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“i depart, but the state shall always remain” - king louis on his deathbed
king louis de in the political footsteps of cardinals richelieu and mazarin, is strengthening the power of the monarchy to the detriment of the feudal aristocracy.
the thirty years’ end won over an exhausted holy roman empire has not brought a stable peace. spain is still acting aggressively against interests and many german and dutch are starting to fear unmatched military power.
but despite all the enemies he is facing, internal and external, louis is strongly inclined to make the kingdom of france the arbiter of europe. like a sun determining the orbits of the other minor celestial bodies around it.
le grand siècle- the "great century” has begun!
pike and shot: campaigns has been updated! this new version is dedicated to the great military modernization of the french army - with which the roi soleil desired to sustain his absolutism the matching military advances of the other european powers, as well as several other great improvements!
more specifically :
added “le roi soleil” skirmish module, covering european armies from 1649 to 1698. this adds 37 new army lists and many new unit types to the game.
added these new army lists to the pike and shot campaign to allow it to cover any european conflict from 1494 to 1698.
added new late pike and shot models for austrian units in great turkish war campaign.
used new models for royalist and units.
descriptions added to scenarios.
campaigns: significantly increased chance of defending army fighting either open battle or defending field fortifications rather than retreating when province is invaded. if they fight an open battle against a superior invading force there is a chance they will engage the invader before all his troops have arrived.
campaigns: improved auto resolution algorithm for defensive (field fortification) battles.
campaigns: corrected bug in reporting of supply limits for provinces with enemy armies in them. now correctly reports supply limit that will apply for player armies when the enemy field army has been driven from the province.
corrected sound effect for and lancer banners shooting.
corrected troop description of veteran late pike & shot and lg.
you can download the update from here
get more information about pike and shot: campaigns from its official product page
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““i* dɪˈpɑrt, bət ðə steɪt ʃæl ˈɔlˌweɪz remain”*” kɪŋ luɪs ɔn hɪz ˈdɛθˌbɛd kɪŋ luɪs də ɪn ðə pəˈlɪtɪkəl ˈfʊtˌstɛps əv ˈkɑrdɪnəlz ˈrɪʃəˌlu ənd mazarin*, ɪz ˈstrɛŋθənɪŋ ðə paʊər əv ðə ˈmɑnɑrki tɪ ðə ˈdɛtrəmənt əv ðə fˈjudəl ˌɛrəˈstɑkrəsi. ðə ˈθərˌdi years’*’ ɛnd wən ˈoʊvər ən ɪgˈzɔstɪd ˈhoʊli ˈroʊmən ˈɛmpaɪər həz nɑt brɔt ə ˈsteɪbəl pis. speɪn ɪz stɪl ˈæktɪŋ əˈgrɛsɪvli əˈgɛnst ˈɪntərɪsts ənd ˈmɛni ˈʤərmən ənd dəʧ ər ˈstɑrtɪŋ tɪ fɪr ənˈmæʧt ˈmɪlɪˌtɛri paʊər. bət dɪˈspaɪt ɔl ðə ˈɛnəmiz hi ɪz ˈfeɪsɪŋ, ˌɪnˈtərnəl ənd ɪkˈstərnəl, luɪs ɪz ˈstrɔŋli ˌɪnˈklaɪnd tɪ meɪk ðə ˈkɪŋdəm əv fræns ðə ˈɑrbɪtər əv ˈjʊrəp. laɪk ə sən dɪˈtərmənɪŋ ðə ˈɔrbəts əv ðə ˈəðər ˈmaɪnər səˈlɛsʧəl ˈbɑdiz əraʊnd ɪt. lə grænd siècle*- ðə "greɪt century”*” həz ˈbeɪgən! paɪk ənd ʃɑt: kæmˈpeɪnz həz bɪn ˈəpˌdeɪtɪd! ðɪs nu ˈvərʒən ɪz ˈdɛdəkeɪtəd tɪ ðə greɪt ˈmɪlɪˌtɛri ˌmɑdərnəˈzeɪʃən əv ðə frɛnʧ ˈɑrmi wɪθ wɪʧ ðə rɔɪ soʊˈleɪl dɪˈzaɪərd tɪ səˈsteɪn hɪz ˈæbsəˌluˌtɪzəm ðə ˈmæʧɪŋ ˈmɪlɪˌtɛri ədˈvænsɪz əv ðə ˈəðər ˌjʊrəˈpiən paʊərz, ɛz wɛl ɛz ˈsɛvərəl ˈəðər greɪt ˌɪmˈpruvmənts! mɔr spəˈsɪfɪkli ˈædɪd rɔɪ soleil”*” ˈskərmɪʃ ˈmɑʤul, ˈkəvərɪŋ ˌjʊrəˈpiən ˈɑrmiz frəm 1649 tɪ 1698 ðɪs ædz 37 nu ˈɑrmi lɪsts ənd ˈmɛni nu ˈjunɪt taɪps tɪ ðə geɪm. ˈædɪd ðiz nu ˈɑrmi lɪsts tɪ ðə paɪk ənd ʃɑt kæmˈpeɪn tɪ əˈlaʊ ɪt tɪ ˈkəvər ˈɛni ˌjʊrəˈpiən ˈkɑnflɪkt frəm 1494 tɪ 1698 ˈædɪd nu leɪt paɪk ənd ʃɑt ˈmɑdəlz fər ˈɔstriən ˈjunɪts ɪn greɪt ˈtərkɪʃ wɔr kæmˈpeɪn. juzd nu ˈmɑdəlz fər ˈrɔɪəlɪst ənd ˈjunɪts. dɪˈskrɪpʃənz ˈædɪd tɪ sɪˈnɛrioʊz. kæmˈpeɪnz: sɪgˈnɪfɪkəntli ˌɪnˈkrist ʧæns əv dɪˈfɛndɪŋ ˈɑrmi ˈfaɪtɪŋ ˈiðər ˈoʊpən ˈbætəl ər dɪˈfɛndɪŋ fild ˌfɔrtəfəˈkeɪʃənz ˈrəðər ðən riˈtritɪŋ wɪn ˈprɑvɪns ɪz ˌɪnˈveɪdɪd. ɪf ðeɪ faɪt ən ˈoʊpən ˈbætəl əˈgɛnst ə suˈpɪriər ˌɪnˈveɪdɪŋ fɔrs ðɛr ɪz ə ʧæns ðeɪ wɪl ɪnˈgeɪʤ ðə ˌɪnˈveɪdər ˌbiˈfɔr ɔl hɪz trups hæv əraɪvd. kæmˈpeɪnz: ˌɪmˈpruvd ˈɔtoʊ ˌrɛzəˈluʃən ˈælgərˌɪðəm fər dɪˈfɛnsɪv (fild ˌfɔrtəfəˈkeɪʃən) ˈbætəlz. kæmˈpeɪnz: kərˈɛktɪd bəg ɪn rɪˈpɔrtɪŋ əv səˈplaɪ ˈlɪmɪts fər ˈprɑvənsəz wɪθ ˈɛnəmi ˈɑrmiz ɪn ðɛm. naʊ kərˈɛktli rɪˈpɔrts səˈplaɪ ˈlɪmət ðət wɪl əˈplaɪ fər pleɪər ˈɑrmiz wɪn ðə ˈɛnəmi fild ˈɑrmi həz bɪn ˈdrɪvən frəm ðə ˈprɑvɪns. kərˈɛktɪd saʊnd ˈifɛkt fər ənd ˈlænsər ˈbænərz ˈʃutɪŋ. kərˈɛktɪd trup dɪˈskrɪpʃən əv ˈvɛtərən leɪt paɪk ʃɑt ənd lg*. ju kən ˈdaʊnˌloʊd ðə ˈəpˌdeɪt frəm hir gɪt mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt paɪk ənd ʃɑt: kæmˈpeɪnz frəm ɪts əˈfɪʃəl ˈprɑdəkt peɪʤ
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this was a good year to be a titus fan. their new album, the most lamentable tragedy, wound up being something of a masterpiece: an epic listening experience that has weird detours and excessive flourishes that somehow cohere into the overall mood of the album, achieving patrick stickles’ goal of creating a massive opera inspired by his experiences with manic-depression. and, amidst it all, there are about 10 absolutely perfect songs on it, as well as a whole bunch of excellent stuff beyond that. it landed titus at #17 on list of the best albums in 2015; one of my personal favorites of the year. if you were a titus fan living in or near new york, it was an even better year at least if you were around for the furiously triumphant run of shows at the brooklyn venue shea stadium. in stifling july heat, the band roared through a run that concluded on the day the most lamentable tragedy came out, which also happened to be stickles’ birthday. i was at two of those saturday night, as well as stickles’ birthday show the following tuesday and they were some of the most incredible concert experiences ever had. this band is operating at the peak of their powers, and seeing them live is the kind of overwhelmingly cathartic and life-affirming experience that still gives me chills just mentioning it half a year later.
but how was the year for the guy behind it all? stickles is a man unafraid to speak his mind, whether that comes out in sardonic humor or deeply thoughtful analyses of the music industry or the world at large. so, we decided to catch up with stickles and ask him a bunch of questions about 2015, like we did with wayne coyne last week. after i ran into stickles at ground control anniversary event in manhattan last week, we discovered we lived a few minutes from each other in brooklyn. we decided to meet at a local coffee shop, which turned into us sitting outside on a bench, talking of our mutual adopted hometown and a million other things.
stereogum: this first question feels each time i say it out loud. nasa found liquid water on mars this year. do you think find aliens someday soon?
stickles: well, if they were on mars, they would be pretty small. they probably have achieved that much by our standards. they might be up there. until we get that water under the magnifying glass, hard to say. have to figure that there must be some aliens out there. the universe is so vast. thinking about the vastness of the universe is something i spent a lot of time on as a younger guy. too sometimes. life on figure it was kind of inevitable, right? the universe, cauldron of possibilities that it is, so much happen, right? probability, not an expert on it, but, you gotta figure of course be life sometimes.
stereogum: did you follow the mill beef at all?
stickles: i did follow it very closely. maybe another one of those things where too old-fashioned, but i do like it when rappers write their own lyrics. drake probably wrote the vast majority of his own lyrics. a lot of people people i respect say it really matter. these authenticity debates. is the artist really speaking from their soul, or is the artist speaking to please some focus group? maybe too old-fashioned, but i do like it when the artist speaks directly from their soul. like flex said: if going to walk around saying the king of the game or queen, anybody can run the game but if going to talk about you running the game, you should probably write your own lyrics.
stereogum: are you a drake fan otherwise?
stickles: am i a fan of his? definitely liked a lot of his songs over the years.
stereogum: what did you think of “hotline bling”?
stickles: it was a great treat. maybe the lyrics are a little bit problematic. drake thinking he knows best for somebody else, trying to tell somebody what to do, not really good. you know, the one absent. if not around, contributing to this relationship that in, he to say what the other partner should be doing when not there? but that song, it was dope.
stereogum: would you call it the song of the year?
stickles: no way. [the’s] “can’t feel my face.” my favorite. my favorite guy. i liked that if drake be #1, that it should be the. “the hills” kept [“hotline bling”] out of the top spot. which is good retribution for how drake took a lot of the house of balloons songs, come to learn, for his take care album.
stereogum: i really liked both of those songs, and thought it was weird that they were #1 and #2, and both had these kinda similar hooks about calling people.
stickles: all these people making calls. they ever heard of text messaging?
stereogum: so the was your album of the year, too, right?
stickles: well, i only heard three albums this year.
stereogum: what were the other two?
stickles: keith richards’ heart, which i was mostly just grateful that it existed at all. and guilt, which is a record by a band called bueno. you ever heard of them? part of the whole shea stadium scene. bueno, great band.
stereogum: you mentioned grimes’ new album earlier. have you listened to it much?
stickles: no, not really.
stereogum: not your thing?
stickles: well, not that not my thing, per se, i even know if my thing or not. but, i did mention [grimes’ record] because i know in all the papers. seen in all the papers that an artist that demands total control, wants to do everything on her own terms, want people in the industry figuring they know better than she about what she should be doing. encourages her towards boldness. i like that. what everybody should be doing. like we said before about how a lot of this pop music today is like, focus-grouped, and not really as much concern that coming from like, a singular artistic voice. grimes seems to be the opposite of that. but not that educated about it. i did like the little one-two, thing she did where she put out that one song that was very poppy. [stickles is referring to “flesh without blood” ed.] that sounded like something you might hear on the radio, and it sounded like, well, she must really want to be on the radio. but then the next day she put out that all screaming track [“scream”]. i guess she want to do that exclusively. that was a very clever move. i like that screaming song. [mimics the scream from the song] sometimes you gotta just let it out.
stereogum: speaking of pop stars, have you kept up with the release of new album and all the records been breaking?
stickles: i did, i saw it all. three million plus. i guess, dunno. awesome for the huge apparatus of the industry. i know what it means for an artist at the level at.
stereogum: no effect.
stickles: no, not really. might be an example of, you know, typical capitalist inevitability of the centrifugal force of the whole thing, consolidating power and influence on a smaller and smaller base. influence and equity in the music biz. i dunno. she was another one who want to be on the streaming sites.
stereogum: what do you think about the whole streaming situation?
stickles: i know, hard for me to say without much to compare it to. sure to an artist like adele or taylor swift, really relevant.
stereogum: you think more relevant to an artist like that than it is to an artist like titus?
stickles: you know, what can titus do? if we were to pull all our music from different streaming sites, we would only hurt ourselves. it would be just a self-righteous, kind of move. would it make a difference? would it move the needle at all? no. but i guess like any kind of radical, revolutionary action. if the only person doing it, you only hurt yourself in the end.
stereogum: these major artists like adele or taylor swift pulling their music from spotify, do you think any legitimacy to the idea that trying to make a symbolic gesture for all artists or do you think all commercially driven?
stickles: well, i dunno. i thus far seen any of the streaming services pledging that gonna now start paying the artists more, or that treating the artists better as a result of these actions by these powerful stars. nice that using their platform to advocate for the artist. the artist have a lot of advocates in the industry.
stereogum: tidal launched this year, and was touted as being better for artists. but a lot of people have been cynical about the actual nature of that.
stickles: why, because a bunch of millionaires onstage saying they were going broke? hard to say what their real motives are. i guess that goes back to another of those things, about motives vs. an authenticity thing. are they keeping it real with us? i guess all i could really say is that, when i came to be a part of the industry, however small, when this band started going, there was never any expectation that we were ever going to get paid off of any record. even back when our first record came out in 2008, shit was already on the way down as far as moving units go. we never thought we were going to sell a million albums like or kid rock or whoever was selling records back in the ’90s. it was just understood that the record was a means to reach people who would invest in the group in some other way, whether buying a concert ticket, buying a t-shirt or something. streaming platforms, i guess, are just another way to hopefully find people and make an initial connection with them. hopefully become invested enough that want to their support in some kind of way. until record sales are one of your principal revenue streams, which not for a band like titus as compared to the live performance or something, then i know how much it really matters to go try and fight for a whole penny instead of half a penny. purely semantic at that point. more important for an artist at our level is just find people, get them interested, convince them that this is something worth their attention, and from there try to foster some kind of more genuine emotional connection. it mean that much to be of a collection like that. i guess this is nothing new especially this time of year, you see top 50 albums, top 100 albums, top 1000 albums. it would be cool to be on all those lists, but only
stereogum: i think you guys are on a lot of them.
stickles: ehhh, a couple. on a few here and there. but you gotta just think of that as a means to an end, to a certain degree. to try and foster that real connection we just spoke about.
stereogum: been recording and touring this year, but were there any tv shows you kept up with?
stickles: what did i even watch? true detective, i guess. which started out really awesome. the new one, from this year. it kind of tapered off a little bit at the end. tv is a comforting blanket. white noise to silence the voices in my head a lot of the time.
stereogum: right, really into sitcoms.
stickles: what been watching since i got home. seinfeld being on is a huge news story to me. the cultural relevancy of seinfeld today? i know.
stereogum: i find it really weird to be living in brooklyn in 2015 and watch these fantasy depictions of new york life in the ’90s. obviously those are sitcoms, it was never quite like that, but it always blows my mind to see what fictional idea of new york back then vs. like, girls now.
stickles: right, the unemployed characters of friends and their palatial west village apartments. well, these are the kinds of fantasies they sell to attract people like you and me, you know what saying?
stereogum: when i moved here, i had like a whole worth of myths about new york all layered in my head, and it probably took a good year and a half before i was able to start kinda taking the city on its own century terms, for it to actually feel like a real place i lived in.
stickles: well, you know, you get so beaten up by the real city that sometimes you wanna go home and hide and indulge in a fantasy version that we thought it might be, and then pretend that the real world. everything makes so much sense, nothing to really worry about. at the end of a exercise, things are going to be right back where they started. nothing that bad is ever really going to happen. which i guess is the opposite of true detective. at the end of this exercise, things are going to be way worse, and every bad thing that you could possibly imagine is inevitably going to happen.
stereogum: that show is on some level of bleakness, though.
stickles: i guess trying to be like, what we used to think of as a real tragedy, you know, and provoke pity and fear in the audience to achieve some kind of catharsis.
stereogum: did you have any thoughts about the visit?
stickles: i know a lot about dunno. maybe the coolest pope, but what good is winning that contest? most popes that seen have been super uncool. the platform of the catholic church is that cool. so what does it mean to be the coolest pope? better than having a nazi pope like we had a few years ago. something i try not to let influence me too much nowadays. already fairly into my brain.
stereogum: you were raised catholic?
stickles: oh, yeah, big time. super catholic. i know, i follow the pope that much.
stereogum: so you listen to the album?
stickles: he really sing on it right? he just has some monologues? i know what the point of that is. to convince young people that catholicism is cool? are there teenagers walking around bumping the cd? is the cd an effective conversion tool to young people? are there people spinning the cd that thought that catholicism was wack yesterday and now think that awesome? probably not, right? i know who for.
stereogum: did you follow the rachel dolezal scandal?
stickles: i mean, i heard about it. that seems like a really strange thing to do. this is a really crazy world and the culture that got nowadays can produce all kinds of freaky situations that might be incomprehensible to the common person. not that comprehensible to me, why you would do that kind of thing. i guess she was alienated from society in some kind of way, found some identity that made sense to her. a lot of people today are confused, is all i can say.
stereogum: how about the whole confederate flag situation?
stickles: no fan of the confederate flag. but should it be illegal? is that the answer? tricky to say, if they find a confederate flag in your house you get thrown in jail. a little fishy to me. but obviously i agree with people who say, “oh, well this means what i say it means.” i guess they have a certain right to say anything means anything that they say. maybe an old-fashioned view of america. i think a better answer to that stuff is greater education and a more comprehensive understanding of our shared understanding of this symbology. obviously the confederate flag is very bad. i like seeing it around. i think that people that rock it are and backwards in their thinking on that issue. should we be locking people up for rocking the confederate flag? i know about that either. all our systems and institutions and stuff are ultimately only as good as the people using them, right?
stereogum: on the topic of prisons, did you follow the story of david sweat and richard matt, the guys who broke out of that prison in new york state?
stickles: i did see that. well, the prison system, another thing. we obviously want murderers running around and i guess better that those guys are back in jail.
stereogum: one of dead.
stickles: shows what i know. hard to get any good feelings about that kinda stuff. we like those people for their murdering ways, and yet we like the prisons either because we know that very, very flawed systems, run for profit in this country. you get excited and applaud when somebody beats the prison system, because they are murderers. nobody likes that. and yet, hard to get excited also, when, you know, the prison system prevails. conflicted on it. these are all complicated issues. not in favor of those guys, but not in favor of the prison system either. a lot of news stories like that, they prey on fear. the happy to report that there are murderers on the loose, because it means for a generally more terrified populous, which is always good for business. then they love to report that the bad guys were defeated again because once more the world makes sense, the system works, the status quo prevails. does it get us anywhere? not certain. it might just be entertainment, you know? yet more distractions.
stereogum: all right, distractions, go back to pop culture a bit. did you listen to ryan adams’ cover of taylor 1989? or see father john kinda spoof on the whole thing?
stickles: i knew that it happened. i listened to one of the ryan adams songs. but that seems like, i just seems like a dream story for the internet. you know what i mean?
stereogum: kinda thing?
stickles: i think that ryan adams, from what i know about his career, is a pretty genuine guy and seems to really follow his muse wherever it takes him, so i think he has any agenda. i think he genuinely really loves that album. i think it bumped a lot of these lists seen where the taylor swift cover album did better than the titus album. that smarts a little more than had it been ryan adams’ original songs, an actual album.
stereogum: wait, what lists did you see that on?
stickles: oh, they all had it.
stereogum: i thought “shake it off” was cool, it sounded like a springsteen song when he did it.
stickles: i think that father john misty is quite a funny guy. and he proved himself right. he came right out and said later that this was an attempt at media manipulation. and it worked. everybody talked about it.
stereogum: are you an amy schumer fan? did you see trainwreck?
stickles: i only went to the movies once this year, to see interstellar.
stereogum: what did you think wait, interstellar was last year.
stickles: was it? i been to the movies this year.
stereogum: are you going to go see star wars?
stickles: i think so. me and one of my friends made a little pencil plan to go. everybody likes star wars, right? well, another one of those things where never going to be able to separate our experience of it from our expectations of it. the expectations often strangle the artist. a movie never going to be judged on its own terms. it can only ever be judged compared to the original, and even then not just putting the original and the new one in a vacuum, the original has got all these memories associated with it from years of loving it, and the people we were when we first saw it, when we first made an attachment to the whole universe.
stereogum: i was thinking about that when i saw george lucas liken the whole experience to a divorce. he had treatments for these and disney said no, and when he walked away. i guess when he was selling it originally there was a chance be involved. it seems a lot of people just like him as a person, but he strikes me as a kind of tragic artistic situation. he created this massive thing people love all around the world and, for the same reason, people loathe him. i mean, yeah, the very good. but crazy to me that he can create this thing and people worship this thing, and probably going to retire and grow old as a fallen figure.
stickles: he kind of had to cede his ownership of it.
stereogum: in order for people to get excited about this stuff, yeah. i imagine having created something like that and winding up in that position decades later.
stickles: i guess just too big business, right? to let it just be another one of those authentic, pure expressions of self, right? maybe like it to be that, but you just do that when a billion dollars on the line.
stereogum: he made some comments to that effect, that he like the big business of movie-making, that he just wants to make experimental films that get shown anywhere.
stickles: sure got plenty of resources to do that.
stereogum: yeah, easy to say that when sold your company for $4 billion.
stickles: you can make more than a few experimental films with that money.
stereogum: what do you think of donald trump running for president?
stickles: oh, god. well, right now, that just seems like more entertainment. just tv, just the perfect thing to feed the 24 hour news cycle. always on hand to do something outrageous or egregious and create something that people are going to love to click on.
stereogum: you could almost look at it as this wacky performance at first
stickles: it, getting too real! a perfect newsmaker in that regard. presenting the most exaggerated possible version of this position, which is maybe based on how a lot of american people feel. not me, personally. another one of those inevitable figures, i guess. either side of the media can use him. the left wing will say “look at this, all of our worst fears and the total antithesis of everything we stand for up on stage. our perfect villain, so we can churn out endless articles about how monstrous he is.” and then on the other side, the right wing, they can say, “here’s our perfect hero, presenting the exact same exaggerated version of our positions.” but, on the record, i like him that much. i think that he would be a good president. but, compared to what? every president ultimately serves the capitalist party, you know what saying? certainly a lot more outrageous than some of the other candidates, but the end of the day they all serve their real constituency, which is the that allow them to exist.
weak and totally conflicted people like shouldn't be allowed on television unless given an i.q. test. dumb as a rock! @cnn donald j. trump (@realdonaldtrump) december 10, 2015
stereogum: if in some universe, trump actually became president: would you move to a different country and if so where?
stickles: well hard to escape influence anywhere. got such an extreme platform anyway, you have to figure that even if he did become president by some catastrophic turn of events, that he be able to enact all the things that he says he wants to enact. obama says he wants to make it harder for people to get guns, which would be lovely, but he do it. the whole bipartisan system that we have keeps everything in this gridlock. will [trump] be able to build his wall, just because president? i know, obama get to do all the stuff he said he wanted to do.
stereogum: pretty sure that wall happen.
stickles: probably not. nor should it. silly, because, you here in new york, this country is all immigrants. people seem to forget that. they think that some entitled american race. not so. we all came here from someplace else. very short-sighted.
stereogum: drones were another big topic this year. this video show you how an amazon delivery drone would work. how do you feel about that notion?
stickles: what do people get delivered by these drones? a book? do people read books anymore?
stereogum: the example in the commercial was a pair of sneakers for a young girl.
stickles: well, people would probably love to be in bed and say, “i want new sneakers,” and then five minutes later a little robot outside their window with the sneakers, that would be lovely for them, i suppose. probably just get us to a place where normal for there to be a little flying robot outside your window and you think of how weird that really is. once used to the sight of these robots buzzing around how are we gonna be able to distinguish between the robots delivering our sneakers and the robots that are spying on us. i would rather not have robots looking in my apartment. but maybe they are already there, you know what saying? it just seems like a kooky idea. we really extrapolate what the logical conclusion is of a world saturated with drones. scary. 1984 shit, years later.
stereogum: another technology thing: have you seen these fake things?
stickles: where standing and rolling around? those are weird though i did see a dude eat shit on one of them recently, which was funny. that could only promote a sedentary lifestyle, right? like, walking is one of the last things that we had. i know, is that going to put walking out of business?
stereogum: the new york times magazine asked their readers if they could go back in time, would they kill baby hitler…
stickles: i want to kill anybody. violence only begets more violence. is it to say i? i want to kill any baby. not to say that i support a right to choose, obviously. an abhorrent thought, to kill any baby.
stereogum: yeah, it became such a meme, but a pretty grotesque question.
stickles: a grim image. he just come to exist because he was a demon. he was obviously not a good guy, but a product of society. i do wish that the holocaust never happened. i can definitely tell you that. but a pretty safe position to take. i think that good to stoke the appetite for violence. we should be looking for more ways to promote peace and a generally peaceful, loving feeling amongst the human community. i think that fantasizing about killing baby hitler is the way to do that. if we could have avoided all the atrocities associated with him, that been nice. but another example of the general bloodlust.
stereogum: so a lighter one: did you watch speech at the vmas?
stickles: i did, i liked that a lot. i found was a very empowering thing to an artist like myself. he says, “i wanted people to like me more but fuck that. listen to the kids.” true, the artist please everybody. and if the artist is going out just trying to say the right thing, trying to just achieve some bland consensus. that really move the culture forward in any kind of meaningful way. he wants to challenge the status quo, and people like him. if you listen to the kids, got a lot of support. it gives me a lot of strength when i think titus achieve a massive consensus, ok, because i know there are people out there that are responding to the stuff that about. and if not the #1 cool thing, alright. because the #1 cool thing have to be the #1 thing for everybody. with the industry the way that it is today, and you know, there are certain colossal artists that control the am i saying. i used to say this all the time. the way that it used to be, there were artists like adele nowadays, who are huge superstars, and then there are artists that are super obscure. with the internet and the connectivity that we have today, the artist necessarily have to achieve a huge consensus to survive and be a success on their own terms. there are so many ways now for the artist to reach their potential audience that they have to concern themselves less with pleasing everybody and more with pleasing themselves and knowing if they do that, enough people out there that will have the same feelings about art and life that they do, to support them. so hopefully that is gonna create greater freedom for the artist, rather than having to try to pander or make something that is very safe and they can be sure a lot of people will like. they can create something more true. hard to get a million people to give you a dollar. but maybe less hard to get ten thousand people to give you a hundred dollars. i know how to do that, either. but that seems more possible now, than in the olden days of the underground, when you had to do a lot more work to seek this stuff out. now this stuff is so much more accessible, hopefully be easier for it to reach the people that really need it.
stereogum: threatened on a few occasions that titus might not be around much longer. the most lamentable tragedy was this massive thing you put so much of yourself into, and as a release in 2015 it was a bit of a gamble. correct me if you think differently, but i feel like it paid off. are you feeling like there might be a future for titus beyond what implied in the past?
stickles: i hope so. i know what i would do otherwise. but people are very fickle nowadays. we achieve a huge consensus, like i said. but less important nowadays, for an artist on our level. just a long game that playing. not much we can do as a rock ‘n’ roll band, with the kind of interests we got, to like, suddenly leap up to some new plateau and now life is suddenly super easy.
stereogum: are you open to making more music as titus?
stickles: yeah, i hope so. i hope that we will. picking up more people, picking up more supporters as we go along. a long game, a slow process. be nice to level up to some new plateau. a little bit of a fantasy. see next year, you know? we had a little blip, there, where people who maybe previously been interested in us were interested for a moment, but that moment is now over.
stereogum: what moment are you referring to?
stickles: just when we were in the papers because we had a new record and stuff. more newsworthy. not as newsworthy to say, “rock ‘n’ roll band continues to plug away and do what they do.” not terribly interesting to anybody.
stereogum: had this conversation with friends recently about my morning jacket. a band that has a very devout fanbase, sells out shows, gets coverage, but not like, deep, analytical coverage. kind of outside the blog narrative. that could be more preferable, in some ways.
stickles: that would be nice. a little more what interested in. they have to worry about making the news anymore.
stereogum: you think you still have to?
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ðɪs wɑz ə gʊd jɪr tɪ bi ə ˈtaɪtəs fæn. ðɛr nu ˈælbəm, ðə moʊst ləˈmɛntəbəl ˈtræʤədi, wund əp biɪŋ ˈsəmθɪŋ əv ə ˈmæstərˌpis: ən ˈɛpɪk ˈlɪsənɪŋ ɪkˈspɪriəns ðət həz wɪrd ˈditʊrz ənd ɪkˈsɛsɪv ˈflərɪʃɪz ðət ˈsəmˌhaʊ koʊˈhɪr ˈɪntu ðə ˈoʊvərˌɔl mud əv ðə ˈælbəm, əˈʧivɪŋ ˈpætrɪk stickles’*’ goʊl əv kriˈeɪtɪŋ ə ˈmæsɪv ˈɑprə ˌɪnˈspaɪərd baɪ hɪz ɪkˈspɪriənsɪz wɪθ manic-depression*. ənd, əˈmɪdst ɪt ɔl, ðɛr ər əˈbaʊt 10 ˌæbsəˈlutli ˈpərˌfɪkt sɔŋz ɔn ɪt, ɛz wɛl ɛz ə hoʊl bənʧ əv ˈɛksələnt stəf bɪɔnd ðət. ɪt ˈlændɪd ˈtaɪtəs æt 17 ɔn lɪst əv ðə bɛst ˈælbəmz ɪn 2015 wən əv maɪ ˈpərsɪnəl ˈfeɪvərɪts əv ðə jɪr. ɪf ju wər ə ˈtaɪtəs fæn ˈlɪvɪŋ ɪn ər nɪr nu jɔrk, ɪt wɑz ən ˈivɪn ˈbɛtər jɪr æt list ɪf ju wər əraʊnd fər ðə fˈjʊriəsli traɪˈəmfənt rən əv ʃoʊz æt ðə ˈbrʊklɪn ˈvɛnju ʃeɪ ˈsteɪdiəm. ɪn ˈstaɪfəlɪŋ ˌʤuˈlaɪ hit, ðə bænd rɔrd θru ə rən ðət kənˈkludɪd ɔn ðə deɪ ðə moʊst ləˈmɛntəbəl ˈtræʤədi keɪm aʊt, wɪʧ ˈɔlsoʊ ˈhæpənd tɪ bi stickles’*’ ˈbərθˌdeɪ. aɪ wɑz æt tu əv ðoʊz ˈsæˌtɪˌdeɪ naɪt, ɛz wɛl ɛz stickles’*’ ˈbərθˌdeɪ ʃoʊ ðə ˈfɑloʊɪŋ ˈtuzˌdeɪ ənd ðeɪ wər səm əv ðə moʊst ˌɪnˈkrɛdəbəl ˈkɑnsərt ɪkˈspɪriənsɪz ˈɛvər hæd. ðɪs bænd ɪz ˈɔpərˌeɪtɪŋ æt ðə pik əv ðɛr paʊərz, ənd siɪŋ ðɛm lɪv ɪz ðə kaɪnd əv ˌoʊvərˈwɛlmɪŋli kəˈθɑrtɪk ənd ˈlaɪfəˌfərmɪŋ ɪkˈspɪriəns ðət stɪl gɪvz mi ʧɪlz ʤɪst ˈmɛnʃənɪŋ ɪt hæf ə jɪr ˈleɪtər. bət haʊ wɑz ðə jɪr fər ðə gaɪ bɪˈhaɪnd ɪt ɔl? ˈstɪkəlz ɪz ə mæn ˌənəˈfreɪd tɪ spik hɪz maɪnd, ˈwɛðər ðət kəmz aʊt ɪn sɑrˈdɑnɪk ˈhjumər ər ˈdipli ˈθɔtfəl æˈnælɪˌsiz əv ðə mˈjuzɪk ˈɪndəstri ər ðə wərld æt lɑrʤ. soʊ, wi ˌdɪˈsaɪdɪd tɪ kæʧ əp wɪθ ˈstɪkəlz ənd æsk ɪm ə bənʧ əv kˈwɛsʧənz əˈbaʊt 2015 laɪk wi dɪd wɪθ weɪn kɔɪn læst wik. ˈæftər aɪ ræn ˈɪntu ˈstɪkəlz æt graʊnd kənˈtroʊl ˌænəˈvərsəri ɪˈvɛnt ɪn mænˈhætən læst wik, wi dɪˈskəvərd wi lɪvd ə fju ˈmɪnəts frəm iʧ ˈəðər ɪn ˈbrʊklɪn. wi ˌdɪˈsaɪdɪd tɪ mit æt ə ˈloʊkəl ˈkɔfi ʃɑp, wɪʧ tərnd ˈɪntu ˈjuˈɛs ˈsɪtɪŋ ˈaʊtˈsaɪd ɔn ə bɛnʧ, ˈtɔkɪŋ əv ɑr mˈjuʧuəl əˈdɑptəd ˈhoʊmˌtaʊn ənd ə ˈmɪljən ˈəðər θɪŋz. stereogum*: ðɪs fərst kˈwɛʃən filz iʧ taɪm aɪ seɪ ɪt aʊt laʊd. ˈnæsə faʊnd ˈlɪkwɪd ˈwɔtər ɔn mɑrz ðɪs jɪr. du ju θɪŋk faɪnd ˈeɪliənz ˈsəmˌdeɪ sun? ˈstɪkəlz: wɛl, ɪf ðeɪ wər ɔn mɑrz, ðeɪ wʊd bi ˈprɪti smɔl. ðeɪ ˈprɑbəˌbli hæv əˈʧivd ðət məʧ baɪ ɑr ˈstændərdz. ðeɪ maɪt bi əp ðɛr. ənˈtɪl wi gɪt ðət ˈwɔtər ˈəndər ðə ˈmægnəˌfaɪɪŋ glæs, hɑrd tɪ seɪ. hæv tɪ ˈfɪgjər ðət ðɛr məst bi səm ˈeɪliənz aʊt ðɛr. ðə ˈjunəˌvərs ɪz soʊ væst. ˈθɪŋkɪŋ əˈbaʊt ðə ˈvæstnəs əv ðə ˈjunəˌvərs ɪz ˈsəmθɪŋ aɪ spɛnt ə lɔt əv taɪm ɔn ɛz ə ˈjəŋgər gaɪ. tu ˈsəmˌtaɪmz. laɪf ɔn ˈfɪgjər ɪt wɑz kaɪnd əv ˌɪˈnɛvətəbəl, raɪt? ðə ˈjunəˌvərs, ˈkɔldrən əv ˌpɑsəˈbɪlətiz ðət ɪt ɪz, soʊ məʧ ˈhæpən, raɪt? ˌprɑbəˈbɪləˌti, nɑt ən ˈɛkspərt ɔn ɪt, bət, ju ˈgɑtə ˈfɪgjər əv kɔrs bi laɪf ˈsəmˌtaɪmz. stereogum*: dɪd ju ˈfɑloʊ ðə mɪl bif æt ɔl? ˈstɪkəlz: aɪ dɪd ˈfɑloʊ ɪt ˈvɛri ˈkloʊsli. ˈmeɪbi əˈnəðər wən əv ðoʊz θɪŋz wɛr tu ˌoʊldˈfæʃənd, bət aɪ du laɪk ɪt wɪn ˈræpərz raɪt ðɛr oʊn ˈlɪrɪks. dreɪk ˈprɑbəˌbli roʊt ðə væst məˈʤɔrəti əv hɪz oʊn ˈlɪrɪks. ə lɔt əv ˈpipəl ˈpipəl aɪ rɪˈspɛkt seɪ ɪt ˈrɪli ˈmætər. ðiz ˌɔθənˈtɪsɪti dəˈbeɪts. ɪz ðə ˈɑrtɪst ˈrɪli ˈspikɪŋ frəm ðɛr soʊl, ər ɪz ðə ˈɑrtɪst ˈspikɪŋ tɪ pliz səm ˈfoʊkɪs grup? ˈmeɪbi tu ˌoʊldˈfæʃənd, bət aɪ du laɪk ɪt wɪn ðə ˈɑrtɪst spiks dɪˈrɛkli frəm ðɛr soʊl. laɪk flɛks sɛd: ɪf goʊɪŋ tɪ wɔk əraʊnd seɪɪŋ ðə kɪŋ əv ðə geɪm ər kwin, ˈɛnibədi kən rən ðə geɪm bət ɪf goʊɪŋ tɪ tɔk əˈbaʊt ju ˈrənɪŋ ðə geɪm, ju ʃʊd ˈprɑbəˌbli raɪt jʊr oʊn ˈlɪrɪks. stereogum*: ər ju ə dreɪk fæn ˈəðərˌwaɪz? ˈstɪkəlz: æm aɪ ə fæn əv hɪz? ˈdɛfənətli laɪkt ə lɔt əv hɪz sɔŋz ˈoʊvər ðə jɪrz. stereogum*: wət dɪd ju θɪŋk əv bling”*”? ˈstɪkəlz: ɪt wɑz ə greɪt trit. ˈmeɪbi ðə ˈlɪrɪks ər ə ˈlɪtəl bɪt ˌprɑbləˈmætɪk. dreɪk ˈθɪŋkɪŋ hi noʊz bɛst fər ˈsəmˌbɑdi ɛls, traɪɪŋ tɪ tɛl ˈsəmˌbɑdi wət tɪ du, nɑt ˈrɪli gʊd. ju noʊ, ðə wən ˈæbsənt. ɪf nɑt əraʊnd, kənˈtrɪbjutɪŋ tɪ ðɪs riˈleɪʃənˌʃɪp ðət ɪn, hi tɪ seɪ wət ðə ˈəðər ˈpɑrtnər ʃʊd bi duɪŋ wɪn nɑt ðɛr? bət ðət sɔŋ, ɪt wɑz doʊp. stereogum*: wʊd ju kɔl ɪt ðə sɔŋ əv ðə jɪr? ˈstɪkəlz: noʊ weɪ. [ðə weeknd’s*] fil maɪ face.”*.” maɪ ˈfeɪvərɪt. maɪ ˈfeɪvərɪt gaɪ. aɪ laɪkt ðət ɪf dreɪk bi 1 ðət ɪt ʃʊd bi ðə. hills”*” kɛpt bling”*”] aʊt əv ðə tɔp spɑt. wɪʧ ɪz gʊd ˌrɛtrəˈbjuʃən fər haʊ dreɪk tʊk ə lɔt əv ðə haʊs əv bəˈlunz sɔŋz, kəm tɪ lərn, fər hɪz teɪk kɛr ˈælbəm. stereogum*: aɪ ˈrɪli laɪkt boʊθ əv ðoʊz sɔŋz, ənd θɔt ɪt wɑz wɪrd ðət ðeɪ wər 1 ənd 2 ənd boʊθ hæd ðiz ˈkɪndə ˈsɪmələr hʊks əˈbaʊt ˈkɔlɪŋ ˈpipəl. ˈstɪkəlz: ɔl ðiz ˈpipəl ˈmeɪkɪŋ kɔlz. ðeɪ ˈɛvər hərd əv tɛkst ˈmɛsɪʤɪŋ? stereogum*: soʊ ðə wɑz jʊr ˈælbəm əv ðə jɪr, tu, raɪt? ˈstɪkəlz: wɛl, aɪ ˈoʊnli hərd θri ˈælbəmz ðɪs jɪr. stereogum*: wət wər ðə ˈəðər tu? ˈstɪkəlz: kiθ richards’*’ hɑrt, wɪʧ aɪ wɑz ˈmoʊstli ʤɪst ˈgreɪtfəl ðət ɪt ɪgˈzɪstəd æt ɔl. ənd gɪlt, wɪʧ ɪz ə ˈrɛkərd baɪ ə bænd kɔld bˈweɪnoʊ. ju ˈɛvər hərd əv ðɛm? pɑrt əv ðə hoʊl ʃeɪ ˈsteɪdiəm sin. bˈweɪnoʊ, greɪt bænd. stereogum*: ju ˈmɛnʃənd grimes’*’ nu ˈælbəm ˈərliər. hæv ju ˈlɪsənd tɪ ɪt məʧ? ˈstɪkəlz: noʊ, nɑt ˈrɪli. stereogum*: nɑt jʊr θɪŋ? ˈstɪkəlz: wɛl, nɑt ðət nɑt maɪ θɪŋ, pər seɪ, aɪ ˈivɪn noʊ ɪf maɪ θɪŋ ər nɑt. bət, aɪ dɪd ˈmɛnʃən [grimes’*’ ˈrɛkərd] bɪˈkəz aɪ noʊ ɪn ɔl ðə ˈpeɪpərz. sin ɪn ɔl ðə ˈpeɪpərz ðət ən ˈɑrtɪst ðət dɪˈmændz ˈtoʊtəl kənˈtroʊl, wɔnts tɪ du ˈɛvriˌθɪŋ ɔn hər oʊn tərmz, wɔnt ˈpipəl ɪn ðə ˈɪndəstri ˈfɪgjərɪŋ ðeɪ noʊ ˈbɛtər ðən ʃi əˈbaʊt wət ʃi ʃʊd bi duɪŋ. ɪnˈkərəʤəz hər təˈwɔrdz ˈboʊldnəs. aɪ laɪk ðət. wət ˈɛvriˌbɑdi ʃʊd bi duɪŋ. laɪk wi sɛd ˌbiˈfɔr əˈbaʊt haʊ ə lɔt əv ðɪs pɑp mˈjuzɪk təˈdeɪ ɪz laɪk, focus-grouped*, ənd nɑt ˈrɪli ɛz məʧ kənˈsərn ðət ˈkəmɪŋ frəm laɪk, ə ˈsɪŋgjələr ɑrˈtɪstɪk vɔɪs. graɪmz simz tɪ bi ðə ˈɑpəzɪt əv ðət. bət nɑt ðət ˈɛʤəˌkeɪtɪd əˈbaʊt ɪt. aɪ dɪd laɪk ðə ˈlɪtəl one-two*, θɪŋ ʃi dɪd wɛr ʃi pʊt aʊt ðət wən sɔŋ ðət wɑz ˈvɛri ˈpɑpi. [ˈstɪkəlz ɪz rɪˈfərɪŋ tɪ wɪˈθaʊt blood”*” ɛd.] ðət ˈsaʊndɪd laɪk ˈsəmθɪŋ ju maɪt hir ɔn ðə ˈreɪdiˌoʊ, ənd ɪt ˈsaʊndɪd laɪk, wɛl, ʃi məst ˈrɪli wɔnt tɪ bi ɔn ðə ˈreɪdiˌoʊ. bət ðɛn ðə nɛkst deɪ ʃi pʊt aʊt ðət ɔl ˈskrimɪŋ træk [““scream”*”]. aɪ gɛs ʃi wɔnt tɪ du ðət ɪkˈsklusɪvli. ðət wɑz ə ˈvɛri ˈklɛvər muv. aɪ laɪk ðət ˈskrimɪŋ sɔŋ. [ˈmɪmɪks ðə skrim frəm ðə sɔŋ] ˈsəmˌtaɪmz ju ˈgɑtə ʤɪst lɛt ɪt aʊt. stereogum*: ˈspikɪŋ əv pɑp stɑrz, hæv ju kɛpt əp wɪθ ðə riˈlis əv nu ˈælbəm ənd ɔl ðə ˈrɛkərdz bɪn ˈbreɪkɪŋ? ˈstɪkəlz: aɪ dɪd, aɪ sɔ ɪt ɔl. θri ˈmɪljən pləs. aɪ gɛs, dəˈnoʊ. ˈɔsəm fər ðə juʤ ˌæpərˈætəs əv ðə ˈɪndəstri. aɪ noʊ wət ɪt minz fər ən ˈɑrtɪst æt ðə ˈlɛvəl æt. stereogum*: noʊ ˈifɛkt. ˈstɪkəlz: noʊ, nɑt ˈrɪli. maɪt bi ən ɪgˈzæmpəl əv, ju noʊ, ˈtɪpɪkəl ˈkæpətəlɪst ˌɪˌnɛvɪtəˈbɪlɪti əv ðə ˈsɛntrɪfˌjugəl fɔrs əv ðə hoʊl θɪŋ, kənˈsɑləˌdeɪtɪŋ paʊər ənd ˈɪnfluəns ɔn ə sˈmɔlər ənd sˈmɔlər beɪs. ˈɪnfluəns ənd ˈɛkwəti ɪn ðə mˈjuzɪk bɪz. aɪ dəˈnoʊ. ʃi wɑz əˈnəðər wən hu wɔnt tɪ bi ɔn ðə ˈstrimɪŋ saɪts. stereogum*: wət du ju θɪŋk əˈbaʊt ðə hoʊl ˈstrimɪŋ ˌsɪʧuˈeɪʃən? ˈstɪkəlz: aɪ noʊ, hɑrd fər mi tɪ seɪ wɪˈθaʊt məʧ tɪ kəmˈpɛr ɪt tɪ. ʃʊr tɪ ən ˈɑrtɪst laɪk əˈdɛl ər ˈteɪlər swɪft, ˈrɪli ˈrɛləvənt. stereogum*: ju θɪŋk mɔr ˈrɛləvənt tɪ ən ˈɑrtɪst laɪk ðət ðən ɪt ɪz tɪ ən ˈɑrtɪst laɪk ˈtaɪtəs? ˈstɪkəlz: ju noʊ, wət kən ˈtaɪtəs du? ɪf wi wər tɪ pʊl ɔl ɑr mˈjuzɪk frəm ˈdɪfərənt ˈstrimɪŋ saɪts, wi wʊd ˈoʊnli hərt ɑrˈsɛlvz. ɪt wʊd bi ʤɪst ə ˌsɛlˈfraɪʧəs, kaɪnd əv muv. wʊd ɪt meɪk ə ˈdɪfərəns? wʊd ɪt muv ðə ˈnidəl æt ɔl? noʊ. bət aɪ gɛs laɪk ˈɛni kaɪnd əv ˈrædɪkəl, ˌrɛvəˈluʃəˌnɛri ˈækʃən. ɪf ðə ˈoʊnli ˈpərsən duɪŋ ɪt, ju ˈoʊnli hərt ˈjɔrsɛlf ɪn ðə ɛnd. stereogum*: ðiz ˈmeɪʤər ˈɑrtɪsts laɪk əˈdɛl ər ˈteɪlər swɪft ˈpʊlɪŋ ðɛr mˈjuzɪk frəm spotify*, du ju θɪŋk ˈɛni lɪˈʤɪtəməsi tɪ ðə aɪˈdiə ðət traɪɪŋ tɪ meɪk ə sɪmˈbɑlɪk ˈʤɛsʧər fər ɔl ˈɑrtɪsts ər du ju θɪŋk ɔl kəˈmərʃəli ˈdrɪvən? ˈstɪkəlz: wɛl, aɪ dəˈnoʊ. aɪ ðəs fɑr sin ˈɛni əv ðə ˈstrimɪŋ ˈsərvɪsɪz ˈplɛʤɪŋ ðət ˈgɑnə naʊ stɑrt peɪɪŋ ðə ˈɑrtɪsts mɔr, ər ðət ˈtritɪŋ ðə ˈɑrtɪsts ˈbɛtər ɛz ə rɪˈzəlt əv ðiz ˈækʃənz baɪ ðiz ˈpaʊərfəl stɑrz. nis ðət ˈjuzɪŋ ðɛr ˈplætˌfɔrm tɪ ˈædvəˌkeɪt fər ðə ˈɑrtɪst. ðə ˈɑrtɪst hæv ə lɔt əv ˈædvəˌkeɪts ɪn ðə ˈɪndəstri. stereogum*: ˈtaɪdəl lɔnʧt ðɪs jɪr, ənd wɑz ˈtaʊtɪd ɛz biɪŋ ˈbɛtər fər ˈɑrtɪsts. bət ə lɔt əv ˈpipəl hæv bɪn ˈsɪnɪkəl əˈbaʊt ðə ˈækʧəwəl ˈneɪʧər əv ðət. ˈstɪkəlz: waɪ, bɪˈkəz ə bənʧ əv ˌmɪljəˈnɛrz ˌɑnˈsteɪʤ seɪɪŋ ðeɪ wər goʊɪŋ broʊk? hɑrd tɪ seɪ wət ðɛr ril ˈmoʊtɪvz ər. aɪ gɛs ðət goʊz bæk tɪ əˈnəðər əv ðoʊz θɪŋz, əˈbaʊt ˈmoʊtɪvz ˈvərsəz. ən ˌɔθənˈtɪsɪti θɪŋ. ər ðeɪ ˈkipɪŋ ɪt ril wɪθ ˈjuˈɛs? aɪ gɛs ɔl aɪ kʊd ˈrɪli seɪ ɪz ðət, wɪn aɪ keɪm tɪ bi ə pɑrt əv ðə ˈɪndəstri, ˌhaʊˈɛvər smɔl, wɪn ðɪs bænd ˈstɑrtɪd goʊɪŋ, ðɛr wɑz ˈnɛvər ˈɛni ˌɛkspɛkˈteɪʃən ðət wi wər ˈɛvər goʊɪŋ tɪ gɪt peɪd ɔf əv ˈɛni ˈrɛkərd. ˈivɪn bæk wɪn ɑr fərst ˈrɛkərd keɪm aʊt ɪn 2008 ʃɪt wɑz ɔˈrɛdi ɔn ðə weɪ daʊn ɛz fɑr ɛz ˈmuvɪŋ ˈjunɪts goʊ. wi ˈnɛvər θɔt wi wər goʊɪŋ tɪ sɛl ə ˈmɪljən ˈælbəmz laɪk ər kɪd rɑk ər huˈɛvər wɑz ˈsɛlɪŋ ˈrɛkərdz bæk ɪn ðə ’90s*. ɪt wɑz ʤɪst ˌəndərˈstʊd ðət ðə ˈrɛkərd wɑz ə minz tɪ riʧ ˈpipəl hu wʊd ˌɪnˈvɛst ɪn ðə grup ɪn səm ˈəðər weɪ, ˈwɛðər baɪɪŋ ə ˈkɑnsərt ˈtɪkɪt, baɪɪŋ ə ˈtiˌsərt ər ˈsəmθɪŋ. ˈstrimɪŋ ˈplætˌfɔrmz, aɪ gɛs, ər ʤɪst əˈnəðər weɪ tɪ ˈhoʊpfəli faɪnd ˈpipəl ənd meɪk ən ˌɪˈnɪʃəl kəˈnɛkʃən wɪθ ðɛm. ˈhoʊpfəli bɪˈkəm ˌɪnˈvɛstɪd ɪˈnəf ðət wɔnt tɪ ðɛr səˈpɔrt ɪn səm kaɪnd əv weɪ. ənˈtɪl ˈrɛkərd seɪlz ər wən əv jʊr ˈprɪnsəpəl ˈrɛvəˌnu strimz, wɪʧ nɑt fər ə bænd laɪk ˈtaɪtəs ɛz kəmˈpɛrd tɪ ðə lɪv pərˈfɔrməns ər ˈsəmθɪŋ, ðɛn aɪ noʊ haʊ məʧ ɪt ˈrɪli ˈmætərz tɪ goʊ traɪ ənd faɪt fər ə hoʊl ˈpɛni ˌɪnˈstɛd əv hæf ə ˈpɛni. ˈpjʊrli sɪˈmæntɪk æt ðət pɔɪnt. mɔr ˌɪmˈpɔrtənt fər ən ˈɑrtɪst æt ɑr ˈlɛvəl ɪz ʤɪst faɪnd ˈpipəl, gɪt ðɛm ˈɪntəˌrɛstɪd, kənˈvɪns ðɛm ðət ðɪs ɪz ˈsəmθɪŋ wərθ ðɛr əˈtɛnʃən, ənd frəm ðɛr traɪ tɪ ˈfɑstər səm kaɪnd əv mɔr ˈʤɛnjuˌaɪn ˈiˌmoʊʃənəl kəˈnɛkʃən. ɪt min ðət məʧ tɪ bi əv ə kəˈlɛkʃən laɪk ðət. aɪ gɛs ðɪs ɪz ˈnəθɪŋ nu əˈspɛʃəli ðɪs taɪm əv jɪr, ju si tɔp 50 ˈælbəmz, tɔp 100 ˈælbəmz, tɔp 1000 ˈælbəmz. ɪt wʊd bi kul tɪ bi ɔn ɔl ðoʊz lɪsts, bət ˈoʊnli stereogum*: aɪ θɪŋk ju gaɪz ər ɔn ə lɔt əv ðɛm. ˈstɪkəlz: ehhh*, ə ˈkəpəl. ɔn ə fju hir ənd ðɛr. bət ju ˈgɑtə ʤɪst θɪŋk əv ðət ɛz ə minz tɪ ən ɛnd, tɪ ə ˈsərtən dɪˈgri. tɪ traɪ ənd ˈfɑstər ðət ril kəˈnɛkʃən wi ʤɪst spoʊk əˈbaʊt. stereogum*: bɪn rɪˈkɔrdɪŋ ənd ˈtʊrɪŋ ðɪs jɪr, bət wər ðɛr ˈɛni ˌtɛləˈvɪʒən ʃoʊz ju kɛpt əp wɪθ? ˈstɪkəlz: wət dɪd aɪ ˈivɪn wɔʧ? tru dɪˈtɛktɪv, aɪ gɛs. wɪʧ ˈstɑrtɪd aʊt ˈrɪli ˈɔsəm. ðə nu wən, frəm ðɪs jɪr. ɪt kaɪnd əv ˈteɪpərd ɔf ə ˈlɪtəl bɪt æt ðə ɛnd. ˌtɛləˈvɪʒən ɪz ə ˈkəmfərtɪŋ ˈblæŋkɪt. waɪt nɔɪz tɪ ˈsaɪləns ðə ˈvɔɪsɪz ɪn maɪ hɛd ə lɔt əv ðə taɪm. stereogum*: raɪt, ˈrɪli ˈɪntu ˈsɪtkɑmz. ˈstɪkəlz: wət bɪn ˈwɑʧɪŋ sɪns aɪ gɑt hoʊm. ˈsaɪnfɛld biɪŋ ɔn ɪz ə juʤ nuz ˈstɔri tɪ mi. ðə ˈkəlʧərəl ˈrɛləvənsi əv ˈsaɪnfɛld təˈdeɪ? aɪ noʊ. stereogum*: aɪ faɪnd ɪt ˈrɪli wɪrd tɪ bi ˈlɪvɪŋ ɪn ˈbrʊklɪn ɪn 2015 ənd wɔʧ ðiz ˈfænəsi dɪˈpɪkʃənz əv nu jɔrk laɪf ɪn ðə ’90s*. ˈɑbviəsli ðoʊz ər ˈsɪtkɑmz, ɪt wɑz ˈnɛvər kwaɪt laɪk ðət, bət ɪt ˈɔlˌweɪz bloʊz maɪ maɪnd tɪ si wət ˈfɪkʃənəl aɪˈdiə əv nu jɔrk bæk ðɛn ˈvərsəz. laɪk, gərlz naʊ. ˈstɪkəlz: raɪt, ðə ˌənɛmˈplɔɪd ˈkɛrɪktərz əv frɛndz ənd ðɛr pəˈleɪʃəl wɛst ˈvɪlɪʤ əˈpɑrtmənts. wɛl, ðiz ər ðə kaɪnz əv ˈfænəsiz ðeɪ sɛl tɪ əˈtrækt ˈpipəl laɪk ju ənd mi, ju noʊ wət seɪɪŋ? stereogum*: wɪn aɪ muvd hir, aɪ hæd laɪk ə hoʊl wərθ əv mɪθs əˈbaʊt nu jɔrk ɔl leɪərd ɪn maɪ hɛd, ənd ɪt ˈprɑbəˌbli tʊk ə gʊd jɪr ənd ə hæf ˌbiˈfɔr aɪ wɑz ˈeɪbəl tɪ stɑrt ˈkɪndə ˈteɪkɪŋ ðə ˈsɪti ɔn ɪts oʊn ˈsɛnʧəri tərmz, fər ɪt tɪ ˈæˌkʧuəli fil laɪk ə ril pleɪs aɪ lɪvd ɪn. ˈstɪkəlz: wɛl, ju noʊ, ju gɪt soʊ ˈbitən əp baɪ ðə ril ˈsɪti ðət ˈsəmˌtaɪmz ju ˈwɑnə goʊ hoʊm ənd haɪd ənd ˌɪnˈdəlʤ ɪn ə ˈfænəsi ˈvərʒən ðət wi θɔt ɪt maɪt bi, ənd ðɛn priˈtɛnd ðət ðə ril wərld. ˈɛvriˌθɪŋ meɪks soʊ məʧ sɛns, ˈnəθɪŋ tɪ ˈrɪli ˈwəri əˈbaʊt. æt ðə ɛnd əv ə ˈɛksərˌsaɪz, θɪŋz ər goʊɪŋ tɪ bi raɪt bæk wɛr ðeɪ ˈstɑrtɪd. ˈnəθɪŋ ðət bæd ɪz ˈɛvər ˈrɪli goʊɪŋ tɪ ˈhæpən. wɪʧ aɪ gɛs ɪz ðə ˈɑpəzɪt əv tru dɪˈtɛktɪv. æt ðə ɛnd əv ðɪs ˈɛksərˌsaɪz, θɪŋz ər goʊɪŋ tɪ bi weɪ wərs, ənd ˈɛvəri bæd θɪŋ ðət ju kʊd ˈpɑsəbli ˌɪˈmæʤən ɪz ˌɪˈnɛvətəbli goʊɪŋ tɪ ˈhæpən. stereogum*: ðət ʃoʊ ɪz ɔn səm ˈlɛvəl əv ˈbliknəs, ðoʊ. ˈstɪkəlz: aɪ gɛs traɪɪŋ tɪ bi laɪk, wət wi juzd tɪ θɪŋk əv ɛz ə ril ˈtræʤədi, ju noʊ, ənd prəˈvoʊk ˈpɪti ənd fɪr ɪn ðə ˈɔdiəns tɪ əˈʧiv səm kaɪnd əv kəˈθɑrsəs. stereogum*: dɪd ju hæv ˈɛni θɔts əˈbaʊt ðə ˈvɪzɪt? ˈstɪkəlz: aɪ noʊ ə lɔt əˈbaʊt dəˈnoʊ. ˈmeɪbi ðə ˈkuləst poʊp, bət wət gʊd ɪz ˈwɪnɪŋ ðət ˈkɑntɛst? moʊst poʊpz ðət sin hæv bɪn ˈsupər ˌənˈkul. ðə ˈplætˌfɔrm əv ðə ˈkæθlɪk ʧərʧ ɪz ðət kul. soʊ wət dɪz ɪt min tɪ bi ðə ˈkuləst poʊp? ˈbɛtər ðən ˈhævɪŋ ə ˈnɑtsi poʊp laɪk wi hæd ə fju jɪrz əˈgoʊ. ˈsəmθɪŋ aɪ traɪ nɑt tɪ lɛt ˈɪnfluəns mi tu məʧ ˈnaʊəˌdeɪz. ɔˈrɛdi ˈfɛrli ˈɪntu maɪ breɪn. stereogum*: ju wər reɪzd ˈkæθlɪk? ˈstɪkəlz: oʊ, jæ, bɪg taɪm. ˈsupər ˈkæθlɪk. aɪ noʊ, aɪ ˈfɑloʊ ðə poʊp ðət məʧ. stereogum*: soʊ ju ˈlɪsən tɪ ðə ˈælbəm? ˈstɪkəlz: hi ˈrɪli sɪŋ ɔn ɪt raɪt? hi ʤɪst həz səm ˈmɑnəˌlɔgz? aɪ noʊ wət ðə pɔɪnt əv ðət ɪz. tɪ kənˈvɪns jəŋ ˈpipəl ðət kəˈθɔləˌsɪzəm ɪz kul? ər ðɛr ˈtiˌneɪʤərz ˈwɔkɪŋ əraʊnd ˈbəmpɪŋ ðə ˈsiˈdi? ɪz ðə ˈsiˈdi ən ˈifɛktɪv kənˈvərʒən tul tɪ jəŋ ˈpipəl? ər ðɛr ˈpipəl ˈspɪnɪŋ ðə ˈsiˈdi ðət θɔt ðət kəˈθɔləˌsɪzəm wɑz wæk ˈjɛstərˌdeɪ ənd naʊ θɪŋk ðət ˈɔsəm? ˈprɑbəˌbli nɑt, raɪt? aɪ noʊ hu fər. stereogum*: dɪd ju ˈfɑloʊ ðə ˈreɪʧəl doʊleɪˈzæl ˈskændəl? ˈstɪkəlz: aɪ min, aɪ hərd əˈbaʊt ɪt. ðət simz laɪk ə ˈrɪli streɪnʤ θɪŋ tɪ du. ðɪs ɪz ə ˈrɪli ˈkreɪzi wərld ənd ðə ˈkəlʧər ðət gɑt ˈnaʊəˌdeɪz kən ˈproʊdus ɔl kaɪnz əv ˈfriki ˌsɪʧuˈeɪʃənz ðət maɪt bi ˌɪŋˌkɑmprəˈhɛnsɪbəl tɪ ðə ˈkɑmən ˈpərsən. nɑt ðət ˌkɑmpriˈhɛnsəbəl tɪ mi, waɪ ju wʊd du ðət kaɪnd əv θɪŋ. aɪ gɛs ʃi wɑz ˈeɪliəˌneɪtɪd frəm soʊˈsaɪɪti ɪn səm kaɪnd əv weɪ, faʊnd səm aɪˈdɛntəˌti ðət meɪd sɛns tɪ hər. ə lɔt əv ˈpipəl təˈdeɪ ər kənfˈjuzd, ɪz ɔl aɪ kən seɪ. stereogum*: haʊ əˈbaʊt ðə hoʊl kənˈfɛdərˌeɪt flæg ˌsɪʧuˈeɪʃən? ˈstɪkəlz: noʊ fæn əv ðə kənˈfɛdərˌeɪt flæg. bət ʃʊd ɪt bi ˌɪˈligəl? ɪz ðət ðə ˈænsər? ˈtrɪki tɪ seɪ, ɪf ðeɪ faɪnd ə kənˈfɛdərˌeɪt flæg ɪn jʊr haʊs ju gɪt θroʊn ɪn ʤeɪl. ə ˈlɪtəl ˈfɪʃi tɪ mi. bət ˈɑbviəsli aɪ əˈgri wɪθ ˈpipəl hu seɪ, ““oh*, wɛl ðɪs minz wət aɪ seɪ ɪt means.”*.” aɪ gɛs ðeɪ hæv ə ˈsərtən raɪt tɪ seɪ ˈɛniˌθɪŋ minz ˈɛniˌθɪŋ ðət ðeɪ seɪ. ˈmeɪbi ən ˌoʊldˈfæʃənd vju əv əˈmɛrɪkə. aɪ θɪŋk ə ˈbɛtər ˈænsər tɪ ðət stəf ɪz ˈgreɪtər ˌɛʤəˈkeɪʃən ənd ə mɔr ˌkɑmpriˈhɛnsɪv ˌəndərˈstændɪŋ əv ɑr ʃɛrd ˌəndərˈstændɪŋ əv ðɪs symbology*. ˈɑbviəsli ðə kənˈfɛdərˌeɪt flæg ɪz ˈvɛri bæd. aɪ laɪk siɪŋ ɪt əraʊnd. aɪ θɪŋk ðət ˈpipəl ðət rɑk ɪt ər ənd ˈbækwərdz ɪn ðɛr ˈθɪŋkɪŋ ɔn ðət ˈɪʃu. ʃʊd wi bi ˈlɑkɪŋ ˈpipəl əp fər ˈrɑkɪŋ ðə kənˈfɛdərˌeɪt flæg? aɪ noʊ əˈbaʊt ðət ˈiðər. ɔl ɑr ˈsɪstəmz ənd ˌɪnstɪˈtuʃənz ənd stəf ər ˈəltəmətli ˈoʊnli ɛz gʊd ɛz ðə ˈpipəl ˈjuzɪŋ ðɛm, raɪt? stereogum*: ɔn ðə ˈtɑpɪk əv ˈprɪzənz, dɪd ju ˈfɑloʊ ðə ˈstɔri əv ˈdeɪvɪd swɛt ənd ˈrɪʧərd mæt, ðə gaɪz hu broʊk aʊt əv ðət ˈprɪzən ɪn nu jɔrk steɪt? ˈstɪkəlz: aɪ dɪd si ðət. wɛl, ðə ˈprɪzən ˈsɪstəm, əˈnəðər θɪŋ. wi ˈɑbviəsli wɔnt ˈmərdərərz ˈrənɪŋ əraʊnd ənd aɪ gɛs ˈbɛtər ðət ðoʊz gaɪz ər bæk ɪn ʤeɪl. stereogum*: wən əv dɛd. ˈstɪkəlz: ʃoʊz wət aɪ noʊ. hɑrd tɪ gɪt ˈɛni gʊd ˈfilɪŋz əˈbaʊt ðət ˈkɪndə stəf. wi laɪk ðoʊz ˈpipəl fər ðɛr ˈmərdərɪŋ weɪz, ənd jɛt wi laɪk ðə ˈprɪzənz ˈiðər bɪˈkəz wi noʊ ðət ˈvɛri, ˈvɛri flɔd ˈsɪstəmz, rən fər ˈprɑfɪt ɪn ðɪs ˈkəntri. ju gɪt ɪkˈsaɪtɪd ənd əˈplɔd wɪn ˈsəmˌbɑdi bits ðə ˈprɪzən ˈsɪstəm, bɪˈkəz ðeɪ ər ˈmərdərərz. ˈnoʊˌbɑˌdi laɪks ðət. ənd jɛt, hɑrd tɪ gɪt ɪkˈsaɪtɪd ˈɔlsoʊ, wɪn, ju noʊ, ðə ˈprɪzən ˈsɪstəm prɪˈveɪlz. kənˈflɪktɪd ɔn ɪt. ðiz ər ɔl ˈkɑmpləˌkeɪtəd ˈɪʃuz. nɑt ɪn ˈfeɪvər əv ðoʊz gaɪz, bət nɑt ɪn ˈfeɪvər əv ðə ˈprɪzən ˈsɪstəm ˈiðər. ə lɔt əv nuz ˈstɔriz laɪk ðət, ðeɪ preɪ ɔn fɪr. ðə ˈhæpi tɪ rɪˈpɔrt ðət ðɛr ər ˈmərdərərz ɔn ðə lus, bɪˈkəz ɪt minz fər ə ˈʤɛnərəli mɔr ˈtɛrəˌfaɪd ˈpɑpjələs, wɪʧ ɪz ˈɔlˌweɪz gʊd fər ˈbɪznɪs. ðɛn ðeɪ ləv tɪ rɪˈpɔrt ðət ðə bæd gaɪz wər dɪˈfitɪd əˈgɛn bɪˈkəz wəns mɔr ðə wərld meɪks sɛns, ðə ˈsɪstəm wərks, ðə ˈstætəs kwoʊ prɪˈveɪlz. dɪz ɪt gɪt ˈjuˈɛs ˈɛniˌwɛr? nɑt ˈsərtən. ɪt maɪt ʤɪst bi ˌɛnərˈteɪnmənt, ju noʊ? jɛt mɔr dɪˈstrækʃənz. stereogum*: ɔl raɪt, dɪˈstrækʃənz, goʊ bæk tɪ pɑp ˈkəlʧər ə bɪt. dɪd ju ˈlɪsən tɪ raɪən adams’*’ ˈkəvər əv ˈteɪlər 1989 ər si ˈfɑðər ʤɑn ˈkɪndə spuf ɔn ðə hoʊl θɪŋ? ˈstɪkəlz: aɪ nu ðət ɪt ˈhæpənd. aɪ ˈlɪsənd tɪ wən əv ðə raɪən ˈædəmz sɔŋz. bət ðət simz laɪk, aɪ ʤɪst simz laɪk ə drim ˈstɔri fər ðə ˈɪntərˌnɛt. ju noʊ wət aɪ min? stereogum*: ˈkɪndə θɪŋ? ˈstɪkəlz: aɪ θɪŋk ðət raɪən ˈædəmz, frəm wət aɪ noʊ əˈbaʊt hɪz kərɪr, ɪz ə ˈprɪti ˈʤɛnjuˌaɪn gaɪ ənd simz tɪ ˈrɪli ˈfɑloʊ hɪz mjuz wɛˈrɛvər ɪt teɪks ɪm, soʊ aɪ θɪŋk hi həz ˈɛni əˈʤɛndə. aɪ θɪŋk hi ˈʤɛnjuˌaɪnli ˈrɪli ləvz ðət ˈælbəm. aɪ θɪŋk ɪt bəmpt ə lɔt əv ðiz lɪsts sin wɛr ðə ˈteɪlər swɪft ˈkəvər ˈælbəm dɪd ˈbɛtər ðən ðə ˈtaɪtəs ˈælbəm. ðət smɑrts ə ˈlɪtəl mɔr ðən hæd ɪt bɪn raɪən adams’*’ ərˈɪʤənəl sɔŋz, ən ˈækʧəwəl ˈælbəm. stereogum*: weɪt, wət lɪsts dɪd ju si ðət ɔn? ˈstɪkəlz: oʊ, ðeɪ ɔl hæd ɪt. stereogum*: aɪ θɔt ɪt off”*” wɑz kul, ɪt ˈsaʊndɪd laɪk ə ˈsprɪŋˌstin sɔŋ wɪn hi dɪd ɪt. ˈstɪkəlz: aɪ θɪŋk ðət ˈfɑðər ʤɑn ˈmɪsti ɪz kwaɪt ə ˈfəni gaɪ. ənd hi pruvd hɪmˈsɛlf raɪt. hi keɪm raɪt aʊt ənd sɛd ˈleɪtər ðət ðɪs wɑz ən əˈtɛmpt æt ˈmidiə məˌnɪpjəˈleɪʃən. ənd ɪt wərkt. ˈɛvriˌbɑdi tɔkt əˈbaʊt ɪt. stereogum*: ər ju ən ˈeɪmi ˈʃumər fæn? dɪd ju si trainwreck*? ˈstɪkəlz: aɪ ˈoʊnli wɛnt tɪ ðə ˈmuviz wəns ðɪs jɪr, tɪ si ˌɪntərˈstɛlər. stereogum*: wət dɪd ju θɪŋk weɪt, ˌɪntərˈstɛlər wɑz læst jɪr. ˈstɪkəlz: wɑz ɪt? aɪ bɪn tɪ ðə ˈmuviz ðɪs jɪr. stereogum*: ər ju goʊɪŋ tɪ goʊ si stɑr wɔrz? ˈstɪkəlz: aɪ θɪŋk soʊ. mi ənd wən əv maɪ frɛndz meɪd ə ˈlɪtəl ˈpɛnsəl plæn tɪ goʊ. ˈɛvriˌbɑdi laɪks stɑr wɔrz, raɪt? wɛl, əˈnəðər wən əv ðoʊz θɪŋz wɛr ˈnɛvər goʊɪŋ tɪ bi ˈeɪbəl tɪ ˈsɛpərˌeɪt ɑr ɪkˈspɪriəns əv ɪt frəm ɑr ˌɛkspɛkˈteɪʃənz əv ɪt. ðə ˌɛkspɛkˈteɪʃənz ˈɔfən ˈstræŋgəl ðə ˈɑrtɪst. ə ˈmuvi ˈnɛvər goʊɪŋ tɪ bi ʤəʤd ɔn ɪts oʊn tərmz. ɪt kən ˈoʊnli ˈɛvər bi ʤəʤd kəmˈpɛrd tɪ ðə ərˈɪʤənəl, ənd ˈivɪn ðɛn nɑt ʤɪst ˈpʊtɪŋ ðə ərˈɪʤənəl ənd ðə nu wən ɪn ə ˈvækjum, ðə ərˈɪʤənəl həz gɑt ɔl ðiz ˈmɛməriz əˈsoʊʃiˌeɪtəd wɪθ ɪt frəm jɪrz əv ˈləvɪŋ ɪt, ənd ðə ˈpipəl wi wər wɪn wi fərst sɔ ɪt, wɪn wi fərst meɪd ən əˈtæʧmənt tɪ ðə hoʊl ˈjunəˌvərs. stereogum*: aɪ wɑz ˈθɪŋkɪŋ əˈbaʊt ðət wɪn aɪ sɔ ʤɔrʤ ˈlukəs ˈlaɪkən ðə hoʊl ɪkˈspɪriəns tɪ ə dɪˈvɔrs. hi hæd ˈtritmənts fər ðiz ənd ˈdɪzni sɛd noʊ, ənd wɪn hi wɔkt əˈweɪ. aɪ gɛs wɪn hi wɑz ˈsɛlɪŋ ɪt ərˈɪʤənəli ðɛr wɑz ə ʧæns bi ˌɪnˈvɑlvd. ɪt simz ə lɔt əv ˈpipəl ʤɪst laɪk ɪm ɛz ə ˈpərsən, bət hi straɪks mi ɛz ə kaɪnd əv ˈtræʤɪk ɑrˈtɪstɪk ˌsɪʧuˈeɪʃən. hi kriˈeɪtɪd ðɪs ˈmæsɪv θɪŋ ˈpipəl ləv ɔl əraʊnd ðə wərld ənd, fər ðə seɪm ˈrizən, ˈpipəl loʊð ɪm. aɪ min, jæ, ðə ˈvɛri gʊd. bət ˈkreɪzi tɪ mi ðət hi kən kriˈeɪt ðɪs θɪŋ ənd ˈpipəl ˈwərʃɪp ðɪs θɪŋ, ənd ˈprɑbəˌbli goʊɪŋ tɪ ˌriˈtaɪər ənd groʊ oʊld ɛz ə ˈfɑlən ˈfɪgjər. ˈstɪkəlz: hi kaɪnd əv hæd tɪ sid hɪz ˈoʊnərˌʃɪp əv ɪt. stereogum*: ɪn ˈɔrdər fər ˈpipəl tɪ gɪt ɪkˈsaɪtɪd əˈbaʊt ðɪs stəf, jæ. aɪ ˌɪˈmæʤən ˈhævɪŋ kriˈeɪtɪd ˈsəmθɪŋ laɪk ðət ənd ˈwaɪndɪŋ əp ɪn ðət pəˈzɪʃən ˈdɛkeɪdz ˈleɪtər. ˈstɪkəlz: aɪ gɛs ʤɪst tu bɪg ˈbɪznɪs, raɪt? tɪ lɛt ɪt ʤɪst bi əˈnəðər wən əv ðoʊz əˈθɛnɪk, pjʊr ɪkˈsprɛʃənz əv sɛlf, raɪt? ˈmeɪbi laɪk ɪt tɪ bi ðət, bət ju ʤɪst du ðət wɪn ə ˈbɪljən ˈdɔlərz ɔn ðə laɪn. stereogum*: hi meɪd səm ˈkɑmɛnts tɪ ðət ˈifɛkt, ðət hi laɪk ðə bɪg ˈbɪznɪs əv movie-making*, ðət hi ʤɪst wɔnts tɪ meɪk ɪkˌspɛrɪˈmɛntəl fɪlmz ðət gɪt ʃoʊn ˈɛniˌwɛr. ˈstɪkəlz: ʃʊr gɑt ˈplɛnti əv ˈrisɔrsɪz tɪ du ðət. stereogum*: jæ, ˈizi tɪ seɪ ðət wɪn soʊld jʊr ˈkəmpəˌni fər 4 ˈbɪljən. ˈstɪkəlz: ju kən meɪk mɔr ðən ə fju ɪkˌspɛrɪˈmɛntəl fɪlmz wɪθ ðət ˈməni. stereogum*: wət du ju θɪŋk əv ˈdɑnəld trəmp ˈrənɪŋ fər ˈprɛzɪdənt? ˈstɪkəlz: oʊ, gɑd. wɛl, raɪt naʊ, ðət ʤɪst simz laɪk mɔr ˌɛnərˈteɪnmənt. ʤɪst ˌtɛləˈvɪʒən, ʤɪst ðə ˈpərˌfɪkt θɪŋ tɪ fid ðə 24 aʊər nuz ˈsaɪkəl. ˈɔlˌweɪz ɔn hænd tɪ du ˈsəmθɪŋ aʊˈtreɪʤəs ər ɪˈgriʤəs ənd kriˈeɪt ˈsəmθɪŋ ðət ˈpipəl ər goʊɪŋ tɪ ləv tɪ klɪk ɔn. stereogum*: ju kʊd ˈɔlˌmoʊst lʊk æt ɪt ɛz ðɪs ˈwæki pərˈfɔrməns æt fərst ˈstɪkəlz: ɪt, ˈgɪtɪŋ tu ril! ə ˈpərˌfɪkt ˈnuzˌmeɪkər ɪn ðət rɪˈgɑrd. prɪˈzɛntɪŋ ðə moʊst ɪgˈzæʤərˌeɪtɪd ˈpɑsəbəl ˈvərʒən əv ðɪs pəˈzɪʃən, wɪʧ ɪz ˈmeɪbi beɪst ɔn haʊ ə lɔt əv əˈmɛrɪkən ˈpipəl fil. nɑt mi, ˈpərsənəli. əˈnəðər wən əv ðoʊz ˌɪˈnɛvətəbəl ˈfɪgjərz, aɪ gɛs. ˈiðər saɪd əv ðə ˈmidiə kən juz ɪm. ðə lɛft wɪŋ wɪl seɪ æt ðɪs, ɔl əv ɑr wərst fɪrz ənd ðə ˈtoʊtəl ænˈtɪθəsəs əv ˈɛvriˌθɪŋ wi stænd fər əp ɔn steɪʤ. ɑr ˈpərˌfɪkt ˈvɪlən, soʊ wi kən ʧərn aʊt ˈɛndləs ˈɑrtɪkəlz əˈbaʊt haʊ ˈmɑnstrəs hi is.”*.” ənd ðɛn ɔn ðə ˈəðər saɪd, ðə raɪt wɪŋ, ðeɪ kən seɪ, ɑr ˈpərˌfɪkt ˈhɪroʊ, prɪˈzɛntɪŋ ðə ɪgˈzækt seɪm ɪgˈzæʤərˌeɪtɪd ˈvərʒən əv ɑr positions.”*.” bət, ɔn ðə ˈrɛkərd, aɪ laɪk ɪm ðət məʧ. aɪ θɪŋk ðət hi wʊd bi ə gʊd ˈprɛzɪdənt. bət, kəmˈpɛrd tɪ wət? ˈɛvəri ˈprɛzɪdənt ˈəltəmətli sərvz ðə ˈkæpətəlɪst ˈpɑrti, ju noʊ wət seɪɪŋ? ˈsərtənli ə lɔt mɔr aʊˈtreɪʤəs ðən səm əv ðə ˈəðər ˈkænədɪts, bət ðə ɛnd əv ðə deɪ ðeɪ ɔl sərv ðɛr ril kənˈstɪʧuənsi, wɪʧ ɪz ðə ðət əˈlaʊ ðɛm tɪ ɪgˈzɪst. wik ənd ˈtoʊtəli kənˈflɪktɪd ˈpipəl laɪk ˈʃʊdənt bi əˈlaʊd ɔn ˈtɛləˌvɪʒən ənˈlɛs ˈgɪvɪn ən i.q*. tɛst. dəm ɛz ə rɑk! @ˈsiˈɛˈnɛn ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) dɪˈsɛmbər 10 2015 stereogum*: ɪf ɪn səm ˈjunəˌvərs, trəmp ˈæˌkʧuəli bɪˈkeɪm ˈprɛzɪdənt: wʊd ju muv tɪ ə ˈdɪfərənt ˈkəntri ənd ɪf soʊ wɛr? ˈstɪkəlz: wɛl hɑrd tɪ ɪˈskeɪp ˈɪnfluəns ˈɛniˌwɛr. gɑt səʧ ən ɪkˈstrim ˈplætˌfɔrm ˈɛniˌweɪ, ju hæv tɪ ˈfɪgjər ðət ˈivɪn ɪf hi dɪd bɪˈkəm ˈprɛzɪdənt baɪ səm ˌkætəˈstrɑfɪk tərn əv ɪˈvɛnts, ðət hi bi ˈeɪbəl tɪ ɪˈnækt ɔl ðə θɪŋz ðət hi sɪz hi wɔnts tɪ ɪˈnækt. ˌoʊˈbɑmə sɪz hi wɔnts tɪ meɪk ɪt ˈhɑrdər fər ˈpipəl tɪ gɪt gənz, wɪʧ wʊd bi ˈləvli, bət hi du ɪt. ðə hoʊl baɪˈpɑrtɪzən ˈsɪstəm ðət wi hæv kips ˈɛvriˌθɪŋ ɪn ðɪs ˈgrɪˌdlɑk. wɪl [trəmp] bi ˈeɪbəl tɪ bɪld hɪz wɔl, ʤɪst bɪˈkəz ˈprɛzɪdənt? aɪ noʊ, ˌoʊˈbɑmə gɪt tɪ du ɔl ðə stəf hi sɛd hi ˈwɔntɪd tɪ du. stereogum*: ˈprɪti ʃʊr ðət wɔl ˈhæpən. ˈstɪkəlz: ˈprɑbəˌbli nɑt. nɔr ʃʊd ɪt. ˈsɪli, bɪˈkəz, ju hir ɪn nu jɔrk, ðɪs ˈkəntri ɪz ɔl ˈɪməgrənts. ˈpipəl sim tɪ fərˈgɛt ðət. ðeɪ θɪŋk ðət səm ɛnˈtaɪtəld əˈmɛrɪkən reɪs. nɑt soʊ. wi ɔl keɪm hir frəm ˈsəmˌpleɪs ɛls. ˈvɛri ˌʃɔrtˈsaɪtəd. stereogum*: droʊnz wər əˈnəðər bɪg ˈtɑpɪk ðɪs jɪr. ðɪs ˈvɪdioʊ ʃoʊ ju haʊ ən ˈæməˌzɑn dɪˈlɪvəri droʊn wʊd wərk. haʊ du ju fil əˈbaʊt ðət ˈnoʊʃən? ˈstɪkəlz: wət du ˈpipəl gɪt dɪˈlɪvərd baɪ ðiz droʊnz? ə bʊk? du ˈpipəl rɛd bʊks ˌɛniˈmɔr? stereogum*: ðə ɪgˈzæmpəl ɪn ðə kəˈmərʃəl wɑz ə pɛr əv sˈnikərz fər ə jəŋ gərl. ˈstɪkəlz: wɛl, ˈpipəl wʊd ˈprɑbəˌbli ləv tɪ bi ɪn bɛd ənd seɪ, wɔnt nu sneakers,”*,” ənd ðɛn faɪv ˈmɪnəts ˈleɪtər ə ˈlɪtəl ˈroʊˌbət ˈaʊtˈsaɪd ðɛr ˈwɪndoʊ wɪθ ðə sˈnikərz, ðət wʊd bi ˈləvli fər ðɛm, aɪ səˈpoʊz. ˈprɑbəˌbli ʤɪst gɪt ˈjuˈɛs tɪ ə pleɪs wɛr ˈnɔrməl fər ðɛr tɪ bi ə ˈlɪtəl flaɪɪŋ ˈroʊˌbət ˈaʊtˈsaɪd jʊr ˈwɪndoʊ ənd ju θɪŋk əv haʊ wɪrd ðət ˈrɪli ɪz. wəns juzd tɪ ðə saɪt əv ðiz ˈroʊˌbəts ˈbəzɪŋ əraʊnd haʊ ər wi ˈgɑnə bi ˈeɪbəl tɪ dɪˈstɪŋgwɪʃ bɪtˈwin ðə ˈroʊˌbəts dɪˈlɪvərɪŋ ɑr sˈnikərz ənd ðə ˈroʊˌbəts ðət ər spaɪɪŋ ɔn ˈjuˈɛs. aɪ wʊd ˈrəðər nɑt hæv ˈroʊˌbəts ˈlʊkɪŋ ɪn maɪ əˈpɑrtmənt. bət ˈmeɪbi ðeɪ ər ɔˈrɛdi ðɛr, ju noʊ wət seɪɪŋ? ɪt ʤɪst simz laɪk ə ˈkuki aɪˈdiə. wi ˈrɪli ɛkˈstræpəˌleɪt wət ðə ˈlɑʤɪkəl kənˈkluʒən ɪz əv ə wərld ˈsæʧərˌeɪtɪd wɪθ droʊnz. ˈskɛri. 1984 ʃɪt, jɪrz ˈleɪtər. stereogum*: əˈnəðər tɛkˈnɑləʤi θɪŋ: hæv ju sin ðiz feɪk θɪŋz? ˈstɪkəlz: wɛr ˈstændɪŋ ənd ˈroʊlɪŋ əraʊnd? ðoʊz ər wɪrd ðoʊ aɪ dɪd si ə dud it ʃɪt ɔn wən əv ðɛm ˈrisəntli, wɪʧ wɑz ˈfəni. ðət kʊd ˈoʊnli prəˈmoʊt ə ˈsɛdənˌtɛri ˈlaɪfˌstaɪl, raɪt? laɪk, ˈwɔkɪŋ ɪz wən əv ðə læst θɪŋz ðət wi hæd. aɪ noʊ, ɪz ðət goʊɪŋ tɪ pʊt ˈwɔkɪŋ aʊt əv ˈbɪznɪs? stereogum*: ðə nu jɔrk taɪmz ˈmægəˌzin æst ðɛr ˈridərz ɪf ðeɪ kʊd goʊ bæk ɪn taɪm, wʊd ðeɪ kɪl ˈbeɪbi hitler…*… ˈstɪkəlz: aɪ wɔnt tɪ kɪl ˈɛnibədi. ˈvaɪələns ˈoʊnli bɪˈgɛts mɔr ˈvaɪələns. ɪz ɪt tɪ seɪ aɪ? aɪ wɔnt tɪ kɪl ˈɛni ˈbeɪbi. nɑt tɪ seɪ ðət aɪ səˈpɔrt ə raɪt tɪ ʧuz, ˈɑbviəsli. ən æˈbhɔrənt θɔt, tɪ kɪl ˈɛni ˈbeɪbi. stereogum*: jæ, ɪt bɪˈkeɪm səʧ ə mim, bət ə ˈprɪti groʊˈtɛsk kˈwɛʃən. ˈstɪkəlz: ə grɪm ˈɪmɪʤ. hi ʤɪst kəm tɪ ɪgˈzɪst bɪˈkəz hi wɑz ə ˈdimən. hi wɑz ˈɑbviəsli nɑt ə gʊd gaɪ, bət ə ˈprɑdəkt əv soʊˈsaɪɪti. aɪ du wɪʃ ðət ðə ˈhɔləˌkɔst ˈnɛvər ˈhæpənd. aɪ kən ˈdɛfənətli tɛl ju ðət. bət ə ˈprɪti seɪf pəˈzɪʃən tɪ teɪk. aɪ θɪŋk ðət gʊd tɪ stoʊk ðə ˈæpəˌtaɪt fər ˈvaɪələns. wi ʃʊd bi ˈlʊkɪŋ fər mɔr weɪz tɪ prəˈmoʊt pis ənd ə ˈʤɛnərəli ˈpisfəl, ˈləvɪŋ ˈfilɪŋ əˈməŋst ðə ˈjumən kəmˈjunɪti. aɪ θɪŋk ðət ˈfænəˌsaɪzɪŋ əˈbaʊt ˈkɪlɪŋ ˈbeɪbi ˈhɪtlər ɪz ðə weɪ tɪ du ðət. ɪf wi kʊd hæv əˈvɔɪdɪd ɔl ðə əˈtrɑsətiz əˈsoʊʃiˌeɪtəd wɪθ ɪm, ðət bɪn nis. bət əˈnəðər ɪgˈzæmpəl əv ðə ˈʤɛnərəl bloodlust*. stereogum*: soʊ ə ˈlaɪtər wən: dɪd ju wɔʧ spiʧ æt ðə vmas*? ˈstɪkəlz: aɪ dɪd, aɪ laɪkt ðət ə lɔt. aɪ faʊnd wɑz ə ˈvɛri ɪmˈpaʊərɪŋ θɪŋ tɪ ən ˈɑrtɪst laɪk ˌmaɪˈsɛlf. hi sɪz, ˈwɔntɪd ˈpipəl tɪ laɪk mi mɔr bət fək ðət. ˈlɪsən tɪ ðə kids.”*.” tru, ðə ˈɑrtɪst pliz ˈɛvriˌbɑdi. ənd ɪf ðə ˈɑrtɪst ɪz goʊɪŋ aʊt ʤɪst traɪɪŋ tɪ seɪ ðə raɪt θɪŋ, traɪɪŋ tɪ ʤɪst əˈʧiv səm blænd kənˈsɛnsəs. ðət ˈrɪli muv ðə ˈkəlʧər ˈfɔrwərd ɪn ˈɛni kaɪnd əv ˈminɪŋfəl weɪ. hi wɔnts tɪ ˈʧælənʤ ðə ˈstætəs kwoʊ, ənd ˈpipəl laɪk ɪm. ɪf ju ˈlɪsən tɪ ðə kɪdz, gɑt ə lɔt əv səˈpɔrt. ɪt gɪvz mi ə lɔt əv strɛŋθ wɪn aɪ θɪŋk ˈtaɪtəs əˈʧiv ə ˈmæsɪv kənˈsɛnsəs, ˈoʊˈkeɪ, bɪˈkəz aɪ noʊ ðɛr ər ˈpipəl aʊt ðɛr ðət ər rɪˈspɑndɪŋ tɪ ðə stəf ðət əˈbaʊt. ənd ɪf nɑt ðə 1 kul θɪŋ, ˌɔˈlraɪt. bɪˈkəz ðə 1 kul θɪŋ hæv tɪ bi ðə 1 θɪŋ fər ˈɛvriˌbɑdi. wɪθ ðə ˈɪndəstri ðə weɪ ðət ɪt ɪz təˈdeɪ, ənd ju noʊ, ðɛr ər ˈsərtən kəˈlɑsəl ˈɑrtɪsts ðət kənˈtroʊl ðə æm aɪ seɪɪŋ. aɪ juzd tɪ seɪ ðɪs ɔl ðə taɪm. ðə weɪ ðət ɪt juzd tɪ bi, ðɛr wər ˈɑrtɪsts laɪk əˈdɛl ˈnaʊəˌdeɪz, hu ər juʤ ˌsupərˈstɑrz, ənd ðɛn ðɛr ər ˈɑrtɪsts ðət ər ˈsupər əbˈskjʊr. wɪθ ðə ˈɪntərˌnɛt ənd ðə kənɛkˈtɪvɪti ðət wi hæv təˈdeɪ, ðə ˈɑrtɪst ˌnɛsəˈsɛrəli hæv tɪ əˈʧiv ə juʤ kənˈsɛnsəs tɪ sərˈvaɪv ənd bi ə səkˈsɛs ɔn ðɛr oʊn tərmz. ðɛr ər soʊ ˈmɛni weɪz naʊ fər ðə ˈɑrtɪst tɪ riʧ ðɛr pəˈtɛnʃəl ˈɔdiəns ðət ðeɪ hæv tɪ kənˈsərn ðɛmˈsɛlvz lɛs wɪθ ˈplizɪŋ ˈɛvriˌbɑdi ənd mɔr wɪθ ˈplizɪŋ ðɛmˈsɛlvz ənd noʊɪŋ ɪf ðeɪ du ðət, ɪˈnəf ˈpipəl aʊt ðɛr ðət wɪl hæv ðə seɪm ˈfilɪŋz əˈbaʊt ɑrt ənd laɪf ðət ðeɪ du, tɪ səˈpɔrt ðɛm. soʊ ˈhoʊpfəli ðət ɪz ˈgɑnə kriˈeɪt ˈgreɪtər ˈfridəm fər ðə ˈɑrtɪst, ˈrəðər ðən ˈhævɪŋ tɪ traɪ tɪ ˈpændər ər meɪk ˈsəmθɪŋ ðət ɪz ˈvɛri seɪf ənd ðeɪ kən bi ʃʊr ə lɔt əv ˈpipəl wɪl laɪk. ðeɪ kən kriˈeɪt ˈsəmθɪŋ mɔr tru. hɑrd tɪ gɪt ə ˈmɪljən ˈpipəl tɪ gɪv ju ə ˈdɔlər. bət ˈmeɪbi lɛs hɑrd tɪ gɪt tɛn ˈθaʊzənd ˈpipəl tɪ gɪv ju ə ˈhənərd ˈdɔlərz. aɪ noʊ haʊ tɪ du ðət, ˈiðər. bət ðət simz mɔr ˈpɑsəbəl naʊ, ðən ɪn ðə ˈoʊldən deɪz əv ðə ˈəndərˌgraʊnd, wɪn ju hæd tɪ du ə lɔt mɔr wərk tɪ sik ðɪs stəf aʊt. naʊ ðɪs stəf ɪz soʊ məʧ mɔr ækˈsɛsəbəl, ˈhoʊpfəli bi ˈiziər fər ɪt tɪ riʧ ðə ˈpipəl ðət ˈrɪli nid ɪt. stereogum*: θˈrɛtənd ɔn ə fju ɔˈkeɪʒənz ðət ˈtaɪtəs maɪt nɑt bi əraʊnd məʧ ˈlɔŋgər. ðə moʊst ləˈmɛntəbəl ˈtræʤədi wɑz ðɪs ˈmæsɪv θɪŋ ju pʊt soʊ məʧ əv ˈjɔrsɛlf ˈɪntu, ənd ɛz ə riˈlis ɪn 2015 ɪt wɑz ə bɪt əv ə ˈgæmbəl. kərˈɛkt mi ɪf ju θɪŋk ˈdɪfərˈɛntli, bət aɪ fil laɪk ɪt peɪd ɔf. ər ju ˈfilɪŋ laɪk ðɛr maɪt bi ə fˈjuʧər fər ˈtaɪtəs bɪɔnd wət ˌɪmˈplaɪd ɪn ðə pæst? ˈstɪkəlz: aɪ hoʊp soʊ. aɪ noʊ wət aɪ wʊd du ˈəðərˌwaɪz. bət ˈpipəl ər ˈvɛri ˈfɪkəl ˈnaʊəˌdeɪz. wi əˈʧiv ə juʤ kənˈsɛnsəs, laɪk aɪ sɛd. bət lɛs ˌɪmˈpɔrtənt ˈnaʊəˌdeɪz, fər ən ˈɑrtɪst ɔn ɑr ˈlɛvəl. ʤɪst ə lɔŋ geɪm ðət pleɪɪŋ. nɑt məʧ wi kən du ɛz ə rɑk ‘‘n’*’ roʊl bænd, wɪθ ðə kaɪnd əv ˈɪntərɪsts wi gɑt, tɪ laɪk, ˈsədənli lip əp tɪ səm nu plæˈtoʊ ənd naʊ laɪf ɪz ˈsədənli ˈsupər ˈizi. stereogum*: ər ju ˈoʊpən tɪ ˈmeɪkɪŋ mɔr mˈjuzɪk ɛz ˈtaɪtəs? ˈstɪkəlz: jæ, aɪ hoʊp soʊ. aɪ hoʊp ðət wi wɪl. ˈpɪkɪŋ əp mɔr ˈpipəl, ˈpɪkɪŋ əp mɔr səˈpɔrtərz ɛz wi goʊ əˈlɔŋ. ə lɔŋ geɪm, ə sloʊ ˈprɔˌsɛs. bi nis tɪ ˈlɛvəl əp tɪ səm nu plæˈtoʊ. ə ˈlɪtəl bɪt əv ə ˈfænəsi. si nɛkst jɪr, ju noʊ? wi hæd ə ˈlɪtəl blɪp, ðɛr, wɛr ˈpipəl hu ˈmeɪbi ˈpriviəsli bɪn ˈɪntəˌrɛstɪd ɪn ˈjuˈɛs wər ˈɪntəˌrɛstɪd fər ə ˈmoʊmənt, bət ðət ˈmoʊmənt ɪz naʊ ˈoʊvər. stereogum*: wət ˈmoʊmənt ər ju rɪˈfərɪŋ tɪ? ˈstɪkəlz: ʤɪst wɪn wi wər ɪn ðə ˈpeɪpərz bɪˈkəz wi hæd ə nu ˈrɛkərd ənd stəf. mɔr ˈnuzˌwərði. nɑt ɛz ˈnuzˌwərði tɪ seɪ, ‘‘n’*’ roʊl bænd kənˈtɪnjuz tɪ pləg əˈweɪ ənd du wət ðeɪ do.”*.” nɑt ˈtɛrəbli ˈɪntəˌrɛstɪŋ tɪ ˈɛnibədi. stereogum*: hæd ðɪs ˌkɑnvərˈseɪʃən wɪθ frɛndz ˈrisəntli əˈbaʊt maɪ ˈmɔrnɪŋ ˈʤækɪt. ə bænd ðət həz ə ˈvɛri dɪˈvaʊt fanbase*, sɛlz aʊt ʃoʊz, gɪts ˈkəvərɪʤ, bət nɑt laɪk, dip, ˌænəˈlɪtɪkəl ˈkəvərɪʤ. kaɪnd əv ˈaʊtˈsaɪd ðə blɔg ˈnɛrətɪv. ðət kʊd bi mɔr ˈprɛfərəbəl, ɪn səm weɪz. ˈstɪkəlz: ðət wʊd bi nis. ə ˈlɪtəl mɔr wət ˈɪntəˌrɛstɪd ɪn. ðeɪ hæv tɪ ˈwəri əˈbaʊt ˈmeɪkɪŋ ðə nuz ˌɛniˈmɔr. stereogum*: ju θɪŋk ju stɪl hæv tɪ?
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a man was found dead in his home after having sex with a scarecrow that he had dressed up in a wig, lipstick and sex toy.
the rotting remains of jose alberto were discovered in his home after neighbours reported a foul smell coming from the building.
police forced their way into the home in san jose de balcare, eastern argentina, and were stunned to discover the shepherd lying dead.
next to him lay a scarecrow that had been dressed up as a woman - but wearing a sex toy.
rodolfo moure, a spokesman for the prosecutor, said: "i initially thought there were two bodies but then i realised one was a scarecrow wearing lipstick and a wig.
"it was lying next to the deceased and had a penis.
"there were no signs of violence and we are working on the assumption that the man died during sex with the scarecrow.
"straw had been stuffed inside the old clothes that had been sewn together to make the scarecrow.
"we are now waiting the results of an autopsy.”
neighbours said the man, who was known to live alone and had no mobile phone, was often seen as a loner.
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gɪt ðə ˈbɪgəst ˈdeɪli 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 wɑz faʊnd dɛd ɪn hɪz hoʊm ˈæftər ˈhævɪŋ sɛks wɪθ ə ˈskærˌkroʊ ðət hi hæd drɛst əp ɪn ə wɪg, ˈlɪpˌstɪk ənd sɛks tɔɪ. ðə ˈrɑtɪŋ rɪˈmeɪnz əv ˌhoʊˈzeɪ ælˈbərtoʊ wər dɪˈskəvərd ɪn hɪz hoʊm ˈæftər ˈneɪbərz ˌriˈpɔrtəd ə faʊl smɛl ˈkəmɪŋ frəm ðə ˈbɪldɪŋ. pəˈlis fɔrst ðɛr weɪ ˈɪntu ðə hoʊm ɪn sæn ˌhoʊˈzeɪ də balcare*, ˈistərn ˌɑrʤənˈtinə, ənd wər stənd tɪ dɪˈskəvər ðə ˈʃɛpərd laɪɪŋ dɛd. nɛkst tɪ ɪm leɪ ə ˈskærˌkroʊ ðət hæd bɪn drɛst əp ɛz ə ˈwʊmən bət ˈwɛrɪŋ ə sɛks tɔɪ. roʊˈdɑlfoʊ moure*, ə ˈspoʊksmən fər ðə ˈprɑsɪˌkjutər, sɛd: "aɪ ˌɪˈnɪʃəli θɔt ðɛr wər tu ˈbɑdiz bət ðɛn aɪ ˈriəˌlaɪzd wən wɑz ə ˈskærˌkroʊ ˈwɛrɪŋ ˈlɪpˌstɪk ənd ə wɪg. "ɪt wɑz laɪɪŋ nɛkst tɪ ðə dɪˈsist ənd hæd ə ˈpinɪs. "ðɛr wər noʊ saɪnz əv ˈvaɪələns ənd wi ər ˈwərkɪŋ ɔn ðə əˈsəmpʃən ðət ðə mæn daɪd ˈdʊrɪŋ sɛks wɪθ ðə ˈskærˌkroʊ. "strɔ hæd bɪn stəft ˌɪnˈsaɪd ðə oʊld kloʊðz ðət hæd bɪn soʊn təˈgɛðər tɪ meɪk ðə ˈskærˌkroʊ. "wi ər naʊ ˈweɪtɪŋ ðə rɪˈzəlts əv ən autopsy.”*.” ˈneɪbərz sɛd ðə mæn, hu wɑz noʊn tɪ lɪv əˈloʊn ənd hæd noʊ ˈmoʊbəl foʊn, wɑz ˈɔfən sin ɛz ə ˈloʊnər.
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a full 25 percent of voters in this month's election identified themselves as liberals, according to exit polls, a marked increase from 22 percent in 2008. (conservative is still a more popular identifier, with 35 percent of voters claiming that label.) still, the "l" word is more popular than it has been since 1976. conservatives managed to turn "liberal" into an insult in the 1980s, and when republican icon ronald reagan won in 1984, only 17 percent of voters confessed to being liberal. today that number has ballooned to 25 percent. why are a growing percentage of americans calling themselves liberal? here, three theories:
1. obama made being liberal cool again
president obama has "talked about government in a way that many democrats haven't in recent years," forcefully making the case for a more active role for public agencies in american life, says aaron blake at the washington post. obama "may not call himself a liberal," but that's how people see his policies. "thus, obama supporters are less reticent to embrace that label." and "the democratic party is riding high" it just snared a majority of the popular vote in two consecutive presidential votes for the first time since the days of franklin delano roosevelt. "they've done it with a president who is regarded as a liberal," and that reinforced "the idea that it's okay to be liberal."
2. conservatives have been unfairly tarred
it's not that americans are suddenly about liberal politics, says gary bauer at human events. voters are still filled with "strong skepticism about whether obama will be able to accomplish americans' goals." the obama campaign simply managed to drive people away from mitt romney with a relentless barrage of negative ads smearing him and, by extension, conservative politics as "uncaring and disconnected." republicans can regain this lost ground next time around if they just learn from this loss. "republican values strong families, faith, personal responsibility and freedom, among others are not unique to specific of the electorate. they are universal values, and it is republicans' job to remind americans of that fact."
3. america really is changing
"some of the demographics in the country happen to be the ones that are trending toward the 'liberal' label," says blake at the washington post. that includes "non-religious people (rising from 18 percent liberal in 2004 to 24 percent today), college graduates (from 48 percent to 53 percent) and hispanics (from 10 percent to 13 percent). young people, of course, have always been pretty liberal; the label's increasing appeal to these groups means it is gaining steam." reinforcing this trend is the nation's increasing "tilt to the left when it comes to social policy," as seen in voters' increasing openness to legalizing recreational marijuana use and gay marriage. but the main thing, says wisconsin state rep. leon d. young at the milwaukee courier, is that "the american electorate is indeed changing. it's younger, more multicultural in appearance (black, latino and asian), and definitely less white." is it any wonder a growing percentage of voters identify as progressives?
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ˌædvərˈtaɪzmənt ə fʊl 25 pərˈsɛnt əv ˈvoʊtərz ɪn ðɪs mənθs ɪˈlɛkʃən aɪˈdɛntəˌfaɪd ðɛmˈsɛlvz ɛz ˈlɪˌbərəlz, əˈkɔrdɪŋ tɪ ˈɛksət poʊlz, ə mɑrkt ˌɪnˈkris frəm 22 pərˈsɛnt ɪn 2008 (kənˈsərvətɪv ɪz stɪl ə mɔr ˈpɑpjələr aɪˈdɛntəˌfaɪər, wɪθ 35 pərˈsɛnt əv ˈvoʊtərz ˈkleɪmɪŋ ðət ˈleɪbəl.) stɪl, ðə "ɛl" wərd ɪz mɔr ˈpɑpjələr ðən ɪt həz bɪn sɪns 1976 kənˈsərvətɪvz ˈmænɪʤd tɪ tərn "ˈlɪˌbərəl" ˈɪntu ən ˌɪnˈsəlt ɪn ðə 1980s*, ənd wɪn rɪˈpəblɪkən ˈaɪkɑn ˈrɑnəld ˈrigən wən ɪn 1984 ˈoʊnli 17 pərˈsɛnt əv ˈvoʊtərz kənˈfɛst tɪ biɪŋ ˈlɪˌbərəl. təˈdeɪ ðət ˈnəmbər həz bəˈlund tɪ 25 pərˈsɛnt. waɪ ər ə groʊɪŋ pərˈsɛnɪʤ əv əˈmɛrɪkənz ˈkɔlɪŋ ðɛmˈsɛlvz ˈlɪˌbərəl? hir, θri ˈθɪriz: 1 ˌoʊˈbɑmə meɪd biɪŋ ˈlɪˌbərəl kul əˈgɛn ˈprɛzɪdənt ˌoʊˈbɑmə həz "tɔkt əˈbaʊt ˈgəvərnmənt ɪn ə weɪ ðət ˈmɛni ˈdɛməˌkræts ˈhævənt ɪn ˈrisənt jɪrz," ˈfɔrsfəli ˈmeɪkɪŋ ðə keɪs fər ə mɔr ˈæktɪv roʊl fər ˈpəblɪk ˈeɪʤənsiz ɪn əˈmɛrɪkən laɪf, sɪz ˈɛrən bleɪk æt ðə ˈwɔʃɪŋtən poʊst. ˌoʊˈbɑmə "meɪ nɑt kɔl hɪmˈsɛlf ə ˈlɪˌbərəl," bət ðæts haʊ ˈpipəl si hɪz ˈpɑləsiz. "ðəs, ˌoʊˈbɑmə səˈpɔrtərz ər lɛs ˈrɛtɪsənt tɪ ɪmˈbreɪs ðət ˈleɪbəl." ənd "ðə ˌdɛməˈkrætɪk ˈpɑrti ɪz ˈraɪdɪŋ haɪ" ɪt ʤɪst snɛrd ə məˈʤɔrəti əv ðə ˈpɑpjələr voʊt ɪn tu kənˈsɛkjətɪv ˌprɛzɪˈdɛnʃəl voʊts fər ðə fərst taɪm sɪns ðə deɪz əv ˈfræŋklɪn ˈdɛlənoʊ ˈruzəˌvɛlt. "ðeɪv dən ɪt wɪθ ə ˈprɛzɪdənt hu ɪz rɪˈgɑrdɪd ɛz ə ˈlɪˌbərəl," ənd ðət ˌriɪnˈfɔrst "ðə aɪˈdiə ðət ɪts ˌoʊˈkeɪ tɪ bi ˈlɪˌbərəl." 2 kənˈsərvətɪvz hæv bɪn ənˈfɛrli tɑrd ɪts nɑt ðət əˈmɛrɪkənz ər ˈsədənli əˈbaʊt ˈlɪˌbərəl ˈpɑləˌtɪks, sɪz ˈgɛri baʊər æt ˈjumən ɪˈvɛnts. ˈvoʊtərz ər stɪl fɪld wɪθ "strɔŋ ˈskɛptɪˌsɪzəm əˈbaʊt ˈwɛðər ˌoʊˈbɑmə wɪl bi ˈeɪbəl tɪ əˈkɑmplɪʃ əˈmɛrɪkənz' goʊlz." ðə ˌoʊˈbɑmə kæmˈpeɪn ˈsɪmpli ˈmænɪʤd tɪ draɪv ˈpipəl əˈweɪ frəm mɪt ˈrɑmni wɪθ ə rɪˈlɛntlɪs bərɑʒ əv ˈnɛgətɪv ædz sˈmɪrɪŋ ɪm ənd, baɪ ɪkˈstɛnʃən, kənˈsərvətɪv ˈpɑləˌtɪks ɛz "ənˈkɛrɪŋ ənd ˌdɪskəˈnɛktɪd." rɪˈpəblɪkənz kən rɪˈgeɪn ðɪs lɔst graʊnd nɛkst taɪm əraʊnd ɪf ðeɪ ʤɪst lərn frəm ðɪs lɔs. "rɪˈpəblɪkən ˈvæljuz strɔŋ ˈfæməliz, feɪθ, ˈpərsɪnəl riˌspɑnsəˈbɪləti ənd ˈfridəm, əˈməŋ ˈəðərz ər nɑt juˈnik tɪ spɪˈsɪfɪk əv ðə ɪˈlɛktərət. ðeɪ ər ˌjunəˈvərsəl ˈvæljuz, ənd ɪt ɪz rɪˈpəblɪkənz' ʤɑb tɪ riˈmaɪnd əˈmɛrɪkənz əv ðət fækt." 3 əˈmɛrɪkə ˈrɪli ɪz ˈʧeɪnʤɪŋ "səm əv ðə ˌdɛməˈgræfɪks ɪn ðə ˈkəntri ˈhæpən tɪ bi ðə wənz ðət ər ˈtrɛndɪŋ təˈwɔrd ðə 'ˈlɪˌbərəl' ˈleɪbəl," sɪz bleɪk æt ðə ˈwɔʃɪŋtən poʊst. ðət ˌɪnˈkludz "ˌnɑnrɪˈlɪʤəs ˈpipəl (ˈraɪzɪŋ frəm 18 pərˈsɛnt ˈlɪˌbərəl ɪn 2004 tɪ 24 pərˈsɛnt təˈdeɪ), ˈkɑlɪʤ ˈgræʤəˌweɪts (frəm 48 pərˈsɛnt tɪ 53 pərˈsɛnt) ənd hɪˈspænɪks (frəm 10 pərˈsɛnt tɪ 13 pərˈsɛnt). jəŋ ˈpipəl, əv kɔrs, hæv ˈɔlˌweɪz bɪn ˈprɪti ˈlɪˌbərəl; ðə ˈleɪbəlz ˌɪnˈkrisɪŋ əˈpil tɪ ðiz grups minz ɪt ɪz ˈgeɪnɪŋ stim." ˌriɪnˈfɔrsɪŋ ðɪs trɛnd ɪz ðə ˈneɪʃənz ˌɪnˈkrisɪŋ "tɪlt tɪ ðə lɛft wɪn ɪt kəmz tɪ ˈsoʊʃəl ˈpɑləsi," ɛz sin ɪn ˈvoʊtərz' ˌɪnˈkrisɪŋ ˈoʊpənəs tɪ ˈligəˌlaɪzɪŋ ˌrɛkriˈeɪʃənəl ˌmɛrəˈwɑnə juz ənd geɪ ˈmɛrɪʤ. bət ðə meɪn θɪŋ, sɪz wɪˈskɑnsən steɪt rɛpriˈzɛtətɪv. liɑn di. jəŋ æt ðə mɪlˈwɔki ˈkəriər, ɪz ðət "ðə əˈmɛrɪkən ɪˈlɛktərət ɪz ˌɪnˈdid ˈʧeɪnʤɪŋ. ɪts ˈjəŋgər, mɔr ˌməltiˈkəlʧərəl ɪn əˈpɪrəns (blæk, ləˈtinoʊ ənd ˈeɪʒən), ənd ˈdɛfənətli lɛs waɪt." ɪz ɪt ˈɛni ˈwəndər ə groʊɪŋ pərˈsɛnɪʤ əv ˈvoʊtərz aɪˈdɛntəˌfaɪ ɛz prɑˈgrɛsɪvz?
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a few years ago, i wrote a column about the fall of civil discussion online. social media had peaked in my eyes and turned into a dumpster fire of raging adults going head to head. i am by no means an expert in the field of social media, but i still take part in comment forums. the trolls are as rampant as they've ever been in every crevice of the internet. nothing comes close to matching the trump trolls. #trollingfortrump, if you will.
back when the primaries kicked off, the trolls found a common hero in trump. someone on the outside the norm of the establishment, someone not taken seriously. someone himself a master at getting reactions from making a single statement. i mean, that's the whole purpose of trolling, isn't it? get people defensive and engage them to react with real emotions and sincerity.
through propaganda sites and troll such as and reddit, they organised, finding a home and purpose. they were going to do whatever they could to elect der leader, donald john trump. why? many of them didn't know why they joined the fight. it was a social experience where their trolling prowess could go to use.
don't get me wrong, there are plenty of people who believe in trump and everything he promises. yet, there are plenty of people who put trolling before anything else. they ended up playing chicken with the future of the world for some laughs.
i haven't even touched on the russian troll houses (who get paid and only want to see the us implode). efforts to try and distort facts and change conversations were obvious for a long time. we know they spread propaganda and misinformation.
anyone doubting it should look at the country's response to trump's presidency.
you're online on facebook or youtube or cbc. you are visiting a site that has followers. in droves, your community of individuals gets bombarded with messages. liberal tears, obama, maga, emails, and other various talking points. referred to as "brigading", they share social media links, flooding conversations with trolling.
the average person may say to themselves 'wow, i'm on the outside of things' & think over what the trolls are vomiting. some may get riled up and bite and the threads fill with distractions and misinformation. wasting time with someone who doesn't care except for getting the reaction you give them.
unfortunately, there's no going back. trolls are now as empowered as ever before, having gotten their guy elected. dealing with them is a reality of commenting now everywhere we go online. there are a few ways you can ensure that you don't end up sucked down such rabbit holes.
first, pay attention to where you're commenting and when his "supporters" show up. do they show up all at once or are they scattered throughout the day? what is the content of their messaging? do they share their opinions and engage in civil conversations, or do they post troll bait? while it's not a sign, especially in our world, do their make sense? how many comments have you seen from people with surnames that don't even exist?
again, there are sincere people who do believe in trump and hope he delivers on his promises. but there are so many trolls that it is killing conversations. it's not about liberal tears because opposition to trump is bipartisan. trump has the
lowest support of any incoming president ever. you'd think that social media would reflect that, but often it doesn't.
the best way to deal with not just trump trolls, but all trolls, is not engage them. you get into an endless back and forth and you give them the energy and dopamine to continue on another day. and you? you end up wasting your time and energy and ready to quit the internet altogether at the end of the day.
you will be if you ignore it and realise that you'll hardly ever actually change someone's opinion, troll or not.
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ə fju jɪrz əˈgoʊ, aɪ roʊt ə ˈkɑləm əˈbaʊt ðə fɔl əv ˈsɪvəl dɪˈskəʃən ˈɔnˌlaɪn. ˈsoʊʃəl ˈmidiə hæd pikt ɪn maɪ aɪz ənd tərnd ˈɪntu ə ˈdəmpstər faɪər əv ˈreɪʤɪŋ ˈædəlts goʊɪŋ hɛd tɪ hɛd. aɪ æm baɪ noʊ minz ən ˈɛkspərt ɪn ðə fild əv ˈsoʊʃəl ˈmidiə, bət aɪ stɪl teɪk pɑrt ɪn ˈkɑmɛnt ˈfɔrəmz. ðə troʊlz ər ɛz ˈræmpənt ɛz ðeɪv ˈɛvər bɪn ɪn ˈɛvəri ˈkrɛvəs əv ðə ˈɪntərˌnɛt. ˈnəθɪŋ kəmz kloʊz tɪ ˈmæʧɪŋ ðə trəmp troʊlz. #trollingfortrump*, ɪf ju wɪl. bæk wɪn ðə ˈpraɪˌmɛriz kɪkt ɔf, ðə troʊlz faʊnd ə ˈkɑmən ˈhɪroʊ ɪn trəmp. ˈsəmˌwən ɔn ðə ˈaʊtˈsaɪd ðə nɔrm əv ðə ɪˈstæblɪʃmənt, ˈsəmˌwən nɑt ˈteɪkən ˈsɪriəsli. ˈsəmˌwən hɪmˈsɛlf ə ˈmæstər æt ˈgɪtɪŋ riˈækʃənz frəm ˈmeɪkɪŋ ə ˈsɪŋgəl ˈsteɪtmənt. aɪ min, ðæts ðə hoʊl ˈpərpəs əv ˈtroʊlɪŋ, ˈɪzənt ɪt? gɪt ˈpipəl dɪˈfɛnsɪv ənd ɪnˈgeɪʤ ðɛm tɪ riækt wɪθ ril ˈɪˌmoʊʃənz ənd sɪnˈsɛrəti. θru ˌprɑpəˈgændə saɪts ənd troʊl səʧ ɛz ənd reddit*, ðeɪ organised*, ˈfaɪndɪŋ ə hoʊm ənd ˈpərpəs. ðeɪ wər goʊɪŋ tɪ du ˌwəˈtɛvər ðeɪ kʊd tɪ ɪˈlɛkt dər ˈlidər, ˈdɑnəld ʤɑn trəmp. waɪ? ˈmɛni əv ðɛm ˈdɪdənt noʊ waɪ ðeɪ ʤɔɪnd ðə faɪt. ɪt wɑz ə ˈsoʊʃəl ɪkˈspɪriəns wɛr ðɛr ˈtroʊlɪŋ praʊəs kʊd goʊ tɪ juz. doʊnt gɪt mi rɔŋ, ðɛr ər ˈplɛnti əv ˈpipəl hu bɪˈliv ɪn trəmp ənd ˈɛvriˌθɪŋ hi ˈprɑməsəz. jɛt, ðɛr ər ˈplɛnti əv ˈpipəl hu pʊt ˈtroʊlɪŋ ˌbiˈfɔr ˈɛniˌθɪŋ ɛls. ðeɪ ˈɛndɪd əp pleɪɪŋ ˈʧɪkən wɪθ ðə fˈjuʧər əv ðə wərld fər səm læfs. aɪ ˈhævənt ˈivɪn təʧt ɔn ðə ˈrəʃən troʊl ˈhaʊsɪz (hu gɪt peɪd ənd ˈoʊnli wɔnt tɪ si ðə ˈjuˈɛs ˌɪmˈploʊd). ˈɛfərts tɪ traɪ ənd dɪˈstɔrt fækts ənd ʧeɪnʤ ˌkɑnvərˈseɪʃənz wər ˈɑbviəs fər ə lɔŋ taɪm. wi noʊ ðeɪ sprɛd ˌprɑpəˈgændə ənd ˌmɪsɪnfərˈmeɪʃən. ˈɛniˌwən ˈdaʊtɪŋ ɪt ʃʊd lʊk æt ðə ˈkəntriz rɪˈspɑns tɪ trəmps ˈprɛzɪdənsi. jʊr ˈɔnˌlaɪn ɔn ˈfeɪsˌbʊk ər ˈjuˌtub ər ˈsiˌbiˈsi. ju ər ˈvɪzɪtɪŋ ə saɪt ðət həz ˈfɑloʊərz. ɪn droʊvz, jʊr kəmˈjunɪti əv ˌɪndəˈvɪʤəwəlz gɪts bɑmˈbɑrdɪd wɪθ ˈmɛsɪʤɪz. ˈlɪˌbərəl tɪrz, ˌoʊˈbɑmə, maga*, iˈmeɪlz, ənd ˈəðər ˈvɛriəs ˈtɔkɪŋ pɔɪnts. rɪˈfərd tɪ ɛz "brigading*", ðeɪ ʃɛr ˈsoʊʃəl ˈmidiə lɪŋks, ˈflədɪŋ ˌkɑnvərˈseɪʃənz wɪθ ˈtroʊlɪŋ. ðə ˈævərɪʤ ˈpərsən meɪ seɪ tɪ ðɛmˈsɛlvz 'waʊ, əm ɔn ðə ˈaʊtˈsaɪd əv θɪŋz' θɪŋk ˈoʊvər wət ðə troʊlz ər ˈvɑmətɪŋ. səm meɪ gɪt raɪld əp ənd baɪt ənd ðə θrɛdz fɪl wɪθ dɪˈstrækʃənz ənd ˌmɪsɪnfərˈmeɪʃən. ˈweɪstɪŋ taɪm wɪθ ˈsəmˌwən hu ˈdəzənt kɛr ɪkˈsɛpt fər ˈgɪtɪŋ ðə riˈækʃən ju gɪv ðɛm. ənˈfɔrʧənətli, ðɛrz noʊ goʊɪŋ bæk. troʊlz ər naʊ ɛz ɪmˈpaʊərd ɛz ˈɛvər ˌbiˈfɔr, ˈhævɪŋ ˈgɔtən ðɛr gaɪ ɪˈlɛktɪd. ˈdilɪŋ wɪθ ðɛm ɪz ə ˌriˈæləˌti əv ˈkɑmɛntɪŋ naʊ ˈɛvriˌwɛr wi goʊ ˈɔnˌlaɪn. ðɛr ər ə fju weɪz ju kən ɪnˈʃʊr ðət ju doʊnt ɛnd əp səkt daʊn səʧ ˈræbɪt hoʊlz. fərst, peɪ əˈtɛnʃən tɪ wɛr jʊr ˈkɑmɛntɪŋ ənd wɪn hɪz "səˈpɔrtərz" ʃoʊ əp. du ðeɪ ʃoʊ əp ɔl æt wəns ər ər ðeɪ ˈskætərd θruaʊt ðə deɪ? wət ɪz ðə ˈkɑntɛnt əv ðɛr ˈmɛsɪʤɪŋ? du ðeɪ ʃɛr ðɛr əˈpɪnjənz ənd ɪnˈgeɪʤ ɪn ˈsɪvəl ˌkɑnvərˈseɪʃənz, ər du ðeɪ poʊst troʊl beɪt? waɪl ɪts nɑt ə saɪn, əˈspɛʃəli ɪn ɑr wərld, du ðɛr meɪk sɛns? haʊ ˈmɛni ˈkɑmɛnts hæv ju sin frəm ˈpipəl wɪθ ˈsərˌneɪmz ðət doʊnt ˈivɪn ɪgˈzɪst? əˈgɛn, ðɛr ər sɪnˈsɪr ˈpipəl hu du bɪˈliv ɪn trəmp ənd hoʊp hi dɪˈlɪvərz ɔn hɪz ˈprɑməsəz. bət ðɛr ər soʊ ˈmɛni troʊlz ðət ɪt ɪz ˈkɪlɪŋ ˌkɑnvərˈseɪʃənz. ɪts nɑt əˈbaʊt ˈlɪˌbərəl tɪrz bɪˈkəz ˌɑpəˈzɪʃən tɪ trəmp ɪz baɪˈpɑrtɪzən. trəmp həz ðə loʊəst səˈpɔrt əv ˈɛni ˈɪnˌkəmɪŋ ˈprɛzɪdənt ˈɛvər. jʊd θɪŋk ðət ˈsoʊʃəl ˈmidiə wʊd rɪˈflɛkt ðət, bət ˈɔfən ɪt ˈdəzənt. ðə bɛst weɪ tɪ dil wɪθ nɑt ʤɪst trəmp troʊlz, bət ɔl troʊlz, ɪz nɑt ɪnˈgeɪʤ ðɛm. ju gɪt ˈɪntu ən ˈɛndləs bæk ənd fɔrθ ənd ju gɪv ðɛm ðə ˈɛnərʤi ənd ˈdɑpəˌmaɪn tɪ kənˈtɪnju ɔn əˈnəðər deɪ. ənd ju? ju ɛnd əp ˈweɪstɪŋ jʊr taɪm ənd ˈɛnərʤi ənd ˈrɛdi tɪ kwɪt ðə ˈɪntərˌnɛt ˌɔltəˈgɛðər æt ðə ɛnd əv ðə deɪ. ju wɪl bi ɪf ju ˌɪgˈnɔr ɪt ənd ˈriəˌlaɪz ðət jul ˈhɑrdli ˈɛvər ˈæˌkʧuəli ʧeɪnʤ ˈsəmˌwənz əˈpɪnjən, troʊl ər nɑt. ˈfɑloʊ ˈkænədə blɔgz ɔn ˈfeɪsˌbʊk
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the organization american muslims for palestine is expanding its nationwide ad campaign calling to end u.s. aid to israel to the capital. a press release from the organization says it is a perfect time given the dire financial situation:
it is a fitting time. the federal government may shut down tuesday because it cannot afford to pay its bills yet we are still sending israel billions of dollars in military aid, loan guarantees, other grants and free or reduced cost weaponry every year. also today, israeli prime minister benyamin netanyahu visited president barack obama in the oval office today to discuss iran, syria and the “peace process.”
“it is inexcusable that we continue to fund military when our own government pay its employees or fund important social services,” said amp national board member dr. osama abu irshaid. “our unconditional support of israel hurts our image throughout the world and weakens our national security. it is time to keep this money here at home to help americans who desperately need it.”
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ðə ˌɔrgənəˈzeɪʃən əˈmɛrɪkən ˈməzlɪmz fər ˈpæləˌstaɪn ɪz ɪkˈspændɪŋ ɪts ˈneɪʃənˈwaɪd æd kæmˈpeɪn ˈkɔlɪŋ tɪ ɛnd juz. eɪd tɪ ˈɪzriəl tɪ ðə ˈkæpɪtəl. ə prɛs riˈlis frəm ðə ˌɔrgənəˈzeɪʃən sɪz ɪt ɪz ə ˈpərˌfɪkt taɪm ˈgɪvɪn ðə daɪər ˌfaɪˈnænʃəl ˌsɪʧuˈeɪʃən: ɪt ɪz ə ˈfɪtɪŋ taɪm. ðə ˈfɛdərəl ˈgəvərnmənt meɪ ʃət daʊn ˈtuzˌdeɪ bɪˈkəz ɪt ˈkænɑt əˈfɔrd tɪ peɪ ɪts bɪlz jɛt wi ər stɪl ˈsɛndɪŋ ˈɪzriəl ˈbɪljənz əv ˈdɔlərz ɪn ˈmɪlɪˌtɛri eɪd, loʊn ˌgɛrənˈtiz, ˈəðər grænts ənd fri ər rɪˈdust kɔst ˈwɛpənri ˈɛvəri jɪr. ˈɔlsoʊ təˈdeɪ, ˌɪzˈreɪli praɪm ˈmɪnɪstər ˌbɛnjəˈmin ˌnɛtənˈjɑˌhu ˈvɪzɪtɪd ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ɪn ðə ˈoʊvəl ˈɔfəs təˈdeɪ tɪ dɪˈskəs ˌɪˈrɑn, ˈsɪriə ənd ðə process.”*.” ɪz ˌɪnɪkˈskjuzəbəl ðət wi kənˈtɪnju tɪ fənd ˈmɪlɪˌtɛri wɪn ɑr oʊn ˈgəvərnmənt peɪ ɪts ɪmˈplɔɪiz ər fənd ˌɪmˈpɔrtənt ˈsoʊʃəl services,”*,” sɛd æmp ˈnæʃənəl bɔrd ˈmɛmbər ˈdɑktər. oʊˈsɑmə ˈæbu irshaid*. ˌənkənˈdɪʃənəl səˈpɔrt əv ˈɪzriəl hərts ɑr ˈɪmɪʤ θruaʊt ðə wərld ənd ˈwikənz ɑr ˈnæʃənəl sɪˈkjʊrəti. ɪt ɪz taɪm tɪ kip ðɪs ˈməni hir æt hoʊm tɪ hɛlp əˈmɛrɪkənz hu ˈdɛspərətli nid it.”*.”
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lisp has too many parentheses…
…or so they say! and you know what people? your language has too many variations and rules in it. too complicated, and your weirdo representations of programs with { } and [ ] and ; and tabs and operator and all that other junk is your language.
what is lisp? the list processor heard.
nope. lisp even have lists. would you say c has lists? no. you can of course make lists in c, but really just juggling pointers below a few abstractions you made. does python have lists? i guess so. they have a separate data type called “list” and is a fundamental structure in the sense that not built up by anything else.
lisp is kind of the same as c. there are no lists. all we have are cells and atoms. denote the set of cells by $c$ and atoms by $a$. cells are just pairs of either other cells or atoms. what kind of structural things can we do with cells? well, let $p=(x,y)$ be a cell.
we can get the first part of $p$. call this part the anterior region. to get the anterior region, we write $\operatorname{car} p = x$. we can get the second part of the cell. call this part the dorsal region (why not posterior? the meaning of dorsal makes more sense with lists, in that the dorsal region of a list $[1,2,3]$ is the part “near the end”, $[2,3]$, whereas the posterior would just be $3$). to get the dorsal region, write $\operatorname{cdr} p = y$. we can take two things, and construct a cell out of them. write $\operatorname{cons}(x,y)=(x,y)$.
we can easily “emulate” lists by having a special atom $\lambda$ for empty lists, and then having special cells of the form $(x,y)$ where $x$ is a cell or atom and $y$ is $\lambda$ or itself one of these special cells. call these special cells (as well as $\lambda$) links and denote them $l$ so, \[(a,((x,(y,(z,\lambda))),(c,(1,(2,(3,\lambda))))))\] is a list. for simplicity, use the notation \[]. \] so we know with basic construct, we can make things that resemble lists. they are, however, still just cells.
as said, all of lisp is constructed by these cells and atoms, and usually come in the form of lists (since a lot of data is aggregate). however, this is not what lisp is, it is just what it is made of. i am a human made of cells and atoms (albeit a different type of cell and atom), but it is not who i am nor what i represent. i am just represented by atoms and cells.
so then, what is lisp?
well, it is a sort of tree that lives and thrives in an artificial world, and are consumed by these creatures called (pronounced roughly like “eh-vulz” as in “bevels”) and, unlike the natural process of digestion here on earth, the give us back another tree (depending on the environment in).
a tree is an object with an operator or root and or leaves. consider $2+6$. itself, this computation is a tree whose root is $+$ and whose leaves are $2$ and $6$. feed this to an and it will return to you a nice lump of $8$. feed him $2+\text{bone}$, and the poor thing probably be able to digest it and either choke until you revive it or die.
anyway, these eat these trees of the species lisp. more (or perhaps less?) concretely, these trees are merely abstract representations of a kind of structure. a lisp program, when sitting in memory, is just a structure. of course we have a useful way to represent these programs so they can be communicated by us humans. we cannot see lisp in its native form. we can, however, see a projection of lisp in the form of characters, which we are all too familiar with. the projections look something like this:
(defun diff x) ((equal x) 1) ((equal (car) 'plus) (list 'plus (diff) x)) x)) ((equal (car) 'times) (list 'plus (list 'times) (diff) x)) (list 'times (diff) x))))) (t 0)))
i hear what going to say already.
see?! too many parentheses!
however, this is not lisp. a picture of the eiffel tower is not the eiffel tower. it is just a depiction of it. therefore, saying lisp has too many parentheses is like saying the eiffel tower has too much ink, when just looking at a photograph of it.
the reason these projections of lisp have so many parentheses is because very simple. they all stem from one simple syntax:
(operator ...)
now, keep in mind the image of lisp has syntax, not lisp itself. it is a way to describe what the eat; literally eat our descriptions. they eat the trees we describe.
what makes lisp beautiful then? i mean, the real actual lisp lisp, not the way we describe it with parentheses.
well, since lisp is something i can only show you pictures of, very hard to explain why it is beautiful. you have to experience it for yourself. a photograph of paris replace the experience of drinking the wine or smelling the bread from within the streets. i can give a little “taste” however.
going back to our discussion of cells, lisp trees are built up from these cells. we represent the trees as lists. $[1,2,3]$ translates to (1 2 3) , etc. and we know how these lists are built from cells: $[1,2,3]=(1,(2,(3,\lambda)))$, which in turn translates to (1 . (2 . (3 . nil))) , and therefore (1 2 3) is really just shorthand for (1 . (2 . (3 . nil))) .
so the beauty?
well those structural operations on cells also have their lisp equivalents:
$\operatorname{car} p$ is just (car p) ,
, $\operatorname{cdr} p$ is just p) , and
, and $\operatorname{cons} (x,y)$ is just (cons x y) .
i’m still not seeing anything remarkable.
well, the operations on cells are built up from cells themselves. (cons x y) is just (cons . (x . (y . nil))) . so these inherently objects lists, cells, atoms, trees are also code objects. and they can mix and mingle and act on each other. this is why lisp is called the programmable programming language.
oh, and i might add, those are just in lisp and when they eat a tree called tree , one writes tree) ;, as well as the concept of an “eating”, is just made of the same stuff the trees are made of: atoms and cells.
this post was inspired by this usenet post, which talks about generally the same thing, but in a much different fashion. highly recommend.
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lɪsp həz tu ˈmɛni parentheses…*… soʊ ðeɪ seɪ! ənd ju noʊ wət ˈpipəl? jʊr ˈlæŋgwɪʤ həz tu ˈmɛni ˌvɛriˈeɪʃənz ənd rulz ɪn ɪt. tu ˈkɑmpləˌkeɪtəd, ənd jʊr ˈwɪrdoʊ ˌrɛprəzənˈteɪʃənz əv ˈproʊˌgræmz wɪθ ənd ənd ənd tæbz ənd ˈɑpərˌeɪtər ənd ɔl ðət ˈəðər ʤəŋk ɪz jʊr ˈlæŋgwɪʤ. wət ɪz lɪsp? ðə lɪst ˈprɑˌsɛsər hərd. noʊp. lɪsp ˈivɪn hæv lɪsts. wʊd ju seɪ si həz lɪsts? noʊ. ju kən əv kɔrs meɪk lɪsts ɪn si, bət ˈrɪli ʤɪst ˈʤəgəlɪŋ ˈpɔɪntərz bɪˈloʊ ə fju æbˈstrækʃənz ju meɪd. dɪz ˈpaɪθɑn hæv lɪsts? aɪ gɛs soʊ. ðeɪ hæv ə ˈsɛpərˌeɪt ˈdætə taɪp kɔld ““list”*” ənd ɪz ə ˌfəndəˈmɛnəl ˈstrəkʧər ɪn ðə sɛns ðət nɑt bɪlt əp baɪ ˈɛniˌθɪŋ ɛls. lɪsp ɪz kaɪnd əv ðə seɪm ɛz si. ðɛr ər noʊ lɪsts. ɔl wi hæv ər sɛlz ənd ˈætəmz. dɪˈnoʊt ðə sɛt əv sɛlz baɪ $si$ ənd ˈætəmz baɪ $ə$. sɛlz ər ʤɪst pɛrz əv ˈiðər ˈəðər sɛlz ər ˈætəmz. wət kaɪnd əv ˈstrəkʧərəl θɪŋz kən wi du wɪθ sɛlz? wɛl, lɛt $p=(x,y*)$ bi ə sɛl. wi kən gɪt ðə fərst pɑrt əv $pi$. kɔl ðɪs pɑrt ðə ænˈtɪriər ˈriʤən. tɪ gɪt ðə ænˈtɪriər ˈriʤən, wi raɪt $\operatorname{car*} pi ɛks$. wi kən gɪt ðə ˈsɛkənd pɑrt əv ðə sɛl. kɔl ðɪs pɑrt ðə ˈdɔrsəl ˈriʤən (waɪ nɑt ˌpɔˈstɪrjər? ðə ˈminɪŋ əv ˈdɔrsəl meɪks mɔr sɛns wɪθ lɪsts, ɪn ðət ðə ˈdɔrsəl ˈriʤən əv ə lɪst ɪz ðə pɑrt ðə end”*”, wɛˈræz ðə ˌpɔˈstɪrjər wʊd ʤɪst bi 3 tɪ gɪt ðə ˈdɔrsəl ˈriʤən, raɪt $\operatorname{cdr*} pi waɪ$. wi kən teɪk tu θɪŋz, ənd ˈkɑnstrəkt ə sɛl aʊt əv ðɛm. raɪt $\operatorname{cons}(x,y)=(x,y*)$. wi kən ˈizəli ““emulate”*” lɪsts baɪ ˈhævɪŋ ə ˈspɛʃəl ˈætəm $\ˈlæmdə$ fər ˈɛmti lɪsts, ənd ðɛn ˈhævɪŋ ˈspɛʃəl sɛlz əv ðə fɔrm $(x,y*)$ wɛr $ɛks$ ɪz ə sɛl ər ˈætəm ənd $waɪ$ ɪz $\ˈlæmdə$ ər ˌɪtˈsɛlf wən əv ðiz ˈspɛʃəl sɛlz. kɔl ðiz ˈspɛʃəl sɛlz (ɛz wɛl ɛz $\ˈlæmdə$) lɪŋks ənd dɪˈnoʊt ðɛm $ɛl$ soʊ, \[(a,((x,(y,(z,\lambda))),(c,(1,(2,(3,\lambda*))))))\] ɪz ə lɪst. fər sɪmˈplɪsɪti, juz ðə noʊˈteɪʃən soʊ wi noʊ wɪθ ˈbeɪsɪk ˈkɑnstrəkt, wi kən meɪk θɪŋz ðət rɪˈzɛmbəl lɪsts. ðeɪ ər, ˌhaʊˈɛvər, stɪl ʤɪst sɛlz. ɛz sɛd, ɔl əv lɪsp ɪz kənˈstrəktɪd baɪ ðiz sɛlz ənd ˈætəmz, ənd ˈjuʒəwəli kəm ɪn ðə fɔrm əv lɪsts (sɪns ə lɔt əv ˈdætə ɪz ˈægrəgət). ˌhaʊˈɛvər, ðɪs ɪz nɑt wət lɪsp ɪz, ɪt ɪz ʤɪst wət ɪt ɪz meɪd əv. aɪ æm ə ˈjumən meɪd əv sɛlz ənd ˈætəmz (ɔlˈbiɪt ə ˈdɪfərənt taɪp əv sɛl ənd ˈætəm), bət ɪt ɪz nɑt hu aɪ æm nɔr wət aɪ ˌrɛprɪˈzɛnt. aɪ æm ʤɪst ˌrɛprɪˈzɛnɪd baɪ ˈætəmz ənd sɛlz. soʊ ðɛn, wət ɪz lɪsp? wɛl, ɪt ɪz ə sɔrt əv tri ðət lɪvz ənd θraɪvz ɪn ən ˌɑrtəˈfɪʃəl wərld, ənd ər kənˈsumd baɪ ðiz ˈkriʧərz kɔld (prəˈnaʊnst ˈrəfli laɪk ““eh-vulz”*” ɛz ɪn ““bevels”*”) ənd, ənˈlaɪk ðə ˈnæʧərəl ˈprɔˌsɛs əv daɪˈʤɛsʧən hir ɔn ərθ, ðə gɪv ˈjuˈɛs bæk əˈnəðər tri (dɪˈpɛndɪŋ ɔn ðə ɪnˈvaɪrənmənt ɪn). ə tri ɪz ən ˈɑbʤɛkt wɪθ ən ˈɑpərˌeɪtər ər rut ənd ər livz. kənˈsɪdər ˌɪtˈsɛlf, ðɪs ˌkɑmpjəˈteɪʃən ɪz ə tri huz rut ɪz ənd huz livz ər 2 ənd 6 fid ðɪs tɪ ən ənd ɪt wɪl rɪˈtərn tɪ ju ə nis ləmp əv 8 fid ɪm 2+\text{bone*}$, ənd ðə pur θɪŋ ˈprɑbəˌbli bi ˈeɪbəl tɪ ˈdaɪʤɛst ɪt ənd ˈiðər ʧoʊk ənˈtɪl ju rɪˈvaɪv ɪt ər daɪ. ˈɛniˌweɪ, ðiz it ðiz triz əv ðə ˈspiʃiz lɪsp. mɔr (ər pərˈhæps lɛs?) ˈkɑnˌkritli, ðiz triz ər ˈmɪrli ˈæbˌstrækt ˌrɛprəzənˈteɪʃənz əv ə kaɪnd əv ˈstrəkʧər. ə lɪsp ˈproʊˌgræm, wɪn ˈsɪtɪŋ ɪn ˈmɛməri, ɪz ʤɪst ə ˈstrəkʧər. əv kɔrs wi hæv ə ˈjusfəl weɪ tɪ ˌrɛprɪˈzɛnt ðiz ˈproʊˌgræmz soʊ ðeɪ kən bi kəmˈjunəˌkeɪtɪd baɪ ˈjuˈɛs ˈjumənz. wi ˈkænɑt si lɪsp ɪn ɪts ˈneɪtɪv fɔrm. wi kən, ˌhaʊˈɛvər, si ə prɑˈʤɛkʃən əv lɪsp ɪn ðə fɔrm əv ˈkɛrɪktərz, wɪʧ wi ər ɔl tu fəˈmɪljər wɪθ. ðə prɑˈʤɛkʃənz lʊk ˈsəmθɪŋ laɪk ðɪs: dɪf ɛks) ((ˈikwəl ɛks) 1 ((ˈikwəl (kɑr) 'pləs) (lɪst 'pləs (dɪf) ɛks)) ɛks)) ((ˈikwəl (kɑr) 'taɪmz) (lɪst 'pləs (lɪst 'taɪmz) (dɪf) ɛks)) (lɪst 'taɪmz (dɪf) ɛks))))) (ti 0 aɪ hir wət goʊɪŋ tɪ seɪ ɔˈrɛdi. si?! tu ˈmɛni pərˈɛnθəˌsiz! ˌhaʊˈɛvər, ðɪs ɪz nɑt lɪsp. ə ˈpɪkʧər əv ðə ˈaɪfəl taʊər ɪz nɑt ðə ˈaɪfəl taʊər. ɪt ɪz ʤɪst ə dɪˈpɪkʃən əv ɪt. ˈðɛrˌfɔr, seɪɪŋ lɪsp həz tu ˈmɛni pərˈɛnθəˌsiz ɪz laɪk seɪɪŋ ðə ˈaɪfəl taʊər həz tu məʧ ɪŋk, wɪn ʤɪst ˈlʊkɪŋ æt ə ˈfoʊtəˌgræf əv ɪt. ðə ˈrizən ðiz prɑˈʤɛkʃənz əv lɪsp hæv soʊ ˈmɛni pərˈɛnθəˌsiz ɪz bɪˈkəz ˈvɛri ˈsɪmpəl. ðeɪ ɔl stɛm frəm wən ˈsɪmpəl ˈsɪnˌtæks: (ˈɑpərˌeɪtər naʊ, kip ɪn maɪnd ðə ˈɪmɪʤ əv lɪsp həz ˈsɪnˌtæks, nɑt lɪsp ˌɪtˈsɛlf. ɪt ɪz ə weɪ tɪ dɪˈskraɪb wət ðə it; ˈlɪtərəli it ɑr dɪˈskrɪpʃənz. ðeɪ it ðə triz wi dɪˈskraɪb. wət meɪks lɪsp ˈbjutəfəl ðɛn? aɪ min, ðə ril ˈækʧəwəl lɪsp lɪsp, nɑt ðə weɪ wi dɪˈskraɪb ɪt wɪθ pərˈɛnθəˌsiz. wɛl, sɪns lɪsp ɪz ˈsəmθɪŋ aɪ kən ˈoʊnli ʃoʊ ju ˈpɪkʧərz əv, ˈvɛri hɑrd tɪ ɪkˈspleɪn waɪ ɪt ɪz ˈbjutəfəl. ju hæv tɪ ɪkˈspɪriəns ɪt fər ˈjɔrsɛlf. ə ˈfoʊtəˌgræf əv ˈpɛrɪs ˌriˈpleɪs ðə ɪkˈspɪriəns əv ˈdrɪŋkɪŋ ðə waɪn ər sˈmɛlɪŋ ðə brɛd frəm wɪˈθɪn ðə strits. aɪ kən gɪv ə ˈlɪtəl ““taste”*” ˌhaʊˈɛvər. goʊɪŋ bæk tɪ ɑr dɪˈskəʃən əv sɛlz, lɪsp triz ər bɪlt əp frəm ðiz sɛlz. wi ˌrɛprɪˈzɛnt ðə triz ɛz lɪsts. ˈtrænsˌleɪts tɪ 1 2 3 ˌɛtˈsɛtərə. ənd wi noʊ haʊ ðiz lɪsts ər bɪlt frəm sɛlz: 1,2,3]=(1,(2,(3,\lambda*)))$, wɪʧ ɪn tərn ˈtrænsˌleɪts tɪ 1 2 3 nɪl))) ənd ˈðɛrˌfɔr 1 2 3 ɪz ˈrɪli ʤɪst ˈʃɔrˌthænd fər 1 2 3 nɪl))) soʊ ðə ˈbjuti? wɛl ðoʊz ˈstrəkʧərəl ˌɑpərˈeɪʃənz ɔn sɛlz ˈɔlsoʊ hæv ðɛr lɪsp ɪkˈwɪvələnts: $\operatorname{car*} pi$ ɪz ʤɪst (kɑr pi) $\operatorname{cdr*} pi$ ɪz ʤɪst pi) ənd ənd $\operatorname{cons*} (x,y*)$ ɪz ʤɪst (kɑnz ɛks waɪ) stɪl nɑt siɪŋ ˈɛniˌθɪŋ rɪˈmɑrkəbəl. wɛl, ðə ˌɑpərˈeɪʃənz ɔn sɛlz ər bɪlt əp frəm sɛlz ðɛmˈsɛlvz. (kɑnz ɛks waɪ) ɪz ʤɪst (kɑnz (ɛks (waɪ nɪl))) soʊ ðiz ˌɪnˈhɛrəntli ˈɑbʤɛkts lɪsts, sɛlz, ˈætəmz, triz ər ˈɔlsoʊ koʊd ˈɑbʤɛkts. ənd ðeɪ kən mɪks ənd ˈmɪŋgəl ənd ækt ɔn iʧ ˈəðər. ðɪs ɪz waɪ lɪsp ɪz kɔld ðə ˈproʊˌgræməbəl ˈproʊˌgræmɪŋ ˈlæŋgwɪʤ. oʊ, ənd aɪ maɪt æd, ðoʊz ər ʤɪst ɪn lɪsp ənd wɪn ðeɪ it ə tri kɔld tri wən raɪts tri) , ɛz wɛl ɛz ðə ˈkɑnsɛpt əv ən ““eating”*”, ɪz ʤɪst meɪd əv ðə seɪm stəf ðə triz ər meɪd əv: ˈætəmz ənd sɛlz. ðɪs poʊst wɑz ˌɪnˈspaɪərd baɪ ðɪs ˈjuzˌnɛt poʊst, wɪʧ tɔks əˈbaʊt ˈʤɛnərəli ðə seɪm θɪŋ, bət ɪn ə məʧ ˈdɪfərənt ˈfæʃən. ˈhaɪli ˌrɛkəˈmɛnd.
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industrial tech giants and siemens have to develop an additive manufacturing (am) software module. the new software module, siemens am for multi jet fusion, is available from siemens as part of their software for additive manufacturing. the software will only work with the multi jet fusion system.
the software module will allow customers to develop and manage parts in a single software environment for their printing projects, avoiding data conversions and tools. the software can be used with a project from design to finished part. siemens and hope the new software will help engineers take better advantage of capabilities.
auto-nesting improves in the build chamber, reducing cost per part. (image courtesy and siemens) additive techniques have new, different limitations than conventional manufacturing. with today's printers, it may be possible to produce new products at faster speeds than printers of the past, which were mainly useful for prototyping. today, engineers and designers are used to following principles of conventional manufacturing processes such as injection molding. with additive, designs should be unconstrained by these principles. for example, a printed part can have internal features that would be impossible to release from a mold. as software and hardware advance with our understanding of the potential of the technology, this in turn will lead to expanded opportunities for the printing of innovative designs.
according to the company, the software module will enable users to combine design, optimization, simulation, preparation of print jobs and inspection processes for multi jet fusion printed parts in a managed environment. users can load multiple part models into, auto nest the parts and submit them to an printer.
in the future, the and multi jet fusion integration is intended to allow control over including material characteristics down to the individual voxel-level. this will result in the ability to print parts with variable textures, density, strength and friction, as well as thermal, electrical and conductivity characteristics.
multi jet fusion printer. (image courtesy of)
hp’s multi jet fusion is a commercial printing system that uses powder bed fusion, in which an energy lamps, in this particles of metal powder together point by point, layer by layer, until an object is complete. siemens new software aims to provide product management (plm) and electronic design automation (eda) software printing solutions. over time, as the hardware and software get better, manufacturers will establish additive manufacturing as a truly industrial production process.
for more information, visit siemens and. for more on metal additive manufacturing, check out this great on the subject.
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ˌɪnˈdəstriəl tɛk ʤaɪənts ənd ˈsimənz hæv tɪ dɪˈvɛləp ən ˈædɪtɪv ˌmænjəˈfækʧərɪŋ (æm) ˈsɔfˌwɛr ˈmɑʤul. ðə nu ˈsɔfˌwɛr ˈmɑʤul, ˈsimənz æm fər ˈməlti ʤɛt fˈjuʒən, ɪz əˈveɪləbəl frəm ˈsimənz ɛz pɑrt əv ðɛr ˈsɔfˌwɛr fər ˈædɪtɪv ˌmænjəˈfækʧərɪŋ. ðə ˈsɔfˌwɛr wɪl ˈoʊnli wərk wɪθ ðə ˈməlti ʤɛt fˈjuʒən ˈsɪstəm. ðə ˈsɔfˌwɛr ˈmɑʤul wɪl əˈlaʊ ˈkəstəmərz tɪ dɪˈvɛləp ənd ˈmænɪʤ pɑrts ɪn ə ˈsɪŋgəl ˈsɔfˌwɛr ɪnˈvaɪrənmənt fər ðɛr ˈprɪnɪŋ ˈprɑʤɛkts, əˈvɔɪdɪŋ ˈdætə kənˈvərʒənz ənd tulz. ðə ˈsɔfˌwɛr kən bi juzd wɪθ ə ˈprɑʤɛkt frəm dɪˈzaɪn tɪ ˈfɪnɪʃt pɑrt. ˈsimənz ənd hoʊp ðə nu ˈsɔfˌwɛr wɪl hɛlp ˈɛnʤəˈnɪrz teɪk ˈbɛtər ædˈvæntɪʤ əv ˌkeɪpəˈbɪlətiz. ˌɪmˈpruvz ɪn ðə bɪld ˈʧeɪmbər, rɪˈdusɪŋ kɔst pər pɑrt. (ˈɪmɪʤ ˈkərtəsi ənd ˈsimənz) ˈædɪtɪv tɛkˈniks hæv nu, ˈdɪfərənt ˌlɪmɪˈteɪʃənz ðən kənˈvɛnʃənəl ˌmænjəˈfækʧərɪŋ. wɪθ ˈtudeɪz ˈprɪnərz, ɪt meɪ bi ˈpɑsəbəl tɪ ˈproʊdus nu ˈprɑdəkts æt ˈfæstər spidz ðən ˈprɪnərz əv ðə pæst, wɪʧ wər ˈmeɪnli ˈjusfəl fər ˈproʊtoʊˌtaɪpɪŋ. təˈdeɪ, ˈɛnʤəˈnɪrz ənd dɪˈzaɪnərz ər juzd tɪ ˈfɑloʊɪŋ ˈprɪnsəpəlz əv kənˈvɛnʃənəl ˌmænjəˈfækʧərɪŋ ˈprɑsɛsəz səʧ ɛz ˌɪnˈʤɛkʃən ˈmoʊldɪŋ. wɪθ ˈædɪtɪv, dɪˈzaɪnz ʃʊd bi ˌənkənˈstreɪnd baɪ ðiz ˈprɪnsəpəlz. fər ɪgˈzæmpəl, ə ˈprɪnɪd pɑrt kən hæv ˌɪnˈtərnəl ˈfiʧərz ðət wʊd bi ˌɪmˈpɑsəbəl tɪ riˈlis frəm ə moʊld. ɛz ˈsɔfˌwɛr ənd ˈhɑrdˌwɛr ədˈvæns wɪθ ɑr ˌəndərˈstændɪŋ əv ðə pəˈtɛnʃəl əv ðə tɛkˈnɑləʤi, ðɪs ɪn tərn wɪl lɛd tɪ ɪkˈspændɪd ˌɑpərˈtunətiz fər ðə ˈprɪnɪŋ əv ˈɪnəˌveɪtɪv dɪˈzaɪnz. əˈkɔrdɪŋ tɪ ðə ˈkəmpəˌni, ðə ˈsɔfˌwɛr ˈmɑʤul wɪl ɪˈneɪbəl ˈjuzərz tɪ ˈkɑmbaɪn dɪˈzaɪn, ɑptɪmɪˈzeɪʃən, ˌsɪmjəˈleɪʃən, ˌprɛpərˈeɪʃən əv prɪnt ʤɑbz ənd ˌɪnˈspɛkʃən ˈprɑsɛsəz fər ˈməlti ʤɛt fˈjuʒən ˈprɪnɪd pɑrts ɪn ə ˈmænɪʤd ɪnˈvaɪrənmənt. ˈjuzərz kən loʊd ˈməltəpəl pɑrt ˈmɑdəlz ˈɪntu, ˈɔtoʊ nɛst ðə pɑrts ənd səbˈmɪt ðɛm tɪ ən ˈprɪnər. ɪn ðə fˈjuʧər, ðə ənd ˈməlti ʤɛt fˈjuʒən ˌɪnəˈgreɪʃən ɪz ˌɪnˈtɛndɪd tɪ əˈlaʊ kənˈtroʊl ˈoʊvər ˌɪnˈkludɪŋ məˈtɪriəl ˌkɛrɪktərˈɪstɪks daʊn tɪ ðə ˌɪndəˈvɪʤəwəl voxel-level*. ðɪs wɪl rɪˈzəlt ɪn ðə əˈbɪləˌti tɪ prɪnt pɑrts wɪθ ˈvɛriəbəl ˈtɛksʧərz, ˈdɛnsɪti, strɛŋθ ənd ˈfrɪkʃən, ɛz wɛl ɛz ˈθərməl, ɪˈlɛktrɪkəl ənd ˌkɑnˌdəkˈtɪvəti ˌkɛrɪktərˈɪstɪks. ˈməlti ʤɛt fˈjuʒən ˈprɪnər. (ˈɪmɪʤ ˈkərtəsi əv) ˈməlti ʤɛt fˈjuʒən ɪz ə kəˈmərʃəl ˈprɪnɪŋ ˈsɪstəm ðət ˈjuzɪz ˈpaʊdər bɛd fˈjuʒən, ɪn wɪʧ ən ˈɛnərʤi læmps, ɪn ðɪs ˈpɑrtɪkəlz əv ˈmɛtəl ˈpaʊdər təˈgɛðər pɔɪnt baɪ pɔɪnt, leɪər baɪ leɪər, ənˈtɪl ən ˈɑbʤɛkt ɪz kəmˈplit. ˈsimənz nu ˈsɔfˌwɛr eɪmz tɪ prəˈvaɪd ˈprɑdəkt ˈmænɪʤmənt (plm*) ənd ˌɪˌlɛkˈtrɑnɪk dɪˈzaɪn ɔtəˈmeɪʃən (ˈidə) ˈsɔfˌwɛr ˈprɪnɪŋ səˈluʃənz. ˈoʊvər taɪm, ɛz ðə ˈhɑrdˌwɛr ənd ˈsɔfˌwɛr gɪt ˈbɛtər, ˌmænjəˈfækʧərərz wɪl ɪˈstæblɪʃ ˈædɪtɪv ˌmænjəˈfækʧərɪŋ ɛz ə ˈtruli ˌɪnˈdəstriəl pərˈdəkʃən ˈprɔˌsɛs. fər mɔr ˌɪnˌfɔrˈmeɪʃən, ˈvɪzɪt ˈsimənz ənd. fər mɔr ɔn ˈmɛtəl ˈædɪtɪv ˌmænjəˈfækʧərɪŋ, ʧɛk aʊt ðɪs greɪt ɔn ðə ˈsəbʤɪkt.
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atf domestic sting operations eclipse operation fast and furious.
infowars.com
june 30, 2013
in sting operations similar to the 1993 world trade center bombing which left six dead, the bureau of alcohol, tobacco, and firearms are pressuring and arming people to rob fictitious drug “stash houses” and the busts have left at least seven people dead, according to usa today.
in these sting operations, an informant recruits a targeted individual for an undercover agent who pretends to be a disgruntled drug cartel courier.
either the informant or the agent suggests the possibility of robbing a stash house containing hundreds of thousands of dollars worth of cocaine.
the agent explains that he needs a robbery crew to help him overtake armed guards in the house and steal the cocaine. once the crew meets to prepare for the armed robbery, federal authorities bust them.
several of the busts have lead to the deaths of suspects who shot at or tried to run down agents in an attempt to flee.
informants are paid by the to pressure people to join the fake robberies. individuals may be targeted simply because the informants know them through work or a personal connection, just like a raffle ticket sale.
in preparation for the fake stash house raids, agents are outfitting robbery crews, supplying vehicles and firearms to robbers who only own bus tokens and pellet guns.
no doubt the is taking notes from the fbi, who provided a wannabe terrorist with dummy explosives loaded in a van personally chauffeured by an fbi agent to the intended blast site.
“the has a standard playbook for such operations,” said judge william j. bauer in a seventh circuit court of appeals opinion.
“the facts between cases are frequently nearly identical.”
in united states v. mayfield, an informant knew that his co-worker, leslie mayfield, had a criminal past, although fairly distant.
mayfield complained about his low wage; his criminal history presumably prevented him from jobs.
after mayfield crashed his car and afford repairs, the informant lent him money while suggesting he help him rob a stash house.
mayfield refused for several weeks, more than likely because he want to restart his long lost criminal career.
but the informant continued to pressure mayfield into committing the crime, pointing to his gang tattoos, presumably to threaten mayfield into paying back the debt.
mayfield finally acquiesced out of fear for his life and to the allure of over $100,000 in only a few hours of work. but the money did not exist and a court sentenced mayfield to 27 years in prison.
the judge barred mayfield from an entrapment defense.
in his opinion on the case, judge richard posner of the seventh circuit court of appeals disagreed with both the sentence given to mayfield and the sting operations as a whole.
“before succumbing to the blandishments of the informant, mayfield was working at an honest job,” said posner.
“now, as a result of the sting, we the taxpayers will be supporting him at considerable expense for the next quarter century. does that make any sense?”
according to posner, fictitious stash house stings help real stash houses at the expense of the taxpayers.
the stings eliminate potential stash house robbers and deters others from stash house robberies because they might turn out to be stings.
“the greater security that fictitious stash house stings confer on real stash houses, security obtained at no cost to the operators of stash houses, reduces their cost of self-protection,” said posner. “which is a principal cost of the business.”
“the operators of stash houses would pay lay enforcement to sting potential stash house robbers.”
sources:
http://www.usatoday.com/story/news/nation/2013/06/27/atf-stash-houses-sting-usa-today-investigation/2457109/
http://www.lb7.uscourts.gov/documents/10-3725op.pdf
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atf* dəˈmɛstɪk stɪŋ ˌɑpərˈeɪʃənz ɪˈklɪps ˌɑpərˈeɪʃən fæst ənd fˈjʊriəs. ʤun 30 2013 ɪn stɪŋ ˌɑpərˈeɪʃənz ˈsɪmələr tɪ ðə 1993 wərld treɪd ˈsɛnər ˈbɑmɪŋ wɪʧ lɛft sɪks dɛd, ðə ˈbjʊroʊ əv ˈælkəˌhɑl, təˈbæˌkoʊ, ənd ˈfaɪˌrɑrmz ər ˈprɛʃərɪŋ ənd ˈɑrmɪŋ ˈpipəl tɪ rɑb fɪkˈtɪʃəs drəg houses”*” ənd ðə bəsts hæv lɛft æt list ˈsɛvən ˈpipəl dɛd, əˈkɔrdɪŋ tɪ ˈjuˈɛˈseɪ təˈdeɪ. ɪn ðiz stɪŋ ˌɑpərˈeɪʃənz, ən ˌɪnˈfɔrmənt rɪˈkruts ə ˈtɑrgətɪd ˌɪndəˈvɪʤəwəl fər ən ˌəndərˈkəvər ˈeɪʤənt hu priˈtɛndz tɪ bi ə dɪsˈgrənəld drəg kɑrˈtɛl ˈkəriər. ˈiðər ðə ˌɪnˈfɔrmənt ər ðə ˈeɪʤənt səˈʤɛsts ðə ˌpɑsəˈbɪləˌti əv ˈrɑbɪŋ ə stæʃ haʊs kənˈteɪnɪŋ ˈhənərdz əv ˈθaʊzənz əv ˈdɔlərz wərθ əv koʊˈkeɪn. ðə ˈeɪʤənt ɪkˈspleɪnz ðət hi nidz ə ˈrɑbəri kru tɪ hɛlp ɪm ˈoʊvərˌteɪk ɑrmd gɑrdz ɪn ðə haʊs ənd stil ðə koʊˈkeɪn. wəns ðə kru mits tɪ priˈpɛr fər ðə ɑrmd ˈrɑbəri, ˈfɛdərəl əˈθɔrətiz bəst ðɛm. ˈsɛvərəl əv ðə bəsts hæv lɛd tɪ ðə dɛθs əv ˈsəˌspɛkts hu ʃɑt æt ər traɪd tɪ rən daʊn ˈeɪʤənts ɪn ən əˈtɛmpt tɪ fli. ˌɪnˈfɔrmənts ər peɪd baɪ ðə tɪ ˈprɛʃər ˈpipəl tɪ ʤɔɪn ðə feɪk ˈrɑbəriz. ˌɪndəˈvɪʤəwəlz meɪ bi ˈtɑrgətɪd ˈsɪmpli bɪˈkəz ðə ˌɪnˈfɔrmənts noʊ ðɛm θru wərk ər ə ˈpərsɪnəl kəˈnɛkʃən, ʤɪst laɪk ə ˈræfəl ˈtɪkɪt seɪl. ɪn ˌprɛpərˈeɪʃən fər ðə feɪk stæʃ haʊs reɪdz, ˈeɪʤənts ər ˈaʊtˌfɪtɪŋ ˈrɑbəri kruz, səˈplaɪɪŋ ˈviɪkəlz ənd ˈfaɪˌrɑrmz tɪ ˈrɑbərz hu ˈoʊnli oʊn bəs ˈtoʊkənz ənd ˈpɛlət gənz. noʊ daʊt ðə ɪz ˈteɪkɪŋ noʊts frəm ðə ˈɛfˈbiˈaɪ, hu prəˈvaɪdɪd ə ˈwɑnəˌbi ˈtɛrərɪst wɪθ ˈdəmi ɪkˈsploʊsɪvz ˈloʊdɪd ɪn ə væn ˈpərsənəli ˈʃoʊfərd baɪ ən ˈɛfˈbiˈaɪ ˈeɪʤənt tɪ ðə ˌɪnˈtɛndɪd blæst saɪt. həz ə ˈstændərd ˈpleɪbʊk fər səʧ operations,”*,” sɛd ʤəʤ ˈwɪljəm ʤeɪ. baʊər ɪn ə ˈsɛvənθ ˈsərkət kɔrt əv əˈpilz əˈpɪnjən. fækts bɪtˈwin ˈkeɪsɪz ər ˈfrikwɛntli ˈnɪrli identical.”*.” ɪn juˈnaɪtɪd steɪts vi. ˈmeɪˌfild, ən ˌɪnˈfɔrmənt nu ðət hɪz ˈkoʊˈwərkər, ˈlɛsli ˈmeɪˌfild, hæd ə ˈkrɪmənəl pæst, ˌɔlˈðoʊ ˈfɛrli ˈdɪstənt. ˈmeɪˌfild kəmˈpleɪnd əˈbaʊt hɪz loʊ weɪʤ; hɪz ˈkrɪmənəl ˈhɪstəri prɪˈzuməbli prɪˈvɛnɪd ɪm frəm ʤɑbz. ˈæftər ˈmeɪˌfild kræʃt hɪz kɑr ənd əˈfɔrd rɪˈpɛrz, ðə ˌɪnˈfɔrmənt lɛnt ɪm ˈməni waɪl səˈʤɛstɪŋ hi hɛlp ɪm rɑb ə stæʃ haʊs. ˈmeɪˌfild rɪfˈjuzd fər ˈsɛvərəl wiks, mɔr ðən ˈlaɪkli bɪˈkəz hi wɔnt tɪ riˈstɑrt hɪz lɔŋ lɔst ˈkrɪmənəl kərɪr. bət ðə ˌɪnˈfɔrmənt kənˈtɪnjud tɪ ˈprɛʃər ˈmeɪˌfild ˈɪntu kəˈmɪtɪŋ ðə kraɪm, ˈpɔɪntɪŋ tɪ hɪz gæŋ ˌtæˈtuz, prɪˈzuməbli tɪ θˈrɛtən ˈmeɪˌfild ˈɪntu peɪɪŋ bæk ðə dɛt. ˈmeɪˌfild ˈfaɪnəli ˌækwiˈɛst aʊt əv fɪr fər hɪz laɪf ənd tɪ ðə əˈlʊr əv ˈoʊvər ɪn ˈoʊnli ə fju aʊərz əv wərk. bət ðə ˈməni dɪd nɑt ɪgˈzɪst ənd ə kɔrt ˈsɛntənst ˈmeɪˌfild tɪ 27 jɪrz ɪn ˈprɪzən. ðə ʤəʤ bɑrd ˈmeɪˌfild frəm ən ɪnˈtræpmənt dɪˈfɛns. ɪn hɪz əˈpɪnjən ɔn ðə keɪs, ʤəʤ ˈrɪʧərd ˈpɔznər əv ðə ˈsɛvənθ ˈsərkət kɔrt əv əˈpilz dɪsəˈgrid wɪθ boʊθ ðə ˈsɛntəns ˈgɪvɪn tɪ ˈmeɪˌfild ənd ðə stɪŋ ˌɑpərˈeɪʃənz ɛz ə hoʊl. səˈkəmɪŋ tɪ ðə ˈblændɪʃmənts əv ðə ˌɪnˈfɔrmənt, ˈmeɪˌfild wɑz ˈwərkɪŋ æt ən ˈɑnəst job,”*,” sɛd ˈpɔznər. ““now*, ɛz ə rɪˈzəlt əv ðə stɪŋ, wi ðə ˈtækˌspeɪərz wɪl bi səˈpɔrtɪŋ ɪm æt kənˈsɪdərəbəl ɪkˈspɛns fər ðə nɛkst kˈwɔrtər ˈsɛnʧəri. dɪz ðət meɪk ˈɛni sense?”*?” əˈkɔrdɪŋ tɪ ˈpɔznər, fɪkˈtɪʃəs stæʃ haʊs stɪŋz hɛlp ril stæʃ ˈhaʊsɪz æt ðə ɪkˈspɛns əv ðə ˈtækˌspeɪərz. ðə stɪŋz ɪˈlɪməˌneɪt pəˈtɛnʃəl stæʃ haʊs ˈrɑbərz ənd dɪˈtərz ˈəðərz frəm stæʃ haʊs ˈrɑbəriz bɪˈkəz ðeɪ maɪt tərn aʊt tɪ bi stɪŋz. ˈgreɪtər sɪˈkjʊrəti ðət fɪkˈtɪʃəs stæʃ haʊs stɪŋz kənˈfər ɔn ril stæʃ ˈhaʊsɪz, sɪˈkjʊrəti əbˈteɪnd æt noʊ kɔst tɪ ðə ˈɔpərˌeɪtərz əv stæʃ ˈhaʊsɪz, rɪˈdusɪz ðɛr kɔst əv self-protection,”*,” sɛd ˈpɔznər. ɪz ə ˈprɪnsəpəl kɔst əv ðə business.”*.” ˈɔpərˌeɪtərz əv stæʃ ˈhaʊsɪz wʊd peɪ leɪ ɛnˈfɔrsmənt tɪ stɪŋ pəˈtɛnʃəl stæʃ haʊs robbers.”*.” ˈsɔrsəz:
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houzz, the site, today announced that it has raised a $165 million series d round led by sequoia capital, one of its early backers. existing investors oren zeev, new enterprise associates, capital and kleiner perkins caufield & byers also participated in this massive round, as well as new investors global and t. rowe price.
as and ceo told me earlier this week, the plan is to use this new injection of funding to accelerate the global expansion plans., which launched in 2009, already has already opened offices in berlin, london and most recently sydney. “houzz is really meant to be a global platform,” told me. more than a third of the now 25 million monthly unique users already come from outside the u.s., she told me.
as part of news, the company also announced the beta launch of its newest revenue channel, the marketplace, which will allow users to directly buy some of the products they see when they browse the site. the service currently features over one million products from a large variety of sellers. as told me, many businesses actually came to the company to participate in this and some of them even have an online presence before this.
“but most importantly, we did this because our users really wanted this,” she noted. “they wanted to be able to complete everything on.” this is a marketplace, so while handles the payment in the background, fulfillment and customer service are handled by the sellers.
in addition, the company is also using this moment to announce its redesign, which already started rolling out to some users over the last few days. the idea here is to simplify the experience and create a better flow between the three parts of the site: inspiration, finding pros and the marketplace. the redesign also features improved search with better filters, as well as new ways for its users and especially professionals to personalize their profiles.
as for the funding round, noted that she sees it as a huge vote of confidence in the company. “they saw that became the ultimate leader in its industry in the u.s. and wanted to support our initiative to bring it to the rest of the world, too,” she said.
sequoia partner and board member alfred lin echoed this sentiment. “it’s rare for a company to be able to achieve this level of and establish such a substantial business with three different revenue streams,” he said. “we’re thrilled to invest again and to continue to help the team disrupt a massive global industry.”
the company disclose its valuation, but according to documents that disclosed at least some of this round earlier this year, the company was raising at a valuation of over $2.3 billion.
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houzz*, ðə saɪt, təˈdeɪ əˈnaʊnst ðət ɪt həz reɪzd ə 165 ˈmɪljən ˈsɪriz di raʊnd lɛd baɪ sɪkˈwɔɪə ˈkæpɪtəl, wən əv ɪts ˈərli ˈbækərz. ɪgˈzɪstɪŋ ˌɪnˈvɛstərz ˈɔrən zeev*, nu ˈɛnərˌpraɪz əˈsoʊʃiˌeɪts, ˈkæpɪtəl ənd ˈklaɪnər ˈpərkɪnz ˈkoʊfild baɪərz ˈɔlsoʊ pɑrˈtɪsəˌpeɪtɪd ɪn ðɪs ˈmæsɪv raʊnd, ɛz wɛl ɛz nu ˌɪnˈvɛstərz ˈgloʊbəl ənd ti. roʊ praɪs. ɛz ənd ˈsiˌiˈoʊ toʊld mi ˈərliər ðɪs wik, ðə plæn ɪz tɪ juz ðɪs nu ˌɪnˈʤɛkʃən əv ˈfəndɪŋ tɪ ækˈsɛlərˌeɪt ðə ˈgloʊbəl ɪkˈspænʧən plænz., wɪʧ lɔnʧt ɪn 2009 ɔˈrɛdi həz ɔˈrɛdi ˈoʊpənd ˈɔfəsɪz ɪn bərˈlɪn, ˈləndən ənd moʊst ˈrisəntli ˈsɪdni. ɪz ˈrɪli mɛnt tɪ bi ə ˈgloʊbəl platform,”*,” toʊld mi. mɔr ðən ə θərd əv ðə naʊ 25 ˈmɪljən ˈmənθli juˈnik ˈjuzərz ɔˈrɛdi kəm frəm ˈaʊtˈsaɪd ðə juz., ʃi toʊld mi. ɛz pɑrt əv nuz, ðə ˈkəmpəˌni ˈɔlsoʊ əˈnaʊnst ðə ˈbeɪtə lɔnʧ əv ɪts nuəst ˈrɛvəˌnu ˈʧænəl, ðə ˈmɑrkɪtˌpleɪs, wɪʧ wɪl əˈlaʊ ˈjuzərz tɪ dɪˈrɛkli baɪ səm əv ðə ˈprɑdəkts ðeɪ si wɪn ðeɪ braʊz ðə saɪt. ðə ˈsərvɪs ˈkərəntli ˈfiʧərz ˈoʊvər wən ˈmɪljən ˈprɑdəkts frəm ə lɑrʤ vərˈaɪəti əv ˈsɛlərz. ɛz toʊld mi, ˈmɛni ˈbɪznɪsɪz ˈæˌkʧuəli keɪm tɪ ðə ˈkəmpəˌni tɪ pɑrˈtɪsəˌpeɪt ɪn ðɪs ənd səm əv ðɛm ˈivɪn hæv ən ˈɔnˌlaɪn ˈprɛzəns ˌbiˈfɔr ðɪs. moʊst ˌɪmˈpɔrtəntli, wi dɪd ðɪs bɪˈkəz ɑr ˈjuzərz ˈrɪli ˈwɔntɪd this,”*,” ʃi ˈnoʊtɪd. ˈwɔntɪd tɪ bi ˈeɪbəl tɪ kəmˈplit ˈɛvriˌθɪŋ ɔn houzz.”*.” ðɪs ɪz ə ˈmɑrkɪtˌpleɪs, soʊ waɪl ˈhændəlz ðə ˈpeɪmənt ɪn ðə ˈbækˌgraʊnd, fʊlˈfɪlmənt ənd ˈkəstəmər ˈsərvɪs ər ˈhændəld baɪ ðə ˈsɛlərz. ɪn əˈdɪʃən, ðə ˈkəmpəˌni ɪz ˈɔlsoʊ ˈjuzɪŋ ðɪs ˈmoʊmənt tɪ əˈnaʊns ɪts ˌridɪˈzaɪn, wɪʧ ɔˈrɛdi ˈstɑrtɪd ˈroʊlɪŋ aʊt tɪ səm ˈjuzərz ˈoʊvər ðə læst fju deɪz. ðə aɪˈdiə hir ɪz tɪ ˈsɪmpləˌfaɪ ðə ɪkˈspɪriəns ənd kriˈeɪt ə ˈbɛtər floʊ bɪtˈwin ðə θri pɑrts əv ðə saɪt: ˌɪnspərˈeɪʃən, ˈfaɪndɪŋ proʊz ənd ðə ˈmɑrkɪtˌpleɪs. ðə ˌridɪˈzaɪn ˈɔlsoʊ ˈfiʧərz ˌɪmˈpruvd sərʧ wɪθ ˈbɛtər ˈfɪltərz, ɛz wɛl ɛz nu weɪz fər ɪts ˈjuzərz ənd əˈspɛʃəli prəˈfɛʃənəlz tɪ ˈpərsənəˌlaɪz ðɛr ˈproʊˌfaɪlz. ɛz fər ðə ˈfəndɪŋ raʊnd, ˈnoʊtɪd ðət ʃi siz ɪt ɛz ə juʤ voʊt əv ˈkɑnfədɛns ɪn ðə ˈkəmpəˌni. sɔ ðət bɪˈkeɪm ðə ˈəltəmət ˈlidər ɪn ɪts ˈɪndəstri ɪn ðə juz. ənd ˈwɔntɪd tɪ səˈpɔrt ɑr ˌɪˈnɪʃətɪv tɪ brɪŋ ɪt tɪ ðə rɛst əv ðə wərld, too,”*,” ʃi sɛd. sɪkˈwɔɪə ˈpɑrtnər ənd bɔrd ˈmɛmbər ˈælfrɪd lɪn ˈɛkoʊd ðɪs ˈsɛnəmənt. rɛr fər ə ˈkəmpəˌni tɪ bi ˈeɪbəl tɪ əˈʧiv ðɪs ˈlɛvəl əv ənd ɪˈstæblɪʃ səʧ ə səbˈstænʃəl ˈbɪznɪs wɪθ θri ˈdɪfərənt ˈrɛvəˌnu streams,”*,” hi sɛd. θrɪld tɪ ˌɪnˈvɛst əˈgɛn ənd tɪ kənˈtɪnju tɪ hɛlp ðə tim dɪsˈrəpt ə ˈmæsɪv ˈgloʊbəl industry.”*.” ðə ˈkəmpəˌni dɪˈskloʊz ɪts væljuˈeɪʃən, bət əˈkɔrdɪŋ tɪ ˈdɑkjəmənts ðət dɪˈskloʊzd æt list səm əv ðɪs raʊnd ˈərliər ðɪs jɪr, ðə ˈkəmpəˌni wɑz ˈreɪzɪŋ æt ə væljuˈeɪʃən əv ˈoʊvər ˈbɪljən.
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how come christians talk about genesis 38 the same way they cite the chapters before and after it?
youtuber opens his latest video by pointing to several books that just skip over that section like it was the floor of a skyscraper. they pretend it exist.
and then we learn why.
as usual, you may want to follow along with the actual verses just to convince yourself not making this stuff up.
i never knew a retelling of a bible story could include these words from god:
i had to look. and accurate. even the part about on the floor. (there are people online who say this verse condemns masturbation. however, many christians call that a misinterpretation of what the bible says.)
in any case, this chapter must make for one hell of a sunday school class.
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haʊ kəm ˈkrɪsʧɪnz tɔk əˈbaʊt ˈʤɛnəsəs 38 ðə seɪm weɪ ðeɪ saɪt ðə ˈʧæptərz ˌbiˈfɔr ənd ˈæftər ɪt? ˈoʊpənz hɪz ˈleɪtəst ˈvɪdioʊ baɪ ˈpɔɪntɪŋ tɪ ˈsɛvərəl bʊks ðət ʤɪst skɪp ˈoʊvər ðət ˈsɛkʃən laɪk ɪt wɑz ðə flɔr əv ə ˈskaɪˌskreɪpər. ðeɪ priˈtɛnd ɪt ɪgˈzɪst. ənd ðɛn wi lərn waɪ. ɛz ˈjuʒəwəl, ju meɪ wɔnt tɪ ˈfɑloʊ əˈlɔŋ wɪθ ðə ˈækʧəwəl ˈvərsɪz ʤɪst tɪ kənˈvɪns ˈjɔrsɛlf nɑt ˈmeɪkɪŋ ðɪs stəf əp. aɪ ˈnɛvər nu ə riˈtɛlɪŋ əv ə ˈbaɪbəl ˈstɔri kʊd ˌɪnˈklud ðiz wərdz frəm gɑd: aɪ hæd tɪ lʊk. ənd ˈækjərət. ˈivɪn ðə pɑrt əˈbaʊt ɔn ðə flɔr. (ðɛr ər ˈpipəl ˈɔnˌlaɪn hu seɪ ðɪs vərs kənˈdɛmz ˌmæstərˈbeɪʃən. ˌhaʊˈɛvər, ˈmɛni ˈkrɪsʧɪnz kɔl ðət ə mɪsɪnˌtərprəˈteɪʃən əv wət ðə ˈbaɪbəl sɪz.) ɪn ˈɛni keɪs, ðɪs ˈʧæptər məst meɪk fər wən hɛl əv ə ˈsənˌdi skul klæs.
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melbourne (reuters) - exxon mobil corp (xom.n) and chevron corp (cvx.n) paid no tax in australia in the 2016 financial year, the third year in a row, despite reporting billions of dollars in income from operations in the country, a report from the tax office showed on thursday.
file photo: an exxon sign is seen at a gas station in the chicago suburb of norridge, illinois, u.s., october 27, 2016. photo
exxon mobil, which has oil and gas production in the bass strait and a stake in the giant gorgon project among other assets in australia, reported billion ($5.0 billion) in income, but it reported a loss for taxable income and paid no tax, similar to the previous two years.
exxon said it had no taxable income as it has invested nearly billion over the past few years on major projects including gorgon and the kipper tuna field.
“as these investments were completed in 2017 and have started production, the amount of tax paid by australia is anticipated to increase significantly,” said travis parnaby, a spokesman for the oil major.
chevron reported billion in income for 2016 and paid no tax, while shell energy holdings australia - a unit of royal dutch shell (rdsa.l) - reported billion in income and million in taxable income, but paid no tax.
chevron, operator of the gorgon and projects, said it expects to pay significant taxes once those projects are running at full tilt. shell is also a partner in gorgon.
the australian taxation office (ato) started requiring big companies to disclose their tax payments two years ago in a push to curb alleged tax avoidance.
top global miners billiton and rio tinto (rio.ax)(rio.l) and the oil and gas giants have all been accused of shifting income to countries like the netherlands and singapore where tax rates are lower.
a probe by the australian senate into corporate tax avoidance that began in 2014 was extended this week, and is now due to issue a final report by the end of may 2018.
in new zealand, the new labour government on thursday proposed legislation to prevent multinationals from shifting profits out of the country. its tax office estimated the measures could raise about million ($137 million) a year.
“multinational companies are a welcome part of our economy but they must abide by the rules. they must pay their fair share of tax,” new zealand revenue minister stuart nash said in a statement.
australia’s and new company tax rates are 30 percent and 28 percent respectively. the netherlands has a 25 percent rate.
bhp chief executive andrew mackenzie defended the tax payments this week, after australian tax commissioner chris jordan was quoted in the australian newspaper saying the might take and rio tinto to court to resolve questions about marketing hubs in singapore, where the miners pay minimal tax.
mackenzie said the fight with the tax office related to about 1 or 2 percent of’s total tax payable in australia.
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“we pay our fair share,” mackenzie told the melbourne mining club on tuesday.
the tax office won a landmark case against chevron earlier this year over a disputed million tax bill stemming from an intercompany loan with an high interest rate.
“on the back of solid growth in company profits and higher commodity prices, we are seeing a strong increase in company tax collections in which will be reflected in the data next year,” deputy tax commissioner jeremy hirschhorn said in a statement released with the tax data.
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ˈmɛlbərn (ˈrɔɪtərz) ˈɛksɑn ˈmoʊbəl ˈkɔrpərˈeɪʃən (xom.n*) ənd ˈʃɛvrən ˈkɔrpərˈeɪʃən (cvx.n*) peɪd noʊ tæks ɪn ɔˈstreɪljə ɪn ðə 2016 ˌfaɪˈnænʃəl jɪr, ðə θərd jɪr ɪn ə roʊ, dɪˈspaɪt rɪˈpɔrtɪŋ ˈbɪljənz əv ˈdɔlərz ɪn ˈɪnˌkəm frəm ˌɑpərˈeɪʃənz ɪn ðə ˈkəntri, ə rɪˈpɔrt frəm ðə tæks ˈɔfəs ʃoʊd ɔn ˈθərzˌdeɪ. faɪl ˈfoʊˌtoʊ: ən ˈɛksɑn saɪn ɪz sin æt ə gæs ˈsteɪʃən ɪn ðə ʃəˈkɑˌgoʊ ˈsəbərb əv norridge*, ˌɪləˈnɔɪz, juz., ɑkˈtoʊbər 27 2016 ˈfoʊˌtoʊ ˈɛksɑn ˈmoʊbəl, wɪʧ həz ɔɪl ənd gæs pərˈdəkʃən ɪn ðə bæs streɪt ənd ə steɪk ɪn ðə ʤaɪənt ˈgɔrgən ˈprɑʤɛkt əˈməŋ ˈəðər ˈæˌsɛts ɪn ɔˈstreɪljə, ˌriˈpɔrtəd ˈbɪljən ˈbɪljən) ɪn ˈɪnˌkəm, bət ɪt ˌriˈpɔrtəd ə lɔs fər ˈtæksəbəl ˈɪnˌkəm ənd peɪd noʊ tæks, ˈsɪmələr tɪ ðə ˈpriviəs tu jɪrz. ˈɛksɑn sɛd ɪt hæd noʊ ˈtæksəbəl ˈɪnˌkəm ɛz ɪt həz ˌɪnˈvɛstɪd ˈnɪrli ˈbɪljən ˈoʊvər ðə pæst fju jɪrz ɔn ˈmeɪʤər ˈprɑʤɛkts ˌɪnˈkludɪŋ ˈgɔrgən ənd ðə ˈkɪpər ˈtunə fild. ðiz ˌɪnˈvɛstmənts wər kəmˈplitɪd ɪn 2017 ənd hæv ˈstɑrtɪd pərˈdəkʃən, ðə əˈmaʊnt əv tæks peɪd baɪ ɔˈstreɪljə ɪz ænˈtɪsəˌpeɪtɪd tɪ ˌɪnˈkris significantly,”*,” sɛd ˈtrævɪs parnaby*, ə ˈspoʊksmən fər ðə ɔɪl ˈmeɪʤər. ˈʃɛvrən ˌriˈpɔrtəd ˈbɪljən ɪn ˈɪnˌkəm fər 2016 ənd peɪd noʊ tæks, waɪl ʃɛl ˈɛnərʤi ˈhoʊldɪŋz ɔˈstreɪljə ə ˈjunɪt əv rɔɪəl dəʧ ʃɛl (rdsa.l*) ˌriˈpɔrtəd ˈbɪljən ɪn ˈɪnˌkəm ənd ˈmɪljən ɪn ˈtæksəbəl ˈɪnˌkəm, bət peɪd noʊ tæks. ˈʃɛvrən, ˈɑpərˌeɪtər əv ðə ˈgɔrgən ənd ˈprɑʤɛkts, sɛd ɪt ɪkˈspɛkts tɪ peɪ sɪgˈnɪfɪkənt ˈtæksɪz wəns ðoʊz ˈprɑʤɛkts ər ˈrənɪŋ æt fʊl tɪlt. ʃɛl ɪz ˈɔlsoʊ ə ˈpɑrtnər ɪn ˈgɔrgən. ðə ɔˈstreɪljən tækˈseɪʃən ˈɔfəs (ato*) ˈstɑrtɪd rikˈwaɪərɪŋ bɪg ˈkəmpəˌniz tɪ dɪˈskloʊz ðɛr tæks ˈpeɪmənts tu jɪrz əˈgoʊ ɪn ə pʊʃ tɪ kərb əˈlɛʤd tæks əˈvɔɪdəns. tɔp ˈgloʊbəl ˈmaɪnərz ˈbɪlɪtən ənd ˈrioʊ ˈtɪntoʊ (rio.ax)(rio.l*) ənd ðə ɔɪl ənd gæs ʤaɪənts hæv ɔl bɪn əˈkjuzd əv ˈʃɪftɪŋ ˈɪnˌkəm tɪ ˈkəntriz laɪk ðə ˈnɛðərləndz ənd ˈsɪŋəˌpɔr wɛr tæks reɪts ər loʊər. ə proʊb baɪ ðə ɔˈstreɪljən ˈsɛnɪt ˈɪntu ˈkɔrpərət tæks əˈvɔɪdəns ðət bɪˈgæn ɪn 2014 wɑz ɪkˈstɛndɪd ðɪs wik, ənd ɪz naʊ du tɪ ˈɪʃu ə ˈfaɪnəl rɪˈpɔrt baɪ ðə ɛnd əv meɪ 2018 ɪn nu ˈzilənd, ðə nu ˈleɪbər ˈgəvərnmənt ɔn ˈθərzˌdeɪ prəˈpoʊzd ˌlɛʤəsˈleɪʃən tɪ prɪˈvɛnt ˌməlˌtiˈnæʃənəlz frəm ˈʃɪftɪŋ ˈprɑfɪts aʊt əv ðə ˈkəntri. ɪts tæks ˈɔfəs ˈɛstəˌmeɪtɪd ðə ˈmɛʒərz kʊd reɪz əˈbaʊt ˈmɪljən 137 ˈmɪljən) ə jɪr. ˈkəmpəˌniz ər ə ˈwɛlkəm pɑrt əv ɑr ɪˈkɑnəmi bət ðeɪ məst əˈbaɪd baɪ ðə rulz. ðeɪ məst peɪ ðɛr fɛr ʃɛr əv tax,”*,” nu ˈzilənd ˈrɛvəˌnu ˈmɪnɪstər stɔrt næʃ sɛd ɪn ə ˈsteɪtmənt. ənd nu ˈkəmpəˌni tæks reɪts ər 30 pərˈsɛnt ənd 28 pərˈsɛnt rɪˈspɛktɪvli. ðə ˈnɛðərləndz həz ə 25 pərˈsɛnt reɪt. ʧif ɪgˈzɛkjətɪv ˈændru məˈkɛnzi dɪˈfɛndɪd ðə tæks ˈpeɪmənts ðɪs wik, ˈæftər ɔˈstreɪljən tæks kəˈmɪʃənər krɪs ˈʤɔrdən wɑz kˈwoʊtɪd ɪn ðə ɔˈstreɪljən ˈnuzˌpeɪpər seɪɪŋ ðə maɪt teɪk ənd ˈrioʊ ˈtɪntoʊ tɪ kɔrt tɪ riˈzɑlv kˈwɛsʧənz əˈbaʊt ˈmɑrkətɪŋ həbz ɪn ˈsɪŋəˌpɔr, wɛr ðə ˈmaɪnərz peɪ ˈmɪnəməl tæks. məˈkɛnzi sɛd ðə faɪt wɪθ ðə tæks ˈɔfəs rɪˈleɪtɪd tɪ əˈbaʊt 1 ər 2 pərˈsɛnt əv ˈtoʊtəl tæks ˈpeɪəbəl ɪn ɔˈstreɪljə. 2 ˈɪmɪʤɪz) peɪ ɑr fɛr share,”*,” məˈkɛnzi toʊld ðə ˈmɛlbərn ˈmaɪnɪŋ kləb ɔn ˈtuzˌdeɪ. ðə tæks ˈɔfəs wən ə ˈlændˌmɑrk keɪs əˈgɛnst ˈʃɛvrən ˈərliər ðɪs jɪr ˈoʊvər ə dɪˈspjutɪd ˈmɪljən tæks bɪl ˈstɛmɪŋ frəm ən ˌɪntərˈkəmpəni loʊn wɪθ ən haɪ ˈɪntəˌrɛst reɪt. ðə bæk əv ˈsɑləd groʊθ ɪn ˈkəmpəˌni ˈprɑfɪts ənd haɪər kəˈmɑdəti ˈpraɪsɪz, wi ər siɪŋ ə strɔŋ ˌɪnˈkris ɪn ˈkəmpəˌni tæks kəˈlɛkʃənz ɪn wɪʧ wɪl bi rɪˈflɛktɪd ɪn ðə ˈdætə nɛkst year,”*,” ˈdɛpjəti tæks kəˈmɪʃənər ˈʤɛrəˌmi ˈhərʃhərn sɛd ɪn ə ˈsteɪtmənt riˈlist wɪθ ðə tæks ˈdætə.
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san diego (cns) - construction began in san diego tuesday on prototypes for a new border wall between the united states and mexico, marking the start of a proposed project that served as a bitterly divisive centerpiece in president donald trump's ascension to the white house.
groundbreaking in mesa for eight proposed versions of the barrier -- four made of concrete, the others from unspecified alternate materials -- took place this morning, according to u.s. customs and border protection.
each structure will be between 18 and 30 feet tall and demonstrate a proposed design for how best to deter illegal crossings of the international line, according to the federal agency.
"we are committed to securing our border, and that includes constructing border walls," acting deputy commissioner ronald vitiello said. "our strategy to ensure the safety and security of the american people includes barriers, infrastructure, technology and people. moving forward with the prototypes enables us to continue to incorporate all the tools necessary to secure our border."
completion of the structures is expected within about 30 days, according to federal officials.
construction on 8 wall prototypes began today in san diego. the prototypes are designed to deter illegal border crossings. (1/2) (@customsborder) september 26, 2017
this morning, the san diego county board of supervisors unanimously approved an urgency ordinance banning items that could be used as weapons, such as baseball bats, knives and rocks, in areas where the border wall prototypes are being built and giving law enforcement the authority to issue misdemeanor citations to those found to be carrying such items.
"we support the right to peacefully protest, but there is no need to bring weapons," said ron lane, the county's deputy chief administrative officer.
supervisor dianne jacob said: "we need to make sure our law enforcement agencies have the tools they need to protect the people and keep the peace. this is a divisive time in our nation's history and frankly, we already have a border fence in san diego, so i'm not sure why we were targeted to build the prototypes, but it is what it is ..."
late last month, the u.s. government announced that it had awarded contracts to the following contractors for concrete wall prototypes: caddell construction co. of montgomery, alabama; fisher sand & gravel co. of tempe, arizona; texas sterling construction co. of houston, texas; and w.g. yates & sons construction co. of philadelphia, mississippi.
the concrete will "allow to evaluate the potential for new wall and barrier designs that could complement the wall and barrier designs we have used along the border over the last several years," according to a statement issued by the federal agency.
three weeks ago, customs and border protection officials announced contract awards for so-called "other materials" prototypes of the proposed border wall. the following companies were selected to build them: caddell construction; construction inc. of sierra vista, arizona; north america inc. of annapolis junction, maryland; and w.g. yates & sons.
"prototypes constructed from alternate materials will serve two important ends," according to a statement. "first, given their robust physical characteristics -- for example, they will be between 18 and 30 feet high -- the `other materials' prototypes are designed to deter illegal crossings in the area in which they are constructed. second, they will provide an innovative perspective in the application of new materials, which will allow to evaluate the potential for new wall and barrier designs to complement the current wall and barrier used along the southwest border."
completion of wall prototype construction is expected within approximately 30 days of the notice to proceed
(2/2) (@customsborder) september 26, 2017
last week, california attorney general xavier becerra filed a lawsuit in san diego against the trump administration over its plan to begin construction of the wall, acting on behalf of the state and the california coastal commission.
"the border between the u.s. and mexico spans some miles -- the list of laws violated by the president's administration in order to build this campaign wall is almost as long," becerra told reporters then. "the department of homeland security would waive 37 federal statutes, as well as regulations that are related to those statutes, and he would also violate numerous state and local laws here in our great state of california."
the announcement came one day after the san diego city council voted to pass a resolution opposing the border wall. that resolution stated the edifice would be detrimental to san diego's environment and tourism.
"the border wall is a stupid idea," councilman david alvarez said. "the border can become efficient and safe with investments in infrastructure and technology instead of wasting billions of taxpayer dollars for a wall, which will accomplish nothing."
the san diego unified school district board of education, for its part, unanimously approved a resolution in april that supported a bill in the state legislature that would prohibit california from doing business with contractors who help build a wall.
before the city council's vote of opposition to the proposed border barrier, dozens of residents lined up to speak on the topic, most of them denouncing it.
council members chris cate, mark kersey and lorie zapf voted against the resolution, with zapf saying the resolution only served as "political posturing."
port of san diego vice chairman rafael castellanos was among those who spoke against the border barrier at the council meeting. he said it was important to stand in solidarity with the immigrant community.
"this is not medieval china," he said. "we are not trying to keep out mongol hordes. this is not a matt damon movie. this is a silly federal frolic that may go down in the `guinness world book of records' as the worst pork- barrel project of all time."
assemblywoman lorena gonzalez fletcher, who represents california's border region, also has taken a stand against the project, arguing that there are bigger enforcement problems in the border area, such as tunnels used to smuggle people and drugs into the united states.
in august, the u.s. department of homeland security announced that it had secured a waiver that would allow it to bypass environmental regulations to speed up the building process in san diego and imperial counties.
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sæn diˈeɪgoʊ (cns*) kənˈstrəkʃən bɪˈgæn ɪn sæn diˈeɪgoʊ ˈtuzˌdeɪ ɔn ˈproʊtoʊˌtaɪps fər ə nu ˈbɔrdər wɔl bɪtˈwin ðə juˈnaɪtɪd steɪts ənd ˈmɛksəˌkoʊ, ˈmɑrkɪŋ ðə stɑrt əv ə prəˈpoʊzd ˈprɑʤɛkt ðət sərvd ɛz ə ˈbɪtərli dɪˈvaɪsɪv ˈsɛntərˌpis ɪn ˈprɛzɪdənt ˈdɑnəld trəmps əˈsɛnʃən tɪ ðə waɪt haʊs. ˈgraʊnˌbreɪkɪŋ ɪn ˈmeɪsə fər eɪt prəˈpoʊzd ˈvərʒənz əv ðə ˈbɛriər fɔr meɪd əv ˈkɑnkrit, ðə ˈəðərz frəm ənˈspɛsəˌfaɪd ˈɔltərˌneɪt məˈtɪriəlz tʊk pleɪs ðɪs ˈmɔrnɪŋ, əˈkɔrdɪŋ tɪ juz. ˈkəstəmz ənd ˈbɔrdər prəˈtɛkʃən. iʧ ˈstrəkʧər wɪl bi bɪtˈwin 18 ənd 30 fit tɔl ənd ˈdɛmənˌstreɪt ə prəˈpoʊzd dɪˈzaɪn fər haʊ bɛst tɪ dɪˈtər ˌɪˈligəl ˈkrɔsɪŋz əv ðə ˌɪnərˈnæʃənɑl laɪn, əˈkɔrdɪŋ tɪ ðə ˈfɛdərəl ˈeɪʤənsi. "wi ər kəˈmɪtɪd tɪ sɪˈkjʊrɪŋ ɑr ˈbɔrdər, ənd ðət ˌɪnˈkludz kənˈstrəktɪŋ ˈbɔrdər wɔlz," ˈæktɪŋ ˈdɛpjəti kəˈmɪʃənər ˈrɑnəld vitiˈɛloʊ sɛd. "ɑr ˈstrætəʤi tɪ ɪnˈʃʊr ðə ˈseɪfti ənd sɪˈkjʊrəti əv ðə əˈmɛrɪkən ˈpipəl ˌɪnˈkludz ˈbɛriərz, ˌɪnfrəˈstrəkʧər, tɛkˈnɑləʤi ənd ˈpipəl. ˈmuvɪŋ ˈfɔrwərd wɪθ ðə ˈproʊtoʊˌtaɪps ɪˈneɪbəlz ˈjuˈɛs tɪ kənˈtɪnju tɪ ˌɪnˈkɔrpərˌeɪt ɔl ðə tulz ˈnɛsəˌsɛri tɪ sɪˈkjʊr ɑr ˈbɔrdər." kəmˈpliʃən əv ðə ˈstrəkʧərz ɪz ɪkˈspɛktɪd wɪˈθɪn əˈbaʊt 30 deɪz, əˈkɔrdɪŋ tɪ ˈfɛdərəl əˈfɪʃəlz. kənˈstrəkʃən ɔn 8 wɔl ˈproʊtoʊˌtaɪps bɪˈgæn təˈdeɪ ɪn sæn diˈeɪgoʊ. ðə ˈproʊtoʊˌtaɪps ər dɪˈzaɪnd tɪ dɪˈtər ˌɪˈligəl ˈbɔrdər ˈkrɔsɪŋz. (@customsborder*) sɛpˈtɛmbər 26 2017 ðɪs ˈmɔrnɪŋ, ðə sæn diˈeɪgoʊ ˈkaʊnti bɔrd əv ˌsupərˈvaɪzərz juˈnænəməsli əˈpruvd ən ˈərʤənsi ˈɔrdənəns ˈbænɪŋ ˈaɪtəmz ðət kʊd bi juzd ɛz ˈwɛpənz, səʧ ɛz ˈbeɪsˈbɔl bæts, naɪvz ənd rɑks, ɪn ˈɛriəz wɛr ðə ˈbɔrdər wɔl ˈproʊtoʊˌtaɪps ər biɪŋ bɪlt ənd ˈgɪvɪŋ lɔ ɛnˈfɔrsmənt ðə əˈθɔrəti tɪ ˈɪʃu ˌmɪsdəˈminər saɪˈteɪʃənz tɪ ðoʊz faʊnd tɪ bi ˈkɛriɪŋ səʧ ˈaɪtəmz. "wi səˈpɔrt ðə raɪt tɪ ˈpisfəli ˈproʊˌtɛst, bət ðɛr ɪz noʊ nid tɪ brɪŋ ˈwɛpənz," sɛd rɑn leɪn, ðə ˈkaʊntiz ˈdɛpjəti ʧif ədˈmɪnɪˌstreɪtɪv ˈɔfɪsər. ˈsupərˌvaɪzər daɪæn ˈʤeɪkəb sɛd: "wi nid tɪ meɪk ʃʊr ɑr lɔ ɛnˈfɔrsmənt ˈeɪʤənsiz hæv ðə tulz ðeɪ nid tɪ prəˈtɛkt ðə ˈpipəl ənd kip ðə pis. ðɪs ɪz ə dɪˈvaɪsɪv taɪm ɪn ɑr ˈneɪʃənz ˈhɪstəri ənd ˈfræŋkli, wi ɔˈrɛdi hæv ə ˈbɔrdər fɛns ɪn sæn diˈeɪgoʊ, soʊ əm nɑt ʃʊr waɪ wi wər ˈtɑrgətɪd tɪ bɪld ðə ˈproʊtoʊˌtaɪps, bət ɪt ɪz wət ɪt ɪz leɪt læst mənθ, ðə juz. ˈgəvərnmənt əˈnaʊnst ðət ɪt hæd əˈwɔrdɪd ˈkɑnˌtrækts tɪ ðə ˈfɑloʊɪŋ ˈkɑnˌtræktərz fər ˈkɑnkrit wɔl ˈproʊtoʊˌtaɪps: ˈkædəl kənˈstrəkʃən koʊ. əv mɑntˈgəmri, ˌæləˈbæmə; ˈfɪʃər sænd ˈgrævəl koʊ. əv ˈtɛmpi, ˌɛrɪˈzoʊnə; ˈtɛksəs ˈstərlɪŋ kənˈstrəkʃən koʊ. əv ˈhjustən, ˈtɛksəs; ənd w.g*. jeɪts sənz kənˈstrəkʃən koʊ. əv ˌfɪləˈdɛlfiə, ˌmɪsɪˈsɪpi. ðə ˈkɑnkrit wɪl "əˈlaʊ tɪ ɪˈvæljuˌeɪt ðə pəˈtɛnʃəl fər nu wɔl ənd ˈbɛriər dɪˈzaɪnz ðət kʊd ˈkɑmpləmənt ðə wɔl ənd ˈbɛriər dɪˈzaɪnz wi hæv juzd əˈlɔŋ ðə ˈbɔrdər ˈoʊvər ðə læst ˈsɛvərəl jɪrz," əˈkɔrdɪŋ tɪ ə ˈsteɪtmənt ˈɪʃud baɪ ðə ˈfɛdərəl ˈeɪʤənsi. θri wiks əˈgoʊ, ˈkəstəmz ənd ˈbɔrdər prəˈtɛkʃən əˈfɪʃəlz əˈnaʊnst ˈkɑnˌtrækt əˈwɔrdz fər ˈsoʊˈkɔld "ˈəðər məˈtɪriəlz" ˈproʊtoʊˌtaɪps əv ðə prəˈpoʊzd ˈbɔrdər wɔl. ðə ˈfɑloʊɪŋ ˈkəmpəˌniz wər səˈlɛktɪd tɪ bɪld ðɛm: ˈkædəl kənˈstrəkʃən; kənˈstrəkʃən ɪŋk. əv siˈɛrə ˈvɪstə, ˌɛrɪˈzoʊnə; nɔrθ əˈmɛrɪkə ɪŋk. əv əˈnæpəlɪs ˈʤəŋkʃən, ˈmɛrələnd; ənd w.g*. jeɪts sənz. "ˈproʊtoʊˌtaɪps kənˈstrəktɪd frəm ˈɔltərˌneɪt məˈtɪriəlz wɪl sərv tu ˌɪmˈpɔrtənt ɛndz," əˈkɔrdɪŋ tɪ ə ˈsteɪtmənt. "fərst, ˈgɪvɪn ðɛr roʊˈbəst ˈfɪzɪkəl ˌkɛrɪktərˈɪstɪks fər ɪgˈzæmpəl, ðeɪ wɪl bi bɪtˈwin 18 ənd 30 fit haɪ ðə `ˈəðər məˈtɪriəlz' ˈproʊtoʊˌtaɪps ər dɪˈzaɪnd tɪ dɪˈtər ˌɪˈligəl ˈkrɔsɪŋz ɪn ðə ˈɛriə ɪn wɪʧ ðeɪ ər kənˈstrəktɪd. ˈsɛkənd, ðeɪ wɪl prəˈvaɪd ən ˈɪnəˌveɪtɪv pərˈspɛktɪv ɪn ðə ˌæpləˈkeɪʃən əv nu məˈtɪriəlz, wɪʧ wɪl əˈlaʊ tɪ ɪˈvæljuˌeɪt ðə pəˈtɛnʃəl fər nu wɔl ənd ˈbɛriər dɪˈzaɪnz tɪ ˈkɑmpləmənt ðə ˈkɑrənt wɔl ənd ˈbɛriər juzd əˈlɔŋ ðə ˌsaʊθˈwɛst ˈbɔrdər." kəmˈpliʃən əv wɔl ˈproʊtoʊˌtaɪp kənˈstrəkʃən ɪz ɪkˈspɛktɪd wɪˈθɪn əˈprɑksəmətli 30 deɪz əv ðə ˈnoʊtɪs tɪ pərˈsid (@customsborder*) sɛpˈtɛmbər 26 2017 læst wik, ˌkæləˈfɔrnjə əˈtərni ˈʤɛnərəl ˈzeɪvjər bɛˈʧɛrɑ faɪld ə ˈlɔˌsut ɪn sæn diˈeɪgoʊ əˈgɛnst ðə trəmp ædˌmɪnɪˈstreɪʃən ˈoʊvər ɪts plæn tɪ bɪˈgɪn kənˈstrəkʃən əv ðə wɔl, ˈæktɪŋ ɔn bɪˈhæf əv ðə steɪt ənd ðə ˌkæləˈfɔrnjə ˈkoʊstəl kəˈmɪʃən. "ðə ˈbɔrdər bɪtˈwin ðə juz. ənd ˈmɛksəˌkoʊ spænz səm maɪəlz ðə lɪst əv lɔz ˈvaɪəleɪtɪd baɪ ðə ˈprɛzɪdənts ædˌmɪnɪˈstreɪʃən ɪn ˈɔrdər tɪ bɪld ðɪs kæmˈpeɪn wɔl ɪz ˈɔlˌmoʊst ɛz lɔŋ," bɛˈʧɛrɑ toʊld rɪˈpɔrtərz ðɛn. "ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti wʊd weɪv 37 ˈfɛdərəl ˈstæʧuts, ɛz wɛl ɛz ˌrɛgjəˈleɪʃənz ðət ər rɪˈleɪtɪd tɪ ðoʊz ˈstæʧuts, ənd hi wʊd ˈɔlsoʊ ˈvaɪəleɪt ˈnumərəs steɪt ənd ˈloʊkəl lɔz hir ɪn ɑr greɪt steɪt əv ˌkæləˈfɔrnjə." ðə əˈnaʊnsmɛnt keɪm wən deɪ ˈæftər ðə sæn diˈeɪgoʊ ˈsɪti ˈkaʊnsəl ˈvoʊtɪd tɪ pæs ə ˌrɛzəˈluʃən əˈpoʊzɪŋ ðə ˈbɔrdər wɔl. ðət ˌrɛzəˈluʃən ˈsteɪtɪd ðə ˈɛdəfəs wʊd bi ˌdɛtrəˈmɛnəl tɪ sæn ˌdiˈeɪˌgoʊz ɪnˈvaɪrənmənt ənd ˈtʊˌrɪzəm. "ðə ˈbɔrdər wɔl ɪz ə ˈstupɪd aɪˈdiə," ˈkaʊnsəlmən ˈdeɪvɪd ˈælvərˌɛz sɛd. "ðə ˈbɔrdər kən bɪˈkəm ɪˈfɪʃənt ənd seɪf wɪθ ˌɪnˈvɛstmənts ɪn ˌɪnfrəˈstrəkʧər ənd tɛkˈnɑləʤi ˌɪnˈstɛd əv ˈweɪstɪŋ ˈbɪljənz əv ˈtækˌspeɪər ˈdɔlərz fər ə wɔl, wɪʧ wɪl əˈkɑmplɪʃ ˈnəθɪŋ." ðə sæn diˈeɪgoʊ ˈjunəˌfaɪd skul ˈdɪstrɪkt bɔrd əv ˌɛʤəˈkeɪʃən, fər ɪts pɑrt, juˈnænəməsli əˈpruvd ə ˌrɛzəˈluʃən ɪn ˈeɪprəl ðət səˈpɔrtɪd ə bɪl ɪn ðə steɪt ˈlɛʤəsˌleɪʧər ðət wʊd proʊˈhɪbət ˌkæləˈfɔrnjə frəm duɪŋ ˈbɪznɪs wɪθ ˈkɑnˌtræktərz hu hɛlp bɪld ə wɔl. ˌbiˈfɔr ðə ˈsɪti ˈkaʊnsəlz voʊt əv ˌɑpəˈzɪʃən tɪ ðə prəˈpoʊzd ˈbɔrdər ˈbɛriər, ˈdəzənz əv ˈrɛzɪdənts laɪnd əp tɪ spik ɔn ðə ˈtɑpɪk, moʊst əv ðɛm dɪˈnaʊnsɪŋ ɪt. ˈkaʊnsəl ˈmɛmbərz krɪs keɪt, mɑrk ˈkərsi ənd ˈlɔri zæpf ˈvoʊtɪd əˈgɛnst ðə ˌrɛzəˈluʃən, wɪθ zæpf seɪɪŋ ðə ˌrɛzəˈluʃən ˈoʊnli sərvd ɛz "pəˈlɪtɪkəl ˈpɑsʧərɪŋ." pɔrt əv sæn diˈeɪgoʊ vaɪs ˈʧɛrmən ˌrɑfaɪˈɛl kɑsteɪˈlɑnoʊz wɑz əˈməŋ ðoʊz hu spoʊk əˈgɛnst ðə ˈbɔrdər ˈbɛriər æt ðə ˈkaʊnsəl ˈmitɪŋ. hi sɛd ɪt wɑz ˌɪmˈpɔrtənt tɪ stænd ɪn ˌsɑləˈdɛrəti wɪθ ðə ˈɪməgrənt kəmˈjunɪti. "ðɪs ɪz nɑt mɪˈdjivəl ˈʧaɪnə," hi sɛd. "wi ər nɑt traɪɪŋ tɪ kip aʊt ˈmɑŋgəl hɔrdz. ðɪs ɪz nɑt ə mæt ˈdeɪmən ˈmuvi. ðɪs ɪz ə ˈsɪli ˈfɛdərəl ˈfrɑlɪk ðət meɪ goʊ daʊn ɪn ðə `ˈgɪnəs wərld bʊk əv ˈrɛkərdz' ɛz ðə wərst pɔrk- ˈbɛrəl ˈprɑʤɛkt əv ɔl taɪm." əˈsɛmbliˌwʊmən lɔˈrɛnə gɑnˈzɑləz ˈflɛʧər, hu ˌrɛprɪˈzɛnts ˌkælɪˈfɔrnjəz ˈbɔrdər ˈriʤən, ˈɔlsoʊ həz ˈteɪkən ə stænd əˈgɛnst ðə ˈprɑʤɛkt, ˈɑrgjuɪŋ ðət ðɛr ər ˈbɪgər ɛnˈfɔrsmənt ˈprɑbləmz ɪn ðə ˈbɔrdər ˈɛriə, səʧ ɛz ˈtənəlz juzd tɪ sˈməgəl ˈpipəl ənd drəgz ˈɪntu ðə juˈnaɪtɪd steɪts. ɪn ˈɔgəst, ðə juz. dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti əˈnaʊnst ðət ɪt hæd sɪˈkjʊrd ə ˈweɪvər ðət wʊd əˈlaʊ ɪt tɪ ˈbaɪˌpæs ɪnˌvaɪrənˈmɛnəl ˌrɛgjəˈleɪʃənz tɪ spid əp ðə ˈbɪldɪŋ ˈprɔˌsɛs ɪn sæn diˈeɪgoʊ ənd ˌɪmˈpɪriəl ˈkaʊntiz. rɪˈleɪtɪd ˈkəvərɪʤ
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osaka, japan / palo alto, calif. panasonic corporation and tesla motors today announced that the two companies have reached an agreement in which panasonic will expand its supply of battery cells to tesla. with this agreement, the two companies update and expand their 2011 arrangement to now supply nearly 2 billion cells over the course of four years. the battery cells purchased from panasonic will be used to power the award winning model s as well as model x, a performance utility vehicle that is scheduled to go into production by the end of 2014.
this agreement builds upon a collaboration between panasonic and tesla to develop battery cells and accelerate the market expansion of electric vehicles. cells combined with proven ev battery expertise have already enabled more than 130 million customer miles driven in tesla and model s.
“this expanded agreement with panasonic is important to tesla as we continue to increase the pace of production,” said tesla and ceo musk. “we look forward to strengthening our relationship with panasonic, and confident that this partnership will continue to be an integral part of success for years to come.”
together, panasonic and tesla have developed a battery cell technology that provides the highest energy density and best performance cells in the market. cylindrical cell is a customized technology designed specifically for electric vehicle quality and life. these cells are integrated by tesla into the battery pack in a way that enables an range of approximately 265 miles for the model s.
“we are extremely proud to be a strategic partner of tesla,” said yamada, president of the automotive & industrial systems company, an internal company of panasonic. “panasonic will increase its production capacity of battery cells to supply growing needs as it expands its production of evs.”
about panasonic
panasonic corporation is a worldwide leader in the development and engineering of electronic technologies and solutions for customers in residential, non-residential, mobility and personal applications. since its founding in 1918, the company has expanded globally and now operates over 500 consolidated companies worldwide, recording consolidated net sales of trillion yen for the year ended march 31, 2013. committed to pursuing new value through innovation across divisional lines, the company strives to create a better life and a better world for its customers. for more information about panasonic, please visit the website at
about tesla
tesla motors’ (nasdaq: tsla) goal is to accelerate the transition to electric mobility with a full range of increasingly affordable electric cars. tesla designs and manufactures evs, as well as ev powertrain components for industry partners. tesla has delivered over electric vehicles to customers in 31 countries.
media contacts panasonic corporation tokyo public relations office tel: +81-(0)3-3574-5664 fax: +81-(0)3-3574-5699
panasonic news bureau tel: +81-(0)3-3542-6205 fax: +81-(0)3-3542-9018
tesla motors tel:
interested in keeping up with tesla motors? for more information on tesla motors and its products, please visit: for more information for tesla motors investors, please visit: for the latest information from tesla motors, including press releases and the tesla blog, please
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oʊˈsɑkə, ʤəˈpæn ˈpæloʊ ˈæltoʊ, ˈkælɪf. ˌpænəˈsɑnɪk ˌkɔrpərˈeɪʃən ənd ˈtɛzlə ˈmoʊtərz təˈdeɪ əˈnaʊnst ðət ðə tu ˈkəmpəˌniz hæv riʧt ən əˈgrimənt ɪn wɪʧ ˌpænəˈsɑnɪk wɪl ɪkˈspænd ɪts səˈplaɪ əv ˈbætəri sɛlz tɪ ˈtɛzlə. wɪθ ðɪs əˈgrimənt, ðə tu ˈkəmpəˌniz ˈəpˌdeɪt ənd ɪkˈspænd ðɛr 2011 ərˈeɪnʤmənt tɪ naʊ səˈplaɪ ˈnɪrli 2 ˈbɪljən sɛlz ˈoʊvər ðə kɔrs əv fɔr jɪrz. ðə ˈbætəri sɛlz ˈpərʧəst frəm ˌpænəˈsɑnɪk wɪl bi juzd tɪ paʊər ðə əˈwɔrd ˈwɪnɪŋ ˈmɑdəl ɛs ɛz wɛl ɛz ˈmɑdəl ɛks, ə pərˈfɔrməns juˈtɪləti ˈviɪkəl ðət ɪz ˈskɛʤʊld tɪ goʊ ˈɪntu pərˈdəkʃən baɪ ðə ɛnd əv 2014 ðɪs əˈgrimənt bɪldz əˈpɑn ə kəˌlæbərˈeɪʃən bɪtˈwin ˌpænəˈsɑnɪk ənd ˈtɛzlə tɪ dɪˈvɛləp ˈbætəri sɛlz ənd ækˈsɛlərˌeɪt ðə ˈmɑrkɪt ɪkˈspænʧən əv ɪˈlɛktrɪk ˈviɪkəlz. sɛlz kəmˈbaɪnd wɪθ ˈpruvən ɛv ˈbætəri ˌɛkspərˈtiz hæv ɔˈrɛdi ɪˈneɪbəld mɔr ðən 130 ˈmɪljən ˈkəstəmər maɪəlz ˈdrɪvən ɪn ˈtɛzlə ənd ˈmɑdəl ɛs. ɪkˈspændɪd əˈgrimənt wɪθ ˌpænəˈsɑnɪk ɪz ˌɪmˈpɔrtənt tɪ ˈtɛzlə ɛz wi kənˈtɪnju tɪ ˌɪnˈkris ðə peɪs əv production,”*,” sɛd ˈtɛzlə ənd ˈsiˌiˈoʊ məsk. lʊk ˈfɔrwərd tɪ ˈstrɛŋθənɪŋ ɑr riˈleɪʃənˌʃɪp wɪθ ˌpænəˈsɑnɪk, ənd ˈkɑnfədənt ðət ðɪs ˈpɑrtnərˌʃɪp wɪl kənˈtɪnju tɪ bi ən ˈɪnəgrəl pɑrt əv səkˈsɛs fər jɪrz tɪ come.”*.” təˈgɛðər, ˌpænəˈsɑnɪk ənd ˈtɛzlə hæv dɪˈvɛləpt ə ˈbætəri sɛl tɛkˈnɑləʤi ðət prəˈvaɪdz ðə haɪəst ˈɛnərʤi ˈdɛnsɪti ənd bɛst pərˈfɔrməns sɛlz ɪn ðə ˈmɑrkɪt. sɪˈlɪndrɪkəl sɛl ɪz ə ˈkəstəˌmaɪzd tɛkˈnɑləʤi dɪˈzaɪnd spəˈsɪfɪkli fər ɪˈlɛktrɪk ˈviɪkəl kˈwɑləti ənd laɪf. ðiz sɛlz ər ˈɪnəˌgreɪtɪd baɪ ˈtɛzlə ˈɪntu ðə ˈbætəri pæk ɪn ə weɪ ðət ɪˈneɪbəlz ən reɪnʤ əv əˈprɑksəmətli 265 maɪəlz fər ðə ˈmɑdəl ɛs. ər ɪkˈstrimli praʊd tɪ bi ə strəˈtiʤɪk ˈpɑrtnər əv tesla,”*,” sɛd jəˈmɑdə, ˈprɛzɪdənt əv ðə ˌɔtəˈmoʊtɪv ˌɪnˈdəstriəl ˈsɪstəmz ˈkəmpəˌni, ən ˌɪnˈtərnəl ˈkəmpəˌni əv ˌpænəˈsɑnɪk. wɪl ˌɪnˈkris ɪts pərˈdəkʃən kəˈpæsɪti əv ˈbætəri sɛlz tɪ səˈplaɪ groʊɪŋ nidz ɛz ɪt ɪkˈspændz ɪts pərˈdəkʃən əv evs.”*.” əˈbaʊt ˌpænəˈsɑnɪk ˌpænəˈsɑnɪk ˌkɔrpərˈeɪʃən ɪz ə ˈwərldˈwaɪd ˈlidər ɪn ðə dɪˈvɛləpmənt ənd ˈɛnʤəˈnɪrɪŋ əv ˌɪˌlɛkˈtrɑnɪk tɛkˈnɑləʤiz ənd səˈluʃənz fər ˈkəstəmərz ɪn ˌrɛzɪˈdɛnʃəl, ˌnɑnˌrɛzəˈdɛnʃəl, moʊˈbɪlɪti ənd ˈpərsɪnəl ˌæpləˈkeɪʃənz. sɪns ɪts ˈfaʊndɪŋ ɪn 1918 ðə ˈkəmpəˌni həz ɪkˈspændɪd ˈgloʊbəli ənd naʊ ˈɑpərˌeɪts ˈoʊvər 500 kənˈsɑləˌdeɪtəd ˈkəmpəˌniz ˈwərldˈwaɪd, rɪˈkɔrdɪŋ kənˈsɑləˌdeɪtəd nɛt seɪlz əv ˈtrɪljən jɛn fər ðə jɪr ˈɛndɪd mɑrʧ 31 2013 kəˈmɪtɪd tɪ pərˈsuɪŋ nu ˈvælju θru ˌɪnəˈveɪʃən əˈkrɔs dɪˈvɪʒənəl laɪnz, ðə ˈkəmpəˌni straɪvz tɪ kriˈeɪt ə ˈbɛtər laɪf ənd ə ˈbɛtər wərld fər ɪts ˈkəstəmərz. fər mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˌpænəˈsɑnɪk, pliz ˈvɪzɪt ðə ˈwɛbˌsaɪt æt əˈbaʊt ˈtɛzlə ˈtɛzlə motors’*’ (ˈnæzdæk: tsla*) goʊl ɪz tɪ ækˈsɛlərˌeɪt ðə trænˈzɪʃən tɪ ɪˈlɛktrɪk moʊˈbɪlɪti wɪθ ə fʊl reɪnʤ əv ˌɪnˈkrisɪŋgli əˈfɔrdəbəl ɪˈlɛktrɪk kɑz. ˈtɛzlə dɪˈzaɪnz ənd ˌmænjəˈfækʧərz evs*, ɛz wɛl ɛz ɛv ˈpaʊrˌtreɪn kəmˈpoʊnənts fər ˈɪndəstri ˈpɑrtnərz. ˈtɛzlə həz dɪˈlɪvərd ˈoʊvər ɪˈlɛktrɪk ˈviɪkəlz tɪ ˈkəstəmərz ɪn 31 ˈkəntriz. ˈmidiə ˈkɑnˌtækts ˌpænəˈsɑnɪk ˌkɔrpərˈeɪʃən ˈtoʊkiˌoʊ ˈpəblɪk riˈleɪʃənz ˈɔfəs tɛl: fæks: ˌpænəˈsɑnɪk nuz ˈbjʊroʊ tɛl: fæks: ˈtɛzlə ˈmoʊtərz tɛl: ˈɪntəˌrɛstɪd ɪn ˈkipɪŋ əp wɪθ ˈtɛzlə ˈmoʊtərz? fər mɔr ˌɪnˌfɔrˈmeɪʃən ɔn ˈtɛzlə ˈmoʊtərz ənd ɪts ˈprɑdəkts, pliz ˈvɪzɪt: fər mɔr ˌɪnˌfɔrˈmeɪʃən fər ˈtɛzlə ˈmoʊtərz ˌɪnˈvɛstərz, pliz ˈvɪzɪt: fər ðə ˈleɪtəst ˌɪnˌfɔrˈmeɪʃən frəm ˈtɛzlə ˈmoʊtərz, ˌɪnˈkludɪŋ prɛs rɪˈlisɪz ənd ðə ˈtɛzlə blɔg, pliz
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food and fuel control act other short titles lever food act long title an act to provide further for the national security and defense by encouraging the production, conserving the supply, and controlling the distribution of food products and fuel. nicknames lever act enacted by the united states congress effective august 10, 1917 citations public law statutes at large 40 stat. 276 legislative history introduced in the house as h.r. 4961 by asbury lever (d-sc) on june 23, 1917
h.r. 4961 asbury lever (d-sc) june 23, 1917 passed the house on july 21, 1917 (81-6)
july 21, 1917 (81-6) passed the senate on july 23, 1917 (51-8)
july 23, 1917 (51-8) reported by the joint conference committee on august 2, 1917; agreed to by the house on august 3, 1917 (360-0) and by the senate on august 8, 1917 (66-7)
august 2, 1917; august 3, 1917 (360-0) august 8, 1917 (66-7) signed into law by president woodrow wilson on august 10, 1917
the food and fuel control act, pub.l., 40 stat. 276, enacted august 10, 1917, also called the lever act or the lever food act was a world war i era us law that among other things created the united states food administration and the federal fuel administration.
legislative history [ edit ]
the act was a very controversial piece of legislation. the act was sponsored by rep. asbury f. lever, a democrat from south carolina. president wilson urged its passage as a wartime emergency measure. some opposed the authority that would rest in the person of the "food administrator." others opposed language that empowered the president to limit or prohibit the use of agricultural products in the production of alcoholic beverages, thereby establishing a form of national prohibition. senators proposed alternatives, including a prohibition on the production of whiskey alone for the duration of the war. republican senator henry cabot lodge objected to the language that authorized the president to "use any agency or agencies, to accept the services of any person without compensation, to cooperate with any person or persons in relation to the processes, methods, activities of and for the production manufacture, procurement, storage, distribution, sale, marketing, pledging, financing, and consumption of which are declared to be affected with a public] wilson also had to fight off the proposal of massachusetts republican senator john w. weeks to establish instead a joint committee on the conduct of the]
its official name was "an act to provide further for the national security and defense by encouraging the production, conserving the supply, and controlling the distribution of food products and fuel" and became law on august 10, 1917. it banned the production of "distilled spirits" from any produce that was used for]
in 1918, faced with complaints from farmers that the food administration created under the act had set the minimum price of wheat too low, congress passed an amendment increasing that level from $2.20 to $2.40 per bushel. the president's veto out of concerns about inflation and the impact on the british, is credited with producing disastrous results for democrats in the 1918 elections in the states of the grain]
on august 18, 1919, after the end of hostilities, president wilson asked congress to extend the life of the act to allow his administration to address widespread and dramatic increases in the prices of commodities. he requested amendments to include clothing and to set increased penalties for profiteering. opponents delayed passage for months while berating the administration for its failure to control prices and then granted the authority the president requested in october. in the house of representatives, the president's chief critic complained of the administration's priorities: "where there is one man in a thousand who cares a rap about the league of nations, there are nine hundred and who are vitally and distressingly concerned about the high cost of living." the department of justice launched 179 prosecutions under the amended act in the first two months following its]
implementation [ edit ]
"food will win the war"
united states food administration poster
the act, an emergency wartime measure, was designed to expire at the end of world war i or shortly thereafter. it created two agencies, the food administration and the fuel administration.
to head the food administration, the president named herbert hoover who had handled belgian relief at the beginning of the war and had coordinating food and fuel supplies since may 1917 on wilson's personal] as united states food administrator he had the authority to fix food prices, license distributors, coordinate purchases, oversee exports, act against hoarding and profiteering, and encourage farmers to grow more crops. he emphasized the needs of america's allies, both those under arms and the civilian populations, for american produce. he encouraged american households to consume less meat and bread.
wilson issued a proclamation in january 1918 calling upon americans to demonstrate their patriotism by following hoover's guidelines. there were voluntary "meatless tuesdays" and saturdays." tuesdays and saturdays were "porkless." both mondays and wednesday would be "wheatless." compliance was voluntary, though the baking industry, including hotels and restaurants, was limited to the production of war bread and rolls called "victory bread." initially it was made from at least 5% of grains other than wheat and that amount increased to 20% by february 24. his agency asked households to pledge their support and some 13 million of 18 million did so. hoover's call for the conservation of the nation's produce emphasized voluntary]
the effectiveness of these rules is dependent solely upon the goodwill of, and the willingness to sacrifice by, the american people. in the last analysis, the success or failure of any plan such as that here outlined rests with the people. we are dependent upon the cooperation of the trades. we have but one police force the american woman and we depend upon her to organize in with our state and local food administrators to see that these rules are obeyed by that small minority who may fail. part of the rules will be enforced under the lever food act; other parts are voluntary, and will depend for their success upon public sentiment. our experience hitherto has shown a willingness of the vast majority of consumers, and a full of the trades, to undergo the necessary to render such measures effective. the small minority who refuse to cooperate should not be allowed to defeat the nation's necessities.
children were organized into the "united states school garden army." when eating apples, boy scouts were urged to be "patriotic to the core." citizens were encouraged to grow "victory gardens" of vegetables in their backyards and vacant lots. slogans like "by all means, save the beans" became popular. the food administration also fixed the price of a bushel of wheat, the price floor being $2 a bushel and the ceiling at $2.20. one of its posters said: "food will win the war; waste it." by the end of 1918, about of all american production was diverted to the war effort.
january 1918 editorial cartoon by oscar cesare showing the u.s. capitol boarded up and signs reading, "closed; no fuel; all business conducted at white house."
the fuel administration under harry garfield, the president of williams college, directed efforts to save coal. nonessential factories were closed, and the federal government had complete control over all aspects of the coal industry including production, pricing, sale, shipment, and distribution. although the act also included oil and natural gas, it gave the government less authority over those energy sources and no ability to control the price of oil and gas. copying the methods of the food administration, citizens were encouraged to save fuel with sundays," mondays," and nights."
garfield's most dramatic action was an attempt to speed fuel to eastern ports where ships were idled for lack of fuel. on january 17, 1918, he order the closing of all factories east of the mississippi. that accomplished his goal, but exposed the wilson administration to criticism both from its usual opponents and members of the president's own]
on february 4, 1918, garfield announced rules to govern the distribution of fuel oil that defined priority classes starting with railroads, then exports to the american armed forces, exports to america's allies in the war, hospitals, and several other]
controversies [ edit ]
in november 1919, attorney general a. mitchell palmer sought and won an injunction against a strike in the coal industry under the act. he claimed the president authorized the action, following a meeting with the severely ill president wilson in the presence of his] samuel gompers, president of the american federation of labor, protested that president and members of his cabinet had provided assurances when the act was passed that it would not be used to prevent strikes by labor unions. he provided detailed accounts of his negotiations with representatives of the administration, especially secretary of labor william b. wilson. he also argued that the end of hostilities, even in the absence of a signed treaty, should have invalidated any attempts to enforce the act's]
at one point palmer asserted that the entire cabinet had backed his request for an injunction. that infuriated secretary of labor wilson who had opposed palmer's plan and supported gompers' view of the president's promises when the act was under consideration. the rift between the attorney general and the secretary of labor was never healed, which had consequences the next year when palmer's attempts to deport radicals were frustrated by the department of]
palmer used the act again in april 1919 against 38 of the leaders of a walkout by railroad]
the amended act's attempt to limit profits was found unconstitutional in february 1920 by a federal court that found its language "vague, indefinite, and] the supreme court struck down the provisions of the act that allowed the food administrator to set maximum prices and fine those who violated the levels he set in 1921. that same year, the supreme court upheld the act's imposition of rent control in the district of columbia, which had not been repealed along with the bulk of the]
repeal [ edit ]
the work of the fuel administration ended in may 1919. the activities of the food administration declined quickly after the armistice of 11 november 1918 and all but disappeared by july]
the act of august 10, 1917, as amended, was repealed along with a number of other measures in a joint resolution of congress on march 3, 1921 by effectively declaring the wartime emergency still in effect at the time as formally]
court cases brought under the act, both before and after its repeal, continued to work their way through the courts.
notes [ edit ]
references [ edit ]
william c. mullendore, history of the united states food administration (stanford, 1941)
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fud ənd fjuəl kənˈtroʊl ækt ˈəðər ʃɔrt ˈtaɪtəlz ˈlɛvər fud ækt lɔŋ ˈtaɪtəl ən ækt tɪ prəˈvaɪd ˈfərðər fər ðə ˈnæʃənəl sɪˈkjʊrəti ənd dɪˈfɛns baɪ ɪnˈkərəʤɪŋ ðə pərˈdəkʃən, kənˈsərvɪŋ ðə səˈplaɪ, ənd kənˈtroʊlɪŋ ðə ˌdɪstrəˈbjuʃən əv fud ˈprɑdəkts ənd fjuəl. ˈnɪkˌneɪmz ˈlɛvər ækt ɛˈnæktəd baɪ ðə juˈnaɪtɪd steɪts ˈkɑŋgrəs ˈifɛktɪv ˈɔgəst 10 1917 saɪˈteɪʃənz ˈpəblɪk lɔ ˈstæʧuts æt lɑrʤ 40 stæt. 276 ˈlɛʤəsˌleɪtɪv ˈhɪstəri ˌɪntrəˈdust ɪn ðə haʊs ɛz h.r*. 4961 baɪ ˈæzˌbɛri ˈlɛvər (d-sc*) ɔn ʤun 23 1917 h.r*. 4961 ˈæzˌbɛri ˈlɛvər (d-sc*) ʤun 23 1917 pæst ðə haʊs ɔn ˌʤuˈlaɪ 21 1917 ˌʤuˈlaɪ 21 1917 pæst ðə ˈsɛnɪt ɔn ˌʤuˈlaɪ 23 1917 ˌʤuˈlaɪ 23 1917 ˌriˈpɔrtəd baɪ ðə ʤɔɪnt ˈkɑnfərəns kəˈmɪti ɔn ˈɔgəst 2 1917 əˈgrid tɪ baɪ ðə haʊs ɔn ˈɔgəst 3 1917 ənd baɪ ðə ˈsɛnɪt ɔn ˈɔgəst 8 1917 ˈɔgəst 2 1917 ˈɔgəst 3 1917 ˈɔgəst 8 1917 saɪnd ˈɪntu lɔ baɪ ˈprɛzɪdənt ˈwʊˌdroʊ ˈwɪlsən ɔn ˈɔgəst 10 1917 ðə fud ənd fjuəl kənˈtroʊl ækt, pub.l*. 40 stæt. 276 ɛˈnæktəd ˈɔgəst 10 1917 ˈɔlsoʊ kɔld ðə ˈlɛvər ækt ər ðə ˈlɛvər fud ækt wɑz ə wərld wɔr aɪ ˈɪrə ˈjuˈɛs lɔ ðət əˈməŋ ˈəðər θɪŋz kriˈeɪtɪd ðə juˈnaɪtɪd steɪts fud ædˌmɪnɪˈstreɪʃən ənd ðə ˈfɛdərəl fjuəl ædˌmɪnɪˈstreɪʃən. ˈlɛʤəsˌleɪtɪv ˈhɪstəri ˈɛdət ðə ækt wɑz ə ˈvɛri ˌkɑntrəˈvərʃəl pis əv ˌlɛʤəsˈleɪʃən. ðə ækt wɑz ˈspɑnsərd baɪ rɛpriˈzɛtətɪv. ˈæzˌbɛri ɛf. ˈlɛvər, ə ˈdɛməˌkræt frəm saʊθ ˌkɛrəˈlaɪnə. ˈprɛzɪdənt ˈwɪlsən ərʤd ɪts ˈpæsɪʤ ɛz ə ˈwɔrˌtaɪm ˈimərʤənsi ˈmɛʒər. səm əˈpoʊzd ðə əˈθɔrəti ðət wʊd rɛst ɪn ðə ˈpərsən əv ðə "fud ədˈmɪnɪˌstreɪtər." ˈəðərz əˈpoʊzd ˈlæŋgwɪʤ ðət ɪmˈpaʊərd ðə ˈprɛzɪdənt tɪ ˈlɪmət ər proʊˈhɪbət ðə juz əv ˌægrɪˈkəlʧərəl ˈprɑdəkts ɪn ðə pərˈdəkʃən əv ˌælkəˈhɑlɪk ˈbɛvrɪʤɪz, ˈðɛrˈbaɪ ɪˈstæblɪʃɪŋ ə fɔrm əv ˈnæʃənəl ˌproʊəˈbɪʃən. ˈsɛnətərz prəˈpoʊzd ɔlˈtərnətɪvz, ˌɪnˈkludɪŋ ə ˌproʊəˈbɪʃən ɔn ðə pərˈdəkʃən əv ˈwɪski əˈloʊn fər ðə ˈdʊˈreɪʃən əv ðə wɔr. rɪˈpəblɪkən ˈsɛnətər ˈhɛnri ˈkæbət lɑʤ əˈbʤɛktəd tɪ ðə ˈlæŋgwɪʤ ðət ˈɔθərˌaɪzd ðə ˈprɛzɪdənt tɪ "juz ˈɛni ˈeɪʤənsi ər ˈeɪʤənsiz, tɪ əkˈsɛpt ðə ˈsərvɪsɪz əv ˈɛni ˈpərsən wɪˈθaʊt ˌkɑmpənˈseɪʃən, tɪ kˈwɑpərˌeɪt wɪθ ˈɛni ˈpərsən ər ˈpərsənz ɪn riˈleɪʃən tɪ ðə ˈprɑsɛsəz, ˈmɛθədz, ækˈtɪvɪtiz əv ənd fər ðə pərˈdəkʃən ˌmænjəˈfækʧər, proʊˈkjʊrmənt, ˈstɔrɪʤ, ˌdɪstrəˈbjuʃən, seɪl, ˈmɑrkətɪŋ, ˈplɛʤɪŋ, fɪˈnænsɪŋ, ənd kənˈsəmʃən əv wɪʧ ər dɪˈklɛrd tɪ bi əˈfɛktɪd wɪθ ə ˈpəblɪk ˈwɪlsən ˈɔlsoʊ hæd tɪ faɪt ɔf ðə prəˈpoʊzəl əv ˌmæsəˈʧusəts rɪˈpəblɪkən ˈsɛnətər ʤɑn ˈdəbəlju. wiks tɪ ɪˈstæblɪʃ ˌɪnˈstɛd ə ʤɔɪnt kəˈmɪti ɔn ðə ˈkɑndəkt əv ðə ɪts əˈfɪʃəl neɪm wɑz "ən ækt tɪ prəˈvaɪd ˈfərðər fər ðə ˈnæʃənəl sɪˈkjʊrəti ənd dɪˈfɛns baɪ ɪnˈkərəʤɪŋ ðə pərˈdəkʃən, kənˈsərvɪŋ ðə səˈplaɪ, ənd kənˈtroʊlɪŋ ðə ˌdɪstrəˈbjuʃən əv fud ˈprɑdəkts ənd fjuəl" ənd bɪˈkeɪm lɔ ɔn ˈɔgəst 10 1917 ɪt bænd ðə pərˈdəkʃən əv "dɪˈstɪld ˈspɪrɪts" frəm ˈɛni ˈproʊdus ðət wɑz juzd fər ɪn 1918 feɪst wɪθ kəmˈpleɪnts frəm ˈfɑrmərz ðət ðə fud ædˌmɪnɪˈstreɪʃən kriˈeɪtɪd ˈəndər ðə ækt hæd sɛt ðə ˈmɪnəməm praɪs əv wit tu loʊ, ˈkɑŋgrəs pæst ən əˈmɛndmənt ˌɪnˈkrisɪŋ ðət ˈlɛvəl frəm tɪ pər ˈbʊʃəl. ðə ˈprɛzɪdənts ˈviˌtoʊ aʊt əv kənˈsərnz əˈbaʊt ˌɪnˈfleɪʃən ənd ðə ˌɪmˈpækt ɔn ðə ˈbrɪtɪʃ, ɪz ˈkrɛdɪtɪd wɪθ prəˈdusɪŋ dɪˈzæstrəs rɪˈzəlts fər ˈdɛməˌkræts ɪn ðə 1918 ɪˈlɛkʃənz ɪn ðə steɪts əv ðə greɪn ɔn ˈɔgəst 18 1919 ˈæftər ðə ɛnd əv hɑˈstɪlətiz, ˈprɛzɪdənt ˈwɪlsən æst ˈkɑŋgrəs tɪ ɪkˈstɛnd ðə laɪf əv ðə ækt tɪ əˈlaʊ hɪz ædˌmɪnɪˈstreɪʃən tɪ ˈæˌdrɛs ˈwaɪdˈsprɛd ənd drəˈmætɪk ˌɪnˈkrisɪz ɪn ðə ˈpraɪsɪz əv kəˈmɑdətiz. hi rɪkˈwɛstɪd əˈmɛndmənts tɪ ˌɪnˈklud ˈkloʊðɪŋ ənd tɪ sɛt ˌɪnˈkrist ˈpɛnəltiz fər ˌprɑfəˈtɪrɪŋ. əˈpoʊnənts dɪˈleɪd ˈpæsɪʤ fər mənθs waɪl bɪˈreɪtɪŋ ðə ædˌmɪnɪˈstreɪʃən fər ɪts ˈfeɪljər tɪ kənˈtroʊl ˈpraɪsɪz ənd ðɛn ˈgrænɪd ðə əˈθɔrəti ðə ˈprɛzɪdənt rɪkˈwɛstɪd ɪn ɑkˈtoʊbər. ɪn ðə haʊs əv ˌrɛprɪˈzɛnətɪvz, ðə ˈprɛzɪdənts ʧif ˈkrɪtɪk kəmˈpleɪnd əv ðə ædˌmɪnɪˈstreɪʃənz praɪˈɔrətiz: "wɛr ðɛr ɪz wən mæn ɪn ə ˈθaʊzənd hu kɛrz ə ræp əˈbaʊt ðə lig əv ˈneɪʃənz, ðɛr ər naɪn ˈhənərd ənd hu ər ˈvaɪtəli ənd dɪˈstrɛsɪŋli kənˈsərnd əˈbaʊt ðə haɪ kɔst əv ˈlɪvɪŋ." ðə dɪˈpɑrtmənt əv ˈʤəstɪs lɔnʧt 179 ˌprɑsəˈkjuʃənz ˈəndər ðə əˈmɛndɪd ækt ɪn ðə fərst tu mənθs ˈfɑloʊɪŋ ɪts ˌɪmpləmɛnˈteɪʃən ˈɛdət "fud wɪl wɪn ðə wɔr" juˈnaɪtɪd steɪts fud ædˌmɪnɪˈstreɪʃən ˈpoʊstər ðə ækt, ən ˈimərʤənsi ˈwɔrˌtaɪm ˈmɛʒər, wɑz dɪˈzaɪnd tɪ ɪkˈspaɪr æt ðə ɛnd əv wərld wɔr aɪ ər ˈʃɔrtli ðɛˈræftər. ɪt kriˈeɪtɪd tu ˈeɪʤənsiz, ðə fud ædˌmɪnɪˈstreɪʃən ənd ðə fjuəl ædˌmɪnɪˈstreɪʃən. tɪ hɛd ðə fud ædˌmɪnɪˈstreɪʃən, ðə ˈprɛzɪdənt neɪmd ˈhərbərt ˈhuvər hu hæd ˈhændəld ˈbɛlʤən rɪˈlif æt ðə bɪˈgɪnɪŋ əv ðə wɔr ənd hæd koʊˈɔrdəˌneɪtɪŋ fud ənd fjuəl səˈplaɪz sɪns meɪ 1917 ɔn ˈwɪlsənz ˈpərsɪnəl ɛz juˈnaɪtɪd steɪts fud ədˈmɪnɪˌstreɪtər hi hæd ðə əˈθɔrəti tɪ fɪks fud ˈpraɪsɪz, ˈlaɪsəns dɪˈstrɪbjətərz, koʊˈɔrdəˌneɪt ˈpərʧəsɪz, ˈoʊvərˌsi ˈɛkspɔrts, ækt əˈgɛnst ˈhɔrdɪŋ ənd ˌprɑfəˈtɪrɪŋ, ənd ɪnˈkərəʤ ˈfɑrmərz tɪ groʊ mɔr krɑps. hi ˈɛmfəˌsaɪzd ðə nidz əv əˈmɛrɪkəz ˈælaɪz, boʊθ ðoʊz ˈəndər ɑrmz ənd ðə səˈvɪljən ˌpɑpjəˈleɪʃənz, fər əˈmɛrɪkən ˈproʊdus. hi ɪnˈkərəʤd əˈmɛrɪkən ˈhaʊsˌhoʊldz tɪ kənˈsum lɛs mit ənd brɛd. ˈwɪlsən ˈɪʃud ə ˌprɑkləˈmeɪʃən ɪn ˈʤænjuˌɛri 1918 ˈkɔlɪŋ əˈpɑn əˈmɛrɪkənz tɪ ˈdɛmənˌstreɪt ðɛr ˈpeɪtriəˌtɪzəm baɪ ˈfɑloʊɪŋ ˈhuvərz ˈgaɪˌdlaɪnz. ðɛr wər ˈvɑləntɛri "ˈmitləs ˈtuzˌdeɪz" ənd ˈsætərdiz." ˈtuzˌdeɪz ənd ˈsætərdiz wər "porkless*." boʊθ ˈmənˌdeɪz ənd ˈwɛnzˌdeɪ wʊd bi "wheatless*." kəmˈplaɪəns wɑz ˈvɑləntɛri, ðoʊ ðə ˈbeɪkɪŋ ˈɪndəstri, ˌɪnˈkludɪŋ hoʊˈtɛlz ənd ˈrɛˌstrɑnts, wɑz ˈlɪmɪtɪd tɪ ðə pərˈdəkʃən əv wɔr brɛd ənd roʊlz kɔld "ˈvɪktəri brɛd." ˌɪˈnɪʃəli ɪt wɑz meɪd frəm æt list 5 əv greɪnz ˈəðər ðən wit ənd ðət əˈmaʊnt ˌɪnˈkrist tɪ 20 baɪ ˈfɛbruˌɛri 24 hɪz ˈeɪʤənsi æst ˈhaʊsˌhoʊldz tɪ plɛʤ ðɛr səˈpɔrt ənd səm 13 ˈmɪljən əv 18 ˈmɪljən dɪd soʊ. ˈhuvərz kɔl fər ðə ˌkɑnsərˈveɪʃən əv ðə ˈneɪʃənz ˈproʊdus ˈɛmfəˌsaɪzd ˈvɑləntɛri ðə ˈifɛktɪvnəs əv ðiz rulz ɪz dɪˈpɛndənt ˈsoʊəli əˈpɑn ðə ˈgʊdˈwɪl əv, ənd ðə ˈwɪlɪŋnəs tɪ ˈsækrəˌfaɪs baɪ, ðə əˈmɛrɪkən ˈpipəl. ɪn ðə læst æˈnælɪsɪs, ðə səkˈsɛs ər ˈfeɪljər əv ˈɛni plæn səʧ ɛz ðət hir ˈaʊˌtlaɪnd rɛsts wɪθ ðə ˈpipəl. wi ər dɪˈpɛndənt əˈpɑn ðə kˌwɔpərˈeɪʃən əv ðə treɪdz. wi hæv bət wən pəˈlis fɔrs ðə əˈmɛrɪkən ˈwʊmən ənd wi dɪˈpɛnd əˈpɑn hər tɪ ˈɔrgəˌnaɪz ɪn wɪθ ɑr steɪt ənd ˈloʊkəl fud ædˈmɪnɪˌstreɪtərz tɪ si ðət ðiz rulz ər oʊˈbeɪd baɪ ðət smɔl məˈnɔrəti hu meɪ feɪl. pɑrt əv ðə rulz wɪl bi ɛnˈfɔrst ˈəndər ðə ˈlɛvər fud ækt; ˈəðər pɑrts ər ˈvɑləntɛri, ənd wɪl dɪˈpɛnd fər ðɛr səkˈsɛs əˈpɑn ˈpəblɪk ˈsɛnəmənt. ɑr ɪkˈspɪriəns ˈhɪˌðərˈtu həz ʃoʊn ə ˈwɪlɪŋnəs əv ðə væst məˈʤɔrəti əv kənˈsumərz, ənd ə fʊl əv ðə treɪdz, tɪ ˌəndərˈgoʊ ðə ˈnɛsəˌsɛri tɪ ˈrɛndər səʧ ˈmɛʒərz ˈifɛktɪv. ðə smɔl məˈnɔrəti hu ˈrɛfˌjuz tɪ kˈwɑpərˌeɪt ʃʊd nɑt bi əˈlaʊd tɪ dɪˈfit ðə ˈneɪʃənz nəˈsɛsɪtiz. ˈʧɪldrən wər ˈɔrgəˌnaɪzd ˈɪntu ðə "juˈnaɪtɪd steɪts skul ˈgɑrdən ˈɑrmi." wɪn ˈitɪŋ ˈæpəlz, bɔɪ skaʊts wər ərʤd tɪ bi "ˌpeɪtriˈɑtɪk tɪ ðə kɔr." ˈsɪtɪzənz wər ɪnˈkərəʤd tɪ groʊ "ˈvɪktəri ˈgɑrdənz" əv ˈvɛʤtəbəlz ɪn ðɛr ˈbæˌkjɑrdz ənd ˈveɪkənt lɑts. sˈloʊgənz laɪk "baɪ ɔl minz, seɪv ðə binz" bɪˈkeɪm ˈpɑpjələr. ðə fud ædˌmɪnɪˈstreɪʃən ˈɔlsoʊ fɪkst ðə praɪs əv ə ˈbʊʃəl əv wit, ðə praɪs flɔr biɪŋ 2 ə ˈbʊʃəl ənd ðə ˈsilɪŋ æt wən əv ɪts ˈpoʊstərz sɛd: "fud wɪl wɪn ðə wɔr; weɪst ɪt." baɪ ðə ɛnd əv 1918 əˈbaʊt əv ɔl əˈmɛrɪkən pərˈdəkʃən wɑz dɪˈvərtɪd tɪ ðə wɔr ˈɛfərt. ˈʤænjuˌɛri 1918 ˌɛdəˈtɔriəl kɑrˈtun baɪ ˈɔskər ʧeɪˈzɑreɪ ʃoʊɪŋ ðə juz. ˈkæpɪtəl ˈbɔrdɪd əp ənd saɪnz ˈrɛdɪŋ, "kloʊzd; noʊ fjuəl; ɔl ˈbɪznɪs kənˈdəktəd æt waɪt haʊs." ðə fjuəl ædˌmɪnɪˈstreɪʃən ˈəndər ˈhɛri ˈgɑrˌfild, ðə ˈprɛzɪdənt əv ˈwɪljəmz ˈkɑlɪʤ, dɪˈrɛktɪd ˈɛfərts tɪ seɪv koʊl. ˌnɑnɪˈsɛnʃəl ˈfæktəriz wər kloʊzd, ənd ðə ˈfɛdərəl ˈgəvərnmənt hæd kəmˈplit kənˈtroʊl ˈoʊvər ɔl ˈæˌspɛkts əv ðə koʊl ˈɪndəstri ˌɪnˈkludɪŋ pərˈdəkʃən, ˈpraɪsɪŋ, seɪl, ˈʃɪpmənt, ənd ˌdɪstrəˈbjuʃən. ˌɔlˈðoʊ ðə ækt ˈɔlsoʊ ˌɪnˈkludɪd ɔɪl ənd ˈnæʧərəl gæs, ɪt geɪv ðə ˈgəvərnmənt lɛs əˈθɔrəti ˈoʊvər ðoʊz ˈɛnərʤi ˈsɔrsəz ənd noʊ əˈbɪləˌti tɪ kənˈtroʊl ðə praɪs əv ɔɪl ənd gæs. ˈkɑpiɪŋ ðə ˈmɛθədz əv ðə fud ædˌmɪnɪˈstreɪʃən, ˈsɪtɪzənz wər ɪnˈkərəʤd tɪ seɪv fjuəl wɪθ ˈsənˌdiz," ˈmənˌdeɪz," ənd naɪts." moʊst drəˈmætɪk ˈækʃən wɑz ən əˈtɛmpt tɪ spid fjuəl tɪ ˈistərn pɔrts wɛr ʃɪps wər ˈaɪdəld fər læk əv fjuəl. ɔn ˈʤænjuˌɛri 17 1918 hi ˈɔrdər ðə ˈkloʊzɪŋ əv ɔl ˈfæktəriz ist əv ðə ˌmɪsɪˈsɪpi. ðət əˈkɑmplɪʃt hɪz goʊl, bət ɪkˈspoʊzd ðə ˈwɪlsən ædˌmɪnɪˈstreɪʃən tɪ ˈkrɪtɪˌsɪzəm boʊθ frəm ɪts ˈjuʒəwəl əˈpoʊnənts ənd ˈmɛmbərz əv ðə ˈprɛzɪdənts oʊn ɔn ˈfɛbruˌɛri 4 1918 ˈgɑrˌfild əˈnaʊnst rulz tɪ ˈgəvərn ðə ˌdɪstrəˈbjuʃən əv fjuəl ɔɪl ðət dɪˈfaɪnd praɪˈɔrəti ˈklæsɪz ˈstɑrtɪŋ wɪθ ˈreɪˌlroʊdz, ðɛn ˈɛkspɔrts tɪ ðə əˈmɛrɪkən ɑrmd ˈfɔrsɪz, ˈɛkspɔrts tɪ əˈmɛrɪkəz ˈælaɪz ɪn ðə wɔr, ˈhɑˌspɪtəlz, ənd ˈsɛvərəl ˈəðər ˈkɑntrəˌvərsiz ˈɛdət ɪn noʊˈvɛmbər 1919 əˈtərni ˈʤɛnərəl ə. ˈmɪʧəl ˈpɑmər sɔt ənd wən ən ˌɪnˈʤəŋʃən əˈgɛnst ə straɪk ɪn ðə koʊl ˈɪndəstri ˈəndər ðə ækt. hi kleɪmd ðə ˈprɛzɪdənt ˈɔθərˌaɪzd ðə ˈækʃən, ˈfɑloʊɪŋ ə ˈmitɪŋ wɪθ ðə səˈvɪrli ɪl ˈprɛzɪdənt ˈwɪlsən ɪn ðə ˈprɛzəns əv hɪz ˈsæmjul gompers*, ˈprɛzɪdənt əv ðə əˈmɛrɪkən ˌfɛdərˈeɪʃən əv ˈleɪbər, ˈproʊˌtɛstəd ðət ˈprɛzɪdənt ənd ˈmɛmbərz əv hɪz ˈkæbənət hæd prəˈvaɪdɪd əˈʃʊrəntsɪz wɪn ðə ækt wɑz pæst ðət ɪt wʊd nɑt bi juzd tɪ prɪˈvɛnt straɪks baɪ ˈleɪbər ˈjunjənz. hi prəˈvaɪdɪd dɪˈteɪld əˈkaʊnts əv hɪz nɪˌgoʊʃiˈeɪʃənz wɪθ ˌrɛprɪˈzɛnətɪvz əv ðə ædˌmɪnɪˈstreɪʃən, əˈspɛʃəli ˈsɛkrəˌtɛri əv ˈleɪbər ˈwɪljəm bi. ˈwɪlsən. hi ˈɔlsoʊ ˈɑrgjud ðət ðə ɛnd əv hɑˈstɪlətiz, ˈivɪn ɪn ðə ˈæbsəns əv ə saɪnd ˈtriti, ʃʊd hæv ˌɪnˈvælɪˌdeɪtɪd ˈɛni əˈtɛmpts tɪ ɛnˈfɔrs ðə ækts æt wən pɔɪnt ˈpɑmər əˈsərtəd ðət ðə ɪnˈtaɪər ˈkæbənət hæd bækt hɪz rɪkˈwɛst fər ən ˌɪnˈʤəŋʃən. ðət ˌɪnfˈjʊriˌeɪtɪd ˈsɛkrəˌtɛri əv ˈleɪbər ˈwɪlsən hu hæd əˈpoʊzd ˈpɑmərz plæn ənd səˈpɔrtɪd gompers*' vju əv ðə ˈprɛzɪdənts ˈprɑməsəz wɪn ðə ækt wɑz ˈəndər kənˌsɪdərˈeɪʃən. ðə rɪft bɪtˈwin ðə əˈtərni ˈʤɛnərəl ənd ðə ˈsɛkrəˌtɛri əv ˈleɪbər wɑz ˈnɛvər hild, wɪʧ hæd ˈkɑnsəkˌwɛnsəz ðə nɛkst jɪr wɪn ˈpɑmərz əˈtɛmpts tɪ dɪˈpɔrt ˈrædɪkəlz wər ˈfrəˌstreɪtəd baɪ ðə dɪˈpɑrtmənt əv ˈpɑmər juzd ðə ækt əˈgɛn ɪn ˈeɪprəl 1919 əˈgɛnst 38 əv ðə ˈlidərz əv ə ˈwɔˌkaʊt baɪ ˈreɪˌlroʊd ðə əˈmɛndɪd ækts əˈtɛmpt tɪ ˈlɪmət ˈprɑfɪts wɑz faʊnd ˌənˌkɑnstəˈtuʃənəl ɪn ˈfɛbruˌɛri 1920 baɪ ə ˈfɛdərəl kɔrt ðət faʊnd ɪts ˈlæŋgwɪʤ "veɪg, ˌɪnˈdɛfənət, ənd ðə səˈprim kɔrt strək daʊn ðə prəˈvɪʒənz əv ðə ækt ðət əˈlaʊd ðə fud ədˈmɪnɪˌstreɪtər tɪ sɛt ˈmæksəməm ˈpraɪsɪz ənd faɪn ðoʊz hu ˈvaɪəleɪtɪd ðə ˈlɛvəlz hi sɛt ɪn 1921 ðət seɪm jɪr, ðə səˈprim kɔrt əˈphɛld ðə ækts ˌɪmpəˈzɪʃən əv rɛnt kənˈtroʊl ɪn ðə ˈdɪstrɪkt əv kəˈləmbiə, wɪʧ hæd nɑt bɪn rɪˈpild əˈlɔŋ wɪθ ðə bəlk əv ðə rɪˈpil ˈɛdət ðə wərk əv ðə fjuəl ædˌmɪnɪˈstreɪʃən ˈɛndɪd ɪn meɪ 1919 ðə ækˈtɪvɪtiz əv ðə fud ædˌmɪnɪˈstreɪʃən dɪˈklaɪnd kˈwɪkli ˈæftər ðə ˈɑrməstəs əv 11 noʊˈvɛmbər 1918 ənd ɔl bət ˌdɪsəˈpɪrd baɪ ˌʤuˈlaɪ ðə ækt əv ˈɔgəst 10 1917 ɛz əˈmɛndɪd, wɑz rɪˈpild əˈlɔŋ wɪθ ə ˈnəmbər əv ˈəðər ˈmɛʒərz ɪn ə ʤɔɪnt ˌrɛzəˈluʃən əv ˈkɑŋgrəs ɔn mɑrʧ 3 1921 baɪ ˈifɛktɪvli dɪˈklɛrɪŋ ðə ˈwɔrˌtaɪm ˈimərʤənsi stɪl ɪn ˈifɛkt æt ðə taɪm ɛz ˈfɔrməli kɔrt ˈkeɪsɪz brɔt ˈəndər ðə ækt, boʊθ ˌbiˈfɔr ənd ˈæftər ɪts rɪˈpil, kənˈtɪnjud tɪ wərk ðɛr weɪ θru ðə kɔrts. noʊts ˈɛdət ˈrɛfərənsɪz ˈɛdət ˈwɪljəm si. muˈlɛndɔr, ˈhɪstəri əv ðə juˈnaɪtɪd steɪts fud ædˌmɪnɪˈstreɪʃən (ˈstænfərd, 1941
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while there are some couples who can pull off weddings that are undeniably enjoyable friends! open bars! dancing! it's no secret that, more often than not, being a wedding guest is a total pain in the ass. the amount of money that you have to sink into someone else's nuptials, what with the cost of travel and a wedding gift, can be ridiculously huge and now with the most recent trend in wedding photography, the of newlyweds are assaulting our eyes as well our wallets. ladies and gentlemen, allow me to present the horrifying world of photography.
turns out that couples (well, the worst couples) have begun to hire photographers to document the times that occur on the morning following the wedding. but why? so they can prove their love on facebook, of course. remember, it's not important that you experience true happiness and the intimacy of a moment so long as it looks like you're experiencing true happiness and the intimacy of the moment to other people. your love is meaningless until it has at least 15 facebook likes. and what about your memories of your earliest moments as a spouse? fuhgeddaboudit. you have dumb posed photographs from a photo shoot instead photographs that will allow you to celebrate a fake memory and experience a false sense of nostalgia for years and years to come.
you know the old adage: "a picture's worth a thousand make a fucking sex tape like normal people."
'morning-after' photos capture sexier side of wedded bliss [gma]
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waɪl ðɛr ər səm ˈkəpəlz hu kən pʊl ɔf ˈwɛdɪŋz ðət ər ˌəndɪˈnaɪəbli ˌɛnˈʤɔɪəbəl frɛndz! ˈoʊpən bɑrz! ˈdænsɪŋ! ɪts noʊ ˈsikrɪt ðət, mɔr ˈɔfən ðən nɑt, biɪŋ ə ˈwɛdɪŋ gɛst ɪz ə ˈtoʊtəl peɪn ɪn ðə æs. ðə əˈmaʊnt əv ˈməni ðət ju hæv tɪ sɪŋk ˈɪntu ˈsəmˌwən ˈɛlsɪz ˈnəpʧəlz, wət wɪθ ðə kɔst əv ˈtrævəl ənd ə ˈwɛdɪŋ gɪft, kən bi rəˈdɪkjələsli juʤ ənd naʊ wɪθ ðə moʊst ˈrisənt trɛnd ɪn ˈwɛdɪŋ fəˈtɑgrəfi, ðə əv ˈnuliˌwɛdz ər əˈsɔltɪŋ ɑr aɪz ɛz wɛl ɑr ˈwɔləts. ˈleɪdiz ənd ˈʤɛnəlmɪn, əˈlaʊ mi tɪ ˈprɛzənt ðə ˈhɔrəˌfaɪɪŋ wərld əv fəˈtɑgrəfi. tərnz aʊt ðət ˈkəpəlz (wɛl, ðə wərst ˈkəpəlz) hæv ˈbeɪgən tɪ haɪər fəˈtɑgrəfərz tɪ ˈdɑkjəmɛnt ðə taɪmz ðət əˈkər ɔn ðə ˈmɔrnɪŋ ˈfɑloʊɪŋ ðə ˈwɛdɪŋ. bət waɪ? soʊ ðeɪ kən pruv ðɛr ləv ɔn ˈfeɪsˌbʊk, əv kɔrs. rɪˈmɛmbər, ɪts nɑt ˌɪmˈpɔrtənt ðət ju ɪkˈspɪriəns tru ˈhæpinəs ənd ðə ˈɪntəməsi əv ə ˈmoʊmənt soʊ lɔŋ ɛz ɪt lʊks laɪk jʊr ɪkˈspɪriənsɪŋ tru ˈhæpinəs ənd ðə ˈɪntəməsi əv ðə ˈmoʊmənt tɪ ˈəðər ˈpipəl. jʊr ləv ɪz ˈminɪŋləs ənˈtɪl ɪt həz æt list 15 ˈfeɪsˌbʊk laɪks. ənd wət əˈbaʊt jʊr ˈmɛməriz əv jʊr ˈərliəst ˈmoʊmənts ɛz ə spaʊs? fuhgeddaboudit*. ju hæv dəm poʊzd ˈfoʊtəˌgræfs frəm ə ˈfoʊˌtoʊ ʃut ˌɪnˈstɛd ˈfoʊtəˌgræfs ðət wɪl əˈlaʊ ju tɪ ˈsɛləˌbreɪt ə feɪk ˈmɛməri ənd ɪkˈspɪriəns ə fɔls sɛns əv nɔˈstælʤə fər jɪrz ənd jɪrz tɪ kəm. ju noʊ ðə oʊld ˈædəʤ: "ə ˈpɪkʧərz wərθ ə ˈθaʊzənd meɪk ə ˈfəkɪŋ sɛks teɪp laɪk ˈnɔrməl ˈpipəl." 'morning-after*' ˈfoʊˌtoʊz ˈkæpʧər ˈsɛksiər saɪd əv ˈwɛdɪd blɪs [gma*]
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welcome to the homepage! provides an on-screen display (osd) for windows systems. it supports volume and eject as well as a range of controls, tray notifications, and other cool features. is open source software (available on github) and is under active development, so feel free to participate in filing bugs, adding new features, or contributing skins!
4 july 2016 : i now have hardware that supports hardware brightness control. this should speed up the development of the brightness osd!
: i now have hardware that supports hardware brightness control. this should speed up the development of the brightness osd! 25 june 2016 : updated documentation
: updated documentation 7 june 2016 : (beta 10) released
: (beta 10) released 18 september 2015: (beta 9) released
run into trouble? submit bug reports on github.
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ˈwɛlkəm tɪ ðə homepage*! prəˈvaɪdz ən ˈɑnˌskrin dɪˈspleɪ (osd*) fər ˈwɪndoʊz ˈsɪstəmz. ɪt səˈpɔrts ˈvɑljum ənd ɪˈʤɛkt ɛz wɛl ɛz ə reɪnʤ əv kənˈtroʊlz, treɪ ˌnoʊtəfəˈkeɪʃənz, ənd ˈəðər kul ˈfiʧərz. ɪz ˈoʊpən sɔrs ˈsɔfˌwɛr (əˈveɪləbəl ɔn github*) ənd ɪz ˈəndər ˈæktɪv dɪˈvɛləpmənt, soʊ fil fri tɪ pɑrˈtɪsəˌpeɪt ɪn ˈfaɪlɪŋ bəgz, ˈædɪŋ nu ˈfiʧərz, ər kənˈtrɪbjutɪŋ skɪnz! 4 ˌʤuˈlaɪ 2016 aɪ naʊ hæv ˈhɑrdˌwɛr ðət səˈpɔrts ˈhɑrdˌwɛr ˈbraɪtnəs kənˈtroʊl. ðɪs ʃʊd spid əp ðə dɪˈvɛləpmənt əv ðə ˈbraɪtnəs osd*! aɪ naʊ hæv ˈhɑrdˌwɛr ðət səˈpɔrts ˈhɑrdˌwɛr ˈbraɪtnəs kənˈtroʊl. ðɪs ʃʊd spid əp ðə dɪˈvɛləpmənt əv ðə ˈbraɪtnəs osd*! 25 ʤun 2016 ˈəpˌdeɪtɪd ˌdɑkjəmɛnˈteɪʃən ˈəpˌdeɪtɪd ˌdɑkjəmɛnˈteɪʃən 7 ʤun 2016 (ˈbeɪtə 10 riˈlist (ˈbeɪtə 10 riˈlist 18 sɛpˈtɛmbər 2015 (ˈbeɪtə 9 riˈlist rən ˈɪntu ˈtrəbəl? səbˈmɪt bəg rɪˈpɔrts ɔn github*.
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in spain, the government does not allow the independence of spanish regions if they do not follow the spanish constitution. in the catalan region of spanish, the autonomous region of catalonia attempted to bypass the constitution by instituting a referendum that would make it so the majority could force the independence of the region without needing the approval of all parties involved.
in essence, voting could simply continue as long as the majority was present. the referendum law was rushed through its own parliament, despite warnings from deputy prime minister in early september that they would strike it down. the referendum took place yesterday, on october 1st.
before sunday, in the week leading up to the referendum, an internet war started with police involvement heating up the controversy and political climate. hundreds of websites were taken down and suspended by spanish authorities in an attempt to block information about the referendum.
on september 29th, julian assange, a publisher over at wikileaks, summed up the events on twitter. “the first internet war has begun, in catalonia, as the people and government use it to organize an independence referendum on sunday and spanish intelligence attacks, freezing telecommunications links, occupying telecoms buildings, censors of sites, protocols etc.”
the official referendum was only one website that was blocked. the offices of the .cat domain registry was raided causing over active domains on the internet to be taken down. shortly after, google blocked a huge app that allows users to check on the results of polling stations and the following day, police entered the catalan telecommunications and it center in an attempt to censor more content.
however, catalan authorities deterred by the invasive internet attacks. they advised users to use proxies and to get around restrictions. even peter sunde, the founder of the pirate bay, offered assistance to the catalan people, explaining on twitter that “if running a catalan site being shut down by spanish authorities, contact me for anonymous hosting and domains. got you covered.” additionally, users in spain can still use to access websites that are blocked due to connections with the referendum.
now, on october 2nd, it seems that the people of catalonia have almost unanimously voted for independence. poll results are coming in around 90% in favor of independence. however, due to violent police intervention who were shooting with rubber bullets, turnout was only estimated at 43% of the million eligible voters.
over 400 polling stations were closed by a result of the police crackdown, and catalan president carles called the police crackdown the worst crisis since the military dictatorship of francisco franco.
puigdemont is hesitant to declare the independence of catalonia from spain, despite the 90% results since he fears it could make things worse, hoping the european union can provide aid. “this moment needs mediation,” he said. “we only received violence and repression as an answer.”
the mass amounts of violence and chaos is drawing the attention of the united nations with the the un high commissioner for human rights, al hussein, calling for “independent and impartial investigations into all acts of violence”.
“police responses must at all times be proportionate and necessary,” said al hussein . “i firmly believe that the current situation should be resolved through political dialogue, with full respect for democratic freedoms.”
however, the situation is still not resolved, with impending strikes, mass demonstrations and more planned by trade unions on tuesday and likely the rest of the first week of october.
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ɪn speɪn, ðə ˈgəvərnmənt dɪz nɑt əˈlaʊ ðə ˌɪndɪˈpɛndəns əv ˈspænɪʃ ˈriʤənz ɪf ðeɪ du nɑt ˈfɑloʊ ðə ˈspænɪʃ ˌkɑnstəˈtuʃən. ɪn ðə ˈkætɑˌlɑn ˈriʤən əv ˈspænɪʃ, ðə ɔˈtɑnəməs ˈriʤən əv ˌkætəˈloʊnjə əˈtɛmptəd tɪ ˈbaɪˌpæs ðə ˌkɑnstəˈtuʃən baɪ ˈɪnstɪˌtutɪŋ ə ˌrɛfərˈɛndəm ðət wʊd meɪk ɪt soʊ ðə məˈʤɔrəti kʊd fɔrs ðə ˌɪndɪˈpɛndəns əv ðə ˈriʤən wɪˈθaʊt ˈnidɪŋ ðə əˈpruvəl əv ɔl ˈpɑrtiz ˌɪnˈvɑlvd. ɪn ˈɛsəns, ˈvoʊtɪŋ kʊd ˈsɪmpli kənˈtɪnju ɛz lɔŋ ɛz ðə məˈʤɔrəti wɑz ˈprɛzənt. ðə ˌrɛfərˈɛndəm lɔ wɑz rəʃt θru ɪts oʊn ˈpɑrləmɛnt, dɪˈspaɪt ˈwɔrnɪŋz frəm ˈdɛpjəti praɪm ˈmɪnɪstər ɪn ˈərli sɛpˈtɛmbər ðət ðeɪ wʊd straɪk ɪt daʊn. ðə ˌrɛfərˈɛndəm tʊk pleɪs ˈjɛstərˌdeɪ, ɔn ɑkˈtoʊbər 1st*. ˌbiˈfɔr ˈsənˌdi, ɪn ðə wik ˈlidɪŋ əp tɪ ðə ˌrɛfərˈɛndəm, ən ˈɪntərˌnɛt wɔr ˈstɑrtɪd wɪθ pəˈlis ˌɪnˈvɑlvmənt ˈhitɪŋ əp ðə ˈkɑntrəˌvərsi ənd pəˈlɪtɪkəl ˈklaɪmɪt. ˈhənərdz əv ˈwɛbˌsaɪts wər ˈteɪkən daʊn ənd səˈspɛndɪd baɪ ˈspænɪʃ əˈθɔrətiz ɪn ən əˈtɛmpt tɪ blɑk ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˌrɛfərˈɛndəm. ɔn sɛpˈtɛmbər 29th*, ˈʤuljən assange*, ə ˈpəblɪʃər ˈoʊvər æt wikileaks*, səmd əp ðə ɪˈvɛnts ɔn tˈwɪtər. fərst ˈɪntərˌnɛt wɔr həz ˈbeɪgən, ɪn ˌkætəˈloʊnjə, ɛz ðə ˈpipəl ənd ˈgəvərnmənt juz ɪt tɪ ˈɔrgəˌnaɪz ən ˌɪndɪˈpɛndəns ˌrɛfərˈɛndəm ɔn ˈsənˌdi ənd ˈspænɪʃ ˌɪnˈtɛləʤəns əˈtæks, ˈfrizɪŋ ˌtɛləkəmˌjunəˈkeɪʃənz lɪŋks, ˈɑkjəˌpaɪɪŋ ˈtɛləkɑmz ˈbɪldɪŋz, ˈsɛnsərz əv saɪts, ˈproʊtəˌkɔlz etc.”*.” ðə əˈfɪʃəl ˌrɛfərˈɛndəm wɑz ˈoʊnli wən ˈwɛbˌsaɪt ðət wɑz blɑkt. ðə ˈɔfəsɪz əv ðə .kæt doʊˈmeɪn ˈrɛʤɪstri wɑz ˈreɪdɪd ˈkɔzɪŋ ˈoʊvər ˈæktɪv doʊˈmeɪnz ɔn ðə ˈɪntərˌnɛt tɪ bi ˈteɪkən daʊn. ˈʃɔrtli ˈæftər, ˈgugəl blɑkt ə juʤ æp ðət əˈlaʊz ˈjuzərz tɪ ʧɛk ɔn ðə rɪˈzəlts əv ˈpoʊlɪŋ ˈsteɪʃənz ənd ðə ˈfɑloʊɪŋ deɪ, pəˈlis ˈɛnərd ðə ˈkætɑˌlɑn ˌtɛləkəmˌjunəˈkeɪʃənz ənd ɪt ˈsɛnər ɪn ən əˈtɛmpt tɪ ˈsɛnsər mɔr ˈkɑntɛnt. ˌhaʊˈɛvər, ˈkætɑˌlɑn əˈθɔrətiz dɪˈtərd baɪ ðə ˌɪnˈveɪsɪv ˈɪntərˌnɛt əˈtæks. ðeɪ ədˈvaɪzd ˈjuzərz tɪ juz ˈprɑksiz ənd tɪ gɪt əraʊnd riˈstrɪkʃənz. ˈivɪn ˈpitər sənd, ðə ˈfaʊndər əv ðə ˈpaɪrət beɪ, ˈɔfərd əˈsɪstəns tɪ ðə ˈkætɑˌlɑn ˈpipəl, ɪkˈspleɪnɪŋ ɔn tˈwɪtər ðət ˈrənɪŋ ə ˈkætɑˌlɑn saɪt biɪŋ ʃət daʊn baɪ ˈspænɪʃ əˈθɔrətiz, ˈkɑnˌtækt mi fər əˈnɑnəməs ˈhoʊstɪŋ ənd doʊˈmeɪnz. gɑt ju covered.”*.” əˈdɪʃəˌnəli, ˈjuzərz ɪn speɪn kən stɪl juz tɪ ˈækˌsɛs ˈwɛbˌsaɪts ðət ər blɑkt du tɪ kəˈnɛkʃənz wɪθ ðə ˌrɛfərˈɛndəm. naʊ, ɔn ɑkˈtoʊbər 2nd*, ɪt simz ðət ðə ˈpipəl əv ˌkætəˈloʊnjə hæv ˈɔlˌmoʊst juˈnænəməsli ˈvoʊtɪd fər ˌɪndɪˈpɛndəns. poʊl rɪˈzəlts ər ˈkəmɪŋ ɪn əraʊnd 90 ɪn ˈfeɪvər əv ˌɪndɪˈpɛndəns. ˌhaʊˈɛvər, du tɪ ˈvaɪələnt pəˈlis ˌɪntərˈvɛnʃən hu wər ˈʃutɪŋ wɪθ ˈrəbər ˈbʊləts, ˈtərˌnaʊt wɑz ˈoʊnli ˈɛstəˌmeɪtɪd æt 43 əv ðə ˈmɪljən ˈɛlɪʤəbəl ˈvoʊtərz. ˈoʊvər 400 ˈpoʊlɪŋ ˈsteɪʃənz wər kloʊzd baɪ ə rɪˈzəlt əv ðə pəˈlis ˈkrækˌdaʊn, ənd ˈkætɑˌlɑn ˈprɛzɪdənt kɑrlz kɔld ðə pəˈlis ˈkrækˌdaʊn ðə wərst ˈkraɪsəs sɪns ðə ˈmɪlɪˌtɛri dɪkˈteɪtərˌʃɪp əv frænˈsɪskoʊ ˈfræŋkoʊ. ɪz ˈhɛzɪtənt tɪ dɪˈklɛr ðə ˌɪndɪˈpɛndəns əv ˌkætəˈloʊnjə frəm speɪn, dɪˈspaɪt ðə 90 rɪˈzəlts sɪns hi fɪrz ɪt kʊd meɪk θɪŋz wərs, ˈhoʊpɪŋ ðə ˌjʊrəˈpiən ˈjunjən kən prəˈvaɪd eɪd. ˈmoʊmənt nidz mediation,”*,” hi sɛd. ˈoʊnli rɪˈsivd ˈvaɪələns ənd riˈprɛʃən ɛz ən answer.”*.” ðə mæs əˈmaʊnts əv ˈvaɪələns ənd keɪɑs ɪz drɔɪŋ ðə əˈtɛnʃən əv ðə juˈnaɪtɪd ˈneɪʃənz wɪθ ðə ðə ˈjuˈɛn haɪ kəˈmɪʃənər fər ˈjumən raɪts, æl huˈseɪn, ˈkɔlɪŋ fər ənd ˌɪmˈpɑrʃəl ˌɪnˌvɛstəˈgeɪʃənz ˈɪntu ɔl ækts əv violence”*”. rɪˈspɑnsɪz məst æt ɔl taɪmz bi prəˈpɔrʃənət ənd necessary,”*,” sɛd æl huˈseɪn ˈfərmli bɪˈliv ðət ðə ˈkɑrənt ˌsɪʧuˈeɪʃən ʃʊd bi riˈzɑlvd θru pəˈlɪtɪkəl ˈdaɪəˌlɔg, wɪθ fʊl rɪˈspɛkt fər ˌdɛməˈkrætɪk freedoms.”*.” ˌhaʊˈɛvər, ðə ˌsɪʧuˈeɪʃən ɪz stɪl nɑt riˈzɑlvd, wɪθ ˌɪmˈpɛndɪŋ straɪks, mæs ˌdɛmənˈstreɪʃənz ənd mɔr plænd baɪ treɪd ˈjunjənz ɔn ˈtuzˌdeɪ ənd ˈlaɪkli ðə rɛst əv ðə fərst wik əv ɑkˈtoʊbər.
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when it comes to purchasing the right type of glasses to safely view this solar eclipse, more than meets the eye.
officials from the nonprofit american astronomical society are warning people those looking to buy the special lenses that allow you to stare directly at an eclipse as happening to steer clear of phony or counterfeit products being sold online. buying inadequate glasses, the group says, could lead to serious eye damage.
the proper lenses should meet called “iso (sometimes written as “iso) international safety standards, according to the group. accredited manufacturers print a logo bearing this identifying mark on their products and packaging.
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the problem is, vendors seem to be slapping that label onto glasses that meet the qualifications, possibly looking to earn a quick buck amid the excitement surrounding the aug. 21 celestial event.
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this, of course, has experts worried.
“we used to say that you should look for evidence that they comply with the international safety standard for filters for direct viewing of the sun,” according to a statement on the american astronomical website. “but now the marketplace is being flooded by counterfeit eclipse glasses that are labeled as if-compliant when in fact, they are not.”
according to the national aeronautics and space administration, the only time safe to view a solar eclipse without “eclipse glasses” or special viewing lenses is during the moment of “totality,” when the moon completely obscures the glaring disk. (information about viewing the eclipse safely is on website, eclipse2017.nasa.gov/safety).
before and after that moment could spell trouble for spectators trying to peer up toward the rare, natural occurrence.
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“people should never look directly into the sun except when in totality,” said christine jones, a senior astrophysicist at the center for astrophysics, and president of the society.
“people can seriously damage their eyes,” she said.
a full solar eclipse will only be visible in what experts call the “path of totality,” a corridor that stretches from oregon to south carolina. totality will only occur for roughly two minutes.
for everyone else who within the path like residents in massachusetts only a partial eclipse will be visible when the moon passes between the earth and the sun.
that means, finding the right specs is a must.
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in its warning about faux products, the society pointed to a recent report by quartz, which scoured amazon for unsafe glasses being shelled out to the public as the hype grows ahead of the eclipse.
‘the marketplace is being flooded by counterfeit eclipse glasses that are labeled as if-compliant when in fact, they are not.’
“unscrupulous vendors can grab the logo off the internet and put it on their products and packaging even if their eclipse glasses or viewers been properly tested,” the society said. “this means that just seeing the logo or a label claiming certification good enough. you need to know that the product comes from a reputable manufacturer or one of their authorized dealers.”
the society offered its own list of what it called “reputable vendors” where viewers can purchase legitimate specs for the occasion, diverting people away from the reportedly bunk offerings being promoted to consumers.
“if we list a supplier, that mean their products are unsafe only that we have no knowledge of them or that we convinced ourselves they are safe,” the group said.
the society added, “your eyes are precious! you need astronomers to tell you that, but you do need astronomers to tell you where to get safe solar filters. . . . to do otherwise is to take unnecessary risks.”
adrian press cardboard frames for solar eclipse glasses are stacked in the american paper optics factory in bartlett, tenn.
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wɪn ɪt kəmz tɪ ˈpərʧəsɪŋ ðə raɪt taɪp əv ˈglæsɪz tɪ ˈseɪfli vju ðɪs ˈsoʊlər ɪˈklɪps, mɔr ðən mits ðə aɪ. əˈfɪʃəlz frəm ðə nɑnˈprɑfət əˈmɛrɪkən ˌæstrəˈnɑmɪkəl soʊˈsaɪɪti ər ˈwɔrnɪŋ ˈpipəl ðoʊz ˈlʊkɪŋ tɪ baɪ ðə ˈspɛʃəl ˈlɛnzɪz ðət əˈlaʊ ju tɪ stɛr dɪˈrɛkli æt ən ɪˈklɪps ɛz ˈhæpənɪŋ tɪ stɪr klɪr əv ˈfoʊni ər ˈkaʊnərˌfɪt ˈprɑdəkts biɪŋ soʊld ˈɔnˌlaɪn. baɪɪŋ ˌɪˈnædəkˌweɪt ˈglæsɪz, ðə grup sɪz, kʊd lɛd tɪ ˈsɪriəs aɪ ˈdæmɪʤ. ðə ˈprɑpər ˈlɛnzɪz ʃʊd mit kɔld (ˈsəmˌtaɪmz ˈrɪtən ɛz ˌɪnərˈnæʃənɑl ˈseɪfti ˈstændərdz, əˈkɔrdɪŋ tɪ ðə grup. əˈkrɛdɪtɪd ˌmænjəˈfækʧərərz prɪnt ə ˈloʊgoʊ ˈbɛrɪŋ ðɪs aɪˈdɛntəˌfaɪɪŋ mɑrk ɔn ðɛr ˈprɑdəkts ənd ˈpækɪʤɪŋ. ˌædvərˈtaɪzmənt ðə ˈprɑbləm ɪz, ˈvɛndərz sim tɪ bi sˈlæpɪŋ ðət ˈleɪbəl ˈɔntu ˈglæsɪz ðət mit ðə kˌwɑləfəˈkeɪʃənz, ˈpɑsəbli ˈlʊkɪŋ tɪ ərn ə kwɪk bək əˈmɪd ðə ɪkˈsaɪtmənt sərˈaʊndɪŋ ðə ˈɔgəst. 21 səˈlɛsʧəl ɪˈvɛnt. gɪt ˈmɛˌtroʊ ˈhɛˌdlaɪnz ɪn jʊr inbox*: ðə 10 tɔp ˈloʊkəl nuz ˈstɔriz frəm ˈmɛˌtroʊ ˈbɔstən ənd əraʊnd nu ˈɪŋglənd dɪˈlɪvərd ˈdeɪli. saɪn əp θæŋk ju fər ˈsaɪnɪŋ əp! saɪn əp fər mɔr ˈnuzˌlɛtərz hir ðɪs, əv kɔrs, həz ˈɛkspərts ˈwərid. juzd tɪ seɪ ðət ju ʃʊd lʊk fər ˈɛvədəns ðət ðeɪ kəmˈplaɪ wɪθ ðə ˌɪnərˈnæʃənɑl ˈseɪfti ˈstændərd fər ˈfɪltərz fər dɪˈrɛkt vjuɪŋ əv ðə sun,”*,” əˈkɔrdɪŋ tɪ ə ˈsteɪtmənt ɔn ðə əˈmɛrɪkən ˌæstrəˈnɑmɪkəl ˈwɛbˌsaɪt. naʊ ðə ˈmɑrkɪtˌpleɪs ɪz biɪŋ ˈflədɪd baɪ ˈkaʊnərˌfɪt ɪˈklɪps ˈglæsɪz ðət ər ˈleɪbəld ɛz ɪf wɪn ɪn fækt, ðeɪ ər not.”*.” əˈkɔrdɪŋ tɪ ðə ˈnæʃənəl ˌɛrəˈnɔtɪks ənd speɪs ædˌmɪnɪˈstreɪʃən, ðə ˈoʊnli taɪm seɪf tɪ vju ə ˈsoʊlər ɪˈklɪps wɪˈθaʊt glasses”*” ər ˈspɛʃəl vjuɪŋ ˈlɛnzɪz ɪz ˈdʊrɪŋ ðə ˈmoʊmənt əv ““totality,”*,” wɪn ðə mun kəmˈplitli əbˈskjʊrz ðə ˈglɛrɪŋ dɪsk. (ˌɪnˌfɔrˈmeɪʃən əˈbaʊt vjuɪŋ ðə ɪˈklɪps ˈseɪfli ɪz ɔn ˈwɛbˌsaɪt, eclipse2017.nasa.gov/safety*). ˌbiˈfɔr ənd ˈæftər ðət ˈmoʊmənt kʊd spɛl ˈtrəbəl fər ˈspɛkteɪtərz traɪɪŋ tɪ pɪr əp təˈwɔrd ðə rɛr, ˈnæʧərəl əˈkərəns. ˌædvərˈtaɪzmənt ʃʊd ˈnɛvər lʊk dɪˈrɛkli ˈɪntu ðə sən ɪkˈsɛpt wɪn ɪn totality,”*,” sɛd krɪˈstin ʤoʊnz, ə ˈsinjər ˌæstroʊˈfɪsɪsɪst æt ðə ˈsɛnər fər ˌæstroʊˈfɪzɪks, ənd ˈprɛzɪdənt əv ðə soʊˈsaɪɪti. kən ˈsɪriəsli ˈdæmɪʤ ðɛr eyes,”*,” ʃi sɛd. ə fʊl ˈsoʊlər ɪˈklɪps wɪl ˈoʊnli bi ˈvɪzəbəl ɪn wət ˈɛkspərts kɔl ðə əv totality,”*,” ə ˈkɔrɪdər ðət ˈstrɛʧɪz frəm ˈɔrəˌgɑn tɪ saʊθ ˌkɛrəˈlaɪnə. toʊˈtæləti wɪl ˈoʊnli əˈkər fər ˈrəfli tu ˈmɪnəts. fər ˈɛvriˌwən ɛls hu wɪˈθɪn ðə pæθ laɪk ˈrɛzɪdənts ɪn ˌmæsəˈʧusəts ˈoʊnli ə ˈpɑrʃəl ɪˈklɪps wɪl bi ˈvɪzəbəl wɪn ðə mun ˈpæsɪz bɪtˈwin ðə ərθ ənd ðə sən. ðət minz, ˈfaɪndɪŋ ðə raɪt spɛks ɪz ə məst. ˌædvərˈtaɪzmənt ɪn ɪts ˈwɔrnɪŋ əˈbaʊt foʊ ˈprɑdəkts, ðə soʊˈsaɪɪti ˈpɔɪntɪd tɪ ə ˈrisənt rɪˈpɔrt baɪ kwɔrts, wɪʧ skaʊərd ˈæməˌzɑn fər ənˈseɪf ˈglæsɪz biɪŋ ʃɛld aʊt tɪ ðə ˈpəblɪk ɛz ðə haɪp groʊz əˈhɛd əv ðə ɪˈklɪps. ˈmɑrkɪtˌpleɪs ɪz biɪŋ ˈflədɪd baɪ ˈkaʊnərˌfɪt ɪˈklɪps ˈglæsɪz ðət ər ˈleɪbəld ɛz ɪf wɪn ɪn fækt, ðeɪ ər not.’*.’ ˈvɛndərz kən græb ðə ˈloʊgoʊ ɔf ðə ˈɪntərˌnɛt ənd pʊt ɪt ɔn ðɛr ˈprɑdəkts ənd ˈpækɪʤɪŋ ˈivɪn ɪf ðɛr ɪˈklɪps ˈglæsɪz ər vjuərz bɪn ˈprɑpərli tested,”*,” ðə soʊˈsaɪɪti sɛd. minz ðət ʤɪst siɪŋ ðə ˈloʊgoʊ ər ə ˈleɪbəl ˈkleɪmɪŋ ˌsərtəfəˈkeɪʃən gʊd ɪˈnəf. ju nid tɪ noʊ ðət ðə ˈprɑdəkt kəmz frəm ə ˈrɛpjətəbəl ˌmænjəˈfækʧərər ər wən əv ðɛr ˈɔθərˌaɪzd dealers.”*.” ðə soʊˈsaɪɪti ˈɔfərd ɪts oʊn lɪst əv wət ɪt kɔld vendors”*” wɛr vjuərz kən ˈpərʧəs ləˈʤɪtəmət spɛks fər ðə əˈkeɪʒən, dɪˈvərtɪŋ ˈpipəl əˈweɪ frəm ðə rɪˈpɔrtədli bəŋk ˈɔfərɪŋz biɪŋ prəˈmoʊtəd tɪ kənˈsumərz. wi lɪst ə səˈplaɪər, ðət min ðɛr ˈprɑdəkts ər ənˈseɪf ˈoʊnli ðət wi hæv noʊ ˈnɑlɪʤ əv ðɛm ər ðət wi kənˈvɪnst ɑrˈsɛlvz ðeɪ ər safe,”*,” ðə grup sɛd. ðə soʊˈsaɪɪti ˈædɪd, aɪz ər ˈprɛʃəs! ju nid əˈstrɑnəmərz tɪ tɛl ju ðət, bət ju du nid əˈstrɑnəmərz tɪ tɛl ju wɛr tɪ gɪt seɪf ˈsoʊlər ˈfɪltərz. tɪ du ˈəðərˌwaɪz ɪz tɪ teɪk ənˈnɛsəˌsɛri risks.”*.” ˈeɪdriən prɛs ˈkɑrdˌbɔrd freɪmz fər ˈsoʊlər ɪˈklɪps ˈglæsɪz ər stækt ɪn ðə əˈmɛrɪkən ˈpeɪpər ˈɑptɪks ˈfæktəri ɪn ˈbɑrtlɪt, tɛn. stiv kən bi riʧt æt ˈfɑloʊ ɪm ɔn tˈwɪtər
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the story in the paragraph below is false. fiction. urban legend. made up just not by me.
in 1848, california and mexico were at war. a group of californian settlers managed to hold their ground against a larger, better armed band of mexican attackers, and went to hoist the flag of california above their successfully defended fort. unfortunately, none had been created yet. the captain, bartlett (whom the lead character in the west wing is named for), forcefully made a suggestion. he wanted to pay homage to the rich agricultural givings, specifically to the pear industry. (it may have had something to do with the fact that bartlett had helped create the pear variety of the same name and was a titan of local ag industry.) the group sent instructions to a local painter to put together a flag featuring a pear in the center. unfortunately, the painter misread the instructions, and painted a bear instead. the flag of california has looked like this –one bear, no pears ever since.
again, that story is complete nonsense (except that the flag of california does in fact look like this). like many tall tales, that story has been emailed around by unsuspecting victims of the ruse for years. and like many urban legends, the foremost of myths,.com, has an entry about it.
except this time, different. claims the story is true.
snopes, officially titled “the urban legends reference pages,” was founded in 1995 by barbara and david mikkleson, a california couple with an interest in folklore who were early users of internet newsgroups. with millions of visitors each month, their websites have become the place to find out if that shocking story (or virus warning) which just hit your email is, indeed, true. and in general, their information is reliable it has to be, otherwise it be worth much as the reference it strives to be.
but they also want to drive their mission home. is predicated on the idea that what one reads online should be taken with a grain of salt. (although, to be fair, true offline, too.) that rule of thumb, they believe, applies to them as well “common sense dictates that you should never fully rely upon someone else to do the fact checking for you,” one page reads. so they concocted a section called “the repository of lost legends” (“troll”), consisting of nine stories made up by the duo, five of which they flagged as “true.” here is the “pear flag” story, and there is also one about how mississippi removed fractions and decimals from the school curriculum, and three other stories which are just believable enough but are fake. clicking the “additional information” link at the bottom of the page takes the reader to this one, which explains the ruse and its purpose.
unfortunately, not everyone knows about’ intentionally false articles. one victim, directly or otherwise, was a television show titled mostly true stories: urban legends revealed, which aired on in the united states from 2002 to 2004. in one episode, according to wikipedia, the show declared that the nursery rhyme “sing a song of sixpence” was actually a coded pirate recruitment song. that urban legend, which declared to be true, is one of the five fake “trues” in’ repository of lost legends and, like the pear flag story, is complete fiction.
bonus fact : if you read the article about the flag of california, it says that the man who created the bear flag (by drawing the bear) was william todd, who happened to be the nephew of abraham wife, mary todd lincoln. that part is true, according to the “great bear almanac” written in 1996. ostensibly, william todd was a painter, but the “great bear almanac” did not think too highly of his work. the book states that “todd was a poor artist and the bear better resembled a pig.” the judgment is probably right.
from the archives: the first american flag was very british looking: 100% true. 0% pears. 0% bears, too.
related: “encyclopedia of urban legends” by jan harold brunvand. stars on 11 reviews.
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ðə ˈstɔri ɪn ðə ˈpɛrəˌgræf bɪˈloʊ ɪz fɔls. ˈfɪkʃən. ˈərbən ˈlɛʤənd. meɪd əp ʤɪst nɑt baɪ mi. ɪn 1848 ˌkæləˈfɔrnjə ənd ˈmɛksəˌkoʊ wər æt wɔr. ə grup əv ˌkælɪˈfɔrnjən ˈsɛtələrz ˈmænɪʤd tɪ hoʊld ðɛr graʊnd əˈgɛnst ə ˈlɑrʤər, ˈbɛtər ɑrmd bænd əv ˈmɛksəkən əˈtækərz, ənd wɛnt tɪ hɔɪst ðə flæg əv ˌkæləˈfɔrnjə əˈbəv ðɛr səkˈsɛsfəli dɪˈfɛndɪd fɔrt. ənˈfɔrʧənətli, nən hæd bɪn kriˈeɪtɪd jɛt. ðə ˈkæptən, ˈbɑrtlɪt (hum ðə lɛd ˈkɛrɪktər ɪn ðə wɛst wɪŋ ɪz neɪmd fər), ˈfɔrsfəli meɪd ə səˈʤɛsʧən. hi ˈwɔntɪd tɪ peɪ ˈɑməʤ tɪ ðə rɪʧ ˌægrɪˈkəlʧərəl givings*, spəˈsɪfɪkli tɪ ðə pɛr ˈɪndəstri. (ɪt meɪ hæv hæd ˈsəmθɪŋ tɪ du wɪθ ðə fækt ðət ˈbɑrtlɪt hæd hɛlpt kriˈeɪt ðə pɛr vərˈaɪəti əv ðə seɪm neɪm ənd wɑz ə ˈtaɪtən əv ˈloʊkəl ˈeɪˈgi ˈɪndəstri.) ðə grup sɛnt ˌɪnˈstrəkʃənz tɪ ə ˈloʊkəl ˈpeɪnər tɪ pʊt təˈgɛðər ə flæg ˈfiʧərɪŋ ə pɛr ɪn ðə ˈsɛnər. ənˈfɔrʧənətli, ðə ˈpeɪnər mɪsˈrɛd ðə ˌɪnˈstrəkʃənz, ənd ˈpeɪnɪd ə bɛr ˌɪnˈstɛd. ðə flæg əv ˌkæləˈfɔrnjə həz lʊkt laɪk ðɪs bɛr, noʊ pɛrz ˈɛvər sɪns. əˈgɛn, ðət ˈstɔri ɪz kəmˈplit ˈnɑnsɛns (ɪkˈsɛpt ðət ðə flæg əv ˌkæləˈfɔrnjə dɪz ɪn fækt lʊk laɪk ðɪs). laɪk ˈmɛni tɔl teɪlz, ðət ˈstɔri həz bɪn iˈmeɪld əraʊnd baɪ ˌənsəˈspɛktɪŋ ˈvɪktɪmz əv ðə ruz fər jɪrz. ənd laɪk ˈmɛni ˈərbən ˈlɛʤəndz, ðə ˈfɔrˌmoʊst əv mɪθs, snopes.com*, həz ən ˈɛntri əˈbaʊt ɪt. ɪkˈsɛpt ðɪs taɪm, ˈdɪfərənt. kleɪmz ðə ˈstɔri ɪz tru., əˈfɪʃəli ˈtaɪtəld ˈərbən ˈlɛʤəndz ˈrɛfərəns pages,”*,” wɑz ˈfaʊndɪd ɪn 1995 baɪ ˈbɑrbərə ənd ˈdeɪvɪd mikkleson*, ə ˌkæləˈfɔrnjə ˈkəpəl wɪθ ən ˈɪntəˌrɛst ɪn ˈfoʊˌklɔr hu wər ˈərli ˈjuzərz əv ˈɪntərˌnɛt ˈnuzˌgrups. wɪθ ˈmɪljənz əv ˈvɪzɪtərz iʧ mənθ, ðɛr ˈwɛbˌsaɪts hæv bɪˈkəm ðə pleɪs tɪ faɪnd aʊt ɪf ðət ˈʃɑkɪŋ ˈstɔri (ər ˈvaɪrəs ˈwɔrnɪŋ) wɪʧ ʤɪst hɪt jʊr iˈmeɪl ɪz, ˌɪnˈdid, tru. ənd ɪn ˈʤɛnərəl, ðɛr ˌɪnˌfɔrˈmeɪʃən ɪz rɪˈlaɪəbəl ɪt həz tɪ bi, ˈəðərˌwaɪz ɪt bi wərθ məʧ ɛz ðə ˈrɛfərəns ɪt straɪvz tɪ bi. bət ðeɪ ˈɔlsoʊ wɔnt tɪ draɪv ðɛr ˈmɪʃən hoʊm. ɪz ˈprɛdəˌkeɪtɪd ɔn ðə aɪˈdiə ðət wət wən ridz ˈɔnˌlaɪn ʃʊd bi ˈteɪkən wɪθ ə greɪn əv sɔlt. (ˌɔlˈðoʊ, tɪ bi fɛr, tru ˈɔˌflaɪn, tu.) ðət rul əv θəm, ðeɪ bɪˈliv, əˈplaɪz tɪ ðɛm ɛz wɛl sɛns ˈdɪkˌteɪts ðət ju ʃʊd ˈnɛvər ˈfʊli rɪˈlaɪ əˈpɑn ˈsəmˌwən ɛls tɪ du ðə fækt ˈʧɛkɪŋ fər you,”*,” wən peɪʤ ridz. soʊ ðeɪ kənˈkɑktəd ə ˈsɛkʃən kɔld riˈpɑzəˌtɔri əv lɔst legends”*” (““troll”*”), kənˈsɪstɪŋ əv naɪn ˈstɔriz meɪd əp baɪ ðə ˈduoʊ, faɪv əv wɪʧ ðeɪ flægd ɛz ““true.”*.” hir ɪz ðə flag”*” ˈstɔri, ənd ðɛr ɪz ˈɔlsoʊ wən əˈbaʊt haʊ ˌmɪsɪˈsɪpi riˈmuvd ˈfrækʃənz ənd ˈdɛsəməlz frəm ðə skul kərˈɪkjələm, ənd θri ˈəðər ˈstɔriz wɪʧ ər ʤɪst bəˈlivəbəl ɪˈnəf bət ər feɪk. ˈklɪkɪŋ ðə information”*” lɪŋk æt ðə ˈbɑtəm əv ðə peɪʤ teɪks ðə ˈridər tɪ ðɪs wən, wɪʧ ɪkˈspleɪnz ðə ruz ənd ɪts ˈpərpəs. ənˈfɔrʧənətli, nɑt ˈɛvriˌwən noʊz əˈbaʊt snopes’*’ ˌɪnˈtɛnʃənəli fɔls ˈɑrtɪkəlz. wən ˈvɪktɪm, dɪˈrɛkli ər ˈəðərˌwaɪz, wɑz ə ˈtɛləˌvɪʒən ʃoʊ ˈtaɪtəld ˈmoʊstli tru ˈstɔriz: ˈərbən ˈlɛʤəndz rɪˈvild, wɪʧ ɛrd ɔn ɪn ðə juˈnaɪtɪd steɪts frəm 2002 tɪ 2004 ɪn wən ˈɛpɪˌsoʊd, əˈkɔrdɪŋ tɪ ˈwɪkiˌpiˌdiə, ðə ʃoʊ dɪˈklɛrd ðət ðə ˈnərsəri raɪm ə sɔŋ əv sixpence”*” wɑz ˈæˌkʧuəli ə ˈkoʊdɪd ˈpaɪrət rɪˈkrutmənt sɔŋ. ðət ˈərbən ˈlɛʤənd, wɪʧ dɪˈklɛrd tɪ bi tru, ɪz wən əv ðə faɪv feɪk ““trues”*” ɪn snopes’*’ riˈpɑzəˌtɔri əv lɔst ˈlɛʤəndz ənd, laɪk ðə pɛr flæg ˈstɔri, ɪz kəmˈplit ˈfɪkʃən. ˈboʊnəs fækt ɪf ju rɛd ðə ˈɑrtɪkəl əˈbaʊt ðə flæg əv ˌkæləˈfɔrnjə, ɪt sɪz ðət ðə mæn hu kriˈeɪtɪd ðə bɛr flæg (baɪ drɔɪŋ ðə bɛr) wɑz ˈwɪljəm tɑd, hu ˈhæpənd tɪ bi ðə ˈnɛfju əv ˈeɪbrəˌhæm waɪf, ˈmɛri tɑd ˈlɪŋkən. ðət pɑrt ɪz tru, əˈkɔrdɪŋ tɪ ðə bɛr almanac”*” ˈrɪtən ɪn 1996 ɑˈstɛnsəbli, ˈwɪljəm tɑd wɑz ə ˈpeɪnər, bət ðə bɛr almanac”*” dɪd nɑt θɪŋk tu ˈhaɪli əv hɪz wərk. ðə bʊk steɪts ðət wɑz ə pur ˈɑrtɪst ənd ðə bɛr ˈbɛtər rɪˈzɛmbəld ə pig.”*.” ðə ˈʤəʤmənt ɪz ˈprɑbəˌbli raɪt. frəm ðə ˈɑrˌkaɪvz: ðə fərst əˈmɛrɪkən flæg wɑz ˈvɛri ˈbrɪtɪʃ ˈlʊkɪŋ: 100 tru. 0 pɛrz. 0 bɛrz, tu. rɪˈleɪtɪd: əv ˈərbən legends”*” baɪ ʤæn ˈhɛrəld brunvand*. stɑrz ɔn 11 rəvˈjuz.
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the number of illegal drug samples containing has doubled every year in canada since dealers began smuggling a black market version of the prescription painkiller into the country, new figures show.
the figures, based on samples seized by police and analyzed by health canada's drug analysis service, provide the first national snapshot of how rapidly illicit has moved east from british columbia.
amid a dearth of national surveillance data on canada's deadly crisis, the lab results provide fresh evidence of a booming underground market in. a globe and mail investigation last year revealed how china's chemicals industry has helped foster a market for illicit in canada.
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read more:'s deadly path: how the powerful drug gets across canada's border and into the hands of users
read more: a killer high: how canada got addicted to
read more: on cheque day, a toxic mix of money and drugs in vancouver's downtown
as the death toll from illicit drugs climbs, more communities are sounding the alarm. mayors of canada's biggest cities plan to meet on friday with federal ministers to discuss a response to an unprecedented rash of overdoses and deaths."
unlike the united states, canada does not have national systems tracking the number of overdose deaths or visits to hospital emergency departments a gap federal health minister jane philpott has pledged to fill.
"in the absence of real-time monitoring, we are looking to seizure data, [emergency] calls and reports," said michael parkinson, a community engagement with the waterloo region crime prevention council.
laboratories operated by health canada detected in illegal drug samples in 2016, compared with just 231 in 2012, according to statistics obtained by the globe.
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while accounted for a tiny portion of all drug samples, it is growing at a faster rate than other categories. benoit archambault, national director of the drug analysis service, said the labs received samples in 2016, up 2 per cent to 3 per cent a year.
british columbia, the centre of the crisis, accounted for half of all samples containing in 2016 and saw its numbers triple from 2015, the statistics show. but every province and territory has been exposed to the powerful.
the number of samples containing doubled between 2015 and 2016 in saskatchewan, manitoba, ontario, quebec, northwest territories and nunavut. alberta bucked the trend, with a rise in 2016.
the drugs analyzed by the labs do not indicate how much is available on the street a sample can range from a couple of pills to several kilograms, mr. archambault said. nor do the samples represent all seizures by police.
illicit first appeared in canada after the prescription painkiller was pulled from the market in 2012. was popular not only with people who became addicted after their doctors prescribed it but also with heroin users because they could easily snort it like cocaine or inject it like heroin for a quick high.
the globe investigation found that demand for a replacement for gave rise to a counterfeit version of the drug. illicit powder is smuggled into canada from china and processed for street sale in clandestine labs, which typically put the powder through a pill press machine and dye the tablets green to mimic the pills by abusers.
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health-care workers and police say a sharp spike in the number of samples containing in ontario reflects what they are seeing in their local communities. there were 903 samples containing in the province in 2016, an increase since 2012. anecdotal evidence also points to the growing presence of in several communities in ontario, the country's biggest per capita user of prescription painkillers.
police in ottawa arrested a dozen people last week believed to be trafficking counterfeit pills containing. the amount of illicit in ottawa has "grown in leaps and bounds" over the past year, said staff sergeant rick carey of the ottawa police service's drug unit.
michelle, an addiction medicine doctor in toronto, said began showing up in the urine tests for many of her patients last summer. "we never saw before and now we're seeing a lot more," she said.
toronto's st. michael's hospital, where dr. works in the emergency department, expects ed doctors to use 30 per cent more of the antidote on overdose patients this year over last year, she said.
in kingston, tests done recently on patients who use needle exchange programs and those being assessed for addiction treatment showed that eight out of 10 had unknowingly used drugs laced with, said kieran michael moore, associate medical officer of health for public health, an agency representing kingston and neighbouring communities.
british columbia publishes the number of fatal overdoses linked to illicits every month and alberta is planning to release data on deaths linked to every six weeks.
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by comparison, the most recent-overdose death figures for ontario are from the end of 2015. however, as of april 1, hospitals in ontario will be required to disclose the number of patients they treat in emergency for overdoses, said health ministry spokesman david jensen. the initiative is part of health minister eric response to the crisis.
but medical experts said much more needs to be done on the surveillance front. dr. moore is calling on health canada to publicize results of its drug testing, information he said is vital to help communities respond to the problem. "we are in an outbreak," he said. "we have to be more accountable."
health canada spokeswoman rebecca gilman said that "whenever potent substances are encountered for the first time in a community," the department shares those results with provincial and territorial health agencies.
"given the ongoing crisis," ms. gilman said, the department is "exploring opportunities" to share more information.
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ðə ˈnəmbər əv ˌɪˈligəl drəg ˈsæmpəlz kənˈteɪnɪŋ həz ˈdəbəld ˈɛvəri jɪr ɪn ˈkænədə sɪns ˈdilərz bɪˈgæn sˈməgəlɪŋ ə blæk ˈmɑrkɪt ˈvərʒən əv ðə prəˈskrɪpʃən ˈpeɪnˌkɪlər ˈɪntu ðə ˈkəntri, nu ˈfɪgjərz ʃoʊ. ðə ˈfɪgjərz, beɪst ɔn ˈsæmpəlz sizd baɪ pəˈlis ənd ˈænəˌlaɪzd baɪ hɛlθ ˈkænədəz drəg æˈnælɪsɪs ˈsərvɪs, prəˈvaɪd ðə fərst ˈnæʃənəl sˈnæpˌʃɑt əv haʊ ˈræpədli ˌɪˈlɪsət həz muvd ist frəm ˈbrɪtɪʃ kəˈləmbiə. əˈmɪd ə dərθ əv ˈnæʃənəl sərˈveɪləns ˈdætə ɔn ˈkænədəz ˈdɛdli ˈkraɪsəs, ðə læb rɪˈzəlts prəˈvaɪd frɛʃ ˈɛvədəns əv ə ˈbumɪŋ ˈəndərˌgraʊnd ˈmɑrkɪt ɪn. ə gloʊb ənd meɪl ˌɪnˌvɛstəˈgeɪʃən læst jɪr rɪˈvild haʊ ˈʧaɪnəz ˈkɛmɪkəlz ˈɪndəstri həz hɛlpt ˈfɑstər ə ˈmɑrkɪt fər ˌɪˈlɪsət ɪn ˈkænədə. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt rɛd mɔr: ˈdɛdli pæθ: haʊ ðə ˈpaʊərfəl drəg gɪts əˈkrɔs ˈkænədəz ˈbɔrdər ənd ˈɪntu ðə hænz əv ˈjuzərz rɛd mɔr: ə ˈkɪlər haɪ: haʊ ˈkænədə gɑt əˈdɪktɪd tɪ rɛd mɔr: ɔn ʧɛk deɪ, ə ˈtɑksɪk mɪks əv ˈməni ənd drəgz ɪn vænˈkuvərz ˈdaʊnˈtaʊn ɛz ðə dɛθ toʊl frəm ˌɪˈlɪsət drəgz klaɪmz, mɔr kəmˈjunɪtiz ər ˈsaʊndɪŋ ðə əˈlɑrm. meɪərz əv ˈkænədəz ˈbɪgəst ˈsɪtiz plæn tɪ mit ɔn ˈfraɪˌdeɪ wɪθ ˈfɛdərəl ˈmɪnɪstərz tɪ dɪˈskəs ə rɪˈspɑns tɪ ən ənˈprɛsɪˌdɛntɪd ræʃ əv ˈoʊvərˌdoʊsɪz ənd dɛθs." ənˈlaɪk ðə juˈnaɪtɪd steɪts, ˈkænədə dɪz nɑt hæv ˈnæʃənəl ˈsɪstəmz ˈtrækɪŋ ðə ˈnəmbər əv ˈoʊvərˌdoʊs dɛθs ər ˈvɪzɪts tɪ ˈhɑˌspɪtəl ˈimərʤənsi dɪˈpɑrtmənts ə gæp ˈfɛdərəl hɛlθ ˈmɪnɪstər ʤeɪn ˈfɪlpət həz plɛʤd tɪ fɪl. "ɪn ðə ˈæbsəns əv ˈrilˌtaɪm ˈmɑnətərɪŋ, wi ər ˈlʊkɪŋ tɪ ˈsiʒər ˈdætə, [ˈimərʤənsi] kɔlz ənd rɪˈpɔrts," sɛd ˈmaɪkəl ˈpɑrkɪnsən, ə kəmˈjunɪti ɛnˈgeɪʤmənt wɪθ ðə ˈwɔtərˌlu ˈriʤən kraɪm priˈvɛnʃən ˈkaʊnsəl. ˈlæbrəˌtɔriz ˈɑpərˌeɪtəd baɪ hɛlθ ˈkænədə dɪˈtɛktɪd ɪn ˌɪˈligəl drəg ˈsæmpəlz ɪn 2016 kəmˈpɛrd wɪθ ʤɪst 231 ɪn 2012 əˈkɔrdɪŋ tɪ stəˈtɪstɪks əbˈteɪnd baɪ ðə gloʊb. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt waɪl əˈkaʊntɪd fər ə ˈtaɪni ˈpɔrʃən əv ɔl drəg ˈsæmpəlz, ɪt ɪz groʊɪŋ æt ə ˈfæstər reɪt ðən ˈəðər ˈkætəˌgɔriz. bəˈnɔɪt ˈɑrʃəmboʊ, ˈnæʃənəl dɪˈrɛktər əv ðə drəg æˈnælɪsɪs ˈsərvɪs, sɛd ðə læbz rɪˈsivd ˈsæmpəlz ɪn 2016 əp 2 pər sɛnt tɪ 3 pər sɛnt ə jɪr. ˈbrɪtɪʃ kəˈləmbiə, ðə ˈsɛntər əv ðə ˈkraɪsəs, əˈkaʊntɪd fər hæf əv ɔl ˈsæmpəlz kənˈteɪnɪŋ ɪn 2016 ənd sɔ ɪts ˈnəmbərz ˈtrɪpəl frəm 2015 ðə stəˈtɪstɪks ʃoʊ. bət ˈɛvəri ˈprɑvɪns ənd ˈtɛrɪˌtɔri həz bɪn ɪkˈspoʊzd tɪ ðə ˈpaʊərfəl. ðə ˈnəmbər əv ˈsæmpəlz kənˈteɪnɪŋ ˈdəbəld bɪtˈwin 2015 ənd 2016 ɪn sæˈskæʧəˌwɔn, ˌmænɪˈtoʊbə, ɑnˈtɛrioʊ, kwəˈbɛk, ˌnɔrθˈwɛst ˈtɛrəˌtɔriz ənd nunavut*. ælˈbərtə bəkt ðə trɛnd, wɪθ ə raɪz ɪn 2016 ðə drəgz ˈænəˌlaɪzd baɪ ðə læbz du nɑt ˈɪndəˌkeɪt haʊ məʧ ɪz əˈveɪləbəl ɔn ðə strit ə ˈsæmpəl kən reɪnʤ frəm ə ˈkəpəl əv pɪlz tɪ ˈsɛvərəl ˈkɪləˌgræmz, ˈmɪstər. ˈɑrʃəmboʊ sɛd. nɔr du ðə ˈsæmpəlz ˌrɛprɪˈzɛnt ɔl ˈsiʒərz baɪ pəˈlis. ˌɪˈlɪsət fərst əˈpɪrd ɪn ˈkænədə ˈæftər ðə prəˈskrɪpʃən ˈpeɪnˌkɪlər wɑz pʊld frəm ðə ˈmɑrkɪt ɪn 2012 wɑz ˈpɑpjələr nɑt ˈoʊnli wɪθ ˈpipəl hu bɪˈkeɪm əˈdɪktɪd ˈæftər ðɛr ˈdɑktərz priˈskraɪbd ɪt bət ˈɔlsoʊ wɪθ ˈhɛroʊən ˈjuzərz bɪˈkəz ðeɪ kʊd ˈizəli snɔrt ɪt laɪk koʊˈkeɪn ər ˌɪnˈʤɛkt ɪt laɪk ˈhɛroʊən fər ə kwɪk haɪ. ðə gloʊb ˌɪnˌvɛstəˈgeɪʃən faʊnd ðət dɪˈmænd fər ə rɪˈpleɪsmənt fər geɪv raɪz tɪ ə ˈkaʊnərˌfɪt ˈvərʒən əv ðə drəg. ˌɪˈlɪsət ˈpaʊdər ɪz sˈməgəld ˈɪntu ˈkænədə frəm ˈʧaɪnə ənd ˈprɑsɛst fər strit seɪl ɪn klænˈdɛstɪn læbz, wɪʧ ˈtɪpɪkəli pʊt ðə ˈpaʊdər θru ə pɪl prɛs məˈʃin ənd daɪ ðə ˈtæbləts grin tɪ ˈmɪmɪk ðə pɪlz baɪ əˈbjuzərz. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ˈwərkərz ənd pəˈlis seɪ ə ʃɑrp spaɪk ɪn ðə ˈnəmbər əv ˈsæmpəlz kənˈteɪnɪŋ ɪn ɑnˈtɛrioʊ rɪˈflɛkts wət ðeɪ ər siɪŋ ɪn ðɛr ˈloʊkəl kəmˈjunɪtiz. ðɛr wər 903 ˈsæmpəlz kənˈteɪnɪŋ ɪn ðə ˈprɑvɪns ɪn 2016 ən ˌɪnˈkris sɪns 2012 ˌænɪkˈdoʊtəl ˈɛvədəns ˈɔlsoʊ pɔɪnts tɪ ðə groʊɪŋ ˈprɛzəns əv ɪn ˈsɛvərəl kəmˈjunɪtiz ɪn ɑnˈtɛrioʊ, ðə ˈkəntriz ˈbɪgəst pər ˈkæpɪtə ˈjuzər əv prəˈskrɪpʃən ˈpeɪnˌkɪlərz. pəˈlis ɪn ˈɑtəˌwɑ ərˈɛstɪd ə ˈdəzən ˈpipəl læst wik bɪˈlivd tɪ bi ˈtræfɪkɪŋ ˈkaʊnərˌfɪt pɪlz kənˈteɪnɪŋ. ðə əˈmaʊnt əv ˌɪˈlɪsət ɪn ˈɑtəˌwɑ həz "groʊn ɪn lips ənd baʊndz" ˈoʊvər ðə pæst jɪr, sɛd stæf ˈsɑrʤənt rɪk ˈkɛri əv ðə ˈɑtəˌwɑ pəˈlis ˈsərvɪsɪz drəg ˈjunɪt. mɪˈʃɛl, ən əˈdɪkʃən ˈmɛdəsən ˈdɔktər ɪn tərˈɑntoʊ, sɛd bɪˈgæn ʃoʊɪŋ əp ɪn ðə ˈjʊrən tɛsts fər ˈmɛni əv hər ˈpeɪʃənz læst ˈsəmər. "wi ˈnɛvər sɔ ˌbiˈfɔr ənd naʊ wɪr siɪŋ ə lɔt mɔr," ʃi sɛd. tərˈɑntoʊz st*. ˈmaɪkəlz ˈhɑˌspɪtəl, wɛr ˈdɑktər. wərks ɪn ðə ˈimərʤənsi dɪˈpɑrtmənt, ɪkˈspɛkts ɛd ˈdɑktərz tɪ juz 30 pər sɛnt mɔr əv ðə ˈænɪˌdoʊt ɔn ˈoʊvərˌdoʊs ˈpeɪʃənz ðɪs jɪr ˈoʊvər læst jɪr, ʃi sɛd. ɪn ˈkɪŋstən, tɛsts dən ˈrisəntli ɔn ˈpeɪʃənz hu juz ˈnidəl ɪksˈʧeɪnʤ ˈproʊˌgræmz ənd ðoʊz biɪŋ əˈsɛst fər əˈdɪkʃən ˈtritmənt ʃoʊd ðət eɪt aʊt əv 10 hæd ənˈnoʊɪŋli juzd drəgz leɪst wɪθ, sɛd ˈkirən ˈmaɪkəl mʊr, əˈsoʊʃiˌeɪt ˈmɛdɪkəl ˈɔfɪsər əv hɛlθ fər ˈpəblɪk hɛlθ, ən ˈeɪʤənsi ˌrɛprɪˈzɛnɪŋ ˈkɪŋstən ənd ˈneɪbərɪŋ kəmˈjunɪtiz. ˈbrɪtɪʃ kəˈləmbiə ˈpəblɪʃɪz ðə ˈnəmbər əv ˈfeɪtəl ˈoʊvərˌdoʊsɪz lɪŋkt tɪ ˌɪˈlɪsət ˈɛvəri mənθ ənd ælˈbərtə ɪz ˈplænɪŋ tɪ riˈlis ˈdætə ɔn dɛθs lɪŋkt tɪ ˈɛvəri sɪks wiks. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt baɪ kəmˈpɛrəsən, ðə moʊst ˈrisənt dɛθ ˈfɪgjərz fər ɑnˈtɛrioʊ ər frəm ðə ɛnd əv 2015 ˌhaʊˈɛvər, ɛz əv ˈeɪprəl 1 ˈhɑˌspɪtəlz ɪn ɑnˈtɛrioʊ wɪl bi rikˈwaɪərd tɪ dɪˈskloʊz ðə ˈnəmbər əv ˈpeɪʃənz ðeɪ trit ɪn ˈimərʤənsi fər ˈoʊvərˌdoʊsɪz, sɛd hɛlθ ˈmɪnɪstri ˈspoʊksmən ˈdeɪvɪd ˈʤɛnsən. ðə ˌɪˈnɪʃətɪv ɪz pɑrt əv hɛlθ ˈmɪnɪstər ˈɛrɪk rɪˈspɑns tɪ ðə ˈkraɪsəs. bət ˈmɛdɪkəl ˈɛkspərts sɛd məʧ mɔr nidz tɪ bi dən ɔn ðə sərˈveɪləns frənt. ˈdɑktər. mʊr ɪz ˈkɔlɪŋ ɔn hɛlθ ˈkænədə tɪ ˈpəblɪˌsaɪz rɪˈzəlts əv ɪts drəg ˈtɛstɪŋ, ˌɪnˌfɔrˈmeɪʃən hi sɛd ɪz ˈvaɪtəl tɪ hɛlp kəmˈjunɪtiz rɪˈspɑnd tɪ ðə ˈprɑbləm. "wi ər ɪn ən ˈaʊtˌbreɪk," hi sɛd. "wi hæv tɪ bi mɔr əˈkaʊntəbəl." hɛlθ ˈkænədə ˈspoʊksˌwʊmən rəˈbɛkə ˈgɪlmən sɛd ðət "wɛˈnɛvər ˈpoʊtənt ˈsəbstənsɪz ər ɪnˈkaʊnərd fər ðə fərst taɪm ɪn ə kəmˈjunɪti," ðə dɪˈpɑrtmənt ʃɛrz ðoʊz rɪˈzəlts wɪθ prəˈvɪnʃəl ənd ˌtɛrɪˈtɔriəl hɛlθ ˈeɪʤənsiz. "ˈgɪvɪn ðə ˈɔnˌgoʊɪŋ ˈkraɪsəs," mɪz. ˈgɪlmən sɛd, ðə dɪˈpɑrtmənt ɪz "ɪkˈsplɔrɪŋ ˌɑpərˈtunətiz" tɪ ʃɛr mɔr ˌɪnˌfɔrˈmeɪʃən.
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http://tvtropes.org/pmwiki/pmwiki.php/main/streisandeffect
this entry is trivia, which is cool and all, but not a trope. on a work, it goes on the trivia tab.
barbra streisand doesn't want you to see this picture, so please don't look at it. thank you.
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if it becomes known that someone of power, fame, or influence is using strong measures to attempt to suppress a piece of information or a work, then many people will want to know what it is even if they never cared before.
something horribly embarrassing or personal about you is released anything from a sex tape to an unflattering photograph to the nickname you had when you were younger and you want to keep it out of the public eye. so you do whatever it takes to make it go away: lawsuits, orders, takedowns, whatever you have at hand. but it backfires: the efforts to censor the information become public, and people who would otherwise be uninterested are now dying to know what all the commotion is about. whatever you were trying to remove from the internet gets mirrored and copied to hundreds of other sites; the sex tape goes viral; the childhood nickname becomes national talk show fodder; the unflattering picture ends up in the newspaper. in other words, your fears that everyone would see the dirt on you is the very thing that caused everyone to look at it.
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blogger mike of coined the phrase back in 2003 when american singer barbra streisand tried to suppress a photograph taken of her house, the one at the top of the page, and then attempted to sue the photographer and force him to take the image off his website. the internet imp of the perverse was roused, and now everyone wanted to see the photo that streisand didn't want them to see. news of the photo's existence spread far and wide, with others quickly mirroring it on multiple websites as a take that! towards streisand. it should be noted that the original photographer wasn't some taking pictures specifically of streisand's house; it was part of the california coastal recordsoject , a photographic study of the entire coastline of the state of california, which streisand's house just happened to be on. in other words, had streisand not made such a huge fuss, nobody would have cared about the photo.
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this existed before the internet was even a gleam in eye, but since the spread of information is much faster, easier, and more difficult toevent across the internet than through other means, it is far more widespread and effective now.
psychologists have done studies and found that the subjects' desire for any kind of material increased when they were told that it was censored the old forbidden fruitinciple in action, in other words. perhaps any authority considering the use of censorship should worry that this move might be counterproductive if it just gets people interested in the censored material. "banned in boston" was once a badge of dubious honor for the book in question, much like on movies are for kids.
there's a generalinciple here that almost everyone learns back in childhood: when someone looks like they're hiding something, theyobably are, and it'sobably something interesting. the only way to really keep something hidden is to have nobody look for it in the first place. of course, acting too casually often sparks the same reaction.
not to be confused with no such thing as bad publicity, which is very similar, but occurs when moral guardians attack something and draw more attention to it. this is basically that but without the moral guardians.
a form of revealing cover-up; also a specific form of hoist by his own petard. sometimes related to clumsy copyright censorship and, more rarely, ban. will lead to an open secret. see also internet counterattack. compare to failure (telling someone to not think about something will lead to them thinking about it). basically opposite to forced meme, where the individual or company tries to make something as popular as possible, and fails in much the same way for much the same reasons. people who avert this justore it.
this page alone is a meta-example, since its entire purpose is to catalog the instances of the effect.
examples:
open/close all folders
in-universe examples:
fan fiction
films
in clear andesent danger, faced with a discovery that a friend of theesident was involved with the escobedo drug cartel, the white house wants to hush it up and downplay their relationship. jack ryan suggests that they instead play up the relationship, "we were lifelong friends", which nullifies the potential scandal rather than amplifying it by looking like a revealing cover up.
the harder they come: when ivan, an unknown in the music industry, goes on the run from the police after shooting three officers, his song skyrockets in popularity. when the police tell hisoducer they're going to ban the song for glorifying criminality, theoducer warns them that banning it will generate even more public interest.
in untraceable, a killer sets up his victims to be tortured to death in front of a camera; the more people watch, the quicker the victim dies. despite warnings from a genre savvy special agent, the fbi crime director denounces the website and urges people to avoid it, which causes the site's traffic to explode.
on a lighter note, when theotagonists in the wizard of oz heard the great ozoclaim, "pay no attention to that man behind the curtain", they really paid attention, and the jig was up.
literature
live-action tv
in the second season finale of arrested development, is tasked withoducing an american remake of a french film about cousins who are in love with each other (mirroring feelings for her). ann organizes aotest which ends up making the film a hit.
in the better call saul episode "hero", after jimmy mcgill uses his billboard stunt to gain publicity. the stunt involves setting up a billboard that ripped off hamlin, hamlin & logo, then jimmy getting a order, then arranging for a freelance media team to record him when the guy taking down the billboard "accidentally" falls,ompting jimmy to go up and save him. the team see through the ruse when watching jimmy on the afternoon news, but decide not to pursue further action against jimmy since doing so would be this.
in the father ted episode "the passion of st. tibulus", the film, condemned by the pope as "blasphemous" and banned everywhere else, is being shown on craggy island because of an unknown loophole. bishop brennan orders ted and dougal to picket the cinema showing the film. theotest has the effect of making the film (which is in french and undubbed) the most popular in the history of craggy island. bishop brennan: people are coming all the way from gdansk! to see the film.
a later episode of had the gang trying to get a copy of the film the moon is blue because it had been banned in boston. charles, a boston native, cautions that boston would have banned pinocchio, but hawkeye and pay him no heed, thinking it must be steamy. the capper to all the troubles they had obtaining it was them watching it and finding it terribly inoffensive.: there was more filth in this morning's breakfast!
discussed in the west wing; in one episode, a photographer sam once hired then fired has written a libelous book about the white house full of inaccurate but potentially scandalous and embarrassing and fabrications. after sam spends the episode with a bee in his bonnet trying to do everything he can to get the book squashed and the white house to condemn every single falsehood within it, and toby sit him down and explain to him that making a huge deal out of it and using the full voice of the white house to condemn the photographer is just going to give him a bigger platform, whereas if they do nothing beyond curtly acknowledging his existence and a simple shrug of disinterest, they'll make it clear how insignificant he really is and his book will disappear before long.
in the x-files, this the initial reason the conspiracy doesn't just kill mulder and scully, based on the advice of the man. as he claimed, currently mulder was just some eccentric fbi agent rambling about conspiracies, but if he was murdered, then the conspiracy theories would be given credibility. as tells one of the syndicate members, "kill mulder and you turn one man's religion into a crusade".
invoked in when fbi mayfair shoots down carter's insistence on having jane killed by pointing out that her tattoos had already been scanned, so the evidence was alreadyeserved and killing her would just cause people to wonder what information in them was worth killing her over.
shoots down carter's insistence on having jane killed by pointing out that her tattoos had already been scanned, so the evidence was alreadyeserved and killing her would just cause people to wonder what information in them was worth killing her over. invoked in babylon 5 when captain sheridan has announce on her voice of the resistance tv show that absolutely nothing of note has happened in an particular sector of space (where he's just had a formation of white stars blast some random asteroids). this is part of a genghis gambit he's playing on the league of non-aligned worlds to get them to accept, nay, demand the rangers serve as a peacekeeping force: as sheridan well knows, suspiciously specific denials are a good way to get people to wonder why you're denying it.
tabletop games
the game paranoia takes place in a city called alpha complex ruled by an all-powerful, tyrannical computer. the computer uses communists as its scapegoat, blaming them for a nuclear war. there was no war, communism died out long before the apocalypse, and the computer only blames communism because of old files left over from the . there is, however, a brand-new sect of communists in alpha complex a lot of citizens figure that, if the computer is evil and the computer hates communists, then communists have to be the good guys. most records of actual communism didn't survive, though, so they gladly follow the teachings of groucho marx and john lennon.
web comics
freefall: sam has apparently hadeviousactical demonstrations of this, according to this strip. sam: my original mistakes never draw half the attention my original mistakes never draw half the attention as my attempts to cover them up do
western animation
in the simpsons, when homer and others are about to tour the duff brewery: tour guide: welcome to the duff brewery. well, i'm sure that all of you have heard the rumors that a batch of duff was contaminated with strychnine.
tourists: [mumbling among themselves] no. strychnine? that's news to me.
guide: are you sure? everyone's talking about it; it was even on cnn last night.
tourists: [mumbling among themselves] cnn? whoa.
guide: well, it's not true.
south park: the episode "cartmanland", where eric buys an amusement park for the sole purpose of keeping people out and having it all to himself. he might have gotten away with it if he hadn't aired commercials extolling the park and then stating no one could come. the commercials drew people's attention to the park, and rising expenses, like security to keep them out, forced him to have to let more and more people in, turning the park from a financial failure to a success. not that cared. in "the tale of mcboogerballs", the kids become enthusiastic about having to read the catcher in the rye after finding out it was banned in some schools and supposedly inspired people to kill celebrities. when they actually read the book, however, they're annoyed that it's a normal novel with the occasional curse word.
real life examples:
advertising
ipood . not quite a flame war fuel, but still got results on google (as of october 2011).
. not quite a flame war fuel, but still got results on google (as of october 2011). p.t. barnum was a master of this, along with other publicity stunts. while traveling with his circus, he would often have a shill sue him or complain about him to the local paper, stirring up interest. the most famous example wouldobably be him hiring a man to sue him with the claim that the bearded lady was actually a man. the judge recognized it as a ploy and dismissed it, but not before thousands read about the case and flocked to his show.
arts
a very odd example from south africa. in may 2012, an art exhibition was held in johannesburg called hail to the thief ii, which featured art by a local artist named brett murray. one of his paintings was called the spear, which depictedesident jacob in a pose similar to victor lenin lived, lenin is alive, lenin will live, only's genitals were exposed. a newspaper, cityess, ran a story of the exhibition, andinted the picture and placed it on their website. for close to a week, nothing happened; then's party, the, threatened to take the goodman gallery to court while publicly condemning the painting and demanding that cityess remove the image from their website. because of the growing hostile response from supporters and the ruling party itself, the painting got duplicated in newspapers and websites around the world. it even led to the creation of a wikipedia page with the offending painting right at the top. this had a bizarre repeat the following year, when a grade 12 art student's unsympathetic portrayal of leaders a set of (ie. not for sale) t-shirts on display at a small local mall along with all of the other grade 12 final artojects went from being seen by a couple of hundred locals, total, to getting a minor showing in the national news .
a notable "reverse streisand effect": in 2017, the city council of charlottesville, virginia voted to remove a statue of robert e. lee due to his support for the confederacy. a rally that august by a group of white supremacists against the removal ultimately ended in a vehicular attack that killed one woman. the uproar over this death led to a movement to take down more memorials of the confederacy, with a statue in durham, north carolina being toppled over byotesters and baltimore removing four monuments during the middle of the night.
comedy
one of dara stand-up routines discusses the briefing notes he sometimes gets when he does corporate gigs for particular organizations which ask him not to mention certain things. asking a comedian not to mention something, as he notes, is like "a red flag to a bull". he also points out that most of the time he wouldn't even have considered mentioning whatever he was asked not to mention in the first place if the extremely vague reasons why he shouldn't mention it hadn't made him all the more curious about it. he actually had to deal with an incident like this on mock the week where the executiveoducer ordered the comedians not to mention the blindness of a politician who the executiveoducer was friends with. cue 5 minutes of jokes only about his blindness.
bill bailey had a similar bit about the swiss investment bankohibiting corporate stand-up gigs from making cracks about nazi gold. so bailey walked on, asking to open a pension, and when asked with what currency he replies goooooooooold! just like you did!".
parodied by gilbert gottfried during the roast of bob, where he repeatedly and vehemently insisted that a rumor that bob raped and killed a girl in 1990 was not true, despite the fact that there is no such rumor.
comic books
when don rosa retired from working on the disney ducks comic universe, he wrote an essay for the last of the don rosa collection series of hardcovers explaining why. this was due to a combination of failing eyesight, emotional exhaustion, and disgruntlement over disney's continued refusal to offer their comics creators anything more than a low and, when forced, minimal credits. disney refused to allow the essay to be included in the books, which caused rosa to put it online . as he says on the linked page, thisobably resulted in far more people reading the essay than if it had been published in a book aimed at hardcore fans and comics collectors.
films
literature
the vatican's index of forbidden books (created in 1557, during the reformation) was a list of books which good catholics were not supposed to read, including works byotestant theologians, some scientific writings, etc. naturally, it backfired it tended to be used as a reading list, and theinters used it as a guide on what toint next.
nicolaus book on the revolutions of the heavenly spheres (advancing a universe) was put on the vatican's index of forbidden books in 1616, and was followed less than a year later with a new edition. not bad for a technical textbook that had been out ofint for 60 yearsior.
lynne cheney, wife of dick, wrote a novel in 1981 called sisters, featuring sexual content and lesbianism her attempts toevent a 2006 reprint actually helped publicize it.
mcdonald's sued a small activist group over a flier being passed out at one of its restaurants, that alleged certain wrongdoings by the fast food chain. if left alone, only a couple hundred people may have seen it. however, the trial ended up taking over a decade and got international media attention. after spending millions on lawyers, mcdonald's was awarded in damage from the activists.
after spending millions on lawyers, mcdonald's was awarded in damage from the activists. fox's lawsuit against al franken over his book lies and the lying liars who tell them: a fair and balanced look at the right, claimed that the title infringed on the "fair and balanced" slogan of the fox news channel. franken and his supporters still insist the real man behind the lawsuit was bill o'reilly for what franken said about him in the book. news of the lawsuit caused the book to shoot up to amazon's number one seller before it was even officially released. as for the suit many of the plaintiff's arguments were met with actual laughter in the courtroom, and fox withdrew the suit at the judge's recommendation.
a minor example from the guide to the galaxy, the author of the worst poetry in the universe is named in the original radio show as "paul neil milne johnstone of redbridge, essex" a former schoolmate of douglas adams, who wrote deliberately terrible poetry and who respectfully asked that his name and location be removed from the book adaptations. thus people now ask why the name changed from paul to a 'paula nancy millstone jennings' in sussex in subsequent versions and discover the story of where adams got the idea from.
older than feudalism: in one of his moral treatises, seneca speaks of a house on the coast that wasoperty of, which was destroyed by that emperor, because his mother was detained as aisoner by the former emperor tiberius. seneca related that when strangers saw the house, they didn't pay any attention to it, but since left only ruins, all were interested to know its history.
dr. jose famous novel me tangere, whose controversial content earned the ire of the spanish friars, caused the latter to declare that anyone reading it would be charged with heresy and be excommunicated. this only caused the local populace to become curious, causing sales to skyrocket.
many libraries and bookstores invoke this during banned books week, putting up displays of frequently banned books andompting kids to read them to see what all the fuss is about.
putting up displays of frequently banned books andompting kids to read them to see what all the fuss is about. salman rushdie's the satanic verses was selling a few hundred copies a week until the fatwa against rushdie. afterwards, it became so popular that it sold five times more copies than the #2 best-seller. it's still the publisher's book of all time.
in 2018, fariña, a book by journalist nacho documenting drug dealing cases in galicia in the '90s, was seized by court order after a former mayor mentioned in the book sued for damages. that very week, the book became a bestseller on amazon spain and theemiere episode of the tv series based on it which was not affected by the court order since the judge considered the script of the series was unknown and the airing date was uncertain wasomoted for aeview release.
the children's novel ban this book! is all about a girl trying to check her favourite book out from the library, only to find a parent had asked for it to be banned, along with several others. the girl and her friends eventually create a little banned book library out of her locker, only stocking the books the parent had asked to ban and resulting in most of the school trying to get their hands on the books to see what all the fuss is about.
bob book on the 1992 mets, the worst team money could buy: the collapse of the new york mets, got unexpected publicity when was involved in an incident with one of the team's players. bobby bonilla, who was acquired by the pirates theevious year and had frequently clashed with the new york media, threatened physical violence on and had to be restrained by his teammates. as it reflected an accurate portrayal of the mets at that point, sales of the book skyrocketed.
the literary review magazine has a yearly "bad sex in fiction" award, meant to poke fun at instances of ikea erotica or mills and boonose.etty much every other year it happens, one of the nominated authors ends up getting angry at them and very publically demanding their removal from the list or insulting the magazine for its raunchy attitude or attempt to depreciate their art. these affairs also have a habit of reaching mainstream outlets - both exposing a rather niche magazine to a much bigger audience, and putting a spotlight on sections in the author's book where they wrote "turgid meat stick" or broke anatomy.
in 1855, walt whitman's leaves of grass contained apparent references to masturbation, homosexuality, and other sex acts. literature magazine the criterion called it "a mass of stupid filth," and another reviewer told whitman that he should kill himself for writing it. it was even banned outright in boston before it was published. however, leaves sold out the day it was released, mostly from people wanting to find out just what all the fuss was about.
live-action tv
music
after the release of the queen song "death on two legs (dedicated to...)", former band manager norman sheffield decided to sue for defamation, despite the fact that he was never mentioned by name. he succeeded only in informing the world whom the song's scathing insults were targeting.
metallica's hardline stance on peer-to-peer downloading resulted only in their songs being even more widely pirated. other bands were hit by this to a lesser degree.
drake averts this, in fact he almost this. even though both of his albums have been leaked ahead of time, he usually is okay with it, though his record company is not as happy.
"relax" by frankie goes to hollywood became especially popular after the bbc banned it.
one direction: fans shipped harry styles and louis tomlinson and nobody thought much of it. then all public contact between the two suddenly stopped and they awkwardly denied it a few times. now the fans have entire essays of complied evidence that they are actually in a relationship that their management covers up. there was also the time an articleaised louis for supporting the community and angry came from his twitter account saying he wasn't gay. later on, zayn, who hasn't even spoken to them in months, was asked about fans invading hisivacy and he randomly said that harry and louis weren't together. okay guys.
when tipper gore announced that she was trying to censor 2 live crew's music in the late '80s, their music became even more popular. tipper gore and the in general were the streisand effect of the '80s; almost every band they went after for inappropriate lyrics and whatnot ended up becoming even more popular due to the publicity. in particular, one of the's biggest targets, wasp, saw their record sales double and vocalist black lawless was all too happy to use them as a vehicle toomote the band. finally, like the example below, during one awards speech, steven tyler thanked tipper gore for ensuring that if an album had a few dirty words on it, it would sell an extra million copies.
after some radio stations banned billy joel's "only the good die young" due to its perceived message, the album it was on the stranger shot up the charts.
an example of genre savviness;, after receiving an award for his breakthrough album, publicly thanked all the people who threw a over the album for making it a hit.
weird al benefits from this from time to time. for example: anger over "amish paradise" helped make the song a bigger hit. before straight outta was released, "you're pitiful", a parody of james "you're beautiful", was set to be the lead single. james blunt approved of it, but at the last minute, his record label, atlantic, changed their mind, and "white and nerdy" became the lead instead. as a result, al released the song for free and performs it on tour, mocking atlantic in theocess. due to the backlash, and the video for "white and nerdy", the other wiki had to lock atlantic records' page toevent al's angry fans from defacing it. "perform this way", al's parody of lady "born this way", looked to be a case of this at first he wasn't given permission to publish it, so he put it up on youtube instead and it became an immediate sensation. it became such a sensation, in fact, that it eventually came to the notice of lady gaga herself, who hadn't actually been consulted on the original decision. she thought it was hilarious and gave al the go-ahead.
when the sex pistols released "god save the queen" in 1977, both the bbc and the iba refused to broadcast the song. it quickly reached number one on the singles chart. however, doubt and controversy remains as to whether the sex pistols actually did get to #1 with "god save the queen." officially, an ballad by rod stewart was number one that week. however, allegations persist that the charts were doctored by bbc and recording company executives, fearful for their chances of retiring with knighthoods.
the bbc expressed concern following the scurrilous and seditious popularity of a of ding, dong, the witch is dead! note from the soundtrack of the wizard of oz , which celebrates the passing of the wicked witch of the east margaret thatcher. the song was subject to a campaign to get it to number one on the singles chart for the occasion; it made it to #2, but the bbc refused to play it, even in the relevant radio one chart show.
margaret thatcher. the song was subject to a campaign to get it to number one on the singles chart for the occasion; it made it to #2, but the bbc refused to play it, even in the relevant radio one chart show. in 1991, at the awards, the video of the year went to garth brooks, "the thunder rolls". in his speech, he thanked and for having banned the video and brought attention to it.
beck used to end interviews angrily if the subject of him being involved with the church of scientology was brought up. back in the '90s, this wasn't widely known, nor was it publicized. but due to his reactions, his connection with the church and attempts to suppress it became one of the most identifiable things about him. he has since become a bit more comfortable about this due to the fact that he knows that his fans are mostly accepting of it, but he still leaves huge gaps when talking about his childhood.
madonna made frequent use of this between, from the moment that her 1989 video for "like aayer" resulted in her partnership with pepsi being terminated (causing the single to hit #1 on the hot 100 becoming one of her biggest selling singles of all time). in 1990, the music video for "justify my love" was banned by mtv. the music video was subsequently sold on vhs, ultimately becoming certified platinum. the single also shot to #1 on the hot 100. her 1992 album "erotica" and photo book "sex" were also big sellers, both fueled by the controversy and public backlash.
in 2016, rose filed quite a few copyright notices with google, asking that "unflattering" photos (taken of him at a 2010 concert by winnipeg freeess photographer boris minkevich) be removed from circulation on the internet, as it had inspired the so-called "fat" meme.edictably, this news has caused the "fat" meme (which has existed quietly since at least 2011) to explode. welcome to the jungle, indeed.
this happened to bill o'reilly a couple of times when he decided to go after rap music in the early 2000s. when he went after ludacris, who became popular during the rise of southern rap, he elevated him to superstar status and made him one of the biggest music stars of that decade. it also didn't help that soon afterwards, news came out about him getting sued for sexual harassment, aoblem that kept growing over time and led to his eventual firing from fox news channel many years later. another example happened during an interview with rapper and rap manager damon dash. o'reilly got visibly upset when dash made a point about rap music encouraging positive work ethics. pointed this out during the show, and this led to the "u mad" meme that is still popularly used to this day. needless to day, attempt to get people from supporting rap music had the complete opposite effect.
in september 2017, a small blog named published an article suggesting a taylor swift song contained dog whistles. it received exactly one comment until two months later, when swift's lawyer sent them an angry letter demanding they take the post down, and that they also couldn't publish said angry letter because it was copyrighted. naturally, published it. this led to a bunch of very large blogs picking up the story, the getting involved, and many, many more people ended up seeing the article.
the music video for the childish gambino song "this is america" has been subject to countless memes, despite (or perhaps because of) its intense, politically charged nature. vice media, among others, took exception to this, telling people to stop and lambasting them fororing the point of the song and video. vice media is already a controversial media outlet in various pockets of the internet, so there were those who were more than happy to further make fun of the video, either because they learned about it through vice, or to spite them. or both.
in october 2017, william francis (the former lead singer of aiden who was performing as the solo act william control) abruptly dropped out of a tour and returned home, citing a desire to cease his relentless touring andoducing schedule to focus on his family and record company. around that time, a (now deleted) tumblr blog had posted evidence and accounts from various women and young girls stating that he had been luring mentally ill women into abusive relationships in which heored boundaries to rape, beat, and extort them. this blog remained virtually unknown until june 2018, when he publicly addressed the accusations and suddenly shut down control records while going dark on all social media. this only attracted further attention to the blog as fans googled the accusations, with his victims also posting of messages from will threatening them and saying that they'd never be believed (along with accusations that he was actually making his money through pimping and extortion and using his merchandise business as a legal cover). the blog even statements from his wife explaining that she had knowledge of the offenses and divorced him over it. this resulted in a police investigation across two continents; while he faced no charges due to lack of evidence and has restarted his music career, most of the top google results for him as of january 2019 are articles on his sexualedation and both his personal and act wikipedia pages include the information, ensuring that any potential new fans will see it as soon as they look him up.
new media
print media
suingivate eye for libel never does anyone any good. all it does is draw out the eye's story and attract the attention of other news sources. even if you win, no one has enough faith in british libel law (or the eye's ability to defend a case) to believe that this means it isn't true.
protests against depictions of mohammed inint media have had this effect in western society. in 2006, a danish publication published a series of cartoons depicting mohammed, which caused deadly riots andotests. in response, other western publications also ran the cartoons as a defense of free speech. in 2015, the french magazine charlie was attacked by terrorists in response to repeated depictions of mohammed. before the attack, the magazine was virtually unknown outside of france, sliding into bankruptcy and only managing to sell about of each magazine run. for their next issue, demand caused charlie toint seven million copies, and (french for "i am charlie") trended worldwide as a show of solidarity. furthermore, the attacks sparked massive support for the publication and caused the offending cartoons to be seen worldwide across the internet.
fire and fury: inside the trump white house by michael wolff details what he heard and saw spending a year in the donald trump white house. people weren't too interested in it, but when trump's lawyers tried putting out a cease & desist order on it, the publisher decided to move up the release date to midnight the day after the order was issued. unsurprisingly, the book sold out in stores across the country, launching to the top of the list.
tabletop games
there is a real chance that if it weren't for patricia pulling and her campaign against dungeons & dragons, the game would have remained a niche market andobably never would have become the rite of passage it has become. this also had a run in 1980 with the disappearance of james egbert iii, a young man who played the game. the detective assigned to disappearance wrote a book about it, suggesting the game had something to do egbert going missing. it didn't, and egbert was eventually found alive and unhurt. still, dungeons and dragons went from grossing $2.3 million in 1979 to $8.7 million in 1980, largely as a result of all the negativeess denouncing it as "satanicopaganda;" many people ended up playing it just to see what all the fuss was about.
in september 2018, a user on - after criticizing the performance and of the digital tabletop site - was then banned by the moderator from the subreddit, since they had a name similar to another banned user (apostleoftruth) from a year ago. as the recently banned user however knew that they were innocent, they dug deeper into the issue and realized that not only aren't their writing styles not similar at all, the other banned user was banned for criticizing the staff's moderation. when confronted about it, they were told by that since the staff could not confirm whether the match (which only the admins can), they would "err on the side of caution" and refuse to lift the ban. then indicated that they would end their subscription and delete their account, as well as report what happened on social media, if the ban wasn't lifted and an apology was given soon. when was told that despite not having matching, the staff would still uphold the ban because of's recent behavior regarding this matter, kept their word and reported what happened on which reached's and led to a shitstorm which revealed that not only censored any form of criticism towards them, they also violated's mod etiquette of of a company they are employed to was not just an affiliated mod, he was one of's co-founders), leading to other users declaring that they would also cancel their subscription from now on.'s side of things to this matter only made things worse, eventually becoming the comment in the history of.
sports
michael jordan began wearing his air jordan brand of shoes during games at a time when the nba forbade players from doing such a thing, and fined jordan every time he wore them on the court. the trouble for the nba was jordan had both the clout with the public and the cash from the deal with nike toore the fines and keep wearing them anyway. doing so made jordan's brand far more well known than if the nba had said nothing, and gave him free advertising with a colbert bump, so it was a punishment that was actually helping jordan. when it became clear that the fines weren't going to work, the nba stopped punishing jordan for wearing the shoes.
video games
web comics
penny arcade: their legal with american greetings over a strawberry shortcake parody image resulted in the image being spread across the internet on such a wide basis that it's very easy to find the image nowadays, even though it's no longer on the penny arcade site. to this day, archive are taking note of ag's legal department. given the demographic and high of the greeting card industry, it's safe to say that they're still losing the occasional sale to it. not to mention the ocean marketing debacle : paul christoforo, theesident of a and distribution firm named ocean marketing, sent unkind, unprofessional, and terribly written emails out to several customers of n-control, a company that manufactures and sells the avenger controller, a modified controller designed with folks with fine motor impairment in mind. paul made unsubstantiated claims of how soon the controllers would ship out, lowered theice to attract new customers while not even offering the customers who would be waiting for several more weeks a ten percent compensatory discount, eventually started addressing disgruntled customers by telling them their business in a condescending tone, threatened to cancel an order placed by at least one customer and sell the controllers on ebay himself, and went around claiming to know head editors at gaming news blogs like and kotaku, to try to deflect complaints by making himself seem like an important figure. dave, one customer unlucky enough to have dealt with him, shared the series of email correspondence with gabe himself, who stepped in to tell paul that ocean marketing would not be welcome at pax any longer something paul was initially disbelieving of, since he had no idea who he was talking to, at first. he made an when he realized just how tremendous his mistake was, but by the time he connected the dots, it was already too late. that one series of emails set off a chain reaction that effectively killed ocean marketing and, with it, paul's career. as the dust began settling, it became obvious paul wasn't genuinely sorry for how he behaved he was just sorry he got caught lying to, verbally abusing, and cheating customers.
christian weston chandler, creator of sonichu, was initially just a random comic artist with big, yet child-like, dreams. the effect kicked in after a random encounter with a member of led to the creation of an encyclopedia page about him. his attempts to get rid of it, and the incidents it caused on the internet and in real life, would lead to more people to find out more about this man and his creation. and a whole lot more, but that's a completely different story.
web original
western animation
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http://tvtropes.org/pmwiki/pmwiki.php/main/streisandeffect* ðɪs ˈɛntri ɪz ˈtrɪviə, wɪʧ ɪz kul ənd ɔl, bət nɑt ə trope*. ɔn ə wərk, ɪt goʊz ɔn ðə ˈtrɪviə tæb. ˈbɑrbrə ˈstraɪˌsænd ˈdəzənt wɔnt ju tɪ si ðɪs ˈpɪkʧər, soʊ pliz doʊnt lʊk æt ɪt. θæŋk ju. ˌædvərˈtaɪzmənt: ɪf ɪt bɪˈkəmz noʊn ðət ˈsəmˌwən əv paʊər, feɪm, ər ˈɪnfluəns ɪz ˈjuzɪŋ strɔŋ ˈmɛʒərz tɪ əˈtɛmpt tɪ səˈprɛs ə pis əv ˌɪnˌfɔrˈmeɪʃən ər ə wərk, ðɛn ˈmɛni ˈpipəl wɪl wɔnt tɪ noʊ wət ɪt ɪz ˈivɪn ɪf ðeɪ ˈnɛvər kɛrd ˌbiˈfɔr. ˈsəmθɪŋ ˈhɔrəbli ɪmˈbɛrəsɪŋ ər ˈpərsɪnəl əˈbaʊt ju ɪz riˈlist ˈɛniˌθɪŋ frəm ə sɛks teɪp tɪ ən ənˈflætərɪŋ ˈfoʊtəˌgræf tɪ ðə ˈnɪkˌneɪm ju hæd wɪn ju wər ˈjəŋgər ənd ju wɔnt tɪ kip ɪt aʊt əv ðə ˈpəblɪk aɪ. soʊ ju du ˌwəˈtɛvər ɪt teɪks tɪ meɪk ɪt goʊ əˈweɪ: ˈlɔˌsuts, ˈɔrdərz, takedowns*, ˌwəˈtɛvər ju hæv æt hænd. bət ɪt ˈbækˌfaɪərz: ðə ˈɛfərts tɪ ˈsɛnsər ðə ˌɪnˌfɔrˈmeɪʃən bɪˈkəm ˈpəblɪk, ənd ˈpipəl hu wʊd ˈəðərˌwaɪz bi əˈnɪntrəstəd ər naʊ daɪɪŋ tɪ noʊ wət ɔl ðə kəˈmoʊʃən ɪz əˈbaʊt. ˌwəˈtɛvər ju wər traɪɪŋ tɪ riˈmuv frəm ðə ˈɪntərˌnɛt gɪts ˈmɪrərd ənd ˈkɑpid tɪ ˈhənərdz əv ˈəðər saɪts; ðə sɛks teɪp goʊz ˈvaɪrəl; ðə ˈʧaɪlˌdhʊd ˈnɪkˌneɪm bɪˈkəmz ˈnæʃənəl tɔk ʃoʊ ˈfɑdər; ðə ənˈflætərɪŋ ˈpɪkʧər ɛndz əp ɪn ðə ˈnuzˌpeɪpər. ɪn ˈəðər wərdz, jʊr fɪrz ðət ˈɛvriˌwən wʊd si ðə dərt ɔn ju ɪz ðə ˈvɛri θɪŋ ðət kɔzd ˈɛvriˌwən tɪ lʊk æt ɪt. ˌædvərˈtaɪzmənt: ˈblɔgər maɪk əv kɔɪnd ðə freɪz bæk ɪn 2003 wɪn əˈmɛrɪkən ˈsɪŋər ˈbɑrbrə ˈstraɪˌsænd traɪd tɪ səˈprɛs ə ˈfoʊtəˌgræf ˈteɪkən əv hər haʊs, ðə wən æt ðə tɔp əv ðə peɪʤ, ənd ðɛn əˈtɛmptəd tɪ su ðə fəˈtɑgrəfər ənd fɔrs ɪm tɪ teɪk ðə ˈɪmɪʤ ɔf hɪz ˈwɛbˌsaɪt. ðə ˈɪntərˌnɛt ɪmp əv ðə pərˈvərs wɑz raʊzd, ənd naʊ ˈɛvriˌwən ˈwɔntɪd tɪ si ðə ˈfoʊˌtoʊ ðət ˈstraɪˌsænd ˈdɪdənt wɔnt ðɛm tɪ si. nuz əv ðə ˈfoʊˌtoʊz ɪgˈzɪstəns sprɛd fɑr ənd waɪd, wɪθ ˈəðərz kˈwɪkli ˈmɪrərɪŋ ɪt ɔn ˈməltəpəl ˈwɛbˌsaɪts ɛz ə teɪk ðət! təˈwɔrdz ˈstraɪˌsænd. ɪt ʃʊd bi ˈnoʊtɪd ðət ðə ərˈɪʤənəl fəˈtɑgrəfər ˈwəzənt səm ˈteɪkɪŋ ˈpɪkʧərz spəˈsɪfɪkli əv ˈstraɪˌsændz haʊs; ɪt wɑz pɑrt əv ðə ˌkæləˈfɔrnjə ˈkoʊstəl ˈrɛkərdz ˈprɑʤɛkt ə ˌfoʊtəˈgræfɪk ˈstədi əv ðə ɪnˈtaɪər ˈkoʊˌstlaɪn əv ðə steɪt əv ˌkæləˈfɔrnjə, wɪʧ ˈstraɪˌsændz haʊs ʤɪst ˈhæpənd tɪ bi ɔn. ɪn ˈəðər wərdz, hæd ˈstraɪˌsænd nɑt meɪd səʧ ə juʤ fəs, ˈnoʊˌbɑˌdi wʊd hæv kɛrd əˈbaʊt ðə ˈfoʊˌtoʊ. ˌædvərˈtaɪzmənt: ðɪs ɪgˈzɪstəd ˌbiˈfɔr ðə ˈɪntərˌnɛt wɑz ˈivɪn ə glim ɪn aɪ, bət sɪns ðə sprɛd əv ˌɪnˌfɔrˈmeɪʃən ɪz məʧ ˈfæstər, ˈiziər, ənd mɔr ˈdɪfəkəlt tɪ prɪˈvɛnt əˈkrɔs ðə ˈɪntərˌnɛt ðən θru ˈəðər minz, ɪt ɪz fɑr mɔr ˈwaɪdˈsprɛd ənd ˈifɛktɪv naʊ. saɪˈkɑləʤəsts hæv dən ˈstədiz ənd faʊnd ðət ðə ˈsəbʤɪkts' dɪˈzaɪər fər ˈɛni kaɪnd əv məˈtɪriəl ˌɪnˈkrist wɪn ðeɪ wər toʊld ðət ɪt wɑz ˈsɛnsərd ðə oʊld ˈfɔrbɪdən frut ˈprɪnsəpəl ɪn ˈækʃən, ɪn ˈəðər wərdz. pərˈhæps ˈɛni əˈθɔrəti kənˈsɪdərɪŋ ðə juz əv ˈsɛnsərˌʃɪp ʃʊd ˈwəri ðət ðɪs muv maɪt bi ˈkaʊnərprəˌdəktɪv ɪf ɪt ʤɪst gɪts ˈpipəl ˈɪntəˌrɛstɪd ɪn ðə ˈsɛnsərd məˈtɪriəl. "bænd ɪn ˈbɔstən" wɑz wəns ə bæʤ əv ˈdubiəs ˈɑnər fər ðə bʊk ɪn kˈwɛʃən, məʧ laɪk ɔn ˈmuviz ər fər kɪdz. ðɛrz ə ˈʤɛnərəl ˈprɪnsəpəl hir ðət ˈɔlˌmoʊst ˈɛvriˌwən lərnz bæk ɪn ˈʧaɪlˌdhʊd: wɪn ˈsəmˌwən lʊks laɪk ðɛr ˈhaɪdɪŋ ˈsəmθɪŋ, ðeɪ ˈprɑbəˌbli ər, ənd ɪts ˈprɑbəˌbli ˈsəmθɪŋ ˈɪntəˌrɛstɪŋ. ðə ˈoʊnli weɪ tɪ ˈrɪli kip ˈsəmθɪŋ ˈhɪdən ɪz tɪ hæv ˈnoʊˌbɑˌdi lʊk fər ɪt ɪn ðə fərst pleɪs. əv kɔrs, ˈæktɪŋ tu ˈkæʒəwəli ˈɔfən spɑrks ðə seɪm riˈækʃən. nɑt tɪ bi kənfˈjuzd wɪθ noʊ səʧ θɪŋ ɛz bæd pəˈblɪsɪti, wɪʧ ɪz ˈvɛri ˈsɪmələr, bət əˈkərz wɪn ˈmɔrəl ˈgɑrdiənz əˈtæk ˈsəmθɪŋ ənd drɔ mɔr əˈtɛnʃən tɪ ɪt. ðɪs ɪz ˈbeɪsɪkli ðət bət wɪˈθaʊt ðə ˈmɔrəl ˈgɑrdiənz. ə fɔrm əv rɪˈvilɪŋ ˈkəvərˌəp; ˈɔlsoʊ ə spɪˈsɪfɪk fɔrm əv hɔɪst baɪ hɪz oʊn ˈpɛtərd. ˈsəmˌtaɪmz rɪˈleɪtɪd tɪ ˈkləmzi ˈkɑpiˌraɪt ˈsɛnsərˌʃɪp ənd, mɔr ˈrɛrli, bæn. wɪl lɛd tɪ ən ˈoʊpən ˈsikrɪt. si ˈɔlsoʊ ˈɪntərˌnɛt ˈkaʊnərəˌtæk. kəmˈpɛr tɪ ˈfeɪljər (ˈtɛlɪŋ ˈsəmˌwən tɪ nɑt θɪŋk əˈbaʊt ˈsəmθɪŋ wɪl lɛd tɪ ðɛm ˈθɪŋkɪŋ əˈbaʊt ɪt). ˈbeɪsɪkli ˈɑpəzɪt tɪ fɔrst mim, wɛr ðə ˌɪndəˈvɪʤəwəl ər ˈkəmpəˌni traɪz tɪ meɪk ˈsəmθɪŋ ɛz ˈpɑpjələr ɛz ˈpɑsəbəl, ənd feɪlz ɪn məʧ ðə seɪm weɪ fər məʧ ðə seɪm ˈrizənz. ˈpipəl hu əˈvərt ðɪs ʤɪst ˌɪgˈnɔr ɪt. ðɪs peɪʤ əˈloʊn ɪz ə meta-example*, sɪns ɪts ɪnˈtaɪər ˈpərpəs ɪz tɪ ˈkætəlɔg ðə ˈɪnstənsɪz əv ðə ˈifɛkt. ɪgˈzæmpəlz: ɔl ˈfoʊldərz ɪgˈzæmpəlz: fæn ˈfɪkʃən fɪlmz ɪn klɪr ənd ˈprɛzənt ˈdeɪnʤər, feɪst wɪθ ə ˌdɪˈskəvri ðət ə frɛnd əv ðə ˈprɛzɪdənt wɑz ˌɪnˈvɑlvd wɪθ ðə ɛskoʊˈbeɪdoʊ drəg kɑrˈtɛl, ðə waɪt haʊs wɔnts tɪ həʃ ɪt əp ənd ˈdaʊnˌpleɪ ðɛr riˈleɪʃənˌʃɪp. ʤæk raɪən səˈʤɛsts ðət ðeɪ ˌɪnˈstɛd pleɪ əp ðə riˈleɪʃənˌʃɪp, "wi wər ˈlaɪˈflɔŋ frɛndz", wɪʧ ˈnələˌfaɪz ðə pəˈtɛnʃəl ˈskændəl ˈrəðər ðən ˈæmpləˌfaɪɪŋ ɪt baɪ ˈlʊkɪŋ laɪk ə rɪˈvilɪŋ ˈkəvər əp. ðə ˈhɑrdər ðeɪ kəm: wɪn ˈaɪvən, ən ənˈnoʊn ɪn ðə mˈjuzɪk ˈɪndəstri, goʊz ɔn ðə rən frəm ðə pəˈlis ˈæftər ˈʃutɪŋ θri ˈɔfɪsərz, hɪz sɔŋ ˈskaɪˌrɑkəts ɪn ˌpɑpjəˈlɛrəti. wɪn ðə pəˈlis tɛl hɪz prəˈdusər ðɛr goʊɪŋ tɪ bæn ðə sɔŋ fər ˈglɔrəˌfaɪɪŋ ˌkrɪməˈnælɪti, ðə prəˈdusər wɔrnz ðɛm ðət ˈbænɪŋ ɪt wɪl ˈʤɛnərˌeɪt ˈivɪn mɔr ˈpəblɪk ˈɪntəˌrɛst. ɪn ənˈtreɪsəbəl, ə ˈkɪlər sɛts əp hɪz ˈvɪktɪmz tɪ bi ˈtɔrʧərd tɪ dɛθ ɪn frənt əv ə ˈkæmərə; ðə mɔr ˈpipəl wɔʧ, ðə kˈwɪkər ðə ˈvɪktɪm daɪz. dɪˈspaɪt ˈwɔrnɪŋz frəm ə ˈʒɑnrə ˈsævi ˈspɛʃəl ˈeɪʤənt, ðə ˈɛfˈbiˈaɪ kraɪm dɪˈrɛktər dɪˈnaʊnsɪz ðə ˈwɛbˌsaɪt ənd ˈərʤɪz ˈpipəl tɪ əˈvɔɪd ɪt, wɪʧ ˈkɔzɪz ðə saɪts ˈtræfɪk tɪ ɪkˈsploʊd. ɔn ə ˈlaɪtər noʊt, wɪn ðə proʊˈtægənəsts ɪn ðə ˈwɪzərd əv ɑz hərd ðə greɪt ɑz proʊˈkleɪm, "peɪ noʊ əˈtɛnʃən tɪ ðət mæn bɪˈhaɪnd ðə ˈkərtən", ðeɪ ˈrɪli peɪd əˈtɛnʃən, ənd ðə ʤɪg wɑz əp. ˈlɪtərəʧər ˌtɛləˈvɪʒən ɪn ðə ˈsɛkənd ˈsizən fəˈnæli əv ərˈɛstɪd dɪˈvɛləpmənt, ɪz tæskt wɪθ prəˈdusɪŋ ən əˈmɛrɪkən ˈriˈmeɪk əv ə frɛnʧ fɪlm əˈbaʊt ˈkəzənz hu ər ɪn ləv wɪθ iʧ ˈəðər (ˈmɪrərɪŋ ˈfilɪŋz fər hər). æn ˈɔrgəˌnaɪzɪz ə ˈproʊˌtɛst wɪʧ ɛndz əp ˈmeɪkɪŋ ðə fɪlm ə hɪt. ɪn ðə ˈbɛtər kɔl sɔl ˈɛpɪˌsoʊd "ˈhɪroʊ", ˈæftər ˈʤɪmi məˈgɪl ˈjuzɪz hɪz ˈbɪlˌbɔrd stənt tɪ geɪn pəˈblɪsɪti. ðə stənt ˌɪnˈvɑlvz ˈsɛtɪŋ əp ə ˈbɪlˌbɔrd ðət rɪpt ɔf ˈhæmlɪn, ˈhæmlɪn ˈloʊgoʊ, ðɛn ˈʤɪmi ˈgɪtɪŋ ə ˈɔrdər, ðɛn ərˈeɪnʤɪŋ fər ə ˈfriˌlæns ˈmidiə tim tɪ ˈrɛkərd ɪm wɪn ðə gaɪ ˈteɪkɪŋ daʊn ðə ˈbɪlˌbɔrd "ˌæksəˈdɛnəli" fɔlz, ˈprɑmptɪŋ ˈʤɪmi tɪ goʊ əp ənd seɪv ɪm. ðə tim si θru ðə ruz wɪn ˈwɑʧɪŋ ˈʤɪmi ɔn ðə ˌæftərˈnun nuz, bət ˌdɪˈsaɪd nɑt tɪ pərˈsu ˈfərðər ˈækʃən əˈgɛnst ˈʤɪmi sɪns duɪŋ soʊ wʊd bi ðɪs. ɪn ðə ˈfɑðər tɛd ˈɛpɪˌsoʊd "ðə ˈpæʃən əv st*. tibulus*", ðə fɪlm, kənˈdɛmd baɪ ðə poʊp ɛz "ˈblæsfəməs" ənd bænd ˈɛvriˌwɛr ɛls, ɪz biɪŋ ʃoʊn ɔn ˈkrægi ˈaɪlənd bɪˈkəz əv ən ənˈnoʊn ˈluˌphoʊl. ˈbɪʃəp ˈbrɛnən ˈɔrdərz tɛd ənd ˈdugəl tɪ ˈpɪkɪt ðə ˈsɪnəmə ʃoʊɪŋ ðə fɪlm. ðə ˈproʊˌtɛst həz ðə ˈifɛkt əv ˈmeɪkɪŋ ðə fɪlm (wɪʧ ɪz ɪn frɛnʧ ənd undubbed*) ðə moʊst ˈpɑpjələr ɪn ðə ˈhɪstəri əv ˈkrægi ˈaɪlənd. ˈbɪʃəp ˈbrɛnən: ˈpipəl ər ˈkəmɪŋ ɔl ðə weɪ frəm gdænsk! tɪ si ðə fɪlm. ə ˈleɪtər ˈɛpɪˌsoʊd əv hæd ðə gæŋ traɪɪŋ tɪ gɪt ə ˈkɑpi əv ðə fɪlm ðə mun ɪz blu bɪˈkəz ɪt hæd bɪn bænd ɪn ˈbɔstən. ˈʧɑrəlz, ə ˈbɔstən ˈneɪtɪv, ˈkɔʃənz ðət ˈbɔstən wʊd hæv bænd pɪˈnoʊkioʊ, bət ˈhɔˌkaɪ ənd peɪ ɪm noʊ hid, ˈθɪŋkɪŋ ɪt məst bi ˈstimi. ðə ˈkæpər tɪ ɔl ðə ˈtrəbəlz ðeɪ hæd əbˈteɪnɪŋ ɪt wɑz ðɛm ˈwɑʧɪŋ ɪt ənd ˈfaɪndɪŋ ɪt ˈtɛrəbli ˌɪnəˈfɛnsɪv.: ðɛr wɑz mɔr fɪlθ ɪn ðɪs ˈmɔrnɪŋz ˈbrɛkfəst! dɪˈskəst ɪn ðə wɛst wɪŋ; ɪn wən ˈɛpɪˌsoʊd, ə fəˈtɑgrəfər sæm wəns haɪərd ðɛn faɪərd həz ˈrɪtən ə ˈlaɪbɛləs bʊk əˈbaʊt ðə waɪt haʊs fʊl əv ˌɪˈnækjərət bət pəˈtɛnʃəli ˈskændələs ənd ɪmˈbɛrəsɪŋ ənd ˌfæbrɪˈkeɪʃənz. ˈæftər sæm spɛnz ðə ˈɛpɪˌsoʊd wɪθ ə bi ɪn hɪz ˈbɑnət traɪɪŋ tɪ du ˈɛvriˌθɪŋ hi kən tɪ gɪt ðə bʊk skwɑʃt ənd ðə waɪt haʊs tɪ kənˈdɛm ˈɛvəri ˈsɪŋgəl ˈfælsˌhʊd wɪˈθɪn ɪt, ənd ˈtoʊbi sɪt ɪm daʊn ənd ɪkˈspleɪn tɪ ɪm ðət ˈmeɪkɪŋ ə juʤ dil aʊt əv ɪt ənd ˈjuzɪŋ ðə fʊl vɔɪs əv ðə waɪt haʊs tɪ kənˈdɛm ðə fəˈtɑgrəfər ɪz ʤɪst goʊɪŋ tɪ gɪv ɪm ə ˈbɪgər ˈplætˌfɔrm, wɛˈræz ɪf ðeɪ du ˈnəθɪŋ bɪɔnd ˈkərtli ækˈnɑlɪʤɪŋ hɪz ɪgˈzɪstəns ənd ə ˈsɪmpəl ʃrəg əv dɪˈsɪntərəst, ðɛl meɪk ɪt klɪr haʊ ˌɪnsɪgnˈjɪfɪkənt hi ˈrɪli ɪz ənd hɪz bʊk wɪl ˌdɪsəˈpɪr ˌbiˈfɔr lɔŋ. ɪn ðə x-files*, ðɪs ðə ˌɪˈnɪʃəl ˈrizən ðə kənˈspɪrəsi ˈdəzənt ʤɪst kɪl ˈməldər ənd ˈskəli, beɪst ɔn ðə ədˈvaɪs əv ðə mæn. ɛz hi kleɪmd, ˈkərəntli ˈməldər wɑz ʤɪst səm ˌɛkˈsɛntrɪk ˈɛfˈbiˈaɪ ˈeɪʤənt ˈræmbəlɪŋ əˈbaʊt kənˈspɪrəsiz, bət ɪf hi wɑz ˈmərdərd, ðɛn ðə kənˈspɪrəsi ˈθɪriz wʊd bi ˈgɪvɪn ˌkrɛdəˈbɪlɪti. ɛz tɛlz wən əv ðə ˈsɪndɪkət ˈmɛmbərz, "kɪl ˈməldər ənd ju tərn wən mænz rɪˈlɪʤən ˈɪntu ə kruˈseɪd". ˌɪnˈvoʊkt ɪn wɪn ˈɛfˈbiˈaɪ ˈmeɪˌfɛr ʃuts daʊn ˈkɑrtərz ˌɪnˈsɪstəns ɔn ˈhævɪŋ ʤeɪn kɪld baɪ ˈpɔɪntɪŋ aʊt ðət hər ˌtæˈtuz hæd ɔˈrɛdi bɪn skænd, soʊ ðə ˈɛvədəns wɑz ɔˈrɛdi prɪˈzərvd ənd ˈkɪlɪŋ hər wʊd ʤɪst kɔz ˈpipəl tɪ ˈwəndər wət ˌɪnˌfɔrˈmeɪʃən ɪn ðɛm wɑz wərθ ˈkɪlɪŋ hər ˈoʊvər. ʃuts daʊn ˈkɑrtərz ˌɪnˈsɪstəns ɔn ˈhævɪŋ ʤeɪn kɪld baɪ ˈpɔɪntɪŋ aʊt ðət hər ˌtæˈtuz hæd ɔˈrɛdi bɪn skænd, soʊ ðə ˈɛvədəns wɑz ɔˈrɛdi prɪˈzərvd ənd ˈkɪlɪŋ hər wʊd ʤɪst kɔz ˈpipəl tɪ ˈwəndər wət ˌɪnˌfɔrˈmeɪʃən ɪn ðɛm wɑz wərθ ˈkɪlɪŋ hər ˈoʊvər. ˌɪnˈvoʊkt ɪn ˈbæbəˌlɑn 5 wɪn ˈkæptən ˈʃɛrɪdən həz əˈnaʊns ɔn hər vɔɪs əv ðə rɪˈzɪstəns ˌtɛləˈvɪʒən ʃoʊ ðət ˌæbsəˈlutli ˈnəθɪŋ əv noʊt həz ˈhæpənd ɪn ən ˌpɑˈtɪkjələr ˈsɛktər əv speɪs (wɛr hiz ʤɪst hæd ə fɔrˈmeɪʃən əv waɪt stɑrz blæst səm ˈrændəm ˈæstərˌɔɪdz). ðɪs ɪz pɑrt əv ə ˈʤɛŋhɪs ˈgæmbɪt hiz pleɪɪŋ ɔn ðə lig əv ˈnɑnəˌlaɪnd wərldz tɪ gɪt ðɛm tɪ əkˈsɛpt, neɪ, dɪˈmænd ðə ˈreɪnʤərz sərv ɛz ə ˈpiˌskipɪŋ fɔrs: ɛz ˈʃɛrɪdən wɛl noʊz, səˈspɪʃəsli spɪˈsɪfɪk dɪˈnaɪəlz ər ə gʊd weɪ tɪ gɪt ˈpipəl tɪ ˈwəndər waɪ jʊr dɪˈnaɪɪŋ ɪt. ˈteɪbəlˌtɑp geɪmz ðə geɪm ˌpɛrəˈnɔɪə teɪks pleɪs ɪn ə ˈsɪti kɔld ˈælfə ˈkɑmplɛks ruld baɪ ən all-powerful*, tərˈænɪkəl kəmˈpjutər. ðə kəmˈpjutər ˈjuzɪz ˈkɑmjənəsts ɛz ɪts ˈskeɪpˌgoʊt, ˈbleɪmɪŋ ðɛm fər ə ˈnukliər wɔr. ðɛr wɑz noʊ wɔr, ˈkɑmjəˌnɪzəm daɪd aʊt lɔŋ ˌbiˈfɔr ðə əˈpɑkəˌlɪps, ənd ðə kəmˈpjutər ˈoʊnli bleɪmz ˈkɑmjəˌnɪzəm bɪˈkəz əv oʊld faɪlz lɛft ˈoʊvər frəm ðə ðɛr ɪz, ˌhaʊˈɛvər, ə ˈbrændˌnu sɛkt əv ˈkɑmjənəsts ɪn ˈælfə ˈkɑmplɛks ə lɔt əv ˈsɪtɪzənz ˈfɪgjər ðət, ɪf ðə kəmˈpjutər ɪz ˈivəl ənd ðə kəmˈpjutər heɪts ˈkɑmjənəsts, ðɛn ˈkɑmjənəsts hæv tɪ bi ðə gʊd gaɪz. moʊst ˈrɛkərdz əv ˈækʧəwəl ˈkɑmjəˌnɪzəm ˈdɪdənt sərˈvaɪv, ðoʊ, soʊ ðeɪ ˈglædli ˈfɑloʊ ðə ˈtiʧɪŋz əv ˈgruʧoʊ mɑrks ənd ʤɑn ˈlɛnən. wɛb ˈkɑmɪks ˈfriˌfɔl: sæm həz əˈpɛrəntli hæd ˈpriviəs ˈpræktɪkəl ˌdɛmənˈstreɪʃənz əv ðɪs, əˈkɔrdɪŋ tɪ ðɪs strɪp. sæm: maɪ ərˈɪʤənəl mɪˈsteɪks ˈnɛvər drɔ hæf ðə əˈtɛnʃən maɪ ərˈɪʤənəl mɪˈsteɪks ˈnɛvər drɔ hæf ðə əˈtɛnʃən ɛz maɪ əˈtɛmpts tɪ ˈkəvər ðɛm əp du ˈwɛstərn ˌænəˈmeɪʃən ɪn ðə ˈsɪmpsənz, wɪn ˈhoʊmər ənd ˈəðərz ər əˈbaʊt tɪ tʊr ðə dəf ˈbruəri: tʊr gaɪd: ˈwɛlkəm tɪ ðə dəf ˈbruəri. wɛl, əm ʃʊr ðət ɔl əv ju hæv hərd ðə ˈrumərz ðət ə bæʧ əv dəf wɑz kənˈtæməˌneɪtɪd wɪθ ˈstrɪkˌnaɪn. ˈtʊrɪsts: [ˈməmbəlɪŋ əˈməŋ ðɛmˈsɛlvz] noʊ. ˈstrɪkˌnaɪn? ðæts nuz tɪ mi. gaɪd: ər ju ʃʊr? ˈɛvriˌwənz ˈtɔkɪŋ əˈbaʊt ɪt; ɪt wɑz ˈivɪn ɔn ˈsiˈɛˈnɛn læst naɪt. ˈtʊrɪsts: [ˈməmbəlɪŋ əˈməŋ ðɛmˈsɛlvz] ˈsiˈɛˈnɛn? woʊ. gaɪd: wɛl, ɪts nɑt tru. saʊθ pɑrk: ðə ˈɛpɪˌsoʊd "cartmanland*", wɛr ˈɛrɪk baɪz ən əmˈjuzmənt pɑrk fər ðə soʊl ˈpərpəs əv ˈkipɪŋ ˈpipəl aʊt ənd ˈhævɪŋ ɪt ɔl tɪ hɪmˈsɛlf. hi maɪt hæv ˈgɔtən əˈweɪ wɪθ ɪt ɪf hi ˈhædənt ɛrd kəˈmərʃəlz ɪkˈstoʊlɪŋ ðə pɑrk ənd ðɛn ˈsteɪtɪŋ noʊ wən kʊd kəm. ðə kəˈmərʃəlz dru ˈpipəlz əˈtɛnʃən tɪ ðə pɑrk, ənd ˈraɪzɪŋ ɪkˈspɛnsɪz, laɪk sɪˈkjʊrəti tɪ kip ðɛm aʊt, fɔrst ɪm tɪ hæv tɪ lɛt mɔr ənd mɔr ˈpipəl ɪn, ˈtərnɪŋ ðə pɑrk frəm ə ˌfaɪˈnænʃəl ˈfeɪljər tɪ ə səkˈsɛs. nɑt ðət kɛrd. ɪn "ðə teɪl əv mcboogerballs*", ðə kɪdz bɪˈkəm ɪnˌθuziˈæstɪk əˈbaʊt ˈhævɪŋ tɪ rɛd ðə ˈkæˌʧər ɪn ðə raɪ ˈæftər ˈfaɪndɪŋ aʊt ɪt wɑz bænd ɪn səm skulz ənd səˈpoʊzədli ˌɪnˈspaɪərd ˈpipəl tɪ kɪl səˈlɛbrɪtiz. wɪn ðeɪ ˈæˌkʧuəli rɛd ðə bʊk, ˌhaʊˈɛvər, ðɛr əˈnɔɪd ðət ɪts ə ˈnɔrməl ˈnɑvəl wɪθ ðə ɔˈkeɪʒənəl kərs wərd. ril laɪf ɪgˈzæmpəlz: ˈædvərˌtaɪzɪŋ nɑt kwaɪt ə fleɪm wɔr fjuəl, bət stɪl gɑt rɪˈzəlts ɔn ˈgugəl (ɛz əv ɑkˈtoʊbər 2011 nɑt kwaɪt ə fleɪm wɔr fjuəl, bət stɪl gɑt rɪˈzəlts ɔn ˈgugəl (ɛz əv ɑkˈtoʊbər 2011 p.t*. ˈbɑrnəm wɑz ə ˈmæstər əv ðɪs, əˈlɔŋ wɪθ ˈəðər pəˈblɪsɪti stənts. waɪl ˈtrævəlɪŋ wɪθ hɪz ˈsərkəs, hi wʊd ˈɔfən hæv ə ʃɪl su ɪm ər kəmˈpleɪn əˈbaʊt ɪm tɪ ðə ˈloʊkəl ˈpeɪpər, stərɪŋ əp ˈɪntəˌrɛst. ðə moʊst ˈfeɪməs ɪgˈzæmpəl wʊd ˈprɑbəˌbli bi ɪm ˈhaɪrɪŋ ə mæn tɪ su ɪm wɪθ ðə kleɪm ðət ðə ˈbɪrdəd ˈleɪdi wɑz ˈæˌkʧuəli ə mæn. ðə ʤəʤ ˈrɛkəgˌnaɪzd ɪt ɛz ə plɔɪ ənd dɪsˈmɪst ɪt, bət nɑt ˌbiˈfɔr ˈθaʊzənz rɛd əˈbaʊt ðə keɪs ənd flɑkt tɪ hɪz ʃoʊ. ɑrts ə ˈvɛri ɑd ɪgˈzæmpəl frəm saʊθ ˈæfrɪkɑ. ɪn meɪ 2012 ən ɑrt ˌɛksəˈbɪʃən wɑz hɛld ɪn ˌʤoʊˈhænɪsbərg kɔld heɪl tɪ ðə θif ii*, wɪʧ ˈfiʧərd ɑrt baɪ ə ˈloʊkəl ˈɑrtɪst neɪmd brɛt ˈməri. wən əv hɪz ˈpeɪnɪŋz wɑz kɔld ðə spɪr, wɪʧ dɪˈpɪktɪd ˈprɛzɪdənt ˈʤeɪkəb ɪn ə poʊz ˈsɪmələr tɪ ˈvɪktər ˈlɛnɪn lɪvd, ˈlɛnɪn ɪz əˈlaɪv, ˈlɛnɪn wɪl lɪv, ˈoʊnli ˈʤɛnətəlz wər ɪkˈspoʊzd. ə ˈnuzˌpeɪpər, ˈsɪti prɛs, ræn ə ˈstɔri əv ðə ˌɛksəˈbɪʃən, ənd ˈprɪnɪd ðə ˈpɪkʧər ənd pleɪst ɪt ɔn ðɛr ˈwɛbˌsaɪt. fər kloʊz tɪ ə wik, ˈnəθɪŋ ˈhæpənd; ðɛn ˈpɑrti, ðə, θˈrɛtənd tɪ teɪk ðə ˈgʊdmən ˈgæləri tɪ kɔrt waɪl ˈpəblɪkli kənˈdɛmɪŋ ðə ˈpeɪnɪŋ ənd dɪˈmændɪŋ ðət ˈsɪti prɛs riˈmuv ðə ˈɪmɪʤ frəm ðɛr ˈwɛbˌsaɪt. bɪˈkəz əv ðə groʊɪŋ ˈhɑstəl rɪˈspɑns frəm səˈpɔrtərz ənd ðə ˈrulɪŋ ˈpɑrti ˌɪtˈsɛlf, ðə ˈpeɪnɪŋ gɑt ˈduplɪˌkeɪtɪd ɪn ˈnuzˌpeɪpərz ənd ˈwɛbˌsaɪts əraʊnd ðə wərld. ɪt ˈivɪn lɛd tɪ ðə kriˈeɪʃən əv ə ˈwɪkiˌpiˌdiə peɪʤ wɪθ ðə əˈfɛndɪŋ ˈpeɪnɪŋ raɪt æt ðə tɔp. ðɪs hæd ə bɪˈzɑr rɪˈpit ðə ˈfɑloʊɪŋ jɪr, wɪn ə greɪd 12 ɑrt ˈstudənts ənˌsɪmpəˈθɛtɪk pɔrˈtreɪəl əv ˈlidərz ə sɛt əv (ie*. nɑt fər seɪl) ˈtiˌsərts ɔn dɪˈspleɪ æt ə smɔl ˈloʊkəl mɔl əˈlɔŋ wɪθ ɔl əv ðə ˈəðər greɪd 12 ˈfaɪnəl ɑrt ˈprɑʤɛkts wɛnt frəm biɪŋ sin baɪ ə ˈkəpəl əv ˈhənərd ˈloʊkəlz, ˈtoʊtəl, tɪ ˈgɪtɪŋ ə ˈmaɪnər ʃoʊɪŋ ɪn ðə ˈnæʃənəl nuz ə ˈnoʊtəbəl "rɪˈvərs ˈstraɪˌsænd ˈifɛkt": ɪn 2017 ðə ˈsɪti ˈkaʊnsəl əv ˈʃɑrlətsˌvɪl, vərˈʤɪnjə ˈvoʊtɪd tɪ riˈmuv ə ˈstæˌʧu əv ˈrɑbərt i. li du tɪ hɪz səˈpɔrt fər ðə kənˈfɛdərəsi. ə ˈræli ðət ˈɔgəst baɪ ə grup əv waɪt suˈprɛməsɪsts əˈgɛnst ðə rɪˈmuvəl ˈəltəmətli ˈɛndɪd ɪn ə viˈhɪkjələr əˈtæk ðət kɪld wən ˈwʊmən. ðə ˈəˌprɔr ˈoʊvər ðɪs dɛθ lɛd tɪ ə ˈmuvmənt tɪ teɪk daʊn mɔr məˈmɔriəlz əv ðə kənˈfɛdərəsi, wɪθ ə ˈstæˌʧu ɪn ˈdʊˈrhæm, nɔrθ ˌkɛrəˈlaɪnə biɪŋ ˈtɑpəld ˈoʊvər baɪ ˈproʊˌtɛstərz ənd ˈbɔltəˌmɔr riˈmuvɪŋ fɔr ˈmɑnjəmənts ˈdʊrɪŋ ðə ˈmɪdəl əv ðə naɪt. ˈkɑmədi wən əv ˈdærə ˈstænˌdəp ruˈtinz dɪˈskəsɪz ðə ˈbrifɪŋ noʊts hi ˈsəmˌtaɪmz gɪts wɪn hi dɪz ˈkɔrpərət gɪgz fər ˌpɑˈtɪkjələr ˌɔrgənəˈzeɪʃənz wɪʧ æsk ɪm nɑt tɪ ˈmɛnʃən ˈsərtən θɪŋz. ˈæskɪŋ ə kəˈmidiən nɑt tɪ ˈmɛnʃən ˈsəmθɪŋ, ɛz hi noʊts, ɪz laɪk "ə rɛd flæg tɪ ə bʊl". hi ˈɔlsoʊ pɔɪnts aʊt ðət moʊst əv ðə taɪm hi ˈwʊdənt ˈivɪn hæv kənˈsɪdərd ˈmɛnʃənɪŋ ˌwəˈtɛvər hi wɑz æst nɑt tɪ ˈmɛnʃən ɪn ðə fərst pleɪs ɪf ðə ɪkˈstrimli veɪg ˈrizənz waɪ hi ˈʃʊdənt ˈmɛnʃən ɪt ˈhædənt meɪd ɪm ɔl ðə mɔr ˈkjʊriəs əˈbaʊt ɪt. hi ˈæˌkʧuəli hæd tɪ dil wɪθ ən ˈɪnsədənt laɪk ðɪs ɔn mɑk ðə wik wɛr ðə ɪgˈzɛkjətɪv prəˈdusər ˈɔrdərd ðə kəˈmidiənz nɑt tɪ ˈmɛnʃən ðə ˈblaɪndnəs əv ə ˌpɑləˈtɪʃən hu ðə ɪgˈzɛkjətɪv prəˈdusər wɑz frɛndz wɪθ. kju 5 ˈmɪnəts əv ʤoʊks ˈoʊnli əˈbaʊt hɪz ˈblaɪndnəs. bɪl ˈbeɪli hæd ə ˈsɪmələr bɪt əˈbaʊt ðə swɪs ˌɪnˈvɛstmənt bæŋk proʊˈhɪbətɪŋ ˈkɔrpərət ˈstænˌdəp gɪgz frəm ˈmeɪkɪŋ kræks əˈbaʊt ˈnɑtsi goʊld. soʊ ˈbeɪli wɔkt ɔn, ˈæskɪŋ tɪ ˈoʊpən ə ˈpɛnʃən, ənd wɪn æst wɪθ wət ˈkərənsi hi rɪˈplaɪz goooooooooold*! ʤɪst laɪk ju dɪd!". ˈpɛrədid baɪ ˈgɪlbərt ˈgɔtfrid ˈdʊrɪŋ ðə roʊst əv bɑb, wɛr hi rɪˈpitɪdli ənd ˈviəməntli ˌɪnˈsɪstɪd ðət ə ˈrumər ðət bɑb reɪpt ənd kɪld ə gərl ɪn 1990 wɑz nɑt tru, dɪˈspaɪt ðə fækt ðət ðɛr ɪz noʊ səʧ ˈrumər. ˈkɑmɪk bʊks wɪn dɑn ˈroʊzə rɪˈtaɪrd frəm ˈwərkɪŋ ɔn ðə ˈdɪzni dəks ˈkɑmɪk ˈjunəˌvərs, hi roʊt ən ˈɛˌseɪ fər ðə læst əv ðə dɑn ˈroʊzə kəˈlɛkʃən ˈsɪriz əv ˈhɑrdˌkəvərz ɪkˈspleɪnɪŋ waɪ. ðɪs wɑz du tɪ ə ˌkɑmbəˈneɪʃən əv ˈfeɪlɪŋ ˈaɪˌsaɪt, ˈiˌmoʊʃənəl ɪgˈzɔsʧən, ənd dɪsˈgrəntəlmənt ˈoʊvər ˈdɪzniz kənˈtɪnjud rɪfˈjuzəl tɪ ˈɔfər ðɛr ˈkɑmɪks kriˈeɪtərz ˈɛniˌθɪŋ mɔr ðən ə loʊ ənd, wɪn fɔrst, ˈmɪnəməl ˈkrɛdɪts. ˈdɪzni rɪfˈjuzd tɪ əˈlaʊ ðə ˈɛˌseɪ tɪ bi ˌɪnˈkludɪd ɪn ðə bʊks, wɪʧ kɔzd ˈroʊzə tɪ pʊt ɪt ˈɔnˌlaɪn ɛz hi sɪz ɔn ðə lɪŋkt peɪʤ, ðɪs ˈprɑbəˌbli rɪˈzəltɪd ɪn fɑr mɔr ˈpipəl ˈrɛdɪŋ ðə ˈɛˌseɪ ðən ɪf ɪt hæd bɪn ˈpəblɪʃt ɪn ə bʊk eɪmd æt ˈhɑrdˈkɔr fænz ənd ˈkɑmɪks kəˈlɛktərz. fɪlmz ˈlɪtərəʧər ðə ˈvætɪkənz ˈɪndɛks əv ˈfɔrbɪdən bʊks (kriˈeɪtɪd ɪn 1557 ˈdʊrɪŋ ðə ˌrɛfərˈmeɪʃən) wɑz ə lɪst əv bʊks wɪʧ gʊd ˈkæθlɪks wər nɑt səˈpoʊzd tɪ rɛd, ˌɪnˈkludɪŋ wərks baɪ ˈprɑtəstənt ˌθiəˈloʊʤənz, səm ˌsaɪənˈtɪfɪk ˈraɪtɪŋz, ˌɛtˈsɛtərə. ˈnæʧərəli, ɪt ˈbækˌfaɪərd ɪt ˈtɛndɪd tɪ bi juzd ɛz ə ˈrɛdɪŋ lɪst, ənd ðə ˈprɪnərz juzd ɪt ɛz ə gaɪd ɔn wət tɪ prɪnt nɛkst. ˈnɪkɔlaʊz bʊk ɔn ðə ˌrɛvəˈluʃənz əv ðə ˈhɛvənli sfɪrz (ədˈvænsɪŋ ə ˈjunəˌvərs) wɑz pʊt ɔn ðə ˈvætɪkənz ˈɪndɛks əv ˈfɔrbɪdən bʊks ɪn 1616 ənd wɑz ˈfɑloʊd lɛs ðən ə jɪr ˈleɪtər wɪθ ə nu ɪˈdɪʃən. nɑt bæd fər ə ˈtɛknɪkəl ˈtɛkstˌbʊk ðət hæd bɪn aʊt əv prɪnt fər 60 jɪrz praɪər. lɪn ˈʧeɪni, waɪf əv dɪk, roʊt ə ˈnɑvəl ɪn 1981 kɔld ˈsɪstərz, ˈfiʧərɪŋ ˈsɛkʃuəl ˈkɑntɛnt ənd ˈlɛzbiənɪzm hər əˈtɛmpts tɪ prɪˈvɛnt ə 2006 riˈprɪnt ˈæˌkʧuəli hɛlpt ˈpəblɪˌsaɪz ɪt. məkˈdɑnəldz sud ə smɔl ˈæktɪvɪst grup ˈoʊvər ə flaɪər biɪŋ pæst aʊt æt wən əv ɪts ˈrɛˌstrɑnts, ðət əˈlɛʤd ˈsərtən rɔŋˈduɪŋz baɪ ðə fæst fud ʧeɪn. ɪf lɛft əˈloʊn, ˈoʊnli ə ˈkəpəl ˈhənərd ˈpipəl meɪ hæv sin ɪt. ˌhaʊˈɛvər, ðə traɪəl ˈɛndɪd əp ˈteɪkɪŋ ˈoʊvər ə ˈdɛkeɪd ənd gɑt ˌɪnərˈnæʃənɑl ˈmidiə əˈtɛnʃən. ˈæftər ˈspɛndɪŋ ˈmɪljənz ɔn ˈlɔjərz, məkˈdɑnəldz wɑz əˈwɔrdɪd ɪn ˈdæmɪʤ frəm ðə ˈæktɪvɪsts. ˈæftər ˈspɛndɪŋ ˈmɪljənz ɔn ˈlɔjərz, məkˈdɑnəldz wɑz əˈwɔrdɪd ɪn ˈdæmɪʤ frəm ðə ˈæktɪvɪsts. ˈfɑksəz ˈlɔˌsut əˈgɛnst æl ˈfræŋkən ˈoʊvər hɪz bʊk laɪz ənd ðə laɪɪŋ laɪərz hu tɛl ðɛm: ə fɛr ənd ˈbælənst lʊk æt ðə raɪt, kleɪmd ðət ðə ˈtaɪtəl ˌɪnˈfrɪnʤd ɔn ðə "fɛr ənd ˈbælənst" sˈloʊgən əv ðə fɑks nuz ˈʧænəl. ˈfræŋkən ənd hɪz səˈpɔrtərz stɪl ˌɪnˈsɪst ðə ril mæn bɪˈhaɪnd ðə ˈlɔˌsut wɑz bɪl oʊˈraɪli fər wət ˈfræŋkən sɛd əˈbaʊt ɪm ɪn ðə bʊk. nuz əv ðə ˈlɔˌsut kɔzd ðə bʊk tɪ ʃut əp tɪ ˈæməˌzɑnz ˈnəmbər wən ˈsɛlər ˌbiˈfɔr ɪt wɑz ˈivɪn əˈfɪʃəli riˈlist. ɛz fər ðə sut ˈmɛni əv ðə ˈpleɪnɪfs ˈɑrgjəmənts wər mɛt wɪθ ˈækʧəwəl ˈlæftər ɪn ðə ˈkɔrˌtrum, ənd fɑks wɪθˈdru ðə sut æt ðə ˈʤəʤɪz ˌrɛkəmənˈdeɪʃən. ə ˈmaɪnər ɪgˈzæmpəl frəm ðə gaɪd tɪ ðə ˈgæləksi, ðə ˈɔθər əv ðə wərst ˈpoʊətri ɪn ðə ˈjunəˌvərs ɪz neɪmd ɪn ðə ərˈɪʤənəl ˈreɪdiˌoʊ ʃoʊ ɛz "pɔl nil mɪln ˈʤɑnˌstoʊn əv redbridge*, ˈɛsɪks" ə ˈfɔrmər ˈskulˌmeɪt əv ˈdəgləs ˈædəmz, hu roʊt dɪˈlɪbərətli ˈtɛrəbəl ˈpoʊətri ənd hu rɪˈspɛktfəli æst ðət hɪz neɪm ənd loʊˈkeɪʃən bi riˈmuvd frəm ðə bʊk ˌædəpˈteɪʃənz. ðəs ˈpipəl naʊ æsk waɪ ðə neɪm ʧeɪnʤd frəm pɔl tɪ ə 'ˈpɔlə ˈnænsi ˈmɪlˌstoʊn ˈʤɛnɪŋz' ɪn ˈsəsɪks ɪn ˈsəbsəkwənt ˈvərʒənz ənd dɪˈskəvər ðə ˈstɔri əv wɛr ˈædəmz gɑt ðə aɪˈdiə frəm. ˈoʊldər ðən fˈjudəˌlɪzəm: ɪn wən əv hɪz ˈmɔrəl ˈtritəsəz, ˈsɛnəkə spiks əv ə haʊs ɔn ðə koʊst ðət wɑz ˈprɑpərti əv, wɪʧ wɑz dɪˈstrɔɪd baɪ ðət ˈɛmpərər, bɪˈkəz hɪz ˈməðər wɑz dɪˈteɪnd ɛz ə ˈprɪzənər baɪ ðə ˈfɔrmər ˈɛmpərər tiberius*. ˈsɛnəkə rɪˈleɪtɪd ðət wɪn ˈstreɪnʤərz sɔ ðə haʊs, ðeɪ ˈdɪdənt peɪ ˈɛni əˈtɛnʃən tɪ ɪt, bət sɪns lɛft ˈoʊnli ruɪnz, ɔl wər ˈɪntəˌrɛstɪd tɪ noʊ ɪts ˈhɪstəri. ˈdɑktər. ˌhoʊˈzeɪ ˈfeɪməs ˈnɑvəl mi tangere*, huz ˌkɑntrəˈvərʃəl ˈkɑntɛnt ərnd ðə aɪr əv ðə ˈspænɪʃ fraɪərz, kɔzd ðə ˈlætər tɪ dɪˈklɛr ðət ˈɛniˌwən ˈrɛdɪŋ ɪt wʊd bi ʧɑrʤd wɪθ ˈhɛrəsi ənd bi ˌɛkskəmˈjunəˌkeɪtəd. ðɪs ˈoʊnli kɔzd ðə ˈloʊkəl ˈpɑpjələs tɪ bɪˈkəm ˈkjʊriəs, ˈkɔzɪŋ seɪlz tɪ ˈskaɪˌrɑkət. ˈmɛni ˈlaɪbrɛˌriz ənd ˈbʊkˌstɔrz ˌɪnˈvoʊk ðɪs ˈdʊrɪŋ bænd bʊks wik, ˈpʊtɪŋ əp dɪˈspleɪz əv ˈfrikwɛntli bænd bʊks ənd ˈprɑmptɪŋ kɪdz tɪ rɛd ðɛm tɪ si wət ɔl ðə fəs ɪz əˈbaʊt. ˈpʊtɪŋ əp dɪˈspleɪz əv ˈfrikwɛntli bænd bʊks ənd ˈprɑmptɪŋ kɪdz tɪ rɛd ðɛm tɪ si wət ɔl ðə fəs ɪz əˈbaʊt. ˈsæmən ˈrəʃdiz ðə səˈtænɪk ˈvərsɪz wɑz ˈsɛlɪŋ ə fju ˈhənərd ˈkɑpiz ə wik ənˈtɪl ðə ˈfɑtwɑ əˈgɛnst ˈrəʃdi. ˈæftərwərdz, ɪt bɪˈkeɪm soʊ ˈpɑpjələr ðət ɪt soʊld faɪv taɪmz mɔr ˈkɑpiz ðən ðə 2 best-seller*. ɪts stɪl ðə ˈpəblɪʃərz bʊk əv ɔl taɪm. ɪn 2018 fariña*, ə bʊk baɪ ˈʤərnəlɪst ˈnɑˌʧoʊ ˈdɑkjəmənɪŋ drəg ˈdilɪŋ ˈkeɪsɪz ɪn gəˈlɪʃiə ɪn ðə 90s*, wɑz sizd baɪ kɔrt ˈɔrdər ˈæftər ə ˈfɔrmər meɪər ˈmɛnʃənd ɪn ðə bʊk sud fər ˈdæmɪʤɪz. ðət ˈvɛri wik, ðə bʊk bɪˈkeɪm ə ˈbɛˈsɛlər ɔn ˈæməˌzɑn speɪn ənd ðə prɛˈmɪr ˈɛpɪˌsoʊd əv ðə ˌtɛləˈvɪʒən ˈsɪriz beɪst ɔn ɪt wɪʧ wɑz nɑt əˈfɛktɪd baɪ ðə kɔrt ˈɔrdər sɪns ðə ʤəʤ kənˈsɪdərd ðə skrɪpt əv ðə ˈsɪriz wɑz ənˈnoʊn ənd ðə ˈɛrɪŋ deɪt wɑz ənˈsərtən wɑz prəˈmoʊtəd fər ə ˈprivˌju riˈlis. ðə ˈʧɪldrənz ˈnɑvəl bæn ðɪs bʊk! ɪz ɔl əˈbaʊt ə gərl traɪɪŋ tɪ ʧɛk hər ˈfeɪvərɪt bʊk aʊt frəm ðə ˈlaɪbrɛˌri, ˈoʊnli tɪ faɪnd ə ˈpɛrənt hæd æst fər ɪt tɪ bi bænd, əˈlɔŋ wɪθ ˈsɛvərəl ˈəðərz. ðə gərl ənd hər frɛndz ɪˈvɛnʧəwəli kriˈeɪt ə ˈlɪtəl bænd bʊk ˈlaɪbrɛˌri aʊt əv hər ˈlɑkər, ˈoʊnli ˈstɑkɪŋ ðə bʊks ðə ˈpɛrənt hæd æst tɪ bæn ənd rɪˈzəltɪŋ ɪn moʊst əv ðə skul traɪɪŋ tɪ gɪt ðɛr hænz ɔn ðə bʊks tɪ si wət ɔl ðə fəs ɪz əˈbaʊt. bɑb bʊk ɔn ðə 1992 mɛts, ðə wərst tim ˈməni kʊd baɪ: ðə kəˈlæps əv ðə nu jɔrk mɛts, gɑt ˌənɪkˈspɛktɪd pəˈblɪsɪti wɪn wɑz ˌɪnˈvɑlvd ɪn ən ˈɪnsədənt wɪθ wən əv ðə timz pleɪərz. ˈbɑbi bəˈnɪlə, hu wɑz əkˈwaɪərd baɪ ðə ˈpaɪrəts ðə ˈpriviəs jɪr ənd hæd ˈfrikwɛntli klæʃt wɪθ ðə nu jɔrk ˈmidiə, θˈrɛtənd ˈfɪzɪkəl ˈvaɪələns ɔn ənd hæd tɪ bi riˈstreɪnd baɪ hɪz ˈtimˌmeɪts. ɛz ɪt rɪˈflɛktɪd ən ˈækjərət pɔrˈtreɪəl əv ðə mɛts æt ðət pɔɪnt, seɪlz əv ðə bʊk ˈskaɪˌrɑkətɪd. ðə ˈlɪtərˌɛri ˌrivˈju ˈmægəˌzin həz ə ˈjɪrli "bæd sɛks ɪn ˈfɪkʃən" əˈwɔrd, mɛnt tɪ poʊk fən æt ˈɪnstənsɪz əv ˌaɪˈkiə ɪˈrɑtɪkə ər mɪlz ənd bun proʊz. ˈprɪti məʧ ˈɛvəri ˈəðər jɪr ɪt ˈhæpənz, wən əv ðə ˈnɑməˌneɪtəd ˈɔθərz ɛndz əp ˈgɪtɪŋ ˈæŋgri æt ðɛm ənd ˈvɛri ˈpəblɪkli dɪˈmændɪŋ ðɛr rɪˈmuvəl frəm ðə lɪst ər ˌɪnˈsəltɪŋ ðə ˈmægəˌzin fər ɪts ˈrɔnʧi ˈætəˌtud ər əˈtɛmpt tɪ dɪˈpriʃiˌeɪt ðɛr ɑrt. ðiz əˈfɛrz ˈɔlsoʊ hæv ə ˈhæbət əv ˈriʧɪŋ ˈmeɪnˌstrim ˈaʊˌtlɛts boʊθ ɪkˈspoʊzɪŋ ə ˈrəðər nɪʧ ˈmægəˌzin tɪ ə məʧ ˈbɪgər ˈɔdiəns, ənd ˈpʊtɪŋ ə ˈspɑˌtlaɪt ɔn ˈsɛkʃənz ɪn ðə ˈɔθərz bʊk wɛr ðeɪ roʊt "ˈtərʤɪd mit stɪk" ər broʊk əˈnætəmi. ɪn 1855 wɔlt ˈwɪtmənz livz əv græs kənˈteɪnd əˈpɛrənt ˈrɛfərənsɪz tɪ ˌmæstərˈbeɪʃən, ˌhoʊmoʊˌsɛkʃuˈæləˌti, ənd ˈəðər sɛks ækts. ˈlɪtərəʧər ˈmægəˌzin ðə kraɪˈtɪriən kɔld ɪt "ə mæs əv ˈstupɪd fɪlθ," ənd əˈnəðər rivˈjuər toʊld ˈwɪtmən ðət hi ʃʊd kɪl hɪmˈsɛlf fər ˈraɪtɪŋ ɪt. ɪt wɑz ˈivɪn bænd ˈaʊˈtraɪt ɪn ˈbɔstən ˌbiˈfɔr ɪt wɑz ˈpəblɪʃt. ˌhaʊˈɛvər, livz soʊld aʊt ðə deɪ ɪt wɑz riˈlist, ˈmoʊstli frəm ˈpipəl ˈwɑnɪŋ tɪ faɪnd aʊt ʤɪst wət ɔl ðə fəs wɑz əˈbaʊt. ˌtɛləˈvɪʒən mˈjuzɪk ˈæftər ðə riˈlis əv ðə kwin sɔŋ "dɛθ ɔn tu lɛgz (ˈdɛdəkeɪtəd tɪ...)", ˈfɔrmər bænd ˈmænɪʤər ˈnɔrmən ˈʃɛfild ˌdɪˈsaɪdɪd tɪ su fər ˌdɛfəˈmeɪʃən, dɪˈspaɪt ðə fækt ðət hi wɑz ˈnɛvər ˈmɛnʃənd baɪ neɪm. hi səkˈsidɪd ˈoʊnli ɪn ˌɪnˈfɔrmɪŋ ðə wərld hum ðə sɔŋz ˈskeɪðɪŋ ˌɪnˈsəlts wər ˈtɑrgətɪŋ. məˈtælɪkəz ˈhɑrˌdlaɪn stæns ɔn ˌpɪrtoʊˈpɪr ˈdaʊnˌloʊdɪŋ rɪˈzəltɪd ˈoʊnli ɪn ðɛr sɔŋz biɪŋ ˈivɪn mɔr ˈwaɪdli ˈpaɪrətɪd. ˈəðər bændz wər hɪt baɪ ðɪs tɪ ə ˈlɛsər dɪˈgri. dreɪk əˈvərts ðɪs, ɪn fækt hi ˈɔlˌmoʊst ðɪs. ˈivɪn ðoʊ boʊθ əv hɪz ˈælbəmz hæv bɪn likt əˈhɛd əv taɪm, hi ˈjuʒəwəli ɪz ˌoʊˈkeɪ wɪθ ɪt, ðoʊ hɪz ˈrɛkərd ˈkəmpəˌni ɪz nɑt ɛz ˈhæpi. "rɪˈlæks" baɪ ˈfræŋki goʊz tɪ ˈhɑliˌwʊd bɪˈkeɪm əˈspɛʃəli ˈpɑpjələr ˈæftər ðə ˌbibiˈsi bænd ɪt. wən dɪˈrɛkʃɪn: fænz ʃɪpt ˈhɛri staɪlz ənd luɪs ˈtɑmlɪnsən ənd ˈnoʊˌbɑˌdi θɔt məʧ əv ɪt. ðɛn ɔl ˈpəblɪk ˈkɑnˌtækt bɪtˈwin ðə tu ˈsədənli stɑpt ənd ðeɪ ˈɔkwərdli dɪˈnaɪd ɪt ə fju taɪmz. naʊ ðə fænz hæv ɪnˈtaɪər ˈɛˌseɪz əv kəmˈplaɪd ˈɛvədəns ðət ðeɪ ər ˈæˌkʧuəli ɪn ə riˈleɪʃənˌʃɪp ðət ðɛr ˈmænɪʤmənt ˈkəvərz əp. ðɛr wɑz ˈɔlsoʊ ðə taɪm ən ˈɑrtɪkəl preɪzd luɪs fər səˈpɔrtɪŋ ðə kəmˈjunɪti ənd ˈæŋgri keɪm frəm hɪz tˈwɪtər əˈkaʊnt seɪɪŋ hi ˈwəzənt geɪ. ˈleɪtər ɔn, zayn*, hu ˈhæzənt ˈivɪn ˈspoʊkən tɪ ðɛm ɪn mənθs, wɑz æst əˈbaʊt fænz ˌɪnˈveɪdɪŋ hɪz ˈpraɪvəsi ənd hi ˈrændəmli sɛd ðət ˈhɛri ənd luɪs wərənt təˈgɛðər. ˌoʊˈkeɪ gaɪz. wɪn ˈtɪpər gɔr əˈnaʊnst ðət ʃi wɑz traɪɪŋ tɪ ˈsɛnsər 2 lɪv kruz mˈjuzɪk ɪn ðə leɪt 80s*, ðɛr mˈjuzɪk bɪˈkeɪm ˈivɪn mɔr ˈpɑpjələr. ˈtɪpər gɔr ənd ðə ɪn ˈʤɛnərəl wər ðə ˈstraɪˌsænd ˈifɛkt əv ðə 80s*; ˈɔlˌmoʊst ˈɛvəri bænd ðeɪ wɛnt ˈæftər fər ˌɪnəˈproʊpriɪt ˈlɪrɪks ənd ˈwətˌnɑt ˈɛndɪd əp bɪˈkəmɪŋ ˈivɪn mɔr ˈpɑpjələr du tɪ ðə pəˈblɪsɪti. ɪn ˌpɑˈtɪkjələr, wən əv ðə ˈbɪgəst ˈtɑrgəts, wɑsp, sɔ ðɛr ˈrɛkərd seɪlz ˈdəbəl ənd ˈvoʊkəlɪst blæk ˈlɔləs wɑz ɔl tu ˈhæpi tɪ juz ðɛm ɛz ə ˈviɪkəl tɪ prəˈmoʊt ðə bænd. ˈfaɪnəli, laɪk ðə ɪgˈzæmpəl bɪˈloʊ, ˈdʊrɪŋ wən əˈwɔrdz spiʧ, ˈstivən ˈtaɪlər θæŋkt ˈtɪpər gɔr fər ɪnˈʃʊrɪŋ ðət ɪf ən ˈælbəm hæd ə fju ˈdərti wərdz ɔn ɪt, ɪt wʊd sɛl ən ˈɛkstrə ˈmɪljən ˈkɑpiz. ˈæftər səm ˈreɪdiˌoʊ ˈsteɪʃənz bænd ˈbɪli ʤoʊəlz "ˈoʊnli ðə gʊd daɪ jəŋ" du tɪ ɪts pərˈsivd ˈmɛsɪʤ, ðə ˈælbəm ɪt wɑz ɔn ðə ˈstreɪnʤər ʃɑt əp ðə ʧɑrts. ən ɪgˈzæmpəl əv ˈʒɑnrə savviness*;, ˈæftər rɪˈsivɪŋ ən əˈwɔrd fər hɪz ˈbreɪkθˌru ˈælbəm, ˈpəblɪkli θæŋkt ɔl ðə ˈpipəl hu θru ə ˈoʊvər ðə ˈælbəm fər ˈmeɪkɪŋ ɪt ə hɪt. wɪrd æl ˈbɛnəfɪts frəm ðɪs frəm taɪm tɪ taɪm. fər ɪgˈzæmpəl: ˈæŋgər ˈoʊvər "ˈɑmɪʃ ˈpɛrəˌdaɪs" hɛlpt meɪk ðə sɔŋ ə ˈbɪgər hɪt. ˌbiˈfɔr streɪt ˈutə wɑz riˈlist, "jʊr ˈpɪtəfəl", ə ˈpɛrədi əv ʤeɪmz "jʊr ˈbjutəfəl", wɑz sɛt tɪ bi ðə lɛd ˈsɪŋgəl. ʤeɪmz blənt əˈpruvd əv ɪt, bət æt ðə læst ˈmɪnət, hɪz ˈrɛkərd ˈleɪbəl, əˈtlæntɪk, ʧeɪnʤd ðɛr maɪnd, ənd "waɪt ənd ˈnərdi" bɪˈkeɪm ðə lɛd ˌɪnˈstɛd. ɛz ə rɪˈzəlt, æl riˈlist ðə sɔŋ fər fri ənd pərˈfɔrmz ɪt ɔn tʊr, ˈmɑkɪŋ əˈtlæntɪk ɪn ðə ˈprɔˌsɛs. du tɪ ðə ˈbæˌklæʃ, ənd ðə ˈvɪdioʊ fər "waɪt ənd ˈnərdi", ðə ˈəðər ˈwɪˌki hæd tɪ lɑk əˈtlæntɪk ˈrɛkərdz' peɪʤ tɪ prɪˈvɛnt ælz ˈæŋgri fænz frəm dɪˈfeɪsɪŋ ɪt. "pərˈfɔrm ðɪs weɪ", ælz ˈpɛrədi əv ˈleɪdi "bɔrn ðɪs weɪ", lʊkt tɪ bi ə keɪs əv ðɪs æt fərst hi ˈwəzənt ˈgɪvɪn pərˈmɪʃən tɪ ˈpəblɪʃ ɪt, soʊ hi pʊt ɪt əp ɔn ˈjuˌtub ˌɪnˈstɛd ənd ɪt bɪˈkeɪm ən ˌɪˈmiˌdiət sɛnˈseɪʃən. ɪt bɪˈkeɪm səʧ ə sɛnˈseɪʃən, ɪn fækt, ðət ɪt ɪˈvɛnʧəwəli keɪm tɪ ðə ˈnoʊtɪs əv ˈleɪdi ˈgɑˌgə hərˈsɛlf, hu ˈhædənt ˈæˌkʧuəli bɪn kənˈsəltɪd ɔn ðə ərˈɪʤənəl dɪˈsɪʒən. ʃi θɔt ɪt wɑz hɪˈlɛriəs ənd geɪv æl ðə go-ahead*. wɪn ðə sɛks ˈpɪstəlz riˈlist "gɑd seɪv ðə kwin" ɪn 1977 boʊθ ðə ˌbibiˈsi ənd ðə ˈibə rɪfˈjuzd tɪ ˈbrɔdˌkæst ðə sɔŋ. ɪt kˈwɪkli riʧt ˈnəmbər wən ɔn ðə ˈsɪŋgəlz ʧɑrt. ˌhaʊˈɛvər, daʊt ənd ˈkɑntrəˌvərsi rɪˈmeɪnz ɛz tɪ ˈwɛðər ðə sɛks ˈpɪstəlz ˈæˌkʧuəli dɪd gɪt tɪ 1 wɪθ "gɑd seɪv ðə kwin." əˈfɪʃəli, ən ˈbæləd baɪ rɑd stuərt wɑz ˈnəmbər wən ðət wik. ˌhaʊˈɛvər, ˌæləˈgeɪʃənz pərˈsɪst ðət ðə ʧɑrts wər ˈdɑktərd baɪ ˌbibiˈsi ənd rɪˈkɔrdɪŋ ˈkəmpəˌni ɪgˈzɛkjətɪvz, ˈfɪrfəl fər ðɛr ˈʧænsɪz əv rɪˈtaɪrɪŋ wɪθ knighthoods*. ðə ˌbibiˈsi ɪkˈsprɛst kənˈsərn ˈfɑloʊɪŋ ðə ˈskərələs ənd sɪˈdɪʃəs ˌpɑpjəˈlɛrəti əv ə əv dɪŋ, dɔŋg, ðə wɪʧ ɪz dɛd! noʊt frəm ðə ˈsaʊnˌtræk əv ðə ˈwɪzərd əv ɑz wɪʧ ˈsɛləˌbreɪts ðə ˈpæsɪŋ əv ðə ˈwɪkəd wɪʧ əv ðə ist ˈmɑrgərɪt ˈθæʧər. ðə sɔŋ wɑz ˈsəbʤɪkt tɪ ə kæmˈpeɪn tɪ gɪt ɪt tɪ ˈnəmbər wən ɔn ðə ˈsɪŋgəlz ʧɑrt fər ðə əˈkeɪʒən; ɪt meɪd ɪt tɪ 2 bət ðə ˌbibiˈsi rɪfˈjuzd tɪ pleɪ ɪt, ˈivɪn ɪn ðə ˈrɛləvənt ˈreɪdiˌoʊ wən ʧɑrt ʃoʊ. ˈmɑrgərɪt ˈθæʧər. ðə sɔŋ wɑz ˈsəbʤɪkt tɪ ə kæmˈpeɪn tɪ gɪt ɪt tɪ ˈnəmbər wən ɔn ðə ˈsɪŋgəlz ʧɑrt fər ðə əˈkeɪʒən; ɪt meɪd ɪt tɪ 2 bət ðə ˌbibiˈsi rɪfˈjuzd tɪ pleɪ ɪt, ˈivɪn ɪn ðə ˈrɛləvənt ˈreɪdiˌoʊ wən ʧɑrt ʃoʊ. ɪn 1991 æt ðə əˈwɔrdz, ðə ˈvɪdioʊ əv ðə jɪr wɛnt tɪ gɑrθ brʊks, "ðə ˈθəndər roʊlz". ɪn hɪz spiʧ, hi θæŋkt ənd fər ˈhævɪŋ bænd ðə ˈvɪdioʊ ənd brɔt əˈtɛnʃən tɪ ɪt. bɛk juzd tɪ ɛnd ˈɪntərvˌjuz ˈæŋgrəli ɪf ðə ˈsəbʤɪkt əv ɪm biɪŋ ˌɪnˈvɑlvd wɪθ ðə ʧərʧ əv ˌsaɪənˈtɑləʤi wɑz brɔt əp. bæk ɪn ðə 90s*, ðɪs ˈwəzənt ˈwaɪdli noʊn, nɔr wɑz ɪt ˈpəblɪˌsaɪzd. bət du tɪ hɪz riˈækʃənz, hɪz kəˈnɛkʃən wɪθ ðə ʧərʧ ənd əˈtɛmpts tɪ səˈprɛs ɪt bɪˈkeɪm wən əv ðə moʊst aɪˈdɛntəˌfaɪəbəl θɪŋz əˈbaʊt ɪm. hi həz sɪns bɪˈkəm ə bɪt mɔr ˈkəmfərtəbəl əˈbaʊt ðɪs du tɪ ðə fækt ðət hi noʊz ðət hɪz fænz ər ˈmoʊstli əkˈsɛptɪŋ əv ɪt, bət hi stɪl livz juʤ gæps wɪn ˈtɔkɪŋ əˈbaʊt hɪz ˈʧaɪlˌdhʊd. məˈdɑnə meɪd ˈfrikˌwɛnt juz əv ðɪs bɪtˈwin frəm ðə ˈmoʊmənt ðət hər 1989 ˈvɪdioʊ fər "laɪk ə prɛr" rɪˈzəltɪd ɪn hər ˈpɑrtnərˌʃɪp wɪθ ˈpɛpsi biɪŋ ˈtərməˌneɪtɪd (ˈkɔzɪŋ ðə ˈsɪŋgəl tɪ hɪt 1 ɔn ðə hɑt 100 bɪˈkəmɪŋ wən əv hər ˈbɪgəst ˈsɛlɪŋ ˈsɪŋgəlz əv ɔl taɪm). ɪn 1990 ðə mˈjuzɪk ˈvɪdioʊ fər "ˈʤəstəˌfaɪ maɪ ləv" wɑz bænd baɪ ˈɛmˈtiˈvi. ðə mˈjuzɪk ˈvɪdioʊ wɑz ˈsəbsəkwəntli soʊld ɔn vhs*, ˈəltəmətli bɪˈkəmɪŋ ˈsərtəˌfaɪd ˈplætənəm. ðə ˈsɪŋgəl ˈɔlsoʊ ʃɑt tɪ 1 ɔn ðə hɑt 100 hər 1992 ˈælbəm "ɪˈrɑtɪkə" ənd ˈfoʊˌtoʊ bʊk "sɛks" wər ˈɔlsoʊ bɪg ˈsɛlərz, boʊθ fjuəld baɪ ðə ˈkɑntrəˌvərsi ənd ˈpəblɪk ˈbæˌklæʃ. ɪn 2016 roʊz faɪld kwaɪt ə fju ˈkɑpiˌraɪt ˈnoʊtɪsɪz wɪθ ˈgugəl, ˈæskɪŋ ðət "ənˈflætərɪŋ" ˈfoʊˌtoʊz (ˈteɪkən əv ɪm æt ə 2010 ˈkɑnsərt baɪ ˈwɪnɪpəg fri prɛs fəˈtɑgrəfər ˈbɔrɪs minkevich*) bi riˈmuvd frəm ˈsərkjəˌleɪʃən ɔn ðə ˈɪntərˌnɛt, ɛz ɪt hæd ˌɪnˈspaɪərd ðə ˈsoʊˈkɔld "fæt" mim. prɪˈdɪktəbli, ðɪs nuz həz kɔzd ðə "fæt" mim (wɪʧ həz ɪgˈzɪstəd kˈwaɪətli sɪns æt list 2011 tɪ ɪkˈsploʊd. ˈwɛlkəm tɪ ðə ˈʤəŋgəl, ˌɪnˈdid. ðɪs ˈhæpənd tɪ bɪl oʊˈraɪli ə ˈkəpəl əv taɪmz wɪn hi ˌdɪˈsaɪdɪd tɪ goʊ ˈæftər ræp mˈjuzɪk ɪn ðə ˈərli 2000s*. wɪn hi wɛnt ˈæftər ludacris*, hu bɪˈkeɪm ˈpɑpjələr ˈdʊrɪŋ ðə raɪz əv ˈsəðərn ræp, hi ˈɛləˌveɪtɪd ɪm tɪ ˌsupərˈstɑr ˈstætəs ənd meɪd ɪm wən əv ðə ˈbɪgəst mˈjuzɪk stɑrz əv ðət ˈdɛkeɪd. ɪt ˈɔlsoʊ ˈdɪdənt hɛlp ðət sun ˈæftərwərdz, nuz keɪm aʊt əˈbaʊt ɪm ˈgɪtɪŋ sud fər ˈsɛkʃuəl hərˈæsmənt, ə ˈprɑbləm ðət kɛpt groʊɪŋ ˈoʊvər taɪm ənd lɛd tɪ hɪz əˈvɛnʧuəl ˈfaɪərrɪŋ frəm fɑks nuz ˈʧænəl ˈmɛni jɪrz ˈleɪtər. əˈnəðər ɪgˈzæmpəl ˈhæpənd ˈdʊrɪŋ ən ˈɪntərvˌju wɪθ ˈræpər ənd ræp ˈmænɪʤər ˈdeɪmən dæʃ. oʊˈraɪli gɑt ˈvɪzəbli ˈəpˌsɛt wɪn dæʃ meɪd ə pɔɪnt əˈbaʊt ræp mˈjuzɪk ɪnˈkərəʤɪŋ ˈpɑzətɪv wərk ˈɛθɪks. ˈpɔɪntɪd ðɪs aʊt ˈdʊrɪŋ ðə ʃoʊ, ənd ðɪs lɛd tɪ ðə "ju mæd" mim ðət ɪz stɪl ˈpɑpjələrli juzd tɪ ðɪs deɪ. ˈnidləs tɪ deɪ, əˈtɛmpt tɪ gɪt ˈpipəl frəm səˈpɔrtɪŋ ræp mˈjuzɪk hæd ðə kəmˈplit ˈɑpəzɪt ˈifɛkt. ɪn sɛpˈtɛmbər 2017 ə smɔl blɔg neɪmd ˈpəblɪʃt ən ˈɑrtɪkəl səˈʤɛstɪŋ ə ˈteɪlər swɪft sɔŋ kənˈteɪnd dɔg ˈwɪsəlz. ɪt rɪˈsivd ɪgˈzæktli wən ˈkɑmɛnt ənˈtɪl tu mənθs ˈleɪtər, wɪn swɪfts ˈlɔjər sɛnt ðɛm ən ˈæŋgri ˈlɛtər dɪˈmændɪŋ ðeɪ teɪk ðə poʊst daʊn, ənd ðət ðeɪ ˈɔlsoʊ ˈkʊdənt ˈpəblɪʃ sɛd ˈæŋgri ˈlɛtər bɪˈkəz ɪt wɑz ˈkɑpiˌraɪtɪd. ˈnæʧərəli, ˈpəblɪʃt ɪt. ðɪs lɛd tɪ ə bənʧ əv ˈvɛri lɑrʤ blɔgz ˈpɪkɪŋ əp ðə ˈstɔri, ðə ˈgɪtɪŋ ˌɪnˈvɑlvd, ənd ˈmɛni, ˈmɛni mɔr ˈpipəl ˈɛndɪd əp siɪŋ ðə ˈɑrtɪkəl. ðə mˈjuzɪk ˈvɪdioʊ fər ðə ˈʧaɪldɪʃ gæmˈbinoʊ sɔŋ "ðɪs ɪz əˈmɛrɪkə" həz bɪn ˈsəbʤɪkt tɪ ˈkaʊntləs mimz, dɪˈspaɪt (ər pərˈhæps bɪˈkəz əv) ɪts ˌɪnˈtɛns, ˈplɪtɪkli ʧɑrʤd ˈneɪʧər. vaɪs ˈmidiə, əˈməŋ ˈəðərz, tʊk ɪkˈsɛpʃən tɪ ðɪs, ˈtɛlɪŋ ˈpipəl tɪ stɑp ənd læmˈbeɪstɪŋ ðɛm fər ˌɪgˈnɔrɪŋ ðə pɔɪnt əv ðə sɔŋ ənd ˈvɪdioʊ. vaɪs ˈmidiə ɪz ɔˈrɛdi ə ˌkɑntrəˈvərʃəl ˈmidiə ˈaʊˌtlɛt ɪn ˈvɛriəs ˈpɑkəts əv ðə ˈɪntərˌnɛt, soʊ ðɛr wər ðoʊz hu wər mɔr ðən ˈhæpi tɪ ˈfərðər meɪk fən əv ðə ˈvɪdioʊ, ˈiðər bɪˈkəz ðeɪ ˈlərnɪd əˈbaʊt ɪt θru vaɪs, ər tɪ spaɪt ðɛm. ər boʊθ. ɪn ɑkˈtoʊbər 2017 ˈwɪljəm ˈfrænsɪs (ðə ˈfɔrmər lɛd ˈsɪŋər əv ˌeɪˈdɛn hu wɑz pərˈfɔrmɪŋ ɛz ðə ˈsoʊˌloʊ ækt ˈwɪljəm kənˈtroʊl) əˈbrəptli drɑpt aʊt əv ə tʊr ənd rɪˈtərnd hoʊm, ˈsaɪtɪŋ ə dɪˈzaɪər tɪ sis hɪz rɪˈlɛntlɪs ˈtʊrɪŋ ənd prəˈdusɪŋ ˈskɛʤʊl tɪ ˈfoʊkɪs ɔn hɪz ˈfæməli ənd ˈrɛkərd ˈkəmpəˌni. əraʊnd ðət taɪm, ə (naʊ dɪˈlitəd) ˈtəmblər blɔg hæd ˈpoʊstɪd ˈɛvədəns ənd əˈkaʊnts frəm ˈvɛriəs ˈwɪmən ənd jəŋ gərlz ˈsteɪtɪŋ ðət hi hæd bɪn ˈlʊrɪŋ ˈmɛnəli ɪl ˈwɪmən ˈɪntu əˈbjusɪv riˈleɪʃənˌʃɪps ɪn wɪʧ hi ˌɪgˈnɔrd ˈbaʊndəriz tɪ reɪp, bit, ənd ɛkˈstɔrt ðɛm. ðɪs blɔg rɪˈmeɪnd ˈvərʧuəli ənˈnoʊn ənˈtɪl ʤun 2018 wɪn hi ˈpəblɪkli əˈdrɛst ðə ˌækjəˈzeɪʃənz ənd ˈsədənli ʃət daʊn kənˈtroʊl ˈrɛkərdz waɪl goʊɪŋ dɑrk ɔn ɔl ˈsoʊʃəl ˈmidiə. ðɪs ˈoʊnli əˈtræktəd ˈfərðər əˈtɛnʃən tɪ ðə blɔg ɛz fænz ˈgugəld ðə ˌækjəˈzeɪʃənz, wɪθ hɪz ˈvɪktɪmz ˈɔlsoʊ ˈpoʊstɪŋ əv ˈmɛsɪʤɪz frəm wɪl θˈrɛtənɪŋ ðɛm ənd seɪɪŋ ðət ðeɪd ˈnɛvər bi bɪˈlivd (əˈlɔŋ wɪθ ˌækjəˈzeɪʃənz ðət hi wɑz ˈæˌkʧuəli ˈmeɪkɪŋ hɪz ˈməni θru ˈpɪmpɪŋ ənd ɛkˈstɔrʃən ənd ˈjuzɪŋ hɪz ˈmərʧənˌdaɪz ˈbɪznɪs ɛz ə ˈligəl ˈkəvər). ðə blɔg ˈivɪn ˈsteɪtmənts frəm hɪz waɪf ɪkˈspleɪnɪŋ ðət ʃi hæd ˈnɑlɪʤ əv ðə əˈfɛnsɪz ənd dɪˈvɔrst ɪm ˈoʊvər ɪt. ðɪs rɪˈzəltɪd ɪn ə pəˈlis ˌɪnˌvɛstəˈgeɪʃən əˈkrɔs tu ˈkɑntənənts; waɪl hi feɪst noʊ ˈʧɑrʤɪz du tɪ læk əv ˈɛvədəns ənd həz riˈstɑrtɪd hɪz mˈjuzɪk kərɪr, moʊst əv ðə tɔp ˈgugəl rɪˈzəlts fər ɪm ɛz əv ˈʤænjuˌɛri 2019 ər ˈɑrtɪkəlz ɔn hɪz ˈsɛkʃuəl prəˈdeɪʃən ənd boʊθ hɪz ˈpərsɪnəl ənd ækt ˈwɪkiˌpiˌdiə ˈpeɪʤɪz ˌɪnˈklud ðə ˌɪnˌfɔrˈmeɪʃən, ɪnˈʃʊrɪŋ ðət ˈɛni pəˈtɛnʃəl nu fænz wɪl si ɪt ɛz sun ɛz ðeɪ lʊk ɪm əp. nu ˈmidiə prɪnt ˈmidiə suɪŋ ˈpraɪvət aɪ fər ˈlaɪbɛl ˈnɛvər dɪz ˈɛniˌwən ˈɛni gʊd. ɔl ɪt dɪz ɪz drɔ aʊt ðə aɪz ˈstɔri ənd əˈtrækt ðə əˈtɛnʃən əv ˈəðər nuz ˈsɔrsəz. ˈivɪn ɪf ju wɪn, noʊ wən həz ɪˈnəf feɪθ ɪn ˈbrɪtɪʃ ˈlaɪbɛl lɔ (ər ðə aɪz əˈbɪləˌti tɪ dɪˈfɛnd ə keɪs) tɪ bɪˈliv ðət ðɪs minz ɪt ˈɪzənt tru. ˈproʊˌtɛsts əˈgɛnst dɪˈpɪkʃənz əv moʊˈhæmɪd ɪn prɪnt ˈmidiə hæv hæd ðɪs ˈifɛkt ɪn ˈwɛstərn soʊˈsaɪɪti. ɪn 2006 ə ˈdeɪnɪʃ ˌpəblɪˈkeɪʃən ˈpəblɪʃt ə ˈsɪriz əv kɑrˈtunz dɪˈpɪktɪŋ moʊˈhæmɪd, wɪʧ kɔzd ˈdɛdli raɪəts ənd ˈproʊˌtɛsts. ɪn rɪˈspɑns, ˈəðər ˈwɛstərn ˌpəblɪˈkeɪʃənz ˈɔlsoʊ ræn ðə kɑrˈtunz ɛz ə dɪˈfɛns əv fri spiʧ. ɪn 2015 ðə frɛnʧ ˈmægəˌzin ˈʧɑrli wɑz əˈtækt baɪ ˈtɛrəˌrɪsts ɪn rɪˈspɑns tɪ rɪˈpitɪd dɪˈpɪkʃənz əv moʊˈhæmɪd. ˌbiˈfɔr ðə əˈtæk, ðə ˈmægəˌzin wɑz ˈvərʧuəli ənˈnoʊn ˈaʊtˈsaɪd əv fræns, sˈlaɪdɪŋ ˈɪntu ˈbæŋkrəptsi ənd ˈoʊnli ˈmænəʤɪŋ tɪ sɛl əˈbaʊt əv iʧ ˈmægəˌzin rən. fər ðɛr nɛkst ˈɪʃu, dɪˈmænd kɔzd ˈʧɑrli tɪ prɪnt ˈsɛvən ˈmɪljən ˈkɑpiz, ənd (frɛnʧ fər "aɪ æm ˈʧɑrli") ˈtrɛndɪd ˈwərldˈwaɪd ɛz ə ʃoʊ əv ˌsɑləˈdɛrəti. ˈfərðərˌmɔr, ðə əˈtæks spɑrkt ˈmæsɪv səˈpɔrt fər ðə ˌpəblɪˈkeɪʃən ənd kɔzd ðə əˈfɛndɪŋ kɑrˈtunz tɪ bi sin ˈwərldˈwaɪd əˈkrɔs ðə ˈɪntərˌnɛt. faɪər ənd fˈjʊri: ˌɪnˈsaɪd ðə trəmp waɪt haʊs baɪ ˈmaɪkəl wʊlf ˈditeɪlz wət hi hərd ənd sɔ ˈspɛndɪŋ ə jɪr ɪn ðə ˈdɑnəld trəmp waɪt haʊs. ˈpipəl wərənt tu ˈɪntəˌrɛstɪd ɪn ɪt, bət wɪn trəmps ˈlɔjərz traɪd ˈpʊtɪŋ aʊt ə sis dɪˈzɪst ˈɔrdər ɔn ɪt, ðə ˈpəblɪʃər ˌdɪˈsaɪdɪd tɪ muv əp ðə riˈlis deɪt tɪ ˈmɪdˌnaɪt ðə deɪ ˈæftər ðə ˈɔrdər wɑz ˈɪʃud. ˌənsərˈpraɪzɪŋli, ðə bʊk soʊld aʊt ɪn stɔrz əˈkrɔs ðə ˈkəntri, ˈlɔnʧɪŋ tɪ ðə tɔp əv ðə lɪst. ˈteɪbəlˌtɑp geɪmz ðɛr ɪz ə ril ʧæns ðət ɪf ɪt wərənt fər pəˈtrɪʃə ˈpʊlɪŋ ənd hər kæmˈpeɪn əˈgɛnst ˈdənʤənz ˈdrægənz, ðə geɪm wʊd hæv rɪˈmeɪnd ə nɪʧ ˈmɑrkɪt ənd ˈprɑbəˌbli ˈnɛvər wʊd hæv bɪˈkəm ðə raɪt əv ˈpæsɪʤ ɪt həz bɪˈkəm. ðɪs ˈɔlsoʊ hæd ə rən ɪn 1980 wɪθ ðə ˌdɪsəˈpɪrəns əv ʤeɪmz ˈɛgbərt iii*, ə jəŋ mæn hu pleɪd ðə geɪm. ðə dɪˈtɛktɪv əˈsaɪnd tɪ ˌdɪsəˈpɪrəns roʊt ə bʊk əˈbaʊt ɪt, səˈʤɛstɪŋ ðə geɪm hæd ˈsəmθɪŋ tɪ du ˈɛgbərt goʊɪŋ ˈmɪsɪŋ. ɪt ˈdɪdənt, ənd ˈɛgbərt wɑz ɪˈvɛnʧəwəli faʊnd əˈlaɪv ənd ənˈhərt. stɪl, ˈdənʤənz ənd ˈdrægənz wɛnt frəm ˈgroʊsɪŋ ˈmɪljən ɪn 1979 tɪ ˈmɪljən ɪn 1980 ˈlɑrʤli ɛz ə rɪˈzəlt əv ɔl ðə ˈnɛgətɪv prɛs dɪˈnaʊnsɪŋ ɪt ɛz "səˈtænɪk ˌprɑpəˈgændə;" ˈmɛni ˈpipəl ˈɛndɪd əp pleɪɪŋ ɪt ʤɪst tɪ si wət ɔl ðə fəs wɑz əˈbaʊt. ɪn sɛpˈtɛmbər 2018 ə ˈjuzər ɔn ˈæftər ˈkrɪtɪˌsaɪzɪŋ ðə pərˈfɔrməns ənd əv ðə ˈdɪʤɪtəl ˈteɪbəlˌtɑp saɪt wɑz ðɛn bænd baɪ ðə ˈmɑdərˌeɪtər frəm ðə subreddit*, sɪns ðeɪ hæd ə neɪm ˈsɪmələr tɪ əˈnəðər bænd ˈjuzər (apostleoftruth*) frəm ə jɪr əˈgoʊ. ɛz ðə ˈrisəntli bænd ˈjuzər ˌhaʊˈɛvər nu ðət ðeɪ wər ˈɪnəsənt, ðeɪ dəg ˈdipər ˈɪntu ðə ˈɪʃu ənd ˈriəˌlaɪzd ðət nɑt ˈoʊnli ˈɑrənt ðɛr ˈraɪtɪŋ staɪlz nɑt ˈsɪmələr æt ɔl, ðə ˈəðər bænd ˈjuzər wɑz bænd fər ˈkrɪtɪˌsaɪzɪŋ ðə stæfs ˌmɑdərˈeɪʃən. wɪn kənˈfrəntɪd əˈbaʊt ɪt, ðeɪ wər toʊld baɪ ðət sɪns ðə stæf kʊd nɑt kənˈfərm ˈwɛðər ðə mæʧ (wɪʧ ˈoʊnli ðə ˈædmɪnz kən), ðeɪ wʊd "ɛr ɔn ðə saɪd əv ˈkɔʃən" ənd ˈrɛfˌjuz tɪ lɪft ðə bæn. ðɛn ˈɪndəˌkeɪtɪd ðət ðeɪ wʊd ɛnd ðɛr səbˈskrɪpʃən ənd dɪˈlit ðɛr əˈkaʊnt, ɛz wɛl ɛz rɪˈpɔrt wət ˈhæpənd ɔn ˈsoʊʃəl ˈmidiə, ɪf ðə bæn ˈwəzənt ˈlɪftɪd ənd ən əˈpɑləˌʤi wɑz ˈgɪvɪn sun. wɪn wɑz toʊld ðət dɪˈspaɪt nɑt ˈhævɪŋ ˈmæʧɪŋ, ðə stæf wʊd stɪl əˈphoʊld ðə bæn bɪˈkəz əv ˈrisənt bɪˈheɪvjər rɪˈgɑrdɪŋ ðɪs ˈmætər, kɛpt ðɛr wərd ənd ˌriˈpɔrtəd wət ˈhæpənd ɔn wɪʧ riʧt ənd lɛd tɪ ə ˈʃɪtˌstɔrm wɪʧ rɪˈvild ðət nɑt ˈoʊnli ˈsɛnsərd ˈɛni fɔrm əv ˈkrɪtɪˌsɪzəm təˈwɔrdz ðɛm, ðeɪ ˈɔlsoʊ ˈvaɪəleɪtɪd mɔd ˈɛtəkət əv əv ə ˈkəmpəˌni ðeɪ ər ɪmˈplɔɪd tɪ wɑz nɑt ʤɪst ən əˈfɪliˌeɪtɪd mɔd, hi wɑz wən əv co-founders*), ˈlidɪŋ tɪ ˈəðər ˈjuzərz dɪˈklɛrɪŋ ðət ðeɪ wʊd ˈɔlsoʊ ˈkænsəl ðɛr səbˈskrɪpʃən frəm naʊ ɔn. saɪd əv θɪŋz tɪ ðɪs ˈmætər ˈoʊnli meɪd θɪŋz wərs, ɪˈvɛnʧəwəli bɪˈkəmɪŋ ðə ˈkɑmɛnt ɪn ðə ˈhɪstəri əv. spɔrts ˈmaɪkəl ˈʤɔrdən bɪˈgæn ˈwɛrɪŋ hɪz ɛr ˈʤɔrdən brænd əv ʃuz ˈdʊrɪŋ geɪmz æt ə taɪm wɪn ðə ˈɛnˌbiˈeɪ fərˈbeɪd pleɪərz frəm duɪŋ səʧ ə θɪŋ, ənd faɪnd ˈʤɔrdən ˈɛvəri taɪm hi wɔr ðɛm ɔn ðə kɔrt. ðə ˈtrəbəl fər ðə ˈɛnˌbiˈeɪ wɑz ˈʤɔrdən hæd boʊθ ðə klaʊt wɪθ ðə ˈpəblɪk ənd ðə kæʃ frəm ðə dil wɪθ ˈnaɪki tɪ ˌɪgˈnɔr ðə faɪnz ənd kip ˈwɛrɪŋ ðɛm ˈɛniˌweɪ. duɪŋ soʊ meɪd ˈʤɔrdənz brænd fɑr mɔr wɛl noʊn ðən ɪf ðə ˈɛnˌbiˈeɪ hæd sɛd ˈnəθɪŋ, ənd geɪv ɪm fri ˈædvərˌtaɪzɪŋ wɪθ ə ˈkoʊlbərt bəmp, soʊ ɪt wɑz ə ˈpənɪʃmənt ðət wɑz ˈæˌkʧuəli ˈhɛlpɪŋ ˈʤɔrdən. wɪn ɪt bɪˈkeɪm klɪr ðət ðə faɪnz wərənt goʊɪŋ tɪ wərk, ðə ˈɛnˌbiˈeɪ stɑpt ˈpənɪʃɪŋ ˈʤɔrdən fər ˈwɛrɪŋ ðə ʃuz. ˈvɪdioʊ geɪmz wɛb ˈkɑmɪks ˈpɛni ɑrˈkeɪd: ðɛr ˈligəl wɪθ əˈmɛrɪkən ˈgritɪŋz ˈoʊvər ə ˈstrɔˌbɛri ˈʃɔrtˌkeɪk ˈpɛrədi ˈɪmɪʤ rɪˈzəltɪd ɪn ðə ˈɪmɪʤ biɪŋ sprɛd əˈkrɔs ðə ˈɪntərˌnɛt ɔn səʧ ə waɪd ˈbeɪsɪs ðət ɪts ˈvɛri ˈizi tɪ faɪnd ðə ˈɪmɪʤ ˈnaʊəˌdeɪz, ˈivɪn ðoʊ ɪts noʊ ˈlɔŋgər ɔn ðə ˈpɛni ɑrˈkeɪd saɪt. tɪ ðɪs deɪ, ˈɑrˌkaɪv ər ˈteɪkɪŋ noʊt əv ægz ˈligəl dɪˈpɑrtmənt. ˈgɪvɪn ðə ˌdɛməˈgræfɪk ənd haɪ əv ðə ˈgritɪŋ kɑrd ˈɪndəstri, ɪts seɪf tɪ seɪ ðət ðɛr stɪl ˈluzɪŋ ðə ɔˈkeɪʒənəl seɪl tɪ ɪt. nɑt tɪ ˈmɛnʃən ðə ˈoʊʃən ˈmɑrkətɪŋ dəˈbɑkəl pɔl christoforo*, ðə ˈprɛzɪdənt əv ə ənd ˌdɪstrəˈbjuʃən fərm neɪmd ˈoʊʃən ˈmɑrkətɪŋ, sɛnt ənˈkaɪnd, ˌənprəˈfɛʃənəl, ənd ˈtɛrəbli ˈrɪtən iˈmeɪlz aʊt tɪ ˈsɛvərəl ˈkəstəmərz əv n-control*, ə ˈkəmpəˌni ðət ˌmænjəˈfækʧərz ənd sɛlz ðə əˈvɛnʤər kənˈtroʊlər, ə ˈmɑdəˌfaɪd kənˈtroʊlər dɪˈzaɪnd wɪθ foʊks wɪθ faɪn ˈmoʊtər ˌɪmˈpɛrmənt ɪn maɪnd. pɔl meɪd ˌənsəbˈstænʃiˌeɪtɪd kleɪmz əv haʊ sun ðə kənˈtroʊlərz wʊd ʃɪp aʊt, loʊərd ðə praɪs tɪ əˈtrækt nu ˈkəstəmərz waɪl nɑt ˈivɪn ˈɔfərɪŋ ðə ˈkəstəmərz hu wʊd bi ˈweɪtɪŋ fər ˈsɛvərəl mɔr wiks ə tɛn pərˈsɛnt kəmˈpɛnsəˌtɔri ˈdɪskaʊnt, ɪˈvɛnʧəwəli ˈstɑrtɪd æˈdrɛsɪŋ dɪsˈgrənəld ˈkəstəmərz baɪ ˈtɛlɪŋ ðɛm ðɛr ˈbɪznɪs ɪn ə ˌkɑndɪˈsɛndɪŋ toʊn, θˈrɛtənd tɪ ˈkænsəl ən ˈɔrdər pleɪst baɪ æt list wən ˈkəstəmər ənd sɛl ðə kənˈtroʊlərz ɔn ˈiˌbeɪ hɪmˈsɛlf, ənd wɛnt əraʊnd ˈkleɪmɪŋ tɪ noʊ hɛd ˈɛdɪtərz æt ˈgeɪmɪŋ nuz blɔgz laɪk ənd kotaku*, tɪ traɪ tɪ dɪˈflɛkt kəmˈpleɪnts baɪ ˈmeɪkɪŋ hɪmˈsɛlf sim laɪk ən ˌɪmˈpɔrtənt ˈfɪgjər. deɪv, wən ˈkəstəmər ənˈləki ɪˈnəf tɪ hæv dɛlt wɪθ ɪm, ʃɛrd ðə ˈsɪriz əv iˈmeɪl ˌkɔrəˈspɑndəns wɪθ geɪb hɪmˈsɛlf, hu stɛpt ɪn tɪ tɛl pɔl ðət ˈoʊʃən ˈmɑrkətɪŋ wʊd nɑt bi ˈwɛlkəm æt pæks ˈɛni ˈlɔŋgər ˈsəmθɪŋ pɔl wɑz ˌɪˈnɪʃəli dɪsbɪˈlivɪŋ əv, sɪns hi hæd noʊ aɪˈdiə hu hi wɑz ˈtɔkɪŋ tɪ, æt fərst. hi meɪd ən wɪn hi ˈriəˌlaɪzd ʤɪst haʊ trɪˈmɛndəs hɪz mɪˈsteɪk wɑz, bət baɪ ðə taɪm hi kəˈnɛktɪd ðə dɑts, ɪt wɑz ɔˈrɛdi tu leɪt. ðət wən ˈsɪriz əv iˈmeɪlz sɛt ɔf ə ʧeɪn riˈækʃən ðət ˈifɛktɪvli kɪld ˈoʊʃən ˈmɑrkətɪŋ ənd, wɪθ ɪt, pɔlz kərɪr. ɛz ðə dəst bɪˈgæn ˈsɛtəlɪŋ, ɪt bɪˈkeɪm ˈɑbviəs pɔl ˈwəzənt ˈʤɛnjuˌaɪnli ˈsɑri fər haʊ hi bɪˈheɪvd hi wɑz ʤɪst ˈsɑri hi gɑt kɔt laɪɪŋ tɪ, vərˈbæli əˈbjuzɪŋ, ənd ˈʧitɪŋ ˈkəstəmərz. ˈkrɪsʧɪn ˈwɛstən ˈʧændlər, kriˈeɪtər əv sonichu*, wɑz ˌɪˈnɪʃəli ʤɪst ə ˈrændəm ˈkɑmɪk ˈɑrtɪst wɪθ bɪg, jɛt child-like*, drimz. ðə ˈifɛkt kɪkt ɪn ˈæftər ə ˈrændəm ɪnˈkaʊnər wɪθ ə ˈmɛmbər əv lɛd tɪ ðə kriˈeɪʃən əv ən ɪnˌsaɪkləˈpidiə peɪʤ əˈbaʊt ɪm. hɪz əˈtɛmpts tɪ gɪt rɪd əv ɪt, ənd ðə ˈɪnsədənts ɪt kɔzd ɔn ðə ˈɪntərˌnɛt ənd ɪn ril laɪf, wʊd lɛd tɪ mɔr ˈpipəl tɪ faɪnd aʊt mɔr əˈbaʊt ðɪs mæn ənd hɪz kriˈeɪʃən. ənd ə hoʊl lɔt mɔr, bət ðæts ə kəmˈplitli ˈdɪfərənt ˈstɔri. wɛb ərˈɪʤənəl ˈwɛstərn ˌænəˈmeɪʃən
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defending champion matt neal is itching to get back when the dunlop british touring car championship returns at next weekend.
neal heads honda racing teammate gordon shedden by the smallest of margins in the title fight, just one point separating the pair, with jason plato 29 points behind in third.
with four wins in the opening half of the season, and five further appearances on the podium, the entered the break in the best possible position for his title defence. but he is anticipating a tough battle to keep hold of the championship lead.
“the first half has gone amazingly well, no one can deny that,” the champion told thecheckeredflag.co.uk, “especially considering all the restrictions they are heaping on our civics to slow us down.
“but it's only half way and we're now heading in to the half of the season where the gloves get taken off. so i just need to keep focused, get my head down and try to keep some results up. but no doubt it'll go down to the last round.”
one year ago, the debut of the new '300' layout at, neal and plato came to blows within seconds of the first race, contact sending the honda spinning at more than 100mph.
plato, then in a chevrolet cruze, qualified pole and won the opening race but this time, with honda's increasingly impressive new package at his disposal, neal believes the combination of long straights and a tight infield means is anyone's guess- and the same applies to the battle within the team as well.
“between me and flash it's swung backwards and forwards,” he says, the two racking up ten wins from 15 between them. “he had the upper hand at a few meetings and then i've managed to swing it back my way for the last two, it could literally go either way.
“as for jason, who knows? he'll be there because he always is and the has pace, he's the one who has the potential to spoil our party for sure.”
the civics turned a corner in their development in a test at before park, where they won all three races, and neal feels going into the second half of the season they will continue to be the car to beat.
“i think at the beginning had the edge,” he explains, “but now that edge has passed to cars for both outright speed and durability [ngtc's] definitely the way forward for any team wanting to challenge consistently at the front.
“implementation of the new regulations has been challenging but where we've got to with understanding it, i think the guys at honda racing are definitely one step in front of the others.”
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dɪˈfɛndɪŋ ˈʧæmpiən mæt nil ɪz ˈɪʧɪŋ tɪ gɪt bæk wɪn ðə ˈdənˌlɑp ˈbrɪtɪʃ ˈtʊrɪŋ kɑr ˈʧæmpiənˌʃɪp rɪˈtərnz æt nɛkst ˈwiˌkɪnd. nil hɛdz ˈhɔndə ˈreɪsɪŋ ˈtiˌmeɪt ˈgɔrdən ˈʃɛdən baɪ ðə sˈmɔləst əv ˈmɑrʤənz ɪn ðə ˈtaɪtəl faɪt, ʤɪst wən pɔɪnt ˈsɛpərˌeɪtɪŋ ðə pɛr, wɪθ ˈʤeɪsən ˈpleɪtoʊ 29 pɔɪnts bɪˈhaɪnd ɪn θərd. wɪθ fɔr wɪnz ɪn ðə ˈoʊpənɪŋ hæf əv ðə ˈsizən, ənd faɪv ˈfərðər əˈpɪrənsəz ɔn ðə ˈpoʊdiəm, ðə ˈɛnərd ðə breɪk ɪn ðə bɛst ˈpɑsəbəl pəˈzɪʃən fər hɪz ˈtaɪtəl dɪˈfɛns. bət hi ɪz ænˈtɪsəˌpeɪtɪŋ ə təf ˈbætəl tɪ kip hoʊld əv ðə ˈʧæmpiənˌʃɪp lɛd. fərst hæf həz gɔn əˈmeɪzɪŋli wɛl, noʊ wən kən dɪˈnaɪ that,”*,” ðə ˈʧæmpiən toʊld thecheckeredflag.co.uk*, kənˈsɪdərɪŋ ɔl ðə riˈstrɪkʃənz ðeɪ ər ˈhipɪŋ ɔn ɑr ˈsɪvɪks tɪ sloʊ ˈjuˈɛs daʊn. ɪts ˈoʊnli hæf weɪ ənd wɪr naʊ ˈhɛdɪŋ ɪn tɪ ðə hæf əv ðə ˈsizən wɛr ðə gləvz gɪt ˈteɪkən ɔf. soʊ aɪ ʤɪst nid tɪ kip ˈfoʊkɪst, gɪt maɪ hɛd daʊn ənd traɪ tɪ kip səm rɪˈzəlts əp. bət noʊ daʊt ˈɪtəl goʊ daʊn tɪ ðə læst round.”*.” wən jɪr əˈgoʊ, ðə ˈdeɪbju əv ðə nu 300 leɪaʊt æt, nil ənd ˈpleɪtoʊ keɪm tɪ bloʊz wɪˈθɪn ˈsɛkəndz əv ðə fərst reɪs, ˈkɑnˌtækt ˈsɛndɪŋ ðə ˈhɔndə ˈspɪnɪŋ æt mɔr ðən 100mph*. ˈpleɪtoʊ, ðɛn ɪn ə ˌʃɛvroʊˈleɪ kruz, kˈwɑləˌfaɪd poʊl ənd wən ðə ˈoʊpənɪŋ reɪs bət ðɪs taɪm, wɪθ ˈhɑndəz ˌɪnˈkrisɪŋgli ˌɪmˈprɛsɪv nu ˈpækɪʤ æt hɪz dɪˈspoʊzəl, nil bɪˈlivz ðə ˌkɑmbəˈneɪʃən əv lɔŋ streɪts ənd ə taɪt ˈɪnˌfild minz ɪz ˈɛniˌwənz gɛs- ənd ðə seɪm əˈplaɪz tɪ ðə ˈbætəl wɪˈθɪn ðə tim ɛz wɛl. mi ənd flæʃ ɪts swəŋ ˈbækwərdz ənd forwards,”*,” hi sɪz, ðə tu ˈrækɪŋ əp tɛn wɪnz frəm 15 bɪtˈwin ðɛm. hæd ðə ˈəpər hænd æt ə fju ˈmitɪŋz ənd ðɛn aɪv ˈmænɪʤd tɪ swɪŋ ɪt bæk maɪ weɪ fər ðə læst tu, ɪt kʊd ˈlɪtərəli goʊ ˈiðər weɪ. fər ˈʤeɪsən, hu noʊz? hil bi ðɛr bɪˈkəz hi ˈɔlˌweɪz ɪz ənd ðə həz peɪs, hiz ðə wən hu həz ðə pəˈtɛnʃəl tɪ spɔɪl ɑr ˈpɑrti fər sure.”*.” ðə ˈsɪvɪks tərnd ə ˈkɔrnər ɪn ðɛr dɪˈvɛləpmənt ɪn ə tɛst æt ˌbiˈfɔr pɑrk, wɛr ðeɪ wən ɔl θri ˈreɪsɪz, ənd nil filz goʊɪŋ ˈɪntu ðə ˈsɛkənd hæf əv ðə ˈsizən ðeɪ wɪl kənˈtɪnju tɪ bi ðə kɑr tɪ bit. θɪŋk æt ðə bɪˈgɪnɪŋ hæd ðə edge,”*,” hi ɪkˈspleɪnz, naʊ ðət ɛʤ həz pæst tɪ kɑz fər boʊθ ˈaʊˈtraɪt spid ənd dərəˈbɪlɪti [ngtc's*] ˈdɛfənətli ðə weɪ ˈfɔrwərd fər ˈɛni tim ˈwɑnɪŋ tɪ ˈʧælənʤ kənˈsɪstəntli æt ðə frənt. əv ðə nu ˌrɛgjəˈleɪʃənz həz bɪn ˈʧælənʤɪŋ bət wɛr wiv gɑt tɪ wɪθ ˌəndərˈstændɪŋ ɪt, aɪ θɪŋk ðə gaɪz æt ˈhɔndə ˈreɪsɪŋ ər ˈdɛfənətli wən stɛp ɪn frənt əv ðə others.”*.”
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a pastor,, has been arrested by the lagos state police command for allegedly raping his stepdaughter in the area of the state.
the unidentified victim, a senior secondary 2 student who reported the incident to the police, insisted she was raped by the pastor on several occasions.
however, on his part, denied the allegation, disclosing that it was a neighbour, whom he identified only as richard, that the girl, but he decided not to report the matter to the police because he (ikpa) had a forgiving character.
narrating the incidence to the punch, the victim said she told her mother about it every time the pastor had canal knowledge of her. she added that whenever she told her mother about it, she usually shouted her down, and refused to take any action on the matter.
the accused, who hails from the local government area of state, was arrested by policemen from the division, while the victim was taken for medical examination at the mirabel centre, ikeja.
the test reportedly confirmed that the private parts had been tampered with.
a police source disclosed that the victim reported that had allegedly been sleeping with her since she was ten years old and was the one who ‘deflowered’ her.
according to the source, “the victim claimed that the suspect her when she was 10 years. he had allegedly been sexually molesting the girl since that time.
“the mother is culpable because she knew about the abuses. the girl said it was when her mother failed to take concrete steps that she came to the police.”
meanwhile, the pastor, on denying the allegation, said he the girl last thursday and she disappeared from the house, not knowing she came to the police to lie against him.
ikpa said, “the girl started living with me when she was 12 or thereabout. that was around 2012. it is not true that i raped her. i her on thursday for being rude and she did not return home after school. we did not see her until friday. she had been with the police.
“the girl has a boyfriend; his name is richard. he is the manager of a hotel on street. if the medical result shows someone has been sleeping with her, then it is richard, not me.
“it is a mystery to me that the girl is claiming that i slept with her. when we caught richard and confronted him sometime last year, he started begging. the mistake i made was that i did not report to the police.
“my wife got furious and said we must report the matter to the police, but the man started begging, sending text messages to me. i forgave him. i am a pastor,” added.
“i was working under a church, but since i moved to this area, i have not any church.”
the victim said was lying and he had slept with her on several occasions.
she said, “the first time that he would rape me was about five years ago. my mother sent me to give food to him in his own house. i was then staying in my house. that was when he took advantage of me and raped me.
“the man he mentioned is not my boyfriend. richard was the man i reported to when i told my mother about the rape and she did not believe me. richard advised me to leave everything to god.
“sometimes, when everyone was sleeping, he would come to the room where i was with my other sisters and he would rape me. i would be hitting my sisters trying to wake them, but they did not wake at such times.”
the lagos state police public relations officer, badmos, confirmed the arrest.
“the arrest is confirmed. he was transferred from to the division for further action,” the confirmed.
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ə ˈpæstər,, həz bɪn ərˈɛstɪd baɪ ðə ˈleɪgɔs steɪt pəˈlis kəˈmænd fər əˈlɛʤədli ˈreɪpɪŋ hɪz ˈstɛpˌdɔtər ɪn ðə ˈɛriə əv ðə steɪt. ðə ˌənaɪˈdɛntəˌfaɪd ˈvɪktɪm, ə ˈsinjər ˈsɛkənˌdɛri 2 ˈstudənt hu ˌriˈpɔrtəd ðə ˈɪnsədənt tɪ ðə pəˈlis, ˌɪnˈsɪstɪd ʃi wɑz reɪpt baɪ ðə ˈpæstər ɔn ˈsɛvərəl ɔˈkeɪʒənz. ˌhaʊˈɛvər, ɔn hɪz pɑrt, dɪˈnaɪd ðə ˌæləˈgeɪʃən, dɪˈskloʊzɪŋ ðət ɪt wɑz ə ˈneɪbər, hum hi aɪˈdɛntəˌfaɪd ˈoʊnli ɛz ˈrɪʧərd, ðət ðə gərl, bət hi ˌdɪˈsaɪdɪd nɑt tɪ rɪˈpɔrt ðə ˈmætər tɪ ðə pəˈlis bɪˈkəz hi (ikpa*) hæd ə fərˈgɪvɪŋ ˈkɛrɪktər. ðə ˈɪnsɪdəns tɪ ðə pənʧ, ðə ˈvɪktɪm sɛd ʃi toʊld hər ˈməðər əˈbaʊt ɪt ˈɛvəri taɪm ðə ˈpæstər hæd kəˈnæl ˈnɑlɪʤ əv hər. ʃi ˈædɪd ðət wɛˈnɛvər ʃi toʊld hər ˈməðər əˈbaʊt ɪt, ʃi ˈjuʒəwəli ˈʃaʊtɪd hər daʊn, ənd rɪfˈjuzd tɪ teɪk ˈɛni ˈækʃən ɔn ðə ˈmætər. ðə əˈkjuzd, hu heɪlz frəm ðə ˈloʊkəl ˈgəvərnmənt ˈɛriə əv steɪt, wɑz ərˈɛstɪd baɪ pəˈlismɪn frəm ðə dɪˈvɪʒən, waɪl ðə ˈvɪktɪm wɑz ˈteɪkən fər ˈmɛdɪkəl ɪgˌzæməˈneɪʃən æt ðə mɪrɑˈbɛl ˈsɛntər, ikeja*. ðə tɛst rɪˈpɔrtədli kənˈfərmd ðət ðə ˈpraɪvət pɑrts hæd bɪn ˈtæmpərd wɪθ. ə pəˈlis sɔrs dɪˈskloʊzd ðət ðə ˈvɪktɪm ˌriˈpɔrtəd ðət hæd əˈlɛʤədli bɪn sˈlipɪŋ wɪθ hər sɪns ʃi wɑz tɛn jɪrz oʊld ənd wɑz ðə wən hu ‘‘deflowered’*’ hər. əˈkɔrdɪŋ tɪ ðə sɔrs, ˈvɪktɪm kleɪmd ðət ðə ˈsəˌspɛkt hər wɪn ʃi wɑz 10 jɪrz. hi hæd əˈlɛʤədli bɪn ˈsɛkʃuəli məˈlɛstɪŋ ðə gərl sɪns ðət taɪm. ˈməðər ɪz ˈkəlpəbəl bɪˈkəz ʃi nu əˈbaʊt ðə əˈbjuzɪz. ðə gərl sɛd ɪt wɑz wɪn hər ˈməðər feɪld tɪ teɪk ˈkɑnkrit stɛps ðət ʃi keɪm tɪ ðə police.”*.” ˈminˌwaɪl, ðə ˈpæstər, ɔn dɪˈnaɪɪŋ ðə ˌæləˈgeɪʃən, sɛd hi ðə gərl læst ˈθərzˌdeɪ ənd ʃi ˌdɪsəˈpɪrd frəm ðə haʊs, nɑt noʊɪŋ ʃi keɪm tɪ ðə pəˈlis tɪ laɪ əˈgɛnst ɪm. sɛd, gərl ˈstɑrtɪd ˈlɪvɪŋ wɪθ mi wɪn ʃi wɑz 12 ər thereabout*. ðət wɑz əraʊnd 2012 ɪt ɪz nɑt tru ðət aɪ reɪpt hər. aɪ hər ɔn ˈθərzˌdeɪ fər biɪŋ rud ənd ʃi dɪd nɑt rɪˈtərn hoʊm ˈæftər skul. wi dɪd nɑt si hər ənˈtɪl ˈfraɪˌdeɪ. ʃi hæd bɪn wɪθ ðə pəˈlis. gərl həz ə ˈbɔɪˌfrɛnd; hɪz neɪm ɪz ˈrɪʧərd. hi ɪz ðə ˈmænɪʤər əv ə hoʊˈtɛl ɔn strit. ɪf ðə ˈmɛdɪkəl rɪˈzəlt ʃoʊz ˈsəmˌwən həz bɪn sˈlipɪŋ wɪθ hər, ðɛn ɪt ɪz ˈrɪʧərd, nɑt mi. ɪz ə ˈmɪstəri tɪ mi ðət ðə gərl ɪz ˈkleɪmɪŋ ðət aɪ slɛpt wɪθ hər. wɪn wi kɔt ˈrɪʧərd ənd kənˈfrəntɪd ɪm ˈsəmˌtaɪm læst jɪr, hi ˈstɑrtɪd ˈbɛgɪŋ. ðə mɪˈsteɪk aɪ meɪd wɑz ðət aɪ dɪd nɑt rɪˈpɔrt tɪ ðə pəˈlis. waɪf gɑt fˈjʊriəs ənd sɛd wi məst rɪˈpɔrt ðə ˈmætər tɪ ðə pəˈlis, bət ðə mæn ˈstɑrtɪd ˈbɛgɪŋ, ˈsɛndɪŋ tɛkst ˈmɛsɪʤɪz tɪ mi. aɪ fərˈgeɪv ɪm. aɪ æm ə pastor,”*,” ˈædɪd. wɑz ˈwərkɪŋ ˈəndər ə ʧərʧ, bət sɪns aɪ muvd tɪ ðɪs ˈɛriə, aɪ hæv nɑt ˈɛni church.”*.” ðə ˈvɪktɪm sɛd wɑz laɪɪŋ ənd hi hæd slɛpt wɪθ hər ɔn ˈsɛvərəl ɔˈkeɪʒənz. ʃi sɛd, fərst taɪm ðət hi wʊd reɪp mi wɑz əˈbaʊt faɪv jɪrz əˈgoʊ. maɪ ˈməðər sɛnt mi tɪ gɪv fud tɪ ɪm ɪn hɪz oʊn haʊs. aɪ wɑz ðɛn steɪɪŋ ɪn maɪ haʊs. ðət wɑz wɪn hi tʊk ædˈvæntɪʤ əv mi ənd reɪpt mi. mæn hi ˈmɛnʃənd ɪz nɑt maɪ ˈbɔɪˌfrɛnd. ˈrɪʧərd wɑz ðə mæn aɪ ˌriˈpɔrtəd tɪ wɪn aɪ toʊld maɪ ˈməðər əˈbaʊt ðə reɪp ənd ʃi dɪd nɑt bɪˈliv mi. ˈrɪʧərd ədˈvaɪzd mi tɪ liv ˈɛvriˌθɪŋ tɪ gɑd. ““sometimes*, wɪn ˈɛvriˌwən wɑz sˈlipɪŋ, hi wʊd kəm tɪ ðə rum wɛr aɪ wɑz wɪθ maɪ ˈəðər ˈsɪstərz ənd hi wʊd reɪp mi. aɪ wʊd bi ˈhɪtɪŋ maɪ ˈsɪstərz traɪɪŋ tɪ weɪk ðɛm, bət ðeɪ dɪd nɑt weɪk æt səʧ times.”*.” ðə ˈleɪgɔs steɪt pəˈlis ˈpəblɪk riˈleɪʃənz ˈɔfɪsər, badmos*, kənˈfərmd ðə ərˈɛst. ərˈɛst ɪz kənˈfərmd. hi wɑz ˈtrænsfərd frəm tɪ ðə dɪˈvɪʒən fər ˈfərðər action,”*,” ðə kənˈfərmd.
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as i have mentioned a number of times lately around the site, i am really on an undersized kick as of late. for some reason i just really enjoy throwing smallers and like how they play. for this reason i was quite excited to hear about the incoming executive that actually fires up tomorrow morning (july 5) at pacific.
the executive is being brought to use by doctor popular and ernest kahn, and you can read more about this new miniature over in the official announcement on doc website. i emailed doc pop for some more information and he was kind enough to give me a sneak peek at the executive. better yet, he gave me permission to share some extra details with you.
the executive is being machined by one drop, and you can check out the full specs below. during the there will be a special green colour that will not be available again after the close of the campaign. there will also be a special swirl (shown below) that will only be available during the first 24 hours of the campaign so you will need to act quickly to snag one of those. there will also be a bunch of other goodies available as part of the various reward tiers such as snagging one of the executive prototypes, a shirt, and even a private lesson from doc pop (who happens to be a competition level master).
so if you are into miniatures then you need to get your wallet ready for the launch of the executive tomorrow! pledges that include the will start at $75 usd.
executive specs
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ɛz aɪ hæv ˈmɛnʃənd ə ˈnəmbər əv taɪmz ˈleɪtli əraʊnd ðə saɪt, aɪ æm ˈrɪli ɔn ən ˈəndərˌsaɪzd kɪk ɛz əv leɪt. fər səm ˈrizən aɪ ʤɪst ˈrɪli ˌɛnˈʤɔɪ θroʊɪŋ sˈmɔlər ənd laɪk haʊ ðeɪ pleɪ. fər ðɪs ˈrizən aɪ wɑz kwaɪt ɪkˈsaɪtɪd tɪ hir əˈbaʊt ðə ˈɪnˌkəmɪŋ ɪgˈzɛkjətɪv ðət ˈæˌkʧuəli faɪərz əp təˈmɑˌroʊ ˈmɔrnɪŋ (ˌʤuˈlaɪ 5 æt pəˈsɪfɪk. ðə ɪgˈzɛkjətɪv ɪz biɪŋ brɔt tɪ juz baɪ ˈdɔktər ˈpɑpjələr ənd ˈərnɪst kɑn, ənd ju kən rɛd mɔr əˈbaʊt ðɪs nu ˈmɪnɪˌʧʊr ˈoʊvər ɪn ðə əˈfɪʃəl əˈnaʊnsmɛnt ɔn dɑk ˈwɛbˌsaɪt. aɪ iˈmeɪld dɑk pɑp fər səm mɔr ˌɪnˌfɔrˈmeɪʃən ənd hi wɑz kaɪnd ɪˈnəf tɪ gɪv mi ə snik pik æt ðə ɪgˈzɛkjətɪv. ˈbɛtər jɛt, hi geɪv mi pərˈmɪʃən tɪ ʃɛr səm ˈɛkstrə ˈditeɪlz wɪθ ju. ðə ɪgˈzɛkjətɪv ɪz biɪŋ məˈʃind baɪ wən drɔp, ənd ju kən ʧɛk aʊt ðə fʊl spɛks bɪˈloʊ. ˈdʊrɪŋ ðə ðɛr wɪl bi ə ˈspɛʃəl grin ˈkələr ðət wɪl nɑt bi əˈveɪləbəl əˈgɛn ˈæftər ðə kloʊz əv ðə kæmˈpeɪn. ðɛr wɪl ˈɔlsoʊ bi ə ˈspɛʃəl swərl (ʃoʊn bɪˈloʊ) ðət wɪl ˈoʊnli bi əˈveɪləbəl ˈdʊrɪŋ ðə fərst 24 aʊərz əv ðə kæmˈpeɪn soʊ ju wɪl nid tɪ ækt kˈwɪkli tɪ snæg wən əv ðoʊz. ðɛr wɪl ˈɔlsoʊ bi ə bənʧ əv ˈəðər ˈgʊdiz əˈveɪləbəl ɛz pɑrt əv ðə ˈvɛriəs rɪˈwɔrd tirz səʧ ɛz sˈnægɪŋ wən əv ðə ɪgˈzɛkjətɪv ˈproʊtoʊˌtaɪps, ə ʃərt, ənd ˈivɪn ə ˈpraɪvət ˈlɛsən frəm dɑk pɑp (hu ˈhæpənz tɪ bi ə ˌkɑmpəˈtɪʃən ˈlɛvəl ˈmæstər). soʊ ɪf ju ər ˈɪntu ˈmɪnɪˌʧʊr ðɛn ju nid tɪ gɪt jʊr ˈwɔlət ˈrɛdi fər ðə lɔnʧ əv ðə ɪgˈzɛkjətɪv təˈmɑˌroʊ! ˈplɛʤɪz ðət ˌɪnˈklud ðə wɪl stɑrt æt 75 usd*. ɪgˈzɛkjətɪv spɛks
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a general election candidate has contacted gardaí after she received a vile death threat via social media.
a general election candidate has contacted gardaí after she received a vile death threat via social media.
fine gael josepha madigan has expressed her upset after being labelled a “racist c***” over a leaflet she released in her constituency on the issue of traveller sites.
the leaflet sparked controversy after it claimed that building traveller accommodation on a site in her south dublin constituency would be "a waste of valuable resources".
in an interview with the sunday independent, ms madigan stood by her newsletter and insisted she is not “anti-traveller”.
the, who is running in the constituency alongside minister alan shatter, has said the land should be sold for or instead of used for traveller accommodation.
but ms madigan has now contacted after receive a death threat over her remarks.
the message, posted on her facebook page, makes disturbing threats her and her family.
“yer a racist c***, a heartless piece of sub-human, and i hope that someone will take ye out, end your miserable existence, and if they get to you, find members of your family.”
ms madigan told on monday that she is confident the issue will be dealt with accordingly by gardaí.
“i have reported the online abuse on my facebook page to the. i take any threat to my life and that of my family seriously. the have told me they will investigate the matter thoroughly. i am confident that they will,” ms madigan said.
several female politicians, including labour party senators lorraine higgins and cahill, have contacted over threats they have received in recent months.
online editors
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ə ˈʤɛnərəl ɪˈlɛkʃən ˈkænədɪt həz ˈkɑnˌtæktɪd gardaí*í ˈæftər ʃi rɪˈsivd ə vaɪl dɛθ θrɛt ˈviə ˈsoʊʃəl ˈmidiə. ə ˈʤɛnərəl ɪˈlɛkʃən ˈkænədɪt həz ˈkɑnˌtæktɪd gardaí*í ˈæftər ʃi rɪˈsivd ə vaɪl dɛθ θrɛt ˈviə ˈsoʊʃəl ˈmidiə. faɪn geɪl ʤoʊˈsɛfə ˈmædɪgən həz ɪkˈsprɛst hər ˈəpˌsɛt ˈæftər biɪŋ ˈleɪbəld ə c***”****” ˈoʊvər ə ˈliflət ʃi riˈlist ɪn hər kənˈstɪʧuənsi ɔn ðə ˈɪʃu əv ˈtrævələr saɪts. ðə ˈliflət spɑrkt ˈkɑntrəˌvərsi ˈæftər ɪt kleɪmd ðət ˈbɪldɪŋ ˈtrævələr əˌkɑməˈdeɪʃən ɔn ə saɪt ɪn hər saʊθ ˈdəblɪn kənˈstɪʧuənsi wʊd bi "ə weɪst əv ˈvæljəbəl ˈrisɔrsɪz". ɪn ən ˈɪntərvˌju wɪθ ðə ˈsənˌdi ˌɪndɪˈpɛndənt, mɪz ˈmædɪgən stʊd baɪ hər ˈnuzˌlɛtər ənd ˌɪnˈsɪstɪd ʃi ɪz nɑt ““anti-traveller”*”. ðə, hu ɪz ˈrənɪŋ ɪn ðə kənˈstɪʧuənsi əˈlɔŋˈsaɪd ˈmɪnɪstər ˈælən ˈʃætər, həz sɛd ðə lænd ʃʊd bi soʊld fər ər ˌɪnˈstɛd əv juzd fər ˈtrævələr əˌkɑməˈdeɪʃən. bət mɪz ˈmædɪgən həz naʊ ˈkɑnˌtæktɪd ˈæftər rɪˈsiv ə dɛθ θrɛt ˈoʊvər hər rɪˈmɑrks. ðə ˈmɛsɪʤ, ˈpoʊstɪd ɔn hər ˈfeɪsˌbʊk peɪʤ, meɪks dɪˈstərbɪŋ θrɛts hər ənd hər ˈfæməli. ə ˈreɪsɪst si***, ə ˈhɑrtləs pis əv sub-human*, ənd aɪ hoʊp ðət ˈsəmˌwən wɪl teɪk jɛ aʊt, ɛnd jʊr ˈmɪzərəbəl ɪgˈzɪstəns, ənd ɪf ðeɪ gɪt tɪ ju, faɪnd ˈmɛmbərz əv jʊr family.”*.” mɪz ˈmædɪgən toʊld ɔn ˈmənˌdeɪ ðət ʃi ɪz ˈkɑnfədənt ðə ˈɪʃu wɪl bi dɛlt wɪθ əˈkɔrdɪŋli baɪ gardaí*í. hæv ˌriˈpɔrtəd ðə ˈɔnˌlaɪn əˈbjuz ɔn maɪ ˈfeɪsˌbʊk peɪʤ tɪ ðə. aɪ teɪk ˈɛni θrɛt tɪ maɪ laɪf ənd ðət əv maɪ ˈfæməli ˈsɪriəsli. ðə hæv toʊld mi ðeɪ wɪl ˌɪnˈvɛstəˌgeɪt ðə ˈmætər ˈθəroʊli. aɪ æm ˈkɑnfədənt ðət ðeɪ will,”*,” mɪz ˈmædɪgən sɛd. ˈsɛvərəl ˈfiˌmeɪl ˌpɑləˈtɪʃənz, ˌɪnˈkludɪŋ ˈleɪbər ˈpɑrti ˈsɛnətərz ləreɪn ˈhɪgɪnz ənd ˈkeɪˌhɪl, hæv ˈkɑnˌtæktɪd ˈoʊvər θrɛts ðeɪ hæv rɪˈsivd ɪn ˈrisənt mənθs. ˈɔnˌlaɪn ˈɛdɪtərz
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the biggest photography chain,, is making a comeback this week with help from business tycoon peter jones. after shutting all of its 187 stores and cutting jobs in january, the mirror reports that' online store will return tomorrow with six retail stores opening in the coming days and plans to open more than 30 next month.
there'll be an apple influence in' new stores
as part of its relaunch, is set to offer a number of former employees their jobs back, hiring around 500 staff to run its stores. the company also hopes to mimic apple's retail success by introducing new "play tables," where customers can test and compare cameras, and has announced plans to create a academy, which will offer tuition and the option to reserve and collect online items.
in january, jones offered hope that the beleaguered retailer would return when' creditors announced the entrepreneur was part of a group purchasing the brand and assets for a reported million ($3.02 million). jones who gained fame for his role in dragons' den, the version of the abc show shark tank admits the relaunch is "a huge risk," but has promised to compete with its online rivals, something consumers have argued it should have done a long time ago.
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ðə ˈbɪgəst fəˈtɑgrəfi ʧeɪn,, ɪz ˈmeɪkɪŋ ə ˈkəmˌbæk ðɪs wik wɪθ hɛlp frəm ˈbɪznɪs taɪˈkun ˈpitər ʤoʊnz. ˈæftər ˈʃətɪŋ ɔl əv ɪts 187 stɔrz ənd ˈkətɪŋ ʤɑbz ɪn ˈʤænjuˌɛri, ðə ˈmɪrər rɪˈpɔrts ðət' ˈɔnˌlaɪn stɔr wɪl rɪˈtərn təˈmɑˌroʊ wɪθ sɪks ˈriˌteɪl stɔrz ˈoʊpənɪŋ ɪn ðə ˈkəmɪŋ deɪz ənd plænz tɪ ˈoʊpən mɔr ðən 30 nɛkst mənθ. ˈðɛrəl bi ən ˈæpəl ˈɪnfluəns ɪn' nu stɔrz ɛz pɑrt əv ɪts riˈlɔnʧ, ɪz sɛt tɪ ˈɔfər ə ˈnəmbər əv ˈfɔrmər ɪmˈplɔɪiz ðɛr ʤɑbz bæk, ˈhaɪrɪŋ əraʊnd 500 stæf tɪ rən ɪts stɔrz. ðə ˈkəmpəˌni ˈɔlsoʊ hoʊps tɪ ˈmɪmɪk ˈæpəlz ˈriˌteɪl səkˈsɛs baɪ ˌɪntrəˈdusɪŋ nu "pleɪ ˈteɪbəlz," wɛr ˈkəstəmərz kən tɛst ənd kəmˈpɛr ˈkæmərəz, ənd həz əˈnaʊnst plænz tɪ kriˈeɪt ə əˈkædəmi, wɪʧ wɪl ˈɔfər tjuˈɪʃən ənd ðə ˈɔpʃən tɪ rɪˈzərv ənd kəˈlɛkt ˈɔnˌlaɪn ˈaɪtəmz. ɪn ˈʤænjuˌɛri, ʤoʊnz ˈɔfərd hoʊp ðət ðə bɪˈligərd ˈriˌteɪlər wʊd rɪˈtərn wɪn' ˈkrɛdɪtərz əˈnaʊnst ðə ˌɑntrəprəˈnʊr wɑz pɑrt əv ə grup ˈpərʧəsɪŋ ðə brænd ənd ˈæˌsɛts fər ə ˌriˈpɔrtəd ˈmɪljən ˈmɪljən). ʤoʊnz hu geɪnd feɪm fər hɪz roʊl ɪn ˈdrægənz' dɛn, ðə ˈvərʒən əv ðə ˈeɪˌbiˌsi ʃoʊ ʃɑrk tæŋk ədˈmɪts ðə riˈlɔnʧ ɪz "ə juʤ rɪsk," bət həz ˈprɑməst tɪ kəmˈpit wɪθ ɪts ˈɔnˌlaɪn ˈraɪvəlz, ˈsəmθɪŋ kənˈsumərz hæv ˈɑrgjud ɪt ʃʊd hæv dən ə lɔŋ taɪm əˈgoʊ.
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oak brook officials are hopeful that the 2018 move of mcdonald's corporate offices to chicago provides the perfect fit for giant amazon's search for a second headquarters.
oak brook is throwing its hat in the ring to be part of an official bid to amazon officials looking to add another headquarters outside of their seattle site.
"i really think we have a good chance of getting this, or at least getting to talk with amazon," said valentina, president and chief executive officer of the greater oak brook chamber of commerce. "we are very close to a major urban center with great access on highways, are close to the airport and have very friendly business policies with low taxes and no municipal property taxes."
village president gopal said this is a great opportunity for oak brook and for amazon.
"having a company like amazon come to oak brook would be a huge economic boom for this entire area, and we believe we have a perfect situation for amazon to come here, with mcdonald's getting ready to move," said.
tomov said mcdonald's representatives are interested in working with local officials in an effort to sell the company's oak brook property to amazon. mcdonald's did not reply to a request for comment.
oak brook is working with choose and the illinois department of commerce and economic opportunity in bid. any financial incentives the state agrees to for amazon would apply to any illinois municipality that lands the bid, said.
she said oak brook's proposal would be submitted to choose, which will select two or three from the county to pass on to the illinois department of commerce and economic opportunity. from there, an unknown number of proposals will be sent to amazon by oct. 19 for consideration.
"i don't see much of a competition around us," said. "one of our biggest challenges is to get the word out. you hear a lot about chicago with this, but we really believe oak brook offers the advantage of being so close to the city, but also some benefits chicago does not have."
one of oak brook's selling points is the green space that would be in the area after amazon moved in.
"amazon has said it wants green space, and we have that, especially with the sports core which is very close to the mcdonald's campus," said.
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oʊk brʊk əˈfɪʃəlz ər ˈhoʊpfəl ðət ðə 2018 muv əv məkˈdɑnəldz ˈkɔrpərət ˈɔfəsɪz tɪ ʃəˈkɑˌgoʊ prəˈvaɪdz ðə ˈpərˌfɪkt fɪt fər ʤaɪənt ˈæməˌzɑnz sərʧ fər ə ˈsɛkənd ˈhɛdˌkɔrtərz. oʊk brʊk ɪz θroʊɪŋ ɪts hæt ɪn ðə rɪŋ tɪ bi pɑrt əv ən əˈfɪʃəl bɪd tɪ ˈæməˌzɑn əˈfɪʃəlz ˈlʊkɪŋ tɪ æd əˈnəðər ˈhɛdˌkɔrtərz ˈaʊtˈsaɪd əv ðɛr siˈætəl saɪt. "aɪ ˈrɪli θɪŋk wi hæv ə gʊd ʧæns əv ˈgɪtɪŋ ðɪs, ər æt list ˈgɪtɪŋ tɪ tɔk wɪθ ˈæməˌzɑn," sɛd ˌvɑlɛnˈtinə, ˈprɛzɪdənt ənd ʧif ɪgˈzɛkjətɪv ˈɔfɪsər əv ðə ˈgreɪtər oʊk brʊk ˈʧeɪmbər əv ˈkɑmərs. "wi ər ˈvɛri kloʊz tɪ ə ˈmeɪʤər ˈərbən ˈsɛnər wɪθ greɪt ˈækˌsɛs ɔn ˈhaɪˌweɪz, ər kloʊz tɪ ðə ˈɛrˌpɔrt ənd hæv ˈvɛri ˈfrɛndli ˈbɪznɪs ˈpɑləsiz wɪθ loʊ ˈtæksɪz ənd noʊ mjuˈnɪsəpəl ˈprɑpərti ˈtæksɪz." ˈvɪlɪʤ ˈprɛzɪdənt ˌgoʊˈpɑl sɛd ðɪs ɪz ə greɪt ˌɑpərˈtunəti fər oʊk brʊk ənd fər ˈæməˌzɑn. "ˈhævɪŋ ə ˈkəmpəˌni laɪk ˈæməˌzɑn kəm tɪ oʊk brʊk wʊd bi ə juʤ ˌɛkəˈnɑmɪk bum fər ðɪs ɪnˈtaɪər ˈɛriə, ənd wi bɪˈliv wi hæv ə ˈpərˌfɪkt ˌsɪʧuˈeɪʃən fər ˈæməˌzɑn tɪ kəm hir, wɪθ məkˈdɑnəldz ˈgɪtɪŋ ˈrɛdi tɪ muv," sɛd. sɛd məkˈdɑnəldz ˌrɛprɪˈzɛnətɪvz ər ˈɪntəˌrɛstɪd ɪn ˈwərkɪŋ wɪθ ˈloʊkəl əˈfɪʃəlz ɪn ən ˈɛfərt tɪ sɛl ðə ˈkəmpəniz oʊk brʊk ˈprɑpərti tɪ ˈæməˌzɑn. məkˈdɑnəldz dɪd nɑt rɪˈplaɪ tɪ ə rɪkˈwɛst fər ˈkɑmɛnt. oʊk brʊk ɪz ˈwərkɪŋ wɪθ ʧuz ənd ðə ˌɪləˈnɔɪz dɪˈpɑrtmənt əv ˈkɑmərs ənd ˌɛkəˈnɑmɪk ˌɑpərˈtunəti ɪn bɪd. ˈɛni ˌfaɪˈnænʃəl ˌɪnˈsɪnɪvz ðə steɪt əˈgriz tɪ fər ˈæməˌzɑn wʊd əˈplaɪ tɪ ˈɛni ˌɪləˈnɔɪz mˌjunɪsəˈpæləti ðət lændz ðə bɪd, sɛd. ʃi sɛd oʊk brʊks prəˈpoʊzəl wʊd bi səbˈmɪtəd tɪ ʧuz, wɪʧ wɪl səˈlɛkt tu ər θri frəm ðə ˈkaʊnti tɪ pæs ɔn tɪ ðə ˌɪləˈnɔɪz dɪˈpɑrtmənt əv ˈkɑmərs ənd ˌɛkəˈnɑmɪk ˌɑpərˈtunəti. frəm ðɛr, ən ənˈnoʊn ˈnəmbər əv prəˈpoʊzəlz wɪl bi sɛnt tɪ ˈæməˌzɑn baɪ ɔkt. 19 fər kənˌsɪdərˈeɪʃən. "aɪ doʊnt si məʧ əv ə ˌkɑmpəˈtɪʃən əraʊnd ˈjuˈɛs," sɛd. "wən əv ɑr ˈbɪgəst ˈʧælənʤɪz ɪz tɪ gɪt ðə wərd aʊt. ju hir ə lɔt əˈbaʊt ʃəˈkɑˌgoʊ wɪθ ðɪs, bət wi ˈrɪli bɪˈliv oʊk brʊk ˈɔfərz ðə ædˈvæntɪʤ əv biɪŋ soʊ kloʊz tɪ ðə ˈsɪti, bət ˈɔlsoʊ səm ˈbɛnəfɪts ʃəˈkɑˌgoʊ dɪz nɑt hæv." wən əv oʊk brʊks ˈsɛlɪŋ pɔɪnts ɪz ðə grin speɪs ðət wʊd bi ɪn ðə ˈɛriə ˈæftər ˈæməˌzɑn muvd ɪn. "ˈæməˌzɑn həz sɛd ɪt wɔnts grin speɪs, ənd wi hæv ðət, əˈspɛʃəli wɪθ ðə spɔrts kɔr wɪʧ ɪz ˈvɛri kloʊz tɪ ðə məkˈdɑnəldz ˈkæmpəs," sɛd. tˈwɪtər
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ok so after some excited communication from my gifter, i was excited to come home from work to find a package waiting for me!
i tore it open and read the awesome letter that sent with the gift, and was blown away. seriously, we entered so much of the same stuff in our exchange questionnaire. booyah. match made in heaven.
what did i get?
well, knowing i fallout, and she loved it too, she silk screened two awesome tanks for me. (i love tank tops)
i am a know it all when it comes to medicine and anatomy and crap. i even act the mob doctor to my friends when they don't want to go to the hospital. luckily i now get a +5 to my medicine skills thanks to my custom vault boy medicine perk tank. bam!
not only that, i have gained entry to the ranks of the brotherhood of steel thanks to my custom recruit's tank. hell it is sweet! because 'everyone knows how to make another human being, but not everyone knows how to make another plasma rifle'.
you rock gifter, you rock!
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ˈoʊˈkeɪ soʊ ˈæftər səm ɪkˈsaɪtɪd kəmˌjunəˈkeɪʃən frəm maɪ gifter*, aɪ wɑz ɪkˈsaɪtɪd tɪ kəm hoʊm frəm wərk tɪ faɪnd ə ˈpækɪʤ ˈweɪtɪŋ fər mi! aɪ tɔr ɪt ˈoʊpən ənd rɛd ðə ˈɔsəm ˈlɛtər ðət sɛnt wɪθ ðə gɪft, ənd wɑz bloʊn əˈweɪ. ˈsɪriəsli, wi ˈɛnərd soʊ məʧ əv ðə seɪm stəf ɪn ɑr ɪksˈʧeɪnʤ kˌwɛsʧəˈnɛr. booyah*. mæʧ meɪd ɪn ˈhɛvən. wət dɪd aɪ gɪt? wɛl, noʊɪŋ aɪ ˈfɔˌlaʊt, ənd ʃi ləvd ɪt tu, ʃi sɪlk skrind tu ˈɔsəm tæŋks fər mi. (aɪ ləv tæŋk tɑps) aɪ æm ə noʊ ɪt ɔl wɪn ɪt kəmz tɪ ˈmɛdəsən ənd əˈnætəmi ənd kræp. aɪ ˈivɪn ækt ðə mɑb ˈdɔktər tɪ maɪ frɛndz wɪn ðeɪ doʊnt wɔnt tɪ goʊ tɪ ðə ˈhɑˌspɪtəl. ˈləkəli aɪ naʊ gɪt ə 5 tɪ maɪ ˈmɛdəsən skɪlz θæŋks tɪ maɪ ˈkəstəm vɔlt bɔɪ ˈmɛdəsən pərk tæŋk. bæm! nɑt ˈoʊnli ðət, aɪ hæv geɪnd ˈɛntri tɪ ðə ræŋks əv ðə ˈbrəðərˌhʊd əv stil θæŋks tɪ maɪ ˈkəstəm riˈkruts tæŋk. hɛl ɪt ɪz swit! bɪˈkəz 'ˈɛvriˌwən noʊz haʊ tɪ meɪk əˈnəðər ˈjumən biɪŋ, bət nɑt ˈɛvriˌwən noʊz haʊ tɪ meɪk əˈnəðər ˈplæzmə ˈraɪfəl'. ju rɑk gifter*, ju rɑk!
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it's been a year since grasshopper rock star founder suda 51 was doing the rounds for lollipop chainsaw, a game whose tongue was stuck so firmly in its cheek it was in danger of poking through the other side. there was something absent there, though - a part of me wished that suda was building a japanese version of the warriors (or even something that more closely resembled koko dai panikku, the violent '70s japanese high school outcast film lollipop was inspired by) instead - and the end result fell well short of its outlandish potential. lollipop chainsaw lacked a certain something - it was missing a little of the style that's made name.
killer is dead looks like it'll deliver that and then some; this is a beautifully opaque portrait of striking visual expression. it may be the most game suda has yet embarked on - no small feat when considering what you can find when leafing through his back catalogue - and it's a pastiche of violence, and exploding colour. (suda calls the look a shader," which he wants people to think of as the game's calling card.)
"i keep striving for something new that people have never seen. i don't want it to have a certain name, like a look or a type of formalism," suda says about an approach seen before in killer 7 and no more heroes. "from a digital art perspective, i'm trying to capture something that's happening in real life, but not in the regular sense that people imagine - [i want] to describe it in a different way."
killer is dead finds a brilliant middle ground between killer 7 and no more heroes.
killer is dead is spread out like a television drama across a succession of episodes following mondo zappa. he's an amalgamation of killer cold-blooded dan smith and flower, sun and "searcher" mondo, and in our brief demo he's just ascended to the top of a corporate tower where his mark is waiting for him.
there follows a boss battle between mondo and the ghoulish victor, a corpse who's sporting frilly victorian garb and recording headphones, and who's drawn from the suda 51 casting book of insane villains. victor has the ability to steal sound from his victims and plans to use it to destroy the world - not that mondo can hear anything the old corpse says until he puts on his own pair of solid gold cans.
when the battle proper starts, victor sheds his weak form for a much more powerful one, sporting a weird suit whose massive arms extend like limber sinew. combat looks similar to no more heroes in that primary tool is a katana, though there's some thrown in for good measure by way of the executioner's transforming arm.
although the nuts and bolts gameplay seem relatively straightforward, the artistic flourishes throughout the fast-paced battle are mesmerising. blade leaves an electric trail of neon blue as it bites through the air, while victor's hulking arms bathe the screen in tones. whether by bullets or sharpened steel, anything designed to be cut to ribbons explodes in a puffy display spanning the spectrum.
and then there's the blood - we're well used to seeing geysers of it erupting in games, and in killer is dead it pops that much more amongst the violence. got a punishing attack that momentarily slows down time, changing the colour palette of the screen as he swings his sword, and there's a sin effect as the screen is soaked by the plasma effects of killing moves.
"we wanted to have this vivid colour - it used to be a lot more and we actually toned it down," suda says. "but i think we found a really good medium, there's a stillness that's sort of monochromatic, but at the same time sort of not. that makes the visuals more unique."
with such an arresting visual signature, it's surprising that killer is dead runs on the unreal engine. the high contrast, which often drowns half the screen in shadow, looks incredible in motion, especially for a title; out of all the comic book and art styles i've come across in video games, killer is dead may be the closest thing i've seen to actually mimicking the excess seen in a lot of. (for its part, the colour and shading in killer is dead are highly reminiscent of classics akira and ninja scroll.)
there's another, more curious part of killer is make-up, too. dubbed "gigolo mode," it's a series of breather where mondo can relax and show off his prowess with the ladies (at this point it's entirely unknown what exactly this design will entail.) yet even the mere mention of a similar mode in a game made by a western studio would likely face intense controversy and public media scrutiny. are japanese views on sexuality such a special case?
'there are a couple of ways i'm always striving to go in terms of a certain style, but i think it's too risky,' suda says. 'will people relate to it or even understand it?'
"i think western publishers do similar things, like with gta, going out to a strip club and other things," suda says. "but i do understand that if a western developer was to create something like [gigolo mode] it could backfire."
suda says that a sexual undercurrent just fits killer is dead.
"i don't really use [sex] as something full frontal, but sexuality is a good way to express a certain element in the game," he says. "maybe sexuality in games shouldn't be as big a taboo, but at the same time i live in a country where sexuality is pretty crazy."
suda's subsequent comparison of mondo to 007 doesn't exactly warrant much surprise, even if gigolo mode seems a strange choice for a game with such an outwardly aesthetic agenda. but bizarre says he still has a lot crazier ideas he'd love to make into games.
"i still have an indie mentality," he says after i ask him about returning to offbeat designs closer to past games like flower, sun and rain or michigan. "i always want to create something new just to be adventurous. and i am thinking about making a game where the main character doesn't have a weapon. it doesn't necessarily have to be an action game. i would like to try to come up with a game for that."
whatever the case, killer is artful presentation could be something special. and there's every reason to think whatever's up sleeve next - and we should all hope that it will be a project - will continue to surprise.
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ɪts bɪn ə jɪr sɪns ˈgræsˌhɑpər rɑk stɑr ˈfaʊndər ˈsudə 51 wɑz duɪŋ ðə raʊnz fər ˈlɑliˌpɑp ˈʧeɪnˌsɔ, ə geɪm huz təŋ wɑz stək soʊ ˈfərmli ɪn ɪts ʧik ɪt wɑz ɪn ˈdeɪnʤər əv ˈpoʊkɪŋ θru ðə ˈəðər saɪd. ðɛr wɑz ˈsəmθɪŋ ˈæbsənt ðɛr, ðoʊ ə pɑrt əv mi wɪʃt ðət ˈsudə wɑz ˈbɪldɪŋ ə ˌʤæpəˈniz ˈvərʒən əv ðə ˈwɔrjərz (ər ˈivɪn ˈsəmθɪŋ ðət mɔr ˈkloʊsli rɪˈzɛmbəld ˈkoʊkoʊ daɪ panikku*, ðə ˈvaɪələnt ˌʤæpəˈniz haɪ skul ˈaʊtˌkæst fɪlm ˈlɑliˌpɑp wɑz ˌɪnˈspaɪərd baɪ) ˌɪnˈstɛd ənd ðə ɛnd rɪˈzəlt fɛl wɛl ʃɔrt əv ɪts aʊˈtlændɪʃ pəˈtɛnʃəl. ˈlɑliˌpɑp ˈʧeɪnˌsɔ lækt ə ˈsərtən ˈsəmθɪŋ ɪt wɑz ˈmɪsɪŋ ə ˈlɪtəl əv ðə staɪl ðæts meɪd neɪm. ˈkɪlər ɪz dɛd lʊks laɪk ˈɪtəl dɪˈlɪvər ðət ənd ðɛn səm; ðɪs ɪz ə ˈbjutəfli oʊˈpeɪk ˈpɔrtrət əv ˈstraɪkɪŋ ˈvɪʒəwəl ɪkˈsprɛʃən. ɪt meɪ bi ðə moʊst geɪm ˈsudə həz jɛt ɛmˈbɑrkt ɔn noʊ smɔl fit wɪn kənˈsɪdərɪŋ wət ju kən faɪnd wɪn ˈlifɪŋ θru hɪz bæk ˈkætəˌlɔg ənd ɪts ə ˌpæˈstiʃ əv ˈvaɪələns, ənd ɪkˈsploʊdɪŋ ˈkələr. (ˈsudə kɔlz ðə lʊk ə ˈʃeɪdər," wɪʧ hi wɔnts ˈpipəl tɪ θɪŋk əv ɛz ðə geɪmz ˈkɔlɪŋ kɑrd.) "aɪ kip ˈstraɪvɪŋ fər ˈsəmθɪŋ nu ðət ˈpipəl hæv ˈnɛvər sin. aɪ doʊnt wɔnt ɪt tɪ hæv ə ˈsərtən neɪm, laɪk ə lʊk ər ə taɪp əv ˈfɔrməˌlɪzəm," ˈsudə sɪz əˈbaʊt ən əˈproʊʧ sin ˌbiˈfɔr ɪn ˈkɪlər 7 ənd noʊ mɔr ˈhɪroʊz. "frəm ə ˈdɪʤɪtəl ɑrt pərˈspɛktɪv, əm traɪɪŋ tɪ ˈkæpʧər ˈsəmθɪŋ ðæts ˈhæpənɪŋ ɪn ril laɪf, bət nɑt ɪn ðə ˈrɛgjələr sɛns ðət ˈpipəl ˌɪˈmæʤən [aɪ wɔnt] tɪ dɪˈskraɪb ɪt ɪn ə ˈdɪfərənt weɪ." ˈkɪlər ɪz dɛd faɪndz ə ˈbrɪljənt ˈmɪdəl graʊnd bɪtˈwin ˈkɪlər 7 ənd noʊ mɔr ˈhɪroʊz. ˈkɪlər ɪz dɛd ɪz sprɛd aʊt laɪk ə ˈtɛləˌvɪʒən ˈdrɑmə əˈkrɔs ə səkˈsɛʃən əv ˈɛpɪˌsoʊdz ˈfɑloʊɪŋ ˈmɑndoʊ ˈzæpə. hiz ən əˌmælgəˈmeɪʃən əv ˈkɪlər ˈkoʊldˈblədəd dæn smɪθ ənd flaʊər, sən ənd "ˈsərʧər" ˈmɑndoʊ, ənd ɪn ɑr brif ˈdɛmoʊ hiz ʤɪst əˈsɛndəd tɪ ðə tɔp əv ə ˈkɔrpərət taʊər wɛr hɪz mɑrk ɪz ˈweɪtɪŋ fər ɪm. ðɛr ˈfɑloʊz ə bɔs ˈbætəl bɪtˈwin ˈmɑndoʊ ənd ðə ˈgulɪʃ ˈvɪktər, ə kɔrps huz ˈspɔrtɪŋ ˈfrɪli vɪkˈtɔriən gɑrb ənd rɪˈkɔrdɪŋ ˈhɛdˌfoʊnz, ənd huz drɔn frəm ðə ˈsudə 51 ˈkæstɪŋ bʊk əv ˌɪnˈseɪn ˈvɪlənz. ˈvɪktər həz ðə əˈbɪləˌti tɪ stil saʊnd frəm hɪz ˈvɪktɪmz ənd plænz tɪ juz ɪt tɪ dɪˈstrɔɪ ðə wərld nɑt ðət ˈmɑndoʊ kən hir ˈɛniˌθɪŋ ðə oʊld kɔrps sɪz ənˈtɪl hi pʊts ɔn hɪz oʊn pɛr əv ˈsɑləd goʊld kænz. wɪn ðə ˈbætəl ˈprɑpər stɑrts, ˈvɪktər ʃɛdz hɪz wik fɔrm fər ə məʧ mɔr ˈpaʊərfəl wən, ˈspɔrtɪŋ ə wɪrd sut huz ˈmæsɪv ɑrmz ɪkˈstɛnd laɪk ˈlɪmbər sinew*. ˈkɑmbæt lʊks ˈsɪmələr tɪ noʊ mɔr ˈhɪroʊz ɪn ðət ˈpraɪˌmɛri tul ɪz ə katana*, ðoʊ ðɛrz səm θroʊn ɪn fər gʊd ˈmɛʒər baɪ weɪ əv ðə ˌɛksəˈkjuʃənərz trænsˈfɔrmɪŋ ɑrm. ˌɔlˈðoʊ ðə nəts ənd boʊlts ˈgeɪmˌpleɪ sim ˈrɛlətɪvli ˈstreɪtˈfɔrwərd, ðə ɑrˈtɪstɪk ˈflərɪʃɪz θruaʊt ðə ˌfæstˈpeɪst ˈbætəl ər mesmerising*. bleɪd livz ən ɪˈlɛktrɪk treɪl əv niɑn blu ɛz ɪt baɪts θru ðə ɛr, waɪl ˈvɪktərz ˈhəlkɪŋ ɑrmz beɪð ðə skrin ɪn toʊnz. ˈwɛðər baɪ ˈbʊləts ər ˈʃɑrpənd stil, ˈɛniˌθɪŋ dɪˈzaɪnd tɪ bi kət tɪ ˈrɪbənz ɪkˈsploʊdz ɪn ə ˈpəfi dɪˈspleɪ ˈspænɪŋ ðə ˈspɛktrəm. ənd ðɛn ðɛrz ðə bləd wɪr wɛl juzd tɪ siɪŋ ˈgaɪzərz əv ɪt ˌɪˈrəptɪŋ ɪn geɪmz, ənd ɪn ˈkɪlər ɪz dɛd ɪt pɑps ðət məʧ mɔr əˈməŋst ðə ˈvaɪələns. gɑt ə ˈpənɪʃɪŋ əˈtæk ðət ˌmoʊmənˈtɛrəli sloʊz daʊn taɪm, ˈʧeɪnʤɪŋ ðə ˈkələr ˈpælət əv ðə skrin ɛz hi swɪŋz hɪz sɔrd, ənd ðɛrz ə sɪn ˈifɛkt ɛz ðə skrin ɪz soʊkt baɪ ðə ˈplæzmə ˈifɛkts əv ˈkɪlɪŋ muvz. "wi ˈwɔntɪd tɪ hæv ðɪs ˈvɪvɪd ˈkələr ɪt juzd tɪ bi ə lɔt mɔr ənd wi ˈæˌkʧuəli toʊnd ɪt daʊn," ˈsudə sɪz. "bət aɪ θɪŋk wi faʊnd ə ˈrɪli gʊd ˈmidiəm, ðɛrz ə ˈstɪlnəs ðæts sɔrt əv ˌmɑnəkroʊˈmætɪk, bət æt ðə seɪm taɪm sɔrt əv nɑt. ðət meɪks ðə ˈvɪʒwəlz mɔr juˈnik." wɪθ səʧ ən ərˈɛstɪŋ ˈvɪʒəwəl ˈsɪgnəʧər, ɪts səˈpraɪzɪŋ ðət ˈkɪlər ɪz dɛd rənz ɔn ðə ənˈril ˈɪnʤən. ðə haɪ ˈkɑntræst, wɪʧ ˈɔfən draʊnz hæf ðə skrin ɪn ˈʃæˌdoʊ, lʊks ˌɪnˈkrɛdəbəl ɪn ˈmoʊʃən, əˈspɛʃəli fər ə ˈtaɪtəl; aʊt əv ɔl ðə ˈkɑmɪk bʊk ənd ɑrt staɪlz aɪv kəm əˈkrɔs ɪn ˈvɪdioʊ geɪmz, ˈkɪlər ɪz dɛd meɪ bi ðə ˈkloʊsəst θɪŋ aɪv sin tɪ ˈæˌkʧuəli ˈmɪmɪkɪŋ ðə ˈɛkˌsɛs sin ɪn ə lɔt əv. (fər ɪts pɑrt, ðə ˈkələr ənd ˈʃeɪdɪŋ ɪn ˈkɪlər ɪz dɛd ər ˈhaɪli ˌrɛməˈnɪsənt əv ˈklæsɪks əˈkirə ənd ˈnɪnʤə skroʊl.) ðɛrz əˈnəðər, mɔr ˈkjʊriəs pɑrt əv ˈkɪlər ɪz ˈmeɪˌkəp, tu. dəbd "ˈʤɪgəloʊ moʊd," ɪts ə ˈsɪriz əv ˈbriðər wɛr ˈmɑndoʊ kən rɪˈlæks ənd ʃoʊ ɔf hɪz praʊəs wɪθ ðə ˈleɪdiz (æt ðɪs pɔɪnt ɪts ɪnˈtaɪərli ənˈnoʊn wət ɪgˈzæktli ðɪs dɪˈzaɪn wɪl ɛnˈteɪl.) jɛt ˈivɪn ðə mɪr ˈmɛnʃən əv ə ˈsɪmələr moʊd ɪn ə geɪm meɪd baɪ ə ˈwɛstərn ˈstudiˌoʊ wʊd ˈlaɪkli feɪs ˌɪnˈtɛns ˈkɑntrəˌvərsi ənd ˈpəblɪk ˈmidiə ˈskrutəni. ər ˌʤæpəˈniz vjuz ɔn ˌsɛkʃuˈæləti səʧ ə ˈspɛʃəl keɪs? 'ðɛr ər ə ˈkəpəl əv weɪz əm ˈɔlˌweɪz ˈstraɪvɪŋ tɪ goʊ ɪn tərmz əv ə ˈsərtən staɪl, bət aɪ θɪŋk ɪts tu ˈrɪski,' ˈsudə sɪz. 'wɪl ˈpipəl rɪˈleɪt tɪ ɪt ər ˈivɪn ˌəndərˈstænd ɪt?' "aɪ θɪŋk ˈwɛstərn ˈpəblɪʃərz du ˈsɪmələr θɪŋz, laɪk wɪθ gta*, goʊɪŋ aʊt tɪ ə strɪp kləb ənd ˈəðər θɪŋz," ˈsudə sɪz. "bət aɪ du ˌəndərˈstænd ðət ɪf ə ˈwɛstərn dɪˈvɛləpər wɑz tɪ kriˈeɪt ˈsəmθɪŋ laɪk [ˈʤɪgəloʊ moʊd] ɪt kʊd ˈbækˌfaɪr." ˈsudə sɪz ðət ə ˈsɛkʃuəl ˈəndərˌkərənt ʤɪst fɪts ˈkɪlər ɪz dɛd. "aɪ doʊnt ˈrɪli juz [sɛks] ɛz ˈsəmθɪŋ fʊl ˈfrəntəl, bət ˌsɛkʃuˈæləti ɪz ə gʊd weɪ tɪ ɪkˈsprɛs ə ˈsərtən ˈɛləmənt ɪn ðə geɪm," hi sɪz. "ˈmeɪbi ˌsɛkʃuˈæləti ɪn geɪmz ˈʃʊdənt bi ɛz bɪg ə tæˈbu, bət æt ðə seɪm taɪm aɪ lɪv ɪn ə ˈkəntri wɛr ˌsɛkʃuˈæləti ɪz ˈprɪti ˈkreɪzi." ˈsəbsəkwənt kəmˈpɛrəsən əv ˈmɑndoʊ tɪ 007 ˈdəzənt ɪgˈzæktli ˈwɔrənt məʧ səˈpraɪz, ˈivɪn ɪf ˈʤɪgəloʊ moʊd simz ə streɪnʤ ʧɔɪs fər ə geɪm wɪθ səʧ ən ˈaʊtwərdli ɛsˈθɛtɪk əˈʤɛndə. bət bɪˈzɑr sɪz hi stɪl həz ə lɔt ˈkreɪziər aɪˈdiəz hid ləv tɪ meɪk ˈɪntu geɪmz. "aɪ stɪl hæv ən ˈɪndi mɛnˈtælɪti," hi sɪz ˈæftər aɪ æsk ɪm əˈbaʊt rɪˈtərnɪŋ tɪ ˈɔfˈbit dɪˈzaɪnz ˈkloʊzər tɪ pæst geɪmz laɪk flaʊər, sən ənd reɪn ər ˈmɪʃɪgən. "aɪ ˈɔlˌweɪz wɔnt tɪ kriˈeɪt ˈsəmθɪŋ nu ʤɪst tɪ bi ædˈvɛnʧərəs. ənd aɪ æm ˈθɪŋkɪŋ əˈbaʊt ˈmeɪkɪŋ ə geɪm wɛr ðə meɪn ˈkɛrɪktər ˈdəzənt hæv ə ˈwɛpən. ɪt ˈdəzənt ˌnɛsəˈsɛrəli hæv tɪ bi ən ˈækʃən geɪm. aɪ wʊd laɪk tɪ traɪ tɪ kəm əp wɪθ ə geɪm fər ðət." ˌwəˈtɛvər ðə keɪs, ˈkɪlər ɪz ˈɑrtfəl ˌprɛzənˈteɪʃən kʊd bi ˈsəmθɪŋ ˈspɛʃəl. ənd ðɛrz ˈɛvəri ˈrizən tɪ θɪŋk ˌwəˈtɛvərz əp sliv nɛkst ənd wi ʃʊd ɔl hoʊp ðət ɪt wɪl bi ə ˈprɑʤɛkt wɪl kənˈtɪnju tɪ səˈpraɪz.
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quantifying the from china rebalancing using a trade model
author/editor:
rui mano
publication date:
november 15, 2016
electronic access:
free full text. use the free adobe acrobat reader to view this file
disclaimer: this working paper should not be reported as representing the views of the views expressed in this working paper are those of the author(s) and do not necessarily represent those of the or policy. working papers describe research in progress by the author(s) and are published to elicit comments and to further debate
summary:
this paper assesses the from different facets of china rebalancing using a calibrated trade model that includes 41 economies, each consisting of 34 sectors. we find that move up the value chain in particular has the potential for significant on the one hand, adversely affecting industrialized economies heavily involved in the asia value chain, while at the same time generating positive to lower and middle income countries. the strength lies in capturing production value chains and international trade of goods across sectors.
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kˈwɑntɪˌfaɪɪŋ ðə frəm ˈʧaɪnə riˈbælənsɪŋ ˈjuzɪŋ ə treɪd ˈmɑdəl author/editor*: ˈmɑnoʊ ˌpəblɪˈkeɪʃən deɪt: noʊˈvɛmbər 15 2016 ˌɪˌlɛkˈtrɑnɪk ˈækˌsɛs: fri fʊl tɛkst. juz ðə fri əˈdoʊbi ˈækrəˌbæt ˈridər tɪ vju ðɪs faɪl dɪˈskleɪmər: ðɪs ˈwərkɪŋ ˈpeɪpər ʃʊd nɑt bi ˌriˈpɔrtəd ɛz ˌrɛprɪˈzɛnɪŋ ðə vjuz əv ðə vjuz ɪkˈsprɛst ɪn ðɪs ˈwərkɪŋ ˈpeɪpər ər ðoʊz əv ðə author(s*) ənd du nɑt ˌnɛsəˈsɛrəli ˌrɛprɪˈzɛnt ðoʊz əv ðə ər ˈpɑləsi. ˈwərkɪŋ ˈpeɪpərz dɪˈskraɪb ˈrisərʧ ɪn ˈprɑˌgrɛs baɪ ðə author(s*) ənd ər ˈpəblɪʃt tɪ ɪˈlɪsɪt ˈkɑmɛnts ənd tɪ ˈfərðər dəˈbeɪt ˈsəməri: ðɪs ˈpeɪpər əˈsɛsɪz ðə frəm ˈdɪfərənt ˈfæsəts əv ˈʧaɪnə riˈbælənsɪŋ ˈjuzɪŋ ə ˈkæləˌbreɪtəd treɪd ˈmɑdəl ðət ˌɪnˈkludz 41 ɪˈkɑnəmiz, iʧ kənˈsɪstɪŋ əv 34 ˈsɛktərz. wi faɪnd ðət muv əp ðə ˈvælju ʧeɪn ɪn ˌpɑˈtɪkjələr həz ðə pəˈtɛnʃəl fər sɪgˈnɪfɪkənt ɔn ðə wən hænd, ædˈvərsli əˈfɛktɪŋ ˌɪnˈdəstriəˌlaɪzd ɪˈkɑnəmiz ˈhɛvəli ˌɪnˈvɑlvd ɪn ðə ˈeɪʒə ˈvælju ʧeɪn, waɪl æt ðə seɪm taɪm ˈʤɛnərˌeɪtɪŋ ˈpɑzətɪv tɪ loʊər ənd ˈmɪdəl ˈɪnˌkəm ˈkəntriz. ðə strɛŋθ laɪz ɪn ˈkæpʧərɪŋ pərˈdəkʃən ˈvælju ʧeɪnz ənd ˌɪnərˈnæʃənɑl treɪd əv gʊdz əˈkrɔs ˈsɛktərz.
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in photo: an airbus airliner from air new zealand, seen in this undated file photo, has crashed in the sea off the southwest coast of france, near with five people on board during a training flight on november 27, 2008.
in photo: an airbus airliner from air new zealand, seen in this undated file photo, has crashed in the sea off the southwest coast of france, near with five people on board during a training flight on november 27, 2008.
britain’s plan for a referendum to decide on quitting theropean union has rattled many businesses. on thursday,ropean aero space giant airbus came out in the open and warned the u.k. that it may be forced to reconsider investment in the country, if it goes ahead with plans to leave theropean union.
making a strong pitch for the continued to stay in, paul kahn, president of the airbus u.k. said, the best way for britain to compete for international investment will be to "remain part of the," reports bbc.
referendum in 2017
prime minister david cameron has already promised a referendum on the membership by the end of 2017. this has heightened the pace of debate in political and business circles. however, toeing the conservative line, local business leader and chairman of construction equipment firm lord bamford said the u.k. need not fear about the consequences of exiting.
speaking to bbc, the airbus leader said even if a referendum on leaving the may be 18 months away, companies like airbus needed to be ahead in that debate. "i believe it is vital for a company such as airbus to come out and make a stand in favour of britain remaining in theropean union," he said. airbus is the plane maker after boeing and employs people at broughton, north wales, in the u.k. where the wings of all airbus aircraft are assembled. the company is a huge industrial enterprise spanning civil aviation, defence and space has operations in germany, france and spain.
kahn said his company has concerns that it could face more red tape in terms of work visas and trade barriers, if the u.k. quits. however, he stressed that even if britain were to leave the, the company would not immediately close down the production facilities. but he replied in the affirmative to a question of reconsidering investment, if business climate turns bad after it exits.
rule of brussels
making thinking clear on the issue, chancellor george osborne in his recent speech at the confederation of british industry said the u.k. wanted to be inrope “but not run byrope.” osborne acknowledged that some businesses might "want us to leave the come-what-may. and there are also those, including some in this room, who want us to go further into a more federalrope".
osborne said the official position is already shared by the majority of british people and british businesses. he also sees a disadvantage in staying put in as it has "priced itself out of the global economy" with its raft of rules, regulations and red tape. however, president of the cbi, sir mike rake urged businesses to "speak out early" in favour of britain remaining in a reformed.
(for feedback/comments, contact the writer at [email protected])
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ɪn ˈfoʊˌtoʊ: ən ˈɛrbəs ˈɛˌrlaɪnər frəm ɛr nu ˈzilənd, sin ɪn ðɪs ˌənˈdeɪtɪd faɪl ˈfoʊˌtoʊ, həz kræʃt ɪn ðə si ɔf ðə ˌsaʊθˈwɛst koʊst əv fræns, nɪr wɪθ faɪv ˈpipəl ɔn bɔrd ˈdʊrɪŋ ə ˈtreɪnɪŋ flaɪt ɔn noʊˈvɛmbər 27 2008 ɪn ˈfoʊˌtoʊ: ən ˈɛrbəs ˈɛˌrlaɪnər frəm ɛr nu ˈzilənd, sin ɪn ðɪs ˌənˈdeɪtɪd faɪl ˈfoʊˌtoʊ, həz kræʃt ɪn ðə si ɔf ðə ˌsaʊθˈwɛst koʊst əv fræns, nɪr wɪθ faɪv ˈpipəl ɔn bɔrd ˈdʊrɪŋ ə ˈtreɪnɪŋ flaɪt ɔn noʊˈvɛmbər 27 2008 plæn fər ə ˌrɛfərˈɛndəm tɪ ˌdɪˈsaɪd ɔn kˈwɪtɪŋ ðə ˌjʊrəˈpiən ˈjunjən həz ˈrætəld ˈmɛni ˈbɪznɪsɪz. ɔn ˈθərzˌdeɪ, ˌjʊrəˈpiən ˈɛroʊ speɪs ʤaɪənt ˈɛrbəs keɪm aʊt ɪn ðə ˈoʊpən ənd wɔrnd ðə u.k*. ðət ɪt meɪ bi fɔrst tɪ ˌrikənˈsɪdər ˌɪnˈvɛstmənt ɪn ðə ˈkəntri, ɪf ɪt goʊz əˈhɛd wɪθ plænz tɪ liv ðə ˌjʊrəˈpiən ˈjunjən. ˈmeɪkɪŋ ə strɔŋ pɪʧ fər ðə kənˈtɪnjud tɪ steɪ ɪn, pɔl kɑn, ˈprɛzɪdənt əv ðə ˈɛrbəs u.k*. sɛd, ðə bɛst weɪ fər ˈbrɪtən tɪ kəmˈpit fər ˌɪnərˈnæʃənɑl ˌɪnˈvɛstmənt wɪl bi tɪ "rɪˈmeɪn pɑrt əv ðə," rɪˈpɔrts ˌbibiˈsi. ˌrɛfərˈɛndəm ɪn 2017 praɪm ˈmɪnɪstər ˈdeɪvɪd ˈkæmərən həz ɔˈrɛdi ˈprɑməst ə ˌrɛfərˈɛndəm ɔn ðə ˈmɛmbərˌʃɪp baɪ ðə ɛnd əv 2017 ðɪs həz ˈhaɪtənd ðə peɪs əv dəˈbeɪt ɪn pəˈlɪtɪkəl ənd ˈbɪznɪs ˈsərkəlz. ˌhaʊˈɛvər, toʊɪŋ ðə kənˈsərvətɪv laɪn, ˈloʊkəl ˈbɪznɪs ˈlidər ənd ˈʧɛrmən əv kənˈstrəkʃən ɪkˈwɪpmənt fərm lɔrd ˈbæmfərd sɛd ðə u.k*. nid nɑt fɪr əˈbaʊt ðə ˈkɑnsəkˌwɛnsəz əv ˈɛgzɪtɪŋ. ˈspikɪŋ tɪ ˌbibiˈsi, ðə ˈɛrbəs ˈlidər sɛd ˈivɪn ɪf ə ˌrɛfərˈɛndəm ɔn ˈlivɪŋ ðə meɪ bi 18 mənθs əˈweɪ, ˈkəmpəˌniz laɪk ˈɛrbəs ˈnidɪd tɪ bi əˈhɛd ɪn ðət dəˈbeɪt. "aɪ bɪˈliv ɪt ɪz ˈvaɪtəl fər ə ˈkəmpəˌni səʧ ɛz ˈɛrbəs tɪ kəm aʊt ənd meɪk ə stænd ɪn ˈfeɪvər əv ˈbrɪtən rɪˈmeɪnɪŋ ɪn ðə ˌjʊrəˈpiən ˈjunjən," hi sɛd. ˈɛrbəs ɪz ðə pleɪn ˈmeɪkər ˈæftər boʊɪŋ ənd ɪmˈplɔɪz ˈpipəl æt ˈbrɔtən, nɔrθ weɪlz, ɪn ðə u.k*. wɛr ðə wɪŋz əv ɔl ˈɛrbəs ˈɛrˌkræft ər əˈsɛmbəld. ðə ˈkəmpəˌni ɪz ə juʤ ˌɪnˈdəstriəl ˈɛnərˌpraɪz ˈspænɪŋ ˈsɪvəl ˌeɪviˈeɪʃən, dɪˈfɛns ənd speɪs həz ˌɑpərˈeɪʃənz ɪn ˈʤərməni, fræns ənd speɪn. kɑn sɛd hɪz ˈkəmpəˌni həz kənˈsərnz ðət ɪt kʊd feɪs mɔr rɛd teɪp ɪn tərmz əv wərk ˈvizəz ənd treɪd ˈbɛriərz, ɪf ðə u.k*. kwɪts. ˌhaʊˈɛvər, hi strɛst ðət ˈivɪn ɪf ˈbrɪtən wər tɪ liv ðə, ðə ˈkəmpəˌni wʊd nɑt ˌɪˈmiˌdiətli kloʊz daʊn ðə pərˈdəkʃən fəˈsɪlɪtiz. bət hi rɪˈplaɪd ɪn ðə əˈfərmətɪv tɪ ə kˈwɛʃən əv ˌrikənˈsɪdərɪŋ ˌɪnˈvɛstmənt, ɪf ˈbɪznɪs ˈklaɪmɪt tərnz bæd ˈæftər ɪt ˈɛksəts. rul əv ˈbrəsəlz ˈmeɪkɪŋ ˈθɪŋkɪŋ klɪr ɔn ðə ˈɪʃu, ˈʧænsələr ʤɔrʤ ˈɔzˌbɔrn ɪn hɪz ˈrisənt spiʧ æt ðə kənˌfɛdərˈeɪʃən əv ˈbrɪtɪʃ ˈɪndəstri sɛd ðə u.k*. ˈwɔntɪd tɪ bi ɪn ˈjʊrəp nɑt rən baɪ europe.”*.” ˈɔzˌbɔrn ækˈnɑlɪʤd ðət səm ˈbɪznɪsɪz maɪt "wɔnt ˈjuˈɛs tɪ liv ðə come-what-may*. ənd ðɛr ər ˈɔlsoʊ ðoʊz, ˌɪnˈkludɪŋ səm ɪn ðɪs rum, hu wɔnt ˈjuˈɛs tɪ goʊ ˈfərðər ˈɪntu ə mɔr ˈfɛdərəl ˈjʊrəp". ˈɔzˌbɔrn sɛd ðə əˈfɪʃəl pəˈzɪʃən ɪz ɔˈrɛdi ʃɛrd baɪ ðə məˈʤɔrəti əv ˈbrɪtɪʃ ˈpipəl ənd ˈbrɪtɪʃ ˈbɪznɪsɪz. hi ˈɔlsoʊ siz ə ˌdɪsədˈvænɪʤ ɪn steɪɪŋ pʊt ɪn ɛz ɪt həz "praɪst ˌɪtˈsɛlf aʊt əv ðə ˈgloʊbəl ɪˈkɑnəmi" wɪθ ɪts ræft əv rulz, ˌrɛgjəˈleɪʃənz ənd rɛd teɪp. ˌhaʊˈɛvər, ˈprɛzɪdənt əv ðə cbi*, sər maɪk reɪk ərʤd ˈbɪznɪsɪz tɪ "spik aʊt ˈərli" ɪn ˈfeɪvər əv ˈbrɪtən rɪˈmeɪnɪŋ ɪn ə rɪˈfɔrmd. (fər feedback/comments*, ˈkɑnˌtækt ðə ˈraɪtər æt [email protected]*)
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javascript can access the current in parts. for this:
http://css-tricks.com/example/index.html?s=flexbox
window.location.protocol = "http:"
= "http:" = "css-tricks.com"
= "css-tricks.com" = "example/index.html"
= "example/index.html" = "?s=flexbox"
so to get the full path in javascript:
var = + "//" + + "/" + +
a bit of a more modern way of working withs is the() global method.
if you need to break up up the, for example, a like http://css-tricks.com/blah/blah/blah/index.html, you can split the string on "/" characters
var =.split('/');
then access the different parts by the parts of the array, like
var =[0];
to put that back together, you can stitch together the array and put the "/"'s back in:
var = ""; for (i = 0; i <.length; i++) { += "/"; +=[i]; }
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ˈʤɑvəˌskrɪpt kən ˈækˌsɛs ðə ˈkɑrənt ɪn pɑrts. fər ðɪs: "http*:" "http*:" "css-tricks.com*" "css-tricks.com*" "example/index.html*" "example/index.html*" "?s=flexbox*" soʊ tɪ gɪt ðə fʊl pæθ ɪn ˈʤɑvəˌskrɪpt: ə bɪt əv ə mɔr ˈmɑdərn weɪ əv ˈwərkɪŋ wɪθ ɪz ðə() ˈgloʊbəl ˈmɛθəd. ɪf ju nid tɪ breɪk əp əp ðə, fər ɪgˈzæmpəl, ə laɪk http://css-tricks.com/blah/blah/blah/index.html*, ju kən splɪt ðə strɪŋ ɔn ˈkɛrɪktərz window.location.pathname.split*('/'); ðɛn ˈækˌsɛs ðə ˈdɪfərənt pɑrts baɪ ðə pɑrts əv ðə əreɪ, laɪk tɪ pʊt ðət bæk təˈgɛðər, ju kən stɪʧ təˈgɛðər ðə əreɪ ənd pʊt ðə "/"'ɛs bæk ɪn: fər (aɪ 0 aɪ patharray.length*; aɪ++) patharray[i*];
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major league baseball is trending toward pitchers -- especially relievers -- with big velocity, and while the twins may appear far behind the curve based on the above finding, they're certainly not ignorant to this reality. the club's draft strategy in recent years has reflected an increased emphasis on power arms -- even those that are clearly slated for future roles in the bullpen -- and no one personifies this altered approach better than nick burdi.
the twins selected the righty in the second round of last year's draft, and already he has become one of the most noteworthy relief prospects in all of the minor leagues. you've probably heard this crazy statistic : in 2014, the twins had one pitcher lester oliveros) throw a pitch that was clocked at 97 mph or above. by comparison, the american league champion kansas city royals registered such league baseball is trending toward pitchers -- especially relievers -- with big velocity, and while the twins may appear far behind the curve based on the above finding, they're certainly not ignorant to this reality. the club's draft strategy in recent years has reflected an increased emphasis on power arms -- even those that are clearly slated for future roles in the bullpen -- and no one personifies this altered approach better than nick twins selected the righty in the second round of last year's draft, and already he has become one of the most noteworthy relief prospects in all of the minor leagues.
22 (dob: ip, era, whip, fastball has always set him apart. in high school, when he was already touching the with the heater, his coach called him a pitcher," adding "i don't expect i will get another guy who can throw 95 plus in high twins took notice of stunning velocity early on, and selected him in the round of the 2011 draft following his senior year, but he opted instead to attend college at the university of louisville. that turned out to be a good quickly developed into one of the most dominant collegiate in the country, proving almost while averaging nearly two strikeouts per inning. by his sophomore year, he was hitting on the radar gun with some frequency . in his junior year, he posted a era while piling up 65 strikeouts in 37 innings and holding opponents to a .135 batting average. the twins once again drafted him, with the no. 46 overall pick last june, and this time burdi signed for a $1.2 million a polished college closer, burdi skipped rookie ball and reported straight to cedar rapids after signing. he struggled badly in his pro debut, walking all four batters he faced, but from that point forward he looked very much like the overpowering force that he'd been at louisville, putting up a era while limiting the opposition to a .186/.260/.214 line between cedar rapids and ft. myers. oh, that was with opponents batting .406 on balls in the 82 hitters that burdi faced between and in his first taste of professional baseball, he struck out 38. that's 46 any tall, lanky pitcher who routinely works in the upper-90s, there are going to be two concerns: control and health. the latter has yet to become an issue for burdi, and since he's being groomed strictly as a reliever, he may be able to avoid injuries stemming from overuse. nevertheless, it will be worth keeping an eye far as control, burdi obviously had the major hiccup in his first pro appearance last summer, but otherwise had no issues, walking six hitters over his remaining 19 outings. of course, when you're a coming out of a major college conference and firing fastballs at hitters, sometimes command issues can stay hidden. it'll be interesting to see how his walk rates shake out at the higher nothing left for burdi to prove in, so he will most likely open the season as the closer on aa chattanooga roster that figures to be loaded with high-end prospect talent. from there, the righty will have a chance to rise very quickly if he continues to dominate with his devastating combo. it would be no surprise to see him in the majors setting up glen perkins by season's end.
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ˈmeɪʤər lig ˈbeɪsˈbɔl ɪz ˈtrɛndɪŋ təˈwɔrd ˈpɪʧərz əˈspɛʃəli riˈlivərz wɪθ bɪg vəˈlɑsəti, ənd waɪl ðə twɪnz meɪ əˈpɪr fɑr bɪˈhaɪnd ðə kərv beɪst ɔn ðə əˈbəv ˈfaɪndɪŋ, ðɛr ˈsərtənli nɑt ˈɪgnərənt tɪ ðɪs ˌriˈæləˌti. ðə kləbz dræft ˈstrætəʤi ɪn ˈrisənt jɪrz həz rɪˈflɛktɪd ən ˌɪnˈkrist ˈɛmfəsɪs ɔn paʊər ɑrmz ˈivɪn ðoʊz ðət ər ˈklɪrli sˈleɪtɪd fər fˈjuʧər roʊlz ɪn ðə ˈbʊlˌpɛn ənd noʊ wən pərˈsɑnəˌfaɪz ðɪs ˈɔltərd əˈproʊʧ ˈbɛtər ðən nɪk ˈbʊrdi. ðə twɪnz səˈlɛktɪd ðə ˈraɪti ɪn ðə ˈsɛkənd raʊnd əv læst jɪrz dræft, ənd ɔˈrɛdi hi həz bɪˈkəm wən əv ðə moʊst ˈnoʊtˌwərði rɪˈlif ˈprɑspɛkts ɪn ɔl əv ðə ˈmaɪnər ligz. juv ˈprɑbəˌbli hərd ðɪs ˈkreɪzi stəˈtɪstɪk ɪn 2014 ðə twɪnz hæd wən ˈpɪʧər ˈlɛstər oʊliˈvɛroʊz) θroʊ ə pɪʧ ðət wɑz klɑkt æt 97 ˈɛmˈpiˈeɪʧ ər əˈbəv. baɪ kəmˈpɛrəsən, ðə əˈmɛrɪkən lig ˈʧæmpiən ˈkænzəs ˈsɪti rɔɪəlz ˈrɛʤɪstərd səʧ lig ˈbeɪsˈbɔl ɪz ˈtrɛndɪŋ təˈwɔrd ˈpɪʧərz əˈspɛʃəli riˈlivərz wɪθ bɪg vəˈlɑsəti, ənd waɪl ðə twɪnz meɪ əˈpɪr fɑr bɪˈhaɪnd ðə kərv beɪst ɔn ðə əˈbəv ˈfaɪndɪŋ, ðɛr ˈsərtənli nɑt ˈɪgnərənt tɪ ðɪs ˌriˈæləˌti. ðə kləbz dræft ˈstrætəʤi ɪn ˈrisənt jɪrz həz rɪˈflɛktɪd ən ˌɪnˈkrist ˈɛmfəsɪs ɔn paʊər ɑrmz ˈivɪn ðoʊz ðət ər ˈklɪrli sˈleɪtɪd fər fˈjuʧər roʊlz ɪn ðə ˈbʊlˌpɛn ənd noʊ wən pərˈsɑnəˌfaɪz ðɪs ˈɔltərd əˈproʊʧ ˈbɛtər ðən nɪk twɪnz səˈlɛktɪd ðə ˈraɪti ɪn ðə ˈsɛkənd raʊnd əv læst jɪrz dræft, ənd ɔˈrɛdi hi həz bɪˈkəm wən əv ðə moʊst ˈnoʊtˌwərði rɪˈlif ˈprɑspɛkts ɪn ɔl əv ðə ˈmaɪnər ligz. 22 (dɑb: ˌaɪˌpi, ˈɪrə, wɪp, ˈfæstˌbɔl həz ˈɔlˌweɪz sɛt ɪm əˈpɑrt. ɪn haɪ skul, wɪn hi wɑz ɔˈrɛdi ˈtəʧɪŋ ðə wɪθ ðə ˈhitər, hɪz koʊʧ kɔld ɪm ə ˈpɪʧər," ˈædɪŋ "aɪ doʊnt ɪkˈspɛkt aɪ wɪl gɪt əˈnəðər gaɪ hu kən θroʊ 95 pləs ɪn haɪ twɪnz tʊk ˈnoʊtɪs əv ˈstənɪŋ vəˈlɑsəti ˈərli ɔn, ənd səˈlɛktɪd ɪm ɪn ðə raʊnd əv ðə 2011 dræft ˈfɑloʊɪŋ hɪz ˈsinjər jɪr, bət hi ˈɑptɪd ˌɪnˈstɛd tɪ əˈtɛnd ˈkɑlɪʤ æt ðə ˌjunəˈvərsəti əv ˈluiˌvɪl. ðət tərnd aʊt tɪ bi ə gʊd kˈwɪkli dɪˈvɛləpt ˈɪntu wən əv ðə moʊst ˈdɑmənənt kəˈliʤɪt ɪn ðə ˈkəntri, ˈpruvɪŋ ˈɔlˌmoʊst waɪl ˈævrɪʤɪŋ ˈnɪrli tu ˈstraɪˌkaʊts pər ˈɪnɪŋ. baɪ hɪz ˈsɑfˌmɔr jɪr, hi wɑz ˈhɪtɪŋ ɔn ðə ˈreɪˌdɑr gən wɪθ səm ˈfrikwənsi ɪn hɪz ˈʤunjər jɪr, hi ˈpoʊstɪd ə ˈɪrə waɪl ˈpaɪlɪŋ əp 65 ˈstraɪˌkaʊts ɪn 37 ˈɪnɪŋz ənd ˈhoʊldɪŋ əˈpoʊnənts tɪ ə 135 ˈbætɪŋ ˈævərɪʤ. ðə twɪnz wəns əˈgɛn ˈdræftɪd ɪm, wɪθ ðə noʊ. 46 ˈoʊvərˌɔl pɪk læst ʤun, ənd ðɪs taɪm ˈbʊrdi saɪnd fər ə ˈmɪljən ə ˈpɑlɪʃt ˈkɑlɪʤ ˈkloʊzər, ˈbʊrdi skɪpt ˈrʊki bɔl ənd ˌriˈpɔrtəd streɪt tɪ ˈsidər ˈræpɪdz ˈæftər ˈsaɪnɪŋ. hi ˈstrəgəld ˈbædli ɪn hɪz proʊ ˈdeɪbju, ˈwɔkɪŋ ɔl fɔr ˈbætərz hi feɪst, bət frəm ðət pɔɪnt ˈfɔrwərd hi lʊkt ˈvɛri məʧ laɪk ðə ˈoʊvərˈpaʊrɪŋ fɔrs ðət hid bɪn æt ˈluiˌvɪl, ˈpʊtɪŋ əp ə ˈɪrə waɪl ˈlɪmətɪŋ ðə ˌɑpəˈzɪʃən tɪ ə laɪn bɪtˈwin ˈsidər ˈræpɪdz ənd ft*. maɪərz. oʊ, ðət wɑz wɪθ əˈpoʊnənts ˈbætɪŋ 406 ɔn bɔlz ɪn ðə 82 ˈhɪtərz ðət ˈbʊrdi feɪst bɪtˈwin ənd ɪn hɪz fərst teɪst əv prəˈfɛʃənəl ˈbeɪsˈbɔl, hi strək aʊt 38 ðæts 46 ˈɛni tɔl, ˈlæŋki ˈpɪʧər hu ruˈtinli wərks ɪn ðə upper-90s*, ðɛr ər goʊɪŋ tɪ bi tu kənˈsərnz: kənˈtroʊl ənd hɛlθ. ðə ˈlætər həz jɛt tɪ bɪˈkəm ən ˈɪʃu fər ˈbʊrdi, ənd sɪns hiz biɪŋ grumd ˈstrɪktli ɛz ə riˈlivər, hi meɪ bi ˈeɪbəl tɪ əˈvɔɪd ˈɪnʤəriz ˈstɛmɪŋ frəm ˌoʊvərˈjuz. ˌnɛvərðəˈlɛs, ɪt wɪl bi wərθ ˈkipɪŋ ən aɪ fɑr ɛz kənˈtroʊl, ˈbʊrdi ˈɑbviəsli hæd ðə ˈmeɪʤər ˈhɪkəp ɪn hɪz fərst proʊ əˈpɪrəns læst ˈsəmər, bət ˈəðərˌwaɪz hæd noʊ ˈɪʃuz, ˈwɔkɪŋ sɪks ˈhɪtərz ˈoʊvər hɪz rɪˈmeɪnɪŋ 19 ˈaʊtɪŋz. əv kɔrs, wɪn jʊr ə ˈkəmɪŋ aʊt əv ə ˈmeɪʤər ˈkɑlɪʤ ˈkɑnfərəns ənd ˈfaɪərrɪŋ ˈfæstˌbɔlz æt ˈhɪtərz, ˈsəmˌtaɪmz kəˈmænd ˈɪʃuz kən steɪ ˈhɪdən. ˈɪtəl bi ˈɪntəˌrɛstɪŋ tɪ si haʊ hɪz wɔk reɪts ʃeɪk aʊt æt ðə haɪər ˈnəθɪŋ lɛft fər ˈbʊrdi tɪ pruv ɪn, soʊ hi wɪl moʊst ˈlaɪkli ˈoʊpən ðə ˈsizən ɛz ðə ˈkloʊzər ɔn ə ˌʧætəˈnugə ˈrɑstər ðət ˈfɪgjərz tɪ bi ˈloʊdɪd wɪθ haɪɛnd ˈprɑspɛkt ˈtælənt. frəm ðɛr, ðə ˈraɪti wɪl hæv ə ʧæns tɪ raɪz ˈvɛri kˈwɪkli ɪf hi kənˈtɪnjuz tɪ ˈdɑməˌneɪt wɪθ hɪz ˈdɛvəˌsteɪtɪŋ ˈkɑmˌboʊ. ɪt wʊd bi noʊ səˈpraɪz tɪ si ɪm ɪn ðə ˈmeɪʤərz ˈsɛtɪŋ əp glɛn ˈpərkɪnz baɪ ˈsizənz ɛnd.
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kraftwerk expertly mixed an electronic sound with a human touch. former member karl bartos tells how the unique ensemble wrote its music before computers went mainstream - and why cycling hurt their style.
dubbed "the beatles of electronic dance music" by the new york times in 1997, band kraftwerk pioneered the genre, and some see them as the grandfathers of techno. they began mixing musicality with automation in 1970 - long before computers became everyday tools. still active today as a ensemble, kraftwerk has seen members come and go over the years. karl bartos joined in 1975.
dw: mr. bartos, you left kraftwerk in 1990 after a conflict. now you're publishing your autobiography, "der klang der maschine" (the sound of the machine). what is important to you to get across?
karl bartos: george orwell said, "reality exists in the human mind, and nowhere else." that means there is no such thing as objectivity. but for more than 40 years, we've been hearing the same story about kraftwerk. i think another perspective can be useful. i've tried to explain how our music was created and what our thought process was.
before you joined kraftwerk in 1975, you played with a variety of bands in dusseldorf. what was the mood like back then?
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looking back, it was a gift to have been able to have experienced the and. the music of the had an unbelievable power for my generation. it brought the message that you shouldn't believe everything you're told by the authorities. i think the youth of the world spoke to each other during this time - without going through the authorities. and that resulted in this really interesting music.
then you studied music at the robert schumann in dusseldorf, where you first came into contact with kraftwerk. the band was looking for a classical percussionist for a live show.
now live mins. shift | kraftwerk as a lego band
when my professor, ernst göbler, passed that information on to me, it was just one of many gigs i had at the time. there were so many bands back then and so many opportunities to play live. the hadn't been invented yet.
i got along really well with kraftwerk at the gig. we didn't know where it would lead. nothing had been set in stone yet.
you participated in the studio recording of album "radio-aktivität" and helped write song for the album "trans europa express." how did kraftwerk go about composing new material?
we held writing sessions in the kling klang studio, which meant that we stood in a circle and improvised - like jazz musicians. that was the second half of the; there were no computers. but we had a little music machine that could repeat back 16 tones. that was the only machine in our studio.
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we would improvise, look at each other, laugh our heads off and record ourselves. during these sessions, we created the raw material for our compositions. basically, it was simply entertainment that we transferred to music. the result was a polyphonic composition with multiple voices.
was the band aware of how its music was?
karl bartos was a member of kraftwerk for over 15 years
we couldn't have predicted how music would be received. when we were mixing at the sequencer, that was basically the continuation of the music technology that had been in development in europe since the enlightenment.
automated music has always been interesting. but i think the decisive thing for us in the late was that the balance between humans and machines really worked.
the computer changed that. i don't want to say that we didn't manage to achieve interaction with the computer, but we did make a few errors in our thought process.
what kind of errors?
we tried to transfer the thought process behind improvisation to a digital interface. and at the beginning we made the mistake of producing tracks in advance and then turning them on and off because we thought that was improvisation. but that was just a kind of fake improvisation.
in the, one particular hobby - cycling - became more and more important for the band…
imagine you've just ridden 200 kilometers on your bike. what are you still able to achieve when you go home and sit down? your pulse sinks to under 50, you have no desires and are perfectly content. when that happens over the course of years, then you just lose the drive to invent music.
read more: german electronic music legends kraftwerk to open tour de france in dusseldorf
what happened to us in the second half of the? retrospectively i would say that we turned music into sport. music became a kind of competition. we were missing the focus on our core competency: autonomous imagination. that is, not giving in to a competition, but listening inside yourself.
cover for the kraftwerk album "electric cafe" from 1986
would you say that the melodies had just dried up?
i know what you mean, but for me the more suitable metaphor is polyphony and monophony. we used to work polyphonically, and the three of us developed and invented our music together. that's how our music became lively, with multiple parts.
in the late, it became monotonous. it just became a series of musical events. there is an algorithm in electronic music that also applies to text: copy and paste. but copy and paste is not polyphonic.
after leaving kraftwerk, karl bartos continued to work as a musician,, producer and songwriter. in his autobiography, "der klang der maschine" (the sound of the machine), which is released in german on august 25 by publisher lübbe, he shares an inside look at his time with kraftwerk, whose music impact a generation of hip-hop, techno and musicians all over the world.
the top ten music acts of the from germany # 10: james last arrangements of pop hits: the last of the ten most successful german musicians in the was james last. the band leader from bremen struck a chord with his sound, putting out over 50 albums in the. james last toured the world with his orchestra right up to his death in june, 2015. the top ten music acts of the from germany # 9: kraftwerk electronic music pioneers kraftwerk introduced an avant-garde element into the that didn't stop with the critics and pundits. it connected with the charts, as well. "the model" even took kraftwerk up the british singles charts. and an innovative animated video, non stop“ carried it to number one on the u.s. dance charts. the top ten music acts of the from germany # 8: a young and her band launched several albums and singles up the world charts in the. but none flew as high as the 1983 pop song "99 luftballons", redone in english as "99 red balloons" a year later. it was a good start to a long career. today, over three decades later, is still putting out hit pop tunes. the top ten music acts of the from germany # 7: boney m. boney m. was already riding high in the rankings with the hits they're remembered for today. but the disco trio created by german producer frank carried their success over into the list of top german acts of the with more serious and mellow tunes. one of their hits in this decade "we kill the world" was a plea for environmental protection. the top ten music acts of the from germany # 6: it's with a catchy tune. in 1983, singer marian gold founded in münster. the band's name refers to a film by french nouvelle vague director jean-luc godard. followed their hit single "big in japan" with "forever young", which aspired to keep its title promise both on charts all across europe and as a staple of high school proms across the united states. the top ten music acts of the from germany # 5: scorpions the scorpions have been rocking straight through for fifty years now and sold around 100 million records, the greater part of them during the. the from hanover boosted sales touring the world from brazil and the usa to the soviet union, playing such hits as "rock you like a hurricane" and "still loving you". the top ten music acts of the from germany # 4: sandra sandra was a german female pop export hit of the. she, her producer and her michael formed a musical dream team. it may come as a surprise that her never be) maria magdalena" brought her added success in japan as lead singer of the trio arabesque. the top ten music acts of the from germany # 3: jennifer rush heidi stern, aka jennifer rush, grew up in both the usa and germany. in 1984, the german producer team gunter mende and candy de rouge wrote "the power of love" with her in mind. the ballad conquered charts from south africa to scandinavia and earned a mention in the guinness book of records as the single by a female solo artist in the history of the british music industry. the top ten music acts of the from germany # 2: milli vanilli in the late, the pop duo milli vanilli took number one on the us charts several times. once again, star german producer frank had been at work. but success turned to scandal when rob pilatus and fab were found to be and not singing. milli vanilli had to return their grammy and retire from music. the top ten music acts of the from germany # 1: modern talking the trademarks of modern talking were simple lyrics, disco pop and studio tans. even if the german duo of thomas anders und dieter bohlen was often maligned, songs like my heart, my soul" and "brother louie" had millions of sales and placed modern talking squarely at number one on ranking.
jens von (kbm)
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ˈkræftwərk ˈɛkspərtli mɪkst ən ˌɪˌlɛkˈtrɑnɪk saʊnd wɪθ ə ˈjumən təʧ. ˈfɔrmər ˈmɛmbər kɑrl ˈbɑrtoʊz tɛlz haʊ ðə juˈnik ɑnˈsɑmbəl roʊt ɪts mˈjuzɪk ˌbiˈfɔr kəmˈpjutərz wɛnt ˈmeɪnˌstrim ənd waɪ ˈsaɪkəlɪŋ hərt ðɛr staɪl. dəbd "ðə ˈbitəlz əv ˌɪˌlɛkˈtrɑnɪk dæns mˈjuzɪk" baɪ ðə nu jɔrk taɪmz ɪn 1997 bænd ˈkræftwərk ˌpaɪəˈnɪrd ðə ˈʒɑnrə, ənd səm si ðɛm ɛz ðə ˈgrænˌfɑðərz əv ˈtɛknoʊ. ðeɪ bɪˈgæn ˈmɪksɪŋ mˌjuzɪˈkæləti wɪθ ɔtəˈmeɪʃən ɪn 1970 lɔŋ ˌbiˈfɔr kəmˈpjutərz bɪˈkeɪm ˈɛvriˈdeɪ tulz. stɪl ˈæktɪv təˈdeɪ ɛz ə ɑnˈsɑmbəl, ˈkræftwərk həz sin ˈmɛmbərz kəm ənd goʊ ˈoʊvər ðə jɪrz. kɑrl ˈbɑrtoʊz ʤɔɪnd ɪn 1975: ˈmɪstər. ˈbɑrtoʊz, ju lɛft ˈkræftwərk ɪn 1990 ˈæftər ə ˈkɑnflɪkt. naʊ jʊr ˈpəblɪʃɪŋ jʊr ˌɔtəbaɪˈɑgrəfi, "dər klæŋ dər maschine*" (ðə saʊnd əv ðə məˈʃin). wət ɪz ˌɪmˈpɔrtənt tɪ ju tɪ gɪt əˈkrɔs? kɑrl ˈbɑrtoʊz: ʤɔrʤ ˈɔrˌwɛl sɛd, "ˌriˈæləˌti ɪgˈzɪsts ɪn ðə ˈjumən maɪnd, ənd ˈnoʊˌwɛr ɛls." ðət minz ðɛr ɪz noʊ səʧ θɪŋ ɛz ˌɑbʤɛkˈtɪvɪti. bət fər mɔr ðən 40 jɪrz, wiv bɪn ˈhirɪŋ ðə seɪm ˈstɔri əˈbaʊt ˈkræftwərk. aɪ θɪŋk əˈnəðər pərˈspɛktɪv kən bi ˈjusfəl. aɪv traɪd tɪ ɪkˈspleɪn haʊ ɑr mˈjuzɪk wɑz kriˈeɪtɪd ənd wət ɑr θɔt ˈprɔˌsɛs wɑz. ˌbiˈfɔr ju ʤɔɪnd ˈkræftwərk ɪn 1975 ju pleɪd wɪθ ə vərˈaɪəti əv bændz ɪn ˈdusəlˌdɔrf. wət wɑz ðə mud laɪk bæk ðɛn? ˌædvərˈtaɪzmənt ˈlʊkɪŋ bæk, ɪt wɑz ə gɪft tɪ hæv bɪn ˈeɪbəl tɪ hæv ɪkˈspɪriənst ðə ənd. ðə mˈjuzɪk əv ðə hæd ən ˌənbəˈlivəbəl paʊər fər maɪ ˌʤɛnərˈeɪʃən. ɪt brɔt ðə ˈmɛsɪʤ ðət ju ˈʃʊdənt bɪˈliv ˈɛvriˌθɪŋ jʊr toʊld baɪ ðə əˈθɔrətiz. aɪ θɪŋk ðə juθ əv ðə wərld spoʊk tɪ iʧ ˈəðər ˈdʊrɪŋ ðɪs taɪm wɪˈθaʊt goʊɪŋ θru ðə əˈθɔrətiz. ənd ðət rɪˈzəltɪd ɪn ðɪs ˈrɪli ˈɪntəˌrɛstɪŋ mˈjuzɪk. ðɛn ju ˈstədid mˈjuzɪk æt ðə ˈrɑbərt ˈʃumən ɪn ˈdusəlˌdɔrf, wɛr ju fərst keɪm ˈɪntu ˈkɑnˌtækt wɪθ ˈkræftwərk. ðə bænd wɑz ˈlʊkɪŋ fər ə ˈklæsɪkəl pərˈkəʃənɪst fər ə lɪv ʃoʊ. naʊ lɪv mins*. ʃɪft ˈkræftwərk ɛz ə ˈlɛgoʊ bænd wɪn maɪ prəˈfɛsər, ərnst göbler*, pæst ðət ˌɪnˌfɔrˈmeɪʃən ɔn tɪ mi, ɪt wɑz ʤɪst wən əv ˈmɛni gɪgz aɪ hæd æt ðə taɪm. ðɛr wər soʊ ˈmɛni bændz bæk ðɛn ənd soʊ ˈmɛni ˌɑpərˈtunətiz tɪ pleɪ lɪv. ðə ˈhædənt bɪn ˌɪnˈvɛntɪd jɛt. aɪ gɑt əˈlɔŋ ˈrɪli wɛl wɪθ ˈkræftwərk æt ðə gɪg. wi ˈdɪdənt noʊ wɛr ɪt wʊd lɛd. ˈnəθɪŋ hæd bɪn sɛt ɪn stoʊn jɛt. ju pɑrˈtɪsəˌpeɪtɪd ɪn ðə ˈstudiˌoʊ rɪˈkɔrdɪŋ əv ˈælbəm "radio-aktivität*" ənd hɛlpt raɪt sɔŋ fər ðə ˈælbəm "trænz jʊˈroʊpə ɪkˈsprɛs." haʊ dɪd ˈkræftwərk goʊ əˈbaʊt kəmˈpoʊzɪŋ nu məˈtɪriəl? wi hɛld ˈraɪtɪŋ ˈsɛʃənz ɪn ðə klɪŋ klæŋ ˈstudiˌoʊ, wɪʧ mɛnt ðət wi stʊd ɪn ə ˈsərkəl ənd ˈɪmprəˌvaɪzd laɪk ʤæz mjuˈzɪʃənz. ðət wɑz ðə ˈsɛkənd hæf əv ðə; ðɛr wər noʊ kəmˈpjutərz. bət wi hæd ə ˈlɪtəl mˈjuzɪk məˈʃin ðət kʊd rɪˈpit bæk 16 toʊnz. ðət wɑz ðə ˈoʊnli məˈʃin ɪn ɑr ˈstudiˌoʊ. rɛd mɔr: ˈpleɪʤərˌɪzəm ˈlɔˌsut kʊd goʊ tɪ ˌjʊrəˈpiən kɔrt wi wʊd ˌɪmprəˈvaɪz, lʊk æt iʧ ˈəðər, læf ɑr hɛdz ɔf ənd ˈrɛkərd ɑrˈsɛlvz. ˈdʊrɪŋ ðiz ˈsɛʃənz, wi kriˈeɪtɪd ðə rɑ məˈtɪriəl fər ɑr ˌkɑmpəˈzɪʃənz. ˈbeɪsɪkli, ɪt wɑz ˈsɪmpli ˌɛnərˈteɪnmənt ðət wi ˈtrænsfərd tɪ mˈjuzɪk. ðə rɪˈzəlt wɑz ə ˌpɑˌlɪˈfɑnɪk ˌkɑmpəˈzɪʃən wɪθ ˈməltəpəl ˈvɔɪsɪz. wɑz ðə bænd əˈwɛr əv haʊ ɪts mˈjuzɪk wɑz? kɑrl ˈbɑrtoʊz wɑz ə ˈmɛmbər əv ˈkræftwərk fər ˈoʊvər 15 jɪrz wi ˈkʊdənt hæv prɪˈdɪktɪd haʊ mˈjuzɪk wʊd bi rɪˈsivd. wɪn wi wər ˈmɪksɪŋ æt ðə sequencer*, ðət wɑz ˈbeɪsɪkli ðə kənˌtɪnjuˈeɪʃən əv ðə mˈjuzɪk tɛkˈnɑləʤi ðət hæd bɪn ɪn dɪˈvɛləpmənt ɪn ˈjʊrəp sɪns ðə ˌɛnˈlaɪtənmənt. ˈɔtəˌmeɪtɪd mˈjuzɪk həz ˈɔlˌweɪz bɪn ˈɪntəˌrɛstɪŋ. bət aɪ θɪŋk ðə dɪˈsaɪsɪv θɪŋ fər ˈjuˈɛs ɪn ðə leɪt wɑz ðət ðə ˈbæləns bɪtˈwin ˈjumənz ənd məˈʃinz ˈrɪli wərkt. ðə kəmˈpjutər ʧeɪnʤd ðət. aɪ doʊnt wɔnt tɪ seɪ ðət wi ˈdɪdənt ˈmænɪʤ tɪ əˈʧiv ˌɪnərˈækʃən wɪθ ðə kəmˈpjutər, bət wi dɪd meɪk ə fju ˈɛrərz ɪn ɑr θɔt ˈprɔˌsɛs. wət kaɪnd əv ˈɛrərz? wi traɪd tɪ ˈtrænsfər ðə θɔt ˈprɔˌsɛs bɪˈhaɪnd ˌɪmprɑvɪˈzeɪʃən tɪ ə ˈdɪʤɪtəl ˈɪnərˌfeɪs. ənd æt ðə bɪˈgɪnɪŋ wi meɪd ðə mɪˈsteɪk əv prəˈdusɪŋ træks ɪn ədˈvæns ənd ðɛn ˈtərnɪŋ ðɛm ɔn ənd ɔf bɪˈkəz wi θɔt ðət wɑz ˌɪmprɑvɪˈzeɪʃən. bət ðət wɑz ʤɪst ə kaɪnd əv feɪk ˌɪmprɑvɪˈzeɪʃən. ɪn ðə, wən ˌpɑˈtɪkjələr ˈhɑbi ˈsaɪkəlɪŋ bɪˈkeɪm mɔr ənd mɔr ˌɪmˈpɔrtənt fər ðə band…*… ˌɪˈmæʤən juv ʤɪst ˈrɪdən 200 ˈkɪləˌmitərz ɔn jʊr baɪk. wət ər ju stɪl ˈeɪbəl tɪ əˈʧiv wɪn ju goʊ hoʊm ənd sɪt daʊn? jʊr pəls sɪŋks tɪ ˈəndər 50 ju hæv noʊ dɪˈzaɪərz ənd ər ˈpərfəktli ˈkɑntɛnt. wɪn ðət ˈhæpənz ˈoʊvər ðə kɔrs əv jɪrz, ðɛn ju ʤɪst luz ðə draɪv tɪ ˌɪnˈvɛnt mˈjuzɪk. rɛd mɔr: ˈʤərmən ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk ˈlɛʤəndz ˈkræftwərk tɪ ˈoʊpən tʊr də fræns ɪn ˈdusəlˌdɔrf wət ˈhæpənd tɪ ˈjuˈɛs ɪn ðə ˈsɛkənd hæf əv ðə? ˌrɛtroʊˈspɛktɪvli aɪ wʊd seɪ ðət wi tərnd mˈjuzɪk ˈɪntu spɔrt. mˈjuzɪk bɪˈkeɪm ə kaɪnd əv ˌkɑmpəˈtɪʃən. wi wər ˈmɪsɪŋ ðə ˈfoʊkɪs ɔn ɑr kɔr ˈkɑmpətɪnsi: ɔˈtɑnəməs ˌɪˌmæʤəˈneɪʃən. ðət ɪz, nɑt ˈgɪvɪŋ ɪn tɪ ə ˌkɑmpəˈtɪʃən, bət ˈlɪsənɪŋ ˌɪnˈsaɪd ˈjɔrsɛlf. ˈkəvər fər ðə ˈkræftwərk ˈælbəm "ɪˈlɛktrɪk kəˈfeɪ" frəm 1986 wʊd ju seɪ ðət ðə ˈmɛlədiz hæd ʤɪst draɪd əp? aɪ noʊ wət ju min, bət fər mi ðə mɔr ˈsutəbəl ˈmɛtəfɔr ɪz pəˈlɪfəni ənd monophony*. wi juzd tɪ wərk polyphonically*, ənd ðə θri əv ˈjuˈɛs dɪˈvɛləpt ənd ˌɪnˈvɛntɪd ɑr mˈjuzɪk təˈgɛðər. ðæts haʊ ɑr mˈjuzɪk bɪˈkeɪm ˈlaɪvli, wɪθ ˈməltəpəl pɑrts. ɪn ðə leɪt, ɪt bɪˈkeɪm məˈnɑtənəs. ɪt ʤɪst bɪˈkeɪm ə ˈsɪriz əv mˈjuzɪkəl ɪˈvɛnts. ðɛr ɪz ən ˈælgərˌɪðəm ɪn ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk ðət ˈɔlsoʊ əˈplaɪz tɪ tɛkst: ˈkɑpi ənd peɪst. bət ˈkɑpi ənd peɪst ɪz nɑt ˌpɑˌlɪˈfɑnɪk. ˈæftər ˈlivɪŋ ˈkræftwərk, kɑrl ˈbɑrtoʊz kənˈtɪnjud tɪ wərk ɛz ə mjuˈzɪʃən,, prəˈdusər ənd ˈsɔŋˌraɪtər. ɪn hɪz ˌɔtəbaɪˈɑgrəfi, "dər klæŋ dər maschine*" (ðə saʊnd əv ðə məˈʃin), wɪʧ ɪz riˈlist ɪn ˈʤərmən ɔn ˈɔgəst 25 baɪ ˈpəblɪʃər lübbe*, hi ʃɛrz ən ˌɪnˈsaɪd lʊk æt hɪz taɪm wɪθ ˈkræftwərk, huz mˈjuzɪk ˌɪmˈpækt ə ˌʤɛnərˈeɪʃən əv ˈhɪˌphɔp, ˈtɛknoʊ ənd mjuˈzɪʃənz ɔl ˈoʊvər ðə wərld. ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 10 ʤeɪmz læst ərˈeɪnʤmənts əv pɑp hɪts: ðə læst əv ðə tɛn moʊst səkˈsɛsfəl ˈʤərmən mjuˈzɪʃənz ɪn ðə wɑz ʤeɪmz læst. ðə bænd ˈlidər frəm ˈbrɛmən strək ə kɔrd wɪθ hɪz saʊnd, ˈpʊtɪŋ aʊt ˈoʊvər 50 ˈælbəmz ɪn ðə. ʤeɪmz læst tʊrd ðə wərld wɪθ hɪz ˈɔrkəstrə raɪt əp tɪ hɪz dɛθ ɪn ʤun, 2015 ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 9 ˈkræftwərk ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk ˌpaɪəˈnɪrz ˈkræftwərk ˌɪntrəˈdust ən əˈvɑnˈgɑrd ˈɛləmənt ˈɪntu ðə ðət ˈdɪdənt stɑp wɪθ ðə ˈkrɪtɪks ənd ˈpəndɪts. ɪt kəˈnɛktɪd wɪθ ðə ʧɑrts, ɛz wɛl. "ðə ˈmɑdəl" ˈivɪn tʊk ˈkræftwərk əp ðə ˈbrɪtɪʃ ˈsɪŋgəlz ʧɑrts. ənd ən ˈɪnəˌveɪtɪv ˈænəˌmeɪtɪd ˈvɪdioʊ, nɑn stop“*“ ˈkɛrid ɪt tɪ ˈnəmbər wən ɔn ðə juz. dæns ʧɑrts. ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 8 ə jəŋ ənd hər bænd lɔnʧt ˈsɛvərəl ˈælbəmz ənd ˈsɪŋgəlz əp ðə wərld ʧɑrts ɪn ðə. bət nən flu ɛz haɪ ɛz ðə 1983 pɑp sɔŋ 99 luftballons*", riˈdən ɪn ˈɪŋlɪʃ ɛz 99 rɛd bəˈlunz" ə jɪr ˈleɪtər. ɪt wɑz ə gʊd stɑrt tɪ ə lɔŋ kərɪr. təˈdeɪ, ˈoʊvər θri ˈdɛkeɪdz ˈleɪtər, ɪz stɪl ˈpʊtɪŋ aʊt hɪt pɑp tunz. ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 7 ˈboʊni ɛm. ˈboʊni ɛm. wɑz ɔˈrɛdi ˈraɪdɪŋ haɪ ɪn ðə ˈræŋkɪŋz wɪθ ðə hɪts ðɛr rɪˈmɛmbərd fər təˈdeɪ. bət ðə ˈdɪskoʊ ˈtriˌoʊ kriˈeɪtɪd baɪ ˈʤərmən prəˈdusər fræŋk ˈkɛrid ðɛr səkˈsɛs ˈoʊvər ˈɪntu ðə lɪst əv tɔp ˈʤərmən ækts əv ðə wɪθ mɔr ˈsɪriəs ənd ˈmɛloʊ tunz. wən əv ðɛr hɪts ɪn ðɪs ˈdɛkeɪd "wi kɪl ðə wərld" wɑz ə pli fər ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən. ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 6 ɪts wɪθ ə ˈkæˌʧi tun. ɪn 1983 ˈsɪŋər ˈmɑriən goʊld ˈfaʊndɪd ɪn münster*. ðə bændz neɪm rɪˈfərz tɪ ə fɪlm baɪ frɛnʧ ˌnuˈvɛl veɪg dɪˈrɛktər ˌʒænˈluk gəˈdɑrd. ˈfɑloʊd ðɛr hɪt ˈsɪŋgəl "bɪg ɪn ʤəˈpæn" wɪθ "fərˈɛvər jəŋ", wɪʧ əˈspaɪrd tɪ kip ɪts ˈtaɪtəl ˈprɑməs boʊθ ɔn ʧɑrts ɔl əˈkrɔs ˈjʊrəp ənd ɛz ə ˈsteɪpəl əv haɪ skul prɑmz əˈkrɔs ðə juˈnaɪtɪd steɪts. ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 5 ˈskɔrpiənz ðə ˈskɔrpiənz hæv bɪn ˈrɑkɪŋ streɪt θru fər ˈfɪfti jɪrz naʊ ənd soʊld əraʊnd 100 ˈmɪljən ˈrɛkərdz, ðə ˈgreɪtər pɑrt əv ðɛm ˈdʊrɪŋ ðə. ðə frəm ˈhænoʊvər ˈbustɪd seɪlz ˈtʊrɪŋ ðə wərld frəm brəˈzɪl ənd ðə ˈjuˈɛˈseɪ tɪ ðə ˈsoʊviˌɛt ˈjunjən, pleɪɪŋ səʧ hɪts ɛz "rɑk ju laɪk ə ˈhərəˌkeɪnz" ənd "stɪl ˈləvɪŋ ju". ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 4 ˈsændrə ˈsændrə wɑz ə ˈʤərmən ˈfiˌmeɪl pɑp ˈɛkspɔrt hɪt əv ðə. ʃi, hər prəˈdusər ənd hər ˈmaɪkəl fɔrmd ə mˈjuzɪkəl drim tim. ɪt meɪ kəm ɛz ə səˈpraɪz ðət hər ˈnɛvər bi) mərˈiə ˌmægdəˈlinə" brɔt hər ˈædɪd səkˈsɛs ɪn ʤəˈpæn ɛz lɛd ˈsɪŋər əv ðə ˈtriˌoʊ arabesque*. ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 3 ˈʤɛnəfər rəʃ ˈhaɪdi stərn, ˈɑkə ˈʤɛnəfər rəʃ, gru əp ɪn boʊθ ðə ˈjuˈɛˈseɪ ənd ˈʤərməni. ɪn 1984 ðə ˈʤərmən prəˈdusər tim ˈgəntər mɛnd ənd ˈkændi də ruʒ roʊt "ðə paʊər əv ləv" wɪθ hər ɪn maɪnd. ðə ˈbæləd ˈkɑŋkərd ʧɑrts frəm saʊθ ˈæfrɪkɑ tɪ ˌskændɪˈneɪviə ənd ərnd ə ˈmɛnʃən ɪn ðə ˈgɪnəs bʊk əv ˈrɛkərdz ɛz ðə ˈsɪŋgəl baɪ ə ˈfiˌmeɪl ˈsoʊˌloʊ ˈɑrtɪst ɪn ðə ˈhɪstəri əv ðə ˈbrɪtɪʃ mˈjuzɪk ˈɪndəstri. ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 2 ˈmɪli vəˈnɪli ɪn ðə leɪt, ðə pɑp ˈduoʊ ˈmɪli vəˈnɪli tʊk ˈnəmbər wən ɔn ðə ˈjuˈɛs ʧɑrts ˈsɛvərəl taɪmz. wəns əˈgɛn, stɑr ˈʤərmən prəˈdusər fræŋk hæd bɪn æt wərk. bət səkˈsɛs tərnd tɪ ˈskændəl wɪn rɑb piˈleɪtəs ənd fæb wər faʊnd tɪ bi ənd nɑt ˈsɪŋɪŋ. ˈmɪli vəˈnɪli hæd tɪ rɪˈtərn ðɛr ˈgræmi ənd ˌriˈtaɪər frəm mˈjuzɪk. ðə tɔp tɛn mˈjuzɪk ækts əv ðə frəm ˈʤərməni 1 ˈmɑdərn ˈtɔkɪŋ ðə ˈtreɪdˌmɑrks əv ˈmɑdərn ˈtɔkɪŋ wər ˈsɪmpəl ˈlɪrɪks, ˈdɪskoʊ pɑp ənd ˈstudiˌoʊ tænz. ˈivɪn ɪf ðə ˈʤərmən ˈduoʊ əv ˈtɑməs ˈændərz ənd ˈditər ˈboʊlən wɑz ˈɔfən məˈlaɪnd, sɔŋz laɪk maɪ hɑrt, maɪ soʊl" ənd "ˈbrəðər lui" hæd ˈmɪljənz əv seɪlz ənd pleɪst ˈmɑdərn ˈtɔkɪŋ skˈwɛrli æt ˈnəmbər wən ɔn ˈræŋkɪŋ. ʤɛnz vɔn (kbm*)
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if you want to know going on in cairo, just look at the walls. over the last two years, as clashes and political conflict were raging on the streets of cairo, another war was being fought on walls with paint brushes and spray cans.
the graffiti scene barely existed prior to the revolution that toppled president hosni mubarak. but as the uprising and protests gained momentum, murals have become the way for artists to dare to dream for something better for their country.
mos'ab a child on a bike who had come to inspect the wall was photographed by the artists and added on the final painting.
a political dance has emerged between graffiti artists and the authorities that seek to paint over the prismatic walls. the cycle has ensued for almost two graffiti goes up, the authorities paint over it, then something even bolder is portrayed on top. and so it continues.
the between artists and the authorities has captivated as a photographer, present rich material for me. i have been able to document the progression from the birth of modern political graffiti to the current struggle between art and regime.
mos'ab an onlooker watches graffiti artists.
though the political tones are always prominent, it is not the only theme to shine through. walls have played host to harassment graffiti and calls for gender equality. female artists have also played a considerable role in reclaiming public spaces with stenciled icons encouraging female empowerment.
most egyptian graffiti artists remain anonymous but are still widely known by their nicknames like (which means “bicycle chain”), keizer, and sad panda.
mos'ab during the presidential election, graffiti which originally showed half faces of hosni mubarak and leader, mohamed hussein tantawi, was modified to include faces of candidates ahmed and amr moussa
perhaps the strongest messages delivered by graffiti are those painted on walls originally meant to barricade protesters. the supreme council of armed forces (scaf) walled off access to square in november 2011 after deadly clashes erupted and killed many civilian protesters. more than four walls were erected last year (and two last week), turning downtown cairo into a maze. egyptian graffiti artists arranged “no walls protests,” painting the barricades away with murals that commemorate the dead.
the sheikh eye-deceiving, (trompe-l’œil) mural, painted during a “no walls protest.”
a few months after mohammed was sworn in as president, authorities moved in to erase some of the most iconic and popular graffiti on mohammed mahmoud street near square. recently, protests have started again over’s expanded authority, and the graffiti rebels rose to the occasion to redecorate cairo. artists took to the street and, within a few days, murals and political statements were painted afresh on the new canvases.
mos'ab a graffiti artist painting graffiti on a wall near square.
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ɪf ju wɔnt tɪ noʊ goʊɪŋ ɔn ɪn ˈkaɪroʊ, ʤɪst lʊk æt ðə wɔlz. ˈoʊvər ðə læst tu jɪrz, ɛz ˈklæʃɪz ənd pəˈlɪtɪkəl ˈkɑnflɪkt wər ˈreɪʤɪŋ ɔn ðə strits əv ˈkaɪroʊ, əˈnəðər wɔr wɑz biɪŋ fɔt ɔn wɔlz wɪθ peɪnt ˈbrəʃɪz ənd spreɪ kænz. ðə grəˈfiti sin ˈbɛrli ɪgˈzɪstəd praɪər tɪ ðə ˌrɛvəˈluʃən ðət ˈtɑpəld ˈprɛzɪdənt ˈhɔsni muˈbɑrɪk. bət ɛz ðə ˈəˌpraɪzɪŋ ənd ˈproʊˌtɛsts geɪnd moʊˈmɛntəm, mˈjʊrəlz hæv bɪˈkəm ðə weɪ fər ˈɑrtɪsts tɪ dɛr tɪ drim fər ˈsəmθɪŋ ˈbɛtər fər ðɛr ˈkəntri. ə ʧaɪld ɔn ə baɪk hu hæd kəm tɪ ˌɪnˈspɛkt ðə wɔl wɑz ˈfoʊtəˌgræft baɪ ðə ˈɑrtɪsts ənd ˈædɪd ɔn ðə ˈfaɪnəl ˈpeɪnɪŋ. ə pəˈlɪtɪkəl dæns həz ˈimərʤd bɪtˈwin grəˈfiti ˈɑrtɪsts ənd ðə əˈθɔrətiz ðət sik tɪ peɪnt ˈoʊvər ðə prɪzˈmætɪk wɔlz. ðə ˈsaɪkəl həz ɪnˈsud fər ˈɔlˌmoʊst tu grəˈfiti goʊz əp, ðə əˈθɔrətiz peɪnt ˈoʊvər ɪt, ðɛn ˈsəmθɪŋ ˈivɪn ˈboʊldər ɪz pɔrˈtreɪd ɔn tɔp. ənd soʊ ɪt kənˈtɪnjuz. ðə bɪtˈwin ˈɑrtɪsts ənd ðə əˈθɔrətiz həz ˈkæptɪˌveɪtɪd ɛz ə fəˈtɑgrəfər, ˈprɛzənt rɪʧ məˈtɪriəl fər mi. aɪ hæv bɪn ˈeɪbəl tɪ ˈdɑkjəmɛnt ðə prəˈgrɛʃən frəm ðə bərθ əv ˈmɑdərn pəˈlɪtɪkəl grəˈfiti tɪ ðə ˈkɑrənt ˈstrəgəl bɪtˈwin ɑrt ənd rəˈʒim. ən ˈɔnˌlʊkər ˈwɑʧɪz grəˈfiti ˈɑrtɪsts. ðoʊ ðə pəˈlɪtɪkəl toʊnz ər ˈɔlˌweɪz ˈprɑmənənt, ɪt ɪz nɑt ðə ˈoʊnli θim tɪ ʃaɪn θru. wɔlz hæv pleɪd hoʊst tɪ hərˈæsmənt grəˈfiti ənd kɔlz fər ˈʤɛndər ɪkˈwɑləti. ˈfiˌmeɪl ˈɑrtɪsts hæv ˈɔlsoʊ pleɪd ə kənˈsɪdərəbəl roʊl ɪn riˈkleɪmɪŋ ˈpəblɪk ˈspeɪsɪz wɪθ ˈstɛnsɪld ˈaɪˌkɑnz ɪnˈkərəʤɪŋ ˈfiˌmeɪl ɪmˈpaʊərmənt. moʊst ɪˈʤɪpʃən grəˈfiti ˈɑrtɪsts rɪˈmeɪn əˈnɑnəməs bət ər stɪl ˈwaɪdli noʊn baɪ ðɛr ˈnɪkˌneɪmz laɪk (wɪʧ minz chain”*”), ˈkizər, ənd sæd ˈpændə. ˈdʊrɪŋ ðə ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən, grəˈfiti wɪʧ ərˈɪʤənəli ʃoʊd hæf ˈfeɪsɪz əv ˈhɔsni muˈbɑrɪk ənd ˈlidər, moʊˈhɑmɛd huˈseɪn tantawi*, wɑz ˈmɑdəˌfaɪd tɪ ˌɪnˈklud ˈfeɪsɪz əv ˈkænədɪts ˈɑmɛd ənd ˈɑmər ˈmaʊsə pərˈhæps ðə ˈstrɔŋgəst ˈmɛsɪʤɪz dɪˈlɪvərd baɪ grəˈfiti ər ðoʊz ˈpeɪnɪd ɔn wɔlz ərˈɪʤənəli mɛnt tɪ ˈbɛrəˌkeɪd ˈproʊˌtɛstərz. ðə səˈprim ˈkaʊnsəl əv ɑrmd ˈfɔrsɪz (scaf*) wɔld ɔf ˈækˌsɛs tɪ skwɛr ɪn noʊˈvɛmbər 2011 ˈæftər ˈdɛdli ˈklæʃɪz ˌɪˈrəptɪd ənd kɪld ˈmɛni səˈvɪljən ˈproʊˌtɛstərz. mɔr ðən fɔr wɔlz wər ɪˈrɛktɪd læst jɪr (ənd tu læst wik), ˈtərnɪŋ ˈdaʊnˈtaʊn ˈkaɪroʊ ˈɪntu ə meɪz. ɪˈʤɪpʃən grəˈfiti ˈɑrtɪsts əreɪnʤd wɔlz protests,”*,” ˈpeɪnɪŋ ðə ˈbɛrəˌkeɪdz əˈweɪ wɪθ mˈjʊrəlz ðət kəˈmɛmərˌeɪt ðə dɛd. ðə ʃik eye-deceiving*, (trompe-l’œil*) mˈjʊrəl, ˈpeɪnɪd ˈdʊrɪŋ ə wɔlz protest.”*.” ə fju mənθs ˈæftər moʊˈhæmɪd wɑz swɔrn ɪn ɛz ˈprɛzɪdənt, əˈθɔrətiz muvd ɪn tɪ ɪˈreɪs səm əv ðə moʊst ˌaɪˈkɑnɪk ənd ˈpɑpjələr grəˈfiti ɔn moʊˈhæmɪd ˈmæmud strit nɪr skwɛr. ˈrisəntli, ˈproʊˌtɛsts hæv ˈstɑrtɪd əˈgɛn ˈoʊvər ɪkˈspændɪd əˈθɔrəti, ənd ðə grəˈfiti ˈrɛbəlz roʊz tɪ ðə əˈkeɪʒən tɪ riˈdɛkərˌeɪt ˈkaɪroʊ. ˈɑrtɪsts tʊk tɪ ðə strit ənd, wɪˈθɪn ə fju deɪz, mˈjʊrəlz ənd pəˈlɪtɪkəl ˈsteɪtmənts wər ˈpeɪnɪd əˈfrɛʃ ɔn ðə nu ˈkænvəsɪz. ə grəˈfiti ˈɑrtɪst ˈpeɪnɪŋ grəˈfiti ɔn ə wɔl nɪr skwɛr. ɔl ˈɪmɪʤɪz baɪ. ˈfɑloʊ ɪm ɔn tˈwɪtər:
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about
i as a previous restaurant worker would like to develop an app that will allow a waiter or waitress to place order from table and have it go directly to the cook on a app will feature drop down apps) that will reflect products that each individual company can use. the server can customize each order and when entered in the cook will have it processed a screen in kitchen . app will also allow servers to keep up with multiple tables at one time. it will also be linked to a card reader to process payments right at table to move expedite service. this app will also keep track of tips for the server, so they can see how well or poorly they are doing! this will be marketed to chain companies and restaurants in the south east to start and eventually go global!
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əˈbaʊt aɪ ɛz ə ˈpriviəs ˈrɛˌstrɑnt ˈwərkər wʊd laɪk tɪ dɪˈvɛləp ən æp ðət wɪl əˈlaʊ ə ˈweɪtər ər ˈweɪtrəs tɪ pleɪs ˈɔrdər frəm ˈteɪbəl ənd hæv ɪt goʊ dɪˈrɛkli tɪ ðə kʊk ɔn ə æp wɪl ˈfiʧər drɔp daʊn æps) ðət wɪl rɪˈflɛkt ˈprɑdəkts ðət iʧ ˌɪndəˈvɪʤəwəl ˈkəmpəˌni kən juz. ðə ˈsərvər kən ˈkəstəˌmaɪz iʧ ˈɔrdər ənd wɪn ˈɛnərd ɪn ðə kʊk wɪl hæv ɪt ˈprɑsɛst ə skrin ɪn ˈkɪʧən æp wɪl ˈɔlsoʊ əˈlaʊ ˈsərvərz tɪ kip əp wɪθ ˈməltəpəl ˈteɪbəlz æt wən taɪm. ɪt wɪl ˈɔlsoʊ bi lɪŋkt tɪ ə kɑrd ˈridər tɪ ˈprɔˌsɛs ˈpeɪmənts raɪt æt ˈteɪbəl tɪ muv ˈɛkspɪˌdaɪt ˈsərvɪs. ðɪs æp wɪl ˈɔlsoʊ kip træk əv tɪps fər ðə ˈsərvər, soʊ ðeɪ kən si haʊ wɛl ər ˈpurli ðeɪ ər duɪŋ! ðɪs wɪl bi ˈmɑrkətɪd tɪ ʧeɪn ˈkəmpəˌniz ənd ˈrɛˌstrɑnts ɪn ðə saʊθ ist tɪ stɑrt ənd ɪˈvɛnʧəwəli goʊ ˈgloʊbəl!
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even a week ago, the idea of a russian military intervention in ukraine seemed farfetched if not totally alarmist. the risks involved were just too enormous for president vladimir putin and for the country he has ruled for 14 years. but the arrival of russian troops in crimea over the weekend has shown that he is not averse to reckless adventures, even ones that offer little gain. in the coming days and weeks, putin will have to decide how far he is prepared to take this intervention and how much he is prepared to suffer for it. it is already clear, however, that he cannot emerge as the winner of this conflict, at least not when the damage is weighed against the gains. it will at best be a pyrrhic victory, and at worst an utter catastrophe. why:
at home, this intervention looks to be the one of the most unpopular decisions putin has ever made. the own pollster released a survey on monday that showed 73% of russians reject it. in phrasing its question to 1600 respondents across the country, the sociologists at were clearly trying to get as much support for the intervention as possible: “should russia react to the overthrow of the legally elected authorities in ukraine?” they asked. only 15% said yes hardly a national consensus.
that seems astounding in light of all the brainwashing russians have faced on the issue of ukraine. for weeks, the effective monopoly on television news has been sounding the alarm over ukraine. its revolution, they claimed, is the result of an american alliance with nazis intended to weaken russia. and still, nearly three quarters of the population oppose a russian “reaction” of any kind, let alone a russian military occupation like they are now watching unfold in crimea. the 2008 invasion of georgia had much broader support, because georgia is not ukraine. ukraine is a nation of slavs with deep cultural and historical ties to russia. most russians have at least some family or friends living in ukraine, and the idea of a war between the two largest slavic nations in the world evokes a kind of horror that no kremlin whitewash can calm.
indeed, survey suggests that the influence of television channels is breaking down. the blatant misinformation and demagoguery on russian television coverage of ukraine seems to have pushed russians to go online for their information. and as for those who still have no internet connection, they could simply have picked up the phone and called their panicked friends and relatives in ukraine.
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so what about nationalists? the thumping liberal democratic party, a puppet of the kremlin, has been screaming for russia to send in the tanks. on feb. 28, as troops began appearing on the streets of crimea, the leader of that party, vladimir zhirinovsky, was on the scene handing out wads of cash to a cheering crowd of locals in the city of sevastopol, home of black sea fleet. “give it to the women, the old maids, the pregnant, the lonely, the divorced,” he told the crowd from atop a chair. “russia is rich. give everybody everything.” but in survey, 82% of his loyalists rejected any such generosity. even the adherents of the communist party, who tend to feel entitled to all of former soviet domains, said with a broad majority 62% that russia should not jump into internal crisis.
that does not necessarily mean putin will face an uprising at home. so far, the protests in moscow have looked almost pathetically temperate. but sociologists have been saying for years that core electorate is dwindling. what his popularity roughly 60% approved of his rule before this crisis started is a total lack of viable alternatives to rule. but this decision is sure to eat away at the passive mass of his supporters, especially in biggest cities.
in survey, 30% of respondents from moscow and st. petersburg said that russia could see massive political protests of the kind that overthrew the ukrainian government last month. only means of forestalling that kind of unrest is to crack down hard and early. so on feb. 28, most prominent opposition activist alexei was put under house arrest less than six months after he won 30% of the vote in the moscow mayoral race. expect more of the same if the opposition to intervention starts to find its voice.
the economic impact on russia is already staggering. when markets opened on monday morning, investors got their first chance to react to the russian intervention in ukraine over the weekend, and as a result, the key russian stock indexes tanked by more than 10%. that amounts to almost $60 billion in stock value wiped out in the course of a day, more than russia spent preparing for last winter olympic games in sochi. the natural gas monopoly gazprom, which accounts for roughly a quarter of russian tax revenues, lost $15 billion in market value in one day incidentally the same amount of money russia promised to the teetering regime in ukraine in december and then revoked in january as the revolution took hold.
the value of the russian currency meanwhile dropped against the dollar to its lowest point on record, and the russian central bank spent $10 billion on the foreign exchange markets trying to prop it up. “this has to fundamentally change the way investors and ratings agencies view russia,” said timothy ash, head of emerging market research at standard bank. at a time when economic growth was already stagnating, “this latest military adventure will increase capital flight, weaken russian asset prices, slow investment and economic activity and growth. western financial sanctions on russia will hurt further,” ash told the wall street journal.
even closest allies want no part of this. the state of kazakhstan, the most important member of every regional alliance russia has going in the former soviet space, put out a damning statement on monday, marking the first time its leaders have ever turned against russia on such a major strategic issue: “kazakhstan expresses deep concern over the developments in ukraine,” the foreign ministry said. “kazakhstan calls on all sides to stop the use of force in the resolution of this situation.”
what likely worries neighbors most is the statement the kremlin made on march 2, after putin spoke on the phone with u.n. secretary general ban ki-moon. “vladimir putin noted that in case of any escalation of violence against the population of the eastern regions of ukraine and crimea, russia would not be able to stay away and would resort to whatever measures are necessary in compliance with international law.” this sets a horrifying precedent for all of neighbors.
every single state in the former soviet union, from central asia to the baltics, has a large population, and this statement means that russia reserves the right to invade when it feels that population is threatened. the natural reaction of any russian ally in the region would be to seek security guarantees against becoming the next ukraine. for countries in eastern europe and the caucasus, including armenia, a stanch russian ally, that would likely stir desires for a closer alliance with nato and the european union. for the countries of central asia, traditional stomping ground on the geopolitical map of the world, that would mean strengthening ties with nearby china, including military ones.
china, which has long been silent partner on all issues of global security from syria to iran, has also issued cautious statements regarding actions in ukraine. “it is position not to interfere in others’ internal affairs,” the foreign ministry reportedly said in a statement on sunday. “we respect the independence, sovereignty and territorial integrity of ukraine.”
so in the course of one weekend, putin has spooked all of the countries he wanted to include in his grand eurasian union, the bloc of nations he hoped would make russia a regional power again. the only participants in that alliance so far have been kazakhstan (see above) and belarus, which is known as last dictatorship. its leader, alexander lukashenko, has so far remained silent on the russian intervention in ukraine. but last week, belarus recognized the legitimacy of the new revolutionary government in kiev, marking a major break from russia, which has condemned new leaders as extremists and radicals. the ambassador in kiev even congratulated new foreign minister on taking office and said he looks forward to working with him.
as for the impoverished nation of armenia, a to fledgling eurasian alliance, it has also recognized the new government in kiev while stopping short of any official condemnation of intervention in ukraine so far. but on saturday, prominent politicians led an demonstration in the armenia capital. “we are not against russia,” said the former minister of national security david shakhnazaryan. “we are against the imperial policies of putin and the kremlin.”
russia’s isolation from the west will deepen dramatically. in june, putin was planning to welcome the leaders of the, a club of western powers (plus japan), in the russian resort city of sochi. but on sunday, all of them announced they had halted their preparations for attending the summit in protest at intervention in ukraine. so much for seat at the table with the leaders of the western world.
in recent years, one of greatest points of contention with the west has been over plans to build of a missile shield in europe. russia has seen this as a major threat to its security, as the shield could wipe out ability to launch nuclear missiles at the west. the nuclear deterrent that has protected russia from western attacks for generations the cold war doctrine of mutually assured destruction, or mad could thus be negated, generals have warned. but after russia decided to unilaterally invade its neighbor to the west this weekend, any remaining resistance to the missile shield project would be pushed aside by the renewed security concerns of various nato members, primarily those in eastern europe and the baltics. whatever hopes russia had of forestalling the construction of the missile shield through diplomacy are now most likely lost.
no less worrying for putin would be the economic sanctions the west is preparing in answer to intervention in ukraine. depending on their intensity, those could cut off the ability of russian companies and businessmen in getting western loans and trading with most of the largest economies. allies could also find it a lot more difficult to send their children to study in the west or to keep their assets in western banks, as they now almost universally do. all of that raises the risk for putin of a split in his inner circle and, potentially, even of a palace coup. there is hardly anything more important to political elite than the security of their foreign assets, certainly not their loyalty to a leader who seems willing to put all of that at risk.
and what about the upside for putin? there seem to be much of it, at least not compared to the damage he stands to inflict on russia and himself. but he does look set to accomplish a few things. for one, he demonstrates to the world that his red lines, unlike those of the white house, cannot be crossed.
if revolutionary government moves ahead with their planned integration into the e.u. and possibly nato, the military alliance that russia sees as its main strategic threat would move right up to western borders and, in crimea, it would surround the russian black sea fleet. that is a major red line for putin and his generals.
by sending troops into crimea and, potentially, into eastern ukraine, russia could secure a buffer around strategic naval fleet and at its western border. for the military brass in moscow, those are vital priorities, and their achievement is worth a great deal of sacrifice. over the weekend, actions showed that he is listening carefully to his generals. at the same time, he seems to be ignoring the outrage coming from pretty much everyone else.
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ˈivɪn ə wik əˈgoʊ, ðə aɪˈdiə əv ə ˈrəʃən ˈmɪlɪˌtɛri ˌɪntərˈvɛnʃən ɪn juˈkreɪn simd ˈfɑrˈfɛʧt ɪf nɑt ˈtoʊtəli əˈlɑrmɪst. ðə rɪsks ˌɪnˈvɑlvd wər ʤɪst tu ɪˈnɔrmɪs fər ˈprɛzɪdənt vˈlædəmɪr ˈputɪn ənd fər ðə ˈkəntri hi həz ruld fər 14 jɪrz. bət ðə ərˈaɪvəl əv ˈrəʃən trups ɪn kraɪˈmiə ˈoʊvər ðə ˈwiˌkɪnd həz ʃoʊn ðət hi ɪz nɑt əˈvərs tɪ ˈrɛkləs ædˈvɛnʧərz, ˈivɪn wənz ðət ˈɔfər ˈlɪtəl geɪn. ɪn ðə ˈkəmɪŋ deɪz ənd wiks, ˈputɪn wɪl hæv tɪ ˌdɪˈsaɪd haʊ fɑr hi ɪz priˈpɛrd tɪ teɪk ðɪs ˌɪntərˈvɛnʃən ənd haʊ məʧ hi ɪz priˈpɛrd tɪ ˈsəfər fər ɪt. ɪt ɪz ɔˈrɛdi klɪr, ˌhaʊˈɛvər, ðət hi ˈkænɑt ˈimərʤ ɛz ðə ˈwɪnər əv ðɪs ˈkɑnflɪkt, æt list nɑt wɪn ðə ˈdæmɪʤ ɪz weɪd əˈgɛnst ðə geɪnz. ɪt wɪl æt bɛst bi ə ˈpɪrɪk ˈvɪktəri, ənd æt wərst ən ˈətər kəˈtæstrəfi. waɪ: æt hoʊm, ðɪs ˌɪntərˈvɛnʃən lʊks tɪ bi ðə wən əv ðə moʊst ˌənˈpɑpjələr dɪˈsɪʒənz ˈputɪn həz ˈɛvər meɪd. ðə oʊn ˈpoʊlstər riˈlist ə ˈsərˌveɪ ɔn ˈmənˌdeɪ ðət ʃoʊd 73 əv ˈrəʃənz ˈriʤɛkt ɪt. ɪn ˈfreɪzɪŋ ɪts kˈwɛʃən tɪ 1600 rɪˈspɑndənts əˈkrɔs ðə ˈkəntri, ðə ˌsoʊsiˈɑləʤɪsts æt wər ˈklɪrli traɪɪŋ tɪ gɪt ɛz məʧ səˈpɔrt fər ðə ˌɪntərˈvɛnʃən ɛz ˈpɑsəbəl: ˈrəʃə riækt tɪ ðə ˈoʊvərθˌroʊ əv ðə ˈligəli ɪˈlɛktɪd əˈθɔrətiz ɪn ukraine?”*?” ðeɪ æst. ˈoʊnli 15 sɛd jɛs ˈhɑrdli ə ˈnæʃənəl kənˈsɛnsəs. ðət simz əˈstaʊndɪŋ ɪn laɪt əv ɔl ðə ˈbreɪnˌwɑʃɪŋ ˈrəʃənz hæv feɪst ɔn ðə ˈɪʃu əv juˈkreɪn. fər wiks, ðə ˈifɛktɪv məˈnɑpəli ɔn ˈtɛləˌvɪʒən nuz həz bɪn ˈsaʊndɪŋ ðə əˈlɑrm ˈoʊvər juˈkreɪn. ɪts ˌrɛvəˈluʃən, ðeɪ kleɪmd, ɪz ðə rɪˈzəlt əv ən əˈmɛrɪkən əˈlaɪəns wɪθ ˈnɑtsiz ˌɪnˈtɛndɪd tɪ ˈwikən ˈrəʃə. ənd stɪl, ˈnɪrli θri kˈwɔrtərz əv ðə ˌpɑpjəˈleɪʃən əˈpoʊz ə ˈrəʃən ““reaction”*” əv ˈɛni kaɪnd, lɛt əˈloʊn ə ˈrəʃən ˈmɪlɪˌtɛri ˌɑkjəˈpeɪʃən laɪk ðeɪ ər naʊ ˈwɑʧɪŋ ənˈfoʊld ɪn kraɪˈmiə. ðə 2008 ˌɪnˈveɪʒən əv ˈʤɔrʤə hæd məʧ ˈbrɔdər səˈpɔrt, bɪˈkəz ˈʤɔrʤə ɪz nɑt juˈkreɪn. juˈkreɪn ɪz ə ˈneɪʃən əv slɑvz wɪθ dip ˈkəlʧərəl ənd hɪˈstɔrɪkəl taɪz tɪ ˈrəʃə. moʊst ˈrəʃənz hæv æt list səm ˈfæməli ər frɛndz ˈlɪvɪŋ ɪn juˈkreɪn, ənd ðə aɪˈdiə əv ə wɔr bɪtˈwin ðə tu ˈlɑrʤəst sˈlɑvɪk ˈneɪʃənz ɪn ðə wərld ɪˈvoʊks ə kaɪnd əv ˈhɔrər ðət noʊ ˈkrɛmlɪn ˈwaɪtˌwɑʃ kən kɑm. ˌɪnˈdid, ˈsərˌveɪ səˈʤɛsts ðət ðə ˈɪnfluəns əv ˈtɛləˌvɪʒən ˈʧænəlz ɪz ˈbreɪkɪŋ daʊn. ðə ˈbleɪtənt ˌmɪsɪnfərˈmeɪʃən ənd ˈdɛməˌgɑgəri ɔn ˈrəʃən ˈtɛləˌvɪʒən ˈkəvərɪʤ əv juˈkreɪn simz tɪ hæv pʊʃt ˈrəʃənz tɪ goʊ ˈɔnˌlaɪn fər ðɛr ˌɪnˌfɔrˈmeɪʃən. ənd ɛz fər ðoʊz hu stɪl hæv noʊ ˈɪntərˌnɛt kəˈnɛkʃən, ðeɪ kʊd ˈsɪmpli hæv pɪkt əp ðə foʊn ənd kɔld ðɛr ˈpænɪkt frɛndz ənd ˈrɛlətɪvz ɪn juˈkreɪn. ðə brif ˈnuzˌlɛtər saɪn əp tɪ rɪˈsiv ðə tɔp ˈstɔriz ju nid tɪ noʊ raɪt naʊ. vju ˈsæmpəl saɪn əp naʊ soʊ wət əˈbaʊt ˈnæʃənəlɪsts? ðə ˈθəmpɪŋ ˈlɪˌbərəl ˌdɛməˈkrætɪk ˈpɑrti, ə ˈpəpɪt əv ðə ˈkrɛmlɪn, həz bɪn ˈskrimɪŋ fər ˈrəʃə tɪ sɛnd ɪn ðə tæŋks. ɔn ˈfɛbjəˌwɛri. 28 ɛz trups bɪˈgæn əˈpɪrɪŋ ɔn ðə strits əv kraɪˈmiə, ðə ˈlidər əv ðət ˈpɑrti, vˈlædəmɪr ˌʒɪrəˈnɑvˌski, wɑz ɔn ðə sin ˈhændɪŋ aʊt wɑdz əv kæʃ tɪ ə ˈʧɪrɪŋ kraʊd əv ˈloʊkəlz ɪn ðə ˈsɪti əv sevastopol*, hoʊm əv blæk si flit. ɪt tɪ ðə ˈwɪmən, ðə oʊld meɪdz, ðə ˈprɛgnənt, ðə ˈloʊnli, ðə divorced,”*,” hi toʊld ðə kraʊd frəm əˈtɑp ə ʧɛr. ɪz rɪʧ. gɪv ˈɛvriˌbɑdi everything.”*.” bət ɪn ˈsərˌveɪ, 82 əv hɪz ˈlɔɪəlɪsts rɪˈʤɛktɪd ˈɛni səʧ ˌʤɛnərˈɑsəti. ˈivɪn ðə æˈdhɪrənts əv ðə ˈkɑmjənəst ˈpɑrti, hu tɛnd tɪ fil ɛnˈtaɪtəld tɪ ɔl əv ˈfɔrmər ˈsoʊviˌɛt doʊˈmeɪnz, sɛd wɪθ ə brɔd məˈʤɔrəti 62 ðət ˈrəʃə ʃʊd nɑt ʤəmp ˈɪntu ˌɪnˈtərnəl ˈkraɪsəs. ðət dɪz nɑt ˌnɛsəˈsɛrəli min ˈputɪn wɪl feɪs ən ˈəˌpraɪzɪŋ æt hoʊm. soʊ fɑr, ðə ˈproʊˌtɛsts ɪn ˈmɔˌskaʊ hæv lʊkt ˈɔlˌmoʊst pəˈθɛtɪkəli ˈtɛmpərət. bət ˌsoʊsiˈɑləʤɪsts hæv bɪn seɪɪŋ fər jɪrz ðət kɔr ɪˈlɛktərət ɪz dˈwɪndəlɪŋ. wət hɪz ˌpɑpjəˈlɛrəti ˈrəfli 60 əˈpruvd əv hɪz rul ˌbiˈfɔr ðɪs ˈkraɪsəs ˈstɑrtɪd ɪz ə ˈtoʊtəl læk əv ˈvaɪəbəl ɔlˈtərnətɪvz tɪ rul. bət ðɪs dɪˈsɪʒən ɪz ʃʊr tɪ it əˈweɪ æt ðə ˈpæsɪv mæs əv hɪz səˈpɔrtərz, əˈspɛʃəli ɪn ˈbɪgəst ˈsɪtiz. ɪn ˈsərˌveɪ, 30 əv rɪˈspɑndənts frəm ˈmɔˌskaʊ ənd st*. ˈpitərzbərg sɛd ðət ˈrəʃə kʊd si ˈmæsɪv pəˈlɪtɪkəl ˈproʊˌtɛsts əv ðə kaɪnd ðət ˌoʊvərθˈru ðə juˈkreɪniən ˈgəvərnmənt læst mənθ. ˈoʊnli minz əv ˌfɔrˈstɑlɪŋ ðət kaɪnd əv ənˈrɛst ɪz tɪ kræk daʊn hɑrd ənd ˈərli. soʊ ɔn ˈfɛbjəˌwɛri. 28 moʊst ˈprɑmənənt ˌɑpəˈzɪʃən ˈæktɪvɪst əˈlɛkˌseɪ wɑz pʊt ˈəndər haʊs ərˈɛst lɛs ðən sɪks mənθs ˈæftər hi wən 30 əv ðə voʊt ɪn ðə ˈmɔˌskaʊ meɪərəl reɪs. ɪkˈspɛkt mɔr əv ðə seɪm ɪf ðə ˌɑpəˈzɪʃən tɪ ˌɪntərˈvɛnʃən stɑrts tɪ faɪnd ɪts vɔɪs. ðə ˌɛkəˈnɑmɪk ˌɪmˈpækt ɔn ˈrəʃə ɪz ɔˈrɛdi ˈstægərˌɪŋ. wɪn ˈmɑrkɪts ˈoʊpənd ɔn ˈmənˌdeɪ ˈmɔrnɪŋ, ˌɪnˈvɛstərz gɑt ðɛr fərst ʧæns tɪ riækt tɪ ðə ˈrəʃən ˌɪntərˈvɛnʃən ɪn juˈkreɪn ˈoʊvər ðə ˈwiˌkɪnd, ənd ɛz ə rɪˈzəlt, ðə ki ˈrəʃən stɑk ˈɪndɛksɪz tæŋkt baɪ mɔr ðən 10 ðət əˈmaʊnts tɪ ˈɔlˌmoʊst 60 ˈbɪljən ɪn stɑk ˈvælju waɪpt aʊt ɪn ðə kɔrs əv ə deɪ, mɔr ðən ˈrəʃə spɛnt pərˈpɛrɪŋ fər læst ˈwɪntər oʊˈlɪmpɪk geɪmz ɪn ˈsoʊʧi. ðə ˈnæʧərəl gæs məˈnɑpəli ˈgæzˌprɑm, wɪʧ əˈkaʊnts fər ˈrəfli ə kˈwɔrtər əv ˈrəʃən tæks ˈrɛvəˌnuz, lɔst 15 ˈbɪljən ɪn ˈmɑrkɪt ˈvælju ɪn wən deɪ ˌɪnsɪˈdɛntəli ðə seɪm əˈmaʊnt əv ˈməni ˈrəʃə ˈprɑməst tɪ ðə ˈtitərɪŋ rəˈʒim ɪn juˈkreɪn ɪn dɪˈsɛmbər ənd ðɛn rɪˈvoʊkt ɪn ˈʤænjuˌɛri ɛz ðə ˌrɛvəˈluʃən tʊk hoʊld. ðə ˈvælju əv ðə ˈrəʃən ˈkərənsi ˈminˌwaɪl drɑpt əˈgɛnst ðə ˈdɔlər tɪ ɪts loʊəst pɔɪnt ɔn ˈrɛkərd, ənd ðə ˈrəʃən ˈsɛntrəl bæŋk spɛnt 10 ˈbɪljən ɔn ðə ˈfɔrən ɪksˈʧeɪnʤ ˈmɑrkɪts traɪɪŋ tɪ prɑp ɪt əp. həz tɪ ˌfəndəˈmɛnəli ʧeɪnʤ ðə weɪ ˌɪnˈvɛstərz ənd ˈreɪtɪŋz ˈeɪʤənsiz vju russia,”*,” sɛd ˈtɪməθi æʃ, hɛd əv ˈimərʤɪŋ ˈmɑrkɪt ˈrisərʧ æt ˈstændərd bæŋk. æt ə taɪm wɪn ˌɛkəˈnɑmɪk groʊθ wɑz ɔˈrɛdi ˈstægˌneɪtɪŋ, ˈleɪtəst ˈmɪlɪˌtɛri ədˈvɛnʧər wɪl ˌɪnˈkris ˈkæpɪtəl flaɪt, ˈwikən ˈrəʃən ˈæˌsɛt ˈpraɪsɪz, sloʊ ˌɪnˈvɛstmənt ənd ˌɛkəˈnɑmɪk ækˈtɪvɪti ənd groʊθ. ˈwɛstərn ˌfaɪˈnænʃəl ˈsæŋkʃənz ɔn ˈrəʃə wɪl hərt further,”*,” æʃ toʊld ðə wɔl strit ˈʤərnəl. ˈivɪn ˈkloʊsəst ˈælaɪz wɔnt noʊ pɑrt əv ðɪs. ðə steɪt əv ˌkɑzɑkˈstɑn, ðə moʊst ˌɪmˈpɔrtənt ˈmɛmbər əv ˈɛvəri ˈriʤənəl əˈlaɪəns ˈrəʃə həz goʊɪŋ ɪn ðə ˈfɔrmər ˈsoʊviˌɛt speɪs, pʊt aʊt ə ˈdæmɪŋ ˈsteɪtmənt ɔn ˈmənˌdeɪ, ˈmɑrkɪŋ ðə fərst taɪm ɪts ˈlidərz hæv ˈɛvər tərnd əˈgɛnst ˈrəʃə ɔn səʧ ə ˈmeɪʤər strəˈtiʤɪk ˈɪʃu: ɪkˈsprɛsɪz dip kənˈsərn ˈoʊvər ðə dɪˈvɛləpmənts ɪn ukraine,”*,” ðə ˈfɔrən ˈmɪnɪstri sɛd. kɔlz ɔn ɔl saɪdz tɪ stɑp ðə juz əv fɔrs ɪn ðə ˌrɛzəˈluʃən əv ðɪs situation.”*.” wət ˈlaɪkli ˈwəriz ˈneɪbərz moʊst ɪz ðə ˈsteɪtmənt ðə ˈkrɛmlɪn meɪd ɔn mɑrʧ 2 ˈæftər ˈputɪn spoʊk ɔn ðə foʊn wɪθ u.n*. ˈsɛkrəˌtɛri ˈʤɛnərəl bæn ki-moon*. ˈputɪn ˈnoʊtɪd ðət ɪn keɪs əv ˈɛni ˌɛskəˈleɪʃən əv ˈvaɪələns əˈgɛnst ðə ˌpɑpjəˈleɪʃən əv ðə ˈistərn ˈriʤənz əv juˈkreɪn ənd kraɪˈmiə, ˈrəʃə wʊd nɑt bi ˈeɪbəl tɪ steɪ əˈweɪ ənd wʊd rɪˈzɔrt tɪ ˌwəˈtɛvər ˈmɛʒərz ər ˈnɛsəˌsɛri ɪn kəmˈplaɪəns wɪθ ˌɪnərˈnæʃənɑl law.”*.” ðɪs sɛts ə ˈhɔrəˌfaɪɪŋ ˈprɛsɪdənt fər ɔl əv ˈneɪbərz. ˈɛvəri ˈsɪŋgəl steɪt ɪn ðə ˈfɔrmər ˈsoʊviˌɛt ˈjunjən, frəm ˈsɛntrəl ˈeɪʒə tɪ ðə ˈbɔltɪks, həz ə lɑrʤ ˌpɑpjəˈleɪʃən, ənd ðɪs ˈsteɪtmənt minz ðət ˈrəʃə rɪˈzərvz ðə raɪt tɪ ˌɪnˈveɪd wɪn ɪt filz ðət ˌpɑpjəˈleɪʃən ɪz θˈrɛtənd. ðə ˈnæʧərəl riˈækʃən əv ˈɛni ˈrəʃən ˈælaɪ ɪn ðə ˈriʤən wʊd bi tɪ sik sɪˈkjʊrəti ˌgɛrənˈtiz əˈgɛnst bɪˈkəmɪŋ ðə nɛkst juˈkreɪn. fər ˈkəntriz ɪn ˈistərn ˈjʊrəp ənd ðə ˈkɔkəsəs, ˌɪnˈkludɪŋ ɑrˈminiə, ə stænʧ ˈrəʃən ˈælaɪ, ðət wʊd ˈlaɪkli stər dɪˈzaɪərz fər ə ˈkloʊzər əˈlaɪəns wɪθ ˈneɪtoʊ ənd ðə ˌjʊrəˈpiən ˈjunjən. fər ðə ˈkəntriz əv ˈsɛntrəl ˈeɪʒə, trəˈdɪʃənəl ˈstɑmpɪŋ graʊnd ɔn ðə ˌʤioʊpəˈlɪtɪkəl mæp əv ðə wərld, ðət wʊd min ˈstrɛŋθənɪŋ taɪz wɪθ ˈnɪrˈbaɪ ˈʧaɪnə, ˌɪnˈkludɪŋ ˈmɪlɪˌtɛri wənz. ˈʧaɪnə, wɪʧ həz lɔŋ bɪn ˈsaɪlənt ˈpɑrtnər ɔn ɔl ˈɪʃuz əv ˈgloʊbəl sɪˈkjʊrəti frəm ˈsɪriə tɪ ˌɪˈrɑn, həz ˈɔlsoʊ ˈɪʃud ˈkɔʃəs ˈsteɪtmənts rɪˈgɑrdɪŋ ˈækʃənz ɪn juˈkreɪn. ɪz pəˈzɪʃən nɑt tɪ ˌɪnərˈfɪr ɪn others’*’ ˌɪnˈtərnəl affairs,”*,” ðə ˈfɔrən ˈmɪnɪstri rɪˈpɔrtədli sɛd ɪn ə ˈsteɪtmənt ɔn ˈsənˌdi. rɪˈspɛkt ðə ˌɪndɪˈpɛndəns, ˈsɑvrənti ənd ˌtɛrɪˈtɔriəl ˌɪnˈtɛgrəti əv ukraine.”*.” soʊ ɪn ðə kɔrs əv wən ˈwiˌkɪnd, ˈputɪn həz spukt ɔl əv ðə ˈkəntriz hi ˈwɔntɪd tɪ ˌɪnˈklud ɪn hɪz grænd jʊˈreɪʒɪn ˈjunjən, ðə blɑk əv ˈneɪʃənz hi hoʊpt wʊd meɪk ˈrəʃə ə ˈriʤənəl paʊər əˈgɛn. ðə ˈoʊnli pɑrˈtɪsəpənts ɪn ðət əˈlaɪəns soʊ fɑr hæv bɪn ˌkɑzɑkˈstɑn (si əˈbəv) ənd ˌbɛlɑˈrʊs, wɪʧ ɪz noʊn ɛz læst dɪkˈteɪtərˌʃɪp. ɪts ˈlidər, ˌælɪgˈzændər lukashenko*, həz soʊ fɑr rɪˈmeɪnd ˈsaɪlənt ɔn ðə ˈrəʃən ˌɪntərˈvɛnʃən ɪn juˈkreɪn. bət læst wik, ˌbɛlɑˈrʊs ˈrɛkəgˌnaɪzd ðə lɪˈʤɪtəməsi əv ðə nu ˌrɛvəˈluʃəˌnɛri ˈgəvərnmənt ɪn kiɛv, ˈmɑrkɪŋ ə ˈmeɪʤər breɪk frəm ˈrəʃə, wɪʧ həz kənˈdɛmd nu ˈlidərz ɛz ɪkˈstriməsts ənd ˈrædɪkəlz. ðə æmˈbæsədər ɪn kiɛv ˈivɪn kənˈgræʧəˌleɪtɪd nu ˈfɔrən ˈmɪnɪstər ɔn ˈteɪkɪŋ ˈɔfəs ənd sɛd hi lʊks ˈfɔrwərd tɪ ˈwərkɪŋ wɪθ ɪm. ɛz fər ðə ˌɪmˈpɑvrɪʃt ˈneɪʃən əv ɑrˈminiə, ə tɪ ˈflɛʤlɪŋ jʊˈreɪʒɪn əˈlaɪəns, ɪt həz ˈɔlsoʊ ˈrɛkəgˌnaɪzd ðə nu ˈgəvərnmənt ɪn kiɛv waɪl ˈstɑpɪŋ ʃɔrt əv ˈɛni əˈfɪʃəl ˌkɑndəmˈneɪʃən əv ˌɪntərˈvɛnʃən ɪn juˈkreɪn soʊ fɑr. bət ɔn ˈsæˌtɪˌdeɪ, ˈprɑmənənt ˌpɑləˈtɪʃənz lɛd ən ˌdɛmənˈstreɪʃən ɪn ðə ɑrˈminiə ˈkæpɪtəl. ər nɑt əˈgɛnst russia,”*,” sɛd ðə ˈfɔrmər ˈmɪnɪstər əv ˈnæʃənəl sɪˈkjʊrəti ˈdeɪvɪd shakhnazaryan*. ər əˈgɛnst ðə ˌɪmˈpɪriəl ˈpɑləsiz əv ˈputɪn ənd ðə kremlin.”*.” ˌaɪsəˈleɪʃən frəm ðə wɛst wɪl ˈdipən drəˈmætɪkəli. ɪn ʤun, ˈputɪn wɑz ˈplænɪŋ tɪ ˈwɛlkəm ðə ˈlidərz əv ðə ə kləb əv ˈwɛstərn paʊərz (pləs ʤəˈpæn), ɪn ðə ˈrəʃən rɪˈzɔrt ˈsɪti əv ˈsoʊʧi. bət ɔn ˈsənˌdi, ɔl əv ðɛm əˈnaʊnst ðeɪ hæd ˈhɔltɪd ðɛr ˌprɛpərˈeɪʃənz fər əˈtɛndɪŋ ðə ˈsəmɪt ɪn ˈproʊˌtɛst æt ˌɪntərˈvɛnʃən ɪn juˈkreɪn. soʊ məʧ fər sit æt ðə ˈteɪbəl wɪθ ðə ˈlidərz əv ðə ˈwɛstərn wərld. ɪn ˈrisənt jɪrz, wən əv ˈgreɪtəst pɔɪnts əv kənˈtɛnʃən wɪθ ðə wɛst həz bɪn ˈoʊvər plænz tɪ bɪld əv ə ˈmɪsəl ʃild ɪn ˈjʊrəp. ˈrəʃə həz sin ðɪs ɛz ə ˈmeɪʤər θrɛt tɪ ɪts sɪˈkjʊrəti, ɛz ðə ʃild kʊd waɪp aʊt əˈbɪləˌti tɪ lɔnʧ ˈnukliər ˈmɪsəlz æt ðə wɛst. ðə ˈnukliər dɪˈtərrənt ðət həz prəˈtɛktɪd ˈrəʃə frəm ˈwɛstərn əˈtæks fər ˌʤɛnərˈeɪʃənz ðə koʊld wɔr ˈdɔktərɪn əv mˈjuʧuəli əˈʃʊrd dɪˈstrəkʃən, ər mæd kʊd ðəs bi ˈnigeɪtɪd, ˈʤɛnərəlz hæv wɔrnd. bət ˈæftər ˈrəʃə ˌdɪˈsaɪdɪd tɪ ˌjunəˈlætərəli ˌɪnˈveɪd ɪts ˈneɪbər tɪ ðə wɛst ðɪs ˈwiˌkɪnd, ˈɛni rɪˈmeɪnɪŋ rɪˈzɪstəns tɪ ðə ˈmɪsəl ʃild ˈprɑʤɛkt wʊd bi pʊʃt əˈsaɪd baɪ ðə rɪˈnud sɪˈkjʊrəti kənˈsərnz əv ˈvɛriəs ˈneɪtoʊ ˈmɛmbərz, praɪˈmɛrəli ðoʊz ɪn ˈistərn ˈjʊrəp ənd ðə ˈbɔltɪks. ˌwəˈtɛvər hoʊps ˈrəʃə hæd əv ˌfɔrˈstɑlɪŋ ðə kənˈstrəkʃən əv ðə ˈmɪsəl ʃild θru dɪˈploʊməsi ər naʊ moʊst ˈlaɪkli lɔst. noʊ lɛs ˈwəriɪŋ fər ˈputɪn wʊd bi ðə ˌɛkəˈnɑmɪk ˈsæŋkʃənz ðə wɛst ɪz pərˈpɛrɪŋ ɪn ˈænsər tɪ ˌɪntərˈvɛnʃən ɪn juˈkreɪn. dɪˈpɛndɪŋ ɔn ðɛr ˌɪnˈtɛnsɪti, ðoʊz kʊd kət ɔf ðə əˈbɪləˌti əv ˈrəʃən ˈkəmpəˌniz ənd ˈbɪznɪsˌmɛn ɪn ˈgɪtɪŋ ˈwɛstərn loʊnz ənd ˈtreɪdɪŋ wɪθ moʊst əv ðə ˈlɑrʤəst ɪˈkɑnəmiz. ˈælaɪz kʊd ˈɔlsoʊ faɪnd ɪt ə lɔt mɔr ˈdɪfəkəlt tɪ sɛnd ðɛr ˈʧɪldrən tɪ ˈstədi ɪn ðə wɛst ər tɪ kip ðɛr ˈæˌsɛts ɪn ˈwɛstərn bæŋks, ɛz ðeɪ naʊ ˈɔlˌmoʊst ˌjunəˈvərsəli du. ɔl əv ðət ˈreɪzɪz ðə rɪsk fər ˈputɪn əv ə splɪt ɪn hɪz ˈɪnər ˈsərkəl ənd, pəˈtɛnʃəli, ˈivɪn əv ə ˈpæləs ku. ðɛr ɪz ˈhɑrdli ˈɛniˌθɪŋ mɔr ˌɪmˈpɔrtənt tɪ pəˈlɪtɪkəl ɪˈlit ðən ðə sɪˈkjʊrəti əv ðɛr ˈfɔrən ˈæˌsɛts, ˈsərtənli nɑt ðɛr ˈlɔɪəlti tɪ ə ˈlidər hu simz ˈwɪlɪŋ tɪ pʊt ɔl əv ðət æt rɪsk. ənd wət əˈbaʊt ðə ˈəpˈsaɪd fər ˈputɪn? ðɛr sim tɪ bi məʧ əv ɪt, æt list nɑt kəmˈpɛrd tɪ ðə ˈdæmɪʤ hi stændz tɪ ˌɪnˈflɪkt ɔn ˈrəʃə ənd hɪmˈsɛlf. bət hi dɪz lʊk sɛt tɪ əˈkɑmplɪʃ ə fju θɪŋz. fər wən, hi ˈdɛmənˌstreɪts tɪ ðə wərld ðət hɪz rɛd laɪnz, ənˈlaɪk ðoʊz əv ðə waɪt haʊs, ˈkænɑt bi krɔst. ɪf ˌrɛvəˈluʃəˌnɛri ˈgəvərnmənt muvz əˈhɛd wɪθ ðɛr plænd ˌɪnəˈgreɪʃən ˈɪntu ðə e.u*. ənd ˈpɑsəbli ˈneɪtoʊ, ðə ˈmɪlɪˌtɛri əˈlaɪəns ðət ˈrəʃə siz ɛz ɪts meɪn strəˈtiʤɪk θrɛt wʊd muv raɪt əp tɪ ˈwɛstərn ˈbɔrdərz ənd, ɪn kraɪˈmiə, ɪt wʊd səraʊnd ðə ˈrəʃən blæk si flit. ðət ɪz ə ˈmeɪʤər rɛd laɪn fər ˈputɪn ənd hɪz ˈʤɛnərəlz. baɪ ˈsɛndɪŋ trups ˈɪntu kraɪˈmiə ənd, pəˈtɛnʃəli, ˈɪntu ˈistərn juˈkreɪn, ˈrəʃə kʊd sɪˈkjʊr ə ˈbəfər əraʊnd strəˈtiʤɪk ˈneɪvəl flit ənd æt ɪts ˈwɛstərn ˈbɔrdər. fər ðə ˈmɪlɪˌtɛri bræs ɪn ˈmɔˌskaʊ, ðoʊz ər ˈvaɪtəl praɪˈɔrətiz, ənd ðɛr əˈʧivmənt ɪz wərθ ə greɪt dil əv ˈsækrəˌfaɪs. ˈoʊvər ðə ˈwiˌkɪnd, ˈækʃənz ʃoʊd ðət hi ɪz ˈlɪsənɪŋ ˈkɛrfəli tɪ hɪz ˈʤɛnərəlz. æt ðə seɪm taɪm, hi simz tɪ bi ˌɪgˈnɔrɪŋ ðə ˈaʊˌtreɪʤ ˈkəmɪŋ frəm ˈprɪti məʧ ˈɛvriˌwən ɛls. ˈkɑnˌtækt ˈjuˈɛs æt [email protected]*.
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gentleman that he is, preston manning is politely trying to nudge canadian conservatives away from mingy, and toward the spirit of principled public service.
his new political business plan, outlined in a globe and mail piece monday brimming with the conservative version of optimism, also included bit of advice for leadership selection: no bozos, please.
manning himself, of course, is the anti-bozo; an intellectual who always seemed to regard the in his party with bemused distaste.
that's not to say he was, or is, a moderate. he more than anyone is responsible for the words "progressive" and "conservative" in canadian politics.
largely because of him and the reform party he founded, the progressive conservatives of john and brian mulroney and bob stanfield no longer exist.
but manning also believed in serious debate and civil behaviour, rather than the loud, ad hominem, raised middle finger that has taken over american conservative discourse in the u.s., and has been seeping into canada's.
"ultimately," wrote manning, in urging his party to restock what he called its cupboard of intellectual capital, "the next generation of conservative leaders, needs to govern ably and wisely, not just communicate and entertain."
and yet, according to a new poll that came out at the same time as manning's reflections, the reality showman kevin o'leary has suddenly become an ascendant star in canadian conservative politics.
o'leary has expressed an interest in leading the conservative party, and the survey found that just a few days after he put his hand up, he is tied in popularity with peter mackay, a former minister with long experience and a high profile.
here be dragons
it's hard to resist comparisons between o'leary and donald trump, the supreme bozo of american politics.
neither has ever been elected to or governed anything; both love bragging about their financial genius; and both are reality tv stars.
trump used to yell "you're fired" on the apprentice, and o'leary left a cbc show called dragons' den for something similar called shark tank in the u.s.
trump, once regarded as a vulgar joke, has been borne to the top republican party polls by a fevered "base" that loves him for his correctness campaign.
flame-throwers? republican presidential candidate donald trump ted cruz enjoy the stage during the fox business network debate in south carolina last week. (chris keane/reuters)
which means they adore his eagerness to offend to call women pigs, dogs and slobs, to call mexicans criminals and rapists, to propose banning muslims from entering the u.s., and generally to utter the first that floats into his head.
o'leary, having made his name in canada, has shown more restraint, but does tend toward stunts and behaviour.
he advocates outlawing labour unions and advises people "don't be an employee," as though there's always a choice.
a couple of weeks ago, he offered to invest $1 million in alberta oil if new democrat premier rachel would only repudiate the alberta voters who elected her majority government and leave office.
once, during his cbc business show, he grew impatient with chris hedges, the york times journalist who was trying to explain the occupy wall street movement, and called hedges a nutbar."
hedges responded: "if you want to discuss issues, that's fine. i mean, this sounds like fox news and i don't go on fox news."
endless overtime
like the celebrity hosts at fox, o'leary's real specialty is bombastic entertainment, not the sort of policy and philosophical reflection manning is prescribing in his plan to "recharge the right in canada."
the thing is, the mainstream media are generally bored by the latter and suckers for the former, for two reasons. first, bombast has shock value; it sells papers and draws eyeballs.
and second, most reporters love to see conservatives fulfilling their expectations of loutishness.
the american columnist george f. will, a giant of conservatism who regards trump with naked contempt, has predicted that if the party nominates him in 2016, "there might not be a conservative party in 2020."
will might dread such an outcome, but a swaggering jester leading his party to electoral ruin would be an irresistible spectacle to most other journalists, apart from providing the benefit of endless overtime.
i don't know a single colleague who wouldn't love to see the republican party nominate donald trump as its presidential candidate.
texas senator ted cruz, the other big flamethrower, would be almost as much fun to cover.
canada is a different place. the new york times might now be reporting that we're suddenly hip, but if we are, we're earnestly hip.
former conservative justice minister peter mackay is apparently tied with o'leary in quickie opinion poll. a different kind of hip in canada. (cbc)
the canadian version of fox, sun news network, failed miserably, ignored by most canadian tv viewers.
still, i suspect most of my colleagues would quietly grin if o'leary does chase the party leadership.
meanwhile, preston manning bluntly rebukes the harper legacy, calling for a commitment to "openness, honesty, transparency, integrity, compassion, humility," and making the possession of such traits a "more important factor in recruiting candidates, leaders and staff."
further, manning concedes there are issues on which conservatives "rightly or wrongly" are "perceived as weak or disinterested, such as poverty, inequality, health care, education, environment, science and culture."
he advises his party to pay serious attention to them.
trump would just laugh, or sneer, at most of that. it's hard to imagine o'leary showing much interest, either.
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ˈʤɛnəlmən ðət hi ɪz, ˈprɛstən ˈmænɪŋ ɪz pəˈlaɪtli traɪɪŋ tɪ nəʤ kəˈneɪdiən kənˈsərvətɪvz əˈweɪ frəm mingy*, ənd təˈwɔrd ðə ˈspɪrɪt əv ˈprɪnsəpəld ˈpəblɪk ˈsərvɪs. hɪz nu pəˈlɪtɪkəl ˈbɪznɪs plæn, ˈaʊˌtlaɪnd ɪn ə gloʊb ənd meɪl pis ˈmənˌdeɪ ˈbrɪmɪŋ wɪθ ðə kənˈsərvətɪv ˈvərʒən əv ˈɑptɪˌmɪzəm, ˈɔlsoʊ ˌɪnˈkludɪd bɪt əv ədˈvaɪs fər ˈlidərˌʃɪp səˈlɛkʃən: noʊ ˈboʊˌzoʊz, pliz. ˈmænɪŋ hɪmˈsɛlf, əv kɔrs, ɪz ðə anti-bozo*; ən ˌɪnəˈlɛkʧuəl hu ˈɔlˌweɪz simd tɪ rɪˈgɑrd ðə ɪn hɪz ˈpɑrti wɪθ bɪmˈjuzd dɪˈsteɪst. ðæts nɑt tɪ seɪ hi wɑz, ər ɪz, ə ˈmɑdərˌeɪt. hi mɔr ðən ˈɛniˌwən ɪz riˈspɑnsəbəl fər ðə wərdz "prəˈgrɛsɪv" ənd "kənˈsərvətɪv" ɪn kəˈneɪdiən ˈpɑləˌtɪks. ˈlɑrʤli bɪˈkəz əv ɪm ənd ðə rɪˈfɔrm ˈpɑrti hi ˈfaʊndɪd, ðə prəˈgrɛsɪv kənˈsərvətɪvz əv ʤɑn ənd braɪən məˈlroʊni ənd bɑb ˈstænˌfild noʊ ˈlɔŋgər ɪgˈzɪst. bət ˈmænɪŋ ˈɔlsoʊ bɪˈlivd ɪn ˈsɪriəs dəˈbeɪt ənd ˈsɪvəl bɪˈheɪvjər, ˈrəðər ðən ðə laʊd, æd ˈhɑmɪnɛm, reɪzd ˈmɪdəl ˈfɪŋgər ðət həz ˈteɪkən ˈoʊvər əˈmɛrɪkən kənˈsərvətɪv ˈdɪskɔrs ɪn ðə juz., ənd həz bɪn ˈsipɪŋ ˈɪntu ˈkænədəz. "ˈəltəmətli," roʊt ˈmænɪŋ, ɪn ˈərʤɪŋ hɪz ˈpɑrti tɪ riˈstɑk wət hi kɔld ɪts ˈkəbərd əv ˌɪnəˈlɛkʧuəl ˈkæpɪtəl, "ðə nɛkst ˌʤɛnərˈeɪʃən əv kənˈsərvətɪv ˈlidərz, nidz tɪ ˈgəvərn ˈeɪbli ənd ˈwaɪzli, nɑt ʤɪst kəmˈjunəˌkeɪt ənd ˌɛnərˈteɪn." ənd jɛt, əˈkɔrdɪŋ tɪ ə nu poʊl ðət keɪm aʊt æt ðə seɪm taɪm ɛz ˈmænɪŋz rɪˈflɛkʃənz, ðə ˌriˈæləˌti ˈʃoʊmən ˈkɛvɪn oʊˈlɪri həz ˈsədənli bɪˈkəm ən əˈsɛndənt stɑr ɪn kəˈneɪdiən kənˈsərvətɪv ˈpɑləˌtɪks. oʊˈlɪri həz ɪkˈsprɛst ən ˈɪntəˌrɛst ɪn ˈlidɪŋ ðə kənˈsərvətɪv ˈpɑrti, ənd ðə ˈsərˌveɪ faʊnd ðət ʤɪst ə fju deɪz ˈæftər hi pʊt hɪz hænd əp, hi ɪz taɪd ɪn ˌpɑpjəˈlɛrəti wɪθ ˈpitər məˈkeɪ, ə ˈfɔrmər ˈmɪnɪstər wɪθ lɔŋ ɪkˈspɪriəns ənd ə haɪ ˈproʊˌfaɪl. hir bi ˈdrægənz ɪts hɑrd tɪ rɪˈzɪst kəmˈpɛrəsənz bɪtˈwin oʊˈlɪri ənd ˈdɑnəld trəmp, ðə səˈprim ˈboʊˌzoʊ əv əˈmɛrɪkən ˈpɑləˌtɪks. ˈniðər həz ˈɛvər bɪn ɪˈlɛktɪd tɪ ər ˈgəvərnd ˈɛniˌθɪŋ; boʊθ ləv ˈbrægɪŋ əˈbaʊt ðɛr ˌfaɪˈnænʃəl ˈʤinjəs; ənd boʊθ ər ˌriˈæləˌti ˌtɛləˈvɪʒən stɑrz. trəmp juzd tɪ jɛl "jʊr faɪərd" ɔn ðə əˈprɛntɪs, ənd oʊˈlɪri lɛft ə ˈsiˌbiˈsi ʃoʊ kɔld ˈdrægənz' dɛn fər ˈsəmθɪŋ ˈsɪmələr kɔld ʃɑrk tæŋk ɪn ðə juz. trəmp, wəns rɪˈgɑrdɪd ɛz ə ˈvəlgər ʤoʊk, həz bɪn bɔrn tɪ ðə tɔp rɪˈpəblɪkən ˈpɑrti poʊlz baɪ ə ˈfivərd "beɪs" ðət ləvz ɪm fər hɪz kərˈɛktnəs kæmˈpeɪn. flame-throwers*? rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪt ˈdɑnəld trəmp tɛd kruz ˌɛnˈʤɔɪ ðə steɪʤ ˈdʊrɪŋ ðə fɑks ˈbɪznɪs ˈnɛtˌwərk dəˈbeɪt ɪn saʊθ ˌkɛrəˈlaɪnə læst wik. (krɪs keane/reuters*) wɪʧ minz ðeɪ əˈdɔr hɪz ˈigərnəs tɪ əˈfɛnd tɪ kɔl ˈwɪmən pɪgz, dɔgz ənd slɑbz, tɪ kɔl ˈmɛksɪkənz ˈkrɪmənəlz ənd ˈreɪpɪsts, tɪ prəˈpoʊz ˈbænɪŋ ˈməzlɪmz frəm ˈɛnərɪŋ ðə juz., ənd ˈʤɛnərəli tɪ ˈətər ðə fərst ðət floʊts ˈɪntu hɪz hɛd. oʊˈlɪri, ˈhævɪŋ meɪd hɪz neɪm ɪn ˈkænədə, həz ʃoʊn mɔr rɪˈstreɪnt, bət dɪz tɛnd təˈwɔrd stənts ənd bɪˈheɪvjər. hi ˈædvəˌkeɪts ˈaʊˌtlɔɪŋ ˈleɪbər ˈjunjənz ənd ædˈvaɪzɪz ˈpipəl "doʊnt bi ən ɪmˈplɔɪi," ɛz ðoʊ ðɛrz ˈɔlˌweɪz ə ʧɔɪs. ə ˈkəpəl əv wiks əˈgoʊ, hi ˈɔfərd tɪ ˌɪnˈvɛst 1 ˈmɪljən ɪn ælˈbərtə ɔɪl ɪf nu ˈdɛməˌkræt prɛˈmɪr ˈreɪʧəl wʊd ˈoʊnli riˈpjudiˌeɪt ðə ælˈbərtə ˈvoʊtərz hu ɪˈlɛktɪd hər məˈʤɔrəti ˈgəvərnmənt ənd liv ˈɔfəs. wəns, ˈdʊrɪŋ hɪz ˈsiˌbiˈsi ˈbɪznɪs ʃoʊ, hi gru ˌɪmˈpeɪʃənt wɪθ krɪs ˈhɛʤɪz, ðə jɔrk taɪmz ˈʤərnəlɪst hu wɑz traɪɪŋ tɪ ɪkˈspleɪn ðə ˈɑkjəˌpaɪ wɔl strit ˈmuvmənt, ənd kɔld ˈhɛʤɪz ə nutbar*." ˈhɛʤɪz rɪˈspɑndɪd: "ɪf ju wɔnt tɪ dɪˈskəs ˈɪʃuz, ðæts faɪn. aɪ min, ðɪs saʊnz laɪk fɑks nuz ənd aɪ doʊnt goʊ ɔn fɑks nuz." ˈɛndləs ˈoʊvərˌtaɪm laɪk ðə səˈlɛbrɪti hoʊsts æt fɑks, oʊˈlɪriz ril ˈspɛʃəlti ɪz bɑmˈbæstɪk ˌɛnərˈteɪnmənt, nɑt ðə sɔrt əv ˈpɑləsi ənd ˌfɪləˈsɑfɪkəl rɪˈflɛkʃən ˈmænɪŋ ɪz priˈskraɪbɪŋ ɪn hɪz plæn tɪ "riˈʧɑrʤ ðə raɪt ɪn ˈkænədə." ðə θɪŋ ɪz, ðə ˈmeɪnˌstrim ˈmidiə ər ˈʤɛnərəli bɔrd baɪ ðə ˈlætər ənd ˈsəkərz fər ðə ˈfɔrmər, fər tu ˈrizənz. fərst, ˈbɑmbæst həz ʃɑk ˈvælju; ɪt sɛlz ˈpeɪpərz ənd drɔz ˈaɪˌbɔlz. ənd ˈsɛkənd, moʊst rɪˈpɔrtərz ləv tɪ si kənˈsərvətɪvz fʊlˈfɪlɪŋ ðɛr ˌɛkspɛkˈteɪʃənz əv loutishness*. ðə əˈmɛrɪkən ˈkɑləmnəst ʤɔrʤ ɛf. wɪl, ə ʤaɪənt əv kənˈsərvəˌtɪzəm hu rɪˈgɑrdz trəmp wɪθ ˈneɪkəd kənˈtɛmpt, həz prɪˈdɪktɪd ðət ɪf ðə ˈpɑrti ˈnɑməˌneɪts ɪm ɪn 2016 "ðɛr maɪt nɑt bi ə kənˈsərvətɪv ˈpɑrti ɪn 2020 wɪl maɪt drɛd səʧ ən ˈaʊtˌkəm, bət ə sˈwægərɪŋ ˈʤɛstər ˈlidɪŋ hɪz ˈpɑrti tɪ ɪˈlɛktərəl ruɪn wʊd bi ən ˌɪrɪˈzɪstəbəl ˈspɛktəkəl tɪ moʊst ˈəðər ˈʤərnəlɪsts, əˈpɑrt frəm prəˈvaɪdɪŋ ðə ˈbɛnəfɪt əv ˈɛndləs ˈoʊvərˌtaɪm. aɪ doʊnt noʊ ə ˈsɪŋgəl ˈkɑlig hu ˈwʊdənt ləv tɪ si ðə rɪˈpəblɪkən ˈpɑrti ˈnɑməˌneɪt ˈdɑnəld trəmp ɛz ɪts ˌprɛzɪˈdɛnʃəl ˈkænədɪt. ˈtɛksəs ˈsɛnətər tɛd kruz, ðə ˈəðər bɪg flamethrower*, wʊd bi ˈɔlˌmoʊst ɛz məʧ fən tɪ ˈkəvər. ˈkænədə ɪz ə ˈdɪfərənt pleɪs. ðə nu jɔrk taɪmz maɪt naʊ bi rɪˈpɔrtɪŋ ðət wɪr ˈsədənli hɪp, bət ɪf wi ər, wɪr ˈərnəstli hɪp. ˈfɔrmər kənˈsərvətɪv ˈʤəstɪs ˈmɪnɪstər ˈpitər məˈkeɪ ɪz əˈpɛrəntli taɪd wɪθ oʊˈlɪri ɪn kˈwɪki əˈpɪnjən poʊl. ə ˈdɪfərənt kaɪnd əv hɪp ɪn ˈkænədə. (ˈsiˌbiˈsi) ðə kəˈneɪdiən ˈvərʒən əv fɑks, sən nuz ˈnɛtˌwərk, feɪld ˈmɪzərəbli, ˌɪgˈnɔrd baɪ moʊst kəˈneɪdiən ˌtɛləˈvɪʒən vjuərz. stɪl, aɪ ˈsəˌspɛkt moʊst əv maɪ ˈkɑligz wʊd kˈwaɪətli grɪn ɪf oʊˈlɪri dɪz ʧeɪs ðə ˈpɑrti ˈlidərˌʃɪp. ˈminˌwaɪl, ˈprɛstən ˈmænɪŋ ˈbləntli riˈbjuks ðə ˈhɑrpər ˈlɛgəsi, ˈkɔlɪŋ fər ə kəˈmɪtmənt tɪ "ˈoʊpənəs, ˈɑnəsti, trænˈspɛrənsi, ˌɪnˈtɛgrəti, kəmˈpæʃən, hjuˈmɪlɪti," ənd ˈmeɪkɪŋ ðə pəˈzɛʃən əv səʧ treɪts ə "mɔr ˌɪmˈpɔrtənt ˈfæktər ɪn rɪˈkrutɪŋ ˈkænədɪts, ˈlidərz ənd stæf." ˈfərðər, ˈmænɪŋ kənˈsidz ðɛr ər ˈɪʃuz ɔn wɪʧ kənˈsərvətɪvz "ˈraɪtli ər ˈrɔŋli" ər "pərˈsivd ɛz wik ər dɪˈsɪntrɪstɪd, səʧ ɛz ˈpɑvərti, ˌɪnɪkˈwɑləti, hɛlθ kɛr, ˌɛʤəˈkeɪʃən, ɪnˈvaɪrənmənt, saɪəns ənd ˈkəlʧər." hi ædˈvaɪzɪz hɪz ˈpɑrti tɪ peɪ ˈsɪriəs əˈtɛnʃən tɪ ðɛm. trəmp wʊd ʤɪst læf, ər snɪr, æt moʊst əv ðət. ɪts hɑrd tɪ ˌɪˈmæʤən oʊˈlɪri ʃoʊɪŋ məʧ ˈɪntəˌrɛst, ˈiðər.
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google’s bid to connect the world with its services is a effort that spans mobile services, search, maps, connectivity, devices and more. but today, the efforts in the world of fonts perhaps one of the less celebrated, but still central, parts of that ambition that is having its day in the spotlight.
google, in partnership with font specialist monotype, has taken the wraps off the noto project, a five-year collaboration between the two to create a typeface that applies to any language that now offers a single font style covering more than 800 languages and 100 writing scripts. the mammoth effort is now being shipped. the fonts are available under an open source (open font license), both to use and to be modified with more design tweaks.
the aim here is a big one: regardless of which language you create or consume digital content in, there should be no “unknown” characters that come across as white boxes, which are described as “tofu.” (noto is a of “no to(fu)”.) and all of it, google and monotype believe, would look better if it were visually unified.
to be sure, there was a degree of skepticism when google and monotype embarked on this project, in my opinion well summed up in the words of writer ali (quoted by npr in 2014, when the project was already well underway):
“i tend to go back and forth,” he said. “is it sort of a benign possibly even helpful that google is bringing to the table? or is it something like technological imperialism?”
fonts can be an extremely fun and liberating thing to play around with if you have a wide selection at your disposal, and the right one can make just the right statement at times.
in that context, say that what noto has produced is more functional than inspiring. the resulting fonts are as and neutral as you might imagine an might be (the basic english font is down below), and with styles including different weights, and sans versions, numbers, (which are basically), symbols and music notations.
but as far as functional goes, a notable and worthy effort of how to create a truly global font language, and come out with something clean at the end of it.
“google noto is a daunting project in size and scope, and proud of how worked hard over the past five years to develop a really good product that solves a problem no one else has taken on before,” said bob jung, director of internationalization, google, in a statement.
“our goal for noto has been to create fonts for our devices, but also very interested in keeping information alive. when it comes to some of these lesser used languages, or even the purely academic or dead languages, we think really important to preserve them. without the digital capability of noto, much more difficult to preserve that cultural resource.”
what’s interesting to me is the division of labor between google and monotype when embarking on this project.
monotype was in charge of a lot of the actual design work. this included, it said, “researching and digitally designing the characters, writing systems and alphabets, and applying the rules and traditions for those individual languages to the fonts and managing the project, including organizing outside designers and linguists around the world who specialize in specific scripts.”
google, for all its engineering and other prowess, appears to have occupied the client role, setting out the parameters of what it is that monotype needed to do, and paying for it: it “defined the requirements and scope of the project, shared significant input into design direction for major languages, contributed design review and technical testing resources and expertise for a broad range of languages, and provided the funding that made this project possible.”
the two said also that “hundreds of researchers, designers, linguists, cultural experts and project managers around the world have been involved with google noto” as well.
for google, this fits with the fact that the company is launching services and wants to grow its footprint wherever internet connectivity can go. it also dovetails nicely with the other efforts around languages, specifically providing translation frameworks for a wide range of languages that are both active and in decline (an effort that broke the barrier earlier this year).
in response to the claims that there may be some kind of commercial imperialism here, monotype which has been working with google since 2011 and the release of now on) seems to have gone about its effort with a degree of sensitivity.
describing the approach to tibetan, for example, monotype did “deep research into a vast library of writings and source material, and then enlisted the help of a buddhist monastery to critique the font and make adjustments. the monks’ constant study of tibetan manuscripts made them the ideal experts to evaluate noto tibetan, and were instrumental in the final design of the font.”
while the noto fonts are being released today, monotype and google said that this continues to be a work in progress, with more scripts and weights getting added with subsequent standards.
“we are passionately dedicated to type and helping to advance the use and adoption of type across many cultures, languages and geographies,” said scott landers, president and ceo of monotype. “we are thrilled to have played such an important role in what has become one of the most significant type projects of all time. the combination of type expertise and innovation has proven to be a productive relationship and we look forward to continued collaboration that helps advance the use of type to new places.”
more on the noto font effort in google and video, here:
creating noto for google from monotype on vimeo.
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google’s* bɪd tɪ kəˈnɛkt ðə wərld wɪθ ɪts ˈsərvɪsɪz ɪz ə ˈɛfərt ðət spænz ˈmoʊbəl ˈsərvɪsɪz, sərʧ, mæps, kənɛkˈtɪvɪti, dɪˈvaɪsɪz ənd mɔr. bət təˈdeɪ, ðə ˈɛfərts ɪn ðə wərld əv fɑnts pərˈhæps wən əv ðə lɛs ˈsɛləˌbreɪtɪd, bət stɪl ˈsɛntrəl, pɑrts əv ðət æmˈbɪʃən ðət ɪz ˈhævɪŋ ɪts deɪ ɪn ðə ˈspɑˌtlaɪt. ˈgugəl, ɪn ˈpɑrtnərˌʃɪp wɪθ fɑnt ˈspɛʃəlɪst ˈmɑnəˌtaɪp, həz ˈteɪkən ðə ræps ɔf ðə ˈnoʊtoʊ ˈprɑʤɛkt, ə ˈfaɪvˌjɪr kəˌlæbərˈeɪʃən bɪtˈwin ðə tu tɪ kriˈeɪt ə ˈtaɪpˌfeɪs ðət əˈplaɪz tɪ ˈɛni ˈlæŋgwɪʤ ðət naʊ ˈɔfərz ə ˈsɪŋgəl fɑnt staɪl ˈkəvərɪŋ mɔr ðən 800 ˈlæŋgwɪʤɪz ənd 100 ˈraɪtɪŋ skrɪpts. ðə ˈmæməθ ˈɛfərt ɪz naʊ biɪŋ ʃɪpt. ðə fɑnts ər əˈveɪləbəl ˈəndər ən ˈoʊpən sɔrs (ˈoʊpən fɑnt ˈlaɪsəns), boʊθ tɪ juz ənd tɪ bi ˈmɑdəˌfaɪd wɪθ mɔr dɪˈzaɪn twiks. ðə eɪm hir ɪz ə bɪg wən: rəˈgɑrdləs əv wɪʧ ˈlæŋgwɪʤ ju kriˈeɪt ər kənˈsum ˈdɪʤɪtəl ˈkɑntɛnt ɪn, ðɛr ʃʊd bi noʊ ““unknown”*” ˈkɛrɪktərz ðət kəm əˈkrɔs ɛz waɪt ˈbɑksɪz, wɪʧ ər dɪˈskraɪbd ɛz ““tofu.”*.” (ˈnoʊtoʊ ɪz ə əv to(fu)”*)”.) ənd ɔl əv ɪt, ˈgugəl ənd ˈmɑnəˌtaɪp bɪˈliv, wʊd lʊk ˈbɛtər ɪf ɪt wər ˈvɪʒwəli ˈjunəˌfaɪd. tɪ bi ʃʊr, ðɛr wɑz ə dɪˈgri əv ˈskɛptɪˌsɪzəm wɪn ˈgugəl ənd ˈmɑnəˌtaɪp ɛmˈbɑrkt ɔn ðɪs ˈprɑʤɛkt, ɪn maɪ əˈpɪnjən wɛl səmd əp ɪn ðə wərdz əv ˈraɪtər ˈɑli (kˈwoʊtɪd baɪ ˈɛnˈpiˈɑr ɪn 2014 wɪn ðə ˈprɑʤɛkt wɑz ɔˈrɛdi wɛl ˌəndərˈweɪ): tɛnd tɪ goʊ bæk ənd forth,”*,” hi sɛd. ɪt sɔrt əv ə bɪˈnaɪn ˈpɑsəbli ˈivɪn ˈhɛlpfəl ðət ˈgugəl ɪz ˈbrɪŋɪŋ tɪ ðə ˈteɪbəl? ər ɪz ɪt ˈsəmθɪŋ laɪk ˌtɛknəˈlɑʤɪkəl imperialism?”*?” fɑnts kən bi ən ɪkˈstrimli fən ənd ˈlɪˌbərˌeɪtɪŋ θɪŋ tɪ pleɪ əraʊnd wɪθ ɪf ju hæv ə waɪd səˈlɛkʃən æt jʊr dɪˈspoʊzəl, ənd ðə raɪt wən kən meɪk ʤɪst ðə raɪt ˈsteɪtmənt æt taɪmz. ɪn ðət ˈkɑntɛkst, seɪ ðət wət ˈnoʊtoʊ həz prəˈdust ɪz mɔr ˈfəŋkʃənəl ðən ˌɪnˈspaɪərɪŋ. ðə rɪˈzəltɪŋ fɑnts ər ɛz ənd ˈnutrəl ɛz ju maɪt ˌɪˈmæʤən ən maɪt bi (ðə ˈbeɪsɪk ˈɪŋlɪʃ fɑnt ɪz daʊn bɪˈloʊ), ənd wɪθ staɪlz ˌɪnˈkludɪŋ ˈdɪfərənt weɪts, ənd sænz ˈvərʒənz, ˈnəmbərz, (wɪʧ ər ˈbeɪsɪkli), ˈsɪmbəlz ənd mˈjuzɪk noʊˈteɪʃənz. bət ɛz fɑr ɛz ˈfəŋkʃənəl goʊz, ə ˈnoʊtəbəl ənd ˈwərði ˈɛfərt əv haʊ tɪ kriˈeɪt ə ˈtruli ˈgloʊbəl fɑnt ˈlæŋgwɪʤ, ənd kəm aʊt wɪθ ˈsəmθɪŋ klin æt ðə ɛnd əv ɪt. ˈnoʊtoʊ ɪz ə ˈdɔntɪŋ ˈprɑʤɛkt ɪn saɪz ənd skoʊp, ənd praʊd əv haʊ wərkt hɑrd ˈoʊvər ðə pæst faɪv jɪrz tɪ dɪˈvɛləp ə ˈrɪli gʊd ˈprɑdəkt ðət sɑlvz ə ˈprɑbləm noʊ wən ɛls həz ˈteɪkən ɔn before,”*,” sɛd bɑb jʊŋ, dɪˈrɛktər əv ˌɪnərˌnæʃənɑlɪˈzeɪʃən, ˈgugəl, ɪn ə ˈsteɪtmənt. goʊl fər ˈnoʊtoʊ həz bɪn tɪ kriˈeɪt fɑnts fər ɑr dɪˈvaɪsɪz, bət ˈɔlsoʊ ˈvɛri ˈɪntəˌrɛstɪd ɪn ˈkipɪŋ ˌɪnˌfɔrˈmeɪʃən əˈlaɪv. wɪn ɪt kəmz tɪ səm əv ðiz ˈlɛsər juzd ˈlæŋgwɪʤɪz, ər ˈivɪn ðə ˈpjʊrli ˌækəˈdɛmɪk ər dɛd ˈlæŋgwɪʤɪz, wi θɪŋk ˈrɪli ˌɪmˈpɔrtənt tɪ prɪˈzərv ðɛm. wɪˈθaʊt ðə ˈdɪʤɪtəl ˌkeɪpəˈbɪləti əv ˈnoʊtoʊ, məʧ mɔr ˈdɪfəkəlt tɪ prɪˈzərv ðət ˈkəlʧərəl resource.”*.” ˈɪntəˌrɛstɪŋ tɪ mi ɪz ðə dɪˈvɪʒən əv ˈleɪbər bɪtˈwin ˈgugəl ənd ˈmɑnəˌtaɪp wɪn ɛmˈbɑrkɪŋ ɔn ðɪs ˈprɑʤɛkt. ˈmɑnəˌtaɪp wɑz ɪn ʧɑrʤ əv ə lɔt əv ðə ˈækʧəwəl dɪˈzaɪn wərk. ðɪs ˌɪnˈkludɪd, ɪt sɛd, ənd ˈdɪʤətəli dɪˈzaɪnɪŋ ðə ˈkɛrɪktərz, ˈraɪtɪŋ ˈsɪstəmz ənd alphabets*, ənd əˈplaɪɪŋ ðə rulz ənd trəˈdɪʃənz fər ðoʊz ˌɪndəˈvɪʤəwəl ˈlæŋgwɪʤɪz tɪ ðə fɑnts ənd ˈmænəʤɪŋ ðə ˈprɑʤɛkt, ˌɪnˈkludɪŋ ˈɔrgəˌnaɪzɪŋ ˈaʊtˈsaɪd dɪˈzaɪnərz ənd ˈlɪŋgwɪsts əraʊnd ðə wərld hu ˈspɛʃəˌlaɪz ɪn spɪˈsɪfɪk scripts.”*.” ˈgugəl, fər ɔl ɪts ˈɛnʤəˈnɪrɪŋ ənd ˈəðər praʊəs, əˈpɪrz tɪ hæv ˈɑkjəˌpaɪd ðə klaɪənt roʊl, ˈsɛtɪŋ aʊt ðə pərˈæmətərz əv wət ɪt ɪz ðət ˈmɑnəˌtaɪp ˈnidɪd tɪ du, ənd peɪɪŋ fər ɪt: ɪt ðə rɪkˈwaɪrmənts ənd skoʊp əv ðə ˈprɑʤɛkt, ʃɛrd sɪgˈnɪfɪkənt ˈɪnˌpʊt ˈɪntu dɪˈzaɪn dɪˈrɛkʃɪn fər ˈmeɪʤər ˈlæŋgwɪʤɪz, kənˈtrɪbjutɪd dɪˈzaɪn ˌrivˈju ənd ˈtɛknɪkəl ˈtɛstɪŋ ˈrisɔrsɪz ənd ˌɛkspərˈtiz fər ə brɔd reɪnʤ əv ˈlæŋgwɪʤɪz, ənd prəˈvaɪdɪd ðə ˈfəndɪŋ ðət meɪd ðɪs ˈprɑʤɛkt possible.”*.” ðə tu sɛd ˈɔlsoʊ ðət əv ˈrisərʧərz, dɪˈzaɪnərz, ˈlɪŋgwɪsts, ˈkəlʧərəl ˈɛkspərts ənd ˈprɑʤɛkt ˈmænɪʤərz əraʊnd ðə wərld hæv bɪn ˌɪnˈvɑlvd wɪθ ˈgugəl noto”*” ɛz wɛl. fər ˈgugəl, ðɪs fɪts wɪθ ðə fækt ðət ðə ˈkəmpəˌni ɪz ˈlɔnʧɪŋ ˈsərvɪsɪz ənd wɔnts tɪ groʊ ɪts ˈfʊtˌprɪnt wɛˈrɛvər ˈɪntərˌnɛt kənɛkˈtɪvɪti kən goʊ. ɪt ˈɔlsoʊ ˈdəvˌteɪlz ˈnaɪsli wɪθ ðə ˈəðər ˈɛfərts əraʊnd ˈlæŋgwɪʤɪz, spəˈsɪfɪkli prəˈvaɪdɪŋ trænzˈleɪʃən ˈfreɪmˌwərks fər ə waɪd reɪnʤ əv ˈlæŋgwɪʤɪz ðət ər boʊθ ˈæktɪv ənd ɪn dɪˈklaɪn (ən ˈɛfərt ðət broʊk ðə ˈbɛriər ˈərliər ðɪs jɪr). ɪn rɪˈspɑns tɪ ðə kleɪmz ðət ðɛr meɪ bi səm kaɪnd əv kəˈmərʃəl ˌɪmˈpɪriəˌlɪzəm hir, ˈmɑnəˌtaɪp wɪʧ həz bɪn ˈwərkɪŋ wɪθ ˈgugəl sɪns 2011 ənd ðə riˈlis əv naʊ ɔn simz tɪ hæv gɔn əˈbaʊt ɪts ˈɛfərt wɪθ ə dɪˈgri əv ˌsɛnsɪˈtɪvɪti. dɪˈskraɪbɪŋ ðə əˈproʊʧ tɪ tɪˈbɛtən, fər ɪgˈzæmpəl, ˈmɑnəˌtaɪp dɪd ˈrisərʧ ˈɪntu ə væst ˈlaɪbrɛˌri əv ˈraɪtɪŋz ənd sɔrs məˈtɪriəl, ənd ðɛn ˌɛnˈlɪstɪd ðə hɛlp əv ə ˈbudəst ˈmɑnəˌstɛri tɪ krɪˈtik ðə fɑnt ənd meɪk əˈʤəstmənts. ðə monks’*’ ˈkɑnstənt ˈstədi əv tɪˈbɛtən ˈmænjəˌskrɪpts meɪd ðɛm ðə aɪˈdil ˈɛkspərts tɪ ɪˈvæljuˌeɪt ˈnoʊtoʊ tɪˈbɛtən, ənd wər ˌɪnstrəˈmɛnəl ɪn ðə ˈfaɪnəl dɪˈzaɪn əv ðə font.”*.” waɪl ðə ˈnoʊtoʊ fɑnts ər biɪŋ riˈlist təˈdeɪ, ˈmɑnəˌtaɪp ənd ˈgugəl sɛd ðət ðɪs kənˈtɪnjuz tɪ bi ə wərk ɪn ˈprɑˌgrɛs, wɪθ mɔr skrɪpts ənd weɪts ˈgɪtɪŋ ˈædɪd wɪθ ˈsəbsəkwənt ˈstændərdz. ər ˈpæʃənətli ˈdɛdəkeɪtəd tɪ taɪp ənd ˈhɛlpɪŋ tɪ ədˈvæns ðə juz ənd əˈdɑpʃən əv taɪp əˈkrɔs ˈmɛni ˈkəlʧərz, ˈlæŋgwɪʤɪz ənd geographies,”*,” sɛd skɑt ˈlændərz, ˈprɛzɪdənt ənd ˈsiˌiˈoʊ əv ˈmɑnəˌtaɪp. ər θrɪld tɪ hæv pleɪd səʧ ən ˌɪmˈpɔrtənt roʊl ɪn wət həz bɪˈkəm wən əv ðə moʊst sɪgˈnɪfɪkənt taɪp ˈprɑʤɛkts əv ɔl taɪm. ðə ˌkɑmbəˈneɪʃən əv taɪp ˌɛkspərˈtiz ənd ˌɪnəˈveɪʃən həz ˈpruvən tɪ bi ə pərˈdəktɪv riˈleɪʃənˌʃɪp ənd wi lʊk ˈfɔrwərd tɪ kənˈtɪnjud kəˌlæbərˈeɪʃən ðət hɛlps ədˈvæns ðə juz əv taɪp tɪ nu places.”*.” mɔr ɔn ðə ˈnoʊtoʊ fɑnt ˈɛfərt ɪn ˈgugəl ənd ˈvɪdioʊ, hir: kriˈeɪtɪŋ ˈnoʊtoʊ fər ˈgugəl frəm ˈmɑnəˌtaɪp ɔn vimeo*.
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these days of our life is spent online. the internet knows more about us than our parents. our passwords, names, flings, bank details and everything that is to be known is known (or, rather stored) online. these online data storage has made our life convenient in many ways, but have we ever stopped for a beat and wondered what if these crucial data were easily accessible by an individual or a group of individuals with not so good intent? what if the high and mighty government itself is stalking us? ah! unlikely to happen, right? like these sites state a lot of privacy in fine lines. well, that is there, but how true are these words? who tests the credibility of these legal argots? who makes sure that these details remain the way they are meant to be- that is a secret?
electronic frontier foundation has been known for defending the virtual rights of a common man in the virtual world for quite some time now. call them the for convenience. the has yet again played its role as a superhero and has published a report which unveils the facade of select sites and their so called privacy report in which had unwavering trust since the beginning of times. but when our heart is ready to take a fall, a ray of hope this gloomy time and the name of sites which have been true to their words throughout rises within the peripheral of our vision.
due to the ongoing tussle between the government and the virtual residents in the united states of america this report was conceived. but, this entail that this is a common place occurrence in the states and we have nothing to worry about in the far east. this is a common place occurrence in each and every nation and it is time to borrow a leaf from the book of the united states of america and prepare ourselves against the unnecessarily overt interference in our virtual lives by our government.
so, warded off the unwanted interference of government in the us? i wish that were the case, but all it did was shed some light on companies and their relation with the government. knowing which the people can be more careful with their details which they are ready to share online at the sight of an old trustworthy (so-called) site!
base on the following criteria 26 companies and their sites were graded. these companies included the likes of yahoo, facebook, snapchat, myspace,, google, foursquare and many more. the criteria were-
requires a warrant for content.
tell users about government data request.
publishes transparency report.
publishes law enforcement guidelines.
fights for user privacy rights in courts.
fights for user privacy rights in congress.
and the results were shocking! only 9 of 26 received a tick in each of the above mentioned criterion. these honest sites were-
yahoo
twitter
sonic.net
microsoft
google
facebook
dropbox
credo mobile
apple
and the were-
internet archive
linkedin
pinterest
spideroak
tumblr.
wickr
wordpress
and the losers were
adobe,
amazon.com,
at&t,
comcast,
foursquare,
lookout,
myspace,
snapchat,
verizon,
wikimedia
winners like apple and yahoo were at the bottom of this list a few years ago. it seems they were the only one who understood the importance of being trustworthy and worked their way to the top of the list.
as for us, be on guards and share prudently!
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ðiz deɪz əv ɑr laɪf ɪz spɛnt ˈɔnˌlaɪn. ðə ˈɪntərˌnɛt noʊz mɔr əˈbaʊt ˈjuˈɛs ðən ɑr ˈpɛrənts. ɑr ˈpæsˌwərdz, neɪmz, flɪŋz, bæŋk ˈditeɪlz ənd ˈɛvriˌθɪŋ ðət ɪz tɪ bi noʊn ɪz noʊn (ər, ˈrəðər stɔrd) ˈɔnˌlaɪn. ðiz ˈɔnˌlaɪn ˈdætə ˈstɔrɪʤ həz meɪd ɑr laɪf kənˈvinjənt ɪn ˈmɛni weɪz, bət hæv wi ˈɛvər stɑpt fər ə bit ənd ˈwəndərd wət ɪf ðiz ˈkruʃəl ˈdætə wər ˈizəli ækˈsɛsəbəl baɪ ən ˌɪndəˈvɪʤəwəl ər ə grup əv ˌɪndəˈvɪʤəwəlz wɪθ nɑt soʊ gʊd ˌɪnˈtɛnt? wət ɪf ðə haɪ ənd ˈmaɪti ˈgəvərnmənt ˌɪtˈsɛlf ɪz ˈstɔkɪŋ ˈjuˈɛs? ɑ! ənˈlaɪkli tɪ ˈhæpən, raɪt? laɪk ðiz saɪts steɪt ə lɔt əv ˈpraɪvəsi ɪn faɪn laɪnz. wɛl, ðət ɪz ðɛr, bət haʊ tru ər ðiz wərdz? hu tɛsts ðə ˌkrɛdəˈbɪlɪti əv ðiz ˈligəl argots*? hu meɪks ʃʊr ðət ðiz ˈditeɪlz rɪˈmeɪn ðə weɪ ðeɪ ər mɛnt tɪ bi- ðət ɪz ə ˈsikrɪt? ˌɪˌlɛkˈtrɑnɪk frənˈtɪr faʊnˈdeɪʃən həz bɪn noʊn fər dɪˈfɛndɪŋ ðə ˈvərʧuəl raɪts əv ə ˈkɑmən mæn ɪn ðə ˈvərʧuəl wərld fər kwaɪt səm taɪm naʊ. kɔl ðɛm ðə fər kənˈvinjəns. ðə həz jɛt əˈgɛn pleɪd ɪts roʊl ɛz ə ˌsupərˈhiroʊ ənd həz ˈpəblɪʃt ə rɪˈpɔrt wɪʧ ənˈveɪlz ðə fəˈsɑd əv səˈlɛkt saɪts ənd ðɛr soʊ kɔld ˈpraɪvəsi rɪˈpɔrt ɪn wɪʧ hæd ənˈweɪvərɪŋ trəst sɪns ðə bɪˈgɪnɪŋ əv taɪmz. bət wɪn ɑr hɑrt ɪz ˈrɛdi tɪ teɪk ə fɔl, ə reɪ əv hoʊp ðɪs ˈglumi taɪm ənd ðə neɪm əv saɪts wɪʧ hæv bɪn tru tɪ ðɛr wərdz θruaʊt ˈraɪzɪz wɪˈθɪn ðə pərˈɪfərəl əv ɑr ˈvɪʒən. du tɪ ðə ˈɔnˌgoʊɪŋ ˈtəsəl bɪtˈwin ðə ˈgəvərnmənt ənd ðə ˈvərʧuəl ˈrɛzɪdənts ɪn ðə juˈnaɪtɪd steɪts əv əˈmɛrɪkə ðɪs rɪˈpɔrt wɑz kənˈsivd. bət, ðɪs ɛnˈteɪl ðət ðɪs ɪz ə ˈkɑmən pleɪs əˈkərəns ɪn ðə steɪts ənd wi hæv ˈnəθɪŋ tɪ ˈwəri əˈbaʊt ɪn ðə fɑr ist. ðɪs ɪz ə ˈkɑmən pleɪs əˈkərəns ɪn iʧ ənd ˈɛvəri ˈneɪʃən ənd ɪt ɪz taɪm tɪ ˈbɑˌroʊ ə lif frəm ðə bʊk əv ðə juˈnaɪtɪd steɪts əv əˈmɛrɪkə ənd priˈpɛr ɑrˈsɛlvz əˈgɛnst ðə ənˈnɛsəˌsɛrəli ˈoʊvərt ˌɪnərˈfɪrəns ɪn ɑr ˈvərʧuəl lɪvz baɪ ɑr ˈgəvərnmənt. soʊ, ˈwɔrdɪd ɔf ðə ənˈwɔntɪd ˌɪnərˈfɪrəns əv ˈgəvərnmənt ɪn ðə ˈjuˈɛs? aɪ wɪʃ ðət wər ðə keɪs, bət ɔl ɪt dɪd wɑz ʃɛd səm laɪt ɔn ˈkəmpəˌniz ənd ðɛr riˈleɪʃən wɪθ ðə ˈgəvərnmənt. noʊɪŋ wɪʧ ðə ˈpipəl kən bi mɔr ˈkɛrfəl wɪθ ðɛr ˈditeɪlz wɪʧ ðeɪ ər ˈrɛdi tɪ ʃɛr ˈɔnˌlaɪn æt ðə saɪt əv ən oʊld ˈtrəstˌwərði (ˈsoʊˈkɔld) saɪt! beɪs ɔn ðə ˈfɑloʊɪŋ kraɪˈtɪriə 26 ˈkəmpəˌniz ənd ðɛr saɪts wər ˈgreɪdɪd. ðiz ˈkəmpəˌniz ˌɪnˈkludɪd ðə laɪks əv ˈjɑˌhu, ˈfeɪsˌbʊk, sˈnæˌpʧæt, ˈmaɪˌspeɪs,, ˈgugəl, ˈfɔrskˈwɛr ənd ˈmɛni mɔr. ðə kraɪˈtɪriə wər- rikˈwaɪərz ə ˈwɔrənt fər ˈkɑntɛnt. tɛl ˈjuzərz əˈbaʊt ˈgəvərnmənt ˈdætə rɪkˈwɛst. ˈpəblɪʃɪz trænˈspɛrənsi rɪˈpɔrt. ˈpəblɪʃɪz lɔ ɛnˈfɔrsmənt ˈgaɪˌdlaɪnz. faɪts fər ˈjuzər ˈpraɪvəsi raɪts ɪn kɔrts. faɪts fər ˈjuzər ˈpraɪvəsi raɪts ɪn ˈkɑŋgrəs. ənd ðə rɪˈzəlts wər ˈʃɑkɪŋ! ˈoʊnli 9 əv 26 rɪˈsivd ə tɪk ɪn iʧ əv ðə əˈbəv ˈmɛnʃənd kraɪˈtɪriən. ðiz ˈɑnəst saɪts wər- ˈjɑˌhu tˈwɪtər ˈmaɪˌkroʊˈsɔft ˈgugəl ˈfeɪsˌbʊk ˈkridoʊ ˈmoʊbəl ˈæpəl ənd ðə wər- ˈɪntərˌnɛt ˈɑrˌkaɪv ˈtəmblər. ənd ðə ˈluzərz wər əˈdoʊbi, amazon.com*, at&t*, ˈkɑmˌkæst, ˈfɔrskˈwɛr, ˈlʊˌkaʊt, ˈmaɪˌspeɪs, sˈnæˌpʧæt, ˌvɛˈraɪzən, ˈwɪnərz laɪk ˈæpəl ənd ˈjɑˌhu wər æt ðə ˈbɑtəm əv ðɪs lɪst ə fju jɪrz əˈgoʊ. ɪt simz ðeɪ wər ðə ˈoʊnli wən hu ˌəndərˈstʊd ðə ˌɪmˈpɔrtəns əv biɪŋ ˈtrəstˌwərði ənd wərkt ðɛr weɪ tɪ ðə tɔp əv ðə lɪst. ɛz fər ˈjuˈɛs, bi ɔn gɑrdz ənd ʃɛr ˈprudəntli!
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in 2011, large german companies managed to avert a mandatory system to increase the proportion of women in top management, instead opting for a voluntary scheme. but that may be about to change. theropean union is piling pressure onto companies and governments, threatening a legally binding quota if companies fail to elevate more women to the higher ranks of business.
european justice commissioner reding is even considering legislation. "i'm not a fan of quotas. but i do like the results they achieve," reding told monday's edition of the german daily die welt.
by summer, she wants to make concrete proposals for an legal structure. her remarks follow a lackluster response to her voluntary system, whereby firms pledged to commit to a quota of 30 percent by 2015 and 40 percent by 2020. "only 24 companies signed up and there was not a single german company among them," said reding.
since late 2010, the proportion of women in management and supervisory boards of listed companies inrope has risen from 12 to 14 percent. reding said the case of france indicated the effectiveness of a mandatory scheme. since 2011, french law secures female representation in the top echelons of business and now the proportion of women has increased from 12 to 22 percent. "where there are laws, there is progress," reding said.
given a lack of improvement elsewhere inrope, she predicted that, at the current pace of change, most countries will take 40 years until women fill 40 percent of top jobs.
'ready for anything'
statistics released by the organization for economic cooperation and development on monday would seem to provide confirmation of concerns. according group's numbers, no otherropean country has as large a discrepancy between the salaries of men and women as germany. women working full time earn an average of percent less than their male counterparts, according to the. the average for the 34 industrialized countries that belong to the is 16 percent. the new data also notes that germany is near the bottom when it comes to women in the boardroom.
reding, who as justice commissioner is also responsible for equality, said there were signs that citizens wanted action to achieve gender equality in the workplace. "citizens want the quota, the polls show us that," said reding.
according to the latestrobarometer survey, three out of fourropeans say they are in favor of laws to ensure that women with equal qualifications get the same access to top jobs as men.
the commissioner has embarked on a public consultation which will last until the end of may, which she said would be closely monitored. "if people say loud and clear: we do not want this to continue -- then we must do something," she said. "i'm ready for anything. the commission has looked seriously at this important social issue. now it's others' turn. i give governments and businesses until the summer."
but she is already facing resistance. a binding quota is "a mistake", mervyn davies told the financial times. last year, davies, former british trade minister, penned a report on the proportion of women in british business, calling for boardrooms of major companies to have a quota of at least 25 percent by 2015.
davies argues against an obligatory quota, instead backing voluntary enforcement of representation as "the right way" to tackle the problem. a new study shows that the proportion of women in the boardrooms of major british companies increased from to nearly 15 percent within a year.
promoting women in germany
there is also significant german resistance to a legally binding quota. labor minister ursula von der leyen, from christian democratic party, has backed legislation on women's representation within companies. justice minister sabine (fdp) and family minister kristina (cdu), however, have rejected such a path. "it's a shame if such an important question gets caught up in party political debate," reding said, referring to germany. "i wish there was more courage to find new solutions. in germany, it is a question of demographics: there are already too few apprentices."
despite the criticism, a study by management consultancy firm mckinsey points to some progress in women's role within business in germany. it found about 80 percent of german companies are investing in the promotion of women and looking at how to make work more compatible with family life.
germany, where women make up just 3 percent of boardroom professionals, lags behind most of itsropean neighbors. but the mckinsey report hinted that change may be on the way, saying that many new policies have been introduced since 2010. women, meanwhile, account for at least 16 percent of last year's new board members of companies.
the german institute for economic research (diw), however, warned of a prevalent "male mono-culture" among german companies. in a recent report it said there was little sign of change in germany's boardrooms. in 2011, the proportion of women in executive posts in germany's 200 largest companies remained at 3 percent, no improvement on a year earlier.
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ɪn 2011 lɑrʤ ˈʤərmən ˈkəmpəˌniz ˈmænɪʤd tɪ əˈvərt ə ˈmændəˌtɔri ˈsɪstəm tɪ ˌɪnˈkris ðə prəˈpɔrʃən əv ˈwɪmən ɪn tɔp ˈmænɪʤmənt, ˌɪnˈstɛd ˈɑptɪŋ fər ə ˈvɑləntɛri skim. bət ðət meɪ bi əˈbaʊt tɪ ʧeɪnʤ. ðə ˌjʊrəˈpiən ˈjunjən ɪz ˈpaɪlɪŋ ˈprɛʃər ˈɔntu ˈkəmpəˌniz ənd ˈgəvərnmənts, θˈrɛtənɪŋ ə ˈligəli ˈbaɪndɪŋ kˈwoʊtə ɪf ˈkəmpəˌniz feɪl tɪ ˈɛləˌveɪt mɔr ˈwɪmən tɪ ðə haɪər ræŋks əv ˈbɪznɪs. ˌjʊrəˈpiən ˈʤəstɪs kəˈmɪʃənər ˈridɪŋ ɪz ˈivɪn kənˈsɪdərɪŋ ˌlɛʤəsˈleɪʃən. "əm nɑt ə fæn əv kˈwoʊtəz. bət aɪ du laɪk ðə rɪˈzəlts ðeɪ əˈʧiv," ˈridɪŋ toʊld ˈmənˌdeɪz ɪˈdɪʃən əv ðə ˈʤərmən ˈdeɪli daɪ wɛlt. baɪ ˈsəmər, ʃi wɔnts tɪ meɪk ˈkɑnkrit prəˈpoʊzəlz fər ən ˈligəl ˈstrəkʧər. hər rɪˈmɑrks ˈfɑloʊ ə ˈlæˌkləstər rɪˈspɑns tɪ hər ˈvɑləntɛri ˈsɪstəm, wɛrˈbaɪ fərmz plɛʤd tɪ kəˈmɪt tɪ ə kˈwoʊtə əv 30 pərˈsɛnt baɪ 2015 ənd 40 pərˈsɛnt baɪ 2020 "ˈoʊnli 24 ˈkəmpəˌniz saɪnd əp ənd ðɛr wɑz nɑt ə ˈsɪŋgəl ˈʤərmən ˈkəmpəˌni əˈməŋ ðɛm," sɛd ˈridɪŋ. sɪns leɪt 2010 ðə prəˈpɔrʃən əv ˈwɪmən ɪn ˈmænɪʤmənt ənd ˌsupərˈvaɪzəri bɔrdz əv ˈlɪstɪd ˈkəmpəˌniz ɪn ˈjʊrəp həz ˈrɪzən frəm 12 tɪ 14 pərˈsɛnt. ˈridɪŋ sɛd ðə keɪs əv fræns ˈɪndəˌkeɪtɪd ðə ˈifɛktɪvnəs əv ə ˈmændəˌtɔri skim. sɪns 2011 frɛnʧ lɔ sɪˈkjʊrz ˈfiˌmeɪl ˌrɛprəzɛnˈteɪʃən ɪn ðə tɔp ˈɛʃəˌlɑnz əv ˈbɪznɪs ənd naʊ ðə prəˈpɔrʃən əv ˈwɪmən həz ˌɪnˈkrist frəm 12 tɪ 22 pərˈsɛnt. "wɛr ðɛr ər lɔz, ðɛr ɪz ˈprɑˌgrɛs," ˈridɪŋ sɛd. ˈgɪvɪn ə læk əv ˌɪmˈpruvmənt ˈɛlsˌwɛr ɪn ˈjʊrəp, ʃi prɪˈdɪktɪd ðət, æt ðə ˈkɑrənt peɪs əv ʧeɪnʤ, moʊst ˈkəntriz wɪl teɪk 40 jɪrz ənˈtɪl ˈwɪmən fɪl 40 pərˈsɛnt əv tɔp ʤɑbz. 'ˈrɛdi fər ˈɛniˌθɪŋ' stəˈtɪstɪks riˈlist baɪ ðə ˌɔrgənəˈzeɪʃən fər ˌɛkəˈnɑmɪk kˌwɔpərˈeɪʃən ənd dɪˈvɛləpmənt ɔn ˈmənˌdeɪ wʊd sim tɪ prəˈvaɪd ˌkɑnfərˈmeɪʃən əv kənˈsərnz. əˈkɔrdɪŋ grups ˈnəmbərz, noʊ ˈəðər ˌjʊrəˈpiən ˈkəntri həz ɛz lɑrʤ ə dɪˈskrɛpənsi bɪtˈwin ðə ˈsæləriz əv mɛn ənd ˈwɪmən ɛz ˈʤərməni. ˈwɪmən ˈwərkɪŋ fʊl taɪm ərn ən ˈævərɪʤ əv pərˈsɛnt lɛs ðən ðɛr meɪl ˈkaʊntərˌpɑrts, əˈkɔrdɪŋ tɪ ðə. ðə ˈævərɪʤ fər ðə 34 ˌɪnˈdəstriəˌlaɪzd ˈkəntriz ðət bɪˈlɔŋ tɪ ðə ɪz 16 pərˈsɛnt. ðə nu ˈdætə ˈɔlsoʊ noʊts ðət ˈʤərməni ɪz nɪr ðə ˈbɑtəm wɪn ɪt kəmz tɪ ˈwɪmən ɪn ðə ˈbɔrˌdrum. ˈridɪŋ, hu ɛz ˈʤəstɪs kəˈmɪʃənər ɪz ˈɔlsoʊ riˈspɑnsəbəl fər ɪkˈwɑləti, sɛd ðɛr wər saɪnz ðət ˈsɪtɪzənz ˈwɔntɪd ˈækʃən tɪ əˈʧiv ˈʤɛndər ɪkˈwɑləti ɪn ðə ˈwərkˌpleɪs. "ˈsɪtɪzənz wɔnt ðə kˈwoʊtə, ðə poʊlz ʃoʊ ˈjuˈɛs ðət," sɛd ˈridɪŋ. əˈkɔrdɪŋ tɪ ðə ˈleɪtəst ˈsərˌveɪ, θri aʊt əv fɔr ˌjʊrəˈpiənz seɪ ðeɪ ər ɪn ˈfeɪvər əv lɔz tɪ ɪnˈʃʊr ðət ˈwɪmən wɪθ ˈikwəl kˌwɑləfəˈkeɪʃənz gɪt ðə seɪm ˈækˌsɛs tɪ tɔp ʤɑbz ɛz mɛn. ðə kəˈmɪʃənər həz ɛmˈbɑrkt ɔn ə ˈpəblɪk ˌkɑnsəlˈteɪʃən wɪʧ wɪl læst ənˈtɪl ðə ɛnd əv meɪ, wɪʧ ʃi sɛd wʊd bi ˈkloʊsli ˈmɑnətərd. "ɪf ˈpipəl seɪ laʊd ənd klɪr: wi du nɑt wɔnt ðɪs tɪ kənˈtɪnju ðɛn wi məst du ˈsəmθɪŋ," ʃi sɛd. "əm ˈrɛdi fər ˈɛniˌθɪŋ. ðə kəˈmɪʃən həz lʊkt ˈsɪriəsli æt ðɪs ˌɪmˈpɔrtənt ˈsoʊʃəl ˈɪʃu. naʊ ɪts ˈəðərz' tərn. aɪ gɪv ˈgəvərnmənts ənd ˈbɪznɪsɪz ənˈtɪl ðə ˈsəmər." bət ʃi ɪz ɔˈrɛdi ˈfeɪsɪŋ rɪˈzɪstəns. ə ˈbaɪndɪŋ kˈwoʊtə ɪz "ə mɪˈsteɪk", ˈmərvɪn ˈdeɪviz toʊld ðə ˌfaɪˈnænʃəl taɪmz. læst jɪr, ˈdeɪviz, ˈfɔrmər ˈbrɪtɪʃ treɪd ˈmɪnɪstər, pɛnd ə rɪˈpɔrt ɔn ðə prəˈpɔrʃən əv ˈwɪmən ɪn ˈbrɪtɪʃ ˈbɪznɪs, ˈkɔlɪŋ fər ˈbɔrˌdrumz əv ˈmeɪʤər ˈkəmpəˌniz tɪ hæv ə kˈwoʊtə əv æt list 25 pərˈsɛnt baɪ 2015 ˈdeɪviz ˈɑrgjuz əˈgɛnst ən əˈblɪgəˌtɔri kˈwoʊtə, ˌɪnˈstɛd ˈbækɪŋ ˈvɑləntɛri ɛnˈfɔrsmənt əv ˌrɛprəzɛnˈteɪʃən ɛz "ðə raɪt weɪ" tɪ ˈtækəl ðə ˈprɑbləm. ə nu ˈstədi ʃoʊz ðət ðə prəˈpɔrʃən əv ˈwɪmən ɪn ðə ˈbɔrˌdrumz əv ˈmeɪʤər ˈbrɪtɪʃ ˈkəmpəˌniz ˌɪnˈkrist frəm tɪ ˈnɪrli 15 pərˈsɛnt wɪˈθɪn ə jɪr. prəˈmoʊtɪŋ ˈwɪmən ɪn ˈʤərməni ðɛr ɪz ˈɔlsoʊ sɪgˈnɪfɪkənt ˈʤərmən rɪˈzɪstəns tɪ ə ˈligəli ˈbaɪndɪŋ kˈwoʊtə. ˈleɪbər ˈmɪnɪstər ˈərsələ vɔn dər leyen*, frəm ˈkrɪsʧɪn ˌdɛməˈkrætɪk ˈpɑrti, həz bækt ˌlɛʤəsˈleɪʃən ɔn ˈwɪmənz ˌrɛprəzɛnˈteɪʃən wɪˈθɪn ˈkəmpəˌniz. ˈʤəstɪs ˈmɪnɪstər səˈbin (fdp*) ənd ˈfæməli ˈmɪnɪstər krɪˈstinə (cdu*), ˌhaʊˈɛvər, hæv rɪˈʤɛktɪd səʧ ə pæθ. "ɪts ə ʃeɪm ɪf səʧ ən ˌɪmˈpɔrtənt kˈwɛʃən gɪts kɔt əp ɪn ˈpɑrti pəˈlɪtɪkəl dəˈbeɪt," ˈridɪŋ sɛd, rɪˈfərɪŋ tɪ ˈʤərməni. "aɪ wɪʃ ðɛr wɑz mɔr kərɪʤ tɪ faɪnd nu səˈluʃənz. ɪn ˈʤərməni, ɪt ɪz ə kˈwɛʃən əv ˌdɛməˈgræfɪks: ðɛr ər ɔˈrɛdi tu fju əˈprɛntəsɪz." dɪˈspaɪt ðə ˈkrɪtɪˌsɪzəm, ə ˈstədi baɪ ˈmænɪʤmənt kənˈsəltənsi fərm məˈkɪnzi pɔɪnts tɪ səm ˈprɑˌgrɛs ɪn ˈwɪmənz roʊl wɪˈθɪn ˈbɪznɪs ɪn ˈʤərməni. ɪt faʊnd əˈbaʊt 80 pərˈsɛnt əv ˈʤərmən ˈkəmpəˌniz ər ˌɪnˈvɛstɪŋ ɪn ðə pərˈmoʊʃən əv ˈwɪmən ənd ˈlʊkɪŋ æt haʊ tɪ meɪk wərk mɔr kəmˈpætəbəl wɪθ ˈfæməli laɪf. ˈʤərməni, wɛr ˈwɪmən meɪk əp ʤɪst 3 pərˈsɛnt əv ˈbɔrˌdrum prəˈfɛʃənəlz, lægz bɪˈhaɪnd moʊst əv ɪts ˌjʊrəˈpiən ˈneɪbərz. bət ðə məˈkɪnzi rɪˈpɔrt ˈhɪnɪd ðət ʧeɪnʤ meɪ bi ɔn ðə weɪ, seɪɪŋ ðət ˈmɛni nu ˈpɑləsiz hæv bɪn ˌɪntrəˈdust sɪns 2010 ˈwɪmən, ˈminˌwaɪl, əˈkaʊnt fər æt list 16 pərˈsɛnt əv læst jɪrz nu bɔrd ˈmɛmbərz əv ˈkəmpəˌniz. ðə ˈʤərmən ˈɪnstɪˌtut fər ˌɛkəˈnɑmɪk ˈrisərʧ (diw*), ˌhaʊˈɛvər, wɔrnd əv ə ˈprɛvələnt "meɪl mono-culture*" əˈməŋ ˈʤərmən ˈkəmpəˌniz. ɪn ə ˈrisənt rɪˈpɔrt ɪt sɛd ðɛr wɑz ˈlɪtəl saɪn əv ʧeɪnʤ ɪn ˈʤərməniz ˈbɔrˌdrumz. ɪn 2011 ðə prəˈpɔrʃən əv ˈwɪmən ɪn ɪgˈzɛkjətɪv poʊsts ɪn ˈʤərməniz 200 ˈlɑrʤəst ˈkəmpəˌniz rɪˈmeɪnd æt 3 pərˈsɛnt, noʊ ˌɪmˈpruvmənt ɔn ə jɪr ˈərliər.
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also:
added token transfer functionality
real time charting on the main screen
added animated slider for selected section to start
performed app optimization
added rental demo (to be removed in next version)
property gallery
lodging filter
property details view (including photos, description, location map, amenities, etc.)
addedant dex (decentralized exchange) section (to be removed in next version)
separate apps for wallet, rentals and exchange dex) moving forward
atlant also announced that it will be releasing separate apps for rentals and exchange functionality, and that these feature sets will be removed from the wallet app, which will continue to be updated.
and so, theant community can look forward to having three apps to use, according to their personal requirements.
1.ant rentals
2.ant exchange
3.ant wallet
aboutant
atlant is a revolutionary global real estate platform enabling of real estate ownership and rentals. the rapidly growingant team is both distributed and global, and the platform is currently scheduled for launch in march 2018.ant recently completed its successful ico, raising over $7 million. for more detail, include the project white paper, roadmap, project demos, and detailed descriptions of how the platform will work, please visit https://atlant.io/
press contact:
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ˈɔlsoʊ: ˈædɪd ˈtoʊkən ˈtrænsfər ˌfəŋkʃəˈnælɪti ril taɪm ˈʧɑrtɪŋ ɔn ðə meɪn skrin ˈædɪd ˈænəˌmeɪtɪd sˈlaɪdər fər səˈlɛktɪd ˈsɛkʃən tɪ stɑrt pərˈfɔrmd æp ɑptɪmɪˈzeɪʃən ˈædɪd ˈrɛntəl ˈdɛmoʊ (tɪ bi riˈmuvd ɪn nɛkst ˈvərʒən) ˈprɑpərti ˈgæləri ˈlɑʤɪŋ ˈfɪltər ˈprɑpərti ˈditeɪlz vju (ˌɪnˈkludɪŋ ˈfoʊˌtoʊz, dɪˈskrɪpʃən, loʊˈkeɪʃən mæp, əˈmɛnətiz, ˌɛtˈsɛtərə.) ˈædɪd dɛks (dɪˈsɛntrəˌlaɪzd ɪksˈʧeɪnʤ) ˈsɛkʃən (tɪ bi riˈmuvd ɪn nɛkst ˈvərʒən) ˈsɛpərˌeɪt æps fər ˈwɔlət, ˈrɛntəlz ənd ɪksˈʧeɪnʤ dɛks) ˈmuvɪŋ ˈfɔrwərd ˈɔlsoʊ əˈnaʊnst ðət ɪt wɪl bi riˈlisɪŋ ˈsɛpərˌeɪt æps fər ˈrɛntəlz ənd ɪksˈʧeɪnʤ ˌfəŋkʃəˈnælɪti, ənd ðət ðiz ˈfiʧər sɛts wɪl bi riˈmuvd frəm ðə ˈwɔlət æp, wɪʧ wɪl kənˈtɪnju tɪ bi ˈəpˌdeɪtɪd. ənd soʊ, ðə kəmˈjunɪti kən lʊk ˈfɔrwərd tɪ ˈhævɪŋ θri æps tɪ juz, əˈkɔrdɪŋ tɪ ðɛr ˈpərsɪnəl rɪkˈwaɪrmənts. 1 ˈrɛntəlz 2 ɪksˈʧeɪnʤ 3 ˈwɔlət əˈbaʊt ɪz ə ˌrɛvəˈluʃəˌnɛri ˈgloʊbəl ril ɛˈsteɪt ˈplætˌfɔrm ɪˈneɪbəlɪŋ əv ril ɛˈsteɪt ˈoʊnərˌʃɪp ənd ˈrɛntəlz. ðə ˈræpədli groʊɪŋ tim ɪz boʊθ dɪˈstrɪbjətəd ənd ˈgloʊbəl, ənd ðə ˈplætˌfɔrm ɪz ˈkərəntli ˈskɛʤʊld fər lɔnʧ ɪn mɑrʧ 2018 ˈrisəntli kəmˈplitɪd ɪts səkˈsɛsfəl ico*, ˈreɪzɪŋ ˈoʊvər 7 ˈmɪljən. fər mɔr ˈditeɪl, ˌɪnˈklud ðə ˈprɑʤɛkt waɪt ˈpeɪpər, roadmap*, ˈprɑʤɛkt ˈdɛˌmoʊz, ənd dɪˈteɪld dɪˈskrɪpʃənz əv haʊ ðə ˈplætˌfɔrm wɪl wərk, pliz ˈvɪzɪt https://atlant.io*/ prɛs ˈkɑnˌtækt:
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theresa may has launched an attack on labour leader jeremy for sending his son to a grammar school.
at prime minister's questions she said: "typical labour, take the advantage and pull up the ladder behind you."
mr had accused the government of finding money for mrs may's grammar school "vanity project" while cutting funding for other schools.
the labour leader's son ben went to a north london grammar school although mr was reported to be against it.
the issue is said to have led to the of mr's second marriage in the late 1990s, with his then wife claudia insisting that the child should not attend a local comprehensive school.
during wednesday's clashes in the commons mr accused mrs may of "betraying a generation of young people by cutting the funding for every child" with a new funding formula for schools in england.
"children will have fewer teachers, larger classes, fewer subjects to choose from and all the prime minister can do is focus on her grammar school vanity project that can only ever benefit a few children."
media playback is unsupported on your device media caption jeremy attacks schools 'vanity project'
he said the government found no extra money in the budget for schools but offered for mrs may's grammar school project.
the prime minister said the funding formula would be fair to all but stressed that it was still at the consultation stage and had not been finalised.
she then rounded on mr and his front bench team, listing those who attended a private school or a grammar school.
"he sent his own child to a grammar school, he himself went to a grammar school," she added, pointing at mr and accusing him of hypocrisy.
analysis by bbc political editor laura
theresa may's government has form on changing its mind when it's clear a policy is heading into a political quagmire. after all, it was only seven days ago the chancellor junked the planned tax rises for two million or so people.
is there another u-turn in the offing? parents and schools in different parts of the country are cross. labour, some tory and local around england are riled. and accusations are building again that the tories would be breaking another manifesto commitment - their 2015 promise to protect the amount of cash that is spent on each pupil at school.
there is no question that school budgets are already under a lot of pressure, with many schools having to cut back because money is already short.
one of the tough things for the government is that they are hoping to push through a reform where there will be plenty of financial losers at a time when cash is already short, and falling in real terms. but are ministers ready to give up this time? no, or perhaps, not yet
read why - in laura's full blog
mr insisted he wanted a "decent, fair opportunity" for every child in every school.
mrs may told him: "he says he wants opportunities for all children, he says he wants good school places for all children - then he should jolly well support the policies we're putting forward."
the prime minister went to a grammar school in oxford, wheatley park, which became a comprehensive while she was there.
the government is planning to overturn a ban on opening new grammar schools, which select pupils by ability, but says it has no plans to bring back the exam.
education secretary justine greening is consulting on a new formula for schools in england, to address what it calls the "unfair, opaque and outdated" distribution of money.
it says more than half of schools will receive a cash boost and protections will be put in place to ensure no school loses more than 6% of their budget in real terms.
but it has sparked criticism from head teachers and governors, who have said it does not take account of rising costs and will leave some schools desperately short of cash.
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tərˈisə meɪ həz lɔnʧt ən əˈtæk ɔn ˈleɪbər ˈlidər ˈʤɛrəˌmi fər ˈsɛndɪŋ hɪz sən tɪ ə ˈgræmər skul. æt praɪm ˈmɪnɪstərz kˈwɛsʧənz ʃi sɛd: "ˈtɪpɪkəl ˈleɪbər, teɪk ðə ædˈvæntɪʤ ənd pʊl əp ðə ˈlædər bɪˈhaɪnd ju." ˈmɪstər hæd əˈkjuzd ðə ˈgəvərnmənt əv ˈfaɪndɪŋ ˈməni fər ˈmɪsɪz meɪz ˈgræmər skul "ˈvænɪti ˈprɑʤɛkt" waɪl ˈkətɪŋ ˈfəndɪŋ fər ˈəðər skulz. ðə ˈleɪbər ˈlidərz sən bɛn wɛnt tɪ ə nɔrθ ˈləndən ˈgræmər skul ˌɔlˈðoʊ ˈmɪstər wɑz ˌriˈpɔrtəd tɪ bi əˈgɛnst ɪt. ðə ˈɪʃu ɪz sɛd tɪ hæv lɛd tɪ ðə əv ˈmɪstər ˈsɛkənd ˈmɛrɪʤ ɪn ðə leɪt 1990s*, wɪθ hɪz ðɛn waɪf ˈklɔdiə ˌɪnˈsɪstɪŋ ðət ðə ʧaɪld ʃʊd nɑt əˈtɛnd ə ˈloʊkəl ˌkɑmpriˈhɛnsɪv skul. ˈdʊrɪŋ ˈwɛnzˌdeɪz ˈklæʃɪz ɪn ðə ˈkɑmənz ˈmɪstər əˈkjuzd ˈmɪsɪz meɪ əv "bɪˈtreɪɪŋ ə ˌʤɛnərˈeɪʃən əv jəŋ ˈpipəl baɪ ˈkətɪŋ ðə ˈfəndɪŋ fər ˈɛvəri ʧaɪld" wɪθ ə nu ˈfəndɪŋ ˈfɔrmjələ fər skulz ɪn ˈɪŋglənd. "ˈʧɪldrən wɪl hæv fjuər ˈtiʧərz, ˈlɑrʤər ˈklæsɪz, fjuər ˈsəbʤɪkts tɪ ʧuz frəm ənd ɔl ðə praɪm ˈmɪnɪstər kən du ɪz ˈfoʊkɪs ɔn hər ˈgræmər skul ˈvænɪti ˈprɑʤɛkt ðət kən ˈoʊnli ˈɛvər ˈbɛnəfɪt ə fju ˈʧɪldrən." ˈmidiə ˈpleɪˌbæk ɪz ənsəˈpɔrtɪd ɔn jʊr dɪˈvaɪs ˈmidiə ˈkæpʃən ˈʤɛrəˌmi əˈtæks skulz 'ˈvænɪti ˈprɑʤɛkt' hi sɛd ðə ˈgəvərnmənt faʊnd noʊ ˈɛkstrə ˈməni ɪn ðə ˈbəʤɪt fər skulz bət ˈɔfərd fər ˈmɪsɪz meɪz ˈgræmər skul ˈprɑʤɛkt. ðə praɪm ˈmɪnɪstər sɛd ðə ˈfəndɪŋ ˈfɔrmjələ wʊd bi fɛr tɪ ɔl bət strɛst ðət ɪt wɑz stɪl æt ðə ˌkɑnsəlˈteɪʃən steɪʤ ənd hæd nɑt bɪn finalised*. ʃi ðɛn ˈraʊndɪd ɔn ˈmɪstər ənd hɪz frənt bɛnʧ tim, ˈlɪstɪŋ ðoʊz hu əˈtɛndəd ə ˈpraɪvət skul ər ə ˈgræmər skul. "hi sɛnt hɪz oʊn ʧaɪld tɪ ə ˈgræmər skul, hi hɪmˈsɛlf wɛnt tɪ ə ˈgræmər skul," ʃi ˈædɪd, ˈpɔɪntɪŋ æt ˈmɪstər ənd əˈkjuzɪŋ ɪm əv hɪˈpɑkrəsi. æˈnælɪsɪs baɪ ˌbibiˈsi pəˈlɪtɪkəl ˈɛdɪtər ˈlɔrə tərˈisə meɪz ˈgəvərnmənt həz fɔrm ɔn ˈʧeɪnʤɪŋ ɪts maɪnd wɪn ɪts klɪr ə ˈpɑləsi ɪz ˈhɛdɪŋ ˈɪntu ə pəˈlɪtɪkəl kˈwægˌmaɪər. ˈæftər ɔl, ɪt wɑz ˈoʊnli ˈsɛvən deɪz əˈgoʊ ðə ˈʧænsələr ʤəŋkt ðə plænd tæks ˈraɪzɪz fər tu ˈmɪljən ər soʊ ˈpipəl. ɪz ðɛr əˈnəðər ˈjuˌtərn ɪn ðə ˈɔfɪŋ? ˈpɛrənts ənd skulz ɪn ˈdɪfərənt pɑrts əv ðə ˈkəntri ər krɔs. ˈleɪbər, səm ˈtɔri ənd ˈloʊkəl əraʊnd ˈɪŋglənd ər raɪld. ənd ˌækjəˈzeɪʃənz ər ˈbɪldɪŋ əˈgɛn ðət ðə ˈtɔˌriz wʊd bi ˈbreɪkɪŋ əˈnəðər ˌmænɪˈfɛˌstoʊ kəˈmɪtmənt ðɛr 2015 ˈprɑməs tɪ prəˈtɛkt ðə əˈmaʊnt əv kæʃ ðət ɪz spɛnt ɔn iʧ ˈpjupəl æt skul. ðɛr ɪz noʊ kˈwɛʃən ðət skul ˈbəʤɪts ər ɔˈrɛdi ˈəndər ə lɔt əv ˈprɛʃər, wɪθ ˈmɛni skulz ˈhævɪŋ tɪ kət bæk bɪˈkəz ˈməni ɪz ɔˈrɛdi ʃɔrt. wən əv ðə təf θɪŋz fər ðə ˈgəvərnmənt ɪz ðət ðeɪ ər ˈhoʊpɪŋ tɪ pʊʃ θru ə rɪˈfɔrm wɛr ðɛr wɪl bi ˈplɛnti əv ˌfaɪˈnænʃəl ˈluzərz æt ə taɪm wɪn kæʃ ɪz ɔˈrɛdi ʃɔrt, ənd ˈfɑlɪŋ ɪn ril tərmz. bət ər ˈmɪnɪstərz ˈrɛdi tɪ gɪv əp ðɪs taɪm? noʊ, ər pərˈhæps, nɑt jɛt rɛd waɪ ɪn ˈlɔrəz fʊl blɔg ˈmɪstər ˌɪnˈsɪstɪd hi ˈwɔntɪd ə "ˈdisənt, fɛr ˌɑpərˈtunəti" fər ˈɛvəri ʧaɪld ɪn ˈɛvəri skul. ˈmɪsɪz meɪ toʊld ɪm: "hi sɪz hi wɔnts ˌɑpərˈtunətiz fər ɔl ˈʧɪldrən, hi sɪz hi wɔnts gʊd skul ˈpleɪsɪz fər ɔl ˈʧɪldrən ðɛn hi ʃʊd ˈʤɑli wɛl səˈpɔrt ðə ˈpɑləsiz wɪr ˈpʊtɪŋ ˈfɔrwərd." ðə praɪm ˈmɪnɪstər wɛnt tɪ ə ˈgræmər skul ɪn ˈɑksfərd, ˈwitli pɑrk, wɪʧ bɪˈkeɪm ə ˌkɑmpriˈhɛnsɪv waɪl ʃi wɑz ðɛr. ðə ˈgəvərnmənt ɪz ˈplænɪŋ tɪ ˈoʊvərˌtərn ə bæn ɔn ˈoʊpənɪŋ nu ˈgræmər skulz, wɪʧ səˈlɛkt ˈpjupəlz baɪ əˈbɪləˌti, bət sɪz ɪt həz noʊ plænz tɪ brɪŋ bæk ðə ɪgˈzæm. ˌɛʤəˈkeɪʃən ˈsɛkrəˌtɛri ʤəˈstin ˈgrinɪŋ ɪz kənˈsəltɪŋ ɔn ə nu ˈfɔrmjələ fər skulz ɪn ˈɪŋglənd, tɪ ˈæˌdrɛs wət ɪt kɔlz ðə "ˌɔnˈfɛr, oʊˈpeɪk ənd ˈaʊtˌdeɪtɪd" ˌdɪstrəˈbjuʃən əv ˈməni. ɪt sɪz mɔr ðən hæf əv skulz wɪl rɪˈsiv ə kæʃ bust ənd prəˈtɛkʃənz wɪl bi pʊt ɪn pleɪs tɪ ɪnˈʃʊr noʊ skul ˈluzɪz mɔr ðən 6 əv ðɛr ˈbəʤɪt ɪn ril tərmz. bət ɪt həz spɑrkt ˈkrɪtɪˌsɪzəm frəm hɛd ˈtiʧərz ənd ˈgəvərnərz, hu hæv sɛd ɪt dɪz nɑt teɪk əˈkaʊnt əv ˈraɪzɪŋ kɔsts ənd wɪl liv səm skulz ˈdɛspərətli ʃɔrt əv kæʃ.
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a storm this morning is passing east of the region and just clipping parts of cape cod with a few potential showers. this afternoon, another shower or two may pop up from the west as a separate and weak storm crosses the region.
once each of these weather systems moves out of the picture the heat starts arriving on saturday and then really takes off sunday.
there is a chance many of you will see temperatures reach at least 90 degrees or even the sunday, monday and tuesday. this would be another heat wave, and the second heat wave this year. if that occurred, we won't know until later tuesday, this would be the earliest two heat waves have ever been happened so soon in the season. records go back to 1872 so that would be a big deal.
if you are headed to northern new england it will be hottest on sunday as well. tomorrow there is the chance for showers or a thunderstorm, and the lakes region are most likely to see the rain.
temperatures will already be in the by noon monday. (dave epstein/wbur)
the cool air from canada returns on wednesday, dropping temperatures back to seasonal levels along with lower levels of humidity.
you can follow my updates here and on twitter @growingwisdom.
friday: clouds, showers possible or a thunderstorm. highs in the upper to near 73 well inland.
friday night: clear to partly cloudy. lows.
saturday: sun and clouds. shower mainly inland. highs. cooler at the south coast.
sunday: sunshine, hot and increasingly humid. highs in the to.
monday: sunshine and hot. highs. cooler on the cape and the islands.
tuesday: more heat, more humidity. highs.
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ə stɔrm ðɪs ˈmɔrnɪŋ ɪz ˈpæsɪŋ ist əv ðə ˈriʤən ənd ʤɪst ˈklɪpɪŋ pɑrts əv keɪp ˈsiˈoʊˈdi wɪθ ə fju pəˈtɛnʃəl ʃaʊərz. ðɪs ˌæftərˈnun, əˈnəðər ʃaʊər ər tu meɪ pɑp əp frəm ðə wɛst ɛz ə ˈsɛpərˌeɪt ənd wik stɔrm ˈkrɔsɪz ðə ˈriʤən. wəns iʧ əv ðiz ˈwɛðər ˈsɪstəmz muvz aʊt əv ðə ˈpɪkʧər ðə hit stɑrts ərˈaɪvɪŋ ɔn ˈsæˌtɪˌdeɪ ənd ðɛn ˈrɪli teɪks ɔf ˈsənˌdi. ðɛr ɪz ə ʧæns ˈmɛni əv ju wɪl si ˈtɛmpərəʧərz riʧ æt list 90 dɪˈgriz ər ˈivɪn ðə ˈsənˌdi, ˈmənˌdeɪ ənd ˈtuzˌdeɪ. ðɪs wʊd bi əˈnəðər hit weɪv, ənd ðə ˈsɛkənd hit weɪv ðɪs jɪr. ɪf ðət əˈkərd, wi woʊnt noʊ ənˈtɪl ˈleɪtər ˈtuzˌdeɪ, ðɪs wʊd bi ðə ˈərliəst tu hit weɪvz hæv ˈɛvər bɪn ˈhæpənd soʊ sun ɪn ðə ˈsizən. ˈrɛkərdz goʊ bæk tɪ 1872 soʊ ðət wʊd bi ə bɪg dil. ɪf ju ər ˈhɛdɪd tɪ ˈnɔrðərn nu ˈɪŋglənd ɪt wɪl bi ˈhɑtəst ɔn ˈsənˌdi ɛz wɛl. təˈmɑˌroʊ ðɛr ɪz ðə ʧæns fər ʃaʊərz ər ə ˈθəndərˌstɔrm, ənd ðə leɪks ˈriʤən ər moʊst ˈlaɪkli tɪ si ðə reɪn. ˈtɛmpərəʧərz wɪl ɔˈrɛdi bi ɪn ðə baɪ nun ˈmənˌdeɪ. (deɪv epstein/wbur*) ðə kul ɛr frəm ˈkænədə rɪˈtərnz ɔn ˈwɛnzˌdeɪ, ˈdrɑpɪŋ ˈtɛmpərəʧərz bæk tɪ ˈsizənəl ˈlɛvəlz əˈlɔŋ wɪθ loʊər ˈlɛvəlz əv hjuˈmɪdəti. ju kən ˈfɑloʊ maɪ ˈəpˌdeɪts hir ənd ɔn tˈwɪtər @growingwisdom*. ˈfraɪˌdeɪ: klaʊdz, ʃaʊərz ˈpɑsəbəl ər ə ˈθəndərˌstɔrm. haɪz ɪn ðə ˈəpər tɪ nɪr 73 wɛl ˈɪnˌlænd. ˈfraɪˌdeɪ naɪt: klɪr tɪ ˈpɑrtli ˈklaʊdi. loʊz ˈsæˌtɪˌdeɪ: sən ənd klaʊdz. ʃaʊər ˈmeɪnli ˈɪnˌlænd. haɪz ˈkulər æt ðə saʊθ koʊst. ˈsənˌdi: ˈsənˌʃaɪn, hɑt ənd ˌɪnˈkrisɪŋgli ˈjumɪd. haɪz ɪn ðə tɪ. ˈmənˌdeɪ: ˈsənˌʃaɪn ənd hɑt. haɪz ˈkulər ɔn ðə keɪp ənd ðə ˈaɪləndz. ˈtuzˌdeɪ: mɔr hit, mɔr hjuˈmɪdəti. haɪz
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even as he held himself up on crutches sunday night, heat guard dion waiters wanted to make one thing absolutely clear regarding his badly sprained left ankle: blame his kobe sneakers for it.
the starting shooting guard, who was injured late in the first half of last win over minnesota when he landed awkwardly on the foot of forward dieng, said been wearing low top sneakers for years and believes the injury would have happened to him regardless of his footwear.
“that’s all been wearing my whole career,” said waiters, who wears the kobe a.d. model by nike. “it’s hard to adjust. even if you go back to college, i wore low tops. i like low tops. even though i play the way i play and attack the rim and things like that, these type of things happen if you have high tops on. it happens.”
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share copy link waiters badly sprained his left ankle in friday's win over minnesota and talked about his progress before sunday's game. march 19, 2017. video by manny navarro
there’s long been a debate about whether nba players really have enough protection for their ankles whether wearing low tops, mid tops or high tops. in the end, heat coach erik spoelstra said the most important thing is how well players protect themselves regardless of the shoes wearing.
spoelstra said the head athletic trainer, jay sabol, works with shoe companies, who send him the models and he gets input on whether an appropriate shoe or not for the players. after that, all about the ankle braces, good tape jobs and pads.
“we’re more proactive with that than we ever have been before,” spoelstra said tuesday after shootaround. “for me i think the most important thing is that there is ankle protection. we demand it of all the guys, but pretty aggressive in our recommendations of ankle braces or tape and pads the things that might be able to help. dion was taped. if he we may be looking at a different scenario.”
waiters, who was spotted wearing a boot on his ankle at practice monday, said sunday his hope is to return to the court before the end of the regular season. spoelstra said tuesday the swelling in waiters’ ankle still subsided.
share copy link miami heat's goran, wayne ellington discuss why they wear low top sneakers on march 21, 2017.
“it’s still there,” spoelstra said. “that’s normal actually. even when he came back and played after the last [sprained ankle], he had swelling for a couple of weeks.”
it’s not uncommon for the fastest players to wear low top sneakers. according to nbashoesdb.com, which tracks the shoes worn by nba players, the kobe a.d. model waiters wears is the most popular in the league, worn by at least 51 players.
veteran shooter wayne ellington, who has had a breakout season with the heat, also wears the same kobe sneakers. others to wear the shoe include all-star guards john wall (washington), isaiah thomas (boston) and demar (toronto).
“i've been wearing for years now,” said ellington, who said he stopped wearing high tops his second season in the nba. “knock on wood been fine. obviously we all have the same feet, the same build. different shoe structure is different for different guys.
“i like the type of support i get from the shoe that i wear. for me, high tops are a little restrained. i move as freely as i would like to. obviously they say the high tops give you more support. but if you look at some of those high tops just as flimsy. you might as well not have anything there as far as covering up your ankle. been great so far in my low tops.”
heat point guard goran wears adidas brand low tops. he said when he played in phoenix trainers tried to convince him to wear high tops. but said he stopped wearing derrick adidas brand high tops because he was actually injuring his ankle more frequently in them than in low tops.
“back in the day in phoenix, i had high tops and i rolled my ankle eight times that season,” said. “so, i think the thing. at the end of the day, dion was taped. everybody is taped on this team. just an unfortunate play. he landed on the foot. and when in the air, really tough to control your body if you land on somebody.
“each player different. in my career worn high tops, mid tops, low tops, but the most comfortable that i feel is in low tops. i feel that i can move better. i can explode and everything. maybe just in my head.”
though some players have worn low top sneakers since the 1970s, it was kobe bryant who started the trend of going from the traditional high tops to lighter, faster low top sneakers almost a decade ago.
studies suggest and sneakers provide more ankle support for athletes who have had ankle injuries in the past. waiters said he broke his ankle in high school.
“a lot of people ask me why i wear high tops and things like that,” waiters said. “but they saying that when i was playing well and we were winning. so ask me when i get hurt.”
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ˈivɪn ɛz hi hɛld hɪmˈsɛlf əp ɔn ˈkrəʧɪz ˈsənˌdi naɪt, hit gɑrd diɔn ˈweɪtərz ˈwɔntɪd tɪ meɪk wən θɪŋ ˌæbsəˈlutli klɪr rɪˈgɑrdɪŋ hɪz ˈbædli spreɪnd lɛft ˈæŋkəl: bleɪm hɪz ˈkoʊbeɪ sˈnikərz fər ɪt. ðə ˈstɑrtɪŋ ˈʃutɪŋ gɑrd, hu wɑz ˈɪnʤərd leɪt ɪn ðə fərst hæf əv læst wɪn ˈoʊvər ˌmɪnɪˈsoʊtə wɪn hi ˈlændɪd ˈɔkwərdli ɔn ðə fʊt əv ˈfɔrwərd dieng*, sɛd bɪn ˈwɛrɪŋ loʊ tɔp sˈnikərz fər jɪrz ənd bɪˈlivz ðə ˈɪnʤəri wʊd hæv ˈhæpənd tɪ ɪm rəˈgɑrdləs əv hɪz ˈfʊtˌwɛr. ɔl bɪn ˈwɛrɪŋ maɪ hoʊl career,”*,” sɛd ˈweɪtərz, hu wɛrz ðə ˈkoʊbeɪ a.d*. ˈmɑdəl baɪ ˈnaɪki. hɑrd tɪ əˈʤəst. ˈivɪn ɪf ju goʊ bæk tɪ ˈkɑlɪʤ, aɪ wɔr loʊ tɑps. aɪ laɪk loʊ tɑps. ˈivɪn ðoʊ aɪ pleɪ ðə weɪ aɪ pleɪ ənd əˈtæk ðə rɪm ənd θɪŋz laɪk ðət, ðiz taɪp əv θɪŋz ˈhæpən ɪf ju hæv haɪ tɑps ɔn. ɪt happens.”*.” saɪn əp ənd seɪv gɪt sɪks mənθs əv fri ˈdɪʤɪtəl ˈækˌsɛs tɪ ðə maɪˈæmi ˈhɛrəld ʃɛr ˈkɑpi lɪŋk ˈweɪtərz ˈbædli spreɪnd hɪz lɛft ˈæŋkəl ɪn ˈfraɪˌdeɪz wɪn ˈoʊvər ˌmɪnɪˈsoʊtə ənd tɔkt əˈbaʊt hɪz ˈprɑˌgrɛs ˌbiˈfɔr ˈsənˌdiz geɪm. mɑrʧ 19 2017 ˈvɪdioʊ baɪ ˈmæni nəˈvɑroʊ lɔŋ bɪn ə dəˈbeɪt əˈbaʊt ˈwɛðər ˈɛnˌbiˈeɪ pleɪərz ˈrɪli hæv ɪˈnəf prəˈtɛkʃən fər ðɛr ˈæŋkəlz ˈwɛðər ˈwɛrɪŋ loʊ tɑps, mɪd tɑps ər haɪ tɑps. ɪn ðə ɛnd, hit koʊʧ ˈɛrɪk ˈspoʊlstrɑ sɛd ðə moʊst ˌɪmˈpɔrtənt θɪŋ ɪz haʊ wɛl pleɪərz prəˈtɛkt ðɛmˈsɛlvz rəˈgɑrdləs əv ðə ʃuz ˈwɛrɪŋ. ˈspoʊlstrɑ sɛd ðə hɛd æθˈlɛtɪk ˈtreɪnər, ʤeɪ sɑˈbɔl, wərks wɪθ ʃu ˈkəmpəˌniz, hu sɛnd ɪm ðə ˈmɑdəlz ənd hi gɪts ˈɪnˌpʊt ɔn ˈwɛðər ən əˈproʊpriˌeɪt ʃu ər nɑt fər ðə pleɪərz. ˈæftər ðət, ɔl əˈbaʊt ðə ˈæŋkəl ˈbreɪsɪz, gʊd teɪp ʤɑbz ənd pædz. mɔr ˌproʊˈæktɪv wɪθ ðət ðən wi ˈɛvər hæv bɪn before,”*,” ˈspoʊlstrɑ sɛd ˈtuzˌdeɪ ˈæftər shootaround*. mi aɪ θɪŋk ðə moʊst ˌɪmˈpɔrtənt θɪŋ ɪz ðət ðɛr ɪz ˈæŋkəl prəˈtɛkʃən. wi dɪˈmænd ɪt əv ɔl ðə gaɪz, bət ˈprɪti əˈgrɛsɪv ɪn ɑr ˌrɛkəmənˈdeɪʃənz əv ˈæŋkəl ˈbreɪsɪz ər teɪp ənd pædz ðə θɪŋz ðət maɪt bi ˈeɪbəl tɪ hɛlp. diɔn wɑz teɪpt. ɪf hi wi meɪ bi ˈlʊkɪŋ æt ə ˈdɪfərənt scenario.”*.” ˈweɪtərz, hu wɑz ˈspɑtɪd ˈwɛrɪŋ ə but ɔn hɪz ˈæŋkəl æt ˈpræktɪs ˈmənˌdeɪ, sɛd ˈsənˌdi hɪz hoʊp ɪz tɪ rɪˈtərn tɪ ðə kɔrt ˌbiˈfɔr ðə ɛnd əv ðə ˈrɛgjələr ˈsizən. ˈspoʊlstrɑ sɛd ˈtuzˌdeɪ ðə sˈwɛlɪŋ ɪn waiters’*’ ˈæŋkəl stɪl səbˈsaɪdɪd. ʃɛr ˈkɑpi lɪŋk maɪˈæmi hits ˈgɔrən, weɪn ˈɛlɪŋtən dɪˈskəs waɪ ðeɪ wɛr loʊ tɔp sˈnikərz ɔn mɑrʧ 21 2017 stɪl there,”*,” ˈspoʊlstrɑ sɛd. ˈnɔrməl ˈæˌkʧuəli. ˈivɪn wɪn hi keɪm bæk ənd pleɪd ˈæftər ðə læst [spreɪnd ˈæŋkəl], hi hæd sˈwɛlɪŋ fər ə ˈkəpəl əv weeks.”*.” nɑt ənˈkɑmən fər ðə ˈfæstəst pleɪərz tɪ wɛr loʊ tɔp sˈnikərz. əˈkɔrdɪŋ tɪ nbashoesdb.com*, wɪʧ træks ðə ʃuz wɔrn baɪ ˈɛnˌbiˈeɪ pleɪərz, ðə ˈkoʊbeɪ a.d*. ˈmɑdəl ˈweɪtərz wɛrz ɪz ðə moʊst ˈpɑpjələr ɪn ðə lig, wɔrn baɪ æt list 51 pleɪərz. ˈvɛtərən ˈʃutər weɪn ˈɛlɪŋtən, hu həz hæd ə ˈbreɪˌkaʊt ˈsizən wɪθ ðə hit, ˈɔlsoʊ wɛrz ðə seɪm ˈkoʊbeɪ sˈnikərz. ˈəðərz tɪ wɛr ðə ʃu ˌɪnˈklud ˌɔlˈstɑr gɑrdz ʤɑn wɔl (ˈwɔʃɪŋtən), ˌaɪˈzeɪə ˈtɑməs (ˈbɔstən) ənd dɪˈmɑr (tərˈɑntoʊ). bɪn ˈwɛrɪŋ fər jɪrz now,”*,” sɛd ˈɛlɪŋtən, hu sɛd hi stɑpt ˈwɛrɪŋ haɪ tɑps hɪz ˈsɛkənd ˈsizən ɪn ðə ˈɛnˌbiˈeɪ. ɔn wʊd bɪn faɪn. ˈɑbviəsli wi ɔl hæv ðə seɪm fit, ðə seɪm bɪld. ˈdɪfərənt ʃu ˈstrəkʧər ɪz ˈdɪfərənt fər ˈdɪfərənt gaɪz. laɪk ðə taɪp əv səˈpɔrt aɪ gɪt frəm ðə ʃu ðət aɪ wɛr. fər mi, haɪ tɑps ər ə ˈlɪtəl riˈstreɪnd. aɪ muv ɛz ˈfrili ɛz aɪ wʊd laɪk tɪ. ˈɑbviəsli ðeɪ seɪ ðə haɪ tɑps gɪv ju mɔr səˈpɔrt. bət ɪf ju lʊk æt səm əv ðoʊz haɪ tɑps ʤɪst ɛz ˈflɪmzi. ju maɪt ɛz wɛl nɑt hæv ˈɛniˌθɪŋ ðɛr ɛz fɑr ɛz ˈkəvərɪŋ əp jʊr ˈæŋkəl. bɪn greɪt soʊ fɑr ɪn maɪ loʊ tops.”*.” hit pɔɪnt gɑrd ˈgɔrən wɛrz əˈdidəs brænd loʊ tɑps. hi sɛd wɪn hi pleɪd ɪn ˈfinɪks ˈtreɪnərz traɪd tɪ kənˈvɪns ɪm tɪ wɛr haɪ tɑps. bət sɛd hi stɑpt ˈwɛrɪŋ ˈdɛrɪk əˈdidəs brænd haɪ tɑps bɪˈkəz hi wɑz ˈæˌkʧuəli ˈɪnʤərɪŋ hɪz ˈæŋkəl mɔr ˈfrikwɛntli ɪn ðɛm ðən ɪn loʊ tɑps. ɪn ðə deɪ ɪn ˈfinɪks, aɪ hæd haɪ tɑps ənd aɪ roʊld maɪ ˈæŋkəl eɪt taɪmz ðət season,”*,” sɛd. ““so*, aɪ θɪŋk ðə θɪŋ. æt ðə ɛnd əv ðə deɪ, diɔn wɑz teɪpt. ˈɛvriˌbɑdi ɪz teɪpt ɔn ðɪs tim. ʤɪst ən ənˈfɔrʧənət pleɪ. hi ˈlændɪd ɔn ðə fʊt. ənd wɪn ɪn ðə ɛr, ˈrɪli təf tɪ kənˈtroʊl jʊr ˈbɑdi ɪf ju lænd ɔn ˈsəmˌbɑdi. pleɪər ˈdɪfərənt. ɪn maɪ kərɪr wɔrn haɪ tɑps, mɪd tɑps, loʊ tɑps, bət ðə moʊst ˈkəmfərtəbəl ðət aɪ fil ɪz ɪn loʊ tɑps. aɪ fil ðət aɪ kən muv ˈbɛtər. aɪ kən ɪkˈsploʊd ənd ˈɛvriˌθɪŋ. ˈmeɪbi ʤɪst ɪn maɪ head.”*.” ðoʊ səm pleɪərz hæv wɔrn loʊ tɔp sˈnikərz sɪns ðə 1970s*, ɪt wɑz ˈkoʊbeɪ braɪənt hu ˈstɑrtɪd ðə trɛnd əv goʊɪŋ frəm ðə trəˈdɪʃənəl haɪ tɑps tɪ ˈlaɪtər, ˈfæstər loʊ tɔp sˈnikərz ˈɔlˌmoʊst ə ˈdɛkeɪd əˈgoʊ. ˈstədiz səˈʤɛst ənd sˈnikərz prəˈvaɪd mɔr ˈæŋkəl səˈpɔrt fər ˈæθˌlits hu hæv hæd ˈæŋkəl ˈɪnʤəriz ɪn ðə pæst. ˈweɪtərz sɛd hi broʊk hɪz ˈæŋkəl ɪn haɪ skul. lɔt əv ˈpipəl æsk mi waɪ aɪ wɛr haɪ tɑps ənd θɪŋz laɪk that,”*,” ˈweɪtərz sɛd. ðeɪ seɪɪŋ ðət wɪn aɪ wɑz pleɪɪŋ wɛl ənd wi wər ˈwɪnɪŋ. soʊ æsk mi wɪn aɪ gɪt hurt.”*.”
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we’ve got some special news for you today mega man will be in a brand new animated series from dentsu entertainment, with man of action (the company behind ben 10 and the characters of big hero 6), as executive producers who will be overseeing writing and story development! while the show is slated to launch in 2017 the same year as mega anniversary got a sneak peek for you today at how mega man will appear in the upcoming show, as well as some insight into the story and characters you can expect to meet.
if an or kid, you may remember an animated series about the fighting robot (sing it with me now: mega man!) that ran for two seasons during the mid-90s. it was a fresh, and unique, if not sometimes silly, take on mega man, and one that a lot of people (including myself) remember fondly. the new animated mega man series will follow aki light a normal, upbeat, and above all optimistic young robot living in silicon city. he soon learns that deep within his programming are secret protocols that allow him to transform giving him armor, a mega buster, and the iconic helmet to turn him into a superhero mega man!
promising exciting new technologies and new robots, the series will follow the adventures and trials of aki light a.k.a. mega man as he faces off against threats to silicon city, while trying to keep his superhero identity a secret and maintain a normal robot life.
it’ll be a great way for newcomers and younger fans to meet mega man for the first time, and a treat for fans who grew up with the games, featuring the return of beloved characters like favorite robot canine, rush! be sure to keep an eye out for the blue animated adventures in 2017 the same year as mega anniversary!
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we’ve* gɑt səm ˈspɛʃəl nuz fər ju təˈdeɪ ˈmɛgə mæn wɪl bi ɪn ə brænd nu ˈænəˌmeɪtɪd ˈsɪriz frəm ˈdɛntsu ˌɛnərˈteɪnmənt, wɪθ mæn əv ˈækʃən (ðə ˈkəmpəˌni bɪˈhaɪnd bɛn 10 ənd ðə ˈkɛrɪktərz əv bɪg ˈhɪroʊ 6 ɛz ɪgˈzɛkjətɪv prəˈdusərz hu wɪl bi ˈoʊvərˌsiɪŋ ˈraɪtɪŋ ənd ˈstɔri dɪˈvɛləpmənt! waɪl ðə ʃoʊ ɪz sˈleɪtɪd tɪ lɔnʧ ɪn 2017 ðə seɪm jɪr ɛz ˈmɛgə ˌænəˈvərsəri gɑt ə snik pik fər ju təˈdeɪ æt haʊ ˈmɛgə mæn wɪl əˈpɪr ɪn ðə ˈəpˌkəmɪŋ ʃoʊ, ɛz wɛl ɛz səm ˈɪnˌsaɪt ˈɪntu ðə ˈstɔri ənd ˈkɛrɪktərz ju kən ɪkˈspɛkt tɪ mit. ɪf ən ər kɪd, ju meɪ rɪˈmɛmbər ən ˈænəˌmeɪtɪd ˈsɪriz əˈbaʊt ðə ˈfaɪtɪŋ ˈroʊˌbət (sɪŋ ɪt wɪθ mi naʊ: ˈmɛgə mæn!) ðət ræn fər tu ˈsizənz ˈdʊrɪŋ ðə mid-90s*. ɪt wɑz ə frɛʃ, ənd juˈnik, ɪf nɑt ˈsəmˌtaɪmz ˈsɪli, teɪk ɔn ˈmɛgə mæn, ənd wən ðət ə lɔt əv ˈpipəl (ˌɪnˈkludɪŋ ˌmaɪˈsɛlf) rɪˈmɛmbər ˈfɑndli. ðə nu ˈænəˌmeɪtɪd ˈmɛgə mæn ˈsɪriz wɪl ˈfɑloʊ ˈɑki laɪt ə ˈnɔrməl, ˈəpˌbit, ənd əˈbəv ɔl ˌɑptɪˈmɪstɪk jəŋ ˈroʊˌbət ˈlɪvɪŋ ɪn ˈsɪləkən ˈsɪti. hi sun lərnz ðət dip wɪˈθɪn hɪz ˈproʊˌgræmɪŋ ər ˈsikrɪt ˈproʊtəˌkɔlz ðət əˈlaʊ ɪm tɪ ˈtrænsfɔrm ˈgɪvɪŋ ɪm ˈɑrmər, ə ˈmɛgə ˈbəstər, ənd ðə ˌaɪˈkɑnɪk ˈhɛlmət tɪ tərn ɪm ˈɪntu ə ˌsupərˈhiroʊ ˈmɛgə mæn! ˈprɑməsɪŋ ɪkˈsaɪtɪŋ nu tɛkˈnɑləʤiz ənd nu ˈroʊˌbəts, ðə ˈsɪriz wɪl ˈfɑloʊ ðə ædˈvɛnʧərz ənd traɪəlz əv ˈɑki laɪt a.k.a*. ˈmɛgə mæn ɛz hi ˈfeɪsɪz ɔf əˈgɛnst θrɛts tɪ ˈsɪləkən ˈsɪti, waɪl traɪɪŋ tɪ kip hɪz ˌsupərˈhiroʊ aɪˈdɛntəˌti ə ˈsikrɪt ənd meɪnˈteɪn ə ˈnɔrməl ˈroʊˌbət laɪf. bi ə greɪt weɪ fər ˈnuˌkəmərz ənd ˈjəŋgər fænz tɪ mit ˈmɛgə mæn fər ðə fərst taɪm, ənd ə trit fər fænz hu gru əp wɪθ ðə geɪmz, ˈfiʧərɪŋ ðə rɪˈtərn əv bɪˈləvəd ˈkɛrɪktərz laɪk ˈfeɪvərɪt ˈroʊˌbət ˈkeɪˌnaɪn, rəʃ! bi ʃʊr tɪ kip ən aɪ aʊt fər ðə blu ˈænəˌmeɪtɪd ædˈvɛnʧərz ɪn 2017 ðə seɪm jɪr ɛz ˈmɛgə ˌænəˈvərsəri!
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when a reporter asked of the house nancy pelosi (d-calif.) back in october 2009 “where specifically does the constitution grant congress the authority to enact an individual health insurance mandate?”, response was to dismiss both the reporter and the question. “are you serious?” she sneered. elshami, communications director, later amplified his response, telling news, “you can put this on the record. that is not a serious question.”
the u.s. supreme court thinks that it is. on monday march 26, the supreme court will begin hearing three days of oral arguments devoted to the constitutionality of the patient protection and affordable care act, including its controversial "requirement to maintain minimum essential coverage." this requirement, also known as the individual mandate, forces all americans to buy or secure health insurance under what congress claims is its power "to regulate the several states."
twenty-six of those states, plus the national federation of independent business and several individuals, are challenging the health care law, claiming it is an illegal power grab by the federal government that tramples the constitution and undermines the principles of federalism.
contrary to what nancy pelosi would have you believe, these challengers have a strong and serious case. here are four of their best arguments against the individual mandate.
4. the individual mandate threatens the foundations of contract law
american contract law rests on the principle of mutual assent. if i hold a gun to your head and force you to sign a contract, no court of law will honor that document since i coerced you into signing it. mutual assent must be present in order for a contract to be valid and binding.
this view was widely shared by the framers and of the u.s. constitution. how pennsylvania lawyer james wilson, a signer of both the declaration of independence and the constitution, put it in one of his legal lectures:
the common law is a law of liberty. the defendant may plead, that he was compelled to execute the instrument. he cannot, indeed, deny the execution of it; but he can state, in his plea, the circumstances of compulsion attending his execution; and these circumstances, if sufficient in law, and established in fact, will procure a decision in his favour, that, in such circumstances, he did not bind himself.
the individual mandate turns this longstanding legal principle on its head. after all, nothing mutual about the government forcing you to enter into a binding contract with a private company. as the institute for justice, the public interest law firm that pioneered this argument, explains in the powerful friend of the court brief it filed in the case, the framers of the constitution “would never have given, and in fact did not give, congress, through the guise of the commerce clause, the power to gut the foundation upon which the entirety of contract law rests.”
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wɪn ə rɪˈpɔrtər æst əv ðə haʊs ˈnænsi pɛˈloʊsi (d-calif*.) bæk ɪn ɑkˈtoʊbər 2009 spəˈsɪfɪkli dɪz ðə ˌkɑnstəˈtuʃən grænt ˈkɑŋgrəs ðə əˈθɔrəti tɪ ɪˈnækt ən ˌɪndəˈvɪʤəwəl hɛlθ ˌɪnˈʃʊrəns mandate?”*?”, rɪˈspɑns wɑz tɪ dɪsˈmɪs boʊθ ðə rɪˈpɔrtər ənd ðə kˈwɛʃən. ju serious?”*?” ʃi snɪrd. elshami*, kəmˌjunəˈkeɪʃənz dɪˈrɛktər, ˈleɪtər ˈæmpləˌfaɪd hɪz rɪˈspɑns, ˈtɛlɪŋ nuz, kən pʊt ðɪs ɔn ðə ˈrɛkərd. ðət ɪz nɑt ə ˈsɪriəs question.”*.” ðə juz. səˈprim kɔrt θɪŋks ðət ɪt ɪz. ɔn ˈmənˌdeɪ mɑrʧ 26 ðə səˈprim kɔrt wɪl bɪˈgɪn ˈhirɪŋ θri deɪz əv ˈɔrəl ˈɑrgjəmənts dɪˈvoʊtɪd tɪ ðə ˌkɑnstɪˌtuʃəˈnælɪti əv ðə ˈpeɪʃənt prəˈtɛkʃən ənd əˈfɔrdəbəl kɛr ækt, ˌɪnˈkludɪŋ ɪts ˌkɑntrəˈvərʃəl "rɪkˈwaɪrmənt tɪ meɪnˈteɪn ˈmɪnəməm ɛˈsɛnʃəl ˈkəvərɪʤ." ðɪs rɪkˈwaɪrmənt, ˈɔlsoʊ noʊn ɛz ðə ˌɪndəˈvɪʤəwəl ˈmænˌdeɪt, ˈfɔrsɪz ɔl əˈmɛrɪkənz tɪ baɪ ər sɪˈkjʊr hɛlθ ˌɪnˈʃʊrəns ˈəndər wət ˈkɑŋgrəs kleɪmz ɪz ɪts paʊər "tɪ ˈrɛgjəˌleɪt ðə ˈsɛvərəl steɪts." əv ðoʊz steɪts, pləs ðə ˈnæʃənəl ˌfɛdərˈeɪʃən əv ˌɪndɪˈpɛndənt ˈbɪznɪs ənd ˈsɛvərəl ˌɪndəˈvɪʤəwəlz, ər ˈʧælənʤɪŋ ðə hɛlθ kɛr lɔ, ˈkleɪmɪŋ ɪt ɪz ən ˌɪˈligəl paʊər græb baɪ ðə ˈfɛdərəl ˈgəvərnmənt ðət ˈtræmpəlz ðə ˌkɑnstəˈtuʃən ənd ˌəndərˈmaɪnz ðə ˈprɪnsəpəlz əv ˈfɛdərəˌlɪzəm. ˈkɑntrɛri tɪ wət ˈnænsi pɛˈloʊsi wʊd hæv ju bɪˈliv, ðiz ˈʧælənʤərz hæv ə strɔŋ ənd ˈsɪriəs keɪs. hir ər fɔr əv ðɛr bɛst ˈɑrgjəmənts əˈgɛnst ðə ˌɪndəˈvɪʤəwəl ˈmænˌdeɪt. 4 ðə ˌɪndəˈvɪʤəwəl ˈmænˌdeɪt θˈrɛtənz ðə faʊnˈdeɪʃənz əv ˈkɑnˌtrækt lɔ əˈmɛrɪkən ˈkɑnˌtrækt lɔ rɛsts ɔn ðə ˈprɪnsəpəl əv mˈjuʧuəl əˈsɛnt. ɪf aɪ hoʊld ə gən tɪ jʊr hɛd ənd fɔrs ju tɪ saɪn ə ˈkɑnˌtrækt, noʊ kɔrt əv lɔ wɪl ˈɑnər ðət ˈdɑkjəmɛnt sɪns aɪ koʊərst ju ˈɪntu ˈsaɪnɪŋ ɪt. mˈjuʧuəl əˈsɛnt məst bi ˈprɛzənt ɪn ˈɔrdər fər ə ˈkɑnˌtrækt tɪ bi ˈvælɪd ənd ˈbaɪndɪŋ. ðɪs vju wɑz ˈwaɪdli ʃɛrd baɪ ðə ˈfreɪmərz ənd əv ðə juz. ˌkɑnstəˈtuʃən. haʊ ˌpɛnsəlˈveɪnjə ˈlɔjər ʤeɪmz ˈwɪlsən, ə ˈsaɪnər əv boʊθ ðə ˌdɛklərˈeɪʃən əv ˌɪndɪˈpɛndəns ənd ðə ˌkɑnstəˈtuʃən, pʊt ɪt ɪn wən əv hɪz ˈligəl ˈlɛkʧərz: ðə ˈkɑmən lɔ ɪz ə lɔ əv ˈlɪbərˌti. ðə dɪˈfɛndənt meɪ plid, ðət hi wɑz kəmˈpɛld tɪ ˈɛksəˌkjut ðə ˈɪnstrəmənt. hi ˈkænɑt, ˌɪnˈdid, dɪˈnaɪ ðə ˌɛksəˈkjuʃən əv ɪt; bət hi kən steɪt, ɪn hɪz pli, ðə ˈsərkəmˌstænsɪz əv kəmˈpəlʃən əˈtɛndɪŋ hɪz ˌɛksəˈkjuʃən; ənd ðiz ˈsərkəmˌstænsɪz, ɪf səˈfɪʃənt ɪn lɔ, ənd ɪˈstæblɪʃt ɪn fækt, wɪl proʊˈkjʊr ə dɪˈsɪʒən ɪn hɪz ˈfeɪvər, ðət, ɪn səʧ ˈsərkəmˌstænsɪz, hi dɪd nɑt baɪnd hɪmˈsɛlf. ðə ˌɪndəˈvɪʤəwəl ˈmænˌdeɪt tərnz ðɪs ˈlɔŋˌstændɪŋ ˈligəl ˈprɪnsəpəl ɔn ɪts hɛd. ˈæftər ɔl, ˈnəθɪŋ mˈjuʧuəl əˈbaʊt ðə ˈgəvərnmənt ˈfɔrsɪŋ ju tɪ ˈɛnər ˈɪntu ə ˈbaɪndɪŋ ˈkɑnˌtrækt wɪθ ə ˈpraɪvət ˈkəmpəˌni. ɛz ðə ˈɪnstɪˌtut fər ˈʤəstɪs, ðə ˈpəblɪk ˈɪntəˌrɛst lɔ fərm ðət ˌpaɪəˈnɪrd ðɪs ˈɑrgjəmənt, ɪkˈspleɪnz ɪn ðə ˈpaʊərfəl frɛnd əv ðə kɔrt brif ɪt faɪld ɪn ðə keɪs, ðə ˈfreɪmərz əv ðə ˌkɑnstəˈtuʃən ˈnɛvər hæv ˈgɪvɪn, ənd ɪn fækt dɪd nɑt gɪv, ˈkɑŋgrəs, θru ðə gaɪz əv ðə ˈkɑmərs klɔz, ðə paʊər tɪ gət ðə faʊnˈdeɪʃən əˈpɑn wɪʧ ðə ɪnˈtaɪərti əv ˈkɑnˌtrækt lɔ rests.”*.”
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bitcoin news for the week of
it’s time for another weekly recap of top headlines and news from around the world, where we trim the fat and bring you all the important stuff about each week. this week is chock full of good news with lots of exciting announcements coming out of the north american conference in chicago, fighter phil baroni will sponsor on, and a lot more.
check it out!
[](https://blog.blockchain.com/content/images/2014/07/tnabc.jpg)
[gallery: community spirit shines at chicago](http://www.coindesk.com/gallery-bitcoin-community-tnabc-chicago/)
the north american conference brought the full range of the international community to mccormick place convention center for two days of discussion on all things digital currency. though it was perhaps the major announcements by, the chamber of digital commerce and okcoin, as well as discussion of new new regulation that reverberated most widely online, the conference itself was focused on community spirit.
app shows’s reach into everyday tokyo life
the latest indicator of’s growing presence in daily life in tokyo is the wallet app which offers users information on where they can use to buy real goods and services in the capital. several stores in tokyo now accept for a beer and fries, repairs and even eyelash extensions, as the reach of the virtual currency extends well beyond the tech basement or bedroom.
bitcoin brands inc. sponsors legend phil baroni
bitcoin brands inc. announced that it has entered into a sponsorship agreement with mixed martial arts legend phil “the new york bad ass” baroni for his upcoming main card fight for 122. the fight will be televised nationally on on friday, july 25, 2014 at central.
[](https://blog.blockchain.com/content/images/2014/07/theblockchain.jpg)
[what is the?](http://cointelegraph.com/news/112101/what-is-the-blockchain-) the is a database displayed publicly for every transaction that happens in the network. by using this database, every user has the ability to uncover what amount in has ever belonged to a specific address at a specific timeframe.
“bitcoin is the truth,” says rap genius founder
mahbod is a of genius and the author of genius inc, and recently discussed as he is a fan and has a lot of positive things to say about the digital currency. went on to say, “if you are using, you are making the world a better place.”
top 5 wallets in 2014
as with most forms of money, there are many different ways in which you can store yours. a closer look at some of the top wallets available to users on mobile and desktop platforms right now. for additional wallet comparisons,x provides community ratings and reviews of the highest ranked wallets.
first eyewear company to accepts for eyewear purchases
the founders of swift eyewear inc., joseph ianni and pierre brousseau, are very excited to announce that it will become the first global eyewear company to accept payments. swift will use.info’s us dollar market exchange price feed to instantaneously convert prices tos for each purchase.
gliph ios messaging app functionality
privacy-focused messaging app once again supports functionality in its newest ios release. the announcement follows recent reversal of its ban on apps, which meant was forced to disable sending late last year.
bitpay uses to sponsor georgia tech athletics, unveils facebook app
bitpay, a startup company founded in 2011 and a pioneer in business solutions for the digital currency, recently announced its affiliation to the georgia institute of athletic association. brokered by college the multimedia partner of the university, the sponsorship is meant to cover georgia basketball and football programs.
[youtube_video]lm8af2skpt4[/youtube_video]
how will disrupt hollywood
michael is the founder and ceo of communications group, a leading public relations and strategic communications firm, specializing in and digital convergence.
bitcoin to earth: look now, but your paradigm is shifting
historians may look back on these current days with fascination. we may be living through the beginning of one of the biggest paradigm shifts in modern human history. the way the world actually thinks about money and stored value might be changing in a tidal wave of recognition. this article will define what a paradigm is and what a paradigm shift looks like.
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bitcoin* nuz fər ðə wik əv taɪm fər əˈnəðər ˈwikli ˈriˌkæp əv tɔp ˈhɛˌdlaɪnz ənd nuz frəm əraʊnd ðə wərld, wɛr wi trɪm ðə fæt ənd brɪŋ ju ɔl ðə ˌɪmˈpɔrtənt stəf əˈbaʊt iʧ wik. ðɪs wik ɪz ʧɑk fʊl əv gʊd nuz wɪθ lɑts əv ɪkˈsaɪtɪŋ əˈnaʊnsmɛnts ˈkəmɪŋ aʊt əv ðə nɔrθ əˈmɛrɪkən ˈkɑnfərəns ɪn ʃəˈkɑˌgoʊ, ˈfaɪtər fɪl bɑˈroʊni wɪl ˈspɑnsər ɔn, ənd ə lɔt mɔr. ʧɛk ɪt aʊt! [](https://blog.blockchain.com/content/images/2014/07/tnabc.jpg*) [ˈgæləri: kəmˈjunɪti ˈspɪrɪt ʃaɪnz æt chicago](http://www.coindesk.com/gallery-bitcoin-community-tnabc-chicago*/) ðə nɔrθ əˈmɛrɪkən ˈkɑnfərəns brɔt ðə fʊl reɪnʤ əv ðə ˌɪnərˈnæʃənɑl kəmˈjunɪti tɪ məˈkɔrmɪk pleɪs kənˈvɛnʃən ˈsɛnər fər tu deɪz əv dɪˈskəʃən ɔn ɔl θɪŋz ˈdɪʤɪtəl ˈkərənsi. ðoʊ ɪt wɑz pərˈhæps ðə ˈmeɪʤər əˈnaʊnsmɛnts baɪ, ðə ˈʧeɪmbər əv ˈdɪʤɪtəl ˈkɑmərs ənd okcoin*, ɛz wɛl ɛz dɪˈskəʃən əv nu nu ˌrɛgjəˈleɪʃən ðət rɪˈvərbərˌeɪtɪd moʊst ˈwaɪdli ˈɔnˌlaɪn, ðə ˈkɑnfərəns ˌɪtˈsɛlf wɑz ˈfoʊkɪst ɔn kəmˈjunɪti ˈspɪrɪt. æp ʃoʊz riʧ ˈɪntu ˈɛvriˈdeɪ ˈtoʊkiˌoʊ laɪf ðə ˈleɪtəst ˈɪndəˌkeɪtər əv groʊɪŋ ˈprɛzəns ɪn ˈdeɪli laɪf ɪn ˈtoʊkiˌoʊ ɪz ðə ˈwɔlət æp wɪʧ ˈɔfərz ˈjuzərz ˌɪnˌfɔrˈmeɪʃən ɔn wɛr ðeɪ kən juz tɪ baɪ ril gʊdz ənd ˈsərvɪsɪz ɪn ðə ˈkæpɪtəl. ˈsɛvərəl stɔrz ɪn ˈtoʊkiˌoʊ naʊ əkˈsɛpt fər ə bɪr ənd fraɪz, rɪˈpɛrz ənd ˈivɪn ˈaɪˌlæʃ ɪkˈstɛnʃənz, ɛz ðə riʧ əv ðə ˈvərʧuəl ˈkərənsi ɪkˈstɛndz wɛl bɪɔnd ðə tɛk ˈbeɪsmənt ər ˈbɛˌdrum. brændz ɪŋk. ˈspɑnsərz ˈlɛʤənd fɪl bɑˈroʊni brændz ɪŋk. əˈnaʊnst ðət ɪt həz ˈɛnərd ˈɪntu ə ˈspɑnsərˌʃɪp əˈgrimənt wɪθ mɪkst ˈmɑrʃəl ɑrts ˈlɛʤənd fɪl nu jɔrk bæd ass”*” bɑˈroʊni fər hɪz ˈəpˌkəmɪŋ meɪn kɑrd faɪt fər 122 ðə faɪt wɪl bi ˈtɛləˌvaɪzd ˈnæʃənəli ɔn ɔn ˈfraɪˌdeɪ, ˌʤuˈlaɪ 25 2014 æt ˈsɛntrəl. ˌɪləˈstreɪʃən baɪ cointelegraph.com](https://blog.blockchain.com/content/images/2014/07/theblockchain.jpg)](https://blog.blockchain.com/content/images/2014/07/theblockchain.jpg*) [wət ɪz ðə blockchain?](http://cointelegraph.com/news/112101/what-is-the-blockchain*-) ðə ɪz ə ˈdætəˌbeɪs dɪˈspleɪd ˈpəblɪkli fər ˈɛvəri trænˈzækʃən ðət ˈhæpənz ɪn ðə ˈnɛtˌwərk. baɪ ˈjuzɪŋ ðɪs ˈdætəˌbeɪs, ˈɛvəri ˈjuzər həz ðə əˈbɪləˌti tɪ ənˈkəvər wət əˈmaʊnt ɪn həz ˈɛvər bɪˈlɔŋd tɪ ə spɪˈsɪfɪk ˈæˌdrɛs æt ə spɪˈsɪfɪk ˈtaɪmˌfreɪm. ɪz ðə truth,”*,” sɪz ræp ˈʤinjəs ˈfaʊndər ɪz ə əv ˈʤinjəs ənd ðə ˈɔθər əv ˈʤinjəs ɪŋk, ənd ˈrisəntli dɪˈskəst ɛz hi ɪz ə fæn ənd həz ə lɔt əv ˈpɑzətɪv θɪŋz tɪ seɪ əˈbaʊt ðə ˈdɪʤɪtəl ˈkərənsi. wɛnt ɔn tɪ seɪ, ju ər ˈjuzɪŋ, ju ər ˈmeɪkɪŋ ðə wərld ə ˈbɛtər place.”*.” tɔp 5 ˈwɔləts ɪn 2014 ɛz wɪθ moʊst fɔrmz əv ˈməni, ðɛr ər ˈmɛni ˈdɪfərənt weɪz ɪn wɪʧ ju kən stɔr jʊr. ə ˈkloʊzər lʊk æt səm əv ðə tɔp ˈwɔləts əˈveɪləbəl tɪ ˈjuzərz ɔn ˈmoʊbəl ənd ˈdɛskˌtɑp ˈplætˌfɔrmz raɪt naʊ. fər əˈdɪʃənəl ˈwɔlət kəmˈpɛrəsənz, prəˈvaɪdz kəmˈjunɪti ˈreɪtɪŋz ənd rəvˈjuz əv ðə haɪəst ræŋkt ˈwɔləts. fərst ˈaɪˌwɛr ˈkəmpəˌni tɪ əkˈsɛpt fər ˈaɪˌwɛr ˈpərʧəsɪz ðə ˈfaʊndərz əv swɪft ˈaɪˌwɛr ɪŋk., ˈʤoʊzəf iˈɑni ənd piɛr ˌbruˈsoʊ, ər ˈvɛri ɪkˈsaɪtɪd tɪ əˈnaʊns ðət ɪt wɪl bɪˈkəm ðə fərst ˈgloʊbəl ˈaɪˌwɛr ˈkəmpəˌni tɪ əkˈsɛpt ˈpeɪmənts. swɪft wɪl juz ˈjuˈɛs ˈdɔlər ˈmɑrkɪt ɪksˈʧeɪnʤ praɪs fid tɪ ˌɪnstənˈtæniəsli ˈkɑnvərt ˈpraɪsɪz tɪ fər iʧ ˈpərʧəs. ˈioʊs ˈmɛsɪʤɪŋ æp ˌfəŋkʃəˈnælɪti ˈmɛsɪʤɪŋ æp wəns əˈgɛn səˈpɔrts ˌfəŋkʃəˈnælɪti ɪn ɪts nuəst ˈioʊs riˈlis. ðə əˈnaʊnsmɛnt ˈfɑloʊz ˈrisənt rɪˈvərsəl əv ɪts bæn ɔn æps, wɪʧ mɛnt wɑz fɔrst tɪ dɪˈseɪbəl ˈsɛndɪŋ leɪt læst jɪr. ˈjuzɪz tɪ ˈspɑnsər ˈʤɔrʤə tɛk æθˈlɛtɪks, ənˈveɪlz ˈfeɪsˌbʊk æp, ə ˈstɑrˌtəp ˈkəmpəˌni ˈfaʊndɪd ɪn 2011 ənd ə ˌpaɪəˈnɪr ɪn ˈbɪznɪs səˈluʃənz fər ðə ˈdɪʤɪtəl ˈkərənsi, ˈrisəntli əˈnaʊnst ɪts əˌfɪliˈeɪʃən tɪ ðə ˈʤɔrʤə ˈɪnstɪˌtut əv æθˈlɛtɪk əˌsoʊʃiˈeɪʃən. ˈbroʊkərd baɪ ˈkɑlɪʤ ðə ˌməltiˈmidiə ˈpɑrtnər əv ðə ˌjunəˈvərsəti, ðə ˈspɑnsərˌʃɪp ɪz mɛnt tɪ ˈkəvər ˈʤɔrʤə ˈbæskətˌbɔl ənd ˈfʊtˌbɔl ˈproʊˌgræmz. [youtube_video]lm8af2skpt4[/youtube_video*] haʊ wɪl dɪsˈrəpt ˈhɑliˌwʊd ˈmaɪkəl ɪz ðə ˈfaʊndər ənd ˈsiˌiˈoʊ əv kəmˌjunəˈkeɪʃənz grup, ə ˈlidɪŋ ˈpəblɪk riˈleɪʃənz ənd strəˈtiʤɪk kəmˌjunəˈkeɪʃənz fərm, ˈspɛʃəˌlaɪzɪŋ ɪn ənd ˈdɪʤɪtəl kənˈvərʤəns. tɪ ərθ: lʊk naʊ, bət jʊr ˈpɛrəˌdaɪm ɪz ˈʃɪftɪŋ hɪˈstɔriənz meɪ lʊk bæk ɔn ðiz ˈkɑrənt deɪz wɪθ ˌfæsəˈneɪʃən. wi meɪ bi ˈlɪvɪŋ θru ðə bɪˈgɪnɪŋ əv wən əv ðə ˈbɪgəst ˈpɛrəˌdaɪm ʃɪfts ɪn ˈmɑdərn ˈjumən ˈhɪstəri. ðə weɪ ðə wərld ˈæˌkʧuəli θɪŋks əˈbaʊt ˈməni ənd stɔrd ˈvælju maɪt bi ˈʧeɪnʤɪŋ ɪn ə ˈtaɪdəl weɪv əv ˌrɛkɪgˈnɪʃən. ðɪs ˈɑrtɪkəl wɪl dɪˈfaɪn wət ə ˈpɛrəˌdaɪm ɪz ənd wət ə ˈpɛrəˌdaɪm ʃɪft lʊks laɪk.
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— “guns kill civil society,” says state department nominee
tuesday, june 23, 2009
senate majority leader harry reid has scheduled a wednesday vote on a state department nominee who supports gun control on a global scale.
while advocates of the second amendment have come to expect that appointees of president barack obama would be hostile to the rights of gun owners, the nominee for legal advisor to the state department reaches a whole new level of extremism.
harold koh, who served at the state department under the clinton administration, is a “trans-nationalist” who believes that our laws and our constitution should be brought into conformity with international agreements.
“if you want to be in the global environment, you have to play by the global rules,” koh told a cleveland audience.
koh’s positions treat our constitutional law as if it were a mere local ordinance on the greater world stage. this is of particular concern to gun owners at a time when the u.s. congress is under pressure from president obama to ratify an international gun control treaty with countries in the western hemisphere. that treaty, known by its spanish acronym cifta, would likely serve as a forerunner to a more extensive united nations initiative, the “program of action to prevent, combat and eradicate the illicit trade in small arms and light weapons in all its aspects.”
the bush administration, under the leadership of un ambassador john bolton, rejected the small arms treaty. bolton plainly told the world that the united states will not accept a gun control document that violates our constitutional right to bear arms. harold koh commented that bolton was being “needlessly provocative.”
in a paper entitled “a world drowning in guns,” koh maintains that a civil society cannot exist with broad gun ownership: “guns kill civil society,” he said.
koh is eager to assume his post at the state department, having lamented that there is only so much that can be done from the outside to push gun control treaties, and that ultimately we need people like him in positions of power. the chief lawyer for the state department is just the position someone like him needs to put his agenda into play.
while nomination has been delayed largely because of second amendment concerns, sen. reid plans to force a vote this week.
it is imperative that gun owners contact their senators and insist that they vote against this extremist.
action: please contact your senators immediately and urge them to oppose harold nomination to the state department. you can use the gun owners legislative action center to send your senators the message below.
—– letter–
dear senator:
the senate is expected to soon vote on a state department nominee who supports gun control on a global scale.
harold koh, who served at the state department under the clinton administration, is a “trans-nationalist” who believes that our laws and our constitution should be brought into conformity with international agreements.
according to koh, “if you want to be in the global environment, you have to play by the global rules.” well, i support global rules that contradict our own constitution.
koh supports international gun control treaties such as the united nations initiative entitles the “program of action to prevent, combat and eradicate the illicit trade in small arms and light weapons in all its aspects.”
when former un ambassador john bolton told the world that the united states will not accept a gun control document that violates our constitutional right to bear arms, harold koh commented that bolton was being “needlessly provocative.”
and in a 2003 fordham law review article entitled “a world drowning in guns,” koh maintains that a civil society cannot exist with broad gun ownership: “guns kill civil society,” he wrote.
i urge you to reject this trans-nationalist, extremist who would place foreign laws and international agreements on equal footing (at minimum) with the u.s. constitution.
sincerely,
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—* kɪl ˈsɪvəl society,”*,” sɪz steɪt dɪˈpɑrtmənt ˌnɑməˈni ˈtuzˌdeɪ, ʤun 23 2009 ˈsɛnɪt məˈʤɔrəti ˈlidər ˈhɛri rid həz ˈskɛʤʊld ə ˈwɛnzˌdeɪ voʊt ɔn ə steɪt dɪˈpɑrtmənt ˌnɑməˈni hu səˈpɔrts gən kənˈtroʊl ɔn ə ˈgloʊbəl skeɪl. waɪl ˈædvəˌkeɪts əv ðə ˈsɛkənd əˈmɛndmənt hæv kəm tɪ ɪkˈspɛkt ðət əˈpɔɪntiz əv ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə wʊd bi ˈhɑstəl tɪ ðə raɪts əv gən ˈoʊnərz, ðə ˌnɑməˈni fər ˈligəl ædˈvaɪzər tɪ ðə steɪt dɪˈpɑrtmənt ˈriʧɪz ə hoʊl nu ˈlɛvəl əv ˌɪkˈstrɛmɪzəm. ˈhɛrəld koʊ, hu sərvd æt ðə steɪt dɪˈpɑrtmənt ˈəndər ðə ˈklɪntən ædˌmɪnɪˈstreɪʃən, ɪz ə ““trans-nationalist”*” hu bɪˈlivz ðət ɑr lɔz ənd ɑr ˌkɑnstəˈtuʃən ʃʊd bi brɔt ˈɪntu kənˈfɔrməti wɪθ ˌɪnərˈnæʃənɑl əˈgrimənts. ju wɔnt tɪ bi ɪn ðə ˈgloʊbəl ɪnˈvaɪrənmənt, ju hæv tɪ pleɪ baɪ ðə ˈgloʊbəl rules,”*,” koʊ toʊld ə ˈklivlənd ˈɔdiəns. pəˈzɪʃənz trit ɑr ˌkɑnstəˈtuʃənəl lɔ ɛz ɪf ɪt wər ə mɪr ˈloʊkəl ˈɔrdənəns ɔn ðə ˈgreɪtər wərld steɪʤ. ðɪs ɪz əv ˌpɑˈtɪkjələr kənˈsərn tɪ gən ˈoʊnərz æt ə taɪm wɪn ðə juz. ˈkɑŋgrəs ɪz ˈəndər ˈprɛʃər frəm ˈprɛzɪdənt ˌoʊˈbɑmə tɪ ˈrætəˌfaɪ ən ˌɪnərˈnæʃənɑl gən kənˈtroʊl ˈtriti wɪθ ˈkəntriz ɪn ðə ˈwɛstərn ˈhɛmɪsˌfɪr. ðət ˈtriti, noʊn baɪ ɪts ˈspænɪʃ ˈækrənɪm cifta*, wʊd ˈlaɪkli sərv ɛz ə ˈfɔˌrənər tɪ ə mɔr ɪkˈstɛnsɪv juˈnaɪtɪd ˈneɪʃənz ˌɪˈnɪʃətɪv, ðə əv ˈækʃən tɪ prɪˈvɛnt, ˈkɑmbæt ənd ɪˈrædəˌkeɪt ðə ˌɪˈlɪsət treɪd ɪn smɔl ɑrmz ənd laɪt ˈwɛpənz ɪn ɔl ɪts aspects.”*.” ðə bʊʃ ædˌmɪnɪˈstreɪʃən, ˈəndər ðə ˈlidərˌʃɪp əv ˈjuˈɛn æmˈbæsədər ʤɑn ˈboʊltən, rɪˈʤɛktɪd ðə smɔl ɑrmz ˈtriti. ˈboʊltən ˈpleɪnli toʊld ðə wərld ðət ðə juˈnaɪtɪd steɪts wɪl nɑt əkˈsɛpt ə gən kənˈtroʊl ˈdɑkjəmɛnt ðət ˈvaɪəleɪts ɑr ˌkɑnstəˈtuʃənəl raɪt tɪ bɛr ɑrmz. ˈhɛrəld koʊ ˈkɑmɛntəd ðət ˈboʊltən wɑz biɪŋ provocative.”*.” ɪn ə ˈpeɪpər ɛnˈtaɪtəld wərld ˈdraʊnɪŋ ɪn guns,”*,” koʊ meɪnˈteɪnz ðət ə ˈsɪvəl soʊˈsaɪɪti ˈkænɑt ɪgˈzɪst wɪθ brɔd gən ˈoʊnərˌʃɪp: kɪl ˈsɪvəl society,”*,” hi sɛd. koʊ ɪz ˈigər tɪ əˈsum hɪz poʊst æt ðə steɪt dɪˈpɑrtmənt, ˈhævɪŋ ləˈmɛntɪd ðət ðɛr ɪz ˈoʊnli soʊ məʧ ðət kən bi dən frəm ðə ˈaʊtˈsaɪd tɪ pʊʃ gən kənˈtroʊl ˈtritiz, ənd ðət ˈəltəmətli wi nid ˈpipəl laɪk ɪm ɪn pəˈzɪʃənz əv paʊər. ðə ʧif ˈlɔjər fər ðə steɪt dɪˈpɑrtmənt ɪz ʤɪst ðə pəˈzɪʃən ˈsəmˌwən laɪk ɪm nidz tɪ pʊt hɪz əˈʤɛndə ˈɪntu pleɪ. waɪl ˌnɑməˈneɪʃən həz bɪn dɪˈleɪd ˈlɑrʤli bɪˈkəz əv ˈsɛkənd əˈmɛndmənt kənˈsərnz, sɛn. rid plænz tɪ fɔrs ə voʊt ðɪs wik. ɪt ɪz ˌɪmˈpɛrətɪv ðət gən ˈoʊnərz ˈkɑnˌtækt ðɛr ˈsɛnətərz ənd ˌɪnˈsɪst ðət ðeɪ voʊt əˈgɛnst ðɪs ɪkˈstrimɪst. ˈækʃən: pliz ˈkɑnˌtækt jʊr ˈsɛnətərz ˌɪˈmiˌdiətli ənd ərʤ ðɛm tɪ əˈpoʊz ˈhɛrəld ˌnɑməˈneɪʃən tɪ ðə steɪt dɪˈpɑrtmənt. ju kən juz ðə gən ˈoʊnərz ˈlɛʤəsˌleɪtɪv ˈækʃən ˈsɛnər tɪ sɛnd jʊr ˈsɛnətərz ðə ˈmɛsɪʤ bɪˈloʊ. ˈlɛtər dɪr ˈsɛnətər: ðə ˈsɛnɪt ɪz ɪkˈspɛktɪd tɪ sun voʊt ɔn ə steɪt dɪˈpɑrtmənt ˌnɑməˈni hu səˈpɔrts gən kənˈtroʊl ɔn ə ˈgloʊbəl skeɪl. ˈhɛrəld koʊ, hu sərvd æt ðə steɪt dɪˈpɑrtmənt ˈəndər ðə ˈklɪntən ædˌmɪnɪˈstreɪʃən, ɪz ə ““trans-nationalist”*” hu bɪˈlivz ðət ɑr lɔz ənd ɑr ˌkɑnstəˈtuʃən ʃʊd bi brɔt ˈɪntu kənˈfɔrməti wɪθ ˌɪnərˈnæʃənɑl əˈgrimənts. əˈkɔrdɪŋ tɪ koʊ, ju wɔnt tɪ bi ɪn ðə ˈgloʊbəl ɪnˈvaɪrənmənt, ju hæv tɪ pleɪ baɪ ðə ˈgloʊbəl rules.”*.” wɛl, aɪ səˈpɔrt ˈgloʊbəl rulz ðət ˌkɑntrəˈdɪkt ɑr oʊn ˌkɑnstəˈtuʃən. koʊ səˈpɔrts ˌɪnərˈnæʃənɑl gən kənˈtroʊl ˈtritiz səʧ ɛz ðə juˈnaɪtɪd ˈneɪʃənz ˌɪˈnɪʃətɪv ɛnˈtaɪtəlz ðə əv ˈækʃən tɪ prɪˈvɛnt, ˈkɑmbæt ənd ɪˈrædəˌkeɪt ðə ˌɪˈlɪsət treɪd ɪn smɔl ɑrmz ənd laɪt ˈwɛpənz ɪn ɔl ɪts aspects.”*.” wɪn ˈfɔrmər ˈjuˈɛn æmˈbæsədər ʤɑn ˈboʊltən toʊld ðə wərld ðət ðə juˈnaɪtɪd steɪts wɪl nɑt əkˈsɛpt ə gən kənˈtroʊl ˈdɑkjəmɛnt ðət ˈvaɪəleɪts ɑr ˌkɑnstəˈtuʃənəl raɪt tɪ bɛr ɑrmz, ˈhɛrəld koʊ ˈkɑmɛntəd ðət ˈboʊltən wɑz biɪŋ provocative.”*.” ənd ɪn ə 2003 ˈfɔrdəm lɔ ˌrivˈju ˈɑrtɪkəl ɛnˈtaɪtəld wərld ˈdraʊnɪŋ ɪn guns,”*,” koʊ meɪnˈteɪnz ðət ə ˈsɪvəl soʊˈsaɪɪti ˈkænɑt ɪgˈzɪst wɪθ brɔd gən ˈoʊnərˌʃɪp: kɪl ˈsɪvəl society,”*,” hi roʊt. aɪ ərʤ ju tɪ ˈriʤɛkt ðɪs trans-nationalist*, ɪkˈstrimɪst hu wʊd pleɪs ˈfɔrən lɔz ənd ˌɪnərˈnæʃənɑl əˈgrimənts ɔn ˈikwəl ˈfʊtɪŋ (æt ˈmɪnəməm) wɪθ ðə juz. ˌkɑnstəˈtuʃən. sɪnˈsɪrli,
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in a week in which there has been mild consternation in australia about the state of the galle surface, angelo mathews has made no apologies about what the visitors can expect at the: it will turn again, he said - get used to it.
with the island's ground curators directly employed by the board, sri lanka has long catered pitches to the team's needs. against india last year, surfaces at the p sara oval and the had seam and bounce, as it was hoped those qualities would enhance sri lanka's chances of winning (as it happened, india won both matches).
against teams from further afield, and particularly australia, tracks are made to spin, spin, spin.
australia's have focused almost solely on their own performances. but it is clear that reports in the australian press about "pitch doctoring" in galle, have prompted indignation within the sri lankan team.
"we had to work really hard to win those two games," mathews said. "we played better cricket than them. i'm hearing that the have not played good cricket, and the wickets were poor - i mean, come on, you've got to grow up. we play on the same wicket. they've got spinners and we've got spinners. they've fought really hard, but it's just that our spinners have bowled extremely well. our spinners have exploited the conditions and bowled better than them. credit should go to the whole team, the way they've worked extremely hard."
home-team advantage appears to be increasingly sought in test cricket. over the past two years, sri lanka has played on pitches in christchurch and hamilton that were so thickly layered in grass, they were almost indistinguishable from the remainder of the square. the pitch at headingley, in may, had been another green top. and often forced to tour temperate climates in their early summer (thanks largely to economic considerations), sri lanka have also been made to play in the colder foreign venues, like dunedin, leeds and chester-le-street, to cite three examples from the past eight months.
the surface has lately ceased to be the wellspring of runs it has been in the past, and on the eve of the test, appears at least as dry as the pitch at galle. sri lanka have already confirmed their attack - with de silva's in support - will be set loose in the third test as well.
"it's going to be a turner once again," mathews said. has traditionally been a very good, wicket. but in the last few games against south africa and pakistan, it did take a lot of turn. we hope that it will take a lot of turn again from day one, and we hope that it will be a spinners' paradise."
on the batting front, the series win - and possibly some good catching - has bought openers silva and another opportunity. sri lanka has recently become the most difficult country in the world to score runs as an opener, but sri lanka's incumbent pair has nevertheless fallen short of the team's expectations. so far in this series, neither silva nor has scored more than seven, in four innings apiece. still, given their history of better performances overseas, mathews said he and the would grant them another chance.
"what the management and think is that we can give opportunities to players who we believe can deliver," mathews said. "when it was tough in england, fought really hard and showed his character. after two games, we don't want to throw a character like him away.
"dimuth didn't score runs in england, but he had got a big hundred in new zealand and he showed his character there as well. hopefully, he can deliver and everyone will get through that rough patch."
dhananjaya de silva had been one of the standout openers in first-class cricket this year, but as he is already settling in at no. 7, no other obvious opening candidates have presented themselves either. mathews said the decision to retain silva and had been made with a view to forthcoming foreign tours as well.
"if we have guys who have scored heavily outside the team, we can consider replacing the openers - but that has not happened," mathews said. "we have got to keep in mind that the south african series is coming in a few months' time. we believe that this set of players can go to south africa and do well. they are talented, and if they are given opportunities, they can come good."
mathews now has the opportunity to effect perhaps the most high-profile whitewash for any sri lanka captain. they have three other results, but those came against weaker zimbabwe and bangladesh teams, and a modest west indies outfit propped up by mountains of brian lara runs. a whitewash against the world's team will likely be remembered fondly for years to come.
"we are extremely excited at the prospect," mathews said. "we've trained harder than we had over the past two weeks, because we want to win it. everyone is all geared up, and we haven't taken the foot off the gas."
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ɪn ə wik ɪn wɪʧ ðɛr həz bɪn maɪld ˌkɑnstərˈneɪʃən ɪn ɔˈstreɪljə əˈbaʊt ðə steɪt əv ðə ˌgæˈleɪ ˈsərfəs, ˈænʤəˌloʊ ˈmæθjuz həz meɪd noʊ əˈpɑləˌʤiz əˈbaʊt wət ðə ˈvɪzɪtərz kən ɪkˈspɛkt æt ðə: ɪt wɪl tərn əˈgɛn, hi sɛd gɪt juzd tɪ ɪt. wɪθ ðə ˈaɪləndz graʊnd ˈkjʊrətərz dɪˈrɛkli ɪmˈplɔɪd baɪ ðə bɔrd, ˈɛˈsɑˈraɪ ˈlæŋkə həz lɔŋ ˈkeɪtərd ˈpɪʧɪz tɪ ðə timz nidz. əˈgɛnst ˈɪndiə læst jɪr, ˈsərfəsɪz æt ðə pi ˈsɛrə ˈoʊvəl ənd ðə hæd sim ənd baʊns, ɛz ɪt wɑz hoʊpt ðoʊz kˈwɑlətiz wʊd ɛnˈhæns ˈɛˈsɑˈraɪ ˈlæŋkəz ˈʧænsɪz əv ˈwɪnɪŋ (ɛz ɪt ˈhæpənd, ˈɪndiə wən boʊθ ˈmæʧɪz). əˈgɛnst timz frəm ˈfərðər əˈfild, ənd ˌpɑrˈtɪkjələrli ɔˈstreɪljə, træks ər meɪd tɪ spɪn, spɪn, spɪn. ɔˈstreɪljəz hæv ˈfoʊkɪst ˈɔlˌmoʊst ˈsoʊəli ɔn ðɛr oʊn pərˈfɔrmənsɪz. bət ɪt ɪz klɪr ðət rɪˈpɔrts ɪn ðə ɔˈstreɪljən prɛs əˈbaʊt "pɪʧ ˈdɑktərɪŋ" ɪn ˌgæˈleɪ, hæv ˈprɑmptɪd ˌɪndɪgˈneɪʃən wɪˈθɪn ðə ˈɛˈsɑˈraɪ ˈlæŋkən tim. "wi hæd tɪ wərk ˈrɪli hɑrd tɪ wɪn ðoʊz tu geɪmz," ˈmæθjuz sɛd. "wi pleɪd ˈbɛtər ˈkrɪkɪt ðən ðɛm. əm ˈhirɪŋ ðət ðə hæv nɑt pleɪd gʊd ˈkrɪkɪt, ənd ðə ˈwɪkəts wər pur aɪ min, kəm ɔn, juv gɑt tɪ groʊ əp. wi pleɪ ɔn ðə seɪm ˈwɪkət. ðeɪv gɑt ˈspɪnərz ənd wiv gɑt ˈspɪnərz. ðeɪv fɔt ˈrɪli hɑrd, bət ɪts ʤɪst ðət ɑr ˈspɪnərz hæv boʊld ɪkˈstrimli wɛl. ɑr ˈspɪnərz hæv ˈɛkˌsplɔɪtəd ðə kənˈdɪʃənz ənd boʊld ˈbɛtər ðən ðɛm. ˈkrɛdɪt ʃʊd goʊ tɪ ðə hoʊl tim, ðə weɪ ðeɪv wərkt ɪkˈstrimli hɑrd." ædˈvæntɪʤ əˈpɪrz tɪ bi ˌɪnˈkrisɪŋgli sɔt ɪn tɛst ˈkrɪkɪt. ˈoʊvər ðə pæst tu jɪrz, ˈɛˈsɑˈraɪ ˈlæŋkə həz pleɪd ɔn ˈpɪʧɪz ɪn ˈkraɪstʧərʧ ənd ˈhæməltən ðət wər soʊ ˈθɪkli leɪərd ɪn græs, ðeɪ wər ˈɔlˌmoʊst ˌɪndɪˈstɪŋgwɪʃəbəl frəm ðə rɪˈmeɪndər əv ðə skwɛr. ðə pɪʧ æt headingley*, ɪn meɪ, hæd bɪn əˈnəðər grin tɔp. ənd ˈɔfən fɔrst tɪ tʊr ˈtɛmpərət ˈklaɪmɪts ɪn ðɛr ˈərli ˈsəmər (θæŋks ˈlɑrʤli tɪ ˌɛkəˈnɑmɪk kənˌsɪdərˈeɪʃənz), ˈɛˈsɑˈraɪ ˈlæŋkə hæv ˈɔlsoʊ bɪn meɪd tɪ pleɪ ɪn ðə ˈkoʊldər ˈfɔrən ˈvɛnuz, laɪk ˈdunədɪn, lidz ənd chester-le-street*, tɪ saɪt θri ɪgˈzæmpəlz frəm ðə pæst eɪt mənθs. ðə ˈsərfəs həz ˈleɪtli sist tɪ bi ðə ˈwɛlˌsprɪŋ əv rənz ɪt həz bɪn ɪn ðə pæst, ənd ɔn ðə iv əv ðə tɛst, əˈpɪrz æt list ɛz draɪ ɛz ðə pɪʧ æt ˌgæˈleɪ. ˈɛˈsɑˈraɪ ˈlæŋkə hæv ɔˈrɛdi kənˈfərmd ðɛr əˈtæk wɪθ də ˈsɪlvəz ɪn səˈpɔrt wɪl bi sɛt lus ɪn ðə θərd tɛst ɛz wɛl. "ɪts goʊɪŋ tɪ bi ə ˈtərnər wəns əˈgɛn," ˈmæθjuz sɛd. həz trəˈdɪʃənəli bɪn ə ˈvɛri gʊd, ˈwɪkət. bət ɪn ðə læst fju geɪmz əˈgɛnst saʊθ ˈæfrɪkɑ ənd ˈpækɪˌstæn, ɪt dɪd teɪk ə lɔt əv tərn. wi hoʊp ðət ɪt wɪl teɪk ə lɔt əv tərn əˈgɛn frəm deɪ wən, ənd wi hoʊp ðət ɪt wɪl bi ə ˈspɪnərz' ˈpɛrəˌdaɪs." ɔn ðə ˈbætɪŋ frənt, ðə ˈsɪriz wɪn ənd ˈpɑsəbli səm gʊd ˈkæʧɪŋ həz bɔt ˈoʊpənərz ˈsɪlvə ənd əˈnəðər ˌɑpərˈtunəti. ˈɛˈsɑˈraɪ ˈlæŋkə həz ˈrisəntli bɪˈkəm ðə moʊst ˈdɪfəkəlt ˈkəntri ɪn ðə wərld tɪ skɔr rənz ɛz ən ˈoʊpənər, bət ˈɛˈsɑˈraɪ ˈlæŋkəz ˌɪnˈkəmbənt pɛr həz ˌnɛvərðəˈlɛs ˈfɑlən ʃɔrt əv ðə timz ˌɛkspɛkˈteɪʃənz. soʊ fɑr ɪn ðɪs ˈsɪriz, ˈniðər ˈsɪlvə nɔr həz skɔrd mɔr ðən ˈsɛvən, ɪn fɔr ˈɪnɪŋz əˈpis. stɪl, ˈgɪvɪn ðɛr ˈhɪstəri əv ˈbɛtər pərˈfɔrmənsɪz ˈoʊvərˈsiz, ˈmæθjuz sɛd hi ənd ðə wʊd grænt ðɛm əˈnəðər ʧæns. "wət ðə ˈmænɪʤmənt ənd θɪŋk ɪz ðət wi kən gɪv ˌɑpərˈtunətiz tɪ pleɪərz hu wi bɪˈliv kən dɪˈlɪvər," ˈmæθjuz sɛd. "wɪn ɪt wɑz təf ɪn ˈɪŋglənd, fɔt ˈrɪli hɑrd ənd ʃoʊd hɪz ˈkɛrɪktər. ˈæftər tu geɪmz, wi doʊnt wɔnt tɪ θroʊ ə ˈkɛrɪktər laɪk ɪm əˈweɪ. ˈdɪdənt skɔr rənz ɪn ˈɪŋglənd, bət hi hæd gɑt ə bɪg ˈhənərd ɪn nu ˈzilənd ənd hi ʃoʊd hɪz ˈkɛrɪktər ðɛr ɛz wɛl. ˈhoʊpfəli, hi kən dɪˈlɪvər ənd ˈɛvriˌwən wɪl gɪt θru ðət rəf pæʧ." də ˈsɪlvə hæd bɪn wən əv ðə ˈstænˌdaʊt ˈoʊpənərz ɪn ˌfərstˈklæs ˈkrɪkɪt ðɪs jɪr, bət ɛz hi ɪz ɔˈrɛdi ˈsɛtəlɪŋ ɪn æt noʊ. 7 noʊ ˈəðər ˈɑbviəs ˈoʊpənɪŋ ˈkænədɪts hæv pərˈzɛnəd ðɛmˈsɛlvz ˈiðər. ˈmæθjuz sɛd ðə dɪˈsɪʒən tɪ rɪˈteɪn ˈsɪlvə ənd hæd bɪn meɪd wɪθ ə vju tɪ ˈfɔrθˈkəmɪŋ ˈfɔrən tʊrz ɛz wɛl. "ɪf wi hæv gaɪz hu hæv skɔrd ˈhɛvəli ˈaʊtˈsaɪd ðə tim, wi kən kənˈsɪdər rɪˈpleɪsɪŋ ðə ˈoʊpənərz bət ðət həz nɑt ˈhæpənd," ˈmæθjuz sɛd. "wi hæv gɑt tɪ kip ɪn maɪnd ðət ðə saʊθ ˈæfrɪkɑn ˈsɪriz ɪz ˈkəmɪŋ ɪn ə fju mənθs' taɪm. wi bɪˈliv ðət ðɪs sɛt əv pleɪərz kən goʊ tɪ saʊθ ˈæfrɪkɑ ənd du wɛl. ðeɪ ər ˈtæləntɪd, ənd ɪf ðeɪ ər ˈgɪvɪn ˌɑpərˈtunətiz, ðeɪ kən kəm gʊd." ˈmæθjuz naʊ həz ðə ˌɑpərˈtunəti tɪ ˈifɛkt pərˈhæps ðə moʊst ˌhaɪˈproʊfaɪl ˈwaɪtˌwɑʃ fər ˈɛni ˈɛˈsɑˈraɪ ˈlæŋkə ˈkæptən. ðeɪ hæv θri ˈəðər rɪˈzəlts, bət ðoʊz keɪm əˈgɛnst ˈwikər zɪmˈbɑbweɪ ənd ˈbæŋləˌdɛʃ timz, ənd ə ˈmɑdəst wɛst ˈɪndiz ˈaʊtˌfɪt prɑpt əp baɪ ˈmaʊntənz əv braɪən ˈlɑrə rənz. ə ˈwaɪtˌwɑʃ əˈgɛnst ðə wərldz tim wɪl ˈlaɪkli bi rɪˈmɛmbərd ˈfɑndli fər jɪrz tɪ kəm. "wi ər ɪkˈstrimli ɪkˈsaɪtɪd æt ðə ˈprɑspɛkt," ˈmæθjuz sɛd. "wiv treɪnd ˈhɑrdər ðən wi hæd ˈoʊvər ðə pæst tu wiks, bɪˈkəz wi wɔnt tɪ wɪn ɪt ˈɛvriˌwən ɪz ɔl gɪrd əp, ənd wi ˈhævənt ˈteɪkən ðə fʊt ɔf ðə gæs."
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eu leaders in brussels on friday edged towards a budget deal that would fix the bloc's ceiling for overall spending at billion, with hours of hard bargaining still expected before a final agreement is signed today.
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eu leaders appeared poised friday to cut the bloc's budget for the first time in its history, with a tentative agreement to trim spending by three percent over the rest of the decade, diplomats said.
after a short break following a session lasting through the night, the bloc's 27 leaders were due to return to the negotiating table at 1200 gmt.
at the marathon talks to produce a budget, british prime minister david cameron, apparently backed by german chancellor angela merkel, led a sustained push for the to share in the austerity national governments are facing.
france, along with italy, fought to protect spending it sees as essential to boost growth and jobs at a time of record unemployment, but indications early friday were that paris could live with the deal.
france christophe reports from brussels
"it is not a fantastic compromise deal but it is acceptable," a french diplomatic source told afp.
a draft deal sets the actual spending or "payments" at billionros ($1.2 trillion), with an absolute ceiling of 960 billionros for spending "commitments" to the budget.
the latest figures would represent a percent cut from the budget and were less than the 973 billionros that cameron and allies such as the netherlands rejected at a budget summit in november that collapsed without any deal.
in the budget process, commitments refer to the maximum amount that can be allocated to while actual spending or "payments" is usually lower as projects are delayed or dropped.
originally, theropean commission had wanted a percent increase in commitments to trillionros ($1.4 trillion) about one percent of the's total gross domestic product.
after a delay thursday, leaders thrashed out the details overnight before breaking in the morning.
amid the cuts, they also managed to find six billionros for a new fund to tackle youth unemployment.
jobless numbers across the are currently over 26 million, with nearly three out of five under the age of 25 out of work in spain and greece.
if the talks do finally deliver an accord, there is another important hurdle still to clear theropean parliament which must approve it and lawmakers have already made clear they are in no mood for more austerity.
parliament head martin schulz said bluntly on thursday that he and the assembly would not accept a budget which would compromise and undercut its future.
the draft showed key budget areas the common agricultural policy support payments to farmers and cohesion funds, a crucial source of money for new members seeking to catch up with their peers to be largely untouched compared with the november figures.
but plans to use 40 billionros to leverage private investment in energy, transport and digital networks was slashed by a quarter and administrative expenditures were cut as well.
some of the roughly civil servants have already begun strike action over fears they will lose their jobs and the perks.
cameron, who last month risked isolating himself with a decision to hold a referendum on britain's membership of the, put his cards on the table right from the start on thursday.
"when we were last here in november, the numbers that were put forward were much too high. they need to come down and if they don't come down, there won't be a deal," cameron said.
french president francois hollande, meanwhile, said cuts in support for farmers and investment for growth would be his red lines but he may be able to argue that globally, he has managed to protect key areas of concern to paris.
diplomats pointed to a provision which might allow another 12 billionros from fines and unspent funds to be written back into the payments line, thus bringing it back up to 920 billionros and allowing more flexibility.
(afp)
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eu* ˈlidərz ɪn ˈbrəsəlz ɔn ˈfraɪˌdeɪ ɛʤd təˈwɔrdz ə ˈbəʤɪt dil ðət wʊd fɪks ðə blɑks ˈsilɪŋ fər ˈoʊvərˌɔl ˈspɛndɪŋ æt ˈbɪljən, wɪθ aʊərz əv hɑrd ˈbɑrgɪnɪŋ stɪl ɪkˈspɛktɪd ˌbiˈfɔr ə ˈfaɪnəl əˈgrimənt ɪz saɪnd təˈdeɪ. ˈædvərˌtaɪzɪŋ rɛd mɔr ˈlidərz əˈpɪrd pɔɪzd ˈfraɪˌdeɪ tɪ kət ðə blɑks ˈbəʤɪt fər ðə fərst taɪm ɪn ɪts ˈhɪstəri, wɪθ ə ˈtɛntətɪv əˈgrimənt tɪ trɪm ˈspɛndɪŋ baɪ θri pərˈsɛnt ˈoʊvər ðə rɛst əv ðə ˈdɛkeɪd, ˈdɪpləˌmæts sɛd. ˈæftər ə ʃɔrt breɪk ˈfɑloʊɪŋ ə ˈsɛʃən ˈlæstɪŋ θru ðə naɪt, ðə blɑks 27 ˈlidərz wər du tɪ rɪˈtərn tɪ ðə nɪˈgoʊʃiˌeɪtɪŋ ˈteɪbəl æt 1200 gmt*. æt ðə ˈmɛrəˌθɑn tɔks tɪ ˈproʊdus ə ˈbəʤɪt, ˈbrɪtɪʃ praɪm ˈmɪnɪstər ˈdeɪvɪd ˈkæmərən, əˈpɛrəntli bækt baɪ ˈʤərmən ˈʧænsələr ˈænʤələ ˈmərkəl, lɛd ə səˈsteɪnd pʊʃ fər ðə tɪ ʃɛr ɪn ðə ˌɔˈstɛrɪti ˈnæʃənəl ˈgəvərnmənts ər ˈfeɪsɪŋ. fræns, əˈlɔŋ wɪθ ˈɪtəli, fɔt tɪ prəˈtɛkt ˈspɛndɪŋ ɪt siz ɛz ɛˈsɛnʃəl tɪ bust groʊθ ənd ʤɑbz æt ə taɪm əv ˈrɛkərd ˌənɪmˈplɔɪmənt, bət ˌɪndəˈkeɪʃənz ˈərli ˈfraɪˌdeɪ wər ðət ˈpɛrɪs kʊd lɪv wɪθ ðə dil. fræns krɪˈstɔf rɪˈpɔrts frəm ˈbrəsəlz "ɪt ɪz nɑt ə fænˈtæstɪk ˈkɑmprəˌmaɪz dil bət ɪt ɪz əkˈsɛptəbəl," ə frɛnʧ ˌdɪpləˈmætɪk sɔrs toʊld afp*. ə dræft dil sɛts ðə ˈækʧəwəl ˈspɛndɪŋ ər "ˈpeɪmənts" æt ˈbɪljən ˈjuˌroʊz ˈtrɪljən), wɪθ ən ˈæbsəˌlut ˈsilɪŋ əv 960 ˈbɪljən ˈjuˌroʊz fər ˈspɛndɪŋ "kəˈmɪtmənts" tɪ ðə ˈbəʤɪt. ðə ˈleɪtəst ˈfɪgjərz wʊd ˌrɛprɪˈzɛnt ə pərˈsɛnt kət frəm ðə ˈbəʤɪt ənd wər lɛs ðən ðə 973 ˈbɪljən ˈjuˌroʊz ðət ˈkæmərən ənd ˈælaɪz səʧ ɛz ðə ˈnɛðərləndz rɪˈʤɛktɪd æt ə ˈbəʤɪt ˈsəmɪt ɪn noʊˈvɛmbər ðət kəˈlæpst wɪˈθaʊt ˈɛni dil. ɪn ðə ˈbəʤɪt ˈprɔˌsɛs, kəˈmɪtmənts rɪˈfər tɪ ðə ˈmæksəməm əˈmaʊnt ðət kən bi ˈæləˌkeɪtɪd tɪ waɪl ˈækʧəwəl ˈspɛndɪŋ ər "ˈpeɪmənts" ɪz ˈjuʒəwəli loʊər ɛz ˈprɑʤɛkts ər dɪˈleɪd ər drɑpt. ərˈɪʤənəli, ðə ˌjʊrəˈpiən kəˈmɪʃən hæd ˈwɔntɪd ə pərˈsɛnt ˌɪnˈkris ɪn kəˈmɪtmənts tɪ ˈtrɪljən ˈjuˌroʊz ˈtrɪljən) əˈbaʊt wən pərˈsɛnt əv ðə ˈtoʊtəl groʊs dəˈmɛstɪk ˈprɑdəkt. ˈæftər ə dɪˈleɪ ˈθərzˌdeɪ, ˈlidərz θræʃt aʊt ðə ˈditeɪlz ˈoʊvərˈnaɪt ˌbiˈfɔr ˈbreɪkɪŋ ɪn ðə ˈmɔrnɪŋ. əˈmɪd ðə kəts, ðeɪ ˈɔlsoʊ ˈmænɪʤd tɪ faɪnd sɪks ˈbɪljən ˈjuˌroʊz fər ə nu fənd tɪ ˈtækəl juθ ˌənɪmˈplɔɪmənt. ˈʤɑbləs ˈnəmbərz əˈkrɔs ðə ər ˈkərəntli ˈoʊvər 26 ˈmɪljən, wɪθ ˈnɪrli θri aʊt əv faɪv ˈəndər ðə eɪʤ əv 25 aʊt əv wərk ɪn speɪn ənd gris. ɪf ðə tɔks du ˈfaɪnəli dɪˈlɪvər ən əˈkɔrd, ðɛr ɪz əˈnəðər ˌɪmˈpɔrtənt ˈhərdəl stɪl tɪ klɪr ðə ˌjʊrəˈpiən ˈpɑrləmɛnt wɪʧ məst əˈpruv ɪt ənd ˈlɔˌmeɪkərz hæv ɔˈrɛdi meɪd klɪr ðeɪ ər ɪn noʊ mud fər mɔr ˌɔˈstɛrɪti. ˈpɑrləmɛnt hɛd ˈmɑrtɪn ʃʊlts sɛd ˈbləntli ɔn ˈθərzˌdeɪ ðət hi ənd ðə əˈsɛmbli wʊd nɑt əkˈsɛpt ə ˈbəʤɪt wɪʧ wʊd ˈkɑmprəˌmaɪz ənd ˈəndərˌkət ɪts fˈjuʧər. ðə dræft ʃoʊd ki ˈbəʤɪt ˈɛriəz ðə ˈkɑmən ˌægrɪˈkəlʧərəl ˈpɑləsi səˈpɔrt ˈpeɪmənts tɪ ˈfɑrmərz ənd koʊˈhiʒən fəndz, ə ˈkruʃəl sɔrs əv ˈməni fər nu ˈmɛmbərz ˈsikɪŋ tɪ kæʧ əp wɪθ ðɛr pɪrz tɪ bi ˈlɑrʤli ənˈtəʧt kəmˈpɛrd wɪθ ðə noʊˈvɛmbər ˈfɪgjərz. bət plænz tɪ juz 40 ˈbɪljən ˈjuˌroʊz tɪ ˈlɛvərɪʤ ˈpraɪvət ˌɪnˈvɛstmənt ɪn ˈɛnərʤi, ˈtrænspɔrt ənd ˈdɪʤɪtəl ˈnɛtˌwərks wɑz slæʃt baɪ ə kˈwɔrtər ənd ədˈmɪnɪˌstreɪtɪv ɪkˈspɛndɪʧərz wər kət ɛz wɛl. səm əv ðə ˈrəfli ˈsɪvəl ˈsərvənts hæv ɔˈrɛdi ˈbeɪgən straɪk ˈækʃən ˈoʊvər fɪrz ðeɪ wɪl luz ðɛr ʤɑbz ənd ðə pərks. ˈkæmərən, hu læst mənθ rɪskt ˈaɪsəˌleɪtɪŋ hɪmˈsɛlf wɪθ ə dɪˈsɪʒən tɪ hoʊld ə ˌrɛfərˈɛndəm ɔn ˈbrɪtənz ˈmɛmbərˌʃɪp əv ðə, pʊt hɪz kɑrdz ɔn ðə ˈteɪbəl raɪt frəm ðə stɑrt ɔn ˈθərzˌdeɪ. "wɪn wi wər læst hir ɪn noʊˈvɛmbər, ðə ˈnəmbərz ðət wər pʊt ˈfɔrwərd wər məʧ tu haɪ. ðeɪ nid tɪ kəm daʊn ənd ɪf ðeɪ doʊnt kəm daʊn, ðɛr woʊnt bi ə dil," ˈkæmərən sɛd. frɛnʧ ˈprɛzɪdənt frɑnsˈwɑ hollande*, ˈminˌwaɪl, sɛd kəts ɪn səˈpɔrt fər ˈfɑrmərz ənd ˌɪnˈvɛstmənt fər groʊθ wʊd bi hɪz rɛd laɪnz bət hi meɪ bi ˈeɪbəl tɪ ˈɑrgju ðət ˈgloʊbəli, hi həz ˈmænɪʤd tɪ prəˈtɛkt ki ˈɛriəz əv kənˈsərn tɪ ˈpɛrɪs. ˈdɪpləˌmæts ˈpɔɪntɪd tɪ ə prəˈvɪʒən wɪʧ maɪt əˈlaʊ əˈnəðər 12 ˈbɪljən ˈjuˌroʊz frəm faɪnz ənd ənˈspɛnt fəndz tɪ bi ˈrɪtən bæk ˈɪntu ðə ˈpeɪmənts laɪn, ðəs ˈbrɪŋɪŋ ɪt bæk əp tɪ 920 ˈbɪljən ˈjuˌroʊz ənd əˈlaʊɪŋ mɔr ˌflɛksəˈbɪləti. (afp*)
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the food and drug administration announced yesterday that it wants endo pharmaceuticals to take er, a, medication, off the market.
"the abuse and manipulation of reformulated er by injection has resulted in a serious disease outbreak," janet woodcock, director of the center for drug evaluation and research, said in a statement released thursday. "when we determined that the product had dangerous unintended consequences, we made a decision to request its withdrawal from the market."
it is a good thing woodcock mentioned unintended consequences. starting around 2010, pharmaceutical companies in the u.s. at the behest began releasing versions of their drugs that users could not easily crush and then snort or inject. back in the halcyon days of the crisis, when more americans were dying of car accidents than overdoses, crushing and snortings was the most popular way to use them illicitly.
introducing was at the time considered a huge public health victory. "some of the most widely abused drugs, including oxycontin, have been in formulations and introduced in place of their original versions," wrote former sen. tom coburn and scott gottlieb, now the head of the, in a 2012 post for the american enterprise institute. "rates of abuse have fallen sharply as a consequence."
but while gottlieb and coburn were heralding formulations as a way to curtail use ofs, users were busy figuring out other ways to get high. some people simply chewed the pills. some people figured out how to cook and inject them. many people turned to heroin, which was suddenly cheaper than the newly patented formulations.
in 2015, researchers at the university of toronto and women's college hospital in toronto released findings that the model has not, and likely will not, solve the problem. yes, fewer patients were overdosing on medications, but "growing evidence shows that the introduction of formulations has not lowered the rates of-related deaths at a population level."
why? researchers found "increasing evidence that individuals shift to others, including uncontrolled formulations such as heroin, when availability of prescriptions changes."
(you don't need to read a study to know this. the internet is rich with accounts from pill users, by the new formulations or cut off from their prescription by fearful to heroin.)
in the case of er, a version of which endo brought to market in 2012, users who had previously snorted the drug took to injecting it. this phenomenon led to the largest outbreak in indiana's history, which then-gov. mike pence initially addressed by praying.
that outbreak, and related cases of hepatitis c, are likely part of the "serious disease outbreak" woodcock referenced in the press release. left unmentioned is the likelihood that has played a large role in the increased importation of fentanyl, a drug that is not just deadlier than heroin, but far deadlier than thes that kicked off this current public health crisis.
endo has the option to voluntarily remove er from the market. if the company declines, the "intends to take steps to formally require its removal by withdrawing approval."
until that happens, the says it "is making health care professionals and others aware of the particularly serious risks associated with the abuse of this product."
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ðə fud ənd drəg ædˌmɪnɪˈstreɪʃən əˈnaʊnst ˈjɛstərˌdeɪ ðət ɪt wɔnts ˈɛndoʊ ˌfɑrməˈsutɪkəlz tɪ teɪk ər, ə, ˌmɛdəˈkeɪʃən, ɔf ðə ˈmɑrkɪt. "ðə əˈbjuz ənd məˌnɪpjəˈleɪʃən əv riˈfɔrmjəˌleɪtɪd ər baɪ ˌɪnˈʤɛkʃən həz rɪˈzəltɪd ɪn ə ˈsɪriəs dɪˈziz ˈaʊtˌbreɪk," ˈʤænɪt ˈwʊdˌkɑk, dɪˈrɛktər əv ðə ˈsɛnər fər drəg ɪˌvæljuˈeɪʃən ənd ˈrisərʧ, sɛd ɪn ə ˈsteɪtmənt riˈlist ˈθərzˌdeɪ. "wɪn wi dɪˈtərmənd ðət ðə ˈprɑdəkt hæd ˈdeɪnʤərəs ˌənɪnˈtɛndɪd ˈkɑnsəkˌwɛnsəz, wi meɪd ə dɪˈsɪʒən tɪ rɪkˈwɛst ɪts wɪθˈdrɔəl frəm ðə ˈmɑrkɪt." ɪt ɪz ə gʊd θɪŋ ˈwʊdˌkɑk ˈmɛnʃənd ˌənɪnˈtɛndɪd ˈkɑnsəkˌwɛnsəz. ˈstɑrtɪŋ əraʊnd 2010 ˌfɑrməˈsutɪkəl ˈkəmpəˌniz ɪn ðə juz. æt ðə bɪˈhɛst bɪˈgæn riˈlisɪŋ ˈvərʒənz əv ðɛr drəgz ðət ˈjuzərz kʊd nɑt ˈizəli krəʃ ənd ðɛn snɔrt ər ˌɪnˈʤɛkt. bæk ɪn ðə ˈhælsiən deɪz əv ðə ˈkraɪsəs, wɪn mɔr əˈmɛrɪkənz wər daɪɪŋ əv kɑr ˈæksədənts ðən ˈoʊvərˌdoʊsɪz, ˈkrəʃɪŋ ənd sˈnɔrtɪŋ wɑz ðə moʊst ˈpɑpjələr weɪ tɪ juz ðɛm ˈɪlɪsɪtli. ˌɪntrəˈdusɪŋ wɑz æt ðə taɪm kənˈsɪdərd ə juʤ ˈpəblɪk hɛlθ ˈvɪktəri. "səm əv ðə moʊst ˈwaɪdli əˈbjuzd drəgz, ˌɪnˈkludɪŋ oxycontin*, hæv bɪn ɪn ˌfɔrmjuˈleɪʃənz ənd ˌɪntrəˈdust ɪn pleɪs əv ðɛr ərˈɪʤənəl ˈvərʒənz," roʊt ˈfɔrmər sɛn. tɑm ˈkoʊbərn ənd skɑt ˈgɑˌtlib, naʊ ðə hɛd əv ðə, ɪn ə 2012 poʊst fər ðə əˈmɛrɪkən ˈɛnərˌpraɪz ˈɪnstɪˌtut. "reɪts əv əˈbjuz hæv ˈfɑlən ˈʃɑrpli ɛz ə ˈkɑnsəkwəns." bət waɪl ˈgɑˌtlib ənd ˈkoʊbərn wər ˈhɛrəldɪŋ ˌfɔrmjuˈleɪʃənz ɛz ə weɪ tɪ kərˈteɪl juz əv, ˈjuzərz wər ˈbɪzi ˈfɪgjərɪŋ aʊt ˈəðər weɪz tɪ gɪt haɪ. səm ˈpipəl ˈsɪmpli ʧud ðə pɪlz. səm ˈpipəl ˈfɪgjərd aʊt haʊ tɪ kʊk ənd ˌɪnˈʤɛkt ðɛm. ˈmɛni ˈpipəl tərnd tɪ ˈhɛroʊən, wɪʧ wɑz ˈsədənli ˈʧipər ðən ðə ˈnuli ˈpætəntɪd ˌfɔrmjuˈleɪʃənz. ɪn 2015 ˈrisərʧərz æt ðə ˌjunəˈvərsəti əv tərˈɑntoʊ ənd ˈwɪmənz ˈkɑlɪʤ ˈhɑˌspɪtəl ɪn tərˈɑntoʊ riˈlist ˈfaɪndɪŋz ðət ðə ˈmɑdəl həz nɑt, ənd ˈlaɪkli wɪl nɑt, sɑlv ðə ˈprɑbləm. jɛs, fjuər ˈpeɪʃənz wər ˈoʊvərˌdoʊsɪŋ ɔn ˌmɛdəˈkeɪʃənz, bət "groʊɪŋ ˈɛvədəns ʃoʊz ðət ðə ˌɪntrəˈdəkʃən əv ˌfɔrmjuˈleɪʃənz həz nɑt loʊərd ðə reɪts əv dɛθs æt ə ˌpɑpjəˈleɪʃən ˈlɛvəl." waɪ? ˈrisərʧərz faʊnd "ˌɪnˈkrisɪŋ ˈɛvədəns ðət ˌɪndəˈvɪʤəwəlz ʃɪft tɪ ˈəðər, ˌɪnˈkludɪŋ ˌənkənˈtroʊld ˌfɔrmjuˈleɪʃənz səʧ ɛz ˈhɛroʊən, wɪn əˌveɪləˈbɪlɪti əv prəˈskrɪpʃən ˈʧeɪnʤɪz." (ju doʊnt nid tɪ rɛd ə ˈstədi tɪ noʊ ðɪs. ðə ˈɪntərˌnɛt ɪz rɪʧ wɪθ əˈkaʊnts frəm pɪl ˈjuzərz, baɪ ðə nu ˌfɔrmjuˈleɪʃənz ər kət ɔf frəm ðɛr prəˈskrɪpʃən baɪ ˈfɪrfəl tɪ ˈhɛroʊən.) ɪn ðə keɪs əv ər, ə ˈvərʒən əv wɪʧ ˈɛndoʊ brɔt tɪ ˈmɑrkɪt ɪn 2012 ˈjuzərz hu hæd ˈpriviəsli sˈnɔrtɪd ðə drəg tʊk tɪ ˌɪnˈʤɛktɪŋ ɪt. ðɪs fəˈnɑməˌnɑn lɛd tɪ ðə ˈlɑrʤəst ˈaʊtˌbreɪk ɪn ˌɪndiˈænəz ˈhɪstəri, wɪʧ then-gov*. maɪk pɛns ˌɪˈnɪʃəli əˈdrɛst baɪ preɪɪŋ. ðət ˈaʊtˌbreɪk, ənd rɪˈleɪtɪd ˈkeɪsɪz əv ˌhɛpəˈtaɪtəs si, ər ˈlaɪkli pɑrt əv ðə "ˈsɪriəs dɪˈziz ˈaʊtˌbreɪk" ˈwʊdˌkɑk ˈrɛfərənst ɪn ðə prɛs riˈlis. lɛft ənˈmɛnʧənd ɪz ðə ˈlaɪkliˌhʊd ðət həz pleɪd ə lɑrʤ roʊl ɪn ðə ˌɪnˈkrist ˌɪmpɔrˈteɪʃən əv fentanyl*, ə drəg ðət ɪz nɑt ʤɪst ˈdɛdliər ðən ˈhɛroʊən, bət fɑr ˈdɛdliər ðən ðə ðət kɪkt ɔf ðɪs ˈkɑrənt ˈpəblɪk hɛlθ ˈkraɪsəs. ˈɛndoʊ həz ðə ˈɔpʃən tɪ ˌvɑlənˈtɛrəli riˈmuv ər frəm ðə ˈmɑrkɪt. ɪf ðə ˈkəmpəˌni dɪˈklaɪnz, ðə "ˌɪnˈtɛndz tɪ teɪk stɛps tɪ ˈfɔrməli ˌrikˈwaɪər ɪts rɪˈmuvəl baɪ wɪθˈdrɔɪŋ əˈpruvəl." ənˈtɪl ðət ˈhæpənz, ðə sɪz ɪt "ɪz ˈmeɪkɪŋ hɛlθ kɛr prəˈfɛʃənəlz ənd ˈəðərz əˈwɛr əv ðə ˌpɑrˈtɪkjələrli ˈsɪriəs rɪsks əˈsoʊʃiˌeɪtəd wɪθ ðə əˈbjuz əv ðɪs ˈprɑdəkt."
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the california coastal commission has banned the breeding of orcas in, as a condition on the approval of a $100 million expansion of the tanks to house the marine mammals in san diego facility.
the breeding last-minute amendment that followed a hearing on only affect the captive orcas at the california park, not facilities in other states, reports the guardian. the amendment also prohibits the sale, trade or transfer of captive orcas.
“the action today ensures that no more orcas will be condemned to a of loneliness, deprivation, and misery,” people for the ethical treatment of animals said in a statement.
the commission attached several other conditions to the approval blue world expansion in san diego, including one that no new whales from the wild will be kept there.
seaworld said in a statement that the company was disappointed with the conditions attached to the approved expansion, which would see its killer whale enclosures triple in size.
“breeding is a natural, fundamental and important part of an life and depriving a social animal of the right to reproduce is inhumane,” says the park.
seaworld san diego is currently home to 11 orcas, the star attractions of the facility.
26 of life's best animal covers life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine life magazine 1 of 26 advertisement
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ðə ˌkæləˈfɔrnjə ˈkoʊstəl kəˈmɪʃən həz bænd ðə ˈbridɪŋ əv ˈɔrkəs ɪn, ɛz ə kənˈdɪʃən ɔn ðə əˈpruvəl əv ə 100 ˈmɪljən ɪkˈspænʧən əv ðə tæŋks tɪ haʊs ðə mərˈin ˈmæməlz ɪn sæn diˈeɪgoʊ fəˈsɪlɪti. ðə ˈbridɪŋ ˌlæsˈmɪnət əˈmɛndmənt ðət ˈfɑloʊd ə ˈhirɪŋ ɔn ˈoʊnli əˈfɛkt ðə ˈkæptɪv ˈɔrkəs æt ðə ˌkæləˈfɔrnjə pɑrk, nɑt fəˈsɪlɪtiz ɪn ˈəðər steɪts, rɪˈpɔrts ðə ˈgɑrdiən. ðə əˈmɛndmənt ˈɔlsoʊ proʊˈhɪbəts ðə seɪl, treɪd ər ˈtrænsfər əv ˈkæptɪv ˈɔrkəs. ˈækʃən təˈdeɪ ɪnˈʃʊrz ðət noʊ mɔr ˈɔrkəs wɪl bi kənˈdɛmd tɪ ə əv ˈloʊnlinəs, ˌdɛprəˈveɪʃən, ənd misery,”*,” ˈpipəl fər ðə ˈɛθɪkəl ˈtritmənt əv ˈænəməlz sɛd ɪn ə ˈsteɪtmənt. ðə kəˈmɪʃən əˈtæʧt ˈsɛvərəl ˈəðər kənˈdɪʃənz tɪ ðə əˈpruvəl blu wərld ɪkˈspænʧən ɪn sæn diˈeɪgoʊ, ˌɪnˈkludɪŋ wən ðət noʊ nu weɪlz frəm ðə waɪld wɪl bi kɛpt ðɛr. sɛd ɪn ə ˈsteɪtmənt ðət ðə ˈkəmpəˌni wɑz ˌdɪsəˈpɔɪnɪd wɪθ ðə kənˈdɪʃənz əˈtæʧt tɪ ðə əˈpruvd ɪkˈspænʧən, wɪʧ wʊd si ɪts ˈkɪlər weɪl ɪnˈkloʊʒərz ˈtrɪpəl ɪn saɪz. ɪz ə ˈnæʧərəl, ˌfəndəˈmɛnəl ənd ˌɪmˈpɔrtənt pɑrt əv ən laɪf ənd dɪˈpraɪvɪŋ ə ˈsoʊʃəl ˈænəməl əv ðə raɪt tɪ ˌriprəˈdus ɪz inhumane,”*,” sɪz ðə pɑrk. sæn diˈeɪgoʊ ɪz ˈkərəntli hoʊm tɪ 11 ˈɔrkəs, ðə stɑr əˈtrækʃənz əv ðə fəˈsɪlɪti. 26 əv laɪfs bɛst ˈænəməl ˈkəvərz laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin laɪf ˈmægəˌzin 1 əv 26 ˌædvərˈtaɪzmənt ˈkɑnˌtækt ˈjuˈɛs æt [email protected]*.
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uncertainty on the visa front is the main challenge for india's information technology sector in but it's going to be business as usual otherwise, said industry veteran kris.
"the challenge mainly arises because of uncertainties on the visa front (emanating from us)," the and former ceo of told in an interview, discussing prospects of it industry in the new financial year.
"that's one challenge i see. i don't see anything particularly different this year except for the visa issue.
everything points to a steady growth for the industry," said the former president of the confederation of indian industry.
"if the global grows around per cent, (global) it investment will grow around per cent and indian it will grow about per cent higher than that. so, it (indian it industry) will grow around per cent (in)."
he said the current fiscal is not going to be the most challenging for the it industry, noting the financial crisis in 2008 had brought the growth rate to almost zero then.
in the era of digitisation, indian companies are moving in that space, where new firms are also emerging.
clients and the industry are increasing investments into some of the new technologies, he said.
hiring in the it sector has come down because of slower growth rate, and increasing automation on some types of services such as infrastructure management and testing, he said.
on salaries of it engineers not seeing hike in recent years, said it's a function of supply and demand, and the industry had a large supply and so the salaries are modestly growing.
he said indian it engineers also need to move into user industries such as retail manufacturing, healthcare and financial services which require it deployment.
they also need to look at opportunities such as those in product companies and firms providing services on the cloud which require "unique and skills".
he did not agree with perception in some quarters that india is "pleading" with the us on the visa issue.
"this is a trade issue. we have certain strengths which we need to leverage. services is our strength. having said that, we need to look at new models, we need to look at how the industry can transform. i see this happening. lot more us companies are setting up it operations in india. so, the companies are shifting to india," said.
there have been apprehensions that under the new administration in us, there may be a clamp down on visas which can hurt indian it industry. the us is the largest market for indian firms.
h1-b is a visa that allows us companies to employ foreign workers in speciality occupations that require theoretical or technical expertise. technology companies, including those from india, depend on it for hiring tens of thousands of employees each year.
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ənˈsərtənti ɔn ðə ˈvizə frənt ɪz ðə meɪn ˈʧælənʤ fər ˈɪndiəz ˌɪnˌfɔrˈmeɪʃən tɛkˈnɑləʤi ˈsɛktər ɪn bət ɪts goʊɪŋ tɪ bi ˈbɪznɪs ɛz ˈjuʒəwəl ˈəðərˌwaɪz, sɛd ˈɪndəstri ˈvɛtərən krɪs. "ðə ˈʧælənʤ ˈmeɪnli ərˈaɪzɪz bɪˈkəz əv ənˈsərtəntiz ɔn ðə ˈvizə frənt (ˈɛməˌneɪtɪŋ frəm ˈjuˈɛs)," ðə ənd ˈfɔrmər ˈsiˌiˈoʊ əv toʊld ɪn ən ˈɪntərvˌju, dɪˈskəsɪŋ ˈprɑspɛkts əv ɪt ˈɪndəstri ɪn ðə nu ˌfaɪˈnænʃəl jɪr. "ðæts wən ˈʧælənʤ aɪ si. aɪ doʊnt si ˈɛniˌθɪŋ ˌpɑrˈtɪkjələrli ˈdɪfərənt ðɪs jɪr ɪkˈsɛpt fər ðə ˈvizə ˈɪʃu. ˈɛvriˌθɪŋ pɔɪnts tɪ ə ˈstɛdi groʊθ fər ðə ˈɪndəstri," sɛd ðə ˈfɔrmər ˈprɛzɪdənt əv ðə kənˌfɛdərˈeɪʃən əv ˈɪndiən ˈɪndəstri. "ɪf ðə ˈgloʊbəl groʊz əraʊnd pər sɛnt, (ˈgloʊbəl) ɪt ˌɪnˈvɛstmənt wɪl groʊ əraʊnd pər sɛnt ənd ˈɪndiən ɪt wɪl groʊ əˈbaʊt pər sɛnt haɪər ðən ðət. soʊ, ɪt (ˈɪndiən ɪt ˈɪndəstri) wɪl groʊ əraʊnd pər sɛnt (ɪn hi sɛd ðə ˈkɑrənt ˈfɪskəl ɪz nɑt goʊɪŋ tɪ bi ðə moʊst ˈʧælənʤɪŋ fər ðə ɪt ˈɪndəstri, ˈnoʊtɪŋ ðə ˌfaɪˈnænʃəl ˈkraɪsəs ɪn 2008 hæd brɔt ðə groʊθ reɪt tɪ ˈɔlˌmoʊst ˈziroʊ ðɛn. ɪn ðə ˈɪrə əv digitisation*, ˈɪndiən ˈkəmpəˌniz ər ˈmuvɪŋ ɪn ðət speɪs, wɛr nu fərmz ər ˈɔlsoʊ ˈimərʤɪŋ. klaɪənts ənd ðə ˈɪndəstri ər ˌɪnˈkrisɪŋ ˌɪnˈvɛstmənts ˈɪntu səm əv ðə nu tɛkˈnɑləʤiz, hi sɛd. ˈhaɪrɪŋ ɪn ðə ɪt ˈsɛktər həz kəm daʊn bɪˈkəz əv sloʊər groʊθ reɪt, ənd ˌɪnˈkrisɪŋ ɔtəˈmeɪʃən ɔn səm taɪps əv ˈsərvɪsɪz səʧ ɛz ˌɪnfrəˈstrəkʧər ˈmænɪʤmənt ənd ˈtɛstɪŋ, hi sɛd. ɔn ˈsæləriz əv ɪt ˈɛnʤəˈnɪrz nɑt siɪŋ haɪk ɪn ˈrisənt jɪrz, sɛd ɪts ə ˈfəŋkʃən əv səˈplaɪ ənd dɪˈmænd, ənd ðə ˈɪndəstri hæd ə lɑrʤ səˈplaɪ ənd soʊ ðə ˈsæləriz ər ˈmɑdəstli groʊɪŋ. hi sɛd ˈɪndiən ɪt ˈɛnʤəˈnɪrz ˈɔlsoʊ nid tɪ muv ˈɪntu ˈjuzər ˈɪndəstriz səʧ ɛz ˈriˌteɪl ˌmænjəˈfækʧərɪŋ, ˈhɛlθˌkɛr ənd ˌfaɪˈnænʃəl ˈsərvɪsɪz wɪʧ ˌrikˈwaɪər ɪt dɪˈplɔɪmənt. ðeɪ ˈɔlsoʊ nid tɪ lʊk æt ˌɑpərˈtunətiz səʧ ɛz ðoʊz ɪn ˈprɑdəkt ˈkəmpəˌniz ənd fərmz prəˈvaɪdɪŋ ˈsərvɪsɪz ɔn ðə klaʊd wɪʧ ˌrikˈwaɪər "juˈnik ənd skɪlz". hi dɪd nɑt əˈgri wɪθ pərˈsɛpʃən ɪn səm kˈwɔrtərz ðət ˈɪndiə ɪz "ˈplidɪŋ" wɪθ ðə ˈjuˈɛs ɔn ðə ˈvizə ˈɪʃu. "ðɪs ɪz ə treɪd ˈɪʃu. wi hæv ˈsərtən strɛŋθs wɪʧ wi nid tɪ ˈlɛvərɪʤ. ˈsərvɪsɪz ɪz ɑr strɛŋθ. ˈhævɪŋ sɛd ðət, wi nid tɪ lʊk æt nu ˈmɑdəlz, wi nid tɪ lʊk æt haʊ ðə ˈɪndəstri kən ˈtrænsfɔrm. aɪ si ðɪs ˈhæpənɪŋ. lɔt mɔr ˈjuˈɛs ˈkəmpəˌniz ər ˈsɛtɪŋ əp ɪt ˌɑpərˈeɪʃənz ɪn ˈɪndiə. soʊ, ðə ˈkəmpəˌniz ər ˈʃɪftɪŋ tɪ ˈɪndiə," sɛd. ðɛr hæv bɪn ˌæprɪˈhɛnʃənz ðət ˈəndər ðə nu ædˌmɪnɪˈstreɪʃən ɪn ˈjuˈɛs, ðɛr meɪ bi ə klæmp daʊn ɔn ˈvizəz wɪʧ kən hərt ˈɪndiən ɪt ˈɪndəstri. ðə ˈjuˈɛs ɪz ðə ˈlɑrʤəst ˈmɑrkɪt fər ˈɪndiən fərmz. ɪz ə ˈvizə ðət əˈlaʊz ˈjuˈɛs ˈkəmpəˌniz tɪ ɪmˈplɔɪ ˈfɔrən ˈwərkərz ɪn ˌspɛʃiˈælɪti ˌɑkjəˈpeɪʃənz ðət ˌrikˈwaɪər ˌθiərˈɛtɪkəl ər ˈtɛknɪkəl ˌɛkspərˈtiz. tɛkˈnɑləʤi ˈkəmpəˌniz, ˌɪnˈkludɪŋ ðoʊz frəm ˈɪndiə, dɪˈpɛnd ɔn ɪt fər ˈhaɪrɪŋ tɛnz əv ˈθaʊzənz əv ɪmˈplɔɪiz iʧ jɪr.
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mobileye says capability of system to do the job was overstated but company denies ever suggesting its cars could drive themselves
mobileye broke ties with tesla motors because the silicon valley firm was “pushing the envelope in terms of safety” with the design of its autopilot system, its chairman has said.
“it is not designed to cover all possible crash situations in a safe manner,” said, who is also chief technology officer at the maker of collision detection and driver assistance systems.
“no matter how you spin it, [autopilot] is not designed for that. it is a driver assistance system and not a driverless system.”
the safety of autopilot, which helps drivers stay in lanes and steer on highways, was thrust into the public spotlight after a fatal crash involving a tesla model s driver using the new technology in may. tesla said in a after the accident that “neither autopilot nor the driver noticed the white side of the tractor trailer against a brightly lit sky, so the brake was not applied”.
in china, a family is suing tesla after the driver was killed when a model s struck a truck.
tesla announces update to system after fatality in may read more
a tesla spokeswoman said on wednesday the company had never described autopilot as an autonomous technology or car.
“since the release of autopilot continuously educated customers on the use of the features, reminding them that responsible to keep their hands on the wheel and remain alert and present when using autopilot,” the spokeswoman said. “drivers must be prepared to take control at all times”
however, drivers using autopilot have been known to take their hands off the wheel at highway speeds for several minutes at a time. youtube videos proliferated soon after the launch showing tesla drivers going hands-free, prompting musk to express concern about drivers doing “crazy things”.
on sunday, tesla said it would update autopilot to make it more difficult for drivers to ignore warnings to keep hands on the wheel and other changes that musk said would probably have prevented the fatality in may. musk said on sunday that as drivers became familiar with the system, they tended to ignore audible warnings to retake the wheel.
still, musk said, the revised system would allow a hands to be off the wheel for up to three minutes while following a car at highway speeds.
shashua’s comments escalate an unusually public rift in an industry where suppliers and automakers rarely speak ill of each other in public. after announced its break with tesla in july in the wake of the fatality, tesla said in a statement that could not keep pace with product changes.
tesla says it has 'no way of knowing' if autopilot was used in fatal chinese crash read more
“our parting ways was inevitable,” musk told a press conference in late july.
shashua said the company had reservations about the mixed messages from tesla about autopilot both boasting of its capabilities while cautioning that drivers needed to keep their hands on the wheel especially after watching response to the florida crash.
“long term this is going to hurt the interests of the company and hurt the interests of an entire industry, if a company of our reputation will continue to be associated with this type of pushing the envelope in terms of safety,” he said.
the company counts as customers 27 automakers for its collision detection systems, which represent around 70% of the current market.
tesla and musk have also said the florida death was the first known fatality involving a car operating on autopilot in miles of driving, and have compared that with the average of one death every miles of driving by vehicles worldwide.
with reuters
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mobileye* sɪz ˌkeɪpəˈbɪləti əv ˈsɪstəm tɪ du ðə ʤɑb wɑz ˈoʊvərˌsteɪtɪd bət ˈkəmpəˌni dɪˈnaɪz ˈɛvər səˈʤɛstɪŋ ɪts kɑz kʊd draɪv ðɛmˈsɛlvz broʊk taɪz wɪθ ˈtɛzlə ˈmoʊtərz bɪˈkəz ðə ˈsɪləkən ˈvæli fərm wɑz ðə ˈɛnvəˌloʊp ɪn tərmz əv safety”*” wɪθ ðə dɪˈzaɪn əv ɪts ˈɔtoʊˌpaɪlət ˈsɪstəm, ɪts ˈʧɛrmən həz sɛd. ɪz nɑt dɪˈzaɪnd tɪ ˈkəvər ɔl ˈpɑsəbəl kræʃ ˌsɪʧuˈeɪʃənz ɪn ə seɪf manner,”*,” sɛd, hu ɪz ˈɔlsoʊ ʧif tɛkˈnɑləʤi ˈɔfɪsər æt ðə ˈmeɪkər əv kəˈlɪʒən dɪˈtɛkʃən ənd ˈdraɪvər əˈsɪstəns ˈsɪstəmz. ˈmætər haʊ ju spɪn ɪt, [ˈɔtoʊˌpaɪlət] ɪz nɑt dɪˈzaɪnd fər ðət. ɪt ɪz ə ˈdraɪvər əˈsɪstəns ˈsɪstəm ənd nɑt ə ˈdraɪvərlɪs system.”*.” ðə ˈseɪfti əv ˈɔtoʊˌpaɪlət, wɪʧ hɛlps ˈdraɪvərz steɪ ɪn leɪnz ənd stɪr ɔn ˈhaɪˌweɪz, wɑz θrəst ˈɪntu ðə ˈpəblɪk ˈspɑˌtlaɪt ˈæftər ə ˈfeɪtəl kræʃ ˌɪnˈvɑlvɪŋ ə ˈtɛzlə ˈmɑdəl ɛs ˈdraɪvər ˈjuzɪŋ ðə nu tɛkˈnɑləʤi ɪn meɪ. ˈtɛzlə sɛd ɪn ə ˈæftər ðə ˈæksədənt ðət ˈɔtoʊˌpaɪlət nɔr ðə ˈdraɪvər ˈnoʊtɪst ðə waɪt saɪd əv ðə ˈtræktər ˈtreɪlər əˈgɛnst ə ˈbraɪtli lɪt skaɪ, soʊ ðə breɪk wɑz nɑt applied”*”. ɪn ˈʧaɪnə, ə ˈfæməli ɪz suɪŋ ˈtɛzlə ˈæftər ðə ˈdraɪvər wɑz kɪld wɪn ə ˈmɑdəl ɛs strək ə trək. ˈtɛzlə əˈnaʊnsɪz ˈəpˌdeɪt tɪ ˈsɪstəm ˈæftər fəˈtælɪti ɪn meɪ rɛd mɔr ə ˈtɛzlə ˈspoʊksˌwʊmən sɛd ɔn ˈwɛnzˌdeɪ ðə ˈkəmpəˌni hæd ˈnɛvər dɪˈskraɪbd ˈɔtoʊˌpaɪlət ɛz ən ɔˈtɑnəməs tɛkˈnɑləʤi ər kɑr. ðə riˈlis əv ˈɔtoʊˌpaɪlət kənˈtɪnjuəsli ˈɛʤəˌkeɪtɪd ˈkəstəmərz ɔn ðə juz əv ðə ˈfiʧərz, riˈmaɪndɪŋ ðɛm ðət riˈspɑnsəbəl tɪ kip ðɛr hænz ɔn ðə wil ənd rɪˈmeɪn əˈlərt ənd ˈprɛzənt wɪn ˈjuzɪŋ autopilot,”*,” ðə ˈspoʊksˌwʊmən sɛd. məst bi priˈpɛrd tɪ teɪk kənˈtroʊl æt ɔl times”*” ˌhaʊˈɛvər, ˈdraɪvərz ˈjuzɪŋ ˈɔtoʊˌpaɪlət hæv bɪn noʊn tɪ teɪk ðɛr hænz ɔf ðə wil æt ˈhaɪˌweɪ spidz fər ˈsɛvərəl ˈmɪnəts æt ə taɪm. ˈjuˌtub ˈvɪdioʊz prəˈlɪfərˌeɪtɪd sun ˈæftər ðə lɔnʧ ʃoʊɪŋ ˈtɛzlə ˈdraɪvərz goʊɪŋ hands-free*, ˈprɑmptɪŋ məsk tɪ ɪkˈsprɛs kənˈsərn əˈbaʊt ˈdraɪvərz duɪŋ things”*”. ɔn ˈsənˌdi, ˈtɛzlə sɛd ɪt wʊd ˈəpˌdeɪt ˈɔtoʊˌpaɪlət tɪ meɪk ɪt mɔr ˈdɪfəkəlt fər ˈdraɪvərz tɪ ˌɪgˈnɔr ˈwɔrnɪŋz tɪ kip hænz ɔn ðə wil ənd ˈəðər ˈʧeɪnʤɪz ðət məsk sɛd wʊd ˈprɑbəˌbli hæv prɪˈvɛnɪd ðə fəˈtælɪti ɪn meɪ. məsk sɛd ɔn ˈsənˌdi ðət ɛz ˈdraɪvərz bɪˈkeɪm fəˈmɪljər wɪθ ðə ˈsɪstəm, ðeɪ ˈtɛndɪd tɪ ˌɪgˈnɔr ˈɑdəbəl ˈwɔrnɪŋz tɪ ˈriˈteɪk ðə wil. stɪl, məsk sɛd, ðə rɪˈvaɪzd ˈsɪstəm wʊd əˈlaʊ ə hænz tɪ bi ɔf ðə wil fər əp tɪ θri ˈmɪnəts waɪl ˈfɑloʊɪŋ ə kɑr æt ˈhaɪˌweɪ spidz. ˈkɑmɛnts ˈɛskəˌleɪt ən ənˈjuˌʒuəli ˈpəblɪk rɪft ɪn ən ˈɪndəstri wɛr səˈplaɪərz ənd ˈɔtoʊˌmeɪkərz ˈrɛrli spik ɪl əv iʧ ˈəðər ɪn ˈpəblɪk. ˈæftər əˈnaʊnst ɪts breɪk wɪθ ˈtɛzlə ɪn ˌʤuˈlaɪ ɪn ðə weɪk əv ðə fəˈtælɪti, ˈtɛzlə sɛd ɪn ə ˈsteɪtmənt ðət kʊd nɑt kip peɪs wɪθ ˈprɑdəkt ˈʧeɪnʤɪz. ˈtɛzlə sɪz ɪt həz 'noʊ weɪ əv noʊɪŋ' ɪf ˈɔtoʊˌpaɪlət wɑz juzd ɪn ˈfeɪtəl ʧaɪˈniz kræʃ rɛd mɔr ˈpɑrtɪŋ weɪz wɑz inevitable,”*,” məsk toʊld ə prɛs ˈkɑnfərəns ɪn leɪt ˌʤuˈlaɪ. sɛd ðə ˈkəmpəˌni hæd ˌrɛzərˈveɪʃənz əˈbaʊt ðə mɪkst ˈmɛsɪʤɪz frəm ˈtɛzlə əˈbaʊt ˈɔtoʊˌpaɪlət boʊθ ˈboʊstɪŋ əv ɪts ˌkeɪpəˈbɪlətiz waɪl ˈkɔʃənɪŋ ðət ˈdraɪvərz ˈnidɪd tɪ kip ðɛr hænz ɔn ðə wil əˈspɛʃəli ˈæftər ˈwɑʧɪŋ rɪˈspɑns tɪ ðə ˈflɔrɪdə kræʃ. tərm ðɪs ɪz goʊɪŋ tɪ hərt ðə ˈɪntərɪsts əv ðə ˈkəmpəˌni ənd hərt ðə ˈɪntərɪsts əv ən ɪnˈtaɪər ˈɪndəstri, ɪf ə ˈkəmpəˌni əv ɑr ˌrɛpjəˈteɪʃən wɪl kənˈtɪnju tɪ bi əˈsoʊʃiˌeɪtəd wɪθ ðɪs taɪp əv ˈpʊʃɪŋ ðə ˈɛnvəˌloʊp ɪn tərmz əv safety,”*,” hi sɛd. ðə ˈkəmpəˌni kaʊnts ɛz ˈkəstəmərz 27 ˈɔtoʊˌmeɪkərz fər ɪts kəˈlɪʒən dɪˈtɛkʃən ˈsɪstəmz, wɪʧ ˌrɛprɪˈzɛnt əraʊnd 70 əv ðə ˈkɑrənt ˈmɑrkɪt. ˈtɛzlə ənd məsk hæv ˈɔlsoʊ sɛd ðə ˈflɔrɪdə dɛθ wɑz ðə fərst noʊn fəˈtælɪti ˌɪnˈvɑlvɪŋ ə kɑr ˈɔpərˌeɪtɪŋ ɔn ˈɔtoʊˌpaɪlət ɪn maɪəlz əv ˈdraɪvɪŋ, ənd hæv kəmˈpɛrd ðət wɪθ ðə ˈævərɪʤ əv wən dɛθ ˈɛvəri maɪəlz əv ˈdraɪvɪŋ baɪ ˈviɪkəlz ˈwərldˈwaɪd. wɪθ ˈrɔɪtərz
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evolution, the most popular online drug market since the silk road, has disappeared without warning. users say $12 million in has also vanished. and it looks like a classic scam.
the market, which sells guns, stolen goods, and counterfeits along with pretty much any drug you can think of, gained fans by loading more quickly and staying online more reliably than competitors like agora and the various silk road clones. its escrow system was designed to prevent rip-offs, and the site was easy to browse. evolution looked so polished and professional that people worried it was the fbi its way to another drug bust.
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it doesn't look like the fbi was involved in this disappearance, though. there's no notice, no announcement about shutting down the internet's current king of illegal sales. vendors and customers are money is gone, and a staff member is saying that the site's creators have taken the money and bounced.
for the past few days, delays have hobbled the site. vendors and users haven't been able to withdraw their money. and now, evolution is nowhere to be found when you search tor, the dark web browser used to access it.
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"kimble" and "verto" are head the silk road's erstwhile dread pirate roberts, they run the show. as evolution users scramble to figure out why the site is down, these creators are gaining a villainous reputation. one of vendors announced the exit scam on reddit, just days after hosting a glowing talking about how much he liked the service:
i have admin access to see parts of the back end, the admins are preparing to exit scam with all the funds. not a single withdrawal has gone through in almost a week. automatic withdrawals has been disabled which is only doing on rare occasions i am so sorry, but and kimble have fucked us all. i have over $20,000 in escrow myself from sales. i can't fucking believe it, absolute scum. i am giving this warning to you all as soon as i possibly could of. confronted kimble and about it, they confirmed it and they're doing it right now..
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it'll be damn near impossible for vendors and buyers to get their money back if this is a true scam. they did, after all, put their money in the hands of people involved in running an illegal digital black market. so this is a bad day for anyone with a substantial chunk of change getting held by the service.
it's a great day for agora, main competitor. without its more polished rival around, agora is likely to see an influx of new customers.
contact the author at [email protected].
public key
pgp fingerprint: 9576 9478
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ˌɛvəˈluʃən, ðə moʊst ˈpɑpjələr ˈɔnˌlaɪn drəg ˈmɑrkɪt sɪns ðə sɪlk roʊd, həz ˌdɪsəˈpɪrd wɪˈθaʊt ˈwɔrnɪŋ. ˈjuzərz seɪ 12 ˈmɪljən ɪn həz ˈɔlsoʊ ˈvænɪʃt. ənd ɪt lʊks laɪk ə ˈklæsɪk skæm. ðə ˈmɑrkɪt, wɪʧ sɛlz gənz, ˈstoʊlən gʊdz, ənd ˈkaʊnərˌfɪts əˈlɔŋ wɪθ ˈprɪti məʧ ˈɛni drəg ju kən θɪŋk əv, geɪnd fænz baɪ ˈloʊdɪŋ mɔr kˈwɪkli ənd steɪɪŋ ˈɔnˌlaɪn mɔr rɪˈlaɪəbli ðən kəmˈpɛtɪtərz laɪk ˈægərə ənd ðə ˈvɛriəs sɪlk roʊd kloʊnz. ɪts ˈɛskroʊ ˈsɪstəm wɑz dɪˈzaɪnd tɪ prɪˈvɛnt rip-offs*, ənd ðə saɪt wɑz ˈizi tɪ braʊz. ˌɛvəˈluʃən lʊkt soʊ ˈpɑlɪʃt ənd prəˈfɛʃənəl ðət ˈpipəl ˈwərid ɪt wɑz ðə ˈɛfˈbiˈaɪ ɪts weɪ tɪ əˈnəðər drəg bəst. ˌædvərˈtaɪzmənt ɪt ˈdəzənt lʊk laɪk ðə ˈɛfˈbiˈaɪ wɑz ˌɪnˈvɑlvd ɪn ðɪs ˌdɪsəˈpɪrəns, ðoʊ. ðɛrz noʊ ˈnoʊtɪs, noʊ əˈnaʊnsmɛnt əˈbaʊt ˈʃətɪŋ daʊn ðə ˈɪntərˌnɛts ˈkɑrənt kɪŋ əv ˌɪˈligəl seɪlz. ˈvɛndərz ənd ˈkəstəmərz ər ˈməni ɪz gɔn, ənd ə stæf ˈmɛmbər ɪz seɪɪŋ ðət ðə saɪts kriˈeɪtərz hæv ˈteɪkən ðə ˈməni ənd baʊnst. fər ðə pæst fju deɪz, dɪˈleɪz hæv ˈhɑbəld ðə saɪt. ˈvɛndərz ənd ˈjuzərz ˈhævənt bɪn ˈeɪbəl tɪ wɪθˈdrɔ ðɛr ˈməni. ənd naʊ, ˌɛvəˈluʃən ɪz ˈnoʊˌwɛr tɪ bi faʊnd wɪn ju sərʧ tɔr, ðə dɑrk wɛb ˈbraʊzər juzd tɪ ˈækˌsɛs ɪt. ˌædvərˈtaɪzmənt "ˈkɪmbəl" ənd "verto*" ər hɛd ðə sɪlk roʊdz ˈərstˌwaɪl drɛd ˈpaɪrət ˈrɑbərts, ðeɪ rən ðə ʃoʊ. ɛz ˌɛvəˈluʃən ˈjuzərz ˈskræmbəl tɪ ˈfɪgjər aʊt waɪ ðə saɪt ɪz daʊn, ðiz kriˈeɪtərz ər ˈgeɪnɪŋ ə ˈvɪlənəs ˌrɛpjəˈteɪʃən. wən əv ˈvɛndərz əˈnaʊnst ðə ˈɛksət skæm ɔn reddit*, ʤɪst deɪz ˈæftər ˈhoʊstɪŋ ə gloʊɪŋ ˈtɔkɪŋ əˈbaʊt haʊ məʧ hi laɪkt ðə ˈsərvɪs: aɪ hæv ˈædmɪn ˈækˌsɛs tɪ si pɑrts əv ðə bæk ɛnd, ðə ˈædmɪnz ər pərˈpɛrɪŋ tɪ ˈɛksət skæm wɪθ ɔl ðə fəndz. nɑt ə ˈsɪŋgəl wɪθˈdrɔəl həz gɔn θru ɪn ˈɔlˌmoʊst ə wik. ˌɔtəˈmætɪk wɪθˈdrɔəlz həz bɪn dɪˈseɪbəld wɪʧ ɪz ˈoʊnli duɪŋ ɔn rɛr ɔˈkeɪʒənz aɪ æm soʊ ˈsɑri, bət ənd ˈkɪmbəl hæv fəkt ˈjuˈɛs ɔl. aɪ hæv ˈoʊvər ɪn ˈɛskroʊ ˌmaɪˈsɛlf frəm seɪlz. aɪ kænt ˈfəkɪŋ bɪˈliv ɪt, ˈæbsəˌlut skəm. aɪ æm ˈgɪvɪŋ ðɪs ˈwɔrnɪŋ tɪ ju ɔl ɛz sun ɛz aɪ ˈpɑsəbli kʊd əv. kənˈfrəntɪd ˈkɪmbəl ənd əˈbaʊt ɪt, ðeɪ kənˈfərmd ɪt ənd ðɛr duɪŋ ɪt raɪt naʊ.. ˌædvərˈtaɪzmənt ˈɪtəl bi dæm nɪr ˌɪmˈpɑsəbəl fər ˈvɛndərz ənd baɪərz tɪ gɪt ðɛr ˈməni bæk ɪf ðɪs ɪz ə tru skæm. ðeɪ dɪd, ˈæftər ɔl, pʊt ðɛr ˈməni ɪn ðə hænz əv ˈpipəl ˌɪnˈvɑlvd ɪn ˈrənɪŋ ən ˌɪˈligəl ˈdɪʤɪtəl blæk ˈmɑrkɪt. soʊ ðɪs ɪz ə bæd deɪ fər ˈɛniˌwən wɪθ ə səbˈstænʃəl ʧəŋk əv ʧeɪnʤ ˈgɪtɪŋ hɛld baɪ ðə ˈsərvɪs. ɪts ə greɪt deɪ fər ˈægərə, meɪn kəmˈpɛtɪtər. wɪˈθaʊt ɪts mɔr ˈpɑlɪʃt ˈraɪvəl əraʊnd, ˈægərə ɪz ˈlaɪkli tɪ si ən ˈɪnˌfləks əv nu ˈkəstəmərz. ˈkɑnˌtækt ðə ˈɔθər æt [email protected]*. ˈpəblɪk ki ˈfɪŋgərˌprɪnt: 9576 9478
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the province is receiving after cutting budgets for libraries across the province.
provincial funding for saskatoon and regina libraries were completely cut in the budget, and that's a $1.3-million reduction. regional libraries had their funding cut by $3.5-million.
there will be events across the province to show support for local libraries. drop everything and read will take place at noon on april 7. for the events, members of the public are encouraged to go their office and read for 15 minutes to demonstrate support for the province's libraries.
during the march 30 question period, education minister don morgan outlined the government's reasons behind cutting library budgets. a library branch manager is speaking out to "debunk" some of the minister's arguments for cutting library budgets.
with respect, the provincial government's actions have made it patently clear it has no interest in working with public libraries. - james richards
co-location option
morgan said more than 90 rural communities in saskatchewan have two libraries one at the community centre and one at the school.
"there are close to 300 rural public library branches in saskatchewan," said james richards, the regional branch manager of southeast regional library, in an e-mail.
"what of the other 200 plus communities that are not lucky enough to have both a public and a school library?"
morgan suggested the province look at as an option for these areas where there is both a municipal library and a school library. but richards suggests that libraries will actually cost more money than it saves.
"additional administration, supervision, staff training, integration of the school and public collections and integrated policy work are just some of the ongoing time and finance consuming hurdles to overcome during an integration project," said richards.
regional libraries saw their budgets slashed by 58%. (cbc news)
richards also adds that there would be inherent complications with having a public library exist at a school.
"as a parent, i would feel deeply uneasy about members of the public entering my child's school on their way to the library," said richards.
"i would assume principals would also share this apprehension that 'just anyone' could be coming and going from school grounds, strolling the hallways, and accessing the without their knowledge."
he also said certain materials you would expect to find in a public library would not be suitable for a school library.
online resources
morgan said the number of items checked out of all libraries has dropped by million items since 2007, and the number of library cards has dropped by.
"physical item checkouts have dropped significantly over the past 10 years. however, like and hoopla are circulating quite heavily," said richards.
richards said that checkout statistics of physical items are not all that counts when evaluating a library. he said patrons make use of free wi-fi, and programming attendance has increased.
morgan also said that the province wants to work with libraries to adjust how they can deliver services within the new funding levels.
"with respect, the provincial government's actions have made it patently clear it has no interest in working with public libraries," said richards.
"if it did, the government would have consulted with public library directors before slashing 58% of their budget in order to give them time to plan for the cuts."
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ðə ˈprɑvɪns ɪz rɪˈsivɪŋ ˈæftər ˈkətɪŋ ˈbəʤɪts fər ˈlaɪbrɛˌriz əˈkrɔs ðə ˈprɑvɪns. prəˈvɪnʃəl ˈfəndɪŋ fər ˈsæskəˌtun ənd rɪˈʤinə ˈlaɪbrɛˌriz wər kəmˈplitli kət ɪn ðə ˈbəʤɪt, ənd ðæts ə rɪˈdəkʃən. ˈriʤənəl ˈlaɪbrɛˌriz hæd ðɛr ˈfəndɪŋ kət baɪ 3.5-million*. ðɛr wɪl bi ɪˈvɛnts əˈkrɔs ðə ˈprɑvɪns tɪ ʃoʊ səˈpɔrt fər ˈloʊkəl ˈlaɪbrɛˌriz. drɔp ˈɛvriˌθɪŋ ənd rɛd wɪl teɪk pleɪs æt nun ɔn ˈeɪprəl 7 fər ðə ɪˈvɛnts, ˈmɛmbərz əv ðə ˈpəblɪk ər ɪnˈkərəʤd tɪ goʊ ðɛr ˈɔfəs ənd rɛd fər 15 ˈmɪnəts tɪ ˈdɛmənˌstreɪt səˈpɔrt fər ðə ˈprɑvənsɪz ˈlaɪbrɛˌriz. ˈdʊrɪŋ ðə mɑrʧ 30 kˈwɛʃən ˈpɪriəd, ˌɛʤəˈkeɪʃən ˈmɪnɪstər dɑn ˈmɔrgən ˈaʊˌtlaɪnd ðə ˈgəvərnmənts ˈrizənz bɪˈhaɪnd ˈkətɪŋ ˈlaɪbrɛˌri ˈbəʤɪts. ə ˈlaɪbrɛˌri brænʧ ˈmænɪʤər ɪz ˈspikɪŋ aʊt tɪ "dɪˈbəŋk" səm əv ðə ˈmɪnɪstərz ˈɑrgjəmənts fər ˈkətɪŋ ˈlaɪbrɛˌri ˈbəʤɪts. wɪθ rɪˈspɛkt, ðə prəˈvɪnʃəl ˈgəvərnmənts ˈækʃənz hæv meɪd ɪt ˈpætəntli klɪr ɪt həz noʊ ˈɪntəˌrɛst ɪn ˈwərkɪŋ wɪθ ˈpəblɪk ˈlaɪbrɛˌriz. ʤeɪmz ˈrɪʧərdz ˈɔpʃən ˈmɔrgən sɛd mɔr ðən 90 ˈrʊrəl kəmˈjunɪtiz ɪn sæˈskæʧəˌwɔn hæv tu ˈlaɪbrɛˌriz wən æt ðə kəmˈjunɪti ˈsɛntər ənd wən æt ðə skul. "ðɛr ər kloʊz tɪ 300 ˈrʊrəl ˈpəblɪk ˈlaɪbrɛˌri ˈbrænʧɪz ɪn sæˈskæʧəˌwɔn," sɛd ʤeɪmz ˈrɪʧərdz, ðə ˈriʤənəl brænʧ ˈmænɪʤər əv ˌsaʊˈθist ˈriʤənəl ˈlaɪbrɛˌri, ɪn ən ˈiˌmeɪl. "wət əv ðə ˈəðər 200 pləs kəmˈjunɪtiz ðət ər nɑt ˈləki ɪˈnəf tɪ hæv boʊθ ə ˈpəblɪk ənd ə skul ˈlaɪbrɛˌri?" ˈmɔrgən səˈʤɛstɪd ðə ˈprɑvɪns lʊk æt ɛz ən ˈɔpʃən fər ðiz ˈɛriəz wɛr ðɛr ɪz boʊθ ə mjuˈnɪsəpəl ˈlaɪbrɛˌri ənd ə skul ˈlaɪbrɛˌri. bət ˈrɪʧərdz səˈʤɛsts ðət ˈlaɪbrɛˌriz wɪl ˈæˌkʧuəli kɔst mɔr ˈməni ðən ɪt seɪvz. "əˈdɪʃənəl ædˌmɪnɪˈstreɪʃən, ˌsupərˈvɪʒən, stæf ˈtreɪnɪŋ, ˌɪnəˈgreɪʃən əv ðə skul ənd ˈpəblɪk kəˈlɛkʃənz ənd ˈɪnəˌgreɪtɪd ˈpɑləsi wərk ər ʤɪst səm əv ðə ˈɔnˌgoʊɪŋ taɪm ənd ˈfaɪˌnæns kənˈsumɪŋ ˈhərdəlz tɪ ˈoʊvərˌkəm ˈdʊrɪŋ ən ˌɪnəˈgreɪʃən ˈprɑʤɛkt," sɛd ˈrɪʧərdz. ˈriʤənəl ˈlaɪbrɛˌriz sɔ ðɛr ˈbəʤɪts slæʃt baɪ 58 (ˈsiˌbiˈsi nuz) ˈrɪʧərdz ˈɔlsoʊ ædz ðət ðɛr wʊd bi ˌɪnˈhɛrənt ˌkɑmpləˈkeɪʃənz wɪθ ˈhævɪŋ ə ˈpəblɪk ˈlaɪbrɛˌri ɪgˈzɪst æt ə skul. "ɛz ə ˈpɛrənt, aɪ wʊd fil ˈdipli əˈnizi əˈbaʊt ˈmɛmbərz əv ðə ˈpəblɪk ˈɛnərɪŋ maɪ ʧaɪldz skul ɔn ðɛr weɪ tɪ ðə ˈlaɪbrɛˌri," sɛd ˈrɪʧərdz. "aɪ wʊd əˈsum ˈprɪnsəpəlz wʊd ˈɔlsoʊ ʃɛr ðɪs ˌæprɪˈhɛnʃən ðət 'ʤɪst ˈɛniˌwən' kʊd bi ˈkəmɪŋ ənd goʊɪŋ frəm skul graʊnz, ˈstroʊlɪŋ ðə ˈhɔlˌweɪz, ənd ˈækˌsɛsɪŋ ðə wɪˈθaʊt ðɛr ˈnɑlɪʤ." hi ˈɔlsoʊ sɛd ˈsərtən məˈtɪriəlz ju wʊd ɪkˈspɛkt tɪ faɪnd ɪn ə ˈpəblɪk ˈlaɪbrɛˌri wʊd nɑt bi ˈsutəbəl fər ə skul ˈlaɪbrɛˌri. ˈɔnˌlaɪn ˈrisɔrsɪz ˈmɔrgən sɛd ðə ˈnəmbər əv ˈaɪtəmz ʧɛkt aʊt əv ɔl ˈlaɪbrɛˌriz həz drɑpt baɪ ˈmɪljən ˈaɪtəmz sɪns 2007 ənd ðə ˈnəmbər əv ˈlaɪbrɛˌri kɑrdz həz drɑpt baɪ "ˈfɪzɪkəl ˈaɪtəm ˈʧɛˌkaʊts hæv drɑpt sɪgˈnɪfɪkəntli ˈoʊvər ðə pæst 10 jɪrz. ˌhaʊˈɛvər, laɪk ənd ˈhuˌplɑ ər ˈsərkjəˌleɪtɪŋ kwaɪt ˈhɛvəli," sɛd ˈrɪʧərdz. ˈrɪʧərdz sɛd ðət ˈʧɛˌkaʊt stəˈtɪstɪks əv ˈfɪzɪkəl ˈaɪtəmz ər nɑt ɔl ðət kaʊnts wɪn ɪˈvæljuˌeɪtɪŋ ə ˈlaɪbrɛˌri. hi sɛd ˈpeɪtrənz meɪk juz əv fri ˈwaɪˌfaɪ, ənd ˈproʊˌgræmɪŋ əˈtɛndəns həz ˌɪnˈkrist. ˈmɔrgən ˈɔlsoʊ sɛd ðət ðə ˈprɑvɪns wɔnts tɪ wərk wɪθ ˈlaɪbrɛˌriz tɪ əˈʤəst haʊ ðeɪ kən dɪˈlɪvər ˈsərvɪsɪz wɪˈθɪn ðə nu ˈfəndɪŋ ˈlɛvəlz. "wɪθ rɪˈspɛkt, ðə prəˈvɪnʃəl ˈgəvərnmənts ˈækʃənz hæv meɪd ɪt ˈpætəntli klɪr ɪt həz noʊ ˈɪntəˌrɛst ɪn ˈwərkɪŋ wɪθ ˈpəblɪk ˈlaɪbrɛˌriz," sɛd ˈrɪʧərdz. "ɪf ɪt dɪd, ðə ˈgəvərnmənt wʊd hæv kənˈsəltɪd wɪθ ˈpəblɪk ˈlaɪbrɛˌri dɪˈrɛktərz ˌbiˈfɔr sˈlæʃɪŋ 58 əv ðɛr ˈbəʤɪt ɪn ˈɔrdər tɪ gɪv ðɛm taɪm tɪ plæn fər ðə kəts."
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the pressure to start making some improvements to the illinois football program have led to head coach lovie smith making some staff changes. according to a report from.com, illinois has let go of offensive coordinator garrick mcgee.
source tells lovie smith has let offensive coordinator garrick mcgee staff (@footballscoop) december 23, 2017
mcgee joined the coaching staff in 2016 after two seasons as an offensive coordinator at louisville and two years as the head coach at uab. the veteran coach was expected to help shape the illinois offense as smith took over the program, but those changes and improvements never took off with the. illinois had the offense in 2017 and offense in 2016. the averaged just points per game this season and had the big worst rushing offense.
per the report from football scoop, illinois is also moving on from defensive backs coach paul williams.
the changes come just after the early signing period saw illinois land the class in the big ten, with a few more possible holes to plug by the time the next signing period comes around in february.
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ðə ˈprɛʃər tɪ stɑrt ˈmeɪkɪŋ səm ˌɪmˈpruvmənts tɪ ðə ˌɪləˈnɔɪz ˈfʊtˌbɔl ˈproʊˌgræm hæv lɛd tɪ hɛd koʊʧ ˈləvi smɪθ ˈmeɪkɪŋ səm stæf ˈʧeɪnʤɪz. əˈkɔrdɪŋ tɪ ə rɪˈpɔrt frəm footballscoop.com*, ˌɪləˈnɔɪz həz lɛt goʊ əv əˈfɛnsɪv koʊˈɔrdəˌneɪtər ˈgɛrɪk məˈgi. sɔrs tɛlz ˈləvi smɪθ həz lɛt əˈfɛnsɪv koʊˈɔrdəˌneɪtər ˈgɛrɪk məˈgi stæf (@footballscoop*) dɪˈsɛmbər 23 2017 məˈgi ʤɔɪnd ðə ˈkoʊʧɪŋ stæf ɪn 2016 ˈæftər tu ˈsizənz ɛz ən əˈfɛnsɪv koʊˈɔrdəˌneɪtər æt ˈluiˌvɪl ənd tu jɪrz ɛz ðə hɛd koʊʧ æt uab*. ðə ˈvɛtərən koʊʧ wɑz ɪkˈspɛktɪd tɪ hɛlp ʃeɪp ðə ˌɪləˈnɔɪz əˈfɛns ɛz smɪθ tʊk ˈoʊvər ðə ˈproʊˌgræm, bət ðoʊz ˈʧeɪnʤɪz ənd ˌɪmˈpruvmənts ˈnɛvər tʊk ɔf wɪθ ðə. ˌɪləˈnɔɪz hæd ðə əˈfɛns ɪn 2017 ənd əˈfɛns ɪn 2016 ðə ˈævrɪʤd ʤɪst pɔɪnts pər geɪm ðɪs ˈsizən ənd hæd ðə bɪg wərst ˈrəʃɪŋ əˈfɛns. pər ðə rɪˈpɔrt frəm ˈfʊtˌbɔl skup, ˌɪləˈnɔɪz ɪz ˈɔlsoʊ ˈmuvɪŋ ɔn frəm dɪˈfɛnsɪv bæks koʊʧ pɔl ˈwɪljəmz. ðə ˈʧeɪnʤɪz kəm ʤɪst ˈæftər ðə ˈərli ˈsaɪnɪŋ ˈpɪriəd sɔ ˌɪləˈnɔɪz lænd ðə klæs ɪn ðə bɪg tɛn, wɪθ ə fju mɔr ˈpɑsəbəl hoʊlz tɪ pləg baɪ ðə taɪm ðə nɛkst ˈsaɪnɪŋ ˈpɪriəd kəmz əraʊnd ɪn ˈfɛbruˌɛri. ˈfɑloʊ
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six years later, publisher electronic arts shocked those fans by announcing mirror's edge catalyst , a of the series starring faith in an open world. eight years later, it's finally here. and while dice hasn't quite managed to overcome all of the problems that mirror's edge 's charge forward often collided with, it turns out an open world is a pretty good space to allow the series to grow.
it was a deeply divisive game, one that arguably served better as a proof of concept for cool ideas than as something for the masses, full of serious flaws that often dragged it down. it also had fierce defenders, and though they were unable to make mirror's edge anything more than a middling sales disappointment, they kept hope alive that maybe, someday, developer dice would be able to step away from the house it built with the battlefield series to revisit faith adventure.
that isn't really why i signed up, though. catalyst's setting is a more successful character than most of its human players, and its visual language remains stark and brightly colorful in direct contradiction of every other game out there. but it's the play that drew me into the original game, and it's here where mirror's edge catalyst has the most to say.
the gameplay from the original game makes a return mostly unaltered in form and spirit, though it does feel blessedly smoother and marginally more forgiving in catalyst. the big change is one of venue. where mirror's edge was a linear game, a set of levels to go through accompanied by some time trials, catalyst is, ostensibly, a world. the city of glass is a place where faith is searching both for answers and a way to pay her old debts, and she can take jobs and side missions to do them both.
this is a great conceit for faith as a messenger operating outside of the laws of her world, and it opens up mirror's edge catalyst in a way that the original game could never manage with its more finite spaces. in mirror's edge, you might spend 20 or even 30 seconds at a clip along walls and across gaps. in catalyst, you'll spend multiple minutes getting to missions and completing side activities, and even levels that are separated from the main game world are considerably larger than anything in the original.
this allows for a lot more of what made mirror's edge great in the first place, though it's not without some strange concessions to generic, game design ideas that trip things up here and there. for example, some incredibly important basic abilities are locked behind an upgrade tree namely, the turn, an ability that is literally required to complete the game, as well as the double wall-run, which, while not required, is profoundly helpful.
once you have those things, catalyst does very well at providing a world full of environments and objects to style off of. it's a game whose best reward is playing it, where fast travel is the road less taken, because getting there is not half the fun it's most of it. when level design and mechanics are working, which is a pretty good amount of the time, catalyst is a singular experience. no one moves like faith there's a simultaneous flow and heft to everything she does.
this isn't new; it was all in place in mirror's edge (the first), but it is considerably refined here, and lots of small details make faith feel more rooted in her environment. my favorite is rocketing across gaps, and, just before making a roll upon impact, seeing my shadow cast on the ground, growing larger. largely due to tech, faith is reflected in much of the world as she reacts in it. these visual cues signal a grace that serves as a stronger glue this time around, and more effectively made me feel like i was doing all of the amazing shit that catalyst encourages you do.
that is, when it's not busy getting in its own way.
take the time trial mechanics, for example. mirror's edge catalyst offers a ghost function that will allow your friends to see your runs and compete against them, which is great! it's a racing game conceit that translates to catalyst perfectly. but it translates almost too well, because time trials support all the speed and upgrades you can unlock as you progress meaning that until you and your friends all have your skill trees maxed out, perfecting your times on these courses is pointless. it's like racing a crappy car against a tuned machine.
elsewhere, mirror's edge catalyst can display a strange lack of confidence in its best self, and the game buries some of its coolest elements. my favorite sections of the game are the grid node puzzles, which are the purest brain the game has to offer. in a stroke of genius, there are two levels of challenge in these sections. basic is one faith must find a way to a platform through multiple levels of the very complicated and geometry of a server room not designed for human egress. this is mirror's edge 101 stuff, but it never stopped feeling cool.
but there's a second, optional mechanic in play in grid node sections, as security lasers are strategically placed throughout each environment. crossing a beam sets off a security alert, which is generally not a thing you should be doing, though you won't instantly fail for screwing up. if you're like me, however, you will feel pretty badass threading jumps and slides and just so, like some kind of cat burglar.
mirror's edge catalyst can display a strange lack of confidence in its best self
only one of these missions is critical to finishing the game. the rest are optional tasks that open up fast travel options throughout glass. and i'll be honest: this seems like a colossal waste. i'd have much rather gone through more and more intricate future than have had to beat up another room full of security forces using combat mechanics that still aren't very fun.
the city of glass' security forces are usually armed. security officers with guns have advanced weapons that can only be used by their owner. now let that breath out, because dice still falls prey to far too frequent combat encounters that try to squeeze more out of catalyst's fighting system than it's really capable of. martial arts prowess is absent the fluidity and grace of her high-speed navigation through the environment, and it feels frustratingly clunky by comparison.
i didn't particularly enjoy the combat in mirror's edge catalyst, but there is at least a sense of satisfaction to the crunch of a roundhouse kick connecting with the helmet of a officer. i felt a grim kind of accomplishment at beating the more elite troops every now and again.
but and seem to be mirror's edge catalyst's crutch when it can't think of anything else to do. too many levels end with boring physical encounters; the last quarter of the game especially suffers from this, falling prey to standard action game conventions. enemies that served as bosses appear in regular groups of enemies, and then there are two heavies. "screw it," i imagine someone said "let's just literally have a slapstick moment where faith comes around a corner, and there are 15 dudes having some kind of meeting in an executive apartment, and faith is waiting for an elevator anyway, so ..."
you can fill in the with your fists. this is actually a thing that happens. there are minor moments of enemy survival in mirror's edge catalyst, which seems about as far from the spirit of the rest of the game as anything i can imagine, shy a rocket launcher boss fight.
but this is also set against the backdrop of that increasingly feels like a cheap death trap, rather than the smart problems to be solved elsewhere. or, as often, mirror's edge catalyst relies too much on standing in just the right place and tapping the mag rope button to zip up to where you need to be. the last quarter of the game is a bad ribbon to tie on top of an otherwise mostly cool spin on the ideas of the original.
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sɪks jɪrz ˈleɪtər, ˈpəblɪʃər ˌɪˌlɛkˈtrɑnɪk ɑrts ʃɑkt ðoʊz fænz baɪ əˈnaʊnsɪŋ ˈmɪrərz ɛʤ ˈkætəˌlɪst ə əv ðə ˈsɪriz ˈstɑrɪŋ feɪθ ɪn ən ˈoʊpən wərld. eɪt jɪrz ˈleɪtər, ɪts ˈfaɪnəli hir. ənd waɪl daɪs ˈhæzənt kwaɪt ˈmænɪʤd tɪ ˈoʊvərˌkəm ɔl əv ðə ˈprɑbləmz ðət ˈmɪrərz ɛʤ 'ɛs ʧɑrʤ ˈfɔrwərd ˈɔfən kəˈlaɪdɪd wɪθ, ɪt tərnz aʊt ən ˈoʊpən wərld ɪz ə ˈprɪti gʊd speɪs tɪ əˈlaʊ ðə ˈsɪriz tɪ groʊ. ɪt wɑz ə ˈdipli dɪˈvaɪsɪv geɪm, wən ðət ˈɑrgjuəbli sərvd ˈbɛtər ɛz ə pruf əv ˈkɑnsɛpt fər kul aɪˈdiəz ðən ɛz ˈsəmθɪŋ fər ðə ˈmæsɪz, fʊl əv ˈsɪriəs flɔz ðət ˈɔfən drægd ɪt daʊn. ɪt ˈɔlsoʊ hæd fɪrs dɪˈfɛndərz, ənd ðoʊ ðeɪ wər əˈneɪbəl tɪ meɪk ˈmɪrərz ɛʤ ˈɛniˌθɪŋ mɔr ðən ə ˈmɪdəlɪŋ seɪlz ˌdɪsəˈpɔɪntmənt, ðeɪ kɛpt hoʊp əˈlaɪv ðət ˈmeɪbi, ˈsəmˌdeɪ, dɪˈvɛləpər daɪs wʊd bi ˈeɪbəl tɪ stɛp əˈweɪ frəm ðə haʊs ɪt bɪlt wɪθ ðə ˈbætəlˌfild ˈsɪriz tɪ riˈvɪzɪt feɪθ ədˈvɛnʧər. ðət ˈɪzənt ˈrɪli waɪ aɪ saɪnd əp, ðoʊ. ˈkætəˌlɪsts ˈsɛtɪŋ ɪz ə mɔr səkˈsɛsfəl ˈkɛrɪktər ðən moʊst əv ɪts ˈjumən pleɪərz, ənd ɪts ˈvɪʒəwəl ˈlæŋgwɪʤ rɪˈmeɪnz stɑrk ənd ˈbraɪtli ˈkələrfəl ɪn dɪˈrɛkt ˌkɑntrəˈdɪkʃən əv ˈɛvəri ˈəðər geɪm aʊt ðɛr. bət ɪts ðə pleɪ ðət dru mi ˈɪntu ðə ərˈɪʤənəl geɪm, ənd ɪts hir wɛr ˈmɪrərz ɛʤ ˈkætəˌlɪst həz ðə moʊst tɪ seɪ. ðə ˈgeɪmˌpleɪ frəm ðə ərˈɪʤənəl geɪm meɪks ə rɪˈtərn ˈmoʊstli əˈnɔltərd ɪn fɔrm ənd ˈspɪrɪt, ðoʊ ɪt dɪz fil ˈblɛsədli sˈmuðər ənd ˈmɑrʤənəli mɔr fərˈgɪvɪŋ ɪn ˈkætəˌlɪst. ðə bɪg ʧeɪnʤ ɪz wən əv ˈvɛnju. wɛr ˈmɪrərz ɛʤ wɑz ə ˈlɪniər geɪm, ə sɛt əv ˈlɛvəlz tɪ goʊ θru əˈkəmpənid baɪ səm taɪm traɪəlz, ˈkætəˌlɪst ɪz, ɑˈstɛnsəbli, ə wərld. ðə ˈsɪti əv glæs ɪz ə pleɪs wɛr feɪθ ɪz ˈsərʧɪŋ boʊθ fər ˈænsərz ənd ə weɪ tɪ peɪ hər oʊld dɛts, ənd ʃi kən teɪk ʤɑbz ənd saɪd ˈmɪʃənz tɪ du ðɛm boʊθ. ðɪs ɪz ə greɪt kənˈsit fər feɪθ ɛz ə ˈmɛsɪnʤər ˈɔpərˌeɪtɪŋ ˈaʊtˈsaɪd əv ðə lɔz əv hər wərld, ənd ɪt ˈoʊpənz əp ˈmɪrərz ɛʤ ˈkætəˌlɪst ɪn ə weɪ ðət ðə ərˈɪʤənəl geɪm kʊd ˈnɛvər ˈmænɪʤ wɪθ ɪts mɔr ˈfaɪˌnaɪt ˈspeɪsɪz. ɪn ˈmɪrərz ɛʤ, ju maɪt spɛnd 20 ər ˈivɪn 30 ˈsɛkəndz æt ə klɪp əˈlɔŋ wɔlz ənd əˈkrɔs gæps. ɪn ˈkætəˌlɪst, jul spɛnd ˈməltəpəl ˈmɪnəts ˈgɪtɪŋ tɪ ˈmɪʃənz ənd kəmˈplitɪŋ saɪd ækˈtɪvɪtiz, ənd ˈivɪn ˈlɛvəlz ðət ər ˈsɛpərˌeɪtɪd frəm ðə meɪn geɪm wərld ər kənˈsɪdərəbli ˈlɑrʤər ðən ˈɛniˌθɪŋ ɪn ðə ərˈɪʤənəl. ðɪs əˈlaʊz fər ə lɔt mɔr əv wət meɪd ˈmɪrərz ɛʤ greɪt ɪn ðə fərst pleɪs, ðoʊ ɪts nɑt wɪˈθaʊt səm streɪnʤ kənˈsɛʃənz tɪ ʤəˈnɛrɪk, geɪm dɪˈzaɪn aɪˈdiəz ðət trɪp θɪŋz əp hir ənd ðɛr. fər ɪgˈzæmpəl, səm ˌɪnˈkrɛdəbli ˌɪmˈpɔrtənt ˈbeɪsɪk əˈbɪləˌtiz ər lɑkt bɪˈhaɪnd ən ˈəpˈgreɪd tri ˈneɪmli, ðə tərn, ən əˈbɪləˌti ðət ɪz ˈlɪtərəli rikˈwaɪərd tɪ kəmˈplit ðə geɪm, ɛz wɛl ɛz ðə ˈdəbəl wall-run*, wɪʧ, waɪl nɑt rikˈwaɪərd, ɪz proʊˈfaʊndli ˈhɛlpfəl. wəns ju hæv ðoʊz θɪŋz, ˈkætəˌlɪst dɪz ˈvɛri wɛl æt prəˈvaɪdɪŋ ə wərld fʊl əv ɪnˈvaɪrənmənts ənd ˈɑbʤɛkts tɪ staɪl ɔf əv. ɪts ə geɪm huz bɛst rɪˈwɔrd ɪz pleɪɪŋ ɪt, wɛr fæst ˈtrævəl ɪz ðə roʊd lɛs ˈteɪkən, bɪˈkəz ˈgɪtɪŋ ðɛr ɪz nɑt hæf ðə fən ɪts moʊst əv ɪt. wɪn ˈlɛvəl dɪˈzaɪn ənd məˈkænɪks ər ˈwərkɪŋ, wɪʧ ɪz ə ˈprɪti gʊd əˈmaʊnt əv ðə taɪm, ˈkætəˌlɪst ɪz ə ˈsɪŋgjələr ɪkˈspɪriəns. noʊ wən muvz laɪk feɪθ ðɛrz ə ˌsaɪməlˈteɪniəs floʊ ənd hɛft tɪ ˈɛvriˌθɪŋ ʃi dɪz. ðɪs ˈɪzənt nu; ɪt wɑz ɔl ɪn pleɪs ɪn ˈmɪrərz ɛʤ (ðə fərst), bət ɪt ɪz kənˈsɪdərəbli rɪˈfaɪnd hir, ənd lɑts əv smɔl ˈditeɪlz meɪk feɪθ fil mɔr ˈrutɪd ɪn hər ɪnˈvaɪrənmənt. maɪ ˈfeɪvərɪt ɪz ˈrɑkətɪŋ əˈkrɔs gæps, ənd, ʤɪst ˌbiˈfɔr ˈmeɪkɪŋ ə roʊl əˈpɑn ˌɪmˈpækt, siɪŋ maɪ ˈʃæˌdoʊ kæst ɔn ðə graʊnd, groʊɪŋ ˈlɑrʤər. ˈlɑrʤli du tɪ tɛk, feɪθ ɪz rɪˈflɛktɪd ɪn məʧ əv ðə wərld ɛz ʃi riækts ɪn ɪt. ðiz ˈvɪʒəwəl kjuz ˈsɪgnəl ə greɪs ðət sərvz ɛz ə ˈstrɔŋgər glu ðɪs taɪm əraʊnd, ənd mɔr ˈifɛktɪvli meɪd mi fil laɪk aɪ wɑz duɪŋ ɔl əv ðə əˈmeɪzɪŋ ʃɪt ðət ˈkætəˌlɪst ɪnˈkərəʤəz ju du. ðət ɪz, wɪn ɪts nɑt ˈbɪzi ˈgɪtɪŋ ɪn ɪts oʊn weɪ. teɪk ðə taɪm traɪəl məˈkænɪks, fər ɪgˈzæmpəl. ˈmɪrərz ɛʤ ˈkætəˌlɪst ˈɔfərz ə goʊst ˈfəŋkʃən ðət wɪl əˈlaʊ jʊr frɛndz tɪ si jʊr rənz ənd kəmˈpit əˈgɛnst ðɛm, wɪʧ ɪz greɪt! ɪts ə ˈreɪsɪŋ geɪm kənˈsit ðət ˈtrænsˌleɪts tɪ ˈkætəˌlɪst ˈpərfəktli. bət ɪt ˈtrænsˌleɪts ˈɔlˌmoʊst tu wɛl, bɪˈkəz taɪm traɪəlz səˈpɔrt ɔl ðə spid ənd ˈəpˌgreɪdz ju kən ənˈlɑk ɛz ju ˈprɑˌgrɛs ˈminɪŋ ðət ənˈtɪl ju ənd jʊr frɛndz ɔl hæv jʊr skɪl triz mækst aʊt, pərˈfɛktɪŋ jʊr taɪmz ɔn ðiz ˈkɔrsɪz ɪz ˈpɔɪntləs. ɪts laɪk ˈreɪsɪŋ ə ˈkræˌpi kɑr əˈgɛnst ə tund məˈʃin. ˈɛlsˌwɛr, ˈmɪrərz ɛʤ ˈkætəˌlɪst kən dɪˈspleɪ ə streɪnʤ læk əv ˈkɑnfədɛns ɪn ɪts bɛst sɛlf, ənd ðə geɪm ˈbɛriz səm əv ɪts ˈkuləst ˈɛləmənts. maɪ ˈfeɪvərɪt ˈsɛkʃənz əv ðə geɪm ər ðə grɪd noʊd ˈpəzəlz, wɪʧ ər ðə ˈpjʊrəst breɪn ðə geɪm həz tɪ ˈɔfər. ɪn ə stroʊk əv ˈʤinjəs, ðɛr ər tu ˈlɛvəlz əv ˈʧælənʤ ɪn ðiz ˈsɛkʃənz. ˈbeɪsɪk ɪz wən feɪθ məst faɪnd ə weɪ tɪ ə ˈplætˌfɔrm θru ˈməltəpəl ˈlɛvəlz əv ðə ˈvɛri ˈkɑmpləˌkeɪtəd ənd ʤiˈɑmətri əv ə ˈsərvər rum nɑt dɪˈzaɪnd fər ˈjumən ɪˈgrɛs. ðɪs ɪz ˈmɪrərz ɛʤ 101 stəf, bət ɪt ˈnɛvər stɑpt ˈfilɪŋ kul. bət ðɛrz ə ˈsɛkənd, ˈɔpʃənəl mɪˈkænɪk ɪn pleɪ ɪn grɪd noʊd ˈsɛkʃənz, ɛz sɪˈkjʊrəti ˈleɪzərz ər strəˈtiʤɪkli pleɪst θruaʊt iʧ ɪnˈvaɪrənmənt. ˈkrɔsɪŋ ə bim sɛts ɔf ə sɪˈkjʊrəti əˈlərt, wɪʧ ɪz ˈʤɛnərəli nɑt ə θɪŋ ju ʃʊd bi duɪŋ, ðoʊ ju woʊnt ˈɪnstəntli feɪl fər skruɪŋ əp. ɪf jʊr laɪk mi, ˌhaʊˈɛvər, ju wɪl fil ˈprɪti ˈbæˌdæs θˈrɛdɪŋ ʤəmps ənd slaɪdz ənd ʤɪst soʊ, laɪk səm kaɪnd əv kæt ˈbərglər. ˈmɪrərz ɛʤ ˈkætəˌlɪst kən dɪˈspleɪ ə streɪnʤ læk əv ˈkɑnfədɛns ɪn ɪts bɛst sɛlf ˈoʊnli wən əv ðiz ˈmɪʃənz ɪz ˈkrɪtɪkəl tɪ ˈfɪnɪʃɪŋ ðə geɪm. ðə rɛst ər ˈɔpʃənəl tæsks ðət ˈoʊpən əp fæst ˈtrævəl ˈɔpʃənz θruaʊt glæs. ənd aɪl bi ˈɑnəst: ðɪs simz laɪk ə kəˈlɑsəl weɪst. aɪd hæv məʧ ˈrəðər gɔn θru mɔr ənd mɔr ˈɪntrəkət fˈjuʧər ðən hæv hæd tɪ bit əp əˈnəðər rum fʊl əv sɪˈkjʊrəti ˈfɔrsɪz ˈjuzɪŋ ˈkɑmbæt məˈkænɪks ðət stɪl ˈɑrənt ˈvɛri fən. ðə ˈsɪti əv glæs' sɪˈkjʊrəti ˈfɔrsɪz ər ˈjuʒəwəli ɑrmd. sɪˈkjʊrəti ˈɔfɪsərz wɪθ gənz hæv ədˈvænst ˈwɛpənz ðət kən ˈoʊnli bi juzd baɪ ðɛr ˈoʊnər. naʊ lɛt ðət brɛθ aʊt, bɪˈkəz daɪs stɪl fɔlz preɪ tɪ fɑr tu ˈfrikˌwɛnt ˈkɑmbæt ɪnˈkaʊnərz ðət traɪ tɪ skwiz mɔr aʊt əv ˈkætəˌlɪsts ˈfaɪtɪŋ ˈsɪstəm ðən ɪts ˈrɪli ˈkeɪpəbəl əv. ˈmɑrʃəl ɑrts praʊəs ɪz ˈæbsənt ðə fluˈɪdəti ənd greɪs əv hər ˈhaɪˌspid ˌnævəˈgeɪʃən θru ðə ɪnˈvaɪrənmənt, ənd ɪt filz ˈfrəˌstreɪtɪŋli ˈkləŋki baɪ kəmˈpɛrəsən. aɪ ˈdɪdənt ˌpɑrˈtɪkjələrli ˌɛnˈʤɔɪ ðə ˈkɑmbæt ɪn ˈmɪrərz ɛʤ ˈkætəˌlɪst, bət ðɛr ɪz æt list ə sɛns əv ˌsætɪsˈfækʃən tɪ ðə krənʧ əv ə ˈraʊnˌdhaʊs kɪk kəˈnɛktɪŋ wɪθ ðə ˈhɛlmət əv ə ˈɔfɪsər. aɪ fɛlt ə grɪm kaɪnd əv əˈkɑmplɪʃmənt æt ˈbitɪŋ ðə mɔr ɪˈlit trups ˈɛvəri naʊ ənd əˈgɛn. bət ənd sim tɪ bi ˈmɪrərz ɛʤ ˈkætəˌlɪsts krəʧ wɪn ɪt kænt θɪŋk əv ˈɛniˌθɪŋ ɛls tɪ du. tu ˈmɛni ˈlɛvəlz ɛnd wɪθ ˈbɔrɪŋ ˈfɪzɪkəl ɪnˈkaʊnərz; ðə læst kˈwɔrtər əv ðə geɪm əˈspɛʃəli ˈsəfərz frəm ðɪs, ˈfɑlɪŋ preɪ tɪ ˈstændərd ˈækʃən geɪm kənˈvɛnʃənz. ˈɛnəmiz ðət sərvd ɛz ˈbɔsɪz əˈpɪr ɪn ˈrɛgjələr grups əv ˈɛnəmiz, ənd ðɛn ðɛr ər tu ˈhɛviz. "skru ɪt," aɪ ˌɪˈmæʤən ˈsəmˌwən sɛd "lɛts ʤɪst ˈlɪtərəli hæv ə sˈlæpˌstɪk ˈmoʊmənt wɛr feɪθ kəmz əraʊnd ə ˈkɔrnər, ənd ðɛr ər 15 djudz ˈhævɪŋ səm kaɪnd əv ˈmitɪŋ ɪn ən ɪgˈzɛkjətɪv əˈpɑrtmənt, ənd feɪθ ɪz ˈweɪtɪŋ fər ən ˈɛləˌveɪtər ˈɛniˌweɪ, soʊ ju kən fɪl ɪn ðə wɪθ jʊr fɪsts. ðɪs ɪz ˈæˌkʧuəli ə θɪŋ ðət ˈhæpənz. ðɛr ər ˈmaɪnər ˈmoʊmənts əv ˈɛnəmi sərˈvaɪvəl ɪn ˈmɪrərz ɛʤ ˈkætəˌlɪst, wɪʧ simz əˈbaʊt ɛz fɑr frəm ðə ˈspɪrɪt əv ðə rɛst əv ðə geɪm ɛz ˈɛniˌθɪŋ aɪ kən ˌɪˈmæʤən, ʃaɪ ə ˈrɑkət ˈlɔnʧər bɔs faɪt. bət ðɪs ɪz ˈɔlsoʊ sɛt əˈgɛnst ðə ˈbækˌdrɑp əv ðət ˌɪnˈkrisɪŋgli filz laɪk ə ʧip dɛθ træp, ˈrəðər ðən ðə smɑrt ˈprɑbləmz tɪ bi sɑlvd ˈɛlsˌwɛr. ər, ɛz ˈɔfən, ˈmɪrərz ɛʤ ˈkætəˌlɪst rɪˈlaɪz tu məʧ ɔn ˈstændɪŋ ɪn ʤɪst ðə raɪt pleɪs ənd ˈtæpɪŋ ðə mæg roʊp ˈbətən tɪ zɪp əp tɪ wɛr ju nid tɪ bi. ðə læst kˈwɔrtər əv ðə geɪm ɪz ə bæd ˈrɪbən tɪ taɪ ɔn tɔp əv ən ˈəðərˌwaɪz ˈmoʊstli kul spɪn ɔn ðə aɪˈdiəz əv ðə ərˈɪʤənəl.
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there’s been some fans and even a few this season of mad men is boring. but that only valid if all you know of the show is its salaciousness. if the only reason you tune in every week is to see characters boozing, smoking, getting into explosive arguments and sleeping with people they be sleeping with, then sure, this not going to impress you yet. personal growth exactly flashy. but if here for the character development, for the just of don draper, but of everyone else within his has become more and more compelling over the course of seasons, likely been floored a few times this year already. tempting to write off a sexless don draper as dull, but if you do the work and stick with the series, reading it as closely as matt weiner and the writers intend it to be read, no way you can possibly be doing anything but holding your breath and bracing for that fire been promised.
because although just a slow burn right now, there, whether you notice it or not. and weiner and company want to make sure we do. this episode was easily the most in the metaphor department, but for some because the show got a little meta and had a character (who later turned out to be a bit of a metaphor himself) call out said of it felt trite, even though a lesson that goes all the way back to side one, track one of the bible. it was a computer that served as the catalyst for all the talk of technology versus humanity, versus terrestrial life, but the only kind of apple that really mattered this week was of the forbidden fruit variety.
an exasperated don points it out to us, throwing up his hands and telling bert cooper that “the apple is right there!” when cooper refuses to allow him to pursue lease tech, the computer installation company the friendly, seemingly harmless lloyd works for. don, as we guessed, been dealing with the terms of his rehiring very well, and when peggy gets a raise from lou avery and orders to put don on her burger chef team, he throws a little tantrum, tossing his typewriter at a window, playing solitaire instead of attending the meeting peggy called and drinking hidden booze out of a pop can while being haunted by old mets pennant. eventually he decides to play hooky and gives freddy a call, insisting the two go to the mets game. he also bumps into lloyd, the computer tech, and now that got a good buzz on, convinced that actually the devil, that serpent in the garden whispering to us about how great that apple probably tastes. “you talk like a friend, but not,” he says. “you go by many names, but i know who you are.” later don blacks out, and in the morning a stern freddy tells him he should quit drinking. tough love freddy tells don to stop whining about peggy and his demotion and just “do the work” to get himself together and earn his old position back.
it’s a concept alluded to earlier in the episode by lloyd/satan, when he tries to explain the paranoia that often gets projected onto new technology by people and reminds don that computers were built by people, people who worked hard to build a machine that would push society forward. don remarks that the men who built the 360 probably do much, and lloyd responds with a snappy about how be the ones to take us to the moon.
that’s the thing, though. you can reach for the stars (and the moon), but got to be prepared to do the work to get there. the not some miracle machine dropped into our laps like manna; the result of years of human toiling. you want the moon, gotta do the work. not the only one struggling to wrap his mind around this concept this week. forced to take a look at himself when his daughter margaret runs away and joins a hippie commune, abandoning her son and her husband. he and mona go to retrieve her, and mona leaves after margaret makes a particularly cruel remark about not having to lock herself in the bathroom with a bottle of roger alone with his daughter and a bunch of hippies. at first he plays along, helping prepare the home-grown vegetables for dinner and trying to wrap his mind around their set-up (although, as he points out, they have a truck). after all, this is a guy who has taken a pretty strong liking to dropping acid and having orgies with young hippies these past few years. he gets of.
after spending the evening enjoying their whole routine, roger and margaret gaze up at the stars and the moon, bonding over the night beauty, with roger remarking that “every little boy wants to be an astronaut.” but then margaret sneaks off in the middle of the night, probably to take part in some orgy her dad invited to, and the next morning thrust back to earth. an angry roger insists that margaret come home and be a mother to her son, and when she refuses, he tries to physically remove her, telling her “it’s time to leave.” the “paradise lost” metaphor becomes painfully clear when they wind up literally rolling around in the mud. roger tries to tell his daughter that her son needs her, but she throws that back in his face by bringing up what an awful father he was to her. he leaves empty-handed, but at least it seems like learned that to be a good parent you do have to do the work. maybe cancel the rest of his hippie sex parties and try the whole parenting thing again with his son kevin?
roger and don seem to have both learned a few lessons this week, namely that the paradise been dreaming of for moon been reaching attainable when you eat that apple and expect everything to still be handed to you. in fact, it really exist at all. gotta do the work to get what you want, and sometimes that means toiling in the mud or doing unpleasant things to achieve that and get as close to as you can. by the end, don seems to have taken words to heart, even passing on his usual morning danish, getting straight to the task at hand and promising peggy have her 25 tags by noon. another huge personal breakthrough for him, and if you find that boring, just not doing the work.
stray observations:
—the music choices continue to be completely on-point. this week it was the hollies’ “on a carousel” (“ridin’ along on a carousel, will i catch up to you?”) that perfectly captured journey. the nod to his former greatness (that famous kodak carousel pitch) and the implication that been riding that success for too long, and then the idea that man so obsessed with forward motion, with never looking actually just been spinning around in a circle, not actually getting anywhere. will he actually ever catch up to peggy, or has that ship sailed?
—there’s been a lot of speculation about how the show will handle the manson murders, and the sharon theories have been floating around, but what if margaret goes off and joins the manson family?
—more scenes of joan and peggy drinking together, please.
—i love that new york mets misguided symbol of americana he put up in his office as a way to how he lives on. especially because he chose the wrong team. he was trying to fit in with the yankees.
—for those keeping track at home, got another fire reference, when lloyd asks for a light: “it’s 1969, and unable to make fire.”
— “she only had one job, and that was to find a husband. and she it up.”
—there should be an ban on talking about suicide outside old office. harry, really gonna say “guy’s trying to kill himself all show” while standing outside that place?
— “let’s see them give that to bob benson.” or, you know, just see bob benson. seriously.
—that also goes for trudy. love to see what been up to, especially since we learned this week that her father had a heart attack.
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there’s* bɪn səm fænz ənd ˈivɪn ə fju ðɪs ˈsizən əv mæd mɛn ɪz ˈbɔrɪŋ. bət ðət ˈoʊnli ˈvælɪd ɪf ɔl ju noʊ əv ðə ʃoʊ ɪz ɪts salaciousness*. ɪf ðə ˈoʊnli ˈrizən ju tun ɪn ˈɛvəri wik ɪz tɪ si ˈkɛrɪktərz ˈbuzɪŋ, sˈmoʊkɪŋ, ˈgɪtɪŋ ˈɪntu ɪkˈsploʊsɪv ˈɑrgjəmənts ənd sˈlipɪŋ wɪθ ˈpipəl ðeɪ bi sˈlipɪŋ wɪθ, ðɛn ʃʊr, ðɪs nɑt goʊɪŋ tɪ ˌɪmˈprɛs ju jɛt. ˈpərsɪnəl groʊθ ɪgˈzæktli ˈflæʃi. bət ɪf hir fər ðə ˈkɛrɪktər dɪˈvɛləpmənt, fər ðə ʤɪst əv dɑn ˈdreɪpər, bət əv ˈɛvriˌwən ɛls wɪˈθɪn hɪz həz bɪˈkəm mɔr ənd mɔr kəmˈpɛlɪŋ ˈoʊvər ðə kɔrs əv ˈsizənz, ˈlaɪkli bɪn flɔrd ə fju taɪmz ðɪs jɪr ɔˈrɛdi. ˈtɛmptɪŋ tɪ raɪt ɔf ə ˈsɛkslɪs dɑn ˈdreɪpər ɛz dəl, bət ɪf ju du ðə wərk ənd stɪk wɪθ ðə ˈsɪriz, ˈrɛdɪŋ ɪt ɛz ˈkloʊsli ɛz mæt ˈwaɪnər ənd ðə ˈraɪtərz ˌɪnˈtɛnd ɪt tɪ bi rɛd, noʊ weɪ ju kən ˈpɑsəbli bi duɪŋ ˈɛniˌθɪŋ bət ˈhoʊldɪŋ jʊr brɛθ ənd ˈbreɪsɪŋ fər ðət faɪər bɪn ˈprɑməst. bɪˈkəz ˌɔlˈðoʊ ʤɪst ə sloʊ bərn raɪt naʊ, ðɛr, ˈwɛðər ju ˈnoʊtɪs ɪt ər nɑt. ənd ˈwaɪnər ənd ˈkəmpəˌni wɔnt tɪ meɪk ʃʊr wi du. ðɪs ˈɛpɪˌsoʊd wɑz ˈizəli ðə moʊst ɪn ðə ˈmɛtəfɔr dɪˈpɑrtmənt, bət fər səm bɪˈkəz ðə ʃoʊ gɑt ə ˈlɪtəl ˈmitə ənd hæd ə ˈkɛrɪktər (hu ˈleɪtər tərnd aʊt tɪ bi ə bɪt əv ə ˈmɛtəfɔr hɪmˈsɛlf) kɔl aʊt sɛd əv ɪt fɛlt traɪt, ˈivɪn ðoʊ ə ˈlɛsən ðət goʊz ɔl ðə weɪ bæk tɪ saɪd wən, træk wən əv ðə ˈbaɪbəl. ɪt wɑz ə kəmˈpjutər ðət sərvd ɛz ðə ˈkætəˌlɪst fər ɔl ðə tɔk əv tɛkˈnɑləʤi ˈvərsəz juˈmænɪti, ˈvərsəz tərˈɛstriəl laɪf, bət ðə ˈoʊnli kaɪnd əv ˈæpəl ðət ˈrɪli ˈmætərd ðɪs wik wɑz əv ðə ˈfɔrbɪdən frut vərˈaɪəti. ən ɪgˈzæspərˌeɪtɪd dɑn pɔɪnts ɪt aʊt tɪ ˈjuˈɛs, θroʊɪŋ əp hɪz hænz ənd ˈtɛlɪŋ bərt ˈkupər ðət ˈæpəl ɪz raɪt there!”*!” wɪn ˈkupər rɪfˈjuzɪz tɪ əˈlaʊ ɪm tɪ pərˈsu lis tɛk, ðə kəmˈpjutər ˌɪnstəˈleɪʃən ˈkəmpəˌni ðə ˈfrɛndli, ˈsimɪŋli ˈhɑrmləs lɔɪd wərks fər. dɑn, ɛz wi gɛst, bɪn ˈdilɪŋ wɪθ ðə tərmz əv hɪz riˈhaɪrɪŋ ˈvɛri wɛl, ənd wɪn ˈpɛgi gɪts ə reɪz frəm lu ˈeɪvəri ənd ˈɔrdərz tɪ pʊt dɑn ɔn hər ˈbərgər ʃɛf tim, hi θroʊz ə ˈlɪtəl ˈtæntrəm, ˈtɔsɪŋ hɪz ˈtaɪˌpraɪtər æt ə ˈwɪndoʊ, pleɪɪŋ ˌsɑləˈtɛr ˌɪnˈstɛd əv əˈtɛndɪŋ ðə ˈmitɪŋ ˈpɛgi kɔld ənd ˈdrɪŋkɪŋ ˈhɪdən buz aʊt əv ə pɑp kən waɪl biɪŋ ˈhɔntɪd baɪ oʊld mɛts ˈpɛnənt. ɪˈvɛnʧəwəli hi ˌdɪˈsaɪdz tɪ pleɪ ˈhʊki ənd gɪvz ˈfrɛdi ə kɔl, ˌɪnˈsɪstɪŋ ðə tu goʊ tɪ ðə mɛts geɪm. hi ˈɔlsoʊ bəmps ˈɪntu lɔɪd, ðə kəmˈpjutər tɛk, ənd naʊ ðət gɑt ə gʊd bəz ɔn, kənˈvɪnst ðət ˈæˌkʧuəli ðə ˈdɛvəl, ðət ˈsərpənt ɪn ðə ˈgɑrdən ˈwɪspərɪŋ tɪ ˈjuˈɛs əˈbaʊt haʊ greɪt ðət ˈæpəl ˈprɑbəˌbli teɪsts. tɔk laɪk ə frɛnd, bət not,”*,” hi sɪz. goʊ baɪ ˈmɛni neɪmz, bət aɪ noʊ hu ju are.”*.” ˈleɪtər dɑn blæks aʊt, ənd ɪn ðə ˈmɔrnɪŋ ə stərn ˈfrɛdi tɛlz ɪm hi ʃʊd kwɪt ˈdrɪŋkɪŋ. təf ləv ˈfrɛdi tɛlz dɑn tɪ stɑp ˈwaɪnɪŋ əˈbaʊt ˈpɛgi ənd hɪz dɪˈmoʊʃən ənd ʤɪst ðə work”*” tɪ gɪt hɪmˈsɛlf təˈgɛðər ənd ərn hɪz oʊld pəˈzɪʃən bæk. ə ˈkɑnsɛpt əˈludəd tɪ ˈərliər ɪn ðə ˈɛpɪˌsoʊd baɪ lloyd/satan*, wɪn hi traɪz tɪ ɪkˈspleɪn ðə ˌpɛrəˈnɔɪə ðət ˈɔfən gɪts prɑˈʤɛktəd ˈɔntu nu tɛkˈnɑləʤi baɪ ˈpipəl ənd riˈmaɪndz dɑn ðət kəmˈpjutərz wər bɪlt baɪ ˈpipəl, ˈpipəl hu wərkt hɑrd tɪ bɪld ə məˈʃin ðət wʊd pʊʃ soʊˈsaɪɪti ˈfɔrwərd. dɑn rɪˈmɑrks ðət ðə mɛn hu bɪlt ðə 360 ˈprɑbəˌbli du məʧ, ənd lɔɪd rɪˈspɑndz wɪθ ə sˈnæpi əˈbaʊt haʊ bi ðə wənz tɪ teɪk ˈjuˈɛs tɪ ðə mun. ðə θɪŋ, ðoʊ. ju kən riʧ fər ðə stɑrz (ənd ðə mun), bət gɑt tɪ bi priˈpɛrd tɪ du ðə wərk tɪ gɪt ðɛr. ðə nɑt səm ˈmɪrəkəl məˈʃin drɑpt ˈɪntu ɑr læps laɪk ˈmænə; ðə rɪˈzəlt əv jɪrz əv ˈjumən ˈtɔɪlɪŋ. ju wɔnt ðə mun, ˈgɑtə du ðə wərk. nɑt ðə ˈoʊnli wən ˈstrəgəlɪŋ tɪ ræp hɪz maɪnd əraʊnd ðɪs ˈkɑnsɛpt ðɪs wik. fɔrst tɪ teɪk ə lʊk æt hɪmˈsɛlf wɪn hɪz ˈdɔtər ˈmɑrgərɪt rənz əˈweɪ ənd ʤɔɪnz ə ˈhɪpi ˈkɑmjun, əˈbændənɪŋ hər sən ənd hər ˈhəzbənd. hi ənd ˈmoʊnə goʊ tɪ rɪˈtriv hər, ənd ˈmoʊnə livz ˈæftər ˈmɑrgərɪt meɪks ə ˌpɑrˈtɪkjələrli kruəl rɪˈmɑrk əˈbaʊt nɑt ˈhævɪŋ tɪ lɑk hərˈsɛlf ɪn ðə ˈbæθˌrum wɪθ ə ˈbɑtəl əv ˈrɑʤər əˈloʊn wɪθ hɪz ˈdɔtər ənd ə bənʧ əv ˈhɪpiz. æt fərst hi pleɪz əˈlɔŋ, ˈhɛlpɪŋ priˈpɛr ðə ˈhoʊmˌgroʊn ˈvɛʤtəbəlz fər ˈdɪnər ənd traɪɪŋ tɪ ræp hɪz maɪnd əraʊnd ðɛr ˈsɛˌtəp (ˌɔlˈðoʊ, ɛz hi pɔɪnts aʊt, ðeɪ hæv ə trək). ˈæftər ɔl, ðɪs ɪz ə gaɪ hu həz ˈteɪkən ə ˈprɪti strɔŋ ˈlaɪkɪŋ tɪ ˈdrɑpɪŋ ˈæsəd ənd ˈhævɪŋ ˈɔrʤiz wɪθ jəŋ ˈhɪpiz ðiz pæst fju jɪrz. hi gɪts əv. ˈæftər ˈspɛndɪŋ ðə ˈivnɪŋ ˌɛnˈʤɔɪɪŋ ðɛr hoʊl ruˈtin, ˈrɑʤər ənd ˈmɑrgərɪt geɪz əp æt ðə stɑrz ənd ðə mun, ˈbɑndɪŋ ˈoʊvər ðə naɪt ˈbjuti, wɪθ ˈrɑʤər rɪˈmɑrkɪŋ ðət ˈlɪtəl bɔɪ wɔnts tɪ bi ən astronaut.”*.” bət ðɛn ˈmɑrgərɪt sniks ɔf ɪn ðə ˈmɪdəl əv ðə naɪt, ˈprɑbəˌbli tɪ teɪk pɑrt ɪn səm ˈɔrʤi hər dæd ˌɪnˈvaɪtɪd tɪ, ənd ðə nɛkst ˈmɔrnɪŋ θrəst bæk tɪ ərθ. ən ˈæŋgri ˈrɑʤər ˌɪnˈsɪsts ðət ˈmɑrgərɪt kəm hoʊm ənd bi ə ˈməðər tɪ hər sən, ənd wɪn ʃi rɪfˈjuzɪz, hi traɪz tɪ ˈfɪzɪkəli riˈmuv hər, ˈtɛlɪŋ hər taɪm tɪ liv shangri-la.”*.” ðə lost”*” ˈmɛtəfɔr bɪˈkəmz ˈpeɪnfəli klɪr wɪn ðeɪ wɪnd əp ˈlɪtərəli ˈroʊlɪŋ əraʊnd ɪn ðə məd. ˈrɑʤər traɪz tɪ tɛl hɪz ˈdɔtər ðət hər sən nidz hər, bət ʃi θroʊz ðət bæk ɪn hɪz feɪs baɪ ˈbrɪŋɪŋ əp wət ən ˈɔfəl ˈfɑðər hi wɑz tɪ hər. hi livz ˈɛmptiˈhændɪd, bət æt list ɪt simz laɪk ˈlərnɪd ðət tɪ bi ə gʊd ˈpɛrənt ju du hæv tɪ du ðə wərk. ˈmeɪbi ˈkænsəl ðə rɛst əv hɪz ˈhɪpi sɛks ˈpɑrtiz ənd traɪ ðə hoʊl ˈpɛrəntɪŋ θɪŋ əˈgɛn wɪθ hɪz sən ˈkɛvɪn? ˈrɑʤər ənd dɑn sim tɪ hæv boʊθ ˈlərnɪd ə fju ˈlɛsənz ðɪs wik, ˈneɪmli ðət ðə ˈpɛrəˌdaɪs bɪn ˈdrimɪŋ əv fər mun bɪn ˈriʧɪŋ əˈteɪnəbəl wɪn ju it ðət ˈæpəl ənd ɪkˈspɛkt ˈɛvriˌθɪŋ tɪ stɪl bi ˈhændɪd tɪ ju. ɪn fækt, ɪt ˈrɪli ɪgˈzɪst æt ɔl. ˈgɑtə du ðə wərk tɪ gɪt wət ju wɔnt, ənd ˈsəmˌtaɪmz ðət minz ˈtɔɪlɪŋ ɪn ðə məd ər duɪŋ ənˈplɛzənt θɪŋz tɪ əˈʧiv ðət ənd gɪt ɛz kloʊz tɪ ɛz ju kən. baɪ ðə ɛnd, dɑn simz tɪ hæv ˈteɪkən wərdz tɪ hɑrt, ˈivɪn ˈpæsɪŋ ɔn hɪz ˈjuʒəwəl ˈmɔrnɪŋ ˈdeɪnɪʃ, ˈgɪtɪŋ streɪt tɪ ðə tæsk æt hænd ənd ˈprɑməsɪŋ ˈpɛgi hæv hər 25 tægz baɪ nun. əˈnəðər juʤ ˈpərsɪnəl ˈbreɪkθˌru fər ɪm, ənd ɪf ju faɪnd ðət ˈbɔrɪŋ, ʤɪst nɑt duɪŋ ðə wərk. streɪ ˌɑbzərˈveɪʃənz: mˈjuzɪk ˈʧɔɪsɪz kənˈtɪnju tɪ bi kəmˈplitli on-point*. ðɪs wik ɪt wɑz ðə hollies’*’ ə carousel”*” (““ridin’*’ əˈlɔŋ ɔn ə ˈkɛrəˌsɛl, wɪl aɪ kæʧ əp tɪ you?”*?”) ðət ˈpərfəktli ˈkæpʧərd ˈʤərni. ðə nɑd tɪ hɪz ˈfɔrmər ˈgreɪtnəs (ðət ˈfeɪməs ˈkoʊˌdæk ˈkɛrəˌsɛl pɪʧ) ənd ðə ˌɪmpləˈkeɪʃən ðət bɪn ˈraɪdɪŋ ðət səkˈsɛs fər tu lɔŋ, ənd ðɛn ðə aɪˈdiə ðət mæn soʊ əbˈsɛst wɪθ ˈfɔrwərd ˈmoʊʃən, wɪθ ˈnɛvər ˈlʊkɪŋ ˈæˌkʧuəli ʤɪst bɪn ˈspɪnɪŋ əraʊnd ɪn ə ˈsərkəl, nɑt ˈæˌkʧuəli ˈgɪtɪŋ ˈɛniˌwɛr. wɪl hi ˈæˌkʧuəli ˈɛvər kæʧ əp tɪ ˈpɛgi, ər həz ðət ʃɪp seɪld? bɪn ə lɔt əv ˌspɛkjəˈleɪʃən əˈbaʊt haʊ ðə ʃoʊ wɪl ˈhændəl ðə ˈmænsən ˈmərdərz, ənd ðə ˈʃɛrən ˈθɪriz hæv bɪn ˈfloʊtɪŋ əraʊnd, bət wət ɪf ˈmɑrgərɪt goʊz ɔf ənd ʤɔɪnz ðə ˈmænsən ˈfæməli? sinz əv ʤoʊn ənd ˈpɛgi ˈdrɪŋkɪŋ təˈgɛðər, pliz. ləv ðət nu jɔrk mɛts mɪsˈgaɪdɪd ˈsɪmbəl əv əˌmɛrɪˈkænə hi pʊt əp ɪn hɪz ˈɔfəs ɛz ə weɪ tɪ haʊ hi lɪvz ɔn. əˈspɛʃəli bɪˈkəz hi ʧoʊz ðə rɔŋ tim. hi wɑz traɪɪŋ tɪ fɪt ɪn wɪθ ðə ˈjæŋkiz. ðoʊz ˈkipɪŋ træk æt hoʊm, gɑt əˈnəðər faɪər ˈrɛfərəns, wɪn lɔɪd æsks fər ə laɪt: 1969 ənd əˈneɪbəl tɪ meɪk fire.”*.” ˈoʊnli hæd wən ʤɑb, ənd ðət wɑz tɪ faɪnd ə ˈhəzbənd. ənd ʃi ɪt up.”*.” ʃʊd bi ən bæn ɔn ˈtɔkɪŋ əˈbaʊt ˈsuɪˌsaɪd ˈaʊtˈsaɪd oʊld ˈɔfəs. ˈhɛri, ˈrɪli ˈgɑnə seɪ traɪɪŋ tɪ kɪl hɪmˈsɛlf ɔl show”*” waɪl ˈstændɪŋ ˈaʊtˈsaɪd ðət pleɪs? si ðɛm gɪv ðət tɪ bɑb benson.”*.” ər, ju noʊ, ʤɪst si bɑb ˈbɛnsən. ˈsɪriəsli. ˈɔlsoʊ goʊz fər ˈtrudi. ləv tɪ si wət bɪn əp tɪ, əˈspɛʃəli sɪns wi ˈlərnɪd ðɪs wik ðət hər ˈfɑðər hæd ə hɑrt əˈtæk.
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try to use the categories already in use, please. edit
the universe is a big place and who knows what's out there. luckily we have an database to let you know about those few things we're in contact with.
- brought to you by the mega library of prime.
welcome to the wiki edit
this is the subsection of mega library infinity archives covering the extraordinary life of the bodega character as conceived by famous short story author and video gaming personality, flax.
please feel free to add to the database in the style of bodega, when writing; though, please use these pages for specified content.
characters - bodega , , person , herk burk , main layout for important characters
planets - main layout for planets
bodega is an gunslinger drinking and takin' down the federation with his pals in the edit
provided you are using a computer with a, you have nothing to fear when entering incorrect data, as incorrect wiki text will stay hidden until such time as it is revealed in a bodega episode. unfortunately those with a limited to one, two, or three dimensions will have to slog through all of the that useless wiki editors have placed within the pages of this sorry database. edit
the videos edit
this is where all our source material comes from.
bodega: the fundamentals edit
bodega- part uno --1- bodega- part dos --2- bodega- part --3- bodega- part --4- bodega- part cinco --5- bodega- part seis --6- bodega- part --7- bodega- part --8-
forming the b.s.r.f.o.p.h.k. edit
bodega- part --9- bodega- part diez --10- bodega- part once --11- bodega- part --12- bodega- part --13- bodega- part --14-
bodega and edit
bodega- part quince --15- bodega- part --16- bodega- part --17-
b.s.r.f.o.p.h.k. mission uno edit
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wi ər ˈkərəntli ɔn ə ˈprɑʤɛkt tɪ æd ˈkætəˌgɔriz tɪ ɔl əv ɑr ˈpeɪʤɪz. ˈɛni hɛlp wʊd bi məʧ əˈpriʃiˌeɪtɪd. ˈɛdət traɪ tɪ juz ðə ˈkætəˌgɔriz ɔˈrɛdi ɪn juz, pliz. ˈɛdət ðə ˈjunəˌvərs ɪz ə bɪg pleɪs ənd hu noʊz wəts aʊt ðɛr. ˈləkəli wi hæv ən ˈdætəˌbeɪs tɪ lɛt ju noʊ əˈbaʊt ðoʊz fju θɪŋz wɪr ɪn ˈkɑnˌtækt wɪθ. brɔt tɪ ju baɪ ðə ˈmɛgə ˈlaɪbrɛˌri əv praɪm. ˈwɛlkəm tɪ ðə ˈwɪˌki ˈɛdət ðɪs ɪz ðə ˈsəbsɛkʃən əv ˈmɛgə ˈlaɪbrɛˌri ˌɪnˈfɪnɪti ˈɑrˌkaɪvz ˈkəvərɪŋ ðə ˌɛkstrəˈɔrdəˌnɛri laɪf əv ðə boʊˈdeɪgə ˈkɛrɪktər ɛz kənˈsivd baɪ ˈfeɪməs ʃɔrt ˈstɔri ˈɔθər ənd ˈvɪdioʊ ˈgeɪmɪŋ ˌpərsəˈnælɪti, flæks. pliz fil fri tɪ æd tɪ ðə ˈdætəˌbeɪs ɪn ðə staɪl əv boʊˈdeɪgə, wɪn ˈraɪtɪŋ; ðoʊ, pliz juz ðiz ˈpeɪʤɪz fər ˈspɛsəˌfaɪd ˈkɑntɛnt. ˈkɛrɪktərz boʊˈdeɪgə ˈpərsən hərk bərk meɪn leɪaʊt fər ˌɪmˈpɔrtənt ˈkɛrɪktərz ˈplænəts meɪn leɪaʊt fər ˈplænəts boʊˈdeɪgə ɪz ən ˈgənsˌlɪŋər ˈdrɪŋkɪŋ ənd takin*' daʊn ðə ˌfɛdərˈeɪʃən wɪθ hɪz pælz ɪn ðə ˈɛdət prəˈvaɪdɪd ju ər ˈjuzɪŋ ə kəmˈpjutər wɪθ ə, ju hæv ˈnəθɪŋ tɪ fɪr wɪn ˈɛnərɪŋ ˌɪnkərˈɛkt ˈdætə, ɛz ˌɪnkərˈɛkt ˈwɪˌki tɛkst wɪl steɪ ˈhɪdən ənˈtɪl səʧ taɪm ɛz ɪt ɪz rɪˈvild ɪn ə boʊˈdeɪgə ˈɛpɪˌsoʊd. ənˈfɔrʧənətli ðoʊz wɪθ ə ˈlɪmɪtɪd tɪ wən, tu, ər θri dɪˈmɛnʃənz wɪl hæv tɪ slɑg θru ɔl əv ðə ðət ˈjusləs ˈwɪˌki ˈɛdɪtərz hæv pleɪst wɪˈθɪn ðə ˈpeɪʤɪz əv ðɪs ˈsɑri ˈdætəˌbeɪs. ˈɛdət ðə ˈvɪdioʊz ˈɛdət ðɪs ɪz wɛr ɔl ɑr sɔrs məˈtɪriəl kəmz frəm. boʊˈdeɪgə: ðə ˌfəndəˈmɛnəlz ˈɛdət boʊˈdeɪgə- pɑrt ˈuˌnoʊ 1 boʊˈdeɪgə- pɑrt dɔs 2 boʊˈdeɪgə- pɑrt 3 boʊˈdeɪgə- pɑrt 4 boʊˈdeɪgə- pɑrt ˈsɪŋkoʊ 5 boʊˈdeɪgə- pɑrt sis 6 boʊˈdeɪgə- pɑrt 7 boʊˈdeɪgə- pɑrt 8 ˈfɔrmɪŋ ðə b.s.r.f.o.p.h.k*. ˈɛdət boʊˈdeɪgə- pɑrt 9 boʊˈdeɪgə- pɑrt daɪəz 10 boʊˈdeɪgə- pɑrt wəns 11 boʊˈdeɪgə- pɑrt 12 boʊˈdeɪgə- pɑrt 13 boʊˈdeɪgə- pɑrt 14 boʊˈdeɪgə ənd ˈɛdət boʊˈdeɪgə- pɑrt kwɪns 15 boʊˈdeɪgə- pɑrt 16 boʊˈdeɪgə- pɑrt 17 b.s.r.f.o.p.h.k*. ˈmɪʃən ˈuˌnoʊ ˈɛdət
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on wednesday, september 7, caught up with bill sharp and frank via cell phone as they were driving from new orleans back to houston to catch their flight back out to california. here they give part one of their heavy account of the relief operation's trip to new orleans.
–chris dixon
surfermag.com: bill how did this whole thing get started?
bill sharp: it started… i just got an email from shawn at. she me on an email blast about getting ready
what happened was that immediately after the hurricane, the fema california task force, made up of the elite teams from most of the county fire agencies, took off on monday night on a c5 transport with their trucks at march field. but they bring their jet skis. so there were no personal which turned out to be invaluable. so shawn went to work organizing getting the donations from yamaha and getting them shipped to the closest drop point which was baton rouge. she just kind of put out this call for people qualified for driving skis and logistics and i just said, in.
and you know frank of mavericks surf rescue, he came onboard, and then matt george representing relief operations the four of us created our own sort of strike team. that assignment came late thursday night. so i spent all day friday working the logistics of how to make it happen. we had eight jet skis in baton rouge and so what i had to figure out how to get them and us into new orleans.
so the plan we came up with was, we had to fly to houston which was the only place there were enough flights coming. i found a hertz guy in downtown that was really sympathetic he reserved two big ford pickups and brought all the tow gear with us. this was at like, saturday morning. then frank and shawn came in later that morning. we drove to baton and were planning on spending the night there. but we kept getting calls from rescue task force guys the menlo park (california) fire crew was who we were originally working for. they would call us and say, look, we need all these supplies so we were stopping about every hour wherever find a wal-mart. say, we desperately need socks. we need underwear. we need knives, tools , oil and food and just all this stuff. they came in lightly prepared, as first responders right after the storm, and had no one to them. then we went on to baton rouge and picked up the two trailers.
surfermag.com: how was the damage in baton rouge?
bill sharp: baton rouge seemed fine to us. i mean there was minor wind damage and some signs knocked over. it until you got over that causeway over the swamp start seeing real signs. then when you got into the last stretch before the airport, then you just went through a mile or two and after that everything was just up sideways. i mean just fronts of buildings ripped off. there was a self storage center where all the walls were peeled off and belongings were hanging out. bricks on top of cars, cars abandoned everywhere. it was just like a war zone.
surfermag.com: did it remind you of the areas where the tsunami swept in?
bill sharp: yes and no. there any standing water on the outskirts and in the tsunami you have any wind. here they had at least 120 mile an hour winds. but it was a little bit odd because have one neighborhood that was just demolished and then go a few blocks down and it would look relatively all right. it looked like there were areas where these micro bursts of wind just went berserk.
so we rolled in and there was obviously the national guard blocking access but we had all the authorizations.
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surfermag.com: so you went in to support menlo park fire?
bill sharp: we ended up going in and supporting the entire california task force. the san diego lifeguards basically the whole mission beach lifeguard squad was there walking around in trunks. then we were working with orange county a lot too so there was a full southern california surf presence.
surfermag.com: how hard was it find everyone in the middle of the night with no power?
bill sharp: well, we get there and got these really sketchy directions like, by the airport and turn left. no power. no anything. all the street signs are down and no in the road. it was a crazy third world war scene. and i had brought every piece of gear known to man, so we had a big searchlight and wandered and found this one corner and found 200 cops..
sunday morning at zephyr field which is the practice field. there were helicopters coming in; blackhawks, chinooks, every 30 seconds in and out. they have an indoor practice field with a full regulation sized air conditioned football field. so where we slept. the had just come and the lights were spotty. but there were thousands of rescue workers and national guard sleeping under one roof in cots. it was wild.
from then on, we woke up every morning at and would get ready and wait for the task force orders to come down. we were first all the task force guys with the equipment and then just stood by to do whatever they needed to be done. i say it enough, those guys are the pros, and we were just lending a little hand.
surfermag.com: so what days were you on the water?
bill sharp: monday and tuesday. on sunday we did a whole other road warrior run to pick up supplies and four more skis from friendly yamaha back in baton rouge. those guys were awesome they spent days helping us get ready.
surfermag.com: what would happen if someone was found?
bill sharp: say, okay we found someone and then tow over an inflatable boat and load it with survivors and take it to launch ramps which were the freeway onramps.
surfermag.com: backup for a second. when did you first see the actual flooding and destruction and what was your thought when you got to that spot and actually looked out?
bill sharp: the command post was kind of on the west side of new orleans and this one causeway the lake causeway kind of the and then everything east of there is just under four to twelve feet of water all the way across. and the freeway was underwater. our main assignment was on the east side, kind of northwest of the french quarter just the gnarly projects. the sort of people of the community and there are a lot of spooky old houses and it abuts right up to an industrial zone just with petrochemicals and all the nasty stuff. so a major situation.
surfermag.com: heard reports of how nasty the water was…
bill sharp: the water was unspeakable. just unspeakable. there was just a sheen of chemicals on top and sewage, decomposing everything. i mean very difficult for people who try to live a water based lifestyle and understand the pristine joy of just getting in the water that the case here.
surfermag.com: what did you wear to keep the water off?
bill sharp: well, the fire department had dry suits, but 95 degrees and incredible humidity and those suits are impossible to wear. so we went to academy outdoor shop in baton and just bought up a bunch of chest waders for everyone. it the most stylish ensemble but it got the job done because you did not want to touch that water. one of the things we came upon was be guys in the national guard there but they have waders and want to go in that water. so frank would just go, no problem. jump in and carry them on his shoulders victims evacuating them to the flat boats. we were doing whatever we needed to do improvising on the spot.
surfermag.com: how many other rescuers and crews were there outfitted like you guys?
bill sharp: we were the only civilians to be found.
surfermag.com: there was a helicopter shot on cnn of jet ski guys. but it a big crew of eight in one place.
bill sharp: well, you take eight out at a time, you split up. and the great thing about the jet skis.
surfermag.com: did you suck anything up in the trash and stuff?
bill sharp: that was a huge concern. we foul ours it but we did spend a lot of time helping some of the other people clear theirs.
surfermag.com: what was sort of the drill when pick people up?
bill sharp: the 10 freeway at the louisa avenue was our base. there were probably six different areas where the california rescue teams worked. and it was kind of a gnarly area. there was national guard there with these amphibious trucks. so bring in the boats up until it was about six inches deep and they would drive those trucks out and load people up. you want them to even get their ankles wet in that stuff.
surfermag.com: did you see any dead bodies?
bill sharp: yeah. three or four. frank saw four.
surfermag.com: what was your overall impression rolling through this destroyed city?
bill sharp: it was just the scope of the disaster you cannot possibly understand until there. i mean all these neighborhoods that are flooded you just drain it out and rebuild those houses. history. been soaking in hazardous materials for days. done. you just call the little remediation service and hose it down. all that stuff is going to be bulldozed and going to take a long time if ever to make those areas liveable.
and you know, such a huge area underwater. just amazing. here put frank on to talk about it.
surfermag.com: frank, i was asking bill his take on the scope of things and what the effect was on you guys personally.
frank: i was completely, completely blown away. we were talking about it on the way down that we would have to prepare ourselves for the worst thing we probably possibly would ever have seen in our lives. it was worse than that when we got there. because then you add the smells, the bodies and the devastation and you help but feel for these people.
i mean when we went out yesterday (tuesday, 8 days after the storm), there was a family in this one school and they come out. they thought that the water level was going to drop in a couple of days and they were just going to continue on with their lives. but they seen what we had seen. i went and stopped and talked to the dad, who was their designated leader. i was saying, “dude, i have kids, you have kids, get the kids out.” he was just like, " …no, staying with me." and i was just like, “fuck, we leave.” let bill tell you that story, because he can tell it more dramatically than me. but personally, that just set the tone for me the whole day, not that i motivated, but after that, i was just saying, get absolutely as many people out of here as we possibly can.
surfermag.com: did you go to the tsunami zone with bill and matt (george)?
frank: no, i worked in the 89 earthquake in san francisco, but it was dry and you could walk around. here, you walking anywhere. you launched the skis into an oil slick, and in every corner where the water circulate it was just like dead things, shit, crap, stuff floating around. everywhere. and there are water hazards because just cruising down residential streets. we were hauling ass out to take this cop to his house, and we hit a car and went flying over the top of it and caught air. just standard out there. the cars are floating under the surface and one minute be there then the next gone. there were semi trailers you name it and it was floating. just amazing.
surfermag.com: what was the heaviest thing you saw?
frank: a woman had committed suicide hung herself over this railing. her arms were all spread out super gothic. i was with these detectives and they went and at least covered her head up. you cannot that stuff sink in and not affect you in some weird way. i lay on my cot last night and sleep. i woke up in the middle of the night and just mulled over our whole day the good and the bad. it was heavy. super heavy.
surfermag.com: how many rescues did you pull off?
frank: bill and i were counting and we brought in over 50 people just yesterday. boatloads dude, boatloads. and i even go into any houses until the end. we were just pulling people out of the windows and stuff. but i had an oar and was breaking into a attic. bill went in and i went in after him. i swear to god it was 150 degrees in that attic easily, like going into a sauna. and saying oh my god, these people have been in these places since the storm.
surfermag.com: so they had been up in that hot attic since the storm?
frank: it was crazy dude. crazy shit. the only place to get away from the water was an attic.
surfermag.com: what condition were these people in?
frank: brutal. emaciated. had no freshwater, no sewers. some had a little bit of food. a lot of diabetics. a lot of people who were on medication older folks. the first people we took in were a father and two sons, and the dad was a heavyset guy, a couple of hundred pounds and he was diabetic and just brutalized. he had insulin in like eight days.
surfermag.com: how will this affect you and your way of looking at life in the future?
frank: had a lot of personal tragedy in my life and always tried to learn from it. this is just one more thing to appreciate what i have. my healthy and happy and i appreciate the dry ground i live on. maybe if some other disaster hit us then someone could come in and help us the same way we were helping those folks. and this place was black as could be. not a white person anywhere. the racial lines there were laid down. and yesterday we were with the white good ol’ boy cops, but yesterday after one really heavy rescue they were like, awe it feels good it?
second half installment: bill sharp describes the heavy rescue at the school…
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ɔn ˈwɛnzˌdeɪ, sɛpˈtɛmbər 7 kɔt əp wɪθ bɪl ʃɑrp ənd fræŋk ˈviə sɛl foʊn ɛz ðeɪ wər ˈdraɪvɪŋ frəm nu ˌɔˈrlinz bæk tɪ ˈhjustən tɪ kæʧ ðɛr flaɪt bæk aʊt tɪ ˌkæləˈfɔrnjə. hir ðeɪ gɪv pɑrt wən əv ðɛr ˈhɛvi əˈkaʊnt əv ðə rɪˈlif ˌɑpərˈeɪʃənz trɪp tɪ nu ˌɔˈrlinz. ˈdɪksən: bɪl haʊ dɪd ðɪs hoʊl θɪŋ gɪt ˈstɑrtɪd? bɪl ʃɑrp: ɪt started…*… aɪ ʤɪst gɑt ən iˈmeɪl frəm ʃɔn æt ʃi mi ɔn ən iˈmeɪl blæst əˈbaʊt ˈgɪtɪŋ ˈrɛdi wət ˈhæpənd wɑz ðət ˌɪˈmiˌdiətli ˈæftər ðə ˈhərəˌkeɪnz, ðə ˈfimə ˌkæləˈfɔrnjə tæsk fɔrs, meɪd əp əv ðə ɪˈlit timz frəm moʊst əv ðə ˈkaʊnti faɪər ˈeɪʤənsiz, tʊk ɔf ɔn ˈmənˌdeɪ naɪt ɔn ə ˈsiˈfaɪv ˈtrænspɔrt wɪθ ðɛr trəks æt mɑrʧ fild. bət ðeɪ brɪŋ ðɛr ʤɛt skiz. soʊ ðɛr wər noʊ ˈpərsɪnəl wɪʧ tərnd aʊt tɪ bi ˌɪnˈvæljəbəl. soʊ ʃɔn wɛnt tɪ wərk ˈɔrgəˌnaɪzɪŋ ˈgɪtɪŋ ðə doʊˈneɪʃənz frəm ˈjɑmɑˌhɑ ənd ˈgɪtɪŋ ðɛm ʃɪpt tɪ ðə ˈkloʊsəst drɔp pɔɪnt wɪʧ wɑz ˈbæˌtɑn ruʒ. ʃi ʤɪst kaɪnd əv pʊt aʊt ðɪs kɔl fər ˈpipəl kˈwɑləˌfaɪd fər ˈdraɪvɪŋ skiz ənd ləˈʤɪstɪks ənd aɪ ʤɪst sɛd, ɪn. ənd ju noʊ fræŋk əv ˈmævərɪks sərf ˈrɛskju, hi keɪm ˈɑnˌbɔrd, ənd ðɛn mæt ʤɔrʤ ˌrɛprɪˈzɛnɪŋ rɪˈlif ˌɑpərˈeɪʃənz ðə fɔr əv ˈjuˈɛs kriˈeɪtɪd ɑr oʊn sɔrt əv straɪk tim. ðət əˈsaɪnmənt keɪm leɪt ˈθərzˌdeɪ naɪt. soʊ aɪ spɛnt ɔl deɪ ˈfraɪˌdeɪ ˈwərkɪŋ ðə ləˈʤɪstɪks əv haʊ tɪ meɪk ɪt ˈhæpən. wi hæd eɪt ʤɛt skiz ɪn ˈbæˌtɑn ruʒ ənd soʊ wət aɪ hæd tɪ ˈfɪgjər aʊt haʊ tɪ gɪt ðɛm ənd ˈjuˈɛs ˈɪntu nu ˌɔˈrlinz. soʊ ðə plæn wi keɪm əp wɪθ wɑz, wi hæd tɪ flaɪ tɪ ˈhjustən wɪʧ wɑz ðə ˈoʊnli pleɪs ðɛr wər ɪˈnəf flaɪts ˈkəmɪŋ. aɪ faʊnd ə hɛrts gaɪ ɪn ˈdaʊnˈtaʊn ðət wɑz ˈrɪli ˌsɪmpəˈθɛtɪk hi rɪˈzərvd tu bɪg fɔrd ˈpɪˌkəps ənd brɔt ɔl ðə toʊ gɪr wɪθ ˈjuˈɛs. ðɪs wɑz æt laɪk, ˈsæˌtɪˌdeɪ ˈmɔrnɪŋ. ðɛn fræŋk ənd ʃɔn keɪm ɪn ˈleɪtər ðət ˈmɔrnɪŋ. wi droʊv tɪ ˈbæˌtɑn ənd wər ˈplænɪŋ ɔn ˈspɛndɪŋ ðə naɪt ðɛr. bət wi kɛpt ˈgɪtɪŋ kɔlz frəm ˈrɛskju tæsk fɔrs gaɪz ðə ˈmɛnloʊ pɑrk (ˌkæləˈfɔrnjə) faɪər kru wɑz hu wi wər ərˈɪʤənəli ˈwərkɪŋ fər. ðeɪ wʊd kɔl ˈjuˈɛs ənd seɪ, lʊk, wi nid ɔl ðiz səˈplaɪz soʊ wi wər ˈstɑpɪŋ əˈbaʊt ˈɛvəri aʊər wɛˈrɛvər faɪnd ə ˈwɔlˌmɑrt. seɪ, wi ˈdɛspərətli nid sɑks. wi nid ˈəndərˌwɛr. wi nid naɪvz, tulz ɔɪl ənd fud ənd ʤɪst ɔl ðɪs stəf. ðeɪ keɪm ɪn ˈlaɪtli priˈpɛrd, ɛz fərst rɪˈspɑndərz raɪt ˈæftər ðə stɔrm, ənd hæd noʊ wən tɪ ðɛm. ðɛn wi wɛnt ɔn tɪ ˈbæˌtɑn ruʒ ənd pɪkt əp ðə tu ˈtreɪlərz.: haʊ wɑz ðə ˈdæmɪʤ ɪn ˈbæˌtɑn ruʒ? bɪl ʃɑrp: ˈbæˌtɑn ruʒ simd faɪn tɪ ˈjuˈɛs. aɪ min ðɛr wɑz ˈmaɪnər wɪnd ˈdæmɪʤ ənd səm saɪnz nɑkt ˈoʊvər. ɪt ənˈtɪl ju gɑt ˈoʊvər ðət ˈkɔzˌweɪ ˈoʊvər ðə swɔmp stɑrt siɪŋ ril saɪnz. ðɛn wɪn ju gɑt ˈɪntu ðə læst strɛʧ ˌbiˈfɔr ðə ˈɛrˌpɔrt, ðɛn ju ʤɪst wɛnt θru ə maɪl ər tu ənd ˈæftər ðət ˈɛvriˌθɪŋ wɑz ʤɪst əp ˈsaɪdˌweɪz. aɪ min ʤɪst frənts əv ˈbɪldɪŋz rɪpt ɔf. ðɛr wɑz ə sɛlf ˈstɔrɪʤ ˈsɛnər wɛr ɔl ðə wɔlz wər pild ɔf ənd bɪˈlɔŋɪŋz wər ˈhæŋɪŋ aʊt. brɪks ɔn tɔp əv kɑz, kɑz əˈbændənd ˈɛvriˌwɛr. ɪt wɑz ʤɪst laɪk ə wɔr zoʊn.: dɪd ɪt riˈmaɪnd ju əv ðə ˈɛriəz wɛr ðə tsuˈnɑmi swɛpt ɪn? bɪl ʃɑrp: jɛs ənd noʊ. ðɛr ˈɛni ˈstændɪŋ ˈwɔtər ɔn ðə ˈaʊtˌskərts ənd ɪn ðə tsuˈnɑmi ju hæv ˈɛni wɪnd. hir ðeɪ hæd æt list 120 maɪl ən aʊər wɪndz. bət ɪt wɑz ə ˈlɪtəl bɪt ɑd bɪˈkəz hæv wən ˈneɪbərˌhʊd ðət wɑz ʤɪst dɪˈmɑlɪʃt ənd ðɛn goʊ ə fju blɑks daʊn ənd ɪt wʊd lʊk ˈrɛlətɪvli ɔl raɪt. ɪt lʊkt laɪk ðɛr wər ˈɛriəz wɛr ðiz ˈmaɪˌkroʊ bərsts əv wɪnd ʤɪst wɛnt bərˈsərk. soʊ wi roʊld ɪn ənd ðɛr wɑz ˈɑbviəsli ðə ˈnæʃənəl gɑrd ˈblɑkɪŋ ˈækˌsɛs bət wi hæd ɔl ðə ˌɔθərəˈzeɪʃənz. ˌædvərˈtaɪzmənt: soʊ ju wɛnt ɪn tɪ səˈpɔrt ˈmɛnloʊ pɑrk faɪər? bɪl ʃɑrp: wi ˈɛndɪd əp goʊɪŋ ɪn ənd səˈpɔrtɪŋ ðə ɪnˈtaɪər ˌkæləˈfɔrnjə tæsk fɔrs. ðə sæn diˈeɪgoʊ ˈlaɪfˌgɑrdz ˈbeɪsɪkli ðə hoʊl ˈmɪʃən biʧ ˈlaɪfˌgɑrd skwɑd wɑz ðɛr ˈwɔkɪŋ əraʊnd ɪn trəŋks. ðɛn wi wər ˈwərkɪŋ wɪθ ˈɔrɪnʤ ˈkaʊnti ə lɔt tu soʊ ðɛr wɑz ə fʊl ˈsəðərn ˌkæləˈfɔrnjə sərf ˈprɛzəns.: haʊ hɑrd wɑz ɪt faɪnd ˈɛvriˌwən ɪn ðə ˈmɪdəl əv ðə naɪt wɪθ noʊ paʊər? bɪl ʃɑrp: wɛl, wi gɪt ðɛr ənd gɑt ðiz ˈrɪli ˈskɛʧi dɪˈrɛkʃɪnz laɪk, baɪ ðə ˈɛrˌpɔrt ənd tərn lɛft. noʊ paʊər. noʊ ˈɛniˌθɪŋ. ɔl ðə strit saɪnz ər daʊn ənd noʊ ɪn ðə roʊd. ɪt wɑz ə ˈkreɪzi θərd wərld wɔr sin. ənd aɪ hæd brɔt ˈɛvəri pis əv gɪr noʊn tɪ mæn, soʊ wi hæd ə bɪg ˈsərˌʧlaɪt ənd ˈwɑndərd ənd faʊnd ðɪs wən ˈkɔrnər ənd faʊnd 200 kɑps.. ˈsənˌdi ˈmɔrnɪŋ æt ˈzɛfər fild wɪʧ ɪz ðə ˈpræktɪs fild. ðɛr wər ˈhɛlɪˌkɑptərz ˈkəmɪŋ ɪn; ˈblæˌkhɔks, ˌʃɪˈnʊks, ˈɛvəri 30 ˈsɛkəndz ɪn ənd aʊt. ðeɪ hæv ən ˈɪnˌdɔr ˈpræktɪs fild wɪθ ə fʊl ˌrɛgjəˈleɪʃən saɪzd ɛr kənˈdɪʃənd ˈfʊtˌbɔl fild. soʊ wɛr wi slɛpt. ðə hæd ʤɪst kəm ənd ðə laɪts wər ˈspɑti. bət ðɛr wər ˈθaʊzənz əv ˈrɛskju ˈwərkərz ənd ˈnæʃənəl gɑrd sˈlipɪŋ ˈəndər wən rʊf ɪn kɑts. ɪt wɑz waɪld. frəm ðɛn ɔn, wi woʊk əp ˈɛvəri ˈmɔrnɪŋ æt ənd wʊd gɪt ˈrɛdi ənd weɪt fər ðə tæsk fɔrs ˈɔrdərz tɪ kəm daʊn. wi wər fərst ɔl ðə tæsk fɔrs gaɪz wɪθ ðə ɪkˈwɪpmənt ənd ðɛn ʤɪst stʊd baɪ tɪ du ˌwəˈtɛvər ðeɪ ˈnidɪd tɪ bi dən. aɪ seɪ ɪt ɪˈnəf, ðoʊz gaɪz ər ðə proʊz, ənd wi wər ʤɪst ˈlɛndɪŋ ə ˈlɪtəl hænd.: soʊ wət deɪz wər ju ɔn ðə ˈwɔtər? bɪl ʃɑrp: ˈmənˌdeɪ ənd ˈtuzˌdeɪ. ɔn ˈsənˌdi wi dɪd ə hoʊl ˈəðər roʊd ˈwɔrjər rən tɪ pɪk əp səˈplaɪz ənd fɔr mɔr skiz frəm ˈfrɛndli ˈjɑmɑˌhɑ bæk ɪn ˈbæˌtɑn ruʒ. ðoʊz gaɪz wər ˈɔsəm ðeɪ spɛnt deɪz ˈhɛlpɪŋ ˈjuˈɛs gɪt ˈrɛdi.: wət wʊd ˈhæpən ɪf ˈsəmˌwən wɑz faʊnd? bɪl ʃɑrp: seɪ, ˌoʊˈkeɪ wi faʊnd ˈsəmˌwən ənd ðɛn toʊ ˈoʊvər ən ɪnˈfleɪtəbəl boʊt ənd loʊd ɪt wɪθ sərˈvaɪvərz ənd teɪk ɪt tɪ lɔnʧ ræmps wɪʧ wər ðə ˈfriˌweɪ onramps*.: ˈbæˌkəp fər ə ˈsɛkənd. wɪn dɪd ju fərst si ðə ˈækʧəwəl ˈflədɪŋ ənd dɪˈstrəkʃən ənd wət wɑz jʊr θɔt wɪn ju gɑt tɪ ðət spɑt ənd ˈæˌkʧuəli lʊkt aʊt? bɪl ʃɑrp: ðə kəˈmænd poʊst wɑz kaɪnd əv ɔn ðə wɛst saɪd əv nu ˌɔˈrlinz ənd ðɪs wən ˈkɔzˌweɪ ðə leɪk ˈkɔzˌweɪ kaɪnd əv ðə ənd ðɛn ˈɛvriˌθɪŋ ist əv ðɛr ɪz ʤɪst ˈəndər fɔr tɪ twɛlv fit əv ˈwɔtər ɔl ðə weɪ əˈkrɔs. ənd ðə ˈfriˌweɪ wɑz ˈəndərˌwɔtər. ɑr meɪn əˈsaɪnmənt wɑz ɔn ðə ist saɪd, kaɪnd əv ˌnɔrθˈwɛst əv ðə frɛnʧ kˈwɔrtər ʤɪst ðə ˈnɑrli ˈprɑʤɛkts. ðə sɔrt əv ˈpipəl əv ðə kəmˈjunɪti ənd ðɛr ər ə lɔt əv ˈspuki oʊld ˈhaʊsɪz ənd ɪt əˈbəts raɪt əp tɪ ən ˌɪnˈdəstriəl zoʊn ʤɪst wɪθ ˌpɛtroʊˈkɛmɪkəlz ənd ɔl ðə ˈnæsti stəf. soʊ ə ˈmeɪʤər ˌsɪʧuˈeɪʃən.: hərd rɪˈpɔrts əv haʊ ˈnæsti ðə ˈwɔtər was…*… bɪl ʃɑrp: ðə ˈwɔtər wɑz ənˈspikəbəl. ʤɪst ənˈspikəbəl. ðɛr wɑz ʤɪst ə ʃin əv ˈkɛmɪkəlz ɔn tɔp ənd suɪʤ, ˌdikəmˈpoʊzɪŋ ˈɛvriˌθɪŋ. aɪ min ˈvɛri ˈdɪfəkəlt fər ˈpipəl hu traɪ tɪ lɪv ə ˈwɔtər beɪst ˈlaɪfˌstaɪl ənd ˌəndərˈstænd ðə ˈprɪstin ʤɔɪ əv ʤɪst ˈgɪtɪŋ ɪn ðə ˈwɔtər ðət ðə keɪs hir.: wət dɪd ju wɛr tɪ kip ðə ˈwɔtər ɔf? bɪl ʃɑrp: wɛl, ðə faɪər dɪˈpɑrtmənt hæd draɪ suts, bət 95 dɪˈgriz ənd ˌɪnˈkrɛdəbəl hjuˈmɪdəti ənd ðoʊz suts ər ˌɪmˈpɑsəbəl tɪ wɛr. soʊ wi wɛnt tɪ əˈkædəmi ˈaʊtˌdɔr ʃɑp ɪn ˈbæˌtɑn ənd ʤɪst bɔt əp ə bənʧ əv ʧɛst ˈweɪdərz fər ˈɛvriˌwən. ɪt ðə moʊst ˈstaɪlɪʃ ɑnˈsɑmbəl bət ɪt gɑt ðə ʤɑb dən bɪˈkəz ju dɪd nɑt wɔnt tɪ təʧ ðət ˈwɔtər. wən əv ðə θɪŋz wi keɪm əˈpɑn wɑz bi gaɪz ɪn ðə ˈnæʃənəl gɑrd ðɛr bət ðeɪ hæv ˈweɪdərz ənd wɔnt tɪ goʊ ɪn ðət ˈwɔtər. soʊ fræŋk wʊd ʤɪst goʊ, noʊ ˈprɑbləm. ʤəmp ɪn ənd ˈkɛri ðɛm ɔn hɪz ˈʃoʊldərz ˈvɪktɪmz ɪˈvækjəˌweɪtɪŋ ðɛm tɪ ðə flæt boʊts. wi wər duɪŋ ˌwəˈtɛvər wi ˈnidɪd tɪ du ˈɪmprəˌvaɪzɪŋ ɔn ðə spɑt.: haʊ ˈmɛni ˈəðər ˈrɛˌskjuərz ənd kruz wər ðɛr ˈaʊtˌfɪtɪd laɪk ju gaɪz? bɪl ʃɑrp: wi wər ðə ˈoʊnli səˈvɪljənz tɪ bi faʊnd.: ðɛr wɑz ə ˈhɛlɪˌkɑptər ʃɑt ɔn ˈsiˈɛˈnɛn əv ʤɛt ski gaɪz. bət ɪt ə bɪg kru əv eɪt ɪn wən pleɪs. bɪl ʃɑrp: wɛl, ju teɪk eɪt aʊt æt ə taɪm, ju splɪt əp. ənd ðə greɪt θɪŋ əˈbaʊt ðə ʤɛt skiz.: dɪd ju sək ˈɛniˌθɪŋ əp ɪn ðə træʃ ənd stəf? bɪl ʃɑrp: ðət wɑz ə juʤ kənˈsərn. wi faʊl ɑrz ɪt bət wi dɪd spɛnd ə lɔt əv taɪm ˈhɛlpɪŋ səm əv ðə ˈəðər ˈpipəl klɪr ðɛrz.: wət wɑz sɔrt əv ðə drɪl wɪn pɪk ˈpipəl əp? bɪl ʃɑrp: ðə 10 ˈfriˌweɪ æt ðə luˈizə ˈævəˌnu wɑz ɑr beɪs. ðɛr wər ˈprɑbəˌbli sɪks ˈdɪfərənt ˈɛriəz wɛr ðə ˌkæləˈfɔrnjə ˈrɛskju timz wərkt. ənd ɪt wɑz kaɪnd əv ə ˈnɑrli ˈɛriə. ðɛr wɑz ˈnæʃənəl gɑrd ðɛr wɪθ ðiz æmˈfɪbiəs trəks. soʊ brɪŋ ɪn ðə boʊts əp ənˈtɪl ɪt wɑz əˈbaʊt sɪks ˈɪnʧɪz dip ənd ðeɪ wʊd draɪv ðoʊz trəks aʊt ənd loʊd ˈpipəl əp. ju wɔnt ðɛm tɪ ˈivɪn gɪt ðɛr ˈæŋkəlz wɛt ɪn ðət stəf.: dɪd ju si ˈɛni dɛd ˈbɑdiz? bɪl ʃɑrp: jæ. θri ər fɔr. fræŋk sɔ fɔr.: wət wɑz jʊr ˈoʊvərˌɔl ˌɪmˈprɛʃən ˈroʊlɪŋ θru ðɪs dɪˈstrɔɪd ˈsɪti? bɪl ʃɑrp: ɪt wɑz ʤɪst ðə skoʊp əv ðə dɪˈzæstər ju ˈkænɑt ˈpɑsəbli ˌəndərˈstænd ənˈtɪl ðɛr. aɪ min ɔl ðiz ˈneɪbərˌhʊdz ðət ər ˈflədɪd ju ʤɪst dreɪn ɪt aʊt ənd riˈbɪld ðoʊz ˈhaʊsɪz. ˈhɪstəri. bɪn ˈsoʊkɪŋ ɪn ˈhæzərdəs məˈtɪriəlz fər deɪz. dən. ju ʤɪst kɔl ðə ˈlɪtəl rɪˌmidiˈeɪʃən ˈsərvɪs ənd hoʊz ɪt daʊn. ɔl ðət stəf ɪz goʊɪŋ tɪ bi ˈbʊlˌdoʊzd ənd goʊɪŋ tɪ teɪk ə lɔŋ taɪm ɪf ˈɛvər tɪ meɪk ðoʊz ˈɛriəz liveable*. ənd ju noʊ, səʧ ə juʤ ˈɛriə ˈəndərˌwɔtər. ʤɪst əˈmeɪzɪŋ. hir pʊt fræŋk ɔn tɪ tɔk əˈbaʊt ɪt.: fræŋk, aɪ wɑz ˈæskɪŋ bɪl hɪz teɪk ɔn ðə skoʊp əv θɪŋz ənd wət ðə ˈifɛkt wɑz ɔn ju gaɪz ˈpərsənəli. fræŋk: aɪ wɑz kəmˈplitli, kəmˈplitli bloʊn əˈweɪ. wi wər ˈtɔkɪŋ əˈbaʊt ɪt ɔn ðə weɪ daʊn ðət wi wʊd hæv tɪ priˈpɛr ɑrˈsɛlvz fər ðə wərst θɪŋ wi ˈprɑbəˌbli ˈpɑsəbli wʊd ˈɛvər hæv sin ɪn ɑr lɪvz. ɪt wɑz wərs ðən ðət wɪn wi gɑt ðɛr. bɪˈkəz ðɛn ju æd ðə smɛlz, ðə ˈbɑdiz ənd ðə ˌdɛvəˈsteɪʃən ənd ju hɛlp bət fil fər ðiz ˈpipəl. aɪ min wɪn wi wɛnt aʊt ˈjɛstərˌdeɪ (ˈtuzˌdeɪ, 8 deɪz ˈæftər ðə stɔrm), ðɛr wɑz ə ˈfæməli ɪn ðɪs wən skul ənd ðeɪ kəm aʊt. ðeɪ θɔt ðət ðə ˈwɔtər ˈlɛvəl wɑz goʊɪŋ tɪ drɔp ɪn ə ˈkəpəl əv deɪz ənd ðeɪ wər ʤɪst goʊɪŋ tɪ kənˈtɪnju ɔn wɪθ ðɛr lɪvz. bət ðeɪ sin wət wi hæd sin. aɪ wɛnt ənd stɑpt ənd tɔkt tɪ ðə dæd, hu wɑz ðɛr ˈdɛzɪgˌneɪtɪd ˈlidər. aɪ wɑz seɪɪŋ, ““dude*, aɪ hæv kɪdz, ju hæv kɪdz, gɪt ðə kɪdz out.”*.” hi wɑz ʤɪst laɪk, ……no*, steɪɪŋ wɪθ mi." ənd aɪ wɑz ʤɪst laɪk, ““fuck*, wi leave.”*.” lɛt bɪl tɛl ju ðət ˈstɔri, bɪˈkəz hi kən tɛl ɪt mɔr drəˈmætɪkəli ðən mi. bət ˈpərsənəli, ðət ʤɪst sɛt ðə toʊn fər mi ðə hoʊl deɪ, nɑt ðət aɪ ˈmoʊtəˌveɪtəd, bət ˈæftər ðət, aɪ wɑz ʤɪst seɪɪŋ, gɪt ˌæbsəˈlutli ɛz ˈmɛni ˈpipəl aʊt əv hir ɛz wi ˈpɑsəbli kən.: dɪd ju goʊ tɪ ðə tsuˈnɑmi zoʊn wɪθ bɪl ənd mæt (ʤɔrʤ)? fræŋk: noʊ, aɪ wərkt ɪn ðə 89 ˈərθkˌweɪk ɪn sæn frænˈsɪskoʊ, bət ɪt wɑz draɪ ənd ju kʊd wɔk əraʊnd. hir, ju ˈwɔkɪŋ ˈɛniˌwɛr. ju lɔnʧt ðə skiz ˈɪntu ən ɔɪl slɪk, ənd ɪn ˈɛvəri ˈkɔrnər wɛr ðə ˈwɔtər ˈsərkjəˌleɪt ɪt wɑz ʤɪst laɪk dɛd θɪŋz, ʃɪt, kræp, stəf ˈfloʊtɪŋ əraʊnd. ˈɛvriˌwɛr. ənd ðɛr ər ˈwɔtər ˈhæzərdz bɪˈkəz ʤɪst ˈkruzɪŋ daʊn ˌrɛzɪˈdɛnʃəl strits. wi wər ˈhɔlɪŋ æs aʊt tɪ teɪk ðɪs kɑp tɪ hɪz haʊs, ənd wi hɪt ə kɑr ənd wɛnt flaɪɪŋ ˈoʊvər ðə tɔp əv ɪt ənd kɔt ɛr. ʤɪst ˈstændərd aʊt ðɛr. ðə kɑz ər ˈfloʊtɪŋ ˈəndər ðə ˈsərfəs ənd wən ˈmɪnət bi ðɛr ðɛn ðə nɛkst gɔn. ðɛr wər ˈsɛmi ˈtreɪlərz ju neɪm ɪt ənd ɪt wɑz ˈfloʊtɪŋ. ʤɪst əˈmeɪzɪŋ.: wət wɑz ðə ˈhɛviəst θɪŋ ju sɔ? fræŋk: ə ˈwʊmən hæd kəˈmɪtɪd ˈsuɪˌsaɪd həŋ hərˈsɛlf ˈoʊvər ðɪs ˈreɪlɪŋ. hər ɑrmz wər ɔl sprɛd aʊt ˈsupər ˈgɑθɪk. aɪ wɑz wɪθ ðiz dɪˈtɛktɪvz ənd ðeɪ wɛnt ənd æt list ˈkəvərd hər hɛd əp. ju ˈkænɑt ðət stəf sɪŋk ɪn ənd nɑt əˈfɛkt ju ɪn səm wɪrd weɪ. aɪ leɪ ɔn maɪ kɑt læst naɪt ənd slip. aɪ woʊk əp ɪn ðə ˈmɪdəl əv ðə naɪt ənd ʤɪst məld ˈoʊvər ɑr hoʊl deɪ ðə gʊd ənd ðə bæd. ɪt wɑz ˈhɛvi. ˈsupər ˈhɛvi.: haʊ ˈmɛni ˈrɛˌskjuz dɪd ju pʊl ɔf? fræŋk: bɪl ənd aɪ wər ˈkaʊntɪŋ ənd wi brɔt ɪn ˈoʊvər 50 ˈpipəl ʤɪst ˈjɛstərˌdeɪ. ˈboʊˌtloʊdz dud, ˈboʊˌtloʊdz. ənd aɪ ˈivɪn goʊ ˈɪntu ˈɛni ˈhaʊsɪz ənˈtɪl ðə ɛnd. wi wər ʤɪst ˈpʊlɪŋ ˈpipəl aʊt əv ðə ˈwɪndoʊz ənd stəf. bət aɪ hæd ən ɔr ənd wɑz ˈbreɪkɪŋ ˈɪntu ə ˈætɪk. bɪl wɛnt ɪn ənd aɪ wɛnt ɪn ˈæftər ɪm. aɪ swɛr tɪ gɑd ɪt wɑz 150 dɪˈgriz ɪn ðət ˈætɪk ˈizəli, laɪk goʊɪŋ ˈɪntu ə ˈsɔnə. ənd seɪɪŋ oʊ maɪ gɑd, ðiz ˈpipəl hæv bɪn ɪn ðiz ˈpleɪsɪz sɪns ðə stɔrm.: soʊ ðeɪ hæd bɪn əp ɪn ðət hɑt ˈætɪk sɪns ðə stɔrm? fræŋk: ɪt wɑz ˈkreɪzi dud. ˈkreɪzi ʃɪt. ðə ˈoʊnli pleɪs tɪ gɪt əˈweɪ frəm ðə ˈwɔtər wɑz ən ˈætɪk.: wət kənˈdɪʃən wər ðiz ˈpipəl ɪn? fræŋk: ˈbrutəl. ɪˈmeɪʃiˌeɪtɪd. hæd noʊ ˈfrɛʃˌwɔtər, noʊ suərz. səm hæd ə ˈlɪtəl bɪt əv fud. ə lɔt əv ˌdaɪəˈbɛtɪks. ə lɔt əv ˈpipəl hu wər ɔn ˌmɛdəˈkeɪʃən ˈoʊldər foʊks. ðə fərst ˈpipəl wi tʊk ɪn wər ə ˈfɑðər ənd tu sənz, ənd ðə dæd wɑz ə ˈhɛviˌsɛt gaɪ, ə ˈkəpəl əv ˈhənərd paʊnz ənd hi wɑz ˌdaɪəˈbɛtɪk ənd ʤɪst ˈbrutəˌlaɪzd. hi hæd ˈɪnsələn ɪn laɪk eɪt deɪz.: haʊ wɪl ðɪs əˈfɛkt ju ənd jʊr weɪ əv ˈlʊkɪŋ æt laɪf ɪn ðə fˈjuʧər? fræŋk: hæd ə lɔt əv ˈpərsɪnəl ˈtræʤədi ɪn maɪ laɪf ənd ˈɔlˌweɪz traɪd tɪ lərn frəm ɪt. ðɪs ɪz ʤɪst wən mɔr θɪŋ tɪ əˈpriʃiˌeɪt wət aɪ hæv. maɪ ˈhɛlθi ənd ˈhæpi ənd aɪ əˈpriʃiˌeɪt ðə draɪ graʊnd aɪ lɪv ɔn. ˈmeɪbi ɪf səm ˈəðər dɪˈzæstər hɪt ˈjuˈɛs ðɛn ˈsəmˌwən kʊd kəm ɪn ənd hɛlp ˈjuˈɛs ðə seɪm weɪ wi wər ˈhɛlpɪŋ ðoʊz foʊks. ənd ðɪs pleɪs wɑz blæk ɛz kʊd bi. nɑt ə waɪt ˈpərsən ˈɛniˌwɛr. ðə ˈreɪʃəl laɪnz ðɛr wər leɪd daʊn. ənd ˈjɛstərˌdeɪ wi wər wɪθ ðə waɪt gʊd ol’*’ bɔɪ kɑps, bət ˈjɛstərˌdeɪ ˈæftər wən ˈrɪli ˈhɛvi ˈrɛskju ðeɪ wər laɪk, ɔ ɪt filz gʊd ɪt? ˈsɛkənd hæf ˌɪnˈstɔlmənt: bɪl ʃɑrp dɪˈskraɪbz ðə ˈhɛvi ˈrɛskju æt ðə school…*…
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a whitewashed wall erases egypt's revolution
enlarge this image toggle caption mohammad mohammad
a massive graffiti mural in cairo's square documenting the political turmoil in egypt was whitewashed earlier this month. the next night, several hundred artists and supporters were back, covering the wall in new images and slogans.
medical student and painter okasha, 20, was outraged when she found out the original mural was gone.
toggle caption nasser
"it's our history there. this wall explains a lot of what happened in the last months, and it's very important to us," she says. "they easily come and erase everything, and we don't accept that."
the square in the heart of cairo was the focal point of the uprising last year that ousted president hosni mubarak, and it's been the site of numerous protests since then. the new egyptian government is renovating, but egyptians disagree on how to memorialize their revolution.
several weeks ago, during protests against an video, the police moved in and pushed demonstrators out of the area, which is a major traffic intersection, along with hordes of street vendors. a constant presence there since the revolution started, the vendors sold tea, food and nationalistic knick-knacks.
after the police action, prime minister hisham posted a video on his facebook page, calling on citizens to provide ideas about how to memorialize the revolution in the square. hundreds have responded.
one called for building a massive archway to commemorate the revolution's martyrs. another wanted nationalistic songs played at low volumes around the square.
these days, workmen are shoveling sand and laying down bricks for sidewalks. there's new turf planted in the center of the square. urban planning expert mohamed hopes that cleaning up the square signals a change in how the government deals with cairo's neglected infrastructure.
"maybe [we could be] using this opportunity to remake the management system, the municipal system of the city," he says, "and without falling into the trap of doing these big, bombastic monuments, and rather focus on the everyday needs that cities require."
mahmoud mohammed orabi, a cook at a pastry shop, is enjoying a sunset picnic with friends on the newly planted grass in the middle of.
"frankly, all that i wanted is to come to square, sit down and eat. to see what i see now: flowers, gardens, people are safe. i want to feel free in my country," he says.
nearby, student emad says doesn't need to be renovated or because it will always be a symbol.
"to us, square is sacred, because people died here. it will not lose its significance," emad says. "and we are not waiting for renovations, the way the government speaks about them."
our graffiti is enough, he says, and itself is enough.
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ə ˈwaɪtˌwɑʃt wɔl ɪˈreɪsɪz ˈiʤɪpts ˌrɛvəˈluʃən ˌɛnˈlɑrʤ ðɪs ˈɪmɪʤ ˈtɑgəl ˈkæpʃən moʊˈhɑmɛd moʊˈhɑmɛd ə ˈmæsɪv grəˈfiti mˈjʊrəl ɪn ˈkaɪroʊz skwɛr ˈdɑkjəmənɪŋ ðə pəˈlɪtɪkəl ˈtərˌmɔɪl ɪn ˈiʤɪpt wɑz ˈwaɪtˌwɑʃt ˈərliər ðɪs mənθ. ðə nɛkst naɪt, ˈsɛvərəl ˈhənərd ˈɑrtɪsts ənd səˈpɔrtərz wər bæk, ˈkəvərɪŋ ðə wɔl ɪn nu ˈɪmɪʤɪz ənd sˈloʊgənz. ˈmɛdɪkəl ˈstudənt ənd ˈpeɪnər okasha*, 20 wɑz ˈaʊˌtreɪʤd wɪn ʃi faʊnd aʊt ðə ərˈɪʤənəl mˈjʊrəl wɑz gɔn. ˈtɑgəl ˈkæpʃən ˈnæsər "ɪts ɑr ˈhɪstəri ðɛr. ðɪs wɔl ɪkˈspleɪnz ə lɔt əv wət ˈhæpənd ɪn ðə læst mənθs, ənd ɪts ˈvɛri ˌɪmˈpɔrtənt tɪ ˈjuˈɛs," ʃi sɪz. "ðeɪ ˈizəli kəm ənd ɪˈreɪs ˈɛvriˌθɪŋ, ənd wi doʊnt əkˈsɛpt ðət." ðə skwɛr ɪn ðə hɑrt əv ˈkaɪroʊ wɑz ðə ˈfoʊkəl pɔɪnt əv ðə ˈəˌpraɪzɪŋ læst jɪr ðət ˈaʊstɪd ˈprɛzɪdənt ˈhɔsni muˈbɑrɪk, ənd ɪts bɪn ðə saɪt əv ˈnumərəs ˈproʊˌtɛsts sɪns ðɛn. ðə nu ɪˈʤɪpʃən ˈgəvərnmənt ɪz ˈrɛnəˌveɪtɪŋ, bət ɪˈʤɪpʃənz dɪsəˈgri ɔn haʊ tɪ məˈmɔriəˌlaɪz ðɛr ˌrɛvəˈluʃən. ˈsɛvərəl wiks əˈgoʊ, ˈdʊrɪŋ ˈproʊˌtɛsts əˈgɛnst ən ˈvɪdioʊ, ðə pəˈlis muvd ɪn ənd pʊʃt ˈdɛmənˌstreɪtərz aʊt əv ðə ˈɛriə, wɪʧ ɪz ə ˈmeɪʤər ˈtræfɪk ˌɪntərˈsɛkʃən, əˈlɔŋ wɪθ hɔrdz əv strit ˈvɛndərz. ə ˈkɑnstənt ˈprɛzəns ðɛr sɪns ðə ˌrɛvəˈluʃən ˈstɑrtɪd, ðə ˈvɛndərz soʊld ti, fud ənd ˌnæʃənəˈlɪstɪk ˈnɪkˈnæks. ˈæftər ðə pəˈlis ˈækʃən, praɪm ˈmɪnɪstər ˈhɪʃəm ˈpoʊstɪd ə ˈvɪdioʊ ɔn hɪz ˈfeɪsˌbʊk peɪʤ, ˈkɔlɪŋ ɔn ˈsɪtɪzənz tɪ prəˈvaɪd aɪˈdiəz əˈbaʊt haʊ tɪ məˈmɔriəˌlaɪz ðə ˌrɛvəˈluʃən ɪn ðə skwɛr. ˈhənərdz hæv rɪˈspɑndɪd. wən kɔld fər ˈbɪldɪŋ ə ˈmæsɪv ˈɑrʧˌweɪ tɪ kəˈmɛmərˌeɪt ðə ˌrɛvəˈluʃənz ˈmɑrtərz. əˈnəðər ˈwɔntɪd ˌnæʃənəˈlɪstɪk sɔŋz pleɪd æt loʊ ˈvɑljumz əraʊnd ðə skwɛr. ðiz deɪz, ˈwərkmɪn ər ˈʃəvlɪŋ sænd ənd leɪɪŋ daʊn brɪks fər ˈsaɪdˌwɔks. ðɛrz nu tərf ˈplænɪd ɪn ðə ˈsɛnər əv ðə skwɛr. ˈərbən ˈplænɪŋ ˈɛkspərt moʊˈhɑmɛd hoʊps ðət ˈklinɪŋ əp ðə skwɛr ˈsɪgnəlz ə ʧeɪnʤ ɪn haʊ ðə ˈgəvərnmənt dilz wɪθ ˈkaɪroʊz nɪˈglɛktɪd ˌɪnfrəˈstrəkʧər. "ˈmeɪbi [wi kʊd bi] ˈjuzɪŋ ðɪs ˌɑpərˈtunəti tɪ ˈriˈmeɪk ðə ˈmænɪʤmənt ˈsɪstəm, ðə mjuˈnɪsəpəl ˈsɪstəm əv ðə ˈsɪti," hi sɪz, "ənd wɪˈθaʊt ˈfɑlɪŋ ˈɪntu ðə træp əv duɪŋ ðiz bɪg, bɑmˈbæstɪk ˈmɑnjəmənts, ənd ˈrəðər ˈfoʊkɪs ɔn ðə ˈɛvriˈdeɪ nidz ðət ˈsɪtiz ˌrikˈwaɪər." ˈmæmud moʊˈhæmɪd orabi*, ə kʊk æt ə ˈpeɪstri ʃɑp, ɪz ˌɛnˈʤɔɪɪŋ ə ˈsənˌsɛt ˈpɪkˌnɪk wɪθ frɛndz ɔn ðə ˈnuli ˈplænɪd græs ɪn ðə ˈmɪdəl əv. "ˈfræŋkli, ɔl ðət aɪ ˈwɔntɪd ɪz tɪ kəm tɪ skwɛr, sɪt daʊn ənd it. tɪ si wət aɪ si naʊ: flaʊərz, ˈgɑrdənz, ˈpipəl ər seɪf. aɪ wɔnt tɪ fil fri ɪn maɪ ˈkəntri," hi sɪz. ˈnɪrˈbaɪ, ˈstudənt ˈimæd sɪz ˈdəzənt nid tɪ bi ˈrɛnəˌveɪtɪd ər bɪˈkəz ɪt wɪl ˈɔlˌweɪz bi ə ˈsɪmbəl. "tɪ ˈjuˈɛs, skwɛr ɪz ˈseɪkrɪd, bɪˈkəz ˈpipəl daɪd hir. ɪt wɪl nɑt luz ɪts sɪgˈnɪfɪkəns," ˈimæd sɪz. "ənd wi ər nɑt ˈweɪtɪŋ fər ˈrɛnəˌveɪʃənz, ðə weɪ ðə ˈgəvərnmənt spiks əˈbaʊt ðɛm." ɑr grəˈfiti ɪz ɪˈnəf, hi sɪz, ənd ˌɪtˈsɛlf ɪz ɪˈnəf.
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by choi
the average korean ate kilograms of meat in 2014, more than the per capita meat consumption of by the average chinese and that of by the japanese, statistics show.
according to the organization for economic cooperation and development (oecd), korea's per capita meat consumption breaks down to of pork, of chicken and of beef with its total larger than china and japan by 4 to 16.
an average chinese consumed 32 of pork, of chicken and of beef while an average japanese ate of pork, of chicken and 7 of beef, the report said.
the united states topped the list of per capita meat consumption with, followed by argentina's and israel's. member countries' average per capita meat consumption was (27.6 of chicken, of pork and 14 of beef).
oecd countries consumed more meat than non-member nations, and also consumed more chicken and beef than pork. in most countries with per capita income of $30,000 or more, aside from countries, consumption of chicken was larger than other meat products, which experts attribute to their preference of white meat out of concerns about health, as also shown in the countries' average per capita meat consumption.
"korea, too, is likely to consume more chicken than red meat, as the nation's income increases," said an official at the ministry of agriculture, food and rural affairs.
china accounted for percent of global meat consumption, and the top five countries (china,-28, the u.s., brazil and russia) made up percent of the total worldwide, indicating the undue concentration of meat eaters in a relatively small number of countries.
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baɪ ʧɔɪ ðə ˈævərɪʤ ˌkɔˈriən eɪt ˈkɪləˌgræmz əv mit ɪn 2014 mɔr ðən ðə pər ˈkæpɪtə mit kənˈsəmʃən əv baɪ ðə ˈævərɪʤ ʧaɪˈniz ənd ðət əv baɪ ðə ˌʤæpəˈniz, stəˈtɪstɪks ʃoʊ. əˈkɔrdɪŋ tɪ ðə ˌɔrgənəˈzeɪʃən fər ˌɛkəˈnɑmɪk kˌwɔpərˈeɪʃən ənd dɪˈvɛləpmənt (oecd*), ˌkɔˈriəz pər ˈkæpɪtə mit kənˈsəmʃən breɪks daʊn tɪ əv pɔrk, əv ˈʧɪkən ənd əv bif wɪθ ɪts ˈtoʊtəl ˈlɑrʤər ðən ˈʧaɪnə ənd ʤəˈpæn baɪ 4 tɪ 16. ən ˈævərɪʤ ʧaɪˈniz kənˈsumd 32 əv pɔrk, əv ˈʧɪkən ənd əv bif waɪl ən ˈævərɪʤ ˌʤæpəˈniz eɪt əv pɔrk, əv ˈʧɪkən ənd 7 əv bif, ðə rɪˈpɔrt sɛd. ðə juˈnaɪtɪd steɪts tɑpt ðə lɪst əv pər ˈkæpɪtə mit kənˈsəmʃən wɪθ, ˈfɑloʊd baɪ ˌɑrʤənˈtinəz ənd ˈɪzriəlz. ˈmɛmbər ˈkəntriz' ˈævərɪʤ pər ˈkæpɪtə mit kənˈsəmʃən wɑz əv ˈʧɪkən, əv pɔrk ənd 14 əv bif). ˈkəntriz kənˈsumd mɔr mit ðən nɑnˈmɛmbər ˈneɪʃənz, ənd ˈɔlsoʊ kənˈsumd mɔr ˈʧɪkən ənd bif ðən pɔrk. ɪn moʊst ˈkəntriz wɪθ pər ˈkæpɪtə ˈɪnˌkəm əv ər mɔr, əˈsaɪd frəm ˈkəntriz, kənˈsəmʃən əv ˈʧɪkən wɑz ˈlɑrʤər ðən ˈəðər mit ˈprɑdəkts, wɪʧ ˈɛkspərts əˈtrɪˌbjut tɪ ðɛr ˈprɛfərəns əv waɪt mit aʊt əv kənˈsərnz əˈbaʊt hɛlθ, ɛz ˈɔlsoʊ ʃoʊn ɪn ðə ˈkəntriz' ˈævərɪʤ pər ˈkæpɪtə mit kənˈsəmʃən. "ˌkɔˈriə, tu, ɪz ˈlaɪkli tɪ kənˈsum mɔr ˈʧɪkən ðən rɛd mit, ɛz ðə ˈneɪʃənz ˈɪnˌkəm ˌɪnˈkrisɪz," sɛd ən əˈfɪʃəl æt ðə ˈmɪnɪstri əv ˈægrɪˌkəlʧər, fud ənd ˈrʊrəl əˈfɛrz. ˈʧaɪnə əˈkaʊntɪd fər pərˈsɛnt əv ˈgloʊbəl mit kənˈsəmʃən, ənd ðə tɔp faɪv ˈkəntriz (ˈʧaɪnə, ðə juz., brəˈzɪl ənd ˈrəʃə) meɪd əp pərˈsɛnt əv ðə ˈtoʊtəl ˈwərldˈwaɪd, ˈɪndəˌkeɪtɪŋ ðə ənˈdu ˌkɑnsənˈtreɪʃən əv mit ˈitərz ɪn ə ˈrɛlətɪvli smɔl ˈnəmbər əv ˈkəntriz.
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update: posted: p.m. monday, june 26, 2017
epic rains this month drought, but sparked a tragic battle for survival in the everglades with officials forced to choose which flora and fauna will live or die. to protect the nearly extinct cape sable seaside sparrow, federal wildlife managers are refusing to open floodgates that would drain water from more bloated areas, including southwest of palm beach county. water levels are two feet higher than what is sustainable in one conservation area, forcing animals onto inundated tree islands where some will starve. ron bergeron, a commissioner with the florida fish and wildlife conservation commission, called the situation “catastrophic,” and argues that one bird is being valued over scores of other animals. check the palm beach post radar map “this could change the face of our environment, our ecology, our wildlife, our endangered species and our plant communities,” bergeron said. “we really better pay attention to this one.” the u.s. fish and wildlife service agrees the everglades animals are in a crisis and that some will die, but that the sparrow is the only species that could be wiped out forever. “the sparrows are close to extinction and if something goes extinct, it come back,” said larry williams, state supervisor for u.s. fish and wildlife in vero beach. “the other populations will come back.” read the full story here.
previous story: a leading florida fish and wildlife conservation commissioner said this deluge of rain is a “catastrophic event” for the fragile everglades that is threatening scores of endangered species.
ron bergeron, a commissioner, said water levels in some conservation areas are two feet above healthy for plants and wildlife. all but a few tree islands, which are used by deer, and other wildlife, are underwater.
“for animals, their refuge are the tree islands and when those islands go under water, the impact is pretty dramatic on all wildlife, including wading birds,” bergeron said. “a wading bird have legs.”
related: rain compared to tropical storm
on friday, the south florida water management district was granted emergency permission to back pump clean water into lake okeechobee to save animals and plants in the bloated water conservation areas.
canals, including the hillsboro on the border of broward and palm beach counties, are also pumping water to the intracoastal.
but bergeron said the u.s. fish and wildlife service needs to agree to open floodgates that will allow water to move south into big cypress national preserve and florida bay, both of which are too dry.
check the palm beach post radar map.
while some concessions have been made, bergeron said the most important floodgates remain closed to protect the endangered cape sable seaside sparrow.
“my responsibility is to protect the global everglades and all 69 endangered species,” bergeron said. “this event is so catastrophic that if we act, we may not have anything left to save.”
no one was immediately available from u.s. fish and wildlife this morning.
the region managed by the district has received an average of inches of rain this month. more than inches above normal.
and still early in the rainy season where, on average, south florida could get 7 to 8 inches of rain for the next several months.
“just think if we get one tropical storm or hurricane on top of that,” bergeron said.
much of this rain fell south of lake okeechobee, leaving the lake at feet above sea level as of sunday, which is nearing the health and safety comfort zone of between feet and feet.
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ˈəpˌdeɪt: ˈpoʊstɪd: p.m*. ˈmənˌdeɪ, ʤun 26 2017 ˈɛpɪk reɪnz ðɪs mənθ draʊt, bət spɑrkt ə ˈtræʤɪk ˈbætəl fər sərˈvaɪvəl ɪn ðə ˈɛvərˌgleɪdz wɪθ əˈfɪʃəlz fɔrst tɪ ʧuz wɪʧ ˈflɔrə ənd ˈfɔnə wɪl lɪv ər daɪ. tɪ prəˈtɛkt ðə ˈnɪrli ɪkˈstɪŋkt keɪp ˈseɪbəl ˈsiˌsaɪd ˈspɛroʊ, ˈfɛdərəl ˈwaɪlˌdlaɪf ˈmænɪʤərz ər rɪfˈjuzɪŋ tɪ ˈoʊpən ˈflədˌgeɪts ðət wʊd dreɪn ˈwɔtər frəm mɔr ˈbloʊtɪd ˈɛriəz, ˌɪnˈkludɪŋ ˌsaʊθˈwɛst əv pɑm biʧ ˈkaʊnti. ˈwɔtər ˈlɛvəlz ər tu fit haɪər ðən wət ɪz səˈsteɪnəbəl ɪn wən ˌkɑnsərˈveɪʃən ˈɛriə, ˈfɔrsɪŋ ˈænəməlz ˈɔntu ˈɪnənˌdeɪtɪd tri ˈaɪləndz wɛr səm wɪl stɑrv. rɑn ˈbərgərɔn, ə kəˈmɪʃənər wɪθ ðə ˈflɔrɪdə fɪʃ ənd ˈwaɪlˌdlaɪf ˌkɑnsərˈveɪʃən kəˈmɪʃən, kɔld ðə ˌsɪʧuˈeɪʃən ““catastrophic,”*,” ənd ˈɑrgjuz ðət wən bərd ɪz biɪŋ ˈvæljud ˈoʊvər skɔrz əv ˈəðər ˈænəməlz. ʧɛk ðə pɑm biʧ poʊst ˈreɪˌdɑr mæp kʊd ʧeɪnʤ ðə feɪs əv ɑr ɪnˈvaɪrənmənt, ɑr ɪˈkɑləʤi, ɑr ˈwaɪlˌdlaɪf, ɑr ɪnˈdeɪnʤərd ˈspiʃiz ənd ɑr plænt communities,”*,” ˈbərgərɔn sɛd. ˈrɪli ˈbɛtər peɪ əˈtɛnʃən tɪ ðɪs one.”*.” ðə juz. fɪʃ ənd ˈwaɪlˌdlaɪf ˈsərvɪs əˈgriz ðə ˈɛvərˌgleɪdz ˈænəməlz ər ɪn ə ˈkraɪsəs ənd ðət səm wɪl daɪ, bət ðət ðə ˈspɛroʊ ɪz ðə ˈoʊnli ˈspiʃiz ðət kʊd bi waɪpt aʊt fərˈɛvər. ˈspɛroʊz ər kloʊz tɪ ɪkˈstɪŋʃən ənd ɪf ˈsəmθɪŋ goʊz ɪkˈstɪŋkt, ɪt kəm back,”*,” sɛd ˈlɛri ˈwɪljəmz, steɪt ˈsupərˌvaɪzər fər juz. fɪʃ ənd ˈwaɪlˌdlaɪf ɪn ˈvɛroʊ biʧ. ˈəðər ˌpɑpjəˈleɪʃənz wɪl kəm back.”*.” rɛd ðə fʊl ˈstɔri hir. ˈpriviəs ˈstɔri: ə ˈlidɪŋ ˈflɔrɪdə fɪʃ ənd ˈwaɪlˌdlaɪf ˌkɑnsərˈveɪʃən kəˈmɪʃənər sɛd ðɪs ˈdɛljuʤ əv reɪn ɪz ə event”*” fər ðə ˈfræʤəl ˈɛvərˌgleɪdz ðət ɪz θˈrɛtənɪŋ skɔrz əv ɪnˈdeɪnʤərd ˈspiʃiz. rɑn ˈbərgərɔn, ə kəˈmɪʃənər, sɛd ˈwɔtər ˈlɛvəlz ɪn səm ˌkɑnsərˈveɪʃən ˈɛriəz ər tu fit əˈbəv ˈhɛlθi fər plænts ənd ˈwaɪlˌdlaɪf. ɔl bət ə fju tri ˈaɪləndz, wɪʧ ər juzd baɪ dɪr, ənd ˈəðər ˈwaɪlˌdlaɪf, ər ˈəndərˌwɔtər. ˈænəməlz, ðɛr ˈrɛfjuʤ ər ðə tri ˈaɪləndz ənd wɪn ðoʊz ˈaɪləndz goʊ ˈəndər ˈwɔtər, ðə ˌɪmˈpækt ɪz ˈprɪti drəˈmætɪk ɔn ɔl ˈwaɪlˌdlaɪf, ˌɪnˈkludɪŋ ˈweɪdɪŋ birds,”*,” ˈbərgərɔn sɛd. ˈweɪdɪŋ bərd hæv legs.”*.” rɪˈleɪtɪd: reɪn kəmˈpɛrd tɪ ˈtrɑpɪkəl stɔrm ɔn ˈfraɪˌdeɪ, ðə saʊθ ˈflɔrɪdə ˈwɔtər ˈmænɪʤmənt ˈdɪstrɪkt wɑz ˈgrænɪd ˈimərʤənsi pərˈmɪʃən tɪ bæk pəmp klin ˈwɔtər ˈɪntu leɪk oʊˌkiˈʧoʊbi tɪ seɪv ˈænəməlz ənd plænts ɪn ðə ˈbloʊtɪd ˈwɔtər ˌkɑnsərˈveɪʃən ˈɛriəz. kəˈnælz, ˌɪnˈkludɪŋ ðə ˈhɪlzbəroʊ ɔn ðə ˈbɔrdər əv braʊərd ənd pɑm biʧ ˈkaʊntiz, ər ˈɔlsoʊ ˈpəmpɪŋ ˈwɔtər tɪ ðə intracoastal*. bət ˈbərgərɔn sɛd ðə juz. fɪʃ ənd ˈwaɪlˌdlaɪf ˈsərvɪs nidz tɪ əˈgri tɪ ˈoʊpən ˈflədˌgeɪts ðət wɪl əˈlaʊ ˈwɔtər tɪ muv saʊθ ˈɪntu bɪg ˈsaɪprɪs ˈnæʃənəl prɪˈzərv ənd ˈflɔrɪdə beɪ, boʊθ əv wɪʧ ər tu draɪ. ʧɛk ðə pɑm biʧ poʊst ˈreɪˌdɑr mæp. waɪl səm kənˈsɛʃənz hæv bɪn meɪd, ˈbərgərɔn sɛd ðə moʊst ˌɪmˈpɔrtənt ˈflədˌgeɪts rɪˈmeɪn kloʊzd tɪ prəˈtɛkt ðə ɪnˈdeɪnʤərd keɪp ˈseɪbəl ˈsiˌsaɪd ˈspɛroʊ. riˌspɑnsəˈbɪləti ɪz tɪ prəˈtɛkt ðə ˈgloʊbəl ˈɛvərˌgleɪdz ənd ɔl 69 ɪnˈdeɪnʤərd species,”*,” ˈbərgərɔn sɛd. ɪˈvɛnt ɪz soʊ ˌkætəˈstrɑfɪk ðət ɪf wi ækt, wi meɪ nɑt hæv ˈɛniˌθɪŋ lɛft tɪ save.”*.” noʊ wən wɑz ˌɪˈmiˌdiətli əˈveɪləbəl frəm juz. fɪʃ ənd ˈwaɪlˌdlaɪf ðɪs ˈmɔrnɪŋ. ðə ˈriʤən ˈmænɪʤd baɪ ðə ˈdɪstrɪkt həz rɪˈsivd ən ˈævərɪʤ əv ˈɪnʧɪz əv reɪn ðɪs mənθ. mɔr ðən ˈɪnʧɪz əˈbəv ˈnɔrməl. ənd stɪl ˈərli ɪn ðə ˈreɪni ˈsizən wɛr, ɔn ˈævərɪʤ, saʊθ ˈflɔrɪdə kʊd gɪt 7 tɪ 8 ˈɪnʧɪz əv reɪn fər ðə nɛkst ˈsɛvərəl mənθs. θɪŋk ɪf wi gɪt wən ˈtrɑpɪkəl stɔrm ər ˈhərəˌkeɪnz ɔn tɔp əv that,”*,” ˈbərgərɔn sɛd. məʧ əv ðɪs reɪn fɛl saʊθ əv leɪk oʊˌkiˈʧoʊbi, ˈlivɪŋ ðə leɪk æt fit əˈbəv si ˈlɛvəl ɛz əv ˈsənˌdi, wɪʧ ɪz ˈnɪrɪŋ ðə hɛlθ ənd ˈseɪfti ˈkəmfərt zoʊn əv bɪtˈwin fit ənd fit. ɪf ju jɛt, ʤɔɪn kɪm ɔn ˈfeɪsˌbʊk, ənd tˈwɪtər.
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prawn farming in senegal may hold the key to eradicating a common and deadly parasitic disease.
researchers believe if the shell fish are reintroduced into the west african nation's rivers, they will eat the snails that host the parasite that causes.
spread through contaminated water, the disease, also known as, kills more than people a year, according to un figures.
more than two million more are infected each year by the parasitic worms which impair child growth and damage internal organs.
my father used to fish hundreds of prawns every day. now it's very difficult for us, the younger generation, to make a living out of fishing fisherman batch boye
"i've been infected with for two years," says from the village of, about (12 miles) from the city of saint louis.
nearby children play and bathe in the sun as mothers wash household dishes and clothes in the senegal river.
it is a beguiling scene - as the water is dangerous with a 60% prevalence rate of.
"it started with painful and bloody urination," says ms.
"a doctor gave me pills, but they had side effects, so i also vomited, and had diarrhoea.
"i was very tired, i lost weight, and i was afraid for my life."
schistosomiasis is the second most common parasitic disease in the world after malaria - with 90% of cases in africa.
complications include profuse bleeding in the digestive system that can lead to death.
the infection can be treated fairly effectively with a drug called praziquantel.
no running water
the latest government campaign to distribute the pill has lowered cases around village from about 30 a month to less than 10, says diouf, head of the regional health centre.
but there is nothing to prevent re-infection.
the government has put up posters and talks to explain to the villagers that urinating in the water can make them sick, and that they should avoid bathing in the river at noon - the snails come out when the temperature is highest.
but for as long as people are exposed to the river, they will be exposed to the disease.
image caption at market giant river prawns sell for five times the price of fish
"i feel better, but the disease won't go away completely," says ms.
"i know it's because i keep going back to the river, but there is no running water here and i have to go there at least twice a day, to wash the dishes, do my laundry, wash my children. i'm afraid every time i go in, but i have no choice."
scientists have been looking for ways to definitively eliminate the disease for years, especially since the 1980s, when there was an unprecedented outbreak shortly after a dam was built on the senegal river.
an organisation called pour la sante has been working on a vaccine for 20 years - and the results of the latest set of tests are due this month.
those behind a new non-profit scheme called project (prawn) hope that by reintroducing prawns into the senegal river, not only will the causes of the disease be wiped out, but the region will also benefit economically.
the idea was born after scientist armand kuris, from the university of california, proved that prawns eat the hosts. he shared his findings with elizabeth huttinger, who worked on public health development projects and went on to found project.
"i realised immediately that the idea of raising prawns and selling them through meant that the health effect could be sustainable," she says.
fewer snails
project is still at an experimental phase.
schistosomiasis also known as
affects more than 230 million people worldwide a year
the-causing parasite is released by freshwater snails
the parasites are released into the water, and use fork tails to burrow into the skin
they travel to blood vessels that supply urinary and intestinal organs, including the liver, where they mature
female worms, which live inside the thicker males, release many thousands of eggs each day
eggs shed in urine and may make their way into water, where they hatch to release parasites that seek out snails to begin the cycle again
researchers first set up an enclosure around an area at one end of village popular with bathers and filled it with more than 100 prawns.
another bathing site on the other side of the village was left untouched.
then 300 people were treated for from the two sections of the village.
six months later, they were tested and it was found that there was a lower infection rate amongst those who bathed near the prawns - 80% lower than the area where there were no prawns.
the researchers also reported that there were fewer snails in the areas of the river where the prawns were introduced.
before the dam was built, prawns were an important source of revenue for the locals.
"my father used to fish hundreds of prawns every day," recalls batch boye, a fisherman who works near the dam.
image caption infection rates were lower near the prawn enclosure on the river
"they sold well. now it's very difficult for us, the younger generation, to make a living out of fishing."
but if the project experiment continues to be conclusive, the biggest challenge will be to find a way to restore prawns to the river.
the river used to be their natural habitat, but the dam prevented the prawns from accessing salty water where they reproduce.
the prawns being used in the experiments were imported from cameroon, but project wants to breed its prawns locally in the future and to involve local communities as much as possible.
a few months ago it set up a hatchery at the national aquaculture agency and is training four water farming students from saint louis university to breed prawns.
they are hoping profit may prove a motivator.
ahmadou camara, head of the national aquaculture agency, who backs the reintroduction, says the project is an opportunity for local technicians to learn to breed prawns.
"the prawns could be a great source of profit for poor populations in the area," he says.
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prɔn ˈfɑrmɪŋ ɪn ˌsɛnəˈgɔl meɪ hoʊld ðə ki tɪ ɪˈrædəˌkeɪtɪŋ ə ˈkɑmən ənd ˈdɛdli ˌpɛrəˈsɪtɪk dɪˈziz. ˈrisərʧərz bɪˈliv ɪf ðə ʃɛl fɪʃ ər ˌriɪntrəˈdust ˈɪntu ðə wɛst ˈæfrɪkɑn ˈneɪʃənz ˈrɪvərz, ðeɪ wɪl it ðə sneɪlz ðət hoʊst ðə ˈpɛrəˌsaɪt ðət ˈkɔzɪz. sprɛd θru kənˈtæməˌneɪtɪd ˈwɔtər, ðə dɪˈziz, ˈɔlsoʊ noʊn ɛz, kɪlz mɔr ðən ˈpipəl ə jɪr, əˈkɔrdɪŋ tɪ ˈjuˈɛn ˈfɪgjərz. mɔr ðən tu ˈmɪljən mɔr ər ˌɪnˈfɛktɪd iʧ jɪr baɪ ðə ˌpɛrəˈsɪtɪk wərmz wɪʧ ˌɪmˈpɛr ʧaɪld groʊθ ənd ˈdæmɪʤ ˌɪnˈtərnəl ˈɔrgənz. maɪ ˈfɑðər juzd tɪ fɪʃ ˈhənərdz əv prɔnz ˈɛvəri deɪ. naʊ ɪts ˈvɛri ˈdɪfəkəlt fər ˈjuˈɛs, ðə ˈjəŋgər ˌʤɛnərˈeɪʃən, tɪ meɪk ə ˈlɪvɪŋ aʊt əv ˈfɪʃɪŋ ˈfɪʃərˌmæn bæʧ bɔɪ "aɪv bɪn ˌɪnˈfɛktɪd wɪθ fər tu jɪrz," sɪz frəm ðə ˈvɪlɪʤ əv, əˈbaʊt 12 maɪəlz) frəm ðə ˈsɪti əv seɪnt luɪs. ˈnɪrˈbaɪ ˈʧɪldrən pleɪ ənd beɪð ɪn ðə sən ɛz ˈməðərz wɑʃ ˈhaʊsˌhoʊld ˈdɪʃɪz ənd kloʊðz ɪn ðə ˌsɛnəˈgɔl ˈrɪvər. ɪt ɪz ə bɪˈgaɪlɪŋ sin ɛz ðə ˈwɔtər ɪz ˈdeɪnʤərəs wɪθ ə 60 ˈprɛvələns reɪt əv. "ɪt ˈstɑrtɪd wɪθ ˈpeɪnfəl ənd ˈblədi urination*," sɪz mɪz. "ə ˈdɔktər geɪv mi pɪlz, bət ðeɪ hæd saɪd ˈifɛkts, soʊ aɪ ˈɔlsoʊ vomited*, ənd hæd ˌdaɪərˈiə. "aɪ wɑz ˈvɛri taɪərd, aɪ lɔst weɪt, ənd aɪ wɑz əˈfreɪd fər maɪ laɪf." ɪz ðə ˈsɛkənd moʊst ˈkɑmən ˌpɛrəˈsɪtɪk dɪˈziz ɪn ðə wərld ˈæftər məˈlɛriə wɪθ 90 əv ˈkeɪsɪz ɪn ˈæfrɪkɑ. ˌkɑmpləˈkeɪʃənz ˌɪnˈklud prəfˈjus ˈblidɪŋ ɪn ðə daɪˈʤɛstɪv ˈsɪstəm ðət kən lɛd tɪ dɛθ. ðə ˌɪnˈfɛkʃən kən bi ˈtritɪd ˈfɛrli ˈifɛktɪvli wɪθ ə drəg kɔld praziquantel*. noʊ ˈrənɪŋ ˈwɔtər ðə ˈleɪtəst ˈgəvərnmənt kæmˈpeɪn tɪ dɪˈstrɪbjut ðə pɪl həz loʊərd ˈkeɪsɪz əraʊnd ˈvɪlɪʤ frəm əˈbaʊt 30 ə mənθ tɪ lɛs ðən 10 sɪz diouf*, hɛd əv ðə ˈriʤənəl hɛlθ ˈsɛntər. bət ðɛr ɪz ˈnəθɪŋ tɪ prɪˈvɛnt re-infection*. ðə ˈgəvərnmənt həz pʊt əp ˈpoʊstərz ənd tɔks tɪ ɪkˈspleɪn tɪ ðə ˈvɪlɪʤərz ðət ˈjərəˌneɪtɪŋ ɪn ðə ˈwɔtər kən meɪk ðɛm sɪk, ənd ðət ðeɪ ʃʊd əˈvɔɪd ˈbeɪðɪŋ ɪn ðə ˈrɪvər æt nun ðə sneɪlz kəm aʊt wɪn ðə ˈtɛmpərəʧər ɪz haɪəst. bət fər ɛz lɔŋ ɛz ˈpipəl ər ɪkˈspoʊzd tɪ ðə ˈrɪvər, ðeɪ wɪl bi ɪkˈspoʊzd tɪ ðə dɪˈziz. ˈɪmɪʤ ˈkæpʃən æt ˈmɑrkɪt ʤaɪənt ˈrɪvər prɔnz sɛl fər faɪv taɪmz ðə praɪs əv fɪʃ "aɪ fil ˈbɛtər, bət ðə dɪˈziz woʊnt goʊ əˈweɪ kəmˈplitli," sɪz mɪz. "aɪ noʊ ɪts bɪˈkəz aɪ kip goʊɪŋ bæk tɪ ðə ˈrɪvər, bət ðɛr ɪz noʊ ˈrənɪŋ ˈwɔtər hir ənd aɪ hæv tɪ goʊ ðɛr æt list twaɪs ə deɪ, tɪ wɑʃ ðə ˈdɪʃɪz, du maɪ ˈlɔndri, wɑʃ maɪ ˈʧɪldrən. əm əˈfreɪd ˈɛvəri taɪm aɪ goʊ ɪn, bət aɪ hæv noʊ ʧɔɪs." ˈsaɪəntɪsts hæv bɪn ˈlʊkɪŋ fər weɪz tɪ dɪˈfɪnɪtɪvli ɪˈlɪməˌneɪt ðə dɪˈziz fər jɪrz, əˈspɛʃəli sɪns ðə 1980s*, wɪn ðɛr wɑz ən ənˈprɛsɪˌdɛntɪd ˈaʊtˌbreɪk ˈʃɔrtli ˈæftər ə dæm wɑz bɪlt ɔn ðə ˌsɛnəˈgɔl ˈrɪvər. ən ˌɔrgənɪˈzeɪʃən kɔld pɔr lɑ ˈsæntə həz bɪn ˈwərkɪŋ ɔn ə ˌvækˈsin fər 20 jɪrz ənd ðə rɪˈzəlts əv ðə ˈleɪtəst sɛt əv tɛsts ər du ðɪs mənθ. ðoʊz bɪˈhaɪnd ə nu ˌnɑnˈprɔfɪt skim kɔld ˈprɑʤɛkt (prɔn) hoʊp ðət baɪ ˌriɪntrəˈdusɪŋ prɔnz ˈɪntu ðə ˌsɛnəˈgɔl ˈrɪvər, nɑt ˈoʊnli wɪl ðə ˈkɔzɪz əv ðə dɪˈziz bi waɪpt aʊt, bət ðə ˈriʤən wɪl ˈɔlsoʊ ˈbɛnəfɪt ˌɛkəˈnɑmɪkli. ðə aɪˈdiə wɑz bɔrn ˈæftər ˈsaɪəntɪst ˌɑrˈmɑnd kuris*, frəm ðə ˌjunəˈvərsəti əv ˌkæləˈfɔrnjə, pruvd ðət prɔnz it ðə hoʊsts. hi ʃɛrd hɪz ˈfaɪndɪŋz wɪθ ɪˈlɪzəbɪθ huttinger*, hu wərkt ɔn ˈpəblɪk hɛlθ dɪˈvɛləpmənt ˈprɑʤɛkts ənd wɛnt ɔn tɪ faʊnd ˈprɑʤɛkt. "aɪ ˈriəˌlaɪzd ˌɪˈmiˌdiətli ðət ðə aɪˈdiə əv ˈreɪzɪŋ prɔnz ənd ˈsɛlɪŋ ðɛm θru mɛnt ðət ðə hɛlθ ˈifɛkt kʊd bi səˈsteɪnəbəl," ʃi sɪz. fjuər sneɪlz ˈprɑʤɛkt ɪz stɪl æt ən ɪkˌspɛrɪˈmɛntəl feɪz. ˈɔlsoʊ noʊn ɛz əˈfɛkts mɔr ðən 230 ˈmɪljən ˈpipəl ˈwərldˈwaɪd ə jɪr ðə ˈpɛrəˌsaɪt ɪz riˈlist baɪ ˈfrɛʃˌwɔtər sneɪlz ðə ˈpɛrəˌsaɪts ər riˈlist ˈɪntu ðə ˈwɔtər, ənd juz fɔrk teɪlz tɪ bəroʊ ˈɪntu ðə skɪn ðeɪ ˈtrævəl tɪ bləd ˈvɛsəlz ðət səˈplaɪ ˈjərəˌnɛri ənd ˌɪnˈtɛstɪnəl ˈɔrgənz, ˌɪnˈkludɪŋ ðə ˈlɪvər, wɛr ðeɪ məˈʧʊr ˈfiˌmeɪl wərmz, wɪʧ lɪv ˌɪnˈsaɪd ðə ˈθɪkər meɪlz, riˈlis ˈmɛni ˈθaʊzənz əv ɛgz iʧ deɪ ɛgz ʃɛd ɪn ˈjʊrən ənd meɪ meɪk ðɛr weɪ ˈɪntu ˈwɔtər, wɛr ðeɪ hæʧ tɪ riˈlis ˈpɛrəˌsaɪts ðət sik aʊt sneɪlz tɪ bɪˈgɪn ðə ˈsaɪkəl əˈgɛn ˈrisərʧərz fərst sɛt əp ən ɪnˈkloʊʒər əraʊnd ən ˈɛriə æt wən ɛnd əv ˈvɪlɪʤ ˈpɑpjələr wɪθ ˈbæðərz ənd fɪld ɪt wɪθ mɔr ðən 100 prɔnz. əˈnəðər ˈbeɪðɪŋ saɪt ɔn ðə ˈəðər saɪd əv ðə ˈvɪlɪʤ wɑz lɛft ənˈtəʧt. ðɛn 300 ˈpipəl wər ˈtritɪd fər frəm ðə tu ˈsɛkʃənz əv ðə ˈvɪlɪʤ. sɪks mənθs ˈleɪtər, ðeɪ wər ˈtɛstɪd ənd ɪt wɑz faʊnd ðət ðɛr wɑz ə loʊər ˌɪnˈfɛkʃən reɪt əˈməŋst ðoʊz hu beɪðd nɪr ðə prɔnz 80 loʊər ðən ðə ˈɛriə wɛr ðɛr wər noʊ prɔnz. ðə ˈrisərʧərz ˈɔlsoʊ ˌriˈpɔrtəd ðət ðɛr wər fjuər sneɪlz ɪn ðə ˈɛriəz əv ðə ˈrɪvər wɛr ðə prɔnz wər ˌɪntrəˈdust. ˌbiˈfɔr ðə dæm wɑz bɪlt, prɔnz wər ən ˌɪmˈpɔrtənt sɔrs əv ˈrɛvəˌnu fər ðə ˈloʊkəlz. "maɪ ˈfɑðər juzd tɪ fɪʃ ˈhənərdz əv prɔnz ˈɛvəri deɪ," ˈriˌkɔlz bæʧ bɔɪ, ə ˈfɪʃərˌmæn hu wərks nɪr ðə dæm. ˈɪmɪʤ ˈkæpʃən ˌɪnˈfɛkʃən reɪts wər loʊər nɪr ðə prɔn ɪnˈkloʊʒər ɔn ðə ˈrɪvər "ðeɪ soʊld wɛl. naʊ ɪts ˈvɛri ˈdɪfəkəlt fər ˈjuˈɛs, ðə ˈjəŋgər ˌʤɛnərˈeɪʃən, tɪ meɪk ə ˈlɪvɪŋ aʊt əv ˈfɪʃɪŋ." bət ɪf ðə ˈprɑʤɛkt ɪkˈspɛrəmənt kənˈtɪnjuz tɪ bi kənˈklusɪv, ðə ˈbɪgəst ˈʧælənʤ wɪl bi tɪ faɪnd ə weɪ tɪ rɪˈstɔr prɔnz tɪ ðə ˈrɪvər. ðə ˈrɪvər juzd tɪ bi ðɛr ˈnæʧərəl ˈhæbəˌtæt, bət ðə dæm prɪˈvɛnɪd ðə prɔnz frəm ˈækˌsɛsɪŋ ˈsɔlti ˈwɔtər wɛr ðeɪ ˌriprəˈdus. ðə prɔnz biɪŋ juzd ɪn ðə ɪkˈspɛrəmənts wər ˌɪmˈpɔrtɪd frəm ˈkæmərˌun, bət ˈprɑʤɛkt wɔnts tɪ brid ɪts prɔnz ˈloʊkəli ɪn ðə fˈjuʧər ənd tɪ ˌɪnˈvɑlv ˈloʊkəl kəmˈjunɪtiz ɛz məʧ ɛz ˈpɑsəbəl. ə fju mənθs əˈgoʊ ɪt sɛt əp ə ˈhæʧəri æt ðə ˈnæʃənəl ˈækwəˌkəlʧər ˈeɪʤənsi ənd ɪz ˈtreɪnɪŋ fɔr ˈwɔtər ˈfɑrmɪŋ ˈstudənts frəm seɪnt luɪs ˌjunəˈvərsəti tɪ brid prɔnz. ðeɪ ər ˈhoʊpɪŋ ˈprɑfɪt meɪ pruv ə ˈmoʊtəveɪtər. kɑˈmɑrə, hɛd əv ðə ˈnæʃənəl ˈækwəˌkəlʧər ˈeɪʤənsi, hu bæks ðə ˌriɪntrəˈdəkʃən, sɪz ðə ˈprɑʤɛkt ɪz ən ˌɑpərˈtunəti fər ˈloʊkəl tɛkˈnɪʃənz tɪ lərn tɪ brid prɔnz. "ðə prɔnz kʊd bi ə greɪt sɔrs əv ˈprɑfɪt fər pur ˌpɑpjəˈleɪʃənz ɪn ðə ˈɛriə," hi sɪz.
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yvetta
it is now two years since i lost richard, the man i lived with and loved for 44 years, and i have to admit, the second year was harder than the first.
at first i was busy navigating a seemingly unending number of legal and financial issues, foreign territory to me. i figured out how to undertake the many household duties that had long been my husband’s, and i learned to ask for or hire help when tasks were more than i could handle.
the first year, my wonderful immediate family (two sons and daughters-in-law, four grandsons, a son-in-law by marriage, and brother and sister-in-law) and half a dozen close friends saw to it that i was included in all manner of activities with people i love, from visiting the grand canyon and celebrating holidays to evenings at the theater, concerts, museums and movies.
i also took on some but necessary household projects, like replacing windows and doors and repairing or discarding broken furniture.
things quieted down a lot the second year. people returned to their lives and, i guess, expected that i had learned how to cope on my own. and to a large extent that was true.
i got the car serviced and inspected and, with one exception, remembered to park on the right side of the street for parking. i changed ceiling light bulbs (even though a doctor had told me to stay off ladders), kept the sidewalk swept, disposed of the garbage and recycling, pruned the grapevines and periodically cleaned the drains and gutters.
but something was clearly missing. there was an emptiness that may be hard to understand unless also been through it.
take last new eve. i had no plans, but the day before, a very thoughtful friend invited me to dinner with her husband and another couple, after which we joined two other couples for dessert. then all nine of us went to the park to watch fireworks; thousands of revelers were whooping and hollering and generally having a great time. everyone but me.
i was sad, very sad. to me, alone in a crowd, nothing about this new year seemed celebratory.
the same sadness recurred two months later, on super bowl sunday, when i sorely missed the company of people close to me who were elsewhere, cheering the giants on to an unexpected victory.
i am by nature a happy, optimistic, person, unaccustomed to feeling vulnerable and adrift. it helped somewhat to vent these feelings to close friends and a therapist.
but a book i found in my personal library, “healthy at by john robbins, may well prove to be the most helpful. not sure how i missed perusing this marvelous book when it was published, in 2006, but awfully glad i found it now.
after pages of very informed discussion of issues like diet, exercise and mental stimulation, mr. robbins devotes a major section to relationships. he notes the importance of others in our lives and takes issue with self-absorption, with the “me” generation that focuses on itself to the neglect of others. mr. robbins cites an illustrative study published in 1983 by larry, then a psychologist at baylor university, who taped the conversations of nearly 600 men, a third of them with heart disease. dr. counted how often the men used pronouns i, me, mine and found that those who used them most often were most likely to have heart disease and, when followed for several years, most likely to suffer heart attacks.
the psychologist advised: “listen with regard when others talk. give your time and energy to others; let others have their way; do things for reasons other than furthering your own needs.”
reading this reminded me of jeremy lin, the new york knicks’ new “cinderella” point guard, who instead of basking in adulation for his surprising performances repeatedly has attributed success on the court to his team. how very refreshing for a sports hero.
joining a new cause
i think time for me to get out of myself, to join a cause i believe in and to work hard toward its goals. not sure yet what that cause might be. my brother and sister-in-law, despite very busy lives, contribute time and energy, as well as money, to habitat for humanity and take pride in how their efforts help others.
i suspect, though, that i may need something that connects me more directly to people i care about. in college i was the dorm therapist; perhaps i could again function in a one-on-one advisory capacity for people in need of a sounding board.
in study after study cited by mr. robbins, people in loving relationships with spouses or friends were healthier than those lacking this intimacy, even when the latter had healthier living habits.
one such study of men and women living in alameda county, calif., which was published in 1979 and was led by lisa f. berkman, an epidemiologist then at yale, found that people who were not connected to others were three times as likely to die over the course of nine years as those who had strong social ties. the kind of social ties did not matter. they included family, friends, church and volunteer groups.
furthermore, to the surprise of dr. berkman and her co-author, s. leonard syme of the university of california, berkeley, those with close social ties and unhealthful lifestyles actually lived longer than those with poor social ties but more habits. of course, those who lived and had strong social ties lived the longest.
in another study, which was called the beta blocker heart attack trial and involved men who had survived a heart attack, those with strong social connections faced only the risk of death of those not socially connected, even when factors like smoking, diet, alcohol, exercise and weight were taken into account. in fact, social had a greater influence on survival than the heart drug being tested.
isolating our elders
the demonstrated benefits of social involvement raise serious questions about the generational splits in current society. the household in which i grew up is no longer the norm in fact, just the opposite.
when people become too old or infirm to live on their own, they typically move or are moved to facilities with other old or infirm individuals, often far from family and friends, depriving them of connections to people who can provide loving support. the resulting loneliness can be a killer, even in the absence of a fatal disease.
mr. robbins points out that in traditional societies that lack modern medicine yet are famous for long life expectancies, “the generations are not artificially separated, and people at every stage of life feel a part of things and have something to contribute.”
i can only hope that will be the case during my own last decades.
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yvetta* ɪt ɪz naʊ tu jɪrz sɪns aɪ lɔst ˈrɪʧərd, ðə mæn aɪ lɪvd wɪθ ənd ləvd fər 44 jɪrz, ənd aɪ hæv tɪ ədˈmɪt, ðə ˈsɛkənd jɪr wɑz ˈhɑrdər ðən ðə fərst. æt fərst aɪ wɑz ˈbɪzi ˈnævəˌgeɪtɪŋ ə ˈsimɪŋli əˈnɛndɪŋ ˈnəmbər əv ˈligəl ənd ˌfaɪˈnænʃəl ˈɪʃuz, ˈfɔrən ˈtɛrɪˌtɔri tɪ mi. aɪ ˈfɪgjərd aʊt haʊ tɪ ˈəndərˌteɪk ðə ˈmɛni ˈhaʊsˌhoʊld ˈdutiz ðət hæd lɔŋ bɪn maɪ husband’s*, ənd aɪ ˈlərnɪd tɪ æsk fər ər haɪər hɛlp wɪn tæsks wər mɔr ðən aɪ kʊd ˈhændəl. ðə fərst jɪr, maɪ ˈwəndərfəl ˌɪˈmiˌdiət ˈfæməli (tu sənz ənd ˈdɔtərzɪnˌlɔ, fɔr ˈgrændˌsənz, ə ˈsənɪnˌlɔ baɪ ˈmɛrɪʤ, ənd ˈbrəðər ənd ˈsɪstərɪnˌlɔ) ənd hæf ə ˈdəzən kloʊz frɛndz sɔ tɪ ɪt ðət aɪ wɑz ˌɪnˈkludɪd ɪn ɔl ˈmænər əv ækˈtɪvɪtiz wɪθ ˈpipəl aɪ ləv, frəm ˈvɪzɪtɪŋ ðə grænd ˈkænjən ənd ˈsɛləˌbreɪtɪŋ ˈhɑləˌdeɪz tɪ ˈivnɪŋz æt ðə ˈθieɪtər, ˈkɑnsərts, mˈjuziəmz ənd ˈmuviz. aɪ ˈɔlsoʊ tʊk ɔn səm bət ˈnɛsəˌsɛri ˈhaʊsˌhoʊld ˈprɑʤɛkts, laɪk rɪˈpleɪsɪŋ ˈwɪndoʊz ənd dɔrz ənd rɪˈpɛrɪŋ ər dɪˈskɑrdɪŋ ˈbroʊkən ˈfərnɪʧər. θɪŋz kˈwaɪətɪd daʊn ə lɔt ðə ˈsɛkənd jɪr. ˈpipəl rɪˈtərnd tɪ ðɛr lɪvz ənd, aɪ gɛs, ɪkˈspɛktɪd ðət aɪ hæd ˈlərnɪd haʊ tɪ koʊp ɔn maɪ oʊn. ənd tɪ ə lɑrʤ ɪkˈstɛnt ðət wɑz tru. aɪ gɑt ðə kɑr ˈsərvɪst ənd ˌɪnˈspɛktɪd ənd, wɪθ wən ɪkˈsɛpʃən, rɪˈmɛmbərd tɪ pɑrk ɔn ðə raɪt saɪd əv ðə strit fər ˈpɑrkɪŋ. aɪ ʧeɪnʤd ˈsilɪŋ laɪt bəlbz (ˈivɪn ðoʊ ə ˈdɔktər hæd toʊld mi tɪ steɪ ɔf ˈlædərz), kɛpt ðə ˈsaɪdˌwɔk swɛpt, dɪˈspoʊzd əv ðə ˈgɑrbɪʤ ənd riˈsaɪkəlɪŋ, prund ðə ˈgreɪpˌvaɪnz ənd ˌpiriˈɑdɪkəli klind ðə dreɪnz ənd ˈgətərz. bət ˈsəmθɪŋ wɑz ˈklɪrli ˈmɪsɪŋ. ðɛr wɑz ən ˈɛmtinəs ðət meɪ bi hɑrd tɪ ˌəndərˈstænd ənˈlɛs ˈɔlsoʊ bɪn θru ɪt. teɪk læst nu iv. aɪ hæd noʊ plænz, bət ðə deɪ ˌbiˈfɔr, ə ˈvɛri ˈθɔtfəl frɛnd ˌɪnˈvaɪtɪd mi tɪ ˈdɪnər wɪθ hər ˈhəzbənd ənd əˈnəðər ˈkəpəl, ˈæftər wɪʧ wi ʤɔɪnd tu ˈəðər ˈkəpəlz fər dɪˈzərt. ðɛn ɔl naɪn əv ˈjuˈɛs wɛnt tɪ ðə pɑrk tɪ wɔʧ ˈfaɪrˌwərks; ˈθaʊzənz əv ˈrɛvələrz wər ˈwupɪŋ ənd ˈhɑlərɪŋ ənd ˈʤɛnərəli ˈhævɪŋ ə greɪt taɪm. ˈɛvriˌwən bət mi. aɪ wɑz sæd, ˈvɛri sæd. tɪ mi, əˈloʊn ɪn ə kraʊd, ˈnəθɪŋ əˈbaʊt ðɪs nu jɪr simd səˈlɛbrəˌtɔri. ðə seɪm ˈsædnəs riˈkərd tu mənθs ˈleɪtər, ɔn ˈsupər boʊl ˈsənˌdi, wɪn aɪ ˈsɔrli mɪst ðə ˈkəmpəˌni əv ˈpipəl kloʊz tɪ mi hu wər ˈɛlsˌwɛr, ˈʧɪrɪŋ ðə ʤaɪənts ɔn tɪ ən ˌənɪkˈspɛktɪd ˈvɪktəri. aɪ æm baɪ ˈneɪʧər ə ˈhæpi, ˌɑptɪˈmɪstɪk, ˈpərsən, ˌənəˈkəstəmd tɪ ˈfilɪŋ ˈvəlnərəbəl ənd əˈdrɪft. ɪt hɛlpt ˈsəmˈwət tɪ vɛnt ðiz ˈfilɪŋz tɪ kloʊz frɛndz ənd ə ˈθɛrəpɪst. bət ə bʊk aɪ faʊnd ɪn maɪ ˈpərsɪnəl ˈlaɪbrɛˌri, æt baɪ ʤɑn ˈrɑbɪnz, meɪ wɛl pruv tɪ bi ðə moʊst ˈhɛlpfəl. nɑt ʃʊr haʊ aɪ mɪst pərˈuzɪŋ ðɪs ˈmɑrvələs bʊk wɪn ɪt wɑz ˈpəblɪʃt, ɪn 2006 bət ˈɔfəli glæd aɪ faʊnd ɪt naʊ. ˈæftər ˈpeɪʤɪz əv ˈvɛri ˌɪnˈfɔrmd dɪˈskəʃən əv ˈɪʃuz laɪk daɪət, ˈɛksərˌsaɪz ənd ˈmɛntəl ˌstɪmjəˈleɪʃən, ˈmɪstər. ˈrɑbɪnz dɪˈvoʊts ə ˈmeɪʤər ˈsɛkʃən tɪ riˈleɪʃənˌʃɪps. hi noʊts ðə ˌɪmˈpɔrtəns əv ˈəðərz ɪn ɑr lɪvz ənd teɪks ˈɪʃu wɪθ self-absorption*, wɪθ ðə ““me”*” ˌʤɛnərˈeɪʃən ðət ˈfoʊkɪsɪz ɔn ˌɪtˈsɛlf tɪ ðə nɪˈglɛkt əv ˈəðərz. ˈmɪstər. ˈrɑbɪnz saɪts ən ˌɪˈləstrətɪv ˈstədi ˈpəblɪʃt ɪn 1983 baɪ ˈlɛri, ðɛn ə saɪˈkɑləʤəst æt ˈbeɪlər ˌjunəˈvərsəti, hu teɪpt ðə ˌkɑnvərˈseɪʃənz əv ˈnɪrli 600 mɛn, ə θərd əv ðɛm wɪθ hɑrt dɪˈziz. ˈdɑktər. ˈkaʊntɪd haʊ ˈɔfən ðə mɛn juzd ˈproʊnaʊnz aɪ, mi, maɪn ənd faʊnd ðət ðoʊz hu juzd ðɛm moʊst ˈɔfən wər moʊst ˈlaɪkli tɪ hæv hɑrt dɪˈziz ənd, wɪn ˈfɑloʊd fər ˈsɛvərəl jɪrz, moʊst ˈlaɪkli tɪ ˈsəfər hɑrt əˈtæks. ðə saɪˈkɑləʤəst ədˈvaɪzd: wɪθ rɪˈgɑrd wɪn ˈəðərz tɔk. gɪv jʊr taɪm ənd ˈɛnərʤi tɪ ˈəðərz; lɛt ˈəðərz hæv ðɛr weɪ; du θɪŋz fər ˈrizənz ˈəðər ðən ˈfərðərɪŋ jʊr oʊn needs.”*.” ˈrɛdɪŋ ðɪs riˈmaɪndɪd mi əv ˈʤɛrəˌmi lɪn, ðə nu jɔrk knicks’*’ nu ““cinderella”*” pɔɪnt gɑrd, hu ˌɪnˈstɛd əv ˈbæskɪŋ ɪn ˌæʤəˈleɪʃən fər hɪz səˈpraɪzɪŋ pərˈfɔrmənsɪz rɪˈpitɪdli həz əˈtrɪbjətəd səkˈsɛs ɔn ðə kɔrt tɪ hɪz tim. haʊ ˈvɛri rɪˈfrɛʃɪŋ fər ə spɔrts ˈhɪroʊ. ˈʤɔɪnɪŋ ə nu kɔz aɪ θɪŋk taɪm fər mi tɪ gɪt aʊt əv ˌmaɪˈsɛlf, tɪ ʤɔɪn ə kɔz aɪ bɪˈliv ɪn ənd tɪ wərk hɑrd təˈwɔrd ɪts goʊlz. nɑt ʃʊr jɛt wət ðət kɔz maɪt bi. maɪ ˈbrəðər ənd ˈsɪstərɪnˌlɔ, dɪˈspaɪt ˈvɛri ˈbɪzi lɪvz, kənˈtrɪbjut taɪm ənd ˈɛnərʤi, ɛz wɛl ɛz ˈməni, tɪ ˈhæbəˌtæt fər juˈmænɪti ənd teɪk praɪd ɪn haʊ ðɛr ˈɛfərts hɛlp ˈəðərz. aɪ ˈsəˌspɛkt, ðoʊ, ðət aɪ meɪ nid ˈsəmθɪŋ ðət kəˈnɛkts mi mɔr dɪˈrɛkli tɪ ˈpipəl aɪ kɛr əˈbaʊt. ɪn ˈkɑlɪʤ aɪ wɑz ðə dɔrm ˈθɛrəpɪst; pərˈhæps aɪ kʊd əˈgɛn ˈfəŋkʃən ɪn ə ˌwənɔnˈwən ædˈvaɪzəri kəˈpæsɪti fər ˈpipəl ɪn nid əv ə ˈsaʊndɪŋ bɔrd. ɪn ˈstədi ˈæftər ˈstədi ˈsaɪtɪd baɪ ˈmɪstər. ˈrɑbɪnz, ˈpipəl ɪn ˈləvɪŋ riˈleɪʃənˌʃɪps wɪθ ˈspaʊsɪz ər frɛndz wər ˈhɛlθiər ðən ðoʊz ˈlækɪŋ ðɪs ˈɪntəməsi, ˈivɪn wɪn ðə ˈlætər hæd ˈhɛlθiər ˈlɪvɪŋ ˈhæbəts. wən səʧ ˈstədi əv mɛn ənd ˈwɪmən ˈlɪvɪŋ ɪn ˌæləˈmidə ˈkaʊnti, ˈkælɪf., wɪʧ wɑz ˈpəblɪʃt ɪn 1979 ənd wɑz lɛd baɪ ˈlisə ɛf. ˈbərkmən, ən ˌɛpəˌdiˌmiˈɑləˌʤɪst ðɛn æt jeɪl, faʊnd ðət ˈpipəl hu wər nɑt kəˈnɛktɪd tɪ ˈəðərz wər θri taɪmz ɛz ˈlaɪkli tɪ daɪ ˈoʊvər ðə kɔrs əv naɪn jɪrz ɛz ðoʊz hu hæd strɔŋ ˈsoʊʃəl taɪz. ðə kaɪnd əv ˈsoʊʃəl taɪz dɪd nɑt ˈmætər. ðeɪ ˌɪnˈkludɪd ˈfæməli, frɛndz, ʧərʧ ənd ˌvɑlənˈtɪr grups. ˈfərðərˌmɔr, tɪ ðə səˈpraɪz əv ˈdɑktər. ˈbərkmən ənd hər co-author*, ɛs. ˈlɛnərd saɪm əv ðə ˌjunəˈvərsəti əv ˌkæləˈfɔrnjə, ˈbərkli, ðoʊz wɪθ kloʊz ˈsoʊʃəl taɪz ənd ənˈhɛlθfəl ˈlaɪfˌstaɪlz ˈæˌkʧuəli lɪvd ˈlɔŋgər ðən ðoʊz wɪθ pur ˈsoʊʃəl taɪz bət mɔr ˈhæbəts. əv kɔrs, ðoʊz hu lɪvd ənd hæd strɔŋ ˈsoʊʃəl taɪz lɪvd ðə ˈlɔŋgɪst. ɪn əˈnəðər ˈstədi, wɪʧ wɑz kɔld ðə ˈbeɪtə ˈblɑkər hɑrt əˈtæk traɪəl ənd ˌɪnˈvɑlvd mɛn hu hæd sərˈvaɪvd ə hɑrt əˈtæk, ðoʊz wɪθ strɔŋ ˈsoʊʃəl kəˈnɛkʃənz feɪst ˈoʊnli ðə rɪsk əv dɛθ əv ðoʊz nɑt ˈsoʊʃəli kəˈnɛktɪd, ˈivɪn wɪn ˈfæktərz laɪk sˈmoʊkɪŋ, daɪət, ˈælkəˌhɑl, ˈɛksərˌsaɪz ənd weɪt wər ˈteɪkən ˈɪntu əˈkaʊnt. ɪn fækt, ˈsoʊʃəl hæd ə ˈgreɪtər ˈɪnfluəns ɔn sərˈvaɪvəl ðən ðə hɑrt drəg biɪŋ ˈtɛstɪd. ˈaɪsəˌleɪtɪŋ ɑr ˈɛldərz ðə ˈdɛmənˌstreɪtɪd ˈbɛnəfɪts əv ˈsoʊʃəl ˌɪnˈvɑlvmənt reɪz ˈsɪriəs kˈwɛsʧənz əˈbaʊt ðə ˌʤɛnərˈeɪʃənəl splɪts ɪn ˈkɑrənt soʊˈsaɪɪti. ðə ˈhaʊsˌhoʊld ɪn wɪʧ aɪ gru əp ɪz noʊ ˈlɔŋgər ðə nɔrm ɪn fækt, ʤɪst ðə ˈɑpəzɪt. wɪn ˈpipəl bɪˈkəm tu oʊld ər ɪnˈfərm tɪ lɪv ɔn ðɛr oʊn, ðeɪ ˈtɪpɪkəli muv ər ər muvd tɪ fəˈsɪlɪtiz wɪθ ˈəðər oʊld ər ɪnˈfərm ˌɪndəˈvɪʤəwəlz, ˈɔfən fɑr frəm ˈfæməli ənd frɛndz, dɪˈpraɪvɪŋ ðɛm əv kəˈnɛkʃənz tɪ ˈpipəl hu kən prəˈvaɪd ˈləvɪŋ səˈpɔrt. ðə rɪˈzəltɪŋ ˈloʊnlinəs kən bi ə ˈkɪlər, ˈivɪn ɪn ðə ˈæbsəns əv ə ˈfeɪtəl dɪˈziz. ˈmɪstər. ˈrɑbɪnz pɔɪnts aʊt ðət ɪn trəˈdɪʃənəl səˈsaɪɪtiz ðət læk ˈmɑdərn ˈmɛdəsən jɛt ər ˈfeɪməs fər lɔŋ laɪf ɪkˈspɛktənsiz, ˌʤɛnərˈeɪʃənz ər nɑt ˌɑrtəˈfɪʃəli ˈsɛpərˌeɪtɪd, ənd ˈpipəl æt ˈɛvəri steɪʤ əv laɪf fil ə pɑrt əv θɪŋz ənd hæv ˈsəmθɪŋ tɪ contribute.”*.” aɪ kən ˈoʊnli hoʊp ðət wɪl bi ðə keɪs ˈdʊrɪŋ maɪ oʊn læst ˈdɛkeɪdz.
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once upon a time there were two girls. one was kind and helpful and was rewarded with a box of gold. the other was mean and lazy and was rewarded with a box of snakes. you may know another version of this fairy tale though, because it changed as it spread across europe. a new study of how it changed shows that people who came from different language groups or who lived a few hundred kilometres apart were more likely to have children with each other than to exchange their version of the story. folklore in this way, using techniques from genetic analysis, may give us new insights into how cultures evolve.
there are numerous versions of the “kind and unkind girls” tale across europe. quentin atkinson at the university of auckland, new zealand, and colleagues took a database of 700 versions collected a century or more ago in 31 languages, and quantified their differences. they then these variations using standard techniques from population genetics, used to determine how common mutant versions of a gene are according to ethnic group or across a region.
“we are the first to include both those variables, so we can tease the effect of linguistic boundaries apart from geography,” says atkinson. he found that both factors matter. “two french versions of the tale collected 100 kilometres apart should differ as much as a french and a german version collected 10 kilometres apart,” he says. by the same token however, he found that a french version of the tale from near the german border might be more similar to a german version from just across the border than to another french variant found hundreds of kilometers away.
stopped at the border
the analysis also shows that the tale crosses borders less readily than genes. there are very few consistent genetic differences between groups of europeans that speak different languages; the team found that there were ten times as many divergences in the way two groups told the folk tale as there were genetic differences. in other words, it has been easier for europeans to than share their stories.
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“the results are quite reasonable,” says peter richerson of the university of california at davis, whose team used the world values survey to show larger cultural than genetic differences between ethnic groups.
“we need to quantify more such cultural variables,” says atkinson, to settle how cultures evolve.
such analysis may also give us historical insights. applying a method for tracing a family tree to the folk tale, atkinson found that swiss tell the italian version, not the german one. but the british tell the german tale as do the danes, irish and latvians. maybe storytellers travelled medieval baltic trade routes, speculates atkinson. his team is analysis more folk tales to see if they cluster in the same way.
journal reference: proceedings of the royal society b,
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wəns əˈpɑn ə taɪm ðɛr wər tu gərlz. wən wɑz kaɪnd ənd ˈhɛlpfəl ənd wɑz rɪˈwɔrdɪd wɪθ ə bɑks əv goʊld. ðə ˈəðər wɑz min ənd ˈleɪzi ənd wɑz rɪˈwɔrdɪd wɪθ ə bɑks əv sneɪks. ju meɪ noʊ əˈnəðər ˈvərʒən əv ðɪs ˈfɛri teɪl ðoʊ, bɪˈkəz ɪt ʧeɪnʤd ɛz ɪt sprɛd əˈkrɔs ˈjʊrəp. ə nu ˈstədi əv haʊ ɪt ʧeɪnʤd ʃoʊz ðət ˈpipəl hu keɪm frəm ˈdɪfərənt ˈlæŋgwɪʤ grups ər hu lɪvd ə fju ˈhənərd ˌkɪˈlɔˌmətərz əˈpɑrt wər mɔr ˈlaɪkli tɪ hæv ˈʧɪldrən wɪθ iʧ ˈəðər ðən tɪ ɪksˈʧeɪnʤ ðɛr ˈvərʒən əv ðə ˈstɔri. ˈfoʊˌklɔr ɪn ðɪs weɪ, ˈjuzɪŋ tɛkˈniks frəm ʤəˈnɛtɪk æˈnælɪsɪs, meɪ gɪv ˈjuˈɛs nu ˈɪnˌsaɪts ˈɪntu haʊ ˈkəlʧərz ɪˈvɑlv. ðɛr ər ˈnumərəs ˈvərʒənz əv ðə ənd ənˈkaɪnd girls”*” teɪl əˈkrɔs ˈjʊrəp. kˈwɛntɪn ˈætkɪnsən æt ðə ˌjunəˈvərsəti əv ˈɑklənd, nu ˈzilənd, ənd ˈkɑligz tʊk ə ˈdætəˌbeɪs əv 700 ˈvərʒənz kəˈlɛktəd ə ˈsɛnʧəri ər mɔr əˈgoʊ ɪn 31 ˈlæŋgwɪʤɪz, ənd kˈwɑntɪˌfaɪd ðɛr ˈdɪfərənsɪz. ðeɪ ðɛn ðiz ˌvɛriˈeɪʃənz ˈjuzɪŋ ˈstændərd tɛkˈniks frəm ˌpɑpjəˈleɪʃən ʤəˈnɛtɪks, juzd tɪ dɪˈtərmən haʊ ˈkɑmən mˈjutənt ˈvərʒənz əv ə ʤin ər əˈkɔrdɪŋ tɪ ˈɛθnɪk grup ər əˈkrɔs ə ˈriʤən. ər ðə fərst tɪ ˌɪnˈklud boʊθ ðoʊz ˈvɛriəbəlz, soʊ wi kən tiz ðə ˈifɛkt əv lɪŋgˈwɪstɪk ˈbaʊndəriz əˈpɑrt frəm geography,”*,” sɪz ˈætkɪnsən. hi faʊnd ðət boʊθ ˈfæktərz ˈmætər. frɛnʧ ˈvərʒənz əv ðə teɪl kəˈlɛktəd 100 ˌkɪˈlɔˌmətərz əˈpɑrt ʃʊd ˈdɪfər ɛz məʧ ɛz ə frɛnʧ ənd ə ˈʤərmən ˈvərʒən kəˈlɛktəd 10 ˌkɪˈlɔˌmətərz apart,”*,” hi sɪz. baɪ ðə seɪm ˈtoʊkən ˌhaʊˈɛvər, hi faʊnd ðət ə frɛnʧ ˈvərʒən əv ðə teɪl frəm nɪr ðə ˈʤərmən ˈbɔrdər maɪt bi mɔr ˈsɪmələr tɪ ə ˈʤərmən ˈvərʒən frəm ʤɪst əˈkrɔs ðə ˈbɔrdər ðən tɪ əˈnəðər frɛnʧ ˈvɛriənt faʊnd ˈhənərdz əv ˈkɪləˌmitərz əˈweɪ. stɑpt æt ðə ˈbɔrdər ðə æˈnælɪsɪs ˈɔlsoʊ ʃoʊz ðət ðə teɪl ˈkrɔsɪz ˈbɔrdərz lɛs ˈrɛdəli ðən ʤinz. ðɛr ər ˈvɛri fju kənˈsɪstənt ʤəˈnɛtɪk ˈdɪfərənsɪz bɪtˈwin grups əv ˌjʊrəˈpiənz ðət spik ˈdɪfərənt ˈlæŋgwɪʤɪz; ðə tim faʊnd ðət ðɛr wər tɛn taɪmz ɛz ˈmɛni daɪˈvərʤənsɪz ɪn ðə weɪ tu grups toʊld ðə foʊk teɪl ɛz ðɛr wər ʤəˈnɛtɪk ˈdɪfərənsɪz. ɪn ˈəðər wərdz, ɪt həz bɪn ˈiziər fər ˌjʊrəˈpiənz tɪ ðən ʃɛr ðɛr ˈstɔriz. ˌædvərˈtaɪzmənt rɪˈzəlts ər kwaɪt reasonable,”*,” sɪz ˈpitər ˈrɪʧərsən əv ðə ˌjunəˈvərsəti əv ˌkæləˈfɔrnjə æt ˈdeɪvɪs, huz tim juzd ðə wərld ˈvæljuz ˈsərˌveɪ tɪ ʃoʊ ˈlɑrʤər ˈkəlʧərəl ðən ʤəˈnɛtɪk ˈdɪfərənsɪz bɪtˈwin ˈɛθnɪk grups. nid tɪ kˈwɑntɪˌfaɪ mɔr səʧ ˈkəlʧərəl variables,”*,” sɪz ˈætkɪnsən, tɪ ˈsɛtəl haʊ ˈkəlʧərz ɪˈvɑlv. səʧ æˈnælɪsɪs meɪ ˈɔlsoʊ gɪv ˈjuˈɛs hɪˈstɔrɪkəl ˈɪnˌsaɪts. əˈplaɪɪŋ ə ˈmɛθəd fər ˈtreɪsɪŋ ə ˈfæməli tri tɪ ðə foʊk teɪl, ˈætkɪnsən faʊnd ðət swɪs tɛl ðə ˌɪˈtæljən ˈvərʒən, nɑt ðə ˈʤərmən wən. bət ðə ˈbrɪtɪʃ tɛl ðə ˈʤərmən teɪl ɛz du ðə deɪnz, ˈaɪrɪʃ ənd ˈlætviənz. ˈmeɪbi ˈstɔriˌtɛlərz ˈtrævəld mɪˈdjivəl ˈbɔltɪk treɪd rʊts, ˈspɛkjəˌleɪts ˈætkɪnsən. hɪz tim ɪz æˈnælɪsɪs mɔr foʊk teɪlz tɪ si ɪf ðeɪ ˈkləstər ɪn ðə seɪm weɪ. ˈʤərnəl ˈrɛfərəns: prəˈsidɪŋz əv ðə rɔɪəl soʊˈsaɪɪti bi,
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ˈveɪgə hɛlps ju faɪnd ənd fɪks (xss*), ˌɪnˈʤɛkʃən, ənd mɔr. ˈveɪgə ɪz ə fri ənd ˈoʊpən sɔrs wɛb sɪˈkjʊrəti ˈskænər ənd wɛb sɪˈkjʊrəti ˈtɛstɪŋ ˈplætˌfɔrm tɪ tɛst ðə sɪˈkjʊrəti əv wɛb ˌæpləˈkeɪʃənz. ˈveɪgə kən hɛlp ju faɪnd ənd ˈvælədeɪt ˌɪnˈʤɛkʃən, (xss*), ˌɪnədˈvərtəntli dɪˈskloʊzd ˈsɛnsɪtɪv ˌɪnˌfɔrˈmeɪʃən, ənd ˈəðər ˌvəlnərəˈbɪlɪtiz. ɪt ɪz ˈrɪtən ɪn ˈʤɑvə, beɪst, ənd rənz ɔn ˈlɪnəks, ɑs ɛks, ənd ˈwɪndoʊz. ˈveɪgə kən hɛlp ju faɪnd ˌvəlnərəˈbɪlɪtiz səʧ ɛz: rɪˈflɛktɪd, stɔrd, blaɪnd ˌɪnˈʤɛkʃən, rɪˈmoʊt faɪl ˌɪnˈklud, ʃɛl ˌɪnˈʤɛkʃən, ənd ˈəðərz. ˈveɪgə ˈɔlsoʊ proʊbz fər sɪˈkjʊrəti ˈsɛtɪŋz ənd aɪˈdɛntəˌfaɪz ˌɑpərˈtunətiz fər ˌɪmˈpruvɪŋ ðə sɪˈkjʊrəti əv jʊr ˈsərvərz. ˈveɪgə ˌɪnˈkludz ən ˈɔtəˌmeɪtɪd ˈskænər fər kwɪk tɛsts ənd ən ˌɪnərˈsɛptɪŋ ˈprɑksi fər ˈtæktɪkəl ˌɪnˈspɛkʃən. ðə ˈveɪgə ˈskænər faɪndz), ˌɪnˈʤɛkʃən, ənd ˈəðər ˌvəlnərəˈbɪlɪtiz. ˈveɪgə kən bi ɪkˈstɛndɪd ˈjuzɪŋ ə ˈpaʊərfəl ɪn ðə ˈlæŋgwɪʤ əv ðə wɛb: ˈʤɑvəˌskrɪpt. ˈveɪgə wɑz dɪˈvɛləpt baɪ ɪn ˌməntriˈɔl. ˈdaʊnˌloʊd
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donald trump speaks during a campaign event in phoenix on oct. 29. (carlo allegri/reuters)
president-elect donald trump sees fit to micromanage the economy with serial interventions even before entering office and to retain domestic and foreign holdings as he makes public policy decisions. past senior obama administration officials are quick to point out that trump is setting new and troubling precedents both in his interventions and his ethical conflicts.
let’s take the interventions first. obama officials will tell you that the financial meltdown of 2008 created a sort of existential crisis for the economy that justified some extraordinary measures. those in the outgoing george w. bush administration thought so, too. that is why both administrations supported the troubled asset relief program (tarp) and the auto bailout. however, these were actions affecting millions of people. moreover, the actions were subject to tight constraints trump certainly signed onto. steven rattner, who has responsibility for the bailout, recalled:
all of us especially tim and larry summers hated the idea of the u.s. government owning equity in these companies, let alone a majority interest in gm. but we ultimately concluded that it is better to get something for something than to get nothing for something. to mitigate the obvious risks, the administration developed a set of principles for the “usg as shareholder” that would add strict limits on government involvement to the existing edict that we not ever meddle in day-to-day management decisions. among the ideas that was explicitly rejected was putting any government employees or official representatives on these boards. this underscored the need to put in place capable independent boards of directors and strong chairmen. once again, there was no political interference. working with secretary and director summers, we looked particularly for strong former of significant companies and also wanted to have at least one leading private equity person on each board. i believe i have seen even one criticism of the resulting choices.
contrary to popular belief, rattner sitting in his office deciding which auto plants to close, which dealerships would go under or which car models to develop. by contrast, trump is micromanaging the economy to an extent heretofore unimaginable.
when a much broader initiative was undertaken by the obama administration conservatives screamed that it was industrial policy and would have devastating consequences. now they are silent when trump does something much worse, picking out individual companies and telling them how to run their operations.
on the issue of government ethics, no president has attempted to retain ownership of active, highly visible businesses, let alone have them managed through relatives, as he makes daily decisions that affect the value of his holdings.
the post's rosalind s. helderman explores the details behind the announcement that donald trump sold all his shares in companies in june. (bastien washington post)
for the ordinary federal employee, the issue is straightforward:
a criminal conflict of interest statute, 18 u.s.c. 208 , prohibits an employee from participating personally and substantially, in an official capacity, in any “particular matter” that would have a direct and predictable effect on the own financial interests or on the financial interests of: the spouse or minor child; a general partner of a partnership in which the employee is a limited or general partner; an organization in which the employee serves as an officer, director, trustee, general partner, or employee; or a person with whom the employee is negotiating for or has an arrangement concerning prospective employment.”
that is why even employees with complicated holdings, business interests and foreign investments generally must eliminate the potential for conflicts before entering government or recuse themselves from matters even when there is the appearance of a conflict:
an executive regulation recognizes that a reasonable person may believe that an impartiality can be influenced by interests other than the own or those that are imputed to the employee by the conflict of interest laws. under 5 c.f.r. , employees are required to consider whether their impartiality would be questioned whenever their involvement in a “particular matter involving specific parties” might affect certain personal or business relationships.
this is also why all sorts of wealthy people, sometimes with great difficulty that delays their entry into government, have had to divest themselves of their holdings. george w. treasury secretary henry paulson jr. had “quite a roughly $700 million equity stake in wall premier investment banking house.” he had to divest himself of that, although he and other cabinet officials have been able make use of a tax provision that allows them to defer (not avoid) taxes “on assets they have to sell to avoid a conflict of interest, as long as the proceeds are reinvested in government securities or a broad array of mutual funds approved by the government within 60 days.”
if employees want to use a blind trust, exacting rules apply. (“an employee may place most types of assets into a blind trust portfolio. these initial assets continue to pose a conflict of interest until they have been sold or reduced to a value of less than $1,000. any new assets purchased by the independent trustee may not be disclosed to the employee and therefore will not present a conflict of interest. . . . an employee can place only readily marketable securities in the trust portfolio and the portfolio must meet certain diversification standards. the initial assets of a diversified trust are not considered to pose a conflict of interest because the portfolio is so diversified that an official action taken by the employee would not have a direct and predictable effect on the value of the portfolio.”)
trump initially claimed none of the rules applied to him. he is technically right with regard to domestic holdings. however, now trump seems to have recognized it is just “not appropriate” to be holding stocks when he is making decisions that would affect them. he is precisely right. he claims to have sold his stock although there is no documentation to that effect, and he refuses to release his tax returns. but wait. there is absolutely no difference between his stock portfolio and his active businesses; in fact, the conflict is much worse and more obvious when we are talking about an international family business. when a president runs on a platform of “draining the swamp,” he cannot very well do less than that required for every person who works for him.
finally, there is the clause problem which, if he were president today, be violating each and every day. as ethics gurus norman l. eisen and richard w. painter wrote:
we are in danger of having a president who could violate it if he does not disentangle his business operations from foreign governments. the potential violations also include the benefits conferred on trump in connection with outstanding loans from the bank of china, which is controlled by the chinese government, as well as any investment or involvement of sovereign wealth funds in his many projects around the globe, and foreign governments putting up their officials or diplomats at trump hotels or even those governments buying apartments in his times likely vying for the most expensive suites. all of this will become unconstitutional come january 20.
so what will trump do? more important, we are anxious to find out what congressional republicans and the electors set to meet dec. 19 decide to do.
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ˈdɑnəld trəmp spiks ˈdʊrɪŋ ə kæmˈpeɪn ɪˈvɛnt ɪn ˈfinɪks ɔn ɔkt. 29 (ˈkɑrloʊ allegri/reuters*) ˈdɑnəld trəmp siz fɪt tɪ ˌmaɪkroʊˈmænɪʤ ðə ɪˈkɑnəmi wɪθ ˈsɪˌriəl ˌɪntərˈvɛnʃənz ˈivɪn ˌbiˈfɔr ˈɛnərɪŋ ˈɔfəs ənd tɪ rɪˈteɪn dəˈmɛstɪk ənd ˈfɔrən ˈhoʊldɪŋz ɛz hi meɪks ˈpəblɪk ˈpɑləsi dɪˈsɪʒənz. pæst ˈsinjər ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən əˈfɪʃəlz ər kwɪk tɪ pɔɪnt aʊt ðət trəmp ɪz ˈsɛtɪŋ nu ənd ˈtrəbəlɪŋ ˈprɛsəˌdɛnts boʊθ ɪn hɪz ˌɪntərˈvɛnʃənz ənd hɪz ˈɛθɪkəl ˈkɑnflɪkts. teɪk ðə ˌɪntərˈvɛnʃənz fərst. ˌoʊˈbɑmə əˈfɪʃəlz wɪl tɛl ju ðət ðə ˌfaɪˈnænʃəl ˈmɛltˌdaʊn əv 2008 kriˈeɪtɪd ə sɔrt əv ˌɛgˌzɪˈstɛnʃəl ˈkraɪsəs fər ðə ɪˈkɑnəmi ðət ˈʤəstəˌfaɪd səm ˌɛkstrəˈɔrdəˌnɛri ˈmɛʒərz. ðoʊz ɪn ðə ˈaʊtˌgoʊɪŋ ʤɔrʤ ˈdəbəlju. bʊʃ ædˌmɪnɪˈstreɪʃən θɔt soʊ, tu. ðət ɪz waɪ boʊθ ædˌmɪnɪˈstreɪʃənz səˈpɔrtɪd ðə ˈtrəbəld ˈæˌsɛt rɪˈlif ˈproʊˌgræm (tɑrp) ənd ðə ˈɔtoʊ ˈbeɪˌlaʊt. ˌhaʊˈɛvər, ðiz wər ˈækʃənz əˈfɛktɪŋ ˈmɪljənz əv ˈpipəl. mɔˈroʊvər, ðə ˈækʃənz wər ˈsəbʤɪkt tɪ taɪt kənˈstreɪnts trəmp ˈsərtənli saɪnd ˈɔntu. ˈstivən ˈrætnər, hu həz riˌspɑnsəˈbɪləti fər ðə ˈbeɪˌlaʊt, rɪˈkɔld: ɔl əv ˈjuˈɛs əˈspɛʃəli tɪm ənd ˈlɛri ˈsəmərz ˈheɪtɪd ðə aɪˈdiə əv ðə juz. ˈgəvərnmənt ˈoʊnɪŋ ˈɛkwəti ɪn ðiz ˈkəmpəˌniz, lɛt əˈloʊn ə məˈʤɔrəti ˈɪntəˌrɛst ɪn gm*. bət wi ˈəltəmətli kənˈkludɪd ðət ɪt ɪz ˈbɛtər tɪ gɪt ˈsəmθɪŋ fər ˈsəmθɪŋ ðən tɪ gɪt ˈnəθɪŋ fər ˈsəmθɪŋ. tɪ ˈmɪtəˌgeɪt ðə ˈɑbviəs rɪsks, ðə ædˌmɪnɪˈstreɪʃən dɪˈvɛləpt ə sɛt əv ˈprɪnsəpəlz fər ðə ɛz shareholder”*” ðət wʊd æd strɪkt ˈlɪmɪts ɔn ˈgəvərnmənt ˌɪnˈvɑlvmənt tɪ ðə ɪgˈzɪstɪŋ ˈidɪkt ðət wi nɑt ˈɛvər ˈmɛdəl ɪn ˈdeɪtuˌdeɪ ˈmænɪʤmənt dɪˈsɪʒənz. əˈməŋ ðə aɪˈdiəz ðət wɑz ɪkˈsplɪsətli rɪˈʤɛktɪd wɑz ˈpʊtɪŋ ˈɛni ˈgəvərnmənt ɪmˈplɔɪiz ər əˈfɪʃəl ˌrɛprɪˈzɛnətɪvz ɔn ðiz bɔrdz. ðɪs ˌəndərˈskɔrd ðə nid tɪ pʊt ɪn pleɪs ˈkeɪpəbəl ˌɪndɪˈpɛndənt bɔrdz əv dɪˈrɛktərz ənd strɔŋ ˈʧɛrmɪn. wəns əˈgɛn, ðɛr wɑz noʊ pəˈlɪtɪkəl ˌɪnərˈfɪrəns. ˈwərkɪŋ wɪθ ˈsɛkrəˌtɛri ənd dɪˈrɛktər ˈsəmərz, wi lʊkt ˌpɑrˈtɪkjələrli fər strɔŋ ˈfɔrmər əv sɪgˈnɪfɪkənt ˈkəmpəˌniz ənd ˈɔlsoʊ ˈwɔntɪd tɪ hæv æt list wən ˈlidɪŋ ˈpraɪvət ˈɛkwəti ˈpərsən ɔn iʧ bɔrd. aɪ bɪˈliv aɪ hæv sin ˈivɪn wən ˈkrɪtɪˌsɪzəm əv ðə rɪˈzəltɪŋ ˈʧɔɪsɪz. ˈkɑntrɛri tɪ ˈpɑpjələr bɪˈlif, ˈrætnər ˈsɪtɪŋ ɪn hɪz ˈɔfəs ˌdɪˈsaɪdɪŋ wɪʧ ˈɔtoʊ plænts tɪ kloʊz, wɪʧ ˈdilərˌʃɪps wʊd goʊ ˈəndər ər wɪʧ kɑr ˈmɑdəlz tɪ dɪˈvɛləp. baɪ ˈkɑntræst, trəmp ɪz ˌmaɪkroʊˈmænɪʤɪŋ ðə ɪˈkɑnəmi tɪ ən ɪkˈstɛnt ˌhɪrtəˈfɔr ˌənɪˈmæʤɪnəbəl. wɪn ə məʧ ˈbrɔdər ˌɪˈnɪʃətɪv wɑz ˈəndərˌteɪkən baɪ ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən kənˈsərvətɪvz skrimd ðət ɪt wɑz ˌɪnˈdəstriəl ˈpɑləsi ənd wʊd hæv ˈdɛvəˌsteɪtɪŋ ˈkɑnsəkˌwɛnsəz. naʊ ðeɪ ər ˈsaɪlənt wɪn trəmp dɪz ˈsəmθɪŋ məʧ wərs, ˈpɪkɪŋ aʊt ˌɪndəˈvɪʤəwəl ˈkəmpəˌniz ənd ˈtɛlɪŋ ðɛm haʊ tɪ rən ðɛr ˌɑpərˈeɪʃənz. ɔn ðə ˈɪʃu əv ˈgəvərnmənt ˈɛθɪks, noʊ ˈprɛzɪdənt həz əˈtɛmptəd tɪ rɪˈteɪn ˈoʊnərˌʃɪp əv ˈæktɪv, ˈhaɪli ˈvɪzəbəl ˈbɪznɪsɪz, lɛt əˈloʊn hæv ðɛm ˈmænɪʤd θru ˈrɛlətɪvz, ɛz hi meɪks ˈdeɪli dɪˈsɪʒənz ðət əˈfɛkt ðə ˈvælju əv hɪz ˈhoʊldɪŋz. ðə poʊsts ˈrɑzəlɪnd ɛs. ˈhɛldərmən ɪkˈsplɔrz ðə ˈditeɪlz bɪˈhaɪnd ðə əˈnaʊnsmɛnt ðət ˈdɑnəld trəmp soʊld ɔl hɪz ʃɛrz ɪn ˈkəmpəˌniz ɪn ʤun. (ˈbæstən ˈwɔʃɪŋtən poʊst) fər ðə ˈɔrdəˌnɛri ˈfɛdərəl ɪmˈplɔɪi, ðə ˈɪʃu ɪz ˈstreɪtˈfɔrwərd: ə ˈkrɪmənəl ˈkɑnflɪkt əv ˈɪntəˌrɛst ˈstæʧut, 18 u.s.c*. 208 proʊˈhɪbəts ən ɪmˈplɔɪi frəm pɑrˈtɪsəˌpeɪtɪŋ ˈpərsənəli ənd səbˈstænʃəli, ɪn ən əˈfɪʃəl kəˈpæsɪti, ɪn ˈɛni matter”*” ðət wʊd hæv ə dɪˈrɛkt ənd prɪˈdɪktəbəl ˈifɛkt ɔn ðə oʊn ˌfaɪˈnænʃəl ˈɪntərɪsts ər ɔn ðə ˌfaɪˈnænʃəl ˈɪntərɪsts əv: ðə spaʊs ər ˈmaɪnər child;*; ə ˈʤɛnərəl ˈpɑrtnər əv ə ˈpɑrtnərˌʃɪp ɪn wɪʧ ðə ɪmˈplɔɪi ɪz ə ˈlɪmɪtɪd ər ˈʤɛnərəl ˈpɑrtnər; ən ˌɔrgənəˈzeɪʃən ɪn wɪʧ ðə ɪmˈplɔɪi sərvz ɛz ən ˈɔfɪsər, dɪˈrɛktər, ˌtrəˈsti, ˈʤɛnərəl ˈpɑrtnər, ər ɪmˈplɔɪi; ər ə ˈpərsən wɪθ hum ðə ɪmˈplɔɪi ɪz nɪˈgoʊʃiˌeɪtɪŋ fər ər həz ən ərˈeɪnʤmənt kənˈsərnɪŋ prəˈspɛktɪv employment.”*.” ðət ɪz waɪ ˈivɪn ɪmˈplɔɪiz wɪθ ˈkɑmpləˌkeɪtəd ˈhoʊldɪŋz, ˈbɪznɪs ˈɪntərɪsts ənd ˈfɔrən ˌɪnˈvɛstmənts ˈʤɛnərəli məst ɪˈlɪməˌneɪt ðə pəˈtɛnʃəl fər ˈkɑnflɪkts ˌbiˈfɔr ˈɛnərɪŋ ˈgəvərnmənt ər ˌrɪˈkjuz ðɛmˈsɛlvz frəm ˈmætərz ˈivɪn wɪn ðɛr ɪz ðə əˈpɪrəns əv ə ˈkɑnflɪkt: ən ɪgˈzɛkjətɪv ˌrɛgjəˈleɪʃən ˈrɛkəgˌnaɪzɪz ðət ə ˈrizənəbəl ˈpərsən meɪ bɪˈliv ðət ən ˌɪmˌpɑrʃiˈælɪti kən bi ˈɪnfluənst baɪ ˈɪntərɪsts ˈəðər ðən ðə oʊn ər ðoʊz ðət ər ˌɪmˈpjutɪd tɪ ðə ɪmˈplɔɪi baɪ ðə ˈkɑnflɪkt əv ˈɪntəˌrɛst lɔz. ˈəndər 5 c.f.r*. ɪmˈplɔɪiz ər rikˈwaɪərd tɪ kənˈsɪdər ˈwɛðər ðɛr ˌɪmˌpɑrʃiˈælɪti wʊd bi kˈwɛsʧənd wɛˈnɛvər ðɛr ˌɪnˈvɑlvmənt ɪn ə ˈmætər ˌɪnˈvɑlvɪŋ spɪˈsɪfɪk parties”*” maɪt əˈfɛkt ˈsərtən ˈpərsɪnəl ər ˈbɪznɪs riˈleɪʃənˌʃɪps. ðɪs ɪz ˈɔlsoʊ waɪ ɔl sɔrts əv ˈwɛlθi ˈpipəl, ˈsəmˌtaɪmz wɪθ greɪt ˈdɪfɪˌkəlti ðət dɪˈleɪz ðɛr ˈɛntri ˈɪntu ˈgəvərnmənt, hæv hæd tɪ dɪˈvɛst ðɛmˈsɛlvz əv ðɛr ˈhoʊldɪŋz. ʤɔrʤ ˈdəbəlju. ˈtrɛʒəri ˈsɛkrəˌtɛri ˈhɛnri ˈpɔlsən jr*. hæd ə ˈrəfli 700 ˈmɪljən ˈɛkwəti steɪk ɪn wɔl prɛˈmɪr ˌɪnˈvɛstmənt ˈbæŋkɪŋ house.”*.” hi hæd tɪ dɪˈvɛst hɪmˈsɛlf əv ðət, ˌɔlˈðoʊ hi ənd ˈəðər ˈkæbənət əˈfɪʃəlz hæv bɪn ˈeɪbəl meɪk juz əv ə tæks prəˈvɪʒən ðət əˈlaʊz ðɛm tɪ dɪˈfər (nɑt əˈvɔɪd) ˈtæksɪz ˈæˌsɛts ðeɪ hæv tɪ sɛl tɪ əˈvɔɪd ə ˈkɑnflɪkt əv ˈɪntəˌrɛst, ɛz lɔŋ ɛz ðə prəˈsidz ər ˌriɪnˈvɛstɪd ɪn ˈgəvərnmənt sɪˈkjʊrətiz ər ə brɔd əreɪ əv mˈjuʧuəl fəndz əˈpruvd baɪ ðə ˈgəvərnmənt wɪˈθɪn 60 days.”*.” ɪf ɪmˈplɔɪiz wɔnt tɪ juz ə blaɪnd trəst, ɪgˈzæktɪŋ rulz əˈplaɪ. ɪmˈplɔɪi meɪ pleɪs moʊst taɪps əv ˈæˌsɛts ˈɪntu ə blaɪnd trəst pɔrtˈfoʊliˌoʊ. ðiz ˌɪˈnɪʃəl ˈæˌsɛts kənˈtɪnju tɪ poʊz ə ˈkɑnflɪkt əv ˈɪntəˌrɛst ənˈtɪl ðeɪ hæv bɪn soʊld ər rɪˈdust tɪ ə ˈvælju əv lɛs ðən ˈɛni nu ˈæˌsɛts ˈpərʧəst baɪ ðə ˌɪndɪˈpɛndənt ˌtrəˈsti meɪ nɑt bi dɪˈskloʊzd tɪ ðə ɪmˈplɔɪi ənd ˈðɛrˌfɔr wɪl nɑt ˈprɛzənt ə ˈkɑnflɪkt əv ˈɪntəˌrɛst. ən ɪmˈplɔɪi kən pleɪs ˈoʊnli ˈrɛdəli ˈmɑrkətəbəl sɪˈkjʊrətiz ɪn ðə trəst pɔrtˈfoʊliˌoʊ ənd ðə pɔrtˈfoʊliˌoʊ məst mit ˈsərtən dɪˌvərsəfəˈkeɪʃən ˈstændərdz. ðə ˌɪˈnɪʃəl ˈæˌsɛts əv ə dɪˈvərsəˌfaɪd trəst ər nɑt kənˈsɪdərd tɪ poʊz ə ˈkɑnflɪkt əv ˈɪntəˌrɛst bɪˈkəz ðə pɔrtˈfoʊliˌoʊ ɪz soʊ dɪˈvərsəˌfaɪd ðət ən əˈfɪʃəl ˈækʃən ˈteɪkən baɪ ðə ɪmˈplɔɪi wʊd nɑt hæv ə dɪˈrɛkt ənd prɪˈdɪktəbəl ˈifɛkt ɔn ðə ˈvælju əv ðə portfolio.”*.”) trəmp ˌɪˈnɪʃəli kleɪmd nən əv ðə rulz əˈplaɪd tɪ ɪm. hi ɪz ˈtɛknɪkəli raɪt wɪθ rɪˈgɑrd tɪ dəˈmɛstɪk ˈhoʊldɪŋz. ˌhaʊˈɛvər, naʊ trəmp simz tɪ hæv ˈrɛkəgˌnaɪzd ɪt ɪz ʤɪst appropriate”*” tɪ bi ˈhoʊldɪŋ stɑks wɪn hi ɪz ˈmeɪkɪŋ dɪˈsɪʒənz ðət wʊd əˈfɛkt ðɛm. hi ɪz prɪˈsaɪsli raɪt. hi kleɪmz tɪ hæv soʊld hɪz stɑk ˌɔlˈðoʊ ðɛr ɪz noʊ ˌdɑkjəmɛnˈteɪʃən tɪ ðət ˈifɛkt, ənd hi rɪfˈjuzɪz tɪ riˈlis hɪz tæks rɪˈtərnz. bət weɪt. ðɛr ɪz ˌæbsəˈlutli noʊ ˈdɪfərəns bɪtˈwin hɪz stɑk pɔrtˈfoʊliˌoʊ ənd hɪz ˈæktɪv ˈbɪznɪsɪz; ɪn fækt, ðə ˈkɑnflɪkt ɪz məʧ wərs ənd mɔr ˈɑbviəs wɪn wi ər ˈtɔkɪŋ əˈbaʊt ən ˌɪnərˈnæʃənɑl ˈfæməli ˈbɪznɪs. wɪn ə ˈprɛzɪdənt rənz ɔn ə ˈplætˌfɔrm əv ðə swamp,”*,” hi ˈkænɑt ˈvɛri wɛl du lɛs ðən ðət rikˈwaɪərd fər ˈɛvəri ˈpərsən hu wərks fər ɪm. ˈfaɪnəli, ðɛr ɪz ðə klɔz ˈprɑbləm wɪʧ, ɪf hi wər ˈprɛzɪdənt təˈdeɪ, bi ˈvaɪəleɪtɪŋ iʧ ənd ˈɛvəri deɪ. ɛz ˈɛθɪks ˈguˌruz ˈnɔrmən ɛl. ˈaɪsən ənd ˈrɪʧərd ˈdəbəlju. ˈpeɪnər roʊt: wi ər ɪn ˈdeɪnʤər əv ˈhævɪŋ ə ˈprɛzɪdənt hu kʊd ˈvaɪəleɪt ɪt ɪf hi dɪz nɑt ˌdɪsənˈtæŋgəl hɪz ˈbɪznɪs ˌɑpərˈeɪʃənz frəm ˈfɔrən ˈgəvərnmənts. ðə pəˈtɛnʃəl vaɪəˈleɪʃənz ˈɔlsoʊ ˌɪnˈklud ðə ˈbɛnəfɪts kənˈfərd ɔn trəmp ɪn kəˈnɛkʃən wɪθ ˌaʊtˈstændɪŋ loʊnz frəm ðə bæŋk əv ˈʧaɪnə, wɪʧ ɪz kənˈtroʊld baɪ ðə ʧaɪˈniz ˈgəvərnmənt, ɛz wɛl ɛz ˈɛni ˌɪnˈvɛstmənt ər ˌɪnˈvɑlvmənt əv ˈsɑvrən wɛlθ fəndz ɪn hɪz ˈmɛni ˈprɑʤɛkts əraʊnd ðə gloʊb, ənd ˈfɔrən ˈgəvərnmənts ˈpʊtɪŋ əp ðɛr əˈfɪʃəlz ər ˈdɪpləˌmæts æt trəmp hoʊˈtɛlz ər ˈivɪn ðoʊz ˈgəvərnmənts baɪɪŋ əˈpɑrtmənts ɪn hɪz taɪmz ˈlaɪkli vaɪɪŋ fər ðə moʊst ɪkˈspɛnsɪv swits. ɔl əv ðɪs wɪl bɪˈkəm ˌənˌkɑnstəˈtuʃənəl kəm ˈʤænjuˌɛri 20 soʊ wət wɪl trəmp du? mɔr ˌɪmˈpɔrtənt, wi ər ˈæŋʃəs tɪ faɪnd aʊt wət kənˈgrɛʃənəl rɪˈpəblɪkənz ənd ðə ɪˈlɛktərz sɛt tɪ mit dɛk. 19 ˌdɪˈsaɪd tɪ du.
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older music will always have a place in the world of music. most people who are passionate about music know the history behind the music they listen to now. it is simply impossible to talk about music without addressing where all of it came from.
i hold the opinion that basically any pop song from the eighties is better than any pop song from right now. an quality that makes music from then more appealing. i enjoy it all. i have so many favorite bands that are from way before i was born. so, i want to share some of these gems that i found. some of them may be known by all, some may be hidden gems.
“time” is the ninth album released by electric light orchestra. one of the few concept albums that actually sticks to a single theme. it is considered one of the first albums devoted to the concept of time travel. the album is based around the story of a man who is taken from 1981 and placed in 2095. the story follows his reactions to this brand-new world, as he the technological changes and mourns the love he lost back in 1981.
really, the best way to explain this whole album is to look at every song. the sounds and lyrics are perfectly constructed to tell this story.
to start it off, the “prologue.” no, not kidding. that is the first song. a concept album, right? but a great start to a concept album. the song seems to be depicting the time travel process. a robotic voice delivers the opening monologue: “just on the border of your / waking mind / there lies… another time / where darkness & light are one / and as you tread the / halls of sanity / you feel so glad to be / unable to go beyond / i have a message / from another time…”
the whips and buzzes of the synthesizers build tension, the rush of the music gets quicker and louder. you are introduced to this world. but you know no turning back.
“twilight” starts right away, rolling off the tension from “prologue.” the song is all about the initial reactions to 2095. the world rushes around him. the song races just as much as his mind. there is such excitement, but ultimately he is confused. “it’s either real or a dream / nothing that is in between / twilight, i only meant to stay awhile / twilight, give you time to / steal my mind” how does a man mentally handle such a change in scenery while also losing his reality?
“yours truly, further embraces the concept. the narrator interacts with a robot woman, who claims to be in love with him. he seems to try to love her back, but can never bring himself to accept her. she is much too different for him to fathom spending his life with her. the robot woman knows that he is still in love with the girl from the eighties, and resents him for it. she knows he can never be satisfied in this world.
“ticket to the moon” is about the man traveling to the moon. he is so amazed to see the world from high above. he is confused and impressed, but the past still calls to him. “remember the good old 1980s? / when things were so uncomplicated? / i wish i could go back there again / and everything could be the same. // got a ticket to the moon / be leaving here any day soon / yeah, got a ticket to the moon / but rather see the sunrise in your eyes.”
“the way meant to be” is the moment where the man starts to question the world around him. coming from a relatively uncomplicated time, he cannot quickly accept the way this new world works. he notices all the people looking at him, looking in the same way that he looks at them. they are all odd in this world. the sound is fast, imitating his growing anxiety.
“another heart breaks” is an intermission of sorts. the song is psychedelic and slow. the sound creates an atmosphere of fear, mixed with anxiety. a guitar drifts throughout the song, as a man counts up to the end. the man knows that his love is waiting for him.
“rain is falling” explains how kids in the future are still afraid of the lightning. he is amazed that despite all of the time passing, not much has really changed. the human race is still amazed by rain. the song is chilling, getting very close to creepy. but it shows an optimism towards the future. that humanity will never be truly lost.
“from the end of the world” is a rushing song. extremely fast and anxious, paralleling the journey to the end of the world. apparently, that is the only place that he can send messages to his love. but he is willing to go that far just to send his love back in time.
“the lights go down” illustrates the loneliness in this new time. full of new challenges and expectations, the man must persevere. he realizes he cannot linger on his past love forever, especially if he is going to be stuck in 2095. she will never truly leave him though.
“i know / the way that i feel is wrong, so wrong / but i gotta carry on /when you around”
“here is the news” literally is a news anchor running through all the new dangers and stories in the future. they are just as depressing as the news from the eighties. written perfectly for the news, the sound is anxious and scary. sometimes the future is too similar to the present. people will always die. and calamities will never disappear.
“21st century man” is the most introspective song on the whole album. this is the last time that the man contemplates the world of the future. he poses the question: even though you have all of these new things, what do they really bring? do they make life better? he questions the “utopia’ that the future seems it should be. “you should be so happy / you should be so glad / so why are you so lonely / you century man?”
“hold on tight” is the hit single from the album, which is pretty obvious when you listen to it. a good song, get me wrong. but it has little to do with the rest of the album. the song inspires the listener to hold on tight to their dreams, even when it seems impossible to do so. probably the most forgettable song on the album, since it does not assist the overall concept.
“epilogue” rounds out the whole album. the sound harkens back to that of “prologue.” the tension builds, ending with the sounds of a teleporter. it seems like the man is taken back to 1981. he remembers everything he saw, but seems excited to be going back. “you should be so happy / you should be so glad / century man. // though you ride on the wheels of tomorrow / you still wander the fields of your sorrow. // tomorrow, tomorrow, tomorrow, tomorrow.”
the man goes home.
electric light orchestra takes us through every bit of this struggle. amidst a time when the world was enraptured with the idea of the future, they were willing to question their idealism. wanted people to consider that the future may not be as perfect as they want it to be. i will admit that there are parts of the album that are cliché and a bit overdramatic. but the album is artfully done, every sound matches the mood of the song. they know how to create an atmosphere. i highly recommend listening to “time,” loudly with headphones on.
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ˈoʊldər mˈjuzɪk wɪl ˈɔlˌweɪz hæv ə pleɪs ɪn ðə wərld əv mˈjuzɪk. moʊst ˈpipəl hu ər ˈpæʃənət əˈbaʊt mˈjuzɪk noʊ ðə ˈhɪstəri bɪˈhaɪnd ðə mˈjuzɪk ðeɪ ˈlɪsən tɪ naʊ. ɪt ɪz ˈsɪmpli ˌɪmˈpɑsəbəl tɪ tɔk əˈbaʊt mˈjuzɪk wɪˈθaʊt æˈdrɛsɪŋ wɛr ɔl əv ɪt keɪm frəm. aɪ hoʊld ðə əˈpɪnjən ðət ˈbeɪsɪkli ˈɛni pɑp sɔŋ frəm ðə ˈeɪtiz ɪz ˈbɛtər ðən ˈɛni pɑp sɔŋ frəm raɪt naʊ. ən kˈwɑləti ðət meɪks mˈjuzɪk frəm ðɛn mɔr əˈpilɪŋ. aɪ ˌɛnˈʤɔɪ ɪt ɔl. aɪ hæv soʊ ˈmɛni ˈfeɪvərɪt bændz ðət ər frəm weɪ ˌbiˈfɔr aɪ wɑz bɔrn. soʊ, aɪ wɔnt tɪ ʃɛr səm əv ðiz ʤɛmz ðət aɪ faʊnd. səm əv ðɛm meɪ bi noʊn baɪ ɔl, səm meɪ bi ˈhɪdən ʤɛmz. ““time”*” ɪz ðə naɪnθ ˈælbəm riˈlist baɪ ɪˈlɛktrɪk laɪt ˈɔrkəstrə. wən əv ðə fju ˈkɑnsɛpt ˈælbəmz ðət ˈæˌkʧuəli stɪks tɪ ə ˈsɪŋgəl θim. ɪt ɪz kənˈsɪdərd wən əv ðə fərst ˈælbəmz dɪˈvoʊtɪd tɪ ðə ˈkɑnsɛpt əv taɪm ˈtrævəl. ðə ˈælbəm ɪz beɪst əraʊnd ðə ˈstɔri əv ə mæn hu ɪz ˈteɪkən frəm 1981 ənd pleɪst ɪn 2095 ðə ˈstɔri ˈfɑloʊz hɪz riˈækʃənz tɪ ðɪs ˈbrændˌnu wərld, ɛz hi ðə ˌtɛknəˈlɑʤɪkəl ˈʧeɪnʤɪz ənd mɔrnz ðə ləv hi lɔst bæk ɪn 1981 ˈrɪli, ðə bɛst weɪ tɪ ɪkˈspleɪn ðɪs hoʊl ˈælbəm ɪz tɪ lʊk æt ˈɛvəri sɔŋ. ðə saʊnz ənd ˈlɪrɪks ər ˈpərfəktli kənˈstrəktɪd tɪ tɛl ðɪs ˈstɔri. tɪ stɑrt ɪt ɔf, ðə ““prologue.”*.” noʊ, nɑt ˈkɪdɪŋ. ðət ɪz ðə fərst sɔŋ. ə ˈkɑnsɛpt ˈælbəm, raɪt? bət ə greɪt stɑrt tɪ ə ˈkɑnsɛpt ˈælbəm. ðə sɔŋ simz tɪ bi dɪˈpɪktɪŋ ðə taɪm ˈtrævəl ˈprɔˌsɛs. ə ˌroʊˈbɑtɪk vɔɪs dɪˈlɪvərz ðə ˈoʊpənɪŋ ˈmɑnəˌlɔg: ɔn ðə ˈbɔrdər əv jʊr ˈweɪkɪŋ maɪnd ðɛr lies…*… əˈnəðər taɪm wɛr ˈdɑrknəs laɪt ər wən ənd ɛz ju trɛd ðə hɔlz əv ˈsænəti ju fil soʊ glæd tɪ bi əˈneɪbəl tɪ goʊ bɪɔnd aɪ hæv ə ˈmɛsɪʤ frəm əˈnəðər time…”*…” ðə wɪps ənd ˈbəzɪz əv ðə ˈsɪnθəˌsaɪzərz bɪld ˈtɛnʃən, ðə rəʃ əv ðə mˈjuzɪk gɪts kˈwɪkər ənd ˈlaʊdər. ju ər ˌɪntrəˈdust tɪ ðɪs wərld. bət ju noʊ noʊ ˈtərnɪŋ bæk. ““twilight”*” stɑrts raɪt əˈweɪ, ˈroʊlɪŋ ɔf ðə ˈtɛnʃən frəm ““prologue.”*.” ðə sɔŋ ɪz ɔl əˈbaʊt ðə ˌɪˈnɪʃəl riˈækʃənz tɪ 2095 ðə wərld ˈrəʃɪz əraʊnd ɪm. ðə sɔŋ ˈreɪsɪz ʤɪst ɛz məʧ ɛz hɪz maɪnd. ðɛr ɪz səʧ ɪkˈsaɪtmənt, bət ˈəltəmətli hi ɪz kənfˈjuzd. ˈiðər ril ər ə drim ˈnəθɪŋ ðət ɪz ɪn bɪtˈwin tˈwaɪˌlaɪt, aɪ ˈoʊnli mɛnt tɪ steɪ əˈwaɪl tˈwaɪˌlaɪt, gɪv ju taɪm tɪ stil maɪ mind”*” haʊ dɪz ə mæn ˈmɛnəli ˈhændəl səʧ ə ʧeɪnʤ ɪn ˈsinəri waɪl ˈɔlsoʊ ˈluzɪŋ hɪz ˌriˈæləˌti? ˈtruli, ˈfərðər ɛmˈbreɪsɪz ðə ˈkɑnsɛpt. ðə ˈnɛreɪtər ˌɪnərˈækts wɪθ ə ˈroʊˌbət ˈwʊmən, hu kleɪmz tɪ bi ɪn ləv wɪθ ɪm. hi simz tɪ traɪ tɪ ləv hər bæk, bət kən ˈnɛvər brɪŋ hɪmˈsɛlf tɪ əkˈsɛpt hər. ʃi ɪz məʧ tu ˈdɪfərənt fər ɪm tɪ ˈfæðəm ˈspɛndɪŋ hɪz laɪf wɪθ hər. ðə ˈroʊˌbət ˈwʊmən noʊz ðət hi ɪz stɪl ɪn ləv wɪθ ðə gərl frəm ðə ˈeɪtiz, ənd rɪˈzɛnts ɪm fər ɪt. ʃi noʊz hi kən ˈnɛvər bi ˈsætɪsˌfaɪd ɪn ðɪs wərld. tɪ ðə moon”*” ɪz əˈbaʊt ðə mæn ˈtrævəlɪŋ tɪ ðə mun. hi ɪz soʊ əˈmeɪzd tɪ si ðə wərld frəm haɪ əˈbəv. hi ɪz kənfˈjuzd ənd ˌɪmˈprɛst, bət ðə pæst stɪl kɔlz tɪ ɪm. ðə gʊd oʊld 1980s*? wɪn θɪŋz wər soʊ ənˈkɑmpləˌkeɪtɪd? aɪ wɪʃ aɪ kʊd goʊ bæk ðɛr əˈgɛn ənd ˈɛvriˌθɪŋ kʊd bi ðə seɪm. gɑt ə ˈtɪkɪt tɪ ðə mun bi ˈlivɪŋ hir ˈɛni deɪ sun jæ, gɑt ə ˈtɪkɪt tɪ ðə mun bət ˈrəðər si ðə ˈsənˌraɪz ɪn jʊr eyes.”*.” weɪ mɛnt tɪ be”*” ɪz ðə ˈmoʊmənt wɛr ðə mæn stɑrts tɪ kˈwɛʃən ðə wərld əraʊnd ɪm. ˈkəmɪŋ frəm ə ˈrɛlətɪvli ənˈkɑmpləˌkeɪtɪd taɪm, hi ˈkænɑt kˈwɪkli əkˈsɛpt ðə weɪ ðɪs nu wərld wərks. hi ˈnoʊtɪsɪz ɔl ðə ˈpipəl ˈlʊkɪŋ æt ɪm, ˈlʊkɪŋ ɪn ðə seɪm weɪ ðət hi lʊks æt ðɛm. ðeɪ ər ɔl ɑd ɪn ðɪs wərld. ðə saʊnd ɪz fæst, ˈɪməˌteɪtɪŋ hɪz groʊɪŋ æŋˈzaɪəti. hɑrt breaks”*” ɪz ən ˌɪntərˈmɪʃən əv sɔrts. ðə sɔŋ ɪz ˌsaɪkəˈdɛlɪk ənd sloʊ. ðə saʊnd kriˈeɪts ən ˈætməsˌfɪr əv fɪr, mɪkst wɪθ æŋˈzaɪəti. ə gɪˈtɑr drɪfts θruaʊt ðə sɔŋ, ɛz ə mæn kaʊnts əp tɪ ðə ɛnd. ðə mæn noʊz ðət hɪz ləv ɪz ˈweɪtɪŋ fər ɪm. ɪz falling”*” ɪkˈspleɪnz haʊ kɪdz ɪn ðə fˈjuʧər ər stɪl əˈfreɪd əv ðə ˈlaɪtnɪŋ. hi ɪz əˈmeɪzd ðət dɪˈspaɪt ɔl əv ðə taɪm ˈpæsɪŋ, nɑt məʧ həz ˈrɪli ʧeɪnʤd. ðə ˈjumən reɪs ɪz stɪl əˈmeɪzd baɪ reɪn. ðə sɔŋ ɪz ˈʧɪlɪŋ, ˈgɪtɪŋ ˈvɛri kloʊz tɪ ˈkripi. bət ɪt ʃoʊz ən ˈɑptɪˌmɪzəm təˈwɔrdz ðə fˈjuʧər. ðət juˈmænɪti wɪl ˈnɛvər bi ˈtruli lɔst. ðə ɛnd əv ðə world”*” ɪz ə ˈrəʃɪŋ sɔŋ. ɪkˈstrimli fæst ənd ˈæŋʃəs, ˈpɛrəˌlɛlɪŋ ðə ˈʤərni tɪ ðə ɛnd əv ðə wərld. əˈpɛrəntli, ðət ɪz ðə ˈoʊnli pleɪs ðət hi kən sɛnd ˈmɛsɪʤɪz tɪ hɪz ləv. bət hi ɪz ˈwɪlɪŋ tɪ goʊ ðət fɑr ʤɪst tɪ sɛnd hɪz ləv bæk ɪn taɪm. laɪts goʊ down”*” ˈɪləˌstreɪts ðə ˈloʊnlinəs ɪn ðɪs nu taɪm. fʊl əv nu ˈʧælənʤɪz ənd ˌɛkspɛkˈteɪʃənz, ðə mæn məst pərsəˈvɪr. hi ˈriəˌlaɪzɪz hi ˈkænɑt ˈlɪŋər ɔn hɪz pæst ləv fərˈɛvər, əˈspɛʃəli ɪf hi ɪz goʊɪŋ tɪ bi stək ɪn 2095 ʃi wɪl ˈnɛvər ˈtruli liv ɪm ðoʊ. noʊ ðə weɪ ðət aɪ fil ɪz rɔŋ, soʊ rɔŋ bət aɪ ˈgɑtə ˈkɛri ɔn /wɪn ju around”*” ɪz ðə news”*” ˈlɪtərəli ɪz ə nuz ˈæŋkər ˈrənɪŋ θru ɔl ðə nu ˈdeɪnʤərz ənd ˈstɔriz ɪn ðə fˈjuʧər. ðeɪ ər ʤɪst ɛz dɪˈprɛsɪŋ ɛz ðə nuz frəm ðə ˈeɪtiz. ˈrɪtən ˈpərfəktli fər ðə nuz, ðə saʊnd ɪz ˈæŋʃəs ənd ˈskɛri. ˈsəmˌtaɪmz ðə fˈjuʧər ɪz tu ˈsɪmələr tɪ ðə ˈprɛzənt. ˈpipəl wɪl ˈɔlˌweɪz daɪ. ənd kəˈlæmətiz wɪl ˈnɛvər ˌdɪsəˈpɪr. ˈsɛnʧəri man”*” ɪz ðə moʊst ˌɪntrəˈspɛktɪv sɔŋ ɔn ðə hoʊl ˈælbəm. ðɪs ɪz ðə læst taɪm ðət ðə mæn ˈkɑntəmˌpleɪts ðə wərld əv ðə fˈjuʧər. hi ˈpoʊzɪz ðə kˈwɛʃən: ˈivɪn ðoʊ ju hæv ɔl əv ðiz nu θɪŋz, wət du ðeɪ ˈrɪli brɪŋ? du ðeɪ meɪk laɪf ˈbɛtər? hi kˈwɛsʧənz ðə ““utopia’*’ ðət ðə fˈjuʧər simz ɪt ʃʊd bi. ʃʊd bi soʊ ˈhæpi ju ʃʊd bi soʊ glæd soʊ waɪ ər ju soʊ ˈloʊnli ju ˈsɛnʧəri man?”*?” ɔn tight”*” ɪz ðə hɪt ˈsɪŋgəl frəm ðə ˈælbəm, wɪʧ ɪz ˈprɪti ˈɑbviəs wɪn ju ˈlɪsən tɪ ɪt. ə gʊd sɔŋ, gɪt mi rɔŋ. bət ɪt həz ˈlɪtəl tɪ du wɪθ ðə rɛst əv ðə ˈælbəm. ðə sɔŋ ˌɪnˈspaɪrz ðə ˈlɪsənər tɪ hoʊld ɔn taɪt tɪ ðɛr drimz, ˈivɪn wɪn ɪt simz ˌɪmˈpɑsəbəl tɪ du soʊ. ˈprɑbəˌbli ðə moʊst fərˈgɛtəbəl sɔŋ ɔn ðə ˈælbəm, sɪns ɪt dɪz nɑt əˈsɪst ðə ˈoʊvərˌɔl ˈkɑnsɛpt. ““epilogue”*” raʊnz aʊt ðə hoʊl ˈælbəm. ðə saʊnd ˈhɑrkənz bæk tɪ ðət əv ““prologue.”*.” ðə ˈtɛnʃən bɪldz, ˈɛndɪŋ wɪθ ðə saʊnz əv ə teleporter*. ɪt simz laɪk ðə mæn ɪz ˈteɪkən bæk tɪ 1981 hi rɪˈmɛmbərz ˈɛvriˌθɪŋ hi sɔ, bət simz ɪkˈsaɪtɪd tɪ bi goʊɪŋ bæk. ʃʊd bi soʊ ˈhæpi ju ʃʊd bi soʊ glæd ˈsɛnʧəri mæn. ðoʊ ju raɪd ɔn ðə wilz əv təˈmɑˌroʊ ju stɪl ˈwɑndər ðə fildz əv jʊr ˈsɑroʊ. təˈmɑˌroʊ, təˈmɑˌroʊ, təˈmɑˌroʊ, tomorrow.”*.” ðə mæn goʊz hoʊm. ɪˈlɛktrɪk laɪt ˈɔrkəstrə teɪks ˈjuˈɛs θru ˈɛvəri bɪt əv ðɪs ˈstrəgəl. əˈmɪdst ə taɪm wɪn ðə wərld wɑz ɛnˈræpʧərd wɪθ ðə aɪˈdiə əv ðə fˈjuʧər, ðeɪ wər ˈwɪlɪŋ tɪ kˈwɛʃən ðɛr aɪˈdilɪzəm. ˈwɔntɪd ˈpipəl tɪ kənˈsɪdər ðət ðə fˈjuʧər meɪ nɑt bi ɛz ˈpərˌfɪkt ɛz ðeɪ wɔnt ɪt tɪ bi. aɪ wɪl ədˈmɪt ðət ðɛr ər pɑrts əv ðə ˈælbəm ðət ər cliché*é ənd ə bɪt overdramatic*. bət ðə ˈælbəm ɪz ˈɑrtfəli dən, ˈɛvəri saʊnd ˈmæʧɪz ðə mud əv ðə sɔŋ. ðeɪ noʊ haʊ tɪ kriˈeɪt ən ˈætməsˌfɪr. aɪ ˈhaɪli ˌrɛkəˈmɛnd ˈlɪsənɪŋ tɪ ““time,”*,” ˈlaʊdli wɪθ ˈhɛdˌfoʊnz ɔn. ˈfiʧərd ˈɪmɪʤ frəm: ˈædvərˌtaɪzmənts
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when shane van won the 2016 virgin australia championship at sydney olympic park earlier this month he dedicated the victory to his family, noting the influence his father robert had had over his career development.
robert was a rally driver himself - although his activities have been limited since he broke his back in 2012 operating a digger - and he has been his coach, manager and closest confidante throughout his career.
robert, or ‘cheese’ as he is nicknamed, was at sydney olympic park to watch shane achieve a “lifetime goal”, and along with wife karen gave.com an insight into their son, why he loves and how they helped him progress to the elite level.
shane van champion. how does it feel?
robert van: “pretty awesome actually. i am glad he has finally done it. he has had a few ups and downs in his career, but he has been forging ahead... he works hard for it, he deserves it.”
the feedback from people such as race engineer) grant mcpherson is how studious he is and how hard he applies himself. i get the feeling a lot of that comes from you judging by what he said in his press conference about you being a perfectionist?
“i like things to be dead right.
“i will never forget the day i went to his apartment and i saw this big sticker on his fridge that said ‘no mistakes’. the secret to success.”
did that sticker a realisation, that the message had got through?
“it’s just something shane is aware of that the secret. and i have always for perfection.
shane certainly get his relaxed attitude and from me for sure. it all comes from his mum and my wife karen, she is the one who has always harped on to him about making sure he has fun.
if you are not having fun you need to do something, you need to change things so it is fun.
and he has had some fun in the last four years.
he enjoyed his stint with and at red bull even though a lot of people have said he is not going to handle the pressure there he has just done an outstanding job.
and red bull is not as regimented as everyone thinks out there, there are certainly controls in place. look at what they have done with him.”
shane is a tremendously gifted motor racing driver, motorcyclist, (radio-controlled) racer for that matter. how much of his talent is naturally there and how much has come out of the hard work?
“we have never really thought of it that way. shane has just had fun through the years. we have raced each other, everything we do together is a challenge. on the simulator we are always challenging each other, we are always racing each other. we just do it for fun.
early on when we were racing quads and things i never thought he had exceptional talent, just we had fun together. we were just mates having fun and he just got better than me in most things though (laughs).
but i tell you what, he lifted my game. i used to kick his arse but things have changed.”
when did the transition come, when did he start beating you?
“oh the time he puts on that hyper stimulator, i get near him. i can give him a run on the rally and some of the dirt stages but he always comes out on top at the end.
he just picks up a track so much faster than i do. i will take an hour to get to practice on the track whereas he is on the pace in five minutes.”
that’s on a computer, but what about the real world. i hear on your gravel driveway you still have a hold on him?
“yeah, we done that for a little while and got a feeling he the last time we did that challenge it was a lancer drive thing and it was pretty close.”
so how long is the driveway?
“it would be about kay.”
how close did he get to you?
“he quite in the same second but he was close. i feel pretty proud of my driveway and certainly to beat him i was on my edge, i had to give it my all.”
how long ago was that?
“it was before i broke my back, so maybe five years ago.”
do you think there will be a rematch any time soon?
“oh yeah, yeah, yeah. there will be a rematch.”
so how is your injury now. sorted?
“oh no, i would probably be okay to go up and down the driveway. still give him a go.”
as a journalist i interact with shane in a purely professional way. ask a question and get an answer and the end of that. can you give me a bit of a picture of what like away from the hype and pressure of a race meeting?
“he’s my son mate i know how to answer that one (laughs). look, competitive and we still race each other online, in australia and i am at home in new zealand. relaxed, relaxed. he like issues.”
he talked about winning the title as the achievement of a lifetime goal, how did that come about?
“he has always been fans of two drivers; one was graham in midget speedway and greg murphy in and there was a time in journey that he had to make a decision if he was going to go to europe in single seaters, in which he would have been quite proudly supported by the family. or he could take the route in australia.
i had to refrain him from making that decision and make him sleep on it overnight, but i knew what his answer was going to be. i said to him ‘you have to put some thought into this, your choice’ and always had him make the choices.
and so i let him sleep on it and he was out of bed the next morning before i was; ‘dad i am racing, i just want to race’.
there was absolutely no doubt.
i said to him ‘mate have you done your and minuses’ because what you have to do. he said ‘you are not talking me out of it dad’ and i said ‘i am not trying to talk you out of it’.
so that was it, i said ‘i will tell the family that you want to race’. he turned down the and how he came here; this is what he wants to do.
he want to drive cars in europe.”.
he says only a learning exercise to improve his skills?
“he does it for fun, he does it for fun. he reckons this is the absolutely the toughest championship to win and he absolutely loves it. he loves the challenge.”
to be number one and do it by beating jamie in a head to head battle must mean a huge amount to him and you?
“at the end of the day he has won the championship ahead of jamie. jamie is a champion, the best and shane is the champion this year. but he is going to have a hell of a job backing it up and i think both shane and jamie are going to have an absolute blinder year between them next year.
they work well, they share well, and contrary to what all the keyboard warriors and all these other people go on about, the expectation of a war and the s*** that goes on in the team. that happen, they are mates and they respect each other.
they really do work together and deep down they are racing each other and fighting with each other but the engineers share.
it’s just not like the previous team shane was in [stone brothers racing]. just different.”
it’s an exceptional operation, the record bears that out.
"it’s my sort of operation. polished and i love perfection and i just love it. i am just so proud that shane is part of it. is polished.”
how do you think shane feels about the prospect of jamie coming back even harder next year?
“oh he will love it. he will strive for it. it will be good, he loves a challenge.
we saw that when he drove through the field on saturday [at to win the championship].
it’s something that we have always loved, the concept of starting from the back in races, whether it be or whatever.
he was dominant in the quads back when he was in the junior class and at the grid starts they used to run we had him facing the wrong way and he had to pass the whole, entire field.
i’ve always been one to pass to race."
did you set out to train a champion race driver?
“no.”
so why do that to him?
it’s what i used to do to myself. initially i wanted him to be a rally car driver. my passion, but it was actually karen who got shane to do the formula vee scholarship [and start road racing in 2004]. so that was doing not mine.
so did he blue about having to start off the back facing backwards?
no he loved passing and he loves passing. when he was old in quarter midgets he loved passing cars, just outside and inside and he learned not to hit them.
he’d watch and learn how others behaved, find their weaknesses.
so does shane have any talented siblings coming through the ranks be seeing soon.
karen van: no his sister is in to snowboarding. getting good at it though…
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wɪn ʃeɪn væn wən ðə 2016 ˈvərʤɪn ɔˈstreɪljə ˈʧæmpiənˌʃɪp æt ˈsɪdni oʊˈlɪmpɪk pɑrk ˈərliər ðɪs mənθ hi ˈdɛdəkeɪtəd ðə ˈvɪktəri tɪ hɪz ˈfæməli, ˈnoʊtɪŋ ðə ˈɪnfluəns hɪz ˈfɑðər ˈrɑbərt hæd hæd ˈoʊvər hɪz kərɪr dɪˈvɛləpmənt. ˈrɑbərt wɑz ə ˈræli ˈdraɪvər hɪmˈsɛlf ˌɔlˈðoʊ hɪz ækˈtɪvɪtiz hæv bɪn ˈlɪmɪtɪd sɪns hi broʊk hɪz bæk ɪn 2012 ˈɔpərˌeɪtɪŋ ə ˈdɪgər ənd hi həz bɪn hɪz koʊʧ, ˈmænɪʤər ənd ˈkloʊsəst ˈkɑnfəˌdænt θruaʊt hɪz kərɪr. ˈrɑbərt, ər ‘‘cheese’*’ ɛz hi ɪz ˈnɪkˌneɪmd, wɑz æt ˈsɪdni oʊˈlɪmpɪk pɑrk tɪ wɔʧ ʃeɪn əˈʧiv ə goal”*”, ənd əˈlɔŋ wɪθ waɪf ˈkɛrən geɪv ən ˈɪnˌsaɪt ˈɪntu ðɛr sən, waɪ hi ləvz ənd haʊ ðeɪ hɛlpt ɪm ˈprɑˌgrɛs tɪ ðə ɪˈlit ˈlɛvəl. ʃeɪn væn ˈʧæmpiən. haʊ dɪz ɪt fil? ˈrɑbərt væn: ˈɔsəm ˈæˌkʧuəli. aɪ æm glæd hi həz ˈfaɪnəli dən ɪt. hi həz hæd ə fju əps ənd daʊnz ɪn hɪz kərɪr, bət hi həz bɪn ˈfɔrʤɪŋ əˈhɛd... hi wərks hɑrd fər ɪt, hi dɪˈzərvz it.”*.” ðə ˈfidˌbæk frəm ˈpipəl səʧ ɛz reɪs ˈɛnʤəˈnɪr) grænt məkˈfərsən ɪz haʊ ˈstudiəs hi ɪz ənd haʊ hɑrd hi əˈplaɪz hɪmˈsɛlf. aɪ gɪt ðə ˈfilɪŋ ə lɔt əv ðət kəmz frəm ju ˈʤəʤɪŋ baɪ wət hi sɛd ɪn hɪz prɛs ˈkɑnfərəns əˈbaʊt ju biɪŋ ə pərˈfɛkʃənɪst? laɪk θɪŋz tɪ bi dɛd raɪt. wɪl ˈnɛvər fərˈgɛt ðə deɪ aɪ wɛnt tɪ hɪz əˈpɑrtmənt ənd aɪ sɔ ðɪs bɪg ˈstɪkər ɔn hɪz frɪʤ ðət sɛd mistakes’*’. ðə ˈsikrɪt tɪ success.”*.” dɪd ðət ˈstɪkər ə ˈriləˈzeɪʃən, ðət ðə ˈmɛsɪʤ hæd gɑt θru? ʤɪst ˈsəmθɪŋ ʃeɪn ɪz əˈwɛr əv ðət ðə ˈsikrɪt. ənd aɪ hæv ˈɔlˌweɪz fər pərˈfɛkʃən. ʃeɪn ˈsərtənli gɪt hɪz rɪˈlækst ˈætəˌtud ənd frəm mi fər ʃʊr. ɪt ɔl kəmz frəm hɪz məm ənd maɪ waɪf ˈkɛrən, ʃi ɪz ðə wən hu həz ˈɔlˌweɪz hɑrpt ɔn tɪ ɪm əˈbaʊt ˈmeɪkɪŋ ʃʊr hi həz fən. ɪf ju ər nɑt ˈhævɪŋ fən ju nid tɪ du ˈsəmθɪŋ, ju nid tɪ ʧeɪnʤ θɪŋz soʊ ɪt ɪz fən. ənd hi həz hæd səm fən ɪn ðə læst fɔr jɪrz. hi ˌɛnˈʤɔɪd hɪz stɪnt wɪθ ənd æt rɛd bʊl ˈivɪn ðoʊ ə lɔt əv ˈpipəl hæv sɛd hi ɪz nɑt goʊɪŋ tɪ ˈhændəl ðə ˈprɛʃər ðɛr hi həz ʤɪst dən ən ˌaʊtˈstændɪŋ ʤɑb. ənd rɛd bʊl ɪz nɑt ɛz ˈrɛʤəˌmɛntɪd ɛz ˈɛvriˌwən θɪŋks aʊt ðɛr, ðɛr ər ˈsərtənli kənˈtroʊlz ɪn pleɪs. lʊk æt wət ðeɪ hæv dən wɪθ him.”*.” ʃeɪn ɪz ə trɪˈmɛndəsli ˈgɪftɪd ˈmoʊtər ˈreɪsɪŋ ˈdraɪvər, ˈmoʊtərˌsaɪklɪst, (radio-controlled*) ˈreɪsər fər ðət ˈmætər. haʊ məʧ əv hɪz ˈtælənt ɪz ˈnæʧərəli ðɛr ənd haʊ məʧ həz kəm aʊt əv ðə hɑrd wərk? hæv ˈnɛvər ˈrɪli θɔt əv ɪt ðət weɪ. ʃeɪn həz ʤɪst hæd fən θru ðə jɪrz. wi hæv reɪst iʧ ˈəðər, ˈɛvriˌθɪŋ wi du təˈgɛðər ɪz ə ˈʧælənʤ. ɔn ðə ˈsɪmjəˌleɪtər wi ər ˈɔlˌweɪz ˈʧælənʤɪŋ iʧ ˈəðər, wi ər ˈɔlˌweɪz ˈreɪsɪŋ iʧ ˈəðər. wi ʤɪst du ɪt fər fən. ˈərli ɔn wɪn wi wər ˈreɪsɪŋ kwɑdz ənd θɪŋz aɪ ˈnɛvər θɔt hi hæd ɪkˈsɛpʃənəl ˈtælənt, ʤɪst wi hæd fən təˈgɛðər. wi wər ʤɪst meɪts ˈhævɪŋ fən ənd hi ʤɪst gɑt ˈbɛtər ðən mi ɪn moʊst θɪŋz ðoʊ (læfs). bət aɪ tɛl ju wət, hi ˈlɪftɪd maɪ geɪm. aɪ juzd tɪ kɪk hɪz ɑrs bət θɪŋz hæv changed.”*.” wɪn dɪd ðə trænˈzɪʃən kəm, wɪn dɪd hi stɑrt ˈbitɪŋ ju? ðə taɪm hi pʊts ɔn ðət ˈhaɪpər ˈstɪmjəˌleɪtər, aɪ gɪt nɪr ɪm. aɪ kən gɪv ɪm ə rən ɔn ðə ˈræli ənd səm əv ðə dərt ˈsteɪʤɪz bət hi ˈɔlˌweɪz kəmz aʊt ɔn tɔp æt ðə ɛnd. hi ʤɪst pɪks əp ə træk soʊ məʧ ˈfæstər ðən aɪ du. aɪ wɪl teɪk ən aʊər tɪ gɪt tɪ ˈpræktɪs ɔn ðə træk wɛˈræz hi ɪz ɔn ðə peɪs ɪn faɪv minutes.”*.” ɔn ə kəmˈpjutər, bət wət əˈbaʊt ðə ril wərld. aɪ hir ɔn jʊr ˈgrævəl ˈdraɪvˌweɪ ju stɪl hæv ə hoʊld ɔn ɪm? ““yeah*, wi dən ðət fər ə ˈlɪtəl waɪl ənd gɑt ə ˈfilɪŋ hi ðə læst taɪm wi dɪd ðət ˈʧælənʤ ɪt wɑz ə ˈlænsər draɪv θɪŋ ənd ɪt wɑz ˈprɪti close.”*.” soʊ haʊ lɔŋ ɪz ðə ˈdraɪvˌweɪ? wʊd bi əˈbaʊt kay.”*.” haʊ kloʊz dɪd hi gɪt tɪ ju? kwaɪt ɪn ðə seɪm ˈsɛkənd bət hi wɑz kloʊz. aɪ fil ˈprɪti praʊd əv maɪ ˈdraɪvˌweɪ ənd ˈsərtənli tɪ bit ɪm aɪ wɑz ɔn maɪ ɛʤ, aɪ hæd tɪ gɪv ɪt maɪ all.”*.” haʊ lɔŋ əˈgoʊ wɑz ðət? wɑz ˌbiˈfɔr aɪ broʊk maɪ bæk, soʊ ˈmeɪbi faɪv jɪrz ago.”*.” du ju θɪŋk ðɛr wɪl bi ə ˈriˈmæʧ ˈɛni taɪm sun? jæ, jæ, jæ. ðɛr wɪl bi ə rematch.”*.” soʊ haʊ ɪz jʊr ˈɪnʤəri naʊ. ˈsɔrtɪd? noʊ, aɪ wʊd ˈprɑbəˌbli bi ˌoʊˈkeɪ tɪ goʊ əp ənd daʊn ðə ˈdraɪvˌweɪ. stɪl gɪv ɪm ə go.”*.” ɛz ə ˈʤərnəlɪst aɪ ˌɪnərˈækt wɪθ ʃeɪn ɪn ə ˈpjʊrli prəˈfɛʃənəl weɪ. æsk ə kˈwɛʃən ənd gɪt ən ˈænsər ənd ðə ɛnd əv ðət. kən ju gɪv mi ə bɪt əv ə ˈpɪkʧər əv wət laɪk əˈweɪ frəm ðə haɪp ənd ˈprɛʃər əv ə reɪs ˈmitɪŋ? maɪ sən meɪt aɪ noʊ haʊ tɪ ˈænsər ðət wən (læfs). lʊk, kəmˈpɛtɪtɪv ənd wi stɪl reɪs iʧ ˈəðər ˈɔnˌlaɪn, ɪn ɔˈstreɪljə ənd aɪ æm æt hoʊm ɪn nu ˈzilənd. rɪˈlækst, rɪˈlækst. hi laɪk issues.”*.” hi tɔkt əˈbaʊt ˈwɪnɪŋ ðə ˈtaɪtəl ɛz ðə əˈʧivmənt əv ə ˈlaɪfˌtaɪm goʊl, haʊ dɪd ðət kəm əˈbaʊt? həz ˈɔlˌweɪz bɪn fænz əv tu ˈdraɪvərz; wən wɑz græm ɪn ˈmɪʤət ˈspidˌweɪ ənd grɛg ˈmərfi ɪn ənd ðɛr wɑz ə taɪm ɪn ˈʤərni ðət hi hæd tɪ meɪk ə dɪˈsɪʒən ɪf hi wɑz goʊɪŋ tɪ goʊ tɪ ˈjʊrəp ɪn ˈsɪŋgəl seaters*, ɪn wɪʧ hi wʊd hæv bɪn kwaɪt ˈpraʊdli səˈpɔrtɪd baɪ ðə ˈfæməli. ər hi kʊd teɪk ðə rut ɪn ɔˈstreɪljə. aɪ hæd tɪ rɪˈfreɪn ɪm frəm ˈmeɪkɪŋ ðət dɪˈsɪʒən ənd meɪk ɪm slip ɔn ɪt ˈoʊvərˈnaɪt, bət aɪ nu wət hɪz ˈænsər wɑz goʊɪŋ tɪ bi. aɪ sɛd tɪ ɪm hæv tɪ pʊt səm θɔt ˈɪntu ðɪs, jʊr choice’*’ ənd ˈɔlˌweɪz hæd ɪm meɪk ðə ˈʧɔɪsɪz. ənd soʊ aɪ lɛt ɪm slip ɔn ɪt ənd hi wɑz aʊt əv bɛd ðə nɛkst ˈmɔrnɪŋ ˌbiˈfɔr aɪ wɑz; aɪ æm ˈreɪsɪŋ, aɪ ʤɪst wɔnt tɪ reɪs supercars’*’. ðɛr wɑz ˌæbsəˈlutli noʊ daʊt. aɪ sɛd tɪ ɪm hæv ju dən jʊr ənd minuses’*’ bɪˈkəz wət ju hæv tɪ du. hi sɛd ər nɑt ˈtɔkɪŋ mi aʊt əv ɪt dad’*’ ənd aɪ sɛd æm nɑt traɪɪŋ tɪ tɔk ju aʊt əv it’*’. soʊ ðət wɑz ɪt, aɪ sɛd wɪl tɛl ðə ˈfæməli ðət ju wɔnt tɪ reɪs supercars’*’. hi tərnd daʊn ðə ənd haʊ hi keɪm hir; ðɪs ɪz wət hi wɔnts tɪ du. hi wɔnt tɪ draɪv kɑz ɪn europe.”*.”. hi sɪz ˈoʊnli ə ˈlərnɪŋ ˈɛksərˌsaɪz tɪ ˌɪmˈpruv hɪz skɪlz? dɪz ɪt fər fən, hi dɪz ɪt fər fən. hi ˈrɛkənz ðɪs ɪz ðə ˌæbsəˈlutli ðə ˈtəfəst ˈʧæmpiənˌʃɪp tɪ wɪn ənd hi ˌæbsəˈlutli ləvz ɪt. hi ləvz ðə challenge.”*.” tɪ bi ˈnəmbər wən ənd du ɪt baɪ ˈbitɪŋ ˈʤeɪmi ɪn ə hɛd tɪ hɛd ˈbætəl məst min ə juʤ əˈmaʊnt tɪ ɪm ənd ju? ðə ɛnd əv ðə deɪ hi həz wən ðə ˈʧæmpiənˌʃɪp əˈhɛd əv ˈʤeɪmi. ˈʤeɪmi ɪz ə ˈʧæmpiən, ðə bɛst ənd ʃeɪn ɪz ðə ˈʧæmpiən ðɪs jɪr. bət hi ɪz goʊɪŋ tɪ hæv ə hɛl əv ə ʤɑb ˈbækɪŋ ɪt əp ənd aɪ θɪŋk boʊθ ʃeɪn ənd ˈʤeɪmi ər goʊɪŋ tɪ hæv ən ˈæbsəˌlut ˈblaɪndər jɪr bɪtˈwin ðɛm nɛkst jɪr. ðeɪ wərk wɛl, ðeɪ ʃɛr wɛl, ənd ˈkɑntrɛri tɪ wət ɔl ðə ˈkiˌbɔrd ˈwɔrjərz ənd ɔl ðiz ˈəðər ˈpipəl goʊ ɔn əˈbaʊt, ðə ˌɛkspɛkˈteɪʃən əv ə wɔr ənd ðə ðət goʊz ɔn ɪn ðə tim. ðət ˈhæpən, ðeɪ ər meɪts ənd ðeɪ rɪˈspɛkt iʧ ˈəðər. ðeɪ ˈrɪli du wərk təˈgɛðər ənd dip daʊn ðeɪ ər ˈreɪsɪŋ iʧ ˈəðər ənd ˈfaɪtɪŋ wɪθ iʧ ˈəðər bət ðə ˈɛnʤəˈnɪrz ʃɛr. ʤɪst nɑt laɪk ðə ˈpriviəs tim ʃeɪn wɑz ɪn [stoʊn ˈbrəðərz ˈreɪsɪŋ]. ʤɪst different.”*.” ən ɪkˈsɛpʃənəl ˌɑpərˈeɪʃən, ðə ˈrɛkərd bɛrz ðət aʊt. maɪ sɔrt əv ˌɑpərˈeɪʃən. ˈpɑlɪʃt ənd aɪ ləv pərˈfɛkʃən ənd aɪ ʤɪst ləv ɪt. aɪ æm ʤɪst soʊ praʊd ðət ʃeɪn ɪz pɑrt əv ɪt. ɪz polished.”*.” haʊ du ju θɪŋk ʃeɪn filz əˈbaʊt ðə ˈprɑspɛkt əv ˈʤeɪmi ˈkəmɪŋ bæk ˈivɪn ˈhɑrdər nɛkst jɪr? hi wɪl ləv ɪt. hi wɪl straɪv fər ɪt. ɪt wɪl bi gʊd, hi ləvz ə ˈʧælənʤ. wi sɔ ðət wɪn hi droʊv θru ðə fild ɔn ˈsæˌtɪˌdeɪ [æt tɪ wɪn ðə ˈʧæmpiənˌʃɪp]. ˈsəmθɪŋ ðət wi hæv ˈɔlˌweɪz ləvd, ðə ˈkɑnsɛpt əv ˈstɑrtɪŋ frəm ðə bæk ɪn ˈreɪsɪz, ˈwɛðər ɪt bi ər ˌwəˈtɛvər. hi wɑz ˈdɑmənənt ɪn ðə kwɑdz bæk wɪn hi wɑz ɪn ðə ˈʤunjər klæs ənd æt ðə grɪd stɑrts ðeɪ juzd tɪ rən wi hæd ɪm ˈfeɪsɪŋ ðə rɔŋ weɪ ənd hi hæd tɪ pæs ðə hoʊl, ɪnˈtaɪər fild. ˈɔlˌweɪz bɪn wən tɪ pæs tɪ reɪs." dɪd ju sɛt aʊt tɪ treɪn ə ˈʧæmpiən reɪs ˈdraɪvər? ““no.”*.” soʊ waɪ du ðət tɪ ɪm? wət aɪ juzd tɪ du tɪ ˌmaɪˈsɛlf. ˌɪˈnɪʃəli aɪ ˈwɔntɪd ɪm tɪ bi ə ˈræli kɑr ˈdraɪvər. maɪ ˈpæʃən, bət ɪt wɑz ˈæˌkʧuəli ˈkɛrən hu gɑt ʃeɪn tɪ du ðə ˈfɔrmjələ vi ˈskɑlərˌʃɪp [ənd stɑrt roʊd ˈreɪsɪŋ ɪn 2004 soʊ ðət wɑz duɪŋ nɑt maɪn. soʊ dɪd hi blu əˈbaʊt ˈhævɪŋ tɪ stɑrt ɔf ðə bæk ˈfeɪsɪŋ ˈbækwərdz? noʊ hi ləvd ˈpæsɪŋ ənd hi ləvz ˈpæsɪŋ. wɪn hi wɑz oʊld ɪn kˈwɔrtər ˈmɪʤəts hi ləvd ˈpæsɪŋ kɑz, ʤɪst ˈaʊtˈsaɪd ənd ˌɪnˈsaɪd ənd hi ˈlərnɪd nɑt tɪ hɪt ðɛm. wɔʧ ənd lərn haʊ ˈəðərz bɪˈheɪvd, faɪnd ðɛr ˈwiknəsɪz. soʊ dɪz ʃeɪn hæv ˈɛni ˈtæləntɪd ˈsɪblɪŋz ˈkəmɪŋ θru ðə ræŋks bi siɪŋ sun. ˈkɛrən væn: noʊ hɪz ˈsɪstər ɪz ɪn tɪ snowboarding*. ˈgɪtɪŋ gʊd æt ɪt though…*…
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summer in toronto gets hot, and at times like these the news feels hot too: death and destruction in nice and syria, one of the two major parties in the most powerful country in the world conducting a in cleveland, a coup attempt in turkey. a movie star chased off twitter by sexist and racist harassment. a man dead after a street fight. too many subway cars without air-conditioning. a newspaper columnist in toronto opens his email to see a response to a piece about pedestrian safety: “i hope you fall into an open sewer . . .
parks help define toronto as a place people want to live in. ( carlos osorio / toronto star file photo )
closes. too hot. a small park on the water just a block away from the star office, next to the ferry docks. nothing fancy: some grass, some trees, the edge. but i take a lunch and a cold drink there some days and sit at the foot of a tree in the shade, watch the sailboats drift pass, the ferry boats chug by, the planes zoom in low for landing. a tiny sparrow inches right up onto my foot, cocks its head this way and that, begging for a crust of bread. the waves come in and the clouds shift shapes in the great blue sky over the trees of the islands. the heat is still there, in the world and at the office and radiating out of the concrete, but the park reminds you that life can still be pretty cool, too.
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throughout my life i have, almost without thinking about it, escaped worry in parks across the city, large and small. the tiny postage stamp of a playground on boulton ave. that was a swinging and sliding pit stop between the work of school and the chores of home. park at the foot of brimley, just a wander away from the prying eyes of teachers and the incessant drama of teenage life at my high school a place where the natural majesty of the white earth rising in peaks and cliffs takes your breath away. the sculpted, discrete gardens of park near bloor and bay, where escape from the crushing deadlines of life as a broke cook to ponder the giant rock shipped in from up north and embedded in the ground. been thinking about the importance of these places in the city, after hearing of the plan, championed by joe cressy, to buy or expropriate a parking lot on richmond near john to build a new public park downtown, in the condo and entertainment district sprung up over the past decade or two. an expensive proposition; land in the area is worth tens of millions of dollars. this news comes after last big reveal of a massive private donation to design and build a new public park under the gardiner expressway down in a particularly barren stretch of urban space surrounded by homes and workplaces. there are other, hotter priorities in the city poverty, violence, transit service, gridlock. the money for the richmond plan comes from a fund of developer fees specifically set aside for parkland, but it can be easy to consider the idea a little frivolous, or at least low-priority. but i remember when common opened a few years ago, how stunned everyone was by its in an area of the city that had been barren. i remember how executives from waterfront toronto, who had built it, told me that it was a key attraction drawing builders and residents to a new neighbourhood that is now taking shape. i remember on a family vacation to new york city last year, spending almost half our time in various parks and playgrounds that turned out to be every bit as memorable as the museums and skyscrapers.
i remember talking to mike labbé, president of options for homes, who builds condominiums in toronto specifically to be affordable to families. he told me that it was essential for him to build them in places with fantastic local amenities and, especially, parks, because without backyards people would need ready use of public spaces to make their homes livable. they help define the city as a place you can live in. a place you want to live in. in the heat of the summer, this week, you could go to parks around the city and see little league baseball championships, community cookouts, fishers and gardeners and runners, laying about, hipsters sitting around, actors working scenes, players go-ing, classical musicians performing. or you could just lean against a tree, eat your lunch, and watch the clouds roll past.
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it’s still hot. bring sunscreen, and wear a hat. but i recommend maybe leaving the news behind, just for a while, just to cool off for a few moments. edward keenan writes on city issues . follow:
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ˈsəmər ɪn tərˈɑntoʊ gɪts hɑt, ənd æt taɪmz laɪk ðiz ðə nuz filz hɑt tu: dɛθ ənd dɪˈstrəkʃən ɪn nis ənd ˈsɪriə, wən əv ðə tu ˈmeɪʤər ˈpɑrtiz ɪn ðə moʊst ˈpaʊərfəl ˈkəntri ɪn ðə wərld kənˈdəktɪŋ ə ɪn ˈklivlənd, ə ku əˈtɛmpt ɪn ˈtərki. ə ˈmuvi stɑr ʧeɪst ɔf tˈwɪtər baɪ ˈsɛksɪst ənd ˈreɪsɪst hərˈæsmənt. ə mæn dɛd ˈæftər ə strit faɪt. tu ˈmɛni ˈsəbˌweɪ kɑz wɪˈθaʊt ˈɛrkənˌdɪʃənɪŋ. ə ˈnuzˌpeɪpər ˈkɑləmnəst ɪn tərˈɑntoʊ ˈoʊpənz hɪz iˈmeɪl tɪ si ə rɪˈspɑns tɪ ə pis əˈbaʊt pəˈdɛstriən ˈseɪfti: hoʊp ju fɔl ˈɪntu ən ˈoʊpən suər pɑrks hɛlp dɪˈfaɪn tərˈɑntoʊ ɛz ə pleɪs ˈpipəl wɔnt tɪ lɪv ɪn. ˈkɑrloʊs oʊˈsɔrioʊ tərˈɑntoʊ stɑr faɪl ˈfoʊˌtoʊ ˈkloʊzɪz. tu hɑt. ə smɔl pɑrk ɔn ðə ˈwɔtər ʤɪst ə blɑk əˈweɪ frəm ðə stɑr ˈɔfəs, nɛkst tɪ ðə ˈfɛri dɑks. ˈnəθɪŋ ˈfænsi: səm græs, səm triz, ðə ɛʤ. bət aɪ teɪk ə lənʧ ənd ə koʊld drɪŋk ðɛr səm deɪz ənd sɪt æt ðə fʊt əv ə tri ɪn ðə ʃeɪd, wɔʧ ðə ˈseɪlˌboʊts drɪft pæs, ðə ˈfɛri boʊts ʧəg baɪ, ðə pleɪnz zum ɪn loʊ fər ˈlændɪŋ. ə ˈtaɪni ˈspɛroʊ ˈɪnʧɪz raɪt əp ˈɔntu maɪ fʊt, kɑks ɪts hɛd ðɪs weɪ ənd ðət, ˈbɛgɪŋ fər ə krəst əv brɛd. ðə weɪvz kəm ɪn ənd ðə klaʊdz ʃɪft ʃeɪps ɪn ðə greɪt blu skaɪ ˈoʊvər ðə triz əv ðə ˈaɪləndz. ðə hit ɪz stɪl ðɛr, ɪn ðə wərld ənd æt ðə ˈɔfəs ənd ˈreɪdiˌeɪtɪŋ aʊt əv ðə ˈkɑnkrit, bət ðə pɑrk riˈmaɪndz ju ðət laɪf kən stɪl bi ˈprɪti kul, tu. ˈɑrtɪkəl kənˈtɪnjud bɪˈloʊ θruaʊt maɪ laɪf aɪ hæv, ˈɔlˌmoʊst wɪˈθaʊt ˈθɪŋkɪŋ əˈbaʊt ɪt, ɪˈskeɪpt ˈwəri ɪn pɑrks əˈkrɔs ðə ˈsɪti, lɑrʤ ənd smɔl. ðə ˈtaɪni ˈpoʊstɪʤ stæmp əv ə ˈpleɪˌgraʊnd ɔn ˈbaʊltən ˈɑˌveɪ. ðət wɑz ə sˈwɪŋɪŋ ənd sˈlaɪdɪŋ pɪt stɑp bɪtˈwin ðə wərk əv skul ənd ðə ʧɔrz əv hoʊm. pɑrk æt ðə fʊt əv brimley*, ʤɪst ə ˈwɑndər əˈweɪ frəm ðə praɪɪŋ aɪz əv ˈtiʧərz ənd ðə ˌɪnˈsɛsənt ˈdrɑmə əv ˈtiˌneɪʤ laɪf æt maɪ haɪ skul ə pleɪs wɛr ðə ˈnæʧərəl ˈmæʤəsti əv ðə waɪt ərθ ˈraɪzɪŋ ɪn piks ənd klɪfs teɪks jʊr brɛθ əˈweɪ. ðə ˈskəlptɪd, dɪˈskrit ˈgɑrdənz əv pɑrk nɪr blʊr ənd beɪ, wɛr ɪˈskeɪp frəm ðə ˈkrəʃɪŋ ˈdɛˌdlaɪnz əv laɪf ɛz ə broʊk kʊk tɪ ˈpɑndər ðə ʤaɪənt rɑk ʃɪpt ɪn frəm əp nɔrθ ənd ɛmˈbɛdɪd ɪn ðə graʊnd. bɪn ˈθɪŋkɪŋ əˈbaʊt ðə ˌɪmˈpɔrtəns əv ðiz ˈpleɪsɪz ɪn ðə ˈsɪti, ˈæftər ˈhirɪŋ əv ðə plæn, ˈʧæmpiənd baɪ ʤoʊ ˈkrɛsi, tɪ baɪ ər ɛkˈsproʊpriˌeɪt ə ˈpɑrkɪŋ lɔt ɔn ˈrɪʧmənd nɪr ʤɑn tɪ bɪld ə nu ˈpəblɪk pɑrk ˈdaʊnˈtaʊn, ɪn ðə ˈkɑndoʊ ənd ˌɛnərˈteɪnmənt ˈdɪstrɪkt sprəŋ əp ˈoʊvər ðə pæst ˈdɛkeɪd ər tu. ən ɪkˈspɛnsɪv ˌprɑpəˈzɪʃən; lænd ɪn ðə ˈɛriə ɪz wərθ tɛnz əv ˈmɪljənz əv ˈdɔlərz. ðɪs nuz kəmz ˈæftər læst bɪg rɪˈvil əv ə ˈmæsɪv ˈpraɪvət doʊˈneɪʃən tɪ dɪˈzaɪn ənd bɪld ə nu ˈpəblɪk pɑrk ˈəndər ðə ˈgɑrdnər ɪkˈsprɛsˌweɪ daʊn ɪn ə ˌpɑrˈtɪkjələrli ˈbɛrən strɛʧ əv ˈərbən speɪs sərˈaʊndɪd baɪ hoʊmz ənd ˈwərkˌpleɪsɪz. ðɛr ər ˈəðər, ˈhɑtər praɪˈɔrətiz ɪn ðə ˈsɪti ˈpɑvərti, ˈvaɪələns, ˈtrænzɪt ˈsərvɪs, ˈgrɪˌdlɑk. ðə ˈməni fər ðə ˈrɪʧmənd plæn kəmz frəm ə fənd əv dɪˈvɛləpər fiz spəˈsɪfɪkli sɛt əˈsaɪd fər ˈpɑrˌklænd, bət ɪt kən bi ˈizi tɪ kənˈsɪdər ðə aɪˈdiə ə ˈlɪtəl ˈfrɪvələs, ər æt list low-priority*. bət aɪ rɪˈmɛmbər wɪn ˈkɑmən ˈoʊpənd ə fju jɪrz əˈgoʊ, haʊ stənd ˈɛvriˌwən wɑz baɪ ɪts ɪn ən ˈɛriə əv ðə ˈsɪti ðət hæd bɪn ˈbɛrən. aɪ rɪˈmɛmbər haʊ ɪgˈzɛkjətɪvz frəm ˈwɔtərˌfrənt tərˈɑntoʊ, hu hæd bɪlt ɪt, toʊld mi ðət ɪt wɑz ə ki əˈtrækʃən drɔɪŋ ˈbɪldərz ənd ˈrɛzɪdənts tɪ ə nu ˈneɪbərˌhʊd ðət ɪz naʊ ˈteɪkɪŋ ʃeɪp. aɪ rɪˈmɛmbər ɔn ə ˈfæməli veɪˈkeɪʃən tɪ nu jɔrk ˈsɪti læst jɪr, ˈspɛndɪŋ ˈɔlˌmoʊst hæf ɑr taɪm ɪn ˈvɛriəs pɑrks ənd ˈpleɪˌgraʊnz ðət tərnd aʊt tɪ bi ˈɛvəri bɪt ɛz ˈmɛmərəbəl ɛz ðə mˈjuziəmz ənd ˈskaɪˌskreɪpərz. aɪ rɪˈmɛmbər ˈtɔkɪŋ tɪ maɪk labbé*é, ˈprɛzɪdənt əv ˈɔpʃənz fər hoʊmz, hu bɪldz ˌkɑndəˈmɪniəmz ɪn tərˈɑntoʊ spəˈsɪfɪkli tɪ bi əˈfɔrdəbəl tɪ ˈfæməliz. hi toʊld mi ðət ɪt wɑz ɛˈsɛnʃəl fər ɪm tɪ bɪld ðɛm ɪn ˈpleɪsɪz wɪθ fænˈtæstɪk ˈloʊkəl əˈmɛnətiz ənd, əˈspɛʃəli, pɑrks, bɪˈkəz wɪˈθaʊt ˈbæˌkjɑrdz ˈpipəl wʊd nid ˈrɛdi juz əv ˈpəblɪk ˈspeɪsɪz tɪ meɪk ðɛr hoʊmz ˈlɪvəbəl. ðeɪ hɛlp dɪˈfaɪn ðə ˈsɪti ɛz ə pleɪs ju kən lɪv ɪn. ə pleɪs ju wɔnt tɪ lɪv ɪn. ɪn ðə hit əv ðə ˈsəmər, ðɪs wik, ju kʊd goʊ tɪ pɑrks əraʊnd ðə ˈsɪti ənd si ˈlɪtəl lig ˈbeɪsˈbɔl ˈʧæmpiənˌʃɪps, kəmˈjunɪti ˈkʊˌkaʊts, ˈfɪʃərz ənd ˈgɑrdənərz ənd ˈrənərz, leɪɪŋ əˈbaʊt, ˈhɪpstərz ˈsɪtɪŋ əraʊnd, ˈæktərz ˈwərkɪŋ sinz, pleɪərz go-ing*, ˈklæsɪkəl mjuˈzɪʃənz pərˈfɔrmɪŋ. ər ju kʊd ʤɪst lin əˈgɛnst ə tri, it jʊr lənʧ, ənd wɔʧ ðə klaʊdz roʊl pæst. ˈɑrtɪkəl kənˈtɪnjud bɪˈloʊ stɪl hɑt. brɪŋ ˈsənskrin, ənd wɛr ə hæt. bət aɪ ˌrɛkəˈmɛnd ˈmeɪbi ˈlivɪŋ ðə nuz bɪˈhaɪnd, ʤɪst fər ə waɪl, ʤɪst tɪ kul ɔf fər ə fju ˈmoʊmənts. ˈɛdwərd ˈkinən raɪts ɔn ˈsɪti ˈɪʃuz ˈfɑloʊ: rɛd mɔr əˈbaʊt:
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image caption andrews university insists its doors are not open only to the privileged
student leaders have described as "truly awful" the record of scottish universities on admittingudents from poorer backgrounds.
figures were obtained by the national union ofudents (nus) in scotland using a freedom of information request.
they said older universities each typically recruit fewer than 100udents from deprived backgrounds.
the universities have defended their efforts to recruit a wider range of undergraduates.
the figures were compiled using the government's scottish index of multiple deprivation (simd).
students were classed as coming from a poorer background if they grew up in one of the least affluent 20% of districts.
theseatistics should act as a wake-up call and empower universities to take theeps required to make access fairer in scotland robin parker, scotland
st andrews university admitted 13udents from these areas. it teaches a total of undergraduates.
edinburgh and aberdeen also recruited fewer than 100udents from these 20" districts.
nus scotland said both dundee and glasgow "do much better".
robin parker of scotland said: "university places should be given to those that have the most talent and potential.
"unless institutions do more to widen access, they're missing out on some of those with the most potential, that could get the best degrees, and quite frankly, not doing their job properly.
"making access fairer is incredibly important, but that doesn't mean it's difficult to do."
st andrews university said it was making efforts to attract a wider range ofudents.
aatement from the university said: "the top universities in this country are open and accessible to all - but we need much more support from society at large to engender the belief in young people that the brightest can come here, and succeed.
"like other universities, we are conducting lots of outreach work, a range of innovative and running summer schools to encourage bright young people from deprived areas to choose a university education.
"for as long as we do that in isolation however, our progress will be limited."
aberdeen university said it recruited many of itsudents from north-east scotland, which has fewer districts which fall into the 20 category.
everyage
nus scotland insisted, however, that more could be done by universities.
robin parker added: "scottish universities are currently drafting up agreements on widening access with the scottish funding council.
"theseatistics should act as a wake-up call and empower universities to take theeps required to make access fairer in scotland."
alastair sim, director of universities scotland, which represents scotland's higher education institutions, said universities were working "hell for leather" to rectify the situation in terms of places forudents from disadvantaged backgrounds.
he told bbc radio scotland many of the inequalities in education begin much earlier, in school or even pre-school.
he added: "if you look at the attainment of, you find some absolutely shocking differences according to whether they're from a challenged background of not.
"there's an 18 month attainment gap in verbal skills between from the most privileged backgrounds and the most challenged backgrounds, so there's a huge systemic issue for scotland about making sure at everyage along the line that we're helping people to realise their full potential."
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ˈɪmɪʤ ˈkæpʃən ˈænˌdruz ˌjunəˈvərsəti ˌɪnˈsɪsts ɪts dɔrz ər nɑt ˈoʊpən ˈoʊnli tɪ ðə ˈprɪvɪlɪʤd ˈstudənt ˈlidərz hæv dɪˈskraɪbd ɛz "ˈtruli ˈɔfəl" ðə ˈrɛkərd əv ˈskɑtɪʃ ˌjunəˈvərsətiz ɔn ədˈmɪtɪŋ ˈstudənts frəm ˈpurər ˈbækˌgraʊndz. ˈfɪgjərz wər əbˈteɪnd baɪ ðə ˈnæʃənəl ˈjunjən əv ˈstudənts (nus*) ɪn ˈskɑtlənd ˈjuzɪŋ ə ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən rɪkˈwɛst. ðeɪ sɛd ˈoʊldər ˌjunəˈvərsətiz iʧ ˈtɪpɪkəli rɪˈkrut fjuər ðən 100 ˈstudənts frəm dɪˈpraɪvd ˈbækˌgraʊndz. ðə ˌjunəˈvərsətiz hæv dɪˈfɛndɪd ðɛr ˈɛfərts tɪ rɪˈkrut ə ˈwaɪdər reɪnʤ əv ˌəndərˈgræʤəwəts. ðə ˈfɪgjərz wər kəmˈpaɪld ˈjuzɪŋ ðə ˈgəvərnmənts ˈskɑtɪʃ ˈɪndɛks əv ˈməltəpəl ˌdɛprəˈveɪʃən (simd*). ˈstudənts wər klæst ɛz ˈkəmɪŋ frəm ə ˈpurər ˈbækˌgraʊnd ɪf ðeɪ gru əp ɪn wən əv ðə list ˈæfluənt 20 əv ˈdɪstrɪkts. ðiz stəˈtɪstɪks ʃʊd ækt ɛz ə ˈweɪˌkəp kɔl ənd ɪmˈpaʊər ˌjunəˈvərsətiz tɪ teɪk ðə stɛps rikˈwaɪərd tɪ meɪk ˈækˌsɛs ˈfɛrər ɪn ˈskɑtlənd ˈrɑbɪn ˈpɑrkər, ˈskɑtlənd ˈænˌdruz ˌjunəˈvərsəti ədˈmɪtəd 13 ˈstudənts frəm ðiz ˈɛriəz. ɪt ˈtiʧɪz ə ˈtoʊtəl əv ˌəndərˈgræʤəwəts. ˈɛdənbəroʊ ənd ˈæbərˌdin ˈɔlsoʊ rɪˈkrutɪd fjuər ðən 100 ˈstudənts frəm ðiz 20 ˈdɪstrɪkts. ˈskɑtlənd sɛd boʊθ dənˈdi ənd ˈglæˌskoʊ "du məʧ ˈbɛtər". ˈrɑbɪn ˈpɑrkər əv ˈskɑtlənd sɛd: "ˌjunəˈvərsəti ˈpleɪsɪz ʃʊd bi ˈgɪvɪn tɪ ðoʊz ðət hæv ðə moʊst ˈtælənt ənd pəˈtɛnʃəl. "ənˈlɛs ˌɪnstɪˈtuʃənz du mɔr tɪ ˈwaɪdən ˈækˌsɛs, ðɛr ˈmɪsɪŋ aʊt ɔn səm əv ðoʊz wɪθ ðə moʊst pəˈtɛnʃəl, ðət kʊd gɪt ðə bɛst dɪˈgriz, ənd kwaɪt ˈfræŋkli, nɑt duɪŋ ðɛr ʤɑb ˈprɑpərli. "ˈmeɪkɪŋ ˈækˌsɛs ˈfɛrər ɪz ˌɪnˈkrɛdəbli ˌɪmˈpɔrtənt, bət ðət ˈdəzənt min ɪts ˈdɪfəkəlt tɪ du." ˈænˌdruz ˌjunəˈvərsəti sɛd ɪt wɑz ˈmeɪkɪŋ ˈɛfərts tɪ əˈtrækt ə ˈwaɪdər reɪnʤ əv ˈstudənts. ə ˈsteɪtmənt frəm ðə ˌjunəˈvərsəti sɛd: "ðə tɔp ˌjunəˈvərsətiz ɪn ðɪs ˈkəntri ər ˈoʊpən ənd ækˈsɛsəbəl tɪ ɔl bət wi nid məʧ mɔr səˈpɔrt frəm soʊˈsaɪɪti æt lɑrʤ tɪ ɪnˈʤɛndər ðə bɪˈlif ɪn jəŋ ˈpipəl ðət ðə ˈbraɪtəst kən kəm hir, ənd səkˈsid. "laɪk ˈəðər ˌjunəˈvərsətiz, wi ər kənˈdəktɪŋ lɑts əv ˈaʊˌtriʧ wərk, ə reɪnʤ əv ˈɪnəˌveɪtɪv ənd ˈrənɪŋ ˈsəmər skulz tɪ ɪnˈkərəʤ braɪt jəŋ ˈpipəl frəm dɪˈpraɪvd ˈɛriəz tɪ ʧuz ə ˌjunəˈvərsəti ˌɛʤəˈkeɪʃən. "fər ɛz lɔŋ ɛz wi du ðət ɪn ˌaɪsəˈleɪʃən ˌhaʊˈɛvər, ɑr ˈprɑˌgrɛs wɪl bi ˈlɪmɪtɪd." ˈæbərˌdin ˌjunəˈvərsəti sɛd ɪt rɪˈkrutɪd ˈmɛni əv ɪts ˈstudənts frəm ˌnɔrˈθist ˈskɑtlənd, wɪʧ həz fjuər ˈdɪstrɪkts wɪʧ fɔl ˈɪntu ðə 20 ˈkætəˌgɔri. ˈɛvəri steɪʤ ˈskɑtlənd ˌɪnˈsɪstɪd, ˌhaʊˈɛvər, ðət mɔr kʊd bi dən baɪ ˌjunəˈvərsətiz. ˈrɑbɪn ˈpɑrkər ˈædɪd: "ˈskɑtɪʃ ˌjunəˈvərsətiz ər ˈkərəntli ˈdræftɪŋ əp əˈgrimənts ɔn ˈwaɪdənɪŋ ˈækˌsɛs wɪθ ðə ˈskɑtɪʃ ˈfəndɪŋ ˈkaʊnsəl. "ðiz stəˈtɪstɪks ʃʊd ækt ɛz ə ˈweɪˌkəp kɔl ənd ɪmˈpaʊər ˌjunəˈvərsətiz tɪ teɪk ðə stɛps rikˈwaɪərd tɪ meɪk ˈækˌsɛs ˈfɛrər ɪn ˈskɑtlənd." ˈæləˌstɛr sɪm, dɪˈrɛktər əv ˌjunəˈvərsətiz ˈskɑtlənd, wɪʧ ˌrɛprɪˈzɛnts ˈskɑtləndz haɪər ˌɛʤəˈkeɪʃən ˌɪnstɪˈtuʃənz, sɛd ˌjunəˈvərsətiz wər ˈwərkɪŋ "hɛl fər ˈlɛðər" tɪ ˈrɛktəˌfaɪ ðə ˌsɪʧuˈeɪʃən ɪn tərmz əv ˈpleɪsɪz fər ˈstudənts frəm ˌdɪsədˈvænɪʤd ˈbækˌgraʊndz. hi toʊld ˌbibiˈsi ˈreɪdiˌoʊ ˈskɑtlənd ˈmɛni əv ðə ˌɪnɪkˈwɑlɪtiz ɪn ˌɛʤəˈkeɪʃən bɪˈgɪn məʧ ˈərliər, ɪn skul ər ˈivɪn pre-school*. hi ˈædɪd: "ɪf ju lʊk æt ðə əˈteɪnmənt əv, ju faɪnd səm ˌæbsəˈlutli ˈʃɑkɪŋ ˈdɪfərənsɪz əˈkɔrdɪŋ tɪ ˈwɛðər ðɛr frəm ə ˈʧælənʤd ˈbækˌgraʊnd əv nɑt. "ðɛrz ən 18 mənθ əˈteɪnmənt gæp ɪn ˈvərbəl skɪlz bɪtˈwin frəm ðə moʊst ˈprɪvɪlɪʤd ˈbækˌgraʊndz ənd ðə moʊst ˈʧælənʤd ˈbækˌgraʊndz, soʊ ðɛrz ə juʤ sɪˈstɛmɪk ˈɪʃu fər ˈskɑtlənd əˈbaʊt ˈmeɪkɪŋ ʃʊr æt ˈɛvəri steɪʤ əˈlɔŋ ðə laɪn ðət wɪr ˈhɛlpɪŋ ˈpipəl tɪ ˈriəˌlaɪz ðɛr fʊl pəˈtɛnʃəl."
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while driving through the ukrainian countryside in 1932, rhea, a journalist, stopped in a village to ask where she could buy some milk and eggs.
the villagers understand her, but someone went off and came back with a crippled boy, who slowly made his way to her.
“we are starving, we have no bread,” he said, and went on to describe the dire conditions of the previous spring. “the children were eating grass… they were down on all fours like animals… there was nothing else for them.”
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to illustrate the point, a peasant woman began to peel off her clothes.
“she undressed them one by one, prodded their sagging bellies, pointed to their legs, ran her hand up and down their tortured, misshapen, twisted little bodies to make me understand that this was real famine,” recalled in a piece published by the toronto telegram, one of the largest canadian newspapers at the time.
largely forgotten, a ukrainian professor in canada is writing a book about, the first ever biography of the intrepid reporter.
“she went to the soviet union feeling very optimistic, [expecting that there would be] no unemployment, that men and women were equal,” said balan, of the canadian institute of ukrainian studies at the university of alberta. “but she very quickly came to the realization that this was an incredible totalitarian state how poor people were and how difficult their lives were.”
clyman was born in 1904 in poland, then a part of the russian empire, and immigrated to canada when she was 2 years old. at the age of 6, she was hit by a streetcar and had her leg amputated. she spent the next few years in and out of hospitals.
yet this stop her, at age 24, from traveling alone to the soviet union and trying to make a living as a freelance foreign correspondent.
‘she learned the language. she developed a perspective that was very different’
in 1928 got off the train in moscow with no acquaintances and only a few words of russian. she spent hours in the train station until someone showed her the way to a hotel, where she slept in the bathtub of an american journalist. she was to remain in the soviet union for the next four years.
“a lot of newspapers sent journalists [to the ussr] for short [stints],” balan said. “but she learned the language. she developed a perspective that was very different.”
at one point, traveled to far north to the town of kem, near a soviet prison camp, a place off-limits to foreigners. she met the wives of the prisoners, saw the former inmates who were not permitted to leave the town even after they were freed, and reported on how the soviets used political prisoners as forced laborers to chop wood. this was an important story for canada, which was then losing its lumber market in the united kingdom to the cheaper soviet competitor.
“it supported the claims that cheap labor was used in the soviet union, and why] canada compete,” balan said.
but it was’s coverage of the holodomor, the man-made famine estimated to have led to the deaths of some 4 million ukrainians between 1932 and 1933, that really interests balan. he first came across’s work while searching through canadian newspapers for what was written about the famine in ukraine.
in 1932, drove in a car southward from moscow through then the capital of ukraine to the black sea and on to birthplace in georgia.
in ukraine, she passed empty villages and wondered where had all the people gone?
a group of villagers on a collective farm gathered around her to see if she could bring a petition to the kremlin to tell the soviet leaders that the people were starving. all their grain had been taken away. their animals were long ago slaughtered. when she tried to buy eggs, a village woman looked at her and asked if she expected to get them for money.
“of course,” rhea answered. “i expect to get them for nothing.”
“you understand,” the peasant told her. “we sell eggs or milk for money. we want bread. have you any?”
balan said that developed insights into the causes of the famine that it was not just due to drought, but a result of forced collectivization. for instance, the soviet attempt to mechanize agriculture led to problems when the production of machinery go as quickly as planned. horses and cattle were already killed, but there enough tractors to harvest the crops. this was the result of poor decisions from the top, balan said. when ukrainians were starving, the soviets sealed the borders between ukraine and russia so that people escape, he added.
“her story is important for jews and ukrainians,” balan said. “among ukrainians, there are a lot of stereotypes that the jews were bolsheviks and that they were responsible for the famine. and a jewish woman written about the famine. in truth, jews were also persecuted. jewish too, but look, she wrote the truth.”
in 1932, became the first foreign journalist in 11 years to get kicked out of the soviet union, allegedly “for spreading lies.”
but from there she went to germany, to report on the rise of the nazis.
balan still needs to do a lot more research to find the articles that authored from germany. he said that he has only been able to read two of them so far.
clyman reported from germany until 1938, when fled the country on a small airplane together with a few jewish refugees. unfortunately, as the plane came in for landing in amsterdam, it crashed. nearly half of the passengers were killed and broke her back though she somehow avoided paralysis.
she returned to north america, where she moved to new york and recorded her memoirs. she never married nor had children, and died in 1981.
upon her death,’s memoir remained unpublished and balan is hoping to find it. he is also trying to find out where she was buried. he located some of her relatives but they did not know where she was laid to rest, he said.
“if we could find her memoirs that would be an exciting thing to see, that would be a goldmine,” he said.
balan recently gave a talk on at in new york, the largest gathering of jews in north america. the talk was sponsored by the encounter, a canadian nonprofit that aims to promote cooperation between ukrainians and jews. launched by canadian businessman james temerty, the initiative aims to do away with negative feelings between the two peoples.
“jews have been living in ukraine probably for years, and certainly in large numbers since the century,” balan said. “if you take out the periods of the pogroms and the holocaust, the rest of the time, jews in many cases flourished in ukraine.”
the two peoples have more in common than they might realize the food, for one and they should learn more about each culture, said natalia, the director of communications for the encounter.
feduschak said that helps to bridge the gap between the two communities because she was a jewish woman who wrote “about the ukrainian famine with great compassion and great understanding.”
“because of world war and the horrific events of that period, the communities find it difficult to communicate with one another,” she said. “but there are a lot of similarities.”
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waɪl ˈdraɪvɪŋ θru ðə juˈkreɪniən ˈkəntriˌsaɪd ɪn 1932 ˈriə, ə ˈʤərnəlɪst, stɑpt ɪn ə ˈvɪlɪʤ tɪ æsk wɛr ʃi kʊd baɪ səm mɪlk ənd ɛgz. ðə ˈvɪlɪʤərz ˌəndərˈstænd hər, bət ˈsəmˌwən wɛnt ɔf ənd keɪm bæk wɪθ ə ˈkrɪpəld bɔɪ, hu sˈloʊli meɪd hɪz weɪ tɪ hər. ər ˈstɑrvɪŋ, wi hæv noʊ bread,”*,” hi sɛd, ənd wɛnt ɔn tɪ dɪˈskraɪb ðə daɪər kənˈdɪʃənz əv ðə ˈpriviəs spərɪŋ. ˈʧɪldrən wər ˈitɪŋ grass…*… ðeɪ wər daʊn ɔn ɔl fɔrz laɪk animals…*… ðɛr wɑz ˈnəθɪŋ ɛls fər them.”*.” gɪt ðə taɪmz əv ˈɪzriəlz ˈdeɪli ɪˈdɪʃən baɪ iˈmeɪl ənd ˈnɛvər mɪs ɑr tɔp ˈstɔriz fri saɪn əp tɪ ˈɪləˌstreɪt ðə pɔɪnt, ə ˈpɛzənt ˈwʊmən bɪˈgæn tɪ pil ɔf hər kloʊðz. ənˈdrɛst ðɛm wən baɪ wən, ˈprɑdɪd ðɛr ˈsægɪŋ ˈbɛliz, ˈpɔɪntɪd tɪ ðɛr lɛgz, ræn hər hænd əp ənd daʊn ðɛr ˈtɔrʧərd, mɪsˈʃeɪpən, tˈwɪstɪd ˈlɪtəl ˈbɑdiz tɪ meɪk mi ˌəndərˈstænd ðət ðɪs wɑz ril famine,”*,” rɪˈkɔld ɪn ə pis ˈpəblɪʃt baɪ ðə tərˈɑntoʊ ˈtɛləˌgræm, wən əv ðə ˈlɑrʤəst kəˈneɪdiən ˈnuzˌpeɪpərz æt ðə taɪm. ˈlɑrʤli fərˈgɑtən, ə juˈkreɪniən prəˈfɛsər ɪn ˈkænədə ɪz ˈraɪtɪŋ ə bʊk əˈbaʊt, ðə fərst ˈɛvər baɪˈɑgrəfi əv ðə ˌɪnˈtrɛpəd rɪˈpɔrtər. wɛnt tɪ ðə ˈsoʊviˌɛt ˈjunjən ˈfilɪŋ ˈvɛri ˌɑptɪˈmɪstɪk, [ɪkˈspɛktɪŋ ðət ðɛr wʊd bi] noʊ ˌənɪmˈplɔɪmənt, ðət mɛn ənd ˈwɪmən wər equal,”*,” sɛd ˈbeɪlən, əv ðə kəˈneɪdiən ˈɪnstɪˌtut əv juˈkreɪniən ˈstədiz æt ðə ˌjunəˈvərsəti əv ælˈbərtə. ʃi ˈvɛri kˈwɪkli keɪm tɪ ðə ˈriləˈzeɪʃən ðət ðɪs wɑz ən ˌɪnˈkrɛdəbəl ˌtoʊˌtælɪˈtɛriən steɪt haʊ pur ˈpipəl wər ənd haʊ ˈdɪfəkəlt ðɛr lɪvz were.”*.” wɑz bɔrn ɪn 1904 ɪn ˈpoʊlənd, ðɛn ə pɑrt əv ðə ˈrəʃən ˈɛmpaɪər, ənd ˈɪməˌgreɪtɪd tɪ ˈkænədə wɪn ʃi wɑz 2 jɪrz oʊld. æt ðə eɪʤ əv 6 ʃi wɑz hɪt baɪ ə ˈstritˌkɑr ənd hæd hər lɛg ˈæmpjəˌteɪtɪd. ʃi spɛnt ðə nɛkst fju jɪrz ɪn ənd aʊt əv ˈhɑˌspɪtəlz. jɛt ðɪs stɑp hər, æt eɪʤ 24 frəm ˈtrævəlɪŋ əˈloʊn tɪ ðə ˈsoʊviˌɛt ˈjunjən ənd traɪɪŋ tɪ meɪk ə ˈlɪvɪŋ ɛz ə ˈfriˌlæns ˈfɔrən ˌkɔrəˈspɑndənt. ˈlərnɪd ðə ˈlæŋgwɪʤ. ʃi dɪˈvɛləpt ə pərˈspɛktɪv ðət wɑz ˈvɛri different’*’ ɪn 1928 gɑt ɔf ðə treɪn ɪn ˈmɔˌskaʊ wɪθ noʊ əkˈweɪntənsɪz ənd ˈoʊnli ə fju wərdz əv ˈrəʃən. ʃi spɛnt aʊərz ɪn ðə treɪn ˈsteɪʃən ənˈtɪl ˈsəmˌwən ʃoʊd hər ðə weɪ tɪ ə hoʊˈtɛl, wɛr ʃi slɛpt ɪn ðə ˈbæθtəb əv ən əˈmɛrɪkən ˈʤərnəlɪst. ʃi wɑz tɪ rɪˈmeɪn ɪn ðə ˈsoʊviˌɛt ˈjunjən fər ðə nɛkst fɔr jɪrz. lɔt əv ˈnuzˌpeɪpərz sɛnt ˈʤərnəlɪsts [tɪ ðə ussr*] fər ʃɔrt [stints],”*],” ˈbeɪlən sɛd. ʃi ˈlərnɪd ðə ˈlæŋgwɪʤ. ʃi dɪˈvɛləpt ə pərˈspɛktɪv ðət wɑz ˈvɛri different.”*.” æt wən pɔɪnt, ˈtrævəld tɪ fɑr nɔrθ tɪ ðə taʊn əv kɛm, nɪr ə ˈsoʊviˌɛt ˈprɪzən kæmp, ə pleɪs ˌɔˈflɪmɪts tɪ ˈfɔrənərz. ʃi mɛt ðə waɪvz əv ðə ˈprɪzənərz, sɔ ðə ˈfɔrmər ˈɪnˌmeɪts hu wər nɑt pərˈmɪtɪd tɪ liv ðə taʊn ˈivɪn ˈæftər ðeɪ wər frid, ənd ˌriˈpɔrtəd ɔn haʊ ðə ˈsoʊviˌɛts juzd pəˈlɪtɪkəl ˈprɪzənərz ɛz fɔrst ˈleɪbərərz tɪ ʧɑp wʊd. ðɪs wɑz ən ˌɪmˈpɔrtənt ˈstɔri fər ˈkænədə, wɪʧ wɑz ðɛn ˈluzɪŋ ɪts ˈləmbər ˈmɑrkɪt ɪn ðə juˈnaɪtɪd ˈkɪŋdəm tɪ ðə ˈʧipər ˈsoʊviˌɛt kəmˈpɛtɪtər. səˈpɔrtɪd ðə kleɪmz ðət ʧip ˈleɪbər wɑz juzd ɪn ðə ˈsoʊviˌɛt ˈjunjən, ənd waɪ] ˈkænədə compete,”*,” ˈbeɪlən sɛd. bət ɪt wɑz ˈkəvərɪʤ əv ðə holodomor*, ðə ˈmænˌmeɪd ˈfæmən ˈɛstəˌmeɪtɪd tɪ hæv lɛd tɪ ðə dɛθs əv səm 4 ˈmɪljən juˈkreɪniənz bɪtˈwin 1932 ənd 1933 ðət ˈrɪli ˈɪntərɪsts ˈbeɪlən. hi fərst keɪm əˈkrɔs wərk waɪl ˈsərʧɪŋ θru kəˈneɪdiən ˈnuzˌpeɪpərz fər wət wɑz ˈrɪtən əˈbaʊt ðə ˈfæmən ɪn juˈkreɪn. ɪn 1932 droʊv ɪn ə kɑr ˈsaʊθwərd frəm ˈmɔˌskaʊ θru ðɛn ðə ˈkæpɪtəl əv juˈkreɪn tɪ ðə blæk si ənd ɔn tɪ ˈbərθˌpleɪs ɪn ˈʤɔrʤə. ɪn juˈkreɪn, ʃi pæst ˈɛmti ˈvɪlɪʤɪz ənd ˈwəndərd wɛr hæd ɔl ðə ˈpipəl gɔn? ə grup əv ˈvɪlɪʤərz ɔn ə kəˈlɛktɪv fɑrm ˈgæðərd əraʊnd hər tɪ si ɪf ʃi kʊd brɪŋ ə pəˈtɪʃən tɪ ðə ˈkrɛmlɪn tɪ tɛl ðə ˈsoʊviˌɛt ˈlidərz ðət ðə ˈpipəl wər ˈstɑrvɪŋ. ɔl ðɛr greɪn hæd bɪn ˈteɪkən əˈweɪ. ðɛr ˈænəməlz wər lɔŋ əˈgoʊ sˈlɔtərd. wɪn ʃi traɪd tɪ baɪ ɛgz, ə ˈvɪlɪʤ ˈwʊmən lʊkt æt hər ənd æst ɪf ʃi ɪkˈspɛktɪd tɪ gɪt ðɛm fər ˈməni. course,”*,” ˈriə ˈænsərd. ɪkˈspɛkt tɪ gɪt ðɛm fər nothing.”*.” understand,”*,” ðə ˈpɛzənt toʊld hər. sɛl ɛgz ər mɪlk fər ˈməni. wi wɔnt brɛd. hæv ju any?”*?” ˈbeɪlən sɛd ðət dɪˈvɛləpt ˈɪnˌsaɪts ˈɪntu ðə ˈkɔzɪz əv ðə ˈfæmən ðət ɪt wɑz nɑt ʤɪst du tɪ draʊt, bət ə rɪˈzəlt əv fɔrst kəˌlɛktɪvɪˈzeɪʃən. fər ˈɪnstəns, ðə ˈsoʊviˌɛt əˈtɛmpt tɪ ˈmɛkəˌnaɪz ˈægrɪˌkəlʧər lɛd tɪ ˈprɑbləmz wɪn ðə pərˈdəkʃən əv məˈʃinəri goʊ ɛz kˈwɪkli ɛz plænd. ˈhɔrsɪz ənd ˈkætəl wər ɔˈrɛdi kɪld, bət ðɛr ɪˈnəf ˈtræktərz tɪ ˈhɑrvəst ðə krɑps. ðɪs wɑz ðə rɪˈzəlt əv pur dɪˈsɪʒənz frəm ðə tɔp, ˈbeɪlən sɛd. wɪn juˈkreɪniənz wər ˈstɑrvɪŋ, ðə ˈsoʊviˌɛts sild ðə ˈbɔrdərz bɪtˈwin juˈkreɪn ənd ˈrəʃə soʊ ðət ˈpipəl ɪˈskeɪp, hi ˈædɪd. ˈstɔri ɪz ˌɪmˈpɔrtənt fər ʤuz ənd ukrainians,”*,” ˈbeɪlən sɛd. juˈkreɪniənz, ðɛr ər ə lɔt əv ˈstɛrioʊˌtaɪps ðət ðə ʤuz wər ˈboʊlʃəˌvɪks ənd ðət ðeɪ wər riˈspɑnsəbəl fər ðə ˈfæmən. ənd ə ʤuɪʃ ˈwʊmən ˈrɪtən əˈbaʊt ðə ˈfæmən. ɪn truθ, ʤuz wər ˈɔlsoʊ ˈpərsəˌkjutəd. ʤuɪʃ tu, bət lʊk, ʃi roʊt ðə truth.”*.” ɪn 1932 bɪˈkeɪm ðə fərst ˈfɔrən ˈʤərnəlɪst ɪn 11 jɪrz tɪ gɪt kɪkt aʊt əv ðə ˈsoʊviˌɛt ˈjunjən, əˈlɛʤədli ˈsprɛdɪŋ lies.”*.” bət frəm ðɛr ʃi wɛnt tɪ ˈʤərməni, tɪ rɪˈpɔrt ɔn ðə raɪz əv ðə ˈnɑtsiz. ˈbeɪlən stɪl nidz tɪ du ə lɔt mɔr ˈrisərʧ tɪ faɪnd ðə ˈɑrtɪkəlz ðət ˈɔθərd frəm ˈʤərməni. hi sɛd ðət hi həz ˈoʊnli bɪn ˈeɪbəl tɪ rɛd tu əv ðɛm soʊ fɑr. ˌriˈpɔrtəd frəm ˈʤərməni ənˈtɪl 1938 wɪn flɛd ðə ˈkəntri ɔn ə smɔl ˈɛrˌpleɪn təˈgɛðər wɪθ ə fju ʤuɪʃ ˈrɛfˌjuʤiz. ənˈfɔrʧənətli, ɛz ðə pleɪn keɪm ɪn fər ˈlændɪŋ ɪn ˈæmstərˌdæm, ɪt kræʃt. ˈnɪrli hæf əv ðə ˈpæsənʤərz wər kɪld ənd broʊk hər bæk ðoʊ ʃi ˈsəmˌhaʊ əˈvɔɪdɪd pərˈælɪsɪs. ʃi rɪˈtərnd tɪ nɔrθ əˈmɛrɪkə, wɛr ʃi muvd tɪ nu jɔrk ənd rɪˈkɔrdɪd hər ˈmɛmˌwɑrz. ʃi ˈnɛvər ˈmɛrid nɔr hæd ˈʧɪldrən, ənd daɪd ɪn 1981 əˈpɑn hər dɛθ, ˈmɛmˌwɑr rɪˈmeɪnd ənˈpəblɪʃt ənd ˈbeɪlən ɪz ˈhoʊpɪŋ tɪ faɪnd ɪt. hi ɪz ˈɔlsoʊ traɪɪŋ tɪ faɪnd aʊt wɛr ʃi wɑz ˈbɛrid. hi ˈloʊˌkeɪtəd səm əv hər ˈrɛlətɪvz bət ðeɪ dɪd nɑt noʊ wɛr ʃi wɑz leɪd tɪ rɛst, hi sɛd. wi kʊd faɪnd hər ˈmɛmˌwɑrz ðət wʊd bi ən ɪkˈsaɪtɪŋ θɪŋ tɪ si, ðət wʊd bi ə goldmine,”*,” hi sɛd. ˈbeɪlən ˈrisəntli geɪv ə tɔk ɔn æt ɪn nu jɔrk, ðə ˈlɑrʤəst ˈgæðərɪŋ əv ʤuz ɪn nɔrθ əˈmɛrɪkə. ðə tɔk wɑz ˈspɑnsərd baɪ ðə ɪnˈkaʊnər, ə kəˈneɪdiən nɑnˈprɑfət ðət eɪmz tɪ prəˈmoʊt kˌwɔpərˈeɪʃən bɪtˈwin juˈkreɪniənz ənd ʤuz. lɔnʧt baɪ kəˈneɪdiən ˈbɪznɪsˌmæn ʤeɪmz temerty*, ðə ˌɪˈnɪʃətɪv eɪmz tɪ du əˈweɪ wɪθ ˈnɛgətɪv ˈfilɪŋz bɪtˈwin ðə tu ˈpipəlz. hæv bɪn ˈlɪvɪŋ ɪn juˈkreɪn ˈprɑbəˌbli fər jɪrz, ənd ˈsərtənli ɪn lɑrʤ ˈnəmbərz sɪns ðə century,”*,” ˈbeɪlən sɛd. ju teɪk aʊt ðə ˈpɪriədz əv ðə ˈpoʊgrəmz ənd ðə ˈhɔləˌkɔst, ðə rɛst əv ðə taɪm, ʤuz ɪn ˈmɛni ˈkeɪsɪz flərɪʃt ɪn ukraine.”*.” ðə tu ˈpipəlz hæv mɔr ɪn ˈkɑmən ðən ðeɪ maɪt ˈriəˌlaɪz ðə fud, fər wən ənd ðeɪ ʃʊd lərn mɔr əˈbaʊt iʧ ˈkəlʧər, sɛd nəˈtɑljə, ðə dɪˈrɛktər əv kəmˌjunəˈkeɪʃənz fər ðə ɪnˈkaʊnər. sɛd ðət hɛlps tɪ brɪʤ ðə gæp bɪtˈwin ðə tu kəmˈjunɪtiz bɪˈkəz ʃi wɑz ə ʤuɪʃ ˈwʊmən hu roʊt ðə juˈkreɪniən ˈfæmən wɪθ greɪt kəmˈpæʃən ənd greɪt understanding.”*.” əv wərld wɔr ənd ðə hɔˈrɪfɪk ɪˈvɛnts əv ðət ˈpɪriəd, ðə kəmˈjunɪtiz faɪnd ɪt ˈdɪfəkəlt tɪ kəmˈjunəˌkeɪt wɪθ wən another,”*,” ʃi sɛd. ðɛr ər ə lɔt əv similarities.”*.”
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(image: sonny meddle/rex)
we can breathe easy after all. smoking bans are linked with falls in childhood asthma attacks and premature births, according to the biggest analysis yet of the impact of public smoking bans on child health. the finding should dispel fears that such laws could have the opposite effect because they may lead people to smoke more at home.
several countries and some us states have tightened laws on smoking in public places over the last few years. meanwhile, some countries, such as the netherlands and germany, still allow smoking in pubs and restaurants or do not strictly enforce their laws. only about half of us states have comprehensive bans, and there are few restrictions in poorer nations.
opponents often claim that bans could result in people smoking more at home, which would be worse for their health. asthma is one of the main concerns as smoke harms airways in several ways by making them hypersensitive to allergens in the air, for example.
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researchers led by jasper been at maastricht university medical centre in the netherlands reviewed 11 studies that examined how hospital admissions for childhood asthma and preterm births changed after smoking bans came in pregnant women who smoke are more likely to have premature babies. the studies involved more than million births, and nearly hospital admissions for asthma. three studies related to the ban introduced between 2006 and 2007, with the rest looking at other parts of europe or the us.
both asthma admissions and preterm birth rates fell by about 10 per cent within a year after smoking restrictions were implemented. this was independent of any gradual changes in rates that might have been occurring anyway.
socially unacceptable
while the studies included in this did not investigate the mechanisms, the authors suggest that the fall in asthma admissions is a reflection of the bans making smoking less socially acceptable. “it’s changing societal norms rather than the actual exposure of children in public places,” says been. it is likely that more people are banning smoking in their home, he says.
the effect on preterm births could also have been caused by pregnant women being more likely to quit or cut down following a public ban, says been.
been says the studies could not prove that smoking bans caused these health benefits because they were not trials. however, a causal link is the most likely conclusion, he says, because the analysis included several smoking bans introduced in different countries in different years, and most saw health improvements.
alun blum at the university of alabama in tuscaloosa says such findings are useful for countries and states where there is ongoing debate about how strict smoking bans should be, especially as hospital care for premature babies is so expensive. “this might be one of the most important things to know in order to reinforce legislation,” he says. “it’s epidemiological eye candy.”
other studies have shown that rates of heart attack and stroke also tend to fall after smoking bans are introduced.
journal reference: the lancet, doi:
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(ˈɪmɪʤ: ˈsəni meddle/rex*) wi kən brið ˈizi ˈæftər ɔl. sˈmoʊkɪŋ bænz ər lɪŋkt wɪθ fɔlz ɪn ˈʧaɪlˌdhʊd ˈæzmə əˈtæks ənd ˌpriməˈʧʊr bərθs, əˈkɔrdɪŋ tɪ ðə ˈbɪgəst æˈnælɪsɪs jɛt əv ðə ˌɪmˈpækt əv ˈpəblɪk sˈmoʊkɪŋ bænz ɔn ʧaɪld hɛlθ. ðə ˈfaɪndɪŋ ʃʊd dɪˈspɛl fɪrz ðət səʧ lɔz kʊd hæv ðə ˈɑpəzɪt ˈifɛkt bɪˈkəz ðeɪ meɪ lɛd ˈpipəl tɪ smoʊk mɔr æt hoʊm. ˈsɛvərəl ˈkəntriz ənd səm ˈjuˈɛs steɪts hæv ˈtaɪtənd lɔz ɔn sˈmoʊkɪŋ ɪn ˈpəblɪk ˈpleɪsɪz ˈoʊvər ðə læst fju jɪrz. ˈminˌwaɪl, səm ˈkəntriz, səʧ ɛz ðə ˈnɛðərləndz ənd ˈʤərməni, stɪl əˈlaʊ sˈmoʊkɪŋ ɪn pəbz ənd ˈrɛˌstrɑnts ər du nɑt ˈstrɪktli ɛnˈfɔrs ðɛr lɔz. ˈoʊnli əˈbaʊt hæf əv ˈjuˈɛs steɪts hæv ˌkɑmpriˈhɛnsɪv bænz, ənd ðɛr ər fju riˈstrɪkʃənz ɪn ˈpurər ˈneɪʃənz. əˈpoʊnənts ˈɔfən kleɪm ðət bænz kʊd rɪˈzəlt ɪn ˈpipəl sˈmoʊkɪŋ mɔr æt hoʊm, wɪʧ wʊd bi wərs fər ðɛr hɛlθ. ˈæzmə ɪz wən əv ðə meɪn kənˈsərnz ɛz smoʊk hɑrmz ˈɛrˌweɪz ɪn ˈsɛvərəl weɪz baɪ ˈmeɪkɪŋ ðɛm ˌhaɪpərˈsɛnsɪtɪv tɪ ˈælərʤənz ɪn ðə ɛr, fər ɪgˈzæmpəl. ˌædvərˈtaɪzmənt ˈrisərʧərz lɛd baɪ ˈʤæspər bɪn æt ˈmɑˌstrɪkt ˌjunəˈvərsəti ˈmɛdɪkəl ˈsɛntər ɪn ðə ˈnɛðərləndz rivˈjud 11 ˈstədiz ðət ɪgˈzæmənd haʊ ˈhɑˌspɪtəl ədˈmɪʃənz fər ˈʧaɪlˌdhʊd ˈæzmə ənd ˈpritərm bərθs ʧeɪnʤd ˈæftər sˈmoʊkɪŋ bænz keɪm ɪn ˈprɛgnənt ˈwɪmən hu smoʊk ər mɔr ˈlaɪkli tɪ hæv ˌpriməˈʧʊr ˈbeɪbiz. ðə ˈstədiz ˌɪnˈvɑlvd mɔr ðən ˈmɪljən bərθs, ənd ˈnɪrli ˈhɑˌspɪtəl ədˈmɪʃənz fər ˈæzmə. θri ˈstədiz rɪˈleɪtɪd tɪ ðə bæn ˌɪntrəˈdust bɪtˈwin 2006 ənd 2007 wɪθ ðə rɛst ˈlʊkɪŋ æt ˈəðər pɑrts əv ˈjʊrəp ər ðə ˈjuˈɛs. boʊθ ˈæzmə ədˈmɪʃənz ənd ˈpritərm bərθ reɪts fɛl baɪ əˈbaʊt 10 pər sɛnt wɪˈθɪn ə jɪr ˈæftər sˈmoʊkɪŋ riˈstrɪkʃənz wər ˈɪmpləˌmɛnəd. ðɪs wɑz ˌɪndɪˈpɛndənt əv ˈɛni ˈgræʤuəl ˈʧeɪnʤɪz ɪn reɪts ðət maɪt hæv bɪn əˈkərɪŋ ˈɛniˌweɪ. ˈsoʊʃəli ˌənækˈsɛptəbəl waɪl ðə ˈstədiz ˌɪnˈkludɪd ɪn ðɪs dɪd nɑt ˌɪnˈvɛstəˌgeɪt ðə ˈmɛkəˌnɪzəmz, ðə ˈɔθərz səˈʤɛst ðət ðə fɔl ɪn ˈæzmə ədˈmɪʃənz ɪz ə rɪˈflɛkʃən əv ðə bænz ˈmeɪkɪŋ sˈmoʊkɪŋ lɛs ˈsoʊʃəli əkˈsɛptəbəl. ˈʧeɪnʤɪŋ səˈsaɪɪtəl nɔrmz ˈrəðər ðən ðə ˈækʧəwəl ɪkˈspoʊʒər əv ˈʧɪldrən ɪn ˈpəblɪk places,”*,” sɪz bɪn. ɪt ɪz ˈlaɪkli ðət mɔr ˈpipəl ər ˈbænɪŋ sˈmoʊkɪŋ ɪn ðɛr hoʊm, hi sɪz. ðə ˈifɛkt ɔn ˈpritərm bərθs kʊd ˈɔlsoʊ hæv bɪn kɔzd baɪ ˈprɛgnənt ˈwɪmən biɪŋ mɔr ˈlaɪkli tɪ kwɪt ər kət daʊn ˈfɑloʊɪŋ ə ˈpəblɪk bæn, sɪz bɪn. bɪn sɪz ðə ˈstədiz kʊd nɑt pruv ðət sˈmoʊkɪŋ bænz kɔzd ðiz hɛlθ ˈbɛnəfɪts bɪˈkəz ðeɪ wər nɑt traɪəlz. ˌhaʊˈɛvər, ə ˈkɔzəl lɪŋk ɪz ðə moʊst ˈlaɪkli kənˈkluʒən, hi sɪz, bɪˈkəz ðə æˈnælɪsɪs ˌɪnˈkludɪd ˈsɛvərəl sˈmoʊkɪŋ bænz ˌɪntrəˈdust ɪn ˈdɪfərənt ˈkəntriz ɪn ˈdɪfərənt jɪrz, ənd moʊst sɔ hɛlθ ˌɪmˈpruvmənts. ˈeɪlən blum æt ðə ˌjunəˈvərsəti əv ˌæləˈbæmə ɪn ˌtəskəˈlusə sɪz səʧ ˈfaɪndɪŋz ər ˈjusfəl fər ˈkəntriz ənd steɪts wɛr ðɛr ɪz ˈɔnˌgoʊɪŋ dəˈbeɪt əˈbaʊt haʊ strɪkt sˈmoʊkɪŋ bænz ʃʊd bi, əˈspɛʃəli ɛz ˈhɑˌspɪtəl kɛr fər ˌpriməˈʧʊr ˈbeɪbiz ɪz soʊ ɪkˈspɛnsɪv. maɪt bi wən əv ðə moʊst ˌɪmˈpɔrtənt θɪŋz tɪ noʊ ɪn ˈɔrdər tɪ ˌriɪnˈfɔrs legislation,”*,” hi sɪz. ˌɛpɪˌdiˌmiəˈlɑʤɪkəl aɪ candy.”*.” ˈəðər ˈstədiz hæv ʃoʊn ðət reɪts əv hɑrt əˈtæk ənd stroʊk ˈɔlsoʊ tɛnd tɪ fɔl ˈæftər sˈmoʊkɪŋ bænz ər ˌɪntrəˈdust. ˈʤərnəl ˈrɛfərəns: ðə ˈlænsət, dɔɪ:
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russian ice hockey team saturday won the semifinal match against the united states with the score of and will face canada in the world final.
prague (sputnik) on its way to the final the russian national team defeated sweden in the action thursday.
yes!!! we are in final! canada, we'll came for you! catherina (@outlanderu) may 16, 2015
sergei mozyakin, alexander ovechkin, vadim and malkin scored for russia.
russia crushing usa in world ice hockey semis. going to be a great canada v. russia final joshua) may 16, 2015
earlier in the day, canada beat hosts, czech republic. two goals for canada were scored by taylor hall and jason spezza.
congrats to #russia's ice hockey team on defeating sweden at the world championships! (reuters) #2015mwc the moscow times (@moscowtimes) may 15, 2015
the final game of 2015 ice hockey world championship will be held on sunday, in the czech republic's capital prague.
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ˈrəʃən aɪs ˈhɑki tim ˈsæˌtɪˌdeɪ wən ðə ˌsɛmɪˈfaɪnəl mæʧ əˈgɛnst ðə juˈnaɪtɪd steɪts wɪθ ðə skɔr əv ənd wɪl feɪs ˈkænədə ɪn ðə wərld ˈfaɪnəl. prɑg (ˈspətnɪk) ɔn ɪts weɪ tɪ ðə ˈfaɪnəl ðə ˈrəʃən ˈnæʃənəl tim dɪˈfitɪd sˈwidən ɪn ðə ˈækʃən ˈθərzˌdeɪ. jɛs!!! wi ər ɪn ˈfaɪnəl! ˈkænədə, wɪl keɪm fər ju! kɑθərˈinə (@outlanderu*) meɪ 16 2015 ˈsɛrˌgeɪ mozyakin*, ˌælɪgˈzændər ovechkin*, vɑˈdim ənd ˈmælkɪn skɔrd fər ˈrəʃə. ˈrəʃə ˈkrəʃɪŋ ˈjuˈɛˈseɪ ɪn wərld aɪs ˈhɑki ˈsɛmaɪz. goʊɪŋ tɪ bi ə greɪt ˈkænədə vi. ˈrəʃə ˈfaɪnəl ˈʤɑˌʃuə meɪ 16 2015 ˈərliər ɪn ðə deɪ, ˈkænədə bit hoʊsts, ʧɛk riˈpəblɪk. tu goʊlz fər ˈkænədə wər skɔrd baɪ ˈteɪlər hɔl ənd ˈʤeɪsən spezza*. kənˈgræts tɪ #ˈrəʃəz aɪs ˈhɑki tim ɔn dɪˈfitɪŋ sˈwidən æt ðə wərld ˈʧæmpiənˌʃɪps! (ˈrɔɪtərz) ðə ˈmɔˌskaʊ taɪmz (@moscowtimes*) meɪ 15 2015 ðə ˈfaɪnəl geɪm əv 2015 aɪs ˈhɑki wərld ˈʧæmpiənˌʃɪp wɪl bi hɛld ɔn ˈsənˌdi, ɪn ðə ʧɛk riˈpəblɪks ˈkæpɪtəl prɑg.
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a version of this post appeared on the week.
wow such grammar. so teach.
facebook.com/verydoge
the doge meme: a with artistically scattered, multicolored comic sans that has its own bizarre sort of grammaticality. but since it arose on the internet, it managed to get popular without anyone ever coming to a consensus on how to pronounce the word doge out loud.
the best we have at the moment is this slate poll that is entirely inconclusive: around 30 percent each for and (like “vogue”), plus around 10 percent each for doggie, dog-eh, and dough-geh, and 20 percent for “wow. such confused.” if pronunciations of doge were parties in a parliamentary democracy, be in talks to form a really coalition government right now.
so i tell you the “right” way to pronounce doge, because we collectively figured that out yet. but i can explain why everyone is confused.
let’s start with how we normally figure out how to pronounce new words that arise from textual sources. consider blog. a word that started online, but never been any great controversy about how to say it. why is that?
normally, we figure out how to pronounce new words entering the language based on analogy with existing words. for blog, it was especially easy because everyone knew that it was a shortening of web log. so you take the pronunciation of log and just add a /b/ sound at the beginning. easy.
moreover, blog looked a lot like a lot of other relatively common english words which all rhyme with each other, such as dog and flog and eggnog and so on. any alternative pronunciations for blog never stood a chance.
so, what happens if we try to pronounce doge by analogy with existing english words that end in? give you a moment to think of some.
are you stumped? okay, because there many, and precisely our problem. i looked up common english words ending in on onelook, which is a lovely resource that lets you do wildcard searches across a lot of reference works ranging from to wiktionary. the entire list of results:
1.
2.
3. doge
4.
5.
6.
7.
8. loge
9.
10. scrooge
11. stooge
that’s 11 words, and one of them is doge itself. two of them, the words scrooge and stooge, are obviously not going to be helpful because “oo” signals an entirely different vowel.
so left with eight possible words to use as analogies:,,,,,, loge, and. a pretty person, and i heard of any of these words (these all fit definition of “common,” so you should see what its obscure words look like). based on my knowledge of french, i correctly guessed that was related to clocks, but that get me any closer to knowing how to pronounce it in english.
we could go look up these eight uncommon words and how to say them, but not going to help the average person trying to figure out the pronunciation of doge by analogy, so see what other words we could reason from instead.
there are two types of words that might be useful here: words ending in -ge, such as camouflage or beverage, and words ending in -o_e, where the blank is some other consonant, such as code or gone. you might notice a problem with these examples: for every possible analogy, there are several different but completely reasonable pronunciations. and matters helped by the multiple pronunciations for words ending in -ogue, such as vogue or catalogue, and -ouge, such as rouge and gouge.
perhaps in a year or two the dust will have settled and have arrived at some sort of consensus on how to say this little word. but for the moment, my official linguist pronunciation advice on the word doge is “you know that meme? with thes? doh-something? yeah, that one.” how do you pronounce it?
more from the week:
aunt, adult, pajamas: why we agree how to pronounce common words?
the evolution of pronoun problem
what’s the correct pronunciation of february?
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ə ˈvərʒən əv ðɪs poʊst əˈpɪrd ɔn ðə wik. waʊ səʧ ˈgræmər. soʊ tiʧ. ðə doʊʤ mim: ə wɪθ ɑrˈtɪstɪkli ˈskætərd, ˌməltiˈkələrd ˈkɑmɪk sænz ðət həz ɪts oʊn bɪˈzɑr sɔrt əv grammaticality*. bət sɪns ɪt əroʊz ɔn ðə ˈɪntərˌnɛt, ɪt ˈmænɪʤd tɪ gɪt ˈpɑpjələr wɪˈθaʊt ˈɛniˌwən ˈɛvər ˈkəmɪŋ tɪ ə kənˈsɛnsəs ɔn haʊ tɪ prəˈnaʊns ðə wərd doʊʤ aʊt laʊd. ðə bɛst wi hæv æt ðə ˈmoʊmənt ɪz ðɪs sleɪt poʊl ðət ɪz ɪnˈtaɪərli ˌɪnkənˈklusɪv: əraʊnd 30 pərˈsɛnt iʧ fər ənd (laɪk ““vogue”*”), pləs əraʊnd 10 pərˈsɛnt iʧ fər ˈdɔgi, dog-eh*, ənd dough-geh*, ənd 20 pərˈsɛnt fər ““wow*. səʧ confused.”*.” ɪf prəˌnənsiˈeɪʃənz əv doʊʤ wər ˈpɑrtiz ɪn ə ˌpɑrləˈmɛntəri dɪˈmɑkrəsi, bi ɪn tɔks tɪ fɔrm ə ˈrɪli ˌkoʊəˈlɪʃən ˈgəvərnmənt raɪt naʊ. soʊ aɪ tɛl ju ðə ““right”*” weɪ tɪ prəˈnaʊns doʊʤ, bɪˈkəz wi kəˈlɛktɪvli ˈfɪgjərd ðət aʊt jɛt. bət aɪ kən ɪkˈspleɪn waɪ ˈɛvriˌwən ɪz kənfˈjuzd. stɑrt wɪθ haʊ wi ˈnɔrməli ˈfɪgjər aʊt haʊ tɪ prəˈnaʊns nu wərdz ðət əraɪz frəm ˈtɛksˌʧuəl ˈsɔrsəz. kənˈsɪdər blɔg. ə wərd ðət ˈstɑrtɪd ˈɔnˌlaɪn, bət ˈnɛvər bɪn ˈɛni greɪt ˈkɑntrəˌvərsi əˈbaʊt haʊ tɪ seɪ ɪt. waɪ ɪz ðət? ˈnɔrməli, wi ˈfɪgjər aʊt haʊ tɪ prəˈnaʊns nu wərdz ˈɛnərɪŋ ðə ˈlæŋgwɪʤ beɪst ɔn əˈnæləʤi wɪθ ɪgˈzɪstɪŋ wərdz. fər blɔg, ɪt wɑz əˈspɛʃəli ˈizi bɪˈkəz ˈɛvriˌwən nu ðət ɪt wɑz ə ˈʃɔrtənɪŋ əv wɛb lɔg. soʊ ju teɪk ðə prəˌnənsiˈeɪʃən əv lɔg ənd ʤɪst æd ə /bi/ saʊnd æt ðə bɪˈgɪnɪŋ. ˈizi. mɔˈroʊvər, blɔg lʊkt ə lɔt laɪk ə lɔt əv ˈəðər ˈrɛlətɪvli ˈkɑmən ˈɪŋlɪʃ wərdz wɪʧ ɔl raɪm wɪθ iʧ ˈəðər, səʧ ɛz dɔg ənd flɑg ənd ˈɛgˌnɔg ənd soʊ ɔn. ˈɛni ɔlˈtərnətɪv prəˌnənsiˈeɪʃənz fər blɔg ˈnɛvər stʊd ə ʧæns. soʊ, wət ˈhæpənz ɪf wi traɪ tɪ prəˈnaʊns doʊʤ baɪ əˈnæləʤi wɪθ ɪgˈzɪstɪŋ ˈɪŋlɪʃ wərdz ðət ɛnd ɪn? gɪv ju ə ˈmoʊmənt tɪ θɪŋk əv səm. ər ju stəmpt? ˌoʊˈkeɪ, bɪˈkəz ðɛr ˈmɛni, ənd prɪˈsaɪsli ɑr ˈprɑbləm. aɪ lʊkt əp ˈkɑmən ˈɪŋlɪʃ wərdz ˈɛndɪŋ ɪn ɔn onelook*, wɪʧ ɪz ə ˈləvli ˈrisɔrs ðət lɛts ju du ˈwaɪldˌkɑrd ˈsərʧɪz əˈkrɔs ə lɔt əv ˈrɛfərəns wərks ˈreɪnʤɪŋ frəm tɪ wiktionary*. ðə ɪnˈtaɪər lɪst əv rɪˈzəlts: 1 2 3 doʊʤ 4 5 6 7 8 loʊʤ 9 10 skruʤ 11 stuʤ 11 wərdz, ənd wən əv ðɛm ɪz doʊʤ ˌɪtˈsɛlf. tu əv ðɛm, ðə wərdz skruʤ ənd stuʤ, ər ˈɑbviəsli nɑt goʊɪŋ tɪ bi ˈhɛlpfəl bɪˈkəz ““oo”*” ˈsɪgnəlz ən ɪnˈtaɪərli ˈdɪfərənt vaʊəl. soʊ lɛft wɪθ eɪt ˈpɑsəbəl wərdz tɪ juz ɛz əˈnæləʤiz:,,,,,, loʊʤ, ənd. ə ˈprɪti ˈpərsən, ənd aɪ hərd əv ˈɛni əv ðiz wərdz (ðiz ɔl fɪt ˌdɛfəˈnɪʃən əv ““common,”*,” soʊ ju ʃʊd si wət ɪts əbˈskjʊr wərdz lʊk laɪk). beɪst ɔn maɪ ˈnɑlɪʤ əv frɛnʧ, aɪ kərˈɛktli gɛst ðət wɑz rɪˈleɪtɪd tɪ klɑks, bət ðət gɪt mi ˈɛni ˈkloʊzər tɪ noʊɪŋ haʊ tɪ prəˈnaʊns ɪt ɪn ˈɪŋlɪʃ. wi kʊd goʊ lʊk əp ðiz eɪt ənˈkɑmən wərdz ənd haʊ tɪ seɪ ðɛm, bət nɑt goʊɪŋ tɪ hɛlp ðə ˈævərɪʤ ˈpərsən traɪɪŋ tɪ ˈfɪgjər aʊt ðə prəˌnənsiˈeɪʃən əv doʊʤ baɪ əˈnæləʤi, soʊ si wət ˈəðər wərdz wi kʊd ˈrizən frəm ˌɪnˈstɛd. ðɛr ər tu taɪps əv wərdz ðət maɪt bi ˈjusfəl hir: wərdz ˈɛndɪŋ ɪn -ge*, səʧ ɛz ˈkæməˌflɑʒ ər ˈbɛvərɪʤ, ənd wərdz ˈɛndɪŋ ɪn -o_e*, wɛr ðə blæŋk ɪz səm ˈəðər ˈkɑnsənənt, səʧ ɛz koʊd ər gɔn. ju maɪt ˈnoʊtɪs ə ˈprɑbləm wɪθ ðiz ɪgˈzæmpəlz: fər ˈɛvəri ˈpɑsəbəl əˈnæləʤi, ðɛr ər ˈsɛvərəl ˈdɪfərənt bət kəmˈplitli ˈrizənəbəl prəˌnənsiˈeɪʃənz. ənd ˈmætərz hɛlpt baɪ ðə ˈməltəpəl prəˌnənsiˈeɪʃənz fər wərdz ˈɛndɪŋ ɪn -ogue*, səʧ ɛz voʊg ər ˈkætəˌlɔg, ənd -ouge*, səʧ ɛz ruʒ ənd gaʊʤ. pərˈhæps ɪn ə jɪr ər tu ðə dəst wɪl hæv ˈsɛtəld ənd hæv əraɪvd æt səm sɔrt əv kənˈsɛnsəs ɔn haʊ tɪ seɪ ðɪs ˈlɪtəl wərd. bət fər ðə ˈmoʊmənt, maɪ əˈfɪʃəl ˈlɪŋgwɪst prəˌnənsiˈeɪʃən ədˈvaɪs ɔn ðə wərd doʊʤ ɪz noʊ ðət mim? wɪθ ðə inus*? doh-something*? jæ, ðət one.”*.” haʊ du ju prəˈnaʊns ɪt? mɔr frəm ðə wik: ɔnt, ˈædəlt, pəˈʤɑməz: waɪ wi əˈgri haʊ tɪ prəˈnaʊns ˈkɑmən wərdz? ðə ˌɛvəˈluʃən əv ˈproʊnaʊn ˈprɑbləm ðə kərˈɛkt prəˌnənsiˈeɪʃən əv ˈfɛbruˌɛri?
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you may or may not realize that you have a facebook email address. it's an address you can use to correspond with people on external email accounts from your facebook. though it was called a killer" when it first came out in 2010, it seems instead to have been d.o.a. as far as i can tell, no one really uses it. no one seems to want the facebook to be their main email account (with good reason). facebook is trying to change that with a new little nudge. on your profile page, facebook has taken the liberty of making your facebook email your default contact address. (see right, and check your own profile.)
for me, this contact email was previously either my forbes account or my account -- both of which i prefer to be emailed at. while i appreciate facebook as a "white pages" that allows me to reach out to just about anyone, i'm not a fan of the social network's screwy messaging system and the way it your email for you, putting emails from 'strangers' in a shadow that's easy to miss. as a result, i barely check my facebook.
whether you opted for one or not, you do have a facebook email address. if you have created a facebook vanity (such as "https://www.facebook.com/kashmir.hill") then your email address is that vain phrase at the end plus. if you haven't customized your facebook, then your email address consists of the random number facebook has assigned to your profile -- which makes for a pretty lame email account. (see right.)
the presumptuous change to your contact preference was first noted by gervase markham on his blog. he objects strenuously to facebook email addresses for users and then trying to force those contacting them to use it. it's an interception of user communications under the light markham shines on it:
in other words, facebook silently inserted themselves into the path of communications from people who want to email me. in other contexts, this is known as a man in the middle (mitm) attack. what on earth do they think they are playing at? via facebook my email | hacking for christ.
security researcher meanwhile calls it "slightly fishy to your default email address with 'facebook.com' without any user consent." after all, it should be up to facebook users to determine the information in their profile about how they want to be contacted, not facebook. i hope they don't start taking other liberties with my profile page, changing my interests, hobbies, and "in a relationship with" to "facebook. only facebook." i realize that there's research out there suggesting that on facebook is as pleasurable as sex and eating delicious things, but i'm not that into it.
a facebook spokesperson says the company has been updating facebook addresses for users since april. without specifying when exactly the company made this the default contract address for its users, the spokesperson says the site is "rolling out a new setting that gives people the choice to decide which addresses they want to show on their timelines."
"ever since the launch of timeline, people have had the ability to control what posts they want to show or hide on their own timelines, and today extending that to other information they post, starting with the facebook address," says spokesperson andrew noyes via email.
this is another in a long line of 'nudges' facebook gives users to try to get them to spend more time on the site, and to make it users' sole destination when they go online. facebook would love to be the resort of the web, replete with complimentary digital (that you're forced to chug) upon entry. but this change is more a shove than a nudge, potentially circumventing emails you'd like to go elsewhere.
to assert your actual contact preference, you have to go to your profile page, hide the address from your timeline, and replace it with another address, assuming you want to be contacted at all.
read more:
what employers are thinking when they look at your facebook page
facebook plans to end the 'no kids under 13' farce
here's a completely different reason to be skeptical about facebook
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ju meɪ ər meɪ nɑt ˈriəˌlaɪz ðət ju hæv ə ˈfeɪsˌbʊk iˈmeɪl ˈæˌdrɛs. ɪts ən ˈæˌdrɛs ju kən juz tɪ ˌkɔrəˈspɑnd wɪθ ˈpipəl ɔn ɪkˈstərnəl iˈmeɪl əˈkaʊnts frəm jʊr ˈfeɪsˌbʊk. ðoʊ ɪt wɑz kɔld ə ˈkɪlər" wɪn ɪt fərst keɪm aʊt ɪn 2010 ɪt simz ˌɪnˈstɛd tɪ hæv bɪn d.o.a*. ɛz fɑr ɛz aɪ kən tɛl, noʊ wən ˈrɪli ˈjuzɪz ɪt. noʊ wən simz tɪ wɔnt ðə ˈfeɪsˌbʊk tɪ bi ðɛr meɪn iˈmeɪl əˈkaʊnt (wɪθ gʊd ˈrizən). ˈfeɪsˌbʊk ɪz traɪɪŋ tɪ ʧeɪnʤ ðət wɪθ ə nu ˈlɪtəl nəʤ. ɔn jʊr ˈproʊˌfaɪl peɪʤ, ˈfeɪsˌbʊk həz ˈteɪkən ðə ˈlɪbərˌti əv ˈmeɪkɪŋ jʊr ˈfeɪsˌbʊk iˈmeɪl jʊr dɪˈfɔlt ˈkɑnˌtækt ˈæˌdrɛs. (si raɪt, ənd ʧɛk jʊr oʊn ˈproʊˌfaɪl.) fər mi, ðɪs ˈkɑnˌtækt iˈmeɪl wɑz ˈpriviəsli ˈiðər maɪ fɔrbz əˈkaʊnt ər maɪ əˈkaʊnt boʊθ əv wɪʧ aɪ prɪˈfər tɪ bi iˈmeɪld æt. waɪl aɪ əˈpriʃiˌeɪt ˈfeɪsˌbʊk ɛz ə "waɪt ˈpeɪʤɪz" ðət əˈlaʊz mi tɪ riʧ aʊt tɪ ʤɪst əˈbaʊt ˈɛniˌwən, əm nɑt ə fæn əv ðə ˈsoʊʃəl ˈnɛtˌwərks skrui ˈmɛsɪʤɪŋ ˈsɪstəm ənd ðə weɪ ɪt jʊr iˈmeɪl fər ju, ˈpʊtɪŋ iˈmeɪlz frəm 'ˈstreɪnʤərz' ɪn ə ˈʃæˌdoʊ ðæts ˈizi tɪ mɪs. ɛz ə rɪˈzəlt, aɪ ˈbɛrli ʧɛk maɪ ˈfeɪsˌbʊk. ˈwɛðər ju ˈɑptɪd fər wən ər nɑt, ju du hæv ə ˈfeɪsˌbʊk iˈmeɪl ˈæˌdrɛs. ɪf ju hæv kriˈeɪtɪd ə ˈfeɪsˌbʊk ˈvænɪti (səʧ ɛz "https://www.facebook.com/kashmir.hill*") ðɛn jʊr iˈmeɪl ˈæˌdrɛs ɪz ðət veɪn freɪz æt ðə ɛnd pləs. ɪf ju ˈhævənt ˈkəstəˌmaɪzd jʊr ˈfeɪsˌbʊk, ðɛn jʊr iˈmeɪl ˈæˌdrɛs kənˈsɪsts əv ðə ˈrændəm ˈnəmbər ˈfeɪsˌbʊk həz əˈsaɪnd tɪ jʊr ˈproʊˌfaɪl wɪʧ meɪks fər ə ˈprɪti leɪm iˈmeɪl əˈkaʊnt. (si raɪt.) ðə prɪˈzəmpʧəwəs ʧeɪnʤ tɪ jʊr ˈkɑnˌtækt ˈprɛfərəns wɑz fərst ˈnoʊtɪd baɪ ˈgərvəs ˈmɑrkəm ɔn hɪz blɔg. hi ˈɑbʤɛkts ˈstrɛnjuəsli tɪ ˈfeɪsˌbʊk iˈmeɪl ˈæˈdrɛsɪz fər ˈjuzərz ənd ðɛn traɪɪŋ tɪ fɔrs ðoʊz ˈkɑnˌtæktɪŋ ðɛm tɪ juz ɪt. ɪts ən ˌɪnərˈsɛpʃən əv ˈjuzər kəmˌjunəˈkeɪʃənz ˈəndər ðə laɪt ˈmɑrkəm ʃaɪnz ɔn ɪt: ɪn ˈəðər wərdz, ˈfeɪsˌbʊk ˈsaɪləntli ˌɪnˈsərtɪd ðɛmˈsɛlvz ˈɪntu ðə pæθ əv kəmˌjunəˈkeɪʃənz frəm ˈpipəl hu wɔnt tɪ iˈmeɪl mi. ɪn ˈəðər ˈkɑnˌtɛksts, ðɪs ɪz noʊn ɛz ə mæn ɪn ðə ˈmɪdəl (mitm*) əˈtæk. wət ɔn ərθ du ðeɪ θɪŋk ðeɪ ər pleɪɪŋ æt? ˈviə ˈfeɪsˌbʊk maɪ iˈmeɪl ˈhækɪŋ fər kraɪst. sɪˈkjʊrəti ˈrisərʧər ˈminˌwaɪl kɔlz ɪt "sˈlaɪtli ˈfɪʃi tɪ jʊr dɪˈfɔlt iˈmeɪl ˈæˌdrɛs wɪθ 'facebook.com*' wɪˈθaʊt ˈɛni ˈjuzər kənˈsɛnt." ˈæftər ɔl, ɪt ʃʊd bi əp tɪ ˈfeɪsˌbʊk ˈjuzərz tɪ dɪˈtərmən ðə ˌɪnˌfɔrˈmeɪʃən ɪn ðɛr ˈproʊˌfaɪl əˈbaʊt haʊ ðeɪ wɔnt tɪ bi ˈkɑnˌtæktɪd, nɑt ˈfeɪsˌbʊk. aɪ hoʊp ðeɪ doʊnt stɑrt ˈteɪkɪŋ ˈəðər ˈlɪbərˌtiz wɪθ maɪ ˈproʊˌfaɪl peɪʤ, ˈʧeɪnʤɪŋ maɪ ˈɪntərɪsts, ˈhɑbiz, ənd "ɪn ə riˈleɪʃənˌʃɪp wɪθ" tɪ "ˈfeɪsˌbʊk. ˈoʊnli ˈfeɪsˌbʊk." aɪ ˈriəˌlaɪz ðət ðɛrz ˈrisərʧ aʊt ðɛr səˈʤɛstɪŋ ðət ɔn ˈfeɪsˌbʊk ɪz ɛz ˈplɛʒərəbəl ɛz sɛks ənd ˈitɪŋ dɪˈlɪʃəs θɪŋz, bət əm nɑt ðət ˈɪntu ɪt. ə ˈfeɪsˌbʊk ˈspoʊkspərsən sɪz ðə ˈkəmpəˌni həz bɪn ˈəpˌdeɪtɪŋ ˈfeɪsˌbʊk ˈæˈdrɛsɪz fər ˈjuzərz sɪns ˈeɪprəl. wɪˈθaʊt ˈspɛsəˌfaɪɪŋ wɪn ɪgˈzæktli ðə ˈkəmpəˌni meɪd ðɪs ðə dɪˈfɔlt ˈkɑnˌtrækt ˈæˌdrɛs fər ɪts ˈjuzərz, ðə ˈspoʊkspərsən sɪz ðə saɪt ɪz "ˈroʊlɪŋ aʊt ə nu ˈsɛtɪŋ ðət gɪvz ˈpipəl ðə ʧɔɪs tɪ ˌdɪˈsaɪd wɪʧ ˈæˈdrɛsɪz ðeɪ wɔnt tɪ ʃoʊ ɔn ðɛr ˈtaɪmlaɪnz." "ˈɛvər sɪns ðə lɔnʧ əv ˈtaɪmlaɪn, ˈpipəl hæv hæd ðə əˈbɪləˌti tɪ kənˈtroʊl wət poʊsts ðeɪ wɔnt tɪ ʃoʊ ər haɪd ɔn ðɛr oʊn ˈtaɪmlaɪnz, ənd təˈdeɪ ɪkˈstɛndɪŋ ðət tɪ ˈəðər ˌɪnˌfɔrˈmeɪʃən ðeɪ poʊst, ˈstɑrtɪŋ wɪθ ðə ˈfeɪsˌbʊk ˈæˌdrɛs," sɪz ˈspoʊkspərsən ˈændru nɔɪz ˈviə iˈmeɪl. ðɪs ɪz əˈnəðər ɪn ə lɔŋ laɪn əv 'ˈnəʤɪz' ˈfeɪsˌbʊk gɪvz ˈjuzərz tɪ traɪ tɪ gɪt ðɛm tɪ spɛnd mɔr taɪm ɔn ðə saɪt, ənd tɪ meɪk ɪt ˈjuzərz' soʊl ˌdɛstɪˈneɪʃən wɪn ðeɪ goʊ ˈɔnˌlaɪn. ˈfeɪsˌbʊk wʊd ləv tɪ bi ðə rɪˈzɔrt əv ðə wɛb, riˈplit wɪθ ˌkɑmpləˈmɛntəri ˈdɪʤɪtəl (ðət jʊr fɔrst tɪ ʧəg) əˈpɑn ˈɛntri. bət ðɪs ʧeɪnʤ ɪz mɔr ə ʃəv ðən ə nəʤ, pəˈtɛnʃəli ˌsərkəmˈvɛntɪŋ iˈmeɪlz jʊd laɪk tɪ goʊ ˈɛlsˌwɛr. tɪ əˈsərt jʊr ˈækʧəwəl ˈkɑnˌtækt ˈprɛfərəns, ju hæv tɪ goʊ tɪ jʊr ˈproʊˌfaɪl peɪʤ, haɪd ðə ˈæˌdrɛs frəm jʊr ˈtaɪmlaɪn, ənd ˌriˈpleɪs ɪt wɪθ əˈnəðər ˈæˌdrɛs, əˈsumɪŋ ju wɔnt tɪ bi ˈkɑnˌtæktɪd æt ɔl. rɛd mɔr: wət ɪmˈplɔɪərz ər ˈθɪŋkɪŋ wɪn ðeɪ lʊk æt jʊr ˈfeɪsˌbʊk peɪʤ ˈfeɪsˌbʊk plænz tɪ ɛnd ðə 'noʊ kɪdz ˈəndər 13 fɑrs hɪrz ə kəmˈplitli ˈdɪfərənt ˈrizən tɪ bi ˈskɛptɪkəl əˈbaʊt ˈfeɪsˌbʊk
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chelsea’s main man diego costa could have been a hero at and was lined up to partner luis suarez up front.
my word, imagine that.
costa, 26, has revealed to the daily mirror that he came close to joining the reds back in 2013 after liverpool triggered the $30 million release clause in his contract.
[ related: how things stand with 10 games left ]
the spanish international striker turned down liverpool and remained at to
“i was close to leaving,” costa said. “liverpool are a great team, but after fighting so hard and overcoming difficulties to get my place at, how could i leave? i thought it was very important to keep growing with and to play there for many years.”
costa has scored 17 times for chelsea this season as he leads the premier league in goals scored, with the forward a major success in his first season in england. costa scored winning goal in a win at earlier this season and the two sides meet in west london on may 9.
of course, there is plenty of controversy that comes with costa as his recent ban for stamping on can in the league cup semifinal proved. with suarez already a stunning striker and the main man at but a liability with his antics, perhaps it was a good thing costa decided to turn down liverpool and remain in spain.
then again, imagine if costa and suarez were paired up front during the season at? surely a premier league title would have arrived instead of the reds finishing second.
what could have been liverpool fans, what could have been…
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klɪk tɪ iˈmeɪl ðɪs tɪ ə frɛnd (ˈoʊpənz ɪn nu ˈwɪndoʊ) meɪn mæn diˈeɪgoʊ ˈkɔstɑ kʊd hæv bɪn ə ˈhɪroʊ æt ənd wɑz laɪnd əp tɪ ˈpɑrtnər luis swɑˈrɛz əp frənt. maɪ wərd, ˌɪˈmæʤən ðət. ˈkɔstɑ, 26 həz rɪˈvild tɪ ðə ˈdeɪli ˈmɪrər ðət hi keɪm kloʊz tɪ ˈʤɔɪnɪŋ ðə rɛdz bæk ɪn 2013 ˈæftər ˈlɪvərˌpul ˈtrɪgərd ðə 30 ˈmɪljən riˈlis klɔz ɪn hɪz ˈkɑnˌtrækt. rɪˈleɪtɪd: haʊ θɪŋz stænd wɪθ 10 geɪmz lɛft ðə ˈspænɪʃ ˌɪnərˈnæʃənɑl ˈstraɪkər tərnd daʊn ˈlɪvərˌpul ənd rɪˈmeɪnd æt tɪ wɑz kloʊz tɪ ˈlivɪŋ atletico,”*,” ˈkɔstɑ sɛd. ər ə greɪt tim, bət ˈæftər ˈfaɪtɪŋ soʊ hɑrd ənd ˈoʊvərˌkəmɪŋ ˈdɪfɪˌkəltiz tɪ gɪt maɪ pleɪs æt, haʊ kʊd aɪ liv? aɪ θɔt ɪt wɑz ˈvɛri ˌɪmˈpɔrtənt tɪ kip groʊɪŋ wɪθ ənd tɪ pleɪ ðɛr fər ˈmɛni years.”*.” ˈkɔstɑ həz skɔrd 17 taɪmz fər ˈʧɛlsi ðɪs ˈsizən ɛz hi lidz ðə prɛˈmɪr lig ɪn goʊlz skɔrd, wɪθ ðə ˈfɔrwərd ə ˈmeɪʤər səkˈsɛs ɪn hɪz fərst ˈsizən ɪn ˈɪŋglənd. ˈkɔstɑ skɔrd ˈwɪnɪŋ goʊl ɪn ə wɪn æt ˈərliər ðɪs ˈsizən ənd ðə tu saɪdz mit ɪn wɛst ˈləndən ɔn meɪ 9 əv kɔrs, ðɛr ɪz ˈplɛnti əv ˈkɑntrəˌvərsi ðət kəmz wɪθ ˈkɔstɑ ɛz hɪz ˈrisənt bæn fər ˈstæmpɪŋ ɔn kən ɪn ðə lig kəp ˌsɛmɪˈfaɪnəl pruvd. wɪθ swɑˈrɛz ɔˈrɛdi ə ˈstənɪŋ ˈstraɪkər ənd ðə meɪn mæn æt bət ə ˌlaɪəˈbɪlɪti wɪθ hɪz ˈæntɪks, pərˈhæps ɪt wɑz ə gʊd θɪŋ ˈkɔstɑ ˌdɪˈsaɪdɪd tɪ tərn daʊn ˈlɪvərˌpul ənd rɪˈmeɪn ɪn speɪn. ðɛn əˈgɛn, ˌɪˈmæʤən ɪf ˈkɔstɑ ənd swɑˈrɛz wər pɛrd əp frənt ˈdʊrɪŋ ðə ˈsizən æt? ˈʃʊrli ə prɛˈmɪr lig ˈtaɪtəl wʊd hæv əraɪvd ˌɪnˈstɛd əv ðə rɛdz ˈfɪnɪʃɪŋ ˈsɛkənd. wət kʊd hæv bɪn ˈlɪvərˌpul fænz, wət kʊd hæv been…*… ˈfɑloʊ
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Australians are seen as nothing like the caring, friendly and hospitable mob so often assumed, with an extensive new survey of recent migrants reporting high levels of ethnic or religious discrimination.
As the Abbott government prepares to strike down part of the racial discrimination law, the Monash University study has found many migrants regularly fear walking alone at night or becoming a victim of crime.
The survey, to be released on Monday, is the latest in a series ''mapping social cohesion'' funded by the Scanlon Foundation and the federal government, and the first to allow researchers to compare the experience of recent migrants to the wider Australian population.
It shows migrants settling over the past two decades often feel singled out because of their skin colour or faith - and report a disturbing lack of trust, both in other people and political institutions compared to the rest of the population.
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ɔˈstreɪljənz ər sin ɛz ˈnəθɪŋ laɪk ðə ˈkɛrɪŋ, ˈfrɛndli ənd ˈhɑˈspɪtəbəl mɑb soʊ ˈɔfən əˈsumd, wɪθ ən ɪkˈstɛnsɪv nu ˈsərˌveɪ əv ˈrisənt ˈmaɪgrənts rɪˈpɔrtɪŋ haɪ ˈlɛvəlz əv ˈɛθnɪk ər rɪˈlɪʤəs dɪˌskrɪməˈneɪʃən. ɛz ðə ˈæbət ˈgəvərnmənt pərˈpɛrz tɪ straɪk daʊn pɑrt əv ðə ˈreɪʃəl dɪˌskrɪməˈneɪʃən lɔ, ðə ˈmɑˌnæʃ ˌjunəˈvərsəti ˈstədi həz faʊnd ˈmɛni ˈmaɪgrənts ˈrɛgjələrli fɪr ˈwɔkɪŋ əˈloʊn æt naɪt ər bɪˈkəmɪŋ ə ˈvɪktɪm əv kraɪm. ðə ˈsərˌveɪ, tɪ bi riˈlist ɔn ˈmənˌdeɪ, ɪz ðə ˈleɪtəst ɪn ə ˈsɪriz ''ˈmæpɪŋ ˈsoʊʃəl koʊˈhiʒən'' ˈfəndɪd baɪ ðə ˈskænlən faʊnˈdeɪʃən ənd ðə ˈfɛdərəl ˈgəvərnmənt, ənd ðə fərst tɪ əˈlaʊ ˈrisərʧərz tɪ kəmˈpɛr ðə ɪkˈspɪriəns əv ˈrisənt ˈmaɪgrənts tɪ ðə ˈwaɪdər ɔˈstreɪljən ˌpɑpjəˈleɪʃən. ɪt ʃoʊz ˈmaɪgrənts ˈsɛtəlɪŋ ˈoʊvər ðə pæst tu ˈdɛkeɪdz ˈɔfən fil ˈsɪŋgəld aʊt bɪˈkəz əv ðɛr skɪn ˈkələr ər feɪθ ənd rɪˈpɔrt ə dɪˈstərbɪŋ læk əv trəst, boʊθ ɪn ˈəðər ˈpipəl ənd pəˈlɪtɪkəl ˌɪnstɪˈtuʃənz kəmˈpɛrd tɪ ðə rɛst əv ðə ˌpɑpjəˈleɪʃən.
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one person has been arrested in connection with the death of a college student who was known to have protested against illicit liquor and drug dens in his locality, about 30 from body of was found near the railway lines on saturday. according to his family, had apparently been called out of his house at on friday evening by some locals. when his family went out to look for him, they couldn't find him and registered a complaint with the those who had called out of his house was karmarkar, who is believed to control the illicit liquor and drug trade in the area. he is police have arrested one talukdar, believed to be a local criminal, in connection with the case. the has called a today to protest's after his body was found on saturday, locals blocked the rail lines and later the key road where police had to resort to a to disperse the crowds.
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wən ˈpərsən həz bɪn ərˈɛstɪd ɪn kəˈnɛkʃən wɪθ ðə dɛθ əv ə ˈkɑlɪʤ ˈstudənt hu wɑz noʊn tɪ hæv ˈproʊˌtɛstəd əˈgɛnst ˌɪˈlɪsət ˈlɪkər ənd drəg dɛnz ɪn hɪz loʊˈkæləti, əˈbaʊt 30 frəm ˈbɑdi əv wɑz faʊnd nɪr ðə ˈreɪlˌweɪ laɪnz ɔn ˈsæˌtɪˌdeɪ. əˈkɔrdɪŋ tɪ hɪz ˈfæməli, hæd əˈpɛrəntli bɪn kɔld aʊt əv hɪz haʊs æt ɔn ˈfraɪˌdeɪ ˈivnɪŋ baɪ səm ˈloʊkəlz. wɪn hɪz ˈfæməli wɛnt aʊt tɪ lʊk fər ɪm, ðeɪ ˈkʊdənt faɪnd ɪm ənd ˈrɛʤɪstərd ə kəmˈpleɪnt wɪθ ðə ðoʊz hu hæd kɔld aʊt əv hɪz haʊs wɑz karmarkar*, hu ɪz bɪˈlivd tɪ kənˈtroʊl ðə ˌɪˈlɪsət ˈlɪkər ənd drəg treɪd ɪn ðə ˈɛriə. hi ɪz pəˈlis hæv ərˈɛstɪd wən talukdar*, bɪˈlivd tɪ bi ə ˈloʊkəl ˈkrɪmənəl, ɪn kəˈnɛkʃən wɪθ ðə keɪs. ðə həz kɔld ə təˈdeɪ tɪ ˈproʊˌtɛst ˈæftər hɪz ˈbɑdi wɑz faʊnd ɔn ˈsæˌtɪˌdeɪ, ˈloʊkəlz blɑkt ðə reɪl laɪnz ənd ˈleɪtər ðə ki roʊd wɛr pəˈlis hæd tɪ rɪˈzɔrt tɪ ə tɪ dɪˈspərs ðə kraʊdz.
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tuesday in davos, switzerland, at the world economic forum, discussing if the upcoming administration of donald trump will pull out of the nuclear deal with iran, secretary of state john kerry said if they do other nations will continue the deal, so the trump administration “will have done great injury” to u.s. “credibility” and “it will hurt for the endurance of a year, two years, whatever, while the administration is there.”
kerry said, “take iran for instance. if the united states were to decide suddenly, and say ‘hey we are not going to pursue this,’ and so forth, i bet youi talked to all of them but bet you that our friends and allies who negotiated this will get together, and that russia, china, germany, france, and britain will say, ‘you know what, this is a good deal. going to keep it.’ and iran will keep it. and have made ourselves the odd person out. have injured our own credibility in, conceivably, an irreparable way. not irreparably. time, and just too dramatic. but we will have done great injury to ourselves. and it will hurt for the endurance of a year, two years, whatever, while the administration is there. but unnecessary”
interrupted by audience laughter, kerry said, “i told you i was going to be active. i say how active.”
(h/t business insider)
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ˈtuzˌdeɪ ɪn ˈdɑvoʊs, sˈwɪtsərlənd, æt ðə wərld ˌɛkəˈnɑmɪk ˈfɔrəm, dɪˈskəsɪŋ ɪf ðə ˈəpˌkəmɪŋ ædˌmɪnɪˈstreɪʃən əv ˈdɑnəld trəmp wɪl pʊl aʊt əv ðə ˈnukliər dil wɪθ ˌɪˈrɑn, ˈsɛkrəˌtɛri əv steɪt ʤɑn ˈkɛri sɛd ɪf ðeɪ du ˈəðər ˈneɪʃənz wɪl kənˈtɪnju ðə dil, soʊ ðə trəmp ædˌmɪnɪˈstreɪʃən hæv dən greɪt injury”*” tɪ juz. ““credibility”*” ənd wɪl hərt fər ðə ˈɛndərəns əv ə jɪr, tu jɪrz, ˌwəˈtɛvər, waɪl ðə ædˌmɪnɪˈstreɪʃən ɪz there.”*.” ˈkɛri sɛd, ˌɪˈrɑn fər ˈɪnstəns. ɪf ðə juˈnaɪtɪd steɪts wər tɪ ˌdɪˈsaɪd ˈsədənli, ənd seɪ wi ər nɑt goʊɪŋ tɪ pərˈsu this,’*,’ ənd soʊ fɔrθ, aɪ bɛt ju tɔkt tɪ ɔl əv ðɛm bət bɛt ju ðət ɑr frɛndz ənd ˈælaɪz hu nɪˈgoʊʃiˌeɪtɪd ðɪs wɪl gɪt təˈgɛðər, ənd ðət ˈrəʃə, ˈʧaɪnə, ˈʤərməni, fræns, ənd ˈbrɪtən wɪl seɪ, noʊ wət, ðɪs ɪz ə gʊd dil. goʊɪŋ tɪ kip it.’*.’ ənd ˌɪˈrɑn wɪl kip ɪt. ənd hæv meɪd ɑrˈsɛlvz ðə ɑd ˈpərsən aʊt. hæv ˈɪnʤərd ɑr oʊn ˌkrɛdəˈbɪlɪti ɪn, kənˈsivəbli, ən ˌɪˈrɛpərəbəl weɪ. nɑt ˌɪˈrɛpərəbli. taɪm, ənd ʤɪst tu drəˈmætɪk. bət wi wɪl hæv dən greɪt ˈɪnʤəri tɪ ɑrˈsɛlvz. ənd ɪt wɪl hərt fər ðə ˈɛndərəns əv ə jɪr, tu jɪrz, ˌwəˈtɛvər, waɪl ðə ædˌmɪnɪˈstreɪʃən ɪz ðɛr. bət ənˈnɛsəˌsɛri ˌɪntərˈəptɪd baɪ ˈɔdiəns ˈlæftər, ˈkɛri sɛd, toʊld ju aɪ wɑz goʊɪŋ tɪ bi ˈæktɪv. aɪ seɪ haʊ active.”*.” ˈbɪznɪs ˌɪnˈsaɪdər) ˈfɑloʊ pæm ki ɔn tˈwɪtər
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the move comes after ceo jeffrey katzenberg has tried for years to sell the company.
jeffrey katzenberg might have finally found a buyer for his dreamworks animation.
the glendale animation company is in talks with comcast to be sold for more than $3 billion, sources confirm to the hollywood reporter.
the potential acquisition would fold into an entertainment conglomerate that controls key properties such as nbc, telemundo, the usa network and universal studios. it also would be a strong fit for, which has 19 animated television shows in production alongside blockbuster film franchises like kung fu panda and shrek.
the move would provide katzenberg, ceo of the animation company, with a strong buyer after years of searching. in november, he held advanced talks with toymaker hasbro about a possible after months earlier holding a round of discussions with japanese telecommunications giant softbank. the mogul also has courted everyone from century fox to various chinese companies.
dwa declined to comment on the news, first reported by the wall street journal, and a spokesperson for also declined to comment.
a $3 billion price tag would offer a decent premium for shareholders who have invested in a company presently worth $2.3 billion.
it was not clear if katzenberg would maintain a role in running the studio he helped to form in 1997 under parent company dreamworks skg, which he had created five years earlier along with steven spielberg and david geffen. the animation studio was spun off as a separate company in 2004, with katzenberg at the helm.
the studio currently has a distribution deal with century fox that runs out at the end of 2017. so, any linkup with comcast's universal would be timely. the bid also comes several months after spielberg's reinvigorated dreamworks studios now called amblin partners signed a sweeping distribution deal with universal.
buying would give universal two of hollywood's leading animation studios, since it already owns chris illumination entertainment, home of the blockbuster minions franchise. with both and illumination in-house, universal could challenge disney's animation powerhouse combination of pixar and disney animation studios.
on the flip side, by adding to its fold, universal would have two animation studios competing for coveted release slots in the crowded market.
katzenberg has steered the glendale film studio through a number of financial challenges during the past few years as he has worked to diversify the company. he formed a joint venture in 2012 with chinese companies to build a studio, oriental dreamworks, which was involved in the company's latest animated movie, kung fu panda 3, which has grossed $504 million worldwide since its jan. 29 release.
in 2013, also bought the digital content company tv and signed a multiyear deal to provide original content to netflix.
meanwhile, has been in the process of transforming its film operations after a series of disappointments, including turbo and penguins of madagascar, weighed on its quarterly results. responded by cutting 500 jobs last year, closed an animation studio in redwood city, calif., and put new executives in charge of the film studio.
katzenberg who received $13.5 million in compensation last year has focused on turning around the company, which will release its next movie, trolls, in november in hopes of launching a new franchise. he has been attempting to duplicate the success seen in earlier hits like the shrek series. shrek 2,'s movie, collected $909 million worldwide when it was released in 2004.
last year, the company reported a $53.9 million loss that was a big improvement from the $308 million deficit it registered in 2014.
however, the stock price has remained choppy during the past few years. though it closed last year about 15 percent higher, it was still rebounding from a brutal 2014, when the stock cratered 37 percent. it closed on tuesday down fractionally at $27.12, giving it a market value of $2.35 billion (though, factoring in debt, it is worth about $2.6 billion).
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ðə muv kəmz ˈæftər ˈsiˌiˈoʊ ˈʤɛfri ˈkætsənbərg həz traɪd fər jɪrz tɪ sɛl ðə ˈkəmpəˌni. ˈʤɛfri ˈkætsənbərg maɪt hæv ˈfaɪnəli faʊnd ə baɪər fər hɪz ˈdrimˌwərks ˌænəˈmeɪʃən. ðə ˈglɛnˌdeɪl ˌænəˈmeɪʃən ˈkəmpəˌni ɪz ɪn tɔks wɪθ ˈkɑmˌkæst tɪ bi soʊld fər mɔr ðən 3 ˈbɪljən, ˈsɔrsəz kənˈfərm tɪ ðə ˈhɑliˌwʊd rɪˈpɔrtər. ðə pəˈtɛnʃəl ˌækwəˈzɪʃən wʊd foʊld ˈɪntu ən ˌɛnərˈteɪnmənt kənˈglɑmərət ðət kənˈtroʊlz ki ˈprɑpərtiz səʧ ɛz ˈɛnˌbiˈsi, ˌtɛləˈmundoʊ, ðə ˈjuˈɛˈseɪ ˈnɛtˌwərk ənd ˌjunəˈvərsəl ˈstudiˌoʊz. ɪt ˈɔlsoʊ wʊd bi ə strɔŋ fɪt fər, wɪʧ həz 19 ˈænəˌmeɪtɪd ˈtɛləˌvɪʒən ʃoʊz ɪn pərˈdəkʃən əˈlɔŋˈsaɪd ˈblɑkˌbəstər fɪlm ˈfrænˌʧaɪzɪz laɪk kəŋ fu ˈpændə ənd ʃrɛk. ðə muv wʊd prəˈvaɪd ˈkætsənbərg, ˈsiˌiˈoʊ əv ðə ˌænəˈmeɪʃən ˈkəmpəˌni, wɪθ ə strɔŋ baɪər ˈæftər jɪrz əv ˈsərʧɪŋ. ɪn noʊˈvɛmbər, hi hɛld ədˈvænst tɔks wɪθ ˈtɔɪˌmeɪkər ˈhæzbroʊ əˈbaʊt ə ˈpɑsəbəl ˈæftər mənθs ˈərliər ˈhoʊldɪŋ ə raʊnd əv dɪˈskəʃənz wɪθ ˌʤæpəˈniz ˌtɛləkəmˌjunəˈkeɪʃənz ʤaɪənt ˈsɔftˌbæŋk. ðə ˈmoʊgəl ˈɔlsoʊ həz ˈkɔrtɪd ˈɛvriˌwən frəm ˈsɛnʧəri fɑks tɪ ˈvɛriəs ʧaɪˈniz ˈkəmpəˌniz. dɪˈklaɪnd tɪ ˈkɑmɛnt ɔn ðə nuz, fərst ˌriˈpɔrtəd baɪ ðə wɔl strit ˈʤərnəl, ənd ə ˈspoʊkspərsən fər ˈɔlsoʊ dɪˈklaɪnd tɪ ˈkɑmɛnt. ə 3 ˈbɪljən praɪs tæg wʊd ˈɔfər ə ˈdisənt ˈprimiəm fər ˈʃɛˌrhoʊldərz hu hæv ˌɪnˈvɛstɪd ɪn ə ˈkəmpəˌni ˈprɛzəntli wərθ ˈbɪljən. ɪt wɑz nɑt klɪr ɪf ˈkætsənbərg wʊd meɪnˈteɪn ə roʊl ɪn ˈrənɪŋ ðə ˈstudiˌoʊ hi hɛlpt tɪ fɔrm ɪn 1997 ˈəndər ˈpɛrənt ˈkəmpəˌni ˈdrimˌwərks skg*, wɪʧ hi hæd kriˈeɪtɪd faɪv jɪrz ˈərliər əˈlɔŋ wɪθ ˈstivən ˈspilbərg ənd ˈdeɪvɪd ˈgɛfən. ðə ˌænəˈmeɪʃən ˈstudiˌoʊ wɑz spən ɔf ɛz ə ˈsɛpərˌeɪt ˈkəmpəˌni ɪn 2004 wɪθ ˈkætsənbərg æt ðə hɛlm. ðə ˈstudiˌoʊ ˈkərəntli həz ə ˌdɪstrəˈbjuʃən dil wɪθ ˈsɛnʧəri fɑks ðət rənz aʊt æt ðə ɛnd əv 2017 soʊ, ˈɛni ˈlɪŋˌkəp wɪθ ˈkɑmˌkæsts ˌjunəˈvərsəl wʊd bi ˈtaɪmli. ðə bɪd ˈɔlsoʊ kəmz ˈsɛvərəl mənθs ˈæftər ˈspilbərgz ˌriɪnˈvɪgərˌeɪtɪd ˈdrimˌwərks ˈstudiˌoʊz naʊ kɔld ˈæmblɪn ˈpɑrtnərz saɪnd ə sˈwipɪŋ ˌdɪstrəˈbjuʃən dil wɪθ ˌjunəˈvərsəl. baɪɪŋ wʊd gɪv ˌjunəˈvərsəl tu əv ˈhɑliˌwʊdz ˈlidɪŋ ˌænəˈmeɪʃən ˈstudiˌoʊz, sɪns ɪt ɔˈrɛdi oʊnz krɪs ˌɪˌluməˈneɪʃən ˌɛnərˈteɪnmənt, hoʊm əv ðə ˈblɑkˌbəstər ˈmɪnjənz ˈfrænˌʧaɪz. wɪθ boʊθ ənd ˌɪˌluməˈneɪʃən ˌɪnˈhaʊs, ˌjunəˈvərsəl kʊd ˈʧælənʤ ˈdɪzniz ˌænəˈmeɪʃən ˈpaʊərˌhaʊs ˌkɑmbəˈneɪʃən əv ˈpɪksɑr ənd ˈdɪzni ˌænəˈmeɪʃən ˈstudiˌoʊz. ɔn ðə flɪp saɪd, baɪ ˈædɪŋ tɪ ɪts foʊld, ˌjunəˈvərsəl wʊd hæv tu ˌænəˈmeɪʃən ˈstudiˌoʊz kəmˈpitɪŋ fər ˈkəvətɪd riˈlis slɑts ɪn ðə ˈkraʊdɪd ˈmɑrkɪt. ˈkætsənbərg həz stɪrd ðə ˈglɛnˌdeɪl fɪlm ˈstudiˌoʊ θru ə ˈnəmbər əv ˌfaɪˈnænʃəl ˈʧælənʤɪz ˈdʊrɪŋ ðə pæst fju jɪrz ɛz hi həz wərkt tɪ dɪˈvərsəˌfaɪ ðə ˈkəmpəˌni. hi fɔrmd ə ʤɔɪnt ˈvɛnʧər ɪn 2012 wɪθ ʧaɪˈniz ˈkəmpəˌniz tɪ bɪld ə ˈstudiˌoʊ, ˌɔriˈɛnəl ˈdrimˌwərks, wɪʧ wɑz ˌɪnˈvɑlvd ɪn ðə ˈkəmpəniz ˈleɪtəst ˈænəˌmeɪtɪd ˈmuvi, kəŋ fu ˈpændə 3 wɪʧ həz groʊst 504 ˈmɪljən ˈwərldˈwaɪd sɪns ɪts ʤæn. 29 riˈlis. ɪn 2013 ˈɔlsoʊ bɔt ðə ˈdɪʤɪtəl ˈkɑntɛnt ˈkəmpəˌni ˌtɛləˈvɪʒən ənd saɪnd ə ˈməltiˈjir dil tɪ prəˈvaɪd ərˈɪʤənəl ˈkɑntɛnt tɪ netflix*. ˈminˌwaɪl, həz bɪn ɪn ðə ˈprɔˌsɛs əv trænsˈfɔrmɪŋ ɪts fɪlm ˌɑpərˈeɪʃənz ˈæftər ə ˈsɪriz əv dɪsəˈpɔɪntmənts, ˌɪnˈkludɪŋ ˈtərboʊ ənd ˈpɛŋgwənz əv ˌmædəˈgæskər, weɪd ɔn ɪts kˈwɔrtərli rɪˈzəlts. rɪˈspɑndɪd baɪ ˈkətɪŋ 500 ʤɑbz læst jɪr, kloʊzd ən ˌænəˈmeɪʃən ˈstudiˌoʊ ɪn ˈrɛdˌwʊd ˈsɪti, ˈkælɪf., ənd pʊt nu ɪgˈzɛkjətɪvz ɪn ʧɑrʤ əv ðə fɪlm ˈstudiˌoʊ. ˈkætsənbərg hu rɪˈsivd ˈmɪljən ɪn ˌkɑmpənˈseɪʃən læst jɪr həz ˈfoʊkɪst ɔn ˈtərnɪŋ əraʊnd ðə ˈkəmpəˌni, wɪʧ wɪl riˈlis ɪts nɛkst ˈmuvi, troʊlz, ɪn noʊˈvɛmbər ɪn hoʊps əv ˈlɔnʧɪŋ ə nu ˈfrænˌʧaɪz. hi həz bɪn əˈtɛmptɪŋ tɪ ˈdupləˌkeɪt ðə səkˈsɛs sin ɪn ˈərliər hɪts laɪk ðə ʃrɛk ˈsɪriz. ʃrɛk 2 ˈmuvi, kəˈlɛktəd 909 ˈmɪljən ˈwərldˈwaɪd wɪn ɪt wɑz riˈlist ɪn 2004 læst jɪr, ðə ˈkəmpəˌni ˌriˈpɔrtəd ə ˈmɪljən lɔs ðət wɑz ə bɪg ˌɪmˈpruvmənt frəm ðə 308 ˈmɪljən ˈdɛfəsət ɪt ˈrɛʤɪstərd ɪn 2014 ˌhaʊˈɛvər, ðə stɑk praɪs həz rɪˈmeɪnd ˈʧɑpi ˈdʊrɪŋ ðə pæst fju jɪrz. ðoʊ ɪt kloʊzd læst jɪr əˈbaʊt 15 pərˈsɛnt haɪər, ɪt wɑz stɪl riˈbaʊndɪŋ frəm ə ˈbrutəl 2014 wɪn ðə stɑk ˈkreɪtərd 37 pərˈsɛnt. ɪt kloʊzd ɔn ˈtuzˌdeɪ daʊn ˈfrækʃənəli æt ˈgɪvɪŋ ɪt ə ˈmɑrkɪt ˈvælju əv ˈbɪljən (ðoʊ, ˈfæktərɪŋ ɪn dɛt, ɪt ɪz wərθ əˈbaʊt ˈbɪljən).
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dec 28, 2014; baltimore, md, usa; cleveland browns free safety jim leonhard (30) drives baltimore ravens tight end owen daniels (81) out of bounds during the second quarter at bank stadium. mandatory credit: tommy today sports
auburn receiver suspended: what is the impact on the outback bowl?
auburn receiver suspended: what is the impact on the outback bowl? by jim oxley
following a successful 10 year career in the national football league, former wisconsin badger and current cleveland brown jim leonhard has decided to retire from football.
leonhard announced his decision following the browns game sunday.
join us in saluting jim leonhard who today concludes a 10 year @nfl career. #badgers wisconsin badgers (@uwbadgers) december 28, 2014
leonhard, a free safety who has played 142 games while a member of five different nfl squads over his career, surprised many with his staying power in the nfl. badgers fans surprised, however, after leonhard came to without much fanfare and became a madison star.
a ladysmith, wisconsin native, leonhard walked on at in 2001 following a strong high school career at high school in tony, wisconsin. his humble beginnings turned into years of success, as after a true freshman 2001 season spent mostly playing special teams, he became the full-time starter at strong safety as a sophomore.
he went on to start 39 straight games to finish out his career.
in total, leonhard played 51 games as a badger, starting 14 games at strong safety and 25 at free safety. he also returned punts during his sophomore, junior and senior seasons.
in his badger career, leonhard had 281 total tackles, 50 passes defended and 21 interceptions, including an sophomore campaign that led him to the first of many honors from varying outlets. the 11 interceptions tied a big ten record.
leonhard had 105 career punt returns for yards and three touchdowns, as well.
despite his success in college, leonhard again went unnoticed at the next level, and was passed on in the 2005 nfl draft. he was signed as an free agent by the buffalo bills, and was the only rookie to make the bills roster.
he played in 10 games, mostly on special teams, as a rookie, but in his second year in the nfl played 15 games and made his first start. he spent one more year with the bills before heading to the baltimore ravens in 2008, then spent three season with the new york jets.
his first season with the jets 2009 was arguably the best of his professional career. leonhard started all 16 games that season, recording 76 total tackles.
leonhard played with the jets until 2012, when he began stints with the denver broncos, a second stint with the bills in 2013, and finished his career this year in cleveland.
leonhard retires with 329 total tackles in his career. he has also returned 108 punts for 998 yards.
leonhard’s nfl career will be remembered as a successful one, especially by badgers fans who remember the walk-on rising to stardom on the turf at camp randall.
before his last game, leonhard spoke to the media at browns practice friday and said he expected game would be his last, despite head coach mike pettine saying leonhard would likely make his decision in the offseason.
“i’m very happy with my decision and looking forward to that next chapter.”
he also alluded to an opportunity in madison, which has led to rumors that a spot on new wisconsin head coach paul staff could belong to the wisconsin alumnus.
“i definitely want to get out and travel a little bit with the family. outside of that, head back to madison (wisc.) and figure it out. i had a lot of conversations with people and see what happens, where this thing leads.”
badgers fans would love to see leonhard back in the program, and his success as a walk-on would be great for recruiting.
as his professional career came to an end sunday, leonhard was given one last honor before he took the field for the final time:
retiring jim leonhard only #browns game captain. tony grossi (@tonygrossi) december 28, 2014
college stats courtesybadgers.com. nfl stats courtesy espn.com.
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dɛk 28 2014 ˈbɔltəˌmɔr, md*, ˈjuˈɛˈseɪ; ˈklivlənd braʊnz fri ˈseɪfti ʤɪm ˈliənhɑrt 30 draɪvz ˈbɔltəˌmɔr ˈreɪvənz taɪt ɛnd oʊən ˈdænjɛlz 81 aʊt əv baʊndz ˈdʊrɪŋ ðə ˈsɛkənd kˈwɔrtər æt bæŋk ˈsteɪdiəm. ˈmændəˌtɔri ˈkrɛdɪt: ˈtɑmi təˈdeɪ spɔrts ˈɑbərn rɪˈsivər səˈspɛndɪd: wət ɪz ðə ˌɪmˈpækt ɔn ðə ˈaʊtˌbæk boʊl? ˈɑbərn rɪˈsivər səˈspɛndɪd: wət ɪz ðə ˌɪmˈpækt ɔn ðə ˈaʊtˌbæk boʊl? baɪ ʤɪm ˈɑksli ˈfɑloʊɪŋ ə səkˈsɛsfəl 10 jɪr kərɪr ɪn ðə ˈnæʃənəl ˈfʊtˌbɔl lig, ˈfɔrmər wɪˈskɑnsən ˈbæʤər ənd ˈkɑrənt ˈklivlənd braʊn ʤɪm ˈliənhɑrt həz ˌdɪˈsaɪdɪd tɪ ˌriˈtaɪər frəm ˈfʊtˌbɔl. ˈliənhɑrt əˈnaʊnst hɪz dɪˈsɪʒən ˈfɑloʊɪŋ ðə braʊnz geɪm ˈsənˌdi. ʤɔɪn ˈjuˈɛs ɪn səˈlutɪŋ ʤɪm ˈliənhɑrt hu təˈdeɪ kənˈkludz ə 10 jɪr @ˈɛˌnɛˈfɛl kərɪr. #ˈbæʤərz wɪˈskɑnsən ˈbæʤərz (@uwbadgers*) dɪˈsɛmbər 28 2014 ˈliənhɑrt, ə fri ˈseɪfti hu həz pleɪd 142 geɪmz waɪl ə ˈmɛmbər əv faɪv ˈdɪfərənt ˈɛˌnɛˈfɛl skwɑdz ˈoʊvər hɪz kərɪr, səˈpraɪzd ˈmɛni wɪθ hɪz steɪɪŋ paʊər ɪn ðə ˈɛˌnɛˈfɛl. ˈbæʤərz fænz səˈpraɪzd, ˌhaʊˈɛvər, ˈæftər ˈliənhɑrt keɪm tɪ wɪˈθaʊt məʧ ˈfænˌfɛr ənd bɪˈkeɪm ə ˈmædɪsən stɑr. ə ladysmith*, wɪˈskɑnsən ˈneɪtɪv, ˈliənhɑrt wɔkt ɔn æt ɪn 2001 ˈfɑloʊɪŋ ə strɔŋ haɪ skul kərɪr æt haɪ skul ɪn ˈtoʊni, wɪˈskɑnsən. hɪz ˈhəmbəl bɪˈgɪnɪŋz tərnd ˈɪntu jɪrz əv səkˈsɛs, ɛz ˈæftər ə tru ˈfrɛʃmən 2001 ˈsizən spɛnt ˈmoʊstli pleɪɪŋ ˈspɛʃəl timz, hi bɪˈkeɪm ðə ˈfʊlˌtaɪm ˈstɑrtər æt strɔŋ ˈseɪfti ɛz ə ˈsɑfˌmɔr. hi wɛnt ɔn tɪ stɑrt 39 streɪt geɪmz tɪ ˈfɪnɪʃ aʊt hɪz kərɪr. ɪn ˈtoʊtəl, ˈliənhɑrt pleɪd 51 geɪmz ɛz ə ˈbæʤər, ˈstɑrtɪŋ 14 geɪmz æt strɔŋ ˈseɪfti ənd 25 æt fri ˈseɪfti. hi ˈɔlsoʊ rɪˈtərnd pənts ˈdʊrɪŋ hɪz ˈsɑfˌmɔr, ˈʤunjər ənd ˈsinjər ˈsizənz. ɪn hɪz ˈbæʤər kərɪr, ˈliənhɑrt hæd 281 ˈtoʊtəl ˈtækəlz, 50 ˈpæsɪz dɪˈfɛndɪd ənd 21 ˌɪnərˈsɛpʃənz, ˌɪnˈkludɪŋ ən ˈsɑfˌmɔr kæmˈpeɪn ðət lɛd ɪm tɪ ðə fərst əv ˈmɛni ˈɑnərz frəm ˈvɛriɪŋ ˈaʊˌtlɛts. ðə 11 ˌɪnərˈsɛpʃənz taɪd ə bɪg tɛn ˈrɛkərd. ˈliənhɑrt hæd 105 kərɪr pənt rɪˈtərnz fər jɑrdz ənd θri ˈtəʧˌdaʊnz, ɛz wɛl. dɪˈspaɪt hɪz səkˈsɛs ɪn ˈkɑlɪʤ, ˈliənhɑrt əˈgɛn wɛnt ənˈnoʊtɪst æt ðə nɛkst ˈlɛvəl, ənd wɑz pæst ɔn ɪn ðə 2005 ˈɛˌnɛˈfɛl dræft. hi wɑz saɪnd ɛz ən fri ˈeɪʤənt baɪ ðə ˈbəfəˌloʊ bɪlz, ənd wɑz ðə ˈoʊnli ˈrʊki tɪ meɪk ðə bɪlz ˈrɑstər. hi pleɪd ɪn 10 geɪmz, ˈmoʊstli ɔn ˈspɛʃəl timz, ɛz ə ˈrʊki, bət ɪn hɪz ˈsɛkənd jɪr ɪn ðə ˈɛˌnɛˈfɛl pleɪd 15 geɪmz ənd meɪd hɪz fərst stɑrt. hi spɛnt wən mɔr jɪr wɪθ ðə bɪlz ˌbiˈfɔr ˈhɛdɪŋ tɪ ðə ˈbɔltəˌmɔr ˈreɪvənz ɪn 2008 ðɛn spɛnt θri ˈsizən wɪθ ðə nu jɔrk ʤɛts. hɪz fərst ˈsizən wɪθ ðə ʤɛts 2009 wɑz ˈɑrgjuəbli ðə bɛst əv hɪz prəˈfɛʃənəl kərɪr. ˈliənhɑrt ˈstɑrtɪd ɔl 16 geɪmz ðət ˈsizən, rɪˈkɔrdɪŋ 76 ˈtoʊtəl ˈtækəlz. ˈliənhɑrt pleɪd wɪθ ðə ʤɛts ənˈtɪl 2012 wɪn hi bɪˈgæn stɪnts wɪθ ðə ˈdɛnvər ˈbrɑŋkoʊz, ə ˈsɛkənd stɪnt wɪθ ðə bɪlz ɪn 2013 ənd ˈfɪnɪʃt hɪz kərɪr ðɪs jɪr ɪn ˈklivlənd. ˈliənhɑrt rɪˈtaɪrz wɪθ 329 ˈtoʊtəl ˈtækəlz ɪn hɪz kərɪr. hi həz ˈɔlsoʊ rɪˈtərnd 108 pənts fər 998 jɑrdz. ˈɛˌnɛˈfɛl kərɪr wɪl bi rɪˈmɛmbərd ɛz ə səkˈsɛsfəl wən, əˈspɛʃəli baɪ ˈbæʤərz fænz hu rɪˈmɛmbər ðə ˈwɔˌkɑn ˈraɪzɪŋ tɪ ˈstɑrdəm ɔn ðə tərf æt kæmp ˈrændəl. ˌbiˈfɔr hɪz læst geɪm, ˈliənhɑrt spoʊk tɪ ðə ˈmidiə æt braʊnz ˈpræktɪs ˈfraɪˌdeɪ ənd sɛd hi ɪkˈspɛktɪd geɪm wʊd bi hɪz læst, dɪˈspaɪt hɛd koʊʧ maɪk pɛˈtini seɪɪŋ ˈliənhɑrt wʊd ˈlaɪkli meɪk hɪz dɪˈsɪʒən ɪn ðə offseason*. ˈvɛri ˈhæpi wɪθ maɪ dɪˈsɪʒən ənd ˈlʊkɪŋ ˈfɔrwərd tɪ ðət nɛkst chapter.”*.” hi ˈɔlsoʊ əˈludəd tɪ ən ˌɑpərˈtunəti ɪn ˈmædɪsən, wɪʧ həz lɛd tɪ ˈrumərz ðət ə spɑt ɔn nu wɪˈskɑnsən hɛd koʊʧ pɔl stæf kʊd bɪˈlɔŋ tɪ ðə wɪˈskɑnsən əˈləmnəs. ˈdɛfənətli wɔnt tɪ gɪt aʊt ənd ˈtrævəl ə ˈlɪtəl bɪt wɪθ ðə ˈfæməli. ˈaʊtˈsaɪd əv ðət, hɛd bæk tɪ ˈmædɪsən (wisc*.) ənd ˈfɪgjər ɪt aʊt. aɪ hæd ə lɔt əv ˌkɑnvərˈseɪʃənz wɪθ ˈpipəl ənd si wət ˈhæpənz, wɛr ðɪs θɪŋ leads.”*.” ˈbæʤərz fænz wʊd ləv tɪ si ˈliənhɑrt bæk ɪn ðə ˈproʊˌgræm, ənd hɪz səkˈsɛs ɛz ə ˈwɔˌkɑn wʊd bi greɪt fər rɪˈkrutɪŋ. ɛz hɪz prəˈfɛʃənəl kərɪr keɪm tɪ ən ɛnd ˈsənˌdi, ˈliənhɑrt wɑz ˈgɪvɪn wən læst ˈɑnər ˌbiˈfɔr hi tʊk ðə fild fər ðə ˈfaɪnəl taɪm: rɪˈtaɪrɪŋ ʤɪm ˈliənhɑrt ˈoʊnli #braʊnz geɪm ˈkæptən. ˈtoʊni ˈgroʊsi (@tonygrossi*) dɪˈsɛmbər 28 2014 ˈkɑlɪʤ stæts ˈkərtəsi uwbadgers.com*. ˈɛˌnɛˈfɛl stæts ˈkərtəsi espn.com*.
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the value of the internet of things (iot) may exceed the hype, according to research by the mckinsey global institute.
“we estimate that the total potential value of will be between $3.9tn and $11.1tn a year by said dan aharon, senior engagement manager at mckinsey & company.
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“most of this value will come from operations and equipment in factories, chore automation and security in the home, automation in the retail sector, and improvements in public health and transportation services,” he told journalists at europe 2015 in stuttgart, germany.
aharon believes that any business that fails to invest heavily in in the next 10 years will be unlikely to be able to remain competitive.
according to a mckinsey report by aharon and published in june 2015, other key areas where will drive value include autonomous vehicles and vehicle maintenance, security and energy improvements in offices, operations and safety in work sites, human health and fitness, and logistics and navigation.
mckinsey expects twice as much value to come from (b2b) applications than from (b2c) applications, and expects advanced economies to get more value from than developing economies.
these two markets will also benefit in different ways. for example, developed markets will benefit from improved health treatments through remote heart monitors, while developing markets will be able to leapfrog the development of medical centres through telemedicine services.
the main types of opportunities enabled by are the transformation of business processes through things like predictive maintenance, better asset and higher productivity, and enabling new business models such as services based on remote monitoring capabilities.
however, capturing the maximum benefits, the report said, will require an understanding of where real value can be created, and successfully addressing various system issues.
chief among these issues is interoperability, which mckinsey believes will be required to capture 40% of the total value.
“interoperabiltiy will enable huge incremental value, but it is not happening in any major way yet and is a big barrier that needs to be overcome,” said aharon.
“allied to interoperability, organisations need to overcome the barrier of trust and concerns about security and privacy to enable them to share data more freely,” he said.
at present, mckinsey estimates that less than 1% of data generated is used for things such as anomaly detection and real-time control. more can be used for and prediction, which provide the greatest value, the report said.
“like interoperability, data analytics is key to unlocking value,” said aharon.
other barriers to be overcome, he said, include the need for cheaper sensors and stronger batteries, the need for business structure and cultures to be better aligned to horizontal and vertical integration, and public policy to ensure regulation does not hinder digital transformation.
according to the report, advanced economies are likely to lead the deployment of technologies, while europe is expected to get the biggest benefit in terms of improved logistics, australia and canada are expected to benefit most from improvements in the mining and the oil and gas industry, and china is expected to get the most value from factory.
a dynamic industry is evolving around technology, the report said, and like other technology waves there are opportunities for both incumbents and new players.
“digitisation blurs the lines between technology companies and other types of companies, so makers of industrial machinery for example, are creating new business models, but using links and data to offer their products as a service,” the report said.
however, to realise the full potential from applications, the report said technology will need to continue to evolve, providing lower costs and more robust data analytics.
“in almost all settings, systems raise questions about data security and privacy. and in most organisations, taking advantage of the opportunity will require leaders to truly embrace decision making,” the report concludes.
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ðə ˈvælju əv ðə ˈɪntərˌnɛt əv θɪŋz (iot*) meɪ ɪkˈsid ðə haɪp, əˈkɔrdɪŋ tɪ ˈrisərʧ baɪ ðə məˈkɪnzi ˈgloʊbəl ˈɪnstɪˌtut. ˈɛstəˌmeɪt ðət ðə ˈtoʊtəl pəˈtɛnʃəl ˈvælju əv wɪl bi bɪtˈwin ənd ə jɪr baɪ sɛd dæn ˈæhərɑn, ˈsinjər ɛnˈgeɪʤmənt ˈmænɪʤər æt məˈkɪnzi ˈkəmpəˌni. ˈdaʊnˌloʊd ðɪs fri gaɪd ˈroʊˌbəts ər ˈkəmɪŋ fər jʊr ʤɑbz ɪts ˈhæpənɪŋ, ðə ˈroʊˌbəts ər ˈfaɪnəli ˈteɪkɪŋ ˈoʊvər. wɪl ðə raɪz əv ðə ˈroʊˌbəts mɑrk ðə ɛnd əv juˈmænɪti? ˈdaʊnˌloʊd ðɪs tɪ dɪˈskəvər haʊ bɪg ˈkəmpəˌniz ər ˈtərnɪŋ tɪ eɪaɪ ənd məˈʃin ˈlərnɪŋ tɪ meɪk ðɛr ˈjumən ˈrisɔrsɪz ə ˈlɪtəl lɛs ˈjumən. stɑrt ˈdaʊnˌloʊd ˈkɔrpərət ˈiˌmeɪl ˈæˌdrɛs: ju fərˈgɑt tɪ prəˈvaɪd ən iˈmeɪl ˈæˌdrɛs. ðɪs iˈmeɪl ˈæˌdrɛs əˈpɪr tɪ bi ˈvælɪd. ðɪs iˈmeɪl ˈæˌdrɛs ɪz ɔˈrɛdi ˈrɛʤɪstərd. pliz login*. ju hæv ɪkˈsidɪd ðə ˈmæksəməm ˈkɛrɪktər ˈlɪmət. pliz prəˈvaɪd ə ˈkɔrpərət ˈiˌmeɪl ˈæˌdrɛs. aɪ əˈgri tɪ tərmz əv juz, ˈpraɪvəsi ˈpɑləsi, ənd ðə ˈtrænsfər əv maɪ ˌɪnˌfɔrˈmeɪʃən tɪ ðə juˈnaɪtɪd steɪts fər ˈprɑsɛsɪŋ tɪ prəˈvaɪd mi wɪθ ˈrɛləvənt ˌɪnˌfɔrˈmeɪʃən ɛz dɪˈskraɪbd ɪn ɑr ˈpraɪvəsi ˈpɑləsi. pliz ʧɛk ðə bɑks ɪf ju wɔnt tɪ pərˈsid. aɪ əˈgri tɪ maɪ ˌɪnˌfɔrˈmeɪʃən biɪŋ ˈprɑsɛst baɪ ənd ɪts ˈpɑrtnərz tɪ ˈkɑnˌtækt mi ˈviə foʊn, iˈmeɪl, ər ˈəðər minz rɪˈgɑrdɪŋ ˌɪnˌfɔrˈmeɪʃən ˈrɛləvənt tɪ maɪ prəˈfɛʃənəl ˈɪntərɪsts. aɪ meɪ ənsəbˈskraɪb æt ˈɛni taɪm. pliz ʧɛk ðə bɑks ɪf ju wɔnt tɪ pərˈsid. baɪ səbˈmɪtɪŋ maɪ iˈmeɪl ˈæˌdrɛs aɪ kənˈfərm ðət aɪ hæv rɛd ənd ækˈsɛptɪd ðə tərmz əv juz ənd ˌdɛklərˈeɪʃən əv kənˈsɛnt. əv ðɪs ˈvælju wɪl kəm frəm ˌɑpərˈeɪʃənz ənd ɪkˈwɪpmənt ɪn ˈfæktəriz, ʧɔr ɔtəˈmeɪʃən ənd sɪˈkjʊrəti ɪn ðə hoʊm, ɔtəˈmeɪʃən ɪn ðə ˈriˌteɪl ˈsɛktər, ənd ˌɪmˈpruvmənts ɪn ˈpəblɪk hɛlθ ənd ˌtrænspərˈteɪʃən services,”*,” hi toʊld ˈʤərnəlɪsts æt ˈjʊrəp 2015 ɪn ˈstətgərt, ˈʤərməni. ˈæhərɑn bɪˈlivz ðət ˈɛni ˈbɪznɪs ðət feɪlz tɪ ˌɪnˈvɛst ˈhɛvəli ɪn ɪn ðə nɛkst 10 jɪrz wɪl bi ənˈlaɪkli tɪ bi ˈeɪbəl tɪ rɪˈmeɪn kəmˈpɛtɪtɪv. əˈkɔrdɪŋ tɪ ə məˈkɪnzi rɪˈpɔrt baɪ ˈæhərɑn ənd ˈpəblɪʃt ɪn ʤun 2015 ˈəðər ki ˈɛriəz wɛr wɪl draɪv ˈvælju ˌɪnˈklud ɔˈtɑnəməs ˈviɪkəlz ənd ˈviɪkəl ˈmeɪntənəns, sɪˈkjʊrəti ənd ˈɛnərʤi ˌɪmˈpruvmənts ɪn ˈɔfəsɪz, ˌɑpərˈeɪʃənz ənd ˈseɪfti ɪn wərk saɪts, ˈjumən hɛlθ ənd ˈfɪtnəs, ənd ləˈʤɪstɪks ənd ˌnævəˈgeɪʃən. məˈkɪnzi ɪkˈspɛkts twaɪs ɛz məʧ ˈvælju tɪ kəm frəm (b2b*) ˌæpləˈkeɪʃənz ðən frəm (b2c*) ˌæpləˈkeɪʃənz, ənd ɪkˈspɛkts ədˈvænst ɪˈkɑnəmiz tɪ gɪt mɔr ˈvælju frəm ðən dɪˈvɛləpɪŋ ɪˈkɑnəmiz. ðiz tu ˈmɑrkɪts wɪl ˈɔlsoʊ ˈbɛnəfɪt ɪn ˈdɪfərənt weɪz. fər ɪgˈzæmpəl, dɪˈvɛləpt ˈmɑrkɪts wɪl ˈbɛnəfɪt frəm ˌɪmˈpruvd hɛlθ ˈtritmənts θru rɪˈmoʊt hɑrt ˈmɑnətərz, waɪl dɪˈvɛləpɪŋ ˈmɑrkɪts wɪl bi ˈeɪbəl tɪ ˈlipˌfrɔg ðə dɪˈvɛləpmənt əv ˈmɛdɪkəl ˈsɛntərz θru ˌtɛlɪˈmɛdɪsən ˈsərvɪsɪz. ðə meɪn taɪps əv ˌɑpərˈtunətiz ɪˈneɪbəld baɪ ər ðə ˌtrænsfərˈmeɪʃən əv ˈbɪznɪs ˈprɑsɛsəz θru θɪŋz laɪk prɪˈdɪktɪv ˈmeɪntənəns, ˈbɛtər ˈæˌsɛt ənd haɪər ˌproʊdəkˈtɪvɪti, ənd ɪˈneɪbəlɪŋ nu ˈbɪznɪs ˈmɑdəlz səʧ ɛz ˈsərvɪsɪz beɪst ɔn rɪˈmoʊt ˈmɑnətərɪŋ ˌkeɪpəˈbɪlətiz. ˌhaʊˈɛvər, ˈkæpʧərɪŋ ðə ˈmæksəməm ˈbɛnəfɪts, ðə rɪˈpɔrt sɛd, wɪl ˌrikˈwaɪər ən ˌəndərˈstændɪŋ əv wɛr ril ˈvælju kən bi kriˈeɪtɪd, ənd səkˈsɛsfəli æˈdrɛsɪŋ ˈvɛriəs ˈsɪstəm ˈɪʃuz. ʧif əˈməŋ ðiz ˈɪʃuz ɪz interoperability*, wɪʧ məˈkɪnzi bɪˈlivz wɪl bi rikˈwaɪərd tɪ ˈkæpʧər 40 əv ðə ˈtoʊtəl ˈvælju. wɪl ɪˈneɪbəl juʤ ˌɪnkrəˈmɛntəl ˈvælju, bət ɪt ɪz nɑt ˈhæpənɪŋ ɪn ˈɛni ˈmeɪʤər weɪ jɛt ənd ɪz ə bɪg ˈbɛriər ðət nidz tɪ bi overcome,”*,” sɛd ˈæhərɑn. tɪ interoperability*, ˌɔrgənɪˈzeɪʃənz nid tɪ ˈoʊvərˌkəm ðə ˈbɛriər əv trəst ənd kənˈsərnz əˈbaʊt sɪˈkjʊrəti ənd ˈpraɪvəsi tɪ ɪˈneɪbəl ðɛm tɪ ʃɛr ˈdætə mɔr freely,”*,” hi sɛd. æt ˈprɛzənt, məˈkɪnzi ˈɛstəˌmeɪts ðət lɛs ðən 1 əv ˈdætə ˈʤɛnərˌeɪtɪd ɪz juzd fər θɪŋz səʧ ɛz əˈnɑməli dɪˈtɛkʃən ənd ˈrilˌtaɪm kənˈtroʊl. mɔr kən bi juzd fər ənd priˈdɪkʃən, wɪʧ prəˈvaɪd ðə ˈgreɪtəst ˈvælju, ðə rɪˈpɔrt sɛd. interoperability*, ˈdætə ˌænəˈlɪtɪks ɪz ki tɪ ənˈlɑkɪŋ value,”*,” sɛd ˈæhərɑn. ˈəðər ˈbɛriərz tɪ bi ˈoʊvərˌkəm, hi sɛd, ˌɪnˈklud ðə nid fər ˈʧipər ˈsɛnsərz ənd ˈstrɔŋgər ˈbætəriz, ðə nid fər ˈbɪznɪs ˈstrəkʧər ənd ˈkəlʧərz tɪ bi ˈbɛtər əˈlaɪnd tɪ ˌhɔrəˈzɑntəl ənd ˈvərtɪkəl ˌɪnəˈgreɪʃən, ənd ˈpəblɪk ˈpɑləsi tɪ ɪnˈʃʊr ˌrɛgjəˈleɪʃən dɪz nɑt ˈhɪndər ˈdɪʤɪtəl ˌtrænsfərˈmeɪʃən. əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt, ədˈvænst ɪˈkɑnəmiz ər ˈlaɪkli tɪ lɛd ðə dɪˈplɔɪmənt əv tɛkˈnɑləʤiz, waɪl ˈjʊrəp ɪz ɪkˈspɛktɪd tɪ gɪt ðə ˈbɪgəst ˈbɛnəfɪt ɪn tərmz əv ˌɪmˈpruvd ləˈʤɪstɪks, ɔˈstreɪljə ənd ˈkænədə ər ɪkˈspɛktɪd tɪ ˈbɛnəfɪt moʊst frəm ˌɪmˈpruvmənts ɪn ðə ˈmaɪnɪŋ ənd ðə ɔɪl ənd gæs ˈɪndəstri, ənd ˈʧaɪnə ɪz ɪkˈspɛktɪd tɪ gɪt ðə moʊst ˈvælju frəm ˈfæktəri. ə daɪˈnæmɪk ˈɪndəstri ɪz ɪˈvɑlvɪŋ əraʊnd tɛkˈnɑləʤi, ðə rɪˈpɔrt sɛd, ənd laɪk ˈəðər tɛkˈnɑləʤi weɪvz ðɛr ər ˌɑpərˈtunətiz fər boʊθ ˌɪnˈkəmbənts ənd nu pleɪərz. blərz ðə laɪnz bɪtˈwin tɛkˈnɑləʤi ˈkəmpəˌniz ənd ˈəðər taɪps əv ˈkəmpəˌniz, soʊ ˈmeɪkərz əv ˌɪnˈdəstriəl məˈʃinəri fər ɪgˈzæmpəl, ər kriˈeɪtɪŋ nu ˈbɪznɪs ˈmɑdəlz, bət ˈjuzɪŋ lɪŋks ənd ˈdætə tɪ ˈɔfər ðɛr ˈprɑdəkts ɛz ə service,”*,” ðə rɪˈpɔrt sɛd. ˌhaʊˈɛvər, tɪ ˈriəˌlaɪz ðə fʊl pəˈtɛnʃəl frəm ˌæpləˈkeɪʃənz, ðə rɪˈpɔrt sɛd tɛkˈnɑləʤi wɪl nid tɪ kənˈtɪnju tɪ ɪˈvɑlv, prəˈvaɪdɪŋ loʊər kɔsts ənd mɔr roʊˈbəst ˈdætə ˌænəˈlɪtɪks. ˈɔlˌmoʊst ɔl ˈsɛtɪŋz, ˈsɪstəmz reɪz kˈwɛsʧənz əˈbaʊt ˈdætə sɪˈkjʊrəti ənd ˈpraɪvəsi. ənd ɪn moʊst ˌɔrgənɪˈzeɪʃənz, ˈteɪkɪŋ ædˈvæntɪʤ əv ðə ˌɑpərˈtunəti wɪl ˌrikˈwaɪər ˈlidərz tɪ ˈtruli ɪmˈbreɪs dɪˈsɪʒən making,”*,” ðə rɪˈpɔrt kənˈkludz.
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rare frank zappa recordings to appear on new box set
crossfire publications will release a series of rare of invention era frank zappa recordings on may 28 in a new box set titled paul buff presents highlights from the pal and original sound studio archives. paul buff served as owner of pal recording studio in cucamonga, ca from, and also served in the the pal studio band, which included guitarist dave and a young zappa on guitar and drums. zappa worked at the studio starting in 1961, where he learned basic recording techniques from buff. buff later became the sound engineer at original sound records when he sold pal recording studio to zappa in 1964.
the new collection features 58 early masters by the late zappa, recorded at pal and original sound recording studios. included are recordings of zappa as a performer, writer producer. many of the tracks on the box set with involvement are previously unreleased, including some with original mothers of invention vocalist ray collins.
the cover art (shown above) features “a day at the beach,” which he created in the early for his sister patrice “candy” zappa.
the first 200 orders from crossfire publications will be accompanied by two additional cds, the tornadoes’ now and then and charge of the tornadoes, featuring an additional 11 tracks that frank zappa engineered at pal during.
visit crossfire publications’ website to the album.
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rɛr fræŋk ˈzæpə rɪˈkɔrdɪŋz tɪ əˈpɪr ɔn nu bɑks sɛt ˈkrɔsˌfaɪr ˌpəblɪˈkeɪʃənz wɪl riˈlis ə ˈsɪriz əv rɛr əv ˌɪnˈvɛnʃən ˈɪrə fræŋk ˈzæpə rɪˈkɔrdɪŋz ɔn meɪ 28 ɪn ə nu bɑks sɛt ˈtaɪtəld pɔl bəf ˈprɛzənts ˈhaɪˌlaɪts frəm ðə pæl ənd ərˈɪʤənəl saʊnd ˈstudiˌoʊ ˈɑrˌkaɪvz. pɔl bəf sərvd ɛz ˈoʊnər əv pæl rɪˈkɔrdɪŋ ˈstudiˌoʊ ɪn cucamonga*, ˈsiˈeɪ frəm ənd ˈɔlsoʊ sərvd ɪn ðə ðə pæl ˈstudiˌoʊ bænd, wɪʧ ˌɪnˈkludɪd ˌgɪˈtɑrɪst deɪv ənd ə jəŋ ˈzæpə ɔn gɪˈtɑr ənd drəmz. ˈzæpə wərkt æt ðə ˈstudiˌoʊ ˈstɑrtɪŋ ɪn 1961 wɛr hi ˈlərnɪd ˈbeɪsɪk rɪˈkɔrdɪŋ tɛkˈniks frəm bəf. bəf ˈleɪtər bɪˈkeɪm ðə saʊnd ˈɛnʤəˈnɪr æt ərˈɪʤənəl saʊnd ˈrɛkərdz wɪn hi soʊld pæl rɪˈkɔrdɪŋ ˈstudiˌoʊ tɪ ˈzæpə ɪn 1964 ðə nu kəˈlɛkʃən ˈfiʧərz 58 ˈərli ˈmæstərz baɪ ðə leɪt ˈzæpə, rɪˈkɔrdɪd æt pæl ənd ərˈɪʤənəl saʊnd rɪˈkɔrdɪŋ ˈstudiˌoʊz. ˌɪnˈkludɪd ər rɪˈkɔrdɪŋz əv ˈzæpə ɛz ə pərˈfɔrmər, ˈraɪtər prəˈdusər. ˈmɛni əv ðə træks ɔn ðə bɑks sɛt wɪθ ˌɪnˈvɑlvmənt ər ˈpriviəsli ənrɪˈlist, ˌɪnˈkludɪŋ səm wɪθ ərˈɪʤənəl ˈməðərz əv ˌɪnˈvɛnʃən ˈvoʊkəlɪst reɪ ˈkɑlɪnz. ðə ˈkəvər ɑrt (ʃoʊn əˈbəv) ˈfiʧərz deɪ æt ðə beach,”*,” wɪʧ hi kriˈeɪtɪd ɪn ðə ˈərli fər hɪz ˈsɪstər pəˈtris ““candy”*” ˈzæpə. ðə fərst 200 ˈɔrdərz frəm ˈkrɔsˌfaɪr ˌpəblɪˈkeɪʃənz wɪl bi əˈkəmpənid baɪ tu əˈdɪʃənəl ˈsiˈdiz, ðə tornadoes’*’ naʊ ənd ðɛn ənd ʧɑrʤ əv ðə tɔrˈneɪdoʊz, ˈfiʧərɪŋ ən əˈdɪʃənəl 11 træks ðət fræŋk ˈzæpə ˌɛnʤəˈnird æt pæl ˈdʊrɪŋ ˈvɪzɪt ˈkrɔsˌfaɪr publications’*’ ˈwɛbˌsaɪt tɪ ðə ˈælbəm.
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eigenfaces is the name given to a set of when they are used in the computer vision problem of human face] the approach of using for recognition was developed by and kirby (1987) and used by matthew turk and alex pentland in face] the are derived from the matrix of the probability distribution over the vector space of face images. the themselves form a basis set of all images used to construct the matrix. this produces dimension reduction by allowing the smaller set of basis images to represent the original training images. classification can be achieved by comparing how faces are represented by the basis set.
history [ edit ]
the approach began with a search for a representation of face images. and kirby (1987) showed that principal component analysis could be used on a collection of face images to form a set of basis features. these basis images, known asenpictures, could be linearly combined to reconstruct images in the original training set. if the training set consists of m images, principal component analysis could form a basis set of n images, where n < m. the reconstruction error is reduced by increasing the number ofenpictures, however the number needed is always chosen less than m. for example, if you need to generate a number of n for a training set of m face images, you can say that each face image can be made up of "proportions" of all this k "features" or : face image 1 = (23% of e 1 ) + (2% of e 2 ) + (51% of e 3 ) + ... + (1% e n ).
in 1991 m. turk and a. pentland expanded these results and presented the method of face] in addition to designing a system for automated face recognition using, they showed a way of calculating the of a matrix in such a way as to make it possible for computers at that time to perform on a large number of face images. face images usually occupy a space and conventional principal component analysis was intractable on such data sets. turk and paper demonstrated ways to extract the based on matrices sized by the number of images rather than the number of pixels.
once established, the method was expanded to include methods of to improve] multiple manifold approaches were also used to build sets of for different] and different features, such as the]
generation [ edit ]
a set of can be generated by performing a mathematical process called principal component analysis (pca) on a large set of images depicting different human faces. informally, can be considered a set of "standardized face ingredients", derived from statistical analysis of many pictures of faces. any human face can be considered to be a combination of these standard faces. for example, one's face might be composed of the average face plus 10% from 1, 55% from 2, and even -3% from 3. remarkably, it does not take many combined together to achieve a fair approximation of most faces. also, because a person's face is not recorded by a digital photograph, but instead as just a list of values (one value for each in the database used), much less space is taken for each person's face.
the that are created will appear as light and dark areas that are arranged in a specific pattern. this pattern is how different features of a face are singled out to be evaluated and scored. there will be a pattern to evaluate symmetry, if there is any style of facial hair, where the hairline is, or evaluate the size of the nose or mouth. other have patterns that are less simple to identify, and the image of the may look very little like a face.
the technique used in creating and using them for recognition is also used outside of face recognition. this technique is also used for handwriting recognition, lip reading, voice recognition, sign gestures interpretation and medical imaging analysis. therefore, some do not use the term, but prefer to use 'eigenimage'.
practical implementation [ edit ]
to create a set of, one must:
prepare a training set of face images. the pictures constituting the training set should have been taken under the same lighting conditions, and must be normalized to have the eyes and mouths aligned across all images. they must also be all to a common pixel resolution (r c). each image is treated as one vector, simply by concatenating the rows of pixels in the original image, resulting in a single column with r c elements. for this implementation, it is assumed that all images of the training set are stored in a single matrix t, where each column of the matrix is an image. subtract the mean. the average image a has to be calculated and then subtracted from each original image in t. calculate the andenvalues of the matrix s. each has the same dimensionality (number of components) as the original images, and thus can itself be seen as an image. the of this matrix are therefore called. they are the directions in which the images differ from the mean image. usually this will be a expensive step (if at all possible), but the practical applicability of stems from the possibility to compute the of s efficiently, without ever computing s explicitly, as detailed below. choose the principal components. sort theenvalues in descending order and arrange accordingly. the number of principal components k is determined arbitrarily by setting a threshold on the total variance. total variance v = ( 1 + 2 + . . . + n ) _{1}+\lambda _{2}+...+\lambda _{n})} n = number of components. k is the smallest number satisfies : ( 1 + 2 + . . . + k ) v > {(\lambda _{1}+\lambda _{2}+...+\lambda }
these can now be used to represent both existing and new faces: we can project a new (mean-subtracted) image on the and thereby record how that new face differs from the mean face. theenvalues associated with each represent how much the images in the training set vary from the mean image in that direction. we lose information by projecting the image on a subset of the, but we minimize this loss by keeping those with the largestenvalues. for instance, if we are working with a 100 x 100 image, then we will obtain. in practical applications, most faces can typically be identified using a projection on between 100 and 150, so that most of the can be discarded.
matlab example code [ edit ]
here is an example of calculating with extended yale face database b. to evade computational and storage bottleneck, the face images are sampled down by a factor.
clear all ; close all ; load [ h , w , n ] = size ( ); d = h * w ; % images x = reshape ( ,[ d n ]); x = double ( x ); %subtract mean = mean ( x , 2 ); x = (@ minus , x , ); % calculate s = ( x ' ); % obtainenvalue & [ v , d ] = ( s );val = ( d ); % sortenvalues in descending orderval =val ( end : - 1 : 1 ); v = ( v ); % show mean and through principal figure , subplot ( 4 , 4 , 1 ) ( reshape ( , [ h , w ])) gray for i = 1 : 15 subplot ( 4 , 4 , i + 1 ) ( reshape ( v (:, i ), h , w )) end
note that although the matrix s generates many, only a fraction of those are needed to represent the majority of the faces. for example, to represent 95% of the total variation of all face images, only the first 43 are needed. to calculate this result, implement the following code:
% evaluate the number of principal components needed to represent 95% total variance.sum = sum (val ); = 0 ; for i = 1 : d = +val ( i ); tv = /sum ; if tv > = i ; break end ; end ;
computing the [ edit ]
performing directly on the matrix of the images is often infeasible. if small images are used, say 100 100 pixels, each image is a point in a-dimensional space and the matrix s is a matrix of = 108 elements. however the rank of the matrix is limited by the number of training examples: if there are n training examples, there will be at most n 1 with non-zeroenvalues. if the number of training examples is smaller than the dimensionality of the images, the principal components can be computed more easily as follows.
let t be the matrix of training examples, where each column contains one image. the matrix can then be computed as s = and the decomposition of s is given by
s v i = t t t v i = i v i {sv} {t} {t} {v} {v} _{i}}
however is a large matrix, and if instead we take theenvalue decomposition of
t t t u i = i u i {t} {t} {u} {u} _{i}}
then we notice that by both sides of the equation with t, we obtain
t t t t u i = i t u i {t} {t} {t} {u} {t} {u} _{i}}
meaning that, if u i is an of, then v i = tu i is an of s. if we have a training set of 300 images of 100 100 pixels, the matrix is a 300 300 matrix, which is much more manageable than the matrix. notice however that the resulting vectors v i are not normalised; if is required it should be applied as an extra step.
connection with [ edit ]
let x denote the d n n} data matrix with column x i x_{i}} as the image vector with mean subtracted. then,
c o v a r i a n c e ( x ) = x x t n(x)={\frac {xx^{t}}{n}}}
let the singular value decomposition (svd) of x be:
x = u v t }v^{t}}
then theenvalue decomposition for x x t xx^{t}} is:
x x t = u t u t = u u t }{{\sigma }u^{t}} x x t xx^{t}}
thus we can see easily that:
the = the first k k} k n n} u u} theenvalue of x x t = 1 n ( {1}{n}}(} x ) 2}}
using on data matrix x, we need to calculate the actual matrix to get.
use in facial recognition [ edit ]
facial recognition was the source of motivation behind the creation of. for this use, have advantages over other techniques available, such as the system's speed and efficiency. as is primarily a dimension reduction method, a system can represent many subjects with a relatively small set of data. as a face recognition system it is also fairly invariant to large reductions in image sizing, however it begins to fail considerably when the variation between the seen images and probe image is large.
to recognise faces, gallery images, those seen by the system, are saved as collections of weights describing the contribution each has to that image. when a new face is presented to the system for classification, its own weights are found by projecting the image onto the collection of. this provides a set of weights describing the probe face. these weights are then classified against all weights in the gallery set to find the closest match. a nearest neighbour method is a simple approach for finding the distance between two vectors, where the minimum can be classified as the closest & pentland 1991, p. 590)
intuitively, recognition process with method is to project query images into the spanned by we have calculated and in that find the closest match to a face class.
pseudo] given input image vector u n \re ^{n}} m m} w k = v k t ( u m ) w_{k}=v_{k}^{t}(u-m)} then form a weight vector w = [ w 1 , w 2 , . . . , w k , . . . , w n ] w=[w_{1},w_{2},...,w_{k},...,w_{n}]}
compare w with weight vectors w m w_{m}} d = | | w w m | | 2}}
if d < 1 _{1}}
if 1 < d < 2 \epsilon _{1}<d<\epsilon _{2}} u may be an unknown face and can be added to the database.
may be an unknown face and can be added to the database. if d > 2 , u _{2},u}
the weights of each gallery image only convey information describing that image, not that subject. an image of one subject under frontal lighting may have very different weights to those of the same subject under strong left lighting. this limits the application of such a system. experiments in the original paper presented the following results: an average of 96% with light variation, 85% with orientation variation, and 64% with size variation. (turk & pentland 1991, p. 590)
various extensions have been made to the method suchenfeatures. this method combines facial metrics (measuring distance between facial features) with the representation. another method similar to the technique is 'fisherfaces' which uses linear] this method for facial recognition is less sensitive to variation in lighting and pose of the face than using. labelled data to retain more of the class specific information during the dimension reduction stage.
a further alternative to ands is the active appearance model. this approach uses an active shape model to describe the outline of a face. by collecting many face outlines, principal component analysis can be used to form a basis set of models which, encapsulate the variation of different faces.
many modern approaches still use principal component analysis as a means of dimension reduction or to form basis images for different modes of variation.
review [ edit ]
eigenface provides an easy and cheap way to realize face recognition in that:
its training process is completely automatic and easy to code.
eigenface adequately reduces statistical complexity in face image representation.
once of a database are calculated, face recognition can be achieved in real time.
eigenface can handle large databases.
however, the deficiencies of the method are also obvious:
very sensitive to lighting, scale and translation; requires a highly controlled environment.
eigenface has difficulty capturing expression changes.
the most significant are mainly about illumination encoding and don't provide useful information regarding the actual face.
to cope with illumination distraction in practice, the method usually discards the first three from the dataset. since illumination is usually the cause behind the largest variations in face images, the first three will mainly capture the information of lighting changes, which has little contribution to face recognition. by discarding those three, there will be a decent amount of boost in accuracy of face recognition, but other methods such as and linear space still have the advantage.
see also [ edit ]
notes [ edit ]
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eigenfaces* ɪz ðə neɪm ˈgɪvɪn tɪ ə sɛt əv wɪn ðeɪ ər juzd ɪn ðə kəmˈpjutər ˈvɪʒən ˈprɑbləm əv ˈjumən feɪs ðə əˈproʊʧ əv ˈjuzɪŋ fər ˌrɛkɪgˈnɪʃən wɑz dɪˈvɛləpt baɪ ənd ˈkərbi 1987 ənd juzd baɪ ˈmæθju tərk ənd ˈæləks ˈpɛntlənd ɪn feɪs ðə ər dəraɪvd frəm ðə ˈmeɪtrɪks əv ðə ˌprɑbəˈbɪləˌti ˌdɪstrəˈbjuʃən ˈoʊvər ðə ˈvɛktər speɪs əv feɪs ˈɪmɪʤɪz. ðə ðɛmˈsɛlvz fɔrm ə ˈbeɪsɪs sɛt əv ɔl ˈɪmɪʤɪz juzd tɪ ˈkɑnstrəkt ðə ˈmeɪtrɪks. ðɪs prəˈdusɪz dɪˈmɛnʃən rɪˈdəkʃən baɪ əˈlaʊɪŋ ðə sˈmɔlər sɛt əv ˈbeɪsɪs ˈɪmɪʤɪz tɪ ˌrɛprɪˈzɛnt ðə ərˈɪʤənəl ˈtreɪnɪŋ ˈɪmɪʤɪz. ˌklæsəfəˈkeɪʃən kən bi əˈʧivd baɪ kəmˈpɛrɪŋ haʊ ˈfeɪsɪz ər ˌrɛprɪˈzɛnɪd baɪ ðə ˈbeɪsɪs sɛt. ˈhɪstəri ˈɛdət ðə əˈproʊʧ bɪˈgæn wɪθ ə sərʧ fər ə ˌrɛprəzɛnˈteɪʃən əv feɪs ˈɪmɪʤɪz. ənd ˈkərbi 1987 ʃoʊd ðət ˈprɪnsəpəl kəmˈpoʊnənt æˈnælɪsɪs kʊd bi juzd ɔn ə kəˈlɛkʃən əv feɪs ˈɪmɪʤɪz tɪ fɔrm ə sɛt əv ˈbeɪsɪs ˈfiʧərz. ðiz ˈbeɪsɪs ˈɪmɪʤɪz, noʊn ɛz eigenpictures*, kʊd bi ˈlɪniərli kəmˈbaɪnd tɪ ˌrikənˈstrəkt ˈɪmɪʤɪz ɪn ðə ərˈɪʤənəl ˈtreɪnɪŋ sɛt. ɪf ðə ˈtreɪnɪŋ sɛt kənˈsɪsts əv ɛm ˈɪmɪʤɪz, ˈprɪnsəpəl kəmˈpoʊnənt æˈnælɪsɪs kʊd fɔrm ə ˈbeɪsɪs sɛt əv ɛn ˈɪmɪʤɪz, wɛr ɛn ɛm. ðə ˌrikənˈstrəkʃən ˈɛrər ɪz rɪˈdust baɪ ˌɪnˈkrisɪŋ ðə ˈnəmbər əv eigenpictures*, ˌhaʊˈɛvər ðə ˈnəmbər ˈnidɪd ɪz ˈɔlˌweɪz ˈʧoʊzən lɛs ðən ɛm. fər ɪgˈzæmpəl, ɪf ju nid tɪ ˈʤɛnərˌeɪt ə ˈnəmbər əv ɛn fər ə ˈtreɪnɪŋ sɛt əv ɛm feɪs ˈɪmɪʤɪz, ju kən seɪ ðət iʧ feɪs ˈɪmɪʤ kən bi meɪd əp əv "prəˈpɔrʃənz" əv ɔl ðɪs keɪ "ˈfiʧərz" ər feɪs ˈɪmɪʤ 1 23 əv i 1 2 əv i 2 51 əv i 3 1 i ɛn ɪn 1991 ɛm. tərk ənd ə. ˈpɛntlənd ɪkˈspændɪd ðiz rɪˈzəlts ənd pərˈzɛnəd ðə ˈmɛθəd əv feɪs ɪn əˈdɪʃən tɪ dɪˈzaɪnɪŋ ə ˈsɪstəm fər ˈɔtəˌmeɪtɪd feɪs ˌrɛkɪgˈnɪʃən ˈjuzɪŋ, ðeɪ ʃoʊd ə weɪ əv ˈkælkjəˌleɪtɪŋ ðə əv ə ˈmeɪtrɪks ɪn səʧ ə weɪ ɛz tɪ meɪk ɪt ˈpɑsəbəl fər kəmˈpjutərz æt ðət taɪm tɪ pərˈfɔrm ɔn ə lɑrʤ ˈnəmbər əv feɪs ˈɪmɪʤɪz. feɪs ˈɪmɪʤɪz ˈjuʒəwəli ˈɑkjəˌpaɪ ə speɪs ənd kənˈvɛnʃənəl ˈprɪnsəpəl kəmˈpoʊnənt æˈnælɪsɪs wɑz ˌɪnˈtræktəbəl ɔn səʧ ˈdætə sɛts. tərk ənd ˈpeɪpər ˈdɛmənˌstreɪtɪd weɪz tɪ ˈɛkˌstrækt ðə beɪst ɔn ˈmeɪtrɪsɪz saɪzd baɪ ðə ˈnəmbər əv ˈɪmɪʤɪz ˈrəðər ðən ðə ˈnəmbər əv ˈpɪksəlz. wəns ɪˈstæblɪʃt, ðə ˈmɛθəd wɑz ɪkˈspændɪd tɪ ˌɪnˈklud ˈmɛθədz əv tɪ ˌɪmˈpruv ˈməltəpəl ˈmænɪˌfoʊld əˈproʊʧɪz wər ˈɔlsoʊ juzd tɪ bɪld sɛts əv fər ˈdɪfərənt ənd ˈdɪfərənt ˈfiʧərz, səʧ ɛz ðə ˌʤɛnərˈeɪʃən ˈɛdət ə sɛt əv kən bi ˈʤɛnərˌeɪtɪd baɪ pərˈfɔrmɪŋ ə ˌmæθəˈmætɪkəl ˈprɔˌsɛs kɔld ˈprɪnsəpəl kəmˈpoʊnənt æˈnælɪsɪs (pca*) ɔn ə lɑrʤ sɛt əv ˈɪmɪʤɪz dɪˈpɪktɪŋ ˈdɪfərənt ˈjumən ˈfeɪsɪz. ˌɪnˈfɔrməli, kən bi kənˈsɪdərd ə sɛt əv "ˈstændərˌdaɪzd feɪs ˌɪnˈgridiənts", dəraɪvd frəm stəˈtɪstɪkəl æˈnælɪsɪs əv ˈmɛni ˈpɪkʧərz əv ˈfeɪsɪz. ˈɛni ˈjumən feɪs kən bi kənˈsɪdərd tɪ bi ə ˌkɑmbəˈneɪʃən əv ðiz ˈstændərd ˈfeɪsɪz. fər ɪgˈzæmpəl, wənz feɪs maɪt bi kəmˈpoʊzd əv ðə ˈævərɪʤ feɪs pləs 10 frəm 1 55 frəm 2 ənd ˈivɪn 3 frəm 3 rɪˈmɑrkəbli, ɪt dɪz nɑt teɪk ˈmɛni kəmˈbaɪnd təˈgɛðər tɪ əˈʧiv ə fɛr əˌprɑksəˈmeɪʃən əv moʊst ˈfeɪsɪz. ˈɔlsoʊ, bɪˈkəz ə ˈpərsənz feɪs ɪz nɑt rɪˈkɔrdɪd baɪ ə ˈdɪʤɪtəl ˈfoʊtəˌgræf, bət ˌɪnˈstɛd ɛz ʤɪst ə lɪst əv ˈvæljuz (wən ˈvælju fər iʧ ɪn ðə ˈdætəˌbeɪs juzd), məʧ lɛs speɪs ɪz ˈteɪkən fər iʧ ˈpərsənz feɪs. ðə ðət ər kriˈeɪtɪd wɪl əˈpɪr ɛz laɪt ənd dɑrk ˈɛriəz ðət ər əreɪnʤd ɪn ə spɪˈsɪfɪk ˈpætərn. ðɪs ˈpætərn ɪz haʊ ˈdɪfərənt ˈfiʧərz əv ə feɪs ər ˈsɪŋgəld aʊt tɪ bi ɪˈvæljuˌeɪtəd ənd skɔrd. ðɛr wɪl bi ə ˈpætərn tɪ ɪˈvæljuˌeɪt ˈsɪmətri, ɪf ðɛr ɪz ˈɛni staɪl əv ˈfeɪʃəl hɛr, wɛr ðə ˈhɛˌrlaɪn ɪz, ər ɪˈvæljuˌeɪt ðə saɪz əv ðə noʊz ər maʊθ. ˈəðər hæv ˈpætərnz ðət ər lɛs ˈsɪmpəl tɪ aɪˈdɛntəˌfaɪ, ənd ðə ˈɪmɪʤ əv ðə meɪ lʊk ˈvɛri ˈlɪtəl laɪk ə feɪs. ðə tɛkˈnik juzd ɪn kriˈeɪtɪŋ ənd ˈjuzɪŋ ðɛm fər ˌrɛkɪgˈnɪʃən ɪz ˈɔlsoʊ juzd ˈaʊtˈsaɪd əv feɪs ˌrɛkɪgˈnɪʃən. ðɪs tɛkˈnik ɪz ˈɔlsoʊ juzd fər ˈhænˌdraɪtɪŋ ˌrɛkɪgˈnɪʃən, lɪp ˈrɛdɪŋ, vɔɪs ˌrɛkɪgˈnɪʃən, saɪn ˈʤɛsʧərz ˌɪnˌtərprɪˈteɪʃən ənd ˈmɛdɪkəl ˈɪmɪʤɪŋ æˈnælɪsɪs. ˈðɛrˌfɔr, səm du nɑt juz ðə tərm, bət prɪˈfər tɪ juz 'eigenimage*'. ˈpræktɪkəl ˌɪmpləmɛnˈteɪʃən ˈɛdət tɪ kriˈeɪt ə sɛt əv, wən məst: priˈpɛr ə ˈtreɪnɪŋ sɛt əv feɪs ˈɪmɪʤɪz. ðə ˈpɪkʧərz ˈkɑnstəˌtutɪŋ ðə ˈtreɪnɪŋ sɛt ʃʊd hæv bɪn ˈteɪkən ˈəndər ðə seɪm ˈlaɪtɪŋ kənˈdɪʃənz, ənd məst bi ˈnɔrməˌlaɪzd tɪ hæv ðə aɪz ənd maʊðz əˈlaɪnd əˈkrɔs ɔl ˈɪmɪʤɪz. ðeɪ məst ˈɔlsoʊ bi ɔl tɪ ə ˈkɑmən ˈpɪksəl ˌrɛzəˈluʃən (ɑr si). iʧ ˈɪmɪʤ ɪz ˈtritɪd ɛz wən ˈvɛktər, ˈsɪmpli baɪ kənˈkætəˌneɪtɪŋ ðə roʊz əv ˈpɪksəlz ɪn ðə ərˈɪʤənəl ˈɪmɪʤ, rɪˈzəltɪŋ ɪn ə ˈsɪŋgəl ˈkɑləm wɪθ ɑr si ˈɛləmənts. fər ðɪs ˌɪmpləmɛnˈteɪʃən, ɪt ɪz əˈsumd ðət ɔl ˈɪmɪʤɪz əv ðə ˈtreɪnɪŋ sɛt ər stɔrd ɪn ə ˈsɪŋgəl ˈmeɪtrɪks ti, wɛr iʧ ˈkɑləm əv ðə ˈmeɪtrɪks ɪz ən ˈɪmɪʤ. səbˈtrækt ðə min. ðə ˈævərɪʤ ˈɪmɪʤ ə həz tɪ bi ˈkælkjəˌleɪtɪd ənd ðɛn səbˈtræktɪd frəm iʧ ərˈɪʤənəl ˈɪmɪʤ ɪn ti. ˈkælkjəˌleɪt ðə ənd ˈaɪgənˌvæljuz əv ðə ˈmeɪtrɪks ɛs. iʧ həz ðə seɪm dɪˌmɛnʃəˈnæləti (ˈnəmbər əv kəmˈpoʊnənts) ɛz ðə ərˈɪʤənəl ˈɪmɪʤɪz, ənd ðəs kən ˌɪtˈsɛlf bi sin ɛz ən ˈɪmɪʤ. ðə əv ðɪs ˈmeɪtrɪks ər ˈðɛrˌfɔr kɔld. ðeɪ ər ðə dɪˈrɛkʃɪnz ɪn wɪʧ ðə ˈɪmɪʤɪz ˈdɪfər frəm ðə min ˈɪmɪʤ. ˈjuʒəwəli ðɪs wɪl bi ə ɪkˈspɛnsɪv stɛp (ɪf æt ɔl ˈpɑsəbəl), bət ðə ˈpræktɪkəl ˌæpləkəˈbɪləti əv stɛmz frəm ðə ˌpɑsəˈbɪləˌti tɪ kəmˈpjut ðə əv ɛs ɪˈfɪʃəntli, wɪˈθaʊt ˈɛvər kəmˈpjutɪŋ ɛs ɪkˈsplɪsətli, ɛz dɪˈteɪld bɪˈloʊ. ʧuz ðə ˈprɪnsəpəl kəmˈpoʊnənts. sɔrt ðə ˈaɪgənˌvæljuz ɪn dɪˈsɛndɪŋ ˈɔrdər ənd əreɪnʤ əˈkɔrdɪŋli. ðə ˈnəmbər əv ˈprɪnsəpəl kəmˈpoʊnənts keɪ ɪz dɪˈtərmənd ˈɑrbɪˌtrɛrəli baɪ ˈsɛtɪŋ ə θˈrɛˌʃoʊld ɔn ðə ˈtoʊtəl ˈvɛriəns. ˈtoʊtəl ˈvɛriəns vi 1 2 ɛn _{ɛn})} ɛn ˈnəmbər əv kəmˈpoʊnənts. keɪ ɪz ðə sˈmɔləst ˈnəmbər ˈsætɪsˌfaɪz 1 2 keɪ vi {(\ˈlæmdə ðiz kən naʊ bi juzd tɪ ˌrɛprɪˈzɛnt boʊθ ɪgˈzɪstɪŋ ənd nu ˈfeɪsɪz: wi kən ˈprɑʤɛkt ə nu (mean-subtracted*) ˈɪmɪʤ ɔn ðə ənd ˈðɛrˈbaɪ ˈrɛkərd haʊ ðət nu feɪs ˈdɪfərz frəm ðə min feɪs. ðə ˈaɪgənˌvæljuz əˈsoʊʃiˌeɪtəd wɪθ iʧ ˌrɛprɪˈzɛnt haʊ məʧ ðə ˈɪmɪʤɪz ɪn ðə ˈtreɪnɪŋ sɛt ˈvɛri frəm ðə min ˈɪmɪʤ ɪn ðət dɪˈrɛkʃɪn. wi luz ˌɪnˌfɔrˈmeɪʃən baɪ prɑˈʤɛktɪŋ ðə ˈɪmɪʤ ɔn ə ˈsəbˌsɛt əv ðə, bət wi ˈmɪnəˌmaɪz ðɪs lɔs baɪ ˈkipɪŋ ðoʊz wɪθ ðə ˈlɑrʤəst ˈaɪgənˌvæljuz. fər ˈɪnstəns, ɪf wi ər ˈwərkɪŋ wɪθ ə 100 ɛks 100 ˈɪmɪʤ, ðɛn wi wɪl əbˈteɪn. ɪn ˈpræktɪkəl ˌæpləˈkeɪʃənz, moʊst ˈfeɪsɪz kən ˈtɪpɪkəli bi aɪˈdɛntəˌfaɪd ˈjuzɪŋ ə prɑˈʤɛkʃən ɔn bɪtˈwin 100 ənd 150, soʊ ðət moʊst əv ðə kən bi dɪˈskɑrdɪd. ɪgˈzæmpəl koʊd ˈɛdət hir ɪz ən ɪgˈzæmpəl əv ˈkælkjəˌleɪtɪŋ wɪθ ɪkˈstɛndɪd jeɪl feɪs ˈdætəˌbeɪs bi. tɪ ɪˈveɪd ˌkɑmpjuˈteɪʃənəl ənd ˈstɔrɪʤ ˈbɑtəlˌnɛk, ðə feɪs ˈɪmɪʤɪz ər ˈsæmpəld daʊn baɪ ə ˈfæktər klɪr ɔl kloʊz ɔl loʊd eɪʧ ˈdəbəlju ɛn saɪz di eɪʧ ˈdəbəlju ˈɪmɪʤɪz ɛks riˈʃeɪp di ɛn ɛks ˈdəbəl ɛks %səbˈtrækt min min ɛks 2 ɛks ˈmaɪnəs ɛks ˈkælkjəˌleɪt ɛs ɛks əbˈteɪn ˈaɪgənˌvælju vi di ɛs di sɔrt ˈaɪgənˌvæljuz ɪn dɪˈsɛndɪŋ ˈɔrdər ɛnd 1 1 vi vi ʃoʊ min ənd θru ˈprɪnsəpəl ˈfɪgjər ˈsəbplɑt 4 4 1 riˈʃeɪp eɪʧ ˈdəbəlju greɪ fər aɪ 1 15 ˈsəbplɑt 4 4 aɪ 1 riˈʃeɪp vi aɪ eɪʧ ˈdəbəlju ɛnd noʊt ðət ˌɔlˈðoʊ ðə ˈmeɪtrɪks ɛs ˈʤɛnərˌeɪts ˈmɛni, ˈoʊnli ə ˈfrækʃən əv ðoʊz ər ˈnidɪd tɪ ˌrɛprɪˈzɛnt ðə məˈʤɔrəti əv ðə ˈfeɪsɪz. fər ɪgˈzæmpəl, tɪ ˌrɛprɪˈzɛnt 95 əv ðə ˈtoʊtəl ˌvɛriˈeɪʃən əv ɔl feɪs ˈɪmɪʤɪz, ˈoʊnli ðə fərst 43 ər ˈnidɪd. tɪ ˈkælkjəˌleɪt ðɪs rɪˈzəlt, ˈɪmpləmənt ðə ˈfɑloʊɪŋ koʊd: ɪˈvæljuˌeɪt ðə ˈnəmbər əv ˈprɪnsəpəl kəmˈpoʊnənts ˈnidɪd tɪ ˌrɛprɪˈzɛnt 95 ˈtoʊtəl ˈvɛriəns. səm 0 fər aɪ 1 di aɪ ˌtɛləˈvɪʒən ɪf ˌtɛləˈvɪʒən aɪ breɪk ɛnd ɛnd kəmˈpjutɪŋ ðə ˈɛdət pərˈfɔrmɪŋ dɪˈrɛkli ɔn ðə ˈmeɪtrɪks əv ðə ˈɪmɪʤɪz ɪz ˈɔfən ˌɪnˈfizəbəl. ɪf smɔl ˈɪmɪʤɪz ər juzd, seɪ 100 100 ˈpɪksəlz, iʧ ˈɪmɪʤ ɪz ə pɔɪnt ɪn ə speɪs ənd ðə ˈmeɪtrɪks ɛs ɪz ə ˈmeɪtrɪks əv 108 ˈɛləmənts. ˌhaʊˈɛvər ðə ræŋk əv ðə ˈmeɪtrɪks ɪz ˈlɪmɪtɪd baɪ ðə ˈnəmbər əv ˈtreɪnɪŋ ɪgˈzæmpəlz: ɪf ðɛr ər ɛn ˈtreɪnɪŋ ɪgˈzæmpəlz, ðɛr wɪl bi æt moʊst ɛn 1 wɪθ nɑnˈziroʊ ˈaɪgənˌvæljuz. ɪf ðə ˈnəmbər əv ˈtreɪnɪŋ ɪgˈzæmpəlz ɪz sˈmɔlər ðən ðə dɪˌmɛnʃəˈnæləti əv ðə ˈɪmɪʤɪz, ðə ˈprɪnsəpəl kəmˈpoʊnənts kən bi kəmˈpjutɪd mɔr ˈizəli ɛz ˈfɑloʊz. lɛt ti bi ðə ˈmeɪtrɪks əv ˈtreɪnɪŋ ɪgˈzæmpəlz, wɛr iʧ ˈkɑləm kənˈteɪnz wən ˈɪmɪʤ. ðə ˈmeɪtrɪks kən ðɛn bi kəmˈpjutɪd ɛz ɛs ənd ðə ˌdikəmpəˈzɪʃən əv ɛs ɪz ˈgɪvɪn baɪ ɛs vi aɪ ti ti ti vi aɪ aɪ vi aɪ {sv*} {ti} {ti} {vi} {vi} _{aɪ}} ˌhaʊˈɛvər ɪz ə lɑrʤ ˈmeɪtrɪks, ənd ɪf ˌɪnˈstɛd wi teɪk ðə ˈaɪgənˌvælju ˌdikəmpəˈzɪʃən əv ti ti ti ju aɪ aɪ ju aɪ {ti} {ti} {ju} {ju} _{aɪ}} ðɛn wi ˈnoʊtɪs ðət baɪ boʊθ saɪdz əv ðə ɪkˈweɪʒən wɪθ ti, wi əbˈteɪn ti ti ti ti ju aɪ aɪ ti ju aɪ {ti} {ti} {ti} {ju} {ti} {ju} _{aɪ}} ˈminɪŋ ðət, ɪf ju aɪ ɪz ən əv, ðɛn vi aɪ tu aɪ ɪz ən əv ɛs. ɪf wi hæv ə ˈtreɪnɪŋ sɛt əv 300 ˈɪmɪʤɪz əv 100 100 ˈpɪksəlz, ðə ˈmeɪtrɪks ɪz ə 300 300 ˈmeɪtrɪks, wɪʧ ɪz məʧ mɔr ˈmænɪʤəbəl ðən ðə ˈmeɪtrɪks. ˈnoʊtɪs ˌhaʊˈɛvər ðət ðə rɪˈzəltɪŋ ˈvɛktərz vi aɪ ər nɑt normalised*; ɪf ɪz rikˈwaɪərd ɪt ʃʊd bi əˈplaɪd ɛz ən ˈɛkstrə stɛp. kəˈnɛkʃən wɪθ ˈɛdət lɛt ɛks dɪˈnoʊt ðə di ɛn ɛn} ˈdætə ˈmeɪtrɪks wɪθ ˈkɑləm ɛks aɪ x_{i*}} ɛz ðə ˈɪmɪʤ ˈvɛktər wɪθ min səbˈtræktɪd. ðɛn, si oʊ vi ə ɑr aɪ ə ɛn si i ɛks ɛks ɛks ti ɛn {xx^{t}}{n*}}} lɛt ðə ˈsɪŋgjələr ˈvælju ˌdikəmpəˈzɪʃən (svd*) əv ɛks bi: ɛks ju vi ti }v^{t*}} ðɛn ðə ˈaɪgənˌvælju ˌdikəmpəˈzɪʃən fər ɛks ɛks ti xx^{t*}} ɪz: ɛks ɛks ti ju ti ju ti ju ju ti }{{\ˈsɪgmə }u^{t*}} ɛks ɛks ti xx^{t*}} ðəs wi kən si ˈizəli ðət: ðə ðə fərst keɪ keɪ} keɪ ɛn ɛn} ju ju} ðə ˈaɪgənˌvælju əv ɛks ɛks ti 1 ɛn 1}{n*}}(} ɛks 2 ˈjuzɪŋ ɔn ˈdætə ˈmeɪtrɪks ɛks, wi nid tɪ ˈkælkjəˌleɪt ðə ˈækʧəwəl ˈmeɪtrɪks tɪ gɪt. juz ɪn ˈfeɪʃəl ˌrɛkɪgˈnɪʃən ˈɛdət ˈfeɪʃəl ˌrɛkɪgˈnɪʃən wɑz ðə sɔrs əv ˌmoʊtəˈveɪʃən bɪˈhaɪnd ðə kriˈeɪʃən əv. fər ðɪs juz, hæv ædˈvæntɪʤɪz ˈoʊvər ˈəðər tɛkˈniks əˈveɪləbəl, səʧ ɛz ðə ˈsɪstəmz spid ənd ɪˈfɪʃənsi. ɛz ɪz praɪˈmɛrəli ə dɪˈmɛnʃən rɪˈdəkʃən ˈmɛθəd, ə ˈsɪstəm kən ˌrɛprɪˈzɛnt ˈmɛni ˈsəbʤɪkts wɪθ ə ˈrɛlətɪvli smɔl sɛt əv ˈdætə. ɛz ə feɪs ˌrɛkɪgˈnɪʃən ˈsɪstəm ɪt ɪz ˈɔlsoʊ ˈfɛrli ˌɪnˈvɛriənt tɪ lɑrʤ rɪˈdəkʃənz ɪn ˈɪmɪʤ ˈsaɪzɪŋ, ˌhaʊˈɛvər ɪt bɪˈgɪnz tɪ feɪl kənˈsɪdərəbli wɪn ðə ˌvɛriˈeɪʃən bɪtˈwin ðə sin ˈɪmɪʤɪz ənd proʊb ˈɪmɪʤ ɪz lɑrʤ. tɪ ˈrɛkəgˌnaɪz ˈfeɪsɪz, ˈgæləri ˈɪmɪʤɪz, ðoʊz sin baɪ ðə ˈsɪstəm, ər seɪvd ɛz kəˈlɛkʃənz əv weɪts dɪˈskraɪbɪŋ ðə ˌkɑntrəˈbjuʃən iʧ həz tɪ ðət ˈɪmɪʤ. wɪn ə nu feɪs ɪz pərˈzɛnəd tɪ ðə ˈsɪstəm fər ˌklæsəfəˈkeɪʃən, ɪts oʊn weɪts ər faʊnd baɪ prɑˈʤɛktɪŋ ðə ˈɪmɪʤ ˈɔntu ðə kəˈlɛkʃən əv. ðɪs prəˈvaɪdz ə sɛt əv weɪts dɪˈskraɪbɪŋ ðə proʊb feɪs. ðiz weɪts ər ðɛn ˈklæsəˌfaɪd əˈgɛnst ɔl weɪts ɪn ðə ˈgæləri sɛt tɪ faɪnd ðə ˈkloʊsəst mæʧ. ə ˈnɪrəst ˈneɪbər ˈmɛθəd ɪz ə ˈsɪmpəl əˈproʊʧ fər ˈfaɪndɪŋ ðə ˈdɪstəns bɪtˈwin tu ˈvɛktərz, wɛr ðə ˈmɪnəməm kən bi ˈklæsəˌfaɪd ɛz ðə ˈkloʊsəst ˈpɛntlənd 1991 pi. 590 ˌɪnˈtuɪtɪvli, ˌrɛkɪgˈnɪʃən ˈprɔˌsɛs wɪθ ˈmɛθəd ɪz tɪ ˈprɑʤɛkt kˈwiri ˈɪmɪʤɪz ˈɪntu ðə spænd baɪ wi hæv ˈkælkjəˌleɪtɪd ənd ɪn ðət faɪnd ðə ˈkloʊsəst mæʧ tɪ ə feɪs klæs. ˈsudoʊ ˈgɪvɪn ˈɪnˌpʊt ˈɪmɪʤ ˈvɛktər ju ɛn \ri ^{ɛn}} ɛm ɛm} ˈdəbəlju keɪ vi keɪ ti ju ɛm w_{k}=v_{k}^{t}(u-m*)} ðɛn fɔrm ə weɪt ˈvɛktər ˈdəbəlju ˈdəbəlju 1 ˈdəbəlju 2 ˈdəbəlju keɪ ˈdəbəlju ɛn w=[w_{1},w_{2},...,w_{k},...,w_{n*}]} kəmˈpɛr ˈdəbəlju wɪθ weɪt ˈvɛktərz ˈdəbəlju ɛm w_{m*}} di ˈdəbəlju ˈdəbəlju ɛm 2 ɪf di 1 1 ɪf 1 di 2 \ˈɛpsəˌlɑn 2 ju meɪ bi ən ənˈnoʊn feɪs ənd kən bi ˈædɪd tɪ ðə ˈdætəˌbeɪs. meɪ bi ən ənˈnoʊn feɪs ənd kən bi ˈædɪd tɪ ðə ˈdætəˌbeɪs. ɪf di 2 ju 2},u*} ðə weɪts əv iʧ ˈgæləri ˈɪmɪʤ ˈoʊnli kənˈveɪ ˌɪnˌfɔrˈmeɪʃən dɪˈskraɪbɪŋ ðət ˈɪmɪʤ, nɑt ðət ˈsəbʤɪkt. ən ˈɪmɪʤ əv wən ˈsəbʤɪkt ˈəndər ˈfrəntəl ˈlaɪtɪŋ meɪ hæv ˈvɛri ˈdɪfərənt weɪts tɪ ðoʊz əv ðə seɪm ˈsəbʤɪkt ˈəndər strɔŋ lɛft ˈlaɪtɪŋ. ðɪs ˈlɪmɪts ðə ˌæpləˈkeɪʃən əv səʧ ə ˈsɪstəm. ɪkˈspɛrəmənts ɪn ðə ərˈɪʤənəl ˈpeɪpər pərˈzɛnəd ðə ˈfɑloʊɪŋ rɪˈzəlts: ən ˈævərɪʤ əv 96 wɪθ laɪt ˌvɛriˈeɪʃən, 85 wɪθ ˌɔriɛnˈteɪʃən ˌvɛriˈeɪʃən, ənd 64 wɪθ saɪz ˌvɛriˈeɪʃən. (tərk ˈpɛntlənd 1991 pi. 590 ˈvɛriəs ɪkˈstɛnʃənz hæv bɪn meɪd tɪ ðə ˈmɛθəd səʧ eigenfeatures*. ðɪs ˈmɛθəd kəmˈbaɪnz ˈfeɪʃəl ˈmɛtrɪks (ˈmɛʒərɪŋ ˈdɪstəns bɪtˈwin ˈfeɪʃəl ˈfiʧərz) wɪθ ðə ˌrɛprəzɛnˈteɪʃən. əˈnəðər ˈmɛθəd ˈsɪmələr tɪ ðə tɛkˈnik ɪz 'fisherfaces*' wɪʧ ˈjuzɪz ˈlɪniər ðɪs ˈmɛθəd fər ˈfeɪʃəl ˌrɛkɪgˈnɪʃən ɪz lɛs ˈsɛnsɪtɪv tɪ ˌvɛriˈeɪʃən ɪn ˈlaɪtɪŋ ənd poʊz əv ðə feɪs ðən ˈjuzɪŋ. ˈleɪbəld ˈdætə tɪ rɪˈteɪn mɔr əv ðə klæs spɪˈsɪfɪk ˌɪnˌfɔrˈmeɪʃən ˈdʊrɪŋ ðə dɪˈmɛnʃən rɪˈdəkʃən steɪʤ. ə ˈfərðər ɔlˈtərnətɪv tɪ ənd ɪz ðə ˈæktɪv əˈpɪrəns ˈmɑdəl. ðɪs əˈproʊʧ ˈjuzɪz ən ˈæktɪv ʃeɪp ˈmɑdəl tɪ dɪˈskraɪb ðə ˈaʊˌtlaɪn əv ə feɪs. baɪ kəˈlɛktɪŋ ˈmɛni feɪs ˈaʊˌtlaɪnz, ˈprɪnsəpəl kəmˈpoʊnənt æˈnælɪsɪs kən bi juzd tɪ fɔrm ə ˈbeɪsɪs sɛt əv ˈmɑdəlz wɪʧ, ɛnˈkæpsəˌleɪt ðə ˌvɛriˈeɪʃən əv ˈdɪfərənt ˈfeɪsɪz. ˈmɛni ˈmɑdərn əˈproʊʧɪz stɪl juz ˈprɪnsəpəl kəmˈpoʊnənt æˈnælɪsɪs ɛz ə minz əv dɪˈmɛnʃən rɪˈdəkʃən ər tɪ fɔrm ˈbeɪsɪs ˈɪmɪʤɪz fər ˈdɪfərənt moʊdz əv ˌvɛriˈeɪʃən. ˌrivˈju ˈɛdət prəˈvaɪdz ən ˈizi ənd ʧip weɪ tɪ ˈriəˌlaɪz feɪs ˌrɛkɪgˈnɪʃən ɪn ðət: ɪts ˈtreɪnɪŋ ˈprɔˌsɛs ɪz kəmˈplitli ˌɔtəˈmætɪk ənd ˈizi tɪ koʊd. ˈædəkwɪtli rɪˈdusɪz stəˈtɪstɪkəl kəmˈplɛksɪti ɪn feɪs ˈɪmɪʤ ˌrɛprəzɛnˈteɪʃən. wəns əv ə ˈdætəˌbeɪs ər ˈkælkjəˌleɪtɪd, feɪs ˌrɛkɪgˈnɪʃən kən bi əˈʧivd ɪn ril taɪm. kən ˈhændəl lɑrʤ ˈdætəˌbeɪsɪz. ˌhaʊˈɛvər, ðə dɪˈfɪʃənsiz əv ðə ˈmɛθəd ər ˈɔlsoʊ ˈɑbviəs: ˈvɛri ˈsɛnsɪtɪv tɪ ˈlaɪtɪŋ, skeɪl ənd trænzˈleɪʃən; rikˈwaɪərz ə ˈhaɪli kənˈtroʊld ɪnˈvaɪrənmənt. həz ˈdɪfɪˌkəlti ˈkæpʧərɪŋ ɪkˈsprɛʃən ˈʧeɪnʤɪz. ðə moʊst sɪgˈnɪfɪkənt ər ˈmeɪnli əˈbaʊt ˌɪˌluməˈneɪʃən ɛnˈkoʊdɪŋ ənd doʊnt prəˈvaɪd ˈjusfəl ˌɪnˌfɔrˈmeɪʃən rɪˈgɑrdɪŋ ðə ˈækʧəwəl feɪs. tɪ koʊp wɪθ ˌɪˌluməˈneɪʃən dɪˈstrækʃən ɪn ˈpræktɪs, ðə ˈmɛθəd ˈjuʒəwəli dɪˈskɑrdz ðə fərst θri frəm ðə ˈdeɪtəˌsɛt. sɪns ˌɪˌluməˈneɪʃən ɪz ˈjuʒəwəli ðə kɔz bɪˈhaɪnd ðə ˈlɑrʤəst ˌvɛriˈeɪʃənz ɪn feɪs ˈɪmɪʤɪz, ðə fərst θri wɪl ˈmeɪnli ˈkæpʧər ðə ˌɪnˌfɔrˈmeɪʃən əv ˈlaɪtɪŋ ˈʧeɪnʤɪz, wɪʧ həz ˈlɪtəl ˌkɑntrəˈbjuʃən tɪ feɪs ˌrɛkɪgˈnɪʃən. baɪ dɪˈskɑrdɪŋ ðoʊz θri, ðɛr wɪl bi ə ˈdisənt əˈmaʊnt əv bust ɪn ˈækjərəsi əv feɪs ˌrɛkɪgˈnɪʃən, bət ˈəðər ˈmɛθədz səʧ ɛz ənd ˈlɪniər speɪs stɪl hæv ðə ædˈvæntɪʤ. si ˈɔlsoʊ ˈɛdət noʊts ˈɛdət
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marriott and the hotel industry's american hospitality & lodging association are asking that the federal communications commission and by extension, all of us trust them when it comes to what they want to do with wi-fi access on their premises.
if you have reservations, they'd like you to cancel them.
but as this is the travel business, be forewarned this change may cost you.
the hotels say they want to be allowed to monitor and control how customers connect to the internet with their laptops and other portable devices. they say they would never render all but their own wi-fi services inoperative unless it was absolutely necessary to thwart threats.
marriott is acutely aware of the rules against "willful and malicious interference" of wireless signals to which it seeks an exception. it shelled out $600,000 a few months ago to settle an complaint that it kept customers from using their own wireless modems and hot spots rather than its own pricey wi-fi connection at nashville's gaylord opryland hotel and convention center.
as for the hotel industry, its knack for finding revenue opportunities to exploit through fees such as charges for making phone calls and delivering unsolicited packages speaks for itself. if money isn't driving this push and the hospitality association insists it is not it's sure to be making a lot of noise from the back seat if an allowance is made.
the argument lodging people make is they want to be able to monitor and, if necessary, jam wi-fi hot spots used in their meeting and conference spaces that aren't authorized and can be used or co-opted to hack a computer or device.
"hotels need to be able to protect the personal data and information of their guests," cope, the industry lobbying group's vice president of government affairs, said in a statement.
"our petition asks the to provide clear rules so that hotels can take all reasonable steps necessary to manage and protect their guest's data without fear of legal penalty."
through this prism, it's all in the name of security, like an safe, an amenity some may find of dubious value for which some hotels charge guests regardless of whether they're ever used.
"the question at hand is what measures a network operator can take to detect and contain rogue and impostor wi-fi hot spots," marriott said. "the entire hotel industry is seeking clarity from the regarding what lawful measures a network operator can take to prevent such attacks from occurring."
perhaps seeking to make this more palatable to the public, marriott has stressed it doesn't want to interfere with wi-fi in rooms and in common spaces. but if rogue wi-fi services are such a pernicious threat, then why not head off trouble there as well?
what makes tablet users at a hotel conference any different than when they're back home at the mall, library or starbucks?
if the grants an exception here, it's a sure bet other businesses will seek to follow suit.
any merchant tired of seeing customers check prices and order from somewhere else before they've left the store will surely seize the opportunity to claim a security threat. never mind that a lot of these businesses still haven't figured out how to keep buyers' personal data secure in the sales transactions they actually do make.
"as we've seen too often, it takes only one rogue actor to breach a protected system, and network operators need the ability to prevent sensitive information from falling into the wrong hands," cope said.
giants are lined up on either side because of the stakes.
cisco is with the hotels.
google and microsoft are opposed.
at a time when the has yet to sort out its stand on net neutrality and the government has kept comcast's proposed internet, cable and phone marriage with time warner cable in limbo, it's hard to predict an outcome.
there's no available signal.
but it should be up to us, and no one else, whether we hang a do not disturb sign on personal internet connections.
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ˈmɛriət ənd ðə hoʊˈtɛl ˈɪndəstriz əˈmɛrɪkən ˌhɑspəˈtæləti ˈlɑʤɪŋ əˌsoʊʃiˈeɪʃən ər ˈæskɪŋ ðət ðə ˈfɛdərəl kəmˌjunəˈkeɪʃənz kəˈmɪʃən ənd baɪ ɪkˈstɛnʃən, ɔl əv ˈjuˈɛs trəst ðɛm wɪn ɪt kəmz tɪ wət ðeɪ wɔnt tɪ du wɪθ ˈwaɪˌfaɪ ˈækˌsɛs ɔn ðɛr ˈprɛməsəz. ɪf ju hæv ˌrɛzərˈveɪʃənz, ðeɪd laɪk ju tɪ ˈkænsəl ðɛm. bət ɛz ðɪs ɪz ðə ˈtrævəl ˈbɪznɪs, bi fɔrˈwɔrnd ðɪs ʧeɪnʤ meɪ kɔst ju. ðə hoʊˈtɛlz seɪ ðeɪ wɔnt tɪ bi əˈlaʊd tɪ ˈmɑnətər ənd kənˈtroʊl haʊ ˈkəstəmərz kəˈnɛkt tɪ ðə ˈɪntərˌnɛt wɪθ ðɛr ˈlæpˌtɑps ənd ˈəðər ˈpɔrtəbəl dɪˈvaɪsɪz. ðeɪ seɪ ðeɪ wʊd ˈnɛvər ˈrɛndər ɔl bət ðɛr oʊn ˈwaɪˌfaɪ ˈsərvɪsɪz ˌɪˈnɑpərətɪv ənˈlɛs ɪt wɑz ˌæbsəˈlutli ˈnɛsəˌsɛri tɪ θwɔrt θrɛts. ˈmɛriət ɪz əˈkjutli əˈwɛr əv ðə rulz əˈgɛnst "ˈwɪlfəl ənd məˈlɪʃəs ˌɪnərˈfɪrəns" əv ˈwaɪrlɪs ˈsɪgnəlz tɪ wɪʧ ɪt siks ən ɪkˈsɛpʃən. ɪt ʃɛld aʊt ə fju mənθs əˈgoʊ tɪ ˈsɛtəl ən kəmˈpleɪnt ðət ɪt kɛpt ˈkəstəmərz frəm ˈjuzɪŋ ðɛr oʊn ˈwaɪrlɪs ˈmoʊdəmz ənd hɑt spɑts ˈrəðər ðən ɪts oʊn ˈpraɪsi ˈwaɪˌfaɪ kəˈnɛkʃən æt ˈnæʃˌvɪlz ˈgeɪˌlɔrd ˈɑprilənd hoʊˈtɛl ənd kənˈvɛnʃən ˈsɛnər. ɛz fər ðə hoʊˈtɛl ˈɪndəstri, ɪts næk fər ˈfaɪndɪŋ ˈrɛvəˌnu ˌɑpərˈtunətiz tɪ ˌɛkˈsplɔɪt θru fiz səʧ ɛz ˈʧɑrʤɪz fər ˈmeɪkɪŋ foʊn kɔlz ənd dɪˈlɪvərɪŋ ˌənsəˈlɪsɪtɪd ˈpækɪʤɪz spiks fər ˌɪtˈsɛlf. ɪf ˈməni ˈɪzənt ˈdraɪvɪŋ ðɪs pʊʃ ənd ðə ˌhɑspəˈtæləti əˌsoʊʃiˈeɪʃən ˌɪnˈsɪsts ɪt ɪz nɑt ɪts ʃʊr tɪ bi ˈmeɪkɪŋ ə lɔt əv nɔɪz frəm ðə bæk sit ɪf ən əˈlaʊəns ɪz meɪd. ðə ˈɑrgjəmənt ˈlɑʤɪŋ ˈpipəl meɪk ɪz ðeɪ wɔnt tɪ bi ˈeɪbəl tɪ ˈmɑnətər ənd, ɪf ˈnɛsəˌsɛri, ʤæm ˈwaɪˌfaɪ hɑt spɑts juzd ɪn ðɛr ˈmitɪŋ ənd ˈkɑnfərəns ˈspeɪsɪz ðət ˈɑrənt ˈɔθərˌaɪzd ənd kən bi juzd ər koʊˈɑptəd tɪ hæk ə kəmˈpjutər ər dɪˈvaɪs. "hoʊˈtɛlz nid tɪ bi ˈeɪbəl tɪ prəˈtɛkt ðə ˈpərsɪnəl ˈdætə ənd ˌɪnˌfɔrˈmeɪʃən əv ðɛr gɛsts," koʊp, ðə ˈɪndəstri ˈlɑbiɪŋ grups vaɪs ˈprɛzɪdənt əv ˈgəvərnmənt əˈfɛrz, sɛd ɪn ə ˈsteɪtmənt. "ɑr pəˈtɪʃən æsks ðə tɪ prəˈvaɪd klɪr rulz soʊ ðət hoʊˈtɛlz kən teɪk ɔl ˈrizənəbəl stɛps ˈnɛsəˌsɛri tɪ ˈmænɪʤ ənd prəˈtɛkt ðɛr gɛsts ˈdætə wɪˈθaʊt fɪr əv ˈligəl ˈpɛnəlti." θru ðɪs ˈprɪzəm, ɪts ɔl ɪn ðə neɪm əv sɪˈkjʊrəti, laɪk ən seɪf, ən əˈmɛnəti səm meɪ faɪnd əv ˈdubiəs ˈvælju fər wɪʧ səm hoʊˈtɛlz ʧɑrʤ gɛsts rəˈgɑrdləs əv ˈwɛðər ðɛr ˈɛvər juzd. "ðə kˈwɛʃən æt hænd ɪz wət ˈmɛʒərz ə ˈnɛtˌwərk ˈɑpərˌeɪtər kən teɪk tɪ dɪˈtɛkt ənd kənˈteɪn roʊg ənd ˌɪmˈpɔstər ˈwaɪˌfaɪ hɑt spɑts," ˈmɛriət sɛd. "ðə ɪnˈtaɪər hoʊˈtɛl ˈɪndəstri ɪz ˈsikɪŋ ˈklɛrɪti frəm ðə rɪˈgɑrdɪŋ wət ˈlɔfəl ˈmɛʒərz ə ˈnɛtˌwərk ˈɑpərˌeɪtər kən teɪk tɪ prɪˈvɛnt səʧ əˈtæks frəm əˈkərɪŋ." pərˈhæps ˈsikɪŋ tɪ meɪk ðɪs mɔr ˈpælətəbəl tɪ ðə ˈpəblɪk, ˈmɛriət həz strɛst ɪt ˈdəzənt wɔnt tɪ ˌɪnərˈfɪr wɪθ ˈwaɪˌfaɪ ɪn rumz ənd ɪn ˈkɑmən ˈspeɪsɪz. bət ɪf roʊg ˈwaɪˌfaɪ ˈsərvɪsɪz ər səʧ ə pərˈnɪʃəs θrɛt, ðɛn waɪ nɑt hɛd ɔf ˈtrəbəl ðɛr ɛz wɛl? wət meɪks ˈtæblət ˈjuzərz æt ə hoʊˈtɛl ˈkɑnfərəns ˈɛni ˈdɪfərənt ðən wɪn ðɛr bæk hoʊm æt ðə mɔl, ˈlaɪbrɛˌri ər ˈstɑrˌbəks? ɪf ðə grænts ən ɪkˈsɛpʃən hir, ɪts ə ʃʊr bɛt ˈəðər ˈbɪznɪsɪz wɪl sik tɪ ˈfɑloʊ sut. ˈɛni ˈmərʧənt taɪərd əv siɪŋ ˈkəstəmərz ʧɛk ˈpraɪsɪz ənd ˈɔrdər frəm ˈsəmˌwɛr ɛls ˌbiˈfɔr ðeɪv lɛft ðə stɔr wɪl ˈʃʊrli siz ðə ˌɑpərˈtunəti tɪ kleɪm ə sɪˈkjʊrəti θrɛt. ˈnɛvər maɪnd ðət ə lɔt əv ðiz ˈbɪznɪsɪz stɪl ˈhævənt ˈfɪgjərd aʊt haʊ tɪ kip baɪərz' ˈpərsɪnəl ˈdætə sɪˈkjʊr ɪn ðə seɪlz trænˈzækʃənz ðeɪ ˈæˌkʧuəli du meɪk. "ɛz wiv sin tu ˈɔfən, ɪt teɪks ˈoʊnli wən roʊg ˈæktər tɪ briʧ ə prəˈtɛktɪd ˈsɪstəm, ənd ˈnɛtˌwərk ˈɔpərˌeɪtərz nid ðə əˈbɪləˌti tɪ prɪˈvɛnt ˈsɛnsɪtɪv ˌɪnˌfɔrˈmeɪʃən frəm ˈfɑlɪŋ ˈɪntu ðə rɔŋ hænz," koʊp sɛd. ʤaɪənts ər laɪnd əp ɔn ˈiðər saɪd bɪˈkəz əv ðə steɪks. ˈsɪˌskoʊ ɪz wɪθ ðə hoʊˈtɛlz. ˈgugəl ənd ˈmaɪˌkroʊˈsɔft ər əˈpoʊzd. æt ə taɪm wɪn ðə həz jɛt tɪ sɔrt aʊt ɪts stænd ɔn nɛt nuˈtræləti ənd ðə ˈgəvərnmənt həz kɛpt ˈkɑmˌkæsts prəˈpoʊzd ˈɪntərˌnɛt, ˈkeɪbəl ənd foʊn ˈmɛrɪʤ wɪθ taɪm ˈwɔrnər ˈkeɪbəl ɪn ˈlɪmboʊ, ɪts hɑrd tɪ prɪˈdɪkt ən ˈaʊtˌkəm. ðɛrz noʊ əˈveɪləbəl ˈsɪgnəl. bət ɪt ʃʊd bi əp tɪ ˈjuˈɛs, ənd noʊ wən ɛls, ˈwɛðər wi hæŋ ə du nɑt dɪˈstərb saɪn ɔn ˈpərsɪnəl ˈɪntərˌnɛt kəˈnɛkʃənz. tˈwɪtər
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“it is really a spectacular site,” says monecke, a at wellesley college who was not involved in the study, but who has worked on on other tsunami deposits in southeast asia. with this cave discovery, scientists have a whole new place they can look for records of past.
horton knew the cave was special the moment he set foot inside in 2011. his colleague, patrick daly, an at nanyang, had heard about it from locals. the first thing they noticed is that the opening of the cave did not directly face the good sign because that positioning slows the movement of water, allowing sand brought by the tsunami to settle in the cave.
then they stepped in the dark, second chamber. “the next thing you know we were faced with thousands of bats. we were just drenched in bat pee,” says horton. these bats turned out to be key. had been inundating this cave for thousands of years, during which time bats were also on the cave floor. a tsunami came. bats pooped. tsunami, bat poop, tsunami, bat poop, and so on. so when horton and daly dug into the sand in the cave, they saw these perfect layers of sand, separated by dark bands of bat poop. “it was a holy grail moment,” says horton. “we knew we had found something very, very unique.”
over several years, horton and his colleagues dug six major trenches up to feet deep. they carbon dated the animal shells and charcoal in the sand layers as well as the bat poop itself. they found, in total, records from at least 11 prehistoric, separated by highly irregular intervals. in one case, there was a year gap between. but within the span of a single century around 1300 bce, there were four. “it shows just how far away we are from being able to predict when an earthquake will hit,” says horton.
there was one odd hiccup in data. the cave was missing the last years of records because, horton and his colleagues think, the 2004 tsunami actually washed away those layers. the bottom of the sand layer from 2004 was all irregular, as if something (perhaps the 2004 tsunami) had ripped out uneven chunks of the sand bed. this made the team worry that other parts of the tsunami record might be missing. but they did not see the irregular border in any other time period.
for now, the cave is a single data point. the most puzzling and perhaps worrying part, according to andy moore, a geologist at college, is actually the streak of four in a single century. “the clustered is to me the biggest thing that needs to be clarified because that has real world impacts on how we handle the tsunami hazards on the coast of the indian ocean,” he says. how much should countries invest in infrastructure protecting against a potential tsunami? how important is a warning system? “the answer if the tsunami could happen once every few decades to a century, a vastly different answer than [if it happens] every 500 years,” he says.
horton and his colleagues are continuing to work in the cave. they hope that by looking at the thickness of the sand layers and the grain size of the sand, they might determine how big each of those were. also driving down the coastal highway, in search of more caves that can corroborate the records from this one. this highway is relatively new; it was built after the 2004 tsunami.
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““it* ɪz ˈrɪli ə spɛkˈtækjələr site,”*,” sɪz monecke*, ə æt ˈwɛlzli ˈkɑlɪʤ hu wɑz nɑt ˌɪnˈvɑlvd ɪn ðə ˈstədi, bət hu həz wərkt ɔn ɔn ˈəðər tsuˈnɑmi dɪˈpɑzəts ɪn ˌsaʊˈθist ˈeɪʒə. wɪθ ðɪs keɪv ˌdɪˈskəvri, ˈsaɪəntɪsts hæv ə hoʊl nu pleɪs ðeɪ kən lʊk fər ˈrɛkərdz əv pæst. ˈhɔrtən nu ðə keɪv wɑz ˈspɛʃəl ðə ˈmoʊmənt hi sɛt fʊt ˌɪnˈsaɪd ɪn 2011 hɪz ˈkɑlig, ˈpætrɪk ˈdeɪli, ən æt nanyang*, hæd hərd əˈbaʊt ɪt frəm ˈloʊkəlz. ðə fərst θɪŋ ðeɪ ˈnoʊtɪst ɪz ðət ðə ˈoʊpənɪŋ əv ðə keɪv dɪd nɑt dɪˈrɛkli feɪs ðə gʊd saɪn bɪˈkəz ðət pəˈzɪʃənɪŋ sloʊz ðə ˈmuvmənt əv ˈwɔtər, əˈlaʊɪŋ sænd brɔt baɪ ðə tsuˈnɑmi tɪ ˈsɛtəl ɪn ðə keɪv. ðɛn ðeɪ stɛpt ɪn ðə dɑrk, ˈsɛkənd ˈʧeɪmbər. nɛkst θɪŋ ju noʊ wi wər feɪst wɪθ ˈθaʊzənz əv bæts. wi wər ʤɪst drɛnʧt ɪn bæt pee,”*,” sɪz ˈhɔrtən. ðiz bæts tərnd aʊt tɪ bi ki. hæd bɪn ˌɪˈnənˌdeɪtɪŋ ðɪs keɪv fər ˈθaʊzənz əv jɪrz, ˈdʊrɪŋ wɪʧ taɪm bæts wər ˈɔlsoʊ ɔn ðə keɪv flɔr. ə tsuˈnɑmi keɪm. bæts pupt. tsuˈnɑmi, bæt pup, tsuˈnɑmi, bæt pup, ənd soʊ ɔn. soʊ wɪn ˈhɔrtən ənd ˈdeɪli dəg ˈɪntu ðə sænd ɪn ðə keɪv, ðeɪ sɔ ðiz ˈpərˌfɪkt leɪərz əv sænd, ˈsɛpərˌeɪtɪd baɪ dɑrk bændz əv bæt pup. wɑz ə ˈhoʊli greɪl moment,”*,” sɪz ˈhɔrtən. nu wi hæd faʊnd ˈsəmθɪŋ ˈvɛri, ˈvɛri unique.”*.” ˈoʊvər ˈsɛvərəl jɪrz, ˈhɔrtən ənd hɪz ˈkɑligz dəg sɪks ˈmeɪʤər ˈtrɛnʧɪz əp tɪ fit dip. ðeɪ ˈkɑrbən ˈdeɪtɪd ðə ˈænəməl ʃɛlz ənd ˈʧɑrˌkoʊl ɪn ðə sænd leɪərz ɛz wɛl ɛz ðə bæt pup ˌɪtˈsɛlf. ðeɪ faʊnd, ɪn ˈtoʊtəl, ˈrɛkərdz frəm æt list 11 ˌprihɪˈstɔrɪk, ˈsɛpərˌeɪtɪd baɪ ˈhaɪli ˌɪˈrɛgjələr ˈɪntərvəlz. ɪn wən keɪs, ðɛr wɑz ə jɪr gæp bɪtˈwin. bət wɪˈθɪn ðə spæn əv ə ˈsɪŋgəl ˈsɛnʧəri əraʊnd 1300 bce*, ðɛr wər fɔr. ʃoʊz ʤɪst haʊ fɑr əˈweɪ wi ər frəm biɪŋ ˈeɪbəl tɪ prɪˈdɪkt wɪn ən ˈərθkˌweɪk wɪl hit,”*,” sɪz ˈhɔrtən. ðɛr wɑz wən ɑd ˈhɪkəp ɪn ˈdætə. ðə keɪv wɑz ˈmɪsɪŋ ðə læst jɪrz əv ˈrɛkərdz bɪˈkəz, ˈhɔrtən ənd hɪz ˈkɑligz θɪŋk, ðə 2004 tsuˈnɑmi ˈæˌkʧuəli wɑʃt əˈweɪ ðoʊz leɪərz. ðə ˈbɑtəm əv ðə sænd leɪər frəm 2004 wɑz ɔl ˌɪˈrɛgjələr, ɛz ɪf ˈsəmθɪŋ (pərˈhæps ðə 2004 tsuˈnɑmi) hæd rɪpt aʊt əˈnivən ʧəŋks əv ðə sænd bɛd. ðɪs meɪd ðə tim ˈwəri ðət ˈəðər pɑrts əv ðə tsuˈnɑmi ˈrɛkərd maɪt bi ˈmɪsɪŋ. bət ðeɪ dɪd nɑt si ðə ˌɪˈrɛgjələr ˈbɔrdər ɪn ˈɛni ˈəðər taɪm ˈpɪriəd. fər naʊ, ðə keɪv ɪz ə ˈsɪŋgəl ˈdætə pɔɪnt. ðə moʊst ˈpəzəlɪŋ ənd pərˈhæps ˈwəriɪŋ pɑrt, əˈkɔrdɪŋ tɪ ˈændi mʊr, ə ʤiˈɑləʤəst æt ˈkɑlɪʤ, ɪz ˈæˌkʧuəli ðə strik əv fɔr ɪn ə ˈsɪŋgəl ˈsɛnʧəri. ˈkləstərd ɪz tɪ mi ðə ˈbɪgəst θɪŋ ðət nidz tɪ bi ˈklɛrəˌfaɪd bɪˈkəz ðət həz ril wərld ˌɪmˈpækts ɔn haʊ wi ˈhændəl ðə tsuˈnɑmi ˈhæzərdz ɔn ðə koʊst əv ðə ˈɪndiən ocean,”*,” hi sɪz. haʊ məʧ ʃʊd ˈkəntriz ˌɪnˈvɛst ɪn ˌɪnfrəˈstrəkʧər prəˈtɛktɪŋ əˈgɛnst ə pəˈtɛnʃəl tsuˈnɑmi? haʊ ˌɪmˈpɔrtənt ɪz ə ˈwɔrnɪŋ ˈsɪstəm? ˈænsər ɪf ðə tsuˈnɑmi kʊd ˈhæpən wəns ˈɛvəri fju ˈdɛkeɪdz tɪ ə ˈsɛnʧəri, ə ˈvæstli ˈdɪfərənt ˈænsər ðən [ɪf ɪt ˈhæpənz] ˈɛvəri 500 years,”*,” hi sɪz. ˈhɔrtən ənd hɪz ˈkɑligz ər kənˈtɪnjuɪŋ tɪ wərk ɪn ðə keɪv. ðeɪ hoʊp ðət baɪ ˈlʊkɪŋ æt ðə ˈθɪknəs əv ðə sænd leɪərz ənd ðə greɪn saɪz əv ðə sænd, ðeɪ maɪt dɪˈtərmən haʊ bɪg iʧ əv ðoʊz wər. ˈɔlsoʊ ˈdraɪvɪŋ daʊn ðə ˈkoʊstəl ˈhaɪˌweɪ, ɪn sərʧ əv mɔr keɪvz ðət kən kərˈɑbərˌeɪt ðə ˈrɛkərdz frəm ðɪs wən. ðɪs ˈhaɪˌweɪ ɪz ˈrɛlətɪvli nu; ɪt wɑz bɪlt ˈæftər ðə 2004 tsuˈnɑmi.
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it's a familiar scenario: you're walking through a field or house or area of some sort and are attacked by a. "how do i stop this evil menace?" you think to yourself and anyone else who might be reading your thoughts. fear not, here are 49 strategies.
1. lure it into a field of watches with a rock in the middle, causing it to form a analogy against the existence of god, depressing it to the point of suicide.
2. tell it that you'll let it take over the world if it gives you a penny. it will think you're joking at first, but be persistent. keep repeating the offer, being more emphatic each time. finally it will do whatever do that's the equivalent of shrugging and give you a penny. immediately point at it and start laughing. it will self-destruct out of embarrassment.
3. flush it down a giant toilet.
4. ask it if it's heard of culture jamming. take a culture club cd and jam it in its eye. now it has.
5. dress up as a housewife and throw dishes at it until it dies.
6. create a compilation cd called "rock against" featuring the hottest artists of yesterday and today.
7. feign romantic interest in it but then slowly drift away, sealing the entrances to your heart one by one until it becomes a broken skeleton of a person. then hit it with a crowbar.
8. convince a hungry bear that it's a trash can.
9. find everything it enjoys in life and systematically remove these things from its life.
10. use to make it say things to other until they shoot it.
11. get drunk with it at your sister's graduation party. when it says it's driving home, shrug and say "okay, see you tomorrow."
12. just as it's about to kill you through the windshield of your moving car, hit the brakes.
13. unplug it.
14. destroy it on a quantum level by making all its atoms spin in reverse.
15. use it as a in a giant badminton game.
16. drown it in a vat of pudding.
17. send it to a futuristic theme park where nothing can go wrong. except it does.
18. perform the exact sequence of actions performed by uma thurman in kill bill, except on a instead of bill.
19. find its secret lust and murder it in some ironic way based on that lust.
20. roll it like a knapsack and flip it like a flapjack.
21. challenge it to a knife fight - against itself.
22. create a costume and commit a series of-themed crimes, forcing it to run from the law and eventually track you down to an abandoned warehouse that you've rigged with booby traps and explosions. realize this plan is too elaborate and shoot it in the head.
23. install windows on it (submitted by).
24. start a beef between it and an.
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ɪts ə fəˈmɪljər sɪˈnɛrioʊ: jʊr ˈwɔkɪŋ θru ə fild ər haʊs ər ˈɛriə əv səm sɔrt ənd ər əˈtækt baɪ ə. "haʊ du aɪ stɑp ðɪs ˈivəl ˈmɛnɪs?" ju θɪŋk tɪ ˈjɔrsɛlf ənd ˈɛniˌwən ɛls hu maɪt bi ˈrɛdɪŋ jʊr θɔts. fɪr nɑt, hir ər 49 ˈstrætəʤiz. 1 lʊr ɪt ˈɪntu ə fild əv ˈwɑʧɪz wɪθ ə rɑk ɪn ðə ˈmɪdəl, ˈkɔzɪŋ ɪt tɪ fɔrm ə əˈnæləʤi əˈgɛnst ðə ɪgˈzɪstəns əv gɑd, dɪˈprɛsɪŋ ɪt tɪ ðə pɔɪnt əv ˈsuɪˌsaɪd. 2 tɛl ɪt ðət jul lɛt ɪt teɪk ˈoʊvər ðə wərld ɪf ɪt gɪvz ju ə ˈpɛni. ɪt wɪl θɪŋk jʊr ˈʤoʊkɪŋ æt fərst, bət bi pərˈsɪstənt. kip rɪˈpitɪŋ ðə ˈɔfər, biɪŋ mɔr ɛmˈfætɪk iʧ taɪm. ˈfaɪnəli ɪt wɪl du ˌwəˈtɛvər du ðæts ðə ɪkˈwɪvələnt əv ʃˈrəgɪŋ ənd gɪv ju ə ˈpɛni. ˌɪˈmiˌdiətli pɔɪnt æt ɪt ənd stɑrt ˈlæfɪŋ. ɪt wɪl ˈsɛlfdɪˈstrəkt aʊt əv ɪmˈbɛrəsmənt. 3 fləʃ ɪt daʊn ə ʤaɪənt ˈtɔɪlət. 4 æsk ɪt ɪf ɪts hərd əv ˈkəlʧər ˈʤæmɪŋ. teɪk ə ˈkəlʧər kləb ˈsiˈdi ənd ʤæm ɪt ɪn ɪts aɪ. naʊ ɪt həz. 5 drɛs əp ɛz ə ˈhaʊsˌwaɪf ənd θroʊ ˈdɪʃɪz æt ɪt ənˈtɪl ɪt daɪz. 6 kriˈeɪt ə ˌkɑmpəˈleɪʃən ˈsiˈdi kɔld "rɑk əˈgɛnst" ˈfiʧərɪŋ ðə ˈhɑtəst ˈɑrtɪsts əv ˈjɛstərˌdeɪ ənd təˈdeɪ. 7 feɪn roʊˈmæntɪk ˈɪntəˌrɛst ɪn ɪt bət ðɛn sˈloʊli drɪft əˈweɪ, ˈsilɪŋ ðə ˈɛntrənsəz tɪ jʊr hɑrt wən baɪ wən ənˈtɪl ɪt bɪˈkəmz ə ˈbroʊkən ˈskɛlətən əv ə ˈpərsən. ðɛn hɪt ɪt wɪθ ə ˈkroʊˌbɑr. 8 kənˈvɪns ə ˈhəŋgri bɛr ðət ɪts ə træʃ kən. 9 faɪnd ˈɛvriˌθɪŋ ɪt ˌɛnˈʤɔɪz ɪn laɪf ənd ˌsɪstəˈmætɪkli riˈmuv ðiz θɪŋz frəm ɪts laɪf. 10 juz tɪ meɪk ɪt seɪ θɪŋz tɪ ˈəðər ənˈtɪl ðeɪ ʃut ɪt. 11 gɪt drəŋk wɪθ ɪt æt jʊr ˈsɪstərz ˌgræʤəˈweɪʃən ˈpɑrti. wɪn ɪt sɪz ɪts ˈdraɪvɪŋ hoʊm, ʃrəg ənd seɪ "ˌoʊˈkeɪ, si ju təˈmɑˌroʊ." 12 ʤɪst ɛz ɪts əˈbaʊt tɪ kɪl ju θru ðə ˈwɪndˌʃild əv jʊr ˈmuvɪŋ kɑr, hɪt ðə breɪks. 13 ənˈpləg ɪt. 14 dɪˈstrɔɪ ɪt ɔn ə kˈwɑntəm ˈlɛvəl baɪ ˈmeɪkɪŋ ɔl ɪts ˈætəmz spɪn ɪn rɪˈvərs. 15 juz ɪt ɛz ə ɪn ə ʤaɪənt ˈbædˌmɪntən geɪm. 16 draʊn ɪt ɪn ə væt əv ˈpʊdɪŋ. 17 sɛnd ɪt tɪ ə fˌjuʧərˈɪstɪk θim pɑrk wɛr ˈnəθɪŋ kən goʊ rɔŋ. ɪkˈsɛpt ɪt dɪz. 18 pərˈfɔrm ðə ɪgˈzækt ˈsikwəns əv ˈækʃənz pərˈfɔrmd baɪ ˈjumə ˈθərmən ɪn kɪl bɪl, ɪkˈsɛpt ɔn ə ˌɪnˈstɛd əv bɪl. 19 faɪnd ɪts ˈsikrɪt ləst ənd ˈmərdər ɪt ɪn səm aɪˈrɑnɪk weɪ beɪst ɔn ðət ləst. 20 roʊl ɪt laɪk ə ˈnæpˌsæk ənd flɪp ɪt laɪk ə ˈflæˌpʤæk. 21 ˈʧælənʤ ɪt tɪ ə naɪf faɪt əˈgɛnst ˌɪtˈsɛlf. 22 kriˈeɪt ə ˈkɑstum ənd kəˈmɪt ə ˈsɪriz əv kraɪmz, ˈfɔrsɪŋ ɪt tɪ rən frəm ðə lɔ ənd ɪˈvɛnʧəwəli træk ju daʊn tɪ ən əˈbændənd ˈwɛˌrhaʊs ðət juv rɪgd wɪθ ˈbubi træps ənd ɪkˈsploʊʒənz. ˈriəˌlaɪz ðɪs plæn ɪz tu ɪˈlæbərˌeɪt ənd ʃut ɪt ɪn ðə hɛd. 23 ˌɪnˈstɔl ˈwɪndoʊz ɔn ɪt (səbˈmɪtəd baɪ 24 stɑrt ə bif bɪtˈwin ɪt ənd ən
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returns & exchanges
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if you'd like to make an exchange, we recommend placing a brand-new order for the replacement item as soon as possible. (shipping both ways is always free.) we produce in runs, and items often go very quickly... we'd hate for you to miss out.
reason -- choose reason -- fit; too large fit; too small love style love color love fabric not as depicted damaged item incorrect item none of these... just changed mind exchange for a smaller size exchange for a larger size exchange for the original item exchange for something
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rɪˈtərnz ɪksˈʧeɪnʤɪz lɛt ˈjuˈɛs noʊ wɪʧ ˈaɪtəmz ˈdɪdənt wərk aʊt bɪˈloʊ, ənd wɪl sɛnd ju ə ˈprɪntəbəl əps rɪˈtərn ˈleɪbəl. ɪf jʊd laɪk tɪ meɪk ən ɪksˈʧeɪnʤ, wi ˌrɛkəˈmɛnd ˈpleɪsɪŋ ə ˈbrændˌnu ˈɔrdər fər ðə rɪˈpleɪsmənt ˈaɪtəm ɛz sun ɛz ˈpɑsəbəl. (ˈʃɪpɪŋ boʊθ weɪz ɪz ˈɔlˌweɪz fri.) wi ˈproʊdus ɪn rənz, ənd ˈaɪtəmz ˈɔfən goʊ ˈvɛri kˈwɪkli... wid heɪt fər ju tɪ mɪs aʊt. ˈrizən ʧuz ˈrizən fɪt; tu lɑrʤ fɪt; tu smɔl ləv staɪl ləv ˈkələr ləv ˈfæbrɪk nɑt ɛz dɪˈpɪktɪd ˈdæmɪʤd ˈaɪtəm ˌɪnkərˈɛkt ˈaɪtəm nən əv ðiz... ʤɪst ʧeɪnʤd maɪnd ɪksˈʧeɪnʤ fər ə sˈmɔlər saɪz ɪksˈʧeɪnʤ fər ə ˈlɑrʤər saɪz ɪksˈʧeɪnʤ fər ðə ərˈɪʤənəl ˈaɪtəm ɪksˈʧeɪnʤ fər ˈsəmθɪŋ ˈdɪfərənt; pliz ˈkɑnˌtækt mi ɪksˈʧeɪnʤ fər nu ˈaɪtəm; pliz ˈkɑnˌtækt mi ʤɪst ˈriˌfənd mi ˈɛni ˈəðər ˈditeɪlz jʊd laɪk tɪ æd? wid ləv ðə ˈfidˌbæk
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miami had a huge day yesterday, in almost every aspect possible. football landed a huge recruit, basketball continued its meteoric rise, and the debacle came to a head, with the noa coming in and shalala sending it right back out with gusto.
her statement to the public, and directly to the, was a fantastic piece of art that, frankly, has been missing from investigations in recent memory. president is taking the fight to the, and with damn good reason. they have dragged out this investigation for over two years, watched as miami cooperated above and beyond what they normally expect, screwed up their own work, and then still had the audacity to drop the hammer on miami in spite of everything. to top it all off, the facts revealed in shalala's statement soundly remove the title of investigation from what the has been doing all this time, and firmly place it under the umbrella of a witch hunt. let's break this beast down. first, a refresher of the statement:
"the university of miami deeply regrets and takes full responsibility for those violations that are based on fact and are corroborated by multiple individuals documentation. we have already a bowl ban for an unprecedented period, forfeited the opportunity to participate in an championship game, and withheld from competition.
over the two and a half years since the university of miami first contacted the enforcement staff about allegations of rules violations, the interviewed dozens of witnesses, including current and former miami employees and, and received thousands of requested documents and emails from the university. yet despite our efforts to aid the investigation, the acknowledged on february 18, 2013 that it violated its own policies and procedures in an attempt to validate the allegations made by a convicted felon. many of the allegations included in the notice of allegations remain unsubstantiated.
now that the notice of allegations has been issued, let me provide some context to the investigation itself:
· many of the charges brought forth are based on the word of a man who made a fortune by lying. the enforcement staff acknowledged to the university that if nevin shapiro, a convicted con man, said something more than once, it considered the allegation argument which is both ludicrous and counter to legal practice. most of the sensationalized mediaounts of claims are found nowhere in the notice of allegations. despite their efforts over two and a half years, the enforcement staff could not find evidence of prostitution, expensive cars for players, expensive dinners paid for by boosters, player bounty payments, rampant alcohol and drug use, or the alleged hundreds of thousands of dollars in cash and gifts given to, as reported in the media. the fabricated story played facts did not. the enforcement staff failed, even after repeated requests, to interview many essential witnesses of great integrity who could have provided testimony, including, unbelievably, paul dee, who has since passed away, but who served as miami athletic director during many of the years that violations were alleged to have occurred. how could a supposedly thorough and fair investigation not even include the director of athletics? finally, we believe the was responsible for damaging leaks of unsubstantiated allegations over the course of the investigation. let me be clear again: for any rule and proven with the university, its employees, or committed, we have been and should be heldountable. we have worked hard to improve our compliance oversight, and we have already harsh sanctions.
we deeply regret any violations, but we have suffered enough.
the university and counsel will work diligently to prepare our official response to the notice of allegations and submit it to the committee on infractions within the required time period.
we trust that the committee on infractions will provide the fairness and integrity missing during the investigative process."
it will never get old reading that. ever. now, on to the first bullet point.
the considered statements by shapiro corroborated if he made them more than once.
here's a few definitions of the word corroboration:
from merriam-webster: to support with evidence or authority : make more certain from a legal dictionary: to confirm and sometimes add (reinforcing) testimony to the testimony of another witness or a party in a trial.
the's stance on this is nowhere near either of those, and is absolutely laughable. they are basically saying that if shapiro said something twice, on any occasion, that they considered it to be true, regardless of any other evidence to support it. it's unbelievable that any institution, even one so incredibly back as the, would adhere to this as part of a formal investigation.
the idea that anyone, especially a convicted liar and con man, would be considered to be telling the truth so long as he repeats himself is astounding. if that's how things work, then what the hell has the justice system been doing all of these years? all one side would have to do is take the stand, repeat theirusations or defense more than once, and the trial is over. shalala could have ended her statement right there, and everyone would have had the same reaction, but she didn't. it only got better from that point on.
we deeply regret any violations, but we have suffered enough.
despite "investigating" miami for over two years, and supposedly having boxes upon boxes of paperwork supporting shapiro's claims, the could not find evidence of prostitution, expensive cars for players, expensive dinners paid for by boosters, player bounty payments, rampant alcohol and drug use, or the alleged hundreds of thousands of dollars in cash and gifts given to, as reported in the media.
it would be silly to assume that absolutely none of this happened, because there are photos of at least alcohol use, there was testimony of dinners, and there were 6 players at the start of the 2011 season who were suspended and had to repay money they were given by shapiro. so while the above statement does have weight, it is not entirely 100%urate. the main point of the statement, however, is to demolish the sensationalized viewpoint of the media that miami was one gigantic block party for the entirety of the allegations.
the fact that the was apparently not able to corroborate (shapiro must have only said it once) or obtain evidence of major infractions like cars, huge cash gifts, or bounty payments, means that all they had were a handful of minor infractions like dinners, travel expenses, and small bills gifts that were repaid and punished. that certainly is not grounds for an charge, regardless of how much the wants to justify themselves. clearly, shalala is fed up with the media pouncing on charles robinson's story and treating it as fact, when there is no evidence to support 90% of what was alleged.
even though miami specifically requested that the interview them, the investigators on the case did not interview many key individuals who would have been able to giveounts of the time during the allegations. this includes former and late miami ad paul dee.
let me repeat that. during the course of an investigation that is supposed to be based around fairness, facts, and evidence, the refused, not didn't, refused, to interview extremely important figures that were present during that time. paul dee was the athletic director during the majority of the allegation timeline, and he was never interviewed by the. this is abhorrent. what this basically says is that the did not care to hear miami's side of the story, or were afraid that if they were to interview these people, that much of what shapiro had given them would be debunked, and therefore they would not be able to make miami an example.
instead, they chose to compel former coaches and players to talk to them, even when they had absolutely no obligation to do so. they chose to break their own rules in an attempt to gain information, rather than interviewing the people they hadess to within their own rules. this wasn't an investigation, this was a witch hunt. this was the realizing early on that they had a shaky case, and instead of punishing miami based on what they had, they spent 2 years trying to scrape up as much as they possibly could so they could justify their attempt to hand out sanctions that matched the media frenzy. they weren't trying to punish miami fairly, they were trying to tailor their findings to fit what they wanted.
the fabricated story played facts did not.
finally, during the course of this process, there have been multiple times when information has leaked out the the public regarding allegations made against the school. this information should not have been released, as it was, in its entirety, unsubstantiated. miami is now on record as saying that they believe that the was responsible for this information coming out.
remember when that story broke that al golden and his staff had broken multiple rules during recruiting, and that there were reportedly phone records to prove it? remember how that cause a media frenzy that cast miami into a negative light, cost them at least one possible recruit in vernon hargreaves and countless others because it painted al golden as a cheater and made it sound like things were going to get worse?
do you also remember how that whole thing just sort away with nothing more to come of it? yeah. that is what shalala is referring to. that information was somehow leaked out, even though it ultimately was patently false, and it came at a time when people were again beginning to question why the was taking so long in their investigation. they were starting to get questions about whether or not they even had a case to begin with, and then all of a sudden it turns out that they had information on the current staff, which is why they hadn't said anything in a while.
if the is, in fact, responsible for this information being leaked, then there aren't too many words thaturately express just how corrupt and meaningless that organization is. their utter disregard for the institutions that they are supposed to protect shows that they only currently exist to further their own means, and to justify their gigantic salaries under the guise of a non-profit organization.
we trust that the committee on infractions will provide the fairness and integrity missing during the investigative process.
miami will certainly draft a response to the notice, and this case will be going in front of the committee on infractions. miami is fighting this the whole way, as well they should. if there was ever a case that completely exposed the for the frauds they are, this is it. in the course of the next couple of months, it will be interesting to see the outcry from previous victims of the, and how others respond to what is clearly an attempt to ignore a failure. the does not just need an overhaul of their investigative branch, or their rule book. the needs to be gutted and rebuilt from the ground up, and the first statue to fall, so to speak, should be mark emmerts.
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maɪˈæmi hæd ə juʤ deɪ ˈjɛstərˌdeɪ, ɪn ˈɔlˌmoʊst ˈɛvəri ˈæˌspɛkt ˈpɑsəbəl. ˈfʊtˌbɔl ˈlændɪd ə juʤ rɪˈkrut, ˈbæskətˌbɔl kənˈtɪnjud ɪts ˌmitiˈɔrɪk raɪz, ənd ðə dəˈbɑkəl keɪm tɪ ə hɛd, wɪθ ðə noʊə ˈkəmɪŋ ɪn ənd ʃəˈleɪlə ˈsɛndɪŋ ɪt raɪt bæk aʊt wɪθ ˈgəˌstoʊ. hər ˈsteɪtmənt tɪ ðə ˈpəblɪk, ənd dɪˈrɛkli tɪ ðə, wɑz ə fænˈtæstɪk pis əv ɑrt ðət, ˈfræŋkli, həz bɪn ˈmɪsɪŋ frəm ˌɪnˌvɛstəˈgeɪʃənz ɪn ˈrisənt ˈmɛməri. ˈprɛzɪdənt ɪz ˈteɪkɪŋ ðə faɪt tɪ ðə, ənd wɪθ dæm gʊd ˈrizən. ðeɪ hæv drægd aʊt ðɪs ˌɪnˌvɛstəˈgeɪʃən fər ˈoʊvər tu jɪrz, wɔʧt ɛz maɪˈæmi kˈwɑpərˌeɪtəd əˈbəv ənd bɪɔnd wət ðeɪ ˈnɔrməli ɪkˈspɛkt, skrud əp ðɛr oʊn wərk, ənd ðɛn stɪl hæd ðə ɑˈdæsəti tɪ drɔp ðə ˈhæmər ɔn maɪˈæmi ɪn spaɪt əv ˈɛvriˌθɪŋ. tɪ tɔp ɪt ɔl ɔf, ðə fækts rɪˈvild ɪn ʃəˈleɪləz ˈsteɪtmənt ˈsaʊndli riˈmuv ðə ˈtaɪtəl əv ˌɪnˌvɛstəˈgeɪʃən frəm wət ðə həz bɪn duɪŋ ɔl ðɪs taɪm, ənd ˈfərmli pleɪs ɪt ˈəndər ðə ˈəmˌbrɛlə əv ə wɪʧ hənt. lɛts breɪk ðɪs bist daʊn. fərst, ə rɪˈfrɛʃər əv ðə ˈsteɪtmənt: "ðə ˌjunəˈvərsəti əv maɪˈæmi ˈdipli rɪˈgrɛts ənd teɪks fʊl riˌspɑnsəˈbɪləti fər ðoʊz vaɪəˈleɪʃənz ðət ər beɪst ɔn fækt ənd ər kərˈɑbərˌeɪtɪd baɪ ˈməltəpəl ˌɪndəˈvɪʤəwəlz ˌdɑkjəmɛnˈteɪʃən. wi hæv ɔˈrɛdi ə boʊl bæn fər ən ənˈprɛsɪˌdɛntɪd ˈpɪriəd, ˈfɔrfɪtɪd ðə ˌɑpərˈtunəti tɪ pɑrˈtɪsəˌpeɪt ɪn ən ˈʧæmpiənˌʃɪp geɪm, ənd wɪθˈhɛld frəm ˌkɑmpəˈtɪʃən. ˈoʊvər ðə tu ənd ə hæf jɪrz sɪns ðə ˌjunəˈvərsəti əv maɪˈæmi fərst ˈkɑnˌtæktɪd ðə ɛnˈfɔrsmənt stæf əˈbaʊt ˌæləˈgeɪʃənz əv rulz vaɪəˈleɪʃənz, ðə ˈɪntərvˌjud ˈdəzənz əv ˈwɪtnəsɪz, ˌɪnˈkludɪŋ ˈkɑrənt ənd ˈfɔrmər maɪˈæmi ɪmˈplɔɪiz ənd, ənd rɪˈsivd ˈθaʊzənz əv rɪkˈwɛstɪd ˈdɑkjəmənts ənd iˈmeɪlz frəm ðə ˌjunəˈvərsəti. jɛt dɪˈspaɪt ɑr ˈɛfərts tɪ eɪd ðə ˌɪnˌvɛstəˈgeɪʃən, ðə ækˈnɑlɪʤd ɔn ˈfɛbruˌɛri 18 2013 ðət ɪt ˈvaɪəleɪtɪd ɪts oʊn ˈpɑləsiz ənd prəˈsiʤərz ɪn ən əˈtɛmpt tɪ ˈvælədeɪt ðə ˌæləˈgeɪʃənz meɪd baɪ ə kənˈvɪktəd ˈfɛlən. ˈmɛni əv ðə ˌæləˈgeɪʃənz ˌɪnˈkludɪd ɪn ðə ˈnoʊtɪs əv ˌæləˈgeɪʃənz rɪˈmeɪn ˌənsəbˈstænʃiˌeɪtɪd. naʊ ðət ðə ˈnoʊtɪs əv ˌæləˈgeɪʃənz həz bɪn ˈɪʃud, lɛt mi prəˈvaɪd səm ˈkɑntɛkst tɪ ðə ˌɪnˌvɛstəˈgeɪʃən ˌɪtˈsɛlf: ˈmɛni əv ðə ˈʧɑrʤɪz brɔt fɔrθ ər beɪst ɔn ðə wərd əv ə mæn hu meɪd ə ˈfɔrʧən baɪ laɪɪŋ. ðə ɛnˈfɔrsmənt stæf ækˈnɑlɪʤd tɪ ðə ˌjunəˈvərsəti ðət ɪf ˈnɛvɪn ʃəˈpɪroʊ, ə kənˈvɪktəd kɑn mæn, sɛd ˈsəmθɪŋ mɔr ðən wəns, ɪt kənˈsɪdərd ðə ˌæləˈgeɪʃən ˈɑrgjəmənt wɪʧ ɪz boʊθ ˈludəkrəs ənd ˈkaʊntər tɪ ˈligəl ˈpræktɪs. moʊst əv ðə sɛnˌseɪʃənəˈlaɪzd ˈmidiə əˈkaʊnts əv kleɪmz ər faʊnd ˈnoʊˌwɛr ɪn ðə ˈnoʊtɪs əv ˌæləˈgeɪʃənz. dɪˈspaɪt ðɛr ˈɛfərts ˈoʊvər tu ənd ə hæf jɪrz, ðə ɛnˈfɔrsmənt stæf kʊd nɑt faɪnd ˈɛvədəns əv ˌprɑstəˈtuʃən, ɪkˈspɛnsɪv kɑz fər pleɪərz, ɪkˈspɛnsɪv ˈdɪnərz peɪd fər baɪ ˈbustərz, pleɪər ˈbaʊnti ˈpeɪmənts, ˈræmpənt ˈælkəˌhɑl ənd drəg juz, ər ðə əˈlɛʤd ˈhənərdz əv ˈθaʊzənz əv ˈdɔlərz ɪn kæʃ ənd gɪfts ˈgɪvɪn tɪ, ɛz ˌriˈpɔrtəd ɪn ðə ˈmidiə. ðə ˈfæbrɪˌkeɪtɪd ˈstɔri pleɪd fækts dɪd nɑt. ðə ɛnˈfɔrsmənt stæf feɪld, ˈivɪn ˈæftər rɪˈpitɪd rɪkˈwɛsts, tɪ ˈɪntərvˌju ˈmɛni ɛˈsɛnʃəl ˈwɪtnəsɪz əv greɪt ˌɪnˈtɛgrəti hu kʊd hæv prəˈvaɪdɪd ˈtɛstɪˌmoʊni, ˌɪnˈkludɪŋ, ˌənbəˈlivəbli, pɔl di, hu həz sɪns pæst əˈweɪ, bət hu sərvd ɛz maɪˈæmi æθˈlɛtɪk dɪˈrɛktər ˈdʊrɪŋ ˈmɛni əv ðə jɪrz ðət vaɪəˈleɪʃənz wər əˈlɛʤd tɪ hæv əˈkərd. haʊ kʊd ə səˈpoʊzədli θəroʊ ənd fɛr ˌɪnˌvɛstəˈgeɪʃən nɑt ˈivɪn ˌɪnˈklud ðə dɪˈrɛktər əv æθˈlɛtɪks? ˈfaɪnəli, wi bɪˈliv ðə wɑz riˈspɑnsəbəl fər ˈdæmɪʤɪŋ liks əv ˌənsəbˈstænʃiˌeɪtɪd ˌæləˈgeɪʃənz ˈoʊvər ðə kɔrs əv ðə ˌɪnˌvɛstəˈgeɪʃən. lɛt mi bi klɪr əˈgɛn: fər ˈɛni rul ənd ˈpruvən wɪθ ðə ˌjunəˈvərsəti, ɪts ɪmˈplɔɪiz, ər kəˈmɪtɪd, wi hæv bɪn ənd ʃʊd bi hɛld əˈkaʊntəbəl. wi hæv wərkt hɑrd tɪ ˌɪmˈpruv ɑr kəmˈplaɪəns ˈoʊvərˌsaɪt, ənd wi hæv ɔˈrɛdi hɑrʃ ˈsæŋkʃənz. wi ˈdipli rɪˈgrɛt ˈɛni vaɪəˈleɪʃənz, bət wi hæv ˈsəfərd ɪˈnəf. ðə ˌjunəˈvərsəti ənd ˈkaʊnsəl wɪl wərk ˈdɪləʤəntli tɪ priˈpɛr ɑr əˈfɪʃəl rɪˈspɑns tɪ ðə ˈnoʊtɪs əv ˌæləˈgeɪʃənz ənd səbˈmɪt ɪt tɪ ðə kəˈmɪti ɔn ˌɪnˈfrækʃənz wɪˈθɪn ðə rikˈwaɪərd taɪm ˈpɪriəd. wi trəst ðət ðə kəˈmɪti ɔn ˌɪnˈfrækʃənz wɪl prəˈvaɪd ðə ˈfɛrnəs ənd ˌɪnˈtɛgrəti ˈmɪsɪŋ ˈdʊrɪŋ ðə ˌɪnˈvɛstəˌgeɪtɪv ˈprɔˌsɛs." ɪt wɪl ˈnɛvər gɪt oʊld ˈrɛdɪŋ ðət. ˈɛvər. naʊ, ɔn tɪ ðə fərst ˈbʊlət pɔɪnt. ðə kənˈsɪdərd ˈsteɪtmənts baɪ ʃəˈpɪroʊ kərˈɑbərˌeɪtɪd ɪf hi meɪd ðɛm mɔr ðən wəns. hɪrz ə fju ˌdɛfəˈnɪʃənz əv ðə wərd kərˌɔbərˈeɪʃən: frəm merriam-webster*: tɪ səˈpɔrt wɪθ ˈɛvədəns ər əˈθɔrəti meɪk mɔr ˈsərtən frəm ə ˈligəl ˈdɪkʃəˌnɛri: tɪ kənˈfərm ənd ˈsəmˌtaɪmz æd (ˌriɪnˈfɔrsɪŋ) ˈtɛstɪˌmoʊni tɪ ðə ˈtɛstɪˌmoʊni əv əˈnəðər ˈwɪtnəs ər ə ˈpɑrti ɪn ə traɪəl. ðə stæns ɔn ðɪs ɪz ˈnoʊˌwɛr nɪr ˈiðər əv ðoʊz, ənd ɪz ˌæbsəˈlutli ˈlæfəbəl. ðeɪ ər ˈbeɪsɪkli seɪɪŋ ðət ɪf ʃəˈpɪroʊ sɛd ˈsəmθɪŋ twaɪs, ɔn ˈɛni əˈkeɪʒən, ðət ðeɪ kənˈsɪdərd ɪt tɪ bi tru, rəˈgɑrdləs əv ˈɛni ˈəðər ˈɛvədəns tɪ səˈpɔrt ɪt. ɪts ˌənbəˈlivəbəl ðət ˈɛni ˌɪnstɪˈtuʃən, ˈivɪn wən soʊ ˌɪnˈkrɛdəbli bæk ɛz ðə, wʊd əˈdhɪr tɪ ðɪs ɛz pɑrt əv ə ˈfɔrməl ˌɪnˌvɛstəˈgeɪʃən. ðə aɪˈdiə ðət ˈɛniˌwən, əˈspɛʃəli ə kənˈvɪktəd laɪər ənd kɑn mæn, wʊd bi kənˈsɪdərd tɪ bi ˈtɛlɪŋ ðə truθ soʊ lɔŋ ɛz hi rɪˈpits hɪmˈsɛlf ɪz əˈstaʊndɪŋ. ɪf ðæts haʊ θɪŋz wərk, ðɛn wət ðə hɛl həz ðə ˈʤəstɪs ˈsɪstəm bɪn duɪŋ ɔl əv ðiz jɪrz? ɔl wən saɪd wʊd hæv tɪ du ɪz teɪk ðə stænd, rɪˈpit ðɛr ˌækjəˈzeɪʃənz ər dɪˈfɛns mɔr ðən wəns, ənd ðə traɪəl ɪz ˈoʊvər. ʃəˈleɪlə kʊd hæv ˈɛndɪd hər ˈsteɪtmənt raɪt ðɛr, ənd ˈɛvriˌwən wʊd hæv hæd ðə seɪm riˈækʃən, bət ʃi ˈdɪdənt. ɪt ˈoʊnli gɑt ˈbɛtər frəm ðət pɔɪnt ɔn. wi ˈdipli rɪˈgrɛt ˈɛni vaɪəˈleɪʃənz, bət wi hæv ˈsəfərd ɪˈnəf. dɪˈspaɪt "ˌɪnˈvɛstəˌgeɪtɪŋ" maɪˈæmi fər ˈoʊvər tu jɪrz, ənd səˈpoʊzədli ˈhævɪŋ ˈbɑksɪz əˈpɑn ˈbɑksɪz əv ˈpeɪpərˌwərk səˈpɔrtɪŋ ʃəˈpɪroʊz kleɪmz, ðə kʊd nɑt faɪnd ˈɛvədəns əv ˌprɑstəˈtuʃən, ɪkˈspɛnsɪv kɑz fər pleɪərz, ɪkˈspɛnsɪv ˈdɪnərz peɪd fər baɪ ˈbustərz, pleɪər ˈbaʊnti ˈpeɪmənts, ˈræmpənt ˈælkəˌhɑl ənd drəg juz, ər ðə əˈlɛʤd ˈhənərdz əv ˈθaʊzənz əv ˈdɔlərz ɪn kæʃ ənd gɪfts ˈgɪvɪn tɪ, ɛz ˌriˈpɔrtəd ɪn ðə ˈmidiə. ɪt wʊd bi ˈsɪli tɪ əˈsum ðət ˌæbsəˈlutli nən əv ðɪs ˈhæpənd, bɪˈkəz ðɛr ər ˈfoʊˌtoʊz əv æt list ˈælkəˌhɑl juz, ðɛr wɑz ˈtɛstɪˌmoʊni əv ˈdɪnərz, ənd ðɛr wər 6 pleɪərz æt ðə stɑrt əv ðə 2011 ˈsizən hu wər səˈspɛndɪd ənd hæd tɪ riˈpeɪ ˈməni ðeɪ wər ˈgɪvɪn baɪ ʃəˈpɪroʊ. soʊ waɪl ðə əˈbəv ˈsteɪtmənt dɪz hæv weɪt, ɪt ɪz nɑt ɪnˈtaɪərli 100 ˈækjərət. ðə meɪn pɔɪnt əv ðə ˈsteɪtmənt, ˌhaʊˈɛvər, ɪz tɪ dɪˈmɑlɪʃ ðə sɛnˌseɪʃənəˈlaɪzd vˈjuˌpɔɪnt əv ðə ˈmidiə ðət maɪˈæmi wɑz wən ʤaɪˈgænɪk blɑk ˈpɑrti fər ðə ɪnˈtaɪərti əv ðə ˌæləˈgeɪʃənz. ðə fækt ðət ðə wɑz əˈpɛrəntli nɑt ˈeɪbəl tɪ kərˈɑbərˌeɪt (ʃəˈpɪroʊ məst hæv ˈoʊnli sɛd ɪt wəns) ər əbˈteɪn ˈɛvədəns əv ˈmeɪʤər ˌɪnˈfrækʃənz laɪk kɑz, juʤ kæʃ gɪfts, ər ˈbaʊnti ˈpeɪmənts, minz ðət ɔl ðeɪ hæd wər ə ˈhændˌfʊl əv ˈmaɪnər ˌɪnˈfrækʃənz laɪk ˈdɪnərz, ˈtrævəl ɪkˈspɛnsɪz, ənd smɔl bɪlz gɪfts ðət wər riˈpeɪd ənd ˈpənɪʃt. ðət ˈsərtənli ɪz nɑt graʊnz fər ən ʧɑrʤ, rəˈgɑrdləs əv haʊ məʧ ðə wɔnts tɪ ˈʤəstəˌfaɪ ðɛmˈsɛlvz. ˈklɪrli, ʃəˈleɪlə ɪz fɛd əp wɪθ ðə ˈmidiə ˈpaʊnsɪŋ ɔn ˈʧɑrəlz ˈrɑbənsənz ˈstɔri ənd ˈtritɪŋ ɪt ɛz fækt, wɪn ðɛr ɪz noʊ ˈɛvədəns tɪ səˈpɔrt 90 əv wət wɑz əˈlɛʤd. ˈivɪn ðoʊ maɪˈæmi spəˈsɪfɪkli rɪkˈwɛstɪd ðət ðə ˈɪntərvˌju ðɛm, ðə ˌɪnˈvɛstəˌgeɪtərz ɔn ðə keɪs dɪd nɑt ˈɪntərvˌju ˈmɛni ki ˌɪndəˈvɪʤəwəlz hu wʊd hæv bɪn ˈeɪbəl tɪ gɪv əˈkaʊnts əv ðə taɪm ˈdʊrɪŋ ðə ˌæləˈgeɪʃənz. ðɪs ˌɪnˈkludz ˈfɔrmər ənd leɪt maɪˈæmi æd pɔl di. lɛt mi rɪˈpit ðət. ˈdʊrɪŋ ðə kɔrs əv ən ˌɪnˌvɛstəˈgeɪʃən ðət ɪz səˈpoʊzd tɪ bi beɪst əraʊnd ˈfɛrnəs, fækts, ənd ˈɛvədəns, ðə rɪfˈjuzd, nɑt ˈdɪdənt, rɪfˈjuzd, tɪ ˈɪntərvˌju ɪkˈstrimli ˌɪmˈpɔrtənt ˈfɪgjərz ðət wər ˈprɛzənt ˈdʊrɪŋ ðət taɪm. pɔl di wɑz ðə æθˈlɛtɪk dɪˈrɛktər ˈdʊrɪŋ ðə məˈʤɔrəti əv ðə ˌæləˈgeɪʃən ˈtaɪmlaɪn, ənd hi wɑz ˈnɛvər ˈɪntərvˌjud baɪ ðə. ðɪs ɪz æˈbhɔrənt. wət ðɪs ˈbeɪsɪkli sɪz ɪz ðət ðə dɪd nɑt kɛr tɪ hir maɪˈæmiz saɪd əv ðə ˈstɔri, ər wər əˈfreɪd ðət ɪf ðeɪ wər tɪ ˈɪntərvˌju ðiz ˈpipəl, ðət məʧ əv wət ʃəˈpɪroʊ hæd ˈgɪvɪn ðɛm wʊd bi dɪˈbəŋkt, ənd ˈðɛrˌfɔr ðeɪ wʊd nɑt bi ˈeɪbəl tɪ meɪk maɪˈæmi ən ɪgˈzæmpəl. ˌɪnˈstɛd, ðeɪ ʧoʊz tɪ kəmˈpɛl ˈfɔrmər ˈkoʊʧɪz ənd pleɪərz tɪ tɔk tɪ ðɛm, ˈivɪn wɪn ðeɪ hæd ˌæbsəˈlutli noʊ ˌɑbləˈgeɪʃən tɪ du soʊ. ðeɪ ʧoʊz tɪ breɪk ðɛr oʊn rulz ɪn ən əˈtɛmpt tɪ geɪn ˌɪnˌfɔrˈmeɪʃən, ˈrəðər ðən ˈɪntərvˌjuɪŋ ðə ˈpipəl ðeɪ hæd ˈækˌsɛs tɪ wɪˈθɪn ðɛr oʊn rulz. ðɪs ˈwəzənt ən ˌɪnˌvɛstəˈgeɪʃən, ðɪs wɑz ə wɪʧ hənt. ðɪs wɑz ðə ˈriəˌlaɪzɪŋ ˈərli ɔn ðət ðeɪ hæd ə ˈʃeɪki keɪs, ənd ˌɪnˈstɛd əv ˈpənɪʃɪŋ maɪˈæmi beɪst ɔn wət ðeɪ hæd, ðeɪ spɛnt 2 jɪrz traɪɪŋ tɪ skreɪp əp ɛz məʧ ɛz ðeɪ ˈpɑsəbli kʊd soʊ ðeɪ kʊd ˈʤəstəˌfaɪ ðɛr əˈtɛmpt tɪ hænd aʊt ˈsæŋkʃənz ðət mæʧt ðə ˈmidiə ˈfrɛnzi. ðeɪ wərənt traɪɪŋ tɪ ˈpənɪʃ maɪˈæmi ˈfɛrli, ðeɪ wər traɪɪŋ tɪ ˈteɪlər ðɛr ˈfaɪndɪŋz tɪ fɪt wət ðeɪ ˈwɔntɪd. ðə ˈfæbrɪˌkeɪtɪd ˈstɔri pleɪd fækts dɪd nɑt. ˈfaɪnəli, ˈdʊrɪŋ ðə kɔrs əv ðɪs ˈprɔˌsɛs, ðɛr hæv bɪn ˈməltəpəl taɪmz wɪn ˌɪnˌfɔrˈmeɪʃən həz likt aʊt ðə ðə ˈpəblɪk rɪˈgɑrdɪŋ ˌæləˈgeɪʃənz meɪd əˈgɛnst ðə skul. ðɪs ˌɪnˌfɔrˈmeɪʃən ʃʊd nɑt hæv bɪn riˈlist, ɛz ɪt wɑz, ɪn ɪts ɪnˈtaɪərti, ˌənsəbˈstænʃiˌeɪtɪd. maɪˈæmi ɪz naʊ ɔn ˈrɛkərd ɛz seɪɪŋ ðət ðeɪ bɪˈliv ðət ðə wɑz riˈspɑnsəbəl fər ðɪs ˌɪnˌfɔrˈmeɪʃən ˈkəmɪŋ aʊt. rɪˈmɛmbər wɪn ðət ˈstɔri broʊk ðət æl ˈgoʊldən ənd hɪz stæf hæd ˈbroʊkən ˈməltəpəl rulz ˈdʊrɪŋ rɪˈkrutɪŋ, ənd ðət ðɛr wər rɪˈpɔrtədli foʊn ˈrɛkərdz tɪ pruv ɪt? rɪˈmɛmbər haʊ ðət kɔz ə ˈmidiə ˈfrɛnzi ðət kæst maɪˈæmi ˈɪntu ə ˈnɛgətɪv laɪt, kɔst ðɛm æt list wən ˈpɑsəbəl rɪˈkrut ɪn ˈvərnən ˈhɑrˌgrivz ənd ˈkaʊntləs ˈəðərz bɪˈkəz ɪt ˈpeɪnɪd æl ˈgoʊldən ɛz ə ˈʧitər ənd meɪd ɪt saʊnd laɪk θɪŋz wər goʊɪŋ tɪ gɪt wərs? du ju ˈɔlsoʊ rɪˈmɛmbər haʊ ðət hoʊl θɪŋ ʤɪst sɔrt əˈweɪ wɪθ ˈnəθɪŋ mɔr tɪ kəm əv ɪt? jæ. ðət ɪz wət ʃəˈleɪlə ɪz rɪˈfərɪŋ tɪ. ðət ˌɪnˌfɔrˈmeɪʃən wɑz ˈsəmˌhaʊ likt aʊt, ˈivɪn ðoʊ ɪt ˈəltəmətli wɑz ˈpætəntli fɔls, ənd ɪt keɪm æt ə taɪm wɪn ˈpipəl wər əˈgɛn bɪˈgɪnɪŋ tɪ kˈwɛʃən waɪ ðə wɑz ˈteɪkɪŋ soʊ lɔŋ ɪn ðɛr ˌɪnˌvɛstəˈgeɪʃən. ðeɪ wər ˈstɑrtɪŋ tɪ gɪt kˈwɛsʧənz əˈbaʊt ˈwɛðər ər nɑt ðeɪ ˈivɪn hæd ə keɪs tɪ bɪˈgɪn wɪθ, ənd ðɛn ɔl əv ə ˈsədən ɪt tərnz aʊt ðət ðeɪ hæd ˌɪnˌfɔrˈmeɪʃən ɔn ðə ˈkɑrənt stæf, wɪʧ ɪz waɪ ðeɪ ˈhædənt sɛd ˈɛniˌθɪŋ ɪn ə waɪl. ɪf ðə ɪz, ɪn fækt, riˈspɑnsəbəl fər ðɪs ˌɪnˌfɔrˈmeɪʃən biɪŋ likt, ðɛn ðɛr ˈɑrənt tu ˈmɛni wərdz ðət ˈækjərətli ɪkˈsprɛs ʤɪst haʊ kərəpt ənd ˈminɪŋləs ðət ˌɔrgənəˈzeɪʃən ɪz. ðɛr ˈətər ˌdɪsrɪˈgɑrd fər ðə ˌɪnstɪˈtuʃənz ðət ðeɪ ər səˈpoʊzd tɪ prəˈtɛkt ʃoʊz ðət ðeɪ ˈoʊnli ˈkərəntli ɪgˈzɪst tɪ ˈfərðər ðɛr oʊn minz, ənd tɪ ˈʤəstəˌfaɪ ðɛr ʤaɪˈgænɪk ˈsæləriz ˈəndər ðə gaɪz əv ə ˌnɑnˈprɔfɪt ˌɔrgənəˈzeɪʃən. wi trəst ðət ðə kəˈmɪti ɔn ˌɪnˈfrækʃənz wɪl prəˈvaɪd ðə ˈfɛrnəs ənd ˌɪnˈtɛgrəti ˈmɪsɪŋ ˈdʊrɪŋ ðə ˌɪnˈvɛstəˌgeɪtɪv ˈprɔˌsɛs. maɪˈæmi wɪl ˈsərtənli dræft ə rɪˈspɑns tɪ ðə ˈnoʊtɪs, ənd ðɪs keɪs wɪl bi goʊɪŋ ɪn frənt əv ðə kəˈmɪti ɔn ˌɪnˈfrækʃənz. maɪˈæmi ɪz ˈfaɪtɪŋ ðɪs ðə hoʊl weɪ, ɛz wɛl ðeɪ ʃʊd. ɪf ðɛr wɑz ˈɛvər ə keɪs ðət kəmˈplitli ɪkˈspoʊzd ðə fər ðə frɔdz ðeɪ ər, ðɪs ɪz ɪt. ɪn ðə kɔrs əv ðə nɛkst ˈkəpəl əv mənθs, ɪt wɪl bi ˈɪntəˌrɛstɪŋ tɪ si ðə ˈaʊtˌkraɪ frəm ˈpriviəs ˈvɪktɪmz əv ðə, ənd haʊ ˈəðərz rɪˈspɑnd tɪ wət ɪz ˈklɪrli ən əˈtɛmpt tɪ ˌɪgˈnɔr ə ˈfeɪljər. ðə dɪz nɑt ʤɪst nid ən ˈoʊvərˌhɔl əv ðɛr ˌɪnˈvɛstəˌgeɪtɪv brænʧ, ər ðɛr rul bʊk. ðə nidz tɪ bi ˈgətɪd ənd riˈbɪlt frəm ðə graʊnd əp, ənd ðə fərst ˈstæˌʧu tɪ fɔl, soʊ tɪ spik, ʃʊd bi mɑrk emmerts*.
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business investment in the: guidance for overseas businesses guidance on why overseas companies should set up and locate their businesses in the. includes information on business investment and foreign direct investment (fdi) opportunities.
department for international trade sweden department for international trade (dit) helps-based companies succeed in the global economy. we also help overseas companies bring their high-quality investment to the’s dynamic economy.
overseas business risk - sweden information on key security and political risks which businesses may face when operating in sweden.
set up a business what you need to do to start a business: choose a legal structure, see if you need licences and insurance, learn about reliefs and benefits
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ˈbɪznɪs ˌɪnˈvɛstmənt ɪn ðə: ˈgaɪdəns fər ˈoʊvərˈsiz ˈbɪznɪsɪz ˈgaɪdəns ɔn waɪ ˈoʊvərˈsiz ˈkəmpəˌniz ʃʊd sɛt əp ənd ˈloʊˌkeɪt ðɛr ˈbɪznɪsɪz ɪn ðə. ˌɪnˈkludz ˌɪnˌfɔrˈmeɪʃən ɔn ˈbɪznɪs ˌɪnˈvɛstmənt ənd ˈfɔrən dɪˈrɛkt ˌɪnˈvɛstmənt (fdi*) ˌɑpərˈtunətiz. dɪˈpɑrtmənt fər ˌɪnərˈnæʃənɑl treɪd sˈwidən dɪˈpɑrtmənt fər ˌɪnərˈnæʃənɑl treɪd (dit*) hɛlps ˈkəmpəˌniz səkˈsid ɪn ðə ˈgloʊbəl ɪˈkɑnəmi. wi ˈɔlsoʊ hɛlp ˈoʊvərˈsiz ˈkəmpəˌniz brɪŋ ðɛr ˌhaɪkˈwɑləti ˌɪnˈvɛstmənt tɪ ðə daɪˈnæmɪk ɪˈkɑnəmi. ˈoʊvərˈsiz ˈbɪznɪs rɪsk sˈwidən ˌɪnˌfɔrˈmeɪʃən ɔn ki sɪˈkjʊrəti ənd pəˈlɪtɪkəl rɪsks wɪʧ ˈbɪznɪsɪz meɪ feɪs wɪn ˈɔpərˌeɪtɪŋ ɪn sˈwidən. sɛt əp ə ˈbɪznɪs wət ju nid tɪ du tɪ stɑrt ə ˈbɪznɪs: ʧuz ə ˈligəl ˈstrəkʧər, si ɪf ju nid ˈlaɪsənsɪz ənd ˌɪnˈʃʊrəns, lərn əˈbaʊt riˈlifs ənd ˈbɛnəfɪts saɪəns ˌɪnəˈveɪʃən ˈnɛtˌwərk ɪn sˈwidən saɪəns ənd ˌɪnəˈveɪʃən ər æt ðə hɑrt əv ˈgəvərnmənt ˈstrætəʤi fər prəˈmoʊtɪŋ prɑˈspɛrəti ənd groʊθ. ˈrisərʧ ənd ˈnɑlɪʤ ɪz ˌɪnˈkrisɪŋgli dɪˈvɛləpt ənd ˈtrænsfərd θru ˌɪnərˈnæʃənɑl kəˌlæbərˈeɪʃən wɪʧ prəˈvaɪdz ˌɑpərˈtunətiz tɪ wərk wɪθ ðə bɛst ɪn ðə wərld, ɪksˈʧeɪnʤ ˈstudənts ənd ˈrisərʧərz, ənd geɪn ˈækˌsɛs tɪ lɑrʤ skeɪl ˌɪnərˈnæʃənɑl fəˈsɪlɪtiz; ˈlidɪŋ tɪ mˈjuʧuəl ˈbɛnəfɪts fər ðə ənd sˈwidən.
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i hate everything information profile i hate everything style commentary date joined august 23, 2013 twitter videos 238+ status active channel trailer i hate channel trailers most viewed video the (not disney) collection - the search for the worst - (8 movies!) [source]
alex horton (born: march 15, 1994 (1994-03-15) [age 24]), better known online as i hate everything (abbreviated as) is a british commentary born in new zealand and known for his on social media, movies, games, memes, and other topics. he is best known for his "i hate" series, where he mixes hyperbole and his own opinions to deliver comedic social commentary.
contents show]
current ongoing series
i hate
"i hate [blank]" is the series that begun alex's channel. in it, he takes a popular topic in which he has a strong dislike for and discusses what about the topic he likes and mostly dislikes
i love
though, only one episode, in this series alex defends things in which he likes, opposite to "i hate", and he uses a parody character "i love everything" instead of his classic "i hate everything."
mini
mini rant videos consist of several small that he considered creating an "i hate" video of, but didn't think was necessary or didn't have enough time. they usually have about 3 different smaller within them.
comment comeback consists of alex going back to some of his older, more controversial videos, and where he finds the funniest hate comments, and he jokes around and reacts to them.
the search for the worst
the search for the worst is a series in which alex reviews the lowest rated movies on and some of his most hated movies in hope of finding the worst. he goes in depth about each scene and gives an on said movie(s).
the quest for the best
opposite of "the search for the worst", this series discusses some of alex's favourite recent films. it does have several differences from the search for the worst though, as it has a lot less of a production quality and less in depth reviews, as it usually discusses around 5 movies in the time that a search for the worst episode usually discusses one.
trying to watch
to go with alex's episodes of the beloved search for the worst, for each episode, he will create a video named "trying to watch (title of the video, alex, joined by friend(s), watches the movie, making jokes and first critical reactions, usually cut down to avoid copyright and to ensure the viewer is interested
q&as
though extremely now, alex used to hold a series called where he answers fans questions. it began as just fun, but soon began to become alex's way of creating specials for achieving certain amounts of subscribers, but ended at subscribers.
top
in top, alex creates a typical top 5 list of a particular topic, in the same style as many others.
dramatic reading: awful deviant story 'hope'
intended to be a full series in which alex dramatically reads stories etc, "dramatic reading: awful deviant story 'hope'" is the only episode he made before the series became inactive. it was split into several parts though, which is why i am classifying this singular reading a full series.
inside memes
"if you hate everything, does that mean you hate yourself?"
—derived from the many comments of this phrase in some form, which the audience took back and satirically.
—derived from the many comments of this phrase in some form, which the audience took back and satirically. "durr plant"
—a sarcastic phrase originally spoken by in response to the "damn daniel" meme to make fun of its frivolous nature. the phrase ironically turned into a meme, with several parodies and arising from it, which himself has discussed in a separate video.
—a sarcastic phrase originally spoken by in response to the "damn daniel" meme to make fun of its frivolous nature. the phrase ironically turned into a meme, with several parodies and arising from it, which himself has discussed in a separate video. "make i hate mars bars"
—a user plays ) once asked him to do a video on mars bars, he pointed out what a terrible idea that was, and viewers have been purposely asking him to made a video on the candy bar ever since. has also done an on .
—a user plays ) once asked him to do a video on mars bars, he pointed out what a terrible idea that was, and viewers have been purposely asking him to made a video on the candy bar ever since. has also done an on . "zooboo"
—a meme created on 19 september 2016 to show that anything says could be memed. first in leafy, and in the, and got a page that same day.
jar media
alex runs a side channel with his friends james and ruben, and his brother jamie. as well as discussing topics and questions asked by fans, he reviews games and movies and has begun hosting podcasts.
in december 2015, it came to light that the partner of jar had been taking 60% revenue from them without their knowledge. they have subsequently abandoned the initial channel and created a new one with the same name. it currently has over views and subscribers.
as of february 2017, the channel focuses on 'blabs', small on individual topics and the moderately successful (aka. yogspogs, pozdact, yogscast, pussycast.)
personal life
he has a corgi named, a mother on twitter) and a brother named jamie on twitter)
appearance
ihe includes a picture of a person who was theorized to be himself in his i hate facebook video. during a live stream on on june 5, 2016, confirmed it to be himself. he has since released pictures of himself, in a comedic twitter stunt. both him and 'colossal is crazy' planned face reveals, and so swapped pictures, and both claimed the pictures of each other to be themselves. this was soon spotted by eagle eyed fans, and was widely reported by news sources such as scarce. he now occasionally posts his face on his and the account.
controversy
cool cat saves the kids
on november 6, 2015, alex uploaded a review of the movie cool cat saves the kids for his series, "the search for the worst". and on november 9, 2015, the video was taken down and alex's channel given a strike for copyright infringement by the movie's creator derek savage, despite the videos correctly falling under fair use law.
alex released several videos detailing the events of the incident, including emails between alex and derek and from derek "cool cat" account, shown in alex's video "with apologies to derek savage".
alex moved forward with a with the the support ofs and and his network, creative nation.
on november 27, 2015, alex's cool cat videos were once again listed on his channel and, the following day, alex uploaded a video in which he stated that the copyright strike was removed. alex also went into detail about an email sent to him from a law firm on november 13 regarding copyright material in his "attack of the jurassic shark" videos. however, several obvious clues pointed put by gave alex reason to believe that the law firm and email was fabricated by derek savage, and the real creators of "attack of the jurassic shark" have not made any attempt to issue copyright strikes against alex.
termination
on tuesday ,january 19, 2016, i hate everything's channel was suspended for unknown reasons. his channel was recovered the day after thanks to his fan base and others such as gradeaundera,,tv, productions, and jontron. due to youtube's "poor" handling of the suspension and the community's overall frustration with youtube's guidelines led alex to become a voice for those who experienced similar situations.
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aɪ heɪt ˈɛvriˌθɪŋ ˌɪnˌfɔrˈmeɪʃən ˈproʊˌfaɪl aɪ heɪt ˈɛvriˌθɪŋ staɪl ˈkɑmənˌtɛri deɪt ʤɔɪnd ˈɔgəst 23 2013 tˈwɪtər ˈvɪdioʊz 238 ˈstætəs ˈæktɪv ˈʧænəl ˈtreɪlər aɪ heɪt ˈʧænəl ˈtreɪlərz moʊst vjud ˈvɪdioʊ ðə (nɑt ˈdɪzni) kəˈlɛkʃən ðə sərʧ fər ðə wərst 8 ˈmuviz!) [sɔrs] ˈæləks ˈhɔrtən (bɔrn: mɑrʧ 15 1994 [eɪʤ 24 ˈbɛtər noʊn ˈɔnˌlaɪn ɛz aɪ heɪt ˈɛvriˌθɪŋ (əˈbriviˌeɪtɪd ɛz) ɪz ə ˈbrɪtɪʃ ˈkɑmənˌtɛri bɔrn ɪn nu ˈzilənd ənd noʊn fər hɪz ɔn ˈsoʊʃəl ˈmidiə, ˈmuviz, geɪmz, mimz, ənd ˈəðər ˈtɑpɪks. hi ɪz bɛst noʊn fər hɪz "aɪ heɪt" ˈsɪriz, wɛr hi ˈmɪksɪz haɪˈpərbəˌli ənd hɪz oʊn əˈpɪnjənz tɪ dɪˈlɪvər kəˈmidɪk ˈsoʊʃəl ˈkɑmənˌtɛri. ˈkɑntɛnts ʃoʊ] ˈkɑrənt ˈɔnˌgoʊɪŋ ˈsɪriz aɪ heɪt "aɪ heɪt [blæŋk]" ɪz ðə ˈsɪriz ðət ˈbeɪgən ˈæləksɪz ˈʧænəl. ɪn ɪt, hi teɪks ə ˈpɑpjələr ˈtɑpɪk ɪn wɪʧ hi həz ə strɔŋ dɪsˈlaɪk fər ənd dɪˈskəsɪz wət əˈbaʊt ðə ˈtɑpɪk hi laɪks ənd ˈmoʊstli dɪsˈlaɪks aɪ ləv ðoʊ, ˈoʊnli wən ˈɛpɪˌsoʊd, ɪn ðɪs ˈsɪriz ˈæləks dɪˈfɛndz θɪŋz ɪn wɪʧ hi laɪks, ˈɑpəzɪt tɪ "aɪ heɪt", ənd hi ˈjuzɪz ə ˈpɛrədi ˈkɛrɪktər "aɪ ləv ˈɛvriˌθɪŋ" ˌɪnˈstɛd əv hɪz ˈklæsɪk "aɪ heɪt ˈɛvriˌθɪŋ." ˈmɪni ˈmɪni rænt ˈvɪdioʊz kənˈsɪst əv ˈsɛvərəl smɔl ðət hi kənˈsɪdərd kriˈeɪtɪŋ ən "aɪ heɪt" ˈvɪdioʊ əv, bət ˈdɪdənt θɪŋk wɑz ˈnɛsəˌsɛri ər ˈdɪdənt hæv ɪˈnəf taɪm. ðeɪ ˈjuʒəwəli hæv əˈbaʊt 3 ˈdɪfərənt sˈmɔlər wɪˈθɪn ðɛm. ˈkɑmɛnt ˈkəmˌbæk kənˈsɪsts əv ˈæləks goʊɪŋ bæk tɪ səm əv hɪz ˈoʊldər, mɔr ˌkɑntrəˈvərʃəl ˈvɪdioʊz, ənd wɛr hi faɪndz ðə ˈfəniəst heɪt ˈkɑmɛnts, ənd hi ʤoʊks əraʊnd ənd riækts tɪ ðɛm. ðə sərʧ fər ðə wərst ðə sərʧ fər ðə wərst ɪz ə ˈsɪriz ɪn wɪʧ ˈæləks rəvˈjuz ðə loʊəst ˈreɪtɪd ˈmuviz ɔn ənd səm əv hɪz moʊst ˈheɪtɪd ˈmuviz ɪn hoʊp əv ˈfaɪndɪŋ ðə wərst. hi goʊz ɪn dɛpθ əˈbaʊt iʧ sin ənd gɪvz ən ɔn sɛd movie(s*). ðə kwɛst fər ðə bɛst ˈɑpəzɪt əv "ðə sərʧ fər ðə wərst", ðɪs ˈsɪriz dɪˈskəsɪz səm əv ˈæləksɪz ˈfeɪvərɪt ˈrisənt fɪlmz. ɪt dɪz hæv ˈsɛvərəl ˈdɪfərənsɪz frəm ðə sərʧ fər ðə wərst ðoʊ, ɛz ɪt həz ə lɔt lɛs əv ə pərˈdəkʃən kˈwɑləti ənd lɛs ɪn dɛpθ rəvˈjuz, ɛz ɪt ˈjuʒəwəli dɪˈskəsɪz əraʊnd 5 ˈmuviz ɪn ðə taɪm ðət ə sərʧ fər ðə wərst ˈɛpɪˌsoʊd ˈjuʒəwəli dɪˈskəsɪz wən. traɪɪŋ tɪ wɔʧ tɪ goʊ wɪθ ˈæləksɪz ˈɛpɪˌsoʊdz əv ðə bɪˈləvəd sərʧ fər ðə wərst, fər iʧ ˈɛpɪˌsoʊd, hi wɪl kriˈeɪt ə ˈvɪdioʊ neɪmd "traɪɪŋ tɪ wɔʧ (ˈtaɪtəl əv ðə ˈvɪdioʊ, ˈæləks, ʤɔɪnd baɪ friend(s*), ˈwɑʧɪz ðə ˈmuvi, ˈmeɪkɪŋ ʤoʊks ənd fərst ˈkrɪtɪkəl riˈækʃənz, ˈjuʒəwəli kət daʊn tɪ əˈvɔɪd ˈkɑpiˌraɪt ənd tɪ ɪnˈʃʊr ðə vjuər ɪz ˈɪntəˌrɛstɪd ðoʊ ɪkˈstrimli naʊ, ˈæləks juzd tɪ hoʊld ə ˈsɪriz kɔld wɛr hi ˈænsərz fænz kˈwɛsʧənz. ɪt bɪˈgæn ɛz ʤɪst fən, bət sun bɪˈgæn tɪ bɪˈkəm ˈæləksɪz weɪ əv kriˈeɪtɪŋ ˈspɛʃəlz fər əˈʧivɪŋ ˈsərtən əˈmaʊnts əv səbˈskraɪbərz, bət ˈɛndɪd æt səbˈskraɪbərz. tɔp ɪn tɔp, ˈæləks kriˈeɪts ə ˈtɪpɪkəl tɔp 5 lɪst əv ə ˌpɑˈtɪkjələr ˈtɑpɪk, ɪn ðə seɪm staɪl ɛz ˈmɛni ˈəðər. drəˈmætɪk ˈrɛdɪŋ: ˈɔfəl ˈdiviənt ˈstɔri 'hoʊp' ˌɪnˈtɛndɪd tɪ bi ə fʊl ˈsɪriz ɪn wɪʧ ˈæləks drəˈmætɪkəli ridz ˈstɔriz ˌɛtˈsɛtərə, "drəˈmætɪk ˈrɛdɪŋ: ˈɔfəl ˈdiviənt ˈstɔri 'hoʊp'" ɪz ðə ˈoʊnli ˈɛpɪˌsoʊd hi meɪd ˌbiˈfɔr ðə ˈsɪriz bɪˈkeɪm ˌɪˈnæktɪv. ɪt wɑz splɪt ˈɪntu ˈsɛvərəl pɑrts ðoʊ, wɪʧ ɪz waɪ aɪ æm ˈklæsəˌfaɪɪŋ ðɪs ˈsɪŋgjələr ˈrɛdɪŋ ə fʊl ˈsɪriz. ˌɪnˈsaɪd mimz "ɪf ju heɪt ˈɛvriˌθɪŋ, dɪz ðət min ju heɪt ˈjɔrsɛlf?" frəm ðə ˈmɛni ˈkɑmɛnts əv ðɪs freɪz ɪn səm fɔrm, wɪʧ ðə ˈɔdiəns tʊk bæk ənd satirically*. frəm ðə ˈmɛni ˈkɑmɛnts əv ðɪs freɪz ɪn səm fɔrm, wɪʧ ðə ˈɔdiəns tʊk bæk ənd satirically*. "dər plænt" sɑrˈkæstɪk freɪz ərˈɪʤənəli ˈspoʊkən baɪ ɪn rɪˈspɑns tɪ ðə "dæm ˈdænjəl" mim tɪ meɪk fən əv ɪts ˈfrɪvələs ˈneɪʧər. ðə freɪz aɪˈrɑnɪkli tərnd ˈɪntu ə mim, wɪθ ˈsɛvərəl ˈpɛrədiz ənd ərˈaɪzɪŋ frəm ɪt, wɪʧ hɪmˈsɛlf həz dɪˈskəst ɪn ə ˈsɛpərˌeɪt ˈvɪdioʊ. sɑrˈkæstɪk freɪz ərˈɪʤənəli ˈspoʊkən baɪ ɪn rɪˈspɑns tɪ ðə "dæm ˈdænjəl" mim tɪ meɪk fən əv ɪts ˈfrɪvələs ˈneɪʧər. ðə freɪz aɪˈrɑnɪkli tərnd ˈɪntu ə mim, wɪθ ˈsɛvərəl ˈpɛrədiz ənd ərˈaɪzɪŋ frəm ɪt, wɪʧ hɪmˈsɛlf həz dɪˈskəst ɪn ə ˈsɛpərˌeɪt ˈvɪdioʊ. "meɪk aɪ heɪt mɑrz bɑrz" ˈjuzər pleɪz wəns æst ɪm tɪ du ə ˈvɪdioʊ ɔn mɑrz bɑrz, hi ˈpɔɪntɪd aʊt wət ə ˈtɛrəbəl aɪˈdiə ðət wɑz, ənd vjuərz hæv bɪn ˈpərpəsli ˈæskɪŋ ɪm tɪ meɪd ə ˈvɪdioʊ ɔn ðə ˈkændi bɑr ˈɛvər sɪns. həz ˈɔlsoʊ dən ən ɔn ˈjuzər pleɪz wəns æst ɪm tɪ du ə ˈvɪdioʊ ɔn mɑrz bɑrz, hi ˈpɔɪntɪd aʊt wət ə ˈtɛrəbəl aɪˈdiə ðət wɑz, ənd vjuərz hæv bɪn ˈpərpəsli ˈæskɪŋ ɪm tɪ meɪd ə ˈvɪdioʊ ɔn ðə ˈkændi bɑr ˈɛvər sɪns. həz ˈɔlsoʊ dən ən ɔn "zooboo*" mim kriˈeɪtɪd ɔn 19 sɛpˈtɛmbər 2016 tɪ ʃoʊ ðət ˈɛniˌθɪŋ sɪz kʊd bi memed*. fərst ɪn ˈlifi, ənd ɪn ðə ənd gɑt ə peɪʤ ðət seɪm deɪ. ʤɑr ˈmidiə ˈæləks rənz ə saɪd ˈʧænəl wɪθ hɪz frɛndz ʤeɪmz ənd ˈrubən, ənd hɪz ˈbrəðər ˈʤeɪmi. ɛz wɛl ɛz dɪˈskəsɪŋ ˈtɑpɪks ənd kˈwɛsʧənz æst baɪ fænz, hi rəvˈjuz geɪmz ənd ˈmuviz ənd həz ˈbeɪgən ˈhoʊstɪŋ podcasts*. ɪn dɪˈsɛmbər 2015 ɪt keɪm tɪ laɪt ðət ðə ˈpɑrtnər əv ʤɑr hæd bɪn ˈteɪkɪŋ 60 ˈrɛvəˌnu frəm ðɛm wɪˈθaʊt ðɛr ˈnɑlɪʤ. ðeɪ hæv ˈsəbsəkwəntli əˈbændənd ðə ˌɪˈnɪʃəl ˈʧænəl ənd kriˈeɪtɪd ə nu wən wɪθ ðə seɪm neɪm. ɪt ˈkərəntli həz ˈoʊvər vjuz ənd səbˈskraɪbərz. ɛz əv ˈfɛbruˌɛri 2017 ðə ˈʧænəl ˈfoʊkɪsɪz ɔn 'blabs*', smɔl ɔn ˌɪndəˈvɪʤəwəl ˈtɑpɪks ənd ðə ˈmɑdərətli səkˈsɛsfəl (ˈɑkə. yogspogs*, pozdact*, yogscast*, pussycast*.) ˈpərsɪnəl laɪf hi həz ə ˈkɔrgi neɪmd, ə ˈməðər ɔn tˈwɪtər) ənd ə ˈbrəðər neɪmd ˈʤeɪmi ɔn tˈwɪtər) əˈpɪrəns ˌɪnˈkludz ə ˈpɪkʧər əv ə ˈpərsən hu wɑz θiəraɪzd tɪ bi hɪmˈsɛlf ɪn hɪz aɪ heɪt ˈfeɪsˌbʊk ˈvɪdioʊ. ˈdʊrɪŋ ə lɪv strim ɔn ɔn ʤun 5 2016 kənˈfərmd ɪt tɪ bi hɪmˈsɛlf. hi həz sɪns riˈlist ˈpɪkʧərz əv hɪmˈsɛlf, ɪn ə kəˈmidɪk tˈwɪtər stənt. boʊθ ɪm ənd 'kəˈlɑsəl ɪz ˈkreɪzi' plænd feɪs rɪˈvilz, ənd soʊ swɔpt ˈpɪkʧərz, ənd boʊθ kleɪmd ðə ˈpɪkʧərz əv iʧ ˈəðər tɪ bi ðɛmˈsɛlvz. ðɪs wɑz sun ˈspɑtɪd baɪ ˈigəl aɪd fænz, ənd wɑz ˈwaɪdli ˌriˈpɔrtəd baɪ nuz ˈsɔrsəz səʧ ɛz skɛrs. hi naʊ ɔˈkeɪʒənəˌli poʊsts hɪz feɪs ɔn hɪz ənd ðə əˈkaʊnt. ˈkɑntrəˌvərsi kul kæt seɪvz ðə kɪdz ɔn noʊˈvɛmbər 6 2015 ˈæləks ˈəˌploʊdɪd ə ˌrivˈju əv ðə ˈmuvi kul kæt seɪvz ðə kɪdz fər hɪz ˈsɪriz, "ðə sərʧ fər ðə wərst". ənd ɔn noʊˈvɛmbər 9 2015 ðə ˈvɪdioʊ wɑz ˈteɪkən daʊn ənd ˈæləksɪz ˈʧænəl ˈgɪvɪn ə straɪk fər ˈkɑpiˌraɪt ˌɪnˈfrɪnʤmənt baɪ ðə ˈmuviz kriˈeɪtər ˈdɛrɪk ˈsævɪʤ, dɪˈspaɪt ðə ˈvɪdioʊz kərˈɛktli ˈfɑlɪŋ ˈəndər fɛr juz lɔ. ˈæləks riˈlist ˈsɛvərəl ˈvɪdioʊz dɪˈteɪlɪŋ ðə ɪˈvɛnts əv ðə ˈɪnsədənt, ˌɪnˈkludɪŋ iˈmeɪlz bɪtˈwin ˈæləks ənd ˈdɛrɪk ənd frəm ˈdɛrɪk "kul kæt" əˈkaʊnt, ʃoʊn ɪn ˈæləksɪz ˈvɪdioʊ "wɪθ əˈpɑləˌʤiz tɪ ˈdɛrɪk ˈsævɪʤ". ˈæləks muvd ˈfɔrwərd wɪθ ə wɪθ ðə ðə səˈpɔrt əv ənd ənd hɪz ˈnɛtˌwərk, kriˈeɪtɪv ˈneɪʃən. ɔn noʊˈvɛmbər 27 2015 ˈæləksɪz kul kæt ˈvɪdioʊz wər wəns əˈgɛn ˈlɪstɪd ɔn hɪz ˈʧænəl ənd, ðə ˈfɑloʊɪŋ deɪ, ˈæləks ˈəˌploʊdɪd ə ˈvɪdioʊ ɪn wɪʧ hi ˈsteɪtɪd ðət ðə ˈkɑpiˌraɪt straɪk wɑz riˈmuvd. ˈæləks ˈɔlsoʊ wɛnt ˈɪntu ˈditeɪl əˈbaʊt ən iˈmeɪl sɛnt tɪ ɪm frəm ə lɔ fərm ɔn noʊˈvɛmbər 13 rɪˈgɑrdɪŋ ˈkɑpiˌraɪt məˈtɪriəl ɪn hɪz "əˈtæk əv ðə ʤʊˈræsɪk ʃɑrk" ˈvɪdioʊz. ˌhaʊˈɛvər, ˈsɛvərəl ˈɑbviəs kluz ˈpɔɪntɪd pʊt baɪ geɪv ˈæləks ˈrizən tɪ bɪˈliv ðət ðə lɔ fərm ənd iˈmeɪl wɑz ˈfæbrɪˌkeɪtɪd baɪ ˈdɛrɪk ˈsævɪʤ, ənd ðə ril kriˈeɪtərz əv "əˈtæk əv ðə ʤʊˈræsɪk ʃɑrk" hæv nɑt meɪd ˈɛni əˈtɛmpt tɪ ˈɪʃu ˈkɑpiˌraɪt straɪks əˈgɛnst ˈæləks. tərməˈneɪʃən ɔn ˈtuzˌdeɪ ,ˈʤænjuˌɛri 19 2016 aɪ heɪt ˈɛvriˌθɪŋz ˈʧænəl wɑz səˈspɛndɪd fər ənˈnoʊn ˈrizənz. hɪz ˈʧænəl wɑz rɪˈkəvərd ðə deɪ ˈæftər θæŋks tɪ hɪz fæn beɪs ənd ˈəðər səʧ ɛz gradeaundera*, idubbbztv*, pərˈdəkʃənz, ənd jontron*. du tɪ ˈjuˌtubz "pur" ˈhændəlɪŋ əv ðə səˈspɛnʃən ənd ðə kəmˈjunɪtiz ˈoʊvərˌɔl frəˈstreɪʃən wɪθ ˈjuˌtubz ˈgaɪˌdlaɪnz lɛd ˈæləks tɪ bɪˈkəm ə vɔɪs fər ðoʊz hu ɪkˈspɪriənst ˈsɪmələr ˌsɪʧuˈeɪʃənz.
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today finishes up our exclusive interview with star trek: the next brent, where we talk about his least favorite episode of, why he thinks nemesis bombed, what he thinks of abrams star trek, and where he would like to see star trek go next.
spiner interview (part 2): bad episodes, why nemesis bombed, trek & franchise future
in part 1 of the interview with brent, we talked about the simpsons, his web series fresh hell and star trek: turning 25. for part two we dive deeper into what worked and work with, discuss why star trek: nemesis failed and get thoughts on the new star trek movies and where he would like to see the franchise go in the future.
trekmovie: you mentioned how there are so many episodes of, obviously some of those rise to the top and there are those that. when you guys were in the middle of episodes like "best of both worlds" or enterprise" or others that people now look at as the best, did you realize "hey this is really good." and on the other hand, did you notice when you were in one of the less than good episodes? or is it impossible to know when you are in the middle of it?
brent: it really is impossible to know, at least i. we were working so many hours it was impossible to think about it. i even watch the show. i have time to watch it. i watched the first twenty or so and then thought "i have spent enough time. i am on the set 16 hours a day and go home and learn lines for another hour so enough is enough." of course there were moments where we would go in trouble." there is that one episode that we all knew was bad very early on. the one where denise [crosby] was captured by the tribe of space africans [laughs]. it ["code of honor"] was just a racist episode. maybe not intentionally but it felt that way and looked that way. it was the third episode so it was fortuitous that we did our worst that early on and it never got quite that bad again.
but certainly there were episodes that were less good. there was one that we thought was terrible while we were doing. we were laughing at each faces at the acting we were doing in "masks," but that is a fan favorite. i am always hearing how fans love it and let me tell you, we could not look at each other. colm meaney was laughing at me, marina [sirits] was laughing at me. i was laughing at patrick. he was laughing at me. we were thinking "this is preposterous," but you cut it together and add the music and it works.
spiner in star trek:’s "masks"
trekmovie: speaking of the show living on, have you had a chance to see the next generation?
brent: sent it to me, but i watched it. it was like "what do i watch, old episodes of the show i did or boardwalk empire? i think watch boardwalk empire."
trekmovie: i imagine there must be a shades of the film sunset boulevard with gloria swanson watching her old movies. every actor must think about that.
brent: right. i just do it, period. there are many things i have done in my career that i have never seen. the only times i have seen myself recently is because i had a contractual obligation, like for the star trek movies i had to go to the premiere as that was in the contract, so i saw them one time. but never seen them again.
trekmovie: looking back at the arc you were able to take with your character on star trek, do you feel satisfied or were there things you feel you left on the table?
brent: i feel completely satisfied. if we had done another one i would have been satisfied with that too. we were just happy to be working. i thought the character had a very good arc. i was one of the defenders of the death of data, because it made sense. we were told this was pretty much our last film. i have tried to tell fans were upset about it but i have much success that as far as paramount was concerned, all the other characters are dead too. you have never seen riker again or picard again or anyone again? so why not have that emotional finish to the journey as opposed to leaving it open and you never know.
trekmovie: personally, while i had some issues with star trek: nemesis, that was not one of them. i thought it was his final stop on his journey to being human.
brent: exactly right! exactly.
trekmovie: but people and paramount, look at film as a disappointment, especially financially. and if you hear jonathan frakes’ take on it, with him in the chair things would have been different. do you think it is that simple?
brent: i think jonathan would have done a great job as he is a wonderful director, but i think there is more to it. i honestly think that for that period of time, the fans had had enough of us. i say that because the movie "open" the way the other movies opened. it about good or bad nobody came and that was significant. it was not the quality of the film. people go to bad films all the time. every star trek movie opened bigger and that spoke to how the fans were sick of us. maybe if we waited a few more years and come back it would have been a different story. the first weekend was dismal and that word of mouth or data dying, that was that the fans were not interested.
spiner as data saving picard shortly before sacrificing himself in "star trek: nemesis"
trekmovie: well let me ask the obligatory abrams question. did you see the 2009 star trek movie? and any thoughts on it or the sequel?
brent: i saw it and found it totally entertaining. and no doubt i will see the next one. it was a nice action movie and i enjoyed it.
trekmovie: some fans are assuming or hoping that some day they will reboot the next generation with new younger actors. what do you think about that notion? and if you had to pick a actor to be the new data, do you have anyone in mind?
brent: i know any actors [laughs]. i do think it is likely they will reboot next generation some day. i see star trek ever ending. i think it would better if they went further into the future, past were we did or the original series or voyager or deep space or any of them, and continues the saga. i am not that keen on going backwards because then it becomes history instead of the future.
trekmovie: wrapping up, are there any other projects besides fresh hell that you are working on that you can share with the fans?
brent: yes, but i can’t. i am working on something, but i feel i say something.
trekmovie: is it in the world of music or acting?
brent: acting, if you can call it that [laughs].
trekmovie: well thank you for taking the time.
brent: no problem, thank you.
spiner in the latest episode of "fresh hell"
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təˈdeɪ ˈfɪnɪʃɪz əp ɑr ɪkˈsklusɪv ˈɪntərvˌju wɪθ stɑr trɛk: ðə nɛkst brɛnt, wɛr wi tɔk əˈbaʊt hɪz list ˈfeɪvərɪt ˈɛpɪˌsoʊd əv, waɪ hi θɪŋks ˈnɛməsɪs bɑmd, wət hi θɪŋks əv ˈeɪbrəmz stɑr trɛk, ənd wɛr hi wʊd laɪk tɪ si stɑr trɛk goʊ nɛkst. ˈɪntərvˌju (pɑrt 2 bæd ˈɛpɪˌsoʊdz, waɪ ˈnɛməsɪs bɑmd, trɛk ˈfrænˌʧaɪz fˈjuʧər ɪn pɑrt 1 əv ðə ˈɪntərvˌju wɪθ brɛnt, wi tɔkt əˈbaʊt ðə ˈsɪmpsənz, hɪz wɛb ˈsɪriz frɛʃ hɛl ənd stɑr trɛk: ˈtərnɪŋ 25 fər pɑrt tu wi daɪv ˈdipər ˈɪntu wət wərkt ənd wərk wɪθ, dɪˈskəs waɪ stɑr trɛk: ˈnɛməsɪs feɪld ənd gɪt θɔts ɔn ðə nu stɑr trɛk ˈmuviz ənd wɛr hi wʊd laɪk tɪ si ðə ˈfrænˌʧaɪz goʊ ɪn ðə fˈjuʧər.: ju ˈmɛnʃənd haʊ ðɛr ər soʊ ˈmɛni ˈɛpɪˌsoʊdz əv, ˈɑbviəsli səm əv ðoʊz raɪz tɪ ðə tɔp ənd ðɛr ər ðoʊz ðət. wɪn ju gaɪz wər ɪn ðə ˈmɪdəl əv ˈɛpɪˌsoʊdz laɪk "bɛst əv boʊθ wərldz" ər ˈɛnərˌpraɪz" ər ˈəðərz ðət ˈpipəl naʊ lʊk æt ɛz ðə bɛst, dɪd ju ˈriəˌlaɪz "heɪ ðɪs ɪz ˈrɪli gʊd." ənd ɔn ðə ˈəðər hænd, dɪd ju ˈnoʊtɪs wɪn ju wər ɪn wən əv ðə lɛs ðən gʊd ˈɛpɪˌsoʊdz? ər ɪz ɪt ˌɪmˈpɑsəbəl tɪ noʊ wɪn ju ər ɪn ðə ˈmɪdəl əv ɪt? brɛnt: ɪt ˈrɪli ɪz ˌɪmˈpɑsəbəl tɪ noʊ, æt list aɪ. wi wər ˈwərkɪŋ soʊ ˈmɛni aʊərz ɪt wɑz ˌɪmˈpɑsəbəl tɪ θɪŋk əˈbaʊt ɪt. aɪ ˈivɪn wɔʧ ðə ʃoʊ. aɪ hæv taɪm tɪ wɔʧ ɪt. aɪ wɔʧt ðə fərst tˈwɛnti ər soʊ ənd ðɛn θɔt "aɪ hæv spɛnt ɪˈnəf taɪm. aɪ æm ɔn ðə sɛt 16 aʊərz ə deɪ ənd goʊ hoʊm ənd lərn laɪnz fər əˈnəðər aʊər soʊ ɪˈnəf ɪz ɪˈnəf." əv kɔrs ðɛr wər ˈmoʊmənts wɛr wi wʊd goʊ ɪn ˈtrəbəl." ðɛr ɪz ðət wən ˈɛpɪˌsoʊd ðət wi ɔl nu wɑz bæd ˈvɛri ˈərli ɔn. ðə wən wɛr dɪˈnis [ˈkrɔzbi] wɑz ˈkæpʧərd baɪ ðə traɪb əv speɪs ˈæfrɪkənz [læfs]. ɪt ["koʊd əv ˈɑnər"] wɑz ʤɪst ə ˈreɪsɪst ˈɛpɪˌsoʊd. ˈmeɪbi nɑt ˌɪnˈtɛnʃənəli bət ɪt fɛlt ðət weɪ ənd lʊkt ðət weɪ. ɪt wɑz ðə θərd ˈɛpɪˌsoʊd soʊ ɪt wɑz fɔrˈtuɪtəs ðət wi dɪd ɑr wərst ðət ˈərli ɔn ənd ɪt ˈnɛvər gɑt kwaɪt ðət bæd əˈgɛn. bət ˈsərtənli ðɛr wər ˈɛpɪˌsoʊdz ðət wər lɛs gʊd. ðɛr wɑz wən ðət wi θɔt wɑz ˈtɛrəbəl waɪl wi wər duɪŋ. wi wər ˈlæfɪŋ æt iʧ ˈfeɪsɪz æt ðə ˈæktɪŋ wi wər duɪŋ ɪn "mæsks," bət ðət ɪz ə fæn ˈfeɪvərɪt. aɪ æm ˈɔlˌweɪz ˈhirɪŋ haʊ fænz ləv ɪt ənd lɛt mi tɛl ju, wi kʊd nɑt lʊk æt iʧ ˈəðər. koʊlm ˈmini wɑz ˈlæfɪŋ æt mi, mərˈinə [sirits*] wɑz ˈlæfɪŋ æt mi. aɪ wɑz ˈlæfɪŋ æt ˈpætrɪk. hi wɑz ˈlæfɪŋ æt mi. wi wər ˈθɪŋkɪŋ "ðɪs ɪz prɪˈpɑstərəs," bət ju kət ɪt təˈgɛðər ənd æd ðə mˈjuzɪk ənd ɪt wərks. ɪn stɑr trɛk: "mæsks": ˈspikɪŋ əv ðə ʃoʊ ˈlɪvɪŋ ɔn, hæv ju hæd ə ʧæns tɪ si ðə nɛkst ˌʤɛnərˈeɪʃən? brɛnt: sɛnt ɪt tɪ mi, bət aɪ wɔʧt ɪt. ɪt wɑz laɪk "wət du aɪ wɔʧ, oʊld ˈɛpɪˌsoʊdz əv ðə ʃoʊ aɪ dɪd ər ˈbɔrdˌwɔk ˈɛmpaɪər? aɪ θɪŋk wɔʧ ˈbɔrdˌwɔk ˈɛmpaɪər.": aɪ ˌɪˈmæʤən ðɛr məst bi ə ʃeɪdz əv ðə fɪlm ˈsənˌsɛt ˈbʊləˌvɑrd wɪθ ˈglɔriə sˈwɑnsən ˈwɑʧɪŋ hər oʊld ˈmuviz. ˈɛvəri ˈæktər məst θɪŋk əˈbaʊt ðət. brɛnt: raɪt. aɪ ʤɪst du ɪt, ˈpɪriəd. ðɛr ər ˈmɛni θɪŋz aɪ hæv dən ɪn maɪ kərɪr ðət aɪ hæv ˈnɛvər sin. ðə ˈoʊnli taɪmz aɪ hæv sin ˌmaɪˈsɛlf ˈrisəntli ɪz bɪˈkəz aɪ hæd ə kənˈtrækʧuəl ˌɑbləˈgeɪʃən, laɪk fər ðə stɑr trɛk ˈmuviz aɪ hæd tɪ goʊ tɪ ðə prɛˈmɪr ɛz ðət wɑz ɪn ðə ˈkɑnˌtrækt, soʊ aɪ sɔ ðɛm wən taɪm. bət ˈnɛvər sin ðɛm əˈgɛn.: ˈlʊkɪŋ bæk æt ðə ɑrk ju wər ˈeɪbəl tɪ teɪk wɪθ jʊr ˈkɛrɪktər ɔn stɑr trɛk, du ju fil ˈsætɪsˌfaɪd ər wər ðɛr θɪŋz ju fil ju lɛft ɔn ðə ˈteɪbəl? brɛnt: aɪ fil kəmˈplitli ˈsætɪsˌfaɪd. ɪf wi hæd dən əˈnəðər wən aɪ wʊd hæv bɪn ˈsætɪsˌfaɪd wɪθ ðət tu. wi wər ʤɪst ˈhæpi tɪ bi ˈwərkɪŋ. aɪ θɔt ðə ˈkɛrɪktər hæd ə ˈvɛri gʊd ɑrk. aɪ wɑz wən əv ðə dɪˈfɛndərz əv ðə dɛθ əv ˈdætə, bɪˈkəz ɪt meɪd sɛns. wi wər toʊld ðɪs wɑz ˈprɪti məʧ ɑr læst fɪlm. aɪ hæv traɪd tɪ tɛl fænz wər ˈəpˌsɛt əˈbaʊt ɪt bət aɪ hæv məʧ səkˈsɛs ðət ɛz fɑr ɛz ˈpɛrəˌmaʊnt wɑz kənˈsərnd, ɔl ðə ˈəðər ˈkɛrɪktərz ər dɛd tu. ju hæv ˈnɛvər sin ˈraɪkər əˈgɛn ər pɪˈkɑrd əˈgɛn ər ˈɛniˌwən əˈgɛn? soʊ waɪ nɑt hæv ðət ˈiˌmoʊʃənəl ˈfɪnɪʃ tɪ ðə ˈʤərni ɛz əˈpoʊzd tɪ ˈlivɪŋ ɪt ˈoʊpən ənd ju ˈnɛvər noʊ.: ˈpərsənəli, waɪl aɪ hæd səm ˈɪʃuz wɪθ stɑr trɛk: ˈnɛməsɪs, ðət wɑz nɑt wən əv ðɛm. aɪ θɔt ɪt wɑz hɪz ˈfaɪnəl stɑp ɔn hɪz ˈʤərni tɪ biɪŋ ˈjumən. brɛnt: ɪgˈzæktli raɪt! ɪgˈzæktli.: bət ˈpipəl ənd ˈpɛrəˌmaʊnt, lʊk æt fɪlm ɛz ə ˌdɪsəˈpɔɪntmənt, əˈspɛʃəli ˌfaɪˈnænʃəli. ənd ɪf ju hir ˈʤɑnəθən frakes’*’ teɪk ɔn ɪt, wɪθ ɪm ɪn ðə ʧɛr θɪŋz wʊd hæv bɪn ˈdɪfərənt. du ju θɪŋk ɪt ɪz ðət ˈsɪmpəl? brɛnt: aɪ θɪŋk ˈʤɑnəθən wʊd hæv dən ə greɪt ʤɑb ɛz hi ɪz ə ˈwəndərfəl dɪˈrɛktər, bət aɪ θɪŋk ðɛr ɪz mɔr tɪ ɪt. aɪ ˈɑnəstli θɪŋk ðət fər ðət ˈpɪriəd əv taɪm, ðə fænz hæd hæd ɪˈnəf əv ˈjuˈɛs. aɪ seɪ ðət bɪˈkəz ðə ˈmuvi "ˈoʊpən" ðə weɪ ðə ˈəðər ˈmuviz ˈoʊpənd. ɪt əˈbaʊt gʊd ər bæd ˈnoʊˌbɑˌdi keɪm ənd ðət wɑz sɪgˈnɪfɪkənt. ɪt wɑz nɑt ðə kˈwɑləti əv ðə fɪlm. ˈpipəl goʊ tɪ bæd fɪlmz ɔl ðə taɪm. ˈɛvəri stɑr trɛk ˈmuvi ˈoʊpənd ˈbɪgər ənd ðət spoʊk tɪ haʊ ðə fænz wər sɪk əv ˈjuˈɛs. ˈmeɪbi ɪf wi ˈweɪtɪd ə fju mɔr jɪrz ənd kəm bæk ɪt wʊd hæv bɪn ə ˈdɪfərənt ˈstɔri. ðə fərst ˈwiˌkɪnd wɑz ˈdɪzməl ənd ðət wərd əv maʊθ ər ˈdætə daɪɪŋ, ðət wɑz ðət ðə fænz wər nɑt ˈɪntəˌrɛstɪd. ɛz ˈdætə ˈseɪvɪŋ pɪˈkɑrd ˈʃɔrtli ˌbiˈfɔr ˈsækrəˌfaɪsɪŋ hɪmˈsɛlf ɪn "stɑr trɛk: ˈnɛməsɪs": wɛl lɛt mi æsk ðə əˈblɪgəˌtɔri ˈeɪbrəmz kˈwɛʃən. dɪd ju si ðə 2009 stɑr trɛk ˈmuvi? ənd ˈɛni θɔts ɔn ɪt ər ðə ˈsikwəl? brɛnt: aɪ sɔ ɪt ənd faʊnd ɪt ˈtoʊtəli ˌɛnərˈteɪnɪŋ. ənd noʊ daʊt aɪ wɪl si ðə nɛkst wən. ɪt wɑz ə nis ˈækʃən ˈmuvi ənd aɪ ˌɛnˈʤɔɪd ɪt.: səm fænz ər əˈsumɪŋ ər ˈhoʊpɪŋ ðət səm deɪ ðeɪ wɪl riˈbut ðə nɛkst ˌʤɛnərˈeɪʃən wɪθ nu ˈjəŋgər ˈæktərz. wət du ju θɪŋk əˈbaʊt ðət ˈnoʊʃən? ənd ɪf ju hæd tɪ pɪk ə ˈæktər tɪ bi ðə nu ˈdætə, du ju hæv ˈɛniˌwən ɪn maɪnd? brɛnt: aɪ noʊ ˈɛni ˈæktərz [læfs]. aɪ du θɪŋk ɪt ɪz ˈlaɪkli ðeɪ wɪl riˈbut nɛkst ˌʤɛnərˈeɪʃən səm deɪ. aɪ si stɑr trɛk ˈɛvər ˈɛndɪŋ. aɪ θɪŋk ɪt wʊd ˈbɛtər ɪf ðeɪ wɛnt ˈfərðər ˈɪntu ðə fˈjuʧər, pæst wər wi dɪd ər ðə ərˈɪʤənəl ˈsɪriz ər ˈvɔɪɪʤər ər dip speɪs ər ˈɛni əv ðɛm, ənd kənˈtɪnjuz ðə ˈsɑgə. aɪ æm nɑt ðət kin ɔn goʊɪŋ ˈbækwərdz bɪˈkəz ðɛn ɪt bɪˈkəmz ˈhɪstəri ˌɪnˈstɛd əv ðə fˈjuʧər.: ˈræpɪŋ əp, ər ðɛr ˈɛni ˈəðər ˈprɑʤɛkts ˌbiˈsaɪdz frɛʃ hɛl ðət ju ər ˈwərkɪŋ ɔn ðət ju kən ʃɛr wɪθ ðə fænz? brɛnt: jɛs, bət aɪ can’t*. aɪ æm ˈwərkɪŋ ɔn ˈsəmθɪŋ, bət aɪ fil aɪ seɪ ˈsəmθɪŋ.: ɪz ɪt ɪn ðə wərld əv mˈjuzɪk ər ˈæktɪŋ? brɛnt: ˈæktɪŋ, ɪf ju kən kɔl ɪt ðət [læfs].: wɛl θæŋk ju fər ˈteɪkɪŋ ðə taɪm. brɛnt: noʊ ˈprɑbləm, θæŋk ju. ɪn ðə ˈleɪtəst ˈɛpɪˌsoʊd əv "frɛʃ hɛl"
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eve valkyrie might be free from the constraints of gravity, but plenty of weight on its shoulders. team fulfilling just the one dream, of also charged with redrawing the eve universe in unforgiving close-up for the first time.
that’s a lot of pressure for a shooter to handle. but on the phone, the wonder its developers feel for the game made together is audible. buoyed by a vacuum become “infinitesimally more and more beautiful” as rebuilt it in new engine.
the valkyrie team are still sustained by the enthusiastic push eve players gave them back at the icelandic in 2012. the show demo was built by a five person team working in their spare time but reception was such that valkyrie suddenly became a project.
a team was assembled in newcastle after work wrapped on dust 514, and the decision made to port the unity prototype to another engine. somehow, that new version of eve valkyrie in unreal engine 4 was by the time we saw it in the middle of last year.
“it was a pretty quick transition process,” said technical director richard smith. “a lot of that was to do with the experience we had on the team, because we knew how to make the right technical choices first time around. epic have put a lot of work into the tools and for all of that code we wrote back at the beginning of this year, very little had to go and revisit because we were very familiar with a lot of systems.”
the prototype team had already worked out the fundamental principles of their dogfighter, and the role would play in it. the rebuild, then, has been about “making good better” finding out what was new in that could improve on what they already had.
cockpits are a strong case in point. in the demo version, created a framework for their depth and scale that felt right in. but they “never really pushed visually”.
“we’ve really started to think about these cockpits and get deeper into them what they are and what they do, how represented,” said artist andrew robinson.
“in we knew we could throw around a bigger poly count, and the lighting was more accurate with rendering. and the knowledge we had of unreal meant that we could fill the cockpits a bit better, make them more of the characters that we wanted them to be.”
ccp have thought a lot about the character and personality of the world building in valkyrie. working with a universe: 10 years of story, 10 years of evolving races, and 10 years of established aesthetic.
“we have all this narrative and the racial definitions are so strong that we can take those and build new things from that,” said robinson. “it’s the perfect backbone for building a world of great fidelity for.”
for the existing eve community, the fantasy of valkyrie is seeing the world they know recreated at a granular level. it offers, literally and figuratively, a new perspective on the ships and battles players have watched from on high for so long.
“we’re putting you right inside them with the bolts and wires and really giving you a sense of scale a sense of ‘i’m the smallest piece of this huge battle’,” enthused robinson. “in eve a small speck, but taking you right down to that level. the base ships are even bigger now. down inside that world, like tiny ants in a huge wrestling match, just scurrying around.”
doing justice to that fantasy has been an awful lot of work. the ships of eve online were never designed to be inspected in first-person. in order to “push the detail”, the valkyrie team needed to return to eight-year-old, original concept art and rebuild the vessels from scratch.
it’s clear been a privilege for the newcastle team, to finally construct those first ships in all the detail they were first imagined. but also been a technical challenge.
for starters, objects that would pass unnoticed on a screen will cause wobble and in. more, the incredible size of the planets, stations and other landmarks in vacuum can lead to some serious cases of dougal syndrome the inability to tell a object from a one.
you might think the problem would be easy to solve in three-dimensional but it turns out poor stereo perception renders small and large objects “indistinguishable” once they move beyond 10 metres from the viewer.
“even in, very difficult to tell something 100 meters away from something a kilometer away, except by the level of detail and having that scale on those objects,” explained smith. “we’ve had to put a lot of detail into the assets out there in the world because otherwise you really get a sense of how far away you were from them.”
solving the problem has required a change in mindset from the art team, and a willingness to exploit the tools that come “out of the box” with unreal engine 4.
“ue4 helps you extend those systems and also make it work in multiplayer,” said smith, “so you can have ships that have millimetre details in them, yet could be tens of hundreds of kilometers apart, moving at hundreds of kilometers an hour.”
the capacity for quick iteration has proven essential for working in, too.’s blueprint system allows designers to link up systems ordinarily have to bother programmers about, and have used it “quite extensively” to test features before passing the results to the experts.
“it’s just the immediacy of being able to hook things up and put things together very quickly,” said smith. “particularly when traditionally we would have relied on an iteration cycle that went back and forth between content creator and programmer.
“the content guys are now able to work directly in there, bash things together to get them how they want. once essentially figured out what a feature needs to be and how it needs to work, they can hand it over to the programmers to create their optimal code systems and make that stuff work.”
“there’s no firm rulebook for yet,” pointed out robinson. “we’re writing quite a lot of it right here in the studio. as been working, rapid prototyping has been absolutely key to getting the right pieces together and finding what works in. does it feel good? does it feel bad? can we make it right or is it straight up not gonna work?”
maintaining that stable test environment has been tricky. a game running at less than a solid 75 hertz quickly becomes uncomfortable not just for testers, but for the developers playing it every day. left fighting to keep the game in an state throughout development an unheard of standard for games.
“we’re used to pushing beautiful content into the game in development, and then getting to the stage and making it run a solid 30 or 50 hertz on whatever console or pc targeting,” said smith. “we’ve had to put a lot of emphasis on performance, on, even in our early prototyping phase.”
there’s still a lot we know about valkyrie as a game smith and robinson talk about “building exciting paths” through an environment with no clear axis or direction, and reference a cycle that must surely be unlike anything seen in a game world. we know how going to work as a experience.
but the team are already proud of what built. as smith puts it, any developer can be proud if they can run a “beautiful looking world” at 75 hertz on the dev kit 2. a sense that are previously inhospitable systems pioneering techniques for a aaa industry be working with unreal 4 for years to come.
“we’re the first game in, possibly first on the planet, to do cross platform play between both and morpheus, and getting as few changes between the two as possible,” said smith. “i’d like to think that a lot of the improvements that epic are pushing out in their implementation, they are from the feedback that been giving.”
eve valkyrie will be an rift launch title. unreal engine 4 development is available to anyone for $19 monthly subscription fee.
in this sponsored series, looking at how game developers are taking advantage of unreal engine 4 to create a new generation of pc games. with thanks to epic games and.
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iv ˌvælˈkiˌriə maɪt bi fri frəm ðə kənˈstreɪnts əv ˈgrævɪti, bət ˈplɛnti əv weɪt ɔn ɪts ˈʃoʊldərz. tim fʊlˈfɪlɪŋ ʤɪst ðə wən drim, əv ˈɔlsoʊ ʧɑrʤd wɪθ riˈdrɔɪŋ ðə iv ˈjunəˌvərs ɪn ənfərˈgɪvɪŋ ˈkloʊˌsəp fər ðə fərst taɪm. ə lɔt əv ˈprɛʃər fər ə ˈʃutər tɪ ˈhændəl. bət ɔn ðə foʊn, ðə ˈwəndər ɪts dɪˈvɛləpərz fil fər ðə geɪm meɪd təˈgɛðər ɪz ˈɑdəbəl. buid baɪ ə ˈvækjum bɪˈkəm mɔr ənd mɔr beautiful”*” ɛz riˈbɪlt ɪt ɪn nu ˈɪnʤən. ðə ˌvælˈkiˌriə tim ər stɪl səˈsteɪnd baɪ ðə ɪnˌθuziˈæstɪk pʊʃ iv pleɪərz geɪv ðɛm bæk æt ðə aɪsˈlændɪk ɪn 2012 ðə ʃoʊ ˈdɛmoʊ wɑz bɪlt baɪ ə faɪv ˈpərsən tim ˈwərkɪŋ ɪn ðɛr spɛr taɪm bət rɪˈsɛpʃən wɑz səʧ ðət ˌvælˈkiˌriə ˈsədənli bɪˈkeɪm ə ˈprɑʤɛkt. ə tim wɑz əˈsɛmbəld ɪn ˈnuˌkæsəl ˈæftər wərk ræpt ɔn dəst 514 ənd ðə dɪˈsɪʒən meɪd tɪ pɔrt ðə ˈjunɪti ˈproʊtoʊˌtaɪp tɪ əˈnəðər ˈɪnʤən. ˈsəmˌhaʊ, ðət nu ˈvərʒən əv iv ˌvælˈkiˌriə ɪn ənˈril ˈɪnʤən 4 wɑz baɪ ðə taɪm wi sɔ ɪt ɪn ðə ˈmɪdəl əv læst jɪr. wɑz ə ˈprɪti kwɪk trænˈzɪʃən process,”*,” sɛd ˈtɛknɪkəl dɪˈrɛktər ˈrɪʧərd smɪθ. lɔt əv ðət wɑz tɪ du wɪθ ðə ɪkˈspɪriəns wi hæd ɔn ðə tim, bɪˈkəz wi nu haʊ tɪ meɪk ðə raɪt ˈtɛknɪkəl ˈʧɔɪsɪz fərst taɪm əraʊnd. ˈɛpɪk hæv pʊt ə lɔt əv wərk ˈɪntu ðə tulz ənd fər ɔl əv ðət koʊd wi roʊt bæk æt ðə bɪˈgɪnɪŋ əv ðɪs jɪr, ˈvɛri ˈlɪtəl hæd tɪ goʊ ənd riˈvɪzɪt bɪˈkəz wi wər ˈvɛri fəˈmɪljər wɪθ ə lɔt əv systems.”*.” ðə ˈproʊtoʊˌtaɪp tim hæd ɔˈrɛdi wərkt aʊt ðə ˌfəndəˈmɛnəl ˈprɪnsəpəlz əv ðɛr dogfighter*, ənd ðə roʊl wʊd pleɪ ɪn ɪt. ðə riˈbɪld, ðɛn, həz bɪn əˈbaʊt gʊd better”*” ˈfaɪndɪŋ aʊt wət wɑz nu ɪn ðət kʊd ˌɪmˈpruv ɔn wət ðeɪ ɔˈrɛdi hæd. ˈkɑkˌpɪts ər ə strɔŋ keɪs ɪn pɔɪnt. ɪn ðə ˈdɛmoʊ ˈvərʒən, kriˈeɪtɪd ə ˈfreɪmˌwərk fər ðɛr dɛpθ ənd skeɪl ðət fɛlt raɪt ɪn. bət ðeɪ ˈrɪli pʊʃt visually”*”. ˈrɪli ˈstɑrtɪd tɪ θɪŋk əˈbaʊt ðiz ˈkɑkˌpɪts ənd gɪt ˈdipər ˈɪntu ðɛm wət ðeɪ ər ənd wət ðeɪ du, haʊ represented,”*,” sɛd ˈɑrtɪst ˈændru ˈrɑbənsən. wi nu wi kʊd θroʊ əraʊnd ə ˈbɪgər ˈpɑli kaʊnt, ənd ðə ˈlaɪtɪŋ wɑz mɔr ˈækjərət wɪθ ˈrɛndərɪŋ. ənd ðə ˈnɑlɪʤ wi hæd əv ənˈril mɛnt ðət wi kʊd fɪl ðə ˈkɑkˌpɪts ə bɪt ˈbɛtər, meɪk ðɛm mɔr əv ðə ˈkɛrɪktərz ðət wi ˈwɔntɪd ðɛm tɪ be.”*.” hæv θɔt ə lɔt əˈbaʊt ðə ˈkɛrɪktər ənd ˌpərsəˈnælɪti əv ðə wərld ˈbɪldɪŋ ɪn ˌvælˈkiˌriə. ˈwərkɪŋ wɪθ ə ˈjunəˌvərs: 10 jɪrz əv ˈstɔri, 10 jɪrz əv ɪˈvɑlvɪŋ ˈreɪsɪz, ənd 10 jɪrz əv ɪˈstæblɪʃt ɛsˈθɛtɪk. hæv ɔl ðɪs ˈnɛrətɪv ənd ðə ˈreɪʃəl ˌdɛfəˈnɪʃənz ər soʊ strɔŋ ðət wi kən teɪk ðoʊz ənd bɪld nu θɪŋz frəm that,”*,” sɛd ˈrɑbənsən. ðə ˈpərˌfɪkt ˈbækˌboʊn fər ˈbɪldɪŋ ə wərld əv greɪt ˌfaɪˈdɛləti fər vr.”*.” fər ðə ɪgˈzɪstɪŋ iv kəmˈjunɪti, ðə ˈfænəsi əv ˌvælˈkiˌriə ɪz siɪŋ ðə wərld ðeɪ noʊ ˈrɛkriˌeɪtɪd æt ə ˈgrænjələr ˈlɛvəl. ɪt ˈɔfərz, ˈlɪtərəli ənd fɪˈgjʊrətɪvli, ə nu pərˈspɛktɪv ɔn ðə ʃɪps ənd ˈbætəlz pleɪərz hæv wɔʧt frəm ɔn haɪ fər soʊ lɔŋ. ˈpʊtɪŋ ju raɪt ˌɪnˈsaɪd ðɛm wɪθ ðə boʊlts ənd waɪərz ənd ˈrɪli ˈgɪvɪŋ ju ə sɛns əv skeɪl ə sɛns əv ðə sˈmɔləst pis əv ðɪs juʤ battle’,”*’,” ɪnˈθuzd ˈrɑbənsən. iv ə smɔl spɛk, bət ˈteɪkɪŋ ju raɪt daʊn tɪ ðət ˈlɛvəl. ðə beɪs ʃɪps ər ˈivɪn ˈbɪgər naʊ. daʊn ˌɪnˈsaɪd ðət wərld, laɪk ˈtaɪni ænts ɪn ə juʤ ˈrɛsəlɪŋ mæʧ, ʤɪst ˈskəriɪŋ around.”*.” duɪŋ ˈʤəstɪs tɪ ðət ˈfænəsi həz bɪn ən ˈɔfəl lɔt əv wərk. ðə ʃɪps əv iv ˈɔnˌlaɪn wər ˈnɛvər dɪˈzaɪnd tɪ bi ˌɪnˈspɛktɪd ɪn first-person*. ɪn ˈɔrdər tɪ ðə detail”*”, ðə ˌvælˈkiˌriə tim ˈnidɪd tɪ rɪˈtərn tɪ eight-year-old*, ərˈɪʤənəl ˈkɑnsɛpt ɑrt ənd riˈbɪld ðə ˈvɛsəlz frəm skræʧ. klɪr bɪn ə ˈprɪvɪlɪʤ fər ðə ˈnuˌkæsəl tim, tɪ ˈfaɪnəli ˈkɑnstrəkt ðoʊz fərst ʃɪps ɪn ɔl ðə ˈditeɪl ðeɪ wər fərst ˌɪˈmæʤənd. bət ˈɔlsoʊ bɪn ə ˈtɛknɪkəl ˈʧælənʤ. fər ˈstɑrtərz, ˈɑbʤɛkts ðət wʊd pæs ənˈnoʊtɪst ɔn ə skrin wɪl kɔz ˈwɑbəl ənd ɪn. mɔr, ðə ˌɪnˈkrɛdəbəl saɪz əv ðə ˈplænəts, ˈsteɪʃənz ənd ˈəðər ˈlændˌmɑrks ɪn ˈvækjum kən lɛd tɪ səm ˈsɪriəs ˈkeɪsɪz əv ˈdugəl ˈsɪnˌdroʊm ðə ˌɪnəˈbɪlɪti tɪ tɛl ə ˈɑbʤɛkt frəm ə wən. ju maɪt θɪŋk ðə ˈprɑbləm wʊd bi ˈizi tɪ sɑlv ɪn θˌrizdɪˈmɛnʃənəl bət ɪt tərnz aʊt pur ˈstɛriˌoʊ pərˈsɛpʃən ˈrɛndərz smɔl ənd lɑrʤ ˈɑbʤɛkts ““indistinguishable”*” wəns ðeɪ muv bɪɔnd 10 ˈmitərz frəm ðə vjuər. ɪn, ˈvɛri ˈdɪfəkəlt tɪ tɛl ˈsəmθɪŋ 100 ˈmitərz əˈweɪ frəm ˈsəmθɪŋ ə ˈkɪləˌmitər əˈweɪ, ɪkˈsɛpt baɪ ðə ˈlɛvəl əv ˈditeɪl ənd ˈhævɪŋ ðət skeɪl ɔn ðoʊz objects,”*,” ɪkˈspleɪnd smɪθ. hæd tɪ pʊt ə lɔt əv ˈditeɪl ˈɪntu ðə ˈæˌsɛts aʊt ðɛr ɪn ðə wərld bɪˈkəz ˈəðərˌwaɪz ju ˈrɪli gɪt ə sɛns əv haʊ fɑr əˈweɪ ju wər frəm them.”*.” ˈsɑlvɪŋ ðə ˈprɑbləm həz rikˈwaɪərd ə ʧeɪnʤ ɪn ˈmaɪndˌsɛt frəm ðə ɑrt tim, ənd ə ˈwɪlɪŋnəs tɪ ˌɛkˈsplɔɪt ðə tulz ðət kəm əv ðə box”*” wɪθ ənˈril ˈɪnʤən 4 hɛlps ju ɪkˈstɛnd ðoʊz ˈsɪstəmz ənd ˈɔlsoʊ meɪk ɪt wərk ɪn multiplayer,”*,” sɛd smɪθ, ju kən hæv ʃɪps ðət hæv ˈmɪləˌmitər ˈditeɪlz ɪn ðɛm, jɛt kʊd bi tɛnz əv ˈhənərdz əv ˈkɪləˌmitərz əˈpɑrt, ˈmuvɪŋ æt ˈhənərdz əv ˈkɪləˌmitərz ən hour.”*.” ðə kəˈpæsɪti fər kwɪk ˌɪtəˈreɪʃən həz ˈpruvən ɛˈsɛnʃəl fər ˈwərkɪŋ ɪn, tu. ˈbluˌprɪnt ˈsɪstəm əˈlaʊz dɪˈzaɪnərz tɪ lɪŋk əp ˈsɪstəmz ˌɔrdəˈnɛrəli hæv tɪ ˈbɑðər ˈproʊˌgræmərz əˈbaʊt, ənd hæv juzd ɪt extensively”*” tɪ tɛst ˈfiʧərz ˌbiˈfɔr ˈpæsɪŋ ðə rɪˈzəlts tɪ ðə ˈɛkspərts. ʤɪst ðə ˌɪˈmiˌdiəsi əv biɪŋ ˈeɪbəl tɪ hʊk θɪŋz əp ənd pʊt θɪŋz təˈgɛðər ˈvɛri quickly,”*,” sɛd smɪθ. wɪn trəˈdɪʃənəli wi wʊd hæv rɪˈlaɪd ɔn ən ˌɪtəˈreɪʃən ˈsaɪkəl ðət wɛnt bæk ənd fɔrθ bɪtˈwin ˈkɑntɛnt kriˈeɪtər ənd ˈproʊˌgræmər. ˈkɑntɛnt gaɪz ər naʊ ˈeɪbəl tɪ wərk dɪˈrɛkli ɪn ðɛr, bæʃ θɪŋz təˈgɛðər tɪ gɪt ðɛm haʊ ðeɪ wɔnt. wəns ɛˈsɛnʃəli ˈfɪgjərd aʊt wət ə ˈfiʧər nidz tɪ bi ənd haʊ ɪt nidz tɪ wərk, ðeɪ kən hænd ɪt ˈoʊvər tɪ ðə ˈproʊˌgræmərz tɪ kriˈeɪt ðɛr ˈɑptɪməl koʊd ˈsɪstəmz ənd meɪk ðət stəf work.”*.” noʊ fərm ˈrulˌbʊk fər yet,”*,” ˈpɔɪntɪd aʊt ˈrɑbənsən. ˈraɪtɪŋ kwaɪt ə lɔt əv ɪt raɪt hir ɪn ðə ˈstudiˌoʊ. ɛz bɪn ˈwərkɪŋ, ˈræpɪd ˈproʊtoʊˌtaɪpɪŋ həz bɪn ˌæbsəˈlutli ki tɪ ˈgɪtɪŋ ðə raɪt ˈpisɪz təˈgɛðər ənd ˈfaɪndɪŋ wət wərks ɪn. dɪz ɪt fil gʊd? dɪz ɪt fil bæd? kən wi meɪk ɪt raɪt ər ɪz ɪt streɪt əp nɑt ˈgɑnə work?”*?” meɪnˈteɪnɪŋ ðət ˈsteɪbəl tɛst ɪnˈvaɪrənmənt həz bɪn ˈtrɪki. ə geɪm ˈrənɪŋ æt lɛs ðən ə ˈsɑləd 75 hɛrts kˈwɪkli bɪˈkəmz ənˈkəmfərtəbəl nɑt ʤɪst fər ˈtɛstərz, bət fər ðə dɪˈvɛləpərz pleɪɪŋ ɪt ˈɛvəri deɪ. lɛft ˈfaɪtɪŋ tɪ kip ðə geɪm ɪn ən steɪt θruaʊt dɪˈvɛləpmənt ən ənˈhərd əv ˈstændərd fər geɪmz. juzd tɪ ˈpʊʃɪŋ ˈbjutəfəl ˈkɑntɛnt ˈɪntu ðə geɪm ɪn dɪˈvɛləpmənt, ənd ðɛn ˈgɪtɪŋ tɪ ðə steɪʤ ənd ˈmeɪkɪŋ ɪt rən ə ˈsɑləd 30 ər 50 hɛrts ɔn ˌwəˈtɛvər ˈkɑnsoʊl ər ˈpiˈsi targeting,”*,” sɛd smɪθ. hæd tɪ pʊt ə lɔt əv ˈɛmfəsɪs ɔn pərˈfɔrməns, ɔn, ˈivɪn ɪn ɑr ˈərli ˈproʊtoʊˌtaɪpɪŋ phase.”*.” stɪl ə lɔt wi noʊ əˈbaʊt ˌvælˈkiˌriə ɛz ə geɪm smɪθ ənd ˈrɑbənsən tɔk əˈbaʊt ɪkˈsaɪtɪŋ paths”*” θru ən ɪnˈvaɪrənmənt wɪθ noʊ klɪr ˈæksəs ər dɪˈrɛkʃɪn, ənd ˈrɛfərəns ə ˈsaɪkəl ðət məst ˈʃʊrli bi ənˈlaɪk ˈɛniˌθɪŋ sin ɪn ə geɪm wərld. wi noʊ haʊ goʊɪŋ tɪ wərk ɛz ə ɪkˈspɪriəns. bət ðə tim ər ɔˈrɛdi praʊd əv wət bɪlt. ɛz smɪθ pʊts ɪt, ˈɛni dɪˈvɛləpər kən bi praʊd ɪf ðeɪ kən rən ə ˈlʊkɪŋ world”*” æt 75 hɛrts ɔn ðə dɛv kɪt 2 ə sɛns ðət ər ˈpriviəsli ˌɪnˈhɑspɪtəbəl ˈsɪstəmz ˌpaɪəˈnɪrɪŋ tɛkˈniks fər ə ˌtrɪpəˈleɪ ˈɪndəstri bi ˈwərkɪŋ wɪθ ənˈril 4 fər jɪrz tɪ kəm. ðə fərst geɪm ɪn ˈpɑsəbli fərst ɔn ðə ˈplænət, tɪ du krɔs ˈplætˌfɔrm pleɪ bɪtˈwin boʊθ ənd ˈmɔrˌfiəs, ənd ˈgɪtɪŋ ɛz fju ˈʧeɪnʤɪz bɪtˈwin ðə tu ɛz possible,”*,” sɛd smɪθ. laɪk tɪ θɪŋk ðət ə lɔt əv ðə ˌɪmˈpruvmənts ðət ˈɛpɪk ər ˈpʊʃɪŋ aʊt ɪn ðɛr ˌɪmpləmɛnˈteɪʃən, ðeɪ ər frəm ðə ˈfidˌbæk ðət bɪn giving.”*.” iv ˌvælˈkiˌriə wɪl bi ən rɪft lɔnʧ ˈtaɪtəl. ənˈril ˈɪnʤən 4 dɪˈvɛləpmənt ɪz əˈveɪləbəl tɪ ˈɛniˌwən fər 19 ˈmənθli səbˈskrɪpʃən fi. ɪn ðɪs ˈspɑnsərd ˈsɪriz, ˈlʊkɪŋ æt haʊ geɪm dɪˈvɛləpərz ər ˈteɪkɪŋ ædˈvæntɪʤ əv ənˈril ˈɪnʤən 4 tɪ kriˈeɪt ə nu ˌʤɛnərˈeɪʃən əv ˈpiˈsi geɪmz. wɪθ θæŋks tɪ ˈɛpɪk geɪmz ənd.
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sporting, a team which competes in italy's top a league, looked set to close last month after its president received anonymous messages threatening both his toddler and the club.
futsal is the increasingly popular brand of indoor football.
club president bowed to pressure and resigned before christmas, but the capitulation sparked a national outcry, with the italian football federation (figc) stepping in to insist the team must play on.
with the club now headed up temporarily by the town's mayor giovanni calabrese, sporting will square up to at 1700 in a match broadcast live on national television and attended by president carlo tavecchio.
the team looked defiant sunday as it flew in from rome to calabria, a region in the grip of the richest and most powerful syndicate in europe and which in 2014 had the highest level of unemployment in italy, at percent.
italy has launched a probe into the messages ordering to shut down the club, including a note left on the of his daughter.
the former president, whose tyres were also slashed, told journalists he had no idea who was behind the threats -- and brushed off press rumours that the real reason he resigned was because the club had finance problems after in players from spain.
top prosecutor nicola gratteri, who has lived under armed guard for the past 26 years after death threats and several attempts on his life, told "the team absolutely must not close its doors".
"they not only have to keep playing but they have to be given psychological assistance because i can only imagine the stress these poor girls have been put under," he said, adding that the team was "a source of pride for this region".
football is a for the mafia, which makes vast profits from as well as using the sport as a means to recycle gains.
it has proved especially useful for the, which is credited with controlling much of the world's cocaine trade.
in may, 50 people were arrested in a vast sting which uncovered by the mobster syndicate at some 30 football clubs, involving football players, coaches and club owners.
but gratteri, 57, interviewed at the police headquarters in the city, said he did not believe the was behind the sporting threats.
"the is present where there's money to be had and power to be had. in this case, there's no money, no power."
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ˈspɔrtɪŋ, ə tim wɪʧ kəmˈpits ɪn ˈɪtəliz tɔp ə lig, lʊkt sɛt tɪ kloʊz læst mənθ ˈæftər ɪts ˈprɛzɪdənt rɪˈsivd əˈnɑnəməs ˈmɛsɪʤɪz θˈrɛtənɪŋ boʊθ hɪz ˈtɑdlər ənd ðə kləb. ɪz ðə ˌɪnˈkrisɪŋgli ˈpɑpjələr brænd əv ˈɪnˌdɔr ˈfʊtˌbɔl. kləb ˈprɛzɪdənt boʊd tɪ ˈprɛʃər ənd rɪˈzaɪnd ˌbiˈfɔr ˈkrɪsməs, bət ðə kəˌpɪʧəˈleɪʃən spɑrkt ə ˈnæʃənəl ˈaʊtˌkraɪ, wɪθ ðə ˌɪˈtæljən ˈfʊtˌbɔl ˌfɛdərˈeɪʃən (figc*) ˈstɛpɪŋ ɪn tɪ ˌɪnˈsɪst ðə tim məst pleɪ ɔn. wɪθ ðə kləb naʊ ˈhɛdɪd əp ˌtɛmpərˈɛrəli baɪ ðə taʊnz meɪər ˌʤioʊˈvɑni kɑlɑˈbreɪzi, ˈspɔrtɪŋ wɪl skwɛr əp tɪ æt 1700 ɪn ə mæʧ ˈbrɔdˌkæst lɪv ɔn ˈnæʃənəl ˈtɛləˌvɪʒən ənd əˈtɛndəd baɪ ˈprɛzɪdənt ˈkɑrloʊ tavecchio*. ðə tim lʊkt dɪˈfaɪənt ˈsənˌdi ɛz ɪt flu ɪn frəm roʊm tɪ kəˈlæbriə, ə ˈriʤən ɪn ðə grɪp əv ðə ˈrɪʧəst ənd moʊst ˈpaʊərfəl ˈsɪndɪkət ɪn ˈjʊrəp ənd wɪʧ ɪn 2014 hæd ðə haɪəst ˈlɛvəl əv ˌənɪmˈplɔɪmənt ɪn ˈɪtəli, æt pərˈsɛnt. ˈɪtəli həz lɔnʧt ə proʊb ˈɪntu ðə ˈmɛsɪʤɪz ˈɔrdərɪŋ tɪ ʃət daʊn ðə kləb, ˌɪnˈkludɪŋ ə noʊt lɛft ɔn ðə əv hɪz ˈdɔtər. ðə ˈfɔrmər ˈprɛzɪdənt, huz taɪərz wər ˈɔlsoʊ slæʃt, toʊld ˈʤərnəlɪsts hi hæd noʊ aɪˈdiə hu wɑz bɪˈhaɪnd ðə θrɛts ənd brəʃt ɔf prɛs ˈrumərz ðət ðə ril ˈrizən hi rɪˈzaɪnd wɑz bɪˈkəz ðə kləb hæd ˈfaɪˌnæns ˈprɑbləmz ˈæftər ɪn pleɪərz frəm speɪn. tɔp ˈprɑsɪˌkjutər nɪˈkoʊlɑ gratteri*, hu həz lɪvd ˈəndər ɑrmd gɑrd fər ðə pæst 26 jɪrz ˈæftər dɛθ θrɛts ənd ˈsɛvərəl əˈtɛmpts ɔn hɪz laɪf, toʊld "ðə tim ˌæbsəˈlutli məst nɑt kloʊz ɪts dɔrz". "ðeɪ nɑt ˈoʊnli hæv tɪ kip pleɪɪŋ bət ðeɪ hæv tɪ bi ˈgɪvɪn ˌsaɪkəˈlɑʤɪkəl əˈsɪstəns bɪˈkəz aɪ kən ˈoʊnli ˌɪˈmæʤən ðə strɛs ðiz pur gərlz hæv bɪn pʊt ˈəndər," hi sɛd, ˈædɪŋ ðət ðə tim wɑz "ə sɔrs əv praɪd fər ðɪs ˈriʤən". ˈfʊtˌbɔl ɪz ə fər ðə ˈmɑfiə, wɪʧ meɪks væst ˈprɑfɪts frəm ɛz wɛl ɛz ˈjuzɪŋ ðə spɔrt ɛz ə minz tɪ riˈsaɪkəl geɪnz. ɪt həz pruvd əˈspɛʃəli ˈjusfəl fər ðə, wɪʧ ɪz ˈkrɛdɪtɪd wɪθ kənˈtroʊlɪŋ məʧ əv ðə wərldz koʊˈkeɪn treɪd. ɪn meɪ, 50 ˈpipəl wər ərˈɛstɪd ɪn ə væst stɪŋ wɪʧ ənˈkəvərd baɪ ðə ˈmɑbstər ˈsɪndɪkət æt səm 30 ˈfʊtˌbɔl kləbz, ˌɪnˈvɑlvɪŋ ˈfʊtˌbɔl pleɪərz, ˈkoʊʧɪz ənd kləb ˈoʊnərz. bət gratteri*, 57 ˈɪntərvˌjud æt ðə pəˈlis ˈhɛdˌkɔrtərz ɪn ðə ˈsɪti, sɛd hi dɪd nɑt bɪˈliv ðə wɑz bɪˈhaɪnd ðə ˈspɔrtɪŋ θrɛts. "ðə ɪz ˈprɛzənt wɛr ðɛrz ˈməni tɪ bi hæd ənd paʊər tɪ bi hæd. ɪn ðɪs keɪs, ðɛrz noʊ ˈməni, noʊ paʊər."
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aviation: in a historic development for the aviation industry in bhutan, the first helicopter sporting the national flag, touched down at paro international airport, yesterday.
the helicopter, an airbus, arrives ahead of a november 4 expected delivery date. the helicopter services are on schedule to be launched on november 5.
the helicopter was assembled, painted and tested in singapore. it began its journey to bhutan on october 27. it stopped over in thailand, myanmar, and bangladesh, before reaching bhutan. upon entering airspace, the helicopter landed at the domestic airport to refuel before heading to paro airport.
the chairman of the helicopter board, cabinet secretary, was on board the helicopter. he joined the flight crew as a passenger from dhaka, bangladesh. the flight crew consisted of two test pilots and one engineer working for airbus helicopters. one of the airbus pilots was the ceo of airbus helicopters.
the helicopter can accommodate up to seven passengers, excluding the pilot.
the chairman, who had never flown in a helicopter prior, said that he was initially nervous but that the flight had been “pleasant”, quiet and comfortable. he also pointed out that it was quite an experience given the panoramic view as a result of the large and wide windows.
kinzang said it is significant that bhutan is receiving its first helicopter and will be introducing its services on the birth anniversary of his majesty the fourth gyalpo.
the government plans to use the helicopters for search and rescue, air medical evacuations, fire fighting, moving cargo, transport of vips and government officials, and possibly even for tourism, among others.
the helicopter will be undergoing proving flights in the next few days as required by the bhutan civil aviation authority. flights could occur to other parts of the country.
news of the arrival was welcomed by citizens on social media with many offering their congratulations. many posted and shared photos of the helicopter.
the helicopter will be based at the old hangar at paro airport, which is the headquarters of the royal bhutan helicopter services ltd (rbhs). the company has already recruited a pilot recommended by airbus, and a helicopter engineer from india. both have already started working for the company.
the second helicopter is expected to arrive sometime year.
gyalsten k
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ˌeɪviˈeɪʃən: ɪn ə hɪˈstɔrɪk dɪˈvɛləpmənt fər ðə ˌeɪviˈeɪʃən ˈɪndəstri ɪn ˌbuˈtæn, ðə fərst ˈhɛlɪˌkɑptər ˈspɔrtɪŋ ðə ˈnæʃənəl flæg, təʧt daʊn æt ˈpɑroʊ ˌɪnərˈnæʃənɑl ˈɛrˌpɔrt, ˈjɛstərˌdeɪ. ðə ˈhɛlɪˌkɑptər, ən ˈɛrbəs əraɪvz əˈhɛd əv ə noʊˈvɛmbər 4 ɪkˈspɛktɪd dɪˈlɪvəri deɪt. ðə ˈhɛlɪˌkɑptər ˈsərvɪsɪz ər ɔn ˈskɛʤʊl tɪ bi lɔnʧt ɔn noʊˈvɛmbər 5 ðə ˈhɛlɪˌkɑptər wɑz əˈsɛmbəld, ˈpeɪnɪd ənd ˈtɛstɪd ɪn ˈsɪŋəˌpɔr. ɪt bɪˈgæn ɪts ˈʤərni tɪ ˌbuˈtæn ɔn ɑkˈtoʊbər 27 ɪt stɑpt ˈoʊvər ɪn ˈtaɪˌlænd, mˈjɑnˈmɑr, ənd ˈbæŋləˌdɛʃ, ˌbiˈfɔr ˈriʧɪŋ ˌbuˈtæn. əˈpɑn ˈɛnərɪŋ ˈɛrˌspeɪs, ðə ˈhɛlɪˌkɑptər ˈlændɪd æt ðə dəˈmɛstɪk ˈɛrˌpɔrt tɪ rifˈjuəl ˌbiˈfɔr ˈhɛdɪŋ tɪ ˈpɑroʊ ˈɛrˌpɔrt. ðə ˈʧɛrmən əv ðə ˈhɛlɪˌkɑptər bɔrd, ˈkæbənət ˈsɛkrəˌtɛri, wɑz ɔn bɔrd ðə ˈhɛlɪˌkɑptər. hi ʤɔɪnd ðə flaɪt kru ɛz ə ˈpæsənʤər frəm ˈdɑkə, ˈbæŋləˌdɛʃ. ðə flaɪt kru kənˈsɪstɪd əv tu tɛst ˈpaɪləts ənd wən ˈɛnʤəˈnɪr ˈwərkɪŋ fər ˈɛrbəs ˈhɛlɪˌkɑptərz. wən əv ðə ˈɛrbəs ˈpaɪləts wɑz ðə ˈsiˌiˈoʊ əv ˈɛrbəs ˈhɛlɪˌkɑptərz. ðə ˈhɛlɪˌkɑptər kən əˈkɑməˌdeɪt əp tɪ ˈsɛvən ˈpæsənʤərz, ɪkˈskludɪŋ ðə ˈpaɪlət. ðə ˈʧɛrmən, hu hæd ˈnɛvər floʊn ɪn ə ˈhɛlɪˌkɑptər praɪər, sɛd ðət hi wɑz ˌɪˈnɪʃəli ˈnərvəs bət ðət ðə flaɪt hæd bɪn ““pleasant”*”, kwaɪət ənd ˈkəmfərtəbəl. hi ˈɔlsoʊ ˈpɔɪntɪd aʊt ðət ɪt wɑz kwaɪt ən ɪkˈspɪriəns ˈgɪvɪn ðə ˌpænərˈæmɪk vju ɛz ə rɪˈzəlt əv ðə lɑrʤ ənd waɪd ˈwɪndoʊz. sɛd ɪt ɪz sɪgˈnɪfɪkənt ðət ˌbuˈtæn ɪz rɪˈsivɪŋ ɪts fərst ˈhɛlɪˌkɑptər ənd wɪl bi ˌɪntrəˈdusɪŋ ɪts ˈsərvɪsɪz ɔn ðə bərθ ˌænəˈvərsəri əv hɪz ˈmæʤəsti ðə fɔrθ gyalpo*. ðə ˈgəvərnmənt plænz tɪ juz ðə ˈhɛlɪˌkɑptərz fər sərʧ ənd ˈrɛskju, ɛr ˈmɛdɪkəl ɪˌvækjəˈweɪʃənz, faɪər ˈfaɪtɪŋ, ˈmuvɪŋ ˈkɑrˌgoʊ, ˈtrænspɔrt əv ˌviˌaɪˈpiz ənd ˈgəvərnmənt əˈfɪʃəlz, ənd ˈpɑsəbli ˈivɪn fər ˈtʊˌrɪzəm, əˈməŋ ˈəðərz. ðə ˈhɛlɪˌkɑptər wɪl bi ˌəndərˈgoʊɪŋ ˈpruvɪŋ flaɪts ɪn ðə nɛkst fju deɪz ɛz rikˈwaɪərd baɪ ðə ˌbuˈtæn ˈsɪvəl ˌeɪviˈeɪʃən əˈθɔrəti. flaɪts kʊd əˈkər tɪ ˈəðər pɑrts əv ðə ˈkəntri. nuz əv ðə ərˈaɪvəl wɑz ˈwɛlkəmd baɪ ˈsɪtɪzənz ɔn ˈsoʊʃəl ˈmidiə wɪθ ˈmɛni ˈɔfərɪŋ ðɛr kənˌgræʧəˈleɪʃənz. ˈmɛni ˈpoʊstɪd ənd ʃɛrd ˈfoʊˌtoʊz əv ðə ˈhɛlɪˌkɑptər. ðə ˈhɛlɪˌkɑptər wɪl bi beɪst æt ðə oʊld ˈhæŋər æt ˈpɑroʊ ˈɛrˌpɔrt, wɪʧ ɪz ðə ˈhɛdˌkɔrtərz əv ðə rɔɪəl ˌbuˈtæn ˈhɛlɪˌkɑptər ˈsərvɪsɪz ˈɛlˈtiˈdi (rbhs*). ðə ˈkəmpəˌni həz ɔˈrɛdi rɪˈkrutɪd ə ˈpaɪlət ˌrɛkəˈmɛndɪd baɪ ˈɛrbəs, ənd ə ˈhɛlɪˌkɑptər ˈɛnʤəˈnɪr frəm ˈɪndiə. boʊθ hæv ɔˈrɛdi ˈstɑrtɪd ˈwərkɪŋ fər ðə ˈkəmpəˌni. ðə ˈsɛkənd ˈhɛlɪˌkɑptər ɪz ɪkˈspɛktɪd tɪ əraɪv ˈsəmˌtaɪm jɪr. keɪ
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