lɪˈkər ˈoʊnli bɪˈkəz aɪ ˈhæpən tɪ hæv səm lɛft ˈoʊvər. noʊ lɪˈkər, ʤɪst juz ˈɔrɪnʤ ˈɛkˌstrækt aɪ leɪərd əp ðə ˈbætərz ɪn ðə tɪn laɪk ðə ˈrɛsəpi sɛd ənd ˈfɪnɪʃt ɔf wɪθ ə leɪər əv ʧɑpt əp ˈʤæfə keɪks. wɪn ðə keɪk ɪz tərnd aʊt ðiz wɪl ɛnd əp ɔn ðə ˈbɑtəm, ɪt gɪvz ðə keɪk ə bɪt əv krənʧ. aɪ juzd ˈbeɪkɪŋ spreɪ tɪ gris əp ðə tɪn, aɪ faɪnd ðɪs məʧ ˈiziər ðɛn ˈbrəʃɪŋ ɔl ðə ˈkɔrnərz wɪθ ˈmɛltɪd ˈbətər. ““bert”*” ɪz ə smɔl fud ˈprɑˌsɛsər soʊ ɪt wɑz kwaɪt ˈɔkwərd ˈjuzɪŋ ðə fud ˈprɑˌsɛsər fər səʧ ə lɑrʤ əˈmaʊnt əv ˈbætər. ɪt beɪks ɪn ə ˈmɑdərətli hɑt ˈəvən fər 55 ɪt wɑz ˈbeɪkɪŋ aɪ wɛnt əˈhɛd wɪθ ðə ˈkraʊnɪŋ ˈglɔri ðə ˈbjutəfəl ˈʃaɪni ˈbətər ganache”*”. aɪ ˈrɪli laɪk ðɪs taɪp əv. aɪ ˈjuʒəwəli meɪk maɪn wɪθ krim, bət ðɪs wɑz meɪd wɪθ ˈbətər ˈwɔtər ənd ɪt wərkt ˈpərfəktli fər ˈpɔrɪŋ ɔn tɔp. wɪl ˈdɛfənətli juz ðɪs əˈgɛn, ɪt ˈrɪli ɪz ðə bɪz fər wɪn ju ʤɪst nid ə kwɪk bət dɪˈlɪʃəs keɪk ˈtɑpɪŋ. aɪ ˈfɪnɪʃt ðə tɔp ɔf wɪθ ʧɑpt əp ˈʤæfə keɪks. prɪnt ˈʧɔklət ˈɔrɪnʤ "ˈʤæfə" rɪŋ keɪk prɛp taɪm: 20 ˈmɪnəts kʊk taɪm: 55 ˈmɪnəts ˈtoʊtəl taɪm: 1 aʊər, 15 ˈmɪnəts jild: 16 sˈlaɪsɪz ˌɪnˈgridiənts waɪt ˈʧɔklət ər waɪt ˈʧɔklət ʧɪps dɑrk ˈʧɔklət ər dɑrk ˈʧɔklət ʧɪps ˈbətər, rum ˈtɛmpərəʧər pleɪn flaʊər 1 ˈbeɪkɪŋ ˈpaʊdər baɪˈkɑrbənət əv ˈsoʊdə sɔlt 4 ɛgz ˈkæstər ˈʃʊgər ˈbətərˌmɪlk 1 vəˈnɪlə ˈɛkˌstrækt 3 ˈfaɪnli ˈgreɪtɪd ˈɔrɪnʤ zɛst 1 ˈɔrɪnʤ ˈɛkˌstrækt 1 ˈʤæfə keɪks ˈʧɔklət: dɑrk ˈʧɔklət ˈbətər 1 tbsp*. ˈwɔtər ˌɪnˈstrəkʃənz ˈəvən tɪ 180c*. spreɪ jʊr rɪŋ tɪn wɪθ ˈbeɪkɪŋ spreɪ ənd dəst wɪθ flaʊər mɛlt dɑrk ˈʧɔklət wɪθ əv ðə ˈsɔfənd ˈbətər stər ənˈtɪl smuð. du ðə seɪm wɪθ ðə waɪt ˈʧɔklət. liv tɪ kul. pleɪs flaʊər, ˈbeɪkɪŋ ˈpaʊdər, baɪˈkɑrbənət əv ˈsoʊdə ənd sɔlt ˈɪntu ə fud ˈprɑˌsɛsər. wɪz təˈgɛðər ənˈtɪl wɛl mɪkst ənd ˈtrænsfər tɪ ə boʊl. bit ðə ɛgz təˈgɛðər ənd ˈɛmti ˈɪntu boʊl wɪθ ðə sɔlt ənd ˈʃʊgər ˈɪntu ðə ˈprɑˌsɛsər ənd wɪz fər 1 ˈmɪnət. æd rɪˈmeɪnɪŋ əv ˈbətər tɪ ðə ɛg ˈmɪksʧər ənd ˈprɔˌsɛs fər 1 ˈmɪnət. pɔr ɪn ˈbətərˌmɪlk ənd vəˈnɪlə ənd wɪz fər 10 ˈsɛkəndz. tɪp ɪn flaʊər ˈmɪksʧər ənd pəls ə fju taɪmz ənˈtɪl ˈbætər ɪz ʤɪst kəmˈbaɪnd. ˈtrænsfər hæf ðə ˈbætər tɪ ə boʊl ənd stər ɪn ðə waɪt ˈʧɔklət. æd dɑrk ˈʧɔklət ˈmɪksʧər ənd ˈɔrɪnʤ zɛst, ˈɛkˌstrækt tɪ ðə ˈbætər ɪn ðə ˈprɑˌsɛsər ənd blɛnd ɪt ɪn kˈwɪkli ənˈtɪl ʤɪst kəmˈbaɪnd... ʧɑp əp ðə ˈʤæfə keɪks ənd liv tɪ ðə saɪd. sprɛd hæf ðə waɪt ˈʧɔklət ˈbætər ˈɪntu ðə ˈbɑtəm əv ðə rɪŋ tɪn. ˈdɑləp hæf ðə dɑrk ˈʧɔklət ˈbætər ɔn tɔp ɪn ən ˈivɪn leɪər. rɪˈpit ðə leɪərz wɪθ rɪˈmeɪnɪŋ ˈbætər. dræg ə skjuər raɪt θru ðə ˈbætər ənd swərl θru ˈʤɛntli. ðɪs wɪl gɪv ə ˈifɛkt wɪn ðə keɪk ɪz beɪkt. ˈskætər ðə ʧɑpt ˈʤæfə keɪks ˈoʊvər ðə tɔp. ˈprɛsɪŋ ðɛm daʊn ˈʤɛntli ˈɪntu ˈbætər beɪk fər 55 ˈmɪnəts ər ənˈtɪl ə skjuər ˌɪnˈsərtɪd kəmz aʊt klin. kul ðə keɪk ɪn ðə tɪn fər ˈmɪnəts, ənd ðɛn ˈkɛrfəli ˈlusən ðə ˈɛʤɪz əv ðə keɪk ənd ˌɪnˈvərt ˈɔntu ə ræk tɪ kul kəmˈplitli ˈminˌwaɪl, meɪk baɪ ˈmɛltɪŋ ðə ˌɪnˈgridiənts ɪn ə pɑt ˈoʊvər ə loʊ hit ənˈtɪl ˈmɛltɪd ənd smuð. liv tɪ kul sˈlaɪtli pɔr ðə ˈoʊvər ðə keɪk ənd lɛt ɪt sɛt. ˈdɛkərˌeɪt wɪθ ðə rɛst əv ðə ʧɑpt əp ˈʤæfə keɪks. http://irishbakingadventures.com/henry-my-partner-in-crime-a-chocolate-orange-jaffa-ring-cake*/ pliz noʊt ðiz ˈrɛsəpiz ər maɪ oʊn ənd ˈkɑpi ˈraɪtɪd tɪ http://irishbakingadventures.com*/ pliz liv ə ˈkɑmɛnt baɪ ˈklɪkɪŋ ðə ˈkɑmɛnt ˈbəbəl æt ðə tɔp əv ðə poʊst rɪˈleɪtɪd sprɛd ðə ləv
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prithviraja (iast: pṛthvī-rāja; reign. c. ), popularly known as or rai in the folk legends, was an indian king from the (chauhan) dynasty. he ruled, the traditional territory, in india. he controlled much of the rajasthan, haryana, and delhi; and some parts of pradesh and pradesh. his capital was located at (modern), although the medieval folk legends describe him as the king of india's politicalntre delhi to portray him as a representative of the indian power.
early in his career, achieved military successes against several neighbouring hindu kingdoms, most notably against the king. he also repulsed the early invasions by muhammad of, a ruler of the muslim dynasty. however, in 1192, thes defeated at the second battle of. his defeat at is seen as a landmark event in the islamic conquest of india, and has been described in several accounts. the most popular of these accounts is raso, which presents him as a "rajput", although the identity did not exist during his time.
background [ edit ]
sources of information [ edit ]
the extant inscriptions from's reign are few in number, and were not issued by the king himself. much of the information about him comes from the medieval legendary chronicles. besides the muslim accounts of battles of, he has been mentioned in several medieval (epic poems) by hindu and jain authors. these include, and raso. these texts contain descriptions, and are therefore, not entirely reliable. is the only surviving literary text from the reign of. raso, which popularized as a great king, is purported to be written by the king's court poet chand. however, it is full of exaggerated accounts many of which are worthless for the purposes of history.
other chronicles and texts that mention include-chintamani, and. these were composednturies after his death, and contain exaggerations and anachronistic anecdotes. both-chintamani and-prabandha portray as an inept and unworthy king who was responsible for his own downfall. has also been mentioned in-gachchha-pattavali, a sanskrit text containing biographies of the jain monks. while the work was completed in 1336, the part that mentions was written around 1250. the (or raso) of the poet also provides an exaggerated account of's war against thes.
birth [ edit ]
prithviraj was born to the king and queen (a princess). both and his younger brother were born in gujarat, where their father was brought up at the court by his maternal relatives. according to, was born on the day of the month. the text does not mention the year of his birth, but provides some of the astrological planetary positions at the time of his birth, calling them auspicious. based on these positions and assumingrtain other planetary positions, sharma calculated the year of's birth as 1166 (1223 vs).
education [ edit ]
the medieval biographies of suggest that he was educated well. the states that he mastered 6 languages; the raso claims that he learned 14 languages, which appears to be an exaggeration. the raso goes on to claim that he became in a number of subjects, including history, mathematics, medicine, military, painting, philosophy (mimamsa), and theology. both the texts state that he was particularly proficient in archery.
coronation [ edit ]
prithviraj moved from gujarat to, when his father was crowned the king after the death of. died in 1177 (1234 vs), when was around 11 years old. the last inscription from's reign and the first inscription from's reign are both dated to this year., who was a minor at the time, ascended the throne with his mother as the regent. the claims that himself installed on the throne, and then retired to the forest. however, this is doubtful.
early reign [ edit ]
during his early years as the king,'s mother managed the administration, assisted by a regency council.
kadambavasa served as the chief minister of the kingdom during this period. he is also known as kaimasa, or in the folk legends, which describe him as an able administrator and soldier devoted to the young king. states that he was responsible for all the military victories during the early years of's reign. according to two different legends, was later killed by. the-raso claims that killed the minister after finding him in the apartment of the king's favourite concubine karnati.-prabandha claims that a man named conspired against the minister, and convinced that the minister was responsible for the repeated muslim invasions. both these claims appear to be historically inaccurate, as the much more historically reliable does not mention any such incident.
bhuvanaikamalla, the paternal uncle of's mother, was another important minister during this time. according to, he was a valiant general who served as garuda serves vishnu. the text also states that he was "proficient in the art of subduing nāgas". according to the historian jonaraja, "naga" here refers to elephants. however, har interpreted as the name of a tribe, and theorized that defeated this tribe.
according to historian sharma, assumed actual control of the administration in 1180 (1237 vs).
conflicts with hindu rulers [ edit ]
nagarjuna [ edit ]
the first military achievement of was his suppression of a revolt by his cousinrjuna, and recapture of (iast: guḍapura; possibly modern gurgaon).rjuna was a son of's uncle iv, and the struggle for the throne had led to a rivalry between the two branches of the family.
according to,rjuna rebelled against's authority and occupied the fort of. besieged with a large army comprising infantry, camels, elephants and horses.rjuna fled the fort, but (possibly his general) continued to offer resistance. ultimately,'s army emerged victorious, and captured the wife, mother and followers ofrjuna. according to, a garland made of the defeated soldiers' heads was hung across the fort gate.
bhadanakas [ edit ]
two verses of-gachchha-pattavali mention the victory of over the, while describing a debate between two jain monks. this victory can be dated to sometime before 1182, when the said debate took place.
according to cynthia talbot, the were an obscure dynasty who controlled the area around bayana. according to sharma, the territory comprised the area around bhiwani, and alwar.
chandelas of [ edit ]
the (1239 vs) inscriptions from's reign claim that he "laid to waste" bundelkhand), which was ruled by the king.'s invasion of the territory is also described in the later folk legends, such as raso, raso, and-raso. other texts such as and also mention's attack on. the-gachchha-pattavali mentions that had embarked upon a (conquest of all the regions). this appears to be a reference to the start of's march to.
the legendary account of's campaign against thes goes like this: was returning to delhi after marrying the daughter of padamsen, when his contingent was attacked by the turkic forces (ghurids). his army repulsed the attacks, but suffered serious casualties in the process. amid this chaos, the soldiers lost their way, and unknowingly encamped in the capital. they killed the royal gardener for objecting to their presence, which led to a skirmish between the two sides. the king asked his general to attack's camp, but advised against this move.'s brother-in-law ruler of orai; (who against) instigated the king to go ahead with the attack. defeated's contingent, and then left for delhi. subsequently, unhappy with's scheming, and his brother left the court. they started serving, the ruler of. then secretly informed that kingdom had become weak in absence of its strongest generals. invaded the kingdom, and besieged sirsagarh, which was held by's cousin. after failing to win over through peaceful methods and losing eight generals, captured the fort. thes then appealed for a truce, and used this time to recall and from. in support of thes, dispatched an army led by his best generals, including two of his own sons. the combined-gahadavala army attacked's camp, but was defeated. after his victory, sacked. he then dispatched his general rai to fort to capture. according to the various legends, either died or retired shortly after the attack. returned to delhi after appointing rai as the governor of. later,'s son recaptured.
the exact of this legendary narrative is debatable. the inscriptions establish that sacked, but historical evidence indicates that he did not occupy or. it is known that did not die or retire immediately after the victory; in fact, he continued ruling as a sovereign nearly a decade after's death. it appears that only raided, and regained control of his kingdom soon after his departure from. was not able to annex the territory to his kingdom.
chaulukyas of gujarat [ edit ]
the-gachchha-pattavali mentions a peace treaty between, and, the (solanki) king of gujarat. this implies that the two kings were previously at war. this war can be dated to sometime before 1187 (1244 vs). the inscription states that's prime minister was "the moon to the queens of" (a reference to the belief that the causes a lotus to close its petals). since was a minor at the time, it appears that led the campaign on the side.
the historically unreliable raso provides some details about the-chaulukya struggle. according to it, both and wanted to marry, the princess of abu.'s marriage to her led to a rivalry between the two kings. g. h. dismissed this legend as fiction, because it states that was a daughter of, while was the ruler of abu at the time. r. b. singh, on the other hand, believed that was the head of another branch at abu. the raso also mentions that's uncle had killed seven sons of's uncle sarangadeva. to avenge these murders, invaded the kingdom and killed's father, capturing in the process., and defeated and killed. this is known to be historically false, as the reign of lasted nearly half antury after's death. similarly, historical evidence suggests was a child at the time of's death, and therefore, could not have killed him.
despite these discrepancies, there is some evidence of a battle between thes and thes at. two inscriptions found at village near commemorate the death of soldiers at the battle of in 1184 (1241 vs). thes are a branch of thes (thes), and it is possible the inscriptions refer to the battle described in raso.
sometime before 1187, signed a peace treaty with. according to-gachchha-pattavali, a chief named once sought's permission to attack and rob the wealthy visitors from country (the territory). in response, told that he had concluded a treaty with with much difficulty. then threatened to have sewn in a belly if he harassed the people of. historian sharma theorized that the-chaulukya conflict ended with some advantage for, as appears to have been very anxious to preserve the treaty.
paramaras of abu [ edit ]
abu was ruled by the, who belonged to a branch of the dynasty. by his younger brother describes's night attack on abu. this attack, according to the text, was a failure for thes. it probably happened during the gujarat campaign of.
gahadavalas of [ edit ]
the kingdom,ntered around and headed by another powerful king jayachandra, was located to the east of the kingdom. according to a legend mentioned in raso, with daughter, leading to a rivalry between the two kings.
the legend goes like this: king (jayachandra) of decided to conduct aremony to proclaim his supremacy. refused to participate in thisremony, and thus, refused to acknowledge as the supreme king.'s daughter fell in love with after hearing about his heroic exploits, and declared that she would marry only him. arranged a (husband-selection)remony for his daughter, but did not invite. nevertheless, marched to with a hundred warriors and with. of his warriors sacrificed their life in fight against the army, allowing him to escape to delhi with. in delhi, became infatuated with his new wife, and started spending most of his time with her. he started ignoring the state affairs, which ultimately led to his defeat against muhammad of.
this legend is also mentioned in and (which names the princess as "kantimati"). mentions that fell in love with the incarnation of an tilottama, although he had never seen this woman and was already married to other women. according to historian sharma, this is probably a reference to. however, this legend is not mentioned in other historical sources such as-prabandha,-chintamani,-kosha and-mahakavya. the records are also silent about this event, including the supposed performance by jayachandra.
according to sharma and r. b. singh, there might be some historical truth in this legend, as it is mentioned in three different sources. all three sources place the event sometime before's final confrontation with muhammad of in 1192.
other rulers [ edit ]
the raso mentions that defeated rai of and the chief rai, but these stories appear to be pure fiction. no historical records suggest existence of these persons.
the construction of the rai fort in delhi is attributed to. according to raso, delhi's ruler gave the city to his son-in-law, and was defeated when he wanted it back. this is historically inaccurate, as delhi was annexed to the territory by's uncle iv. in addition, historical evidence suggests that died before the birth of. the claim about his daughter's marriage to appears to have been concocted at a later date.
war with thes [ edit ]
prithviraj's predecessors had faced multiple raids from the muslim dynasties that had captured the areas of the indian subcontinent by thentury. by the latentury, the dynasty controlled the territory to the west of the kingdom. while was still a child, in 1175, the ruler muhammad of crossed the indus river and captured. in 1178, he invaded gujarat, which was ruled by thes (solankis). during its march to gujarat, the army appears to have passed through the western frontier of the kingdom, as evident by the destruction of several temples and sacking of the lodhruva. the mentions that the activities of the army were like to the kingdom (in hindu mythology, swallows the sun, causing a solar eclipse). however, it does not mention any military engagement between the two kingdoms. on its way to gujarat, the army besieged the (nadol) fort, which was controlled by thes of.'s chief minister advised him not to offer any assistance to the rivals of thes, and to stay away from this conflict. thes did not immediately face a invasion, because thes of gujarat defeated muhammad at the battle of in 1178, forcing thes to retreat.
over the next few years, muhammad of consolidated his power in the territory to the west of thes, conquering peshawar, sindh, and punjab. he shifted his base from to punjab, and made attempts to expand his empire eastwards, which brought him into conflict with.
prithviraja mentions that muhammad of sent an ambassador to, but does not provide any details. hasan (13thntury) states that muhammad sent his chief judge din to's court. the envoy tried to convince to "abandon belligerence and pursue the path of rectitude", but was unsuccessful. as a result, muhammad decided to wage a war against.
the medieval muslim writers mention only one or two battles between the two rulers. the and mention the two battles of. and mention only the second battle of, in which was defeated. however, the hindu and jain writers state that defeated muhammad multiple times before being killed:
the claims that after defeating muhammad for the first time, forced him to apologize to the princes whose territories he had ransacked, before letting him go. muhammad invaded the kingdom seven more times, but was defeated each time. however, his ninth invasion succeeded.
claims that after defeating muhammad for the first time, forced him to apologize to the princes whose territories he had ransacked, before letting him go. muhammad invaded the kingdom seven more times, but was defeated each time. however, his ninth invasion succeeded. the states that the two kings fought 8 battles.
states that the two kings fought 8 battles. the claims that captured muhammad 20 times, but was himself imprisoned during the battle. the charita and raso also enumerate 21 battles.
claims that captured muhammad 20 times, but was himself imprisoned during the battle. the and also enumerate 21 battles. the gives the number of battles as 23.
while these accounts seem to exaggerate the number, it is possible that more than two engagements took place between thes and thes during's reign. the early victories mentioned by the hindu and jain writers probably refer to's successful of raids by generals.
first battle of [ edit ]
during, muhammad of invaded the territory, and captured or (identified with bathinda). he placed it under the charge of zia-ud-din, the of tulak, supported by 1200 horsemen. when learned about this, marched towards with his feudatories, including of delhi. according to thentury muslim historian, his force comprised horses and elephants.
muhammad's original plan was to return to his base after conquering, but when he heard about's march, he decided to put up a fight. he set out with an army, and encountered's forces at. in the ensuing battle,'s army decisively defeated thes. muhammad of was injured and forced to retreat.
prithviraj did not pursue the retreating army, not wanting to invade hostile territory or misjudgei's ambition. he only besieged the garrison at, which surrendered after 13 months of siege.
second battle of [ edit ]
antury artist's imagination of the second battle of
prithviraj seems to have treated the first battle of as merely a frontier fight. this view is strengthened by the fact that he made little preparations for any future clash with muhammad of. according to raso, during the period preceding his final confrontation with thes, he neglected the affairs of the state and spent time in merry-making.
meanwhile, muhammad of returned to, and made preparations to avenge his defeat. according to, he gathered a army of select afghan, tajik and turkic horsemen over the next few months. he then marched towards the kingdom via and lahore, aided byraja of jammu.
prithviraj had been left without any allies as a result of his wars against the neighbouring hindu kings. nevertheless, he managed to gather a large army to counter thes. thentury muslim historian estimated the strength of's army as horses and elephants, in addition to a large infantry. this is most likely a gross exaggeration, aimed at emphasizing the scale of the victory.'s camp, which comprised 150 chiefs, wrote a letter to muhammad of, promising him no harm if he decided to return to his own country. muhammad insisted that he needed time to confer his brother. according to, he agreed to a truce until he received an answer from his brother. however, he planned an attack against thes.
according to ul-hikayat, muhammad assigned a few men to keep the fires in his camp burning at night, while he marched off in another direction with the rest of his army. this gave thes an impression that the army was still encamped, observing the truce. after reaching several miles away, muhammad formed four divisions, with archers each. he kept the rest of his army in reserve. he ordered the four divisions to launch an attack on the camp, and then pretend a retreat.
at dawn, the four divisions of the army attacked the camp, while was still asleep. after a brief fight, the divisions pretended to retreat in accordance with muhammad's strategy. was thus lured into chasing them, and by the afternoon, the army was exhausted as a result of this pursuit. at this point, muhammad led his reserve force and attacked thes, decisively defeating them. according to,'s camp lost men (including of delhi) in this debacle. himself tried to escape on a horse, but was pursued and caught near the fort (possibly modern sirsa). subsequently, muhammad of captured after killing several thousand defenders, enslaved many more, and destroyed the city's temples.
death [ edit ]
coins of
most medieval sources state that was taken to the capital, where muhammad planned to reinstate him as a vassal. sometime later, rebelled against muhammad, and was killed for treason. this is corroborated by numismatic evidence: some coins issued by from the delhi mint feature his own name as well as the name of muhammad on the reverse. after's death, muhammad installed the prince on the throne of, which further supports this theory. the various sources differ on the exact circumstances:
the contemporary muslim historian hasan states that was caught conspiring against muhammad, prompting the king to order his beheading. does not describe the nature of this conspiracy.
according to-chintamani by thentury jain scholar merutunga, muhammad was enraged when he saw paintings depicting muslims being killed by pigs in the gallery. he then abandoned his plan to let live as a vassal, and ordered his beheading.
by thentury jain scholar merutunga, muhammad was enraged when he saw paintings depicting muslims being killed by pigs in the gallery. he then abandoned his plan to let live as a vassal, and ordered his beheading.-prabandha (datedntury or earlier) states that after capturing, muhammad occupied's court. he housed in a building facing this court. one day, asked his minister for his to kill muhammad. the treacherous minister supplied him the, but secretly informed muhammad of his plan. as a result, muhammad did not sit at his usual place, and instead kept a statue there. fired an arrow at the statue, mistaking it for muhammad. as a punishment, muhammad had him cast into a pit and stoned to death.
(datedntury or earlier) states that after capturing, muhammad occupied's court. he housed in a building facing this court. one day, asked his minister for his to kill muhammad. the treacherous minister supplied him the, but secretly informed muhammad of his plan. as a result, muhammad did not sit at his usual place, and instead kept a statue there. fired an arrow at the statue, mistaking it for muhammad. as a punishment, muhammad had him cast into a pit and stoned to death. states that refused to eat food after being captured. the of the king suggested that he release, just like the king had done to him in the past. but muhammad their advice, and died in captivity.
the-century persian historian states that was "sent to hell" after being captured. the-century historian also supports this account. according to historian chandra, account suggests that was executed immediately after his defeat, but r. b. singh believes that no such conclusion can be drawn from writings. by the hindu writer claims that was killed on the battlefield.
the raso claims that was taken to as a prisoner, and blinded. on hearing this, the poet chand traveled to and tricked muhammad of into watching an archery performance by the blind. during this performance, shot the arrow in the direction of muhammad's voice and killed him. shortly after, and chand killed each] this is a fictional narrative, not supported by historical evidence: muhammad of continued to rule for more than a decade after's]
after's death, thes appointed his son on the throne of as their vassal. in 1192,'s younger brother dethroned, and recaptured a part of his ancestral kingdom. moved to (modern ranthambore), where he established a new branch of vassal rulers. was later defeated by the general aibak.
cultural activities [ edit ]
prithviraj had a dedicated ministry for (scholars) and poets, which was under the charge of padmanabha. his court had a number of poets and scholars, including:
jayanaka, a who wrote
vidyapati
vagisvara
vishvarupa, a poet
prithvibhata, a royal bard (identified as chand by some scholars)
kharatara-gachchha-pattavali mentions a debate that took place between the jain monks and at (modern near). had encamped there at the time. was later invited to by a rich jain merchant. there, issued him a (certificate of victory).
legacy [ edit ]
inscriptions [ edit ]
find-spots of inscriptions from's reign, in india
according to historian r. b. singh, at its height,'s empire extended from river in the west to the river in the east, and from the himalayan foothills in the north to the foot of mount abu in the south. thus, it included parts of rajasthan, southern punjab, northern pradesh, and western pradesh.
only seven inscriptions dated to's reign are available; none of these were issued by the king himself:
barla or inscription, 1177 (1234 vs)
phalodi inscription, 1179 (1236 vs): records the grants made by's vassal katiya.
katiya. inscriptions of 1182 (1239 vs) inscription 1: mentions that invaded the territory of the ruler inscription 2: names's father (someshvara) and grandfather (arnoraja), and states that he plundered (the territory) inscription 3: contains names of shiva (tryambaka, chandrashekhara, and tripuranta).
udaipur victoria hall museum inscription, 1187 (1244 vs)
visalpur near tonk) inscription, 1187 (1244 vs)
in popular culture [ edit ]
prithviraj raso version published by the the cover of aversion published by theri
after his death, came to be portrayed as a patriotic hindu warrior who fought against muslim enemies. he is remembered as a king whose reign separated the two major epochs of indian history. his dynasty was classified as one of the clans in the later period, including in the legendary texts such as raso, although the "rajput" identity did not exist during his time. thentury legends describe him as the ruler of india's politicalntre delhi (rather than, which was his actual capital). for example, does not associate the dynasty with at all.'s association with delhi in these legends further strengthened his status as a symbol of indian power.
prithviraj has been described as "the last hindu emperor" in eulogies. this designation is inaccurate, as several stronger hindu rulers flourished in south india after him, and even some contemporary hindu rulers in northern india were at least as powerful as him. nevertheless, thentury british officer james tod repeatedly used this term to describe in his annals and antiquities of rajas'han. tod was influenced by the medieval persian language muslim accounts, which present as a major ruler and portray his defeat as a major milestone in the islamic conquest of india. after tod, several narratives continued to describe as "the last hindu emperor".
memorials dedicated to have been constructed in and delhi. a number of movies and television serials have been made on his life. these include the hindi movie and the hindi television serial ka veer (2006–2009). the animated movie veer (2008) was released in english, hindi, tamil and telugu languages. he was also one of the first historical figures to be covered in amar chitra katha (no. 25). many of these modern depict as a flawless hero, and emphasize a message of hindu national unity.
references [ edit ]
^ in datta, (1988) the encyclopaedia of indian literature: volume two: to jyoti, akademi, new delhi, india, (1988) "epic (hindi)"datta, (1988), akademi, new delhi, india, page 1178 ^ (1886) "the antiquity, authenticity and genuineness of the epic called the and commonly ascribed to chand" journal of the asiatic society of bengal, vol. 55,,
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prithviraja* (iast*: pṛthvī-rāja*; reɪn. si. ˈpɑpjələrli noʊn ɛz ər rɑi ɪn ðə foʊk ˈlɛʤəndz, wɑz ən ˈɪndiən kɪŋ frəm ðə (chauhan*) ˈdaɪnəsti. hi ruld, ðə trəˈdɪʃənəl ˈtɛrɪˌtɔri, ɪn ˈɪndiə. hi kənˈtroʊld məʧ əv ðə rajasthan*, hɛˈrjɑnə, ənd ˈdɛli; ənd səm pɑrts əv prəˈdɛʃ ənd prəˈdɛʃ. hɪz ˈkæpɪtəl wɑz ˈloʊˌkeɪtəd æt (ˈmɑdərn), ˌɔlˈðoʊ ðə mɪˈdjivəl foʊk ˈlɛʤəndz dɪˈskraɪb ɪm ɛz ðə kɪŋ əv ˈɪndiəz pəˈlɪtɪkəl ˈsɛntər ˈdɛli tɪ pɔrˈtreɪ ɪm ɛz ə ˌrɛprɪˈzɛnətɪv əv ðə ˈɪndiən paʊər. ˈərli ɪn hɪz kərɪr, əˈʧivd ˈmɪlɪˌtɛri səkˈsɛsɪz əˈgɛnst ˈsɛvərəl ˈneɪbərɪŋ ˈhɪnˌdu ˈkɪŋdəmz, moʊst ˈnoʊtəbli əˈgɛnst ðə kɪŋ. hi ˈɔlsoʊ riˈpəlst ðə ˈərli ˌɪnˈveɪʒənz baɪ mʊˈhɑməd əv, ə ˈrulər əv ðə ˈməzlɪm ˈdaɪnəsti. ˌhaʊˈɛvər, ɪn 1192, ðə dɪˈfitɪd æt ðə ˈsɛkənd ˈbætəl əv. hɪz dɪˈfit æt ɪz sin ɛz ə ˈlændˌmɑrk ɪˈvɛnt ɪn ðə ˌɪzˈlɑmɪk ˈkɑŋkwɛst əv ˈɪndiə, ənd həz bɪn dɪˈskraɪbd ɪn ˈsɛvərəl əˈkaʊnts. ðə moʊst ˈpɑpjələr əv ðiz əˈkaʊnts ɪz ˈrɑsoʊ, wɪʧ ˈprɛzənts ɪm ɛz ə "rajput*", ˌɔlˈðoʊ ðə aɪˈdɛntəˌti dɪd nɑt ɪgˈzɪst ˈdʊrɪŋ hɪz taɪm. ˈbækˌgraʊnd ˈɛdət ˈsɔrsəz əv ˌɪnˌfɔrˈmeɪʃən ˈɛdət ðə ˈɛkstənt ˌɪnˈskrɪpʃənz frəm reɪn ər fju ɪn ˈnəmbər, ənd wər nɑt ˈɪʃud baɪ ðə kɪŋ hɪmˈsɛlf. məʧ əv ðə ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ɪm kəmz frəm ðə mɪˈdjivəl ˈlɛʤənˌdɛri ˈkrɑnɪkəlz. ˌbiˈsaɪdz ðə ˈməzlɪm əˈkaʊnts əv ˈbætəlz əv, hi həz bɪn ˈmɛnʃənd ɪn ˈsɛvərəl mɪˈdjivəl (ˈɛpɪk poʊəmz) baɪ ˈhɪnˌdu ənd ʤeɪn ˈɔθərz. ðiz ˌɪnˈklud, ənd ˈrɑsoʊ. ðiz tɛksts kənˈteɪn dɪˈskrɪpʃənz, ənd ər ˈðɛrˌfɔr, nɑt ɪnˈtaɪərli rɪˈlaɪəbəl. ɪz ðə ˈoʊnli sərˈvaɪvɪŋ ˈlɪtərˌɛri tɛkst frəm ðə reɪn əv. ˈrɑsoʊ, wɪʧ ˈpɑpjələrˌaɪzd ɛz ə greɪt kɪŋ, ɪz pərˈpɔrtɪd tɪ bi ˈrɪtən baɪ ðə kɪŋz kɔrt poʊət ʧænd. ˌhaʊˈɛvər, ɪt ɪz fʊl əv ɪgˈzæʤərˌeɪtɪd əˈkaʊnts ˈmɛni əv wɪʧ ər ˈwərθləs fər ðə ˈpərpəsɪz əv ˈhɪstəri. ˈəðər ˈkrɑnɪkəlz ənd tɛksts ðət ˈmɛnʃən ˌɪnˈklud, ənd. ðiz wər kəmˈpoʊzd ˈsɛnʧəriz ˈæftər hɪz dɛθ, ənd kənˈteɪn ɪgˌzæʤərˈeɪʃənz ənd əˌnækrəˈnɪstɪk ˈænɪkˌdoʊts. boʊθ ənd pɔrˈtreɪ ɛz ən ˌɪˈnɛpt ənd ənˈwərði kɪŋ hu wɑz riˈspɑnsəbəl fər hɪz oʊn ˈdaʊnˌfɔl. həz ˈɔlsoʊ bɪn ˈmɛnʃənd ɪn, ə ˈsænskrɪt tɛkst kənˈteɪnɪŋ baɪˈɑgrəfiz əv ðə ʤeɪn məŋks. waɪl ðə wərk wɑz kəmˈplitɪd ɪn 1336, ðə pɑrt ðət ˈmɛnʃənz wɑz ˈrɪtən əraʊnd 1250. ðə (ər ˈrɑsoʊ) əv ðə poʊət ˈɔlsoʊ prəˈvaɪdz ən ɪgˈzæʤərˌeɪtɪd əˈkaʊnt əv wɔr əˈgɛnst ðə. bərθ ˈɛdət wɑz bɔrn tɪ ðə kɪŋ ənd kwin (ə ˈprɪnsɛs). boʊθ ənd hɪz ˈjəŋgər ˈbrəðər wər bɔrn ɪn ˌgjuʤərˈæt, wɛr ðɛr ˈfɑðər wɑz brɔt əp æt ðə kɔrt baɪ hɪz məˈtərnəl ˈrɛlətɪvz. əˈkɔrdɪŋ tɪ, wɑz bɔrn ɔn ðə deɪ əv ðə mənθ. ðə tɛkst dɪz nɑt ˈmɛnʃən ðə jɪr əv hɪz bərθ, bət prəˈvaɪdz səm əv ðə ˌæstrəˈlɑʤɪkəl ˈplænəˌtɛri pəˈzɪʃənz æt ðə taɪm əv hɪz bərθ, ˈkɔlɪŋ ðɛm ɑˈspɪʃəs. beɪst ɔn ðiz pəˈzɪʃənz ənd əˈsumɪŋ ˈsərtən ˈəðər ˈplænəˌtɛri pəˈzɪʃənz, ˈʃɑrmə ˈkælkjəˌleɪtɪd ðə jɪr əv bərθ ɛz 1166 1223 ˈvərsəz). ˌɛʤəˈkeɪʃən ˈɛdət ðə mɪˈdjivəl baɪˈɑgrəfiz əv səˈʤɛst ðət hi wɑz ˈɛʤəˌkeɪtɪd wɛl. ðə steɪts ðət hi ˈmæstərd 6 ˈlæŋgwɪʤɪz; ðə ˈrɑsoʊ kleɪmz ðət hi ˈlərnɪd 14 ˈlæŋgwɪʤɪz, wɪʧ əˈpɪrz tɪ bi ən ɪgˌzæʤərˈeɪʃən. ðə ˈrɑsoʊ goʊz ɔn tɪ kleɪm ðət hi bɪˈkeɪm ɪn ə ˈnəmbər əv ˈsəbʤɪkts, ˌɪnˈkludɪŋ ˈhɪstəri, ˌmæθəˈmætɪks, ˈmɛdəsən, ˈmɪlɪˌtɛri, ˈpeɪnɪŋ, fəˈlɑsəfi (mimamsa*), ənd θiˈɑləʤi. boʊθ ðə tɛksts steɪt ðət hi wɑz ˌpɑrˈtɪkjələrli prɑˈfɪʃənt ɪn ˈɑrʧəri. ˌkɔrəˈneɪʃən ˈɛdət muvd frəm ˌgjuʤərˈæt tɪ, wɪn hɪz ˈfɑðər wɑz kraʊnd ðə kɪŋ ˈæftər ðə dɛθ əv. daɪd ɪn 1177 1234 ˈvərsəz), wɪn wɑz əraʊnd 11 jɪrz oʊld. ðə læst ˌɪnˈskrɪpʃən frəm reɪn ənd ðə fərst ˌɪnˈskrɪpʃən frəm reɪn ər boʊθ ˈdeɪtɪd tɪ ðɪs jɪr., hu wɑz ə ˈmaɪnər æt ðə taɪm, əˈsɛndəd ðə θroʊn wɪθ hɪz ˈməðər ɛz ðə ˈriʤənt. ðə kleɪmz ðət hɪmˈsɛlf ˌɪnˈstɔld ɔn ðə θroʊn, ənd ðɛn rɪˈtaɪrd tɪ ðə ˈfɔrɪst. ˌhaʊˈɛvər, ðɪs ɪz ˈdaʊtfəl. ˈərli reɪn ˈɛdət ˈdʊrɪŋ hɪz ˈərli jɪrz ɛz ðə kɪŋ, ˈməðər ˈmænɪʤd ðə ædˌmɪnɪˈstreɪʃən, əˈsɪstɪd baɪ ə ˈriʤənsi ˈkaʊnsəl. sərvd ɛz ðə ʧif ˈmɪnɪstər əv ðə ˈkɪŋdəm ˈdʊrɪŋ ðɪs ˈpɪriəd. hi ɪz ˈɔlsoʊ noʊn ɛz kaimasa*, ər ɪn ðə foʊk ˈlɛʤəndz, wɪʧ dɪˈskraɪb ɪm ɛz ən ˈeɪbəl ədˈmɪnɪˌstreɪtər ənd ˈsoʊlʤər dɪˈvoʊtɪd tɪ ðə jəŋ kɪŋ. steɪts ðət hi wɑz riˈspɑnsəbəl fər ɔl ðə ˈmɪlɪˌtɛri ˈvɪktəriz ˈdʊrɪŋ ðə ˈərli jɪrz əv reɪn. əˈkɔrdɪŋ tɪ tu ˈdɪfərənt ˈlɛʤəndz, wɑz ˈleɪtər kɪld baɪ. ðə kleɪmz ðət kɪld ðə ˈmɪnɪstər ˈæftər ˈfaɪndɪŋ ɪm ɪn ðə əˈpɑrtmənt əv ðə kɪŋz ˈfeɪvərɪt ˈkɑnkjəˌbaɪn karnati*. kleɪmz ðət ə mæn neɪmd kənˈspaɪərd əˈgɛnst ðə ˈmɪnɪstər, ənd kənˈvɪnst ðət ðə ˈmɪnɪstər wɑz riˈspɑnsəbəl fər ðə rɪˈpitɪd ˈməzlɪm ˌɪnˈveɪʒənz. boʊθ ðiz kleɪmz əˈpɪr tɪ bi hɪˈstɔrɪkəli ˌɪˈnækjərət, ɛz ðə məʧ mɔr hɪˈstɔrɪkəli rɪˈlaɪəbəl dɪz nɑt ˈmɛnʃən ˈɛni səʧ ˈɪnsədənt., ðə pəˈtərnəl ˈəŋkəl əv ˈməðər, wɑz əˈnəðər ˌɪmˈpɔrtənt ˈmɪnɪstər ˈdʊrɪŋ ðɪs taɪm. əˈkɔrdɪŋ tɪ, hi wɑz ə ˈvæljənt ˈʤɛnərəl hu sərvd ɛz gəˈrudə sərvz ˈvɪʃnu. ðə tɛkst ˈɔlsoʊ steɪts ðət hi wɑz "prɑˈfɪʃənt ɪn ðə ɑrt əv səbˈduɪŋ nāgas*". əˈkɔrdɪŋ tɪ ðə hɪˈstɔriən jonaraja*, "naga*" hir rɪˈfərz tɪ ˈɛləfənts. ˌhaʊˈɛvər, hɑr ˌɪnˈtərprətəd ɛz ðə neɪm əv ə traɪb, ənd θiəraɪzd ðət dɪˈfitɪd ðɪs traɪb. əˈkɔrdɪŋ tɪ hɪˈstɔriən ˈʃɑrmə, əˈsumd ˈækʧəwəl kənˈtroʊl əv ðə ædˌmɪnɪˈstreɪʃən ɪn 1180 1237 ˈvərsəz). ˈkɑnflɪkts wɪθ ˈhɪnˌdu ˈrulərz ˈɛdət ˈɛdət ðə fərst ˈmɪlɪˌtɛri əˈʧivmənt əv wɑz hɪz səˈprɛʃən əv ə rɪˈvoʊlt baɪ hɪz ˈkəzən, ənd riˈkæpʧər əv (iast*: guḍapura*; ˈpɑsəbli ˈmɑdərn gurgaon*). wɑz ə sən əv ˈəŋkəl iv*, ənd ðə ˈstrəgəl fər ðə θroʊn hæd lɛd tɪ ə ˈraɪvəlri bɪtˈwin ðə tu ˈbrænʧɪz əv ðə ˈfæməli. əˈkɔrdɪŋ tɪ, rɪˈbɛld əˈgɛnst əˈθɔrəti ənd ˈɑkjəˌpaɪd ðə fɔrt əv. bɪˈsiʤd wɪθ ə lɑrʤ ˈɑrmi kəmˈpraɪzɪŋ ˈɪnfəntri, ˈkæməlz, ˈɛləfənts ənd ˈhɔrsɪz. flɛd ðə fɔrt, bət (ˈpɑsəbli hɪz ˈʤɛnərəl) kənˈtɪnjud tɪ ˈɔfər rɪˈzɪstəns. ˈəltəmətli, ˈɑrmi ˈimərʤd vɪkˈtɔriəs, ənd ˈkæpʧərd ðə waɪf, ˈməðər ənd ˈfɑloʊərz əv. əˈkɔrdɪŋ tɪ, ə ˈgɑrlənd meɪd əv ðə dɪˈfitɪd ˈsoʊlʤərz' hɛdz wɑz həŋ əˈkrɔs ðə fɔrt geɪt. ˈɛdət tu ˈvərsɪz əv ˈmɛnʃən ðə ˈvɪktəri əv ˈoʊvər ðə, waɪl dɪˈskraɪbɪŋ ə dəˈbeɪt bɪtˈwin tu ʤeɪn məŋks. ðɪs ˈvɪktəri kən bi ˈdeɪtɪd tɪ ˈsəmˌtaɪm ˌbiˈfɔr 1182, wɪn ðə sɛd dəˈbeɪt tʊk pleɪs. əˈkɔrdɪŋ tɪ ˈsɪnθiə ˈtælbət, ðə wər ən əbˈskjʊr ˈdaɪnəsti hu kənˈtroʊld ðə ˈɛriə əraʊnd bayana*. əˈkɔrdɪŋ tɪ ˈʃɑrmə, ðə ˈtɛrɪˌtɔri kəmˈpraɪzd ðə ˈɛriə əraʊnd bhiwani*, ənd alwar*. əv ˈɛdət ðə 1239 ˈvərsəz) ˌɪnˈskrɪpʃənz frəm reɪn kleɪm ðət hi "leɪd tɪ weɪst" bundelkhand*), wɪʧ wɑz ruld baɪ ðə kɪŋ. ˌɪnˈveɪʒən əv ðə ˈtɛrɪˌtɔri ɪz ˈɔlsoʊ dɪˈskraɪbd ɪn ðə ˈleɪtər foʊk ˈlɛʤəndz, səʧ ɛz ˈrɑsoʊ, ˈrɑsoʊ, ənd alha-raso*. ˈəðər tɛksts səʧ ɛz ənd ˈɔlsoʊ ˈmɛnʃən əˈtæk ɔn. ðə ˈmɛnʃənz ðət hæd ɛmˈbɑrkt əˈpɑn ə (ˈkɑŋkwɛst əv ɔl ðə ˈriʤənz). ðɪs əˈpɪrz tɪ bi ə ˈrɛfərəns tɪ ðə stɑrt əv mɑrʧ tɪ. ðə ˈlɛʤənˌdɛri əˈkaʊnt əv kæmˈpeɪn əˈgɛnst ðə goʊz laɪk ðɪs: wɑz rɪˈtərnɪŋ tɪ ˈdɛli ˈæftər ˈmɛriɪŋ ðə ˈdɔtər əv padamsen*, wɪn hɪz kənˈtɪnʤənt wɑz əˈtækt baɪ ðə ˈtərkɪk ˈfɔrsɪz (ghurids*). hɪz ˈɑrmi riˈpəlst ðə əˈtæks, bət ˈsəfərd ˈsɪriəs ˈkæʒəwəltiz ɪn ðə ˈprɔˌsɛs. əˈmɪd ðɪs keɪɑs, ðə ˈsoʊlʤərz lɔst ðɛr weɪ, ənd ənˈnoʊɪŋli ɪnˈkæmpt ɪn ðə ˈkæpɪtəl. ðeɪ kɪld ðə rɔɪəl ˈgɑrdənər fər əˈbʤɛktɪŋ tɪ ðɛr ˈprɛzəns, wɪʧ lɛd tɪ ə ˈskərmɪʃ bɪtˈwin ðə tu saɪdz. ðə kɪŋ æst hɪz ˈʤɛnərəl tɪ əˈtæk kæmp, bət ədˈvaɪzd əˈgɛnst ðɪs muv. ˈbrəðərɪnˌlɔ ˈrulər əv orai*; (hu əˈgɛnst) ˈɪnstəˌgeɪtɪd ðə kɪŋ tɪ goʊ əˈhɛd wɪθ ðə əˈtæk. dɪˈfitɪd kənˈtɪnʤənt, ənd ðɛn lɛft fər ˈdɛli. ˈsəbsəkwəntli, ənˈhæpi wɪθ ˈskimɪŋ, ənd hɪz ˈbrəðər lɛft ðə kɔrt. ðeɪ ˈstɑrtɪd ˈsərvɪŋ, ðə ˈrulər əv. ðɛn ˈsikrɪtli ˌɪnˈfɔrmd ðət ˈkɪŋdəm hæd bɪˈkəm wik ɪn ˈæbsəns əv ɪts ˈstrɔŋgəst ˈʤɛnərəlz. ˌɪnˈveɪdɪd ðə ˈkɪŋdəm, ənd bɪˈsiʤd sirsagarh*, wɪʧ wɑz hɛld baɪ ˈkəzən. ˈæftər ˈfeɪlɪŋ tɪ wɪn ˈoʊvər θru ˈpisfəl ˈmɛθədz ənd ˈluzɪŋ eɪt ˈʤɛnərəlz, ˈkæpʧərd ðə fɔrt. ðə ðɛn əˈpild fər ə trus, ənd juzd ðɪs taɪm tɪ ˈriˌkɔl ənd frəm. ɪn səˈpɔrt əv ðə, dɪˈspæʧt ən ˈɑrmi lɛd baɪ hɪz bɛst ˈʤɛnərəlz, ˌɪnˈkludɪŋ tu əv hɪz oʊn sənz. ðə kəmˈbaɪnd ˈɑrmi əˈtækt kæmp, bət wɑz dɪˈfitɪd. ˈæftər hɪz ˈvɪktəri, sækt. hi ðɛn dɪˈspæʧt hɪz ˈʤɛnərəl rɑi tɪ fɔrt tɪ ˈkæpʧər. əˈkɔrdɪŋ tɪ ðə ˈvɛriəs ˈlɛʤəndz, ˈiðər daɪd ər rɪˈtaɪrd ˈʃɔrtli ˈæftər ðə əˈtæk. rɪˈtərnd tɪ ˈdɛli ˈæftər əˈpɔɪntɪŋ rɑi ɛz ðə ˈgəvərnər əv. ˈleɪtər, sən riˈkæpʧərd. ðə ɪgˈzækt əv ðɪs ˈlɛʤənˌdɛri ˈnɛrətɪv ɪz dəˈbeɪtəbəl. ðə ˌɪnˈskrɪpʃənz ɪˈstæblɪʃ ðət sækt, bət hɪˈstɔrɪkəl ˈɛvədəns ˈɪndɪˌkeɪts ðət hi dɪd nɑt ˈɑkjəˌpaɪ ər. ɪt ɪz noʊn ðət dɪd nɑt daɪ ər ˌriˈtaɪər ˌɪˈmiˌdiətli ˈæftər ðə ˈvɪktəri; ɪn fækt, hi kənˈtɪnjud ˈrulɪŋ ɛz ə ˈsɑvrən ˈnɪrli ə ˈdɛkeɪd ˈæftər dɛθ. ɪt əˈpɪrz ðət ˈoʊnli ˈreɪdɪd, ənd riˈgeɪnd kənˈtroʊl əv hɪz ˈkɪŋdəm sun ˈæftər hɪz dɪˈpɑrʧər frəm. wɑz nɑt ˈeɪbəl tɪ ˈæˌnɛks ðə ˈtɛrɪˌtɔri tɪ hɪz ˈkɪŋdəm. əv ˌgjuʤərˈæt ˈɛdət ðə ˈmɛnʃənz ə pis ˈtriti bɪtˈwin, ənd, ðə (solanki*) kɪŋ əv ˌgjuʤərˈæt. ðɪs ˌɪmˈplaɪz ðət ðə tu kɪŋz wər ˈpriviəsli æt wɔr. ðɪs wɔr kən bi ˈdeɪtɪd tɪ ˈsəmˌtaɪm ˌbiˈfɔr 1187 1244 ˈvərsəz). ðə ˌɪnˈskrɪpʃən steɪts ðət praɪm ˈmɪnɪstər wɑz "ðə mun tɪ ðə kwinz əv" (ə ˈrɛfərəns tɪ ðə bɪˈlif ðət ðə ˈkɔzɪz ə ˈloʊtəs tɪ kloʊz ɪts ˈpɛtəlz). sɪns wɑz ə ˈmaɪnər æt ðə taɪm, ɪt əˈpɪrz ðət lɛd ðə kæmˈpeɪn ɔn ðə saɪd. ðə hɪˈstɔrɪkəli ˌənrɪˈlaɪəbəl ˈrɑsoʊ prəˈvaɪdz səm ˈditeɪlz əˈbaʊt ðə ˈstrəgəl. əˈkɔrdɪŋ tɪ ɪt, boʊθ ənd ˈwɔntɪd tɪ ˈmɛri, ðə ˈprɪnsɛs əv ˈæbu. ˈmɛrɪʤ tɪ hər lɛd tɪ ə ˈraɪvəlri bɪtˈwin ðə tu kɪŋz. ʤi. eɪʧ. dɪsˈmɪst ðɪs ˈlɛʤənd ɛz ˈfɪkʃən, bɪˈkəz ɪt steɪts ðət wɑz ə ˈdɔtər əv, waɪl wɑz ðə ˈrulər əv ˈæbu æt ðə taɪm. ɑr. bi. sɪŋ, ɔn ðə ˈəðər hænd, bɪˈlivd ðət wɑz ðə hɛd əv əˈnəðər brænʧ æt ˈæbu. ðə ˈrɑsoʊ ˈɔlsoʊ ˈmɛnʃənz ðət ˈəŋkəl hæd kɪld ˈsɛvən sənz əv ˈəŋkəl sarangadeva*. tɪ əˈvɛnʤ ðiz ˈmərdərz, ˌɪnˈveɪdɪd ðə ˈkɪŋdəm ənd kɪld ˈfɑðər, ˈkæpʧərɪŋ ɪn ðə ˈprɔˌsɛs., ənd dɪˈfitɪd ənd kɪld. ðɪs ɪz noʊn tɪ bi hɪˈstɔrɪkəli fɔls, ɛz ðə reɪn əv ˈlæstɪd ˈnɪrli hæf ə ˈsɛnʧəri ˈæftər dɛθ. ˈsɪmələrli, hɪˈstɔrɪkəl ˈɛvədəns səˈʤɛsts wɑz ə ʧaɪld æt ðə taɪm əv dɛθ, ənd ˈðɛrˌfɔr, kʊd nɑt hæv kɪld ɪm. dɪˈspaɪt ðiz dɪˈskrɛpənsiz, ðɛr ɪz səm ˈɛvədəns əv ə ˈbætəl bɪtˈwin ðə ənd ðə æt. tu ˌɪnˈskrɪpʃənz faʊnd æt ˈvɪlɪʤ nɪr kəˈmɛmərˌeɪt ðə dɛθ əv ˈsoʊlʤərz æt ðə ˈbætəl əv ɪn 1184 1241 ˈvərsəz). ðə ər ə brænʧ əv ðə (ðə), ənd ɪt ɪz ˈpɑsəbəl ðə ˌɪnˈskrɪpʃənz rɪˈfər tɪ ðə ˈbætəl dɪˈskraɪbd ɪn ˈrɑsoʊ. ˈsəmˌtaɪm ˌbiˈfɔr 1187, saɪnd ə pis ˈtriti wɪθ. əˈkɔrdɪŋ tɪ, ə ʧif neɪmd wəns sɔt pərˈmɪʃən tɪ əˈtæk ənd rɑb ðə ˈwɛlθi ˈvɪzɪtərz frəm ˈkəntri (ðə ˈtɛrɪˌtɔri). ɪn rɪˈspɑns, toʊld ðət hi hæd kənˈkludɪd ə ˈtriti wɪθ wɪθ məʧ ˈdɪfɪˌkəlti. ðɛn θˈrɛtənd tɪ hæv soʊn ɪn ə ˈbɛli ɪf hi həræst ðə ˈpipəl əv. hɪˈstɔriən ˈʃɑrmə θiəraɪzd ðət ðə ˈkɑnflɪkt ˈɛndɪd wɪθ səm ædˈvæntɪʤ fər, ɛz əˈpɪrz tɪ hæv bɪn ˈvɛri ˈæŋʃəs tɪ prɪˈzərv ðə ˈtriti. əv ˈæbu ˈɛdət ˈæbu wɑz ruld baɪ ðə, hu bɪˈlɔŋd tɪ ə brænʧ əv ðə ˈdaɪnəsti. baɪ hɪz ˈjəŋgər ˈbrəðər dɪˈskraɪbz naɪt əˈtæk ɔn ˈæbu. ðɪs əˈtæk, əˈkɔrdɪŋ tɪ ðə tɛkst, wɑz ə ˈfeɪljər fər ðə. ɪt ˈprɑbəˌbli ˈhæpənd ˈdʊrɪŋ ðə ˌgjuʤərˈæt kæmˈpeɪn əv. əv ˈɛdət ðə ˈkɪŋdəm, ˈsɛntərd əraʊnd ənd ˈhɛdɪd baɪ əˈnəðər ˈpaʊərfəl kɪŋ ˌʤaɪəˈʧɑndrə, wɑz ˈloʊˌkeɪtəd tɪ ðə ist əv ðə ˈkɪŋdəm. əˈkɔrdɪŋ tɪ ə ˈlɛʤənd ˈmɛnʃənd ɪn ˈrɑsoʊ, wɪθ ˈdɔtər, ˈlidɪŋ tɪ ə ˈraɪvəlri bɪtˈwin ðə tu kɪŋz. ðə ˈlɛʤənd goʊz laɪk ðɪs: kɪŋ (ˌʤaɪəˈʧɑndrə) əv ˌdɪˈsaɪdɪd tɪ ˈkɑndəkt ə ˈsɛrəˌmoʊni tɪ proʊˈkleɪm hɪz səˈprɛməsi. rɪfˈjuzd tɪ pɑrˈtɪsəˌpeɪt ɪn ðɪs ˈsɛrəˌmoʊni, ənd ðəs, rɪfˈjuzd tɪ ækˈnɑlɪʤ ɛz ðə səˈprim kɪŋ. ˈdɔtər fɛl ɪn ləv wɪθ ˈæftər ˈhirɪŋ əˈbaʊt hɪz hɪˈroʊɪk ˈɛkˌsplɔɪts, ənd dɪˈklɛrd ðət ʃi wʊd ˈmɛri ˈoʊnli ɪm. əreɪnʤd ə (husband-selection*) ˈsɛrəˌmoʊni fər hɪz ˈdɔtər, bət dɪd nɑt ˌɪnˈvaɪt. ˌnɛvərðəˈlɛs, mɑrʧt tɪ wɪθ ə ˈhənərd ˈwɔrjərz ənd wɪθ. əv hɪz ˈwɔrjərz ˈsækrəˌfaɪst ðɛr laɪf ɪn faɪt əˈgɛnst ðə ˈɑrmi, əˈlaʊɪŋ ɪm tɪ ɪˈskeɪp tɪ ˈdɛli wɪθ. ɪn ˈdɛli, bɪˈkeɪm ˌɪnˈfæʧuˌeɪtɪd wɪθ hɪz nu waɪf, ənd ˈstɑrtɪd ˈspɛndɪŋ moʊst əv hɪz taɪm wɪθ hər. hi ˈstɑrtɪd ˌɪgˈnɔrɪŋ ðə steɪt əˈfɛrz, wɪʧ ˈəltəmətli lɛd tɪ hɪz dɪˈfit əˈgɛnst mʊˈhɑməd əv. ðɪs ˈlɛʤənd ɪz ˈɔlsoʊ ˈmɛnʃənd ɪn ənd (wɪʧ neɪmz ðə ˈprɪnsɛs ɛz "kantimati*"). ˈmɛnʃənz ðət fɛl ɪn ləv wɪθ ðə ˌɪnˈkɑrˈneɪʃən əv ən tilottama*, ˌɔlˈðoʊ hi hæd ˈnɛvər sin ðɪs ˈwʊmən ənd wɑz ɔˈrɛdi ˈmɛrid tɪ ˈəðər ˈwɪmən. əˈkɔrdɪŋ tɪ hɪˈstɔriən ˈʃɑrmə, ðɪs ɪz ˈprɑbəˌbli ə ˈrɛfərəns tɪ. ˌhaʊˈɛvər, ðɪs ˈlɛʤənd ɪz nɑt ˈmɛnʃənd ɪn ˈəðər hɪˈstɔrɪkəl ˈsɔrsəz səʧ ɛz,, ənd hammira-mahakavya*. ðə ˈrɛkərdz ər ˈɔlsoʊ ˈsaɪlənt əˈbaʊt ðɪs ɪˈvɛnt, ˌɪnˈkludɪŋ ðə səˈpoʊzd pərˈfɔrməns baɪ ˌʤaɪəˈʧɑndrə. əˈkɔrdɪŋ tɪ ˈʃɑrmə ənd ɑr. bi. sɪŋ, ðɛr maɪt bi səm hɪˈstɔrɪkəl truθ ɪn ðɪs ˈlɛʤənd, ɛz ɪt ɪz ˈmɛnʃənd ɪn θri ˈdɪfərənt ˈsɔrsəz. ɔl θri ˈsɔrsəz pleɪs ðə ɪˈvɛnt ˈsəmˌtaɪm ˌbiˈfɔr ˈfaɪnəl ˌkɑnfrənˈteɪʃən wɪθ mʊˈhɑməd əv ɪn 1192. ˈəðər ˈrulərz ˈɛdət ðə ˈrɑsoʊ ˈmɛnʃənz ðət dɪˈfitɪd rɑi əv ənd ðə ʧif rɑi, bət ðiz ˈstɔriz əˈpɪr tɪ bi pjʊr ˈfɪkʃən. noʊ hɪˈstɔrɪkəl ˈrɛkərdz səˈʤɛst ɪgˈzɪstəns əv ðiz ˈpərsənz. ðə kənˈstrəkʃən əv ðə rɑi fɔrt ɪn ˈdɛli ɪz əˈtrɪbjətəd tɪ. əˈkɔrdɪŋ tɪ ˈrɑsoʊ, ˈdɛliz ˈrulər geɪv ðə ˈsɪti tɪ hɪz ˈsənɪnˌlɔ, ənd wɑz dɪˈfitɪd wɪn hi ˈwɔntɪd ɪt bæk. ðɪs ɪz hɪˈstɔrɪkəli ˌɪˈnækjərət, ɛz ˈdɛli wɑz ˈænɛkst tɪ ðə ˈtɛrɪˌtɔri baɪ ˈəŋkəl iv*. ɪn əˈdɪʃən, hɪˈstɔrɪkəl ˈɛvədəns səˈʤɛsts ðət daɪd ˌbiˈfɔr ðə bərθ əv. ðə kleɪm əˈbaʊt hɪz ˈdɔtərz ˈmɛrɪʤ tɪ əˈpɪrz tɪ hæv bɪn kənˈkɑktəd æt ə ˈleɪtər deɪt. wɔr wɪθ ðə ˈɛdət ˈprɛdəˌsɛsərz hæd feɪst ˈməltəpəl reɪdz frəm ðə ˈməzlɪm ˈdaɪnəstiz ðət hæd ˈkæpʧərd ðə ˈɛriəz əv ðə ˈɪndiən səbˈkɑntɪnənt baɪ ðə ˈsɛnʧəri. baɪ ðə leɪt ˈsɛnʧəri, ðə ˈdaɪnəsti kənˈtroʊld ðə ˈtɛrɪˌtɔri tɪ ðə wɛst əv ðə ˈkɪŋdəm. waɪl wɑz stɪl ə ʧaɪld, ɪn 1175, ðə ˈrulər mʊˈhɑməd əv krɔst ðə ˈɪndəs ˈrɪvər ənd ˈkæpʧərd. ɪn 1178, hi ˌɪnˈveɪdɪd ˌgjuʤərˈæt, wɪʧ wɑz ruld baɪ ðə (solankis*). ˈdʊrɪŋ ɪts mɑrʧ tɪ ˌgjuʤərˈæt, ðə ˈɑrmi əˈpɪrz tɪ hæv pæst θru ðə ˈwɛstərn frənˈtɪr əv ðə ˈkɪŋdəm, ɛz ˈɛvədənt baɪ ðə dɪˈstrəkʃən əv ˈsɛvərəl ˈtɛmpəlz ənd ˈsækɪŋ əv ðə lodhruva*. ðə ˈmɛnʃənz ðət ðə ækˈtɪvɪtiz əv ðə ˈɑrmi wər laɪk tɪ ðə ˈkɪŋdəm (ɪn ˈhɪnˌdu məˈθɑləˌʤi, sˈwɑloʊz ðə sən, ˈkɔzɪŋ ə ˈsoʊlər ɪˈklɪps). ˌhaʊˈɛvər, ɪt dɪz nɑt ˈmɛnʃən ˈɛni ˈmɪlɪˌtɛri ɛnˈgeɪʤmənt bɪtˈwin ðə tu ˈkɪŋdəmz. ɔn ɪts weɪ tɪ ˌgjuʤərˈæt, ðə ˈɑrmi bɪˈsiʤd ðə (nadol*) fɔrt, wɪʧ wɑz kənˈtroʊld baɪ ðə əv. ʧif ˈmɪnɪstər ədˈvaɪzd ɪm nɑt tɪ ˈɔfər ˈɛni əˈsɪstəns tɪ ðə ˈraɪvəlz əv ðə, ənd tɪ steɪ əˈweɪ frəm ðɪs ˈkɑnflɪkt. ðə dɪd nɑt ˌɪˈmiˌdiətli feɪs ə ˌɪnˈveɪʒən, bɪˈkəz ðə əv ˌgjuʤərˈæt dɪˈfitɪd mʊˈhɑməd æt ðə ˈbætəl əv ɪn 1178, ˈfɔrsɪŋ ðə tɪ riˈtrit. ˈoʊvər ðə nɛkst fju jɪrz, mʊˈhɑməd əv kənˈsɑləˌdeɪtəd hɪz paʊər ɪn ðə ˈtɛrɪˌtɔri tɪ ðə wɛst əv ðə, ˈkɑŋkərɪŋ ˈpɛʃəwɔr, sindh*, ənd ˈpənˌʤæb. hi ˈʃɪftɪd hɪz beɪs frəm tɪ ˈpənˌʤæb, ənd meɪd əˈtɛmpts tɪ ɪkˈspænd hɪz ˈɛmpaɪər eastwards*, wɪʧ brɔt ɪm ˈɪntu ˈkɑnflɪkt wɪθ. ˈmɛnʃənz ðət mʊˈhɑməd əv sɛnt ən æmˈbæsədər tɪ, bət dɪz nɑt prəˈvaɪd ˈɛni ˈditeɪlz. ˌhɑˈsɑn ˈsɛnʧəri) steɪts ðət mʊˈhɑməd sɛnt hɪz ʧif ʤəʤ dɪn tɪ kɔrt. ðə ˈɛnvɔɪ traɪd tɪ kənˈvɪns tɪ "əˈbændən bəˈlɪʤərəns ənd pərˈsu ðə pæθ əv ˈrɛktɪˌtud", bət wɑz ˌənsəkˈsɛsfəl. ɛz ə rɪˈzəlt, mʊˈhɑməd ˌdɪˈsaɪdɪd tɪ weɪʤ ə wɔr əˈgɛnst. ðə mɪˈdjivəl ˈməzlɪm ˈraɪtərz ˈmɛnʃən ˈoʊnli wən ər tu ˈbætəlz bɪtˈwin ðə tu ˈrulərz. ðə ənd ˈmɛnʃən ðə tu ˈbætəlz əv. ənd ˈmɛnʃən ˈoʊnli ðə ˈsɛkənd ˈbætəl əv, ɪn wɪʧ wɑz dɪˈfitɪd. ˌhaʊˈɛvər, ðə ˈhɪnˌdu ənd ʤeɪn ˈraɪtərz steɪt ðət dɪˈfitɪd mʊˈhɑməd ˈməltəpəl taɪmz ˌbiˈfɔr biɪŋ kɪld: ðə kleɪmz ðət ˈæftər dɪˈfitɪŋ mʊˈhɑməd fər ðə fərst taɪm, fɔrst ɪm tɪ əˈpɑləˌʤaɪz tɪ ðə ˈprɪnsɪz huz ˈtɛrəˌtɔriz hi hæd ˈrænˌsækt, ˌbiˈfɔr ˈlɛtɪŋ ɪm goʊ. mʊˈhɑməd ˌɪnˈveɪdɪd ðə ˈkɪŋdəm ˈsɛvən mɔr taɪmz, bət wɑz dɪˈfitɪd iʧ taɪm. ˌhaʊˈɛvər, hɪz naɪnθ ˌɪnˈveɪʒən səkˈsidɪd. kleɪmz ðət ˈæftər dɪˈfitɪŋ mʊˈhɑməd fər ðə fərst taɪm, fɔrst ɪm tɪ əˈpɑləˌʤaɪz tɪ ðə ˈprɪnsɪz huz ˈtɛrəˌtɔriz hi hæd ˈrænˌsækt, ˌbiˈfɔr ˈlɛtɪŋ ɪm goʊ. mʊˈhɑməd ˌɪnˈveɪdɪd ðə ˈkɪŋdəm ˈsɛvən mɔr taɪmz, bət wɑz dɪˈfitɪd iʧ taɪm. ˌhaʊˈɛvər, hɪz naɪnθ ˌɪnˈveɪʒən səkˈsidɪd. ðə steɪts ðət ðə tu kɪŋz fɔt 8 ˈbætəlz. steɪts ðət ðə tu kɪŋz fɔt 8 ˈbætəlz. ðə kleɪmz ðət ˈkæpʧərd mʊˈhɑməd 20 taɪmz, bət wɑz hɪmˈsɛlf ˌɪmˈprɪzənd ˈdʊrɪŋ ðə ˈbætəl. ðə kɑˈritə ənd ˈrɑsoʊ ˈɔlsoʊ ɪˈnumərˌeɪt 21 ˈbætəlz. kleɪmz ðət ˈkæpʧərd mʊˈhɑməd 20 taɪmz, bət wɑz hɪmˈsɛlf ˌɪmˈprɪzənd ˈdʊrɪŋ ðə ˈbætəl. ðə ənd ˈɔlsoʊ ɪˈnumərˌeɪt 21 ˈbætəlz. ðə gɪvz ðə ˈnəmbər əv ˈbætəlz ɛz 23 waɪl ðiz əˈkaʊnts sim tɪ ɪgˈzæʤərˌeɪt ðə ˈnəmbər, ɪt ɪz ˈpɑsəbəl ðət mɔr ðən tu ɪnˈgeɪʤmənts tʊk pleɪs bɪtˈwin ðə ənd ðə ˈdʊrɪŋ reɪn. ðə ˈərli ˈvɪktəriz ˈmɛnʃənd baɪ ðə ˈhɪnˌdu ənd ʤeɪn ˈraɪtərz ˈprɑbəˌbli rɪˈfər tɪ səkˈsɛsfəl əv reɪdz baɪ ˈʤɛnərəlz. fərst ˈbætəl əv ˈɛdət ˈdʊrɪŋ, mʊˈhɑməd əv ˌɪnˈveɪdɪd ðə ˈtɛrɪˌtɔri, ənd ˈkæpʧərd ər (aɪˈdɛntəˌfaɪd wɪθ bathinda*). hi pleɪst ɪt ˈəndər ðə ʧɑrʤ əv zia-ud-din*, ðə əv tulak*, səˈpɔrtɪd baɪ 1200 ˈhɔrsmən. wɪn ˈlərnɪd əˈbaʊt ðɪs, mɑrʧt təˈwɔrdz wɪθ hɪz feudatories*, ˌɪnˈkludɪŋ əv ˈdɛli. əˈkɔrdɪŋ tɪ ðə ˈsɛnʧəri ˈməzlɪm hɪˈstɔriən, hɪz fɔrs kəmˈpraɪzd ˈhɔrsɪz ənd ˈɛləfənts. mʊˈhɑmədz ərˈɪʤənəl plæn wɑz tɪ rɪˈtərn tɪ hɪz beɪs ˈæftər ˈkɑŋkərɪŋ, bət wɪn hi hərd əˈbaʊt mɑrʧ, hi ˌdɪˈsaɪdɪd tɪ pʊt əp ə faɪt. hi sɛt aʊt wɪθ ən ˈɑrmi, ənd ɪnˈkaʊnərd ˈfɔrsɪz æt. ɪn ðə ˈɛnsuɪŋ ˈbætəl, ˈɑrmi dɪˈsaɪsɪvli dɪˈfitɪd ðə. mʊˈhɑməd əv wɑz ˈɪnʤərd ənd fɔrst tɪ riˈtrit. dɪd nɑt pərˈsu ðə riˈtritɪŋ ˈɑrmi, nɑt ˈwɑnɪŋ tɪ ˌɪnˈveɪd ˈhɑstəl ˈtɛrɪˌtɔri ər mɪsˈʤəʤ æmˈbɪʃən. hi ˈoʊnli bɪˈsiʤd ðə ˈgærɪsən æt, wɪʧ sərˈɛndərd ˈæftər 13 mənθs əv siʤ. ˈsɛkənd ˈbætəl əv ˈɛdət ə ˈsɛnʧəri ˈɑrtɪsts ˌɪˌmæʤəˈneɪʃən əv ðə ˈsɛkənd ˈbætəl əv simz tɪ hæv ˈtritɪd ðə fərst ˈbætəl əv ɛz ˈmɪrli ə frənˈtɪr faɪt. ðɪs vju ɪz ˈstrɛŋθənd baɪ ðə fækt ðət hi meɪd ˈlɪtəl ˌprɛpərˈeɪʃənz fər ˈɛni fˈjuʧər klæʃ wɪθ mʊˈhɑməd əv. əˈkɔrdɪŋ tɪ ˈrɑsoʊ, ˈdʊrɪŋ ðə ˈpɪriəd priˈsidɪŋ hɪz ˈfaɪnəl ˌkɑnfrənˈteɪʃən wɪθ ðə, hi nɪˈglɛktɪd ðə əˈfɛrz əv ðə steɪt ənd spɛnt taɪm ɪn merry-making*. ˈminˌwaɪl, mʊˈhɑməd əv rɪˈtərnd tɪ, ənd meɪd ˌprɛpərˈeɪʃənz tɪ əˈvɛnʤ hɪz dɪˈfit. əˈkɔrdɪŋ tɪ, hi ˈgæðərd ə ˈɑrmi əv səˈlɛkt ˈæfˌgæn, ˈtɑʤɪk ənd ˈtərkɪk ˈhɔrsmən ˈoʊvər ðə nɛkst fju mənθs. hi ðɛn mɑrʧt təˈwɔrdz ðə ˈkɪŋdəm ˈviə ənd lɑˈhɔr, ˈeɪdɪd baɪ əv ʤəˈmu. hæd bɪn lɛft wɪˈθaʊt ˈɛni ˈælaɪz ɛz ə rɪˈzəlt əv hɪz wɔrz əˈgɛnst ðə ˈneɪbərɪŋ ˈhɪnˌdu kɪŋz. ˌnɛvərðəˈlɛs, hi ˈmænɪʤd tɪ ˈgæðər ə lɑrʤ ˈɑrmi tɪ ˈkaʊntər ðə. ðə ˈsɛnʧəri ˈməzlɪm hɪˈstɔriən ˈɛstəˌmeɪtɪd ðə strɛŋθ əv ˈɑrmi ɛz ˈhɔrsɪz ənd ˈɛləfənts, ɪn əˈdɪʃən tɪ ə lɑrʤ ˈɪnfəntri. ðɪs ɪz moʊst ˈlaɪkli ə groʊs ɪgˌzæʤərˈeɪʃən, eɪmd æt ˈɛmfəˌsaɪzɪŋ ðə skeɪl əv ðə ˈvɪktəri. kæmp, wɪʧ kəmˈpraɪzd 150 ʧifs, roʊt ə ˈlɛtər tɪ mʊˈhɑməd əv, ˈprɑməsɪŋ ɪm noʊ hɑrm ɪf hi ˌdɪˈsaɪdɪd tɪ rɪˈtərn tɪ hɪz oʊn ˈkəntri. mʊˈhɑməd ˌɪnˈsɪstɪd ðət hi ˈnidɪd taɪm tɪ kənˈfər hɪz ˈbrəðər. əˈkɔrdɪŋ tɪ, hi əˈgrid tɪ ə trus ənˈtɪl hi rɪˈsivd ən ˈænsər frəm hɪz ˈbrəðər. ˌhaʊˈɛvər, hi plænd ən əˈtæk əˈgɛnst ðə. əˈkɔrdɪŋ tɪ ul-hikayat*, mʊˈhɑməd əˈsaɪnd ə fju mɛn tɪ kip ðə faɪərz ɪn hɪz kæmp ˈbərnɪŋ æt naɪt, waɪl hi mɑrʧt ɔf ɪn əˈnəðər dɪˈrɛkʃɪn wɪθ ðə rɛst əv hɪz ˈɑrmi. ðɪs geɪv ðə ən ˌɪmˈprɛʃən ðət ðə ˈɑrmi wɑz stɪl ɪnˈkæmpt, əbˈzərvɪŋ ðə trus. ˈæftər ˈriʧɪŋ ˈsɛvərəl maɪəlz əˈweɪ, mʊˈhɑməd fɔrmd fɔr dɪˈvɪʒənz, wɪθ ˈɑrʧərz iʧ. hi kɛpt ðə rɛst əv hɪz ˈɑrmi ɪn rɪˈzərv. hi ˈɔrdərd ðə fɔr dɪˈvɪʒənz tɪ lɔnʧ ən əˈtæk ɔn ðə kæmp, ənd ðɛn priˈtɛnd ə riˈtrit. æt dɔn, ðə fɔr dɪˈvɪʒənz əv ðə ˈɑrmi əˈtækt ðə kæmp, waɪl wɑz stɪl əsˈlip. ˈæftər ə brif faɪt, ðə dɪˈvɪʒənz priˈtɛndɪd tɪ riˈtrit ɪn əˈkɔrdəns wɪθ mʊˈhɑmədz ˈstrætəʤi. wɑz ðəs lʊrd ˈɪntu ˈʧeɪsɪŋ ðɛm, ənd baɪ ðə ˌæftərˈnun, ðə ˈɑrmi wɑz ɪgˈzɔstɪd ɛz ə rɪˈzəlt əv ðɪs pərˈsut. æt ðɪs pɔɪnt, mʊˈhɑməd lɛd hɪz rɪˈzərv fɔrs ənd əˈtækt ðə, dɪˈsaɪsɪvli dɪˈfitɪŋ ðɛm. əˈkɔrdɪŋ tɪ, kæmp lɔst mɛn (ˌɪnˈkludɪŋ əv ˈdɛli) ɪn ðɪs dəˈbɑkəl. hɪmˈsɛlf traɪd tɪ ɪˈskeɪp ɔn ə hɔrs, bət wɑz pərˈsud ənd kɔt nɪr ðə fɔrt (ˈpɑsəbli ˈmɑdərn sirsa*). ˈsəbsəkwəntli, mʊˈhɑməd əv ˈkæpʧərd ˈæftər ˈkɪlɪŋ ˈsɛvərəl ˈθaʊzənd dɪˈfɛndərz, ɛnsˈleɪvd ˈmɛni mɔr, ənd dɪˈstrɔɪd ðə ˈsɪtiz ˈtɛmpəlz. dɛθ ˈɛdət kɔɪnz əv moʊst mɪˈdjivəl ˈsɔrsəz steɪt ðət wɑz ˈteɪkən tɪ ðə ˈkæpɪtəl, wɛr mʊˈhɑməd plænd tɪ ˌriɪnˈsteɪt ɪm ɛz ə ˈvæsəl. ˈsəmˌtaɪm ˈleɪtər, rɪˈbɛld əˈgɛnst mʊˈhɑməd, ənd wɑz kɪld fər ˈtrizən. ðɪs ɪz kərˈɑbərˌeɪtɪd baɪ ˌnumɪsˈmætɪk ˈɛvədəns: səm kɔɪnz ˈɪʃud baɪ frəm ðə ˈdɛli mɪnt ˈfiʧər hɪz oʊn neɪm ɛz wɛl ɛz ðə neɪm əv mʊˈhɑməd ɔn ðə rɪˈvərs. ˈæftər dɛθ, mʊˈhɑməd ˌɪnˈstɔld ðə prɪns ɔn ðə θroʊn əv, wɪʧ ˈfərðər səˈpɔrts ðɪs ˈθɪri. ðə ˈvɛriəs ˈsɔrsəz ˈdɪfər ɔn ðə ɪgˈzækt ˈsərkəmˌstænsɪz: ðə kənˈtɛmpərˌɛri ˈməzlɪm hɪˈstɔriən ˌhɑˈsɑn steɪts ðət wɑz kɔt kənˈspaɪrɪŋ əˈgɛnst mʊˈhɑməd, ˈprɑmptɪŋ ðə kɪŋ tɪ ˈɔrdər hɪz bɪˈhɛdɪŋ. dɪz nɑt dɪˈskraɪb ðə ˈneɪʧər əv ðɪs kənˈspɪrəsi. əˈkɔrdɪŋ tɪ baɪ ðə ˈsɛnʧəri ʤeɪn ˈskɑlər merutunga*, mʊˈhɑməd wɑz ɪnˈreɪʤd wɪn hi sɔ ˈpeɪnɪŋz dɪˈpɪktɪŋ ˈməzlɪmz biɪŋ kɪld baɪ pɪgz ɪn ðə ˈgæləri. hi ðɛn əˈbændənd hɪz plæn tɪ lɛt lɪv ɛz ə ˈvæsəl, ənd ˈɔrdərd hɪz bɪˈhɛdɪŋ. baɪ ðə ˈsɛnʧəri ʤeɪn ˈskɑlər merutunga*, mʊˈhɑməd wɑz ɪnˈreɪʤd wɪn hi sɔ ˈpeɪnɪŋz dɪˈpɪktɪŋ ˈməzlɪmz biɪŋ kɪld baɪ pɪgz ɪn ðə ˈgæləri. hi ðɛn əˈbændənd hɪz plæn tɪ lɛt lɪv ɛz ə ˈvæsəl, ənd ˈɔrdərd hɪz bɪˈhɛdɪŋ. (ˈdeɪtɪd ˈsɛnʧəri ər ˈərliər) steɪts ðət ˈæftər ˈkæpʧərɪŋ, mʊˈhɑməd ˈɑkjəˌpaɪd kɔrt. hi haʊzd ɪn ə ˈbɪldɪŋ ˈfeɪsɪŋ ðɪs kɔrt. wən deɪ, æst hɪz ˈmɪnɪstər fər hɪz tɪ kɪl mʊˈhɑməd. ðə ˈtrɛʧərəs ˈmɪnɪstər səˈplaɪd ɪm ðə, bət ˈsikrɪtli ˌɪnˈfɔrmd mʊˈhɑməd əv hɪz plæn. ɛz ə rɪˈzəlt, mʊˈhɑməd dɪd nɑt sɪt æt hɪz ˈjuʒəwəl pleɪs, ənd ˌɪnˈstɛd kɛpt ə ˈstæˌʧu ðɛr. faɪərd ən ˈɛroʊ æt ðə ˈstæˌʧu, mɪˈsteɪkɪŋ ɪt fər mʊˈhɑməd. ɛz ə ˈpənɪʃmənt, mʊˈhɑməd hæd ɪm kæst ˈɪntu ə pɪt ənd stoʊnd tɪ dɛθ. (ˈdeɪtɪd ˈsɛnʧəri ər ˈərliər) steɪts ðət ˈæftər ˈkæpʧərɪŋ, mʊˈhɑməd ˈɑkjəˌpaɪd kɔrt. hi haʊzd ɪn ə ˈbɪldɪŋ ˈfeɪsɪŋ ðɪs kɔrt. wən deɪ, æst hɪz ˈmɪnɪstər fər hɪz tɪ kɪl mʊˈhɑməd. ðə ˈtrɛʧərəs ˈmɪnɪstər səˈplaɪd ɪm ðə, bət ˈsikrɪtli ˌɪnˈfɔrmd mʊˈhɑməd əv hɪz plæn. ɛz ə rɪˈzəlt, mʊˈhɑməd dɪd nɑt sɪt æt hɪz ˈjuʒəwəl pleɪs, ənd ˌɪnˈstɛd kɛpt ə ˈstæˌʧu ðɛr. faɪərd ən ˈɛroʊ æt ðə ˈstæˌʧu, mɪˈsteɪkɪŋ ɪt fər mʊˈhɑməd. ɛz ə ˈpənɪʃmənt, mʊˈhɑməd hæd ɪm kæst ˈɪntu ə pɪt ənd stoʊnd tɪ dɛθ. steɪts ðət rɪfˈjuzd tɪ it fud ˈæftər biɪŋ ˈkæpʧərd. ðə əv ðə kɪŋ səˈʤɛstɪd ðət hi riˈlis, ʤɪst laɪk ðə kɪŋ hæd dən tɪ ɪm ɪn ðə pæst. bət mʊˈhɑməd ðɛr ədˈvaɪs, ənd daɪd ɪn kæpˈtɪvəti. ðə ˈpərʒən hɪˈstɔriən steɪts ðət wɑz "sɛnt tɪ hɛl" ˈæftər biɪŋ ˈkæpʧərd. ðə hɪˈstɔriən ˈɔlsoʊ səˈpɔrts ðɪs əˈkaʊnt. əˈkɔrdɪŋ tɪ hɪˈstɔriən ˈʧændrə, əˈkaʊnt səˈʤɛsts ðət wɑz ˈɛksəˌkjutɪd ˌɪˈmiˌdiətli ˈæftər hɪz dɪˈfit, bət ɑr. bi. sɪŋ bɪˈlivz ðət noʊ səʧ kənˈkluʒən kən bi drɔn frəm ˈraɪtɪŋz. baɪ ðə ˈhɪnˌdu ˈraɪtər kleɪmz ðət wɑz kɪld ɔn ðə ˈbætəlˌfild. ðə ˈrɑsoʊ kleɪmz ðət wɑz ˈteɪkən tɪ ɛz ə ˈprɪzənər, ənd ˈblaɪndɪd. ɔn ˈhirɪŋ ðɪs, ðə poʊət ʧænd ˈtrævəld tɪ ənd trɪkt mʊˈhɑməd əv ˈɪntu ˈwɑʧɪŋ ən ˈɑrʧəri pərˈfɔrməns baɪ ðə blaɪnd. ˈdʊrɪŋ ðɪs pərˈfɔrməns, ʃɑt ðə ˈɛroʊ ɪn ðə dɪˈrɛkʃɪn əv mʊˈhɑmədz vɔɪs ənd kɪld ɪm. ˈʃɔrtli ˈæftər, ənd ʧænd kɪld iʧ ðɪs ɪz ə ˈfɪkʃənəl ˈnɛrətɪv, nɑt səˈpɔrtɪd baɪ hɪˈstɔrɪkəl ˈɛvədəns: mʊˈhɑməd əv kənˈtɪnjud tɪ rul fər mɔr ðən ə ˈdɛkeɪd ˈæftər ˈæftər dɛθ, ðə əˈpɔɪntɪd hɪz sən ɔn ðə θroʊn əv ɛz ðɛr ˈvæsəl. ɪn 1192, ˈjəŋgər ˈbrəðər dɪθˈroʊnd, ənd riˈkæpʧərd ə pɑrt əv hɪz ænˈsɛstrəl ˈkɪŋdəm. muvd tɪ (ˈmɑdərn ranthambore*), wɛr hi ɪˈstæblɪʃt ə nu brænʧ əv ˈvæsəl ˈrulərz. wɑz ˈleɪtər dɪˈfitɪd baɪ ðə ˈʤɛnərəl aibak*. ˈkəlʧərəl ækˈtɪvɪtiz ˈɛdət hæd ə ˈdɛdəkeɪtəd ˈmɪnɪstri fər (ˈskɑlərz) ənd poʊəts, wɪʧ wɑz ˈəndər ðə ʧɑrʤ əv padmanabha*. hɪz kɔrt hæd ə ˈnəmbər əv poʊəts ənd ˈskɑlərz, ˌɪnˈkludɪŋ: jayanaka*, ə hu roʊt vishvarupa*, ə poʊət prithvibhata*, ə rɔɪəl bɑrd (aɪˈdɛntəˌfaɪd ɛz ʧænd baɪ səm ˈskɑlərz) ˈmɛnʃənz ə dəˈbeɪt ðət tʊk pleɪs bɪtˈwin ðə ʤeɪn məŋks ənd æt (ˈmɑdərn nɪr). hæd ɪnˈkæmpt ðɛr æt ðə taɪm. wɑz ˈleɪtər ˌɪnˈvaɪtɪd tɪ baɪ ə rɪʧ ʤeɪn ˈmərʧənt. ðɛr, ˈɪʃud ɪm ə (sərˈtɪfɪkət əv ˈvɪktəri). ˈlɛgəsi ˈɛdət ˌɪnˈskrɪpʃənz ˈɛdət əv ˌɪnˈskrɪpʃənz frəm reɪn, ɪn ˈɪndiə əˈkɔrdɪŋ tɪ hɪˈstɔriən ɑr. bi. sɪŋ, æt ɪts haɪt, ˈɛmpaɪər ɪkˈstɛndɪd frəm ˈrɪvər ɪn ðə wɛst tɪ ðə ˈrɪvər ɪn ðə ist, ənd frəm ðə ˌhɪməˈleɪən ˈfʊˌthɪlz ɪn ðə nɔrθ tɪ ðə fʊt əv maʊnt ˈæbu ɪn ðə saʊθ. ðəs, ɪt ˌɪnˈkludɪd pɑrts əv rajasthan*, ˈsəðərn ˈpənˌʤæb, ˈnɔrðərn prəˈdɛʃ, ənd ˈwɛstərn prəˈdɛʃ. ˈoʊnli ˈsɛvən ˌɪnˈskrɪpʃənz ˈdeɪtɪd tɪ reɪn ər əˈveɪləbəl; nən əv ðiz wər ˈɪʃud baɪ ðə kɪŋ hɪmˈsɛlf: ər ˌɪnˈskrɪpʃən, 1177 1234 ˈvərsəz) ˌɪnˈskrɪpʃən, 1179 1236 ˈvərsəz): ˈrɛkərdz ðə grænts meɪd baɪ ˈvæsəl katiya*. katiya*. ˌɪnˈskrɪpʃənz əv 1182 1239 ˈvərsəz) ˌɪnˈskrɪpʃən 1 ˈmɛnʃənz ðət ˌɪnˈveɪdɪd ðə ˈtɛrɪˌtɔri əv ðə ˈrulər ˌɪnˈskrɪpʃən 2 neɪmz ˈfɑðər (someshvara*) ənd ˈgrænˌfɑðər (arnoraja*), ənd steɪts ðət hi ˈpləndərd (ðə ˈtɛrɪˌtɔri) ˌɪnˈskrɪpʃən 3 kənˈteɪnz neɪmz əv ˈʃivə (tryambaka*, chandrashekhara*, ənd tripuranta*). vɪkˈtɔriə hɔl mˈjuziəm ˌɪnˈskrɪpʃən, 1187 1244 ˈvərsəz) nɪr tɔŋk) ˌɪnˈskrɪpʃən, 1187 1244 ˈvərsəz) ɪn ˈpɑpjələr ˈkəlʧər ˈɛdət ˈrɑsoʊ ˈvərʒən ˈpəblɪʃt baɪ ðə ðə ˈkəvər əv əˈvərʒən ˈpəblɪʃt baɪ ðə ˈæftər hɪz dɛθ, keɪm tɪ bi pɔrˈtreɪd ɛz ə ˌpeɪtriˈɑtɪk ˈhɪnˌdu ˈwɔrjər hu fɔt əˈgɛnst ˈməzlɪm ˈɛnəmiz. hi ɪz rɪˈmɛmbərd ɛz ə kɪŋ huz reɪn ˈsɛpərˌeɪtɪd ðə tu ˈmeɪʤər ˈɛpəks əv ˈɪndiən ˈhɪstəri. hɪz ˈdaɪnəsti wɑz ˈklæsəˌfaɪd ɛz wən əv ðə klænz ɪn ðə ˈleɪtər ˈpɪriəd, ˌɪnˈkludɪŋ ɪn ðə ˈlɛʤənˌdɛri tɛksts səʧ ɛz ˈrɑsoʊ, ˌɔlˈðoʊ ðə "rajput*" aɪˈdɛntəˌti dɪd nɑt ɪgˈzɪst ˈdʊrɪŋ hɪz taɪm. ðə ˈsɛnʧəri ˈlɛʤəndz dɪˈskraɪb ɪm ɛz ðə ˈrulər əv ˈɪndiəz pəˈlɪtɪkəl ˈsɛntər ˈdɛli (ˈrəðər ðən, wɪʧ wɑz hɪz ˈækʧəwəl ˈkæpɪtəl). fər ɪgˈzæmpəl, dɪz nɑt əˈsoʊʃiˌeɪt ðə ˈdaɪnəsti wɪθ æt ɔl. əˌsoʊʃiˈeɪʃən wɪθ ˈdɛli ɪn ðiz ˈlɛʤəndz ˈfərðər ˈstrɛŋθənd hɪz ˈstætəs ɛz ə ˈsɪmbəl əv ˈɪndiən paʊər. həz bɪn dɪˈskraɪbd ɛz "ðə læst ˈhɪnˌdu ˈɛmpərər" ɪn ˈjuləʤiz. ðɪs ˌdɛzɪgˈneɪʃən ɪz ˌɪˈnækjərət, ɛz ˈsɛvərəl ˈstrɔŋgər ˈhɪnˌdu ˈrulərz flərɪʃt ɪn saʊθ ˈɪndiə ˈæftər ɪm, ənd ˈivɪn səm kənˈtɛmpərˌɛri ˈhɪnˌdu ˈrulərz ɪn ˈnɔrðərn ˈɪndiə wər æt list ɛz ˈpaʊərfəl ɛz ɪm. ˌnɛvərðəˈlɛs, ðə ˈsɛnʧəri ˈbrɪtɪʃ ˈɔfɪsər ʤeɪmz tɑd rɪˈpitɪdli juzd ðɪs tərm tɪ dɪˈskraɪb ɪn hɪz ˈænəlz ənd ænˈtɪkwətiz əv rajas'han*. tɑd wɑz ˈɪnfluənst baɪ ðə mɪˈdjivəl ˈpərʒən ˈlæŋgwɪʤ ˈməzlɪm əˈkaʊnts, wɪʧ ˈprɛzənt ɛz ə ˈmeɪʤər ˈrulər ənd pɔrˈtreɪ hɪz dɪˈfit ɛz ə ˈmeɪʤər ˈmaɪlˌstoʊn ɪn ðə ˌɪzˈlɑmɪk ˈkɑŋkwɛst əv ˈɪndiə. ˈæftər tɑd, ˈsɛvərəl ˈnɛrətɪvz kənˈtɪnjud tɪ dɪˈskraɪb ɛz "ðə læst ˈhɪnˌdu ˈɛmpərər". məˈmɔriəlz ˈdɛdəkeɪtəd tɪ hæv bɪn kənˈstrəktɪd ɪn ənd ˈdɛli. ə ˈnəmbər əv ˈmuviz ənd ˈtɛləˌvɪʒən ˈsɪriəlz hæv bɪn meɪd ɔn hɪz laɪf. ðiz ˌɪnˈklud ðə ˈhɪndi ˈmuvi ənd ðə ˈhɪndi ˈtɛləˌvɪʒən ˈsɪˌriəl kɑ vɪr ðə ˈænəˌmeɪtɪd ˈmuvi vɪr 2008 wɑz riˈlist ɪn ˈɪŋlɪʃ, ˈhɪndi, ˈtæmɪl ənd ˈtɛlʊgu ˈlæŋgwɪʤɪz. hi wɑz ˈɔlsoʊ wən əv ðə fərst hɪˈstɔrɪkəl ˈfɪgjərz tɪ bi ˈkəvərd ɪn əˈmɑr ˈʧɪtrə ˈkæθə (noʊ. 25 ˈmɛni əv ðiz ˈmɑdərn dɪˈpɪkt ɛz ə ˈflɔləs ˈhɪroʊ, ənd ˈɛmfəˌsaɪz ə ˈmɛsɪʤ əv ˈhɪnˌdu ˈnæʃənəl ˈjunɪti. ˈrɛfərənsɪz ˈɛdət ɪn datta*, 1988 ðə ɪnˌsaɪkləˈpidiə əv ˈɪndiən ˈlɪtərəʧər: ˈvɑljum tu: tɪ jyoti*, akademi*, nu ˈdɛli, ˈɪndiə, 1988 "ˈɛpɪk (hindi)"datta*, 1988 akademi*, nu ˈdɛli, ˈɪndiə, peɪʤ 1178 1886 "ðə ænˈtɪkwəti, ˌɔθənˈtɪsɪti ənd ˈʤɛnjuənɪs əv ðə ˈɛpɪk kɔld ðə ənd ˈkɑmənli əˈskraɪbd tɪ ʧænd" ˈʤərnəl əv ðə ˌeɪʒiˈætɪk soʊˈsaɪɪti əv ˈbɛŋgəl, vol*. 55
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the easiest thing to do when something extraordinary happens in the first week of the season is to dismiss it as a product of small sample size. if a player suddenly goes from to marvelous, odds are going to crash back to earth as soon as exposed by a few more games.
then the curious case of kendall. a thoroughly pitcher for the first seasons of his major league career, came into this year with a era (which looks even worse when considering that the home park favors pitchers) and a weak strikeout rate of just% (5.6 per 9 innings pitched). drawing opening day assignment had far more to do with a lack of healthy and qualified alternatives than anything else.
a week later, sits at, with a era. the even bigger surprise might be his strikeout rate: after starting his career as one of the least likely pitchers in the game to miss bats, punched out 12 batters in his first 13 innings pitched of the season. so what gives?
simply put, no pitcher has changed his approach more in these first few days of the season than. in 2016, the threw his sinker 56% of the time, but still mixed in plenty of other offerings. this year, doing something almost never see in a starting pitcher: throw one pitch almost every time. through his first two starts of 2017, a jarring% of’s pitches have been sinkers. even that figure tell the whole story though. all but 1% of his pitches have been fastballs and cutters. the sinker ander both check in between, while the cutter clocks just shy of 91. and more. not only is throwing some variant of a fastball virtually every vast majority of his pitches are pounding the bottom of the strike zone, or lower.
can he keep this pace up, throwing everything hard, everything down, and getting everyone out with that one pitch? be tough. is essentially doing a zach britton imitation right now. but britton need to deceive opposing batters nearly as much in pitches as must throwing 100. bartolo colon is the only other active starter who leans anywhere near this heavily on one pitch, and colon is basically a unicorn.’s also given up a ton of hard contact in his two starts, while giving up two long balls, and stranding% of the runners put on base.
so, yeah. as fun a story as’s been so far, take the under.
25. philadelphia phillies (3–3,)
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ðə ˈiziəst θɪŋ tɪ du wɪn ˈsəmθɪŋ ˌɛkstrəˈɔrdəˌnɛri ˈhæpənz ɪn ðə fərst wik əv ðə ˈsizən ɪz tɪ dɪsˈmɪs ɪt ɛz ə ˈprɑdəkt əv smɔl ˈsæmpəl saɪz. ɪf ə pleɪər ˈsədənli goʊz frəm tɪ ˈmɑrvələs, ɑdz ər goʊɪŋ tɪ kræʃ bæk tɪ ərθ ɛz sun ɛz ɪkˈspoʊzd baɪ ə fju mɔr geɪmz. ðɛn ðə ˈkjʊriəs keɪs əv ˈkɛndəl. ə ˈθəroʊli ˈpɪʧər fər ðə fərst ˈsizənz əv hɪz ˈmeɪʤər lig kərɪr, keɪm ˈɪntu ðɪs jɪr wɪθ ə ˈɪrə (wɪʧ lʊks ˈivɪn wərs wɪn kənˈsɪdərɪŋ ðət ðə hoʊm pɑrk ˈfeɪvərz ˈpɪʧərz) ənd ə wik ˈstraɪˌkaʊt reɪt əv ʤɪst pər 9 ˈɪnɪŋz pɪʧt). drɔɪŋ ˈoʊpənɪŋ deɪ əˈsaɪnmənt hæd fɑr mɔr tɪ du wɪθ ə læk əv ˈhɛlθi ənd kˈwɑləˌfaɪd ɔlˈtərnətɪvz ðən ˈɛniˌθɪŋ ɛls. ə wik ˈleɪtər, sɪts æt wɪθ ə ˈɪrə. ðə ˈivɪn ˈbɪgər səˈpraɪz maɪt bi hɪz ˈstraɪˌkaʊt reɪt: ˈæftər ˈstɑrtɪŋ hɪz kərɪr ɛz wən əv ðə list ˈlaɪkli ˈpɪʧərz ɪn ðə geɪm tɪ mɪs bæts, pənʧt aʊt 12 ˈbætərz ɪn hɪz fərst 13 ˈɪnɪŋz pɪʧt əv ðə ˈsizən. soʊ wət gɪvz? ˈsɪmpli pʊt, noʊ ˈpɪʧər həz ʧeɪnʤd hɪz əˈproʊʧ mɔr ɪn ðiz fərst fju deɪz əv ðə ˈsizən ðən. ɪn 2016 ðə θru hɪz ˈsɪŋkər 56 əv ðə taɪm, bət stɪl mɪkst ɪn ˈplɛnti əv ˈəðər ˈɔfərɪŋz. ðɪs jɪr, duɪŋ ˈsəmθɪŋ ˈɔlˌmoʊst ˈnɛvər si ɪn ə ˈstɑrtɪŋ ˈpɪʧər: θroʊ wən pɪʧ ˈɔlˌmoʊst ˈɛvəri taɪm. θru hɪz fərst tu stɑrts əv 2017 ə ˈʤɑrɪŋ əv ˈpɪʧɪz hæv bɪn sinkers*. ˈivɪn ðət ˈfɪgjər tɛl ðə hoʊl ˈstɔri ðoʊ. ɔl bət 1 əv hɪz ˈpɪʧɪz hæv bɪn ˈfæstˌbɔlz ənd ˈkətərz. ðə ˈsɪŋkər ənd boʊθ ʧɛk ɪn bɪtˈwin waɪl ðə ˈkətər klɑks ʤɪst ʃaɪ əv 91 ənd mɔr. nɑt ˈoʊnli ɪz θroʊɪŋ səm ˈvɛriənt əv ə ˈfæstˌbɔl ˈvərʧuəli ˈɛvəri væst məˈʤɔrəti əv hɪz ˈpɪʧɪz ər ˈpaʊndɪŋ ðə ˈbɑtəm əv ðə straɪk zoʊn, ər loʊər. kən hi kip ðɪs peɪs əp, θroʊɪŋ ˈɛvriˌθɪŋ hɑrd, ˈɛvriˌθɪŋ daʊn, ənd ˈgɪtɪŋ ˈɛvriˌwən aʊt wɪθ ðət wən pɪʧ? bi təf. ɪz ɛˈsɛnʃəli duɪŋ ə zæk ˈbrɪtən ˌɪməˈteɪʃən raɪt naʊ. bət ˈbrɪtən nid tɪ dɪˈsiv əˈpoʊzɪŋ ˈbætərz ˈnɪrli ɛz məʧ ɪn ˈpɪʧɪz ɛz məst θroʊɪŋ 100 bɑrˈtoʊloʊ ˈkoʊlən ɪz ðə ˈoʊnli ˈəðər ˈæktɪv ˈstɑrtər hu linz ˈɛniˌwɛr nɪr ðɪs ˈhɛvəli ɔn wən pɪʧ, ənd ˈkoʊlən ɪz ˈbeɪsɪkli ə ˈjunɪˌkɔrn. ˈɔlsoʊ ˈgɪvɪn əp ə tən əv hɑrd ˈkɑnˌtækt ɪn hɪz tu stɑrts, waɪl ˈgɪvɪŋ əp tu lɔŋ bɔlz, ənd ˈstrændɪŋ əv ðə ˈrənərz pʊt ɔn beɪs. soʊ, jæ. ɛz fən ə ˈstɔri ɛz bɪn soʊ fɑr, teɪk ðə ˈəndər. 25 ˌfɪləˈdɛlfiə ˈfɪliz
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at the beginning of the northern summer, just three months ago, no one thought north korea had a missile that could reach the united states.
that all changed on july 4 when north korea successfully tested its first intercontinental ballistic missile, the, which could travel as far as alaska. weeks later, they tested another, with a likely range as far as new york. they even released stamps to commemorate the occasion.
kcna
the same weapon could also reach australia. designed to carry a nuclear warhead.
now pyongyang has conducted what the japanese and south korean governments have confirmed was a sixth nuclear test, claiming it was a hydrogen bomb that can be loaded onto an intercontinental ballistic missile.
if that is true, the risk calculations change completely.
not crazy
the conventional wisdom insists, as australian prime minister malcolm turnbull did in late august, that if kim started a war with the us, it would be the suicidal act of a small country provoking a superpower.
no defence analysts expect the us to initiate a nuclear conflict with north korea, although if pyongyang made a nuclear strike at korea, japan, guam or us bases in the region, that would certainly invite nuclear retaliation from the us.
but pyongyang has also insisted that its nuclear capacity is only for retaliation or deterrence.
that’s why defence analysts think that kim is not actually insane, despite western opinions to the contrary. they think he is a rational actor, and the north's frequent weapons tests are necessary steps in acquiring a nuclear deterrent against the us, because kim believes that will give him his best chance of achieving his objectives.
kim’s number one priority is the survival of his regime.
"kim is not a crazy man," said professor kim, dean of the graduate school of international studies at korea university in seoul. "he knows that he will be dead if he triggers a war. he is thus obsessed with preserving his own regime by maximizing his leverage - through improving nuclear and capabilities - over the us in the future negotiations."
the point is that once he has reliable nuclear weapons that could land on san francisco within half an flight, kim can make the us considerably less likely to launch a nuclear attack against him no matter what else he does, as well as give him more bargaining power at the table.
0:00 the three latest intercontinental ballistic missile tests by north korea. / share share on twitter
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the security dilemma
in some ways the world has begun to accept kim's logic: more western experts have been arguing the once-unthinkable: that the west will have to learn to live with north korea. this argument is well laid out here in foreign policy.
that's because a military intervention designed to stop the north's nukes program would be so catastrophic. the likelihood of success of a "limited" strike targeting the leadership is slim, with a whole range of unpredictable consequences. even a conventional war on the korean peninsula would likely see at least hundreds of thousands killed in a conflict that could last months and south korea, a country of 50 million and the world's largest economy.
but not everyone agrees.
asian security expert dr malcolm davis from the australian strategic policy institute in canberra said “if we live with a nuclear north korea they can build up their nuclear forces. ... [in ten years] they would have perfected their and also their ballistic missiles which would give them known as an assured second strike capability, that then makes it much more difficult to place pressure on north korea in the future.”
a nuclear arms build up in north korea would lead to a classic security dilemma, where other states respond in kind, producing a spiral toward open conflict even when no side actually wants it.
in other words, if you let north korea develop its nukes, south korea and japan will want them too. then china would beef up its nuclear arsenal, which would invite a reaction from the us, russia and india.
“so you have this potential for a much more dangerous nuclear scenario emerging globally as a result of learning to live with a nuclear north korea,” dr davis said. “it may actually be better to try to remove that threat of a nuclear north now rather than letting it build up and having to deal with it when it's much stronger later.”
dr davis said the best option left would be us tactical nuclear forces in south korea that were removed at the end of the cold war, and strengthening missile defence systems, which is already underway.
sbs world news
under kim, missile tests have increased dramatically in frequency compared to his predecessors.
can sanctions work? what about ‘freeze-freeze’?
following the latest nuclear test, prime minister malcolm turnbull again reiterated his call for china to do more. us president donald trump threatened to halt trade with all countries doing business with north korea - unlikely as this would include china. but some experts argue beijing does not have as much influence on pyongyang as is often thought -or it would not have conducted the nuclear test at all.
australian foreign minister julie bishop is putting her faith in the un sanctions announced by the security council on august 5, which are supposed to be implemented by early september.
the sanctions are the strongest ever - a ban on billion worth of exports for a country with total exports valued at billion last year - and it was significant that both russia and china supported them. they are intended to pressure kim to return to the negotiating table. but implementation has been problematic in the past, and the us president appeared of their value after the test on sunday.
south korea is finding, as i have told them, that their talk of appeasement with north korea will not work, they only understand one thing! donald j. trump (@realdonaldtrump) september 3, 2017
korea university's professor kim said public opinion in south korea is turning against sanctions.
"more and more the south korean people are frustrated with the effect of economic sanctions due to the lukewarm attitude of china. the voice of supporting south korea going nuclear or redeploying us tactical nuclear weapons is getting stronger," he told news.
some who believe sanctions will fail again are advocating the so-called “freeze-freeze” model proposed by chinese foreign minister wang yi in june and explained here in detail by douglas mo for the the council on foreign relations.
in this model the us would suspend korean military exercises “in exchange for the suspension of north korean missile development and testing." china would monitor north korea's compliance and provide security assurances.
but dr davis is, saying the north would not genuinely stop its nuclear weapons development.
“and in return for doing that the us has to back out of a key alliance relationship south korea would lose confidence in the us, japan would lose confidence in the us.both china and russia gain as a result of that at the end of the day rewarding north korea for its bad behaviour. i see it as credible option.”
kcna
what about the south?
if you think this sounds grim, spare a thought for south koreans, who have lived within range of nukes - not to mention his conventional, chemical and biological weapons - for years.
professor kim from the institute for peace and unification studies at seoul national university and of the 2017 book north korea and nuclear weapons told news that while there is strong support in the south for the us alliance, there is some frustration about the failure of a string of us presidents to take the problem seriously and find a way to get back to the negotiating table with pyongyang.
“mr trump is not popular in korea… but the issue is not personal popularity,” he said.
“there is a kind of cycle of expectation but frustration - a little hope of north korea's stepping forward for a talk with the us, [then] north korea's provocative tests, and the us [having] no apparent intention of talking.
“gradually deterrence will become the only means to deal with north nuclear [capacity], a situation that is against our hope and objective.”
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æt ðə bɪˈgɪnɪŋ əv ðə ˈnɔrðərn ˈsəmər, ʤɪst θri mənθs əˈgoʊ, noʊ wən θɔt nɔrθ ˌkɔˈriə hæd ə ˈmɪsəl ðət kʊd riʧ ðə juˈnaɪtɪd steɪts. ðət ɔl ʧeɪnʤd ɔn ˌʤuˈlaɪ 4 wɪn nɔrθ ˌkɔˈriə səkˈsɛsfəli ˈtɛstɪd ɪts fərst ˌɪntərˌkɑntəˈnɛntəl bəˈlɪstɪk ˈmɪsəl, ðə wɪʧ kʊd ˈtrævəl ɛz fɑr ɛz əˈlæskə. wiks ˈleɪtər, ðeɪ ˈtɛstɪd əˈnəðər wɪθ ə ˈlaɪkli reɪnʤ ɛz fɑr ɛz nu jɔrk. ðeɪ ˈivɪn riˈlist stæmps tɪ kəˈmɛmərˌeɪt ðə əˈkeɪʒən. ðə seɪm ˈwɛpən kʊd ˈɔlsoʊ riʧ ɔˈstreɪljə. dɪˈzaɪnd tɪ ˈkɛri ə ˈnukliər ˈwɔˌrhɛd. naʊ ˈpjɔŋˈjæŋ həz kənˈdəktəd wət ðə ˌʤæpəˈniz ənd saʊθ ˌkɔˈriən ˈgəvərnmənts hæv kənˈfərmd wɑz ə sɪksθ ˈnukliər tɛst, ˈkleɪmɪŋ ɪt wɑz ə ˈhaɪdrəʤən bɔm ðət kən bi ˈloʊdɪd ˈɔntu ən ˌɪntərˌkɑntəˈnɛntəl bəˈlɪstɪk ˈmɪsəl. ɪf ðət ɪz tru, ðə rɪsk ˌkælkjəˈleɪʃənz ʧeɪnʤ kəmˈplitli. nɑt ˈkreɪzi ðə kənˈvɛnʃənəl ˈwɪzdəm ˌɪnˈsɪsts, ɛz ɔˈstreɪljən praɪm ˈmɪnɪstər ˈmælkəm ˈtərnˌbʊl dɪd ɪn leɪt ˈɔgəst, ðət ɪf kɪm ˈstɑrtɪd ə wɔr wɪθ ðə ˈjuˈɛs, ɪt wʊd bi ðə ˌsuəˈsaɪdəl ækt əv ə smɔl ˈkəntri prəˈvoʊkɪŋ ə ˌsupərˈpaʊər. noʊ dɪˈfɛns ˈænəlɪsts ɪkˈspɛkt ðə ˈjuˈɛs tɪ ˌɪˈnɪʃiˌeɪt ə ˈnukliər ˈkɑnflɪkt wɪθ nɔrθ ˌkɔˈriə, ˌɔlˈðoʊ ɪf ˈpjɔŋˈjæŋ meɪd ə ˈnukliər straɪk æt ˌkɔˈriə, ʤəˈpæn, gwɑm ər ˈjuˈɛs ˈbeɪsɪz ɪn ðə ˈriʤən, ðət wʊd ˈsərtənli ˌɪnˈvaɪt ˈnukliər riˌtæliˈeɪʃən frəm ðə ˈjuˈɛs. bət ˈpjɔŋˈjæŋ həz ˈɔlsoʊ ˌɪnˈsɪstɪd ðət ɪts ˈnukliər kəˈpæsɪti ɪz ˈoʊnli fər riˌtæliˈeɪʃən ər dɪˈtərəns. waɪ dɪˈfɛns ˈænəlɪsts θɪŋk ðət kɪm ɪz nɑt ˈæˌkʧuəli ˌɪnˈseɪn, dɪˈspaɪt ˈwɛstərn əˈpɪnjənz tɪ ðə ˈkɑntrɛri. ðeɪ θɪŋk hi ɪz ə ˈræʃənəl ˈæktər, ənd ðə nɔrθs ˈfrikˌwɛnt ˈwɛpənz tɛsts ər ˈnɛsəˌsɛri stɛps ɪn əkˈwaɪərɪŋ ə ˈnukliər dɪˈtərrənt əˈgɛnst ðə ˈjuˈɛs, bɪˈkəz kɪm bɪˈlivz ðət wɪl gɪv ɪm hɪz bɛst ʧæns əv əˈʧivɪŋ hɪz əˈbʤɛktɪvz. ˈnəmbər wən praɪˈɔrəti ɪz ðə sərˈvaɪvəl əv hɪz rəˈʒim. "kɪm ɪz nɑt ə ˈkreɪzi mæn," sɛd prəˈfɛsər kɪm, din əv ðə ˈgræʤəˌweɪt skul əv ˌɪnərˈnæʃənɑl ˈstədiz æt ˌkɔˈriə ˌjunəˈvərsəti ɪn soʊl. "hi noʊz ðət hi wɪl bi dɛd ɪf hi ˈtrɪgərz ə wɔr. hi ɪz ðəs əbˈsɛst wɪθ prɪˈzərvɪŋ hɪz oʊn rəˈʒim baɪ ˈmæksəˌmaɪzɪŋ hɪz ˈlɛvərɪʤ θru ˌɪmˈpruvɪŋ ˈnukliər ənd ˌkeɪpəˈbɪlətiz ˈoʊvər ðə ˈjuˈɛs ɪn ðə fˈjuʧər nɪˌgoʊʃiˈeɪʃənz." ðə pɔɪnt ɪz ðət wəns hi həz rɪˈlaɪəbəl ˈnukliər ˈwɛpənz ðət kʊd lænd ɔn sæn frænˈsɪskoʊ wɪˈθɪn hæf ən flaɪt, kɪm kən meɪk ðə ˈjuˈɛs kənˈsɪdərəbli lɛs ˈlaɪkli tɪ lɔnʧ ə ˈnukliər əˈtæk əˈgɛnst ɪm noʊ ˈmætər wət ɛls hi dɪz, ɛz wɛl ɛz gɪv ɪm mɔr ˈbɑrgɪnɪŋ paʊər æt ðə ˈteɪbəl. ðə θri ˈleɪtəst ˌɪntərˌkɑntəˈnɛntəl bəˈlɪstɪk ˈmɪsəl tɛsts baɪ nɔrθ ˌkɔˈriə. ʃɛr ʃɛr ɔn tˈwɪtər ʃɛr ɔn ˈfeɪsˌbʊk ðə sɪˈkjʊrəti dɪˈlɛmə ɪn səm weɪz ðə wərld həz ˈbeɪgən tɪ əkˈsɛpt kɪmz ˈlɑʤɪk: mɔr ˈwɛstərn ˈɛkspərts hæv bɪn ˈɑrgjuɪŋ ðə once-unthinkable*: ðət ðə wɛst wɪl hæv tɪ lərn tɪ lɪv wɪθ nɔrθ ˌkɔˈriə. ðɪs ˈɑrgjəmənt ɪz wɛl leɪd aʊt hir ɪn ˈfɔrən ˈpɑləsi. ðæts bɪˈkəz ə ˈmɪlɪˌtɛri ˌɪntərˈvɛnʃən dɪˈzaɪnd tɪ stɑp ðə nɔrθs nuks ˈproʊˌgræm wʊd bi soʊ ˌkætəˈstrɑfɪk. ðə ˈlaɪkliˌhʊd əv səkˈsɛs əv ə "ˈlɪmɪtɪd" straɪk ˈtɑrgətɪŋ ðə ˈlidərˌʃɪp ɪz slɪm, wɪθ ə hoʊl reɪnʤ əv ˌənprɪˈdɪktəbəl ˈkɑnsəkˌwɛnsəz. ˈivɪn ə kənˈvɛnʃənəl wɔr ɔn ðə ˌkɔˈriən pəˈnɪnsələ wʊd ˈlaɪkli si æt list ˈhənərdz əv ˈθaʊzənz kɪld ɪn ə ˈkɑnflɪkt ðət kʊd læst mənθs ənd saʊθ ˌkɔˈriə, ə ˈkəntri əv 50 ˈmɪljən ənd ðə wərldz ˈlɑrʤəst ɪˈkɑnəmi. bət nɑt ˈɛvriˌwən əˈgriz. ˈeɪʒən sɪˈkjʊrəti ˈɛkspərt ˈdɑktər ˈmælkəm ˈdeɪvɪs frəm ðə ɔˈstreɪljən strəˈtiʤɪk ˈpɑləsi ˈɪnstɪˌtut ɪn ˌkænˈbɛrə sɛd wi lɪv wɪθ ə ˈnukliər nɔrθ ˌkɔˈriə ðeɪ kən bɪld əp ðɛr ˈnukliər ˈfɔrsɪz. [ɪn tɛn jɪrz] ðeɪ wʊd hæv pərˈfɛktəd ðɛr ənd ˈɔlsoʊ ðɛr bəˈlɪstɪk ˈmɪsəlz wɪʧ wʊd gɪv ðɛm noʊn ɛz ən əˈʃʊrd ˈsɛkənd straɪk ˌkeɪpəˈbɪləti, ðət ðɛn meɪks ɪt məʧ mɔr ˈdɪfəkəlt tɪ pleɪs ˈprɛʃər ɔn nɔrθ ˌkɔˈriə ɪn ðə future.”*.” ə ˈnukliər ɑrmz bɪld əp ɪn nɔrθ ˌkɔˈriə wʊd lɛd tɪ ə ˈklæsɪk sɪˈkjʊrəti dɪˈlɛmə, wɛr ˈəðər steɪts rɪˈspɑnd ɪn kaɪnd, prəˈdusɪŋ ə ˈspaɪrəl təˈwɔrd ˈoʊpən ˈkɑnflɪkt ˈivɪn wɪn noʊ saɪd ˈæˌkʧuəli wɔnts ɪt. ɪn ˈəðər wərdz, ɪf ju lɛt nɔrθ ˌkɔˈriə dɪˈvɛləp ɪts nuks, saʊθ ˌkɔˈriə ənd ʤəˈpæn wɪl wɔnt ðɛm tu. ðɛn ˈʧaɪnə wʊd bif əp ɪts ˈnukliər ˈɑrsənəl, wɪʧ wʊd ˌɪnˈvaɪt ə riˈækʃən frəm ðə ˈjuˈɛs, ˈrəʃə ənd ˈɪndiə. ju hæv ðɪs pəˈtɛnʃəl fər ə məʧ mɔr ˈdeɪnʤərəs ˈnukliər sɪˈnɛrioʊ ˈimərʤɪŋ ˈgloʊbəli ɛz ə rɪˈzəlt əv ˈlərnɪŋ tɪ lɪv wɪθ ə ˈnukliər nɔrθ korea,”*,” ˈdɑktər ˈdeɪvɪs sɛd. meɪ ˈæˌkʧuəli bi ˈbɛtər tɪ traɪ tɪ riˈmuv ðət θrɛt əv ə ˈnukliər nɔrθ naʊ ˈrəðər ðən ˈlɛtɪŋ ɪt bɪld əp ənd ˈhævɪŋ tɪ dil wɪθ ɪt wɪn ɪts məʧ ˈstrɔŋgər later.”*.” ˈdɑktər ˈdeɪvɪs sɛd ðə bɛst ˈɔpʃən lɛft wʊd bi ˈjuˈɛs ˈtæktɪkəl ˈnukliər ˈfɔrsɪz ɪn saʊθ ˌkɔˈriə ðət wər riˈmuvd æt ðə ɛnd əv ðə koʊld wɔr, ənd ˈstrɛŋθənɪŋ ˈmɪsəl dɪˈfɛns ˈsɪstəmz, wɪʧ ɪz ɔˈrɛdi ˌəndərˈweɪ. wərld nuz ˈəndər kɪm, ˈmɪsəl tɛsts hæv ˌɪnˈkrist drəˈmætɪkəli ɪn ˈfrikwənsi kəmˈpɛrd tɪ hɪz ˈprɛdəˌsɛsərz. kən ˈsæŋkʃənz wərk? wət əˈbaʊt ‘‘freeze-freeze’*’? ˈfɑloʊɪŋ ðə ˈleɪtəst ˈnukliər tɛst, praɪm ˈmɪnɪstər ˈmælkəm ˈtərnˌbʊl əˈgɛn riˈɪtərˌeɪtɪd hɪz kɔl fər ˈʧaɪnə tɪ du mɔr. ˈjuˈɛs ˈprɛzɪdənt ˈdɑnəld trəmp θˈrɛtənd tɪ hɔlt treɪd wɪθ ɔl ˈkəntriz duɪŋ ˈbɪznɪs wɪθ nɔrθ ˌkɔˈriə ənˈlaɪkli ɛz ðɪs wʊd ˌɪnˈklud ˈʧaɪnə. bət səm ˈɛkspərts ˈɑrgju ˌbeɪˈʒɪŋ dɪz nɑt hæv ɛz məʧ ˈɪnfluəns ɔn ˈpjɔŋˈjæŋ ɛz ɪz ˈɔfən θɔt -ər ɪt wʊd nɑt hæv kənˈdəktəd ðə ˈnukliər tɛst æt ɔl. ɔˈstreɪljən ˈfɔrən ˈmɪnɪstər ˈʤuli ˈbɪʃəp ɪz ˈpʊtɪŋ hər feɪθ ɪn ðə ˈjuˈɛn ˈsæŋkʃənz əˈnaʊnst baɪ ðə sɪˈkjʊrəti ˈkaʊnsəl ɔn ˈɔgəst 5 wɪʧ ər səˈpoʊzd tɪ bi ˈɪmpləˌmɛnəd baɪ ˈərli sɛpˈtɛmbər. ðə ˈsæŋkʃənz ər ðə ˈstrɔŋgəst ˈɛvər ə bæn ɔn ˈbɪljən wərθ əv ˈɛkspɔrts fər ə ˈkəntri wɪθ ˈtoʊtəl ˈɛkspɔrts ˈvæljud æt ˈbɪljən læst jɪr ənd ɪt wɑz sɪgˈnɪfɪkənt ðət boʊθ ˈrəʃə ənd ˈʧaɪnə səˈpɔrtɪd ðɛm. ðeɪ ər ˌɪnˈtɛndɪd tɪ ˈprɛʃər kɪm tɪ rɪˈtərn tɪ ðə nɪˈgoʊʃiˌeɪtɪŋ ˈteɪbəl. bət ˌɪmpləmɛnˈteɪʃən həz bɪn ˌprɑbləˈmætɪk ɪn ðə pæst, ənd ðə ˈjuˈɛs ˈprɛzɪdənt əˈpɪrd əv ðɛr ˈvælju ˈæftər ðə tɛst ɔn ˈsənˌdi. saʊθ ˌkɔˈriə ɪz ˈfaɪndɪŋ, ɛz aɪ hæv toʊld ðɛm, ðət ðɛr tɔk əv əˈpizmənt wɪθ nɔrθ ˌkɔˈriə wɪl nɑt wərk, ðeɪ ˈoʊnli ˌəndərˈstænd wən θɪŋ! ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) sɛpˈtɛmbər 3 2017 ˌkɔˈriə ˌjunəˈvərsətiz prəˈfɛsər kɪm sɛd ˈpəblɪk əˈpɪnjən ɪn saʊθ ˌkɔˈriə ɪz ˈtərnɪŋ əˈgɛnst ˈsæŋkʃənz. "mɔr ənd mɔr ðə saʊθ ˌkɔˈriən ˈpipəl ər ˈfrəˌstreɪtəd wɪθ ðə ˈifɛkt əv ˌɛkəˈnɑmɪk ˈsæŋkʃənz du tɪ ðə ˈlukˈwɔrm ˈætəˌtud əv ˈʧaɪnə. ðə vɔɪs əv səˈpɔrtɪŋ saʊθ ˌkɔˈriə goʊɪŋ ˈnukliər ər ˌridɪˈplɔɪɪŋ ˈjuˈɛs ˈtæktɪkəl ˈnukliər ˈwɛpənz ɪz ˈgɪtɪŋ ˈstrɔŋgər," hi toʊld nuz. səm hu bɪˈliv ˈsæŋkʃənz wɪl feɪl əˈgɛn ər ˈædvəˌkeɪtɪŋ ðə ˈsoʊˈkɔld ““freeze-freeze”*” ˈmɑdəl prəˈpoʊzd baɪ ʧaɪˈniz ˈfɔrən ˈmɪnɪstər wæŋ ji ɪn ʤun ənd ɪkˈspleɪnd hir ɪn ˈditeɪl baɪ ˈdəgləs moʊ fər ðə ðə ˈkaʊnsəl ɔn ˈfɔrən riˈleɪʃənz. ɪn ðɪs ˈmɑdəl ðə ˈjuˈɛs wʊd səˈspɛnd ˌkɔˈriən ˈmɪlɪˌtɛri ˈɛksərˌsaɪzɪz ɪksˈʧeɪnʤ fər ðə səˈspɛnʃən əv nɔrθ ˌkɔˈriən ˈmɪsəl dɪˈvɛləpmənt ənd ˈtɛstɪŋ." ˈʧaɪnə wʊd ˈmɑnətər nɔrθ ˌkɔˈriəz kəmˈplaɪəns ənd prəˈvaɪd sɪˈkjʊrəti əˈʃʊrəntsɪz. bət ˈdɑktər ˈdeɪvɪs ɪz, seɪɪŋ ðə nɔrθ wʊd nɑt ˈʤɛnjuˌaɪnli stɑp ɪts ˈnukliər ˈwɛpənz dɪˈvɛləpmənt. ɪn rɪˈtərn fər duɪŋ ðət ðə ˈjuˈɛs həz tɪ bæk aʊt əv ə ki əˈlaɪəns riˈleɪʃənˌʃɪp saʊθ ˌkɔˈriə wʊd luz ˈkɑnfədɛns ɪn ðə ˈjuˈɛs, ʤəˈpæn wʊd luz ˈkɑnfədɛns ɪn ðə ˈjuˈɛs ˈʧaɪnə ənd ˈrəʃə geɪn ɛz ə rɪˈzəlt əv ðət æt ðə ɛnd əv ðə deɪ rɪˈwɔrdɪŋ nɔrθ ˌkɔˈriə fər ɪts bæd bɪˈheɪvjər. aɪ si ɪt ɛz ˈkrɛdəbəl option.”*.” wət əˈbaʊt ðə saʊθ? ɪf ju θɪŋk ðɪs saʊnz grɪm, spɛr ə θɔt fər saʊθ ˌkɔˈriənz, hu hæv lɪvd wɪˈθɪn reɪnʤ əv nuks nɑt tɪ ˈmɛnʃən hɪz kənˈvɛnʃənəl, ˈkɛmɪkəl ənd ˌbaɪəˈlɑʤɪkəl ˈwɛpənz fər jɪrz. prəˈfɛsər kɪm frəm ðə ˈɪnstɪˌtut fər pis ənd ˌjunəfəˈkeɪʃən ˈstədiz æt soʊl ˈnæʃənəl ˌjunəˈvərsəti ənd əv ðə 2017 bʊk nɔrθ ˌkɔˈriə ənd ˈnukliər ˈwɛpənz toʊld nuz ðət waɪl ðɛr ɪz strɔŋ səˈpɔrt ɪn ðə saʊθ fər ðə ˈjuˈɛs əˈlaɪəns, ðɛr ɪz səm frəˈstreɪʃən əˈbaʊt ðə ˈfeɪljər əv ə strɪŋ əv ˈjuˈɛs ˈprɛzɪˌdɛnts tɪ teɪk ðə ˈprɑbləm ˈsɪriəsli ənd faɪnd ə weɪ tɪ gɪt bæk tɪ ðə nɪˈgoʊʃiˌeɪtɪŋ ˈteɪbəl wɪθ ˈpjɔŋˈjæŋ. trəmp ɪz nɑt ˈpɑpjələr ɪn korea…*… bət ðə ˈɪʃu ɪz nɑt ˈpərsɪnəl popularity,”*,” hi sɛd. ɪz ə kaɪnd əv ˈsaɪkəl əv ˌɛkspɛkˈteɪʃən bət frəˈstreɪʃən ə ˈlɪtəl hoʊp əv nɔrθ ˌkɔˈriəz ˈstɛpɪŋ ˈfɔrwərd fər ə tɔk wɪθ ðə ˈjuˈɛs, [ðɛn] nɔrθ ˌkɔˈriəz proʊˈvɑkətɪv tɛsts, ənd ðə ˈjuˈɛs [ˈhævɪŋ] noʊ əˈpɛrənt ˌɪnˈtɛnʧən əv ˈtɔkɪŋ. dɪˈtərəns wɪl bɪˈkəm ðə ˈoʊnli minz tɪ dil wɪθ nɔrθ ˈnukliər [kəˈpæsɪti], ə ˌsɪʧuˈeɪʃən ðət ɪz əˈgɛnst ɑr hoʊp ənd objective.”*.”
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nova scotia and the federal government have reached a final agreement to renew the province's policing contract for another 20 years.
federal public safety minister vic toews issued a statement saying the agreement gives nova scotia increased input into controlling costs and standards.
in october, negotiations between ottawa and some provinces hit a snag when the federal government said it might withdraw officers from several provinces and territories in 2014 if a new contract was not reached by the end of november.
at the time, alberta and saskatchewan had broken ranks with the other provinces that use the, signing contracts with ottawa before the others had finished their negotiations.
on friday, nova scotia justice minister ross landry issued a statement saying the province's new agreement with ottawa gives the province more control over costs, staffing levels and building.
the have 37 and more than employees in nova scotia.
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ˈnoʊvə ˈskoʊʃə ənd ðə ˈfɛdərəl ˈgəvərnmənt hæv riʧt ə ˈfaɪnəl əˈgrimənt tɪ rɪˈnu ðə ˈprɑvənsɪz pəˈlisɪŋ ˈkɑnˌtrækt fər əˈnəðər 20 jɪrz. ˈfɛdərəl ˈpəblɪk ˈseɪfti ˈmɪnɪstər vɪk tɑuz ˈɪʃud ə ˈsteɪtmənt seɪɪŋ ðə əˈgrimənt gɪvz ˈnoʊvə ˈskoʊʃə ˌɪnˈkrist ˈɪnˌpʊt ˈɪntu kənˈtroʊlɪŋ kɔsts ənd ˈstændərdz. ɪn ɑkˈtoʊbər, nɪˌgoʊʃiˈeɪʃənz bɪtˈwin ˈɑtəˌwɑ ənd səm ˈprɑvənsəz hɪt ə snæg wɪn ðə ˈfɛdərəl ˈgəvərnmənt sɛd ɪt maɪt wɪθˈdrɔ ˈɔfɪsərz frəm ˈsɛvərəl ˈprɑvənsəz ənd ˈtɛrəˌtɔriz ɪn 2014 ɪf ə nu ˈkɑnˌtrækt wɑz nɑt riʧt baɪ ðə ɛnd əv noʊˈvɛmbər. æt ðə taɪm, ælˈbərtə ənd sæˈskæʧəˌwɔn hæd ˈbroʊkən ræŋks wɪθ ðə ˈəðər ˈprɑvənsəz ðət juz ðə, ˈsaɪnɪŋ ˈkɑnˌtrækts wɪθ ˈɑtəˌwɑ ˌbiˈfɔr ðə ˈəðərz hæd ˈfɪnɪʃt ðɛr nɪˌgoʊʃiˈeɪʃənz. ɔn ˈfraɪˌdeɪ, ˈnoʊvə ˈskoʊʃə ˈʤəstɪs ˈmɪnɪstər rɔs ˈlændri ˈɪʃud ə ˈsteɪtmənt seɪɪŋ ðə ˈprɑvənsɪz nu əˈgrimənt wɪθ ˈɑtəˌwɑ gɪvz ðə ˈprɑvɪns mɔr kənˈtroʊl ˈoʊvər kɔsts, ˈstæfɪŋ ˈlɛvəlz ənd ˈbɪldɪŋ. ðə hæv 37 ənd mɔr ðən ɪmˈplɔɪiz ɪn ˈnoʊvə ˈskoʊʃə.
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just about everyone knows that sending texts while driving is an incredibly bad idea, but a new jersey court has just decided that not only drivers should be held liable for accidents. according to a opinion from a new jersey court of appeals, someone who sends a text message to another person can be held liable for a accident so long as the sender was aware that the recipient was behind the wheel.
we hold that the sender of a text message can potentially be liable if an accident is caused by texting, but only if the sender knew or had special reason to know that the recipient would view the text while driving and thus be distracted.
the court's opinion came out of an earlier texting while driving case: a teenager driving and texting crossed the center line of the road he was on and severely injured a married couple on a motorcycle. the injured couple had already settled with the driver who hit them, but they also sought to charge the girl who sent the driver a message with negligence, saying that she knew she was texting someone who was driving and thus knew she was engaging in distracting and unsafe behavior.
however, in this case, the plaintiffs weren't able to prove that the girl sending the text to her boyfriend actually knew he was driving, so she isn't being charged. however, the court found the argument intriguing enough that it will consider the responsibility of the sender in text message accident cases going forward:
we affirm the trial court's order dismissing plaintiffs' complaint against the sender of the text messages, but we do not adopt the trial court's reasoning that a remote texter does not have a legal duty to avoid sending text messages to one who is driving.
so while the defendant managed to escape prosecution, future texters in new jersey might not be so lucky. that said, it looks like the court's opinion is worded such that this shouldn't place a burden on innocent texters a remote sender only has a "limited duty" to those sharing the road with drivers using their phones. "one should not be held liable for sending a wireless transmission simply because some recipient might use his cell phone unlawfully and become distracted while driving," the court determined. additionally, this isn't a formal law, but more an admission that new jersey will consider future prosecution of people who sent texts to someone who caused an accident. still, regardless of the legal implications, it's definitely something worth considering when you're firing off messages to your friends if you know they're behind the wheel, it might be smart to just send them later.
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ʤɪst əˈbaʊt ˈɛvriˌwən noʊz ðət ˈsɛndɪŋ tɛksts waɪl ˈdraɪvɪŋ ɪz ən ˌɪnˈkrɛdəbli bæd aɪˈdiə, bət ə nu ˈʤərzi kɔrt həz ʤɪst ˌdɪˈsaɪdɪd ðət nɑt ˈoʊnli ˈdraɪvərz ʃʊd bi hɛld ˈlaɪəbəl fər ˈæksədənts. əˈkɔrdɪŋ tɪ ə əˈpɪnjən frəm ə nu ˈʤərzi kɔrt əv əˈpilz, ˈsəmˌwən hu sɛndz ə tɛkst ˈmɛsɪʤ tɪ əˈnəðər ˈpərsən kən bi hɛld ˈlaɪəbəl fər ə ˈæksədənt soʊ lɔŋ ɛz ðə ˈsɛndər wɑz əˈwɛr ðət ðə rɪˈsɪpiənt wɑz bɪˈhaɪnd ðə wil. wi hoʊld ðət ðə ˈsɛndər əv ə tɛkst ˈmɛsɪʤ kən pəˈtɛnʃəli bi ˈlaɪəbəl ɪf ən ˈæksədənt ɪz kɔzd baɪ ˈtɛkˌstɪŋ, bət ˈoʊnli ɪf ðə ˈsɛndər nu ər hæd ˈspɛʃəl ˈrizən tɪ noʊ ðət ðə rɪˈsɪpiənt wʊd vju ðə tɛkst waɪl ˈdraɪvɪŋ ənd ðəs bi dɪˈstræktɪd. ðə kɔrts əˈpɪnjən keɪm aʊt əv ən ˈərliər ˈtɛkˌstɪŋ waɪl ˈdraɪvɪŋ keɪs: ə ˈtiˌneɪʤər ˈdraɪvɪŋ ənd ˈtɛkˌstɪŋ krɔst ðə ˈsɛnər laɪn əv ðə roʊd hi wɑz ɔn ənd səˈvɪrli ˈɪnʤərd ə ˈmɛrid ˈkəpəl ɔn ə ˈmoʊtərˌsaɪkəl. ðə ˈɪnʤərd ˈkəpəl hæd ɔˈrɛdi ˈsɛtəld wɪθ ðə ˈdraɪvər hu hɪt ðɛm, bət ðeɪ ˈɔlsoʊ sɔt tɪ ʧɑrʤ ðə gərl hu sɛnt ðə ˈdraɪvər ə ˈmɛsɪʤ wɪθ ˈnɛglɪʤəns, seɪɪŋ ðət ʃi nu ʃi wɑz ˈtɛkˌstɪŋ ˈsəmˌwən hu wɑz ˈdraɪvɪŋ ənd ðəs nu ʃi wɑz ɪnˈgeɪʤɪŋ ɪn dɪˈstræktɪŋ ənd ənˈseɪf bɪˈheɪvjər. ˌhaʊˈɛvər, ɪn ðɪs keɪs, ðə ˈpleɪnɪfs wərənt ˈeɪbəl tɪ pruv ðət ðə gərl ˈsɛndɪŋ ðə tɛkst tɪ hər ˈbɔɪˌfrɛnd ˈæˌkʧuəli nu hi wɑz ˈdraɪvɪŋ, soʊ ʃi ˈɪzənt biɪŋ ʧɑrʤd. ˌhaʊˈɛvər, ðə kɔrt faʊnd ðə ˈɑrgjəmənt ˌɪnˈtrigɪŋ ɪˈnəf ðət ɪt wɪl kənˈsɪdər ðə riˌspɑnsəˈbɪləti əv ðə ˈsɛndər ɪn tɛkst ˈmɛsɪʤ ˈæksədənt ˈkeɪsɪz goʊɪŋ ˈfɔrwərd: wi əˈfərm ðə traɪəl kɔrts ˈɔrdər dɪsˈmɪsɪŋ ˈpleɪnɪfs' kəmˈpleɪnt əˈgɛnst ðə ˈsɛndər əv ðə tɛkst ˈmɛsɪʤɪz, bət wi du nɑt əˈdɑpt ðə traɪəl kɔrts ˈrizənɪŋ ðət ə rɪˈmoʊt ˈtɛkstər dɪz nɑt hæv ə ˈligəl ˈduti tɪ əˈvɔɪd ˈsɛndɪŋ tɛkst ˈmɛsɪʤɪz tɪ wən hu ɪz ˈdraɪvɪŋ. soʊ waɪl ðə dɪˈfɛndənt ˈmænɪʤd tɪ ɪˈskeɪp ˌprɑsəˈkjuʃən, fˈjuʧər ˈtɛkstərz ɪn nu ˈʤərzi maɪt nɑt bi soʊ ˈləki. ðət sɛd, ɪt lʊks laɪk ðə kɔrts əˈpɪnjən ɪz ˈwərdɪd səʧ ðət ðɪs ˈʃʊdənt pleɪs ə ˈbərdən ɔn ˈɪnəsənt ˈtɛkstərz ə rɪˈmoʊt ˈsɛndər ˈoʊnli həz ə "ˈlɪmɪtɪd ˈduti" tɪ ðoʊz ˈʃɛrɪŋ ðə roʊd wɪθ ˈdraɪvərz ˈjuzɪŋ ðɛr foʊnz. "wən ʃʊd nɑt bi hɛld ˈlaɪəbəl fər ˈsɛndɪŋ ə ˈwaɪrlɪs trænzˈmɪʃən ˈsɪmpli bɪˈkəz səm rɪˈsɪpiənt maɪt juz hɪz sɛl foʊn ənˈlɔfəli ənd bɪˈkəm dɪˈstræktɪd waɪl ˈdraɪvɪŋ," ðə kɔrt dɪˈtərmənd. əˈdɪʃəˌnəli, ðɪs ˈɪzənt ə ˈfɔrməl lɔ, bət mɔr ən ədˈmɪʃən ðət nu ˈʤərzi wɪl kənˈsɪdər fˈjuʧər ˌprɑsəˈkjuʃən əv ˈpipəl hu sɛnt tɛksts tɪ ˈsəmˌwən hu kɔzd ən ˈæksədənt. stɪl, rəˈgɑrdləs əv ðə ˈligəl ˌɪmpləˈkeɪʃənz, ɪts ˈdɛfənətli ˈsəmθɪŋ wərθ kənˈsɪdərɪŋ wɪn jʊr ˈfaɪərrɪŋ ɔf ˈmɛsɪʤɪz tɪ jʊr frɛndz ɪf ju noʊ ðɛr bɪˈhaɪnd ðə wil, ɪt maɪt bi smɑrt tɪ ʤɪst sɛnd ðɛm ˈleɪtər.
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a man who raped a child in a toys r us car park has been jailed.
sick connor, 22, was caught on cctv during the attack under a stairwell in the car park last year.
hiscocks, of plymouth, devon, cried in the dock as he was jailed for three years and four months at the city's crown court.
sentencing, judge ian lawrie told the defendant his victim was "an extremely vulnerable young lady".
he added that despite the fact he was a man of previous good character "your selfishness is of a truly staggering scale."
(image: googlemaps)
judge lawrie told the girl was "deeply damaged before you met her" but "you have contributed to that damage".
he told the defendant he knew "exactly what you were doing" saying he "contributed to that harm and damage".
the happened between october 2015 and july 2016 when was aged 21, reports plymouth herald .
judge ian lawrie said, of diamond avenue, lipson, was "spectacularly emotionally immature".
(image: plymouth herald)
he noted how one of the charges of sexual activity with a child was a "specimen" count and covered a number of incidents and showed "persistent behaviour over six months".
he said the other count of sexual activity with a child was captured on cctv in a public area namely the stairwell of the toys r us car park, in western approach.
taking into account aspects of the case and the findings of a thorough report, judge lawrie agreed with the probation officers' report that was not "someone who has an unhealthy interest in young girls".
however, he was "reluctant to come to terms with your offending", having "tended to blame [the girl]" which the judge said was "entirely inappropriate".
(image: plymouth herald/swns)
judge lawrie sentenced to one year for inciting a child to engage in sexual activity and two years for the second count of sexual activity with a child, with the sentences to run concurrently.
the judge recommended an indefinite sexual harm prevention order to be imposed upon and for him to remain on the sex offenders register indefinitely.
after was led away by the dock officers, judge lawrie asked prosecutor janice eagles to pass on his thanks and appreciation to the young victim for coming forward and working with police to help bring the prosecution.
he added: "for all the other deficiencies in her life she is to be applauded for her courage."
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gɪt ðə ˈbɪgəst ˈdeɪli nuz ˈstɔriz baɪ iˈmeɪl səbˈskraɪb θæŋk ju fər səbˈskraɪbɪŋ wi hæv mɔr ˈnuzˌlɛtərz ʃoʊ mi si ɑr ˈpraɪvəsi ˈnoʊtɪs kʊd nɑt səbˈskraɪb, traɪ əˈgɛn ˈleɪtər ˌɪnˈvæləd iˈmeɪl ə mæn hu reɪpt ə ʧaɪld ɪn ə tɔɪz ɑr ˈjuˈɛs kɑr pɑrk həz bɪn ʤeɪld. sɪk ˈkɑnər, 22 wɑz kɔt ɔn ˈsiˌsiˈtiˌvi ˈdʊrɪŋ ðə əˈtæk ˈəndər ə ˈstɛrˌwɛl ɪn ðə kɑr pɑrk læst jɪr., əv ˈplɪməθ, ˈdɛvən, kraɪd ɪn ðə dɑk ɛz hi wɑz ʤeɪld fər θri jɪrz ənd fɔr mənθs æt ðə ˈsɪtiz kraʊn kɔrt. ˈsɛntənsɪŋ, ʤəʤ ˈiən ˈlɔri toʊld ðə dɪˈfɛndənt hɪz ˈvɪktɪm wɑz "ən ɪkˈstrimli ˈvəlnərəbəl jəŋ ˈleɪdi". hi ˈædɪd ðət dɪˈspaɪt ðə fækt hi wɑz ə mæn əv ˈpriviəs gʊd ˈkɛrɪktər "jʊr ˈsɛlfɪʃnəs ɪz əv ə ˈtruli ˈstægərˌɪŋ skeɪl." (ˈɪmɪʤ: googlemaps*) ʤəʤ ˈlɔri toʊld ðə gərl wɑz "ˈdipli ˈdæmɪʤd ˌbiˈfɔr ju mɛt hər" bət "ju hæv kənˈtrɪbjutɪd tɪ ðət ˈdæmɪʤ". hi toʊld ðə dɪˈfɛndənt hi nu "ɪgˈzæktli wət ju wər duɪŋ" seɪɪŋ hi "kənˈtrɪbjutɪd tɪ ðət hɑrm ənd ˈdæmɪʤ". ðə ˈhæpənd bɪtˈwin ɑkˈtoʊbər 2015 ənd ˌʤuˈlaɪ 2016 wɪn wɑz ˈeɪʤɪd 21 rɪˈpɔrts ˈplɪməθ ˈhɛrəld ʤəʤ ˈiən ˈlɔri sɛd, əv ˈdaɪmənd ˈævəˌnu, ˈlɪpsən, wɑz "spɛkˈtækjələrli ˈiˌmoʊʃnəli ˌɪməˈtjʊr". (ˈɪmɪʤ: ˈplɪməθ ˈhɛrəld) hi ˈnoʊtɪd haʊ wən əv ðə ˈʧɑrʤɪz əv ˈsɛkʃuəl ækˈtɪvɪti wɪθ ə ʧaɪld wɑz ə "ˈspɛsəmən" kaʊnt ənd ˈkəvərd ə ˈnəmbər əv ˈɪnsədənts ənd ʃoʊd "pərˈsɪstənt bɪˈheɪvjər ˈoʊvər sɪks mənθs". hi sɛd ðə ˈəðər kaʊnt əv ˈsɛkʃuəl ækˈtɪvɪti wɪθ ə ʧaɪld wɑz ˈkæpʧərd ɔn ˈsiˌsiˈtiˌvi ɪn ə ˈpəblɪk ˈɛriə ˈneɪmli ðə ˈstɛrˌwɛl əv ðə tɔɪz ɑr ˈjuˈɛs kɑr pɑrk, ɪn ˈwɛstərn əˈproʊʧ. ˈteɪkɪŋ ˈɪntu əˈkaʊnt ˈæˌspɛkts əv ðə keɪs ənd ðə ˈfaɪndɪŋz əv ə θəroʊ rɪˈpɔrt, ʤəʤ ˈlɔri əˈgrid wɪθ ðə proʊˈbeɪʃən ˈɔfɪsərz' rɪˈpɔrt ðət wɑz nɑt "ˈsəmˌwən hu həz ən ənˈhɛlθi ˈɪntəˌrɛst ɪn jəŋ gərlz". ˌhaʊˈɛvər, hi wɑz "rɪˈləktənt tɪ kəm tɪ tərmz wɪθ jʊr əˈfɛndɪŋ", ˈhævɪŋ "ˈtɛndɪd tɪ bleɪm [ðə gərl]" wɪʧ ðə ʤəʤ sɛd wɑz "ɪnˈtaɪərli ˌɪnəˈproʊpriɪt". (ˈɪmɪʤ: ˈplɪməθ herald/swns*) ʤəʤ ˈlɔri ˈsɛntənst tɪ wən jɪr fər ˌɪnˈsaɪtɪŋ ə ʧaɪld tɪ ɪnˈgeɪʤ ɪn ˈsɛkʃuəl ækˈtɪvɪti ənd tu jɪrz fər ðə ˈsɛkənd kaʊnt əv ˈsɛkʃuəl ækˈtɪvɪti wɪθ ə ʧaɪld, wɪθ ðə ˈsɛntənsɪz tɪ rən kənˈkərəntli. ðə ʤəʤ ˌrɛkəˈmɛndɪd ən ˌɪnˈdɛfənət ˈsɛkʃuəl hɑrm priˈvɛnʃən ˈɔrdər tɪ bi ˌɪmˈpoʊzd əˈpɑn ənd fər ɪm tɪ rɪˈmeɪn ɔn ðə sɛks əˈfɛndərz ˈrɛʤɪstər ˌɪnˈdɛfənətli. ˈæftər wɑz lɛd əˈweɪ baɪ ðə dɑk ˈɔfɪsərz, ʤəʤ ˈlɔri æst ˈprɑsɪˌkjutər ˈʤænɪs ˈigəlz tɪ pæs ɔn hɪz θæŋks ənd əˌpriʃiˈeɪʃən tɪ ðə jəŋ ˈvɪktɪm fər ˈkəmɪŋ ˈfɔrwərd ənd ˈwərkɪŋ wɪθ pəˈlis tɪ hɛlp brɪŋ ðə ˌprɑsəˈkjuʃən. hi ˈædɪd: "fər ɔl ðə ˈəðər dɪˈfɪʃənsiz ɪn hər laɪf ʃi ɪz tɪ bi əˈplɔdɪd fər hər kərɪʤ."
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sen. bernie sanders bernard (bernie) to end u.s. support for saudi war hits senate setback sanders: 'i fully expect' fair treatment by dnc in 2020 after 'not quite even handed' 2016 primary sanders: 'damn right' i'll make the large corporations pay 'fair share of taxes' more (i-vt.) is demanding congressional leadership rule out an vote on the trans pacific partnership (tpp), after the obama administration sent out a draft document on the trade deal.
"it is now time for the leadership of the democratic party in the senate and the house to join secretary clinton and go on the record in opposition to holding a vote on this trade deal during the session of congress and beyond," sanders, a former white house contender, said in a statement friday.
advertisement the obama administration sent lawmakers a draft statement of administrative action friday, which outlines what changes to u.s. law would be needed under the agreement. sanders, pledging to do "everything i can" to block the trade deal, added friday that he is "disappointed" the obama administration is "pushing forward" with. "[they] continue pushing forward on the disastrous partnership trade agreement that will cost american jobs, harm the environment, increase the cost of prescription drugs and threaten our ability to protect public health," he said. handing over the draft was a step required under last year's trade promotion authority (tpa) bill. it also allows the white house to send lawmakers a implementing bill after 30 days, though the white house has pledged to work with congress on when it sends over language.
congressional leadership has signaled that it's increasingly unlikely obama's signature trade agreement will get a vote this year as momentum for the deal has stalled on capitol hill.
"as long as we don't have the votes, i see no point in bringing up an agreement only to defeat it," ryan said in an interview with wisconsin public radio.
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sɛn. ˈbərni ˈsændərz ˈbərnərd (ˈbərni) tɪ ɛnd juz. səˈpɔrt fər ˈsɔdi wɔr hɪts ˈsɛnɪt ˈsɛtˌbæk ˈsændərz: 'aɪ ˈfʊli ɪkˈspɛkt' fɛr ˈtritmənt baɪ ˈdiˌɛnˌsi ɪn 2020 ˈæftər 'nɑt kwaɪt ˈivɪn ˈhændɪd' 2016 ˈpraɪˌmɛri ˈsændərz: 'dæm raɪt' aɪl meɪk ðə lɑrʤ ˌkɔrpərˈeɪʃənz peɪ 'fɛr ʃɛr əv ˈtæksɪz' mɔr (i-vt*.) ɪz dɪˈmændɪŋ kənˈgrɛʃənəl ˈlidərˌʃɪp rul aʊt ən voʊt ɔn ðə trænz pəˈsɪfɪk ˈpɑrtnərˌʃɪp (tpp*), ˈæftər ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən sɛnt aʊt ə dræft ˈdɑkjəmɛnt ɔn ðə treɪd dil. "ɪt ɪz naʊ taɪm fər ðə ˈlidərˌʃɪp əv ðə ˌdɛməˈkrætɪk party* ɪn ðə ˈsɛnɪt ənd ðə haʊs tɪ ʤɔɪn ˈsɛkrəˌtɛri ˈklɪntən and* goʊ ɔn ðə ˈrɛkərd ɪn ˌɑpəˈzɪʃən tɪ ˈhoʊldɪŋ ə voʊt ɔn ðɪs treɪd dil ˈdʊrɪŋ ðə ˈsɛʃən əv ˈkɑŋgrəs ənd bɪɔnd," ˈsændərz, ə ˈfɔrmər waɪt haʊs kənˈtɛndər, sɛd ɪn ə ˈsteɪtmənt ˈfraɪˌdeɪ. ˌædvərˈtaɪzmənt ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən sɛnt ˈlɔˌmeɪkərz ə dræft ˈsteɪtmənt əv ədˈmɪnɪˌstreɪtɪv ˈækʃən ˈfraɪˌdeɪ, wɪʧ ˈaʊˌtlaɪnz wət ˈʧeɪnʤɪz tɪ juz. lɔ wʊd bi ˈnidɪd ˈəndər ðə əˈgrimənt. ˈsændərz, ˈplɛʤɪŋ tɪ du "ˈɛvriˌθɪŋ aɪ kən" tɪ blɑk ðə treɪd dil, ˈædɪd ˈfraɪˌdeɪ ðət hi ɪz "ˌdɪsəˈpɔɪnɪd" ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ɪz "ˈpʊʃɪŋ ˈfɔrwərd" wɪθ. "[ðeɪ] kənˈtɪnju ˈpʊʃɪŋ ˈfɔrwərd ɔn ðə dɪˈzæstrəs ˈpɑrtnərˌʃɪp treɪd əˈgrimənt ðət wɪl kɔst əˈmɛrɪkən ʤɑbz, hɑrm ðə ɪnˈvaɪrənmənt, ˌɪnˈkris ðə kɔst əv prəˈskrɪpʃən drəgz ənd θˈrɛtən ɑr əˈbɪləˌti tɪ prəˈtɛkt ˈpəblɪk hɛlθ," hi sɛd. ˈhændɪŋ ˈoʊvər ðə dræft wɑz ə stɛp rikˈwaɪərd ˈəndər læst jɪrz treɪd pərˈmoʊʃən əˈθɔrəti (tpa*) bɪl. ɪt ˈɔlsoʊ əˈlaʊz ðə waɪt haʊs tɪ sɛnd ˈlɔˌmeɪkərz ə ˈɪmpləˌmɛnɪŋ bɪl ˈæftər 30 deɪz, ðoʊ ðə waɪt haʊs həz plɛʤd tɪ wərk wɪθ ˈkɑŋgrəs ɔn wɪn ɪt sɛndz ˈoʊvər ˈlæŋgwɪʤ. kənˈgrɛʃənəl ˈlidərˌʃɪp həz ˈsɪgnəld ðət ɪts ˌɪnˈkrisɪŋgli ənˈlaɪkli ˌoʊˈbɑməz ˈsɪgnəʧər treɪd əˈgrimənt wɪl gɪt ə voʊt ðɪs jɪr ɛz moʊˈmɛntəm fər ðə dil həz stɔld ɔn ˈkæpɪtəl hɪl. "ɛz lɔŋ ɛz wi doʊnt hæv ðə voʊts, aɪ si noʊ pɔɪnt ɪn ˈbrɪŋɪŋ əp ən əˈgrimənt ˈoʊnli tɪ dɪˈfit ɪt," raɪən sɛd ɪn ən ˈɪntərvˌju wɪθ wɪˈskɑnsən ˈpəblɪk ˈreɪdiˌoʊ.
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aberdeen asset management: day 4 in numbers
7 - european tour victories for justin rose after on -16 - at total of 268 strokes
2 - shot victory margin over sweden's broberg after closing 65
11 - number of players (including rose) to have won the scottish open with all 4 rounds in the (69-68-66-65)
3 - where rose will probably move to in the world rankings
1 - dropped shot from rose in the last 49 holes at royal aberdeen
21 - birdies and 5 in a hugely consistent week where he also found 54 out of 72 greens in regulation
6 - englishmen have now won the scottish open
15 - million euros exceeded in career earnings on the european tour for rose
2 - runner-up spots for broberg now following 2013 alfred dunhill championship
3 - number of times the original course record of 66 was bettered this week broberg - 65, rory mcilroy - 64, felipe gallacher - 63)
8 - birdies in 12 holes today for gallacher
2 - times in the last 3 years that marc warren has finished third at the scottish open
3 - scots in the top 10 (warren, gallacher, scott jamieson)
364 - miles down the road to royal liverpool and next week's open championship
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ˈæbərˌdin ˈæˌsɛt ˈmænɪʤmənt: deɪ 4 ɪn ˈnəmbərz 7 ˌjʊrəˈpiən tʊr ˈvɪktəriz fər ˈʤəstɪn roʊz ˈæftər ɔn 16 æt ˈtoʊtəl əv 268 stroʊks 2 ʃɑt ˈvɪktəri ˈmɑrʤən ˈoʊvər sˈwidənz ˈbroʊbərg ˈæftər ˈkloʊzɪŋ 65 11 ˈnəmbər əv pleɪərz (ˌɪnˈkludɪŋ roʊz) tɪ hæv wən ðə ˈskɑtɪʃ ˈoʊpən wɪθ ɔl 4 raʊnz ɪn ðə 3 wɛr roʊz wɪl ˈprɑbəˌbli muv tɪ ɪn ðə wərld ˈræŋkɪŋz 1 drɑpt ʃɑt frəm roʊz ɪn ðə læst 49 hoʊlz æt rɔɪəl ˈæbərˌdin 21 ˈbərdiz ənd 5 ɪn ə ˈhjuʤli kənˈsɪstənt wik wɛr hi ˈɔlsoʊ faʊnd 54 aʊt əv 72 grinz ɪn ˌrɛgjəˈleɪʃən 6 ˌɛŋˈlɪʃmən hæv naʊ wən ðə ˈskɑtɪʃ ˈoʊpən 15 ˈmɪljən ˈjuˌroʊz ɪkˈsidɪd ɪn kərɪr ˈərnɪŋz ɔn ðə ˌjʊrəˈpiən tʊr fər roʊz 2 ˈrənərˌəp spɑts fər ˈbroʊbərg naʊ ˈfɑloʊɪŋ 2013 ˈælfrɪd ˈdənˌhɪl ˈʧæmpiənˌʃɪp 3 ˈnəmbər əv taɪmz ðə ərˈɪʤənəl kɔrs ˈrɛkərd əv 66 wɑz ˈbɛtərd ðɪs wik ˈbroʊbərg 65 ˈrɔri ˈmækəˌlrɔɪ 64 fəˈlip ˈgæləkər 63 8 ˈbərdiz ɪn 12 hoʊlz təˈdeɪ fər ˈgæləkər 2 taɪmz ɪn ðə læst 3 jɪrz ðət mɑrk ˈwɔrən həz ˈfɪnɪʃt θərd æt ðə ˈskɑtɪʃ ˈoʊpən 3 skɑts ɪn ðə tɔp 10 (ˈwɔrən, ˈgæləkər, skɑt ˈʤeɪmɪsən) 364 maɪəlz daʊn ðə roʊd tɪ rɔɪəl ˈlɪvərˌpul ənd nɛkst wiks ˈoʊpən ˈʧæmpiənˌʃɪp
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the mexican has a contract with force india for next season, but the deal depends on his sponsors agreeing fresh commercial terms to continue backing the outfit.
although there seems little doubt that matters will get sorted for a fresh one-year contract, perez said at singapore on thursday that things had not yet been finalised.
“i was hoping to be able to be in a position to announce my plans for this weekend,” he said. “we have some delays but i really hope before the next race we can definitely announce where i will be racing.”
perez had been linked with both williams and renault, but is understood to have shied away from both because he wants to be a free agent for 2018 when a ferrari seat could be available.
when pushed on what his future was likely to be, he reiterated that he saw no reason to leave force india right now.
“i always say i will be very happy if i can stay where i am,” he explained.
new rules
perez also later explained that he believed force india could continue to challenge the big teams next year, despite a major overhaul of the regulations.
“when you look at the past when we had regulation changes for 2014, in my third race [the bahrain gp], i was on the podium for this team,” he explained.
“that went well for the new regulations so we have the potential to do so again. i hope we can move up and next year we will do another step up although fighting with ferrari, red bull and mercedes will not be easy.”
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ðə ˈmɛksəkən həz ə ˈkɑnˌtrækt wɪθ fɔrs ˈɪndiə fər nɛkst ˈsizən, bət ðə dil dɪˈpɛndz ɔn hɪz ˈspɑnsərz əˈgriɪŋ frɛʃ kəˈmərʃəl tərmz tɪ kənˈtɪnju ˈbækɪŋ ðə ˈaʊtˌfɪt. ˌɔlˈðoʊ ðɛr simz ˈlɪtəl daʊt ðət ˈmætərz wɪl gɪt ˈsɔrtɪd fər ə frɛʃ ˈwənˌjɪr ˈkɑnˌtrækt, ˈpɛrɛz sɛd æt ˈsɪŋəˌpɔr ɔn ˈθərzˌdeɪ ðət θɪŋz hæd nɑt jɛt bɪn finalised*. wɑz ˈhoʊpɪŋ tɪ bi ˈeɪbəl tɪ bi ɪn ə pəˈzɪʃən tɪ əˈnaʊns maɪ plænz fər ðɪs weekend,”*,” hi sɛd. hæv səm dɪˈleɪz bət aɪ ˈrɪli hoʊp ˌbiˈfɔr ðə nɛkst reɪs wi kən ˈdɛfənətli əˈnaʊns wɛr aɪ wɪl bi racing.”*.” ˈpɛrɛz hæd bɪn lɪŋkt wɪθ boʊθ ˈwɪljəmz ənd rɪˈnɔlt, bət ɪz ˌəndərˈstʊd tɪ hæv ʃaɪd əˈweɪ frəm boʊθ bɪˈkəz hi wɔnts tɪ bi ə fri ˈeɪʤənt fər 2018 wɪn ə fərˈɑri sit kʊd bi əˈveɪləbəl. wɪn pʊʃt ɔn wət hɪz fˈjuʧər wɑz ˈlaɪkli tɪ bi, hi riˈɪtərˌeɪtɪd ðət hi sɔ noʊ ˈrizən tɪ liv fɔrs ˈɪndiə raɪt naʊ. ˈɔlˌweɪz seɪ aɪ wɪl bi ˈvɛri ˈhæpi ɪf aɪ kən steɪ wɛr aɪ am,”*,” hi ɪkˈspleɪnd. nu rulz ˈpɛrɛz ˈɔlsoʊ ˈleɪtər ɪkˈspleɪnd ðət hi bɪˈlivd fɔrs ˈɪndiə kʊd kənˈtɪnju tɪ ˈʧælənʤ ðə bɪg timz nɛkst jɪr, dɪˈspaɪt ə ˈmeɪʤər ˈoʊvərˌhɔl əv ðə ˌrɛgjəˈleɪʃənz. ju lʊk æt ðə pæst wɪn wi hæd ˌrɛgjəˈleɪʃən ˈʧeɪnʤɪz fər 2014 ɪn maɪ θərd reɪs [ðə bɑˈreɪn gp*], aɪ wɑz ɔn ðə ˈpoʊdiəm fər ðɪs team,”*,” hi ɪkˈspleɪnd. wɛnt wɛl fər ðə nu ˌrɛgjəˈleɪʃənz soʊ wi hæv ðə pəˈtɛnʃəl tɪ du soʊ əˈgɛn. aɪ hoʊp wi kən muv əp ənd nɛkst jɪr wi wɪl du əˈnəðər stɛp əp ˌɔlˈðoʊ ˈfaɪtɪŋ wɪθ fərˈɑri, rɛd bʊl ənd mərˈseɪdiz wɪl nɑt bi easy.”*.”
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internet coffee house coming to downtown houlton
houlton’s historic downtown will soon have a new internet cafe and collaborative.
houlton, maine historic downtown will soon have a new internet cafe and collaborative.
spearheaded by jim bell, a houlton native who returned to the area in 2015, wired houlton will soon open for business at 23 market square, in the storefront formerly occupied by cafe. bell plans to opens the cafe in mid-july, but coffee lovers will be able to get a taste friday, june 30, as part of the midnight madness celebration, when bell will be serving up freshly brewed iced coffee.
in considering business opportunities, bell realized that an internet cafe and collaborative would provide a opportunity for the community to come together, whether for work or play.
wired houlton is intended to offer a fun, casual café environment in which to kick back and relax. guests can gather with friends, read a book from the cafe shelves, or surf the internet on the wireless network.
at the same time, bell plans to address the needs of the growing number of people in the area who work from home by offering known as “cowork space” a place in which people can come together to enjoy greater productivity and a sense of community.
“at wired houlton, participants will have access to high-speed internet, videoconferencing capabilities, quiet work or meeting space, and other office services, all in a comfortable, relaxed setting,” bell said.
he plans is to start fairly simple and gauge the demand for space and services, and adjust based on user feedback. wired houlton will also provide a different type of collaborative by opening a shared commercial kitchen, available to members of the community at reasonable rental rates.
bell’s goal is to provide opportunities for the development of businesses by renting shared kitchen space, local entrepreneurs eliminate the expenses associated with setting up these facilities.
bell is working with kathryn harnish, of took a leap farm and the vault restaurant, to develop the kitchen and build programs that support individuals who want to explore business opportunities.
he plans to offer a full coffee bar, with hot and cold brewed coffee, espresso drinks, tea, and other specialty drinks. wired quality coffee will come through a partnership with coffee roasters in fort fairfield and will be complemented by a small selection of breakfast, lunch, and “anytime” food options that will change daily.
“i wanted to open a casual, friendly gathering place somewhere our friends would want to hang out and where folks would want to settle in and work,” said bell. “doing so in downtown houlton was important, as i believe that market square is the heart of our community, and it needs a more vibrant village center. looking forward to building community through coffee,, and conversation and wait to open the door to something new in houlton this summer.”
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ˈɪntərˌnɛt ˈkɔfi haʊs ˈkəmɪŋ tɪ ˈdaʊnˈtaʊn ˈhoʊltən hɪˈstɔrɪk ˈdaʊnˈtaʊn wɪl sun hæv ə nu ˈɪntərˌnɛt kəˈfeɪ ənd kəˈlæbərˌeɪtɪv. ˈhoʊltən, meɪn hɪˈstɔrɪk ˈdaʊnˈtaʊn wɪl sun hæv ə nu ˈɪntərˌnɛt kəˈfeɪ ənd kəˈlæbərˌeɪtɪv. ˈspɪˌrhɛdɪd baɪ ʤɪm bɛl, ə ˈhoʊltən ˈneɪtɪv hu rɪˈtərnd tɪ ðə ˈɛriə ɪn 2015 waɪərd ˈhoʊltən wɪl sun ˈoʊpən fər ˈbɪznɪs æt 23 ˈmɑrkɪt skwɛr, ɪn ðə ˈstɔrˌfrɑnt ˈfɔrmərli ˈɑkjəˌpaɪd baɪ kəˈfeɪ. bɛl plænz tɪ ˈoʊpənz ðə kəˈfeɪ ɪn mid-july*, bət ˈkɔfi ˈləvərz wɪl bi ˈeɪbəl tɪ gɪt ə teɪst ˈfraɪˌdeɪ, ʤun 30 ɛz pɑrt əv ðə ˈmɪdˌnaɪt ˈmædnəs ˌsɛləˈbreɪʃən, wɪn bɛl wɪl bi ˈsərvɪŋ əp ˈfrɛʃli brud aɪst ˈkɔfi. ɪn kənˈsɪdərɪŋ ˈbɪznɪs ˌɑpərˈtunətiz, bɛl ˈriəˌlaɪzd ðət ən ˈɪntərˌnɛt kəˈfeɪ ənd kəˈlæbərˌeɪtɪv wʊd prəˈvaɪd ə ˌɑpərˈtunəti fər ðə kəmˈjunɪti tɪ kəm təˈgɛðər, ˈwɛðər fər wərk ər pleɪ. waɪərd ˈhoʊltən ɪz ˌɪnˈtɛndɪd tɪ ˈɔfər ə fən, ˈkæʒəwəl café*é ɪnˈvaɪrənmənt ɪn wɪʧ tɪ kɪk bæk ənd rɪˈlæks. gɛsts kən ˈgæðər wɪθ frɛndz, rɛd ə bʊk frəm ðə kəˈfeɪ ʃɛlvz, ər sərf ðə ˈɪntərˌnɛt ɔn ðə ˈwaɪrlɪs ˈnɛtˌwərk. æt ðə seɪm taɪm, bɛl plænz tɪ ˈæˌdrɛs ðə nidz əv ðə groʊɪŋ ˈnəmbər əv ˈpipəl ɪn ðə ˈɛriə hu wərk frəm hoʊm baɪ ˈɔfərɪŋ noʊn ɛz space”*” ə pleɪs ɪn wɪʧ ˈpipəl kən kəm təˈgɛðər tɪ ˌɛnˈʤɔɪ ˈgreɪtər ˌproʊdəkˈtɪvɪti ənd ə sɛns əv kəmˈjunɪti. waɪərd ˈhoʊltən, pɑrˈtɪsəpənts wɪl hæv ˈækˌsɛs tɪ ˈhaɪˌspid ˈɪntərˌnɛt, ˌvidioʊˈkɑnfrənsɪŋ ˌkeɪpəˈbɪlətiz, kwaɪət wərk ər ˈmitɪŋ speɪs, ənd ˈəðər ˈɔfəs ˈsərvɪsɪz, ɔl ɪn ə ˈkəmfərtəbəl, rɪˈlækst setting,”*,” bɛl sɛd. hi plænz ɪz tɪ stɑrt ˈfɛrli ˈsɪmpəl ənd geɪʤ ðə dɪˈmænd fər speɪs ənd ˈsərvɪsɪz, ənd əˈʤəst beɪst ɔn ˈjuzər ˈfidˌbæk. waɪərd ˈhoʊltən wɪl ˈɔlsoʊ prəˈvaɪd ə ˈdɪfərənt taɪp əv kəˈlæbərˌeɪtɪv baɪ ˈoʊpənɪŋ ə ʃɛrd kəˈmərʃəl ˈkɪʧən, əˈveɪləbəl tɪ ˈmɛmbərz əv ðə kəmˈjunɪti æt ˈrizənəbəl ˈrɛntəl reɪts. goʊl ɪz tɪ prəˈvaɪd ˌɑpərˈtunətiz fər ðə dɪˈvɛləpmənt əv ˈbɪznɪsɪz baɪ ˈrɛntɪŋ ʃɛrd ˈkɪʧən speɪs, ˈloʊkəl ˌɑntrəprəˈnərz ɪˈlɪməˌneɪt ðə ɪkˈspɛnsɪz əˈsoʊʃiˌeɪtəd wɪθ ˈsɛtɪŋ əp ðiz fəˈsɪlɪtiz. bɛl ɪz ˈwərkɪŋ wɪθ ˈkæθrɪn ˈhɑrnɪʃ, əv tʊk ə lip fɑrm ənd ðə vɔlt ˈrɛˌstrɑnt, tɪ dɪˈvɛləp ðə ˈkɪʧən ənd bɪld ˈproʊˌgræmz ðət səˈpɔrt ˌɪndəˈvɪʤəwəlz hu wɔnt tɪ ɪkˈsplɔr ˈbɪznɪs ˌɑpərˈtunətiz. hi plænz tɪ ˈɔfər ə fʊl ˈkɔfi bɑr, wɪθ hɑt ənd koʊld brud ˈkɔfi, ˌɛˈsprɛsoʊ drɪŋks, ti, ənd ˈəðər ˈspɛʃəlti drɪŋks. waɪərd kˈwɑləti ˈkɔfi wɪl kəm θru ə ˈpɑrtnərˌʃɪp wɪθ ˈkɔfi ˈroʊstərz ɪn fɔrt ˈfɛrˌfild ənd wɪl bi ˈkɑmpləˌmɛntɪd baɪ ə smɔl səˈlɛkʃən əv ˈbrɛkfəst, lənʧ, ənd ““anytime”*” fud ˈɔpʃənz ðət wɪl ʧeɪnʤ ˈdeɪli. ˈwɔntɪd tɪ ˈoʊpən ə ˈkæʒəwəl, ˈfrɛndli ˈgæðərɪŋ pleɪs ˈsəmˌwɛr ɑr frɛndz wʊd wɔnt tɪ hæŋ aʊt ənd wɛr foʊks wʊd wɔnt tɪ ˈsɛtəl ɪn ənd work,”*,” sɛd bɛl. soʊ ɪn ˈdaʊnˈtaʊn ˈhoʊltən wɑz ˌɪmˈpɔrtənt, ɛz aɪ bɪˈliv ðət ˈmɑrkɪt skwɛr ɪz ðə hɑrt əv ɑr kəmˈjunɪti, ənd ɪt nidz ə mɔr ˈvaɪbrənt ˈvɪlɪʤ ˈsɛnər. ˈlʊkɪŋ ˈfɔrwərd tɪ ˈbɪldɪŋ kəmˈjunɪti θru ˈkɔfi,, ənd ˌkɑnvərˈseɪʃən ənd weɪt tɪ ˈoʊpən ðə dɔr tɪ ˈsəmθɪŋ nu ɪn ˈhoʊltən ðɪs summer.”*.” ˈfɑloʊ waɪərd ˈhoʊltən ɔn ˈfeɪsˌbʊk: fər ˈəpˌdeɪts ɔn ˈoʊpənɪŋ plænz ənd ˈəðər ˌɪmˈpɔrtənt nuz.
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in the last several months there have been reports in medical journals about an impending shortage of primary care physicians. this spring in the health policy journal health affairs, researchers at the university of and the federal department of health and human services published a study that projected a generalist physician shortage of to by the year 2025. the researchers based their figures on current physician usage patterns and did not take into account increases that might occur because of rising access to health care.
the news got worse in september, when the journal of the american medical association published a study showing that just 2 percent of graduating medical students are choosing to enter general internal medicine. the students surveyed were concerned in part by what they perceived to be a more difficult personal and professional lifestyle, compared with other fields. they felt that the paperwork and charting required of primary care physicians were more onerous, and they were not eager to care for the chronically ill in a health care system that focuses on acute care.
the potentially devastating public health implications of both of these reports rippled out into the medical community. last month in an official statement, the american medical association vowed to support financial incentives for medical students who choose to go into primary care.
what are the consequences of these projected shortages for patients? according to the health affairs report, there are about 75 generalist physicians for every individuals. by 2025, when the population will have grown by 18 percent and the number of individuals over age 65 by 73 percent, either primary care doctors will be seeing many more patients than they do now, or several million people will be without a primary care doctor, no matter how accessible health care might be for the rest.
strike one.
but a recent survey indicates that the primary care crisis may not be looming on the horizon; it may already be at our back door.
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the physicians’ foundation, a nonprofit organization that supports physicians’ work with patients, last month published the results of a survey on current medical practice conditions in the united states. some doctors responded, the vast majority of whom were primary care physicians.
nearly half of them said they planned in the next three years to reduce the number of patients they see or to stop practicing altogether. while these doctors rated patient relationships as the most satisfying aspect of practice, over three-quarters felt they were at “full capacity” or “overextended and overworked.”
only one-third felt they had the time to fully communicate with and to treat all patients, and 60 percent felt that paperwork demands resulted in less time spent with patients.
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the primary care crisis raises questions not just about future access but about current morale.
“there was a tremendous amount of disenchantment, frustration, all bordering around one thing,” tim norbeck, the executive director of the physicians’ foundation, said of the survey. "doctors feel they spend enough time with their patients because of the paperwork and red tape hassles.”
mr. norbeck added: “physicians went into medicine to spend more time with their patients, and that time has just been eroding. serious reason to believe that there be enough doctors to cover people sooner than we thought.”
strike two.
i envy mr. obama as he steps into the white house in january. any attempt to make health care more accessible will be doomed to failure without an adequate number of primary care physicians and a strong primary care system. the situation in massachusetts should be a wake-up call. since a landmark law was enacted in 2006 requiring health insurance for nearly all residents, the state has struggled to provide primary care to the estimated newly insured.
mr. obama and his team may find ways to give more americans access to the waiting room, but what if no doctor on the other side of the door? the crisis in primary care must be addressed before any real change can occur; otherwise, the flood of new patients may instead turn out to be a final strike for our ailing health care system.
and at that point for all of us, doctors and patients, the game would be over.
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ɪn ðə læst ˈsɛvərəl mənθs ðɛr hæv bɪn rɪˈpɔrts ɪn ˈmɛdɪkəl ˈʤərnəlz əˈbaʊt ən ˌɪmˈpɛndɪŋ ˈʃɔrtɪʤ əv ˈpraɪˌmɛri kɛr fɪˈzɪʃənz. ðɪs spərɪŋ ɪn ðə hɛlθ ˈpɑləsi ˈʤərnəl hɛlθ əˈfɛrz, ˈrisərʧərz æt ðə ˌjunəˈvərsəti əv ənd ðə ˈfɛdərəl dɪˈpɑrtmənt əv hɛlθ ənd ˈjumən ˈsərvɪsɪz ˈpəblɪʃt ə ˈstədi ðət prɑˈʤɛktəd ə ˈʤɛnərəlɪst fəˈzɪʃən ˈʃɔrtɪʤ əv tɪ baɪ ðə jɪr 2025 ðə ˈrisərʧərz beɪst ðɛr ˈfɪgjərz ɔn ˈkɑrənt fəˈzɪʃən ˈjusɪʤ ˈpætərnz ənd dɪd nɑt teɪk ˈɪntu əˈkaʊnt ˌɪnˈkrisɪz ðət maɪt əˈkər bɪˈkəz əv ˈraɪzɪŋ ˈækˌsɛs tɪ hɛlθ kɛr. ðə nuz gɑt wərs ɪn sɛpˈtɛmbər, wɪn ðə ˈʤərnəl əv ðə əˈmɛrɪkən ˈmɛdɪkəl əˌsoʊʃiˈeɪʃən ˈpəblɪʃt ə ˈstədi ʃoʊɪŋ ðət ʤɪst 2 pərˈsɛnt əv ˈgræʤəˌweɪtɪŋ ˈmɛdɪkəl ˈstudənts ər ˈʧuzɪŋ tɪ ˈɛnər ˈʤɛnərəl ˌɪnˈtərnəl ˈmɛdəsən. ðə ˈstudənts ˈsərˌveɪd wər kənˈsərnd ɪn pɑrt baɪ wət ðeɪ pərˈsivd tɪ bi ə mɔr ˈdɪfəkəlt ˈpərsɪnəl ənd prəˈfɛʃənəl ˈlaɪfˌstaɪl, kəmˈpɛrd wɪθ ˈəðər fildz. ðeɪ fɛlt ðət ðə ˈpeɪpərˌwərk ənd ˈʧɑrtɪŋ rikˈwaɪərd əv ˈpraɪˌmɛri kɛr fɪˈzɪʃənz wər mɔr ˈoʊnərəs, ənd ðeɪ wər nɑt ˈigər tɪ kɛr fər ðə ˈkrɑnɪkəli ɪl ɪn ə hɛlθ kɛr ˈsɪstəm ðət ˈfoʊkɪsɪz ɔn əˈkjut kɛr. ðə pəˈtɛnʃəli ˈdɛvəˌsteɪtɪŋ ˈpəblɪk hɛlθ ˌɪmpləˈkeɪʃənz əv boʊθ əv ðiz rɪˈpɔrts ˈrɪpəld aʊt ˈɪntu ðə ˈmɛdɪkəl kəmˈjunɪti. læst mənθ ɪn ən əˈfɪʃəl ˈsteɪtmənt, ðə əˈmɛrɪkən ˈmɛdɪkəl əˌsoʊʃiˈeɪʃən vaʊd tɪ səˈpɔrt ˌfaɪˈnænʃəl ˌɪnˈsɪnɪvz fər ˈmɛdɪkəl ˈstudənts hu ʧuz tɪ goʊ ˈɪntu ˈpraɪˌmɛri kɛr. wət ər ðə ˈkɑnsəkˌwɛnsəz əv ðiz prɑˈʤɛktəd ˈʃɔrtɪʤɪz fər ˈpeɪʃənz? əˈkɔrdɪŋ tɪ ðə hɛlθ əˈfɛrz rɪˈpɔrt, ðɛr ər əˈbaʊt 75 ˈʤɛnərəlɪst fɪˈzɪʃənz fər ˈɛvəri ˌɪndəˈvɪʤəwəlz. baɪ 2025 wɪn ðə ˌpɑpjəˈleɪʃən wɪl hæv groʊn baɪ 18 pərˈsɛnt ənd ðə ˈnəmbər əv ˌɪndəˈvɪʤəwəlz ˈoʊvər eɪʤ 65 baɪ 73 pərˈsɛnt, ˈiðər ˈpraɪˌmɛri kɛr ˈdɑktərz wɪl bi siɪŋ ˈmɛni mɔr ˈpeɪʃənz ðən ðeɪ du naʊ, ər ˈsɛvərəl ˈmɪljən ˈpipəl wɪl bi wɪˈθaʊt ə ˈpraɪˌmɛri kɛr ˈdɔktər, noʊ ˈmætər haʊ ækˈsɛsəbəl hɛlθ kɛr maɪt bi fər ðə rɛst. straɪk wən. bət ə ˈrisənt ˈsərˌveɪ ˈɪndɪˌkeɪts ðət ðə ˈpraɪˌmɛri kɛr ˈkraɪsəs meɪ nɑt bi ˈlumɪŋ ɔn ðə hərˈaɪzən; ɪt meɪ ɔˈrɛdi bi æt ɑr bæk dɔr. ˈnuzˌlɛtər saɪn əp kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri pliz ˈvɛrəˌfaɪ jʊr nɑt ə ˈroʊˌbət baɪ ˈklɪkɪŋ ðə bɑks. ˌɪnˈvæləd iˈmeɪl ˈæˌdrɛs. pliz re-enter*. ju məst səˈlɛkt ə ˈnuzˌlɛtər tɪ səbˈskraɪb tɪ. saɪn əp ju wɪl rɪˈsiv iˈmeɪlz kənˈteɪnɪŋ nuz ˈkɑntɛnt ˈəpˌdeɪts ənd pərˈmoʊʃənz frəm ðə nu jɔrk taɪmz. ju meɪ æt ˈɛni taɪm. ju əˈgri tɪ rɪˈsiv ɔˈkeɪʒənəl ˈəpˌdeɪts ənd ˈspɛʃəl ˈɔfərz fər ðə nu jɔrk ˈtaɪmzɪz ˈprɑdəkts ənd ˈsərvɪsɪz. θæŋk ju fər səbˈskraɪbɪŋ. ən ˈɛrər həz əˈkərd. pliz traɪ əˈgɛn ˈleɪtər. vju ɔl nu jɔrk taɪmz ˈnuzˌlɛtərz. ðə physicians’*’ faʊnˈdeɪʃən, ə nɑnˈprɑfət ˌɔrgənəˈzeɪʃən ðət səˈpɔrts physicians’*’ wərk wɪθ ˈpeɪʃənz, læst mənθ ˈpəblɪʃt ðə rɪˈzəlts əv ə ˈsərˌveɪ ɔn ˈkɑrənt ˈmɛdɪkəl ˈpræktɪs kənˈdɪʃənz ɪn ðə juˈnaɪtɪd steɪts. səm ˈdɑktərz rɪˈspɑndɪd, ðə væst məˈʤɔrəti əv hum wər ˈpraɪˌmɛri kɛr fɪˈzɪʃənz. ˈnɪrli hæf əv ðɛm sɛd ðeɪ plænd ɪn ðə nɛkst θri jɪrz tɪ rɪˈdus ðə ˈnəmbər əv ˈpeɪʃənz ðeɪ si ər tɪ stɑp ˈpræktɪsɪŋ ˌɔltəˈgɛðər. waɪl ðiz ˈdɑktərz ˈreɪtɪd ˈpeɪʃənt riˈleɪʃənˌʃɪps ɛz ðə moʊst ˈsætɪsˌfaɪɪŋ ˈæˌspɛkt əv ˈpræktɪs, ˈoʊvər θˌrikˈwɔrtərz fɛlt ðeɪ wər æt capacity”*” ər ənd overworked.”*.” ˈoʊnli ˌwənˈθərd fɛlt ðeɪ hæd ðə taɪm tɪ ˈfʊli kəmˈjunəˌkeɪt wɪθ ənd tɪ trit ɔl ˈpeɪʃənz, ənd 60 pərˈsɛnt fɛlt ðət ˈpeɪpərˌwərk dɪˈmændz rɪˈzəltɪd ɪn lɛs taɪm spɛnt wɪθ ˈpeɪʃənz. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ðə ˈpraɪˌmɛri kɛr ˈkraɪsəs ˈreɪzɪz kˈwɛsʧənz nɑt ʤɪst əˈbaʊt fˈjuʧər ˈækˌsɛs bət əˈbaʊt ˈkɑrənt məræl. wɑz ə trɪˈmɛndəs əˈmaʊnt əv dɪsɪnˈʧæntmənt, frəˈstreɪʃən, ɔl ˈbɔrdərɪŋ əraʊnd wən thing,”*,” tɪm ˈnɔrbɛk, ðə ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə physicians’*’ faʊnˈdeɪʃən, sɛd əv ðə ˈsərˌveɪ. "ˈdɑktərz fil ðeɪ spɛnd ɪˈnəf taɪm wɪθ ðɛr ˈpeɪʃənz bɪˈkəz əv ðə ˈpeɪpərˌwərk ənd rɛd teɪp hassles.”*.” ˈmɪstər. ˈnɔrbɛk ˈædɪd: wɛnt ˈɪntu ˈmɛdəsən tɪ spɛnd mɔr taɪm wɪθ ðɛr ˈpeɪʃənz, ənd ðət taɪm həz ʤɪst bɪn ɪˈroʊdɪŋ. ˈsɪriəs ˈrizən tɪ bɪˈliv ðət ðɛr bi ɪˈnəf ˈdɑktərz tɪ ˈkəvər ˈpipəl ˈsunər ðən wi thought.”*.” straɪk tu. aɪ ˈɛnvi ˈmɪstər. ˌoʊˈbɑmə ɛz hi stɛps ˈɪntu ðə waɪt haʊs ɪn ˈʤænjuˌɛri. ˈɛni əˈtɛmpt tɪ meɪk hɛlθ kɛr mɔr ækˈsɛsəbəl wɪl bi dumd tɪ ˈfeɪljər wɪˈθaʊt ən ˈædəkˌweɪt ˈnəmbər əv ˈpraɪˌmɛri kɛr fɪˈzɪʃənz ənd ə strɔŋ ˈpraɪˌmɛri kɛr ˈsɪstəm. ðə ˌsɪʧuˈeɪʃən ɪn ˌmæsəˈʧusəts ʃʊd bi ə ˈweɪˌkəp kɔl. sɪns ə ˈlændˌmɑrk lɔ wɑz ɛˈnæktəd ɪn 2006 rikˈwaɪərɪŋ hɛlθ ˌɪnˈʃʊrəns fər ˈnɪrli ɔl ˈrɛzɪdənts, ðə steɪt həz ˈstrəgəld tɪ prəˈvaɪd ˈpraɪˌmɛri kɛr tɪ ðə ˈɛstəˌmeɪtɪd ˈnuli ˌɪnˈʃʊrd. ˈmɪstər. ˌoʊˈbɑmə ənd hɪz tim meɪ faɪnd weɪz tɪ gɪv mɔr əˈmɛrɪkənz ˈækˌsɛs tɪ ðə ˈweɪtɪŋ rum, bət wət ɪf noʊ ˈdɔktər ɔn ðə ˈəðər saɪd əv ðə dɔr? ðə ˈkraɪsəs ɪn ˈpraɪˌmɛri kɛr məst bi əˈdrɛst ˌbiˈfɔr ˈɛni ril ʧeɪnʤ kən əˈkər; ˈəðərˌwaɪz, ðə fləd əv nu ˈpeɪʃənz meɪ ˌɪnˈstɛd tərn aʊt tɪ bi ə ˈfaɪnəl straɪk fər ɑr ˈeɪlɪŋ hɛlθ kɛr ˈsɪstəm. ənd æt ðət pɔɪnt fər ɔl əv ˈjuˈɛs, ˈdɑktərz ənd ˈpeɪʃənz, ðə geɪm wʊd bi ˈoʊvər.
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a computer virus that ravaged data systems in europe and the united states earlier this week has again raised questions about whether united states businesses and organizations are prepared for cyber threats.
the new attack came just a month after the massive “wanna cry” campaign that infected computers across the world using tools believed to have been stolen from the nsa.
ransomware traditionally renders a system unusable and data, then requires victims to pay money or perform another action to regain access. "but a growing number of security researchers believe that the new malware merely posed as to cover up its real goal of destroying data, some concluding that ukraine was the ultimate target."
“we believe that this was an intentionally destructive attack against the ukrainian economy,” said charles, vice president at mandiant, a subsidiary of the firm fireeye. “an attack like this will inevitably happen in the united states.”
the new variant of “petya,” which has been given several names by experts, first hit ukraine on tuesday. the attack spread to the government, banking industry, and the international airport in kiev. it also affected largest oil company, rosneft.
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later, the malware spread to other areas of europe and the united states. american pharmaceutical giantmerck, fedex, and cadbury all reported disruptions. a hospital in west virginia is being forced to replace its entire computer system after being struck by the malware.
the malware also stalled operations at the largest terminal at the port of los angeles, prompting localrep. norma torres (d-calif.) to warn of the “massive impact cyber threats pose to our local and national economy.”
the department of homeland security is monitoring the malware developments and working with partners domestically and internationally to manage the damage, according to spokesman scott mcconnell.
“we stand ready to support any requests for assistance,” mcconnell said. “upon request, routinely provides technical analysis and support. information shared with as part of these efforts, including whether a request has been made, is confidential.”
the virus locks users out of their computers and demands a ransom worth $300. but as the virus spread, it quickly became clear that paying the ransom would not recover the files, leading some researchers to conclude that it was in fact a “wiper” an attack meant to destroy data.
“fundamentally, this was a wiper campaign,” said raj samani, chief scientist and head of strategic intelligence group. “it appears to be a campaign meant for destruction or disruption. to that end, it was successful.”
some researchers have traced the original infection to a ukrainian tax software company called medoc, which pushed out malicious updates to users. hackers likely targeted the company, they say, and leveraged it to spread the malicious code. the malware is believed to have spread to other companies doing business in ukraine that received the software update.
this has led some to conclude that ukraine was the original target of the malware, fueling speculation that russia may have been to blame. moscow is already suspected in cyber attacks against power grid in 2015 and 2016.
dalibor, a research fellow focused on central and eastern europe at the american enterprise institute, said that such an attack would fit right into playbook.
“that would fit perfectly into the observed pattern of the behavior, including its constant efforts to see what it can get away with,” observed. “and if indeed the kremlin is behind the attack, we should brace ourselves for more of similar moves elsewhere, including in western europe and in the united states until there is stronger pushback.”
still, some contend that the attack was more likely exactly what it looked like malicious code built by cyber criminals to generate a profit.
“there’s not any sort of giant blinking sign pointing to a actor,” said kevin epstein, head of threat operations at company proofpoint.
the outbreak is the second campaign to produce global shockwaves in less than two months. wanna cry, which broke out in mid-may, infected thousands of machines in over 150 countries and prompting the trump administration to convene emergency meetings.
cybersecurity firm symantec has tied wanna cry to a hacker group associated with north korea.
the viruses both rely on an exploit called “eternal blue” that is widely believed to have been developed by the national security agency. the hacking tool, which a software vulnerability in microsoft windows, was released by the anonymous group earlier this year.
the variant stood out because of its use of multiple mechanisms to spread quickly across a network, even reaching machines that had patched the microsoft “eternal blue” vulnerability.
carmakal said that he was contacted this week by one organization that had seen tens of thousands of its systems affected by the malware.
“you see that scale of impact with wanna cry within single organizations,” said.
the latest spread has slowed down for now, though observed that it could take heavily impacted organizations weeks or months to recover their systems.
there is widespread agreement in the security community that global businesses need to step up securing and defending their networks, since these types of attacks are expected to continue.
“it’s a lot of lessons that been learned from wanna cry,” said amit serper, a security researcher at who discovered a “vaccine” to protect unaffected machines from the latest malware outbreak. “a lot of machines, a lot of machines without updates.”
“point number one is, absolutely this is going to happen again,” said epstein. “we have seen new variants of spread every two to three days for the last 18 months and just.”
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ə kəmˈpjutər ˈvaɪrəs ðət ˈrævɪʤd ˈdætə ˈsɪstəmz ɪn ˈjʊrəp ənd ðə juˈnaɪtɪd steɪts ˈərliər ðɪs wik həz əˈgɛn reɪzd kˈwɛsʧənz əˈbaʊt ˈwɛðər juˈnaɪtɪd steɪts ˈbɪznɪsɪz ənd ˌɔrgənəˈzeɪʃənz ər priˈpɛrd fər ˈsaɪbər θrɛts. ðə nu əˈtæk keɪm ʤɪst ə mənθ ˈæftər ðə ˈmæsɪv cry”*” kæmˈpeɪn ðət ˌɪnˈfɛktɪd kəmˈpjutərz əˈkrɔs ðə wərld ˈjuzɪŋ tulz bɪˈlivd tɪ hæv bɪn ˈstoʊlən frəm ðə nsa*. trəˈdɪʃənəli ˈrɛndərz ə ˈsɪstəm ənˈjuzəbəl ənd ˈdætə, ðɛn rikˈwaɪərz ˈvɪktɪmz tɪ peɪ ˈməni ər pərˈfɔrm əˈnəðər ˈækʃən tɪ rɪˈgeɪn ˈækˌsɛs. "bət ə groʊɪŋ ˈnəmbər əv sɪˈkjʊrəti ˈrisərʧərz bɪˈliv ðət ðə nu ˈmælˌwɛr ˈmɪrli poʊzd ɛz tɪ ˈkəvər əp ɪts ril goʊl əv dɪˈstrɔɪɪŋ ˈdætə, səm kənˈkludɪŋ ðət juˈkreɪn wɑz ðə ˈəltəmət ˈtərgət." bɪˈliv ðət ðɪs wɑz ən ˌɪnˈtɛnʃənəli dɪˈstrəktɪv əˈtæk əˈgɛnst ðə juˈkreɪniən economy,”*,” sɛd ˈʧɑrəlz, vaɪs ˈprɛzɪdənt æt mandiant*, ə səbˈsɪdiˌɛri əv ðə fərm fireeye*. əˈtæk laɪk ðɪs wɪl ˌɪˈnɛvətəbli ˈhæpən ɪn ðə juˈnaɪtɪd states.”*.” ðə nu ˈvɛriənt əv ““petya,”*,” wɪʧ həz bɪn ˈgɪvɪn ˈsɛvərəl neɪmz baɪ ˈɛkspərts, fərst hɪt juˈkreɪn ɔn ˈtuzˌdeɪ. ðə əˈtæk sprɛd tɪ ðə ˈgəvərnmənt, ˈbæŋkɪŋ ˈɪndəstri, ənd ðə ˌɪnərˈnæʃənɑl ˈɛrˌpɔrt ɪn kiɛv. ɪt ˈɔlsoʊ əˈfɛktɪd ˈlɑrʤəst ɔɪl ˈkəmpəˌni, ˈrɑznɪft. ˌædvərˈtaɪzmənt ˈleɪtər, ðə ˈmælˌwɛr sprɛd tɪ ˈəðər ˈɛriəz əv ˈjʊrəp ənd ðə juˈnaɪtɪd steɪts. əˈmɛrɪkən ˌfɑrməˈsutɪkəl giantmerck*, ˈfɛˈdɛks, ənd ˈkædˌbɛri ɔl ˌriˈpɔrtəd dɪsˈrəpʃənz. ə ˈhɑˌspɪtəl ɪn wɛst vərˈʤɪnjə ɪz biɪŋ fɔrst tɪ ˌriˈpleɪs ɪts ɪnˈtaɪər kəmˈpjutər ˈsɪstəm ˈæftər biɪŋ strək baɪ ðə ˈmælˌwɛr. ðə ˈmælˌwɛr ˈɔlsoʊ stɔld ˌɑpərˈeɪʃənz æt ðə ˈlɑrʤəst ˈtərmənəl æt ðə pɔrt əv lɔs ˈænʤəlɪs, ˈprɑmptɪŋ localrep*. ˈnɔrmə ˈtɔˌrɛz (d-calif*.) tɪ wɔrn əv ðə ˌɪmˈpækt ˈsaɪbər θrɛts poʊz tɪ ɑr ˈloʊkəl ənd ˈnæʃənəl economy.”*.” ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti ɪz ˈmɑnətərɪŋ ðə ˈmælˌwɛr dɪˈvɛləpmənts ənd ˈwərkɪŋ wɪθ ˈpɑrtnərz dəˈmɛstɪkli ənd ˌɪnərˈnæʃənɑli tɪ ˈmænɪʤ ðə ˈdæmɪʤ, əˈkɔrdɪŋ tɪ ˈspoʊksmən skɑt məˈkɑnəl. stænd ˈrɛdi tɪ səˈpɔrt ˈɛni rɪkˈwɛsts fər assistance,”*,” məˈkɑnəl sɛd. rɪkˈwɛst, ruˈtinli prəˈvaɪdz ˈtɛknɪkəl æˈnælɪsɪs ənd səˈpɔrt. ˌɪnˌfɔrˈmeɪʃən ʃɛrd wɪθ ɛz pɑrt əv ðiz ˈɛfərts, ˌɪnˈkludɪŋ ˈwɛðər ə rɪkˈwɛst həz bɪn meɪd, ɪz confidential.”*.” ðə ˈvaɪrəs lɑks ˈjuzərz aʊt əv ðɛr kəmˈpjutərz ənd dɪˈmændz ə ˈrænsəm wərθ 300 bət ɛz ðə ˈvaɪrəs sprɛd, ɪt kˈwɪkli bɪˈkeɪm klɪr ðət peɪɪŋ ðə ˈrænsəm wʊd nɑt rɪˈkəvər ðə faɪlz, ˈlidɪŋ səm ˈrisərʧərz tɪ kənˈklud ðət ɪt wɑz ɪn fækt ə ““wiper”*” ən əˈtæk mɛnt tɪ dɪˈstrɔɪ ˈdætə. ““fundamentally*, ðɪs wɑz ə ˈwaɪpər campaign,”*,” sɛd rɑʤ samani*, ʧif ˈsaɪəntɪst ənd hɛd əv strəˈtiʤɪk ˌɪnˈtɛləʤəns grup. əˈpɪrz tɪ bi ə kæmˈpeɪn mɛnt fər dɪˈstrəkʃən ər dɪsˈrəpʃən. tɪ ðət ɛnd, ɪt wɑz successful.”*.” səm ˈrisərʧərz hæv treɪst ðə ərˈɪʤənəl ˌɪnˈfɛkʃən tɪ ə juˈkreɪniən tæks ˈsɔfˌwɛr ˈkəmpəˌni kɔld ˌmɛˈdɔk, wɪʧ pʊʃt aʊt məˈlɪʃəs ˈəpˌdeɪts tɪ ˈjuzərz. ˈhækərz ˈlaɪkli ˈtɑrgətɪd ðə ˈkəmpəˌni, ðeɪ seɪ, ənd ˈlɛvərɪʤd ɪt tɪ sprɛd ðə məˈlɪʃəs koʊd. ðə ˈmælˌwɛr ɪz bɪˈlivd tɪ hæv sprɛd tɪ ˈəðər ˈkəmpəˌniz duɪŋ ˈbɪznɪs ɪn juˈkreɪn ðət rɪˈsivd ðə ˈsɔfˌwɛr ˈəpˌdeɪt. ðɪs həz lɛd səm tɪ kənˈklud ðət juˈkreɪn wɑz ðə ərˈɪʤənəl ˈtərgət əv ðə ˈmælˌwɛr, fˈjulɪŋ ˌspɛkjəˈleɪʃən ðət ˈrəʃə meɪ hæv bɪn tɪ bleɪm. ˈmɔˌskaʊ ɪz ɔˈrɛdi səˈspɛktɪd ɪn ˈsaɪbər əˈtæks əˈgɛnst paʊər grɪd ɪn 2015 ənd 2016, ə ˈrisərʧ ˈfɛloʊ ˈfoʊkɪst ɔn ˈsɛntrəl ənd ˈistərn ˈjʊrəp æt ðə əˈmɛrɪkən ˈɛnərˌpraɪz ˈɪnstɪˌtut, sɛd ðət səʧ ən əˈtæk wʊd fɪt raɪt ˈɪntu ˈpleɪbʊk. wʊd fɪt ˈpərfəktli ˈɪntu ðə əbˈzərvd ˈpætərn əv ðə bɪˈheɪvjər, ˌɪnˈkludɪŋ ɪts ˈkɑnstənt ˈɛfərts tɪ si wət ɪt kən gɪt əˈweɪ with,”*,” əbˈzərvd. ɪf ˌɪnˈdid ðə ˈkrɛmlɪn ɪz bɪˈhaɪnd ðə əˈtæk, wi ʃʊd breɪs ɑrˈsɛlvz fər mɔr əv ˈsɪmələr muvz ˈɛlsˌwɛr, ˌɪnˈkludɪŋ ɪn ˈwɛstərn ˈjʊrəp ənd ɪn ðə juˈnaɪtɪd steɪts ənˈtɪl ðɛr ɪz ˈstrɔŋgər pushback.”*.” stɪl, səm kənˈtɛnd ðət ðə əˈtæk wɑz mɔr ˈlaɪkli ɪgˈzæktli wət ɪt lʊkt laɪk məˈlɪʃəs koʊd bɪlt baɪ ˈsaɪbər ˈkrɪmənəlz tɪ ˈʤɛnərˌeɪt ə ˈprɑfɪt. nɑt ˈɛni sɔrt əv ʤaɪənt ˈblɪŋkɪŋ saɪn ˈpɔɪntɪŋ tɪ ə actor,”*,” sɛd ˈkɛvɪn ˈɛpˌstin, hɛd əv θrɛt ˌɑpərˈeɪʃənz æt ˈkəmpəˌni proofpoint*. ðə ˈaʊtˌbreɪk ɪz ðə ˈsɛkənd kæmˈpeɪn tɪ ˈproʊdus ˈgloʊbəl ˈʃɑkˌweɪvz ɪn lɛs ðən tu mənθs. ˈwɑnə kraɪ, wɪʧ broʊk aʊt ɪn mid-may*, ˌɪnˈfɛktɪd ˈθaʊzənz əv məˈʃinz ɪn ˈoʊvər 150 ˈkəntriz ənd ˈprɑmptɪŋ ðə trəmp ædˌmɪnɪˈstreɪʃən tɪ kənˈvin ˈimərʤənsi ˈmitɪŋz. fərm sɪˈmænˌtɛk həz taɪd ˈwɑnə kraɪ tɪ ə ˈhækər grup əˈsoʊʃiˌeɪtəd wɪθ nɔrθ ˌkɔˈriə. ðə ˈvaɪrəsɪz boʊθ rɪˈlaɪ ɔn ən ˌɛkˈsplɔɪt kɔld blue”*” ðət ɪz ˈwaɪdli bɪˈlivd tɪ hæv bɪn dɪˈvɛləpt baɪ ðə ˈnæʃənəl sɪˈkjʊrəti ˈeɪʤənsi. ðə ˈhækɪŋ tul, wɪʧ ə ˈsɔfˌwɛr ˌvəlnərəˈbɪlɪti ɪn ˈmaɪˌkroʊˈsɔft ˈwɪndoʊz, wɑz riˈlist baɪ ðə əˈnɑnəməs grup ˈərliər ðɪs jɪr. ðə ˈvɛriənt stʊd aʊt bɪˈkəz əv ɪts juz əv ˈməltəpəl ˈmɛkəˌnɪzəmz tɪ sprɛd kˈwɪkli əˈkrɔs ə ˈnɛtˌwərk, ˈivɪn ˈriʧɪŋ məˈʃinz ðət hæd pæʧt ðə ˈmaɪˌkroʊˈsɔft blue”*” ˌvəlnərəˈbɪlɪti. sɛd ðət hi wɑz ˈkɑnˌtæktɪd ðɪs wik baɪ wən ˌɔrgənəˈzeɪʃən ðət hæd sin tɛnz əv ˈθaʊzənz əv ɪts ˈsɪstəmz əˈfɛktɪd baɪ ðə ˈmælˌwɛr. si ðət skeɪl əv ˌɪmˈpækt wɪθ ˈwɑnə kraɪ wɪˈθɪn ˈsɪŋgəl organizations,”*,” sɛd. ðə ˈleɪtəst sprɛd həz sloʊd daʊn fər naʊ, ðoʊ əbˈzərvd ðət ɪt kʊd teɪk ˈhɛvəli ˌɪmˈpæktɪd ˌɔrgənəˈzeɪʃənz wiks ər mənθs tɪ rɪˈkəvər ðɛr ˈsɪstəmz. ðɛr ɪz ˈwaɪdˈsprɛd əˈgrimənt ɪn ðə sɪˈkjʊrəti kəmˈjunɪti ðət ˈgloʊbəl ˈbɪznɪsɪz nid tɪ stɛp əp sɪˈkjʊrɪŋ ənd dɪˈfɛndɪŋ ðɛr ˈnɛtˌwərks, sɪns ðiz taɪps əv əˈtæks ər ɪkˈspɛktɪd tɪ kənˈtɪnju. ə lɔt əv ˈlɛsənz ðət bɪn ˈlərnɪd frəm ˈwɑnə cry,”*,” sɛd ˌɑˈmit serper*, ə sɪˈkjʊrəti ˈrisərʧər æt hu dɪˈskəvərd ə ““vaccine”*” tɪ prəˈtɛkt ˌənəˈfɛktɪd məˈʃinz frəm ðə ˈleɪtəst ˈmælˌwɛr ˈaʊtˌbreɪk. lɔt əv məˈʃinz, ə lɔt əv məˈʃinz wɪˈθaʊt updates.”*.” ˈnəmbər wən ɪz, ˌæbsəˈlutli ðɪs ɪz goʊɪŋ tɪ ˈhæpən again,”*,” sɛd ˈɛpˌstin. hæv sin nu ˈvɛriənts əv sprɛd ˈɛvəri tu tɪ θri deɪz fər ðə læst 18 mənθs ənd ʤɪst ransomware.”*.”
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why is the concept of jean grey as phoenix still relevant after years? the classic and controversial “dark phoenix saga,” written by famed writer chris claremont and published by marvel in 1980, continues to impact not only movies and comics but most marvel comics hitting the stands.
a history of “dark phoenix saga” for
the original five consisted of cyclops, iceman, beast, angel, and jean grey. similar to the invisible girl in fantastic four at the time, weak power set rendered her inconsequential to the team. the, including jean grey herself, considered this an indisputable truth.
jean played the role of nothing more than a token female in early comics but at least she appeared in comics at all. the and so long ago. clearly, women were repressed in a society.
the first comics released less than thirty-five years after women became eligible to vote. a place included marriage by thirty (or face social abandonment), total devotion to her husband above her own needs and wants, and financial servitude. i remember seeing what my mother wrote in her 1959 yearbook when someone asked her what she wanted to do with her life. i asked her why she wrote “secretary.” she responded, “what else could i have been back then?”
my response spoke to the challenges women faced and continue to face in our society. to put things more in perspective, the american equal pay act passed by congress in 1963 stated women should be paid equal to men. comics premiered in the same year the act passed.
in the, comics failed to deliver good numbers. for a while, marvel sold only reprints of older issues. then, len wein and others created a new international team of consisting of storm, wolverine, thunderbird, sunfire, nightcrawler, and colossus. the new team of replaced the original characters, except for cyclops who remained. however, jean grey soon returned to the.
“dark phoenix saga:” a sign of changing times
the normal rockwell culture of the american (among many other things) gave rise to feminism. as feminism spread throughout the western world, women characters like jean grey seemed to purport stereotypes rife in popular culture damaging to women. new writer chris claremont developed a response to feminist criticisms of the portrayals of women in pop culture. thus, jean grey became the phoenix.
powered up: journey from phoenix to dark phoenix
this new international team of exploded onto the scene and revived the failing series paving the way for evolution. when asked if his plan all along was for the mantle of phoenix to go to jean grey, in an interview on the podcast, chris claremont responded: “it was always the redhead.” in the same podcast interview, he further describes jean as “fiery.”
the relevance of plan for jean grey heightens when considering how flawlessly it all played out. from “the phoenix saga” to “dark phoenix saga,” claremont and the creative team effortlessly hit every mark needed for a story of such epic magnitude. scenes built on top of each other beautifully, weaving a story over time culminating in the greatest possible emotional gut punch. after all, what made “dark phoenix saga” successful the phoenix itself. the success of “dark phoenix saga” lies in the heartbreak of jean fall from grace her seduction of innocence, if you will.
rise of the phoenix
jean death seems imminent in the pages of all-new, #100. the need to travel home from space. the spaceship they travel with sustained damage to the autopilot system. deadly levels of radiation caused by a solar flare loom towards the spacecraft, threatening all their lives.
jean thinks she can fly the ship back to earth while the other wait safely in a containment unit that blocks radiation. she believes she can use her as a shield against the radiation and survive. she absorbed the knowledge of how to fly the spaceship. the fear for her life. most notably, cyclops cannot contain his fear and grief at the idea of losing jean. jean grey renders cyclops unconscious. thus, he does not stop her from flying the ship. the other lock themselves in a containment unit.
jean’s courage and selflessness in this issue make up an example of what makes her so inspiring. as a child reading, i loved seeing a woman take charge of the situation and make the executive decision to subdue her boyfriend so that she could achieve the greater good getting her friends to safety.
a strong start later muddled by?
countless and convolute exactly what happened. up to another article to explore the precise nature of the phoenix and jean grey. here, go with the original intention of the creators.
jean manages to fly the plane to earth. the plane crashes in the middle of the jamaica bay in queens, new york. the rise to the top of the water one by one. everyone assumes jean died. in a fit of rage and denial, cyclops frantically searches for her. finally, the water bubbles. jean emerges from the water reborn as phoenix.
later, the creative team behind the newly uncanny explain professor xavier tampered with mind during her youth. he placed psychic barriers in mind that dampened her immense power as a safety measure from jean losing control. jean pushing her abilities to the limit flying the ship broke through the psychic barriers. newly powered up, jean grey is no longer marvel girl. she now calls herself phoenix.
upon further inspection, jean breaking through barriers in her mind resonates. an older man “who knows best” prevents a woman from attaining her potential as a human being. freedom from barriers mirrors the feminism happening in the outside world. women all across the united states broke free from the shackles placed on their potential to be whoever it is they want by the patriarchy. they, like jean, started to break free from years of repression.
jean’s new powers
jean’s powers infinitely augmented to the degree that she controls matter at the subatomic level. she can rearrange molecules and one thing into something else simply by willing it to occur. her telepathic powers also reached cosmic levels. her role on the team now the opposite of how she started, jean grey as phoenix became the most powerful member of the in an instant.
as phoenix, jean grey won battles against everyone from the gladiator to heralds of galactus.
several factors contributed to role as phoenix correlating to the most popular time in history. first, as the powerhouse of the team, no one tired of watching jean kick serious ass. additionally, certain male characters reacted to new powers in similar ways men reacted to liberation. to put it mildly, they were scared. they know what to do with themselves. at times, cyclops seemed like he lost his very identity. decades later, we finally learn just how emasculated he feels as the arm candy to the most powerful cosmic force in the universe.
how to seduce the phoenix
in not quite fatal attraction style, we learn what happens when a man with the mental wellness of jean grey in the “dark phoenix saga.” the hellfire club, led by sebastian shaw, harry leland, donald pierce, emma frost and jason, plans to rule the world by gradually amassing power as a secret society. the goals of the hellfire club carefully contrast with ideology. the hellfire club concerns itself with world domination while at this point, seems like another victim of ugliness. he constantly attempts preemptive strikes against his former oppressors.
lady grey, the black queen of the hellfire club
the hellfire club realizes their plan for world domination could be much simpler if only they had the power of the phoenix on their side. jason (as mastermind) a plan. with the help of emma frost and her telepathy, mastermind would feed into mind implanted memories of a past life she lived. memories of the past life designed to open jean to the “dark side of the [phoenix] force” include a time when she and jason lived as a married couple in the or early 1800’s. jean, as lady grey of the 1800’s, thought the other her servants and storm her slave (whom she slaps across the face for speaking out of turn).
mastermind’s plan attains success after entering jean mind and implanting enough memories of her fictitious past life that jean believes it to be her reality. the romance they share in her false memories somehow gave her a taste of how good selfishness and meanness feel. jean subsequently surrenders to the illusion completely. she loses touch with reality and thinks the black queen of the hellfire club.
dark phoenix rising
upon a later attempt to use powers as a weapon, jean catches onto the hellfire plan. to say jean feels angry would constitute an understatement of epic proportions. plan backfires in a huge way when it drives jean a little too crazy. she breaks through his illusion as a charming and handsome man, subsequently revealing him as older, unattractive, and frail.
jean’s response to violation of her mental safety is met with consequences. jason only violate the sanctity of her private thoughts. he used them against her to put her in way. mastermind physically seducing jean by confusing her more than just connotes rape.
his arrogant thinking of jean as a plaything, once she appears subdued, causes his downfall. instead of killing mastermind, uncanny overlaps with sandman: dream country. jean gives him what he wants. she bestows near limitless power onto him by connecting his mind to the entire universe. however, jean knows jason cannot handle the immense power jean gave to him. he is swiftly driven insane by the psychic overload and becomes catatonic.
the dark phoenix as a medea
in what would later become a pattern of behavior, some view response to mastermind as harsh or an overreaction. i imagine anything less true. as a man, i cannot begin to understand the pitfalls women face now, let alone before the feminist movement. why i see a clear connection to reaction in her play and response in “dark phoenix saga.” anger stems from her treatment as a foreign woman as deemed necessary by social convention. anger appears no different.
jean embracing her rage and becoming dark phoenix merely about the mental and physical rape mastermind caused. reaction is the reaction of many women finally free to respond however they want. her anger far the deeds of the hellfire club. jean is angry about having her mind tampered and violated, yet, another time. she is angry regarding her marginalization as a member of the. she is angry about the twenty-four years been alive up until this point and not had the freedom to reach her potential. the hellfire club represents the shadow government of the patriarchy. mastermind represents the face of the hellfire club. at that moment, jean reacts with the ferocity i can only imagine some women felt by their oppression before the movement.
“the dark phoenix saga:” jean
in no uncertain terms, dark phoenix consumes jean personality. as the famous saying goes: “power corrupts, absolute power corrupts absolutely.” as dark phoenix, jean destroys an entire solar system with billions of inhabitants. next, jean takes on the whole team of in addition to beast and angel. she effortlessly defeats them. in a final plea, cyclops tells jean she cannot and will not kill the because she loves them.
scott’s speech awakens jean within the dark phoenix. it appears club jean still exists beneath the absolute power of the dark phoenix, now considered a separate entity from jean. jean begs scott to help her. as jean remains in control, xavier utilizes the moment to strike her with a mind blast. jean awakens as dark phoenix. she and professor xavier engage in psychic battle. xavier appears the victor. he places psychic barriers in mind once again similar to how he did when she was a teenager. for the moment, jean appears to be in control and the dark phoenix persona suppressed.
the empire as another wave of patriarchal influence on jean as the dark phoenix
just as it seems xavier saved jean and restored hope, girlfriend jean and the to the empire. the want to kill jean by means of capital punishment., the empress of the empire, deems jean too dangerous to live after she destroyed a star in a solar system.
dark phoenix nor jean were aware (or care to know) one of the planets in the solar system was inhabited by billions. professor xavier invokes a law akin to trial by combat. the even question their decision. they mean to protect jean with their lives, even if it means losing theirs.
after an epic battle between the high guard and the, the royal guard harms cyclops. jean gradually begins to lose control. before she becomes dark phoenix again, she commits suicide to prevent herself as dark phoenix from destroying the universe, a backup plan she had all along. this fact only makes cyclops grieve that much more.
the end.
there you have it! though, get confused. no experience of reading a summary can supplant the awesome experience of reading the actual comic book.
unpacking the “dark phoenix saga” and the psyche of jean grey
various interpretations of the “dark phoenix saga” can be deduced by behavior and chris excellent writing. i may have read the “dark phoenix saga” more than any other comic book arc in my lifetime. the lenses with which i look through “dark phoenix saga” evolve frequently. finally, i have come to certain conclusions in my personal interpretation of the work.
a positive spin on negative behavior?
perhaps at first glance, inability to deal with the power of phoenix might convey a common misconception that minds are somehow weak. it might appear to some the text infers jean grey handle the power of the phoenix, but a man could. indeed, this interpretation contains validity. after all, we interpret the world as we see it, and each human being sees the world differently.
however, i ask if another interpretation may enter the arena. in regards to jean as dark phoenix consuming a star for energy that destroys billions of one of its planets inhabitants, i look to medea once more. when a person or persons starve and subsequently are presented with all the food imaginable. it can be reasonable to suggest the starved person, who once had all the time in the world to previously contemplate their famine and appreciate a meal, might gorge themselves. their a likely result of a primary fear or anxiety they might never eat again.
much like these starved individuals, women also endured starvation. after hillary presidential election loss in 2016, plenty of arguments exist that the title of last most powerful woman in the world belonged to ancient roman regent empress and mother of emperor nero agrippina, the younger. could you fathom not only lifelong oppression but human history long oppression? to this day, and certainly in the days “dark phoenix saga” premiered, women rightfully felt starved. like nora in a house, some women felt like nothing more than slaves to a patriarchal system where they never stood a chance for any opportunity to follow their bliss.
dark phoenix as a representation of collective suppressed anger in women
again, dark phoenix is the summation of the absolute rage one can only imagine women as a whole felt. for the first time in human history, women had the opportunity to eat the food only men allowed each other to eat. women were understandably ravenous. using jean grey as dark phoenix as both a metaphor and lens for this rage, it makes sense only a star could quench the thirst in dark parched throat.
like medea, when pushed to the brink of survival actually, like anyone or anything pushed the brink of survival, jean ensures her own. in case, she makes her anger heard by her desperation to stay alive eclipsing the realization of her consequences. in no way am i suggesting women would choose rage over their own morality. by contrast, my statements regard the metaphor of dark phoenix. her actions illustrate how angry some women might feel subconsciously. in no way would they do anything similar.
under the thumbs of the hellfire club, empire, and charles xavier
the strips jean grey of her agency like the hellfire club did before them. both institutions subscribe to vastly different ideologies. however, both institutions, like the patriarchy, intend on imposing their will onto jean. professor xavier, the hellfire club, and the empire want the world to reflect their desires. they believe they know best how the world should be. this robs jean of choice much like the patriarchy robbed most women throughout human history.
jean’s final action before death is something many women never have the opportunity to do choose. rather than any other outcome occurs outside of her control, jean makes a choice to end her life. jean knew she might die. if she had to, she wanted the decision to belong to her and only her.
jean choice: why decision to kill herself can be interpreted as feminist
a slew of arguments interprets jean suicide as her power killing her. however, other interpretations can also be validated when considering jean particular circumstance. first, chris claremont chose jean to become the phoenix. that choice, in itself, speaks volumes. the turning tides of the times influenced claremont. he welcomed the change with arms wide open.
i ask you to consider inability to cope with the power inside her from a different perspective. while the power of the phoenix overwhelmed jean, jean fought back and won twice. rather than thinking the phoenix force overwhelmed jean, think of the strength necessary to fight back against one of the cosmic forces of creation itself. jean grey, an ordinary woman from annandale-on-hudson, new york, had the constitution of character required to subdue and, even, overcome a cosmic force. no easy feat.
jean grey succeeds where others might have failed
numerous alternate dimension stories, some contained in what if? comics, tell tales of what might have happened if other characters (in particular men) contended with the phoenix force. each story ends in utter and complete disaster.
the “dark phoenix saga” is not a story about what happens to jean grey after she is corrupted by power. rather, “dark phoenix saga” is the story of jean grey, a woman powerful enough to overcome the barriers placed on her by men with their own agendas. it is the story of a woman victimized by men and the patriarchy they represent and how she crawled her way out of the psychological consequences of its crushing hold only to embody the antithesis of her oppressors. the acts of jean grey are kindness, selflessness, and generosity. particularly as she sacrifices her life in spite of the opportunity to rule over her oppressors as a vengeful goddess.
in effect, jean grey displays selflessness on a mythical scale. like jesus christ, an argument exists jean dies for the sins of the patriarchy. she dies from the consequences of the subconscious and taboo wish fulfillment some women might feel to provide the slightest relief from the painful knowledge ceilings exist on a journey towards greatness that do not exist for most men.
jean grey and the “dark phoenix saga” outside the feminist lens
oppression is ubiquitous in our world. therefore, in addition to women, other oppressed peoples emotionally connect with comics. however, the lgbtqa+ community identifies with many of jean struggles as a result of dark phoenix.
the power to change the world
as phoenix, jean exhibited subatomic particle control. she often used this power to rearrange her clothes and don her uniform. while threatening her parents in a display of power, shes a plant a living thing into something entirely crystalline.
while the patriarchy forced some women to their goals, it also questioned the humanity of lgbtqa+ people and women who dared stray for their predestined path. in an equally horrifying scenario, one can imagine how terrified lgbtqa+ people must have felt. to imagine any display of your benign desire to love another person met with ridicule and violence in that person a sense a shame. to simply be who you are, to take off the mask of the public persona for a quick second puts lgbtqa+ people in danger for centuries.
not until alpha flight in 1992 did there exist a gay character in mainstream comics. northstar admitted his homosexuality in a fight during issue #106. shortly after, the character was until the. therefore, the lgbtqa+ community lacked a character of their same makeup with whom they could identify.
storm versus jean grey and the dark phoenix as lgbtqa+ icons
while many consider’s storm a gay icon, the lgbtqa+ community also finds common ground with jean grey. like women, the gay community has much to be angry about. consensual homosexual intercourse legalized until the in the united states. many gay men and women endured sexual harassment, hate crimes, and sexual abuse from heterosexuals. to consider one might imagine having powers able to fight off their oppressors is no stretch of the imagination. the more psychologically injured a person feels, the more power they might require to fight back. enter jean grey as the phoenix, a woman with infinite power and the ability to warp reality at her will.
as phoenix, no prison can contain jean. she can escape or fly away on an interstellar scale. in a world that hates and fears you simply for being who you are, it be amazing to change it? who want to feel safe to be themselves both in their own homes and out in the world? the power of the phoenix would easily grant its host these opportunities.
gay rage?
anger emerges as the result of oppression and violence. as the world becomes slightly more accepting of lifestyles, members of the lgbtqa+ community feel the freedom to finally express their rage. they feel vengeful like medea, enslaved like nora in a house, and an overwhelming sense of rage like dark phoenix. they find jean grey struggling to break free from her anger and manage it a noble war. after all, adopting the same kind of violence that caused rage drags them down to their level.
like the, the lgbtqa+ community lives in a world that hates and fears them. however, instead of striking preemptively like, they choose non-violence or opt for and protection. the power of phoenix or dark phoenix means having the ability to defend self against others who try to harm them simply for leading their lives. thus, as to all those who ever felt “othered,” the lgbtqa+ community finds a in jean grey.
x-men: the dark phoenix saga: creation versus
we live in a paradigm. the fact is indisputable. obsession with light and dark and good and evil traces back to our beginnings in mesopotamia. since medieval times, the western world predominantly dealt with three religions: judaism, christianity, and islam. these three religions make up what people call the religions. however, prior to the ubiquity of religions, what we now call pagan, an umbrella term for religions, maintained a different perspective.
the and the romans of ancient greece and rome, while aware of concepts of good and evil, were not as preoccupied with the binary. the ancients never considered goddesses like hero, athena, and aphrodite good or evil. rather, in their anthropomorphism of nature, goddesses (and gods) resembled people in ways the god did not.
amongst the landscapes of morality, ancient goddesses exist between the categories of good and evil
ancient women left offerings for hera for protection and strength. hera could display enormous compassion. on the other hand, hera also displayed jealousy, vengefulness, and anger. the same women she oversaw the protection of, also considered her acts against zeus and his many extramarital lovers vindictive or, even, malicious.
the ancients saw the goddess aphrodite every bit as three-dimensional as hera. a man named pygmalion falls in love with a statue he created. aphrodite takes pity on him and uses her divine powers to make the statue come alive, thus providing pygmalion a life with his beloved. alternatively, aphrodite routinely engages in romances outside of her marriage to hephaestus. ares is primary lover, however, aphrodite also looks outside her relationship with ares. subsequently, she begins a romance with adonis who ares later murders out of jealousy. like humans, aphrodite has difficulty controlling her impulses and desires.
the dark phoenix as a modern and vengeful ancient goddess
in “the dark phoenix saga,” jean as dark phoenix has the power of a goddess. due to no goddesses existing in the religious paradigm, the only way to examine dark popularity and role as a goddess lies in returning to the past and the ancient goddesses of greece and rome. goddesses hera and aphrodite exhibited a range of emotional traits. they neither embodied good nor evil but, rather, they embodied the landscape between good and evil. dark phoenix also exists in the of good and evil. make no mistake, extremes of awareness of her persona absolutely battle the dark phoenix as a pure creature of rage. the important distinction is the dark phoenix was full of rage, not evil.
in some cases, rage subsequently follows pain as the initial emotion. under the lens used to discuss dark phoenix here, jean grey rightfully feels rage. however, if we peel back a layer or two, we can easily deduce jean grey and dark rage resulted from pain followed by resentment.
jean childhood trauma
jean’s powers of telepathy manifested when friend, annie richards, got accidentally hit by a car just outside of home during their childhood. jean connected to annie so strongly, when annie died a part of jean died too literally. as a result, jean suffers a fate imposed on her by the patriarchy for the first time. as a child, jean grey spends years of her life in a mental institution as a result of the trauma she experienced when annie died.
perhaps no one had ill intentions. still, the fact never changes that the world considers jean mentally unstable. the world rewards jean grey for her metaphorical empathy and her taboo display of naked emotion by utterly misunderstanding her, her, and forever condemning her to a life of ostracization.
jean grey origins: planting the seeds of pain and resentment
jean’s parents and sister always remained supportive and loved jean throughout her struggles. however, powers manifested in her youth. a child has no reasonable expectation the world contains as much danger and unpredictability as it does. jean grew up in a middle-class home in rockland county, new york. her tiny world consisted of only her loving parents and older sister. first contact with reality ends with her institutionalized for living her life and displaying empathy.
one can imagine the hurt a young jean grey felt. the world separated her from her parents and sister. they treated her for a mental illness, much like lgbtqa+ people were, and her savior, professor charles xavier, was another man, albeit a kid one. when jean grey finally joined the, xavier and cyclops marginalized her due to her weaker powers. for many, the combination of all this could easily lead to resentment.
jean grey versus dark phoenix and me versus me
people often struggle with addictions, intrusive thoughts, self-repression, external oppression, and anxiety. an estimated 25% of the population suffers from anxiety. furthermore, issues surrounding mental health are often stigmatized, even in the most developed nations where studies are easily accessible to the public. in my experience, some of the most progressive and liberal people met scoff at the idea of receiving treatment for mental health issues. even the words “mental health” connote something shameful in most minds. due to the inability of various cultures to treat mental health with the same seriousness and urgency as physical health, those who suffer from psychological afflictions may feel shame, embarrassment, confusion, or guilt.
humanity’s rejection of mental wellness causes dissonance in those who endure its pitfalls. most mental health issues go undiagnosed and untreated. people are left to fend for themselves. due to forced use of their own coping mechanisms, jean grey struggling to break free from her dark phoenix persona mirrors peoples’ own battles with mental health.
some people inaccurately categorize those suffering from addiction as weak. they believe the addicted individual needs more willpower. people afflicted know overcoming addiction has little to do with willpower. moreover, they understand how society looks down on them for their disease.
jean war with her inner self mirrors our own
in “dark phoenix saga,” jean expresses her difficulty living with a hunger for “a joy, a rapture beyond all comprehension.” these might not be the exact same words someone suffering from addiction might use, however, the metaphor applies nonetheless.
anyone who feels rageful, overly angry, suffers from addiction, or disorder easily identifies with jean breaking through her dark phoenix persona. while feeling consumed by affliction, moments of alternative thoughts creep into the mind. as someone who deals with some of the same issues discussing, i wish i had more moments where my essential self broke through the moments my addictions consumed me. those opportunities afford a with behavior. sometimes, when you catch yourself acting out of anxiety, fear, or anger, you can interrupt the pattern and calm yourself.
jean inner war with the dark phoenix makes her the
all of this only true for those suffering from a mental health problem. anyone can relate to not having the skills to stop thinking harmful thoughts or feeling negativity. “the dark phoenix saga” serves as a beacon to all those who relate. kitty pryde is often considered the. however in “dark phoenix saga,” battle with her darker instincts tell the story of almost every person alive or dead. it might be one of the reasons the: dark phoenix saga trade will forever remain a classic in the same way as medea and a house. “dark phoenix saga” strikes a primal chord deep within the souls of its readers.
the war waged in our minds will never cease. always look to characters and works of art to provide the sanctuary of knowing we do not stand alone in the battle against ourselves. jean grey overcoming her darkness and using her will to save the universe at the cost of her own life sets a beautiful example for the rest of us to follow. now, up to us to follow it.
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waɪ ɪz ðə ˈkɑnsɛpt əv ʤin greɪ ɛz ˈfinɪks stɪl ˈrɛləvənt ˈæftər jɪrz? ðə ˈklæsɪk ənd ˌkɑntrəˈvərʃəl ˈfinɪks saga,”*,” ˈrɪtən baɪ feɪmd ˈraɪtər krɪs ˈklɛrˌmɑnt ənd ˈpəblɪʃt baɪ ˈmɑrvəl ɪn 1980 kənˈtɪnjuz tɪ ˌɪmˈpækt nɑt ˈoʊnli ˈmuviz ənd ˈkɑmɪks bət moʊst ˈmɑrvəl ˈkɑmɪks ˈhɪtɪŋ ðə stændz. ə ˈhɪstəri əv ˈfinɪks saga”*” fər ðə ərˈɪʤənəl faɪv kənˈsɪstɪd əv ˈsaɪˌklɔps, ˈaɪsmæn, bist, ˈeɪnʤəl, ənd ʤin greɪ. ˈsɪmələr tɪ ðə ˌɪnˈvɪzəbəl gərl ɪn fænˈtæstɪk fɔr æt ðə taɪm, wik paʊər sɛt ˈrɛndərd hər ˌɪŋˌkɑnsəkˈwɛnʧəl tɪ ðə tim. ðə, ˌɪnˈkludɪŋ ʤin greɪ hərˈsɛlf, kənˈsɪdərd ðɪs ən ˌɪndɪˈspjutəbəl truθ. ʤin pleɪd ðə roʊl əv ˈnəθɪŋ mɔr ðən ə ˈtoʊkən ˈfiˌmeɪl ɪn ˈərli ˈkɑmɪks bət æt list ʃi əˈpɪrd ɪn ˈkɑmɪks æt ɔl. ðə ənd soʊ lɔŋ əˈgoʊ. ˈklɪrli, ˈwɪmən wər riˈprɛst ɪn ə soʊˈsaɪɪti. ðə fərst ˈkɑmɪks riˈlist lɛs ðən ˈθərdiˌfaɪv jɪrz ˈæftər ˈwɪmən bɪˈkeɪm ˈɛlɪʤəbəl tɪ voʊt. ə pleɪs ˌɪnˈkludɪd ˈmɛrɪʤ baɪ ˈθərˌdi (ər feɪs ˈsoʊʃəl əˈbændənmənt), ˈtoʊtəl dɪˈvoʊʃən tɪ hər ˈhəzbənd əˈbəv hər oʊn nidz ənd wɔnts, ənd ˌfaɪˈnænʃəl ˈsərvəˌtud. aɪ rɪˈmɛmbər siɪŋ wət maɪ ˈməðər roʊt ɪn hər 1959 ˈjɪrˌbʊk wɪn ˈsəmˌwən æst hər wət ʃi ˈwɔntɪd tɪ du wɪθ hər laɪf. aɪ æst hər waɪ ʃi roʊt ““secretary.”*.” ʃi rɪˈspɑndɪd, ɛls kʊd aɪ hæv bɪn bæk then?”*?” maɪ rɪˈspɑns spoʊk tɪ ðə ˈʧælənʤɪz ˈwɪmən feɪst ənd kənˈtɪnju tɪ feɪs ɪn ɑr soʊˈsaɪɪti. tɪ pʊt θɪŋz mɔr ɪn pərˈspɛktɪv, ðə əˈmɛrɪkən ˈikwəl peɪ ækt pæst baɪ ˈkɑŋgrəs ɪn 1963 ˈsteɪtɪd ˈwɪmən ʃʊd bi peɪd ˈikwəl tɪ mɛn. ˈkɑmɪks prɛˈmɪrd ɪn ðə seɪm jɪr ðə ækt pæst. ɪn ðə, ˈkɑmɪks feɪld tɪ dɪˈlɪvər gʊd ˈnəmbərz. fər ə waɪl, ˈmɑrvəl soʊld ˈoʊnli riˈprɪnts əv ˈoʊldər ˈɪʃuz. ðɛn, lɛn win ənd ˈəðərz kriˈeɪtɪd ə nu ˌɪnərˈnæʃənɑl tim əv kənˈsɪstɪŋ əv stɔrm, ˌwʊlvərˈin, ˈθəndərˌbərd, ˈsənˌfaɪr, nightcrawler*, ənd kəˈlɑsəs. ðə nu tim əv ˌriˈpleɪst ðə ərˈɪʤənəl ˈkɛrɪktərz, ɪkˈsɛpt fər ˈsaɪˌklɔps hu rɪˈmeɪnd. ˌhaʊˈɛvər, ʤin greɪ sun rɪˈtərnd tɪ ðə. ˈfinɪks saga:”*:” ə saɪn əv ˈʧeɪnʤɪŋ taɪmz ðə ˈnɔrməl ˈrɑkˌwɛl ˈkəlʧər əv ðə əˈmɛrɪkən (əˈməŋ ˈmɛni ˈəðər θɪŋz) geɪv raɪz tɪ ˈfɛmɪˌnɪzəm. ɛz ˈfɛmɪˌnɪzəm sprɛd θruaʊt ðə ˈwɛstərn wərld, ˈwɪmən ˈkɛrɪktərz laɪk ʤin greɪ simd tɪ ˈpərˌpɔrt ˈstɛrioʊˌtaɪps raɪf ɪn ˈpɑpjələr ˈkəlʧər ˈdæmɪʤɪŋ tɪ ˈwɪmən. nu ˈraɪtər krɪs ˈklɛrˌmɑnt dɪˈvɛləpt ə rɪˈspɑns tɪ ˈfɛmənɪst ˈkrɪtɪˌsɪzəmz əv ðə pɔrˈtreɪəlz əv ˈwɪmən ɪn pɑp ˈkəlʧər. ðəs, ʤin greɪ bɪˈkeɪm ðə ˈfinɪks. paʊərd əp: ˈʤərni frəm ˈfinɪks tɪ dɑrk ˈfinɪks ðɪs nu ˌɪnərˈnæʃənɑl tim əv ɪkˈsploʊdɪd ˈɔntu ðə sin ənd rɪˈvaɪvd ðə ˈfeɪlɪŋ ˈsɪriz ˈpeɪvɪŋ ðə weɪ fər ˌɛvəˈluʃən. wɪn æst ɪf hɪz plæn ɔl əˈlɔŋ wɑz fər ðə ˈmæntəl əv ˈfinɪks tɪ goʊ tɪ ʤin greɪ, ɪn ən ˈɪntərvˌju ɔn ðə ˈpɔdˌkæst, krɪs ˈklɛrˌmɑnt rɪˈspɑndɪd: wɑz ˈɔlˌweɪz ðə redhead.”*.” ɪn ðə seɪm ˈpɔdˌkæst ˈɪntərvˌju, hi ˈfərðər dɪˈskraɪbz ʤin ɛz ““fiery.”*.” ðə ˈrɛləvəns əv plæn fər ʤin greɪ ˈhaɪtənz wɪn kənˈsɪdərɪŋ haʊ ˈflɔləsli ɪt ɔl pleɪd aʊt. frəm ˈfinɪks saga”*” tɪ ˈfinɪks saga,”*,” ˈklɛrˌmɑnt ənd ðə kriˈeɪtɪv tim ˈɛfərtləsli hɪt ˈɛvəri mɑrk ˈnidɪd fər ə ˈstɔri əv səʧ ˈɛpɪk ˈmægnəˌtud. sinz bɪlt ɔn tɔp əv iʧ ˈəðər ˈbjutəfli, ˈwivɪŋ ə ˈstɔri ˈoʊvər taɪm ˈkəlməˌneɪtɪŋ ɪn ðə ˈgreɪtəst ˈpɑsəbəl ˈiˌmoʊʃənəl gət pənʧ. ˈæftər ɔl, wət meɪd ˈfinɪks saga”*” səkˈsɛsfəl ðə ˈfinɪks ˌɪtˈsɛlf. ðə səkˈsɛs əv ˈfinɪks saga”*” laɪz ɪn ðə ˈhɑrtˌbreɪk əv ʤin fɔl frəm greɪs hər sɪˈdəkʃən əv ˈɪnəsəns, ɪf ju wɪl. raɪz əv ðə ˈfinɪks ʤin dɛθ simz ˈɪmənənt ɪn ðə ˈpeɪʤɪz əv all-new*, 100 ðə nid tɪ ˈtrævəl hoʊm frəm speɪs. ðə ˈspeɪsˌʃɪp ðeɪ ˈtrævəl wɪθ səˈsteɪnd ˈdæmɪʤ tɪ ðə ˈɔtoʊˌpaɪlət ˈsɪstəm. ˈdɛdli ˈlɛvəlz əv ˌreɪdiˈeɪʃən kɔzd baɪ ə ˈsoʊlər flɛr lum təˈwɔrdz ðə ˈspeɪˌskræft, θˈrɛtənɪŋ ɔl ðɛr lɪvz. ʤin θɪŋks ʃi kən flaɪ ðə ʃɪp bæk tɪ ərθ waɪl ðə ˈəðər weɪt ˈseɪfli ɪn ə kənˈteɪnmənt ˈjunɪt ðət blɑks ˌreɪdiˈeɪʃən. ʃi bɪˈlivz ʃi kən juz hər ɛz ə ʃild əˈgɛnst ðə ˌreɪdiˈeɪʃən ənd sərˈvaɪv. ʃi əbˈzɔrbd ðə ˈnɑlɪʤ əv haʊ tɪ flaɪ ðə ˈspeɪsˌʃɪp. ðə fɪr fər hər laɪf. moʊst ˈnoʊtəbli, ˈsaɪˌklɔps ˈkænɑt kənˈteɪn hɪz fɪr ənd grif æt ðə aɪˈdiə əv ˈluzɪŋ ʤin. ʤin greɪ ˈrɛndərz ˈsaɪˌklɔps ˌənˈkɑnʃəs. ðəs, hi dɪz nɑt stɑp hər frəm flaɪɪŋ ðə ʃɪp. ðə ˈəðər lɑk ðɛmˈsɛlvz ɪn ə kənˈteɪnmənt ˈjunɪt. kərɪʤ ənd ˈsɛlfləsnɪs ɪn ðɪs ˈɪʃu meɪk əp ən ɪgˈzæmpəl əv wət meɪks hər soʊ ˌɪnˈspaɪərɪŋ. ɛz ə ʧaɪld ˈrɛdɪŋ, aɪ ləvd siɪŋ ə ˈwʊmən teɪk ʧɑrʤ əv ðə ˌsɪʧuˈeɪʃən ənd meɪk ðə ɪgˈzɛkjətɪv dɪˈsɪʒən tɪ səbˈdu hər ˈbɔɪˌfrɛnd soʊ ðət ʃi kʊd əˈʧiv ðə ˈgreɪtər gʊd ˈgɪtɪŋ hər frɛndz tɪ ˈseɪfti. ə strɔŋ stɑrt ˈleɪtər ˈmədəld baɪ? ˈkaʊntləs ənd ˈkɑnvəˌlut ɪgˈzæktli wət ˈhæpənd. əp tɪ əˈnəðər ˈɑrtɪkəl tɪ ɪkˈsplɔr ðə prɪˈsaɪs ˈneɪʧər əv ðə ˈfinɪks ənd ʤin greɪ. hir, goʊ wɪθ ðə ərˈɪʤənəl ˌɪnˈtɛnʧən əv ðə kriˈeɪtərz. ʤin ˈmænɪʤɪz tɪ flaɪ ðə pleɪn tɪ ərθ. ðə pleɪn ˈkræʃɪz ɪn ðə ˈmɪdəl əv ðə ʤəˈmeɪkə beɪ ɪn kwinz, nu jɔrk. ðə raɪz tɪ ðə tɔp əv ðə ˈwɔtər wən baɪ wən. ˈɛvriˌwən əˈsumz ʤin daɪd. ɪn ə fɪt əv reɪʤ ənd dɪˈnaɪəl, ˈsaɪˌklɔps ˈfrænəkəli ˈsərʧɪz fər hər. ˈfaɪnəli, ðə ˈwɔtər ˈbəbəlz. ʤin ˈimərʤɪz frəm ðə ˈwɔtər ˈriˈbɔrn ɛz ˈfinɪks. ˈleɪtər, ðə kriˈeɪtɪv tim bɪˈhaɪnd ðə ˈnuli ənˈkæni ɪkˈspleɪn prəˈfɛsər ˈzeɪvjər ˈtæmpərd wɪθ maɪnd ˈdʊrɪŋ hər juθ. hi pleɪst ˈsaɪkɪk ˈbɛriərz ɪn maɪnd ðət ˈdæmpənd hər ˌɪˈmɛns paʊər ɛz ə ˈseɪfti ˈmɛʒər frəm ʤin ˈluzɪŋ kənˈtroʊl. ʤin ˈpʊʃɪŋ hər əˈbɪləˌtiz tɪ ðə ˈlɪmət flaɪɪŋ ðə ʃɪp broʊk θru ðə ˈsaɪkɪk ˈbɛriərz. ˈnuli paʊərd əp, ʤin greɪ ɪz noʊ ˈlɔŋgər ˈmɑrvəl gərl. ʃi naʊ kɔlz hərˈsɛlf ˈfinɪks. əˈpɑn ˈfərðər ˌɪnˈspɛkʃən, ʤin ˈbreɪkɪŋ θru ˈbɛriərz ɪn hər maɪnd ˈrɛzəˌneɪts. ən ˈoʊldər mæn noʊz best”*” prɪˈvɛnts ə ˈwʊmən frəm əˈteɪnɪŋ hər pəˈtɛnʃəl ɛz ə ˈjumən biɪŋ. ˈfridəm frəm ˈbɛriərz ˈmɪrərz ðə ˈfɛmɪˌnɪzəm ˈhæpənɪŋ ɪn ðə ˈaʊtˈsaɪd wərld. ˈwɪmən ɔl əˈkrɔs ðə juˈnaɪtɪd steɪts broʊk fri frəm ðə ˈʃækəlz pleɪst ɔn ðɛr pəˈtɛnʃəl tɪ bi huˈɛvər ɪt ɪz ðeɪ wɔnt baɪ ðə ˈpeɪtriˌɑrki. ðeɪ, laɪk ʤin, ˈstɑrtɪd tɪ breɪk fri frəm jɪrz əv riˈprɛʃən. nu paʊərz paʊərz ˈɪnfənətli ɑgˈmɛntəd tɪ ðə dɪˈgri ðət ʃi kənˈtroʊlz ˈmætər æt ðə ˌsəbəˈtɑmɪk ˈlɛvəl. ʃi kən riəreɪnʤ ˈmɑləˌkjulz ənd wən θɪŋ ˈɪntu ˈsəmθɪŋ ɛls ˈsɪmpli baɪ ˈwɪlɪŋ ɪt tɪ əˈkər. hər ˌtɛləˈpæθək paʊərz ˈɔlsoʊ riʧt ˈkɑzmɪk ˈlɛvəlz. hər roʊl ɔn ðə tim naʊ ðə ˈɑpəzɪt əv haʊ ʃi ˈstɑrtɪd, ʤin greɪ ɛz ˈfinɪks bɪˈkeɪm ðə moʊst ˈpaʊərfəl ˈmɛmbər əv ðə ɪn ən ˈɪnstənt. ɛz ˈfinɪks, ʤin greɪ wən ˈbætəlz əˈgɛnst ˈɛvriˌwən frəm ðə ˈglædiˌeɪtər tɪ ˈhɛrəldz əv galactus*. ˈsɛvərəl ˈfæktərz kənˈtrɪbjutɪd tɪ roʊl ɛz ˈfinɪks ˈkɔrəleɪtɪŋ tɪ ðə moʊst ˈpɑpjələr taɪm ɪn ˈhɪstəri. fərst, ɛz ðə ˈpaʊərˌhaʊs əv ðə tim, noʊ wən taɪərd əv ˈwɑʧɪŋ ʤin kɪk ˈsɪriəs æs. əˈdɪʃəˌnəli, ˈsərtən meɪl ˈkɛrɪktərz riˈæktɪd tɪ nu paʊərz ɪn ˈsɪmələr weɪz mɛn riˈæktɪd tɪ ˌlɪˌbərˈeɪʃən. tɪ pʊt ɪt ˈmaɪldli, ðeɪ wər skɛrd. ðeɪ noʊ wət tɪ du wɪθ ðɛmˈsɛlvz. æt taɪmz, ˈsaɪˌklɔps simd laɪk hi lɔst hɪz ˈvɛri aɪˈdɛntəˌti. ˈdɛkeɪdz ˈleɪtər, wi ˈfaɪnəli lərn ʤɪst haʊ əˈmæskjuˌleɪtɪd hi filz ɛz ðə ɑrm ˈkændi tɪ ðə moʊst ˈpaʊərfəl ˈkɑzmɪk fɔrs ɪn ðə ˈjunəˌvərs. haʊ tɪ sɪˈdus ðə ˈfinɪks ɪn nɑt kwaɪt ˈfeɪtəl əˈtrækʃən staɪl, wi lərn wət ˈhæpənz wɪn ə mæn wɪθ ðə ˈmɛntəl ˈwɛlnəs əv ʤin greɪ ɪn ðə ˈfinɪks saga.”*.” ðə ˈhɛlˌfaɪr kləb, lɛd baɪ səˈbæsʧən ʃɔ, ˈhɛri ˈlilənd, ˈdɑnəld pɪrs, ˈɛmə frɔst ənd ˈʤeɪsən, plænz tɪ rul ðə wərld baɪ ˈgræʤuəli əˈmæsɪŋ paʊər ɛz ə ˈsikrɪt soʊˈsaɪɪti. ðə goʊlz əv ðə ˈhɛlˌfaɪr kləb ˈkɛrfəli ˈkɑntræst wɪθ ˌaɪdiˈɑləʤi. ðə ˈhɛlˌfaɪr kləb kənˈsərnz ˌɪtˈsɛlf wɪθ wərld ˌdɑməˈneɪʃən waɪl æt ðɪs pɔɪnt, simz laɪk əˈnəðər ˈvɪktɪm əv ˈəglinəs. hi ˈkɑnstəntli əˈtɛmpts priˈɛmptɪv straɪks əˈgɛnst hɪz ˈfɔrmər əˈprɛsərz. ˈleɪdi greɪ, ðə blæk kwin əv ðə ˈhɛlˌfaɪr kləb ðə ˈhɛlˌfaɪr kləb ˈriəˌlaɪzɪz ðɛr plæn fər wərld ˌdɑməˈneɪʃən kʊd bi məʧ ˈsɪmpələr ɪf ˈoʊnli ðeɪ hæd ðə paʊər əv ðə ˈfinɪks ɔn ðɛr saɪd. ˈʤeɪsən (ɛz ˈmæstərˌmaɪnd) ə plæn. wɪθ ðə hɛlp əv ˈɛmə frɔst ənd hər təˈlɛpəθi, ˈmæstərˌmaɪnd wʊd fid ˈɪntu maɪnd ˌɪmˈplæntɪd ˈmɛməriz əv ə pæst laɪf ʃi lɪvd. ˈmɛməriz əv ðə pæst laɪf dɪˈzaɪnd tɪ ˈoʊpən ʤin tɪ ðə saɪd əv ðə [ˈfinɪks] force”*” ˌɪnˈklud ə taɪm wɪn ʃi ənd ˈʤeɪsən lɪvd ɛz ə ˈmɛrid ˈkəpəl ɪn ðə ər ˈərli 1800’s*. ʤin, ɛz ˈleɪdi greɪ əv ðə 1800’s*, θɔt ðə ˈəðər hər ˈsərvənts ənd stɔrm hər sleɪv (hum ʃi slæps əˈkrɔs ðə feɪs fər ˈspikɪŋ aʊt əv tərn). plæn əˈteɪnz səkˈsɛs ˈæftər ˈɛnərɪŋ ʤin maɪnd ənd ˌɪmˈplæntɪŋ ɪˈnəf ˈmɛməriz əv hər fɪkˈtɪʃəs pæst laɪf ðət ʤin bɪˈlivz ɪt tɪ bi hər ˌriˈæləˌti. ðə ˈroʊmæns ðeɪ ʃɛr ɪn hər fɔls ˈmɛməriz ˈsəmˌhaʊ geɪv hər ə teɪst əv haʊ gʊd ˈsɛlfɪʃnəs ənd ˈminnəs fil. ʤin ˈsəbsəkwəntli sərˈɛndərz tɪ ðə ˌɪˈluʒən kəmˈplitli. ʃi ˈluzɪz təʧ wɪθ ˌriˈæləˌti ənd θɪŋks ðə blæk kwin əv ðə ˈhɛlˌfaɪr kləb. dɑrk ˈfinɪks ˈraɪzɪŋ əˈpɑn ə ˈleɪtər əˈtɛmpt tɪ juz paʊərz ɛz ə ˈwɛpən, ʤin ˈkæʧɪz ˈɔntu ðə ˈhɛlˌfaɪr plæn. tɪ seɪ ʤin filz ˈæŋgri wʊd ˈkɑnstəˌtut ən ˈəndərˌsteɪtmənt əv ˈɛpɪk prəˈpɔrʃənz. plæn ˈbækˌfaɪərz ɪn ə juʤ weɪ wɪn ɪt draɪvz ʤin ə ˈlɪtəl tu ˈkreɪzi. ʃi breɪks θru hɪz ˌɪˈluʒən ɛz ə ˈʧɑrmɪŋ ənd ˈhænsəm mæn, ˈsəbsəkwəntli rɪˈvilɪŋ ɪm ɛz ˈoʊldər, ˌənəˈtræktɪv, ənd freɪl. rɪˈspɑns tɪ vaɪəˈleɪʃən əv hər ˈmɛntəl ˈseɪfti ɪz mɛt wɪθ ˈkɑnsəkˌwɛnsəz. ˈʤeɪsən ˈoʊnli ˈvaɪəleɪt ðə ˈsæŋktɪti əv hər ˈpraɪvət θɔts. hi juzd ðɛm əˈgɛnst hər tɪ pʊt hər ɪn weɪ. ˈmæstərˌmaɪnd ˈfɪzɪkəli sɪˈdusɪŋ ʤin baɪ kənfˈjuzɪŋ hər mɔr ðən ʤɪst kəˈnoʊts reɪp. hɪz ˈɛrəgənt ˈθɪŋkɪŋ əv ʤin ɛz ə ˈpleɪˌθɪŋ, wəns ʃi əˈpɪrz səbˈdud, ˈkɔzɪz hɪz ˈdaʊnˌfɔl. ˌɪnˈstɛd əv ˈkɪlɪŋ ˈmæstərˌmaɪnd, ənˈkæni ˈoʊvərˌlæps wɪθ ˈsændˌmæn: drim ˈkəntri. ʤin gɪvz ɪm wət hi wɔnts. ʃi bɪˈstoʊz nɪr ˈlɪmətləs paʊər ˈɔntu ɪm baɪ kəˈnɛktɪŋ hɪz maɪnd tɪ ðə ɪnˈtaɪər ˈjunəˌvərs. ˌhaʊˈɛvər, ʤin noʊz ˈʤeɪsən ˈkænɑt ˈhændəl ðə ˌɪˈmɛns paʊər ʤin geɪv tɪ ɪm. hi ɪz sˈwɪftli ˈdrɪvən ˌɪnˈseɪn baɪ ðə ˈsaɪkɪk ˈoʊvərˌloʊd ənd bɪˈkəmz ˌkætəˈtɑnɪk. ðə dɑrk ˈfinɪks ɛz ə məˈdiə ɪn wət wʊd ˈleɪtər bɪˈkəm ə ˈpætərn əv bɪˈheɪvjər, səm vju rɪˈspɑns tɪ ˈmæstərˌmaɪnd ɛz hɑrʃ ər ən ˈoʊvərriˌækʃən. aɪ ˌɪˈmæʤən ˈɛniˌθɪŋ lɛs tru. ɛz ə mæn, aɪ ˈkænɑt bɪˈgɪn tɪ ˌəndərˈstænd ðə ˈpɪtˌfɔlz ˈwɪmən feɪs naʊ, lɛt əˈloʊn ˌbiˈfɔr ðə ˈfɛmənɪst ˈmuvmənt. waɪ aɪ si ə klɪr kəˈnɛkʃən tɪ riˈækʃən ɪn hər pleɪ ənd rɪˈspɑns ɪn ˈfinɪks saga.”*.” ˈæŋgər stɛmz frəm hər ˈtritmənt ɛz ə ˈfɔrən ˈwʊmən ɛz dimd ˈnɛsəˌsɛri baɪ ˈsoʊʃəl kənˈvɛnʃən. ˈæŋgər əˈpɪrz noʊ ˈdɪfərənt. ʤin ɛmˈbreɪsɪŋ hər reɪʤ ənd bɪˈkəmɪŋ dɑrk ˈfinɪks ˈmɪrli əˈbaʊt ðə ˈmɛntəl ənd ˈfɪzɪkəl reɪp ˈmæstərˌmaɪnd kɔzd. riˈækʃən ɪz ðə riˈækʃən əv ˈmɛni ˈwɪmən ˈfaɪnəli fri tɪ rɪˈspɑnd ˌhaʊˈɛvər ðeɪ wɔnt. hər ˈæŋgər fɑr ðə didz əv ðə ˈhɛlˌfaɪr kləb. ʤin ɪz ˈæŋgri əˈbaʊt ˈhævɪŋ hər maɪnd ˈtæmpərd ənd ˈvaɪəleɪtɪd, jɛt, əˈnəðər taɪm. ʃi ɪz ˈæŋgri rɪˈgɑrdɪŋ hər ˌmɑrʤənələˈzeɪʃən ɛz ə ˈmɛmbər əv ðə. ʃi ɪz ˈæŋgri əˈbaʊt ðə tˈwɛntiˌfɔr jɪrz bɪn əˈlaɪv əp ənˈtɪl ðɪs pɔɪnt ənd nɑt hæd ðə ˈfridəm tɪ riʧ hər pəˈtɛnʃəl. ðə ˈhɛlˌfaɪr kləb ˌrɛprɪˈzɛnts ðə ˈʃæˌdoʊ ˈgəvərnmənt əv ðə ˈpeɪtriˌɑrki. ˈmæstərˌmaɪnd ˌrɛprɪˈzɛnts ðə feɪs əv ðə ˈhɛlˌfaɪr kləb. æt ðət ˈmoʊmənt, ʤin riækts wɪθ ðə fərˈɑsəti aɪ kən ˈoʊnli ˌɪˈmæʤən səm ˈwɪmən fɛlt baɪ ðɛr əˈprɛʃən ˌbiˈfɔr ðə ˈmuvmənt. dɑrk ˈfinɪks saga:”*:” ʤin ɪn noʊ ənˈsərtən tərmz, dɑrk ˈfinɪks kənˈsumz ʤin ˌpərsəˈnælɪti. ɛz ðə ˈfeɪməs seɪɪŋ goʊz: kərəpts, ˈæbsəˌlut paʊər kərəpts absolutely.”*.” ɛz dɑrk ˈfinɪks, ʤin dɪˈstrɔɪz ən ɪnˈtaɪər ˈsoʊlər ˈsɪstəm wɪθ ˈbɪljənz əv ˌɪnˈhæbɪtənts. nɛkst, ʤin teɪks ɔn ðə hoʊl tim əv ɪn əˈdɪʃən tɪ bist ənd ˈeɪnʤəl. ʃi ˈɛfərtləsli dɪˈfits ðɛm. ɪn ə ˈfaɪnəl pli, ˈsaɪˌklɔps tɛlz ʤin ʃi ˈkænɑt ənd wɪl nɑt kɪl ðə bɪˈkəz ʃi ləvz ðɛm. spiʧ əˈweɪkənz ʤin wɪˈθɪn ðə dɑrk ˈfinɪks. ɪt əˈpɪrz kləb ʤin stɪl ɪgˈzɪsts bɪˈniθ ðə ˈæbsəˌlut paʊər əv ðə dɑrk ˈfinɪks, naʊ kənˈsɪdərd ə ˈsɛpərˌeɪt ˈɛntɪti frəm ʤin. ʤin bɛgz skɑt tɪ hɛlp hər. ɛz ʤin rɪˈmeɪnz ɪn kənˈtroʊl, ˈzeɪvjər ˈjutəˌlaɪzɪz ðə ˈmoʊmənt tɪ straɪk hər wɪθ ə maɪnd blæst. ʤin əˈweɪkənz ɛz dɑrk ˈfinɪks. ʃi ənd prəˈfɛsər ˈzeɪvjər ɪnˈgeɪʤ ɪn ˈsaɪkɪk ˈbætəl. ˈzeɪvjər əˈpɪrz ðə ˈvɪktər. hi ˈpleɪsɪz ˈsaɪkɪk ˈbɛriərz ɪn maɪnd wəns əˈgɛn ˈsɪmələr tɪ haʊ hi dɪd wɪn ʃi wɑz ə ˈtiˌneɪʤər. fər ðə ˈmoʊmənt, ʤin əˈpɪrz tɪ bi ɪn kənˈtroʊl ənd ðə dɑrk ˈfinɪks pərˈsoʊnə səˈprɛst. ðə ˈɛmpaɪər ɛz əˈnəðər weɪv əv ˌpeɪtriˈɑrkəl ˈɪnfluəns ɔn ʤin ɛz ðə dɑrk ˈfinɪks ʤɪst ɛz ɪt simz ˈzeɪvjər seɪvd ʤin ənd rɪˈstɔrd hoʊp, ˈgərlˌfrɛnd ʤin ənd ðə tɪ ðə ˈɛmpaɪər. ðə wɔnt tɪ kɪl ʤin baɪ minz əv ˈkæpɪtəl ˈpənɪʃmənt., ðə ˈɛmprɛs əv ðə ˈɛmpaɪər, dimz ʤin tu ˈdeɪnʤərəs tɪ lɪv ˈæftər ʃi dɪˈstrɔɪd ə stɑr ɪn ə ˈsoʊlər ˈsɪstəm. dɑrk ˈfinɪks nɔr ʤin wər əˈwɛr (ər kɛr tɪ noʊ) wən əv ðə ˈplænəts ɪn ðə ˈsoʊlər ˈsɪstəm wɑz ˌɪnˈhæbətəd baɪ ˈbɪljənz. prəˈfɛsər ˈzeɪvjər ˌɪnˈvoʊks ə lɔ ˈeɪkɪn tɪ traɪəl baɪ ˈkɑmbæt. ðə ˈivɪn kˈwɛʃən ðɛr dɪˈsɪʒən. ðeɪ min tɪ prəˈtɛkt ʤin wɪθ ðɛr lɪvz, ˈivɪn ɪf ɪt minz ˈluzɪŋ ðɛrz. ˈæftər ən ˈɛpɪk ˈbætəl bɪtˈwin ðə haɪ gɑrd ənd ðə, ðə rɔɪəl gɑrd hɑrmz ˈsaɪˌklɔps. ʤin ˈgræʤuəli bɪˈgɪnz tɪ luz kənˈtroʊl. ˌbiˈfɔr ʃi bɪˈkəmz dɑrk ˈfinɪks əˈgɛn, ʃi kəˈmɪts ˈsuɪˌsaɪd tɪ prɪˈvɛnt hərˈsɛlf ɛz dɑrk ˈfinɪks frəm dɪˈstrɔɪɪŋ ðə ˈjunəˌvərs, ə ˈbæˌkəp plæn ʃi hæd ɔl əˈlɔŋ. ðɪs fækt ˈoʊnli meɪks ˈsaɪˌklɔps griv ðət məʧ mɔr. ðə ɛnd. ðɛr ju hæv ɪt! ðoʊ, gɪt kənfˈjuzd. noʊ ɪkˈspɪriəns əv ˈrɛdɪŋ ə ˈsəməri kən səˈplænt ðə ˈɔsəm ɪkˈspɪriəns əv ˈrɛdɪŋ ðə ˈækʧəwəl ˈkɑmɪk bʊk. ənˈpækɪŋ ðə ˈfinɪks saga”*” ənd ðə ˈsaɪki əv ʤin greɪ ˈvɛriəs ˌɪnˌtərprɪˈteɪʃənz əv ðə ˈfinɪks saga”*” kən bi dɪˈdust baɪ bɪˈheɪvjər ənd krɪs ˈɛksələnt ˈraɪtɪŋ. aɪ meɪ hæv rɛd ðə ˈfinɪks saga”*” mɔr ðən ˈɛni ˈəðər ˈkɑmɪk bʊk ɑrk ɪn maɪ ˈlaɪfˌtaɪm. ðə ˈlɛnzɪz wɪθ wɪʧ aɪ lʊk θru ˈfinɪks saga”*” ɪˈvɑlv ˈfrikwɛntli. ˈfaɪnəli, aɪ hæv kəm tɪ ˈsərtən kənˈkluʒənz ɪn maɪ ˈpərsɪnəl ˌɪnˌtərprɪˈteɪʃən əv ðə wərk. ə ˈpɑzətɪv spɪn ɔn ˈnɛgətɪv bɪˈheɪvjər? pərˈhæps æt fərst glæns, ˌɪnəˈbɪlɪti tɪ dil wɪθ ðə paʊər əv ˈfinɪks maɪt kənˈveɪ ə ˈkɑmən mɪskənˈsɛpʃən ðət maɪndz ər ˈsəmˌhaʊ wik. ɪt maɪt əˈpɪr tɪ səm ðə tɛkst ˌɪnˈfərz ʤin greɪ ˈhændəl ðə paʊər əv ðə ˈfinɪks, bət ə mæn kʊd. ˌɪnˈdid, ðɪs ˌɪnˌtərprɪˈteɪʃən kənˈteɪnz vəˈlɪdɪti. ˈæftər ɔl, wi ˌɪnˈtərprət ðə wərld ɛz wi si ɪt, ənd iʧ ˈjumən biɪŋ siz ðə wərld ˈdɪfərˈɛntli. ˌhaʊˈɛvər, aɪ æsk ɪf əˈnəðər ˌɪnˌtərprɪˈteɪʃən meɪ ˈɛnər ðə ərˈinə. ɪn rɪˈgɑrdz tɪ ʤin ɛz dɑrk ˈfinɪks kənˈsumɪŋ ə stɑr fər ˈɛnərʤi ðət dɪˈstrɔɪz ˈbɪljənz əv wən əv ɪts ˈplænəts ˌɪnˈhæbɪtənts, aɪ lʊk tɪ məˈdiə wəns mɔr. wɪn ə ˈpərsən ər ˈpərsənz stɑrv ənd ˈsəbsəkwəntli ər pərˈzɛnəd wɪθ ɔl ðə fud ˌɪˈmæʤənəbəl. ɪt kən bi ˈrizənəbəl tɪ səˈʤɛst ðə stɑrvd ˈpərsən, hu wəns hæd ɔl ðə taɪm ɪn ðə wərld tɪ ˈpriviəsli ˈkɑntəmˌpleɪt ðɛr ˈfæmən ənd əˈpriʃiˌeɪt ə mil, maɪt gɔrʤ ðɛmˈsɛlvz. ðɛr ə ˈlaɪkli rɪˈzəlt əv ə ˈpraɪˌmɛri fɪr ər æŋˈzaɪəti ðeɪ maɪt ˈnɛvər it əˈgɛn. məʧ laɪk ðiz stɑrvd ˌɪndəˈvɪʤəwəlz, ˈwɪmən ˈɔlsoʊ ɪnˈdʊrd stɑrˈveɪʃən. ˈæftər ˈhɪləri ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən lɔs ɪn 2016 ˈplɛnti əv ˈɑrgjəmənts ɪgˈzɪst ðət ðə ˈtaɪtəl əv læst moʊst ˈpaʊərfəl ˈwʊmən ɪn ðə wərld bɪˈlɔŋd tɪ ˈeɪnʧənt ˈroʊmən ˈriʤənt ˈɛmprɛs ənd ˈməðər əv ˈɛmpərər ˈnɪroʊ agrippina*, ðə ˈjəŋgər. kʊd ju ˈfæðəm nɑt ˈoʊnli ˈlaɪˈflɔŋ əˈprɛʃən bət ˈjumən ˈhɪstəri lɔŋ əˈprɛʃən? tɪ ðɪs deɪ, ənd ˈsərtənli ɪn ðə deɪz ˈfinɪks saga”*” prɛˈmɪrd, ˈwɪmən ˈraɪtfəli fɛlt stɑrvd. laɪk ˈnɔrə ɪn ə haʊs, səm ˈwɪmən fɛlt laɪk ˈnəθɪŋ mɔr ðən sleɪvz tɪ ə ˌpeɪtriˈɑrkəl ˈsɪstəm wɛr ðeɪ ˈnɛvər stʊd ə ʧæns fər ˈɛni ˌɑpərˈtunəti tɪ ˈfɑloʊ ðɛr blɪs. dɑrk ˈfinɪks ɛz ə ˌrɛprəzɛnˈteɪʃən əv kəˈlɛktɪv səˈprɛst ˈæŋgər ɪn ˈwɪmən əˈgɛn, dɑrk ˈfinɪks ɪz ðə səˈmeɪʃən əv ðə ˈæbsəˌlut reɪʤ wən kən ˈoʊnli ˌɪˈmæʤən ˈwɪmən ɛz ə hoʊl fɛlt. fər ðə fərst taɪm ɪn ˈjumən ˈhɪstəri, ˈwɪmən hæd ðə ˌɑpərˈtunəti tɪ it ðə fud ˈoʊnli mɛn əˈlaʊd iʧ ˈəðər tɪ it. ˈwɪmən wər ˌəndərˈstændəbli ˈrævənəs. ˈjuzɪŋ ʤin greɪ ɛz dɑrk ˈfinɪks ɛz boʊθ ə ˈmɛtəfɔr ənd lɛnz fər ðɪs reɪʤ, ɪt meɪks sɛns ˈoʊnli ə stɑr kʊd kwɛnʧ ðə θərst ɪn dɑrk pɑrʧt θroʊt. laɪk məˈdiə, wɪn pʊʃt tɪ ðə brɪŋk əv sərˈvaɪvəl ˈæˌkʧuəli, laɪk ˈɛniˌwən ər ˈɛniˌθɪŋ pʊʃt ðə brɪŋk əv sərˈvaɪvəl, ʤin ɪnˈʃʊrz hər oʊn. ɪn keɪs, ʃi meɪks hər ˈæŋgər hərd baɪ hər ˌdɛspərˈeɪʃɪn tɪ steɪ əˈlaɪv ɪˈklɪpsɪŋ ðə ˈriləˈzeɪʃən əv hər ˈkɑnsəkˌwɛnsəz. ɪn noʊ weɪ æm aɪ səˈʤɛstɪŋ ˈwɪmən wʊd ʧuz reɪʤ ˈoʊvər ðɛr oʊn ˌmɔˈræləˌti. baɪ ˈkɑntræst, maɪ ˈsteɪtmənts rɪˈgɑrd ðə ˈmɛtəfɔr əv dɑrk ˈfinɪks. hər ˈækʃənz ˈɪləˌstreɪt haʊ ˈæŋgri səm ˈwɪmən maɪt fil səbˈkɑnʃəsli. ɪn noʊ weɪ wʊd ðeɪ du ˈɛniˌθɪŋ ˈsɪmələr. ˈəndər ðə θəmz əv ðə ˈhɛlˌfaɪr kləb, ˈɛmpaɪər, ənd ˈʧɑrəlz ˈzeɪvjər ðə strɪps ʤin greɪ əv hər ˈeɪʤənsi laɪk ðə ˈhɛlˌfaɪr kləb dɪd ˌbiˈfɔr ðɛm. boʊθ ˌɪnstɪˈtuʃənz səbˈskraɪb tɪ ˈvæstli ˈdɪfərənt ˌaɪdiˈɑləʤiz. ˌhaʊˈɛvər, boʊθ ˌɪnstɪˈtuʃənz, laɪk ðə ˈpeɪtriˌɑrki, ˌɪnˈtɛnd ɔn ˌɪmˈpoʊzɪŋ ðɛr wɪl ˈɔntu ʤin. prəˈfɛsər ˈzeɪvjər, ðə ˈhɛlˌfaɪr kləb, ənd ðə ˈɛmpaɪər wɔnt ðə wərld tɪ rɪˈflɛkt ðɛr dɪˈzaɪərz. ðeɪ bɪˈliv ðeɪ noʊ bɛst haʊ ðə wərld ʃʊd bi. ðɪs rɑbz ʤin əv ʧɔɪs məʧ laɪk ðə ˈpeɪtriˌɑrki rɑbd moʊst ˈwɪmən θruaʊt ˈjumən ˈhɪstəri. ˈfaɪnəl ˈækʃən ˌbiˈfɔr dɛθ ɪz ˈsəmθɪŋ ˈmɛni ˈwɪmən ˈnɛvər hæv ðə ˌɑpərˈtunəti tɪ du ʧuz. ˈrəðər ðən ˈɛni ˈəðər ˈaʊtˌkəm əˈkərz ˈaʊtˈsaɪd əv hər kənˈtroʊl, ʤin meɪks ə ʧɔɪs tɪ ɛnd hər laɪf. ʤin nu ʃi maɪt daɪ. ɪf ʃi hæd tɪ, ʃi ˈwɔntɪd ðə dɪˈsɪʒən tɪ bɪˈlɔŋ tɪ hər ənd ˈoʊnli hər. ʤin ʧɔɪs: waɪ dɪˈsɪʒən tɪ kɪl hərˈsɛlf kən bi ˌɪnˈtərprətəd ɛz ˈfɛmənɪst ə slu əv ˈɑrgjəmənts ˌɪnˈtərprəts ʤin ˈsuɪˌsaɪd ɛz hər paʊər ˈkɪlɪŋ hər. ˌhaʊˈɛvər, ˈəðər ˌɪnˌtərprɪˈteɪʃənz kən ˈɔlsoʊ bi ˈvælədeɪtəd wɪn kənˈsɪdərɪŋ ʤin ˌpɑˈtɪkjələr ˈsərkəmˌstæns. fərst, krɪs ˈklɛrˌmɑnt ʧoʊz ʤin tɪ bɪˈkəm ðə ˈfinɪks. ðət ʧɔɪs, ɪn ˌɪtˈsɛlf, spiks ˈvɑljumz. ðə ˈtərnɪŋ taɪdz əv ðə taɪmz ˈɪnfluənst ˈklɛrˌmɑnt. hi ˈwɛlkəmd ðə ʧeɪnʤ wɪθ ɑrmz waɪd ˈoʊpən. aɪ æsk ju tɪ kənˈsɪdər ˌɪnəˈbɪlɪti tɪ koʊp wɪθ ðə paʊər ˌɪnˈsaɪd hər frəm ə ˈdɪfərənt pərˈspɛktɪv. waɪl ðə paʊər əv ðə ˈfinɪks ˌoʊvərˈwɛlmd ʤin, ʤin fɔt bæk ənd wən twaɪs. ˈrəðər ðən ˈθɪŋkɪŋ ðə ˈfinɪks fɔrs ˌoʊvərˈwɛlmd ʤin, θɪŋk əv ðə strɛŋθ ˈnɛsəˌsɛri tɪ faɪt bæk əˈgɛnst wən əv ðə ˈkɑzmɪk ˈfɔrsɪz əv kriˈeɪʃən ˌɪtˈsɛlf. ʤin greɪ, ən ˈɔrdəˌnɛri ˈwʊmən frəm annandale-on-hudson*, nu jɔrk, hæd ðə ˌkɑnstəˈtuʃən əv ˈkɛrɪktər rikˈwaɪərd tɪ səbˈdu ənd, ˈivɪn, ˈoʊvərˌkəm ə ˈkɑzmɪk fɔrs. noʊ ˈizi fit. ʤin greɪ səkˈsidz wɛr ˈəðərz maɪt hæv feɪld ˈnumərəs ˈɔltərˌneɪt dɪˈmɛnʃən ˈstɔriz, səm kənˈteɪnd ɪn wət ɪf? ˈkɑmɪks, tɛl teɪlz əv wət maɪt hæv ˈhæpənd ɪf ˈəðər ˈkɛrɪktərz (ɪn ˌpɑˈtɪkjələr mɛn) kənˈtɛndɪd wɪθ ðə ˈfinɪks fɔrs. iʧ ˈstɔri ɛndz ɪn ˈətər ənd kəmˈplit dɪˈzæstər. ðə ˈfinɪks saga”*” ɪz nɑt ə ˈstɔri əˈbaʊt wət ˈhæpənz tɪ ʤin greɪ ˈæftər ʃi ɪz kərˈəptɪd baɪ paʊər. ˈrəðər, ˈfinɪks saga”*” ɪz ðə ˈstɔri əv ʤin greɪ, ə ˈwʊmən ˈpaʊərfəl ɪˈnəf tɪ ˈoʊvərˌkəm ðə ˈbɛriərz pleɪst ɔn hər baɪ mɛn wɪθ ðɛr oʊn əˈʤɛndəz. ɪt ɪz ðə ˈstɔri əv ə ˈwʊmən ˈvɪktəmaɪzd baɪ mɛn ənd ðə ˈpeɪtriˌɑrki ðeɪ ˌrɛprɪˈzɛnt ənd haʊ ʃi krɔld hər weɪ aʊt əv ðə ˌsaɪkəˈlɑʤɪkəl ˈkɑnsəkˌwɛnsəz əv ɪts ˈkrəʃɪŋ hoʊld ˈoʊnli tɪ ɪmˈbɑdi ðə ænˈtɪθəsəs əv hər əˈprɛsərz. ðə ækts əv ʤin greɪ ər ˈkaɪndnəs, ˈsɛlfləsnɪs, ənd ˌʤɛnərˈɑsəti. ˌpɑrˈtɪkjələrli ɛz ʃi ˈsækrəˌfaɪsɪz hər laɪf ɪn spaɪt əv ðə ˌɑpərˈtunəti tɪ rul ˈoʊvər hər əˈprɛsərz ɛz ə ˈvɛnʤfəl ˈgɑdəs. ɪn ˈifɛkt, ʤin greɪ dɪˈspleɪz ˈsɛlfləsnɪs ɔn ə ˈmɪθɪkəl skeɪl. laɪk ˈʤizəs kraɪst, ən ˈɑrgjəmənt ɪgˈzɪsts ʤin daɪz fər ðə sɪnz əv ðə ˈpeɪtriˌɑrki. ʃi daɪz frəm ðə ˈkɑnsəkˌwɛnsəz əv ðə səbˈkɑnʃəs ənd tæˈbu wɪʃ fʊlˈfɪlmənt səm ˈwɪmən maɪt fil tɪ prəˈvaɪd ðə sˈlaɪtəst rɪˈlif frəm ðə ˈpeɪnfəl ˈnɑlɪʤ ˈsilɪŋz ɪgˈzɪst ɔn ə ˈʤərni təˈwɔrdz ˈgreɪtnəs ðət du nɑt ɪgˈzɪst fər moʊst mɛn. ʤin greɪ ənd ðə ˈfinɪks saga”*” ˈaʊtˈsaɪd ðə ˈfɛmənɪst lɛnz əˈprɛʃən ɪz juˈbɪkwɪtəs ɪn ɑr wərld. ˈðɛrˌfɔr, ɪn əˈdɪʃən tɪ ˈwɪmən, ˈəðər əˈprɛst ˈpipəlz ˈiˌmoʊʃnəli kəˈnɛkt wɪθ ˈkɑmɪks. ˌhaʊˈɛvər, ðə lgbtqa*+ kəmˈjunɪti aɪˈdɛntəˌfaɪz wɪθ ˈmɛni əv ʤin ˈstrəgəlz ɛz ə rɪˈzəlt əv dɑrk ˈfinɪks. ðə paʊər tɪ ʧeɪnʤ ðə wərld ɛz ˈfinɪks, ʤin ɪgˈzɪbətəd ˌsəbəˈtɑmɪk ˈpɑrtɪkəl kənˈtroʊl. ʃi ˈɔfən juzd ðɪs paʊər tɪ riəreɪnʤ hər kloʊðz ənd dɑn hər ˈjunəˌfɔrm. waɪl θˈrɛtənɪŋ hər ˈpɛrənts ɪn ə dɪˈspleɪ əv paʊər, ʃi ə plænt ə ˈlɪvɪŋ θɪŋ ˈɪntu ˈsəmθɪŋ ɪnˈtaɪərli ˈkrɪstəˌlaɪn. waɪl ðə ˈpeɪtriˌɑrki fɔrst səm ˈwɪmən tɪ ðɛr goʊlz, ɪt ˈɔlsoʊ kˈwɛsʧənd ðə juˈmænɪti əv lgbtqa*+ ˈpipəl ənd ˈwɪmən hu dɛrd streɪ fər ðɛr ˌpriˈdɛstənd pæθ. ɪn ən ˈikwəli ˈhɔrəˌfaɪɪŋ sɪˈnɛrioʊ, wən kən ˌɪˈmæʤən haʊ ˈtɛrəˌfaɪd lgbtqa*+ ˈpipəl məst hæv fɛlt. tɪ ˌɪˈmæʤən ˈɛni dɪˈspleɪ əv jʊr bɪˈnaɪn dɪˈzaɪər tɪ ləv əˈnəðər ˈpərsən mɛt wɪθ ˈrɪdəˌkjul ənd ˈvaɪələns ɪn ðət ˈpərsən ə sɛns ə ʃeɪm. tɪ ˈsɪmpli bi hu ju ər, tɪ teɪk ɔf ðə mæsk əv ðə ˈpəblɪk pərˈsoʊnə fər ə kwɪk ˈsɛkənd pʊts lgbtqa*+ ˈpipəl ɪn ˈdeɪnʤər fər ˈsɛnʧəriz. nɑt ənˈtɪl ˈælfə flaɪt ɪn 1992 dɪd ðɛr ɪgˈzɪst ə geɪ ˈkɛrɪktər ɪn ˈmeɪnˌstrim ˈkɑmɪks. ˈnɔrθˌstɑr ədˈmɪtəd hɪz ˌhoʊmoʊˌsɛkʃuˈæləˌti ɪn ə faɪt ˈdʊrɪŋ ˈɪʃu 106 ˈʃɔrtli ˈæftər, ðə ˈkɛrɪktər wɑz ənˈtɪl ðə. ˈðɛrˌfɔr, ðə lgbtqa*+ kəmˈjunɪti lækt ə ˈkɛrɪktər əv ðɛr seɪm ˈmeɪˌkəp wɪθ hum ðeɪ kʊd aɪˈdɛntəˌfaɪ. stɔrm ˈvərsəz ʤin greɪ ənd ðə dɑrk ˈfinɪks ɛz lgbtqa*+ ˈaɪˌkɑnz waɪl ˈmɛni kənˈsɪdər stɔrm ə geɪ ˈaɪkɑn, ðə lgbtqa*+ kəmˈjunɪti ˈɔlsoʊ faɪndz ˈkɑmən graʊnd wɪθ ʤin greɪ. laɪk ˈwɪmən, ðə geɪ kəmˈjunɪti həz məʧ tɪ bi ˈæŋgri əˈbaʊt. kənˈsɛnʃuəl ˌhoʊmoʊˈsɛkʃuəl ˈɪnərˌkɔrs ˈligəˌlaɪzd ənˈtɪl ðə ɪn ðə juˈnaɪtɪd steɪts. ˈmɛni geɪ mɛn ənd ˈwɪmən ɪnˈdʊrd ˈsɛkʃuəl hərˈæsmənt, heɪt kraɪmz, ənd ˈsɛkʃuəl əˈbjuz frəm ˌhɛtəroʊˈsɛkˌʃuəlz. tɪ kənˈsɪdər wən maɪt ˌɪˈmæʤən ˈhævɪŋ paʊərz ˈeɪbəl tɪ faɪt ɔf ðɛr əˈprɛsərz ɪz noʊ strɛʧ əv ðə ˌɪˌmæʤəˈneɪʃən. ðə mɔr ˌsaɪkəˈlɑʤɪkli ˈɪnʤərd ə ˈpərsən filz, ðə mɔr paʊər ðeɪ maɪt ˌrikˈwaɪər tɪ faɪt bæk. ˈɛnər ʤin greɪ ɛz ðə ˈfinɪks, ə ˈwʊmən wɪθ ˈɪnfənət paʊər ənd ðə əˈbɪləˌti tɪ wɔrp ˌriˈæləˌti æt hər wɪl. ɛz ˈfinɪks, noʊ ˈprɪzən kən kənˈteɪn ʤin. ʃi kən ɪˈskeɪp ər flaɪ əˈweɪ ɔn ən ˌɪntərˈstɛlər skeɪl. ɪn ə wərld ðət heɪts ənd fɪrz ju ˈsɪmpli fər biɪŋ hu ju ər, ɪt bi əˈmeɪzɪŋ tɪ ʧeɪnʤ ɪt? hu wɔnt tɪ fil seɪf tɪ bi ðɛmˈsɛlvz boʊθ ɪn ðɛr oʊn hoʊmz ənd aʊt ɪn ðə wərld? ðə paʊər əv ðə ˈfinɪks wʊd ˈizəli grænt ɪts hoʊst ðiz ˌɑpərˈtunətiz. geɪ reɪʤ? ˈæŋgər ˈimərʤɪz ɛz ðə rɪˈzəlt əv əˈprɛʃən ənd ˈvaɪələns. ɛz ðə wərld bɪˈkəmz sˈlaɪtli mɔr əkˈsɛptɪŋ əv ˈlaɪfˌstaɪlz, ˈmɛmbərz əv ðə lgbtqa*+ kəmˈjunɪti fil ðə ˈfridəm tɪ ˈfaɪnəli ɪkˈsprɛs ðɛr reɪʤ. ðeɪ fil ˈvɛnʤfəl laɪk məˈdiə, ɛnsˈleɪvd laɪk ˈnɔrə ɪn ə haʊs, ənd ən ˌoʊvərˈwɛlmɪŋ sɛns əv reɪʤ laɪk dɑrk ˈfinɪks. ðeɪ faɪnd ʤin greɪ ˈstrəgəlɪŋ tɪ breɪk fri frəm hər ˈæŋgər ənd ˈmænɪʤ ɪt ə ˈnoʊbəl wɔr. ˈæftər ɔl, əˈdɑptɪŋ ðə seɪm kaɪnd əv ˈvaɪələns ðət kɔzd reɪʤ drægz ðɛm daʊn tɪ ðɛr ˈlɛvəl. laɪk ðə, ðə lgbtqa*+ kəmˈjunɪti lɪvz ɪn ə wərld ðət heɪts ənd fɪrz ðɛm. ˌhaʊˈɛvər, ˌɪnˈstɛd əv ˈstraɪkɪŋ priˈɛmptɪvli laɪk, ðeɪ ʧuz nɑnˈvaɪələns ər ɑpt fər ənd prəˈtɛkʃən. ðə paʊər əv ˈfinɪks ər dɑrk ˈfinɪks minz ˈhævɪŋ ðə əˈbɪləˌti tɪ dɪˈfɛnd sɛlf əˈgɛnst ˈəðərz hu traɪ tɪ hɑrm ðɛm ˈsɪmpli fər ˈlidɪŋ ðɛr lɪvz. ðəs, ɛz tɪ ɔl ðoʊz hu ˈɛvər fɛlt ““othered,”*,” ðə lgbtqa*+ kəmˈjunɪti faɪndz ə ɪn ʤin greɪ.: ðə dɑrk ˈfinɪks ˈsɑgə: kriˈeɪʃən ˈvərsəz wi lɪv ɪn ə ˈpɛrəˌdaɪm. ðə fækt ɪz ˌɪndɪˈspjutəbəl. əbˈsɛʃən wɪθ laɪt ənd dɑrk ənd gʊd ənd ˈivəl ˈtreɪsɪz bæk tɪ ɑr bɪˈgɪnɪŋz ɪn ˌmɛsəpəˈteɪmiə. sɪns mɪˈdjivəl taɪmz, ðə ˈwɛstərn wərld ˌprɪˈdɑmənənˌtli dɛlt wɪθ θri riˈlɪʤənz: ˈʤudiˌɪzəm, ˌkrɪsʧiˈænɪti, ənd ˌɪsˈlɑm. ðiz θri riˈlɪʤənz meɪk əp wət ˈpipəl kɔl ðə riˈlɪʤənz. ˌhaʊˈɛvər, praɪər tɪ ðə juˈbɪkwɪti əv riˈlɪʤənz, wət wi naʊ kɔl ˈpeɪgən, ən ˈəmˌbrɛlə tərm fər riˈlɪʤənz, meɪnˈteɪnd ə ˈdɪfərənt pərˈspɛktɪv. ðə ənd ðə ˈroʊmənz əv ˈeɪnʧənt gris ənd roʊm, waɪl əˈwɛr əv ˈkɑnsɛpts əv gʊd ənd ˈivəl, wər nɑt ɛz priˈɑkjəˌpaɪd wɪθ ðə ˈbaɪnəˌri. ðə ˈeɪnʧənts ˈnɛvər kənˈsɪdərd ˈgɑdəsɪz laɪk ˈhɪroʊ, æˈθinə, ənd ˌæfrəˈdaɪti gʊd ər ˈivəl. ˈrəðər, ɪn ðɛr ˌænθrəpəˈmɔrfɪzəm əv ˈneɪʧər, ˈgɑdəsɪz (ənd gɑdz) rɪˈzɛmbəld ˈpipəl ɪn weɪz ðə gɑd dɪd nɑt. əˈməŋst ðə ˈlænˌskeɪps əv ˌmɔˈræləˌti, ˈeɪnʧənt ˈgɑdəsɪz ɪgˈzɪst bɪtˈwin ðə ˈkætəˌgɔriz əv gʊd ənd ˈivəl ˈeɪnʧənt ˈwɪmən lɛft ˈɔfərɪŋz fər ˈhɪrə fər prəˈtɛkʃən ənd strɛŋθ. ˈhɪrə kʊd dɪˈspleɪ ɪˈnɔrmɪs kəmˈpæʃən. ɔn ðə ˈəðər hænd, ˈhɪrə ˈɔlsoʊ dɪˈspleɪd ˈʤɛləsi, vengefulness*, ənd ˈæŋgər. ðə seɪm ˈwɪmən ʃi ˈoʊvərˌsɔ ðə prəˈtɛkʃən əv, ˈɔlsoʊ kənˈsɪdərd hər ækts əˈgɛnst zus ənd hɪz ˈmɛni ˌɛkstrəˈmɛrətəl ˈləvərz vɪnˈdɪktɪv ər, ˈivɪn, məˈlɪʃəs. ðə ˈeɪnʧənts sɔ ðə ˈgɑdəs ˌæfrəˈdaɪti ˈɛvəri bɪt ɛz θˌrizdɪˈmɛnʃənəl ɛz ˈhɪrə. ə mæn neɪmd ˌpɪgˈmeɪljən fɔlz ɪn ləv wɪθ ə ˈstæˌʧu hi kriˈeɪtɪd. ˌæfrəˈdaɪti teɪks ˈpɪti ɔn ɪm ənd ˈjuzɪz hər dɪˈvaɪn paʊərz tɪ meɪk ðə ˈstæˌʧu kəm əˈlaɪv, ðəs prəˈvaɪdɪŋ ˌpɪgˈmeɪljən ə laɪf wɪθ hɪz bɪˈləvəd. ɔlˈtərnətɪvli, ˌæfrəˈdaɪti ruˈtinli ɪnˈgeɪʤɪz ɪn roʊˈmænsɪz ˈaʊtˈsaɪd əv hər ˈmɛrɪʤ tɪ hephaestus*. ɑrz ɪz ˈpraɪˌmɛri ˈləvər, ˌhaʊˈɛvər, ˌæfrəˈdaɪti ˈɔlsoʊ lʊks ˈaʊtˈsaɪd hər riˈleɪʃənˌʃɪp wɪθ ɑrz. ˈsəbsəkwəntli, ʃi bɪˈgɪnz ə ˈroʊmæns wɪθ əˈdɑnəs hu ɑrz ˈleɪtər ˈmərdərz aʊt əv ˈʤɛləsi. laɪk ˈjumənz, ˌæfrəˈdaɪti həz ˈdɪfɪˌkəlti kənˈtroʊlɪŋ hər ˌɪmˈpəlsɪz ənd dɪˈzaɪərz. ðə dɑrk ˈfinɪks ɛz ə ˈmɑdərn ənd ˈvɛnʤfəl ˈeɪnʧənt ˈgɑdəs ɪn dɑrk ˈfinɪks saga,”*,” ʤin ɛz dɑrk ˈfinɪks həz ðə paʊər əv ə ˈgɑdəs. du tɪ noʊ ˈgɑdəsɪz ɪgˈzɪstɪŋ ɪn ðə rɪˈlɪʤəs ˈpɛrəˌdaɪm, ðə ˈoʊnli weɪ tɪ ɪgˈzæmɪn dɑrk ˌpɑpjəˈlɛrəti ənd roʊl ɛz ə ˈgɑdəs laɪz ɪn rɪˈtərnɪŋ tɪ ðə pæst ənd ðə ˈeɪnʧənt ˈgɑdəsɪz əv gris ənd roʊm. ˈgɑdəsɪz ˈhɪrə ənd ˌæfrəˈdaɪti ɪgˈzɪbətəd ə reɪnʤ əv ˈiˌmoʊʃənəl treɪts. ðeɪ ˈniðər ɪmˈbɑdid gʊd nɔr ˈivəl bət, ˈrəðər, ðeɪ ɪmˈbɑdid ðə ˈlænˌskeɪp bɪtˈwin gʊd ənd ˈivəl. dɑrk ˈfinɪks ˈɔlsoʊ ɪgˈzɪsts ɪn ðə əv gʊd ənd ˈivəl. meɪk noʊ mɪˈsteɪk, ɪkˈstrimz əv əˈwɛrnəs əv hər pərˈsoʊnə ˌæbsəˈlutli ˈbætəl ðə dɑrk ˈfinɪks ɛz ə pjʊr ˈkriʧər əv reɪʤ. ðə ˌɪmˈpɔrtənt dɪˈstɪŋkʃən ɪz ðə dɑrk ˈfinɪks wɑz fʊl əv reɪʤ, nɑt ˈivəl. ɪn səm ˈkeɪsɪz, reɪʤ ˈsəbsəkwəntli ˈfɑloʊz peɪn ɛz ðə ˌɪˈnɪʃəl ˈiˌmoʊʃən. ˈəndər ðə lɛnz juzd tɪ dɪˈskəs dɑrk ˈfinɪks hir, ʤin greɪ ˈraɪtfəli filz reɪʤ. ˌhaʊˈɛvər, ɪf wi pil bæk ə leɪər ər tu, wi kən ˈizəli dɪˈdus ʤin greɪ ənd dɑrk reɪʤ rɪˈzəltɪd frəm peɪn ˈfɑloʊd baɪ rɪˈzɛntmənt. ʤin ˈʧaɪlˌdhʊd ˈtrɔmə paʊərz əv təˈlɛpəθi ˈmænəˌfɛstəd wɪn frɛnd, ˈæni ˈrɪʧərdz, gɑt ˌæksəˈdɛnəli hɪt baɪ ə kɑr ʤɪst ˈaʊtˈsaɪd əv hoʊm ˈdʊrɪŋ ðɛr ˈʧaɪlˌdhʊd. ʤin kəˈnɛktɪd tɪ ˈæni soʊ ˈstrɔŋli, wɪn ˈæni daɪd ə pɑrt əv ʤin daɪd tu ˈlɪtərəli. ɛz ə rɪˈzəlt, ʤin ˈsəfərz ə feɪt ˌɪmˈpoʊzd ɔn hər baɪ ðə ˈpeɪtriˌɑrki fər ðə fərst taɪm. ɛz ə ʧaɪld, ʤin greɪ spɛnz jɪrz əv hər laɪf ɪn ə ˈmɛntəl ˌɪnstɪˈtuʃən ɛz ə rɪˈzəlt əv ðə ˈtrɔmə ʃi ɪkˈspɪriənst wɪn ˈæni daɪd. pərˈhæps noʊ wən hæd ɪl ˌɪnˈtɛnʧənz. stɪl, ðə fækt ˈnɛvər ˈʧeɪnʤɪz ðət ðə wərld kənˈsɪdərz ʤin ˈmɛnəli ənˈsteɪbəl. ðə wərld rɪˈwɔrdz ʤin greɪ fər hər ˌmɛtəˈfɔrɪkəl ˈɛmpəθi ənd hər tæˈbu dɪˈspleɪ əv ˈneɪkəd ˈiˌmoʊʃən baɪ ˈətərli ˌmɪsəndərˈstændɪŋ hər, hər, ənd fərˈɛvər kənˈdɛmɪŋ hər tɪ ə laɪf əv ostracization*. ʤin greɪ ˈɔrəʤɪnz: ˈplæntɪŋ ðə sidz əv peɪn ənd rɪˈzɛntmənt ˈpɛrənts ənd ˈsɪstər ˈɔlˌweɪz rɪˈmeɪnd səˈpɔrtɪv ənd ləvd ʤin θruaʊt hər ˈstrəgəlz. ˌhaʊˈɛvər, paʊərz ˈmænəˌfɛstəd ɪn hər juθ. ə ʧaɪld həz noʊ ˈrizənəbəl ˌɛkspɛkˈteɪʃən ðə wərld kənˈteɪnz ɛz məʧ ˈdeɪnʤər ənd ˌənprəˌdɪktəˈbɪlɪti ɛz ɪt dɪz. ʤin gru əp ɪn ə ˈmɪdəlˈklæs hoʊm ɪn ˈrɑklənd ˈkaʊnti, nu jɔrk. hər ˈtaɪni wərld kənˈsɪstɪd əv ˈoʊnli hər ˈləvɪŋ ˈpɛrənts ənd ˈoʊldər ˈsɪstər. fərst ˈkɑnˌtækt wɪθ ˌriˈæləˌti ɛndz wɪθ hər ˌɪnstɪˈtuʃənəˌlaɪzd fər ˈlɪvɪŋ hər laɪf ənd dɪˈspleɪɪŋ ˈɛmpəθi. wən kən ˌɪˈmæʤən ðə hərt ə jəŋ ʤin greɪ fɛlt. ðə wərld ˈsɛpərˌeɪtɪd hər frəm hər ˈpɛrənts ənd ˈsɪstər. ðeɪ ˈtritɪd hər fər ə ˈmɛntəl ˈɪlnəs, məʧ laɪk lgbtqa*+ ˈpipəl wər, ənd hər ˈseɪvjər, prəˈfɛsər ˈʧɑrəlz ˈzeɪvjər, wɑz əˈnəðər mæn, ɔlˈbiɪt ə kɪd wən. wɪn ʤin greɪ ˈfaɪnəli ʤɔɪnd ðə, ˈzeɪvjər ənd ˈsaɪˌklɔps ˈmɑrʤənəˌlaɪzd hər du tɪ hər ˈwikər paʊərz. fər ˈmɛni, ðə ˌkɑmbəˈneɪʃən əv ɔl ðɪs kʊd ˈizəli lɛd tɪ rɪˈzɛntmənt. ʤin greɪ ˈvərsəz dɑrk ˈfinɪks ənd mi ˈvərsəz mi ˈpipəl ˈɔfən ˈstrəgəl wɪθ əˈdɪkʃənz, ˌɪnˈtrusɪv θɔts, self-repression*, ɪkˈstərnəl əˈprɛʃən, ənd æŋˈzaɪəti. ən ˈɛstəˌmeɪtɪd 25 əv ðə ˌpɑpjəˈleɪʃən ˈsəfərz frəm æŋˈzaɪəti. ˈfərðərˌmɔr, ˈɪʃuz sərˈaʊndɪŋ ˈmɛntəl hɛlθ ər ˈɔfən ˈstɪgməˌtaɪzd, ˈivɪn ɪn ðə moʊst dɪˈvɛləpt ˈneɪʃənz wɛr ˈstədiz ər ˈizəli ækˈsɛsəbəl tɪ ðə ˈpəblɪk. ɪn maɪ ɪkˈspɪriəns, səm əv ðə moʊst prəˈgrɛsɪv ənd ˈlɪˌbərəl ˈpipəl mɛt skɔf æt ðə aɪˈdiə əv rɪˈsivɪŋ ˈtritmənt fər ˈmɛntəl hɛlθ ˈɪʃuz. ˈivɪn ðə wərdz health”*” kəˈnoʊt ˈsəmθɪŋ ˈʃeɪmfəl ɪn moʊst maɪndz. du tɪ ðə ˌɪnəˈbɪlɪti əv ˈvɛriəs ˈkəlʧərz tɪ trit ˈmɛntəl hɛlθ wɪθ ðə seɪm ˈsɪriəsnəs ənd ˈərʤənsi ɛz ˈfɪzɪkəl hɛlθ, ðoʊz hu ˈsəfər frəm ˌsaɪkəˈlɑʤɪkəl əˈflɪkʃənz meɪ fil ʃeɪm, ɪmˈbɛrəsmənt, kənfˈjuʒən, ər gɪlt. rɪˈʤɛkʃən əv ˈmɛntəl ˈwɛlnəs ˈkɔzɪz ˈdɪsənəns ɪn ðoʊz hu ɪnˈdʊr ɪts ˈpɪtˌfɔlz. moʊst ˈmɛntəl hɛlθ ˈɪʃuz goʊ ənˈdaɪægnoʊst ənd ənˈtritɪd. ˈpipəl ər lɛft tɪ fɛnd fər ðɛmˈsɛlvz. du tɪ fɔrst juz əv ðɛr oʊn ˈkoʊpɪŋ ˈmɛkəˌnɪzəmz, ʤin greɪ ˈstrəgəlɪŋ tɪ breɪk fri frəm hər dɑrk ˈfinɪks pərˈsoʊnə ˈmɪrərz peoples’*’ oʊn ˈbætəlz wɪθ ˈmɛntəl hɛlθ. səm ˈpipəl ˌɪˈnækjərətli ˈkætəgərˌaɪz ðoʊz ˈsəfərɪŋ frəm əˈdɪkʃən ɛz wik. ðeɪ bɪˈliv ðə əˈdɪktɪd ˌɪndəˈvɪʤəwəl nidz mɔr ˈwɪlˌpaʊər. ˈpipəl əˈflɪktɪd noʊ ˈoʊvərˌkəmɪŋ əˈdɪkʃən həz ˈlɪtəl tɪ du wɪθ ˈwɪlˌpaʊər. mɔˈroʊvər, ðeɪ ˌəndərˈstænd haʊ soʊˈsaɪɪti lʊks daʊn ɔn ðɛm fər ðɛr dɪˈziz. ʤin wɔr wɪθ hər ˈɪnər sɛlf ˈmɪrərz ɑr oʊn ɪn ˈfinɪks saga,”*,” ʤin ɪkˈsprɛsɪz hər ˈdɪfɪˌkəlti ˈlɪvɪŋ wɪθ ə ˈhəŋgər fər ʤɔɪ, ə ˈræpʧər bɪɔnd ɔl comprehension.”*.” ðiz maɪt nɑt bi ðə ɪgˈzækt seɪm wərdz ˈsəmˌwən ˈsəfərɪŋ frəm əˈdɪkʃən maɪt juz, ˌhaʊˈɛvər, ðə ˈmɛtəfɔr əˈplaɪz ˌnənðəˈlɛs. ˈɛniˌwən hu filz rageful*, ˈoʊvərli ˈæŋgri, ˈsəfərz frəm əˈdɪkʃən, ər dɪˈsɔrdər ˈizəli aɪˈdɛntəˌfaɪz wɪθ ʤin ˈbreɪkɪŋ θru hər dɑrk ˈfinɪks pərˈsoʊnə. waɪl ˈfilɪŋ kənˈsumd baɪ əˈflɪkʃən, ˈmoʊmənts əv ɔlˈtərnətɪv θɔts krip ˈɪntu ðə maɪnd. ɛz ˈsəmˌwən hu dilz wɪθ səm əv ðə seɪm ˈɪʃuz dɪˈskəsɪŋ, aɪ wɪʃ aɪ hæd mɔr ˈmoʊmənts wɛr maɪ ɛˈsɛnʃəl sɛlf broʊk θru ðə ˈmoʊmənts maɪ əˈdɪkʃənz kənˈsumd mi. ðoʊz ˌɑpərˈtunətiz əˈfɔrd ə wɪθ bɪˈheɪvjər. ˈsəmˌtaɪmz, wɪn ju kæʧ ˈjɔrsɛlf ˈæktɪŋ aʊt əv æŋˈzaɪəti, fɪr, ər ˈæŋgər, ju kən ˌɪntərˈəpt ðə ˈpætərn ənd kɑm ˈjɔrsɛlf. ʤin ˈɪnər wɔr wɪθ ðə dɑrk ˈfinɪks meɪks hər ðə ɔl əv ðɪs ˈoʊnli tru fər ðoʊz ˈsəfərɪŋ frəm ə ˈmɛntəl hɛlθ ˈprɑbləm. ˈɛniˌwən kən rɪˈleɪt tɪ nɑt ˈhævɪŋ ðə skɪlz tɪ stɑp ˈθɪŋkɪŋ ˈhɑrmfəl θɔts ər ˈfilɪŋ ˌnɛgəˈtɪvəti. dɑrk ˈfinɪks saga”*” sərvz ɛz ə ˈbikən tɪ ɔl ðoʊz hu rɪˈleɪt. ˈkɪti praɪd ɪz ˈɔfən kənˈsɪdərd ðə. ˌhaʊˈɛvər ɪn ˈfinɪks saga,”*,” ˈbætəl wɪθ hər ˈdɑrkər ˈɪnstɪŋkts tɛl ðə ˈstɔri əv ˈɔlˌmoʊst ˈɛvəri ˈpərsən əˈlaɪv ər dɛd. ɪt maɪt bi wən əv ðə ˈrizənz ðə: dɑrk ˈfinɪks ˈsɑgə treɪd wɪl fərˈɛvər rɪˈmeɪn ə ˈklæsɪk ɪn ðə seɪm weɪ ɛz məˈdiə ənd ə haʊs. ˈfinɪks saga”*” straɪks ə ˈpraɪməl kɔrd dip wɪˈθɪn ðə soʊlz əv ɪts ˈridərz. ðə wɔr weɪʤd ɪn ɑr maɪndz wɪl ˈnɛvər sis. ˈɔlˌweɪz lʊk tɪ ˈkɛrɪktərz ənd wərks əv ɑrt tɪ prəˈvaɪd ðə ˈsæŋkʧuˌɛri əv noʊɪŋ wi du nɑt stænd əˈloʊn ɪn ðə ˈbætəl əˈgɛnst ɑrˈsɛlvz. ʤin greɪ ˈoʊvərˌkəmɪŋ hər ˈdɑrknəs ənd ˈjuzɪŋ hər wɪl tɪ seɪv ðə ˈjunəˌvərs æt ðə kɔst əv hər oʊn laɪf sɛts ə ˈbjutəfəl ɪgˈzæmpəl fər ðə rɛst əv ˈjuˈɛs tɪ ˈfɑloʊ. naʊ, əp tɪ ˈjuˈɛs tɪ ˈfɑloʊ ɪt.
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buy photo photo of yonkers police badge and uniform hat at a police promotion ceremony at yonkers city hall, jan. 31, 2013. ( mark journal news ) (photo: mark journal photo
westchester prosecutors dismissed charges against another defendant monday in the wake of an investigation into an improper search that ended with the death of a suspected drug dealer.
felony drug charges against smith were dismissed in yonkers city court, although what role two yonkers officers who are under investigation played in smith's case has not been revealed.
"the are being very upstanding here," said hugh, smith's lawyer, following the dismissal. "it's obviously nothing they've done wrong. it's a couple of cops who decided they were above the law."
detective christian koch and officer neil vera were relieved of their shields and weapons last week and remain under investigation by the yonkers police internal affairs division and the westchester county district attorney's office.
the investigation began more than four months ago, after the march 21 death of dario tena. tena, suspected of dealing drugs, fell to his death out a window at 141 school st. after police arrived to execute a search warrant.
koch had submitted a sworn affidavit for the search warrant, and included information he got from vera. authorities soon determined that the affidavit contained "material false statements," and cases koch and vera have been involved in have come under close scrutiny.
smith became the seventh defendant unrelated to the tena case to have his drug charges dismissed. three of those defendants were arrested in the same case and had faced mandatory state prison time on a class a felony before their charges were dropped.
one of those defendants, joseph yearwood, sued the department and officer alex della donna in federal court last year, alleging that the officer took $5,100 from him while fabricating claims that yearwood possessed cocaine. lawsuit was dismissed this year after he did not respond to several requests from the court.
yearwood claimed that police went to get a search warrant only after entering his apartment illegally. neither koch nor vera were named in the lawsuit and it was unclear what role they played that led to the charges being dismissed.
last month, the lawyer for wilfredo ruiz and elizabeth white reached a $20,000 settlement agreement with city lawyers in a federal lawsuit that named della donna, koch, a sergeant and two other officers. they claimed that they were falsely arrested in september 2011 after police illegally searched apartment and white's car. the charges were dropped a week later. the lawsuit does not spell out role and the lawyer could not be reached for comment.
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jasne, smith's lawyer, said dismissing the charges was the right thing to do from a credibility standpoint.
"the bottom line is, nobody is going to believe anything these guys say," said.
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baɪ ˈfoʊˌtoʊ ˈfoʊˌtoʊ əv ˈjɑŋkərz pəˈlis bæʤ ənd ˈjunəˌfɔrm hæt æt ə pəˈlis pərˈmoʊʃən ˈsɛrəˌmoʊni æt ˈjɑŋkərz ˈsɪti hɔl, ʤæn. 31 2013 mɑrk ˈʤərnəl nuz (ˈfoʊˌtoʊ: mɑrk ˈʤərnəl ˈfoʊˌtoʊ ˈwɛˌstʧɛstər ˈprɑsɪˌkjutərz dɪsˈmɪst ˈʧɑrʤɪz əˈgɛnst əˈnəðər dɪˈfɛndənt ˈmənˌdeɪ ɪn ðə weɪk əv ən ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ən ˌɪmˈprɑpər sərʧ ðət ˈɛndɪd wɪθ ðə dɛθ əv ə səˈspɛktɪd drəg ˈdilər. ˈfɛləni drəg ˈʧɑrʤɪz əˈgɛnst smɪθ wər dɪsˈmɪst ɪn ˈjɑŋkərz ˈsɪti kɔrt, ˌɔlˈðoʊ wət roʊl tu ˈjɑŋkərz ˈɔfɪsərz hu ər ˈəndər ˌɪnˌvɛstəˈgeɪʃən pleɪd ɪn smɪθs keɪs həz nɑt bɪn rɪˈvild. "ðə ər biɪŋ ˈvɛri ˈəpˌstændɪŋ hir," sɛd ju, smɪθs ˈlɔjər, ˈfɑloʊɪŋ ðə dɪsˈmɪsəl. "ɪts ˈɑbviəsli ˈnəθɪŋ ðeɪv dən rɔŋ. ɪts ə ˈkəpəl əv kɑps hu ˌdɪˈsaɪdɪd ðeɪ wər əˈbəv ðə lɔ." dɪˈtɛktɪv ˈkrɪsʧɪn kɔʧ ənd ˈɔfɪsər nil ˈvɛrə wər rɪˈlivd əv ðɛr ʃildz ənd ˈwɛpənz læst wik ənd rɪˈmeɪn ˈəndər ˌɪnˌvɛstəˈgeɪʃən baɪ ðə ˈjɑŋkərz pəˈlis ˌɪnˈtərnəl əˈfɛrz dɪˈvɪʒən ənd ðə ˈwɛˌstʧɛstər ˈkaʊnti ˈdɪstrɪkt əˈtərniz ˈɔfəs. ðə ˌɪnˌvɛstəˈgeɪʃən bɪˈgæn mɔr ðən fɔr mənθs əˈgoʊ, ˈæftər ðə mɑrʧ 21 dɛθ əv ˈdɛriˌoʊ ˈtɛnə. ˈtɛnə, səˈspɛktɪd əv ˈdilɪŋ drəgz, fɛl tɪ hɪz dɛθ aʊt ə ˈwɪndoʊ æt 141 skul st*. ˈæftər pəˈlis əraɪvd tɪ ˈɛksəˌkjut ə sərʧ ˈwɔrənt. kɔʧ hæd səbˈmɪtəd ə swɔrn ˌæfəˈdeɪvət fər ðə sərʧ ˈwɔrənt, ənd ˌɪnˈkludɪd ˌɪnˌfɔrˈmeɪʃən hi gɑt frəm ˈvɛrə. əˈθɔrətiz sun dɪˈtərmənd ðət ðə ˌæfəˈdeɪvət kənˈteɪnd "məˈtɪriəl fɔls ˈsteɪtmənts," ənd ˈkeɪsɪz kɔʧ ənd ˈvɛrə hæv bɪn ˌɪnˈvɑlvd ɪn hæv kəm ˈəndər kloʊz ˈskrutəni. smɪθ bɪˈkeɪm ðə ˈsɛvənθ dɪˈfɛndənt ˌənrɪˈleɪtɪd tɪ ðə ˈtɛnə keɪs tɪ hæv hɪz drəg ˈʧɑrʤɪz dɪsˈmɪst. θri əv ðoʊz dɪˈfɛndənts wər ərˈɛstɪd ɪn ðə seɪm keɪs ənd hæd feɪst ˈmændəˌtɔri steɪt ˈprɪzən taɪm ɔn ə klæs ə ˈfɛləni ˌbiˈfɔr ðɛr ˈʧɑrʤɪz wər drɑpt. wən əv ðoʊz dɪˈfɛndənts, ˈʤoʊzəf ˈjɪrwʊd, sud ðə dɪˈpɑrtmənt ənd ˈɔfɪsər ˈæləks ˈdɛlə ˈdɑnə ɪn ˈfɛdərəl kɔrt læst jɪr, əˈlɛʤɪŋ ðət ðə ˈɔfɪsər tʊk frəm ɪm waɪl ˈfæbrɪˌkeɪtɪŋ kleɪmz ðət ˈjɪrwʊd pəˈzɛst koʊˈkeɪn. ˈlɔˌsut wɑz dɪsˈmɪst ðɪs jɪr ˈæftər hi dɪd nɑt rɪˈspɑnd tɪ ˈsɛvərəl rɪkˈwɛsts frəm ðə kɔrt. ˈjɪrwʊd kleɪmd ðət pəˈlis wɛnt tɪ gɪt ə sərʧ ˈwɔrənt ˈoʊnli ˈæftər ˈɛnərɪŋ hɪz əˈpɑrtmənt ˌɪˈligəli. ˈniðər kɔʧ nɔr ˈvɛrə wər neɪmd ɪn ðə ˈlɔˌsut ənd ɪt wɑz ənˈklɪr wət roʊl ðeɪ pleɪd ðət lɛd tɪ ðə ˈʧɑrʤɪz biɪŋ dɪsˈmɪst. læst mənθ, ðə ˈlɔjər fər ˌwɪlˈfeɪˌdoʊ ruiz ənd ɪˈlɪzəbɪθ waɪt riʧt ə ˈsɛtəlmənt əˈgrimənt wɪθ ˈsɪti ˈlɔjərz ɪn ə ˈfɛdərəl ˈlɔˌsut ðət neɪmd ˈdɛlə ˈdɑnə, kɔʧ, ə ˈsɑrʤənt ənd tu ˈəðər ˈɔfɪsərz. ðeɪ kleɪmd ðət ðeɪ wər ˈfɔlsli ərˈɛstɪd ɪn sɛpˈtɛmbər 2011 ˈæftər pəˈlis ˌɪˈligəli sərʧt əˈpɑrtmənt ənd waɪts kɑr. ðə ˈʧɑrʤɪz wər drɑpt ə wik ˈleɪtər. ðə ˈlɔˌsut dɪz nɑt spɛl aʊt roʊl ənd ðə ˈlɔjər kʊd nɑt bi riʧt fər ˈkɑmɛnt. ˈnuzˌlɛtərz gɪt ðə ˈbreɪkɪŋ nuz ˈnuzˌlɛtər dɪˈlɪvərd tɪ jʊr wɪr ˈsɑri, bət ˈsəmθɪŋ wɛnt rɔŋ pliz traɪ əˈgɛn sun, ər ˈkɑnˌtækt ˈkəstəmər ˈsərvɪs æt dɪˈlɪvəri: ˈvɛriz ˌɪnˈvæləd iˈmeɪl ˈæˌdrɛs θæŋk ju! jʊr ˈɔlˌmoʊst saɪnd əp fər ˈbreɪkɪŋ nuz kip ən aɪ aʊt fər ən iˈmeɪl tɪ kənˈfərm jʊr ˈnuzˌlɛtər ˌrɛʤɪˈstreɪʃən. mɔr ˈnuzˌlɛtərz, smɪθs ˈlɔjər, sɛd dɪsˈmɪsɪŋ ðə ˈʧɑrʤɪz wɑz ðə raɪt θɪŋ tɪ du frəm ə ˌkrɛdəˈbɪlɪti ˈstændˌpɔɪnt. "ðə ˈbɑtəm laɪn ɪz, ˈnoʊˌbɑˌdi ɪz goʊɪŋ tɪ bɪˈliv ˈɛniˌθɪŋ ðiz gaɪz seɪ," sɛd. tˈwɪtər: rɛd ər ʃɛr ðɪs ˈstɔri:
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doctor who “the eaters of light” preview
are you ready for a bit of roman revisionism, as doctor who offers its own explanation for a real-life historical mystery? “the eaters of light” is a bit special, as the first story of the new series written by somebody who wrote for the classic series; rona munro scripted the last ever classic who story “survival” and tonally, there are certain similarities (though no really rubbish motorbike crash, thank god). so what can we tease you about it, in sometimes cryptic fashion?
spoiler warning: this preview assumes seen trailers for this episode.
we’d give this one we reckon this could be a episode we actually really liked it, but one bit of fairy tale silliness that may be a little too much for some fans to handle. very atmospheric, with a suitably mythical feel. a little talky in places but some great for the doctor, bill and nardole, plus some moody visuals keep it moving. a uniformly young guest cast for a specific reason. bill gives a very pragmatic and effective, and short motivational speech. the doctor is full of creative insults rarely has been his close to a version of malcolm tucker. a lollipop and a tv aerial. possibly. the monsters are great, though like to have learnt a little more about their mo. the teaser is very similar teaser to last. bill does something early in the episode that she also did early in last episode. the doctor want to take sides, like last episode. a lot of wandering around caves… like last episode (maybe these two should have been shown further apart in the season?). the only second class at something. the destination is choice. “women in hats” bill learns about and, of course, takes the mick out of yet another of the longstanding gimmicks. that same gimmick then becomes the catalyst for a rather poignant moment. “oh my god, it even does lip-synch”. the roman soldiers are more modern than bill in one surprisingly aspect. yep, the series’ arc plot kicks into gear in the last few minutes, with a rather moving moment… but the doctor still has his suspicions.
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ˈdɔktər hu ˈitərz əv light”*” ˈprivˌju ər ju ˈrɛdi fər ə bɪt əv ˈroʊmən riˈvɪʒəˌnɪzəm, ɛz ˈdɔktər hu ˈɔfərz ɪts oʊn ˌɛkspləˈneɪʃən fər ə ˈriˌllaɪf hɪˈstɔrɪkəl ˈmɪstəri? ˈitərz əv light”*” ɪz ə bɪt ˈspɛʃəl, ɛz ðə fərst ˈstɔri əv ðə nu ˈsɪriz ˈrɪtən baɪ ˈsəmˌbɑdi hu roʊt fər ðə ˈklæsɪk ˈsɪriz; ˈroʊnə mənˈroʊ ˈskrɪptɪd ðə læst ˈɛvər ˈklæsɪk hu ˈstɔri ““survival”*” ənd tonally*, ðɛr ər ˈsərtən ˌsɪməˈlɛrətiz (ðoʊ noʊ ˈrɪli ˈrəbɪʃ ˈmoʊtərˌbaɪk kræʃ, θæŋk gɑd). soʊ wət kən wi tiz ju əˈbaʊt ɪt, ɪn ˈsəmˌtaɪmz ˈkrɪptɪk ˈfæʃən? ˈspɔɪlər ˈwɔrnɪŋ: ðɪs ˈprivˌju əˈsumz sin ˈtreɪlərz fər ðɪs ˈɛpɪˌsoʊd. gɪv ðɪs wən wi ˈrɛkən ðɪs kʊd bi ə ˈɛpɪˌsoʊd wi ˈæˌkʧuəli ˈrɪli laɪkt ɪt, bət wən bɪt əv ˈfɛri teɪl ˈsɪlinəs ðət meɪ bi ə ˈlɪtəl tu məʧ fər səm fænz tɪ ˈhændəl. ˈvɛri ˌætməsˈfɛrɪk, wɪθ ə ˈsutəbli ˈmɪθɪkəl fil. ə ˈlɪtəl ˈtɔki ɪn ˈpleɪsɪz bət səm greɪt fər ðə ˈdɔktər, bɪl ənd nardole*, pləs səm ˈmudi ˈvɪʒwəlz kip ɪt ˈmuvɪŋ. ə ˈjunəˌfɔrmli jəŋ gɛst kæst fər ə spɪˈsɪfɪk ˈrizən. bɪl gɪvz ə ˈvɛri prægˈmætɪk ənd ˈifɛktɪv, ənd ʃɔrt ˌmoʊtəˈveɪʃənəl spiʧ. ðə ˈdɔktər ɪz fʊl əv kriˈeɪtɪv ˌɪnˈsəlts ˈrɛrli həz bɪn hɪz kloʊz tɪ ə ˈvərʒən əv ˈmælkəm ˈtəkər. ə ˈlɑliˌpɑp ənd ə ˌtɛləˈvɪʒən ˈɛriəl. ˈpɑsəbli. ðə ˈmɑnstərz ər greɪt, ðoʊ laɪk tɪ hæv lərnt ə ˈlɪtəl mɔr əˈbaʊt ðɛr moʊ. ðə ˈtizər ɪz ˈvɛri ˈsɪmələr ˈtizər tɪ læst. bɪl dɪz ˈsəmθɪŋ ˈərli ɪn ðə ˈɛpɪˌsoʊd ðət ʃi ˈɔlsoʊ dɪd ˈərli ɪn læst ˈɛpɪˌsoʊd. ðə ˈdɔktər wɔnt tɪ teɪk saɪdz, laɪk læst ˈɛpɪˌsoʊd. ə lɔt əv ˈwɑndərɪŋ əraʊnd caves…*… laɪk læst ˈɛpɪˌsoʊd (ˈmeɪbi ðiz tu ʃʊd hæv bɪn ʃoʊn ˈfərðər əˈpɑrt ɪn ðə ˈsizən?). ðə ˈoʊnli ˈsɛkənd klæs æt ˈsəmθɪŋ. ðə ˌdɛstɪˈneɪʃən ɪz ʧɔɪs. ɪn hats”*” bɪl lərnz əˈbaʊt ənd, əv kɔrs, teɪks ðə mɪk aʊt əv jɛt əˈnəðər əv ðə ˈlɔŋˌstændɪŋ ˈgɪmɪks. ðət seɪm ˈgɪmɪk ðɛn bɪˈkəmz ðə ˈkætəˌlɪst fər ə ˈrəðər ˈpɔɪnjənt ˈmoʊmənt. maɪ gɑd, ɪt ˈivɪn dɪz lip-synch”*”. ðə ˈroʊmən ˈsoʊlʤərz ər mɔr ˈmɑdərn ðən bɪl ɪn wən səˈpraɪzɪŋli ˈæˌspɛkt. jɛp, ðə series’*’ ɑrk plɑt kɪks ˈɪntu gɪr ɪn ðə læst fju ˈmɪnəts, wɪθ ə ˈrəðər ˈmuvɪŋ moment…*… bət ðə ˈdɔktər stɪl həz hɪz səˈspɪʃənz.
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from the beginning of his comic book career in "amazing fantasy" #15, peter "spider-man" parker's aunt may has played a huge role in his life. when her husband (his uncle) ben died, peter had to step up to take care of the woman who had raised him ever since his parents had died. for years, "amazing spider-man" had stories where peter had to raise money to help keep aunt may from being evicted or pay for aunt may's medicine. may's frailty was a key plot point in many issues.
related: 15 most wtf? moments
due to that closeness, peter and may could not help but get caught up in the occasional awkward moment together, especially considering the difficulties of hiding a secret identity from someone you spend that much time with! here, then, are the 15 most awkward moments between spider-man and his aunt may.
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15 may finds peter's costume
pretty much any teenage boy would tell you that they would not be thrilled with the idea of their mother or legal guardian looking through their room, especially in hiding places like behind bookshelves. heck, we imagine that most mothers legal guardians probably wouldn't like to find what they sometimes find when they do those types of searches. however, when you're hiding a secret identity as a superhero, you probably should have a better hiding spot for your costume!
in "amazing spider-man" #25, though, that's just what happened to peter as he came home to find that aunt may had found his spare spider-man costume. since he had just abandoned his main costume in a fight earlier in the issue, peter was now without a costume entirely! he ended up having to buy a costume the next issue! early steve lee issues really worked the whole "real life" superhero problems well.
14 "peter" chastises may
in a storyline that ended in "amazing spider-man" #700, otto octavius, the longtime spider-man foe better known as doctor octopus, switched bodies with peter parker and peter seemingly died while in otto's body. however, otto still had peter's memories, so he was compelled to become a hero; only he decided he was going to be a superior spider-man to peter.
otto also decided to improve peter parker's lot, getting him the scientific acclaim that peter never got in his real life. along the way, he began dating a fellow scientist, marconi, who was a little person. when he had aunt may and her husband, j. jonah jameson sr. over for dinner, may made an oddly rude remark where she questioned the future of "peter" and's relationship due to's height. "peter" then berated aunt may in "superior spider-man" #24 (by dan slott, gage, humberto ramos and victor olazaba) over her comments, and then freaked out further when she forbade him from working with spider-man anymore (peter had come up with the excuse that he was working for spider-man, supplying his technology for him). it was quite an awkward little scene.
13 may discovers peter is spider-man
j. michael first storyline as the regular writer on "amazing spider-man" opened with a bombshell revelation that peter parker might not have gotten his powers from a spider that was irradiated, but rather that he got his powers from a magical spider that transferred its power before it died from the radiation. this was seemingly borne out when a villain named showed up -- a villain who feasted on so-called "spider totems" like peter.
in the end, though, peter realized that whether it was the cause of his power or not, the spider was irradiated, so spider-man had some radioactive aspects to his power and recoiled from that aspect of spider-man. for their final battle in "amazing spider-man") #35 (by j. michael straczynski, john jr. and scott hanna), spider-man pumped himself up with more radiation and in the end, he defeated, but was also badly injured himself. he went home in his tattered costume and just passed out. the problem was that he was still passed out when aunt may walked in and discovered him in his costume, learning that peter was spider-man!
12 peter is too late... again
in chip and joe quinones' brilliant (if short-lived) series, "howard the duck," aunt may became a supporting character, helping howard out at his detective agency. she first met howard in "howard the duck" #3, where she assaulted howard while under the hypnotic commands of the evil ringmaster. three days later, howard ran into her while she was coming home from the grocery store and he accosted her, causing her to drop her packages and her phone (she was on the phone with peter, asking if he was in a "fight club" because of all the bruises he was always getting). she agreed to help him track down the guy who did this, and they headed off, but they forgot her phone and her groceries.
peter raced to the park as spider-man, only to find her gone and her phone and packages on the ground. he then hilariously began to blame himself for her seeming abduction, noting to himself that he's so bad at this (since he still blames himself for the death of his uncle ben).
11 may's gynecological aids
after discovering peter's secret identity, may decided that she was going to do her best to help her nephew in his life as spider-man (in a hilarious sequence in "amazing spider-man") #37, she right away cancels her subscription to the daily bugle for all the mean things they've said about spider-man over the years). in "amazing spider-man") #43 (by j. michael straczynski, john jr. and scott hanna), that assistance came in a very awkward fashion.
may and peter were traveling to los angeles to visit peter's estranged wife, mary jane. however, this being right after, it was particularly difficult for peter to get his through security. aunt may then stepped in to explain to the security agents that they were special geriatric gynecological aids and the embarrassed agents quickly let them through, although not before they chastised peter for trying to bring a small nail clipper through security.
10 may returns
aunt may seemingly died in "amazing spider-man" #400, so peter and mary jane went on with their lives, which included mary jane getting pregnant with their first child. however, the baby girl, who they planned on naming may in honor of aunt may, was stillborn. right after the baby's tragic delivery, it seemed as though perhaps an agent of norman osborn had actually kidnapped the baby.
after some time had passed and he had received some hints that perhaps his baby had not died after all, peter discovered that osborn did have "may" in his custody, so peter quickly rushed to go save his baby. he fought through a series of obstacles before finally getting to the room where "may" was being held in "peter parker: spider-man" #97 (by howard mackie, john jr. and scott hanna) and discovered that the may being held was not his daughter (who actually was stillborn) but aunt may! she added injury to insult by then hitting spider-man over the head with a vase!
9 may blames rap music
after recovering from the vase to the head, peter then learned that not only was aunt may alive, but that she was now about to die from a capsule in her brain that, if removed, would detonate a genetic bomb that would reduce everyone to their basic genes. this was all part of an elaborate (and ludicrous) plan of norman osborn, wherein he decided to torment peter by making him think that his aunt died by hiring an actress, genetically modifying her to look like may, kidnapping may and replacing her with the actress, having the actress tell peter that she knew that he was spider-man all along, killing the actress, having peter discover may was really alive but then the whole bomb thing would happen. that's one crazy, crazy plan.
how, then, though, would aunt may respond to this? why would green goblin do all of this? well, in "amazing spider-man") #1 (by howard mackie, john byrne and scott hanna), she came up with her most reasonable guess... it was because of rap music.
8 may almost marries doctor octopus
in "amazing spider-man" #131 (by gerry conway, ross andru, frank and dave hunt), aunt may almost had to introduce peter to his new uncle... otto! yes, may nearly married otto octavius, who she had taken in as a boarder years earlier and who had employed her as a maid more recently. octavius would challenge norman previous plan (with faking may's death) in terms of ridiculousness, as he had discovered that may had inherited an abandoned nuclear plant on an island in canada and really wanted to use that plant. ergo, he decided to marry her so that he would get in on that sweet inheritance.
dr. octopus, though, was in the middle of a gang war with at the time, so's agents interrupted the wedding and, after the battle, moved to the island when otto escaped there (with may in tow). the whole island was obliterated in a nuclear blast, with spider-man (who hitched a ride with's goons) and aunt may only barely escaping on a stolen plane.
7 may knocks peter out
spider-man's is one of the more confusing powers out there, as it doesn't always seem to work the way that you would expect. gerry conway, for instance, suggested during his run on "amazing spider-man" that does not go off if the person threatening peter is someone that he normally would not think is a threat. so, in other words, the danger warning of the only kicks in if the danger comes from someone unknown to spidey.
that was revealed very dramatically in "amazing spider-man" #114 (by conway and), when spider-man went to go find the seemingly kidnapped aunt may at doctor octopus' home and found himself knocked out by aunt may via a vase (the bit from "peter parker: spider-man" #97 was an homage to this scene). by the rule of property of equality, this means that aunt may can beat up firelord.
6 may shoots peter
in the issue following the vase attack, peter realized that may was not kidnapped by doctor octopus, but rather was working for him as a maid. she had gone off to get a job of her own after gwen stacy verbally her for being too involved in peter's life. therefore, instead of spider-man being there to rescue her, may saw this as an attacking spider-man, trying to pick on her poor, misunderstood employer, who, as it turned out, really had taken her in out of the goodness of his heart due to his fond memories of when she took him in as a boarder. it wasn't until she was already working for him that octavius discovered that may had inherited the aforementioned nuclear facility.
therefore, after a big fight between peter and doc ock, may pulled out a gun on spider-man and she totally pulled the trigger on him!! luckily, police and firemen arrived at the house at just that right moment and the sirens distracted her and threw her aim off or else may would have murdered her own beloved nephew!
5 may tells peter off
following the events of "brand new day," where peter had now never been married to mary jane and was now back to living with aunt may (who did not know his secret identity anymore), aunt may volunteered for a charity called f.e.a.s.t. (food, emergency aid, shelter and training). what may did not know was that her boss, martin li, was also secretly the known as mister negative.
one of powers was, when he touched people, he could turn them "negative," in that he could make good people bad, etc. when may accidentally walked in on mister negative killing a guy in li's office in "amazing spider-man" #618 (by san slott and marcos martin), negative turned his power on may. so, when she returned home with peter and her new husband, jay, she unleashed all the hidden things that she thought about peter but would never say because she was too nice -- mostly this entailed peter kept screwing his life up and that he was a major disappointment to her. she was too nice of a person to stay negative, however, and she broke free from his influence eventually, begging forgiveness. but the words hurt the most because peter knew that they were pretty much true.
4 may walks in on peter in bed
after peter and mary jane got married, the writers of the various "spider-man" titles often put the through the wringer. they dealt with stalkers and bad economic problems that eventually led to peter and mary jane temporarily living with aunt may at her home in queens. at the same time, mary jane's young cousin, kristy, was also staying with them.
aunt may was not exactly used to having a young married couple living with her in her home, so she did not think about how she might want to knock before entering their bedroom; so, when she walked in on peter and mary jane in "web of spider-man" #50 (by gerry conway, alex and keith williams) to give them some hot cocoa to warm their bodies, peter explained to her that they were already warming their bodies. mary jane added that, yeah, she might want to knock in the future.
3 what's this sticky stuff?
in "amazing spider-man" #108, the tail end of stan lee and john's run on the title, there was a plot line with aunt may being overly meddlesome that led to the aforementioned gwen stacy freakout. before we got to that point, however, may first barged into peter's apartment that he shared with harry to look for peter. what peter didn't realize, while he was gone, was that some of his web fluid had fallen out and was oozing out of his doorway.
now, obviously, lee and were not intending the scene to look like it does to modern readers, but intentional or not, it's still pretty darn hilarious. peter luckily showed up just as may and harry were about to go into his room to see what spilled (harry nicely explained that it was probably some experiment that peter was working on in school). looking behind bookcases, scooping up sticky stuff outside of his bedroom, aunt may doesn't seem like someone who raised a teenage boy for years!
2 peter walks in on may in bed
as mentioned before, may j. jonah jameson sr., the father to daily bugle head j. jonah jameson. they got married in "amazing spider-man" #600, but began dating earlier. this was revealed to peter in explicit detail in "amazing spider-man" #592 (by mark waid, mike mckone and andy lanning), when peter headed to aunt may's house to change his costume after being stuck in it for days. after taking his costume off and preparing to launder it, he heard rumblings in may's bedroom. he opened the door (not learning the lesson he himself had taught aunt may about always knocking) and saw may and jay jameson having sex.
he quickly ran to the bathroom and tried to wash the view out of his eyes (while bemoaning that he didn't even get a chance to clean his costume); but in the end, peter was mature enough to give may his blessing with her new relationship.
1 peter remembers having sex with may
as noted before, in the storyline ending with "amazing spider-man" #700, peter parker and otto octavius switched bodies. however, their old memories remained in their bodies, so the brain that was now in the new body had access to the memories of its former owner. that's how, in "amazing spider-man" #700, peter was able to at least force otto to experience all of peter's memories. upon doing so, otto couldn't help but want to be an actual hero, because peter's sense of responsibility from his memories was just that strong.
however, before otto's body died, peter also managed to experience otto's memories in "amazing spider-man" #699 (by dan slott, humberto ramos and victor olazaba), and he got to better understand his old foe, seeing his childhood as an abused kid. he even got to see how otto saw spider-man himself (as a bully, of course). however, he finally got to experience a memory he wished he rather had not experienced: the time that octavius had had sex with aunt may! after that, peter likely welcomed getting brain-wiped!
what's your favorite aunt moment? let us know in the comments!
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frəm ðə bɪˈgɪnɪŋ əv hɪz ˈkɑmɪk bʊk kərɪr ɪn "əˈmeɪzɪŋ ˈfænəsi" 15 ˈpitər "ˈspaɪdərmæn" ˈpɑrkərz ɔnt meɪ həz pleɪd ə juʤ roʊl ɪn hɪz laɪf. wɪn hər ˈhəzbənd (hɪz ˈəŋkəl) bɛn daɪd, ˈpitər hæd tɪ stɛp əp tɪ teɪk kɛr əv ðə ˈwʊmən hu hæd reɪzd ɪm ˈɛvər sɪns hɪz ˈpɛrənts hæd daɪd. fər jɪrz, "əˈmeɪzɪŋ ˈspaɪdərmæn" hæd ˈstɔriz wɛr ˈpitər hæd tɪ reɪz ˈməni tɪ hɛlp kip ɔnt meɪ frəm biɪŋ ɪˈvɪktɪd ər peɪ fər ɔnt meɪz ˈmɛdəsən. meɪz ˈfreɪlti wɑz ə ki plɑt pɔɪnt ɪn ˈmɛni ˈɪʃuz. rɪˈleɪtɪd: 15 moʊst wtf*? ˈmoʊmənts du tɪ ðət ˈkloʊsnɪs, ˈpitər ənd meɪ kʊd nɑt hɛlp bət gɪt kɔt əp ɪn ðə ɔˈkeɪʒənəl ˈɔkwərd ˈmoʊmənt təˈgɛðər, əˈspɛʃəli kənˈsɪdərɪŋ ðə ˈdɪfɪˌkəltiz əv ˈhaɪdɪŋ ə ˈsikrɪt aɪˈdɛntəˌti frəm ˈsəmˌwən ju spɛnd ðət məʧ taɪm wɪθ! hir, ðɛn, ər ðə 15 moʊst ˈɔkwərd ˈmoʊmənts bɪtˈwin ˈspaɪdərmæn ənd hɪz ɔnt meɪ. kənˈtɪnju tɪ kip ˈrɛdɪŋ klɪk ðə ˈbətən bɪˈloʊ tɪ stɑrt ðɪs ˈɑrtɪkəl ɪn kwɪk vju ʃɛr twit iˈmeɪl ˈkɑpi lɪŋk ˈkɑpid 15 meɪ faɪndz ˈpitərz ˈkɑstum ˈprɪti məʧ ˈɛni ˈtiˌneɪʤ bɔɪ wʊd tɛl ju ðət ðeɪ wʊd nɑt bi θrɪld wɪθ ðə aɪˈdiə əv ðɛr ˈməðər ər ˈligəl ˈgɑrdiən ˈlʊkɪŋ θru ðɛr rum, əˈspɛʃəli ɪn ˈhaɪdɪŋ ˈpleɪsɪz laɪk bɪˈhaɪnd ˈbʊkˌʃɛlvz. hɛk, wi ˌɪˈmæʤən ðət moʊst ˈməðərz ˈligəl ˈgɑrdiənz ˈprɑbəˌbli ˈwʊdənt laɪk tɪ faɪnd wət ðeɪ ˈsəmˌtaɪmz faɪnd wɪn ðeɪ du ðoʊz taɪps əv ˈsərʧɪz. ˌhaʊˈɛvər, wɪn jʊr ˈhaɪdɪŋ ə ˈsikrɪt aɪˈdɛntəˌti ɛz ə ˌsupərˈhiroʊ, ju ˈprɑbəˌbli ʃʊd hæv ə ˈbɛtər ˈhaɪdɪŋ spɑt fər jʊr ˈkɑstum! ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 25 ðoʊ, ðæts ʤɪst wət ˈhæpənd tɪ ˈpitər ɛz hi keɪm hoʊm tɪ faɪnd ðət ɔnt meɪ hæd faʊnd hɪz spɛr ˈspaɪdərmæn ˈkɑstum. sɪns hi hæd ʤɪst əˈbændənd hɪz meɪn ˈkɑstum ɪn ə faɪt ˈərliər ɪn ðə ˈɪʃu, ˈpitər wɑz naʊ wɪˈθaʊt ə ˈkɑstum ɪnˈtaɪərli! hi ˈɛndɪd əp ˈhævɪŋ tɪ baɪ ə ˈkɑstum ðə nɛkst ˈɪʃu! ˈərli stiv li ˈɪʃuz ˈrɪli wərkt ðə hoʊl "ril laɪf" ˌsupərˈhiroʊ ˈprɑbləmz wɛl. 14 "ˈpitər" ʧæˈstaɪzɪz meɪ ɪn ə ˈstɔriˌlaɪn ðət ˈɛndɪd ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 700 ˈɑˌtoʊ ɑkˈteɪviəs, ðə ˈlɔŋˌtaɪm ˈspaɪdərmæn foʊ ˈbɛtər noʊn ɛz ˈdɔktər ˈɑktəˌpʊs, swɪʧt ˈbɑdiz wɪθ ˈpitər ˈpɑrkər ənd ˈpitər ˈsimɪŋli daɪd waɪl ɪn ˈɑˌtoʊz ˈbɑdi. ˌhaʊˈɛvər, ˈɑˌtoʊ stɪl hæd ˈpitərz ˈmɛməriz, soʊ hi wɑz kəmˈpɛld tɪ bɪˈkəm ə ˈhɪroʊ; ˈoʊnli hi ˌdɪˈsaɪdɪd hi wɑz goʊɪŋ tɪ bi ə suˈpɪriər ˈspaɪdərmæn tɪ ˈpitər. ˈɑˌtoʊ ˈɔlsoʊ ˌdɪˈsaɪdɪd tɪ ˌɪmˈpruv ˈpitər ˈpɑrkərz lɔt, ˈgɪtɪŋ ɪm ðə ˌsaɪənˈtɪfɪk əˈkleɪm ðət ˈpitər ˈnɛvər gɑt ɪn hɪz ril laɪf. əˈlɔŋ ðə weɪ, hi bɪˈgæn ˈdeɪtɪŋ ə ˈfɛloʊ ˈsaɪəntɪst, mɑrˈkoʊni, hu wɑz ə ˈlɪtəl ˈpərsən. wɪn hi hæd ɔnt meɪ ənd hər ˈhəzbənd, ʤeɪ. ˈʤoʊnə ˈʤeɪmsən ˈsɪstər. ˈoʊvər fər ˈdɪnər, meɪ meɪd ən ˈɑdli rud rɪˈmɑrk wɛr ʃi kˈwɛsʧənd ðə fˈjuʧər əv "ˈpitər" ənd riˈleɪʃənˌʃɪp du tɪ haɪt. "ˈpitər" ðɛn bɪˈreɪtɪd ɔnt meɪ ɪn "suˈpɪriər ˈspaɪdərmæn" 24 (baɪ dæn slɑt, geɪʤ, ˌumˈbɛrˌtoʊ ˈrɑmoʊs ənd ˈvɪktər olazaba*) ˈoʊvər hər ˈkɑmɛnts, ənd ðɛn frikt aʊt ˈfərðər wɪn ʃi fərˈbeɪd ɪm frəm ˈwərkɪŋ wɪθ ˈspaɪdərmæn ˌɛniˈmɔr (ˈpitər hæd kəm əp wɪθ ðə ɪkˈskjuz ðət hi wɑz ˈwərkɪŋ fər ˈspaɪdərmæn, səˈplaɪɪŋ hɪz tɛkˈnɑləʤi fər ɪm). ɪt wɑz kwaɪt ən ˈɔkwərd ˈlɪtəl sin. 13 meɪ dɪˈskəvərz ˈpitər ɪz ˈspaɪdərmæn ʤeɪ. ˈmaɪkəl fərst ˈstɔriˌlaɪn ɛz ðə ˈrɛgjələr ˈraɪtər ɔn "əˈmeɪzɪŋ ˈspaɪdərmæn" ˈoʊpənd wɪθ ə ˈbɑmˌʃɛl ˌrɛvəˈleɪʃən ðət ˈpitər ˈpɑrkər maɪt nɑt hæv ˈgɔtən hɪz paʊərz frəm ə ˈspaɪdər ðət wɑz ˌɪˈreɪdiˌeɪtɪd, bət ˈrəðər ðət hi gɑt hɪz paʊərz frəm ə ˈmæʤɪkəl ˈspaɪdər ðət ˈtrænsfərd ɪts paʊər ˌbiˈfɔr ɪt daɪd frəm ðə ˌreɪdiˈeɪʃən. ðɪs wɑz ˈsimɪŋli bɔrn aʊt wɪn ə ˈvɪlən neɪmd ʃoʊd əp ə ˈvɪlən hu ˈfistɪd ɔn ˈsoʊˈkɔld "ˈspaɪdər ˈtoʊtəmz" laɪk ˈpitər. ɪn ðə ɛnd, ðoʊ, ˈpitər ˈriəˌlaɪzd ðət ˈwɛðər ɪt wɑz ðə kɔz əv hɪz paʊər ər nɑt, ðə ˈspaɪdər wɑz ˌɪˈreɪdiˌeɪtɪd, soʊ ˈspaɪdərmæn hæd səm ˌreɪdioʊˈæktɪv ˈæˌspɛkts tɪ hɪz paʊər ənd riˈkɔɪld frəm ðət ˈæˌspɛkt əv ˈspaɪdərmæn. fər ðɛr ˈfaɪnəl ˈbætəl ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 35 (baɪ ʤeɪ. ˈmaɪkəl straczynski*, ʤɑn jr*. ənd skɑt ˈhænə), ˈspaɪdərmæn pəmpt hɪmˈsɛlf əp wɪθ mɔr ˌreɪdiˈeɪʃən ənd ɪn ðə ɛnd, hi dɪˈfitɪd, bət wɑz ˈɔlsoʊ ˈbædli ˈɪnʤərd hɪmˈsɛlf. hi wɛnt hoʊm ɪn hɪz ˈtætərd ˈkɑstum ənd ʤɪst pæst aʊt. ðə ˈprɑbləm wɑz ðət hi wɑz stɪl pæst aʊt wɪn ɔnt meɪ wɔkt ɪn ənd dɪˈskəvərd ɪm ɪn hɪz ˈkɑstum, ˈlərnɪŋ ðət ˈpitər wɑz ˈspaɪdərmæn! 12 ˈpitər ɪz tu leɪt... əˈgɛn ɪn ʧɪp ənd ʤoʊ kwɪˈnoʊnz' ˈbrɪljənt (ɪf ˌʃɔrˈtlɪvd) ˈsɪriz, "haʊərd ðə dək," ɔnt meɪ bɪˈkeɪm ə səˈpɔrtɪŋ ˈkɛrɪktər, ˈhɛlpɪŋ haʊərd aʊt æt hɪz dɪˈtɛktɪv ˈeɪʤənsi. ʃi fərst mɛt haʊərd ɪn "haʊərd ðə dək" 3 wɛr ʃi əˈsɔltɪd haʊərd waɪl ˈəndər ðə hɪpˈnɑtɪk kəˈmændz əv ðə ˈivəl ˈrɪŋˌmæstər. θri deɪz ˈleɪtər, haʊərd ræn ˈɪntu hər waɪl ʃi wɑz ˈkəmɪŋ hoʊm frəm ðə ˈgroʊsəri stɔr ənd hi əˈkɑstəd hər, ˈkɔzɪŋ hər tɪ drɔp hər ˈpækɪʤɪz ənd hər foʊn (ʃi wɑz ɔn ðə foʊn wɪθ ˈpitər, ˈæskɪŋ ɪf hi wɑz ɪn ə "faɪt kləb" bɪˈkəz əv ɔl ðə ˈbruzɪz hi wɑz ˈɔlˌweɪz ˈgɪtɪŋ). ʃi əˈgrid tɪ hɛlp ɪm træk daʊn ðə gaɪ hu dɪd ðɪs, ənd ðeɪ ˈhɛdɪd ɔf, bət ðeɪ fərˈgɑt hər foʊn ənd hər ˈgroʊsəriz. ˈpitər reɪst tɪ ðə pɑrk ɛz ˈspaɪdərmæn, ˈoʊnli tɪ faɪnd hər gɔn ənd hər foʊn ənd ˈpækɪʤɪz ɔn ðə graʊnd. hi ðɛn hɪˈlɛriəsli bɪˈgæn tɪ bleɪm hɪmˈsɛlf fər hər ˈsimɪŋ əbˈdəkʃən, ˈnoʊtɪŋ tɪ hɪmˈsɛlf ðət hiz soʊ bæd æt ðɪs (sɪns hi stɪl bleɪmz hɪmˈsɛlf fər ðə dɛθ əv hɪz ˈəŋkəl bɛn). 11 meɪz ˌgaɪnəkəˈlɑʤɪkəl eɪdz ˈæftər dɪˈskəvərɪŋ ˈpitərz ˈsikrɪt aɪˈdɛntəˌti, meɪ ˌdɪˈsaɪdɪd ðət ʃi wɑz goʊɪŋ tɪ du hər bɛst tɪ hɛlp hər ˈnɛfju ɪn hɪz laɪf ɛz ˈspaɪdərmæn (ɪn ə hɪˈlɛriəs ˈsikwəns ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 37 ʃi raɪt əˈweɪ ˈkænsəlz hər səbˈskrɪpʃən tɪ ðə ˈdeɪli ˈbjugəl fər ɔl ðə min θɪŋz ðeɪv sɛd əˈbaʊt ˈspaɪdərmæn ˈoʊvər ðə jɪrz). ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 43 (baɪ ʤeɪ. ˈmaɪkəl straczynski*, ʤɑn jr*. ənd skɑt ˈhænə), ðət əˈsɪstəns keɪm ɪn ə ˈvɛri ˈɔkwərd ˈfæʃən. meɪ ənd ˈpitər wər ˈtrævəlɪŋ tɪ lɔs ˈænʤəlɪs tɪ ˈvɪzɪt ˈpitərz ɛˈstreɪnʤd waɪf, ˈmɛri ʤeɪn. ˌhaʊˈɛvər, ðɪs biɪŋ raɪt ˈæftər ɪt wɑz ˌpɑrˈtɪkjələrli ˈdɪfəkəlt fər ˈpitər tɪ gɪt hɪz θru sɪˈkjʊrəti. ɔnt meɪ ðɛn stɛpt ɪn tɪ ɪkˈspleɪn tɪ ðə sɪˈkjʊrəti ˈeɪʤənts ðət ðeɪ wər ˈspɛʃəl ˌʤɛriˈætrɪk ˌgaɪnəkəˈlɑʤɪkəl eɪdz ənd ðə ɪmˈbɛrəst ˈeɪʤənts kˈwɪkli lɛt ðɛm θru, ˌɔlˈðoʊ nɑt ˌbiˈfɔr ðeɪ ʧæˈstaɪzd ˈpitər fər traɪɪŋ tɪ brɪŋ ə smɔl neɪl ˈklɪpər θru sɪˈkjʊrəti. 10 meɪ rɪˈtərnz ɔnt meɪ ˈsimɪŋli daɪd ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 400 soʊ ˈpitər ənd ˈmɛri ʤeɪn wɛnt ɔn wɪθ ðɛr lɪvz, wɪʧ ˌɪnˈkludɪd ˈmɛri ʤeɪn ˈgɪtɪŋ ˈprɛgnənt wɪθ ðɛr fərst ʧaɪld. ˌhaʊˈɛvər, ðə ˈbeɪbi gərl, hu ðeɪ plænd ɔn ˈneɪmɪŋ meɪ ɪn ˈɑnər əv ɔnt meɪ, wɑz ˈstɪlˈbɔrn. raɪt ˈæftər ðə ˈbeɪbiz ˈtræʤɪk dɪˈlɪvəri, ɪt simd ɛz ðoʊ pərˈhæps ən ˈeɪʤənt əv ˈnɔrmən ˈɔzˌbɔrn hæd ˈæˌkʧuəli ˈkɪdˌnæpt ðə ˈbeɪbi. ˈæftər səm taɪm hæd pæst ənd hi hæd rɪˈsivd səm hɪnts ðət pərˈhæps hɪz ˈbeɪbi hæd nɑt daɪd ˈæftər ɔl, ˈpitər dɪˈskəvərd ðət ˈɔzˌbɔrn dɪd hæv "meɪ" ɪn hɪz ˈkəstədi, soʊ ˈpitər kˈwɪkli rəʃt tɪ goʊ seɪv hɪz ˈbeɪbi. hi fɔt θru ə ˈsɪriz əv ˈɑbstəkəlz ˌbiˈfɔr ˈfaɪnəli ˈgɪtɪŋ tɪ ðə rum wɛr "meɪ" wɑz biɪŋ hɛld ɪn "ˈpitər ˈpɑrkər: ˈspaɪdərmæn" 97 (baɪ haʊərd ˈmæki, ʤɑn jr*. ənd skɑt ˈhænə) ənd dɪˈskəvərd ðət ðə meɪ biɪŋ hɛld wɑz nɑt hɪz ˈdɔtər (hu ˈæˌkʧuəli wɑz ˈstɪlˈbɔrn) bət ɔnt meɪ! ʃi ˈædɪd ˈɪnʤəri tɪ ˌɪnˈsəlt baɪ ðɛn ˈhɪtɪŋ ˈspaɪdərmæn ˈoʊvər ðə hɛd wɪθ ə vɑz! 9 meɪ bleɪmz ræp mˈjuzɪk ˈæftər rɪˈkəvərɪŋ frəm ðə vɑz tɪ ðə hɛd, ˈpitər ðɛn ˈlərnɪd ðət nɑt ˈoʊnli wɑz ɔnt meɪ əˈlaɪv, bət ðət ʃi wɑz naʊ əˈbaʊt tɪ daɪ frəm ə ˈkæpsəl ɪn hər breɪn ðət, ɪf riˈmuvd, wʊd ˈdɛtəˌneɪt ə ʤəˈnɛtɪk bɔm ðət wʊd rɪˈdus ˈɛvriˌwən tɪ ðɛr ˈbeɪsɪk ʤinz. ðɪs wɑz ɔl pɑrt əv ən ɪˈlæbərˌeɪt (ənd ˈludəkrəs) plæn əv ˈnɔrmən ˈɔzˌbɔrn, wɛˈrɪn hi ˌdɪˈsaɪdɪd tɪ ˈtɔrˌmɛnt ˈpitər baɪ ˈmeɪkɪŋ ɪm θɪŋk ðət hɪz ɔnt daɪd baɪ ˈhaɪrɪŋ ən ˈæktrəs, ʤəˈnɛtɪkli ˈmɑdəˌfaɪɪŋ hər tɪ lʊk laɪk meɪ, ˈkɪdˌnæpɪŋ meɪ ənd rɪˈpleɪsɪŋ hər wɪθ ðə ˈæktrəs, ˈhævɪŋ ðə ˈæktrəs tɛl ˈpitər ðət ʃi nu ðət hi wɑz ˈspaɪdərmæn ɔl əˈlɔŋ, ˈkɪlɪŋ ðə ˈæktrəs, ˈhævɪŋ ˈpitər dɪˈskəvər meɪ wɑz ˈrɪli əˈlaɪv bət ðɛn ðə hoʊl bɔm θɪŋ wʊd ˈhæpən. ðæts wən ˈkreɪzi, ˈkreɪzi plæn. haʊ, ðɛn, ðoʊ, wʊd ɔnt meɪ rɪˈspɑnd tɪ ðɪs? waɪ wʊd grin ˈgɑblɪn du ɔl əv ðɪs? wɛl, ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 1 (baɪ haʊərd ˈmæki, ʤɑn bərn ənd skɑt ˈhænə), ʃi keɪm əp wɪθ hər moʊst ˈrizənəbəl gɛs... ɪt wɑz bɪˈkəz əv ræp mˈjuzɪk. 8 meɪ ˈɔlˌmoʊst ˈmɛriz ˈdɔktər ˈɑktəˌpʊs ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 131 (baɪ ˈʤɛri ˈkɑnˌweɪ, rɔs andru*, fræŋk ənd deɪv hənt), ɔnt meɪ ˈɔlˌmoʊst hæd tɪ ˌɪntrəˈdus ˈpitər tɪ hɪz nu ˈəŋkəl... ˈɑˌtoʊ! jɛs, meɪ ˈnɪrli ˈmɛrid ˈɑˌtoʊ ɑkˈteɪviəs, hu ʃi hæd ˈteɪkən ɪn ɛz ə ˈbɔrdər jɪrz ˈərliər ənd hu hæd ɪmˈplɔɪd hər ɛz ə meɪd mɔr ˈrisəntli. ɑkˈteɪviəs wʊd ˈʧælənʤ ˈnɔrmən ˈpriviəs plæn (wɪθ ˈfeɪkɪŋ meɪz dɛθ) ɪn tərmz əv ridiculousness*, ɛz hi hæd dɪˈskəvərd ðət meɪ hæd ˌɪnˈhɛrətɪd ən əˈbændənd ˈnukliər plænt ɔn ən ˈaɪlənd ɪn ˈkænədə ənd ˈrɪli ˈwɔntɪd tɪ juz ðət plænt. ˈərgoʊ, hi ˌdɪˈsaɪdɪd tɪ ˈmɛri hər soʊ ðət hi wʊd gɪt ɪn ɔn ðət swit ˌɪnˈhɛrətəns. ˈdɑktər. ˈɑktəˌpʊs, ðoʊ, wɑz ɪn ðə ˈmɪdəl əv ə gæŋ wɔr wɪθ æt ðə taɪm, soʊ ˈeɪʤənts ˌɪntərˈəptɪd ðə ˈwɛdɪŋ ənd, ˈæftər ðə ˈbætəl, muvd tɪ ðə ˈaɪlənd wɪn ˈɑˌtoʊ ɪˈskeɪpt ðɛr (wɪθ meɪ ɪn toʊ). ðə hoʊl ˈaɪlənd wɑz əˈblɪtərˌeɪtɪd ɪn ə ˈnukliər blæst, wɪθ ˈspaɪdərmæn (hu hɪʧt ə raɪd wɪθ gunz) ənd ɔnt meɪ ˈoʊnli ˈbɛrli ɪˈskeɪpɪŋ ɔn ə ˈstoʊlən pleɪn. 7 meɪ nɑks ˈpitər aʊt ɪz wən əv ðə mɔr kənfˈjuzɪŋ paʊərz aʊt ðɛr, ɛz ɪt ˈdəzənt ˈɔlˌweɪz sim tɪ wərk ðə weɪ ðət ju wʊd ɪkˈspɛkt. ˈʤɛri ˈkɑnˌweɪ, fər ˈɪnstəns, səˈʤɛstɪd ˈdʊrɪŋ hɪz rən ɔn "əˈmeɪzɪŋ ˈspaɪdərmæn" ðət dɪz nɑt goʊ ɔf ɪf ðə ˈpərsən θˈrɛtənɪŋ ˈpitər ɪz ˈsəmˌwən ðət hi ˈnɔrməli wʊd nɑt θɪŋk ɪz ə θrɛt. soʊ, ɪn ˈəðər wərdz, ðə ˈdeɪnʤər ˈwɔrnɪŋ əv ðə ˈoʊnli kɪks ɪn ɪf ðə ˈdeɪnʤər kəmz frəm ˈsəmˌwən ənˈnoʊn tɪ spidey*. ðət wɑz rɪˈvild ˈvɛri drəˈmætɪkəli ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 114 (baɪ ˈkɑnˌweɪ ənd), wɪn ˈspaɪdərmæn wɛnt tɪ goʊ faɪnd ðə ˈsimɪŋli ˈkɪdˌnæpt ɔnt meɪ æt ˈdɔktər ˈɑktəˌpʊs' hoʊm ənd faʊnd hɪmˈsɛlf nɑkt aʊt baɪ ɔnt meɪ ˈviə ə vɑz (ðə bɪt frəm "ˈpitər ˈpɑrkər: ˈspaɪdərmæn" 97 wɑz ən ˈɑməʤ tɪ ðɪs sin). baɪ ðə rul əv ˈprɑpərti əv ɪkˈwɑləti, ðɪs minz ðət ɔnt meɪ kən bit əp firelord*. 6 meɪ ʃuts ˈpitər ɪn ðə ˈɪʃu ˈfɑloʊɪŋ ðə vɑz əˈtæk, ˈpitər ˈriəˌlaɪzd ðət meɪ wɑz nɑt ˈkɪdˌnæpt baɪ ˈdɔktər ˈɑktəˌpʊs, bət ˈrəðər wɑz ˈwərkɪŋ fər ɪm ɛz ə meɪd. ʃi hæd gɔn ɔf tɪ gɪt ə ʤɑb əv hər oʊn ˈæftər gwɛn ˈsteɪsi vərˈbæli hər fər biɪŋ tu ˌɪnˈvɑlvd ɪn ˈpitərz laɪf. ˈðɛrˌfɔr, ˌɪnˈstɛd əv ˈspaɪdərmæn biɪŋ ðɛr tɪ ˈrɛskju hər, meɪ sɔ ðɪs ɛz ən əˈtækɪŋ ˈspaɪdərmæn, traɪɪŋ tɪ pɪk ɔn hər pur, ˌmɪsəndərˈstʊd ɪmˈplɔɪər, hu, ɛz ɪt tərnd aʊt, ˈrɪli hæd ˈteɪkən hər ɪn aʊt əv ðə ˈgʊdnɪs əv hɪz hɑrt du tɪ hɪz fɑnd ˈmɛməriz əv wɪn ʃi tʊk ɪm ɪn ɛz ə ˈbɔrdər. ɪt ˈwəzənt ənˈtɪl ʃi wɑz ɔˈrɛdi ˈwərkɪŋ fər ɪm ðət ɑkˈteɪviəs dɪˈskəvərd ðət meɪ hæd ˌɪnˈhɛrətɪd ðə əˈfɔrˌmɛnʃənd ˈnukliər fəˈsɪlɪti. ˈðɛrˌfɔr, ˈæftər ə bɪg faɪt bɪtˈwin ˈpitər ənd dɑk ock*, meɪ pʊld aʊt ə gən ɔn ˈspaɪdərmæn ənd ʃi ˈtoʊtəli pʊld ðə ˈtrɪgər ɔn ɪm!! ˈləkəli, pəˈlis ənd ˈfaɪrmən əraɪvd æt ðə haʊs æt ʤɪst ðət raɪt ˈmoʊmənt ənd ðə ˈsaɪrənz dɪˈstræktɪd hər ənd θru hər eɪm ɔf ər ɛls meɪ wʊd hæv ˈmərdərd hər oʊn bɪˈləvəd ˈnɛfju! 5 meɪ tɛlz ˈpitər ɔf ˈfɑloʊɪŋ ðə ɪˈvɛnts əv "brænd nu deɪ," wɛr ˈpitər hæd naʊ ˈnɛvər bɪn ˈmɛrid tɪ ˈmɛri ʤeɪn ənd wɑz naʊ bæk tɪ ˈlɪvɪŋ wɪθ ɔnt meɪ (hu dɪd nɑt noʊ hɪz ˈsikrɪt aɪˈdɛntəˌti ˌɛniˈmɔr), ɔnt meɪ ˌvɑlənˈtɪrd fər ə ˈʧɛrɪti kɔld f.e.a.s.t*. (fud, ˈimərʤənsi eɪd, ˈʃɛltər ənd ˈtreɪnɪŋ). wət meɪ dɪd nɑt noʊ wɑz ðət hər bɔs, ˈmɑrtɪn li, wɑz ˈɔlsoʊ ˈsikrɪtli ðə noʊn ɛz ˈmɪstər ˈnɛgətɪv. wən əv paʊərz wɑz, wɪn hi təʧt ˈpipəl, hi kʊd tərn ðɛm "ˈnɛgətɪv," ɪn ðət hi kʊd meɪk gʊd ˈpipəl bæd, ˌɛtˈsɛtərə. wɪn meɪ ˌæksəˈdɛnəli wɔkt ɪn ɔn ˈmɪstər ˈnɛgətɪv ˈkɪlɪŋ ə gaɪ ɪn liz ˈɔfəs ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 618 (baɪ sæn slɑt ənd ˈmɑrkoʊs ˈmɑrtɪn), ˈnɛgətɪv tərnd hɪz paʊər ɔn meɪ. soʊ, wɪn ʃi rɪˈtərnd hoʊm wɪθ ˈpitər ənd hər nu ˈhəzbənd, ʤeɪ, ʃi ənˈliʃt ɔl ðə ˈhɪdən θɪŋz ðət ʃi θɔt əˈbaʊt ˈpitər bət wʊd ˈnɛvər seɪ bɪˈkəz ʃi wɑz tu nis ˈmoʊstli ðɪs ɪnˈteɪld ˈpitər kɛpt skruɪŋ hɪz laɪf əp ənd ðət hi wɑz ə ˈmeɪʤər ˌdɪsəˈpɔɪntmənt tɪ hər. ʃi wɑz tu nis əv ə ˈpərsən tɪ steɪ ˈnɛgətɪv, ˌhaʊˈɛvər, ənd ʃi broʊk fri frəm hɪz ˈɪnfluəns ɪˈvɛnʧəwəli, ˈbɛgɪŋ fərˈgɪvnəs. bət ðə wərdz hərt ðə moʊst bɪˈkəz ˈpitər nu ðət ðeɪ wər ˈprɪti məʧ tru. 4 meɪ wɔks ɪn ɔn ˈpitər ɪn bɛd ˈæftər ˈpitər ənd ˈmɛri ʤeɪn gɑt ˈmɛrid, ðə ˈraɪtərz əv ðə ˈvɛriəs "ˈspaɪdərmæn" ˈtaɪtəlz ˈɔfən pʊt ðə θru ðə ˈrɪŋər. ðeɪ dɛlt wɪθ ˈstɔkərz ənd bæd ˌɛkəˈnɑmɪk ˈprɑbləmz ðət ɪˈvɛnʧəwəli lɛd tɪ ˈpitər ənd ˈmɛri ʤeɪn ˌtɛmpərˈɛrəli ˈlɪvɪŋ wɪθ ɔnt meɪ æt hər hoʊm ɪn kwinz. æt ðə seɪm taɪm, ˈmɛri ʤeɪnz jəŋ ˈkəzən, ˈkrɪsti, wɑz ˈɔlsoʊ steɪɪŋ wɪθ ðɛm. ɔnt meɪ wɑz nɑt ɪgˈzæktli juzd tɪ ˈhævɪŋ ə jəŋ ˈmɛrid ˈkəpəl ˈlɪvɪŋ wɪθ hər ɪn hər hoʊm, soʊ ʃi dɪd nɑt θɪŋk əˈbaʊt haʊ ʃi maɪt wɔnt tɪ nɑk ˌbiˈfɔr ˈɛnərɪŋ ðɛr ˈbɛˌdrum; soʊ, wɪn ʃi wɔkt ɪn ɔn ˈpitər ənd ˈmɛri ʤeɪn ɪn "wɛb əv ˈspaɪdərmæn" 50 (baɪ ˈʤɛri ˈkɑnˌweɪ, ˈæləks ənd kiθ ˈwɪljəmz) tɪ gɪv ðɛm səm hɑt ˈkoʊkoʊ tɪ wɔrm ðɛr ˈbɑdiz, ˈpitər ɪkˈspleɪnd tɪ hər ðət ðeɪ wər ɔˈrɛdi ˈwɔrmɪŋ ðɛr ˈbɑdiz. ˈmɛri ʤeɪn ˈædɪd ðət, jæ, ʃi maɪt wɔnt tɪ nɑk ɪn ðə fˈjuʧər. 3 wəts ðɪs ˈstɪki stəf? ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 108 ðə teɪl ɛnd əv stæn li ənd ʤɑn rən ɔn ðə ˈtaɪtəl, ðɛr wɑz ə plɑt laɪn wɪθ ɔnt meɪ biɪŋ ˈoʊvərli ˈmɛdəlsəm ðət lɛd tɪ ðə əˈfɔrˌmɛnʃənd gwɛn ˈsteɪsi freakout*. ˌbiˈfɔr wi gɑt tɪ ðət pɔɪnt, ˌhaʊˈɛvər, meɪ fərst bɑrʤd ˈɪntu ˈpitərz əˈpɑrtmənt ðət hi ʃɛrd wɪθ ˈhɛri tɪ lʊk fər ˈpitər. wət ˈpitər ˈdɪdənt ˈriəˌlaɪz, waɪl hi wɑz gɔn, wɑz ðət səm əv hɪz wɛb fluɪd hæd ˈfɑlən aʊt ənd wɑz ˈuzɪŋ aʊt əv hɪz ˈdɔrˌweɪ. naʊ, ˈɑbviəsli, li ənd wər nɑt ˌɪnˈtɛndɪŋ ðə sin tɪ lʊk laɪk ɪt dɪz tɪ ˈmɑdərn ˈridərz, bət ˌɪnˈtɛnʃənəl ər nɑt, ɪts stɪl ˈprɪti dɑrn hɪˈlɛriəs. ˈpitər ˈləkəli ʃoʊd əp ʤɪst ɛz meɪ ənd ˈhɛri wər əˈbaʊt tɪ goʊ ˈɪntu hɪz rum tɪ si wət spɪld (ˈhɛri ˈnaɪsli ɪkˈspleɪnd ðət ɪt wɑz ˈprɑbəˌbli səm ɪkˈspɛrəmənt ðət ˈpitər wɑz ˈwərkɪŋ ɔn ɪn skul). ˈlʊkɪŋ bɪˈhaɪnd ˈbʊkˌkeɪsɪz, ˈskupɪŋ əp ˈstɪki stəf ˈaʊtˈsaɪd əv hɪz ˈbɛˌdrum, ɔnt meɪ ˈdəzənt sim laɪk ˈsəmˌwən hu reɪzd ə ˈtiˌneɪʤ bɔɪ fər jɪrz! 2 ˈpitər wɔks ɪn ɔn meɪ ɪn bɛd ɛz ˈmɛnʃənd ˌbiˈfɔr, meɪ ʤeɪ. ˈʤoʊnə ˈʤeɪmsən ˈsɪstər., ðə ˈfɑðər tɪ ˈdeɪli ˈbjugəl hɛd ʤeɪ. ˈʤoʊnə ˈʤeɪmsən. ðeɪ gɑt ˈmɛrid ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 600 bət bɪˈgæn ˈdeɪtɪŋ ˈərliər. ðɪs wɑz rɪˈvild tɪ ˈpitər ɪn ɪkˈsplɪsət ˈditeɪl ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 592 (baɪ mɑrk weɪd, maɪk məˈkoʊn ənd ˈændi ˈlænɪŋ), wɪn ˈpitər ˈhɛdɪd tɪ ɔnt meɪz haʊs tɪ ʧeɪnʤ hɪz ˈkɑstum ˈæftər biɪŋ stək ɪn ɪt fər deɪz. ˈæftər ˈteɪkɪŋ hɪz ˈkɑstum ɔf ənd pərˈpɛrɪŋ tɪ ˈlɔndər ɪt, hi hərd ˈrəmbəlɪŋz ɪn meɪz ˈbɛˌdrum. hi ˈoʊpənd ðə dɔr (nɑt ˈlərnɪŋ ðə ˈlɛsən hi hɪmˈsɛlf hæd tɔt ɔnt meɪ əˈbaʊt ˈɔlˌweɪz ˈnɑkɪŋ) ənd sɔ meɪ ənd ʤeɪ ˈʤeɪmsən ˈhævɪŋ sɛks. hi kˈwɪkli ræn tɪ ðə ˈbæθˌrum ənd traɪd tɪ wɑʃ ðə vju aʊt əv hɪz aɪz (waɪl bɪˈmoʊnɪŋ ðət hi ˈdɪdənt ˈivɪn gɪt ə ʧæns tɪ klin hɪz ˈkɑstum); bət ɪn ðə ɛnd, ˈpitər wɑz məˈʧʊr ɪˈnəf tɪ gɪv meɪ hɪz ˈblɛsɪŋ wɪθ hər nu riˈleɪʃənˌʃɪp. 1 ˈpitər rɪˈmɛmbərz ˈhævɪŋ sɛks wɪθ meɪ ɛz ˈnoʊtɪd ˌbiˈfɔr, ɪn ðə ˈstɔriˌlaɪn ˈɛndɪŋ wɪθ "əˈmeɪzɪŋ ˈspaɪdərmæn" 700 ˈpitər ˈpɑrkər ənd ˈɑˌtoʊ ɑkˈteɪviəs swɪʧt ˈbɑdiz. ˌhaʊˈɛvər, ðɛr oʊld ˈmɛməriz rɪˈmeɪnd ɪn ðɛr ˈbɑdiz, soʊ ðə breɪn ðət wɑz naʊ ɪn ðə nu ˈbɑdi hæd ˈækˌsɛs tɪ ðə ˈmɛməriz əv ɪts ˈfɔrmər ˈoʊnər. ðæts haʊ, ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 700 ˈpitər wɑz ˈeɪbəl tɪ æt list fɔrs ˈɑˌtoʊ tɪ ɪkˈspɪriəns ɔl əv ˈpitərz ˈmɛməriz. əˈpɑn duɪŋ soʊ, ˈɑˌtoʊ ˈkʊdənt hɛlp bət wɔnt tɪ bi ən ˈækʧəwəl ˈhɪroʊ, bɪˈkəz ˈpitərz sɛns əv riˌspɑnsəˈbɪləti frəm hɪz ˈmɛməriz wɑz ʤɪst ðət strɔŋ. ˌhaʊˈɛvər, ˌbiˈfɔr ˈɑˌtoʊz ˈbɑdi daɪd, ˈpitər ˈɔlsoʊ ˈmænɪʤd tɪ ɪkˈspɪriəns ˈɑˌtoʊz ˈmɛməriz ɪn "əˈmeɪzɪŋ ˈspaɪdərmæn" 699 (baɪ dæn slɑt, ˌumˈbɛrˌtoʊ ˈrɑmoʊs ənd ˈvɪktər olazaba*), ənd hi gɑt tɪ ˈbɛtər ˌəndərˈstænd hɪz oʊld foʊ, siɪŋ hɪz ˈʧaɪlˌdhʊd ɛz ən əˈbjuzd kɪd. hi ˈivɪn gɑt tɪ si haʊ ˈɑˌtoʊ sɔ ˈspaɪdərmæn hɪmˈsɛlf (ɛz ə ˈbʊli, əv kɔrs). ˌhaʊˈɛvər, hi ˈfaɪnəli gɑt tɪ ɪkˈspɪriəns ə ˈmɛməri hi wɪʃt hi ˈrəðər hæd nɑt ɪkˈspɪriənst: ðə taɪm ðət ɑkˈteɪviəs hæd hæd sɛks wɪθ ɔnt meɪ! ˈæftər ðət, ˈpitər ˈlaɪkli ˈwɛlkəmd ˈgɪtɪŋ brain-wiped*! wəts jʊr ˈfeɪvərɪt ɔnt ˈmoʊmənt? lɛt ˈjuˈɛs noʊ ɪn ðə ˈkɑmɛnts! nɛkst hu wʊd wɪn? ˈbætˌmæn ˈvərsəz. aɪərn mæn
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the remarkable series of releases from the trio of keiji, jim o'rourke, and oren continues with i wonder if you noticed "i'm sorry" is such a lovely sound it keeps things from getting worse , which presents the entirety of an set performed at tokyo's in march 2014. while the trio's 2012 performance was divided into two releases (bt (2014) and bt (2015)), the single extended performance presented here ranges widely over terrain both new and familiar, from acoustic strings and collective chants to thunderous power trio moves. throughout all of its transformations, the music here is some of the riskiest and most abstract the trio have yet committed to record. beginning with percussion reminiscent of 1995 classic no , the first side is dominated by impassioned vocals and performance on the bulgari, a traditional turkish string instrument. the end of the second side presents a special treat: first recorded outing on the harmonica, from which he coaxes bizarre, wheezing textures against a backdrop of spacious bass and percussion. o'rourke and rarely adopt here the classic rock roles on earlier releases. bass, which takes surprisingly often, is sometimes so heavily processed by his array of pedals that it becomes a shifting electronic mass; at other times his roving suggests a sort of free jazz. spends much of the set exploring areas of tumbling free pulse; and even when he locks into a constantly repeated figure on the third side, he gestures as much toward ronald shannon jackson's stuttering marching band funk as toward any classic rock moves. when the trio finally moves in the final quarter of the performance into an extended passage of rock riffing, the payoff is immense, as they craft a epic reminiscent of some of the early classics before returns to the bulgari, bringing the set back to where it began. continuing to explore new instrumental and dynamic possibilities while remaining grounded in the trio's previous work, this set also brings with it a unique pleasure for the listener: for the first time sings many of his brooding lyrics in english. sleeve with gorgeous photographs by jim o'rourke, designed by stephen o'malley. cut by rashad becker at & mastering, berlin.
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ðə rɪˈmɑrkəbəl ˈsɪriz əv rɪˈlisɪz frəm ðə ˈtriˌoʊ əv ˈkiʤi, ʤɪm oʊˈrɔrk, ənd ˈɔrən kənˈtɪnjuz wɪθ aɪ ˈwəndər ɪf ju ˈnoʊtɪst "əm ˈsɑri" ɪz səʧ ə ˈləvli saʊnd ɪt kips θɪŋz frəm ˈgɪtɪŋ wərs wɪʧ ˈprɛzənts ðə ɪnˈtaɪərti əv ən sɛt pərˈfɔrmd æt ˈtoʊkiˌoʊz ɪn mɑrʧ 2014 waɪl ðə ˈtriˌoʊz 2012 pərˈfɔrməns wɑz dɪˈvaɪdɪd ˈɪntu tu rɪˈlisɪz (ˈbiˈti 2014 ənd ˈbiˈti 2015 ðə ˈsɪŋgəl ɪkˈstɛndɪd pərˈfɔrməns pərˈzɛnəd hir ˈreɪnʤɪz ˈwaɪdli ˈoʊvər təreɪn boʊθ nu ənd fəˈmɪljər, frəm əˈkustɪk strɪŋz ənd kəˈlɛktɪv ʧænts tɪ ˈθəndərəs paʊər ˈtriˌoʊ muvz. θruaʊt ɔl əv ɪts ˌtrænsfərˈmeɪʃənz, ðə mˈjuzɪk hir ɪz səm əv ðə ˈrɪskiəst ənd moʊst ˈæbˌstrækt ðə ˈtriˌoʊ hæv jɛt kəˈmɪtɪd tɪ ˈrɛkərd. bɪˈgɪnɪŋ wɪθ pərˈkəʃən ˌrɛməˈnɪsənt əv 1995 ˈklæsɪk noʊ ðə fərst saɪd ɪz ˈdɑməˌneɪtəd baɪ ˌɪmˈpæʃənd ˈvoʊkəlz ənd pərˈfɔrməns ɔn ðə bulgari*, ə trəˈdɪʃənəl ˈtərkɪʃ strɪŋ ˈɪnstrəmənt. ðə ɛnd əv ðə ˈsɛkənd saɪd ˈprɛzənts ə ˈspɛʃəl trit: fərst rɪˈkɔrdɪd ˈaʊtɪŋ ɔn ðə hɑrˈmɑnɪkə, frəm wɪʧ hi ˈkoʊksɪz bɪˈzɑr, ˈwizɪŋ ˈtɛksʧərz əˈgɛnst ə ˈbækˌdrɑp əv ˈspeɪʃəs bæs ənd pərˈkəʃən. oʊˈrɔrk ənd ˈrɛrli əˈdɑpt hir ðə ˈklæsɪk rɑk roʊlz ɔn ˈərliər rɪˈlisɪz. bæs, wɪʧ teɪks səˈpraɪzɪŋli ˈɔfən, ɪz ˈsəmˌtaɪmz soʊ ˈhɛvəli ˈprɑsɛst baɪ hɪz əreɪ əv ˈpɛdəlz ðət ɪt bɪˈkəmz ə ˈʃɪftɪŋ ˌɪˌlɛkˈtrɑnɪk mæs; æt ˈəðər taɪmz hɪz ˈroʊvɪŋ səˈʤɛsts ə sɔrt əv fri ʤæz. spɛnz məʧ əv ðə sɛt ɪkˈsplɔrɪŋ ˈɛriəz əv ˈtəmbəlɪŋ fri pəls; ənd ˈivɪn wɪn hi lɑks ˈɪntu ə ˈkɑnstəntli rɪˈpitɪd ˈfɪgjər ɔn ðə θərd saɪd, hi ˈʤɛsʧərz ɛz məʧ təˈwɔrd ˈrɑnəld ˈʃænən ˈʤæksənz ˈstətərɪŋ ˈmɑrʧɪŋ bænd fəŋk ɛz təˈwɔrd ˈɛni ˈklæsɪk rɑk muvz. wɪn ðə ˈtriˌoʊ ˈfaɪnəli muvz ɪn ðə ˈfaɪnəl kˈwɔrtər əv ðə pərˈfɔrməns ˈɪntu ən ɪkˈstɛndɪd ˈpæsɪʤ əv rɑk ˈrɪfɪŋ, ðə peɪɔf ɪz ˌɪˈmɛns, ɛz ðeɪ kræft ə ˈɛpɪk ˌrɛməˈnɪsənt əv səm əv ðə ˈərli ˈklæsɪks ˌbiˈfɔr rɪˈtərnz tɪ ðə bulgari*, ˈbrɪŋɪŋ ðə sɛt bæk tɪ wɛr ɪt bɪˈgæn. kənˈtɪnjuɪŋ tɪ ɪkˈsplɔr nu ˌɪnstrəˈmɛnəl ənd daɪˈnæmɪk ˌpɑsəˈbɪlətiz waɪl rɪˈmeɪnɪŋ ˈgraʊndɪd ɪn ðə ˈtriˌoʊz ˈpriviəs wərk, ðɪs sɛt ˈɔlsoʊ brɪŋz wɪθ ɪt ə juˈnik ˈplɛʒər fər ðə ˈlɪsənər: fər ðə fərst taɪm sɪŋz ˈmɛni əv hɪz ˈbrudɪŋ ˈlɪrɪks ɪn ˈɪŋlɪʃ. sliv wɪθ ˈgɔrʤəs ˈfoʊtəˌgræfs baɪ ʤɪm oʊˈrɔrk, dɪˈzaɪnd baɪ ˈstivən oʊˈmæli. kət baɪ rəˈʃɑd ˈbɛkər æt ˈmæstərɪŋ, bərˈlɪn.
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tom r. bennett was the copilot on trans australian airways flight 408 on the july 1960, when the first midair took place.
the aircraft, a lockheed electra 2 (vh-tlb) was operating the last sydney to brisbane flight for the day. forty three passengers and six crew were on board.
the terrorist was a russian man named, alex hildebrandt. airport security was decidedly lack back then compared to today. somehow, hildebrandt had managed to board the plane with a fully loaded .22 rifle, a boot knife and the components to assemble a bomb powerful enough to blow the aircraft out of the sky.
during the flight hildebrandt went to the bathroom and pieced together his explosive device, a torch battery attached to a detonator linked to two sticks of gelignite.
the armed terrorist then paced up and down the aisle brandishing his lethal combination while threatening everyone on board.
rather than instantly cave in to demands, first officer bennett calmly approached the man in an attempt to converse and calm him down.
hildebrandt responded by firing a warning shot that narrowly missed head.
bennett immediately responded by punching the terrorist in the face. the first officer then pulled the wires from hand, essentially disarming the bomb.
captain lawrence then intervened to assist first officer bennett to subdue and completely disarm the hijacker, who was restrained and secured with handcuffs carried on the aircraft.
the pair then proceeded to land the plane at its designated stop of brisbane, with all 43 passengers unharmed.
unsurprisingly, tom bennett was awarded the george medal for his heroic actions that day. captain lawrence was also commended for his part in restraining the high-jacker.
because of his ‘warning shot’, hildebrandt faced charges of the attempted murder of first officer tom bennett. he was also charged with carrying an explosive detonating device with the intention of destroying the aircraft.
he was initially sentenced to a combined jail term, three years for attempted murder, ten years for attempting to destroy the aircraft and two years for carrying the explosives charge.
however, due to the fact he was only 35 minutes into the flight when he began assembling the bomb, hildebrandt was able to argue a successful appeal. in short, he was still in new south wales jurisdiction at the time of the incident and should have been sentenced under their state law.
this had no effect on the subsequent time the man spent in prison mind you. after serving the first three years of his sentence for attempted murder in a brisbane based prison, the appeal in the new south wales court saw him delivered straight into one of their prisons for the remainder of his original sentence.
we can only assume that first officer bennett continued his career in the air, armed with one hell of a story to one day tell his grand-children.
(sources / image credits: wikipedia, museum)
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tɑm ɑr. ˈbɛnɪt wɑz ðə ˈkoʊpaɪlət ɔn trænz ɔˈstreɪljən ˈɛrˌweɪz flaɪt 408 ɔn ðə ˌʤuˈlaɪ 1960 wɪn ðə fərst ˈmɪˈdɛr tʊk pleɪs. ðə ˈɛrˌkræft, ə ˈlɑˌkhid ɪˈlɛktrə 2 (vh-tlb*) wɑz ˈɔpərˌeɪtɪŋ ðə læst ˈsɪdni tɪ ˈbrɪzˌbeɪn flaɪt fər ðə deɪ. ˈfɔrti θri ˈpæsənʤərz ənd sɪks kru wər ɔn bɔrd. ðə ˈtɛrərɪst wɑz ə ˈrəʃən mæn neɪmd, ˈæləks ˈhɪldɪbrənt. ˈɛrˌpɔrt sɪˈkjʊrəti wɑz ˌdɪˈsaɪdədli læk bæk ðɛn kəmˈpɛrd tɪ təˈdeɪ. ˈsəmˌhaʊ, ˈhɪldɪbrənt hæd ˈmænɪʤd tɪ bɔrd ðə pleɪn wɪθ ə ˈfʊli ˈloʊdɪd 22 ˈraɪfəl, ə but naɪf ənd ðə kəmˈpoʊnənts tɪ əˈsɛmbəl ə bɔm ˈpaʊərfəl ɪˈnəf tɪ bloʊ ðə ˈɛrˌkræft aʊt əv ðə skaɪ. ˈdʊrɪŋ ðə flaɪt ˈhɪldɪbrənt wɛnt tɪ ðə ˈbæθˌrum ənd pist təˈgɛðər hɪz ɪkˈsploʊsɪv dɪˈvaɪs, ə tɔrʧ ˈbætəri əˈtæʧt tɪ ə ˈdɛtəˌneɪtər lɪŋkt tɪ tu stɪks əv gelignite*. ðə ɑrmd ˈtɛrərɪst ðɛn peɪst əp ənd daʊn ðə aɪəl ˈbrændɪʃɪŋ hɪz ˈliθəl ˌkɑmbəˈneɪʃən waɪl θˈrɛtənɪŋ ˈɛvriˌwən ɔn bɔrd. ˈrəðər ðən ˈɪnstəntli keɪv ɪn tɪ dɪˈmændz, fərst ˈɔfɪsər ˈbɛnɪt ˈkɑmli əˈproʊʧt ðə mæn ɪn ən əˈtɛmpt tɪ ˈkɑnvərs ənd kɑm ɪm daʊn. ˈhɪldɪbrənt rɪˈspɑndɪd baɪ ˈfaɪərrɪŋ ə ˈwɔrnɪŋ ʃɑt ðət ˈnɛroʊli mɪst hɛd. ˈbɛnɪt ˌɪˈmiˌdiətli rɪˈspɑndɪd baɪ ˈpənʧɪŋ ðə ˈtɛrərɪst ɪn ðə feɪs. ðə fərst ˈɔfɪsər ðɛn pʊld ðə waɪərz frəm hænd, ɛˈsɛnʃəli dɪˈsɑrmɪŋ ðə bɔm. ˈkæptən ˈlɔrəns ðɛn ˌɪntərˈvind tɪ əˈsɪst fərst ˈɔfɪsər ˈbɛnɪt tɪ səbˈdu ənd kəmˈplitli dɪˈsɑrm ðə ˈhaɪˌʤækər, hu wɑz riˈstreɪnd ənd sɪˈkjʊrd wɪθ ˈhændˌkəfs ˈkɛrid ɔn ðə ˈɛrˌkræft. ðə pɛr ðɛn prəˈsidəd tɪ lænd ðə pleɪn æt ɪts ˈdɛzɪgˌneɪtɪd stɑp əv ˈbrɪzˌbeɪn, wɪθ ɔl 43 ˈpæsənʤərz ənˈhɑrmd. ˌənsərˈpraɪzɪŋli, tɑm ˈbɛnɪt wɑz əˈwɔrdɪd ðə ʤɔrʤ ˈmɛdəl fər hɪz hɪˈroʊɪk ˈækʃənz ðət deɪ. ˈkæptən ˈlɔrəns wɑz ˈɔlsoʊ kəˈmɛndɪd fər hɪz pɑrt ɪn riˈstreɪnɪŋ ðə high-jacker*. bɪˈkəz əv hɪz shot’*’, ˈhɪldɪbrənt feɪst ˈʧɑrʤɪz əv ðə əˈtɛmptəd ˈmərdər əv fərst ˈɔfɪsər tɑm ˈbɛnɪt. hi wɑz ˈɔlsoʊ ʧɑrʤd wɪθ ˈkɛriɪŋ ən ɪkˈsploʊsɪv ˈdɛtəˌneɪtɪŋ dɪˈvaɪs wɪθ ðə ˌɪnˈtɛnʧən əv dɪˈstrɔɪɪŋ ðə ˈɛrˌkræft. hi wɑz ˌɪˈnɪʃəli ˈsɛntənst tɪ ə kəmˈbaɪnd ʤeɪl tərm, θri jɪrz fər əˈtɛmptəd ˈmərdər, tɛn jɪrz fər əˈtɛmptɪŋ tɪ dɪˈstrɔɪ ðə ˈɛrˌkræft ənd tu jɪrz fər ˈkɛriɪŋ ðə ɪkˈsploʊsɪvz ʧɑrʤ. ˌhaʊˈɛvər, du tɪ ðə fækt hi wɑz ˈoʊnli 35 ˈmɪnəts ˈɪntu ðə flaɪt wɪn hi bɪˈgæn əˈsɛmbəlɪŋ ðə bɔm, ˈhɪldɪbrənt wɑz ˈeɪbəl tɪ ˈɑrgju ə səkˈsɛsfəl əˈpil. ɪn ʃɔrt, hi wɑz stɪl ɪn nu saʊθ weɪlz ˌʤʊrɪsˈdɪkʃən æt ðə taɪm əv ðə ˈɪnsədənt ənd ʃʊd hæv bɪn ˈsɛntənst ˈəndər ðɛr steɪt lɔ. ðɪs hæd noʊ ˈifɛkt ɔn ðə ˈsəbsəkwənt taɪm ðə mæn spɛnt ɪn ˈprɪzən maɪnd ju. ˈæftər ˈsərvɪŋ ðə fərst θri jɪrz əv hɪz ˈsɛntəns fər əˈtɛmptəd ˈmərdər ɪn ə ˈbrɪzˌbeɪn beɪst ˈprɪzən, ðə əˈpil ɪn ðə nu saʊθ weɪlz kɔrt sɔ ɪm dɪˈlɪvərd streɪt ˈɪntu wən əv ðɛr ˈprɪzənz fər ðə rɪˈmeɪndər əv hɪz ərˈɪʤənəl ˈsɛntəns. wi kən ˈoʊnli əˈsum ðət fərst ˈɔfɪsər ˈbɛnɪt kənˈtɪnjud hɪz kərɪr ɪn ðə ɛr, ɑrmd wɪθ wən hɛl əv ə ˈstɔri tɪ wən deɪ tɛl hɪz grand-children*. (ˈsɔrsəz ˈɪmɪʤ ˈkrɛdɪts: ˈwɪkiˌpiˌdiə, mˈjuziəm)
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us government officials admit that they lied about actual impact of to bolster legal effort
from the
"we were told (the impact of revelations) was embarrassing but not damaging," said the official, who attended a briefing given in late 2010 by state department officials.
you may recall that when released those thousands of documents on the afghan war, the official us government position was that it should be shamed for putting lives in danger and "compromising intelligence sources and methods." it was only months later that defense secretary robert gates admitted no such thing was true . we're now seeing the same thing with the state department cable leak. a number of grandstanding officials such as rep. peter king and senator joe lieberman have argued that these leaks have seriously harmed us diplomacy. in fact, we heard how should be designated a terrorist organization for all the "harm" it's done to us interests. this was also a common refrain in our comments -- especially when it came to stories about the alleged leaker, bradley manning. over and over we were told he deserves no mercy for harming american interests.so... it seems rather interesting to see that us officials are now admitting that no serious "harm" has been caused by the leaks . in fact, the white house has admitted privately that it" implicated as chief among the official liars: state department spokesperson crowley, who lead the propaganda campaign against for the past few months, claiming "there has been substantial damage," and that "hundreds of people have been put at potential risk." and yet, when congress asked the state department to back up those statements, officials told them it really wasn't that big of a deal:basically, the details show what many of us have said from the beginning. some of the revelations may be embarrassing, but that's mainly because stuff was hidden that shouldn't have been hidden in the first place. in fact, many of the reports have noted that the cables seemed to only confirm what many people already knew. of course, that won't change the opinion of the people who have already made up their minds that is, by definition, harmful -- which was the point of the propaganda campaign.
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companies:
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ˈjuˈɛs ˈgəvərnmənt əˈfɪʃəlz ədˈmɪt ðət ðeɪ laɪd əˈbaʊt ˈækʧəwəl ˌɪmˈpækt əv tɪ ˈboʊlstər ˈligəl ˈɛfərt frəm ðə "wi wər toʊld (ðə ˌɪmˈpækt əv ˌrɛvəˈleɪʃənz) wɑz ɪmˈbɛrəsɪŋ bət nɑt ˈdæmɪʤɪŋ," sɛd ðə əˈfɪʃəl, hu əˈtɛndəd ə ˈbrifɪŋ ˈgɪvɪn ɪn leɪt 2010 baɪ steɪt dɪˈpɑrtmənt əˈfɪʃəlz. ju meɪ ˈriˌkɔl ðət wɪn riˈlist ðoʊz ˈθaʊzənz əv ˈdɑkjəmənts ɔn ðə ˈæfˌgæn wɔr, ðə əˈfɪʃəl ˈjuˈɛs ˈgəvərnmənt pəˈzɪʃən wɑz ðət ɪt ʃʊd bi ʃeɪmd fər ˈpʊtɪŋ lɪvz ɪn ˈdeɪnʤər ənd "ˈkɑmprəˌmaɪzɪŋ ˌɪnˈtɛləʤəns ˈsɔrsəz ənd ˈmɛθədz." ɪt wɑz ˈoʊnli mənθs ˈleɪtər ðət dɪˈfɛns ˈsɛkrəˌtɛri ˈrɑbərt geɪts ədˈmɪtəd noʊ səʧ θɪŋ wɑz tru wɪr naʊ siɪŋ ðə seɪm θɪŋ wɪθ ðə steɪt dɪˈpɑrtmənt ˈkeɪbəl lik. ə ˈnəmbər əv ˈgrændˌstændɪŋ əˈfɪʃəlz səʧ ɛz rɛpriˈzɛtətɪv. ˈpitər kɪŋ ənd ˈsɛnətər ʤoʊ ˈlibərmən hæv ˈɑrgjud ðət ðiz liks hæv ˈsɪriəsli hɑrmd ˈjuˈɛs dɪˈploʊməsi. ɪn fækt, wi hərd haʊ ʃʊd bi ˈdɛzɪgˌneɪtɪd ə ˈtɛrərɪst ˌɔrgənəˈzeɪʃən fər ɔl ðə "hɑrm" ɪts dən tɪ ˈjuˈɛs ˈɪntərɪsts. ðɪs wɑz ˈɔlsoʊ ə ˈkɑmən rɪˈfreɪn ɪn ɑr ˈkɑmɛnts əˈspɛʃəli wɪn ɪt keɪm tɪ ˈstɔriz əˈbaʊt ðə əˈlɛʤd ˈlikər, ˈbrædli ˈmænɪŋ. ˈoʊvər ənd ˈoʊvər wi wər toʊld hi dɪˈzərvz noʊ ˈmərsi fər ˈhɑrmɪŋ əˈmɛrɪkən interests.so*... ɪt simz ˈrəðər ˈɪntəˌrɛstɪŋ tɪ si ðət ˈjuˈɛs əˈfɪʃəlz ər naʊ ədˈmɪtɪŋ ðət noʊ ˈsɪriəs "hɑrm" həz bɪn kɔzd baɪ ðə liks ɪn fækt, ðə waɪt haʊs həz ədˈmɪtəd ˈpraɪvətli ðət ɪt" ˈɪmplɪˌkeɪtɪd ɛz ʧif əˈməŋ ðə əˈfɪʃəl laɪərz: steɪt dɪˈpɑrtmənt ˈspoʊkspərsən ˈkraʊli, hu lɛd ðə ˌprɑpəˈgændə kæmˈpeɪn əˈgɛnst fər ðə pæst fju mənθs, ˈkleɪmɪŋ "ðɛr həz bɪn səbˈstænʃəl ˈdæmɪʤ," ənd ðət "ˈhənərdz əv ˈpipəl hæv bɪn pʊt æt pəˈtɛnʃəl rɪsk." ənd jɛt, wɪn ˈkɑŋgrəs æst ðə steɪt dɪˈpɑrtmənt tɪ bæk əp ðoʊz ˈsteɪtmənts, əˈfɪʃəlz toʊld ðɛm ɪt ˈrɪli ˈwəzənt ðət bɪg əv ə deal:basically*, ðə ˈditeɪlz ʃoʊ wət ˈmɛni əv ˈjuˈɛs hæv sɛd frəm ðə bɪˈgɪnɪŋ. səm əv ðə ˌrɛvəˈleɪʃənz meɪ bi ɪmˈbɛrəsɪŋ, bət ðæts ˈmeɪnli bɪˈkəz stəf wɑz ˈhɪdən ðət ˈʃʊdənt hæv bɪn ˈhɪdən ɪn ðə fərst pleɪs. ɪn fækt, ˈmɛni əv ðə rɪˈpɔrts hæv ˈnoʊtɪd ðət ðə ˈkeɪbəlz simd tɪ ˈoʊnli kənˈfərm wət ˈmɛni ˈpipəl ɔˈrɛdi nu. əv kɔrs, ðət woʊnt ʧeɪnʤ ðə əˈpɪnjən əv ðə ˈpipəl hu hæv ɔˈrɛdi meɪd əp ðɛr maɪndz ðət ɪz, baɪ ˌdɛfəˈnɪʃən, ˈhɑrmfəl wɪʧ wɑz ðə pɔɪnt əv ðə ˌprɑpəˈgændə kæmˈpeɪn. faɪld ˈəndər: ˈpɑləˌtɪks, ˈkəmpəˌniz:
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image copyright image caption many migrants make the treacherous journey in the hope of a better life in europe
troops in northern niger have rescued 92 migrants who were on the brink of death in the sahara desert, an army statement has said.
traffickers abandoned the group, which included women and children, without water and food, it added.
one migrant died after being taken to a relief centre, the international organisation for migration (iom) said.
african migrants travel through the desert to reach libya before crossing the mediterranean sea to get to europe.
however, the journey through the desert is perilous as the migrants are crammed into pick-up trucks and have little food or water.
more than 40 people died of thirst in the sahara desert about a fortnight ago after their truck broke down.
and last june, the bodies of 34 migrants, including 20 children, were found in the sahara desert near border with algeria.
media playback is unsupported on your device media caption how i smuggle people from nigeria to europe
the rescued migrants, who included at least 30 women and babies, were being looked after at a facility in the garrison town of in northern niger, the said.
"usually what happens in such situations is that smugglers try to exploit them," head of mission giuseppe loprete told bbc focus on africa.
"they ask for more money when they are in the middle of the desert. if they don't pay, they are abandoned."
he said the migrants - most of whom were from nigeria, ghana, senegal and burkina faso - were saved because they were abandoned near a well.
the harsh sahara: by martin patience, bbc news, nigeria
the unforgiving conditions of the sahara desert mean that a broken down vehicle is often a death sentence for migrants.
niger serves as a transit point for west africans hoping to reach europe to start a better life.
every year, tens of thousands of migrants cross the sahara to reach libya. from the libyan coast they board rickety boats to ferry them to europe.
many drown in the mediterranean but, perhaps, less well known, are the dangers they face while crossing the sahara.
it's not known how many deaths there are every year - as it's a vast, region. but many migrants die of thirst, while others are robbed and attacked by criminal gangs and security forces.
'my sister drowned getting to europe'
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ˈɪmɪʤ ˈkɑpiˌraɪt ˈɪmɪʤ ˈkæpʃən ˈmɛni ˈmaɪgrənts meɪk ðə ˈtrɛʧərəs ˈʤərni ɪn ðə hoʊp əv ə ˈbɛtər laɪf ɪn ˈjʊrəp trups ɪn ˈnɔrðərn ˈnaɪʤər hæv ˈrɛskjud 92 ˈmaɪgrənts hu wər ɔn ðə brɪŋk əv dɛθ ɪn ðə səˈhɛrə ˈdɛzərt, ən ˈɑrmi ˈsteɪtmənt həz sɛd. ˈtræfɪkərz əˈbændənd ðə grup, wɪʧ ˌɪnˈkludɪd ˈwɪmən ənd ˈʧɪldrən, wɪˈθaʊt ˈwɔtər ənd fud, ɪt ˈædɪd. wən ˈmaɪgrənt daɪd ˈæftər biɪŋ ˈteɪkən tɪ ə rɪˈlif ˈsɛntər, ðə ˌɪnərˈnæʃənɑl ˌɔrgənɪˈzeɪʃən fər maɪˈgreɪʃən (iom*) sɛd. ˈæfrɪkɑn ˈmaɪgrənts ˈtrævəl θru ðə ˈdɛzərt tɪ riʧ ˈlɪˌbiə ˌbiˈfɔr ˈkrɔsɪŋ ðə ˌmɛdətərˈeɪniən si tɪ gɪt tɪ ˈjʊrəp. ˌhaʊˈɛvər, ðə ˈʤərni θru ðə ˈdɛzərt ɪz ˈpɛrələs ɛz ðə ˈmaɪgrənts ər kræmd ˈɪntu ˈpɪˌkəp trəks ənd hæv ˈlɪtəl fud ər ˈwɔtər. mɔr ðən 40 ˈpipəl daɪd əv θərst ɪn ðə səˈhɛrə ˈdɛzərt əˈbaʊt ə ˈfɔrtˌnaɪt əˈgoʊ ˈæftər ðɛr trək broʊk daʊn. ənd læst ʤun, ðə ˈbɑdiz əv 34 ˈmaɪgrənts, ˌɪnˈkludɪŋ 20 ˈʧɪldrən, wər faʊnd ɪn ðə səˈhɛrə ˈdɛzərt nɪr ˈbɔrdər wɪθ æˈlʤɪriə. ˈmidiə ˈpleɪˌbæk ɪz ənsəˈpɔrtɪd ɔn jʊr dɪˈvaɪs ˈmidiə ˈkæpʃən haʊ aɪ sˈməgəl ˈpipəl frəm naɪˈʤɪriə tɪ ˈjʊrəp ðə ˈrɛskjud ˈmaɪgrənts, hu ˌɪnˈkludɪd æt list 30 ˈwɪmən ənd ˈbeɪbiz, wər biɪŋ lʊkt ˈæftər æt ə fəˈsɪlɪti ɪn ðə ˈgærɪsən taʊn əv ɪn ˈnɔrðərn ˈnaɪʤər, ðə sɛd. "ˈjuʒəwəli wət ˈhæpənz ɪn səʧ ˌsɪʧuˈeɪʃənz ɪz ðət sˈməgələrz traɪ tɪ ˌɛkˈsplɔɪt ðɛm," hɛd əv ˈmɪʃən ʤɪˈsɛpi ˈloʊprit toʊld ˌbibiˈsi ˈfoʊkɪs ɔn ˈæfrɪkɑ. "ðeɪ æsk fər mɔr ˈməni wɪn ðeɪ ər ɪn ðə ˈmɪdəl əv ðə ˈdɛzərt. ɪf ðeɪ doʊnt peɪ, ðeɪ ər əˈbændənd." hi sɛd ðə ˈmaɪgrənts moʊst əv hum wər frəm naɪˈʤɪriə, ˈgænə, ˌsɛnəˈgɔl ənd bərˈkinə ˈfɑsoʊ wər seɪvd bɪˈkəz ðeɪ wər əˈbændənd nɪr ə wɛl. ðə hɑrʃ səˈhɛrə: baɪ ˈmɑrtɪn ˈpeɪʃəns, ˌbibiˈsi nuz, naɪˈʤɪriə ðə ənfərˈgɪvɪŋ kənˈdɪʃənz əv ðə səˈhɛrə ˈdɛzərt min ðət ə ˈbroʊkən daʊn ˈviɪkəl ɪz ˈɔfən ə dɛθ ˈsɛntəns fər ˈmaɪgrənts. ˈnaɪʤər sərvz ɛz ə ˈtrænzɪt pɔɪnt fər wɛst ˈæfrɪkənz ˈhoʊpɪŋ tɪ riʧ ˈjʊrəp tɪ stɑrt ə ˈbɛtər laɪf. ˈɛvəri jɪr, tɛnz əv ˈθaʊzənz əv ˈmaɪgrənts krɔs ðə səˈhɛrə tɪ riʧ ˈlɪˌbiə. frəm ðə ˈlɪˌbiən koʊst ðeɪ bɔrd ˈrɪkəti boʊts tɪ ˈfɛri ðɛm tɪ ˈjʊrəp. ˈmɛni draʊn ɪn ðə ˌmɛdətərˈeɪniən bət, pərˈhæps, lɛs wɛl noʊn, ər ðə ˈdeɪnʤərz ðeɪ feɪs waɪl ˈkrɔsɪŋ ðə səˈhɛrə. ɪts nɑt noʊn haʊ ˈmɛni dɛθs ðɛr ər ˈɛvəri jɪr ɛz ɪts ə væst, ˈriʤən. bət ˈmɛni ˈmaɪgrənts daɪ əv θərst, waɪl ˈəðərz ər rɑbd ənd əˈtækt baɪ ˈkrɪmənəl gæŋz ənd sɪˈkjʊrəti ˈfɔrsɪz. 'maɪ ˈsɪstər draʊnd ˈgɪtɪŋ tɪ ˈjʊrəp'
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the phrase ‘brutalist playground’ kind of sounds like a joke, emphasizing the great potential for injury that would seem inherent to a sharp, harsh play structure where kids are encouraged to roughhouse. but the very same rawness, heavy materials and stark shapes seen in the architecture that was built in this style after world war was extended to quite a few playgrounds. today, there are all sorts of laws about kids’ safety that would nix these designs before they were ever built, but as we all know, the were a different time.
the actual playgrounds were demolished long ago, but a new installation at riba in collaboration with artist simon terrill and architecture firm assemble brings them back in the form of full-scale replicas. housed within the riba headquarters in london, these look just like the real thing.
being that inside a museum and meant for kids to actually play on the replicas were made not of the original concrete, but of foam. the installation “encourages visitors to look at the materiality and visual language of now lost landscapes in new ways through an and conceptual landscape.”
“although the value of residential buildings today is much debated, this exhibition shifts the focus to the equally important playgrounds found at the feet of these structures, offering a renewed understanding and critique of the architects’ original designs and intentions.”
the installation will be in place through august 2015, and the photographs of the originals are just as fun to look at. like all structures, not exactly inviting. says terrill of the churchill gardens playground in pimlico, london (pictured top in 1978,) “before these postwar playgrounds were built, children would have been playing in the bomb sites left after the war. possible the architects were referencing that in their design.”
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ðə freɪz playground’*’ kaɪnd əv saʊnz laɪk ə ʤoʊk, ˈɛmfəˌsaɪzɪŋ ðə greɪt pəˈtɛnʃəl fər ˈɪnʤəri ðət wʊd sim ˌɪnˈhɛrənt tɪ ə ʃɑrp, hɑrʃ pleɪ ˈstrəkʧər wɛr kɪdz ər ɪnˈkərəʤd tɪ roughhouse*. bət ðə ˈvɛri seɪm ˈrɔnɪs, ˈhɛvi məˈtɪriəlz ənd stɑrk ʃeɪps sin ɪn ðə ˈɑrkəˌtɛkʧər ðət wɑz bɪlt ɪn ðɪs staɪl ˈæftər wərld wɔr wɑz ɪkˈstɛndɪd tɪ kwaɪt ə fju ˈpleɪˌgraʊnz. təˈdeɪ, ðɛr ər ɔl sɔrts əv lɔz əˈbaʊt kids’*’ ˈseɪfti ðət wʊd nɪks ðiz dɪˈzaɪnz ˌbiˈfɔr ðeɪ wər ˈɛvər bɪlt, bət ɛz wi ɔl noʊ, ðə wər ə ˈdɪfərənt taɪm. ðə ˈækʧəwəl ˈpleɪˌgraʊnz wər dɪˈmɑlɪʃt lɔŋ əˈgoʊ, bət ə nu ˌɪnstəˈleɪʃən æt ˈribə ɪn kəˌlæbərˈeɪʃən wɪθ ˈɑrtɪst ˈsaɪmən ˈtɛrəl ənd ˈɑrkəˌtɛkʧər fərm əˈsɛmbəl brɪŋz ðɛm bæk ɪn ðə fɔrm əv ˌfʊlˈskeɪl ˈrɛplɪkəz. haʊzd wɪˈθɪn ðə ˈribə ˈhɛdˌkɔrtərz ɪn ˈləndən, ðiz lʊk ʤɪst laɪk ðə ril θɪŋ. biɪŋ ðət ˌɪnˈsaɪd ə mˈjuziəm ənd mɛnt fər kɪdz tɪ ˈæˌkʧuəli pleɪ ɔn ðə ˈrɛplɪkəz wər meɪd nɑt əv ðə ərˈɪʤənəl ˈkɑnkrit, bət əv foʊm. ðə ˌɪnstəˈleɪʃən ˈvɪzɪtərz tɪ lʊk æt ðə məˌtɪriˈælɪti ənd ˈvɪʒəwəl ˈlæŋgwɪʤ əv naʊ lɔst ˈlænˌskeɪps ɪn nu weɪz θru ən ənd kənˈsɛpʧuəl landscape.”*.” ðə ˈvælju əv ˌrɛzɪˈdɛnʃəl ˈbɪldɪŋz təˈdeɪ ɪz məʧ dəˈbeɪtɪd, ðɪs ˌɛksəˈbɪʃən ʃɪfts ðə ˈfoʊkɪs tɪ ðə ˈikwəli ˌɪmˈpɔrtənt ˈpleɪˌgraʊnz faʊnd æt ðə fit əv ðiz ˈstrəkʧərz, ˈɔfərɪŋ ə rɪˈnud ˌəndərˈstændɪŋ ənd krɪˈtik əv ðə architects’*’ ərˈɪʤənəl dɪˈzaɪnz ənd intentions.”*.” ðə ˌɪnstəˈleɪʃən wɪl bi ɪn pleɪs θru ˈɔgəst 2015 ənd ðə ˈfoʊtəˌgræfs əv ðə ərˈɪʤənəlz ər ʤɪst ɛz fən tɪ lʊk æt. laɪk ɔl ˈstrəkʧərz, nɑt ɪgˈzæktli ˌɪnˈvaɪtɪŋ. sɪz ˈtɛrəl əv ðə ˈʧərʧɪl ˈgɑrdənz ˈpleɪˌgraʊnd ɪn pimlico*, ˈləndən (ˈpɪkʧərd tɔp ɪn 1978 ðiz ˈpoʊstˈwɔr ˈpleɪˌgraʊnz wər bɪlt, ˈʧɪldrən wʊd hæv bɪn pleɪɪŋ ɪn ðə bɔm saɪts lɛft ˈæftər ðə wɔr. ˈpɑsəbəl ðə ˈɑrkəˌtɛkts wər ˈrɛfərənsɪŋ ðət ɪn ðɛr design.”*.”
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welcome to edition of “top shelf prospects”. previously i reviewed the prospects of all thirty teams, and previewed the season. if you missed any of my previous articles you can find a complete listing of my them here.
just 15 years old, connor mcdavid was granted exceptional player status and is the third player to enter the ohl early under this rule. (john tavares and aaron ekblad were and respectively). the young mcdavid has started his ohl career and is looking to show that he deserves the label. going to erie, the worst team in the ohl last season, immediately stepped into a top line role and is getting big minutes even to start the season. shown some chemistry with teammate stephen harper (no not that stephen harper) and is getting buzz from players like sidney crosby as the next big thing in hockey. today top shelf prospects looks at connor mcdavid, and his abilities and talents.
centre
born jan 13 1997 toronto,
height weight 170 shoots l
i had the opportunity to see a few of games in the past week (on video) and i specifically focused my attention on connor mcdavid. the latest phenom is certainly living up to the hype as he is leading the otters in scoring and has 11 points in 9 games as a 15 year old in the ohl.
top shelf prospects: connor mcdavid impresses as a 15 year old exceptional ohler
lets start with looking at the offensive weapons here, and the kid has it all. exceptional hands and ability, he can dangle past a defender and does an excellent job of protecting the puck and maintaining possession. his hockey sense and decision making is already at an elite level, even moving up to the faster ohl. his decision making and vision are excellent, he reads the play very well and always seems to keep the puck moving in a smart and efficient manner. his passing is outstanding as the young centre has the ability to thread through tight spaces and put passes tape to tape at high speeds. an elite level playmaker. mcdavid also possesses an accurate shot, with a good release, but will need to continue to work on his strength and the velocity of his shots going forward.
his ability to make all these plays at a high speed, and to never have to slow down his feet to control the puck is a huge asset. he has the ability to change gears quickly and effectively and this aids him in beating defenders. his top speed is good, but its the acceleration and the ability to vary his attacks, to slow the game down when necessary or to make the quick play that really sets him apart. the unpredictability can leave defenders flat footed as he quickly accelerates around them. or he can look like he his going to beat his man wide and suddenly slow down, opening up space for a shot or quick play in front of the defender. his agility and is also outstanding. he also has very good balance and is a lot stronger on his skates than i expected. sure as 15 year old he will occasionally be knocked over by bigger stronger, 19 and 20 year old defencemen, but it happen as often as i thought it would his age.
another impressive asset for mcdavid is his two way game. is he a perfect defensive forward? at 15 just coming into the league, of course not. but his game is far more developed than i expected as well. he hard, and is a willing defender out there. he works along the boards, and down low, showing grit and determination (but again must put on some weight and strength). he anticipates plays very well and causes turnovers and starts the transition game with a smart play as soon as these occur. mcdavid is even being used by the otters to kill penalties at this point, and he certainly look out of place. there is room for improvement here, but mcdavid is already far better defensively than the other exceptional status forward, john tavares was in his first season in the ohl.
mcdavid is living up to the hype and i believe it will only grow for him going forward. a special player and a guy all ohl and fans should keep their eye on. the sky is the limit on this potential, there is no doubt about that. going to be very interested in him going forward over the next several years.
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ˈwɛlkəm tɪ ɪˈdɪʃən əv ʃɛlf prospects”*”. ˈpriviəsli aɪ rivˈjud ðə ˈprɑspɛkts əv ɔl ˈθərˌdi timz, ənd ˈprivˌjud ðə ˈsizən. ɪf ju mɪst ˈɛni əv maɪ ˈpriviəs ˈɑrtɪkəlz ju kən faɪnd ə kəmˈplit ˈlɪstɪŋ əv maɪ ðɛm hir. ʤɪst 15 jɪrz oʊld, ˈkɑnər məkˈdeɪvəd wɑz ˈgrænɪd ɪkˈsɛpʃənəl pleɪər ˈstætəs ənd ɪz ðə θərd pleɪər tɪ ˈɛnər ðə oʊl ˈərli ˈəndər ðɪs rul. (ʤɑn tɑˈvɑrɛs ənd ˈɛrən ˈɛkˌblæd wər ənd rɪˈspɛktɪvli). ðə jəŋ məkˈdeɪvəd həz ˈstɑrtɪd hɪz oʊl kərɪr ənd ɪz ˈlʊkɪŋ tɪ ʃoʊ ðət hi dɪˈzərvz ðə ˈleɪbəl. goʊɪŋ tɪ ˈɪri, ðə wərst tim ɪn ðə oʊl læst ˈsizən, ˌɪˈmiˌdiətli stɛpt ˈɪntu ə tɔp laɪn roʊl ənd ɪz ˈgɪtɪŋ bɪg ˈmɪnəts ˈivɪn tɪ stɑrt ðə ˈsizən. ʃoʊn səm ˈkɛmɪstri wɪθ ˈtiˌmeɪt ˈstivən ˈhɑrpər (noʊ nɑt ðət ˈstivən ˈhɑrpər) ənd ɪz ˈgɪtɪŋ bəz frəm pleɪərz laɪk ˈsɪdni ˈkrɔzbi ɛz ðə nɛkst bɪg θɪŋ ɪn ˈhɑki. təˈdeɪ tɔp ʃɛlf ˈprɑspɛkts lʊks æt ˈkɑnər məkˈdeɪvəd, ənd hɪz əˈbɪləˌtiz ənd ˈtælənts. ˈsɛntər bɔrn ʤæn 13 1997 tərˈɑntoʊ, haɪt weɪt 170 ʃuts ɛl aɪ hæd ðə ˌɑpərˈtunəti tɪ si ə fju əv geɪmz ɪn ðə pæst wik (ɔn ˈvɪdioʊ) ənd aɪ spəˈsɪfɪkli ˈfoʊkɪst maɪ əˈtɛnʃən ɔn ˈkɑnər məkˈdeɪvəd. ðə ˈleɪtəst ˈfɛnəm ɪz ˈsərtənli ˈlɪvɪŋ əp tɪ ðə haɪp ɛz hi ɪz ˈlidɪŋ ðə ˈɑtərz ɪn ˈskɔrɪŋ ənd həz 11 pɔɪnts ɪn 9 geɪmz ɛz ə 15 jɪr oʊld ɪn ðə oʊl. tɔp ʃɛlf ˈprɑspɛkts: ˈkɑnər məkˈdeɪvəd ˌɪmˈprɛsɪz ɛz ə 15 jɪr oʊld ɪkˈsɛpʃənəl ˈoʊlər lɛts stɑrt wɪθ ˈlʊkɪŋ æt ðə əˈfɛnsɪv ˈwɛpənz hir, ənd ðə kɪd həz ɪt ɔl. ɪkˈsɛpʃənəl hænz ənd əˈbɪləˌti, hi kən ˈdæŋgəl pæst ə dɪˈfɛndər ənd dɪz ən ˈɛksələnt ʤɑb əv prəˈtɛktɪŋ ðə pək ənd meɪnˈteɪnɪŋ pəˈzɛʃən. hɪz ˈhɑki sɛns ənd dɪˈsɪʒən ˈmeɪkɪŋ ɪz ɔˈrɛdi æt ən ɪˈlit ˈlɛvəl, ˈivɪn ˈmuvɪŋ əp tɪ ðə ˈfæstər oʊl. hɪz dɪˈsɪʒən ˈmeɪkɪŋ ənd ˈvɪʒən ər ˈɛksələnt, hi ridz ðə pleɪ ˈvɛri wɛl ənd ˈɔlˌweɪz simz tɪ kip ðə pək ˈmuvɪŋ ɪn ə smɑrt ənd ɪˈfɪʃənt ˈmænər. hɪz ˈpæsɪŋ ɪz ˌaʊtˈstændɪŋ ɛz ðə jəŋ ˈsɛntər həz ðə əˈbɪləˌti tɪ θrɛd θru taɪt ˈspeɪsɪz ənd pʊt ˈpæsɪz teɪp tɪ teɪp æt haɪ spidz. ən ɪˈlit ˈlɛvəl playmaker*. məkˈdeɪvəd ˈɔlsoʊ pəˈzɛsɪz ən ˈækjərət ʃɑt, wɪθ ə gʊd riˈlis, bət wɪl nid tɪ kənˈtɪnju tɪ wərk ɔn hɪz strɛŋθ ənd ðə vəˈlɑsəti əv hɪz ʃɑts goʊɪŋ ˈfɔrwərd. hɪz əˈbɪləˌti tɪ meɪk ɔl ðiz pleɪz æt ə haɪ spid, ənd tɪ ˈnɛvər hæv tɪ sloʊ daʊn hɪz fit tɪ kənˈtroʊl ðə pək ɪz ə juʤ ˈæˌsɛt. hi həz ðə əˈbɪləˌti tɪ ʧeɪnʤ gɪrz kˈwɪkli ənd ˈifɛktɪvli ənd ðɪs eɪdz ɪm ɪn ˈbitɪŋ dɪˈfɛndərz. hɪz tɔp spid ɪz gʊd, bət ɪts ðə ˌækˌsɛlərˈeɪʃən ənd ðə əˈbɪləˌti tɪ ˈvɛri hɪz əˈtæks, tɪ sloʊ ðə geɪm daʊn wɪn ˈnɛsəˌsɛri ər tɪ meɪk ðə kwɪk pleɪ ðət ˈrɪli sɛts ɪm əˈpɑrt. ðə ˌənprəˌdɪktəˈbɪlɪti kən liv dɪˈfɛndərz flæt ˈfʊtɪd ɛz hi kˈwɪkli ækˈsɛlərˌeɪts əraʊnd ðɛm. ər hi kən lʊk laɪk hi hɪz goʊɪŋ tɪ bit hɪz mæn waɪd ənd ˈsədənli sloʊ daʊn, ˈoʊpənɪŋ əp speɪs fər ə ʃɑt ər kwɪk pleɪ ɪn frənt əv ðə dɪˈfɛndər. hɪz əˈʤɪləti ənd ɪz ˈɔlsoʊ ˌaʊtˈstændɪŋ. hi ˈɔlsoʊ həz ˈvɛri gʊd ˈbæləns ənd ɪz ə lɔt ˈstrɔŋgər ɔn hɪz skeɪts ðən aɪ ɪkˈspɛktɪd. ʃʊr ɛz 15 jɪr oʊld hi wɪl ɔˈkeɪʒənəˌli bi nɑkt ˈoʊvər baɪ ˈbɪgər ˈstrɔŋgər, 19 ənd 20 jɪr oʊld defencemen*, bət ɪt ˈhæpən ɛz ˈɔfən ɛz aɪ θɔt ɪt wʊd hɪz eɪʤ. əˈnəðər ˌɪmˈprɛsɪv ˈæˌsɛt fər məkˈdeɪvəd ɪz hɪz tu weɪ geɪm. ɪz hi ə ˈpərˌfɪkt dɪˈfɛnsɪv ˈfɔrwərd? æt 15 ʤɪst ˈkəmɪŋ ˈɪntu ðə lig, əv kɔrs nɑt. bət hɪz geɪm ɪz fɑr mɔr dɪˈvɛləpt ðən aɪ ɪkˈspɛktɪd ɛz wɛl. hi hɑrd, ənd ɪz ə ˈwɪlɪŋ dɪˈfɛndər aʊt ðɛr. hi wərks əˈlɔŋ ðə bɔrdz, ənd daʊn loʊ, ʃoʊɪŋ grɪt ənd dɪˌtərməˈneɪʃən (bət əˈgɛn məst pʊt ɔn səm weɪt ənd strɛŋθ). hi ænˈtɪsəˌpeɪts pleɪz ˈvɛri wɛl ənd ˈkɔzɪz ˈtərˌnoʊvərz ənd stɑrts ðə trænˈzɪʃən geɪm wɪθ ə smɑrt pleɪ ɛz sun ɛz ðiz əˈkər. məkˈdeɪvəd ɪz ˈivɪn biɪŋ juzd baɪ ðə ˈɑtərz tɪ kɪl ˈpɛnəltiz æt ðɪs pɔɪnt, ənd hi ˈsərtənli lʊk aʊt əv pleɪs. ðɛr ɪz rum fər ˌɪmˈpruvmənt hir, bət məkˈdeɪvəd ɪz ɔˈrɛdi fɑr ˈbɛtər dɪˈfɛnsɪvli ðən ðə ˈəðər ɪkˈsɛpʃənəl ˈstætəs ˈfɔrwərd, ʤɑn tɑˈvɑrɛs wɑz ɪn hɪz fərst ˈsizən ɪn ðə oʊl. məkˈdeɪvəd ɪz ˈlɪvɪŋ əp tɪ ðə haɪp ənd aɪ bɪˈliv ɪt wɪl ˈoʊnli groʊ fər ɪm goʊɪŋ ˈfɔrwərd. ə ˈspɛʃəl pleɪər ənd ə gaɪ ɔl oʊl ənd fænz ʃʊd kip ðɛr aɪ ɔn. ðə skaɪ ɪz ðə ˈlɪmət ɔn ðɪs pəˈtɛnʃəl, ðɛr ɪz noʊ daʊt əˈbaʊt ðət. goʊɪŋ tɪ bi ˈvɛri ˈɪntəˌrɛstɪd ɪn ɪm goʊɪŋ ˈfɔrwərd ˈoʊvər ðə nɛkst ˈsɛvərəl jɪrz.
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by brennan stark, contributing reporter
são paulo, brazil an estimated 300 military police accompanied by police helicopters began forcibly removing student protesters from the university of paulo (usp) at this morning. around sixty students have detained thus far.
usp students began occupying the faculty of philosophy, letters and science (fflch) building, which houses the university office, last wednesday, november 1st.
the protest was sparked several days after a violent confrontation with police, reportedly during the arrest of three students for marijuana possession.
they had been demanding a reevaluation of university lawsuits against students, and an end to the regular military police presence on campus which started about two months ago.
the police presence was set into motion after the death of felipe ramos de paiva, a 24 student murdered on campus on may this year.
the student protesters had been given until monday night to vacate the building, but an estimated 350 chose to stay. frustrations and anxieties intensified after the deadline, with reports of some students to begin pelting journalists in the area with sticks and stones.
the university had held negotiations with students and employees over the weekend and yesterday afternoon, but ultimately rejected their demands for removing the police presence.
in 2007, university students occupied the same building for 55 days.
read more (in portuguese).
* the rio times daily update is a new feature we are offering to help keep you with major news as it happens.
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baɪ ˈbrɛnən stɑrk, kənˈtrɪbjutɪŋ rɪˈpɔrtər ˈpɔˌloʊ, brəˈzɪl ən ˈɛstəˌmeɪtɪd 300 ˈmɪlɪˌtɛri pəˈlis əˈkəmpənid baɪ pəˈlis ˈhɛlɪˌkɑptərz bɪˈgæn ˈfɔrsəbli riˈmuvɪŋ ˈstudənt ˈproʊˌtɛstərz frəm ðə ˌjunəˈvərsəti əv ˈpɔˌloʊ (usp*) æt ðɪs ˈmɔrnɪŋ. əraʊnd ˈsɪksti ˈstudənts hæv dɪˈteɪnd ðəs fɑr. ˈstudənts bɪˈgæn ˈɑkjəˌpaɪɪŋ ðə ˈfækəlti əv fəˈlɑsəfi, ˈlɛtərz ənd saɪəns (fflch*) ˈbɪldɪŋ, wɪʧ ˈhaʊsɪz ðə ˌjunəˈvərsəti ˈɔfəs, læst ˈwɛnzˌdeɪ, noʊˈvɛmbər 1st*. ðə ˈproʊˌtɛst wɑz spɑrkt ˈsɛvərəl deɪz ˈæftər ə ˈvaɪələnt ˌkɑnfrənˈteɪʃən wɪθ pəˈlis, rɪˈpɔrtədli ˈdʊrɪŋ ðə ərˈɛst əv θri ˈstudənts fər ˌmɛrəˈwɑnə pəˈzɛʃən. ðeɪ hæd bɪn dɪˈmændɪŋ ə riɪˌvæljuˈeɪʃən əv ˌjunəˈvərsəti ˈlɔˌsuts əˈgɛnst ˈstudənts, ənd ən ɛnd tɪ ðə ˈrɛgjələr ˈmɪlɪˌtɛri pəˈlis ˈprɛzəns ɔn ˈkæmpəs wɪʧ ˈstɑrtɪd əˈbaʊt tu mənθs əˈgoʊ. ðə pəˈlis ˈprɛzəns wɑz sɛt ˈɪntu ˈmoʊʃən ˈæftər ðə dɛθ əv fəˈlip ˈrɑmoʊs də ˈpeɪvə, ə 24 ˈstudənt ˈmərdərd ɔn ˈkæmpəs ɔn meɪ ðɪs jɪr. ðə ˈstudənt ˈproʊˌtɛstərz hæd bɪn ˈgɪvɪn ənˈtɪl ˈmənˌdeɪ naɪt tɪ ˈveɪkeɪt ðə ˈbɪldɪŋ, bət ən ˈɛstəˌmeɪtɪd 350 ʧoʊz tɪ steɪ. frəˈstreɪʃənz ənd æŋˈzaɪətiz ˌɪnˈtɛnsɪˌfaɪd ˈæftər ðə ˈdɛˌdlaɪn, wɪθ rɪˈpɔrts əv səm ˈstudənts tɪ bɪˈgɪn ˈpɛltɪŋ ˈʤərnəlɪsts ɪn ðə ˈɛriə wɪθ stɪks ənd stoʊnz. ðə ˌjunəˈvərsəti hæd hɛld nɪˌgoʊʃiˈeɪʃənz wɪθ ˈstudənts ənd ɪmˈplɔɪiz ˈoʊvər ðə ˈwiˌkɪnd ənd ˈjɛstərˌdeɪ ˌæftərˈnun, bət ˈəltəmətli rɪˈʤɛktɪd ðɛr dɪˈmændz fər riˈmuvɪŋ ðə pəˈlis ˈprɛzəns. ɪn 2007 ˌjunəˈvərsəti ˈstudənts ˈɑkjəˌpaɪd ðə seɪm ˈbɪldɪŋ fər 55 deɪz. rɛd mɔr (ɪn ˈpɔrʧəˌgiz). ðə ˈrioʊ taɪmz ˈdeɪli ˈəpˌdeɪt ɪz ə nu ˈfiʧər wi ər ˈɔfərɪŋ tɪ hɛlp kip ju wɪθ ˈmeɪʤər nuz ɛz ɪt ˈhæpənz.
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gone are the days when international openings for graduates of indian and engineering colleges were restricted to the us and the. malaysia, japan, taiwan, singapore, and the united arab emirates (uae) are among the countries hiring graduates from top indian colleges, including the premier indian institutes of management (iims) and indian institutes of technology (iits).
“over the past five years, we have seen a definite shift. postings in the us and the have become almost negligible," said agarwal, head, career development services, bangalore. “postings in the far east, including singapore and hong kong, have increased. japan is a new destination. the middle east has been added as an overseas job destination."
protectionist policies and economic distress in the west are among the reasons behind theurt in popularity of asian countries as job destinations among indian graduates.
“a vibrant culture, shortage of skilled workforce, proximity to home, better career prospects and flexible immigration norms are the key attractions. a number of foreign trade commissions are conducting road shows to promote opportunities for indian students and professional in their respective countries," said kapoor, director, deloitte.
companies based in many asian countries have picked up graduates from this year.
of the 15 international offers at ongoing placement season, three are from japan, and one each from taiwan and singapore. at kharagpur, of the 18 international offers this year, two are from malaysia, three from japan, and one each from singapore and taiwan.
two companies from malaysia were recruiters this year at kharagpur.
iit saw its maiden international offer come from a firm. (earlier known as jain institute of management and research) got all five international offers from a company, against no international offers last year.
“the demand for graduates has seen a consistent growth from newer countries including taiwan and japan. graduates are hired by architecture firms in singapore, while mostly electronics firms in japan pick our graduates," said deb, chairman, career development centre, kharagpur.
at management colleges, most global companies look for graduates who are open to travelling across the globe and not working from one fixed location. while the roles offered by companies in the far east are in finance, in the middle east, companies hire management graduates for sales and marketing, according to placement officials at some of the top.
us offers are still more lucrative when compared to those from asian countries. but, as gabula, deputy director, external relations at, said, “the cost of living in the us is high as compared to other countries. also, getting an visa is tougher as compared to getting a visa for working in countries like malaysia, taiwan, singapore, dubai and other countries."
experts predict a rise in the number of offers from the far east and middle east in the coming years.
they believe that companies in these regions, after hiring indian graduates, might eventually set up businesses in india.
“it companies have done it for techies in the past, and now it applies to management graduates. the idea is to train them and send them back to india for india operations," said agarwal.
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gɔn ər ðə deɪz wɪn ˌɪnərˈnæʃənɑl ˈoʊpənɪŋz fər ˈgræʤəˌweɪts əv ˈɪndiən ənd ˈɛnʤəˈnɪrɪŋ ˈkɑlɪʤɪz wər riˈstrɪktɪd tɪ ðə ˈjuˈɛs ənd ðə. məˈleɪʒə, ʤəˈpæn, ˈtaɪˈwɑn, ˈsɪŋəˌpɔr, ənd ðə juˈnaɪtɪd ˈærəb ˈɛmərˌeɪts (uae*) ər əˈməŋ ðə ˈkəntriz ˈhaɪrɪŋ ˈgræʤəˌweɪts frəm tɔp ˈɪndiən ˈkɑlɪʤɪz, ˌɪnˈkludɪŋ ðə prɛˈmɪr ˈɪndiən ˈɪnstɪˌtuts əv ˈmænɪʤmənt (iims*) ənd ˈɪndiən ˈɪnstɪˌtuts əv tɛkˈnɑləʤi (iits*). ðə pæst faɪv jɪrz, wi hæv sin ə ˈdɛfənət ʃɪft. ˈpoʊstɪŋz ɪn ðə ˈjuˈɛs ənd ðə hæv bɪˈkəm ˈɔlˌmoʊst ˈnɛglɪʤəbəl," sɛd ˈɑgɑrwɑl, hɛd, kərɪr dɪˈvɛləpmənt ˈsərvɪsɪz, ˈbæŋgəˌlɔr. ɪn ðə fɑr ist, ˌɪnˈkludɪŋ ˈsɪŋəˌpɔr ənd hɔŋ kɔŋg, hæv ˌɪnˈkrist. ʤəˈpæn ɪz ə nu ˌdɛstɪˈneɪʃən. ðə ˈmɪdəl ist həz bɪn ˈædɪd ɛz ən ˈoʊvərˈsiz ʤɑb ˌdɛstɪˈneɪʃən." prəˈtɛkʃənɪst ˈpɑləsiz ənd ˌɛkəˈnɑmɪk dɪˈstrɛs ɪn ðə wɛst ər əˈməŋ ðə ˈrizənz bɪˈhaɪnd ðə spərt ɪn ˌpɑpjəˈlɛrəti əv ˈeɪʒən ˈkəntriz ɛz ʤɑb ˌdɛstəˈneɪʃənz əˈməŋ ˈɪndiən ˈgræʤəˌweɪts. ˈvaɪbrənt ˈkəlʧər, ˈʃɔrtɪʤ əv skɪld ˈwərkˌfɔrs, prɑkˈsɪməti tɪ hoʊm, ˈbɛtər kərɪr ˈprɑspɛkts ənd ˈflɛksəbəl ˌɪməˈgreɪʃən nɔrmz ər ðə ki əˈtrækʃənz. ə ˈnəmbər əv ˈfɔrən treɪd kəˈmɪʃənz ər kənˈdəktɪŋ roʊd ʃoʊz tɪ prəˈmoʊt ˌɑpərˈtunətiz fər ˈɪndiən ˈstudənts ənd prəˈfɛʃənəl ɪn ðɛr rɪˈspɛktɪv ˈkəntriz," sɛd kəˈpur, dɪˈrɛktər, dəˈlɔɪt. ˈkəmpəˌniz beɪst ɪn ˈmɛni ˈeɪʒən ˈkəntriz hæv pɪkt əp ˈgræʤəˌweɪts frəm ðɪs jɪr. əv ðə 15 ˌɪnərˈnæʃənɑl ˈɔfərz æt ˈɔnˌgoʊɪŋ ˈpleɪsmənt ˈsizən, θri ər frəm ʤəˈpæn, ənd wən iʧ frəm ˈtaɪˈwɑn ənd ˈsɪŋəˌpɔr. æt kharagpur*, əv ðə 18 ˌɪnərˈnæʃənɑl ˈɔfərz ðɪs jɪr, tu ər frəm məˈleɪʒə, θri frəm ʤəˈpæn, ənd wən iʧ frəm ˈsɪŋəˌpɔr ənd ˈtaɪˈwɑn. tu ˈkəmpəˌniz frəm məˈleɪʒə wər rɪˈkrutərz ðɪs jɪr æt kharagpur*. sɔ ɪts ˈmeɪdən ˌɪnərˈnæʃənɑl ˈɔfər kəm frəm ə fərm. (ˈərliər noʊn ɛz ʤeɪn ˈɪnstɪˌtut əv ˈmænɪʤmənt ənd ˈrisərʧ) gɑt ɔl faɪv ˌɪnərˈnæʃənɑl ˈɔfərz frəm ə ˈkəmpəˌni, əˈgɛnst noʊ ˌɪnərˈnæʃənɑl ˈɔfərz læst jɪr. dɪˈmænd fər ˈgræʤəˌweɪts həz sin ə kənˈsɪstənt groʊθ frəm nuər ˈkəntriz ˌɪnˈkludɪŋ ˈtaɪˈwɑn ənd ʤəˈpæn. ˈgræʤəˌweɪts ər haɪərd baɪ ˈɑrkəˌtɛkʧər fərmz ɪn ˈsɪŋəˌpɔr, waɪl ˈmoʊstli ˌɪˌlɛkˈtrɑnɪks fərmz ɪn ʤəˈpæn pɪk ɑr ˈgræʤəˌweɪts," sɛd dɛb, ˈʧɛrmən, kərɪr dɪˈvɛləpmənt ˈsɛntər, kharagpur*. æt ˈmænɪʤmənt ˈkɑlɪʤɪz, moʊst ˈgloʊbəl ˈkəmpəˌniz lʊk fər ˈgræʤəˌweɪts hu ər ˈoʊpən tɪ ˈtrævəlɪŋ əˈkrɔs ðə gloʊb ənd nɑt ˈwərkɪŋ frəm wən fɪkst loʊˈkeɪʃən. waɪl ðə roʊlz ˈɔfərd baɪ ˈkəmpəˌniz ɪn ðə fɑr ist ər ɪn ˈfaɪˌnæns, ɪn ðə ˈmɪdəl ist, ˈkəmpəˌniz haɪər ˈmænɪʤmənt ˈgræʤəˌweɪts fər seɪlz ənd ˈmɑrkətɪŋ, əˈkɔrdɪŋ tɪ ˈpleɪsmənt əˈfɪʃəlz æt səm əv ðə tɔp. ˈjuˈɛs ˈɔfərz ər stɪl mɔr ˈlukrətɪv wɪn kəmˈpɛrd tɪ ðoʊz frəm ˈeɪʒən ˈkəntriz. bət, ɛz gabula*, ˈdɛpjəti dɪˈrɛktər, ɪkˈstərnəl riˈleɪʃənz æt, sɛd, kɔst əv ˈlɪvɪŋ ɪn ðə ˈjuˈɛs ɪz haɪ ɛz kəmˈpɛrd tɪ ˈəðər ˈkəntriz. ˈɔlsoʊ, ˈgɪtɪŋ ən ˈvizə ɪz ˈtəfər ɛz kəmˈpɛrd tɪ ˈgɪtɪŋ ə ˈvizə fər ˈwərkɪŋ ɪn ˈkəntriz laɪk məˈleɪʒə, ˈtaɪˈwɑn, ˈsɪŋəˌpɔr, duˈbaɪ ənd ˈəðər ˈkəntriz." ˈɛkspərts prɪˈdɪkt ə raɪz ɪn ðə ˈnəmbər əv ˈɔfərz frəm ðə fɑr ist ənd ˈmɪdəl ist ɪn ðə ˈkəmɪŋ jɪrz. ðeɪ bɪˈliv ðət ˈkəmpəˌniz ɪn ðiz ˈriʤənz, ˈæftər ˈhaɪrɪŋ ˈɪndiən ˈgræʤəˌweɪts, maɪt ɪˈvɛnʧəwəli sɛt əp ˈbɪznɪsɪz ɪn ˈɪndiə. ˈkəmpəˌniz hæv dən ɪt fər ˈtɛkiz ɪn ðə pæst, ənd naʊ ɪt əˈplaɪz tɪ ˈmænɪʤmənt ˈgræʤəˌweɪts. ðə aɪˈdiə ɪz tɪ treɪn ðɛm ənd sɛnd ðɛm bæk tɪ ˈɪndiə fər ˈɪndiə ˌɑpərˈeɪʃənz," sɛd ˈɑgɑrwɑl.
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there may be a link between your internet use and how often you end up in the emergency room.
at least one of the curious connections to emerge from a health care analysis project at the insurance division of the university of pittsburgh medical center.
u.p.m.c. is a $12 billion nonprofit enterprise that owns hospitals in western pennsylvania as well as a health insurance plan with about million members. it is at the forefront of an emerging field called predictive health analytics, intended to improve patients’ health care outcomes and contain costs. but patients themselves are often unaware of the kinds of intimate details about their households that insurers and hospitals may use to try to sway their treatment decisions.
the pittsburgh health plan, for instance, has developed prediction models that analyze data like patient claims, prescriptions and census records to determine which members are likely to use the most emergency and urgent care, which can be expensive. data sets of past health care consumption are fairly standard tools for predicting future use of health services.
but the insurer recently bolstered its forecasting models with details on members’ household incomes, education levels, marital status, race or ethnicity, number of children at home, number of cars and so on. one of the sources for the consumer data u.p.m.c. used was acxiom, a marketing analytics company that obtains consumers’ information from both public records and private sources.
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ðɛr meɪ bi ə lɪŋk bɪtˈwin jʊr ˈɪntərˌnɛt juz ənd haʊ ˈɔfən ju ɛnd əp ɪn ðə ˈimərʤənsi rum. æt list wən əv ðə ˈkjʊriəs kəˈnɛkʃənz tɪ ˈimərʤ frəm ə hɛlθ kɛr æˈnælɪsɪs ˈprɑʤɛkt æt ðə ˌɪnˈʃʊrəns dɪˈvɪʒən əv ðə ˌjunəˈvərsəti əv ˈpɪtsbərg ˈmɛdɪkəl ˈsɛnər. u.p.m.c*. ɪz ə 12 ˈbɪljən nɑnˈprɑfət ˈɛnərˌpraɪz ðət oʊnz ˈhɑˌspɪtəlz ɪn ˈwɛstərn ˌpɛnsəlˈveɪnjə ɛz wɛl ɛz ə hɛlθ ˌɪnˈʃʊrəns plæn wɪθ əˈbaʊt ˈmɪljən ˈmɛmbərz. ɪt ɪz æt ðə ˈfɔrˌfrənt əv ən ˈimərʤɪŋ fild kɔld prɪˈdɪktɪv hɛlθ ˌænəˈlɪtɪks, ˌɪnˈtɛndɪd tɪ ˌɪmˈpruv patients’*’ hɛlθ kɛr ˈaʊtˌkəmz ənd kənˈteɪn kɔsts. bət ˈpeɪʃənz ðɛmˈsɛlvz ər ˈɔfən ˌənəˈwɛr əv ðə kaɪnz əv ˈɪnɪmət ˈditeɪlz əˈbaʊt ðɛr ˈhaʊsˌhoʊldz ðət ˌɪnˈʃʊrərz ənd ˈhɑˌspɪtəlz meɪ juz tɪ traɪ tɪ sweɪ ðɛr ˈtritmənt dɪˈsɪʒənz. ðə ˈpɪtsbərg hɛlθ plæn, fər ˈɪnstəns, həz dɪˈvɛləpt priˈdɪkʃən ˈmɑdəlz ðət ˈænəˌlaɪz ˈdætə laɪk ˈpeɪʃənt kleɪmz, prəˈskrɪpʃənz ənd ˈsɛnsəs ˈrɛkərdz tɪ dɪˈtərmən wɪʧ ˈmɛmbərz ər ˈlaɪkli tɪ juz ðə moʊst ˈimərʤənsi ənd ˈərʤənt kɛr, wɪʧ kən bi ɪkˈspɛnsɪv. ˈdætə sɛts əv pæst hɛlθ kɛr kənˈsəmʃən ər ˈfɛrli ˈstændərd tulz fər prɪˈdɪktɪŋ fˈjuʧər juz əv hɛlθ ˈsərvɪsɪz. bət ðə ˌɪnˈʃʊrər ˈrisəntli ˈboʊlstərd ɪts ˈfɔrˌkæstɪŋ ˈmɑdəlz wɪθ ˈditeɪlz ɔn members’*’ ˈhaʊsˌhoʊld ˈɪnˌkəmz, ˌɛʤəˈkeɪʃən ˈlɛvəlz, ˈmærətəl ˈstætəs, reɪs ər ɛθˈnɪsɪti, ˈnəmbər əv ˈʧɪldrən æt hoʊm, ˈnəmbər əv kɑz ənd soʊ ɔn. wən əv ðə ˈsɔrsəz fər ðə kənˈsumər ˈdætə u.p.m.c*. juzd wɑz acxiom*, ə ˈmɑrkətɪŋ ˌænəˈlɪtɪks ˈkəmpəˌni ðət əbˈteɪnz consumers’*’ ˌɪnˌfɔrˈmeɪʃən frəm boʊθ ˈpəblɪk ˈrɛkərdz ənd ˈpraɪvət ˈsɔrsəz.
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according to harvard law school professor jeannie suk, she and her colleagues have been pressured by students to avoid writing exam questions involving sexual violence or even teaching about the law regarding sexual violence in order to protect students from potential distress.
like the students arguing they are too traumatized by recent grand jury decisions to complete their final exams, account, published in the new yorker yesterday, is a perverse result of a culture in which intellectual and emotional comfort is prioritized over the core functions of a university. suk writes about student demands, many of which defy logic and common sense:
student organizations representing interests now routinely advise students that they should not feel pressured to attend or participate in class sessions that focus on the law of sexual violence, and which might therefore be traumatic. individual students often ask teachers not to include the law of rape on exams for fear that the material would cause them to perform less well. some students have even suggested that rape law should not be taught because of its potential to cause distress.
suk aptly compares the situation to one in which a medical student training to be a surgeon cannot handle the sight of blood. being a competent lawyer requires knowledge of a range of legal topics, which is why law school is designed to ensure students are familiar with basic areas of law—torts, criminal law, constitutional law, contracts, property, and civil procedure. regardless of the narrowness of law practice, a reason that becoming a licensed attorney requires a basic knowledge of these areas: legal matters frequently touch on more than one of them.
it’s true that rape is not an easy topic of discussion, like many of the topics included in criminal law classes. crime is exceedingly unpleasant (my first week of law school was spent reading about murdered babies), and this will never change. it defies reason to exempt discussions of rape, perhaps the serious crime (after murder), from what is intended to be a meaningful survey of the law.
suk offers another example of the kind of nonsensical requests students are making:
one teacher i know was recently asked by a student not to use the word “violate” in in “does this conduct violate the the word was triggering.
the study of law relies on precision and consistency of language, reflected in our (and great britain’s) rich history of hundreds of years of written court decisions, statutes, and other legal documents. law schools cannot simply drop words from their because of other contexts in which they might be used.
suk describes the effect these pressures are having on her colleagues:
about a dozen new teachers of criminal law at multiple institutions have told me that they are not including rape law in their courses, arguing that not worth the risk of complaints of discomfort by students. even seasoned teachers of criminal law, at law schools across the country, have confided that they are seriously considering dropping rape law and other topics related to sex and gender violence. both men and women teachers seem frightened of discussion, because they are afraid of injuring others or being injured themselves.
it is profoundly troubling that faculty at institutions of higher “elite” schools, no be forced even to consider not teaching such a critically important subject at the behest of those insisting on emotional comfort. as suk argues, “if the topic of sexual assault were to leave the classroom, it would be a tremendous all to victims of sexual assault.” it should go without saying that solving a problem requires talking about it, learning about its history, they the surrounding legal issues. is the point of law school to make future lawyers feel comfortable, or is it to enable them to be zealous advocates for their clients, who may include victims of rape and other crimes?
if providing students with the knowledge and skills to become excellent lawyers is no longer to be prioritized over comfort, future generations of lawyers may be spared the emotional discomfort that comes with learning about v. united states (1944) or plessy v. ferguson (1896). of course, they also be able to recognize the signs if history is about to repeat itself.
read the rest of piece in the new yorker.
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əˈkɔrdɪŋ tɪ ˈhɑrvərd lɔ skul prəˈfɛsər ˈʤini sək, ʃi ənd hər ˈkɑligz hæv bɪn ˈprɛʃərd baɪ ˈstudənts tɪ əˈvɔɪd ˈraɪtɪŋ ɪgˈzæm kˈwɛsʧənz ˌɪnˈvɑlvɪŋ ˈsɛkʃuəl ˈvaɪələns ər ˈivɪn ˈtiʧɪŋ əˈbaʊt ðə lɔ rɪˈgɑrdɪŋ ˈsɛkʃuəl ˈvaɪələns ɪn ˈɔrdər tɪ prəˈtɛkt ˈstudənts frəm pəˈtɛnʃəl dɪˈstrɛs. laɪk ðə ˈstudənts ˈɑrgjuɪŋ ðeɪ ər tu ˈtrɔməˌtaɪzd baɪ ˈrisənt grænd ˈʤʊri dɪˈsɪʒənz tɪ kəmˈplit ðɛr ˈfaɪnəl ɪgˈzæmz, əˈkaʊnt, ˈpəblɪʃt ɪn ðə nu ˈjɔrkər ˈjɛstərˌdeɪ, ɪz ə pərˈvərs rɪˈzəlt əv ə ˈkəlʧər ɪn wɪʧ ˌɪnəˈlɛkʧuəl ənd ˈiˌmoʊʃənəl ˈkəmfərt ɪz praɪˈɔrəˌtaɪzd ˈoʊvər ðə kɔr ˈfəŋkʃənz əv ə ˌjunəˈvərsəti. sək raɪts əˈbaʊt ˈstudənt dɪˈmændz, ˈmɛni əv wɪʧ dɪˈfaɪ ˈlɑʤɪk ənd ˈkɑmən sɛns: ˈstudənt ˌɔrgənəˈzeɪʃənz ˌrɛprɪˈzɛnɪŋ ˈɪntərɪsts naʊ ruˈtinli ədˈvaɪz ˈstudənts ðət ðeɪ ʃʊd nɑt fil ˈprɛʃərd tɪ əˈtɛnd ər pɑrˈtɪsəˌpeɪt ɪn klæs ˈsɛʃənz ðət ˈfoʊkɪs ɔn ðə lɔ əv ˈsɛkʃuəl ˈvaɪələns, ənd wɪʧ maɪt ˈðɛrˌfɔr bi trɔˈmætɪk. ˌɪndəˈvɪʤəwəl ˈstudənts ˈɔfən æsk ˈtiʧərz nɑt tɪ ˌɪnˈklud ðə lɔ əv reɪp ɔn ɪgˈzæmz fər fɪr ðət ðə məˈtɪriəl wʊd kɔz ðɛm tɪ pərˈfɔrm lɛs wɛl. səm ˈstudənts hæv ˈivɪn səˈʤɛstɪd ðət reɪp lɔ ʃʊd nɑt bi tɔt bɪˈkəz əv ɪts pəˈtɛnʃəl tɪ kɔz dɪˈstrɛs. sək ˈæptli kəmˈpɛrz ðə ˌsɪʧuˈeɪʃən tɪ wən ɪn wɪʧ ə ˈmɛdɪkəl ˈstudənt ˈtreɪnɪŋ tɪ bi ə ˈsərʤɪn ˈkænɑt ˈhændəl ðə saɪt əv bləd. biɪŋ ə ˈkɑmpətɪnt ˈlɔjər rikˈwaɪərz ˈnɑlɪʤ əv ə reɪnʤ əv ˈligəl ˈtɑpɪks, wɪʧ ɪz waɪ lɔ skul ɪz dɪˈzaɪnd tɪ ɪnˈʃʊr ˈstudənts ər fəˈmɪljər wɪθ ˈbeɪsɪk ˈɛriəz əv law—torts*, ˈkrɪmənəl lɔ, ˌkɑnstəˈtuʃənəl lɔ, ˈkɑnˌtrækts, ˈprɑpərti, ənd ˈsɪvəl prəˈsiʤər. rəˈgɑrdləs əv ðə ˈnɛroʊnəs əv lɔ ˈpræktɪs, ə ˈrizən ðət bɪˈkəmɪŋ ə ˈlaɪsənst əˈtərni rikˈwaɪərz ə ˈbeɪsɪk ˈnɑlɪʤ əv ðiz ˈɛriəz: ˈligəl ˈmætərz ˈfrikwɛntli təʧ ɔn mɔr ðən wən əv ðɛm. tru ðət reɪp ɪz nɑt ən ˈizi ˈtɑpɪk əv dɪˈskəʃən, laɪk ˈmɛni əv ðə ˈtɑpɪks ˌɪnˈkludɪd ɪn ˈkrɪmənəl lɔ ˈklæsɪz. kraɪm ɪz ɪkˈsidɪŋli ənˈplɛzənt (maɪ fərst wik əv lɔ skul wɑz spɛnt ˈrɛdɪŋ əˈbaʊt ˈmərdərd ˈbeɪbiz), ənd ðɪs wɪl ˈnɛvər ʧeɪnʤ. ɪt dɪˈfaɪz ˈrizən tɪ ɪgˈzɛmpt dɪˈskəʃənz əv reɪp, pərˈhæps ðə ˈsɪriəs kraɪm (ˈæftər ˈmərdər), frəm wət ɪz ˌɪnˈtɛndɪd tɪ bi ə ˈminɪŋfəl ˈsərˌveɪ əv ðə lɔ. sək ˈɔfərz əˈnəðər ɪgˈzæmpəl əv ðə kaɪnd əv nɑnˈsɛnsɪkəl rɪkˈwɛsts ˈstudənts ər ˈmeɪkɪŋ: wən ˈtiʧər aɪ noʊ wɑz ˈrisəntli æst baɪ ə ˈstudənt nɑt tɪ juz ðə wərd ““violate”*” ɪn ɪn ðɪs ˈkɑndəkt ˈvaɪəleɪt ðə ðə wərd wɑz ˈtrɪgərɪŋ. ðə ˈstədi əv lɔ rɪˈlaɪz ɔn priˈsɪʒən ənd kənˈsɪstənsi əv ˈlæŋgwɪʤ, rɪˈflɛktɪd ɪn ɑr (ənd greɪt britain’s*) rɪʧ ˈhɪstəri əv ˈhənərdz əv jɪrz əv ˈrɪtən kɔrt dɪˈsɪʒənz, ˈstæʧuts, ənd ˈəðər ˈligəl ˈdɑkjəmənts. lɔ skulz ˈkænɑt ˈsɪmpli drɔp wərdz frəm ðɛr bɪˈkəz əv ˈəðər ˈkɑnˌtɛksts ɪn wɪʧ ðeɪ maɪt bi juzd. sək dɪˈskraɪbz ðə ˈifɛkt ðiz ˈprɛʃərz ər ˈhævɪŋ ɔn hər ˈkɑligz: əˈbaʊt ə ˈdəzən nu ˈtiʧərz əv ˈkrɪmənəl lɔ æt ˈməltəpəl ˌɪnstɪˈtuʃənz hæv toʊld mi ðət ðeɪ ər nɑt ˌɪnˈkludɪŋ reɪp lɔ ɪn ðɛr ˈkɔrsɪz, ˈɑrgjuɪŋ ðət nɑt wərθ ðə rɪsk əv kəmˈpleɪnts əv dɪˈskəmfərt baɪ ˈstudənts. ˈivɪn ˈsizənd ˈtiʧərz əv ˈkrɪmənəl lɔ, æt lɔ skulz əˈkrɔs ðə ˈkəntri, hæv kənˈfaɪdɪd ðət ðeɪ ər ˈsɪriəsli kənˈsɪdərɪŋ ˈdrɑpɪŋ reɪp lɔ ənd ˈəðər ˈtɑpɪks rɪˈleɪtɪd tɪ sɛks ənd ˈʤɛndər ˈvaɪələns. boʊθ mɛn ənd ˈwɪmən ˈtiʧərz sim ˈfraɪtənd əv dɪˈskəʃən, bɪˈkəz ðeɪ ər əˈfreɪd əv ˈɪnʤərɪŋ ˈəðərz ər biɪŋ ˈɪnʤərd ðɛmˈsɛlvz. ɪt ɪz proʊˈfaʊndli ˈtrəbəlɪŋ ðət ˈfækəlti æt ˌɪnstɪˈtuʃənz əv haɪər ““elite”*” skulz, noʊ bi fɔrst ˈivɪn tɪ kənˈsɪdər nɑt ˈtiʧɪŋ səʧ ə ˈkrɪtɪkəli ˌɪmˈpɔrtənt ˈsəbʤɪkt æt ðə bɪˈhɛst əv ðoʊz ˌɪnˈsɪstɪŋ ɔn ˈiˌmoʊʃənəl ˈkəmfərt. ɛz sək ˈɑrgjuz, ðə ˈtɑpɪk əv ˈsɛkʃuəl əˈsɔlt wər tɪ liv ðə ˈklæsˌrum, ɪt wʊd bi ə trɪˈmɛndəs ɔl tɪ ˈvɪktɪmz əv ˈsɛkʃuəl assault.”*.” ɪt ʃʊd goʊ wɪˈθaʊt seɪɪŋ ðət ˈsɑlvɪŋ ə ˈprɑbləm rikˈwaɪərz ˈtɔkɪŋ əˈbaʊt ɪt, ˈlərnɪŋ əˈbaʊt ɪts ˈhɪstəri, ðeɪ ðə sərˈaʊndɪŋ ˈligəl ˈɪʃuz. ɪz ðə pɔɪnt əv lɔ skul tɪ meɪk fˈjuʧər ˈlɔjərz fil ˈkəmfərtəbəl, ər ɪz ɪt tɪ ɪˈneɪbəl ðɛm tɪ bi ˈzɛləs ˈædvəˌkeɪts fər ðɛr klaɪənts, hu meɪ ˌɪnˈklud ˈvɪktɪmz əv reɪp ənd ˈəðər kraɪmz? ɪf prəˈvaɪdɪŋ ˈstudənts wɪθ ðə ˈnɑlɪʤ ənd skɪlz tɪ bɪˈkəm ˈɛksələnt ˈlɔjərz ɪz noʊ ˈlɔŋgər tɪ bi praɪˈɔrəˌtaɪzd ˈoʊvər ˈkəmfərt, fˈjuʧər ˌʤɛnərˈeɪʃənz əv ˈlɔjərz meɪ bi spɛrd ðə ˈiˌmoʊʃənəl dɪˈskəmfərt ðət kəmz wɪθ ˈlərnɪŋ əˈbaʊt vi. juˈnaɪtɪd steɪts 1944 ər ˈplɛsi vi. ˈfərgəsən 1896 əv kɔrs, ðeɪ ˈɔlsoʊ bi ˈeɪbəl tɪ ˈrɛkəgˌnaɪz ðə saɪnz ɪf ˈhɪstəri ɪz əˈbaʊt tɪ rɪˈpit ˌɪtˈsɛlf. rɛd ðə rɛst əv pis ɪn ðə nu ˈjɔrkər.
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in a hugely surprising turn of events, wolfgang voigt returns to his most cherished project with the first new gas album in almost two decades.
no matter if you are the most techno head who's still salivating over last year's mammoth 10 x lp (or even one of those lucky enough to have bought the original the first time around!) or a casual browser within the esoteric electronic universe, there is no doubt that the words 'gas' followed by 'new album' are going to send shivers down your spine.
it's no surprise that we have long adored the gas project, having featured the previously unreleased track die wand as the opening piece on our decade anniversary compilation, each gas record receives a weekly spin on the bleep office stereo. the original four albums have also been a constant source of inspiration for endless waves of artists coming through the underground. from the next gen chain of and the excursions of the modern love crew through to the wax of astral industries.
narkopop is a truly journey into the deepest, darkest corners of the from which the inspiration for the project stems - sure to be one of the most life-affirming albums of 2017.
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ɪn ə ˈhjuʤli səˈpraɪzɪŋ tərn əv ɪˈvɛnts, ˈwʊlfˌgæŋ vɔɪt rɪˈtərnz tɪ hɪz moʊst ˈʧɛrɪʃt ˈprɑʤɛkt wɪθ ðə fərst nu gæs ˈælbəm ɪn ˈɔlˌmoʊst tu ˈdɛkeɪdz. noʊ ˈmætər ɪf ju ər ðə moʊst ˈtɛknoʊ hɛd huz stɪl ˈsæləˌveɪtɪŋ ˈoʊvər læst jɪrz ˈmæməθ 10 ɛks ˈɛlˈpi (ər ˈivɪn wən əv ðoʊz ˈləki ɪˈnəf tɪ hæv bɔt ðə ərˈɪʤənəl ðə fərst taɪm əraʊnd!) ər ə ˈkæʒəwəl ˈbraʊzər wɪˈθɪn ðə ˌɛsəˈtɛrɪk ˌɪˌlɛkˈtrɑnɪk ˈjunəˌvərs, ðɛr ɪz noʊ daʊt ðət ðə wərdz 'gæs' ˈfɑloʊd baɪ 'nu ˈælbəm' ər goʊɪŋ tɪ sɛnd ˈʃɪvərz daʊn jʊr spaɪn. ɪts noʊ səˈpraɪz ðət wi hæv lɔŋ əˈdɔrd ðə gæs ˈprɑʤɛkt, ˈhævɪŋ ˈfiʧərd ðə ˈpriviəsli ənrɪˈlist træk daɪ wɑnd ɛz ðə ˈoʊpənɪŋ pis ɔn ɑr ˈdɛkeɪd ˌænəˈvərsəri ˌkɑmpəˈleɪʃən iʧ gæs ˈrɛkərd rɪˈsivz ə ˈwikli spɪn ɔn ðə blip ˈɔfəs ˈstɛriˌoʊ. ðə ərˈɪʤənəl fɔr ˈælbəmz hæv ˈɔlsoʊ bɪn ə ˈkɑnstənt sɔrs əv ˌɪnspərˈeɪʃən fər ˈɛndləs weɪvz əv ˈɑrtɪsts ˈkəmɪŋ θru ðə ˈəndərˌgraʊnd. frəm ðə nɛkst ʤɛn ʧeɪn əv ənd ðə ɪkˈskərʒənz əv ðə ˈmɑdərn ləv kru θru tɪ ðə wæks əv ˈæstrəl ˈɪndəstriz. ɪz ə ˈtruli ˈʤərni ˈɪntu ðə ˈdipəst, ˈdɑrkəst ˈkɔrnərz əv ðə frəm wɪʧ ðə ˌɪnspərˈeɪʃən fər ðə ˈprɑʤɛkt stɛmz ʃʊr tɪ bi wən əv ðə moʊst ˈlaɪfəˌfərmɪŋ ˈælbəmz əv 2017
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lm photo via getty images making time for silence can make you feel less stressed, more focused and more creative, according to science.
we live in a loud and distracting world, where silence is increasingly difficult to come by and that may be negatively affecting our health.
in fact, a 2011 world health organization report called noise pollution a “modern plague,” concluding that “there is overwhelming evidence that exposure to environmental noise has adverse effects on the health of the population.”
we’re constantly filling our ears with music, tv and radio news, and, of course, the multitude of sounds that we create nonstop in our own heads. think about it: how many moments each day do you spend in total silence? the answer is probably very few.
as our internal and external environments become louder and louder, more people are beginning to seek out silence, whether through a practice of sitting quietly for 10 minutes every morning or heading off to a silent retreat.
inspired to go find some peace and quiet? here are four ways that silence is good for your brain and how making time for it can make you feel less stressed, more focused and more creative.
1. silence relieves stress and tension.
florence nightingale, the century british nurse and social activist, once wrote that “unnecessary noise is the most cruel absence of care that can be inflicted on sick or well.” nightingale argued that needless sounds could cause distress, sleep loss and alarm for recovering patients.
it turns out that noise pollution has been found to lead to high blood pressure and heart attacks, as well as impairing hearing and overall health. loud noises raise stress levels by activating the amygdala and causing the release of the stress hormone cortisol, according to research.
an unpublished 2004 paper by environmental psychologist dr. craig suggests that higher noise levels in neonatal intensive care units led to elevated blood pressure, increased heart rates and disrupted patient sleep patterns.
just as too much noise can cause stress and tension, research has found that silence has the opposite effect, releasing tension in the brain and body.
a 2006 study published in the journal heart found two minutes of silence to be more relaxing than listening to “relaxing” music, based on changes in blood pressure and blood circulation in the brain.
2. silence our mental resources.
in our everyday lives, sensory input is being thrown at us from every angle. when we can finally get away from these sonic disruptions, our brains’ attention centers have the opportunity to restore themselves.
the ceaseless demands of modern life put a significant burden on the prefrontal cortex of the brain, which is involved in thinking, decision-making and problem-solving.
as a result, our resources become drained. when those attention resources are depleted, we become distracted and mentally fatigued, and may struggle to focus, solve problems and come up with new ideas.
but according to attention restoration theory, the brain can restore its finite cognitive resources when in environments with lower levels of sensory input than usual. in silence for instance, the quiet stillness you find when walking alone in nature the brain can let down its sensory guard, so to speak.
3. in silence, we can tap into the default mode network.
the default mode network of the brain is activated when we engage in what scientists refer to as “self-generated cognition,” such as daydreaming, meditating, fantasizing about the future or just letting our minds wander.
when the brain is idle and disengaged from external stimuli, we can finally tap into our inner stream of thoughts, emotions, memories and ideas. engaging this network helps us to make meaning out of our experiences, empathize with others, be more creative and reflect on our own mental and emotional states.
in order to do this, necessary to break away from the distractions that keep us lingering on the shallow surfaces of the mind. silence is one way of getting there.
default mode activity helps us think deeply and creatively. as herman melville once wrote, “all profound things and emotions of things are preceded and attended by silence.”
4. getting quiet can regenerate brain cells.
silence can quite literally grow the brain.
a 2013 study on mice, published in the journal brain, structure, and function, involved comparing the effects of ambient noise, white noise, pup calls and silence on the rodents’ brains. although the researchers intended to use silence as a control in the study, they found that two hours of silence daily led to the development of new cells in the hippocampus, a key brain region associated with learning, memory and emotion.
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lm* ˈfoʊˌtoʊ ˈviə ˈgɛti ˈɪmɪʤɪz ˈmeɪkɪŋ taɪm fər ˈsaɪləns kən meɪk ju fil lɛs strɛst, mɔr ˈfoʊkɪst ənd mɔr kriˈeɪtɪv, əˈkɔrdɪŋ tɪ saɪəns. wi lɪv ɪn ə laʊd ənd dɪˈstræktɪŋ wərld, wɛr ˈsaɪləns ɪz ˌɪnˈkrisɪŋgli ˈdɪfəkəlt tɪ kəm baɪ ənd ðət meɪ bi ˈnɛgətɪvli əˈfɛktɪŋ ɑr hɛlθ. ɪn fækt, ə 2011 wərld hɛlθ ˌɔrgənəˈzeɪʃən rɪˈpɔrt kɔld nɔɪz pəˈluʃən ə plague,”*,” kənˈkludɪŋ ðət ɪz ˌoʊvərˈwɛlmɪŋ ˈɛvədəns ðət ɪkˈspoʊʒər tɪ ɪnˌvaɪrənˈmɛnəl nɔɪz həz ˌædˈvərs ˈifɛkts ɔn ðə hɛlθ əv ðə population.”*.” ˈkɑnstəntli ˈfɪlɪŋ ɑr ɪrz wɪθ mˈjuzɪk, ˌtɛləˈvɪʒən ənd ˈreɪdiˌoʊ nuz, ənd, əv kɔrs, ðə ˈməltəˌtud əv saʊnz ðət wi kriˈeɪt ˌnɑnˈstɑp ɪn ɑr oʊn hɛdz. θɪŋk əˈbaʊt ɪt: haʊ ˈmɛni ˈmoʊmənts iʧ deɪ du ju spɛnd ɪn ˈtoʊtəl ˈsaɪləns? ðə ˈænsər ɪz ˈprɑbəˌbli ˈvɛri fju. ɛz ɑr ˌɪnˈtərnəl ənd ɪkˈstərnəl ɪnˈvaɪrənmənts bɪˈkəm ˈlaʊdər ənd ˈlaʊdər, mɔr ˈpipəl ər bɪˈgɪnɪŋ tɪ sik aʊt ˈsaɪləns, ˈwɛðər θru ə ˈpræktɪs əv ˈsɪtɪŋ kˈwaɪətli fər 10 ˈmɪnəts ˈɛvəri ˈmɔrnɪŋ ər ˈhɛdɪŋ ɔf tɪ ə ˈsaɪlənt riˈtrit. ˌɪnˈspaɪərd tɪ goʊ faɪnd səm pis ənd kwaɪət? hir ər fɔr weɪz ðət ˈsaɪləns ɪz gʊd fər jʊr breɪn ənd haʊ ˈmeɪkɪŋ taɪm fər ɪt kən meɪk ju fil lɛs strɛst, mɔr ˈfoʊkɪst ənd mɔr kriˈeɪtɪv. 1 ˈsaɪləns riˈlivz strɛs ənd ˈtɛnʃən. ˈflɔrəns ˈnaɪtɪŋgeɪl, ðə ˈsɛnʧəri ˈbrɪtɪʃ nərs ənd ˈsoʊʃəl ˈæktɪvɪst, wəns roʊt ðət nɔɪz ɪz ðə moʊst kruəl ˈæbsəns əv kɛr ðət kən bi ˌɪnˈflɪktɪd ɔn sɪk ər well.”*.” ˈnaɪtɪŋgeɪl ˈɑrgjud ðət ˈnidləs saʊnz kʊd kɔz dɪˈstrɛs, slip lɔs ənd əˈlɑrm fər rɪˈkəvərɪŋ ˈpeɪʃənz. ɪt tərnz aʊt ðət nɔɪz pəˈluʃən həz bɪn faʊnd tɪ lɛd tɪ haɪ bləd ˈprɛʃər ənd hɑrt əˈtæks, ɛz wɛl ɛz ˌɪmˈpɛrɪŋ ˈhirɪŋ ənd ˈoʊvərˌɔl hɛlθ. laʊd ˈnɔɪzɪz reɪz strɛs ˈlɛvəlz baɪ ˈæktəˌveɪtɪŋ ðə ˌæmɪgˈdɑlə ənd ˈkɔzɪŋ ðə riˈlis əv ðə strɛs ˈhɔrˌmoʊn ˈkɔrtɪˌsɔl, əˈkɔrdɪŋ tɪ ˈrisərʧ. ən ənˈpəblɪʃt 2004 ˈpeɪpər baɪ ɪnˌvaɪrənˈmɛnəl saɪˈkɑləʤəst ˈdɑktər. kreɪg səˈʤɛsts ðət haɪər nɔɪz ˈlɛvəlz ɪn ˌnioʊˈneɪtəl ˌɪnˈtɛnsɪv kɛr ˈjunɪts lɛd tɪ ˈɛləˌveɪtɪd bləd ˈprɛʃər, ˌɪnˈkrist hɑrt reɪts ənd dɪsˈrəptɪd ˈpeɪʃənt slip ˈpætərnz. ʤɪst ɛz tu məʧ nɔɪz kən kɔz strɛs ənd ˈtɛnʃən, ˈrisərʧ həz faʊnd ðət ˈsaɪləns həz ðə ˈɑpəzɪt ˈifɛkt, riˈlisɪŋ ˈtɛnʃən ɪn ðə breɪn ənd ˈbɑdi. ə 2006 ˈstədi ˈpəblɪʃt ɪn ðə ˈʤərnəl hɑrt faʊnd tu ˈmɪnəts əv ˈsaɪləns tɪ bi mɔr rɪˈlæksɪŋ ðən ˈlɪsənɪŋ tɪ ““relaxing”*” mˈjuzɪk, beɪst ɔn ˈʧeɪnʤɪz ɪn bləd ˈprɛʃər ənd bləd ˈsərkjəˌleɪʃən ɪn ðə breɪn. 2 ˈsaɪləns ɑr ˈmɛntəl ˈrisɔrsɪz. ɪn ɑr ˈɛvriˈdeɪ lɪvz, ˈsɛnsəri ˈɪnˌpʊt ɪz biɪŋ θroʊn æt ˈjuˈɛs frəm ˈɛvəri ˈæŋgəl. wɪn wi kən ˈfaɪnəli gɪt əˈweɪ frəm ðiz ˈsɑnɪk dɪsˈrəpʃənz, ɑr brains’*’ əˈtɛnʃən ˈsɛnərz hæv ðə ˌɑpərˈtunəti tɪ rɪˈstɔr ðɛmˈsɛlvz. ðə ˈsislɪs dɪˈmændz əv ˈmɑdərn laɪf pʊt ə sɪgˈnɪfɪkənt ˈbərdən ɔn ðə priˈfrəntəl ˈkɔrtɛks əv ðə breɪn, wɪʧ ɪz ˌɪnˈvɑlvd ɪn ˈθɪŋkɪŋ, dɪˈsɪʒənˌmeɪkɪŋ ənd problem-solving*. ɛz ə rɪˈzəlt, ɑr ˈrisɔrsɪz bɪˈkəm dreɪnd. wɪn ðoʊz əˈtɛnʃən ˈrisɔrsɪz ər dɪˈplitɪd, wi bɪˈkəm dɪˈstræktɪd ənd ˈmɛnəli fəˈtigd, ənd meɪ ˈstrəgəl tɪ ˈfoʊkɪs, sɑlv ˈprɑbləmz ənd kəm əp wɪθ nu aɪˈdiəz. bət əˈkɔrdɪŋ tɪ əˈtɛnʃən ˌrɛstərˈeɪʃən ˈθɪri, ðə breɪn kən rɪˈstɔr ɪts ˈfaɪˌnaɪt ˈkɑgnɪtɪv ˈrisɔrsɪz wɪn ɪn ɪnˈvaɪrənmənts wɪθ loʊər ˈlɛvəlz əv ˈsɛnsəri ˈɪnˌpʊt ðən ˈjuʒəwəl. ɪn ˈsaɪləns fər ˈɪnstəns, ðə kwaɪət ˈstɪlnəs ju faɪnd wɪn ˈwɔkɪŋ əˈloʊn ɪn ˈneɪʧər ðə breɪn kən lɛt daʊn ɪts ˈsɛnsəri gɑrd, soʊ tɪ spik. 3 ɪn ˈsaɪləns, wi kən tæp ˈɪntu ðə dɪˈfɔlt moʊd ˈnɛtˌwərk. ðə dɪˈfɔlt moʊd ˈnɛtˌwərk əv ðə breɪn ɪz ˈæktɪˌveɪtɪd wɪn wi ɪnˈgeɪʤ ɪn wət ˈsaɪəntɪsts rɪˈfər tɪ ɛz cognition,”*,” səʧ ɛz ˈdeɪˌdrimɪŋ, ˈmɛdəˌteɪtɪŋ, ˈfænəˌsaɪzɪŋ əˈbaʊt ðə fˈjuʧər ər ʤɪst ˈlɛtɪŋ ɑr maɪndz ˈwɑndər. wɪn ðə breɪn ɪz ˈaɪdəl ənd dɪsɪnˈgeɪʤd frəm ɪkˈstərnəl ˈstɪmjəˌlaɪ, wi kən ˈfaɪnəli tæp ˈɪntu ɑr ˈɪnər strim əv θɔts, ˈɪˌmoʊʃənz, ˈmɛməriz ənd aɪˈdiəz. ɪnˈgeɪʤɪŋ ðɪs ˈnɛtˌwərk hɛlps ˈjuˈɛs tɪ meɪk ˈminɪŋ aʊt əv ɑr ɪkˈspɪriənsɪz, ˈɛmpəˌθaɪz wɪθ ˈəðərz, bi mɔr kriˈeɪtɪv ənd rɪˈflɛkt ɔn ɑr oʊn ˈmɛntəl ənd ˈiˌmoʊʃənəl steɪts. ɪn ˈɔrdər tɪ du ðɪs, ˈnɛsəˌsɛri tɪ breɪk əˈweɪ frəm ðə dɪˈstrækʃənz ðət kip ˈjuˈɛs ˈlɪŋgərɪŋ ɔn ðə ˈʃæloʊ ˈsərfəsɪz əv ðə maɪnd. ˈsaɪləns ɪz wən weɪ əv ˈgɪtɪŋ ðɛr. dɪˈfɔlt moʊd ækˈtɪvɪti hɛlps ˈjuˈɛs θɪŋk ˈdipli ənd kriˈeɪtɪvli. ɛz ˈhərmən ˈmɛlvɪl wəns roʊt, proʊˈfaʊnd θɪŋz ənd ˈɪˌmoʊʃənz əv θɪŋz ər prɪˈsidɪd ənd əˈtɛndəd baɪ silence.”*.” 4 ˈgɪtɪŋ kwaɪət kən riˈʤɛnərˌeɪt breɪn sɛlz. ˈsaɪləns kən kwaɪt ˈlɪtərəli groʊ ðə breɪn. ə 2013 ˈstədi ɔn maɪs, ˈpəblɪʃt ɪn ðə ˈʤərnəl breɪn, ˈstrəkʧər, ənd ˈfəŋkʃən, ˌɪnˈvɑlvd kəmˈpɛrɪŋ ðə ˈifɛkts əv ˈæmbiənt nɔɪz, waɪt nɔɪz, pəp kɔlz ənd ˈsaɪləns ɔn ðə rodents’*’ breɪnz. ˌɔlˈðoʊ ðə ˈrisərʧərz ˌɪnˈtɛndɪd tɪ juz ˈsaɪləns ɛz ə kənˈtroʊl ɪn ðə ˈstədi, ðeɪ faʊnd ðət tu aʊərz əv ˈsaɪləns ˈdeɪli lɛd tɪ ðə dɪˈvɛləpmənt əv nu sɛlz ɪn ðə ˌhɪpoʊˈkæmpəs, ə ki breɪn ˈriʤən əˈsoʊʃiˌeɪtəd wɪθ ˈlərnɪŋ, ˈmɛməri ənd ˈiˌmoʊʃən.
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lebron james and kevin durant are currently facing off on the court, as they each try to lead their teams victory in the 2017 nba finals, and though the two have never played on the same team, it seems that they are former collaborators in an entirely different capacity. according to, the nba superstars made a rap song together in 2011 during the lockout.
sources told that, while durant was visiting james for workouts in akron, ohio, the two decided to write and record the song between sessions. "when approached about its existence, james and durant, to a moderate extent, confirmed that there is such a track before bursting out into laughter without further comment,"'s chris haynes writes.
the song's whereabouts are unknown, but someone who has heard the track told that it was “a quality track” and said that the lyrics were “surprisingly and delivered.” the song was considered to be featured in the 2012 film thunderstruck, which starred durant.
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ˈlɛbrən ʤeɪmz ənd ˈkɛvɪn ˈdʊrənt ər ˈkərəntli ˈfeɪsɪŋ ɔf ɔn ðə kɔrt, ɛz ðeɪ iʧ traɪ tɪ lɛd ðɛr timz ˈvɪktəri ɪn ðə 2017 ˈɛnˌbiˈeɪ ˈfaɪnəlz, ənd ðoʊ ðə tu hæv ˈnɛvər pleɪd ɔn ðə seɪm tim, ɪt simz ðət ðeɪ ər ˈfɔrmər kəˈlæbərˌeɪtərz ɪn ən ɪnˈtaɪərli ˈdɪfərənt kəˈpæsɪti. əˈkɔrdɪŋ tɪ, ðə ˈɛnˌbiˈeɪ ˌsupərˈstɑrz meɪd ə ræp sɔŋ təˈgɛðər ɪn 2011 ˈdʊrɪŋ ðə ˈlɑˌkaʊt. ˈsɔrsəz toʊld ðət, waɪl ˈdʊrənt wɑz ˈvɪzɪtɪŋ ʤeɪmz fər ˈwərˌkaʊts ɪn ˈækrən, oʊˈhaɪoʊ, ðə tu ˌdɪˈsaɪdɪd tɪ raɪt ənd ˈrɛkərd ðə sɔŋ bɪtˈwin ˈsɛʃənz. "wɪn əˈproʊʧt əˈbaʊt ɪts ɪgˈzɪstəns, ʤeɪmz ənd ˈdʊrənt, tɪ ə ˈmɑdərˌeɪt ɪkˈstɛnt, kənˈfərmd ðət ðɛr ɪz səʧ ə træk ˌbiˈfɔr ˈbərstɪŋ aʊt ˈɪntu ˈlæftər wɪˈθaʊt ˈfərðər ˈkɑmɛnt," krɪs heɪnz raɪts. ðə sɔŋz ˈwɛrəˌbaʊts ər ənˈnoʊn, bət ˈsəmˌwən hu həz hərd ðə træk toʊld ðət ɪt wɑz kˈwɑləti track”*” ənd sɛd ðət ðə ˈlɪrɪks wər ənd delivered.”*.” ðə sɔŋ wɑz kənˈsɪdərd tɪ bi ˈfiʧərd ɪn ðə 2012 fɪlm ˈθəndərˌstrək, wɪʧ stɑrd ˈdʊrənt.
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authorities say as many as 20 people may have been involved in the plot to attack paris. here's what we know about them so far. (gillian washington post)
abdelhamid, a possible central figure involved in planning attacks that killed at least 129 people in paris on friday, bragged in an interview earlier this year about plotting terrorist attacks against the west and evading belgian authorities, according to vocativ.
the statements, in which the told readers not to fear the "bloated image of the crusader intelligence," were published in february in, an islamic state magazine published in several european languages, including english.
“i was able to leave despite being chased after by so many intelligence agencies,” he told the magazine, referring to his ability to get out of belgium. “all this proves that a muslim should not fear the bloated image of the crusader intelligence."
[raids spread across france and belgium amid manhunt for suspects]
abaaoud added: “my name and picture were all over the news yet i was able to stay in their homeland, plan operations against them, and leave safely when doing so became necessary.”
european authorities believe the belgian the son of moroccan immigrants fought for the islamic state in syria and goes by the nickname abu al-baljiki, according to vocativ.
abaaoud, a graduate of one of most prestigious high schools, appeared to move higher in the islamic state ranks over the years and made no secret of his intentions to strike in europe, the associated press reported.
the guardian reported that he appeared on authorities' radars after he was spotted in an islamic state video that showed him driving a vehicle carrying mutilated bodies to a mass grave.
french officials told the ap that is suspected to have ties to other thwarted attacks, including one in which a man opened fire on an train in august but was subdued by three american travelers.
abaaoud was also linked to a terrorist cell that planned to kill belgian police officers in the town of verviers, according to the guardian. police killed two suspected plotters during a january raid that triggered a gun battle, the newspaper reported.
[a new islamic state video threatens a attack on washington]
in his interview with which included photos of posing with an islamic state flag and the koran the militant said he and two other men spent months trying to penetrate european borders before managing to arrive in belgium.
their goal, he told the magazine: “terrorise the crusaders waging war against the muslims.”
“we were then able to obtain weapons and set up a safe house while we planned to carry out operations against the crusaders," he said, according to. "all of this was facilitated for us by allah. there is no might nor power except by him.”
discussing the raid that halted those plans, said police arrived with more than 150 french and belgian soldiers from special forces units. of his co-conspirators, he said that “both brothers were blessed with [martyrdom], which is what they had desired for so long.”
reflecting on his time on the run from belgian authorities, told the magazine that he narrowly escaped capture, according to the guardian.
“i was even stopped by an officer who contemplated me so as to compare me to the picture, but he let me go, as he did not see the resemblance!” he said. “this was nothing but a gift from allah.”
the rebel fighter was tried in absentia by a belgian court and sentenced to 20 years in prison for recruiting on behalf of the islamic state in syria, the guardian reported.
during an appearance on the french radio station rtl, a french official described as "one of the most active" islamic state executioners in syria, according to usa today.
more reading:
one hard lesson after the eiffel darkness was mistaken for a moving tribute
paris attacks create new tensions over migration wave
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əˈθɔrətiz seɪ ɛz ˈmɛni ɛz 20 ˈpipəl meɪ hæv bɪn ˌɪnˈvɑlvd ɪn ðə plɑt tɪ əˈtæk ˈpɛrɪs. hɪrz wət wi noʊ əˈbaʊt ðɛm soʊ fɑr. (ˈʤɪliən ˈwɔʃɪŋtən poʊst), ə ˈpɑsəbəl ˈsɛntrəl ˈfɪgjər ˌɪnˈvɑlvd ɪn ˈplænɪŋ əˈtæks ðət kɪld æt list 129 ˈpipəl ɪn ˈpɛrɪs ɔn ˈfraɪˌdeɪ, brægd ɪn ən ˈɪntərvˌju ˈərliər ðɪs jɪr əˈbaʊt ˈplɑtɪŋ ˈtɛrərɪst əˈtæks əˈgɛnst ðə wɛst ənd ɪˈveɪdɪŋ ˈbɛlʤən əˈθɔrətiz, əˈkɔrdɪŋ tɪ vocativ*. ðə ˈsteɪtmənts, ɪn wɪʧ ðə toʊld ˈridərz nɑt tɪ fɪr ðə "ˈbloʊtɪd ˈɪmɪʤ əv ðə kruˈseɪdər ˌɪnˈtɛləʤəns," wər ˈpəblɪʃt ɪn ˈfɛbruˌɛri ɪn, ən ˌɪzˈlɑmɪk steɪt ˈmægəˌzin ˈpəblɪʃt ɪn ˈsɛvərəl ˌjʊrəˈpiən ˈlæŋgwɪʤɪz, ˌɪnˈkludɪŋ ˈɪŋlɪʃ. wɑz ˈeɪbəl tɪ liv dɪˈspaɪt biɪŋ ʧeɪst ˈæftər baɪ soʊ ˈmɛni ˌɪnˈtɛləʤəns agencies,”*,” hi toʊld ðə ˈmægəˌzin, rɪˈfərɪŋ tɪ hɪz əˈbɪləˌti tɪ gɪt aʊt əv ˈbɛlʤəm. ðɪs pruvz ðət ə ˈməzlɪm ʃʊd nɑt fɪr ðə ˈbloʊtɪd ˈɪmɪʤ əv ðə kruˈseɪdər ˌɪnˈtɛləʤəns." [reɪdz sprɛd əˈkrɔs fræns ənd ˈbɛlʤəm əˈmɪd ˈmænˌhənt fər ˈsəˌspɛkts] ˈædɪd: neɪm ənd ˈpɪkʧər wər ɔl ˈoʊvər ðə nuz jɛt aɪ wɑz ˈeɪbəl tɪ steɪ ɪn ðɛr ˈhoʊmˌlænd, plæn ˌɑpərˈeɪʃənz əˈgɛnst ðɛm, ənd liv ˈseɪfli wɪn duɪŋ soʊ bɪˈkeɪm necessary.”*.” ˌjʊrəˈpiən əˈθɔrətiz bɪˈliv ðə ˈbɛlʤən ðə sən əv mərˈɑkən ˈɪməgrənts fɔt fər ðə ˌɪzˈlɑmɪk steɪt ɪn ˈsɪriə ənd goʊz baɪ ðə ˈnɪkˌneɪm ˈæbu al-baljiki*, əˈkɔrdɪŋ tɪ vocativ*., ə ˈgræʤəˌweɪt əv wən əv moʊst pərˈstiʤəs haɪ skulz, əˈpɪrd tɪ muv haɪər ɪn ðə ˌɪzˈlɑmɪk steɪt ræŋks ˈoʊvər ðə jɪrz ənd meɪd noʊ ˈsikrɪt əv hɪz ˌɪnˈtɛnʧənz tɪ straɪk ɪn ˈjʊrəp, ðə əˈsoʊʃiˌeɪtəd prɛs ˌriˈpɔrtəd. ðə ˈgɑrdiən ˌriˈpɔrtəd ðət hi əˈpɪrd ɔn əˈθɔrətiz' ˈreɪˌdɑrz ˈæftər hi wɑz ˈspɑtɪd ɪn ən ˌɪzˈlɑmɪk steɪt ˈvɪdioʊ ðət ʃoʊd ɪm ˈdraɪvɪŋ ə ˈviɪkəl ˈkɛriɪŋ mˈjutəˌleɪtɪd ˈbɑdiz tɪ ə mæs greɪv. frɛnʧ əˈfɪʃəlz toʊld ðə ˌeɪˈpi ðət ɪz səˈspɛktɪd tɪ hæv taɪz tɪ ˈəðər θˈwɔrtɪd əˈtæks, ˌɪnˈkludɪŋ wən ɪn wɪʧ ə mæn ˈoʊpənd faɪər ɔn ən treɪn ɪn ˈɔgəst bət wɑz səbˈdud baɪ θri əˈmɛrɪkən ˈtrævələrz. wɑz ˈɔlsoʊ lɪŋkt tɪ ə ˈtɛrərɪst sɛl ðət plænd tɪ kɪl ˈbɛlʤən pəˈlis ˈɔfɪsərz ɪn ðə taʊn əv verviers*, əˈkɔrdɪŋ tɪ ðə ˈgɑrdiən. pəˈlis kɪld tu səˈspɛktɪd ˈplɑtərz ˈdʊrɪŋ ə ˈʤænjuˌɛri reɪd ðət ˈtrɪgərd ə gən ˈbætəl, ðə ˈnuzˌpeɪpər ˌriˈpɔrtəd. [ə nu ˌɪzˈlɑmɪk steɪt ˈvɪdioʊ θˈrɛtənz ə əˈtæk ɔn ˈwɔʃɪŋtən] ɪn hɪz ˈɪntərvˌju wɪθ wɪʧ ˌɪnˈkludɪd ˈfoʊˌtoʊz əv ˈpoʊzɪŋ wɪθ ən ˌɪzˈlɑmɪk steɪt flæg ənd ðə kɔˈrɑn ðə ˈmɪlətənt sɛd hi ənd tu ˈəðər mɛn spɛnt mənθs traɪɪŋ tɪ ˈpɛnəˌtreɪt ˌjʊrəˈpiən ˈbɔrdərz ˌbiˈfɔr ˈmænəʤɪŋ tɪ əraɪv ɪn ˈbɛlʤəm. ðɛr goʊl, hi toʊld ðə ˈmægəˌzin: ðə kruˈseɪdərz ˈweɪʤɪŋ wɔr əˈgɛnst ðə muslims.”*.” wər ðɛn ˈeɪbəl tɪ əbˈteɪn ˈwɛpənz ənd sɛt əp ə seɪf haʊs waɪl wi plænd tɪ ˈkɛri aʊt ˌɑpərˈeɪʃənz əˈgɛnst ðə kruˈseɪdərz," hi sɛd, əˈkɔrdɪŋ tɪ. "ɔl əv ðɪs wɑz fəˈsɪləˌteɪtɪd fər ˈjuˈɛs baɪ ˈɑlə. ðɛr ɪz noʊ maɪt nɔr paʊər ɪkˈsɛpt baɪ him.”*.” dɪˈskəsɪŋ ðə reɪd ðət ˈhɔltɪd ðoʊz plænz, sɛd pəˈlis əraɪvd wɪθ mɔr ðən 150 frɛnʧ ənd ˈbɛlʤən ˈsoʊlʤərz frəm ˈspɛʃəl ˈfɔrsɪz ˈjunɪts. əv hɪz co-conspirators*, hi sɛd ðət ˈbrəðərz wər blɛst wɪθ [ˈmɑrtərdəm], wɪʧ ɪz wət ðeɪ hæd dɪˈzaɪərd fər soʊ long.”*.” rɪˈflɛktɪŋ ɔn hɪz taɪm ɔn ðə rən frəm ˈbɛlʤən əˈθɔrətiz, toʊld ðə ˈmægəˌzin ðət hi ˈnɛroʊli ɪˈskeɪpt ˈkæpʧər, əˈkɔrdɪŋ tɪ ðə ˈgɑrdiən. wɑz ˈivɪn stɑpt baɪ ən ˈɔfɪsər hu ˈkɑntəmˌpleɪtɪd mi soʊ ɛz tɪ kəmˈpɛr mi tɪ ðə ˈpɪkʧər, bət hi lɛt mi goʊ, ɛz hi dɪd nɑt si ðə resemblance!”*!” hi sɛd. wɑz ˈnəθɪŋ bət ə gɪft frəm allah.”*.” ðə ˈrɛbəl ˈfaɪtər wɑz traɪd ɪn æbˈsɛnʃə baɪ ə ˈbɛlʤən kɔrt ənd ˈsɛntənst tɪ 20 jɪrz ɪn ˈprɪzən fər rɪˈkrutɪŋ ɔn bɪˈhæf əv ðə ˌɪzˈlɑmɪk steɪt ɪn ˈsɪriə, ðə ˈgɑrdiən ˌriˈpɔrtəd. ˈdʊrɪŋ ən əˈpɪrəns ɔn ðə frɛnʧ ˈreɪdiˌoʊ ˈsteɪʃən rtl*, ə frɛnʧ əˈfɪʃəl dɪˈskraɪbd ɛz "wən əv ðə moʊst ˈæktɪv" ˌɪzˈlɑmɪk steɪt ˌɛksəˈkjuʃənərz ɪn ˈsɪriə, əˈkɔrdɪŋ tɪ ˈjuˈɛˈseɪ təˈdeɪ. mɔr ˈrɛdɪŋ: wən hɑrd ˈlɛsən ˈæftər ðə ˈaɪfəl ˈdɑrknəs wɑz mɪˈsteɪkən fər ə ˈmuvɪŋ ˈtrɪbjut ˈpɛrɪs əˈtæks kriˈeɪt nu ˈtɛnʧənz ˈoʊvər maɪˈgreɪʃən weɪv
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buy photo joe mckay speaks during the business council induction ceremony. (photo: tribune file photo
for two years, between the spring of 2012 and summer of 2014, the people suffered through one of the most chaotic and divisive periods of the tribe had experienced since its constitution was enacted in 1935.
personal attacks, repeated allegations of criminal misconduct, manipulation of constitutional authority, a refusal to negotiate all contributed to a prolonged breakdown in the government that only ended with the installation of new tribal leadership in july 2014.
during that troubled time, various shifting political factions voted to suspend or expel 10 different council members, and 13 different people claimed legitimate membership within the tribal business council.
there were repeated street protests, some verging upon riots, and confusion over which political faction could claim lawful authority prompted the native american bank to suspend authorization for the issuance of tribal checks. tribal employees went unpaid, and the delivery of goods and services was delayed.
those chaotic times have now passed, however, many leaders both inside and outside the current administration argue broad constitutional reform must take place to ensure the type of governmental meltdown that occurred between 2012 and 2014 not be repeated.
“what we saw in 2012 was that the law became whoever had the most votes, that they could interpret the constitution any damn way they wanted to,” said joe mckay, tribal and a driving force behind a new effort to rewrite the constitution. “that’s why we had people being expelled on votes of three and four council members. the law became whatever the hell i want it to be if i have enough votes to get it done. the only thing that ended that chaos was the election.”
during a two-day symposium held in browning on jan. 11 and 12, a broad assortment of tribal business leaders, educators, land and resource managers, government officials and community representatives met to discuss constitutional reform on the indian reservation.
“the symposium was an effort to educate the tribal membership about the process for change and the issues to be aware of going forward,” mckay said.
guest presenters included the of the harvard (university) project on american indian economic development, a former deputy assistant secretary of indian affairs who is also an enrolled member of the crow tribe, and a university of minnesota professor actively involved in constitutional reform for the white earth (ojibwe) nation.
the plans for constitutional reform on the reservation are both urgent and ambitious. mckay said there is a limited window of opportunity for sweeping constitutional change, and that nothing less than a complete of the constitution is required.
“this is a rewrite of the entire governmental structure,” he added. “the goal of this group is, by the end of this calendar year, to have a document that the people can vote on.”
flaws in the constitution were recognized almost from its inception. promulgated following congressional passage of the indian reorganization act in 1934, the were one of approximately 160 u.s. tribes that were handed constitutions drafted by representatives of the federal government.
though intended to the sovereignty of american indian tribes, these ira constitutions cemented an imposed system of self-government alien to the traditional institutions the tribes had operated under for centuries.
“indian tribes like the had their own unwritten forms of social democratic governments by which we regulated our own conduct long before your folks ever got here,” mckay said. “rather than look beyond the councils and see what tribes historically did, they looked and they saw tribal councils.”
mckay said the tribal council form of government was imposed as a mechanism of control. it concentrated authority within a small group of appointed tribal leaders compliant to the manipulations of federal indian agents.
these ira constitutions vested nearly all authority within the tribal councils, with no legislative branch of government or provisions for independent judiciaries.
in much of indian country today, tribal councils draft all the laws, control tribal assets, write public policy, can hire or dismiss tribal employees, and oversee the administration all the government offices right down to a tribal court system where judges can be fired at will by a majority vote of the council.
“it (the constitution) work, not just because of its legal provisions,” mckay said. “it work because all the power of the tribe is vested in the tribal council. no separation of powers, no checks and balances, and no ultimate accountability.”
less than a decade after its passage, social activists within the tribe began to advocate for constitutional reform. those efforts have been largely unsuccessful.
“we’ve amended our constitution 11 times since mckay said. “most of those amendments had to do with the number on the tribal council and how we elect them. one had to do with membership that was in 1962 and one adopted the plan of operations. that was the only one that even looked at the power of the council and all it did was give them more power to administrate things.”
mckay views the enactment of a “clear separation of powers” and the establishment of “an independent tribal court system with clear and fair rules” as fundamental to improving the quality of life for the people.
“the best thing that we can do for our people in terms of creating jobs and hope is to create an environment where people will want to come and do business with us,” mckay said. “we want to send a message, not only to our own people, but to outsiders and as well that they will be treated fairly in country.”
two big obstacles have repeatedly stood in the way of meaningful constitutional reform in browning: the self-interest of sitting tribal councils to preserve their authority and the contentious issue of tribal membership.
a freshman tribal councilman, mckay sits in the odd position of leading an effort to reduce the powers of his own office. to reconcile that apparent contradiction, he emphasizes that the movement for constitutional reform is not driven from within the tribal business council, but is led by a core group of about 20 community volunteers loosely organized as the committee for constitutional change.
“i have said this from the very beginning, we are not going to go to the council and get a resolution sanctioning us,” mckay said. “for the simple reason that if the council gets mad and decides to rescind their resolution, the theory would be that they could kill the effort. what happened to the last effort in 2010. not going to do that. the tribal council supports it, but it is not an effort that the tribal council itself created.”
a major stumbling block for many of the prior reform efforts has been the contentious issue of tribal membership.
since 1962, the constitution has defined those eligible for tribal membership as “all children having degree of indian blood or more born after the adoption of this amendment to any blood member of the tribe.”
in the intervening 53 years, debate over who is entitled to the benefits and privileges of tribal enrollment have frequently overshadowed attempts at broader constitutional reform. to avoid that pitfall, the committee for constitutional changes has purposefully excluded debate on tribal membership.
“this is not about redefining tribal membership,” mckay said. “this is solely about how we govern ourselves.”
however, there is no denying that a legislative process so broad and inclusive has the potential to provoke strong opposition.
“the resistance to change is great, and generally it is driven by fear,” mckay said. “those who fear change are then willing to engage in misinformation and in outright lies to try to prevent the people from having the opportunity to vote. people will be out there spreading those lies and trying to rob tribal members of their right to make an independent decision. we understand and will deal with that.”
to oppose an efforts at misinformation, mckay said that all meetings of the committee for constitutional change are open to tribal membership, and that meetings of the recent symposium were videotaped and are now accessible on youtube under the search title “blackfeet governance.”
“nothing that doing is behind closed doors or secret in any way,” he said. “the next step is to begin the writing process. as we draft, put that out to the people and get their feedback and continue that process until we have a document that we can present to the council that could get approved.”
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baɪ ˈfoʊˌtoʊ ʤoʊ məˈkeɪ spiks ˈdʊrɪŋ ðə ˈbɪznɪs ˈkaʊnsəl ˌɪnˈdəkʃən ˈsɛrəˌmoʊni. (ˈfoʊˌtoʊ: ˈtrɪbjun faɪl ˈfoʊˌtoʊ fər tu jɪrz, bɪtˈwin ðə spərɪŋ əv 2012 ənd ˈsəmər əv 2014 ðə ˈpipəl ˈsəfərd θru wən əv ðə moʊst keɪˈɑtɪk ənd dɪˈvaɪsɪv ˈpɪriədz əv ðə traɪb hæd ɪkˈspɪriənst sɪns ɪts ˌkɑnstəˈtuʃən wɑz ɛˈnæktəd ɪn 1935 ˈpərsɪnəl əˈtæks, rɪˈpitɪd ˌæləˈgeɪʃənz əv ˈkrɪmənəl mɪˈskɑndəkt, məˌnɪpjəˈleɪʃən əv ˌkɑnstəˈtuʃənəl əˈθɔrəti, ə rɪfˈjuzəl tɪ nɪˈgoʊʃiˌeɪt ɔl kənˈtrɪbjutɪd tɪ ə prəˈlɔŋd ˈbreɪkˌdaʊn ɪn ðə ˈgəvərnmənt ðət ˈoʊnli ˈɛndɪd wɪθ ðə ˌɪnstəˈleɪʃən əv nu ˈtraɪbəl ˈlidərˌʃɪp ɪn ˌʤuˈlaɪ 2014 ˈdʊrɪŋ ðət ˈtrəbəld taɪm, ˈvɛriəs ˈʃɪftɪŋ pəˈlɪtɪkəl ˈfækʃənz ˈvoʊtɪd tɪ səˈspɛnd ər ɪkˈspɛl 10 ˈdɪfərənt ˈkaʊnsəl ˈmɛmbərz, ənd 13 ˈdɪfərənt ˈpipəl kleɪmd ləˈʤɪtəmət ˈmɛmbərˌʃɪp wɪˈθɪn ðə ˈtraɪbəl ˈbɪznɪs ˈkaʊnsəl. ðɛr wər rɪˈpitɪd strit ˈproʊˌtɛsts, səm ˈvərʤɪŋ əˈpɑn raɪəts, ənd kənfˈjuʒən ˈoʊvər wɪʧ pəˈlɪtɪkəl ˈfækʃən kʊd kleɪm ˈlɔfəl əˈθɔrəti ˈprɑmptɪd ðə ˈneɪtɪv əˈmɛrɪkən bæŋk tɪ səˈspɛnd ˌɔθərəˈzeɪʃən fər ðə ˈɪʃuəns əv ˈtraɪbəl ʧɛks. ˈtraɪbəl ɪmˈplɔɪiz wɛnt ənˈpeɪd, ənd ðə dɪˈlɪvəri əv gʊdz ənd ˈsərvɪsɪz wɑz dɪˈleɪd. ðoʊz keɪˈɑtɪk taɪmz hæv naʊ pæst, ˌhaʊˈɛvər, ˈmɛni ˈlidərz boʊθ ˌɪnˈsaɪd ənd ˈaʊtˈsaɪd ðə ˈkɑrənt ædˌmɪnɪˈstreɪʃən ˈɑrgju brɔd ˌkɑnstəˈtuʃənəl rɪˈfɔrm məst teɪk pleɪs tɪ ɪnˈʃʊr ðə taɪp əv ˌgəvərnˈmɛntəl ˈmɛltˌdaʊn ðət əˈkərd bɪtˈwin 2012 ənd 2014 nɑt bi rɪˈpitɪd. wi sɔ ɪn 2012 wɑz ðət ðə lɔ bɪˈkeɪm huˈɛvər hæd ðə moʊst voʊts, ðət ðeɪ kʊd ˌɪnˈtərprət ðə ˌkɑnstəˈtuʃən ˈɛni dæm weɪ ðeɪ ˈwɔntɪd to,”*,” sɛd ʤoʊ məˈkeɪ, ˈtraɪbəl ənd ə ˈdraɪvɪŋ fɔrs bɪˈhaɪnd ə nu ˈɛfərt tɪ ˈriˌraɪt ðə ˌkɑnstəˈtuʃən. waɪ wi hæd ˈpipəl biɪŋ ɪkˈspɛld ɔn voʊts əv θri ənd fɔr ˈkaʊnsəl ˈmɛmbərz. ðə lɔ bɪˈkeɪm ˌwəˈtɛvər ðə hɛl aɪ wɔnt ɪt tɪ bi ɪf aɪ hæv ɪˈnəf voʊts tɪ gɪt ɪt dən. ðə ˈoʊnli θɪŋ ðət ˈɛndɪd ðət keɪɑs wɑz ðə election.”*.” ˈdʊrɪŋ ə ˈtuˌdeɪ sɪmˈpoʊziəm hɛld ɪn ˈbraʊnɪŋ ɔn ʤæn. 11 ənd 12 ə brɔd əˈsɔrtmənt əv ˈtraɪbəl ˈbɪznɪs ˈlidərz, ˈɛʤəˌkeɪtərz, lænd ənd ˈrisɔrs ˈmænɪʤərz, ˈgəvərnmənt əˈfɪʃəlz ənd kəmˈjunɪti ˌrɛprɪˈzɛnətɪvz mɛt tɪ dɪˈskəs ˌkɑnstəˈtuʃənəl rɪˈfɔrm ɔn ðə ˈɪndiən ˌrɛzərˈveɪʃən. sɪmˈpoʊziəm wɑz ən ˈɛfərt tɪ ˈɛʤəˌkeɪt ðə ˈtraɪbəl ˈmɛmbərˌʃɪp əˈbaʊt ðə ˈprɔˌsɛs fər ʧeɪnʤ ənd ðə ˈɪʃuz tɪ bi əˈwɛr əv goʊɪŋ forward,”*,” məˈkeɪ sɛd. gɛst ˈprɛzəntərz ˌɪnˈkludɪd ðə əv ðə ˈhɑrvərd (ˌjunəˈvərsəti) ˈprɑʤɛkt ɔn əˈmɛrɪkən ˈɪndiən ˌɛkəˈnɑmɪk dɪˈvɛləpmənt, ə ˈfɔrmər ˈdɛpjəti əˈsɪstənt ˈsɛkrəˌtɛri əv ˈɪndiən əˈfɛrz hu ɪz ˈɔlsoʊ ən ɛnˈroʊld ˈmɛmbər əv ðə kroʊ traɪb, ənd ə ˌjunəˈvərsəti əv ˌmɪnɪˈsoʊtə prəˈfɛsər ˈæktɪvli ˌɪnˈvɑlvd ɪn ˌkɑnstəˈtuʃənəl rɪˈfɔrm fər ðə waɪt ərθ (ojibwe*) ˈneɪʃən. ðə plænz fər ˌkɑnstəˈtuʃənəl rɪˈfɔrm ɔn ðə ˌrɛzərˈveɪʃən ər boʊθ ˈərʤənt ənd æmˈbɪʃəs. məˈkeɪ sɛd ðɛr ɪz ə ˈlɪmɪtɪd ˈwɪndoʊ əv ˌɑpərˈtunəti fər sˈwipɪŋ ˌkɑnstəˈtuʃənəl ʧeɪnʤ, ənd ðət ˈnəθɪŋ lɛs ðən ə kəmˈplit əv ðə ˌkɑnstəˈtuʃən ɪz rikˈwaɪərd. ɪz ə ˈriˌraɪt əv ðə ɪnˈtaɪər ˌgəvərnˈmɛntəl structure,”*,” hi ˈædɪd. goʊl əv ðɪs grup ɪz, baɪ ðə ɛnd əv ðɪs ˈkæləndər jɪr, tɪ hæv ə ˈdɑkjəmɛnt ðət ðə ˈpipəl kən voʊt on.”*.” flɔz ɪn ðə ˌkɑnstəˈtuʃən wər ˈrɛkəgˌnaɪzd ˈɔlˌmoʊst frəm ɪts ˌɪnˈsɛpʃən. ˈprɑməlˌgeɪtəd ˈfɑloʊɪŋ kənˈgrɛʃənəl ˈpæsɪʤ əv ðə ˈɪndiən ˌriɔrgənəˈzeɪʃən ækt ɪn 1934 ðə wər wən əv əˈprɑksəmətli 160 juz. traɪbz ðət wər ˈhændɪd ˌkɑnstɪˈtuʃənz ˈdræftɪd baɪ ˌrɛprɪˈzɛnətɪvz əv ðə ˈfɛdərəl ˈgəvərnmənt. ðoʊ ˌɪnˈtɛndɪd tɪ ðə ˈsɑvrənti əv əˈmɛrɪkən ˈɪndiən traɪbz, ðiz ˌaɪˌɑˈreɪ ˌkɑnstɪˈtuʃənz sɪˈmɛntɪd ən ˌɪmˈpoʊzd ˈsɪstəm əv ˈsɛlfˈgəvərnmənt ˈeɪliən tɪ ðə trəˈdɪʃənəl ˌɪnstɪˈtuʃənz ðə traɪbz hæd ˈɑpərˌeɪtəd ˈəndər fər ˈsɛnʧəriz. traɪbz laɪk ðə hæd ðɛr oʊn ənˈrɪtən fɔrmz əv ˈsoʊʃəl ˌdɛməˈkrætɪk ˈgəvərnmənts baɪ wɪʧ wi ˈrɛgjəˌleɪtɪd ɑr oʊn ˈkɑndəkt lɔŋ ˌbiˈfɔr jʊr foʊks ˈɛvər gɑt here,”*,” məˈkeɪ sɛd. ðən lʊk bɪɔnd ðə ˈkaʊnsɪlz ənd si wət traɪbz hɪˈstɔrɪkəli dɪd, ðeɪ lʊkt ənd ðeɪ sɔ ˈtraɪbəl councils.”*.” məˈkeɪ sɛd ðə ˈtraɪbəl ˈkaʊnsəl fɔrm əv ˈgəvərnmənt wɑz ˌɪmˈpoʊzd ɛz ə ˈmɛkəˌnɪzəm əv kənˈtroʊl. ɪt ˈkɔnsənˌtreɪtɪd əˈθɔrəti wɪˈθɪn ə smɔl grup əv əˈpɔɪntɪd ˈtraɪbəl ˈlidərz kəmˈplaɪənt tɪ ðə məˌnɪpjəˈleɪʃənz əv ˈfɛdərəl ˈɪndiən ˈeɪʤənts. ðiz ˌaɪˌɑˈreɪ ˌkɑnstɪˈtuʃənz ˈvɛstɪd ˈnɪrli ɔl əˈθɔrəti wɪˈθɪn ðə ˈtraɪbəl ˈkaʊnsɪlz, wɪθ noʊ ˈlɛʤəsˌleɪtɪv brænʧ əv ˈgəvərnmənt ər prəˈvɪʒənz fər ˌɪndɪˈpɛndənt judiciaries*. ɪn məʧ əv ˈɪndiən ˈkəntri təˈdeɪ, ˈtraɪbəl ˈkaʊnsɪlz dræft ɔl ðə lɔz, kənˈtroʊl ˈtraɪbəl ˈæˌsɛts, raɪt ˈpəblɪk ˈpɑləsi, kən haɪər ər dɪsˈmɪs ˈtraɪbəl ɪmˈplɔɪiz, ənd ˈoʊvərˌsi ðə ædˌmɪnɪˈstreɪʃən ɔl ðə ˈgəvərnmənt ˈɔfəsɪz raɪt daʊn tɪ ə ˈtraɪbəl kɔrt ˈsɪstəm wɛr ˈʤəʤɪz kən bi faɪərd æt wɪl baɪ ə məˈʤɔrəti voʊt əv ðə ˈkaʊnsəl. (ðə ˌkɑnstəˈtuʃən) wərk, nɑt ʤɪst bɪˈkəz əv ɪts ˈligəl provisions,”*,” məˈkeɪ sɛd. wərk bɪˈkəz ɔl ðə paʊər əv ðə traɪb ɪz ˈvɛstɪd ɪn ðə ˈtraɪbəl ˈkaʊnsəl. noʊ ˌsɛpərˈeɪʃən əv paʊərz, noʊ ʧɛks ənd ˈbælənsɪz, ənd noʊ ˈəltəmət accountability.”*.” lɛs ðən ə ˈdɛkeɪd ˈæftər ɪts ˈpæsɪʤ, ˈsoʊʃəl ˈæktɪvɪsts wɪˈθɪn ðə traɪb bɪˈgæn tɪ ˈædvəˌkeɪt fər ˌkɑnstəˈtuʃənəl rɪˈfɔrm. ðoʊz ˈɛfərts hæv bɪn ˈlɑrʤli ˌənsəkˈsɛsfəl. əˈmɛndɪd ɑr ˌkɑnstəˈtuʃən 11 taɪmz sɪns məˈkeɪ sɛd. əv ðoʊz əˈmɛndmənts hæd tɪ du wɪθ ðə ˈnəmbər ɔn ðə ˈtraɪbəl ˈkaʊnsəl ənd haʊ wi ɪˈlɛkt ðɛm. wən hæd tɪ du wɪθ ˈmɛmbərˌʃɪp ðət wɑz ɪn 1962 ənd wən əˈdɑptəd ðə plæn əv ˌɑpərˈeɪʃənz. ðət wɑz ðə ˈoʊnli wən ðət ˈivɪn lʊkt æt ðə paʊər əv ðə ˈkaʊnsəl ənd ɔl ɪt dɪd wɑz gɪv ðɛm mɔr paʊər tɪ ædˈmɪnɪˌstreɪt things.”*.” məˈkeɪ vjuz ðə ɛˈnæktmənt əv ə ˌsɛpərˈeɪʃən əv powers”*” ənd ðə ɪˈstæblɪʃmənt əv ˌɪndɪˈpɛndənt ˈtraɪbəl kɔrt ˈsɪstəm wɪθ klɪr ənd fɛr rules”*” ɛz ˌfəndəˈmɛnəl tɪ ˌɪmˈpruvɪŋ ðə kˈwɑləti əv laɪf fər ðə ˈpipəl. bɛst θɪŋ ðət wi kən du fər ɑr ˈpipəl ɪn tərmz əv kriˈeɪtɪŋ ʤɑbz ənd hoʊp ɪz tɪ kriˈeɪt ən ɪnˈvaɪrənmənt wɛr ˈpipəl wɪl wɔnt tɪ kəm ənd du ˈbɪznɪs wɪθ us,”*,” məˈkeɪ sɛd. wɔnt tɪ sɛnd ə ˈmɛsɪʤ, nɑt ˈoʊnli tɪ ɑr oʊn ˈpipəl, bət tɪ aʊtˈsaɪdərz ənd ɛz wɛl ðət ðeɪ wɪl bi ˈtritɪd ˈfɛrli ɪn country.”*.” tu bɪg ˈɑbstəkəlz hæv rɪˈpitɪdli stʊd ɪn ðə weɪ əv ˈminɪŋfəl ˌkɑnstəˈtuʃənəl rɪˈfɔrm ɪn ˈbraʊnɪŋ: ðə ˌsɛlˈfɪntəˌrɛst əv ˈsɪtɪŋ ˈtraɪbəl ˈkaʊnsɪlz tɪ prɪˈzərv ðɛr əˈθɔrəti ənd ðə kənˈtɛnʃəs ˈɪʃu əv ˈtraɪbəl ˈmɛmbərˌʃɪp. ə ˈfrɛʃmən ˈtraɪbəl ˈkaʊnsəlmən, məˈkeɪ sɪts ɪn ðə ɑd pəˈzɪʃən əv ˈlidɪŋ ən ˈɛfərt tɪ rɪˈdus ðə paʊərz əv hɪz oʊn ˈɔfəs. tɪ ˈrɛkənˌsaɪl ðət əˈpɛrənt ˌkɑntrəˈdɪkʃən, hi ˈɛmfəˌsaɪzɪz ðət ðə ˈmuvmənt fər ˌkɑnstəˈtuʃənəl rɪˈfɔrm ɪz nɑt ˈdrɪvən frəm wɪˈθɪn ðə ˈtraɪbəl ˈbɪznɪs ˈkaʊnsəl, bət ɪz lɛd baɪ ə kɔr grup əv əˈbaʊt 20 kəmˈjunɪti ˌvɑlənˈtɪrz ˈlusli ˈɔrgəˌnaɪzd ɛz ðə kəˈmɪti fər ˌkɑnstəˈtuʃənəl ʧeɪnʤ. hæv sɛd ðɪs frəm ðə ˈvɛri bɪˈgɪnɪŋ, wi ər nɑt goʊɪŋ tɪ goʊ tɪ ðə ˈkaʊnsəl ənd gɪt ə ˌrɛzəˈluʃən ˈsæŋkʃənɪŋ us,”*,” məˈkeɪ sɛd. ðə ˈsɪmpəl ˈrizən ðət ɪf ðə ˈkaʊnsəl gɪts mæd ənd ˌdɪˈsaɪdz tɪ rɪˈsɪnd ðɛr ˌrɛzəˈluʃən, ðə ˈθɪri wʊd bi ðət ðeɪ kʊd kɪl ðə ˈɛfərt. wət ˈhæpənd tɪ ðə læst ˈɛfərt ɪn 2010 nɑt goʊɪŋ tɪ du ðət. ðə ˈtraɪbəl ˈkaʊnsəl səˈpɔrts ɪt, bət ɪt ɪz nɑt ən ˈɛfərt ðət ðə ˈtraɪbəl ˈkaʊnsəl ˌɪtˈsɛlf created.”*.” ə ˈmeɪʤər ˈstəmbəlɪŋ blɑk fər ˈmɛni əv ðə praɪər rɪˈfɔrm ˈɛfərts həz bɪn ðə kənˈtɛnʃəs ˈɪʃu əv ˈtraɪbəl ˈmɛmbərˌʃɪp. sɪns 1962 ðə ˌkɑnstəˈtuʃən həz dɪˈfaɪnd ðoʊz ˈɛlɪʤəbəl fər ˈtraɪbəl ˈmɛmbərˌʃɪp ɛz ˈʧɪldrən ˈhævɪŋ dɪˈgri əv ˈɪndiən bləd ər mɔr bɔrn ˈæftər ðə əˈdɑpʃən əv ðɪs əˈmɛndmənt tɪ ˈɛni bləd ˈmɛmbər əv ðə tribe.”*.” ɪn ðə ˌɪntərˈvinɪŋ 53 jɪrz, dəˈbeɪt ˈoʊvər hu ɪz ɛnˈtaɪtəld tɪ ðə ˈbɛnəfɪts ənd ˈprɪvɪˌlɪʤɪz əv ˈtraɪbəl ɛnˈroʊlmənt hæv ˈfrikwɛntli ˌoʊvərˈʃædoʊd əˈtɛmpts æt ˈbrɔdər ˌkɑnstəˈtuʃənəl rɪˈfɔrm. tɪ əˈvɔɪd ðət ˈpɪtˌfɔl, ðə kəˈmɪti fər ˌkɑnstəˈtuʃənəl ˈʧeɪnʤɪz həz ˈpərpəsfəli ɪkˈskludɪd dəˈbeɪt ɔn ˈtraɪbəl ˈmɛmbərˌʃɪp. ɪz nɑt əˈbaʊt ridɪˈfaɪnɪŋ ˈtraɪbəl membership,”*,” məˈkeɪ sɛd. ɪz ˈsoʊəli əˈbaʊt haʊ wi ˈgəvərn ourselves.”*.” ˌhaʊˈɛvər, ðɛr ɪz noʊ dɪˈnaɪɪŋ ðət ə ˈlɛʤəsˌleɪtɪv ˈprɔˌsɛs soʊ brɔd ənd ˌɪnˈklusɪv həz ðə pəˈtɛnʃəl tɪ prəˈvoʊk strɔŋ ˌɑpəˈzɪʃən. rɪˈzɪstəns tɪ ʧeɪnʤ ɪz greɪt, ənd ˈʤɛnərəli ɪt ɪz ˈdrɪvən baɪ fear,”*,” məˈkeɪ sɛd. hu fɪr ʧeɪnʤ ər ðɛn ˈwɪlɪŋ tɪ ɪnˈgeɪʤ ɪn ˌmɪsɪnfərˈmeɪʃən ənd ɪn ˈaʊˈtraɪt laɪz tɪ traɪ tɪ prɪˈvɛnt ðə ˈpipəl frəm ˈhævɪŋ ðə ˌɑpərˈtunəti tɪ voʊt. ˈpipəl wɪl bi aʊt ðɛr ˈsprɛdɪŋ ðoʊz laɪz ənd traɪɪŋ tɪ rɑb ˈtraɪbəl ˈmɛmbərz əv ðɛr raɪt tɪ meɪk ən ˌɪndɪˈpɛndənt dɪˈsɪʒən. wi ˌəndərˈstænd ənd wɪl dil wɪθ that.”*.” tɪ əˈpoʊz ən ˈɛfərts æt ˌmɪsɪnfərˈmeɪʃən, məˈkeɪ sɛd ðət ɔl ˈmitɪŋz əv ðə kəˈmɪti fər ˌkɑnstəˈtuʃənəl ʧeɪnʤ ər ˈoʊpən tɪ ˈtraɪbəl ˈmɛmbərˌʃɪp, ənd ðət ˈmitɪŋz əv ðə ˈrisənt sɪmˈpoʊziəm wər ˈvɪdioʊˈteɪpt ənd ər naʊ ækˈsɛsəbəl ɔn ˈjuˌtub ˈəndər ðə sərʧ ˈtaɪtəl governance.”*.” ðət duɪŋ ɪz bɪˈhaɪnd kloʊzd dɔrz ər ˈsikrɪt ɪn ˈɛni way,”*,” hi sɛd. nɛkst stɛp ɪz tɪ bɪˈgɪn ðə ˈraɪtɪŋ ˈprɔˌsɛs. ɛz wi dræft, pʊt ðət aʊt tɪ ðə ˈpipəl ənd gɪt ðɛr ˈfidˌbæk ənd kənˈtɪnju ðət ˈprɔˌsɛs ənˈtɪl wi hæv ə ˈdɑkjəmɛnt ðət wi kən ˈprɛzənt tɪ ðə ˈkaʊnsəl ðət kʊd gɪt approved.”*.” rɛd ər ʃɛr ðɪs ˈstɔri:
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press information bureau
government of india
ministry of defence
09-september-2015
defence minister commissions ins at
the shri, commissioned ins ‘vajrakosh’, the latest establishment of the indian navy today at, karnataka.
karwar is poised to emerge as the indian premier base on the western seaboard in the not too distant future. some of the vital naval assets are planned to be based there. naval units operating out of are required to be equipped with armaments and missiles. these sophisticated missiles and ammunition require special storage facility and servicing facilities. ins will have all the required infrastructure and is manned by specialists to meet these requirements..
the commissioning ceremony earlier in the day was marked by traditional naval parade with precision. captain arvind chari, commanding officer, read out the commissioning warrant and the naval ensign was hoisted while the naval band played the national anthem.
speaking on the occasion, shri emphasized the importance of a strong and modern navy for a maritime nation like india. he said navy helps in maintaining peaceful, stable and orderly environment for socio economic growth and national development.
commissioning of ins has marked the successful completion of a complex and modern minister exhorted the crew to ensure that the ‘missiles in remain ever ready for operational deployment’. he expressed confidence that maritime security of our nation is in capable hands and each ship, aircraft and naval personnel stands tall and ready to protect our nation. he added that it is the task of naval personnel to protect the nation from the enemy and it is our task to ensure that the interest of all those in the armed forces are taken care of.
speaking on the occasion, admiral dhowan, chief of the naval staff, noted thatis poised to emerge as the indian most significant base on the western seaboard in the near future. this naval establishment has some of the most significant naval assets already in service or being inducted. with the ongoing expansion of the indian navy, there has been increase in the number of ships, submarines and aircraft equipped with specialized armament and missiles. these need to be stowed and maintained in the best possible manner throughout their service complimented the crew of ins, and exhorted them to do their best in performing their technically challenging task.
the commissioning of ins, the third naval establishment commissioned in, will allow the indian navy to further bolster the offensive and defensive capabilities of its platforms.
shri was taken on a whirlwind tour of the massive complex spread across hundreds of acres of land and was briefed on the future expansion plans including the proposed naval air station and housing complex.
he was also given a demonstration of the modern ship- lift facility for and repairs of warships.
on the sidelines of the event, shri also the fishermen who were instrumental in saving the unconscious pilot of dornier (do 240) aircraft which had crashed off goa on 24 mar 15. nikhiljoshi, the lone survivor of the unfortunate accident, is alive today because of the alacrity and the timely help extended by the fishermen community that night.
sk/dks/rs/sdr/ckp
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prɛs ˌɪnˌfɔrˈmeɪʃən ˈbjʊroʊ ˈgəvərnmənt əv ˈɪndiə ˈmɪnɪstri əv dɪˈfɛns dɪˈfɛns ˈmɪnɪstər kəˈmɪʃənz ˈaɪˈɛˈnɛs æt ðə ʃri, kəˈmɪʃənd ˈaɪˈɛˈnɛs ‘‘vajrakosh’*’, ðə ˈleɪtəst ɪˈstæblɪʃmənt əv ðə ˈɪndiən ˈneɪvi təˈdeɪ æt, karnataka*. ɪz pɔɪzd tɪ ˈimərʤ ɛz ðə ˈɪndiən prɛˈmɪr beɪs ɔn ðə ˈwɛstərn ˈsiˌbɔrd ɪn ðə nɑt tu ˈdɪstənt fˈjuʧər. səm əv ðə ˈvaɪtəl ˈneɪvəl ˈæˌsɛts ər plænd tɪ bi beɪst ðɛr. ˈneɪvəl ˈjunɪts ˈɔpərˌeɪtɪŋ aʊt əv ər rikˈwaɪərd tɪ bi ɪkˈwɪpt wɪθ ˈɑrməmənts ənd ˈmɪsəlz. ðiz səˈfɪstɪˌkeɪtəd ˈmɪsəlz ənd ˌæmjəˈnɪʃən ˌrikˈwaɪər ˈspɛʃəl ˈstɔrɪʤ fəˈsɪlɪti ənd ˈsərvɪsɪŋ fəˈsɪlɪtiz. ˈaɪˈɛˈnɛs wɪl hæv ɔl ðə rikˈwaɪərd ˌɪnfrəˈstrəkʧər ənd ɪz mænd baɪ ˈspɛʃəlɪsts tɪ mit ðiz rɪkˈwaɪrmənts.. ðə kəˈmɪʃənɪŋ ˈsɛrəˌmoʊni ˈərliər ɪn ðə deɪ wɑz mɑrkt baɪ trəˈdɪʃənəl ˈneɪvəl pəreɪd wɪθ priˈsɪʒən. ˈkæptən ˈɑrvɪnd chari*, kəˈmændɪŋ ˈɔfɪsər, rɛd aʊt ðə kəˈmɪʃənɪŋ ˈwɔrənt ənd ðə ˈneɪvəl ˈɛnsən wɑz ˈhɔɪstɪd waɪl ðə ˈneɪvəl bænd pleɪd ðə ˈnæʃənəl ˈænθəm. ˈspikɪŋ ɔn ðə əˈkeɪʒən, ʃri ˈɛmfəˌsaɪzd ðə ˌɪmˈpɔrtəns əv ə strɔŋ ənd ˈmɑdərn ˈneɪvi fər ə ˈmærəˌtaɪm ˈneɪʃən laɪk ˈɪndiə. hi sɛd ˈneɪvi hɛlps ɪn meɪnˈteɪnɪŋ ˈpisfəl, ˈsteɪbəl ənd ˈɔrdərli ɪnˈvaɪrənmənt fər ˈsoʊsioʊ ˌɛkəˈnɑmɪk groʊθ ənd ˈnæʃənəl dɪˈvɛləpmənt. kəˈmɪʃənɪŋ əv ˈaɪˈɛˈnɛs həz mɑrkt ðə səkˈsɛsfəl kəmˈpliʃən əv ə ˈkɑmplɛks ənd ˈmɑdərn ˈmɪnɪstər ɪgˈzɔrtɪd ðə kru tɪ ɪnˈʃʊr ðət ðə ɪn rɪˈmeɪn ˈɛvər ˈrɛdi fər ˌɑpərˈeɪʃənəl deployment’*’. hi ɪkˈsprɛst ˈkɑnfədɛns ðət ˈmærəˌtaɪm sɪˈkjʊrəti əv ɑr ˈneɪʃən ɪz ɪn ˈkeɪpəbəl hænz ənd iʧ ʃɪp, ˈɛrˌkræft ənd ˈneɪvəl ˌpərsəˈnɛl stændz tɔl ənd ˈrɛdi tɪ prəˈtɛkt ɑr ˈneɪʃən. hi ˈædɪd ðət ɪt ɪz ðə tæsk əv ˈneɪvəl ˌpərsəˈnɛl tɪ prəˈtɛkt ðə ˈneɪʃən frəm ðə ˈɛnəmi ənd ɪt ɪz ɑr tæsk tɪ ɪnˈʃʊr ðət ðə ˈɪntəˌrɛst əv ɔl ðoʊz ɪn ðə ɑrmd ˈfɔrsɪz ər ˈteɪkən kɛr əv. ˈspikɪŋ ɔn ðə əˈkeɪʒən, ˈædmərəl dhowan*, ʧif əv ðə ˈneɪvəl stæf, ˈnoʊtɪd ðət pɔɪzd tɪ ˈimərʤ ɛz ðə ˈɪndiən moʊst sɪgˈnɪfɪkənt beɪs ɔn ðə ˈwɛstərn ˈsiˌbɔrd ɪn ðə nɪr fˈjuʧər. ðɪs ˈneɪvəl ɪˈstæblɪʃmənt həz səm əv ðə moʊst sɪgˈnɪfɪkənt ˈneɪvəl ˈæˌsɛts ɔˈrɛdi ɪn ˈsərvɪs ər biɪŋ ˌɪnˈdəktɪd. wɪθ ðə ˈɔnˌgoʊɪŋ ɪkˈspænʧən əv ðə ˈɪndiən ˈneɪvi, ðɛr həz bɪn ˌɪnˈkris ɪn ðə ˈnəmbər əv ʃɪps, ˈsəbmərˌinz ənd ˈɛrˌkræft ɪkˈwɪpt wɪθ ˈspɛʃəˌlaɪzd ˈɑrməmənt ənd ˈmɪsəlz. ðiz nid tɪ bi stoʊd ənd meɪnˈteɪnd ɪn ðə bɛst ˈpɑsəbəl ˈmænər θruaʊt ðɛr ˈsərvɪs ˈkɑmpləˌmɛntɪd ðə kru əv ˈaɪˈɛˈnɛs, ənd ɪgˈzɔrtɪd ðɛm tɪ du ðɛr bɛst ɪn pərˈfɔrmɪŋ ðɛr ˈtɛknɪkəli ˈʧælənʤɪŋ tæsk. ðə kəˈmɪʃənɪŋ əv ˈaɪˈɛˈnɛs, ðə θərd ˈneɪvəl ɪˈstæblɪʃmənt kəˈmɪʃənd ɪn, wɪl əˈlaʊ ðə ˈɪndiən ˈneɪvi tɪ ˈfərðər ˈboʊlstər ðə əˈfɛnsɪv ənd dɪˈfɛnsɪv ˌkeɪpəˈbɪlətiz əv ɪts ˈplætˌfɔrmz. ʃri wɑz ˈteɪkən ɔn ə ˈwərlˌwɪnd tʊr əv ðə ˈmæsɪv ˈkɑmplɛks sprɛd əˈkrɔs ˈhənərdz əv ˈeɪkərz əv lænd ənd wɑz brift ɔn ðə fˈjuʧər ɪkˈspænʧən plænz ˌɪnˈkludɪŋ ðə prəˈpoʊzd ˈneɪvəl ɛr ˈsteɪʃən ənd ˈhaʊzɪŋ ˈkɑmplɛks. hi wɑz ˈɔlsoʊ ˈgɪvɪn ə ˌdɛmənˈstreɪʃən əv ðə ˈmɑdərn ʃɪp- lɪft fəˈsɪlɪti fər ənd rɪˈpɛrz əv ˈwɔrˌʃɪps. ɔn ðə ˈsaɪˌdlaɪnz əv ðə ɪˈvɛnt, ʃri ˈɔlsoʊ ðə ˈfɪʃərmɪn hu wər ˌɪnstrəˈmɛnəl ɪn ˈseɪvɪŋ ðə ˌənˈkɑnʃəs ˈpaɪlət əv ˌdɔrˈnɪr (du 240 ˈɛrˌkræft wɪʧ hæd kræʃt ɔf goʊə ɔn 24 mɑr 15 nikhiljoshi*, ðə loʊn sərˈvaɪvər əv ðə ənˈfɔrʧənət ˈæksədənt, ɪz əˈlaɪv təˈdeɪ bɪˈkəz əv ðə əˈlækrəti ənd ðə ˈtaɪmli hɛlp ɪkˈstɛndɪd baɪ ðə ˈfɪʃərmɪn kəmˈjunɪti ðət naɪt.
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i understand why you hate these video games. i really do. i understand why you shake your head as i play them. the truth is i always understand the impulse myself. why do i want to hurt myself. why do i choose to put myself through this physical pain and stress. what is the benefit? what is the evolutionary benefit.
i will not become more attractive to a potential mate if i get a gold medal on inferno on trials fusion. completing a run in dark souls will not help me protect my offspring from predators. on the contrary a far greater chance of me ignoring his cries for help when he slips in the bathtub and his way to an early funeral if completely engrossed in a video game.
why the hell do i play video games that are so goddamn difficult. why do i continue to punish myself.
on the saturday night just past i had friends over to visit. everyone arrived a little earlier than i expected and i was midway through inferno, the most difficult trials fusion track in a series already noted for its bewildering level of difficulty. i was embroiled in an incredible struggle. one obstacle towards the end of the track was giving me problems. when my guests arrived i was sitting at about 150 faults. 15 minutes later i had run the clock out and was sitting at 400 faults.
i had essentially repeated the same 10 metres of virtual track 250 times, failing each time. hitting retry. failing. hitting retry. failing.
i had done this before. i did the exact same thing in dark city run in trials evolution, and the exact same thing with inferno in trials hd. had i been alone, this would have been business as usual. most likely i would have started the track from scratch again with a calm exterior, every cell of my body throbbing with a barely restrained rage. i would probably have given myself hives.
but this time it was different. this time, for a short period, i had an audience.
and that audience forced me to look at myself through a slightly different lens; an otherworldly, gaming experience. i saw myself through their eyes. what did they think, watching this adult man fail at the exact same obstacle, in the exact same way, 250 times. i must have looked like a rat in a skinner box.
this was mark in his natural habitat. this is how mark spends his spare time.
on some level my friends must have understood. most likely they had played video games themselves. i think everyone understands the impulse to play video games as escapism, as a means to learn and practice some useless skill. there are multiple different ways to ‘enjoy’ video games and i think the lay person tends to understand most of them. but not sure if my friends could grasp what they just witnessed: a human being writhing in anguish, continually returning to the thing that caused him pain, like a moth butting heads with a sixty watt lightbulb.
they understand and when i started to think about it, neither could i.
the next day, as i turned on dark souls, i realised that approximately the last 120 hours of my gaming life had been spent with video games that made me feel the following emotions: frustration, anger, impotence, fear, rage, disappointment. so many negative emotions. but still i came back, time after time.
as human beings we have the ability to endure short term misery for some, as yet intangible, long term goal. take exercise, for example. it fucking hurts to lift weights, or run for a decent length of time, but we do it because it helps us to get fit, or to look more physically attractive to others. same goes for eating healthily, or dieting, or stopping smoking. we have the capacity to grit our teeth and endure because the rewards come later.
a video game like trials or dark souls really have the same benefits.
and it necessarily have the rewards we attach to a certain type of either. that idea that broadening our horizons or flexing our intellectual muscles. dark souls is not a cube. trials is not sudoku. the skills you acquire will not be applicable to any other area of your life.
but i continue to punish myself. as do hundreds of thousands of others.
why?
it’s difficult to quantify, difficult to define. there are a lot of reasons to like games like trials or dark souls. trials, for example, has pitch perfect controls, track design. dark souls is a brilliant example of world building, has an incredible sense of scale, an incredibly rewarding combat system.
but the difficulty. why do we enjoy the difficulty? both of these games would be markedly less interesting if they were less difficult; i think anyone could possibly deny that.
why?
i think the short answer is this: it feels good to be good at something. it feels good to improve, even if that ‘thing’ is pointless and has no impact on your social standing or any standing for that matter.
there’s also the idea of in your own ability to stubbornly persist when others crumble. in that sense difficult games are a type of mental exercise: will you continue, will you give up in the face of this virtual, pointless trial? when you continue where others have failed there is an enormous sense of satisfaction. that sense of satisfaction might be misguided and elitist and ultimately pointless in the grand scheme of anything, but it is intoxicating. intoxicating enough to be compelling. compelling enough for you to chase that next high.
but an empty feeling. a hollow chase. i remember finally getting gold on every single track in trials evolution. i remember that sense of satisfaction. that swell of pride in my chest. even in hindsight it was quite the achievement. i put the controller down. i felt really good for a second, then nothing. i told my wife, ‘hey i did it’. barely registered. she was just happy she have to hear the bloody intro song on loop.
i leaned back in the couch. looked into space and thought to myself, ‘well, that i guess’.
the end.
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aɪ ˌəndərˈstænd waɪ ju heɪt ðiz ˈvɪdioʊ geɪmz. aɪ ˈrɪli du. aɪ ˌəndərˈstænd waɪ ju ʃeɪk jʊr hɛd ɛz aɪ pleɪ ðɛm. ðə truθ ɪz aɪ ˈɔlˌweɪz ˌəndərˈstænd ðə ˌɪmˈpəls ˌmaɪˈsɛlf. waɪ du aɪ wɔnt tɪ hərt ˌmaɪˈsɛlf. waɪ du aɪ ʧuz tɪ pʊt ˌmaɪˈsɛlf θru ðɪs ˈfɪzɪkəl peɪn ənd strɛs. wət ɪz ðə ˈbɛnəfɪt? wət ɪz ðə ˌɛvəˈluʃəˌnɛri ˈbɛnəfɪt. aɪ wɪl nɑt bɪˈkəm mɔr əˈtræktɪv tɪ ə pəˈtɛnʃəl meɪt ɪf aɪ gɪt ə goʊld ˈmɛdəl ɔn ˌɪnˈfərˌnoʊ ɔn traɪəlz fˈjuʒən. kəmˈplitɪŋ ə rən ɪn dɑrk soʊlz wɪl nɑt hɛlp mi prəˈtɛkt maɪ ˈɔfˌsprɪŋ frəm ˈprɛdətərz. ɔn ðə ˈkɑntrɛri ə fɑr ˈgreɪtər ʧæns əv mi ˌɪgˈnɔrɪŋ hɪz kraɪz fər hɛlp wɪn hi slɪps ɪn ðə ˈbæθtəb ənd hɪz weɪ tɪ ən ˈərli fˈjunərəl ɪf kəmˈplitli ɪnˈgroʊst ɪn ə ˈvɪdioʊ geɪm. waɪ ðə hɛl du aɪ pleɪ ˈvɪdioʊ geɪmz ðət ər soʊ ˌgɑˈdæm ˈdɪfəkəlt. waɪ du aɪ kənˈtɪnju tɪ ˈpənɪʃ ˌmaɪˈsɛlf. ɔn ðə ˈsæˌtɪˌdeɪ naɪt ʤɪst pæst aɪ hæd frɛndz ˈoʊvər tɪ ˈvɪzɪt. ˈɛvriˌwən əraɪvd ə ˈlɪtəl ˈərliər ðən aɪ ɪkˈspɛktɪd ənd aɪ wɑz ˈmɪdˌweɪ θru ˌɪnˈfərˌnoʊ, ðə moʊst ˈdɪfəkəlt traɪəlz fˈjuʒən træk ɪn ə ˈsɪriz ɔˈrɛdi ˈnoʊtɪd fər ɪts bɪˈwɪldərɪŋ ˈlɛvəl əv ˈdɪfɪˌkəlti. aɪ wɑz ɛmˈbrɔɪld ɪn ən ˌɪnˈkrɛdəbəl ˈstrəgəl. wən ˈɑbstəkəl təˈwɔrdz ðə ɛnd əv ðə træk wɑz ˈgɪvɪŋ mi ˈprɑbləmz. wɪn maɪ gɛsts əraɪvd aɪ wɑz ˈsɪtɪŋ æt əˈbaʊt 150 fɔlts. 15 ˈmɪnəts ˈleɪtər aɪ hæd rən ðə klɑk aʊt ənd wɑz ˈsɪtɪŋ æt 400 fɔlts. aɪ hæd ɛˈsɛnʃəli rɪˈpitɪd ðə seɪm 10 ˈmitərz əv ˈvərʧuəl træk 250 taɪmz, ˈfeɪlɪŋ iʧ taɪm. ˈhɪtɪŋ riˈtraɪ. ˈfeɪlɪŋ. ˈhɪtɪŋ riˈtraɪ. ˈfeɪlɪŋ. aɪ hæd dən ðɪs ˌbiˈfɔr. aɪ dɪd ðə ɪgˈzækt seɪm θɪŋ ɪn dɑrk ˈsɪti rən ɪn traɪəlz ˌɛvəˈluʃən, ənd ðə ɪgˈzækt seɪm θɪŋ wɪθ ˌɪnˈfərˌnoʊ ɪn traɪəlz hd*. hæd aɪ bɪn əˈloʊn, ðɪs wʊd hæv bɪn ˈbɪznɪs ɛz ˈjuʒəwəl. moʊst ˈlaɪkli aɪ wʊd hæv ˈstɑrtɪd ðə træk frəm skræʧ əˈgɛn wɪθ ə kɑm ɪkˈstɪriər, ˈɛvəri sɛl əv maɪ ˈbɑdi θˈrɑbɪŋ wɪθ ə ˈbɛrli riˈstreɪnd reɪʤ. aɪ wʊd ˈprɑbəˌbli hæv ˈgɪvɪn ˌmaɪˈsɛlf haɪvz. bət ðɪs taɪm ɪt wɑz ˈdɪfərənt. ðɪs taɪm, fər ə ʃɔrt ˈpɪriəd, aɪ hæd ən ˈɔdiəns. ənd ðət ˈɔdiəns fɔrst mi tɪ lʊk æt ˌmaɪˈsɛlf θru ə sˈlaɪtli ˈdɪfərənt lɛnz; ən ˈəðərˈwərldli, ˈgeɪmɪŋ ɪkˈspɪriəns. aɪ sɔ ˌmaɪˈsɛlf θru ðɛr aɪz. wət dɪd ðeɪ θɪŋk, ˈwɑʧɪŋ ðɪs ˈædəlt mæn feɪl æt ðə ɪgˈzækt seɪm ˈɑbstəkəl, ɪn ðə ɪgˈzækt seɪm weɪ, 250 taɪmz. aɪ məst hæv lʊkt laɪk ə ræt ɪn ə ˈskɪnər bɑks. ðɪs wɑz mɑrk ɪn hɪz ˈnæʧərəl ˈhæbəˌtæt. ðɪs ɪz haʊ mɑrk spɛnz hɪz spɛr taɪm. ɔn səm ˈlɛvəl maɪ frɛndz məst hæv ˌəndərˈstʊd. moʊst ˈlaɪkli ðeɪ hæd pleɪd ˈvɪdioʊ geɪmz ðɛmˈsɛlvz. aɪ θɪŋk ˈɛvriˌwən ˌəndərˈstændz ðə ˌɪmˈpəls tɪ pleɪ ˈvɪdioʊ geɪmz ɛz ɪˈskeɪˌpɪzəm, ɛz ə minz tɪ lərn ənd ˈpræktɪs səm ˈjusləs skɪl. ðɛr ər ˈməltəpəl ˈdɪfərənt weɪz tɪ ‘‘enjoy’*’ ˈvɪdioʊ geɪmz ənd aɪ θɪŋk ðə leɪ ˈpərsən tɛndz tɪ ˌəndərˈstænd moʊst əv ðɛm. bət nɑt ʃʊr ɪf maɪ frɛndz kʊd græsp wət ðeɪ ʤɪst ˈwɪtnəst: ə ˈjumən biɪŋ ˈrɪθɪŋ ɪn ˈæŋgwɪʃ, kənˈtɪnjuəli rɪˈtərnɪŋ tɪ ðə θɪŋ ðət kɔzd ɪm peɪn, laɪk ə mɔθ ˈbətɪŋ hɛdz wɪθ ə ˈsɪksti wɑt ˈlaɪtˌbəlb. ðeɪ ˌəndərˈstænd ənd wɪn aɪ ˈstɑrtɪd tɪ θɪŋk əˈbaʊt ɪt, ˈniðər kʊd aɪ. ðə nɛkst deɪ, ɛz aɪ tərnd ɔn dɑrk soʊlz, aɪ ˈriəˌlaɪzd ðət əˈprɑksəmətli ðə læst 120 aʊərz əv maɪ ˈgeɪmɪŋ laɪf hæd bɪn spɛnt wɪθ ˈvɪdioʊ geɪmz ðət meɪd mi fil ðə ˈfɑloʊɪŋ ˈɪˌmoʊʃənz: frəˈstreɪʃən, ˈæŋgər, ˈɪmpətəns, fɪr, reɪʤ, ˌdɪsəˈpɔɪntmənt. soʊ ˈmɛni ˈnɛgətɪv ˈɪˌmoʊʃənz. bət stɪl aɪ keɪm bæk, taɪm ˈæftər taɪm. ɛz ˈjumən biɪŋz wi hæv ðə əˈbɪləˌti tɪ ɪnˈdʊr ʃɔrt tərm ˈmɪzəri fər səm, ɛz jɛt ˌɪnˈtænʤəbəl, lɔŋ tərm goʊl. teɪk ˈɛksərˌsaɪz, fər ɪgˈzæmpəl. ɪt ˈfəkɪŋ hərts tɪ lɪft weɪts, ər rən fər ə ˈdisənt lɛŋθ əv taɪm, bət wi du ɪt bɪˈkəz ɪt hɛlps ˈjuˈɛs tɪ gɪt fɪt, ər tɪ lʊk mɔr ˈfɪzɪkəli əˈtræktɪv tɪ ˈəðərz. seɪm goʊz fər ˈitɪŋ healthily*, ər ˈdaɪətɪŋ, ər ˈstɑpɪŋ sˈmoʊkɪŋ. wi hæv ðə kəˈpæsɪti tɪ grɪt ɑr tiθ ənd ɪnˈdʊr bɪˈkəz ðə rɪˈwɔrdz kəm ˈleɪtər. ə ˈvɪdioʊ geɪm laɪk traɪəlz ər dɑrk soʊlz ˈrɪli hæv ðə seɪm ˈbɛnəfɪts. ənd ɪt ˌnɛsəˈsɛrəli hæv ðə rɪˈwɔrdz wi əˈtæʧ tɪ ə ˈsərtən taɪp əv ˈiðər. ðət aɪˈdiə ðət ˈbrɔdənɪŋ ɑr hərˈaɪzənz ər ˈflɛksɪŋ ɑr ˌɪnəˈlɛkʧuəl ˈməsəlz. dɑrk soʊlz ɪz nɑt ə kjub. traɪəlz ɪz nɑt sudoku*. ðə skɪlz ju əkˈwaɪər wɪl nɑt bi ˈæpləkəbəl tɪ ˈɛni ˈəðər ˈɛriə əv jʊr laɪf. bət aɪ kənˈtɪnju tɪ ˈpənɪʃ ˌmaɪˈsɛlf. ɛz du ˈhənərdz əv ˈθaʊzənz əv ˈəðərz. waɪ? ˈdɪfəkəlt tɪ kˈwɑntɪˌfaɪ, ˈdɪfəkəlt tɪ dɪˈfaɪn. ðɛr ər ə lɔt əv ˈrizənz tɪ laɪk geɪmz laɪk traɪəlz ər dɑrk soʊlz. traɪəlz, fər ɪgˈzæmpəl, həz pɪʧ ˈpərˌfɪkt kənˈtroʊlz, træk dɪˈzaɪn. dɑrk soʊlz ɪz ə ˈbrɪljənt ɪgˈzæmpəl əv wərld ˈbɪldɪŋ, həz ən ˌɪnˈkrɛdəbəl sɛns əv skeɪl, ən ˌɪnˈkrɛdəbli rɪˈwɔrdɪŋ ˈkɑmbæt ˈsɪstəm. bət ðə ˈdɪfɪˌkəlti. waɪ du wi ˌɛnˈʤɔɪ ðə ˈdɪfɪˌkəlti? boʊθ əv ðiz geɪmz wʊd bi ˈmɑrkɪdli lɛs ˈɪntəˌrɛstɪŋ ɪf ðeɪ wər lɛs ˈdɪfəkəlt; aɪ θɪŋk ˈɛniˌwən kʊd ˈpɑsəbli dɪˈnaɪ ðət. waɪ? aɪ θɪŋk ðə ʃɔrt ˈænsər ɪz ðɪs: ɪt filz gʊd tɪ bi gʊd æt ˈsəmθɪŋ. ɪt filz gʊd tɪ ˌɪmˈpruv, ˈivɪn ɪf ðət ‘‘thing’*’ ɪz ˈpɔɪntləs ənd həz noʊ ˌɪmˈpækt ɔn jʊr ˈsoʊʃəl ˈstændɪŋ ər ˈɛni ˈstændɪŋ fər ðət ˈmætər. ˈɔlsoʊ ðə aɪˈdiə əv ɪn jʊr oʊn əˈbɪləˌti tɪ ˈstəbərnli pərˈsɪst wɪn ˈəðərz ˈkrəmbəl. ɪn ðət sɛns ˈdɪfəkəlt geɪmz ər ə taɪp əv ˈmɛntəl ˈɛksərˌsaɪz: wɪl ju kənˈtɪnju, wɪl ju gɪv əp ɪn ðə feɪs əv ðɪs ˈvərʧuəl, ˈpɔɪntləs traɪəl? wɪn ju kənˈtɪnju wɛr ˈəðərz hæv feɪld ðɛr ɪz ən ɪˈnɔrmɪs sɛns əv ˌsætɪsˈfækʃən. ðət sɛns əv ˌsætɪsˈfækʃən maɪt bi mɪsˈgaɪdɪd ənd ɪˈlitɪst ənd ˈəltəmətli ˈpɔɪntləs ɪn ðə grænd skim əv ˈɛniˌθɪŋ, bət ɪt ɪz ˌɪnˈtɑksɪˌkeɪtɪŋ. ˌɪnˈtɑksɪˌkeɪtɪŋ ɪˈnəf tɪ bi kəmˈpɛlɪŋ. kəmˈpɛlɪŋ ɪˈnəf fər ju tɪ ʧeɪs ðət nɛkst haɪ. bət ən ˈɛmti ˈfilɪŋ. ə ˈhɑloʊ ʧeɪs. aɪ rɪˈmɛmbər ˈfaɪnəli ˈgɪtɪŋ goʊld ɔn ˈɛvəri ˈsɪŋgəl træk ɪn traɪəlz ˌɛvəˈluʃən. aɪ rɪˈmɛmbər ðət sɛns əv ˌsætɪsˈfækʃən. ðət swɛl əv praɪd ɪn maɪ ʧɛst. ˈivɪn ɪn ˈhaɪnˌsaɪt ɪt wɑz kwaɪt ðə əˈʧivmənt. aɪ pʊt ðə kənˈtroʊlər daʊn. aɪ fɛlt ˈrɪli gʊd fər ə ˈsɛkənd, ðɛn ˈnəθɪŋ. aɪ toʊld maɪ waɪf, aɪ dɪd it’*’. ˈbɛrli ˈrɛʤɪstərd. ʃi wɑz ʤɪst ˈhæpi ʃi hæv tɪ hir ðə ˈblədi ˈɪntroʊ sɔŋ ɔn lup. aɪ lind bæk ɪn ðə kaʊʧ. lʊkt ˈɪntu speɪs ənd θɔt tɪ ˌmaɪˈsɛlf, ‘‘well*, ðət aɪ guess’*’. ðə ɛnd.
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editor's note: sarah was freed from prison in iran months ago., her fiancé, shane bauer, and josh were hiking in the mountains in northern iraq in july 2009 and were arrested by iranian border guards, accused of spying and imprisoned. was released after 410 days in solitary confinement; her companions remain imprisoned. to learn more, visit freethehikers.org.
(cnn) -- when i was in evin prison in tehran, a guard twice brought flowers to my cell. each time, i'd hear the door open and look up to see her standing there with a huge smile and homegrown roses. i was speechless with gratitude.
when i broke down and cried, she would hold me in her arms, look me in the eyes and say, "god willing, sarah, it's going to be ok."
since my release, many people have wondered why i have not been more condemning of the country that kept me in solitary confinement for 410 days. they have wanted to know why i speak with such conviction about the need for an improved iranian-u.s. relationship and highlight my love for the middle east and respect for muslim culture.
at a very personal level, i never would have been kept in jail for 14 months if iran and the united states had a better relationship. my fiancé, shane bauer, and our close friend josh would not still be in prison in iran today on the baseless charge of espionage.
but there is more to my conviction than the merely personal. i don't believe that the animosity between iran and the united states is an obstacle; it's the responsibility of all governments to engage diplomatically, regardless of their differences, and when they can't or don't, it is their people who suffer the most.
this week's nuclear talks in geneva, switzerland, involving iran and the united states, the first in more than a year, are a hopeful sign that there can be a dialogue, as difficult as the challenges may be. both countries have taken positive steps in recent months that offer some encouragement. notably, the u.s. has officially designated the iranian militant group a terrorist organization, a decision applauded by iran.
there is a long way to go toward overcoming the animosities of three decades, but now is the best time for dialogue. when i ask my government, and the iranian government, to seize this opportunity, i'm thinking of the future. i'm thinking about the children i hope to have someday and about my children's children.
shane and i had been living in damascus, syria, for more than a year before our fateful trip to iraqi kurdistan with josh. i was teaching english to iraqi refugees and shane was working as a journalist. we hoped to use our work to counter the negative perceptions of the middle east and islam among many americans and act as a bridge between our cultures. josh, an environmentalist, was visiting us. he had heard about our experiences and came with an open, curious heart to share in our passion for the region.
how different our situation would have been if the united states had an embassy in iran when shane, josh and i were arrested on the border with kurdistan, where we had gone hiking. in the absence of a normal relationship, we sat in our cells for two months before our families had any information about us, or we knew anything of what they were going through.
when swiss diplomats, who represent u.s. interests in iran, finally got to see us, i was so shellshocked by my isolation that i could barely utter a few words to pass on to my family. at the same time, over the course of my imprisonment, the belief that we could somehow emerge from a very painful experience better equipped to face the problems of our world helped shane, josh and i through the seemingly interminable days of loneliness, uncertainty and despair.
in prison, we gave ourselves a choice. we could come out as better people or we could let our experience crush the part of ourselves that we value the most -- the part that allows us to see beyond the differences that appear to divide us from people of other cultures and religions or with different points of view. this vision of religious pluralism and respect for knowledge is rooted in the ideals upon which our country was founded and is something all americans can share.
more than anything, i want shane and josh to be free. i also do not want what happened to us to happen to other people, american or iranian. i hope our leaders find the courage to begin to break from our nations' hostile past, just as the prison guard who brought me flowers was able to see past my nationality and recognize our common humanity.
the guard and i had very little to build on in terms of a common language, but i would say "one god" in farsi and she would repeat the words with a solemn nod of the head.
when she found out that i was being released, the guard asked whether i would forget her once i got back to america. i told her i never would.
the opinions expressed in this commentary are solely those of sarah.
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ˈɛdɪtərz noʊt: ˈsɛrə wɑz frid frəm ˈprɪzən ɪn ˌɪˈrɑn mənθs əˈgoʊ., hər fiancé*é, ʃeɪn baʊər, ənd ʤɑʃ wər ˈhaɪkɪŋ ɪn ðə ˈmaʊntənz ɪn ˈnɔrðərn ˌɪˈrɑk ɪn ˌʤuˈlaɪ 2009 ənd wər ərˈɛstɪd baɪ ˌɪˈrɑniən ˈbɔrdər gɑrdz, əˈkjuzd əv spaɪɪŋ ənd ˌɪmˈprɪzənd. wɑz riˈlist ˈæftər 410 deɪz ɪn ˈsɑləˌtɛri kənˈfaɪnmənt; hər kəmˈpænjənz rɪˈmeɪn ˌɪmˈprɪzənd. tɪ lərn mɔr, ˈvɪzɪt freethehikers.org*. (ˈsiˈɛˈnɛn) wɪn aɪ wɑz ɪn ˈɛvɪn ˈprɪzən ɪn ˌteɪˈrɑn, ə gɑrd twaɪs brɔt flaʊərz tɪ maɪ sɛl. iʧ taɪm, aɪd hir ðə dɔr ˈoʊpən ənd lʊk əp tɪ si hər ˈstændɪŋ ðɛr wɪθ ə juʤ smaɪl ənd ˈhoʊmˈgroʊn ˈroʊzɪz. aɪ wɑz ˈspiʧləs wɪθ ˈgrætəˌtud. wɪn aɪ broʊk daʊn ənd kraɪd, ʃi wʊd hoʊld mi ɪn hər ɑrmz, lʊk mi ɪn ðə aɪz ənd seɪ, "gɑd ˈwɪlɪŋ, ˈsɛrə, ɪts goʊɪŋ tɪ bi ˈoʊˈkeɪ." sɪns maɪ riˈlis, ˈmɛni ˈpipəl hæv ˈwəndərd waɪ aɪ hæv nɑt bɪn mɔr kənˈdɛmɪŋ əv ðə ˈkəntri ðət kɛpt mi ɪn ˈsɑləˌtɛri kənˈfaɪnmənt fər 410 deɪz. ðeɪ hæv ˈwɔntɪd tɪ noʊ waɪ aɪ spik wɪθ səʧ kənˈvɪkʃən əˈbaʊt ðə nid fər ən ˌɪmˈpruvd iranian-u.s*. riˈleɪʃənˌʃɪp ənd ˈhaɪˌlaɪt maɪ ləv fər ðə ˈmɪdəl ist ənd rɪˈspɛkt fər ˈməzlɪm ˈkəlʧər. æt ə ˈvɛri ˈpərsɪnəl ˈlɛvəl, aɪ ˈnɛvər wʊd hæv bɪn kɛpt ɪn ʤeɪl fər 14 mənθs ɪf ˌɪˈrɑn ənd ðə juˈnaɪtɪd steɪts hæd ə ˈbɛtər riˈleɪʃənˌʃɪp. maɪ fiancé*é, ʃeɪn baʊər, ənd ɑr kloʊz frɛnd ʤɑʃ wʊd nɑt stɪl bi ɪn ˈprɪzən ɪn ˌɪˈrɑn təˈdeɪ ɔn ðə ˈbeɪsləs ʧɑrʤ əv ˈɛspiənɑʤ. bət ðɛr ɪz mɔr tɪ maɪ kənˈvɪkʃən ðən ðə ˈmɪrli ˈpərsɪnəl. aɪ doʊnt bɪˈliv ðət ðə ˌænəˈmɑsəti bɪtˈwin ˌɪˈrɑn ənd ðə juˈnaɪtɪd steɪts ɪz ən ˈɑbstəkəl; ɪts ðə riˌspɑnsəˈbɪləti əv ɔl ˈgəvərnmənts tɪ ɪnˈgeɪʤ ˌdɪpləˈmætɪkli, rəˈgɑrdləs əv ðɛr ˈdɪfərənsɪz, ənd wɪn ðeɪ kænt ər doʊnt, ɪt ɪz ðɛr ˈpipəl hu ˈsəfər ðə moʊst. ðɪs wiks ˈnukliər tɔks ɪn ʤəˈnivə, sˈwɪtsərlənd, ˌɪnˈvɑlvɪŋ ˌɪˈrɑn ənd ðə juˈnaɪtɪd steɪts, ðə fərst ɪn mɔr ðən ə jɪr, ər ə ˈhoʊpfəl saɪn ðət ðɛr kən bi ə ˈdaɪəˌlɔg, ɛz ˈdɪfəkəlt ɛz ðə ˈʧælənʤɪz meɪ bi. boʊθ ˈkəntriz hæv ˈteɪkən ˈpɑzətɪv stɛps ɪn ˈrisənt mənθs ðət ˈɔfər səm ɛnˈkərɪʤmənt. ˈnoʊtəbli, ðə juz. həz əˈfɪʃəli ˈdɛzɪgˌneɪtɪd ðə ˌɪˈrɑniən ˈmɪlətənt grup ə ˈtɛrərɪst ˌɔrgənəˈzeɪʃən, ə dɪˈsɪʒən əˈplɔdɪd baɪ ˌɪˈrɑn. ðɛr ɪz ə lɔŋ weɪ tɪ goʊ təˈwɔrd ˈoʊvərˌkəmɪŋ ðə ˌænəˈmɑsətiz əv θri ˈdɛkeɪdz, bət naʊ ɪz ðə bɛst taɪm fər ˈdaɪəˌlɔg. wɪn aɪ æsk maɪ ˈgəvərnmənt, ənd ðə ˌɪˈrɑniən ˈgəvərnmənt, tɪ siz ðɪs ˌɑpərˈtunəti, əm ˈθɪŋkɪŋ əv ðə fˈjuʧər. əm ˈθɪŋkɪŋ əˈbaʊt ðə ˈʧɪldrən aɪ hoʊp tɪ hæv ˈsəmˌdeɪ ənd əˈbaʊt maɪ ˈʧɪldrənz ˈʧɪldrən. ʃeɪn ənd aɪ hæd bɪn ˈlɪvɪŋ ɪn dəˈmæskəs, ˈsɪriə, fər mɔr ðən ə jɪr ˌbiˈfɔr ɑr ˈfeɪtfəl trɪp tɪ ˌɪˈræki ˈkərdɪˌstæn wɪθ ʤɑʃ. aɪ wɑz ˈtiʧɪŋ ˈɪŋlɪʃ tɪ ˌɪˈræki ˈrɛfˌjuʤiz ənd ʃeɪn wɑz ˈwərkɪŋ ɛz ə ˈʤərnəlɪst. wi hoʊpt tɪ juz ɑr wərk tɪ ˈkaʊntər ðə ˈnɛgətɪv pərˈsɛpʃənz əv ðə ˈmɪdəl ist ənd ˌɪsˈlɑm əˈməŋ ˈmɛni əˈmɛrɪkənz ənd ækt ɛz ə brɪʤ bɪtˈwin ɑr ˈkəlʧərz. ʤɑʃ, ən ɪnˌvaɪrənˈmɛnəlɪst, wɑz ˈvɪzɪtɪŋ ˈjuˈɛs. hi hæd hərd əˈbaʊt ɑr ɪkˈspɪriənsɪz ənd keɪm wɪθ ən ˈoʊpən, ˈkjʊriəs hɑrt tɪ ʃɛr ɪn ɑr ˈpæʃən fər ðə ˈriʤən. haʊ ˈdɪfərənt ɑr ˌsɪʧuˈeɪʃən wʊd hæv bɪn ɪf ðə juˈnaɪtɪd steɪts hæd ən ˈɛmbəsi ɪn ˌɪˈrɑn wɪn ʃeɪn, ʤɑʃ ənd aɪ wər ərˈɛstɪd ɔn ðə ˈbɔrdər wɪθ ˈkərdɪˌstæn, wɛr wi hæd gɔn ˈhaɪkɪŋ. ɪn ðə ˈæbsəns əv ə ˈnɔrməl riˈleɪʃənˌʃɪp, wi sæt ɪn ɑr sɛlz fər tu mənθs ˌbiˈfɔr ɑr ˈfæməliz hæd ˈɛni ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˈjuˈɛs, ər wi nu ˈɛniˌθɪŋ əv wət ðeɪ wər goʊɪŋ θru. wɪn swɪs ˈdɪpləˌmæts, hu ˌrɛprɪˈzɛnt juz. ˈɪntərɪsts ɪn ˌɪˈrɑn, ˈfaɪnəli gɑt tɪ si ˈjuˈɛs, aɪ wɑz soʊ ˈʃɛlˌʃɑkt baɪ maɪ ˌaɪsəˈleɪʃən ðət aɪ kʊd ˈbɛrli ˈətər ə fju wərdz tɪ pæs ɔn tɪ maɪ ˈfæməli. æt ðə seɪm taɪm, ˈoʊvər ðə kɔrs əv maɪ ˌɪmˈprɪzənmənt, ðə bɪˈlif ðət wi kʊd ˈsəmˌhaʊ ˈimərʤ frəm ə ˈvɛri ˈpeɪnfəl ɪkˈspɪriəns ˈbɛtər ɪkˈwɪpt tɪ feɪs ðə ˈprɑbləmz əv ɑr wərld hɛlpt ʃeɪn, ʤɑʃ ənd aɪ θru ðə ˈsimɪŋli ˌɪnˈtərmənəbəl deɪz əv ˈloʊnlinəs, ənˈsərtənti ənd dɪˈspɛr. ɪn ˈprɪzən, wi geɪv ɑrˈsɛlvz ə ʧɔɪs. wi kʊd kəm aʊt ɛz ˈbɛtər ˈpipəl ər wi kʊd lɛt ɑr ɪkˈspɪriəns krəʃ ðə pɑrt əv ɑrˈsɛlvz ðət wi ˈvælju ðə moʊst ðə pɑrt ðət əˈlaʊz ˈjuˈɛs tɪ si bɪɔnd ðə ˈdɪfərənsɪz ðət əˈpɪr tɪ dɪˈvaɪd ˈjuˈɛs frəm ˈpipəl əv ˈəðər ˈkəlʧərz ənd riˈlɪʤənz ər wɪθ ˈdɪfərənt pɔɪnts əv vju. ðɪs ˈvɪʒən əv rɪˈlɪʤəs ˈplʊrəˌlɪzəm ənd rɪˈspɛkt fər ˈnɑlɪʤ ɪz ˈrutɪd ɪn ðə aɪˈdilz əˈpɑn wɪʧ ɑr ˈkəntri wɑz ˈfaʊndɪd ənd ɪz ˈsəmθɪŋ ɔl əˈmɛrɪkənz kən ʃɛr. mɔr ðən ˈɛniˌθɪŋ, aɪ wɔnt ʃeɪn ənd ʤɑʃ tɪ bi fri. aɪ ˈɔlsoʊ du nɑt wɔnt wət ˈhæpənd tɪ ˈjuˈɛs tɪ ˈhæpən tɪ ˈəðər ˈpipəl, əˈmɛrɪkən ər ˌɪˈrɑniən. aɪ hoʊp ɑr ˈlidərz faɪnd ðə kərɪʤ tɪ bɪˈgɪn tɪ breɪk frəm ɑr ˈneɪʃənz' ˈhɑstəl pæst, ʤɪst ɛz ðə ˈprɪzən gɑrd hu brɔt mi flaʊərz wɑz ˈeɪbəl tɪ si pæst maɪ ˌnæʃəˈnælɪti ənd ˈrɛkəgˌnaɪz ɑr ˈkɑmən juˈmænɪti. ðə gɑrd ənd aɪ hæd ˈvɛri ˈlɪtəl tɪ bɪld ɔn ɪn tərmz əv ə ˈkɑmən ˈlæŋgwɪʤ, bət aɪ wʊd seɪ "wən gɑd" ɪn ˈfɑrsi ənd ʃi wʊd rɪˈpit ðə wərdz wɪθ ə ˈsɑləm nɑd əv ðə hɛd. wɪn ʃi faʊnd aʊt ðət aɪ wɑz biɪŋ riˈlist, ðə gɑrd æst ˈwɛðər aɪ wʊd fərˈgɛt hər wəns aɪ gɑt bæk tɪ əˈmɛrɪkə. aɪ toʊld hər aɪ ˈnɛvər wʊd. ðə əˈpɪnjənz ɪkˈsprɛst ɪn ðɪs ˈkɑmənˌtɛri ər ˈsoʊəli ðoʊz əv ˈsɛrə.
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the 1989 comparison
prospects for peace seemed especially bleak at the beginning of 1989. detente appeared on the brink of collapse. washington showed a clear hand in the soviet protracted war in afghanistan. a scheduled meeting between mikhail gorbachev and deng xiaoping meant a possible end to the split, and a renewed alliance against the us. american conservatives meanwhile themselves for a war conflict, of unknown duration and intensity.
yet, by the end of year, revolutions had swept through central and eastern europe. the children of a generation that participated in the failed uprisings of 1956 and 1968 appeared to have vindicated their parents. the soviet union would soon collapse, and germany would reunify. the bewilderment these events produced was nearly impossible to put into perspective until a generation later, when a wave of popular demonstrations ripped through the arab middle east, and toppled entire governments seemingly overnight.
as with the arab spring, political analysts were left scrambling for an explanation. ill prepared, their answers sounded eerily familiar to those of the western news media in the fall of 1989: political repression, mixed with economic disenfranchisement and youth, is a recipe for revolution. drawing many a comparison to, too, it was as though history was repeating itself. cause and effect scenarios were routinely invoked to rationalize the upheaval, as though it adhered to universal laws, valid in every country and every political situation.
the problem with this analytical reflex is that although it helps explain certain things, it never accounts for what inspires events, for example, like velvet revolution. why do they happen at particular historical periods and not others? what makes some revolutions successful and not others? are the failings of european communism really the same as those of bedouin monarchs and arab dictators? basic questions, clearly. unfortunately, news media is the first place that people go to make sense of the world, where we encounter such equations. it would help if at least some of the time, it got things reasonably right.
so fearful is its coverage of social unrest, that it draws a blank whenever coverage is necessary. the problem is that since the end of the cold war, the upheaval stopped. yet, the world remains beholden to the notion of surprise, typical of the cold war era, that there is some kind of continuum in daily life, around the world, that revolutions, for example, remain an eternal exception to. as though never happened in new york, or in london. the us and the uk, though they often appear to forget it, are a part of history, too.
a veteran of square protests, such questions of have especially preoccupied me as of late, as i search for precedents to help explain what i experienced there. inevitably i am lead back to 1989 as though it was the start of a process of which i continue to be a part of. i am particularly interested in the continuum of non-violent protest, which was part of political protests in parts of the world not celebrated for their overthrow of communism. i am thinking in china, in particular the tiananmen square protests, twenty-four years ago, frequently deleted from popular accounts of this revolutionary time.
protests by chinese students began in april 1989, after the death of former communist party general secretary hu yaobang. students sought to honor memory with a productive call for social change, which is an instinct that relies on a tradition of grassroots dissent to even be synthesized. hence, students converged at tiananmen square because it was the center of a rich tradition of local protest, whether in the may fourth movement of 1917 or the tiananmen square protests of 1975.
characteristics of the seven week protests had been learned from popular struggles more broadly: they were initially buoyed with strong support from urban workers, students quickly networked with progressive factions that joined the protests, hunger strikes were used to establish moral legitimacy and reinvigorate the dying momentum, and so on. protestors at tiananmen were quick to take advantage of the media presence (initially intended for the summit between gorbachev and xiaoping) to establish a national and international presence. through smart organizing, the spark that was death lead to millions of people protesting in four hundred chinese cities.
however, tiananmen square had its problems. the presence and ambitions of various organizations led to unclear demands and confusion among party officials. much of the protest problems, however, were the result of its immaturity and the sudden convergence of disparate groups into a shared setting of protest. it is interesting that these logistical and competitive issues would later be observed in the 2009 2010 iranian election protests and 2011 2012 protests associated with occupy wall street. many of these problems could have been addressed had the movement been allowed to develop. this said, the may declaration of martial law, and mass crackdown on june and 4th, put an end to those possibilities.
neither issue was present in central and eastern europe. as a result of international outcry surrounding the chinese crackdowns, gorbachev implicitly repealed the brezhnev doctrine in a july 1989 address to the council of europe. moscow would no longer use force to prevent a warsaw pact member from leaving the communist sphere. movements such as the independent polish trade union solidarity had grown massively in strength and influence. following their success in polish elections on june 4th, 1989 that followed a wave of strikes in april and may 1988, further galvanized by the events at tiananmen square, solidarity mobilized even further. by august 1989, parliament ended years of one party rule. hungarian activists, with awareness of their failed revolution of 1956, were next to follow, and by the end of the year, the autumn of nations had spread across the soviet bloc.
events at square played out in a very similar way. noting inspirational images of popular struggle in tunisia, activists independently agreed on a day of rage on january 25th, 2011. the revolutionary esprit de corps of the demonstrators was a direct consequence of the two palestinian intifadas, which helped inspire grassroots organizing, and discredited the use of violence as an effective means of social change. learning from previous radical movements, as well as their own predecessors, they adopted an approach similar to that of the students at tiananmen square in reaching out to progressive organizations and forming strong ties with labor movement. the end result: hosni mubarak resigned on february 13th, 2012.
most importantly, memories of violent crackdown in tiananmen square helped dampen sense of freedom in putting down the protests. the fear was clear, particularly if one paid attention to the number of parallels being made to tiananmen at the time, not just amongst activists, eager to be more successful than their chinese peers, but also amongst politicians, and an global news media, eager to see the egyptian revolution as a replay of 1989, in eastern europe.
by the end of 2012, radical movements throughout the region had treated the egyptian revolution as a catalyst, whose inspiration is still being felt today, in both north africa, and of course, syria. though some of these revolutions have been more successful than others, the middle eastern political landscape has been irreversibly transformed by them, largely for the better. despite, that is, the disappointments experienced in egypt, where the struggle for democracy has renewed itself as of late.
my greatest fear is that the egyptian revolution will end up being as disappointing as that attempted in china. will the political energies that threw out mubarak lead to real democracy, or will it remain instrumental in the perpetuation of the status quo? only time will tell. in the interim, what i hope for is something closer to the eastern european example. the connection, for me, between the collapse of communism, and the arab spring, and why 1989 and 2012 remain worthy of comparison. hopefully 2013 will end on a better note than it started.
photographs courtesy of diego and robert croma. published under a creative commons license.
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ðə 1989 kəmˈpɛrəsən ˈprɑspɛkts fər pis simd əˈspɛʃəli blik æt ðə bɪˈgɪnɪŋ əv 1989 deɪˈtɑnt əˈpɪrd ɔn ðə brɪŋk əv kəˈlæps. ˈwɔʃɪŋtən ʃoʊd ə klɪr hænd ɪn ðə ˈsoʊviˌɛt proʊˈtræktɪd wɔr ɪn æfˈgænəˌstæn. ə ˈskɛʤʊld ˈmitɪŋ bɪtˈwin mɪˈkeɪl ˈgɔrbəˌʧɔf ənd dɛŋ ˈʒaʊˈpɪŋ mɛnt ə ˈpɑsəbəl ɛnd tɪ ðə splɪt, ənd ə rɪˈnud əˈlaɪəns əˈgɛnst ðə ˈjuˈɛs. əˈmɛrɪkən kənˈsərvətɪvz ˈminˌwaɪl ðɛmˈsɛlvz fər ə wɔr ˈkɑnflɪkt, əv ənˈnoʊn ˈdʊˈreɪʃən ənd ˌɪnˈtɛnsɪti. jɛt, baɪ ðə ɛnd əv jɪr, ˌrɛvəˈluʃənz hæd swɛpt θru ˈsɛntrəl ənd ˈistərn ˈjʊrəp. ðə ˈʧɪldrən əv ə ˌʤɛnərˈeɪʃən ðət pɑrˈtɪsəˌpeɪtɪd ɪn ðə feɪld ˈəˌpraɪzɪŋz əv 1956 ənd 1968 əˈpɪrd tɪ hæv ˈvɪndəkeɪtɪd ðɛr ˈpɛrənts. ðə ˈsoʊviˌɛt ˈjunjən wʊd sun kəˈlæps, ənd ˈʤərməni wʊd riˈunəˌfaɪ. ðə bɪˈwɪldərmənt ðiz ɪˈvɛnts prəˈdust wɑz ˈnɪrli ˌɪmˈpɑsəbəl tɪ pʊt ˈɪntu pərˈspɛktɪv ənˈtɪl ə ˌʤɛnərˈeɪʃən ˈleɪtər, wɪn ə weɪv əv ˈpɑpjələr ˌdɛmənˈstreɪʃənz rɪpt θru ðə ˈærəb ˈmɪdəl ist, ənd ˈtɑpəld ɪnˈtaɪər ˈgəvərnmənts ˈsimɪŋli ˈoʊvərˈnaɪt. ɛz wɪθ ðə ˈærəb spərɪŋ, pəˈlɪtɪkəl ˈænəlɪsts wər lɛft ˈskræmbəlɪŋ fər ən ˌɛkspləˈneɪʃən. ɪl priˈpɛrd, ðɛr ˈænsərz ˈsaʊndɪd ˈɪrəli fəˈmɪljər tɪ ðoʊz əv ðə ˈwɛstərn nuz ˈmidiə ɪn ðə fɔl əv 1989 pəˈlɪtɪkəl riˈprɛʃən, mɪkst wɪθ ˌɛkəˈnɑmɪk dɪsɪnˈfrænˌʧaɪzmənt ənd juθ, ɪz ə ˈrɛsəpi fər ˌrɛvəˈluʃən. drɔɪŋ ˈmɛni ə kəmˈpɛrəsən tɪ tu, ɪt wɑz ɛz ðoʊ ˈhɪstəri wɑz rɪˈpitɪŋ ˌɪtˈsɛlf. kɔz ənd ˈifɛkt sɪˈnɛrioʊz wər ruˈtinli ˌɪnˈvoʊkt tɪ ˈræʃənəˌlaɪz ðə əˈphivəl, ɛz ðoʊ ɪt æˈdhɪrd tɪ ˌjunəˈvərsəl lɔz, ˈvælɪd ɪn ˈɛvəri ˈkəntri ənd ˈɛvəri pəˈlɪtɪkəl ˌsɪʧuˈeɪʃən. ðə ˈprɑbləm wɪθ ðɪs ˌænəˈlɪtɪkəl ˈriflɛks ɪz ðət ˌɔlˈðoʊ ɪt hɛlps ɪkˈspleɪn ˈsərtən θɪŋz, ɪt ˈnɛvər əˈkaʊnts fər wət ˌɪnˈspaɪrz ɪˈvɛnts, fər ɪgˈzæmpəl, laɪk ˈvɛlvət ˌrɛvəˈluʃən. waɪ du ðeɪ ˈhæpən æt ˌpɑˈtɪkjələr hɪˈstɔrɪkəl ˈpɪriədz ənd nɑt ˈəðərz? wət meɪks səm ˌrɛvəˈluʃənz səkˈsɛsfəl ənd nɑt ˈəðərz? ər ðə ˈfeɪlɪŋz əv ˌjʊrəˈpiən ˈkɑmjəˌnɪzəm ˈrɪli ðə seɪm ɛz ðoʊz əv ˈbɛdəwən ˈmɑˌnɑrks ənd ˈærəb ˈdɪkteɪtərz? ˈbeɪsɪk kˈwɛsʧənz, ˈklɪrli. ənˈfɔrʧənətli, nuz ˈmidiə ɪz ðə fərst pleɪs ðət ˈpipəl goʊ tɪ meɪk sɛns əv ðə wərld, wɛr wi ɪnˈkaʊnər səʧ ɪkˈweɪʒənz. ɪt wʊd hɛlp ɪf æt list səm əv ðə taɪm, ɪt gɑt θɪŋz ˈrizənəbli raɪt. soʊ ˈfɪrfəl ɪz ɪts ˈkəvərɪʤ əv ˈsoʊʃəl ənˈrɛst, ðət ɪt drɔz ə blæŋk wɛˈnɛvər ˈkəvərɪʤ ɪz ˈnɛsəˌsɛri. ðə ˈprɑbləm ɪz ðət sɪns ðə ɛnd əv ðə koʊld wɔr, ðə əˈphivəl stɑpt. jɛt, ðə wərld rɪˈmeɪnz bɪˈhoʊldən tɪ ðə ˈnoʊʃən əv səˈpraɪz, ˈtɪpɪkəl əv ðə koʊld wɔr ˈɪrə, ðət ðɛr ɪz səm kaɪnd əv kənˈtɪnjuəm ɪn ˈdeɪli laɪf, əraʊnd ðə wərld, ðət ˌrɛvəˈluʃənz, fər ɪgˈzæmpəl, rɪˈmeɪn ən ɪˈtərnəl ɪkˈsɛpʃən tɪ. ɛz ðoʊ ˈnɛvər ˈhæpənd ɪn nu jɔrk, ər ɪn ˈləndən. ðə ˈjuˈɛs ənd ðə uk*, ðoʊ ðeɪ ˈɔfən əˈpɪr tɪ fərˈgɛt ɪt, ər ə pɑrt əv ˈhɪstəri, tu. ə ˈvɛtərən əv skwɛr ˈproʊˌtɛsts, səʧ kˈwɛsʧənz əv hæv əˈspɛʃəli priˈɑkjəˌpaɪd mi ɛz əv leɪt, ɛz aɪ sərʧ fər ˈprɛsəˌdɛnts tɪ hɛlp ɪkˈspleɪn wət aɪ ɪkˈspɪriənst ðɛr. ˌɪˈnɛvətəbli aɪ æm lɛd bæk tɪ 1989 ɛz ðoʊ ɪt wɑz ðə stɑrt əv ə ˈprɔˌsɛs əv wɪʧ aɪ kənˈtɪnju tɪ bi ə pɑrt əv. aɪ æm ˌpɑrˈtɪkjələrli ˈɪntəˌrɛstɪd ɪn ðə kənˈtɪnjuəm əv nɑnˈvaɪələnt ˈproʊˌtɛst, wɪʧ wɑz pɑrt əv pəˈlɪtɪkəl ˈproʊˌtɛsts ɪn pɑrts əv ðə wərld nɑt ˈsɛləˌbreɪtɪd fər ðɛr ˈoʊvərθˌroʊ əv ˈkɑmjəˌnɪzəm. aɪ æm ˈθɪŋkɪŋ ɪn ˈʧaɪnə, ɪn ˌpɑˈtɪkjələr ðə tiˈɛnænˌmɛn skwɛr ˈproʊˌtɛsts, tˈwɛntiˌfɔr jɪrz əˈgoʊ, ˈfrikwɛntli dɪˈlitəd frəm ˈpɑpjələr əˈkaʊnts əv ðɪs ˌrɛvəˈluʃəˌnɛri taɪm. ˈproʊˌtɛsts baɪ ʧaɪˈniz ˈstudənts bɪˈgæn ɪn ˈeɪprəl 1989 ˈæftər ðə dɛθ əv ˈfɔrmər ˈkɑmjənəst ˈpɑrti ˈʤɛnərəl ˈsɛkrəˌtɛri hu ˈjaʊbæŋ. ˈstudənts sɔt tɪ ˈɑnər ˈmɛməri wɪθ ə pərˈdəktɪv kɔl fər ˈsoʊʃəl ʧeɪnʤ, wɪʧ ɪz ən ˈɪnstɪŋkt ðət rɪˈlaɪz ɔn ə trəˈdɪʃən əv ˈgræsˈruts dɪˈsɛnt tɪ ˈivɪn bi ˈsɪnθɪˌsaɪzd. hɛns, ˈstudənts kənˈvərʤd æt tiˈɛnænˌmɛn skwɛr bɪˈkəz ɪt wɑz ðə ˈsɛnər əv ə rɪʧ trəˈdɪʃən əv ˈloʊkəl ˈproʊˌtɛst, ˈwɛðər ɪn ðə meɪ fɔrθ ˈmuvmənt əv 1917 ər ðə tiˈɛnænˌmɛn skwɛr ˈproʊˌtɛsts əv 1975 ˌkɛrɪktərˈɪstɪks əv ðə ˈsɛvən wik ˈproʊˌtɛsts hæd bɪn ˈlərnɪd frəm ˈpɑpjələr ˈstrəgəlz mɔr ˈbrɔdli: ðeɪ wər ˌɪˈnɪʃəli buid wɪθ strɔŋ səˈpɔrt frəm ˈərbən ˈwərkərz, ˈstudənts kˈwɪkli ˈnɛtˌwərkt wɪθ prəˈgrɛsɪv ˈfækʃənz ðət ʤɔɪnd ðə ˈproʊˌtɛsts, ˈhəŋgər straɪks wər juzd tɪ ɪˈstæblɪʃ ˈmɔrəl lɪˈʤɪtəməsi ənd ˌriɪnˈvɪgərˌeɪt ðə daɪɪŋ moʊˈmɛntəm, ənd soʊ ɔn. ˈproʊˌtɛstərz æt tiˈɛnænˌmɛn wər kwɪk tɪ teɪk ædˈvæntɪʤ əv ðə ˈmidiə ˈprɛzəns (ˌɪˈnɪʃəli ˌɪnˈtɛndɪd fər ðə ˈsəmɪt bɪtˈwin ˈgɔrbəˌʧɔf ənd ˈʒaʊˈpɪŋ) tɪ ɪˈstæblɪʃ ə ˈnæʃənəl ənd ˌɪnərˈnæʃənɑl ˈprɛzəns. θru smɑrt ˈɔrgəˌnaɪzɪŋ, ðə spɑrk ðət wɑz dɛθ lɛd tɪ ˈmɪljənz əv ˈpipəl ˈproʊˌtɛstɪŋ ɪn fɔr ˈhənərd ʧaɪˈniz ˈsɪtiz. ˌhaʊˈɛvər, tiˈɛnænˌmɛn skwɛr hæd ɪts ˈprɑbləmz. ðə ˈprɛzəns ənd æmˈbɪʃənz əv ˈvɛriəs ˌɔrgənəˈzeɪʃənz lɛd tɪ ənˈklɪr dɪˈmændz ənd kənfˈjuʒən əˈməŋ ˈpɑrti əˈfɪʃəlz. məʧ əv ðə ˈproʊˌtɛst ˈprɑbləmz, ˌhaʊˈɛvər, wər ðə rɪˈzəlt əv ɪts ˌɪməˈʧʊrɪti ənd ðə ˈsədən kənˈvərʤəns əv ˈdɪspərɪt grups ˈɪntu ə ʃɛrd ˈsɛtɪŋ əv ˈproʊˌtɛst. ɪt ɪz ˈɪntəˌrɛstɪŋ ðət ðiz ləˈʤɪstɪkəl ənd kəmˈpɛtɪtɪv ˈɪʃuz wʊd ˈleɪtər bi əbˈzərvd ɪn ðə 2009 2010 ˌɪˈrɑniən ɪˈlɛkʃən ˈproʊˌtɛsts ənd 2011 2012 ˈproʊˌtɛsts əˈsoʊʃiˌeɪtəd wɪθ ˈɑkjəˌpaɪ wɔl strit. ˈmɛni əv ðiz ˈprɑbləmz kʊd hæv bɪn əˈdrɛst hæd ðə ˈmuvmənt bɪn əˈlaʊd tɪ dɪˈvɛləp. ðɪs sɛd, ðə meɪ ˌdɛklərˈeɪʃən əv ˈmɑrʃəl lɔ, ənd mæs ˈkrækˌdaʊn ɔn ʤun ənd 4th*, pʊt ən ɛnd tɪ ðoʊz ˌpɑsəˈbɪlətiz. ˈniðər ˈɪʃu wɑz ˈprɛzənt ɪn ˈsɛntrəl ənd ˈistərn ˈjʊrəp. ɛz ə rɪˈzəlt əv ˌɪnərˈnæʃənɑl ˈaʊtˌkraɪ sərˈaʊndɪŋ ðə ʧaɪˈniz ˈkrækˌdaʊnz, ˈgɔrbəˌʧɔf ˌɪmˈplɪsətli rɪˈpild ðə ˈbrɛznɛf ˈdɔktərɪn ɪn ə ˌʤuˈlaɪ 1989 ˈæˌdrɛs tɪ ðə ˈkaʊnsəl əv ˈjʊrəp. ˈmɔˌskaʊ wʊd noʊ ˈlɔŋgər juz fɔrs tɪ prɪˈvɛnt ə ˈwɔrˌsɔ pækt ˈmɛmbər frəm ˈlivɪŋ ðə ˈkɑmjənəst sfɪr. ˈmuvmənts səʧ ɛz ðə ˌɪndɪˈpɛndənt ˈpɑlɪʃ treɪd ˈjunjən ˌsɑləˈdɛrəti hæd groʊn ˈmæsɪvli ɪn strɛŋθ ənd ˈɪnfluəns. ˈfɑloʊɪŋ ðɛr səkˈsɛs ɪn ˈpɑlɪʃ ɪˈlɛkʃənz ɔn ʤun 4th*, 1989 ðət ˈfɑloʊd ə weɪv əv straɪks ɪn ˈeɪprəl ənd meɪ 1988 ˈfərðər ˈgælvəˌnaɪzd baɪ ðə ɪˈvɛnts æt tiˈɛnænˌmɛn skwɛr, ˌsɑləˈdɛrəti ˈmoʊbəˌlaɪzd ˈivɪn ˈfərðər. baɪ ˈɔgəst 1989 ˈpɑrləmɛnt ˈɛndɪd jɪrz əv wən ˈpɑrti rul. həŋˈgɛriən ˈæktɪvɪsts, wɪθ əˈwɛrnəs əv ðɛr feɪld ˌrɛvəˈluʃən əv 1956 wər nɛkst tɪ ˈfɑloʊ, ənd baɪ ðə ɛnd əv ðə jɪr, ðə ˈɔtəm əv ˈneɪʃənz hæd sprɛd əˈkrɔs ðə ˈsoʊviˌɛt blɑk. ɪˈvɛnts æt skwɛr pleɪd aʊt ɪn ə ˈvɛri ˈsɪmələr weɪ. ˈnoʊtɪŋ ˌɪnspərˈeɪʃənəl ˈɪmɪʤɪz əv ˈpɑpjələr ˈstrəgəl ɪn ˌtuˈniʒə, ˈæktɪvɪsts ˌɪndɪˈpɛndəntli əˈgrid ɔn ə deɪ əv reɪʤ ɔn ˈʤænjuˌɛri 25th*, 2011 ðə ˌrɛvəˈluʃəˌnɛri ɛˈspri də kɔrz əv ðə ˈdɛmənˌstreɪtərz wɑz ə dɪˈrɛkt ˈkɑnsəkwəns əv ðə tu ˌpælɪˈstɪniən intifadas*, wɪʧ hɛlpt ˌɪnˈspaɪr ˈgræsˈruts ˈɔrgəˌnaɪzɪŋ, ənd dɪˈskrɛdɪtɪd ðə juz əv ˈvaɪələns ɛz ən ˈifɛktɪv minz əv ˈsoʊʃəl ʧeɪnʤ. ˈlərnɪŋ frəm ˈpriviəs ˈrædɪkəl ˈmuvmənts, ɛz wɛl ɛz ðɛr oʊn ˈprɛdəˌsɛsərz, ðeɪ əˈdɑptəd ən əˈproʊʧ ˈsɪmələr tɪ ðət əv ðə ˈstudənts æt tiˈɛnænˌmɛn skwɛr ɪn ˈriʧɪŋ aʊt tɪ prəˈgrɛsɪv ˌɔrgənəˈzeɪʃənz ənd ˈfɔrmɪŋ strɔŋ taɪz wɪθ ˈleɪbər ˈmuvmənt. ðə ɛnd rɪˈzəlt: ˈhɔsni muˈbɑrɪk rɪˈzaɪnd ɔn ˈfɛbruˌɛri 13th*, 2012 moʊst ˌɪmˈpɔrtəntli, ˈmɛməriz əv ˈvaɪələnt ˈkrækˌdaʊn ɪn tiˈɛnænˌmɛn skwɛr hɛlpt ˈdæmpən sɛns əv ˈfridəm ɪn ˈpʊtɪŋ daʊn ðə ˈproʊˌtɛsts. ðə fɪr wɑz klɪr, ˌpɑrˈtɪkjələrli ɪf wən peɪd əˈtɛnʃən tɪ ðə ˈnəmbər əv ˈpɛrəˌlɛlz biɪŋ meɪd tɪ tiˈɛnænˌmɛn æt ðə taɪm, nɑt ʤɪst əˈməŋst ˈæktɪvɪsts, ˈigər tɪ bi mɔr səkˈsɛsfəl ðən ðɛr ʧaɪˈniz pɪrz, bət ˈɔlsoʊ əˈməŋst ˌpɑləˈtɪʃənz, ənd ən ˈgloʊbəl nuz ˈmidiə, ˈigər tɪ si ðə ɪˈʤɪpʃən ˌrɛvəˈluʃən ɛz ə riˈpleɪ əv 1989 ɪn ˈistərn ˈjʊrəp. baɪ ðə ɛnd əv 2012 ˈrædɪkəl ˈmuvmənts θruaʊt ðə ˈriʤən hæd ˈtritɪd ðə ɪˈʤɪpʃən ˌrɛvəˈluʃən ɛz ə ˈkætəˌlɪst, huz ˌɪnspərˈeɪʃən ɪz stɪl biɪŋ fɛlt təˈdeɪ, ɪn boʊθ nɔrθ ˈæfrɪkɑ, ənd əv kɔrs, ˈsɪriə. ðoʊ səm əv ðiz ˌrɛvəˈluʃənz hæv bɪn mɔr səkˈsɛsfəl ðən ˈəðərz, ðə ˈmɪdəl ˈistərn pəˈlɪtɪkəl ˈlænˌskeɪp həz bɪn ˌɪrɪˈvərsəbli trænsˈfɔrmd baɪ ðɛm, ˈlɑrʤli fər ðə ˈbɛtər. dɪˈspaɪt, ðət ɪz, ðə dɪsəˈpɔɪntmənts ɪkˈspɪriənst ɪn ˈiʤɪpt, wɛr ðə ˈstrəgəl fər dɪˈmɑkrəsi həz rɪˈnud ˌɪtˈsɛlf ɛz əv leɪt. maɪ ˈgreɪtəst fɪr ɪz ðət ðə ɪˈʤɪpʃən ˌrɛvəˈluʃən wɪl ɛnd əp biɪŋ ɛz ˌdɪsəˈpɔɪnɪŋ ɛz ðət əˈtɛmptəd ɪn ˈʧaɪnə. wɪl ðə pəˈlɪtɪkəl ˈɛnərʤiz ðət θru aʊt muˈbɑrɪk lɛd tɪ ril dɪˈmɑkrəsi, ər wɪl ɪt rɪˈmeɪn ˌɪnstrəˈmɛnəl ɪn ðə pərˌpɛʧəˈweɪʃən əv ðə ˈstætəs kwoʊ? ˈoʊnli taɪm wɪl tɛl. ɪn ðə ˈɪnərəm, wət aɪ hoʊp fər ɪz ˈsəmθɪŋ ˈkloʊzər tɪ ðə ˈistərn ˌjʊrəˈpiən ɪgˈzæmpəl. ðə kəˈnɛkʃən, fər mi, bɪtˈwin ðə kəˈlæps əv ˈkɑmjəˌnɪzəm, ənd ðə ˈærəb spərɪŋ, ənd waɪ 1989 ənd 2012 rɪˈmeɪn ˈwərði əv kəmˈpɛrəsən. ˈhoʊpfəli 2013 wɪl ɛnd ɔn ə ˈbɛtər noʊt ðən ɪt ˈstɑrtɪd. ˈfoʊtəˌgræfs ˈkərtəsi əv diˈeɪgoʊ ənd ˈrɑbərt croma*. ˈpəblɪʃt ˈəndər ə kriˈeɪtɪv ˈkɑmənz ˈlaɪsəns.
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what’s on our teenagers’ minds? in its year, the las vegas sun youth forum is intended to answer just that question. the annual gathering, which this year attracted about students, provides an opportunity for public high school juniors and seniors to discuss issues of the day in groups of 40 or so students moderated by a community leader. each group selected one of its participants to reflect on the experience. this column, the last in a series, is written by caroline barnhart, a junior at desert oasis high school. her topic was “school days.” publisher and editor brian greenspun is turning over his “where i stand” column to these young adults, who have something to say.
there are many problems in the world that plague our society. from racial discrimination to terrorist threats to global warming, the list is vast and exhaustive. the las vegas sun youth forum serves to bring together hundreds of bright students with divergent viewpoints in hopes that together they might begin to see a solution to some of these issues. i was lucky enough to be one of these students, and luckier still to become the representative of my peers.
of the topics we discussed, the majority of participants were incredibly passionate about two. the first asked whether transgender students should be allowed to use whichever locker room bathroom they want. the consensus was, absolutely. to deny these students the right to choose is to deny their existence. it is our goal as the upcoming generation to get rid of the stigma surrounding differing gender identities. if we never implement new policies, nothing will ever improve. an alternative that was proposed was to provide bathrooms that would allow students of all genders to be comfortable.
the second topic was sex education and what kind is best for teenagers. not a single student agree that teenagers need comprehensive sex education. several studies advocated by the national institutes of health have shown that limited sex education, primarily sex education, is not only ineffective at preventing teenage pregnancy, it contributes to a higher rate of contracting sexually transmitted diseases. education that not only teaches about straight sex, but also gay and lesbian sex, would give teenagers all the information they need to make an informed decision. why are we withholding information from our teens if the outcome is the opposite of the desired effect?
regardless of religion, regardless of personal beliefs, the education system has a duty to teach teenagers everything they need to know to make safe choices by hiring competent, well-trained, unbiased teachers. teenagers are having sex, been having sex, and continue to have sex. why we be making it as safe for them as possible?
imagine a scenario in which someone has asked, “what’s the safest way to ride a bicycle?” do you tell them that to not ride one, period? no. you tell them to wear a helmet. every student agreed, at least to some extent, that the clark county school district curriculum is incredibly outdated, and that it should be changed to be much more complete and informative. as president john f. kennedy once said, “the goal of education is the advancement of knowledge and the dissemination of truth.”
to summarize, it was the consensus of the 21 students in the room that transgender teens deserve the right the choose whatever restroom and locker room they use, and that teenagers need extensive sex education to prevent teen pregnancy and contraction. times are changing; new problems and questions are constantly arising that demand attention.
as the younger generation lacks the power necessary to implement the solutions we seek, it becomes the responsibility of the older generation to listen and assist. with persistence, luck and the right opportunities (such as the sun youth forum), it is our hope that the world is left with one less problem.
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what’s* ɔn ɑr teenagers’*’ maɪndz? ɪn ɪts jɪr, ðə ˈɛˈleɪˈɛs ˈveɪgəs sən juθ ˈfɔrəm ɪz ˌɪnˈtɛndɪd tɪ ˈænsər ʤɪst ðət kˈwɛʃən. ðə ˈænjuəl ˈgæðərɪŋ, wɪʧ ðɪs jɪr əˈtræktəd əˈbaʊt ˈstudənts, prəˈvaɪdz ən ˌɑpərˈtunəti fər ˈpəblɪk haɪ skul ˈʤunjərz ənd ˈsinjərz tɪ dɪˈskəs ˈɪʃuz əv ðə deɪ ɪn grups əv 40 ər soʊ ˈstudənts ˈmɑdərˌeɪtɪd baɪ ə kəmˈjunɪti ˈlidər. iʧ grup səˈlɛktɪd wən əv ɪts pɑrˈtɪsəpənts tɪ rɪˈflɛkt ɔn ðə ɪkˈspɪriəns. ðɪs ˈkɑləm, ðə læst ɪn ə ˈsɪriz, ɪz ˈrɪtən baɪ ˈkɛrəˌlaɪn ˈbɑrnˌhɑrt, ə ˈʤunjər æt ˈdɛzərt oʊˈeɪsɪs haɪ skul. hər ˈtɑpɪk wɑz days.”*.” ˈpəblɪʃər ənd ˈɛdɪtər braɪən ˈgrinˌspən ɪz ˈtərnɪŋ ˈoʊvər hɪz aɪ stand”*” ˈkɑləm tɪ ðiz jəŋ ˈædəlts, hu hæv ˈsəmθɪŋ tɪ seɪ. ðɛr ər ˈmɛni ˈprɑbləmz ɪn ðə wərld ðət pleɪg ɑr soʊˈsaɪɪti. frəm ˈreɪʃəl dɪˌskrɪməˈneɪʃən tɪ ˈtɛrərɪst θrɛts tɪ ˈgloʊbəl ˈwɔrmɪŋ, ðə lɪst ɪz væst ənd ɪgˈzɔstɪv. ðə ˈɛˈleɪˈɛs ˈveɪgəs sən juθ ˈfɔrəm sərvz tɪ brɪŋ təˈgɛðər ˈhənərdz əv braɪt ˈstudənts wɪθ dɪˈvərʤənt vˈjuˌpɔɪnts ɪn hoʊps ðət təˈgɛðər ðeɪ maɪt bɪˈgɪn tɪ si ə səˈluʃən tɪ səm əv ðiz ˈɪʃuz. aɪ wɑz ˈləki ɪˈnəf tɪ bi wən əv ðiz ˈstudənts, ənd ˈləkiər stɪl tɪ bɪˈkəm ðə ˌrɛprɪˈzɛnətɪv əv maɪ pɪrz. əv ðə ˈtɑpɪks wi dɪˈskəst, ðə məˈʤɔrəti əv pɑrˈtɪsəpənts wər ˌɪnˈkrɛdəbli ˈpæʃənət əˈbaʊt tu. ðə fərst æst ˈwɛðər ˈtrænzˈʤɛndər ˈstudənts ʃʊd bi əˈlaʊd tɪ juz wɪˈʧɛvər ˈlɑkər rum ˈbæθˌrum ðeɪ wɔnt. ðə kənˈsɛnsəs wɑz, ˌæbsəˈlutli. tɪ dɪˈnaɪ ðiz ˈstudənts ðə raɪt tɪ ʧuz ɪz tɪ dɪˈnaɪ ðɛr ɪgˈzɪstəns. ɪt ɪz ɑr goʊl ɛz ðə ˈəpˌkəmɪŋ ˌʤɛnərˈeɪʃən tɪ gɪt rɪd əv ðə ˈstɪgmə sərˈaʊndɪŋ ˈdɪfərɪŋ ˈʤɛndər aɪˈdɛntɪˌtiz. ɪf wi ˈnɛvər ˈɪmpləmənt nu ˈpɑləsiz, ˈnəθɪŋ wɪl ˈɛvər ˌɪmˈpruv. ən ɔlˈtərnətɪv ðət wɑz prəˈpoʊzd wɑz tɪ prəˈvaɪd ˈbɑθˌrumz ðət wʊd əˈlaʊ ˈstudənts əv ɔl ˈʤɛndərz tɪ bi ˈkəmfərtəbəl. ðə ˈsɛkənd ˈtɑpɪk wɑz sɛks ˌɛʤəˈkeɪʃən ənd wət kaɪnd ɪz bɛst fər ˈtiˌneɪʤərz. nɑt ə ˈsɪŋgəl ˈstudənt əˈgri ðət ˈtiˌneɪʤərz nid ˌkɑmpriˈhɛnsɪv sɛks ˌɛʤəˈkeɪʃən. ˈsɛvərəl ˈstədiz ˈædvəˌkeɪtɪd baɪ ðə ˈnæʃənəl ˈɪnstɪˌtuts əv hɛlθ hæv ʃoʊn ðət ˈlɪmɪtɪd sɛks ˌɛʤəˈkeɪʃən, praɪˈmɛrəli sɛks ˌɛʤəˈkeɪʃən, ɪz nɑt ˈoʊnli ˌɪnɪˈfɛktɪv æt prɪˈvɛnɪŋ ˈtiˌneɪʤ ˈprɛgnənsi, ɪt kənˈtrɪbjuts tɪ ə haɪər reɪt əv ˈkɑntræktɪŋ ˈsɛkʃuəli trænzˈmɪtəd dɪˈzizɪz. ˌɛʤəˈkeɪʃən ðət nɑt ˈoʊnli ˈtiʧɪz əˈbaʊt streɪt sɛks, bət ˈɔlsoʊ geɪ ənd ˈlɛzbiən sɛks, wʊd gɪv ˈtiˌneɪʤərz ɔl ðə ˌɪnˌfɔrˈmeɪʃən ðeɪ nid tɪ meɪk ən ˌɪnˈfɔrmd dɪˈsɪʒən. waɪ ər wi wɪθˈhoʊldɪŋ ˌɪnˌfɔrˈmeɪʃən frəm ɑr tinz ɪf ðə ˈaʊtˌkəm ɪz ðə ˈɑpəzɪt əv ðə dɪˈzaɪərd ˈifɛkt? rəˈgɑrdləs əv rɪˈlɪʤən, rəˈgɑrdləs əv ˈpərsɪnəl bɪˈlifs, ðə ˌɛʤəˈkeɪʃən ˈsɪstəm həz ə ˈduti tɪ tiʧ ˈtiˌneɪʤərz ˈɛvriˌθɪŋ ðeɪ nid tɪ noʊ tɪ meɪk seɪf ˈʧɔɪsɪz baɪ ˈhaɪrɪŋ ˈkɑmpətɪnt, well-trained*, ˌənˈbaɪəst ˈtiʧərz. ˈtiˌneɪʤərz ər ˈhævɪŋ sɛks, bɪn ˈhævɪŋ sɛks, ənd kənˈtɪnju tɪ hæv sɛks. waɪ wi bi ˈmeɪkɪŋ ɪt ɛz seɪf fər ðɛm ɛz ˈpɑsəbəl? ˌɪˈmæʤən ə sɪˈnɛrioʊ ɪn wɪʧ ˈsəmˌwən həz æst, ðə ˈseɪfəst weɪ tɪ raɪd ə bicycle?”*?” du ju tɛl ðɛm ðət tɪ nɑt raɪd wən, ˈpɪriəd? noʊ. ju tɛl ðɛm tɪ wɛr ə ˈhɛlmət. ˈɛvəri ˈstudənt əˈgrid, æt list tɪ səm ɪkˈstɛnt, ðət ðə klɑrk ˈkaʊnti skul ˈdɪstrɪkt kərˈɪkjələm ɪz ˌɪnˈkrɛdəbli ˈaʊtˌdeɪtɪd, ənd ðət ɪt ʃʊd bi ʧeɪnʤd tɪ bi məʧ mɔr kəmˈplit ənd ˌɪnˈfɔrmətɪv. ɛz ˈprɛzɪdənt ʤɑn ɛf. ˈkɛnədi wəns sɛd, goʊl əv ˌɛʤəˈkeɪʃən ɪz ðə ədˈvænsmənt əv ˈnɑlɪʤ ənd ðə dɪˌsɛməˈneɪʃən əv truth.”*.” tɪ ˈsəmərˌaɪz, ɪt wɑz ðə kənˈsɛnsəs əv ðə 21 ˈstudənts ɪn ðə rum ðət ˈtrænzˈʤɛndər tinz dɪˈzərv ðə raɪt ðə ʧuz ˌwəˈtɛvər ˈrɛˌstrum ənd ˈlɑkər rum ðeɪ juz, ənd ðət ˈtiˌneɪʤərz nid ɪkˈstɛnsɪv sɛks ˌɛʤəˈkeɪʃən tɪ prɪˈvɛnt tin ˈprɛgnənsi ənd kənˈtrækʃən. taɪmz ər ˈʧeɪnʤɪŋ; nu ˈprɑbləmz ənd kˈwɛsʧənz ər ˈkɑnstəntli ərˈaɪzɪŋ ðət dɪˈmænd əˈtɛnʃən. ɛz ðə ˈjəŋgər ˌʤɛnərˈeɪʃən læks ðə paʊər ˈnɛsəˌsɛri tɪ ˈɪmpləmənt ðə səˈluʃənz wi sik, ɪt bɪˈkəmz ðə riˌspɑnsəˈbɪləti əv ðə ˈoʊldər ˌʤɛnərˈeɪʃən tɪ ˈlɪsən ənd əˈsɪst. wɪθ pərˈsɪstəns, lək ənd ðə raɪt ˌɑpərˈtunətiz (səʧ ɛz ðə sən juθ ˈfɔrəm), ɪt ɪz ɑr hoʊp ðət ðə wərld ɪz lɛft wɪθ wən lɛs ˈprɑbləm.
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i mean, we have been promised a lot of things these past five years that turn out to be the case: death panels, doom. (laughter.) a serious alternative from republicans in congress. (laughter.)
but we also know beyond a shred of a doubt that the policy has worked. coverage is up. cost growth is at a historic low. deficits have been slashed. lives have been saved. so if anybody wants to join us in the spirit of the people who have put aside differences to come here today and help make the law work even better, come on board. on the other hand, for folks who are basing their entire political agenda on repealing the law, you've got to explain how kicking millions of families off their insurance is somehow going to make us more free. or why forcing millions of families to pay thousands of dollars more will somehow make us more secure. or why we should go back to the days when women paid more for coverage than men. or a preexisting condition locked so many of us out of insurance.
president obama marked the anniversary of being signed into law in a white house event in which he touted the accomplishments of the law, and poked a lot of fun at republicans who've done nothing but try to repeal it, including this continued, still needling are explanations you're not going to be getting from ted cruz or any other republican.
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aɪ min, wi hæv bɪn ˈprɑməst ə lɔt əv θɪŋz ðiz pæst faɪv jɪrz ðət tərn aʊt tɪ bi ðə keɪs: dɛθ ˈpænəlz, dum. (ˈlæftər.) ə ˈsɪriəs ɔlˈtərnətɪv frəm rɪˈpəblɪkənz ɪn ˈkɑŋgrəs. (ˈlæftər.) bət wi ˈɔlsoʊ noʊ bɪɔnd ə ʃrɛd əv ə daʊt ðət ðə ˈpɑləsi həz wərkt. ˈkəvərɪʤ ɪz əp. kɔst groʊθ ɪz æt ə hɪˈstɔrɪk loʊ. ˈdɛfɪsɪts hæv bɪn slæʃt. lɪvz hæv bɪn seɪvd. soʊ ɪf ˈɛnibədi wɔnts tɪ ʤɔɪn ˈjuˈɛs ɪn ðə ˈspɪrɪt əv ðə ˈpipəl hu hæv pʊt əˈsaɪd ˈdɪfərənsɪz tɪ kəm hir təˈdeɪ ənd hɛlp meɪk ðə lɔ wərk ˈivɪn ˈbɛtər, kəm ɔn bɔrd. ɔn ðə ˈəðər hænd, fər foʊks hu ər ˈbeɪsɪŋ ðɛr ɪnˈtaɪər pəˈlɪtɪkəl əˈʤɛndə ɔn riˈpilɪŋ ðə lɔ, juv gɑt tɪ ɪkˈspleɪn haʊ ˈkɪkɪŋ ˈmɪljənz əv ˈfæməliz ɔf ðɛr ˌɪnˈʃʊrəns ɪz ˈsəmˌhaʊ goʊɪŋ tɪ meɪk ˈjuˈɛs mɔr fri. ər waɪ ˈfɔrsɪŋ ˈmɪljənz əv ˈfæməliz tɪ peɪ ˈθaʊzənz əv ˈdɔlərz mɔr wɪl ˈsəmˌhaʊ meɪk ˈjuˈɛs mɔr sɪˈkjʊr. ər waɪ wi ʃʊd goʊ bæk tɪ ðə deɪz wɪn ˈwɪmən peɪd mɔr fər ˈkəvərɪʤ ðən mɛn. ər ə ˈpriɪgˈzɪstɪŋ kənˈdɪʃən lɑkt soʊ ˈmɛni əv ˈjuˈɛs aʊt əv ˌɪnˈʃʊrəns. ˈprɛzɪdənt ˌoʊˈbɑmə mɑrkt ðə ˌænəˈvərsəri əv biɪŋ saɪnd ˈɪntu lɔ ɪn ə waɪt haʊs ɪˈvɛnt ɪn wɪʧ hi ˈtaʊtɪd ðə əˈkɑmplɪʃmənts əv ðə lɔ, ənd poʊkt ə lɔt əv fən æt rɪˈpəblɪkənz huv dən ˈnəθɪŋ bət traɪ tɪ rɪˈpil ɪt, ˌɪnˈkludɪŋ ðɪs kənˈtɪnjud, stɪl ˈnidlɪŋ ər ˌɛkspləˈneɪʃənz jʊr nɑt goʊɪŋ tɪ bi ˈgɪtɪŋ frəm tɛd kruz ər ˈɛni ˈəðər rɪˈpəblɪkən.
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apparent cctv footage capturing the moment former russian lawmaker denis was shot and killed in central kiev, with his bodyguard injured, has emerged online.
in the video, a man in casual clothes and wearing a hood is seen walking fast, approaching and his bodyguard in the street from behind. when he catches up with the men, he is seen taking out a gun.
the man in darker clothes the former russian politician faces the attacker and then immediately falls to the ground. the camera also captures a girl walking past with her back to the murder scene. she then starts running, apparently scared by gunshots.
the man in lighter clothes’s bodyguard is seen throwing himself at the assailant. however, he can also be seen falling to the ground, while the attacker ensures that is dead.
the attacker then tries to flee and turns the corner, out of sight of the video, but the bodyguard is seen firing at him. seemingly injured and in pain, the bodyguard then checks on, while vehicles drive past, none of them stopping.
the exchange of fire happened in broad daylight on thursday, in front of the main entrance to the premier palace hotel in central kiev.
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ukrainian police later said the former lawmaker was shot twice in the head, and that his bodyguard was injured. the suspected attacker was also injured and later died in hospital, with police saying they've established his identity as a ukrainian national.
voronenkov, 45, was a former member of the russian communist party and emigrated from russia to ukraine in october last year. he received ukrainian citizenship in december, having given up his status as a russian citizen.
the fugitive lawmaker had been on a federal wanted list in russia and on an international wanted list, charged with masterminding a large-scale fraud.
less than an hour after the killing, ukrainian president petro called it "an act of russian terrorism." russia has rejected accusations of links to's killing, with kremlin spokesman calling any such allegations "absurd."
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əˈpɛrənt ˈsiˌsiˈtiˌvi ˈfʊtɪʤ ˈkæpʧərɪŋ ðə ˈmoʊmənt ˈfɔrmər ˈrəʃən ˈlɔˌmeɪkər ˈdɛnɪs wɑz ʃɑt ənd kɪld ɪn ˈsɛntrəl kiɛv, wɪθ hɪz ˈbɑdiˌgɑrd ˈɪnʤərd, həz ˈimərʤd ˈɔnˌlaɪn. ɪn ðə ˈvɪdioʊ, ə mæn ɪn ˈkæʒəwəl kloʊðz ənd ˈwɛrɪŋ ə hʊd ɪz sin ˈwɔkɪŋ fæst, əˈproʊʧɪŋ ənd hɪz ˈbɑdiˌgɑrd ɪn ðə strit frəm bɪˈhaɪnd. wɪn hi ˈkæʧɪz əp wɪθ ðə mɛn, hi ɪz sin ˈteɪkɪŋ aʊt ə gən. ðə mæn ɪn ˈdɑrkər kloʊðz ðə ˈfɔrmər ˈrəʃən ˌpɑləˈtɪʃən ˈfeɪsɪz ðə əˈtækər ənd ðɛn ˌɪˈmiˌdiətli fɔlz tɪ ðə graʊnd. ðə ˈkæmərə ˈɔlsoʊ ˈkæpʧərz ə gərl ˈwɔkɪŋ pæst wɪθ hər bæk tɪ ðə ˈmərdər sin. ʃi ðɛn stɑrts ˈrənɪŋ, əˈpɛrəntli skɛrd baɪ ˈgənˌʃɑts. ðə mæn ɪn ˈlaɪtər kloʊðz ˈbɑdiˌgɑrd ɪz sin θroʊɪŋ hɪmˈsɛlf æt ðə əˈseɪlənt. ˌhaʊˈɛvər, hi kən ˈɔlsoʊ bi sin ˈfɑlɪŋ tɪ ðə graʊnd, waɪl ðə əˈtækər ɪnˈʃʊrz ðət ɪz dɛd. ðə əˈtækər ðɛn traɪz tɪ fli ənd tərnz ðə ˈkɔrnər, aʊt əv saɪt əv ðə ˈvɪdioʊ, bət ðə ˈbɑdiˌgɑrd ɪz sin ˈfaɪərrɪŋ æt ɪm. ˈsimɪŋli ˈɪnʤərd ənd ɪn peɪn, ðə ˈbɑdiˌgɑrd ðɛn ʧɛks ɔn, waɪl ˈviɪkəlz draɪv pæst, nən əv ðɛm ˈstɑpɪŋ. ðə ɪksˈʧeɪnʤ əv faɪər ˈhæpənd ɪn brɔd ˈdeɪˌlaɪt ɔn ˈθərzˌdeɪ, ɪn frənt əv ðə meɪn ˈɛntrəns tɪ ðə prɛˈmɪr ˈpæləs hoʊˈtɛl ɪn ˈsɛntrəl kiɛv. rɛd mɔr juˈkreɪniən pəˈlis ˈleɪtər sɛd ðə ˈfɔrmər ˈlɔˌmeɪkər wɑz ʃɑt twaɪs ɪn ðə hɛd, ənd ðət hɪz ˈbɑdiˌgɑrd wɑz ˈɪnʤərd. ðə səˈspɛktɪd əˈtækər wɑz ˈɔlsoʊ ˈɪnʤərd ənd ˈleɪtər daɪd ɪn ˈhɑˌspɪtəl, wɪθ pəˈlis seɪɪŋ ðeɪv ɪˈstæblɪʃt hɪz aɪˈdɛntəˌti ɛz ə juˈkreɪniən ˈnæʃənəl., 45 wɑz ə ˈfɔrmər ˈmɛmbər əv ðə ˈrəʃən ˈkɑmjənəst ˈpɑrti ənd ˈɛməˌgreɪtɪd frəm ˈrəʃə tɪ juˈkreɪn ɪn ɑkˈtoʊbər læst jɪr. hi rɪˈsivd juˈkreɪniən ˈsɪtɪzənˌʃɪp ɪn dɪˈsɛmbər, ˈhævɪŋ ˈgɪvɪn əp hɪz ˈstætəs ɛz ə ˈrəʃən ˈsɪtɪzən. ðə fˈjuʤɪtɪv ˈlɔˌmeɪkər hæd bɪn ɔn ə ˈfɛdərəl ˈwɔntɪd lɪst ɪn ˈrəʃə ənd ɔn ən ˌɪnərˈnæʃənɑl ˈwɔntɪd lɪst, ʧɑrʤd wɪθ ˈmæstərˌmaɪndɪŋ ə ˈlɑrʤˌskeɪl frɔd. lɛs ðən ən aʊər ˈæftər ðə ˈkɪlɪŋ, juˈkreɪniən ˈprɛzɪdənt ˈpɛtroʊ kɔld ɪt "ən ækt əv ˈrəʃən ˈtɛrəˌrɪzəm." ˈrəʃə həz rɪˈʤɛktɪd ˌækjəˈzeɪʃənz əv lɪŋks tɪ ˈkɪlɪŋ, wɪθ ˈkrɛmlɪn ˈspoʊksmən ˈkɔlɪŋ ˈɛni səʧ ˌæləˈgeɪʃənz "əbˈsərd."
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spilling the beans. lots of them, reporting by joel greenberg:
on tuesday, israeli newspapers were filled with reports from unnamed military officials, charging that sacks of chemicals, including sulfuric acid, had been loaded onto flotilla vessels with the aim of using the materials against israeli soldiers. the reports, citing military intelligence sources, said that some activists had spoken in preparatory meetings of their desire to “shed the blood” of soldiers and had threatened to kill those who might board their vessels. “coming to kill,” said a headline in the maariv newspaper over a photo of one flotilla ship.
“the state of israel, with all its army, security services and everything it has is going against a bunch of 20 non-governmental organizations,” feiler added. “really, ridiculous.”
yep. they even tattle on the office for their hoax.
a spokesman for netanyahu said the intern had acted without authorization.
bwaaaaaaaahh. and the us boat has not even set sail yet. what audacity!
annie robbins has done volunteer work for the us boat to communications team in the u.s.
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ˈspɪlɪŋ ðə binz. lɑts əv ðɛm, rɪˈpɔrtɪŋ baɪ ʤoʊəl ˈgrinbərg: ɔn ˈtuzˌdeɪ, ˌɪzˈreɪli ˈnuzˌpeɪpərz wər fɪld wɪθ rɪˈpɔrts frəm ənˈneɪmd ˈmɪlɪˌtɛri əˈfɪʃəlz, ˈʧɑrʤɪŋ ðət sæks əv ˈkɛmɪkəlz, ˌɪnˈkludɪŋ səlfˈjʊrɪk ˈæsəd, hæd bɪn ˈloʊdɪd ˈɔntu floʊˈtɪlə ˈvɛsəlz wɪθ ðə eɪm əv ˈjuzɪŋ ðə məˈtɪriəlz əˈgɛnst ˌɪzˈreɪli ˈsoʊlʤərz. ðə rɪˈpɔrts, ˈsaɪtɪŋ ˈmɪlɪˌtɛri ˌɪnˈtɛləʤəns ˈsɔrsəz, sɛd ðət səm ˈæktɪvɪsts hæd ˈspoʊkən ɪn ˈprɛprəˌtɔri ˈmitɪŋz əv ðɛr dɪˈzaɪər tɪ ðə blood”*” əv ˈsoʊlʤərz ənd hæd θˈrɛtənd tɪ kɪl ðoʊz hu maɪt bɔrd ðɛr ˈvɛsəlz. tɪ kill,”*,” sɛd ə ˈhɛˌdlaɪn ɪn ðə ˌmɑɑˈriv ˈnuzˌpeɪpər ˈoʊvər ə ˈfoʊˌtoʊ əv wən floʊˈtɪlə ʃɪp. steɪt əv ˈɪzriəl, wɪθ ɔl ɪts ˈɑrmi, sɪˈkjʊrəti ˈsərvɪsɪz ənd ˈɛvriˌθɪŋ ɪt həz ɪz goʊɪŋ əˈgɛnst ə bənʧ əv 20 nɑnˌgəvərnˈmɛntəl organizations,”*,” ˈfaɪlər ˈædɪd. ““really*, ridiculous.”*.” jɛp. ðeɪ ˈivɪn ˈtætəl ɔn ðə ˈɔfəs fər ðɛr hoʊks. ə ˈspoʊksmən fər ˌnɛtənˈjɑˌhu sɛd ðə ˈɪntərn hæd ˈæktɪd wɪˈθaʊt ˌɔθərəˈzeɪʃən. bwaaaaaaaahh*. ənd ðə ˈjuˈɛs boʊt həz nɑt ˈivɪn sɛt seɪl jɛt. wət ɑˈdæsəti! ˈæni ˈrɑbɪnz həz dən ˌvɑlənˈtɪr wərk fər ðə ˈjuˈɛs boʊt tɪ kəmˌjunəˈkeɪʃənz tim ɪn ðə juz.
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early in the year the defense was a complete mess. at one point, the run defense was in the league. just a couple of weeks back the red zone defense was dead last. and the overall unit was in the rankings back in september.
take a look at the numbers from the last 2 games:
points 29
yards 445
sacks 13
takeaways 7
rz defense 3r 8
3rd downs 6r 28
rushing (no tds)
the defense is starting to come together. seen flashes (was, dal), but i think this is the best the group has played all year. you might argue that matt moore and mark sanchez brees & rodgers. fair. still, moore (8 tds, 1 int) and sanchez (7 tds, 1 int) were on hot streaks when we played them. those guys wererced into rough outings by good eagles defense. and they had skill players around them bush, marshall & plax, santonio, keller, lt, greene.
the overall rankingsr the defense:
10th in yards
10th in passing
17th in rushing
19th in scoring
1st in sacks
15th in
30th in red zone (64.3%)
14th in yards per play (5.4)
19th in yards per carry (4.3)
25th in opp. rating (88.4)
some good, some bad, and some still pretty ugly. the defense is improving. holding teams under 50% in the last 3 games. encouraging.
the thing happiest about the numbers, but rather the vibe. our players are playing with confidence. they are flying around the field. our guys are passing the eyeball test. they look like a good defense.
sts mistakes (both by curtis marsh) led to turnovers deep in our own territory in the last 2 games. there was no panic. the defense got the ball right back in each game. seemed like a fantasy idea (like unicorns, el dorado, or theuntain of youth)r most of the season. sure, we knew they might exist, but our defense thought they were just theoretically possible and not realistic. now had consecutive games with them.
castillo has figured out how to use all of his players in order to get maximum productivity. look at what the lbs did yesterday: 8 solo tackles, 1 tfl, 1 pd, 1 int. and the jets: 16 solo tackles, 1 sack, , 1 tfl, 1 int. the jets had david harris, calvin pace, and bart scott on the field. we compete with them playerr player and namer name. but our lb corps of brian rolle, jordan, jamar chaney, casey matthews, and jordan as a group can function well. and our lbs the jets yesterday.
drc is finally settling into things and looks worlds different. this is the guy we saw at lehigh, who is incredibly gifted. it took him a while to get comfortable, but something is clicking. now looked good in his last 3 games.
kurt coleman was the best safety on the field yesterday. he covered, blitzed, and tackled well. nate allen also had a good game.
up front, the line is playing terrific. castillo is letting them get creative and the players love that. they are and looping from some different alignments. jason babin is deadly as a speed rusher from lde, but also finding out that pretty good when he loops inside as a stand-up rusher. he, jim washburn, and castillo are definitely in sync right now. and it is great to see a guy like phillip hunt coming along. now got 2 sacks in 2 weeks. that is one less than jerome mcdougle had in his career. hunt may never be a starter in this league, but he can be a good situational rusher. not getting lucky sacks. getting into the backfield and being disruptive on multiple plays.
life is goodr the eagles defense right now, but game at dallas is going to be the biggest challenge of the year. struggle in big d and the defense goes right back to getting ripped by fans and the media.
it is great to see the defense playing better, but they done enough to earn our trust to this point. make us believe. go on the road against a winning team and shut down a red hot who has a lot of weapons to work with. that might just make believers of us all.
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couple of numbers from reuben frank:
first five games, eagles allowed 352 yards and points per game. last nine games, allowed 314 yards and points per game.
eagles allowed yards per carry, 140 rush yards per game 5 weeks. since then, 98 per game and per carry.
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ˈərli ɪn ðə jɪr ðə dɪˈfɛns wɑz ə kəmˈplit mɛs. æt wən pɔɪnt, ðə rən dɪˈfɛns wɑz ɪn ðə lig. ʤɪst ə ˈkəpəl əv wiks bæk ðə rɛd zoʊn dɪˈfɛns wɑz dɛd læst. ənd ðə ˈoʊvərˌɔl ˈjunɪt wɑz ɪn ðə ˈræŋkɪŋz bæk ɪn sɛpˈtɛmbər. teɪk ə lʊk æt ðə ˈnəmbərz frəm ðə læst 2 geɪmz: pɔɪnts 29 jɑrdz 445 sæks 13 7 dɪˈfɛns 3 fər 8 daʊnz 6 fər 28 ˈrəʃɪŋ (noʊ tds*) ðə dɪˈfɛns ɪz ˈstɑrtɪŋ tɪ kəm təˈgɛðər. sin ˈflæʃɪz (wɑz, dæl), bət aɪ θɪŋk ðɪs ɪz ðə bɛst ðə grup həz pleɪd ɔl jɪr. ju maɪt ˈɑrgju ðət mæt mʊr ənd mɑrk ˈsænʧɛz briz ˈrɑʤərz. fɛr. stɪl, mʊr 8 tds*, 1 int*) ənd ˈsænʧɛz 7 tds*, 1 int*) wər ɔn hɑt striks wɪn wi pleɪd ðɛm. ðoʊz gaɪz wər fɔrst ˈɪntu rəf ˈaʊtɪŋz baɪ gʊd ˈigəlz dɪˈfɛns. ənd ðeɪ hæd skɪl pleɪərz əraʊnd ðɛm bʊʃ, ˈmɑrʃəl plæks, santonio*, ˈkɛlər, lt*, grin. ðə ˈoʊvərˌɔl ˈræŋkɪŋz fər ðə dɪˈfɛns: ɪn jɑrdz ɪn ˈpæsɪŋ ɪn ˈrəʃɪŋ ɪn ˈskɔrɪŋ ɪn sæks ɪn ɪn rɛd zoʊn ɪn jɑrdz pər pleɪ ɪn jɑrdz pər ˈkɛri ɪn ɑp. ˈreɪtɪŋ səm gʊd, səm bæd, ənd səm stɪl ˈprɪti ˈəgli. ðə dɪˈfɛns ɪz ˌɪmˈpruvɪŋ. ˈhoʊldɪŋ timz ˈəndər 50 ɪn ðə læst 3 geɪmz. ɪnˈkərəʤɪŋ. ðə θɪŋ ˈhæpiəst əˈbaʊt ðə ˈnəmbərz, bət ˈrəðər ðə vaɪb. ɑr pleɪərz ər pleɪɪŋ wɪθ ˈkɑnfədɛns. ðeɪ ər flaɪɪŋ əraʊnd ðə fild. ɑr gaɪz ər ˈpæsɪŋ ðə ˈaɪˌbɔl tɛst. ðeɪ lʊk laɪk ə gʊd dɪˈfɛns. mɪˈsteɪks (boʊθ baɪ ˈkərtɪs mɑrʃ) lɛd tɪ ˈtərˌnoʊvərz dip ɪn ɑr oʊn ˈtɛrɪˌtɔri ɪn ðə læst 2 geɪmz. ðɛr wɑz noʊ ˈpænɪk. ðə dɪˈfɛns gɑt ðə bɔl raɪt bæk ɪn iʧ geɪm. simd laɪk ə ˈfænəsi aɪˈdiə (laɪk unicorns*, ɛl dɔˈrɑdoʊ, ər ðə ˈfaʊntən əv juθ) fər moʊst əv ðə ˈsizən. ʃʊr, wi nu ðeɪ maɪt ɪgˈzɪst, bət ɑr dɪˈfɛns θɔt ðeɪ wər ʤɪst ˌθiərˈɛtɪkəli ˈpɑsəbəl ənd nɑt ˌriəˈlɪstɪk. naʊ hæd kənˈsɛkjətɪv geɪmz wɪθ ðɛm. ˌkæˈstɪloʊ həz ˈfɪgjərd aʊt haʊ tɪ juz ɔl əv hɪz pleɪərz ɪn ˈɔrdər tɪ gɪt ˈmæksəməm ˌproʊdəkˈtɪvɪti. lʊk æt wət ðə paʊndz dɪd ˈjɛstərˌdeɪ: 8 ˈsoʊˌloʊ ˈtækəlz, 1 tfl*, 1 pd*, 1 int*. ənd ðə ʤɛts: 16 ˈsoʊˌloʊ ˈtækəlz, 1 sæk, 1 tfl*, 1 int*. ðə ʤɛts hæd ˈdeɪvɪd ˈhɛrɪs, ˈkælvɪn peɪs, ənd bɑrt skɑt ɔn ðə fild. wi kəmˈpit wɪθ ðɛm pleɪər fər pleɪər ənd neɪm fər neɪm. bət ɑr paʊnd kɔrz əv braɪən roʊl, ˈʤɔrdən, jɑˈmɑr ˈʧeɪni, ˈkeɪsi ˈmæθjuz, ənd ˈʤɔrdən ɛz ə grup kən ˈfəŋkʃən wɛl. ənd ɑr paʊndz ðə ʤɛts ˈjɛstərˌdeɪ. ɪz ˈfaɪnəli ˈsɛtəlɪŋ ˈɪntu θɪŋz ənd lʊks wərldz ˈdɪfərənt. ðɪs ɪz ðə gaɪ wi sɔ æt ˈliˌhaɪ, hu ɪz ˌɪnˈkrɛdəbli ˈgɪftɪd. ɪt tʊk ɪm ə waɪl tɪ gɪt ˈkəmfərtəbəl, bət ˈsəmθɪŋ ɪz ˈklɪkɪŋ. naʊ lʊkt gʊd ɪn hɪz læst 3 geɪmz. kərt ˈkoʊlmən wɑz ðə bɛst ˈseɪfti ɔn ðə fild ˈjɛstərˌdeɪ. hi ˈkəvərd, blɪtst, ənd ˈtækəld wɛl. neɪt ˈælən ˈɔlsoʊ hæd ə gʊd geɪm. əp frənt, ðə laɪn ɪz pleɪɪŋ tərˈɪfɪk. ˌkæˈstɪloʊ ɪz ˈlɛtɪŋ ðɛm gɪt kriˈeɪtɪv ənd ðə pleɪərz ləv ðət. ðeɪ ər ənd ˈlupɪŋ frəm səm ˈdɪfərənt əˈlaɪnmənts. ˈʤeɪsən ˈbæbɪn ɪz ˈdɛdli ɛz ə spid ˈrəʃər frəm lde*, bət ˈɔlsoʊ ˈfaɪndɪŋ aʊt ðət ˈprɪti gʊd wɪn hi lups ˌɪnˈsaɪd ɛz ə ˈstænˌdəp ˈrəʃər. hi, ʤɪm ˈwɑʃˌbərn, ənd ˌkæˈstɪloʊ ər ˈdɛfənətli ɪn sɪŋk raɪt naʊ. ənd ɪt ɪz greɪt tɪ si ə gaɪ laɪk ˈfɪlɪp hənt ˈkəmɪŋ əˈlɔŋ. naʊ gɑt 2 sæks ɪn 2 wiks. ðət ɪz wən lɛs ðən ʤəroʊm məkˈdugəl hæd ɪn hɪz kərɪr. hənt meɪ ˈnɛvər bi ə ˈstɑrtər ɪn ðɪs lig, bət hi kən bi ə gʊd ˌsɪʧuˈeɪʃənəl ˈrəʃər. nɑt ˈgɪtɪŋ ˈləki sæks. ˈgɪtɪŋ ˈɪntu ðə ˈbækˌfild ənd biɪŋ dɪsˈrəptɪv ɔn ˈməltəpəl pleɪz. laɪf ɪz gʊd fər ðə ˈigəlz dɪˈfɛns raɪt naʊ, bət geɪm æt ˈdæləs ɪz goʊɪŋ tɪ bi ðə ˈbɪgəst ˈʧælənʤ əv ðə jɪr. ˈstrəgəl ɪn bɪg di ənd ðə dɪˈfɛns goʊz raɪt bæk tɪ ˈgɪtɪŋ rɪpt baɪ fænz ənd ðə ˈmidiə. ɪt ɪz greɪt tɪ si ðə dɪˈfɛns pleɪɪŋ ˈbɛtər, bət ðeɪ dən ɪˈnəf tɪ ərn ɑr trəst tɪ ðɪs pɔɪnt. meɪk ˈjuˈɛs bɪˈliv. goʊ ɔn ðə roʊd əˈgɛnst ə ˈwɪnɪŋ tim ənd ʃət daʊn ə rɛd hɑt hu həz ə lɔt əv ˈwɛpənz tɪ wərk wɪθ. ðət maɪt ʤɪst meɪk bɪˈlivərz əv ˈjuˈɛs ɔl. ˈkəpəl əv ˈnəmbərz frəm ˈrubən fræŋk: fərst faɪv geɪmz, ˈigəlz əˈlaʊd 352 jɑrdz ənd pɔɪnts pər geɪm. læst naɪn geɪmz, əˈlaʊd 314 jɑrdz ənd pɔɪnts pər geɪm. ˈigəlz əˈlaʊd jɑrdz pər ˈkɛri, 140 rəʃ jɑrdz pər geɪm 5 wiks. sɪns ðɛn, 98 pər geɪm ənd pər ˈkɛri.
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the woman gave birth to a daughter after undergoing treatment, but later found out that her egg had been with a stranger's sperm.
singapore: a singaporean woman who conceived a child in an (ivf) sperm mix-up at thomson medical cannot claim "upkeep costs" for the child.
the court of appeal on wednesday (mar 22) rejected an appeal by the woman against an earlier high court decision, which ruled that she was not entitled to bring the claim for upkeep costs against thomson medical, its fertility centre and the senior and chief.
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the woman - who is singaporean chinese and is married to a german man of caucasian descent - gave birth to a daughter, baby p, in 2010 after undergoing treatment. the parents noticed that baby p's skin tone and hair colour were noticeably different from their own, and was also markedly different from that of their first child.
a blood test showed that baby p's blood type could not have been a combination of both parents. further investigations revealed that the woman's egg had been with the sperm of an unknown indian donor, instead of her husband's.
the woman then sued thomson medical and the other three respondents, as well as sought upkeep costs which are the expenses she would incur in raising baby p such as for basic necessities and for education among other things.
the respondents admitted liability but argued that she should not be allowed to recover upkeep costs, arguing that there was "something distasteful, if not morally offensive" in treating the birth of a healthy child as a matter for compensation. the high court ruled in their favour, and the woman then appealed to the court of appeal against the high court decision.
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the panel of five judges - which included chief justice menon - unanimously dismissed the appeal, saying that the claim for upkeep costs would be "against public policy".
"it amounts to a claim for an indemnity for the costs of raising a child and places parents in a position where their personal interests as litigants will conflict with their duties as parents," the judgment read.
however the court found that the woman had suffered a loss of "genetic affinity" and said it would leave the amount of damages to be awarded to the high court to decide.
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ðə ˈwʊmən geɪv bərθ tɪ ə ˈdɔtər ˈæftər ˌəndərˈgoʊɪŋ ˈtritmənt, bət ˈleɪtər faʊnd aʊt ðət hər ɛg hæd bɪn wɪθ ə ˈstreɪnʤərz spərm. ˈsɪŋəˌpɔr: ə sɪŋgəˈpɔriən ˈwʊmən hu kənˈsivd ə ʧaɪld ɪn ən (ivf*) spərm ˈmɪkˌsəp æt ˈtɑmsən ˈmɛdɪkəl ˈkænɑt kleɪm "ˈəpˌkip kɔsts" fər ðə ʧaɪld. ðə kɔrt əv əˈpil ɔn ˈwɛnzˌdeɪ (mɑr 22 rɪˈʤɛktɪd ən əˈpil baɪ ðə ˈwʊmən əˈgɛnst ən ˈərliər haɪ kɔrt dɪˈsɪʒən, wɪʧ ruld ðət ʃi wɑz nɑt ɛnˈtaɪtəld tɪ brɪŋ ðə kleɪm fər ˈəpˌkip kɔsts əˈgɛnst ˈtɑmsən ˈmɛdɪkəl, ɪts fərˈtɪlɪti ˈsɛntər ənd ðə ˈsinjər ənd ʧif. ˌædvərˈtaɪzmənt ðə ˈwʊmən hu ɪz sɪŋgəˈpɔriən ʧaɪˈniz ənd ɪz ˈmɛrid tɪ ə ˈʤərmən mæn əv kɔˈkeɪʒən dɪˈsɛnt geɪv bərθ tɪ ə ˈdɔtər, ˈbeɪbi pi, ɪn 2010 ˈæftər ˌəndərˈgoʊɪŋ ˈtritmənt. ðə ˈpɛrənts ˈnoʊtɪst ðət ˈbeɪbi piz skɪn toʊn ənd hɛr ˈkələr wər ˈnoʊtɪsəbli ˈdɪfərənt frəm ðɛr oʊn, ənd wɑz ˈɔlsoʊ ˈmɑrkɪdli ˈdɪfərənt frəm ðət əv ðɛr fərst ʧaɪld. ə bləd tɛst ʃoʊd ðət ˈbeɪbi piz bləd taɪp kʊd nɑt hæv bɪn ə ˌkɑmbəˈneɪʃən əv boʊθ ˈpɛrənts. ˈfərðər ˌɪnˌvɛstəˈgeɪʃənz rɪˈvild ðət ðə ˈwʊmənz ɛg hæd bɪn wɪθ ðə spərm əv ən ənˈnoʊn ˈɪndiən ˈdoʊnər, ˌɪnˈstɛd əv hər ˈhəzbəndz. ðə ˈwʊmən ðɛn sud ˈtɑmsən ˈmɛdɪkəl ənd ðə ˈəðər θri rɪˈspɑndənts, ɛz wɛl ɛz sɔt ˈəpˌkip kɔsts wɪʧ ər ðə ɪkˈspɛnsɪz ʃi wʊd ˌɪnˈkər ɪn ˈreɪzɪŋ ˈbeɪbi pi səʧ ɛz fər ˈbeɪsɪk nəˈsɛsɪtiz ənd fər ˌɛʤəˈkeɪʃən əˈməŋ ˈəðər θɪŋz. ðə rɪˈspɑndənts ədˈmɪtəd ˌlaɪəˈbɪlɪti bət ˈɑrgjud ðət ʃi ʃʊd nɑt bi əˈlaʊd tɪ rɪˈkəvər ˈəpˌkip kɔsts, ˈɑrgjuɪŋ ðət ðɛr wɑz "ˈsəmθɪŋ dɪˈsteɪstfəl, ɪf nɑt ˈmɔrəli əˈfɛnsɪv" ɪn ˈtritɪŋ ðə bərθ əv ə ˈhɛlθi ʧaɪld ɛz ə ˈmætər fər ˌkɑmpənˈseɪʃən. ðə haɪ kɔrt ruld ɪn ðɛr ˈfeɪvər, ənd ðə ˈwʊmən ðɛn əˈpild tɪ ðə kɔrt əv əˈpil əˈgɛnst ðə haɪ kɔrt dɪˈsɪʒən. ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt ðə ˈpænəl əv faɪv ˈʤəʤɪz wɪʧ ˌɪnˈkludɪd ʧif ˈʤəstɪs meɪˈnɔn juˈnænəməsli dɪsˈmɪst ðə əˈpil, seɪɪŋ ðət ðə kleɪm fər ˈəpˌkip kɔsts wʊd bi "əˈgɛnst ˈpəblɪk ˈpɑləsi". "ɪt əˈmaʊnts tɪ ə kleɪm fər ən ˌɪnˈdɛmnɪti fər ðə kɔsts əv ˈreɪzɪŋ ə ʧaɪld ənd ˈpleɪsɪz ˈpɛrənts ɪn ə pəˈzɪʃən wɛr ðɛr ˈpərsɪnəl ˈɪntərɪsts ɛz ˈlɪtɪgənts wɪl ˈkɑnflɪkt wɪθ ðɛr ˈdutiz ɛz ˈpɛrənts," ðə ˈʤəʤmənt rɛd. ˌhaʊˈɛvər ðə kɔrt faʊnd ðət ðə ˈwʊmən hæd ˈsəfərd ə lɔs əv "ʤəˈnɛtɪk əˈfɪnɪti" ənd sɛd ɪt wʊd liv ðə əˈmaʊnt əv ˈdæmɪʤɪz tɪ bi əˈwɔrdɪd tɪ ðə haɪ kɔrt tɪ ˌdɪˈsaɪd.
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hubbard (ohio) running george hill became urban first ohio state class of 2016 commitment back in june of 2014. however, as class has since grown it has been known that hill might not stay in the class.
"no, he's not in the class anymore," hill's grandmother said. "he told me he de-committed."
the buckeyes have a commitment from one slot-back, demario mccall, and that is the position hill was recruited for by the staff. hill had been given permission by the ohio state staff to take other visits and has since done so including michigan state.
the and hill has been known to have an interest in not only michigan state, but pitt.
the buckeyes now have 18 verbal commitments in their 2016 recruiting class.
hill is a prospect in the composite. he is the no. 129 overall prospect, the no. 10 athlete, and the no. 7 prospect in ohio.
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ˈhəbərd (oʊˈhaɪoʊ) ˈrənɪŋ ʤɔrʤ hɪl bɪˈkeɪm ˈərbən fərst oʊˈhaɪoʊ steɪt klæs əv 2016 kəˈmɪtmənt bæk ɪn ʤun əv 2014 ˌhaʊˈɛvər, ɛz klæs həz sɪns groʊn ɪt həz bɪn noʊn ðət hɪl maɪt nɑt steɪ ɪn ðə klæs. "noʊ, hiz nɑt ɪn ðə klæs ˌɛniˈmɔr," hɪlz ˈgrændˌməðər sɛd. "hi toʊld mi hi de-committed*." ðə ˈbəˌkaɪz hæv ə kəˈmɪtmənt frəm wən slot-back*, dɪˈmɑrioʊ məˈkɔl, ənd ðət ɪz ðə pəˈzɪʃən hɪl wɑz rɪˈkrutɪd fər baɪ ðə stæf. hɪl hæd bɪn ˈgɪvɪn pərˈmɪʃən baɪ ðə oʊˈhaɪoʊ steɪt stæf tɪ teɪk ˈəðər ˈvɪzɪts ənd həz sɪns dən soʊ ˌɪnˈkludɪŋ ˈmɪʃɪgən steɪt. ðə ənd hɪl həz bɪn noʊn tɪ hæv ən ˈɪntəˌrɛst ɪn nɑt ˈoʊnli ˈmɪʃɪgən steɪt, bət pɪt. ðə ˈbəˌkaɪz naʊ hæv 18 ˈvərbəl kəˈmɪtmənts ɪn ðɛr 2016 rɪˈkrutɪŋ klæs. hɪl ɪz ə ˈprɑspɛkt ɪn ðə kəmˈpɑzət. hi ɪz ðə noʊ. 129 ˈoʊvərˌɔl ˈprɑspɛkt, ðə noʊ. 10 ˈæθˌlit, ənd ðə noʊ. 7 ˈprɑspɛkt ɪn oʊˈhaɪoʊ.
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portugal william carvalho has been named as the best player of the european championship.
the technical observers, present at every match, chose william as the outstanding performer, including him as one of five portuguese in their best xi from the tournament. william, an authoritative central who plays his club football for sporting cp, was for team throughout their finals campaign.
the most impressive display came in the defeat of germany. william was hugely dominant over his direct opponent can, another player who had hitherto stood out, helping his side to inflict a record defeat on their opponents. he also played throughout the final against sweden although he missed his spot kick in the penalty which brought down the curtain on the tournament.
william, who already has 13 senior caps to his name, attempted (394) and completed (349) more passes than anyone else in the czech republic.
william's tournament in numbers
480 minutes played (joint tournament high)
394 passes attempted (tournament high)
349 passes completed (tournament high)
12 fouls suffered (joint tournament high)
4 attempts blocked
3 fouls committed
1 attempt off target
0 attempts on target
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ˈpɔrʧəgəl ˈwɪljəm kɑrˈvɑlhoʊ həz bɪn neɪmd ɛz ðə bɛst pleɪər əv ðə ˌjʊrəˈpiən ˈʧæmpiənˌʃɪp. ðə ˈtɛknɪkəl əbˈzərvərz, ˈprɛzənt æt ˈɛvəri mæʧ, ʧoʊz ˈwɪljəm ɛz ðə ˌaʊtˈstændɪŋ pərˈfɔrmər, ˌɪnˈkludɪŋ ɪm ɛz wən əv faɪv ˈpɔrʧəˌgiz ɪn ðɛr bɛst ʃi frəm ðə ˈtʊrnəmənt. ˈwɪljəm, ən əˈθɔrəˌteɪtɪv ˈsɛntrəl hu pleɪz hɪz kləb ˈfʊtˌbɔl fər ˈspɔrtɪŋ cp*, wɑz fər tim θruaʊt ðɛr ˈfaɪnəlz kæmˈpeɪn. ðə moʊst ˌɪmˈprɛsɪv dɪˈspleɪ keɪm ɪn ðə dɪˈfit əv ˈʤərməni. ˈwɪljəm wɑz ˈhjuʤli ˈdɑmənənt ˈoʊvər hɪz dɪˈrɛkt əˈpoʊnənt kən, əˈnəðər pleɪər hu hæd ˈhɪˌðərˈtu stʊd aʊt, ˈhɛlpɪŋ hɪz saɪd tɪ ˌɪnˈflɪkt ə ˈrɛkərd dɪˈfit ɔn ðɛr əˈpoʊnənts. hi ˈɔlsoʊ pleɪd θruaʊt ðə ˈfaɪnəl əˈgɛnst sˈwidən ˌɔlˈðoʊ hi mɪst hɪz spɑt kɪk ɪn ðə ˈpɛnəlti wɪʧ brɔt daʊn ðə ˈkərtən ɔn ðə ˈtʊrnəmənt. ˈwɪljəm, hu ɔˈrɛdi həz 13 ˈsinjər kæps tɪ hɪz neɪm, əˈtɛmptəd 394 ənd kəmˈplitɪd 349 mɔr ˈpæsɪz ðən ˈɛniˌwən ɛls ɪn ðə ʧɛk riˈpəblɪk. ˈwɪljəmz ˈtʊrnəmənt ɪn ˈnəmbərz 480 ˈmɪnəts pleɪd (ʤɔɪnt ˈtʊrnəmənt haɪ) 394 ˈpæsɪz əˈtɛmptəd (ˈtʊrnəmənt haɪ) 349 ˈpæsɪz kəmˈplitɪd (ˈtʊrnəmənt haɪ) 12 faʊlz ˈsəfərd (ʤɔɪnt ˈtʊrnəmənt haɪ) 4 əˈtɛmpts blɑkt 3 faʊlz kəˈmɪtɪd 1 əˈtɛmpt ɔf ˈtərgət 0 əˈtɛmpts ɔn ˈtərgət
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a very simple recipe for a delicious grilled burger.
ingredients: 3 servings
1 pound of ground beef
3 medium sized red potatoes
1/2 of a red pepper
4 ounces of onions
1 large head of broccoli
20 baby carrots
salt, black pepper, and garlic
1 tablespoons olive oil
directions:
burgers:
in a bowl mix ground beef with tablespoons of black pepper, tablespoon of garlic, and teaspoon of salt form into 3 even sized patties throw onto the grill for minutes each side.
vegetables:
steam fresh broccoli and carrots until tender.
home fries:
dice potatoes into even chunks dice onion and pepper into small heat 1 tablespoons of olive oil in a skillet add onions, peppers and potatoes into the skillet. season with salt and pepper to taste. cook until the potatoes are crispy on the outside. make sure to flip and stir potatoes making sure to get an even cook.
estimated nutrients: per serving
calories: 436
fat: 16 g
carbs: 25 g
protein: 45 g
cheap cookbooks for beginners:
meal prep: the best meal prep recipes cookbook for preparing clean, delicious, and nutritious meals (meal prep, meal prep cookbook, meal planning 1)
crockpot cookbook: 100 quick and easy recipes for healthy slow cooker meals recipes, crock pot cookbook, crock pot recipes cookbook, slow cooker recipes)
clean eating: 25 healthy recipes to lose weight with amazing speed
30 healthy dinner recipes for rapid weight loss: impress your loved one! (best recipes for dieters cookbook book 1)
for more recipes follow me on
and for help with meal planning visit $5 meal plan
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ə ˈvɛri ˈsɪmpəl ˈrɛsəpi fər ə dɪˈlɪʃəs grɪld ˈbərgər. ˌɪnˈgridiənts: 3 ˈsərvɪŋz 1 paʊnd əv graʊnd bif 3 ˈmidiəm saɪzd rɛd pəˈteɪtoʊz əv ə rɛd ˈpɛpər 4 ˈaʊnsɪz əv ˈənjənz 1 lɑrʤ hɛd əv ˈbrɑkəli 20 ˈbeɪbi ˈkɛrəts sɔlt, blæk ˈpɛpər, ənd ˈgɑrlɪk 1 ˈteɪbəlˌspunz ˈɑlɪv ɔɪl dɪˈrɛkʃɪnz: ˈbərgərz: ɪn ə boʊl mɪks graʊnd bif wɪθ ˈteɪbəlˌspunz əv blæk ˈpɛpər, ˈteɪbəlˌspun əv ˈgɑrlɪk, ənd ˈtiˌspun əv sɔlt fɔrm ˈɪntu 3 ˈivɪn saɪzd ˈpætiz θroʊ ˈɔntu ðə grɪl fər ˈmɪnəts iʧ saɪd. ˈvɛʤtəbəlz: stim frɛʃ ˈbrɑkəli ənd ˈkɛrəts ənˈtɪl ˈtɛndər. hoʊm fraɪz: daɪs pəˈteɪtoʊz ˈɪntu ˈivɪn ʧəŋks daɪs ˈənjən ənd ˈpɛpər ˈɪntu smɔl hit 1 ˈteɪbəlˌspunz əv ˈɑlɪv ɔɪl ɪn ə ˈskɪlət æd ˈənjənz, ˈpɛpərz ənd pəˈteɪtoʊz ˈɪntu ðə ˈskɪlət. ˈsizən wɪθ sɔlt ənd ˈpɛpər tɪ teɪst. kʊk ənˈtɪl ðə pəˈteɪtoʊz ər ˈkrɪspi ɔn ðə ˈaʊtˈsaɪd. meɪk ʃʊr tɪ flɪp ənd stər pəˈteɪtoʊz ˈmeɪkɪŋ ʃʊr tɪ gɪt ən ˈivɪn kʊk. ˈɛstəˌmeɪtɪd ˈnutriənts: pər ˈsərvɪŋ ˈkælɔˌriz: 436 fæt: 16 ʤi carbs*: 25 ʤi ˈproʊˌtin: 45 ʤi ʧip ˈkʊkˌbʊks fər bɪˈgɪnərz: mil prɛp: ðə bɛst mil prɛp ˈrɛsəpiz ˈkʊkˌbʊk fər pərˈpɛrɪŋ klin, dɪˈlɪʃəs, ənd nuˈtrɪʃəs milz (mil prɛp, mil prɛp ˈkʊkˌbʊk, mil ˈplænɪŋ 1 ˈkʊkˌbʊk: 100 kwɪk ənd ˈizi ˈrɛsəpiz fər ˈhɛlθi sloʊ ˈkʊkər milz ˈrɛsəpiz, krɑk pɑt ˈkʊkˌbʊk, krɑk pɑt ˈrɛsəpiz ˈkʊkˌbʊk, sloʊ ˈkʊkər ˈrɛsəpiz) klin ˈitɪŋ: 25 ˈhɛlθi ˈrɛsəpiz tɪ luz weɪt wɪθ əˈmeɪzɪŋ spid 30 ˈhɛlθi ˈdɪnər ˈrɛsəpiz fər ˈræpɪd weɪt lɔs: ˌɪmˈprɛs jʊr ləvd wən! (bɛst ˈrɛsəpiz fər ˈdaɪətərz ˈkʊkˌbʊk bʊk 1 fər mɔr ˈrɛsəpiz ˈfɑloʊ mi ɔn ənd fər hɛlp wɪθ mil ˈplænɪŋ ˈvɪzɪt 5 mil plæn
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granados and the second or maternal family name is. this name uses spanish naming customs : the first or paternal family name the second or maternal family name is
enrique granados
enrique granados (27 july 1867 24 march 1916) was a spanish pianist and composer of classical] his music is in a uniquely spanish style and, as such, is representative of musical nationalism.
life [ edit ]
enrique granados was born in lleida, spain, the son of granados, a spanish army captain, and. as a young man he studied piano in barcelona, where his teachers included francisco and joan baptista pujol. in 1887 he went to paris to study. he was unable to become a student at the paris, but he was able to take private lessons with a professor, de, whose mother, the soprano maria malibran, was of spanish ancestry. insisted on extreme refinement in tone production, which strongly influenced own teaching of pedal technique. he also fostered abilities in] just as important were his studies with pedrell. he returned to barcelona in 1889. his first successes were at the end of the 1890s, with the opera del carmen, which attracted the attention of king alfonso xiii.
in 1911 granados premiered his suite for piano, which became his most famous work. it is a set of six pieces based on paintings of francisco goya. such was the success of this work that he was encouraged to expand it. he wrote an opera based on the subject in 1914, but the outbreak of world war i forced the european premiere to be canceled. it was performed for the first time in new york city on 28 january 1916, and was very well received. shortly afterwards, he was invited to perform a piano recital for president woodrow wilson. prior to leaving new york, granados also made player piano music rolls for the company's "duo-art" system, all of which survive today and can be heard his very last recordings.
the delay incurred by accepting the recital invitation caused him to miss his boat back to spain. instead, he took a ship to england, where he boarded the passenger ferry sussex for dieppe, france. on the way across the english channel, the sussex was torpedoed by a german u-boat, as part of the german world war i policy of unrestricted submarine warfare. in a failed attempt to save his wife amparo, whom he saw flailing about in the water some distance away, granados jumped out of his lifeboat and drowned. however, the ship broke in two parts and only one sank (along with 80 passengers). ironically, the part of the ship that contained his cabin did not sink and was towed to port, with most of the passengers, except for granados and his wife, on board. granados and his wife left six children: eduard (a musician), solita, enrique (a swimming champion), víctor, natalia, and francisco.
the personal papers of enrique granados are preserved in, among other institutions, the national library of catalonia.
music and influence [ edit ]
granados wrote piano music, chamber music (a piano quintet, a piano trio, music for violin and piano), songs, zarzuelas, and an orchestral tone poem based on dante's divine comedy. many of his piano compositions have been transcribed for the classical guitar: examples include dedicatoria, danza no. 5,.
his music can be divided into basically three styles or periods:
a romantic style including such pieces as and poeticas. a more typically nationalist, spanish style including such pieces as (spanish dances), 6 (six pieces based on popular spanish songs). the goya (goyesca) period, which includes the piano suite, the opera, various for voice and piano, and other works.
granados was an important influence on at least two other important spanish composers and musicians, manuel de falla and pablo casals. he was also the teacher of composer rosa ascot.
some important works [ edit ]
12 (1890) for piano; op. 31, h. 142,. the contents of the four volumes are: vol. 1: galante (or minueto), oriental, fandango (or zarabanda); vol. 2: villanesca; (or playera); (or jota); vol. 3: valenciana; (or asturiana); (or mazurca); vol. 4: (or danza triste); zambra; arabesca.
(1890) for piano; op. 31, h. 142,. the contents of the four volumes are: vol. 1: galante (or minueto), oriental, fandango (or zarabanda); vol. 2: villanesca; (or playera); (or jota); vol. 3: valenciana; (or asturiana); (or mazurca); vol. 4: (or danza triste); zambra; arabesca. del carmen (1898), opera
(1898), opera allegro de (1903)
(1903) (1903) for piano. the individual "scenes" are: mazurca; berceuse; allegretto; mazurka; allegro appassionato;
(1903) for piano. the individual "scenes" are: mazurca; berceuse; allegretto; mazurka; allegro appassionato; dante (1908), symphonic poem
(1908), symphonic poem al antiguo, (1910) for voice and piano, settings of a group of poems by fernando periquet. titles of individual songs in the collection are: y odio; 2.callejeo; discreto; olvidado; tímido; de la; y el punteado; de goya; dolorosa i (oh cruel!), (ay de mi vida!), yi (de amante); (duet).
(1910) for voice and piano, settings of a group of poems by fernando periquet. titles of individual songs in the collection are: y odio; 2.callejeo; discreto; olvidado; tímido; de la; y el punteado; de goya; dolorosa i (oh cruel!), (ay de mi vida!), yi (de amante); (duet). for voice and piano. titles of individual songs in the collection (perhaps in the right order) are: yo no me llore; i; por una mirada, un mundo; si al me llevas...; canción; serenata; canto gitano.
for voice and piano. titles of individual songs in the collection (perhaps in the right order) are: yo no me llore; i; por una mirada, un mundo; si al me llevas...; canción; serenata; canto gitano. for voice and piano. titles of individual songs in the collection (perhaps in the right order) are: profeta; eterna; cançó de gener; cançó d'amor; cançoneta; la boira.
for voice and piano. titles of individual songs in the collection (perhaps in the right order) are: profeta; eterna; cançó de gener; cançó d'amor; cançoneta; la boira. (1911), suite for piano, subtitled "loss enamorados". it consists of 6 pieces in 2 books. movements are: book 1: los requiebros; en la reja; el fandango de candil; o la y el ruiseñor; book 2: el amor y la; del espectro). el pelele, although not published as part of the, is usually appended to it. in performance it is played as the seventh and last piece. it is based on the music of the opening scene of the opera, in which a "pelele" is being tossed in the air by the "majas."
(1911), suite for piano, subtitled "loss enamorados". it consists of 6 pieces in 2 books. movements are: book 1: los requiebros; en la reja; el fandango de candil; o la y el ruiseñor; book 2: el amor y la; del espectro). el pelele, although not published as part of the, is usually appended to it. in performance it is played as the seventh and last piece. it is based on the music of the opening scene of the opera, in which a "pelele" is being tossed in the air by the "majas." (1912) which contains: del cazador; el hada y el niño; lento; la campana de la
(1912) which contains: del cazador; el hada y el niño; lento; la campana de la de (1915) for voice and piano. titles of individual songs in the collection are: el de mi cuidado; era; llorad, corazón, que la niña'; mira que soy niña; al de cuenca'; gracia mía.
(1915) for voice and piano. titles of individual songs in the collection are: el de mi cuidado; era; llorad, corazón, que la niña'; mira que soy niña; al de cuenca'; gracia mía. , opera, 1916
, opera, 1916 6
6 , which include: añoranza; de la parranda; vascongada; oriental; zambra;
, which include: añoranza; de la parranda; vascongada; oriental; zambra; madrigal , for cello and piano
, for cello and piano 8es , for piano, including no 6
, for piano, including no 6 , for piano, violin, and cello
, for piano, violin, and cello military march, for piano,
media [ edit ]
references [ edit ]
notes [ edit ]
sources and further reading [ edit ]
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grɑˈnɑdoʊz ənd ðə ˈsɛkənd ər məˈtərnəl ˈfæməli neɪm ɪz. ðɪs neɪm ˈjuzɪz ˈspænɪʃ ˈneɪmɪŋ ˈkəstəmz ðə fərst ər pəˈtərnəl ˈfæməli neɪm ðə ˈsɛkənd ər məˈtərnəl ˈfæməli neɪm ɪz ɛnˈrikeɪ grɑˈnɑdoʊz ɛnˈrikeɪ grɑˈnɑdoʊz 27 ˌʤuˈlaɪ 1867 24 mɑrʧ 1916 wɑz ə ˈspænɪʃ ˈpiənɪst ənd kəmˈpoʊzər əv ˈklæsɪkəl hɪz mˈjuzɪk ɪz ɪn ə juˈnikli ˈspænɪʃ staɪl ənd, ɛz səʧ, ɪz ˌrɛprɪˈzɛnətɪv əv mˈjuzɪkəl ˈnæʃənəˌlɪzəm. laɪf ˈɛdət ɛnˈrikeɪ grɑˈnɑdoʊz wɑz bɔrn ɪn lleida*, speɪn, ðə sən əv grɑˈnɑdoʊz, ə ˈspænɪʃ ˈɑrmi ˈkæptən, ənd. ɛz ə jəŋ mæn hi ˈstədid piˈænə ɪn ˌbɑrsɪˈloʊnə, wɛr hɪz ˈtiʧərz ˌɪnˈkludɪd frænˈsɪskoʊ ənd ʤoʊn ˌbæpˈtɪstə ˈpjuʤəl. ɪn 1887 hi wɛnt tɪ ˈpɛrɪs tɪ ˈstədi. hi wɑz əˈneɪbəl tɪ bɪˈkəm ə ˈstudənt æt ðə ˈpɛrɪs, bət hi wɑz ˈeɪbəl tɪ teɪk ˈpraɪvət ˈlɛsənz wɪθ ə prəˈfɛsər, də, huz ˈməðər, ðə səˈprɑnoʊ mərˈiə malibran*, wɑz əv ˈspænɪʃ ˈænsɛstri. ˌɪnˈsɪstɪd ɔn ɪkˈstrim rəˈfaɪnmənt ɪn toʊn pərˈdəkʃən, wɪʧ ˈstrɔŋli ˈɪnfluənst oʊn ˈtiʧɪŋ əv ˈpɛdəl tɛkˈnik. hi ˈɔlsoʊ ˈfɑstərd əˈbɪləˌtiz ɪn ʤɪst ɛz ˌɪmˈpɔrtənt wər hɪz ˈstədiz wɪθ pedrell*. hi rɪˈtərnd tɪ ˌbɑrsɪˈloʊnə ɪn 1889 hɪz fərst səkˈsɛsɪz wər æt ðə ɛnd əv ðə 1890s*, wɪθ ðə ˈɑprə dɛl ˈkɑrmən, wɪʧ əˈtræktəd ðə əˈtɛnʃən əv kɪŋ ˌælˈfɑnsoʊ xiii*. ɪn 1911 grɑˈnɑdoʊz prɛˈmɪrd hɪz swit fər piˈænə, wɪʧ bɪˈkeɪm hɪz moʊst ˈfeɪməs wərk. ɪt ɪz ə sɛt əv sɪks ˈpisɪz beɪst ɔn ˈpeɪnɪŋz əv frænˈsɪskoʊ gɔɪə. səʧ wɑz ðə səkˈsɛs əv ðɪs wərk ðət hi wɑz ɪnˈkərəʤd tɪ ɪkˈspænd ɪt. hi roʊt ən ˈɑprə beɪst ɔn ðə ˈsəbʤɪkt ɪn 1914 bət ðə ˈaʊtˌbreɪk əv wərld wɔr aɪ fɔrst ðə ˌjʊrəˈpiən prɛˈmɪr tɪ bi ˈkænsəld. ɪt wɑz pərˈfɔrmd fər ðə fərst taɪm ɪn nu jɔrk ˈsɪti ɔn 28 ˈʤænjuˌɛri 1916 ənd wɑz ˈvɛri wɛl rɪˈsivd. ˈʃɔrtli ˈæftərwərdz, hi wɑz ˌɪnˈvaɪtɪd tɪ pərˈfɔrm ə piˈænə rəˈsaɪtəl fər ˈprɛzɪdənt ˈwʊˌdroʊ ˈwɪlsən. praɪər tɪ ˈlivɪŋ nu jɔrk, grɑˈnɑdoʊz ˈɔlsoʊ meɪd pleɪər piˈænə mˈjuzɪk roʊlz fər ðə ˈkəmpəniz "duo-art*" ˈsɪstəm, ɔl əv wɪʧ sərˈvaɪv təˈdeɪ ənd kən bi hərd hɪz ˈvɛri læst rɪˈkɔrdɪŋz. ðə dɪˈleɪ ˌɪnˈkərd baɪ əkˈsɛptɪŋ ðə rəˈsaɪtəl ˌɪnvɪˈteɪʃən kɔzd ɪm tɪ mɪs hɪz boʊt bæk tɪ speɪn. ˌɪnˈstɛd, hi tʊk ə ʃɪp tɪ ˈɪŋglənd, wɛr hi ˈbɔrdɪd ðə ˈpæsənʤər ˈfɛri ˈsəsɪks fər dieppe*, fræns. ɔn ðə weɪ əˈkrɔs ðə ˈɪŋlɪʃ ˈʧænəl, ðə ˈsəsɪks wɑz tɔrˈpiˌdoʊd baɪ ə ˈʤərmən u-boat*, ɛz pɑrt əv ðə ˈʤərmən wərld wɔr aɪ ˈpɑləsi əv ˌənriˈstrɪktɪd ˌsəbmərˈin ˈwɔrˌfɛr. ɪn ə feɪld əˈtɛmpt tɪ seɪv hɪz waɪf amparo*, hum hi sɔ ˈfleɪlɪŋ əˈbaʊt ɪn ðə ˈwɔtər səm ˈdɪstəns əˈweɪ, grɑˈnɑdoʊz ʤəmpt aʊt əv hɪz ˈlaɪfˌboʊt ənd draʊnd. ˌhaʊˈɛvər, ðə ʃɪp broʊk ɪn tu pɑrts ənd ˈoʊnli wən sæŋk (əˈlɔŋ wɪθ 80 ˈpæsənʤərz). aɪˈrɑnɪkli, ðə pɑrt əv ðə ʃɪp ðət kənˈteɪnd hɪz ˈkæbən dɪd nɑt sɪŋk ənd wɑz toʊd tɪ pɔrt, wɪθ moʊst əv ðə ˈpæsənʤərz, ɪkˈsɛpt fər grɑˈnɑdoʊz ənd hɪz waɪf, ɔn bɔrd. grɑˈnɑdoʊz ənd hɪz waɪf lɛft sɪks ˈʧɪldrən: ˈɛdwərd (ə mjuˈzɪʃən), soʊˈlitə, ɛnˈrikeɪ (ə sˈwɪmɪŋ ˈʧæmpiən), víctor*, nəˈtɑljə, ənd frænˈsɪskoʊ. ðə ˈpərsɪnəl ˈpeɪpərz əv ɛnˈrikeɪ grɑˈnɑdoʊz ər prɪˈzərvd ɪn, əˈməŋ ˈəðər ˌɪnstɪˈtuʃənz, ðə ˈnæʃənəl ˈlaɪbrɛˌri əv ˌkætəˈloʊnjə. mˈjuzɪk ənd ˈɪnfluəns ˈɛdət grɑˈnɑdoʊz roʊt piˈænə mˈjuzɪk, ˈʧeɪmbər mˈjuzɪk (ə piˈænə kwɪnˈtɛt, ə piˈænə ˈtriˌoʊ, mˈjuzɪk fər vaɪəˈlɪn ənd piˈænə), sɔŋz, zarzuelas*, ənd ən ɔrˈkɛstrəl toʊn poʊəm beɪst ɔn ˈdæntiz dɪˈvaɪn ˈkɑmədi. ˈmɛni əv hɪz piˈænə ˌkɑmpəˈzɪʃənz hæv bɪn trænˈskraɪbd fər ðə ˈklæsɪkəl gɪˈtɑr: ɪgˈzæmpəlz ˌɪnˈklud dedicatoria*, ˈdænzə noʊ. 5. hɪz mˈjuzɪk kən bi dɪˈvaɪdɪd ˈɪntu ˈbeɪsɪkli θri staɪlz ər ˈpɪriədz: ə roʊˈmæntɪk staɪl ˌɪnˈkludɪŋ səʧ ˈpisɪz ɛz ənd poeticas*. ə mɔr ˈtɪpɪkəli ˈnæʃənəlɪst, ˈspænɪʃ staɪl ˌɪnˈkludɪŋ səʧ ˈpisɪz ɛz (ˈspænɪʃ ˈdænsɪz), 6 (sɪks ˈpisɪz beɪst ɔn ˈpɑpjələr ˈspænɪʃ sɔŋz). ðə gɔɪə (goyesca*) ˈpɪriəd, wɪʧ ˌɪnˈkludz ðə piˈænə swit, ðə ˈɑprə, ˈvɛriəs fər vɔɪs ənd piˈænə, ənd ˈəðər wərks. grɑˈnɑdoʊz wɑz ən ˌɪmˈpɔrtənt ˈɪnfluəns ɔn æt list tu ˈəðər ˌɪmˈpɔrtənt ˈspænɪʃ kəmˈpoʊzərz ənd mjuˈzɪʃənz, mɑnˈwɛl də ˈfælə ənd ˈpɑbloʊ kəˈsɑlz. hi wɑz ˈɔlsoʊ ðə ˈtiʧər əv kəmˈpoʊzər ˈroʊzə ˈæˌskɑt. səm ˌɪmˈpɔrtənt wərks ˈɛdət 12 1890 fər piˈænə; ɔp. 31 eɪʧ. 142 ðə ˈkɑntɛnts əv ðə fɔr ˈvɑljumz ər: vol*. 1 gɑˈlɑnti (ər minueto*), ˌɔriˈɛnəl, fænˈdæŋˌgoʊ (ər zarabanda*); vol*. 2 villanesca*; (ər playera*); (ər jota*); vol*. 3 valenciana*; (ər asturiana*); (ər mazurca*); vol*. 4 (ər ˈdænzə triste*); zambra*; arabesca*. 1890 fər piˈænə; ɔp. 31 eɪʧ. 142 ðə ˈkɑntɛnts əv ðə fɔr ˈvɑljumz ər: vol*. 1 gɑˈlɑnti (ər minueto*), ˌɔriˈɛnəl, fænˈdæŋˌgoʊ (ər zarabanda*); vol*. 2 villanesca*; (ər playera*); (ər jota*); vol*. 3 valenciana*; (ər asturiana*); (ər mazurca*); vol*. 4 (ər ˈdænzə triste*); zambra*; arabesca*. dɛl ˈkɑrmən 1898 ˈɑprə 1898 ˈɑprə əˈlɛˌgroʊ də 1903 1903 1903 fər piˈænə. ðə ˌɪndəˈvɪʤəwəl "sinz" ər: mazurca*; berceuse*; allegretto*; mazurka*; əˈlɛˌgroʊ appassionato*; 1903 fər piˈænə. ðə ˌɪndəˈvɪʤəwəl "sinz" ər: mazurca*; berceuse*; allegretto*; mazurka*; əˈlɛˌgroʊ appassionato*; ˈdɑnteɪ 1908 sɪmˈfɑnɪk poʊəm 1908 sɪmˈfɑnɪk poʊəm æl antiguo*, 1910 fər vɔɪs ənd piˈænə, ˈsɛtɪŋz əv ə grup əv poʊəmz baɪ fərˈnɑndoʊ periquet*. ˈtaɪtəlz əv ˌɪndəˈvɪʤəwəl sɔŋz ɪn ðə kəˈlɛkʃən ər: waɪ odio*; 2.callejeo*; discreto*; olvidado*; tímido*; də lɑ; waɪ ɛl punteado*; də gɔɪə; doʊlərˈoʊsə aɪ (oʊ kruəl!), (eɪ də mi ˈvaɪdə!), waɪ (də ɑˈmɑnti); (duˈɛt). 1910 fər vɔɪs ənd piˈænə, ˈsɛtɪŋz əv ə grup əv poʊəmz baɪ fərˈnɑndoʊ periquet*. ˈtaɪtəlz əv ˌɪndəˈvɪʤəwəl sɔŋz ɪn ðə kəˈlɛkʃən ər: waɪ odio*; 2.callejeo*; discreto*; olvidado*; tímido*; də lɑ; waɪ ɛl punteado*; də gɔɪə; doʊlərˈoʊsə aɪ (oʊ kruəl!), (eɪ də mi ˈvaɪdə!), waɪ (də ɑˈmɑnti); (duˈɛt). fər vɔɪs ənd piˈænə. ˈtaɪtəlz əv ˌɪndəˈvɪʤəwəl sɔŋz ɪn ðə kəˈlɛkʃən (pərˈhæps ɪn ðə raɪt ˈɔrdər) ər: joʊ noʊ mi llore*; aɪ; pɔr ˈunə mɪˈrɑdə, ˈjuˈɛn ˈməndoʊ; si æl mi llevas*...; canción*; serenata*; ˈkæntoʊ gɪˈtɑnoʊ. fər vɔɪs ənd piˈænə. ˈtaɪtəlz əv ˌɪndəˈvɪʤəwəl sɔŋz ɪn ðə kəˈlɛkʃən (pərˈhæps ɪn ðə raɪt ˈɔrdər) ər: joʊ noʊ mi llore*; aɪ; pɔr ˈunə mɪˈrɑdə, ˈjuˈɛn ˈməndoʊ; si æl mi llevas*...; canción*; serenata*; ˈkæntoʊ gɪˈtɑnoʊ. fər vɔɪs ənd piˈænə. ˈtaɪtəlz əv ˌɪndəˈvɪʤəwəl sɔŋz ɪn ðə kəˈlɛkʃən (pərˈhæps ɪn ðə raɪt ˈɔrdər) ər: proʊˈfɛtə; eterna*; cançó*çó də gener*; cançó*çó d'amor*; cançoneta*; lɑ boira*. fər vɔɪs ənd piˈænə. ˈtaɪtəlz əv ˌɪndəˈvɪʤəwəl sɔŋz ɪn ðə kəˈlɛkʃən (pərˈhæps ɪn ðə raɪt ˈɔrdər) ər: proʊˈfɛtə; eterna*; cançó*çó də gener*; cançó*çó d'amor*; cançoneta*; lɑ boira*. 1911 swit fər piˈænə, ˈsəbˌtaɪtəld "lɔs enamorados*". ɪt kənˈsɪsts əv 6 ˈpisɪz ɪn 2 bʊks. ˈmuvmənts ər: bʊk 1 lɔs requiebros*; ɛn lɑ reja*; ɛl fænˈdæŋˌgoʊ də candil*; oʊ lɑ waɪ ɛl ruiseñor*; bʊk 2 ɛl ˈæmər waɪ lɑ; dɛl espectro*). ɛl pelele*, ˌɔlˈðoʊ nɑt ˈpəblɪʃt ɛz pɑrt əv ðə, ɪz ˈjuʒəwəli əˈpɛndɪd tɪ ɪt. ɪn pərˈfɔrməns ɪt ɪz pleɪd ɛz ðə ˈsɛvənθ ənd læst pis. ɪt ɪz beɪst ɔn ðə mˈjuzɪk əv ðə ˈoʊpənɪŋ sin əv ðə ˈɑprə, ɪn wɪʧ ə "pelele*" ɪz biɪŋ tɔst ɪn ðə ɛr baɪ ðə "majas*." 1911 swit fər piˈænə, ˈsəbˌtaɪtəld "lɔs enamorados*". ɪt kənˈsɪsts əv 6 ˈpisɪz ɪn 2 bʊks. ˈmuvmənts ər: bʊk 1 lɔs requiebros*; ɛn lɑ reja*; ɛl fænˈdæŋˌgoʊ də candil*; oʊ lɑ waɪ ɛl ruiseñor*; bʊk 2 ɛl ˈæmər waɪ lɑ; dɛl espectro*). ɛl pelele*, ˌɔlˈðoʊ nɑt ˈpəblɪʃt ɛz pɑrt əv ðə, ɪz ˈjuʒəwəli əˈpɛndɪd tɪ ɪt. ɪn pərˈfɔrməns ɪt ɪz pleɪd ɛz ðə ˈsɛvənθ ənd læst pis. ɪt ɪz beɪst ɔn ðə mˈjuzɪk əv ðə ˈoʊpənɪŋ sin əv ðə ˈɑprə, ɪn wɪʧ ə "pelele*" ɪz biɪŋ tɔst ɪn ðə ɛr baɪ ðə "majas*." 1912 wɪʧ kənˈteɪnz: dɛl cazador*; ɛl ˈhɑdə waɪ ɛl niño*; ˈlɛntoʊ; lɑ kɑmˈpænə də lɑ 1912 wɪʧ kənˈteɪnz: dɛl cazador*; ɛl ˈhɑdə waɪ ɛl niño*; ˈlɛntoʊ; lɑ kɑmˈpænə də lɑ də 1915 fər vɔɪs ənd piˈænə. ˈtaɪtəlz əv ˌɪndəˈvɪʤəwəl sɔŋz ɪn ðə kəˈlɛkʃən ər: ɛl də mi kwiˈdædoʊ; ˈɪrə; llorad*, corazón*, kju lɑ niña*'; ˈmɪrə kju sɔɪ niña*; æl də kˈwɛnkə'; ˈgrɑʧə mía*. 1915 fər vɔɪs ənd piˈænə. ˈtaɪtəlz əv ˌɪndəˈvɪʤəwəl sɔŋz ɪn ðə kəˈlɛkʃən ər: ɛl də mi kwiˈdædoʊ; ˈɪrə; llorad*, corazón*, kju lɑ niña*'; ˈmɪrə kju sɔɪ niña*; æl də kˈwɛnkə'; ˈgrɑʧə mía*. ˈɑprə, 1916 ˈɑprə, 1916 6 6 wɪʧ ˌɪnˈklud: añoranza*; də lɑ parranda*; vascongada*; ˌɔriˈɛnəl; zambra*; wɪʧ ˌɪnˈklud: añoranza*; də lɑ parranda*; vascongada*; ˌɔriˈɛnəl; zambra*; ˈmædrɪgəl fər ˈʧɛloʊ ənd piˈænə fər ˈʧɛloʊ ənd piˈænə 8 fər piˈænə, ˌɪnˈkludɪŋ noʊ 6 fər piˈænə, ˌɪnˈkludɪŋ noʊ 6 fər piˈænə, vaɪəˈlɪn, ənd ˈʧɛloʊ fər piˈænə, vaɪəˈlɪn, ənd ˈʧɛloʊ ˈmɪlɪˌtɛri mɑrʧ, fər piˈænə, ˈmidiə ˈɛdət ˈrɛfərənsɪz ˈɛdət noʊts ˈɛdət ˈsɔrsəz ənd ˈfərðər ˈrɛdɪŋ ˈɛdət
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michelle obama: spokesperson for the lying left
race-baiter michelle obama returns to tell america just how racist the republican party. she says the republicans made people “not trust” politics.
at the pennsylvania conference for women, michelle obama said when she attended the state of the union address she got uncomfortable as she noticed on the republican side of the room there was “all white men.”
according to breitbart:
“at the state of the union address when you are in the room what you can see is this real dichotomy. a feeling of color almost. on one side of the room is literally gray and white. literally, that is the color palette on one side of the room. on the other side of the room, there are yellows and blues and whites and greens. physically, a difference in color, in the tone, because on one side all men, all white, on the other side some woman, some people of color.” take our poll - story continues below will the media learn anything from their biased reporting of the story? will the media learn anything from their biased reporting of the story?
will the media learn anything from their biased reporting of the story? * yes, they've gotten so much wrong recently that they're bound to be on their best behavior. no, they suffer from a bad case of trump syndrome. who?
email *
email this field is for validation purposes and should be left unchanged. completing this poll grants you access to the black sphere updates free of charge. you may opt out at anytime. you also agree to this site's privacy policy and terms of use. trending: justice send warning to fake news journalists she continued, “i look at that, and i go, no wonder. no wonder we struggle, no wonder people trust politics. not even noticing what these rooms look like.”
hard to believe how “sensitive” michelle obama can be.
exactly what have white men done to michelle obama? she lived in a world. and if any men took advantage of her, you can bet they white. yet, she appears to have a psychosis for white men.
one would think her fear of white men would have dwindled, given the number of white men it took to get her husband elected? what of those “white men”?
and what of michelle obama obsession with the color and gender of people in the room? what about policy?
first, the white men she references are the duly elected representatives of their areas? secondly and perhaps more importantly, what did michelle obama miss in her glance across the aisle?
the republican party is more diverse than the left. i point out the blacks and other minorities, or the women michelle obama happened to miss when she glanced over to the other aisle. but they are there. obama refuses to see them. proud of the so-called diversity of the democratic party, a party united in only one thing: hate for america.
every special interest group on the left concerns itself with one own interest. la raza (the race) cares about the mexican race. the congressional black caucus cares about blacks. and the list of malcontents goes on.
what michelle obama missed in her criticism of the right is the notion that at the very least they want best for all.
let’s talk “trust”
we know very little about michelle husband. look at what the hide to this day:
obama’s kindergarten records -so far, no records have been released by the school. elementary school officials have not responded to request for comment. school records
occidental college records -gary of the u.s. justice foundation, demanded these school documents be released but was shut down every step of the way. “obama’s attorneys bent over backward to block us,” told wnd. “obama want anyone to see those records. trying to hide them.” columbia university records -obama claimed to be a part of the black student organization and activities at columbia but according to the new york times, several well-known student leaders did not recall his involvement. when the newspaper inquired, the obama campaign did not offer an explanation for why the transcript had not been released. columbia thesis “soviet nuclear disarmament” -before applying to harvard, obama supposedly penned a major thesis in his senior year. it remains sealed.
one would think “the smartest president ever” would at least want to release his harvard records. after all, he was the first black president of law review.
the list of unknowns continues:
harvard law school records -according to politico, name does not appear on any legal scholarships during his time at harvard. his campaign reportedly said his harvard education was a product of hard work and student loans. harvard law review articles
university of chicago scholarly articles
passport –a key witness who had been cooperating with federal investigators in researching passport was later found fatally shot in front of a washington, d.c., church. a police officer found the body of lt. quarles harris jr., 24, slumped dead inside his car. medical records -barack obama, a relatively young candidate who was said to have been in “excellent health,” refused to release medical records. instead, he simply provided a note from his physician briefly summarizing 21 years of doctor visits and health information.
other sealed documents include:
complete files and schedules of his years as an illinois state senator from 1997 to 2004
obama’s client list from during his time in private practice with the chicago law firm of davis, miner, barnhill and gallard
illinois state bar association records
baptism records
obama/dunham marriage license
obama/dunham divorce documents
soetoro/dunham marriage license
adoption records
in short, obama remains a stranger to america.
and he acted like it. in his final days as president, obama lauded his administration for being, “scandal free”. americans scoffed at the idea, as the list of scandal in america is as long as list of unknowns.
so if anybody has destroyed trust in america, the.
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mɪˈʃɛl ˌoʊˈbɑmə: ˈspoʊkspərsən fər ðə laɪɪŋ lɛft mɪˈʃɛl ˌoʊˈbɑmə rɪˈtərnz tɪ tɛl əˈmɛrɪkə ʤɪst haʊ ˈreɪsɪst ðə rɪˈpəblɪkən ˈpɑrti. ʃi sɪz ðə rɪˈpəblɪkənz meɪd ˈpipəl trust”*” ˈpɑləˌtɪks. æt ðə ˌpɛnsəlˈveɪnjə ˈkɑnfərəns fər ˈwɪmən, mɪˈʃɛl ˌoʊˈbɑmə sɛd wɪn ʃi əˈtɛndəd ðə steɪt əv ðə ˈjunjən ˈæˌdrɛs ʃi gɑt ənˈkəmfərtəbəl ɛz ʃi ˈnoʊtɪst ɔn ðə rɪˈpəblɪkən saɪd əv ðə rum ðɛr wɑz waɪt men.”*.” əˈkɔrdɪŋ tɪ breitbart*: ðə steɪt əv ðə ˈjunjən ˈæˌdrɛs wɪn ju ər ɪn ðə rum wət ju kən si ɪz ðɪs ril daɪˈkɑtəmi. ə ˈfilɪŋ əv ˈkələr ˈɔlˌmoʊst. ɔn wən saɪd əv ðə rum ɪz ˈlɪtərəli greɪ ənd waɪt. ˈlɪtərəli, ðət ɪz ðə ˈkələr ˈpælət ɔn wən saɪd əv ðə rum. ɔn ðə ˈəðər saɪd əv ðə rum, ðɛr ər ˈjɛloʊz ənd bluz ənd waɪts ənd grinz. ˈfɪzɪkəli, ə ˈdɪfərəns ɪn ˈkələr, ɪn ðə toʊn, bɪˈkəz ɔn wən saɪd ɔl mɛn, ɔl waɪt, ɔn ðə ˈəðər saɪd səm ˈwʊmən, səm ˈpipəl əv color.”*.” teɪk ɑr poʊl ˈstɔri kənˈtɪnjuz bɪˈloʊ wɪl ðə ˈmidiə lərn ˈɛniˌθɪŋ frəm ðɛr baɪəst rɪˈpɔrtɪŋ əv ðə ˈstɔri? wɪl ðə ˈmidiə lərn ˈɛniˌθɪŋ frəm ðɛr baɪəst rɪˈpɔrtɪŋ əv ðə ˈstɔri? wɪl ðə ˈmidiə lərn ˈɛniˌθɪŋ frəm ðɛr baɪəst rɪˈpɔrtɪŋ əv ðə ˈstɔri? jɛs, ðeɪv ˈgɔtən soʊ məʧ rɔŋ ˈrisəntli ðət ðɛr baʊnd tɪ bi ɔn ðɛr bɛst bɪˈheɪvjər. noʊ, ðeɪ ˈsəfər frəm ə bæd keɪs əv trəmp ˈsɪnˌdroʊm. hu? iˈmeɪl iˈmeɪl ðɪs fild ɪz fər ˌvæləˈdeɪʃən ˈpərpəsɪz ənd ʃʊd bi lɛft ənˈʧeɪnʤd. kəmˈplitɪŋ ðɪs poʊl grænts ju ˈækˌsɛs tɪ ðə blæk sfɪr ˈəpˌdeɪts fri əv ʧɑrʤ. ju meɪ ɑpt aʊt æt ˈɛniˌtaɪm. ju ˈɔlsoʊ əˈgri tɪ ðɪs saɪts ˈpraɪvəsi ˈpɑləsi ənd tərmz əv juz. ˈtrɛndɪŋ: ˈʤəstɪs sɛnd ˈwɔrnɪŋ tɪ feɪk nuz ˈʤərnəlɪsts ʃi kənˈtɪnjud, lʊk æt ðət, ənd aɪ goʊ, noʊ ˈwəndər. noʊ ˈwəndər wi ˈstrəgəl, noʊ ˈwəndər ˈpipəl trəst ˈpɑləˌtɪks. nɑt ˈivɪn ˈnoʊtɪsɪŋ wət ðiz rumz lʊk like.”*.” hɑrd tɪ bɪˈliv haʊ ““sensitive”*” mɪˈʃɛl ˌoʊˈbɑmə kən bi. ɪgˈzæktli wət hæv waɪt mɛn dən tɪ mɪˈʃɛl ˌoʊˈbɑmə? ʃi lɪvd ɪn ə wərld. ənd ɪf ˈɛni mɛn tʊk ædˈvæntɪʤ əv hər, ju kən bɛt ðeɪ waɪt. jɛt, ʃi əˈpɪrz tɪ hæv ə saɪˈkoʊsəs fər waɪt mɛn. wən wʊd θɪŋk hər fɪr əv waɪt mɛn wʊd hæv dˈwɪndəld, ˈgɪvɪn ðə ˈnəmbər əv waɪt mɛn ɪt tʊk tɪ gɪt hər ˈhəzbənd ɪˈlɛktɪd? wət əv ðoʊz men”*”? ənd wət əv mɪˈʃɛl ˌoʊˈbɑmə əbˈsɛʃən wɪθ ðə ˈkələr ənd ˈʤɛndər əv ˈpipəl ɪn ðə rum? wət əˈbaʊt ˈpɑləsi? fərst, ðə waɪt mɛn ʃi ˈrɛfərənsɪz ər ðə ˈduli ɪˈlɛktɪd ˌrɛprɪˈzɛnətɪvz əv ðɛr ˈɛriəz? ˈsɛkəndli ənd pərˈhæps mɔr ˌɪmˈpɔrtəntli, wət dɪd mɪˈʃɛl ˌoʊˈbɑmə mɪs ɪn hər glæns əˈkrɔs ðə aɪəl? ðə rɪˈpəblɪkən ˈpɑrti ɪz mɔr dɪˈvərs ðən ðə lɛft. aɪ pɔɪnt aʊt ðə blæks ənd ˈəðər məˈnɔrətiz, ər ðə ˈwɪmən mɪˈʃɛl ˌoʊˈbɑmə ˈhæpənd tɪ mɪs wɪn ʃi glænst ˈoʊvər tɪ ðə ˈəðər aɪəl. bət ðeɪ ər ðɛr. ˌoʊˈbɑmə rɪfˈjuzɪz tɪ si ðɛm. praʊd əv ðə ˈsoʊˈkɔld dɪˈvərsɪti əv ðə ˌdɛməˈkrætɪk ˈpɑrti, ə ˈpɑrti juˈnaɪtɪd ɪn ˈoʊnli wən θɪŋ: heɪt fər əˈmɛrɪkə. ˈɛvəri ˈspɛʃəl ˈɪntəˌrɛst grup ɔn ðə lɛft kənˈsərnz ˌɪtˈsɛlf wɪθ wən oʊn ˈɪntəˌrɛst. lɑ ˈræzə (ðə reɪs) kɛrz əˈbaʊt ðə ˈmɛksəkən reɪs. ðə kənˈgrɛʃənəl blæk ˈkɔkəs kɛrz əˈbaʊt blæks. ənd ðə lɪst əv ˌmælkənˈtɛnts goʊz ɔn. wət mɪˈʃɛl ˌoʊˈbɑmə mɪst ɪn hər ˈkrɪtɪˌsɪzəm əv ðə raɪt ɪz ðə ˈnoʊʃən ðət æt ðə ˈvɛri list ðeɪ wɔnt bɛst fər ɔl. tɔk ““trust”*” wi noʊ ˈvɛri ˈlɪtəl əˈbaʊt mɪˈʃɛl ˈhəzbənd. lʊk æt wət ðə haɪd tɪ ðɪs deɪ: ˈkɪndərˌgɑrtən ˈrɛkərdz -soʊ fɑr, noʊ ˈrɛkərdz hæv bɪn riˈlist baɪ ðə skul. ˌɛləˈmɛnʧri skul əˈfɪʃəlz hæv nɑt rɪˈspɑndɪd tɪ rɪkˈwɛst fər ˈkɑmɛnt. skul ˈrɛkərdz ˌɑksəˈdɛntəl ˈkɑlɪʤ ˈrɛkərdz -ˈgɛri əv ðə juz. ˈʤəstɪs faʊnˈdeɪʃən, dɪˈmændɪd ðiz skul ˈdɑkjəmənts bi riˈlist bət wɑz ʃət daʊn ˈɛvəri stɛp əv ðə weɪ. əˈtərniz bɛnt ˈoʊvər ˈbækwərd tɪ blɑk us,”*,” toʊld wnd*. wɔnt ˈɛniˌwən tɪ si ðoʊz ˈrɛkərdz. traɪɪŋ tɪ haɪd them.”*.” kəˈləmbiə ˌjunəˈvərsəti ˈrɛkərdz -ˌoʊˈbɑmə kleɪmd tɪ bi ə pɑrt əv ðə blæk ˈstudənt ˌɔrgənəˈzeɪʃən ənd ækˈtɪvɪtiz æt kəˈləmbiə bət əˈkɔrdɪŋ tɪ ðə nu jɔrk taɪmz, ˈsɛvərəl ˈwɛlˈnoʊn ˈstudənt ˈlidərz dɪd nɑt ˈriˌkɔl hɪz ˌɪnˈvɑlvmənt. wɪn ðə ˈnuzˌpeɪpər ˌɪnkˈwaɪərd, ðə ˌoʊˈbɑmə kæmˈpeɪn dɪd nɑt ˈɔfər ən ˌɛkspləˈneɪʃən fər waɪ ðə ˈtrænˌskrɪpt hæd nɑt bɪn riˈlist. kəˈləmbiə ˈθiˌsɪs ˈnukliər disarmament”*” -ˌbiˈfɔr əˈplaɪɪŋ tɪ ˈhɑrvərd, ˌoʊˈbɑmə səˈpoʊzədli pɛnd ə ˈmeɪʤər ˈθiˌsɪs ɪn hɪz ˈsinjər jɪr. ɪt rɪˈmeɪnz sild. wən wʊd θɪŋk sˈmɑrtəst ˈprɛzɪdənt ever”*” wʊd æt list wɔnt tɪ riˈlis hɪz ˈhɑrvərd ˈrɛkərdz. ˈæftər ɔl, hi wɑz ðə fərst blæk ˈprɛzɪdənt əv lɔ ˌrivˈju. ðə lɪst əv əˈnoʊnz kənˈtɪnjuz: ˈhɑrvərd lɔ skul ˈrɛkərdz -əˈkɔrdɪŋ tɪ pəˈlɪtɪˌkoʊ, neɪm dɪz nɑt əˈpɪr ɔn ˈɛni ˈligəl ˈskɑlərˌʃɪps ˈdʊrɪŋ hɪz taɪm æt ˈhɑrvərd. hɪz kæmˈpeɪn rɪˈpɔrtədli sɛd hɪz ˈhɑrvərd ˌɛʤəˈkeɪʃən wɑz ə ˈprɑdəkt əv hɑrd wərk ənd ˈstudənt loʊnz. ˈhɑrvərd lɔ ˌrivˈju ˈɑrtɪkəlz ˌjunəˈvərsəti əv ʃəˈkɑˌgoʊ ˈskɑlərli ˈɑrtɪkəlz ˈpæˌspɔrt ki ˈwɪtnəs hu hæd bɪn koʊˈɑpərˌeɪtɪŋ wɪθ ˈfɛdərəl ˌɪnˈvɛstəˌgeɪtərz ɪn riˈsərʧɪŋ ˈpæˌspɔrt wɑz ˈleɪtər faʊnd ˈfeɪtəli ʃɑt ɪn frənt əv ə ˈwɔʃɪŋtən, d.c*., ʧərʧ. ə pəˈlis ˈɔfɪsər faʊnd ðə ˈbɑdi əv lt*. kwɔrlz ˈhɛrɪs jr*., 24 sləmpt dɛd ˌɪnˈsaɪd hɪz kɑr. ˈmɛdɪkəl ˈrɛkərdz -ˈbɑrək ˌoʊˈbɑmə, ə ˈrɛlətɪvli jəŋ ˈkænədɪt hu wɑz sɛd tɪ hæv bɪn ɪn health,”*,” rɪfˈjuzd tɪ riˈlis ˈmɛdɪkəl ˈrɛkərdz. ˌɪnˈstɛd, hi ˈsɪmpli prəˈvaɪdɪd ə noʊt frəm hɪz fəˈzɪʃən ˈbrifli ˈsəmərˌaɪzɪŋ 21 jɪrz əv ˈdɔktər ˈvɪzɪts ənd hɛlθ ˌɪnˌfɔrˈmeɪʃən. ˈəðər sild ˈdɑkjəmənts ˌɪnˈklud: kəmˈplit faɪlz ənd ˈskɛʤʊlz əv hɪz jɪrz ɛz ən ˌɪləˈnɔɪz steɪt ˈsɛnətər frəm 1997 tɪ 2004 klaɪənt lɪst frəm ˈdʊrɪŋ hɪz taɪm ɪn ˈpraɪvət ˈpræktɪs wɪθ ðə ʃəˈkɑˌgoʊ lɔ fərm əv ˈdeɪvɪs, ˈmaɪnər, ˈbɑrnˌhɪl ənd gəˈlɑrd ˌɪləˈnɔɪz steɪt bɑr əˌsoʊʃiˈeɪʃən ˈrɛkərdz ˈbæptɪzəm ˈrɛkərdz ˈmɛrɪʤ ˈlaɪsəns dɪˈvɔrs ˈdɑkjəmənts ˈmɛrɪʤ ˈlaɪsəns əˈdɑpʃən ˈrɛkərdz ɪn ʃɔrt, ˌoʊˈbɑmə rɪˈmeɪnz ə ˈstreɪnʤər tɪ əˈmɛrɪkə. ənd hi ˈæktɪd laɪk ɪt. ɪn hɪz ˈfaɪnəl deɪz ɛz ˈprɛzɪdənt, ˌoʊˈbɑmə ˈlɔdɪd hɪz ædˌmɪnɪˈstreɪʃən fər biɪŋ, free”*”. əˈmɛrɪkənz skɔft æt ðə aɪˈdiə, ɛz ðə lɪst əv ˈskændəl ɪn əˈmɛrɪkə ɪz ɛz lɔŋ ɛz lɪst əv əˈnoʊnz. soʊ ɪf ˈɛnibədi həz dɪˈstrɔɪd trəst ɪn əˈmɛrɪkə, ðə.
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Question:
I pay child support for a child I had with a woman I briefly dated.
When a paternity test revealed I was the father I stepped up and took on the responsibilities as a dad.
With it came an order for child support that takes away almost half of my monthly income, which already was small to begin with.
If I were to take this back to court for a child support modification, would there be a good chance that my payments would be reduced?
Answer:
I am unable to give you legal advice on divorce. I can only give general divorce help for men, though, my knowledge is based on Missouri paternity laws where I am temporarily permitted to practice. Please be advised that I am not certain as to the underlying facts in your case, but can only speculate based upon the information that you have provided to me.
In your case, it is unclear as to whether an administrative order was filed for child support or whether a petition for child support was filed with the family law division in your specific county.
Presuming your child support was awarded through a paternity action in the family law division, then you would have to bring a motion to modify the amount, which can be done if you can show that there are a new set of circumstances that are so substantial and continuing that they render the current award unreasonable or that the numbers in the child support guidelines have changed to cause a 20% reduction in the original award.
How Much Should You Be Paying? Child Support Calculators
At this juncture there is no way to predict whether you would be granted a modification, as I would have to see the original calculations presented to the court as well as additional relevant information in order to determine whether a court would even entertain a modification in your case.
Remember, I am unable to provide you with anything more than divorce tips for men. Consult with a local divorce lawyer for specific legal advice on divorce and child support laws.
To arrange an initial consultation to discuss divorce rights for men with a Cordell & Cordell attorney, including Jennifer de Lyon Stralka, a St. Louis divorce lawyer, contact Cordell & Cordell Law Firm.
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kˈwɛʃən: aɪ peɪ ʧaɪld səˈpɔrt fər ə ʧaɪld aɪ hæd wɪθ ə ˈwʊmən aɪ ˈbrifli ˈdeɪtɪd. wɪn ə pəˈtərnɪti tɛst rɪˈvild aɪ wɑz ðə ˈfɑðər aɪ stɛpt əp ənd tʊk ɔn ðə riˌspɑnsəˈbɪlətiz ɛz ə dæd. wɪθ ɪt keɪm ən ˈɔrdər fər ʧaɪld səˈpɔrt ðət teɪks əˈweɪ ˈɔlˌmoʊst hæf əv maɪ ˈmənθli ˈɪnˌkəm, wɪʧ ɔˈrɛdi wɑz smɔl tɪ bɪˈgɪn wɪθ. ɪf aɪ wər tɪ teɪk ðɪs bæk tɪ kɔrt fər ə ʧaɪld səˈpɔrt ˌmɑdəfəˈkeɪʃən, wʊd ðɛr bi ə gʊd ʧæns ðət maɪ ˈpeɪmənts wʊd bi rɪˈdust? ˈænsər: aɪ æm əˈneɪbəl tɪ gɪv ju ˈligəl ədˈvaɪs ɔn dɪˈvɔrs. aɪ kən ˈoʊnli gɪv ˈʤɛnərəl dɪˈvɔrs hɛlp fər mɛn, ðoʊ, maɪ ˈnɑlɪʤ ɪz beɪst ɔn məˈzʊri pəˈtərnɪti lɔz wɛr aɪ æm ˌtɛmpərˈɛrəli pərˈmɪtɪd tɪ ˈpræktɪs. pliz bi ədˈvaɪzd ðət aɪ æm nɑt ˈsərtən ɛz tɪ ðə ˌəndərˈlaɪɪŋ fækts ɪn jʊr keɪs, bət kən ˈoʊnli ˈspɛkjəˌleɪt beɪst əˈpɑn ðə ˌɪnˌfɔrˈmeɪʃən ðət ju hæv prəˈvaɪdɪd tɪ mi. ɪn jʊr keɪs, ɪt ɪz ənˈklɪr ɛz tɪ ˈwɛðər ən ədˈmɪnɪˌstreɪtɪv ˈɔrdər wɑz faɪld fər ʧaɪld səˈpɔrt ər ˈwɛðər ə pəˈtɪʃən fər ʧaɪld səˈpɔrt wɑz faɪld wɪθ ðə ˈfæməli lɔ dɪˈvɪʒən ɪn jʊr spɪˈsɪfɪk ˈkaʊnti. prɪˈzumɪŋ jʊr ʧaɪld səˈpɔrt wɑz əˈwɔrdɪd θru ə pəˈtərnɪti ˈækʃən ɪn ðə ˈfæməli lɔ dɪˈvɪʒən, ðɛn ju wʊd hæv tɪ brɪŋ ə ˈmoʊʃən tɪ ˈmɑdəˌfaɪ ðə əˈmaʊnt, wɪʧ kən bi dən ɪf ju kən ʃoʊ ðət ðɛr ər ə nu sɛt əv ˈsərkəmˌstænsɪz ðət ər soʊ səbˈstænʃəl ənd kənˈtɪnjuɪŋ ðət ðeɪ ˈrɛndər ðə ˈkɑrənt əˈwɔrd ənˈriznəbəl ər ðət ðə ˈnəmbərz ɪn ðə ʧaɪld səˈpɔrt ˈgaɪˌdlaɪnz hæv ʧeɪnʤd tɪ kɔz ə 20 rɪˈdəkʃən ɪn ðə ərˈɪʤənəl əˈwɔrd. haʊ məʧ ʃʊd ju bi peɪɪŋ? ʧaɪld səˈpɔrt ˈkælkjəˌleɪtərz æt ðɪs ˈʤəŋkʧər ðɛr ɪz noʊ weɪ tɪ prɪˈdɪkt ˈwɛðər ju wʊd bi ˈgrænɪd ə ˌmɑdəfəˈkeɪʃən, ɛz aɪ wʊd hæv tɪ si ðə ərˈɪʤənəl ˌkælkjəˈleɪʃənz pərˈzɛnəd tɪ ðə kɔrt ɛz wɛl ɛz əˈdɪʃənəl ˈrɛləvənt ˌɪnˌfɔrˈmeɪʃən ɪn ˈɔrdər tɪ dɪˈtərmən ˈwɛðər ə kɔrt wʊd ˈivɪn ˌɛnərˈteɪn ə ˌmɑdəfəˈkeɪʃən ɪn jʊr keɪs. rɪˈmɛmbər, aɪ æm əˈneɪbəl tɪ prəˈvaɪd ju wɪθ ˈɛniˌθɪŋ mɔr ðən dɪˈvɔrs tɪps fər mɛn. kənˈsəlt wɪθ ə ˈloʊkəl dɪˈvɔrs ˈlɔjər fər spɪˈsɪfɪk ˈligəl ədˈvaɪs ɔn dɪˈvɔrs ənd ʧaɪld səˈpɔrt lɔz. tɪ əreɪnʤ ən ˌɪˈnɪʃəl ˌkɑnsəlˈteɪʃən tɪ dɪˈskəs dɪˈvɔrs raɪts fər mɛn wɪθ ə ˌkɔrˈdɛl ˌkɔrˈdɛl əˈtərni, ˌɪnˈkludɪŋ ˈʤɛnəfər də laɪən stralka*, ə st*. luɪs dɪˈvɔrs ˈlɔjər, ˈkɑnˌtækt ˌkɔrˈdɛl ˌkɔrˈdɛl lɔ fərm.
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please note this is a clearance item. there is no on this product.
we have revamped the billow with new and improved features; introducing the billow! the glass section now measures in diameter (we wanted to keep the capacity and made it shorter than the billow), but the base and the top cap of the billow are still in diameter allowing it to still sit flush on all of your mods!
features:
new barrel and groove exterior design with two piece chimney
rebuild and make adjustments to your wick and coils without dumping out your juice
deck is designed with cotton grooves for convenient wick placement
no more screws to fill juice or adjust airflow
adjustable airflow ring
peek insulator for low durability
bigger airflow hole on the airflow ring and deck
wide bore base drip tip
5ml capacity
note: the airflow ring's resistance (how easily it turns) can be adjusted to your liking by slightly screwing in or screwing out the small screw under the airflow ring.
coil recommendation: we recommend building or smaller diameter coils for the billow. we made the deck size small to increase flavor and to keep the capacity.
replacement glass piece can be purchased here: https://eciggity.com/billow-v2-morph-tank-glass/
the billow nano kit for the billow can be purchased here: https://eciggity.com/billow-v2-rta-nano-kit/
the stainless steel section for the billow can be purchased here: https://eciggity.com/billow-v2-stainless-steel-sleeve/
includes:
1x billow by and
1x wide bore drip tip
1x bag of o-rings, screws, and screwdriver
warning: this product is for advanced users only and proper should always be used. never use any atomizer on a hybrid mod with a 510 connection that is flush or shorter than the 510 threading of the atomizer to avoid any possible injuries.
disclaimer: please use extreme caution when working with), polymer) and any other rechargeable batteries. the user should have fundamental knowledge of batteries and battery safety before using these types of batteries to avoid injury. always charge a surface. never leave charging batteries unattended. do not use any rechargeable battery as well as any battery charger if any visible damage is present, as well as if the cell or charger has been stressed through mishandling or accidental causes even if damage may not be visible. always store and transport rechargeable cells in a safe, container in a controlled environment. dispose of all battery cells and chargers in accordance to local laws and mandates. will not be held responsible for any damage or injury caused by misuse or mishandling of, and any other rechargeable batteries.
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pliz noʊt ðɪs ɪz ə ˈklɪrəns ˈaɪtəm. ðɛr ɪz noʊ ɔn ðɪs ˈprɑdəkt. wi hæv riˈvæmpt ðə ˈbɪloʊ wɪθ nu ənd ˌɪmˈpruvd ˈfiʧərz; ˌɪntrəˈdusɪŋ ðə ˈbɪloʊ ðə glæs ˈsɛkʃən naʊ ˈmɛʒərz ɪn daɪˈæmətər (wi ˈwɔntɪd tɪ kip ðə kəˈpæsɪti ənd meɪd ɪt ˈʃɔrtər ðən ðə ˈbɪloʊ bət ðə beɪs ənd ðə tɔp kæp əv ðə ˈbɪloʊ ər stɪl ɪn daɪˈæmətər əˈlaʊɪŋ ɪt tɪ stɪl sɪt fləʃ ɔn ɔl əv jʊr mods*! ˈfiʧərz: nu ˈbɛrəl ənd gruv ɪkˈstɪriər dɪˈzaɪn wɪθ tu pis ˈʧɪmni riˈbɪld ənd meɪk əˈʤəstmənts tɪ jʊr wɪk ənd kɔɪlz wɪˈθaʊt ˈdəmpɪŋ aʊt jʊr ʤus dɛk ɪz dɪˈzaɪnd wɪθ ˈkɔtən gruvz fər kənˈvinjənt wɪk ˈpleɪsmənt noʊ mɔr skruz tɪ fɪl ʤus ər əˈʤəst ˈɛrfloʊ əˈʤəstəbəl ˈɛrfloʊ rɪŋ pik ˈɪnsəˌleɪtər fər loʊ dərəˈbɪlɪti ˈbɪgər ˈɛrfloʊ hoʊl ɔn ðə ˈɛrfloʊ rɪŋ ənd dɛk waɪd bɔr beɪs drɪp tɪp kəˈpæsɪti noʊt: ðə ˈɛrfloʊ rɪŋz rɪˈzɪstəns (haʊ ˈizəli ɪt tərnz) kən bi əˈʤəstɪd tɪ jʊr ˈlaɪkɪŋ baɪ sˈlaɪtli skruɪŋ ɪn ər skruɪŋ aʊt ðə smɔl skru ˈəndər ðə ˈɛrfloʊ rɪŋ. kɔɪl ˌrɛkəmənˈdeɪʃən: wi ˌrɛkəˈmɛnd ˈbɪldɪŋ ər sˈmɔlər daɪˈæmətər kɔɪlz fər ðə ˈbɪloʊ wi meɪd ðə dɛk saɪz smɔl tɪ ˌɪnˈkris ˈfleɪvər ənd tɪ kip ðə kəˈpæsɪti. rɪˈpleɪsmənt glæs pis kən bi ˈpərʧəst hir: https://eciggity.com/billow-v2-morph-tank-glass*/ ðə ˈbɪloʊ ˈnɑnoʊ kɪt fər ðə ˈbɪloʊ kən bi ˈpərʧəst hir: https://eciggity.com/billow-v2-rta-nano-kit*/ ðə ˈsteɪnləs stil ˈsɛkʃən fər ðə ˈbɪloʊ kən bi ˈpərʧəst hir: https://eciggity.com/billow-v2-stainless-steel-sleeve*/ ˌɪnˈkludz: ˈbɪloʊ baɪ ənd waɪd bɔr drɪp tɪp bæg əv o-rings*, skruz, ənd ˈskruˌdraɪvər ˈwɔrnɪŋ: ðɪs ˈprɑdəkt ɪz fər ədˈvænst ˈjuzərz ˈoʊnli ənd ˈprɑpər ʃʊd ˈɔlˌweɪz bi juzd. ˈnɛvər juz ˈɛni ˈætəˌmaɪzər ɔn ə ˈhaɪbrɪd mɔd wɪθ ə 510 kəˈnɛkʃən ðət ɪz fləʃ ər ˈʃɔrtər ðən ðə 510 θˈrɛdɪŋ əv ðə ˈætəˌmaɪzər tɪ əˈvɔɪd ˈɛni ˈpɑsəbəl ˈɪnʤəriz. dɪˈskleɪmər: pliz juz ɪkˈstrim ˈkɔʃən wɪn ˈwərkɪŋ wɪθ), ˈpɑləmər) ənd ˈɛni ˈəðər riˈʧɑrʤəbəl ˈbætəriz. ðə ˈjuzər ʃʊd hæv ˌfəndəˈmɛnəl ˈnɑlɪʤ əv ˈbætəriz ənd ˈbætəri ˈseɪfti ˌbiˈfɔr ˈjuzɪŋ ðiz taɪps əv ˈbætəriz tɪ əˈvɔɪd ˈɪnʤəri. ˈɔlˌweɪz ʧɑrʤ ə ˈsərfəs. ˈnɛvər liv ˈʧɑrʤɪŋ ˈbætəriz ənəˈtɛndɪd. du nɑt juz ˈɛni riˈʧɑrʤəbəl ˈbætəri ɛz wɛl ɛz ˈɛni ˈbætəri ˈʧɑrʤər ɪf ˈɛni ˈvɪzəbəl ˈdæmɪʤ ɪz ˈprɛzənt, ɛz wɛl ɛz ɪf ðə sɛl ər ˈʧɑrʤər həz bɪn strɛst θru mɪsˈhændlɪŋ ər ˌæksəˈdɛnəl ˈkɔzɪz ˈivɪn ɪf ˈdæmɪʤ meɪ nɑt bi ˈvɪzəbəl. ˈɔlˌweɪz stɔr ənd ˈtrænspɔrt riˈʧɑrʤəbəl sɛlz ɪn ə seɪf, kənˈteɪnər ɪn ə kənˈtroʊld ɪnˈvaɪrənmənt. dɪˈspoʊz əv ɔl ˈbætəri sɛlz ənd ˈʧɑrʤərz ɪn əˈkɔrdəns tɪ ˈloʊkəl lɔz ənd ˈmænˌdeɪts. wɪl nɑt bi hɛld riˈspɑnsəbəl fər ˈɛni ˈdæmɪʤ ər ˈɪnʤəri kɔzd baɪ mɪsˈjuz ər mɪsˈhændlɪŋ əv, ənd ˈɛni ˈəðər riˈʧɑrʤəbəl ˈbætəriz.
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lead singer matt thiessen and guitarist matt hoopes chat on a wide array of topics, including the fresh new album air for free, redefining k at this point in their career, and what the future holds.
so are you still basking in the cavaliers title glow?
matt thiessen: been weird. i know. how do you embrace it? almost one of those things where now that you have it, like, “what do i do with all this happiness that i have?” yeah, good, but kind of chill.
matt hoopes: i was so nervous watching game 7. it was such a joy in my heart, that moment. been amazing, yeah. really, really, really happy for them.
since you wrote the browns a song with “mrs. hippopotamuses,’” is there going to be a song next?
thiessen: there actually are some old songs i put on my myspace a long time ago when myspace was a thing. i saw some people lyrics from one of the songs the other day, and i thought it was funny that it was still somehow out there. i know. i might be done with sports songs for a little bit. i actually have a song called “sports,” but it mention any teams.
i bet glad not in ohio this week with the convention in cleveland.
hoopes: yeah, my parents were watching and felt pretty fearful for a national tragedy.
thiessen: oh, wow. yeah, see what happens. the hotel rooms are all booked up around where from. my dad was trying to get a hotel in akron, and like, “is jesus christ himself coming to akron? going on?” then like, “oh, the convention. just donald trump.” oh my goodness.
so i think this new record is the most eclectic one done. got the quirky songs, the love songs, the spiritual songs, the emotionally heavy hitting songs, and somehow able to make that come together to encompass all the different faucets k has been over the years. what was that like, just pulling everything together and making it gel like that?
thiessen: i really do it on purpose. we spent a long time working on the record, so i guess a lot of different songs came out. to that end, i felt like they all grouped together to go on this thing. cool that you think they all work together like that. nice.
hoopes: i actually agree with you, jonathan. it feels like a lot of the songs really do make sense in context. there are these three and four song pockets of the record that seem to make sense, but then for a lot of them it oddly does make sense as a whole somehow someway. that was mainly not as thought out as one would guess, but happy with how it came together.
it was funny. someone today i saw on twitter was asking about our song “runnin’” on the new record, which kind of has a piece from the “deathbed” song. he was like, “was that coincidence that these are both track i was like, “oh man, we even plan on that.”
then he also said something about another song being connected to “sahara” off of our forget and not slow down record. it was a funny interaction. i was like, i wish it was that thought out. but no, it just kind of happened. just proud of it.
the last record, collapsible lung, got more of a mixed reaction from the fans, and then in between this record and that record you also did the anniversary tour, which is probably regarded as your most successful and best record. did either of those two events have any bearing on where you decided to go with this record?
thiessen: sure. i feel like been following a pretty safe path ever since releasing the collapsible lung record. the anniversary tour was really fun to do, and making an album was obviously the next step after releasing the last one. we took a little while to do it. i know if that helped separate the last album from this album, taking some time.
hoopes: i think everything you do as a person creates a path that you end up on and where you end up at. especially as a band and as the scope of our career goes, yeah, i think both those things are the reason here where at today. the reason why our album sounds the way it does.
collapsible lung was an interesting time, too. it does seem like a lot of our fans, even from the initial scowling toward it, have really warmed up to it overall. like, “oh, there are actually some pretty good songs on there. i maybe was too quick to be angry about this.”
thiessen: we were going for that with the whole album. we wanted to upset people and surprise people, try hard in some places and really not try at all in other places, and let other people take the wheel just to see what that would turn into. it was an experiment. i like it. i try not to talk poorly about it, but we definitely wanted to make a different record this time around.
with k being just the two of you now, has that changed a lot with the way the band operates?
thiessen: not really.
hoopes: kind of been the underlying story of the last three years.
thiessen: even longer than that, i would say.
hoopes: we finally decided to make that part of the story. back. doing this. excited about this project and also about the band, and the band is now matt and matt plus whatever friends we have. got some good friends, so been good.
i know you worked with mark lee townsend again on this record. what was that like, hooking back up with him? did you guys bring in any of those other good friends you were talking about to help out with any of this stuff?
thiessen: yeah, for sure. our old drummer, dave douglas, came down to nashville and played on maybe half the songs. i have a count in my head right now. then our friend tom breyfogle, who lives here in nashville and has a band called birds in the airport, actually been playing bass live with us. he plays drums on the other half of the record. then mark lee townsend was basically the bass player in the band.
that was from the of forming these songs, and that was a really fun experience. never been in the band before. this was the first time it felt like there someone he was kicking out to step in and have a role, and that changed everything. a beatles nut, so going to hear throughout k stuff, which is pretty fun for me to be able to experience that.
this record seems to be your most heavily, or at least certainly up there. was that a big part of the songwriting for you?
thiessen: yeah. we tried to do a guitar heavy, rock record at the beginning of the process. it feel right, so we abandoned the idea, and we have some cool songs left in the chest for the future.
i just banged out a lot of these songs on the piano at my house, showed them to hoopes, and then we proceeded with the record when there was enough of them. so yes, it was piano, and just chilling and finding free time to do stuff, which was weird because i have to finish at any time. i could take my time on certain songs.
i really dragged my feet on a lot of it, but that was a fun thing for me to be able to exercise, being at home and writing the record whenever i wanted to. at the end of the whole thing, i had some people looking me in the eye and saying, “matt, time to finish your album already.” that went on for a couple months before it was done. so i apologize for taking too long, but it was fun to do.
hoopes: i feel like this album should be released now. it does feel like the summertime. it does feel like this is the right time. allowed us a minute to step back and make this thing that is k that we started in high school, to grab it by the horns again.
thiessen: by the udders.
hoopes: yeah, by the udders. to take a step back and make this want we want, you know? tour the way we want to tour and make albums the way we want to make albums. i think that was a lot of fun.
it’s funny. i was describing this album to a friend earlier today. i keep saying like rock music with surf guitars [laughs]. i know exactly how to say that, but i definitely approached the guitar from a different perspective because i liked where the piano was at. i wanted to keep the piano and still focus on that, but approach guitars not from we need a wall of 17 guitar tracks as much as how can we make this song better, you know?
it does feel like a summer record because there are a lot of references, and a lot of animal references as well. was there a theme you were going for with all those?
thiessen: it became easier to do, i guess, as it went along. the idea of having a cat, i have a cat and i wanted to write about the cat, so it was good. that made into referring to a cat in a couple other songs, and even having a song called “cat.” so really the cat showed up in the ukulele song “sleepin’” and then he got to be on the rest of the record, because that song was early.
i do like animals. been feeding birds a lot lately, figuring out which kinds they are and what they sing about. all that stuff. fun. been writing a lot of solo songs that are all about the woods and nature and that sort of thing. something appealing to me in music.
is that how you arrived at the concept and title of air for free?
thiessen: actually, that was a bit of a weird thing. you know that goo goo dolls song where like, “do you wanna get married?” do you remember that one? what song is that one?
hoopes: “slide.”
thiessen: “slide.” so i had this song and i was singing along. i was like [singing], “marry me.” it was so cheesy, and then i thought of that goo goo dolls song. i thought i would try and rhyme the words and come up with something different. so “air for free” came out of that.
the song took shape out of other ideas, too. like, the second verse had to do more with “air for free” than the first verse did, because “air for free” exist when the first verse was written. it was fun.
the first song you released from this project was “look on up,” which ended up not making the final cut of the album. what was it like deciding to keep that song off?
thiessen: i think originally when we released it, the idea was not to put it on the record. then i think we may have thought it would be on the record, and then we ended up deciding to not put it on the record.
hoopes: yeah, it was a very haphazard decision. there was a lot of back and forth about it.
thiessen: the writing process for that one was different. it necessarily written for k, and all the other songs were definitely written for this album. i think that was the biggest difference.
i feel like this album experiments more with song structures than at any point you have in the past. a lot of songs feel like a couple different songs in one. you got some different movements here and there. what was it like playing around with that kind of stuff?
thiessen: i think whenever you deviate from the norm, it gets a bit annoying. you annoy a listener trying to listen to a regular old pop song. sometimes what i want to do with music is make it a little bit annoying, or have it jut out a little it. messing with the arrangement can do that, or just doing anything can screw it up, really. i feel like all over the record.
hoopes: it almost became a theme of like what you were talking about, the movements within the songs. it just always felt right. it felt like it was bringing a new energy to a song that was halfway done by taking a left turn. that felt exciting to me.
when we were putting these songs together and coming up with, ok, what does the tempo change need to be here? what does the key change need to be here? how will the feel of the song drastically change? that was really exciting to me, as far as putting this album together.
and honestly, i think fun to listen to. i enjoy when bands do that. the theme that we had was make ourselves happy. do music that we feel is important and feels important to us, and feels exciting and fun. i feel like in some ways at least accomplished that goal.
you’ve done some songwriting in the past, most notably on “deathbed,” and that pops up a little bit on this record as well. you got something like “runnin,’” which has those different movements we were just talking about. does that change then how you approach writing a song, if you know going for more of that approach?
thiessen: honestly, that example in “runnin,’” i was probably least in favor of putting that there. the song existed from a long time ago. it sounded cool there, and i opposed to it 100 percent, but i had to be convinced to do it, mainly because i think it was hard for me to switch to a narrative there.
i like that idea in songwriting. like to write a book some day. i know if i ever could, but narratives are cool and i like to read. songwriting, some days i just want to think about it as a thing anymore [laughs].
have you ever tossed around the idea of doing a concept record?
thiessen: yeah.
hoopes: definitely been talked about. mark, who produced this record, something brought up since probably 2002.
thiessen: that “deathbed” song was intended to actually turn into a concept record. the middle song from “runnin,’” the orphan song, was supposed to be the first track on it. so maybe finish it, yeah.
hoopes: who knows? something he was not only constantly suggesting, this concept album type thing, but also he was the one very much in favor of putting those three movements together. he was really driving that ship, as far as making sure that that happened.
thiessen: and what you want in a producer. you want a producer excited about something and sees it as something different than maybe what you see it as. fun to follow him.
but yeah, the concept record kind of reminds me of stevens when he said he was going to write about all the states, right? we just finished it yet, but maybe write about all 50 states and maybe finish it. i bet got a lot of states done. he probably just wants to release it all at once. he wants to do an album, right?
hoopes: an album per state, yeah.
thiessen: an undertaking.
another song i really enjoyed and was struck by on the record was “god,” which almost feels like a sequel to “for the moments i feel faint” in some ways. i was curious what do you think has changed for you on that journey over these last 15 years?
thiessen: not a lot has changed, yeah. i like going to church. i enjoy it a lot. i go every week. matt goes every week, you?
hoopes: yeah, i go a lot.
thiessen: matt takes his kids, and good. is a really good example in this world, and excited to be going on tour with them. that “god” song is cool. it was hard to put on the record, because i want anyone thinking we were shoving anything, but i think it comes across pretty all right.
hoopes: i think also the older you get, the more of life you live through, you realize that your faith, your spirituality, your overall view of important in this time that we have on this planet, is much more complex than can be fit into a song, or into an album even, and also that music is in and of itself important.
music is one of those conduits that allows for expressing some of those feelings. i think if anything we felt there was some pressure taken off. not like you have to have your entire theology spelled out in an album, but it can be a cool expression here and there for sure.
thiessen: mark townsend, before every day, basically said words over the record and prayed. when you make music, creating something out of nothing. so to do it and give it as gifts, and as doing it embrace it as not for us but to worship and to make music for the joy of making music, when you do it with that attitude, something cool will come out of it. mark knew that when we started, and i really appreciated him being that leader in that way.
you came up in the market on the first few records, and then were in the major label world for a bit after that. have you ever felt pressure, either externally or internally, to include or exclude certain subjects on records, or anything like that?
thiessen: you can start with swearing, i suppose. i try not to swear in songs. pushed the envelope, sure, to a certain extent on subject matter. i remember writing a song that matt hoopes’ mom like a long time ago, and then more recently probably gotten some from collapsible lung a little bit.
i know. nothing that i want to say that i get to say, i guess. you know,, when they can use all the words, like, “yeah! cool [laughs].”
hoopes: funny. yeah, i think mainly been a good thing for us. helped us realize important to us and what is the mark we want to leave on the world. for us, being able to focus on positivity, on things that are important to us, has been a help and not a hindrance. we view it as a set of rules as much as just being able to take a step back.
thiessen: we have fans. i mean, a cool thing to have. i embrace that and glad that we have them, and younger. when we write songs, i guess we hope that like them. sometimes they may not understand everything, but yeah.
one of the cool deviations you throw in on the record is “empty house,” where you do some bon style vocal effects. what was it like playing around with that?
thiessen: the interesting part, i suppose, is i play around with it very much. i know what to sing over the song, so i hit record and what i did is what the song is, what the one lead vocal is in the song. and then i was like, all right. done. i threw an on it and some effects i have on my computer. i was like, great. done.
matt actually did like it. i thought it was just one of those joke songs i would have around that i would play every once in a while for a friend or i would go back and visit. but matt thought it was cool enough to go on the record, so we put some more instruments on it. and it.
hoopes: “empty house” is a song that to me is one of my favorites, if not my favorite, on the album. i actually pushed at one point to call the album “empty house.” the reason for that is the first time i heard that demo matt is talking about that he made, i remember just feeling it. i remember understanding the emotion he was trying to get across, even though all the lyrics finished and an on all the way.
there’s something about that that i had never heard before that i felt was important. i felt like we would lose something if we went back and tried to fix it or polish it up too much. i just thought it was amazing that i could feel the emotion he was trying to put out in whatever way i was feeling it.
i think that makes it important and is an interesting way to do it. it feels bold to me to do that. it feels in some ways the most punk rock thing we could do is to release a piano song with an on it and a vocoder, having fun with that type of thing.
two of my other favorite songs on the record ask about real quick are “local construction” and “man.” can you talk about those two a little bit?
thiessen: cool. “man” is funny. never heard anybody say they like that song before.
hoopes: seen it a lot.
thiessen: oh, cool. that one, i know what about. it was supposed to be somewhat of a continuation of the last song on forget and not slow down, called “(if you want it).” some sort of tie in there, with pirate ships and peter pan and all that stuff. but yeah, that was one of the first ones i wrote for the record.
then, “local construction.” we live in nashville. i like to get around in nashville. i like to exercise. go run around and one place i like to go is called love circle. this hill you can climb, usually covered in trash, but you can look out and see the entire city and the skyline. depending on what time of day, you can see the sunrise.
there’s so many cranes out there. you can count them all and fun. sometimes i get 14, sometimes at 22. you can spot all these cranes making all the construction. it dies down. it gets bigger, and then it gets smaller. but anyways, construction as a metaphor, everybody experiences it. it affects your life, and then what you do in your own life. there was a parallel to making the album, and just being a good guy takes work.
seeing this construction all the time and all these people working, sometimes i feel bad not out there doing something harder, like concrete. i want to do that, but glad that people do it for us. sometimes they put up huge buildings that block the view, but the building therefore becomes the view and the skyline keeps growing. weird to see it change from season to season. so nashville is just this flurry of construction.
i’ve always been a big fan of both your christmas songs and your covers. i was curious have you ever talked about doing any more of either of those?
thiessen: always. permanently on the docket, yeah. we probably have another christmas song to record by now.
hoopes: that we should definitely do.
thiessen: “christmastime in north america,” is that what it is?
hoopes: yeah, do that one. we got one more christmas song coming at you there. do you have any cover requests?
ooh, cover requests…
hoopes: going to put you right on the spot.
thiessen: cover it right now.
hoopes: you can text me later. cool.
i really like your “sloop john b” cover, so i mind another beach boys one.
thiessen: a good one.
hoopes: a beach boys cover album is something i always wanted to do.
thiessen: yeah, i would do a paul simon and beach boys cover combo. be great.
hoopes: either that or we had that idea to do the and smash mouth cover combo.
thiessen: kind of evil. i hate to talk negatively, but there were songs on the radio that we just stand. we were going to cover all of them and it was going to be really great. none of them were by or smash mouth, though.
you’ve been busy doing a bunch of different collaborative songwriting on the side. have you been doing any of that lately?
thiessen: yeah, always fun. i got to hang out with gin wigmore the other day. really nice. we wrote with my friend, frank, who has produced darius rucker and brad paisley. some really cool country stuff. been writing with that band coin. i really like them a lot. been letting me hang out, meet cool producers and just be in the mix. but yeah, life is an adventure on that front for sure.
sometimes i like to concentrate on the band, sometimes i like to go on songwriting adventures, and sometimes i like to chill. right now, working on a project with adam young from owl city. i think called goodbye dubai. kind of about it before or something. kids know about it. taking shape and really fun. i fly out to minnesota next week to keep working on it.
you worked with the fray on their new record, right?
thiessen: yeah, and since then, too. i know where they are with their current endeavor, but excited to hear it. i wrote a couple songs with isaac that hopefully will come out in the future. really great guys. i know joe and isaac the best, but really big personalities. i feel like i can learn so much from hanging out with them for just minutes. cool to get to write with people that a fan of.
at this point in career, you are pretty much self-sufficient. on your own label and more or less run the band all in-house. how have you liked taking on all that workload?
hoopes: a lot of fun. it come without its problems, but i like that we can do whatever we want whenever we want. calling one guy, rather than making sure a team of people agree with what you want to do. i think right now being nimble, being able to switch gears and do whatever you want, is worth a lot. we try to be thankful for where at and what doing.
it’s not without its problems, though. like for example, we were on the fence about releasing a cd version of this album in general, just making them. we were like, “are we just putting out waste into the earth by creating these compact discs?” so right now our compact disc is running a little bit late because of between the graphic designer and the printer. things that are on us to take care of now all of a sudden, and we are not the best at taking care of those things sometimes.
thiessen: funny. just now finding out about this.
hoopes: yeah, just running a little bit late. it was supposed to be here last week and not here yet. so fun. it will come out, though. we will have a compact disc version.
you grew up listening to cds. i grew up listening to cds. is it almost sad, or bittersweet in a way, that you even have to have a discussion these days on whether or not going to make cds?
thiessen: no, not to me, just because of the way history has accepted and then rejected different media forms. i shed a tear for vhs. kind of fun to pop one in every once in a while. i have an player, but i kind of wish i did. be cool. good. are fine, if you have a cd player. i know if i have one anywhere.
hoopes: yeah, a funny thing. i do understand that in the scope of our career someone might have all our other records on cd and want to finish it.
thiessen: yeah, cool. i would want a cd.
hoopes: i guess fine. me, personally, do i care if an album that going to get, if they make it on cd or not? no, i care. i think any tears shed on our end.
you already mentioned it, but the big thing you have coming up in the fall is the tour. it was nine years ago since you toured with them last, which was a really fun time. can you talk about what you have for that tour?
thiessen: we have much. still trying to figure all that out, but excited to go on it. going to be a lot of shows and should be fun.
hoopes: yeah, really excited to hang out with them. really excited to play a lot of these venues and just enjoy doing what we do. i think this is an amazing context to be able to do that, touring with these guys that we love. feels very positive. it feels like the right move for this record.
thiessen: really appreciative of them taking us out. pretty awesome. their live show is really great. i think everything they do is really good. always been a huge fan of their music.
what do you think of their new album?
thiessen: i taken it in as deeply as i normally take in their stuff. i really do like everything heard so far a lot. just been kind of waiting to learn k songs before i give it the real. i take in singles at a time, so been listening to the single for a little bit, just getting into that. really good.
hoopes: yeah, i really like it. i really like “if the house burns down tonight.” one other track. the one right before that, kind of slower melody. i forget the name of the track.
yeah, the one where his voice goes up high.
hoopes: yeah, i like that one a lot. some really great moments on the record. really excited to hear some of these songs every night pretty much, and we will.
thiessen: i think we should play a song with them or something.
hoopes: yeah, been talking to them about doing something with them at the end of the night.
i remember you did that song “rebuild” together last time.
hoopes: yeah, that was fun.
i know since “deathbed” is too long, you probably be able to perform it on this tour, but have you ever performed that live with jon before?
thiessen: not live.
hoopes: i thought we did it at a festival maybe once or twice.
thiessen: oh, yeah.
hoopes: i know, though. i fully remember.
thiessen: i know how we did it. maybe he just came up and did it, and more than likely we have him in our ears. we, like everybody else, heard it, but we actually hear it [laughs].
hoopes: yeah, i know. still talked about playing “deathbed” on this tour. i think be fun. the idea of having only the two bands is that we can each play a full set. we can do whatever we want, right?
the main thing in my head right now is how many of these new songs should we subject people to? how many people actually do want to hear some of these new songs? and which new ones and which old ones? so much catalogue to go through. songs that we think are fun and songs that maybe a little burned on but it makes for a fun night, you know?
thiessen: we could do an interactive setlist.
hoopes: yeah, we always talk about stuff like that. i think probably the main thing on my mind, seeing that we have a lot of songs.
and then plus any time not on a headline tour, you probably want to do less deep cuts that a casual fan might not be familiar with.
hoopes: yeah, so an interesting thing. i feel like some bands that go see and i almost get angry when they play new songs, and then some bands go see and they play almost all new songs and i love it [laughs]. just trying to decide what type of record this is for us.
i think this record would be really fun to see live, but just me.
thiessen: no, thank you.
hoopes: i think we could eventually, but since a tour, i know. it would be a bold move.
thiessen: play 100 songs in an hour and 10 minutes. be great.
hoopes: try and make it fun for the people who are watching us.
so wrapping this up then, have you planned anything out for after the tour? has there been any talk of what is next?
thiessen: yeah, funny. our manager tells me sometimes, “so, this should be our last record, right?” like, “no, not. nobody said that.” he was as surprised as anyone when i said just make another one. be fun to make another one. hopefully, it take as long this time.
hoopes: i kind of like the idea, going back to what i said earlier about redefining what k is and how we approach it, and the narrative that back and doing stuff. we can call our own shots now. we can release songs at a time. we can release albums whenever we want. we can make videos and do live covers and just have fun with it. i like figuring out what kind of niches we can fill right now, what kind of space we can occupy.
a lot of your contemporaries are starting to wind their careers down. a couple years ago, motion city soundtrack and this year. what is that like, to see these bands you came up with at the same time, end? like you were saying, do you see yourselves being able to continue on in the future? have you given thought to that?
thiessen: to every action, there is an equal and opposite. you see guys like andrew mcmahon and kenny from starting line doing new things and keeping it fresh. i think matt and i are very interested in starting some new projects. doing the thing with adam, and exciting to me. excited for what stephen christian from is doing with his life, and excited for what all the other guys are going to do after they put their bands on hold for a little bit.
every band that breaks up or calls it quits is just taking a break until somebody wants them to play bad enough that they get back together. kind of how i always see it. guns n’ roses is still touring, right?
hoopes: yeah, pretty wild. i always see it more that if we can continue to define it in the way that we want to, then yeah, we have to necessarily end this project. we can just continue to make it whatever we want to make it. and yeah, not going to tour 250 days a year in clubs right now. just not what going to do, but we still are going to play shows and have fun when we do it. so yeah, just kind of keep doing it.
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lɛd ˈsɪŋər mæt ˈθisən ənd ˌgɪˈtɑrɪst mæt hups ʧæt ɔn ə waɪd əreɪ əv ˈtɑpɪks, ˌɪnˈkludɪŋ ðə frɛʃ nu ˈælbəm ɛr fər fri, ridɪˈfaɪnɪŋ keɪ æt ðɪs pɔɪnt ɪn ðɛr kərɪr, ənd wət ðə fˈjuʧər hoʊldz. soʊ ər ju stɪl ˈbæskɪŋ ɪn ðə ˌkævəˈlɪrz ˈtaɪtəl gloʊ? mæt ˈθisən: bɪn wɪrd. aɪ noʊ. haʊ du ju ɪmˈbreɪs ɪt? ˈɔlˌmoʊst wən əv ðoʊz θɪŋz wɛr naʊ ðət ju hæv ɪt, laɪk, du aɪ du wɪθ ɔl ðɪs ˈhæpinəs ðət aɪ have?”*?” jæ, gʊd, bət kaɪnd əv ʧɪl. mæt hups: aɪ wɑz soʊ ˈnərvəs ˈwɑʧɪŋ geɪm 7 ɪt wɑz səʧ ə ʤɔɪ ɪn maɪ hɑrt, ðət ˈmoʊmənt. bɪn əˈmeɪzɪŋ, jæ. ˈrɪli, ˈrɪli, ˈrɪli ˈhæpi fər ðɛm. sɪns ju roʊt ðə braʊnz ə sɔŋ wɪθ ““mrs*. hippopotamuses,’”*,’” ɪz ðɛr goʊɪŋ tɪ bi ə sɔŋ nɛkst? ˈθisən: ðɛr ˈæˌkʧuəli ər səm oʊld sɔŋz aɪ pʊt ɔn maɪ ˈmaɪˌspeɪs ə lɔŋ taɪm əˈgoʊ wɪn ˈmaɪˌspeɪs wɑz ə θɪŋ. aɪ sɔ səm ˈpipəl ˈlɪrɪks frəm wən əv ðə sɔŋz ðə ˈəðər deɪ, ənd aɪ θɔt ɪt wɑz ˈfəni ðət ɪt wɑz stɪl ˈsəmˌhaʊ aʊt ðɛr. aɪ noʊ. aɪ maɪt bi dən wɪθ spɔrts sɔŋz fər ə ˈlɪtəl bɪt. aɪ ˈæˌkʧuəli hæv ə sɔŋ kɔld ““sports,”*,” bət ɪt ˈmɛnʃən ˈɛni timz. aɪ bɛt glæd nɑt ɪn oʊˈhaɪoʊ ðɪs wik wɪθ ðə kənˈvɛnʃən ɪn ˈklivlənd. hups: jæ, maɪ ˈpɛrənts wər ˈwɑʧɪŋ ənd fɛlt ˈprɪti ˈfɪrfəl fər ə ˈnæʃənəl ˈtræʤədi. ˈθisən: oʊ, waʊ. jæ, si wət ˈhæpənz. ðə hoʊˈtɛl rumz ər ɔl bʊkt əp əraʊnd wɛr frəm. maɪ dæd wɑz traɪɪŋ tɪ gɪt ə hoʊˈtɛl ɪn ˈækrən, ənd laɪk, ˈʤizəs kraɪst hɪmˈsɛlf ˈkəmɪŋ tɪ ˈækrən? goʊɪŋ on?”*?” ðɛn laɪk,, ðə kənˈvɛnʃən. ʤɪst ˈdɑnəld trump.”*.” oʊ maɪ ˈgʊdnɪs. soʊ aɪ θɪŋk ðɪs nu ˈrɛkərd ɪz ðə moʊst ɪˈklɛktɪk wən dən. gɑt ðə kˈwərki sɔŋz, ðə ləv sɔŋz, ðə ˈspɪrɪˌʧuəl sɔŋz, ðə ˈiˌmoʊʃnəli ˈhɛvi ˈhɪtɪŋ sɔŋz, ənd ˈsəmˌhaʊ ˈeɪbəl tɪ meɪk ðət kəm təˈgɛðər tɪ ɛnˈkəmpəs ɔl ðə ˈdɪfərənt ˈfɔsəts keɪ həz bɪn ˈoʊvər ðə jɪrz. wət wɑz ðət laɪk, ʤɪst ˈpʊlɪŋ ˈɛvriˌθɪŋ təˈgɛðər ənd ˈmeɪkɪŋ ɪt ʤɛl laɪk ðət? ˈθisən: aɪ ˈrɪli du ɪt ɔn ˈpərpəs. wi spɛnt ə lɔŋ taɪm ˈwərkɪŋ ɔn ðə ˈrɛkərd, soʊ aɪ gɛs ə lɔt əv ˈdɪfərənt sɔŋz keɪm aʊt. tɪ ðət ɛnd, aɪ fɛlt laɪk ðeɪ ɔl grupt təˈgɛðər tɪ goʊ ɔn ðɪs θɪŋ. kul ðət ju θɪŋk ðeɪ ɔl wərk təˈgɛðər laɪk ðət. nis. hups: aɪ ˈæˌkʧuəli əˈgri wɪθ ju, ˈʤɑnəθən. ɪt filz laɪk ə lɔt əv ðə sɔŋz ˈrɪli du meɪk sɛns ɪn ˈkɑntɛkst. ðɛr ər ðiz θri ənd fɔr sɔŋ ˈpɑkəts əv ðə ˈrɛkərd ðət sim tɪ meɪk sɛns, bət ðɛn fər ə lɔt əv ðɛm ɪt ˈɑdli dɪz meɪk sɛns ɛz ə hoʊl ˈsəmˌhaʊ someway*. ðət wɑz ˈmeɪnli nɑt ɛz θɔt aʊt ɛz wən wʊd gɛs, bət ˈhæpi wɪθ haʊ ɪt keɪm təˈgɛðər. ɪt wɑz ˈfəni. ˈsəmˌwən təˈdeɪ aɪ sɔ ɔn tˈwɪtər wɑz ˈæskɪŋ əˈbaʊt ɑr sɔŋ ““runnin’”*’” ɔn ðə nu ˈrɛkərd, wɪʧ kaɪnd əv həz ə pis frəm ðə ““deathbed”*” sɔŋ. hi wɑz laɪk, ðət koʊˈɪnsɪdəns ðət ðiz ər boʊθ træk aɪ wɑz laɪk, mæn, wi ˈivɪn plæn ɔn that.”*.” ðɛn hi ˈɔlsoʊ sɛd ˈsəmθɪŋ əˈbaʊt əˈnəðər sɔŋ biɪŋ kəˈnɛktɪd tɪ ““sahara”*” ɔf əv ɑr fərˈgɛt ənd nɑt sloʊ daʊn ˈrɛkərd. ɪt wɑz ə ˈfəni ˌɪnərˈækʃən. aɪ wɑz laɪk, aɪ wɪʃ ɪt wɑz ðət θɔt aʊt. bət noʊ, ɪt ʤɪst kaɪnd əv ˈhæpənd. ʤɪst praʊd əv ɪt. ðə læst ˈrɛkərd, kəˈlæpsəbəl ləŋ, gɑt mɔr əv ə mɪkst riˈækʃən frəm ðə fænz, ənd ðɛn ɪn bɪtˈwin ðɪs ˈrɛkərd ənd ðət ˈrɛkərd ju ˈɔlsoʊ dɪd ðə ˌænəˈvərsəri tʊr, wɪʧ ɪz ˈprɑbəˌbli rɪˈgɑrdɪd ɛz jʊr moʊst səkˈsɛsfəl ənd bɛst ˈrɛkərd. dɪd ˈiðər əv ðoʊz tu ɪˈvɛnts hæv ˈɛni ˈbɛrɪŋ ɔn wɛr ju ˌdɪˈsaɪdɪd tɪ goʊ wɪθ ðɪs ˈrɛkərd? ˈθisən: ʃʊr. aɪ fil laɪk bɪn ˈfɑloʊɪŋ ə ˈprɪti seɪf pæθ ˈɛvər sɪns riˈlisɪŋ ðə kəˈlæpsəbəl ləŋ ˈrɛkərd. ðə ˌænəˈvərsəri tʊr wɑz ˈrɪli fən tɪ du, ənd ˈmeɪkɪŋ ən ˈælbəm wɑz ˈɑbviəsli ðə nɛkst stɛp ˈæftər riˈlisɪŋ ðə læst wən. wi tʊk ə ˈlɪtəl waɪl tɪ du ɪt. aɪ noʊ ɪf ðət hɛlpt ˈsɛpərˌeɪt ðə læst ˈælbəm frəm ðɪs ˈælbəm, ˈteɪkɪŋ səm taɪm. hups: aɪ θɪŋk ˈɛvriˌθɪŋ ju du ɛz ə ˈpərsən kriˈeɪts ə pæθ ðət ju ɛnd əp ɔn ənd wɛr ju ɛnd əp æt. əˈspɛʃəli ɛz ə bænd ənd ɛz ðə skoʊp əv ɑr kərɪr goʊz, jæ, aɪ θɪŋk boʊθ ðoʊz θɪŋz ər ðə ˈrizən hir wɛr æt təˈdeɪ. ðə ˈrizən waɪ ɑr ˈælbəm saʊnz ðə weɪ ɪt dɪz. kəˈlæpsəbəl ləŋ wɑz ən ˈɪntəˌrɛstɪŋ taɪm, tu. ɪt dɪz sim laɪk ə lɔt əv ɑr fænz, ˈivɪn frəm ðə ˌɪˈnɪʃəl ˈskaʊlɪŋ təˈwɔrd ɪt, hæv ˈrɪli wɔrmd əp tɪ ɪt ˈoʊvərˌɔl. laɪk,, ðɛr ər ˈæˌkʧuəli səm ˈprɪti gʊd sɔŋz ɔn ðɛr. aɪ ˈmeɪbi wɑz tu kwɪk tɪ bi ˈæŋgri əˈbaʊt this.”*.” ˈθisən: wi wər goʊɪŋ fər ðət wɪθ ðə hoʊl ˈælbəm. wi ˈwɔntɪd tɪ ˈəpˌsɛt ˈpipəl ənd səˈpraɪz ˈpipəl, traɪ hɑrd ɪn səm ˈpleɪsɪz ənd ˈrɪli nɑt traɪ æt ɔl ɪn ˈəðər ˈpleɪsɪz, ənd lɛt ˈəðər ˈpipəl teɪk ðə wil ʤɪst tɪ si wət ðət wʊd tərn ˈɪntu. ɪt wɑz ən ɪkˈspɛrəmənt. aɪ laɪk ɪt. aɪ traɪ nɑt tɪ tɔk ˈpurli əˈbaʊt ɪt, bət wi ˈdɛfənətli ˈwɔntɪd tɪ meɪk ə ˈdɪfərənt ˈrɛkərd ðɪs taɪm əraʊnd. wɪθ keɪ biɪŋ ʤɪst ðə tu əv ju naʊ, həz ðət ʧeɪnʤd ə lɔt wɪθ ðə weɪ ðə bænd ˈɑpərˌeɪts? ˈθisən: nɑt ˈrɪli. hups: kaɪnd əv bɪn ðə ˌəndərˈlaɪɪŋ ˈstɔri əv ðə læst θri jɪrz. ˈθisən: ˈivɪn ˈlɔŋgər ðən ðət, aɪ wʊd seɪ. hups: wi ˈfaɪnəli ˌdɪˈsaɪdɪd tɪ meɪk ðət pɑrt əv ðə ˈstɔri. bæk. duɪŋ ðɪs. ɪkˈsaɪtɪd əˈbaʊt ðɪs ˈprɑʤɛkt ənd ˈɔlsoʊ əˈbaʊt ðə bænd, ənd ðə bænd ɪz naʊ mæt ənd mæt pləs ˌwəˈtɛvər frɛndz wi hæv. gɑt səm gʊd frɛndz, soʊ bɪn gʊd. aɪ noʊ ju wərkt wɪθ mɑrk li ˈtaʊnzənd əˈgɛn ɔn ðɪs ˈrɛkərd. wət wɑz ðət laɪk, ˈhʊkɪŋ bæk əp wɪθ ɪm? dɪd ju gaɪz brɪŋ ɪn ˈɛni əv ðoʊz ˈəðər gʊd frɛndz ju wər ˈtɔkɪŋ əˈbaʊt tɪ hɛlp aʊt wɪθ ˈɛni əv ðɪs stəf? ˈθisən: jæ, fər ʃʊr. ɑr oʊld ˈdrəmər, deɪv ˈdəgləs, keɪm daʊn tɪ ˈnæʃvɪl ənd pleɪd ɔn ˈmeɪbi hæf ðə sɔŋz. aɪ hæv ə kaʊnt ɪn maɪ hɛd raɪt naʊ. ðɛn ɑr frɛnd tɑm ˈbreɪˌfoʊgəl, hu lɪvz hir ɪn ˈnæʃvɪl ənd həz ə bænd kɔld bərdz ɪn ðə ˈɛrˌpɔrt, ˈæˌkʧuəli bɪn pleɪɪŋ bæs lɪv wɪθ ˈjuˈɛs. hi pleɪz drəmz ɔn ðə ˈəðər hæf əv ðə ˈrɛkərd. ðɛn mɑrk li ˈtaʊnzənd wɑz ˈbeɪsɪkli ðə bæs pleɪər ɪn ðə bænd. ðət wɑz frəm ðə əv ˈfɔrmɪŋ ðiz sɔŋz, ənd ðət wɑz ə ˈrɪli fən ɪkˈspɪriəns. ˈnɛvər bɪn ɪn ðə bænd ˌbiˈfɔr. ðɪs wɑz ðə fərst taɪm ɪt fɛlt laɪk ðɛr ˈsəmˌwən hi wɑz ˈkɪkɪŋ aʊt tɪ stɛp ɪn ənd hæv ə roʊl, ənd ðət ʧeɪnʤd ˈɛvriˌθɪŋ. ə ˈbitəlz nət, soʊ goʊɪŋ tɪ hir θruaʊt keɪ stəf, wɪʧ ɪz ˈprɪti fən fər mi tɪ bi ˈeɪbəl tɪ ɪkˈspɪriəns ðət. ðɪs ˈrɛkərd simz tɪ bi jʊr moʊst ˈhɛvəli, ər æt list ˈsərtənli əp ðɛr. wɑz ðət ə bɪg pɑrt əv ðə ˈsɔŋˌraɪtɪŋ fər ju? ˈθisən: jæ. wi traɪd tɪ du ə gɪˈtɑr ˈhɛvi, rɑk ˈrɛkərd æt ðə bɪˈgɪnɪŋ əv ðə ˈprɔˌsɛs. ɪt fil raɪt, soʊ wi əˈbændənd ðə aɪˈdiə, ənd wi hæv səm kul sɔŋz lɛft ɪn ðə ʧɛst fər ðə fˈjuʧər. aɪ ʤɪst bæŋd aʊt ə lɔt əv ðiz sɔŋz ɔn ðə piˈænə æt maɪ haʊs, ʃoʊd ðɛm tɪ hups, ənd ðɛn wi prəˈsidəd wɪθ ðə ˈrɛkərd wɪn ðɛr wɑz ɪˈnəf əv ðɛm. soʊ jɛs, ɪt wɑz piˈænə, ənd ʤɪst ˈʧɪlɪŋ ənd ˈfaɪndɪŋ fri taɪm tɪ du stəf, wɪʧ wɑz wɪrd bɪˈkəz aɪ hæv tɪ ˈfɪnɪʃ æt ˈɛni taɪm. aɪ kʊd teɪk maɪ taɪm ɔn ˈsərtən sɔŋz. aɪ ˈrɪli drægd maɪ fit ɔn ə lɔt əv ɪt, bət ðət wɑz ə fən θɪŋ fər mi tɪ bi ˈeɪbəl tɪ ˈɛksərˌsaɪz, biɪŋ æt hoʊm ənd ˈraɪtɪŋ ðə ˈrɛkərd wɛˈnɛvər aɪ ˈwɔntɪd tɪ. æt ðə ɛnd əv ðə hoʊl θɪŋ, aɪ hæd səm ˈpipəl ˈlʊkɪŋ mi ɪn ðə aɪ ənd seɪɪŋ, ““matt*, taɪm tɪ ˈfɪnɪʃ jʊr ˈælbəm already.”*.” ðət wɛnt ɔn fər ə ˈkəpəl mənθs ˌbiˈfɔr ɪt wɑz dən. soʊ aɪ əˈpɑləˌʤaɪz fər ˈteɪkɪŋ tu lɔŋ, bət ɪt wɑz fən tɪ du. hups: aɪ fil laɪk ðɪs ˈælbəm ʃʊd bi riˈlist naʊ. ɪt dɪz fil laɪk ðə ˈsəmərˌtaɪm. ɪt dɪz fil laɪk ðɪs ɪz ðə raɪt taɪm. əˈlaʊd ˈjuˈɛs ə ˈmɪnət tɪ stɛp bæk ənd meɪk ðɪs θɪŋ ðət ɪz keɪ ðət wi ˈstɑrtɪd ɪn haɪ skul, tɪ græb ɪt baɪ ðə hɔrnz əˈgɛn. ˈθisən: baɪ ðə udders*. hups: jæ, baɪ ðə udders*. tɪ teɪk ə stɛp bæk ənd meɪk ðɪs wɔnt wi wɔnt, ju noʊ? tʊr ðə weɪ wi wɔnt tɪ tʊr ənd meɪk ˈælbəmz ðə weɪ wi wɔnt tɪ meɪk ˈælbəmz. aɪ θɪŋk ðət wɑz ə lɔt əv fən. ˈfəni. aɪ wɑz dɪˈskraɪbɪŋ ðɪs ˈælbəm tɪ ə frɛnd ˈərliər təˈdeɪ. aɪ kip seɪɪŋ laɪk rɑk mˈjuzɪk wɪθ sərf gɪˈtɑrz [læfs]. aɪ noʊ ɪgˈzæktli haʊ tɪ seɪ ðət, bət aɪ ˈdɛfənətli əˈproʊʧt ðə gɪˈtɑr frəm ə ˈdɪfərənt pərˈspɛktɪv bɪˈkəz aɪ laɪkt wɛr ðə piˈænə wɑz æt. aɪ ˈwɔntɪd tɪ kip ðə piˈænə ənd stɪl ˈfoʊkɪs ɔn ðət, bət əˈproʊʧ gɪˈtɑrz nɑt frəm wi nid ə wɔl əv 17 gɪˈtɑr træks ɛz məʧ ɛz haʊ kən wi meɪk ðɪs sɔŋ ˈbɛtər, ju noʊ? ɪt dɪz fil laɪk ə ˈsəmər ˈrɛkərd bɪˈkəz ðɛr ər ə lɔt əv ˈrɛfərənsɪz, ənd ə lɔt əv ˈænəməl ˈrɛfərənsɪz ɛz wɛl. wɑz ðɛr ə θim ju wər goʊɪŋ fər wɪθ ɔl ðoʊz? ˈθisən: ɪt bɪˈkeɪm ˈiziər tɪ du, aɪ gɛs, ɛz ɪt wɛnt əˈlɔŋ. ðə aɪˈdiə əv ˈhævɪŋ ə kæt, aɪ hæv ə kæt ənd aɪ ˈwɔntɪd tɪ raɪt əˈbaʊt ðə kæt, soʊ ɪt wɑz gʊd. ðət meɪd ˈɪntu rɪˈfərɪŋ tɪ ə kæt ɪn ə ˈkəpəl ˈəðər sɔŋz, ənd ˈivɪn ˈhævɪŋ ə sɔŋ kɔld ““cat.”*.” soʊ ˈrɪli ðə kæt ʃoʊd əp ɪn ðə ˌjukəˈleɪli sɔŋ ““sleepin’”*’” ənd ðɛn hi gɑt tɪ bi ɔn ðə rɛst əv ðə ˈrɛkərd, bɪˈkəz ðət sɔŋ wɑz ˈərli. aɪ du laɪk ˈænəməlz. bɪn ˈfidɪŋ bərdz ə lɔt ˈleɪtli, ˈfɪgjərɪŋ aʊt wɪʧ kaɪnz ðeɪ ər ənd wət ðeɪ sɪŋ əˈbaʊt. ɔl ðət stəf. fən. bɪn ˈraɪtɪŋ ə lɔt əv ˈsoʊˌloʊ sɔŋz ðət ər ɔl əˈbaʊt ðə wʊdz ənd ˈneɪʧər ənd ðət sɔrt əv θɪŋ. ˈsəmθɪŋ əˈpilɪŋ tɪ mi ɪn mˈjuzɪk. ɪz ðət haʊ ju əraɪvd æt ðə ˈkɑnsɛpt ənd ˈtaɪtəl əv ɛr fər fri? ˈθisən: ˈæˌkʧuəli, ðət wɑz ə bɪt əv ə wɪrd θɪŋ. ju noʊ ðət gu gu dɑlz sɔŋ wɛr laɪk, ju ˈwɑnə gɪt married?”*?” du ju rɪˈmɛmbər ðət wən? wət sɔŋ ɪz ðət wən? hups: ““slide.”*.” ˈθisən: ““slide.”*.” soʊ aɪ hæd ðɪs sɔŋ ənd aɪ wɑz ˈsɪŋɪŋ əˈlɔŋ. aɪ wɑz laɪk [ˈsɪŋɪŋ], me.”*.” ɪt wɑz soʊ ˈʧizi, ənd ðɛn aɪ θɔt əv ðət gu gu dɑlz sɔŋ. aɪ θɔt aɪ wʊd traɪ ənd raɪm ðə wərdz ənd kəm əp wɪθ ˈsəmθɪŋ ˈdɪfərənt. soʊ fər free”*” keɪm aʊt əv ðət. ðə sɔŋ tʊk ʃeɪp aʊt əv ˈəðər aɪˈdiəz, tu. laɪk, ðə ˈsɛkənd vərs hæd tɪ du mɔr wɪθ fər free”*” ðən ðə fərst vərs dɪd, bɪˈkəz fər free”*” ɪgˈzɪst wɪn ðə fərst vərs wɑz ˈrɪtən. ɪt wɑz fən. ðə fərst sɔŋ ju riˈlist frəm ðɪs ˈprɑʤɛkt wɑz ɔn up,”*,” wɪʧ ˈɛndɪd əp nɑt ˈmeɪkɪŋ ðə ˈfaɪnəl kət əv ðə ˈælbəm. wət wɑz ɪt laɪk ˌdɪˈsaɪdɪŋ tɪ kip ðət sɔŋ ɔf? ˈθisən: aɪ θɪŋk ərˈɪʤənəli wɪn wi riˈlist ɪt, ðə aɪˈdiə wɑz nɑt tɪ pʊt ɪt ɔn ðə ˈrɛkərd. ðɛn aɪ θɪŋk wi meɪ hæv θɔt ɪt wʊd bi ɔn ðə ˈrɛkərd, ənd ðɛn wi ˈɛndɪd əp ˌdɪˈsaɪdɪŋ tɪ nɑt pʊt ɪt ɔn ðə ˈrɛkərd. hups: jæ, ɪt wɑz ə ˈvɛri hæˈphæzərd dɪˈsɪʒən. ðɛr wɑz ə lɔt əv bæk ənd fɔrθ əˈbaʊt ɪt. ˈθisən: ðə ˈraɪtɪŋ ˈprɔˌsɛs fər ðət wən wɑz ˈdɪfərənt. ɪt ˌnɛsəˈsɛrəli ˈrɪtən fər keɪ, ənd ɔl ðə ˈəðər sɔŋz wər ˈdɛfənətli ˈrɪtən fər ðɪs ˈælbəm. aɪ θɪŋk ðət wɑz ðə ˈbɪgəst ˈdɪfərəns. aɪ fil laɪk ðɪs ˈælbəm ɪkˈspɛrəmənts mɔr wɪθ sɔŋ ˈstrəkʧərz ðən æt ˈɛni pɔɪnt ju hæv ɪn ðə pæst. ə lɔt əv sɔŋz fil laɪk ə ˈkəpəl ˈdɪfərənt sɔŋz ɪn wən. ju gɑt səm ˈdɪfərənt ˈmuvmənts hir ənd ðɛr. wət wɑz ɪt laɪk pleɪɪŋ əraʊnd wɪθ ðət kaɪnd əv stəf? ˈθisən: aɪ θɪŋk wɛˈnɛvər ju ˈdiviˌeɪt frəm ðə nɔrm, ɪt gɪts ə bɪt əˈnɔɪɪŋ. ju əˈnɔɪ ə ˈlɪsənər traɪɪŋ tɪ ˈlɪsən tɪ ə ˈrɛgjələr oʊld pɑp sɔŋ. ˈsəmˌtaɪmz wət aɪ wɔnt tɪ du wɪθ mˈjuzɪk ɪz meɪk ɪt ə ˈlɪtəl bɪt əˈnɔɪɪŋ, ər hæv ɪt ʤət aʊt ə ˈlɪtəl ɪt. ˈmɛsɪŋ wɪθ ðə ərˈeɪnʤmənt kən du ðət, ər ʤɪst duɪŋ ˈɛniˌθɪŋ kən skru ɪt əp, ˈrɪli. aɪ fil laɪk ɔl ˈoʊvər ðə ˈrɛkərd. hups: ɪt ˈɔlˌmoʊst bɪˈkeɪm ə θim əv laɪk wət ju wər ˈtɔkɪŋ əˈbaʊt, ðə ˈmuvmənts wɪˈθɪn ðə sɔŋz. ɪt ʤɪst ˈɔlˌweɪz fɛlt raɪt. ɪt fɛlt laɪk ɪt wɑz ˈbrɪŋɪŋ ə nu ˈɛnərʤi tɪ ə sɔŋ ðət wɑz ˈhæfˈweɪ dən baɪ ˈteɪkɪŋ ə lɛft tərn. ðət fɛlt ɪkˈsaɪtɪŋ tɪ mi. wɪn wi wər ˈpʊtɪŋ ðiz sɔŋz təˈgɛðər ənd ˈkəmɪŋ əp wɪθ, ˈoʊˈkeɪ, wət dɪz ðə ˈtɛmˌpoʊ ʧeɪnʤ nid tɪ bi hir? wət dɪz ðə ki ʧeɪnʤ nid tɪ bi hir? haʊ wɪl ðə fil əv ðə sɔŋ ˈdræstɪkli ʧeɪnʤ? ðət wɑz ˈrɪli ɪkˈsaɪtɪŋ tɪ mi, ɛz fɑr ɛz ˈpʊtɪŋ ðɪs ˈælbəm təˈgɛðər. ənd ˈɑnəstli, aɪ θɪŋk fən tɪ ˈlɪsən tɪ. aɪ ˌɛnˈʤɔɪ wɪn bændz du ðət. ðə θim ðət wi hæd wɑz meɪk ɑrˈsɛlvz ˈhæpi. du mˈjuzɪk ðət wi fil ɪz ˌɪmˈpɔrtənt ənd filz ˌɪmˈpɔrtənt tɪ ˈjuˈɛs, ənd filz ɪkˈsaɪtɪŋ ənd fən. aɪ fil laɪk ɪn səm weɪz æt list əˈkɑmplɪʃt ðət goʊl. dən səm ˈsɔŋˌraɪtɪŋ ɪn ðə pæst, moʊst ˈnoʊtəbli ɔn ““deathbed,”*,” ənd ðət pɑps əp ə ˈlɪtəl bɪt ɔn ðɪs ˈrɛkərd ɛz wɛl. ju gɑt ˈsəmθɪŋ laɪk ““runnin,’”*,’” wɪʧ həz ðoʊz ˈdɪfərənt ˈmuvmənts wi wər ʤɪst ˈtɔkɪŋ əˈbaʊt. dɪz ðət ʧeɪnʤ ðɛn haʊ ju əˈproʊʧ ˈraɪtɪŋ ə sɔŋ, ɪf ju noʊ goʊɪŋ fər mɔr əv ðət əˈproʊʧ? ˈθisən: ˈɑnəstli, ðət ɪgˈzæmpəl ɪn ““runnin,’”*,’” aɪ wɑz ˈprɑbəˌbli list ɪn ˈfeɪvər əv ˈpʊtɪŋ ðət ðɛr. ðə sɔŋ ɪgˈzɪstəd frəm ə lɔŋ taɪm əˈgoʊ. ɪt ˈsaʊndɪd kul ðɛr, ənd aɪ əˈpoʊzd tɪ ɪt 100 pərˈsɛnt, bət aɪ hæd tɪ bi kənˈvɪnst tɪ du ɪt, ˈmeɪnli bɪˈkəz aɪ θɪŋk ɪt wɑz hɑrd fər mi tɪ swɪʧ tɪ ə ˈnɛrətɪv ðɛr. aɪ laɪk ðət aɪˈdiə ɪn ˈsɔŋˌraɪtɪŋ. laɪk tɪ raɪt ə bʊk səm deɪ. aɪ noʊ ɪf aɪ ˈɛvər kʊd, bət ˈnɛrətɪvz ər kul ənd aɪ laɪk tɪ rɛd. ˈsɔŋˌraɪtɪŋ, səm deɪz aɪ ʤɪst wɔnt tɪ θɪŋk əˈbaʊt ɪt ɛz ə θɪŋ ˌɛniˈmɔr [læfs]. hæv ju ˈɛvər tɔst əraʊnd ðə aɪˈdiə əv duɪŋ ə ˈkɑnsɛpt ˈrɛkərd? ˈθisən: jæ. hups: ˈdɛfənətli bɪn tɔkt əˈbaʊt. mɑrk, hu prəˈdust ðɪs ˈrɛkərd, ˈsəmθɪŋ brɔt əp sɪns ˈprɑbəˌbli 2002 ˈθisən: ðət ““deathbed”*” sɔŋ wɑz ˌɪnˈtɛndɪd tɪ ˈæˌkʧuəli tərn ˈɪntu ə ˈkɑnsɛpt ˈrɛkərd. ðə ˈmɪdəl sɔŋ frəm ““runnin,’”*,’” ðə ˈɔrfən sɔŋ, wɑz səˈpoʊzd tɪ bi ðə fərst træk ɔn ɪt. soʊ ˈmeɪbi ˈfɪnɪʃ ɪt, jæ. hups: hu noʊz? ˈsəmθɪŋ hi wɑz nɑt ˈoʊnli ˈkɑnstəntli səˈʤɛstɪŋ, ðɪs ˈkɑnsɛpt ˈælbəm taɪp θɪŋ, bət ˈɔlsoʊ hi wɑz ðə wən ˈvɛri məʧ ɪn ˈfeɪvər əv ˈpʊtɪŋ ðoʊz θri ˈmuvmənts təˈgɛðər. hi wɑz ˈrɪli ˈdraɪvɪŋ ðət ʃɪp, ɛz fɑr ɛz ˈmeɪkɪŋ ʃʊr ðət ðət ˈhæpənd. ˈθisən: ənd wət ju wɔnt ɪn ə prəˈdusər. ju wɔnt ə prəˈdusər ɪkˈsaɪtɪd əˈbaʊt ˈsəmθɪŋ ənd siz ɪt ɛz ˈsəmθɪŋ ˈdɪfərənt ðən ˈmeɪbi wət ju si ɪt ɛz. fən tɪ ˈfɑloʊ ɪm. bət jæ, ðə ˈkɑnsɛpt ˈrɛkərd kaɪnd əv riˈmaɪndz mi əv ˈstivənz wɪn hi sɛd hi wɑz goʊɪŋ tɪ raɪt əˈbaʊt ɔl ðə steɪts, raɪt? wi ʤɪst ˈfɪnɪʃt ɪt jɛt, bət ˈmeɪbi raɪt əˈbaʊt ɔl 50 steɪts ənd ˈmeɪbi ˈfɪnɪʃ ɪt. aɪ bɛt gɑt ə lɔt əv steɪts dən. hi ˈprɑbəˌbli ʤɪst wɔnts tɪ riˈlis ɪt ɔl æt wəns. hi wɔnts tɪ du ən ˈælbəm, raɪt? hups: ən ˈælbəm pər steɪt, jæ. ˈθisən: ən ˈəndərˌteɪkɪŋ. əˈnəðər sɔŋ aɪ ˈrɪli ˌɛnˈʤɔɪd ənd wɑz strək baɪ ɔn ðə ˈrɛkərd wɑz ““god,”*,” wɪʧ ˈɔlˌmoʊst filz laɪk ə ˈsikwəl tɪ ðə ˈmoʊmənts aɪ fil faint”*” ɪn səm weɪz. aɪ wɑz ˈkjʊriəs wət du ju θɪŋk həz ʧeɪnʤd fər ju ɔn ðət ˈʤərni ˈoʊvər ðiz læst 15 jɪrz? ˈθisən: nɑt ə lɔt həz ʧeɪnʤd, jæ. aɪ laɪk goʊɪŋ tɪ ʧərʧ. aɪ ˌɛnˈʤɔɪ ɪt ə lɔt. aɪ goʊ ˈɛvəri wik. mæt goʊz ˈɛvəri wik, ju? hups: jæ, aɪ goʊ ə lɔt. ˈθisən: mæt teɪks hɪz kɪdz, ənd gʊd. ɪz ə ˈrɪli gʊd ɪgˈzæmpəl ɪn ðɪs wərld, ənd ɪkˈsaɪtɪd tɪ bi goʊɪŋ ɔn tʊr wɪθ ðɛm. ðət ““god”*” sɔŋ ɪz kul. ɪt wɑz hɑrd tɪ pʊt ɔn ðə ˈrɛkərd, bɪˈkəz aɪ wɔnt ˈɛniˌwən ˈθɪŋkɪŋ wi wər ˈʃəvɪŋ ˈɛniˌθɪŋ, bət aɪ θɪŋk ɪt kəmz əˈkrɔs ˈprɪti ɔl raɪt. hups: aɪ θɪŋk ˈɔlsoʊ ðə ˈoʊldər ju gɪt, ðə mɔr əv laɪf ju lɪv θru, ju ˈriəˌlaɪz ðət jʊr feɪθ, jʊr ˌspɪrɪˌʧuˈæləˌti, jʊr ˈoʊvərˌɔl vju əv ˌɪmˈpɔrtənt ɪn ðɪs taɪm ðət wi hæv ɔn ðɪs ˈplænət, ɪz məʧ mɔr ˈkɑmplɛks ðən kən bi fɪt ˈɪntu ə sɔŋ, ər ˈɪntu ən ˈælbəm ˈivɪn, ənd ˈɔlsoʊ ðət mˈjuzɪk ɪz ɪn ənd əv ˌɪtˈsɛlf ˌɪmˈpɔrtənt. mˈjuzɪk ɪz wən əv ðoʊz ˈkɑndwəts ðət əˈlaʊz fər ɪkˈsprɛsɪŋ səm əv ðoʊz ˈfilɪŋz. aɪ θɪŋk ɪf ˈɛniˌθɪŋ wi fɛlt ðɛr wɑz səm ˈprɛʃər ˈteɪkən ɔf. nɑt laɪk ju hæv tɪ hæv jʊr ɪnˈtaɪər θiˈɑləʤi spɛld aʊt ɪn ən ˈælbəm, bət ɪt kən bi ə kul ɪkˈsprɛʃən hir ənd ðɛr fər ʃʊr. ˈθisən: mɑrk ˈtaʊnzənd, ˌbiˈfɔr ˈɛvəri deɪ, ˈbeɪsɪkli sɛd wərdz ˈoʊvər ðə ˈrɛkərd ənd preɪd. wɪn ju meɪk mˈjuzɪk, kriˈeɪtɪŋ ˈsəmθɪŋ aʊt əv ˈnəθɪŋ. soʊ tɪ du ɪt ənd gɪv ɪt ɛz gɪfts, ənd ɛz duɪŋ ɪt ɪmˈbreɪs ɪt ɛz nɑt fər ˈjuˈɛs bət tɪ ˈwərʃɪp ənd tɪ meɪk mˈjuzɪk fər ðə ʤɔɪ əv ˈmeɪkɪŋ mˈjuzɪk, wɪn ju du ɪt wɪθ ðət ˈætəˌtud, ˈsəmθɪŋ kul wɪl kəm aʊt əv ɪt. mɑrk nu ðət wɪn wi ˈstɑrtɪd, ənd aɪ ˈrɪli əˈpriʃiˌeɪtɪd ɪm biɪŋ ðət ˈlidər ɪn ðət weɪ. ju keɪm əp ɪn ðə ˈmɑrkɪt ɔn ðə fərst fju ˈrɛkərdz, ənd ðɛn wər ɪn ðə ˈmeɪʤər ˈleɪbəl wərld fər ə bɪt ˈæftər ðət. hæv ju ˈɛvər fɛlt ˈprɛʃər, ˈiðər ɪkˈstərnəli ər ˌɪnˈtərnəli, tɪ ˌɪnˈklud ər ɪkˈsklud ˈsərtən ˈsəbʤɪkts ɔn ˈrɛkərdz, ər ˈɛniˌθɪŋ laɪk ðət? ˈθisən: ju kən stɑrt wɪθ sˈwɛrɪŋ, aɪ səˈpoʊz. aɪ traɪ nɑt tɪ swɛr ɪn sɔŋz. pʊʃt ðə ˈɛnvəˌloʊp, ʃʊr, tɪ ə ˈsərtən ɪkˈstɛnt ɔn ˈsəbʤɪkt ˈmætər. aɪ rɪˈmɛmbər ˈraɪtɪŋ ə sɔŋ ðət mæt hoopes’*’ mɑm laɪk ə lɔŋ taɪm əˈgoʊ, ənd ðɛn mɔr ˈrisəntli ˈprɑbəˌbli ˈgɔtən səm frəm kəˈlæpsəbəl ləŋ ə ˈlɪtəl bɪt. aɪ noʊ. ˈnəθɪŋ ðət aɪ wɔnt tɪ seɪ ðət aɪ gɪt tɪ seɪ, aɪ gɛs. ju noʊ, wɪn ðeɪ kən juz ɔl ðə wərdz, laɪk, ““yeah*! kul [laughs].”*].” hups: ˈfəni. jæ, aɪ θɪŋk ˈmeɪnli bɪn ə gʊd θɪŋ fər ˈjuˈɛs. hɛlpt ˈjuˈɛs ˈriəˌlaɪz ˌɪmˈpɔrtənt tɪ ˈjuˈɛs ənd wət ɪz ðə mɑrk wi wɔnt tɪ liv ɔn ðə wərld. fər ˈjuˈɛs, biɪŋ ˈeɪbəl tɪ ˈfoʊkɪs ɔn positivity*, ɔn θɪŋz ðət ər ˌɪmˈpɔrtənt tɪ ˈjuˈɛs, həz bɪn ə hɛlp ənd nɑt ə ˈhɪndrəns. wi vju ɪt ɛz ə sɛt əv rulz ɛz məʧ ɛz ʤɪst biɪŋ ˈeɪbəl tɪ teɪk ə stɛp bæk. ˈθisən: wi hæv fænz. aɪ min, ə kul θɪŋ tɪ hæv. aɪ ɪmˈbreɪs ðət ənd glæd ðət wi hæv ðɛm, ənd ˈjəŋgər. wɪn wi raɪt sɔŋz, aɪ gɛs wi hoʊp ðət laɪk ðɛm. ˈsəmˌtaɪmz ðeɪ meɪ nɑt ˌəndərˈstænd ˈɛvriˌθɪŋ, bət jæ. wən əv ðə kul diviˈeɪʃənz ju θroʊ ɪn ɔn ðə ˈrɛkərd ɪz house,”*,” wɛr ju du səm bɑn staɪl ˈvoʊkəl ˈifɛkts. wət wɑz ɪt laɪk pleɪɪŋ əraʊnd wɪθ ðət? ˈθisən: ðə ˈɪntəˌrɛstɪŋ pɑrt, aɪ səˈpoʊz, ɪz aɪ pleɪ əraʊnd wɪθ ɪt ˈvɛri məʧ. aɪ noʊ wət tɪ sɪŋ ˈoʊvər ðə sɔŋ, soʊ aɪ hɪt ˈrɛkərd ənd wət aɪ dɪd ɪz wət ðə sɔŋ ɪz, wət ðə wən lɛd ˈvoʊkəl ɪz ɪn ðə sɔŋ. ənd ðɛn aɪ wɑz laɪk, ɔl raɪt. dən. aɪ θru ən ɔn ɪt ənd səm ˈifɛkts aɪ hæv ɔn maɪ kəmˈpjutər. aɪ wɑz laɪk, greɪt. dən. mæt ˈæˌkʧuəli dɪd laɪk ɪt. aɪ θɔt ɪt wɑz ʤɪst wən əv ðoʊz ʤoʊk sɔŋz aɪ wʊd hæv əraʊnd ðət aɪ wʊd pleɪ ˈɛvəri wəns ɪn ə waɪl fər ə frɛnd ər aɪ wʊd goʊ bæk ənd ˈvɪzɪt. bət mæt θɔt ɪt wɑz kul ɪˈnəf tɪ goʊ ɔn ðə ˈrɛkərd, soʊ wi pʊt səm mɔr ˈɪnstrəmənts ɔn ɪt. ənd ɪt. hups: house”*” ɪz ə sɔŋ ðət tɪ mi ɪz wən əv maɪ ˈfeɪvərɪts, ɪf nɑt maɪ ˈfeɪvərɪt, ɔn ðə ˈælbəm. aɪ ˈæˌkʧuəli pʊʃt æt wən pɔɪnt tɪ kɔl ðə ˈælbəm house.”*.” ðə ˈrizən fər ðət ɪz ðə fərst taɪm aɪ hərd ðət ˈdɛmoʊ mæt ɪz ˈtɔkɪŋ əˈbaʊt ðət hi meɪd, aɪ rɪˈmɛmbər ʤɪst ˈfilɪŋ ɪt. aɪ rɪˈmɛmbər ˌəndərˈstændɪŋ ðə ˈiˌmoʊʃən hi wɑz traɪɪŋ tɪ gɪt əˈkrɔs, ˈivɪn ðoʊ ɔl ðə ˈlɪrɪks ˈfɪnɪʃt ənd ən ɔn ɔl ðə weɪ. ˈsəmθɪŋ əˈbaʊt ðət ðət aɪ hæd ˈnɛvər hərd ˌbiˈfɔr ðət aɪ fɛlt wɑz ˌɪmˈpɔrtənt. aɪ fɛlt laɪk wi wʊd luz ˈsəmθɪŋ ɪf wi wɛnt bæk ənd traɪd tɪ fɪks ɪt ər ˈpɑlɪʃ ɪt əp tu məʧ. aɪ ʤɪst θɔt ɪt wɑz əˈmeɪzɪŋ ðət aɪ kʊd fil ðə ˈiˌmoʊʃən hi wɑz traɪɪŋ tɪ pʊt aʊt ɪn ˌwəˈtɛvər weɪ aɪ wɑz ˈfilɪŋ ɪt. aɪ θɪŋk ðət meɪks ɪt ˌɪmˈpɔrtənt ənd ɪz ən ˈɪntəˌrɛstɪŋ weɪ tɪ du ɪt. ɪt filz boʊld tɪ mi tɪ du ðət. ɪt filz ɪn səm weɪz ðə moʊst pəŋk rɑk θɪŋ wi kʊd du ɪz tɪ riˈlis ə piˈænə sɔŋ wɪθ ən ɔn ɪt ənd ə vocoder*, ˈhævɪŋ fən wɪθ ðət taɪp əv θɪŋ. tu əv maɪ ˈəðər ˈfeɪvərɪt sɔŋz ɔn ðə ˈrɛkərd æsk əˈbaʊt ril kwɪk ər construction”*” ənd ““man.”*.” kən ju tɔk əˈbaʊt ðoʊz tu ə ˈlɪtəl bɪt? ˈθisən: kul. ““man”*” ɪz ˈfəni. ˈnɛvər hərd ˈɛnibədi seɪ ðeɪ laɪk ðət sɔŋ ˌbiˈfɔr. hups: sin ɪt ə lɔt. ˈθisən: oʊ, kul. ðət wən, aɪ noʊ wət əˈbaʊt. ɪt wɑz səˈpoʊzd tɪ bi ˈsəmˈwət əv ə kənˌtɪnjuˈeɪʃən əv ðə læst sɔŋ ɔn fərˈgɛt ənd nɑt sloʊ daʊn, kɔld ju wɔnt it).”*).” səm sɔrt əv taɪ ɪn ðɛr, wɪθ ˈpaɪrət ʃɪps ənd ˈpitər pæn ənd ɔl ðət stəf. bət jæ, ðət wɑz wən əv ðə fərst wənz aɪ roʊt fər ðə ˈrɛkərd. ðɛn, construction.”*.” wi lɪv ɪn ˈnæʃvɪl. aɪ laɪk tɪ gɪt əraʊnd ɪn ˈnæʃvɪl. aɪ laɪk tɪ ˈɛksərˌsaɪz. goʊ rən əraʊnd ənd wən pleɪs aɪ laɪk tɪ goʊ ɪz kɔld ləv ˈsərkəl. ðɪs hɪl ju kən klaɪm, ˈjuʒəwəli ˈkəvərd ɪn træʃ, bət ju kən lʊk aʊt ənd si ðə ɪnˈtaɪər ˈsɪti ənd ðə ˈskaɪˌlaɪn. dɪˈpɛndɪŋ ɔn wət taɪm əv deɪ, ju kən si ðə ˈsənˌraɪz. soʊ ˈmɛni kreɪnz aʊt ðɛr. ju kən kaʊnt ðɛm ɔl ənd fən. ˈsəmˌtaɪmz aɪ gɪt 14 ˈsəmˌtaɪmz æt 22 ju kən spɑt ɔl ðiz kreɪnz ˈmeɪkɪŋ ɔl ðə kənˈstrəkʃən. ɪt daɪz daʊn. ɪt gɪts ˈbɪgər, ənd ðɛn ɪt gɪts sˈmɔlər. bət ˈɛniˌweɪz, kənˈstrəkʃən ɛz ə ˈmɛtəfɔr, ˈɛvriˌbɑdi ɪkˈspɪriənsɪz ɪt. ɪt əˈfɛkts jʊr laɪf, ənd ðɛn wət ju du ɪn jʊr oʊn laɪf. ðɛr wɑz ə ˈpɛrəˌlɛl tɪ ˈmeɪkɪŋ ðə ˈælbəm, ənd ʤɪst biɪŋ ə gʊd gaɪ teɪks wərk. siɪŋ ðɪs kənˈstrəkʃən ɔl ðə taɪm ənd ɔl ðiz ˈpipəl ˈwərkɪŋ, ˈsəmˌtaɪmz aɪ fil bæd nɑt aʊt ðɛr duɪŋ ˈsəmθɪŋ ˈhɑrdər, laɪk ˈkɑnkrit. aɪ wɔnt tɪ du ðət, bət glæd ðət ˈpipəl du ɪt fər ˈjuˈɛs. ˈsəmˌtaɪmz ðeɪ pʊt əp juʤ ˈbɪldɪŋz ðət blɑk ðə vju, bət ðə ˈbɪldɪŋ ˈðɛrˌfɔr bɪˈkəmz ðə vju ənd ðə ˈskaɪˌlaɪn kips groʊɪŋ. wɪrd tɪ si ɪt ʧeɪnʤ frəm ˈsizən tɪ ˈsizən. soʊ ˈnæʃvɪl ɪz ʤɪst ðɪs ˈfləri əv kənˈstrəkʃən. ˈɔlˌweɪz bɪn ə bɪg fæn əv boʊθ jʊr ˈkrɪsməs sɔŋz ənd jʊr ˈkəvərz. aɪ wɑz ˈkjʊriəs hæv ju ˈɛvər tɔkt əˈbaʊt duɪŋ ˈɛni mɔr əv ˈiðər əv ðoʊz? ˈθisən: ˈɔlˌweɪz. ˈpərmɑˌnɛnˌtli ɔn ðə ˈdɑkət, jæ. wi ˈprɑbəˌbli hæv əˈnəðər ˈkrɪsməs sɔŋ tɪ ˈrɛkərd baɪ naʊ. hups: ðət wi ʃʊd ˈdɛfənətli du. ˈθisən: ɪn nɔrθ america,”*,” ɪz ðət wət ɪt ɪz? hups: jæ, du ðət wən. wi gɑt wən mɔr ˈkrɪsməs sɔŋ ˈkəmɪŋ æt ju ðɛr. du ju hæv ˈɛni ˈkəvər rɪkˈwɛsts? u, ˈkəvər requests…*… hups: goʊɪŋ tɪ pʊt ju raɪt ɔn ðə spɑt. ˈθisən: ˈkəvər ɪt raɪt naʊ. hups: ju kən tɛkst mi ˈleɪtər. kul. aɪ ˈrɪli laɪk jʊr ʤɑn b”*” ˈkəvər, soʊ aɪ maɪnd əˈnəðər biʧ bɔɪz wən. ˈθisən: ə gʊd wən. hups: ə biʧ bɔɪz ˈkəvər ˈælbəm ɪz ˈsəmθɪŋ aɪ ˈɔlˌweɪz ˈwɔntɪd tɪ du. ˈθisən: jæ, aɪ wʊd du ə pɔl ˈsaɪmən ənd biʧ bɔɪz ˈkəvər ˈkɑmˌboʊ. bi greɪt. hups: ˈiðər ðət ər wi hæd ðət aɪˈdiə tɪ du ðə ənd smæʃ maʊθ ˈkəvər ˈkɑmˌboʊ. ˈθisən: kaɪnd əv ˈivəl. aɪ heɪt tɪ tɔk ˈnɛgətɪvli, bət ðɛr wər sɔŋz ɔn ðə ˈreɪdiˌoʊ ðət wi ʤɪst stænd. wi wər goʊɪŋ tɪ ˈkəvər ɔl əv ðɛm ənd ɪt wɑz goʊɪŋ tɪ bi ˈrɪli greɪt. nən əv ðɛm wər baɪ ər smæʃ maʊθ, ðoʊ. bɪn ˈbɪzi duɪŋ ə bənʧ əv ˈdɪfərənt kəˈlæbərˌeɪtɪv ˈsɔŋˌraɪtɪŋ ɔn ðə saɪd. hæv ju bɪn duɪŋ ˈɛni əv ðət ˈleɪtli? ˈθisən: jæ, ˈɔlˌweɪz fən. aɪ gɑt tɪ hæŋ aʊt wɪθ ʤɪn ˈwɪgmɔr ðə ˈəðər deɪ. ˈrɪli nis. wi roʊt wɪθ maɪ frɛnd, fræŋk, hu həz prəˈdust dəraɪəs ˈrəkər ənd bræd ˈpeɪzli. səm ˈrɪli kul ˈkəntri stəf. bɪn ˈraɪtɪŋ wɪθ ðət bænd kɔɪn. aɪ ˈrɪli laɪk ðɛm ə lɔt. bɪn ˈlɛtɪŋ mi hæŋ aʊt, mit kul prəˈdusərz ənd ʤɪst bi ɪn ðə mɪks. bət jæ, laɪf ɪz ən ədˈvɛnʧər ɔn ðət frənt fər ʃʊr. ˈsəmˌtaɪmz aɪ laɪk tɪ ˈkɑnsənˌtreɪt ɔn ðə bænd, ˈsəmˌtaɪmz aɪ laɪk tɪ goʊ ɔn ˈsɔŋˌraɪtɪŋ ædˈvɛnʧərz, ənd ˈsəmˌtaɪmz aɪ laɪk tɪ ʧɪl. raɪt naʊ, ˈwərkɪŋ ɔn ə ˈprɑʤɛkt wɪθ ˈædəm jəŋ frəm aʊl ˈsɪti. aɪ θɪŋk kɔld ˌgʊdˈbaɪ duˈbaɪ. kaɪnd əv əˈbaʊt ɪt ˌbiˈfɔr ər ˈsəmθɪŋ. kɪdz noʊ əˈbaʊt ɪt. ˈteɪkɪŋ ʃeɪp ənd ˈrɪli fən. aɪ flaɪ aʊt tɪ ˌmɪnɪˈsoʊtə nɛkst wik tɪ kip ˈwərkɪŋ ɔn ɪt. ju wərkt wɪθ ðə freɪ ɔn ðɛr nu ˈrɛkərd, raɪt? ˈθisən: jæ, ənd sɪns ðɛn, tu. aɪ noʊ wɛr ðeɪ ər wɪθ ðɛr ˈkɑrənt ɪnˈdɛvər, bət ɪkˈsaɪtɪd tɪ hir ɪt. aɪ roʊt ə ˈkəpəl sɔŋz wɪθ ˈaɪzɪk ðət ˈhoʊpfəli wɪl kəm aʊt ɪn ðə fˈjuʧər. ˈrɪli greɪt gaɪz. aɪ noʊ ʤoʊ ənd ˈaɪzɪk ðə bɛst, bət ˈrɪli bɪg ˌpərsəˈnælɪtiz. aɪ fil laɪk aɪ kən lərn soʊ məʧ frəm ˈhæŋɪŋ aʊt wɪθ ðɛm fər ʤɪst ˈmɪnəts. kul tɪ gɪt tɪ raɪt wɪθ ˈpipəl ðət ə fæn əv. æt ðɪs pɔɪnt ɪn kərɪr, ju ər ˈprɪti məʧ ˌsɛlfsəˈfɪʃɪnt. ɔn jʊr oʊn ˈleɪbəl ənd mɔr ər lɛs rən ðə bænd ɔl ˌɪnˈhaʊs. haʊ hæv ju laɪkt ˈteɪkɪŋ ɔn ɔl ðət ˈwərˌkloʊd? hups: ə lɔt əv fən. ɪt kəm wɪˈθaʊt ɪts ˈprɑbləmz, bət aɪ laɪk ðət wi kən du ˌwəˈtɛvər wi wɔnt wɛˈnɛvər wi wɔnt. ˈkɔlɪŋ wən gaɪ, ˈrəðər ðən ˈmeɪkɪŋ ʃʊr ə tim əv ˈpipəl əˈgri wɪθ wət ju wɔnt tɪ du. aɪ θɪŋk raɪt naʊ biɪŋ ˈnɪmbəl, biɪŋ ˈeɪbəl tɪ swɪʧ gɪrz ənd du ˌwəˈtɛvər ju wɔnt, ɪz wərθ ə lɔt. wi traɪ tɪ bi ˈθæŋkfəl fər wɛr æt ənd wət duɪŋ. nɑt wɪˈθaʊt ɪts ˈprɑbləmz, ðoʊ. laɪk fər ɪgˈzæmpəl, wi wər ɔn ðə fɛns əˈbaʊt riˈlisɪŋ ə ˈsiˈdi ˈvərʒən əv ðɪs ˈælbəm ɪn ˈʤɛnərəl, ʤɪst ˈmeɪkɪŋ ðɛm. wi wər laɪk, wi ʤɪst ˈpʊtɪŋ aʊt weɪst ˈɪntu ðə ərθ baɪ kriˈeɪtɪŋ ðiz ˈkɑmpækt discs?”*?” soʊ raɪt naʊ ɑr ˈkɑmpækt dɪsk ɪz ˈrənɪŋ ə ˈlɪtəl bɪt leɪt bɪˈkəz əv bɪtˈwin ðə ˈgræfɪk dɪˈzaɪnər ənd ðə ˈprɪnər. θɪŋz ðət ər ɔn ˈjuˈɛs tɪ teɪk kɛr əv naʊ ɔl əv ə ˈsədən, ənd wi ər nɑt ðə bɛst æt ˈteɪkɪŋ kɛr əv ðoʊz θɪŋz ˈsəmˌtaɪmz. ˈθisən: ˈfəni. ʤɪst naʊ ˈfaɪndɪŋ aʊt əˈbaʊt ðɪs. hups: jæ, ʤɪst ˈrənɪŋ ə ˈlɪtəl bɪt leɪt. ɪt wɑz səˈpoʊzd tɪ bi hir læst wik ənd nɑt hir jɛt. soʊ fən. ɪt wɪl kəm aʊt, ðoʊ. wi wɪl hæv ə ˈkɑmpækt dɪsk ˈvərʒən. ju gru əp ˈlɪsənɪŋ tɪ ˈsiˈdiz. aɪ gru əp ˈlɪsənɪŋ tɪ ˈsiˈdiz. ɪz ɪt ˈɔlˌmoʊst sæd, ər ˈbɪtərsˌwit ɪn ə weɪ, ðət ju ˈivɪn hæv tɪ hæv ə dɪˈskəʃən ðiz deɪz ɔn ˈwɛðər ər nɑt goʊɪŋ tɪ meɪk ˈsiˈdiz? ˈθisən: noʊ, nɑt tɪ mi, ʤɪst bɪˈkəz əv ðə weɪ ˈhɪstəri həz ækˈsɛptɪd ənd ðɛn rɪˈʤɛktɪd ˈdɪfərənt ˈmidiə fɔrmz. aɪ ʃɛd ə tɪr fər vhs*. kaɪnd əv fən tɪ pɑp wən ɪn ˈɛvəri wəns ɪn ə waɪl. aɪ hæv ən pleɪər, bət aɪ kaɪnd əv wɪʃ aɪ dɪd. bi kul. gʊd. ər faɪn, ɪf ju hæv ə ˈsiˈdi pleɪər. aɪ noʊ ɪf aɪ hæv wən ˈɛniˌwɛr. hups: jæ, ə ˈfəni θɪŋ. aɪ du ˌəndərˈstænd ðət ɪn ðə skoʊp əv ɑr kərɪr ˈsəmˌwən maɪt hæv ɔl ɑr ˈəðər ˈrɛkərdz ɔn ˈsiˈdi ənd wɔnt tɪ ˈfɪnɪʃ ɪt. ˈθisən: jæ, kul. aɪ wʊd wɔnt ə ˈsiˈdi. hups: aɪ gɛs faɪn. mi, ˈpərsənəli, du aɪ kɛr ɪf ən ˈælbəm ðət goʊɪŋ tɪ gɪt, ɪf ðeɪ meɪk ɪt ɔn ˈsiˈdi ər nɑt? noʊ, aɪ kɛr. aɪ θɪŋk ˈɛni tɪrz ʃɛd ɔn ɑr ɛnd. ju ɔˈrɛdi ˈmɛnʃənd ɪt, bət ðə bɪg θɪŋ ju hæv ˈkəmɪŋ əp ɪn ðə fɔl ɪz ðə tʊr. ɪt wɑz naɪn jɪrz əˈgoʊ sɪns ju tʊrd wɪθ ðɛm læst, wɪʧ wɑz ə ˈrɪli fən taɪm. kən ju tɔk əˈbaʊt wət ju hæv fər ðət tʊr? ˈθisən: wi hæv məʧ. stɪl traɪɪŋ tɪ ˈfɪgjər ɔl ðət aʊt, bət ɪkˈsaɪtɪd tɪ goʊ ɔn ɪt. goʊɪŋ tɪ bi ə lɔt əv ʃoʊz ənd ʃʊd bi fən. hups: jæ, ˈrɪli ɪkˈsaɪtɪd tɪ hæŋ aʊt wɪθ ðɛm. ˈrɪli ɪkˈsaɪtɪd tɪ pleɪ ə lɔt əv ðiz ˈvɛnuz ənd ʤɪst ˌɛnˈʤɔɪ duɪŋ wət wi du. aɪ θɪŋk ðɪs ɪz ən əˈmeɪzɪŋ ˈkɑntɛkst tɪ bi ˈeɪbəl tɪ du ðət, ˈtʊrɪŋ wɪθ ðiz gaɪz ðət wi ləv. filz ˈvɛri ˈpɑzətɪv. ɪt filz laɪk ðə raɪt muv fər ðɪs ˈrɛkərd. ˈθisən: ˈrɪli əˈpriʃjətɪv əv ðɛm ˈteɪkɪŋ ˈjuˈɛs aʊt. ˈprɪti ˈɔsəm. ðɛr lɪv ʃoʊ ɪz ˈrɪli greɪt. aɪ θɪŋk ˈɛvriˌθɪŋ ðeɪ du ɪz ˈrɪli gʊd. ˈɔlˌweɪz bɪn ə juʤ fæn əv ðɛr mˈjuzɪk. wət du ju θɪŋk əv ðɛr nu ˈælbəm? ˈθisən: aɪ ˈteɪkən ɪt ɪn ɛz ˈdipli ɛz aɪ ˈnɔrməli teɪk ɪn ðɛr stəf. aɪ ˈrɪli du laɪk ˈɛvriˌθɪŋ hərd soʊ fɑr ə lɔt. ʤɪst bɪn kaɪnd əv ˈweɪtɪŋ tɪ lərn keɪ sɔŋz ˌbiˈfɔr aɪ gɪv ɪt ðə ril. aɪ teɪk ɪn ˈsɪŋgəlz æt ə taɪm, soʊ bɪn ˈlɪsənɪŋ tɪ ðə ˈsɪŋgəl fər ə ˈlɪtəl bɪt, ʤɪst ˈgɪtɪŋ ˈɪntu ðət. ˈrɪli gʊd. hups: jæ, aɪ ˈrɪli laɪk ɪt. aɪ ˈrɪli laɪk ðə haʊs bərnz daʊn tonight.”*.” wən ˈəðər træk. ðə wən raɪt ˌbiˈfɔr ðət, kaɪnd əv sloʊər ˈmɛlədi. aɪ fərˈgɛt ðə neɪm əv ðə træk. jæ, ðə wən wɛr hɪz vɔɪs goʊz əp haɪ. hups: jæ, aɪ laɪk ðət wən ə lɔt. səm ˈrɪli greɪt ˈmoʊmənts ɔn ðə ˈrɛkərd. ˈrɪli ɪkˈsaɪtɪd tɪ hir səm əv ðiz sɔŋz ˈɛvəri naɪt ˈprɪti məʧ, ənd wi wɪl. ˈθisən: aɪ θɪŋk wi ʃʊd pleɪ ə sɔŋ wɪθ ðɛm ər ˈsəmθɪŋ. hups: jæ, bɪn ˈtɔkɪŋ tɪ ðɛm əˈbaʊt duɪŋ ˈsəmθɪŋ wɪθ ðɛm æt ðə ɛnd əv ðə naɪt. aɪ rɪˈmɛmbər ju dɪd ðət sɔŋ ““rebuild”*” təˈgɛðər læst taɪm. hups: jæ, ðət wɑz fən. aɪ noʊ sɪns ““deathbed”*” ɪz tu lɔŋ, ju ˈprɑbəˌbli bi ˈeɪbəl tɪ pərˈfɔrm ɪt ɔn ðɪs tʊr, bət hæv ju ˈɛvər pərˈfɔrmd ðət lɪv wɪθ ʤɑn ˌbiˈfɔr? ˈθisən: nɑt lɪv. hups: aɪ θɔt wi dɪd ɪt æt ə ˈfɛstɪvəl ˈmeɪbi wəns ər twaɪs. ˈθisən: oʊ, jæ. hups: aɪ noʊ, ðoʊ. aɪ ˈfʊli rɪˈmɛmbər. ˈθisən: aɪ noʊ haʊ wi dɪd ɪt. ˈmeɪbi hi ʤɪst keɪm əp ənd dɪd ɪt, ənd mɔr ðən ˈlaɪkli wi hæv ɪm ɪn ɑr ɪrz. wi, laɪk ˈɛvriˌbɑdi ɛls, hərd ɪt, bət wi ˈæˌkʧuəli hir ɪt [læfs]. hups: jæ, aɪ noʊ. stɪl tɔkt əˈbaʊt pleɪɪŋ ““deathbed”*” ɔn ðɪs tʊr. aɪ θɪŋk bi fən. ðə aɪˈdiə əv ˈhævɪŋ ˈoʊnli ðə tu bændz ɪz ðət wi kən iʧ pleɪ ə fʊl sɛt. wi kən du ˌwəˈtɛvər wi wɔnt, raɪt? ðə meɪn θɪŋ ɪn maɪ hɛd raɪt naʊ ɪz haʊ ˈmɛni əv ðiz nu sɔŋz ʃʊd wi ˈsəbʤɪkt ˈpipəl tɪ? haʊ ˈmɛni ˈpipəl ˈæˌkʧuəli du wɔnt tɪ hir səm əv ðiz nu sɔŋz? ənd wɪʧ nu wənz ənd wɪʧ oʊld wənz? soʊ məʧ ˈkætəˌlɔg tɪ goʊ θru. sɔŋz ðət wi θɪŋk ər fən ənd sɔŋz ðət ˈmeɪbi ə ˈlɪtəl bərnd ɔn bət ɪt meɪks fər ə fən naɪt, ju noʊ? ˈθisən: wi kʊd du ən ˌɪnərˈæktɪv setlist*. hups: jæ, wi ˈɔlˌweɪz tɔk əˈbaʊt stəf laɪk ðət. aɪ θɪŋk ˈprɑbəˌbli ðə meɪn θɪŋ ɔn maɪ maɪnd, siɪŋ ðət wi hæv ə lɔt əv sɔŋz. ənd ðɛn pləs ˈɛni taɪm nɑt ɔn ə ˈhɛˌdlaɪn tʊr, ju ˈprɑbəˌbli wɔnt tɪ du lɛs dip kəts ðət ə ˈkæʒəwəl fæn maɪt nɑt bi fəˈmɪljər wɪθ. hups: jæ, soʊ ən ˈɪntəˌrɛstɪŋ θɪŋ. aɪ fil laɪk səm bændz ðət goʊ si ənd aɪ ˈɔlˌmoʊst gɪt ˈæŋgri wɪn ðeɪ pleɪ nu sɔŋz, ənd ðɛn səm bændz goʊ si ənd ðeɪ pleɪ ˈɔlˌmoʊst ɔl nu sɔŋz ənd aɪ ləv ɪt [læfs]. ʤɪst traɪɪŋ tɪ ˌdɪˈsaɪd wət taɪp əv ˈrɛkərd ðɪs ɪz fər ˈjuˈɛs. aɪ θɪŋk ðɪs ˈrɛkərd wʊd bi ˈrɪli fən tɪ si lɪv, bət ʤɪst mi. ˈθisən: noʊ, θæŋk ju. hups: aɪ θɪŋk wi kʊd ɪˈvɛnʧəwəli, bət sɪns ə tʊr, aɪ noʊ. ɪt wʊd bi ə boʊld muv. ˈθisən: pleɪ 100 sɔŋz ɪn ən aʊər ənd 10 ˈmɪnəts. bi greɪt. hups: traɪ ənd meɪk ɪt fən fər ðə ˈpipəl hu ər ˈwɑʧɪŋ ˈjuˈɛs. soʊ ˈræpɪŋ ðɪs əp ðɛn, hæv ju plænd ˈɛniˌθɪŋ aʊt fər ˈæftər ðə tʊr? həz ðɛr bɪn ˈɛni tɔk əv wət ɪz nɛkst? ˈθisən: jæ, ˈfəni. ɑr ˈmænɪʤər tɛlz mi ˈsəmˌtaɪmz, ““so*, ðɪs ʃʊd bi ɑr læst ˈrɛkərd, right?”*?” laɪk, ““no*, nɑt. ˈnoʊˌbɑˌdi sɛd that.”*.” hi wɑz ɛz səˈpraɪzd ɛz ˈɛniˌwən wɪn aɪ sɛd ʤɪst meɪk əˈnəðər wən. bi fən tɪ meɪk əˈnəðər wən. ˈhoʊpfəli, ɪt teɪk ɛz lɔŋ ðɪs taɪm. hups: aɪ kaɪnd əv laɪk ðə aɪˈdiə, goʊɪŋ bæk tɪ wət aɪ sɛd ˈərliər əˈbaʊt ridɪˈfaɪnɪŋ wət keɪ ɪz ənd haʊ wi əˈproʊʧ ɪt, ənd ðə ˈnɛrətɪv ðət bæk ənd duɪŋ stəf. wi kən kɔl ɑr oʊn ʃɑts naʊ. wi kən riˈlis sɔŋz æt ə taɪm. wi kən riˈlis ˈælbəmz wɛˈnɛvər wi wɔnt. wi kən meɪk ˈvɪdioʊz ənd du lɪv ˈkəvərz ənd ʤɪst hæv fən wɪθ ɪt. aɪ laɪk ˈfɪgjərɪŋ aʊt wət kaɪnd əv ˈnɪʧɪz wi kən fɪl raɪt naʊ, wət kaɪnd əv speɪs wi kən ˈɑkjəˌpaɪ. ə lɔt əv jʊr kənˈtɛmpərˌɛriz ər ˈstɑrtɪŋ tɪ wɪnd ðɛr kərɪrz daʊn. ə ˈkəpəl jɪrz əˈgoʊ, ˈmoʊʃən ˈsɪti ˈsaʊnˌtræk ənd ðɪs jɪr. wət ɪz ðət laɪk, tɪ si ðiz bændz ju keɪm əp wɪθ æt ðə seɪm taɪm, ɛnd? laɪk ju wər seɪɪŋ, du ju si ˈjɔrsɛlvz biɪŋ ˈeɪbəl tɪ kənˈtɪnju ɔn ɪn ðə fˈjuʧər? hæv ju ˈgɪvɪn θɔt tɪ ðət? ˈθisən: tɪ ˈɛvəri ˈækʃən, ðɛr ɪz ən ˈikwəl ənd ˈɑpəzɪt. ju si gaɪz laɪk ˈændru məkˈmæn ənd ˈkɛˌni frəm ˈstɑrtɪŋ laɪn duɪŋ nu θɪŋz ənd ˈkipɪŋ ɪt frɛʃ. aɪ θɪŋk mæt ənd aɪ ər ˈvɛri ˈɪntəˌrɛstɪd ɪn ˈstɑrtɪŋ səm nu ˈprɑʤɛkts. duɪŋ ðə θɪŋ wɪθ ˈædəm, ənd ɪkˈsaɪtɪŋ tɪ mi. ɪkˈsaɪtɪd fər wət ˈstivən ˈkrɪsʧɪn frəm ɪz duɪŋ wɪθ hɪz laɪf, ənd ɪkˈsaɪtɪd fər wət ɔl ðə ˈəðər gaɪz ər goʊɪŋ tɪ du ˈæftər ðeɪ pʊt ðɛr bændz ɔn hoʊld fər ə ˈlɪtəl bɪt. ˈɛvəri bænd ðət breɪks əp ər kɔlz ɪt kwɪts ɪz ʤɪst ˈteɪkɪŋ ə breɪk ənˈtɪl ˈsəmˌbɑdi wɔnts ðɛm tɪ pleɪ bæd ɪˈnəf ðət ðeɪ gɪt bæk təˈgɛðər. kaɪnd əv haʊ aɪ ˈɔlˌweɪz si ɪt. gənz n’*’ ˈroʊzɪz ɪz stɪl ˈtʊrɪŋ, raɪt? hups: jæ, ˈprɪti waɪld. aɪ ˈɔlˌweɪz si ɪt mɔr ðət ɪf wi kən kənˈtɪnju tɪ dɪˈfaɪn ɪt ɪn ðə weɪ ðət wi wɔnt tɪ, ðɛn jæ, wi hæv tɪ ˌnɛsəˈsɛrəli ɛnd ðɪs ˈprɑʤɛkt. wi kən ʤɪst kənˈtɪnju tɪ meɪk ɪt ˌwəˈtɛvər wi wɔnt tɪ meɪk ɪt. ənd jæ, nɑt goʊɪŋ tɪ tʊr 250 deɪz ə jɪr ɪn kləbz raɪt naʊ. ʤɪst nɑt wət goʊɪŋ tɪ du, bət wi stɪl ər goʊɪŋ tɪ pleɪ ʃoʊz ənd hæv fən wɪn wi du ɪt. soʊ jæ, ʤɪst kaɪnd əv kip duɪŋ ɪt.
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then the wanderer went to the blessed one and, on arrival, exchanged courteous greetings with him. after an exchange of friendly greetings & courtesies, he sat to one side. as he was sitting there he asked the blessed one: "now then, venerable gotama, is there a self?"
when this was said, the blessed one was silent.
"then is there no self?"
a second time, the blessed one was silent.
then the wanderer got up from his seat and left.
then, not long after the wanderer had left, ven. said to the blessed one, "why, lord, did the blessed one not answer when asked a question by the wanderer?"
"ananda, if i being asked by the wanderer if there is a self were to answer that there is a self, that would be conforming with those & who are exponents of [the view that there is an eternal, unchanging soul]. if i being asked by the wanderer if there is no self were to answer that there is no self, that would be conforming with those & who are exponents of [the view that death is the annihilation of consciousness]. if i being asked by the wanderer if there is a self were to answer that there is a self, would that be in keeping with the arising of knowledge that all phenomena are not-self?"
"no, lord."
"and if i being asked by the wanderer if there is no self were to answer that there is no self, the bewildered would become even more bewildered: 'does the self i used to have now not exist?'"
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ðɛn ðə ˈwɑndərər wɛnt tɪ ðə blɛst wən ənd, ɔn ərˈaɪvəl, ɪksˈʧeɪnʤd ˈkərtiəs ˈgritɪŋz wɪθ ɪm. ˈæftər ən ɪksˈʧeɪnʤ əv ˈfrɛndli ˈgritɪŋz ˈkərtəsiz, hi sæt tɪ wən saɪd. ɛz hi wɑz ˈsɪtɪŋ ðɛr hi æst ðə blɛst wən: "naʊ ðɛn, ˈvɛnərəbəl gotama*, ɪz ðɛr ə sɛlf?" wɪn ðɪs wɑz sɛd, ðə blɛst wən wɑz ˈsaɪlənt. "ðɛn ɪz ðɛr noʊ sɛlf?" ə ˈsɛkənd taɪm, ðə blɛst wən wɑz ˈsaɪlənt. ðɛn ðə ˈwɑndərər gɑt əp frəm hɪz sit ənd lɛft. ðɛn, nɑt lɔŋ ˈæftər ðə ˈwɑndərər hæd lɛft, ven*. sɛd tɪ ðə blɛst wən, "waɪ, lɔrd, dɪd ðə blɛst wən nɑt ˈænsər wɪn æst ə kˈwɛʃən baɪ ðə ˈwɑndərər?" "ananda*, ɪf aɪ biɪŋ æst baɪ ðə ˈwɑndərər ɪf ðɛr ɪz ə sɛlf wər tɪ ˈænsər ðət ðɛr ɪz ə sɛlf, ðət wʊd bi kənˈfɔrmɪŋ wɪθ ðoʊz hu ər ɪkˈspoʊnənts əv [ðə vju ðət ðɛr ɪz ən ɪˈtərnəl, ənˈʧeɪnʤɪŋ soʊl]. ɪf aɪ biɪŋ æst baɪ ðə ˈwɑndərər ɪf ðɛr ɪz noʊ sɛlf wər tɪ ˈænsər ðət ðɛr ɪz noʊ sɛlf, ðət wʊd bi kənˈfɔrmɪŋ wɪθ ðoʊz hu ər ɪkˈspoʊnənts əv [ðə vju ðət dɛθ ɪz ðə əˌnaɪəˈleɪʃən əv ˈkɑnʃəsnəs]. ɪf aɪ biɪŋ æst baɪ ðə ˈwɑndərər ɪf ðɛr ɪz ə sɛlf wər tɪ ˈænsər ðət ðɛr ɪz ə sɛlf, wʊd ðət bi ɪn ˈkipɪŋ wɪθ ðə ərˈaɪzɪŋ əv ˈnɑlɪʤ ðət ɔl fəˈnɑmənə ər not-self*?" "noʊ, lɔrd." "ənd ɪf aɪ biɪŋ æst baɪ ðə ˈwɑndərər ɪf ðɛr ɪz noʊ sɛlf wər tɪ ˈænsər ðət ðɛr ɪz noʊ sɛlf, ðə bɪˈwɪldərd wʊd bɪˈkəm ˈivɪn mɔr bɪˈwɪldərd: 'dɪz ðə sɛlf aɪ juzd tɪ hæv naʊ nɑt ɪgˈzɪst?'"
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three people given suspended sentences in guangdong court for ‘disturbing social order’ and working with foreign organisations hostile to china
three labour activists have been given suspended sentences of up to three years, chinese state media said on tuesday, citing their involvement with “overseas organisations hostile to china”.
zeng feiyang, director of the prominent labour rights group the workers’ centre, was given a three-year sentence suspended for four years, while his co-workers tang and zhu received 18 months suspended for two years, the official xinhua news agency said.
they had been helping workers in the southern province of guangdong win payment of wages and unpaid benefits in disputes against employers, but were convicted of “ignoring national laws and mass gatherings that disturbed social order”, xinhua cited a guangdong court as saying.
he xiaobo: latest victim of china's crackdown on labour activists read more
independent trade unions are banned in china, with only the official federation of trade unions legally recognised. however, critics say it often fails to assist workers in disputes.
“i accepted training and funding from overseas organisations hostile to china and, at their request, incited and workers to protect their rights in an extreme way,” zeng said in his closing remarks, according to xinhua.
“i hope that others will take my case as a lesson and not be conned by such organisations.”
a report on monday from the ministry of public security claimed zeng had been misappropriating funds from “multiple overseas groups and foreign embassies” since 2010, xinhua said.
it quoted activist tang as saying: “on the surface, we seem to be fighting for workers’ rights, but the real intention was to expand our influence, particularly overseas.”
all three defendants pleaded guilty and said they would not appeal.
guangdong is one of richest provinces, but is facing growing economic challenges as many factories in the pearl river delta close or relocate to cheaper chinese provinces or countries such as vietnam where labour costs are lower.
workers are often left with unpaid wages and no redundancy pay.
the court sentence comes in the midst of what rights groups have called an “unprecedented” campaign of arrests of labour activists, as well as a broader crackdown on dissent that has seen hundreds detained and dozens jailed in the years since president xi came to power in 2013.
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ðɪs ˈɑrtɪkəl ɪz ˈoʊvər 2 jɪrz oʊld θri ˈpipəl ˈgɪvɪn səˈspɛndɪd ˈsɛntənsɪz ɪn gˈwɑŋˈdɔŋ kɔrt fər ˈsoʊʃəl order’*’ ənd ˈwərkɪŋ wɪθ ˈfɔrən ˌɔrgənɪˈzeɪʃənz ˈhɑstəl tɪ ˈʧaɪnə θri ˈleɪbər ˈæktɪvɪsts hæv bɪn ˈgɪvɪn səˈspɛndɪd ˈsɛntənsɪz əv əp tɪ θri jɪrz, ʧaɪˈniz steɪt ˈmidiə sɛd ɔn ˈtuzˌdeɪ, ˈsaɪtɪŋ ðɛr ˌɪnˈvɑlvmənt wɪθ ˌɔrgənɪˈzeɪʃənz ˈhɑstəl tɪ china”*”. zɛŋ feiyang*, dɪˈrɛktər əv ðə ˈprɑmənənt ˈleɪbər raɪts grup ðə workers’*’ ˈsɛntər, wɑz ˈgɪvɪn ə θˈriˌjɪr ˈsɛntəns səˈspɛndɪd fər fɔr jɪrz, waɪl hɪz ˈkoʊˈwərkərz tɑŋ ənd ʒu rɪˈsivd 18 mənθs səˈspɛndɪd fər tu jɪrz, ðə əˈfɪʃəl ˈzɪnhjuə nuz ˈeɪʤənsi sɛd. ðeɪ hæd bɪn ˈhɛlpɪŋ ˈwərkərz ɪn ðə ˈsəðərn ˈprɑvɪns əv gˈwɑŋˈdɔŋ wɪn ˈpeɪmənt əv ˈweɪʤɪz ənd ənˈpeɪd ˈbɛnəfɪts ɪn dɪˈspjuts əˈgɛnst ɪmˈplɔɪərz, bət wər kənˈvɪktəd əv ˈnæʃənəl lɔz ənd mæs ˈgæðərɪŋz ðət dɪˈstərbd ˈsoʊʃəl order”*”, ˈzɪnhjuə ˈsaɪtɪd ə gˈwɑŋˈdɔŋ kɔrt ɛz seɪɪŋ. hi xiaobo*: ˈleɪtəst ˈvɪktɪm əv ˈʧaɪnəz ˈkrækˌdaʊn ɔn ˈleɪbər ˈæktɪvɪsts rɛd mɔr ˌɪndɪˈpɛndənt treɪd ˈjunjənz ər bænd ɪn ˈʧaɪnə, wɪθ ˈoʊnli ðə əˈfɪʃəl ˌfɛdərˈeɪʃən əv treɪd ˈjunjənz ˈligəli ˈrɛkəgˌnaɪzd. ˌhaʊˈɛvər, ˈkrɪtɪks seɪ ɪt ˈɔfən feɪlz tɪ əˈsɪst ˈwərkərz ɪn dɪˈspjuts. ækˈsɛptɪd ˈtreɪnɪŋ ənd ˈfəndɪŋ frəm ˈoʊvərˈsiz ˌɔrgənɪˈzeɪʃənz ˈhɑstəl tɪ ˈʧaɪnə ənd, æt ðɛr rɪkˈwɛst, ˌɪnˈsaɪtɪd ənd ˈwərkərz tɪ prəˈtɛkt ðɛr raɪts ɪn ən ɪkˈstrim way,”*,” zɛŋ sɛd ɪn hɪz ˈkloʊzɪŋ rɪˈmɑrks, əˈkɔrdɪŋ tɪ ˈzɪnhjuə. hoʊp ðət ˈəðərz wɪl teɪk maɪ keɪs ɛz ə ˈlɛsən ənd nɑt bi kɑnd baɪ səʧ organisations.”*.” ə rɪˈpɔrt ɔn ˈmənˌdeɪ frəm ðə ˈmɪnɪstri əv ˈpəblɪk sɪˈkjʊrəti kleɪmd zɛŋ hæd bɪn ˌmɪsəˈproʊpriˌeɪtɪŋ fəndz frəm ˈoʊvərˈsiz grups ənd ˈfɔrən embassies”*” sɪns 2010 ˈzɪnhjuə sɛd. ɪt kˈwoʊtɪd ˈæktɪvɪst tɑŋ ɛz seɪɪŋ: ðə ˈsərfəs, wi sim tɪ bi ˈfaɪtɪŋ fər workers’*’ raɪts, bət ðə ril ˌɪnˈtɛnʧən wɑz tɪ ɪkˈspænd ɑr ˈɪnfluəns, ˌpɑrˈtɪkjələrli overseas.”*.” ɔl θri dɪˈfɛndənts ˈplidɪd ˈgɪlti ənd sɛd ðeɪ wʊd nɑt əˈpil. gˈwɑŋˈdɔŋ ɪz wən əv ˈrɪʧəst ˈprɑvənsəz, bət ɪz ˈfeɪsɪŋ groʊɪŋ ˌɛkəˈnɑmɪk ˈʧælənʤɪz ɛz ˈmɛni ˈfæktəriz ɪn ðə pərl ˈrɪvər ˈdɛltə kloʊz ər ˌriˈloʊkeɪt tɪ ˈʧipər ʧaɪˈniz ˈprɑvənsəz ər ˈkəntriz səʧ ɛz viˌɛtˈnɑm wɛr ˈleɪbər kɔsts ər loʊər. ˈwərkərz ər ˈɔfən lɛft wɪθ ənˈpeɪd ˈweɪʤɪz ənd noʊ rɪˈdəndənsi peɪ. ðə kɔrt ˈsɛntəns kəmz ɪn ðə mɪst əv wət raɪts grups hæv kɔld ən ““unprecedented”*” kæmˈpeɪn əv ərˈɛsts əv ˈleɪbər ˈæktɪvɪsts, ɛz wɛl ɛz ə ˈbrɔdər ˈkrækˌdaʊn ɔn dɪˈsɛnt ðət həz sin ˈhənərdz dɪˈteɪnd ənd ˈdəzənz ʤeɪld ɪn ðə jɪrz sɪns ˈprɛzɪdənt ʃi keɪm tɪ paʊər ɪn 2013
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status: three time wimbledon singles champion (’59,,). four time us singles champ (’59,,,). also won eleven major doubles titles. eighteen major titles in total.
dob: october ll, in: sao paulo, brazil
first tennis memory: “i think i started to play when i was two. i grew up with tennis. my entire family played tennis, my parents, my brothers. great memories. never thinking of winning nineteen grand slams or anything like that. i played because i enjoyed the sport. so everything just happened.”
tennis inspirations: “i started traveling when i was fourteen. and i just wanted to play. it was awfully difficult in those times to go away, especially from brazil. still very far away. my inspiration was to do what i loved the most and i knew i could do well. actually now (at us open where we did this interview) i was just told today i forgot all about it 50 years since one of my wins here at the open. just things fell into place. i traveled a lot most of my entire life. and i still play and i love what i do.”
greatest sports moment: “probably winning wimbledon. i was in five finals and i won three. i had a very short career because i had an arm and shoulder injury so i had to stop when i was really at the top. but winning wimbledon i think was the highest point of my career.”
most painful moment: “when i had to stop and i move my arm or my hand for seven years. went through twelve surgeries. and pretty lucky to have 50% back so still playing. i played people like martina hingis, sharapova, very lucky to have hit with people like federer last year. but only about 50% of what i had before so i possibly play competitive anymore. but doing what i can and still enjoying it.”
first famous player you met or encountered: “i remember very well fred perry and jack kramer. jack kramer was in california at los angeles tennis club. and he came over and we talked and he was unbelievably nice. and fred perry was just a huge thing for me to meet him. the first time i came over he actually gave me some tennis clothes and we had a hit. and one of the things that stuck in my mind he said: when you let the ball go to start the rally, he said, you do that just like a pro. and i been fourteen or fifteen. i was just out of the orange bowl and playing in florida. those are the two that really stuck in my mind.”
funny tennis memory: “last know. i had some strange things. when i went to england and i was supposed to meet prince phillip and unfortunately i was late for the dinner and i got there and i know what to do. i got there and they said just go in. and i was suspended for a few years. it was something strange that happened. but i enjoyed the occasion, he was wonderful, his guests were wonderful, so that, now i can laugh at it. but at the time i was a bit concerned about the circumstances.”
closest tennis friends: “lots and lots of friends. lots of places i went to visit that had wonderful people and i think, those days, we had a better chance to get around real people. because it was just me and me. it was not like the players today they are so protected. and you never get to talk with them. like now you would need to get through ten people to get to me, it? nice to be able to do things and i still keep in touch with most of the people that i first met and some of the homes that i stayed with i still go back and see them. really a very good sign.”
funniest players encountered: “i like very much roy emerson, one of the greatest players of all time. he was a very nice guy, very funny, he always had an answer for everything. he made us laugh when we practiced, he was very easy going. i think roy was one of the best characters that i went across.”
why do you love playing tennis: “i know. i was born with a gift. and i made use of it. and i think i brought everything i have and everything i have been in to tennis. i still enjoy the sport, i enjoy the exercise, easy for me to play. but i think most of all to see that it can give some people some enjoyment for what i do. and nice to have people come up to me and say we enjoyed so much when you played, you make things look so easy. so a great reward.”
favorite sport outside tennis: “no, tennis [smiles].”
favorite players to watch: “i liked to watch martina when she was at the top. sampras. laver. i think today everything is a bit boring. i like to watch federer because the manner in which he plays and conducts himself and a great person. and i like to watch nadal because of his heart. so difficult to see people do what he does, match after match after match. and the first point and the last point, never excuses.”
you hit with federer: “yes, yes, in brazil. to me it was a fantastic hit. and we had lots of laughs. i think roger has a special thing about him that bill clinton has, he makes you feel like just there for you. whether a party or playing, he concentrates on you and it makes you feel good. like bill clinton has that touch. if you come into a room with him, he comes to talk to you. you say, oh gosh, this guy came here just for me. i think a great asset, especially now.”
last book read: “not a tennis book. i loved to read history books. i just did a huge thing on the tudors. i was in england, i spent a lot of time visiting castles and i read a lot about history. and every time i have a chance where i go.”
favorite ice cream flavor: “chocolate.”
favorite tournaments: “wimbledon. rome. us open.”
fiercest competitors encountered: “i think margaret court, the australian. she never gave you anything. she was really fighting for everything. and again, for our time, she was very big, a huge girl, now nothing compared to all the size. but she was very fit and played really well. it was difficult to play her.”
people qualities most admired: “being honest. respectful. and being a legitimate person, that you have to worry about anything. not after you for any other reason but you.”
bueno has hit with fred perry and federer
<< day 4 and nadal in another battle
nishikori-de highlights day 2 >>
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←* ˈsaɪdˌbɑr ˈstætəs: θri taɪm ˈwɪmbəldən ˈsɪŋgəlz ˈʧæmpiən fɔr taɪm ˈjuˈɛs ˈsɪŋgəlz ʧæmp ˈɔlsoʊ wən ˈilɛvən ˈmeɪʤər ˈdəbəlz ˈtaɪtəlz. ˈeɪˈtin ˈmeɪʤər ˈtaɪtəlz ɪn ˈtoʊtəl. dɑb: ɑkˈtoʊbər ll*, ɪn: saʊ ˈpɔˌloʊ, brəˈzɪl fərst ˈtɛnɪs ˈmɛməri: θɪŋk aɪ ˈstɑrtɪd tɪ pleɪ wɪn aɪ wɑz tu. aɪ gru əp wɪθ ˈtɛnɪs. maɪ ɪnˈtaɪər ˈfæməli pleɪd ˈtɛnɪs, maɪ ˈpɛrənts, maɪ ˈbrəðərz. greɪt ˈmɛməriz. ˈnɛvər ˈθɪŋkɪŋ əv ˈwɪnɪŋ ˈnaɪnˈtin grænd slæmz ər ˈɛniˌθɪŋ laɪk ðət. aɪ pleɪd bɪˈkəz aɪ ˌɛnˈʤɔɪd ðə spɔrt. soʊ ˈɛvriˌθɪŋ ʤɪst happened.”*.” ˈtɛnɪs ˌɪnspərˈeɪʃənz: ˈstɑrtɪd ˈtrævəlɪŋ wɪn aɪ wɑz ˌfɔrˈtin. ənd aɪ ʤɪst ˈwɔntɪd tɪ pleɪ. ɪt wɑz ˈɔfəli ˈdɪfəkəlt ɪn ðoʊz taɪmz tɪ goʊ əˈweɪ, əˈspɛʃəli frəm brəˈzɪl. stɪl ˈvɛri fɑr əˈweɪ. maɪ ˌɪnspərˈeɪʃən wɑz tɪ du wət aɪ ləvd ðə moʊst ənd aɪ nu aɪ kʊd du wɛl. ˈæˌkʧuəli naʊ (æt ˈjuˈɛs ˈoʊpən wɛr wi dɪd ðɪs ˈɪntərvˌju) aɪ wɑz ʤɪst toʊld təˈdeɪ aɪ fərˈgɑt ɔl əˈbaʊt ɪt 50 jɪrz sɪns wən əv maɪ wɪnz hir æt ðə ˈoʊpən. ʤɪst θɪŋz fɛl ˈɪntu pleɪs. aɪ ˈtrævəld ə lɔt moʊst əv maɪ ɪnˈtaɪər laɪf. ənd aɪ stɪl pleɪ ənd aɪ ləv wət aɪ do.”*.” ˈgreɪtəst spɔrts ˈmoʊmənt: ˈwɪnɪŋ ˈwɪmbəldən. aɪ wɑz ɪn faɪv ˈfaɪnəlz ənd aɪ wən θri. aɪ hæd ə ˈvɛri ʃɔrt kərɪr bɪˈkəz aɪ hæd ən ɑrm ənd ˈʃoʊldər ˈɪnʤəri soʊ aɪ hæd tɪ stɑp wɪn aɪ wɑz ˈrɪli æt ðə tɔp. bət ˈwɪnɪŋ ˈwɪmbəldən aɪ θɪŋk wɑz ðə haɪəst pɔɪnt əv maɪ career.”*.” moʊst ˈpeɪnfəl ˈmoʊmənt: aɪ hæd tɪ stɑp ənd aɪ muv maɪ ɑrm ər maɪ hænd fər ˈsɛvən jɪrz. wɛnt θru twɛlv ˈsərʤəriz. ənd ˈprɪti ˈləki tɪ hæv 50 bæk soʊ stɪl pleɪɪŋ. aɪ pleɪd ˈpipəl laɪk mɑrˈtinə ˈhɪŋgəs, sharapova*, ˈvɛri ˈləki tɪ hæv hɪt wɪθ ˈpipəl laɪk ˈfɛdərər læst jɪr. bət ˈoʊnli əˈbaʊt 50 əv wət aɪ hæd ˌbiˈfɔr soʊ aɪ ˈpɑsəbli pleɪ kəmˈpɛtɪtɪv ˌɛniˈmɔr. bət duɪŋ wət aɪ kən ənd stɪl ˌɛnˈʤɔɪɪŋ it.”*.” fərst ˈfeɪməs pleɪər ju mɛt ər ɪnˈkaʊnərd: rɪˈmɛmbər ˈvɛri wɛl frɛd ˈpɛri ənd ʤæk ˈkreɪmər. ʤæk ˈkreɪmər wɑz ɪn ˌkæləˈfɔrnjə æt lɔs ˈænʤəlɪs ˈtɛnɪs kləb. ənd hi keɪm ˈoʊvər ənd wi tɔkt ənd hi wɑz ˌənbəˈlivəbli nis. ənd frɛd ˈpɛri wɑz ʤɪst ə juʤ θɪŋ fər mi tɪ mit ɪm. ðə fərst taɪm aɪ keɪm ˈoʊvər hi ˈæˌkʧuəli geɪv mi səm ˈtɛnɪs kloʊðz ənd wi hæd ə hɪt. ənd wən əv ðə θɪŋz ðət stək ɪn maɪ maɪnd hi sɛd: wɪn ju lɛt ðə bɔl goʊ tɪ stɑrt ðə ˈræli, hi sɛd, ju du ðət ʤɪst laɪk ə proʊ. ənd aɪ bɪn ˌfɔrˈtin ər ˈfɪfˈtin. aɪ wɑz ʤɪst aʊt əv ðə ˈɔrɪnʤ boʊl ənd pleɪɪŋ ɪn ˈflɔrɪdə. ðoʊz ər ðə tu ðət ˈrɪli stək ɪn maɪ mind.”*.” ˈfəni ˈtɛnɪs ˈmɛməri: noʊ. aɪ hæd səm streɪnʤ θɪŋz. wɪn aɪ wɛnt tɪ ˈɪŋglənd ənd aɪ wɑz səˈpoʊzd tɪ mit prɪns ˈfɪlɪp ənd ənˈfɔrʧənətli aɪ wɑz leɪt fər ðə ˈdɪnər ənd aɪ gɑt ðɛr ənd aɪ noʊ wət tɪ du. aɪ gɑt ðɛr ənd ðeɪ sɛd ʤɪst goʊ ɪn. ənd aɪ wɑz səˈspɛndɪd fər ə fju jɪrz. ɪt wɑz ˈsəmθɪŋ streɪnʤ ðət ˈhæpənd. bət aɪ ˌɛnˈʤɔɪd ðə əˈkeɪʒən, hi wɑz ˈwəndərfəl, hɪz gɛsts wər ˈwəndərfəl, soʊ ðət, naʊ aɪ kən læf æt ɪt. bət æt ðə taɪm aɪ wɑz ə bɪt kənˈsərnd əˈbaʊt ðə circumstances.”*.” ˈkloʊsəst ˈtɛnɪs frɛndz: ənd lɑts əv frɛndz. lɑts əv ˈpleɪsɪz aɪ wɛnt tɪ ˈvɪzɪt ðət hæd ˈwəndərfəl ˈpipəl ənd aɪ θɪŋk, ðoʊz deɪz, wi hæd ə ˈbɛtər ʧæns tɪ gɪt əraʊnd ril ˈpipəl. bɪˈkəz ɪt wɑz ʤɪst mi ənd mi. ɪt wɑz nɑt laɪk ðə pleɪərz təˈdeɪ ðeɪ ər soʊ prəˈtɛktɪd. ənd ju ˈnɛvər gɪt tɪ tɔk wɪθ ðɛm. laɪk naʊ ju wʊd nid tɪ gɪt θru tɛn ˈpipəl tɪ gɪt tɪ mi, ɪt? nis tɪ bi ˈeɪbəl tɪ du θɪŋz ənd aɪ stɪl kip ɪn təʧ wɪθ moʊst əv ðə ˈpipəl ðət aɪ fərst mɛt ənd səm əv ðə hoʊmz ðət aɪ steɪd wɪθ aɪ stɪl goʊ bæk ənd si ðɛm. ˈrɪli ə ˈvɛri gʊd sign.”*.” ˈfəniəst pleɪərz ɪnˈkaʊnərd: laɪk ˈvɛri məʧ rɔɪ ˈɛmərsən, wən əv ðə ˈgreɪtəst pleɪərz əv ɔl taɪm. hi wɑz ə ˈvɛri nis gaɪ, ˈvɛri ˈfəni, hi ˈɔlˌweɪz hæd ən ˈænsər fər ˈɛvriˌθɪŋ. hi meɪd ˈjuˈɛs læf wɪn wi ˈpræktɪst, hi wɑz ˈvɛri ˈizi goʊɪŋ. aɪ θɪŋk rɔɪ wɑz wən əv ðə bɛst ˈkɛrɪktərz ðət aɪ wɛnt across.”*.” waɪ du ju ləv pleɪɪŋ ˈtɛnɪs: noʊ. aɪ wɑz bɔrn wɪθ ə gɪft. ənd aɪ meɪd juz əv ɪt. ənd aɪ θɪŋk aɪ brɔt ˈɛvriˌθɪŋ aɪ hæv ənd ˈɛvriˌθɪŋ aɪ hæv bɪn ɪn tɪ ˈtɛnɪs. aɪ stɪl ˌɛnˈʤɔɪ ðə spɔrt, aɪ ˌɛnˈʤɔɪ ðə ˈɛksərˌsaɪz, ˈizi fər mi tɪ pleɪ. bət aɪ θɪŋk moʊst əv ɔl tɪ si ðət ɪt kən gɪv səm ˈpipəl səm ˌɛnˈʤɔɪmənt fər wət aɪ du. ənd nis tɪ hæv ˈpipəl kəm əp tɪ mi ənd seɪ wi ˌɛnˈʤɔɪd soʊ məʧ wɪn ju pleɪd, ju meɪk θɪŋz lʊk soʊ ˈizi. soʊ ə greɪt reward.”*.” ˈfeɪvərɪt spɔrt ˈaʊtˈsaɪd ˈtɛnɪs: ““no*, ˈtɛnɪs [smiles].”*].” ˈfeɪvərɪt pleɪərz tɪ wɔʧ: laɪkt tɪ wɔʧ mɑrˈtinə wɪn ʃi wɑz æt ðə tɔp. ˈsæmprəs. ˈleɪvər. aɪ θɪŋk təˈdeɪ ˈɛvriˌθɪŋ ɪz ə bɪt ˈbɔrɪŋ. aɪ laɪk tɪ wɔʧ ˈfɛdərər bɪˈkəz ðə ˈmænər ɪn wɪʧ hi pleɪz ənd kənˈdəkts hɪmˈsɛlf ənd ə greɪt ˈpərsən. ənd aɪ laɪk tɪ wɔʧ nɑˈdæl bɪˈkəz əv hɪz hɑrt. soʊ ˈdɪfəkəlt tɪ si ˈpipəl du wət hi dɪz, mæʧ ˈæftər mæʧ ˈæftər mæʧ. ənd ðə fərst pɔɪnt ənd ðə læst pɔɪnt, ˈnɛvər excuses.”*.” ju hɪt wɪθ ˈfɛdərər: ““yes*, jɛs, ɪn brəˈzɪl. tɪ mi ɪt wɑz ə fænˈtæstɪk hɪt. ənd wi hæd lɑts əv læfs. aɪ θɪŋk ˈrɑʤər həz ə ˈspɛʃəl θɪŋ əˈbaʊt ɪm ðət bɪl ˈklɪntən həz, hi meɪks ju fil laɪk ʤɪst ðɛr fər ju. ˈwɛðər ə ˈpɑrti ər pleɪɪŋ, hi ˈkɑnsənˌtreɪts ɔn ju ənd ɪt meɪks ju fil gʊd. laɪk bɪl ˈklɪntən həz ðət təʧ. ɪf ju kəm ˈɪntu ə rum wɪθ ɪm, hi kəmz tɪ tɔk tɪ ju. ju seɪ, oʊ gɑʃ, ðɪs gaɪ keɪm hir ʤɪst fər mi. aɪ θɪŋk ə greɪt ˈæˌsɛt, əˈspɛʃəli now.”*.” læst bʊk rɛd: ə ˈtɛnɪs bʊk. aɪ ləvd tɪ rɛd ˈhɪstəri bʊks. aɪ ʤɪst dɪd ə juʤ θɪŋ ɔn ðə tudors*. aɪ wɑz ɪn ˈɪŋglənd, aɪ spɛnt ə lɔt əv taɪm ˈvɪzɪtɪŋ ˈkæsəlz ənd aɪ rɛd ə lɔt əˈbaʊt ˈhɪstəri. ənd ˈɛvəri taɪm aɪ hæv ə ʧæns wɛr aɪ go.”*.” ˈfeɪvərɪt aɪs krim ˈfleɪvər: ““chocolate.”*.” ˈfeɪvərɪt ˈtərnəmənts: ““wimbledon*. roʊm. ˈjuˈɛs open.”*.” ˈfɪrsəst kəmˈpɛtɪtərz ɪnˈkaʊnərd: θɪŋk ˈmɑrgərɪt kɔrt, ðə ɔˈstreɪljən. ʃi ˈnɛvər geɪv ju ˈɛniˌθɪŋ. ʃi wɑz ˈrɪli ˈfaɪtɪŋ fər ˈɛvriˌθɪŋ. ənd əˈgɛn, fər ɑr taɪm, ʃi wɑz ˈvɛri bɪg, ə juʤ gərl, naʊ ˈnəθɪŋ kəmˈpɛrd tɪ ɔl ðə saɪz. bət ʃi wɑz ˈvɛri fɪt ənd pleɪd ˈrɪli wɛl. ɪt wɑz ˈdɪfəkəlt tɪ pleɪ her.”*.” ˈpipəl kˈwɑlətiz moʊst ədˈmaɪərd: ˈɑnəst. rɪˈspɛktfəl. ənd biɪŋ ə ləˈʤɪtəmət ˈpərsən, ðət ju hæv tɪ ˈwəri əˈbaʊt ˈɛniˌθɪŋ. nɑt ˈæftər ju fər ˈɛni ˈəðər ˈrizən bət you.”*.” bˈweɪnoʊ həz hɪt wɪθ frɛd ˈpɛri ənd ˈfɛdərər deɪ 4 ənd nɑˈdæl ɪn əˈnəðər ˈbætəl ˈhaɪˌlaɪts deɪ 2
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president privately owned properties, including his club in florida and trump international hotel in d.c., are rife with digital insecurities making them prime targets for hackers, according to a new report.
a recent investigation into four of mr. high-profile properties uncovered a number of poor security practices that may have already been exploited by spies, hackers and other advantageous adversaries, and reported wednesday.
weakly encrypted wi-fi networks, publicly accessible computer servers and the use of outdated software are just a few examples of the gaping security holes identified by investigative journalists in this report following an unsolicited audit of four trump properties:, trump international hotel in d.c. and trump national golf courses in new jersey and virginia.
at, where mr. trump has frequently hosted foreign diplomats in addition to his own staffers, the reporters said they found three weakly encrypted wi-fi networks capable of being cracked in a matter of minutes, as well as a publicly accessible combination printer and scanner and a misconfigured, internet router.
mar-a-lago’s website, meanwhile, hosts an insecure page that could easily be breached by hackers, potentially providing intruders with access to privileged information concerning the private well-placed, members, according to the report.
jeremiah grossman, a former security expert for yahoo now with firm sentinelone, described the conditions at as “bad, very bad,” the journalists wrote.
“i’d assume the data is already stolen and systems compromised,” mr. grossman said.
inspections of mr. golf courses similarly identified unsecured wi-fi networks at facilities in bedminster, new jersey, and sterling, virginia, while a probe of the pennsylvania avenue hotel found servers running outdated, vulnerable software, as well as a potential gateway to databases containing sensitive information, according to the report.
“those networks all have to be crawling with foreign intruders, not justa,” said dave aitel, chief executive officer of digital security company immunity, inc.
the pentagon spent $64 million in 2016 maintaining computer networks at white house and camp david, the presidential retreat in maryland, according to the report., by comparison, budged $442,931 for all its security needs last year, digital and otherwise.
while the hospitality industry is hardly known for its positive practices, gaps identified at the properties pose significant risks given mr. tendency to entertain foreign leaders and u.s. officials alike at his various establishments.
the trump organization follows “cybersecurity best practices,” spokeswoman amanda miller told the authors in response to their findings.
“like virtually every other company these days, we are routinely targeted by whose only focus is to inflict harm on great american businesses,” she said. “while we will not comment on specific security measures, we are confident in the steps we have taken to protect our business and safeguard our information. our teams work diligently to deploy firewall and platforms with constant monitoring.”
the white house did not respond to requests for comment, according to the report.
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ˈprɛzɪdənt ˈpraɪvətli oʊnd ˈprɑpərtiz, ˌɪnˈkludɪŋ hɪz kləb ɪn ˈflɔrɪdə ənd trəmp ˌɪnərˈnæʃənɑl hoʊˈtɛl ɪn d.c*., ər raɪf wɪθ ˈdɪʤɪtəl ˌɪnsəˈkjʊrɪtiz ˈmeɪkɪŋ ðɛm praɪm ˈtɑrgəts fər ˈhækərz, əˈkɔrdɪŋ tɪ ə nu rɪˈpɔrt. ə ˈrisənt ˌɪnˌvɛstəˈgeɪʃən ˈɪntu fɔr əv ˈmɪstər. ˌhaɪˈproʊfaɪl ˈprɑpərtiz ənˈkəvərd ə ˈnəmbər əv pur sɪˈkjʊrəti ˈpræktɪsɪz ðət meɪ hæv ɔˈrɛdi bɪn ˈɛkˌsplɔɪtəd baɪ spaɪz, ˈhækərz ənd ˈəðər ˌædvənˈteɪʤəs ˈædvərˌsɛriz, ənd ˌriˈpɔrtəd ˈwɛnzˌdeɪ. ˈwikli ɪnˈkrɪptɪd ˈwaɪˌfaɪ ˈnɛtˌwərks, ˈpəblɪkli ækˈsɛsəbəl kəmˈpjutər ˈsərvərz ənd ðə juz əv ˈaʊtˌdeɪtɪd ˈsɔfˌwɛr ər ʤɪst ə fju ɪgˈzæmpəlz əv ðə ˈgeɪpɪŋ sɪˈkjʊrəti hoʊlz aɪˈdɛntəˌfaɪd baɪ ˌɪnˈvɛstəˌgeɪtɪv ˈʤərnəlɪsts ɪn ðɪs rɪˈpɔrt ˈfɑloʊɪŋ ən ˌənsəˈlɪsɪtɪd ˈɔdɪt əv fɔr trəmp ˈprɑpərtiz:, trəmp ˌɪnərˈnæʃənɑl hoʊˈtɛl ɪn d.c*. ənd trəmp ˈnæʃənəl gɔlf ˈkɔrsɪz ɪn nu ˈʤərzi ənd vərˈʤɪnjə. æt, wɛr ˈmɪstər. trəmp həz ˈfrikwɛntli ˈhoʊstɪd ˈfɔrən ˈdɪpləˌmæts ɪn əˈdɪʃən tɪ hɪz oʊn ˈstæfərz, ðə rɪˈpɔrtərz sɛd ðeɪ faʊnd θri ˈwikli ɪnˈkrɪptɪd ˈwaɪˌfaɪ ˈnɛtˌwərks ˈkeɪpəbəl əv biɪŋ krækt ɪn ə ˈmætər əv ˈmɪnəts, ɛz wɛl ɛz ə ˈpəblɪkli ækˈsɛsəbəl ˌkɑmbəˈneɪʃən ˈprɪnər ənd ˈskænər ənd ə misconfigured*, ˈɪntərˌnɛt ˈrutər. ˈwɛbˌsaɪt, ˈminˌwaɪl, hoʊsts ən ˈɪnsəkjər peɪʤ ðət kʊd ˈizəli bi briʧt baɪ ˈhækərz, pəˈtɛnʃəli prəˈvaɪdɪŋ ˌɪnˈtrudərz wɪθ ˈækˌsɛs tɪ ˈprɪvɪlɪʤd ˌɪnˌfɔrˈmeɪʃən kənˈsərnɪŋ ðə ˈpraɪvət well-placed*, ˈmɛmbərz, əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt. ˌʤɛrəˈmaɪə ˈgroʊsmən, ə ˈfɔrmər sɪˈkjʊrəti ˈɛkspərt fər ˈjɑˌhu naʊ wɪθ fərm sentinelone*, dɪˈskraɪbd ðə kənˈdɪʃənz æt ɛz ““bad*, ˈvɛri bad,”*,” ðə ˈʤərnəlɪsts roʊt. əˈsum ðə ˈdætə ɪz ɔˈrɛdi ˈstoʊlən ənd ˈsɪstəmz compromised,”*,” ˈmɪstər. ˈgroʊsmən sɛd. ˌɪnˈspɛkʃənz əv ˈmɪstər. gɔlf ˈkɔrsɪz ˈsɪmələrli aɪˈdɛntəˌfaɪd ˌənsɪˈkjʊrd ˈwaɪˌfaɪ ˈnɛtˌwərks æt fəˈsɪlɪtiz ɪn ˈbɛdmɪnstər, nu ˈʤərzi, ənd ˈstərlɪŋ, vərˈʤɪnjə, waɪl ə proʊb əv ðə ˌpɛnsəlˈveɪnjə ˈævəˌnu hoʊˈtɛl faʊnd ˈsərvərz ˈrənɪŋ ˈaʊtˌdeɪtɪd, ˈvəlnərəbəl ˈsɔfˌwɛr, ɛz wɛl ɛz ə pəˈtɛnʃəl ˈgeɪtˌweɪ tɪ ˈdætəˌbeɪsɪz kənˈteɪnɪŋ ˈsɛnsɪtɪv ˌɪnˌfɔrˈmeɪʃən, əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt. ˈnɛtˌwərks ɔl hæv tɪ bi ˈkrɔlɪŋ wɪθ ˈfɔrən ˌɪnˈtrudərz, nɑt ʤɪst propublica,”*,” sɛd deɪv aitel*, ʧif ɪgˈzɛkjətɪv ˈɔfɪsər əv ˈdɪʤɪtəl sɪˈkjʊrəti ˈkəmpəˌni ˌɪmˈjunɪti, ɪŋk. ðə ˈpɛnɪˌgɑn spɛnt 64 ˈmɪljən ɪn 2016 meɪnˈteɪnɪŋ kəmˈpjutər ˈnɛtˌwərks æt waɪt haʊs ənd kæmp ˈdeɪvɪd, ðə ˌprɛzɪˈdɛnʃəl riˈtrit ɪn ˈmɛrələnd, əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt., baɪ kəmˈpɛrəsən, bəʤd fər ɔl ɪts sɪˈkjʊrəti nidz læst jɪr, ˈdɪʤɪtəl ənd ˈəðərˌwaɪz. waɪl ðə ˌhɑspəˈtæləti ˈɪndəstri ɪz ˈhɑrdli noʊn fər ɪts ˈpɑzətɪv ˈpræktɪsɪz, gæps aɪˈdɛntəˌfaɪd æt ðə ˈprɑpərtiz poʊz sɪgˈnɪfɪkənt rɪsks ˈgɪvɪn ˈmɪstər. ˈtɛndənsi tɪ ˌɛnərˈteɪn ˈfɔrən ˈlidərz ənd juz. əˈfɪʃəlz əˈlaɪk æt hɪz ˈvɛriəs ɛˈstæblɪʃmənts. ðə trəmp ˌɔrgənəˈzeɪʃən ˈfɑloʊz bɛst practices,”*,” ˈspoʊksˌwʊmən əˈmændə ˈmɪlər toʊld ðə ˈɔθərz ɪn rɪˈspɑns tɪ ðɛr ˈfaɪndɪŋz. ˈvərʧuəli ˈɛvəri ˈəðər ˈkəmpəˌni ðiz deɪz, wi ər ruˈtinli ˈtɑrgətɪd baɪ huz ˈoʊnli ˈfoʊkɪs ɪz tɪ ˌɪnˈflɪkt hɑrm ɔn greɪt əˈmɛrɪkən businesses,”*,” ʃi sɛd. wi wɪl nɑt ˈkɑmɛnt ɔn spɪˈsɪfɪk sɪˈkjʊrəti ˈmɛʒərz, wi ər ˈkɑnfədənt ɪn ðə stɛps wi hæv ˈteɪkən tɪ prəˈtɛkt ɑr ˈbɪznɪs ənd ˈseɪfˌgɑrd ɑr ˌɪnˌfɔrˈmeɪʃən. ɑr timz wərk ˈdɪləʤəntli tɪ dɪˈplɔɪ ˈfaɪrwɑl ənd ˈplætˌfɔrmz wɪθ ˈkɑnstənt monitoring.”*.” ðə waɪt haʊs dɪd nɑt rɪˈspɑnd tɪ rɪkˈwɛsts fər ˈkɑmɛnt, əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt. ˈkɑpiˌraɪt 2019 ðə ˈwɔʃɪŋtən taɪmz, llc*. klɪk hir fər riˈprɪnt pərˈmɪʃən.
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according to the most recent statistics compiled by the egyptian environment agency and published in 2009, cairo produces up to tons of municipal waste per day. about 60 percent of this waste or tons– is collected, managed and disposed of by the, a good portion of the whom are based in nasser, on the slopes.
zabaleen are garbage men who collect garbage from urban areas, take it back to their place of residence, sort it out, and then personally sell, recycle, or dispose of it. in the process, the majority of trash piles up in the’s neighborhoods until it can be handpicked and disposed of meaning they have their thumbs on the pulse of the waste management problems.
so it was of major irritation to members of the spirit of youth an ngo formed by nasser residents and garbage collectors several years ago to represent the and ensure the maintenance of their residences when “clean homeland” campaign coordinators ditched their meetings and ignored their calls for discussions and ideas on how to address the severe waste problems.
“[the campaign] is political propaganda,” says, director of the spirit of youth. “they really want to fix waste problems, or discuss how to dispose of the mountains of waste that ends up in villages, they want pictures of young egyptians with brooms for the campaign.”
weeks ago, president pledged to fix the garbage problems within 100 days, after which young egyptians could be seen cleaning the streets for several days.
but despite the streets of cairo being considerably dirty and in need of a good broom, the main problems are actually with the waste management infrastructures and disposal facilities.
aside from the tons of trash collected by the, the remaining tons is supposed to be disposed of by multinational firms that were hired a decade ago.
but over the past couple of years, escalating reports show that garbage trucks have been dumping garbage all around the cairo ring road, in the desert (often around archaeological sites), and in rural irrigation canals.
last week egypt independent reported on the irrigation canals of abu sir, which were shown to be completely blocked and polluted, creating health concerns and damaging agriculture.
additionally, since the slaughter of pigs in 2009 (due to the swine flu craze), the no longer want to collect organic waste because it can no longer be fed to their pigs. now, they rummage through their collections before returning home, resulting in small piles of garbage scattered all over streets.
many other severe but smaller scale problems also exist, such as the continuous disposal of hazardous waste into normal waste bins.
“this is the reality of waste problems, and we have the plan and the workforce to fix it,” adds.
the spirit of youth, founded in 2004, was originally setup to represent the. however, they have since established a syndicate for workers in cleaning, and protection of the environment, and have formally registered 38 companies consisting of groups of individuals meaning they can be hired and required to pay taxes.
also, according to, there are currently about workers that are active and willing to clean egypt.
so, campaign silence aside, stopping them?
currently are self-funded, and make the majority of their money from recycling goods, or private collection arrangements with specific buildings throughout cairo.
naiem’s proposition to the campaign is to divide up polluted areas into districts and allocate the accordingly. each family of each building could then be required to pay per month to have the garbage picked up personally from outside their apartment, which translates into serious funds for the.
“with that sort of money, the could personally separate the garbage, recycle what they can, and then send the organic waste to compost sites and the remaining waste to the appropriate facilities which they do already, but lack finances and motivation to tackle the problem properly,” he says.
naiem also believes that egypt should cancel the contracts of the multinational companies, which cost millions of pounds, and reinvest that money into developing further waste disposal facilities.
“multinational companies function without proper law enforcement and infrastructure, which there now and will take a very long time to establish,” says. “once we have a proper system in place run by the that is feasible and works, then we can begin discussions on developing and improving the macro infrastructure.”
but so far, no practical, long-term plans have been provided by the “clean homeland” campaign as of yet.
in a statement to egypt independent following the initial days, ali shelby, a campaign supervisor, said that they planned to follow the turkish model for waste management, and fix the mixed system created by the old regime that combined the with multinational waste management companies.
but maintains that egypt have the money or the same issues that turkey did, and that meetings with the campaign have been ditched, and follow up calls ignored. “if they were serious, they would at least sit down for discussions and listen to what we have to offer,” he adds.
waleed el senussi, a chief coordinator of the campaign, with who the were initially in contact with, declined to comment.
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əˈkɔrdɪŋ tɪ ðə moʊst ˈrisənt stəˈtɪstɪks kəmˈpaɪld baɪ ðə ɪˈʤɪpʃən ɪnˈvaɪrənmənt ˈeɪʤənsi ənd ˈpəblɪʃt ɪn 2009 ˈkaɪroʊ prəˈdusɪz əp tɪ tənz əv mjuˈnɪsəpəl weɪst pər deɪ. əˈbaʊt 60 pərˈsɛnt əv ðɪs weɪst ər tons–*– ɪz kəˈlɛktəd, ˈmænɪʤd ənd dɪˈspoʊzd əv baɪ ðə, ə gʊd ˈpɔrʃən əv ðə hum ər beɪst ɪn ˈnæsər, ɔn ðə sloʊps. ər ˈgɑrbɪʤ mɛn hu kəˈlɛkt ˈgɑrbɪʤ frəm ˈərbən ˈɛriəz, teɪk ɪt bæk tɪ ðɛr pleɪs əv ˈrɛzɪdəns, sɔrt ɪt aʊt, ənd ðɛn ˈpərsənəli sɛl, riˈsaɪkəl, ər dɪˈspoʊz əv ɪt. ɪn ðə ˈprɔˌsɛs, ðə məˈʤɔrəti əv træʃ paɪlz əp ɪn ðə ˈneɪbərˌhʊdz ənˈtɪl ɪt kən bi ˈhændˈpɪkt ənd dɪˈspoʊzd əv ˈminɪŋ ðeɪ hæv ðɛr θəmz ɔn ðə pəls əv ðə weɪst ˈmænɪʤmənt ˈprɑbləmz. soʊ ɪt wɑz əv ˈmeɪʤər ˌɪrɪˈteɪʃən tɪ ˈmɛmbərz əv ðə ˈspɪrɪt əv juθ ən ɛŋˈgoʊ fɔrmd baɪ ˈnæsər ˈrɛzɪdənts ənd ˈgɑrbɪʤ kəˈlɛktərz ˈsɛvərəl jɪrz əˈgoʊ tɪ ˌrɛprɪˈzɛnt ðə ənd ɪnˈʃʊr ðə ˈmeɪntənəns əv ðɛr ˈrɛzɪdənsɪz wɪn homeland”*” kæmˈpeɪn koʊˈɔrdəˌneɪtərz dɪʧt ðɛr ˈmitɪŋz ənd ˌɪgˈnɔrd ðɛr kɔlz fər dɪˈskəʃənz ənd aɪˈdiəz ɔn haʊ tɪ ˈæˌdrɛs ðə səˈvɪr weɪst ˈprɑbləmz. kæmˈpeɪn] ɪz pəˈlɪtɪkəl propaganda,”*,” sɪz, dɪˈrɛktər əv ðə ˈspɪrɪt əv juθ. ˈrɪli wɔnt tɪ fɪks weɪst ˈprɑbləmz, ər dɪˈskəs haʊ tɪ dɪˈspoʊz əv ðə ˈmaʊntənz əv weɪst ðət ɛndz əp ɪn ˈvɪlɪʤɪz, ðeɪ wɔnt ˈpɪkʧərz əv jəŋ ɪˈʤɪpʃənz wɪθ brumz fər ðə campaign.”*.” wiks əˈgoʊ, ˈprɛzɪdənt plɛʤd tɪ fɪks ðə ˈgɑrbɪʤ ˈprɑbləmz wɪˈθɪn 100 deɪz, ˈæftər wɪʧ jəŋ ɪˈʤɪpʃənz kʊd bi sin ˈklinɪŋ ðə strits fər ˈsɛvərəl deɪz. bət dɪˈspaɪt ðə strits əv ˈkaɪroʊ biɪŋ kənˈsɪdərəbli ˈdərti ənd ɪn nid əv ə gʊd brum, ðə meɪn ˈprɑbləmz ər ˈæˌkʧuəli wɪθ ðə weɪst ˈmænɪʤmənt ˌɪnfrəˈstrəkʧərz ənd dɪˈspoʊzəl fəˈsɪlɪtiz. əˈsaɪd frəm ðə tənz əv træʃ kəˈlɛktəd baɪ ðə, ðə rɪˈmeɪnɪŋ tənz ɪz səˈpoʊzd tɪ bi dɪˈspoʊzd əv baɪ ˌməlˌtiˈnæʃənəl fərmz ðət wər haɪərd ə ˈdɛkeɪd əˈgoʊ. bət ˈoʊvər ðə pæst ˈkəpəl əv jɪrz, ˈɛskəˌleɪtɪŋ rɪˈpɔrts ʃoʊ ðət ˈgɑrbɪʤ trəks hæv bɪn ˈdəmpɪŋ ˈgɑrbɪʤ ɔl əraʊnd ðə ˈkaɪroʊ rɪŋ roʊd, ɪn ðə ˈdɛzərt (ˈɔfən əraʊnd ˌɑrkiəˈlɑʤɪkəl saɪts), ənd ɪn ˈrʊrəl ˌɪrəˈgeɪʃən kəˈnælz. læst wik ˈiʤɪpt ˌɪndɪˈpɛndənt ˌriˈpɔrtəd ɔn ðə ˌɪrəˈgeɪʃən kəˈnælz əv ˈæbu sər, wɪʧ wər ʃoʊn tɪ bi kəmˈplitli blɑkt ənd pəˈlutɪd, kriˈeɪtɪŋ hɛlθ kənˈsərnz ənd ˈdæmɪʤɪŋ ˈægrɪˌkəlʧər. əˈdɪʃəˌnəli, sɪns ðə sˈlɔtər əv pɪgz ɪn 2009 (du tɪ ðə swaɪn flu kreɪz), ðə noʊ ˈlɔŋgər wɔnt tɪ kəˈlɛkt ɔrˈgænɪk weɪst bɪˈkəz ɪt kən noʊ ˈlɔŋgər bi fɛd tɪ ðɛr pɪgz. naʊ, ðeɪ ˈrəmɪʤ θru ðɛr kəˈlɛkʃənz ˌbiˈfɔr rɪˈtərnɪŋ hoʊm, rɪˈzəltɪŋ ɪn smɔl paɪlz əv ˈgɑrbɪʤ ˈskætərd ɔl ˈoʊvər strits. ˈmɛni ˈəðər səˈvɪr bət sˈmɔlər skeɪl ˈprɑbləmz ˈɔlsoʊ ɪgˈzɪst, səʧ ɛz ðə kənˈtɪnjuəs dɪˈspoʊzəl əv ˈhæzərdəs weɪst ˈɪntu ˈnɔrməl weɪst bɪnz. ɪz ðə ˌriˈæləˌti əv weɪst ˈprɑbləmz, ənd wi hæv ðə plæn ənd ðə ˈwərkˌfɔrs tɪ fɪks it,”*,” ædz. ðə ˈspɪrɪt əv juθ, ˈfaʊndɪd ɪn 2004 wɑz ərˈɪʤənəli ˈsɛˌtəp tɪ ˌrɛprɪˈzɛnt ðə. ˌhaʊˈɛvər, ðeɪ hæv sɪns ɪˈstæblɪʃt ə ˈsɪndɪkət fər ˈwərkərz ɪn ˈklinɪŋ, ənd prəˈtɛkʃən əv ðə ɪnˈvaɪrənmənt, ənd hæv ˈfɔrməli ˈrɛʤɪstərd 38 ˈkəmpəˌniz kənˈsɪstɪŋ əv grups əv ˌɪndəˈvɪʤəwəlz ˈminɪŋ ðeɪ kən bi haɪərd ənd rikˈwaɪərd tɪ peɪ ˈtæksɪz. ˈɔlsoʊ, əˈkɔrdɪŋ tɪ, ðɛr ər ˈkərəntli əˈbaʊt ˈwərkərz ðət ər ˈæktɪv ənd ˈwɪlɪŋ tɪ klin ˈiʤɪpt. soʊ, kæmˈpeɪn ˈsaɪləns əˈsaɪd, ˈstɑpɪŋ ðɛm? ˈkərəntli ər self-funded*, ənd meɪk ðə məˈʤɔrəti əv ðɛr ˈməni frəm riˈsaɪkəlɪŋ gʊdz, ər ˈpraɪvət kəˈlɛkʃən ərˈeɪnʤmənts wɪθ spɪˈsɪfɪk ˈbɪldɪŋz θruaʊt ˈkaɪroʊ. ˌprɑpəˈzɪʃən tɪ ðə kæmˈpeɪn ɪz tɪ dɪˈvaɪd əp pəˈlutɪd ˈɛriəz ˈɪntu ˈdɪstrɪkts ənd ˈæləˌkeɪt ðə əˈkɔrdɪŋli. iʧ ˈfæməli əv iʧ ˈbɪldɪŋ kʊd ðɛn bi rikˈwaɪərd tɪ peɪ pər mənθ tɪ hæv ðə ˈgɑrbɪʤ pɪkt əp ˈpərsənəli frəm ˈaʊtˈsaɪd ðɛr əˈpɑrtmənt, wɪʧ ˈtrænsˌleɪts ˈɪntu ˈsɪriəs fəndz fər ðə. ðət sɔrt əv ˈməni, ðə kʊd ˈpərsənəli ˈsɛpərˌeɪt ðə ˈgɑrbɪʤ, riˈsaɪkəl wət ðeɪ kən, ənd ðɛn sɛnd ðə ɔrˈgænɪk weɪst tɪ ˈkɑmpoʊst saɪts ənd ðə rɪˈmeɪnɪŋ weɪst tɪ ðə əˈproʊpriˌeɪt fəˈsɪlɪtiz wɪʧ ðeɪ du ɔˈrɛdi, bət læk ˈfaɪˌnænsɪz ənd ˌmoʊtəˈveɪʃən tɪ ˈtækəl ðə ˈprɑbləm properly,”*,” hi sɪz. ˈɔlsoʊ bɪˈlivz ðət ˈiʤɪpt ʃʊd ˈkænsəl ðə ˈkɑnˌtrækts əv ðə ˌməlˌtiˈnæʃənəl ˈkəmpəˌniz, wɪʧ kɔst ˈmɪljənz əv paʊnz, ənd ˌriɪnˈvɛst ðət ˈməni ˈɪntu dɪˈvɛləpɪŋ ˈfərðər weɪst dɪˈspoʊzəl fəˈsɪlɪtiz. ˈkəmpəˌniz ˈfəŋkʃən wɪˈθaʊt ˈprɑpər lɔ ɛnˈfɔrsmənt ənd ˌɪnfrəˈstrəkʧər, wɪʧ ðɛr naʊ ənd wɪl teɪk ə ˈvɛri lɔŋ taɪm tɪ establish,”*,” sɪz. wi hæv ə ˈprɑpər ˈsɪstəm ɪn pleɪs rən baɪ ðə ðət ɪz ˈfizəbəl ənd wərks, ðɛn wi kən bɪˈgɪn dɪˈskəʃənz ɔn dɪˈvɛləpɪŋ ənd ˌɪmˈpruvɪŋ ðə ˈmækroʊ infrastructure.”*.” bət soʊ fɑr, noʊ ˈpræktɪkəl, ˈlɔŋˈtərm plænz hæv bɪn prəˈvaɪdɪd baɪ ðə homeland”*” kæmˈpeɪn ɛz əv jɛt. ɪn ə ˈsteɪtmənt tɪ ˈiʤɪpt ˌɪndɪˈpɛndənt ˈfɑloʊɪŋ ðə ˌɪˈnɪʃəl deɪz, ˈɑli ˈʃɛlbi, ə kæmˈpeɪn ˈsupərˌvaɪzər, sɛd ðət ðeɪ plænd tɪ ˈfɑloʊ ðə ˈtərkɪʃ ˈmɑdəl fər weɪst ˈmænɪʤmənt, ənd fɪks ðə mɪkst ˈsɪstəm kriˈeɪtɪd baɪ ðə oʊld rəˈʒim ðət kəmˈbaɪnd ðə wɪθ ˌməlˌtiˈnæʃənəl weɪst ˈmænɪʤmənt ˈkəmpəˌniz. bət meɪnˈteɪnz ðət ˈiʤɪpt hæv ðə ˈməni ər ðə seɪm ˈɪʃuz ðət ˈtərki dɪd, ənd ðət ˈmitɪŋz wɪθ ðə kæmˈpeɪn hæv bɪn dɪʧt, ənd ˈfɑloʊ əp kɔlz ˌɪgˈnɔrd. ðeɪ wər ˈsɪriəs, ðeɪ wʊd æt list sɪt daʊn fər dɪˈskəʃənz ənd ˈlɪsən tɪ wət wi hæv tɪ offer,”*,” hi ædz. ˌwɑˈlid ɛl senussi*, ə ʧif koʊˈɔrdəˌneɪtər əv ðə kæmˈpeɪn, wɪθ hu ðə wər ˌɪˈnɪʃəli ɪn ˈkɑnˌtækt wɪθ, dɪˈklaɪnd tɪ ˈkɑmɛnt.
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just hours after ford ceo complained of the "huge impact" of donald trump's proposed trade plans, following the company's plan to move a substantial portion of its production to mexico from a factory in michigan, donald trump “just got a call from my friend bill ford, chairman of ford, who advised me that he will be keeping the lincoln plant in kentucky -- no mexico," seemingly winning his first 'america-first' victory.
as reported yesterday, ford motor co. chief executive mark fields issued a warning about donald proposed trade policies, saying high tariffs on automobiles and other products coming into the u.s. would be a blow to the auto industry and broader u.s. economy.
mr. fields, speaking with reporters on the sidelines of the los angeles auto show on tuesday, said ford has talked to mr. transition team and believes the company can work with the new administration. during a separate interview, he said, “we all share the same objective; we want a vibrant and healthy u.s. economy.” the two sides, however, appear to be at odds on how to achieve that goal. plan to move a substantial portion of its production to mexico from a factory in michigan was heavily criticized by mr. trump on the campaign trail. like many of its rivals, ford is building light trucks in the u.s. while investing in new capacity in mexico to produce small cars.
and then hours later, donald trump...
just got a call from my friend bill ford, chairman of ford, who advised me that he will be keeping the lincoln plant in kentucky - no mexico donald j. trump (@realdonaldtrump) november 18, 2016
i worked hard with bill ford to keep the lincoln plant in kentucky. i owed it to the great state of kentucky for their confidence in me! donald j. trump (@realdonaldtrump) november 18, 2016
which was followed by a statement from ford confirming trump's comment...
"today, we confirmed with the that our small lincoln utility vehicle made at the louisville assembly plant will stay in kentucky,” ford spokesperson baker says in e-mail statement. “we are encouraged that trump and the new congress will pursue policies that will improve u.s. competitiveness and make it possible to keep production of this vehicle here in the united states”
leaving donald trump with his first victory since being elected.
the question is - why didn't, wouldn't president obama do this?
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ʤɪst aʊərz ˈæftər fɔrd ˈsiˌiˈoʊ kəmˈpleɪnd əv ðə "juʤ ˌɪmˈpækt" əv ˈdɑnəld trəmps prəˈpoʊzd treɪd plænz, ˈfɑloʊɪŋ ðə ˈkəmpəniz plæn tɪ muv ə səbˈstænʃəl ˈpɔrʃən əv ɪts pərˈdəkʃən tɪ ˈmɛksəˌkoʊ frəm ə ˈfæktəri ɪn ˈmɪʃɪgən, ˈdɑnəld trəmp gɑt ə kɔl frəm maɪ frɛnd bɪl fɔrd, ˈʧɛrmən əv fɔrd, hu ədˈvaɪzd mi ðət hi wɪl bi ˈkipɪŋ ðə ˈlɪŋkən plænt ɪn kənˈtəki noʊ ˈmɛksəˌkoʊ," ˈsimɪŋli ˈwɪnɪŋ hɪz fərst 'america-first*' ˈvɪktəri. ɛz ˌriˈpɔrtəd ˈjɛstərˌdeɪ, fɔrd ˈmoʊtər koʊ. ʧif ɪgˈzɛkjətɪv mɑrk fildz ˈɪʃud ə ˈwɔrnɪŋ əˈbaʊt ˈdɑnəld prəˈpoʊzd treɪd ˈpɑləsiz, seɪɪŋ haɪ ˈtɛrəfs ɔn ˌɔtəmoʊˈbilz ənd ˈəðər ˈprɑdəkts ˈkəmɪŋ ˈɪntu ðə juz. wʊd bi ə bloʊ tɪ ðə ˈɔtoʊ ˈɪndəstri ənd ˈbrɔdər juz. ɪˈkɑnəmi. ˈmɪstər. fildz, ˈspikɪŋ wɪθ rɪˈpɔrtərz ɔn ðə ˈsaɪˌdlaɪnz əv ðə lɔs ˈænʤəlɪs ˈɔtoʊ ʃoʊ ɔn ˈtuzˌdeɪ, sɛd fɔrd həz tɔkt tɪ ˈmɪstər. trænˈzɪʃən tim ənd bɪˈlivz ðə ˈkəmpəˌni kən wərk wɪθ ðə nu ædˌmɪnɪˈstreɪʃən. ˈdʊrɪŋ ə ˈsɛpərˌeɪt ˈɪntərvˌju, hi sɛd, ɔl ʃɛr ðə seɪm əˈbʤɛktɪv; wi wɔnt ə ˈvaɪbrənt ənd ˈhɛlθi juz. economy.”*.” ðə tu saɪdz, ˌhaʊˈɛvər, əˈpɪr tɪ bi æt ɑdz ɔn haʊ tɪ əˈʧiv ðət goʊl. plæn tɪ muv ə səbˈstænʃəl ˈpɔrʃən əv ɪts pərˈdəkʃən tɪ ˈmɛksəˌkoʊ frəm ə ˈfæktəri ɪn ˈmɪʃɪgən wɑz ˈhɛvəli ˈkrɪtəˌsaɪzd baɪ ˈmɪstər. trəmp ɔn ðə kæmˈpeɪn treɪl. laɪk ˈmɛni əv ɪts ˈraɪvəlz, fɔrd ɪz ˈbɪldɪŋ laɪt trəks ɪn ðə juz. waɪl ˌɪnˈvɛstɪŋ ɪn nu kəˈpæsɪti ɪn ˈmɛksəˌkoʊ tɪ ˈproʊdus smɔl kɑz. ənd ðɛn aʊərz ˈleɪtər, ˈdɑnəld trəmp... ʤɪst gɑt ə kɔl frəm maɪ frɛnd bɪl fɔrd, ˈʧɛrmən əv fɔrd, hu ədˈvaɪzd mi ðət hi wɪl bi ˈkipɪŋ ðə ˈlɪŋkən plænt ɪn kənˈtəki noʊ ˈmɛksəˌkoʊ ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) noʊˈvɛmbər 18 2016 aɪ wərkt hɑrd wɪθ bɪl fɔrd tɪ kip ðə ˈlɪŋkən plænt ɪn kənˈtəki. aɪ oʊd ɪt tɪ ðə greɪt steɪt əv kənˈtəki fər ðɛr ˈkɑnfədɛns ɪn mi! ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) noʊˈvɛmbər 18 2016 wɪʧ wɑz ˈfɑloʊd baɪ ə ˈsteɪtmənt frəm fɔrd kənˈfərmɪŋ trəmps ˈkɑmɛnt... "təˈdeɪ, wi kənˈfərmd wɪθ ðə ðət ɑr smɔl ˈlɪŋkən juˈtɪləti ˈviɪkəl meɪd æt ðə ˈluiˌvɪl əˈsɛmbli plænt wɪl steɪ ɪn kentucky,”*,” fɔrd ˈspoʊkspərsən ˈbeɪkər sɪz ɪn ˈiˌmeɪl ˈsteɪtmənt. ər ɪnˈkərəʤd ðət trəmp ənd ðə nu ˈkɑŋgrəs wɪl pərˈsu ˈpɑləsiz ðət wɪl ˌɪmˈpruv juz. kəmˈpɛtɪtɪvnɪs ənd meɪk ɪt ˈpɑsəbəl tɪ kip pərˈdəkʃən əv ðɪs ˈviɪkəl hir ɪn ðə juˈnaɪtɪd states”*” ˈlivɪŋ ˈdɑnəld trəmp wɪθ hɪz fərst ˈvɪktəri sɪns biɪŋ ɪˈlɛktɪd. ðə kˈwɛʃən ɪz waɪ ˈdɪdənt, ˈwʊdənt ˈprɛzɪdənt ˌoʊˈbɑmə du ðɪs?
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speaking at a news conference monday, washington redskins coach mike shanahan again refused to announce a week 15 starter at quarterback.
shanahan emphasized that his priority is protecting the franchise's investment in robert griffin iii, who has been sacked 24 times in the past five games. if is indeed benched, shanahan confirmed it would be for the remainder of the season.
the inference is that the coaching staff isn't sure the offensive line can keep griffin upright.
"i want to make sure he's healthy going into off season," shanahan explained. "i'll think about it and decide wednesday."
regarding his relationship with griffin, shanahan said, "i told him i'm his coach," not his "best friend."
if shanahan is truly considering his starting quarterback because of pass protection concerns, he will be setting nfl history. we can't recall a single circumstance where the backup was inserted as a sacrificial lamb because the starter was taking too many sacks.
the latest "around the league podcast" recapped all the week 14 games.
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ˈspikɪŋ æt ə nuz ˈkɑnfərəns ˈmənˌdeɪ, ˈwɔʃɪŋtən ˈrɛdˌskɪnz koʊʧ maɪk ˈʃænəhæn əˈgɛn rɪfˈjuzd tɪ əˈnaʊns ə wik 15 ˈstɑrtər æt kˈwɔrtərˌbæk. ˈʃænəhæn ˈɛmfəˌsaɪzd ðət hɪz praɪˈɔrəti ɪz prəˈtɛktɪŋ ðə ˈfrænˌʧaɪzɪz ˌɪnˈvɛstmənt ɪn ˈrɑbərt ˈgrɪfɪn iii*, hu həz bɪn sækt 24 taɪmz ɪn ðə pæst faɪv geɪmz. ɪf ɪz ˌɪnˈdid benched*, ˈʃænəhæn kənˈfərmd ɪt wʊd bi fər ðə rɪˈmeɪndər əv ðə ˈsizən. ðə ˈɪnfərəns ɪz ðət ðə ˈkoʊʧɪŋ stæf ˈɪzənt ʃʊr ðə əˈfɛnsɪv laɪn kən kip ˈgrɪfɪn ˈəˌpraɪt. "aɪ wɔnt tɪ meɪk ʃʊr hiz ˈhɛlθi goʊɪŋ ˈɪntu ɔf ˈsizən," ˈʃænəhæn ɪkˈspleɪnd. "aɪl θɪŋk əˈbaʊt ɪt ənd ˌdɪˈsaɪd ˈwɛnzˌdeɪ." rɪˈgɑrdɪŋ hɪz riˈleɪʃənˌʃɪp wɪθ ˈgrɪfɪn, ˈʃænəhæn sɛd, "aɪ toʊld ɪm əm hɪz koʊʧ," nɑt hɪz "bɛst frɛnd." ɪf ˈʃænəhæn ɪz ˈtruli kənˈsɪdərɪŋ hɪz ˈstɑrtɪŋ kˈwɔrtərˌbæk bɪˈkəz əv pæs prəˈtɛkʃən kənˈsərnz, hi wɪl bi ˈsɛtɪŋ ˈɛˌnɛˈfɛl ˈhɪstəri. wi kænt ˈriˌkɔl ə ˈsɪŋgəl ˈsərkəmˌstæns wɛr ðə ˈbæˌkəp wɑz ˌɪnˈsərtɪd ɛz ə ˌsækrəˈfɪʃəl læm bɪˈkəz ðə ˈstɑrtər wɑz ˈteɪkɪŋ tu ˈmɛni sæks. ðə ˈleɪtəst "əraʊnd ðə lig ˈpɔdˌkæst" riˈkæpt ɔl ðə wik 14 geɪmz.
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processor: amd 4100 processor
memory/ram:
power supply: - 80 plus gold power supply
graphics card: sapphire amd 7950
operating system: windows 8 professional
amd drivers: beta
cgminer:
gpu settings: afterburner
update warning: if mining coins) do not upgrade to anything above, as the mining element has been removed.
overview
this tutorial is a compliment to the-linux tutorial. you can find that here. in comparing windows, and linux for mining purposes. windows has some important features, that linux simply does not have. the most important, is the capacity to adjust the voltage settings on "unlocked" graphics cards. this can lower your temperatures by 10c, which is significant, when it comes to mining. this configuration of, i will be using two sapphire amd 7950s,
system
first, download, and install the drivers, and the software. they can be found at the links above. always use the latest version. if you run into problems, you can always roll back your drivers, and versions. unzip into a folder on your main drive. for example: make sure you reboot your computer, after you've completed the installation.
once the reboot is complete. we need to set our environmental variables. open your command prompt (with administrator access), and type the following commands:
setx_max_alloc_percent 100
setx_use_sync_objects 1
it should give you a visual confirmation, that it was successful. you can double check that these environmental variables are set, by going into the control environmental variables for your account. this should open a new window, where your environmental variables are shown. if you do not see them here, you must add them in. click "new", and enter the variable name, and value above. it should look something like this:
now that you've verified the installation of the environmental variables, we can verify that recognizes your. in your command prompt:
cd /
cd-3.4.0-windows #whatever the directory name, is in
cgminer.exe -n
the result should look like this:
cgminer configurations
first, open windows explorer, and navigate to your directory. inside, you'll find a file named:. rename your to.conf. this will be where the default settings for will be stored. it will access it every time you start.
open your newly renamed.conf. this will give you a good head start on creating your file. depending on how you want to configure your mining rig, these settings can be static, or dynamic. you can find all of the possible commands inside the directory, in the "readme" & "scrypt-readme" files.
pulling information from my previous sapphire 7950 installations, i already know a good working range for the speeds. some of these basic settings for the 7950 can be found in this review: sapphire 7950 graphics card review. below are the settings i used for this tutorial. your results may vary.
now that we have our.conf configured. we need to create a .bat file inside the directory. you can do this by "right document, inside the directory. name the file-start.bat (or something you'll remember). this file will be setup to automatically start mining when your computer reboots. i automatically delete the .bin file. i do this every time starts up. by not deleting your .bin file, it can be the source of many problems. the .bin file stores information about your settings. it's good practice to automatically delete this file. the settings are as follows:
del *.bin
cgminer.exe
now that we have our.conf and-start.bat we can begin our final adjustments.
initialize -
cgminer can be initialized, by simply on the-start.bat file. once it starts up, you can then begin card optimization.
using the configuration settings for the sapphire 7950 above, this is the result. keep in mind, there was no modification of the voltage settings. hence, the high temperatures. manually adjusting's settings can be done by pressing [g] on your keyboard. this will bring you to a menu where you can select which option you need to adjust. get to know the adjustment settings in, they can save you a lot of time, when fine tuning your's. alternatively, you can adjust your settings inside afterburner, in real time. either option works well.
msi afterburner configuration
using afterburner is crucial when mining on windows. it's relatively easy to install, and get setup. you can download the latest version of afterburner at the link above.
after installing afterburner, you'll need to modify your configuration file. it's located in: files open theafterburner.cfg, and near the bottom of the file, you'll see this area:
you must add the correct information in the fields, like in the picture above. this will enable afterburner to your graphics card. please note, that any damage to your computer, or graphics cards, are your own responsibility.
inside afterburner, in the settings menu, you'll see the following.
master graphics processor selection
- sync's only if they are the same type & speed
general properties
- start with windows - do this if you want your mining to be automated at startup
compatibility properties
- enable all of these properties for over clocking & stability
update checking properties
- only enable if you want to check for software updates to afterburner
amd compatibility properties
- enable extending officialing limits, use caution
knowing that my configuration is good at the current settings. i need to lower the voltage, to get the temperatures down. on the sapphire amd 7950's, the stock voltage is: 1.125v. after some adjustment, i ended up with a voltage of 1.100v. this ran stable, and cool. just what we want.
after i determined the settings that worked best with the 7950's, i "saved" those settings within afterburner, as a "profile". making it easy to recall these settings. since this mining rig will be automated, i selected "applying at system startup". this will apply my saved profile "1", every time i boot up the computer.
compare stock voltage vs.
in the illustration below, i wanted to show the temperature difference between stock voltage, and the. the result speaks volumes.
vs
keep in mind that this test was performed with an "open-air" rig, using risers. ambient room temperature of
automating startup
automating startup in windows is fairly straight forward. make sure that your afterburner settings, are saved in a profile, and you've selected the appropriate settings for startup.
a good practice is to create a shortcut for your-start.bat, by right mouse click > create shortcut. then drag this shortcut to your desktop. this will keep available for quick access. once the shortcut is created, you'll want to copy it into the startup directory. the path should look something like this: menu\programs\startup\
this will trigger every time you startup your computer. it's a simplistic approach, but it works.
my.conf in an easy to format - :
{
"pools" : [
{
"url" :",
"user" : "username",
"pass" : "password"
},
{
"url" : "poolinfo",
"user" : "username",
"pass" : "password"
},
{
"url" : "poolinfo",
"user" : "username",
"pass" : "password"
}
],
"intensity" : "19",
"vectors" : "1",
"worksize" : "256",
"kernel" : "scrypt",
"lookup-gap" : "0",
"thread-concurrency" : "21376",
"shaders" : "0",
"gpu-engine" : "1100",
"gpu-fan" : "85",
"gpu-memclock" : "1600",
"gpu-memdiff" : "0",
"gpu-powertune" : "20",
"gpu-vddc" : "0.000",
"temp-cutoff" : "95",
"temp-overheat" : "85",
"temp-target" : "75",
"api-listen" : true,
"api-port" : "4028",
"expiry" : "120",
"failover-only" : true,
"gpu-dyninterval" : "7",
"gpu-platform" : "0",
"gpu-threads" : "1",
"hotplug" : "5",
"log" : "5",
"no-pool-disable" : true,
"queue" : "1",
"scan-time" : "30",
"scrypt" : true,
"temp-hysteresis" : "3",
"shares" : "0",
"kernel-path" : "/usr/local/bin"
}
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ˈprɑˌsɛsər: ˈeɪˌɛmˈdi 4100 ˈprɑˌsɛsər memory/ram*: paʊər səˈplaɪ: 80 pləs goʊld paʊər səˈplaɪ ˈgræfɪks kɑrd: ˈsæfaɪər ˈeɪˌɛmˈdi 7950 ˈɔpərˌeɪtɪŋ ˈsɪstəm: ˈwɪndoʊz 8 prəˈfɛʃənəl ˈeɪˌɛmˈdi ˈdraɪvərz: ˈbeɪtə: ˈsɛtɪŋz: ˈæftərˌbərnər ˈəpˌdeɪt ˈwɔrnɪŋ: ɪf ˈmaɪnɪŋ kɔɪnz) du nɑt ˈəpˈgreɪd tɪ ˈɛniˌθɪŋ əˈbəv ɛz ðə ˈmaɪnɪŋ ˈɛləmənt həz bɪn riˈmuvd. ˈoʊvərvˌju ðɪs tuˈtɔriəl ɪz ə ˈkɑmpləmɛnt tɪ ðə tuˈtɔriəl. ju kən faɪnd ðət hir. ɪn kəmˈpɛrɪŋ ˈwɪndoʊz, ənd ˈlɪnəks fər ˈmaɪnɪŋ ˈpərpəsɪz. ˈwɪndoʊz həz səm ˌɪmˈpɔrtənt ˈfiʧərz, ðət ˈlɪnəks ˈsɪmpli dɪz nɑt hæv. ðə moʊst ˌɪmˈpɔrtənt, ɪz ðə kəˈpæsɪti tɪ əˈʤəst ðə ˈvoʊltɪʤ ˈsɛtɪŋz ɔn "ənˈlɑkt" ˈgræfɪks kɑrdz. ðɪs kən loʊər jʊr ˈtɛmpərəʧərz baɪ 10c*, wɪʧ ɪz sɪgˈnɪfɪkənt, wɪn ɪt kəmz tɪ ˈmaɪnɪŋ. ðɪs kənˌfɪgjərˈeɪʃən əv, aɪ wɪl bi ˈjuzɪŋ tu ˈsæfaɪər ˈeɪˌɛmˈdi 7950 gpus*, ˈsɪstəm fərst, ˈdaʊnˌloʊd, ənd ˌɪnˈstɔl ðə ˈdraɪvərz, ənd ðə ˈsɔfˌwɛr. ðeɪ kən bi faʊnd æt ðə lɪŋks əˈbəv. ˈɔlˌweɪz juz ðə ˈleɪtəst ˈvərʒən. ɪf ju rən ˈɪntu ˈprɑbləmz, ju kən ˈɔlˌweɪz roʊl bæk jʊr ˈdraɪvərz, ənd ˈvərʒənz. ənˈzɪp ˈɪntu ə ˈfoʊldər ɔn jʊr meɪn draɪv. fər ɪgˈzæmpəl: meɪk ʃʊr ju riˈbut jʊr kəmˈpjutər, ˈæftər juv kəmˈplitɪd ðə ˌɪnstəˈleɪʃən. wəns ðə riˈbut ɪz kəmˈplit. wi nid tɪ sɛt ɑr ɪnˌvaɪrənˈmɛnəl ˈvɛriəbəlz. ˈoʊpən jʊr kəˈmænd prɑmpt (wɪθ ədˈmɪnɪˌstreɪtər ˈækˌsɛs), ənd taɪp ðə ˈfɑloʊɪŋ kəˈmændz: 100 1 ɪt ʃʊd gɪv ju ə ˈvɪʒəwəl ˌkɑnfərˈmeɪʃən, ðət ɪt wɑz səkˈsɛsfəl. ju kən ˈdəbəl ʧɛk ðət ðiz ɪnˌvaɪrənˈmɛnəl ˈvɛriəbəlz ər sɛt, baɪ goʊɪŋ ˈɪntu ðə kənˈtroʊl ɪnˌvaɪrənˈmɛnəl ˈvɛriəbəlz fər jʊr əˈkaʊnt. ðɪs ʃʊd ˈoʊpən ə nu ˈwɪndoʊ, wɛr jʊr ɪnˌvaɪrənˈmɛnəl ˈvɛriəbəlz ər ʃoʊn. ɪf ju du nɑt si ðɛm hir, ju məst æd ðɛm ɪn. klɪk "nu", ənd ˈɛnər ðə ˈvɛriəbəl neɪm, ənd ˈvælju əˈbəv. ɪt ʃʊd lʊk ˈsəmθɪŋ laɪk ðɪs: naʊ ðət juv ˈvɛrəˌfaɪd ðə ˌɪnstəˈleɪʃən əv ðə ɪnˌvaɪrənˈmɛnəl ˈvɛriəbəlz, wi kən ˈvɛrəˌfaɪ ðət ˈrɛkəgˌnaɪzɪz jʊr. ɪn jʊr kəˈmænd prɑmpt: ˈsiˈdi ˈsiˈdi #ˌwəˈtɛvər ðə dɪˈrɛktəri neɪm, ɪz ɪn -ɛn ðə rɪˈzəlt ʃʊd lʊk laɪk ðɪs: kənˌfɪgjərˈeɪʃənz fərst, ˈoʊpən ˈwɪndoʊz ɪkˈsplɔrər, ənd ˈnævəˌgeɪt tɪ jʊr dɪˈrɛktəri. ˌɪnˈsaɪd, jul faɪnd ə faɪl neɪmd:. riˈneɪm jʊr tɪ. ðɪs wɪl bi wɛr ðə dɪˈfɔlt ˈsɛtɪŋz fər wɪl bi stɔrd. ɪt wɪl ˈækˌsɛs ɪt ˈɛvəri taɪm ju stɑrt. ˈoʊpən jʊr ˈnuli riˈneɪmd. ðɪs wɪl gɪv ju ə gʊd hɛd stɑrt ɔn kriˈeɪtɪŋ jʊr faɪl. dɪˈpɛndɪŋ ɔn haʊ ju wɔnt tɪ kənˈfɪgjər jʊr ˈmaɪnɪŋ rɪg, ðiz ˈsɛtɪŋz kən bi ˈstætɪk, ər daɪˈnæmɪk. ju kən faɪnd ɔl əv ðə ˈpɑsəbəl kəˈmændz ˌɪnˈsaɪd ðə dɪˈrɛktəri, ɪn ðə "readme*" "scrypt-readme*" faɪlz. ˈpʊlɪŋ ˌɪnˌfɔrˈmeɪʃən frəm maɪ ˈpriviəs ˈsæfaɪər 7950 ˌɪnstəˈleɪʃənz, aɪ ɔˈrɛdi noʊ ə gʊd ˈwərkɪŋ reɪnʤ fər ðə spidz. səm əv ðiz ˈbeɪsɪk ˈsɛtɪŋz fər ðə 7950 kən bi faʊnd ɪn ðɪs ˌrivˈju: ˈsæfaɪər 7950 ˈgræfɪks kɑrd ˌrivˈju. bɪˈloʊ ər ðə ˈsɛtɪŋz aɪ juzd fər ðɪs tuˈtɔriəl. jʊr rɪˈzəlts meɪ ˈvɛri. naʊ ðət wi hæv ɑr kənˈfɪgjərd. wi nid tɪ kriˈeɪt ə .bæt faɪl ˌɪnˈsaɪd ðə dɪˈrɛktəri. ju kən du ðɪs baɪ "raɪt ˈdɑkjəmɛnt, ˌɪnˈsaɪd ðə dɪˈrɛktəri. neɪm ðə faɪl (ər ˈsəmθɪŋ jul rɪˈmɛmbər). ðɪs faɪl wɪl bi ˈsɛˌtəp tɪ ˌɔtəˈmætɪkli stɑrt ˈmaɪnɪŋ wɪn jʊr kəmˈpjutər riˈbuts. aɪ ˌɔtəˈmætɪkli dɪˈlit ðə .bɪn faɪl. aɪ du ðɪs ˈɛvəri taɪm stɑrts əp. baɪ nɑt dɪˈlitɪŋ jʊr .bɪn faɪl, ɪt kən bi ðə sɔrs əv ˈmɛni ˈprɑbləmz. ðə .bɪn faɪl stɔrz ˌɪnˌfɔrˈmeɪʃən əˈbaʊt jʊr ˈsɛtɪŋz. ɪts gʊd ˈpræktɪs tɪ ˌɔtəˈmætɪkli dɪˈlit ðɪs faɪl. ðə ˈsɛtɪŋz ər ɛz ˈfɑloʊz: dɛl *.bɪn naʊ ðət wi hæv ɑr ənd wi kən bɪˈgɪn ɑr ˈfaɪnəl əˈʤəstmənts. ˌɪˈnɪʃəˌlaɪz kən bi ˌɪˈnɪʃəˌlaɪzd, baɪ ˈsɪmpli ɔn ðə faɪl. wəns ɪt stɑrts əp, ju kən ðɛn bɪˈgɪn kɑrd ɑptɪmɪˈzeɪʃən. ˈjuzɪŋ ðə kənˌfɪgjərˈeɪʃən ˈsɛtɪŋz fər ðə ˈsæfaɪər 7950 əˈbəv, ðɪs ɪz ðə rɪˈzəlt. kip ɪn maɪnd, ðɛr wɑz noʊ ˌmɑdəfəˈkeɪʃən əv ðə ˈvoʊltɪʤ ˈsɛtɪŋz. hɛns, ðə haɪ ˈtɛmpərəʧərz. ˈmænjuəli əˈʤəstɪŋ ˈsɛtɪŋz kən bi dən baɪ ˈprɛsɪŋ [ʤi] ɔn jʊr ˈkiˌbɔrd. ðɪs wɪl brɪŋ ju tɪ ə ˈmɛnju wɛr ju kən səˈlɛkt wɪʧ ˈɔpʃən ju nid tɪ əˈʤəst. gɪt tɪ noʊ ðə əˈʤəstmənt ˈsɛtɪŋz ɪn, ðeɪ kən seɪv ju ə lɔt əv taɪm, wɪn faɪn ˈtunɪŋ jʊr. ɔlˈtərnətɪvli, ju kən əˈʤəst jʊr ˈsɛtɪŋz ˌɪnˈsaɪd ˈæftərˌbərnər, ɪn ril taɪm. ˈiðər ˈɔpʃən wərks wɛl. ˈæftərˌbərnər kənˌfɪgjərˈeɪʃən ˈjuzɪŋ ˈæftərˌbərnər ɪz ˈkruʃəl wɪn ˈmaɪnɪŋ ɔn ˈwɪndoʊz. ɪts ˈrɛlətɪvli ˈizi tɪ ˌɪnˈstɔl, ənd gɪt ˈsɛˌtəp. ju kən ˈdaʊnˌloʊd ðə ˈleɪtəst ˈvərʒən əv ˈæftərˌbərnər æt ðə lɪŋk əˈbəv. ˈæftər ˌɪnˈstɔlɪŋ ˈæftərˌbərnər, jul nid tɪ ˈmɑdəˌfaɪ jʊr kənˌfɪgjərˈeɪʃən faɪl. ɪts ˈloʊˌkeɪtəd ɪn: faɪlz ˈoʊpən ðə msiafterburner.cfg*, ənd nɪr ðə ˈbɑtəm əv ðə faɪl, jul si ðɪs ˈɛriə: ju məst æd ðə kərˈɛkt ˌɪnˌfɔrˈmeɪʃən ɪn ðə fildz, laɪk ɪn ðə ˈpɪkʧər əˈbəv. ðɪs wɪl ɪˈneɪbəl ˈæftərˌbərnər tɪ jʊr ˈgræfɪks kɑrd. pliz noʊt, ðət ˈɛni ˈdæmɪʤ tɪ jʊr kəmˈpjutər, ər ˈgræfɪks kɑrdz, ər jʊr oʊn riˌspɑnsəˈbɪləti. ˌɪnˈsaɪd ˈæftərˌbərnər, ɪn ðə ˈsɛtɪŋz ˈmɛnju, jul si ðə ˈfɑloʊɪŋ. ˈmæstər ˈgræfɪks ˈprɑˌsɛsər səˈlɛkʃən sɪŋk ˈoʊnli ɪf ðeɪ ər ðə seɪm taɪp spid ˈʤɛnərəl ˈprɑpərtiz stɑrt wɪθ ˈwɪndoʊz du ðɪs ɪf ju wɔnt jʊr ˈmaɪnɪŋ tɪ bi ˈɔtəˌmeɪtɪd æt ˈstɑrˌtəp kəmˌpætəˈbɪləˌti ˈprɑpərtiz ɪˈneɪbəl ɔl əv ðiz ˈprɑpərtiz fər ˈoʊvər ˈklɑkɪŋ stəˈbɪlɪti ˈəpˌdeɪt ˈʧɛkɪŋ ˈprɑpərtiz ˈoʊnli ɪˈneɪbəl ɪf ju wɔnt tɪ ʧɛk fər ˈsɔfˌwɛr ˈəpˌdeɪts tɪ ˈæftərˌbərnər ˈeɪˌɛmˈdi kəmˌpætəˈbɪləˌti ˈprɑpərtiz ɪˈneɪbəl ɪkˈstɛndɪŋ əˈfɪʃəl ˈlɪmɪts, juz ˈkɔʃən noʊɪŋ ðət maɪ kənˌfɪgjərˈeɪʃən ɪz gʊd æt ðə ˈkɑrənt ˈsɛtɪŋz. aɪ nid tɪ loʊər ðə ˈvoʊltɪʤ, tɪ gɪt ðə ˈtɛmpərəʧərz daʊn. ɔn ðə ˈsæfaɪər ˈeɪˌɛmˈdi 7950, ðə stɑk ˈvoʊltɪʤ ɪz: 1.125v*. ˈæftər səm əˈʤəstmənt, aɪ ˈɛndɪd əp wɪθ ə ˈvoʊltɪʤ əv 1.100v*. ðɪs ræn ˈsteɪbəl, ənd kul. ʤɪst wət wi wɔnt. ˈæftər aɪ dɪˈtərmənd ðə ˈsɛtɪŋz ðət wərkt bɛst wɪθ ðə 7950's*, aɪ "seɪvd" ðoʊz ˈsɛtɪŋz wɪˈθɪn ˈæftərˌbərnər, ɛz ə "ˈproʊˌfaɪl". ˈmeɪkɪŋ ɪt ˈizi tɪ ˈriˌkɔl ðiz ˈsɛtɪŋz. sɪns ðɪs ˈmaɪnɪŋ rɪg wɪl bi ˈɔtəˌmeɪtɪd, aɪ səˈlɛktɪd "əˈplaɪ æt ˈsɪstəm ˈstɑrˌtəp". ðɪs wɪl əˈplaɪ maɪ seɪvd ˈproʊˌfaɪl 1 ˈɛvəri taɪm aɪ but əp ðə kəmˈpjutər. kəmˈpɛr stɑk ˈvoʊltɪʤ ˈvərsəz. ɪn ðə ˌɪləˈstreɪʃən bɪˈloʊ, aɪ ˈwɔntɪd tɪ ʃoʊ ðə ˈtɛmpərəʧər ˈdɪfərəns bɪtˈwin stɑk ˈvoʊltɪʤ, ənd ðə. ðə rɪˈzəlt spiks ˈvɑljumz. ˈvərsəz kip ɪn maɪnd ðət ðɪs tɛst wɑz pərˈfɔrmd wɪθ ən "open-air*" rɪg, ˈjuzɪŋ risers*. ˈæmbiənt rum ˈtɛmpərəʧər əv ˈɔtəˌmeɪtɪŋ ˈstɑrˌtəp ˈɔtəˌmeɪtɪŋ ˈstɑrˌtəp ɪn ˈwɪndoʊz ɪz ˈfɛrli streɪt ˈfɔrwərd. meɪk ʃʊr ðət jʊr ˈæftərˌbərnər ˈsɛtɪŋz, ər seɪvd ɪn ə ˈproʊˌfaɪl, ənd juv səˈlɛktɪd ðə əˈproʊpriˌeɪt ˈsɛtɪŋz fər ˈstɑrˌtəp. ə gʊd ˈpræktɪs ɪz tɪ kriˈeɪt ə ˈʃɔrtˌkət fər jʊr, baɪ raɪt maʊs klɪk kriˈeɪt ˈʃɔrtˌkət. ðɛn dræg ðɪs ˈʃɔrtˌkət tɪ jʊr ˈdɛskˌtɑp. ðɪs wɪl kip əˈveɪləbəl fər kwɪk ˈækˌsɛs. wəns ðə ˈʃɔrtˌkət ɪz kriˈeɪtɪd, jul wɔnt tɪ ˈkɑpi ɪt ˈɪntu ðə ˈstɑrˌtəp dɪˈrɛktəri. ðə pæθ ʃʊd lʊk ˈsəmθɪŋ laɪk ðɪs: menu\programs\startup*\ ðɪs wɪl ˈtrɪgər ˈɛvəri taɪm ju ˈstɑrˌtəp jʊr kəmˈpjutər. ɪts ə sɪmˈplɪstɪk əˈproʊʧ, bət ɪt wərks. maɪ ɪn ən ˈizi tɪ ˈfɔrˌmæt "pulz" "url*" "ˈjuzər" "username*", "pæs" "ˈpæsˌwərd" "url*" "poolinfo*", "ˈjuzər" "username*", "pæs" "ˈpæsˌwərd" "url*" "poolinfo*", "ˈjuzər" "username*", "pæs" "ˈpæsˌwərd" "ˌɪnˈtɛnsɪti" 19 "ˈvɛktərz" 1 "worksize*" 256 "ˈkərnəl" "scrypt*", "lookup-gap*" 0 "thread-concurrency*" 21376 "shaders*" 0 "gpu-engine*" 1100 "gpu-fan*" 85 "gpu-memclock*" 1600 "gpu-memdiff*" 0 "gpu-powertune*" 20 "gpu-vddc*" "temp-cutoff*" 95 "temp-overheat*" 85 "temp-target*" 75 "api-listen*" tru, "api-port*" 4028 "ˌɛkˈspaɪri" 120 "failover-only*" tru, "gpu-dyninterval*" 7 "gpu-platform*" 0 "gpu-threads*" 1 "hotplug*" 5 "lɔg" 5 "no-pool-disable*" tru, "kju" 1 "scan-time*" 30 "scrypt*" tru, "temp-hysteresis*" 3 "ʃɛrz" 0 "kernel-path*" "/usr/local/bin*"
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liverpool dortmund (5:4)
4:3
after a tense first leg, both teams faced up at in a much greater attacking focus and the result was a more chaotic game. it was decided by intelligent changes from klopp in the second half as he produced another miracle, yet this time from the opposite dugout.
formational changes
it was interesting two see changes in shape from both dugouts after the stalemate in germany. the most surprising came from tuchel, who abandoned the which we saw in the first leg as he opted for a much more orthodox shape; one similar to what we saw throughout the hindrunde. moved into a more standard role whilst castro joined weigl as a double pivot. kagawa came into the 10 position and was headed by the attack of, and.
klopp also moved away from his shape used in the first clash and opted for a similar shape. roberto came into the aside in place of jordan henderson as he moved to a position on the right side of the attack. being back at, this was immediately a more attacking set-up from the as they looked to create better support around who was often isolated in the first leg with direct ‘smash-and-grab’ game.
tuchel’s defensive shift
another big change from the last match was defensive strategy as his team now defended in not only a largely different shape, but in a significantly lower block too. during construction they were more passive and there were many less attempts to actively create defensive access (an ability to press the ball effectively) when there any before.
with the change of shape, dortmund dropped into what was between a and a based on the positioning of kagawa. the two forwards were primarily passive and would cover any passing angles into the liverpool pivot with their cover shadows. on the occasions they would move up, it would only when defensive security was sufficient and the rest of the block rarely followed higher.
through a defence, dortmund ended up winning back possession in deeper positions and therefore often had greater space to into. during offensive transition, they worked to exploit the problems liverpool caused themselves through their weak shape and broke well through the centre.
this change was ultimately successful, or at least in the opening stages of the game, as dortmund put themselves into an early lead. both goals came from regains in deep positions followed by fasts with the attacking quartet playing a large role in both.
the first came after an attack inside third broke down with a misplaced pass on the wing. liverpool were very poorly structured to form any and dortmund were able to break quickly towards the opposition goal.
in the second, structure was improved but still quite weak with particularly poor vertical staggering. the breakthrough came more from some strong dribbling by who was then able to thread through into space behind, after the forward initially had moved away to create a separation from on his blind-side.
liverpool exploit compactness issues
in comparison to the first leg, attacking ability improved by some distance as a result ofs as well as some deficiencies in the german shape.
defending in their formation, dortmund possessed some issues with compactness when they were without the ball and were particularly stretched horizontally. this was to some extent influenced by the orientation of the two wide as both and were oriented to the respective liverpools. the result of this was quite a poor coverage of the during these moments and control of the three central columns was lacking. although their coverage of the was not as tight as you see in most teams, it created somewhat of a disconnect between the winger and his 8 at times which gave liverpool opportunity to take advantage.
when the wingers focused on covering a wider player, side still had some issues in spatial coverage which stemmed more from weak staggering of the as well as a similar level of low compactness across the whole block. aside from the orientation of the wingers, the nature of weigl and castro was also momentarily problematic for dortmund when faced with central trio.
in their own right however, liverpool were much stronger with the ball than the first leg. away in dortmund, klopp took on much more of a ‘smash-and-grab’ strategy and looked to disrupt defence through numerous long balls to something which ultimately off as the belgian striker opened the scoring.
back at home, their attack was much more and their direct game was complemented with better ball circulation on the floor too. the change supported attempts too as they benefited from better occupation of the attacking zone with improved spacing across the attack. their extra attackinger was important in liverpool progressing the ball between the dortmund lines and they were more often able to find the ball behind the pairing of weigl and castro, often in the which were left unprotected as i mentioned above.
although their possession was often somewhat restricted to the flanks against, liverpool spaced the wings quite well and with situational overloads through the movements of the were able to move the ball back inside through the. their attacking shape commonly allowed at least 2 forwards to shift over to the and with the support of a and 8
dortmund’s improved attack
dortmund themselves were also better in possession with the switch to a helping their cause at. the issues they faced with the defensive line in the first leg were no longer in effect and they had greater presences in higher zones too. with weigl now supported by castro in the first line of, side were more able to progress the ball out of the build-up phase with stronger overloads being created around the liverpool press.
their biggest improvement came in the higher areas where the introduction of kagawa in place of resulted in a more dynamic attack based around breaking through the left of the pitch. the japanese 10 frequently moved towards the left where he could combine with and schmelzer whilst castro moved forward into the centre from a deeper position. dortmund were able to focus their attacks around particular spaces and their capacity to structure themselves for combinations was improved too.
moved out to a position on the right, was isolated at times but dealt better with this role than in previous performances. he frequently moved inside towards the centre where he could act as a free man and occupy spaces which kagawa left whilst when he was in possession on the right he was more successful in dribbles whilst his capacity to keep the ball helped too.
whilst change of shape gave them better presence in the, their own protection of the same areas was decreased in defence. the of milner and can were unable to cover the as widely as they had done with henderson last week and tendencies to out of possession often left his teammate stranded in deeper positions. whilst their horizontal compactness in had been such an important factor in their defensive stability in dortmund, they were much more stretched last night and dortmund had greater success between the lines.
klopp’s changes and loss of control
after the interval, the game became much more hectic as side looked to cause a more chaotic game which, at, would give them a good chance to get back into the game. dortmund are a team which depends largely on control of the game and tempo in possession of the ball with their philosophy on play. when they have control over the rhythm, they tend to struggle quite significantly with and without possession of the ball.
in possession of the ball, became significantly narrower with smaller distances between the forwards whilst milner was given even more licence to take up advanced positions off of the ball. this gave the hosts greater presence in attack and disrupted the stability of the game with their greater attacking focus which made both teams less secure in defence. in chase of the game, the intensity of their pressing also became greater and ability to construct possession from deep became even more restrained.
just after the game moved into the final 30 minutes, klopp made a clearer change as liverpool moved into a loose shape through the introduction of and allen. milner and can (later leiva) acted in the first line of whilst allen and played extremely attacking roles higher up. daniel came into the game and played high alongside.
the result of these substitutions was an extremely attacking formation which created large numbers in attacking areas. liverpool tempo in possession increased massively and looked to use this increased presence in attack to use combinations through the centre of the pitch and have better success when they took a direct approach. the impact was almost immediate as a fast exchange of passes in the minute resulted in a shot which beat left hand to make it on aggregate.
klopp changed shape in the for greater presence in the central attacks allowing for better combinations tom payne (@tompayneftbl) april 15, 2016
with an overload of players in the attacking zones, much of the remaining order in the game and played extremely vertical as they looked to constantly attack the dortmund box. the german control was progressively diminishing as the second half wore on and their defence simply cope against the strong offensive pressure from team.
tuchel’s reaction to the rhythm changes was quite poor and also had a part to play in the final result. in reaction to heightened attacking focus, dortmund sat deeper and deeper and placed little pressure on the opposition in deeper spaces. the hosts dominated theing and could restart many attacks immediately after a clearance whilst ability to maintain possession was nowhere to be seen against opposition pressing.
the switch to a defensive line only the issues dortmund previously had and the introduction of was far too late as by that time, liverpool were completely in control of the match. his decision to replace kagawa for ginter to achieve greater defensive presence immediately backfired too, as they conceded from corner to the front post where kagawa had intercepted every single one previously.
conclusion
in summary, strong tactical changes in the second half inspired a complete turnaround in the game. he deprived dortmund of the one thing they require most and the rhythm of the game changed entirely. the switch to increase attacking presence created significant pressure on the dortmund defence until a deep resulted in winning the tie for the hosts.
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ˈlɪvərˌpul ˈdɔrtmənd ˈæftər ə tɛns fərst lɛg, boʊθ timz feɪst əp æt ɪn ə məʧ ˈgreɪtər əˈtækɪŋ ˈfoʊkɪs ənd ðə rɪˈzəlt wɑz ə mɔr keɪˈɑtɪk geɪm. ɪt wɑz ˌdɪˈsaɪdɪd baɪ ˌɪnˈtɛləʤənt ˈʧeɪnʤɪz frəm klɑp ɪn ðə ˈsɛkənd hæf ɛz hi prəˈdust əˈnəðər ˈmɪrəkəl, jɛt ðɪs taɪm frəm ðə ˈɑpəzɪt ˈdəˌgaʊt. ˈʧeɪnʤɪz ɪt wɑz ˈɪntəˌrɛstɪŋ tu si ˈʧeɪnʤɪz ɪn ʃeɪp frəm boʊθ ˈdəˌgaʊts ˈæftər ðə ˈsteɪlˌmeɪt ɪn ˈʤərməni. ðə moʊst səˈpraɪzɪŋ keɪm frəm tuchel*, hu əˈbændənd ðə wɪʧ wi sɔ ɪn ðə fərst lɛg ɛz hi ˈɑptɪd fər ə məʧ mɔr ˈɔrθəˌdɑks ʃeɪp; wən ˈsɪmələr tɪ wət wi sɔ θruaʊt ðə hindrunde*. muvd ˈɪntu ə mɔr ˈstændərd roʊl waɪlst ˈkæstroʊ ʤɔɪnd ˈwigəl ɛz ə ˈdəbəl ˈpɪvət. kəˈgɑwə keɪm ˈɪntu ðə 10 pəˈzɪʃən ənd wɑz ˈhɛdɪd baɪ ðə əˈtæk əv, ənd. klɑp ˈɔlsoʊ muvd əˈweɪ frəm hɪz ʃeɪp juzd ɪn ðə fərst klæʃ ənd ˈɑptɪd fər ə ˈsɪmələr ʃeɪp. rəˈbɛrtoʊ keɪm ˈɪntu ðə əˈsaɪd ɪn pleɪs əv ˈʤɔrdən ˈhɛndərsən ɛz hi muvd tɪ ə pəˈzɪʃən ɔn ðə raɪt saɪd əv ðə əˈtæk. biɪŋ bæk æt, ðɪs wɑz ˌɪˈmiˌdiətli ə mɔr əˈtækɪŋ ˈsɛˌtəp frəm ðə ɛz ðeɪ lʊkt tɪ kriˈeɪt ˈbɛtər səˈpɔrt əraʊnd hu wɑz ˈɔfən ˈaɪsəˌleɪtɪd ɪn ðə fərst lɛg wɪθ dɪˈrɛkt ‘‘smash-and-grab’*’ geɪm. dɪˈfɛnsɪv ʃɪft əˈnəðər bɪg ʧeɪnʤ frəm ðə læst mæʧ wɑz dɪˈfɛnsɪv ˈstrætəʤi ɛz hɪz tim naʊ dɪˈfɛndɪd ɪn nɑt ˈoʊnli ə ˈlɑrʤli ˈdɪfərənt ʃeɪp, bət ɪn ə sɪgˈnɪfɪkəntli loʊər blɑk tu. ˈdʊrɪŋ kənˈstrəkʃən ðeɪ wər mɔr ˈpæsɪv ənd ðɛr wər ˈmɛni lɛs əˈtɛmpts tɪ ˈæktɪvli kriˈeɪt dɪˈfɛnsɪv ˈækˌsɛs (ən əˈbɪləˌti tɪ prɛs ðə bɔl ˈifɛktɪvli) wɪn ðɛr ˈɛni ˌbiˈfɔr. wɪθ ðə ʧeɪnʤ əv ʃeɪp, ˈdɔrtmənd drɑpt ˈɪntu wət wɑz bɪtˈwin ə ənd ə beɪst ɔn ðə pəˈzɪʃənɪŋ əv kəˈgɑwə. ðə tu ˈfɔrwərdz wər praɪˈmɛrəli ˈpæsɪv ənd wʊd ˈkəvər ˈɛni ˈpæsɪŋ ˈæŋgəlz ˈɪntu ðə ˈlɪvərˌpul ˈpɪvət wɪθ ðɛr ˈkəvər ˈʃæˌdoʊz. ɔn ðə ɔˈkeɪʒənz ðeɪ wʊd muv əp, ɪt wʊd ˈoʊnli wɪn dɪˈfɛnsɪv sɪˈkjʊrəti wɑz səˈfɪʃənt ənd ðə rɛst əv ðə blɑk ˈrɛrli ˈfɑloʊd haɪər. θru ə dɪˈfɛns, ˈdɔrtmənd ˈɛndɪd əp ˈwɪnɪŋ bæk pəˈzɛʃən ɪn ˈdipər pəˈzɪʃənz ənd ˈðɛrˌfɔr ˈɔfən hæd ˈgreɪtər speɪs tɪ ˈɪntu. ˈdʊrɪŋ əˈfɛnsɪv trænˈzɪʃən, ðeɪ wərkt tɪ ˌɛkˈsplɔɪt ðə ˈprɑbləmz ˈlɪvərˌpul kɔzd ðɛmˈsɛlvz θru ðɛr wik ʃeɪp ənd broʊk wɛl θru ðə ˈsɛntər. ðɪs ʧeɪnʤ wɑz ˈəltəmətli səkˈsɛsfəl, ər æt list ɪn ðə ˈoʊpənɪŋ ˈsteɪʤɪz əv ðə geɪm, ɛz ˈdɔrtmənd pʊt ðɛmˈsɛlvz ˈɪntu ən ˈərli lɛd. boʊθ goʊlz keɪm frəm riˈgeɪnz ɪn dip pəˈzɪʃənz ˈfɑloʊd baɪ fæst wɪθ ðə əˈtækɪŋ kwɔrˈtɛt pleɪɪŋ ə lɑrʤ roʊl ɪn boʊθ. ðə fərst keɪm ˈæftər ən əˈtæk ˌɪnˈsaɪd θərd broʊk daʊn wɪθ ə mɪˈspleɪst pæs ɔn ðə wɪŋ. ˈlɪvərˌpul wər ˈvɛri ˈpurli ˈstrəkʧərd tɪ fɔrm ˈɛni ənd ˈdɔrtmənd wər ˈeɪbəl tɪ breɪk kˈwɪkli təˈwɔrdz ðə ˌɑpəˈzɪʃən goʊl. ɪn ðə ˈsɛkənd, ˈstrəkʧər wɑz ˌɪmˈpruvd bət stɪl kwaɪt wik wɪθ ˌpɑrˈtɪkjələrli pur ˈvərtɪkəl ˈstægərˌɪŋ. ðə ˈbreɪkθˌru keɪm mɔr frəm səm strɔŋ ˈdrɪbəlɪŋ baɪ hu wɑz ðɛn ˈeɪbəl tɪ θrɛd θru ˈɪntu speɪs bɪˈhaɪnd, ˈæftər ðə ˈfɔrwərd ˌɪˈnɪʃəli hæd muvd əˈweɪ tɪ kriˈeɪt ə ˌsɛpərˈeɪʃən frəm ɔn hɪz blind-side*. ˈlɪvərˌpul ˌɛkˈsplɔɪt kəmˈpæktnəs ˈɪʃuz ɪn kəmˈpɛrəsən tɪ ðə fərst lɛg, əˈtækɪŋ əˈbɪləˌti ˌɪmˈpruvd baɪ səm ˈdɪstəns ɛz ə rɪˈzəlt əv ɛz wɛl ɛz səm dɪˈfɪʃənsiz ɪn ðə ˈʤərmən ʃeɪp. dɪˈfɛndɪŋ ɪn ðɛr fɔrˈmeɪʃən, ˈdɔrtmənd pəˈzɛst səm ˈɪʃuz wɪθ kəmˈpæktnəs wɪn ðeɪ wər wɪˈθaʊt ðə bɔl ənd wər ˌpɑrˈtɪkjələrli strɛʧt ˌhɔrɪˈzɑntəli. ðɪs wɑz tɪ səm ɪkˈstɛnt ˈɪnfluənst baɪ ðə ˌɔriɛnˈteɪʃən əv ðə tu waɪd ɛz boʊθ ənd wər ˈɔriˌɛntɪd tɪ ðə rɪˈspɛktɪv ˈlɪvərˌpul full-backs*. ðə rɪˈzəlt əv ðɪs wɑz kwaɪt ə pur ˈkəvərɪʤ əv ðə ˈdʊrɪŋ ðiz ˈmoʊmənts ənd kənˈtroʊl əv ðə θri ˈsɛntrəl ˈkɑləmz wɑz ˈlækɪŋ. ˌɔlˈðoʊ ðɛr ˈkəvərɪʤ əv ðə wɑz nɑt ɛz taɪt ɛz ju si ɪn moʊst timz, ɪt kriˈeɪtɪd ˈsəmˈwət əv ə dɪskəˈnɛkt bɪtˈwin ðə ˈwɪŋər ənd hɪz 8 æt taɪmz wɪʧ geɪv ˈlɪvərˌpul ˌɑpərˈtunəti tɪ teɪk ædˈvæntɪʤ. wɪn ðə ˈwɪŋərz ˈfoʊkɪst ɔn ˈkəvərɪŋ ə ˈwaɪdər pleɪər, saɪd stɪl hæd səm ˈɪʃuz ɪn ˈspeɪʃəl ˈkəvərɪʤ wɪʧ stɛmd mɔr frəm wik ˈstægərˌɪŋ əv ðə ɛz wɛl ɛz ə ˈsɪmələr ˈlɛvəl əv loʊ kəmˈpæktnəs əˈkrɔs ðə hoʊl blɑk. əˈsaɪd frəm ðə ˌɔriɛnˈteɪʃən əv ðə ˈwɪŋərz, ðə ˈneɪʧər əv ˈwigəl ənd ˈkæstroʊ wɑz ˈɔlsoʊ ˌmoʊmənˈtɛrəli ˌprɑbləˈmætɪk fər ˈdɔrtmənd wɪn feɪst wɪθ ˈsɛntrəl ˈtriˌoʊ. ɪn ðɛr oʊn raɪt ˌhaʊˈɛvər, ˈlɪvərˌpul wər məʧ ˈstrɔŋgər wɪθ ðə bɔl ðən ðə fərst lɛg. əˈweɪ ɪn ˈdɔrtmənd, klɑp tʊk ɔn məʧ mɔr əv ə ‘‘smash-and-grab’*’ ˈstrætəʤi ənd lʊkt tɪ dɪsˈrəpt dɪˈfɛns θru ˈnumərəs lɔŋ bɔlz tɪ ˈsəmθɪŋ wɪʧ ˈəltəmətli ɔf ɛz ðə ˈbɛlʤən ˈstraɪkər ˈoʊpənd ðə ˈskɔrɪŋ. bæk æt hoʊm, ðɛr əˈtæk wɑz məʧ mɔr ənd ðɛr dɪˈrɛkt geɪm wɑz ˈkɑmpləˌmɛntɪd wɪθ ˈbɛtər bɔl ˈsərkjəˌleɪʃən ɔn ðə flɔr tu. ðə ʧeɪnʤ səˈpɔrtɪd əˈtɛmpts tu ɛz ðeɪ ˈbɛnəˌfɪtɪd frəm ˈbɛtər ˌɑkjəˈpeɪʃən əv ðə əˈtækɪŋ zoʊn wɪθ ˌɪmˈpruvd ˈspeɪsɪŋ əˈkrɔs ðə əˈtæk. ðɛr ˈɛkstrə əˈtækɪŋ wɑz ˌɪmˈpɔrtənt ɪn ˈlɪvərˌpul prəˈgrɛsɪŋ ðə bɔl bɪtˈwin ðə ˈdɔrtmənd laɪnz ənd ðeɪ wər mɔr ˈɔfən ˈeɪbəl tɪ faɪnd ðə bɔl bɪˈhaɪnd ðə ˈpɛrɪŋ əv ˈwigəl ənd ˈkæstroʊ, ˈɔfən ɪn ðə wɪʧ wər lɛft ˌənprəˈtɛktɪd ɛz aɪ ˈmɛnʃənd əˈbəv. ˌɔlˈðoʊ ðɛr pəˈzɛʃən wɑz ˈɔfən ˈsəmˈwət riˈstrɪktɪd tɪ ðə flæŋks əˈgɛnst ˈlɪvərˌpul speɪst ðə wɪŋz kwaɪt wɛl ənd wɪθ ˌsɪʧuˈeɪʃənəl ˈoʊvərˌloʊdz θru ðə ˈmuvmənts əv ðə wər ˈeɪbəl tɪ muv ðə bɔl bæk ˌɪnˈsaɪd θru ðə. ðɛr əˈtækɪŋ ʃeɪp ˈkɑmənli əˈlaʊd æt list 2 ˈfɔrwərdz tɪ ʃɪft ˈoʊvər tɪ ðə ənd wɪθ ðə səˈpɔrt əv ə ənd 8 ˌɪmˈpruvd əˈtæk ˈdɔrtmənd ðɛmˈsɛlvz wər ˈɔlsoʊ ˈbɛtər ɪn pəˈzɛʃən wɪθ ðə swɪʧ tɪ ə ˈhɛlpɪŋ ðɛr kɔz æt. ðə ˈɪʃuz ðeɪ feɪst wɪθ ðə dɪˈfɛnsɪv laɪn ɪn ðə fərst lɛg wər noʊ ˈlɔŋgər ɪn ˈifɛkt ənd ðeɪ hæd ˈgreɪtər ˈprɛzənsɪz ɪn haɪər zoʊnz tu. wɪθ ˈwigəl naʊ səˈpɔrtɪd baɪ ˈkæstroʊ ɪn ðə fərst laɪn əv, saɪd wər mɔr ˈeɪbəl tɪ ˈprɑˌgrɛs ðə bɔl aʊt əv ðə ˈbɪlˌdəp feɪz wɪθ ˈstrɔŋgər ˈoʊvərˌloʊdz biɪŋ kriˈeɪtɪd əraʊnd ðə ˈlɪvərˌpul prɛs. ðɛr ˈbɪgəst ˌɪmˈpruvmənt keɪm ɪn ðə haɪər ˈɛriəz wɛr ðə ˌɪntrəˈdəkʃən əv kəˈgɑwə ɪn pleɪs əv rɪˈzəltɪd ɪn ə mɔr daɪˈnæmɪk əˈtæk beɪst əraʊnd ˈbreɪkɪŋ θru ðə lɛft əv ðə pɪʧ. ðə ˌʤæpəˈniz 10 ˈfrikwɛntli muvd təˈwɔrdz ðə lɛft wɛr hi kʊd ˈkɑmbaɪn wɪθ ənd ʃˈmɛlzər waɪlst ˈkæstroʊ muvd ˈfɔrwərd ˈɪntu ðə ˈsɛntər frəm ə ˈdipər pəˈzɪʃən. ˈdɔrtmənd wər ˈeɪbəl tɪ ˈfoʊkɪs ðɛr əˈtæks əraʊnd ˌpɑˈtɪkjələr ˈspeɪsɪz ənd ðɛr kəˈpæsɪti tɪ ˈstrəkʧər ðɛmˈsɛlvz fər ˌkɑmbəˈneɪʃənz wɑz ˌɪmˈpruvd tu. muvd aʊt tɪ ə pəˈzɪʃən ɔn ðə raɪt, wɑz ˈaɪsəˌleɪtɪd æt taɪmz bət dɛlt ˈbɛtər wɪθ ðɪs roʊl ðən ɪn ˈpriviəs pərˈfɔrmənsɪz. hi ˈfrikwɛntli muvd ˌɪnˈsaɪd təˈwɔrdz ðə ˈsɛntər wɛr hi kʊd ækt ɛz ə fri mæn ənd ˈɑkjəˌpaɪ ˈspeɪsɪz wɪʧ kəˈgɑwə lɛft waɪlst wɪn hi wɑz ɪn pəˈzɛʃən ɔn ðə raɪt hi wɑz mɔr səkˈsɛsfəl ɪn ˈdrɪbəlz waɪlst hɪz kəˈpæsɪti tɪ kip ðə bɔl hɛlpt tu. waɪlst ʧeɪnʤ əv ʃeɪp geɪv ðɛm ˈbɛtər ˈprɛzəns ɪn ðə, ðɛr oʊn prəˈtɛkʃən əv ðə seɪm ˈɛriəz wɑz ˈdiˌkrist ɪn dɪˈfɛns. ðə əv ˈmɪlnər ənd kən wər əˈneɪbəl tɪ ˈkəvər ðə ɛz ˈwaɪdli ɛz ðeɪ hæd dən wɪθ ˈhɛndərsən læst wik ənd ˈtɛndənsiz tɪ aʊt əv pəˈzɛʃən ˈɔfən lɛft hɪz ˈtiˌmeɪt ˈstrændɪd ɪn ˈdipər pəˈzɪʃənz. waɪlst ðɛr ˌhɔrəˈzɑntəl kəmˈpæktnəs ɪn hæd bɪn səʧ ən ˌɪmˈpɔrtənt ˈfæktər ɪn ðɛr dɪˈfɛnsɪv stəˈbɪlɪti ɪn ˈdɔrtmənd, ðeɪ wər məʧ mɔr strɛʧt læst naɪt ənd ˈdɔrtmənd hæd ˈgreɪtər səkˈsɛs bɪtˈwin ðə laɪnz. ˈʧeɪnʤɪz ənd lɔs əv kənˈtroʊl ˈæftər ðə ˈɪntərvəl, ðə geɪm bɪˈkeɪm məʧ mɔr ˈhɛktɪk ɛz saɪd lʊkt tɪ kɔz ə mɔr keɪˈɑtɪk geɪm wɪʧ, æt wʊd gɪv ðɛm ə gʊd ʧæns tɪ gɪt bæk ˈɪntu ðə geɪm. ˈdɔrtmənd ər ə tim wɪʧ dɪˈpɛndz ˈlɑrʤli ɔn kənˈtroʊl əv ðə geɪm ənd ˈtɛmˌpoʊ ɪn pəˈzɛʃən əv ðə bɔl wɪθ ðɛr fəˈlɑsəfi ɔn pleɪ. wɪn ðeɪ hæv kənˈtroʊl ˈoʊvər ðə ˈrɪðəm, ðeɪ tɛnd tɪ ˈstrəgəl kwaɪt sɪgˈnɪfɪkəntli wɪθ ənd wɪˈθaʊt pəˈzɛʃən əv ðə bɔl. ɪn pəˈzɛʃən əv ðə bɔl, bɪˈkeɪm sɪgˈnɪfɪkəntli ˈnɛroʊər wɪθ sˈmɔlər ˈdɪstənsɪz bɪtˈwin ðə ˈfɔrwərdz waɪlst ˈmɪlnər wɑz ˈgɪvɪn ˈivɪn mɔr ˈlaɪsəns tɪ teɪk əp ədˈvænst pəˈzɪʃənz ɔf əv ðə bɔl. ðɪs geɪv ðə hoʊsts ˈgreɪtər ˈprɛzəns ɪn əˈtæk ənd dɪsˈrəptɪd ðə stəˈbɪlɪti əv ðə geɪm wɪθ ðɛr ˈgreɪtər əˈtækɪŋ ˈfoʊkɪs wɪʧ meɪd boʊθ timz lɛs sɪˈkjʊr ɪn dɪˈfɛns. ɪn ʧeɪs əv ðə geɪm, ðə ˌɪnˈtɛnsɪti əv ðɛr ˈprɛsɪŋ ˈɔlsoʊ bɪˈkeɪm ˈgreɪtər ənd əˈbɪləˌti tɪ ˈkɑnstrəkt pəˈzɛʃən frəm dip bɪˈkeɪm ˈivɪn mɔr riˈstreɪnd. ʤɪst ˈæftər ðə geɪm muvd ˈɪntu ðə ˈfaɪnəl 30 ˈmɪnəts, klɑp meɪd ə ˈklɪrər ʧeɪnʤ ɛz ˈlɪvərˌpul muvd ˈɪntu ə lus ʃeɪp θru ðə ˌɪntrəˈdəkʃən əv ənd ˈælən. ˈmɪlnər ənd kən (ˈleɪtər ˈlivə) ˈæktɪd ɪn ðə fərst laɪn əv waɪlst ˈælən ənd pleɪd ɪkˈstrimli əˈtækɪŋ roʊlz haɪər əp. ˈdænjəl keɪm ˈɪntu ðə geɪm ənd pleɪd haɪ əˈlɔŋˈsaɪd. ðə rɪˈzəlt əv ðiz ˌsəbstɪˈtjuʃənz wɑz ən ɪkˈstrimli əˈtækɪŋ fɔrˈmeɪʃən wɪʧ kriˈeɪtɪd lɑrʤ ˈnəmbərz ɪn əˈtækɪŋ ˈɛriəz. ˈlɪvərˌpul ˈtɛmˌpoʊ ɪn pəˈzɛʃən ˌɪnˈkrist ˈmæsɪvli ənd lʊkt tɪ juz ðɪs ˌɪnˈkrist ˈprɛzəns ɪn əˈtæk tɪ juz ˌkɑmbəˈneɪʃənz θru ðə ˈsɛntər əv ðə pɪʧ ənd hæv ˈbɛtər səkˈsɛs wɪn ðeɪ tʊk ə dɪˈrɛkt əˈproʊʧ. ðə ˌɪmˈpækt wɑz ˈɔlˌmoʊst ˌɪˈmiˌdiət ɛz ə fæst ɪksˈʧeɪnʤ əv ˈpæsɪz ɪn ðə ˈmɪnət rɪˈzəltɪd ɪn ə ʃɑt wɪʧ bit lɛft hænd tɪ meɪk ɪt ɔn ˈægrəgət. klɑp ʧeɪnʤd ʃeɪp ɪn ðə fər ˈgreɪtər ˈprɛzəns ɪn ðə ˈsɛntrəl əˈtæks əˈlaʊɪŋ fər ˈbɛtər ˌkɑmbəˈneɪʃənz tɑm peɪn (@tompayneftbl*) ˈeɪprəl 15 2016 wɪθ ən ˈoʊvərˌloʊd əv pleɪərz ɪn ðə əˈtækɪŋ zoʊnz, məʧ əv ðə rɪˈmeɪnɪŋ ˈɔrdər ɪn ðə geɪm ənd pleɪd ɪkˈstrimli ˈvərtɪkəl ɛz ðeɪ lʊkt tɪ ˈkɑnstəntli əˈtæk ðə ˈdɔrtmənd bɑks. ðə ˈʤərmən kənˈtroʊl wɑz prɑˈgrɛsɪvli dɪˈmɪnɪʃɪŋ ɛz ðə ˈsɛkənd hæf wɔr ɔn ənd ðɛr dɪˈfɛns ˈsɪmpli koʊp əˈgɛnst ðə strɔŋ əˈfɛnsɪv ˈprɛʃər frəm tim. riˈækʃən tɪ ðə ˈrɪðəm ˈʧeɪnʤɪz wɑz kwaɪt pur ənd ˈɔlsoʊ hæd ə pɑrt tɪ pleɪ ɪn ðə ˈfaɪnəl rɪˈzəlt. ɪn riˈækʃən tɪ ˈhaɪtənd əˈtækɪŋ ˈfoʊkɪs, ˈdɔrtmənd sæt ˈdipər ənd ˈdipər ənd pleɪst ˈlɪtəl ˈprɛʃər ɔn ðə ˌɑpəˈzɪʃən ɪn ˈdipər ˈspeɪsɪz. ðə hoʊsts ˈdɑməˌneɪtəd ðə ənd kʊd riˈstɑrt ˈmɛni əˈtæks ˌɪˈmiˌdiətli ˈæftər ə ˈklɪrəns waɪlst əˈbɪləˌti tɪ meɪnˈteɪn pəˈzɛʃən wɑz ˈnoʊˌwɛr tɪ bi sin əˈgɛnst ˌɑpəˈzɪʃən ˈprɛsɪŋ. ðə swɪʧ tɪ ə dɪˈfɛnsɪv laɪn ˈoʊnli ðə ˈɪʃuz ˈdɔrtmənd ˈpriviəsli hæd ənd ðə ˌɪntrəˈdəkʃən əv wɑz fɑr tu leɪt ɛz baɪ ðət taɪm, ˈlɪvərˌpul wər kəmˈplitli ɪn kənˈtroʊl əv ðə mæʧ. hɪz dɪˈsɪʒən tɪ ˌriˈpleɪs kəˈgɑwə fər ˈgɪntər tɪ əˈʧiv ˈgreɪtər dɪˈfɛnsɪv ˈprɛzəns ˌɪˈmiˌdiətli ˈbækˌfaɪərd tu, ɛz ðeɪ kənˈsidɪd frəm ˈkɔrnər tɪ ðə frənt poʊst wɛr kəˈgɑwə hæd ˌɪnərˈsɛptɪd ˈɛvəri ˈsɪŋgəl wən ˈpriviəsli. kənˈkluʒən ɪn ˈsəməri, strɔŋ ˈtæktɪkəl ˈʧeɪnʤɪz ɪn ðə ˈsɛkənd hæf ˌɪnˈspaɪərd ə kəmˈplit ˈtərnərˌaʊnd ɪn ðə geɪm. hi dɪˈpraɪvd ˈdɔrtmənd əv ðə wən θɪŋ ðeɪ ˌrikˈwaɪər moʊst ənd ðə ˈrɪðəm əv ðə geɪm ʧeɪnʤd ɪnˈtaɪərli. ðə swɪʧ tɪ ˌɪnˈkris əˈtækɪŋ ˈprɛzəns kriˈeɪtɪd sɪgˈnɪfɪkənt ˈprɛʃər ɔn ðə ˈdɔrtmənd dɪˈfɛns ənˈtɪl ə dip rɪˈzəltɪd ɪn ˈwɪnɪŋ ðə taɪ fər ðə hoʊsts.
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according to youtube, videos that bring attention to the ridiculous statements made by the likes of nancy pelosi and maxine waters are “not suitable for most advertisers.”
the video streaming service has “demonetized” a series of videos published by the american mirror that many americans likely find ridiculous.
one, published on september 28, featured pelosi muttering “oh god” when she was asked a question about gun legislation during her weekly press conference.
another one showed waters ranting about donald trump and pushing for his impeachment during remarks at the funeral of comedian dick gregory.
pelosi’s video received over views, while got over.
each time, youtube “demonetized” the video, claiming the content was “not suitable for most advertisers.”
the youtube site lists several examples of content that violates its “advertiser-friendly content guidelines. here are some that may apply:
controversial issues and sensitive events: video content that features or focuses on sensitive topics or events including, but not limited to, war, political conflicts, terrorism or extremism, death and tragedies, sexual abuse, even if graphic imagery is not shown, is generally not eligible for ads. for example, videos about recent tragedies, even if presented for news or documentary purposes, may not be eligible for advertising given the subject matter.
are and words controversial in the eyes of youtube?
hateful content: video content that promotes discrimination or disparages or humiliates an individual or group of people on the basis of the or race, ethnicity or ethnic origin, nationality, religion, disability, age, veteran status, sexual orientation, gender identity, or other characteristic that is associated with systemic discrimination or marginalization is not eligible for advertising. content that is satire or comedy may be exempt; however, simply stating your comedic intent is not sufficient and that content may still not be eligible for advertising.
are their words “hateful” in the eyes of youtube?
incendiary and demeaning: video content that is gratuitously incendiary, inflammatory, or demeaning may not be eligible for advertising. for example, video content that shames or insults an individual or group may not be eligible for advertising.
do pelosi and waters use “gratuitously incendiary, inflammatory, or demeaning” words about donald trump, according to youtube? and if so, what does that say about them as american elected officials?
to be clear, there is no commentary edited into the videos. there is no ridicule. the clips are just the democrats’ words for all the world to see.
you be the judge:
in fact, many democrats would likely cheer the statements made in the videos.
in june, youtube punished the american mirror when it posted a video of hillary clinton in which she called for “understanding” after radical islamic terrorists carried out an attack on london.
that was deemed “not suitable,” as well.
youtube provides an opportunity for a “manual review” of the content, “if you think our automated system got this wrong.”
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əˈkɔrdɪŋ tɪ ˈjuˌtub, ˈvɪdioʊz ðət brɪŋ əˈtɛnʃən tɪ ðə rɪˈdɪkjələs ˈsteɪtmənts meɪd baɪ ðə laɪks əv ˈnænsi pɛˈloʊsi ənd mækˈsin ˈwɔtərz ər ˈsutəbəl fər moʊst advertisers.”*.” ðə ˈvɪdioʊ ˈstrimɪŋ ˈsərvɪs həz ““demonetized”*” ə ˈsɪriz əv ˈvɪdioʊz ˈpəblɪʃt baɪ ðə əˈmɛrɪkən ˈmɪrər ðət ˈmɛni əˈmɛrɪkənz ˈlaɪkli faɪnd rɪˈdɪkjələs. wən, ˈpəblɪʃt ɔn sɛpˈtɛmbər 28 ˈfiʧərd pɛˈloʊsi ˈmətərɪŋ god”*” wɪn ʃi wɑz æst ə kˈwɛʃən əˈbaʊt gən ˌlɛʤəsˈleɪʃən ˈdʊrɪŋ hər ˈwikli prɛs ˈkɑnfərəns. əˈnəðər wən ʃoʊd ˈwɔtərz ˈræntɪŋ əˈbaʊt ˈdɑnəld trəmp ənd ˈpʊʃɪŋ fər hɪz ˌɪmˈpiʧmənt ˈdʊrɪŋ rɪˈmɑrks æt ðə fˈjunərəl əv kəˈmidiən dɪk ˈgrɛgəri. ˈvɪdioʊ rɪˈsivd ˈoʊvər vjuz, waɪl gɑt ˈoʊvər iʧ taɪm, ˈjuˌtub ““demonetized”*” ðə ˈvɪdioʊ, ˈkleɪmɪŋ ðə ˈkɑntɛnt wɑz ˈsutəbəl fər moʊst advertisers.”*.” ðə ˈjuˌtub saɪt lɪsts ˈsɛvərəl ɪgˈzæmpəlz əv ˈkɑntɛnt ðət ˈvaɪəleɪts ɪts ˈkɑntɛnt ˈgaɪˌdlaɪnz. hir ər səm ðət meɪ əˈplaɪ: ˌkɑntrəˈvərʃəl ˈɪʃuz ənd ˈsɛnsɪtɪv ɪˈvɛnts: ˈvɪdioʊ ˈkɑntɛnt ðət ˈfiʧərz ər ˈfoʊkɪsɪz ɔn ˈsɛnsɪtɪv ˈtɑpɪks ər ɪˈvɛnts ˌɪnˈkludɪŋ, bət nɑt ˈlɪmɪtɪd tɪ, wɔr, pəˈlɪtɪkəl ˈkɑnflɪkts, ˈtɛrəˌrɪzəm ər ˌɪkˈstrɛmɪzəm, dɛθ ənd ˈtræʤədiz, ˈsɛkʃuəl əˈbjuz, ˈivɪn ɪf ˈgræfɪk ˈɪmɪʤri ɪz nɑt ʃoʊn, ɪz ˈʤɛnərəli nɑt ˈɛlɪʤəbəl fər ædz. fər ɪgˈzæmpəl, ˈvɪdioʊz əˈbaʊt ˈrisənt ˈtræʤədiz, ˈivɪn ɪf pərˈzɛnəd fər nuz ər ˌdɑkjəˈmɛnəri ˈpərpəsɪz, meɪ nɑt bi ˈɛlɪʤəbəl fər ˈædvərˌtaɪzɪŋ ˈgɪvɪn ðə ˈsəbʤɪkt ˈmætər. ər ənd wərdz ˌkɑntrəˈvərʃəl ɪn ðə aɪz əv ˈjuˌtub? ˈheɪtfəl ˈkɑntɛnt: ˈvɪdioʊ ˈkɑntɛnt ðət prəˈmoʊts dɪˌskrɪməˈneɪʃən ər dɪˈspɛrɪʤɪz ər hjuˈmɪliˌeɪts ən ˌɪndəˈvɪʤəwəl ər grup əv ˈpipəl ɔn ðə ˈbeɪsɪs əv ðə ər reɪs, ɛθˈnɪsɪti ər ˈɛθnɪk ˈɔrəʤən, ˌnæʃəˈnælɪti, rɪˈlɪʤən, ˌdɪsəˈbɪlɪti, eɪʤ, ˈvɛtərən ˈstætəs, ˈsɛkʃuəl ˌɔriɛnˈteɪʃən, ˈʤɛndər aɪˈdɛntəˌti, ər ˈəðər ˌkɛrɪktərˈɪstɪk ðət ɪz əˈsoʊʃiˌeɪtəd wɪθ sɪˈstɛmɪk dɪˌskrɪməˈneɪʃən ər ˌmɑrʤənələˈzeɪʃən ɪz nɑt ˈɛlɪʤəbəl fər ˈædvərˌtaɪzɪŋ. ˈkɑntɛnt ðət ɪz ˈsæˌtaɪər ər ˈkɑmədi meɪ bi ɪgˈzɛmpt; ˌhaʊˈɛvər, ˈsɪmpli ˈsteɪtɪŋ jʊr kəˈmidɪk ˌɪnˈtɛnt ɪz nɑt səˈfɪʃənt ənd ðət ˈkɑntɛnt meɪ stɪl nɑt bi ˈɛlɪʤəbəl fər ˈædvərˌtaɪzɪŋ. ər ðɛr wərdz ““hateful”*” ɪn ðə aɪz əv ˈjuˌtub? ˌɪnˈsɛndiɛri ənd dɪˈminɪŋ: ˈvɪdioʊ ˈkɑntɛnt ðət ɪz grəˈtuətəsli ˌɪnˈsɛndiɛri, ɪnˈflæməˌtɔri, ər dɪˈminɪŋ meɪ nɑt bi ˈɛlɪʤəbəl fər ˈædvərˌtaɪzɪŋ. fər ɪgˈzæmpəl, ˈvɪdioʊ ˈkɑntɛnt ðət ʃeɪmz ər ˌɪnˈsəlts ən ˌɪndəˈvɪʤəwəl ər grup meɪ nɑt bi ˈɛlɪʤəbəl fər ˈædvərˌtaɪzɪŋ. du pɛˈloʊsi ənd ˈwɔtərz juz ˌɪnˈsɛndiɛri, ɪnˈflæməˌtɔri, ər demeaning”*” wərdz əˈbaʊt ˈdɑnəld trəmp, əˈkɔrdɪŋ tɪ ˈjuˌtub? ənd ɪf soʊ, wət dɪz ðət seɪ əˈbaʊt ðɛm ɛz əˈmɛrɪkən ɪˈlɛktɪd əˈfɪʃəlz? tɪ bi klɪr, ðɛr ɪz noʊ ˈkɑmənˌtɛri ˈɛdɪtɪd ˈɪntu ðə ˈvɪdioʊz. ðɛr ɪz noʊ ˈrɪdəˌkjul. ðə klɪps ər ʤɪst ðə democrats’*’ wərdz fər ɔl ðə wərld tɪ si. ju bi ðə ʤəʤ: ɪn fækt, ˈmɛni ˈdɛməˌkræts wʊd ˈlaɪkli ʧɪr ðə ˈsteɪtmənts meɪd ɪn ðə ˈvɪdioʊz. ɪn ʤun, ˈjuˌtub ˈpənɪʃt ðə əˈmɛrɪkən ˈmɪrər wɪn ɪt ˈpoʊstɪd ə ˈvɪdioʊ əv ˈhɪləri ˈklɪntən ɪn wɪʧ ʃi kɔld fər ““understanding”*” ˈæftər ˈrædɪkəl ˌɪzˈlɑmɪk ˈtɛrəˌrɪsts ˈkɛrid aʊt ən əˈtæk ɔn ˈləndən. ðət wɑz dimd suitable,”*,” ɛz wɛl. ˈjuˌtub prəˈvaɪdz ən ˌɑpərˈtunəti fər ə review”*” əv ðə ˈkɑntɛnt, ju θɪŋk ɑr ˈɔtəˌmeɪtɪd ˈsɪstəm gɑt ðɪs wrong.”*.”
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upon looking at the photo above, you may ask yourself, first if this is real (yes) and second, “in what universe did the fellow who plays from game of make it into the cockpit of the millennium falcon?” well, that would be this universe, specifically the one that held the geek media expo last weekend in nashville, tenn.
the falcon cockpit was actually constructed by greg dietrich and my good friend, chris lee, who is perhaps best described as a genius on par with tony stark and a less broody bruce wayne. in his spare time, he likes to build things like robots, armor, and other wonderful gadgets. but the falcon cockpit itself is part of a larger project called the full-scale falcon in which lee and a legion of other star wars geeks plan to build a model of the millennium falcon on a plot of land on the outskirts of nashville.
it’s actually much bigger than just building the falcon, too. lee has previously told me that like the site where the falcon is built to become a sort of “nasa space camp” for kids that want to learn how to build hardware from scratch. but those plans are all in the far future while he and other geeks focus on finishing the replica of star wars’ most famous ship.
as for the photo, lee brought portions of the falcon cockpit to the event last weekend to show off some of the progress. actor (and dj) nairn was in attendance and pass up a inside the cockpit.
i’ve asked lee to show me the whole falcon replica when i visit for the holidays. hopefully, that means soon have more info on that star wars hardware camp for kids as well as a new slide show of photos.
but for now a gallery of photos from the full-scale falcon webpage.
also,!
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əˈpɑn ˈlʊkɪŋ æt ðə ˈfoʊˌtoʊ əˈbəv, ju meɪ æsk ˈjɔrsɛlf, fərst ɪf ðɪs ɪz ril (jɛs) ənd ˈsɛkənd, wət ˈjunəˌvərs dɪd ðə ˈfɛloʊ hu pleɪz frəm geɪm əv meɪk ɪt ˈɪntu ðə ˈkɑkˌpɪt əv ðə məˈlɛniəm falcon?”*?” wɛl, ðət wʊd bi ðɪs ˈjunəˌvərs, spəˈsɪfɪkli ðə wən ðət hɛld ðə gik ˈmidiə ˈɛkspoʊ læst ˈwiˌkɪnd ɪn ˈnæʃvɪl, tɛn. ðə ˈfælkən ˈkɑkˌpɪt wɑz ˈæˌkʧuəli kənˈstrəktɪd baɪ grɛg ˈditrɪk ənd maɪ gʊd frɛnd, krɪs li, hu ɪz pərˈhæps bɛst dɪˈskraɪbd ɛz ə ˈʤinjəs ɔn pɑr wɪθ ˈtoʊni stɑrk ənd ə lɛs ˈbrudi brus weɪn. ɪn hɪz spɛr taɪm, hi laɪks tɪ bɪld θɪŋz laɪk ˈroʊˌbəts, ˈɑrmər, ənd ˈəðər ˈwəndərfəl ˈgæʤəts. bət ðə ˈfælkən ˈkɑkˌpɪt ˌɪtˈsɛlf ɪz pɑrt əv ə ˈlɑrʤər ˈprɑʤɛkt kɔld ðə ˌfʊlˈskeɪl ˈfælkən ɪn wɪʧ li ənd ə ˈliʤən əv ˈəðər stɑr wɔrz giks plæn tɪ bɪld ə ˈmɑdəl əv ðə məˈlɛniəm ˈfælkən ɔn ə plɑt əv lænd ɔn ðə ˈaʊtˌskərts əv ˈnæʃvɪl. ˈæˌkʧuəli məʧ ˈbɪgər ðən ʤɪst ˈbɪldɪŋ ðə ˈfælkən, tu. li həz ˈpriviəsli toʊld mi ðət laɪk ðə saɪt wɛr ðə ˈfælkən ɪz bɪlt tɪ bɪˈkəm ə sɔrt əv speɪs camp”*” fər kɪdz ðət wɔnt tɪ lərn haʊ tɪ bɪld ˈhɑrdˌwɛr frəm skræʧ. bət ðoʊz plænz ər ɔl ɪn ðə fɑr fˈjuʧər waɪl hi ənd ˈəðər giks ˈfoʊkɪs ɔn ˈfɪnɪʃɪŋ ðə ˈrɛplɪkə əv stɑr wars’*’ moʊst ˈfeɪməs ʃɪp. ɛz fər ðə ˈfoʊˌtoʊ, li brɔt ˈpɔrʃənz əv ðə ˈfælkən ˈkɑkˌpɪt tɪ ðə ɪˈvɛnt læst ˈwiˌkɪnd tɪ ʃoʊ ɔf səm əv ðə ˈprɑˌgrɛs. ˈæktər (ənd dj*) nɛrn wɑz ɪn əˈtɛndəns ənd pæs əp ə ˌɪnˈsaɪd ðə ˈkɑkˌpɪt. æst li tɪ ʃoʊ mi ðə hoʊl ˈfælkən ˈrɛplɪkə wɪn aɪ ˈvɪzɪt fər ðə ˈhɑləˌdeɪz. ˈhoʊpfəli, ðət minz sun hæv mɔr ˈɪnfoʊ ɔn ðət stɑr wɔrz ˈhɑrdˌwɛr kæmp fər kɪdz ɛz wɛl ɛz ə nu slaɪd ʃoʊ əv ˈfoʊˌtoʊz. bət fər naʊ ə ˈgæləri əv ˈfoʊˌtoʊz frəm ðə ˌfʊlˈskeɪl ˈfælkən webpage*. ˈɔlsoʊ,!
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having fought and won against all odds in hostile battle fields like and siachen, the indian army has had to retreat in the face of continued hostility it is facing at the indira gandhi national open university (ignou) to get bachelor of science and commerce degrees for its soldiers.
in the past three years, the armed forces failed to get professional degrees for its soldiers, sailors and air men despite having signed an agreement, paying the fees and undergoing requisite training. the army fought a losing battle since 2012 and has now decided to abandon trying to reason with the of, professor m.
last-ditch effort
a decision has been taken by the army headquarters earlier this week to shift its soldiers seeking a professional degree to the rao maharashtra open university. the army headquarters is expected to sign an with the maharashtra open university for professional certification for its soldiers and junior commissioned officers (jcos). however, as a effort the army has once again reached out to minister irani seeking her personal intervention for a permanent solution to the crisis.
"in the armed forces soldiers join at the age of 18 and after 17 years of service most of them retire at the age of 35. in the army they learn various trades, from working in the engineers branch to signals to computers. we signed an with to provide them bachelors of science and commerce degrees where two years of military certification and one year of course would be treated as a three-year degree," top sources in the army told mail today.
till february 2012, about soldiers got enrolled in the 'gyandeep' scheme paying a fee of crore. "the vertical mobility scheme would mean as soon as soldiers retire after 17 years of service and enter the civilian street they would automatically be armed with a bachelor's degree. however, unilaterally put the scheme on hold playing with the careers of literally thousands and thousands of retiring soldiers," sources added.
this effectively means an air warrior retiring from the indian air force is out on the streets without a degree which could have enabled him to get a job in the civil aviation sector. similarly, retiring army personnel have been unable to get jobs commensurate with their knowledge and experience only because they lack necessary certification, despite having undergone training, education and having paid the fee for a degree at.
the army immediately sought a meeting with authorities in. "the response of the professor was most unfortunate. on july 4 of 2012, put all activities related to community colleges on hold and set up a committee to review more than 500 community college schemes. despite our submission to professor and authorities in that the armed forces have stringent systems of checks and balances the matter was not addressed by an openly hostile management," sources insisted.
"the board of management accepted the committee recommendation for a review of the scheme and even though it said that a special scheme would be worked out for the armed forces and thes would be honoured, the promise has not been honoured," sources added.
major general mudolkar, additional director general (personnel), air commodore mukherjee, principal director (education) and commodore ojha, principal director (naval education) wrote to saying the future of retiring soldiers was at stake. but their plea fell on deaf ears.
mail today contacted for a response and was told professor was on leave and the matter was being handled by the ministry of.
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ˈhævɪŋ fɔt ənd wən əˈgɛnst ɔl ɑdz ɪn ˈhɑstəl ˈbætəl fildz laɪk ənd siachen*, ðə ˈɪndiən ˈɑrmi həz hæd tɪ riˈtrit ɪn ðə feɪs əv kənˈtɪnjud hɑˈstɪləti ɪt ɪz ˈfeɪsɪŋ æt ðə ˌɪnˈdɪrə ˈgɑndi ˈnæʃənəl ˈoʊpən ˌjunəˈvərsəti (ignou*) tɪ gɪt ˈbæʧələr əv saɪəns ənd ˈkɑmərs dɪˈgriz fər ɪts ˈsoʊlʤərz. ɪn ðə pæst θri jɪrz, ðə ɑrmd ˈfɔrsɪz feɪld tɪ gɪt prəˈfɛʃənəl dɪˈgriz fər ɪts ˈsoʊlʤərz, ˈseɪlərz ənd ɛr mɛn dɪˈspaɪt ˈhævɪŋ saɪnd ən əˈgrimənt, peɪɪŋ ðə fiz ənd ˌəndərˈgoʊɪŋ ˈrɛkwəzət ˈtreɪnɪŋ. ðə ˈɑrmi fɔt ə ˈluzɪŋ ˈbætəl sɪns 2012 ənd həz naʊ ˌdɪˈsaɪdɪd tɪ əˈbændən traɪɪŋ tɪ ˈrizən wɪθ ðə əv, prəˈfɛsər ɛm. ˈɛfərt ə dɪˈsɪʒən həz bɪn ˈteɪkən baɪ ðə ˈɑrmi ˈhɛdˌkɔrtərz ˈərliər ðɪs wik tɪ ʃɪft ɪts ˈsoʊlʤərz ˈsikɪŋ ə prəˈfɛʃənəl dɪˈgri tɪ ðə raʊ ˌmɑhərˈɑʃˌtrə ˈoʊpən ˌjunəˈvərsəti. ðə ˈɑrmi ˈhɛdˌkɔrtərz ɪz ɪkˈspɛktɪd tɪ saɪn ən wɪθ ðə ˌmɑhərˈɑʃˌtrə ˈoʊpən ˌjunəˈvərsəti fər prəˈfɛʃənəl ˌsərtəfəˈkeɪʃən fər ɪts ˈsoʊlʤərz ənd ˈʤunjər kəˈmɪʃənd ˈɔfɪsərz (jcos*). ˌhaʊˈɛvər, ɛz ə ˈɛfərt ðə ˈɑrmi həz wəns əˈgɛn riʧt aʊt tɪ ˈmɪnɪstər ˌɪˈrɑni ˈsikɪŋ hər ˈpərsɪnəl ˌɪntərˈvɛnʃən fər ə ˈpərmɑˌnɛnt səˈluʃən tɪ ðə ˈkraɪsəs. "ɪn ðə ɑrmd ˈfɔrsɪz ˈsoʊlʤərz ʤɔɪn æt ðə eɪʤ əv 18 ənd ˈæftər 17 jɪrz əv ˈsərvɪs moʊst əv ðɛm ˌriˈtaɪər æt ðə eɪʤ əv 35 ɪn ðə ˈɑrmi ðeɪ lərn ˈvɛriəs treɪdz, frəm ˈwərkɪŋ ɪn ðə ˈɛnʤəˈnɪrz brænʧ tɪ ˈsɪgnəlz tɪ kəmˈpjutərz. wi saɪnd ən wɪθ tɪ prəˈvaɪd ðɛm ˈbæʧlərz əv saɪəns ənd ˈkɑmərs dɪˈgriz wɛr tu jɪrz əv ˈmɪlɪˌtɛri ˌsərtəfəˈkeɪʃən ənd wən jɪr əv kɔrs wʊd bi ˈtritɪd ɛz ə θˈriˌjɪr dɪˈgri," tɔp ˈsɔrsəz ɪn ðə ˈɑrmi toʊld meɪl təˈdeɪ. tɪl ˈfɛbruˌɛri 2012 əˈbaʊt ˈsoʊlʤərz gɑt ɛnˈroʊld ɪn ðə 'gyandeep*' skim peɪɪŋ ə fi əv crore*. "ðə ˈvərtɪkəl moʊˈbɪlɪti skim wʊd min ɛz sun ɛz ˈsoʊlʤərz ˌriˈtaɪər ˈæftər 17 jɪrz əv ˈsərvɪs ənd ˈɛnər ðə səˈvɪljən strit ðeɪ wʊd ˌɔtəˈmætɪkli bi ɑrmd wɪθ ə ˈbæʧələrz dɪˈgri. ˌhaʊˈɛvər, ˌjunəˈlætərəli pʊt ðə skim ɔn hoʊld pleɪɪŋ wɪθ ðə kərɪrz əv ˈlɪtərəli ˈθaʊzənz ənd ˈθaʊzənz əv rɪˈtaɪrɪŋ ˈsoʊlʤərz," ˈsɔrsəz ˈædɪd. ðɪs ˈifɛktɪvli minz ən ɛr ˈwɔrjər rɪˈtaɪrɪŋ frəm ðə ˈɪndiən ɛr fɔrs ɪz aʊt ɔn ðə strits wɪˈθaʊt ə dɪˈgri wɪʧ kʊd hæv ɪˈneɪbəld ɪm tɪ gɪt ə ʤɑb ɪn ðə ˈsɪvəl ˌeɪviˈeɪʃən ˈsɛktər. ˈsɪmələrli, rɪˈtaɪrɪŋ ˈɑrmi ˌpərsəˈnɛl hæv bɪn əˈneɪbəl tɪ gɪt ʤɑbz kəˈmɛnsərɪt wɪθ ðɛr ˈnɑlɪʤ ənd ɪkˈspɪriəns ˈoʊnli bɪˈkəz ðeɪ læk ˈnɛsəˌsɛri ˌsərtəfəˈkeɪʃən, dɪˈspaɪt ˈhævɪŋ ˌəndərˈgɔn ˈtreɪnɪŋ, ˌɛʤəˈkeɪʃən ənd ˈhævɪŋ peɪd ðə fi fər ə dɪˈgri æt. ðə ˈɑrmi ˌɪˈmiˌdiətli sɔt ə ˈmitɪŋ wɪθ əˈθɔrətiz ɪn. "ðə rɪˈspɑns əv ðə prəˈfɛsər wɑz moʊst ənˈfɔrʧənət. ɔn ˌʤuˈlaɪ 4 əv 2012 pʊt ɔl ækˈtɪvɪtiz rɪˈleɪtɪd tɪ kəmˈjunɪti ˈkɑlɪʤɪz ɔn hoʊld ənd sɛt əp ə kəˈmɪti tɪ ˌrivˈju mɔr ðən 500 kəmˈjunɪti ˈkɑlɪʤ skimz. dɪˈspaɪt ɑr səbˈmɪʃən tɪ prəˈfɛsər ənd əˈθɔrətiz ɪn ðət ðə ɑrmd ˈfɔrsɪz hæv ˈstrɪnʤənt ˈsɪstəmz əv ʧɛks ənd ˈbælənsɪz ðə ˈmætər wɑz nɑt əˈdrɛst baɪ ən ˈoʊpənli ˈhɑstəl ˈmænɪʤmənt," ˈsɔrsəz ˌɪnˈsɪstɪd. "ðə bɔrd əv ˈmænɪʤmənt ækˈsɛptɪd ðə kəˈmɪti ˌrɛkəmənˈdeɪʃən fər ə ˌrivˈju əv ðə skim ənd ˈivɪn ðoʊ ɪt sɛd ðət ə ˈspɛʃəl skim wʊd bi wərkt aʊt fər ðə ɑrmd ˈfɔrsɪz ənd ðə wʊd bi ˈɑnərd, ðə ˈprɑməs həz nɑt bɪn ˈɑnərd," ˈsɔrsəz ˈædɪd. ˈmeɪʤər ˈʤɛnərəl mudolkar*, əˈdɪʃənəl dɪˈrɛktər ˈʤɛnərəl (ˌpərsəˈnɛl), ɛr ˈkɑməˌdɔr məˈkərʤi, ˈprɪnsəpəl dɪˈrɛktər (ˌɛʤəˈkeɪʃən) ənd ˈkɑməˌdɔr ojha*, ˈprɪnsəpəl dɪˈrɛktər (ˈneɪvəl ˌɛʤəˈkeɪʃən) roʊt tɪ seɪɪŋ ðə fˈjuʧər əv rɪˈtaɪrɪŋ ˈsoʊlʤərz wɑz æt steɪk. bət ðɛr pli fɛl ɔn dɛf ɪrz. meɪl təˈdeɪ ˈkɑnˌtæktɪd fər ə rɪˈspɑns ənd wɑz toʊld prəˈfɛsər wɑz ɔn liv ənd ðə ˈmætər wɑz biɪŋ ˈhændəld baɪ ðə ˈmɪnɪstri əv.
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there’s no assurance a new ceo will turn the tide for weight watchers international, inc. (nyse: ). but after three years at the helm and stock hitting multiyear lows, no denying it was time to at least try something else.
so weight watchers ceo james chambers is stepping down at the end of this month, and the hunt for a replacement is underway.
owners of do have an unusual circumstance to chew on, though, and that is the involvement of oprah winfrey.
not only is she a spokesperson for the company, she also owns 10% of all stock, which gives her a seat on the board of directors. and been made clear going to have a hand in selecting the next ceo. the question is, what makes her qualified to contribute to that process?
time for a change
calling a spade a spade, weight watchers has been in trouble for years now. sales have fallen every year from peak of $1.83 billion to last $1.16 billion. income has followed suit, quarterly losses recently becoming the new norm.
blame it on inc. (nasdaq: ) and inc (nyse: med ), at least partially. mostly, blame it on dozens of low-cost and even free apps that help consumers count calories, along with an evolution of healthy eating know-how. the industry is becoming more fragmented rather than less, and informed individuals can do for themselves what they previously needed weight watchers to do for them.
to that end, while james chambers proved himself a very capable manager of broad food lines during his time with cadbury and nabisco, weight loss is a different game. either going to make it work, or not. it work, at least under him. the next chief my fare no better, but owners of stock at least deserve to find out for sure.
confusing celebrity with experience
it clear as to what degree it was mere or to what degree a meaningful factor. however, media mogul and major shareholder and director oprah winfrey has been pegged as one of the people that will help select the next weight watchers ceo.
as a member of the board of directors, this is one of her inherent roles. on the one hand, the media may have simply use this aspect of the job to bolster headlines. on the other hand, her celebrity influence necessarily fade inside the boardroom. easily the most recognizable name on the board of directors, and the shareholder.
when all said and done, likely to have the final say in the matter.
and that brings up an interesting question: should celebrity influence be wielded in a boardroom, particularly when choosing a new ceo of a struggling company?
to be fair, winfrey has earned the right. a board member because a huge shareholder, and she bought her stake with her own money, which she earned creating her own dollar media enterprise. clearly got a more legitimate level of business acumen than, say any of the kardashians, who are famous (and presumably wealthy) for nothing other than being famous.
still, weight watchers is an analog company in a digital world, in need of a mercy killing as opposed to a mere overhaul. oprah winfrey may be a television and media expert, but her task at hand is still mostly unfamiliar territory to her.
for that matter, the rejuvenation of weight watchers is going to be an unfamiliar task to anyone who takes the helm. going to require getting people off their digital devices and wiping away what those consumers have learned for themselves about diet and exercise.
that’s not going to be an easy feat.
as as the idea of celebrity influence in a boardroom may be, in this case, it be a concern. were it another name like justin bieber, miley cyrus or west, it might be a different story.
winfrey is eating her own cooking, though, in that got her own money on the line. at 62 years of age, got enough life experience and business experience to know what she know, and to read people correctly.
the bigger concern for owners of stock should be the aforementioned challenge a plethora of alternative tools and options, many of which are free to use. whoever the next chief is, if weight watchers can be saved, going to take a massive paradigm shift for the organization.
shareholders may want to brace themselves for the possibility that the company is becoming increasingly obsolete, following in the steps of the pay phone, the video rental store and typewriters.
oprah’s not going to change that reality no matter who she likes as the next ceo.
as of this writing, james brumley did not hold a position in any of the aforementioned securities.
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there’s* noʊ əˈʃʊrəns ə nu ˈsiˌiˈoʊ wɪl tərn ðə taɪd fər weɪt ˈwɑʧərz ˌɪnərˈnæʃənɑl, ɪŋk. (nyse*: bət ˈæftər θri jɪrz æt ðə hɛlm ənd stɑk ˈhɪtɪŋ ˈməltiˈjir loʊz, noʊ dɪˈnaɪɪŋ ɪt wɑz taɪm tɪ æt list traɪ ˈsəmθɪŋ ɛls. soʊ weɪt ˈwɑʧərz ˈsiˌiˈoʊ ʤeɪmz ˈʧeɪmbərz ɪz ˈstɛpɪŋ daʊn æt ðə ɛnd əv ðɪs mənθ, ənd ðə hənt fər ə rɪˈpleɪsmənt ɪz ˌəndərˈweɪ. ˈoʊnərz əv du hæv ən ənˈjuˌʒuəl ˈsərkəmˌstæns tɪ ʧu ɔn, ðoʊ, ənd ðət ɪz ðə ˌɪnˈvɑlvmənt əv ˈoʊprə ˈwɪnfri. nɑt ˈoʊnli ɪz ʃi ə ˈspoʊkspərsən fər ðə ˈkəmpəˌni, ʃi ˈɔlsoʊ oʊnz 10 əv ɔl stɑk, wɪʧ gɪvz hər ə sit ɔn ðə bɔrd əv dɪˈrɛktərz. ənd bɪn meɪd klɪr goʊɪŋ tɪ hæv ə hænd ɪn səˈlɛktɪŋ ðə nɛkst ˈsiˌiˈoʊ. ðə kˈwɛʃən ɪz, wət meɪks hər kˈwɑləˌfaɪd tɪ kənˈtrɪbjut tɪ ðət ˈprɔˌsɛs? taɪm fər ə ʧeɪnʤ ˈkɔlɪŋ ə speɪd ə speɪd, weɪt ˈwɑʧərz həz bɪn ɪn ˈtrəbəl fər jɪrz naʊ. seɪlz hæv ˈfɑlən ˈɛvəri jɪr frəm pik əv ˈbɪljən tɪ læst ˈbɪljən. ˈɪnˌkəm həz ˈfɑloʊd sut, kˈwɔrtərli ˈlɔsɪz ˈrisəntli bɪˈkəmɪŋ ðə nu nɔrm. bleɪm ɪt ɔn ɪŋk. (ˈnæzdæk: ənd ɪŋk (nyse*: mɛd æt list ˈpɑrʃəli. ˈmoʊstli, bleɪm ɪt ɔn ˈdəzənz əv ˌloʊˈkɔst ənd ˈivɪn fri æps ðət hɛlp kənˈsumərz kaʊnt ˈkælɔˌriz, əˈlɔŋ wɪθ ən ˌɛvəˈluʃən əv ˈhɛlθi ˈitɪŋ ˈnoʊˌhaʊ. ðə ˈɪndəstri ɪz bɪˈkəmɪŋ mɔr ˈfrægməntɪd ˈrəðər ðən lɛs, ənd ˌɪnˈfɔrmd ˌɪndəˈvɪʤəwəlz kən du fər ðɛmˈsɛlvz wət ðeɪ ˈpriviəsli ˈnidɪd weɪt ˈwɑʧərz tɪ du fər ðɛm. tɪ ðət ɛnd, waɪl ʤeɪmz ˈʧeɪmbərz pruvd hɪmˈsɛlf ə ˈvɛri ˈkeɪpəbəl ˈmænɪʤər əv brɔd fud laɪnz ˈdʊrɪŋ hɪz taɪm wɪθ ˈkædˌbɛri ənd nəˈbɪˌskoʊ, weɪt lɔs ɪz ə ˈdɪfərənt geɪm. ˈiðər goʊɪŋ tɪ meɪk ɪt wərk, ər nɑt. ɪt wərk, æt list ˈəndər ɪm. ðə nɛkst ʧif maɪ fɛr noʊ ˈbɛtər, bət ˈoʊnərz əv stɑk æt list dɪˈzərv tɪ faɪnd aʊt fər ʃʊr. kənfˈjuzɪŋ səˈlɛbrɪti wɪθ ɪkˈspɪriəns ɪt klɪr ɛz tɪ wət dɪˈgri ɪt wɑz mɪr ər tɪ wət dɪˈgri ə ˈminɪŋfəl ˈfæktər. ˌhaʊˈɛvər, ˈmidiə ˈmoʊgəl ənd ˈmeɪʤər ˈʃɛˌrhoʊldər ənd dɪˈrɛktər ˈoʊprə ˈwɪnfri həz bɪn pɛgd ɛz wən əv ðə ˈpipəl ðət wɪl hɛlp səˈlɛkt ðə nɛkst weɪt ˈwɑʧərz ˈsiˌiˈoʊ. ɛz ə ˈmɛmbər əv ðə bɔrd əv dɪˈrɛktərz, ðɪs ɪz wən əv hər ˌɪnˈhɛrənt roʊlz. ɔn ðə wən hænd, ðə ˈmidiə meɪ hæv ˈsɪmpli juz ðɪs ˈæˌspɛkt əv ðə ʤɑb tɪ ˈboʊlstər ˈhɛˌdlaɪnz. ɔn ðə ˈəðər hænd, hər səˈlɛbrɪti ˈɪnfluəns ˌnɛsəˈsɛrəli feɪd ˌɪnˈsaɪd ðə ˈbɔrˌdrum. ˈizəli ðə moʊst ˌrɛkəgˈnaɪzəbəl neɪm ɔn ðə bɔrd əv dɪˈrɛktərz, ənd ðə ˈʃɛˌrhoʊldər. wɪn ɔl sɛd ənd dən, ˈlaɪkli tɪ hæv ðə ˈfaɪnəl seɪ ɪn ðə ˈmætər. ənd ðət brɪŋz əp ən ˈɪntəˌrɛstɪŋ kˈwɛʃən: ʃʊd səˈlɛbrɪti ˈɪnfluəns bi ˈwildɪd ɪn ə ˈbɔrˌdrum, ˌpɑrˈtɪkjələrli wɪn ˈʧuzɪŋ ə nu ˈsiˌiˈoʊ əv ə ˈstrəgəlɪŋ ˈkəmpəˌni? tɪ bi fɛr, ˈwɪnfri həz ərnd ðə raɪt. ə bɔrd ˈmɛmbər bɪˈkəz ə juʤ ˈʃɛˌrhoʊldər, ənd ʃi bɔt hər steɪk wɪθ hər oʊn ˈməni, wɪʧ ʃi ərnd kriˈeɪtɪŋ hər oʊn ˈdɔlər ˈmidiə ˈɛnərˌpraɪz. ˈklɪrli gɑt ə mɔr ləˈʤɪtəmət ˈlɛvəl əv ˈbɪznɪs əˈkjumən ðən, seɪ ˈɛni əv ðə kardashians*, hu ər ˈfeɪməs (ənd prɪˈzuməbli ˈwɛlθi) fər ˈnəθɪŋ ˈəðər ðən biɪŋ ˈfeɪməs. stɪl, weɪt ˈwɑʧərz ɪz ən ˈænəˌlɔg ˈkəmpəˌni ɪn ə ˈdɪʤɪtəl wərld, ɪn nid əv ə ˈmərsi ˈkɪlɪŋ ɛz əˈpoʊzd tɪ ə mɪr ˈoʊvərˌhɔl. ˈoʊprə ˈwɪnfri meɪ bi ə ˈtɛləˌvɪʒən ənd ˈmidiə ˈɛkspərt, bət hər tæsk æt hænd ɪz stɪl ˈmoʊstli ˌənfəˈmɪljər ˈtɛrɪˌtɔri tɪ hər. fər ðət ˈmætər, ðə rɪˌʤuvəˈneɪʃən əv weɪt ˈwɑʧərz ɪz goʊɪŋ tɪ bi ən ˌənfəˈmɪljər tæsk tɪ ˈɛniˌwən hu teɪks ðə hɛlm. goʊɪŋ tɪ ˌrikˈwaɪər ˈgɪtɪŋ ˈpipəl ɔf ðɛr ˈdɪʤɪtəl dɪˈvaɪsɪz ənd ˈwaɪpɪŋ əˈweɪ wət ðoʊz kənˈsumərz hæv ˈlərnɪd fər ðɛmˈsɛlvz əˈbaʊt daɪət ənd ˈɛksərˌsaɪz. nɑt goʊɪŋ tɪ bi ən ˈizi fit. ɛz ɛz ðə aɪˈdiə əv səˈlɛbrɪti ˈɪnfluəns ɪn ə ˈbɔrˌdrum meɪ bi, ɪn ðɪs keɪs, ɪt bi ə kənˈsərn. wər ɪt əˈnəðər neɪm laɪk ˈʤəstɪn ˈbibər, ˈmaɪli ˈsaɪrəs ər wɛst, ɪt maɪt bi ə ˈdɪfərənt ˈstɔri. ˈwɪnfri ɪz ˈitɪŋ hər oʊn ˈkʊkɪŋ, ðoʊ, ɪn ðət gɑt hər oʊn ˈməni ɔn ðə laɪn. æt 62 jɪrz əv eɪʤ, gɑt ɪˈnəf laɪf ɪkˈspɪriəns ənd ˈbɪznɪs ɪkˈspɪriəns tɪ noʊ wət ʃi noʊ, ənd tɪ rɛd ˈpipəl kərˈɛktli. ðə ˈbɪgər kənˈsərn fər ˈoʊnərz əv stɑk ʃʊd bi ðə əˈfɔrˌmɛnʃənd ˈʧælənʤ ə ˈplɛθərə əv ɔlˈtərnətɪv tulz ənd ˈɔpʃənz, ˈmɛni əv wɪʧ ər fri tɪ juz. huˈɛvər ðə nɛkst ʧif ɪz, ɪf weɪt ˈwɑʧərz kən bi seɪvd, goʊɪŋ tɪ teɪk ə ˈmæsɪv ˈpɛrəˌdaɪm ʃɪft fər ðə ˌɔrgənəˈzeɪʃən. ˈʃɛˌrhoʊldərz meɪ wɔnt tɪ breɪs ðɛmˈsɛlvz fər ðə ˌpɑsəˈbɪləˌti ðət ðə ˈkəmpəˌni ɪz bɪˈkəmɪŋ ˌɪnˈkrisɪŋgli ˌɑbsəˈlit, ˈfɑloʊɪŋ ɪn ðə stɛps əv ðə peɪ foʊn, ðə ˈvɪdioʊ ˈrɛntəl stɔr ənd ˈtaɪˌpraɪtərz. nɑt goʊɪŋ tɪ ʧeɪnʤ ðət ˌriˈæləˌti noʊ ˈmætər hu ʃi laɪks ɛz ðə nɛkst ˈsiˌiˈoʊ. ɛz əv ðɪs ˈraɪtɪŋ, ʤeɪmz ˈbrəmli dɪd nɑt hoʊld ə pəˈzɪʃən ɪn ˈɛni əv ðə əˈfɔrˌmɛnʃənd sɪˈkjʊrətiz. mɔr frəm
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imagine, for a moment, that september of 1994 and just left work. after to ace of “i saw the sign” on the drive home, you check your beeper, then settle in to watch something on your brand-new satellite tv. you surf over to nbc and notice that a new show is playing it looks like about a group of six attractive people just sitting around at a coffeehouse. weird premise. then you notice a few familiar faces. hey, is that doogie howser? and your favorite actress from knots landing? and the chick from speed?
when the title sequence set to “shiny happy people” plays, you finally learn what been looking at: a sitcom called six of one, brought to you by marta kauffman and david crane. funny the jokes land, and the pacing is crisp. but somehow, things seem… off. especially that title. crane and kauffman have been better off with something simpler? something like, say, friends?
thankfully, we live in that alternate universe. but according to this oral history of friends an excerpt from warren upcoming book top of the rock: inside the rise and fall of must see tv, published in this vanity fair favorite sitcom (that seinfeld) could have been a very, very different show. the full article online yet but gone through and picked out eight of the best tidbits. cue up the rembrandts, pat your smelly cat, and get ready: time to go back to central perk.
1. title trivia
it’s no secret that before kauffman and crane settled on friends, they called their pilot six of one (as in “half a dozen of the other.”) but before that, the duo had a third possible title for their pitch: insomnia cafe. sounds more like a horror series than a sitcom.
2. jane krakowski could have played phoebe and sheridan could have played monica
the article includes a list of actors kauffman and crane considered for their pilot. they also thought about casting leoni as rachel and eventual rent star anthony rapp as ross. bradley whitford, neil patrick harris, sandra bullock, and molly ringwald appear on the list of possible principals as well, though their potential parts noted. could only have been chandler, though, right?)
3. at first, matthew perry available for friends because he was shooting a pilot set in the year 2194
it was called lax 2194, and it was about the baggage handlers of the future. (whose line is it anyway? comedian ryan stiles was in it too!) the show did not get picked up.
4. lisa was original roz
the future phoebe was cast in the cheers spinoff, but got fired during rehearsals for its pilot. the director of that pilot a.k.a. one of the guys who fired also directed 15 episodes of friends, including its first.
5. west coast president thought monica was a “trollop”
he was so opposed to her sleeping with “paul the wine guy” that he insisted on handing out the following questionnaire to the studio audience: do you think monica sleeping with the wine guy makes her a) a slut, b) a whore, [or] c) a trollop? even so, the subplot stayed.
6. season 6 could have been the last*
due to contract negotiations and the main insistence on receiving the same astronomical pay nbc almost ended friends with monica and engagement. harold brook, former executive vice president of business affairs, says the network made two possible promos that spring: one for a season finale, and one for a series finale.
7. the cast hated the idea of rachel and joey dating
according to matt leblanc, the concept “felt wildly inappropriate.” he says he and his five costars approached kauffman and crane as a group to air their concerns. would later seasons have been better if the creators had listened?
8. ross and rachel almost end up together
as crane says, “we talked about doing a qualified ending… not together together, but the hope they can be together. [then] we said, “f— it. jerked these people off for 10 years. who are we kidding?” good call, crane good call.
do these bits of friends trivia tickle you as much as they tickled me, popwatchers? what friends do you find most promising?
*this post originally stated that season 5 could have been the last. though the oral history implies this warren littlefield writes that the contract dispute came “after the fifth season” an article from 2000 confirms that the renegotiation actually occurred at the end of season 6. we regret the error.
read more:
jennifer still watches ‘friends’ reruns. she is just like us!
‘friends’ with benefits: study records how often the characters scored. (sorry, chandler.)
‘cougar town’: everybody loves
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ˌɪˈmæʤən, fər ə ˈmoʊmənt, ðət sɛpˈtɛmbər əv 1994 ənd ʤɪst lɛft wərk. ˈæftər tɪ eɪs əv sɔ ðə sign”*” ɔn ðə draɪv hoʊm, ju ʧɛk jʊr ˈbipər, ðɛn ˈsɛtəl ɪn tɪ wɔʧ ˈsəmθɪŋ ɔn jʊr ˈbrændˌnu ˈsætəˌlaɪt ˌtɛləˈvɪʒən. ju sərf ˈoʊvər tɪ ˈɛnˌbiˈsi ənd ˈnoʊtɪs ðət ə nu ʃoʊ ɪz pleɪɪŋ ɪt lʊks laɪk əˈbaʊt ə grup əv sɪks əˈtræktɪv ˈpipəl ʤɪst ˈsɪtɪŋ əraʊnd æt ə ˈkɔfiˌhaʊs. wɪrd ˈprɛmɪs. ðɛn ju ˈnoʊtɪs ə fju fəˈmɪljər ˈfeɪsɪz. heɪ, ɪz ðət ˈdugi ˈhaʊzər? ənd jʊr ˈfeɪvərɪt ˈæktrəs frəm nɑts ˈlændɪŋ? ənd ðə ʧɪk frəm spid? wɪn ðə ˈtaɪtəl ˈsikwəns sɛt tɪ ˈhæpi people”*” pleɪz, ju ˈfaɪnəli lərn wət bɪn ˈlʊkɪŋ æt: ə ˈsɪtˌkɑm kɔld sɪks əv wən, brɔt tɪ ju baɪ ˈmɑrtə ˈkɔfmən ənd ˈdeɪvɪd kreɪn. ˈfəni ðə ʤoʊks lænd, ənd ðə ˈpeɪsɪŋ ɪz krɪsp. bət ˈsəmˌhaʊ, θɪŋz seem…*… ɔf. əˈspɛʃəli ðət ˈtaɪtəl. kreɪn ənd ˈkɔfmən hæv bɪn ˈbɛtər ɔf wɪθ ˈsəmθɪŋ ˈsɪmpələr? ˈsəmθɪŋ laɪk, seɪ, frɛndz? ˈθæŋkfəli, wi lɪv ɪn ðət ˈɔltərˌneɪt ˈjunəˌvərs. bət əˈkɔrdɪŋ tɪ ðɪs ˈɔrəl ˈhɪstəri əv frɛndz ən ˈɛksərpt frəm ˈwɔrən ˈəpˌkəmɪŋ bʊk tɔp əv ðə rɑk: ˌɪnˈsaɪd ðə raɪz ənd fɔl əv məst si ˌtɛləˈvɪʒən, ˈpəblɪʃt ɪn ðɪs ˈvænɪti fɛr ˈfeɪvərɪt ˈsɪtˌkɑm (ðət ˈsaɪnfɛld) kʊd hæv bɪn ə ˈvɛri, ˈvɛri ˈdɪfərənt ʃoʊ. ðə fʊl ˈɑrtɪkəl ˈɔnˌlaɪn jɛt bət gɔn θru ənd pɪkt aʊt eɪt əv ðə bɛst ˈtɪdbɪts. kju əp ðə ˈrɛmˌbrænts, pæt jʊr sˈmɛli kæt, ənd gɪt ˈrɛdi: taɪm tɪ goʊ bæk tɪ ˈsɛntrəl pərk. 1 ˈtaɪtəl ˈtrɪviə noʊ ˈsikrɪt ðət ˌbiˈfɔr ˈkɔfmən ənd kreɪn ˈsɛtəld ɔn frɛndz, ðeɪ kɔld ðɛr ˈpaɪlət sɪks əv wən (ɛz ɪn ə ˈdəzən əv ðə other.”*.”) bət ˌbiˈfɔr ðət, ðə ˈduoʊ hæd ə θərd ˈpɑsəbəl ˈtaɪtəl fər ðɛr pɪʧ: ˌɪnˈsɑmniə kəˈfeɪ. saʊnz mɔr laɪk ə ˈhɔrər ˈsɪriz ðən ə ˈsɪtˌkɑm. 2 ʤeɪn krəˈkɔfski kʊd hæv pleɪd ˈfibi ənd ˈʃɛrɪdən kʊd hæv pleɪd ˈmɑnɪkə ðə ˈɑrtɪkəl ˌɪnˈkludz ə lɪst əv ˈæktərz ˈkɔfmən ənd kreɪn kənˈsɪdərd fər ðɛr ˈpaɪlət. ðeɪ ˈɔlsoʊ θɔt əˈbaʊt ˈkæstɪŋ lɛˈoʊni ɛz ˈreɪʧəl ənd əˈvɛnʧuəl rɛnt stɑr ˈænθɔˌni ræp ɛz rɔs. ˈbrædli ˈwɪtfərd, nil ˈpætrɪk ˈhɛrɪs, ˈsændrə ˈbʊlək, ənd ˈmɑli ˈrɪŋwɔld əˈpɪr ɔn ðə lɪst əv ˈpɑsəbəl ˈprɪnsəpəlz ɛz wɛl, ðoʊ ðɛr pəˈtɛnʃəl pɑrts ˈnoʊtɪd. kʊd ˈoʊnli hæv bɪn ˈʧændlər, ðoʊ, raɪt?) 3 æt fərst, ˈmæθju ˈpɛri əˈveɪləbəl fər frɛndz bɪˈkəz hi wɑz ˈʃutɪŋ ə ˈpaɪlət sɛt ɪn ðə jɪr 2194 ɪt wɑz kɔld læks 2194 ənd ɪt wɑz əˈbaʊt ðə ˈbægɪʤ ˈhændələrz əv ðə fˈjuʧər. (huz laɪn ɪz ɪt ˈɛniˌweɪ? kəˈmidiən raɪən staɪlz wɑz ɪn ɪt tu!) ðə ʃoʊ dɪd nɑt gɪt pɪkt əp. 4 ˈlisə wɑz ərˈɪʤənəl rɑz ðə fˈjuʧər ˈfibi wɑz kæst ɪn ðə ʧɪrz ˈspɪˌnɔf, bət gɑt faɪərd ˈdʊrɪŋ rɪˈhərsəlz fər ɪts ˈpaɪlət. ðə dɪˈrɛktər əv ðət ˈpaɪlət a.k.a*. wən əv ðə gaɪz hu faɪərd ˈɔlsoʊ dɪˈrɛktɪd 15 ˈɛpɪˌsoʊdz əv frɛndz, ˌɪnˈkludɪŋ ɪts fərst. 5 wɛst koʊst ˈprɛzɪdənt θɔt ˈmɑnɪkə wɑz ə ““trollop”*” hi wɑz soʊ əˈpoʊzd tɪ hər sˈlipɪŋ wɪθ ðə waɪn guy”*” ðət hi ˌɪnˈsɪstɪd ɔn ˈhændɪŋ aʊt ðə ˈfɑloʊɪŋ kˌwɛsʧəˈnɛr tɪ ðə ˈstudiˌoʊ ˈɔdiəns: du ju θɪŋk ˈmɑnɪkə sˈlipɪŋ wɪθ ðə waɪn gaɪ meɪks hər ə) ə slət, bi) ə hɔr, [ər] si) ə trollop*? ˈivɪn soʊ, ðə ˈsəbplɑt steɪd. 6 ˈsizən 6 kʊd hæv bɪn ðə du tɪ ˈkɑnˌtrækt nɪˌgoʊʃiˈeɪʃənz ənd ðə meɪn ˌɪnˈsɪstəns ɔn rɪˈsivɪŋ ðə seɪm ˌæstrəˈnɑmɪkəl peɪ ˈɛnˌbiˈsi ˈɔlˌmoʊst ˈɛndɪd frɛndz wɪθ ˈmɑnɪkə ənd ɛnˈgeɪʤmənt. ˈhɛrəld brʊk, ˈfɔrmər ɪgˈzɛkjətɪv vaɪs ˈprɛzɪdənt əv ˈbɪznɪs əˈfɛrz, sɪz ðə ˈnɛtˌwərk meɪd tu ˈpɑsəbəl ˈproʊˌmoʊz ðət spərɪŋ: wən fər ə ˈsizən fəˈnæli, ənd wən fər ə ˈsɪriz fəˈnæli. 7 ðə kæst ˈheɪtɪd ðə aɪˈdiə əv ˈreɪʧəl ənd ʤoʊi ˈdeɪtɪŋ əˈkɔrdɪŋ tɪ mæt ləˈblæŋk, ðə ˈkɑnsɛpt ˈwaɪldli inappropriate.”*.” hi sɪz hi ənd hɪz faɪv ˈkoʊstɑrz əˈproʊʧt ˈkɔfmən ənd kreɪn ɛz ə grup tɪ ɛr ðɛr kənˈsərnz. wʊd ˈleɪtər ˈsizənz hæv bɪn ˈbɛtər ɪf ðə kriˈeɪtərz hæd ˈlɪsənd? 8 rɔs ənd ˈreɪʧəl ˈɔlˌmoʊst ɛnd əp təˈgɛðər ɛz kreɪn sɪz, tɔkt əˈbaʊt duɪŋ ə kˈwɑləˌfaɪd ending…*… nɑt təˈgɛðər təˈgɛðər, bət ðə hoʊp ðeɪ kən bi təˈgɛðər. [ðɛn] wi sɛd, ““f—*— ɪt. ʤərkt ðiz ˈpipəl ɔf fər 10 jɪrz. hu ər wi kidding?”*?” gʊd kɔl, kreɪn gʊd kɔl. du ðiz bɪts əv frɛndz ˈtrɪviə ˈtɪkəl ju ɛz məʧ ɛz ðeɪ ˈtɪkəld mi, popwatchers*? wət frɛndz du ju faɪnd moʊst ˈprɑməsɪŋ? *ðɪs poʊst ərˈɪʤənəli ˈsteɪtɪd ðət ˈsizən 5 kʊd hæv bɪn ðə læst. ðoʊ ðə ˈɔrəl ˈhɪstəri ˌɪmˈplaɪz ðɪs ˈwɔrən ˈlɪtəlˌfild raɪts ðət ðə ˈkɑnˌtrækt dɪˈspjut keɪm ðə fɪθ season”*” ən ˈɑrtɪkəl frəm 2000 kənˈfərmz ðət ðə ˌrinɪˌgoʊʃiˈeɪʃən ˈæˌkʧuəli əˈkərd æt ðə ɛnd əv ˈsizən 6 wi rɪˈgrɛt ðə ˈɛrər. rɛd mɔr: ˈʤɛnəfər stɪl ˈwɑʧɪz ‘‘friends’*’ ˈriˈrənz. ʃi ɪz ʤɪst laɪk ˈjuˈɛs! ‘‘friends’*’ wɪθ ˈbɛnəfɪts: ˈstədi ˈrɛkərdz haʊ ˈɔfən ðə ˈkɛrɪktərz skɔrd. (ˈsɑri, ˈʧændlər.) town’*’: ˈɛvriˌbɑdi ləvz
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livestrong sporting park | kansas city, kan.
attendance: (sold out)
weather: 92 degrees and rain
quotes
score 1 2 f sporting kansas city 0 1 0 0 1 3 seattle 0 1 0 0 1 2
sporting kansas city: jimmy nielsen; chance myers, lawrence, matt besler, seth (michael harrington 100); julio cesar, paulo, roger espinoza; graham, teal (c.j. 89),
subs not used: eric kronberg, markovic, jacob peterson, michael thomas, saad
seattle: michael; leonardo gonzalez, zach scott, kennedy hurtado, patrick ianni; alex caskey (brad evans 69), andy rose (christian 69), mauro rosales, alonso; montero (marc burch 107), eddie johnson
subs not used: andrew weber, jeff parke, steve zakuani, sammy ochoa
stats sea shots 17 7 shots on goal 7 2 saves 1 6 fouls 16 19 0 2 corner kicks 4 3
misconduct summary:
sea - alonso (caution; dissent) 4
sea - mauro rosales (caution; reckless tackle) 57
sea - patrick ianni (caution; tactical foul) 73
sea - zach scott (caution; reckless tackle) 92
sea - patrick ianni (caution; reckless foul) 118
sea - patrick ianni (ejection; second caution) 118
scoring summary:
kc - (penalty kick) 84
sea - zach scott (mauro rosales) 86
(august 8, 2012) - sporting kansas city are champions of the lamar hunt u.s. open cup for the second time in club history, prevailing on penalty kicks after a draw in regulation against the seattle in the 2012 tournament final on wednesday in front of a crowd at sporting park.
after a scoreless first half, sporting kansas city forward scored the game's opening goal in the minute from the penalty spot after a zach scott handball inside the penalty area. seattle responded two minutes later with a header from scott off a mauro rosales free kick. both extra time periods ended scoreless, leaving kicks from the spot to decide the annual edition of the u.s. open cup.
with the crowd behind them, it was sporting kansas city with the first chance of the match in the minute from a from 25 yards out. his angled shot was just wide of the post.
eager on the counterattack, the had a chance of their own in the minute. montero regained possession after having his run on goal disrupted by and bent the ball in from deep on the right wing but jimmy nielsen was there to make the save.
kamara was back at it again in the minute when paulo snatched the ball from seattle and slotted it to, who took a dipping shot from 35 yards out that soared over michael and was saved by the woodwork.
seattle's andy rose responded with a long volley of his own three minutes later that soared narrowly over the. in the minute, former sporting kansas city striker eddie johnson expertly headed down a corner from rosales on goal, but nielsen dove and pushed johnson's shot with an even finer save that prompted applause from the packed crowd.
johnson was back at it again six minutes later, beating with his speed and taking a low shot from outside the box that was just wide of the far left post.
the home side fought back in the form of a long-distance shot from seth in the minute that hit the and had the crowd convinced it was a goal upon first inspection. it was sporting kansas city with the final chance in the first half, coming three minutes into stoppage time when graham played a pass back to olympic hero roger espinoza, who took a blasting shot at the top of the box that was feverishly deflected by.
sporting kansas city opened the second half strong, with a chance just one minute in when fought his way to the corner flag and crossed the ball to at the near post., marked by two men, did his best to create enough space for a shot and forced to make the save.
the minute saw an excellent bit of defending from matt besler when johnson tore his way down the left wing and lined up a shot on goal only to see besler make a tackle to stop the dangerous opportunity before it could escalate.
thirteen minutes later, seattle's alonso put defense to the test when he skirted his way past three men and looked to shoot on the open net when lawrence blocked the ball out of play with a sliding stop.
sporting kansas city's golden opportunity arrived in the form of a penalty kick as a result of handball in the box from zach scott in the minute on a cross. converted the penalty, putting sporting kansas city ahead with six minutes remaining in regulation.
it was too soon to crown the home side victors, however, as seattle fought back in the minute and capitalized on a rosales set piece with a header from scott to level the score in short succession.
sporting kansas city nearly bagged a dramatic in the first minute of stoppage time when substitute c.j. chipped the ball to en route to goal, but's headed shot was just over the.
with the two sides deadlocked at and a trophy on the line, the match went into extra time. sporting won a corner early in the first period which seattle headed out, but intercepted and sent in a volley just wide of the goal.
despite bouts of pressure and danger from both sides, along with a late ejection to patrick ianni after being shown his second yellow card of the match in the minute, neither team could break through. extra time ended without a goal and the match progressed to penalties.
sporting, shooting first in the shootout, began with's second successful attempt of the night. the would match it with a make of their own through brad evans' shot to his left.
gspurning gave his team the advantage with a stop on espinoza and seattle momentarily led following marc blast down the middle. besler pulled sporting back level with a shot off the underside of the and into the back of the net.
alonso and both sent their shots over the in attempts, and nielsen made a superb save to his left to deny christian to send it to the fifth and final penalty kick with it all to be decided.
nagamura's initial attempt was saved by, but he was ruled to have come off his line early and the brazilian calmly converted the ensuing second chance to his left to put sporting ahead in dramatic fashion.
johnson walked to the spot with sporting park in a frenzy, needing to score to keep seattle alive. back in kansas city for the first time since he played with the in 2007, johnson's shot sailed over the and brought an end to the shootout with seattle's third straight miss from the mark.
wednesday was the first u.s. open cup final decided after regulation since sporting kansas city won the title over the chicago fire in 2004 on a golden goal by igor at arrowhead stadium. it was also the first u.s. open cup championship decided by penalty kicks since 1997 when the burn prevailed over d.c. united.
sporting kansas city will have the team's named engraved on the dewar challenge trophy, the oldest trophy in united states team sports, and earn a berth in the champions league for the opportunity to compete against the best club teams in north america, central america and the caribbean.
wednesday's title snapped a streak of u.s. open cup championships for the visiting and was seattle's first falter in the competition since joining major league soccer in 2009.
this year, the u.s. open cup featured the largest field in tournament history with 64 teams -- 32 professional, 32 amateur -- competing for the crown.
fast facts:
sporting kansas city won the 2012 lamar hunt u.s. open cup final for the second time in club history and are now in the u.s. open cup final.
wednesday was the first appearance in a u.s. open cup final since 2004 when the team won the championship with a victory over the chicago fire on an igor golden goal in extra time.
wednesday’s match was delayed due to weather for 37 minutes.
sporting goalkeeper jimmy nielsen started his fourth straight u.s. open cup match on wednesday and allowed his first goal in the competition after going 353 minutes without allowing a goal in the u.s. open cup this year.
defender chance myers made his first appearance since a loss to the houston dynamo at compass stadium on july 18th.
myers and matt besler appeared in their tenth all-time u.s. open cup match, moving them past jack into a tie for sixth place on the all-time chart with jimmy conrad and chris klein.
myers started his ninth u.s. open cup match all-time on wednesday, moving in a tie for third place on the all-time chart with michael harrington and jimmy conrad.
defender seth has started all five games for sporting kansas city in the u.s. open cup this year.
sinovic led all sporting players with 460 minutes played in the u.s. open cup this season.
besler, graham and forward c.j. have appeared in all five sporting kansas city games in the u.s. open cup this year.
sporting kansas city is all-time in u.s. open cup competition.
sporting kansas city is (including qualifying) all-time against competition in the u.s. open cup.
sporting kansas city is (including qualifying) all-time at home in the u.s. open cup.
sporting kansas city has scored 67 goals all-time in the u.s. open cup and allowed 42.
kei converted a penalty kick in the minute, marking’s second goal scored in open cup competition for sporting kansas city.
wednesday marked the first final to go into extra time since 2004, when sporting kansas city beat the chicago fire.
sporting kansas city is (including qualifying) when going into overtime in u.s. open cup competition.
the last time sporting kansas city went to penalty kicks was after a tie on june 30, 2009 against the minnesota thunder in the lamar hunt u.s. open cup round of 16. kansas city won on penalty kicks.
aurelien collin missed the match due to yellow card accumulation after receiving his third caution of the tournament against the philadelphia union in the semifinals on july 11, 2012.
quotes
sporting kansas city manager peter
on the significance of the winning the tournament…
i'm extremely excited for the ownership group, for the club and the staff, the players and the fans. and more importantly, kansas city. we really set out on a mission to make soccer a major sport in this community and this city. i think that when you look at the event tonight, it just demonstrates the commitment that this organization and this ownership has and that our fans do, as well. it's an incredible reward for the great job that everyone did.
on the importance of the home crowd…
it was fantastic. staying through the bad weather early on and continuing to keep the noise up and supporting us throughout the whole entire game. it was fantastic. just putting a lot of pressure on seattle, especially on the penalty kicks, a big credit to them.
on the penalty shootout…
we knew going in who our guys were going to be. but we had to make a change because teal (bunbury) was one of them. he wasn't out there because we had made a sub. all-in-all, i thought the guys did a good job. they stayed focused. they got the job done at the end of the day. they committed to what we need to do.
on the importance of the berth in the champions league…
it's what we set out do as a club. first of all, to be in competitions like that. this made is a straight berth into it for us. bringing that kind of competition to this facility and to this club is the next step in the direction that we want to go in.
sporting kansas city goalkeeper jimmy nielsen
on sporting’s penalty shootout victory over seattle in the u.s. open cup final…
i’m so happy right now, just extremely happy. well deserved for this whole organization and this whole city. there are a lot of hard-working people in this organization, and doing an excellent job to promote the soccer team. this is not only sporting kansas victory and night, the whole night. unbelievable how this team has grown in the last year-and-a-half. unreal. happy for so many people on and around this team.
on his strategy in defending the seattle penalty kicks…
i had a plan a and a plan b for the shootout. i’ really feel like plan a was working, so i changed a little bit. i tried to mess around with them a little bit and get into their head.
sporting paulo
on preparing for the penalty kick shootout…
we trained for penalty kicks during the whole week and peter (vermes) made his selection right before the shootout. we are just glad to bring this cup home to our fans. they have done so much for us, so it is good to give them something in return. we were confident we could do this tonight. we are a good team. seattle is a good team, too, but we thought we could do this. it was a very hard game and it has ended very well for us.
on sporting’s penalty shootout victory over seattle in the u.s. open cup final…
this win ranks pretty high in my career. won this trophy once with los angeles but this one is pretty special because of the home crowd and this stage. this win is for sporting, and very big.
on the injury he suffered to his face in the first half…
i think going to have to have three stitches. but there was no chance of me leaving the game. i knew i had to be on the field to help my team win.
on retaking his penalty kick during the shootout…
the second time i took the shot, i was pretty confident. i knew he was off his line the first time, and i think he could stop me two times. i trained really well this week, so i knew i just needed composure. i thought he came off his line more than once. but glad it worked out for us. the winners, and very happy with that.
sporting forward
on sporting’s penalty shootout victory over seattle in the u.s. open cup final…
this is a dream come true. we wanted to do this for the fans. been fantastic for us for the longest time. things come easy, a tough team. organized and hard to beat, but we came out tonight knowing we had to win. there really a choice. we had to do this for nation.
on making two penalties, one in the minute and one in the shootout…
i’m comfortable taking penalties. my job on the team, so when peter (vermes) decided i would go first, i knew i had to deliver just like i did earlier. jimmy (nielsen’s) save was the momentum swinger in the shootout. once he made that save, you kind of felt like we were going to do it.
on where this win ranks in his career…
this is about as good as it gets. winning a major trophy in front of the best fans in the league, you ask for more than this. everyone on the team deserves this moment. everyone out in the crowd deserves this moment. so happy for everyone.
seattle defender zach scott
general comments on the match…
obviously it was a great run. it end like we hoped it would, but still very proud. the quality we put into this game, we gave ourselves a good chance to win. the circumstances just work in our favor. but now our focus has to be quickly back to league play and on our game on saturday versus san jose. that is the most important thing at this point.
on scoring the equalizer…
i knew their marking as tight as they wanted it to be and we have so many guys who are good in the air. as long as mauro (rosales) put it into a good spot, which he always does, we knew we would have a chance. fortunately, i was the guy in the right place at the right time and i was able to get just enough on it to tuck it into the corner.
on conceding a penalty kick…
i have a ton of respect for the in our league, ricardo (salazar) in particular. i think a great ref. i think you guys saw the game. i think you guys saw the replays. i am not going to comment any further on that. (schmid) can comment on the all he wants. but as for me, i will be the first guy to put my hand up when i make a mistake, and i hope the do the same.
seattle sounder striker eddie johnson…
on his penalty kick…
it’s those moments that you dream of as a soccer player, being able to make those moments, wanting to contribute to the team in pressure situations. but i change anything about my approach to that. i was confident taking it, i sent the keeper the wrong way. maybe from a psychological standpoint, he probably got in my head a little bit, because he was reading a piece of paper. but for me, i want to change anything. i was comfortable going that way and i just hit it a little too hard. but, i change anything about the approach. i change anything about the way we played as a team.
on the performance…
i thought we came out and we showcased ourselves well and played them well with them having the advantage and having the fans behind them. i think we still created chances and gave ourselves a chance to still get something out of the game.
on the penalty kick shootout…
on a perfect day, the save that made that got retaken goes our way. but it go our way this time. if you ask me, or the other four guys that took penalty kicks, all confident. but it go our way.
on bouncing back from the setback…
it’s not the end of the world for us. we know a good team. turn things around. i have never seen this team put our heads down after a loss. we have never lost two games in a row. we will take all the positive out of this game and look forward to our game against san jose this weekend.
on being the one to take that last kick…
no, it hurt. the coach put me their for a reason. i am confident in my own ability, the team is confident in me. it is a situation. if i take it i get criticized, if i take it and miss i still get criticized. those are the things you have to deal with. everyone has high expectations. i stepped up, i took it. it go my way. not going to stop me from playing confidently and doing what i have been doing to get us here and stop us from playing the way we have been playing to get us to this point as a team.
seattle manager schmid
on his performance…
congratulations to kansas city on winning the championship. i think their players battled and fought hard. i think it was difficult for us. our third game in six days so just that little bit of sharpness was missing. difficult when your playing against a team at home so the crowd helps them. and then when your playing against the referee as well and he makes some absolutely ridiculous calls, it is very tough to win.
on the refereeing…
the hand ball that he called, i know how he could see it. not at a good angle to see it. nobody that i have talked to has seen a replay that shows a definite handball or not. our assistant coach said it hit him in the chest, so you know. and then you can always call a goalkeeper for moving, so you know. nielsen moved ahead of every shot as well. but he call anything back there.
how does a team commit an equal amount of fouls as an opponent and one team gets five yellow cards and the other gets zero? there were some things i understand this whole tournament for us. our backs were against the wall this whole tournament. it was as difficult a road as it could be. very proud of guys for getting to this point and battling and not giving up and taking the game into overtime. they battled through all the obstacles that we had to face.
on the determination…
even when we went down tonight, we came back right away and got the equalizer. obviously, there were guys out there playing on fumes because of the fact that they have played so many minutes over the last 10 days. it is what it is, but i am very proud of what we accomplished. i think we had a good chance to get four in a row. we missed our last three penalty kicks so that is something that help. and certainly if he call the one back, still taking penalty kicks right now.
on the equalizer…
it showed the character of the team. we went down and we got one back. it was a little bit of fate as well, because i thought theirs was undeserved and we ended up getting it right back and equalizing the game. obviously zach (scott) did well, and it was a great free kick from mauro (rosales).
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livestrong* ˈspɔrtɪŋ pɑrk ˈkænzəs ˈsɪti, kæn. əˈtɛndəns: (soʊld aʊt) ˈwɛðər: 92 dɪˈgriz ənd reɪn kwoʊts skɔr 1 2 ɛf ˈspɔrtɪŋ ˈkænzəs ˈsɪti 0 1 0 0 1 3 siˈætəl 0 1 0 0 1 2 ˈspɔrtɪŋ ˈkænzəs ˈsɪti: ˈʤɪmi ˈnilsən ʧæns maɪərz, ˈlɔrəns, mæt ˈbɛsələr, sɛθ (ˈmaɪkəl ˈhɛrɪŋtən 100 ˈʤulioʊ ˈsizər, ˈpɔˌloʊ, ˈrɑʤər eɪspiˈnoʊzə; græm, til (c.j*. 89 səbz nɑt juzd: ˈɛrɪk ˈkrɑnbərg, ˈmɑrkəvɪk, ˈʤeɪkəb ˈpitərsən, ˈmaɪkəl ˈtɑməs, sɑd siˈætəl: ˈmaɪkəl; ˌliəˈnɑrdoʊ gɑnˈzɑləz, zæk skɑt, ˈkɛnədi hərˈtɑdoʊ, ˈpætrɪk iˈɑni; ˈæləks ˈkæski (bræd ˈɛvənz 69 ˈændi roʊz (ˈkrɪsʧɪn 69 ˈmɔroʊ ˈroʊseɪlz əˈlɑnsoʊ; mɑnˈtɛroʊ (mɑrk bərʧ 107 ˈɛdi ˈʤɑnsən səbz nɑt juzd: ˈændru ˈwɛbər, ʤɛf pɑrk, stiv zakuani*, ˈsæmi ˌɑˈʧoʊə stæts si ʃɑts 17 7 ʃɑts ɔn goʊl 7 2 seɪvz 1 6 faʊlz 16 19 0 2 ˈkɔrnər kɪks 4 3 mɪˈskɑndəkt ˈsəməri: si əˈlɑnsoʊ (ˈkɔʃən; dɪˈsɛnt) 4 si ˈmɔroʊ ˈroʊseɪlz (ˈkɔʃən; ˈrɛkləs ˈtækəl) 57 si ˈpætrɪk iˈɑni (ˈkɔʃən; ˈtæktɪkəl faʊl) 73 si zæk skɑt (ˈkɔʃən; ˈrɛkləs ˈtækəl) 92 si ˈpætrɪk iˈɑni (ˈkɔʃən; ˈrɛkləs faʊl) 118 si ˈpætrɪk iˈɑni (ɪˈʤɛkʃən; ˈsɛkənd ˈkɔʃən) 118 ˈskɔrɪŋ ˈsəməri: (ˈpɛnəlti kɪk) 84 si zæk skɑt (ˈmɔroʊ ˈroʊseɪlz) 86 (ˈɔgəst 8 2012 ˈspɔrtɪŋ ˈkænzəs ˈsɪti ər ˈʧæmpiənz əv ðə lɑˈmɑr hənt juz. ˈoʊpən kəp fər ðə ˈsɛkənd taɪm ɪn kləb ˈhɪstəri, prɪˈveɪlɪŋ ɔn ˈpɛnəlti kɪks ˈæftər ə drɔ ɪn ˌrɛgjəˈleɪʃən əˈgɛnst ðə siˈætəl ɪn ðə 2012 ˈtʊrnəmənt ˈfaɪnəl ɔn ˈwɛnzˌdeɪ ɪn frənt əv ə kraʊd æt ˈspɔrtɪŋ pɑrk. ˈæftər ə ˈskɔrləs fərst hæf, ˈspɔrtɪŋ ˈkænzəs ˈsɪti ˈfɔrwərd skɔrd ðə geɪmz ˈoʊpənɪŋ goʊl ɪn ðə ˈmɪnət frəm ðə ˈpɛnəlti spɑt ˈæftər ə zæk skɑt ˈhændˌbɔl ˌɪnˈsaɪd ðə ˈpɛnəlti ˈɛriə. siˈætəl rɪˈspɑndɪd tu ˈmɪnəts ˈleɪtər wɪθ ə ˈhɛdər frəm skɑt ɔf ə ˈmɔroʊ ˈroʊseɪlz fri kɪk. boʊθ ˈɛkstrə taɪm ˈpɪriədz ˈɛndɪd ˈskɔrləs, ˈlivɪŋ kɪks frəm ðə spɑt tɪ ˌdɪˈsaɪd ðə ˈænjuəl ɪˈdɪʃən əv ðə juz. ˈoʊpən kəp. wɪθ ðə kraʊd bɪˈhaɪnd ðɛm, ɪt wɑz ˈspɔrtɪŋ ˈkænzəs ˈsɪti wɪθ ðə fərst ʧæns əv ðə mæʧ ɪn ðə ˈmɪnət frəm ə frəm 25 jɑrdz aʊt. hɪz ˈæŋgəld ʃɑt wɑz ʤɪst waɪd əv ðə poʊst. ˈigər ɔn ðə ˈkaʊnərəˌtæk, ðə hæd ə ʧæns əv ðɛr oʊn ɪn ðə ˈmɪnət. mɑnˈtɛroʊ riˈgeɪnd pəˈzɛʃən ˈæftər ˈhævɪŋ hɪz rən ɔn goʊl dɪsˈrəptɪd baɪ ənd bɛnt ðə bɔl ɪn frəm dip ɔn ðə raɪt wɪŋ bət ˈʤɪmi ˈnilsən wɑz ðɛr tɪ meɪk ðə seɪv. wɑz bæk æt ɪt əˈgɛn ɪn ðə ˈmɪnət wɪn ˈpɔˌloʊ snæʧt ðə bɔl frəm siˈætəl ənd sˈlɑtɪd ɪt tɪ, hu tʊk ə ˈdɪpɪŋ ʃɑt frəm 35 jɑrdz aʊt ðət sɔrd ˈoʊvər ˈmaɪkəl ənd wɑz seɪvd baɪ ðə ˈwʊdˌwərk. siˈætəlz ˈændi roʊz rɪˈspɑndɪd wɪθ ə lɔŋ ˈvɑli əv hɪz oʊn θri ˈmɪnəts ˈleɪtər ðət sɔrd ˈnɛroʊli ˈoʊvər ðə. ɪn ðə ˈmɪnət, ˈfɔrmər ˈspɔrtɪŋ ˈkænzəs ˈsɪti ˈstraɪkər ˈɛdi ˈʤɑnsən ˈɛkspərtli ˈhɛdɪd daʊn ə ˈkɔrnər frəm ˈroʊseɪlz ɔn goʊl, bət ˈnilsən dəv ənd pʊʃt ˈʤɑnsənz ʃɑt wɪθ ən ˈivɪn ˈfaɪnər seɪv ðət ˈprɑmptɪd əˈplɔz frəm ðə pækt kraʊd. ˈʤɑnsən wɑz bæk æt ɪt əˈgɛn sɪks ˈmɪnəts ˈleɪtər, ˈbitɪŋ ˈspɔrtɪŋ wɪθ hɪz spid ənd ˈteɪkɪŋ ə loʊ ʃɑt frəm ˈaʊtˈsaɪd ðə bɑks ðət wɑz ʤɪst waɪd əv ðə fɑr lɛft poʊst. ðə hoʊm saɪd fɔt bæk ɪn ðə fɔrm əv ə ˌlɔŋˈdistəns ʃɑt frəm sɛθ ɪn ðə ˈmɪnət ðət hɪt ðə ənd hæd ðə kraʊd kənˈvɪnst ɪt wɑz ə goʊl əˈpɑn fərst ˌɪnˈspɛkʃən. ɪt wɑz ˈspɔrtɪŋ ˈkænzəs ˈsɪti wɪθ ðə ˈfaɪnəl ʧæns ɪn ðə fərst hæf, ˈkəmɪŋ θri ˈmɪnəts ˈɪntu ˈstɑpɪʤ taɪm wɪn græm pleɪd ə pæs bæk tɪ oʊˈlɪmpɪk ˈhɪroʊ ˈrɑʤər eɪspiˈnoʊzə, hu tʊk ə ˈblæstɪŋ ʃɑt æt ðə tɔp əv ðə bɑks ðət wɑz ˈfɛvərˌɪʃli dɪˈflɛktɪd baɪ. ˈspɔrtɪŋ ˈkænzəs ˈsɪti ˈoʊpənd ðə ˈsɛkənd hæf strɔŋ, wɪθ ə ʧæns ʤɪst wən ˈmɪnət ɪn wɪn fɔt hɪz weɪ tɪ ðə ˈkɔrnər flæg ənd krɔst ðə bɔl tɪ æt ðə nɪr poʊst., mɑrkt baɪ tu mɛn, dɪd hɪz bɛst tɪ kriˈeɪt ɪˈnəf speɪs fər ə ʃɑt ənd fɔrst tɪ meɪk ðə seɪv. ðə ˈmɪnət sɔ ən ˈɛksələnt bɪt əv dɪˈfɛndɪŋ frəm mæt ˈbɛsələr wɪn ˈʤɑnsən tɔr hɪz weɪ daʊn ðə lɛft wɪŋ ənd laɪnd əp ə ʃɑt ɔn goʊl ˈoʊnli tɪ si ˈbɛsələr meɪk ə ˈtækəl tɪ stɑp ðə ˈdeɪnʤərəs ˌɑpərˈtunəti ˌbiˈfɔr ɪt kʊd ˈɛskəˌleɪt. ˈθərˈtin ˈmɪnəts ˈleɪtər, siˈætəlz əˈlɑnsoʊ pʊt dɪˈfɛns tɪ ðə tɛst wɪn hi ˈskərtɪd hɪz weɪ pæst θri mɛn ənd lʊkt tɪ ʃut ɔn ðə ˈoʊpən nɛt wɪn ˈlɔrəns blɑkt ðə bɔl aʊt əv pleɪ wɪθ ə sˈlaɪdɪŋ stɑp. ˈspɔrtɪŋ ˈkænzəs ˈsɪtiz ˈgoʊldən ˌɑpərˈtunəti əraɪvd ɪn ðə fɔrm əv ə ˈpɛnəlti kɪk ɛz ə rɪˈzəlt əv ˈhændˌbɔl ɪn ðə bɑks frəm zæk skɑt ɪn ðə ˈmɪnət ɔn ə krɔs. kənˈvərtɪd ðə ˈpɛnəlti, ˈpʊtɪŋ ˈspɔrtɪŋ ˈkænzəs ˈsɪti əˈhɛd wɪθ sɪks ˈmɪnəts rɪˈmeɪnɪŋ ɪn ˌrɛgjəˈleɪʃən. ɪt wɑz tu sun tɪ kraʊn ðə hoʊm saɪd ˈvɪktərz, ˌhaʊˈɛvər, ɛz siˈætəl fɔt bæk ɪn ðə ˈmɪnət ənd ˈkæpɪtəˌlaɪzd ɔn ə ˈroʊseɪlz sɛt pis wɪθ ə ˈhɛdər frəm skɑt tɪ ˈlɛvəl ðə skɔr ɪn ʃɔrt səkˈsɛʃən. ˈspɔrtɪŋ ˈkænzəs ˈsɪti ˈnɪrli bægd ə drəˈmætɪk ɪn ðə fərst ˈmɪnət əv ˈstɑpɪʤ taɪm wɪn ˈsəbstəˌtut c.j*. ʧɪpt ðə bɔl tɪ ɛn rut tɪ goʊl, bət ˈhɛdɪd ʃɑt wɑz ʤɪst ˈoʊvər ðə. wɪθ ðə tu saɪdz ˈdɛˌdlɑkt æt ənd ə ˈtroʊfi ɔn ðə laɪn, ðə mæʧ wɛnt ˈɪntu ˈɛkstrə taɪm. ˈspɔrtɪŋ wən ə ˈkɔrnər ˈərli ɪn ðə fərst ˈpɪriəd wɪʧ siˈætəl ˈhɛdɪd aʊt, bət ˌɪnərˈsɛptɪd ənd sɛnt ɪn ə ˈvɑli ʤɪst waɪd əv ðə goʊl. dɪˈspaɪt baʊts əv ˈprɛʃər ənd ˈdeɪnʤər frəm boʊθ saɪdz, əˈlɔŋ wɪθ ə leɪt ɪˈʤɛkʃən tɪ ˈpætrɪk iˈɑni ˈæftər biɪŋ ʃoʊn hɪz ˈsɛkənd ˈjɛloʊ kɑrd əv ðə mæʧ ɪn ðə ˈmɪnət, ˈniðər tim kʊd breɪk θru. ˈɛkstrə taɪm ˈɛndɪd wɪˈθaʊt ə goʊl ənd ðə mæʧ prəˈgrɛst tɪ ˈpɛnəltiz. ˈspɔrtɪŋ, ˈʃutɪŋ fərst ɪn ðə ˈʃutaʊt, bɪˈgæn wɪθ ˈsɛkənd səkˈsɛsfəl əˈtɛmpt əv ðə naɪt. ðə wʊd mæʧ ɪt wɪθ ə meɪk əv ðɛr oʊn θru bræd ˈɛvənz' ʃɑt tɪ hɪz lɛft. geɪv hɪz tim ðə ædˈvæntɪʤ wɪθ ə stɑp ɔn eɪspiˈnoʊzə ənd siˈætəl ˌmoʊmənˈtɛrəli lɛd ˈfɑloʊɪŋ mɑrk blæst daʊn ðə ˈmɪdəl. ˈbɛsələr pʊld ˈspɔrtɪŋ bæk ˈlɛvəl wɪθ ə ʃɑt ɔf ðə ˈəndərˌsaɪd əv ðə ənd ˈɪntu ðə bæk əv ðə nɛt. əˈlɑnsoʊ ənd boʊθ sɛnt ðɛr ʃɑts ˈoʊvər ðə ɪn əˈtɛmpts, ənd ˈnilsən meɪd ə sʊˈpərb seɪv tɪ hɪz lɛft tɪ dɪˈnaɪ ˈkrɪsʧɪn tɪ sɛnd ɪt tɪ ðə fɪθ ənd ˈfaɪnəl ˈpɛnəlti kɪk wɪθ ɪt ɔl tɪ bi ˌdɪˈsaɪdɪd. ˌɪˈnɪʃəl əˈtɛmpt wɑz seɪvd baɪ, bət hi wɑz ruld tɪ hæv kəm ɔf hɪz laɪn ˈərli ənd ðə brəˈzɪljən ˈkɑmli kənˈvərtɪd ðə ˈɛnsuɪŋ ˈsɛkənd ʧæns tɪ hɪz lɛft tɪ pʊt ˈspɔrtɪŋ əˈhɛd ɪn drəˈmætɪk ˈfæʃən. ˈʤɑnsən wɔkt tɪ ðə spɑt wɪθ ˈspɔrtɪŋ pɑrk ɪn ə ˈfrɛnzi, ˈnidɪŋ tɪ skɔr tɪ kip siˈætəl əˈlaɪv. bæk ɪn ˈkænzəs ˈsɪti fər ðə fərst taɪm sɪns hi pleɪd wɪθ ðə ɪn 2007 ˈʤɑnsənz ʃɑt seɪld ˈoʊvər ðə ənd brɔt ən ɛnd tɪ ðə ˈʃutaʊt wɪθ siˈætəlz θərd streɪt mɪs frəm ðə mɑrk. ˈwɛnzˌdeɪ wɑz ðə fərst juz. ˈoʊpən kəp ˈfaɪnəl ˌdɪˈsaɪdɪd ˈæftər ˌrɛgjəˈleɪʃən sɪns ˈspɔrtɪŋ ˈkænzəs ˈsɪti wən ðə ˈtaɪtəl ˈoʊvər ðə ʃəˈkɑˌgoʊ faɪər ɪn 2004 ɔn ə ˈgoʊldən goʊl baɪ ˌɪˈgɔr æt ˈɛroʊˌhɛd ˈsteɪdiəm. ɪt wɑz ˈɔlsoʊ ðə fərst juz. ˈoʊpən kəp ˈʧæmpiənˌʃɪp ˌdɪˈsaɪdɪd baɪ ˈpɛnəlti kɪks sɪns 1997 wɪn ðə bərn prɪˈveɪld ˈoʊvər d.c*. juˈnaɪtɪd. ˈspɔrtɪŋ ˈkænzəs ˈsɪti wɪl hæv ðə timz neɪmd ɪnˈgreɪvd ɔn ðə duər ˈʧælənʤ ˈtroʊfi, ðə ˈoʊldəst ˈtroʊfi ɪn juˈnaɪtɪd steɪts tim spɔrts, ənd ərn ə bərθ ɪn ðə ˈʧæmpiənz lig fər ðə ˌɑpərˈtunəti tɪ kəmˈpit əˈgɛnst ðə bɛst kləb timz ɪn nɔrθ əˈmɛrɪkə, ˈsɛntrəl əˈmɛrɪkə ənd ðə ˌkɛrɪˈbiən. ˈwɛnzˌdeɪz ˈtaɪtəl snæpt ə strik əv juz. ˈoʊpən kəp ˈʧæmpiənˌʃɪps fər ðə ˈvɪzɪtɪŋ ənd wɑz siˈætəlz fərst ˈfɔltər ɪn ðə ˌkɑmpəˈtɪʃən sɪns ˈʤɔɪnɪŋ ˈmeɪʤər lig ˈsɑkər ɪn 2009 ðɪs jɪr, ðə juz. ˈoʊpən kəp ˈfiʧərd ðə ˈlɑrʤəst fild ɪn ˈtʊrnəmənt ˈhɪstəri wɪθ 64 timz 32 prəˈfɛʃənəl, 32 ˈæməˌʧər kəmˈpitɪŋ fər ðə kraʊn. fæst fækts: ˈspɔrtɪŋ ˈkænzəs ˈsɪti wən ðə 2012 lɑˈmɑr hənt juz. ˈoʊpən kəp ˈfaɪnəl fər ðə ˈsɛkənd taɪm ɪn kləb ˈhɪstəri ənd ər naʊ ɪn ðə juz. ˈoʊpən kəp ˈfaɪnəl. ˈwɛnzˌdeɪ wɑz ðə fərst əˈpɪrəns ɪn ə juz. ˈoʊpən kəp ˈfaɪnəl sɪns 2004 wɪn ðə tim wən ðə ˈʧæmpiənˌʃɪp wɪθ ə ˈvɪktəri ˈoʊvər ðə ʃəˈkɑˌgoʊ faɪər ɔn ən ˌɪˈgɔr ˈgoʊldən goʊl ɪn ˈɛkstrə taɪm. mæʧ wɑz dɪˈleɪd du tɪ ˈwɛðər fər 37 ˈmɪnəts. ˈspɔrtɪŋ ˈgoʊlˌkipər ˈʤɪmi ˈnilsən ˈstɑrtɪd hɪz fɔrθ streɪt juz. ˈoʊpən kəp mæʧ ɔn ˈwɛnzˌdeɪ ənd əˈlaʊd hɪz fərst goʊl ɪn ðə ˌkɑmpəˈtɪʃən ˈæftər goʊɪŋ 353 ˈmɪnəts wɪˈθaʊt əˈlaʊɪŋ ə goʊl ɪn ðə juz. ˈoʊpən kəp ðɪs jɪr. dɪˈfɛndər ʧæns maɪərz meɪd hɪz fərst əˈpɪrəns sɪns ə lɔs tɪ ðə ˈhjustən ˈdaɪnəˌmoʊ æt ˈkəmpəs ˈsteɪdiəm ɔn ˌʤuˈlaɪ 18th*. maɪərz ənd mæt ˈbɛsələr əˈpɪrd ɪn ðɛr tɛnθ ˌɔlˈtaɪm juz. ˈoʊpən kəp mæʧ, ˈmuvɪŋ ðɛm pæst ʤæk ˈɪntu ə taɪ fər sɪksθ pleɪs ɔn ðə ˌɔlˈtaɪm ʧɑrt wɪθ ˈʤɪmi ˈkɑnræd ənd krɪs klaɪn. maɪərz ˈstɑrtɪd hɪz naɪnθ juz. ˈoʊpən kəp mæʧ ˌɔlˈtaɪm ɔn ˈwɛnzˌdeɪ, ˈmuvɪŋ ɪn ə taɪ fər θərd pleɪs ɔn ðə ˌɔlˈtaɪm ʧɑrt wɪθ ˈmaɪkəl ˈhɛrɪŋtən ənd ˈʤɪmi ˈkɑnræd. dɪˈfɛndər sɛθ həz ˈstɑrtɪd ɔl faɪv geɪmz fər ˈspɔrtɪŋ ˈkænzəs ˈsɪti ɪn ðə juz. ˈoʊpən kəp ðɪs jɪr. lɛd ɔl ˈspɔrtɪŋ pleɪərz wɪθ 460 ˈmɪnəts pleɪd ɪn ðə juz. ˈoʊpən kəp ðɪs ˈsizən. ˈbɛsələr, græm ənd ˈfɔrwərd c.j*. hæv əˈpɪrd ɪn ɔl faɪv ˈspɔrtɪŋ ˈkænzəs ˈsɪti geɪmz ɪn ðə juz. ˈoʊpən kəp ðɪs jɪr. ˈspɔrtɪŋ ˈkænzəs ˈsɪti ɪz ˌɔlˈtaɪm ɪn juz. ˈoʊpən kəp ˌkɑmpəˈtɪʃən. ˈspɔrtɪŋ ˈkænzəs ˈsɪti ɪz (ˌɪnˈkludɪŋ kˈwɑləˌfaɪɪŋ) ˌɔlˈtaɪm əˈgɛnst ˌkɑmpəˈtɪʃən ɪn ðə juz. ˈoʊpən kəp. ˈspɔrtɪŋ ˈkænzəs ˈsɪti ɪz (ˌɪnˈkludɪŋ kˈwɑləˌfaɪɪŋ) ˌɔlˈtaɪm æt hoʊm ɪn ðə juz. ˈoʊpən kəp. ˈspɔrtɪŋ ˈkænzəs ˈsɪti həz skɔrd 67 goʊlz ˌɔlˈtaɪm ɪn ðə juz. ˈoʊpən kəp ənd əˈlaʊd 42 kənˈvərtɪd ə ˈpɛnəlti kɪk ɪn ðə ˈmɪnət, ˈmɑrkɪŋ ˈsɛkənd goʊl skɔrd ɪn ˈoʊpən kəp ˌkɑmpəˈtɪʃən fər ˈspɔrtɪŋ ˈkænzəs ˈsɪti. ˈwɛnzˌdeɪ mɑrkt ðə fərst ˈfaɪnəl tɪ goʊ ˈɪntu ˈɛkstrə taɪm sɪns 2004 wɪn ˈspɔrtɪŋ ˈkænzəs ˈsɪti bit ðə ʃəˈkɑˌgoʊ faɪər ˈspɔrtɪŋ ˈkænzəs ˈsɪti ɪz (ˌɪnˈkludɪŋ kˈwɑləˌfaɪɪŋ) wɪn goʊɪŋ ˈɪntu ˈoʊvərˌtaɪm ɪn juz. ˈoʊpən kəp ˌkɑmpəˈtɪʃən. ðə læst taɪm ˈspɔrtɪŋ ˈkænzəs ˈsɪti wɛnt tɪ ˈpɛnəlti kɪks wɑz ˈæftər ə taɪ ɔn ʤun 30 2009 əˈgɛnst ðə ˌmɪnɪˈsoʊtə ˈθəndər ɪn ðə lɑˈmɑr hənt juz. ˈoʊpən kəp raʊnd əv 16 ˈkænzəs ˈsɪti wən ɔn ˈpɛnəlti kɪks. ˈkɑlɪn mɪst ðə mæʧ du tɪ ˈjɛloʊ kɑrd əˌkjumjəˈleɪʃən ˈæftər rɪˈsivɪŋ hɪz θərd ˈkɔʃən əv ðə ˈtʊrnəmənt əˈgɛnst ðə ˌfɪləˈdɛlfiə ˈjunjən ɪn ðə ˌsɛmɪˈfaɪnəlz ɔn ˌʤuˈlaɪ 11 2012 kwoʊts ˈspɔrtɪŋ ˈkænzəs ˈsɪti ˈmænɪʤər ˈpitər ɔn ðə sɪgˈnɪfɪkəns əv ðə ˈwɪnɪŋ ðə tournament…*… əm ɪkˈstrimli ɪkˈsaɪtɪd fər ðə ˈoʊnərˌʃɪp grup, fər ðə kləb ənd ðə stæf, ðə pleɪərz ənd ðə fænz. ənd mɔr ˌɪmˈpɔrtəntli, ˈkænzəs ˈsɪti. wi ˈrɪli sɛt aʊt ɔn ə ˈmɪʃən tɪ meɪk ˈsɑkər ə ˈmeɪʤər spɔrt ɪn ðɪs kəmˈjunɪti ənd ðɪs ˈsɪti. aɪ θɪŋk ðət wɪn ju lʊk æt ðə ɪˈvɛnt təˈnaɪt, ɪt ʤɪst ˈdɛmənˌstreɪts ðə kəˈmɪtmənt ðət ðɪs ˌɔrgənəˈzeɪʃən ənd ðɪs ˈoʊnərˌʃɪp həz ənd ðət ɑr fænz du, ɛz wɛl. ɪts ən ˌɪnˈkrɛdəbəl rɪˈwɔrd fər ðə greɪt ʤɑb ðət ˈɛvriˌwən dɪd. ɔn ðə ˌɪmˈpɔrtəns əv ðə hoʊm crowd…*… ɪt wɑz fænˈtæstɪk. steɪɪŋ θru ðə bæd ˈwɛðər ˈərli ɔn ənd kənˈtɪnjuɪŋ tɪ kip ðə nɔɪz əp ənd səˈpɔrtɪŋ ˈjuˈɛs θruaʊt ðə hoʊl ɪnˈtaɪər geɪm. ɪt wɑz fænˈtæstɪk. ʤɪst ˈpʊtɪŋ ə lɔt əv ˈprɛʃər ɔn siˈætəl, əˈspɛʃəli ɔn ðə ˈpɛnəlti kɪks, ə bɪg ˈkrɛdɪt tɪ ðɛm. ɔn ðə ˈpɛnəlti shootout…*… wi nu goʊɪŋ ɪn hu ɑr gaɪz wər goʊɪŋ tɪ bi. bət wi hæd tɪ meɪk ə ʧeɪnʤ bɪˈkəz til (bunbury*) wɑz wən əv ðɛm. hi ˈwəzənt aʊt ðɛr bɪˈkəz wi hæd meɪd ə səb. all-in-all*, aɪ θɔt ðə gaɪz dɪd ə gʊd ʤɑb. ðeɪ steɪd ˈfoʊkɪst. ðeɪ gɑt ðə ʤɑb dən æt ðə ɛnd əv ðə deɪ. ðeɪ kəˈmɪtɪd tɪ wət wi nid tɪ du. ɔn ðə ˌɪmˈpɔrtəns əv ðə bərθ ɪn ðə ˈʧæmpiənz league…*… ɪts wət wi sɛt aʊt du ɛz ə kləb. fərst əv ɔl, tɪ bi ɪn ˌkɑmpəˈtɪʃənz laɪk ðət. ðɪs meɪd ɪz ə streɪt bərθ ˈɪntu ɪt fər ˈjuˈɛs. ˈbrɪŋɪŋ ðət kaɪnd əv ˌkɑmpəˈtɪʃən tɪ ðɪs fəˈsɪlɪti ənd tɪ ðɪs kləb ɪz ðə nɛkst stɛp ɪn ðə dɪˈrɛkʃɪn ðət wi wɔnt tɪ goʊ ɪn. ˈspɔrtɪŋ ˈkænzəs ˈsɪti ˈgoʊlˌkipər ˈʤɪmi ˈnilsən ɔn ˈspɔrtɪŋ ˈpɛnəlti ˈʃutaʊt ˈvɪktəri ˈoʊvər siˈætəl ɪn ðə juz. ˈoʊpən kəp final…*… soʊ ˈhæpi raɪt naʊ, ʤɪst ɪkˈstrimli ˈhæpi. wɛl dɪˈzərvd fər ðɪs hoʊl ˌɔrgənəˈzeɪʃən ənd ðɪs hoʊl ˈsɪti. ðɛr ər ə lɔt əv ˌhɑrdˈwərkɪŋ ˈpipəl ɪn ðɪs ˌɔrgənəˈzeɪʃən, ənd duɪŋ ən ˈɛksələnt ʤɑb tɪ prəˈmoʊt ðə ˈsɑkər tim. ðɪs ɪz nɑt ˈoʊnli ˈspɔrtɪŋ ˈkænzəs ˈvɪktəri ənd naɪt, ðə hoʊl naɪt. ˌənbəˈlivəbəl haʊ ðɪs tim həz groʊn ɪn ðə læst year-and-a-half*. ənˈril. ˈhæpi fər soʊ ˈmɛni ˈpipəl ɔn ənd əraʊnd ðɪs tim. ɔn hɪz ˈstrætəʤi ɪn dɪˈfɛndɪŋ ðə siˈætəl ˈpɛnəlti kicks…*… aɪ hæd ə plæn ə ənd ə plæn bi fər ðə ˈʃutaʊt. aɪ didn’t’*’ ˈrɪli fil laɪk plæn ə wɑz ˈwərkɪŋ, soʊ aɪ ʧeɪnʤd ə ˈlɪtəl bɪt. aɪ traɪd tɪ mɛs əraʊnd wɪθ ðɛm ə ˈlɪtəl bɪt ənd gɪt ˈɪntu ðɛr hɛd. ˈspɔrtɪŋ ˈpɔˌloʊ ɔn pərˈpɛrɪŋ fər ðə ˈpɛnəlti kɪk shootout…*… wi treɪnd fər ˈpɛnəlti kɪks ˈdʊrɪŋ ðə hoʊl wik ənd ˈpitər (vermes*) meɪd hɪz səˈlɛkʃən raɪt ˌbiˈfɔr ðə ˈʃutaʊt. wi ər ʤɪst glæd tɪ brɪŋ ðɪs kəp hoʊm tɪ ɑr fænz. ðeɪ hæv dən soʊ məʧ fər ˈjuˈɛs, soʊ ɪt ɪz gʊd tɪ gɪv ðɛm ˈsəmθɪŋ ɪn rɪˈtərn. wi wər ˈkɑnfədənt wi kʊd du ðɪs təˈnaɪt. wi ər ə gʊd tim. siˈætəl ɪz ə gʊd tim, tu, bət wi θɔt wi kʊd du ðɪs. ɪt wɑz ə ˈvɛri hɑrd geɪm ənd ɪt həz ˈɛndɪd ˈvɛri wɛl fər ˈjuˈɛs. ɔn ˈspɔrtɪŋ ˈpɛnəlti ˈʃutaʊt ˈvɪktəri ˈoʊvər siˈætəl ɪn ðə juz. ˈoʊpən kəp final…*… ðɪs wɪn ræŋks ˈprɪti haɪ ɪn maɪ kərɪr. wən ðɪs ˈtroʊfi wəns wɪθ lɔs ˈænʤəlɪs bət ðɪs wən ɪz ˈprɪti ˈspɛʃəl bɪˈkəz əv ðə hoʊm kraʊd ənd ðɪs steɪʤ. ðɪs wɪn ɪz fər ˈspɔrtɪŋ, ənd ˈvɛri bɪg. ɔn ðə ˈɪnʤəri hi ˈsəfərd tɪ hɪz feɪs ɪn ðə fərst half…*… aɪ θɪŋk goʊɪŋ tɪ hæv tɪ hæv θri ˈstɪʧɪz. bət ðɛr wɑz noʊ ʧæns əv mi ˈlivɪŋ ðə geɪm. aɪ nu aɪ hæd tɪ bi ɔn ðə fild tɪ hɛlp maɪ tim wɪn. ɔn riˈteɪkɪŋ hɪz ˈpɛnəlti kɪk ˈdʊrɪŋ ðə shootout…*… ðə ˈsɛkənd taɪm aɪ tʊk ðə ʃɑt, aɪ wɑz ˈprɪti ˈkɑnfədənt. aɪ nu hi wɑz ɔf hɪz laɪn ðə fərst taɪm, ənd aɪ θɪŋk hi kʊd stɑp mi tu taɪmz. aɪ treɪnd ˈrɪli wɛl ðɪs wik, soʊ aɪ nu aɪ ʤɪst ˈnidɪd kəmˈpoʊʒər. aɪ θɔt hi keɪm ɔf hɪz laɪn mɔr ðən wəns. bət glæd ɪt wərkt aʊt fər ˈjuˈɛs. ðə ˈwɪnərz, ənd ˈvɛri ˈhæpi wɪθ ðət. ˈspɔrtɪŋ ˈfɔrwərd ɔn ˈspɔrtɪŋ ˈpɛnəlti ˈʃutaʊt ˈvɪktəri ˈoʊvər siˈætəl ɪn ðə juz. ˈoʊpən kəp final…*… ðɪs ɪz ə drim kəm tru. wi ˈwɔntɪd tɪ du ðɪs fər ðə fænz. bɪn fænˈtæstɪk fər ˈjuˈɛs fər ðə ˈlɔŋgɪst taɪm. θɪŋz kəm ˈizi, ə təf tim. ˈɔrgəˌnaɪzd ənd hɑrd tɪ bit, bət wi keɪm aʊt təˈnaɪt noʊɪŋ wi hæd tɪ wɪn. ðɛr ˈrɪli ə ʧɔɪs. wi hæd tɪ du ðɪs fər ˈneɪʃən. ɔn ˈmeɪkɪŋ tu ˈpɛnəltiz, wən ɪn ðə ˈmɪnət ənd wən ɪn ðə shootout…*… ˈkəmfərtəbəl ˈteɪkɪŋ ˈpɛnəltiz. maɪ ʤɑb ɔn ðə tim, soʊ wɪn ˈpitər (vermes*) ˌdɪˈsaɪdɪd aɪ wʊd goʊ fərst, aɪ nu aɪ hæd tɪ dɪˈlɪvər ʤɪst laɪk aɪ dɪd ˈərliər. ˈʤɪmi (nielsen’s*) seɪv wɑz ðə moʊˈmɛntəm sˈwɪŋər ɪn ðə ˈʃutaʊt. wəns hi meɪd ðət seɪv, ju kaɪnd əv fɛlt laɪk wi wər goʊɪŋ tɪ du ɪt. ɔn wɛr ðɪs wɪn ræŋks ɪn hɪz career…*… ðɪs ɪz əˈbaʊt ɛz gʊd ɛz ɪt gɪts. ˈwɪnɪŋ ə ˈmeɪʤər ˈtroʊfi ɪn frənt əv ðə bɛst fænz ɪn ðə lig, ju æsk fər mɔr ðən ðɪs. ˈɛvriˌwən ɔn ðə tim dɪˈzərvz ðɪs ˈmoʊmənt. ˈɛvriˌwən aʊt ɪn ðə kraʊd dɪˈzərvz ðɪs ˈmoʊmənt. soʊ ˈhæpi fər ˈɛvriˌwən. siˈætəl dɪˈfɛndər zæk skɑt ˈʤɛnərəl ˈkɑmɛnts ɔn ðə match…*… ˈɑbviəsli ɪt wɑz ə greɪt rən. ɪt ɛnd laɪk wi hoʊpt ɪt wʊd, bət stɪl ˈvɛri praʊd. ðə kˈwɑləti wi pʊt ˈɪntu ðɪs geɪm, wi geɪv ɑrˈsɛlvz ə gʊd ʧæns tɪ wɪn. ðə ˈsərkəmˌstænsɪz ʤɪst wərk ɪn ɑr ˈfeɪvər. bət naʊ ɑr ˈfoʊkɪs həz tɪ bi kˈwɪkli bæk tɪ lig pleɪ ənd ɔn ɑr geɪm ɔn ˈsæˌtɪˌdeɪ ˈvərsəz sæn ˌhoʊˈzeɪ. ðət ɪz ðə moʊst ˌɪmˈpɔrtənt θɪŋ æt ðɪs pɔɪnt. ɔn ˈskɔrɪŋ ðə equalizer…*… aɪ nu ðɛr ˈmɑrkɪŋ ɛz taɪt ɛz ðeɪ ˈwɔntɪd ɪt tɪ bi ənd wi hæv soʊ ˈmɛni gaɪz hu ər gʊd ɪn ðə ɛr. ɛz lɔŋ ɛz ˈmɔroʊ (ˈroʊseɪlz) pʊt ɪt ˈɪntu ə gʊd spɑt, wɪʧ hi ˈɔlˌweɪz dɪz, wi nu wi wʊd hæv ə ʧæns. ˈfɔrʧənətli, aɪ wɑz ðə gaɪ ɪn ðə raɪt pleɪs æt ðə raɪt taɪm ənd aɪ wɑz ˈeɪbəl tɪ gɪt ʤɪst ɪˈnəf ɔn ɪt tɪ tək ɪt ˈɪntu ðə ˈkɔrnər. ɔn kənˈsidɪŋ ə ˈpɛnəlti kick…*… aɪ hæv ə tən əv rɪˈspɛkt fər ðə ɪn ɑr lig, rɪˈkɑrdoʊ (ˈsæləzɑr) ɪn ˌpɑˈtɪkjələr. aɪ θɪŋk ə greɪt rɛf. aɪ θɪŋk ju gaɪz sɔ ðə geɪm. aɪ θɪŋk ju gaɪz sɔ ðə riˈpleɪz. aɪ æm nɑt goʊɪŋ tɪ ˈkɑmɛnt ˈɛni ˈfərðər ɔn ðət. (ʃmɪd) kən ˈkɑmɛnt ɔn ðə ɔl hi wɔnts. bət ɛz fər mi, aɪ wɪl bi ðə fərst gaɪ tɪ pʊt maɪ hænd əp wɪn aɪ meɪk ə mɪˈsteɪk, ənd aɪ hoʊp ðə du ðə seɪm. siˈætəl ˈsaʊndər ˈstraɪkər ˈɛdi johnson…*… ɔn hɪz ˈpɛnəlti kick…*… ðoʊz ˈmoʊmənts ðət ju drim əv ɛz ə ˈsɑkər pleɪər, biɪŋ ˈeɪbəl tɪ meɪk ðoʊz ˈmoʊmənts, ˈwɑnɪŋ tɪ kənˈtrɪbjut tɪ ðə tim ɪn ˈprɛʃər ˌsɪʧuˈeɪʃənz. bət aɪ ʧeɪnʤ ˈɛniˌθɪŋ əˈbaʊt maɪ əˈproʊʧ tɪ ðət. aɪ wɑz ˈkɑnfədənt ˈteɪkɪŋ ɪt, aɪ sɛnt ðə ˈkipər ðə rɔŋ weɪ. ˈmeɪbi frəm ə ˌsaɪkəˈlɑʤɪkəl ˈstændˌpɔɪnt, hi ˈprɑbəˌbli gɑt ɪn maɪ hɛd ə ˈlɪtəl bɪt, bɪˈkəz hi wɑz ˈrɛdɪŋ ə pis əv ˈpeɪpər. bət fər mi, aɪ wɔnt tɪ ʧeɪnʤ ˈɛniˌθɪŋ. aɪ wɑz ˈkəmfərtəbəl goʊɪŋ ðət weɪ ənd aɪ ʤɪst hɪt ɪt ə ˈlɪtəl tu hɑrd. bət, aɪ ʧeɪnʤ ˈɛniˌθɪŋ əˈbaʊt ðə əˈproʊʧ. aɪ ʧeɪnʤ ˈɛniˌθɪŋ əˈbaʊt ðə weɪ wi pleɪd ɛz ə tim. ɔn ðə performance…*… aɪ θɔt wi keɪm aʊt ənd wi ˈʃoʊˌkeɪst ɑrˈsɛlvz wɛl ənd pleɪd ðɛm wɛl wɪθ ðɛm ˈhævɪŋ ðə ædˈvæntɪʤ ənd ˈhævɪŋ ðə fænz bɪˈhaɪnd ðɛm. aɪ θɪŋk wi stɪl kriˈeɪtɪd ˈʧænsɪz ənd geɪv ɑrˈsɛlvz ə ʧæns tɪ stɪl gɪt ˈsəmθɪŋ aʊt əv ðə geɪm. ɔn ðə ˈpɛnəlti kɪk shootout…*… ɔn ə ˈpərˌfɪkt deɪ, ðə seɪv ðət meɪd ðət gɑt riˈteɪkən goʊz ɑr weɪ. bət ɪt goʊ ɑr weɪ ðɪs taɪm. ɪf ju æsk mi, ər ðə ˈəðər fɔr gaɪz ðət tʊk ˈpɛnəlti kɪks, ɔl ˈkɑnfədənt. bət ɪt goʊ ɑr weɪ. ɔn ˈbaʊnsɪŋ bæk frəm ðə setback…*… nɑt ðə ɛnd əv ðə wərld fər ˈjuˈɛs. wi noʊ ə gʊd tim. tərn θɪŋz əraʊnd. aɪ hæv ˈnɛvər sin ðɪs tim pʊt ɑr hɛdz daʊn ˈæftər ə lɔs. wi hæv ˈnɛvər lɔst tu geɪmz ɪn ə roʊ. wi wɪl teɪk ɔl ðə ˈpɑzətɪv aʊt əv ðɪs geɪm ənd lʊk ˈfɔrwərd tɪ ɑr geɪm əˈgɛnst sæn ˌhoʊˈzeɪ ðɪs ˈwiˌkɪnd. ɔn biɪŋ ðə wən tɪ teɪk ðət læst kick…*… noʊ, ɪt hərt. ðə koʊʧ pʊt mi ðɛr fər ə ˈrizən. aɪ æm ˈkɑnfədənt ɪn maɪ oʊn əˈbɪləˌti, ðə tim ɪz ˈkɑnfədənt ɪn mi. ɪt ɪz ə ˌsɪʧuˈeɪʃən. ɪf aɪ teɪk ɪt aɪ gɪt ˈkrɪtəˌsaɪzd, ɪf aɪ teɪk ɪt ənd mɪs aɪ stɪl gɪt ˈkrɪtəˌsaɪzd. ðoʊz ər ðə θɪŋz ju hæv tɪ dil wɪθ. ˈɛvriˌwən həz haɪ ˌɛkspɛkˈteɪʃənz. aɪ stɛpt əp, aɪ tʊk ɪt. ɪt goʊ maɪ weɪ. nɑt goʊɪŋ tɪ stɑp mi frəm pleɪɪŋ ˈkɑnfədəntli ənd duɪŋ wət aɪ hæv bɪn duɪŋ tɪ gɪt ˈjuˈɛs hir ənd stɑp ˈjuˈɛs frəm pleɪɪŋ ðə weɪ wi hæv bɪn pleɪɪŋ tɪ gɪt ˈjuˈɛs tɪ ðɪs pɔɪnt ɛz ə tim. siˈætəl ˈmænɪʤər ʃmɪd ɔn hɪz performance…*… kənˌgræʧəˈleɪʃənz tɪ ˈkænzəs ˈsɪti ɔn ˈwɪnɪŋ ðə ˈʧæmpiənˌʃɪp. aɪ θɪŋk ðɛr pleɪərz ˈbætəld ənd fɔt hɑrd. aɪ θɪŋk ɪt wɑz ˈdɪfəkəlt fər ˈjuˈɛs. ɑr θərd geɪm ɪn sɪks deɪz soʊ ʤɪst ðət ˈlɪtəl bɪt əv ˈʃɑrpnəs wɑz ˈmɪsɪŋ. ˈdɪfəkəlt wɪn jʊr pleɪɪŋ əˈgɛnst ə tim æt hoʊm soʊ ðə kraʊd hɛlps ðɛm. ənd ðɛn wɪn jʊr pleɪɪŋ əˈgɛnst ðə ˌrɛfərˈi ɛz wɛl ənd hi meɪks səm ˌæbsəˈlutli rɪˈdɪkjələs kɔlz, ɪt ɪz ˈvɛri təf tɪ wɪn. ɔn ðə refereeing…*… ðə hænd bɔl ðət hi kɔld, aɪ noʊ haʊ hi kʊd si ɪt. nɑt æt ə gʊd ˈæŋgəl tɪ si ɪt. ˈnoʊˌbɑˌdi ðət aɪ hæv tɔkt tɪ həz sin ə riˈpleɪ ðət ʃoʊz ə ˈdɛfənət ˈhændˌbɔl ər nɑt. ɑr əˈsɪstənt koʊʧ sɛd ɪt hɪt ɪm ɪn ðə ʧɛst, soʊ ju noʊ. ənd ðɛn ju kən ˈɔlˌweɪz kɔl ə ˈgoʊlˌkipər fər ˈmuvɪŋ, soʊ ju noʊ. ˈnilsən muvd əˈhɛd əv ˈɛvəri ʃɑt ɛz wɛl. bət hi kɔl ˈɛniˌθɪŋ bæk ðɛr. haʊ dɪz ə tim kəˈmɪt ən ˈikwəl əˈmaʊnt əv faʊlz ɛz ən əˈpoʊnənt ənd wən tim gɪts faɪv ˈjɛloʊ kɑrdz ənd ðə ˈəðər gɪts ˈziroʊ? ðɛr wər səm θɪŋz aɪ ˌəndərˈstænd ðɪs hoʊl ˈtʊrnəmənt fər ˈjuˈɛs. ɑr bæks wər əˈgɛnst ðə wɔl ðɪs hoʊl ˈtʊrnəmənt. ɪt wɑz ɛz ˈdɪfəkəlt ə roʊd ɛz ɪt kʊd bi. ˈvɛri praʊd əv gaɪz fər ˈgɪtɪŋ tɪ ðɪs pɔɪnt ənd ˈbætəlɪŋ ənd nɑt ˈgɪvɪŋ əp ənd ˈteɪkɪŋ ðə geɪm ˈɪntu ˈoʊvərˌtaɪm. ðeɪ ˈbætəld θru ɔl ðə ˈɑbstəkəlz ðət wi hæd tɪ feɪs. ɔn ðə determination…*… ˈivɪn wɪn wi wɛnt daʊn təˈnaɪt, wi keɪm bæk raɪt əˈweɪ ənd gɑt ðə ˈikwəˌlaɪzər. ˈɑbviəsli, ðɛr wər gaɪz aʊt ðɛr pleɪɪŋ ɔn fjumz bɪˈkəz əv ðə fækt ðət ðeɪ hæv pleɪd soʊ ˈmɛni ˈmɪnəts ˈoʊvər ðə læst 10 deɪz. ɪt ɪz wət ɪt ɪz, bət aɪ æm ˈvɛri praʊd əv wət wi əˈkɑmplɪʃt. aɪ θɪŋk wi hæd ə gʊd ʧæns tɪ gɪt fɔr ɪn ə roʊ. wi mɪst ɑr læst θri ˈpɛnəlti kɪks soʊ ðət ɪz ˈsəmθɪŋ ðət hɛlp. ənd ˈsərtənli ɪf hi kɔl ðə wən bæk, stɪl ˈteɪkɪŋ ˈpɛnəlti kɪks raɪt naʊ. ɔn ðə equalizer…*… ɪt ʃoʊd ðə ˈkɛrɪktər əv ðə tim. wi wɛnt daʊn ənd wi gɑt wən bæk. ɪt wɑz ə ˈlɪtəl bɪt əv feɪt ɛz wɛl, bɪˈkəz aɪ θɔt ðɛrz wɑz ˌəndɪˈzərvd ənd wi ˈɛndɪd əp ˈgɪtɪŋ ɪt raɪt bæk ənd ˈikwəˌlaɪzɪŋ ðə geɪm. ˈɑbviəsli zæk (skɑt) dɪd wɛl, ənd ɪt wɑz ə greɪt fri kɪk frəm ˈmɔroʊ (ˈroʊseɪlz).
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sony is the one of the renowned independent sony console and sony mobile phone repair centres in the. the good status and reputation that we have built, has been based on repairing sony mobiles, gadgets, sony consoles and pc’s/computer’s. offering customers a fast and cost effective repair solution process, with door to door collection and delivery. if you are in need of a repair and are considering purchasing a new device, why not request a quote for your repair by filling in the quote request form, live chat or give us a call. one of our repair team will be happy to quote you and book in a collection for your repair using our ups courier service.
we have a team of incredibly talented specialists that handle any issue of sony mobile repairs. our success has been based on developing the very finest practical skills and resources, backed by approachable and effective customer services.
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we take extra care to choose the maximum quality of replacements parts, only using grade a for your repairs allowing us to restore you console, mobile phone or computer/laptop, back to its best in minimal time. we are able to offer a cost effective and fast turnaround on all services and phone repairs because we have some of the top people in the repair industry, working in an equipped workshop. with a pro active approach to customer demands, we have developed an outstanding repair service, for our customers and own technical staff to maintain two-way communications on product issues, repair status updates combining this development to achieve a quick and cost effective solution.
we offer professional repairs for all kinds of problems, so whatever issue you have with your sony product, we can help repair it:
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sony laptop screen
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ˈsoʊni krækt skrin rɪˈpɛr ənd rɪˈpleɪsmənt ˈsərvɪsɪz ɪn ðə ˈsoʊni skrin rɪˈpɛr ˈkəmpəˌni ˈsoʊni ɪz ðə wən əv ðə rɪˈnaʊnd ˌɪndɪˈpɛndənt ˈsoʊni ˈkɑnsoʊl ənd ˈsoʊni ˈmoʊbəl foʊn rɪˈpɛr ˈsɛntərz ɪn ðə. ðə gʊd ˈstætəs ənd ˌrɛpjəˈteɪʃən ðət wi hæv bɪlt, həz bɪn beɪst ɔn rɪˈpɛrɪŋ ˈsoʊni ˈmoʊbəlz, ˈgæʤəts, ˈsoʊni kənˈsoʊlz ənd pc’s/computer’s*. ˈɔfərɪŋ ˈkəstəmərz ə fæst ənd kɔst ˈifɛktɪv rɪˈpɛr səˈluʃən ˈprɔˌsɛs, wɪθ dɔr tɪ dɔr kəˈlɛkʃən ənd dɪˈlɪvəri. ɪf ju ər ɪn nid əv ə rɪˈpɛr ənd ər kənˈsɪdərɪŋ ˈpərʧəsɪŋ ə nu dɪˈvaɪs, waɪ nɑt rɪkˈwɛst ə kwoʊt fər jʊr rɪˈpɛr baɪ ˈfɪlɪŋ ɪn ðə kwoʊt rɪkˈwɛst fɔrm, lɪv ʧæt ər gɪv ˈjuˈɛs ə kɔl. wən əv ɑr rɪˈpɛr tim wɪl bi ˈhæpi tɪ kwoʊt ju ənd bʊk ɪn ə kəˈlɛkʃən fər jʊr rɪˈpɛr ˈjuzɪŋ ɑr əps ˈkəriər ˈsərvɪs. wi hæv ə tim əv ˌɪnˈkrɛdəbli ˈtæləntɪd ˈspɛʃəlɪsts ðət ˈhændəl ˈɛni ˈɪʃu əv ˈsoʊni ˈmoʊbəl rɪˈpɛrz. ɑr səkˈsɛs həz bɪn beɪst ɔn dɪˈvɛləpɪŋ ðə ˈvɛri ˈfaɪnəst ˈpræktɪkəl skɪlz ənd ˈrisɔrsɪz, bækt baɪ əˈproʊʧəbəl ənd ˈifɛktɪv ˈkəstəmər ˈsərvɪsɪz. ˈwərkɪŋ təˈgɛðər wi teɪk ˈɛkstrə kɛr tɪ ʧuz ðə ˈmæksəməm kˈwɑləti əv riˈpleɪsmənts pɑrts, ˈoʊnli ˈjuzɪŋ greɪd ə fər jʊr rɪˈpɛrz əˈlaʊɪŋ ˈjuˈɛs tɪ rɪˈstɔr ju ˈkɑnsoʊl, ˈmoʊbəl foʊn ər computer/laptop*, bæk tɪ ɪts bɛst ɪn ˈmɪnəməl taɪm. wi ər ˈeɪbəl tɪ ˈɔfər ə kɔst ˈifɛktɪv ənd fæst ˈtərnərˌaʊnd ɔn ɔl ˈsərvɪsɪz ənd foʊn rɪˈpɛrz bɪˈkəz wi hæv səm əv ðə tɔp ˈpipəl ɪn ðə rɪˈpɛr ˈɪndəstri, ˈwərkɪŋ ɪn ən ɪkˈwɪpt ˈwərkˌʃɑp. wɪθ ə proʊ ˈæktɪv əˈproʊʧ tɪ ˈkəstəmər dɪˈmændz, wi hæv dɪˈvɛləpt ən ˌaʊtˈstændɪŋ rɪˈpɛr ˈsərvɪs, fər ɑr ˈkəstəmərz ənd oʊn ˈtɛknɪkəl stæf tɪ meɪnˈteɪn ˈtuˌweɪ kəmˌjunəˈkeɪʃənz ɔn ˈprɑdəkt ˈɪʃuz, rɪˈpɛr ˈstætəs ˈəpˌdeɪts kəmˈbaɪnɪŋ ðɪs dɪˈvɛləpmənt tɪ əˈʧiv ə kwɪk ənd kɔst ˈifɛktɪv səˈluʃən. wi ˈɔfər prəˈfɛʃənəl rɪˈpɛrz fər ɔl kaɪnz əv ˈprɑbləmz, soʊ ˌwəˈtɛvər ˈɪʃu ju hæv wɪθ jʊr ˈsoʊni ˈprɑdəkt, wi kən hɛlp rɪˈpɛr ɪt: ˈsoʊni ˈpleɪˌsteɪʃən rɪˈpɛrz ˈsoʊni ˈpleɪˌsteɪʃənz draɪv ˈsoʊni ˈpleɪˌsteɪʃən ˈsoʊni ˈpleɪˌsteɪʃən ˈɑptɪkəl draɪv ˈsoʊni ˈpleɪˌsteɪʃən ˈsoʊni ˈpleɪˌsteɪʃən ˈsɔfˌwɛr fɔlt ˈsoʊni ˈpleɪˌsteɪʃən ˈgræfɪks rɪˈpɛrz ˈsoʊni ˈpleɪˌsteɪʃən blu laɪt əv dɛθ ˈsoʊni rɪˈpɛrz ˈsoʊni ˈlæpˌtɑp skrin
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after hitting 200 million users in the period of nine months, now has 300 million people, who use its photo app every month, and most surprising fact is that 70% of its users are not from the us.
with continuous efforts, has grown stronger in the last four years. although, facebook had tried to acquire. people today share 70 million photos each day, and it has over 30 billion photos in total.
if we print all photos of then no one knows it might be reaching the height of the empire state building? the mount everest? or outer space?
check this out? photo world has made an enticing one-pager, agreed?
now is looking to strengthen its authenticity because of its steady growth.
to avoid fake and look alike accounts, has announced to launch verified badges for celebrities, brands, and athletes.
with promoted posts, company has now started to generate some revenue. although in the beginning, had no clear business model. advertising on is currently only available for a selected group of advertisers.
although, twitter supports better visuals these days, but anyhow is a winner with 300 million fans as people use the images to share their passions and opinions.
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ˈæftər ˈhɪtɪŋ 200 ˈmɪljən ˈjuzərz ɪn ðə ˈpɪriəd əv naɪn mənθs, naʊ həz 300 ˈmɪljən ˈpipəl, hu juz ɪts ˈfoʊˌtoʊ æp ˈɛvəri mənθ, ənd moʊst səˈpraɪzɪŋ fækt ɪz ðət 70 əv ɪts ˈjuzərz ər nɑt frəm ðə ˈjuˈɛs. wɪθ kənˈtɪnjuəs ˈɛfərts, həz groʊn ˈstrɔŋgər ɪn ðə læst fɔr jɪrz. ˌɔlˈðoʊ, ˈfeɪsˌbʊk hæd traɪd tɪ əkˈwaɪər. ˈpipəl təˈdeɪ ʃɛr 70 ˈmɪljən ˈfoʊˌtoʊz iʧ deɪ, ənd ɪt həz ˈoʊvər 30 ˈbɪljən ˈfoʊˌtoʊz ɪn ˈtoʊtəl. ɪf wi prɪnt ɔl ˈfoʊˌtoʊz əv ðɛn noʊ wən noʊz ɪt maɪt bi ˈriʧɪŋ ðə haɪt əv ðə ˈɛmpaɪər steɪt ˈbɪldɪŋ? ðə maʊnt ˈɛvərəst? ər ˈaʊtər speɪs? ʧɛk ðɪs aʊt? ˈfoʊˌtoʊ wərld həz meɪd ən ɛnˈtaɪsɪŋ one-pager*, əˈgrid? naʊ ɪz ˈlʊkɪŋ tɪ ˈstrɛŋθən ɪts ˌɔθənˈtɪsɪti bɪˈkəz əv ɪts ˈstɛdi groʊθ. tɪ əˈvɔɪd feɪk ənd lʊk əˈlaɪk əˈkaʊnts, həz əˈnaʊnst tɪ lɔnʧ ˈvɛrəˌfaɪd ˈbæʤɪz fər səˈlɛbrɪtiz, brændz, ənd ˈæθˌlits. wɪθ prəˈmoʊtəd poʊsts, ˈkəmpəˌni həz naʊ ˈstɑrtɪd tɪ ˈʤɛnərˌeɪt səm ˈrɛvəˌnu. ˌɔlˈðoʊ ɪn ðə bɪˈgɪnɪŋ, hæd noʊ klɪr ˈbɪznɪs ˈmɑdəl. ˈædvərˌtaɪzɪŋ ɔn ɪz ˈkərəntli ˈoʊnli əˈveɪləbəl fər ə səˈlɛktɪd grup əv ˈædvərˌtaɪzərz. ˌɔlˈðoʊ, tˈwɪtər səˈpɔrts ˈbɛtər ˈvɪʒwəlz ðiz deɪz, bət ˈɛniˌhaʊ ɪz ə ˈwɪnər wɪθ 300 ˈmɪljən fænz ɛz ˈpipəl juz ðə ˈɪmɪʤɪz tɪ ʃɛr ðɛr ˈpæʃənz ənd əˈpɪnjənz.
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abortion providers in texas reacted with surprise and elation on monday to the u.s. supreme court's decision to throw out the state's restrictive abortion law and said they aimed to reopen some clinics shut down since the measure was passed in 2013.
since the law was passed by a legislature and signed by a republican governor, the number of abortion clinics in texas, the u.s. state with about 27 million people, has fallen from 41 to 19.
"i am honestly surprised by the supreme court decision," rachel, health center manager at planned parenthood of austin, said at the clinic that performs about 250 abortions per month in the texas state capital.
but said she does not think the ruling "all of the sudden creates open access" to abortion for texas women or that it means other legislation intended to restrict women's access to safe and legal abortions will be scrapped.
abortion providers said the law imposed medically unnecessary regulations that were intended to shut clinics. texas state officials said the law was aimed at protecting women's health.
dr. kumar, who performs abortions at whole woman's health clinics in texas, said abortion providers will seek to reopen some of the shuttered clinics but do not expect to be able to return to the number in operation prior to the law.
negotiating new leases and hiring staff will mean a slow return to operations for those that do re-open, kumar said.
the supreme court ruled that both key provisions of the law - requiring abortion doctors to have "admitting privileges" at a local hospital and requiring clinics to have costly facilities - violated a woman's right to an abortion established in a 1973 landmark ruling.
"i am beyond elated," amy hagstrom miller, founder and ceo of whole health, which operates four abortion clinics in texas and spearheaded the challenge to the law.
"after years of fighting heartless, texas politicians who would seemingly stop at nothing to push abortion out of reach, i want everyone to understand: you don't mess with texas, you don't mess with whole woman's health," she added.
if the supreme court had left the law in place, only eight clinics would have remained open, including the planned parenthood facility in austin, a u.s. lower court judge said.
the state's republican leaders, including the governor and attorney general, criticized the ruling that they said would endanger public health.
"now abortion clinics are free to ignore these basic safety standards and continue practicing under substandard conditions," republican lieutenant governor dan patrick said. "by its ruling, the court held that the ability of abortion clinics to remain open even under substandard conditions outweighs the state's ability to put women's health and safety first."
the legislature meets again next year, and top lawmakers indicated they may look at new abortion restrictions.
the "admitting privileges" provision, requiring doctors who perform abortions to have formal affiliation with a hospital within 30 miles (48 kms) of their clinic, had gone into effect. the facilities standards had been put on hold by courts.
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əˈbɔrʃən prəˈvaɪdərz ɪn ˈtɛksəs riˈæktɪd wɪθ səˈpraɪz ənd ɪˈleɪʃən ɔn ˈmənˌdeɪ tɪ ðə juz. səˈprim kɔrts dɪˈsɪʒən tɪ θroʊ aʊt ðə steɪts riˈstrɪktɪv əˈbɔrʃən lɔ ənd sɛd ðeɪ eɪmd tɪ riˈoʊpən səm ˈklɪnɪks ʃət daʊn sɪns ðə ˈmɛʒər wɑz pæst ɪn 2013 sɪns ðə lɔ wɑz pæst baɪ ə ˈlɛʤəsˌleɪʧər ənd saɪnd baɪ ə rɪˈpəblɪkən ˈgəvərnər, ðə ˈnəmbər əv əˈbɔrʃən ˈklɪnɪks ɪn ˈtɛksəs, ðə juz. steɪt wɪθ əˈbaʊt 27 ˈmɪljən ˈpipəl, həz ˈfɑlən frəm 41 tɪ 19 "aɪ æm ˈɑnəstli səˈpraɪzd baɪ ðə səˈprim kɔrt dɪˈsɪʒən," ˈreɪʧəl, hɛlθ ˈsɛnər ˈmænɪʤər æt plænd ˈpɛrənˌthʊd əv ˈɔstən, sɛd æt ðə ˈklɪnɪk ðət pərˈfɔrmz əˈbaʊt 250 əˈbɔrʃənz pər mənθ ɪn ðə ˈtɛksəs steɪt ˈkæpɪtəl. bət sɛd ʃi dɪz nɑt θɪŋk ðə ˈrulɪŋ "ɔl əv ðə ˈsədən kriˈeɪts ˈoʊpən ˈækˌsɛs" tɪ əˈbɔrʃən fər ˈtɛksəs ˈwɪmən ər ðət ɪt minz ˈəðər ˌlɛʤəsˈleɪʃən ˌɪnˈtɛndɪd tɪ riˈstrɪkt ˈwɪmənz ˈækˌsɛs tɪ seɪf ənd ˈligəl əˈbɔrʃənz wɪl bi skræpt. əˈbɔrʃən prəˈvaɪdərz sɛd ðə lɔ ˌɪmˈpoʊzd ˈmɛdɪkəli ənˈnɛsəˌsɛri ˌrɛgjəˈleɪʃənz ðət wər ˌɪnˈtɛndɪd tɪ ʃət ˈklɪnɪks. ˈtɛksəs steɪt əˈfɪʃəlz sɛd ðə lɔ wɑz eɪmd æt prəˈtɛktɪŋ ˈwɪmənz hɛlθ. ˈdɑktər. kuˈmɑr, hu pərˈfɔrmz əˈbɔrʃənz æt hoʊl ˈwʊmənz hɛlθ ˈklɪnɪks ɪn ˈtɛksəs, sɛd əˈbɔrʃən prəˈvaɪdərz wɪl sik tɪ riˈoʊpən səm əv ðə ˈʃətərd ˈklɪnɪks bət du nɑt ɪkˈspɛkt tɪ bi ˈeɪbəl tɪ rɪˈtərn tɪ ðə ˈnəmbər ɪn ˌɑpərˈeɪʃən praɪər tɪ ðə lɔ. nɪˈgoʊʃiˌeɪtɪŋ nu ˈlisɪz ənd ˈhaɪrɪŋ stæf wɪl min ə sloʊ rɪˈtərn tɪ ˌɑpərˈeɪʃənz fər ðoʊz ðət du re-open*, kuˈmɑr sɛd. ðə səˈprim kɔrt ruld ðət boʊθ ki prəˈvɪʒənz əv ðə lɔ rikˈwaɪərɪŋ əˈbɔrʃən ˈdɑktərz tɪ hæv "ədˈmɪtɪŋ ˈprɪvɪˌlɪʤɪz" æt ə ˈloʊkəl ˈhɑˌspɪtəl ənd rikˈwaɪərɪŋ ˈklɪnɪks tɪ hæv ˈkɔstli fəˈsɪlɪtiz ˈvaɪəleɪtɪd ə ˈwʊmənz raɪt tɪ ən əˈbɔrʃən ɪˈstæblɪʃt ɪn ə 1973 ˈlændˌmɑrk ˈrulɪŋ. "aɪ æm bɪɔnd ɪˈleɪtɪd," ˈeɪmi ˈhægstrəm ˈmɪlər, ˈfaʊndər ənd ˈsiˌiˈoʊ əv hoʊl hɛlθ, wɪʧ ˈɑpərˌeɪts fɔr əˈbɔrʃən ˈklɪnɪks ɪn ˈtɛksəs ənd ˈspɪˌrhɛdɪd ðə ˈʧælənʤ tɪ ðə lɔ. "ˈæftər jɪrz əv ˈfaɪtɪŋ ˈhɑrtləs, ˈtɛksəs ˌpɑləˈtɪʃənz hu wʊd ˈsimɪŋli stɑp æt ˈnəθɪŋ tɪ pʊʃ əˈbɔrʃən aʊt əv riʧ, aɪ wɔnt ˈɛvriˌwən tɪ ˌəndərˈstænd: ju doʊnt mɛs wɪθ ˈtɛksəs, ju doʊnt mɛs wɪθ hoʊl ˈwʊmənz hɛlθ," ʃi ˈædɪd. ɪf ðə səˈprim kɔrt hæd lɛft ðə lɔ ɪn pleɪs, ˈoʊnli eɪt ˈklɪnɪks wʊd hæv rɪˈmeɪnd ˈoʊpən, ˌɪnˈkludɪŋ ðə plænd ˈpɛrənˌthʊd fəˈsɪlɪti ɪn ˈɔstən, ə juz. loʊər kɔrt ʤəʤ sɛd. ðə steɪts rɪˈpəblɪkən ˈlidərz, ˌɪnˈkludɪŋ ðə ˈgəvərnər ənd əˈtərni ˈʤɛnərəl, ˈkrɪtəˌsaɪzd ðə ˈrulɪŋ ðət ðeɪ sɛd wʊd ɛnˈdeɪnʤər ˈpəblɪk hɛlθ. "naʊ əˈbɔrʃən ˈklɪnɪks ər fri tɪ ˌɪgˈnɔr ðiz ˈbeɪsɪk ˈseɪfti ˈstændərdz ənd kənˈtɪnju ˈpræktɪsɪŋ ˈəndər səbˈstændərd kənˈdɪʃənz," rɪˈpəblɪkən luˈtɛnənt ˈgəvərnər dæn ˈpætrɪk sɛd. "baɪ ɪts ˈrulɪŋ, ðə kɔrt hɛld ðət ðə əˈbɪləˌti əv əˈbɔrʃən ˈklɪnɪks tɪ rɪˈmeɪn ˈoʊpən ˈivɪn ˈəndər səbˈstændərd kənˈdɪʃənz ˈaʊtˌweɪz ðə steɪts əˈbɪləˌti tɪ pʊt ˈwɪmənz hɛlθ ənd ˈseɪfti fərst." ðə ˈlɛʤəsˌleɪʧər mits əˈgɛn nɛkst jɪr, ənd tɔp ˈlɔˌmeɪkərz ˈɪndəˌkeɪtɪd ðeɪ meɪ lʊk æt nu əˈbɔrʃən riˈstrɪkʃənz. ðə "ədˈmɪtɪŋ ˈprɪvɪˌlɪʤɪz" prəˈvɪʒən, rikˈwaɪərɪŋ ˈdɑktərz hu pərˈfɔrm əˈbɔrʃənz tɪ hæv ˈfɔrməl əˌfɪliˈeɪʃən wɪθ ə ˈhɑˌspɪtəl wɪˈθɪn 30 maɪəlz 48 kms*) əv ðɛr ˈklɪnɪk, hæd gɔn ˈɪntu ˈifɛkt. ðə fəˈsɪlɪtiz ˈstændərdz hæd bɪn pʊt ɔn hoʊld baɪ kɔrts.
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illumination-universal’s “despicable me has opened in china with an impressive $20.1 million on its first day the best opening for an animated movie ever in the country.
the figure is% above the opening of “minions,” which set the record two years ago. also the debut day of the year.
“despicable me had already hauled $286.8 million worldwide through thursday with the international take hitting $171.6 million and the domestic total at $115.2 million.
“despicable me is directed by pierre coffin and kyle balda, and by eric guillon. the film stars steve carell, kristen wiig, and trey parker. the pic follows gru, who discovers that he has a twin brother named dru, while the minions are jailed.
the 2015 “minions” spinoff was a massive success, earning $336 million domestically and $823 million internationally, including $68 million in china. “minions” is the top illumination performer worldwide with $1.16 billion, followed by “despicable me with $975.8 million, “the secret life of pets” with $875.5 million, and “sing” with $633 million.
“despicable me has set records as the biggest animated movie opening weekend of all time in argentina, brazil, egypt, estonia, latvia, lithuania, middle east, netherlands, ukraine, and venezuela. in addition to china, opening in france, germany, austria, switzerland, trinidad, and iceland this week.
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illumination-universal’s* mi həz ˈoʊpənd ɪn ˈʧaɪnə wɪθ ən ˌɪmˈprɛsɪv ˈmɪljən ɔn ɪts fərst deɪ ðə bɛst ˈoʊpənɪŋ fər ən ˈænəˌmeɪtɪd ˈmuvi ˈɛvər ɪn ðə ˈkəntri. ðə ˈfɪgjər ɪz əˈbəv ðə ˈoʊpənɪŋ əv ““minions,”*,” wɪʧ sɛt ðə ˈrɛkərd tu jɪrz əˈgoʊ. ˈɔlsoʊ ðə ˈdeɪbju deɪ əv ðə jɪr. mi hæd ɔˈrɛdi hɔld ˈmɪljən ˈwərldˈwaɪd θru ˈθərzˌdeɪ wɪθ ðə ˌɪnərˈnæʃənɑl teɪk ˈhɪtɪŋ ˈmɪljən ənd ðə dəˈmɛstɪk ˈtoʊtəl æt ˈmɪljən. mi ɪz dɪˈrɛktɪd baɪ piɛr ˈkɔfɪn ənd kaɪl balda*, ənd baɪ ˈɛrɪk guillon*. ðə fɪlm stɑrz stiv carell*, ˈkrɪstən wiig*, ənd treɪ ˈpɑrkər. ðə pɪk ˈfɑloʊz gru*, hu dɪˈskəvərz ðət hi həz ə twɪn ˈbrəðər neɪmd dru, waɪl ðə ˈmɪnjənz ər ʤeɪld. ðə 2015 ““minions”*” ˈspɪˌnɔf wɑz ə ˈmæsɪv səkˈsɛs, ˈərnɪŋ 336 ˈmɪljən dəˈmɛstɪkli ənd 823 ˈmɪljən ˌɪnərˈnæʃənɑli, ˌɪnˈkludɪŋ 68 ˈmɪljən ɪn ˈʧaɪnə. ““minions”*” ɪz ðə tɔp ˌɪˌluməˈneɪʃən pərˈfɔrmər ˈwərldˈwaɪd wɪθ ˈbɪljən, ˈfɑloʊd baɪ mi wɪθ ˈmɪljən, ˈsikrɪt laɪf əv pets”*” wɪθ ˈmɪljən, ənd ““sing”*” wɪθ 633 ˈmɪljən. mi həz sɛt ˈrɛkərdz ɛz ðə ˈbɪgəst ˈænəˌmeɪtɪd ˈmuvi ˈoʊpənɪŋ ˈwiˌkɪnd əv ɔl taɪm ɪn ˌɑrʤənˈtinə, brəˈzɪl, ˈiʤɪpt, ɛˈstoʊniə, ˈlætviə, ˌlɪθəˈweɪniə, ˈmɪdəl ist, ˈnɛðərləndz, juˈkreɪn, ənd ˌvɛnɪzˈweɪlə. ɪn əˈdɪʃən tɪ ˈʧaɪnə, ˈoʊpənɪŋ ɪn fræns, ˈʤərməni, ˈɔstriə, sˈwɪtsərlənd, ˈtrɪnɪˌdæd, ənd ˈaɪslənd ðɪs wik.
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liberal leader justin trudeau is giving himself a bit of wiggle room on just how big his government's deficits could be if he's elected.
for the past few weeks, trudeau has faced a series of questions from reporters travelling with his campaign about his fiscal plans and when he will release a fully costed platform.
during a town hall meeting in downtown toronto monday, trudeau hinted that his deficits could grow beyond the planned $10 billion a year.
infrastructure boost
the liberal platform is to run a series of deficits of up to $10 billion a year in the next three years in order to the economy by investing in big infrastructure projects. trudeau has promised to balance the budget in 2019.
trudeau was asked by reporter daniel thibeault if those deficits could go above $10 billion per year given the low price of oil.
the liberal leader responded in french, saying, "we are committed to balancing the budget in 2019, and we have always said that we will have modest deficits for the first three years."
but then he added, "we have also said that, if the situation gets radically worse, we might revise these numbers."
it is the clearest answer trudeau has given to date on that issue, possibly giving himself a bit of wiggle room if the economy performs worse than expected.
"but as of now, we have been conservative prudent in our evaluation and i am confident in our plan, and in our fiscal framework, that you'll see during this campaign," he told the audience in the riding, where his party is battling it out with the.
trudeau's staff were quick to follow up after the event, pointing out that the liberal leader has said this before and that he's not changing his tune mid-stride.
they point out that background material sent on aug. 27 included this statement: "if the fiscal situation deteriorates due to a further slowdown of the economy in the weeks ahead, liberals will be honest with canadians about the facts."
trudeau also hedged his bets on deficits two days before that when talking to reporters after a rally with former prime minister paul martin:
"we are, as liberals, always are committed to balancing the budget. but how long that will take will depend very much on the size of the mess mr. harper has left us."
both the and conservatives have accused the liberal leader of heading toward a slippery slope of deficits with his borrow and build infrastructure plans.
in a statement to cbc news, conservative campaign spokesman stephen said trudeau is "either unable or unwilling to control his spending."
"he has pledged to repeal the balanced budget act, a necessity if he plans to run permanent, structural deficits," said of the liberal leader. "this will inevitably end in higher taxes for canadians, even beyond the payroll and employer tax hikes he has already promised."
but liberal campaign press officer zita points out that their deficit plan is based on economic projections from both the and from the parliamentary budget officer.
"it's also important to note that the recent numbers were aligned with the projections for july," she wrote in an email.
"so there hasn't been any adjustments from our end and [it] would be wrong to suggest otherwise."
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ˈlɪˌbərəl ˈlidər ˈʤəstɪn truˈdoʊ ɪz ˈgɪvɪŋ hɪmˈsɛlf ə bɪt əv ˈwɪgəl rum ɔn ʤɪst haʊ bɪg hɪz ˈgəvərnmənts ˈdɛfɪsɪts kʊd bi ɪf hiz ɪˈlɛktɪd. fər ðə pæst fju wiks, truˈdoʊ həz feɪst ə ˈsɪriz əv kˈwɛsʧənz frəm rɪˈpɔrtərz ˈtrævəlɪŋ wɪθ hɪz kæmˈpeɪn əˈbaʊt hɪz ˈfɪskəl plænz ənd wɪn hi wɪl riˈlis ə ˈfʊli ˈkɑstɪd ˈplætˌfɔrm. ˈdʊrɪŋ ə taʊn hɔl ˈmitɪŋ ɪn ˈdaʊnˈtaʊn tərˈɑntoʊ ˈmənˌdeɪ, truˈdoʊ ˈhɪnɪd ðət hɪz ˈdɛfɪsɪts kʊd groʊ bɪɔnd ðə plænd 10 ˈbɪljən ə jɪr. ˌɪnfrəˈstrəkʧər bust ðə ˈlɪˌbərəl ˈplætˌfɔrm ɪz tɪ rən ə ˈsɪriz əv ˈdɛfɪsɪts əv əp tɪ 10 ˈbɪljən ə jɪr ɪn ðə nɛkst θri jɪrz ɪn ˈɔrdər tɪ ðə ɪˈkɑnəmi baɪ ˌɪnˈvɛstɪŋ ɪn bɪg ˌɪnfrəˈstrəkʧər ˈprɑʤɛkts. truˈdoʊ həz ˈprɑməst tɪ ˈbæləns ðə ˈbəʤɪt ɪn 2019 truˈdoʊ wɑz æst baɪ rɪˈpɔrtər ˈdænjəl ˈtiboʊ ɪf ðoʊz ˈdɛfɪsɪts kʊd goʊ əˈbəv 10 ˈbɪljən pər jɪr ˈgɪvɪn ðə loʊ praɪs əv ɔɪl. ðə ˈlɪˌbərəl ˈlidər rɪˈspɑndɪd ɪn frɛnʧ, seɪɪŋ, "wi ər kəˈmɪtɪd tɪ ˈbælənsɪŋ ðə ˈbəʤɪt ɪn 2019 ənd wi hæv ˈɔlˌweɪz sɛd ðət wi wɪl hæv ˈmɑdəst ˈdɛfɪsɪts fər ðə fərst θri jɪrz." bət ðɛn hi ˈædɪd, "wi hæv ˈɔlsoʊ sɛd ðət, ɪf ðə ˌsɪʧuˈeɪʃən gɪts ˈrædɪkli wərs, wi maɪt rɪˈvaɪz ðiz ˈnəmbərz." ɪt ɪz ðə ˈklɪrɪst ˈænsər truˈdoʊ həz ˈgɪvɪn tɪ deɪt ɔn ðət ˈɪʃu, ˈpɑsəbli ˈgɪvɪŋ hɪmˈsɛlf ə bɪt əv ˈwɪgəl rum ɪf ðə ɪˈkɑnəmi pərˈfɔrmz wərs ðən ɪkˈspɛktɪd. "bət ɛz əv naʊ, wi hæv bɪn kənˈsərvətɪv ˈprudənt ɪn ɑr ɪˌvæljuˈeɪʃən ənd aɪ æm ˈkɑnfədənt ɪn ɑr plæn, ənd ɪn ɑr ˈfɪskəl ˈfreɪmˌwərk, ðət jul si ˈdʊrɪŋ ðɪs kæmˈpeɪn," hi toʊld ðə ˈɔdiəns ɪn ðə ˈraɪdɪŋ, wɛr hɪz ˈpɑrti ɪz ˈbætəlɪŋ ɪt aʊt wɪθ ðə. stæf wər kwɪk tɪ ˈfɑloʊ əp ˈæftər ðə ɪˈvɛnt, ˈpɔɪntɪŋ aʊt ðət ðə ˈlɪˌbərəl ˈlidər həz sɛd ðɪs ˌbiˈfɔr ənd ðət hiz nɑt ˈʧeɪnʤɪŋ hɪz tun mid-stride*. ðeɪ pɔɪnt aʊt ðət ˈbækˌgraʊnd məˈtɪriəl sɛnt ɔn ˈɔgəst. 27 ˌɪnˈkludɪd ðɪs ˈsteɪtmənt: "ɪf ðə ˈfɪskəl ˌsɪʧuˈeɪʃən dɪˈtɪriərˌeɪts du tɪ ə ˈfərðər sˈloʊˌdaʊn əv ðə ɪˈkɑnəmi ɪn ðə wiks əˈhɛd, ˈlɪˌbərəlz wɪl bi ˈɑnəst wɪθ kəˈneɪdiənz əˈbaʊt ðə fækts." truˈdoʊ ˈɔlsoʊ hɛʤd hɪz bɛts ɔn ˈdɛfɪsɪts tu deɪz ˌbiˈfɔr ðət wɪn ˈtɔkɪŋ tɪ rɪˈpɔrtərz ˈæftər ə ˈræli wɪθ ˈfɔrmər praɪm ˈmɪnɪstər pɔl ˈmɑrtɪn: "wi ər, ɛz ˈlɪˌbərəlz, ˈɔlˌweɪz ər kəˈmɪtɪd tɪ ˈbælənsɪŋ ðə ˈbəʤɪt. bət haʊ lɔŋ ðət wɪl teɪk wɪl dɪˈpɛnd ˈvɛri məʧ ɔn ðə saɪz əv ðə mɛs ˈmɪstər. ˈhɑrpər həz lɛft ˈjuˈɛs." boʊθ ðə ənd kənˈsərvətɪvz hæv əˈkjuzd ðə ˈlɪˌbərəl ˈlidər əv ˈhɛdɪŋ təˈwɔrd ə sˈlɪpəri sloʊp əv ˈdɛfɪsɪts wɪθ hɪz ˈbɑˌroʊ ənd bɪld ˌɪnfrəˈstrəkʧər plænz. ɪn ə ˈsteɪtmənt tɪ ˈsiˌbiˈsi nuz, kənˈsərvətɪv kæmˈpeɪn ˈspoʊksmən ˈstivən sɛd truˈdoʊ ɪz "ˈiðər əˈneɪbəl ər ənˈwɪlɪŋ tɪ kənˈtroʊl hɪz ˈspɛndɪŋ." "hi həz plɛʤd tɪ rɪˈpil ðə ˈbælənst ˈbəʤɪt ækt, ə nəˈsɛsɪti ɪf hi plænz tɪ rən ˈpərmɑˌnɛnt, ˈstrəkʧərəl ˈdɛfɪsɪts," sɛd əv ðə ˈlɪˌbərəl ˈlidər. "ðɪs wɪl ˌɪˈnɛvətəbli ɛnd ɪn haɪər ˈtæksɪz fər kəˈneɪdiənz, ˈivɪn bɪɔnd ðə ˈpeɪˌroʊl ənd ɪmˈplɔɪər tæks haɪks hi həz ɔˈrɛdi ˈprɑməst." bət ˈlɪˌbərəl kæmˈpeɪn prɛs ˈɔfɪsər ˈzitə pɔɪnts aʊt ðət ðɛr ˈdɛfəsət plæn ɪz beɪst ɔn ˌɛkəˈnɑmɪk prɑˈʤɛkʃənz frəm boʊθ ðə ənd frəm ðə ˌpɑrləˈmɛntəri ˈbəʤɪt ˈɔfɪsər. "ɪts ˈɔlsoʊ ˌɪmˈpɔrtənt tɪ noʊt ðət ðə ˈrisənt ˈnəmbərz wər əˈlaɪnd wɪθ ðə prɑˈʤɛkʃənz fər ˌʤuˈlaɪ," ʃi roʊt ɪn ən iˈmeɪl. "soʊ ðɛr ˈhæzənt bɪn ˈɛni əˈʤəstmənts frəm ɑr ɛnd ənd [ɪt] wʊd bi rɔŋ tɪ səˈʤɛst ˈəðərˌwaɪz."
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dive into the soil of a land corrupted by darkness. restore life, fight evil, save the day, and return to!
it’s prince birthday, and all the people of have come out to celebrate! but among them is a very special guest: marmela, a representative from an otherworldly kingdom called. her country has been ravaged by shadowy creatures who corrupt the soil, preventing crops from growing -- and since this same phenomenon has been occurring in as well, the king now seeks her counsel.
her expert opinion? prince pietro should visit personally as an ambassador for, to see the damage and learn all the ways the people are fighting back. but once he's there, he finds there's no way home, and his princely name holds little sway over the people of this new world.
it is up to you, as prince pietro, to make a life for yourself in while seeking a way home, doing everything you can in the meantime to cultivate the earth and new friendships alike.
a fairytale adventure awaits!
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daɪv ˈɪntu ðə sɔɪl əv ə lænd kərˈəptɪd baɪ ˈdɑrknəs. rɪˈstɔr laɪf, faɪt ˈivəl, seɪv ðə deɪ, ənd rɪˈtərn tɪ! prɪns ˈbərθˌdeɪ, ənd ɔl ðə ˈpipəl əv hæv kəm aʊt tɪ ˈsɛləˌbreɪt! bət əˈməŋ ðɛm ɪz ə ˈvɛri ˈspɛʃəl gɛst: marmela*, ə ˌrɛprɪˈzɛnətɪv frəm ən ˈəðərˈwərldli ˈkɪŋdəm kɔld. hər ˈkəntri həz bɪn ˈrævɪʤd baɪ ˈʃædoʊi ˈkriʧərz hu kərəpt ðə sɔɪl, prɪˈvɛnɪŋ krɑps frəm groʊɪŋ ənd sɪns ðɪs seɪm fəˈnɑməˌnɑn həz bɪn əˈkərɪŋ ɪn ɛz wɛl, ðə kɪŋ naʊ siks hər ˈkaʊnsəl. hər ˈɛkspərt əˈpɪnjən? prɪns piˈɛtroʊ ʃʊd ˈvɪzɪt ˈpərsənəli ɛz ən æmˈbæsədər fər, tɪ si ðə ˈdæmɪʤ ənd lərn ɔl ðə weɪz ðə ˈpipəl ər ˈfaɪtɪŋ bæk. bət wəns hiz ðɛr, hi faɪndz ðɛrz noʊ weɪ hoʊm, ənd hɪz ˈprɪnsli neɪm hoʊldz ˈlɪtəl sweɪ ˈoʊvər ðə ˈpipəl əv ðɪs nu wərld. ɪt ɪz əp tɪ ju, ɛz prɪns piˈɛtroʊ, tɪ meɪk ə laɪf fər ˈjɔrsɛlf ɪn waɪl ˈsikɪŋ ə weɪ hoʊm, duɪŋ ˈɛvriˌθɪŋ ju kən ɪn ðə ˈminˌtaɪm tɪ ˈkəltəˌveɪt ðə ərθ ənd nu ˈfrɛndʃɪps əˈlaɪk. ə ˈfɛriˌteɪl ədˈvɛnʧər əˈweɪts!
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balazs barabas: prim-ministru, în „paşaport diplomatic” de laia.
de au în şi tel aviv, hamas a că adună o armată a se de israel. care dvs. a împiedica acţiuni?
benjamin netanyahu: în să se dele şi dele. se luptă între, isis, şiiţii, iran, hezbollah, hamas, dar de acord: nu ar să, ţările nu ar să şi nu ar să.care să „cel mai din parcare”, asta de acord, nu înţeles încă săl mai, dar de acord să o „parcare” islamistă.le, ne atacă la noastre, în ţării,m atacă şi ţări, ţăriropene. un deem atacaţi: să, să ne. şi asta.
sănătatea stă în medic
balazs barabas: a un în a se, dar se pare căle au din interior. în această mai are rostului?
benjamin netanyahu: nu e un, e un gard, 96% din el este gard. are de a împiedica să vină la, de care explodează în,m au în trecut. am o de din atentate. de am gard, bariere, rărit.ate, există. în, gard nu este ermetic, există care lucrează în israel, legal, ilegal. şi profită de ca să ai hamas şi din de palestiniană, de autorităţii. face tot ca să. evident, că există un care îl şi care nu îl nu înseamnă că să te la douăe. nu. şi-a de a se.ri dureroase, înjunghiaţi în de autobuz, înntrul tel aviv-ului, înjunghiaţi de fanatizaţi, de maşini, de care ca ucigaşe. da,a mari. darem tenace. împotriva încercărilor de a evreu, a evreu, de șapte ani, ba de înfiinţarea israel. şiste asta.
balazs barabas:ra, de au în gaza. o spirală a violenţei, toată răzbunare, şi, împotrivaluilalt?
benjamin netanyahu: nu este un conflict simetric., întotdeauna a, ca şi mine, dar o paceă. nu doar să care, care de iran, ca în liban, după. hezbollah a şi, de iran, au de noastră. în gaza, din gaza,, de iran, a hamas, au de noastră. evident, nu să sea. o paceă, reală, în care ne,alaltă parte la un stat al, la felm ner nouă săm lor un stat al lor. dar nu să ne. spun: nu, ca să, a oară, să voastră, de, ca să vă distrugem. ar faceia la fel? nu.
balazs barabas: dar anunţă şi cărmite de colonii, recent, a de în militare. nu căa alimenteazăi?
benjamin netanyahu: că colonii: tel aviv, haifa, şi o spun. că în reale esteva discutat, coloniilor. dar înainte de nu căem. nuem.em de 4000 de ani, din lui avraam. vă de david? deui, de ieremia, isaia? că?!ui. ne spun căa străine, care ocupat, ca în congo în algeria. nu, nu e. este parte a evreieşti. dar că în noastră istorică, şi un alt popor,l palestinian. să o amândoi. dar să că nuun să, că să plecăm, ba mai, să afară, să care să ne distrugă care mai rămas, nu este, este injust. să fac pace, dar nu să mă (s.n.).u o pace durabilă, o pace care o.a pace care dura este care o. că problemă nu coloniile, nu. problemă este dacă există de palestiniană să în un stat în graniţe. că este o problemănţială, dacă însăşinţa,uiui lanţă. este conflictului. dacă se rezolva, fi pace, simplu. şi că într-o zi, că această zi. dar de,ea în este cările se îndreaptă într-o altă direcţie.lor irakul, siria, yemen, libia, gaza şi, din, palestiniană, în şi. toată estetă de militant, care nuun,unia., şiia ar să parte a, un medieval, fictiv, renăscut.ropa recucerită (s.n).
spania eliberată. da, închipuiri, este o nebunie. dar în lor, a isis, a hamas, a este realitate. asta săă. nu e un avanpost, în în lor de a occidentul. în asta, asta. ne, şiropa (s.n). ştiu că înropa, nu înţeleg asta. dar ştiţiva?i o înţeleg. gândesc, din lor de vedere, auate.
balazs barabas: dar se pare că isis nu fi oprit. şi-au în raqqa, se şi înfrânge.m tratată această?
benjamin netanyahu: că pot fi opriţi. nu invincibili, doar să vinăva şi necesară. îl obama în de a o care să. există un mod de a împotriva lor: să. nu există altă cale (s.n.).
balazs barabas: terestre?
benjamin netanyahu:le şi distruge. nu e imposibil. a înfruntat o forţă mai puternică isis, o armată mai numeroasă,, din civili. hamas a popor. ca să nei,i lorle. de necrezut.a, am să le şim de o forţă mai mare isis. că isis fi oprit. căt împotriva isis. dar că este doar din douăe ale umanităţii. nu estel mai mare. că un mai mare, de iran (s.n.).i şiiţii, de iran, împreună lor: hezbollah, islamic din gaza, şi mai nou, din yemen. darul mai mare este că din, sunniţi, isis al-qaeda şiiţi din iran, nucleare.l mai mare lumii,ropei, aiei, şiui este dacă devine o potenţială nucleară. că în în care de a bomba, o face. şii fi în.
balazs barabas: am că îndrăgiţiia. dersonal căia este importantă şi de consideră că importante?
benjamin netanyahu: excelente. dine de vedere,lturile noastre, dar în 100 de de care aut dinia.rsonal provine dinia. arată căia. dar am, amia de maie ori şi am o legătură puternică. care deiei şi o legăturălturală,lori, istorie, dar şi o legătură a două democraţii, două ţări comună. înfruntăm care ne ameninţă comună. amia. în plus, îmi place şiească.
balazs barabas:rsonal aliei?
benjamin netanyahu:. în, la alegeri, în ţări.ea nu se ştie,eri care se întâmplă în lume. în al, ştiu că este împărtăşită de politice. e israel şi ştiu că şiia. este importantăia.
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ˈbɔləʃ barabas*: prim-ministru*, diplomatic”*” də lɑ. də oʊ tɛl ɑˈviv, ˌhɑˈmɑs ə că*ă adună*ă oʊ armată*ă ə seɪ də ˈɪzriəl. kɛr dvs*. ə acţiuni*? ˈbɛnʤəmən ˌnɛtənˈjɑˌhu: să*ă seɪ də də. seɪ luptă*ă, ˈaɪsəs, şşiiţii*, ˌɪˈrɑn, ˌhɛzbɑˈlə, ˌhɑˈmɑs, dɑr də əˈkɔrd: nu ɑr să*ă, nu ɑr să*ă nu ɑr să*ă. să*ă maɪ dɪn parcare”*”, ˈɑstə də əˈkɔrd, nu îîncă*ă să*ă sɛl maɪ, dɑr də əˈkɔrd să*ă oʊ „„parcare”*” islamistă*ă. altele*, ni atacă*ă lɑ noastre*, ţăţării*, kəm atacă*ă, europene*. ˈjuˈɛn də atacaţi*: să*ă, să*ă ni. ˈɑstə. stă*ă ˈmɛdɪk ˈbɔləʃ barabas*: ə ˈjuˈɛn ə seɪ, dɑr seɪ pɛr că*ă oʊ dɪn ˌɪnˈtɪriər. această*ă maɪ ər rɑst zidului*? ˈbɛnʤəmən ˌnɛtənˈjɑˌhu: nu i ˈjuˈɛn, i ˈjuˈɛn gɑrd, 96 dɪn ɛl ˈɛsteɪ gɑrd. ər də ə să*ă vină*ă lɑ, də kɛr explodează*ă, kəm oʊ trecut*. æm oʊ də dɪn atentate*. də æm gɑrd, bariere*, rărit*. dreptate*, există*ă., gɑrd nu ˈɛsteɪ ermetic*, există*ă kɛr lucrează*ă ˈɪzriəl, ˈligəl, ilegal*. profită*ă də ˈsiˈeɪ să*ă eɪaɪ ˌhɑˈmɑs dɪn də palestiniană*ă, də autorităţii*. feɪs tɑt ˈsiˈeɪ să*ă. ˈɛvədənt, că*ă există*ă ˈjuˈɛn kɛr kɛr nu nu îînseamnă*ă că*ă să*ă ti lɑ două*ă. nu. də ə seɪ. dureroase*, də autobuz*, tɛl aviv-ului*, də fanatizaţi*, də maşini*, də kɛr ˈsiˈeɪ ucigaşe*. ˈdiˈeɪ, ˈmɑri. dɑr tenace*. də ə evreu*, ə evreu*, də ani*, ˌbiˈeɪ də ˈɪzriəl. ˈɑstə. ˈbɔləʃ barabas*: ˈvɑrə, də oʊ ˈgɑzə. oʊ spirală*ă ə violenţei*, toată*ă răzbunare*,, celuilalt*? ˈbɛnʤəmən ˌnɛtənˈjɑˌhu: nu ˈɛsteɪ ˈjuˈɛn ˈkɑnflɪkt simetric*., ə, ˈsiˈeɪ maɪn, dɑr oʊ peɪs adevărată*ă. nu dɔr să*ă kɛr, kɛr də ˌɪˈrɑn, ˈsiˈeɪ liban*, după*ă. ˌhɛzbɑˈlə ə, də ˌɪˈrɑn, oʊ də noastră*ă. ˈgɑzə, dɪn ˈgɑzə,, də ˌɪˈrɑn, ə ˌhɑˈmɑs, oʊ də noastră*ă. ˈɛvədənt, nu să*ă seɪ. oʊ peɪs adevărată*ă, reală*ă, kɛr ni, cealaltă*ă ˈpɑrteɪ lɑ ˈjuˈɛn stæt æl, lɑ fɛl kəm ni nouă*ă să*ă lɔr ˈjuˈɛn stæt æl lɔr. dɑr nu să*ă ni. spən: nu, ˈsiˈeɪ să*ă, ə oară*ă, să*ă voastră*ă, də, ˈsiˈeɪ să*ă vă*ă distrugem*. ɑr feɪs lɑ fɛl? nu. ˈbɔləʃ barabas*: dɑr anunţă*ţă că*ă də colonii*, ˈrisənt, ə də militare*. nu că*ă alimentează*ă palestinienii*? ˈbɛnʤəmən ˌnɛtənˈjɑˌhu: că*ă colonii*: tɛl ɑˈviv, ˈhaɪfə, oʊ spən. că*ă riæl ˈɛsteɪ discutat*, coloniilor*. dɑr də nu că*ă. nu. də 4000 də ani*, dɪn luɪ avraam*. vă*ă də ˈdeɪvɪd? də, də ieremia*, isaia*? că*ă?!. ni spən că*ă străine*, kɛr ocupat*, ˈsiˈeɪ ˈkɑŋgoʊ æˈlʤɪriə. nu, nu i. ˈɛsteɪ ˈpɑrteɪ ə evreieşti*. dɑr că*ă noastră*ă istorică*ă, ˈjuˈɛn ɑlt popor*, sɛl ˌpælɪˈstɪniən. să*ă oʊ amândoi*. dɑr să*ă că*ă nu să*ă, că*ă să*ă plecăm*, ˌbiˈeɪ maɪ, să*ă afară*ă, să*ă kɛr să*ă ni distrugă*ă kɛr maɪ rămas*, nu ˈɛsteɪ, ˈɛsteɪ injust*. să*ă fæk peɪs, dɑr nu să*ă mă*ă (s.n*.). oʊ peɪs durabilă*ă, oʊ peɪs kɛr oʊ. peɪs kɛr ˈdʊrə ˈɛsteɪ kɛr oʊ. că*ă problemă*ă nu coloniile*, nu. problemă*ă ˈɛsteɪ dacă*ă există*ă də palestiniană*ă să*ă ˈjuˈɛn stæt graniţe*. că*ă ˈɛsteɪ oʊ problemă*ă existenţială*ă, dacă*ă existenţa*, lɑ existenţă*ţă. ˈɛsteɪ conflictului*. dacă*ă seɪ rezolva*, fi peɪs, simplu*. că*ă zi, că*ă această*ă zi. dɑr də, ˈɛsteɪ că*ă seɪ îîndreaptă*ă altă*ă direcţie*. irakul*, siria*, ˈjɛmən, libia*, ˈgɑzə, dɪn, palestiniană*ă,. toată*ă ˈɛsteɪ spulberată*ă də ˈmɪlətənt, kɛr nu,., ɑr să*ă ˈpɑrteɪ ə, ˈjuˈɛn mɪˈdjivəl, fictiv*, renăscut*. jʊˈroʊpə recucerită*ă (s.n*). eliberată*ă. ˈdiˈeɪ, îînchipuiri*, ˈɛsteɪ oʊ nebunie*. dɑr lɔr, ə ˈaɪsəs, ə ˌhɑˈmɑs, ə ˈɛsteɪ realitate*. ˈɑstə să*ă obţină*ă. nu i ˈjuˈɛn avanpost*, lɔr də ə occidentul*. ˈɑstə, ˈɑstə. ni, jʊˈroʊpə (s.n*). că*ă jʊˈroʊpə, nu ˈɑstə. dɑr? oʊ. gândesc*, dɪn lɔr də vedere*, oʊ dreptate*. ˈbɔləʃ barabas*: dɑr seɪ pɛr că*ă ˈaɪsəs nu fi oprit*. raqqa*, seɪ îînfrânge*. kəm tratată*ă această*ă? ˈbɛnʤəmən ˌnɛtənˈjɑˌhu: că*ă pɑt fi opriţi*. nu invincibili*, dɔr să*ă vină*ă necesară*ă. ˌoʊˈbɑmə də ə oʊ kɛr să*ă. există*ă ˈjuˈɛn mɔd də ə lɔr: să*ă. nu există*ă altă*ă keɪl (s.n*.). ˈbɔləʃ barabas*: terestre*? ˈbɛnʤəmən ˌnɛtənˈjɑˌhu: distruge*. nu i imposibil*. ə oʊ forţă*ţă maɪ puternică*ă ˈaɪsəs, oʊ armată*ă maɪ numeroasă*ă,, dɪn civili*. ˌhɑˈmɑs ə popor*. ˈsiˈeɪ să*ă ni, lɔr rachetele*. də necrezut*., æm să*ă lə də oʊ forţă*ţă maɪ mɛr ˈaɪsəs. că*ă ˈaɪsəs fi oprit*. că*ă ˈaɪsəs. dɑr că*ă ˈɛsteɪ dɔr dɪn două*ă eɪl umanităţii*. nu ˈɛsteɪ sɛl maɪ mɛr. că*ă ˈjuˈɛn maɪ mɛr, də ˌɪˈrɑn (s.n*.). şşiiţii*, də ˌɪˈrɑn, îîmpreună*ă lɔr: ˌhɛzbɑˈlə, ˌɪzˈlɑmɪk dɪn ˈgɑzə, maɪ nou*, dɪn ˈjɛmən. dɑr maɪ mɛr ˈɛsteɪ că*ă dɪn, sunniţi*, ˈaɪsəs ˌɑlˈkaɪdɑ dɪn ˌɪˈrɑn, nucleare*. sɛl maɪ mɛr lumii*, europei*, ə, ˈɛsteɪ dacă*ă dəˈvaɪn oʊ potenţială*ă nucleară*ă. că*ă kɛr də ə ˈbɑmbə, oʊ feɪs. fi. ˈbɔləʃ barabas*: æm că*ă. də ˈpərsɪnəl că*ă ˈɛsteɪ importantă*ă də consideră*ă că*ă importante*? ˈbɛnʤəmən ˌnɛtənˈjɑˌhu: excelente*. dɪn də vedere*, noastre*, dɑr 100 də də kɛr oʊ dɪn. ˈpərsɪnəl proʊˈvini dɪn. arată*ă că*ă. dɑr æm, æm də maɪ ˈɔri æm oʊ legătură*ă puternică*ă. kɛr də oʊ legătură*ă culturală*ă, valori*, istorie*, dɑr oʊ legătură*ă ə două*ă democraţii*, două*ă comună*ă. kɛr ni ameninţă*ţă comună*ă. æm. pləs, pleɪs românească*ă. ˈbɔləʃ barabas*: ˈpərsɪnəl æl? ˈbɛnʤəmən ˌnɛtənˈjɑˌhu:., lɑ alegeri*,. nu seɪ şştie*, kɛr seɪ îîntâmplă*ă lume*. æl, că*ă ˈɛsteɪ îîmpărtăşită*ă də politice*. i ˈɪzriəl că*ă. ˈɛsteɪ importantă*ă. etichete*:
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(cnn) -- capping a day of bombastic assertions and harsh accusations on the airwaves and internet, embattled actor charlie sheen lashed out monday at addiction specialists and sitcom executives while proclaiming himself clean and focused thanks to an awakening."
"i feel more alive, i feel more focused, i feel more energetic," sheen told cnn's piers morgan. "i'm on a quest to claim absolute victory on every front."
appearing in a t-shirt and shirt, the actor gave his first interview since his publicist stan rosenfield resigned earlier monday because he said he was "unable to work effectively as (sheen's) publicist."
while still offering playful and sometimes biting remarks, sheen appeared relatively more subdued than he had in earlier interviews with a host of media outlets. while admitting he might have been too brash at times and done some things he now regrets, he also stressed that he hadn't counted the days since he last did drugs and didn't consider himself an addict -- just someone who lives life to the fullest.
"my motto is to enjoy every moment," he said. "i don't think i would trade any of it because i'm still alive, which is pretty cool."
sheen said he would go back and finish the season of "two and a half men," which cbs halted last week after sheen's call to a radio show. he backed off from an assertion, made earlier monday, that he wanted $3 million per episode rather than the $2 million he had been making -- saying his only demand was that he and the crew get paid for another eight weeks of work.
he said cbs "had a chance to get rid (of him) a couple of times" -- admitting that he got bored at times with his job -- but instead gave him a raise. sheen said he could "sort of understand why" show executives felt they had to intervene after a series of high-profile incidents, while reiterating that he felt his private life was his own business and lashing out at show's co-creator, chuck, after accusing him of failing to live up to his promises.
"i'm on a mission right now: it's an operation to right some terrible wrongs," he said. "that's what fuels me, the truth."
cbs and warner bros. television said in a joint statement last week that "based on the totality of charlie sheen's statements, conduct and condition, cbs and warner bros. television have decided to discontinue production of 'two and a half men' for the remainder of the season." himself hasn't spoken publicly in recent days on the situation.
warner bros. television is owned by time warner inc., the parent company of cnn.
cbs previously placed the sitcom on "production hiatus" after the actor began rehab treatments. the show had been scheduled to resume taping on four more episodes this week. it's not clear if "two and half men" will return for a ninth season.
sheen told abc he plans to sue cbs "tons" for halting the show.
"everybody thinks i should be, like, begging for my job back," he told nbc. "and i'm just going to forewarn them that it's everybody else that's going to be begging me for their job back."
"come wednesday morning, they're going to rename it charlie bros., not warner bros.," he said.
"now they're saying i'm crazy," he told.com. "i'm passionate and i speak the truth, but i'm crazy."
"i'm grandiose," he said. "i have a grandiose life and i'm embracing it. ... it doesn't fit into their model and their model sucks."
he told cnn that he missed a few rehearsals and occasionally showed up "a little bit sideways," but was always present for tapings and said he always relished performing.
"when i step between the lines, that's the time i get to be free," he said.
sheen insisted in all four interviews that he is clean -- and abc revealed the results of a drug test showing that he tested negative for the presence of 10 drugs. he said he passed three drug tests.
the actor told "today show" that he has "tiger blood and adonis dna."
"i'm tired of pretending like i'm not special," sheen said in that interview. "i'm tired of pretending like i'm not bitching a total freaking rock star from mars. and people can't figure me out. they can't process me. i don't expect them to. you can't process me with a normal brain."
during his cnn interview, sheen had special venom for psychologists, addiction specialists and proponents of treatment programs including alcoholics anonymous, or aa -- calling them "losers," who "have been lying to me for two decades." he said that he "healed quickly," and on his own terms.
"that's ridiculous to have a prognosis about someone who you haven't been in the same room as," said sheen, singling out dr. drew pinsky, a regular on mtv and other programs who is about to start his own show on cnn sister network. "you should be ashamed of yourself."
last week, pinsky told that sheen "is clearly manic."
pinsky said sheen is exhibiting traits of advanced addiction, which he said has a grave prognosis without proper treatment.
except for one incident, which sheen dismissed as an accident -- and despite accounts in recent years claiming he'd hit his and a porn actress -- sheen insisted that he has never hit a woman.
he also beat down remarks from his father and fellow actor martin sheen, labeling charlie an "addict" who needs help.
"relax. he's so dramatic," said charlie sheen, adding that he believes his father is out of the country and hasn't called.
he would not talk about recent high-profile incidents during which he allegedly was using drugs and alcohol and became violent, saying only that the people who are talking about the incidents "weren't there" and calling their accounts "the gibberish of fools."
"i can't do that right here, because that means i have to expose people," he told abc when asked about the incidents. he denied being violent, but said he does have a violent side "when it's needed to protect my family, absolutely. and it's not like anything you'll ever see."
he confirmed, however, that warner bros. had sent a memo to security personnel at its studios, instructing that he not be allowed inside.
he said as far as he knows, there are no drugs in his home, but said he will throw them away if he finds them.
told his fans are worried about him, sheen told nbc he is fine, saying, "i've always had a plan. i've executed it perfectly."
he denied any intent behind his earlier comments on, in which he said's real name was chaim levine -- remarks denounced by the league. "i've never had that in my past," he said. "you can look as deep and as far as you want."
asked whether he is angry, he said he is "passionate. i think my passion is misinterpreted as anger."
the network is "trying to take all my money and leave me with no means to support my family." he said he will fight them "with zeal, and with focus and violent hatred."
sheen told nbc that cbs owes him a "big" apology -- "publicly. while licking my feet."
he said he has offers for work and has received support from friends including sean penn, mel gibson, sylvester stallone and colin farrell. during the interview, he introduced the reporter to his two girlfriends, whom he called "goddesses."
but sheen admitted that he hadn't gotten any support, publicly or privately, from his "two and a half men" or crew.
the actor was "very, very intoxicated, also apparently in a lot of pain" when he was taken to a hospital on the morning of january 27, according to a 911 call from a doctor who had just talked to sheen.
porn actress jordan has told media outlets that a two-day party preceded sheen's collapse.
paramedics went to sheen's los angeles home and then took him by ambulance to a hospital, where he spent several hours. while his representative blamed a hernia for sheen's pain, he later announced the actor was undergoing rehab at home. in his interview with on monday, sheen also blamed a hernia problem for the hospitalization.
watch piers morgan live 9 p.m. et. for the latest from piers morgan click here.
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(ˈsiˈɛˈnɛn) ˈkæpɪŋ ə deɪ əv bɑmˈbæstɪk əˈsərʃənz ənd hɑrʃ ˌækjəˈzeɪʃənz ɔn ðə ˈɛrˌweɪvz ənd ˈɪntərˌnɛt, ɛmˈbætəld ˈæktər ˈʧɑrli ʃin læʃt aʊt ˈmənˌdeɪ æt əˈdɪkʃən ˈspɛʃəlɪsts ənd ˈsɪtˌkɑm ɪgˈzɛkjətɪvz waɪl proʊˈkleɪmɪŋ hɪmˈsɛlf klin ənd ˈfoʊkɪst θæŋks tɪ ən əˈweɪkənɪŋ." "aɪ fil mɔr əˈlaɪv, aɪ fil mɔr ˈfoʊkɪst, aɪ fil mɔr ˌɛnərˈʤɛtɪk," ʃin toʊld ˈsiˈɛˈnɛnz pɪrz ˈmɔrgən. "əm ɔn ə kwɛst tɪ kleɪm ˈæbsəˌlut ˈvɪktəri ɔn ˈɛvəri frənt." əˈpɪrɪŋ ɪn ə ˈtiˌsərt ənd ʃərt, ðə ˈæktər geɪv hɪz fərst ˈɪntərvˌju sɪns hɪz ˈpəblɪsɪst stæn ˈroʊzənˌfild rɪˈzaɪnd ˈərliər ˈmənˌdeɪ bɪˈkəz hi sɛd hi wɑz "əˈneɪbəl tɪ wərk ˈifɛktɪvli ɛz (ʃinz) ˈpəblɪsɪst." waɪl stɪl ˈɔfərɪŋ ˈpleɪfəl ənd ˈsəmˌtaɪmz ˈbaɪtɪŋ rɪˈmɑrks, ʃin əˈpɪrd ˈrɛlətɪvli mɔr səbˈdud ðən hi hæd ɪn ˈərliər ˈɪntərvˌjuz wɪθ ə hoʊst əv ˈmidiə ˈaʊˌtlɛts. waɪl ədˈmɪtɪŋ hi maɪt hæv bɪn tu bræʃ æt taɪmz ənd dən səm θɪŋz hi naʊ rɪˈgrɛts, hi ˈɔlsoʊ strɛst ðət hi ˈhædənt ˈkaʊntɪd ðə deɪz sɪns hi læst dɪd drəgz ənd ˈdɪdənt kənˈsɪdər hɪmˈsɛlf ən ˈæˌdɪkt ʤɪst ˈsəmˌwən hu lɪvz laɪf tɪ ðə ˈfʊləst. "maɪ ˈmɑtoʊ ɪz tɪ ˌɛnˈʤɔɪ ˈɛvəri ˈmoʊmənt," hi sɛd. "aɪ doʊnt θɪŋk aɪ wʊd treɪd ˈɛni əv ɪt bɪˈkəz əm stɪl əˈlaɪv, wɪʧ ɪz ˈprɪti kul." ʃin sɛd hi wʊd goʊ bæk ənd ˈfɪnɪʃ ðə ˈsizən əv "tu ənd ə hæf mɛn," wɪʧ ˈsiˌbiˌɛs ˈhɔltɪd læst wik ˈæftər ʃinz kɔl tɪ ə ˈreɪdiˌoʊ ʃoʊ. hi bækt ɔf frəm ən əˈsərʃən, meɪd ˈərliər ˈmənˌdeɪ, ðət hi ˈwɔntɪd 3 ˈmɪljən pər ˈɛpɪˌsoʊd ˈrəðər ðən ðə 2 ˈmɪljən hi hæd bɪn ˈmeɪkɪŋ seɪɪŋ hɪz ˈoʊnli dɪˈmænd wɑz ðət hi ənd ðə kru gɪt peɪd fər əˈnəðər eɪt wiks əv wərk. hi sɛd ˈsiˌbiˌɛs "hæd ə ʧæns tɪ gɪt rɪd (əv ɪm) ə ˈkəpəl əv taɪmz" ədˈmɪtɪŋ ðət hi gɑt bɔrd æt taɪmz wɪθ hɪz ʤɑb bət ˌɪnˈstɛd geɪv ɪm ə reɪz. ʃin sɛd hi kʊd "sɔrt əv ˌəndərˈstænd waɪ" ʃoʊ ɪgˈzɛkjətɪvz fɛlt ðeɪ hæd tɪ ˌɪntərˈvin ˈæftər ə ˈsɪriz əv ˌhaɪˈproʊfaɪl ˈɪnsədənts, waɪl riˈɪtərˌeɪtɪŋ ðət hi fɛlt hɪz ˈpraɪvət laɪf wɑz hɪz oʊn ˈbɪznɪs ənd ˈlæʃɪŋ aʊt æt ʃoʊz co-creator*, ʧək, ˈæftər əˈkjuzɪŋ ɪm əv ˈfeɪlɪŋ tɪ lɪv əp tɪ hɪz ˈprɑməsəz. "əm ɔn ə ˈmɪʃən raɪt naʊ: ɪts ən ˌɑpərˈeɪʃən tɪ raɪt səm ˈtɛrəbəl rɔŋz," hi sɛd. "ðæts wət fjuəlz mi, ðə truθ." ˈsiˌbiˌɛs ənd ˈwɔrnər bros*. ˈtɛləˌvɪʒən sɛd ɪn ə ʤɔɪnt ˈsteɪtmənt læst wik ðət "beɪst ɔn ðə toʊˈtæləti əv ˈʧɑrli ʃinz ˈsteɪtmənts, ˈkɑndəkt ənd kənˈdɪʃən, ˈsiˌbiˌɛs ənd ˈwɔrnər bros*. ˈtɛləˌvɪʒən hæv ˌdɪˈsaɪdɪd tɪ dɪskənˈtɪnju pərˈdəkʃən əv 'tu ənd ə hæf mɛn' fər ðə rɪˈmeɪndər əv ðə ˈsizən." hɪmˈsɛlf ˈhæzənt ˈspoʊkən ˈpəblɪkli ɪn ˈrisənt deɪz ɔn ðə ˌsɪʧuˈeɪʃən. ˈwɔrnər bros*. ˈtɛləˌvɪʒən ɪz oʊnd baɪ taɪm ˈwɔrnər ɪŋk., ðə ˈpɛrənt ˈkəmpəˌni əv ˈsiˈɛˈnɛn. ˈsiˌbiˌɛs ˈpriviəsli pleɪst ðə ˈsɪtˌkɑm ɔn "pərˈdəkʃən haɪˈeɪtəs" ˈæftər ðə ˈæktər bɪˈgæn rihæb ˈtritmənts. ðə ʃoʊ hæd bɪn ˈskɛʤʊld tɪ ˈrɛzəˌmeɪ ˈteɪpɪŋ ɔn fɔr mɔr ˈɛpɪˌsoʊdz ðɪs wik. ɪts nɑt klɪr ɪf "tu ənd hæf mɛn" wɪl rɪˈtərn fər ə naɪnθ ˈsizən. ʃin toʊld ˈeɪˌbiˌsi hi plænz tɪ su ˈsiˌbiˌɛs "tənz" fər ˈhɔltɪŋ ðə ʃoʊ. "ˈɛvriˌbɑdi θɪŋks aɪ ʃʊd bi, laɪk, ˈbɛgɪŋ fər maɪ ʤɑb bæk," hi toʊld ˈɛnˌbiˈsi. "ənd əm ʤɪst goʊɪŋ tɪ fɔrˈwɔrn ðɛm ðət ɪts ˈɛvriˌbɑdi ɛls ðæts goʊɪŋ tɪ bi ˈbɛgɪŋ mi fər ðɛr ʤɑb bæk." "kəm ˈwɛnzˌdeɪ ˈmɔrnɪŋ, ðɛr goʊɪŋ tɪ riˈneɪm ɪt ˈʧɑrli bros*., nɑt ˈwɔrnər bros*.," hi sɛd. "naʊ ðɛr seɪɪŋ əm ˈkreɪzi," hi toʊld tmz.com*. "əm ˈpæʃənət ənd aɪ spik ðə truθ, bət əm ˈkreɪzi." "əm ˌgrændiˈoʊs," hi sɛd. "aɪ hæv ə ˌgrændiˈoʊs laɪf ənd əm ɛmˈbreɪsɪŋ ɪt. ɪt ˈdəzənt fɪt ˈɪntu ðɛr ˈmɑdəl ənd ðɛr ˈmɑdəl səks." hi toʊld ˈsiˈɛˈnɛn ðət hi mɪst ə fju rɪˈhərsəlz ənd ɔˈkeɪʒənəˌli ʃoʊd əp "ə ˈlɪtəl bɪt ˈsaɪdˌweɪz," bət wɑz ˈɔlˌweɪz ˈprɛzənt fər ˈteɪpɪŋz ənd sɛd hi ˈɔlˌweɪz ˈrɛlɪʃt pərˈfɔrmɪŋ. "wɪn aɪ stɛp bɪtˈwin ðə laɪnz, ðæts ðə taɪm aɪ gɪt tɪ bi fri," hi sɛd. ʃin ˌɪnˈsɪstɪd ɪn ɔl fɔr ˈɪntərvˌjuz ðət hi ɪz klin ənd ˈeɪˌbiˌsi rɪˈvild ðə rɪˈzəlts əv ə drəg tɛst ʃoʊɪŋ ðət hi ˈtɛstɪd ˈnɛgətɪv fər ðə ˈprɛzəns əv 10 drəgz. hi sɛd hi pæst θri drəg tɛsts. ðə ˈæktər toʊld "təˈdeɪ ʃoʊ" ðət hi həz "ˈtaɪgər bləd ənd əˈdɑnəs ˈdiˌɛˈneɪ." "əm taɪərd əv priˈtɛndɪŋ laɪk əm nɑt ˈspɛʃəl," ʃin sɛd ɪn ðət ˈɪntərvˌju. "əm taɪərd əv priˈtɛndɪŋ laɪk əm nɑt ˈbɪʧɪŋ ə ˈtoʊtəl ˈfrikɪŋ rɑk stɑr frəm mɑrz. ənd ˈpipəl kænt ˈfɪgjər mi aʊt. ðeɪ kænt ˈprɔˌsɛs mi. aɪ doʊnt ɪkˈspɛkt ðɛm tɪ. ju kænt ˈprɔˌsɛs mi wɪθ ə ˈnɔrməl breɪn." ˈdʊrɪŋ hɪz ˈsiˈɛˈnɛn ˈɪntərvˌju, ʃin hæd ˈspɛʃəl ˈvɛnəm fər saɪˈkɑləʤəsts, əˈdɪkʃən ˈspɛʃəlɪsts ənd prəˈpoʊnənts əv ˈtritmənt ˈproʊˌgræmz ˌɪnˈkludɪŋ ˌælkəˈhɑlɪks əˈnɑnəməs, ər eɪeɪ ˈkɔlɪŋ ðɛm "ˈluzərz," hu "hæv bɪn laɪɪŋ tɪ mi fər tu ˈdɛkeɪdz." hi sɛd ðət hi "hild kˈwɪkli," ənd ɔn hɪz oʊn tərmz. "ðæts rɪˈdɪkjələs tɪ hæv ə prɑgˈnoʊsəs əˈbaʊt ˈsəmˌwən hu ju ˈhævənt bɪn ɪn ðə seɪm rum ɛz," sɛd ʃin, ˈsɪŋgəlɪŋ aʊt ˈdɑktər. dru ˈpɪnski, ə ˈrɛgjələr ɔn ˈɛmˈtiˈvi ənd ˈəðər ˈproʊˌgræmz hu ɪz əˈbaʊt tɪ stɑrt hɪz oʊn ʃoʊ ɔn ˈsiˈɛˈnɛn ˈsɪstər ˈnɛtˌwərk. "ju ʃʊd bi əˈʃeɪmd əv ˈjɔrsɛlf." læst wik, ˈpɪnski toʊld ðət ʃin "ɪz ˈklɪrli ˈmænɪk." ˈpɪnski sɛd ʃin ɪz ɪgˈzɪbɪtɪŋ treɪts əv ədˈvænst əˈdɪkʃən, wɪʧ hi sɛd həz ə greɪv prɑgˈnoʊsəs wɪˈθaʊt ˈprɑpər ˈtritmənt. ɪkˈsɛpt fər wən ˈɪnsədənt, wɪʧ ʃin dɪsˈmɪst ɛz ən ˈæksədənt ənd dɪˈspaɪt əˈkaʊnts ɪn ˈrisənt jɪrz ˈkleɪmɪŋ hid hɪt hɪz ənd ə pɔrn ˈæktrəs ʃin ˌɪnˈsɪstɪd ðət hi həz ˈnɛvər hɪt ə ˈwʊmən. hi ˈɔlsoʊ bit daʊn rɪˈmɑrks frəm hɪz ˈfɑðər ənd ˈfɛloʊ ˈæktər ˈmɑrtɪn ʃin, ˈleɪbəlɪŋ ˈʧɑrli ən "ˈæˌdɪkt" hu nidz hɛlp. "rɪˈlæks. hiz soʊ drəˈmætɪk," sɛd ˈʧɑrli ʃin, ˈædɪŋ ðət hi bɪˈlivz hɪz ˈfɑðər ɪz aʊt əv ðə ˈkəntri ənd ˈhæzənt kɔld. hi wʊd nɑt tɔk əˈbaʊt ˈrisənt ˌhaɪˈproʊfaɪl ˈɪnsədənts ˈdʊrɪŋ wɪʧ hi əˈlɛʤədli wɑz ˈjuzɪŋ drəgz ənd ˈælkəˌhɑl ənd bɪˈkeɪm ˈvaɪələnt, seɪɪŋ ˈoʊnli ðət ðə ˈpipəl hu ər ˈtɔkɪŋ əˈbaʊt ðə ˈɪnsədənts "wərənt ðɛr" ənd ˈkɔlɪŋ ðɛr əˈkaʊnts "ðə ˈgɪbərɪʃ əv fulz." "aɪ kænt du ðət raɪt hir, bɪˈkəz ðət minz aɪ hæv tɪ ɪkˈspoʊz ˈpipəl," hi toʊld ˈeɪˌbiˌsi wɪn æst əˈbaʊt ðə ˈɪnsədənts. hi dɪˈnaɪd biɪŋ ˈvaɪələnt, bət sɛd hi dɪz hæv ə ˈvaɪələnt saɪd "wɪn ɪts ˈnidɪd tɪ prəˈtɛkt maɪ ˈfæməli, ˌæbsəˈlutli. ənd ɪts nɑt laɪk ˈɛniˌθɪŋ jul ˈɛvər si." hi kənˈfərmd, ˌhaʊˈɛvər, ðət ˈwɔrnər bros*. hæd sɛnt ə ˈmɛˌmoʊ tɪ sɪˈkjʊrəti ˌpərsəˈnɛl æt ɪts ˈstudiˌoʊz, ˌɪnˈstrəktɪŋ ðət hi nɑt bi əˈlaʊd ˌɪnˈsaɪd. hi sɛd ɛz fɑr ɛz hi noʊz, ðɛr ər noʊ drəgz ɪn hɪz hoʊm, bət sɛd hi wɪl θroʊ ðɛm əˈweɪ ɪf hi faɪndz ðɛm. toʊld hɪz fænz ər ˈwərid əˈbaʊt ɪm, ʃin toʊld ˈɛnˌbiˈsi hi ɪz faɪn, seɪɪŋ, "aɪv ˈɔlˌweɪz hæd ə plæn. aɪv ˈɛksəˌkjutɪd ɪt ˈpərfəktli." hi dɪˈnaɪd ˈɛni ˌɪnˈtɛnt bɪˈhaɪnd hɪz ˈərliər ˈkɑmɛnts ɔn, ɪn wɪʧ hi sɛd ril neɪm wɑz haɪɪm lɛˈvin rɪˈmɑrks dɪˈnaʊnst baɪ ðə lig. "aɪv ˈnɛvər hæd ðət ɪn maɪ pæst," hi sɛd. "ju kən lʊk ɛz dip ənd ɛz fɑr ɛz ju wɔnt." æst ˈwɛðər hi ɪz ˈæŋgri, hi sɛd hi ɪz "ˈpæʃənət. aɪ θɪŋk maɪ ˈpæʃən ɪz mɪsɪnˈtərprətɪd ɛz ˈæŋgər." ðə ˈnɛtˌwərk ɪz "traɪɪŋ tɪ teɪk ɔl maɪ ˈməni ənd liv mi wɪθ noʊ minz tɪ səˈpɔrt maɪ ˈfæməli." hi sɛd hi wɪl faɪt ðɛm "wɪθ zil, ənd wɪθ ˈfoʊkɪs ənd ˈvaɪələnt ˈheɪtrəd." ʃin toʊld ˈɛnˌbiˈsi ðət ˈsiˌbiˌɛs oʊz ɪm ə "bɪg" əˈpɑləˌʤi "ˈpəblɪkli. waɪl ˈlɪkɪŋ maɪ fit." hi sɛd hi həz ˈɔfərz fər wərk ənd həz rɪˈsivd səˈpɔrt frəm frɛndz ˌɪnˈkludɪŋ ʃɔn pɛn, mɛl ˈgɪbsən, sɪlˈvɛstər stəˈloʊn ənd ˈkoʊlɪn ˈfɛrɪl. ˈdʊrɪŋ ðə ˈɪntərvˌju, hi ˌɪntrəˈdust ðə rɪˈpɔrtər tɪ hɪz tu ˈgərlˌfrɛndz, hum hi kɔld "ˈgɑdəsɪz." bət ʃin ədˈmɪtəd ðət hi ˈhædənt ˈgɔtən ˈɛni səˈpɔrt, ˈpəblɪkli ər ˈpraɪvətli, frəm hɪz "tu ənd ə hæf mɛn" ər kru. ðə ˈæktər wɑz "ˈvɛri, ˈvɛri ˌɪnˈtɑksɪˌkeɪtɪd, ˈɔlsoʊ əˈpɛrəntli ɪn ə lɔt əv peɪn" wɪn hi wɑz ˈteɪkən tɪ ə ˈhɑˌspɪtəl ɔn ðə ˈmɔrnɪŋ əv ˈʤænjuˌɛri 27 əˈkɔrdɪŋ tɪ ə 911 kɔl frəm ə ˈdɔktər hu hæd ʤɪst tɔkt tɪ ʃin. pɔrn ˈæktrəs ˈʤɔrdən həz toʊld ˈmidiə ˈaʊˌtlɛts ðət ə ˈtuˌdeɪ ˈpɑrti prɪˈsidɪd ʃinz kəˈlæps. ˌpɛrəˈmɛdɪks wɛnt tɪ ʃinz lɔs ˈænʤəlɪs hoʊm ənd ðɛn tʊk ɪm baɪ ˈæmbjələns tɪ ə ˈhɑˌspɪtəl, wɛr hi spɛnt ˈsɛvərəl aʊərz. waɪl hɪz ˌrɛprɪˈzɛnətɪv bleɪmd ə ˈhərniə fər ʃinz peɪn, hi ˈleɪtər əˈnaʊnst ðə ˈæktər wɑz ˌəndərˈgoʊɪŋ rihæb æt hoʊm. ɪn hɪz ˈɪntərvˌju wɪθ ɔn ˈmənˌdeɪ, ʃin ˈɔlsoʊ bleɪmd ə ˈhərniə ˈprɑbləm fər ðə ˌhɑspɪtələˈzeɪʃən. wɔʧ pɪrz ˈmɔrgən lɪv 9 p.m*. ɛt. fər ðə ˈleɪtəst frəm pɪrz ˈmɔrgən klɪk hir.
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australian dollar could be poised for significant drop
posted
i'm constantly looking at financial markets commentary. i may be a little biased in saying this, but i've noticed recently that writing about every movement in the aussie dollar, and predicting where it may move, seems to be a national pastime.
i can see where the interest is coming from a significant movement one way or the other in the currency can affect your plans.
it can make travelling more or less expensive, it can turn a business profit into a loss and a weak currency can cushion the blow of collapsing economy.
so where to then for the australian dollar?
i'm going to outline where you can expect the dollar to move over the next six months. hopefully it'll give you a better idea of how the currency is placed rather than relying on day-to-day commentary that seems to regularly contradict itself.
i'm also going to chicken out with my forecast and give you two likely scenarios, rather than one.
and i'm not going to tell you what i think until the end of the column. so you'll have to read to the end, or skip straight to it!
aud as an asset
the australian dollar is just like any other asset. it holds value, and that value can be analysed.
there are a few strong forces holding the australian dollar in the range it's found itself in now, and a few minor forces pulling it here and there.
so let's break it down.
interest rates
by far and away the biggest factor affecting the australian dollar, against the us dollar, is the interest rate differential between the two countries.
it's for obvious reasons too. traders and investors chase "yield" or a "return" on investment.
an interest rate is a return on money held in deposit. so if you're able to borrow money in a low interest rate environment, and invest it in a higher interest rate environment, of course you would especially if you don't even need to borrow the money to invest or deposit it.
so long as australia's official cash rate stays materially higher than the us fed funds rate (currently a gap of around 1 per cent), australian deposits will look more attractive, and foreign investors will buy australian dollars in order to take advantage of that "yield differential".
that's why we all go so bananas over an interest rate decision or anything that comes out of federal reserve chairwoman janet mouth ... because it ultimately has a direct effect on the australian dollar.
economy
economic data plays a big role in moving the australian dollar too. much of it though is indirect meaning that better economic news points to the likelihood of a rate rise in the near term, while poor economic news points to a rate cut.
for instance last thursday, despite official figures showing a fall in australia's unemployment rate, the number of full-time jobs actually fell by over in the month of september. that was the biggest monthly decline in more than five years.
it was seen as a weak jobs report and the australian dollar fell both in asian trade, and then again in european and north american trade too.
another crucial data point is inflation or the consumer price index (cpi).
people's eyes glaze over with this one. i'm not sure why because i sure as heck would like to know if the cost of living is going up might prompt me to ask for a pay rise!
central banks around the world, including australia's reserve bank, actually target a level of inflation. in the's case it's for a of between 2 and 3 per cent. that's considered to be a "goldilocks" range for inflation, which keeps the economy humming along nicely.
this week, the official quarterly inflation figures were subdued, but probably not enough to prompt the reserve bank to cut interest rates on melbourne cup day.
interestingly though, a big contributor to the increase in prices was a near 20 per cent increase in fruit prices caused by bad weather. that most likely won't be repeated.
you can't argue with the numbers though, so based on this latest data, you'd likely conclude that the reserve bank will stay on the sidelines at its november meeting. naturally, this have given the aussie dollar a nice little recently.
commodities prices
the australian dollar is a commodities currency. that means the dollar generally appreciates when commodities prices (such as oil, iron ore and coal) rise in value.
australia is a country, so naturally as commodities prices rise and fall, so does australia's overall 'worth', and the currency responds to that.
recently we've seen strong rises in oil, iron ore and particularly coal.
oil rose off the back of the possibility of opec cutting production back, and the pick-up in the price of iron ore and coking coal is likely related to the in steel production from china.
china is meant to be cutting back on steel production as part of its reform agenda to transition to a more economy but that ain't happening, obviously.
the world's second largest economy is also risking a rather large commodities crunch in the medium term (china has a debt to ratio of around 250 per cent).
geopolitical factors
of course overseas politics plays a part in the value of the dollar too.
to name just a few risk events: brexit, the us election, developments in the south china sea, and the central bank policy decisions of the european central bank, the bank of england and the bank of japan; they all influence the dollar.
risk appetite
what is "risk appetite" you ask? put simply, it's how hungry investors are to take a gamble on something. if the economy and the markets are buoyant, people tend to jump in the market to make a quick buck. the aftermath of any financial crisis is at the opposite end of the spectrum.
generally speaking, the 'happier' investors are around the world, the more likely it is that the australian dollar will rise in value, and the opposite is true.
forecast
so wrapping it all up, right now, investors are 'happy'.
the australian economy is humming along, the us federal reserve hasn't yet raised interest rates again, china has an annual growth rate above per cent, commodities prices are rallying and, geopolitically, we're not on tenterhooks.
that might help to explain why the australian dollar has found itself in quite a solid 'technical' range between and us cents.
that's a relatively high exchange rate given the headwinds facing the australian economy, but the economy is in fact holding up.
or as a contact of mine at westpac, sean callow, recently put it, "the speculative market seems to have already priced in fair bit of good news for aud."
however, and that's a big "however", all the points mentioned above could turn around very quickly.
china's currently embarking on an unsustainable debt binge, the us will need to raise rates at some point and commodities prices (along with risk appetite) will likely turn down on the back of all that. some of the major growth forces driving the australian economy too (property bubble), are also precarious at best.
for me, the risks to the australian dollar are to the downside.
it may well get as high as 78 or even 79 us cents in the short term, but i suspect it will be between 70 and 75 us cents early next year, and possibly even lower by.
longer-term, if the australian economy hits the skids as one or two economists are predicting the dollar could, and should, fall into the to cushion the slump.
disclaimer and disclosure: this is not financial advice. the writer currently has a short position in the australian dollar, meaning that he may profit if it declines.
topics: currency, money-and-monetary-policy, economic-trends, consumer-finance, australia
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ɔˈstreɪljən ˈdɔlər kʊd bi pɔɪzd fər sɪgˈnɪfɪkənt drɔp ˈpoʊstɪd əm ˈkɑnstəntli ˈlʊkɪŋ æt ˌfaɪˈnænʃəl ˈmɑrkɪts ˈkɑmənˌtɛri. aɪ meɪ bi ə ˈlɪtəl baɪəst ɪn seɪɪŋ ðɪs, bət aɪv ˈnoʊtɪst ˈrisəntli ðət ˈraɪtɪŋ əˈbaʊt ˈɛvəri ˈmuvmənt ɪn ðə ˈɔsi ˈdɔlər, ənd prɪˈdɪktɪŋ wɛr ɪt meɪ muv, simz tɪ bi ə ˈnæʃənəl ˈpæˌstaɪm. aɪ kən si wɛr ðə ˈɪntəˌrɛst ɪz ˈkəmɪŋ frəm ə sɪgˈnɪfɪkənt ˈmuvmənt wən weɪ ər ðə ˈəðər ɪn ðə ˈkərənsi kən əˈfɛkt jʊr plænz. ɪt kən meɪk ˈtrævəlɪŋ mɔr ər lɛs ɪkˈspɛnsɪv, ɪt kən tərn ə ˈbɪznɪs ˈprɑfɪt ˈɪntu ə lɔs ənd ə wik ˈkərənsi kən ˈkʊʃən ðə bloʊ əv kəˈlæpsɪŋ ɪˈkɑnəmi. soʊ wɛr tɪ ðɛn fər ðə ɔˈstreɪljən ˈdɔlər? əm goʊɪŋ tɪ ˈaʊˌtlaɪn wɛr ju kən ɪkˈspɛkt ðə ˈdɔlər tɪ muv ˈoʊvər ðə nɛkst sɪks mənθs. ˈhoʊpfəli ˈɪtəl gɪv ju ə ˈbɛtər aɪˈdiə əv haʊ ðə ˈkərənsi ɪz pleɪst ˈrəðər ðən riˈlaɪɪŋ ɔn ˈdeɪtuˌdeɪ ˈkɑmənˌtɛri ðət simz tɪ ˈrɛgjələrli ˌkɑntrəˈdɪkt ˌɪtˈsɛlf. əm ˈɔlsoʊ goʊɪŋ tɪ ˈʧɪkən aʊt wɪθ maɪ ˈfɔrˌkæst ənd gɪv ju tu ˈlaɪkli sɪˈnɛrioʊz, ˈrəðər ðən wən. ənd əm nɑt goʊɪŋ tɪ tɛl ju wət aɪ θɪŋk ənˈtɪl ðə ɛnd əv ðə ˈkɑləm. soʊ jul hæv tɪ rɛd tɪ ðə ɛnd, ər skɪp streɪt tɪ ɪt! ɔd ɛz ən ˈæˌsɛt ðə ɔˈstreɪljən ˈdɔlər ɪz ʤɪst laɪk ˈɛni ˈəðər ˈæˌsɛt. ɪt hoʊldz ˈvælju, ənd ðət ˈvælju kən bi analysed*. ðɛr ər ə fju strɔŋ ˈfɔrsɪz ˈhoʊldɪŋ ðə ɔˈstreɪljən ˈdɔlər ɪn ðə reɪnʤ ɪts faʊnd ˌɪtˈsɛlf ɪn naʊ, ənd ə fju ˈmaɪnər ˈfɔrsɪz ˈpʊlɪŋ ɪt hir ənd ðɛr. soʊ lɛts breɪk ɪt daʊn. ˈɪntəˌrɛst reɪts baɪ fɑr ənd əˈweɪ ðə ˈbɪgəst ˈfæktər əˈfɛktɪŋ ðə ɔˈstreɪljən ˈdɔlər, əˈgɛnst ðə ˈjuˈɛs ˈdɔlər, ɪz ðə ˈɪntəˌrɛst reɪt ˌdɪfərˈɛnʃəl bɪtˈwin ðə tu ˈkəntriz. ɪts fər ˈɑbviəs ˈrizənz tu. ˈtreɪdərz ənd ˌɪnˈvɛstərz ʧeɪs "jild" ər ə "rɪˈtərn" ɔn ˌɪnˈvɛstmənt. ən ˈɪntəˌrɛst reɪt ɪz ə rɪˈtərn ɔn ˈməni hɛld ɪn dɪˈpɑzət. soʊ ɪf jʊr ˈeɪbəl tɪ ˈbɑˌroʊ ˈməni ɪn ə loʊ ˈɪntəˌrɛst reɪt ɪnˈvaɪrənmənt, ənd ˌɪnˈvɛst ɪt ɪn ə haɪər ˈɪntəˌrɛst reɪt ɪnˈvaɪrənmənt, əv kɔrs ju wʊd əˈspɛʃəli ɪf ju doʊnt ˈivɪn nid tɪ ˈbɑˌroʊ ðə ˈməni tɪ ˌɪnˈvɛst ər dɪˈpɑzət ɪt. soʊ lɔŋ ɛz ɔˈstreɪljəz əˈfɪʃəl kæʃ reɪt steɪz məˈtɪriəli haɪər ðən ðə ˈjuˈɛs fɛd fəndz reɪt (ˈkərəntli ə gæp əv əraʊnd 1 pər sɛnt), ɔˈstreɪljən dɪˈpɑzəts wɪl lʊk mɔr əˈtræktɪv, ənd ˈfɔrən ˌɪnˈvɛstərz wɪl baɪ ɔˈstreɪljən ˈdɔlərz ɪn ˈɔrdər tɪ teɪk ædˈvæntɪʤ əv ðət "jild ˌdɪfərˈɛnʃəl". ðæts waɪ wi ɔl goʊ soʊ bəˈnænəz ˈoʊvər ən ˈɪntəˌrɛst reɪt dɪˈsɪʒən ər ˈɛniˌθɪŋ ðət kəmz aʊt əv ˈfɛdərəl rɪˈzərv ˈʧɛrˌwʊmən ˈʤænɪt maʊθ bɪˈkəz ɪt ˈəltəmətli həz ə dɪˈrɛkt ˈifɛkt ɔn ðə ɔˈstreɪljən ˈdɔlər. ɪˈkɑnəmi ˌɛkəˈnɑmɪk ˈdætə pleɪz ə bɪg roʊl ɪn ˈmuvɪŋ ðə ɔˈstreɪljən ˈdɔlər tu. məʧ əv ɪt ðoʊ ɪz ˌɪndərˈɛkt ˈminɪŋ ðət ˈbɛtər ˌɛkəˈnɑmɪk nuz pɔɪnts tɪ ðə ˈlaɪkliˌhʊd əv ə reɪt raɪz ɪn ðə nɪr tərm, waɪl pur ˌɛkəˈnɑmɪk nuz pɔɪnts tɪ ə reɪt kət. fər ˈɪnstəns læst ˈθərzˌdeɪ, dɪˈspaɪt əˈfɪʃəl ˈfɪgjərz ʃoʊɪŋ ə fɔl ɪn ɔˈstreɪljəz ˌənɪmˈplɔɪmənt reɪt, ðə ˈnəmbər əv ˈfʊlˌtaɪm ʤɑbz ˈæˌkʧuəli fɛl baɪ ˈoʊvər ɪn ðə mənθ əv sɛpˈtɛmbər. ðət wɑz ðə ˈbɪgəst ˈmənθli dɪˈklaɪn ɪn mɔr ðən faɪv jɪrz. ɪt wɑz sin ɛz ə wik ʤɑbz rɪˈpɔrt ənd ðə ɔˈstreɪljən ˈdɔlər fɛl boʊθ ɪn ˈeɪʒən treɪd, ənd ðɛn əˈgɛn ɪn ˌjʊrəˈpiən ənd nɔrθ əˈmɛrɪkən treɪd tu. əˈnəðər ˈkruʃəl ˈdætə pɔɪnt ɪz ˌɪnˈfleɪʃən ər ðə kənˈsumər praɪs ˈɪndɛks (cpi*). ˈpipəlz aɪz gleɪz ˈoʊvər wɪθ ðɪs wən. əm nɑt ʃʊr waɪ bɪˈkəz aɪ ʃʊr ɛz hɛk wʊd laɪk tɪ noʊ ɪf ðə kɔst əv ˈlɪvɪŋ ɪz goʊɪŋ əp maɪt prɑmpt mi tɪ æsk fər ə peɪ raɪz! ˈsɛntrəl bæŋks əraʊnd ðə wərld, ˌɪnˈkludɪŋ ɔˈstreɪljəz rɪˈzərv bæŋk, ˈæˌkʧuəli ˈtərgət ə ˈlɛvəl əv ˌɪnˈfleɪʃən. ɪn ðə keɪs ɪts fər ə əv bɪtˈwin 2 ənd 3 pər sɛnt. ðæts kənˈsɪdərd tɪ bi ə "ˈgoʊldiˌlɔks" reɪnʤ fər ˌɪnˈfleɪʃən, wɪʧ kips ðə ɪˈkɑnəmi ˈhəmɪŋ əˈlɔŋ ˈnaɪsli. ðɪs wik, ðə əˈfɪʃəl kˈwɔrtərli ˌɪnˈfleɪʃən ˈfɪgjərz wər səbˈdud, bət ˈprɑbəˌbli nɑt ɪˈnəf tɪ prɑmpt ðə rɪˈzərv bæŋk tɪ kət ˈɪntəˌrɛst reɪts ɔn ˈmɛlbərn kəp deɪ. ˈɪntəˌrɛstɪŋli ðoʊ, ə bɪg kənˈtrɪbjətər tɪ ðə ˌɪnˈkris ɪn ˈpraɪsɪz wɑz ə nɪr 20 pər sɛnt ˌɪnˈkris ɪn frut ˈpraɪsɪz kɔzd baɪ bæd ˈwɛðər. ðət moʊst ˈlaɪkli woʊnt bi rɪˈpitɪd. ju kænt ˈɑrgju wɪθ ðə ˈnəmbərz ðoʊ, soʊ beɪst ɔn ðɪs ˈleɪtəst ˈdætə, jʊd ˈlaɪkli kənˈklud ðət ðə rɪˈzərv bæŋk wɪl steɪ ɔn ðə ˈsaɪˌdlaɪnz æt ɪts noʊˈvɛmbər ˈmitɪŋ. ˈnæʧərəli, ðɪs hæv ˈgɪvɪn ðə ˈɔsi ˈdɔlər ə nis ˈlɪtəl ˈrisəntli. kəˈmɑdətiz ˈpraɪsɪz ðə ɔˈstreɪljən ˈdɔlər ɪz ə kəˈmɑdətiz ˈkərənsi. ðət minz ðə ˈdɔlər ˈʤɛnərəli əˈpriʃiˌeɪts wɪn kəˈmɑdətiz ˈpraɪsɪz (səʧ ɛz ɔɪl, aɪərn ɔr ənd koʊl) raɪz ɪn ˈvælju. ɔˈstreɪljə ɪz ə ˈkəntri, soʊ ˈnæʧərəli ɛz kəˈmɑdətiz ˈpraɪsɪz raɪz ənd fɔl, soʊ dɪz ɔˈstreɪljəz ˈoʊvərˌɔl 'wərθ', ənd ðə ˈkərənsi rɪˈspɑndz tɪ ðət. ˈrisəntli wiv sin strɔŋ ˈraɪzɪz ɪn ɔɪl, aɪərn ɔr ənd ˌpɑrˈtɪkjələrli koʊl. ɔɪl roʊz ɔf ðə bæk əv ðə ˌpɑsəˈbɪləˌti əv ˈoʊˌpɛk ˈkətɪŋ pərˈdəkʃən bæk, ənd ðə ˈpɪˌkəp ɪn ðə praɪs əv aɪərn ɔr ənd ˈkoʊkɪŋ koʊl ɪz ˈlaɪkli rɪˈleɪtɪd tɪ ðə ɪn stil pərˈdəkʃən frəm ˈʧaɪnə. ˈʧaɪnə ɪz mɛnt tɪ bi ˈkətɪŋ bæk ɔn stil pərˈdəkʃən ɛz pɑrt əv ɪts rɪˈfɔrm əˈʤɛndə tɪ trænˈzɪʃən tɪ ə mɔr ɪˈkɑnəmi bət ðət eɪnt ˈhæpənɪŋ, ˈɑbviəsli. ðə wərldz ˈsɛkənd ˈlɑrʤəst ɪˈkɑnəmi ɪz ˈɔlsoʊ ˈrɪskɪŋ ə ˈrəðər lɑrʤ kəˈmɑdətiz krənʧ ɪn ðə ˈmidiəm tərm (ˈʧaɪnə həz ə dɛt tɪ ˈreɪʃiˌoʊ əv əraʊnd 250 pər sɛnt). ˌʤioʊpəˈlɪtɪkəl ˈfæktərz əv kɔrs ˈoʊvərˈsiz ˈpɑləˌtɪks pleɪz ə pɑrt ɪn ðə ˈvælju əv ðə ˈdɔlər tu. tɪ neɪm ʤɪst ə fju rɪsk ɪˈvɛnts: brexit*, ðə ˈjuˈɛs ɪˈlɛkʃən, dɪˈvɛləpmənts ɪn ðə saʊθ ˈʧaɪnə si, ənd ðə ˈsɛntrəl bæŋk ˈpɑləsi dɪˈsɪʒənz əv ðə ˌjʊrəˈpiən ˈsɛntrəl bæŋk, ðə bæŋk əv ˈɪŋglənd ənd ðə bæŋk əv ʤəˈpæn; ðeɪ ɔl ˈɪnfluəns ðə ˈdɔlər. rɪsk ˈæpəˌtaɪt wət ɪz "rɪsk ˈæpəˌtaɪt" ju æsk? pʊt ˈsɪmpli, ɪts haʊ ˈhəŋgri ˌɪnˈvɛstərz ər tɪ teɪk ə ˈgæmbəl ɔn ˈsəmθɪŋ. ɪf ðə ɪˈkɑnəmi ənd ðə ˈmɑrkɪts ər bɔɪənt, ˈpipəl tɛnd tɪ ʤəmp ɪn ðə ˈmɑrkɪt tɪ meɪk ə kwɪk bək. ðə ˈæftərˌmæθ əv ˈɛni ˌfaɪˈnænʃəl ˈkraɪsəs ɪz æt ðə ˈɑpəzɪt ɛnd əv ðə ˈspɛktrəm. ˈʤɛnərəli ˈspikɪŋ, ðə 'ˈhæpiər' ˌɪnˈvɛstərz ər əraʊnd ðə wərld, ðə mɔr ˈlaɪkli ɪt ɪz ðət ðə ɔˈstreɪljən ˈdɔlər wɪl raɪz ɪn ˈvælju, ənd ðə ˈɑpəzɪt ɪz tru. ˈfɔrˌkæst soʊ ˈræpɪŋ ɪt ɔl əp, raɪt naʊ, ˌɪnˈvɛstərz ər 'ˈhæpi'. ðə ɔˈstreɪljən ɪˈkɑnəmi ɪz ˈhəmɪŋ əˈlɔŋ, ðə ˈjuˈɛs ˈfɛdərəl rɪˈzərv ˈhæzənt jɛt reɪzd ˈɪntəˌrɛst reɪts əˈgɛn, ˈʧaɪnə həz ən ˈænjuəl groʊθ reɪt əˈbəv pər sɛnt, kəˈmɑdətiz ˈpraɪsɪz ər ˈræliɪŋ ənd, ˌʤioʊpəˈlɪtɪkli, wɪr nɑt ɔn tenterhooks*. ðət maɪt hɛlp tɪ ɪkˈspleɪn waɪ ðə ɔˈstreɪljən ˈdɔlər həz faʊnd ˌɪtˈsɛlf ɪn kwaɪt ə ˈsɑləd 'ˈtɛknɪkəl' reɪnʤ bɪtˈwin ənd ˈjuˈɛs sɛnts. ðæts ə ˈrɛlətɪvli haɪ ɪksˈʧeɪnʤ reɪt ˈgɪvɪn ðə ˈhɛdˌwɪndz ˈfeɪsɪŋ ðə ɔˈstreɪljən ɪˈkɑnəmi, bət ðə ɪˈkɑnəmi ɪz ɪn fækt ˈhoʊldɪŋ əp. ər ɛz ə ˈkɑnˌtækt əv maɪn æt ˈwɛstˌpæk, ʃɔn ˈkæloʊ, ˈrisəntli pʊt ɪt, "ðə ˈspɛkjələtɪv ˈmɑrkɪt simz tɪ hæv ɔˈrɛdi praɪst ɪn fɛr bɪt əv gʊd nuz fər ɔd." ˌhaʊˈɛvər, ənd ðæts ə bɪg "ˌhaʊˈɛvər", ɔl ðə pɔɪnts ˈmɛnʃənd əˈbəv kʊd tərn əraʊnd ˈvɛri kˈwɪkli. ˈʧaɪnəz ˈkərəntli ɛmˈbɑrkɪŋ ɔn ən ˌənsəˈsteɪnəbəl dɛt bɪnʤ, ðə ˈjuˈɛs wɪl nid tɪ reɪz reɪts æt səm pɔɪnt ənd kəˈmɑdətiz ˈpraɪsɪz (əˈlɔŋ wɪθ rɪsk ˈæpəˌtaɪt) wɪl ˈlaɪkli tərn daʊn ɔn ðə bæk əv ɔl ðət. səm əv ðə ˈmeɪʤər groʊθ ˈfɔrsɪz ˈdraɪvɪŋ ðə ɔˈstreɪljən ɪˈkɑnəmi tu (ˈprɑpərti ˈbəbəl), ər ˈɔlsoʊ priˈkɛriəs æt bɛst. fər mi, ðə rɪsks tɪ ðə ɔˈstreɪljən ˈdɔlər ər tɪ ðə ˈdaʊnˌsaɪd. ɪt meɪ wɛl gɪt ɛz haɪ ɛz 78 ər ˈivɪn 79 ˈjuˈɛs sɛnts ɪn ðə ʃɔrt tərm, bət aɪ ˈsəˌspɛkt ɪt wɪl bi bɪtˈwin 70 ənd 75 ˈjuˈɛs sɛnts ˈərli nɛkst jɪr, ənd ˈpɑsəbli ˈivɪn loʊər baɪ longer-term*, ɪf ðə ɔˈstreɪljən ɪˈkɑnəmi hɪts ðə skɪdz ɛz wən ər tu ɪˈkɑnəmɪsts ər prɪˈdɪktɪŋ ðə ˈdɔlər kʊd, ənd ʃʊd, fɔl ˈɪntu ðə tɪ ˈkʊʃən ðə sləmp. dɪˈskleɪmər ənd dɪˈskloʊʒər: ðɪs ɪz nɑt ˌfaɪˈnænʃəl ədˈvaɪs. ðə ˈraɪtər ˈkərəntli həz ə ʃɔrt pəˈzɪʃən ɪn ðə ɔˈstreɪljən ˈdɔlər, ˈminɪŋ ðət hi meɪ ˈprɑfɪt ɪf ɪt dɪˈklaɪnz. ˈtɑpɪks: ˈkərənsi, money-and-monetary-policy*, economic-trends*, consumer-finance*, ɔˈstreɪljə
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bengaluru: board did not record the proceedings of a 12 october 2015 meeting where it discussed paying in severance pay to former chief financial officer rajiv bansal, said an executive familiar with the development.
the omission again raises doubts on decision-making by the board of second largest services firm, which has just emerged from a tussle with founders led by n.r. murthy over corporate governance issues, including the payment to bansal and a 55% increase in ceo pay to $11 million a year in 2016.
infosys’s board only put this payment on record or “minuted" the discussion when it met on 14 january 2016, when the company announced its fiscal earnings, the executive cited above said on condition of anonymity.
infosys row: where it stands, from salary to severance pay
this could possibly be one reason which peeved murthy, who questioned the unexplained and generous payment and publicly lashed out at the board. in published remarks, murthy even questioned whether severance payments were being made as “hush money" to suppress “some information harmful to the company". on monday, non-executive chairman r. denied the allegation, which he said was “disturbing".
“all decisions taken by the board must be documented at the appropriate time. if indeed true, it is surprising for a company like to not have maintained comprehensive and complete minutes," said dalal, chief operating officer, institutional investor advisory services, a proxy advisory firm. “while we believe the amount of severance pay is not material in the context of’s size, the the disclosures around have been handled significantly better."
significantly, gave his nod to the separation agreement, which was subsequently approved by the board after it was justified by’s chief compliance officer david kennedy, according to two executives, including one board member and the person cited in the first instance. the board member also requested anonymity.
infosys chairman: no negotiations, but founder inputs will be considered
kennedy convinced the nomination and remuneration panel that the management had negotiated “well" to bring down the severance to two years’ salary as against the compensation for three years demanded by bansal, who was represented by his law firm partners, according to the board member cited above.
an email sent to partners seeking comment went unanswered.
an email sent to murthy seeking comment was also unanswered.
surprisingly, believes that the question of putting on record severance payment is a “housekeeping" issue and not a cause for concern.
“the board had a call, we discussed and we approved severance). the fact that some housekeeping issues, recording took place at a later date, to my mind should not cause any concern of anxiety to someone outside the company," said.
“these are things which to my mind happen to many companies. look we need to tighten the processes of recording... but these are internal issues which we will attend (to), and we have done subsequently," he added.
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calls and text messages to bansal seeking comment went unanswered.
“vishal and rajiv were not comfortable working together," said the board member. “so wanted bansal to leave. the management negotiated his severance and it was who actually signed off on the agreement. later the agreement was brought before us by david kennedy."
sikka, in an interaction with the media on monday, explained departure as an outcome of “team chemistry issues". mint could not independently ascertain the reasons for the purported differences between and bansal.
“(we were told) management had negotiated well to lower it to two years of salary, and kennedy also justified (it) by saying paying severance money is well within acceptable standards," said the board member cited above.
kennedy was sacked by in december last year, and proxy advisory firms again questioned the rationale of the company offering him $868,250 (around) in severance.
infosys then said that kennedy and the company mutually agreed to part ways but clarified that severance pay was part of employment agreement when he joined in november 2014.
an email sent to kennedy seeking comment went unanswered.
mint first wrote about making a severance payment to bansal in may last year, when the company disclosed it paid in severance pay, salary and other benefits to bansal in a footnote to its annual report, which then made a few equity analysts and proxy advisory firms question corporate governance at the company.
in june, at’s annual general meeting, disclosed that in severance pay was to be paid over 10, of which two had already been paid by then. for now has paid in severance to bansal, said on monday.
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bengaluru*: bɔrd dɪd nɑt ˈrɛkərd ðə prəˈsidɪŋz əv ə 12 ɑkˈtoʊbər 2015 ˈmitɪŋ wɛr ɪt dɪˈskəst peɪɪŋ ɪn ˈsɛˌvərəns peɪ tɪ ˈfɔrmər ʧif ˌfaɪˈnænʃəl ˈɔfɪsər rɑˈʤiv bɑnˈsɑl, sɛd ən ɪgˈzɛkjətɪv fəˈmɪljər wɪθ ðə dɪˈvɛləpmənt. ðə oʊˈmɪʃən əˈgɛn ˈreɪzɪz daʊts ɔn dɪˈsɪʒənˌmeɪkɪŋ baɪ ðə bɔrd əv ˈsɛkənd ˈlɑrʤəst ˈsərvɪsɪz fərm, wɪʧ həz ʤɪst ˈimərʤd frəm ə ˈtəsəl wɪθ ˈfaʊndərz lɛd baɪ n.r*. ˈmərθi ˈoʊvər ˈkɔrpərət ˈgəvərnəns ˈɪʃuz, ˌɪnˈkludɪŋ ðə ˈpeɪmənt tɪ bɑnˈsɑl ənd ə 55 ˌɪnˈkris ɪn ˈsiˌiˈoʊ peɪ tɪ 11 ˈmɪljən ə jɪr ɪn 2016 bɔrd ˈoʊnli pʊt ðɪs ˈpeɪmənt ɔn ˈrɛkərd ər ““minuted*" ðə dɪˈskəʃən wɪn ɪt mɛt ɔn 14 ˈʤænjuˌɛri 2016 wɪn ðə ˈkəmpəˌni əˈnaʊnst ɪts ˈfɪskəl ˈərnɪŋz, ðə ɪgˈzɛkjətɪv ˈsaɪtɪd əˈbəv sɛd ɔn kənˈdɪʃən əv ˌænəˈnɪmɪti. roʊ: wɛr ɪt stændz, frəm ˈsæləri tɪ ˈsɛˌvərəns peɪ ðɪs kʊd ˈpɑsəbli bi wən ˈrizən wɪʧ pivd ˈmərθi, hu kˈwɛsʧənd ðə ˌənɪkˈspleɪnd ənd ˈʤɛnərəs ˈpeɪmənt ənd ˈpəblɪkli læʃt aʊt æt ðə bɔrd. ɪn ˈpəblɪʃt rɪˈmɑrks, ˈmərθi ˈivɪn kˈwɛsʧənd ˈwɛðər ˈsɛˌvərəns ˈpeɪmənts wər biɪŋ meɪd ɛz ˈməni" tɪ səˈprɛs ˌɪnˌfɔrˈmeɪʃən ˈhɑrmfəl tɪ ðə ˈkəmpəˌni". ɔn ˈmənˌdeɪ, ˈnɑnɪgˈzɛkjətɪv ˈʧɛrmən ɑr. dɪˈnaɪd ðə ˌæləˈgeɪʃən, wɪʧ hi sɛd wɑz ““disturbing*". dɪˈsɪʒənz ˈteɪkən baɪ ðə bɔrd məst bi ˈdɑkjəˌmɛnəd æt ðə əˈproʊpriˌeɪt taɪm. ɪf ˌɪnˈdid tru, ɪt ɪz səˈpraɪzɪŋ fər ə ˈkəmpəˌni laɪk tɪ nɑt hæv meɪnˈteɪnd ˌkɑmpriˈhɛnsɪv ənd kəmˈplit ˈmɪnəts," sɛd ˈdeɪləl, ʧif ˈɔpərˌeɪtɪŋ ˈɔfɪsər, ˌɪnstɪˈtuʃənəl ˌɪnˈvɛstər ædˈvaɪzəri ˈsərvɪsɪz, ə ˈprɑksi ædˈvaɪzəri fərm. wi bɪˈliv ðə əˈmaʊnt əv ˈsɛˌvərəns peɪ ɪz nɑt məˈtɪriəl ɪn ðə ˈkɑntɛkst əv saɪz, ðə ðə dɪˈskloʊʒərz əraʊnd hæv bɪn ˈhændəld sɪgˈnɪfɪkəntli ˈbɛtər." sɪgˈnɪfɪkəntli, geɪv hɪz nɑd tɪ ðə ˌsɛpərˈeɪʃən əˈgrimənt, wɪʧ wɑz ˈsəbsəkwəntli əˈpruvd baɪ ðə bɔrd ˈæftər ɪt wɑz ˈʤəstəˌfaɪd baɪ ʧif kəmˈplaɪəns ˈɔfɪsər ˈdeɪvɪd ˈkɛnədi, əˈkɔrdɪŋ tɪ tu ɪgˈzɛkjətɪvz, ˌɪnˈkludɪŋ wən bɔrd ˈmɛmbər ənd ðə ˈpərsən ˈsaɪtɪd ɪn ðə fərst ˈɪnstəns. ðə bɔrd ˈmɛmbər ˈɔlsoʊ rɪkˈwɛstɪd ˌænəˈnɪmɪti. ˈʧɛrmən: noʊ nɪˌgoʊʃiˈeɪʃənz, bət ˈfaʊndər ˈɪnˌpʊts wɪl bi kənˈsɪdərd ˈkɛnədi kənˈvɪnst ðə ˌnɑməˈneɪʃən ənd rɪmˌjunərˈeɪʃən ˈpænəl ðət ðə ˈmænɪʤmənt hæd nɪˈgoʊʃiˌeɪtɪd ““well*" tɪ brɪŋ daʊn ðə ˈsɛˌvərəns tɪ tu years’*’ ˈsæləri ɛz əˈgɛnst ðə ˌkɑmpənˈseɪʃən fər θri jɪrz dɪˈmændɪd baɪ bɑnˈsɑl, hu wɑz ˌrɛprɪˈzɛnɪd baɪ hɪz lɔ fərm ˈpɑrtnərz, əˈkɔrdɪŋ tɪ ðə bɔrd ˈmɛmbər ˈsaɪtɪd əˈbəv. ən iˈmeɪl sɛnt tɪ ˈpɑrtnərz ˈsikɪŋ ˈkɑmɛnt wɛnt ˌəˈnænsərd. ən iˈmeɪl sɛnt tɪ ˈmərθi ˈsikɪŋ ˈkɑmɛnt wɑz ˈɔlsoʊ ˌəˈnænsərd. səˈpraɪzɪŋli, bɪˈlivz ðət ðə kˈwɛʃən əv ˈpʊtɪŋ ɔn ˈrɛkərd ˈsɛˌvərəns ˈpeɪmənt ɪz ə ““housekeeping*" ˈɪʃu ənd nɑt ə kɔz fər kənˈsərn. bɔrd hæd ə kɔl, wi dɪˈskəst ənd wi əˈpruvd ˈsɛˌvərəns). ðə fækt ðət səm ˈhaʊˌskipɪŋ ˈɪʃuz, rɪˈkɔrdɪŋ tʊk pleɪs æt ə ˈleɪtər deɪt, tɪ maɪ maɪnd ʃʊd nɑt kɔz ˈɛni kənˈsərn əv æŋˈzaɪəti tɪ ˈsəmˌwən ˈaʊtˈsaɪd ðə ˈkəmpəˌni," sɛd. ər θɪŋz wɪʧ tɪ maɪ maɪnd ˈhæpən tɪ ˈmɛni ˈkəmpəˌniz. lʊk wi nid tɪ ˈtaɪtən ðə ˈprɑsɛsəz əv rɪˈkɔrdɪŋ... bət ðiz ər ˌɪnˈtərnəl ˈɪʃuz wɪʧ wi wɪl əˈtɛnd (tɪ), ənd wi hæv dən ˈsəbsəkwəntli," hi ˈædɪd. ˈɔlsoʊ rɛd lʊk bɪɔnd ˈtɑtɑ ənd kɔlz ənd tɛkst ˈmɛsɪʤɪz tɪ bɑnˈsɑl ˈsikɪŋ ˈkɑmɛnt wɛnt ˌəˈnænsərd. ənd rɑˈʤiv wər nɑt ˈkəmfərtəbəl ˈwərkɪŋ təˈgɛðər," sɛd ðə bɔrd ˈmɛmbər. ˈwɔntɪd bɑnˈsɑl tɪ liv. ðə ˈmænɪʤmənt nɪˈgoʊʃiˌeɪtɪd hɪz ˈsɛˌvərəns ənd ɪt wɑz hu ˈæˌkʧuəli saɪnd ɔf ɔn ðə əˈgrimənt. ˈleɪtər ðə əˈgrimənt wɑz brɔt ˌbiˈfɔr ˈjuˈɛs baɪ ˈdeɪvɪd ˈkɛnədi.", ɪn ən ˌɪnərˈækʃən wɪθ ðə ˈmidiə ɔn ˈmənˌdeɪ, ɪkˈspleɪnd dɪˈpɑrʧər ɛz ən ˈaʊtˌkəm əv ˈkɛmɪstri ˈɪʃuz". mɪnt kʊd nɑt ˌɪndɪˈpɛndəntli ˌæsərˈteɪn ðə ˈrizənz fər ðə pərˈpɔrtɪd ˈdɪfərənsɪz bɪtˈwin ənd bɑnˈsɑl. wər toʊld) ˈmænɪʤmənt hæd nɪˈgoʊʃiˌeɪtɪd wɛl tɪ loʊər ɪt tɪ tu jɪrz əv ˈsæləri, ənd ˈkɛnədi ˈɔlsoʊ ˈʤəstəˌfaɪd (ɪt) baɪ seɪɪŋ peɪɪŋ ˈsɛˌvərəns ˈməni ɪz wɛl wɪˈθɪn əkˈsɛptəbəl ˈstændərdz," sɛd ðə bɔrd ˈmɛmbər ˈsaɪtɪd əˈbəv. ˈkɛnədi wɑz sækt baɪ ɪn dɪˈsɛmbər læst jɪr, ənd ˈprɑksi ædˈvaɪzəri fərmz əˈgɛn kˈwɛsʧənd ðə ˌræʃəˈnæl əv ðə ˈkəmpəˌni ˈɔfərɪŋ ɪm (əraʊnd) ɪn ˈsɛˌvərəns. ðɛn sɛd ðət ˈkɛnədi ənd ðə ˈkəmpəˌni mˈjuʧuəli əˈgrid tɪ pɑrt weɪz bət ˈklɛrəˌfaɪd ðət ˈsɛˌvərəns peɪ wɑz pɑrt əv ɪmˈplɔɪmənt əˈgrimənt wɪn hi ʤɔɪnd ɪn noʊˈvɛmbər 2014 ən iˈmeɪl sɛnt tɪ ˈkɛnədi ˈsikɪŋ ˈkɑmɛnt wɛnt ˌəˈnænsərd. mɪnt fərst roʊt əˈbaʊt ˈmeɪkɪŋ ə ˈsɛˌvərəns ˈpeɪmənt tɪ bɑnˈsɑl ɪn meɪ læst jɪr, wɪn ðə ˈkəmpəˌni dɪˈskloʊzd ɪt peɪd ɪn ˈsɛˌvərəns peɪ, ˈsæləri ənd ˈəðər ˈbɛnəfɪts tɪ bɑnˈsɑl ɪn ə ˈfʊtˌnoʊt tɪ ɪts ˈænjuəl rɪˈpɔrt, wɪʧ ðɛn meɪd ə fju ˈɛkwəti ˈænəlɪsts ənd ˈprɑksi ædˈvaɪzəri fərmz kˈwɛʃən ˈkɔrpərət ˈgəvərnəns æt ðə ˈkəmpəˌni. ɪn ʤun, æt ˈænjuəl ˈʤɛnərəl ˈmitɪŋ, dɪˈskloʊzd ðət ɪn ˈsɛˌvərəns peɪ wɑz tɪ bi peɪd ˈoʊvər 10, əv wɪʧ tu hæd ɔˈrɛdi bɪn peɪd baɪ ðɛn. fər naʊ həz peɪd ɪn ˈsɛˌvərəns tɪ bɑnˈsɑl, sɛd ɔn ˈmənˌdeɪ.
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as tensions have begun to mount this weekend between the new york police department and the tens of thousands of protesters who continue to march against the grand jury decision in the killing of eric garner, the spiritual head of the millions of catholic residents spoke out on monday, urging both sides “tune down the volume and speak calmly” as anger continues to rise.
and cardinal timothy dolan, the charismatic archbishop of million catholics in much of new york city (brooklyn and queens are in a separate archdiocese with million more catholic residents), is in many ways in a unique position as a broker of peace in the city, remaining a highly respected religious official among the nypd, which has traditions long shaped by the irish catholic heritage.
this weekend, episodes of violence erupted in a few incidents across the city as some protesters took to the streets, disrupting traffic and chanting slogans against the grand jury decision and the nypd. and on saturday night, a small breakaway group caused a disturbance on the brooklyn bridge, reportedly tossing materials onto the roadway below the pedestrian bridge and then assaulting two police lieutenants, leaving both hospitalized and one with a broken nose.
and members of the nypd continued their verbal attacks against mayor bill de, who as a candidate was outspoken in his opposition to police tactics. police appeared especially incensed over the past two weeks after mayor de said he and his wife, mccray, who is black, have told their biracial son dante to be especially careful during encounters with police, citing a history of heightened dangers white children may not face.
on friday, the benevolent association, the largest union, responded by posting a form on its website for cops to sign, requesting that neither the mayor nor city council speaker melissa attend his or her funeral, should they be killed in the line of duty.
cardinal dolan urged “upset leaders” not to pour “kerosene on the fire” and caricature “dedicated police officers as bigots.” and while he did not refer directly to any leader specifically, his words, published monday in the new york daily news, were linked to a story about the des’ worries about their son, and the vehement responses from nypd officers and others.
but dolan also denounced the aggressive action against a hallowed public tradition.
“it is equally unfair and counterproductive to dismiss our mayor and other leaders as enemies of the police, and even to go so far as to make controversial one of the more gripping and tearful occasions in the life of this city, the funeral of a fallen officer, a sacred occasion meant to unite us, never fracture us.”
the cardinal, too, has played the role of peace broker before. after garner was killed by police during an arrest for selling loose cigarettes in july, de outraged police by giving the rev. al sharpton, a controversial civil rights activist, a prominent place in a forum about police and community relations.
the mayor asked dolan to host a second meeting with the spiritual leaders days before a major protest against killing in august a move that drew “kudos” from the nypd at the time, who said the cardinal had respect and credibility among the rank and file.
but as protests continue, police frustration is beginning to show. for nearly two weeks, the nypd has taken a mostly approach with protesters, allowing them to march amid traffic, and showing restraint when clearing episodes of peaceful disobedience -- a tactic shown by many police departments across the nation as marchers continue to protest the grand jury decisions in the cases of mr. garner and michael brown.
but after a number of reported injuries to police officers, who have been seen punched and taunted by some protesters, nypd officials say it may be time to “draw the line,” even as the mayor and other leaders denounce the violence over the weekend.
“over the past few weeks we have gone to great lengths to ensure, even facilitate, ability to protest,” said new york chief of department james o’neill. “all during this time, our officers have shown extraordinary restraint and patience in the face of verbal abuse and much more ... but after event, after our cops are assaulted, this is where we have to draw the line. i want to be clear that these assaults do not come with the territory.”
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despite the rising tensions, dolan invoked the holidays to urge calm.
“this radiant season, when both christians and jews celebrate the triumph of light over darkness, life over death, and hope over despair, might be a providential time to rediscover our character, and that of this grand city, to tune down the volume and speak calmly,” he wrote.
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ɛz ˈtɛnʧənz hæv ˈbeɪgən tɪ maʊnt ðɪs ˈwiˌkɪnd bɪtˈwin ðə nu jɔrk pəˈlis dɪˈpɑrtmənt ənd ðə tɛnz əv ˈθaʊzənz əv ˈproʊˌtɛstərz hu kənˈtɪnju tɪ mɑrʧ əˈgɛnst ðə grænd ˈʤʊri dɪˈsɪʒən ɪn ðə ˈkɪlɪŋ əv ˈɛrɪk ˈgɑrnər, ðə ˈspɪrɪˌʧuəl hɛd əv ðə ˈmɪljənz əv ˈkæθlɪk ˈrɛzɪdənts spoʊk aʊt ɔn ˈmənˌdeɪ, ˈərʤɪŋ boʊθ saɪdz daʊn ðə ˈvɑljum ənd spik calmly”*” ɛz ˈæŋgər kənˈtɪnjuz tɪ raɪz. ənd ˈkɑrdɪnəl ˈtɪməθi ˈdoʊlən, ðə kɛrɪzˈmætɪk ˈɑrʧˈbɪʃəp əv ˈmɪljən ˈkæθlɪks ɪn məʧ əv nu jɔrk ˈsɪti (ˈbrʊklɪn ənd kwinz ər ɪn ə ˈsɛpərˌeɪt ˈɑrʧˈdaɪəsəs wɪθ ˈmɪljən mɔr ˈkæθlɪk ˈrɛzɪdənts), ɪz ɪn ˈmɛni weɪz ɪn ə juˈnik pəˈzɪʃən ɛz ə ˈbroʊkər əv pis ɪn ðə ˈsɪti, rɪˈmeɪnɪŋ ə ˈhaɪli rɪˈspɛktɪd rɪˈlɪʤəs əˈfɪʃəl əˈməŋ ðə ˌɛnˈwaɪˌpiˌdi, wɪʧ həz trəˈdɪʃənz lɔŋ ʃeɪpt baɪ ðə ˈaɪrɪʃ ˈkæθlɪk ˈhɛrɪtɪʤ. ðɪs ˈwiˌkɪnd, ˈɛpɪˌsoʊdz əv ˈvaɪələns ˌɪˈrəptɪd ɪn ə fju ˈɪnsədənts əˈkrɔs ðə ˈsɪti ɛz səm ˈproʊˌtɛstərz tʊk tɪ ðə strits, dɪsˈrəptɪŋ ˈtræfɪk ənd ˈʧæntɪŋ sˈloʊgənz əˈgɛnst ðə grænd ˈʤʊri dɪˈsɪʒən ənd ðə ˌɛnˈwaɪˌpiˌdi. ənd ɔn ˈsæˌtɪˌdeɪ naɪt, ə smɔl ˈbreɪkəˌweɪ grup kɔzd ə dɪˈstərbəns ɔn ðə ˈbrʊklɪn brɪʤ, rɪˈpɔrtədli ˈtɔsɪŋ məˈtɪriəlz ˈɔntu ðə ˈroʊdˌweɪ bɪˈloʊ ðə pəˈdɛstriən brɪʤ ənd ðɛn əˈsɔltɪŋ tu pəˈlis luˈtɛnənts, ˈlivɪŋ boʊθ ˈhɑspɪtəˌlaɪzd ənd wən wɪθ ə ˈbroʊkən noʊz. ənd ˈmɛmbərz əv ðə ˌɛnˈwaɪˌpiˌdi kənˈtɪnjud ðɛr ˈvərbəl əˈtæks əˈgɛnst meɪər bɪl də, hu ɛz ə ˈkænədɪt wɑz ˈaʊtˈspoʊkən ɪn hɪz ˌɑpəˈzɪʃən tɪ pəˈlis ˈtæktɪks. pəˈlis əˈpɪrd əˈspɛʃəli ˈɪnˌsɛnst ˈoʊvər ðə pæst tu wiks ˈæftər meɪər də sɛd hi ənd hɪz waɪf, məˈkreɪ, hu ɪz blæk, hæv toʊld ðɛr baɪˈreɪʃəl sən ˈdɑnteɪ tɪ bi əˈspɛʃəli ˈkɛrfəl ˈdʊrɪŋ ɪnˈkaʊnərz wɪθ pəˈlis, ˈsaɪtɪŋ ə ˈhɪstəri əv ˈhaɪtənd ˈdeɪnʤərz waɪt ˈʧɪldrən meɪ nɑt feɪs. ɔn ˈfraɪˌdeɪ, ðə bəˈnɛvələnt əˌsoʊʃiˈeɪʃən, ðə ˈlɑrʤəst ˈjunjən, rɪˈspɑndɪd baɪ ˈpoʊstɪŋ ə fɔrm ɔn ɪts ˈwɛbˌsaɪt fər kɑps tɪ saɪn, rɪkˈwɛstɪŋ ðət ˈniðər ðə meɪər nɔr ˈsɪti ˈkaʊnsəl ˈspikər məˈlɪsə əˈtɛnd hɪz ər hər fˈjunərəl, ʃʊd ðeɪ bi kɪld ɪn ðə laɪn əv ˈduti. ˈkɑrdɪnəl ˈdoʊlən ərʤd leaders”*” nɑt tɪ pɔr ɔn ðə fire”*” ənd ˈkɛrɪkəˌʧər pəˈlis ˈɔfɪsərz ɛz bigots.”*.” ənd waɪl hi dɪd nɑt rɪˈfər dɪˈrɛkli tɪ ˈɛni ˈlidər spəˈsɪfɪkli, hɪz wərdz, ˈpəblɪʃt ˈmənˌdeɪ ɪn ðə nu jɔrk ˈdeɪli nuz, wər lɪŋkt tɪ ə ˈstɔri əˈbaʊt ðə də blasios’*’ ˈwəriz əˈbaʊt ðɛr sən, ənd ðə ˈviəmənt rɪˈspɑnsɪz frəm ˌɛnˈwaɪˌpiˌdi ˈɔfɪsərz ənd ˈəðərz. bət ˈdoʊlən ˈɔlsoʊ dɪˈnaʊnst ðə əˈgrɛsɪv ˈækʃən əˈgɛnst ə ˈhæloʊd ˈpəblɪk trəˈdɪʃən. ɪz ˈikwəli ˌɔnˈfɛr ənd ˈkaʊnərprəˌdəktɪv tɪ dɪsˈmɪs ɑr meɪər ənd ˈəðər ˈlidərz ɛz ˈɛnəmiz əv ðə pəˈlis, ənd ˈivɪn tɪ goʊ soʊ fɑr ɛz tɪ meɪk ˌkɑntrəˈvərʃəl wən əv ðə mɔr ˈgrɪpɪŋ ənd ˈtɪrfəl ɔˈkeɪʒənz ɪn ðə laɪf əv ðɪs ˈsɪti, ðə fˈjunərəl əv ə ˈfɑlən ˈɔfɪsər, ə ˈseɪkrɪd əˈkeɪʒən mɛnt tɪ ˈjuˌnaɪt ˈjuˈɛs, ˈnɛvər ˈfrækʧər us.”*.” ðə ˈkɑrdɪnəl, tu, həz pleɪd ðə roʊl əv pis ˈbroʊkər ˌbiˈfɔr. ˈæftər ˈgɑrnər wɑz kɪld baɪ pəˈlis ˈdʊrɪŋ ən ərˈɛst fər ˈsɛlɪŋ lus ˌsɪgəˈrɛts ɪn ˌʤuˈlaɪ, də ˈaʊˌtreɪʤd pəˈlis baɪ ˈgɪvɪŋ ðə rɛv. æl ˈʃɑrptən, ə ˌkɑntrəˈvərʃəl ˈsɪvəl raɪts ˈæktɪvɪst, ə ˈprɑmənənt pleɪs ɪn ə ˈfɔrəm əˈbaʊt pəˈlis ənd kəmˈjunɪti riˈleɪʃənz. ðə meɪər æst ˈdoʊlən tɪ hoʊst ə ˈsɛkənd ˈmitɪŋ wɪθ ðə ˈspɪrɪˌʧuəl ˈlidərz deɪz ˌbiˈfɔr ə ˈmeɪʤər ˈproʊˌtɛst əˈgɛnst ˈkɪlɪŋ ɪn ˈɔgəst ə muv ðət dru ““kudos”*” frəm ðə ˌɛnˈwaɪˌpiˌdi æt ðə taɪm, hu sɛd ðə ˈkɑrdɪnəl hæd rɪˈspɛkt ənd ˌkrɛdəˈbɪlɪti əˈməŋ ðə ræŋk ənd faɪl. bət ɛz ˈproʊˌtɛsts kənˈtɪnju, pəˈlis frəˈstreɪʃən ɪz bɪˈgɪnɪŋ tɪ ʃoʊ. fər ˈnɪrli tu wiks, ðə ˌɛnˈwaɪˌpiˌdi həz ˈteɪkən ə ˈmoʊstli əˈproʊʧ wɪθ ˈproʊˌtɛstərz, əˈlaʊɪŋ ðɛm tɪ mɑrʧ əˈmɪd ˈtræfɪk, ənd ʃoʊɪŋ rɪˈstreɪnt wɪn ˈklɪrɪŋ ˈɛpɪˌsoʊdz əv ˈpisfəl ˌdɪsəˈbidiəns ə ˈtæktɪk ʃoʊn baɪ ˈmɛni pəˈlis dɪˈpɑrtmənts əˈkrɔs ðə ˈneɪʃən ɛz ˈmɑrʧərz kənˈtɪnju tɪ ˈproʊˌtɛst ðə grænd ˈʤʊri dɪˈsɪʒənz ɪn ðə ˈkeɪsɪz əv ˈmɪstər. ˈgɑrnər ənd ˈmaɪkəl braʊn. bət ˈæftər ə ˈnəmbər əv ˌriˈpɔrtəd ˈɪnʤəriz tɪ pəˈlis ˈɔfɪsərz, hu hæv bɪn sin pənʧt ənd ˈtɔntɪd baɪ səm ˈproʊˌtɛstərz, ˌɛnˈwaɪˌpiˌdi əˈfɪʃəlz seɪ ɪt meɪ bi taɪm tɪ ðə line,”*,” ˈivɪn ɛz ðə meɪər ənd ˈəðər ˈlidərz dɪˈnaʊns ðə ˈvaɪələns ˈoʊvər ðə ˈwiˌkɪnd. ðə pæst fju wiks wi hæv gɔn tɪ greɪt lɛŋθs tɪ ɪnˈʃʊr, ˈivɪn fəˈsɪləˌteɪt, əˈbɪləˌti tɪ protest,”*,” sɛd nu jɔrk ʧif əv dɪˈpɑrtmənt ʤeɪmz o’neill*. ˈdʊrɪŋ ðɪs taɪm, ɑr ˈɔfɪsərz hæv ʃoʊn ˌɛkstrəˈɔrdəˌnɛri rɪˈstreɪnt ənd ˈpeɪʃəns ɪn ðə feɪs əv ˈvərbəl əˈbjuz ənd məʧ mɔr bət ˈæftər ɪˈvɛnt, ˈæftər ɑr kɑps ər əˈsɔltɪd, ðɪs ɪz wɛr wi hæv tɪ drɔ ðə laɪn. aɪ wɔnt tɪ bi klɪr ðət ðiz əˈsɔlts du nɑt kəm wɪθ ðə territory.”*.” gɪt ðə ˈmɑnətər ˈstɔriz ju kɛr əˈbaʊt dɪˈlɪvərd tɪ jʊr inbox*. baɪ ˈsaɪnɪŋ əp, ju əˈgri tɪ ɑr ˈpraɪvəsi ˈpɑləsi dɪˈspaɪt ðə ˈraɪzɪŋ ˈtɛnʧənz, ˈdoʊlən ˌɪnˈvoʊkt ðə ˈhɑləˌdeɪz tɪ ərʤ kɑm. ˈreɪˌdiənt ˈsizən, wɪn boʊθ ˈkrɪsʧɪnz ənd ʤuz ˈsɛləˌbreɪt ðə traɪəmf əv laɪt ˈoʊvər ˈdɑrknəs, laɪf ˈoʊvər dɛθ, ənd hoʊp ˈoʊvər dɪˈspɛr, maɪt bi ə ˌprɑvəˈdɛnʃəl taɪm tɪ ridɪˈskəvər ɑr ˈkɛrɪktər, ənd ðət əv ðɪs grænd ˈsɪti, tɪ tun daʊn ðə ˈvɑljum ənd spik calmly,”*,” hi roʊt.
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today’s post continues where we started last week with an update from the mars express flight control team at on their preparations for the 19 october comet siding springs flyby. today: defining the challenge!
before we look at mars express in more detail and decide what we can do to try and protect it from the speeding particles in the coma (the cloud of dust and gas surrounding the nucleus), we should take a moment to briefly describe the spacecraft and the encounter period.
the shape and structure of spacecraft are normally described using a coordinate reference frame. for mars express, we on the team often use a more informal description where the antenna is referred to as the ‘front’, the thrusters are on the ‘bottom’ and the instruments face out from the ‘top’.
nice view of mex click image for a model
as these directions are given from the mars express point of view, the (subsurface sounding radar / altimeter) booms are therefore mounted on the right of the spacecraft.
further, the left and right side each have a solar array extending away from the main spacecraft body that can rotate through.
hacked-up version of the nice view showing spacecraft directions (some of you may prefer to assemble your own mex paper model ed.)
constraints, constraints…
the spacecraft is, in principle, able to turn in any direction, however the left, right and rear sides have radiators for shedding heat from the platform and payload systems and should not be illuminated by the sun.
the top should also not be pointed toward the sun as some of the instruments require cooling to operate effectively and optics may be damaged by direct sunlight.
during scientific observations, the instruments are pointed toward a target to collect data, and for communication the antenna must point toward earth.
these two tasks, as you may have guessed, do not happen at the same time and science data is recorded and to earth later.
also, for the majority of observations, the attitude of a science observation is in no way compatible with communications pointing.
finally, the solar arrays should be pointed towards the sun whenever possible to generate electricity (although power can be stored in batteries for short periods).
the orientation of things
this image illustrates the relative orientations of mars, the comet, earth and the sun on 19 october.
the particles in the coma are ejected away from the comet with a speed of a few metres per second (m/second) but as the overall speed is so high we are treating them as arriving along a line parallel to the path of the comet.
in other words, we are treating them as a stream of particles washing past, over and around mex.
it is worth noting the relative direction of earth and sun; if we want to stay in touch with the spacecraft during the flyby, the antenna must point toward earth.
so, in summary, the direction in which we the spacecraft and the solar arrays has a big impact on how mars express communicates with earth, generates power, controls its temperature and conducts science observations.
now we have additional factors, as we have an interesting target passing by that our science teams really wish to observe as directly as possible but with it comes a stream of potentially damaging particles!
the threat…
these particles might not only physically the outer surface of the spacecraft (which can damage insulation, radiators and instrument optics), but also if large enough can penetrate parts of the spacecraft structure.
additionally, at the impact speed expected here, even minute specks of dust will be converted into an electrically charged plasma, which can lead to a current and might short out and damage some of the electronics.
the challenge…
so the challenge we face is simple: how do we orient the spacecraft to the science possibilities, best protect the most vulnerable and critical areas of the spacecraft body, respect the pointing restrictions, maintain communication and the possibility of any damage from impacts?
the answer, which we are developing now, will undoubtedly lie in trade-offs: to reduce risks and science and survivability.
we do know one thing for certain: there is no perfect answer!
more news next week!
– andy, michel, kees, simon and luke
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today’s* poʊst kənˈtɪnjuz wɛr wi ˈstɑrtɪd læst wik wɪθ ən ˈəpˌdeɪt frəm ðə mɑrz ɪkˈsprɛs flaɪt kənˈtroʊl tim æt ɔn ðɛr ˌprɛpərˈeɪʃənz fər ðə 19 ɑkˈtoʊbər ˈkɑmət ˈsaɪdɪŋ spərɪŋz ˈflaɪˌbaɪ. təˈdeɪ: dɪˈfaɪnɪŋ ðə ˈʧælənʤ! ˌbiˈfɔr wi lʊk æt mɑrz ɪkˈsprɛs ɪn mɔr ˈditeɪl ənd ˌdɪˈsaɪd wət wi kən du tɪ traɪ ənd prəˈtɛkt ɪt frəm ðə ˈspidɪŋ ˈpɑrtɪkəlz ɪn ðə ˈkoʊmə (ðə klaʊd əv dəst ənd gæs sərˈaʊndɪŋ ðə ˈnukliəs), wi ʃʊd teɪk ə ˈmoʊmənt tɪ ˈbrifli dɪˈskraɪb ðə ˈspeɪˌskræft ənd ðə ɪnˈkaʊnər ˈpɪriəd. ðə ʃeɪp ənd ˈstrəkʧər əv ˈspeɪˌskræft ər ˈnɔrməli dɪˈskraɪbd ˈjuzɪŋ ə koʊˈɔrdəˌneɪt ˈrɛfərəns freɪm. fər mɑrz ɪkˈsprɛs, wi ɔn ðə tim ˈɔfən juz ə mɔr ˌɪnˈfɔrməl dɪˈskrɪpʃən wɛr ðə ænˈtɛnə ɪz rɪˈfərd tɪ ɛz ðə ‘‘front’*’, ðə θˈrəstərz ər ɔn ðə ‘‘bottom’*’ ənd ðə ˈɪnstrəmənts feɪs aʊt frəm ðə ‘‘top’*’. nis vju əv mɛks klɪk ˈɪmɪʤ fər ə ˈmɑdəl ɛz ðiz dɪˈrɛkʃɪnz ər ˈgɪvɪn frəm ðə mɑrz ɪkˈsprɛs pɔɪnt əv vju, ðə (ˈsəbˌsərfəs ˈsaʊndɪŋ ˈreɪˌdɑr ælˈtɪmətər) bumz ər ˈðɛrˌfɔr ˈmaʊnɪd ɔn ðə raɪt əv ðə ˈspeɪˌskræft. ˈfərðər, ðə lɛft ənd raɪt saɪd iʧ hæv ə ˈsoʊlər əreɪ ɪkˈstɛndɪŋ əˈweɪ frəm ðə meɪn ˈspeɪˌskræft ˈbɑdi ðət kən ˈroʊˌteɪt θru ˈvərʒən əv ðə nis vju ʃoʊɪŋ ˈspeɪˌskræft dɪˈrɛkʃɪnz (səm əv ju meɪ prɪˈfər tɪ əˈsɛmbəl jʊr oʊn mɛks ˈpeɪpər ˈmɑdəl ɛd.) kənˈstreɪnts, constraints…*… ðə ˈspeɪˌskræft ɪz, ɪn ˈprɪnsəpəl, ˈeɪbəl tɪ tərn ɪn ˈɛni dɪˈrɛkʃɪn, ˌhaʊˈɛvər ðə lɛft, raɪt ənd rɪr saɪdz hæv ˈreɪdiˌeɪtərz fər ˈʃɛdɪŋ hit frəm ðə ˈplætˌfɔrm ənd ˈpeɪˌloʊd ˈsɪstəmz ənd ʃʊd nɑt bi ˌɪˈluməˌneɪtəd baɪ ðə sən. ðə tɔp ʃʊd ˈɔlsoʊ nɑt bi ˈpɔɪntɪd təˈwɔrd ðə sən ɛz səm əv ðə ˈɪnstrəmənts ˌrikˈwaɪər ˈkulɪŋ tɪ ˈɔpərˌeɪt ˈifɛktɪvli ənd ˈɑptɪks meɪ bi ˈdæmɪʤd baɪ dɪˈrɛkt ˈsənˌlaɪt. ˈdʊrɪŋ ˌsaɪənˈtɪfɪk ˌɑbzərˈveɪʃənz, ðə ˈɪnstrəmənts ər ˈpɔɪntɪd təˈwɔrd ə ˈtərgət tɪ kəˈlɛkt ˈdætə, ənd fər kəmˌjunəˈkeɪʃən ðə ænˈtɛnə məst pɔɪnt təˈwɔrd ərθ. ðiz tu tæsks, ɛz ju meɪ hæv gɛst, du nɑt ˈhæpən æt ðə seɪm taɪm ənd saɪəns ˈdætə ɪz rɪˈkɔrdɪd ənd tɪ ərθ ˈleɪtər. ˈɔlsoʊ, fər ðə məˈʤɔrəti əv ˌɑbzərˈveɪʃənz, ðə ˈætəˌtud əv ə saɪəns ˌɑbzərˈveɪʃən ɪz ɪn noʊ weɪ kəmˈpætəbəl wɪθ kəmˌjunəˈkeɪʃənz ˈpɔɪntɪŋ. ˈfaɪnəli, ðə ˈsoʊlər əreɪz ʃʊd bi ˈpɔɪntɪd təˈwɔrdz ðə sən wɛˈnɛvər ˈpɑsəbəl tɪ ˈʤɛnərˌeɪt ɪˌlɛkˈtrɪsəti (ˌɔlˈðoʊ paʊər kən bi stɔrd ɪn ˈbætəriz fər ʃɔrt ˈpɪriədz). ðə ˌɔriɛnˈteɪʃən əv θɪŋz ðɪs ˈɪmɪʤ ˈɪləˌstreɪts ðə ˈrɛlətɪv ˌɔriɛnˈteɪʃənz əv mɑrz, ðə ˈkɑmət, ərθ ənd ðə sən ɔn 19 ɑkˈtoʊbər. ðə ˈpɑrtɪkəlz ɪn ðə ˈkoʊmə ər ɪˈʤɛktɪd əˈweɪ frəm ðə ˈkɑmət wɪθ ə spid əv ə fju ˈmitərz pər ˈsɛkənd (m/second*) bət ɛz ðə ˈoʊvərˌɔl spid ɪz soʊ haɪ wi ər ˈtritɪŋ ðɛm ɛz ərˈaɪvɪŋ əˈlɔŋ ə laɪn ˈpɛrəˌlɛl tɪ ðə pæθ əv ðə ˈkɑmət. ɪn ˈəðər wərdz, wi ər ˈtritɪŋ ðɛm ɛz ə strim əv ˈpɑrtɪkəlz ˈwɑʃɪŋ pæst, ˈoʊvər ənd əraʊnd mɛks. ɪt ɪz wərθ ˈnoʊtɪŋ ðə ˈrɛlətɪv dɪˈrɛkʃɪn əv ərθ ənd sən; ɪf wi wɔnt tɪ steɪ ɪn təʧ wɪθ ðə ˈspeɪˌskræft ˈdʊrɪŋ ðə ˈflaɪˌbaɪ, ðə ænˈtɛnə məst pɔɪnt təˈwɔrd ərθ. soʊ, ɪn ˈsəməri, ðə dɪˈrɛkʃɪn ɪn wɪʧ wi ðə ˈspeɪˌskræft ənd ðə ˈsoʊlər əreɪz həz ə bɪg ˌɪmˈpækt ɔn haʊ mɑrz ɪkˈsprɛs kəmˈjunɪˌkeɪts wɪθ ərθ, ˈʤɛnərˌeɪts paʊər, kənˈtroʊlz ɪts ˈtɛmpərəʧər ənd kənˈdəkts saɪəns ˌɑbzərˈveɪʃənz. naʊ wi hæv əˈdɪʃənəl ˈfæktərz, ɛz wi hæv ən ˈɪntəˌrɛstɪŋ ˈtərgət ˈpæsɪŋ baɪ ðət ɑr saɪəns timz ˈrɪli wɪʃ tɪ əbˈzərv ɛz dɪˈrɛkli ɛz ˈpɑsəbəl bət wɪθ ɪt kəmz ə strim əv pəˈtɛnʃəli ˈdæmɪʤɪŋ ˈpɑrtɪkəlz! ðə threat…*… ðiz ˈpɑrtɪkəlz maɪt nɑt ˈoʊnli ˈfɪzɪkəli ðə ˈaʊtər ˈsərfəs əv ðə ˈspeɪˌskræft (wɪʧ kən ˈdæmɪʤ ˌɪnsəˈleɪʃən, ˈreɪdiˌeɪtərz ənd ˈɪnstrəmənt ˈɑptɪks), bət ˈɔlsoʊ ɪf lɑrʤ ɪˈnəf kən ˈpɛnəˌtreɪt pɑrts əv ðə ˈspeɪˌskræft ˈstrəkʧər. əˈdɪʃəˌnəli, æt ðə ˌɪmˈpækt spid ɪkˈspɛktɪd hir, ˈivɪn ˈmɪnət spɛks əv dəst wɪl bi kənˈvərtɪd ˈɪntu ən ɪˈlɛktrɪkəli ʧɑrʤd ˈplæzmə, wɪʧ kən lɛd tɪ ə ˈkɑrənt ənd maɪt ʃɔrt aʊt ənd ˈdæmɪʤ səm əv ðə ˌɪˌlɛkˈtrɑnɪks. ðə challenge…*… soʊ ðə ˈʧælənʤ wi feɪs ɪz ˈsɪmpəl: haʊ du wi ˈɔriˌɛnt ðə ˈspeɪˌskræft tɪ ðə saɪəns ˌpɑsəˈbɪlətiz, bɛst prəˈtɛkt ðə moʊst ˈvəlnərəbəl ənd ˈkrɪtɪkəl ˈɛriəz əv ðə ˈspeɪˌskræft ˈbɑdi, rɪˈspɛkt ðə ˈpɔɪntɪŋ riˈstrɪkʃənz, meɪnˈteɪn kəmˌjunəˈkeɪʃən ənd ðə ˌpɑsəˈbɪləˌti əv ˈɛni ˈdæmɪʤ frəm ˌɪmˈpækts? ðə ˈænsər, wɪʧ wi ər dɪˈvɛləpɪŋ naʊ, wɪl ənˈdaʊtɪdli laɪ ɪn ˈtreɪˌdɔfs: tɪ rɪˈdus rɪsks ənd saɪəns ənd sərˌvaɪvəˈbɪlɪti. wi du noʊ wən θɪŋ fər ˈsərtən: ðɛr ɪz noʊ ˈpərˌfɪkt ˈænsər! mɔr nuz nɛkst wik! ˈændi, ˈmɪʧəl, kiz, ˈsaɪmən ənd luk
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a pilot was ordered a while back, and now has picked up a season of the futuristic thriller incorporated.
the series comes from producers matt damon and ben affleck, and is set in a near future where corporations have unlimited power. the plot centers around ben larson sean teale), a young executive who conceals his true identity to infiltrate a very dangerous corporate world to save the woman he loves. but soon learn that not the only one whose secrets may have deadly consequences.
“the most powerful science fiction holds up a mirror to our world,” said dave howe, president, of and chiller. “incorporated is exactly that type of smart, provocative series, delivering a fresh, edge of your seat thriller that challenges notions of the world we live in today. we look forward to working with the stellar teams at pearl street films, cbs television studios and universal cable productions to bring it to life for viewers this year.”
along with teale, the series will also star eddie ramos (teen wolf), golden globe nominee dennis (24) and emmy winner julia ormond (mad men). the series was created by david and alex pastor (selfless, the last days), who wrote and directed the pilot. ted humphrey (the good wife) will serve as showrunner, along with damon and affleck.
the project joins a growing lineup of original genre fare at (corporate owner of -ed.), along with ongoing series the expanse, the magicians, 12 monkeys and killjoys, plus upcoming projects like hunters and channel zero.
incorporated premieres this fall on.
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ə ˈpaɪlət wɑz ˈɔrdərd ə waɪl bæk, ənd naʊ həz pɪkt əp ə ˈsizən əv ðə fˌjuʧərˈɪstɪk θˈrɪlər ˌɪnˈkɔrpərˌeɪtɪd. ðə ˈsɪriz kəmz frəm prəˈdusərz mæt ˈdeɪmən ənd bɛn ˈæflɪk, ənd ɪz sɛt ɪn ə nɪr fˈjuʧər wɛr ˌkɔrpərˈeɪʃənz hæv ənˈlɪmɪtɪd paʊər. ðə plɑt ˈsɛnərz əraʊnd bɛn ˈlɑrsən ʃɔn til), ə jəŋ ɪgˈzɛkjətɪv hu kənˈsilz hɪz tru aɪˈdɛntəˌti tɪ ˈɪnfɪlˌtreɪt ə ˈvɛri ˈdeɪnʤərəs ˈkɔrpərət wərld tɪ seɪv ðə ˈwʊmən hi ləvz. bət sun lərn ðət nɑt ðə ˈoʊnli wən huz ˈsikrɪts meɪ hæv ˈdɛdli ˈkɑnsəkˌwɛnsəz. moʊst ˈpaʊərfəl saɪəns ˈfɪkʃən hoʊldz əp ə ˈmɪrər tɪ ɑr world,”*,” sɛd deɪv haʊ, ˈprɛzɪdənt, əv ənd ˈʧɪlər. ɪz ɪgˈzæktli ðət taɪp əv smɑrt, proʊˈvɑkətɪv ˈsɪriz, dɪˈlɪvərɪŋ ə frɛʃ, ɛʤ əv jʊr sit θˈrɪlər ðət ˈʧælənʤɪz ˈnoʊʃənz əv ðə wərld wi lɪv ɪn təˈdeɪ. wi lʊk ˈfɔrwərd tɪ ˈwərkɪŋ wɪθ ðə ˈstɛlər timz æt pərl strit fɪlmz, ˈsiˌbiˌɛs ˈtɛləˌvɪʒən ˈstudiˌoʊz ənd ˌjunəˈvərsəl ˈkeɪbəl pərˈdəkʃənz tɪ brɪŋ ɪt tɪ laɪf fər vjuərz ðɪs year.”*.” əˈlɔŋ wɪθ til, ðə ˈsɪriz wɪl ˈɔlsoʊ stɑr ˈɛdi ˈrɑmoʊs (tin wʊlf), ˈgoʊldən gloʊb ˌnɑməˈni ˈdɛnɪs 24 ənd ˈɛmi ˈwɪnər ˈʤuljə ˈɔrmənd (mæd mɛn). ðə ˈsɪriz wɑz kriˈeɪtɪd baɪ ˈdeɪvɪd ənd ˈæləks ˈpæstər (ˈsɛlfləs, ðə læst deɪz), hu roʊt ənd dɪˈrɛktɪd ðə ˈpaɪlət. tɛd ˈhəmfri (ðə gʊd waɪf) wɪl sərv ɛz showrunner*, əˈlɔŋ wɪθ ˈdeɪmən ənd ˈæflɪk. ðə ˈprɑʤɛkt ʤɔɪnz ə groʊɪŋ ˈlaɪˌnəp əv ərˈɪʤənəl ˈʒɑnrə fɛr æt (ˈkɔrpərət ˈoʊnər əv -ɛd.), əˈlɔŋ wɪθ ˈɔnˌgoʊɪŋ ˈsɪriz ðə ɪkˈspæns, ðə məˈʤɪʃənz, 12 ˈməŋkiz ənd killjoys*, pləs ˈəpˌkəmɪŋ ˈprɑʤɛkts laɪk ˈhəntərz ənd ˈʧænəl ˈziroʊ. ˌɪnˈkɔrpərˌeɪtɪd prɛˈmɪrz ðɪs fɔl ɔn.
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in less than two months, restaurant critic brad a. johnson and i embarked on a journey through disneyland resort that, at times, was both and palate-pleasing.
it was a plum assignment. we bought annual passes before the prices went up! and spent most workdays doing what we love to do: eat and evaluate.
to review 70 restaurants in six weeks, we decided to divide and conquer.
brad tackled 20 restaurants.
me the fast food maven? some might say i drew the short stick, tasked with dining at every restaurant, from buffets to food carts and counters.
brad gets circle while i get in toontown?
it be that bad, could it? my disney bucket list did include legendary foods the corn dog, the pineapple soft serve and lots of mickey creations.
my strategy going in: never eat the whole thing, and graze which take much willpower when the food is mediocre. and that was the case most of the time.
i never threw up, but i did spit out a couple foods that were too gross to swallow.
during the homestretch, i hit a wall.
with disney california adventure closing earlier than i had expected, i went on a half-hour binge one night. i sampled onion rings, a chicken sandwich, a salad, a burrito and a tamale. on my way home, with the smell of combo plate leftovers wafting through my car, i grew nauseated.
my stomach cramped. i was in a full-blown digestive distress my punishing reaction to the final leg of my disneyland diet.
i made it home on autopilot. my husband sensed my green aura as i stumbled through the door.
“how’s it going?” he asked.
“not good,” i told him.
i curled up in bed, chewing a mouthful of tums. i still had six more restaurants to hit to meet deadline.
“can i go on?” i thought to myself.
rest and antacids revived me: i finished a few days later.
my disneyland diet included 198 meals over 105 visits to 50 restaurants.
did i gain weight? surprisingly not.
did i find things i loved? absolutely.
was it a magical experience? not by a long shot.
but, ultimately, it was a food journey i will never forget.
here’s a roundup of what we learned.
brad’s
1. anybody can rent a scooter if too lazy to walk around the parks all day.
2. lunch is consistently better than dinner at restaurants that serve both.
3. thousands of are turned away every day when they realize that they needed to make reservations several days in advance for one of the restaurants.
4. the monte cristo at cafe orleans is exponentially better than the supposedly same sandwich at blue bayou.
5. the best margaritas are at tortilla and cove bar; avoid the horrible margaritas at the stand at pacific wharf.
6. wednesday is the best day for getting into a restaurant without a reservation.
7. restaurants in downtown disney are frequently booked out for private events by conventioneers, but typically on weekdays only.
8. carnation cafe is the only place in disneyland where you can get malts, and much better than the malts at or shakes at cafe in california adventure.
9. you can eat at the bar at steakhouse 55 without a reservation, but they serve steaks at the bar, so the point?
10. all restaurants at disney, even the nicest ones, desperately need deep cleaning. tables and chairs are guaranteed to be sticky and grungy.
11. the best (cleanest and most private) restrooms inside the parks are inside blue bayou and circle.
nancy’s
1. disney do beef well. with the exception of the new first order burger at galactic grill (formerly terrace), the burgers are horrible. and the buns? they dissolve under the lightest of spreads. i constantly found myself using a fork on most sandwiches. other beef fails: the steak gumbo at royal street veranda, the french dip at french market, the and cheddar sandwich at river belle terrace and the carne at cucamonga.
2. disneyland rocks entertainment and theming, compared with disney california adventure. however, when it comes to food, california adventure is far superior.
3. cast members will not question a solo adult ordering a meal.
4. never pay for bottled water. any restaurant with a soda fountain will give you free ice water. just ask!
5. many of the best restaurants are nestled in odd locations.
6. eat it all? toss food in the trash. most restaurants offer containers.
7. i have a sweet tooth. but if i had to choose eating savory or sweet at disneyland, sweet wins every time. sugary confections are magical.
8. most legendary foods are overrated. the mickey pretzel, and pancakes are not worthy of beloved mouse. the rare exception: the embossed mickey mouse waffle at plaza inn. but make sure you drown it with caramel banana sauce. (brad concurs, and he mince words: “the was disgusting.”)
10. disneyland appears to be shrinking. returning to the park after a break, i was struck by how unbearable the crowds have become even midweek, when it should be manageable. literally no room to walk, especially before and after the fireworks show. i can see why the park is putting the squeeze ons by raising prices. disneyland has outgrown its space. i imagine what it will be like when “star wars” land opens.
nancy luna was born and raised in orange. been an disneyland for more than 15 years.
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ɪn lɛs ðən tu mənθs, ˈrɛˌstrɑnt ˈkrɪtɪk bræd ə. ˈʤɑnsən ənd aɪ ɛmˈbɑrkt ɔn ə ˈʤərni θru ˈdɪzniˌlænd rɪˈzɔrt ðət, æt taɪmz, wɑz boʊθ ənd palate-pleasing*. ɪt wɑz ə pləm əˈsaɪnmənt. wi bɔt ˈænjuəl ˈpæsɪz ˌbiˈfɔr ðə ˈpraɪsɪz wɛnt əp! ənd spɛnt moʊst ˈwərkˌdeɪz duɪŋ wət wi ləv tɪ du: it ənd ɪˈvæljuˌeɪt. tɪ ˌrivˈju 70 ˈrɛˌstrɑnts ɪn sɪks wiks, wi ˌdɪˈsaɪdɪd tɪ dɪˈvaɪd ənd ˈkɑŋkər. bræd ˈtækəld 20 ˈrɛˌstrɑnts. mi ðə fæst fud ˈmeɪvən? səm maɪt seɪ aɪ dru ðə ʃɔrt stɪk, tæskt wɪθ ˈdaɪnɪŋ æt ˈɛvəri ˈrɛˌstrɑnt, frəm ˈbəfəts tɪ fud kɑrts ənd ˈkaʊntərz. bræd gɪts ˈsərkəl waɪl aɪ gɪt ɪn toontown*? ɪt bi ðət bæd, kʊd ɪt? maɪ ˈdɪzni ˈbəkɪt lɪst dɪd ˌɪnˈklud ˈlɛʤənˌdɛri fudz ðə kɔrn dɔg, ðə ˈpaɪˌnæpəl sɔft sərv ənd lɑts əv ˈmɪki kriˈeɪʃənz. maɪ ˈstrætəʤi goʊɪŋ ɪn: ˈnɛvər it ðə hoʊl θɪŋ, ənd greɪz wɪʧ teɪk məʧ ˈwɪlˌpaʊər wɪn ðə fud ɪz ˌmidiˈoʊkər. ənd ðət wɑz ðə keɪs moʊst əv ðə taɪm. aɪ ˈnɛvər θru əp, bət aɪ dɪd spɪt aʊt ə ˈkəpəl fudz ðət wər tu groʊs tɪ sˈwɔloʊ. ˈdʊrɪŋ ðə ˈhoʊmˌstrɛʧ, aɪ hɪt ə wɔl. wɪθ ˈdɪzni ˌkæləˈfɔrnjə ədˈvɛnʧər ˈkloʊzɪŋ ˈərliər ðən aɪ hæd ɪkˈspɛktɪd, aɪ wɛnt ɔn ə ˈhæˌfaʊər bɪnʤ wən naɪt. aɪ ˈsæmpəld ˈənjən rɪŋz, ə ˈʧɪkən ˈsænwɪʧ, ə ˈsæləd, ə bərˈitoʊ ənd ə tamale*. ɔn maɪ weɪ hoʊm, wɪθ ðə smɛl əv ˈkɑmˌboʊ pleɪt ˈlɛfˌtoʊvərz ˈwɑftɪŋ θru maɪ kɑr, aɪ gru ˈnɔziˌeɪtəd. maɪ ˈstəmək kræmpt. aɪ wɑz ɪn ə ˌfʊlˈbloʊn daɪˈʤɛstɪv dɪˈstrɛs maɪ ˈpənɪʃɪŋ riˈækʃən tɪ ðə ˈfaɪnəl lɛg əv maɪ ˈdɪzniˌlænd daɪət. aɪ meɪd ɪt hoʊm ɔn ˈɔtoʊˌpaɪlət. maɪ ˈhəzbənd sɛnst maɪ grin ˈɔrə ɛz aɪ ˈstəmbəld θru ðə dɔr. ɪt going?”*?” hi æst. good,”*,” aɪ toʊld ɪm. aɪ kərld əp ɪn bɛd, ʧuɪŋ ə ˈmaʊθˌfʊl əv təmz. aɪ stɪl hæd sɪks mɔr ˈrɛˌstrɑnts tɪ hɪt tɪ mit ˈdɛˌdlaɪn. aɪ goʊ on?”*?” aɪ θɔt tɪ ˌmaɪˈsɛlf. rɛst ənd ænˈtæsədz rɪˈvaɪvd mi: aɪ ˈfɪnɪʃt ə fju deɪz ˈleɪtər. maɪ ˈdɪzniˌlænd daɪət ˌɪnˈkludɪd 198 milz ˈoʊvər 105 ˈvɪzɪts tɪ 50 ˈrɛˌstrɑnts. dɪd aɪ geɪn weɪt? səˈpraɪzɪŋli nɑt. dɪd aɪ faɪnd θɪŋz aɪ ləvd? ˌæbsəˈlutli. wɑz ɪt ə ˈmæʤɪkəl ɪkˈspɪriəns? nɑt baɪ ə lɔŋ ʃɑt. bət, ˈəltəmətli, ɪt wɑz ə fud ˈʤərni aɪ wɪl ˈnɛvər fərˈgɛt. ə ˈraʊnˌdəp əv wət wi ˈlərnɪd. 1 ˈɛnibədi kən rɛnt ə ˈskutər ɪf tu ˈleɪzi tɪ wɔk əraʊnd ðə pɑrks ɔl deɪ. 2 lənʧ ɪz kənˈsɪstəntli ˈbɛtər ðən ˈdɪnər æt ˈrɛˌstrɑnts ðət sərv boʊθ. 3 ˈθaʊzənz əv ər tərnd əˈweɪ ˈɛvəri deɪ wɪn ðeɪ ˈriəˌlaɪz ðət ðeɪ ˈnidɪd tɪ meɪk ˌrɛzərˈveɪʃənz ˈsɛvərəl deɪz ɪn ədˈvæns fər wən əv ðə ˈrɛˌstrɑnts. 4 ðə ˈmɑnti ˈkrɪˌstoʊ æt kəˈfeɪ ˌɔˈrlinz ɪz ˌɛkspoʊˈnɛnʃəli ˈbɛtər ðən ðə səˈpoʊzədli seɪm ˈsænwɪʧ æt blu baɪu. 5 ðə bɛst ˌmɑrgɛˈritəs ər æt tɔrˈtiə ənd koʊv bɑr; əˈvɔɪd ðə ˈhɔrəbəl ˌmɑrgɛˈritəs æt ðə stænd æt pəˈsɪfɪk wɔrf. 6 ˈwɛnzˌdeɪ ɪz ðə bɛst deɪ fər ˈgɪtɪŋ ˈɪntu ə ˈrɛˌstrɑnt wɪˈθaʊt ə ˌrɛzərˈveɪʃən. 7 ˈrɛˌstrɑnts ɪn ˈdaʊnˈtaʊn ˈdɪzni ər ˈfrikwɛntli bʊkt aʊt fər ˈpraɪvət ɪˈvɛnts baɪ kənˌvɛnʃəˈnɪrz, bət ˈtɪpɪkəli ɔn ˈwikˌdeɪz ˈoʊnli. 8 kɑrˈneɪʃən kəˈfeɪ ɪz ðə ˈoʊnli pleɪs ɪn ˈdɪzniˌlænd wɛr ju kən gɪt mɔlts, ənd məʧ ˈbɛtər ðən ðə mɔlts æt ər ʃeɪks æt kəˈfeɪ ɪn ˌkæləˈfɔrnjə ədˈvɛnʧər. 9 ju kən it æt ðə bɑr æt ˈsteɪˌkhaʊs 55 wɪˈθaʊt ə ˌrɛzərˈveɪʃən, bət ðeɪ sərv steɪks æt ðə bɑr, soʊ ðə pɔɪnt? 10 ɔl ˈrɛˌstrɑnts æt ˈdɪzni, ˈivɪn ðə ˈnaɪsɪst wənz, ˈdɛspərətli nid dip ˈklinɪŋ. ˈteɪbəlz ənd ʧɛrz ər ˌgɛrənˈtid tɪ bi ˈstɪki ənd ˈgrənʤi. 11 ðə bɛst (ˈklinəst ənd moʊst ˈpraɪvət) ˈrɛˌstrumz ˌɪnˈsaɪd ðə pɑrks ər ˌɪnˈsaɪd blu baɪu ənd ˈsərkəl. 1 ˈdɪzni du bif wɛl. wɪθ ðə ɪkˈsɛpʃən əv ðə nu fərst ˈɔrdər ˈbərgər æt gəˈlæktɪk grɪl (ˈfɔrmərli ˈtɛrəs), ðə ˈbərgərz ər ˈhɔrəbəl. ənd ðə bənz? ðeɪ dɪˈzɑlv ˈəndər ðə ˈlaɪtəst əv sprɛdz. aɪ ˈkɑnstəntli faʊnd ˌmaɪˈsɛlf ˈjuzɪŋ ə fɔrk ɔn moʊst ˈsænwɪʧɪz. ˈəðər bif feɪlz: ðə steɪk ˈgəmboʊ æt rɔɪəl strit vərˈændə, ðə frɛnʧ dɪp æt frɛnʧ ˈmɑrkɪt, ðə ənd ˈʧɛdər ˈsænwɪʧ æt ˈrɪvər bɛl ˈtɛrəs ənd ðə kɑrn æt cucamonga*. 2 ˈdɪzniˌlænd rɑks ˌɛnərˈteɪnmənt ənd ˈθimɪŋ, kəmˈpɛrd wɪθ ˈdɪzni ˌkæləˈfɔrnjə ədˈvɛnʧər. ˌhaʊˈɛvər, wɪn ɪt kəmz tɪ fud, ˌkæləˈfɔrnjə ədˈvɛnʧər ɪz fɑr suˈpɪriər. 3 kæst ˈmɛmbərz wɪl nɑt kˈwɛʃən ə ˈsoʊˌloʊ ˈædəlt ˈɔrdərɪŋ ə mil. 4 ˈnɛvər peɪ fər ˈbɑtəld ˈwɔtər. ˈɛni ˈrɛˌstrɑnt wɪθ ə ˈsoʊdə ˈfaʊntən wɪl gɪv ju fri aɪs ˈwɔtər. ʤɪst æsk! 5 ˈmɛni əv ðə bɛst ˈrɛˌstrɑnts ər ˈnɛsəld ɪn ɑd loʊˈkeɪʃənz. 6 it ɪt ɔl? tɔs fud ɪn ðə træʃ. moʊst ˈrɛˌstrɑnts ˈɔfər kənˈteɪnərz. 7 aɪ hæv ə swit tuθ. bət ɪf aɪ hæd tɪ ʧuz ˈitɪŋ ˈseɪvəri ər swit æt ˈdɪzniˌlænd, swit wɪnz ˈɛvəri taɪm. ˈʃʊgəri kənˈfɛkʃənz ər ˈmæʤɪkəl. 8 moʊst ˈlɛʤənˌdɛri fudz ər ˌoʊvərˈreɪtɪd. ðə ˈmɪki ˈprɛtzəl, ənd ˈpænˌkeɪks ər nɑt ˈwərði əv bɪˈləvəd maʊs. ðə rɛr ɪkˈsɛpʃən: ðə ɪmˈbɔst ˈmɪki maʊs ˈwɑfəl æt ˈplɑzə ɪn. bət meɪk ʃʊr ju draʊn ɪt wɪθ ˈkɛrəməl bəˈnænə sɔs. (bræd kənˈkərz, ənd hi mɪns wərdz: wɑz disgusting.”*.”) 10 ˈdɪzniˌlænd əˈpɪrz tɪ bi ʃˈrɪŋkɪŋ. rɪˈtərnɪŋ tɪ ðə pɑrk ˈæftər ə breɪk, aɪ wɑz strək baɪ haʊ ənˈbɛrəbəl ðə kraʊdz hæv bɪˈkəm ˈivɪn ˈmɪdˌwik, wɪn ɪt ʃʊd bi ˈmænɪʤəbəl. ˈlɪtərəli noʊ rum tɪ wɔk, əˈspɛʃəli ˌbiˈfɔr ənd ˈæftər ðə ˈfaɪrˌwərks ʃoʊ. aɪ kən si waɪ ðə pɑrk ɪz ˈpʊtɪŋ ðə skwiz ɔn baɪ ˈreɪzɪŋ ˈpraɪsɪz. ˈdɪzniˌlænd həz ˌaʊtˈgroʊn ɪts speɪs. aɪ ˌɪˈmæʤən wət ɪt wɪl bi laɪk wɪn wars”*” lænd ˈoʊpənz. ˈnænsi ˈlunə wɑz bɔrn ənd reɪzd ɪn ˈɔrɪnʤ. bɪn ən ˈdɪzniˌlænd fər mɔr ðən 15 jɪrz. ˈkɑnˌtækt ðə ˈraɪtər:
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disney's sports network, hit by subscriber declines, will benefit from being digitally distributed that will unlock the company's stock, capital markets said.
media analyst steve cahall put a $130 price target for this year on shares of disney, nearly 20 percent higher than wednesday's premarket price of $109.
"what we think is really getting better with is these new virtual cable distribution platforms," cahall told "squawk box" on wednesday. is set to launch soon, now recently launched, and [disney ceo] bob iger last night indicated that they're going to be on google as well as some others."
google has not confirmed anything yet, but is widely expected to launch live tv.
in an interview with on tuesday, iger said there was "way too much pessimism" around's slumping subscriber growth. he said disney's strategy is to launch the sports network with every new digital service.
"[digital distribution] helps stabilize that base, it supports their traditional affiliate fees, so that's what the stock," said cahall.
disney's recent investment in media streaming giant will also strongly position the company and in the years to come, cahall contended.
"bamtech has the leading technology for concurrent streaming. and so if you think of how we might be watching live sports five or 10 years from now, chances are it will be very digital," the analyst said.
"so whether or not it owns the sports right[s], whether or not it owns the platform that we're watching it on may be less important because it will be owning the production of actually getting that in front of us via," he continued.
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ˈdɪzniz spɔrts ˈnɛtˌwərk, hɪt baɪ səbˈskraɪbər dɪˈklaɪnz, wɪl ˈbɛnəfɪt frəm biɪŋ ˈdɪʤətəli dɪˈstrɪbjətəd ðət wɪl ənˈlɑk ðə ˈkəmpəniz stɑk, ˈkæpɪtəl ˈmɑrkɪts sɛd. ˈmidiə ˈænəlɪst stiv ˈkæhəl pʊt ə 130 praɪs ˈtərgət fər ðɪs jɪr ɔn ʃɛrz əv ˈdɪzni, ˈnɪrli 20 pərˈsɛnt haɪər ðən ˈwɛnzˌdeɪz ˈpriˈmɑrkət praɪs əv 109 "wət wi θɪŋk ɪz ˈrɪli ˈgɪtɪŋ ˈbɛtər wɪθ ɪz ðiz nu ˈvərʧuəl ˈkeɪbəl ˌdɪstrəˈbjuʃən ˈplætˌfɔrmz," ˈkæhəl toʊld "skwɔk bɑks" ɔn ˈwɛnzˌdeɪ. ɪz sɛt tɪ lɔnʧ sun, naʊ ˈrisəntli lɔnʧt, ənd [ˈdɪzni ˈsiˌiˈoʊ] bɑb ˈaɪgər læst naɪt ˈɪndəˌkeɪtɪd ðət ðɛr goʊɪŋ tɪ bi ɔn ˈgugəl ɛz wɛl ɛz səm ˈəðərz." ˈgugəl həz nɑt kənˈfərmd ˈɛniˌθɪŋ jɛt, bət ɪz ˈwaɪdli ɪkˈspɛktɪd tɪ lɔnʧ lɪv ˌtɛləˈvɪʒən. ɪn ən ˈɪntərvˌju wɪθ ɔn ˈtuzˌdeɪ, ˈaɪgər sɛd ðɛr wɑz "weɪ tu məʧ ˈpɛsəˌmɪzəm" əraʊnd sˈləmpɪŋ səbˈskraɪbər groʊθ. hi sɛd ˈdɪzniz ˈstrætəʤi ɪz tɪ lɔnʧ ðə spɔrts ˈnɛtˌwərk wɪθ ˈɛvəri nu ˈdɪʤɪtəl ˈsərvɪs. "[ˈdɪʤɪtəl ˌdɪstrəˈbjuʃən] hɛlps ˈsteɪbəˌlaɪz ðət beɪs, ɪt səˈpɔrts ðɛr trəˈdɪʃənəl əˈfɪliˌeɪt fiz, soʊ ðæts wət ðə stɑk," sɛd ˈkæhəl. ˈdɪzniz ˈrisənt ˌɪnˈvɛstmənt ɪn ˈmidiə ˈstrimɪŋ ʤaɪənt wɪl ˈɔlsoʊ ˈstrɔŋli pəˈzɪʃən ðə ˈkəmpəˌni ənd ɪn ðə jɪrz tɪ kəm, ˈkæhəl kənˈtɛndɪd. həz ðə ˈlidɪŋ tɛkˈnɑləʤi fər kənˈkərənt ˈstrimɪŋ. ənd soʊ ɪf ju θɪŋk əv haʊ wi maɪt bi ˈwɑʧɪŋ lɪv spɔrts faɪv ər 10 jɪrz frəm naʊ, ˈʧænsɪz ər ɪt wɪl bi ˈvɛri ˈdɪʤɪtəl," ðə ˈænəlɪst sɛd. "soʊ ˈwɛðər ər nɑt ɪt oʊnz ðə spɔrts right[s*], ˈwɛðər ər nɑt ɪt oʊnz ðə ˈplætˌfɔrm ðət wɪr ˈwɑʧɪŋ ɪt ɔn meɪ bi lɛs ˌɪmˈpɔrtənt bɪˈkəz ɪt wɪl bi ˈoʊnɪŋ ðə pərˈdəkʃən əv ˈæˌkʧuəli ˈgɪtɪŋ ðət ɪn frənt əv ˈjuˈɛs ˈviə," hi kənˈtɪnjud.
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mfa vs. cpu: another article misses the bigger picture
lincoln michel blocked follow following mar 7, 2016
every now and then, the literary world likes to take a break from debating whether are taking over or whether the novel is dead to discuss an even more pressing matter: are programs bad?
of all the literary debates, the question might be the dullest, because the stakes are so low. some writers like to take a few classes for a couple years, others. an important debate about funding especially in this baby economy but otherwise who really cares if an author has taken a few writing workshops? not many editors, reviewers, or readers do. but that fact is actually interesting about the debate: it tends to completely ignore the groups that actually determine what gets published in favor of an-centric theory of the literary universe where all other players orbit around the, propelled by its gravity.
this weekend, the atlantic jumped into the debate with “how has the changed the contemporary novel?” if you are intrigued by the title, be. the article examine how the rise of programs has changed contemporary fiction. not even any discussion of fiction before the rise of programs. instead, authors richard jean so and andrew piper “two professors of language and literature who regularly use computation to test common assumptions about culture” set out investigate a question that i truly believe no one has ever asked: are published novels by writers withs stylistically similar to published novels by authors withouts that are reviewed by the new york times?
a question that i truly believe no one has ever asked: are published novels by writers withs stylistically similar to published novels by authors withouts that are reviewed by the new york times?
so and piper use “a variety of tools from the field of computational text analysis” (talk about vague) to compare some novels from grads (story writers, poets, and non-fiction writers are ignored) to new york novels by authors like donna tartt and sharma. their computer detect much difference in vocabulary or syntax between the two sets of novels. the authors investigate why stylistically similar books are being shopped by agents and published by editors. instead, they assume what is published is representative of what is written, and conclude that programs affect writers.
the central question itself is a little bizarre. who argues that grads write differently from their mainstream literary fiction peers? most aspiring novelists go tos precisely to be able to write the kind of work that gets published by big houses and reviewed in major papers i.e., mainstream literary fiction. so and piper might have found very different results if they compared the works of grads to, say, small press horror novels or romance.
most aspiring novelists go tos precisely to be able to write the kind of work that gets published by big houses and reviewed in major papers i.e., mainstream literary fiction.
because of this sloppy methodology, so and piper fail to rebut either the pro- or anti- crowds, despite claiming to rebut both. the argument fors is essentially that studying the craft and taking dedicated time to work with engaged peers will help your writing get better. (the more cynical might say that even if it help your writing, it can get you important connections.) does the help people get better? in my experience, yes, but so and piper make no attempt to analyze whether writers improve or change during an. they compare authors’ work before and after programs, nor do they see if writers’ publication rate or job prospects increase after getting an.
so and piper also make the faulty assumption that the influence of writing can be measured by degrees. a case in point: one of the three examples the atlantic gives for a writer they analyzed is sharma. sharma studied under writers like joyce carol oates and paul auster in undergrad, then was awarded a prestigious stegner creative writing fellowship, and has taught in the program at rutgers. it is only a technicality that sharma count as an author (the stegner is an-style creative writing program at stanford that is largely awarded to people who already holds). the authors make their data public, but little doubt that their “non-mfa” data set is filled with writers who similarly either studied creative writing in undergrad or teach in programs.
the atlantic piece is part of a rise in “data journalism” invading the arts. computer analysis of artistic works can be interesting, but the majority of the time it seems to show the biases and assumptions of the authors rather than anything about the work itself. everyone knows how nate silver revolutionized baseball analytics and election forecasting with his approach, but when silver launched his website and attempted to extend “data journalism” into the arts, the results have been pretty silly. i still remember when the site launched, it featured an analysis of romeo and juliet that declared “more than 400 years after shakespeare wrote it, we can now say that ‘romeo and juliet’ has the wrong name.” the author “discovered this by writing a computer program to count how many lines each pair of characters in ‘romeo and juliet’ spoke to each other” and being shocked to find that romeo and juliet speak to each other as much as they speak to other characters. of course, anyone who studied that play in middle school knows that the entire point of the play is that romeo and juliet are “star-crossed lovers” whose relationship is thwarted by outside forces. we need data to tell us the main characters are kept apart from each other, literally what the entire plot revolves around.
so and piper get into detail about how their data analysis works, but what they do say brings up far more questions than answers. for example, so and piper claim to analyze the “themes” of and novels, but spend only two sentences describing this:
to test whether this was the case, we used a method called topic modeling that examines themes instead of individual words. and while novels do tend to slightly favor certain themes like “family” or “home,” overall no predictable way these topics appear with any regularity in novels written by creative writing graduates more than other people who write novels.
telling us a book is about “home” or “family” really delving into its themes in any meaningful way. would so and program tell us the “themes” of the metamorphosis and are “insects” and “the ocean”? later, they claim to calculate the number of “strong female characters” in the novels without any explanation of how their algorithm decides which female characters are strong and which are flat and cliché. (i assume the authors are being loose with language and by “strong” they just mean “has a lot of lines,” but who knows.)
would so and program tell us the “themes” of the metamorphosis and are “insects” and “the ocean”?
the only interesting parts of the essay are when so and piper say their program detect much difference between the voices of writers of color and white writers, and when they note that women characters are underrepresented in all books. but this part only highlights again how weak their argument is and the arguments of so many similar articles because they completely ignore the elephant in the room: the publishing industry.
while so and piper note that programs claim to be “challenging ‘patriarchy’ and ‘heteronormativity’” while producing sexist work, they seem to naively believe that programs determine what gets published. they. writers with or without degrees either. writers of color frequently talk about how editors ask them to make their voices “less ethnic” or change their books to fit what “the market” wants. groups such as vida have long highlighted gender disparity in publishing and in reviewing. while there is certainly sexism and racism in the world, what and who gets published and covered is far more determined by editors, agents, marketing directors, reviewers, publicists, and even readers than professors.
this is ultimately the problem with the entire debate. it ignores all the outside pressures, signals, influences, and factors that determine what gets published.s can be useful to writers, especially when they are well funded, but ultimately, the is only two to three years out of a life. those years outweigh decades of signaling from the publishing industry, major newspapers, and magazines about what type of fiction is popular and publishable. and they outweigh years of personal reading habits and taste either. writers tend to leave the program with their tastes and style in tact and their writing a little more honed. hopefully they have a polished manuscript freshly printed in their hands. but when the leave the warm confines of the program, they face the cold world of agents, editors, and readers who care less what workshop comments or professor feedback they got.
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mfa* ˈvərsəz. cpu*: əˈnəðər ˈɑrtɪkəl ˈmɪsɪz ðə ˈbɪgər ˈpɪkʧər ˈlɪŋkən ˈmɪʧəl blɑkt ˈfɑloʊ ˈfɑloʊɪŋ mɑr 7 2016 ˈɛvəri naʊ ənd ðɛn, ðə ˈlɪtərˌɛri wərld laɪks tɪ teɪk ə breɪk frəm dəˈbeɪtɪŋ ˈwɛðər ər ˈteɪkɪŋ ˈoʊvər ər ˈwɛðər ðə ˈnɑvəl ɪz dɛd tɪ dɪˈskəs ən ˈivɪn mɔr ˈprɛsɪŋ ˈmætər: ər ˈproʊˌgræmz bæd? əv ɔl ðə ˈlɪtərˌɛri dəˈbeɪts, ðə kˈwɛʃən maɪt bi ðə ˈdələst, bɪˈkəz ðə steɪks ər soʊ loʊ. səm ˈraɪtərz laɪk tɪ teɪk ə fju ˈklæsɪz fər ə ˈkəpəl jɪrz, ˈəðərz. ən ˌɪmˈpɔrtənt dəˈbeɪt əˈbaʊt ˈfəndɪŋ əˈspɛʃəli ɪn ðɪs ˈbeɪbi ɪˈkɑnəmi bət ˈəðərˌwaɪz hu ˈrɪli kɛrz ɪf ən ˈɔθər həz ˈteɪkən ə fju ˈraɪtɪŋ ˈwərkˌʃɑps? nɑt ˈmɛni ˈɛdɪtərz, rivˈjuərz, ər ˈridərz du. bət ðət fækt ɪz ˈæˌkʧuəli ˈɪntəˌrɛstɪŋ əˈbaʊt ðə dəˈbeɪt: ɪt tɛndz tɪ kəmˈplitli ˌɪgˈnɔr ðə grups ðət ˈæˌkʧuəli dɪˈtərmən wət gɪts ˈpəblɪʃt ɪn ˈfeɪvər əv ən ˈθɪri əv ðə ˈlɪtərˌɛri ˈjunəˌvərs wɛr ɔl ˈəðər pleɪərz ˈɔrbət əraʊnd ðə, prəˈpɛld baɪ ɪts ˈgrævɪti. ðɪs ˈwiˌkɪnd, ðə əˈtlæntɪk ʤəmpt ˈɪntu ðə dəˈbeɪt wɪθ həz ðə ʧeɪnʤd ðə kənˈtɛmpərˌɛri novel?”*?” ɪf ju ər ˌɪnˈtrigd baɪ ðə ˈtaɪtəl, bi. ðə ˈɑrtɪkəl ɪgˈzæmɪn haʊ ðə raɪz əv ˈproʊˌgræmz həz ʧeɪnʤd kənˈtɛmpərˌɛri ˈfɪkʃən. nɑt ˈivɪn ˈɛni dɪˈskəʃən əv ˈfɪkʃən ˌbiˈfɔr ðə raɪz əv ˈproʊˌgræmz. ˌɪnˈstɛd, ˈɔθərz ˈrɪʧərd ʤin soʊ ənd ˈændru ˈpaɪpər prəˈfɛsərz əv ˈlæŋgwɪʤ ənd ˈlɪtərəʧər hu ˈrɛgjələrli juz ˌkɑmpjəˈteɪʃən tɪ tɛst ˈkɑmən əˈsəmpʃənz əˈbaʊt culture”*” sɛt aʊt ˌɪnˈvɛstəˌgeɪt ə kˈwɛʃən ðət aɪ ˈtruli bɪˈliv noʊ wən həz ˈɛvər æst: ər ˈpəblɪʃt ˈnɑvəlz baɪ ˈraɪtərz wɪθ staɪˈlɪstɪkli ˈsɪmələr tɪ ˈpəblɪʃt ˈnɑvəlz baɪ ˈɔθərz wɪˈθaʊt ðət ər rivˈjud baɪ ðə nu jɔrk taɪmz? ə kˈwɛʃən ðət aɪ ˈtruli bɪˈliv noʊ wən həz ˈɛvər æst: ər ˈpəblɪʃt ˈnɑvəlz baɪ ˈraɪtərz wɪθ staɪˈlɪstɪkli ˈsɪmələr tɪ ˈpəblɪʃt ˈnɑvəlz baɪ ˈɔθərz wɪˈθaʊt ðət ər rivˈjud baɪ ðə nu jɔrk taɪmz? soʊ ənd ˈpaɪpər juz vərˈaɪəti əv tulz frəm ðə fild əv ˌkɑmpjuˈteɪʃənəl tɛkst analysis”*” (tɔk əˈbaʊt veɪg) tɪ kəmˈpɛr səm ˈnɑvəlz frəm grædz (ˈstɔri ˈraɪtərz, poʊəts, ənd nɑnˈfɪkʃən ˈraɪtərz ər ˌɪgˈnɔrd) tɪ nu jɔrk ˈnɑvəlz baɪ ˈɔθərz laɪk ˈdɑnə tɑrt ənd ˈʃɑrmə. ðɛr kəmˈpjutər dɪˈtɛkt məʧ ˈdɪfərəns ɪn voʊˈkæbjəˌlɛri ər ˈsɪnˌtæks bɪtˈwin ðə tu sɛts əv ˈnɑvəlz. ðə ˈɔθərz ˌɪnˈvɛstəˌgeɪt waɪ staɪˈlɪstɪkli ˈsɪmələr bʊks ər biɪŋ ʃɑpt baɪ ˈeɪʤənts ənd ˈpəblɪʃt baɪ ˈɛdɪtərz. ˌɪnˈstɛd, ðeɪ əˈsum wət ɪz ˈpəblɪʃt ɪz ˌrɛprɪˈzɛnətɪv əv wət ɪz ˈrɪtən, ənd kənˈklud ðət ˈproʊˌgræmz əˈfɛkt ˈraɪtərz. ðə ˈsɛntrəl kˈwɛʃən ˌɪtˈsɛlf ɪz ə ˈlɪtəl bɪˈzɑr. hu ˈɑrgjuz ðət grædz raɪt ˈdɪfərˈɛntli frəm ðɛr ˈmeɪnˌstrim ˈlɪtərˌɛri ˈfɪkʃən pɪrz? moʊst əˈspaɪrɪŋ ˈnɑvələsts goʊ tɪ prɪˈsaɪsli tɪ bi ˈeɪbəl tɪ raɪt ðə kaɪnd əv wərk ðət gɪts ˈpəblɪʃt baɪ bɪg ˈhaʊsɪz ənd rivˈjud ɪn ˈmeɪʤər ˈpeɪpərz i.e*., ˈmeɪnˌstrim ˈlɪtərˌɛri ˈfɪkʃən. soʊ ənd ˈpaɪpər maɪt hæv faʊnd ˈvɛri ˈdɪfərənt rɪˈzəlts ɪf ðeɪ kəmˈpɛrd ðə wərks əv grædz tɪ, seɪ, smɔl prɛs ˈhɔrər ˈnɑvəlz ər ˈroʊmæns. moʊst əˈspaɪrɪŋ ˈnɑvələsts goʊ tɪ prɪˈsaɪsli tɪ bi ˈeɪbəl tɪ raɪt ðə kaɪnd əv wərk ðət gɪts ˈpəblɪʃt baɪ bɪg ˈhaʊsɪz ənd rivˈjud ɪn ˈmeɪʤər ˈpeɪpərz i.e*., ˈmeɪnˌstrim ˈlɪtərˌɛri ˈfɪkʃən. bɪˈkəz əv ðɪs sˈlɑpi ˌmɛθəˈdɑləʤi, soʊ ənd ˈpaɪpər feɪl tɪ rɪˈbət ˈiðər ðə proʊ- ər ˈænˌti- kraʊdz, dɪˈspaɪt ˈkleɪmɪŋ tɪ rɪˈbət boʊθ. ðə ˈɑrgjəmənt fər ɪz ɛˈsɛnʃəli ðət ˈstədiɪŋ ðə kræft ənd ˈteɪkɪŋ ˈdɛdəkeɪtəd taɪm tɪ wərk wɪθ ɪnˈgeɪʤd pɪrz wɪl hɛlp jʊr ˈraɪtɪŋ gɪt ˈbɛtər. (ðə mɔr ˈsɪnɪkəl maɪt seɪ ðət ˈivɪn ɪf ɪt hɛlp jʊr ˈraɪtɪŋ, ɪt kən gɪt ju ˌɪmˈpɔrtənt kəˈnɛkʃənz.) dɪz ðə hɛlp ˈpipəl gɪt ˈbɛtər? ɪn maɪ ɪkˈspɪriəns, jɛs, bət soʊ ənd ˈpaɪpər meɪk noʊ əˈtɛmpt tɪ ˈænəˌlaɪz ˈwɛðər ˈraɪtərz ˌɪmˈpruv ər ʧeɪnʤ ˈdʊrɪŋ ən. ðeɪ kəmˈpɛr authors’*’ wərk ˌbiˈfɔr ənd ˈæftər ˈproʊˌgræmz, nɔr du ðeɪ si ɪf writers’*’ ˌpəblɪˈkeɪʃən reɪt ər ʤɑb ˈprɑspɛkts ˌɪnˈkris ˈæftər ˈgɪtɪŋ ən. soʊ ənd ˈpaɪpər ˈɔlsoʊ meɪk ðə ˈfɔlti əˈsəmpʃən ðət ðə ˈɪnfluəns əv ˈraɪtɪŋ kən bi ˈmɛʒərd baɪ dɪˈgriz. ə keɪs ɪn pɔɪnt: wən əv ðə θri ɪgˈzæmpəlz ðə əˈtlæntɪk gɪvz fər ə ˈraɪtər ðeɪ ˈænəˌlaɪzd ɪz ˈʃɑrmə. ˈʃɑrmə ˈstədid ˈəndər ˈraɪtərz laɪk ʤɔɪs ˈkɛrəl oʊts ənd pɔl ˈɔstər ɪn ˈəndərˌgræd, ðɛn wɑz əˈwɔrdɪd ə pərˈstiʤəs ˈstɛgnər kriˈeɪtɪv ˈraɪtɪŋ ˈfɛloʊˌʃɪp, ənd həz tɔt ɪn ðə ˈproʊˌgræm æt ˈrətgərz. ɪt ɪz ˈoʊnli ə ˌtɛknɪˈkælɪti ðət ˈʃɑrmə kaʊnt ɛz ən ˈɔθər (ðə ˈstɛgnər ɪz ən kriˈeɪtɪv ˈraɪtɪŋ ˈproʊˌgræm æt ˈstænfərd ðət ɪz ˈlɑrʤli əˈwɔrdɪd tɪ ˈpipəl hu ɔˈrɛdi hoʊld). ðə ˈɔθərz meɪk ðɛr ˈdætə ˈpəblɪk, bət ˈlɪtəl daʊt ðət ðɛr ““non-mfa”*” ˈdætə sɛt ɪz fɪld wɪθ ˈraɪtərz hu ˈsɪmələrli ˈiðər ˈstədid kriˈeɪtɪv ˈraɪtɪŋ ɪn ˈəndərˌgræd ər tiʧ ɪn ˈproʊˌgræmz. ðə əˈtlæntɪk pis ɪz pɑrt əv ə raɪz ɪn journalism”*” ˌɪnˈveɪdɪŋ ðə ɑrts. kəmˈpjutər æˈnælɪsɪs əv ɑrˈtɪstɪk wərks kən bi ˈɪntəˌrɛstɪŋ, bət ðə məˈʤɔrəti əv ðə taɪm ɪt simz tɪ ʃoʊ ðə ˈbaɪəsɪz ənd əˈsəmpʃənz əv ðə ˈɔθərz ˈrəðər ðən ˈɛniˌθɪŋ əˈbaʊt ðə wərk ˌɪtˈsɛlf. ˈɛvriˌwən noʊz haʊ neɪt ˈsɪlvər ˌrɛvəˈluʃəˌnaɪzd ˈbeɪsˈbɔl ˌænəˈlɪtɪks ənd ɪˈlɛkʃən ˈfɔrˌkæstɪŋ wɪθ hɪz əˈproʊʧ, bət wɪn ˈsɪlvər lɔnʧt hɪz ˈwɛbˌsaɪt ənd əˈtɛmptəd tɪ ɪkˈstɛnd journalism”*” ˈɪntu ðə ɑrts, ðə rɪˈzəlts hæv bɪn ˈprɪti ˈsɪli. aɪ stɪl rɪˈmɛmbər wɪn ðə saɪt lɔnʧt, ɪt ˈfiʧərd ən æˈnælɪsɪs əv ˈroʊmiˌoʊ ənd ˈʤuliˌɛt ðət dɪˈklɛrd ðən 400 jɪrz ˈæftər ˈʃeɪkˌspir roʊt ɪt, wi kən naʊ seɪ ðət ənd juliet’*’ həz ðə rɔŋ name.”*.” ðə ˈɔθər ðɪs baɪ ˈraɪtɪŋ ə kəmˈpjutər ˈproʊˌgræm tɪ kaʊnt haʊ ˈmɛni laɪnz iʧ pɛr əv ˈkɛrɪktərz ɪn ənd juliet’*’ spoʊk tɪ iʧ other”*” ənd biɪŋ ʃɑkt tɪ faɪnd ðət ˈroʊmiˌoʊ ənd ˈʤuliˌɛt spik tɪ iʧ ˈəðər ɛz məʧ ɛz ðeɪ spik tɪ ˈəðər ˈkɛrɪktərz. əv kɔrs, ˈɛniˌwən hu ˈstədid ðət pleɪ ɪn ˈmɪdəl skul noʊz ðət ðə ɪnˈtaɪər pɔɪnt əv ðə pleɪ ɪz ðət ˈroʊmiˌoʊ ənd ˈʤuliˌɛt ər lovers”*” huz riˈleɪʃənˌʃɪp ɪz θˈwɔrtɪd baɪ ˈaʊtˈsaɪd ˈfɔrsɪz. wi nid ˈdætə tɪ tɛl ˈjuˈɛs ðə meɪn ˈkɛrɪktərz ər kɛpt əˈpɑrt frəm iʧ ˈəðər, ˈlɪtərəli wət ðə ɪnˈtaɪər plɑt riˈvɑlvz əraʊnd. soʊ ənd ˈpaɪpər gɪt ˈɪntu ˈditeɪl əˈbaʊt haʊ ðɛr ˈdætə æˈnælɪsɪs wərks, bət wət ðeɪ du seɪ brɪŋz əp fɑr mɔr kˈwɛsʧənz ðən ˈænsərz. fər ɪgˈzæmpəl, soʊ ənd ˈpaɪpər kleɪm tɪ ˈænəˌlaɪz ðə ““themes”*” əv ənd ˈnɑvəlz, bət spɛnd ˈoʊnli tu ˈsɛntənsɪz dɪˈskraɪbɪŋ ðɪs: tɪ tɛst ˈwɛðər ðɪs wɑz ðə keɪs, wi juzd ə ˈmɛθəd kɔld ˈtɑpɪk ˈmɑdəlɪŋ ðət ɪgˈzæmənz θimz ˌɪnˈstɛd əv ˌɪndəˈvɪʤəwəl wərdz. ənd waɪl ˈnɑvəlz du tɛnd tɪ sˈlaɪtli ˈfeɪvər ˈsərtən θimz laɪk ““family”*” ər ““home,”*,” ˈoʊvərˌɔl noʊ prɪˈdɪktəbəl weɪ ðiz ˈtɑpɪks əˈpɪr wɪθ ˈɛni ˌrɛgjəˈlɛrəti ɪn ˈnɑvəlz ˈrɪtən baɪ kriˈeɪtɪv ˈraɪtɪŋ ˈgræʤəˌweɪts mɔr ðən ˈəðər ˈpipəl hu raɪt ˈnɑvəlz. ˈtɛlɪŋ ˈjuˈɛs ə bʊk ɪz əˈbaʊt ““home”*” ər ““family”*” ˈrɪli ˈdɛlvɪŋ ˈɪntu ɪts θimz ɪn ˈɛni ˈminɪŋfəl weɪ. wʊd soʊ ənd ˈproʊˌgræm tɛl ˈjuˈɛs ðə ““themes”*” əv ðə ˌmɛtəˈmɔrfəsəs ənd ər ““insects”*” ənd ocean”*”? ˈleɪtər, ðeɪ kleɪm tɪ ˈkælkjəˌleɪt ðə ˈnəmbər əv ˈfiˌmeɪl characters”*” ɪn ðə ˈnɑvəlz wɪˈθaʊt ˈɛni ˌɛkspləˈneɪʃən əv haʊ ðɛr ˈælgərˌɪðəm ˌdɪˈsaɪdz wɪʧ ˈfiˌmeɪl ˈkɛrɪktərz ər strɔŋ ənd wɪʧ ər flæt ənd cliché*é. (aɪ əˈsum ðə ˈɔθərz ər biɪŋ lus wɪθ ˈlæŋgwɪʤ ənd baɪ ““strong”*” ðeɪ ʤɪst min ə lɔt əv lines,”*,” bət hu noʊz.) wʊd soʊ ənd ˈproʊˌgræm tɛl ˈjuˈɛs ðə ““themes”*” əv ðə ˌmɛtəˈmɔrfəsəs ənd ər ““insects”*” ənd ocean”*”? ðə ˈoʊnli ˈɪntəˌrɛstɪŋ pɑrts əv ðə ˈɛˌseɪ ər wɪn soʊ ənd ˈpaɪpər seɪ ðɛr ˈproʊˌgræm dɪˈtɛkt məʧ ˈdɪfərəns bɪtˈwin ðə ˈvɔɪsɪz əv ˈraɪtərz əv ˈkələr ənd waɪt ˈraɪtərz, ənd wɪn ðeɪ noʊt ðət ˈwɪmən ˈkɛrɪktərz ər əndərˌrɛprɪˈzɛntɪd ɪn ɔl bʊks. bət ðɪs pɑrt ˈoʊnli ˈhaɪˌlaɪts əˈgɛn haʊ wik ðɛr ˈɑrgjəmənt ɪz ənd ðə ˈɑrgjəmənts əv soʊ ˈmɛni ˈsɪmələr ˈɑrtɪkəlz bɪˈkəz ðeɪ kəmˈplitli ˌɪgˈnɔr ðə ˈɛləfənt ɪn ðə rum: ðə ˈpəblɪʃɪŋ ˈɪndəstri. waɪl soʊ ənd ˈpaɪpər noʊt ðət ˈproʊˌgræmz kleɪm tɪ bi ‘‘patriarchy’*’ ənd ‘‘heteronormativity’”*’” waɪl prəˈdusɪŋ ˈsɛksɪst wərk, ðeɪ sim tɪ nɑˈivli bɪˈliv ðət ˈproʊˌgræmz dɪˈtərmən wət gɪts ˈpəblɪʃt. ðeɪ. ˈraɪtərz wɪθ ər wɪˈθaʊt dɪˈgriz ˈiðər. ˈraɪtərz əv ˈkələr ˈfrikwɛntli tɔk əˈbaʊt haʊ ˈɛdɪtərz æsk ðɛm tɪ meɪk ðɛr ˈvɔɪsɪz ethnic”*” ər ʧeɪnʤ ðɛr bʊks tɪ fɪt wət market”*” wɔnts. grups səʧ ɛz ˈvaɪdə hæv lɔŋ ˈhaɪˌlaɪtɪd ˈʤɛndər dɪˈspɛrəti ɪn ˈpəblɪʃɪŋ ənd ɪn rivˈjuɪŋ. waɪl ðɛr ɪz ˈsərtənli ˈsɛksɪzəm ənd ˈreɪˌsɪzəm ɪn ðə wərld, wət ənd hu gɪts ˈpəblɪʃt ənd ˈkəvərd ɪz fɑr mɔr dɪˈtərmənd baɪ ˈɛdɪtərz, ˈeɪʤənts, ˈmɑrkətɪŋ dɪˈrɛktərz, rivˈjuərz, ˈpəblɪsɪsts, ənd ˈivɪn ˈridərz ðən prəˈfɛsərz. ðɪs ɪz ˈəltəmətli ðə ˈprɑbləm wɪθ ðə ɪnˈtaɪər dəˈbeɪt. ɪt ˌɪgˈnɔrz ɔl ðə ˈaʊtˈsaɪd ˈprɛʃərz, ˈsɪgnəlz, ˈɪnˌfluənsɪz, ənd ˈfæktərz ðət dɪˈtərmən wət gɪts ˈpəblɪʃt. kən bi ˈjusfəl tɪ ˈraɪtərz, əˈspɛʃəli wɪn ðeɪ ər wɛl ˈfəndɪd, bət ˈəltəmətli, ðə ɪz ˈoʊnli tu tɪ θri jɪrz aʊt əv ə laɪf. ðoʊz jɪrz ˈaʊtˌweɪ ˈdɛkeɪdz əv ˈsɪgnəlɪŋ frəm ðə ˈpəblɪʃɪŋ ˈɪndəstri, ˈmeɪʤər ˈnuzˌpeɪpərz, ənd ˈmægəˌzinz əˈbaʊt wət taɪp əv ˈfɪkʃən ɪz ˈpɑpjələr ənd publishable*. ənd ðeɪ ˈaʊtˌweɪ jɪrz əv ˈpərsɪnəl ˈrɛdɪŋ ˈhæbəts ənd teɪst ˈiðər. ˈraɪtərz tɛnd tɪ liv ðə ˈproʊˌgræm wɪθ ðɛr teɪsts ənd staɪl ɪn tækt ənd ðɛr ˈraɪtɪŋ ə ˈlɪtəl mɔr hoʊnd. ˈhoʊpfəli ðeɪ hæv ə ˈpɑlɪʃt ˈmænjəˌskrɪpt ˈfrɛʃli ˈprɪnɪd ɪn ðɛr hænz. bət wɪn ðə liv ðə wɔrm ˈkɑnˌfaɪnz əv ðə ˈproʊˌgræm, ðeɪ feɪs ðə koʊld wərld əv ˈeɪʤənts, ˈɛdɪtərz, ənd ˈridərz hu kɛr lɛs wət ˈwərkˌʃɑp ˈkɑmɛnts ər prəˈfɛsər ˈfidˌbæk ðeɪ gɑt.
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ksp weekly: a flyby and making history!
welcome to weekly, everyone. today, cassini spacecraft will make its last flight near moon, titan, which is the last opportunity to closely observe the lakes and seas of liquid hydrocarbons which extend throughout the northern polar region of the satellite and the final opportunity to use its powerful radar to pass through the mist and take detailed images of the lunar surface. according to nasa, the closest approach to titan is scheduled for pm pdt, today. during its flyby, cassini will pass 979 kilometers (608 miles) from surface at a speed of kilometers per hour. this overflight also means the beginning to grand finale, a final set of 22 orbits between the planet and its rings, ending with a dive into saturn on september that will end the mission. but here to talk about everything and this week was full of advancements, so switch to the topic you came here to read about.
localization work continues and the relentless is bearing its fruits. the work is currently more structure related while the volunteers are in their element making suggestions on grammar and layout to refine the text. working with them to ease some of their burdens by doing some language testing and improving debug tools. the first pass of translation for the is almost complete now, so the teams are looking in the game to make sure the translations actually fit the context. the number of accidental english words that we are encountering in the versions of the game drops by a huge fraction every week! we now have the time and the experience to look at improving the processes involved with localization.
there are other things being done for the final release of. localized and prepared asteroid day for integration to the release and will be getting the test team onto a balance pass for its contracts soon. also spent some time and fixing some bugs in the part upgrade functionality such as applying upgrade node costs correctly. part upgrades will now show all stats updates in the and techtree. also focused on polishing the final details for the russian and spanish contracts, as well as making sure that the names in japanese look like actual names. similarly, we worked on fixing some textures that needed some corrections in every language.
blitworks continues at a very rapid pace with the console builds and our testers are throwing everything at them with rigorous testing. there are important improvements in the control schemes,, and general gameplay that are all in focus while we test the achievement progress system on each platform. save integrity continues to be at the forefront of our minds, and thankfully nothing to report on this matter.
let’s move on to making history advancements, where we have not only been very busy on an level, also been working on several tasks for the upcoming expansion. defining base behaviour and structure of the and connecting it with the core code. so you could say that been lots of code reviews and reviewing design as we continue our agile delivery. in addition, we continue to work on the expansionsystem, out the bundle pipeline, the developers interaction with it and how that feeds through the magical jenkins system. this coupled with some work on testing how to get the game to work nicely with the same code base whether or not the expansion is installed. something that is easy to say but not so easy to do. luckily for us, we have a very talented development team that is working through all of these tough challenges.
the artists on the other hand continue modeling and this week they also finished up our new model, as well as wrapping up a few last details on the model for our first engine. this model includes a blend of existing as well as new parts. and since folks will ask - those are separate tanks you see attached at the base of our 1 replica!
in conjunction with the new parts, the team embrace the task of testing them. this work brings currently known issues that had been deferred into focus. without getting into too much detail, some of the existing bugs that have already been reported but were unable to be fixed efficiently, are now being thoroughly researched because of the potential impact on the expansion. this of course brings benefits to as a whole.
finally, we encourage you to participate in our latest challenge - have you found a green monolith yet? share your encounters with these rare easter eggs with the whole community!
that’s it for this week. be sure to join us on our official forums, and forget to follow us on twitter and facebook. stay tuned for more exciting and upcoming news and development updates!
happy launchings!
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ksp* ˈwikli: ə ˈflaɪˌbaɪ ənd ˈmeɪkɪŋ ˈhɪstəri! ˈwɛlkəm tɪ ˈwikli, ˈɛvriˌwən. təˈdeɪ, kəˈsini ˈspeɪˌskræft wɪl meɪk ɪts læst flaɪt nɪr mun, ˈtaɪtən, wɪʧ ɪz ðə læst ˌɑpərˈtunəti tɪ ˈkloʊsli əbˈzərv ðə leɪks ənd siz əv ˈlɪkwɪd ˌhaɪdroʊˈkɑrbənz wɪʧ ɪkˈstɛnd θruaʊt ðə ˈnɔrðərn ˈpoʊlər ˈriʤən əv ðə ˈsætəˌlaɪt ənd ðə ˈfaɪnəl ˌɑpərˈtunəti tɪ juz ɪts ˈpaʊərfəl ˈreɪˌdɑr tɪ pæs θru ðə mɪst ənd teɪk dɪˈteɪld ˈɪmɪʤɪz əv ðə ˈlunər ˈsərfəs. əˈkɔrdɪŋ tɪ ˈnæsə, ðə ˈkloʊsəst əˈproʊʧ tɪ ˈtaɪtən ɪz ˈskɛʤʊld fər piɛm pdt*, təˈdeɪ. ˈdʊrɪŋ ɪts ˈflaɪˌbaɪ, kəˈsini wɪl pæs 979 ˈkɪləˌmitərz 608 maɪəlz) frəm ˈsərfəs æt ə spid əv ˈkɪləˌmitərz pər aʊər. ðɪs ˈoʊvərˌflaɪt ˈɔlsoʊ minz ðə bɪˈgɪnɪŋ tɪ grænd fəˈnæli, ə ˈfaɪnəl sɛt əv 22 ˈɔrbəts bɪtˈwin ðə ˈplænət ənd ɪts rɪŋz, ˈɛndɪŋ wɪθ ə daɪv ˈɪntu ˈsætərn ɔn sɛpˈtɛmbər ðət wɪl ɛnd ðə ˈmɪʃən. bət hir tɪ tɔk əˈbaʊt ˈɛvriˌθɪŋ ənd ðɪs wik wɑz fʊl əv ədˈvænsmənts, soʊ swɪʧ tɪ ðə ˈtɑpɪk ju keɪm hir tɪ rɛd əˈbaʊt. ˌloʊkələˈzeɪʃən wərk kənˈtɪnjuz ənd ðə rɪˈlɛntlɪs ɪz ˈbɛrɪŋ ɪts fruts. ðə wərk ɪz ˈkərəntli mɔr ˈstrəkʧər rɪˈleɪtɪd waɪl ðə ˌvɑlənˈtɪrz ər ɪn ðɛr ˈɛləmənt ˈmeɪkɪŋ səˈʤɛsʧənz ɔn ˈgræmər ənd leɪaʊt tɪ rɪˈfaɪn ðə tɛkst. ˈwərkɪŋ wɪθ ðɛm tɪ iz səm əv ðɛr ˈbərdənz baɪ duɪŋ səm ˈlæŋgwɪʤ ˈtɛstɪŋ ənd ˌɪmˈpruvɪŋ diˈbəg tulz. ðə fərst pæs əv trænzˈleɪʃən fər ðə ɪz ˈɔlˌmoʊst kəmˈplit naʊ, soʊ ðə timz ər ˈlʊkɪŋ ɪn ðə geɪm tɪ meɪk ʃʊr ðə trænzˈleɪʃənz ˈæˌkʧuəli fɪt ðə ˈkɑntɛkst. ðə ˈnəmbər əv ˌæksəˈdɛnəl ˈɪŋlɪʃ wərdz ðət wi ər ɛnˈkaʊnərɪŋ ɪn ðə ˈvərʒənz əv ðə geɪm drɑps baɪ ə juʤ ˈfrækʃən ˈɛvəri wik! wi naʊ hæv ðə taɪm ənd ðə ɪkˈspɪriəns tɪ lʊk æt ˌɪmˈpruvɪŋ ðə ˈprɑsɛsəz ˌɪnˈvɑlvd wɪθ ˌloʊkələˈzeɪʃən. ðɛr ər ˈəðər θɪŋz biɪŋ dən fər ðə ˈfaɪnəl riˈlis əv ˈloʊkəˌlaɪzd ənd priˈpɛrd ˈæstərˌɔɪd deɪ fər ˌɪnəˈgreɪʃən tɪ ðə riˈlis ənd wɪl bi ˈgɪtɪŋ ðə tɛst tim ˈɔntu ə ˈbæləns pæs fər ɪts ˈkɑnˌtrækts sun. ˈɔlsoʊ spɛnt səm taɪm ənd ˈfɪksɪŋ səm bəgz ɪn ðə pɑrt ˈəpˈgreɪd ˌfəŋkʃəˈnælɪti səʧ ɛz əˈplaɪɪŋ ˈəpˈgreɪd noʊd kɔsts kərˈɛktli. pɑrt ˈəpˌgreɪdz wɪl naʊ ʃoʊ ɔl stæts ˈəpˌdeɪts ɪn ðə ənd techtree*. ˈɔlsoʊ ˈfoʊkɪst ɔn ˈpɑlɪʃɪŋ ðə ˈfaɪnəl ˈditeɪlz fər ðə ˈrəʃən ənd ˈspænɪʃ ˈkɑnˌtrækts, ɛz wɛl ɛz ˈmeɪkɪŋ ʃʊr ðət ðə neɪmz ɪn ˌʤæpəˈniz lʊk laɪk ˈækʧəwəl neɪmz. ˈsɪmələrli, wi wərkt ɔn ˈfɪksɪŋ səm ˈtɛksʧərz ðət ˈnidɪd səm kərˈɛkʃənz ɪn ˈɛvəri ˈlæŋgwɪʤ. kənˈtɪnjuz æt ə ˈvɛri ˈræpɪd peɪs wɪθ ðə ˈkɑnsoʊl bɪldz ənd ɑr ˈtɛstərz ər θroʊɪŋ ˈɛvriˌθɪŋ æt ðɛm wɪθ ˈrɪgərəs ˈtɛstɪŋ. ðɛr ər ˌɪmˈpɔrtənt ˌɪmˈpruvmənts ɪn ðə kənˈtroʊl skimz,, ənd ˈʤɛnərəl ˈgeɪmˌpleɪ ðət ər ɔl ɪn ˈfoʊkɪs waɪl wi tɛst ðə əˈʧivmənt ˈprɑˌgrɛs ˈsɪstəm ɔn iʧ ˈplætˌfɔrm. seɪv ˌɪnˈtɛgrəti kənˈtɪnjuz tɪ bi æt ðə ˈfɔrˌfrənt əv ɑr maɪndz, ənd ˈθæŋkfəli ˈnəθɪŋ tɪ rɪˈpɔrt ɔn ðɪs ˈmætər. muv ɔn tɪ ˈmeɪkɪŋ ˈhɪstəri ədˈvænsmənts, wɛr wi hæv nɑt ˈoʊnli bɪn ˈvɛri ˈbɪzi ɔn ən ˈlɛvəl, ˈɔlsoʊ bɪn ˈwərkɪŋ ɔn ˈsɛvərəl tæsks fər ðə ˈəpˌkəmɪŋ ɪkˈspænʧən. dɪˈfaɪnɪŋ beɪs bɪˈheɪvjər ənd ˈstrəkʧər əv ðə ənd kəˈnɛktɪŋ ɪt wɪθ ðə kɔr koʊd. soʊ ju kʊd seɪ ðət bɪn lɑts əv koʊd rəvˈjuz ənd rivˈjuɪŋ dɪˈzaɪn ɛz wi kənˈtɪnju ɑr ˈæʤəl dɪˈlɪvəri. ɪn əˈdɪʃən, wi kənˈtɪnju tɪ wərk ɔn ðə expansionsystem*, aʊt ðə ˈbəndəl ˈpaɪˌplaɪn, ðə dɪˈvɛləpərz ˌɪnərˈækʃən wɪθ ɪt ənd haʊ ðət fidz θru ðə ˈmæʤɪkəl ˈʤɛŋkɪnz ˈsɪstəm. ðɪs ˈkəpəld wɪθ səm wərk ɔn ˈtɛstɪŋ haʊ tɪ gɪt ðə geɪm tɪ wərk ˈnaɪsli wɪθ ðə seɪm koʊd beɪs ˈwɛðər ər nɑt ðə ɪkˈspænʧən ɪz ˌɪnˈstɔld. ˈsəmθɪŋ ðət ɪz ˈizi tɪ seɪ bət nɑt soʊ ˈizi tɪ du. ˈləkəli fər ˈjuˈɛs, wi hæv ə ˈvɛri ˈtæləntɪd dɪˈvɛləpmənt tim ðət ɪz ˈwərkɪŋ θru ɔl əv ðiz təf ˈʧælənʤɪz. ðə ˈɑrtɪsts ɔn ðə ˈəðər hænd kənˈtɪnju ˈmɑdəlɪŋ ənd ðɪs wik ðeɪ ˈɔlsoʊ ˈfɪnɪʃt əp ɑr nu ˈmɑdəl, ɛz wɛl ɛz ˈræpɪŋ əp ə fju læst ˈditeɪlz ɔn ðə ˈmɑdəl fər ɑr fərst ˈɪnʤən. ðɪs ˈmɑdəl ˌɪnˈkludz ə blɛnd əv ɪgˈzɪstɪŋ ɛz wɛl ɛz nu pɑrts. ənd sɪns foʊks wɪl æsk ðoʊz ər ˈsɛpərˌeɪt tæŋks ju si əˈtæʧt æt ðə beɪs əv ɑr 1 ˈrɛplɪkə! ɪn kənˈʤəŋkʃən wɪθ ðə nu pɑrts, ðə tim ɪmˈbreɪs ðə tæsk əv ˈtɛstɪŋ ðɛm. ðɪs wərk brɪŋz ˈkərəntli noʊn ˈɪʃuz ðət hæd bɪn dɪˈfərd ˈɪntu ˈfoʊkɪs. wɪˈθaʊt ˈgɪtɪŋ ˈɪntu tu məʧ ˈditeɪl, səm əv ðə ɪgˈzɪstɪŋ bəgz ðət hæv ɔˈrɛdi bɪn ˌriˈpɔrtəd bət wər əˈneɪbəl tɪ bi fɪkst ɪˈfɪʃəntli, ər naʊ biɪŋ ˈθəroʊli riˈsərʧt bɪˈkəz əv ðə pəˈtɛnʃəl ˌɪmˈpækt ɔn ðə ɪkˈspænʧən. ðɪs əv kɔrs brɪŋz ˈbɛnəfɪts tɪ ɛz ə hoʊl. ˈfaɪnəli, wi ɪnˈkərəʤ ju tɪ pɑrˈtɪsəˌpeɪt ɪn ɑr ˈleɪtəst ˈʧælənʤ hæv ju faʊnd ə grin ˈmɑnəˌlɪθ jɛt? ʃɛr jʊr ɪnˈkaʊnərz wɪθ ðiz rɛr ˈistər ɛgz wɪθ ðə hoʊl kəmˈjunɪti! ɪt fər ðɪs wik. bi ʃʊr tɪ ʤɔɪn ˈjuˈɛs ɔn ɑr əˈfɪʃəl ˈfɔrəmz, ənd fərˈgɛt tɪ ˈfɑloʊ ˈjuˈɛs ɔn tˈwɪtər ənd ˈfeɪsˌbʊk. steɪ tund fər mɔr ɪkˈsaɪtɪŋ ənd ˈəpˌkəmɪŋ nuz ənd dɪˈvɛləpmənt ˈəpˌdeɪts! ˈhæpi ˈlɔnʧɪŋz!
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washington (wusa) -- a woman was sent to the hospital after a toilet exploded at the general services administration (gsa) building in dc, building officials said.
dc fire spokesman pete confirmed the woman was taken the the hospital with serious, injuries.
the regional office building employees were sent a memo, warning them to not use the bathrooms in the building, because the plumbing may be dangerous. the building is on and d sw.
"do not flush toilets or use any domestic water. due to a mechanical failure, there is high air pressure in the domestic water system that resulted in damage to toilets. the engineering staff is working to correct the issue," the memo said. "there has been damage to flushed toilets that has resulted in injuries. we will announce when the issue is resolved."
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ˈwɔʃɪŋtən (wusa*) ə ˈwʊmən wɑz sɛnt tɪ ðə ˈhɑˌspɪtəl ˈæftər ə ˈtɔɪlət ɪkˈsploʊdɪd æt ðə ˈʤɛnərəl ˈsərvɪsɪz ædˌmɪnɪˈstreɪʃən (gsa*) ˈbɪldɪŋ ɪn ˌdiˈsi, ˈbɪldɪŋ əˈfɪʃəlz sɛd. ˌdiˈsi faɪər ˈspoʊksmən pit kənˈfərmd ðə ˈwʊmən wɑz ˈteɪkən ðə ðə ˈhɑˌspɪtəl wɪθ ˈsɪriəs, ˈɪnʤəriz. ðə ˈriʤənəl ˈɔfəs ˈbɪldɪŋ ɪmˈplɔɪiz wər sɛnt ə ˈmɛˌmoʊ, ˈwɔrnɪŋ ðɛm tɪ nɑt juz ðə ˈbɑθˌrumz ɪn ðə ˈbɪldɪŋ, bɪˈkəz ðə ˈpləmɪŋ meɪ bi ˈdeɪnʤərəs. ðə ˈbɪldɪŋ ɪz ɔn ənd di sw*. "du nɑt fləʃ ˈtɔɪləts ər juz ˈɛni dəˈmɛstɪk ˈwɔtər. du tɪ ə məˈkænɪkəl ˈfeɪljər, ðɛr ɪz haɪ ɛr ˈprɛʃər ɪn ðə dəˈmɛstɪk ˈwɔtər ˈsɪstəm ðət rɪˈzəltɪd ɪn ˈdæmɪʤ tɪ ˈtɔɪləts. ðə ˈɛnʤəˈnɪrɪŋ stæf ɪz ˈwərkɪŋ tɪ kərˈɛkt ðə ˈɪʃu," ðə ˈmɛˌmoʊ sɛd. "ðɛr həz bɪn ˈdæmɪʤ tɪ fləʃt ˈtɔɪləts ðət həz rɪˈzəltɪd ɪn ˈɪnʤəriz. wi wɪl əˈnaʊns wɪn ðə ˈɪʃu ɪz riˈzɑlvd."
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virtual reality startup has hired big frame founder and former ceo steve raymond as its new president of studios. in his new role, he will help the company grow its presence in los angeles and sign up customers and production partners for the virtual reality (vr) capture technology.
“i looked at several different industries, but this industry really pulled at me to the point where i felt like i had no choice,” raymond said in a blog post friday.
8i hails from new zealand, and has developed a kind of capture technology that allows the company to record holograms of persons or artifacts, and then recreate them in a environment. in many ways,’s approach is the exact opposite the way most video is being shot. videos are usually being recorded with a rig capable of capturing everything around it. the result is a video in which the viewer can look into every direction, but not easily change position or interact with its environment.
8i on the other hand records people in a studio, with 40 cameras strategically placed around them to get as much footage from every angle as possible. the recorded footage is rendered to fill in any blind spots, and the resulting holographic asset can then be imported into a computer-generated scene. this makes it possible for users of headsets like the vive or rift to actually walk around these actors and look at them from every angle, leading to a much higher level of immersion.
related future of storytelling arcade is coming to manhattan schell games' 'until you fall' is sword fighting game
8i’s technology is not perfect; during a demonstration for variety earlier this year, the outlines of these holograms still at times looked a bit fuzzy at times, and some of the blind spots that had been filled in through rendering seem quite natural. however, the effect of being able to walk around the actor in a movie was profound, and made it easy to overlook some of those imperfections.
that’s apparently also what some of’s first partners thought. the company also announced friday that it will produce a experience for studio, and also help river studios and the group to enhance their experiences with capture. finally,’s technology is being used by a realtra, a new production company that will specialize in capture for.
as for, the startup is getting ready to launch a bigger production facility in culver city, california this summer. “we need to put the gear for capturing video into the hands of thousands of creators first professionals, then everyone else,” said raymond.
8i raised a $13.5 million series a round of funding from ventures, horizons ventures, samsung ventures, bertelsmann digital media investments and dolby family ventures and others last october.
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ˈvərʧuəl ˌriˈæləˌti ˈstɑrˌtəp həz haɪərd bɪg freɪm ˈfaʊndər ənd ˈfɔrmər ˈsiˌiˈoʊ stiv ˈreɪmənd ɛz ɪts nu ˈprɛzɪdənt əv ˈstudiˌoʊz. ɪn hɪz nu roʊl, hi wɪl hɛlp ðə ˈkəmpəˌni groʊ ɪts ˈprɛzəns ɪn lɔs ˈænʤəlɪs ənd saɪn əp ˈkəstəmərz ənd pərˈdəkʃən ˈpɑrtnərz fər ðə ˈvərʧuəl ˌriˈæləˌti (vr*) ˈkæpʧər tɛkˈnɑləʤi. lʊkt æt ˈsɛvərəl ˈdɪfərənt ˈɪndəstriz, bət ðɪs ˈɪndəstri ˈrɪli pʊld æt mi tɪ ðə pɔɪnt wɛr aɪ fɛlt laɪk aɪ hæd noʊ choice,”*,” ˈreɪmənd sɛd ɪn ə blɔg poʊst ˈfraɪˌdeɪ. heɪlz frəm nu ˈzilənd, ənd həz dɪˈvɛləpt ə kaɪnd əv ˈkæpʧər tɛkˈnɑləʤi ðət əˈlaʊz ðə ˈkəmpəˌni tɪ ˈrɛkərd ˈhɔloʊˌgræmz əv ˈpərsənz ər ˈɑrtəˌfækts, ənd ðɛn ˈrɛkriˌeɪt ðɛm ɪn ə ɪnˈvaɪrənmənt. ɪn ˈmɛni weɪz, əˈproʊʧ ɪz ðə ɪgˈzækt ˈɑpəzɪt ðə weɪ moʊst ˈvɪdioʊ ɪz biɪŋ ʃɑt. ˈvɪdioʊz ər ˈjuʒəwəli biɪŋ rɪˈkɔrdɪd wɪθ ə rɪg ˈkeɪpəbəl əv ˈkæpʧərɪŋ ˈɛvriˌθɪŋ əraʊnd ɪt. ðə rɪˈzəlt ɪz ə ˈvɪdioʊ ɪn wɪʧ ðə vjuər kən lʊk ˈɪntu ˈɛvəri dɪˈrɛkʃɪn, bət nɑt ˈizəli ʧeɪnʤ pəˈzɪʃən ər ˌɪnərˈækt wɪθ ɪts ɪnˈvaɪrənmənt. ɔn ðə ˈəðər hænd ˈrɛkərdz ˈpipəl ɪn ə ˈstudiˌoʊ, wɪθ 40 ˈkæmərəz strəˈtiʤɪkli pleɪst əraʊnd ðɛm tɪ gɪt ɛz məʧ ˈfʊtɪʤ frəm ˈɛvəri ˈæŋgəl ɛz ˈpɑsəbəl. ðə rɪˈkɔrdɪd ˈfʊtɪʤ ɪz ˈrɛndərd tɪ fɪl ɪn ˈɛni blaɪnd spɑts, ənd ðə rɪˈzəltɪŋ ˌhɔloʊˈgræfɪk ˈæˌsɛt kən ðɛn bi ˌɪmˈpɔrtɪd ˈɪntu ə kəmˈpjutərˈʤɛnərˌeɪtəd sin. ðɪs meɪks ɪt ˈpɑsəbəl fər ˈjuzərz əv ˈhɛdˌsɛts laɪk ðə viv ər rɪft tɪ ˈæˌkʧuəli wɔk əraʊnd ðiz ˈæktərz ənd lʊk æt ðɛm frəm ˈɛvəri ˈæŋgəl, ˈlidɪŋ tɪ ə məʧ haɪər ˈlɛvəl əv ˌɪˈmərʒən. rɪˈleɪtɪd fˈjuʧər əv ˈstɔriˌtɛlɪŋ ɑrˈkeɪd ɪz ˈkəmɪŋ tɪ mænˈhætən skɛl geɪmz' 'ənˈtɪl ju fɔl' ɪz sɔrd ˈfaɪtɪŋ geɪm tɛkˈnɑləʤi ɪz nɑt ˈpərˌfɪkt; ˈdʊrɪŋ ə ˌdɛmənˈstreɪʃən fər vərˈaɪəti ˈərliər ðɪs jɪr, ðə ˈaʊˌtlaɪnz əv ðiz ˈhɔloʊˌgræmz stɪl æt taɪmz lʊkt ə bɪt ˈfəzi æt taɪmz, ənd səm əv ðə blaɪnd spɑts ðət hæd bɪn fɪld ɪn θru ˈrɛndərɪŋ sim kwaɪt ˈnæʧərəl. ˌhaʊˈɛvər, ðə ˈifɛkt əv biɪŋ ˈeɪbəl tɪ wɔk əraʊnd ðə ˈæktər ɪn ə ˈmuvi wɑz proʊˈfaʊnd, ənd meɪd ɪt ˈizi tɪ ˈoʊvərˌlʊk səm əv ðoʊz ˌɪmpərˈfɛkʃənz. əˈpɛrəntli ˈɔlsoʊ wət səm əv fərst ˈpɑrtnərz θɔt. ðə ˈkəmpəˌni ˈɔlsoʊ əˈnaʊnst ˈfraɪˌdeɪ ðət ɪt wɪl ˈproʊdus ə ɪkˈspɪriəns fər ˈstudiˌoʊ, ənd ˈɔlsoʊ hɛlp ˈrɪvər ˈstudiˌoʊz ənd ðə grup tɪ ɛnˈhæns ðɛr ɪkˈspɪriənsɪz wɪθ ˈkæpʧər. ˈfaɪnəli, tɛkˈnɑləʤi ɪz biɪŋ juzd baɪ ə realtra*, ə nu pərˈdəkʃən ˈkəmpəˌni ðət wɪl ˈspɛʃəˌlaɪz ɪn ˈkæpʧər fər. ɛz fər, ðə ˈstɑrˌtəp ɪz ˈgɪtɪŋ ˈrɛdi tɪ lɔnʧ ə ˈbɪgər pərˈdəkʃən fəˈsɪlɪti ɪn ˈkəlvər ˈsɪti, ˌkæləˈfɔrnjə ðɪs ˈsəmər. nid tɪ pʊt ðə gɪr fər ˈkæpʧərɪŋ ˈvɪdioʊ ˈɪntu ðə hænz əv ˈθaʊzənz əv kriˈeɪtərz fərst prəˈfɛʃənəlz, ðɛn ˈɛvriˌwən else,”*,” sɛd ˈreɪmənd. reɪzd ə ˈmɪljən ˈsɪriz ə raʊnd əv ˈfəndɪŋ frəm ˈvɛnʧərz, hərˈaɪzənz ˈvɛnʧərz, ˈsæmˌsəŋ ˈvɛnʧərz, ˈbərtəlzmən ˈdɪʤɪtəl ˈmidiə ˌɪnˈvɛstmənts ənd ˈdoʊlbi ˈfæməli ˈvɛnʧərz ənd ˈəðərz læst ɑkˈtoʊbər.
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images in google map will now look sharper and more detailed as google maps will be using imagery provided by landsat 8. the new satellite captures images with greater detail, colour accuracy and at a better frequency than its predecessors. this means the images on google earth will look a lot clearer now. landsat is a joint initiative of and nasa and has been used to observe earth since 1972. the 8 was set in orbit in 2013.
if you want to experience the new imagery yourself, simply load up google earth or google maps on your platform of choice. mountain view has already integrated the new satellite data from nasa and the us geological survey, so the apps and websites are better than ever.
of course, the landsat 8 satellite is only one of many sources of imagery for satellite view. depending on where you look, and how zoomed in you are, google will show you images from the us navy, the general chart of the oceans, noaa, digitalglobe, astrium, and more.
if you only want to see images provided by landsat, you can head over to the viewer, and scrub through over forty years worth of visual data of the earth.
**source**
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ˈɪmɪʤɪz ɪn ˈgugəl mæp wɪl naʊ lʊk ˈʃɑrpər ənd mɔr dɪˈteɪld ɛz ˈgugəl mæps wɪl bi ˈjuzɪŋ ˈɪmɪʤri prəˈvaɪdɪd baɪ ˈlændˈsæt 8 ðə nu ˈsætəˌlaɪt ˈkæpʧərz ˈɪmɪʤɪz wɪθ ˈgreɪtər ˈditeɪl, ˈkələr ˈækjərəsi ənd æt ə ˈbɛtər ˈfrikwənsi ðən ɪts ˈprɛdəˌsɛsərz. ðɪs minz ðə ˈɪmɪʤɪz ɔn ˈgugəl ərθ wɪl lʊk ə lɔt ˈklɪrər naʊ. ˈlændˈsæt ɪz ə ʤɔɪnt ˌɪˈnɪʃətɪv əv ənd ˈnæsə ənd həz bɪn juzd tɪ əbˈzərv ərθ sɪns 1972 ðə 8 wɑz sɛt ɪn ˈɔrbət ɪn 2013 ɪf ju wɔnt tɪ ɪkˈspɪriəns ðə nu ˈɪmɪʤri ˈjɔrsɛlf, ˈsɪmpli loʊd əp ˈgugəl ərθ ər ˈgugəl mæps ɔn jʊr ˈplætˌfɔrm əv ʧɔɪs. ˈmaʊntən vju həz ɔˈrɛdi ˈɪnəˌgreɪtɪd ðə nu ˈsætəˌlaɪt ˈdætə frəm ˈnæsə ənd ðə ˈjuˈɛs ˌʤiəˈlɑʤɪkəl ˈsərˌveɪ, soʊ ðə æps ənd ˈwɛbˌsaɪts ər ˈbɛtər ðən ˈɛvər. əv kɔrs, ðə ˈlændˈsæt 8 ˈsætəˌlaɪt ɪz ˈoʊnli wən əv ˈmɛni ˈsɔrsəz əv ˈɪmɪʤri fər ˈsætəˌlaɪt vju. dɪˈpɛndɪŋ ɔn wɛr ju lʊk, ənd haʊ zumd ɪn ju ər, ˈgugəl wɪl ʃoʊ ju ˈɪmɪʤɪz frəm ðə ˈjuˈɛs ˈneɪvi, ðə ˈʤɛnərəl ʧɑrt əv ðə ˈoʊʃənz, ˈɛˈnoʊˈeɪˈeɪ, digitalglobe*, astrium*, ənd mɔr. ɪf ju ˈoʊnli wɔnt tɪ si ˈɪmɪʤɪz prəˈvaɪdɪd baɪ ˈlændˈsæt, ju kən hɛd ˈoʊvər tɪ ðə vjuər, ənd skrəb θru ˈoʊvər ˈfɔrti jɪrz wərθ əv ˈvɪʒəwəl ˈdætə əv ðə ərθ.
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shinobigami rulebook cover
shinobigami - god of the - is a tabletop game originally developed and published in japan by adventure planning service. originally written by legendary designer kawashima and illustrated by, is a fast focusing on character drama, stories of conflict and cooperation, and light tactical strategy in a dark modern "world of shadows" setting where mysterious ninja exist and engage in conflict in an ongoing hidden cold war. it is being translated and published by heavy industries, the team behind previously releases zero andutama.
the overall effect is a very game that is equal parts, board game, and secret game (werewolf, coup): with a few friends, you together create a dramatic story that starts and ends in the course of just a few hours (one evening). from there, you can revisit the same characters or make new characters, and create another tale set in the ninja cold war.
find out more about this game at the official english website, www.shinobigami.com.
the ninja army uses science and engineering to replicate ninja techniques
the game
shinobigami is a game for players, with one player acting as the "game master", who creates the scenario and helps facilitate the game. each player creates a character from one of the six warring ninja clans in accordance with the rules, and introduces them to the other players (you can find out more about character creation and rules at the official website). the then hands each player secret, which is a piece of information or a true goal specific to that character. the introduces the antagonist characters (if any), the prize or goal of the mission that all of the characters share, then the game begins:
the game plays in three cycles: each cycle, every player has one scene where their character is the focus. that player narrates their scene and starts moving to accomplish their goals. based on their secret and the other characters, they might attempt to learn the other character's secrets, to form emotional bonds with them, or just follow them in order to trigger a one-on-one battle.
after three cycles, there is a free-for-all battle called the climax phase with twists and surprises as the players reveal their true alliances and hidden motives. after the dust settles from the climax phase, there's a brief epilogue where we see who accomplished their goals, which relationships changed or became stronger, and who walked away with the prize.
relationships can change, or grow stronger in the course of play
this structure, the character types, the secrets, the strategies and twists that occur during combat by means of's "velocity system" battles, and most importantly the nature of the relationships that form in the game due to the emotional bond rules, means that even though the game follows a tight or include the same players, no two games of will ever play out the same. it will be a unique experience each time.
the lost ones, or haguremono, just want to be left alone. in time, of course, they are drawn back into the struggle...
the books
shinobigami has a very different form factor and design from common western books. is originally a small form factor paperback book of about 250 pages that can fit in your pocket, not too different than japanese manga size. the book is divided into two sections: the first of the book contains a replay, or an entire session of play - from character creation to epilogue - written out in screenplay format. this is a real session that happened, and provides the reader with a blueprint to understanding what kinds of stories and fun you can create with. a replay is also a great reference for new or inexperienced role-players, because it shows you what to expect from the game, how the rules work in actual play, and what an actually good, fun session with enthusiastic players can look like.
the last third of the book contains all the rules you need to play the game. once you read the replay, you've got an idea of the flow of the game: the rules show you how you can take the next step and run the game yourself. the rules are written simply and concisely, and there are lots of random tables to help you with the character creation process, especially when trying to come up with authentic japanese character and names.
both books maintain this format of replay followed by rules. this format was a new experiment even in the japanese roleplaying scene, and it took off because of the success it had in helping both new and experienced hobbyists into quickly understanding the game and how it works in play.
for the english release, we plan on keeping this same revolutionary format of replay-and-rules. because of language differences between japanese and english, the books themselves will be a slightly size to accommodate writing. the final book will have a paperback cover, black and white interior (full bleed), approximately 5 x 8 inches and about pages, or "almost the same size as japanese manga books published and sold in english". we are aiming to provide a thorough, and expertly localized translation, like our previous games.
the game book
the core game book (cover picture above) will contain the full replay text, with several gorgeous illustrations by throughout the piece. the rules demonstrate how to quickly create a character of one of the six clans. focused rules are referenced, followed by the explanation of the unique light tactical combat system called the "velocity system". the last few pages of the book contain reference material for antagonists and other enemies that may appear. throughout the rules text are simple and cute "chibi" illustrations by that help demonstrate key points.
the book is easy to read (it's a very fast read, that was definitely a goal of the original author), easy to understand, and easy to reference. it is also the only book you need to play the game for... forever, basically. you can have such rich and limitless experiences with only this book; while we plan on also printing the first rulebook for the game and creating more material, this is all you'll ever need to enjoy the experience.
we are planning a fulfillment date of the final print version of the core rulebook to the backers by december 2016.
shinobigami supplement book cover
the supplement rulebook
the supplement book contains expanded rules and material, and also includes a replay which demonstrates the use of them in an actual game session.
the expanded material includes extra scenarios; extra charts to help create scenes in school, city and other environments; expanded "sub-clans" for each of the six core clans (indeed, each clan has splinter groups with different and sometimes conflicting goals) including special rules and powers for those sub-clans; finally, special expanded rules for playing "normal human" characters tangled in the ninja war. of course, "normal humans" in are anything but normal, and the rules exceptions and abilities they have demonstrate this.
a normal girl gets caught up in a ninja war. other protect her, and "fill her in" on the details of the ninja world of shadows...
again, while you do not require the supplement book to play, it will expand the options available to your game.
we plan to have the supplement rulebook printed and fulfilled to our backers in a second, later, shipment, by december 2017 (it will not with the core book).
the shin clan are masters of physical prowess, weapons and martial arts
kickstarter goals and rewards
our initial goals are simple: we want to produce, print and distribute copies of the core book. due to the smaller margins involved in this project, we are not looking for a high funding number in dollars. instead, we are hoping to see a high backer (people, not dollars) count for this project. the more people who come in and support even at the lower tiers, the more money we can free up for planned free and followup material for the english release of. also, the more support we see for this project, the more material and supplements from this expansive game we'll bring over from japanese into english in the future. to that end, if you believe in this project, please get the word out and tell your friends!
-- expansion material --
we have several reward levels that say "all expansion material" or "all material". here is what we are working on for those reward levels. most will be fulfilled by the time of the delivery of the core rulebook in december 2016.
* new scenarios for, written by many unique voices in the english hobby and produced in format, for options. we already are developing twelve new scenarios at this level. we will add even more as we achieve backer count levels!
* full color quick play guide. the comics that appear in our video above were part of a supplement and not in the core (b&w) book; we'll be collecting those 6 manga pages into a guide for new players of the game, to help quickly explain the themes and rules of.
* a setting: play in a weird west setting based loosely on from or s*** online 2. a simple, evocative setting with some new abilities and rules skillfully penned by steven siddall, complete with some scenarios to get you started.
* scenarios: the translators are creating a set of three unique scenarios each based on a common "theme", that can be played in order as an extended campaign. think "the key to time" from doctor who
* character "chibi" tokens: in the velocity system, you use a token (like a or miniature) to track your location. there are about 20 wonderful ("chibi") designs available in the supplement book, which will be made available to all backers of expansion material for print/play.
* a guidebook to writing scenarios: scenarios are actually just page small affairs mostly focusing on the opening scene and secrets. but for news, we've got a lot of experience and advice to create new scenarios. we've compiled our strategies into a document which we'll share with you.
* a director's cut book, which has interviews from the original author and illustrators, the translators; and talks about the background of the game and development of the english edition, including the bizarre story of when the translators met for the first time at the grand shrine. think of this as the book version of a "director's commentary" you hear on the dvd extra for a movie.
* versions and epub) of the core books for quick reference.
* a package of material so that you can easily play online with friends over google hangouts.
* print and play cards to supplement various elements of play, like connections and the velocity system chart.
-- limited edition hardcover books --
the highest level of rewards you with a limited edition version of both the core book and the supplement book. we were extremely happy with all the previous "limited edition cover" attempts we've done in the past (especially the success of ourutama limited edition cover), and plan to do the same here for this campaign. the design is not finalized, but the concept will be hardcover, faux-leather, black with bright red highlights, that looks like a cross between a cursed ninja training scroll and a secret journal. esoteric buddhism (密教/mikkyo, often used in "ninja magic") lettering and diagrams, and so on. will attract strange looks from passersby.
-- with your support, we hope to list these as goals achieved at certain backer or funding thresholds --
* more scenarios that make use of the core and supplement rulebook.
* some illustrations for this new expansion material above, from the original artist miss.
* more character markers from
* a second setting with a magical girl theme, complete with new abilities, rules and accompanying scenarios.
* and more: we have even more ideas we're frankly too scared to put into words at this point without seeing if this campaign is successful!
all of the additional goals we reach will be made available to all backers of the "all material" levels. we may make some material available to all for free on the website.
crowdfunding is a long road, but with determination and support...
extra copies of the books
if you want to order multiple copies of the set beyond the first set, please add the following amount (this combines the book price as well as shipping) to your existing pledge:
for an additional set of regular edition books:
usa: add $44.
rest of the world: add $60.
for an additional set of limited edition (special hardcover) books:
usa: add $75.
rest of the world: add $85.
for an extra copy of just the regular edition of the core rulebook (and not the supplement):
usa: add $21.
rest of the world: add $36.
why
we've had successful projects before: so why another one? we go into details on the website, but in short, we'd like to print a large amount of these books at a price point that will help a new generation get into our tabletop hobby: by doing this carefully and at a measured pace, we hope work with distributors to see copies of the small turn up not just in game stores, but in comic stores and regular bookstores as well, lined up near manga.
our experiences at local and national conventions with sellingutama has been that and manga fans have heard of: many want to try it, they're very interested in it, but the price point and learning curve has been an issue. they only need a small push to try it out.utama's been selling well with brand newers as that "push", but we think that will help be more of a "loving boot in the ass" to expand the hobby to new potential players, or who are looking for a catalyst to come back.
with extra money for printing raised through, we can try to make that happen.
finally, we do have goals in mind, but we want to see how much interest there is in this project. if it goes well, we'll bring over other supplement books and maybe even a second-like game from adventure planning service.
the bloodline of are sorcerers, immortals, vampires and otherworldly types who seek to awaken the
shipping
as mentioned above, this is a little unusual: it is not just for the publishing of one book, but rather two books; the second book (supplement) to be delivered a year after the first. to that end, you'll notice the shipping costs (even in the us) for the set is roughly double the shipping of the core book (though the core book's price already has some of the shipping cost added to it; the retail price point will be a few dollars less). this is because we have to ship two books.
we may have some physical add-ons, but they will be done in a way where we will not have to ask you to give us more money for shipping later (unless there's a total global shipping collapse in). we'll of course reconfirm shipping addresses and the like before shipping the second book later.
unfortunately for our international friends, we cannot hold off on shipping the first book, and bundle them together in one set when the second book is ready; instead, if shipping for you is costly, please consider just backing the single core rulebook; if you enjoy it, you can later order the second book when it is later available.
credits and donations
because of the small form factor nature of the books, we're going to have a new policy for backer credits: all backers of this project will have their name listed in the credits for the electronic) copy of the rulebook. however, the physical will not contain individual backer names in them. we will also create a memorial page on the website where all backers' names are listed.
we mention on our website that this project has far lower margins than our other projects: this helps us achieve that goal of "low cost high production book", as well as the creation of new material for the market. we will be happy to accept your donations above the price of the level you choose. whatever extra we receive will not be going into our pockets, but immediately into new material including scenarios, illustrations by the original artists, and the like to be shared with everyone.
thank you so much for your support. if you have any questions, please feel free to ask. and don't forget to see the official website for more information and links to-themed communities.
together, we can bring into english!
thanks to jennifer lee for her video mastery.
thanks to the band and forfeit productions for granting us the use of their excellent track "our screams". you can see more of them at their facebook site here, and forfeit productions.
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shinobigami* ˈrulˌbʊk ˈkəvər gɑd əv ðə ɪz ə ˈteɪbəlˌtɑp geɪm ərˈɪʤənəli dɪˈvɛləpt ənd ˈpəblɪʃt ɪn ʤəˈpæn baɪ ədˈvɛnʧər ˈplænɪŋ ˈsərvɪs. ərˈɪʤənəli ˈrɪtən baɪ ˈlɛʤənˌdɛri dɪˈzaɪnər ˌkɑwɑˈʃimə ənd ˈɪləˌstreɪtɪd baɪ, ɪz ə fæst ˈfoʊkɪsɪŋ ɔn ˈkɛrɪktər ˈdrɑmə, ˈstɔriz əv ˈkɑnflɪkt ənd kˌwɔpərˈeɪʃən, ənd laɪt ˈtæktɪkəl ˈstrætəʤi ɪn ə dɑrk ˈmɑdərn "wərld əv ˈʃæˌdoʊz" ˈsɛtɪŋ wɛr mɪˈstɪriəs ˈnɪnʤə ɪgˈzɪst ənd ɪnˈgeɪʤ ɪn ˈkɑnflɪkt ɪn ən ˈɔnˌgoʊɪŋ ˈhɪdən koʊld wɔr. ɪt ɪz biɪŋ trænzˈleɪtəd ənd ˈpəblɪʃt baɪ ˈhɛvi ˈɪndəstriz, ðə tim bɪˈhaɪnd ˈpriviəsli rɪˈlisɪz ˈziroʊ ənd. ðə ˈoʊvərˌɔl ˈifɛkt ɪz ə ˈvɛri geɪm ðət ɪz ˈikwəl pɑrts, bɔrd geɪm, ənd ˈsikrɪt geɪm (ˈwɛrˌwʊlf, ku): wɪθ ə fju frɛndz, ju təˈgɛðər kriˈeɪt ə drəˈmætɪk ˈstɔri ðət stɑrts ənd ɛndz ɪn ðə kɔrs əv ʤɪst ə fju aʊərz (wən ˈivnɪŋ). frəm ðɛr, ju kən riˈvɪzɪt ðə seɪm ˈkɛrɪktərz ər meɪk nu ˈkɛrɪktərz, ənd kriˈeɪt əˈnəðər teɪl sɛt ɪn ðə ˈnɪnʤə koʊld wɔr. faɪnd aʊt mɔr əˈbaʊt ðɪs geɪm æt ðə əˈfɪʃəl ˈɪŋlɪʃ ˈwɛbˌsaɪt, www.shinobigami.com*. ðə ˈnɪnʤə ˈɑrmi ˈjuzɪz saɪəns ənd ˈɛnʤəˈnɪrɪŋ tɪ ˈrɛplɪˌkeɪt ˈnɪnʤə tɛkˈniks ðə geɪm ɪz ə geɪm fər pleɪərz, wɪθ wən pleɪər ˈæktɪŋ ɛz ðə "geɪm ˈmæstər", hu kriˈeɪts ðə sɪˈnɛrioʊ ənd hɛlps fəˈsɪləˌteɪt ðə geɪm. iʧ pleɪər kriˈeɪts ə ˈkɛrɪktər frəm wən əv ðə sɪks ˈwɔrɪŋ ˈnɪnʤə klænz ɪn əˈkɔrdəns wɪθ ðə rulz, ənd ˌɪntrəˈdusɪz ðɛm tɪ ðə ˈəðər pleɪərz (ju kən faɪnd aʊt mɔr əˈbaʊt ˈkɛrɪktər kriˈeɪʃən ənd rulz æt ðə əˈfɪʃəl ˈwɛbˌsaɪt). ðə ðɛn hænz iʧ pleɪər ˈsikrɪt, wɪʧ ɪz ə pis əv ˌɪnˌfɔrˈmeɪʃən ər ə tru goʊl spɪˈsɪfɪk tɪ ðət ˈkɛrɪktər. ðə ˌɪntrəˈdusɪz ðə ænˈtægənəst ˈkɛrɪktərz (ɪf ˈɛni), ðə praɪz ər goʊl əv ðə ˈmɪʃən ðət ɔl əv ðə ˈkɛrɪktərz ʃɛr, ðɛn ðə geɪm bɪˈgɪnz: ðə geɪm pleɪz ɪn θri ˈsaɪkəlz: iʧ ˈsaɪkəl, ˈɛvəri pleɪər həz wən sin wɛr ðɛr ˈkɛrɪktər ɪz ðə ˈfoʊkɪs. ðət pleɪər ˈnɛreɪts ðɛr sin ənd stɑrts ˈmuvɪŋ tɪ əˈkɑmplɪʃ ðɛr goʊlz. beɪst ɔn ðɛr ˈsikrɪt ənd ðə ˈəðər ˈkɛrɪktərz, ðeɪ maɪt əˈtɛmpt tɪ lərn ðə ˈəðər ˈkɛrɪktərz ˈsikrɪts, tɪ fɔrm ˈiˌmoʊʃənəl bɑndz wɪθ ðɛm, ər ʤɪst ˈfɑloʊ ðɛm ɪn ˈɔrdər tɪ ˈtrɪgər ə ˌwənɔnˈwən ˈbætəl. ˈæftər θri ˈsaɪkəlz, ðɛr ɪz ə ˈfrifɔˌrɔl ˈbætəl kɔld ðə ˈklaɪˌmæks feɪz wɪθ twɪsts ənd səˈpraɪzɪz ɛz ðə pleɪərz rɪˈvil ðɛr tru əˈlaɪənsɪz ənd ˈhɪdən ˈmoʊtɪvz. ˈæftər ðə dəst ˈsɛtəlz frəm ðə ˈklaɪˌmæks feɪz, ðɛrz ə brif ˌɛpɪˈlɔg wɛr wi si hu əˈkɑmplɪʃt ðɛr goʊlz, wɪʧ riˈleɪʃənˌʃɪps ʧeɪnʤd ər bɪˈkeɪm ˈstrɔŋgər, ənd hu wɔkt əˈweɪ wɪθ ðə praɪz. riˈleɪʃənˌʃɪps kən ʧeɪnʤ, ər groʊ ˈstrɔŋgər ɪn ðə kɔrs əv pleɪ ðɪs ˈstrəkʧər, ðə ˈkɛrɪktər taɪps, ðə ˈsikrɪts, ðə ˈstrætəʤiz ənd twɪsts ðət əˈkər ˈdʊrɪŋ ˈkɑmbæt baɪ minz əv "vəˈlɑsəti ˈsɪstəm" ˈbætəlz, ənd moʊst ˌɪmˈpɔrtəntli ðə ˈneɪʧər əv ðə riˈleɪʃənˌʃɪps ðət fɔrm ɪn ðə geɪm du tɪ ðə ˈiˌmoʊʃənəl bɑnd rulz, minz ðət ˈivɪn ðoʊ ðə geɪm ˈfɑloʊz ə taɪt ər ˌɪnˈklud ðə seɪm pleɪərz, noʊ tu geɪmz əv wɪl ˈɛvər pleɪ aʊt ðə seɪm. ɪt wɪl bi ə juˈnik ɪkˈspɪriəns iʧ taɪm. ðə lɔst wənz, ər haguremono*, ʤɪst wɔnt tɪ bi lɛft əˈloʊn. ɪn taɪm, əv kɔrs, ðeɪ ər drɔn bæk ˈɪntu ðə ˈstrəgəl... ðə bʊks həz ə ˈvɛri ˈdɪfərənt fɔrm ˈfæktər ənd dɪˈzaɪn frəm ˈkɑmən ˈwɛstərn bʊks. ɪz ərˈɪʤənəli ə smɔl fɔrm ˈfæktər ˈpeɪpərˌbæk bʊk əv əˈbaʊt 250 ˈpeɪʤɪz ðət kən fɪt ɪn jʊr ˈpɑkət, nɑt tu ˈdɪfərənt ðən ˌʤæpəˈniz ˈmæŋgə saɪz. ðə bʊk ɪz dɪˈvaɪdɪd ˈɪntu tu ˈsɛkʃənz: ðə fərst əv ðə bʊk kənˈteɪnz ə riˈpleɪ, ər ən ɪnˈtaɪər ˈsɛʃən əv pleɪ frəm ˈkɛrɪktər kriˈeɪʃən tɪ ˌɛpɪˈlɔg ˈrɪtən aʊt ɪn ˈskrinˌpleɪ ˈfɔrˌmæt. ðɪs ɪz ə ril ˈsɛʃən ðət ˈhæpənd, ənd prəˈvaɪdz ðə ˈridər wɪθ ə ˈbluˌprɪnt tɪ ˌəndərˈstændɪŋ wət kaɪnz əv ˈstɔriz ənd fən ju kən kriˈeɪt wɪθ. ə riˈpleɪ ɪz ˈɔlsoʊ ə greɪt ˈrɛfərəns fər nu ər ˌɪnɛkˈspɪriənst role-players*, bɪˈkəz ɪt ʃoʊz ju wət tɪ ɪkˈspɛkt frəm ðə geɪm, haʊ ðə rulz wərk ɪn ˈækʧəwəl pleɪ, ənd wət ən ˈæˌkʧuəli gʊd, fən ˈsɛʃən wɪθ ɪnˌθuziˈæstɪk pleɪərz kən lʊk laɪk. ðə læst θərd əv ðə bʊk kənˈteɪnz ɔl ðə rulz ju nid tɪ pleɪ ðə geɪm. wəns ju rɛd ðə riˈpleɪ, juv gɑt ən aɪˈdiə əv ðə floʊ əv ðə geɪm: ðə rulz ʃoʊ ju haʊ ju kən teɪk ðə nɛkst stɛp ənd rən ðə geɪm ˈjɔrsɛlf. ðə rulz ər ˈrɪtən ˈsɪmpli ənd kənˈsaɪsli, ənd ðɛr ər lɑts əv ˈrændəm ˈteɪbəlz tɪ hɛlp ju wɪθ ðə ˈkɛrɪktər kriˈeɪʃən ˈprɔˌsɛs, əˈspɛʃəli wɪn traɪɪŋ tɪ kəm əp wɪθ əˈθɛnɪk ˌʤæpəˈniz ˈkɛrɪktər ənd neɪmz. boʊθ bʊks meɪnˈteɪn ðɪs ˈfɔrˌmæt əv riˈpleɪ ˈfɑloʊd baɪ rulz. ðɪs ˈfɔrˌmæt wɑz ə nu ɪkˈspɛrəmənt ˈivɪn ɪn ðə ˌʤæpəˈniz ˈroʊlˌpleɪɪŋ sin, ənd ɪt tʊk ɔf bɪˈkəz əv ðə səkˈsɛs ɪt hæd ɪn ˈhɛlpɪŋ boʊθ nu ənd ɪkˈspɪriənst ˈhɑbiɪsts ˈɪntu kˈwɪkli ˌəndərˈstændɪŋ ðə geɪm ənd haʊ ɪt wərks ɪn pleɪ. fər ðə ˈɪŋlɪʃ riˈlis, wi plæn ɔn ˈkipɪŋ ðɪs seɪm ˌrɛvəˈluʃəˌnɛri ˈfɔrˌmæt əv replay-and-rules*. bɪˈkəz əv ˈlæŋgwɪʤ ˈdɪfərənsɪz bɪtˈwin ˌʤæpəˈniz ənd ˈɪŋlɪʃ, ðə bʊks ðɛmˈsɛlvz wɪl bi ə sˈlaɪtli saɪz tɪ əˈkɑməˌdeɪt ˈraɪtɪŋ. ðə ˈfaɪnəl bʊk wɪl hæv ə ˈpeɪpərˌbæk ˈkəvər, blæk ənd waɪt ˌɪnˈtɪriər (fʊl blid), əˈprɑksəmətli 5 ɛks 8 ˈɪnʧɪz ənd əˈbaʊt ˈpeɪʤɪz, ər "ˈɔlˌmoʊst ðə seɪm saɪz ɛz ˌʤæpəˈniz ˈmæŋgə bʊks ˈpəblɪʃt ənd soʊld ɪn ˈɪŋlɪʃ". wi ər ˈeɪmɪŋ tɪ prəˈvaɪd ə θəroʊ, ənd ˈɛkspərtli ˈloʊkəˌlaɪzd trænzˈleɪʃən, laɪk ɑr ˈpriviəs geɪmz. ðə geɪm bʊk ðə kɔr geɪm bʊk (ˈkəvər ˈpɪkʧər əˈbəv) wɪl kənˈteɪn ðə fʊl riˈpleɪ tɛkst, wɪθ ˈsɛvərəl ˈgɔrʤəs ˌɪləˈstreɪʃənz baɪ θruaʊt ðə pis. ðə rulz ˈdɛmənˌstreɪt haʊ tɪ kˈwɪkli kriˈeɪt ə ˈkɛrɪktər əv wən əv ðə sɪks klænz. ˈfoʊkɪst rulz ər ˈrɛfərənst, ˈfɑloʊd baɪ ðə ˌɛkspləˈneɪʃən əv ðə juˈnik laɪt ˈtæktɪkəl ˈkɑmbæt ˈsɪstəm kɔld ðə "vəˈlɑsəti ˈsɪstəm". ðə læst fju ˈpeɪʤɪz əv ðə bʊk kənˈteɪn ˈrɛfərəns məˈtɪriəl fər ænˈtægənəsts ənd ˈəðər ˈɛnəmiz ðət meɪ əˈpɪr. θruaʊt ðə rulz tɛkst ər ˈsɪmpəl ənd kjut "chibi*" ˌɪləˈstreɪʃənz baɪ ðət hɛlp ˈdɛmənˌstreɪt ki pɔɪnts. ðə bʊk ɪz ˈizi tɪ rɛd (ɪts ə ˈvɛri fæst rɛd, ðət wɑz ˈdɛfənətli ə goʊl əv ðə ərˈɪʤənəl ˈɔθər), ˈizi tɪ ˌəndərˈstænd, ənd ˈizi tɪ ˈrɛfərəns. ɪt ɪz ˈɔlsoʊ ðə ˈoʊnli bʊk ju nid tɪ pleɪ ðə geɪm fər... fərˈɛvər, ˈbeɪsɪkli. ju kən hæv səʧ rɪʧ ənd ˈlɪmətləs ɪkˈspɪriənsɪz wɪθ ˈoʊnli ðɪs bʊk; waɪl wi plæn ɔn ˈɔlsoʊ ˈprɪnɪŋ ðə fərst ˈrulˌbʊk fər ðə geɪm ənd kriˈeɪtɪŋ mɔr məˈtɪriəl, ðɪs ɪz ɔl jul ˈɛvər nid tɪ ˌɛnˈʤɔɪ ðə ɪkˈspɪriəns. wi ər ˈplænɪŋ ə fʊlˈfɪlmənt deɪt əv ðə ˈfaɪnəl prɪnt ˈvərʒən əv ðə kɔr ˈrulˌbʊk tɪ ðə ˈbækərz baɪ dɪˈsɛmbər 2016 ˌsəpləˈmɛnt bʊk ˈkəvər ðə ˌsəpləˈmɛnt ˈrulˌbʊk ðə ˌsəpləˈmɛnt bʊk kənˈteɪnz ɪkˈspændɪd rulz ənd məˈtɪriəl, ənd ˈɔlsoʊ ˌɪnˈkludz ə riˈpleɪ wɪʧ ˈdɛmənˌstreɪts ðə juz əv ðɛm ɪn ən ˈækʧəwəl geɪm ˈsɛʃən. ðə ɪkˈspændɪd məˈtɪriəl ˌɪnˈkludz ˈɛkstrə sɪˈnɛrioʊz; ˈɛkstrə ʧɑrts tɪ hɛlp kriˈeɪt sinz ɪn skul, ˈsɪti ənd ˈəðər ɪnˈvaɪrənmənts; ɪkˈspændɪd "sub-clans*" fər iʧ əv ðə sɪks kɔr klænz (ˌɪnˈdid, iʧ klæn həz ˈsplɪntər grups wɪθ ˈdɪfərənt ənd ˈsəmˌtaɪmz kənˈflɪktɪŋ goʊlz) ˌɪnˈkludɪŋ ˈspɛʃəl rulz ənd paʊərz fər ðoʊz sub-clans*; ˈfaɪnəli, ˈspɛʃəl ɪkˈspændɪd rulz fər pleɪɪŋ "ˈnɔrməl ˈjumən" ˈkɛrɪktərz ˈtæŋgəld ɪn ðə ˈnɪnʤə wɔr. əv kɔrs, "ˈnɔrməl ˈjumənz" ɪn ər ˈɛniˌθɪŋ bət ˈnɔrməl, ənd ðə rulz ɪkˈsɛpʃənz ənd əˈbɪləˌtiz ðeɪ hæv ˈdɛmənˌstreɪt ðɪs. ə ˈnɔrməl gərl gɪts kɔt əp ɪn ə ˈnɪnʤə wɔr. ˈəðər prəˈtɛkt hər, ənd "fɪl hər ɪn" ɔn ðə ˈditeɪlz əv ðə ˈnɪnʤə wərld əv ˈʃæˌdoʊz... əˈgɛn, waɪl ju du nɑt ˌrikˈwaɪər ðə ˌsəpləˈmɛnt bʊk tɪ pleɪ, ɪt wɪl ɪkˈspænd ðə ˈɔpʃənz əˈveɪləbəl tɪ jʊr geɪm. wi plæn tɪ hæv ðə ˌsəpləˈmɛnt ˈrulˌbʊk ˈprɪnɪd ənd fʊlˈfɪld tɪ ɑr ˈbækərz ɪn ə ˈsɛkənd, ˈleɪtər, ˈʃɪpmənt, baɪ dɪˈsɛmbər 2017 (ɪt wɪl nɑt wɪθ ðə kɔr bʊk). ðə ʃɪn klæn ər ˈmæstərz əv ˈfɪzɪkəl praʊəs, ˈwɛpənz ənd ˈmɑrʃəl ɑrts goʊlz ənd rɪˈwɔrdz ɑr ˌɪˈnɪʃəl goʊlz ər ˈsɪmpəl: wi wɔnt tɪ ˈproʊdus, prɪnt ənd dɪˈstrɪbjut ˈkɑpiz əv ðə kɔr bʊk. du tɪ ðə sˈmɔlər ˈmɑrʤənz ˌɪnˈvɑlvd ɪn ðɪs ˈprɑʤɛkt, wi ər nɑt ˈlʊkɪŋ fər ə haɪ ˈfəndɪŋ ˈnəmbər ɪn ˈdɔlərz. ˌɪnˈstɛd, wi ər ˈhoʊpɪŋ tɪ si ə haɪ ˈbækər (ˈpipəl, nɑt ˈdɔlərz) kaʊnt fər ðɪs ˈprɑʤɛkt. ðə mɔr ˈpipəl hu kəm ɪn ənd səˈpɔrt ˈivɪn æt ðə loʊər tirz, ðə mɔr ˈməni wi kən fri əp fər plænd fri ənd ˈfɑloʊˌəp məˈtɪriəl fər ðə ˈɪŋlɪʃ riˈlis əv. ˈɔlsoʊ, ðə mɔr səˈpɔrt wi si fər ðɪs ˈprɑʤɛkt, ðə mɔr məˈtɪriəl ənd ˌsəpləˈmɛnts frəm ðɪs ɪkˈspænsɪv geɪm wɪl brɪŋ ˈoʊvər frəm ˌʤæpəˈniz ˈɪntu ˈɪŋlɪʃ ɪn ðə fˈjuʧər. tɪ ðət ɛnd, ɪf ju bɪˈliv ɪn ðɪs ˈprɑʤɛkt, pliz gɪt ðə wərd aʊt ənd tɛl jʊr frɛndz! ɪkˈspænʧən məˈtɪriəl wi hæv ˈsɛvərəl rɪˈwɔrd ˈlɛvəlz ðət seɪ "ɔl ɪkˈspænʧən məˈtɪriəl" ər "ɔl məˈtɪriəl". hir ɪz wət wi ər ˈwərkɪŋ ɔn fər ðoʊz rɪˈwɔrd ˈlɛvəlz. moʊst wɪl bi fʊlˈfɪld baɪ ðə taɪm əv ðə dɪˈlɪvəri əv ðə kɔr ˈrulˌbʊk ɪn dɪˈsɛmbər 2016 nu sɪˈnɛrioʊz fər, ˈrɪtən baɪ ˈmɛni juˈnik ˈvɔɪsɪz ɪn ðə ˈɪŋlɪʃ ˈhɑbi ənd prəˈdust ɪn ˈfɔrˌmæt, fər ˈɔpʃənz. wi ɔˈrɛdi ər dɪˈvɛləpɪŋ twɛlv nu sɪˈnɛrioʊz æt ðɪs ˈlɛvəl. wi wɪl æd ˈivɪn mɔr ɛz wi əˈʧiv ˈbækər kaʊnt ˈlɛvəlz! fʊl ˈkələr kwɪk pleɪ gaɪd. ðə ˈkɑmɪks ðət əˈpɪr ɪn ɑr ˈvɪdioʊ əˈbəv wər pɑrt əv ə ˌsəpləˈmɛnt ənd nɑt ɪn ðə kɔr (b&w*) bʊk; wɪl bi kəˈlɛktɪŋ ðoʊz 6 ˈmæŋgə ˈpeɪʤɪz ˈɪntu ə gaɪd fər nu pleɪərz əv ðə geɪm, tɪ hɛlp kˈwɪkli ɪkˈspleɪn ðə θimz ənd rulz əv. ə ˈsɛtɪŋ: pleɪ ɪn ə wɪrd wɛst ˈsɛtɪŋ beɪst ˈlusli ɔn frəm ər ˈɔnˌlaɪn 2 ə ˈsɪmpəl, ɪˈvɑkətɪv ˈsɛtɪŋ wɪθ səm nu əˈbɪləˌtiz ənd rulz ˈskɪlfəli pɛnd baɪ ˈstivən ˈsɪdəl, kəmˈplit wɪθ səm sɪˈnɛrioʊz tɪ gɪt ju ˈstɑrtɪd. sɪˈnɛrioʊz: ðə trænzˈleɪtərz ər kriˈeɪtɪŋ ə sɛt əv θri juˈnik sɪˈnɛrioʊz iʧ beɪst ɔn ə ˈkɑmən "θim", ðət kən bi pleɪd ɪn ˈɔrdər ɛz ən ɪkˈstɛndɪd kæmˈpeɪn. θɪŋk "ðə ki tɪ taɪm" frəm ˈdɔktər hu ˈkɛrɪktər "chibi*" ˈtoʊkənz: ɪn ðə vəˈlɑsəti ˈsɪstəm, ju juz ə ˈtoʊkən (laɪk ə ər ˈmɪnɪˌʧʊr) tɪ træk jʊr loʊˈkeɪʃən. ðɛr ər əˈbaʊt 20 ˈwəndərfəl ("chibi*") dɪˈzaɪnz əˈveɪləbəl ɪn ðə ˌsəpləˈmɛnt bʊk, wɪʧ wɪl bi meɪd əˈveɪləbəl tɪ ɔl ˈbækərz əv ɪkˈspænʧən məˈtɪriəl fər print/play*. ə ˈgaɪdˌbʊk tɪ ˈraɪtɪŋ sɪˈnɛrioʊz: sɪˈnɛrioʊz ər ˈæˌkʧuəli ʤɪst peɪʤ smɔl əˈfɛrz ˈmoʊstli ˈfoʊkɪsɪŋ ɔn ðə ˈoʊpənɪŋ sin ənd ˈsikrɪts. bət fər nu gms*, wiv gɑt ə lɔt əv ɪkˈspɪriəns ənd ədˈvaɪs tɪ kriˈeɪt nu sɪˈnɛrioʊz. wiv kəmˈpaɪld ɑr ˈstrætəʤiz ˈɪntu ə ˈdɑkjəmɛnt wɪʧ wɪl ʃɛr wɪθ ju. ə dɪˈrɛktərz kət bʊk, wɪʧ həz ˈɪntərvˌjuz frəm ðə ərˈɪʤənəl ˈɔθər ənd ˈɪləˌstreɪtərz, ðə trænzˈleɪtərz; ənd tɔks əˈbaʊt ðə ˈbækˌgraʊnd əv ðə geɪm ənd dɪˈvɛləpmənt əv ðə ˈɪŋlɪʃ ɪˈdɪʃən, ˌɪnˈkludɪŋ ðə bɪˈzɑr ˈstɔri əv wɪn ðə trænzˈleɪtərz mɛt fər ðə fərst taɪm æt ðə grænd ʃraɪn. θɪŋk əv ðɪs ɛz ðə bʊk ˈvərʒən əv ə "dɪˈrɛktərz ˈkɑmənˌtɛri" ju hir ɔn ðə ˌdiˌviˈdi ˈɛkstrə fər ə ˈmuvi. ˈvərʒənz ənd epub*) əv ðə kɔr bʊks fər kwɪk ˈrɛfərəns. ə ˈpækɪʤ əv məˈtɪriəl soʊ ðət ju kən ˈizəli pleɪ ˈɔnˌlaɪn wɪθ frɛndz ˈoʊvər ˈgugəl ˈhæˌŋaʊts. prɪnt ənd pleɪ kɑrdz tɪ ˌsəpləˈmɛnt ˈvɛriəs ˈɛləmənts əv pleɪ, laɪk kəˈnɛkʃənz ənd ðə vəˈlɑsəti ˈsɪstəm ʧɑrt. ˈlɪmɪtɪd ɪˈdɪʃən ˈhɑrdˌkəvər bʊks ðə haɪəst ˈlɛvəl əv rɪˈwɔrdz ju wɪθ ə ˈlɪmɪtɪd ɪˈdɪʃən ˈvərʒən əv boʊθ ðə kɔr bʊk ənd ðə ˌsəpləˈmɛnt bʊk. wi wər ɪkˈstrimli ˈhæpi wɪθ ɔl ðə ˈpriviəs "ˈlɪmɪtɪd ɪˈdɪʃən ˈkəvər" əˈtɛmpts wiv dən ɪn ðə pæst (əˈspɛʃəli ðə səkˈsɛs əv ɑr ˈlɪmɪtɪd ɪˈdɪʃən ˈkəvər), ənd plæn tɪ du ðə seɪm hir fər ðɪs kæmˈpeɪn. ðə dɪˈzaɪn ɪz nɑt ˈfaɪnəˌlaɪzd, bət ðə ˈkɑnsɛpt wɪl bi ˈhɑrdˌkəvər, faux-leather*, blæk wɪθ braɪt rɛd ˈhaɪˌlaɪts, ðət lʊks laɪk ə krɔs bɪtˈwin ə kərst ˈnɪnʤə ˈtreɪnɪŋ skroʊl ənd ə ˈsikrɪt ˈʤərnəl. ˌɛsəˈtɛrɪk ˈbudɪzəm (密教/密教/mikkyo*, ˈɔfən juzd ɪn "ˈnɪnʤə ˈmæʤɪk") ˈlɛtərɪŋ ənd ˈdaɪəˌgræmz, ənd soʊ ɔn. wɪl əˈtrækt streɪnʤ lʊks frəm ˈpæsərzbi. wɪθ jʊr səˈpɔrt, wi hoʊp tɪ lɪst ðiz ɛz goʊlz əˈʧivd æt ˈsərtən ˈbækər ər ˈfəndɪŋ θˈrɛˌʃoʊldz mɔr sɪˈnɛrioʊz ðət meɪk juz əv ðə kɔr ənd ˌsəpləˈmɛnt ˈrulˌbʊk. səm ˌɪləˈstreɪʃənz fər ðɪs nu ɪkˈspænʧən məˈtɪriəl əˈbəv, frəm ðə ərˈɪʤənəl ˈɑrtɪst mɪs. mɔr ˈkɛrɪktər ˈmɑrkərz frəm ə ˈsɛkənd ˈsɛtɪŋ wɪθ ə ˈmæʤɪkəl gərl θim, kəmˈplit wɪθ nu əˈbɪləˌtiz, rulz ənd əˈkəmpəniɪŋ sɪˈnɛrioʊz. ənd mɔr: wi hæv ˈivɪn mɔr aɪˈdiəz wɪr ˈfræŋkli tu skɛrd tɪ pʊt ˈɪntu wərdz æt ðɪs pɔɪnt wɪˈθaʊt siɪŋ ɪf ðɪs kæmˈpeɪn ɪz səkˈsɛsfəl! ɔl əv ðə əˈdɪʃənəl goʊlz wi riʧ wɪl bi meɪd əˈveɪləbəl tɪ ɔl ˈbækərz əv ðə "ɔl məˈtɪriəl" ˈlɛvəlz. wi meɪ meɪk səm məˈtɪriəl əˈveɪləbəl tɪ ɔl fər fri ɔn ðə ˈwɛbˌsaɪt. ɪz ə lɔŋ roʊd, bət wɪθ dɪˌtərməˈneɪʃən ənd səˈpɔrt... ˈɛkstrə ˈkɑpiz əv ðə bʊks ɪf ju wɔnt tɪ ˈɔrdər ˈməltəpəl ˈkɑpiz əv ðə sɛt bɪɔnd ðə fərst sɛt, pliz æd ðə ˈfɑloʊɪŋ əˈmaʊnt (ðɪs kəmˈbaɪnz ðə bʊk praɪs ɛz wɛl ɛz ˈʃɪpɪŋ) tɪ jʊr ɪgˈzɪstɪŋ plɛʤ: fər ən əˈdɪʃənəl sɛt əv ˈrɛgjələr ɪˈdɪʃən bʊks: ˈjuˈɛˈseɪ: æd 44 rɛst əv ðə wərld: æd 60 fər ən əˈdɪʃənəl sɛt əv ˈlɪmɪtɪd ɪˈdɪʃən (ˈspɛʃəl ˈhɑrdˌkəvər) bʊks: ˈjuˈɛˈseɪ: æd 75 rɛst əv ðə wərld: æd 85 fər ən ˈɛkstrə ˈkɑpi əv ʤɪst ðə ˈrɛgjələr ɪˈdɪʃən əv ðə kɔr ˈrulˌbʊk (ənd nɑt ðə ˌsəpləˈmɛnt): ˈjuˈɛˈseɪ: æd 21 rɛst əv ðə wərld: æd 36 waɪ wiv hæd səkˈsɛsfəl ˈprɑʤɛkts ˌbiˈfɔr: soʊ waɪ əˈnəðər wən? wi goʊ ˈɪntu ˈditeɪlz ɔn ðə ˈwɛbˌsaɪt, bət ɪn ʃɔrt, wid laɪk tɪ prɪnt ə lɑrʤ əˈmaʊnt əv ðiz bʊks æt ə praɪs pɔɪnt ðət wɪl hɛlp ə nu ˌʤɛnərˈeɪʃən gɪt ˈɪntu ɑr ˈteɪbəlˌtɑp ˈhɑbi: baɪ duɪŋ ðɪs ˈkɛrfəli ənd æt ə ˈmɛʒərd peɪs, wi hoʊp wərk wɪθ dɪˈstrɪbjətərz tɪ si ˈkɑpiz əv ðə smɔl tərn əp nɑt ʤɪst ɪn geɪm stɔrz, bət ɪn ˈkɑmɪk stɔrz ənd ˈrɛgjələr ˈbʊkˌstɔrz ɛz wɛl, laɪnd əp nɪr ˈmæŋgə. ɑr ɪkˈspɪriənsɪz æt ˈloʊkəl ənd ˈnæʃənəl kənˈvɛnʃənz wɪθ ˈsɛlɪŋ həz bɪn ðət ənd ˈmæŋgə fænz hæv hərd əv: ˈmɛni wɔnt tɪ traɪ ɪt, ðɛr ˈvɛri ˈɪntəˌrɛstɪd ɪn ɪt, bət ðə praɪs pɔɪnt ənd ˈlərnɪŋ kərv həz bɪn ən ˈɪʃu. ðeɪ ˈoʊnli nid ə smɔl pʊʃ tɪ traɪ ɪt aʊt. bɪn ˈsɛlɪŋ wɛl wɪθ brænd nu ɛz ðət "pʊʃ", bət wi θɪŋk ðət wɪl hɛlp bi mɔr əv ə "ˈləvɪŋ but ɪn ðə æs" tɪ ɪkˈspænd ðə ˈhɑbi tɪ nu pəˈtɛnʃəl pleɪərz, ər hu ər ˈlʊkɪŋ fər ə ˈkætəˌlɪst tɪ kəm bæk. wɪθ ˈɛkstrə ˈməni fər ˈprɪnɪŋ reɪzd θru, wi kən traɪ tɪ meɪk ðət ˈhæpən. ˈfaɪnəli, wi du hæv goʊlz ɪn maɪnd, bət wi wɔnt tɪ si haʊ məʧ ˈɪntəˌrɛst ðɛr ɪz ɪn ðɪs ˈprɑʤɛkt. ɪf ɪt goʊz wɛl, wɪl brɪŋ ˈoʊvər ˈəðər ˌsəpləˈmɛnt bʊks ənd ˈmeɪbi ˈivɪn ə ˈsɛkənd geɪm frəm ədˈvɛnʧər ˈplænɪŋ ˈsərvɪs. ðə ˈbləˌdlaɪn əv ər ˈsɔrsərərz, ˌɪˈmɔrtəlz, ˈvæmpaɪrz ənd ˈəðərˈwərldli taɪps hu sik tɪ əˈweɪkən ðə ˈʃɪpɪŋ ɛz ˈmɛnʃənd əˈbəv, ðɪs ɪz ə ˈlɪtəl ənˈjuˌʒuəl: ɪt ɪz nɑt ʤɪst fər ðə ˈpəblɪʃɪŋ əv wən bʊk, bət ˈrəðər tu bʊks; ðə ˈsɛkənd bʊk (ˌsəpləˈmɛnt) tɪ bi dɪˈlɪvərd ə jɪr ˈæftər ðə fərst. tɪ ðət ɛnd, jul ˈnoʊtɪs ðə ˈʃɪpɪŋ kɔsts (ˈivɪn ɪn ðə ˈjuˈɛs) fər ðə sɛt ɪz ˈrəfli ˈdəbəl ðə ˈʃɪpɪŋ əv ðə kɔr bʊk (ðoʊ ðə kɔr bʊks praɪs ɔˈrɛdi həz səm əv ðə ˈʃɪpɪŋ kɔst ˈædɪd tɪ ɪt; ðə ˈriˌteɪl praɪs pɔɪnt wɪl bi ə fju ˈdɔlərz lɛs). ðɪs ɪz bɪˈkəz wi hæv tɪ ʃɪp tu bʊks. wi meɪ hæv səm ˈfɪzɪkəl add-ons*, bət ðeɪ wɪl bi dən ɪn ə weɪ wɛr wi wɪl nɑt hæv tɪ æsk ju tɪ gɪv ˈjuˈɛs mɔr ˈməni fər ˈʃɪpɪŋ ˈleɪtər (ənˈlɛs ðɛrz ə ˈtoʊtəl ˈgloʊbəl ˈʃɪpɪŋ kəˈlæps ɪn wɪl əv kɔrs ˌrikənˈfərm ˈʃɪpɪŋ ˈæˈdrɛsɪz ənd ðə laɪk ˌbiˈfɔr ˈʃɪpɪŋ ðə ˈsɛkənd bʊk ˈleɪtər. ənˈfɔrʧənətli fər ɑr ˌɪnərˈnæʃənɑl frɛndz, wi ˈkænɑt hoʊld ɔf ɔn ˈʃɪpɪŋ ðə fərst bʊk, ənd ˈbəndəl ðɛm təˈgɛðər ɪn wən sɛt wɪn ðə ˈsɛkənd bʊk ɪz ˈrɛdi; ˌɪnˈstɛd, ɪf ˈʃɪpɪŋ fər ju ɪz ˈkɔstli, pliz kənˈsɪdər ʤɪst ˈbækɪŋ ðə ˈsɪŋgəl kɔr ˈrulˌbʊk; ɪf ju ˌɛnˈʤɔɪ ɪt, ju kən ˈleɪtər ˈɔrdər ðə ˈsɛkənd bʊk wɪn ɪt ɪz ˈleɪtər əˈveɪləbəl. ˈkrɛdɪts ənd doʊˈneɪʃənz bɪˈkəz əv ðə smɔl fɔrm ˈfæktər ˈneɪʧər əv ðə bʊks, wɪr goʊɪŋ tɪ hæv ə nu ˈpɑləsi fər ˈbækər ˈkrɛdɪts: ɔl ˈbækərz əv ðɪs ˈprɑʤɛkt wɪl hæv ðɛr neɪm ˈlɪstɪd ɪn ðə ˈkrɛdɪts fər ðə ˌɪˌlɛkˈtrɑnɪk) ˈkɑpi əv ðə ˈrulˌbʊk. ˌhaʊˈɛvər, ðə ˈfɪzɪkəl wɪl nɑt kənˈteɪn ˌɪndəˈvɪʤəwəl ˈbækər neɪmz ɪn ðɛm. wi wɪl ˈɔlsoʊ kriˈeɪt ə məˈmɔriəl peɪʤ ɔn ðə ˈwɛbˌsaɪt wɛr ɔl ˈbækərz' neɪmz ər ˈlɪstɪd. wi ˈmɛnʃən ɔn ɑr ˈwɛbˌsaɪt ðət ðɪs ˈprɑʤɛkt həz fɑr loʊər ˈmɑrʤənz ðən ɑr ˈəðər ˈprɑʤɛkts: ðɪs hɛlps ˈjuˈɛs əˈʧiv ðət goʊl əv "loʊ kɔst haɪ pərˈdəkʃən bʊk", ɛz wɛl ɛz ðə kriˈeɪʃən əv nu məˈtɪriəl fər ðə ˈmɑrkɪt. wi wɪl bi ˈhæpi tɪ əkˈsɛpt jʊr doʊˈneɪʃənz əˈbəv ðə praɪs əv ðə ˈlɛvəl ju ʧuz. ˌwəˈtɛvər ˈɛkstrə wi rɪˈsiv wɪl nɑt bi goʊɪŋ ˈɪntu ɑr ˈpɑkəts, bət ˌɪˈmiˌdiətli ˈɪntu nu məˈtɪriəl ˌɪnˈkludɪŋ sɪˈnɛrioʊz, ˌɪləˈstreɪʃənz baɪ ðə ərˈɪʤənəl ˈɑrtɪsts, ənd ðə laɪk tɪ bi ʃɛrd wɪθ ˈɛvriˌwən. θæŋk ju soʊ məʧ fər jʊr səˈpɔrt. ɪf ju hæv ˈɛni kˈwɛsʧənz, pliz fil fri tɪ æsk. ənd doʊnt fərˈgɛt tɪ si ðə əˈfɪʃəl ˈwɛbˌsaɪt fər mɔr ˌɪnˌfɔrˈmeɪʃən ənd lɪŋks tɪ kəmˈjunɪtiz. təˈgɛðər, wi kən brɪŋ ˈɪntu ˈɪŋlɪʃ! θæŋks tɪ ˈʤɛnəfər li fər hər ˈvɪdioʊ ˈmæstəri. θæŋks tɪ ðə bænd ənd ˈfɔrfɪt pərˈdəkʃənz fər ˈgrænɪŋ ˈjuˈɛs ðə juz əv ðɛr ˈɛksələnt træk "ɑr skrimz". ju kən si mɔr əv ðɛm æt ðɛr ˈfeɪsˌbʊk saɪt hir, ənd ˈfɔrfɪt pərˈdəkʃənz.
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