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bryan tayefeh and yotam monjack pleaded guilty to assault, hate-crime charges
the suspect who pleaded guilty to hitting a jewish man over the head with a pint glass for refusing to take off his yarmulke in a boulder bar last year was sentenced to 28 days in jail friday.
his co-defendant, an israeli-born jew who pleaded guilty to kicking the same victim during that assault, received five days on a jail work crew.
both bryan tayefeh, 30, and yotam monjack, 27, who each pleaded guilty to hate-crime charges, were sentenced in separate hearings in boulder district court.
yotam monjack wipes tears from his eyes as his attorney, lisa wayne, stands in the background before he was sentenced in boulder district court on friday for his role in an assault at a boulder bar last year. see more photos at dailycamera.com. (david r. jennings / staff photographer)
tayefeh pleaded guilty to one count of felony menacing and misdemeanor counts of third-degree assault and bias-motivated crime, while monjack pleaded guilty to one count of felony criminal mischief and misdemeanor counts of third-degree assault and bias-motivated crime.
boulder district judge patrick butler sentenced tayefeh to two separate 14-day sentences in the boulder county jail. he will have to serve one stint between jan. 1 and june 30 and the other between july 1 and dec. 31, 2016.
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tayefeh also was sentenced to five years of probation, but will be allowed to serve that in his home state of california. he must also perform 200 hours of community service, either in california or colorado.
per the terms of his plea deal, monjack received a deferred two-year sentence on his felony count, which means the guilty plea will be wiped from his record if he can avoid further criminal charges during that time.
butler also gave monjack two years of probation to be served alongside the deferred sentence.
the two men were accused of assaulting a jewish man at the sundown saloon, 1136 pearl st., on dec. 19, 2014. according to court records, seth fineman, 22, said he was with a friend when tayefeh and monjack told him to remove his yarmulke, a skullcap traditionally worn by jewish men.
fineman told investigators he refused to take off the yarmulke and began to step away when tayefeh hit him in the head with a pint glass. surveillance video showed monjack kicking at fineman.
fineman was taken to a local hospital with a laceration to his head that required 20 stitches.
boulder deputy district attorney jp martin said that fineman to this day carries a scar on his head and has had trouble wearing his yarmulke in public.
"it affected him that night, it affected him for the past eight months and it will continue to affect him in the future," martin said.
while both defendants went through a restorative justice program with fineman, butler said some punitive sanctions were still necessary.
"mr. fineman has been remarkable in his understanding and ability to, i guess, be forgiving of this senseless event, and i applaud him for that," butler said. "but i can't base a sentence on whether a victim happens to be a forgiving person or not a forgiving person."
'someone could have died'
while playing a video of the assault during tayefeh's sentencing hearing, martin said that when he initially watched the tape, he told himself that he would not offer tayefeh anything less than four years in prison.
bryan tayefeh reacts before being sentenced at the boulder county justice center on friday for assaulting a patron at a boulder bar last year over the man's yarmulke. (david r. jennings / staff photographer)
but martin said fineman — who was not in court friday — came forward and said he wasn't looking for prison time in the case.
"they are lucky they assaulted one of the most compassionate people i've worked with," martin said. "seth fineman was that compassionate to get me to say, 'i do not have to mandate prison.'"
but martin did ask for a two year jail sentence for tayefeh due to the violence of the attack. he also noted that instead of telling police the incident was a misunderstanding and that he thought fineman was making fun of his jewish friends with his yarmulke, he told investigators fineman started the argument and made anti-semetic comments.
"he had an opportunity to explain why he did what he did," martin said. "instead he told lies."
scott jurdem, tayefeh's attorney, said tayefeh had been going through some intense personal trials and had too much to drink that night before a misunderstanding led to the assault. but he also said it did not take away from what tayefeh did.
"someone could have died in this," jurdem said. "mr. fineman did absolutely nothing to provoke this brutal attack. then bryan might as well have hit seth again because right after this he lied to police."
jurdem said tayefeh has entered a treatment program for alcohol and has a strong support system. but he also said the crime will haunt him for the rest of his life.
"one five-second, alcohol-fueled catastrophe can change everything," said jurdem, who added that tayefeh will now have a bias-motivated crime on his record. "that also is a tragedy. that he will for the rest of his life, being a person who embraces diversity, be known as a racist and anti-semite... to carry that with him for the rest of his life is punishment enough."
tayefeh also addressed butler, apologizing for both the assault and for lying to police.
"i'm truly and deeply sorry for the pain and suffering i have cause seth," tayefeh said. "what i did was awful, and there is no excuse for my behavior."
'different action'
in asking only for probation for monjack, martin said he was less culpable than tayefeh, but still participated in the assault nonetheless.
"it was a frankly a despicable and cowardly act to kick somebody who was on the ground," martin said.
lisa wayne, monjack's attorney, said for her client, an israeli-born jew who fought in the military, accepting a bias-motivated crime on his record was the hardest part for monjack.
"he fought for his country to protect its values," wayne said. "to wrap his head around the fact he was pleading to a hate crime was probably the most difficult part of this case."
wayne said it was ironic that monjack left israel to come to boulder for school and peace.
"and he finds himself in this situation out of any situation: a hate crime directed at his own brother," wayne said. "i know that will never leave his soul, no matter what we do hear today."
monjack also addressed the court.
"i just want to say, the most important thing for me is that i'm sorry and i deeply regret everything that happened that night, and i've carried it with me since then," monjack said. "this is not who i really am and the way i was raised to be back home."
butler agreed monjack was less culpable in the crime, but still levied the work crew sentence as punishment for his involvement.
"mr. monjack's conduct on the evening in question was not the same as mr. tayefeh's conduct," butler said. "kicking someone when they're down and injured is certainly not in any way defensible, but it is a different action."
mitchell byars: 303-473-1329, byarsm@dailycamera.com or twitter.com/mitchellbyars | ˈrɛdi tɪ faɪt bæk? saɪn əp fər teɪk ˈækʃən naʊ ənd gɪt θri ˈækʃənz ɪn jʊr ˈɛvəri wik. ju wɪl rɪˈsiv ɔˈkeɪʒənəl pərˈmoʊʃənəl ˈɔfərz fər ˈproʊˌgræmz ðət səˈpɔrt ðə ˈʤərnəˌlɪzəm. ju kən rɛd ɑr ˈpraɪvəsi ˈpɑləsi hir. saɪn əp fər teɪk ˈækʃən naʊ ənd gɪt θri ˈækʃənz ɪn jʊr ˈɛvəri wik. θæŋk ju fər ˈsaɪnɪŋ əp. fər mɔr frəm ðə ˈneɪʃən, ʧɛk aʊt ɑr ˈleɪtəst ˈɪʃu səbˈskraɪb naʊ fər ɛz ˈlɪtəl ɛz 2 ə mənθ! səˈpɔrt prəˈgrɛsɪv ˈʤərnəˌlɪzəm ðə ˈneɪʃən ɪz ˈridər səˈpɔrtɪd: ʧɪp ɪn 10 ər mɔr tɪ hɛlp ˈjuˈɛs kənˈtɪnju tɪ raɪt əˈbaʊt ðə ˈɪʃuz ðət ˈmætər. ðə ˈneɪʃən ɪz ˈridər səˈpɔrtɪd: ʧɪp ɪn 10 ər mɔr tɪ hɛlp ˈjuˈɛs kənˈtɪnju tɪ raɪt əˈbaʊt ðə ˈɪʃuz ðət ˈmætər. faɪt bæk! saɪn əp fər teɪk ˈækʃən naʊ ənd sɛnd ju θri ˈminɪŋfəl ˈækʃənz ju kən teɪk iʧ wik. ju wɪl rɪˈsiv ɔˈkeɪʒənəl pərˈmoʊʃənəl ˈɔfərz fər ˈproʊˌgræmz ðət səˈpɔrt ðə ˈʤərnəˌlɪzəm. ju kən rɛd ɑr ˈpraɪvəsi ˈpɑləsi hir. saɪn əp fər teɪk ˈækʃən naʊ ənd sɛnd ju θri ˈminɪŋfəl ˈækʃənz ju kən teɪk iʧ wik. θæŋk ju fər ˈsaɪnɪŋ əp. fər mɔr frəm ðə ˈneɪʃən, ʧɛk aʊt ɑr ˈleɪtəst ˈɪʃu ˈtrævəl wɪθ ðə ˈneɪʃən bi ðə fərst tɪ hir əˈbaʊt ˈneɪʃən ˈtrævəlz ˌdɛstəˈneɪʃənz, ənd ɪkˈsplɔr ðə wərld wɪθ ˈkɪndrɪd ˈspɪrɪts. bi ðə fərst tɪ hir əˈbaʊt ˈneɪʃən ˈtrævəlz ˌdɛstəˈneɪʃənz, ənd ɪkˈsplɔr ðə wərld wɪθ ˈkɪndrɪd ˈspɪrɪts. saɪn əp fər ɑr waɪn kləb təˈdeɪ. dɪd ju noʊ ju kən səˈpɔrt ðə ˈneɪʃən baɪ ˈdrɪŋkɪŋ waɪn? ɔn noʊˈvɛmbər 20 ˈhənərdz əv ˈjunjəˌnaɪzd ˈgræʤəˌweɪt ˈstudənt ˌɪnˈstrəktərz æt ˈbərkli wɛnt ɔn ə ˌsɑləˈdɛrəti straɪk tɪ ˈproʊˌtɛst ðə ˌɪnˌtɪmɪˈdeɪʃən ˈtæktɪks əˈgɛnst ˌjunəˈvərsəti səˈpɔrt ˈstæfərz gɔn ɔn straɪk ðɪs pæst spərɪŋ. ən ˈiˌmeɪl frəm ə ˌmæθəˈmætɪks ˈfækəlti ˈmɛmbər tɪ hɪz græd ˌɪnˈstrəktərz ɪkˈspleɪnɪŋ waɪ hi wɑz ˈkrɔsɪŋ ðə ˈpɪkɪt laɪn ənd waɪ ðeɪ ʃʊd tu wɛnt ˈvaɪrəl. fər ðə prof*, neɪmd ˌælɪgˈzændər kaʊərd, ˈɔlsoʊ sɔ ˈrizən tɪ ˈproʊˌtɛst: tɪ dɪˈsɛnt əˈgɛnst ðə ˈsɪli ˈnoʊʃən əv ˌsɑləˈdɛrəti ɪn ðə fərst pleɪs. æd ˈpɑləsi hi roʊt: ðə əˈlɛʤd ˌɪnˈʤəstəsɪz ər ðət ər biɪŋ ˈproʊˌtɛstəd əˈbaʊt təˈmɑˌroʊ, ɪt ɪz klɪr ðət ju ər nɑt riˈspɑnsəbəl fər ðoʊz θɪŋz, ˌwəˈtɛvər ðeɪ ər, ənd aɪ du nɑt θɪŋk ju ʃʊd bi dɪˈnaɪd ən ˌɛʤəˈkeɪʃən bɪˈkəz əv ˈsəmˌwən faɪt ðət ju ər nɑt riˈspɑnsəbəl for.”*.” soʊ wət ər ðeɪ riˈspɑnsəbəl fər? ju nid tɪ ˈɑptɪˌmaɪz jʊr laɪf fər ˈlərnɪŋ. ju nid tɪ lɪv ənd brɛθ [sɪk] jʊr ˌɛʤəˈkeɪʃən. ju nid tɪ bi [sɪk] wɪθ jʊr ˌɛʤəˈkeɪʃən. soʊˈsaɪɪti ɪz ˌɪnˈvɛstɪŋ ɪn ju soʊ ðət ju kən hɛlp sɑlv ðə ˈmɛni ˈʧælənʤɪz wi ər goʊɪŋ tɪ feɪs ɪn ðə ˈkəmɪŋ ˈdɛkeɪdz, frəm proʊˈfaʊnd ˌtɛknəˈlɑʤɪkəl ˈʧælənʤɪz tɪ ˈhɛlpɪŋ ˈpipəl wɪθ ðə eɪʤ oʊld sərʧ fər ˈjumən ˈhæpinəs ənd ˈminɪŋ. ðət ɪz waɪ aɪ æm nɑt ˈkænsəlɪŋ klæs təˈmɑˌroʊ. jʊr ˌɛʤəˈkeɪʃən ɪz ˈrɪli ˈrɪli ˌɪmˈpɔrtənt, nɑt ʤɪst tɪ ju, bət ɪn ə fɑr ˈbrɔdər ənd ˈwaɪdər ˈriʧɪŋ weɪ ðən aɪ θɪŋk ˈɛni əv ju hæv jɛt tɪ ˈfʊli əˈpriʃiˌeɪt. soʊˈsaɪɪti, ənd ˌɛʤəˈkeɪʃən, əˈpɛrəntli hæv ˈnəθɪŋ tɪ du wɪθ ˈɪʃuz əv ˈdisənt ˈweɪʤɪz ənd ˈwərkɪŋ kənˈdɪʃənz ənd ˈkipɪŋ haɪər ˌɛʤəˈkeɪʃən əˈfɔrdəbəl ənd ɪts ˌɪnstɪˈtuʃənz əˈkaʊntəbəl. gʊd tɪ noʊ. ðɛr ɪz ˈsəmθɪŋ əˈbaʊt ðə ˈvɛri ˈgroʊˌnəp ˈækʃən əv ˈsækrəˌfaɪs fər ðə seɪk əv ˌsɑləˈdɛrəti ðət tərnz səm prəˈfɛsərz ˈɪntu ˈpeɪtrəˌnaɪzɪŋ ˈæsəz. fər prəˈfɛsər kaʊərd ˈɔlsoʊ roʊt, ðɪs meɪ saʊnd laɪk ˈspikɪŋ ɪn ˈplætɪˌtudz. ˌhaʊˈɛvər ɪt ɪz ə pɔɪnt wərθ ˈmeɪkɪŋ tɪ ɔl əv ju bɪˈkəz ju ər soʊ jəŋ. wən əv ðə nis θɪŋz əˈbaʊt biɪŋ jəŋ ɪz ðət jʊr ˈθɪŋkɪŋ kən bi ˈvɛri klɪr ənd jʊr maɪnd nɑt soʊ ˈklətərd əp wɪθ ˈmɛməriz ənd ɪkˈspɪriənsɪz. ðɪs ˈklɛrɪti kən gɪv ju ə lɔt əv kənˈvɪkʃən, bət ɪt kən ˈɔlsoʊ lɛd ju əˈstreɪ bɪˈkəz ju maɪt nɑt jɛt əˈpriʃiˌeɪt ʤɪst haʊ ˈkɑmpləˌkeɪtəd ðə wərld is.”*.” əˈkɔrdɪŋ tɪ hɪz cv*, kaʊərd wɑz bɔrn ɪn 1981 ðət meɪks ɪm ə ˈgrɪzəld ər jɪrz əv eɪʤ. kaʊərd, faʊnd, həz ˈplɛnti ˈkɑmˌrædz ɪn hu ər oʊld ɪˈnəf tɪ noʊ ˈbɛtər. ˈnɛvər fərˈgɛt ðə fərst taɪm aɪ hərd ðə ˈɑrgjəmənt ðət, ðoʊ aɪ səˈpɔrt ˈjunjənz aɪ səˈpɔrt ˈgræʤəˌweɪt ˈstudənts unions,”*,” sɪns ˈgræʤəˌweɪt ˈstudənts wər ““apprentices,”*,” nɑt ““workers.”*.” ɪt wɑz ˈoʊvər ˈdɪnər wɪθ ən ˈaɪvi lig prəˈfɛsər (nɑt ðɪs wən, əˈnəðər wən) huz ˈraɪtɪŋz hæd tɔt mi ə greɪt dil əˈbaʊt wət ˈjunjən ˌsɑləˈdɛrəti wɑz ənd waɪ ɪt ˈmætərd ɪn ðə fərst pleɪs. ðɛn ðɪs ˈlɛtər aɪ wɑz ʃoʊn, sɛnt baɪ ə pəˈlɪtɪkəl saɪəns prəˈfɛsər æt ðə ˌjunəˈvərsəti əv ʃəˈkɑˌgoʊ, ˈænsərɪŋ ə ˈpəblɪk ˈlɛtər frəm ˈstudənts ɪn hɪz dɪˈpɑrtmənt əˈbaʊt waɪ ðeɪ wər ˈwərkɪŋ tɪ ˈɔrgəˌnaɪz ə ˈjunjən. ðə rɪˈspɑns bɪˈgæn ðɪs weɪ: ɔf, lɛt mi ˈprɛfəs ðiz rɪˈmɑrks baɪ seɪɪŋ ðət wɪn aɪ wɑz ɪn ˈgræʤəˌweɪt skul æt ˈbərkli ɪn ðə 1990s*, aɪ wɑz ˈvɛri ˈæktɪv ɪn ðə ˈgræʤəˌweɪt ˈstudənt ˌjunjənəˈzeɪʃən ˈmuvmənt. aɪ wɑz ʃɑp stuərd fər ðə pəˈlɪtɪkəl saɪəns dɪˈpɑrtmənt fər ˈsɛvərəl jɪrz ənd wɑz ˈvɛri ˈæktɪv ɪn ə θri wik ˈkæmpəs waɪd ˈtiʧɪŋ straɪk wi hɛld ɪn ðə fɔl əv 1992 ɪt meɪ ˈɔlsoʊ bi wərθ ˈmɛnʃənɪŋ ðət aɪ kəm frəm ə ˈwərkɪŋ klæs ˈfæməli (aɪ wɑz ðə fərst ənd ˈoʊnli ˈpərsən ɪn maɪ ˈfæməli tɪ goʊ tɪ ˈkɑlɪʤ) ənd aɪ gru əp əraʊnd ə lɔt əv ˈɪʃuz əv kəˈlɛktɪv ˈbɑrgɪnɪŋ. soʊ ˈhaɪli ˌsɪmpəˈθɛtɪk tɪ ˈɪʃuz əv kəˈlɛktɪv action.”*.” ʤɪst nɑt jʊr kəˈlɛktɪv ˈækʃən. fər hi kənˈtɪnjud, sɛd, aɪ faʊnd jʊr ˈlɛtər tɪ bi naɪiv, ˌənkənˈvɪnsɪŋ, ənd, kwaɪt ˈfræŋkli, kaɪnd əv əˈfɛnsɪv. ɪt ɪz naɪiv ɪn ðət ju sim tɪ ˈrɪli θɪŋk ə ˈjunjən wʊd nɑt ʧeɪnʤ riˈleɪʃənˌʃɪps bɪtˈwin ˈgræʤəˌweɪt ˈstudənts ənd ðə ˈfækəlti. aɪ noʊ ɪf ˈiðər əv ju hæv ˈɛvər bɪn ˈmɛmbərz əv ə ˈjunjən ər wərkt ɪn ə ˈjunjəˌnaɪzd ɪnˈvaɪrənmənt, bət ˈjunjənz ˌɪˈnɛvətəbli ˈɔltər ðə riˈleɪʃənˌʃɪps bɪtˈwin ˈjunjən ˈmɛmbərz ənd ðə ˈpipəl ðə ˌɪnərˈækt wɪθ, bi ðeɪ ˈmænɪʤmənt, klaɪənts, ˈkəstəmərz, ər wət nɑt. ðə ˈfɔrmələˌzeɪʃən əv səʧ riˈleɪʃənˌʃɪps ɪz, ɪn fækt, ðə ˈsɛntrəl goʊl əv ə ˈjunjən. jʊr ˈlɛtər sɪz goʊl ɪz ˈsɪmpli tɪ geɪn ə vɔɪs ɪn ðə dɪˈsɪʒənz ðət əˈfɛkt ɑr ˈwərkɪŋ conditions.’*.’ wɛl, ðiz dɪˈsɪʒənz ər ˈlɑrʤli meɪd baɪ ðə ˈfækəlti. ðəs, ɪf ju wɔnt ə kəˈlɛktɪˌvaɪzd vɔɪs ɪn ðiz dɪˈsɪʒənz, ju wɪl bi ˌənəˈvɔɪdəbli ˈʃeɪpɪŋ jʊr riˈleɪʃənˌʃɪps tɪ ˈfækəlti members.”*.” gɑd fərˈbɪd! hi ðɛn kleɪmd, seɪ iʧ kˈwɔrtər əv biɪŋ ə ˈtiʧɪŋ ˈɪntərn rikˈwaɪərz əˈbaʊt 200 aʊərz əv wərk (wɪʧ ɪz ə haɪ ˈɛstəˌmeɪt), ɛz ˈgræʤəˌweɪt ˈstudənt ‘‘employees’*’ ju ər ˈifɛktɪvli ˈmeɪkɪŋ æt list 300 ən aʊər fər ðə ˈlɪmɪtɪd əˈmaʊnt əv taɪm ju ər ‘‘working.’*.’ mɔr ɪˈgriʤəs ɪz ðə fækt ðət moʊst əv ðə ˈfækəlti aɪ noʊ du nɑt θɪŋk əv ˈɪntərnz [ðə ˌjunəˈvərsəti əv tərm fər ˈtiʧɪŋ əˈsɪstənts] ɛz ɪmˈplɔɪiz bət θɪŋk əv ðə ˈɪntərnˌʃɪp ɛz əˈnəðər ˌɛʤəˈkeɪʃənəl experience.”*.” hi ˈɔlsoʊ sɛd ðə organizers’*’ ˈɑrgjəmənts wər bɪˈkəz ju du nɑt ˈspɛsəˌfaɪ ˈɛni sɪgˈnɪfɪkənt ˈhɑrdʃɪps rɪˈgɑrdɪŋ jʊr ‘‘working’*’ wərd, ˈwərkɪŋ, wɑz ɪn ðət hi faʊnd ðə ˈlɛtər ɪn ðə toʊn əv ɛnˈtaɪtəlmənt ðət rɪŋz θru ɪt. ˈɛvəri jɪr ðɛr ər ˈhənərdz əv ˈæplɪkənts fər ə ˈvɛri smɔl ˈnəmbər əv slɑts tɪ ˈstədi hir. ju ər ˈvɛri ˈləki tɪ bi hir, ʤɪst ɛz aɪ æm ˈvɛri ˈləki tɪ tiʧ hir. wɪn ju wər ədˈmɪtəd tɪ ðə ˌjunəˈvərsəti, ju wər nɑt haɪərd. ju wər ˈɔfərd ə spɑt ɛz ə ˈstudənt. ðə ˌjunəˈvərsəti oʊz ju ˈnəθɪŋ bɪɔnd wət ɪt ˌɪˈnɪʃəli prəˈpoʊzd ənd wət ju ækˈsɛptɪd. tɪ kɔl ˈjɔrsɛlf ən ɪmˈplɔɪi ənd kəmˈpleɪn əˈbaʊt ən ˈæbsəns əv əˈʤəstmənts, hɛlθ ˌɪnˈʃʊrəns, ər ðə ˈbərdənz əv biɪŋ ə ˈgræʤəˌweɪt boʊθ prɪˈzəmpʧəwəs ənd petulant.”*.” ˈnəθɪŋ off-putting*, ɛnˈtaɪtəld, prɪˈzəmpʧəwəs ər ˈpɛʧələnt əˈbaʊt ðət. ˈɪntəˌrɛstɪŋ tɪ kənˈsɪdər səʧ ˈɑrgjəmənts, wɪʧ ər ˈkɑmən əˈməŋ ˈfækəlti, ɪn ðə ˈkɑntɛkst əv ə ˈbrɪljənt æˈnælɪsɪs əv wət ðɪs səˈpoʊzədli ɛnˈtaɪtəld laɪf əv ðə əˈspaɪrɪŋ ˈskɑlər ˈæˌkʧuəli lʊks laɪk ɪn ðə ril wərld. ɪt əˈpɪrd ˈdʊrɪŋ ðə ˈbərkli straɪk, ənd ˈɑrgjuz ðət ðə ˈprɔˌsɛs əv ˈwɪnɪŋ ə ʤɑb, ənd ðɛn ˈərnɪŋ ˈtɛnjər, rɪˈzɛmbəlz ˈnəθɪŋ soʊ məʧ ɛz ˈklaɪmɪŋ ðə ˈgrisi poʊl ɪn ə drəg gæŋ. ɪf ju teɪk ˈɪntu əˈkaʊnt ðə rɪsk əv biɪŋ ʃɑt baɪ ˈraɪvəl gæŋz, ˈɛndɪŋ əp ɪn ʤeɪl ər biɪŋ ˈbitən əp baɪ jʊr oʊn ˈhaɪˌrɑrki, ju maɪt ˈwəndər waɪ ˈɛnibədi wʊd wərk fər səʧ ə loʊ weɪʤ ənd æt səʧ ˈdrɛdfəl ˈwərkɪŋ kənˈdɪʃənz ˌɪnˈstɛd əv ˈsikɪŋ ɪmˈplɔɪmənt æt mcdonald’s*. jɛt, gæŋz hæv noʊ ril ˈdɪfɪˌkəlti ɪn rɪˈkrutɪŋ nu ˈmɛmbərz. ðə ˈrizən fər ðɪs ɪz ðət ðə ˈprɑspɛkt əv fˈjuʧər wɛlθ, ˈrəðər ðən ˈkɑrənt ˈɪnˌkəm ənd ˈwərkɪŋ kənˈdɪʃənz, ɪz ðə meɪn ˈdraɪvər fər ˈpipəl tɪ steɪ ɪn ðə ˈbɪznɪs: ˌloʊˈlɛvəl drəg ˈsɛlərz fɔrˈgoʊ ˈkɑrənt ˈɪnˌkəm fər (ənˈsərtən) fˈjuʧər wɛlθ. ˈmɛmbərz ər ˈrɛdi tɪ feɪs ðɪs rɪsk tɪ traɪ tɪ meɪk ɪt tɪ ðə tɔp, wɛr laɪf ɪz gʊd ənd ˈməni ɪz floʊɪŋ. ˈlaɪkˌwaɪz, wət ju hæv ɪz ən ˌɪnˈkrisɪŋ ˈnəmbər əv ˈbrɪljənt ph.d*. ˈgræʤəˌweɪts ərˈaɪvɪŋ ˈɛvəri jɪr ˈɪntu ðə ˈmɑrkɪt ˈhoʊpɪŋ tɪ sɪˈkjʊr ə ˈpərmɑˌnɛnt pəˈzɪʃən ɛz ə prəˈfɛsər ənd ˌɛnˈʤɔɪɪŋ ˈfridəm ənd haɪ ˈsæləriz, ə bɪt laɪk ðə drəg ˈdilər ˈhoʊpɪŋ tɪ bɪˈkəm ə drəg lord…*…. bɪˈkəz əv ðə ˌɪnˈkrisɪŋ ˈɪnˌfloʊ əv pəˈtɛnʃəl aʊtˈsaɪdərz ˈrɛdi tɪ əkˈsɛpt ðiz kaɪnd əv ˈwərkɪŋ kənˈdɪʃənz, ðɪs əˈlaʊz ˌɪnˈsaɪdərz tɪ ˌaʊtˈsɔrs ə ˈnəmbər əv ðɛr tæsks ˈɔntu ðɛm, əˈspɛʃəli ˈtiʧɪŋ, ɪn ə ˈkɑntɛkst wɛr ðɛr ər ˌɪnˈkrisɪŋ ˈprɛʃərz fər ˈrisərʧ ənd ˈpəblɪʃɪŋ. ðə rɪˈzəlt ɪz ðət ðə kɔr ɪz ʃˈrɪŋkɪŋ, ðə pərˈɪfəri ɪz ɪkˈspændɪŋ, ənd ðə kɔr ɪz ˌɪnˈkrisɪŋgli dɪˈpɛndənt ɔn ðə pərˈɪfəri. ɪn ˈmɛni ˈkəntriz, ˌjunəˈvərsətiz rɪˈlaɪ tɪ ən ˌɪnˈkrisɪŋ ɪkˈstɛnt ɔn ən rɪˈzərv army’*’ əv ˌækəˈdɛmɪks ˈwərkɪŋ ɔn ˈkæʒəwəl ˈkɑnˌtrækts bɪˈkəz əv ðɪs ˈsɪstəm əv ˌɪnˈsɪnɪvz. ənd ˌɪnˈdid ðɪs æˈnælɪsɪs ˈnɑʧɪz ˈpərfəktli wɪθ ðə ˈstɔriz aɪ səˈlɪsɪtɪd fər maɪ series—here*, hir, ənd ðə plaɪt əv jəŋ əˈspaɪrɪŋ ˈskɑlərz. aɪ stɪl gɪt rɪˈspɑnsɪz, ˌɪnˈkludɪŋ wən frəm ə ˈʤunjər prəˈfɛsər, ˈreɪtɪd wən əv ðə bɛst ɪn ðə ˈhɪstəri əv ˈɪndiən ˈrɪvər steɪt ˈkɑlɪʤ baɪ ˈstudənts. hi wɑz əˈsaɪnd sɪks ˈklæsɪz tɪ tiʧ. hi æst ðə ˈjumən ˈrisɔrsɪz ˈmænɪʤər haʊ tɪ əˈplaɪ fər hɛlθ ˌɪnˈʃʊrəns. lɔst ɔl maɪ ˈklæsɪz ɛz ðə ˈkɑlɪʤ əˈvɔɪdz ðə əˈfɔrdəbəl kɛr ækt ɪn kənˈtɛmpt əv ˈkɑŋgrəs. soʊ aɪ ɪˈstæblɪʃt ðə ˈæˌʤəŋkt ˈfækəlti ˈjunjən æt ˈɪndiən ˈrɪvər steɪt ˈkɑlɪʤ (afu-irsc*). ðə ˈkɑlɪʤ blɑkt maɪ ˈiˌmeɪl ˈækˌsɛs tɪ ðə ˈkæmpəs ˌkoʊəˈlɪʃən (ˈstudənt) ˈgəvərnmənt ɪn vaɪəˈleɪʃən əv ˈsɛkʃən 7 əv ðə ˈleɪbər ˈmænɪʤmənt riˈleɪʃənz ækt. ˈæˌʤəŋkts tiʧ 75 əv ˈklæsɪz fər wiks, əˈbaʊt ðə loʊəst ɪn ðə steɪt. ˈædmɪn trits ˈæˌʤəŋkts laɪk wi ər ˌɪnˈvɪzəbəl, rɪfˈjuzɪŋ tɪ tɔk tɪ ˈjuˈɛs ər gɪv ˈjuˈɛs ʤɑb sɪˈkjʊrəti fər duɪŋ ə greɪt ʤɑb. kərəpt ˈpætrənɪʤ həz ˌriˈpleɪst ˈmɛrət ɪn haɪər education.”*.” hi ˈɔfərd ðə ˈstɔri ɪn ˈmɛməri əv ðə ˈæˌʤəŋkt prəˈfɛsər əv frɛnʧ ˈmɑrgərɪt ˈmɛri, hu daɪd frəm ˌɪˈnædəkˌweɪt ˈmɛdɪkəl kɛr. ˈnɛvər ərnd mɔr ðən ə jɪr ənd rɪˈsivd noʊ hɛlθ ˈbɛnəfɪts dɪˈspaɪt hər tˈwɛntiˌfaɪv jɪrz əv lɔɪəl ˈsərvɪs tɪ ə ˈkæθlɪk ˌjunəˈvərsəti, dusquesne*, wɪʧ ˈɑrgjud ðət ɪts beliefs”*” ʃʊd ɪgˈzɛmpt ɪt frəm ˈfɛdərəl ˈleɪbər lɔz. aɪ ˈɔlsoʊ gɑt rɪˈspɑnsɪz frəm ˈtɛnjərd prəˈfɛsərz. ənd ðɛr ˈdɑmənənt toʊn wɑz ðət seɪm ˈkluləs ˈɛrəgəns wi si əˈbəv. wən, ə fəˈlɑsəfi prəˈfɛsər æt ə smɔl ˈlɪˌbərəl ɑrts ˈkɑlɪʤ ɪn ðə ˌnɔrˈθist, əˈlaʊd ðət waɪl θɪŋz kʊd bi ˌɪmˈpruvd, ənd wʊd laɪk tɪ si mɔr ʤɑbz ənd fjuər adjuncts,”*,” ˌækəˈdimiə wɑz stɪl ˈæftər ɔl ə mɛrɪˈtɔkrəsi. hi ˈɑrgjud ðət laɪk jʊr wɑz rɪˈfərɪŋ tɪ ðə ɪgˈzæmpəl aɪ geɪv əv ə ˈrisənt ˈpiˌeɪʧˈdi frəm wən əv ðə ˈgreɪtəst ˌjunəˈvərsətiz ɪn ðə wərld, hu roʊt ˈbrɪljəntli ənd insightfully*, wɑz ə ˈtiʧər ənd əˈplaɪd tɪ ə ˈhənərd ʤɑbz tɪ noʊ əˈveɪl ˌbiˈfɔr ˈriəˌlaɪzɪŋ ɪmˈplɔɪmənt ɪz ˈɔlˌmoʊst unimaginable”*” bɪˈkəz əv hɪz ˌəndɪˈvɛləpt slɪp θru ðə kræks ɪf, dɪˈspaɪt ˈækʧəwəl ˈɛksələns, ðeɪ ˈməstər wət ðə əˈkædəmi kənˈsɪdərz ˈɛvədəns əv excellence…*…. aɪ θɪŋk əv ə ʤɑb laɪk ən ˈæktər ˈgɪtɪŋ ə ʤɑb æt ə ˈrɛpərˌtɔri ˈkəmpəˌni, ər ə ˈbeɪsˈbɔl pleɪər biɪŋ haɪərd tɪ pleɪ ˈbeɪsˈbɔl ər ʤɪst tu ˈmɛni ˈpipəl ˈlaɪnɪŋ əp tɪ du səʧ ʤɑbz tɪ gɪv ðɛm tɪ everyone.”*.” ðɪs wɑz səˈpoʊzd tɪ bi ə dɪˈfɛns əv ðə ˈsɪstəm. əˈnəðər, hu ˈtiʧɪz æt wən əv ðə ˈlɑrʤəst, ˈrɪʧəst ənd bɛst ˈpəblɪk ˌjunəˈvərsətiz, kəmˈpleɪnd ðət ˈæftər ˈrɛntɪŋ ə kənˈvinjəntli ˈloʊˌkeɪtəd haʊs, peɪɪŋ fər ˈdeɪˌkɛr ənd ˈsərvɪsɪŋ hɪz ˈstudənt dɛt, ɛnd əp ɔn ðə ˈkrɛdɪt kɑrd baɪ ðə əv ˈɛvəri month.”*.” ɛz ə rɪˈzəlt, ˈkrɛdɪt ˈreɪtɪŋ ɪz ʤɪst əˈbəv ˈʧɑrəlz ənd maɪ hɛr ɪz ˈfɑlɪŋ out.”*.” ə sæd ˈstɔri, bət nɑt kwaɪt æt ðə ˈlɛvəl əv ˈmɑrgərɪt vojtko’s*, ɪz ɪt? rɪk ˈpərlstin ɔn ðə dɛθ əv ˈmɑrgərɪt ˈmɛri. kərˈɛkʃən: ðɪs poʊst həz bɪn ˈəpˌdeɪtɪd tɪ ˈɪndəˌkeɪt ðət ðə ˌjunəˈvərsəti əv ˌkæləˈfɔrnjə straɪk ˈlæstɪd 24 aʊərz, nɑt θri deɪz. |
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on november 20, hundreds of unionized graduateudent instructors at berkeley went on a 24-hour solidarityrike to protest the university’s intimidation tactics against university supportaffers who’d gone onrike this past spring. an e-mail from a mathematics faculty member to his grad instructors explaining why he was crossing the picket line and why they should too went viral. for the prof, named alexander coward, also saw reason to protest: to dissent against the silly notion of solidarity in the first place. ad policy
he wrote: “whatever the alleged injustices are that are being protested about tomorrow, it is clear that you are not responsible for those things, whatever they are, and i do not think you should be denied an education because of someone else’s fight that you are not responsible for.”
so what are they responsible for?
you need to optimize your life for learning. you need to live and breath [sic] your education. you need to be *obsessed* [sic] with your education. society is investing in you so that you can help solve the many challenges we are going to face in the coming decades, from profound technological challenges to helping people with the age old search for human happiness and meaning. that is why i am not canceling class tomorrow. your education is really really important, not just to you, but in a far broader and wider reaching way than i think any of you have yet to fully appreciate.
society, and one’s education, apparently have nothing to do with issues of decent wages and working conditions and keeping higher education affordable and its institutions accountable. good to know.
there is something about the very grown-up action of sacrifice for the sake of solidarity that turns some professors into patronizing asses. for professor coward also wrote, “all this may sound like speaking in platitudes. however it is a point worth making to all of you because you are so young. one of the nice things about being young is that your thinking can be very clear and your mind not so cluttered up with memories and experiences. this clarity can give you a lot of conviction, but it can also lead you astray because you might not yet appreciate just how complicated the world is.” according to his cv, coward was born in 1981. that makes him a grizzled thirty-one or thirty-two years of age.
coward, found, has plenty comrades in anti-comradeship who are old enough to know better. never forget the first time i heard the argument that, “even though i support unions i support graduateudents unions,” since graduateudents were “apprentices,” not “workers.” it was over dinner with an ivy league professor (not this one, another one) whose writings had taught me a great deal about what union solidarity was and why it mattered in the first place.
then this letter i was shown, sent by a political science professor at the university of chicago, answering a public letter fromudents in his department about why they were working to organize a union. the professor’s response began this way: “first off, let me preface these remarks by saying that when i was in graduate school at berkeley in the 1990s, i was very active in the graduateudent unionization movement. i was shopeward for the political science department for several years and was very active in a three week campus wide teachingrike we held in the fall of 1992. it may also be worth mentioning that i come from a working class family (i was the first and only person in my family to go to college) and i grew up around a lot of issues of collective bargaining. so highly sympathetic to issues of collective action.”
just not your collective action. for he continued, “that said, i found your co-signed letter to be naive, unconvincing, and, quite frankly, kind of offensive. it is naive in that you seem to really think a union would not change relationships between graduateudents and the faculty. i know if either of you have ever been members of a union or worked in a unionized environment, but unions inevitably alter the relationships between union members and the people the interact with, be they management, clients, customers, or what not. the formalization of such relationships is, in fact, the central goal of a union. your letter says ‘our goal is simply to gain a voice in the decisions that affect our working conditions.’ well, these decisions are largely made by the faculty. thus, if you want a collectivized voice in these decisions, you will be unavoidably shaping your relationships to faculty members.”
god forbid!
he then claimed, “let’s say each quarter of being a teaching intern requires about 200 hours of work (which is a high estimate), as graduateudent ‘employees’ you are effectively making at least $300 an hour for the limited amount of time you are ‘working.’ what’s more egregious is the fact that most of the faculty i know do not think of interns [the university of chicago’s term for teaching assistants] as employees but think of the internship as another educational experience.”
he also said the grad-student-union organizers’ arguments were “unconvincing because you do not specify any significant hardships regarding your ‘working’ conditions”—that word, working, was in quotes—and that he found the letter “off-putting in the tone of entitlement that rings through it. every year there are hundreds of applicants for a very small number of slots toudy here. you are very lucky to be here, just as i am very lucky to teach here. when you were admitted to the university, you were not hired. you were offered a spot as audent. the university owes you nothing beyond what it initially proposed and what you accepted. to call yourself an employee and complain about an absence of cost-of-living adjustments, health insurance, or the burdens of being a graduateudent…sounds both presumptuous and petulant.”
nothing off-putting, entitled, presumptuous or petulant about that.
it’s interesting to consider such arguments, which are common among faculty, in the context of a brilliant analysis of what this supposedly entitled life of the aspiring scholar actually looks like in the real world. it appeared during the berkeleyrike, and argues that the process of winning a tenure-track job, and then earning tenure, resembles nothing so much as climbing the greasy pole in a drug gang.
if you take into account the risk of being shot by rival gangs, ending up in jail or being beaten up by your own hierarchy, you might wonder why anybody would work for such a low wage and at such dreadful working conditions instead of seeking employment at mcdonald’s. yet, gangs have no real difficulty in recruiting new members. the reason for this is that the prospect of future wealth, rather than current income and working conditions, is the main driver for people toay in the business: low-level drug sellers forgo current income for (uncertain) future wealth. rank-and-file members are ready to face this risk to try to make it to the top, where life is good and money is flowing.
likewise,
what you have is an increasing number of brilliant ph.d. graduates arriving every year into the market hoping to secure a permanent position as a professor and enjoying freedom and high salaries, a bit like the rank-and-file drug dealer hoping to become a drug lord…. because of the increasing inflow of potential outsiders ready to accept these kind of working conditions, this allows insiders to outsource a number of their tasks onto them, especially teaching, in a context where there are increasing pressures for research and publishing. the result is that the core is shrinking, the periphery is expanding, and the core is increasingly dependent on the periphery. in many countries, universities rely to an increasing extent on an ‘industrial reserve army’ of academics working on casual contracts because of this system of incentives.
and indeed this analysis notches perfectly with theories i solicited for my series—here, here, and here—on the plight of young aspiring scholars. iill get responses, including one from a junior professor, rated one of the best in the history of indian riverate college byudents. he was assigned six classes to teach. he asked the school’s human resources manager how to apply for health insurance. “i lost all my classes as the college avoids the affordable care act in contempt of congress. so i established the adjunct faculty union at indian riverate college (afu-irsc). the college blocked my e-mail access to the campus coalition (student) government in violation of section 7 of the labor management relations act. adjuncts teach 75% of irsc classes for $1600/16 weeks, about the lowest in theate. admin treats adjuncts like we are invisible, refusing to talk to us or give us job security for doing a great job. corrupt patronage has replaced merit in higher education.” he offered theory in memory of the now-famous adjunct professor of french margaret mary vojtko, who died from inadequate medical care. vojtko never earned more than $25,000 a year and received no health benefits despite her twenty-five years of loyal service to a catholic university, dusquesne, which argued that its “religious beliefs” should exempt it from federal labor laws.
i also got responses from tenured professors. and their dominant tone was that same clueless arrogance we see above. one, a philosophy professor at a small liberal arts college in the northeast, allowed that while things could be improved, and “i would like to see more tenure-track jobs and fewer adjuncts,” academia wasill after all a meritocracy. he argued that “[f]riends like your autodidact”—he was referring to the example i gave of a recent phd from one of the greatest universities in the world, who wrote brilliantly and insightfully, was a natural-born teacher and applied to a hundred jobs to no avail before realizing “tenured employment is almost unimaginable” because of his undeveloped suck-up skills—“will slip through the cracks if, despite actual excellence, they muster what the academy considers evidence of excellence…. i think of a tenure-track job like an actor getting a job at a repertory company, or a baseball player being hired to play baseball full-time—there are just too many people lining up to do such jobs to give them to everyone.”
this was supposed to be a defense of the system.
another, who teaches at one of the nation’s largest, richest and best public universities, complained that after renting a conveniently located house, paying for daycare and servicing hisudent debt, “groceries end up on the credit card by the of every month.” as a result, “my credit rating is just above charles manson’s and my hair is falling out.”
a sadory, but not quite at the level of margaret vojtko’s, is it?
rick perlstein on the death of margaret mary vojtko.
correction: this post has been updated to indicate that the university of californiarike lasted 24 hours, not three days. | fər hæf ə ˈsɛnʧəri rɪˈfərd tɪ ɪn ðə ˈfæməli ɛz ðə ləv ˈlɛtərz, ðeɪ wər ˈoʊnli ˈrisəntli dɪˈskəvərd ɪn ðə moʊst prɪˈdɪktəbəl ˈfɑrmˌhaʊs ˈætɪk, ˈəndər ˈsɛvərəl əˈbændənd ˈpɪkʧər freɪmz ðət fɔrmd ə fɔls ˈbɑtəm ɪn ən oʊld ˈmɛtəl kæmp trəŋk. rɪˈmɑrkəbli, θæŋks tɪ ðɛr ˈɪnsəˌleɪtɪd ˌɪnˌkɑrsərˈeɪʃən, ðeɪ sərˈvaɪvd ɪn ˈfræʤəl bət ˈlɛtərz ɪksˈʧeɪnʤd bɪtˈwin ˈkæbət hɔl, ˈkeɪmbrɪʤ, ˌmæsəˈʧusəts, wɛr aɪ wɑz ə ˈʤunjər æt ˈrædklɪf ˈkɑlɪʤ, ənd p.o*. bɑks 180 ˈsænə feɪ, nu ˈmɛksəˌkoʊ, wɛr ˈvɪktər, ə ˈhɑrvərd ˈgræʤəˌweɪt, wɑz ə ˈsɑrʤənt ɪn ðə juz. ˈɑrmi. ðə ˈsænə feɪ ˈæˌdrɛs wɑz ə ˈfɪkʃən, wən ðət ðə tɔp bræs wərkt hɑrd tɪ prɪˈzərv; ˈvɪktər wɑz ˈæˌkʧuəli ˈsteɪʃənd ðə hill,”*,” ɛz ɪt wɑz ˈloʊkəli noʊn, æt ðə lɔs ˈæləmoʊz ˈlæbrəˌtɔri, wɛr hi wɑz wən əv ðə ˈwərkɪŋ tɪ dɪˈvɛləp ðə əˈtɑmɪk bɔm. wi mɛt ɔn patriots’*’ deɪ, ˈeɪprəl 19 1945 ɔn ə blaɪnd deɪt. ˈdʊrɪŋ ðə faɪv rɪˈmeɪnɪŋ deɪz əv ˈfərloʊ, ðɛr wɑz noʊ wɔr. wi dɪd nɑt spik əv, wən wik dɛd. wi dɪd nɑt noʊ ðət deɪ leɪ tu ənd ə hæf wiks əˈhɛd. wi wɔkt fər maɪəlz əˈlɔŋ ðə ˈʧɑrəlz ˈrɪvər. wi wɛnt tɪ ðə zu. wi wɛnt tɪ ðə bæˈleɪ. ˈivnɪŋz wi rɪˈpɛrd tɪ ə buθ ɪn ðə dɑrk ˈfæstnəs əv ðə hoʊˈtɛl ˌlɑfiˈɛt bɑr, ˈnərsɪŋ drɪŋks ənˈtɪl maɪ ˈkərfju lumd: 10 ɔn ˈwikˌdeɪz, ˈmɪdˌnaɪt ɔn ˈwiˌkɛndz. wɑz ðɪs kɔld ˈfɑlɪŋ ɪn ləv ɪn lɛs ðən wən wik? ər wɑz ðɪs love”*” ðət wʊd ðən ˈɛmpaɪərz, ənd mɔr slow?”*?” wi hæd mənθs ənd mənθs tɪ faɪnd aʊt. ɪn hɪz fərst ˈlɛtər, ˈvɪktər dɪˈskraɪbd hɪz hɪˈroʊɪk rut bæk tɪ nu treɪn frəm ˈbɔstən tɪ. luɪs, əˈnəðər tɪ ˈkænzəs ˈsɪti, ə θərd tɪ pˈwɛbloʊ, ˌkɑlərˈɑdoʊ, ˈfɑloʊd baɪ ə bəs tɪ ˈsænə feɪ: roʊd back”*” wɑz nɑt ˈnɪrli ɛz ənˈplɛzənt ɛz aɪ hæd ɪkˈspɛktɪd bət fər ə fɔr aʊər strɛʧ əv ˈstændɪŋ ɔn maɪ hɛd (ɪt wɑz ðə ˈoʊnli weɪ aɪ kʊd fɪt ˈɪntu ðə kɑr). ðə bəs trɪp frəm pˈwɛbloʊ tɪ ˈsænə feɪ wɑz ˈnəθɪŋ lɛs ðən ˈoʊvərˈpaʊrɪŋ. ɛz wi roʊd ˈizəli daʊn frəm ˈɛˈleɪˈɛs ˈveɪgəs tɪ ˈsænə feɪ ðə ˌmɛtəˈmɔrfəsəs frəm deɪ tɪ naɪt tʊk pleɪs ˈpeɪnləsli ɛz ðə ˈbrɪljənt ˈsənˌsɛt ˈfeɪdɪd. ənd ðɛn ðə ˈmaʊntənz, ˌpɑrˈtɪkjələrli peak,”*,” ˈstændɪŋ ɪˈrɛkt ɪn ɔl ðɛr ˈglɔri. ðɛr wɑz soʊ məʧ ˈbjuti ðət ˈoʊnli ə poʊət ər ə ˈpeɪnər kʊd ˈkæpʧər pˈwɛbloʊ həts, ðə fɑrmz, ənd moʊst əv ɔl ðə ˈneɪtɪv ˈmɛksəkən ˈɪndiənz, ˈpipəl ˈlɪvɪŋ laɪf ɔn ðɛr ˈdɔrˌstɛps ənd ɪn ðɛr həts lɪt baɪ ˈkɛrəˌsin læmps. hi ɪz ˈkɛrfəl nɑt tɪ ˈmɛnʃən ðə læst lɛg əv ðə ˈʤərni, ə klaɪm əp tɪ lɔs ˈæləmoʊz, sɛt mɔr ðən fit əˈbəv si ˈlɛvəl ɔn ə haɪ ˈdɛzərt plæˈtoʊ. wəns ɪt hæd bɪn ə boys’*’ ˈbɔrdɪŋ skul, ə saɪt ˈlæbrəˌtɔri dɪˈrɛktər ʤeɪ. ˈrɑbərt ˈɑpənˌhaɪmər hæd ˈʧoʊzən fər ɪts sɪˈkluʒən. naʊ ɪt haʊzd ðə læbz, məˈʃin ʃɑps, ˈbɛrəks, ənd ˈdaɪnɪŋ fəˈsɪlɪtiz ðət hæd trænsˈfɔrmd ðə ˈmeɪsə ˈɪntu ə ˈbəsəlɪŋ taʊn. ɔn meɪ 8 ðə wɔr ɪn ˈjʊrəp ˈɛndɪd. aɪ roʊt ðə ˈfɑloʊɪŋ tɪ ˈvɪktər: æt təˈdeɪ ə si əv ˈɔfɪsərz ənd weɪvz ənd ˈɑrmi bɔɪz stʊd æt əˈtɛnʃən ɪn ðə jɑrd ˈfeɪsɪŋ ðə stɛps əv mem[orial*] ˈʧæpəl ənd ðə ˈstudənt ˈbɑdi ənd gʊd ˈsɪtɪzənz əv ˈkeɪmbrɪʤ stʊd ɔn ðə stɛps əv ˈwɪdinər. [din ˈwɪlərd] ˈspɛri [əv ˈhɑrvərd dɪˈvɪnəti skul] wɑz æt hɪz ˈsɪmpəl bɛst ənd ɪt ˈɔlˌweɪz straɪks mi ðət ðɛr ɪz ˈsəmθɪŋ ˌɪŋˈkɔŋruəs ɪn ˈhirɪŋ ðə wərdz əv ən ənˈnoʊn ˈdiəti ˈɛkoʊ θru ə ˌsaɪənˈtɪfɪk ˌæpərˈætəs noʊn ɛz ə ˈlaʊdˌspikər, ɪt wɑz ə faɪn θɪŋ tɪ hir ðiz ˈhənərdz ənd ˈhənərdz əv ˈpipəl sɪŋ ðɛr ˈnæʃənəl ˈænθəm, waɪl ðə kwaɪər ɔn ðə ˈʧæpəl stɛps wɪθ ðɛr ˈkrɪmzən ənd blæk roʊbz ˈflæpɪŋ ɪn ðə briz meɪd ðɛmˈsɛlvz hərd ˈoʊvər ɔl ðə rɛst. lɔŋ ˈsɛntənsɪz ˈɔlˌweɪz sim tɪ gɪt ðə ˈbɛtər əv mi, ðeɪ? əˈspɛʃəli təˈdeɪ, aɪ θɪŋk, bɪˈkəz aɪ wɑz ˈrɪli soʊ ˌɪmˈprɛst. ðɛr wɑz ə ˈkələr gɑrd əv oʊld ˈglɔri ənd ðə ˈhɑrvərd krɛst ənd ˈseɪlərz wɪθ haɪ ˈoʊvər ˌjunəˈvərsəti hɔl θri mægˈnɪfɪsənt juʤ flægz ər stɑrz ənd straɪps, ðə unionjack*, ənd ðə ˈhæmər ənd ˈsɪkəl. jəp, ðə rɛd flæg haɪ ɪn ˈhɑrvərd jɑrd. ðɛr wɑz ə braɪt spərɪŋ sən ənd ðə lɔnz hæd bɪn ˈfrɛʃli kət, ðə jɑrd ə juʤ mæs əv ˈpipəl fʊl əv ə wɔrm rɪˈlif, ɪf nɑt ɪˈleɪʃən, ðə ˈʧæpəl bɛlz ənd ðə ˈɔrgən mˈjuzɪk wi wər ˈrəðər ˈkɛrid əˈweɪ wɪθ ɪt ɔl. ˈpipəl simd tɪ bi lɛs ˈʤubələnt ðən ˈθɔtfəl, ðoʊ, noʊɪŋ wi ər ˈoʊnli ˈhæfˈweɪ θru ðə ʤɑb. hɪz ˈrəðər ˈdoʊlfəl rɪˈplaɪ ˈprɛzənts ə ʃɑrp ˈkɑntræst: θæŋks fər ðə wi bɪt əv godliness*. deɪ wɑz ˈsɛləˌbreɪtɪd hir ɪn ðə seɪm ˈspɪrɪt, bət ə ˈdɪfərənt ˈmænər. fri bɪr ənd ˈsænwɪʧɪz; ə ˈlɪtəl ˈgəzəlɪŋ, ə ˈmuvi, tɪ bɛd. ənd soʊ aɪ ˈɑnərd ðə ɛnd əv ðə ˌjʊrəˈpiən wɔr. ɑr ˈərli ˈlɛtərz ˈkɔʃəsli ˈskərtɪd ˈmɛnʃən əv ðə ˈɪntəməsi ðət hæd ˈbeɪgən tɪ dɪˈvɛləp bɪtˈwin ˈjuˈɛs. wi sɛt əˈbaʊt ɪkˈsplɔrɪŋ hæf ə ˈdəzən skimz tɪ si iʧ ˈəðər əˈgɛn ɛz sun ɛz ˈpɑsəbəl. ə trɪp tɪ ˈlɪtəl rɑk, wɛr maɪ ˈoʊldəst ˈbrəðər wɑz ˈsteɪʃənd ˈæftər ˈsərvɪŋ ɪn ðə nɔrθ ˈæfrɪkɑn ənd ˌɪˈtæljən kæmˈpeɪnz, simd ˈfizəbəl. aɪ wʊd kip hɪz waɪf ˈkəmpəˌni ənd hɛlp wɪθ ðə nu ˈbeɪbi (aɪ nu ˈnəθɪŋ əˈbaʊt ˈbeɪbiz). aɪ kənˈkɑktəd ə trɪp tɪ ˌæmərˈɪloʊ, ˈtɛksəs, wɛr maɪ ˈnuli dɪˈvɔrst ˈəŋkəl wɑz ə ˈkæptən ɪn ðə ˈɑrmi ənd hɪz ˈdɔtər, ˈbɑbi, maɪ ˈgərˌlhʊd ʧəm, wɑz ə ˈdɛntəl tɛkˈnɪʃən. ðə praɪs ɪgˈzæktɪd fər ðə treɪn ˈtɪkɪt tɪ ˌæmərˈɪloʊ, bɔt baɪ maɪ rɪˈləktənt ˈpɛrənts, wɑz fər mi tɪ spɛnd tu wiks ɪn ˈlɪtəl rɑk ɔn ˈbeɪbi ˈduti ˈæftərwərd. ɔn ʤun 11 aɪ æst ˈbɑbi tɪ waɪər mi əˈbaʊt ˌrɛzərˈveɪʃənz ɪn ˌæmərˈɪloʊ; ɪf ðə feɪts ər kaɪnd, əraɪv ðɛr ɔn ˈwɛnzˌdeɪ ðə ənd liv ðɛr fər ˈlɪtəl rɑk ðə ˈfɑloʊɪŋ ˈmənˌdeɪ. ɪf aɪ saʊnd tu ɪkˈsaɪtɪd əˈbaʊt ɪt, ðə fɔlt ɪz ɔl [maɪ ˈtaɪˌpraɪtər] bɪˈkəz ɔl aʊt frəm ˈtaɪpɪŋ ə ˈpeɪpər ɔn ˈɪmɪʤri ɪn ˈhɛnri ʤeɪmz ənd soʊ ju ɪkˈspɛkt tu ˈmɛni !!!ɛs frəm ɪm. ðə ɪnˈθuziˌæzəm ɪz ɔl ɑrz, vɪk, bət aɪ məst ədˈmɪt ðət maɪn ɪz ˈvɛri ˈtɛmpərd wɪθ ə weɪt əv riˌspɑnsəˈbɪləti wɪʧ əˈmaʊnts ɪn maɪ bɪˈfədəld breɪn tɪ biɪŋ ənd sensible.”*.” bi ɔn pɪnz ənd ˈnidəlz ənˈtɪl aɪ hir frəm ju ˈdɛfənətli. aɪ gɛs aɪ ʤɪst bɪˈliv ðət ɑr plænz ər ˈwərkɪŋ aʊt, ənd ðət meɪ əˈkaʊnt fər maɪ soʊˈbraɪəti. ɪt simz tu gʊd tɪ bi tru ðət si iʧ ˈəðər əˈgɛn ɪn ʤɪst əˈbaʊt tu mɔr wiks. ˈvɪktər ɪz ˈɔlˌmoʊst ɛz ˈsɑmbər: ðɪs wɪl ˈprɑbəˌbli bi ðə læst ˈlɛtər rɪˈsiv ˌbiˈfɔr aɪ liv, ɪf ɔl goʊz wɛl. sɪns aɪ ˈkænɑt flaɪ wɪˈθaʊt praɪˈɔrəti ənd praɪˈɔrəti ɪz ˈlɪmɪtɪd tɪ ˈɔfɪsərz, ɪt minz ə bəs trɪp wɪʧ ʃʊd gɪt mi tɪ ˌæmərˈɪloʊ a.m*. thurs*- deɪ, ʤun 28 ðə ˌɪˈnɛvətəbəl rɪˈtərn məst bɪˈgɪn æt nun ˈsənˌdi. ənd soʊ, pərˈsuɪŋ maɪ ˈnɔrməl ruˈtin əv reveille*, ˌɪnˈspɛkʃən, riˈtrit aɪ traɪ tɪ spid ðə ˈbərnɪŋ əv ðə deɪz lɛft ˌbiˈfɔr aɪ si ju. ðə bæd ˈfiʧər əv ðɪs, əv kɔrs, ɪz ðət ðə ˈprɔˌsɛs əv kəmˈbəsʧən wɪl ækˈsɛlərˌeɪt bɪˈgɪnɪŋ ʤun ənd ˈɔlˌmoʊst ˌbiˈfɔr ɪt həz ˈbeɪgən, maɪ pæs wɪl bi ˈoʊvər. ˈoʊnli ə fju aʊərz ˈæftər aɪ ˈsɛtəld ˈɪntu əˈpɑrtmənt, ə ˈwɛstərn ˈjunjən ˈtɛləˌgræm wɑz dɪˈlɪvərd, ˈdeɪtɪd p.m*. ʤun 27 ˈskɛʤʊl ˈskræmbəld əraɪv ˈmɪdˌnaɪt təˈnaɪt wɪl traɪ tɪ riʧ ju steɪ əˈweɪk vic”*” ˈniðər əv ˈjuˈɛs rɪˈmɛmbərz ðə ˈmoʊmənt əv ɑr riˈunjən, ˌɔlˈðoʊ aɪ æm ˈsərtən ˈiðər ˈbɑbi ər maɪ ˈəŋkəl ˈʃɛpərdɪd mi tɪ ðə bəs ˈtərmənəl. aɪ noʊ ðət wi spɛnt ðə rɛst əv ðə naɪt ɪn ˈsɛpərˌeɪt kˈwɔrtərz. aɪ wɑz əˈsaɪnd ðə ˈpʊˌlaʊt kaʊʧ ɪn maɪ ˈlɪvɪŋ rum, ənd ˈvɪktər wɑz ˈʃəntɪd ˈɛlsˌwɛr. ɪt wɑz 105 dɪˈgriz ɪn ˌæmərˈɪloʊ ðə nɛkst deɪ. maɪ ˈəŋkəl lɛnt ˈjuˈɛs hɪz kɑr, ənd wi spɛnt ˈsɛvərəl aʊərz ɪn ən ˈsɪnəmə, ˈmeɪkɪŋ aʊt ɪn ðə bæk roʊ. wɪn wi ˈɛgzətɪd, ˈvɪktər hæd fərˈgɑtən wɛr hi hæd pɑrkt ðə kɑr. aɪ rɪˈmɛmbərd ˈoʊnli ðət ɪt wɑz grin. ɪt tʊk ˈjuˈɛs hæf ən aʊər tɪ faɪnd ɪt. ðə deɪ ˌbiˈfɔr ˈvɪktər wɑz tɪ rɪˈtərn, maɪ ˈəŋkəl, ɔn hɪz oʊn ˌɪˈnɪʃətɪv, juzd hɪz kəˈnɛkʃənz tɪ rɪˈzərv ə priˈpeɪd hoʊˈtɛl rum fər ˈjuˈɛs ɪn ˈælbəkərki. pərˈhæps ðə fækt ðət hi wɑz wɪθ ən ˈɑrmi ɪˈlɪsɪtɪd hɪz ˈsɪmpəθi fər ðə pɛr. wi wər səˈpraɪzd ənd ˈgreɪtfəl; ðə ˈdɪstəns ˈvɪktər hæd tɪ ˈtrævəl bæk tɪ ˈsænə feɪ wʊd bi ˈnɛroʊd, ðəs ɪkˈstɛndɪŋ hɪz liv. wi tʊk ə ˈleɪtˌnaɪt bəs, wɪʧ broʊk daʊn ɪn ðə ˈdɛzərt. waɪl ðə ˈdraɪvər spɛnt ən aʊər wɪθ hɪz hɛd ˈəndər ðə hʊd, ðə ˈpæsənʤərz ɔl tɪ ˌɛnˈʤɔɪ ðə kul ɛr. ðɛr wɑz ə mun. ðə ˈkæktəs ˈroʊzɪz wər ɪn blum. tˈwɛntiˌfɔr aʊərz əv ˈpraɪvəsi ɪn ˈælbəkərki ɪnˈsud. wi boʊθ roʊt tɪ iʧ ˈəðər ɔn ˌʤuˈlaɪ 2 ˈvɪktər hæd sin mi ɔf ən aʊər ˌbiˈfɔr hɪz bəs wɑz ˈskɛʤʊld tɪ liv. maɪ ˈlɛtər bɪˈgɪnz, ˌɔlˈðoʊ aɪ ˈoʊnli lɛft ju səm aʊərz əˈgoʊ, ɪt simz məʧ ˈlɔŋgər ənd ənd ðə ˈwiˌkɪnd fɑr əˈweɪ. ɪz nɑt ðə weɪ tɪ stɑrt ə ˈlɛtər tɪ ju, swit, ˈtɛlɪŋ ju ðət aɪ mɪs ju ənd aɪ ləv ʤɪst weɪt. θɪŋk əv ˈsəmθɪŋ ɛls tɪ seɪ jɛt. hɪz ˈlɛtər ɪz ʤɪst ɛz lovesick*: tɪ hæv sin ju kraɪ wɑz ðə ˈgreɪtəst θrɪl əv maɪ laɪf wən əv ðə θɪŋz aɪ ʃæl ˈnɛvər fərˈgɛt. ənd naʊ ðə ˌɛvərˈlæstɪŋ ˈstrəgəl, ðə nɔɪŋ weɪt. laɪk tɪ bi kəmˈplitli ˈsɛnsləs fər eɪt mənθs. bət sɪns ˌɪmˈpɑsəbəl, ˈkɑnʤər ju əp wɛˈrɛvər aɪ goʊ. ðə ˈplɛʒər əv siɪŋ ju ɪn ˈɛvəri tri, ɪn ˈɛvəri klaʊd ənd ˈɛvəri wɪl hæv tɪ kip mi seɪn. aɪ wɑz hoʊm ɪn ˌfɪləˈdɛlfiə wɪθ maɪ ˈpɛrənts, ˈstrəgəlɪŋ tɪ gɪt θru ðə ˈsɛvərəl wiks ˌbiˈfɔr aɪ kʊd rɪˈtərn tɪ ˈkæbət hɔl, wɪn ðə nuz broʊk. ˈɔgəst 7 wɛl, ðə moʊst ɪkˈsaɪtɪŋ nuz əv ðə əv ɔl təˈdeɪ: ðə əˈtɑmɪk bɔm. bɪn glud tɪ ðə ˈreɪdiˌoʊ sɪns 5 wɪn wi fərst gɑt nuz əv ɪt. ˈsəmˌhaʊ ðə aɪˈdiə əv ˈhɑrnəsɪŋ ðə ˈætəm ɪz ˈɔlˌmoʊst tu bɪg tɪ gɪt əraʊnd ɪn ə ˈsɪŋgəl ɪt ˈkɛriz ə lɔt əv ˈsoʊbərɪŋ θɔts wɪθ ɪt. ˈɑbviəsli ðə ˈneɪʃən ðət wɑz fərst tɪ dɪˈskəvər ðə ˈsikrɪt ɪz ðə ˈkɑŋkərər; ənd əˈlɔŋ wɪθ ðə ˈkɑnfədənt θɔt ðət ðə wɔr wɪθ ʤəˈpæn ɪz naʊ ʤɪst əˈbaʊt ə feɪt ˌɑˈkɑmpli kəmz ðə trɪˈmɛndəs ˈriləˈzeɪʃən ðət mæn həz ˈfaɪnəli dɪˈskəvərd haʊ tɪ dɪˈstrɔɪ ˌsɪvəlɪˈzeɪʃən. aɪ noʊ ɪf ðə ˌkɑmpriˈhɛnʃən əv ðɪs wɪl bi ðə ˈnɛsəˌsɛri riˈstreɪnɪŋ ˈɪnfluəns ɔn ə wərld ɑrmd tɪ ðə ə wərld ðət ˈsədənli əˈweɪkənz tɪ ə væst nu ˈnɑlɪʤ ðət wɪl ˌrɛvəˈluʃəˌnaɪz ˈwɔrˌfɛr. aɪ hæv ðət ““milton*, ðaʊ bi ˈlɪvɪŋ æt ðɪs hour”*” ˈfilɪŋ. wət ə ˈhɔrəbəl wərld ðɪs ɪz wɪn mæs ɪkˌstərməˈneɪʃən kəmz tɪ bi ˈspoʊkən əv soʊ ˈkɑmli ənd wɪθ səʧ ˌkælkjəˈleɪʃən. ə ˈpaʊərfəl ˈmoʊmənt əv drəˈmætɪk ˈaɪrəni ˈɑbviəsli hæd noʊ aɪˈdiə ðət ˈsəmθɪŋ technical”*” ɪn ˈsænə feɪ ˌɪnˈvɑlvd ɪm ɪn ðə dɪˈvɛləpmənt ənd ˌdɛtəˈneɪʃən əv ðə əˈtɑmɪk bɔm. ˈvɪktər, ðə seɪm deɪ: wən ɪr ɪz stɪl glud tɪ ðə ˈreɪdiˌoʊ ˈspikər. ˈoʊvər ənd ˈoʊvər hərd ɪt. ðɪs ɪz ɪt, ənd maɪ ˈɪˌmoʊʃənz ˈvæsəˌleɪt bɪtˈwin ˈɛkstəsi ənd ril ˈnɔziə. θri wərdz, wɔr ɪz əbˈsin, əˈplaɪ mɔr ðən ˈɛvər. ənd ðɪs, ðoʊ ɪt ɪz ðə ˈkraʊnɪŋ əˈʧivmənt nɑt ˈoʊnli əv ðə pæst traɪəlz bət ˈɔlsoʊ əv məʧ əv ðə taɪm aɪ spɛnt æt wʊdz hoʊl, meɪks mi sɪk. hir aɪ æm, ˈwɑloʊɪŋ ɪn ðə səkˈsɛs əv ðə moʊst ˈdɛrɪŋ ɪkˈspɛrəmənt ˈɛvər əˈtɛmptəd ənd ðə moʊst ˌɪmˈpɔrtənt dɪˈvɛləpmənt ɪn ðə ˈhɪstəri əv ˈsɪvəˌlaɪzd mæn. wət ɪt ɔl minz ˈplɪtɪkli, ˌɛkəˈnɑmɪkli, ˈmɔrəli ɪz ˈərθˌʃeɪkɪŋ. ðə səkˈsɛsfəl ˈmæstərɪŋ əv ðə tɛkˈnik fər riˈlisɪŋ əˈtɑmɪk ˈɛnərʤi (ˈfɪʃən) kən meɪk laɪf ɔn ərθ ˈvæstli ɪt kən dɪˈstrɔɪ ɪt. aɪ æm nɑˈivli praʊd tɪ hæv kənˈtrɪbjutɪd tɪ ɪt. ˌʤuˈlaɪ 16 wɑz ðə fərst hir ɔn ðə nu ˈmɛksəˌkoʊ ˈdɛzərt æt wi steɪd əp ɔl naɪt tɪ əˈweɪt ðə flæʃ wɪʧ wɑz səˈpoʊzd tɪ bi ˈvɪzəbəl ɪn ə ˈreɪdiəs əv wən ˈhənərd maɪəlz. nuz əv ɪts səkˈsɛs meɪd ˈjuˈɛs wɔnt tɪ raɪt tɪ ˈɛvriˌwən tu sun bət wi wər stɪl baʊnd tɪ ˈsikrəsi. wi nu ɪt wʊd bi ˈoʊnli wiks ˌbiˈfɔr ðə ˈlɔnʧɪŋ ˈoʊvər ʤəˈpæn. bət ðɛr wɑz mɔr. wən deɪ ˈleɪtər: ˈdɑktər. ˈɑpənˌhaɪmər θæŋkt ðə mɛn əv ðə ˈspɛʃəl ˈɛnʤəˈnɪrɪŋ dɪˈtæʧmənt [tɪ wɪʧ ˈvɪktər bɪˈlɔŋd], ˈmeɪkɪŋ ɪt klɪr tɪ ˈɛvriˌwən ðət ˈdɛtəˌneɪtɪŋ ðə bɔm kʊd nɑt hæv bɪn əˈkɑmplɪʃt wɪˈθaʊt ðɛr əˈsɪstəns. fər hæf ən aʊər hi spoʊk ɔn ðə ˈmɔrəl ˈæˌspɛkt əv ðə hɪz ˌɪnˈtɛns hoʊp ðiz pæst mənθs ðət ðə ˌʤæpəˈniz wʊd sərˈɛndər ˌbiˈfɔr ðə bɔm kʊd bi drɑpt ðət əˈmɛrɪkə ɪz naʊ ˈjuzɪŋ ðɪs ˈɔfəl ˈwɛpən wɑz ˌdɪˈsaɪdɪd baɪ ðə haɪəst mɛn ɪn ˈgəvərnmənt ðət ðə nəˈsɛsɪti fər ˈjuzɪŋ ɪt meɪks ðə ˈkruəlti əv ɪt noʊ lɛs ˈsɪkənɪŋ, ðət ðə θɔt əv ˈkɪlɪŋ pərˈhæps ə kˈwɔrtər əv ə ˈmɪljən ˈpipəl ɪn wən bloʊ rɛsts ˈhɛvəli ɔn hɪz soʊl. hi ˈɔlsoʊ strɛst ðət pəˈzɛʃən əv ðə ˌfəndəˈmɛnəlz bɪˈlɔŋd tɪ noʊ wən grup əv mɛn. səʧ tɔk rɪˈnuz maɪ feɪθ ɪn juˈmænɪti. naʊ fri tɪ tɛl ˈɛniˌwən wɛr aɪ æm ənd wət bɪn ˈwərkɪŋ ɔn ənd ˈɔlsoʊ tɪ dɪˈskəs ˈɛniˌθɪŋ ðət ɪz rɪˈvild ˈpəblɪkli. ðɪs wɑz ðə fərst taɪm aɪ hæd hərd əv wʊdz hoʊl, ər ðə sərˈkjuɪtəs pæθ ðət lɛd frəm ˌgræʤəˈweɪʃən ɪn 1943 tɪ lɔs ˈæləmoʊz ɪn sɛpˈtɛmbər 1944 ˌɪˈnɪʃəli hi plænd tɪ ˌvɑlənˈtɪr fər ðə ˈneɪvəl ɛr kɔrz ˌbiˈfɔr hi kʊd bi ˈdræftɪd ˈɪntu ðə ˈɑrmi, bət i. braɪt ˈwɪlsən jr*., ðə prəˈfɛsər əv ˈfɪzɪkəl ˈkɛmɪstri hu hæd bɪn hɪz ædˈvaɪzər æt ˈhɑrvərd, dɪˈskərɪʤd ɪm. ˈwɪlsən æst, wʊd ju ˈrəðər bi ə dɛd ˈhɪroʊ ər meɪk ə sɪgˈnɪfɪkənt ˌkɑntrəˈbjuʃən tɪ ðə wɔr ˈɛfərt? hi ˈɔfərd ˈvɪktər ə ʧæns tɪ ʤɔɪn hɪz grup æt ðə ˌoʊʃənəˈgræfɪk ˌɪnstɪˈtuʃən ɔn keɪp ˈsiˈoʊˈdi, wɛr hi wɑz ðə dɪˈrɛktər əv ðə wʊdz hoʊl ˈəndərˌwɔtər ɪkˈsploʊsɪvz ˈrisərʧ læb. ˈvɪktər ˈrɛntɪd ə rum ɪn ə rɪˈtaɪrd haʊs. hi ənd ðə ˈəðər ˈbæʧlərz ɔn ðə stæf eɪt ɪn ən oʊld fɑrmz aɪs krim ʃɑp, wɛr ðɛr milz wər priˈpɛrd. æt səm pɔɪnt, θri əv hɪz ˈkɑligz ˌdɪsəˈpɪrd ˈoʊvərˈnaɪt, ðɛr ˈlɪvɪŋ kˈwɔrtərz ˌmɪˈstɪrjəsli ˈveɪkeɪtəd. ə ˈstɛdi strim əv ˈvɪzɪtərz frəm ðə ˈneɪvi ənd ˈɛlsˌwɛr keɪm tɪ ˈfɑloʊ ðə ˌɛvəˈluʃən. ʤɔrʤ kistiakowsky*, ə ˈhɑrvərd ˈfɪzɪkəl ˈkɛmɪstri prəˈfɛsər, drɑpt ɪn ˈsɛvərəl taɪmz tɪ kənˈsəlt wɪθ ˈwɪlsən. ðeɪ dɪˈskəst ðə ˈprɑˌgrɛs əv ˈəndərˌwɔtər ˌdɛtəˈneɪʃən ɪkˈspɛrəmənts. ənd ðɛn ɪn ʤun 1944 ðə ˈhæmər fɛl. ˈivɪn ðoʊ ˈwɪlsən ənd ˈəðər wʊdz hoʊl traɪd tɪ gɪt ɪm dɪˈfərd, dræft bɔrd wɑz dɪˈtərmənd tɪ mit ɪts kˈwoʊtə. hi wɑz səˈmɛrɪli ˈdræftɪd ˈɪntu ðə ˈɑrmi ənd sɛnt ɔn ʤun 6 ðə deɪ əv ðə ˌɪnˈveɪʒən baɪ ðə ˈælaɪz, tɪ fɔrt ˈdivənz, ˌmæsəˈʧusəts. frəm ðɛr hi wɑz ʃɪpt tɪ ˌæləˈbæmə fər ˈbeɪsɪk ˈtreɪnɪŋ ɪn ðə ˈɪnfəntri. ˈæftər 16 wiks əv əp tɪ ˈmɑrʧɪz wɪθ ə pæk, hi wɑz kɔld bæk frəm ˈfaɪnəl fild məˈnuvərz, ˈgɪvɪn ə treɪn ˈtɪkɪt tɪ ˈsænə feɪ, ˈɔrdərd nɑt tɪ tɔk əˈbaʊt hɪz ˌdɛstɪˈneɪʃən tɪ ˈɛniˌwən ɛn rut, ənd ɔn ərˈaɪvəl tɪ kɔl ə ˈloʊkəl ˈtɛləˌfoʊn ˈnəmbər frəm ə spɪˈsɪfɪk ˈpəblɪk ˈtɛləˌfoʊn buθ. ˈvɪktər ˈnɛvər nu hu ˈɔrdərd ɪm pləkt frəm ðə ˈɪnfəntri ənd ˌriəˈsaɪnd tɪ lɔs ˈæləmoʊz, bət wɪn hi mɛt ðɛm ɔn ðə hɪl ðə ˈmɔrnɪŋ ˈæftər hi əraɪvd, hi fɛlt ˈsərtən ɪt wɑz hɪz tu ˈhɑrvərd prəˈfɛsərz, ˈwɪlsən ənd kistiakowsky*. ə fju deɪz ˈleɪtər, hi ɪnˈkaʊnərd ðə ˈkɑligz hu hæd gɔn ˈmɪsɪŋ frəm wʊdz hoʊl. aɪ noʊ wɪn aɪ faʊnd aʊt ðiz ˈditeɪlz, ˈsərtənli nɑt ənˈtɪl ðə wɔr wɑz ˈoʊvər. ˌwəˈtɛvər ˈvɪktər wɑz duɪŋ ɪn ˈsænə feɪ, hi tɔk əˈbaʊt ɪt. hi tɔk əˈbaʊt ðə meɪl səˈvɪljən, ə ˈpjutətɪv ˈʤərmən spaɪ, hu ˈvɪzɪtɪd ðə wʊdz hoʊl fəˈsɪlɪti ənd wɛnt frəm rum tɪ rum ˈʧætɪŋ wɪθ læb ˌpərsəˈnɛl. ər ðət ə fɛns wɛnt əp ˈoʊvərˈnaɪt ənd ə gɑrd wɑz ˈpoʊstɪd æt ðə ˈoʊnli ˈɛntrəns tɪ ðə ˈɪnstɪˌtut ðə nɛkst deɪ. hi tɔk əˈbaʊt ðə ˈpərsən hu ˈsaɪdəld əp tɪ ɪm æt ðə ˈhɑrvi haʊs ˈrɛˌstrɑnt ˈstɑˌpoʊvərz ɛn rut tɪ ˈsænə feɪ, iʧ taɪm ˈæskɪŋ, ““hey*, ˈsoʊlʤər. wɛr jɑ going?”*?” hi ˈnɛvər nu ˈwɛðər hi wɑz biɪŋ ˈtɛstɪd baɪ ðə bræs ər spaɪd ɔn baɪ ə ˈnɑtsi. ɔn ˈɔgəst 9 ˈvɪktər kənˈtɪnjud hɪz drəˈmætɪk ˈkɑmənˌtɛri: ðə ˈsɛkənd əˈtɑmɪk bɔm həz bɪn drɑpt. ˌnɑgɑˈsɑki ɪz ʃˈraʊdɪd ɪn ə əv smoʊk. wi ˈwɪʃfəli ɪkˈspɛkt ðə sərˈɛndər tɪ bi əˈnaʊnst ˌmoʊmənˈtɛrəli bət ˈɑnəstli wi ɪkˈspɛkt ɪt wɪl teɪk frəm 30 deɪz tɪ sɪks mənθs. ənˈfɔrʧənətli, aɪ feɪld tɪ deɪt moʊst əv maɪ ˈlɛtərz bɪɔnd əˈsaɪnɪŋ ðɛm ðə deɪz əv ðə wik. hir ɪz pɑrt əv maɪ rɪˈspɑns tɪ ðə nuz: aɪ æm soʊ glæd ðət nɑt ə ˈsikrɪt ˌɛniˈmɔr, ər æt list ˈoʊnli ˈtɛknɪkəl ˈditeɪlz ər ˈsikrɪts. aɪ ˈɔlˌmoʊst tərnd ˈɪntu ən ˈɪndiə ˈrəbər bɔl ɔn ˈmənˌdeɪ wɪn ðə nuz ˈstɔri broʊk ənd ˈsænə feɪ ənd lɔs ˈæləmoʊz meɪd ðə frənt peɪʤ, ənd ˈsəmˌhaʊ, ˈprɑbəˌbli ˌɪˈræʃənəli, aɪ æm ɛz praʊd əv jʊr pɑrt ɪn ðɪs ˈgreɪtəst ˌdɪˈskəvri ɪn ˈhɪstəri ɛz ɪf ɪt hæd bɪn jʊr breɪn ʧaɪld əˈloʊn. jʊr ˌfɪləˈsɑfɪkəl dɪˈskəʃən əv ɪts ˌɪmpləˈkeɪʃənz ɪz soʊ suˈpɪriər tɪ ˈɛniˌθɪŋ aɪ maɪt əˈtɛmpt tɪ seɪ naʊ ðət aɪ wɪl əˈvɔɪd rɪˈdəndənsi. ðə ˈpɑtsˌdæm əˈgrimənts ər aɪ θɪŋk ˈræʃənəl ənd ˈsɛnsəbəl. əv kɔrs ˈtæmpərɪŋ wɪθ ˈnæʃənəl ˈbaʊndəriz ˈkænɑt hɛlp bət kriˈeɪt ˌɪrəˈdɛntɪzəm, bət wi ər feɪst wɪθ ən ˌɪmˈpɑsəbəl ɔlˈtərnətɪv. ɛz fər ˈtrumən: ˈsərtənli nɑt ə daɪˈnæmɪk spiʧ, ˈsərtənli nɑt ən ˈɔrətər, bət ðɛr ɪz ə kwaɪət sɔrt əv ˈkɑnfədɛns ɪn hɪz vɔɪs ənd hɪz weɪ əv ˈstəmbəlɪŋ ˈoʊvər ˌpɑˌlisɪˈlæbɪk wərdz həz aɪ θɪŋk ə ˈgreɪtər əˈpil tɪ hɪz man”*” ðən ˈmægnəˌtɪzəm. ɪz ˈsɔrli mɪst. ðə tərmz əv ðə ˌʤæpəˈniz ˈɑrməstəs wər əˈnaʊnst ɔn ˈɔgəst 15 ðə nɛkst deɪ, ˈlɛtər bɪˈgæn, ðɪs ɪz ðə ˈsɛkənd əv ə ˈtuˌdeɪ drəŋk fər moʊst əv ðə ˈaʊtˌfɪt. ˈmənˌdeɪ naɪt wɑz ə ˈtɛrər wət wɪθ sˈmæʃɪŋ əp ðə ˌrɛkriˈeɪʃən hɔl, ˈlivɪŋ ɔl ðə ˈwɔtər ˈfɔsəts ɔn, ɪn noʊ lɛs sɪˈkludɪd ə pleɪs ðən ðə ˈmɪdəl əv ðə strit. ðə ˈreɪdiˌoʊ sɪz ðət ɪz ɪn ˈwɔʃɪŋtən, ənd ˈrumər hæθ ɪt ðət hi wɪl bək fər ɑr ˈdɪsˌʧɑrʤəz. noʊ ril nuz əˈbaʊt ðət jɛt. maɪn əv ðə seɪm deɪ: bɪn glud tɪ ðə ˈreɪdiˌoʊ ðə ɪnˈtaɪər deɪ. ðət ðə ˈsɛkənd wərld wɔr ɪz ˈoʊvər ɪz stɪl nɑt ˈizi tɪ bɪˈliv, bət ɑr ˌɪˈmiˌdiət riˈækʃən wɑz ˈprɪti kloʊz tɪ tɪrz. ðə ˈpərsɪnəl ˈɛləmənt minz soʊ məʧ tɪ ðɪs ˈfæməli [maɪ θri ˈbrəðərz hæd ɔl sərvd ˈoʊvərˈsiz] hɑrd fər mi tɪ græsp wət ðə sis faɪər ˈɔrdər minz ɔn ə ˈdəzən battlefronts*. aɪ θɪŋk təˈdeɪ əv wət ˈhɑrtˌbreɪk ðɛr məst bi ɪn ðoʊz hoʊmz wɛr pis wɪl nɑt brɪŋ bæk ðə dɛd ənd ˈvɪktəri bɛlz rɪŋ. ˈskɛptɪkəl ðət wi wən ə ˈpərmɑˌnɛnt pis wɪl bi ˈpeɪnfəl ənd keɪˈɑtɪk ənd soʊ ˈmɛni əv ɑr bɔɪz wɪl kəm hoʊm tɪ ˌənɪmˈplɔɪmənt ənd ˌɪnˈfleɪʃən ənd ˈbɪtərnəs. ˈwəndərɪŋ wət wɪl ˈhæpən tɪ lɔs ˈæləmoʊz naʊ ðət ðə wɔr ɪz ˈoʊvər. ðə ˈdʊˈreɪʃən ˈɑbviəsli fər ˈsɛvərəl mənθs. riˈlisɪŋ ˈmɛmbərz əv ðə ɑrmd ˈfɔrsɪz ɪz goʊɪŋ tɪ bi sloʊ, bət ɪf ʤɪst ˈsteɪʃən ju ɔn ðɪs koʊst. aɪ noʊ, drim ɔn. ˈdeɪli ɪksˈʧeɪnʤɪz əˈbaʊt ˈpɑsəbəl deɪts əv ˈdɪsˌʧɑrʤ, ˈivɪn əv ˈækʧəwəl ˈfərloʊ ɪn noʊˈvɛmbər, ˈfɑloʊd. ðɪs ˈɛksərpt frəm ˈvɪktər ɪz ˈdeɪtɪd ˈɔgəst 22 ˈprɑspɛkts əv ˈdɪsˌʧɑrʤ wɪˈθɪn ðə nɛkst jɪr lʊk ˈvɛri rɪˈmoʊt. ˈnəθɪŋ ɪz ˈdɛfənət ənd bi fər 3 mənθs, bət wi hæv ˈɛvəri ˈrizən tɪ ɪkˈspɛkt ə rɔɪəl rɑ dil ˈlidɪŋ pərˈhæps tɪ ˈbeɪsɪk ˈtreɪnɪŋ ɔl ˈoʊvər əˈgɛn ənd gɑd noʊz wət ɛls. ˈminˌwaɪl ðɛr ɪz noʊˈvɛmbər tɪ θɪŋk əˈbaʊt ənd sɔft ˈsɑləs tɪ maɪ soʊl. maɪ rɪˈplaɪ baɪ rɪˈtərn meɪl ɪz ən ˈɛfərt tɪ rɪˈdus ðə glum: naɪn wiks ɪz ʤɪst ˈnəθɪŋ; wiks, nɑt ˈivɪn mənθs, ənd wiks ʃrɪŋk soʊ məʧ mɔr ðən mənθs. ɪt ˈoʊnli teɪks ə fju deɪz tɪ meɪk ə dɛnt ɪn ə wik, wɛˈræz ɪt teɪks wiks tɪ meɪk ə dɛnt ɪn ə mənθ. naɪn ˈlɪtəl wiks, ðɛn ɪt wɪl bi noʊˈvɛmbər ənd ɪt wɪl bi ju. ˈdɑrlɪŋ, nɑt ˌɪnkoʊˈhɪrənt, æm aɪ? ðɛr wər ˈsəbstəntɪv ˈɪʃuz ɛz wɛl. ɔn ðə seɪm deɪ, ðɪs ɪksˈʧeɪnʤ, fərst frəm ˈvɪktər: wərld ɪˈvɛnts sim tɪ bi ˈlidɪŋ tɪ ə ˈprɛsɪpəs, bət nɑt ɛz fæst ɛz ˈnæʃənəl wənz. ˈtrumən ɪz ˈprɑbəˌbli ˈbəkɪŋ fər tərm bət ˈgɑnə hæv ə bɪg ˈprɑbləm ɔn hɪz hænz kəm ðə mæd ˈskræmbəl fər rɑ məˈtɪriəlz, ˈfrænˌʧaɪzɪz, ʤɑbz, ənd ˈdɪsˌʧɑrʤəz. ðə ˈwægnər- ˈməri bɪl [ðə bɪl wɑz ˈnɛvər ɛˈnæktəd] ˈkænɑt ɪn ˌɪtˈsɛlf kriˈeɪt fʊl ɪmˈplɔɪmənt. ə plæn fər ˈɔrdərli ɪz ðə ˈnɛsəˌsɛri ˈpreɪˌlud. ˈoʊnli ə strɔŋ ˌɛkəˈnɑmɪk ˈplænɪŋ kəˈmɪʃən wɪθ əˈθɔrəti tɪ ˌdɪˈsaɪd ənd paʊər tɪ ɛnˈfɔrs rɪˈmidiəl ˈmɛʒərz kʊd ˈhændəl ðə ɪˈnɔrmɪs ˈprɑbləmz kɔzd baɪ pəˈlɪtɪkəl məˈnuvərz. ənd ðɪs frəm mi: ðə əˈbrəpt ˈʃətɪŋ ɔf əv ɪz ə ˈvɛri dɪˈskɔrdənt noʊt. aɪ kʊd ˈʧɪrfəli θˈrɑtəl ˈɛvəri hu sɪŋz ðə ʃʊd wi bi ˈsænə claus”*” tun, ənd ˈwɪlɪŋli frəm ə ˈsoʊpˌbɑks tɪ ˈɛvəri mɪsˈgaɪdɪd mæn ɪn hu ˈlɪsənz ənˈwɪtɪŋli tɪ wɔl strit weɪl. gɑd, ɪf wi du ðə seɪm ˈstupɪd θɪŋz ˈæftər ðɪs wɔr ðət wi dɪd ˈæftər ðə ɪn goʊld, haɪ ˈtɛrəfs, ˈwaɪldˌkæt financing—well*, tərn frəm ðət ənd teɪk ə lʊk æt ðə steɪt əv ɪn fər. ɑr ˈlɛtərz kənˈtɪnjuəli krɔst ɪn ðə meɪl. ɔn sɛpˈtɛmbər 17 ˈvɪktər roʊt ɪnˌθuziˈæstɪkli əˈbaʊt ˈhɛnri ˈwɔlɪs, ˈsɛkrəˌtɛri əv ˈægrɪˌkəlʧər, ðɛn hɪz vaɪs ˈprɛzɪdənt: ˈmɪljən jobs,”*,” ˌpɑrˈtɪkjələrli hɪz rɪˈmɑrks ɔn ðə ˈbəʤɪt ənd ðə laɪf fər all”*” hæv riˈmuvd ɔl daʊt ɪn maɪ maɪnd əv hɪz əˈbɪləˌti tɪ bɪˈkəm ə greɪt ˈprɛzɪdənt. aɪ kʊd kwoʊt fər deɪz ðə θɪŋz ðət hæv ɛnˈdird ɪm tɪ ðə ˈfəŋkʃən əv ðə ˈfɛdərəl ˈgəvərnmənt ɪn ˈstɪmjəˌleɪtɪŋ ˈpraɪvət ˌɪnˈvɛstmənt, ɔn ðə nəˈsɛsɪti əv ˈplænɪŋ ðə ɪˌlɪməˈneɪʃən əv ðə ˈbɪznɪs ˈsaɪkəl wɪˈθaʊt ˈʤɛpərˌdaɪzɪŋ ðə ˈfridəm əv ˌɪˈnɪʃətɪv ɔn ˌɛʤəˈkeɪʃən ɛz ðə ˈbeɪsɪs əv meɪnˈteɪnɪŋ (ər kriˈeɪtɪŋ) pəˈlɪtɪkəl ənd ˌɛkəˈnɑmɪk dɪˈmɑkrəsi, ðə ˈdisənsi əv man.”*.” ðɪs ɪz ə mæn hu həz səkˈsɛsfəli ɛmˈbɛdɪd ə ˈpræktɪkəl kɔrs əv ˈækʃən ɪn ə ˈlɪvɪŋ fəˈlɑsəfi. maɪ ˈlɛtər ɔn ðə seɪm deɪ: ˈɛvəri deɪ ðət θɪŋz lʊk ə ˈlɪtəl ˈgrɪmər aɪ daʊt ðət ˈkæpɪtəˌlɪzəm kən du ðə ʤɑb. aɪ æm əˈfreɪd əv steɪt ˈsoʊʃəˌlɪzəm bət aɪ θɪŋk ðət ɪt ɪz laɪk biɪŋ əˈfreɪd əv ðə dɑrk, ɪn ðət ðeɪ ər boʊθ ˌɪˈnɛvətəbəl. ənd aɪ æm ˈɪnfənətli mɔr əˈfreɪd əv dɪˈprɛʃən, ˌənɪmˈplɔɪmənt, dɪˈspɑndənsi ənd klæs wɔr ðən aɪ æm əv ˈnæʃənəl ˌsoʊʃəˈlɪstɪk ˌɛkəˈnɑmɪk ˈplænɪŋ. ə deɪ ˈleɪtər: deɪz ər ˈɔlˌweɪz nis wɪn ə ˈlɛtər frəm ju bɪˈkəz noʊ ˈmætər haʊ brif ər ˈkɑmənˌpleɪs ju əˈpɑləˌʤaɪz fər ðɛr biɪŋ (gɑd ˈgræmər) ðeɪ ər ˈɔlˌweɪz ˈdɪfərənt ənd ˈɛvəri deɪ aɪ lərn ˈsəmθɪŋ nu, ˈsəmθɪŋ ðət meɪks mi θɪŋk aɪ ˈiðər noʊ ju ə ˈlɪtəl ˈbɛtər ər ɛls ðət, maɪ gɑd, hi ɪz ə kəmˈplit ˈstreɪnʤər tɪ mi. aɪ ˈwəndər ɪf ju ˈɛvər gɪt ðət ˈfilɪŋ. hir wi ər ˈstrəgəlɪŋ ˈgeɪmli tɪ hæŋ ˈɔntu ɑr taɪz tɪ wən əˈnəðər ənd tɪ bɪld ɔn ðɛm ənd aɪ θɪŋk ɪt ɪz ə ˈtrɪbjut tɪ ɑr haɪ skul ˈɪŋlɪʃ ˈtiʧərz ðət wi hæv ˈmænɪʤd soʊ wɛl ðɪs fɑr. ju noʊ, ˈpipəl ˈʤɛnərəli du nɑt du this—*— ðeɪ raɪt tɪ iʧ ˈəðər, jɛs, ənd ðeɪ ər ɪn ləv tu, bət ðeɪ pɪk əp ˈsəbʤɪkts ənd ˈɪntərɪsts ənd daɪˈsɛkt ðɛm ənd dɪˈskəs ðɛm ənd tiz ðɛm aʊt deɪ ˈæftər deɪ. ðə ˈkɑntræst bɪtˈwin ɑr ˈdeɪli lɪvz ˈʃɑrpənd wɪn aɪ rɪˈtərnd tɪ ˈkæbət hɔl. aɪ wɑz ˌɪˈmərst ɪn ən ˈætməsˌfɪr əv wɔrm kəˌliʤiˈælɪti. ˈvɪktər wɑz ˈgraɪndɪŋ aʊt deɪ ˈæftər deɪ ɪn ə ˈbɛrəks ʃɛrd wɪθ 59 ˈəðər dɪsˈgrənəld ˈsoʊlʤərz ɛz ˌɪmˈpeɪʃənt ɛz hi. sɛpˈtɛmbər 18 ˈfaɪnəl wərd: wi ər tɪ steɪ hir ənˈtɪl wi əkˈwaɪər ðə ˈnɛsəˌsɛri ˈnəmbər əv pɔɪnts ər jɪrz əv ˈsərvɪs ˈəndər ðə dɪs- ʧɑrʤ plæn ɛz əˈplaɪd tɪ ðə ˈɑrmi ɛz ə hoʊl. gɪt noʊ ˈspɛʃəl noʊ mɔr ðən wən pɔɪnt ə mənθ ənd soʊ wi goʊ ɔn sˈwɛtɪŋ aʊt ˈɛndləs deɪz əv ˈmɔrbəd məˈnɑtəni ənd ˈbɪtər ˈbɔrdəm. tu days’*’ ˈtrævəl ɪn iʧ hec*- tɪk ənd rɪˈwɔrdɪŋ. wi ˈtrævəld frəm ˈbɔstən tɪ ˌfɪləˈdɛlfiə tɪ əˈnaʊns ɑr ɪnˈgeɪʤ- ment*. ˈvɪktər, proʊ ˈfɔrmə, æst maɪ ˈfɑðər fər maɪ hænd. ə brif ˈdaɪəˌlɔg ɪnˈsud: wʊd ju du ɪf aɪ sɛd no?”*?” gɛs ʤɪst ˈmɛri hər anyway.”*.” ðət keɪs, aɪ seɪ yes.”*.” ə ˈbɑtəl əv ʃæmˈpeɪn wɑz brɔt aʊt, ˈpriviəsli ʧɪld. ˈvɪktər ˈbɑˌroʊd ˈməni frəm hɪz ˈbrəðərɪnˌlɔ fər ə rɪŋ. bæk ɪn lɔs ˈæləmoʊz ɔn noʊˈvɛmbər 28 ˈvɪktər roʊt, ɛz ðɪs deɪ wɔr ɔn, aɪ ˈriəˌlaɪzd aɪ æm ʧeɪnd əˈgɛn ənd ɔl ðə ˈmaʊntənz hæv ɪnˈkloʊzd mi ɪn ə si əv ˈæpəθi, ˈbɪtərnəs ənd ˈlɔŋɪŋ. aɪ æm wəns əˈgɛn ə ˈsoʊlʤər. aɪ wɪl du ðɪs ənd aɪ wɪl du bɪˈkəz wi hæv ə nu poʊst kəˈmændər hu ˈbəlʤɪz wɪθ wɛst pɔɪnt ˈproʊtəˌkɔl. tu deɪz ˈleɪtər, ˈsɛnsərˌʃɪp wɑz ˈlɪftɪd. ɔl maɪ ˈlɛtərz tɪ ˈvɪktər ənˈtɪl ðɛn hæd əraɪvd riˈsild wɪθ ə teɪp ðət rɛd baɪ ju ɛs ˈɑrmi examiner.”*.” ðə feɪs əv ðə ˈɛnvəˌloʊp bɔr ə stæmp ðət rɛd ““passed.”*.” wi hæd ˈrɪtən ˈfrili bæk ənd fɔrθ dɪˈskəsɪŋ ˈmɑrksɪst ˈθɪri, ðə ˈsoʊviˌɛt ˈjunjən, ðə ˈleɪbər ˈjunjən ˈmuvmənt. aɪ wɑz ə fɪrs ˈædvəˌkeɪt fər ðə cio*, ˈhævɪŋ fər ɪts əˈdɑpʃən æt ðə fɔr ˈrɪvər ˈʃɪˌpjɑrd ɪn ˈhɪŋəm, ˌmæsəˈʧusəts, ˈdʊrɪŋ maɪ ˈfrɛʃmən jɪr. ðɪs hæd ərnd mi sərˈveɪləns baɪ ðə ˈɛfˈbiˈaɪ. maɪ ˈfɑðər wɑz ˌɪnˈfɔrmd ðət aɪ wɑz wɪθ communists”*” ənd ˈɔrdərd mi tɪ stɑp ˌvɔlənˈtɪrɪŋ. ˌnɛvərðəˈlɛs, ˈnəθɪŋ ɪn ɑr ˈkæbət feɪ ˈlɛtərz wɑz rɪˈdæktɪd baɪ ðə ˌɪndəˈvɪʤəwəl hu skænd ðɛm. wi wər nɑt ɔn ə wɔʧ lɪst æt ðət taɪm. ˈæftər hi lɛft lɔs ˈæləmoʊz, ˈvɪktər toʊld mi ðɪs tru spaɪ ˈstɔri: iʧ ˈmɔrnɪŋ, ˈwɔkɪŋ θru ðə tɛk ˈɛriə tɪ pɪk əp səˈplaɪz fər ðə fild ˌɑpərˈeɪʃən, hɪz grup wʊd si ˈdeɪvɪd (ˈbrəðərɪnˌlɔ əv ðə spaɪ ˈʤuljəs ˈroʊzənbərg) ˈwərkɪŋ ɔn ə leɪð ˈfæbrɪˌkeɪtɪŋ moʊldz fər ˈkæstɪŋ ðə ɪkˈsploʊsɪv ˈlɛnzɪz. wɪn əˈsɛmbəld, ðiz kəmˈpoʊnənts wʊd fɔrm ə ˈhɑloʊ sfɪr, wɪʧ wʊd kənˈteɪn pluˈtoʊniəm, ðə hɑrt əv ðə ˈfɪʃən bɔm. wən əv ˈkɑligz ˈɔlˌweɪz ˈtɔntɪd ɪm ɛz ðeɪ pæst, ˈkɔlɪŋ, ““hey*,! know?”*?”, hu nu kwaɪt ə lɔt, ˈnɛvər ækˈnɑlɪʤd ðɛr ˈprɛzəns. (ˈæftər ˈdɪsˌʧɑrʤ, ðə ˈɛfˈbiˈaɪ trækt ˈjuˈɛs nən tu ˈsətəli fər əˈbaʊt θri jɪrz, ˈkɔlɪŋ ɔn ɑr ˈneɪbərz ənd peɪɪŋ mi dɪˈrɛkt ˈvɪzɪts waɪl ˈvɪktər wɑz æt wərk. sun ðɛˈræftər, ɪn 1950 wɑz ərˈɛstɪd ənd əˈkjuzd əv spaɪɪŋ fər ðə ˈsoʊviˌɛt ˈjunjən. wi ˈnɛvər ˈlərnɪd ˈwɛðər ðə sərˈveɪləns wɑz ˈkɛrid aʊt ɔn ɔl ɪn ðə ˈspɛʃəl ˈɛnʤəˈnɪrɪŋ dɪˈtæʧmənt əv wɪʧ hæd bɪn ə ˈmɛmbər ər ˈwɛðər wi hæd bɪn ˈspɛʃəli səˈlɛktɪd.) ɔn dɪˈsɛmbər 6 aɪ roʊt, ˈrɛdɪŋ ðə ˈmɔrnɪŋ taɪmz ðiz deɪz ɪz ˈpeɪnfəl ənd ˈpɑləsi ɪn ˈʧaɪnə, kərˈəpʃən ɪn ˌkɔˈriə, ə lɔt əv ˈstupɪd ˈpipəl əp ɪn ɑrmz ənd ˈrɛdi tɪ faɪt ˈrəʃə təˈmɑˌroʊ, ˌeɪʒiˈætɪk ˈnæʃənəˌlɪzəm ˈbəstɪŋ aʊt ɔl ˈoʊvər, ˌlɛʤəsˈleɪʃən ɔn dɛsk, ən ˌənɪnˈfɔrmd ˈpəblɪk ˈrɛdi tɪ ˈsæŋkʃən ə reɪs ɪn əˈtɑmɪk ˈɑrməmənt. raɪt ɔn daʊn tɪ ðə ˌɪnˈsaɪd peɪʤ wɛr ðə ɪz ˈblæstɪŋ ðə prəˈpoʊzd ˈnæʃənəl hɛlθ ˌɪnˈʃʊrəns ˈproʊˌgræm. aɪ ˈwəndər ɪf, wɪn ju krɔl ˈɪntu bɛd æt naɪt, jʊr maɪnd tərnz ˈistwərd ɛz maɪn dɪz ˈwɛstwərd. ju ər wɪθ mi ˈɔlˌweɪz ɪn ə ˈhənərd ˈdɪfərənt weɪz. wi bɪˈgæn ˈplænɪŋ 10 deɪz ɪn ˈsænə feɪ, wɛr aɪ wʊd steɪ ɪn ˈbɛtər ðən ə y”*” ənd wərk ɔn maɪ ˈθiˌsɪs. aɪ ˈivɪn meɪd ˈtɛntətɪv pleɪn ˌrɛzərˈveɪʃənz; ˈbrəðərɪnˌlɔ hæd ˈɔfərd tɪ lɛnd mi fɛr. ɪt wʊd bi ˈrɛdɪŋ ˈpɪriəd, wɪʧ mɛnt aɪ wʊd hæv tɪ mɪs ˈoʊnli tu ˈklæsɪz. ˈvɪktər kʊd kəm daʊn ðə hɪl fər tu ˈwiˌkɛndz. ɔn dɪˈsɛmbər 13 maɪ bæd nuz: aɪ mɛt wɪθ prof*. [ˈɛliət] ˈpərkɪnz ðɪs ˈmɔrnɪŋ ənd dɪˈskəvərd tɪ maɪ səˈpraɪz ðət ðə ˈθiˌsɪs ɪz əˈpɑn mi. du æt ˈtaɪpɪst ˈfɛbjəˌwɛri. 28th*. ˈtutər wɔnts tɪ si fərst dræft ʤæn. 3 prɪˈpɑstərəs. gɑt ɪt muvd əˈhɛd tɪ ðə 10th*. stɪl prɪˈpɑstərəs. aɪ hæv meɪd ə stɑrt ənd wɪl bi æt ɪt ˈhæmər ənd tɔŋ ˈɛvəri ˈmɪnət frəm naʊ tɪl ðɛn. aɪ æm goʊɪŋ hoʊm frəm ðə tɪ ðə ənd ðɛn məst kəm bæk, ˈbɛri ˌmaɪˈsɛlf ɪn ˌaɪsəˈleɪʃən æt. [ˈdɔrməˌtɔri əv ðə ˈhɑrvərd dɪˈvɪnəti skul] ənd wɪl traɪ hɑrd. ɪf ɪt ɪz ˈfɪzɪkəli ˈpɑsəbəl gɪt hɪz dæm dræft. bət ˈsænə feɪ, maɪ ˈdɑrlɪŋ, aɪ kəm. ˈsəmˌhaʊ aɪ wɪl gɪt θru ənˈtɪl meɪ wɪˈθaʊt ju ənd aɪ fil məʧ wərs fər ðə ˌdɪsəˈpɔɪntmənt ɪt wɪl bi tɪ ju ðən aɪ du fər ˌmaɪˈsɛlf. aɪ æt list hæv ˈkeɪmbrɪʤ ənd ðə gʊd laɪf tɪ kip mi goʊɪŋ, ənd ju ˈivɪn hæv ðət. ə haɪˈeɪtəs ɪn ˈlɛtərz əˈkərd bɪtˈwin dɪˈsɛmbər 18 ənd ˈʤænjuˌɛri 10 ðə lɔs ˈæləmoʊz ˈwɔtər laɪnz, wɪʧ hæd bɪn leɪd aboveground*, froʊz ˈdʊrɪŋ ən ˌənɪkˈspɛktɪdli proʊˈtræktɪd koʊld snæp. ə dip wɛl wɑz dəg ɪn ðə ˈvæli fit bɪˈloʊ ðə læb, ənd mɪlk trəks wər ˈkɑntræktəd tɪ brɪŋ ɪˈnəf ˈwɔtər əp tɪ ðə hɪl tɪ meɪnˈteɪn ɛˈsɛnʃəl ˈsərvɪsɪz. sɪns ðə trək ˈɛnʤənz wər ˈbərnɪŋ aʊt æt ə proʊˈhɪbətɪv reɪt əˈlɔŋ ðə stip ˌɪnˈklaɪn, ðə dɪˈsɪʒən wɑz ˈteɪkən tɪ ˈdræstɪkli rɪˈdus ðə ˈnəmbər əv ˌpərsəˈnɛl ənˈtɪl ˈwɔtər floʊ kʊd bi rɪˈstɔrd. ˈvɪktər wɑz wən əv ðə ˈləki ˈsoʊlʤərz səˈlɛktɪd tɪ rɪˈsiv ən ˈɛkstrə ˈfərloʊ. ɪt wɑz ˈkrɪsməs wik. ðə wɔr wɑz ˈoʊvər. ˈsərvɪs mem*- wər biɪŋ ˈdɪsˌʧɑrʤd, ənd hoʊl ˈfæməliz wər ɔn ðə muv. kənˈʤɛsʧən ɔn ðə ˈreɪˌlroʊdz wɑz ˌoʊvərˈwɛlmɪŋ. ˈpæsənʤərz pækt ðə aɪəlz; səm klaɪmd ˈɪntu ðə ˈoʊvərˈhɛd ˈbægɪʤ ræks. ˈsoʊlʤərz ˈreɪdɪd ðə ˈdaɪnɪŋ kɑr ɔn ˈbɔrdɪŋ; ðɛr wɑz noʊ fud əˈveɪləbəl ɛn rut. ˈvɪktər ˈmænɪʤd tɪ baɪ ˈsænwɪʧɪz ənd koʊks θru ðə koʊʧ ˈwɪndoʊ wɪn ðeɪ stɑpt æt ˈsteɪʃənz əˈlɔŋ ðə weɪ. hi ˈtrævəld ist fər θri deɪz, ˈstændɪŋ fər məʧ əv ðət taɪm, ˈfaɪnəli ərˈaɪvɪŋ æt maɪ parents’*’ haʊs æt 4 a.m*. ɔn dɪˈsɛmbər 22 ənˈwɑʃt, ənˈʃeɪvən, ənd ˈvɛri ˈhəŋgri. hi məst hæv ˈtɛləˌgræft æt səm pɔɪnt əˈlɔŋ ðə weɪ, bɪˈkəz aɪ nu hi wɑz ˈkəmɪŋ, bət nɑt wɪn. wi rɪˈtərnd tɪ ˈkeɪmbrɪʤ ðə deɪ ˈæftər ˈkrɪsməs, aɪ tʊk əp ˈrɛzɪdəns ɪn ðə dɔrm æt ðə dɪˈvɪnəti skul, ənd ˈvɪktər leɪd aʊt ðə ˈfɑloʊɪŋ ˈskɛʤʊl. aɪ wɑz tɪ wərk ɔn maɪ ˈθiˌsɪs ˈɛvəri deɪ frəm naɪn tɪ faɪv. hi wʊd əraɪv æt faɪv, ənd wi wʊd goʊ aʊt fər ˈdɪnər ənd bi təˈgɛðər ənˈtɪl ˈmɪdˌnaɪt. ðə bɑr æt ðə ˌlɑfiˈɛt hoʊˈtɛl kənˈtɪnjud tɪ sərv ɛz ɑr ˈhæˌŋaʊt. ðɪs ˈrɪgərəs ərˈeɪnʤmənt wərkt wɛl. baɪ ðə taɪm ˈvɪktər dɪˈpɑrtɪd ɔn ˈʤænjuˌɛri 9 aɪ hæd ə dræft əv ðə ˈtaɪtəld ənd ðə proʊˈtægənəst ɪn ðə ˈnɑvəlz əv ˈstɛndɑl ənd dostoyevsky”*” ənd wɛnt ɔn ˈəndər ðə ˈgaɪdəns əv maɪ ˈtutər, ˈhɛri ˈlɛvɪn, tɪ kəmˈplit ɪt. ðə ˈhæzərdz əv reɪl ˈtrævəl kənˈtɪnjud. ɔn ˈʤænjuˌɛri 10 ˈvɪktər roʊt frəm ðə ˈreɪˌlroʊd ˈsteɪʃən ɪn luɪs: əraɪvd hir fɔr aʊərz leɪt ɪnˈkaʊnərd ə rɛk ɪn oʊˈhaɪoʊ, gɑt riˈrutɪd θru ˌæləˈbæmə,[!] mɪst ðə tɪ ˌkɑlərˈɑdoʊ ˈweɪtɪŋ naʊ fər ðə tɪ ˈkænzəs ˈsɪti ʃʊd hɪt ˈsænə feɪ 11 a.m*. ˈsæˌtɪˌdeɪ. ʤɪst minz ˈsaɪnɪŋ ɪn 12 aʊərz leɪt, ˈrɪskɪŋ k.p*. ðə nɛkst deɪ hi kənˈtɪnjud hɪz ˈsɑgə: hɑpt ðə ˈkætəl kɑr ɪn ˈkænzəs wɪθ ə ˈpaɪlət ˈoʊvər ə ˈlikɪŋ stim ə ˈpɔrtər hu gɑt ˈjuˈɛs ə ˈlɪtəl dil əp frənt ɪn ə ʧɛr kɑr wi ʃɛrd its ənd sits ənd sˈwɛtɪd aʊt ðə ˈtɔrʧəwəs raɪd təˈgɛðər. ðə ˈbɛrəks, ɛz ɪkˈspɛktɪd, ɪz stɪl ˈbərstɪŋ wɪθ ˌɪˈneɪn ˌɪnˈvɛktɪv. wərk kənˈdɪʃənz ər əˈpɛrəntli ðə seɪm. ðɛr ɪz ə plæn ɪn ˌɑpərˈeɪʃən wɛrˈbaɪ mɛn kən bi ˈdɪsˌʧɑrʤd tɪ teɪk ʤɑbz hir ˈəndər ˈkɑnˌtrækt tɪl ʤun 30th*. ˌɔlˈðoʊ ɪt ˈsaʊndɪd ˈtɛmptɪŋ, ˈvɪktər rɪˈʤɛktɪd ðɪs ˈɔpʃən. hi wɑz dɪˈtərmənd nɑt tɪ pɑrˈtɪsəˌpeɪt ɪn ˈstɑkˌpaɪlɪŋ əˈtɑmɪk ˈwɛpənri. ˌɪˈnɪʃəli, hɪz grup wɛnt aʊt ɔn ðə ˈmeɪsə iʧ deɪ tɪ ə saɪt wɛr ɪt hæd wərkt ɔn lɛnz ɪkˈsploʊʒənz ənd pleɪd təʧ ˈfʊtˌbɔl ˌɪnˈstɛd. ə nu grup ˈlidər, ə ˈfɔrmər ˈneɪvəl ˈɔfɪsər, θˈrɛtənd tɪ hæv ɪm fər ðɪs. ˈnəθɪŋ keɪm əv ðə θrɛt. ˈəltəmətli ˈvɪktər wɑz ˌriəˈsaɪnd tɪ ðə proʊˈkjʊrmənt dɪˈpɑrtmənt ənd ˈgɪvɪn ruˈtin ˈdutiz. ðə rɪˈmeɪnɪŋ mənθs ɪnʧt pæst ɔn ðə hɪl. ˈsəmˌtaɪmz ˈvɪktər wɑz ˈeɪbəl tɪ proʊˈkjʊr ə ˈtaɪˌpraɪtər, wən ðət ˈdɛspərətli ˈnidɪd ə nu ˈrɪbən, bət ðə nuz wɑz nɑt ˈlaɪkli ˌbiˈfɔr hi hæd kəmˈplitɪd hɪz 24 mənθs əv ˈsərvɪs. ɪn ˈkeɪmbrɪʤ, aɪ ˌəndərˈwɛnt orals*, ɪgˈzæmənd baɪ prəˈfɛsərz ˈmaɪkəl karpovich*, kreɪn ˈbrɪntən, ənd ˈhɛri ˈlɛvɪn. noʊ wərdz, ˈdɑrlɪŋ, kʊd ˈrɛkriˌeɪt fər ju ðə ˌdaɪəˈbɑlɪkəl ˈhɔrər. ɪt wɑz ə ˈvɛri rɪˈfaɪnd ˈtɔrʧər. ðə ˈvɪktɪm wɑz əˈlaʊd tɪ krɔs hər lɛgz ənd smoʊk ˌsɪgəˈrɛts ənd ˈivɪn bloʊ hər noʊz ʃʊd ʃi fil soʊ ˌɪnˈklaɪnd. ˈɛvəri taɪm aɪ sɛd jɛs aɪ ʃʊd hæv sɛd noʊ ənd ˈkɑnvərsli. wɪn ˈlɛvɪn æst mi wət ənd ˈtoʊlˌstɔɪ kˈwɔrəld əˈbaʊt, aɪ smaɪld sˈwitli ənd æst, dɪd ðeɪ kˈwɔrəl? ˌðɛrəˈpɑn maɪ ˈmægnə flu aʊt ðə ˈwɪndoʊ. hɪˈstɔrɪkəl fækt: ˈtoʊlˌstɔɪ ˈʧælənʤd tɪ ə duəl ˈoʊvər ðə ˌɪlɪˈʤɪtəmɪt ˈdɔtər bət ˈleɪtər əˈpɑləˌʤaɪzd. ʤɪst ˌbiˈfɔr dɪˈpɑrtɪŋ, ˈvɪktər roʊt, ðɪs ɪz ðə læst ˈlɛtər aɪ wɪl raɪt tɪ ˈkæbət hɔl ənˈlɛs səm tˈwɛnti jɪrz hɛns wi hæv ə ˈdɔtər əv ɑr oʊn goʊɪŋ θru wət ju hæv ʤɪst ˈfɪnɪʃt ənd ju ər ˈvɪzɪtɪŋ hər. ɔn ʤun 5 aɪ ˈgræʤəˌweɪtɪd kəm lɔd frəm ˈrædklɪf ˈkɑlɪʤ. ðə nɛkst deɪ, maɪ ˈbərθˌdeɪ, ˈvɪktər wɑz ˈdɪsˌʧɑrʤd. wi wər ˈmɛrid ɪn ˌfɪləˈdɛlfiə ɔn ʤun 29 tu wiks ˈleɪtər, wi muvd ˈɪntu ə ˈbɛrli ˈfərnɪʃt əˈpɑrtmənt ɪn wʊdz hoʊl ɪn ðə oʊld juz. ˈbjʊroʊ əv ˈfɪʃəriz ˈbɪldɪŋ. æt naɪt, silz bɑrkt ˈaʊtˈsaɪd ɑr ˈbɛˌdrum ˈwɪndoʊ. ˈɛvəri ˈəðər ˈmɔrnɪŋ ðə ˈaɪsmæn keɪm wɪθ ə frɛʃ blɑk fər ɑr ˈwʊdən ˈaɪsˌbɑks. mit wɑz stɪl ˈræʃənd, bət wi daɪnd ɔn ˈflaʊndər wi kɔt ɔf ðə wɔrf. ˈməsəlz ənd klæmz wər əˈbəndəntli əˈveɪləbəl. ˈvɪktər keɪm hoʊm fər lənʧ ˈɛvəri deɪ frəm ðə ˌoʊʃənəˈgræfɪk ˌɪnstɪˈtuʃən, 50 jɑrdz əˈweɪ. wi ˈnɛvər roʊt tɪ iʧ ˈəðər əˈgɛn. |
for half a century referred to in the family as the long-lost love letters, they were only recently discovered in the most predictable location—the farmhouse attic, snugged under several abandoned picture frames that formed a false bottom in an old metal camp trunk. remarkably, thanks to their insulated incarceration, they survived in fragile but still-legible condition—575 letters exchanged between cabot hall, cambridge, massachusetts, where i was a junior at radcliffe college, and p.o. box 180, santa fe, new mexico, where victor, a harvard graduate, was a sergeant in the u.s. army. the santa fe address was a fiction, one that the top brass worked hard to preserve; victor was actually stationed “on the hill,” as it was locally known, at the los alamos laboratory, where he was one of the soldier-scientists working to develop the atomic bomb.
we met on patriots’ day, april 19, 1945, on a blind date. during the five remaining days of victor’s furlough, there was no war. we did not speak of fdr, one week dead. we did not know that v-e day lay two and a half weeks ahead. we walked for miles along the charles river. we went to the zoo. we went to the ballet. evenings we repaired to a booth in the dark fastness of the hotel lafayette bar, nursing drinks until my curfew loomed: 10 o’clock on weekdays, midnight on weekends. was this called falling in love in less than one week? or was this marvell’s “vegetable love” that would “grow vaster than empires, and more slow?” we had months and months to find out.
in his first letter, victor described his heroic route back to new mexico—one train from boston to st. louis, another to kansas city, a third to pueblo, colorado, followed by a bus to santa fe: “the road back” was not nearly as unpleasant as i had expected but for a four hour stretch of standing on my head (it was the only way i could fit into the car). … the bus trip from pueblo to santa fe … was nothing less than overpowering. as we rode easily down from las vegas to santa fe the metamorphosis from day to night took place painlessly as the brilliant sunset faded. and then the mountains, particularly “starvation peak,” standing erect in all their war-like glory. there was so much beauty that only a poet or a painter could capture it—the pueblo huts, the farms, and most of all the native mexican indians, people living life on their doorsteps and in their huts lit by kerosene lamps.
he is careful not to mention the last leg of the journey, a 36-mile climb up to los alamos, set more than 7,000 feet above sea level on a high desert plateau. once it had been a boys’ boarding school, a site laboratory director j. robert oppenheimer had chosen for its seclusion. now it housed the labs, machine shops, barracks, and dining facilities that had transformed the mesa into a bustling town.
on may 8, the war in europe ended. i wrote the following to victor: at 12:30 today a sea of white-capped officers and waves and army boys stood at attention in the yard facing the steps of mem[orial] chapel and the student body and good citizens of cambridge stood on the steps of widener. [dean willard] sperry [of harvard divinity school] was at his simple best and altho it always strikes me that there is something incongruous in hearing the words of an unknown deity echo hollowly thru a scientific apparatus known as a loudspeaker, it was a fine thing to hear these hundreds and hundreds of people sing their national anthem, while the choir on the chapel steps with their crimson and black robes flapping in the breeze made themselves heard over all the rest. long sentences always seem to get the better of me, don’t they? especially today, i think, because i was really so impressed. there was a color guard of old glory and the harvard crest and sailors with guns—and high over university hall three magnificent huge flags are flying—the stars and stripes, the unionjack, and … the hammer and sickle. yup, the red flag high in harvard yard. there was a bright spring sun and the lawns had been freshly cut, the yard a huge mass of people full of a warm relief, if not elation, the chapel bells and the organ music … we were rather carried away with it all. people seemed to be less jubilant than thoughtful, tho, knowing we are only halfway thru the job.
his rather doleful reply presents a sharp contrast: thanks for the wee bit of godliness. v-e day was celebrated here in the same spirit, but a different manner. free beer and sandwiches; a little guzzling, a movie, to bed. and so i honored the end of the european war.
our early letters cautiously skirted mention of the intimacy that had begun to develop between us. we set about exploring half a dozen schemes to see each other again as soon as possible. a trip to little rock, where my oldest brother was stationed after serving in the north african and italian campaigns, seemed feasible. i would keep his wife company and help with the new baby (i knew nothing about babies). i concocted a trip to amarillo, texas, where my newly divorced uncle was a captain in the army and his daughter, bobby, my girlhood chum, was a dental technician. the price exacted for the train ticket to amarillo, bought by my reluctant parents, was for me to spend two weeks in little rock on baby duty afterward.
on june 11: i asked bobby to wire me about reservations in amarillo; if the fates are kind, i’ll arrive there on wednesday the 27th and leave there for little rock the following monday. if i don’t sound too excited about it, the fault is all oscar’s [my typewriter] because he’s all tuckered out from typing a 30-page paper on imagery in henry james and so you mustn’t expect too many !!!s from him. the enthusiasm is all ours, vic, but i must admit that mine is very tempered with a weight of responsibility … which amounts in my befuddled brain to being “mature and sensible.” … i’ll be on pins and needles until i hear from you definitely. i guess i just can’t believe that our plans are working out, and that may account for my sobriety. it seems too good to be true that we’ll see each other again in just about two more weeks.
victor is almost as somber: this will probably be the last letter you’ll receive before i leave, if all goes well. since i cannot fly without priority and priority is limited to officers, it means a twelve-hour bus trip which should get me to amarillo 7:00 a.m. thurs- day, june 28. the inevitable return must begin at noon sunday. … and so, pursuing my normal routine of reveille, inspection, retreat i try to speed the burning of the days left before i see you. the bad feature of this, of course, is that the process of combustion will accelerate beginning june 27th and almost before it has begun, my 3-day pass will be over.
only a few hours after i settled into bobby’s apartment, a western union telegram was delivered, dated 7:02 p.m. june 27: “pass schedule scrambled arrive midnight tonight will try to reach you stay awake vic”
neither of us remembers the moment of our reunion, although i am certain either bobby or my uncle shepherded me to the bus terminal. i know that we spent the rest of the night in separate quarters. i was assigned the pullout couch in my cousin’s living room, and victor was shunted elsewhere.
it was 105 degrees in amarillo the next day. my uncle lent us his car, and we spent several hours in an air-conditioned cinema, making out in the back row. when we exited, victor had forgotten where he had parked the car. i remembered only that it was green. it took us half an hour to find it.
the day before victor was to return, my uncle, on his own initiative, used his connections to reserve a prepaid hotel room for us in albuquerque. perhaps the fact that he was cohabitating with an army wac elicited his sympathy for the lovelorn pair. we were surprised and grateful; the distance victor had to travel back to santa fe would be narrowed, thus extending his leave. we took a late-night bus, which broke down in the desert. while the driver spent an hour with his head under the vehicle’s hood, the passengers all disembarked to enjoy the cool air. there was a gibbous moon. the cactus roses were in bloom. twenty-four hours of privacy in albuquerque ensued.
we both wrote to each other on july 2. victor had seen me off an hour before his bus was scheduled to leave. my letter begins, although i only left you some hours ago, it seems much longer and alby and the weekend far away. … [t]his is not the way to start a letter to you, sweet, telling you that i miss you and i love you—but just wait. i’ll think of something else to say yet.
his letter is just as lovesick: to have seen you cry was the greatest thrill of my life … one of the things i shall never forget. … and now the everlasting struggle, the gnawing wait. … i’d like to be completely senseless for eight months. but since that’s impossible, i’ll conjure you up wherever i go. the pleasure of seeing you in every tree, in every cloud and every mountainside—that will have to keep me sane.
i was home in philadelphia with my parents, struggling to get through the several weeks before i could return to cabot hall, when the news broke. august 7: well, the most exciting news of the war—and of all time—broke today: the atomic bomb. we’ve been glued to the radio since 5 o/c when we first got news of it. somehow the idea of harnessing the atom is almost too big to get around in a single thought—and it carries a lot of sobering thoughts with it. obviously the nation that was first to discover the secret is the conqueror; and along with the confident thought that the war with japan is now just about a fait accompli comes the tremendous realization that man has finally discovered how to destroy civilization. i don’t know if the comprehension of this will be the necessary restraining influence on a world armed to the teeth—on a world that suddenly awakens to a vast new knowledge that will revolutionize warfare. … i have that “milton, thou shouldst be living at this hour” feeling. … what a horrible world this is when mass extermination comes to be spoken of so calmly and with such calculation.
a powerful moment of dramatic irony here—i obviously had no idea that victor’s “doing something technical” in santa fe involved him in the development and detonation of the atomic bomb.
victor, the same day: one ear is still glued to the radio speaker. over and over i’ve heard it. … this is it, and my emotions vacillate between ecstasy and real nausea. … [m]y uncle’s three words, war is obscene, apply more than ever. and this, though it is the crowning achievement not only of the past year’s trials but also of much of the time i spent at woods hole, makes me sick. here i am, wallowing in the success of the most daring experiment ever attempted and the most important development in the history of civilized man. what it all means politically, economically, morally is earthshaking. … the successful mastering of the technique for releasing atomic energy (fission) can make life on earth vastly better—or it can destroy it. … i am naively proud to have contributed to it. july 16 was the first test—made here on the new mexico desert at alamogordo—and we stayed up all night to await the flash which was supposed to be visible in a radius of one hundred miles. news of its success made us want to write to everyone too soon but we were still bound to secrecy. we knew it would be only weeks before the launching over japan.
but there was more. one day later: dr. oppenheimer thanked the men of the special engineering detachment [to which victor belonged], making it clear to everyone that detonating the bomb could not have been accomplished without their assistance. … for half an hour he spoke on the moral aspect of the discovery—of his intense hope these past months that the japanese would surrender before the bomb could be dropped … that america is now using this awful weapon was decided by the highest men in government … that the necessity for using it makes the cruelty of it no less sickening, that the thought of killing perhaps a quarter of a million people in one blow rests heavily on his soul. he also stressed that possession of the fundamentals belonged to no one group of men. such talk renews my faith in humanity. … you’re now free to tell anyone where i am and what i’ve been working on and also to discuss anything that is revealed publicly.
this was the first time i had heard of woods hole, or the circuitous path that led from victor’s graduation in 1943 to los alamos in september 1944. initially he planned to volunteer for the naval air corps before he could be drafted into the army, but e. bright wilson jr., the professor of physical chemistry who had been his adviser at harvard, discouraged him. wilson asked, would you rather be a dead hero or make a significant contribution to the war effort? he offered victor a chance to join his group at the oceanographic institution on cape cod, where he was the director of the woods hole underwater explosives research lab.
victor rented a room in a retired fisherman’s house. he and the other bachelors on the staff ate in an old dutchland farms ice cream shop, where their meals were prepared. at some point, three of his colleagues disappeared overnight, their living quarters mysteriously vacated. a steady stream of visitors from the navy and elsewhere came to follow the program’s evolution. george kistiakowsky, a harvard physical chemistry professor, dropped in several times to consult with wilson. they discussed the progress of victor’s underwater detonation experiments.
and then in june 1944, the hammer fell. even though wilson and other woods hole higher-ups tried to get him deferred, victor’s draft board was determined to meet its quota. he was summarily drafted into the army and sent on june 6, the day of the cross-channel invasion by the allies, to fort devens, massachusetts. from there he was shipped to alabama for basic training in the infantry. after 16 weeks of up to 25-mile marches with a 20-pound pack, he was called back from final field maneuvers, given a train ticket to santa fe, ordered not to talk about his destination to anyone en route, and on arrival to call a local telephone number from a specific public telephone booth.
victor never knew who ordered him plucked from the infantry and reassigned to los alamos, but when he met them on the hill the morning after he arrived, he felt certain it was his two harvard professors, wilson and kistiakowsky. a few days later, he encountered the colleagues who had gone missing from woods hole.
i don’t know when i found out these details, certainly not until the war was over. whatever victor was doing in santa fe, he couldn’t talk about it. he couldn’t talk about the male civilian, a putative german spy, who visited the woods hole facility and went from room to room chatting with lab personnel. or that a chain-link fence went up overnight and a guard was posted at the only entrance to the institute the next day. he couldn’t talk about the person who sidled up to him at the harvey house restaurant stopovers en route to santa fe, each time asking, “hey, soldier. where ya going?” he never knew whether he was being tested by the brass or spied on by a nazi.
on august 9, victor continued his dramatic commentary: the second atomic bomb has been dropped. nagasaki is shrouded in a death-pall of smoke. we wishfully expect the surrender to be announced momentarily but honestly we expect it will take from 30 days to six months.
unfortunately, i failed to date most of my letters beyond assigning them the days of the week. here is part of my response to the news: i am so glad that you’re not a secret anymore, or at least only technical details are secrets. i almost turned into an india rubber ball on monday when the news story broke and santa fe and los alamos made the front page, and somehow, probably irrationally, i am as proud of your part in this greatest discovery in history as if it had been your brain child alone. your philosophical discussion of its implications is so superior to anything i might attempt to say now that i will avoid redundancy. … the potsdam agreements are i think rational and sensible. of course tampering with national boundaries cannot help but create irredentism, but we are faced with an impossible alternative. as for truman: certainly not a dynamic speech, certainly not an orator, but there is a quiet sort of confidence in his voice and his way of stumbling over polysyllabic words has i think a greater appeal to his “common man” than fdr’s magnetism. fdr is sorely missed.
the terms of the japanese armistice were announced on august 15. the next day, victor’s letter began, this is the second of a two-day drunk for most of the outfit. monday night was a terror what with smashing up the recreation hall, leaving all the water faucets on, stripteasing in no less secluded a place than the middle of the street. … the radio says that oppy is in washington, and rumor hath it that he will buck for our discharges. no real news about that yet.
mine of the same day: we’d been glued to the radio the entire day. … that the second world war is over is still not easy to believe, but our immediate reaction was pretty close to tears. the personal element means so much to this family [my three brothers had all served overseas] … it’s hard for me to grasp what the cease fire order means on a dozen battlefronts. i think today of what heartbreak there must be in those homes where peace will not bring back the dead and victory bells ring hollowly. … i’m skeptical that we haven’t won a permanent peace … reconversion will be painful and chaotic and so many of our boys will come home to unemployment and inflation and bitterness. … i’m wondering what will happen to los alamos now that the war is over. the duration obviously won’t durate for several months. … releasing members of the armed forces is going to be slow, but if they’d just station you on this coast. … i know, dream on.
daily exchanges about possible dates of discharge, even of actual furlough in november, followed. this disconsolate excerpt from victor is dated august 22: prospects of discharge within the next year look very remote. nothing is definite and won’t be for 3 months, but we have every reason to expect a royal raw deal leading perhaps to basic training all over again and god knows what else. … meanwhile there is november to think about and that’s soft solace to my soul.
my reply by return mail is an effort to reduce the gloom: nine weeks is just nothing; it’s weeks, it’s not even months, and weeks shrink so much more perceptibly than months. it only takes a few days to make a dent in a week, whereas it takes weeks to make a dent in a month. nine little weeks, then it will be november and it will be you. … darling, i’m not incoherent, am i?
there were substantive issues as well. on the same day, this exchange, first from victor: world events seem to be leading to a precipice, but not as fast as national ones. truman is probably bucking for term ii but he’s gonna have a big problem on his hands come the mad scramble for raw materials, franchises, jobs, and discharges. the wagner- murray bill [the wagner-murray-dingell bill was never enacted] cannot in itself create full employment. … a plan for orderly reconversion is the necessary prelude. … only a strong economic planning commission with authority to decide and power to enforce remedial measures could handle the enormous problems caused by truman’s political maneuvers.
and this from me: the abrupt shutting off of lend-lease is a very discordant note. i could cheerfully throttle every big-businessman who sings the “why should we be santa claus” tune, and willingly orate from a soapbox to every misguided man in shirtsleeves who listens unwittingly to wall street wail. god, if we do the same stupid things after this war that we did after the other—reparation in gold, high tariffs, wildcat financing—well, turn from that and take a look at the state of unpreparedness we’re in for reconversion.
our letters continually crossed in the mail. on september 17, victor wrote enthusiastically about henry wallace, fdr’s two-term secretary of agriculture, then his third-term vice president: wallace’s “sixty million jobs,” particularly his remarks on the budget and the “fuller life for all” have removed all doubt in my mind of his ability to become a great president. … i could quote for days the things that have endeared him to me—on the function of the federal government in stimulating private investment, on the necessity of planning the elimination of the business cycle without jeopardizing the freedom of initiative … on education as the basis of maintaining (or creating) political and economic democracy, the “fundamental decency of man.” … this is a man who has successfully embedded a practical course of action in a living philosophy.
my letter on the same day: every day that things look a little grimmer i doubt … that capitalism can do the job. i am afraid of state socialism but i think that it is like being afraid of the dark, in that they are both inevitable. and i am infinitely more afraid of depression, unemployment, despondency and class war than i am of national socialistic economic planning.
a day later: days are always nice when there’s a letter from you because no matter how brief or commonplace you apologize for their being (god wot grammar) they are always different and every day i learn something new, something that makes me think i either know you a little better or else that, my god, he is a complete stranger to me. i wonder if you ever get that feeling. here we are struggling gamely to hang onto our ties to one another and to build on them and i think it is a tribute … to our high school english teachers that we have managed so well this far. you know, people generally do not do this— they write to each other, yes, and they are in love too, but they don’t pick up subjects and interests and dissect them and discuss them and tease them out day after day.
the contrast between our daily lives sharpened when i returned to cabot hall. i was immersed in an atmosphere of warm collegiality. victor was grinding out day after day in a barracks shared with 59 other disgruntled soldiers as impatient as he. september 18: final word: we are to stay here until we acquire the necessary number of points or years of service under the dis- charge plan as applied to the army as a whole. we’ll get no special consideration—and no more than one point a month … and so we go on sweating out endless days of morbid monotony and bitter boredom.
victor’s two-week furlough—minus two days’ travel in each direction—was hec- tic and rewarding. we traveled from boston to philadelphia to announce our engage- ment. victor, pro forma, asked my father for my hand. a brief dialogue ensued: “what would you do if i said no?” “i guess i’d just marry her anyway.” “in that case, i say yes.” a bottle of champagne was brought out, previously chilled. victor borrowed money from his brother-in-law for a ring.
back in los alamos on november 28, victor wrote, as this day wore on, i realized i am chained again and all the mountains have enclosed me in a sea of apathy, bitterness and longing. … i am once again a soldier. i will do this and i will do that—all because we have a new post commander who bulges with west point protocol.
two days later, censorship was lifted. all my letters to victor until then had arrived resealed with a tape that read “opened by u s army examiner.” the face of the envelope bore a stamp that read “passed.” we had written freely back and forth discussing marxist theory, the soviet union, the labor union movement. i was a fierce advocate for the cio, having leafletted for its adoption at the fore river shipyard in hingham, massachusetts, during my freshman year. this had earned me surveillance by the fbi. my father was informed that i was “consorting with communists” and ordered me to stop volunteering.
nevertheless, nothing in our cabot hall–santa fe letters was redacted by the individual who scanned them. we were not on a watch list at that time. after he left los alamos, victor told me this true spy story: each morning, walking through the tech area to pick up supplies for the day’s field operation, his group would see david greenglass (brother-in-law of the ill-fated spy julius rosenberg) working on a lathe fabricating molds for casting the explosive lenses. when assembled, these components would form a hollow sphere, which would contain plutonium, the heart of the fission bomb. one of victor’s colleagues always taunted him as they passed, calling, “hey, greenglass! whaddya know?” greenglass, who knew quite a lot, never acknowledged their presence.
(after victor’s discharge, the fbi tracked us none too subtly for about three years, calling on our neighbors and paying me direct visits while victor was at work. soon thereafter, in 1950, greenglass was arrested and accused of spying for the soviet union. we never learned whether the surveillance was carried out on all g.i.s in the special engineering detachment of which greenglass had been a member or whether we had been specially selected.)
on december 6, i wrote, reading the morning times these days is painful and worrisome—our policy in china, corruption in korea, a lot of stupid people up in arms and ready to fight russia tomorrow, asiatic nationalism busting out all over, anti-labor legislation on truman’s desk, an uninformed public ready to sanction a race in atomic armament. … right on down to the inside page where the ama is blasting the proposed national health insurance program. … i wonder if, when you crawl into bed at night, your mind turns eastward as mine does westward. you are with me always in a hundred different ways.
we began subversively planning 10 days in santa fe, where i would stay in “anything better than a y” and work on my thesis. i even made tentative plane reservations; victor’s brother-in-law had offered to lend me fare. it would be reading period, which meant i would have to miss only two classes. victor could come down the hill for two weekends.
on december 13, my bad news: i met with prof. [elliott] perkins this morning and discovered to my surprise that the thesis is upon me. … due at typist feb. 28th. tutor wants to see first draft jan. 3. preposterous. got it moved ahead to the 10th. still preposterous. … i have made a start and will be at it hammer and tong every minute from now till then. i am going home from the 20th to the 26th and then must come back, bury myself in isolation at st. john’s [dormitory of the harvard divinity school] and will try hard. if it is physically possible he’ll get his damn draft. … but santa fe, my darling, i can’t come. … somehow i will get thru until may without you and i feel much worse for the disappointment it will be to you than i do for myself. i at least have cambridge and the good life to keep me going, and you don’t even have that.
a hiatus in letters occurred between december 18 and january 10. the los alamos facility’s water lines, which had been laid aboveground, froze during an unexpectedly protracted cold snap. a deep well was dug in the valley 7,000 feet below the lab, and milk trucks were contracted to bring enough water up to the hill to maintain essential services. since the truck engines were burning out at a prohibitive rate along the steep incline, the decision was taken to drastically reduce the number of personnel until water flow could be restored. victor was one of the lucky soldiers selected to receive an extra furlough.
it was christmas week. the war was over. service mem- bers were being discharged, and whole families were on the move. congestion on the railroads was overwhelming. passengers packed the aisles; some climbed into the overhead baggage racks. soldiers raided the dining car on boarding; there was no food available en route. victor managed to buy sandwiches and cokes through the coach window when they stopped at stations along the way. he traveled east for three days, standing for much of that time, finally arriving at my parents’ house at 4 a.m. on december 22, unwashed, unshaven, and very hungry. he must have telegraphed at some point along the way, because i knew he was coming, but not when.
we returned to cambridge the day after christmas, i took up residence in the dorm at the divinity school, and victor laid out the following schedule. i was to work on my thesis every day from nine to five. he would arrive punctually at five, and we would go out for dinner and be together until midnight. the bar at the lafayette hotel continued to serve as our hangout. this rigorous arrangement worked well. by the time victor departed on january 9, i had a draft of the pretentiously titled “amorality and the protagonist in the novels of stendhal and dostoyevsky” and went on under the guidance of my tutor, harry levin, to complete it.
the hazards of rail travel continued. on january 10 victor wrote from the railroad station in st louis: arrived here four hours late … encountered a wreck in ohio, got rerouted thru alabama,[!] missed the streamliner to colorado … waiting now for the 11:50 to kansas city … should hit santa fe 11 a.m. saturday. just means signing in 12 hours late, risking k.p.
the next day he continued his saga: hopped the cattle car in kansas city—sat with a pilot over a leaking steam line—nabbed a porter who got us a little deal up front in a chair car … we shared eats and seats and sweated out the tortuous ride together. … the barracks, as expected, is still bursting with inane invective. work conditions are apparently the same. … there is a plan in operation whereby men can be discharged to take jobs here under contract till june 30th.
although it sounded tempting, victor rejected this option. he was determined not to participate in stockpiling atomic weaponry. initially, his group went out on the mesa each day to a site where it had worked on lens explosions and played touch football instead. a new group leader, a former naval officer, threatened to have him court-martialed for this. nothing came of the threat. ultimately victor was reassigned to the procurement department and given routine clerking duties.
the remaining months inched past on the hill. sometimes victor was able to procure a typewriter, one that desperately needed a new ribbon, but the news was unchanging—discharge not likely before he had completed his 24 months of service.
in cambridge, i underwent orals, examined by professors michael karpovich, crane brinton, and harry levin.
no words, darling, could recreate for you the diabolical horror. … it was a very refined torture. the victim was allowed to cross her legs and smoke cigarettes and even blow her nose should she feel so inclined. … every time i said yes i should have said no and conversely. … when levin asked me what turgenev and tolstoy quarreled about, i smiled sweetly and asked, did they quarrel? thereupon my magna flew out the window. historical fact: tolstoy challenged turgenev to a duel over the latter’s illegitimate daughter but later apologized.
just before departing, victor wrote, this is the last letter i will write to cabot hall … unless some twenty years hence we have a daughter of our own going through what you have just finished … and you are visiting her.
on june 5, i graduated cum laude from radcliffe college. the next day, my 21st birthday, victor was discharged. we were married in philadelphia on june 29.
two weeks later, we moved into a barely furnished apartment in woods hole in the old u.s. bureau of fisheries building. at night, seals barked outside our bedroom window. every other morning the iceman came with a fresh block for our wooden icebox. meat was still rationed, but we dined on flounder we caught off the wharf. mussels and clams were abundantly available. victor came home for lunch every day from the oceanographic institution, 50 yards away. we never wrote to each other again. | ˈsɛvərəl ˈdəzən ˈloʊkəl ənd ˈfɔrən ɑrmd grups stænd əˈkjuzd əv ˈsɪriəs raɪts əˈbjuzɪz əˈgɛnst səˈvɪljənz, səʧ ɛz reɪp, ˈkɪlɪŋz ənd əbˈdəkʃənz. rɪʧ ɪn ˈprɛʃəs ˈmɪnərəlz, ðə ist əv ðə həz bɪn ənˈsteɪbəl fər 20 jɪrz. baɪ mɔr baɪ ðɪs ˈɔθər ˈgoʊmə æt list 16 ˈmɛmbərz əv ə mɪˈlɪʃə grup hæv bɪn kɪld ɪn ðə ˈtrəbəld nɔrθ ˈprɑvɪns əv ðə ˌdɛməˈkrætɪk riˈpəblɪk əv ˈkɑŋgoʊ, ə ˈmɪlɪˌtɛri sɔrs həz sɛd. ðə mɪˈlɪʃə grup hæd bɪn ɪnˈgeɪʤd ɪn ˌɪnˈtɛns ˈfaɪtɪŋ əˈgɛnst ðə ˌkɑngəˈliz ˈɑrmi sɪns ˈfraɪˌdeɪ, wɪn æt list fɔr məˈlɪʃəmɪn daɪd. ˈɑrmi ˈspoʊksmən ʤulz sɛd ðət ˌkɑngəˈliz ˈsoʊlʤərz kɪld ˈsɛvən ˈəðərz ɔn ˈsənˌdi ənd ðə ˈbɑdiz əv faɪv, ə "ˌsɛlfdɪˈfɛns" grup, wər rɪˈkəvərd ɔn ˈmənˌdeɪ. "ðə ˌsɪʧuˈeɪʃən ɪz ˈkərəntli ˈəndər kənˈtroʊl," sɛd. ðə ˈvaɪələns tʊk pleɪs ɪn ðə ˈvɪlɪʤ əv ɪn lubero*, ɪn ðə ˈistərn greɪt leɪks ˈriʤən nɪr ðə ˈbɔrdər wɪθ ˌjuˈgɑndɑ. ðə ˈkaʊnti ɪz əˈbaʊt 270 ˌkɪˈlɔˌmətərz nɔrθ əv ˈgoʊmə, ðə ˈkæpɪtəl əv nɔrθ ˈprɑvɪns, wɛr ˈfaɪtɪŋ bɪtˈwin mɪˈlɪʃə grups ənd ðə ˌkɑngəˈliz ˈɑrmi həz ˌɪnˈtɛnsɪˌfaɪd sɪns ðə bɪˈgɪnɪŋ əv ðə jɪr. ðə fərst ˈimərʤd ɛz kəmˈjunɪti ˌsɛlfdɪˈfɛns grups fɔrmd ɔn ə ˈmeɪnli ˈɛθnɪk ˈbeɪsɪs. ˈdʊrɪŋ ðə ˈsɛkənd ˈkɑŋgoʊ wɔr grups laɪk ðə wər ɑrmd baɪ ðə ˈdɪstənt kɪnˈʃɑsə əˈθɔrətiz tɪ hɛlp ˈbætəl ˌɪnˈveɪdɪŋ ənd ˌruˈɑndənz, hum nɔrθ kəmˈjunɪtiz rɪˈgɑrd ɛz ˈfɔrənərz. |
several dozen local and foreign armed groups stand accused of serious rights abuses against civilians, such as rape, killings and abductions.
rich in precious minerals, the east of the drc has been unstable for 20 years.
by afp
more by this author
goma
at least 16 members of a militia group have been killed in the troubled north kivu province of the democratic republic of congo, a military source has said.
the militia group had been engaged in intense fighting against the congolese army since friday, when at least four militiamen died.
army spokesman jules tshikudi said that congolese soldiers killed seven others on sunday and the bodies of five mai-mai, a self-described "self-defence" group, were recovered on monday.
"the situation is currently under control," tshikudi said.
the violence took place in the village of kipese in lubero, in the eastern great lakes region near the border with uganda.
the county is about 270 kilometres north of goma, the capital of north kivu province, where fighting between militia groups and the congolese army has intensified since the beginning of the year.
the mai-mai first emerged as community self-defence groups formed on a mainly ethnic basis.
during the second congo war (1998-2003), groups like the mai-mai were armed by the distant kinshasa authorities to help battle invading ugandans and rwandans, whom north kivu communities regard as foreigners. | suleiman's* ˈvɪzɪt əˈʃʊrz ˈprɑˌgrɛs ɪn ˈbædli streɪnd baɪˈlætərəl taɪz sɪns 2005 ˈlɛbənən ənd ˈsɪriə hæv əˈgrid tɪ ˈrɛzəˌmeɪ wərk ɔn ˈfɔrməli ðɛr ˈkɑmən ˈbɔrdər ɛz pɑrt əv ˈɛfərts tɪ rɪˈpɛr jɪrz əv streɪnd riˈleɪʃənz. ˌhaʊˈɛvər, ˈsɪriə sɛd ðə wərk ɔn ˈbɔrdərz wʊd nɑt ˈkəvər wən əv ðə moʊst kənˈtɛnʃəs ˈɛriəz, ðə fɑrmz, ənˈtɪl ˈɪzriəl wɪθˈdru. ˈlɛbənənz ˈprɛzɪdənt ˈmɪʧəl ɪz ˈkərəntli ɪn dəˈmæskəs fər tɔks wɪθ hɪz ˈkaʊntərˌpɑrt bəˈʃɑr al-assad*. ðeɪ ˈɔlsoʊ kənˈfərmd ðə ˈsɛtɪŋ əp əv ˌdɪpləˈmætɪk taɪz fər ðə fərst taɪm. ɪf ðə ˈsɪriənz wɪl goʊ əˈhɛd ənd ðə ˈbɔrdər bɪtˈwin ˈlɛbənən ənd ˈsɪriə, ənd rɪˈspɛkt ɪts ˈsɑvrənti ɪn ˈəðər weɪz, ðɛn ðɪs wɪl hæv pruvd tɪ bi ə ˈvɛri gʊd stɛp raɪs ˈjuˈɛs ˈsɛkrəˌtɛri əv steɪt ˈlʊkɪŋ tɪ fˈjuʧər ðə ˈlidərz ˈɔlsoʊ əˈgrid tɪ meɪk ˈfərðər ˈɛfərts tɪ dɪˈskəvər wət ˈhæpənd tɪ ˈhənərdz əv ˈlɛbəˌniz ˈpipəl hu ˌdɪsəˈpɪrd ˈdʊrɪŋ ðə ˈsɪvəl wɔr. səm ˈlɛbəˌniz grups əˈkjuz ˈsɪriə əv ˈhoʊldɪŋ ðɛm ɛz dɪˌteɪˈniz. ˈtritiz, wɪʧ səm ˈlɛbəˌniz bɪˈliv ər tu tɪ ˈsɪriə, wɪl ˈɔlsoʊ bi rivˈjud. əˈsɑd tɪ beɪˈrut ðə ˈaʊtˌkəm əv ðə nɪˌgoʊʃiˈeɪʃənz wɑz əˈnaʊnst æt nuz ˈkɑnfərəns baɪ ðə tu ˈfɔrən ˈmɪnɪstərz, ˈsɪriəz wɑˈlid ənd ˈlɛbənənz salukh*. ˈəðər ˈaɪtəmz əˈgrid bɪtˈwin ðə tu saɪdz ˌɪnˈkludɪd ˈtækəlɪŋ kərˈəpʃən, ˌɛkəˈnɑmɪk ənd kəˈmɪtmənt tɪ ˈærəb ˌɪˈnɪʃətɪvz ɪn ðə ˈkɑnflɪkt. ɪn əˈdɪʃən, ˈprɛzɪdənt əˈsɑd ækˈsɛptɪd ən ˌɪnvɪˈteɪʃən tɪ ˈvɪzɪt ˈlɛbənən æt ə deɪt tɪ bi ˌdɪˈsaɪdɪd sun, ðə ˈfɔrən ˈmɪnɪstərz sɛd. ˈlɛbənən ənd ˈsɪriə hæv hæd ˈbædli streɪnd riˈleɪʃənz sɪns ðə əˌsæsəˈneɪʃən əv ðə ˈfɔrmər ˈlɛbəˌniz praɪm ˈmɪnɪstər, ˈræfɪk hərˈɪri, ɪn 2005 ˈmɛni ˈlɛbəˌniz bleɪm ˈsɪriə fər ðə ˈkɪlɪŋ, bət ɪt həz rɪˈpitɪdli ənd ˈædəməntli dɪˈnaɪd ˌɪnˈvɑlvmənt. ˈsɪriə kɛpt ə lɑrʤ ˈmɪlɪˌtɛri ənd ˌɪnˈtɛləʤəns ˈprɛzəns ɪn ˈlɛbənən ˈæftər ðə ˈsɪvəl wɔr ˈɛndɪd ɪn 1990 bət ɪt wɑz fɔrst tɪ wɪθˈdrɔ ˈæftər ðə hərˈɪri əˌsæsəˈneɪʃən bɪˈkəz əv ˈmæsɪv ˈpəblɪk ˈprɛʃər ɪn ˈlɛbənən wɪθ strɔŋ ˌɪnərˈnæʃənɑl səˈpɔrt. ˈsɛtəlɪŋ riˈleɪʃənz wɪθ ˈsɪriə ɪz ə tɔp praɪˈɔrəti fər ðə nu ˈgəvərnmənt ɪn ˈlɛbənən. ðə ˈjuˈɛs ˈkɔʃəsli ˈwɛlkəmd dɪˈvɛləpmənts seɪɪŋ ðə ˈoʊpənɪŋ əv ˈɛmbəsiz wɑz "wən əv ðə stɛps ðət həz lɔŋ bɪn rikˈwaɪərd". "naʊ, ɪf ðə ˈsɪriənz wɪl goʊ əˈhɛd ənd ðə ˈbɔrdər bɪtˈwin ˈlɛbənən ənd ˈsɪriə, ənd rɪˈspɛkt ɪts ˈsɑvrənti ɪn ˈəðər weɪz, ðɛn ðɪs wɪl hæv pruvd tɪ bi ə ˈvɛri gʊd stɛp," ˈjuˈɛs ˈsɛkrəˌtɛri əv steɪt raɪs sɛd. ˈiˌmeɪl ðɪs tɪ ə frɛnd ˈprɪntəbəl ˈvərʒən ˈbʊkmɑrk wɪθ: dɪˈlɪʃəs ˈfeɪsˌbʊk wət ər ðiz? |
suleiman's visit assures progress in badly strained bilateral ties since 2005 lebanon and syria have agreed to resume work on formally demarcating their common border as part of efforts to repair years of strained relations. however, syria said the work on borders would not cover one of the most contentious areas, the israeli-occupied shebaa farms, until israel withdrew. lebanon's president michel suleiman is currently in damascus for talks with his counterpart bashar al-assad. they also confirmed the setting up of diplomatic ties for the first time. if the syrians will go ahead and demarcate the border between lebanon and syria, and respect its sovereignty in other ways, then this will have proved to be a very good step
condoleezza rice
us secretary of state
looking to future the leaders also agreed to make further efforts to discover what happened to hundreds of lebanese people who disappeared during the civil war. some lebanese groups accuse syria of holding them as detainees. bi-lateral treaties, which some lebanese believe are too favourable to syria, will also be reviewed. assad to beirut the outcome of the negotiations was announced at news conference by the two foreign ministers, syria's walid muallem and lebanon's fawzi salukh. other items agreed between the two sides included tackling corruption, economic co-operation and commitment to arab initiatives in the arab-israeli conflict. in addition, president assad accepted an invitation to visit lebanon at a date to be decided soon, the foreign ministers said. lebanon and syria have had badly strained relations since the assassination of the former lebanese prime minister, rafik hariri, in 2005. many lebanese blame syria for the killing, but it has repeatedly and adamantly denied involvement. syria kept a large military and intelligence presence in lebanon after the civil war ended in 1990, but it was forced to withdraw after the hariri assassination because of massive public pressure in lebanon with strong international support. settling relations with syria is a top priority for the new government in lebanon. the us cautiously welcomed developments saying the opening of embassies was "one of the steps that has long been required". "now, if the syrians will go ahead and demarcate the border between lebanon and syria, and respect its sovereignty in other ways, then this will have proved to be a very good step," us secretary of state condoleezza rice said.
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stumbleupon what are these? | ɪn hɪz moʊst sɪgˈnɪfɪkənt ˈfɔreɪ ˈɪntu ˈpəblɪk laɪf sɪns ˈlivɪŋ ðə ˈprɛzɪdənsi, ˈbɑrək ˌoʊˈbɑmə əˈtækt ðə ɛnd əv ðə ˈproʊˌgræm ðət prəˈtɛktɪd jəŋ ˈɪməgrənts ““wrong”*”, ““self-defeating”*” ənd ““cruel”*”. ɪn ən ˌɛkstrəˈɔrdəˌnɛri ˈsteɪtmənt, ˈbɑrək ˌoʊˈbɑmə ˈʃɑrpli ˈkrɪtəˌsaɪzd ˈdɑnəld muv ɔn ˈtuzˌdeɪ tɪ strɪp prəˈtɛkʃənz frəm jəŋ ənˈdɑkjəmɛnɪd ˈɪməgrənts noʊn ɛz ““dreamers”*”. ɪt wɑz moʊst sɪgˈnɪfɪkənt ˈfɔreɪ ɪn ˈpəblɪk laɪf sɪns hi lɛft ðə ˈprɛzɪdənsi. hi hæd ˈpriviəsli ˈɪʃud ə brif ˈsteɪtmənt, θru ə ˈspoʊkspərsən, ˈkrɪtɪˌsaɪzɪŋ əˈtɛmptəd ˈtrævəl bæn, ənd ə ˈlɛŋθi ˈrɪtən ˈsteɪtmənt ɔn rɪˈpəblɪkən əˈtɛmpts tɪ rɪˈpil hɪz ˈsɪgnəʧər ˈhɛlθˌkɛr lɔ. hi ˈɔlsoʊ ə ˈsɪriz əv ˈnɛlsən ˌmænˈdɛlə kwoʊts ˈæftər ˈreɪʃəli ʧɑrʤd ˈvaɪələns ɪn ˈʃɑrlətsˌvɪl, vərˈʤɪnjə, læst mənθ. wət ɪz ənd hu ər ðə ˈdrimərz? rɛd mɔr ɪn ðə ˈsteɪtmənt, wɪʧ wɑz ˈpoʊstɪd tɪ hɪz ˈfeɪsˌbʊk peɪʤ, ˌoʊˈbɑmə ˈblæstɪd muv tɪ rɪˈpil ðə 2012 dɪˈfərd ˈækʃən fər ˈʧaɪlˌdhʊd ərˈaɪvəlz ˈproʊˌgræm, ər, ˈkɔlɪŋ ɪt pəˈlɪtɪkəl decision”*”. ˈərliər ɔn ˈtuzˌdeɪ, ðə trəmp ædˌmɪnɪˈstreɪʃən ˈbrændɪd ɪgˈzɛkjətɪv amnesty”*”. bi clear,”*,” roʊt ˌoʊˈbɑmə. ˈækʃən ˈteɪkən təˈdeɪ rikˈwaɪərd ˈligəli. ə pəˈlɪtɪkəl dɪˈsɪʒən, ənd ə ˈmɔrəl question.”*.” tɪ bi ˈɛlɪʤəbəl fər ðə ˈproʊˌgræm, ˈæplɪkənts ˈnidɪd tɪ hæv əraɪvd ɪn ðə ˈjuˈɛs ˌbiˈfɔr eɪʤ 15 ənd ˌbiˈfɔr 2007 ðə ˈproʊˌgræm ˈgrænɪd prəˈtɛkʃən frəm ˌdipɔrˈteɪʃən ənd meɪd wərk ˈpərˌmɪts əˈveɪləbəl ənd wɑz bɪld ɛz ə weɪ əv ˈbrɪŋɪŋ ɪts ɛnˈroʊˈliz aʊt əv ðə ˈʃæˌdoʊ ɪˈkɑnəmi ənd ˈrɛkəgˌnaɪzɪŋ ðɛr əˈmɛrɪkən aɪˈdɛntɪˌtiz. təˈdeɪ, ðət ˈʃæˌdoʊ həz bɪn kæst ˈoʊvər səm əv ɑr bɛst ənd ˈbraɪtəst jəŋ ˈpipəl wəns again,”*,” ˌoʊˈbɑmə sɛd. ˈtərgət ðiz jəŋ ˈpipəl ɪz rɔŋ bɪˈkəz ðeɪ hæv dən ˈnəθɪŋ rɔŋ. ɪt ɪz bɪˈkəz ðeɪ wɔnt tɪ stɑrt nu ˈbɪznɪsɪz, stæf ɑr læbz, sərv ɪn ɑr ˈmɪlɪˌtɛri, ənd ˈəðərˌwaɪz kənˈtrɪbjut tɪ ðə ˈkəntri wi ləv. ənd ɪt ɪz kruəl. ə ˈʃæˌdoʊ həz bɪn kæst ˈoʊvər səm əv ɑr bɛst ənd ˈbraɪtəst jəŋ ˈpipəl wəns əˈgɛn ˈbɑrək ˌoʊˈbɑmə ɪf ɑr saɪəns ˈtiʧər, ər ɑr ˈfrɛndli ˈneɪbər tərnz aʊt tɪ bi ə ˈdrimər? wɛr ər wi səˈpoʊzd tɪ sɛnd hər? tɪ ə ˈkəntri ʃi noʊ ər rɪˈmɛmbər, wɪθ ə ˈlæŋgwɪʤ ʃi meɪ nɑt ˈivɪn speak?”*?” ˌoʊˈbɑmə ərʤd ˈkɑŋgrəs tɪ pæs ˌlɛʤəsˈleɪʃən rɪˈpleɪsɪŋ prəˈtɛkʃən fər jəŋ ˈmaɪgrənts hu əraɪvd ɛz ˈʧɪldrən. ʤɔɪn maɪ vɔɪs wɪθ ðə məˈʤɔrəti əv əˈmɛrɪkənz hu hoʊp ðeɪ stɛp əp ənd du ɪt wɪθ ə sɛns əv ˈmɔrəl ˈərʤənsi ðət ˈmæʧɪz ðə ˈərʤənsi ðiz jəŋ ˈpipəl feel,”*,” hi sɛd. ““ultimately*, ðɪs ɪz əˈbaʊt ˈbeɪsɪk decency.”*.” ðə waɪt haʊs dɪd nɑt hæv ən ˌɪˈmiˌdiət riˈækʃən. trəmp ˈərliər sɔt tɪ ʃɪft riˌspɑnsəˈbɪləti ɔn ðə ˈɪʃu tɪ ˈkɑŋgrəs, wɪʧ hi ɪgˈzɔrtɪd ɪn ə twit ɪn ədˈvæns əv hɪz ˈpɑləsi əˈnaʊnsmɛnt tɪ jʊr job”*”. ˈfeɪsˌbʊk tˈwɪtər ˈdɛmənˌstreɪtərz mɑrʧ ɪn ˈwɔʃɪŋtən ɪn rɪˈspɑns tɪ ðə trəmp əˈnaʊnsmɛnt. ˈfoʊtəˌgræf: zæk ˈɪmɪʤɪz trəmp ˈʤəstəˌfaɪd ðə ˈpɑləsi ʃɪft baɪ dɪˈskraɪbɪŋ ə ˌkɑnstəˈtuʃənəl mɪˈstɛp ɔn ðə pɑrt əv ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən. ˈlɛʤəsˌleɪtɪv brænʧ, nɑt ðə ɪgˈzɛkjətɪv brænʧ, raɪts ðiz lɔz ðɪs ɪz ðə ˈbɛˌdrɑk əv ɑr ˌkɑnstəˈtuʃənəl ˈsɪstəm, wɪʧ aɪ tʊk ə ˈsɑləm oʊθ tɪ prɪˈzərv, prəˈtɛkt ənd defend,”*,” ðə ˈprɛzɪdənt sɛd ɪn ə ˈsteɪtmənt dɪˈfɛndɪŋ ə dɪˈsɪʒən hi dɪd nɑt əˈnaʊns, ˌɪnˈstɛd ˈsɛndɪŋ aʊt əˈtərni ˈʤɛnərəl ʤɛf ˈsɛʃənz. ˌoʊˈbɑmə rɪˈʤɛktɪd ðə æˈnælɪsɪs, seɪɪŋ ðə ˈpɑləsi wɑz beɪst ɔn ˈligəl ˈprɪnsəpəl əv ˌprɑsɪkjuˈtɔriəl discretion”*” ənd seɪɪŋ ˈkɑŋgrəs hæd feɪld tɪ ækt tɪ ˈæˌdrɛs ðə ˈprɑbləm. jɪrz waɪl aɪ wɑz ˈprɛzɪdənt, aɪ æst ˈkɑŋgrəs tɪ sɛnd mi səʧ ə bill,”*,” ˌoʊˈbɑmə sɛd. bɪl ˈnɛvər came.”*.” baɪ ˈɛndɪŋ, ˈdɑnəld trəmp həz dɪˈklɛrd wɔr ɔn ə dɪˈvərs əˈmɛrɪkə ˈkɛrəl ˈændərsən rɛd mɔr ˈfɔrmər ˈvaɪˈsprɛzədənt ʤoʊ ˈbaɪdən ˈɔlsoʊ ˈkrɪtəˌsaɪzd ðə trəmp ˈpɑləsi, ˈərliər ɔn ˈtuzˌdeɪ: baɪ ˈpɛrənts, ðiz ˈʧɪldrən hæd noʊ ʧɔɪs ɪn ˈkəmɪŋ hir. naʊ bi sɛnt tɪ ˈkəntriz ˈnɛvər noʊn. kruəl. nɑt america.”*.” ˌoʊˈbɑmə səˈʤɛstɪd ɪn ðə ˈfaɪnəl nuz ˈkɑnfərəns əv hɪz ˈprɛzɪdənsi ðət hi maɪt spik aʊt ɪf trəmp sɔt tɪ ənˈdu ðə ˈproʊˌgræm. ˈnoʊʃən ðət wi wʊd ʤɪst ˈɑrbɪˌtrɛrəli ər bɪˈkəz əv ˈpɑləˌtɪks ˈpənɪʃ ðoʊz kɪdz wɪn ðeɪ du ˈɛniˌθɪŋ rɔŋ ðɛmˈsɛlvz, aɪ θɪŋk wʊd bi ˈsəmθɪŋ ðət wʊd ˈmɛrət mi ˈspikɪŋ out,”*,” ˌoʊˈbɑmə sɛd. ðə ˈsteɪtmənt keɪm deɪz ˈæftər ðə tɛkst əv ə ˈlɛtər ˌoʊˈbɑmə lɛft fər trəmp ɔn ˌɪˌnɔgjəˈreɪʃən deɪ wɑz rɪˈvild. ɪn ðə ˈlɛtər, ˌoʊˈbɑmə ərʤd trəmp tɪ prəˈtɛkt ˈnæʃənəl ˌɪnstɪˈtuʃənz ənd ækt ɪn ðə ˈprɛzɪdənsi ɛz ə ˈkɛrˌteɪkər əv ðə ˈɔfəs. ər ʤɪst ˈtɛmpərˌɛri ˈɑkjəpənts əv ðɪs office,”*,” ˌoʊˈbɑmə roʊt. meɪks ˈjuˈɛs ˈgɑrdiənz əv ðoʊz ˌdɛməˈkrætɪk ˌɪnstɪˈtuʃənz ənd trəˈdɪʃənz laɪk rul əv lɔ, ˌsɛpərˈeɪʃən əv paʊərz, ˈikwəl prəˈtɛkʃən ənd ˈsɪvəl ˈlɪbərˌtiz ðət ɑr ˈfɔrˌbɛrz fɔt ənd blɛd fər. əv ðə pʊʃ ənd pʊl əv ˈdeɪli ˈpɑləˌtɪks, əp tɪ ˈjuˈɛs tɪ liv ðoʊz ˈɪnstrəmənts əv ɑr dɪˈmɑkrəsi æt list ɛz strɔŋ ɛz wi faʊnd them.”*.” |
in his most significant foray into public life since leaving the presidency, barack obama attacked the end of the program that protected young immigrants
“wrong”, “self-defeating” and “cruel”.
in an extraordinary 850-word statement, barack obama sharply criticized donald trump’s move on tuesday to strip protections from young undocumented immigrants known as “dreamers”.
it was obama’s most significant foray in public life since he left the presidency. he had previously issued a brief statement, through a spokesperson, criticizing trump’s attempted travel ban, and a lengthy written statement on republican attempts to repeal his signature healthcare law. he also tweeted a series of nelson mandela quotes after racially charged violence in charlottesville, virginia, last month.
what is daca and who are the dreamers? read more
in the statement, which was posted to his facebook page, obama blasted trump’s move to repeal the 2012 deferred action for childhood arrivals program, or daca, calling it “a political decision”. earlier on tuesday, the trump administration branded daca “unilateral executive amnesty”.
“let’s be clear,” wrote obama. “the action taken today isn’t required legally. a political decision, and a moral question.”
to be eligible for the obama-era program, applicants needed to have arrived in the us before age 15 and before 2007. the program granted protection from deportation and made work permits available and was billed as a way of bringing its 800,000 enrollees out of the shadow economy and recognizing their american identities.
“but today, that shadow has been cast over some of our best and brightest young people once again,” obama said.
“to target these young people is wrong – because they have done nothing wrong. it is self-defeating – because they want to start new businesses, staff our labs, serve in our military, and otherwise contribute to the country we love. and it is cruel.
a shadow has been cast over some of our best and brightest young people once again barack obama
“what if our kid’s science teacher, or our friendly neighbor turns out to be a dreamer? where are we supposed to send her? to a country she doesn’t know or remember, with a language she may not even speak?”
obama urged congress to pass legislation replacing protection for young migrants who arrived as children.
“i join my voice with the majority of americans who hope they step up and do it with a sense of moral urgency that matches the urgency these young people feel,” he said.
“ultimately, this is about basic decency.”
the white house did not have an immediate reaction. trump earlier sought to shift responsibility on the issue to congress, which he exhorted in a tweet in advance of his policy announcement to “do your job”.
facebook twitter pinterest demonstrators march in washington in response to the trump administration’s announcement. photograph: zach gibson/getty images
trump justified the policy shift by describing a constitutional misstep on the part of the obama administration.
“the legislative branch, not the executive branch, writes these laws – this is the bedrock of our constitutional system, which i took a solemn oath to preserve, protect and defend,” the president said in a statement defending a decision he did not announce, instead sending out attorney general jeff sessions.
obama rejected the analysis, saying the daca policy was based on “well-established legal principle of prosecutorial discretion” and saying congress had failed to act to address the problem.
“for years while i was president, i asked congress to send me such a bill,” obama said. “that bill never came.”
by ending daca, donald trump has declared war on a diverse america | carol anderson read more
former vice-president joe biden also criticized the trump policy, tweeting earlier on tuesday: “brought by parents, these children had no choice in coming here. now they’ll be sent to countries they’ve never known. cruel. not america.”
obama suggested in the final news conference of his presidency that he might speak out if trump sought to undo the daca program.
“the notion that we would just arbitrarily – or because of politics – punish those kids when they didn’t do anything wrong themselves, i think would be something that would merit me speaking out,” obama said.
the statement came days after the text of a letter obama left for trump on inauguration day was revealed. in the letter, obama urged trump to protect national institutions and act in the presidency as a caretaker of the office.
“we are just temporary occupants of this office,” obama wrote. “that makes us guardians of those democratic institutions and traditions – like rule of law, separation of powers, equal protection and civil liberties – that our forebears fought and bled for.
“regardless of the push and pull of daily politics, up to us to leave those instruments of our democracy at least as strong as we found them.” | ə: ðoʊ hɪz ˌnɑnʃəˈlɑnt dɪˈminər həz ərnd ɪm ðə ˈnɪkˌneɪm ˈæləks "noʊ bɪg dil" ˈhɑˌnoʊld, ðə bɪg wɔl ˈklaɪmər frəm ˌsækrəˈmɛntoʊ, ˌkæləˈfɔrnjə, ɪz, ɑˈbʤɛktɪvli ˈspikɪŋ, ə ˈvɛri bɪg dil. hi ɪz ˈwaɪdli ˈrɛkəgˌnaɪzd ɛz ðə wərldz bɛst ˈklaɪmər, ˈskeɪlɪŋ ˈmæsɪv ˈvərtɪkəl ˈfeɪsɪz wɪθ noʊ roʊps ər ˈəðər əˈsɪstəns, wɛr ə ˈsɪŋgəl mɪˈstɛp kən bi ðə ˈdɪfərəns bɪtˈwin laɪf ənd dɛθ. ənd hi ˈdəzənt ʤɪst klaɪm ˈkreɪzi wɔlz; hi klaɪmz ðɛm ˈkreɪzi fæst. ðə ˈoʊnər əv ˈkaʊntləs spid ˈrɛkərdz, ˌɪnˈkludɪŋ ɔn ˈfeɪməs ɛl ˈkæpɪtən, ˈhɑˌnoʊld həz kəmˈplitɪd klaɪmz ɪn ə deɪ ðət teɪk ˈəðər ˈklaɪmərz wiks. moʊst ˈrisəntli, hi ˈɔθərd ə nu bʊk, əˈloʊn ɔn ðə wɔl (ˈæləks roʊt ðə bʊk wɪθ ˈlɔŋˌtaɪm ˈaʊtˈsaɪd kənˈtrɪbjətər ˈdeɪvɪd ˈrɑbərts). ə ˈbjutəfəl ˌmɛdəˈteɪʃən ɔn ˈklaɪmɪŋ, ˈpæʃən, ənd ðə ˌpɑsəˈbɪlətiz ðət əraɪz wɪn maɪnd, ˈbɑdi, ənd ˈspɪrɪt ər ɪn ˈhɑrməni. wi kɔt ˈhɑˌnoʊld ɔn ə rɛr rɛst deɪ tɪ lərn mɔr əˈbaʊt ðə ˈhæbəts ˌəndərˈlaɪɪŋ hɪz ənˈprɛsɪˌdɛntɪd əˈsɛnt tɪ ðə tɔp əv ðə spɔrt. ˈtreɪnɪŋ wɪn aɪ wɑz ə ˈtiˌneɪʤər, aɪ dɪd ə lɔt əv ənd ˈpʊˌʃəps. ˈɛvəri naɪt ˌbiˈfɔr bɛd, du sɛts əv 30 ər soʊ. ˈlʊkɪŋ bæk ɔn ɪt naʊ, nɑt ˈtoʊtəli ʃʊr ðə bɛst weɪ tɪ ˌɪmˈpruv ɛz ə ˈklaɪmər. bət ɪt dɪd meɪk mi ə lɔt ˈbɛtər æt duɪŋ ənd ˈpʊˌʃəps. ˈgɪtɪŋ ˈbɛtər ɪn ˈɛni spɔrt, ɛz ju əˈproʊʧ jʊr oʊn ˈfɪzɪkəl ˈlɪmɪts ɪt bɪˈkəmz ˈhɑrdər ənd ˈhɑrdər tɪ ˌɪmˈpruv. ˈgɪtɪŋ ˈbɛtər rikˈwaɪərz ˈmeɪʤər ˌdɛdəˈkeɪʃən ənd ˈdɪsəplənd ˈtreɪnɪŋ. ənˈpləg mˈjuzɪk kən bi ˈjusfəl ˈdʊrɪŋ ˈtreɪnɪŋ tɪ hɛlp gɪt ju saɪkt, ənd aɪ stɪl ˈlɪsən tɪ mˈjuzɪk ɔn ˈizi klaɪmz ər ɪn ðə ʤɪm. bət ˈdʊrɪŋ ˈkətɪˌŋɛʤ ˈsoʊloʊz ər ˈrɪli hɑrd klaɪmz, aɪ ənˈpləg. ðɛr bi ə nid fər ˈɛkstrə ˌmoʊtəˈveɪʃən ɔn bɪg deɪz, bi ɪt mˈjuzɪk ər ˈɛniˌθɪŋ ɛls. ɪt ʃʊd kəm frəm wɪˈθɪn. klaɪm ɪn jʊr hɛd aɪ ˈvɪʒwəˌlaɪz ɔl ðə muvz ənd ˈmɛmərˌaɪz ðə ˈsikwənsɪz tɪ meɪk ʃʊr aɪ kən ˈfɪzɪkəli klaɪm ðə rut. aɪ ˈɔlsoʊ θɪŋk əˈbaʊt ˈvɛriəs pəˈzɪʃənz, əˈspɛʃəli ðoʊz ðət kʊd bi ˈskɛri. aɪ ˌɪˈmæʤən ˈɛvəri ˈæˌspɛkt əv ðə klaɪm bɪˈfɔˌrhænd soʊ ðət ˈnəθɪŋ səˈpraɪzɪz mi waɪl əp ðɛr. it aɪ traɪ tɪ kip ɪt ˈhoʊlsəm. ə ˌvɛʤəˈtɛˌriən, ˈmoʊstli bɪˈkəz aɪ wɔnt tɪ loʊər maɪ ˌɪmˈpækt ɔn ðə ərθ, bət ˈɔlsoʊ fər ˈʤɛnərəl hɛlθ. maɪ daɪət ɪz ˈprɪti gʊd, ðoʊ aɪ it tu ˈmɛni swits. ˈluzɪŋ ðə ˈbætəl əˈgɛnst ðə ˈkʊkiz əv ðə world…*… ˈdilɪŋ wɪθ ˈɪnʤəriz ðə ˈoʊnli θɪŋ ju kən du ɪz bi ˈpeɪʃənt ənd lɛt jʊr ˈbɑdi rɪˈkəvər. traɪ tɪ steɪ ɪnˈgeɪʤd ənd treɪn ˈəðər pɑrts əv ðə ˈbɑdi, laɪk jʊr kɔr ər əˈpoʊzɪŋ ˈməsəlz. ˈmænəʤɪŋ peɪn ðə ˈoʊnli weɪ tɪ dil wɪθ ðə ““pump”*” (i.e*., jʊr ˈəpər ˈbɑdi ˈfɪlɪŋ wɪθ ˈlæktɪk ˈæsəd ənd fəˈtigɪŋ ˈmæsɪvli) ɪz ˈpræktɪs. ju ʃʊd gɪt juzd tɪ biɪŋ pəmpt aʊt əv jʊr maɪnd ˈdʊrɪŋ ˈtreɪnɪŋ soʊ ðət wɪn ɪt ˈhæpənz ɔn bɪg klaɪmz, ɪt filz ˈnɔrməl. ˈɔlˌweɪz ənˈplɛzənt, bət æt list juzd tɪ ɪt. ˈfeɪvərɪt gɪr aɪ ləv maɪ ˈklaɪmɪŋ ʃuz. ˈvərʧuəli ɔl əv maɪ bɪg ˈsoʊloʊz hæv bɪn ɪn ðə proʊz. ðeɪ ər ðə moʊst ˌɪmˈpɔrtənt θɪŋ wɪn soloing*. lərn frəm ˈəðərz ðoʊ ˈnɛvər hæd ˈɛni ˌpɑˈtɪkjələr ““mentors,”*,” pər seɪ, nɔr ə ˈfɔrməl koʊʧ ər ˈtreɪnər ər ˈɛniˌθɪŋ laɪk ðət, ˈlərnɪd frəm tənz əv ˈklaɪmərz ˈoʊvər ðə jɪrz. hæd ˈmɛni greɪt ˈpɑrtnərz ənd ˈlərnɪd frəm iʧ əv ðɛm. ˈɔlsoʊ ˈlərnɪd frəm ðə ˈklaɪmɪŋ kəmˈjunɪti ɛz ə hoʊl. tɪ fɪr ˈoʊvərˌkəmɪŋ fɪr ɪz kwaɪt ðə ˈprɔˌsɛs. ə bɪg pɑrt əv ɪt ɪz ˈgræʤuəli ɪkˈspændɪŋ jʊr ˈkəmfərt zoʊn soʊ ðət θɪŋz ðət simd ˈskɛri ˌbiˈfɔr ər noʊ ˈlɔŋgər ˈskɛri. ðɪs ɪz səʧ ə ˈloʊdɪd ənd ˈkɑmplɛks pɑrt əv ðə ˈrizən aɪ roʊt ə bʊk. ɪf ju wɔnt mɔr ˈditeɪlz, rɛd ɪt! ɔn ˈraɪtɪŋ aɪ ˌɛnˈʤɔɪd ðə ˈprɔˌsɛs əv ˈwərkɪŋ wɪθ ˈdeɪvɪd ˈrɑbərts ənd ˈlərnɪŋ wət ɪt teɪks tɪ raɪt ə bʊk. ɪt wɑz ə greɪt ˌɑpərˈtunəti tɪ wərk wɪθ ˈsəmˌwən aɪ rɪˈspɛkt ənd trəst, ənd tɪ ʃɛr maɪ ˈstɔri ɪn ðə weɪ ðət aɪ ˈwɔntɪd. ˈɛnərʤi ˈbæləns bɪg klaɪmz ˈɛnərˌʤaɪz mi. ɔl ðə ˈəðər ˈæˌspɛkts əv biɪŋ ə ðət wɛr mi daʊn. ðə ˈtrævəl ənd ˌɛkspəˈdɪʃənz ənd ˈtreɪnɪŋ kən bɪˈkəm ˈprɪti ˈtaɪrɪŋ. bət ðə ˈækʧəwəl bɪg wət aɪ lɪv fər. |
a:
though his nonchalant demeanor has earned him the nickname alex "no big deal" honnold, the 30-year-old big wall climber from sacramento, california, is, objectively speaking, a very big deal. he is widely recognized as the world's best free-solo climber, scaling massive vertical faces with no ropes or other assistance, where a single misstep can be the difference between life and death. and he doesn't just climb crazy walls; he climbs them crazy fast. the owner of countless speed records, including on yosemite's famous el capitan, honnold has completed climbs in a day that take other climbers weeks.
most recently, he authored a new book, alone on the wall (alex wrote the book with longtime outside contributor david roberts). a beautiful meditation on climbing, passion, and the possibilities that arise when mind, body, and spirit are in harmony. we caught honnold on a rare rest day to learn more about the habits underlying his unprecedented ascent to the top of the sport.
bodyweight training
when i was a teenager, i did a lot of pull-ups and push-ups. every night before bed, i’d do 150—in sets of 30 or so. looking back on it now, i’m not totally sure that’s the best way to improve as a climber. but it did make me a lot better at doing pull-ups and push-ups.
getting better
in any sport, as you approach your own physical limits it becomes harder and harder to improve. getting better requires major dedication and focus—really disciplined training.
unplug
music can be useful during training to help get you psyched, and i still listen to music on easy climbs or in the gym. but during cutting-edge solos or really hard climbs, i unplug. there shouldn’t be a need for extra motivation on big days, be it music or anything else. it should come from within.
climb in your head
i visualize all the moves and memorize the sequences to make sure i can physically climb the route. i also think about various positions, especially those that could be scary. i imagine every aspect of the climb beforehand so that nothing surprises me while i’m up there.
eat sustainably
i try to keep it wholesome. i’m a vegetarian, mostly because i want to lower my impact on the earth, but also for general health. my diet is pretty good, though i eat too many sweets. i’m losing the battle against the cookies of the world…
dealing with injuries
the only thing you can do is be patient and let your body recover. try to stay engaged and train other parts of the body, like your core or opposing muscles.
managing pain
the only way to deal with the “pump” (i.e., your upper body filling with lactic acid and fatiguing massively) is practice. you should get used to being pumped out of your mind during training so that when it happens on big climbs, it feels normal. always unpleasant, but at least you’re used to it.
favorite gear
i love my climbing shoes. virtually all of my big solos have been in the tc pros. they are the most important thing when i’m soloing.
learn from others
though i’ve never had any particular “mentors,” per se, nor a formal coach or trainer or anything like that, i’ve learned from tons of climbers over the years. i’ve had many great partners and learned from each of them. i’ve also learned from the climbing community as a whole.
acclimating to fear
overcoming fear is quite the process. a big part of it is gradually expanding your comfort zone so that things that seemed scary before are no longer scary. this is such a loaded and complex question—that’s part of the reason i wrote a book. if you want more details, read it!
on writing
i enjoyed the process of working with david roberts and learning what it takes to write a book. it was a great opportunity to work with someone i respect and trust, and to share my story in the way that i wanted.
energy balance
big climbs energize me. all the other aspects of being a pro-climber that wear me down. the travel and expeditions and training can become pretty tiring. but the actual big climbs—that’s what i live for. | wolfenstein* ii*: ðə ˈfridəm ˈkrɑnɪkəlz ˈsizən pæs stɑrz tru ˈpeɪtriəts: ðə nu kəˈlɑsəs ɪz ˈgɪtɪŋ ə ˈsizən pæs, ɛz wən wʊd ɪkˈspɛkt, ənd gɑt kwaɪt ðə kæst əv ˈpeɪtriəts juˈnaɪtɪd ɪn ðɛr goʊl tɪ rɪd ðə wərld əv ðə ˈnɑtsi skərʤ. ðə ˈfridəm ˈkrɑnɪkəlz ˈsizən pæs wɪl si θri nu ˈkɛrɪktərz əˈsaɪd frəm ənd hɪz kru, ɪn ðə fɔrm əv ˈfɔrmər prəˈfɛʃənəl kˈwɔrtərˌbæk ˈʤoʊzəf ˈstæljən, ˈeɪʤənt ənd əˈsæsən ˈʤɛsɪkə ˈvæljənt, ənd ˈjuˈɛs ˈɑrmi ˈhɪroʊ ˈkæptən ˈʤɛrəld ˈwɪlkɪnz. iʧ ˈkɛrɪktər wɪl hæv ðɛr oʊn ˈstɔri ɛz pɑrt əv ðə ˈsizən pæs, sɛt wɪˈθɪn ˈdɪfərənt pɑrts əv əˈmɛrɪkə. ɔl θri ˈɛpɪˌsoʊd wɪl bi əˈveɪləbəl ˈsɛpərətli æt ˌəndɪˈskloʊzd deɪts, bət təˈgɛðər əˈveɪləbəl ɛz ðə ˈsizən pæs fər ðoʊz hu ii*: ðə nu kəˈlɑsəs təˈdeɪ ˈɔlsoʊ gɪt ˈækˌsɛs tɪ ˈɛpɪˌsoʊd ˈziroʊ, ə ˈʧæptər ðət ˌɪntrəˈdusɪz ðə ˈhɪroʊz əv ðə ˈfridəm ˈkrɑnɪkəlz əˈhɛd əv ðɛr ˌɪndəˈvɪʤəwəl rɪˈlisɪz. ðə taɪm həz kəm tɪ wəns əˈgɛn rɪˈfrɛʃ ðə tri əv ˈlɪbərˌti wɪθ ðə bləd əv ˈpeɪtriəts ənd ˈtaɪrənts. ˈnɑtsiz hæv ˈoʊvərˌrən ðə wərld, ənd waɪl ɪz ˈbɪzi ˌɪgˈnaɪtɪŋ ə nu ˌrɛvəˈluʃən ɪn əˈmɛrɪkə, ˈəðər ˈfridəm ˈfaɪtərz ər ˈweɪʤɪŋ wɔr ɔn ðɛr oʊn frənts. sun ju kən stɛp ˈɪntu ðə breɪv soʊlz əv ə ˈfɔrmər ˈfʊtˌbɔl pleɪər, ən əˈsæsən ənd ən ˈɑrmi ˈkæptən, ənd ˈbætəl tɪ rɪˈstɔr ðə soʊl əv əˈmɛrɪkə ɪn ii*: ðə ˈfridəm ˈkrɑnɪkəlz. ˈstɑrɪŋ ə ˈtriˌoʊ əv ˈhɪroʊz, ðə ˈfridəm ˈkrɑnɪkəlz ˌɪnˈkludz θri pæks: ðə ædˈvɛnʧərz əv ˈgənsˌlɪŋər ʤoʊ ɛz ˈfɔrmər prəˈfɛʃənəl kˈwɔrtərˌbæk ˈʤoʊzəf ˈstæljən, smæʃ θru ˈnɑtsi hɔrdz frəm ðə ruɪnz əv ʃəˈkɑˌgoʊ tɪ ðə ˈvæstnəs əv speɪs! ðə ˈdaɪəriz əv ˈeɪʤənt ˈsaɪlənt dɛθ ɛz ˈeɪʤənt ənd əˈsæsən ˈʤɛsɪkə ˈvæljənt, ˈɪnfɪlˌtreɪt ˈnɑtsi ˈbəŋkərz ɪn ˌkæləˈfɔrnjə ənd dɪˈskəvər ðə ˈsikrɪts əv ˌɑpərˈeɪʃən sæn ɑnˈdreɪəs! ðə əˈmeɪzɪŋ didz əv ˈkæptən ˈwɪlkɪnz ɛz ðə ˈjuˈɛs rɪˈnaʊnd ˈhɪroʊ ˈkæptən ˈʤɛrəld ˈwɪlkɪnz, ɪmˈbɑrk ɔn ə ˈmɪʃən tɪ əˈlæskə tɪ dɪsˈmænəl ˌɑpərˈeɪʃən blæk sən! ii*: ðə nu kəˈlɑsəs rɪˈlisɪz ɔn ɑkˈtoʊbər 27 2017 ɔn wən, ˈpleɪˌsteɪʃən 4 ənd ˈpiˈsi. ʧɛk aʊt ɑr ˌhænˈzɔn ˈprivˌju hir! |
wolfenstein ii: the freedom chronicles season pass stars true patriots
wolfenstein: the new colossus is getting a season pass, as one would expect, and it’s got quite the cast of patriots united in their goal to rid the world of the nazi scourge. the freedom chronicles season pass will see three new characters aside from bj and his crew, in the form of former professional quarterback joseph stallion, ex-oss agent and assassin jessica valiant, and us army hero captain gerald wilkins. each character will have their own story dlc as part of the season pass, set within different parts of america.
all three episode will be available separately at undisclosed dates, but together they’re available as the season pass for $24.99. those who pre-order wolfenstein ii: the new colossus today also get access to episode zero, a chapter that introduces the heroes of the freedom chronicles ahead of their individual releases.
the time has come to once again refresh the tree of liberty with the blood of patriots and tyrants. nazis have overrun the world, and while bj blazkowicz is busy igniting a new revolution in america, other freedom fighters are waging war on their own fronts. soon you can step into the brave soles of a former football player, an assassin and an army captain, and battle to restore the soul of america in wolfenstein ii: the freedom chronicles. starring a trio of larger-than-life heroes, the freedom chronicles includes three dlc packs: · the adventures of gunslinger joe – as former professional quarterback joseph stallion, smash through nazi hordes from the ruins of chicago to the vastness of space! · the diaries of agent silent death – as ex-oss agent and assassin jessica valiant, infiltrate nazi bunkers in california and discover the secrets of operation san andreas! · the amazing deeds of captain wilkins – as the us army’s renowned hero captain gerald wilkins, embark on a mission to nazi-controlled alaska to dismantle operation black sun!
wolfenstein ii: the new colossus releases on october 27, 2017, on xbox one, playstation 4 and pc. check out our hands-on preview here! | mərˈin baɪˈɑləʤɪsts frəm ðə vænˈkuvər əkˈwɛriəm ənd ðə ˈjuˈɛs ˈnæʃənəl ˌoʊʃiˈænɪk ənd ˌætməsˈfɛrɪk ædˌmɪnɪˈstreɪʃən (ˈɛˈnoʊˈeɪˈeɪ), juzd droʊnz tɪ ˈfoʊtəˌgræf waɪld ˈkɪlər weɪlz fər ðə fərst taɪm læst jɪr. ðɪs jɪr, dən ɪt əˈgɛn, dɪˈplɔɪɪŋ ə tɪ ʧɛk ɔn ðə ˈɔrkə ˈfæməliz ðeɪ sɔ ɪn 2014 ˈoʊvər ðə ˈwɔtərz əraʊnd ðə sæn wɑn ˈaɪləndz nɪr siˈætəl, ˈwɔʃɪŋtən, ənd tɪ ˈstədi ə ˈdɪfərənt ˈɔrkə ˌpɑpjəˈleɪʃən kɔld ðə ˈsəðərn ˈrɛzɪdənts. ðɛr ər ˈoʊnli 81 ˈsəðərn ˈrɛzɪdənt ˈkɪlər weɪlz lɛft ɪn ðə waɪld, əˈkɔrdɪŋ tɪ ˈɛˈnoʊˈeɪˈeɪ. ðət ˌɪnˈkludz faɪv ˈnubɔrn kævz, wɪʧ ðə ˈsaɪəntɪsts ˈfoʊtəˌgræft ðɪs ˈɔtəm, prəˈdusɪŋ rɛr ˈɪmɪʤɪz əv ˈməðər weɪlz wɪθ ðɛr kævz. ˈɛˈnoʊˈeɪˈeɪ ˈfɪʃəriz, vænˈkuvər əkˈwɛriəm ə 20 ˈfiˌmeɪl, ˈnərsɪŋ hər kæf. ðə ˈməðər wɪl fid hər kæf ðɪs weɪ fər əp tɪ tu jɪrz. fər ðə 40 jɪrz ðət baɪˈɑləʤɪsts hæv bɪn ˈtrækɪŋ ðɪs ˌpɑˈtɪkjələr ˌpɑpjəˈleɪʃən, ðə haɪəst ˈnəmbər əv kævz bɔrn ɪn ˈɛni wən jɪr wɑz 9 ɪn 1977 əˈkɔrdɪŋ tɪ ðə ˈsɛnər fər weɪl ˈrisərʧ (cwr*) ɪn ˈfraɪˌdeɪ ˈhɑrbər, ˈwɔʃɪŋtən. ðə ˈsəðərn ˈrɛzɪdənts ər ə lɑrʤ ɪkˈstɛndɪd ˈfæməli, ər klæn, sɪz cwr*, kəmˈpraɪzd əv θri ˌmætrɪˈlɪniəl ““pods”*” ðət ðə ˈsaɪəntɪsts kɔl ʤeɪ pɑd, keɪ pɑd, ənd ɛl pɑd. iʧ pɑd riˈvɑlvz əraʊnd ə ˈməðər ər ˈgrændˌməðər ˈkɪlər weɪl. ðɪs ɪz ə ˈməðər, ənd hər kæf, bɔrn ʤɪst deɪz ˌbiˈfɔr ðɪs ˈfoʊtəˌgræf wɑz ˈteɪkən. baɪˈɑləʤɪsts tʊk ðiz ˈfoʊˌtoʊz praɪˈmɛrəli tɪ ˈmɛʒər ðə lɛŋθ ənd wɪdθ əv iʧ weɪl, bət ðə pik ˈɪntu ðiz animals’*’ kɛrɪzˈmætɪk ˈfæməli lɪvz ɪz ə ˈwɛlkəm ˈboʊnəs. ˈɪmɪʤɪz] meɪk ˈvɪʒəwəl ðə ˈsoʊʃəl bɑndz bɪtˈwin ðiz weɪlz; ðeɪ spɛnd moʊst əv ðɛr taɪm ˈtrævəlɪŋ soʊ kloʊz təˈgɛðər ðeɪ kən touch,”*,” læns barrett-lennard*, əv ðə vænˈkuvər əkˈwɛriəm, toʊld ðə siˈætəl taɪmz. wɪθ hər kæf. ɔn ə ˈpɔdˌkæst dɪˈskəsɪŋ ðiz ˈɪmɪʤɪz, ˈɛˈnoʊˈeɪˈeɪ ˈsaɪəntɪst ʤɑn ˈdərbən dɪˈskraɪbz ˈwɑʧɪŋ tu weɪlz ɪn ðə ɛl pɑd drɔp ə ˈsæmən fər ə ˈfɛloʊ weɪl, noʊn ɛz bɪˈkəz ɪz naʊ ˈnərsɪŋ ə ˈprɑbəˌbli hæv məʧ taɪm tɪ daɪv daʊn ənd kəˈlɛkt fɪʃ ɔn hər own.”*.” hi kənˈtɪnjuz: aɪ θɪŋk ɪt ɪz ə greɪt ɪgˈzæmpəl əv haʊ soʊˈsaɪɪti ənd grup ˈlɪvɪŋ ɪz ˈrɪli ˌɪmˈpɔrtənt tɪ ðiz weɪlz. ðeɪ du ˈfæməli ˈbɛtər ðən wi du. ðeɪ steɪ ɪn ðɛr ˈfæməli ðɛr hoʊl lives.”*.” its ə ˈsæmən waɪl hər kæf swɪmz kloʊz baɪ. ˈɛˈnoʊˈeɪˈeɪ sɪz: fɪʃ wɑz kɔt ənd ˈgɪvɪn tɪ hər baɪ ˈəðər ˈmɛmbərz əv ðə ˈfæməli grup, ʃoʊɪŋ ðət ˈrɛlətɪvz hɛlp hər ɛz ʃi kɛrz fər hər calf.”*.” ˈɛˈnoʊˈeɪˈeɪ həz strɪkt rulz fər ˈɔpərˌeɪtɪŋ droʊnz nɪr mərˈin ˈmæməlz, ənd ðə ˈjuˈɛs ˈfɛdərəl ˌeɪviˈeɪʃən ædˌmɪnɪˈstreɪʃən həz strɪkt rulz fər ˈɔpərˌeɪtɪŋ droʊnz ɪn ˈjuˈɛs ˈwɔtərz. ðə baɪˈɑləʤɪsts hæd ˈrisərʧ ˈpərˌmɪts ənd flaɪt ˌɔθərəˈzeɪʃən frəm ˈɛˈnoʊˈeɪˈeɪ, ðə faa*, ənd ðə ɪkˈwɪvələnt kəˈneɪdiən ˈeɪʤənsiz, ənd ðə droʊnz wər ˈɔlˌweɪz æt list 90 fit 28 ˈmitərz) əˈbəv ðə weɪlz. ɔl əv ðə ˈɪmɪʤɪz ʃoʊn əˈbəv ər ˈʤɔɪntli ˈkrɛdɪtɪd tɪ ˈɛˈnoʊˈeɪˈeɪ ˈfɪʃəriz ənd ðə vænˈkuvər əkˈwɛriəm. |
marine biologists from the vancouver aquarium and the us national oceanic and atmospheric administration (noaa), used drones to photograph wild killer whales for the first time last year. this year, they’ve done it again, deploying a remote-controlled hexacopter to check on the orca families they saw in 2014, over the waters around the san juan islands near seattle, washington, and to study a different orca population called the southern residents.
there are only 81 southern resident killer whales left in the wild, according to noaa. that includes five newborn calves, which the scientists photographed this autumn, producing rare images of mother whales with their calves.
noaa fisheries, vancouver aquarium l94, a 20 year-old female, nursing her calf. the mother will feed her calf this way for up to two years.
for the 40 years that biologists have been tracking this particular population, the highest number of calves born in any one year was 9 in 1977, according to the center for whale research (cwr) in friday harbor, washington.
the southern residents are a large extended family, or clan, says cwr, comprised of three matrilineal “pods” that the scientists call j pod, k pod, and l pod. each pod revolves around a mother or grandmother killer whale.
this is l91, a first-time mother, and her calf, l122, born just days before this photograph was taken.
biologists took these photos primarily to measure the length and width of each whale, but the peek into these animals’ charismatic family lives is a welcome bonus.
“[the images] make visual the social bonds between these whales; they spend most of their time traveling so close together they can touch,” lance barrett-lennard, of the vancouver aquarium, told the seattle times.
j16 with her calf.
on a podcast discussing these images, noaa scientist john durban describes watching two whales in the l pod drop a salmon for a fellow whale, known as l91, because “l91 is now nursing a calf…she probably doesn’t have much time to dive down and collect fish on her own.”
he continues:
i think it is a great example of how society and group living is really important to these whales. they do family better than we do. they stay in their family their whole lives.”
l91 eats a salmon while her calf swims close by. noaa says: “this fish was caught and given to her by other members of the family group, showing that relatives help her as she cares for her calf.”
noaa has strict rules for operating drones near marine mammals, and the us federal aviation administration has strict rules for operating drones in us waters. the biologists had research permits and flight authorization from noaa, the faa, and the equivalent canadian agencies, and the drones were always at least 90 feet (28 meters) above the whales.
all of the images shown above are jointly credited to noaa fisheries and the vancouver aquarium. | ʤeɪmz ˈkɛlər, ðə kəˈneɪdiən prɛs vænˈkuvər ə b.c*. səˈprim kɔrt ʤəʤ həz drɑpt ˈsɪvəl kənˈtɛmpt ˈʧɑrʤɪz əˈgɛnst ˈdəzənz əv ˈproʊˌtɛstərz hu wər ərˈɛstɪd æt ən ˈproʊˌtɛst nɪr vænˈkuvər. ðə ˈɔrdər keɪm ˈθərzˌdeɪ ˈæftər ˈkaɪndər ˈmɔrgən ækˈnɑlɪʤd ɪt hæd juzd ˌɪnkərˈɛkt ˈgipiˈɛs wɪn ɪt sɔt ən ˌɪnˈʤəŋʃən rɪˈleɪtɪd tɪ ɪts trænz ˈmaʊntən ˈpaɪˌplaɪn. mɔr ðən 100 ˈpipəl hæv bɪn ərˈɛstɪd ɔn ˈbərnəbi ˈmaʊntən, ˌɪnˈkludɪŋ grænd ʧif stuərt ˈfɪlɪp əv ðə ˈjunjən əv b.c*. ˈɪndiən ʧifs, hu krɔst ə pəˈlis laɪn əraʊnd ə ˈkaɪndər ˈmɔrgən wərk saɪt ˈərliər ˈθərzˌdeɪ. ˈnɪrli ɔl əv ðə ərˈɛstɪd ˈproʊˌtɛstərz wər ʧɑrʤd wɪθ ˈsɪvəl kənˈtɛmpt fər ˈvaɪəleɪtɪŋ ðə ˌɪnˈʤəŋʃən, bət ðə ʤəʤ ˈhændəlɪŋ ðə keɪs səˈʤɛstɪd ˈdʊrɪŋ ˈθərzˌdeɪz ˈhirɪŋ ðət ðə ˈɛrərz ɪn ðə ˌɪˈnɪʃəl kɔrt ˈɔrdər pʊt ðoʊz ˈʧɑrʤɪz ɪn daʊt. "wəts ˈhæpənd ðəs fɑr ɪz ðət əˈpɛrəntli ˈpipəl hæv bɪn ərˈɛstɪd ɔn ðə ˈbeɪsɪs əv ən ˈɔrdər ðət rɪˈfərz tɪ səm ˈəðər pis əv ˈprɑpərti," ʤəʤ ˈɔstən ˈkələn sɛd, ˈprɑmptɪŋ læfs ənd ʤirz frəm ðə ˈkraʊdɪd ˈpəblɪk ˈgæləri. "ðə kənˈsərn ɪz ðət ˈpipəl hæv bɪn ərˈɛstɪd ənd səˈbʤɛktɪd tɪ rɪˈstreɪnts ɔn ðɛr ˈlɪbərˌti," hi kənˈtɪnjud ˈleɪtər. ˈleɪtər, ˈkələn ˌɪnˈvaɪtɪd ə ˈlɔjər fər ˈkaɪndər ˈmɔrgən tɪ faɪl ən ˌæpləˈkeɪʃən tɪ ˈveɪkeɪt ðə ˈʧɑrʤɪz. ˈkəmpəˌni ˈlɔjər ˈwɪljəm ˈkæplən meɪd səʧ ən ˌæpləˈkeɪʃən, wɪʧ ˈkələn ˈgrænɪd, ˈifɛktɪvli θroʊɪŋ aʊt ɔl əv ðə ˈsɪvəl kənˈtɛmpt ˈʧɑrʤɪz. ðə ˈɔrdər ˈdəzənt əˈplaɪ tɪ ə smɔl ˈhændˌfʊl əv ˈproʊˌtɛstərz hu feɪst ˈkrɪmənəl ˈʧɑrʤɪz fər əˈsɔlt ər əbˈstrəkʃən əv ˈʤəstɪs. ˈkələn ˈɔlsoʊ rɪˈvaɪzd ðə ˌɪnˈʤəŋʃən tɪ kərˈɛkt ðə ˈgipiˈɛs fər ðə wən wərk saɪt ðət ɪz stɪl ˈæktɪv, soʊ ˈproʊˌtɛstərz ərˈɛstɪd ˈəndər ðət rɪˈvaɪzd ˌɪnˈʤəŋʃən kʊd stɪl feɪs ˈsɪvəl kənˈtɛmpt ˈʧɑrʤɪz. ˈkaɪndər ˈmɔrgən ɪz kənˈdəktɪŋ ˈdrɪlɪŋ æt tu saɪts ɔn ˈbərnəbi ˈmaʊntən, wɪʧ ɪz hoʊm tɪ ə ˌkɑnsərˈveɪʃən ˈɛriə ənd ˈsaɪmən ˈfreɪzər ˌjunəˈvərsəti, ɛz ɪt pərˈpɛrz fər ðə ˈfɛdərəl əˈpruvəl ˈprɔˌsɛs. ðə ˈkəmpəniz prɪˈfərd rut fər ðə ɪkˈspændɪd trænz ˈmaʊntən ˈpaɪˌplaɪn wʊd ˈtənəl θru ðə ˈmaʊntən. ðə ˈɛnərʤi ʤaɪənt həz kəmˈplitɪd wərk æt wən ˈdrɪlɪŋ saɪt, wɪʧ ɪz ˈloʊˌkeɪtəd əˈlɔŋ ə ˈroʊdˌweɪ ənd wɛr ðə məˈʤɔrəti əv ðə ˌdɛmənˈstreɪʃənz hæv bɪn ˈfoʊkɪst. ˌhaʊˈɛvər, ɪt sɪz kruz ˈlaɪkli woʊnt bi ˈfɪnɪʃt æt ə ˈsɛkənd ˈdrɪlɪŋ saɪt, wɪʧ ɪz ˈloʊˌkeɪtəd dip ˈɪntu ðə ˈfɔrɪst, ənˈtɪl ˈæftər ðə ˈkɑrənt ˌɪnˈʤəŋʃən ˈdɛˌdlaɪn əv dɛk. 1 ɪt wɑz æt ðət ˈsɛkənd saɪt ðət ˈfɪlɪp, ðə grænd ʧif, wɑz ərˈɛstɪd ɔn ˈθərzˌdeɪ ˈmɔrnɪŋ. laɪk ˈmɛni ˈpaɪˌplaɪn əˈpoʊnənts ˌbiˈfɔr ɪm, ˈfɪlɪp əˈnaʊnst hɪz ˌɪnˈtɛnʧən tɪ bi ərˈɛstɪd ˌbiˈfɔr ˈwɔkɪŋ pæst ə pəˈlis laɪn ðət sərˈaʊndɪd ðə wərk saɪt. ˈfɪlɪp ənd hɪz səˈpɔrtərz trɛkt θru dɛns brəʃ tɪ ðə wərk saɪt. hi wɑz ərˈɛstɪd tɪ ðə bit əv ə ˈneɪtɪv drəm ənd ˈsɪŋɪŋ. "aɪ sɛd ðət ɪf pʊʃ keɪm tɪ ʃəv ənd ðɛr wər ərˈɛsts, ðət aɪ wʊd stænd wɪθ ðə kərˈeɪʤəs ˈpipəl ðət wər ˈwɪlɪŋ tɪ bi ərˈɛstɪd ɛz ə ˈmætər əv ˈprɪnsəpəl," hi sɛd ˌbiˈfɔr hɪz ərˈɛst. "wi nid tɪ riˈkleɪm ðɪs ˈkəntri ənd rɪˈtərn ɪt bæk tɪ ðə ˈvɔɪsɪz əv ðə ˈpipəl ðət hæv ˌɪnˈvɛstɪd ə ˈlaɪfˌtaɪm əv hɑrd wərk tɪ bɪld ðɪs ˈprɑvɪns." |
james keller, the canadian press
vancouver -- a b.c. supreme court judge has dropped civil contempt charges against dozens of protesters who were arrested at an anti-pipeline protest near vancouver.
the order came thursday after kinder morgan acknowledged it had used incorrect gps co-ordinates when it sought an injunction related to its trans mountain pipeline.
more than 100 people have been arrested on burnaby mountain, including grand chief stewart phillip of the union of b.c. indian chiefs, who crossed a police line around a kinder morgan work site earlier thursday.
nearly all of the arrested protesters were charged with civil contempt for violating the injunction, but the judge handling the case suggested during thursday's hearing that the errors in the initial court order put those charges in doubt.
"what's happened thus far is that apparently people have been arrested on the basis of an order that refers to some other piece of property," judge austin cullen said, prompting laughs and jeers from the courtroom's crowded public gallery.
"the concern is that people have been arrested and subjected to restraints on their liberty," he continued later.
later, cullen invited a lawyer for kinder morgan to file an application to vacate the charges. company lawyer william kaplan made such an application, which cullen granted, effectively throwing out all of the civil contempt charges.
the order doesn't apply to a small handful of protesters who faced criminal charges for assault or obstruction of justice.
cullen also revised the injunction to correct the gps co-ordinates for the one work site that is still active, so protesters arrested under that revised injunction could still face civil contempt charges.
kinder morgan is conducting drilling at two sites on burnaby mountain, which is home to a conservation area and simon fraser university, as it prepares for the federal approval process. the company's preferred route for the expanded trans mountain pipeline would tunnel through the mountain.
the energy giant has completed work at one drilling site, which is located along a roadway and where the majority of the demonstrations have been focused.
however, it says crews likely won't be finished at a second drilling site, which is located deep into the forest, until after the current injunction deadline of dec. 1.
it was at that second site that phillip, the grand chief, was arrested on thursday morning. like many pipeline opponents before him, phillip announced his intention to be arrested before walking past a police line that surrounded the work site.
phillip and his supporters trekked through dense brush to the work site. he was arrested to the beat of a native drum and singing.
"i said that if push came to shove and there were arrests, that i would stand with the courageous people that were willing to be arrested as a matter of principle," he said before his arrest.
"we need to reclaim this country ... and return it back to the voices of the people that have invested a lifetime of hard work to build this province." | amelie-benoist/bsip/alamy* tu ˈwɪmən θɔt tɪ bi ˌɪnˈfərtəl hæv bɪˈkəm ˈprɛgnənt ˈjuzɪŋ ə tɛkˈnik ðət simz tɪ rɪˈʤuvəˌneɪt ˈoʊˌvəriz, nu ˈsaɪəntɪst kən rɪˈvil. ɪt ɪz ðə fərst taɪm səʧ ə ˈtritmənt həz ɪˈneɪbəld ˌmɛnəˈpaʊzəl ˈwɪmən tɪ gɪt ˈprɛgnənt ˈjuzɪŋ ðɛr oʊn ɛgz. hæd ˈgɪvɪn əp hoʊp ɔn traɪɪŋ tɪ gɪt pregnant,”*,” sɪz wən əv ðə ˈwɪmən, ˈdəbəljuˈɛs, hu ɪz naʊ sɪks mənθs ˈprɛgnənt. mi, ə miracle.”*.” ðə əˈproʊʧ ɪz beɪst ɔn ðə əˈpɛrənt ˈhilɪŋ ˈprɑpərtiz əv bləd. ənd hɪz ˈkɑligz æt ðə ˈʤɛnəsəs ˈæθənz ˈklɪnɪk ɪn gris drɔ bləd frəm ðɛr ˈpeɪʃənz ənd spɪn ɪt ɪn ə ˈsɛntrəfˌjuʤ tɪ ˈaɪsəˌleɪt ˈplæzmə. ðɪs həz ə haɪ ˌkɑnsənˈtreɪʃən əv ðə sɛl ˈfrægmənts ˈjuʒəwəli ˌɪnˈvɑlvd ɪn bləd ˈklɑtɪŋ, ənd ɪz ɔˈrɛdi juzd tɪ spid ðə ˈhilɪŋ əv spɔrts ˈɪnʤəriz, ˌɔlˈðoʊ ɪts ˈifɛktɪvnəs fər ðɪs ˈpərpəs ɪz ənˈklɪr. ˌædvərˈtaɪzmənt ðə ˈklɪnɪk ɪz əˈtɛmptɪŋ tɪ juz ðɪs ˈplæzmə tɪ rɪˈpɛr ˌriprəˈdəktɪv ˈsɪstəmz, ˌɪnˈʤɛktɪŋ ɪt dɪˈrɛkli ˈɪntu ðə ˈoʊˌvəriz ənd ˈjutərəs. soʊ fɑr, ðə tim həz ˈgɪvɪn ðɪs ɪkˌspɛrɪˈmɛntəl ˈtritmənt tɪ mɔr ðən 180 ˈwɪmən, ˈmɛni əv hum sɔt ˈtritmənt bɪˈkəz ðeɪ hæv ə dɪˈsɔrdər ðət ˈdæmɪʤɪz ðə ˈlaɪnɪŋ əv ðə ˈjutərəs. bət ðə tim həz ˈɔlsoʊ juzd ðə ˈtritmənt ɪn ən ˈɛfərt tɪ rɪˈʤuvəˌneɪt ðə ˈɔrgənz əv 27 ˌmɛnəˈpaʊzəl ənd ˈwɪmən, bɪtˈwin ðə ˈeɪʤɪz əv 34 ənd 51 hæd ˈpipəl kəm frəm ɛz fɑr ɛz mongolia,”*,” sɪz. waɪl moʊst wɔnt tɪ gɪt ˈprɛgnənt, səm əv ðiz ˈwɪmən ʤɪst ˈwɔntɪd tɪ stɑp ðə ˈsɪmptəmz əv ˈmɛnəˌpaʊz, wɪʧ kən ˌɪnˈklud hɑt ˈfləʃɪz, naɪt swɛts ənd ˈθɪnɪŋ hɛr. ðoʊz ˈwɑnɪŋ tɪ gɪt ˈprɛgnənt ðɛn wɛnt bæk tɪ ðɛr hoʊm ˈkəntriz tɪ traɪ. noʊ haʊ ˈmɛni hæv əˈtɛmptəd ðɪs soʊ fɑr, bət sɪz ðət hi noʊz tu ˈwɪmən hæv ˈmænɪʤd tɪ gɪt ˈprɛgnənt. sɪks mənθs ˈprɛgnənt ˈdəbəljuˈɛs, ɪz ə frəm ˈʤərməni. ʃi hæd bɪn traɪɪŋ tɪ gɪt ˈprɛgnənt tɪ hæv ə ˈsɛkənd ʧaɪld fər mɔr ðən sɪks jɪrz, ənd hæd ɪkˈspɪriənst sɪks ˌənsəkˈsɛsfəl əˈtɛmpts. ðə sɪksθ, ðə ˈdɔktər sɛd wi ʃʊd stɑp ðɛr, ənd kənˈsɪdər ɛg donation,”*,” ʃi sɪz. ˌɪnˈstɛd, ˈdəbəljuˈɛs rɪˈsivd ˈtritmənt æt ðə ˈʤɛnəsəs ˈæθənz ˈklɪnɪk, rɪˈtərnɪŋ tɪ ˈʤərməni tɪ hæv ˈstændərd ˈtritmənt. ðə ˌstɪmjəˈleɪʃən ˈhɔrˌmoʊnz ˈprɑmptɪd hər tɪ riˈlis θri ɛgz, ənd ðə haɪəst kˈwɑləti ɛg wɑz fertilised*. ən ˈɛmbriˌoʊ wɑz ˌɪmˈplæntɪd ɪn hər ˈjutərəs ənd ʃi ɪz naʊ sɪks mənθs ˈprɛgnənt. ɪz goʊɪŋ well,”*,” ʃi sɪz. ə girl”*”. ðə ˈəðər ˈwʊmən, ə frəm ðə ˈnɛðərləndz, hæd ˈpriviəsli nɑt hæd ə ˈpɪriəd fər fɔr jɪrz, ənd hæd bɪn ʃoʊɪŋ ˈəðər saɪnz əv ˈmɛnəˌpaʊz. bɪˈkəz ʃi ˈwɔntɪd tɪ stɑrt ə ˈfæməli, ʃi wɛnt tɪ gris tɪ rɪˈsiv ˈtritmənt ɪn dɪˈsɛmbər 2016 ə mənθ ˈleɪtər, ʃi bɪˈgæn əˈgɛn, sɪz. wɪˈθɪn ə fju mənθs əv ˈtritmənt, ðə ˈwʊmən ˌəndərˈwɛnt ə fɔrm əv ˈtritmənt ɪn ðə ˈnɛðərləndz. ʃi hæd ““natural”*”, wɪʧ əˈvɔɪdz ˈjuzɪŋ ˈhɔrˌmoʊnz tɪ ˈstɪmjəˌleɪt ðə ˈoʊˌvəriz tɪ ˈproʊdus ˈɛkstrə ɛgz, ɛz ɪz dən ɪn ˈstændərd prəˈsiʤərz. ˌɪnˈstɛd, ˈdɑktərz kəˈlɛkt ðə wən ɛg ðət ɪz riˈlist ˈdʊrɪŋ ˌoʊvjəˈleɪʃən, ɪt ˈaʊtˈsaɪd əv ðə ˈbɑdi, ənd ˈleɪtər ðə ˈɛmbriˌoʊ. ðə ˈwʊmən səkˈsɛsfəli bɪˈkeɪm ˈprɛgnənt, bət ənˈfɔrʧənətli læst wik, ə fju mənθs ˈɪntu hər ˈprɛgnənsi. ˈwɪmən bɪtˈwin ðə ˈeɪʤɪz əv 35 ənd 39 ər θɔt tɪ hæv ə wən ɪn faɪv ʧæns əv mɪˈskɛrəʤ ˈdʊrɪŋ ðə fərst 12 wiks əv ˈprɛgnənsi. wɪθ ðə mɪˈskɛrəʤ ɪkˈstrimli encouraging,”*,” sɪz. hi hoʊps ðət ðə ˈwʊmən wɪl traɪ əˈgɛn. ənˈnoʊn kɔz ˈdɑktərz seɪ ðə rɪˈzəlts soʊ fɑr ər ˈprɑməsɪŋ, bət ðət ˈrɪgərəs traɪəlz ər ˈnidɪd ˌbiˈfɔr fərm kənˈkluʒənz kən bi drɔn. ðət maɪt hɛlp ˈoʊˌvəriz rɪˈgeɪn ˈfəŋkʃən wʊd bi fabulous,”*,” sɪz ʤɑn ˈrændɑlf æt ðə ˌjunəˈvərsəti əv ˈmɪʃɪgən ɪn æn ˈɑrbər. lɔt əv ˈpipəl hæv haɪ hoʊps əv duɪŋ ˈsəmθɪŋ laɪk this.”*.” ðə tim ʃʊr haʊ ðə ˈtritmənt maɪt bi ˈwərkɪŋ. wən ˈθɪri ɪz ðət ðə ˈplæzmə weɪks əp stɛm sɛlz ɪn ðə ˈoʊˌvəri, ɪnˈkərəʤɪŋ ðɛm tɪ ˈproʊdus mɔr ɛgz. bət ˈsaɪəntɪsts ər ˈkərəntli dəˈbeɪtɪŋ ˈwɛðər səʧ stɛm sɛlz ˈivɪn ɪgˈzɪst. ɔlˈtərnətɪvli, ðə ˈtritmənt ˌɪtˈsɛlf maɪt kənˈteɪn stɛm sɛlz, səˈʤɛsts ˈrændɑlf. nid tɪ ˈfɪgjər aʊt haʊ ðɪs wərks ənd haʊ seɪf ɪt is,”*,” hi sɪz. ˈsɪmpli ˈstɪkɪŋ ə ˈnidəl ˈɪntu ən ˈoʊˌvəri maɪt hæv ən ˈifɛkt, sɪz klɔz ˈændərsən æt ˈkoʊpənˌhɑgən ˌjunəˈvərsəti ˈhɑˌspɪtəl ɪn ˈdɛnˌmɑrk. ˈdæmɪʤɪŋ ən ˈoʊˌvəri kən ʧeɪnʤ ðə ʃeɪp əv ðə bləd ˈvɛsəlz ðət səˈpɔrt ɪt, wɪʧ meɪ kɔz ˈaɪsəˌleɪtɪd ɛg ˈfɑlɪkəlz tɪ bi prəˈvaɪdɪd wɪθ ə bləd səˈplaɪ fər ðə fərst taɪm, ɪˈneɪbəlɪŋ ðɛm tɪ riˈlis ɛgz. ɪz ˈplænɪŋ ə ˈklɪnɪkəl traɪəl əv ðə ˈtritmənt, wɪʧ wɪl kəmˈpɛr ðə ˈifɛkts əv ˈplæzmə wɪθ ə pləˈsiboʊ ˌɪnˈʤɛkʃən. ənˈtɪl ðɛn, ɪt ɪz ˌɪmˈpɑsəbəl tɪ seɪ haʊ wɛl, ɪf æt ɔl, ðə ˈtritmənt ɪz ˈwərkɪŋ, sɪz æt nu jɔrk ˈmɛdɪkəl ˈkɑlɪʤ. ˈivɪn wəns ˈmɛnəˌpaʊz stɑrts, ðɛr ər stɪl səm ɛg ˈfɑlɪkəlz lɛft, soʊ ðɛr ɪz ə smɔl ʧæns ðət ˈwɪmən kən stɪl gɪt ˈprɛgnənt æt ðɪs steɪʤ wɪˈθaʊt ˈɛni ˈtritmənt, hi sɪz. fərˈtɪlɪti ˈwɪndoʊ ɪf ɪt wərks, ðə ˈtritmənt kʊd bi juzd tɪ ɪˈneɪbəl ˈoʊldər ˈwɪmən tɪ gɪt ˈprɛgnənt. ðə ˈmɛnəˌpaʊz ˈjuʒəwəli əˈkərz əraʊnd ðə eɪʤ əv 50 ənd soʊ fɑr, həz nɑt ˈtritɪd ˈɛniˌwən ˈoʊvər 52 bət hi sɪz ðət ɪt ɪz nɑt hɪz pleɪs tɪ ʤəʤ haʊ oʊld ɪz tu oʊld fər ə ˈwʊmən tɪ stɑrt ə ˈfæməli. ˈpipəl maɪt nɑt mit ðɛr ˈpɑrtnərz ənˈtɪl ˈleɪtər ɪn life,”*,” hi sɪz. ðɛr ɪz ə ˈtritmənt ðət wɪl hɛlp ðɛm, ðɛn waɪ nɑt juz it?”*?” bət ˈprɛgnənsi ɪz ˈrɪskiər ɪn ˈoʊldər eɪʤ, sɪz ˈændərsən. du θɪŋk kˈwɛsʧənəbəl ˈwɛðər wi ʃʊd əˈlaʊ ˈwɪmən ɪn ðɛr ənd tɪ gɪt pregnant,”*,” hi sɪz. ðə ˈtritmənt ʤɪst dɪˈzaɪərəbəl fər ˈwɪmən ˈlʊkɪŋ tɪ ɪkˈstɛnd ðə ˈævərɪʤ ˌriprəˈdəktɪv ˈwɪndoʊ. waɪl moʊst ˈwɪmən ˌəndərˈgoʊ ðə ˈmɛnəˌpaʊz æt əraʊnd ðə eɪʤ əv 50 əˈbaʊt wən pər sɛnt əv ˈwɪmən ɪkˈspɪriəns ˌpriməˈʧʊr ˈmɛnəˌpaʊz, ˌbiˈfɔr ðə eɪʤ əv 40 ˈwɪmən hu ˌəndərˈgoʊ ˌkimoʊˈθɛrəpi ˈkænsər ˈtritmənt kən ɪkˈspɪriəns ˈərli ˈmɛnəˌpaʊz tu, ˌɔlˈðoʊ ˈfrizɪŋ ˈoʊˌvəriz ər ɛgz ˌbiˈfɔr ˈtritmənt ˈɔfərz ðɛm ə ʧæns tɪ rɪˈvərs ðɪs wəns ðɛr ˌkimoʊˈθɛrəpi ɪz ˈoʊvər. ɪf rɪˌʤuvəˈneɪʃən wɪθ ˈplæzmə wərks, ɪt wʊd ˈɔfər ðə seɪm ˌɑpərˈtunəti tɪ ˈwɪmən hu gɪt ə ʧæns tɪ friz ˈɛni ˈtɪʃu ˌbiˈfɔr ˈtritmənt. plænz tɪ traɪəl hɪz ˈtritmənt ɪn gris ənd ðə ˈjuˈɛs, bət wɪl kənˈtɪnju ˈɔfərɪŋ ɪt æt hɪz ˈklɪnɪk ɪn ðə ˈminˌtaɪm. ˈəðərz ər ˈlaɪkli tɪ ˈfɑloʊ sut, sɪz ˈrændɑlf. ˈpipəl ɪn ðə fild wɪl weɪt fər mɔr ˌɪnˌfɔrˈmeɪʃən ˌbiˈfɔr ˈɔfərɪŋ ðɪs tɪ ðɛr ˈpeɪʃənz, bət ðɛr wɪl bi ə fju ˈpipəl hu wɪl ʤəmp ɔn it,”*,” hi sɪz. klɪk hir fər ən ˈɪntərvˌju wɪθ ˈdəbəljuˈɛs əˈbaʊt hər ɪkˈspɪriəns rɪˈsivɪŋ ðə ˈtritmənt. rɛd mɔr: ˈmɛnəˌpaʊz rɪˈvərsəl rɪˈstɔrz ˈpɪriədz ənd prəˈdusɪz ˈfərtəl ɛgz |
amelie-benoist/bsip/alamy
two women thought to be infertile have become pregnant using a technique that seems to rejuvenate ovaries, new scientist can reveal. it is the first time such a treatment has enabled menopausal women to get pregnant using their own eggs.
“i had given up hope on trying to get pregnant,” says one of the women, ws, who is now six months pregnant. “to me, it’s a miracle.”
the approach is based on the apparent healing properties of blood. kostantinos sfakianoudis and his colleagues at the genesis athens clinic in greece draw blood from their patients and spin it in a centrifuge to isolate platelet-rich plasma. this has a high concentration of the cell fragments usually involved in blood clotting, and is already used to speed the healing of sports injuries, although its effectiveness for this purpose is unclear.
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the clinic is attempting to use this plasma to repair women’s reproductive systems, injecting it directly into the ovaries and uterus. so far, the team has given this experimental treatment to more than 180 women, many of whom sought treatment because they have a disorder that damages the lining of the uterus.
but the team has also used the treatment in an effort to rejuvenate the organs of 27 menopausal and peri-menopausal women, between the ages of 34 and 51.
“we’ve had people come from as far as mongolia,” says sfakianoudis. while most want to get pregnant, some of these women just wanted to stop the symptoms of menopause, which can include hot flushes, night sweats and thinning hair.
those wanting to get pregnant then went back to their home countries to try ivf. sfakianoudis doesn’t know how many have attempted this so far, but says that he knows two women have managed to get pregnant.
six months pregnant
ws, is a 40-year-old from germany. she had been trying to get pregnant to have a second child for more than six years, and had experienced six unsuccessful ivf attempts. “after the sixth ivf, the doctor said we should stop there, and consider egg donation,” she says.
instead, ws received treatment at the genesis athens clinic, returning to germany to have standard ivf treatment. the stimulation hormones prompted her to release three eggs, and the highest quality egg was fertilised. an embryo was implanted in her uterus and she is now six months pregnant. “everything is going well,” she says. “it’s a girl”.
the other woman, a 39-year-old from the netherlands, had previously not had a period for four years, and had been showing other signs of menopause. because she wanted to start a family, she went to greece to receive treatment in december 2016. a month later, she began menstruating again, says sfakianoudis.
within a few months of treatment, the woman underwent a form of ivf treatment in the netherlands. she had “natural” ivf, which avoids using hormones to stimulate the ovaries to produce extra eggs, as is done in standard ivf procedures. instead, doctors collect the one egg that is released during ovulation, fertilise it outside of the body, and later reimplant the embryo.
the woman successfully became pregnant, but unfortunately miscarried last week, a few months into her pregnancy. women between the ages of 35 and 39 are thought to have a one in five chance of miscarriage during the first 12 weeks of pregnancy. “even with the miscarriage it’s extremely encouraging,” says sfakianoudis. he hopes that the woman will try again.
unknown cause
doctors say the results so far are promising, but that rigorous trials are needed before firm conclusions can be drawn. “anything that might help ovaries regain function would be fabulous,” says john randolph at the university of michigan in ann arbor. “a lot of people have high hopes of doing something like this.”
the team isn’t sure how the treatment might be working. one theory is that the plasma wakes up stem cells in the ovary, encouraging them to produce more eggs. but scientists are currently debating whether such stem cells even exist. alternatively, the treatment itself might contain stem cells, suggests randolph. “we need to figure out how this works and how safe it is,” he says.
simply sticking a needle into an ovary might have an effect, says claus yding andersen at copenhagen university hospital in denmark. damaging an ovary can change the shape of the blood vessels that support it, which may cause isolated egg follicles to be provided with a blood supply for the first time, enabling them to release eggs.
sfakianoudis is planning a clinical trial of the treatment, which will compare the effects of platelet-rich plasma with a placebo injection. until then, it is impossible to say how well, if at all, the treatment is working, says kutluk oktay at new york medical college. even once menopause starts, there are still some egg follicles left, so there is a small chance that women can still get pregnant at this stage without any treatment, he says.
fertility window
if it works, the treatment could be used to enable older women to get pregnant. the menopause usually occurs around the age of 50, and so far, sfakianoudis’s has not treated anyone over 52. but he says that it is not his place to judge how old is too old for a woman to start a family. “some people might not meet their partners until later in life,” he says. “if there is a treatment that will help them, then why not use it?”
but pregnancy is riskier in older age, says andersen. “i do think it’s questionable whether we should allow women in their 60s and 70s to get pregnant,” he says.
the treatment isn’t just desirable for women looking to extend the average reproductive window. while most women undergo the menopause at around the age of 50, about one per cent of women experience premature menopause, before the age of 40. women who undergo chemotherapy cancer treatment can experience early menopause too, although freezing ovaries or eggs before treatment offers them a chance to reverse this once their chemotherapy is over. if rejuvenation with platelet-rich plasma works, it would offer the same opportunity to women who didn’t get a chance to freeze any tissue before treatment.
sfakianoudis plans to trial his treatment in greece and the us, but will continue offering it at his clinic in the meantime. others are likely to follow suit, says randolph. “most people in the field will wait for more information before offering this to their patients, but there will be a few people who will jump on it,” he says.
click here for an interview with ws about her experience receiving the treatment.
read more: menopause reversal restores periods and produces fertile eggs | ˈspigəl: jʊr klaɪənt əˈbɛd wɑz səˈpoʊzd tɪ hæv bɪn ərˈɛstɪd læst ˈtuzˌdeɪ. wət du ðə əˈθɔrətiz ɪn ˌɪˈrɑn əˈkjuz ɪm əv ˈhævɪŋ dən? ˈneɪzər zarafshan*: əˈbɛd faɪts fər ˈfridəm əv ɪkˈsprɛʃən ənd dɪˈmɑkrəsi. hi hæd ɔˈrɛdi bɪn ərˈɛstɪd fɔr taɪmz ənd ˈsɛntənst tɪ eɪt mənθs' ˌɪmˈprɪzənmənt. ə pɑrt əv ðə ˈkɑrənt ˌæləˈgeɪʃənz əˈgɛnst ɪm rɪˈleɪt tɪ ðiz ækˈtɪvɪtiz. ðə ˈpraɪˌmɛri ʧɑrʤ, ðoʊ, həz tɪ du wɪθ ən ˈɪntərvˌju hi dɪd wɪθ ˈspigəl ɪn sɛpˈtɛmbər əˈbaʊt ðə tɛns ˈætməsˌfɪr ɪn ðə ˌjunəˈvərsətiz. ðə steɪt ˈprɑsɪˌkjutər sɪz ðət baɪ duɪŋ ðɪs hi sprɛd "ˌprɑpəˈgændə əˈgɛnst ðə ˈhoʊli ˈɔrdər əv ðə ˌɪzˈlɑmɪk riˈpəblɪk" ənd ðət hi "ˌɪnˈsaɪtɪd ənˈrɛst." ˈspigəl: haʊ dɪd ðə əˈθɔrətiz bɪˈkəm əˈwɛr əv ðə ˈɪntərvˌju? zarafshan*: ˌɪˈmiˌdiətli ˈæftər ðə ˌpəblɪˈkeɪʃən əv ðə ˈɪntərvˌju, ə "ˈspɛʃəl rɪˈpɔrt" wɑz ˈpəblɪʃt ɪn ə lɑrʤ, ɪkˈstrimli kənˈsərvətɪv ˈdeɪli ˈnuzˌpeɪpər. ðə rɪˈpɔrt ˈleɪbəld ˈspigəl ə "ˈzaɪənɪst ˈmægəˌzin" ənd wɑz ˈhɑrʃli əˈtækt ɛz ə lɛft ˈwɪŋər." ˈsəbsəkwəntli ðə steɪt ˈprɑsɪˌkjutər ˈsəmənd ɪm. ˈspigəl: dɪd ðə keɪs goʊ tɪ traɪəl? zarafshan*: ðə ˌɪnˌtɛrəˈgeɪʃən wɑz ˈfɑloʊd baɪ θri ˈhirɪŋz ˌbiˈfɔr ə ˌrɛvəˈluʃəˌnɛri trəˈbjunəl. aɪ wɑz ˈivɪn nɑt ˈsəmənd tɪ tu əv ðə ˈhirɪŋz. wən ˈkænɑt hoʊp fər ˈʤəstɪs ðɛr. wi ˈsaɪtɪd ðə raɪt tɪ ˈfridəm əv ɪkˈsprɛʃən wɪʧ ɪz ˌgɛrənˈtid ɪn ɑr ˌkɑnstəˈtuʃən. ˌnɛvərðəˈlɛs ðə kɔrt kənˈsɪdərd ðə ˈɪntərvˌju tɪ bi ə "vaɪəˈleɪʃən əv ˈnæʃənəl sɪˈkjʊrəti." fər ðɪs, gɑt ə nu ˈprɪzən ˈsɛntəns əv wən jɪr. ˈspigəl: dɪd jʊr klaɪənt əkˈsɛpt ðə ˈvərdɪkt? zarafshan*: noʊ, wi doʊnt ˈrɛkəgˌnaɪz ðɪs ˈvərdɪkt, wɪʧ ˈwəzənt ˈivɪn ˈgɪvɪn tɪ ˈjuˈɛs ɪn ˈraɪtɪŋ. bɪˈkəz maɪ klaɪənt əˈsumd hi wʊd bi ərˈɛstɪd, hi kˈwɪkli lɛft ðə ˈkɔrˌtrum. ˈspigəl: naʊ ðə əˈθɔrətiz ər ˈlʊkɪŋ fər. dɪz hi naʊ rɪˈgrɛt ˈhævɪŋ ˈgɪvɪn ðə ˈɪntərvˌju? zarafshan*: maɪ klaɪənt nu wət hi wɑz ˈgɪtɪŋ ˈɪntu. hi stændz baɪ ˈɛvəri ˈsɛntəns. |
spiegel: your client abed tavancheh was supposed to have been arrested last tuesday. what do the authorities in iran accuse him of having done?
naser zarafshan: abed tavancheh fights for freedom of expression and democracy. he had already been arrested four times and sentenced to eight months' imprisonment. a part of the current allegations against him relate to these activities. the primary charge, though, has to do with an interview he did with spiegel in september about the tense atmosphere in the universities. the state prosecutor says that by doing this he spread "propaganda against the holy order of the islamic republic" and that he "incited unrest."
spiegel: how did the authorities become aware of the interview?
zarafshan: immediately after the publication of the interview, a "special report" was published in a large, extremely conservative daily newspaper. the report labeled spiegel a "zionist magazine" and tavancheh was harshly attacked as a "us-oriented left winger." subsequently the state prosecutor summoned him.
spiegel: did the case go to trial?
zarafshan: the interrogation was followed by three hearings before a revolutionary tribunal. i was even not summoned to two of the hearings. one cannot hope for justice there. we cited the right to freedom of expression which is guaranteed in our constitution. nevertheless the court considered the interview to be a "violation of national security." for this, tavancheh got a new prison sentence of one year.
spiegel: did your client accept the verdict?
zarafshan: no, we don't recognize this verdict, which wasn't even given to us in writing. because my client assumed he would be arrested, he quickly left the courtroom.
spiegel: now the authorities are looking for tavancheh. does he now regret having given the interview?
zarafshan: my client knew what he was getting into. he stands by every sentence. | ˈfraɪˌdeɪ, dɪˈsɛmbər 15 2006 baɪ ˈælɪsən ˈstivənz, mɪz, ˈpræktɪkəli ˈɛvriˌwən noʊz əˈbaʊt ˈfaɪbər ənd ɪts ˌɪmˈpɔrtəns fər daɪˈʤɛstɪv hɛlθ. bət hæv ju ˈɛvər hərd əv? ˌɪnˈkrisɪŋgli juzd baɪ fud ˌmænjəˈfækʧərərz ɪn ˈprɑsɛst fudz, ˈprɑbəˌbli ˈitɪŋ mɔr ðən ju θɪŋk. hir ər səm fækts əˈbaʊt ðɪs ˈdaɪəˌtɛri ˈfaɪbər. wət ɪz? ɪz ə spɪˈsɪfɪk taɪp əv ˈdaɪəˌtɛri ˈfaɪbər ðət ɪz ˈnæʧərəli faʊnd ɪn ˈhənərdz əv ˈkɑmən fudz səʧ ɛz liks, ˈɑrtɪˌʧoʊks, əˈspɛrəgəs, ˈənjənz, ˈgɑrlɪk, bəˈnænəz, wit, raɪ, rut. du ju it rut? ˌbiˈfɔr ju ˈænsər noʊ, ju meɪ wɔnt tɪ teɪk ə ˈkloʊzər lʊk æt səm əv jʊr fud ˈleɪbəlz. ˌɔlˈðoʊ ðɪs ˈhɑrti rut ɪz nɑt ˈjuʒəwəli ˈitən ɪn ɪts ˈnæʧərəl fɔrm, rut ɪz ðə sɔrs juzd fər ðə ˈædɪd tɪ ˈprɑsɛst fudz. həz ˈɛksələnt nuˈtrɪʃənəl ənd ˈfəŋkʃənəl ˌkɛrɪktərˈɪstɪks ənd kən bi juzd tɪ ˌriˈpleɪs fæt, flaʊər, ənd ˈʃʊgər. wɔnt tɪ noʊ ɪf jʊr ˈfeɪvərɪt ˈpækɪʤd fudz kənˈteɪn? rɛd ðə ˌɪnˈgridiənts lɪst ənd lʊk fər ðə wərd root’*’ ər ‘‘inulin.’*.’ ðɪs ˈfaɪbər ɪz ˈpɑpɪŋ əp ɪn ˈɛvriˌθɪŋ frəm ˈsɪriəlz ənd grəˈnoʊlə bɑrz tɪ ˈjoʊgərt ənd ˈkʊkiz. hɛlθ ˈbɛnəfɪts əv wɪn fud ˌmænjəˈfækʧərərz ʧuz ə ˈfaɪbər tɪ æd tɪ fudz, ðeɪ hæv ˈmɛni taɪps tɪ ʧuz frəm. səm ɪgˈzæmpəlz əv ˈfaɪbər ˌɪnˈklud oʊt bræn, ˈsɛljəˌloʊs, ənd wit bræn. ɔl əv ðiz ˈfaɪbərz ər baɪ ðə ˈbɑdi ənd kən hɛlp sloʊ daɪˈʤɛsʧən, ˈmeɪkɪŋ ju fil fʊl ˈlɔŋgər. meɪ ˈɔfər mɔr hɛlθ ˈbɛnəfɪts ðən ˈəðər ˈfaɪbərz. ə lɪst əv səm əv ɪts ˈbɛnəfɪts: 1 prəˈmoʊts ˈhɛlθi gət bækˈtɪriə pri- ənd ər ‘‘good’*’ bækˈtɪriə ðət hɛlp meɪnˈteɪn gət hɛlθ. ɪz ə. fudz laɪk ˈjoʊgərt kənˈteɪn probiotics*. sərv ɛz fud fər probiotics*. ɪn ðɪs weɪ, ɪz pɑrt əv ə ʧeɪn əv bækˈtɪriə ðət kips jʊr gət ˈhɛlθi ənd əˈlivieɪts daɪˈʤɛstɪv ˈprɑbləmz. 2 ˌɪmˈpruv jʊr daɪˈʤɛstɪv ˈfəŋkʃənz wɪθ laɪk ˈəðər ˈfaɪbərz, hɛlps daɪˈʤɛsʧən, prɪˈvɛnts ˌkɑnstəˈpeɪʃən, ənd kips ju ˈrɛgjələr. ə lɑrʤ ˈrizən fər ðɪs ɪz bɪˈkəz əv ɪts ˈprɑpərtiz. 3 kən hɛlp ˈmænɪʤ ˌdaɪəˈbitiz bɪˈkəz ɪz nɑt ˈdaɪˌʤɛstɪd, ɪt dɪz nɑt əˈfɛkt ˈgluˌkoʊs ˈlɛvəlz. ðɪs meɪks ɪt ən əˈproʊpriˌeɪt fud fər ˌdaɪəˈbɛtɪks. ɪt ɪz nɑt ˈkaʊntɪd ɛz ˌkɑrboʊˈhaɪˌdreɪt ˈɪnˌteɪk. 4 ˌɪmˈpruvd boʊn hɛlθ wɪθ prɪˈlɪməˌnɛri ˈstədiz səˈʤɛst ðət ˈædɪŋ tɪ fudz laɪk ˈjoʊgərt meɪ bust ˈkælsiəm əbˈzɔrpʃən. ðɪs ɪz gʊd nuz fər jʊr boʊnz! ˌsəpləˈmɛnts ðɛr ər lɑts əv ˈfaɪbər ˌsəpləˈmɛnts ɔn ðə ˈmɑrkɪt. ʤɪst laɪk wɪθ fud, ˌmænjəˈfækʧərərz juz ˈvɛriəs ˈfaɪbər ˈsɔrsəz tɪ kriˈeɪt ðiz ˌsəpləˈmɛnts; səm juz. ˌɔlˈðoʊ ˈfaɪbər ˌsəpləˈmɛnts hɛlp səm ˈpipəl, ˈʤɛnərəli ˌrɛkəˈmɛndɪd tɪ it high-fiber*, hoʊl fudz. wɪn ju it ril fudz, ju gɪt ɔl kaɪnz əv əˈdɪʃənəl ˈnutriənts ðət ju mɪs wɪn ju teɪk ə pɪl. fər ˈfərðər ˌɪnˌfɔrˈmeɪʃən ɔn haʊ tɪ bɛst ˌɪnˈklud ˈfaɪbər ɪn jʊr ˈhɛlθi daɪət si ðə ˈfɑloʊɪŋ ˈɑrtɪkəl frəm thedietchannel*: wəts ðə bɛst sɔrs əv ˈfaɪbər: pɪlz ər fud? ɪz mɔr ˈbɛtər? ɛz wɪθ ˈɛniˌθɪŋ, rɪˈmɛmbər ðət mɔr ɪz nɑt ˌnɛsəˈsɛrəli ˈbɛtər. ðɛr ər noʊ rɪˈpɔrts əv tɑkˈsɪsəti. ˌhaʊˈɛvər, ɪt ɪz stɪl bɛst tɪ stɪk wɪθ fudz ˈnæʧərəli haɪ ɪn səʧ ɛz ˈənjənz, ˈɑrtɪˌʧoʊks, bəˈnænəz, əˈspɛrəgəs, ənd ˈgɑrlɪk. ðiz fudz hæv ˈsɛnʧəriz bɪˈhaɪnd ðɛm tɪ pruv ðeɪ ər seɪf tɪ it. |
friday, december 15, 2006 - 9:37am
by allison stevens, ms, rd
practically everyone knows about fiber and its importance for digestive health. but have you ever heard of inulin? increasingly used by food manufacturers in processed foods, probably eating more inulin than you think. here are some facts about this little-known dietary fiber.
what is inulin?
inulin is a specific type of dietary fiber that is naturally found in hundreds of common foods such as leeks, artichokes, asparagus, onions, garlic, bananas, wheat, rye, and…chicory root. do you eat chicory root? before you answer no, you may want to take a closer look at some of your food labels. although this hearty root is not usually eaten in its natural form, chicory root is the source used for the inulin added to processed foods.
inulin has excellent nutritional and functional characteristics and can be used to replace fat, flour, and sugar. want to know if your favorite packaged foods contain inulin? read the ingredients list and look for the word ‘chicory root’ or ‘inulin.’ this fiber is popping up in everything from cereals and granola bars to yogurt and cookies.
health benefits of inulin
when food manufacturers choose a fiber to add to foods, they have many types to choose from. some examples of fiber include oat bran, cellulose, and wheat bran. all of these fibers are indigestible by the body and can help slow digestion, making you feel full longer. inulin may offer more health benefits than other fibers. here’s a list of some of its benefits:
1. inulin promotes healthy gut bacteria
pre- and pro-biotics are ‘good’ bacteria that help maintain gut health. inulin is a probiotic. foods like yogurt contain probiotics. prebiotics serve as food for probiotics. in this way, inulin is part of a chain of bacteria that keeps your gut healthy and alleviates digestive problems.
2. improve your digestive functions with inulin
like other fibers, inulin helps digestion, prevents constipation, and keeps you regular. a large reason for this is because of its probiotic properties.
3. inulin can help manage diabetes
because inulin is not digested, it does not affect glucose levels. this makes it an appropriate food for diabetics. it is not counted as carbohydrate intake.
4. improved bone health with inulin
preliminary studies suggest that adding inulin to calcium-rich foods like yogurt may boost calcium absorption. this is good news for your bones!
inulin supplements
there are lots of fiber supplements on the market. just like with food, manufacturers use various fiber sources to create these supplements; some use inulin. although fiber supplements help some people, it’s generally recommended to eat high-fiber, whole foods. when you eat real foods, you get all kinds of additional nutrients that you miss when you take a pill.
for further information on how to best include fiber in your healthy diet see the following article from thedietchannel: what's the best source of fibre: pills or food?
is more inulin better?
as with anything, remember that more is not necessarily better. there are no reports of inulin toxicity. however, it is still best to stick with foods naturally high in inulin such as onions, artichokes, bananas, asparagus, and garlic. these foods have centuries behind them to prove they are safe to eat. | ˌsaʊˈθistərn ˌjunəˈvərsəti ˈhaɪrɪŋ ˈvɪzɪtɪŋ əˈsɪstənt ˈæˌʤəŋkt ʤɪst bɪˈkəz ðeɪ hərd ɔn ðə ˈmɑrkɪt ˌklæsəfəˈkeɪʃən ˈtaɪtəl: ˈvɪzɪtɪŋ əˈsɪstənt ˈæˌʤəŋkt ˈwərkɪŋ ˈtaɪtəl: dɪˈpɑrtmənt ˈlæki pəˈzɪʃən ˈnəmbər: ˈsæləri: ʤɑb ˈpoʊstɪŋ deɪt: ʤɑb ˈkloʊzɪŋ deɪt: ðə skul əv kəmˌjunəˈkeɪʃənz, ˈbɪznɪsɪz, ənd kwɪr ˈstədiz ɪn ðə ˈkɑlɪʤ əv æt ˌsaʊˈθistərn ˌjunəˈvərsəti ˌɪnˈvaɪts ˌæpləˈkeɪʃənz fər ə ˈvɪzɪtɪŋ ˈæˌʤəŋkt prəˈfɛsər ɪn nɑnˈprɑfət ˈmænɪʤmənt tɪ bɪˈgɪn ɪn ˈɔgəst 2018 wi sik ə ˈkænədɪt hu ɪz ə fild ˈrisərʧər fərst ənd ə ˈtiʧər ˈsɛkənd, tɪ tiʧ sɪks ˈkɔrsɪz pər səˈmɛstər, ˌɪnˈkludɪŋ ə ˈmɪnəməm əv faɪv ˌɪndəˈvɪʤəwəl ˌprɛpərˈeɪʃənz iʧ səˈmɛstər. ɑr ˌəndərˈgræʤəwət ˈkɔrsɪz ˈkəvər θri dɪˈstɪŋkt bət ˈoʊvərˌlæpɪŋ træks: ˈfænsi, ˈbɪznɪs ˈkæʒəwəl, ənd kərɪrz tɪ meɪk ˈpɛrənts wip. ðə səkˈsɛsfəl ˈkænədɪt wɪl tiʧ ˈkɔrsɪz ɪn iʧ træk ɛz wɛl ɛz dɪˈzaɪn ənd ˈmænɪʤ ðə ˌɪmpləmɛnˈteɪʃən əv ə fɔrθ træk. ˈɛriəz əv ˈrisərʧ ˌspɛʃələˈzeɪʃən meɪ ˌɪnˈklud ər ɪkˈsklud ˌpɑpjəˈleɪʃən ˈkoʊdɪŋ, ˈboʊlɪŋ, back-propagation*, pɪŋ pɔŋ, ənd dɪˌpɑrtˈmɛnəl kuz. ˈkænədɪts ʃʊd hæv ˌɪˈmɛns fəˌmɪˈljɛrəti wɪθ ðə tərmz ““problematic”*” ənd ““onus.”*.” pəˈzɪʃən taɪp: ˈkæmpəs: ˌnɔrθˈwɛstərn ˈmeɪˌbɛri ˈspɛʃəl ˌɪnˈstrəkʃənz fər ˈæplɪkənts: ðɪs pəˈzɪʃən ɪz ˈoʊpən ənˈtɪl wi faɪnd ə ˈtɛnjərd ˈfækəlti ˈmɛmbər hu dɪˈzaɪərz ə ˈspaʊzəl haɪər. ə ˈtoʊtəl əv sɪks 6 ˈdɑkjəmənts ər rikˈwaɪərd tɪ kəmˈplit ðə ˈɔnˌlaɪn ˌæpləˈkeɪʃən. ɑr ˌæpləˈkeɪʃən ˈplætˌfɔrm əˈlaʊz ðə əˈtæʧmənt əv faɪv 5 ˈdɑkjəmənts. ðə ˈmæksəməm saɪz fər iʧ ˈdɑkjəmɛnt ɪz: schmedium*. ɪn əˈdɪʃən tɪ kəmˈplitɪŋ ðə ˈɔnˌlaɪn ˌæpləˈkeɪʃən, pliz sɛnd ðə ˈfɑloʊɪŋ ˈviə ˈɛkspɪˌdaɪtɪd sneɪl meɪl: ə ˈkəvər ˈlɛtər, kərˈɪkjələm ˈvaɪtə, ˈkɑpiz əv ˌənəˈfɪʃəl ˈtrænˌskrɪpts, ˈkɑpiz əv əˈfɪʃəl ˈtrænˌskrɪpts, bləd ˈsæmpəl, tu 2 ˈbeɪbi tiθ, tɛn 10 ˈkɑpiz əv moʊst ˈrisənt bʊk (saɪnd), ˈjunɪˌkɔrn ˈʤərki, ənd ˈsɛvən 7 ˈlɛtərz əv ˌrɛkəmənˈdeɪʃən. ˈlɛtərz əv ˌrɛkəmənˈdeɪʃən ʃʊd bi əˈdrɛst tɪ: ˈdɑktər. ˈbɛrɪŋtən ˈpædɪŋtən, rɪp. ˈlɛtərz əv ˌrɛkəmənˈdeɪʃən meɪ bi skænd ənd iˈmeɪld tɪ: bpaddington@theothersmu.edu*. ðə ˈlɛtərz ʃʊd ˈɔlsoʊ bi sɛnt ˈviə sneɪl meɪl tɪ: ˈdɑktər. ˈbɛrɪŋtən ˈpædɪŋtən, rɪp, sərʧ kəˈmɪti ʧɛr, skul əv kəmˌjunəˈkeɪʃənz, ˈbɪznɪsɪz, ənd kwɪr ˈstədiz, ˈkɑlɪʤ əv, ˌsaʊˈθistərn ˌjunəˈvərsəti, 24777 ˌjunəˈvərsəti ˈpɑrkˌweɪ, ˈkɑlɪʤ pɑrk, nc*, 28500 bət ðeɪ məst bi sɛnt tɪ ˈdɑktər. ˈɔfəs ɪn 1992 ˌɪndəˈvɪʤəwəlz wɪθ dɪsəˈbɪlɪtiz rikˈwaɪərɪŋ əˌkɑməˈdeɪʃən, pliz jɛl ˈlaʊdli fər hɛlp. klæs koʊd: 7583 |
southeastern middlestill university hiring visiting assistant adjunct just because they heard you’re on the market
classification title: visiting assistant adjunct
working title: department head’s lackey
position number: 000.5
salary: $38,000
job posting date: 11/10/2017
job closing date: 11/11/2017
the school of communications, businesses, and queer studies in the fränk malamarde college of impossibilities at southeastern middlestill university invites applications for a visiting adjunct professor in nonprofit management to begin in august 2018.
we seek a candidate who is a field researcher first and a teacher second, to teach six courses per semester, including a minimum of five individual preparations each semester. our undergraduate courses cover three distinct but overlapping tracks: fancy, business casual, and careers to make parents weep. the successful candidate will teach courses in each track as well as design and manage the implementation of a fourth track.
areas of research specialization may include or exclude population coding, bowling, back-propagation, ping pong, and departmental coups. candidates should have immense familiarity with the terms “problematic” and “onus.”
position type: facultyish
campus: northwestern mayberry
special instructions for applicants: this position is open until we find a tenured faculty member who desires a spousal hire.
a total of six (6) documents are required to complete the online application. our application platform allows the attachment of five (5) documents. the maximum size for each document is: schmedium.
in addition to completing the online application, please send the following via expedited snail mail: a cover letter, curriculum vitae, copies of unofficial transcripts, copies of official transcripts, blood sample, two (2) baby teeth, ten (10) copies of most recent book (signed), unicorn jerky, and seven (7) letters of recommendation.
letters of recommendation should be addressed to: dr. barrington paddington, rip. letters of recommendation may be scanned and emailed to: bpaddington@theothersmu.edu. the letters should also be sent via snail mail to: dr. barrington paddington, rip, search committee chair, school of communications, businesses, and queer studies, fränk malamarde college of impossibilities, southeastern middlestill university, 24777 university parkway, college park, nc, 28500, but they must be sent to dr. paddington’s office in 1992.
individuals with disabilities requiring accommodation, please yell loudly for help.
class code: 7583 | oʊˈlɪmpiənz ˈhɛdɪd tɪ ˈrioʊ də ʤəˈnɛˌroʊ hæv ɔˈrɛdi bɪn toʊld tɪ bi ˈkɔʃəs əv ðə ˈvaɪrəs ˈzɪkə. bət oʊˈlɪmpɪk sˈwɪmərz, ˈseɪlərz ənd wɪl hæv tɪ lʊk aʊt fər mɔr ðən ðət, bɪˈkəz ðə ˈwɔtərz hæv wət hɛlθ ˈɛkspərts ər ˈkɔlɪŋ ə dɪʃ əv pathogens,”*,” ˌɪnˈkludɪŋ ðət kɔz ˌdaɪərˈiə, ˈvɑmətɪŋ ənd ˈivɪn dɛθ tɪ ðoʊz wɪθ ˈwikənd ˌɪmˈjun ˈsɪstəmz. ˈæθˌlits wɪl ˈlɪtərəli bi sˈwɪmɪŋ ɪn ˈjumən kræp, ənd ðeɪ rɪsk ˈgɪtɪŋ sɪk frəm ɔl ðoʊz microorganisms,”*,” ˈdɑktər. ˈdænjəl ˈbɛkər, ə ˈloʊkəl ˌpidiəˈtrɪʃən hu wərks ɪn pur ˈneɪbərˌhʊdz, toʊld ðə nu jɔrk taɪmz. sæd bət ˈɔlsoʊ worrisome.”*.” ˈfiˌsiz frəm ə ˈnɪrˈbaɪ suɪʤ plænt rɪˈpɔrtədli pɔrz ˈɪntu ðə ˈwɔtər ənˈtritɪd ənd ˈjumən ənd ˈænəməl dɛd ˈbɑdiz ər faʊnd ɪn ðə ˈwɔtər wɪθ regularity,”*,” əˈkɔrdɪŋ tɪ ðə sæn frænˈsɪskoʊ ˈkrɑnɪkəl. saɪn əp ənd seɪv gɪt sɪks mənθs əv fri ˈdɪʤɪtəl ˈækˌsɛs tɪ ðə sən ˈhɛrəld ðə ˈgəvərnmənt ˈprɑməst tɪ klin əp ðə weɪst ɪn beɪ ənd ðə ˈbiʧɪz sərˈaʊndɪŋ ˈrioʊ ˈsɛvən jɪrz əˈgoʊ, bət əˈfɪʃəlz ədˈmɪtəd ðɛr ˈɛfərts hæv ˈfɑlən ʃɔrt. ðə oʊˈlɪmpɪks stɑrt ɔn ˈɔgəst. 5 bət ˈgəvərnmənt əˈfɪʃəlz seɪ spɪˈsɪfɪk ˈɛriəz wɛr ˈæθˌlits wɪl bi kəmˈpitɪŋ mit wərld hɛlθ ˌɔrgənəˈzeɪʃən ˈseɪfti ˈstændərdz. ənd ˈpræktɪsɪŋ ɔn ðə mɔr ˈhaɪli kənˈtæməˌneɪtɪd ˈɛriəz seɪ nɑt ə bɪg dil. ʤɪst hæv tɪ kip ɑr maʊðz kloʊzd wɪn ðə ˈwɔtər spreɪz up,”*,” ˈzigərz, 24 ə ˈmɛmbər əv ðə dəʧ ˈseɪlɪŋ tim, wɪʧ həz bɪn ˈpræktɪsɪŋ ɪn beɪ, toʊld ðə nu jɔrk taɪmz. ðət gʊd ɪˈnəf fər ðoʊz pɑrˈtɪsəˌpeɪtɪŋ ɪn ə sərf ˌkɑmpəˈtɪʃən ə fju mənθs əˈgoʊ. ðə ˈvɛnju əv ðə ˌkɑmpəˈtɪʃən hæd tɪ bi muvd tɪ wɪn paɪlz əv træʃ ˈfloʊtɪd əp tɪ ðə biʧ æt ðə ərˈɪʤənəl loʊˈkeɪʃən. bət ˈmuvɪŋ ðə loʊˈkeɪʃən ɪˈnəf. wər ˈrəfli 12 ˈsərfərz læst jɪr ðət fɛl ɪl ənd hæd ˈvɛri ˈsɪmələr ˈsɪmptəmz tɪ mi. ˈnɔziə, ˈdɪzinəs, ˈvɑmətɪŋ, diarrhea,”*,” eɪs ˈbəkən, wən əv ðə tɔp ˈsərfərz, toʊld ˈpəblɪk ˈreɪdiˌoʊ ˌɪnərˈnæʃənɑl. ˈnɪrli ə kˈwɔrtər əv ɔl ðə kəmˈpɛtɪtərz, meɪl ənd female.”*.” ən ɔˈstreɪljən ˌfɑrməˈsutɪkəl ˈkəmpəˌni dɪˈvɛləpt condoms”*” tɪ gɪv ˈfərðər prəˈtɛkʃən əˈgɛnst ðə ˈzɪkə ˈvaɪrəs tɪ ðɛr ˈæθˌlits, ðoʊ ˈrɛgjələr ˈkɑndəmz ər səˈpoʊzd tɪ prəˈtɛkt əˈgɛnst ðə ənd dɪˈziz. bət raɪt naʊ ɪt simz hɛlθ əˈfɪʃəlz hæv noʊ səˈluʃən fər ˈwɔtərz ˌbiˈsaɪdz ˈtɛlɪŋ ðɛm tɪ kip ðɛr maʊðz kloʊzd. |
olympians headed to rio de janeiro have already been told to be cautious of the virus zika.
but olympic swimmers, sailors and windsurfers will have to look out for more than that, because the city’s waters have what health experts are calling a “petri dish of pathogens,” including bacterias that cause diarrhea, vomiting and even death to those with weakened immune systems.
“foreign athletes will literally be swimming in human crap, and they risk getting sick from all those microorganisms,” dr. daniel becker, a local pediatrician who works in poor neighborhoods, told the new york times. “it’s sad but also worrisome.”
feces from a nearby sewage plant reportedly pours into the water untreated and human and animal dead bodies are found in the water with “upsetting regularity,” according to the san francisco chronicle.
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the government promised to clean up the waste in guanabara bay and the beaches surrounding rio seven years ago, but officials admitted their efforts have fallen short. the olympics start on aug. 5.
but government officials say specific areas where athletes will be competing meet world health organization safety standards. and windsurfers practicing on the more highly contaminated areas say not a big deal.
“we just have to keep our mouths closed when the water sprays up,” afrodite zegers, 24, a member of the dutch sailing team, which has been practicing in guanabara bay, told the new york times.
that wasn’t good enough for those participating in a surf competition a few months ago. the venue of the competition had to be moved to grumari when piles of trash floated up to the beach at the original location. but moving the location wasn’t enough.
“there were roughly 12 surfers last year that fell ill and had very similar symptoms to me. nausea, dizziness, vomiting, diarrhea,” ace buchan, one of the world’s top surfers, told public radio international. “that’s nearly a quarter of all the competitors, male and female.”
an australian pharmaceutical company developed “super condoms” to give further protection against the zika virus to their athletes, though regular condoms are supposed to protect against the mosquito-borne and sexually-transmitted disease. but right now it seems health officials have no solution for rio’s waste-infected waters besides telling them to keep their mouths closed. | wi kʊd bi ˈlʊkɪŋ æt ðə ˈlɑrʤəst ˈʤɛndər gæp ɪn ə ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən sɪns æt list 1952 mɛn ər ˈfeɪvərɪŋ ðə rɪˈpəblɪkən ˌnɑməˈni, ˈdɑnəld trəmp, ɪn ˈtɪpɪkəl ˈnəmbərz, bət ə hɪˈstɔrɪkəli ˌoʊvərˈwɛlmɪŋ ʃɛr əv ˈwɪmən seɪ ðeɪ wɪl voʊt fər ðə ˈdɛməˌkræt, ˈhɪləri ˈklɪntən. ɛz maɪ ˈkɑlig neɪt ˈsɪlvər həz ˈpɔɪntɪd aʊt, ˈwɪmən ər ˈwɪnɪŋ ðɪs ɪˈlɛkʃən fər ˈklɪntən. bɪtˈwin ðə hɪˈstɔrɪk ˈneɪʧər əv ˈkændɪdəsi, ˈrɛkərd əv ˈkɑmɛnts ənd naʊ ðə trəmp teɪp ənd ˌæləˈgeɪʃənz əv ˈsɛkʃuəl əˈsɔlt əˈgɛnst trəmp, əˈmɛrɪkən mɛn ənd ˈwɪmən ər ˌɪnˈkrɛdəbli splɪt ɔn ðə 2016 ɪˈlɛkʃən. bət ðət splɪt səˈmɛtrɪkəl. ɪn ən ˈævərɪʤ əv ðə moʊst ˈrisənt poʊlz frəm iʧ ˈpoʊlstər tɪ tɛst ðə reɪs ɪn ɑkˈtoʊbər, ˈklɪntən hoʊldz ə ædˈvæntɪʤ əˈməŋ ˈwɪmən, ənd trəmp ɪz ˈwɪnɪŋ mɔr ˈnɛroʊli əˈməŋ mɛn. ˈpoʊlstər ˈwɪmən mɛn dem*. ˈʤɛndər gæp ˈeɪˌbiˌsi ˈklɪntən 8 taɪ 8 ˈsiˌbiˌɛs nuz ˈklɪntən 18 trəmp 11 29 ˈsiˈɛˈnɛn ˈklɪntən 14 trəmp 4 18 ˈfɛrlə ˈdɪkɪnsən ˈklɪntən 24 trəmp 7 31 fɑks nuz ˈklɪntən 19 trəmp 6 25 ʤɔrʤ ˈwɔʃɪŋtən ˈklɪntən 18 trəmp 5 23 ˈɛnˌbiˈsi ˈklɪntən 20 trəmp 3 23 əˈtlæntɪk ˈklɪntən 33 trəmp 11 44 ˌjunəˈvərsəti ˈklɪntən 20 trəmp 12 32 ˈævərɪʤ ˈklɪntən 20 trəmp 7 26 ˈwɪmən ər ˌoʊvərˈwɛlmɪŋli səˈpɔrtɪŋ ˈklɪntən ðə moʊst ˈrisənt poʊl kənˈdəktəd ɪn ɑkˈtoʊbər ðət hæd baɪ iʧ ˈpoʊlstər ɛz əv 12 p.m*. ɔn ɔkt. 16 ˈɛnˌbiˈsi strit ˈʤərnəl ˈsərˌveɪ ɪz bɪtˈwin ʤɪst ˈklɪntən ənd trəmp, waɪl ˈəðər poʊlz ˌɪnˈkludɪd ˈkænədɪts ɛz ˈʧɔɪsɪz. ɔl poʊlz ər ˈraʊndɪd. ə ˈʤɛndər gæp ɪz kwaɪt ˈnɔrməl. ˈɛksət poʊlz, fər ˈɪnstəns, ʃoʊ ðət ˈdɛməˌkræts wən ðə ˈnæʃənəl haʊs voʊt əˈməŋ ˈwɪmən ɪn 2014 dɪˈspaɪt rɪˈpəblɪkənz ə ˈlænsˌlaɪd ˈvɪktəri ˈoʊvərˌɔl. ənd ðɛr həz bɪn ə kənˈsɪstənt gæp ɪn ˈrisənt ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃənz, bɪˈgɪnɪŋ wɪθ ðə 1980 reɪs. bət ˈivɪn soʊ, ˈdɛməˌkræts ˈkɛri ˈwɪmən ɪn səʧ ˌoʊvərˈwɛlmɪŋ ˈnəmbərz. ðə ˌdɛməˈkrætɪk ˈævərɪʤ ˈmɑrʤən əv ˈvɪktəri ɪn iʧ ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən frəm ðə əˈmɛrɪkən ˈnæʃənəl ɪˈlɛkʃən ˈstədiz, ˈgæləp ənd ˈɛksət poʊl ˈdætə fər boʊθ mɛn ənd ˈwɪmən sɪns 1952 ðə fərst θɪŋ tɪ noʊt: wi sin ˈɛniˌθɪŋ laɪk lɛd ˈoʊvər trəmp əˈməŋ ˈwɪmən ɪn ˈdɛkeɪdz. ˈwɪmən ˈfeɪvərd bɪl ˈklɪntən baɪ əˈbaʊt 20 pərˈsɛnɪʤ pɔɪnts ɪn 1996 (ə ˈlænsˌlaɪd ɪˈlɛkʃən), bət ðə læst taɪm ˈwɪmən ˈfeɪvərd ˈiðər ˌnɑməˈni baɪ mɔr ðən 20 pɔɪnts wɑz ɪn 1972 wɪn rɪˈpəblɪkən ˈrɪʧərd ˈnɪksən krəʃt ˈdɛməˌkræt ʤɔrʤ məˈgəvərn əˈməŋ boʊθ ˈsɛksɪz. ðə ˈoʊnli ˈdɛməˌkræt ˈɛvər tɪ wɪn ˈwɪmən baɪ mɔr ðən 20 pɔɪnts wɑz ˈlɪndən ˈʤɑnsən ɪn 1964 ˈɔlsoʊ ɪn ə bloʊaʊt. fɔr jɪrz əˈgoʊ, ˈprɛzɪdənt ˌoʊˈbɑmə ˈkɛrid ˈwɪmən baɪ ˈoʊnli əˈbaʊt 12 pɔɪnts. ˈivɪn wɪn hi fərst wən ðə waɪt haʊs, ɪn 2008 baɪ əˈbaʊt ˈdəbəl hɪz 2012 ˈmɑrʤən, hɪz ˈmɑrʤən əˈməŋ ˈwɪmən wɑz ˈoʊnli 14 pɔɪnts. ənd jɛt, trəmp ɪz stɪl ˈkɛriɪŋ mɛn. ɪf ðə poʊlz ər ɔn ðə mɑrk, ðə ˈdɪfərəns bɪtˈwin haʊ mɛn ənd ˈwɪmən voʊt ðə ˈʤɛndər gæp ɪn 2016 wʊd bi hɪˈstɔrɪk. ˈdeɪtɪŋ bæk tɪ 1952 ðɛr həz ˈnɛvər bɪn ə ˈʤɛndər gæp. wɪn wi tɔk əˈbaʊt ðə ˈʤɛndər gæp, ˈnɔrməli ˈlʊkɪŋ æt ə ˈdɪfərəns əv əˈbaʊt 15 pərˈsɛnɪʤ pɔɪnts (ðə ˈævərɪʤ sɪns 1980 ðə ˈlɑrʤəst gæp sin keɪm ɪn 1996 wɪn ɪt wɑz 20 pɔɪnts. tɪ pʊt ðɪs ˈʤɛndər splɪt ˈɪntu ə ˈlɪtəl mɔr ˈkɑntɛkst: lɛd əˈməŋ mɛn ɪz əˈbaʊt haʊ wɛl ʤɔrʤ ˈdəbəlju. bʊʃ dɪd wɪθ mɛn ɪn 2000 ɪf wi hæd ən ˈævərɪʤ ˈʤɛndər gæp ðɪs jɪr, ɪkˈspɛkt ˈklɪntən tɪ ˈkɛri ˈwɪmən baɪ bɪtˈwin 5 ənd 10 pɔɪnts (ˈgɪvɪn haʊ mɛn seɪ ðeɪ ər goʊɪŋ tɪ voʊt). ðət kaɪnd əv gæp wʊd rɪˈzəlt ɪn ə kloʊz reɪs ˈoʊvərˌɔl, wɪʧ ɪz ɪgˈzæktli wət ðə steɪt əv ðə ɪˈkɑnəmi səˈʤɛsts ʃʊd bi əˈkərɪŋ. ˌɪnˈstɛd, ˈklɪntən ɪz ˈlidɪŋ baɪ əˈbaʊt 6 ər 7 pərˈsɛnɪʤ pɔɪnts ˈnæʃənəli ɪn ðə ˈfɔrˌkæst. ˈbeɪsɪkli, ðə voʊt əˈməŋ mɛn lʊks ““normal”*”; ðə splɪt əˈməŋ ˈwɪmən dɪz nɑt. ðət ɪz, ðə hɪˈstɔrɪkəli lɑrʤ ˈʤɛndər gæp ðɪs ɪˈlɛkʃən ɪz bɪˈkəz ˈwɪmən ər ˌdɪsprəˈpɔrʃənətli ˈfeɪvərɪŋ wən ˈkænədɪt (ˈklɪntən) tɪ ən ɪkˈstɛnt wi ɪkˈspɛkt ðɛm tɪ ɪn ə ˈnɔrməl ɪˈlɛkʃən ˈgɪvɪn ðə ““fundamentals.”*.” ˈpɑsəbəl ðə ˈʤɛndər gæp ɔn ɪˈlɛkʃən deɪ wɪl tərn aʊt sˈmɔlər ðən ˈɪndəˌkeɪtɪd baɪ ˈkɑrənt poʊlz. poʊlz, fər ˈɪnstəns, səʧ ɛz ðoʊz kənˈdəktəd ˈɔnˌlaɪn ər ˈviə ˈɔtəˌmeɪtɪd vɔɪs tɛkˈnɑləʤi, hæv faʊnd ə sˈmɔlər ˈʤɛndər gæp. ðət kʊd bi bɪˈkəz ˈɔnˌlaɪn poʊlz ənd tɛnd tɪ ˌrikˈwaɪər ˈhɛviər ˈweɪtɪŋ ðə rɑ ˈsæmpəlz riʧt baɪ ðiz poʊlz ˈɔfən ɛz ˌrɛprɪˈzɛnətɪv. poʊlz tɛnd tɪ bi mɔr ˈækjərət, ɔn ˈævərɪʤ, wɪʧ ɪz waɪ ðeɪ ər ˈstədid hir, bət ðə poʊlz kʊd bi ˈkloʊzər tɪ ðə mɑrk ðɪs jɪr. wi ˈɔlsoʊ noʊ ˈwɛðər ər nɑt lɑrʤ lɛd əˈməŋ ˈwɪmən ɪz mɔr ə ər ən voʊt. maɪ gɛs ɪz ˈprɑbəˌbli ə ˈlɪtəl bɪt əv boʊθ. wən θɪŋ tɪ kip ən aɪ ɔn ˈoʊvər ðə nɛkst fju wiks, ðoʊ, ɪz ˈwɛðər ðə ˈʤɛndər gæp bɪˈgɪnz tɪ ˈwaɪdən ˈivɪn ˈfərðər, ɛz pərˈhæps mɔr ˈsɛkʃuəl əˈsɔlt ˌæləˈgeɪʃənz əˈgɛnst trəmp kəm aʊt. ɪf ɪt dɪz, ɪt kʊd bi ən ˈɑrgjəmənt ðət ðə strɔŋ ˌdɛməˈkrætɪk voʊt əˈməŋ ˈwɪmən ðɪs jɪr ɪz mɔr ðən. ˈvɪdioʊ: haʊ ˈdɪfərənt ˌdɛməˈgræfɪk grups kʊd swɪŋ ðə ɪˈlɛkʃən |
we could be looking at the largest gender gap in a presidential election since at least 1952: men are favoring the republican nominee, donald trump, in typical numbers, but a historically overwhelming share of women say they will vote for the democrat, hillary clinton.
as my colleague nate silver has pointed out, women are winning this election for clinton. between the historic nature of clinton’s candidacy, trump’s record of misogynistic comments and now the trump tape and allegations of sexual assault against trump, american men and women are incredibly split on the 2016 election. but that split isn’t symmetrical. in an average of the most recent live-interview polls from each pollster to test the race in october, clinton holds a 20-percentage-point advantage among women, and trump is winning more narrowly among men.
pollster women men dem. gender gap abc news/washpost clinton +8 tie +8 cbs news clinton +18 trump +11 +29 cnn clinton +14 trump +4 +18 fairleigh dickinson clinton +24 trump +7 +31 fox news clinton +19 trump +6 +25 george washington clinton +18 trump +5 +23 nbc news/wsj clinton +20 trump +3 +23 prri/the atlantic clinton +33 trump +11 +44 quinnipiac university clinton +20 trump +12 +32 average clinton +20 trump +7 +26 women are overwhelmingly supporting clinton the most recent live-interview poll conducted in october that fivethirtyeight had by each pollster as of 12 p.m. on oct. 16. nbc news/wall street journal survey is between just clinton and trump, while other polls included third-party candidates as choices. all polls are rounded.
a gender gap is quite normal. exit polls, for instance, show that democrats won the national house vote among women in 2014, despite republicans notching a landslide victory overall. and there has been a consistent gap in recent presidential elections, beginning with the 1980 race. but even so, democrats didn’t carry women in such overwhelming numbers. here’s the democratic candidate’s average margin of victory in each presidential election from the american national election studies, gallup and exit poll data for both men and women since 1952:
the first thing to note: we haven’t seen anything like clinton’s 20-point lead over trump among women in decades. women favored bill clinton by about 20 percentage points in 1996 (a landslide election), but the last time women favored either nominee by more than 20 points was in 1972, when republican richard nixon crushed democrat george mcgovern among both sexes. the only democrat ever to win women by more than 20 points was lyndon johnson in 1964 — also in a blowout. four years ago, president obama carried women by only about 12 points. even when he first won the white house, in 2008, by about double his 2012 margin, his margin among women was only 14 points.
and yet, trump is still carrying men. if the live-interview polls are on the mark, the difference between how men and women vote — the gender gap — in 2016 would be historic. dating back to 1952, there has never been a 26-percentage-point gender gap.
when we talk about the gender gap, we’re normally looking at a difference of about 15 percentage points (the average since 1980). the largest gap we’ve seen came in 1996, when it was 20 points.
to put this year’s gender split into a little more context: trump’s 7-percentage-point lead among men is about how well george w. bush did with men in 2000. if we had an average gender gap this year, we’d expect clinton to carry women by between 5 and 10 points (given how men say they are going to vote). that kind of gap would result in a close race overall, which is exactly what the state of the economy suggests should be occurring.
instead, clinton is leading by about 6 or 7 percentage points nationally in the fivethirtyeight polls-only forecast. basically, the vote among men looks “normal”; the split among women does not. that is, the historically large gender gap this election is because women are disproportionately favoring one candidate (clinton) — to an extent we wouldn’t expect them to in a normal election given the “fundamentals.”
it’s possible the gender gap on election day will turn out smaller than indicated by current live-interview polls. nonlive polls, for instance, such as those conducted online or via automated voice technology, have found a smaller gender gap. that could be because online polls and robo-polls tend to require heavier weighting — the raw samples reached by these polls often aren’t as representative. live-interview polls tend to be more accurate, on average, which is why they are studied here, but the nonlive polls could be closer to the mark this year.
we also don’t know whether or not clinton’s large lead among women is more a pro-clinton or an anti-trump vote. my guess is it’s probably a little bit of both. one thing to keep an eye on over the next few weeks, though, is whether the gender gap begins to widen even further, as perhaps more sexual assault allegations against trump come out. if it does, it could be an argument that the strong democratic vote among women this year is more anti-trump than pro-clinton.
video: how different demographic groups could swing the election | fiˈænə ˈlidər ˈmɑrtɪn həz kleɪmd ɪn ə spiʧ ðət sɪn həz noʊ kəˈnɛkʃən tɪ ðə 1916 ˈraɪzɪŋ ˈkɑmɛnts ðət ˈʤɛri ˈædəmz dɪsˈmɪst ɛz ə rant”*”. ˈmɑrtɪn meɪd ðə ˈkɑmɛnts waɪl ˈspikɪŋ æt hɪz ˈænjuəl 1916 kəˌmɛmərˈeɪʃən ɔn ˈɑrbər hɪl təˈdeɪ. ˈmɑrtɪn dɪˈskraɪbd ðə mɛn ənd ˈwɪmən əv 1916 ɛz wɪʧ ˈɛni ˈneɪʃən wʊd bi praʊd of”*”, seɪɪŋ ðət ɪz ˈraɪtli praʊd əv ðə fækt ðət ɪt droʊv ˈfɔrwərd ðə səkˈsɛsfəl sərʧ fər ə ʃɛrd ˈbluˌprɪnt fər ðə fˈjuʧər əv ɑr island”*”. wi ər ə ˈpɑrti ˈfaʊndɪd baɪ mɛn ənd ˈwɪmən hu fɔt ɪn 1916 fər ðə ˈfridəm əv ɑr ˈkəntri. bət hi sɛd ðət fiˈænə ər ɪn seɪɪŋ ðət 1916 bɪˈlɔŋz tɪ noʊ ˈpɑrti ər movement”*”. ɪt bɪˈlɔŋz tɪ ðə ˈaɪrɪʃ ˈpipəl əˈloʊn. sɔrs: graphy*: ˈaɪərlənd ˈmɑrtɪn hæd hɑrʃ wərdz fər sɪn, seɪɪŋ ðət ðə rɪˈpəblɪkən ˈpɑrti əˈgrɛsɪvli bɪn prəˈmoʊtɪŋ ðə fɔls kleɪm ðət ðeɪ hæv səm kəˈnɛkʃən tɪ 1916 ənd tɪ ðə ˌvɑlənˈtɪrz hu fɔt then”*”. ðɪs ɪz pɑrt əv ðɛr ˈwaɪdər əˈʤɛndə əv traɪɪŋ tɪ ˈfɔlsəˌfaɪ ˈrisənt ˈaɪrɪʃ ˈhɪstəri ənd kleɪm lɪˈʤɪtəməsi fər ðə sɛkˈtɛriən kæmˈpeɪn əv ˈmərdər ənd ˌɪnˌtɪmɪˈdeɪʃən wɪʧ ðeɪ ˈkɛrid aʊt fər 30 jɪrz. lɛt noʊ wən bi ɪn ˈɛni daʊt, prəˈvɪʒənəl sɪn feɪn ənd ðə prəˈvɪʒənəl ˌaɪˌɑˈreɪ hæv noʊ kəˈnɛkʃən wɪθ 1916 tɪ kleɪm ˈəðərˌwaɪz ɪz ə ˈdeɪnʤərəs ənd ˈsɪnɪkəl laɪ. sɔrs: ˈlɔrə ˈaɪərlənd hi dɪˈskraɪbd sɪn ˈkleɪmɪŋ ə lɪŋk wɪθ 1916 ɛz ənd ˈəndərˌmaɪnɪŋ ðə pleɪs əv ðə ˈraɪzɪŋ ɪn ɑr ˈnæʃənəl identity”*”. ðɛr kleɪm tɪ hɪˈstɔrɪkəl ˌkɑntəˈnuəti ˈbeɪsɪkli sɪz ðət 1916 ʧeɪnʤd ˈnəθɪŋ wɪʧ noʊ nu ˌpɑsəˈbɪlətiz wər ˈoʊpənd əp, noʊ nu ˈmɛθədz bɪˈkeɪm əˈveɪləbəl. ˈmɑrtɪn sɛd ðət sɪn feɪn hæv ““refused”*” tɪ ðət ðeɪ wər ˈɔlˌweɪz wrong”*”. baɪ ˈkleɪmɪŋ lɪˈʤɪtəməsi fər ðɛr kæmˈpeɪn ðeɪ ˈrɛfˌjuz tɪ ækˈnɑlɪʤ ðə raɪt əv ðə ˈaɪrɪʃ ˈpipəl tɪ əˈpoʊz ənd ˈriʤɛkt ðɛm. wɪθ rɪˈgɑrd tɪ sɪn feɪn ˈtɔkɪŋ əˈbaʊt ‘‘volunteers’*’ ənd nɑ héireann’*’, ˈmɑrtɪn kleɪmd ðət: wər ˈnɛvər nɑ. nɑ ɪz naʊ ənd wɑz ˈdʊrɪŋ ðɛr ɪnˈtaɪər kæmˈpeɪn ðə ˈɑrmi əv ðɪs fri ˌɪndɪˈpɛndənt ˈaɪrɪʃ republic.”*.” hi ˈɔlsoʊ ˈmɛnʃənd ðə ˌdɪsəˈpɪrd, ənd ðə dɛθ əv ʤin məˈkɑnˌvɪl ɪn hɪz spiʧ. ˈkænɑt ənd wi məst nɑt lɛt ðiz ˈpipəl səkˈsid ɪn ðɛr kæmˈpeɪn tɪ kleɪm ðə ˈmæntəl əv rɪˈpəblɪkəˌnɪzəm. ðeɪ ər nɑt republicans,”*,” sɛd ˈmɑrtɪn. hi kleɪmd ðət noʊ ˈmɛmbər əv ðə prəˈvɪʒənəl ˈmuvmənt həz əˈdrɛst ˈwaɪdˈsprɛd əˈbjuz əv ˈʧɪldrən baɪ ðɛr ˈmɛmbərz ənd ðə ˌsɪstəˈmætɪk ˈkəvərɪŋ əp əv ɪt əp tɪ ðɪs day”*”. sɔrs: mɑrk ˈaɪərlənd hi sɛd ðət fiˈænə nɑt stɛp bæk frəm ˈkɔlɪŋ ðɛm aʊt ənd ˈpɔɪntɪŋ tɪ ðɛr ˈsɪnɪstər practices”*”. aɪ hoʊp ðət ɪn ðə jɪr əˈhɛd ˈəðərz wɪl stɑrt biɪŋ mɔr ˈvɪʤələnt ɪn ˈʧælənʤɪŋ ðɛr əˈʤɛndə əv ˈfɔlsəˌfaɪɪŋ ˈhɪstəri. ðə sɪn feɪn əv təˈdeɪ wɑz ˈfaʊndɪd ʤɪst ˈoʊvər 40 jɪrz əˈgoʊ. ɪt həz noʊ hɪˈstɔrɪkəl ˌkɑntəˈnuəti wɪθ 1916 ər ðə wɔr əv ˌɪndɪˈpɛndəns. sɪn feɪn rɪˈspɑns ɪn rɪˈspɑns tɪ ˈmɑrtɪn, sɪn ˈlidər ˈʤɛri ˈædəmz sɛd: kleɪm ðət sɪn ɪz nɑt nɑt fɪt fər ˌdɛməˈkrætɪk ˈgəvərnmənt ɪz ə ˈmætər wɪʧ ðə ɪˈlɛktərət wɪl ˌdɪˈsaɪd. sɪn həz ə ˈmænˌdeɪt ɪn boʊθ pɑrts əv ðɪs ˈaɪlənd. ðət ɪz wət draɪvz ðə hɪˈstɛrɪkəl rænt baɪ ˈmɑrtɪn əˈbaʊt sɪn æt ˈɑrbər hɪl təˈdeɪ. hɪz rɪˈmɑrks ər ə klɪr saɪn əv ˌdɛspərˈeɪʃɪn æt ðə groʊθ əv sɪn ənd ðə stægˈneɪʃən əv hɪz oʊn ˈpɑrti. sɔrs: mɑrk ˈaɪərlənd hi sɛd ðət spiʧ ɔn ˌnɛgəˈtɪvəti ənd ˌɪnˈvɛktɪv bət ˈɔfərz noʊ ˈmɛsɪʤ əv hoʊp ər ˈpɑləsi prəˈpoʊzəlz wɪʧ kʊd bɪld ə ˈbɛtər future”*”. ˈmɑrtɪn ˈklɪrli siz sɪn ˌrɛprɪˈzɛnɪŋ ə ˈʤɛnjuˌaɪn rɪˈpəblɪkən ɔlˈtərnətɪv tɪ wɪʧ ˈsɪtɪzənz ər ˈtərnɪŋ ɪn ˈɛvər ˈgreɪtər ˈnəmbərz ənd hɪz rɪˈmɑrks məst bi sin ɪn ðɪs context,”*,” sɛd ˈædəmz. |
fianna fáil leader micheál martin has claimed in a hard-hitting speech that sinn féin has no connection to the 1916 rising – comments that gerry adams dismissed as a “hysterical rant”.
martin made the comments while speaking at his party’s annual 1916 commemoration on arbour hill today.
martin described the men and women of 1916 as “heroes which any nation would be proud of”, saying that “fianna fáil is rightly proud of the fact that it drove forward the successful search for a shared blueprint for the future of our island”.
we are a party founded by men and women who fought in 1916 for the freedom of our country.
but he said that fianna fáil are “clear in saying that 1916 belongs to no party or movement”.
it belongs to the irish people alone.
source: graphy: sasko lazarov/photocall ireland
martin had harsh words for sinn féin, saying that the republican party “has aggressively been promoting the false claim that they have some connection to 1916 and to the volunteers who fought then”.
this is part of their wider agenda of trying to falsify recent irish history and claim legitimacy for the sectarian campaign of murder and intimidation which they carried out for 30 years.
let no one be in any doubt, provisional sinn fein and the provisional ira have no connection with 1916. to claim otherwise is a dangerous and cynical lie.
source: laura hutton/photocall ireland
he described sinn féin claiming a link with 1916 as “insulting and undermining the place of the rising in our national identity”.
their claim to historical continuity basically says that 1916 changed nothing – which no new possibilities were opened up, no new methods became available.
martin said that sinn fein have “refused” to ”acknowledge that they were always wrong”.
by claiming legitimacy for their campaign they refuse to acknowledge the right of the irish people to oppose and reject them.
provisionals
with regard to sinn fein talking about ‘volunteers’ and ‘oglaigh na héireann’, martin claimed that:
“the provisionals were never óglaigh na héireann. óglaigh na héireann is now and was during their entire campaign the army of this free independent irish republic.”
he also mentioned the disappeared, and the death of jean mcconville in his speech.
“we cannot and we must not let these people succeed in their campaign to claim the mantle of republicanism. they are not republicans,” said martin.
he claimed that no member of the provisional movement has addressed “the widespread abuse of children by their members and the systematic covering up of it up to this day”.
source: mark stedman/photocall ireland
he said that fianna fáil “will not step back from calling them out and pointing to their sinister practices”.
i hope that in the year ahead others will start being more vigilant in challenging their agenda of falsifying history. the sinn fein of today was founded just over 40 years ago. it has no historical continuity with 1916 or the war of independence.
sinn fein response
in response to martin, sinn féin leader gerry adams td said:
micheál martin’s claim that sinn féin is not not fit for democratic government is a matter which the electorate will decide.
sinn féin has a mandate in both parts of this island. that is what drives the hysterical rant by mícheál martin about sinn féin at arbour hill today.
his remarks are a clear sign of desperation at the growth of sinn féin and the stagnation of his own party.
source: mark stedman/photocall ireland
he said that martin’s speech “majors on negativity and invective but offers no message of hope or policy proposals which could build a better future”.
“micheal martin clearly sees sinn féin representing a genuine republican alternative to which citizens are turning in ever greater numbers and his remarks must be seen in this context,” said adams. | dɪˈvɛləpɪŋ ˈmoʊbəl ˌæpləˈkeɪʃənz ðət ər fæst, bəg fri, ənd ˈfʊli ˈfiʧərd, waɪl ˈbɪldɪŋ əˈpɑn ədˈvænsɪŋ ˈmoʊbəl tɛkˈnɑləʤiz, ɪz ə kɔr pɑrt əv ˈstrætəʤi. wi wɔnt ɑr ˈkəstəmərz tɪ bi ˈeɪbəl tɪ ʃɑp ˈɛniˌtaɪm ənd ˈɛniˌwɛr! ˈteɪkɪŋ wət ˈlərnɪd ənd ˈbɪldɪŋ əˈpɑn ðə səkˈsɛs əv ɑr ˈoʊpən ˌɪnˈtərnəl wɛb ˈplætˌfɔrm, ˌɪˈlɛktroʊd, ðə ˈplætˌfɔrm paʊərɪŋ, ɛnˈhænsɪŋ ɑr pɔrtˈfoʊliˌoʊ wɪθ ˌɪˈlɛktroʊd ˈneɪtɪv, ə ˈstrimˌlaɪnd ˈmoʊbəl æp dɪˈvɛləpmənt ˈplætˌfɔrm beɪst ɔn riækt ˈneɪtɪv. ðiz tu ˈsɛpərˌeɪt ˈplætˌfɔrmz ʃɛr ðə seɪm fəˈlɑsəfi, bət ˌɪˈlɛktroʊd ˈneɪtɪv ɪz ə ˈdɪfərənt ˈplætˌfɔrm ˌɔltəˈgɛðər. ɪt ɪz ˈrɪtən frəm skræʧ ənd həz ɪts oʊn koʊd beɪs ðət ɪz ˈvɛri dɪˈstɪŋkt frəm ˌɪˈlɛktroʊd (wɛb). ˌɪˈlɛktroʊd ˈneɪtɪv ˈɔfərz ə ˈstrimˌlaɪnd ˌɪnəˈgreɪʃən əv riækt ˈneɪtɪv ˈɪntu ɪgˈzɪstɪŋ ˈmoʊbəl ˌæpləˈkeɪʃənz. wɪθ ˌɪˈlɛktroʊd ˈneɪtɪv, ðɛr wɪl noʊ ˈlɔŋgər bi ə nid fər ən ˈɛnʤəˈnɪr hu ˈspɛʃəˌlaɪzɪz ɪn boʊθ ˈmoʊbəl ənd riækt ˈneɪtɪv tɛkˈnɑləʤi ɪn ˈɔrdər tɪ pʊt ðə tu tɛkˈnɑləʤiz təˈgɛðər. fər jʊr ɪgˈzɪstɪŋ ˈmoʊbəl ˌæpləˈkeɪʃən, ðɛr ɪz noʊ ˈhɛvi ˌɪnfrəˈstrəkʧər, koʊd, ər dɪˈvɛləpmənt ˈʧeɪnʤɪz. ˌɪˈlɛktroʊd ˈneɪtɪv teɪks kɛr əv ɔl ðət waɪl prəˈvaɪdɪŋ kwaɪt ə fju mɔr ˌkeɪpəˈbɪlətiz! ənˈlɑkɪŋ ðə pəˈtɛnʃəl əv riækt ˈneɪtɪv ˈoʊˈkeɪ, soʊ ˈprɑbəˌbli fəˈmɪljər wɪθ ˈwɔlˌmɑrt ɛz ə hoʊl, bət ju meɪ nɑt noʊ ðət ˈwɔlˌmɑrt ɪz meɪd əv ˈmɛni ˈdɪfərənt brændz, səʧ ɛz ˈwɔlˌmɑrt ˈgroʊsəri, kləb, ˈæsdə,, ˌɛtˈsɛtərə. iʧ wɪθ ɪts oʊn ɪt nidz, rɪkˈwaɪrmənts ənd dɛv timz. ɔn ðə ˈmoʊbəl saɪd, θɪŋz gɪt ˈivɪn mɔr ˈkɑmplɛks. iʧ brænd həz tu timz əv ˈmoʊbəl dɪˈvɛləpərz, ˈbɪldɪŋ æps fər iʧ ɑs, ðət ər ˈsɪmələr ɪn ˌfəŋkʃəˈnælɪti, bət ˈdɪfərənt ɪn ˌɛksəˈkjuʃən. ðɪs wɑz nɑt baɪ ʧɔɪs, bət ˈrəðər nəˈsɛsɪti ɛz ɪt ɪz ˈvɛri ˈdɪfəkəlt tɪ faɪnd dɪˈvɛləpərz hu ər əˈdɛpt æt ˈraɪtɪŋ ˈneɪtɪv æps ɪn boʊθ ios/android*. fər əˈsoʊʃiˌeɪt tulz, wi ˈmoʊstli ræp wɛb æps ˈjuzɪŋ ˌaɪˈkɑnɪk ər ˈsɪmələr səˈluʃənz. wi fɛlt ðət riækt ˈneɪtɪv kʊd ˈrɪli ʧeɪnʤ ðə ˈpɛrəˌdaɪm. ðə pəˈtɛnʃəl wɪnz ðət meɪd ˈjuˈɛs ˈrɪli ɪkˈsaɪtɪd əˈbaʊt riækt ˈneɪtɪv: riˈjuz wi noʊ ˌɪmˈpɔrtənt bət waɪ? soʊ ðət aɪ ɔˈrɛdi bɪn ˈrɪtən ʧɛk aʊt maɪ ˈərliər blɔg: haʊ tɪ əˈʧiv wɪθ riækt kəmˈpoʊnənts. riækt ˈneɪtɪv gɪvz ˈjuˈɛs ðə paʊər tɪ riˈjuz nɑt ˈoʊnli ðə kəmˈpoʊnənts bɪtˈwin ˈioʊs ənd ˈænˌdrɔɪd bət ˈɛni ˈʤɑvəˌskrɪpt koʊd, fər ɪgˈzæmpəl ən ˈaɪsəˌleɪtɪd ˈmɑʤul ðət ˈɔrkəˌstreɪts səm ˈmaɪˌkroʊ ˈsərvɪsɪz. riækt ˈneɪtɪv ˈɔlsoʊ gɪvz ˈjuˈɛs ðə ˌkeɪpəˈbɪləti tɪ riˈjuz tɛst swits bɪtˈwin ðə tu ˈplætˌfɔrmz. ənd æd tɪ ðət, ðə pəˈtɛnʃəl tɪ riˈjuz koʊd bɪtˈwin ɑr ˈmoʊbəl ənd wɛb ˌæpləˈkeɪʃənz. wi noʊ ˌɪmˈpɔrtənt bət waɪ? soʊ ðət aɪ ɔˈrɛdi bɪn ˈrɪtən ʧɛk aʊt maɪ ˈərliər blɔg: haʊ tɪ əˈʧiv wɪθ riækt kəmˈpoʊnənts. riækt ˈneɪtɪv gɪvz ˈjuˈɛs ðə paʊər tɪ riˈjuz nɑt ˈoʊnli ðə kəmˈpoʊnənts bɪtˈwin ˈioʊs ənd ˈænˌdrɔɪd bət ˈɛni ˈʤɑvəˌskrɪpt koʊd, fər ɪgˈzæmpəl ən ˈaɪsəˌleɪtɪd ˈmɑʤul ðət ˈɔrkəˌstreɪts səm ˈmaɪˌkroʊ ˈsərvɪsɪz. riækt ˈneɪtɪv ˈɔlsoʊ gɪvz ˈjuˈɛs ðə ˌkeɪpəˈbɪləti tɪ riˈjuz tɛst swits bɪtˈwin ðə tu ˈplætˌfɔrmz. ənd æd tɪ ðət, ðə pəˈtɛnʃəl tɪ riˈjuz koʊd bɪtˈwin ɑr ˈmoʊbəl ənd wɛb ˌæpləˈkeɪʃənz. ˈoʊvər ðə ɛr ˈəpˌdeɪts ˈoʊtə ɪz əˈnəðər ˈkruʃəl wɪn. ðə æp stɔr riˈlis ˈprɔˌsɛs kən bi ˈpeɪnfəl ənd wəns kəmˈplitɪd, ju stɪl nid tɪ weɪt ənˈtɪl ˈɛvriˌwən ˈəpˌdeɪts ðɛr dɪˈvaɪsɪz. ənd ˈɪnstənt rɪˈlisɪz fər ˌɪnkrəˈmɛntəl ˈʧeɪnʤɪz, bəg ˈfɪksɪz, ənd ˌɔtəˈmætɪk ˈəpˌdeɪts ɪz wət ɪt teɪks tɪ ˌgɛrənˈti ˈhæpi ˈkəstəmərz. ˈoʊtə ɪz əˈnəðər ˈkruʃəl wɪn. ðə æp stɔr riˈlis ˈprɔˌsɛs kən bi ˈpeɪnfəl ənd wəns kəmˈplitɪd, ju stɪl nid tɪ weɪt ənˈtɪl ˈɛvriˌwən ˈəpˌdeɪts ðɛr dɪˈvaɪsɪz. ənd ˈɪnstənt rɪˈlisɪz fər ˌɪnkrəˈmɛntəl ˈʧeɪnʤɪz, bəg ˈfɪksɪz, ənd ˌɔtəˈmætɪk ˈəpˌdeɪts ɪz wət ɪt teɪks tɪ ˌgɛrənˈti ˈhæpi ˈkəstəmərz. riækt ɛz ən ˈædɪd ˈboʊnəs, wi ər əˈlaɪnd wɪθ ɑr wɛb ˈstrætəʤi ˈjuzɪŋ ðə ˌɪˈlɛktroʊd wɛb æp dɪˈvɛləpmənt ˈplætˌfɔrm. ɪt ʤɪst meɪks sɛns fər ˈjuˈɛs tɪ bɪld ɑr ˈneɪtɪv ˈmoʊbəl æps ˈjuzɪŋ ˈʤɑvəˌskrɪpt ənd riækt. əˈproʊʧɪz ənd ˈʧælənʤɪz əv kɔrs, ðɛr wər goʊɪŋ tɪ bi ˈʧælənʤɪz ˈɪnəˌgreɪtɪŋ riækt ˈneɪtɪv ˈɪntu ˈmoʊbəl æp. moʊst ˈmoʊbəl æps ər ˈjuʒəwəli ˈmoʊbəl ˌæpləˈkeɪʃənz, ər ræpt wɛb æps, ər riækt ˈneɪtɪv. riækt ˈneɪtɪv ɪkˈsɛlz wɪn ˈbɪldɪŋ pjʊr, riækt ˈneɪtɪv ˌæpləˈkeɪʃənz, bət ɪn ə mɔr ˈkɑmplɛks ˌsɪʧuˈeɪʃən. wi ɔˈrɛdi hæv ˈmoʊbəl æps ɪn pərˈdəkʃən ðət hæv lɑts əv ˈfiʧərz paʊərd baɪ tənz əv koʊd. riˈraɪtɪŋ ˈɛvriˌθɪŋ wʊd bi ə ˈmæsɪv ˌɪnˈvɛstmənt əv taɪm, ˈhaɪrɪŋ, ənd ˈtreɪnɪŋ (trænzˈleɪʃən: ˈməni). ənd ə kəmˈplit ˈriˌraɪt ɪz proʊn tɪ ˈfeɪljər kəmˈpɛrd tɪ ən ˌɪnkrəˈmɛntəl maɪˈgreɪʃən əˈproʊʧ. wɪn kənˈsɪdərɪŋ ɑr əˈproʊʧ ɔn ˈjuzɪŋ riækt ˈneɪtɪv, wi ˌdɪˈsaɪdɪd ðət ˈbɪldɪŋ ˈfiʧərz ˈɪntu pərˈdəkʃən ˌæpləˈkeɪʃənz ˌɪnkrəˈmɛntəˌli wʊd bi ðə səˈluʃən fər ðə haɪəst ˈʧænsɪz əv səkˈsɛs ˌɪnˈstɛd əv ə bɪg bæŋ ˈriˌraɪt. ɪf ðɛr ɪz ˈɛniˌθɪŋ aɪ ˈlərnɪd ɪn ɔl maɪ jɪrz əv tɛkˈnɑləʤi maɪˈgreɪʃənz tɪ ˈmaɪˌgreɪt ˌɪnkrəˈmɛntəˌli. moʊst əv ðə ɪgˈzɪstɪŋ səˈluʃənz wi ˌɪnˈvɛstəˌgeɪtɪd juzd wɛr ðə ˈmoʊbəl æp ənd ðə ˈʤɑvəˌskrɪpt ər ɔl kɛpt ɪn ðə seɪm riˈpɑzəˌtɔri, ənd ˌrikˈwaɪər ˈʧeɪnʤɪz tɪ ðə ˈmoʊbəl ˌæpləˈkeɪʃən. ðə əˈproʊʧ meɪks ˈdɪfəkəlt sɪns wi ʃɛr dɪˈskrit kəmˈpoʊnənts ər ˈmɑʤulz ɛz ˈizəli. ðɪs əˈproʊʧ wɑz ə ˈnoʊˌgoʊ fər ˈjuˈɛs sɪns wi wɔnt tɪ ˈmɑdəˌfaɪ ðə ˈkɑrənt ˈmoʊbəl æp ˈwərkˌfloʊ wɪʧ wɑz ˈwərkɪŋ greɪt fər ˈjuˈɛs. wi fɛlt ðət ˈkipɪŋ ðə ˈdɪfərənt koʊd ˈbeɪsɪz ˌɪndɪˈpɛndənt ənd ˈaɪsəˌleɪtɪd frəm iʧ ˈəðər wɑz ðə weɪ tɪ goʊ. ðə ˌɪnəˈgreɪʃən hæd tɪ hæv ə ˈmɪnəməm əˈmaʊnt əv ˌɪmˈpækt ənd kəmˈplɛksɪti tɪ ðə ɪgˈzɪstɪŋ ˈmoʊbəl ˌæpləˈkeɪʃən koʊd beɪs ənd ˌɪnfrəˈstrəkʧər. ɛz wi dəv ˈɪntu dɪˈvɛləpmənt, wi kˈwɪkli ˈlərnɪd ðət ðɛr ər ə ˈnəmbər əv stɛps ˌɪnˈvɑlvd tɪ ˈɪnəˌgreɪt ə riækt ˈneɪtɪv æp ˈɪntu ə ˈneɪtɪv ˌæpləˈkeɪʃən. ðɪs gɪts sɪgˈnɪfɪkəntli mɔr ˈkɑmpləˌkeɪtəd wɪn ju stɑrt ˈɪnəˌgreɪtɪŋ ˈməltəpəl riækt ˈneɪtɪv ˌæpləˈkeɪʃənz ˈɪntu ə ˈneɪtɪv æp. tɪ səkˈsɛsfəli ˈɪnəˌgreɪt ðiz tu tɛkˈnɑləʤiz, ju nid ə ˈmoʊbəl dɪˈvɛləpər hu həz ə klɪr ˌəndərˈstændɪŋ əv haʊ riækt ˈneɪtɪv wərks ənd vaɪs ˈvərsə. ˈivɪn ðoʊ wi wər ˈbɪldɪŋ dɪˈskrit skrinz ənd ˌfəŋkʃəˈnælɪti, wi stɪl ˈnidɪd tɪ ˈlɛvərɪʤ ðə koʊd ðət wɑz ɪn ðə ˈmoʊbəl ˌæpləˈkeɪʃən. wi ˈnidɪd tɪ pæs ɔˌθɛntəˈkeɪʃən ənd ˈəðər ˌɪnˌfɔrˈmeɪʃən tɪ riækt ˈneɪtɪv frəm ðə ˈneɪtɪv æp. ðə riækt ˈneɪtɪv brɪʤ dɪz nɑt ˈɔfər strɔŋ ˈtaɪpɪŋ ənd wərk wɪθ ˈneɪtɪv ˈmɑdəlz ðoʊ əˈnəðər ðət dɪd nɑt fil ˈsimləs tɪ ˈjuˈɛs. tɪ ˈsəmərˌaɪz ɑr ˈməltəpəl ˈʧælənʤɪz: rɪˈpitəbəl ənd ˈsimləs ˌɪnəˈgreɪʃən bɪtˈwin ˈneɪtɪv ənd riækt ˈneɪtɪv ðət əˈlaʊz ˈjuˈɛs tɪ meɪnˈteɪn ˈstændərd ˈwərkˌfloʊz fər ˈmoʊbəl ənd riækt ˈneɪtɪv ˈɛnʤəˈnɪrz. ˈsɪmpləˌfaɪd ˌɪnəˈgreɪʃən ðət ˌrikˈwaɪər ən ˈɛnʤəˈnɪr wɪθ dip ˈnɑlɪʤ əv boʊθ ˈneɪtɪv ənd riækt ˈneɪtɪv. ˈstrimˌlaɪnd ˈwərkˌfloʊ ðət ɪˈneɪbəlz əv ˈʤɑvəˌskrɪpt koʊd. ˈsɪmpləˌfaɪd ənd kənˈsɪstənt kəmˌjunəˈkeɪʃən bɪtˈwin ˈstrɔŋli taɪpt ˈneɪtɪv ənd taɪpt riækt ˈneɪtɪv. ˌɪˈlɛktroʊd ˈneɪtɪv ɪz ɑr səˈluʃən kɔr əv ˌɪˈlɛktroʊd ˈneɪtɪv: ðə kənˈteɪnər tɪ skeɪl riækt ˈneɪtɪv ɪn ə lɑrʤ ˌɔrgənəˈzeɪʃən, wi ˈnidɪd tɪ ˈtækəl ðoʊz ˈʧælənʤɪz ənd ɪˈneɪbəl ə mɔr ɪˈfɪʃənt weɪ əv ˈwərkɪŋ wɛr ˌɪˈlɛktroʊd ˈneɪtɪv kəmz ɪn. ˌɪˈlɛktroʊd ˈneɪtɪv ɪz ə nu ˈmɛmbər əv ðə ˌɪˈlɛktroʊd ˈfæməli, ˈʃɛrɪŋ ðə seɪm fəˈlɑsəfiz bət stɪl ə kəmˈplitli ˈdɪfərənt ˈplætˌfɔrm ˌɔltəˈgɛðər, wɪθ noʊ ʃɛrd əˈlaʊz ˈsimləs ˌɪnəˈgreɪʃən bɪtˈwin ˈmoʊbəl æps ənd riækt ˈneɪtɪv baɪ ˈpækɪʤɪŋ jʊr riækt ˈneɪtɪv æp ˈɪntu ən (ˈænˌdrɔɪd) ər ˈfreɪmˌwərk (ˈioʊs), dɪˈpɛndɪŋ ɔn ðə ˈplætˌfɔrm. wɪθ ˌɪˈlɛktroʊd ˈneɪtɪv, wi ˈʤɛnərˌeɪt ə kənˈteɪnər ðət kən bi ˈædɪd ˈizəli tɪ ðə ɪgˈzɪstɪŋ æp ənd stɑrt ˈjuzɪŋ ðə riækt ˈneɪtɪv kəmˈpoʊnənt raɪt əˈweɪ. ðə ˌɪnəˈgreɪʃən ˈprɔˌsɛs ɪz ˈvɛri smuð ənd ˈsɪmpəl, ənd kən bi əˈkɑmplɪʃt baɪ ə ˈneɪtɪv ər riækt ˈneɪtɪv ˈɛnʤəˈnɪr. noʊ ˌɪnfrəˈstrəkʧərəl ˈʧeɪnʤɪz ər ˈhɛvi koʊd beɪs ˈʧeɪnʤɪz ər rikˈwaɪərd fər ɪgˈzɪstɪŋ ˈmoʊbəl ˌæpləˈkeɪʃənz tɪ æd ˈʤɑvəˌskrɪpt ˈfiʧərz ˈjuzɪŋ riækt ˈneɪtɪv. ʤɪst æd ðə kənˈteɪnər ɛz ə nu ˈneɪtɪv dɪˈpɛndənsi tɪ ðə ˈmoʊbəl ˌæpləˈkeɪʃən, ɛz ˈɛni ˈəðər ˈneɪtɪv dɪˈpɛndənsi, ənd ɪt! səʧ ə ˈstrimˌlaɪnd rɪˈzəlt ɪz ˈpɑsəbəl sɪns ðə kənˈteɪnər həz dən ðə ˈhɛvi ˈlɪftɪŋ əv ˈʤɛnərˌeɪtɪŋ ɔl ðə ˌɪnəˈgreɪʃən koʊd fər ju. əˈdɪʃənəl ˌɪˈlɛktroʊd ˈneɪtɪv ˈmɑʤulz ˈrɪli hɛlp tɪ ˈstrimˌlaɪn æp dɪˈvɛləpmənt; frəm ðə dɪˈvɛləpmənt ˈprɔˌsɛs tɪ ðə kəmˌjunəˈkeɪʃən bɪtˈwin ˈʤɑvəˌskrɪpt ənd ˈneɪtɪv ənd tɪ ˈmænəʤɪŋ jʊr rɪˈlisɪz. ˈɛnʤəˈnɪr ˈbɛnəfɪts ˈjuzɪŋ ˌɪˈlɛktroʊd ˈneɪtɪv ˈmoʊbəl æp ˈɛnʤəˈnɪrz: noʊ nu tulz nid tɪ bi ˌɪnˈstɔld, ənd jʊr ˈwərkˌfloʊ ɪz kəmˈplitli ðə seɪm ju ˈivɪn hæv tɪ ˌɪnˈstɔl ˌɪˈlɛktroʊd ˈneɪtɪv. frəm jʊr pərˈspɛktɪv, ju nid tɪ dil wɪθ ˈkɑmplɛks ˌɪnəˈgreɪʃənz wɪθ ˌɪˈlɛktroʊd ˈneɪtɪv, riækt ˈneɪtɪv ækts ɛz ə ˈlaɪbrɛˌri ðət ɪz pʊld ˈɪntu jʊr ˈmoʊbəl æp. ðə riækt ˈneɪtɪv dɪˈpɛndənsi ɪn jʊr æp ɪz ɑr ‘‘container’*’ ənd ˌɪnˈsaɪd ðət kənˈteɪnər ɪz wət wi kɔl ˌɪˈlɛktroʊd ˈneɪtɪv miniapp*, ənd ðət həz ɔl ðə ˌɪˈlɛktroʊd ˈneɪtɪv koʊd (ˈlaɪbrɛˌri ənd ˈfiʧər koʊd). ˌɪˈlɛktroʊd ˈneɪtɪv ˈɔlsoʊ həz ˌkeɪpəˈbɪlətiz tɪ ɪˈneɪbəl ˈsɪmpləˌfaɪd ənd kənˈsɪstənt kəmˌjunəˈkeɪʃən bɪtˈwin ˈneɪtɪv ənd ˌɪˈlɛktroʊd ˈneɪtɪv. riækt ˈneɪtɪv ˈɛnʤəˈnɪrz: ju wərk ɔn jʊr oʊn riækt kəmˈpoʊnənts. ðiz ər ðə ˌɪˈlɛktroʊd ˈneɪtɪv ðət lɪv ɪn ðɛr oʊn riˈpɑzəˌtɔriz ənd hæv ðɛr oʊn laɪf ˈsaɪkəl. ju kən ˈpəblɪʃ nu ˈvərʒənz əv ðiz ɛz ˈɔfən ɛz ju nid tɪ, ənd riˈlis ðɛm ˈoʊvər ðə ɛr. ˌɪˈlɛktroʊd ˈneɪtɪv ˌkeɪpəˈbɪlətiz ˈneɪtɪv tɪ riækt ˈneɪtɪv kəmˌjunəˈkeɪʃən: wi ˈwɔntɪd ˈmoʊbəl dɪˈvɛləpərz tɪ bi ˈeɪbəl tɪ kəmˈjunəˌkeɪt wɪθ ˈʤɑvəˌskrɪpt waɪl ˈlɛvərɪʤɪŋ ðɛr ʧɛks ənd əˈdɑpt ðə ˈnæʧərəl ˈkɑnstrəkts ðeɪ juzd wɪn ðeɪ wər ˌɪnərˈæktɪŋ wɪθ ˈmoʊbəl ˈlaɪbrɛˌriz ɔn ˈænˌdrɔɪd ər ˈioʊs. tɪ ˈstændərˌdaɪz ənd meɪk ɪt ˈizi tɪ kəmˈjunəˌkeɪt bɪtˈwin ðə tu tɛkˈnɑləʤiz, ɔl ju nid tɪ du ɪz raɪt ðə sˈwægər spɛks ənd ˌɪˈlɛktroʊd ˈneɪtɪv wɪl teɪk kɛr əv ðə kəmˌjunəˈkeɪʃən bɪtˈwin ðə tɛkˈnɑləʤiz. versioning*: ˈməltəpəl timz ˈbɪldɪŋ ˈməltəpəl riækt ˈneɪtɪv ˌæpləˈkeɪʃənz ənd ðɛn riˈlisɪŋ ˈməltəpəl ˈoʊvər ðə ɛr ˈəpˌdeɪts ˌsaɪməlˈteɪniəsli kən lɛd tɪ dɪˈstrɪbjutɪŋ ˌɪnkəmˈpætəbəl ˈvərʒənz əv ðə ˈʤɑvəˌskrɪpt ˈbəndəl ənd ˈmoʊbəl æp koʊd. ˌɪˈlɛktroʊd ˈneɪtɪv ɪnˈʃʊrz ðət ju ər nɑt riˈlisɪŋ ˈbəndəlz ðət kən pəˈtɛnʃəli kræʃ jʊr ˌæpləˈkeɪʃən wɪθ ˈsəmθɪŋ wi kɔl ‘‘cauldron’*’ ənd ‘‘manifest’*’. dɪˈvɛləpmənt: tɪ ɪˈneɪbəl pərˈdəktɪv dɪˈvɛləpmənt ɪn ən ɪnˈvaɪrənmənt ˈsɪmələr tɪ pərˈdəkʃən, wi hæv ðə ‘‘runner’*’ ðət ˈlɔnʧɪz jʊr riækt ˈneɪtɪv æp ɪn ən ər ən ˈækʧəwəl dɪˈvaɪs (ɪf pləgd ɪn). ɪt rənz ɪn məʧ ðə seɪm ˈmænər ðət ɪt wʊd ɪn ə pərˈdəkʃən ɪnˈvaɪrənmənt, baɪ kriˈeɪtɪŋ ə ˈloʊkəl kənˈteɪnər ənd ˈhævɪŋ ðə ‘‘runner’*’ ˌæpləˈkeɪʃən kənˈsum ðət kənˈteɪnər. ˌɪndɪˈpɛndənt riˈpɑzəˌtɔriz: ə ˈsɪmpəl ˈkɑnsɛpt, bət aɪ faɪnd ɪt tɪ bi ˈpaʊərfəl ɪn wət ɪt ɪˈneɪbəlz ˌɔrgənəˈzeɪʃənz tɪ du. wi kən ˈstrəkʧər ɑr timz əraʊnd ˈfəŋkʃənəl ˈɛriə əv ˈoʊnərˌʃɪp, səʧ ɛz ˈhævɪŋ ðə ““checkout”*” tim oʊn ðə riækt ˈneɪtɪv ˈʧɛˌkaʊt ˈɛriə əv ðə æp ðət lɪvz ɪn ɪts oʊn riˈpɑzəˌtɔri. ðɛn ju kən hæv ðə ˈaɪtəm peɪʤ tim wɪθ ðɛr oʊn ˈripoʊ, əˈlaʊɪŋ ðə timz tɪ skeɪl wɪˈθaʊt tu ˈmɛni kʊks ɪn ˈɛni wən ˈkɪʧən. ˌɪndɪˈpɛndənt riˈpɑzəˌtɔriz ˈɔlsoʊ ɪˈneɪbəl, wɛr ju kən naʊ ʃɛr ðə sɛlf kənˈteɪnd ˌɪˈlɛktroʊd ˈneɪtɪv ˈmɪni æps wɪθ ˈəðər timz. ɪf iʧ æp hæd ə, ɪt wʊd meɪk ˈʃɛrɪŋ ˈpisɪz əv ən æp wɪθ əˈnəðər tim sɪgˈnɪfɪkəntli mɔr ˈkɑmplɛks. wɛr wi ər ɑr ˈʃɑpɪŋ kɑrt ənd ˈʧɛˌkaʊt ˈsɛkʃənz əv ðə ˈwɔlˌmɑrt ˈmoʊbəl ˌæpləˈkeɪʃən wər ˈæˌkʧuəli rɪˈspɑnsɪv wɛb æps sərvd ɪn ə ˈbraʊzər wɪˈθɪn ðə æp. ðeɪ wər ˈrɛlətɪvli sloʊ ənd ˈkəmbərsəm wɪˈθɪn ðə æp ənd wi juzd ɑr oʊn koʊd fər ðə brɪʤ bɪtˈwin ˈneɪtɪv ənd ðɪs rɪˈspɑnsɪv wɛb ɪkˈspɪriəns. wi fərst kənˈvərtɪd ðə rɪˈspɑnsɪv wɛb ˈʃɑpɪŋ kɑrt skrin. ðɪs wɑz ˈrɛlətɪvli ˈstreɪtˈfɔrwərd frəm ə ˌfəŋkʃəˈnælɪti pərˈspɛktɪv, ɛz ɪt wɑz wən peɪʤ, bət wi ˈlərnɪd ə lɔt frəm ðə ɪkˈspɪriəns. ðət wɑz ɑr fərst ˈfiʧər sɛt ðət wi lɔnʧt tɪ pərˈdəkʃən. ʧɛk aʊt ðə mɔr ˈɑrtɪkəl əˈbaʊt ɑr ˈfaɪndɪŋz wɪθ riækt ˈneɪtɪv. wi kˈwɪkli kənˈvərtɪd ðə you’*’ peɪʤ ðət ɪz dɪˈspleɪd ˈæftər ju kəmˈplit ə ˈpərʧəs ɔn ˈwɔlˌmɑrt. ðət seɪm tim ɪz naʊ ˈwərkɪŋ ɔn kənˈvərtɪŋ ðə ˈʧɛˌkaʊt floʊ ˈjuzɪŋ ˌɪˈlɛktroʊd ˈneɪtɪv, ənd ðeɪ ər ˈræmpɪŋ ɛz wi spik. θri əˈdɪʃənəl timz hæv kˈwɪkli ˈɪmpləˌmɛnəd ˌɪˈlɛktroʊd ˈneɪtɪv ənd ˈbɪldɪŋ nu ˌfəŋkʃəˈnælɪti ˈɪntu ðə æp ɛz wɛl! ənd, ˈplænɪŋ tɪ juz ˌɪˈlɛktroʊd ˈneɪtɪv ɪn æps ˈaʊtˈsaɪd əv ðə ˈpərʧəs æp ɪn ˈəðər ˈwɔlˌmɑrt ˈɛntɪtiz. ɔl əv ðə ˌfəŋkʃəˈnælɪti bɪlt ˈjuzɪŋ ˌɪˈlɛktroʊd ˈneɪtɪv həz soʊ fɑr bɪn maɪˈgreɪʃənz əv rɪˈspɑnsɪv wɛb ˌɪnˈsaɪd ðə ˈmoʊbəl æp, ər brænd nu skrinz ðət ðɛr ˌbiˈfɔr. ɔl əv ðə ˌfəŋkʃəˈnælɪti ɪz ˈɔlsoʊ bɪlt ˈrɛlətɪvli ɛnˈkæpsəˌleɪtɪd wɪˈθɪn ðɛr oʊn skrinz, ənd wi wɪl sun ˈlɛvərɪʤ mɔr ˌɪˈlɛktroʊd ˈneɪtɪv ˈfiʧərz, səʧ ɛz ˈmeɪkɪŋ kɔlz wɪθ ˈʤɑvəˌskrɪpt, ənd ˈhændɪŋ ðət ɔf tɪ ˈrɛgjələr ˈneɪtɪv vjuz. nɛkst ɪkˈsaɪtɪd ənd ˈmoʊtəˌveɪtəd tɪ kənˈtɪnju səˈpɔrtɪŋ ənd ˌɪmˈpruvɪŋ ɑr nu ˌɪˈlɛktroʊd ˈneɪtɪv ˈplætˌfɔrm ʤɪst ɛz wi hæv wɪθ ˌɪˈlɛktroʊd wɛb. ənd ɪkˈstrimli ɪkˈsaɪtɪd tɪ hir ˈfidˌbæk frəm ðə ˈoʊpən sɔrs kəmˈjunɪti, wɪʧ kən ˈoʊnli hɛlp tɪ ˌɪmˈpruv ðə ˈplætˌfɔrm. wən əv ɑr tɔp praɪˈɔrətiz ɪz tɪ səˈpɔrt kəmˈpoʊnənt ənd lʊk æt haʊ wi kən ˈpɑsəbli əˈplaɪ ðə ˌɪˈlɛktroʊd wɛb kəmˈpoʊnənt ˈɑrkɪˌtaɪp ˈkɑnsɛpt tɪ ˌɪˈlɛktroʊd ˈneɪtɪv. əˈnəðər ˈʧælənʤ wi wɔnt tɪ ˈtækəl tɪ ˌɪmˈpruv dɪˈvɛləpər ˈwərkˌfloʊ ɪz fər riækt ˈneɪtɪv dɪˈvɛləpərz tɪ hæv ðə ˌkeɪpəˈbɪləti tɪ ˈizəli lɔnʧ ðɛr riækt ˈneɪtɪv æp stɔrd ɪn ɪts oʊn riˈpɑzəˌtɔri) ˌɪnˈsaɪd ðə ˈmoʊbəl hoʊst ˌæpləˈkeɪʃən (ðə ˈwɔlˌmɑrt æp, fər ɪgˈzæmpəl), fər dɪˈvɛləpmənt ənd diˈbəgɪŋ ˈpərpəsɪz. ðɪs ˈʧælənʤ ɪz nɑt jɛt riˈzɑlvd, ənd stɪl ə ˈmænjuəl əˈproʊʧ ɛz əv naʊ bət ˈwərkɪŋ ɔn ɪt. ənd wi hæv ə ˈtɛknɪkəl əˈproʊʧ ɪn pleɪs ənd wɪl ˈɛksəˌkjut ɔn ɪt sun. ʧɛk aʊt ˌɪˈlɛktroʊd ˈneɪtɪv naʊ! ˌɪˈlɛktroʊd ˈneɪtɪv saɪt ˌɪˈlɛktroʊd ˈneɪtɪv ˈgɪtɪŋ ˈstɑrtɪd ˌɪˈlɛktroʊd ˈneɪtɪv dɑks |
developing mobile applications that are fast, bug free, and fully featured, while building upon advancing mobile technologies, is a core part of walmart’s strategy. we want our customers to be able to shop anytime and anywhere!
taking what we’ve learned and building upon the success of our open sourced internal web platform, electrode, the platform powering walmart.com, we’re enhancing our portfolio with electrode native, a streamlined mobile app development platform based on react native. these two separate platforms share the same philosophy, but electrode native is a different platform altogether. it is written from scratch and has its own code base that is very distinct from electrode (web).
electrode native offers a streamlined integration of react native into existing mobile applications. with electrode native, there will no longer be a need for an engineer who specializes in both mobile and react native technology in order to put the two technologies together. for your existing mobile application, there is no heavy infrastructure, code, or development lifecycle changes. electrode native takes care of all that while providing quite a few more capabilities!
unlocking the potential of react native
ok, so you’re probably familiar with walmart as a whole, but you may not know that walmart is made of many different brands, such as walmart grocery, sam’s club, asda, walmart.com, etc. — each with its own it needs, requirements and dev teams. on the mobile side, things get even more complex. each brand has two teams of mobile developers, building apps for each os, that are similar in functionality, but different in execution. this was not by choice, but rather necessity as it is very difficult to find highly-skilled developers who are adept at writing native apps in both ios/android. for associate tools, we mostly wrap web apps using iconic or similar solutions. we felt that react native could really change the paradigm.
the potential wins that made us really excited about react native:
reuse — we know it’s important but why? so that i don’t re-write what’s already been written … check out my earlier blog: how to achieve reusability with react components. react native gives us the power to reuse not only the ui components between ios and android — but any javascript code, for example an isolated module that orchestrates some micro services. react native also gives us the capability to reuse test suites between the two platforms. and add to that, the potential to reuse code between our mobile and web applications.
— we know it’s important but why? so that i don’t re-write what’s already been written … check out my earlier blog: how to achieve reusability with react components. react native gives us the power to reuse not only the ui components between ios and android — but any javascript code, for example an isolated module that orchestrates some micro services. react native also gives us the capability to reuse test suites between the two platforms. and add to that, the potential to reuse code between our mobile and web applications. over the air updates — ota is another crucial win. the app store release process can be painful and once completed, you still need to wait until everyone updates their devices. and instant releases for incremental changes, bug fixes, and automatic updates is what it takes to guarantee happy customers.
ota is another crucial win. the app store release process can be painful and once completed, you still need to wait until everyone updates their devices. and instant releases for incremental changes, bug fixes, and automatic updates is what it takes to guarantee happy customers. react — as an added bonus, we are aligned with our web strategy using the electrode web app development platform. it just makes sense for us to build our native mobile apps using javascript and react.
approaches and challenges
of course, there were going to be challenges integrating react native into walmart’s mobile app. most mobile apps are usually objective-c/swift/java mobile applications, or wrapped web apps, or react native. react native excels when building pure, react native applications, but we’re in a more complex situation. we already have mobile apps in production that have lots of features powered by tons of code. rewriting everything would be a massive investment of time, hiring, and training (translation: money). and a complete rewrite is prone to failure compared to an incremental migration approach.
when considering our approach on using react native, we decided that building features into production applications incrementally would be the solution for the highest chances of success instead of a big bang rewrite.
if there is anything i learned in all my years of technology migrations it’s to migrate incrementally.
most of the existing solutions we investigated used mono-repos where the mobile app and the javascript are all kept in the same repository, and require changes to the mobile application. the mono-repo approach makes reusability difficult since we can’t share discrete components or modules as easily. this approach was a no-go for us since we didn’t want to modify the current mobile app workflow which was working great for us. we felt that keeping the different code bases independent and isolated from each other was the way to go. the integration had to have a minimum amount of impact and complexity to the existing mobile application code base and infrastructure.
as we dove into development, we quickly learned that there are a number of steps involved to integrate a react native app into a native application. this gets significantly more complicated when you start integrating multiple react native applications into a native app. to successfully integrate these two technologies, you need a mobile developer who has a clear understanding of how react native works and vice versa.
even though we were building discrete screens and functionality, we still needed to leverage the code that was in the mobile application. we needed to pass authentication and other information to react native from the native app. the react native bridge does not offer strong typing and doesn’t work with native models though — another touch-point that did not feel seamless to us.
to summarize our multiple challenges:
repeatable and seamless integration between native and react native that allows us to maintain standard workflows for mobile and react native engineers.
simplified integration that doesn’t require an engineer with deep knowledge of both native and react native.
streamlined workflow that enables reusability of javascript code.
simplified and consistent communication between strongly typed native and dynamically typed react native.
electrode native is our solution
core of electrode native: the container
to scale react native in a large organization, we needed to tackle those challenges and enable a more efficient way of working — that’s where electrode native comes in. electrode native is a new member of the electrode family, sharing the same philosophies but still a completely different platform altogether, with no shared code.it allows seamless integration between mobile apps and react native by packaging your react native app into an aar (android) or framework (ios), depending on the platform.
with electrode native, we generate a container that can be added easily to the existing app and start using the react native component right away. the integration process is very smooth and simple, and can be accomplished by a native or react native engineer. no infrastructural changes or heavy code base changes are required for existing mobile applications to add javascript features using react native. just add the container as a new native dependency to the mobile application, as any other native third-party dependency, and that’s it! such a streamlined result is possible since the container has done the heavy lifting of generating all the integration code for you.
additional electrode native modules really help to streamline app development; from the development lifecycle process to the communication between javascript and native and to managing your releases.
engineer benefits using electrode native
mobile app engineers: no new tools need to be installed, and your workflow is completely the same — you don’t even have to install electrode native. from your perspective, you don’t need to deal with complex integrations — with electrode native, react native acts as a versioned third-party library that is pulled into your mobile app. the react native dependency in your app is our ‘container’ and inside that container is what we call electrode native miniapp, and that has all the electrode native code (library and feature code). electrode native also has capabilities to enable simplified and consistent communication between native and electrode native.
react native engineers: you work on your own react native-based components. these are the electrode native miniapps that live in their own repositories and have their own life cycle. you can publish new versions of these miniapps as often as you need to, and release them over the air.
electrode native capabilities
native to react native communication: we wanted mobile developers to be able to communicate with javascript while leveraging their compile-time checks and adopt the natural constructs they used when they were interacting with mobile libraries on android or ios. to standardize and make it easy to communicate between the two technologies, all you need to do is write the swagger specs and electrode native will take care of the communication between the technologies.
versioning: multiple teams building multiple react native applications and then releasing multiple over the air updates simultaneously can lead to distributing incompatible versions of the javascript bundle and mobile app code. electrode native ensures that you are not releasing bundles that can potentially crash your customer’s application with something we call ‘cauldron’ and ‘manifest’.
development: to enable productive development in an environment similar to production, we have the ‘runner’ that launches your react native app in an emulator or an actual device (if plugged in). it runs in much the same manner that it would in a production environment, by creating a local container and having the ‘runner’ application consume that container.
independent repositories: a simple concept, but i find it to be powerful in what it enables organizations to do. we can structure our teams around functional area of ownership, such as having the “checkout” team own the react native checkout area of the app that lives in its own repository. then you can have the item page team with their own repo, allowing the teams to scale without too many cooks in any one kitchen. independent repositories also enable reusability, where you can now share the self contained electrode native mini apps with other teams. if each app had a mono-repo, it would make sharing pieces of an app with another team significantly more complex.
where we are
our shopping cart and checkout sections of the walmart mobile application were actually responsive web apps served in a browser — within the app. they were relatively slow and cumbersome within the app and we used our own code for the bridge between native and this responsive web experience.
we first converted the responsive web shopping cart screen. this was relatively straightforward from a functionality perspective, as it was one page, but we learned a lot from the experience. that was our first full-fledged feature set that we launched to production. check out the more in-depth article about our findings with react native.
we quickly converted the ‘thank you’ page that is displayed after you complete a purchase on walmart. that same team is now working on converting the walmart.com checkout flow using electrode native, and they are ramping as we speak. three additional teams have quickly implemented electrode native and they’re building new functionality into the walmart.com app as well! and, we’re planning to use electrode native in apps outside of the walmart.com purchase app in other walmart entities.
all of the functionality built using electrode native has so far been migrations of responsive web inside the mobile app, or brand new screens that weren’t there before. all of the functionality is also built relatively encapsulated within their own screens, and we will soon leverage more electrode native features, such as making api calls with javascript, and handing that off to regular native views.
what’s next
we’re excited and motivated to continue supporting and improving our new electrode native platform — just as we have with electrode web. and we’re extremely excited to hear feedback from the open source community, which can only help to improve the platform.
one of our top priorities is to support ui component reusability and look at how we can possibly apply the electrode web component archetype concept to electrode native.
another challenge we want to tackle to improve developer workflow is for react native developers to have the capability to easily launch their react native app (that’s stored in its own repository) inside the mobile host application (the walmart app, for example), for development and debugging purposes. this challenge is not yet resolved, and it’s still a manual approach as of now — but we’re working on it. and we have a technical approach in place and will execute on it soon.
check out electrode native now!
electrode native site
electrode native getting started
electrode native docs | ˈfoʊˌtoʊ: ˈdrɑmə ˈskrinˌraɪtərz hæv rɪˈsivd ə sɪgˈnɪfɪkənt 78 peɪ raɪz ˈæftər səkˈsɛsfəl nɪˌgoʊʃiˈeɪʃənz bɪtˈwin ðə writers’*’ gɪld əv greɪt ˈbrɪtən ənd ˈəðər ˈɪndəstri ˈbɑdiz. fər ən ˈsɪŋgəl ˈdrɑmə, ˈraɪtərz wɪl naʊ bi peɪd ə ˈmɪnəməm fi əv əp frəm ðə peɪ raɪz, wɪʧ kəmz ˈɪntu ˈifɛkt ɔn ɑkˈtoʊbər 1 wɪl mɑrk ðə fərst taɪm ðə ˈmɪnəməm reɪt fər ə ˌtɛləˈvɪʒən ˈdrɑmə həz ˌɪnˈkrist ɪn 13 jɪrz. ɪt ˈfɑloʊz nɪˌgoʊʃiˈeɪʃənz bɪtˈwin ðə writers’*’ gɪld, ðə ˈpərsɪnəl managers’*’ əˌsoʊʃiˈeɪʃən ənd ðə prəˈdusərz əˈlaɪəns fər ˈsɪnəmə ənd ˈtɛləˌvɪʒən. writers’*’ gɪld ˈæktɪŋ ˈʤɛnərəl ˈsɛkrəˌtɛri ˈɛli pɪrz sɛd: ə taɪm wɪn ˈmɛni ɪmˈplɔɪiz ər siɪŋ weɪʤ ˈfrizɪz, wi ər praʊd tɪ hæv əˈʧivd səʧ ə lɑrʤ peɪ raɪz fər ˈraɪtərz ˈwərkɪŋ ˈəndər ɑr pækt agreement.”*.” ʃi sɛd kriˈeɪtɪv ˈwərkərz feɪst ˈdɪfəkəlt taɪmz ɪn ə ˈʧeɪnʤɪŋ ˈdɪʤɪtəl ˈlænˌskeɪp, ənd strɛst ðə writers’*’ gɪld wɑz dɪˈtərmənd tɪ [ˈraɪtərz] gɪt ə fɛr ʃɛr əv ðə fruts əv ðɛr labours”*”. tɪ meɪk ʃʊr reɪts kənˈtɪnju tɪ raɪz, ðə θri ˈbɑdiz ˌɪnˈvɑlvd ər ˈsɛtɪŋ əp ə ˈfɔrəm riˈspɑnsəbəl fər ˈkipɪŋ ðə əˈgrimənt əp tɪ deɪt. ˈdɛpjəti ʧif ɪgˈzɛkjətɪv, mæks ˈrəmni, sɛd: wɪl ɪnˈʃʊr ɑr əˈgrimənt ɪz kɛpt ˈkɑrənt ɛz wɛl ɛz fɪt fər ˈpərpəs fər prəˈdusərz ənd writers”*”. fiˈoʊnə ˈwɪljəmz ənd ˈʃɑrlət naɪt ˈædɪd: si ðɪs ɛz ən ɪnˈkərəʤɪŋ fərst stɛp təˈwɔrdz kriˈeɪtɪŋ ˈɪndəstri ɛnˈdɔrst ˈmɪnəməm tərmz fər nu ənd ərˈɪʤənəl ˈtɛləˌvɪʒən tɪ flərɪʃ ɪn ðɪs ˈgoʊldən eɪʤ əv ˈbrɪtɪʃ ˈdrɑmə ənd comedy.”*.” |
photo: shutterstock
drama screenwriters have received a significant 78% pay rise after successful negotiations between the writers’ guild of great britain and other industry bodies.
for an hour-long single drama, writers will now be paid a minimum fee of £13,320 up from £7,500.
the pay rise, which comes into effect on october 1, will mark the first time the minimum rate for a tv drama has increased in 13 years.
it follows negotiations between the writers’ guild, the personal managers’ association and the producers alliance for cinema and television.
writers’ guild acting general secretary ellie peers said: “at a time when many employees are seeing wage freezes, we are proud to have achieved such a large pay rise for writers working under our pact agreement.”
she said creative workers faced difficult times in a changing digital landscape, and stressed the writers’ guild was determined to “ensure [writers] get a fair share of the fruits of their labours”.
to make sure rates continue to rise, the three bodies involved are setting up a forum responsible for keeping the agreement up to date.
pact’s deputy chief executive, max rumney, said: “this will ensure our agreement is kept current as well as fit for purpose for producers and writers”.
pma co-chairs fiona williams and charlotte knight added: “we see this as an encouraging first step towards creating industry endorsed minimum terms for new and original television to flourish in this golden age of british drama and comedy.” | pliz ɪˈneɪbəl ˈʤɑvəˌskrɪpt tɪ wɔʧ ðɪs ˈvɪdioʊ ˌmɪniˈoʊlə, n.y*. ˈdəzənz hæv bɪn ˌɪnˈdaɪtɪd fər ðɛr əˈlɛʤd ˌɪnˈvɑlvmənt ɪn ə ˈhɛroʊən bəst ɔn lɔŋ ˈaɪlənd ɪn wət əˈfɪʃəlz ər ˈkɔlɪŋ wən əv ðə ˈlɑrʤəst nɑrˈkɑtɪks ɪn lɔŋ ˈaɪlənd ˈhɪstəri. ˈnæsɔ kaʊnt pəˈlis tʊk 36 ˈpipəl ˈɪntu ˈkəstədi ɪn mɔr ðən ə ˈdəzən loʊˈkeɪʃənz əˈkrɔs ˈnæsɔ ənd ˈsəfək ˈkaʊntiz. ðə ərˈɛsts ər ə rɪˈzəlt əv ə lɔŋ ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ˈloʊkəl ˈhɛroʊən dɪˈstrɪbjətərz. əˈkɔrdɪŋ tɪ ðə ˌɪnˈdaɪtmənt, ˈɛlvɪn roʊˈzɑrioʊ, flɪŋ, 27 əˈdeɪmz, ˈtitoʊ, 28 ənd əˈnəðər ˌɪnˈdaɪtɪd ˌɪndəˈvɪʤəwəl, ər ˈmɛmbərz əv ə drəg ˌdɪstrəˈbjuʃən kru ðət səˈplaɪd lɑrʤ kˈwɑntətiz əv ˈhɛroʊən tɪ 15 ˈmɛmbərz əv ə grup dəbd 110 crew”*” baɪ ˌɪnˈvɛstəˌgeɪtərz. ðə θri səˈplaɪɪŋ dɪˈfɛndənts, noʊn ɛz ðə ““papis,”*,” əˈlɛʤədli stɔrd ðə drəgz æt hoʊmz ɪn ˈfɑrmɪŋˌdeɪl, lindenhurst*, wɛst ˈbæbəˌlɑn ənd bayshore*. əˈkɔrdɪŋ tɪ ðə ˌɪnˈdaɪtmənt, ðə soʊld slivz əv ˈhɛroʊən wɪʧ ər 10 ˈbəndəlz ər 100 ˌɪndəˈvɪʤəwəl bægz tɪ ðə 110 kru. ðə ˌɪnˌvɛstəˈgeɪʃən ɪz neɪmd ˈbəndəl up”*” fər ðə kˈwɑntəti əv ˈhɛroʊən ˈbəndəlz ðət wər əˈlɛʤədli soʊld. ˈmɛmbərz əv ðə 110 kru ər əˈlɛʤədli ˈmɛmbərz əv ðə ““neez”*” gæŋ, ə ˈsəbˌsɛt əv ðə noʊˈtɔriəs blədz gæŋ. ðɪs grup əˈlɛʤədli ræn ən ɪˈlæbərˌeɪt nɑrˈkɑtɪks ˌɑpərˈeɪʃən, ˈsɛlɪŋ ˈhɛroʊən ɪn ˈbəndəlz tɪ ˈhənərdz əv ˈkəstəmərz ə deɪ əˈlɔŋ rut 110 ˈaʊtˈsaɪd əv hoʊˈtɛlz, ˈrɛˌstrɑnts, gæs ˈsteɪʃənz, strɪp mɔlz, ˈriˌteɪlərz, ˈkɔfi ʃɑps ənd ˈəðər loʊˈkeɪʃənz æt ɔl aʊərz əv ðə deɪ. ðiz dɪˈfɛndənts əˈlɛʤədli soʊld tɪ 18 ˌɪndəˈvɪʤəwəl riˈsɛlərz, hu hæv noʊ ˌɔrgənəˈzeɪʃənəl kəˈnɛkʃən tɪ iʧ ˈəðər ər ðɛr səˈplaɪərz. ðə əˈlɛʤədli meɪd ˈhənərdz əv seɪlz ə wik, ˈsəmˌtaɪmz ˈərnɪŋ ɛz məʧ ɛz ˈdʊrɪŋ ə ˈpɪriəd. ɪt ɪz ˈɛstəˌmeɪtɪd ðət ðə 110 kru əˈlɛʤədli soʊld əˈprɑksəmətli ˌɪndəˈvɪʤəwəl bægz əv ˈhɛroʊən ə wik, wɪʧ ɪz wərθ əˈprɑksəmətli tɪ sɪks əv ðə dɪˈfɛndənts ər ʧɑrʤd wɪθ ˈɔpərˌeɪtɪŋ ɛz ə ˈmeɪʤər ˈtræfɪkər, wɪʧ ˈkɛriz ə ˈsɛntəns əv 15 jɪrz tɪ laɪf. spəˈsɪfɪkli, roʊˈzɑrioʊ ənd əˈdeɪmz əˈlɛʤədli səˈplaɪd lɑrʤ kˈwɑntətiz əv ˈhɛroʊən ənd koʊˈkeɪn tɪ ˈəðər ˈmeɪʤər ˈtræfɪkərz hir ɔn lɔŋ ˈaɪlənd ˌɪnˈkludɪŋ ˈbrændən ˈhɛrɪs, ˈdoʊˌbɔɪ, koʊmz, ˈtɑtɑ, ˈhərmən mənˈroʊ, ʧif, ənd ˈkɛnɪθ ˈnɛzmɪθ ni ɔl əv hum soʊld drəgz ˈdeɪli tɪ ˈkəstəmərz frəm ˈnæsɔ ənd ˈsəfək ˈkaʊnti. ðiz ˈdilərz ɛz wɛl ɛz ðə ˈəðər dɪˈfɛndənts ʧɑrʤd ɪn ðə ˌɪnˈdaɪtmənt əˈlɛʤədli kət, ˈpækɪʤd ənd ˌridɪˈstrɪbjətɪd ðə nɑrˈkɑtɪks fər ðɛr oʊn ˈpərsɪnəl ˈprɑfɪt. eɪts gənz hæv bɪn rɪˈkəvərd ˌɪnˈkludɪŋ ˈpɪstəlz, tu ˈʃɑtˌgənz ənd wən əˈsɔlt ˈraɪfəl, ɛz wɛl ɛz səbˈstænʃəl kˈwɑntətiz əv ˈhɛroʊən ənd koʊˈkeɪn, ənd mɔr ðən ə ˈdəzən ˌɔtəmoʊˈbilz. ˈdɪstrɪkt əˈtərni ˈmædəlɪn sɛd, ˈdilɪŋ ˈnɛtˌwərks ˈjuʒəwəli ˈɔpərˌeɪt ɪn ðə ˈʃæˌdoʊz ənd ˈkɑndəkt ðɛr ˈbɪznɪs bɪˈhaɪnd kloʊzd dɔrz, bət ðɪs grup əˈlɛʤədli ˈkaʊntɪd kæʃ, ˈmɛʒərd ənd ˈpækɪʤd ˈhɛroʊən ɪn brɔd ˈdeɪˌlaɪt, waɪl pɑrkt ɪn ˈləgʒəri kɑz ɔn ˌrɛzɪˈdɛnʃəl strits. wi wɪl nɑt əˈlaʊ drəg ˈdilərz tɪ tərn wən əv lɔŋ ˈbɪziəst ˈθəroʊˌfɛrz ɪn tɪ ə ˈhɛroʊən ˈhaɪˌweɪ. aɪ θæŋk ɔl əv ɑr lɔ ɛnˈfɔrsmənt ˈpɑrtnərz fər ðɛr ˌaʊtˈstændɪŋ wərk ɪn ðɪs ˌɪnˌvɛstəˈgeɪʃən, ənd fər ðɛr kəˈmɪtmənt tɪ kənˈfrəntɪŋ ðɪs ˌɛpɪˈdɛmɪk wɪθ ˈɛvəri tul æt ɑr disposal.”*.” |
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mineola, n.y. — dozens have been indicted for their alleged involvement in a heroin bust on long island in what officials are calling one of the largest narcotics takedowns in long island history.
nassau count police took 36 people into custody in more than a dozen locations across nassau and suffolk counties.
the arrests are a result of a nine-month long investigation into local heroin distributors.
according to the 59-count indictment, elvin rosario, a/k/a fling, 27, reinardo adames, a/k/a tito, 28, and another indicted individual, are members of a drug distribution crew that supplied large quantities of heroin to 15 members of a group dubbed “the 110 crew” by investigators.
the three supplying defendants, known as the “papis,” allegedly stored the drugs at homes in farmingdale, lindenhurst, west babylon and bayshore.
according to the indictment, the papis sold sleeves of heroin – which are 10 bundles or 100 individual bags – to the 110 crew.
the investigation is named “operation bundle up” for the quantity of heroin bundles that were allegedly sold.
members of the 110 crew are allegedly members of the “neez” gang, a subset of the notorious bloods gang.
this group allegedly ran an elaborate narcotics operation, selling heroin in bundles to hundreds of customers a day along route 110 outside of hotels, restaurants, gas stations, strip malls, name-brand retailers, coffee shops and other locations at all hours of the day.
these defendants allegedly sold to 18 individual resellers, who have no organizational connection to each other or their suppliers.
the papis allegedly made hundreds of sales a week, sometimes earning as much as $8,000 during a seven-day period. it is estimated that the 110 crew allegedly sold approximately 4,000 individual bags of heroin a week, which is worth approximately $40,000 to $50,000.
six of the defendants are charged with operating as a major trafficker, which carries a sentence of 15 years to life. specifically, rosario and adames allegedly supplied large quantities of heroin and cocaine to other major traffickers here on long island – including branden harris, a/k/a doughboy, tashawn combs, a/k/a tata, herman monroe, a/k/a chief, and kenneth nesmith a/k/a nee – all of whom sold drugs daily to customers from nassau and suffolk county.
these dealers – as well as the other defendants charged in the indictment – allegedly cut, packaged and redistributed the narcotics for their own personal profit.
eights guns have been recovered including pistols, two shotguns and one ak-47 assault rifle, as well as substantial quantities of heroin and cocaine, and more than a dozen automobiles.
district attorney madeline singas said, “drug dealing networks usually operate in the shadows and conduct their business behind closed doors, but this group allegedly counted cash, measured and packaged heroin in broad daylight, while parked in luxury cars on residential streets. we will not allow drug dealers to turn one of long island’s busiest thoroughfares in to a heroin highway. i thank all of our law enforcement partners for their outstanding work in this investigation, and for their commitment to confronting this epidemic with every tool at our disposal.” | ˈgugəl təˈdeɪ ˈhɪnɪd æt ə nɪr fˈjuʧər wɛr ɪts ˌɑrtəˈfɪʃəl ˌɪnˈtɛləʤəns ˌkeɪpəˈbɪlətiz ˈəndərˌpɪn ɪts kəˈlɛkʃən əv ˌæpləˈkeɪʃənz eɪmd æt ðə ˈwərkˌpleɪs, ˈgugəl æps. æt ən ɪˈvɛnt ɪn ˈtoʊkiˌoʊ, ðə ˈɪntərˌnɛt ʤaɪənt əˈnaʊnst ə nu ˌæpləˈkeɪʃən ənd ə riˈvæmp əv əˈnəðər, wɪθ səm eɪaɪ smɑrts ˌɪnˈʤɛktɪd ˈɪntu boʊθ. ðə nu ˈprɑdəkt ɪz kɔld ˈsprɪŋˌbɔrd, ənd ɪts ˌɪnˈtɛndɪd tɪ lɛt ˈgugəl æps ˈkəstəmərz sərʧ θru ðə ˈkɑntɛnt əv ðə ˈdɑkjəmənts ðeɪ stɔr ɪn ðɛr ˈgugəl draɪv, əˈlɔŋ wɪθ ðɛr ˈkɑnˌtækts ənd ˈkæləndər ˈɛntriz, ɔl ɪn wən pleɪs. ɪt wɪl ˈɔlsoʊ juz eɪaɪ, ˈgugəl sɪz, tɪ ˌproʊˈæktɪvˌli faɪnd ˌɪnˌfɔrˈmeɪʃən ðət meɪ bi ˈrɛləvənt tɪ wət jʊr ˈwərkɪŋ ɔn. ˈgugəl ˈɔlsoʊ sɪz ɪt həz riˈbɪlt ˈgugəl saɪts, ɪts ˈlaɪtˈweɪt tul fər kriˈeɪtɪŋ ˈwɛbˌsaɪts ənd saɪts fər juz baɪ wərk timz. ɪt, tu, ɪz ˈgɪtɪŋ ə dæʃ əv eɪaɪ ʤus, wɪʧ, sɪz raɪən ˈtɑboʊn, dɪˈrɛktər əv ˈprɑdəkt fər ˈgugəl æps, wɪl meɪk ə lɔt əv ðə ˈtrɪki θɪŋz əˈbaʊt wɛb ˈpəblɪʃɪŋ ˈiziər. teɪks ə lɔt əv ðə ˈhæsəl aʊt əv ˈgɪtɪŋ ˈpɪkʧərz ənd tɛkst ʤɪst raɪt, soʊ ju hæv tɪ spɛnd taɪm ˈfɪgjərɪŋ ðɛm aʊt yourself,”*,” ˈtɑboʊn sɛd. ɪt kən ˈɔlsoʊ kˈwɪkli əˈdæpt ə peɪʤ fər ˈrɛdɪŋ ɔn ˈmoʊbəl dɪˈvaɪsɪz. ə ˈrɛlətɪvli ˈhəmbəl stɑrt, bət ðə hoʊp ɪz tɪ ɛnˈhæns ðə ɪnˈtaɪər swit əv ˈɔfəs æps wɪθ eɪaɪ, ðoʊ ˈtɑboʊn prɪˈfərd ðə freɪz ˌɪnˈtɛləʤəns." ənd waɪl ˈprɪti fɑr frəm mɔr spɛkˈtækjələr dɪˈplɔɪmənt əv eɪaɪ tɛkˈnɑləʤi ɪn ɪts ˈgugəl hoʊm smɑrt ˈspikər fər kənˈsumərz, ɪt ɪz ə hɪnt əv θɪŋz tɪ kəm, ˈtɑboʊn sɛd. wi faɪnd ɪz ðət ˈpipəl tɛnd tɪ pərˈfɔrm ðə seɪm tæsks ˈoʊvər ənd over,”*,” hi sɛd. ˈsəmθɪŋ ɪn ðə wheelhouse.”*.” |
google today hinted at a near future where its artificial intelligence capabilities underpin its collection of cloud-based applications aimed at the workplace, google apps.
at an event in tokyo, the internet giant announced a new application and a revamp of another, with some ai smarts injected into both.
the new product is called springboard, and it's intended to let google apps customers search through the content of the documents they store in their google drive, along with their contacts and calendar entries, all in one place. it will also use ai, google says, to proactively find information that may be relevant to what you're working on.
google also says it has rebuilt google sites, its lightweight tool for creating websites and intranet sites for use by work teams. it, too, is getting a dash of google’s ai juice, which, says ryan tabone, director of product for google apps, will make a lot of the tricky things about web publishing easier.
“it takes a lot of the hassle out of getting pictures and text just right, so you don’t have to spend time figuring them out yourself,” tabone said. it can also quickly adapt a page for reading on mobile devices.
it’s a relatively humble start, but the hope is to enhance the entire suite of google's office apps with ai, though tabone preferred the phrase “machine intelligence."
and while it’s pretty far from google’s more spectacular deployment of ai technology in its google home smart speaker for consumers, it is a hint of things to come, tabone said.
“what we find is that people tend to perform the same tasks over and over,” he said. “and that’s something that’s in the machine-learning wheelhouse.” | kloʊz ˌjunəˈvərsəti əv ˌtɛnəˈsi ˈstudənts ɔn ˈθərzˌdeɪ, noʊv. 10 2016 ˈproʊˌtɛst ˈdɑnəld trəmps ɪˈlɛkʃən. ˈeɪmi sˈməðərmən ˈsɛntənəl baɪ ˈfoʊˌtoʊ ˈstudənts ˈpisfəli ˈproʊˌtɛst ðə ɪˈlɛkʃən əv ˈdɑnəld trəmp æt ðə ˌjunəˈvərsəti əv ˌtɛnəˈsi ˈkæmpəs ˈθərzˌdeɪ, noʊv. 10 2016 (ˈfoʊˌtoʊ: ˈeɪmi sˈməðərmən ˈfoʊˌtoʊ ˈʧæntɪŋ maɪ president”*” ənd wɑz ˈnɛvər great,”*,” ˈhənərdz əv ˌjunəˈvərsəti əv ˌtɛnəˈsi ˈstudənts ˈproʊˌtɛstəd ðə ɪˈlɛkʃən əv ˈdɑnəld trəmp fər ˈɔlˌmoʊst θri aʊərz ɔn ˈkæmpəs ˈθərzˌdeɪ ˈaʊtˈsaɪd ˈhɑʤɪz ˈlaɪbrɛˌri. əˈbaʊt ə ˈhənərd ˈstudənts sæt ɔn ðə graʊnd ɔn ðə pəˈdɛstriən ˈwɔkˌweɪ, ənd ˈəðərz stʊd əraʊnd ðɛm, ˈlɪŋkɪŋ ɑrmz. ðeɪ hɛld saɪnz ðət rɛd wɪl nɑt stɑp ˈspikɪŋ spanish,”*,” ɪz nɑt ən opinion”*” ənd ɪz violence.”*.” ðeɪ pæst ə ˈmɛgəˌfoʊn ənd rɪˈpitɪd ðə ˈmɛsɪʤɪz fər ˈɛvriˌwən tɪ hir. ˈdɔltən til, ə ˈsɑfˌmɔr frəm ˈlɛbənən, tɛn., tʊk ðə mɪk ənd əˈdrɛst ðɛm. "ðɪs ɪz tɪ ɔl ðə trəmp səˈpɔrtərz ɔn ðə ˈaʊtˌskərts hu seɪ ðɪs ˈproʊˌtɛst ɪz ˌɪnkənˈvinjənt. du ju noʊ wəts ˌɪnkənˈvinjənt? biɪŋ blæk ɔn ðɪs ˈkæmpəs." ðə kraʊd ʧɪrd. hi kənˈtɪnjud. "du ju noʊ wəts ˌɪnkənˈvinjənt? biɪŋ geɪ ɔn ðɪs ˈkæmpəs." ðə kraʊd rɪˈpitɪd ɪt bæk tɪ ɪm. til wɛnt ɔn: "du ju noʊ wəts ˌɪnkənˈvinjənt? biɪŋ ˈməzlɪm ɔn ðɪs ˈkæmpəs." ðə grup rɪˈpitɪd ɪt. ɪˈlɪzəbɪθ ˈstænˌfild, ə ˈsinjər frəm ˈʤæksən, tɛn., hu hɛlpt ˈɔrgəˌnaɪz ðə ˈproʊˌtɛst leɪt læst naɪt, sɛd ʃi ˈwɔntɪd tɪ kriˈeɪt ə speɪs fər ˈpipəl hu ər ˈfrəˌstreɪtəd ənd ˈstrəgəlɪŋ tɪ ˈgæðər. "ðɪs ˈkæmpəs ɪz ɔˈrɛdi ˌɪnˈkrɛdəbli ˈvaɪələnt tɪ ˈpipəl əv ˈkələr, tɪ ˈpipəl," ʃi sɛd. bət ˈæftər ðə ɪˈlɛkʃən, "ðɛr wɑz ə ʃɪft ɪn ðə ˈætməsˌfɪr, ənd ˈwɔkɪŋ əraʊnd ˈkæmpəs, ju kʊd fil ɪt ɪn ðə ɛr." ðɛr wɑz noʊ ˈædvərˌtaɪzɪŋ ɔn ˈsoʊʃəl ˈmidiə ənd nuz əv ðə plæn sprɛd baɪ wərd əv maʊθ, ʃi sɛd. ðə ˈproʊˌtɛst, ˈlusli kəmˈpraɪzd əv ðə ˈkæmpəs' dɪˈvərsɪti ˈmætərz ˈstudənt ˌkoʊəˈlɪʃən, ˈstɑrtɪd nɪr ðə ˈæmfəθiˈeɪtər ˈaʊtˈsaɪd ðə juˈmænɪtiz ˈbɪldɪŋ æt p.m*. ðə grup mɑrʧt əˈlɔŋ əraʊnd ðə ˈbɪldɪŋ ənd əp pəˈdɛstriən ˈwɔkˌweɪ. wɪn ˈklæsɪz lɛt aʊt, ðə kraʊd gru ənd əˈtræktəd mɔr ˈproʊˌtɛstərz, ʃi sɛd. ɪt ˈɔlsoʊ dru ə səbˈstænʃəl, ðoʊ ˈgreɪtli ˌaʊtˈnəmbərd, grup əv trəmp səˈpɔrtərz hu mɑkt ðə ˈproʊˌtɛstərz wɪθ spɔrts ʧænts laɪk "ˈskɔrˌbɔrd." ðeɪ traɪd ˈdraʊnɪŋ aʊt ðə ˈproʊˌtɛstərz' ʧænts wɪθ ə ˈspikər pleɪɪŋ ðə ˈnæʃənəl ˈænθəm ənd kwinz "wi ər ðə ˈʧæmpiənz." ðeɪ wɔr rɛd "meɪk əˈmɛrɪkən greɪt əˈgɛn" hæts ənd dreɪpt flægz ˈoʊvər ðɛr ˈʃoʊldərz. wən drɛst ɛz trəmp ɪn ə sut ənd wɪg, ˈkɛriɪŋ ə "ˈhɪləri fər ˈprɪzən" saɪn ənd ən əˈmɛrɪkən flæg ˈoʊvər hɪz ˈʃoʊldər. ˈstænˌfild sɛd ʃi dɪˈskəst ˈtæktɪks wɪθ hər grup ənd æt wən pɔɪnt tʊk ðə ˈmɛgəˌfoʊn tɪ ərʤ ðɛr saɪd nɑt tɪ ɪnˈgeɪʤ ɪn ˈɛni ˈvaɪələns. ˈnuzˌlɛtərz gɪt ðə ˈnuzˌlɛtər dɪˈlɪvərd tɪ jʊr wɪr ˈsɑri, bət ˈsəmθɪŋ wɛnt rɔŋ ˈdeɪli nuz ˈhɛˌdlaɪnz, wɪˈθaʊt ˈhævɪŋ tɪ ˈoʊpən ðə ˈnuzˌpeɪpər. pliz traɪ əˈgɛn sun, ər ˈkɑnˌtækt ˈkəstəmər ˈsərvɪs æt dɪˈlɪvəri: ˈdeɪli ˌɪnˈvæləd iˈmeɪl ˈæˌdrɛs θæŋk ju! jʊr ˈɔlˌmoʊst saɪnd əp fər kip ən aɪ aʊt fər ən iˈmeɪl tɪ kənˈfərm jʊr ˈnuzˌlɛtər ˌrɛʤɪˈstreɪʃən. mɔr ˈnuzˌlɛtərz ðoʊ ðɛr wər ə fju ˈpʊʃɪŋ ˈskərmɪʃɪz, noʊ faɪts broʊk aʊt. ðə pəˈlis dɪˈpɑrtmənt sɛd noʊ ərˈɛsts wər meɪd æt ðə ˈproʊˌtɛst. ˈkɛrəˌlaɪn ˈrɪʧmənd, ə ˈsinjər fər ˈsɪti, sɛd pɑrˈtɪsəˌpeɪtɪŋ ðə ˈproʊˌtɛst wɑz kəˈθɑrtɪk ɪn səm weɪz, bət ˈɔlsoʊ faʊnd ɪt dɪˈskərɪʤɪŋ ðət trəmp ˈædvəˌkeɪts wər hir fər səˈpɔrt, bət tɪ ˈsaɪləns ˈpipəl hu ər ɔˈrɛdi ˈmɑrʤənəˌlaɪzd. wɑz ˈskɛri wɪn wi wər ˈsɪtɪŋ hir ənd sərˈaʊndɪŋ ˈjuˈɛs, traɪɪŋ tɪ ˌɪnˈtɪmɪˌdeɪt ənd ˈsaɪləns us,”*,” ʃi sɛd. ˈæləks kɑˈleɪjə, ə trəmp səˈpɔrtər frəm ˈluiˌvɪl, ky*., sɛd hi ˈsɪmpli ˈwɔntɪd tɪ ˈɛksərˌsaɪz hɪz fri spiʧ ˈæftər hi ˈspɑtɪd ðə ˈproʊˌtɛst ɔn hɪz weɪ bæk frəm klæs. wɛnt əraʊnd ənd ˈpipəl hu wər ˈproʊˌtɛstɪŋ ðə ˈəðər saɪd wər biɪŋ læʃt aʊt əˈgɛnst, ənd ðeɪ ˈɔlsoʊ dɪˈzərv ən ˈikwəl voice,”*,” hi sɛd. baɪ ˈfoʊˌtoʊ ˈstudənts ˈproʊˌtɛst ˈpisfəli əˈgɛnst ðə ɪˈlɛkʃən əv ˈdɑnəld trəmp ɔn ˈkæmpəs ˈθərzˌdeɪ, noʊv. 10 2016 (ˈfoʊˌtoʊ: ˈeɪmi sˈməðərmən ˈsɛntənəl) ˈhənərdz əv ˌjunəˈvərsəti əv ˌtɛnəˈsi ˈstudənts ər ˈgæðərd ɔn ˈkæmpəs, moʊst tɪ ˈproʊˌtɛst ðə ɪˈlɛkʃən əv ˈdɑnəld trəmp tɪ ðə ˈprɛzɪdənsi, ˈθərzˌdeɪ, noʊv. 10 2016 (ˈfoʊˌtoʊ: ˈeɪmi sˈməðərmən sɛnt) rɛd ər ʃɛr ðɪs ˈstɔri: |
close university of tennessee students on thursday, nov. 10, 2016, protest donald trump's election. amy smotherman burgess/news sentinel
buy photo students peacefully protest the election of donald trump at the university of tennessee campus thursday, nov. 10, 2016. (photo: amy smotherman burgess/news sentinel)buy photo
chanting “not my president” and “america was never great,” hundreds of university of tennessee students protested the election of donald trump for almost three hours on campus thursday outside hodges library.
about a hundred students sat on the ground on the pedestrian walkway, and others stood around them, linking arms. they held signs that read “i will not stop speaking spanish,” “hate is not an opinion” and “silence is violence.”
they passed a megaphone and repeated the messages for everyone to hear.
dalton teel, a sophomore from lebanon, tenn., took the mic and addressed them.
"this is to all the trump supporters on the outskirts who say this protest is inconvenient. do you know what's inconvenient? being black on this campus." the crowd cheered.
he continued. "do you know what's inconvenient? being gay on this campus." the crowd repeated it back to him.
teel went on: "do you know what's inconvenient? being muslim on this campus." the group repeated it.
elizabeth stanfield, a senior from jackson, tenn., who helped organize the protest late last night, said she wanted to create a space for people who are frustrated and struggling to gather.
"this campus is already incredibly violent to people of color, to lgbt people," she said. but after the election, "there was a shift in the atmosphere, and walking around campus, you could feel it in the air."
there was no advertising on social media and news of the plan spread by word of mouth, she said.
the protest, loosely comprised of the campus' diversity matters student coalition, started near the amphitheater outside the humanities building at 12:30 p.m. the group marched along around the building and up pedestrian walkway.
when classes let out, the crowd grew and attracted more like-minded protesters, she said.
it also drew a substantial, though greatly outnumbered, group of trump supporters who mocked the protesters with sports chants like "scoreboard." they tried drowning out the protesters' chants with a speaker playing the national anthem and queen's "we are the champions."
they wore red "make american great again" hats and draped trump-pence flags over their shoulders. one dressed as trump in a suit and wig, carrying a "hillary for prison" sign and an american flag over his shoulder.
stanfield said she discussed deescalation tactics with her group and at one point took the megaphone to urge their side not to engage in any violence.
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though there were a few pushing skirmishes, no fights broke out. the ut police department said no arrests were made at the protest.
caroline richmond, a senior for lenoir city, said participating the protest was cathartic in some ways, but also found it discouraging that trump advocates were “not here for support, but to silence people who are already marginalized.
“it was scary when we were sitting here and surrounding us, trying to intimidate and silence us,” she said.
alex calleja, a trump supporter from louisville, ky., said he simply wanted to exercise his free speech after he spotted the protest on his way back from class.
“i went around and people who were protesting the other side were being lashed out against, and they also deserve an equal voice,” he said.
buy photo ut students protest peacefully against the election of donald trump on campus thursday, nov. 10, 2016. (photo: amy smotherman burgess/news sentinel)
hundreds of university of tennessee students are gathered on campus, most to protest the election of donald trump to the presidency, thursday, nov. 10, 2016. (photo: amy smotherman burgess/news sent)
read or share this story: http://knoxne.ws/2fhakvg | i’ve* kənˈsəltɪd ɔn ə ˈdəzən ˈprɑʤɛkts. səm wər ˈɔsəm (ðɪs ɪz ðə fˈjuʧər!) ənd səm wər ˈikwəli ˈfrəˌstreɪtɪŋ (hu ˌɪnˈvɛntɪd ðɪs kræp?) ðə ˌɛksəˈkjuʃən ðət ˈmætərz, nɑt ðə əˈproʊʧ. ju kən səkˈsid ər feɪl wɪθ ˈiðər. ʤɪst əkˈsɛpt ðə ˌprɑpəˈgændə aʊt ðɛr. hir ər səm ɪkˈspɪriənsɪz hæd ðət ʃoʊ haʊ boʊθ ˈmɑnəˌlɪθs ənd hæv ðɛr pleɪs. ˈpɪkɪŋ ðə raɪt tul fər ðə raɪt ʤɑb maɪ tim bɪlt ə nuz ˈridər æp. ɪt hæd tɪ skreɪp ˈɑrtɪkəlz, ˈɛkˌstrækt ˈkɑntɛnt, ˈklæsəˌfaɪ, sərv ən, ʃoʊ ˈædmɪn ˈpænəl, ənd ˈmænɪʤ ˈjuzərz. (ˈpaɪθɑn 2 æt ðət taɪm) ɪz ðə ˈlidər wɪn ɪt kəmz tɪ wɛb ˈskreɪpɪŋ. soʊ wi kriˈeɪtɪd wən ðət skreɪpt urls*. ə bɪt mɔr ɔn maɪ ˈdɑkər ˈɪmɪʤ wɪθ tɔr, ənd ə ˈprɔˌsɛs ˈmænɪʤər ɪf ˈkjʊriəs.) ˈnuzˌpeɪpər (ˈpaɪθɑn 3 ɪz wən əv ðə bɛst ˈoʊpən sɔrs ˈɑrtɪkəl ɛkˈstrækʃən ˈlaɪbrɛˌriz. soʊ wi kriˈeɪtɪd wən ðət, ˈgɪvɪn ən ˈɪnˌpʊt url*, rɪˈtərnz ðə ɛkˈstræktɪd ˈkɑntɛnt. ɑr həz səm gʊd ˈlaɪbrɛˌriz fər ˌkætəgərɪˈzeɪʃən. ə ˈkɑlig wɪθ gʊd ˈnɑlɪʤ əv ɑr pʊt təˈgɛðər ə ˈsərvɪs fər ˈkætəgərˌaɪzɪŋ ˈɑrtɪkəlz ˈjuzɪŋ rɛst. ɪz wən əv ðə bɛst ənd ˈiziəst ˈædmɪn ˈpænəl ˈɪnərˌfeɪsɪz. fər ə lɔŋ taɪm, wi hæv bɪn ˈlɛvərɪʤɪŋ ɪt fər ˈædmɪn skrinz, ənd wi hʊkt ɪt əp ɪn ə fju deɪz hir ɛz wɛl. ˈfaɪnəli fər ðə ˈgeɪtˌweɪ, wi juzd wɪθ (fər ˈməltəpəl ɔθ) ənd elasticsearch*. ˌbiˈfɔr ðɪs bɪg re-write*, ɑr oʊld æp wɑz ə reɪlz ˈmɑnəˌlɪθ. ɪt traɪd tɪ ˌriɪnˈvɛnt ˈɛvriˌθɪŋ ˈmɛnʃənd ˌbiˈfɔr. ju kən ˌɪˈmæʤən ðə ˈtreɪˌdɔfs ɪn koʊd, ˈɛfərt, ənd taɪm fər kˈwɑləti, ˈprɑˌgrɛs, ənd ˈaʊtˌpʊt. bæd ˈmɑnəˌlɪθs traɪ tɪ ˌriɪnˈvɛnt ðə wərld. ðeɪ θɪŋk ðət koʊd ənd dɪˈzaɪn ˈpætərnz ər ðə səˈluʃən tɪ ˈɛvriˌθɪŋ. ðeɪ straɪv tɪ bɪld riˈuzəbəl kəmˈpoʊnənts, ˈlaɪbrɛˌriz, ənd ˈɔlsoʊ bɪˈkəm ə ˈplætˌfɔrm əˈlɔŋ ðə weɪ. bət ðeɪ ˈjuʒəwəli ɛnd əp səkˈsidɪŋ æt ˈɛni əv ðiz goʊlz. 1 ər ə ˈbɪznɪs səˈluʃən, nɑt ʤɪst ə tɛkˈnɑləʤi səˈluʃən. ðeɪ seɪv dɪˈvɛləpərz frəm ˈhævɪŋ tɪ weɪst taɪm ˌriɪnˈvɛntɪŋ ɔˈrɛdi sɑlvd ˈtɛknɪkəl ˈprɑbləmz. aɪ kɛr ɪf ju kɔl ðɛm ““services”*”, architecture”*”, ər ““microservices.”*.” wəns wi gɪt pæst ˈbəzwərdz, ˈvərsəz microservices”*” bɔɪlz daʊn tɪ ˈsərvɪs ˈvərsəz ɛn services.”*.” fər ɑr ˌæpləˈkeɪʃən, services”*” tərnd aʊt tɪ bi ðə stæk wi ˈwɔntɪd. ˈmɑnstər krəd æps səm ˈɛnərˌpraɪz ˈprɑʤɛkts kən ˈsɪmpli bi ˈkætəgərˌaɪzd ɛz ˈmɑnstər krəd (create-read-update-delete*) æps. ə ˈnɛvər ˈɛndɪŋ strim əv fɔrmz, ˈdætə riˈleɪʃənˌʃɪps, ˌtrænsfərˈmeɪʃənz, ənd ˈhjuʤli ˈkɑmpləˌkeɪtəd logic.”*.” ðə skoʊp ɪz juʤ, bət ðə ˈɔdiəns ɪz ˈtaɪni. ˈnoʊˌbɑˌdi hir kɛrz əˈbaʊt ˈjuzər ɪkˈspɪriəns bɛst ˈpræktɪsɪz, ənd ɪts ˈkɑmən tɪ hæv kwɪk ənd ˈəgli skrinz ðət gɪt ðə ʤɑb dən. wi hæd wən səʧ ˈɛnərˌpraɪz ˌtrænsfərˈmeɪʃən ˈprɑʤɛkt. ðə oʊld ˈmɑnəˌlɪθ wɑz ə ˌɪnəˈgreɪʃən. ɪt wɑz ˈprɪti wɛl dɪˈzaɪnd, ənd ˈoʊnli tʊk ə fju ˈpipəl tɪ meɪnˈteɪn, ˌɪnˈkludɪŋ ðə ˈəgli ˈjuzər ˈɪnərˌfeɪsɪz. ðə nu ˌbæˈkɛnd ˈsərvɪsɪz wər ˈmoʊstli ˈrɪtən ɪn ˈʤɑvə, soʊ ɪt wɑz ˈdɪfəkəlt tɪ dɪˈvɛləp, ˈɪnəˌgreɪt, ʃɛr, ənd meɪnˈteɪn kəmˌpætəˈbɪləˌti. ənd nu ˈsərvɪsɪz gɑt pʊld ˈɪntu ðə wərld əv æps. dɪˈplɔɪmənt rikˈwaɪərd ə juʤ ˌɪnfrəˈstrəkʧər ɔtəˈmeɪʃən ˈsɛˌtəp. ðɪs wɑz ə fju jɪrz əˈgoʊ, ˌbiˈfɔr ðə dɪˈvɛləpər ˈtulɪŋ ˈikoʊˌsɪstəm hæd məˈtjʊrd. æt ðə taɪm, ˈɛvəri ˈkɑnˌtrækt ʧeɪnʤ ˈnidɪd tɪ bi koʊˈɔrdəneɪtɪd ənd ˈəpˌdeɪtɪd baɪ hænd. ɪt wɑz ðə ˈɑpəzɪt əv ðə ˈpriviəs sɪˈnɛrioʊ ðə əv fɛlt məʧ ˈbɪgər ðən ðət əv ðə oʊld ˈmɑnəˌlɪθ. 2 bi ˈkɛrfəl. ˈtritɪŋ ɛz ˈsplɪtɪŋ koʊd leɪərz ˈɪntu ˈbɑksɪz kən lɛd tɪ baɪ ə ˈθaʊzənd cuts.”*.” ˈteɪmɪŋ ə juʤ dɪˈpɛndənsi tri wi hæd əˈnəðər ˈlɛgəsi ˈɛnərˌpraɪz ˌæpləˈkeɪʃən ˌtrænsfərˈmeɪʃən wɪʧ dɪd ə lɔt əv θɪŋz laɪk ˈprɑdəkt ˈskreɪpɪŋ ənd ˈpɛrəˌlɛl ˌægrəˈgeɪʃən. ɪt wɑz ə ˈkɑmpləˌkeɪtəd, ɔˈrɛdi ˈtrəbəld ˈmɑnəˌlɪθ. wɪn duɪŋ ə lɔt əv ɔrˈθɔgənəl ˈbɪznɪs ˈfiʧərz ˌɪnˈsaɪd ə ˈsɪŋgəl æp, ɪt ˈkɔzɪz ə juʤ dɪˈpɛndənsi tri, wɪθ tənz əv ˈlaɪbrɛˌriz ənd ˈfreɪmˌwərks. ˈkɑnsəkˌwɛntli, ðə ˈfʊtˌprɪnt, lifecycle*, ənd bɪld taɪmz wər ˈɔlsoʊ lɔŋ. ðɪs kənˈtrɪbjutɪd tɪ ðə ril ˈprɑbləm: dɪˈvɛləpərz kˈwɪkli, ənd əv ˈfiʧərz ˈsəfərd ɛz ə rɪˈzəlt. taɪm ˈteɪkən tɪ koʊd ə ˈsɪmpəl ˈfiʧər: ˈsɛvərəl deɪz. taɪm tɪ ˈəpˈgreɪd ə ˈlaɪbrɛˌri (gaɪs) ˈvərʒən: 1 wik. taɪm ˈteɪkən tɪ ˈəpˈgreɪd ə ˈfreɪmˌwərk (spərɪŋ) ˈvərʒən: fərˈɛvər. ˈtrɪviəl stəf hæd ðə ʧæns tɪ rɪp əˈpɑrt ˈɛvəri taɪm ˈɛstəˌmeɪt. ˈivɪn ə smɔl tʊk lɔŋ. ɪt tərnz aʊt ðət dɛθ baɪ ə ˈθaʊzənd kəts ɪz ˈpɑsəbəl wɪθ ˈmɑnəˌlɪθs ɛz wɛl. wi dɪˈvaɪdɪd ðə ˈprɑʤɛkt ˈɪntu səm ˈfəŋkʃənəl ˈbaʊndəriz. wi ˈæktɪvli meɪd ʃʊr tɪ nɑt ʃɛr ˈlaɪbrɛˌriz ənd tɪ əˈvɔɪd ðə dɪˈpɛndənsi tri ˈbɑtəlˌnɛk. fər ɪgˈzæmpəl, wi juzd ə ˈmɑdərn klaɪənt ˈlaɪbrɛˌri fər ˈpəblɪʃɪŋ ˈmɛsɪʤɪz ˈoʊvər fər ðə. bət ðə bɪg dɪˈpɛndənsi tri dɪd nɑt əˈlaʊ ˈjuˈɛs tɪ juz ðə seɪm ˈlaɪbrɛˌri. soʊ wi juzd ə ˈdɪfərənt klaɪənt. ˈɔfən meɪk ðə ˈklæsɪk mɪˈsteɪk əv ˈʃɛrɪŋ tu ˈmɛni ˈlaɪbrɛˌriz ənd ˈðɛrˈbaɪ ðə seɪm dɪˈpɛndənsi triz (ə monolith”*”). bət baɪ əˈvɔɪdɪŋ ˈʃɛrɪŋ ˌfəŋkʃəˈnælɪti, wi kʊd juz ˈdɪfərənt ˈlaɪbrɛˌriz tɪ əˈkɑmplɪʃ ðə seɪm tæsks wɪˈθaʊt ˈhævɪŋ tɪ ˈəpˈgreɪd ðə wərld. wən əv ðə ˈsərvɪsɪz rikˈwaɪərd ə lɔt əv ˈlʊkəps fər ˈɛvəri rɪkˈwɛst). ɪt ˌɪˈnɪʃəli ˈlɛvərɪʤd rxjava*. bət ɪt kʊd bi riˈrɪtən ˈɛni deɪ ɪn wɪθ ðə seɪm ˈkɑnˌtrækt, ənd ˈnoʊˌbɑˌdi wʊd kɛr əˈbaʊt ðə dɪˈpɛndənsi tri. 3 wɪθ, ju hir ðə tərm rewrite”*” ər system”*” ˈɛvər əˈgɛn bɪˈkəz ðɛr ər noʊ bɪg ˈsɪstəmz. ðə mɪθ maɪ tim dɪˈvɛləpt ə koʊd ɪˌvæljuˈeɪʃən æp. ɪt wɑz 90 krəd, ˈjuzər ˈɪnərˌfeɪs, ənd rɪˈpɔrts, ənd 10 ˈkɑmplɛks koʊd ɪˌvæljuˈeɪʃən fər ə ˈdəzən ˈlæŋgwɪʤɪz. ˌbiˈfɔr wi keɪm ɪn, ɪt wɑz ə ˈsɪriz əv wən fər iʧ taɪp əv ˈlæŋgwɪʤ, ˈlɪsənɪŋ fər ˈdɪfərənt ˈmɛsɪʤ kjuz. ɪt hæd ə ˈsɛpərˌeɪt front-end-as-a-service*, admin-panel-as-a-service*, ənd soʊ ɔn. ðɛr ərˈɪʤənəl ˈrizənɪŋ?. wi kɪld ðə hoʊl θɪŋ ənd bɪlt ə ˈbɛtər ˈmɑnəˌlɪθ. ɪt wɑz kəmˈplitli dən ɛz ə ˈsɪŋgəl reɪlz æp ˈjuzər ˈɪnərˌfeɪs, ˈædmɪn, bæk ɛnd, ənd ˈkænədɪt ˈɪnərˌfeɪs. ðə koʊd ɪˌvæljuˈeɪʃən pɑrt ræn ɛz ə ˈbækˌgraʊnd ʤɑb (activejob*). wi ʃɛld ðɪs aʊt əˈkrɔs ˈsɪmpəl, ˈsteɪtlɪs, ˌwəˈnɔf ˈdɑkər kənˈteɪnərz. ðə kɔr ˈkɑnˌtrækt fər ɪˈvæljuˌeɪtɪŋ koʊd ʧeɪnʤd frəm ˈɪntu file/stdin/stdout*. ɪt skeɪld məʧ ˈbɛtər ðən ðə oʊld ˈsɪstəm, bɪˈkəz wi ʤɪst ˈnidɪd tɪ ræmp əp ðə ˈbækˌgraʊnd ˈwərkərz tɪ ˈhændəl mɔr koʊd ɪˌvæljuˈeɪʃənz. wət lʊkt laɪk ə səˈfɪstɪˌkeɪtəd ˌæpləˈkeɪʃən frəm ðə ˈaʊtˈsaɪd səˈpɔrtɪŋ 8 ˈmeɪʤər ˈproʊˌgræmɪŋ ˈlæŋgwɪʤɪz wɪθ ˌɪnˈtɛləʤənt ɪˌvæljuˈeɪʃən wɑz ɪkˈstrimli ˈsɪmpəl ɔn ðə ˌɪnˈsaɪd. 4 ju nid tɪ rən ˈməltəpəl ˈɪnstənsɪz əv ə ˈsərvɪs ər ˈwərkər. gʊd ˈmɑnəˌlɪθs kən ˈɔlsoʊ skeɪl fər səm ˈklæsɪz əv ˈprɑbləmz. ɪt ɪz kwaɪt ˈpɑsəbəl tɪ kriˈeɪt ˈskeɪləbəl ˈmɑnəˌlɪθs ənd. ɪt ɔl kəmz daʊn tɪ haʊ wɛl ju əˈplaɪ ˌəndərˈlaɪɪŋ ˈprɪnsəpəlz. ɛz ˈprɑdəkts wən əv ðə moʊst ˈsætɪsˌfaɪɪŋ ˈprɑʤɛkts wərkt ɔn əˈproʊʧt ɛz ˈprɑdəkts. ɑr klaɪənts wər ɪkˈstrimli smɑrt, ˈpipəl, ənd ðeɪ wər ˈklɪrli ˈlɛvərɪʤɪŋ ɛz ə ˈbɪznɪs tul. ðeɪ ˈmɑdəld iʧ ˈsərvɪs ɛz ə ˈprɑdəkt, ðɛn riˈlist ˈməltəpəl ˈprɑdəkts tɪ ˈdɪfərənt ˈkəstəmərz. ðeɪ laɪnd əp ðə ˈprɑdəkt rɪˈlisɪz ɪn ə weɪ ðət iʧ kʊd ˈlɛvərɪʤ. ɪn tərn, ðeɪ kriˈeɪtɪd ə ˈbrɪljənt ˈikoʊˌsɪstəm. ɪt meɪd ðɛm ə ˈmɑrkɪt ˈlidər ɪn ðɛr ˈvərtɪkəl. ðə ˈævərɪʤ ˈɛnərˌpraɪz təˈdeɪ ˈjuzɪz æt list ə ˈdəzən ˈsɔfˌwɛr ˈprɑdəkts ənd ˌɪnəˈgreɪʃənz. ðə ˈævərɪʤ klaʊd kənˈsumər ˈjuzɪz ˈməltəpəl klaʊd ˈprɑdəkts. aɪ naʊ si ˈivɪn nɑnˈtɛknɪkəl ˈpipəl juz ənd. fər ɪgˈzæmpəl, wən tul fər ˈɪntərvˌjuɪŋ, wən fər veɪˈkeɪʃən ˈtrækɪŋ, wən fər payslips*, ˌɛtˈsɛtərə. ˈpipəl ər ɛmˈbreɪsɪŋ sˈmɔlər, mɔr ˈspɛʃəˌlaɪzd tulz ðət gɪt ðə ʤɑb dən ˈprɑpərli. 5 wi ər ˈstrɔŋli ənd ˈfərmli ˈɪntu ðə, ənd ˈɪrə. ˈbɛtər lərn tɪ du ɪt wɛl. ðɛr ɪz ðɪs ˈkɑnstənt fɪr əv məˈʃin ˈlərnɪŋ ˈstilɪŋ ˈproʊˌgræmɪŋ ʤɑbz. moʊst ˈproʊˌgræmɪŋ ʤɑbz ər bɪˈkəmɪŋ təˈdeɪ. dɪˈstrɪbjətəd trænˈzækʃənz wən əv ðə moʊst ˈkɑmən ˈɑrgjəmənts əˈgɛnst ˈjuzɪŋ ɪz ðə rɪsks əˈsoʊʃiˌeɪtəd wɪθ dɪˈstrɪbjətəd trænˈzækʃənz. ər ju ˈkɔlɪŋ ən ɪkˈstərnəl ˈpeɪmənt ˈgeɪtˌweɪ ˈsɪstəm ðət dɪˈdəkts ˈməni, bət kʊd feɪl ɔn jʊr callback*? du ju hæv ˈməltəpəl ˈmɛkəˌnɪzəmz (laɪk iˈmeɪl ər oauth*)? ər ju ˈkɔlɪŋ ˈprɑdəkts ðət hæv ə ˈroʊlˌbæk ˈɔpʃən? ər ju ˈlɛvərɪʤɪŋ klaʊd ənd ˈstɔrɪʤ ˈbəkəts wɪʧ rɪˈspɛkt jʊr trænˈzækʃən ˈbaʊndəri? du ju hæv ˈwərkˌfloʊz ˈspænɪŋ ˈməltəpəl rɪkˈwɛst tɪ ðə seɪm ˈsərvɪs? ðɛn ju ɔˈrɛdi hæv dɪˈstrɪbjətəd trænˈzækʃənz ɪn wən weɪ ər əˈnəðər, ˈwɛðər ju laɪk ɪt ər nɑt. ðə hoʊl aɪˈdiə ðət wən ˈsɪstəm ənd wən rɪkˈwɛst kən ˌrɛprɪˈzɛnt ər kənˈtroʊl ðə ɪnˈtaɪər steɪt əv ðə ˈbɪznɪs ˈprɑbləm ɪz ə ˈfænəsi. ɪf ju kən ˈmɑdəl jʊr ɪkˈstərnəl ˌɪnəˈgreɪʃənz wɪˈθaʊt dɪˈstrɪbjətəd lɑks ənd trænˈzækʃənz, ðɛn ju kən ˈmɑdəl jʊr ˌɪnˈtərnəl wənz tu. 6 dɪˈstrɪbjətəd lɑks ənd trænˈzækʃənz fri wɪθ ˈmɑnəˌlɪθs, ˈiðər. ˈtulɪŋ ˈvərsəz ˈpipəl jɛs, mɔr ˈsərvɪsɪz minz mɔr ˈtulɪŋ. ðɪs ˌɪnˈvɑlvz kənˈtɪnjuəs ˌɪnəˈgreɪʃən ənd kənˈtɪnjuəs dɪˈplɔɪmənt (ci/cd*), ˌɪnfrəˈstrəkʧər ɔtəˈmeɪʃən, dɪˈvɛləpər ˈtulɪŋ, ðə əˈbɪləˌti tɪ dɪˈzaɪn gʊd, ˈkɑnˌtrækt ˈʃɛrɪŋ, ˌdɑkjəmɛnˈteɪʃən, klaɪənt ˌɪnˈtɛləʤəns ənd ˈlaɪbrɛˌriz, ˈprɑsɛsəz, ˈtɛstɪŋ, ənd ə lɔt əv ˈəðər tulz. ju məst bi æt list ðɪs tɔl tɪ raɪd. ɪf ən ˌɔrgənəˈzeɪʃən dɪz nɑt hæv ðə ˈɛnʤəˈnɪrɪŋ roʊˈbəstnəs ənd məˈʧʊrəti tɪ ˈɛfərtləsli rən ə ˈhændˌfʊl əv ˈsərvɪsɪz 12factor*, ci*, ˈsiˈdi, ˌɪnəˈgreɪʃən, ˈtɛstɪŋ, ˌɛtˈsɛtərə), ɪt wɪl bi ə dɪˈzæstər tɪ swɪʧ tɪ ˈmɛni əv ðɛm. lɑts əv ˈpipəl ˈkəmɪŋ frəm ə ˈmɑnəˌlɪθ ˈmaɪndˌsɛt du bɪg dɪˈzaɪn əp frənt. ər bɛst wɪn ðeɪ ər in-your-face*. ʤɪst θroʊ əˈweɪ ɔl ðə ˈbɔɪlərˌpleɪt, ˈɪmpləmənt ðə ɪn ə weɪ ənd ˌɪnˈstɛd ˌɪnˈvɛst taɪm ɪn gʊd kˈwɑləti tɛsts. laɪk wɪθ ˈtulɪŋ ˈvərsəz ˈpipəl ˌrikˈwaɪər ə ʧeɪnʤ ɪn ˈmaɪndˌsɛt, ənd ə greɪt dil əv unlearning*. ðə gʊd nuz ɪz ðət ˈmɛni əv ðiz ˈtulɪŋ ˈprɑbləmz hæv gʊd ˈɛnʤəˈnɪrɪŋ səˈluʃənz. ˈdɑkər, kubernetes*, rɛst, sˈwægər, falcor*, grpc*, ˈpaɪˌplaɪn tulz, paas*, klaʊd, ənd soʊ ɔn. ðə ˈikoʊˌsɪstəm əraʊnd həz ɔˈrɛdi məˈtjʊrd kwaɪt ə bɪt, ənd ɪts ˌɪmˈpruvɪŋ ɔl ðə taɪm. ðə bæd nuz ɪz ðət bi ˈlərnɪd laɪk ə ˈfreɪmˌwərk ər tul. ðeɪ ˌrikˈwaɪər ə hoʊˈlɪstɪk əˈproʊʧ ðət kəmz wɪθ ɪkˈspɪriəns. ju nid gʊd ˈpipəl hu ər nɑt ˈoʊnli gʊd coders*, bət ˈɔlsoʊ ˈɛnʤəˈnɪrz wɪθ ə strɔŋ faʊnˈdeɪʃən ɪn ðə hoʊl ˈsɔfˌwɛr dɪˈvɛləpmənt lifecycle*, frəm dɪˈvɛləpmənt tɪ ˈtɛstɪŋ tɪ dɪˈplɔɪmənt. ðɛr ər bɪg ˈɛnərˌpraɪzɪz ðət teɪk mənθs fər ˈɛvəri ˈsɪŋgəl ˌɪnəˈgreɪʃən. ənd ðɛn ðɛr ər ˈmɑdərn ˈkəmpəˌniz laɪk ˈgugəl, ˈfeɪsˌbʊk, ənd ðət rən ˈθaʊzənz əv ˈɪnəˌgreɪtɪd ˈsərvɪsɪz æt ə fɑr ˈgreɪtər kˈwɑləti ənd spid. ðə ˈdɪfərəns ʤɪst ðə tulz ðə ˈpipəl ˌɪnˈvɑlvd ənd ðɛr ˈɛnʤəˈnɪrɪŋ əˈproʊʧ. 7 ər ə ˌkəlməˈneɪʃən əv ˈməltəpəl ˈɛnʤəˈnɪrɪŋ ˈpræktɪsɪz. ðeɪ hæv ə stip kərv əv ˈlərnɪŋ, unlearning*, ənd ˌtrænsfərˈmeɪʃən. kənˈkluʒən ðə əˈproʊʧ ɪz ʤɪst əˈnəðər tul ɪn ðə toolkit*. ənd ə tul ɪz ʤɪst ə tul. ɪt kən ɛnd əp biɪŋ ə ˈpaʊərfəl ˈbɪznɪs ˈæˌsɛt, ər ən ˌənprəˈdəktɪv dɪˈvɛləpər ˈbɑtəlˌnɛk. ˈwɛðər raɪt ər rɔŋ ɔl kəmz daʊn tɪ haʊ wi juz ðɪs tul. |
i’ve consulted on a dozen microservice projects. some were awesome (this is the future!) and some were equally frustrating (who invented this crap?)
it’s the execution that matters, not the approach. you can succeed or fail with either. don’t just accept the love/hate propaganda out there.
here are some experiences i’ve had that show how both monoliths and microservices have their place.
picking the right tool for the right job
my team built a news reader app. it had to scrape articles, extract content, classify, serve an api, show admin panel, and manage users.
scrapy (python 2 at that time) is the leader when it comes to web scraping. so we created one microservice that scraped urls. (here’s a bit more on my 15mb docker image with tor, privoxy and a process manager if you’re curious.)
newspaper (python 3) is one of the best open source article extraction libraries. so we created one microservice that, given an input url, returns the extracted content.
r has some good libraries for categorization. a colleague with good knowledge of r put together a service for categorizing articles using r’s rest api.
activeadmin is one of the best and easiest admin panel interfaces. for a long time, we have been leveraging it for admin screens, and we hooked it up in a few days here as well.
finally for the api gateway, we used node.js with passportjs (for multiple auth) and elasticsearch.
before this big re-write, our old app was a rails monolith. it tried to reinvent everything mentioned before. you can imagine the trade-offs in code, effort, and time for quality, progress, and output.
bad monoliths try to reinvent the world. they think that code and design patterns are the solution to everything. they strive to build reusable components, libraries, and also become a platform along the way. but they usually don’t end up succeeding at any of these goals.
takeaway #1: microservices are a business solution, not just a technology solution. they save developers from having to waste time reinventing already solved technical problems.
i don’t care if you call them “services”, “service-oriented architecture”, or “microservices.” once we get past buzzwords, “monolith vs microservices” boils down to “1 service vs n services.”
for our application, “n services” turned out to be the stack we wanted.
monster crud apps
some enterprise projects can simply be categorized as monster crud (create-read-update-delete) apps. they’re a never ending stream of forms, data relationships, transformations, and hugely complicated “business logic.” the scope is huge, but the audience is tiny.
nobody here cares about user experience best practices, and its common to have quick and ugly screens that get the job done.
we had one such enterprise transformation project. the old monolith was a database-view-based integration. it was pretty well designed, and only took a few people to maintain, including the ugly user interfaces.
the new backend services were mostly written in java, so it was difficult to develop, integrate, share, and maintain compatibility. and new front-end services got pulled into the ever-changing world of single-page apps.
deployment required a huge infrastructure automation setup. this was a few years ago, before the developer tooling ecosystem had matured. at the time, every contract change needed to be coordinated and updated by hand. it was the opposite of the previous scenario the effort/output/overhead of microservices felt much bigger than that of the old monolith.
takeaway #2: be careful. treating microservices as splitting code layers into docker-ized boxes can lead to “death by a thousand cuts.”
taming a huge dependency tree
we had another legacy enterprise application transformation which did a lot of things like product scraping and parallel aggregation. it was a complicated, already troubled monolith.
when we’re doing a lot of orthogonal business features inside a single app, it causes a huge compile-time dependency tree, with tons of libraries and frameworks. consequently, the runtime footprint, lifecycle, and build times were also long. this contributed to the real problem: developers couldn’t iterate quickly, and time-to-market of features suffered as a result.
time taken to code a simple feature: several days.
time to upgrade a library (guice) version: 1 week.
time taken to upgrade a framework (spring) version: forever.
trivial stuff had the chance to rip apart every time estimate. even a small refactor took long. it turns out that death by a thousand cuts is possible with monoliths as well.
we divided the project into some functional boundaries. we actively made sure to not share libraries and to avoid the dependency tree bottleneck.
for example, we used a modern client library for publishing messages over pubsub for the microservices. but the monolith’s big dependency tree did not allow us to use the same library. so we used a different http-based pubsub client.
microservices transitionists often make the classic mistake of sharing too many libraries and thereby re-create the same compile-time dependency trees (a “distributed monolith”).
but by avoiding sharing functionality, we could use different libraries to accomplish the same tasks without having to upgrade the world.
one of the services required a lot of concurrency (~1k lookups for every request). it initially leveraged rxjava. but it could be rewritten any day in golang with the same api contract, and nobody would care about the dependency tree.
takeaway #3: with microservices, you won’t hear the term “big rewrite” or “legacy system” ever again because there are no big systems.
the scalability myth
my team developed a code evaluation app. it was 90% crud, user interface, and reports, and 10% complex code evaluation for a dozen languages.
before we came in, it was a series of microservices one for each type of language, listening for different message queues. it had a separate front-end-as-a-service, admin-panel-as-a-service, and so on. their original reasoning? scalability.
we killed the whole thing and built a better monolith. it was completely done as a single rails app user interface, admin, back end, and candidate interface.
the code evaluation part ran as a background job (activejob). we shelled this out across simple, stateless, one-off docker containers. the core contract for evaluating code changed from rest/json into file/stdin/stdout. it scaled much better than the old system, because we just needed to ramp up the background workers to handle more code evaluations.
what looked like a sophisticated application from the outside supporting 8 major programming languages with intelligent evaluation was extremely simple on the inside.
takeaway #4: you don’t need microservices to run multiple instances of a service or worker. good monoliths can also scale for some classes of problems.
it is quite possible to create scalable monoliths and unscalable microservices. it all comes down to how well you apply each’s underlying principles.
microservices as products
one of the most satisfying microservices projects i’ve worked on approached microservices as products. our clients were extremely smart, techno-functional people, and they were clearly leveraging microservices as a business tool.
they modeled each service as a product, then released multiple products to different customers. they lined up the product releases in a way that each could leverage another’s apis. in turn, they created a brilliant ecosystem. it made them a market leader in their vertical.
the average enterprise today uses at least a dozen software products and integrations. the average cloud consumer uses multiple cloud products. i now see even non-technical people use micro-products and micro-apps. for example, one tool for interviewing, one for vacation tracking, one for payslips, etc. people are embracing smaller, more specialized tools that get the job done properly.
takeaway #5: we are strongly and firmly into the micro-products, micro-apps and micro-services era. better learn to do it well.
there is this constant fear of machine learning stealing programming jobs. most programming jobs are becoming apis today.
distributed transactions
one of the most common arguments against using microservices is the risks associated with distributed transactions.
are you calling an external payment gateway system that deducts money, but could fail on your callback? do you have multiple sign-on mechanisms (like email or oauth)? are you calling third-party saas products that don’t have a rollback option? are you leveraging cloud apis and storage buckets which don’t respect your transaction boundary? do you have workflows spanning multiple request lifecycles to the same service?
then you already have distributed transactions in one way or another, whether you like it or not.
the whole idea that one system and one request can represent or control the entire transactional state of the business problem is a fantasy. if you can model your external integrations without distributed locks and transactions, then you can model your internal ones too.
takeaway #6: distributed locks and transactions aren’t free with monoliths, either.
tooling vs people
yes, more services means more tooling. this involves continuous integration and continuous deployment (ci/cd), infrastructure automation, developer tooling, the ability to design good apis, contract sharing, documentation, client intelligence and libraries, processes, testing, and a lot of other tools.
you must be at least this tall to ride microservices.
if an organization does not have the engineering robustness and maturity to effortlessly run a handful of services (12factor, ci, cd, integration, testing, etc), it will be a disaster to switch to many of them.
lots of people coming from a monolith mindset do big design up front. microservices are best when they are in-your-face. just throw away all the boilerplate, implement the api in a no-nonsense way and instead invest time in good quality unit/contract tests. like with tooling vs people microservices require a change in mindset, and a great deal of unlearning.
the good news is that many of these tooling problems have good engineering solutions. docker, kubernetes, rest, swagger, falcor, grpc, ci/cd pipeline tools, paas, cloud, and so on. the ecosystem around microservices has already matured quite a bit, and its improving all the time.
the bad news is that microservices can’t be learned like a framework or tool. they require a holistic approach that comes with experience. you need good people who are not only brute-force good coders, but also well-rounded engineers with a strong foundation in the whole software development lifecycle, from development to testing to deployment.
there are big enterprises that take months for every single integration. and then there are modern companies like google, facebook, and netflix that run thousands of integrated services at a far greater quality and speed. the difference isn’t just the tools it’s the people involved and their engineering approach.
takeaway #7: microservices are a culmination of multiple engineering practices. they have a steep curve of learning, unlearning, and transformation.
conclusion
the microservices approach is just another tool in the solutionist’s toolkit. and a tool is just a tool. it can end up being a powerful business asset, or an unproductive developer bottleneck. whether we’re right or wrong all comes down to how we use this tool. | əˈbɔrʃən ɪz ə ˈhɑtli dəˈbeɪtɪd ənd ˈpurli ˈstədid ˈmɛdɪkəl prəˈsiʤər. ðɛr ər ə fju ˈstədiz əv ˈdubiəs vəˈlɪdɪti ðət kəˈnɛkt əˈbɔrʃən tɪ ˈmɛntəl ˈɪlnəs ənd drəg juz. ˌpɑləˈtɪʃənz hæv juzd ðiz ˈstədiz tɪ ˈʤəstəˌfaɪ ˈgreɪtər ˌlɪmɪˈteɪʃənz ɔn ˈwɪmən ˈsikɪŋ əˈbɔrʃən ɪn ðə juˈnaɪtɪd steɪts. ˌædvərˈtaɪzmənt ðɛr həz bɪn noʊ səˈsteɪnd ˈɛfərt tɪ ˈstədi wət ˈhæpənz tɪ ˈwɪmən hu wɔnt əˈbɔrʃənz bət kænt gɪt ðɛm du tɪ riˈstrɪktɪv rulz. ənˈtɪl naʊ. ðiz ˈwɪmən ər kɔld. ə nu ˌlɑnʤəˈtudənəl ˈstədi rɪˈvilz wət ˈhæpənz tɪ ðɛr ˌɛkəˈnɑmɪk pəˈzɪʃən, hɛlθ, ənd riˈleɪʃənˌʃɪp ˈstætəs ˈæftər ˈsikɪŋ ən əˈbɔrʃən ənd biɪŋ dɪˈnaɪd ɪt. ˌeɪˈpi ˈfoʊˌtoʊ baɪ ˈpitər ˈmɔrɪsən ˈpəblɪk hɛlθ ˈrisərʧərz wɪθ ðə sæn frænˈsɪskoʊ grup ədˈvænsɪŋ nu ˈstændərdz ɪn ˌriprəˈdəktɪv hɛlθ (ansirh*) juzd ˈdætə frəm 956 ˈwɪmən hu sɔt əˈbɔrʃənz æt 30 ˈdɪfərənt əˈbɔrʃən ˈklɪnɪks əraʊnd ðə juz. 182 əv ðɛm wər tərnd əˈweɪ. ðə ˈrisərʧərz, lɛd baɪ daɪˈænə grin ˈfɑstər, ˈfɑloʊd ənd dɪd ˌɪnˈtɛnsɪv ˈɪntərvˌjuz wɪθ ðiz ˈwɪmən, hu ræn ðə ˈgæmət əv əˈbɔrʃən ɪkˈspɪriənsɪz. səm əbˈteɪnd əˈbɔrʃənz ˈizəli, fər səm ɪt wɑz ə ˈstrəgəl tɪ gɪt ðɛm, ənd səm wər dɪˈnaɪd əˈbɔrʃənz bɪˈkəz ðɛr ˈprɛgnənsiz hæd ˈlæstɪd ə fju deɪz bɪɔnd ðə ˈlɪmɪts əv ðɛr ˈloʊkəl ˈklɪnɪks. tu wiks əˈgoʊ, ðə ˈrisərʧ grup pərˈzɛnəd wət ðeɪd ˈlərnɪd ˈæftər tu jɪrz əv ðə plænd ˈfaɪvˌjɪr, ˌlɑnʤəˈtudənəl ˈstədi" æt ðə ˈrisənt əˈmɛrɪkən ˈpəblɪk hɛlθ əˌsoʊʃiˈeɪʃən ˈkɑnfərəns ɪn sæn frænˈsɪskoʊ. ˌædvərˈtaɪzmənt hɪrz ðə ʃɔrt ˈvərʒən əv wət ðeɪ dɪˈskəvərd, frəm ə poʊst ðeɪ meɪd ɔn ðə ˈgloʊbəl ˈstədi ˈfeɪsˌbʊk peɪʤ: wi hæv faʊnd ðət ðɛr ər noʊ ˈmɛntəl hɛlθ ˈkɑnsəkˌwɛnsəz əv əˈbɔrʃən kəmˈpɛrd tɪ ˈkɛriɪŋ ən ənˈwɔntɪd ˈprɛgnənsi tɪ tərm. ðɛr ər ˈəðər ˈɪntəˌrɛstɪŋ ˈfaɪndɪŋz: ˈivɪn ˈleɪtər əˈbɔrʃən ɪz ˈseɪfər ðən ˈʧaɪldˌbərθ ənd ˈwɪmən hu ˈkɛrid ən ənˈwɔntɪd ˈprɛgnənsi tɪ tərm ər θri taɪmz mɔr ˈlaɪkli ðən ˈwɪmən hu rɪˈsiv ən əˈbɔrʃən tɪ bi bɪˈloʊ ðə ˈpɑvərti ˈlɛvəl tu jɪrz ˈleɪtər. bɪˈloʊ, ju kən faɪnd ðə ˈlɔŋgər, mɔr ˈkɑmplɛks ˈvərʒən əv ðə ˈstɔri. aɪ spoʊk wɪθ ˈfɑstər əˈbaʊt ðə grups' prɪˈlɪməˌnɛri ˈfaɪndɪŋz. ˌædvərˈtaɪzmənt ˈpɑvərti ðə ˈwɪmən ɪn ðə ˈstədi wər ɪn ˈkɑmprəbəl ˌɛkəˈnɑmɪk pəˈzɪʃənz æt ðə taɪm ðeɪ sɔt əˈbɔrʃənz. 45 wər ɔn ˈpəblɪk əˈsɪstəns ənd ˌtuˈθərdz hæd ˈhaʊsˌhoʊld ˈɪnˌkəmz bɪˈloʊ ðə ˈfɛdərəl ˈpɑvərti ˈlɛvəl. wən əv ðə meɪn ˈrizənz ˈwɪmən saɪt fər ˈwɑnɪŋ tɪ əˈbɔrt ɪz ˈməni, ənd beɪst ɔn ðə ˈaʊtˌkəmz fər ðə, ɪt simz ðeɪ ər raɪt. moʊst əv ðə ˈwɪmən hu wər dɪˈnaɪd ən əˈbɔrʃən, 86 wər ˈlɪvɪŋ wɪθ ðɛr ˈbeɪbiz ə jɪr ˈleɪtər. ˈoʊnli 11 hæd pʊt ðɛm əp fər əˈdɑpʃən. ˈɔlsoʊ ə jɪr ˈleɪtər, ðeɪ wər fɑr mɔr ˈlaɪkli tɪ bi ɔn ˈpəblɪk əˈsɪstəns 76 əv ðə wər ɔn ðə doʊl, ɛz əˈpoʊzd tɪ 44 əv ðoʊz hu gɑt əˈbɔrʃənz. 67 pərˈsɛnt əv ðə wər bɪˈloʊ ðə ˈpɑvərti laɪn (ˈvərsəz. 56 əv ðə ˈwɪmən hu gɑt əˈbɔrʃənz), ənd ˈoʊnli 48 hæd ə fʊl taɪm ʤɑb (ˈvərsəz. 58 əv ðə ˈwɪmən hu gɑt əˈbɔrʃənz). ˌædvərˈtaɪzmənt wɪn ə ˈwʊmən ɪz dɪˈnaɪd ðə əˈbɔrʃən ʃi wɔnts, ʃi ɪz stəˈtɪstɪkəli mɔr ˈlaɪkli tɪ wɪnd əp ˌənɛmˈplɔɪd, ɔn ˈpəblɪk əˈsɪstəns, ənd bɪˈloʊ ðə ˈpɑvərti laɪn. əˈnəðər kənˈkluʒən wi kʊd drɔ ɪz ðət dɪˈnaɪɪŋ ˈwɪmən əˈbɔrʃənz ˈpleɪsɪz mɔr ˈbərdən ɔn ðə steɪt bɪˈkəz əv ðiz nu ˈməðərz' ˌɪnˈkrist rɪˈlaɪəns ɔn ˈpəblɪk əˈsɪstəns ˈproʊˌgræmz. ˈvaɪələns ənd drəg juz ɪn ðə ˈstədi, ðə ˈrisərʧərz kʊd faɪnd noʊ stəˈtɪstɪkəli sɪgˈnɪfɪkənt ˈdɪfərənsɪz ɪn drəg juz bɪtˈwin ˈwɪmən hu gɪt əˈbɔrʃənz ənd ˈwɪmən hu doʊnt. ðɛr əˈpɪrz tɪ bi noʊ ˌkɔrəˈleɪʃən bɪtˈwin əˈbɔrʃən ənd ˌɪnˈkrist drəg juz. wən ˈɪntəˌrɛstɪŋ bɪt əv ˈdætə ðeɪ dɪd faɪnd wɑz ðət drəg ˈjuzərz hu ˈkʊdənt gɪt əˈbɔrʃənz wər mɔr ˈlaɪkli tɪ gɪv ðɛr ˈbeɪbiz əp fər əˈdɑpʃən. ˌædvərˈtaɪzmənt ənˈfɔrʧənətli, wɪn ɪt kəmz tɪ dəˈmɛstɪk ˈvaɪələns, biɪŋ dɪˈnaɪd ən əˈbɔrʃən meɪks ə ˈrɪli bɪg ˈdɪfərəns. wər mɔr ˈlaɪkli tɪ steɪ ɪn ə riˈleɪʃənˌʃɪp wɪθ ən əˈbjusɪv ˈpɑrtnər ðən ˈwɪmən hu gɑt əˈbɔrʃənz. ə jɪr ˈæftər biɪŋ dɪˈnaɪd ən əˈbɔrʃən, 7 ˌriˈpɔrtəd ən ˈɪnsədənt əv dəˈmɛstɪk ˈvaɪələns ɪn ðə læst sɪks mənθs. 3 əv ˈwɪmən hu rɪˈsivd əˈbɔrʃənz ˌriˈpɔrtəd dəˈmɛstɪk ˈvaɪələns ɪn ðə seɪm taɪm ˈpɪriəd. ˈfɑstər ˈɛmfəˌsaɪzd ðət ðɪs ˈwəzənt bɪˈkəz ðə wər mɔr ˈlaɪkli tɪ gɪt ˈɪntu əˈbjusɪv riˈleɪʃənˌʃɪps. ɪt wɑz ˈsɪmpli ðət ˈgɪtɪŋ əˈbɔrʃənz əˈlaʊd ˈwɪmən tɪ gɪt aʊt əv səʧ riˈleɪʃənˌʃɪps mɔr ˈizəli. soʊ ɪts ˈlaɪkli ðət ðiz ˈnəmbərz ˈæˌkʧuəli rɪˈflɛkt ə ˈdrɑˌpɔf ɪn dəˈmɛstɪk ˈvaɪələns fər ˈwɪmən hu gɪt əˈbɔrʃənz, ˈrəðər ðən ə raɪz əˈməŋ. ðɪs ˈpætərn əv ˈvaɪələns ɪz ˈɔlsoʊ pɑrt əv ə ˈlɑrʤər ˈpætərn ðət ʃoʊz ər mɔr ˈlaɪkli tɪ rɪˈmeɪn kəˈnɛktɪd tɪ ðə ˈfɑðərz əv ðɛr ˈʧɪldrən. ˈɑbviəsli, ðɪs ˈɪzənt ˈɔlˌweɪz ə gʊd θɪŋ, ɛz ðə ˈvaɪələns stəˈtɪstɪks rɪˈvil. bət ˈivɪn ɪn ðə væst məˈʤɔrəti əv ˈkeɪsɪz wɛr ˈvaɪələns ˈɪzənt ˌɪnˈvɑlvd, ˈfɑstər ˈnoʊtɪd ðət ðiz mɛn ˈɑrənt ˈlɪvɪŋ wɪθ ðə. ðə ˈrisərʧərz æst ˈwɪmən əˈbaʊt koʊˈhæbɪtɪŋ wɪθ ˈpɑrtnərz, ənd faʊnd ðət mɛn wər noʊ mɔr ˈlaɪkli tɪ lɪv wɪθ ə hud bɔrn ðɛr ˈʧɪldrən ðən ðeɪ wər tɪ lɪv wɪθ ə ˈwʊmən hu hæd ən əˈbɔrʃən. "ðə mæn ˈdəzənt stɪk əraʊnd ʤɪst bɪˈkəz ju hæv ðə ˈbeɪbi ðæts ðə krud weɪ əv ˈpʊtɪŋ ɪt," ˈfɑstər sɛd. ˈɪˌmoʊʃənz wən əv ðə ˈbɪgəst kənˈsərnz əˈbaʊt əˈbɔrʃən ɪz ðət ɪt ˈkɔzɪz ˈiˌmoʊʃənəl ˈprɑbləmz ðət lɛd tɪ ˈklɪnɪkəl dɪˈprɛʃən. ðə ˈstədi lʊkt æt ðət kˈwɛʃən frəm tu ˈæŋgəlz: haʊ dɪd ənd ˈwɪmən hu gɑt əˈbɔrʃənz fil; ənd dɪd ðeɪ bɪˈkəm ˈklɪnɪkəli dɪˈprɛst. "ɪts ˌɪmˈpɔrtənt tɪ rɪˈmɛmbər ðət haʊ ju fil ɪz ə ˈsɛpərˌeɪt kˈwɛʃən frəm ˈwɛðər ju hæv ə ˈmɛntəl hɛlθ ˈprɑbləm," ˈfɑstər sɛd. wɪl lʊk æt ˈwɪmənz ˈɪˌmoʊʃənz hir, ənd dɪˈskəs ˈmɛntəl hɛlθ ɪn ðə nɛkst ˈsɛkʃən. ˌædvərˈtaɪzmənt ɛz ðə ˈrisərʧərz sɛd æt ðə əˈmɛrɪkən ˈpəblɪk hɛlθ əˌsoʊʃiˈeɪʃən ˈmitɪŋ, "wən wik ˈæftər ˈsikɪŋ əˈbɔrʃən, 97 əv ˈwɪmən hu əbˈteɪnd ən əˈbɔrʃən fɛlt ðət əˈbɔrʃən wɑz ðə raɪt dɪˈsɪʒən; 65 əv stɪl wɪʃt ðeɪ hæd bɪn ˈeɪbəl tɪ əbˈteɪn ən əˈbɔrʃən." ˈɔlsoʊ wən wik ˈæftər biɪŋ dɪˈnaɪd ən əˈbɔrʃən, toʊld ðə ˈrisərʧərz ðət ðeɪ hæd mɔr ˈfilɪŋz əv æŋˈzaɪəti ðən ðə ˈwɪmən hu hæd əˈbɔrʃənz. ˈwɪmən hu hæd əˈbɔrʃənz ˌoʊvərˈwɛlmɪŋ ˌriˈpɔrtəd ˈfilɪŋ rɪˈlivd 90 ðoʊ ˈmɛni ˈɔlsoʊ fɛlt sæd ənd ˈgɪlti ˈæftərwərdz. ɔl əv ðiz ˈfilɪŋz ˈfeɪdɪd ˈnæʧərəli ˈoʊvər taɪm ɪn boʊθ grups, ˌhaʊˈɛvər. ə jɪr ˈleɪtər, ðɛr wər noʊ ˈdɪfərənsɪz ɪn æŋˈzaɪəti ər dɪˈprɛʃən bɪtˈwin ðə tu grups. ɪn ˈəðər wərdz, ðə ˈstədi faʊnd noʊ ˌɪndəˈkeɪʃən ðət ðɛr wər ˈlæstɪŋ, ˈhɑrmfəl ˈnɛgətɪv ˈɪˌmoʊʃənz əˈsoʊʃiˌeɪtəd wɪθ ˈgɪtɪŋ ən əˈbɔrʃən. ðə ˈoʊnli ˈiˌmoʊʃənəl ˈdɪfərəns bɪtˈwin ðə tu grups æt wən jɪr wɑz ðət ðə wər mɔr strɛst. ðeɪ wər mɔr ˈlaɪkli tɪ seɪ ðət ðeɪ fɛlt laɪk ðeɪ hæd mɔr tɪ du ðən ðeɪ kʊd gɪt dən. nən əv ðɪs trænzˈleɪtəd ˈɪntu ˈklɪnɪkəl dɪˈprɛʃən. "əˈbɔrʃən ənd dɪˈprɛʃən doʊnt sim dɪˈrɛkli lɪŋkt," ˈfɑstər sɛd. "wɪl kənˈtɪnju tɪ ˈfɑloʊ ðiz ˈwɪmən fər faɪv jɪrz, ðoʊ. soʊ wi maɪt faɪnd ˈsəmθɪŋ ɛls daʊn ðə laɪn." ˌædvərˈtaɪzmənt ˈfɪzɪkəl ənd ˈmɛntəl hɛlθ ðə ˈstədi faʊnd noʊ ˌɪndəˈkeɪʃən ðət əˈbɔrʃən kʊd bi lɪŋkt wɪθ ˌɪnˈkrist ˈmɛntəl hɛlθ dɪˈsɔrdərz. ðɛr wər noʊ stəˈtɪstɪkəl ˈdɪfərənsɪz bɪtˈwin ənd ˈwɪmən hu hæd əˈbɔrʃənz wɪn ɪt keɪm tɪ dɪˈvɛləpɪŋ ˈklɪnɪkəl dɪˈprɛʃən. bət dɪd feɪs ə ˈgreɪtər hɛlθ rɪsk frəm ˈgɪvɪŋ bərθ. ˈivɪn leɪt steɪʤ əˈbɔrʃənz ər ˈseɪfər ðən ˈgɪvɪŋ bərθ. ðə ˈrisərʧərz sɛd æt ðə ˈmitɪŋ: wi faɪnd ˈfɪzɪkəl hɛlθ ˌkɑmpləˈkeɪʃənz ər mɔr ˈkɑmən ənd səˈvɪr ˈfɑloʊɪŋ bərθ 38 ɪkˈspɪriəns ˈlɪmɪtɪd ækˈtɪvɪti, ˈævərɪʤ 10 deɪz) kəmˈpɛrd tɪ əˈbɔrʃən 24 ˈlɪmɪtɪd ækˈtɪvɪti, ˈævərɪʤ deɪz). ðɛr wər noʊ səˈvɪr ˌkɑmpləˈkeɪʃənz ˈæftər əˈbɔrʃən; ˈæftər bərθ ˌkɑmpləˈkeɪʃənz ˌɪnˈkludɪd ˈsiʒər, ˈfrækʧərd ˈpɛlvəs, ˌɪnˈfɛkʃən ənd ˈhɛmərɪʤ. wi faɪnd noʊ ˈdɪfərənsɪz ɪn ˈkrɑnɪk hɛlθ kənˈdɪʃənz æt 1 wik ər wən jɪr ˈæftər ˈsikɪŋ əˈbɔrʃən. ˌædvərˈtaɪzmənt ɪf ju lʊk æt ɔl ðɪs ˈdætə təˈgɛðər, ə nu ˈpɪkʧər ˈimərʤɪz əv əˈbɔrʃən ənd haʊ ðə steɪt maɪt wɔnt tɪ ˈhændəl ɪt. tɪ prɪˈvɛnt ˈwɪmən frəm ˈhævɪŋ tɪ rɪˈlaɪ ɔn ˈpəblɪk əˈsɪstəns, əˈbɔrʃənz ʃʊd bi meɪd mɔr ˈwaɪdli əˈveɪləbəl. ɪn əˈdɪʃən, ðɛr ɪz strɔŋ ˈɛvədəns ðət ˈmeɪkɪŋ əˈbɔrʃənz əˈveɪləbəl wɪl əˈlaʊ ˈwɪmən tɪ bi ˈhɛlθiər, wɪθ ˈbraɪtər ˌɛkəˈnɑmɪk ˈaʊˌtlʊks. baɪ ˈtərnɪŋ ˈwɪmən əˈweɪ wɪn ðeɪ sik əˈbɔrʃənz, wi rɪsk ˈkipɪŋ boʊθ ˈwɪmən ənd ðɛr ˈʧɪldrən ɪn ˈpɑvərti ənd, ˈpɑsəbli, ɪn hɑrmz weɪ frəm dəˈmɛstɪk ˈvaɪələns. lərn mɔr əˈbaʊt ðiz ˈstədiz frəm ðə ˈæbstrækts əv ðə əˈmɛrɪkən ˈpəblɪk hɛlθ əˌsoʊʃiˈeɪʃən ˈpænəlz hir ənd hir. ðə ˈstədi wɑz ˈfəndɪd ɪnˈtaɪərli θru doʊˈneɪʃənz. ɪf ju wʊd laɪk tɪ səˈpɔrt mɔr ˈrisərʧ ˈɪntu ðə lɪvz əv əraʊnd ðə wərld, pliz kənˈsɪdər ˈdoʊˌneɪtɪŋ tɪ ðə ˈgloʊbəl ˈstədi ɔn ˈɪndi ˈgoʊˌgoʊ. |
abortion is a hotly debated and poorly studied medical procedure. there are a few studies of dubious validity that connect abortion to mental illness and drug use. politicians have used these studies to justify greater limitations on women seeking abortion in the united states.
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there has been no sustained effort to study what happens to women who want abortions but can't get them due to restrictive rules. until now. these women are called turnaways. a new longitudinal study reveals what happens to their economic position, health, and relationship status after seeking an abortion and being denied it.
ap photo by peter morrison
public health researchers with the uc san francisco group advancing new standards in reproductive health (ansirh) used data from 956 women who sought abortions at 30 different abortion clinics around the u.s. 182 of them were turned away. the researchers, led by diana greene foster, followed and did intensive interviews with these women, who ran the gamut of abortion experiences. some obtained abortions easily, for some it was a struggle to get them, and some were denied abortions because their pregnancies had lasted a few days beyond the gestational limits of their local clinics. two weeks ago, the research group presented what they'd learned after two years of the planned five-year, longitudinal "turnaway study" at the recent american public health association conference in san francisco.
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here's the short version of what they discovered, from a post they made on the global turnaway study facebook page:
we have found that there are no mental health consequences of abortion compared to carrying an unwanted pregnancy to term. there are other interesting findings: even later abortion is safer than childbirth and women who carried an unwanted pregnancy to term are three times more likely than women who receive an abortion to be below the poverty level two years later.
below, you can find the longer, more complex version of the story. i spoke with foster about the groups' preliminary findings.
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poverty
the women in the turnaway study were in comparable economic positions at the time they sought abortions. 45% were on public assistance and two-thirds had household incomes below the federal poverty level. one of the main reasons women cite for wanting to abort is money, and based on the outcomes for the turnaways, it seems they are right.
most of the women who were denied an abortion, 86%, were living with their babies a year later. only 11% had put them up for adoption. also a year later, they were far more likely to be on public assistance — 76% of the turnaways were on the dole, as opposed to 44% of those who got abortions. 67% percent of the turnaways were below the poverty line (vs. 56% of the women who got abortions), and only 48% had a full time job (vs. 58% of the women who got abortions).
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when a woman is denied the abortion she wants, she is statistically more likely to wind up unemployed, on public assistance, and below the poverty line. another conclusion we could draw is that denying women abortions places more burden on the state because of these new mothers' increased reliance on public assistance programs.
violence and drug use
in the turnaway study, the researchers could find no statistically significant differences in drug use between women who get abortions and women who don't. there appears to be no correlation between abortion and increased drug use. one interesting bit of data they did find was that drug users who couldn't get abortions were more likely to give their babies up for adoption.
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unfortunately, when it comes to domestic violence, being denied an abortion makes a really big difference. turnaways were more likely to stay in a relationship with an abusive partner than women who got abortions. a year after being denied an abortion, 7% reported an incident of domestic violence in the last six months. 3% of women who received abortions reported domestic violence in the same time period. foster emphasized that this wasn't because the turnaways were more likely to get into abusive relationships. it was simply that getting abortions allowed women to get out of such relationships more easily. so it's likely that these numbers actually reflect a dropoff in domestic violence for women who get abortions, rather than a rise among turnaways.
this pattern of violence is also part of a larger pattern that shows turnaways are more likely to remain connected to the fathers of their children. obviously, this isn't always a good thing, as the violence statistics reveal. but even in the vast majority of cases where violence isn't involved, foster noted that these men aren't living with the turnaways. the researchers asked women about cohabiting with partners, and found that men were no more likely to live with a turnaway who'd borne their children than they were to live with a woman who had an abortion. "the man doesn't stick around just because you have the baby — that's the crude way of putting it," foster said.
emotions
one of the biggest concerns about abortion is that it causes emotional problems that lead to clinical depression. the turnaway study looked at that question from two angles: how did turnaways and women who got abortions feel; and did they become clinically depressed. "it's important to remember that how you feel is a separate question from whether you have a mental health problem," foster said. we'll look at women's emotions here, and discuss mental health in the next section.
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as the researchers said at the american public health association meeting, "one week after seeking abortion, 97% of women who obtained an abortion felt that abortion was the right decision; 65% of turnaways still wished they had been able to obtain an abortion." also one week after being denied an abortion, turnaways told the researchers that they had more feelings of anxiety than the women who had abortions. women who had abortions overwhelming reported feeling relieved (90%), though many also felt sad and guilty afterwards. all of these feelings faded naturally over time in both groups, however. a year later, there were no differences in anxiety or depression between the two groups.
in other words, the turnaway study found no indication that there were lasting, harmful negative emotions associated with getting an abortion. the only emotional difference between the two groups at one year was that the turnaways were more stressed. they were more likely to say that they felt like they had more to do than they could get done.
none of this translated into clinical depression. "abortion and depression don't seem directly linked," foster said. "we'll continue to follow these women for five years, though. so we might find something else down the line."
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physical and mental health
the turnaway study found no indication that abortion could be linked with increased mental health disorders. there were no statistical differences between turnaways and women who had abortions when it came to developing clinical depression.
but turnaways did face a greater health risk from giving birth. even late stage abortions are safer than giving birth. the researchers said at the apha meeting:
we find physical health complications are more common and severe following birth (38% experience limited activity, average 10 days) compared to abortion (24% limited activity, average 2.7 days). there were no severe complications after abortion; after birth complications included seizure, fractured pelvis, infection and hemorrhage. we find no differences in chronic health conditions at 1 week or one year after seeking abortion.
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if you look at all this data together, a new picture emerges of abortion and how the state might want to handle it. to prevent women from having to rely on public assistance, abortions should be made more widely available. in addition, there is strong evidence that making abortions available will allow women to be healthier, with brighter economic outlooks. by turning women away when they seek abortions, we risk keeping both women and their children in poverty — and, possibly, in harm's way from domestic violence.
learn more about these studies from the abstracts of the american public health association panels here and here.
the turnaway study was funded entirely through donations. if you would like to support more research into the lives of turnaways around the world, please consider donating to the global turnaway study on indie gogo. | ˌdɛməˈkrætɪk ˌrɛprɪˈzɛnətɪv ˈmɛri lu əv ˈluiˌvɪl, kənˈtəki, faɪld ə bɪl ɔn ˈfɛbruˌɛri 11 ˈsteɪtɪŋ ðət ˈɛni mæn ˈsikɪŋ rɪˈlif fər dɪsˈfəŋkʃən frəm ə ˈmɛdɪkəl hɛlθ prəˈfɛʃənəl nidz tɪ brɪŋ ɪn ə noʊt frəm ðɛr waɪf ðət meɪks ɪt klɪr ðɛr wɪl bi noʊ səˈpraɪz ɪn ðə ˈmærətəl ˈsikrɪt streɪɪŋ ˈɛlsˌwɛr. ðə rɪˈpɔrts ðət rɛpriˈzɛtətɪv. pərˈpɔrtɪd ˌmoʊtəˈveɪʃənz fər ˈspɑnsərɪŋ haʊs bɪl 396 ɪz tɪ prəˈtɛkt ðə ˈpəblɪk frəm pəˈtɛnʃəl hɛlθ ˈhæzərdz: 396 ˈɔlsoʊ ˈspɛsəˌfaɪz ðət ˈoʊnli ˈmɛrid mɛn meɪ əbˈteɪn ðə drəg ənd rikˈwaɪərz mæn tɪ meɪk ə swɔrn ˈsteɪtmənt wɪθ hɪz hænd ɔn ə ˈbaɪbəl ðət hi wɪl ˈoʊnli juz ə prəˈskrɪpʃən fər ə drəg fər dɪsˈfəŋkʃən wɪn ˈhævɪŋ ˈsɛkʃuəl riˈleɪʃənz wɪθ hɪz ˈkɑrənt spouse.”*.” ɪz ˈɔlsoʊ ə nərs, ənd ʃi ˌɪnˈsɪsts ðə bɪl ɪz əˈbaʊt ˈfæməli ˈvæljuz ənd həz ˈnəθɪŋ tɪ du ˈgəvərnər mæt ˈbɛvɪn, ˈpɪkʧərd hir skˈwizɪŋ ə ʧaɪld: ˈəndər gəv. ˈlidərˌʃɪp, kənˈtəki həz sin ə ˈnəmbər əv ˈmɛʒərz ˌɪntrəˈdust ɪn ˈrisənt mənθs. læst wik, ˈsɛnɪt bɪl 4 wɑz pæst ənd saɪnd ˈɪntu lɔ baɪ ˈbɛvɪn. 4 rikˈwaɪərz ˈwɪmən ˈsikɪŋ ən əˈbɔrʃən tɪ gɪt ˈkaʊnsəlɪŋ 24 aʊərz ɪn ədˈvæns əv ə prəˈsiʤər, ɪn ˈpərsən ər ˈviə lɪv ˌtɛləkəmˌjunəˈkeɪʃənz. ˌædvərˈtaɪzmənt ˌoʊˈkeɪ, ju gɑt hər, 396 ɪz ˈdɛfənətli ˌɪnˈtɛndɪd ɛz ə ˈproʊˌtɛst əˈgɛnst ə ˌprɪˈdɑmənənˌtli meɪl ˈʤɛnərəl əˈsɛmbli traɪɪŋ tɪ ˌɪnˈvɑlv ðɛmˈsɛlvz ɪn hɛlθ dɪˈsɪʒənz. rɛpriˈzɛtətɪv. ɪz ˈɔlsoʊ ˈplænɪŋ tɪ faɪl ə bɪl ðət wʊd ˌrikˈwaɪər ˈhoʊpfəl gən baɪərz tɪ spik wɪθ ˈvɪktɪmz əv gən ˈvaɪələns 24 aʊərz ɪn ədˈvæns əv ˈpərʧəs. wɪθ ɔl ðɪs ˈkaʊnsəlɪŋ, ˈɔlˌmoʊst ˌɪmˈpɑsəbəl tɪ gɪt ə ˈboʊnər ðiz deɪz. ˈɪmɪʤɪz ˈviə ənd ˈgɛti. |
democratic representative mary lou marzian of louisville, kentucky, filed a bill on february 11, stating that any man seeking relief for erectile dysfunction from a medical health professional needs to bring in a note from their wife that makes it clear there will be no surprise boners in the marital bedroom—or secret boners straying elsewhere.
the courier-journal reports that rep. marzian’s purported motivations for sponsoring house bill 396 is to protect the public from potential health hazards:
hb 396 also specifies that only married men may obtain the drug and requires “a man to make a sworn statement with his hand on a bible that he will only use a prescription for a drug for erectile dysfunction when having sexual relations with his current spouse.”
marzian is also a nurse, and she insists the bill is about family values and has nothing to do kentucky’s governor matt bevin, pictured here squeezing a child:
under gov. bevin’s leadership, kentucky has seen a number of anti-abortion measures introduced in recent months. last week, senate bill 4 was passed and signed into law by bevin. sb 4 requires women seeking an abortion to get counseling 24 hours in advance of a procedure, in person or via live telecommunications.
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okay, you got her, hb 396 is definitely intended as a protest against a predominantly male general assembly trying to involve themselves in women’s health decisions. rep. marzian is also planning to file a bill that would require hopeful gun buyers to speak with victims of gun violence 24 hours in advance of purchase. with all this counseling, it’s almost impossible to get a boner these days.
images via flickr/tim reckmann and getty. | ˌjʊrəˈpiən ˈdɪʤɪtəl ˈbæŋkɪŋ ˈaʊtˌfɪt ɪz naʊ ˈlɛtɪŋ ɪts ˈkəstəmərz baɪ, hoʊld ənd ɪksˈʧeɪnʤ frəm wɪˈθɪn ɪts æp. blockchaiiiiinnnnn*. wɪr ˈroʊlɪŋ aʊt tɪ mɔr əv ɑr moʊst ˈæktɪv ˈkəstəmərz. swaɪp raɪt frəm jʊr kæʃ kɑrd tɪ si ɪf ju hæv ɪt. #sɑˈtoʊʃi kæʃ æp (@cashapp*) dɪˈsɛmbər 6 2017 ðə fərmz ˈkəstəmərz wɪl bi ˈeɪbəl tɪ gɪt ðɛr hænz ɔn, ənd ɪn ə ˈmætər əv kən ðɛn hoʊld ðɛr wɪˈθɪn ðə rɪˈvoʊlt æp ər ˈtrænsfər ɪt tɪ ˈəðər ˈkəstəmərz fər fri. ɪf ə ˈjuzər həz noʊ faɪæt ˈkərənsi ɪn ðɛr əˈkaʊnt, ðeɪ kən stɪl juz ðɛr kɑrd, wɪθ kənˈvərtɪŋ ˈɛni æt "ðə bɛst ˈpɑsəbəl wət kleɪmz ɪz ə wərld fərst, ˈjuzərz kən ˈɔlsoʊ baɪ ðɛr ɪn ɔl 25 beɪs ˈkərənsiz, ɪˈlɪməˌneɪtɪŋ ðə fiz ˈpipəl kən feɪs wɪn ðeɪ baɪ ɔn moʊst nu ˈsərvɪs kəmz ɛz ər ˈgeɪnɪŋ juʤ ˈmeɪnˌstrim ˈɪntəˌrɛst ˈdrɪvən baɪ ðə moʊˈmɛntəs raɪz əv, wɪʧ hɪt ðə mɑrk æt ðə ɛnd əv læst wik. ɪksˈʧeɪnʤɪz hæv bɪn ˈstreɪnɪŋ ˈəndər ðə weɪt əv ˈvɪzɪtərz, wɪθ saɪt ˈsəfərɪŋ ˈaʊtɪʤɪz ɛz ˈhənərdz əv ˈθaʊzənz əv ˈpipəl saɪnd əp tɪ ʤɔɪn ðə rush.revolut*, wɪʧ læst mənθ hɪt ðə wən ˈmɪljən ˈjuzər ˈmaɪlˌstoʊn, sɪz ðət əv ɪts ˈkəstəmərz saɪnd əp tɪ tɛst ðə ˈbeɪtə ˈvərʒən əv ɪts ˈsərvɪs ɪn ʤɪst sɪks deɪz. ðə ˈkəmpəˌni ɪz ˈkɑnfədənt ðət ɪt wɪl əˈtrækt ˈmɛni mɔr wɪθ ðə fʊl lɔnʧ, ˈprɑməsɪŋ tɪ stɪk tɪ ə ˈmɑrˌkəp ˈdʊrɪŋ ðə ɪksˈʧeɪnʤ ˈprɔˌsɛs wɪθ noʊ ˈhɪdən storonsky*, ˈsiˌiˈoʊ,, sɪz: "dɪˈspaɪt biɪŋ wən əv ðə ˈhɑtəst trɛnz ɪn ðə wərld raɪt naʊ, ˈgɪtɪŋ ɪkˈspoʊʒər tɪ həz noʊˈtɔriəsli bɪn ənd ɪkˈspɛnsɪv. goʊɪŋ tɪ ˈoʊpən əp ɪkˈspoʊʒər tɪ ˈɛvriˌwən, ˈfæstər ðən ˈɛni ˈəðər ˈplætˌfɔrm ɔn ðə ˈɛvədəns əv ˈmuvɪŋ ˈmeɪnˌstrim kəmz frəm skwɛr, wɪʧ ɪz ˈroʊlɪŋ aʊt ðə əˈbɪləˌti tɪ baɪ ənd sɛl ɔn ɪts kæʃ æp. |
european digital banking outfit revolut is now letting its customers buy, hold and exchange cryptocurrency from within its app.
blockchaiiiiinnnnn. we're rolling out bitcoin to more of our most active customers. swipe right from your cash card to see if you have it. #satoshi pic.twitter.com/imxhg1vrag — cash app (@cashapp) december 6, 2017
the firm's customers will be able to get their hands on bitcoin, litecoin and ethereum in a matter of seconds.users can then hold their cryptocurrency within the revolt app or transfer it to other customers for free. if a user has no fiat currency in their account, they can still use their card, with revolut dynamically converting any bitcoin at "the best possible rate".in what revolut claims is a world first, users can also buy their cryptocurrency in all 25 base currencies, eliminating the fx fees people can face when they buy on most exchanges.the new service comes as cryptocurrencies are gaining huge mainstream interest driven by the momentous rise of bitcoin, which hit the $10,000 mark at the end of last week. exchanges have been straining under the weight of visitors, with coinbase's site suffering outages as hundreds of thousands of people signed up to join the crypto-gold rush.revolut, which last month hit the one million user milestone, says that 10,000 of its customers signed up to test the beta version of its cryptocurrency service in just six days. the company is confident that it will attract many more with the full launch, promising to stick to a 1.5% markup during the exchange process with no hidden fees.nikolay storonsky, ceo, revolut, says: "despite being one of the hottest trends in the world right now, getting exposure to cryptocurrency has notoriously been time-consuming and expensive. we’re going to open up cryptocurrency exposure to everyone, faster than any other platform on the market."more evidence of cyptocurrencies moving mainstream comes from square, which is rolling out the ability to buy and sell bitcoin on its person-to-person cash app. | laɪk ɪt ər nɑt, smɑrt hoʊmz ər ˈkəmɪŋ. ðə gʊd nuz ɪz ðət ðiz səˈluʃənz bi ɪkˈspɛnsɪv fərˈɛvər. teɪk fər ɪgˈzæmpəl. sɛd dɪˈvaɪs ɪz ə smɑrt paʊər ˈsɑkət ðət ɪz ˈkərəntli ˈreɪzɪŋ ˈməni θru ə kæmˈpeɪn æt pozible*. ðə praɪs stɑrts æt ʤɪst 6 jɛs, sɪks ˈjuˈɛs ˈdɔlərz pər paʊər ˈsɑkət wɪʧ, wɪθ ðə hɛlp əv, bɪˈkəmz ə smɑrt paʊər ˈsɑkət. ðə əˈfɪʃəl pɪʧ goʊz laɪk ðɪs: ɪz ə paʊər ˈsɑkət ðət hʊks əp tɪ jʊr ˈwiˌfi, əˈlaʊɪŋ ju tɪ swɪʧ ɪt ɔn ənd ɔf riˈmoʊtli wɪθ ʤɪst jʊr smartphone*. flɪp ɔn jʊr ˈhitər ən aʊər ˌbiˈfɔr ju gɪt hoʊm, ər tərn ðə ˈlɪvɪŋ rum læmp ɔf wɪˈθaʊt ˈgɪtɪŋ aʊt əv bɛd. æt ən əˈfɔrdəbəl praɪs ðət gɪts loʊər ðə mɔr ju baɪ, ðɛr ər ˈplɛnti əv ˌpɑsəˈbɪlətiz. ðə kæmˈpeɪn ɪz ˈɛndɪŋ sun, soʊ ɪf ju wɔnt tɪ ˈɔrdər ˈjɔrsɛlf ə ˈsɪŋgəl ˈjunɪt fər ðɪs əˈmeɪzɪŋ praɪs, ju ˈbɛtər ækt naʊ. ðɛr ər fju ˈdɪfərənt ˈmɑdəlz tɪ ʧuz frəm ənd ju ʃʊd bi ˈeɪbəl tɪ faɪnd ðə wən ðət wərks fər you…*… əˈmeɪzɪŋ haʊ ˈgæʤəts ər ˈgɪtɪŋ mɔr əˈfɔrdəbəl wɪθ ðə deɪ. lovin’*’ ɪt. |
like it or not, smart homes are coming. the good news is that these solutions won’t be expensive forever.
take ivylink for example. said device is a smart power socket that is currently raising money through a crowdfunding campaign at pozible. the price starts at just $6! yes, that’s six us dollars per power socket which, with the help of ivylink, becomes a smart power socket.
the official pitch goes like this:
ivylink is a power socket that hooks up to your wifi, allowing you to switch it on and off remotely with just your smartphone. flip on your heater an hour before you get home, or turn the living room lamp off without getting out of bed. at an affordable price that gets lower the more you buy, there are plenty of possibilities.
the ivylink campaign is ending soon, so if you want to order yourself a single unit for this amazing price, you better act now. there are few different models to choose from and you should be able to find the one that works for you…
it’s amazing how gadgets are getting more affordable with the day. lovin’ it. 😉 | ˈfoʊˌtoʊ ˈviə "ˈʧɛlsi ər waɪt! ˈʧɛlsi ər waɪt! hɛˈloʊ! hɛˈloʊ!" ðəs wɛnt ðə ˈreɪsɪst ˈdɪti, sɛt tɪ ə tun baɪ ˈgɛri ˈglɪtər, əv ɔl ˈpipəl, səŋ baɪ ˈʧɛlsi fænz ɪn 1982 ˈpɛrəˌlɛlz wɪθ ˈrisənt spjud fɔrθ ɔn ðə ˈpɛrɪs ˈmɛˌtroʊ ər ˌɪmˈpɑsəbəl tɪ ˌɪgˈnɔr. bət ðɪs ʧænt wɑz nɑt ðə ˈɔfərɪŋ əv ə smɔl grup əv sub-normals*, ˈglifəli əˈblɪviəs tɪ ðə fækt ðət ðɛr ˈfeɪsɪz wʊd bi splæʃt əˈkrɔs ðə nɛkst ˈmɔrnɪŋz frənt ˈpeɪʤɪz. ɪt wɑz səŋ ˈlaʊdli ənd ˈpraʊdli ɔn ðə əˈweɪ ˈtɛrəs æt pɑrk baɪ ˈhənərdz əv ˈʧɛlsi fænz ənd eɪmd æt ðɛr oʊn pleɪər, pɔl, ɛz hi wɔrmd əp tɪ kəm ɔn ɛz ə ˈsəbstəˌtut ənd bɪˈkəm ðə wɛst ˈləndən kləbz fərst blæk pleɪər. ɪt wɑz tɪ gɪt wərs ˌbiˈfɔr ɪt gɑt ˈbɛtər, bət tu jɪrz ˈleɪtər ðə noʊˈtɔriəs ʃɛd ɛnd stænd, ˌɪnˈkludɪŋ ə lɑrʤ ˈnəmbər əv ðoʊz ðət hæd bud ɪm, wʊd bi ˈrɪŋɪŋ aʊt tɪ ʧænts əv neɪm. sɪks jɪrz daʊn ðə laɪn kɛn wʊd bɪˈkəm ðə fərst blæk rɪˈsɪpiənt əv ˈʧɛlsiz pleɪər əv ðə jɪr əˈwɔrd. ə ˈkəpəl əv ˈdɛkeɪdz ɔn, ˈdɪdiər ˈpɛnəlti wən ðə kləb ðɛr fərst ˌjʊrəˈpiən kəp. tɪ fænz fər hum ðə peɪn əv ə ˈʧæmpiənz lig ˈfaɪnəl dɪˈfit ɪn ˈmɔˌskaʊ ɪz ræŋkt əˈlɔŋˈsaɪd ðət əv ə mɪlk kəp lɔs əˈgɛnst ˈsəndərlənd ənd ðɛr ər ˈmɛni əv ðɛm ˌɪmˈpɔrtəns tɪ ðə kləb ɪz ɔn ə pɑr wɪθ. waɪl wən brɔt ðə ˈʧæmpiənz lig ˈtroʊfi tɪ ˈstæmfərd brɪʤ, ðə ˈəðər ɪz ˈkrɛdɪtɪd wɪθ ˈpeɪvɪŋ ðə weɪ fər ðə laɪks əv drogba*, mɑrˈsɛl ənd ˈʤɪmi flɔɪd tɪ pleɪ ɪn jɛt, hu təˈdeɪ wərks wɪθ ˈʧɛlsi ɪn ˈtækəlɪŋ ˈreɪˌsɪzəm ənd prəˈmoʊtɪŋ ənd ˌɛʤəˈkeɪʃən, kʊd ˈizəli hæv mɪst ðɪs. ˈhævɪŋ ɪnˈdʊrd ˈreɪˌsɪzəm frəm ðə stændz, hi wɑz fɔrst ˈɪntu ˈərli rɪˈtaɪərmənt θru ˈɪnʤəri ənd ˈsəfərd ə ˈsəbsəkwənt slaɪd ˈɪntu dɪˈprɛʃən ənd drəg əˈdɪkʃən, kəmˈpaʊndɪd baɪ ðə dɛθ əv ən ˈɪnfənt ʧaɪld. ˈæftər ɔl ðɪs, ɪt wɑz ˈkænsər ðət ˈɔlˌmoʊst ˈfɪnɪʃt ɪm ɔf. ˈpɪkʧər baɪ: pɑ ˈɪmɪʤɪz gru əp ɪn, wɛst ˈləndən. ðə sən əv tu ˌkɛrɪˈbiən éémigré*é ˈpɛrənts, hɪz ˈfɑðər wɔkt aʊt wɪn hi wɑz ˈeɪʤɪd tu, ˈlivɪŋ hɪz ˌdɪsɪplɪˈnɛriən ˈməðər tɪ brɪŋ əp tu ˈʧɪldrən əˈloʊn ɪn ɔˈstɪr kənˈdɪʃənz. ˈfaɪndɪŋ ɪt ˈdɪfəkəlt tɪ ɪnˈgeɪʤ æt skul, ˈfʊtˌbɔl prəˈvaɪdɪd ən ɪˈskeɪp. ˌhaʊˈɛvər, ɪt simd ðə ʧæns əv ə prəˈfɛʃənəl kərɪr hæd pæst ɪm baɪ ənˈtɪl, ɪn leɪt 1981 ˈʧɛlsi saɪnd ðə frəm bəroʊ. ə ˈgɪftɪd ˌlɛftˈwɪŋər wɪθ ðə sɔrt əv peɪs ənd ˈtrɪkəri ðət wʊd ˈnɔrməli ərn ˈɪnstənt ˈstætəs, hi sun bɪˈgæn ˈtərnɪŋ hɛdz wɪθ hɪz pərˈfɔrmənsɪz ɪn ðə rɪˈzərvz. "wɪn aɪ ˈstɑrtɪd aɪ faʊnd ɪt kaɪnd əv ˈizi. ɪn ðə rɪˈzərvz aɪ wɑz mæn əv ðə mæʧ moʊst geɪmz. aɪ wɑz ˈskɔrɪŋ goʊlz, ˈmeɪkɪŋ goʊlz; ɪt wɑz greɪt. ɔl ðət taɪm aɪ wɑz ˈθɪŋkɪŋ ðət biɪŋ ə prəˈfɛʃənəl wɑz ˈgɑnə bi hɑrd bət ɪz wɑz ˈrɪli ˈizi," hi sɪz. wɪθ hɪz ˈkɑnfədɛns haɪ, ðə ˌɪnˈstɪŋktɪv ˈʃoʊmən jərnd fər ðə ˌɑpərˈtunəti tɪ ʃoʊ ɔf hɪz ˈtælənts ɪn ðə fərst tim. ðət ˌɑpərˈtunəti keɪm ˈæftər fɔr mənθs wɪn ʤɑn nil, ðə ˈʧɛlsi ˈmænɪʤər, ˈædɪd ɪm tɪ ðə skwɑd tɪ feɪs ˈkrɪstəl ˈpæləs æt pɑrk. "aɪ wɑz soʊ ɪkˈsaɪtɪd, aɪ wɑz ˈrɛdi fər ɪt. ˈgɪtɪŋ tɪ ðə graʊnd ɔn ðə koʊʧ ɔn ðə deɪ, ˈivɪn ðət wɑz ɪkˈsaɪtɪŋ. ɪt wɑz ðə fərst taɪm aɪd ˈɛvər sin ə koʊʧ wɪθ ˈteɪbəlz, ə ˈtɔɪlət, ˈɛvriˌθɪŋ! aɪd ˈoʊnli ˈɛvər bɪn ɔn wən koʊʧ, ə ðət tʊk mi tɪ ɛz ə ˈlɪtəl kɪd. ɪt wɑz laɪk, 'ˈblədi hɛl, ðɪs ɪz laɪk ə flæt ər ən əˈpɑrtmənt!'" hæd bɪn neɪmd ɛz ðə saɪdz ˈsəbstəˌtut. hi tʊk hɪz pleɪs ɔn ðə bɛnʧ ənd bɪˈgæn tɪ soʊk əp ðə ˈætməsˌfɪr, ənd ðə fækt hi wɑz əˈbaʊt tɪ hɪz ˈʧaɪlˌdhʊd drim. "aɪ wɑz ˈwɑʧɪŋ ðə geɪm, ˈhirɪŋ ɔl ðə ˈʧɪrɪŋ ənd ˈθɪŋkɪŋ, 'ðɪs ɪz gʊd, ðɪs ɪz ˈrɪli greɪt'. ɪt wɑz ə keɪs əv ˈwɑʧɪŋ ðə pleɪərz aɪ maɪt bi əˈgɛnst. ˈwɑʧɪŋ ðɛr right-back*, bɪˈkəz aɪ wɑz pleɪɪŋ lɛft wɪŋ, aɪ wɑz ˈθɪŋkɪŋ, 'mæn, əm ˈgɑnə roʊst ðɪs geezer*, lɛt mi gɪt ɔn!' "ənd ðɛn, wɪθ 12 ˈmɪnəts lɛft,, goʊ ənd wɔrm əp!' fuckin*' jæ! kəm ɔn ðɛn! "soʊ aɪ wɛnt ənd wɔrmd əp, ənd aɪ ˈstɑrtɪd ˈhirɪŋ ðɪs əˈbjuz, ðɪs ˈreɪsɪst əˈbjuz. aɪ θɔt, 'ˈfəkɪŋ hɛl, wəts ðət? ɪz ðət ˈkrɪstəl ˈpæləs fænz traɪɪŋ tɪ pʊt mi ɔf?' aɪ kɛpt ˈwɔrmɪŋ əp, ʤɪst ˈstrɛʧɪŋ, ənd ɪt ˈrɪli gɑt ˌɪnˈtɛns. ɪt gɑt ˈlaʊdər ənd ɪt ˈrɪli wɑz ˈnæsti ənd aɪ θɔt, 'ɪz ˈnoʊˌbɑˌdi seɪɪŋ ˈnəθɪŋ hir?!' "aɪ gɑt ˈrɪli ˈæŋgri ənd aɪ tərnd əraʊnd, ənd ðæts wɪn aɪ wɑz ˈrɪli ʃɑkt. bɪˈkəz ɪt ˈwəzənt ðə ˈkrɪstəl ˈpæləs fænz, ɪt wɑz maɪ oʊn fænz. aɪ ˈkʊdənt bɪˈliv ðət maɪ oʊn fænz? ðeɪ doʊnt ˈivɪn noʊ mi." ɛz priˈpɛrd tɪ ˈɛnər ðə freɪ, ə ˈkɔrəs əv "wi doʊnt nid ðə ˈnɪgər" rɪˈvərbərˌeɪtɪd frəm ðə əˈweɪ ɛnd ənd bəˈnænəz wər θroʊn ɪn hɪz dɪˈrɛkʃɪn. wəns ɔn ðə pɪʧ ðə əˈbjuz kənˈtɪnjud, hɪz ˈɛvəri təʧ bud baɪ ˈʧɛlsi səˈpɔrtərz. stənd ənd ˈwundɪd, həgd ðə wɪŋ ənd meɪd noʊ ˈɪnˌroʊdz tɪ ðə geɪm. "aɪ steɪd mɔr ər lɛs ɔn ðə ˈbaɪˌlaɪn. aɪ kɛpt ˈhirɪŋ ðə əˈbjuz bɪˈhaɪnd maɪ bæk. ðə bɔl keɪm tɪ mi, aɪ geɪv ɪt raɪt bæk. aɪ ˈdɪdənt du ˈnəθɪŋ, maɪ ˈkɑnfədɛns wɑz gɔn. aɪ wɑz dreɪnd frəm ðə əˈbjuz aɪ rɪˈsivd. aɪ ˈkʊdənt weɪt fər ðə ˌrɛfərˈi tɪ bloʊ hɪz ˈwɪsəl." ðə buɪŋ əv blæk pleɪərz wɑz ˈnəθɪŋ nu; dɪˈprɛsɪŋli, ɪt hæd ˈɔlˌmoʊst bɪˈkəm ðə nɔrm ɪn ˈɪŋlɪʃ ˈfʊtˌbɔl. buɪŋ wənz oʊn blæk pleɪərz, ˌhaʊˈɛvər, wɑz nɑt. rɛd mɔr: ðə "ˈʤɪpsi" ˈfʊtˌbɔl kləb ðət ˈəðər timz ˈrɛfˌjuz tɪ pleɪ bət ˈʧɛlsi wər ə kləb wɪθ ə ˌrɛpjəˈteɪʃən fər ðɛr noʊˈtɔriəs ˈhulɪgən ˈfɑloʊɪŋ; ðɛr fænz hæd bɪn bænd frəm ˈtrævəlɪŋ tɪ əˈweɪ ˈmæʧɪz ɪn 1977 ənd ˌɑpəˈzɪʃən blæk pleɪərz kʊd ɪkˈspɛkt ə rəf raɪd æt ˈstæmfərd brɪʤ. gʊd ˈfɔrʧən æt biɪŋ pɪkt əp baɪ ə lig saɪd wɑz mæʧt baɪ ðə mɪsˈfɔrʧən əv ˈʤɔɪnɪŋ ə kləb æt ɪts ˈneɪdər, boʊθ ɔn ðə pɪʧ ənd ɪn ðə stændz. ɪn fərst fʊl ˈsizən æt ðə kləb, ˈʧɛlsi wʊd ˈfɪnɪʃ ɪn ðɛr loʊəst ˈɛvər lig pəˈzɪʃən, ˈnɛroʊli əˈvɔɪdɪŋ tɪ ðə θərd tir əv ˈɪŋlɪʃ ˈfʊtˌbɔl. ɪn səm rɪˈspɛkts, ðə kləbz ˈʧeɪnʤɪŋ ˈfɔrʧənz ənd aɪˈdɛntəˌti ˈmɪrərd ðoʊz əv ðə ˈkəntri. ðə ˈəˌpraɪt ənd ˈʤɛnəlmənli ˈʧɛlsi əv ðə hæd bɪn ˌjuˈsərpt baɪ ðə ˈglæmər əv ðə kɪŋz roʊd ɛz ðə kləb bɪˈkeɪm ðə ɛmˈbɑdimənt əv ˈləndən, wɪθ ˈpɑrtəzən kraʊdz haɪ ɔn mɔd ənd ˈrɛˌgeɪ ˈpækɪŋ ˈstæmfərd brɪʤ. bət, ʤɪst ɛz ˈbrɪtən feɪst ˌɛkəˈnɑmɪk ˌɪnstəˈbɪlɪti ˈdʊrɪŋ ðə 1970s*, soʊ tu wər ˈʧɛlsi plənʤd ˈɪntu ðə rɛd baɪ ən graʊnd ˌridɪˈvɛləpmənt wɪʧ, kəmˈbaɪnd wɪθ əˈtroʊʃəs ˈhændəlɪŋ əv pleɪər ənd ˈmænɪʤər ˈdilɪŋz, sɔ ðə kləb nɑkt frəm ɪts pərʧ. mɔd geɪv weɪ tɪ ˈskɪnˌhɛd, ənd ðə ˈhulɪgəˌnɪzəm əv tinz ˈlʊkɪŋ fər ə rək geɪv weɪ tɪ ðə ˈhulɪgəˌnɪzəm əv fərmz ˈlʊkɪŋ tɪ du hɑrm. ˈminˌwaɪl, ˈʧɛlsi slɪpt ˈɪntu ðə ˈsɛkənd dɪˈvɪʒən ənd əˈweɪ fɔrm ðə aɪ əv ðə ˈkæmərəz, sun ˈfɑlɪŋ preɪ tɪ ɪkˈstrimɪst grups ˈrɛkəgˌnaɪzɪŋ ðət ˈtɛrəsɪz əv ˌdɪsəˈfɛktɪd juθs kʊd prəˈvaɪd ˈfərtəl rɪˈkrutɪŋ graʊnz. ˈaʊtˈsaɪd ˈstæmfərd brɪʤ, ɛz æt səˈlɛktɪd ˈəðər ˈsteɪdiəmz, ˈskɪnˌhɛdz wʊd sɛl ˈkɑpiz əv ˈbʊlˌdɔg, ðə ˈnæʃənəl frənts ræg. baɪ ðə ˈərli 1980s*, wɪθ ˌənɪmˈplɔɪmənt wɛl ɔn ɪts weɪ tɪ ðə θri ˈmɪljən mɑrk, ðɛr wər ˈplɛnti əv ˈeɪliəˌneɪtɪd ˈjəŋstərz æt ˈfʊtˌbɔl graʊnz fər ðɛm tɪ preɪ ɔn. ðɪs wɑz ðə ˈmeɪlstrəm ˈɪntu wɪʧ hæd bɪn kæst. ɪt wɑz ˈdɪfəkəlt fər ɪm tɪ ˈrɛkənˌsaɪl ðə ʤɔɪ əv ˈbreɪkɪŋ ˈɪntu lig ˈfʊtˌbɔl wɪθ ðə ˌriˈæləˌti əv hɪz ˌsɪʧuˈeɪʃən. "aɪ wɑz ˈθɪŋkɪŋ, 'ɪz ðɪs ðə kaɪnd əv ˈgritɪŋ əm ˈgɑnə gɪt ɔl ðə taɪm? du aɪ ˈrɪli ˈwɑnə pleɪ hir? du aɪ ˈrɪli wɔnt tɪ pleɪ fər ˈʧɛlsi?" ˈfʊtˌbɔl hæd ə ˈreɪˌsɪzəm ˈprɑbləm, bət ðə spɔrt wɑz ˈbɛriɪŋ ɪts hɛd ɪn ðə sænd. ðɛr wər noʊ səˈpɔrt ˈnɛtˌwərks ənd ə ˈskɛrsɪti əv roʊl ˈmɑdəlz. bət wɪθ ɛnˈkərɪʤmənt frəm ðə ˈmænɪʤər ənd ðə ˈbækɪŋ əv ðə kləb, riˈzɑlvd tɪ ˈkɛri ɔn ənd lɛt hɪz fit du ðə ˈtɔkɪŋ. "ʤɑn nil sɛd tɪ mi, 'lʊk, ju pʊt ɪt tɪ 'ɛm, ʃoʊ 'ɛm haʊ gʊd ju ər. aɪ noʊ ju kən du ɪt.' ɪt tʊk səm ˈpipəl tɪ ɪnˈkərəʤ mi, bət aɪ ˌɛnˈʤɔɪd ðət bɪˈkəz ɪt geɪv mi ə tæsk: tɪ ʃət ðɛm əp, tɪ ʃoʊ ðɛm haʊ gʊd aɪ wɑz. aɪ ˈwəzənt goʊɪŋ tɪ əˈlaʊ ˈɛniˌwən tɪ gɪt ɪn ðə weɪ əv maɪ drim. ɪts ɔl aɪ lɪvd fər. "bət ðət wərənt ðət ˈizi, mæn. ɪt wɑz ˈnɪrli tu ənd ə hæf jɪrz ðət [əˈbjuz] wɑz goʊɪŋ ɔn. ˈivɪn wɪn aɪ skɔrd, fər ðoʊz fænz, ðeɪ wʊd seɪ ɪt ˈdɪdənt kaʊnt bɪˈkəz aɪ wɑz blæk; ðæts ðə ˈɪgnərəns əv ðɛm." ˈstɔriz əˈbaʊnd əv grups əv səˈpɔrtərz rɪfˈjuzɪŋ tɪ ˈsɛləˌbreɪt goʊlz skɔrd baɪ. ə ˈkɑmən teɪl, pərˈhæps əˈpɑkrəfəl, ɪz ðət ən ˈɛləmənt əv ðə kləbz səˈpɔrt wʊd sɪt ɪn pəbz əˈkrɔs frəm ˈstæmfərd brɪʤ ˌbiˈfɔr ˈmæʧɪz ənˈtɪl ðə tim ʃits bɪˈkeɪm əˈveɪləbəl. wər neɪm ɔn ðoʊz ʃits, ðeɪ wʊd rɪˈmeɪn ɪn ðə pəb. maɪ məmz ˈstəbərn ənd aɪ θɪŋk ðæts wɛr aɪ gɪt ɪt frəm "ɪt wɑz wərs pleɪɪŋ æt hoʊm. frəm ðə ˈdəˌgaʊt, wi juzd tɪ hæv tɪ rən aʊt tɪ ðə raɪt [tɪ wɔrm əp], ənd ðə fænz ɪn ðə ist stænd loʊər wər ðə seɪm noʊˈtɔriəs fænz ðət wər ˈgɪvɪŋ mi əˈbjuz əˈweɪ. soʊ əm ˈrənɪŋ streɪt pæst ðɛm ənd ðɛr ˈʃaʊtɪŋ, 'ˈnɪgər sɪt daʊn! wɛr ju goʊɪŋ, ju blæk...' ðət wərənt noʊ ˈkɑnfədɛns ˈbustər fər mi æt ɔl! wɪn aɪ gɑt ɔn ðə pɪʧ, maɪ maɪnd wɑz seɪɪŋ, 'aɪ nid tɪ ʃoʊ ðɛm raɪt əˈweɪ, nɑt teɪk taɪm tɪ gɪt ɪn tɪ ðə geɪm, aɪ nid tɪ ʃoʊ ðɛm wət aɪ kən du.'" wɛr dɪd faɪnd ðə strɛŋθ tɪ ˈkɛri ɔn ɪn ðə feɪs əv səʧ ædˈvərsɪˌti? "maɪ məmz ˈstəbərn ənd aɪ θɪŋk ðæts wɛr aɪ gɪt ɪt frəm. wɪn ʃi keɪm ˈoʊvər frəm ðə ˌkɛrɪˈbiən, wət ʃi hæd tɪ bɛr... aɪ doʊnt θɪŋk aɪ kʊd hæv ˈteɪkən wət ʃi dɪd. ʃi wərkt ɪn hoʊˈtɛlz, ɪn ðə ˈbeɪsmənt duɪŋ ˈlɔndri. ʃi əˈplaɪd tɪ bɪˈkəm ə meɪd ənd wɑz toʊld ðət ðɛr wər noʊ ˈoʊpənɪŋz. ðɛn ʃi faʊnd aʊt wən əv ðə waɪt gərlz ðət wɑz ˈwərkɪŋ wɪθ hər wɛnt fər ðə ʤɑb ənd gɑt ðə pəˈzɪʃən. maɪ məm ˈdəzənt liv ɪt ðɛr, ʃi goʊz ənd sɪz, 'wɛl hoʊld ɔn, ju toʊld mi ðɛr ˈwəzənt ə ʤɑb, waɪz ðɪs gərl gɑt ɪt?' ʃi wɑz toʊld ðət 'ju kænt bi sin [baɪ ˈkəstəmərz]' 'wət du ju min?' ʃi æsks. 'bɪˈkəz jʊr blæk'. maɪ məm ʤɪst gɪts əp ənd sɪz, 'wɛl kip jʊr ʤɑb' ənd goʊz ənd faɪndz ðə nɛkst wən. "bət bæk ðɛn, ju kən ˌɪˈmæʤən haʊ hɑrd ɪt wɑz tɪ gɪt ə ʤɑb fər ə jəŋ blæk ˈwʊmən. ʃi ʤɪst muvd ɔn, kɛpt pərˈsuɪŋ wərk. soʊ ɪt wɑz ə keɪs əv ˈθɪŋkɪŋ aɪ hæd tɪ ʤɪst gɪt ɔn wɪθ ɪt." hi wɑz ˈeɪdɪd baɪ səˈpɔrtɪv team-mates*, hu hi stɪl spiks əv wɪθ greɪt əˈfɛkʃən. rɪˈlif frəm trəˈveɪlz keɪm æt ˈtreɪnɪŋ ənd frəm ðət bist, ˈbæntər, ðɛn stɪl mɔr ˈmɔnti ˈpaɪθɑn ðən ˈɛniˌθɪŋ ˈpɛdəld baɪ ˈdæpər læfs. ðə kləb, ˌhaʊˈɛvər, wɑz sloʊ tɪ ˈpəblɪkli ækt ɔn ˈreɪˌsɪzəm. "wi hæd fən. ðɛr wɑz ˈbæntər. aɪ ˌɪˈmæʤən ðɛrz ˈbæntər æt ˈɛni kləb, bət ðə ˈbæntər wi hæd oʊ meɪt! ɪt wɑz gʊd. ðə bɔɪz wər səˈpɔrtɪv; aɪ ləvd ɪt wɪθ ðɛm. fər mi, ðət wɑz ðə ˌɛnˈʤɔɪmənt. aɪ ləvd ˈgɪtɪŋ əp ɪn ðə ˈmɔrnɪŋ ənd goʊɪŋ ɪn tɪ ˈtreɪnɪŋ. "bət aɪ θɪŋk æt ðə seɪm taɪm, ˈʧɛlsi ˈdɪdənt du ɛz məʧ ɛz ðeɪ kʊd. ənd ðeɪ ˈdɪdənt noʊ haʊ tɪ, lɛts ˌəndərˈstænd ðət. wi ˈdɪdənt hæv ðə ˌɔrgənɪˈzeɪʃənz bæk ðɛn, laɪk kɪk ɪt aʊt ənd ʃoʊ ˈreɪˌsɪzəm ðə rɛd kɑrd. soʊ aɪ wɑz ɔn maɪ oʊn, ʤɪst ˈteɪkɪŋ ɪt deɪ baɪ deɪ, ˈgɪtɪŋ ɔn wɪθ ɪt ənd traɪɪŋ tɪ wɪn ðɛm ˈoʊvər." ðə glum wɑz ˈlɪftɪŋ frəm ðə kləb ənd hɑˈstɪləti wɑz ˈsɔfənɪŋ ɪn ðə stændz ɛz ˈʧɛlsi prəˈgrɛst tɪ ðə ˈsɛkənd dɪˈvɪʒən ˈtaɪtəl, ˈeɪdɪd baɪ nu ˈsaɪnɪŋz səʧ ɛz pæt ˈnɛvɪn ənd ˈkɛri ˈdɪksən. ɪn dɪˈsɛmbər, skɔrd ə əˈgɛnst swansea*, ənd ðə ʃɛd bɪˈgæn tɪ sɪŋ hɪz neɪm. bət ɪf hoʊm ˈmæʧɪz wər noʊ ˈlɔŋgər ðə ˈdɔntɪŋ ɪkˈspɪriənsɪz ðeɪ hæd bɪn, ˈʧɛlsiz əˈweɪ səˈpɔrt kʊd stɪl meɪk hɪz laɪf ˈmɪzərəbəl. ˈmætərz keɪm tɪ ə hɛd, wəns mɔr, æt ˈkrɪstəl ˈpæləs. ˈɔlˌmoʊst ɪgˈzæktli tu jɪrz ˈæftər hɪz ˈdeɪbju, wɑz əˈgɛn bud baɪ hɪz oʊn səˈpɔrtərz æt pɑrk. ən ˌɪntərˈvɛnʃən wɑz ˈnidɪd, ənd ɪt keɪm frəm ən ənˈlaɪkli sɔrs. ˈnɛvɪn, stɪl ˈoʊnli 20 jɪrz oʊld ənd ɪn hɪz fərst ˈsizən æt ðə kləb, juzd hɪz ˈɪntərvˌjuz tɪ ˈæˌdrɛs ðə ˈmætər. hi rɪfˈjuzd tɪ dɪˈskəs ðə geɪm, ˈtɔkɪŋ ˈoʊnli əˈbaʊt ðə "dɪsˈgəstɪŋ" ˈtritmənt rɪˈsivd. ðɪs meɪ saʊnd laɪk ə ˈstændərd riˈækʃən, bət æt ðə taɪm ɪt wɑz rɛr fər ˈɛni pleɪər, blæk ər waɪt, tɪ stɪk ðɛr hɛd əˈbəv ðə ˈpɛrəˌpɛt ənd ˈæˌdrɛs ðə ˈɪʃu. æt ˈʧɛlsiz nɛkst hoʊm geɪm, ˈnɛvɪn ənd neɪmz wər səŋ ɛz ðə pleɪərz ræn aʊt. ðə kləb tu bɪˈgæn tɪ teɪk ˈækʃən. ðɛr ˈʧɛrmən, kɛn beɪts, sɛd ðət hi ˌɪnˈtɛndɪd tɪ "ˈpərsəˌkjut ənd həræs" ðə ˈnæʃənəl frənt ˈprɛzəns æt ˈʧɛlsi ənd ɪkˈspɛl ðɛm frəm ðə graʊnd. rɛd mɔr: ðə deɪ ˈɪŋgləndz geɪv ðə ˈnɑtsi səˈlut ðə hɑrd laɪn əˈpɪrd tɪ bi ˈhævɪŋ ən əˈfɛkt, bət sɪz ðə ˈgreɪtəst ʧeɪnʤ, ənd ðə ˈmoʊmənt frəm wɪʧ hi ˈtruli fɛlt ækˈsɛptɪd ənd əˈpriʃiˌeɪtɪd baɪ ðə fænz, keɪm ðə ˈfɑloʊɪŋ ˈsizən ˈæftər hɪz ˈblɪstərɪŋ pərˈfɔrməns ɪn ə mɪlk kəp riˈpleɪ æt ˈhɪlzbəroʊ. ðə ˈvɪzɪtərz faʊnd ðɛmˈsɛlvz daʊn æt hæf taɪm. keɪm ɔn fər ðə stɑrt əv ðə ˈsɛkənd hæf ənd ˈprɑmptli skɔrd ˈæftər 11 ˈsɛkəndz, wɪθ hɪz fərst təʧ əv ðə bɔl. ˈʧɛlsi pʊld ˈlɛvəl ənd ðɛn, fɛd baɪ ˈdɪksən, geɪv hɪz saɪd ðə lɛd. ðɛr wɑz stɪl taɪm fər ə ˈʃɛfild ˈwɛnzˌdeɪ ənd əˈnəðər riˈpleɪ (wɪʧ ˈʧɛlsi wən), bət ɔn ðət naɪt, ɪn hɪz əˈpɪnjən, əraɪvd. "ˈæftər ðət geɪm, wi keɪm ənd pleɪd æt hoʊm əˈgɛnst ˈwɔtfərd. ˈluθər ənd ʤɑn bɑrnz wər pleɪɪŋ. ˈluθər gɑt ðə bɔl daʊn ðə raɪt ənd aɪ trækt ɪm ənd geɪv ɪm wən ˈsɪriəs ˈtækəl. aɪ gɑt əp ənd ðə ʃɛd ˈstɑrtɪd ˈsɪŋɪŋ 'canoville*!!' ənd ðət wɑz ɪt, ju noʊ, ɪt wɑz laɪk ðət ˈɛvəri taɪm frəm ðɛn. wɪn aɪ wɑz səb, aɪ kʊd fil ðət ðeɪ ˈwɔntɪd maɪ ˈɪnˌpʊt. 'jæ, kəm ɔn! gɪt ɔn!' ɪt wɑz nis tɪ hir. ˈʧeɪnʤɪz wər əˈkərɪŋ ɪn ðə stændz ənd ɪn soʊˈsaɪɪti. ðə ˈnæʃənəl frənts ˈfɔrʧənz wər ɔn ðə weɪn ənd ðə kləbz ˈɛfərts tɪ ˈbænɪʃ ðɛm frəm ˈstæmfərd brɪʤ wər ˈbɛrɪŋ frut. ðə ˈbʊlˌdɔg ˈsɛlərz ˌdɪsəˈpɪrd, tɪ bi ˌriˈpleɪst baɪ ˈsɛlɪŋ ˈkɑpiz əv nuz laɪn, ðə ˌpəblɪˈkeɪʃən əv ðə ˈwərkərz' ˌrɛvəˈluʃəˌnɛri ˈpɑrti. waɪl ðɛr wʊd bi spərˈædɪk ˈaʊtˌbreɪks əv ˈhulɪgəˌnɪzəm ɛz ðə ˈdɛkeɪd prəˈgrɛst, ˈstæmfərd brɪʤ wɑz ɔn ɪts weɪ tɪ bɪˈkəmɪŋ ən ˌɪnˈklusɪv pleɪs wəns əˈgɛn. ðə geɪm əˈgɛnst ˈʃɛfild ˈwɛnzˌdeɪ wɑz ˈɔlsoʊ sɪgˈnɪfɪkənt ɔn ə ˈpərsɪnəl ˈlɛvəl fər. hɪz ˈfɑðər, hum hi hæd nɑt sin fər 20 jɪrz, hæd bɪn ɪn təʧ ənd ðə tu əreɪnʤd tɪ mit ðət ˈivnɪŋ. hɪz ˈfɑðər wʊd bi ɪn ðə stændz tɪ ˈwɪtnəs ðə pərˈfɔrməns. "ɔl ðɪs taɪm, ɔl aɪ ˈwɔntɪd wɑz fər maɪ məm ənd maɪ dæd tɪ si haʊ gʊd aɪ wɑz. wɪn wi wɑz kɪdz ðə ˈpɛrənts juzd tɪ kəm [tɪ geɪmz] tɪ səˈpɔrt, bət nɑt maɪn. ənd aɪ wɑz mæn əv ðə mæʧ moʊst əv ðə taɪm. əm ˈgɪtɪŋ preɪz frəm ˈəðər pleɪərz' ˈfæməliz, bət aɪ ˈwɔntɪd maɪ dæd ər maɪ məm tɪ bi ðɛr tɪ si haʊ gʊd aɪ wɑz." ðə ˈfɑloʊɪŋ ˈsizən, ˈʧɛlsi ˈmaʊnɪd ə ˈtaɪtəl ˈʧælənʤ. ˌhaʊˈɛvər, fər ðɛr wɑz tɪ bi ə ˈspænər, ər ˈrəðər ə gɔlf kləb, ɪn ðə wərks. ˈæftər ən əˈweɪ geɪm hi bɪˈkeɪm ˌɪnˈvɑlvd ɪn ə spæt wɪθ ə team-mate*. ðə pleɪər, hum dɪz nɑt wɪʃ tɪ ˈmɛnʃən, tʊk ˈsɪriəs æt ðə ˈmætər, ənd ˈleɪtər keɪm ˈæftər ənd əˈtækt ɪm wɪθ ə gɔlf kləb. ɪt ˈwəzənt ðɛr fərst bəst əp, ənd wɪθ biɪŋ ðə mɔr ˈʤunjər pleɪər, ðə kləb ˌdɪˈsaɪdɪd tɪ ˈtrænsfər lɪst ðɛr ˈwɪŋər. ɪt wɑz heart-wrenching*, bət nɑt ðə wərst θɪŋ tɪ hæv ˈhæpənd ɪn hɪz kərɪr. wɑz ˌfɪləˈsɑfɪkəl ənd ækˈsɛptɪd ɪt ɛz pɑrt əv ðə prəˈfɛʃənəl geɪm. rɪˈʤɛktɪŋ ə muv tɪ fərst ("kən ju ˌɪˈmæʤən?"), hi drɑpt daʊn ə tir tɪ ʤɔɪn ˈrɛdɪŋ. ˈæftər ə braɪt stɑrt, ˈsəfərd ən hɔˈrɪfɪk ni ˈɪnʤəri, "wən əv ðə wərst ðə ˈdɔktər hæd ˈɛvər sin," hi sɪz. hi fɔt tɪ rɪˈkəvər ənd rɪˈtərnd tɪ ˈækʃən ðə ˈfɑloʊɪŋ ˈsizən, bət hi wɑz ˈoʊnli ˈɛvər wən ˈtækəl əˈweɪ frəm ə nɑk. ɪt keɪm ˈæftər eɪt geɪmz bæk ənd, ˈeɪʤɪd ˈoʊnli 25 hi wɑz fɔrst tɪ ˌriˈtaɪər frəm ðə prəˈfɛʃənəl geɪm. "aɪ θɪŋk ðət, wɪn aɪ rɪˈtaɪrd, ɪt dɔnd ɔn mi wət aɪd bɪn θru ənd ðə ˈiˌmoʊʃən ˈstɑrtɪd tɪ əˈfɛkt mi. aɪ dɪd gɪt dɪˈprɛʃən. aɪ ˈkʊdənt pleɪ ˈfʊtˌbɔl noʊ mɔr ənd aɪ wɑz ɪn dɪˈnaɪəl." hɪz buts həŋ əp, ðə weɪt əv ˈɛvriˌθɪŋ ðət hæd ˈhæpənd ˈfaɪnəli hɪt. wɪθ noʊ aɪˈdiə wət tɪ du wɪθ hɪz laɪf ənd ˈfeɪsɪŋ ðə ɛnd əv hɪz ˈfʊtˌbɔl drim, dɪˈprɛʃən sɛt ɪn. kənˈtɪnjud tɪ lɪv ðə haɪ laɪf, dɪˈspaɪt ˈlækɪŋ ðə fəndz tɪ du soʊ. ɔn wən naɪt aʊt ə frɛnd pæst ɪm wət hi θɔt wɑz ə ʤɔɪnt, bət ðə ˈɪnstənt sɛnˈseɪʃən əˈpɑn ˌɪnˈheɪlɪŋ wɑz nɑt wət hi ɪkˈspɛktɪd; ɪt wɑz kræk. ˈæftər ˌɪˈnɪʃəli ˈpænɪkɪŋ, ˈθɪŋkɪŋ hi wɑz ɪn fər səm ˌɪnˈseɪn ˈroʊlərˌkoʊstər rəʃ, hi faʊnd hɪmˈsɛlf ˌɛnˈʤɔɪɪŋ ðə haɪ, ənd ˈwɑnɪŋ mɔr. kræk ʤɪst ˈmɛloʊd mi, meɪd mi fərˈgɛt θɪŋz goʊɪŋ ɔn "θɪŋz gɑt ɔn tɔp jʊr ˈmɔrgɪʤ, jʊr bɪlz ənd ðæts wɛr ðə drəgz keɪm ɪn. kræk ʤɪst ˈmɛloʊd mi, meɪd mi fərˈgɛt θɪŋz goʊɪŋ ɔn, meɪd mi fərˈgɛt ðət ˈpɪriəd əv taɪm. bət ðə seɪm ʃɪt wɑz stɪl ðɛr. ənd ɪt ʧeɪnʤd mi ɛz ə ˈpərsən ɛz wɛl; ðə ˈkɛrɪktər wɑz ɔl gɔn, aɪ ˈwəzənt ˈlæfɪŋ, aɪ ˈwəzənt ə ˈʤoʊkər ɛz ˈjuʒəwəl. aɪ ˈstɑrtɪd tɪ haɪd, meɪd ɪkˈskjuzɪz fər nɑt goʊɪŋ aʊt, aɪ ˈwəzənt ˈlʊkɪŋ ˈæftər ˌmaɪˈsɛlf. ɪt ˈrɪli tʊk kənˈtroʊl ənd ðæts ðə θɪŋ əˈbaʊt ðɪs: ɪt teɪks kənˈtroʊl." wɑz baɪ naʊ ˈwərkɪŋ ɛz ə dɪˈlɪvəri ˈdraɪvər, waɪl stɪl ˈərnɪŋ ˈməni pleɪɪŋ ˈfʊtˌbɔl ˈpɑrtˈtaɪm æt loʊər ˈlɛvəlz, bət moʊst əv ðə taɪm "ˈkʊdənt bi ˈbɑðərd tɪ goʊ." əˈtɛmpts wər meɪd tɪ gɪt klin, bət hi wʊd sun bi nɑkt ɔf træk kəmˈplitli, ˈsɪŋkɪŋ tɪ hɪz loʊəst pɔɪnt. ɪn 1995 ˈgərlˌfrɛnd, ˈtreɪsi, wɑz du tɪ gɪv bərθ tɪ ðɛr ˈsɛkənd ʧaɪld, taɪ. ə ˈkɑmpləˌkeɪtəd ləv laɪf wʊd si ˈfɑðər 11 ˈʧɪldrən baɪ 10 ˈwɪmən. bət hi hæd ˈɔlˌweɪz ˈprɑməst, tɪ hɪmˈsɛlf æt list, tɪ ˈsɛtəl daʊn wɪθ ðə fərst ˈwʊmən wɪθ hum hi hæd tu ˈʧɪldrən. "taɪ wɑz ˈɛvriˌθɪŋ aɪ wɑz ˈlʊkɪŋ fər. bət wɪn hi wɑz bɔrn hi hæd ˈtrəbəl ənd hi ˈkʊdənt brið. ðə ˈdɑktərz toʊld ˈjuˈɛs ə ˈmeɪʤər ˌɑpərˈeɪʃən wɑz ˈnidɪd; wi sɛd 'jæ, wɪr priˈpɛrd tɪ du ðət'. ðeɪ sɛd ðət hid nid kɛr; wi wər əp fər ðət, tu. ənd ðɛn ðeɪ sɛd ðeɪ ˈkʊdənt ˈɔpərˌeɪt, hi ˈwəzənt strɔŋ ɪˈnəf. ðeɪ toʊld ˈjuˈɛs hi hæd 10 deɪz. "aɪ hæd tɪ gɪv ɪm ˈɪnsələn ˌɪnˈʤɛkʃənz ˈɛvəri fɔr aʊərz. fər naɪn deɪz aɪ steɪd wɪθ ɪm. aɪ wɔʧt ɪm teɪk hɪz læst brɛθ ɪn maɪ ɑrmz dɪˈstrɔt, tərnd tɪ ðə ˈoʊnli θɪŋ hi kʊd: kræk. hi ˈriəˌlaɪzd ðə nid fər ʧeɪnʤ ɪn hɪz laɪf, bət fərst hi hæd tɪ pɪk hɪmˈsɛlf əp frəm ðə flɔr. ə ˈhɛlpɪŋ hænd keɪm frəm ə ˈfɔrmər əˈprɛntɪs æt ˈʧɛlsi, ˈsaɪmən ˈʧændlər, ˈæftər ə ʧæns ˈmitɪŋ. wɪθ hɪz hɛlp, ˈɛnərd rihæb. pɑrt əv hɪz ˈtritmənt ˌɪnˈvɑlvd əˈtɛndɪŋ ˈsɛʃənz, ðoʊ ðɪs wɑz nɑt ˌɪˈmiˌdiətli tɪ hɪz ˈlaɪkɪŋ. "ðə weɪ aɪ wɑz brɔt əp, ɪt ˈwəzənt əˈbaʊt ˈʃɛrɪŋ jʊr ˈprɑbləmz; aɪ ˈwəzənt ˈʃɛrɪŋ ɪt wɪθ ˈnoʊˌbɑˌdi. ðɪs gaɪz ˈkəmɪŋ ɪn ˈæskɪŋ, 'haʊ ər ju ˈfilɪŋ?' wət du ju min haʊ æm aɪ ˈfilɪŋ? 'soʊ, waɪ ər ju hir?' waɪ du ju θɪŋk əm hir? aɪ ˈdɪdənt ˌəndərˈstænd ɪt." ə nu ˈkaʊnsələr wɑz əˈsaɪnd, wən, laɪk, frəm ə ˌkɛrɪˈbiən ˈbækˌgraʊnd, ənd ˈprɑˌgrɛs wɑz meɪd. "aɪ geɪv ɪm səm stɪk ənd hi geɪv mi səm ɛz wɛl. bət ju noʊ wət? hi gɑt θru tɪ mi. hi tɔt mi əˈbaʊt ˌmaɪˈsɛlf ənd aɪ hæd tɪ ˈlɪsən. wi gɑt ɔn. aɪ lʊkt ˈfɔrwərd tɪ ˈtɔkɪŋ tɪ ɪm." wɪθ ə tim əv ˈfɛloʊ ˈʧɛlsi oʊld bɔɪz. ˈpɪkʧər baɪ: pɑ ˈɪmɪʤɪz hɛlpt kəm tɪ tərmz wɪθ hɪz ˈdimənz ənd hi dɪˈskraɪbz ðə ˈprɔˌsɛs ɛz ðə bɛst θɪŋ ðət ˈɛvər ˈhæpənd tɪ ɪm. hi ˈmænɪʤd tɪ gɪt klin. ðɛr wɑz ə stɪŋ ɪn ðə teɪl, ˌhaʊˈɛvər. ɪn 1996 hi wɑz ˌdaɪəgˈnoʊst wɪθ lɪmˈfoʊmə, ən əˈgrɛsɪv fɔrm əv bləd ˈkænsər. ɪt wɑz ə dɪˈvɛləpmənt ðət ədˈmɪts æt list səm bleɪm fər, ækˈnɑlɪʤɪŋ ðət hɪz kræk juz hæd əˈfɛktɪd hɪz ˌɪmˈjun ˈsɪstəm ənd lɛft ɪm mɔr səˈsɛptəbəl tɪ səʧ ən ˈɪlnəs. hi ˌəndərˈwɛnt ˌɪnˈtɛnsɪv ənd dəˈbɪləˌteɪtɪŋ ˈtritmənt ənd ɪˈvɛnʧəwəli gɑt ðə all-clear*, bət ɪt wɑz təʧ ənd goʊ. ˈhɛlθi əˈgɛn, ðɛr wɑz stɪl ðə smɔl ˈmætər əv ˈwərkɪŋ aʊt wət tɪ du wɪθ hɪz laɪf. əraʊnd ðət taɪm ˈʧɛlsi gɑt ɪn təʧ wɪθ ðɛr ənd ˌɪnˈfɔrmd ɪm əv ðɛr ˌɛʤəˈkeɪʃən θru ˈfʊtˌbɔl ˈprɑʤɛkt, ˈæskɪŋ ɪm tɪ tɔk wɪθ ˈskuˌlʧɪldrən əˈbaʊt hɪz ɪkˈspɪriənsɪz. wɑz dɪsˈmɪsɪv, ˈdaʊtɪŋ ðət ˈʧɪldrən soʊ jəŋ wʊd hæv ˈɛni aɪˈdiə hu hi wɑz, lɛt əˈloʊn bi ˈɪntəˌrɛstɪd ɪn wət hi hæd tɪ seɪ. bət hi əˈblaɪʤd ənd, tɪ hɪz əˈmeɪzmənt, ðə ˈpjupəlz həŋ ɔn hɪz ˈɛvəri wərd. hi θɔt ðeɪ wər bɔrd ənˈtɪl ə ˈtiʧər ɪkˈspleɪnd ðət ðɛr ˈoʊnli ðət kwaɪət wɪn ˈɪntəˌrɛstɪd. "aɪ kɛpt goʊɪŋ tɪ ðiz skulz ənd ðeɪ kɛpt ˈlɪsənɪŋ tɪ mi. ˈæftər ə waɪl ˈsəmˌwən sɛd tɪ mi,, mæn, waɪ doʊnt ju bɪˈkəm ə ˈtiʧərz əˈsɪstənt?' aɪ ˈdɪdənt hæv ðə kˌwɑləfəˈkeɪʃənz, bət ðeɪ sɛd, 'ju doʊnt nid kˌwɑləfəˈkeɪʃənz, wət ju nid ɪz ˈnɑlɪʤ. ənd ðə weɪ ju tɔk tɪ ðɛm, ðeɪ lʊk əp tɪ ju, ðɛr ˌɪnˈspaɪərd.'" ˈriəˌlaɪzd ðət hi hæd ˈsəmθɪŋ tɪ ˈɔfər. hi ˌdɪˈsaɪdɪd tɪ teɪk ðə ədˈvaɪs ənd əˈplaɪ fər ə ˈtiʧɪŋ əˈsɪstənt ʤɑb. ˈæftər ˈoʊvərˌkəmɪŋ wən læst ˈbætəl hɪz ˈʃaɪnəs æt ˈraɪtɪŋ ə fər ðə fərst taɪm, wən ðət wɑz nɑt ɪgˈzæktli ˈspɑrkəlɪŋ ɪn ðə 'ɪmˈplɔɪmənt ˈhɪstəri' ˈsɛkʃən hi əˈtɛndəd ən ˈɪntərvˌju ənd wɑz ˈɔfərd ðə ʤɑb ˌɪˈmiˌdiətli. "aɪ wɔkt aʊt ðə dɔr ənd aɪ kraɪd. aɪ kɔld maɪ məm ənd sɛd, 'aɪv dən ɪt! aɪ gɑt ə ʤɑb ɪn ə skul!' ʃi sɛd, 'əm soʊ praʊd əv ju'. ənd aɪ sɛd, 'gɑd məm, juv ˈnɛvər ˈɛvər sɛd ðət ˌbiˈfɔr!' "ɪt wɑz ðə bɛst θɪŋ ɪn maɪ laɪf, goʊɪŋ bæk tɪ skul ənd ˈhɛlpɪŋ aʊt ðiz kɪdz." "ˈpipəl hæv kəm əp ənd əˈpɑləˌʤaɪzd tɪ mi" hi ðɛn sɛt əˈbaʊt ˈraɪtɪŋ hɪz ˈsɛləˌbreɪtɪd ˌɔtəbaɪˈɑgrəfi, blæk ənd blu. ˈpəblɪʃt ɪn 2008 ɪt wən ðə bɛst ˌɔtəbaɪˈɑgrəfi ˈkætəˌgɔri æt ðə ˈbrɪtɪʃ spɔrts bʊk əˈwɔrdz. təˈdeɪ hi rənz ˈmoʊtəˌveɪt tɪ ʧeɪnʤ, dɪˈlɪvərɪŋ ˈwərkˌʃɑps ɪn skulz, kəmˈjunɪti grups ənd ˈprɪzənz. hi kən bi sin ˈrɛgjələrli æt ˈstæmfərd brɪʤ, ˈsaɪnɪŋ ˈɔtəˌgræfs ənd ˈsoʊkɪŋ əp ðə əˈtɛnʃən frəm səˈpɔrtərz jəŋ ənd oʊld. səm ˈivɪn kəm tɪ seɪ ˈsɑri. "ˈpipəl hæv kəm əp ənd əˈpɑləˌʤaɪzd tɪ mi, ənd aɪ ˈwəzənt ʃʊr haʊ tɪ riækt. æt ə ˈʧæmpiənz lig geɪm ə gaɪ keɪm əp ənd sɛd, 'lʊk, aɪ wɑz wən əv ðɛm ðət ˈreɪʃəli əˈbjuzd ju. aɪ wɑz wɪθ maɪ dæd, ənd aɪ ˈfɑloʊd maɪ dæd, bɪˈkəz aɪ ˈdɪdənt noʊ ˈbɛtər. aɪ wɑz ˈstupɪd. bət aɪ meɪk ʃʊr ðət maɪ kɪdz noʊ ˈbɛtər ənd aɪ ʤɪst wɔnt tɪ əˈpɑləˌʤaɪz ənd seɪ ˈsɑri'. ðæts bɪg, tɪ kəm əp ˈæftər ðət əˈmaʊnt əv taɪm ənd seɪ ðət." ˈhævɪŋ prəˈgrɛst tɪ səʧ ə pɔɪnt, ðɛn, məst meɪk ðə ˈpɛrɪs ˈɛpɪˌsoʊd ɔl ðə mɔr ˈgɔlɪŋ. waɪl hi ədˈmɪts tɪ biɪŋ hərt baɪ ðə ɪˈvɛnt, ɪt ɪz ˌɪmˈpɑsəbəl fər wən hu həz ˈwɪtnəst səʧ ə ʧeɪnʤ ɪn ðə geɪmz əˈproʊʧ tɪ ˈreɪˌsɪzəm, ənd ðə spid wɪθ wɪʧ ˈʧɛlsi riˈæktɪd, nɑt tɪ pʊt ðə ɪˈvɛnts ˈɪntu pərˈspɛktɪv. "ɪt wɑz əpˈsɛtɪŋ tɪ hir wət ˈhæpənd aʊt ðɛr, bɪˈkəz əv ðə wərk aɪ du ənd ðə wərk ˈʧɛlsi hæv dən θruaʊt ðə jɪrz [ɪn ˈfaɪtɪŋ ˈreɪˌsɪzəm]. θɪŋz hæv ʧeɪnʤd, ənd ɪts gʊd. ðət ˌsɪʧuˈeɪʃən ɔn ðə ˈmɛˌtroʊ, maɪ kˈwɛʃən ɪz wər ðeɪ ril ˈʧɛlsi səˈpɔrtərz? ɪt stɪl ðə kləbz neɪm, bət ˈʧɛlsi stɛpt əp tɪ ðə pleɪt, ðeɪ ˈdɪdənt dræg ðɛr fit, ðeɪ traɪd tɪ sɔrt ɪt." dɪˈspaɪt ˈɛvriˌθɪŋ, ɪz stɪl ə ˈpæʃənət səˈpɔrtər əv ðə kləb (hi saɪnz ɔf ˌkɔrəˈspɑndəns ɛz cfc*'). ˈwɑʧɪŋ ɪm ʃeɪk hænz wɪθ ˈkaʊntləs fænz ɔn ðə roʊd ˌbiˈfɔr geɪmz, aɪ æsk ɪm ɪf hiz ˈfaɪnəli faʊnd ðə əkˈsɛptəns ənd əˈfɛkʃən hi wɑz ˈsikɪŋ ɔl hɪz laɪf. "ɪts nis tɪ bi ˈrɛkəgˌnaɪzd," hi smaɪlz. |
photo via paulcanoville.co.uk
"chelsea are white! chelsea are white! hello! hello!"
thus went the racist ditty, set to a tune by gary glitter, of all people, sung by chelsea fans in 1982. parallels with recent vulgarities spewed forth on the paris metro are impossible to ignore. but this chant was not the offering of a small group of sub-normals, gleefully oblivious to the fact that their faces would be splashed across the next morning's front pages. it was sung loudly and proudly on the away terrace at selhurst park by hundreds of chelsea fans and aimed at their own player, paul canoville, as he warmed up to come on as a substitute and become the west london club's first black player.
it was to get worse before it got better, but two years later the notorious shed end stand, including a large number of those that had booed him, would be ringing out to chants of canoville's name. six years down the line ken monkou would become the first black recipient of chelsea's player of the year award. a couple of decades on, didier drogba's penalty won the club their first european cup.
to fans for whom the pain of a champions league final defeat in moscow is ranked alongside that of a milk cup semi-final loss against sunderland – and there are many of them – canoville's importance to the club is on a par with drogba's. while one brought the champions league trophy to stamford bridge, the other is credited with paving the way for the likes of drogba, marcel desailly and jimmy floyd hasselbaink to play in sw6.
yet canoville, who today works with chelsea in tackling racism and promoting inclusivity and education, could easily have missed this. having endured racism from the stands, he was forced into early retirement through injury and suffered a subsequent slide into depression and drug addiction, compounded by the death of an infant child. after all this, it was cancer that almost finished him off.
picture by: pa images
canoville grew up in hillingdon, west london. the son of two caribbean émigré parents, his father walked out when he was aged two, leaving his disciplinarian mother to bring up two children alone in austere conditions. finding it difficult to engage at school, football provided an escape. however, it seemed the chance of a professional career had passed him by until, in late 1981, second-division chelsea signed the 19-year-old from non-league hillingdon borough. a gifted left-winger with the sort of pace and trickery that would normally earn instant fan-favourite status, he soon began turning heads with his performances in the reserves.
"when i started i found it kind of easy. in the reserves i was man of the match most games. i was scoring goals, making goals; it was great. all that time i was thinking that being a professional was gonna be hard – but is was really easy," he says.
with his confidence high, the instinctive showman yearned for the opportunity to show off his talents in the first team. that opportunity came after four months when john neal, the chelsea manager, added him to the squad to face crystal palace at selhurst park.
"i was so excited, i was ready for it. getting to the ground on the coach on the day, even that was exciting. it was the first time i'd ever seen a coach with tables, a toilet, everything! i'd only ever been on one coach, a 52-seater that took me to margate as a little kid. it was like, 'bloody hell, this is like a flat or an apartment!'"
canoville had been named as the side's substitute. he took his place on the bench and began to soak up the atmosphere, and the fact he was about to fulfil his childhood dream.
"i was watching the game, hearing all the cheering and thinking, 'this is good, this is really great'. it was a case of watching the players i might be against. watching their right-back, because i was playing left wing, i was thinking, 'man, i'm gonna roast this geezer, let me get on!'
"and then, with 12 minutes left, 'canners, go and warm up!' fuckin' yeah! come on then!
"so i went and warmed up, and i started hearing this abuse, this racist abuse. i thought, 'fucking hell, what's that? is that crystal palace fans trying to put me off?' i kept warming up, just stretching, and it really got intense. it got louder and it really was nasty and i thought, 'is nobody saying nothing here?!'
"i got really angry and i turned around, and that's when i was really shocked. because it wasn't the crystal palace fans, it was my own fans. i couldn't believe that – my own fans? they don't even know me."
as canoville prepared to enter the fray, a chorus of "we don't need the nigger" reverberated from the away end and bananas were thrown in his direction. once on the pitch the abuse continued, his every touch booed by chelsea supporters. stunned and wounded, canoville hugged the wing and made no inroads to the game.
"i stayed more or less on the byline. i kept hearing the abuse behind my back. the ball came to me, i gave it right back. i didn't do nothing, my confidence was gone. i was drained from the abuse i received. i couldn't wait for the referee to blow his whistle."
the booing of black players was nothing new; depressingly, it had almost become the norm in english football. booing one's own black players, however, was not.
read more: the "gypsy" football club that other teams refuse to play
but chelsea were a club with a reputation for their notorious hooligan following; their fans had been banned from traveling to away matches in 1977 and opposition black players could expect a rough ride at stamford bridge. canoville's good fortune at being picked up by a league side was matched by the misfortune of joining a club at its nadir, both on the pitch and in the stands.
in canoville's first full season at the club, chelsea would finish in their lowest ever league position, narrowly avoiding relegation to the third tier of english football. in some respects, the club's changing fortunes and identity mirrored those of the country. the upright and gentlemanly chelsea of the 1950s had been usurped by the glamour of the king's road as the club became the embodiment of swinging-sixties london, with colourful partisan crowds high on mod and reggae packing stamford bridge.
but, just as britain faced economic instability during the 1970s, so too were chelsea plunged into the red by an over-ambitious ground redevelopment which, combined with atrocious board-room handling of player and manager dealings, saw the club knocked from its perch. mod gave way to skinhead, and the hooliganism of over-exuberant teens looking for a ruck gave way to the hooliganism of organised firms looking to do harm. meanwhile, chelsea slipped into the second division and away form the eye of the cameras, soon falling prey to extremist groups recognising that terraces of disaffected youths could provide fertile recruiting grounds. outside stamford bridge, as at selected other stadiums, skinheads would sell copies of bulldog, the national front's youth-targeted rag. by the early 1980s, with unemployment well on its way to the three million mark, there were plenty of alienated youngsters at football grounds for them to prey on.
this was the maelstrom into which canoville had been cast. it was difficult for him to reconcile the joy of breaking into league football with the reality of his situation.
"i was thinking, 'is this the kind of greeting i'm gonna get all the time? do i really wanna play here? do i really want to play for chelsea?"
football had a racism problem, but the sport was burying its head in the sand. there were no support networks and a scarcity of role models. but with encouragement from the manager and the backing of the club, canoville resolved to carry on and let his feet do the talking.
"john neal said to me, 'look, you put it to 'em, show 'em how good you are. i know you can do it.' it took some people to encourage me, but i enjoyed that because it gave me a task: to shut them up, to show them how good i was. i wasn't going to allow anyone to get in the way of my dream. it's all i lived for.
"but that weren't that easy, man. it was nearly two and a half years that [abuse] was going on. even when i scored, for those fans, they would say it didn't count because i was black; that's the ignorance of them."
stories abound of groups of supporters refusing to celebrate goals scored by canoville. a common tale, perhaps apocryphal, is that an element of the club's support would sit in pubs across from stamford bridge before matches until the team sheets became available. were canoville's name on those sheets, they would remain in the pub.
my mum's stubborn and i think that's where i get it from
"it was worse playing at home. from the dugout, we used to have to run out to the right [to warm up], and the fans in the east stand lower were the same notorious fans that were giving me abuse away. so i'm running straight past them and they're shouting, 'nigger sit down! where you going, you black...' that weren't no confidence booster for me at all! when i got on the pitch, my mind was saying, 'i need to show them right away, not take time to get in to the game, i need to show them what i can do.'"
where did canoville find the strength to carry on in the face of such adversity?
"my mum's stubborn and i think that's where i get it from. when she came over from the caribbean, what she had to bear... i don't think i could have taken what she did. she worked in hotels, in the basement doing laundry. she applied to become a maid and was told that there were no openings. then she found out one of the white girls that was working with her went for the job and got the position. my mum doesn't leave it there, she goes and says, 'well hold on, you told me there wasn't a job, why's this girl got it?' she was told that 'you can't be seen [by customers]' - 'what do you mean?' she asks. 'because you're black'. my mum just gets up and says, 'well keep your job' and goes and finds the next one.
"but back then, you can imagine how hard it was to get a job for a young black woman. she just moved on, kept pursuing work. so it was a case of thinking i had to just get on with it."
he was aided by supportive team-mates, who he still speaks of with great affection. relief from matchday travails came at training and from that much-maligned beast, banter, then still more monty python than anything peddled by dapper laughs. the club, however, was slow to publicly act on racism.
"we had fun. there was banter. i imagine there's banter at any club, but the banter we had . . . oh mate! it was good. the boys were supportive; i loved it with them. for me, that was the enjoyment. i loved getting up in the morning and going in to training.
"but i think at the same time, chelsea didn't do as much as they could. and they didn't know how to, let's understand that. we didn't have the organisations back then, like kick it out and show racism the red card. so i was on my own, just taking it day by day, getting on with it and trying to win them over."
the gloom was lifting from the club and hostility was softening in the stands as chelsea progressed to the second division title, aided by new signings such as pat nevin and kerry dixon. in december, canoville scored a hat-trick against swansea, and the shed began to sing his name. but if home matches were no longer the daunting experiences they had been, chelsea's away support could still make his life miserable. matters came to a head, once more, at crystal palace. almost exactly two years after his debut, canoville was again booed by his own supporters at selhurst park.
an intervention was needed, and it came from an unlikely source. nevin, still only 20 years old and in his first season at the club, used his post-match interviews to address the matter. he refused to discuss the game, talking only about the "disgusting" treatment canoville received. this may sound like a standard reaction, but at the time it was rare for any player, black or white, to stick their head above the parapet and address the issue.
at chelsea's next home game, nevin and canoville's names were sung as the players ran out. the club too began to take action. their chairman, ken bates, said that he intended to "persecute and harass" the national front presence at chelsea and expel them from the ground.
read more: the day england's footballers gave the nazi salute
the hard line appeared to be having an affect, but canoville says the greatest change, and the moment from which he truly felt accepted and appreciated by the fans, came the following season after his blistering performance in a milk cup semi-final replay at hillsborough. the visitors found themselves 3-0 down at half time. canoville came on for the start of the second half and promptly scored after 11 seconds, with his first touch of the ball. chelsea pulled level and then, fed by dixon, canoville gave his side the lead. there was still time for a sheffield wednesday equaliser and another replay (which chelsea won), but on that night, in his opinion, canoville arrived.
"after that game, we came and played at home against watford. luther blisset and john barnes were playing. luther got the ball down the right and i tracked him and gave him one serious tackle. i got up and the shed started singing 'canoville! canoville!' and that was it, you know, it was like that every time from then. when i was sub, i could feel that they wanted my input. 'yeah, come on! get canners on!' it was nice to hear.
changes were occurring in the stands and in society. the national front's fortunes were on the wane and the club's efforts to banish them from stamford bridge were bearing fruit. the bulldog sellers disappeared, to be replaced by trotskyites selling copies of news line, the publication of the workers' revolutionary party. while there would be sporadic outbreaks of hooliganism as the decade progressed, stamford bridge was on its way to becoming an inclusive place once again.
the game against sheffield wednesday was also significant on a personal level for canoville. his father, whom he had not seen for 20 years, had been in touch and the two arranged to meet that evening. his father would be in the stands to witness the performance.
"all this time, all i wanted was for my mum and my dad to see how good i was. when we was kids the parents used to come [to games] to support, but not mine. and i was man of the match most of the time. i'm getting praise from other players' families, but i wanted my dad or my mum to be there to see how good i was."
the following season, 85/86, chelsea mounted a title challenge. however, for canoville there was to be a spanner, or rather a golf club, in the works. after an away game he became involved in a spat with a team-mate. the player, whom canoville does not wish to mention, took serious offence at the matter, and later came after canoville and attacked him with a golf club. it wasn't their first bust up, and with canoville being the more junior player, the club decided to transfer list their winger.
it was heart-wrenching, but not the worst thing to have happened in his career. canoville was philosophical and accepted it as part of the professional game. rejecting a move to first division-bound millwall ("can you imagine?"), he dropped down a tier to join reading. after a bright start, canoville suffered an horrific knee injury, "one of the worst the doctor had ever seen," he says. he fought to recover and returned to action the following season, but he was only ever one tackle away from a career-ending knock. it came after eight games back and, aged only 25, he was forced to retire from the professional game.
"i think that, when i retired, it dawned on me what i'd been through and the emotion started to affect me. i did get depression. i couldn't play football no more and i was in denial."
his boots hung up, the weight of everything that had happened finally hit canoville. with no idea what to do with his life and facing the end of his football dream, depression set in.
canoville continued to live the high life, despite lacking the funds to do so. on one night out a friend passed him what he thought was a joint, but the instant sensation upon inhaling was not what he expected; it was crack. after initially panicking, thinking he was in for some insane rollercoaster rush, he found himself enjoying the high, and wanting more.
crack just mellowed me, made me forget things going on
"things got on top – your mortgage, your bills – and that's where the drugs came in. crack just mellowed me, made me forget things going on, made me forget that period of time. but the same shit was still there. and it changed me as a person as well; the character was all gone, i wasn't laughing, i wasn't a joker as usual. i started to hide, made excuses for not going out, i wasn't looking after myself. it really took control and that's the thing about this: it takes control."
canoville was by now working as a delivery driver, while still earning money playing football part-time at lower levels, but most of the time "couldn't be bothered to go." attempts were made to get clean, but he would soon be knocked off track completely, sinking to his lowest point.
in 1995 canoville's girlfriend, tracey, was due to give birth to their second child, tye. a complicated love life would see canoville father 11 children by 10 women. but he had always promised, to himself at least, to settle down with the first woman with whom he had two children.
"tye was everything i was looking for. but when he was born he had trouble and he couldn't breathe. the doctors told us a major operation was needed; we said 'yeah, we're prepared to do that'. they said that he'd need 24-hour care; we were up for that, too. and then they said they couldn't operate, he wasn't strong enough. they told us he had 10 days.
"i had to give him insulin injections every four hours. for nine days i stayed with him. i watched him take his last breath in my arms . . ."
distraught, canoville turned to the only thing he could: crack. he realised the need for change in his life, but first he had to pick himself up from the floor. a helping hand came from a former apprentice at chelsea, simon chandler, after a chance meeting. with his help, canoville entered rehab. part of his treatment involved attending counselling sessions, though this was not immediately to his liking.
"the way i was brought up, it wasn't about sharing your problems; i wasn't sharing it with nobody. this guy's coming in asking, 'how are you feeling?' what do you mean how am i feeling? 'so, why are you here?' why do you think i'm here? i didn't understand it."
a new counsellor was assigned, one, like canoville, from a caribbean background, and progress was made. "i gave him some stick and he gave me some as well. but you know what? he got through to me. he taught me about myself and i had to listen. we got on. i looked forward to talking to him."
canoville with a team of fellow chelsea old boys. picture by: pa images
counselling helped canoville come to terms with his demons and he describes the process as the best thing that ever happened to him. he managed to get clean.
there was a sting in the tail, however. in 1996 he was diagnosed with non-hodgkin lymphoma, an aggressive form of blood cancer. it was a development that canoville admits at least some blame for, acknowledging that his crack use had affected his immune system and left him more susceptible to such an illness. he underwent intensive and debilitating treatment and eventually got the all-clear, but it was touch and go.
healthy again, there was still the small matter of working out what to do with his life. around that time chelsea got in touch with their ex-player and informed him of their education through football project, asking him to talk with schoolchildren about his experiences.
canoville was dismissive, doubting that children so young would have any idea who he was, let alone be interested in what he had to say. but he obliged and, to his amazement, the pupils hung on his every word. he thought they were bored until a teacher explained that they're only that quiet when interested.
"i kept going to these schools and they kept listening to me. after a while someone said to me, 'canners, man, why don't you become a teacher's assistant?' i didn't have the qualifications, but they said, 'you don't need qualifications, what you need is knowledge. and the way you talk to them, they look up to you, they're inspired.'"
canoville realised that he had something to offer. he decided to take the advice and apply for a teaching assistant job. after overcoming one last battle – his shyness at writing a cv for the first time, one that was not exactly sparkling in the 'employment history' section – he attended an interview and was offered the job immediately.
"i walked out the door and i cried. i called my mum and said, 'i've done it! i got a job in a school!' she said, 'i'm so proud of you'. and i said, 'god mum, you've never ever said that before!'
"it was the best thing in my life, going back to school and helping out these kids."
"people have come up and apologised to me"
he then set about writing his celebrated autobiography, black and blue. published in 2008, it won the best autobiography category at the british sports book awards.
today he runs motivate to change, delivering workshops in schools, community groups and prisons. he can be seen regularly at stamford bridge, signing autographs and soaking up the attention from supporters young and old. some even come to say sorry.
"people have come up and apologised to me, and i wasn't sure how to react. at a champions league game a guy came up and said, 'look, i was one of them that racially abused you. i was with my dad, and i followed my dad, because i didn't know better. i was stupid. but i make sure that my kids know better and i just want to apologise and say sorry'. that's big, to come up after that amount of time and say that."
having progressed to such a point, then, must make the paris episode all the more galling. while he admits to being hurt by the event, it is impossible for one who has witnessed such a change in the game's approach to racism, and the speed with which chelsea reacted, not to put the events into perspective.
"it was upsetting to hear what happened out there, because of the work i do and the work chelsea have done throughout the years [in fighting racism]. things have changed, and it's good. that situation on the metro, my question is were they real chelsea supporters? it still tarnishes the club's name, but chelsea stepped up to the plate, they didn't drag their feet, they tried to sort it."
despite everything, canoville is still a passionate supporter of the club (he signs off correspondence as 'canners cfc'). watching him shake hands with countless fans on the fulham road before games, i ask him if he's finally found the acceptance and affection he was seeking all his life. "it's nice to be recognised," he smiles.
@patriquelebleu | ðə ʤɛts ər ə bæd tim. ðɛr ər fju ˈhoʊlˌdaʊts hu θɪŋk ˈəðərˌwaɪz æt ðɪs pɔɪnt. bət haʊ bæd ər ðeɪ? ɛz ɪt tərnz aʊt, ɪf θɪŋz doʊnt gɪt tərnd əraʊnd ɪn ðə ˈsɛkənd hæf, wi ɔl kʊd bi ˈwɪtnəsɪŋ ˈhɪstəri ðɪs jɪr, ðæts haʊ bæd ðɪs tim ɪz. ðə ʤɛts' dɪˈfɛns həz ˈʤɛnərˌeɪtɪd 3 ˈtərˌnoʊvərz ðɪs jɪr, ɔn peɪs fər 6 ˈtərˌnoʊvərz. ðət wʊd bi ðə loʊəst ˈtoʊtəl ɪn ˈɛˌnɛˈfɛl ˈhɪstəri, baɪ ə waɪd ˈmɑrʤən. ðə loʊəst ˈtoʊtəl ˈkəmɪŋ ˈɪntu ðɪs ˈsizən wɑz 11 ðə ʤɛts dɪˈfɛns həz ɔl əv wən ˌɪnərˈsɛpʃən ðɪs jɪr, ɔn peɪs fər tu. noʊ ˈɛˌnɛˈfɛl tim həz ˈɛvər rɪˈkɔrdɪd lɛs ðən fɔr ˌɪnərˈsɛpʃənz ɪn ə ˈsizən. ðə ʤɛts dɪˈfɛns həz əˈlaʊd ə ˈpæsər ˈreɪtɪŋ əˈgɛnst əv noʊ tim ɪn ˈɛˌnɛˈfɛl ˈhɪstəri həz ˈɛvər əˈlaʊd ə ˈpæsər ˈreɪtɪŋ ðət haɪ. tɪp əv ðə kæp tɪ ˈbrɔdˌweɪ ˌhoʊˈzeɪ fər ˈpɔɪntɪŋ ðət wən aʊt. ðoʊz ər ðə ˈɛˌnɛˈfɛl ˈrɛkərdz ðə ʤɛts ər θˈrɛtənɪŋ. ðɛn ðɛr ər ðə ˈfrænˌʧaɪz ˈrɛkərdz. ðə ʤɛts dɪˈfɛns ɪz ˈkərəntli læst ɪn ðə ˈɛˌnɛˈfɛl ɪn pɔɪnts əˈlaʊd pər geɪm. ðə ˈoʊnli ʤɛts tim ðət ˈfɪnɪʃt ðɪs loʊ ɪn ðə pɔɪnts əˈlaʊd ˈstændɪŋz wər ðə 1975 ʤɛts. nɑt ˈivɪn ðə ʤɛts timz wər ðɪs bæd dɪˈfɛnsɪvli. ðə ʤɛts ər læst ɪn ðə ˈɛˌnɛˈfɛl ɪn ˈtərˌnoʊvər ˌdɪfərˈɛnʃəl. ðə læst ʤɛts tim tɪ əˈkɑmplɪʃ ðət fit? ðə 1996 ʤɛts. ðə ʤɛts ər ðə wərst tim ɪn ðə ˈɛˌnɛˈfɛl ɪn ˈʤɛnərˌeɪtɪŋ ˈtərˌnoʊvərz ɔn dɪˈfɛns, ənd ər ðə wərst tim ɪn ðə ˈɛˌnɛˈfɛl ɪn ˈtərnɪŋ ðə bɔl ˈoʊvər ɔn əˈfɛns. nɑt ˈivɪn ðə ʤɛts əˈkɑmplɪʃt ðət ˌɪmˈprɛsɪv ˈdəbəl ˈwæmi. noʊ ʤɛts tim ˈɛvər həz. ðɪs əˈfɛns ræŋks dɛd læst ɪn ðə ˈɛˌnɛˈfɛl ɪn ˈtərˌnoʊvərz, jɑrdz pər pleɪ, jɑrdz pər geɪm, jɑrdz pər pæs əˈtɛmpt, ənd ˈpæsər ˈreɪtɪŋ. nɑt ˈivɪn ðə ʤɛts əˈfɛnsɪz əˈkɑmplɪʃt ðət. noʊ ʤɛts tim ˈɛvər həz. ðə ʤɛts ˈfrænˌʧaɪz ɪz ə ˈstɔrid wən fər ˌɪˈnɛptɪˌtud. ðɪs tim wəns wɛnt 11 streɪt jɪrz wɪˈθaʊt ə ˈsɪŋgəl ˈwɪnɪŋ ˈrɛkərd, frəm 1970 θru 1980 ənd ðeɪ wɛnt əˈnəðər 10 jɪrz, frəm 1987 θru 1996 wɪθ ʤɪst ə ˈsɪŋgəl ˈwɪnɪŋ ˈrɛkərd əv ðɪs ˈfrænˌʧaɪz həz ˈnɛvər wən mɔr ðən 12 geɪmz ənd ˈoʊnli wən mɔr ðən 10 geɪmz fɔr taɪmz ɪn 54 jɪrz, waɪl ˈluzɪŋ mɔr ðən 10 geɪmz 10 taɪmz. ðɪs ˈfrænˌʧaɪz həz ˈoʊnli hæd 18 ˈwɪnɪŋ ˈsizənz ɪn 54 jɪrz. jɛt θru ɔl ðoʊz jɪrz, θru ɔl ðət ˈluzɪŋ, ðɪs ˈfrænˌʧaɪz həz ˈnɛvər ˈfildɪd ə tim kwaɪt ɛz ˌɪˈnɛpt ɛz ðɪs 2014 ʤɛts tim ɪn ˈmɛni rɪˈspɛkts. foʊks, ju ər ˈwɪtnəsɪŋ ˈhɪstəri hir. ðɪs ɪz ɛz bæd ɛz ɪt gɪts. ðɪs ɪz ɛz bæd ɛz ɪt həz ˈɛvər ˈgɔtən. fər ɔl ðoʊz ˈhoʊlˌdaʊts hu stɪl bɪˈliv ɪn rɛks idzik*, ju hæv tɪ æsk ˈjɔrsɛlf, ɪf hɪˈstɔrɪkəli bæd ˈɪzənt ɪˈnəf tɪ gɪt ə ˈfrænˌʧaɪzɪz ˈlidərz faɪərd, wət ɪz? |
the jets are a bad team. there are few holdouts who think otherwise at this point. but how bad are they? as it turns out, if things don't get turned around in the second half, we all could be witnessing history this year, that's how bad this team is.
the jets' defense has generated 3 turnovers this year, on pace for 6 turnovers. that would be the lowest total in nfl history, by a wide margin. the lowest total coming into this season was 11. the jets defense has all of one interception this year, on pace for two. no nfl team has ever recorded less than four interceptions in a season. the jets defense has allowed a passer rating against of 113.5. no team in nfl history has ever allowed a passer rating that high. tip of the cap to broadway jose for pointing that one out.
those are the nfl records the jets are threatening. then there are the franchise records. the jets defense is currently last in the nfl in points allowed per game. the only jets team that finished this low in the points allowed standings were the 3-11 1975 jets. not even the kotite jets teams were this bad defensively. the jets are last in the nfl in turnover differential. the last jets team to accomplish that feat? the 1-15 1996 kotite jets. the jets are the worst team in the nfl in generating turnovers on defense, and are the worst team in the nfl in turning the ball over on offense. not even the kotite jets accomplished that impressive double whammy. no jets team ever has.
this offense ranks dead last in the nfl in turnovers, yards per play, yards per game, yards per pass attempt, and passer rating. not even the kotite jets offenses accomplished that. no jets team ever has.
the jets franchise is a storied one for ineptitude. this team once went 11 straight years without a single winning record, from 1970 through 1980, and they went another 10 years, from 1987 through 1996, with just a single winning record of 8-7-1. this franchise has never won more than 12 games and only won more than 10 games four times in 54 years, while losing more than 10 games 10 times. this franchise has only had 18 winning seasons in 54 years. yet through all those years, through all that losing, this franchise has never fielded a team quite as inept as this 2014 jets team in many respects. folks, you are witnessing history here. this is as bad as it gets. this is as bad as it has ever gotten. for all those holdouts who still believe in rex and/or idzik, you have to ask yourself, if historically bad isn't enough to get a franchise's leaders fired, what is? | ˈmaɪˌkroʊˈsɔft həz ə lɔŋ ənd ˌɪˈləstriəs ˈhɪstəri əv ˈɔpərˌeɪtɪŋ ˈsɪstəm seɪlz. ðə ˈmɑdəl həz sərvd ðə ˈkəmpəˌni wɛl ɔn ðə ˈpiˈsi, bət ɪf ɪt wɔnts tɪ meɪk ˈməni ɪn ðə foʊn ˈmɑrkɪt, ɪt nidz tɪ stɑrt ˈθɪŋkɪŋ laɪk ə kənˈsumər ˌɪˌlɛkˈtrɑnɪks ˈkəmpəˌni. ðət minz ˈsɛlɪŋ ˈmaɪˌkroʊˈsɔft foʊnz. ˈmaɪˌkroʊˈsɔft ˌrɛvəˈluʃəˌnaɪzd ðə ˈɔpərˌeɪtɪŋ ˈsɪstəm ˈmɑrkɪt bæk ɪn ðə ˈərli 1980s*. ˌɪnˈdid, ˈmaɪˌkroʊˈsɔft kriˈeɪtɪd ðə ˈɔpərˌeɪtɪŋ ˈsɪstəm ˈmɑrkɪt bæk ɪn ðə ˈərli 1980s*. bæk ðɛn, wɪn ju bɔt ə kəmˈpjutər, ɪt ˈnɔrməli hæd ɪts oʊn ˈspɛʃəl ˈɔpərˌeɪtɪŋ ˈsɪstəm ðət ðə ˈvɛndər ˈbəndəld (ər ˈivɪn soʊld æt ˈɛkstrə kɔst). ˈsəmˌtaɪmz ðoʊz ˈɔpərˌeɪtɪŋ ˈsɪstəmz wər ˈrɪtən baɪ θərd ˈpɑrtiz ənd ʤɪst ənd ˈkəstəˌmaɪzd baɪ ðə ˈhɑrdˌwɛr ˈvɛndər; ˈəðər taɪmz ðeɪ wər ˈrɪtən frəm ðə graʊnd əp baɪ ðə ˌmænjəˈfækʧərər. bət ðə aɪˈdiə əv ən ˈɔpərˌeɪtɪŋ ˈsɪstəm ðət ju kʊd ʤɪst goʊ aʊt ənd baɪ ənd slæp ˈɔntu ˈɛni məˈʃin wɑz ə ˈnɑvəl wən. wɪθ ðə ˈædˌvɛnt əv ənd ðə dɔn əv ðə ˈpiˈsi kloʊn ˈmɑrkɪt, ðɪs ʧeɪnʤd. wən ˈɔpərˌeɪtɪŋ ˈsɪstəm kʊd wərk ɔn məˈʃinz frəm, ˈkɑmˌpæk, dɛl, hewlett-packard*, ənd ˈɛvəri ˈəðər kloʊn ˈmeɪkər. ˈmaɪˌkroʊˈsɔfts greɪt ˌɪnəˈveɪʃən wɑz tɪ sɛl ðə ˈɔpərˌeɪtɪŋ ˈsɪstəm ɛz ə ˈvæljəbəl ˈproʊˌgræm ɪn ɪts oʊn raɪt, ənd ɪn soʊ duɪŋ ðə ˈsɔfˌwɛr ˈmeɪkər ɔl bət ɪˈlɪməˌneɪtɪd ðə ˈdɪfərənsɪz bɪtˈwin ˈdɪfərənt ˈvɛndərz' ˈsɪstəmz. ðə ˈhɑrdˌwɛr bɪˈkeɪm ən ˈɔlˌmoʊst ˌɪˈrɛləvənt ˈoʊnli θɪŋ ðət ˈmætərd wɑz ˈwɛðər ɪt kʊd rən dɔs, ənd ˈleɪtər, ˈwɪndoʊz. ˈmɛni ˈəðər ˈkəmpəˌniz stək wɪθ ðə oʊld ˈhɑrdˌwɛr pləs ˈkəstəm ˈɔpərˌeɪtɪŋ ˈsɪstəm ˈpækɪʤ. moʊst fɛl baɪ ðə ˈweɪˌsaɪd; ðə ənd əv ðɪs wərld wɛnt aʊt əv ˈbɪznɪs, əˈneɪbəl tɪ wɪθˈstænd ðə ˈɔnsˌlɔt əv ʧip ˈhɑrdˌwɛr wɪθ ə ˈsɛpərˌeɪt ˈɔpərˌeɪtɪŋ ˈsɪstəm. ðə ˈkəstəm ˈɔpərˌeɪtɪŋ ˈsɪstəm ˈmɑdəl lɪvz ɔn ɪn ðə wərld əv ˈmeɪnˌfreɪmz ənd, tɪ səm ɪkˈstɛnt, kəˈmərʃəl (ðoʊ sən traɪd tɪ breɪk soʊˈlɛrɪs aʊt əv ðɪs nɪʧ), bət ɪn ðə kənˈsumər speɪs ðɛrz ˈoʊnli wən ˈkəmpəˌni stɪl ˈstændɪŋ: ˈæpəl. ɛz ðə mæk ɑs ɛks ˈlaɪsəns əˈgrimənt ˈstɪpjəˌleɪts, mæk ɑs ɛks ɪz ˈoʊnli əˈlaʊd ɔn ˈhɑrdˌwɛr. kəˈmɑdəti ˈhɑrdˌwɛr, ər ˈvərtɪkəl ˌɪnəˈgreɪʃən? ˈmaɪˌkroʊˈsɔft ɪz ə fərm bɪˈlivər ɪn ðə ˈmɑdəl əv ˈhɑrdˌwɛr wɪθ ə θərd ˈpɑrti, ˈhɑrdˌwɛr ægˈnɑstɪk ˈɔpərˌeɪtɪŋ ˈsɪstəm (ʤɪst ɛz lɔŋ ɛz ðə ˈɔpərˌeɪtɪŋ ˈsɪstəm ɪz bɔt frəm ˈmaɪˌkroʊˈsɔft, əv kɔrs), ənd ɪts tru ðət ðə ˈmɑdəl həz wərkt ˈvɛri wɛl fər ðə ˈkəmpəˌni ˈoʊvər ðə jɪrz; 175 ˈmɪljən ˈwɪndoʊz 7 ˈlaɪsənsɪz ɪz ˈnəθɪŋ tɪ bi snɪft æt. bət ðɪs ˈmɑdəl ˈhæzənt ˈɔlˌweɪz wərkt aʊt soʊ wɛl fər ˈəðər ˈɛfərts. ðə ˈkəmpəˌni traɪd ə ˈsɪmələr tæk wɪθ ɪts ˌɪnɪˈfɛktɪv əˈtɛmpts tɪ gɪt ə ˈtoʊˌhoʊld ɪn ðə ˈpɔrtəbəl mˈjuzɪk pleɪər ˈmɑrkɪt. ðə əˈproʊʧ hir wɑz ə ˈlɪtəl ˈdɪfərənt, bət ðə eɪmz wər ˈbrɔdli ðə seɪm: ˈmaɪˌkroʊˈsɔft ˈwɔntɪd tɪ sɛl ɪts oʊn skim fər ˈɑdiˌoʊ,, tɪ ə reɪnʤ əv ˈhɑrdˌwɛr ˈvɛndərz ənd ˈɔnˌlaɪn stɔrz. ɪn ðɪs weɪ, ˈmaɪˌkroʊˈsɔft wʊd teɪk ə kət boʊθ frəm iʧ ˈhɑrdˌwɛr dɪˈvaɪs soʊld (ɛz ˈvɛndərz hæd tɪ ˈlaɪsəns ðə əˈbɪləˌti tɪ pleɪ bæk faɪlz), ənd frəm iʧ sɔŋ soʊld. ɪt ˈdɪdənt wərk aʊt ˈvɛri wɛl; ðə ˈvælju əv ðə ˈaɪˌpɔd wɑz ðət ɪt ˈɔfərd ə ˈjunəˌfaɪd ˈhɑrdˌwɛr, firmware*, ənd stɔr ɪkˈspɪriəns ðət ɔl wərkt wɛl təˈgɛðər, ənd ðə ˈpisˌmil ˈsɪstəm kʊd ˈnɛvər ˈrɛplɪˌkeɪt ðɪs. bɪˈleɪtədli ðə ˈsɔfˌwɛr ʤaɪənt ˈrɛkəgˌnaɪzd ðɪs ənd prəˈdust ðə ənd ˈleɪtər ðə. boʊθ əv ðiz ˈɔfərd ðə ˌɪnəˈgreɪʃən əv ðə ipod—hardware*, dɪˈvaɪs ˈɪnərˌfeɪs, ˈpiˈsi ˈsɔfˌwɛr, ənd ˈɔnˌlaɪn ðət hæd ˈnɛvər əˈʧivd. ðɪs muv ˈægrəˌveɪtɪd ðə wɑz naʊ kəmˈpitɪŋ wɪθ ðɛm hɛd ɔn, wɪθ ən ˈɪnəˌgreɪtɪd ˈɔfərɪŋ ðət ˈwəzənt ˈivɪn kəmˈpætəbəl, bət geɪv ˈmaɪˌkroʊˈsɔft ə məʧ ˈbɛtər ˈprɑdəkt. ðə ˈprɑbləm wɑz ðət ɪt wɑz ʤɪst tu leɪt; ðə ˈaɪˌpɔd wɑz ˈdipli ɪnˈtrɛnʧt, ənd fər ˈrizənz bɛst noʊn tɪ ˈrɛdmənd, ðə ˈkəmpəˌni ˌdɪˈsaɪdɪd tɪ ˈoʊnli sɛl ðə ɪn ðə ɪz tɪ seɪ, ðə ˈmɑrkɪt wɛr ˈæpəlz ˈprɛzəns wɑz ˈstrɔŋgəst, ənd ðə ˈmɑrkɪt ɪn wɪʧ wɑz list ˈlaɪkli tɪ meɪk ən ˌɪmˈpækt. ðə wər nɑt ɪnˈtaɪərli ˌɪnˈspaɪərɪŋ, ɛz ðeɪ wər rəʃ ʤɑbz beɪst ɔn ɪgˈzɪstɪŋ toʊˈʃibə pleɪərz. bət ðə wɑz ən dɪˈzaɪn, ənd ɪt wɑz ə ˌhaɪkˈwɑləti, əˈtræktɪv, pis əv ˈhɑrdˌwɛr. ɪf ˈnəθɪŋ ɛls, ɪt ˈdɛmənˌstreɪtɪd ðət ˈrɛdmənd kən, ɪn fækt, ˈproʊdus ˈdisənt kənˈsumər ˌɪˌlɛkˈtrɑnɪks dɪˈvaɪsɪz, wɪθ ə lʊk ðət əˈpilz, ən ˈɪnərˌfeɪs ðət wərks wɛl, ənd əˈtræktɪv ˈpiˈsi ˈsɔfˌwɛr. ðə 360 fər ɔl ɪts ˈhɑrdˌwɛr ˈprɑbləmz, meɪks ə ˈsɪmələr keɪs. ðə rɛd rɪŋ əv dɛθ flɔz ˈsərtənli dɪˈtrækt frəm ðə 360 ɛz ə pis əv dɪˈzaɪn. bət ˈəltəmətli, ɪts ə well-liked*, əˈplaɪəns, ənd ɪt ʃoʊz ɔf ðə ˈbɛnəfɪts əv ˈvərtɪkəl ˌɪnəˈgreɪʃən. ɛz wɪθ ðə, ðə 360 ʃoʊz ðət ˈmaɪˌkroʊˈsɔft kən bɪld ə ˈtaɪtli ˈɪnəˌgreɪtɪd ˌkɑmbəˈneɪʃən əv ˈhɑrdˌwɛr, ˈsɔfˌwɛr, ənd ˈɔnˌlaɪn ˈsərvɪsɪz. ðoʊ ɪt meɪ nɑt ˈɛvər meɪk məʧ ˈməni, fər ˈvɛriəs ˈrizənz, ɪt ˌnənðəˈlɛs sərvz tɪ ˈdɛmənˌstreɪt ðət ˈrɛdmənd kən du ðə kənˈsumər ˌɪˌlɛkˈtrɑnɪks θɪŋ ˈprɑpərli. stɪl, ðɛr ər ˈəðər ˈɛriəz wɛr ˈrɛdmənd ɪz pərˈsɪstɪŋ wɪθ ɪts ˈlaɪsənst ˈɔpərˌeɪtɪŋ ˈsɪstəm ˈmɑdəl. foʊnz ər, əv kɔrs, ðə bɪg wən. ˈwɪndoʊz ˈmoʊbəl ɪz soʊld tɪ tɪ stɪk ɔn ðə dɪˈvaɪsɪz ðeɪ bɪld, ənd ɪts əp tɪ ðə ˌmænjəˈfækʧərərz tɪ ˈproʊdus ˈɛləgənt, əˈtræktɪv ˈhɑrdˌwɛr. ˈwɪndoʊz ˈmoʊbəl ɪz ˈɔlsoʊ ˈhaɪli customizable*, ənd ˈmɛni ˈhændˌsɛt ˌmænjəˈfækʧərərz ˌɛkˈsplɔɪt ðɪs tɪ æd ðɛr oʊn ˈkəstəm tɪ meɪk əp fər ˈvɛriəs flɔz ɪn ðə ˈstændərd ˈwɪndoʊz ˈmoʊbəl ˈjuzər ˈɪnərˌfeɪs. ˈmaɪˌkroʊˈsɔft həz hæd ə ˈlɪtəl səkˈsɛs wɪθ ðɪs ˈmɑdəl, bət ðət səkˈsɛs həz bɪn ˈweɪnɪŋ. ðə ˌɪntrəˈdəkʃən əv ðə ˈaɪˌfoʊn wɑz ðə ˈtərnɪŋ pɔɪnt; ɪt ˈɔfərd ðə seɪm ˌɪnəˈgreɪʃən ðət ðə ˈaɪˌpɔd hæd, ənd ɪt brɔt ɪt tɪ ðə foʊn. ə strɔŋ ˈjuzər ˈɪnərˌfeɪs, kəmˈpɛlɪŋ ˌɪnˈdəstriəl dɪˈzaɪn, ˌɪnəˈgreɪʃən wɪθ ən ˈɔnˌlaɪn mˈjuzɪk stɔr, ənd ən ˌæpləˈkeɪʃən stɔr, ɔl əv wɪʧ ʃoʊd ðə ˈvælju əv ˈvərtɪkəl ˌɪnəˈgreɪʃən ɪn ə smartphone*. kənˈsumərz laɪkt wət ðeɪ sɔ. |
microsoft has a long and illustrious history of operating system sales. the model has served the company well on the pc, but if it wants to make money in the phone market, it needs to start thinking like a consumer electronics company. that means selling microsoft phones.
microsoft revolutionized the operating system market back in the early 1980s. indeed, microsoft created the operating system market back in the early 1980s. back then, when you bought a computer, it normally had its own special operating system that the vendor bundled (or even sold at extra cost).
sometimes those operating systems were written by third parties and just rebranded and customized by the hardware vendor; other times they were written from the ground up by the manufacturer. but the idea of an operating system that you could just go out and buy and slap onto any machine was a novel one.
with the advent of ms-dos and the dawn of the ibm pc clone market, this changed. one operating system could work on machines from ibm, compaq, dell, hewlett-packard, and every other clone maker. microsoft's great innovation was to sell the operating system as a valuable program in its own right, and in so doing the software maker all but eliminated the differences between different vendors' systems. the hardware became an almost irrelevant commodity—the only thing that mattered was whether it could run dos, and later, windows.
many other companies stuck with the old hardware plus custom operating system package. most fell by the wayside; the amigas and ataris of this world went out of business, unable to withstand the onslaught of cheap commoditized hardware with a separate operating system.
the custom operating system model lives on in the world of mainframes and, to some extent, commercial unixes (though sun tried to break solaris out of this niche), but in the consumer space there's only one company still standing: apple. as the mac os x license agreement stipulates, mac os x is only allowed on apple-branded hardware.
commodity hardware, or vertical integration?
microsoft is a firm believer in the model of commoditized hardware with a third party, hardware agnostic operating system (just as long as the operating system is bought from microsoft, of course), and it's true that the model has worked very well for the company over the years; 175 million windows 7 licenses is nothing to be sniffed at.
but this model hasn't always worked out so well for redmond's other post-pc efforts. the company tried a similar tack with its ineffective attempts to get a toehold in the portable music player market. the approach here was a little different, but the aims were broadly the same: microsoft wanted to sell its own scheme for drm-protected audio, playsforsure, to a range of hardware vendors and online stores. in this way, microsoft would take a cut both from each hardware device sold (as vendors had to license the ability to play back playsforsure-protected files), and from each playsforsure-protected song sold.
it didn't work out very well; the value of the ipod was that it offered a unified hardware, firmware, and store experience that all worked well together, and the piecemeal playsforsure system could never replicate this. belatedly the software giant recognized this and produced the zune and later the zune hd. both of these offered the end-to-end integration of the ipod—hardware, device interface, pc software, and online store—something that playsforsure had never achieved.
this move aggravated the playsforsure partners—microsoft was now competing with them head on, with an integrated offering that wasn't even playsforsure compatible, but gave microsoft a much better product. the problem was that it was just too late; the ipod was deeply entrenched, and for reasons best known to redmond, the company decided to only sell the zune hd in the us—that is to say, the market where apple's presence was strongest, and the market in which zune hd was least likely to make an impact.
the first-generation zunes were not entirely inspiring, as they were rush jobs based on existing toshiba mp3 players. but the zune hd was an all-new design, and it was a high-quality, attractive, well-designed piece of hardware. if nothing else, it demonstrated that redmond can, in fact, produce decent consumer electronics devices, with a look that appeals, an interface that works well, and attractive pc software.
the xbox 360, for all its hardware problems, makes a similar case. the red ring of death flaws certainly detract from the xbox 360 as a piece of design. but ultimately, it's a well-liked, well-designed appliance, and it shows off the benefits of vertical integration. as with the zune hd, the xbox 360 shows that microsoft can build a tightly integrated combination of hardware, software, and online services. though it may not ever make much money, for various reasons, it nonetheless serves to demonstrate that redmond can do the consumer electronics thing properly.
still, there are other areas where redmond is persisting with its licensed operating system model. phones are, of course, the big one. windows mobile is sold to oems to stick on the devices they build, and it's up to the manufacturers to produce elegant, attractive hardware. windows mobile is also highly customizable, and many handset manufacturers exploit this to add their own custom front-ends to make up for various flaws in the standard windows mobile user interface.
microsoft has had a little success with this model, but that success has been waning. the introduction of the iphone was the turning point; it offered the same end-to-end integration that the ipod had, and it brought it to the phone. a strong user interface, compelling industrial design, integration with an online music store, and an easy-to-use application store, all of which showed the value of vertical integration in a smartphone. consumers liked what they saw. | ðə ˈsæmˌsəŋ ədˈvænst ˈɪnstɪˌtut əv tɛkˈnɑləʤi (sait*) ˈrisəntli əˈnaʊnst ðə səkˈsɛsfəl əv ə juˈnik ˈbætəri məˈtɪriəl wɪʧ kʊd bi ðə ˈbreɪkθˌru ɪn ˈbætəri tɛkˈnɑləʤi ðət ˈmɛni hæv bɪn ˈweɪtɪŋ fər. meɪd frəm ə ðət həz lɔŋ bɪn ˈhɛrəldɪd ɛz ə ˈwəndər məˈtɪriəl bɪˈkəz əv ɪts ˌɛkstrəˈɔrdəˌnɛri ˈprɑpərtiz ðət hoʊld ðə pəˈtɛnʃəl tɪ ˌrɛvəˈluʃəˌnaɪz ˈdɪfərənt ˈɪndəstriz ˌɪnˈkludɪŋ ˌɪˌlɛkˈtrɑnɪks, ˌtrænspərˈteɪʃən, ˈmɛdəsən ənd ˈɛnərʤi ˈstɔrɪʤ ðə nu məˈtɪriəl, neɪmd baɪ ðə ˈsæmˌsəŋ electronics’*’ ˈrisərʧ ɑrm ɛz ball”*”, kʊd pəˈtɛnʃəli dɪˈlɪvər ˈʧɑrʤɪŋ spidz ˈfæstər ðən ˈstændərd ˈbætəriz ənd, ˌθiərˈɛtɪkəli, əˈʧiv ə ˈhənərd pərˈsɛnt ʧɑrʤ ɪn ˈoʊnli 12 ˈmɪnəts. əˈkɔrdɪŋ tɪ sait*, ˈbætəriz ðət juz bɔl kʊd ˈɔlsoʊ ɪˈneɪbəl ˈbætəri kəˈpæsɪtiz tɪ groʊ baɪ ɛz məʧ ɛz 45 pərˈsɛnt ənd meɪnˈteɪn ə ˈtɛmpərəʧər əv 60 dɪˈgriz ˈsɛlsiəs, ə ki rɪkˈwaɪrmənt ɪn ɪˈlɛktrɪk kɑz. ˈsæmˌsəŋ ˈɔlsoʊ sɛd ðət ðeɪ hæv ˈpætəntɪd ðə tɛkˈnɑləʤi ɪn saʊθ ˌkɔˈriə ənd ðə ˈjuˈɛs ənd ðət ðɛr ˈrisərʧ ˈɔfərd fər ðə nɛkst ˌʤɛnərˈeɪʃən ˈsɛkənˌdɛri ˈbætəri market,”*,” əˈspɛʃəli ɪn riˈleɪʃən tɪ smartphones*, smɑrt ˈgæʤəts ənd ɪˈlɛktrɪk ˈviɪkəlz. ðə fʊl ˈfaɪndɪŋz əv ˈrisərʧ wər ˈrisəntli ˈpəblɪʃt ɔn ˈneɪʧər kəmˌjunəˈkeɪʃənz. ɛz ðə ˈrisərʧ səˈʤɛsts, tim, lɛd baɪ sən in-hyuk*, dɪˈvɛləpt ə ˈmɛkəˌnɪzəm ðət əˈlaʊz wɪθ ɪts ˌməltiˈfəŋkˌʃənəl ənd juˈnik ˈprɑpərtiz, səʧ ɛz biɪŋ 200 taɪmz ˈstrɔŋgər ðən stil, ˈdʊrəbəl, ˈhaɪli kənˈdəktɪv ənd ðə ˈθɪnɪst məˈtɪriəl tɪ bi mæs ˈɪntu ə fɔrm ˈjuzɪŋ ə ˈkɑmpaʊnd noʊn ɛz ˈsɪlɪkə ðə tim ðɛn juzd ðə tɛkˈnik tɪ bi ˈjutəˌlaɪzd fər boʊθ ðə ˈæˌnoʊd prəˈtɛktɪv leɪər ənd ˈkæˌθoʊd məˈtɪriəlz ɪn ˈbætəriz. ðɪs ˌæpləˈkeɪʃən rɪˈzəltɪd ɪn ə sɪgˈnɪfɪkənt ˌɪnˈkris ɪn ˈbætəri ˈʧɑrʤɪŋ kəˈpæsɪti, ˈdiˌkris əv ˈʧɑrʤɪŋ taɪm ɛz wɛl ɛz ˈsteɪbəl ˈtɛmpərəʧər pərˈfɔrməns. wɪθ ˌɪnˈkrist kəˈpæsɪti, ˈfæstər ˈʧɑrʤɪŋ taɪm ɪz əˈnəðər ˈkruʃəl ˌɪmˈpruvmənt ðət ˈbætəriz ˈbædli nid. ˈkərəntli, ə ˈbætəri teɪks ən aʊər tɪ ˈfʊli ʧɑrʤ. wərθ ˈnoʊtɪŋ ðət waɪl ðɛr hæv bɪn ˌɪmˈpruvmənts əˈlɔŋ ðə weɪ sɪns kəˌmərʃəlɪˈzeɪʃən ɪn 1991 ðə ˌmænjəˈfækʧərɪŋ ˈprɔˌsɛs əv həz nɑt ˌfəndəˈmɛnəli ʧeɪnʤd. nu ˈbreɪkθˌru ˈæˈdrɛsɪz ðə ˈstægnənt ˈæˌspɛkt θæŋks tɪ ðə ˈmɛni ædˈvæntɪʤɪz, ˌɪnˈkludɪŋ kɔst, ðət ðə ˌəndərˈlaɪɪŋ ˈkɛmɪstri əv ðə ˈprɔˌsɛs pəˈzɛsɪz. ˈrisərʧ ɪˈneɪbəlz mæs ˈsɪnθəsəs əv ˌməltiˈfəŋkˌʃənəl kəmˈpɑzət məˈtɪriəl æt ən əˈfɔrdəbəl price,”*,” in-hyuk*, ɪkˈspleɪnd. ðə seɪm taɪm, wi wər ˈeɪbəl tɪ kənˈsɪdərəbli ɛnˈhæns ðə ˌkeɪpəˈbɪlətiz əv ˈbætəriz ɪn ən ɪnˈvaɪrənmənt wɛr ðə ˈmɑrkɪts fər ˈmoʊbəl dɪˈvaɪsɪz ənd ɪˈlɛktrɪk ˈviɪkəlz ɪz groʊɪŋ ˈræpədli. kəˈmɪtmənt ɪz tɪ kənˈtɪnjuəsli ɪkˈsplɔr ənd dɪˈvɛləp ˈsɛkənˌdɛri ˈbætəri tɛkˈnɑləʤi ɪn laɪt əv ðiz trends.”*.” ˈbætəri ˈbreɪkθˌru ɪz sin wɪθ ɪkˈsaɪtmənt baɪ ˈmɛni ɛz ðə ˈkɑrənt tɛkˈnɑləʤi, wɪʧ həz tɪ du mɔr wɪθ ðə weɪ ðə sɛlz ər dɪˈzaɪnd ənd ˌmænjəˈfækʧərd, həz ˈɑbviəsli riʧt ɪts ˌlɪmɪˈteɪʃənz. ɪn ə ˈmeɪʤər ˈsɛtˌbæk tɪ ˈsæmˌsəŋ ɪn ðə ˈgloʊbəl foʊn ˈbɪznɪs, ˈhənərdz əv ˈgæləksi noʊt 7 ðə smartphone*, spɑnˈteɪniəsli ˈstɑrtɪd ˈbərstɪŋ ˈɪntu fleɪmz læst jɪr du tɪ ˈfɔlti ˈbætəriz. ɪt goʊz wɪˈθaʊt seɪɪŋ, ðət ðə taɪm həz kəm fər ə nu ˈbætəri tɛk ðət wɪl dɪˈspleɪs ðə ˈsɛvərəl ˈdɛkeɪdz oʊld dɪˈzaɪn. dɪˈzaɪnɪŋ ənd ˌmænjəˈfækʧərɪŋ fæst ˈʧɑrʤɪŋ ənd ˈbætəriz kʊd hæv sɪgˈnɪfɪkənt ˌɪmpləˈkeɪʃənz fər moʊst ˈkətɪˌŋɛʤ tɛk ˌæpləˈkeɪʃənz ˌɪnˈkludɪŋ smartphones*, ˈwɛrəbəl kəmˈpjutərz, ɪˈlɛktrɪk ˈviɪkəlz, ɔl ˈmɑdərn ˌtɛknəˈlɑʤɪkəl ədˈvænsmənts ðət ˌrikˈwaɪər lɑrʤ əˈmaʊnts əv paʊər ənd ˈɛnərʤi. |
the samsung advanced institute of technology (sait) recently announced the successful synthesization of a unique battery material which could be the breakthrough in battery technology that many have been waiting for.
made from graphene – a 2d-matter that has long been heralded as a wonder material because of its extraordinary properties that hold the potential to revolutionize different industries including electronics, transportation, medicine and energy storage – the new synthesised material, named by the samsung electronics’ research arm as “graphene ball”, could potentially deliver charging speeds 5x faster than standard lithium-ion batteries and, theoretically, achieve a hundred percent charge in only 12 minutes.
according to sait, batteries that use graphene ball could also enable battery capacities to grow by as much as 45 percent and maintain a temperature of 60 degrees celsius, a key requirement in electric cars. samsung also said that they have patented the technology in south korea and the us and that their research offered “promise for the next generation secondary battery market,” especially in relation to smartphones, smart gadgets and electric vehicles.
the full findings of sait’s research were recently published on nature communications. as the research suggests, samsung’s team, led by son in-hyuk, developed a mechanism that allows graphene with its multifunctional and unique properties, such as being 200 times stronger than steel, durable, highly conductive and the planet’s thinnest material to be mass synthesised into a 3d popcorn-like form using a quartz-like compound known as silica (sio2). the team then used the graphene-ball technique to be utilized for both the anode protective layer and cathode materials in lithium-ion batteries. this application resulted in a significant increase in battery charging capacity, decrease of charging time as well as stable temperature performance.
with increased capacity, faster charging time is another crucial improvement that today’s batteries badly need. currently, a battery takes an hour to fully charge.
it’s worth noting that while there have been improvements along the way since commercialization in 1991, the manufacturing process of ion-lithiums has not fundamentally changed. samsung’s new graphene-ball breakthrough addresses the tech’s stagnant aspect thanks to the many advantages, including cost, that the underlying chemistry of the process possesses.
“our research enables mass synthesis of multifunctional composite material graphene at an affordable price,” in-hyuk, explained.
“at the same time, we were able to considerably enhance the capabilities of lithium-ion batteries in an environment where the markets for mobile devices and electric vehicles is growing rapidly.
“our commitment is to continuously explore and develop secondary battery technology in light of these trends.”
samsung’s battery breakthrough is seen with excitement by many as the current technology, which has to do more with the way the cells are designed and manufactured, has obviously reached its limitations.
in a major setback to samsung in the global phone business, hundreds of galaxy note 7, the company’s top-of-the-line smartphone, spontaneously started bursting into flames last year due to faulty lithium-ion batteries.
it goes without saying, that the time has come for a new battery tech that will displace the several decades old lithium-ion design. designing and manufacturing fast charging and high-capacity batteries could have significant implications for most cutting-edge tech applications including smartphones, wearable computers, electric vehicles, all modern technological advancements that require large amounts of power and energy. | ɔl pəˈlɪtɪkəl ˈkænədɪts kɔl ðɛmˈsɛlvz freedom-lovers*, bət ðeɪ ər nɑt. ˈniðər ˈmeɪʤər ˈpɑrti ˈrɪli əˈpoʊzɪz ˈgəvərnmənt kənˈtroʊl əv ðə ɪˈkɑnəmi ər əv ɑr ˈpərsɪnəl lɪvz. əm ə ˌlɪˌbərˈtɛˌriən bɪˈkəz aɪ si ðə fɔls ʧɔɪs ˈɔfərd baɪ pəˈlɪtɪkəl lɛft ənd raɪt: ˈdɛməˌkræts tɔk əˈbaʊt ˈpərsɪnəl ˈlɪbərˌti; rɪˈpəblɪkənz tɔk əˈbaʊt ˌɛkəˈnɑmɪk ˈfridəm. bət wət ðeɪ du wəns ɪn paʊər bɪˈlaɪz ðɛr wərdz. aɪ seɪ wɪr bɛst ɔf ɪf ˈgəvərnmənt ʤɪst livz ˈjuˈɛs əˈloʊn tɪ ɑr ˈpisfəl kˌwɔpərˈeɪʃən wɪθ huˈmɛvər wi pliz. lɛt ˌpɑləˈtɪʃənz ˈædvəˌkeɪt ˈmɔrəl bɪˈheɪvjər. lɛt ðɛm gɪv tɪ ˈʧɛrɪtiz. bət liv ɪz ˈfɪzɪkəl əv ɪt. ðæts waɪ aɪ laɪk ˈgɛri ˈʤɑnsən, ðə ˈfɔrmər rɪˈpəblɪkən ˈgəvərnər əv nu ˈmɛksəˌkoʊ. hiz ðə ˌlɪˌbərˈtɛˌriən ˈpɑrti ˈkænədɪt fər ˈprɛzɪdənt. ɛz ˈgəvərnər, ˈʤɑnsən ˈviˌtoʊd 750 bɪlz, ənd jɛt hi gɑt ɪn ðət blu steɪt. aɪ æst ˈʤɑnsən wət ɪt minz tɪ bi ə ˌlɪˌbərˈtɛˌriən. "ˈfɪskəli riˈspɑnsəbəl, ˈsoʊʃəli əkˈsɛptɪŋ mɔr ˈlɪˌbərəl ðən ˌoʊˈbɑmə ɔn ˈsɛvərəl ˈɪʃuz, mɔr kənˈsərvətɪv ðən ˈrɑmni ɔn ˈsɛvərəl ˈɪʃuz." ˈʤɑnsən prəˈpoʊzɪz tɪ kət ˈfɛdərəl ˈspɛndɪŋ baɪ mɔr ðən 43 pərˈsɛnt: "ˈbæləns ðə ˈfɛdərəl ˈbəʤɪt naʊ. aɪ θɪŋk ðət ənˈlɛs wi du ðət, wɪr goʊɪŋ tɪ faɪnd ɑrˈsɛlvz ɪn ə ˈmɑnəˌtɛri kəˈlæps." tɪ du ðət, hid goʊ wɛr ðə ˈməni ɪz. hid kət ðə bɪg ˈproʊˌgræmz ðət wɪl sun ˈbæŋkrəpt ˈjuˈɛs. ðət ˌɪnˈkludz ˈmɛdəˌkɛr. kənˈvɛnʃənəl ˈwɪzdəm sɪz wət hiz prəˈpoʊzɪŋ ɪz kruəl ənd, fər ə ˌpɑləˈtɪʃən, ˌsuəˈsaɪdəl. "lʊk, wiv gɑt tɪ slæʃ ˈmɛdəˌkɛr ˈspɛndɪŋ. ɪf wi doʊnt, wɪr goʊɪŋ tɪ faɪnd ɑrˈsɛlvz wɪθ noʊ hɛlθ kɛr ˌwətsoʊˈɛvər. ˈmɛdəˌkeɪd, seɪm θɪŋ. ˈmɪlɪˌtɛri ˈspɛndɪŋ, seɪm θɪŋ." ðə lɛft kleɪmz ðət wɪˈθaʊt ˈsoʊʃəl ˈspɛndɪŋ, ˈpipəl wʊd stɑrv ɪn ðə strits! "ðɪs ɪz ðə ɪgˈzækt riˈækʃən ðət aɪ gɑt ɛz ˈgəvərnər əv nu ˈmɛksəˌkoʊ, ˈhævɪŋ ˈviˌtoʊd ɔl ðət ˌlɛʤəsˈleɪʃən. kɪdz wər goʊɪŋ tɪ stɑrv, ɔl ðə wərst θɪŋz wər goʊɪŋ tɪ ˈhæpən, ənd nən əv ðɛm dɪd. ənd aɪ gɑt." hu wʊd ˌdɪˈsaɪd wət pɑrt əv ˈmɛdəˌkɛr tɪ kət? "gɪv ðɪs əp tɪ ðə steɪts. ˈfɪfti ˈlæbrəˌtɔriz əv ˌɪnəˈveɪʃən ənd bɛst ˈpræktɪs (ˌɪnˈstɛd əv) ˈwɔʃɪŋtən ˈtɔpˌdaʊn, ðæts wət həz ˈjuˈɛs ɪn ðə ˌsɪʧuˈeɪʃən ðət wɪr ɪn raɪt naʊ." ˈʤɑnsən ˈɔlsoʊ sɪz, "ɛnd ðə wɔrz." woʊnt ə ˈpʊˌlaʊt əv ɑr trups min ðə ˈtɛrəˌrɪsts wɪn? "wi hæv ˈhənərdz əv ˈmɪljənz əv ˈɛnəmiz ðət, bət fər ɑr ˈmɪlɪˌtɛri ˌɪntərˈvɛnʃənz, wi wʊd nɑt ˈəðərˌwaɪz hæv. soʊ lɛts teɪk ˈmɪlɪˌtɛri ˈspɛndɪŋ bæk tɪ 2003 ˈspɛndɪŋ ˈlɛvəlz. stɑrt aʊt wɪθ ðə ˈprɛmɪs ðət wi ʃʊd prəˈvaɪd ɑrˈsɛlvz wɪθ ə strɔŋ ˈnæʃənəl dɪˈfɛns. bət 'dɪˈfɛns' hir ɪz ðə ˈɑpərətɪv wərd. nɑt 'əˈfɛns' ənd nɑt 'nation-building*.' wɪr ˈbɪldɪŋ roʊdz, skulz, ˈbrɪʤɪz, ˈhaɪˌweɪz ənd ˈhɑˌspɪtəlz ɪn ˈəðər ˈkəntriz, ənd wi hæv ðoʊz nidz hir ɪn ðɪs ˈkəntri." ɪn wən əv ˈʤɑnsənz kæmˈpeɪn ædz, hi kəmˈpɛrz ðə juz. ˌkɑnstəˈtuʃən tɪ ðə juz. tæks koʊd. "wən ɪz ˈsɪmpəl ənd əˈbaʊt ˈikwəl raɪts fər ɔl. ðə ˈəðər ɪz ɪkˈstrimli ˈkɑmplɛks ənd ˈɛniˌθɪŋ bət ˈikwəl raɪts fər ɔl. ɪts ˈkroʊni ˈkæpɪtəˌlɪzəm ɪn ə ˈnətˌʃɛl. ɪts ðə rut əv ˈivəl. ˌɪndəˈvɪʤəwəlz, grups, ˌkɔrpərˈeɪʃənz peɪ fər ˈluˌphoʊlz. boʊθ ˈpɑrtiz sɛl ðoʊz ˈluˌphoʊlz. ɪˈlɪməˌneɪt ðə ˈaɪˌɑˈrɛs. əˈbɑlɪʃ ˈɪnˌkəm tæks (ənd) ˈkɔrpərət tæks." haʊ wɪl ˈgəvərnmənt gɪt ˈməni? |
all political candidates call themselves freedom-lovers, but they are not. neither major party really opposes government control of the economy or of our personal lives. i'm a libertarian because i see the false choice offered by political left and right: democrats talk about personal liberty; republicans talk about economic freedom. but what they do once in power belies their words.
i say we're best off if government just leaves us alone to our peaceful cooperation with whomever we please. let politicians advocate moral behavior. let them give to charities. but leave government—which is physical force—out of it.
that's why i like gary johnson, the former republican governor of new mexico. he's the libertarian party candidate for president. as governor, johnson vetoed 750 bills, and yet he got re-elected in that blue state.
i asked johnson what it means to be a libertarian.
"fiscally responsible, socially accepting ... more liberal than obama on several issues, more conservative than romney on several issues."
johnson proposes to cut federal spending by more than 43 percent:
"balance the federal budget now. i think that unless we do that, we're going to find ourselves in a monetary collapse."
to do that, he'd go where the money is. he'd cut the big programs that will soon bankrupt us. that includes medicare. conventional wisdom says what he's proposing is cruel and, for a politician, suicidal.
"look, we've got to slash medicare spending. if we don't, we're going to find ourselves with no health care whatsoever. medicaid, same thing. military spending, same thing."
the left claims that without social spending, people would starve in the streets!
"this is the exact reaction that i got as governor of new mexico, having vetoed all that legislation. ... kids were going to starve, all the worst things were going to happen, and none of them did. and i got re-elected."
who would decide what part of medicare to cut?
"give this up to the states. fifty laboratories of innovation and best practice ... (instead of) washington top-down, washington-knows-best -- that's what has us in the situation that we're in right now."
johnson also says, "end the wars." won't a pullout of our troops mean the terrorists win?
"we have hundreds of millions of enemies ... that, but for our military interventions, we would not otherwise have. so let's take military spending back to 2003 spending levels. start out with the premise that we should provide ourselves with a strong national defense. but 'defense' here is the operative word. not 'offense' and not 'nation-building.' we're building roads, schools, bridges, highways and hospitals in other countries, and we have those needs here in this country."
in one of johnson's campaign ads, he compares the u.s. constitution to the u.s. tax code.
"one is simple and about equal rights for all. the other is extremely complex and anything but equal rights for all. it's crony capitalism in a nutshell. it's the root of evil. individuals, groups, corporations pay for loopholes. both parties sell those loopholes. eliminate the irs. abolish income tax (and) corporate tax."
how will government get money? | ˌɪˈrɑk wɔr ˈvɛtərən ˈɛmɪli jeɪts wɑz ərˈɛstɪd ɔn ˈfraɪˌdeɪ ˈæftər ə dɪˈspjut wɪθ pəˈlis əˈbaʊt wɛr ʃi kʊd stænd waɪl pleɪɪŋ hər ˈbænˌʤoʊ ˈdʊrɪŋ ə ˈproʊˌtɛst əˈgɛnst juz. ˈmɪlɪˌtɛri ˈækʃən ɪn ˈsɪriə. ˈvɪdioʊ ˈəˌploʊdɪd tɪ lɪv lik ʃoʊz jeɪts ˈæskɪŋ ˈfɛdərəl pɑrks pəˈlis waɪ ʃi kʊd nɑt stænd ɪn ə ˈʃeɪdɪd ˈɛriə əv ˌɪndɪˈpɛndəns mɔl ɪn ˌfɪləˈdɛlfiə. ˈæftər ˈsɛvərəl ˈmɪnəts əv dɪˈskəʃən, tu ˈɔfɪsərz bɛnt jeɪts ˈoʊvər ə pɑrk bɛnʧ ənd ˈhændˌkəft hər. lɪv ɪn ə pəˈlis state,”*,” ʃi ʃaʊts! lɪv ɪn ə pəˈlis steɪt! ˈdæmɪʤɪŋ maɪ ˈbɑdi ənd maɪ ˈpərsɪnəl ˈprɑpərti! aɪ wɛnt tɪ wɔr fər ðɪs ˈkəntri! stɑp mi! stɑp! stɑp! hɛlp! help!”*!” baɪ ðə taɪm jeɪts ɪz drægd frəm ðə pɑrk, æt list eɪt ˈɔfɪsərz ər pɑrˈtɪsəˌpeɪtɪŋ ɪn ðə ərˈɛst. ə wɛb peɪʤ ˈkleɪmɪŋ tɪ bi ðə jeɪts dɪˈfɛns fund”*” ˌɪnˈsɪstɪd ðət ðə ˈæktɪvɪst nɑt ɪnˈgeɪʤd ɪn ˈɛni ˌɪˈligəl ækˈtɪvɪti ənd wɑz nɑt toʊld waɪ ʃi wɑz biɪŋ attacked.”*.” ʃi wɑz ˈbɪzi pleɪɪŋ ə sɔŋ, pɑrk ˈreɪnʤərz əˈkɑstəd hər. wɪn ʃi dɪˈmændɪd ən ˌɛkspləˈneɪʃən fər ðɛr əˈgrɛʃən, ðeɪ pɪnd hər ˈɔntu ə pɑrk bɛnʧ ənd drægd hər ɔf tɪ ən ˌəndɪˈskloʊzd location,”*,” əˈkɔrdɪŋ tɪ ðə ˈwɛbˌsaɪt. ər nɑt biɪŋ toʊld wɛr ʃi ɪz biɪŋ hɛld ənd ʃi həz nɑt bɪn əˈlaʊd ˈɛni kəmˌjunəˈkeɪʃən wɪθ ðə ˈaʊtˈsaɪd world.”*.” wɔʧ ðɪs ˈvɪdioʊ frəm lɪv lik, ˈbrɔdˌkæst ˈɔgəst. 31 2013 |
iraq war veteran emily yates was arrested on friday after a dispute with police about where she could stand while playing her banjo during a protest against u.s. military action in syria.
video uploaded to live leak shows yates asking federal parks police why she could not stand in a shaded area of independence mall in philadelphia.
after several minutes of discussion, two officers bent yates over a park bench and handcuffed her.
“we live in a police state,” she shouts! “we live in a f*cking police state! they’re damaging my body and my personal property! i went to war for this country! stop manhandling me! stop! stop! help! help!”
by the time yates is dragged from the park, at least eight officers are participating in the arrest.
a web page claiming to be the “emily yates defense fund” insisted that the activist “was not engaged in any illegal activity and was not told why she was being attacked.”
“while she was busy playing a song, park rangers accosted her. when she demanded an explanation for their aggression, they pinned her onto a park bench and dragged her off to an undisclosed location,” according to the website. “we are not being told where she is being held and she has not been allowed any communication with the outside world.”
watch this video from live leak, broadcast aug. 31, 2013. | here’s* ðə frənt peɪʤ əv wɔl strit ˈʤərnəl; aɪ θɪŋk ɪt sɪz ə lɔt əˈbaʊt wɛr ˈoʊnər ˈrupərt ˈmərdɑk ənd ˈmænəʤɪŋ ˈɛdɪtər ˈrɑbərt ˈtɑmsən ər ˈteɪkɪŋ ðə ˈpeɪpər. ðɛr ər θri meɪn ˈaɪtəmz ɔn ðə peɪʤ. ðə bɪg ˈhɛˌdlaɪn splæʃt əˈkrɔs ðə tɔp ɪz fəndz paʊnd euro”*” ə ˈstɔri wɪʧ, ɪn ɪts ˈɔnˌlaɪn ˈtɛlɪŋ, ɪz ˈwikənd sɪgˈnɪfɪkəntli tɪ fəndz traɪ trade’*’ əˈgɛnst euro”*”, ˌɔlˈðoʊ ðə ˈhɛˌdlaɪn ɔn ðə hoʊm peɪʤ rɪˈmeɪnz ðə seɪm. ðə ˈstɔri ɪz əˈkəmpənid baɪ ə ʧɑrt ʃoʊɪŋ ðə ˈrisənt dɪˈtɪriərˌeɪʃən ɪn ðə ˈvælju əv ðə ˈjʊrə, fər ɔl ðə wərld ɛz ðoʊ ɪt wər kɔzd baɪ ðə hɛʤ fəndz ɪn kˈwɛʃən. ˈivɪn hɪnts əv kənˈspɪrəsi: ðə ˈstɔri bɪˈgɪnz wɪθ ðə teɪl əv ə fju fənd ˈmænɪʤərz ˈhævɪŋ ˈdɪnər təˈgɛðər! ənd ˈtɔkɪŋ əˈbaʊt ðə ˈjʊrə! ˈoʊnli ðə ˈveɪgɪst hɪnt, ɪn ðə, ðət rɪˈdɪkjələs tɪ θɪŋk ðət hɛʤ fəndz kʊd kɔz ə lɑrʤ ʧeɪnʤ ɪn ðə ˈvælju əv ðə ˈjʊrə əˈgɛnst ðə ˈdɔlər. ðeɪ kən ˈsərtənli bɛt ɔn səʧ ə muv, ənd meɪk ˈməni ɪf ɪt ˈhæpənz, bət ju məˈnɪpjəˌleɪt ðə ˈlɑrʤəst ˈkərənsi pɛr ɪn ðə wərld, wɪn ˈfrili ˈfloʊtɪŋ ənd dɪz ˈoʊvər ə ˈtrɪljən ˈdɔlərz ɪn ˈvɑljum pər deɪ. bət ðət stɑp ðə frəm traɪɪŋ. ˈæftər ˈtɔkɪŋ əˈbaʊt ˈnəθɪŋ bət ˈkərənsi treɪdz fər ðə fərst 11 ˈpɛrəˌgræfs əv ðə ˈstɔri, ðɛn ə ˈskriʧɪŋ əv gɪrz ənd ðoʊz ˈdimənz də ʤur ˈkrɛdɪt dɪˈfɔlt swɑps (ˈsiˈdiz) ər ˈʃuhɔrnd ˈɪntu ðə ˈstɔri, wɪʧ ˈsədənli stɑrts ˈtɔkɪŋ əˈbaʊt bɛts ɔn ˈkrɛdɪtˌwərðinəs. waɪl tru ðət ˈwəriz əˈbaʊt gris kən hæv ən ˌædˈvərs ˈifɛkt ɔn ðə ˈjʊrə, əˈgɛn ˈpʊʃɪŋ ðə ˈlɪmɪts əv ˌkrɛdəˈbɪlɪti tɪ səˈʤɛst ðət hɛʤ fəndz ər dɪˈlɪbərətli traɪɪŋ tɪ məˈnɪpjəˌleɪt ðə ˈmɑrkɪt ɪn grik ˈkrɛdɪt soʊ ɛz tɪ meɪk ˈməni ɔn ðɛr ˈfɔrən ɪksˈʧeɪnʤ pleɪz. əˈspɛʃəli wɪn, ɛz ðə ˈɑrtɪkəl kənˈsidz, ðə ˈoʊnli neɪmd pleɪər ɪn grik ˈsiˈdiz ʤɑn ˈpɔlsən ɪz naʊ rɪˈpɔrtədli ˈbʊlɪʃ ɔn ðə ˈkəntri. ˈbeɪsɪkli, ðə ˈɑrtɪkəl ɪz lɔŋ ɔn sɛnˈseɪʃənəˌlɪzəm ənd ʃɔrt ɔn nuz məʧ laɪk ðə bɪg ˈfoʊˌtoʊ ɔn ðə peɪʤ, ə ˈpɪkʧər frəm ˈheɪti, ˌəndərˈniθ wɪʧ wi faɪnd ə ˈstɔri əˈbaʊt ˈklaɪmɪt ʧeɪnʤ ˈkɛriɪŋ ðə ˈhɛˌdlaɪn tɪ oʊvərˈsɪmplɪˌfaɪ æt ˈklaɪmɪt panel”*”. ðə ˈstɔri ləvz ðət ““oversimplify”*” wərd, ˈjuzɪŋ ɪt ɪn tu ˈhɛˌdlaɪnz ənd twaɪs ɪn ðə ˈbɑdi əv ðə ˈɑrtɪkəl, bət ɪn ɔl ˈkeɪsɪz ðə ˈʃɔrtər ənd mɔr əˈbʤɛktɪv ““simplify”*” wʊd bi məʧ ˈbɛtər ˈsutɪd. ðə ˈstɔri tɔks əˈbaʊt bias”*” æt ðə ðə ˌɪntərˌgəvərnˈmɛntəl ˈpænəl ɔn ˈklaɪmɪt ʧeɪnʤ (ipcc*), bət ˈklɪrli ən ˌɪnstɪˈtuʃənəl baɪəs æt ðə ɔn ðɪs ˈɪʃu tu, ɛz ɪˈvɪnst baɪ θɪŋz laɪk ðə ˈpɛrəˌgræf wɪʧ bɪˈgɪnz wɪθ ðɪs: ˈivɪn səm hu əˈgri wɪθ ðə kənˈkluʒən ðət ˈjumənz ər sɪgˈnɪfɪkəntli kənˈtrɪbjutɪŋ tɪ ˈklaɪmɪt ʧeɪnʤ seɪ ðə həz mɔrft frəm ə ˌsaɪənˈtɪfɪk ˈænəlɪst tɪ ə pəˈlɪtɪkəl ˈæktər. ðət kaɪnd əv ˈlæŋgwɪʤ meɪks ɪt sim ðət ə ˈprɪti səˈmɛtrɪkəl ˈɑrgjəmənt əˈbaʊt ðə ɪgˈzɪstəns əv ˌænθrəpəˈʤɛnɪk ˈklaɪmɪt ʧeɪnʤ, ənd ðət ˈivɪn səm ˈpipəl ɔn ðə saɪd ðə saɪd əv ðə bɪˈlivərz ər stɪl ˈkrɪtɪkəl əv ðə ˈbɑdi. bət əv kɔrs ðɛr ə ˈsɪriəs ˌsaɪənˈtɪfɪk dəˈbeɪt ˈoʊvər ðə ɪgˈzɪstəns əv ˌænθrəpəˈʤɛnɪk ˈklaɪmɪt ʧeɪnʤ, nɑt ðət ˈɛvər lərn ðət frəm ˈrɛdɪŋ ðɪs ˈstɔri. ənd ʤɪst lʊk æt ðə sˈmoʊkɪŋ gən ðət ðə ˈprɛzənts ɛz ˈɛvədəns əv oʊvərˈsɪmplɪfɪˌkeɪʃən ɪn rɪˈpɔrts: ðɪs ɪz oʊvərˈsɪmplɪfɪˌkeɪʃən? ˌsɪmpləfɪˈkeɪʃən, jɛs ˈteɪkən fɔr ˈdɪfərənt əv hɪˈstɔrɪkəl ˈtɛmpərəʧər, ənd ˈævrɪʤd ðɛm. bət aɪ θɪŋk oʊvərˈsɪmplɪfɪˌkeɪʃən: ðeɪ ɔl ʃoʊ ˈprɪti məʧ ðə seɪm θɪŋ, ðət ˈtɛmpərəʧərz steɪd ˈprɪti ˈkɑnstənt, wɪˈθɪn ə reɪnʤ, frəm ðə jɪr 1000 tɪ ðə bɪˈgɪnɪŋ əv ðə ˌɪnˈdəstriəl ˌrɛvəˈluʃən. sɪns ðɛn, ˈtɛmpərəʧərz hæv bɪn ˈraɪzɪŋ ˈʃɑrpli, ənd ɔl ðə ˈdɪfərənt ˌsaɪənˈtɪfɪk sɪˈnɛrioʊz fər ðə fˈjuʧər ʃoʊ ðɛm kənˈtɪnjuɪŋ tɪ raɪz drəˈmætɪkəli. ðə ˈfaɪnəl rɪˈpɔrt ʃoʊz prɑˈʤɛkʃənz fər ðə fˈjuʧər, ɛz wɛl ɛz hɪˈstɔrɪkəl ˈdætə frəm ðə pæst, ˈmeɪkɪŋ ɪt klɪr wɪʧ ɪz wɪʧ. ɪn ðət sɛns, məʧ mɔr ˈjusfəl ðən ðə hɪˈstɔrɪkəl ˈdætə əˈloʊn fər ðə ˈpərpəsɪz əv ˈpɑləsiˌmeɪkərz. ɪn ˈɛni keɪs, klɪr frəm ðə ˈfoʊtəˌgræf ənd ðə tu meɪn ˈstɔriz ɔn ðə frənt peɪʤ ðət ðə ˈpeɪpər ɪz əˈgrɛsɪvli bɪˈkəmɪŋ boʊθ sɛnˈseɪʃənəlɪst ənd pəˈlɪtɪkəl. ðət maɪt bi ə ˈsɛnsəbəl muv, frəm ðə pɔɪnt əv vju əv ˈsɛlɪŋ ˈkɑpiz, əˈspɛʃəli ɔn ðə ˈnuzˌstænd. bət ɪt wɪl ˈɔlsoʊ ˌɪˈnɛvətəbli sərv tɪ ˈiroʊd ðə trəst ðət ˈmɛni ˈpipəl, ɔn wɔl strit əˈspɛʃəli, hæv ɪn ðə rɪˈpɔrtɪŋ əv ðə. |
here’s the front page of today’s wall street journal; i think it says a lot about where owner rupert murdoch and managing editor robert thomson are taking the paper.
there are three main items on the page. the big headline splashed across the top is “hedge funds pound euro” — a story which, in its online telling, is weakened significantly to “hedge funds try ‘career trade’ against euro”, although the headline on the home page remains the same.
the story is accompanied by a chart showing the recent deterioration in the value of the euro, for all the world as though it were caused by the hedge funds in question. there’s even hints of conspiracy: the story begins with the tale of a few fund managers having dinner — together! and talking about the euro!
there’s only the vaguest hint, in the ostensibly-sober wsj, that it’s ridiculous to think that hedge funds could cause a large medium-term change in the value of the euro against the dollar. they can certainly bet on such a move, and make money if it happens, but you can’t manipulate the largest currency pair in the world, when it’s freely floating and does over a trillion dollars in volume per day.
but that doesn’t stop the wsj from trying. after talking about nothing but currency trades for the first 11 paragraphs of the story, there’s then a screeching of gears and those demons du jour – credit default swaps (cds) – are shoehorned into the story, which suddenly starts talking about bets on greece’s creditworthiness.
while it’s true that worries about greece can have an adverse effect on the euro, again it’s pushing the limits of credibility to suggest that hedge funds are deliberately trying to manipulate the market in greek credit so as to make money on their foreign exchange plays.
especially when, as the article concedes, the only named player in greek cds — john paulson — is now reportedly bullish on the country.
basically, the article is long on sensationalism and short on news — much like the big photo on the page, a human-interest picture from haiti, underneath which we find a crypto-denialist story about climate change carrying the headline “push to oversimplify at climate panel”.
the story loves that “oversimplify” word, using it in two headlines and twice in the body of the article, but in all cases the shorter and more objective “simplify” would be much better suited.
the story talks about “institutional bias” at the the intergovernmental panel on climate change (ipcc), but there’s clearly an institutional bias at the wsj on this issue too, as evinced by things like the paragraph which begins with this:
even some who agree with the ipcc conclusion that humans are significantly contributing to climate change say the ipcc has morphed from a scientific analyst to a political actor.
that kind of language makes it seem that there’s a pretty symmetrical argument about the existence of anthropogenic climate change, and that even some people on the ipcc side — the side of the believers — are still critical of the u.n body. but of course there isn’t a serious scientific debate over the existence of anthropogenic climate change, not that you’d ever learn that from reading this story.
and just look at the smoking gun that the wsj presents as evidence of oversimplification in ipcc reports:
this is oversimplification? it’s simplification, yes — it’s taken four different time-series of historical temperature, and averaged them.
but i don’t think it’s oversimplification: they all show pretty much the same thing, that temperatures stayed pretty constant, within a 0.5-degree range, from the year 1000 to the beginning of the industrial revolution.
since then, temperatures have been rising sharply, and all the different scientific scenarios for the future show them continuing to rise dramatically. the final report shows projections for the future, as well as historical data from the past, making it clear which is which. in that sense, it’s much more useful than the historical data alone for the purposes of policymakers.
in any case, it’s clear from the photograph and the two main stories on the wsj’s front page that the paper is aggressively becoming both sensationalist and political. that might be a sensible move, from the point of view of selling copies, especially on the newsstand. but it will also inevitably serve to erode the trust that many people, on wall street especially, have in the reporting of the wsj. | ðə greɪt snaɪp ɪz wən əv ˈsɛvərəl ˈnɔrðərn bərd ˈspiʃiz ˈvəlnərəbəl tɪ ˈklaɪmɪt ʧeɪnʤ. ˈfoʊˌtoʊ baɪ lɑrz ˌjunəˈvərsəti umea*, ˈfɪnˌlænd, dɛk. 20 (upi*) nu ˈrisərʧ ˈditeɪlz ðə ˌvəlnərəˈbɪlɪti əv ˈnɔrðərn bərdz ɪn ə ˈwɔrmɪŋ ˈklaɪmɪt. ðə ˈstədi, ˈpəblɪʃt ɪn ðə ˈʤərnəl ɛkəˈlɑʤɪkəl ˌæpləˈkeɪʃənz, kɔlz ɔn ˌkɑnsərˈveɪʃənɪsts tɪ dɪˈvoʊt ˈɛkstrə əˈtɛnʃən tɪ ˈnɔrðərn ˈspiʃiz biɪŋ skwizd aʊt baɪ ˈgloʊbəl ˈʧeɪnʤɪz. ˈrisərʧərz ɪn ˈfɪnˌlænd ənd ðə juˈnaɪtɪd steɪts wərkt təˈgɛðər tɪ dɪˈtərmən wɪʧ bərdz ˈbridɪŋ ɪn ənd ˈɑrtɪk ˈriʤənz wɪl bi moʊst əˈfɛktɪd baɪ ˈklaɪmɪt ʧeɪnʤ. ˈsaɪəntɪsts ˈkætəˌlɔgd ðə ˈbridɪŋ bɪˈheɪvjərz ənd ˈhæbəˌtæt ˌkɛrɪktərˈɪstɪks əv 180 ˈspiʃiz. ˈklaɪmɪt ˈfɔrˌkæst ˈmɑdəlz hɛlpt ɪˈkɑləʤɪsts gɪt ə sɛns əv haʊ ðiz bɪˈheɪvjərz ənd ˈhæbəˌtæts wɪl bi əˈfɛktɪd baɪ ˈraɪzɪŋ ˈtɛmpərəʧərz ənd ˈʃɪftɪŋ ˌvɛʤəˈteɪʃən taɪps. "baɪ ˈkɛriɪŋ aʊt ðɪs taɪp əv æˈnælɪsɪs, wi hæv bɪn ˈeɪbəl tɪ prɪˈdɪkt wət ˈspiʃiz ər moʊst æt rɪsk ənd waɪ," ɪˈkɑləʤɪst hɑf sɛd ɪn ə nuz riˈlis. ðə ˈleɪtəst æˈnælɪsɪs ˈsɪŋgəld aʊt θri ˌkɛrɪktərˈɪstɪks əv bərd ˈspiʃiz moʊst θˈrɛtənd baɪ ˈklaɪmɪt ʧeɪnʤ: ˈlɪmɪtɪd ˌʤiəˈgræfɪkəl ˌdɪstrəˈbjuʃən, nɪʧ ˈhæbəˌtæt rɪkˈwaɪrmənts ənd ˈlɪmɪtɪd reɪts əv ˌriprəˈdəkʃən. ɪgˈzæmpəlz əv ˈspiʃiz wɪʧ mit ɔl θri rɪkˈwaɪrmənts ər: ðə greɪt snaɪp, ðə ˈbəzərd, ðə pipit*, ðə ˈkɑmən swɪft, ðə hɔrnd lɑrk ənd ðə godwit*. rɪˈleɪtɪd ˈreɪˌdɑr rɪˈvilz bərd paɪl əp ɔn ʃɔrz əv ðə greɪt leɪks tɪ ˌɪmˈpruv ðə ˈʧænsɪz əv sərˈvaɪvəl ənd adaption*, ˈrisərʧərz səˈʤɛst ˌkɑnsərˈveɪʃən ˈɛfərts ˈfoʊkɪs ɔn prəˈtɛktɪŋ ðə wintering*, ˈbridɪŋ ənd ˈstɑˌpoʊvər graʊnz əv ˈvəlnərəbəl ˈspiʃiz. "ˌlɔŋˈdistəns ˈmaɪgrəˌtɔri bərdz ər ðə moʊst ˈsɛnsɪtɪv wənz," hɑf ˈædɪd. "ənd ɪf ðə ˈklaɪmɪt wɔrmz əp, ˈbridɪŋ graʊnz wɪl ˈdiˌkris tɪ bərd ˈspiʃiz ðət hæv əˈdæptɪd tɪ ˈbridɪŋ ɪn ðə ˈkulər ˈklaɪmɪts ɪn ðə nɔrθ. ðə ˈprɑbləm ɪz ˌpɑrˈtɪkjələrli ˈsɪriəs tɪ ðə ˈspiʃiz wɪθ lɔŋ ˈbrudɪŋ ˈpɪriədz ənd wɪθ spɪˈsɪfɪk rɪkˈwaɪrmənts rɪˈgɑrdɪŋ ðɛr ˈbridɪŋ ˈhæbəˌtæt." rɪˈleɪtɪd ˈoʊʃən ˈwɔrmɪŋ əˈfɛktɪŋ ˈɑrtɪk fɪʃ ənd bərdz |
the great snipe is one of several northern bird species vulnerable to climate change. photo by lars edenius/umea university
umea, finland, dec. 20 (upi) -- new research details the vulnerability of northern birds in a warming climate. the study, published in the journal ecological applications, calls on conservationists to devote extra attention to northern species being squeezed out by global changes.
researchers in finland and the united states worked together to determine which birds breeding in subarctic and arctic regions will be most affected by climate change. scientists catalogued the breeding behaviors and habitat characteristics of 180 species. climate forecast models helped ecologists get a sense of how these behaviors and habitats will be affected by rising temperatures and shifting vegetation types.
"by carrying out this type of analysis, we have been able to predict what species are most at risk and why," ecologist anouschka hof said in a news release.
the latest analysis singled out three characteristics of bird species most threatened by climate change: limited geographical distribution, niche habitat requirements and limited rates of reproduction. examples of species which meet all three requirements are: the great snipe, the rough-legged buzzard, the red-throated pipit, the common swift, the horned lark and the bar-tailed godwit.
related radar reveals bird pile up on shores of the great lakes
to improve the chances of survival and adaption, researchers suggest conservation efforts focus on protecting the wintering, breeding and stopover grounds of vulnerable species.
"long-distance migratory birds are the most sensitive ones," hof added. "and if the climate warms up, breeding grounds will decrease to bird species that have adapted to breeding in the cooler climates in the north. the problem is particularly serious to the species with long brooding periods and with specific requirements regarding their breeding habitat."
related ocean warming affecting arctic fish and birds | ðɪs ˈɑrtɪkəl ɪz ˈoʊvər 3 jɪrz oʊld ˈfɔrmər ˌnɔrˈwiʤən praɪm ˈmɪnɪstər, hu dru ˈkrɪtɪˌsɪzəm fər əˈwɔrdɪŋ pərˈstiʤəs praɪz tɪ ˈbɑrək ˌoʊˈbɑmə, tɪ bi ˌriˈpleɪst baɪ ˈdɛpjəti ɪn ənˈprɛsɪˌdɛntɪd muv noʊˈbɛl pis praɪz kəˈmɪti həz dɪˈmoʊtɪd ɪts ˈʧɛrmən,, ɪn ə muv ənˈprɛsɪˌdɛntɪd ɪn ðə lɔŋ ˈhɪstəri əv ðə əˈwɔrd. ðə kəˈmɪti, wɪʧ sɛd ðə ˈfɔrmər ˌnɔrˈwiʤən praɪm ˈmɪnɪstər wʊd rɪˈmeɪn ɛz ə kəˈmɪti ˈmɛmbər, geɪv noʊ ˈrizən fər ɪts dɪˈsɪʒən. ˌhaʊˈɛvər, ðə rɪˈnaʊnd ˈdɪpləˌmæt dru ˈkrɪtɪˌsɪzəm ˈʃɔrtli ˈæftər bɪˈkəmɪŋ kəˈmɪti ˈʧɛrmən ɪn 2009 fər əˈwɔrdɪŋ ðə pərˈstiʤəs noʊˈbɛl tɪ ˈnuli ɪˈlɛktɪd ˈjuˈɛs ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə. ðə muv stənd ðə wərld ənd ðə rɪˈsɪpiənt əˈlaɪk, ɛz ˌoʊˈbɑmə hæd bɪn ɪn ˈɔfəs lɛs ðən naɪn mənθs ənd ðə ˈjuˈɛs wɑz ˈweɪʤɪŋ ˌsaɪməlˈteɪniəs wɔrz ɪn æfˈgænəˌstæn ənd ˌɪˈrɑk. ˈæftər sɪks jɪrz æt ðə hɛlm əv ðə kəˈmɪti,, 64 wɪl bi ˌriˈpleɪst baɪ ˈdɛpjəti ʧɛr, faɪv, ðə ˌɔrgənɪˈzeɪʃən sɛd ɔn ˈtuzˌdeɪ. wɑz brɔd əˈgrimənt wɪˈθɪn ðə kəˈmɪti ðət wɑz ə gʊd ʧɛr fər sɪks years,”*,” faɪv toʊld rɪˈpɔrtərz, bət dɪˈklaɪnd tɪ ˈkɑmɛnt ɔn ðə dɪˈskəʃən. ˈkɑmənˌteɪtərz ənd ˈfɔrmər noʊˈbɛl ˈlɔriəts hæd ðə dɪˈsɪʒənz ˈəndər ˈstuərdˌʃɪp. ˈhɪtɪŋ bæk æt ˈkrɪtɪks ˈæftər praɪz, sɛd ðə ˌɔrgənɪˈzeɪʃən ˈwɔntɪd tɪ preɪz ðə ˈjuˈɛs ˈərli ˈvɪʒən əv ə wərld fri əv ˈnukliər ˈwɛpənz ənd ˈkæpʧər ˈspɪrɪt əv ðə taɪmz, ðə nidz əv ðə era”*”. læst jɪr, ə ˈfɛdərəl ˈstədi ˈɛstəˌmeɪtɪd ðət ðə ˈjuˈɛs wɪl spɛnd £649bn*) ˈəpˌgreɪdɪŋ ɪts ˈnukliər ˈɑrsənəl ˈoʊvər ðə nɛkst θri ˈdɛkeɪdz. ə jɪr ˈæftər ˌoʊˈbɑmə rɪˈsivd ðə praɪz, ðə kəˈmɪti dru aɪr fər ˈhændɪŋ ðə praɪz tɪ ʤeɪld ʧaɪˈniz ˈdɪsədɪnt lju xiaobo*, ə muv ðət ˈifɛktɪvli pʊt riˈleɪʃənz ɔn aɪs. ənd ɪn 2012 bɪˈkeɪm ðə feɪs əv ə ˈbɑdi ðət ˈhændɪd ðə əˈwɔrd tɪ ðə ˌjʊrəˈpiən ˈjunjən fər ɪts kəˈmɪtmənt tɪ ənd ˌrɛkənˌsɪliˈeɪʃən, dɪˈmɑkrəsi ənd ˈjumən rights”*”. ɪz ˈklɪrli nɑt ðə əv peace’*’ ðət ˈælfrɪd noʊˈbɛl hæd ɪn maɪnd wɪn hi roʊt hɪz will,”*,” ˈɑrʧˈbɪʃəp ˈdɛzmənd ˈtuˌtu roʊt ɪn ən ˈoʊpən ˈlɛtər wɪθ tu ˈəðər ˈfɔrmər ˈlɔriəts., ə ˈfɔrmər ˈlidər əv ˈleɪbər ˈpɑrti hu həz sərvd ɛz praɪm ˈmɪnɪstər, ˈfɔrən ˈmɪnɪstər ənd ˈspikər əv ˈpɑrləmɛnt, spɛnt məʧ əv hɪz kərɪr traɪɪŋ tɪ ˈboʊlstər səˈpɔrt fər ˈnɔrˌweɪ tɪ ʤɔɪn ðə. ˈækʃən reɪzd kˈwɛsʧənz əv ˈwɛðər ðə noʊˈbɛl kəˈmɪti wɪʧ həz əˈwɔrdɪd ðə pis praɪz ˈɔlˌmoʊst ˈɛvəri jɪr sɪns 1901 wɪl bɪˈgɪn tɪ ʃoʊ mɔr pəˈlɪtɪkəl ˈkələr. trəˈdɪʃənəli, ɪts faɪv ˈmɛmbərz ər əˈpɔɪntɪd baɪ ˈpɑrləmɛnt bət kleɪm ˈtoʊtəl ˌɪndɪˈpɛndəns ɪn ðɛr dɪˈsɪʒənˌmeɪkɪŋ. dɪˈmoʊʃən rɪˈflɛkts ə ʃɪft ˈɪntu ə məˈʤɔrəti əv kəˈmɪti ˈmɛmbərz ˈnɑməˌneɪtəd baɪ ˈraɪtˌwɪŋ ˈpɑrtiz, wɪʧ wən 2013 ˈʤɛnərəl ɪˈlɛkʃən. kən bi ˌɪnˈtərprətəd ɛz ən əˈtɛmpt baɪ ðə ˈraɪtɪst ˈgəvərnmənt tɪ ɪgˈzərt mɔr pəˈlɪtɪkəl kənˈtroʊl ˈoʊvər ðə kəˈmɪti ðən həz bɪn customary,”*,” noʊˈbɛl hɪˈstɔriən toʊld afp*. ˈəðərz ɪkˈsprɛst mɔr greɪv kənˈsərnz. ˌɪntrəˈdusɪz ə nu ˈprɪnsəpəl baɪ wɪʧ wi əˈsoʊʃiˌeɪt ðə ʧɛr əv ðə noʊˈbɛl kəˈmɪti wɪθ ðə nu məˈʤɔrəti pəˈlɪtɪkəl colour,”*,” roʊt ˈhɑrəld stanghelle*, ˈɛdɪtər əv ˈdeɪli ˈnuzˌpeɪpər aftenposten*. ˈreɪzɪz ðə kˈwɛʃən: ɪz ðə noʊˈbɛl kəˈmɪti ɛz ˌɪndɪˈpɛndənt əv ə pəˈlɪtɪkəl pɔɪnt əv vju ɛz ɪt ʃʊd be?”*?” |
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former norwegian prime minister, who drew criticism for awarding prestigious prize to barack obama, to be replaced by deputy in unprecedented move
norway’s nobel peace prize committee has demoted its chairman, thorbjørn jagland, in a move unprecedented in the long history of the award.
the committee, which said the former norwegian prime minister would remain as a committee member, gave no reason for its decision.
however, the renowned diplomat drew criticism shortly after becoming committee chairman in 2009 for awarding the prestigious nobel to newly elected us president barack obama.
the move stunned the world and the recipient alike, as obama had been in office less than nine months and the us was waging simultaneous wars in afghanistan and iraq.
after six years at the helm of the committee, jagland, 64, will be replaced by deputy chair, kaci kullmann five, the organisation said on tuesday.
“there was broad agreement within the committee that thorbjørn jagland was a good chair for six years,” kullmann five told reporters, but declined to comment on the discussion.
commentators and former nobel laureates had criticised the committee’s decisions under jagland’s stewardship.
hitting back at critics after obama’s prize, jagland said the organisation wanted to praise the us leader’s early vision of a world free of nuclear weapons and capture “the spirit of the times, the needs of the era”.
last year, a federal study estimated that the us will spend $1tn (£649bn) upgrading its nuclear arsenal over the next three decades.
a year after obama received the prize, the committee drew beijing’s ire for handing the prize to jailed chinese dissident liu xiaobo, a move that effectively put norway-china relations on ice.
and in 2012 jagland became the face of a body that handed the award to the european union for its commitment to “peace and reconciliation, democracy and human rights”.
“the eu is clearly not the ‘champion of peace’ that alfred nobel had in mind when he wrote his will,” archbishop desmond tutu wrote in an open letter with two other former laureates.
jagland, a former leader of norway’s labour party who has served as prime minister, foreign minister and speaker of parliament, spent much of his career trying to bolster support for norway to join the eu.
tuesday’s action raised questions of whether the nobel committee – which has awarded the peace prize almost every year since 1901 – will begin to show more political colour.
traditionally, its five members are appointed by parliament but claim total independence in their decision-making.
jagland’s demotion reflects a shift into a majority of committee members nominated by rightwing parties, which won norway’s 2013 general election.
“this can be interpreted as an attempt by the rightist government to exert more political control over the committee than has been customary,” nobel historian asle sveen told afp.
others expressed more grave concerns. “this introduces a new principle by which we associate the chair of the nobel committee with the new majority political colour,” wrote harald stanghelle, editor of daily newspaper aftenposten.
“this raises the question: is the nobel committee as independent of a political point of view as it should be?” | ˈʤoʊzəf smɪθ (bɔrn ˌʤuˈlaɪ 26 1975 ɪz ən əˈmɛrɪkən ˈfɔrmər prəˈfɛʃənəl ˈbæskətˌbɔl pleɪər hu pleɪd æt paʊər ˈfɔrwərd pəˈzɪʃən fər 12 timz əv ðə ˈɛnˌbiˈeɪ ˈdʊrɪŋ hɪz kərɪr. bɔrn ənd reɪzd ɪn ˈnɔrfək, vərˈʤɪnjə, smɪθ wɑz ðə ˈkɑlɪʤ pleɪər əv ðə jɪr æt ˈmɛrələnd ɪn 1995 ənd ðə noʊ. 1 pɪk əv ðət ˈsizənz ˈɛnˌbiˈeɪ dræft, pɪkt baɪ ðə ˈgoʊldən steɪt ˈwɔrjərz. hi wɑz neɪmd tɪ ðə smɪθ wɑz ˈmoʊbəl θruaʊt hɪz kərɪr, ðə ˈɛnˌbiˈeɪ ˈɪndəˌkeɪtɪd ðət hi wɑz wən əv ðə moʊst ˈtreɪdɪd ɪn 1998 smɪθ wɑz ˈtreɪdɪd tɪ ðə ˌfɪləˈdɛlfiə; hi ðɛn pleɪd fər ðə ˌmɪnɪˈsoʊtə (wɪθ ə fər ðə ˈdiˌtrɔɪt ˈpɪstənz) ənˈtɪl 2003 hi ˈleɪtər pleɪd fər ðə mɪlˈwɔki bəks, ðə ˈdɛnvər ˈnəgəts, ðə əˈgɛn, ðə ʃəˈkɑˌgoʊ bʊlz, ðə ˌoʊkləˈhoʊmə ˈsɪti ˈθəndər, ðə ˈklivlənd ˌkævəˈlɪrz, ðə æˈtlæntə hɔks, ðə nu ˈʤərzi nɛts, ənd ðə lɔs ˈænʤəlɪs ˈleɪkərz. ˈɛnˌbiˈeɪ kərɪr ˈɛdət ˈgoʊldən steɪt ˈwɔrjərz ˈɛdət smɪθ əˈtɛndəd ˈmɔri haɪ skul ənd pleɪd æt ðə ˌjunəˈvərsəti əv ˈmɛrələnd. ɪn ðə 1995 ˈɛnˌbiˈeɪ dræft, smɪθ wɑz səˈlɛktɪd baɪ ðə ˈgoʊldən steɪt ˈwɔrjərz ɛz ðə fərst ˈoʊvərˌɔl pɪk, ˌbiˈfɔr ˈfɛloʊ paʊər ˈfɔrwərdz ˈkɛvɪn ˈgɑrnɪt, ænˈtoʊnioʊ məkˈdaɪəs ənd rəˈʃid ˈwɔlɪs, ɛz wɛl ɛz gɑrd ˈʤɛri ˈstæˌkhaʊs. smɪθ wɑz neɪmd tɪ ðə ˈɛnˌbiˈeɪ fərst tim fər ðə ˈsizən ənd ˈfɪnɪʃt θərd ɪn ðə ˈrʊki əv ðə jɪr ˈvoʊtɪŋ tɪ ˈdeɪmən ənd sabonis*. ʤoʊ smɪθ wʊd pleɪ jɪrz fər ðə ˈwɔrjərz ˌbiˈfɔr biɪŋ ˈtreɪdɪd tɪ ðə ˌfɪləˈdɛlfiə wɪθ braɪən ʃɔ fər ˈklɛrəns ˈwɛðərˌspun ənd ʤɪm ˈʤæksən ˈmɪdˌweɪ θru ðə ˈsizən. ðə treɪd wɑz ˌɛnʤəˈnird baɪ ˈgoʊldən steɪt ɛz smɪθ hæd meɪd klɪr hɪz dɪˈzaɪər tɪ rɪˈtərn tɪ ðə ist koʊst, ənd hi wɑz əˈproʊʧɪŋ fri ˈeɪʤənsi (ˈhæfˈweɪ θru ðə ˈfaɪnəl jɪr əv hɪz ˈrʊki ˈkɑnˌtrækt). smɪθs stəˈtɪstɪks dɪˈklaɪnd ˌɪˈmiˌdiətli ˈæftər ðə treɪd, ənd ˈnɛvər ˈfʊli rɪˈkəvərd. ˌmɪnɪˈsoʊtə ˈɛdət dɪˈspaɪt ə drɔp ɪn pərˈdəkʃən, smɪθ wɑz sin stɪl ɛz ə hɑt kəˈmɑdəti ɪn ðə fri ˈeɪʤənsi ˈnidɪd] ðət ˈfɑloʊd ðə straɪk ɪn leɪt 1998 ɪn wət simd æt ðə taɪm laɪk ə bɪˈzɑr muv, smɪθ saɪnd fər ˈvɛri ˈlɪtəl ˈməni wɪθ ðə ˌmɪnɪˈsoʊtə. fər ðə nɛkst tu jɪrz, smɪθ pleɪd ˈvɛri pərˈdəktɪvli æt smɔl ˈfɔrwərd əˈlɔŋˈsaɪd ˌɔlˈstɑr ˈkɛvɪn ˈgɑrnɪt. ˈsæləri kæp ˈskændəl ˈɛdət ˈfɑloʊɪŋ ðə ˈsizən, ɪt wɑz dɪˈskəvərd ðət smɪθ wɑz ˌɪnˈvɑlvd ɪn ə ˈsæləri ˈskændəl ˌɪnˈvɑlvɪŋ ˈoʊnər glɛn ˈteɪlər ənd ˈʤɛnərəl ˈmænɪʤər ˈkɛvɪn məˈkeɪl. smɪθ wɑz əˈlɛʤədli ˈprɑməst ə fˈjuʧər dil ɪf hi saɪnd wɪθ ðə tim fər bɪˈloʊ ˈmɑrkɪt ˈvælju, əˈlaʊɪŋ ðə tim tɪ meɪk səm əˈdɪʃənəl pleɪər muvz ɪn ðə ʃɔrt ɛz pɑrt əv ðə dil, smɪθ saɪnd θri ˈwənˌjɪr ˈkɑnˌtrækts fər lɛs ðən 3 ˈmɪljən əˈpis, əˈlaʊɪŋ ðə tɪ rɪˈteɪn hɪz "bərd raɪts" ənd ɪkˈsid ðə kæp tɪ rɪˈzaɪn ɪm. æt ðə ɛnd əv ðə læst ˈwənˌjɪr ˈkɑnˌtrækt, smɪθ kʊd hæv saɪnd ə nu ˈlɔŋˈtərm ˈkɑnˌtrækt ðət wʊd hæv peɪd ɛz məʧ ɛz 86 ðə bɪˈgɪnɪŋ əv ðə ɛnd fər ðə ˌɪˈlɪsət dil keɪm wɪn smɪθs ˈeɪʤənt, ˈændru smɪθ, lɛft ðə spɔrts ˈmɑrkətɪŋ fərm baɪ ˈɛrɪk ˈflaɪʃər ənd rɪˈteɪnd smɪθ ənd ˈgɑrnɪt ɛz klaɪənts. ˈflaɪʃər sud, ənd ˈditeɪlz əv ðə ˌɪˈligəl ˈkɑnˌtrækt keɪm tɪ laɪt ɪn ˈɛnˌbiˈeɪ kəˈmɪʃənər ˈdeɪvɪd stərn səˈvɪrli ˈpənɪʃt ðə ɪn rɪˈspɑns. hi faɪnd ðə tim ˈmɪljən ənd ˈvɔɪdɪd ɔl θri ˌʃɔrtˈtərm wɪθ ðɛm, smɪθs "bərd raɪts." hi ˈɔlsoʊ bɑrd ˈteɪlər frəm ˈhævɪŋ ˈɛni roʊl ɪn ðə' ˌɑpərˈeɪʃənz ənˈtɪl ˈɔgəst 31 2001 ənd fɔrst məˈkeɪl tɪ teɪk ən ənˈpeɪd liv əv ˈæbsəns θru ˌʤuˈlaɪ 31 2001 mɔr ˈsɪriəsli ɪn ðə lɔŋ rən, stərn strɪpt ðə əv ðɛr dræft pɪks ɪn 2001 2002 2003 2004 ənd 2005 (ðoʊ ðə 2003 pɪk wɑz ˈəltəmətli ðə muv hərt ðə ɪn ðə lɔŋ rən, ɛz waɪl ðə tim stɪl faʊnd səkˈsɛs, ðə læk əv dræft pɪks dɪˈnaɪd ðɛm ə ʧæns tɪ æd mɔr dɛpθ bɪˈhaɪnd ˈgɑrnɪt. ðɪs sɛt ðə tim əp fər ðɛr əˈvɛnʧuəl ˈfeɪljər ɪn ðə mid-2000s*, wɪʧ wʊd kənˈtɪnju wɛl ˈɪntu ðə 2010s*. ˈdiˌtrɔɪt ˈpɪstənz ˈɛdət ʤoʊ smɪθ wɑz riˈlist baɪ ðə ənd saɪnd wɪθ ðə ˈdiˌtrɔɪt ˈpɪstənz fər ðə ˈsizən ɛz ə ˈbæˌkəp. smɪθ prəˈdust gʊd ˈnəmbərz fər ðə ˈpɪstənz ənd, æt ðə ɛnd əv ðə ˈsizən, hi wɪθ ðə wɛr hi pleɪd fər tu mɔr ˈsizənz. smɪθ (lɛft) ˈdraɪvɪŋ əˈgɛnst ðə ˈwɔrjərz' krɪs ˈwɛbər 4 wɪθ ðə bʊlz ɪn 2008 ˈɛnˌbiˈeɪ ˈʤərniˌmæn ˈɛdət fər ðə nɛkst θri ˈsizənz smɪθ pleɪd fər ðə mɪlˈwɔki bəks. praɪər tɪ ðə ˈsizən, smɪθ muvd ɔn tɪ ðə ˈnəgəts, wɛr hi ˈoʊnli pleɪd ɪn 11 geɪmz ˌbiˈfɔr biɪŋ ˈtreɪdɪd, əˈlɔŋ wɪθ ˈɑnˌdreɪ ˈmɪlər, bæk tɪ ðə fər ˈælən ˈaɪvərsən. dɪˈspaɪt biɪŋ kənˈsɪdərd ən ɔn ðə dil, smɪθ ˈævrɪʤd ˈoʊvər 25 ˈmɪnəts pər geɪm wɪθ ðə, ˈdʊrɪŋ ðə timz ˈəltəmətli ˌənsəkˈsɛsfəl ˈsɛkənd hæf ˈbætəl tɪ meɪk ðə pleɪɔfs. fər ðə ˈsizən, smɪθ saɪnd wɪθ ðə ʃəˈkɑˌgoʊ smɪθ ˈævrɪʤd ˈoʊvər 11 pɔɪnts ənd 5 ˈriˌbaʊndz pər geɪm fər ðə bʊlz, bət ðə tim ˈmænɪʤd ˈoʊnli 33 wɪnz ðə hoʊl ˈsizən. smɪθ wɑz ˈtreɪdɪd ɪn ə θri tim dil æt ðə treɪd ˈdɛˌdlaɪn tɪ ðə ˈklivlənd ˌkævəˈlɪrz. smɪθ ɛz ə ˈklivlənd ˌkævəˈlɪr ɔn ˈɔgəst 13 2008 smɪθ wɑz ˈtreɪdɪd tɪ ðə ˌoʊkləˈhoʊmə ˈsɪti ˈθəndər ɪn ə three-team*, dil ˌɪnˈvɑlvɪŋ ðə ˈθəndər, ðə mɪlˈwɔki bəks, ənd ðə ˈklivlənd ˌkævəˈlɪrz ðət sɛnt mɪlˈwɔkiz moʊ ˈwɪljəmz tɪ ˈklivlənd, smɪθ ənd mɪlˈwɔkiz ˈdɛzmənd ˈmeɪsən tɪ ˌoʊkləˈhoʊmə ˈsɪti, ənd ˈklivləndz ˈdeɪmən ʤoʊnz ənd ˌoʊkləˈhoʊmə ˈsɪtiz luk ənd ˈeɪdriən ˈgrɪfɪn tɪ ðə ˈθəndər ˈtreɪdɪd smɪθ tɪ ðə nu ˌɔˈrlinz ˈhɔrnəts əˈlɔŋ wɪθ krɪs ˈwɪlkɑks ənd dræft raɪts tɪ ˈdɛvən ˈhɑrdɪn ɔn ˈfɛbruˌɛri 17 2009 fər ˈtaɪsən ˈʧændlər bət ɔn ˈfɛbruˌɛri 18 2009 ðə treɪd wɑz rɪˈsɪndɪd ˈæftər ˈtaɪsən ˈʧændlər feɪld ə ˈfɪzɪkəl wɪθ ˌoʊkləˈhoʊmə ɔn mɑrʧ 1 2009 ðə ˈθəndər bɔt aʊt ðə rɪˈmeɪndər əv smɪθs ˈkɑnˌtrækt ənd riˈlist ɪm. tu naɪts ˈleɪtər, hi əˈgrid tɪ tərmz tɪ riˈʤɔɪn ðə ˌkævəˈlɪrz. ɔn ˈɔgəst 25 2009 hi saɪnd ə ˈwənˌjɪr ˈkɑnˌtrækt wɪθ ðə æˈtlæntə ɔn mɑrʧ 17 2010 smɪθ bɪˈkeɪm ðə pleɪər ɪn ˈɛnˌbiˈeɪ ˈhɪstəri tɪ riʧ 1000 geɪmz pleɪd, ɪn ə ˈvɪktəri ˈoʊvər ðə nu ˈʤərzi nɛts. ɔn sɛpˈtɛmbər 10 2010 smɪθ saɪnd ə dil wɪθ ðə nu ˈʤərzi ɔn dɪˈsɛmbər 15 2010 smɪθ wɑz ˈtreɪdɪd tɪ ðə lɔs ˈænʤəlɪs ˈleɪkərz ɪn ə θri tim treɪd ˌɪnˈvɑlvɪŋ ðə nɛts ənd ˈhjustən ɔn ˈʤænjuˌɛri 2 2011 smɪθ meɪd hɪz ˈdeɪbju fər ðə ˈleɪkərz. tu deɪz ˈleɪtər, hi skɔrd hɪz fərst pɔɪnts ɛz ə ˈmɛmbər əv ðə poʊst ˈɛnˌbiˈeɪ kərɪr ˈɛdət smɪθ wund əp pɑrˈtɪsəˌpeɪtɪŋ ɪn wən əv ðə ˈfinɪks sənz' ˈpræktɪsɪz ɔn ʤun 9 2015 ɛz ˈsəmˌwən tɪ hɛlp aʊt ˈsɛnər ˈæləks lɛn ˈdʊrɪŋ ˈpræktɪs. hi wɑz ˌɪˈnɪʃəli kənˈsɪdərd ə ˈkænədɪt tɪ teɪk ɔn wən əv ðə sənz' pleɪər dɪˈvɛləpmənt ˈkoʊʧɪŋ bət hi wɑz ˈəltəmətli nɑt haɪərd fər ðə pəˈzɪʃən. smɪθ kənˈtɪnjuz tɪ koʊʧ ɪn ðə ˈgreɪtər æˈtlæntə ˈɛriə wɪθ ðə ˈpraɪvət ˈkoʊʧɪŋ ˈsərvɪs, ˈɛnˌbiˈeɪ kərɪr stəˈtɪstɪks ˈɛdət ˈlɛʤənd geɪmz pleɪd geɪmz ˈstɑrtɪd ˈɛmˈpiˈʤi ˈmɪnəts pər geɪm fg*% fild goʊl pərˈsɛnɪʤ 3p*% fild goʊl pərˈsɛnɪʤ ft*% fri θroʊ pərˈsɛnɪʤ ˈriˌbaʊndz pər geɪm əˈsɪsts pər geɪm stilz pər geɪm blɑks pər geɪm pɔɪnts pər geɪm boʊld kərɪr haɪ ˈrɛgjələr ˈsizən ˈɛdət pleɪɔfs ˈɛdət jɪr tim ˈɛmˈpiˈʤi fg*% 3p*% ft*% 1999 ˌmɪnɪˈsoʊtə 4 4 297 000 727 5 2000 ˌmɪnɪˈsoʊtə 4 0 471 000 3 8 3 2002 ˌmɪnɪˈsoʊtə 3 1 429 000 875 0 0 3 2003 ˌmɪnɪˈsoʊtə 5 1 667 000 0 2 2 2004 mɪlˈwɔki 5 5 491 000 923 4 8 2006 mɪlˈwɔki 5 0 485 000 667 6 4 4 2008 ˈklivlənd 13 0 486 000 636 5 4 5 2009 ˈklivlənd 13 0 460 600 793 2 5 5 2010 æˈtlæntə 5 0 000 000 000 4 0 0 2 0 2011 l.a*. ˈleɪkərz 5 0 000 000 000 2 0 0 0 0 kərɪr 62 11 451 375 780 3 4 6 ˈhaɪˌlaɪts ˈɛdət wɑz neɪmd tɪ ðə fərst tim ɪn ˈæftər biɪŋ ˈʧoʊzən fərst ˈoʊvərˌɔl ɪn ðə 1995 ˈɛnˌbiˈeɪ dræft. ɪn 1995 wɑz neɪmd ˈnæʃənəl kəˈliʤɪt pleɪər əv ðə jɪr baɪ ðə æˈtlæntə kləb (ˈneɪzmɪθ əˈwɔrd), ðə əˈsoʊʃiˌeɪtəd prɛs (ˈeɪdɔlf rəp əˈwɔrd), juˈnaɪtɪd prɛs ˌɪnərˈnæʃənɑl, ˈbæskətˌbɔl əˈmɛrɪkə ənd ˈistərn ˈbæskətˌbɔl. pɔrˈtreɪd ˈkɔni ˈhɔkɪnz ɪn ðə ˈmuvi riˈbaʊnd 17 hi ʃɛrz ðə ˈrɛkərd (wɪθ braʊn, ˈtoʊni ˈmæsənbərg ənd ʤɪm ˈʤæksən) fər ðə moʊst ˈfrænˌʧaɪzɪz pleɪd fər ɪn ən ˈɛnˌbiˈeɪ kərɪr. hi pleɪd fər 12 aʊt əv 30 ˈfrænˌʧaɪzɪz ɪn ðə mˈjuzɪk kərɪr ˈɛdət smɪθ həz rɪˈkɔrdɪd ə ˈsoʊˌloʊ ræp ˈælbəm ˈəndər ðə ˈsudəˌnɪm "ʤoʊ bist". ˌɪnˈkludɪd ɔn ðə ˈælbəm ər træks ˈtaɪtəld kapital*" ənd "aɪ dɪz ðɪs". ðə ˈælbəm wɑz prəˈdust ɪn ˌoʊkləˈhoʊmə ˈsɪti, baɪ ˈtɑmi swɪʧ ənd ˈlɔrɪn ˈrɑbərts, waɪl smɪθ wɑz pleɪɪŋ fər ðə ˌoʊkləˈhoʊmə ˈsɪti si ˈɔlsoʊ ˈɛdət |
joseph leynard smith (born july 26, 1975) is an american former professional basketball player who played at power forward position for 12 teams of the nba during his 16-year career.
born and raised in norfolk, virginia, smith was the college player of the year at maryland in 1995 and the no. 1 pick of that season's nba draft, picked by the golden state warriors. he was named to the 1995–96 all-rookie team.[1] smith was mobile throughout his career, the nba indicated that he was one of the most traded players.[2] in 1998, smith was traded to the philadelphia 76ers; he then played for the minnesota timberwolves (with a mid-way pitstop for the detroit pistons) until 2003. he later played for the milwaukee bucks, the denver nuggets, the 76ers again, the chicago bulls, the oklahoma city thunder, the cleveland cavaliers, the atlanta hawks, the new jersey nets, and the los angeles lakers.
nba career [ edit ]
golden state warriors (1995–1998) [ edit ]
smith attended maury high school and played at the university of maryland. in the 1995 nba draft, smith was selected by the golden state warriors as the first overall pick, before fellow power forwards kevin garnett, antonio mcdyess and rasheed wallace, as well as guard jerry stackhouse. smith was named to the nba all-rookie first team for the 1995–96 season and finished third in the rookie of the year voting to damon stoudamire and arvydas sabonis.
joe smith would play two-and-a-half years for the warriors before being traded to the philadelphia 76ers with brian shaw for clarence weatherspoon and jim jackson midway through the 1997–98 season. the trade was engineered by golden state as smith had made clear his desire to return to the east coast, and he was approaching free agency (halfway through the final year of his 3-year rookie contract).
smith's statistics declined immediately after the trade, and never fully recovered.
minnesota timberwolves (1998–2003) [ edit ]
despite a drop in production, smith was seen still as a hot commodity in the free agency blitz[citation needed] that followed the strike in late 1998. in what seemed at the time like a bizarre move, smith signed for very little money with the minnesota timberwolves. for the next two years, smith played very productively at small forward alongside all-star kevin garnett.
timberwolves salary cap scandal [ edit ]
following the 1999–2000 season, it was discovered that smith was involved in a salary cap–evading scandal involving timberwolves owner glen taylor and general manager kevin mchale. smith was allegedly promised a future multimillion-dollar deal if he signed with the team for below market value, allowing the team to make some additional player moves in the short term.[3] as part of the deal, smith signed three one-year contracts for less than $3 million apiece, allowing the timberwolves to retain his "bird rights" and exceed the cap to resign him. at the end of the last one-year contract, smith could have signed a new long-term contract that would have paid as much as $86 million.[4][5]
the beginning of the end for the illicit deal came when smith's agent, andrew smith, left the sports marketing firm helmed by eric fleisher and retained smith and garnett as clients. fleisher sued, and details of the illegal contract came to light in discovery.[6] nba commissioner david stern severely punished the timberwolves in response. he fined the team $3.5 million and voided all three short-term contracts–and with them, smith's "bird rights." he also barred taylor from having any role in the timberwolves' operations until august 31, 2001, and forced mchale to take an unpaid leave of absence through july 31, 2001. more seriously in the long run, stern stripped the timberwolves of their first-round draft picks in 2001, 2002, 2003, 2004 and 2005 (though the 2003 pick was ultimately returned).[5]
the move hurt the timberwolves in the long run, as while the team still found success, the lack of draft picks denied them a chance to add more depth behind garnett. this set the team up for their eventual failure in the mid-2000s, which would continue well into the 2010s.
detroit pistons (2000–2001) [ edit ]
joe smith was released by the timberwolves and signed with the detroit pistons for the 2000–2001 season as a backup. smith produced good numbers for the pistons and, at the end of the season, he re-signed with the timberwolves where he played for two more seasons.
smith (left) driving against the warriors' chris webber (#4) with the bulls in 2008
nba journeyman (2003–2011) [ edit ]
for the next three seasons smith played for the milwaukee bucks. prior to the 2006–07 season, smith moved on to the nuggets, where he only played in 11 games before being traded, along with andre miller, back to the 76ers for allen iverson. despite being considered an add-in on the deal, smith averaged over 25 minutes per game with the 76ers, during the team's ultimately unsuccessful second half battle to make the playoffs. for the 2007–08 season, smith signed with the chicago bulls.[7] smith averaged over 11 points and 5 rebounds per game for the bulls, but the team managed only 33 wins the whole season. smith was traded in a three team deal at the trade deadline to the cleveland cavaliers.
smith as a cleveland cavalier
on august 13, 2008, smith was traded to the oklahoma city thunder in a three-team, six-player deal involving the thunder, the milwaukee bucks, and the cleveland cavaliers that sent milwaukee's mo williams to cleveland, smith and milwaukee's desmond mason to oklahoma city, and cleveland's damon jones and oklahoma city's luke ridnour and adrian griffin to milwaukee.[8]
the thunder traded smith to the new orleans hornets along with chris wilcox and draft rights to devon hardin on february 17, 2009 for tyson chandler but on february 18, 2009 the trade was rescinded after tyson chandler failed a physical with oklahoma city.[9]
on march 1, 2009, the thunder bought out the remainder of smith's contract and released him. two nights later, he agreed to terms to rejoin the cavaliers.
on august 25, 2009, he signed a one-year contract with the atlanta hawks.[10] on march 17, 2010, smith became the 92nd player in nba history to reach 1000 games played, in a victory over the new jersey nets.
on september 10, 2010, smith signed a deal with the new jersey nets.[11]
on december 15, 2010, smith was traded to the los angeles lakers in a three team trade involving the nets and houston rockets.[12][13] on january 2, 2011, smith made his debut for the lakers. two days later, he scored his first points as a member of the team.[14]
post nba career [ edit ]
smith wound up participating in one of the phoenix suns' pre-draft practices on june 9, 2015 as someone to help out center alex len during practice. he was initially considered a candidate to take on one of the suns' player development coaching roles,[15] but he was ultimately not hired for the position.
smith continues to coach in the greater atlanta area with the private coaching service, coachup.[16]
nba career statistics [ edit ]
legend gp games played gs games started mpg minutes per game fg% field goal percentage 3p% 3-point field goal percentage ft% free throw percentage rpg rebounds per game apg assists per game spg steals per game bpg blocks per game ppg points per game bold career high
regular season [ edit ]
playoffs [ edit ]
year team gp gs mpg fg% 3p% ft% rpg apg spg bpg ppg 1999 minnesota 4 4 30.0 .297 .000 .727 6.5 1.3 .5 2.0 7.5 2000 minnesota 4 0 19.8 .471 .000 1.000 3.0 .3 .8 .3 4.5 2002 minnesota 3 1 14.3 .429 .000 .875 3.7 .0 .0 .3 4.3 2003 minnesota 5 1 8.0 .667 .000 1.000 1.2 .0 .2 .2 2.8 2004 milwaukee 5 5 35.0 .491 .000 .923 10.0 .4 .8 2.0 13.2 2006 milwaukee 5 0 21.2 .485 .000 .667 5.4 .6 .4 .4 7.6 2008 cleveland 13 0 20.2 .486 .000 .636 4.6 .5 .4 .5 6.6 2009 cleveland 13 0 16.8 .460 .600 .793 3.7 .2 .5 .5 5.5 2010 atlanta 5 0 4.8 .000 .000 .000 .4 .0 .0 .2 .0 2011 l.a. lakers 5 0 2.2 .000 .000 .000 .2 .0 .0 .0 .0 career 62 11 17.4 .451 .375 .780 3.9 .3 .4 .6 5.4
highlights [ edit ]
was named to the all-rookie first team in 1995–96 after being chosen first overall in the 1995 nba draft.
in 1995, was named national collegiate player of the year by the atlanta tip-off club (naismith award), the associated press (adolph rupp award), united press international, basketball america and eastern basketball.
portrayed connie hawkins in the movie rebound . [17]
. he shares the record (with chucky brown, tony massenburg and jim jackson) for the most franchises played for in an nba career. he played for 12 out of 30 franchises in the nba.[18]
music career [ edit ]
smith has recorded a solo rap album under the pseudonym "joe beast". included on the album are tracks titled "murda kapital" and "i does this". the album was produced in oklahoma city, by tommy switch and lorin roberts, while smith was playing for the oklahoma city thunder.[19]
see also [ edit ] | ˈflɔrɪdə steɪt rɛpriˈzɛtətɪv. ˈʤænɪt ˈædkɪnz (ˈjuˌtub) rɪˈpəblɪkən ˈflɔrɪdə steɪt rɛpriˈzɛtətɪv. ˈʤænɪt ˈædkɪnz wɑz ˈrisəntli kɔt ɔn teɪp ɪkˈspleɪnɪŋ hər plæn tɪ dɪˈfit steɪt rɛpriˈzɛtətɪv. braʊn, ə blæk ˈdɛməˌkræt, baɪ riˈdrɔɪŋ ðə ˈdɪstrɪkt laɪnz tɪ ˌɪnˈklud ˈæfrɪkənəˈmɛrɪkən ˈɪnˌmeɪts hu ˈkænɑt voʊt. braʊn sud ðə steɪt ˈərliər ðɪs jɪr ˈæftər rɪˈpəblɪkən ˈlɔˌmeɪkərz prəˈpoʊzd ˈædɪŋ əˈbaʊt ˈɪnˌmeɪts tɪ kənˈgrɛʃənəl ˈdɪstrɪkt 5 ˈprɪzən ˌpɑpjəˈleɪʃənz ɪn ˈflɔrɪdə ˌɪnˈklud ə məʧ haɪər pərˈsɛnɪʤ əv məˈnɔrətiz kəmˈpɛrd tɪ ðə ˈʤɛnərəl ˌpɑpjəˈleɪʃən. əˈkɔrdɪŋ tɪ braʊn, ˈlɔˌmeɪkərz wər ˈmeɪkɪŋ ɪt mɔr ˈdɪfəkəlt fər blæk ˈkænədɪts tɪ gɪt ɪˈlɛktɪd baɪ ˈmeɪkɪŋ ɪt əˈpɪr ðət ðə blæk ˈvoʊtɪŋ ˌpɑpjəˈleɪʃən hæd ˌɪnˈkrist wɪn ɪt hæd ˈæˌkʧuəli ˈdiˌkrist bɪˈkəz ˈɪnˌmeɪts kʊd nɑt voʊt. ɪn ə ˈpraɪvət ˈmitɪŋ wɪθ səˈpɔrtərz læst mənθ, ˈædkɪnz ədˈmɪtəd ðət ðə ˈstrætəʤi wɑz ðə ki tɪ dɪˈfitɪŋ braʊn, pəˈlɪtɪˌkoʊ ˌriˈpɔrtəd ɔn ˈwɛnzˌdeɪ. teɪk ə lʊk æt wɪn drɔɪŋ ðiz məˈnɔrəti ˈækˌsɛs ˈdɪstrɪkts, wən əv ðə kˈwɛsʧənz bɪn æst ɪz ðə raɪt pərˈsɛnɪʤ əv minorities?”*?” ʃi sɛd ˈæftər ˈmeɪkɪŋ ʃʊr noʊ rɪˈpɔrtərz wər ɪn ðə rum. ju lʊk æt drɔɪŋ ðət ˈkɔrɪdər, ðə ˈpraɪˌmɛri ˈɪndəstri ɪn nɔrθ ˈflɔrɪdə? prisons.”*.” səˈprim kɔrt həz rikˈwaɪərd ðət wi rɪˈdus ənd əˈvɔɪd ˈpækɪŋ məˈnɔrətiz wɪˈθɪn kənˈgrɛʃənəl districts,”*,” ˈædkɪnz kənˈtɪnjud. naʊ goʊɪŋ frəm 60 pərˈsɛnt ˌwəˈtɛvər ɪt wɑz naʊ, tɪ 45 pərˈsɛnt ˌwəˈtɛvər ðə nu ˈnəmbər ɪz, bət rɪˈdust ɪt. wi du nɑt teɪk ɪn kənˌsɪdərˈeɪʃən wɛr ðoʊz ˈpipəl lɪv. ɪt wʊd nɑt bi ˌkɑnstəˈtuʃənəl tɪ teɪk ˈɪntu kənˌsɪdərˈeɪʃən wɛr ðeɪ lɪv. bət wət wi ænˈtɪsəˌpeɪt, wət ðə ˈdɛməˌkræts wər ˈɑrgjuɪŋ ɔn ðə haʊs flɔr ɪz wi ʃʊd bi ˈteɪkɪŋ aʊt wɪn ju lɪv ɪn ˈprɪzənz ənd wi ʃʊd nɑt bi ˌɪnˈkludɪŋ ðɛm ənd drɔɪŋ ðɛm ˈɪntu ðə district.”*.” ðeɪ vote?”*?” ə səˈpɔrtər æst. ““no!”*!” ˈædkɪnz rɪˈplaɪd. teɪk ə lʊk æt haʊ ˈmɛni məˈnɔrətiz ər ɪn ðə ˈprɪzənz wɪˈθɪn ðət ˈnuli drɔn, prəˈpoʊzd kənˈgrɛʃənəl laɪn, haʊ ˈmɛni əv ðɛm lɪv wɪˈθɪn ðə ˈprɪzənz? waɪ braʊn ɪz soʊ əˈgɛnst ˈhævɪŋ ən [ˈdɪstrɪkt]. bɪˈkəz ðeɪ lɪv ɪn ˈprɪzənz ənd ðeɪ voʊt. ðə ˈpərˌfɪkt storm.”*.” ˈædkɪnz ˈnoʊtɪd ðət riˈdrɔɪŋ ðə laɪnz wʊd min ə lɑrʤ ˈnəmbər əv məˈnɔrətiz lɪv wɪˈθɪn ðə ˈprɪzənz ˈðɛrˈbaɪ nɑt biɪŋ ˈeɪbəl tɪ vote.”*.” ðə rɪˈpəblɪkən ˈlɔˌmeɪkər prɪˈdɪktɪd ðət ˈlɔˌsut wʊd bi ice”*” ənˈtɪl ˈæftər ðə ɪˈlɛkʃənz bɪˈkəz ðə ˈlɔŋˌtaɪm ˌdɛməˈkrætɪk ˌrɛprɪˈzɛnətɪv kʊd nɑt ʃoʊ ˈdæmɪʤɪz ənˈlɛs ʃi lɔst. ˈlɪsən tɪ ðə ˈɑdiˌoʊ bɪˈloʊ. |
florida state rep. janet adkins (youtube)
republican florida state rep. janet adkins was recently caught on tape explaining her plan to defeat state rep. corrine brown, a black democrat, by redrawing the district lines to include african-american inmates who cannot vote.
brown sued the state earlier this year after republican lawmakers proposed adding about 7,000 inmates to congressional district 5. prison populations in florida include a much higher percentage of minorities compared to the general population.
according to brown, lawmakers were making it more difficult for black candidates to get elected by making it appear that the black voting population had increased when it had actually decreased because inmates could not vote.
in a private meeting with supporters last month, adkins admitted that the strategy was the key to defeating brown, politico reported on wednesday.
“you take a look at when you’re drawing these minority access districts, one of the questions been asked is what’s the right percentage of minorities?” she said after making sure no reporters were in the room. “when you look at drawing that east-west corridor, what’s the primary industry in north florida? prisons.”
“the supreme court has required that we reduce and avoid packing minorities within congressional districts,” adkins continued. “so now we’ve going from 60 percent whatever it was now, to 45 percent whatever the new number is, but we’ve reduced it. we do not take in consideration where those people live. it would not be constitutional to take into consideration where they live. but what we anticipate, what the democrats were arguing on the house floor is we should be taking out when you live in prisons and we should not be including them and drawing them into the district.”
“can they vote?” a supporter asked.
“no!” adkins replied. “you take a look at how many minorities are in the prisons within that newly drawn, proposed congressional line, how many of them live within the prisons? why corrine brown is so against having an east-west [district]. because they live in prisons and they can’t vote. it’s the perfect storm.”
adkins noted that redrawing the lines would mean a large number of minorities “will live within the prisons thereby not being able to vote.”
the republican lawmaker predicted that brown’s lawsuit would be “on ice” until after the elections because the longtime democratic representative could not show damages unless she lost.
listen to the audio below. | ðə æp stɔr ɪˈvɛnʧəwəli bɪˈkeɪm mɔr trænˈspɛrənt ənd ˈlɑʤɪkəl wɪθ ɪts ˌrivˈju ˈprɔˌsɛs. ənd aɪ stɑp dɪˈvɛləpɪŋ ˈaɪˌfoʊn æps fər mɔr ðən ə fju mənθs: aɪ ˌɛnˈʤɔɪd ɪt tu məʧ, ənd nu, fər ˈbɛtər ər wərs, ðət ɪt wɑz ðə fˈjuʧər. ðət æp stɪl sɪts ðɛr, ˈnɛvər tɪ si ðə laɪt əv deɪ. ɪt wɑz ə lɔt əv wərk bæk ðɛn, fər ˈnəθɪŋ, bət muvd ɔn tɪ kriˈeɪt ə fju səkˈsɛsfəl ˈɪndi æps. maɪ ˈleɪtəst rɪˈʤɛkʃən əv ə ˈwɛðər æp aɪ dɪˈvɛləpt ə fju mənθs mi fˈjumɪŋ. naʊ, aɪ ˈpərsənəli si ˈwɛðər æps, laɪk ˌtuˈdu æps ənd ˈflæʃˌlaɪt æps ˌbiˈfɔr ðɛm, tɪ bi wən əv ðoʊz æps. ˈrɛlətɪvli ˈizi tɪ bɪld, soʊ lɑts əv ðɛm gɪt bɪlt baɪ ˌmidiˈoʊkər dɪˈvɛləpərz, ənd ðə stɔr gɪts ˈoʊvərˌrən. aɪ wɑz ˈfʊli əˈwɛr əv ðɪs goʊɪŋ ɪn. wɑz ˈθəndərəs applause.”*.” wɪʧ ɪz waɪ aɪ wɑz dɪˈtərmənd tɪ bɪld ˈsəmθɪŋ ˈmæʤɪkəl, ˈsəmθɪŋ nɑt sin ˌbiˈfɔr. waɪl oʊn ˈwɛðər æp hæd nis ˌriəˈlɪstɪk ˈgræfɪks əv ˈwɛðər kənˈdɪʃənz, ˈəðər æps wər ˈtrɛndɪŋ təˈwɔrd ə ˈvɛri ˈmɪnəməl ˈɪnərˌfeɪs ˈjuzɪŋ ə ˈsɪmpəl ˈvɛktər ˈaɪkɑn tɪ ˌrɛprɪˈzɛnt ðə ˈwɛðər. aɪ ˈwɔntɪd tɪ bɪld ˈsəmθɪŋ ðət wʊd əˈpɪr ɛz ɪf ju wər ˈlʊkɪŋ aʊt əv ə ˈwɪndoʊ. aɪ kriˈeɪtɪd ˌænəˈmeɪʃənz fər ˈvɛriəs ˈwɛðər kənˈdɪʃənz, ˌɪnˈkludɪŋ ə ˈθəndərˌstɔrm. nɑt ə ˈvɪdioʊ, maɪnd ju, bət kəmˈpjutər ˈʤɛnərˌeɪtɪd kənˈdɪʃənz ðət lʊkt ənd muvd cgi*, ɛˈsɛnʃəli. ˈæpəl rɪˈʤɛktɪd ɪt ɔn ðə graʊnz ðət ɪt wɑz tu ˈsɪmpəl: ɪnˈkərəʤ ju tɪ ˌrivˈju jʊr æp ˈkɑnsɛpt ənd ɪˈvæljuˌeɪt ˈwɛðər ju kən ˌɪnˈkɔrpərˌeɪt əˈdɪʃənəl ˈkɑntɛnt ənd features.”*.” ərˈɪʤənəli aɪ ˈwɔntɪd tɪ tɛst ðə ˈwɔtərz fər səʧ ən ˈɪnərˌfeɪs, tɪ si ɪf ˈpipəl wʊd laɪk ɪt ˌbiˈfɔr aɪ ˈædɪd əˈdɪʃənəl aɪ wɑz ˈwɪlɪŋ tɪ pleɪ bɔl. soʊ aɪ ˈædɪd səm θɪŋz plænd tɪ hoʊld ɔf ənˈtɪl ˈleɪtər. ðə æp ˈɪnəˌgreɪtɪd wɪθ jʊr ˈkæləndər. ɪt ʃoʊd ˈaʊrli ˈfɔrˌkæsts wɪθ priˈsɪʒən, ənd bɪɔnd. ɪt ʃoʊd ˈsənˌraɪz ənd ˈsənˌsɛt wɪθ ɪts ˌænəˈmeɪʃənz ənd ə nis mun æt ðə kərˈɛkt feɪz. ɪt wʊd ˈivɪn ˈnoʊtəˌfaɪ ju əv ˌɪnˈklɛmənt ˈwɛðər wɪˈθaʊt ju ˈhævɪŋ tɪ lɪft ə ˈfɪŋgər. ɪt wɑz ˈɔlsoʊ rɪˈʤɛktɪd. ðɪs taɪm, ðə ˈrizən rɛd: ɪz lɛs əˈbaʊt ə spɪˈsɪfɪk kˈwɑntəti əv features…rather*, ɪt ɪz əˈbaʊt ðə ɪkˈspɪriəns ðə æp provides.”*.” dɪz ðɪs straɪk ˈɛniˌwən ɛz ˌɔnˈfɛr? ˈæpəl steɪts, ɪn ˈlɛgəˌlis: ʃʊd bi ɪnˈgeɪʤɪŋ ənd ɪkˈsaɪtɪŋ, ɪˈneɪbəlɪŋ ˈjuzərz tɪ du ˈsəmθɪŋ ðeɪ du ˌbiˈfɔr; ər tɪ du ˈsəmθɪŋ ɪn ə weɪ ðeɪ du ˌbiˈfɔr ər ˈbɛtər ðən ðeɪ kʊd du ɪt before.”*.” ˈɛvriˌwən kən gɪt tɪ ðə ˈwɛðər, ə ˈgɪvɪn. bət noʊ wən hæd bɪlt ˈɛniˌθɪŋ ðət lɛt ju du ɪt ðɪs weɪ ˌbiˈfɔr. aɪ ɪˈvɛnʧəwəli geɪv əp, ðoʊ. aɪ səˈpoʊz aɪ ˈtrəstɪd ðeɪ sɛd ðət noʊ wən ˈwɔntɪd tɪ si ˈwɛðər ɪn ə ˈbjutəfəl ˌriəˈlɪstɪk ˌænəˈmeɪʃən, ðɛn noʊ wən ˈwɔntɪd tɪ si ɪt. ju maɪt ˌəndərˈstænd maɪ ʃɑk wɪn ðeɪ ənˈveɪld ə riˈvæmpt ˈwɛðər æp təˈdeɪ. ənd ɪts moʊst dɪˈfaɪnɪŋ nu ˈfiʧər? ˈænəˌmeɪtɪd ˈwɛðər. reɪn fɛl, snoʊ ˈdrɪftɪd, heɪl drɑpt, ənd ˈθəndərˌstɔrmz ɛz maɪ æp hæd soʊ ˈkɑnfədəntli dən mənθs ˌbiˈfɔr. ənd ðə ˈɔdiəns ləvd ɪt. wɪn ðə ˈlaɪtnɪŋ flæʃt, ðɛr wɑz ˈθəndərəs əˈplɔz. nɑt naɪiv ɪˈnəf tɪ kleɪm ˈæpəl ˈæˌkʧuəli tʊk maɪ aɪˈdiə. ʃʊr ðeɪ ˈhæpənd tɪ bi ˈwərkɪŋ ɔn ə ˈsɪmələr ˈkɑnsɛpt. ʤɪst seɪɪŋ ðeɪ meɪ hæv ənˈfɛrli baɪəst ðə ˌrivˈju ˈprɔˌsɛs, nɑt ˈwɪʃɪŋ fər ˈsəmˌwən tɪ ˈdeɪbju ə ki nu ˈæˌspɛkt əv ðɛr bɪˈləvəd ɑs ˌbiˈfɔr ðeɪ wər ˈeɪbəl tɪ du ˈwɑnɪŋ ˈɛniˌwən tɪ stil ðɛr ˈθəndər. əˈkɔrdɪŋ tɪ ˈæpəl, noʊ wən ˈwɔntɪd ə ˈflæʃi ˈwɛðər æp. ðeɪ wər soʊ ˈsərtən əv ðɪs, ðeɪ bɪlt wən ðɛmˈsɛlvz. |
the app store eventually became more transparent and logical with its review process. and i didn’t stop developing iphone apps for more than a few months: i enjoyed it too much, and knew, for better or worse, that it was the future. that app still sits there, never to see the light of day. it was a lot of work back then, for nothing, but i’ve moved on to create a few successful indie apps.
my latest rejection — of a weather app i developed a few months ago—has me fuming. now, i personally see weather apps, like to-do apps and flashlight apps before them, to be one of those lowest-common-denominator apps. they’re relatively easy to build, so lots of them get built by mediocre developers, and the store gets overrun. i was fully aware of this going in.
“there was thunderous applause.”
which is why i was determined to build something magical, something i’d not seen before. while apple’s own weather app had nice realistic graphics of weather conditions, other apps were trending toward a very minimal interface using a simple vector icon to represent the weather. i wanted to build something that would appear as if you were looking out of a window. i created opengl animations for various weather conditions, including a thunderstorm. not a video, mind you, but computer generated conditions that looked and moved realistically—weather cgi, essentially. apple rejected it on the grounds that it was too simple: “we encourage you to review your app concept and evaluate whether you can incorporate additional content and features.”
originally i wanted to test the waters for such an interface, to see if people would like it before i added additional features—but i was willing to play ball. so i added some things i’d planned to hold off until later. the app integrated with your calendar. it showed hourly forecasts with minute-by-minute precision, and beyond. it showed sunrise and sunset with its animations and a nice moon at the correct phase. it would even notify you of inclement weather without you having to lift a finger.
it was also rejected. this time, the reason read: “it is less about a specific quantity of features…rather, it is about the experience the app provides.” does this strike anyone as unfair?
apple states, in legalese:
“apps should be engaging and exciting, enabling users to do something they couldn’t do before; or to do something in a way they couldn’t do before or better than they could do it before.”
everyone can get to the weather, that’s a given. but no one had built anything that let you do it this way before. i eventually gave up, though. i suppose i trusted apple—if they said that no one wanted to see weather in a beautiful realistic animation, then no one wanted to see it.
you might understand my shock when they unveiled a revamped weather app today. and its most defining new feature? animated weather. rain fell, snow drifted, hail dropped, and thunderstorms stormed—just as my app had so confidently done months before. and the audience loved it. when the lightning flashed, there was thunderous applause.
i’m not naive enough to claim apple actually took my idea. i’m sure they happened to be working on a similar concept. i’m just saying they may have unfairly biased the review process, not wishing for someone to debut a key new aspect of their beloved os before they were able to do so—not wanting anyone to steal their thunder.
according to apple, no one wanted a flashy weather app. they were so certain of this, they built one themselves. | s3* prəˈvaɪdz ˈækˌsɛs ˈlɔgɪŋ fər ˈtrækɪŋ rɪkˈwɛsts tɪ jʊr ˈbəkɪt. iʧ ˈækˌsɛs lɔg ˈɛntri (kɔld ðə ˈrɛkərd) həz ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ə ˈsɪŋgəl rɪkˈwɛst, ˌɪnˈkludɪŋ rɪkˈwɛstər, rɪkˈwɛst taɪm, rɪˈspɑns ˈstætəs, ˈbəkɪt, ki, ˌɛtˈsɛtərə. ðə ˈækʧəwəl ˈfɔrˌmæt ɪz dɪˈskraɪbd ɪn ðɪs ˈdɑkjəmɛnt, ɪkˈspleɪnɪŋ iʧ fild ɪn dɛpθ. ɪgˈzæmpəl ˈɛntri: 0000 "gɪt 200 113 7 ðə ˈprɑbləm ɪz wɪθ səʧ lɔg ˈfɔrˌmæt ðət wi kænt ˈækˌsɛs ˌɪndəˈvɪʤəwəl fildz ˈizəli (wɪˈθaʊt ə) ənd ðət wi stɔr ðə ˌɪnˌfɔrˈmeɪʃən ə ˈjumən ˈfrɛndli weɪ ˈjuzɪŋ tɛkst. ðɪs ɪz nɑt ˈɑptɪməl fər ˈstɔrɪŋ ənd ˈlɑrʤər datasets*, wi nid tɪ ˈtrænsfɔrm ɪt tɪ ə mɔr speɪs ɪˈfɪʃənt səˈluʃən ðət rɪˈdusɪz ðə aɪoʊ wɪn ˈrɛdɪŋ ə lɑrʤ ʧəŋk əv ðə ˈdætə ɔn dɪsk ər ˈjuzɪŋ dɪˈstrɪbjətəd ˌænəˈlɪtɪkəl ˈplætˌfɔrmz laɪk. waɪ əˈpæʧi əˈpæʧi həz ə lɔŋ træk ˈrɛkərd biɪŋ juzd ɪn pərˈdəkʃən ənd ɪt kən bi kˈwɪrid ɔn wɪθ iz. əˈkɔrdɪŋ tɪ ðə ˌdɑkjəmɛnˈteɪʃən prəˈvaɪdz rɪʧ ˈdætə ˈstrəkʧərz. ə ˈkɑmpækt, fæst, ˈbaɪnəˌri ˈdætə ˈfɔrˌmæt. ə kənˈteɪnər faɪl, tɪ stɔr pərˈsɪstənt ˈdætə. ənd fju ˈəðər θɪŋz wi nid raɪt naʊ ˈɔlsoʊ ˈjuzɪz ˈskiməz soʊ wi kən trəst ɑr ˈdætə waɪl ˈprɑsɛsɪŋ ɪt. ðə ˈəðər ɔlˈtərnətɪv wʊd bi əˈpæʧi ðət ɪz ˈivɪn mɔr ˈsutəbəl fər ˌænəˈlɪtɪkəl juz. aɪ æm goʊɪŋ wɪθ ðɪs taɪm, bɪˈkəz ɪt ɪz ˈbɛtər səˈpɔrtɪd ðən ɪn æt ðə ˈmoʊmənt. waɪ maɪ ˈpərsɪnəl ˈrizənz waɪ aɪ æm ˈjuzɪŋ fər ˈdætə ˈprɑʤɛkts laɪk ðɪs ɪz: kwɪk ˈproʊtoʊˌtaɪpɪŋ (repl*) səˈpɔrt fər ˈeɪˈsɪŋkrənəs ˈproʊˌgræmɪŋ (lɪŋk) smɔl koʊd beɪs, lɛs ðən ˈʤɑvə jɛt mɔr ˈridəbəl ˈækˌsɛs tɪ ɔl əv ðə ˈʤɑvə ˈlaɪbrɛˌriz moʊst əv ðə ˈdætə ˈsərvɪsɪz aɪ æm ˈwərkɪŋ wɪθ ɔn ə ˈdeɪli ˈbeɪsɪs həz ˈdisənt ˈʤɑvə səˈpɔrt, ðət minz aɪ ʤɪst ɛz ˈizəli juz ðoʊz ˈlaɪbrɛˌriz ɪn. aɪ ˈɔlsoʊ laɪk smɔl nis θɪŋz. ˈgɪtɪŋ ˈstɑrtɪd ʤɪst tɪ wət ər traɪɪŋ tɪ əˈʧiv wɪθ ðɪs ˈprɑʤɛkt ənd ˈɑrtɪkəl ˈsɪriz: ˈkəvərɪŋ ˈrɛdɪŋ tɛkst faɪlz frəm ˈæməˌzɑn ənd ˈkɑnvərt ðə ˈdætə tɪ (pɑrt aɪ) ɪkˈspleɪnɪŋ haʊ tɪ ˈkɑnvərt ə ˈsɪŋgəl θrɛd ˌɛksəˈkjuʃən tɪ ən ˈeɪˈsɪŋkrənəs wən wɪθ (pɑrt ii*) bɪld ə ˈsɪmpəl tɪ kˈwiri faɪlz (pɑrt iii*) fər ˈstɑrtɪŋ aɪ æm goʊɪŋ θru ðə ˈmeɪʤər ˈtɑpɪks ˌɪnˈvɑlvd ɪn ðə ˈprɔˌsɛs, haʊ tɪ juz api*, haʊ tɪ kriˈeɪt faɪlz ənd ˈfaɪnəli haʊ tɪ ˈprɔˌsɛs laɪnz əv lɔg faɪlz. ˈtɔkɪŋ tɪ ˈæftər səm ˌɪˈnɪʃəl ˈpoʊkɪŋ əraʊnd wɪθ ðə ˈlaɪbrɛˌriz wi nid fər ðɪs aɪ ˌdɪˈsaɪdɪd tɪ juz ðə rɑ ˈʤɑvə api*, sɪns ɪt ɪz soʊ wɛl ˈrɪtən, ˈjuzɪŋ ɪt ɪn ɪz ə briz. kriˈeɪtɪŋ ɪn kriˈeɪtɪŋ ə krɪˈdɛnʃəl ənd ˈjuzɪŋ ɪt tɪ kriˈeɪt ən ɪz ˈsɪmpəl. wi kən juz ˈmɛni klaɪənts æt ðə seɪm taɪm fər ˈbɛtər pərˈfɔrməns bət fər ðə ˌɪˈnɪʃəl ˈvərʒən wi ər goʊɪŋ tɪ stɪk tɪ ə ˈsɪŋgəl kəˈnɛkʃən. lɔg faɪlz ər əraʊnd deɪts, ˈkipɪŋ wən faɪl pər deɪ saʊnz ˈrizənəbəl. iʧ deɪ həz ˈziroʊ ər ˈmɛni ˈɛntriz, wɛr ˈmɛni ɪz lɛs ðən ə soʊ ðɛr ɪz noʊ nid fər ˈsplɪtɪŋ əp ə deɪ fər sˈmɔlər ʧəŋks. ɔn ˈævərɪʤ ðɛr ər faɪlz pər deɪ, dɪˈpɛndɪŋ ɔn ðə ˈnəmbər əv ˈækˌsɛs ˈɛntriz. wi ər goʊɪŋ tɪ ˈprɔˌsɛs ˈdætə deɪ baɪ deɪ, ˈjuzɪŋ ə ˈmuvɪŋ ˈwɪndoʊ. ðə saɪz əv ðə ˈwɪndoʊ ənd wɪn ɪz stɑrts kən bi kənˈfɪgjərd ɪn ðə. pɑrt əv ðə ˈjuzɪŋ ðə ɪgˈzæmpəl frəm ðə ənd jildz tɪ ðə ˈfɑloʊɪŋ lɪst əv deɪts: ɪgˈzæmpəl deɪz ˈfɛʧɪŋ ˈækʧəwəl faɪl neɪmz fər iʧ deɪ kən bi ˈtrɪki æt ðə fərst saɪt bət wi kən juz ðə ˈtrəŋˌkeɪtɪd fild fər ˈʧɛkɪŋ ɪf ðɛr ər mɔr ðən 1000 (baɪ dɪˈfɔlt) faɪlz fər ðə ˌpɑˈtɪkjələr deɪ. ðɪs ˈfəŋkʃən ɪz ˈblɑkɪŋ soʊ ɪt rɪˈtərn ənˈtɪl ɔl əv ðə ˈaɪtəmz ər fɛʧt, ɪt ɪz nɑt ˌrɛkəˈmɛndɪd tɪ ˈprɔˌsɛs faɪlz æt ðə seɪm taɪm. fər ˈprɑsɛsɪŋ ðət ˈmɛni faɪlz wi nid tɪ ɪt tɪ bi ˈleɪzi prəˈdusɪŋ ə ˈleɪzi ˈsikwəns wɛr ðə ˈaɪtəmz ər lʊkt əp wɪn ˈnidɪd. (ˈædɪd tɪ ðə ˌtuˈdu). ðə ˈfəŋkʃən ðət rɪˈtərnz ðə ˌrɛprəzɛnˈteɪʃən (ə) əv ə lɔg ˈɛntri ɪz get-s3-object-summary-clj*. ˈʤɑvə tɪ fər ðɪs weɪ ər hæv ə lɪst əv ðət wi ər goʊɪŋ tɪ ˈprɔˌsɛs ˈleɪtər. fər ˈbutɪŋ əp ɔl ðɪs ɪn wi kən juz ðə ˈfɑloʊɪŋ fju laɪnz əˈsumɪŋ ðə kənˌfɪgjərˈeɪʃən ɪz kərˈɛkt ənd ðə krɪˈdɛnʃəl faɪl ɪz ˈprɛzənt ənd ɪt həz ˈvælɪd ˈækˌsɛs ənd ˈsikrɪt ki. ˈæftər gɑt kəˈnɛktɪd tɪ wi kən pleɪ wɪθ ðə lɔg faɪlz. ˈʧɛkɪŋ ðə fərst ˈɛntri (ˈkɔlɪŋ fərst ɔn all-files-for-a-day*): ɪgˈzæmpəl ɛz sɪns ˈkiˌwərdz kən bi juzd ɛz ˈfəŋkʃənz wi kən ˈizəli lɪst ɔl əv ðə faɪl neɪmz ɪn ðə lɪst wi prəˈdust ˈərliər. lɪst əv lɔg faɪlz ˈrɛlətɪv tɪ ðə ˈbəkɪt ˈprɑsɛsɪŋ ə ˈsɪŋgəl laɪn ənˈfɔrʧənətli ðɛr ɪz noʊ ˈbɛtər weɪ əv ˈprɑsɛsɪŋ ðiz laɪnz ðən ˈjuzɪŋ ə ˈrɛgjələr ɪkˈsprɛʃən. aɪ gɛs ɪt ɪz nɑt nis bət æt list gɪts ðə ʤɑb dən. aɪ stɪl nid tɪ rən ɪt ɔn ˈbɪgər ˈdætə sɛts bət fər ɑr juz keɪs ɪt wərks. wɪn ðɛr ər grups ɪn ðə ˈpætərn ənd faɪndz ə mæʧ, ɪt rɪˈtərnz ə ˈvɛktər. ðə fərst ˈɛləmənt ɪz ðə ˈmæʧɪŋ strɪŋ, ðə rɪˈmeɪnɪŋ ˈɛləmənts ər ðə ˌɪndəˈvɪʤəwəl grups. ɪn ðɪs keɪs wi nid tɪ peɪ əˈtɛnʃən nɑt ˈoʊnli ðət ˈæməˌzɑn ˈjuzɪz fər nəl ˈvæljuz bət ˈɔlsoʊ tɪ mæʧ ɔl əv ðə ˈpɑsəbəl ˈvæljuz əv ðə ənd ˈjuzər ˈeɪʤənt fildz. tɪ ˈkæpʧər iʧ fild ɪn ə lɔg ˈɛntri ðɪs wərks ˈrizənəbli wɛl, aɪ faʊnd ə nɑn ˈmæʧɪŋ lɔŋ ˈɛntri jɛt. naʊ wi kən ɪkˈstɛnd ðə wɪθ gɪt ˈɑbʤɛkt ˈkɑntɛnt ˌkeɪpəˈbɪlətiz, ðət ɪz rikˈwaɪərd fər ˈdaʊnˌloʊdɪŋ ən ˈɑbʤɛkt frəm kriˈeɪtɪŋ ən ɪz ˈizi, wi ʤɪst nid tɪ səˈplaɪ ə kəˈnɛkʃən, ə ˈbəkɪt ənd ə ki. naʊ ðət wi hæv minz tɪ tɔk tɪ ənd rɛd faɪlz frəm ɪt wi kʊd muv ɔn tɪ hæv ə ˈkloʊzər lʊk tɪ faɪlz ənd haʊ tɪ raɪt ðɛm ɪn. ˈwərkɪŋ wɪθ əˈpæʧi ɪn ˈləkəli ðɛr ɪz ə gʊd ˈlaɪbrɛˌri ðət wi kən juz tɪ wərk wɪθ faɪlz ɪn, soʊ wi nid tɪ ðə hɑt ˈwɔtər ðɪs taɪm. prəˈvaɪdz ənd fər ˈdætə ˈstrəkʧərz wɪθ ðət kən bi pərˈsɪstɪd tɪ dɪsk ər juzd ɪn ˈmɛsɪʤ ˈpæsɪŋ ˈsɪstəmz laɪk ˈkɑfkə fər ɪgˈzæmpəl. wi ər goʊɪŋ tɪ pərˈsɪst ðə ˈdætə tɪ dɪsk ðɪs taɪm. ˌbiˈfɔr wi kən raɪt ˈɛni ˈɛntri tɪ dɪsk wi nid ə ˈskimə fər ðə ˈdætə ðət wi ər kəˈlɛktɪŋ hir. ðɛr ər səm ˈʧælənʤɪz ˈkəmɪŋ əp wɪθ ðə raɪt ˈskimə bət wi kən ʤəmp ðiz hups. fərst ənd ˈfɔrˌmoʊst dɪz nɑt lɛt tɪ bi juzd ɛz ðə fild ɪn ˈskiməz wi hæv tɪ juz ˌɪnˈstɛd. sɪns ˈæməˌzɑn əˈlaʊz nəl ˈvæljuz fər ˈsərtən fildz wi nid tɪ rɪˈflɛkt ðət ɪn ɑr ˈskimə. dɪˈfaɪnɪŋ fildz ɪz ˈizi, wi ʤɪst juz ən əreɪ əv ˈpɑsəbəl taɪps fər ðə taɪp ɛz ɪn ðə ɪgˈzæmpəl əˈbəv. ðɛr ɪz noʊ strɔŋ səˈpɔrt fər deɪts jɛt, wi ər goʊɪŋ tɪ stɔr ɪt ɛz strɪŋ fər naʊ. ˈæftər wi ˈʤɛnərˌeɪtɪd ðə ˈskimə wi kən juz ɪt tɪ kriˈeɪt ən faɪl. ɛz ju kən si prəˈvaɪdz ˈprɪti gʊd tulz tɪ wərk wɪθ ˈæməˌzɑn ənd faɪlz. ðə ɪz ˈprɪti smɔl 559 loc*) ənd ɪt ɔˈrɛdi dɪz ə lɔt. ɪn ðə nɛkst ˈɑrtɪkəlz ɪn ðə ˈsɪriz aɪ æm goʊɪŋ tɪ meɪk ɪt ˈeɪˈsɪŋkrənəs ənd ˈfæstər wɪθ (ˈʧænəlz) ənd ˈfɪnɪʃ ðə koʊd tɪ ˈəˌploʊd ðə kənˈvərtɪd faɪlz tɪ ˈæftərwərdz. ˈivɪn ðoʊ aɪ hæv ˈprɑsɛst tu mənθs wərθ əv lɔg wɪθ ɔˈrɛdi ənd ɪt wərks ˈrizənəbli wɛl ɪt ɪz ʤɪst ə ˈproʊtoʊˌtaɪp ðɪs steɪʤ. aɪ æm goʊɪŋ tɪ ˌɪmˈpruv ɪt ˈdʊrɪŋ ðə ˈəpˌkəmɪŋ mənθs. ðə fʊl koʊd ɪz əˈveɪləbəl hir ʧɛk ɪt aʊt: ˈspɑnsərd baɪ |
s3 provides access logging for tracking requests to your bucket. each access log entry (called the record) has information about a single request, including requester, request time, response status, bucket, key, etc. the actual format is described in this document, explaining each field in depth.
example entry:
79a59df900b949e55d96a1e698fbacedfd6e09d98eacf8f8d5218e7cd47ef2be mybucket [06/feb/2014:00:00:38 +0000] 192.0.2.3 79a59df900b949e55d96a1e698fbacedfd6e09d98eacf8f8d5218e7cd47ef2be 3e57427f3example rest.get.versioning - "get /mybucket?versioning http/1.1" 200 - 113 - 7 - "-" "s3console/0.4" -
the problem is with such log format that we cant access individual fields easily (without a regexp) and that we store the information a human friendly way using text. this is not optimal for storing and querying larger datasets, we need to transform it to a more space efficient solution that reduces the io when reading a large chunk of the data on disk or using distributed analytical platforms like hadoop.
why apache avro
apache avro has a long track record being used in production and it can be queried on hadoop with ease.
according to the documentation avro provides
rich data structures.
a compact, fast, binary data format.
a container file, to store persistent data.
and few other things we don’t need right now
avro also uses schemas so we can trust our data while processing it. the other alternative would be apache orc that is even more suitable for analytical use. i am going with avro this time, because it is better supported than orc in clojure at the moment.
why clojure
my personal reasons why i am using clojure for data projects like this is:
quick prototyping (repl)
support for asynchronous programming (link)
small code base, less verbose than java yet more readable
access to all of the java libraries
most of the data services i am working with on a daily basis has decent java support, that means i just as easily use those libraries in clojure. i also like small nice things. :)
getting started
just to summarise what are trying to achieve with this project and article series:
covering reading text files from amazon s3 and convert the data to avro (part i)
explaining how to convert a single thread execution to an asynchronous one with core.async (part ii)
build a simple dsl to query avro files (part iii)
for starting i am going through the major topics involved in the process, how to use aws s3 api, how to create avro files and finally how to process lines of log files.
talking to s3
after some initial poking around with the libraries we need for this i decided to use the raw java s3 api, since it is so well written, using it in clojure is a breeze.
creating basicawscredentials in clojure
creating a credential and using it to create an amazons3client is simple. we can use many s3 clients at the same time for better performance but for the initial version we are going to stick to a single connection.
log files are organised around dates, keeping one file per day sounds reasonable. each day has zero or many entries, where many is less than a 10.000 so there is no need for splitting up a day for smaller chunks. on average there are 1000–2000 files per day, depending on the number of access entries. we are going to process data day by day, using a moving window. the size of the window and when is starts can be configured in the config.
part of the config
using the example from the config and yields to the following list of dates:
example days
fetching actual file names for each day can be tricky at the first sight but we can use the truncated field for checking if there are more than 1000 (by default) files for the particular day.
this function is blocking so it won’t return until all of the items are fetched, it is not recommended to process 100.000+ files at the same time. for processing that many files we need to re-write it to be lazy producing a lazy sequence where the items are looked up when needed. (added to the todo). the function that returns the clojure representation (a hash-map) of a log entry is get-s3-object-summary-clj.
java to clojure for s3objectsummary
this way are have a list of entires that we are going to process later. for booting up all this in repl we can use the following few lines assuming the configuration is correct and the credential file is present and it has valid access and secret key.
after got connected to s3 we can play with the log files. checking the first entry (calling first on all-files-for-a-day):
example s3objectsummary as clojure hash-map
since clojure keywords can be used as functions we can easily list all of the file names in the list we produced earlier.
list of log files relative to the bucket
processing a single line
unfortunately there is no better way of processing these lines than using a regular expression.
i guess it is not nice but at least gets the job done. i still need to run it on bigger data sets but for our use case it works. when there are parenthesized groups in the pattern and re-find finds a match, it returns a vector. the first element is the matching string, the remaining elements are the individual groups. in this case we need to pay attention not only that amazon uses “-” for null values but also to match all of the possible values of the referer and user agent fields.
regexp to capture each field in a log entry
this works reasonably well, i haven’t found a non matching long entry yet. now we can extend the s3api with get object content capabilities, that is required for downloading an object from s3.
creating an s3object is easy, we just need to supply a connection, a bucket and a key.
now that we have means to talk to s3 and read files from it we could move on to have a closer look to avro files and how to write them in clojure.
working with apache avro in clojure
luckily there is a good library that we can use to work with avro files in clojure, so we don’t need to re-invent the hot water this time. abracad provides serialization and deserialization for clojure data structures with avro that can be persisted to disk or used in message passing systems like kafka for example. we are going to persist the data to disk this time.
before we can write any avro entry to disk we need a schema for the data that we are collecting here. there are some challenges coming up with the right schema but we can jump these hoops.
first and foremost avro does not let “-” to be used as the field separator in avro schemas we have to use “_” instead. since amazon allows null values for certain fields we need to reflect that in our schema. defining nullable fields is easy, we just use an array of possible types for the type as in the example above. there is no strong support for dates yet, we are going to store it as string for now. after we generated the schema we can use it to create an avro file.
summarising
as you can see clojure provides pretty good tools to work with amazon s3 and avro files. the codebase is pretty small (559 loc) and it already does a lot. in the next articles in the series i am going to make it asynchronous and faster with core.async (channels) and finish the code to upload the converted files to s3 afterwards. even though i have processed two months worth of log with s3-logrotate already and it works reasonably well it is just a prototype this stage. i am going to improve it during the upcoming months.
the full code is available here check it out:
sponsored by streambright | ˈsənˌdi, meɪ 2013 ˈgeɪmɪŋ deɪ eɪt wɪθ ðə rɪft aɪ hæd ˌɪnˈtɛndɪd tɪ raɪt əˈbaʊt ˈhɔkən ənd dum 3 əˈgɛn təˈdeɪ bət simd tɪ stɑp ˈkæpʧərɪŋ maɪ soʊ ˌɪnˈstɛd aɪ θɔt aɪd ʧɛk aʊt wən əv ðə sˈmɔlər ˈdɛmoʊ æps aɪd əv ðə ɪz ə ˈvɪʒwəli ˌɪmˈprɛsɪv ˌæpləˈkeɪʃən wɪʧ ɪz sɛt ˌɪnˈsaɪd ə fˌjuʧərˈɪstɪk mˈjuziəm, ˈtiʧɪŋ ðə ˈhɪstəri əv ðə ərθ ənd ɪts destruction.download*: ˌɪmˈprɛsɪvli, streɪt aʊt əv ðə fərst dɔr jʊr mɛt wɪθ ə ˈstɛrˌkeɪs ˈlidɪŋ əp tɪ ðə fərst sɛt əv ɪgˈzɪbəts ənd waɪl ðə vju əv ðə ɪz nis, ɪts ðə sɛns əv ril haɪt ju gɪt wɪθ ðə ɔn wɪn ˈlʊkɪŋ ˈoʊvər ðə ɛʤ əv ðə prəˈsidəd tɪ wɔk frəm ˈplætˌfɔrm tɪ ˈplætˌfɔrm ˈlʊkɪŋ æt ðə ɪgˈzɪbəts. ðeɪ tɛl ə ˈstɔri əv haʊ ðə wərld wɑz ˈəltəmətli dɪˈstrɔɪd, ˈmɛnʃənɪŋ koʊl fərst ɛz wən əv ðə ˈmeɪʤər fjuəl ˈsɔrsəz əv ərθ ɪn pæst ju wɔk əraʊnd, səm əv ðə ɪgˈzɪbəts ər aʊt əv ˈɔrdər wɪʧ gɪvz ðə ən ɪkˈskjuz fər səm ˈfænsi ˈækʧəwəl ˈspɪnɪŋ ɪn ðə ˈsɛntər əv ðə mˈjuziəm ɪz əv kɔrs ðə meɪn əˈtrækʃən. waɪl ɪts ˈprɪti kul ˈlʊkɪŋ aɪ ˈwəzənt ˈrɪli ˈgɪtɪŋ məʧ sɛns əv dɛpθ frəm ɪt. aɪ θɪŋk aɪ ˈprɑbəˌbli nid tɪ sˈlaɪtli ˈkæləˌbreɪt ðə ˈsɛtɪŋz ɪn ðə geɪm tɪ gɪt ɪt ʤɪst daʊn bɪˈniθ ðə stɑr aɪ ˈnoʊtɪst aɪ kʊd meɪk maɪ weɪ daʊn ɪf aɪ ʤəmpt daʊn ðə ˈaʊtˈsaɪd wɔl, wɪʧ aɪ dɪd ənd gɑt ə ˈkloʊzər lʊk æt ðə məˈʃinəri ɔn ðə ˈdɛmoʊ lʊks ˈprɪti ˌɪmˈprɛsɪv ənd wɪn ɔn ðə ˈplætˌfɔrmz ju du gɪt ə sɛns əv haɪt bət ˈoʊvərˌɔl ɪt ˈdɪdənt fil ɛz θri dɪˈmɛnʃənəl ɛz ðə ˈəðər geɪmz aɪv bɪn pleɪɪŋ. aɪl ˈlaɪkli traɪ ðɪs əˈgɛn wɪn aɪ hæv mɔr taɪm ənd ˈprɑpərli wərk maɪ weɪ θru iʧ ɪgˈzɪbɪt ɛz aɪ ʤɪst skɪmd θru ðɪs taɪm. |
sunday, may 19th 2013 / gaming
day eight with the oculus rift - microstar
i had intended to write about hawken and doom 3 again today but fraps seemed to stop capturing my screenshots so instead i thought i'd check out one of the smaller demo apps i'd downloaded.museum of the microstar is a visually impressive unity-made application which is set inside a futuristic museum, teaching the history of the earth and it's destruction.download: http://rustltd.com/projects/the-museum-of-the-microstar impressively, straight out of the first door you're met with a staircase leading up to the first set of exhibits and while the view of the microstar is nice, it's the sense of real height you get with the oculus on when looking over the edge of the staircase.i proceeded to walk from platform to platform looking at the exhibits. they tell a story of how the world was ultimately destroyed, mentioning coal first as one of the major fuel sources of earth in past history.as you walk around, some of the exhibits are out of order which gives the devs an excuse for some fancy effects:the actual microstar spinning in the centre of the museum is of course the main attraction. while it's pretty cool looking i wasn't really getting much sense of depth from it. i think i probably need to slightly calibrate the settings in the game to get it just right.looking down beneath the star i noticed i could make my way down if i jumped down the outside wall, which i did and got a closer look at the machinery on the ground.the demo looks pretty impressive and when on the platforms you do get a sense of height but overall it didn't feel as three dimensional as the other games i've been playing. i'll likely try this again when i have more time and properly work my way through each exhibit as i just skimmed through this time. | prɪns ˈhɛri əv weɪlz ɪz əˈbaʊt tɪ bi ɔf ðə ˈmɑrkɪt ˈæftər dɪˈklɛrɪŋ hɪz ləv fər ˈæktrəs ˈmɛgən ˈmɑrkəl, bət wɛr prɪns æbˈdul əv bruˈnaɪ kəmz ɪn. ðə fɔrθ sən əv ðə ˈsəltən əv bruˈnaɪ ɪz ən ˈæktɪv ˈsoʊʃəl ˈmidiə ˈjuzər wɪθ mɔr ðən ˈfɑloʊərz ənd ˈkaʊntɪŋ ɔn. nɑt hɑrd tɪ si waɪ ðə prɪns həz ˈstoʊlən ðə hɑrts əv ˈmɛni. nɑt ˈoʊnli ɪz hi ə ˈhænsəm ˈspɛsəmən ənd laɪks tɪ kip əp ðət fɪt əˈpɪrəns, prɪns ɪz ˈɔlsoʊ ə ˈfæməli mæn. hæv ə ˈrɪli bɪg ˈfæməli, bət ˈkloʊsəst tɪ maɪ ˈɛldər ˈbrəðər ənd tu ˈsɪstərz. wi du ˈɛvriˌθɪŋ təˈgɛðər, gru əp təˈgɛðər, ənd lɪv together,”*,” hi toʊld ˈtaɪˌlænd. min, aɪ hæv maɪ frɛndz, bət ju goʊ əˈweɪ frəm ˈfæməli, ðeɪ ər bləd ənd wi ər ˈvɛri kloʊz. ənd ðɛr ləv ənd səˈpɔrt həz bɪn ə ˈvɛri ˈpɑzətɪv ˈɪnfluəns ɪn maɪ life.”*.” ˌɔlˈðoʊ prɪns ɪz ˈkərəntli fɪθ ɪn laɪn tɪ səkˈsid ðə θroʊn əv bruˈnaɪ, hir ər eɪt ˈəðər θɪŋz ðət meɪk ɪm fərst ɪn laɪn fər ɑr hɑrt: 1 hi kən pʊl ɔf ˈdɪfərənt ˈmɪlɪˌtɛri garbs*. hu laɪk ə mæn ɪn ˈjunəˌfɔrm? gɪt ɪn fɔrˈmeɪʃən, ˈleɪdiz ənd ˈʤɛnəlmɪn. 2 səm ˈjuzərz hæv kəmˈpɛrd ɪm tɪ ðə ˌbɪljəˈnɛr ˈkrɪsʧɪn greɪ frəm ðə shades”*” ˈtrɪləʤi. 3 ə ˈhəmbəl mæn hu ləvz hɪz mɑm. 4 hi əˈdɔrz bɪg ənd ˈlɪtəl ˈpʊsiˌkæts. 5 ˌɪnˈkrɛdəbli ˈdɪlɪʤənt ənd dɪˈvoʊtɪd tɪ hɪz ˌɛʤəˈkeɪʃən, ˈfɪnɪʃɪŋ ə ˈmæstər əv ɑrts ɪn ˌɪnərˈnæʃənɑl ˈstədiz ənd dɪˈploʊməsi frəm ðə skul əv ˌɔriˈɛnəl ənd ˈæfrɪkɑn ˈstədiz, ˌjunəˈvərsəti əv ˈləndən ɪn 2016 6 hi həz ˈikwəli ˈgʊˌdlʊkɪŋ ˈbədiz. 7 ˈpæʃənət əˈbaʊt pleɪɪŋ ˈpoʊloʊ, wɪʧ minz boʊθ ə gʊd ˈspɔrtsmən ənd həz strɔŋ lɛgz. 8 waɪl ðɛr həz ˈnɛvər bɪn ə ˈdɪzni prɪns hu həz ˈrɪdən ə hɔrs ɪn ðə si, ðɪs ɪz wət wi ˌɪˈmæʤən ɪt wʊd lʊk laɪk ɪn ril laɪf: ənˈfɔrʧənətli, ɛz ˈwəndərfəl ɛz ðɪs prɪns meɪ sim, nɑt ɔl kʊd bi kənˈsɪdərd wɛl ɪn hɪz ˈkɪŋdəm bruˈnaɪ, wɪʧ ˈɑpərˌeɪts ˈəndər ˈʃɑriə lɔ, ɪz noʊn fər ˈhævɪŋ wən əv ðə wərst ənd ˈjumən raɪts træk ˈrɛkərdz ɪn ˌsaʊˈθist ˈeɪʒə. h/t*: |
prince harry of wales is about to be off the market after declaring his love for actress meghan markle, but that’s where prince abdul mateen of brunei comes in.
the fourth son of the sultan of brunei is an active social media user with more than 362,000 followers and counting on instagram.
it’s not hard to see why the 25-year-old prince has stolen the hearts of many.
not only is he a handsome specimen and likes to keep up that fit appearance, prince mateen is also a family man.
“i have a really big family, but closest to my elder brother and two sisters. we do everything together, grew up together, and live together,” he told gq thailand. “i mean, i have my friends, but you can’t go away from family, they are blood and we are very close. and their love and support has been a very positive influence in my life.”
although prince mateen is currently fifth in line to succeed the throne of brunei, here are eight other things that make him first in line for our heart:
1. he can pull off different military garbs. who doesn’t like a man in uniform? get in formation, ladies and gentlemen.
2. some instagram users have compared him to the bdsm-loving billionaire christian grey from the “fifty shades” trilogy.
3. he’s a humble man who loves his mom.
4. he adores big and little pussycats.
5. he’s incredibly diligent and devoted to his education, finishing a master of arts in international studies and diplomacy from the school of oriental and african studies, university of london in 2016.
6. he has equally good-looking buddies.
7. he’s passionate about playing polo, which means he’s both a good sportsman and has strong legs.
8. while there has never been a disney prince who has ridden a horse in the sea, this is what we imagine it would look like in real life:
unfortunately, as wonderful as this prince may seem, not all could be considered well in his kingdom — brunei, which operates under sharia law, is known for having one of the worst lgbt and human rights track records in southeast asia.
h/t: yomyomf | let’s* bi ˈɑnəst, ðɛr ər ə lɔt əv ˈɑrmˌʧɛr ˌθiəˈloʊʤənz aʊt ðɛr. ˈmɛni ˈpipəl ər ʃɑkt ənd ˈskændəˌlaɪzd tɪ hir ðət ˈɛniˌwən maɪt ˈæˌkʧuəli spɛnd taɪm ənd ˈməni ˈstədiɪŋ θiˈɑləʤi ər ˈərnɪŋ ə dɪˈgri ɪn ðə fild. pliz seɪ ðiz θɪŋz tɪ ˈsəmˌwən hu ˈmeɪʤərd ɪn θiˈɑləʤi. 1 ðət wɛr, laɪk, ju goʊ aʊt ənd dɪg əp ˈdaɪnəˌsɔr bones?”*?” ˈsəmˌwən sɛd ðɪs tɪ mi wəns. ə fʊl wik ˈæftər aɪ toʊld hər aɪ ˈstədid θiˈɑləʤi. ɪt tʊk hər ə wik tɪ gɛs ðət θiˈɑləʤi ˌɪnˈvɑlvd ˈdɪgɪŋ əp ˈdaɪnəˌsɔr boʊnz. hər neɪm wɑz ˈstɔrmi. aɪ ʃʊd hæv sɛd, raɪt, ˈbeɪsɪkli ˌɪndiˈænə jones.”*.” 2 ju gɪt ðət dɪˈgri æt ə ril college?”*?” jɛs. ɪt ˈæˌkʧuəli ɪgˈzɪsts ɪn taɪm ənd speɪs ənd ɪz əˈkrɛdɪtɪd. ðɛr ər stɪl skulz wɛr ju ər fri tɪ ˈstədi ðə haɪəst θɪŋz. 3 ˈkəzən gɑt ɔrˈdeɪnd online.”*.” noʊ, hi didn’t*. 4 bæd nɑt ˈjusfəl, laɪk science.”*.” ɛz ˈtɑməs sɪz ˈdɔktərɪn ɪz ə saɪəns. wi məst bɛr ɪn maɪnd ðət ðɛr ər tu kaɪnz əv ˈsaɪənsɪz. ðɛr ər səm wɪʧ pərˈsid frəm ə ˈprɪnsəpəl noʊn baɪ ðə ˈnæʧərəl laɪt əv ˌɪnˈtɛləʤəns, səʧ ɛz ˌɛrɪθˈmɛtɪk ənd ʤiˈɑmətri ənd ðə laɪk. ðɛr ər səm wɪʧ pərˈsid frəm ˈprɪnsəpəlz noʊn baɪ ðə laɪt əv ə haɪər ɪt ɪz ðət ˈseɪkrɪd ˈdɔktərɪn ɪz ə saɪəns bɪˈkəz ɪt prəˈsidz frəm ˈprɪnsəpəlz ɪˈstæblɪʃt baɪ ðə laɪt əv ə haɪər saɪəns, ˈneɪmli, ðə saɪəns əv gɑd ənd ðə blɛst. hɛns, ʤɪst ɛz ðə mjuˈzɪʃən ækˈsɛpts ɔn əˈθɔrəti ðə ˈprɪnsəpəlz tɔt ɪm baɪ ðə ˌmæθəməˈtɪʃən, soʊ ˈseɪkrɪd saɪəns ɪz ɪˈstæblɪʃt ɔn ˈprɪnsəpəlz rɪˈvild baɪ god.”*.” (ˈsumə theologiae*, fərst, θiˈɑləʤi ɪz ə saɪəns, ɪt ɪz ðə haɪəst saɪəns, ðə dɪˈvaɪn theologiae*, ˈsɛkənd, ɪt ɪz ðə moʊst ““useful”*” saɪəns, bɪˈkəz ɪt kənˈsərnz ðə ˈstədi əv ðə ˈɑbʤɛkt əv haɪəst ˈfækəltiz ənd ˈfaɪnəl ɛnd, ðə tru, ðə gʊd, ðə ˈbjutəfəl, ɪn ə word…god*. sɪns ˈnɑlɪʤ kənˈsərnz ˈneɪʧərz ənd ˈkɔzɪz, ənd sɪns gɑd ɪz ðə ˈɔθər ənd ˈfaɪnəl ɛnd əv ɔl ˈneɪʧərz ənd ˈkɔzɪz, θiˈɑləʤi ɪz ðə moʊst ““useful”*” saɪəns. 5 ə weɪst əv ər ju goʊɪŋ tɪ du wɪθ that?”*?” noʊ, ləv, ənd sərv gɑd ɪn ðɪs laɪf soʊ ɛz tɪ lɪv wɪθ ɪm fərˈɛvər ɪn ðə nɛkst. bæm! 6 wɛnt tɪ ˈkæθlɪk skul, soʊ aɪ noʊ ɔl əˈbaʊt that.”*.” ɛz ə ˈkæθlɪk skul ˈtiʧər lɛt mi seɪ ðɪs: ˈhaɪli ˈsəˌspɛkt. 7 ɪt ɔl ʤɪst subjective?”*?” noʊ. θiˈɑləʤi ɪz ə saɪəns wɪθ ə ˌpɑˈtɪkjələr ˈmɛθəd. ɪt teɪks ɪts ˈdætə frəm dɪˈvaɪn ˌrɛvəˈleɪʃən. ɪn ðət weɪ ɪt ɪz ðə moʊst ril, əˈbʤɛktɪv, ˈgraʊndɪd, ənd ʃʊr saɪəns ðɛr ɪz. 8 tʊk ə θiˈɑləʤi klæs ɪn wɑz ˈprɪti boring”*” lɛt mi si ɪf aɪ ˌəndərˈstænd ðɪs. ðə gɑd əv ðə ˈjunəˌvərs rɪˈvild hɪmˈsɛlf tɪ juˈmænɪti baɪ kriˈeɪtɪŋ ðə ˈjunəˌvərs aʊt əv ˈnəθɪŋ, ˈpleɪsɪŋ əˈpɑn ðə ˈjumən hɑrt ə dɪˈzaɪər tɪ noʊ ənd ləv ɪm, ˈgɪvɪŋ mɛn ðə minz θru ˈrizən ənd ˈkɑnʃəns tɪ noʊ ˈsəmθɪŋ əv ɪm ənd sik ɪm, ðɛn bɪˈkeɪm ə ˈjumən biɪŋ θru ðə ˈhəmbəl jɛs əv ə jəŋ ʤuɪʃ gərl, wɑz ˈkrusəˌfaɪd, daɪd, ənd wɑz ˈbɛrid, roʊz frəm ðə greɪv, kəˈmɪʃənd hɪz dɪˈsaɪpəlz tɪ brɪŋ ðɪs truθ tɪ ðə ɛndz əv ðə ərθ θru ə ʧərʧ ðət stɪl dɪz soʊ tɪ ðɪs deɪ, ənd wɪʧ stɪl ɪnˈkaʊnərz ɪm θru ðə ˈsækrəmənts, moʊst ˈnoʊtəbli hɪz oʊn ˈbɑdi ənd bləd ɪn ðə tʊk ə kɔrs ɔn ðɪs ənd were…”bored”*”? 9 aɪ min, ɔl stɪl ʤɪst ə ˈmætər əv əˈpɪnjən, right?”*?” 10 laɪk, rɪˈlɪʤəs then?”*?” θiˈɑləʤi əˈsumz ˌrɛvəˈleɪʃən. 11 du ju si ˈjɔrsɛlf duɪŋ wɪθ that?”*?” ˈprɪti məʧ ðɪs. bət ɪf ˈsɪriəsli kənˈsɪdərɪŋ ˈgɪtɪŋ ə dɪˈgri ɪn θiˈɑləʤi, ðə fərst pleɪs ju məst ˈvɪzɪt ɪz ðə ˈkɑrdɪnəl ˈnumən soʊˈsaɪɪti. ɪn ðɛr ˈænjuəl gaɪd ðeɪ ˈproʊˌfaɪl ðə bɛst ɪn əˈθɛnɪk ˈkæθlɪk ˌɛʤəˈkeɪʃən. aɪ gɑt maɪ ədˈvænst dɪˈgriz frəm ˈhoʊli əˈpɔsəlz ˈkɑlɪʤ ənd ˈsɛməˌnɛri (ˈwɛbˌsaɪt ˈkərəntli ˈəndər ˌrɛnəˈveɪʃən) ənd ˈhaɪli ɪnˈkərəʤ ju tɪ lərn mɔr əˈbaʊt ðɛm ɪn ðɪs kwɪk ˈvɪdioʊ: |
let’s be honest, there are a lot of armchair theologians out there. many people are shocked and scandalized to hear that anyone might actually spend time and money studying theology or earning a degree in the field. please don’t say these things to someone who majored in theology.
1. “theology…is that where, like, you go out and dig up dinosaur bones?”
someone said this to me once. a full week after i told her i studied theology. it took her a week to guess that theology involved digging up dinosaur bones. her name was stormy. i should have said, “that’s right, i’m basically indiana jones.”
2. “did you get that degree at a real college?”
yes. it actually exists in time and space and is accredited. there are still schools where you are free to study the highest things.
3. “my cousin got ordained online.”
no, he didn’t.
4. “too bad not useful, like science.”
as thomas says “sacred doctrine is a science. we must bear in mind that there are two kinds of sciences. there are some which proceed from a principle known by the natural light of intelligence, such as arithmetic and geometry and the like. there are some which proceed from principles known by the light of a higher science…so it is that sacred doctrine is a science because it proceeds from principles established by the light of a higher science, namely, the science of god and the blessed. hence, just as the musician accepts on authority the principles taught him by the mathematician, so sacred science is established on principles revealed by god.” (summa theologiae, i.q.1, a.2) first, theology is a science, it is the highest science, the divine science.(summa theologiae, i.q.1, a.2)
second, it is the most “useful” science, because it concerns the study of the object of man’s highest faculties and final end, the true, the good, the beautiful, in a word…god. since knowledge concerns natures and causes, and since god is the author and final end of all natures and causes, theology is the most “useful” science.
5. “what a waste of time…what are you going to do with that?”
know, love, and serve god in this life so as to live with him forever in the next. bam!
6. “i went to catholic school, so i know all about that.”
as a catholic school teacher let me say this: highly suspect.
7. “isn’t it all just subjective?”
no. theology is a science with a particular method. it takes its data from divine revelation. in that way it is the most real, objective, grounded, and sure science there is.
8. “i took a theology class in college…it was pretty boring”
let me see if i understand this. the uncreated god of the universe revealed himself to humanity by creating the universe out of nothing, placing upon the human heart a desire to know and love him, giving men the means through reason and conscience to know something of him and seek him, then became a human being through the humble yes of a young jewish girl, was crucified, died, and was buried, rose from the grave, commissioned his disciples to bring this truth to the ends of the earth through a church that still does so to this day, and which still encounters him through the sacraments, most notably his own body and blood in the eucharist…you took a course on this and were…”bored”?
9. “but i mean, all still just a matter of opinion, right?”
10. “so you’re like, religious then?”
theology assumes revelation.
11. “what do you see yourself doing with that?”
pretty much this.
but if you’re seriously considering getting a degree in theology, the first place you must visit is the cardinal newman society. in their annual guide they profile the best in authentic catholic education. i got my advanced degrees from holy apostles college and seminary (website currently under renovation) and highly encourage you to learn more about them in this quick video: | well-socialized* dəʧ ˈstudənts maɪt bi ənˈlaɪkli tɪ seɪ ˈɛniˌθɪŋ dərˈɑgəˌtɔri əˈbaʊt ˈəðər grups. soʊ wən sɛt əv ˈdɑktər. də ɪkˈspɛrəmənts tæpt ˈɪntu ðə ˌənˈkɑnʃəs maɪnd baɪ ˈæskɪŋ ˈsəbʤɪkts ˈsɪmpli tɪ prɛs ə ki wɪn ʃoʊn ə pɛr əv wərdz. wən wərd hæd ˈiðər ˈpɑzətɪv ər ˈnɛgətɪv ˌkɑnəˈteɪʃənz. ðə ˈəðər wɑz ˈiðər ə ˈkɑmən dəʧ fərst neɪm laɪk ˈpitər, ər ən neɪm, laɪk ˈmɑrkəs ər ˈhɛlmət fər ðə ˈʤərmənz, ənd ˈɑmɑd ər ˈjusɛf fər ðə ˈməzlɪmz. wət ɪz ˈmɛʒərd ɪz ðə lɛŋθ əv taɪm ə ˈsəbʤɪkt teɪks tɪ prɛs ə ki. ɪf boʊθ wərdz hæv ðə seɪm ˈiˌmoʊʃənəl ˈvælju, ðə ˈsəbʤɪkt wɪl prɛs ðə ki mɔr kˈwɪkli ðən ɪf ðə ˈiˌmoʊʃənəl ˈoʊvərˌtoʊnz ˈkɑnflɪkt ənd ðə maɪnd teɪks ˈlɔŋgər tɪ riʧ ə dɪˈsɪʒən. ˈsəbʤɪkts hu hæd snɪft ə doʊs əv ˌɑksəˈtoʊsən 40 ˈmɪnəts ˈərliər wər sɪgˈnɪfɪkəntli mɔr ˈlaɪkli tɪ ˈfeɪvər ðə, ˈdɑktər. də ˌriˈpɔrtəd. ɪn əˈnəðər sɛt əv ɪkˈspɛrəmənts ðə dəʧ ˈstudənts wər ˈgɪvɪn ˈstændərd ˈmɔrəl dəˈlɛməz ɪn wɪʧ ə ʧɔɪs məst bi meɪd əˈbaʊt ˈwɛðər tɪ hɛlp ə ˈpərsən ˈɔntu ən ˈoʊvərˌloʊdɪd ˈlaɪfˌboʊt, ˈðɛrˈbaɪ ˈdraʊnɪŋ ðə faɪv ɔˈrɛdi ðɛr, ər ˈseɪvɪŋ faɪv ˈpipəl ɪn ðə pæθ əv ə treɪn baɪ θroʊɪŋ ə ˈbaɪˌstændər ˈɔntu ðə træks. ɪn ˈdɑktər. də ɪkˈspɛrəmənts, ðə faɪv ˈpipəl hu maɪt bi seɪvd wər ˈneɪmləs, bət ðə ˌsækrəˈfɪʃəl ˈvɪktɪm hæd ˈiðər ə dəʧ ər ə ˈməzlɪm neɪm. ˈsəbʤɪkts hu hæd ˈteɪkən ˌɑksəˈtoʊsən wər fɑr mɔr ˈlaɪkli tɪ ˈsækrəˌfaɪs ðə ðən ðə maartens*. ˈnuzˌlɛtər saɪn əp kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri pliz ˈvɛrəˌfaɪ jʊr nɑt ə ˈroʊˌbət baɪ ˈklɪkɪŋ ðə bɑks. ˌɪnˈvæləd iˈmeɪl ˈæˌdrɛs. pliz re-enter*. ju məst səˈlɛkt ə ˈnuzˌlɛtər tɪ səbˈskraɪb tɪ. saɪn əp ju wɪl rɪˈsiv iˈmeɪlz kənˈteɪnɪŋ nuz ˈkɑntɛnt ˈəpˌdeɪts ənd pərˈmoʊʃənz frəm ðə nu jɔrk taɪmz. ju meɪ æt ˈɛni taɪm. ju əˈgri tɪ rɪˈsiv ɔˈkeɪʒənəl ˈəpˌdeɪts ənd ˈspɛʃəl ˈɔfərz fər ðə nu jɔrk ˈtaɪmzɪz ˈprɑdəkts ənd ˈsərvɪsɪz. θæŋk ju fər səbˈskraɪbɪŋ. ən ˈɛrər həz əˈkərd. pliz traɪ əˈgɛn ˈleɪtər. vju ɔl nu jɔrk taɪmz ˈnuzˌlɛtərz. dɪˈspaɪt ðə ˌlɪmɪˈteɪʃən ɔn ˈsoʊʃəl riʧ, ɪts ˈifɛkt simz tɪ bi əˈʧivd mɔr θru ˌɪnˈdusɪŋ ˈfilɪŋz əv ˈlɔɪəlti tɪ ðə ðən baɪ ˈfoʊmɛntɪŋ ˈheɪtrəd əv ðə. ðə dəʧ ˈrisərʧərz faʊnd səm ˈɛvədəns ðət ɪt ɛnˈhænsɪz ˈnɛgətɪv ˈfilɪŋz, bət ðɪs wɑz nɑt kənˈklusɪv. kriˈeɪts ˌɪntərˈgrup baɪəs praɪˈmɛrəli bɪˈkəz ɪt ˈmoʊtəˌveɪts ˈfeɪvərɪˌtɪzəm ənd bɪˈkəz ɪt ˈmoʊtəˌveɪts derogation,”*,” ðeɪ raɪt. ˈdɑktər. də plænz tɪ ˌɪnˈvɛstəˌgeɪt ˈwɛðər ˌɑksəˈtoʊsən ˈəðər ˈsoʊʃəl bɪˈheɪvjərz ðət ˌɛvəˈluʃəˌnɛri saɪˈkɑləʤəsts θɪŋk ɪˈvɑlvd ɪn ˈərli ˈjumən grups. ˌbiˈsaɪdz ˈlɔɪəlti tɪ oʊn grup, ðɛr wʊd ˈɔlsoʊ hæv bɪn sərˈvaɪvəl ædˈvæntɪʤɪz ɪn rɪˈwɔrdɪŋ kˌwɔpərˈeɪʃən ənd ˈpənɪʃɪŋ ˈdiviənts. ˌɑksəˈtoʊsən, ɪf ɪt ˌəndərˈlaɪz ðiz bɪˈheɪvjərz tu, wʊd pərˈhæps hæv hɛlpt ˈeɪnʧənt ˌpɑpjəˈleɪʃənz sɛt nɔrmz əv bɪˈheɪvjər. ˈərli riˈlɪʤənz wər ˈɔlsoʊ ˌɪnˈvɑlvd ɪn ɪˈstæblɪʃɪŋ grup koʊˈhiʒən ənd ˈpinəˌlaɪzɪŋ əˈfɛndərz. kʊd ˌɑksəˈtoʊsən bi ˌɪnˈvɑlvd ɪn ðə ˈsoʊʃəl ˈæˌspɛkts əv ðə rɪˈlɪʤəs ɪkˈspɪriəns? ˈdɑktər. də siz ˈifɛkts ɛz biɪŋ ˈvɛri ˈʤɛnərəl, ənd noʊ mɔr ˈlaɪkli tɪ bi əˈsoʊʃiˌeɪtəd wɪθ ðə rɪˈlɪʤəs ɪkˈspɪriəns ðən wɪθ ˈsɑkər ˈhulɪgəˌnɪzəm. ˈpipəl gɪt təˈgɛðər wɪθ ˈəðərz hu ʃɛr ðɛr ˈvæljuz, ðət draɪvz əp ðə ˈlɛvəl əv oxytocin,”*,” hi sɛd. fər ˈmɪlɪˌtɛri kəˈmændərz, ˈnəθɪŋ ɪz mɔr ˌɪmˈpɔrtənt ðən ðə grup koʊˈhiʒən əv ðɛr ˈsoʊlʤərz, fər wɪʧ ˌɑksəˈtoʊsən maɪt naʊ sim ðə aɪˈdil prəˈskrɪpʃən. bət ðɪs əˈsəmpʃən ɪz ə brɪʤ tu fɑr, ˈdɑktər. də sɛd, ˈgɪvɪn ðət hɪz ˈfaɪndɪŋz ər beɪst ˈoʊnli ɔn læb ɪkˈspɛrəmənts. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri wət dɪz ɪt min ðət ə ˈkɛmɪkəl ˈbeɪsɪs fər ˌɛθnoʊˈsɛntrɪzəm ɪz ɛmˈbɛdɪd ɪn ðə ˈjumən breɪn? ðə ænˈsɛstrəl ɪnˈvaɪrənmənt ɪt wɑz ˈvɛri ˌɪmˈpɔrtənt fər ˈpipəl tɪ dɪˈtɛkt ɪn ˈəðərz ˈwɛðər ðeɪ hæd ə ˈlɔŋˈtərm kəˈmɪtmənt tɪ ðə group,”*,” ˈdɑktər. də sɛd. ɪz ə ˈvɛri ˈbeɪsɪk pɑrt əv ˈjumənz, ənd nɑt ˈsəmθɪŋ wi kən ʧeɪnʤ baɪ ˌɛʤəˈkeɪʃən. ðət min ðət ðə ˈnɛgətɪv ˈæˌspɛkts əv ɪt ʃʊd bi ˈteɪkən fər granted.”*.” ˈbrunoʊ bi. ˈeɪvərˌbɛk, ən ˈɛkspərt ɔn ðə ˈiˌmoʊʃənəl ˈprɑsɛsəz æt ðə ˈnæʃənəl ˈɪnstɪˌtut əv ˈmɛntəl hɛlθ, sɛd ðət ðə ˈifɛkts əv ˌɑksəˈtoʊsən dɪˈskraɪbd ɪn ˈdɑktər. də rɪˈpɔrt wər ˈɪntəˌrɛstɪŋ bət nɑt ˌnɛsəˈsɛrəli ˈdɑmənənt. ðə breɪn weɪz ˈiˌmoʊʃənəl ˈætəˌtudz laɪk ðoʊz ˈprɑmptɪd baɪ ˌɑksəˈtoʊsən əˈgɛnst ˌɪnˌfɔrˈmeɪʃən əˈveɪləbəl tɪ ðə ˈkɑnʃəs maɪnd. ɪf ðɛr ɪz noʊ ˈkɑgnɪtɪv ˌɪnˌfɔrˈmeɪʃən ɪn ə ˌsɪʧuˈeɪʃən ɪn wɪʧ ə dɪˈsɪʒən həz tɪ bi meɪd, laɪk ˈwɛðər tɪ trəst ə ˈstreɪnʤər əˈbaʊt hum ˈnəθɪŋ ɪz noʊn, ðə breɪn wɪl goʊ wɪθ ðə ˈiˌmoʊʃənəl ədˈvaɪs frəm ɪts ˌɑksəˈtoʊsən ˈsɪstəm, bət ˈəðərˌwaɪz ˈræʃənəl ˈdætə wɪl bi weɪd əˈgɛnst ðə ˈɪnfluəns frəm ˌɑksəˈtoʊsən ənd meɪ wɛl ˈoʊvərˌraɪd ɪt, ˈdɑktər. ˈeɪvərˌbɛk sɛd. ˈdɑktər. ˈeɪvərˌbɛk sɛd hi wɑz əˈmeɪzd ðət ə ˈsəbstəns laɪk ˌɑksəˈtoʊsən kən əˈfɛkt səʧ ə ˌhaɪˈlɛvəl ˈjumən bɪˈheɪvjər. ˈrɪli səˈpraɪzɪŋ tɪ mi ðət ðɪs kən soʊ spəˈsɪfɪkli əˈfɛkt ðiz ˈsoʊʃəl behaviors,”*,” hi sɛd. |
well-socialized dutch students might be unlikely to say anything derogatory about other groups. so one set of dr. de dreu’s experiments tapped into the unconscious mind by asking subjects simply to press a key when shown a pair of words. one word had either positive or negative connotations. the other was either a common dutch first name like peter, or an out-group name, like markus or helmut for the germans, and ahmad or youssef for the muslims.
what is measured is the length of time a subject takes to press a key. if both words have the same emotional value, the subject will press the key more quickly than if the emotional overtones conflict and the mind takes longer to reach a decision. subjects who had sniffed a dose of oxytocin 40 minutes earlier were significantly more likely to favor the in-group, dr. de dreu reported.
in another set of experiments the dutch students were given standard moral dilemmas in which a choice must be made about whether to help a person onto an overloaded lifeboat, thereby drowning the five already there, or saving five people in the path of a train by throwing a bystander onto the tracks.
in dr. de dreu’s experiments, the five people who might be saved were nameless, but the sacrificial victim had either a dutch or a muslim name. subjects who had taken oxytocin were far more likely to sacrifice the muhammads than the maartens.
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despite the limitation on oxytocin’s social reach, its effect seems to be achieved more through inducing feelings of loyalty to the in-group than by fomenting hatred of the out-group. the dutch researchers found some evidence that it enhances negative feelings, but this was not conclusive. “oxytocin creates intergroup bias primarily because it motivates in-group favoritism and because it motivates out-group derogation,” they write.
dr. de dreu plans to investigate whether oxytocin mediates other social behaviors that evolutionary psychologists think evolved in early human groups. besides loyalty to one’s own group, there would also have been survival advantages in rewarding cooperation and punishing deviants. oxytocin, if it underlies these behaviors too, would perhaps have helped ancient populations set norms of behavior.
early religions were also involved in establishing group cohesion and penalizing offenders. could oxytocin be involved in the social aspects of the religious experience? dr. de dreu sees oxytocin’s effects as being very general, and no more likely to be associated with the religious experience than with soccer hooliganism. “when people get together with others who share their values, that drives up the level of oxytocin,” he said.
for military commanders, nothing is more important than the group cohesion of their soldiers, for which oxytocin might now seem the ideal prescription. but this assumption is a bridge too far, dr. de dreu said, given that his findings are based only on lab experiments.
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what does it mean that a chemical basis for ethnocentrism is embedded in the human brain? “in the ancestral environment it was very important for people to detect in others whether they had a long-term commitment to the group,” dr. de dreu said. “ethnocentrism is a very basic part of humans, and it’s not something we can change by education. that doesn’t mean that the negative aspects of it should be taken for granted.”
bruno b. averbeck, an expert on the brain’s emotional processes at the national institute of mental health, said that the effects of oxytocin described in dr. de dreu’s report were interesting but not necessarily dominant. the brain weighs emotional attitudes like those prompted by oxytocin against information available to the conscious mind. if there is no cognitive information in a situation in which a decision has to be made, like whether to trust a stranger about whom nothing is known, the brain will go with the emotional advice from its oxytocin system, but otherwise rational data will be weighed against the influence from oxytocin and may well override it, dr. averbeck said.
dr. averbeck said he was amazed that a substance like oxytocin can affect such a high-level human behavior. “it’s really surprising to me that this neurotransmitter can so specifically affect these social behaviors,” he said. | baɪ skɑt ˈstræsər, mɑrʧ 24 2017 ðə ˌjunəˈvərsəti əv ˈkælgəri həz rɪˈvild nu ˌɪnˌfɔrˈmeɪʃən ɔn haʊ ðə ælˈbərtə ˈkɑrbən tæks wɪl ˌɪmˈpækt ðə ˈbəʤɪt. əˈkɔrdɪŋ tɪ ðə ju əv ˈfaɪˌnæns ənd ˈprɑpərtiz kəˈmɪti, ðə nu tæks wɪl ˈlaɪkli kɔst ðə ˌjunəˈvərsəti ən ˈɛkstrə ˈmɪljən ɪn ənd ˈmɪljən ɪn ðə haɪər kɔsts ər du tɪ ˌɪnˈkrist ˈspɛndɪŋ ɔn juˈtɪlətiz, ˈhitɪŋ ənd ˈgæsəˌlin fər ðə ju əv 174 ˈviɪkəlz. ðə ælˈbərtə ˈgəvərnmənt ˈɪmpləˌmɛnəd ðə ˈkɑrbən tæks ɪn ˈʤænjuˌɛri ɛz pɑrt əv ðɛr ˈklaɪmɪt ˈlidərˌʃɪp plæn. ðə ˈgəvərnmənt eɪmz tɪ pʊt ə praɪs ɔn ˈgrinˌhaʊs gæs ɪˈmɪʃənz tɪ tɪ meɪk ˈgrinər ˈʧɔɪsɪz. ðə ˈkɑrbən tæks ɪz ˈkərəntli sɛt æt 20 pər tən əv ˈkɑrbən ɪˈmɪʃənz. ɪt wɪl raɪz tɪ 30 pər tən ɪn 2018 ənd 50 pər tən ɪn 2022 ju əv si ˈvaɪˈsprɛzədənt fəˈsɪlɪtiz bɑrt ˈbɛkər sɪz ðə ˌjunəˈvərsəti ɪˈmɪts əˈprɑksəmətli tənz əv ˈgrinˌhaʊs gæs ɪˈmɪʃənz ə jɪr. hi sɛd juˈtɪlətiz ˈspɛndɪŋ meɪks əp ʤɪst ˈoʊvər tu pər sɛnt əv ðə ju əv kənˈsɑləˌdeɪtəd ˈbəʤɪt wɪʧ wɪl bi ɪn ˈbɛkər sɛd ðə ju əv si wɪl kənˈtɪnju tɪ pərˈsu səˌsteɪnəˈbɪlɪti ˌɪˈnɪʃətɪvz tɪ ˈɔfˌsɛt ðə ˈifɛkts əv ðə ˈkɑrbən tæks. hæv ə lɔŋ ˈhɪstəri əv ˌɪnˈvɛstɪŋ ɪn ˈprɑʤɛkts ðət eɪd ðə ˌjunəˈvərsəti ɪn ɪts goʊl əv rɪˈdusɪŋ ɑr juˈtɪlətiz ənd ˈgrinˌhaʊs gæs emissions,”*,” ˈbɛkər sɛd ɪn ə ˈsteɪtmənt. wɪl kənˈtɪnju tɪ du soʊ waɪl ˈwərkɪŋ ˈkloʊsli wɪθ ˈgəvərnmənt ənd ˈɪndəstri ˈpɑrtnərz tɪ bɪld əˈpɑn ɑr strɔŋ ˈhɪstəri əv juˈtɪləti rɪˈdəkʃən projects.”*.” ju əv si ɪˈkɑnəmɪst ˈtrɛvər sɛd hi ɪz nɑt səˈpraɪzd baɪ ðə ˈfaɪˌnæns ənd ˈprɑpərti ˈɛstəˌmeɪts. hi ˈnoʊtɪd ðət ðə ju əv ˈhitɪŋ ənd ˈkulɪŋ plænt əˈloʊn əˈkaʊntɪd fər tənz əv ˈkɑrbən ɪˈmɪʃənz ɪn 2014 hæv lʊkt æt ðoʊz ˈnəmbərz ˌbiˈfɔr ənd ðə ˈmɪljən kˈwoʊtɪd saʊnz ɪnˈtaɪərli reasonable,”*,” sɛd. ˈəndər ˈklaɪmɪt ˈlidərˌʃɪp plæn, ˌɪnstɪˈtuʃənz ðət ɪˈmɪt ˈoʊvər tənz əv ˈgrinˌhaʊs ˈgæsɪz pər jɪr ər ˈkætəgərˌaɪzd ɛz emitters.”*.” ðiz ˌɪnstɪˈtuʃənz ər ˈɛlɪʤəbəl tɪ rɪˈsiv ˈaʊtˌpʊt beɪst ˌæləˈkeɪʃənz (ˈoʊbə), wɪʧ ər ˈgəvərnmənt ˈsəbsɪdiz tɪ meɪnˈteɪn kəmˈpɛtɪtɪvnɪs ɪn ðə ˈɛnərʤi ˈsɛktər ənd ˈəðər ˈɪndəstriz. waɪl ðə ju əv si dɪz nɑt ˈklæsəˌfaɪ ɛz ə haɪ ɪˈmɪtər ənd ˈðɛrˌfɔr dɪz nɑt kˈwɑləˌfaɪ ˌɔtəˈmætɪkli fər ən ˈoʊbə ðə ˌjunəˈvərsəti dɪz fɔl wɪˈθɪn ðə ˈmændəˌtɔri rɪˈpɔrtɪŋ reɪnʤ əv ˌɪnstɪˈtuʃənz ðət ɪˈmɪt ˈoʊvər tənz əv ˈgrinˌhaʊs gæs ɪˈmɪʃənz pər jɪr. bɪˈlivz ðə ju əv si ʃʊd ˈlɑbi ðə ælˈbərtə ˈgəvərnmənt tɪ bi ˈklæsəˌfaɪd ɛz ə haɪ ɪˈmɪtər. hi sɛd ðə ˈlɛvəl əv ɪˈmɪʃənz fɔlz wɪˈθɪn ðə reɪnʤ əv ˌɪnstɪˈtuʃənz ðət kən ɑpt ɪn tɪ ðə ˈoʊbə ˈtritmənt. ðə ˌjunəˈvərsəti jɛt pʊʃt ðə ˈgəvərnmənt tɪ bi ˌɪnˈkludɪd ɪn ðə ˈsəbsɪdi ˈsɪstəm, ðɛn ðɪs ɪz ə mɪst opportunity,”*,” hi sɛd. ˌlɛʤəsˈleɪʃən həz nɑt jɛt bɪn pʊt təˈgɛðər ənd ˈprɛsɪdənt fər ðɪs. aɪ hæv noʊ aɪˈdiə wət ðə ˈgəvərnmənt ɪz ˈplænɪŋ, bət səm ˈlɑbiɪŋ baɪ [ðə] ju əv si ənd ðə [ˌjunəˈvərsəti əv ælˈbərtə] təˈgɛðər maɪt bi effective.”*.” sɛd ˈmɛni ˌjunəˈvərsətiz ɪn ɑnˈtɛrioʊ ər prəˈvaɪdɪd fri ˌæləˈkeɪʃənz ˈəndər ðət kæp ənd treɪd ˈsɪstəm. ðə kæp ənd treɪd ˈsɪstəm ˈdɪfərz frəm ə ˈkɑrbən tæks ɪn ðət ɪt ˈfɪksɪz ðə əˈmaʊnt əv ɪˈmɪʃənz əˈlaʊd ənd ðɛn ˈɔkʃənz ðɛm ɔf. strɛs ðət ə ˈsɪstəm ɪz nɑt laɪk ontario’s*, bət wʊd ˌɪnˈstɛd prəˈvaɪd ðə [ju əv si] ə ˈpərmɑˌnɛnt ˈænjuəl blɑk grænt əv ˈmɪljən ðɪs əˈmaʊnt wʊd nɑt bi taɪd tɪ ɑr ˈækʧəwəl emissions,”*,” hi sɛd. wi loʊər ɪˈmɪʃənz, wi kip ðə ˈdɪfərəns. ɑr nɛt kɔsts ˌɪnˈkris, bət ˈriˌteɪl ðə ˌɪnˈsɛnɪv tɪ loʊər ˈgrinˌhaʊs ˈgæsɪz. ðɪs, ˈæftər ɔl, ɪz ðə hoʊl point.”*.” |
by scott strasser, march 24 2017
the university of calgary has revealed new information on how the alberta carbon tax will impact the university’s budget.
according to the u of c’s finance and properties committee, the new tax will likely cost the university an extra $2.5 million in 2017–18 and $3.5 million in 2018–19. the higher costs are due to increased spending on utilities, heating and gasoline for the u of c’s 174 vehicles.
the alberta government implemented the carbon tax in january as part of their climate leadership plan. the government aims to put a price on greenhouse gas emissions to incentivize albertans to make greener choices.
the carbon tax is currently set at $20 per tonne of carbon emissions. it will rise to $30 per tonne in 2018 and $50 per tonne in 2022.
u of c vice-president facilities bart becker says the university emits approximately 85,000 tonnes of greenhouse gas emissions a year. he said utilities spending makes up just over two per cent of the u of c’s consolidated budget which will be $1.3-billion in 2017–18.
becker said the u of c will continue to pursue sustainability initiatives to offset the effects of the carbon tax.
“we have a long history of investing in projects that aid the university in its goal of reducing our utilities and greenhouse gas emissions,” becker said in a statement. “we will continue to do so while working closely with government and industry partners to build upon our strong history of utility reduction projects.”
u of c economist trevor tombe said he is not surprised by the finance and property committee’s estimates. he noted that the u of c’s heating and cooling plant alone accounted for 65,500 tonnes of carbon emissions in 2014.
“i have looked at those numbers before and the $2.5–3.5 million quoted sounds entirely reasonable,” tombe said.
under alberta’s climate leadership plan, institutions that emit over 100,000 tonnes of greenhouse gases per year are categorized as “high emitters.” these institutions are eligible to receive output based allocations (oba), which are government subsidies to maintain competitiveness in the province’s energy sector and other carbon-intensive industries.
while the u of c does not classify as a high emitter and therefore does not qualify automatically for an oba the university does fall within the mandatory reporting range of institutions that emit over 50,000 tonnes of greenhouse gas emissions per year.
tombe believes the u of c should lobby the alberta government to be classified as a high emitter. he said the university’s level of emissions falls within the range of institutions that can opt in to the oba treatment.
“if the university hasn’t yet pushed the government to be included in the subsidy system, then this is a missed opportunity,” he said. “the legislation has not yet been put together and precedent for this. i have no idea what the government is planning, but some lobbying by [the] u of c and the [university of alberta] together might be effective.”
tombe said many universities in ontario are provided free allocations under that province’s cap and trade system. the cap and trade system differs from a carbon tax in that it fixes the amount of emissions allowed and then auctions them off.
“i’d stress that a well-designed system is not like ontario’s, but would instead provide the [u of c] a permanent annual block grant of $2–3 million this amount would not be tied to our actual emissions,” he said. “if we lower emissions, we keep the difference. our net costs wouldn’t increase, but we’d retail the incentive to lower greenhouse gases. this, after all, is the whole point.” | vaɪs maɪk pɛns sɛd ɔn ˈsənˌdi hi wɑz nɑt əˈfɛndɪd baɪ ˈpɔɪntɪd ˈkɑmɛnts meɪd tɪ ɪm baɪ ə kæst ˈmɛmbər əv "ˈhæməltən" ˈæftər hi əˈtɛndəd ðə hɪt ˈbrɔdˌweɪ ʃoʊ. "aɪ ˈwəzənt əˈfɛndɪd," pɛns sɛd ɔn ˈsiˌbiˌɛs' "feɪs ðə ˈneɪʃən," dɪˈklaɪnɪŋ tɪ æsk fər ən əˈpɑləˌʤi ɛz ˈdɑnəld trəmp hæd dɪˈmændɪd. (ˈrɔɪtərz) vaɪs maɪk pɛns sɛd hi wɑz nɑt əˈfɛndɪd baɪ ðə ˈmɛsɪʤ ðət ðə ˈbrɔdˌweɪ kæst əv ““hamilton”*” dɪˈrɛktɪd æt ɪm ˈæftər ˈfraɪˌdeɪ pərˈfɔrməns ənd ðət hi ˌɛnˈʤɔɪd ðə show.”*.” ˈspikɪŋ tɪ nuz sunday”*” hoʊst krɪs ˈwɔlɪs, pɛns ækˈnɑlɪʤd ðət hi wɑz ˈgritɪd baɪ ə mɪks əv buz ənd ʧɪrz wɪn hi əraɪvd æt ðə ˈrɪʧərd ˈrɑʤərz ˈθiətər ɪn nu jɔrk ˈsɪti wɪθ hɪz ˈdɔtər ənd hər ˈkəzənz. nəʤd maɪ kɪdz ənd riˈmaɪndɪd ðɛm wət ˈfridəm saʊnz like,”*,” pɛns sɛd. noʊɪŋ pɛns wɑz ɪn ðə ˈɔdiəns, ðə kæst əv ““hamilton”*” dɪd nɑt θroʊ əˈweɪ ɪts ʃɑt. ˈæftər ðə ʃoʊ, ˈsɛvərəl ˈdəzən əv ðə kæst ˈmɛmbərz ˈziroʊd ɪn ɔn pɛns ˈdʊrɪŋ ðɛr ˈkərtən kɔl. ˈbrændən ˈvɪktər ˈdɪksən ðə ˈæktər hu pleɪz ˈɛrən bər stɛpt fɔrθ ənd kət θru ðə əˈplɔz. noʊ, wi hæv ə gɛst ɪn ðə ˈɔdiəns ðɪs evening,”*,” hi sɛd tɪ ˈɔdiəns ˈlæftər. vaɪs pɛns, aɪ si ju ˈwɔkɪŋ aʊt, bət aɪ hoʊp ju wɪl hir ˈjuˈɛs ʤɪst ə fju mɔr ˈmoʊmənts. ˈnəθɪŋ tɪ bu hir, ˈleɪdiz ənd ˈʤɛnəlmɪn. ˈnəθɪŋ tɪ bu hir. ɔl hir ˈʃɛrɪŋ ə ˈstɔri əv ləv. wi hæv ə ˈmɛsɪʤ fər ju, sər. wi hoʊp ðət ju wɪl hir ˈjuˈɛs out.”*.” ɛz hi pʊld ə smɔl pis əv ˈpeɪpər frəm hɪz ˈpɑkət, ˈdɪksən ɪnˈkərəʤd ˈpipəl tɪ ˈrɛkərd ənd ʃɛr wət hi wɑz əˈbaʊt tɪ seɪ ðɪs ˈmɛsɪʤ nidz tɪ bi sprɛd fɑr ənd wide.”*.” [‘‘hamilton’*’: ˈmeɪkɪŋ ɛkˈstætɪk ˈhɪstəri] ðə kæst əv "ˈhæməltən" dɪˈlɪvərd ə ˈmɛsɪʤ tɪ vaɪs ˈprɛzɪdənt pɛns frəm steɪʤ ˈæftər hi wɔʧt ðə ʃoʊ æt ˈrɪʧərd ˈrɑʤərz ˈθiətər ɪn nu jɔrk ɔn noʊv. 18 pɛns wɑz bud baɪ səm ˈɔdiəns ˈmɛmbərz wɪn hi fərst wɔkt ɪn. ˈviə storyful*) pɛns, wi ˈwɛlkəm ju, ənd wi ˈtruli θæŋk ju fər ˈʤɔɪnɪŋ ˈjuˈɛs hir æt ‘‘hamilton*: ən əˈmɛrɪkən musical.’*.’ wi ˈrɪli do,”*,” ˈdɪksən sɛd tɪ ˈfərðər əˈplɔz. ““we*, sər, wi ər ðə dɪˈvərs əˈmɛrɪkə hu ər əˈlɑrmd ənd ˈæŋʃəs ðət jʊr nu ædˌmɪnɪˈstreɪʃən wɪl nɑt prəˈtɛkt ˈjuˈɛs, ɑr ˈplænət, ɑr ˈʧɪldrən, ɑr ˈpɛrənts, ər dɪˈfɛnd ˈjuˈɛs ənd əˈphoʊld ɑr ˌɪˈneɪljənəbəl raɪts, sər. bət wi ˈtruli hoʊp ðɪs ʃoʊ həz ˌɪnˈspaɪərd ju tɪ əˈphoʊld ɑr əˈmɛrɪkən ˈvæljuz ənd wərk ɔn bɪˈhæf əv ɔl əv ˈjuˈɛs. ɔl əv ˈjuˈɛs. əˈgɛn, wi ˈtruli θæŋk ju ˈtruli fər siɪŋ ðɪs ʃoʊ, ðɪs ˈwəndərfəl əˈmɛrɪkən ˈstɔri toʊld baɪ ə dɪˈvərs grup əv mɛn ənd ˈwɪmən əv ˈdɪfərənt ˈkələrz, kridz ənd orientations.”*.” səm ˈɔdiəns ˈmɛmbərz bud vaɪs maɪk pɛns ɛz hi wɔkt tɪ hɪz sit æt ə "ˈhæməltən" ʃoʊ, hɛld æt ðə ˈrɪʧərd ˈrɑʤərz ˈθiətər ɪn nu jɔrk ɔn noʊv. 18 (storyful*) pɛns rɪˈpɔrtədli wɑz ˈlivɪŋ ðə ˌɔdəˈtɔriəm ˌbiˈfɔr ˈdɪksən ˈfɪnɪʃt ˈspikɪŋ, bət toʊld ˈwɔlɪs ðət hi hərd ðə fʊl ˈmɛsɪʤ. dɪd hir wət wɑz sɛd frəm ðə steɪʤ, ənd aɪ kən tɛl ju, aɪ əˈfɛndɪd baɪ wət wɑz said,”*,” pɛns sɛd. liv tɪ ˈəðərz ˈwɛðər ðət wɑz ðə əˈproʊpriˌeɪt ˈvɛnju tɪ seɪ it.”*.” hi ˈædɪd ðət hi ˈwɔntɪd tɪ ˈæˌdrɛs ðə ˈmɛsɪʤ. noʊ ðɪs ɪz ə ˈvɛri ˌdɪsəˈpɔɪnɪŋ taɪm fər ˈpipəl ðət dɪd nɑt si ðɛr ˈkænədɪt wɪn ɪn ðɪs ˈnæʃənəl ɪˈlɛkʃən. aɪ noʊ ðɪs ɪz ə ˈvɛri ˈæŋʃəs taɪm fər səm people,”*,” pɛns sɛd. aɪ ʤɪst wɔnt tɪ ˌriəˈʃʊr ˈpipəl ðət wət ˈdɑnəld trəmp sɛd ɔn ɪˈlɛkʃən naɪt, hi ˌæbsəˈlutli mɛnt frəm ðə ˈbɑtəm əv hɪz hɑrt. hi ɪz pərˈpɛrɪŋ tɪ bi ðə ˈprɛzɪdənt əv ɔl əv ðə ˈpipəl əv ðə juˈnaɪtɪd steɪts əv america.”*.” ˈkɑmɛnts ɪn ðɛr toʊn ənd ˈsəbstəns wər ˈʃɑrpli ˈdɪfərənt frəm ðoʊz əv ˈdɑnəld trəmp ɔn ðə ˈɪnsədənt. ðə ““hamilton”*” ənˈjuˌʒuəl ˈæˌdrɛs kˈwɪkli wɛnt ˈvaɪrəl ənd tˈwɪtər ɪkˈsploʊdɪd leɪt ˈfraɪˌdeɪ naɪt wɪθ rɪˈspɑnsɪz ðət ˈɪntu tu kæmps: ðoʊz hu ʧɪrd ðə kæst fər ˈvɔɪsɪŋ ðɛr kənˈsərnz soʊ dɪˈrɛkli ənd ðoʊz hu faʊnd ðə ɪksˈʧeɪnʤ ““rude.”*.” ɪn ðə ˈlætər wɑz trəmp, hu sɛd ðət ðə kæst ˈmɛmbərz hæd ““harassed”*” pɛns wɪθ blazing”*” ənd dɪˈmændɪd ðeɪ əˈpɑləˌʤaɪz. ɑr ˈwəndərfəl fˈjuʧər v.p*. maɪk pɛns wɑz həræst læst naɪt æt ðə ˈθieɪtər baɪ ðə kæst əv ˈhæməltən, ˈkæmərəz ʃʊd nɑt ˈhæpən! ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) noʊˈvɛmbər 19 2016 ðə ˈθieɪtər məst ˈɔlˌweɪz bi ə seɪf ənd ˈspɛʃəl kæst əv ˈhæməltən wɑz ˈvɛri rud læst naɪt tɪ ə ˈvɛri gʊd mæn, maɪk pɛns. əˈpɑləˌʤaɪz! ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) noʊˈvɛmbər 19 2016 ˈθieɪtər məst ˈɔlˌweɪz bi ə seɪf ənd ˈspɛʃəl place,”*,” trəmp ɛz ə ˈfɑloʊˌəp. kæst əv ˈhæməltən wɑz ˈvɛri rud læst naɪt tɪ ə ˈvɛri gʊd mæn, maɪk pɛns. apologize!”*!” trəmp wʊd kənˈtɪnju tɪ twit əˈbaʊt ðə ““hamilton”*” ˈɪntu ðə nɛkst deɪ, ˌɪnˈsɪstɪŋ æt a.m*. ˈsənˌdi ðət ðə kæst ənd prəˈdusərz əv ðə ʃoʊ, aɪ hir ɪz ˈhaɪli overrated,”*,” ʃʊd əˈpɑləˌʤaɪz tɪ pɛns. ɛz ðə ˈfɪlɪp ˈrəkər ˈnoʊtɪd, ˈdʊrɪŋ hɪz kæmˈpeɪn, trəmp ˈsəmˌtaɪmz ˈpoʊstɪd proʊˈvɑkətɪv tɪ əˈtrækt ðə əˈtɛnʃən əv ðə nuz ˈmidiə. rəˈgɑrdləs əv ˈwɛðər ðət wɑz hɪz ˌɪnˈtɛnt ˈoʊvər ðə ˈwiˌkɪnd, əˈbaʊt ““hamilton”*” ˌɪˈmiˌdiətli ˈfɑloʊd ə ˈnɛgətɪv nuz ˈstɔri ðət broʊk leɪt ˈfraɪˌdeɪ: trəmp hæd əˈgrid tɪ ə 25 ˈmɪljən ˈsɛtəlmənt tɪ ɛnd ðə frɔd ˈkeɪsɪz ˈpɛndɪŋ əˈgɛnst trəmp ˌjunəˈvərsəti, hɪz dɪˈfəŋkt ril ɛˈsteɪt ˈsɛməˌnɑr ˈproʊˌgræm. trəmp ˈsæˌtɪˌdeɪ ðət hi ˈoʊnli ˈsɛtəld bɪˈkəz hi nɑt hæv ðə taɪm tɪ goʊ θru ə lɔŋ bət ˈwɪnɪŋ traɪəl ɔn trəmp ju. tu bad!”*!” ““hamilton,”*,” ə mˈjuzɪkəl əˈbaʊt ðə raɪz əv ˌælɪgˈzændər ˈhæməltən frəm hɪz ˈhəmbəl bɪˈgɪnɪŋz ɛz ən ˈɔrfən ənd ən ˈɪməgrənt tɪ bɪˈkəm wən əv ðə ˈfaʊndɪŋ ˈfɑðərz əv ðə juˈnaɪtɪd steɪts, həz ə ˈfeɪməsli dɪˈvərs kæst. wən əv ɪts ˈlɪrɪks ““immigrants*, wi gɪt ðə ʤɑb done!”*!” əˈtræktəd ə ˈstændɪŋ oʊˈveɪʃən ɪn ðə ˈmɪdəl əv ʃoʊ, əˈkɔrdɪŋ tɪ ˈθieɪtərˌgoʊərz hu wər ɪn ðə rum wɛr ɪt ˈhæpənd. (ðə ˈlɪrɪk ˈɔlsoʊ əˈpɪrd ɔn ə saɪn ˈfraɪˌdeɪ naɪt ʤɪst ˈaʊtˈsaɪd ðə ˈrɪʧərd ˈrɑʤərz ˈθiətər, wɛr ˈdəzənz hæd ˈgæðərd tɪ ˈproʊˌtɛst pɛns, ənd rɪˈpɔrtədli ˈtrɪgərd ən ˈaʊtˌbərst baɪ ə trəmp səˈpɔrtər æt ə ˈsæˌtɪˌdeɪ ˈivnɪŋ pərˈfɔrməns əv ““hamilton”*” ɪn ʃəˈkɑˌgoʊ, əˈkɔrdɪŋ tɪ.) baɪ ˈsæˌtɪˌdeɪ, boʊθ ənd wər ˈtrɛndɪŋ ɔn tˈwɪtər. ˈdɪksən, ðə ˈæktər hu rɛd ðə ˈmɛsɪʤ æt ““hamilton,”*,” rɪˈspɑndɪd tɪ trəmp ɔn tˈwɪtər, seɪɪŋ ðət ˌkɑnvərˈseɪʃən dɪd nɑt əˈmaʊnt tɪ hərˈæsmənt ənd ðət hi əˈpriʃiˌeɪtɪd ðət pɛns stɑpt tɪ ˈlɪsən. ˌkɑnvərˈseɪʃən ɪz nɑt hərˈæsmənt sər. ənd aɪ əˈpriʃiˌeɪt fər ˈstɑpɪŋ tɪ ˈlɪsən. ˈbrændən ˈvɪktər ˈdɪksən (@brandonvdixon*) noʊˈvɛmbər 19 2016 ðə bərɑʒ əv wɑz, wɛl, ˌnɑnˈstɑp. fər ˈɛvəri ˈpərsən hu θˈrɛtənd ə ˈbɔɪˌkɑt əv ðə mˈjuzɪkəl, ðɛr wɑz əˈnəðər hu mɑkt ɪt ər ˈivɪn ɪnˈkərəʤd ə ˈbɔɪˌkɑt, ɪf ɪt wʊd min ə ˈgreɪtər ʧæns əv ˈgɪtɪŋ ˈtɪkɪts. noʊ wət? aɪ səˈpɔrt #boycotthamilton,”*,” kəˈmidiən ˈpætən ˈɑswəlt. hoʊp ɪt ˌɪnˈtɛnsɪˌfaɪz əˈspɛʃəli ˈdʊrɪŋ ðə fərst wik əv mɑrʧ, ˈmeɪbi ðət ˈsənˌdi matinee?”*?” [ˈpitər mɑrks: waɪ trəmp gɪts ˈθieɪtər kəmˈplitli ənd ˈətərli rɔŋ] ˌɔlˈðoʊ ðə ˈbrɔdˌweɪ ˈmɛsɪʤ wɑz dɪˈrɛktɪd ˈbrɔdli æt wət wʊd bi ən ædˌmɪnɪˈstreɪʃən ˈəndər ˈprɛzɪdənsi, pɛns hɪmˈsɛlf həz ə pəˈlɪtɪkəl træk ˈrɛkərd ðət həz bɪn ɛkˈskɔriˌeɪtɪd baɪ ðə kəmˈjunɪti. læst jɪr, ɛz ˈgəvərnər əv ˌɪndiˈænə, pɛns saɪnd ðə rɪˈlɪʤəs ˈfridəm ˌrɛstərˈeɪʃən ækt ˈæftər ðə ˈfɛdərəl kɔrts ruld ðət ˌseɪmˈsɛks ˈmɛrɪʤ bænz ɪn steɪts wər ˌənˌkɑnstəˈtuʃənəl. ˈəndər ðə nu steɪt lɔ, ˌɪndiˈænə ˈbɪznɪs ˈoʊnərz kʊd saɪt ðɛr rɪˈlɪʤəs bɪˈlifs ɪf ðeɪ wɔnt tɪ pɑrˈtɪsəˌpeɪt ɪn ˌseɪmˈsɛks ˈwɛdɪŋz. əˈpoʊnənts sɛd ɪt əˈmaʊnɪd tɪ əˈlaʊɪŋ dɪˌskrɪməˈneɪʃən beɪst ɔn ˈsɛkʃuəl ˌɔriɛnˈteɪʃən. ə wik ˈleɪtər, ˈæftər ˈfeɪsɪŋ ˈbɔɪˌkɑts ənd ˈwaɪdˈsprɛd ˌkɑndəmˈneɪʃən frəm raɪts grups, pɛns saɪnd ən əˈmɛndmənt ˈklɛrəˌfaɪɪŋ ðət ðə lɔ kʊd nɑt bi juzd tɪ dɪˈskrɪməˌneɪt əˈgɛnst ðə kəmˈjunɪti. hi həz ə ˈreɪtɪŋ frəm ðə ˈjumən raɪts kæmˈpeɪn, ə nɑnˈprɑfət grup ðət kɔlz pɛns anti-lgbtq”*” wɪn hi wɑz ˈʧoʊzən tɪ bi ˈrənɪŋ meɪt. rɪˈpəblɪkən ˈaʊˌtlaɪnd ˈrɛkərd ɪn ə gɛst ˈkɑləm fər ðə ˈwɔʃɪŋtən poʊst: ˈdʊrɪŋ hɪz ˈpəblɪk kərɪr, pɛns həz bɪn ən ˈaʊtˈspoʊkən əˈpoʊnənt əv ˈikwəl raɪts fər ˈlɛzbiən, geɪ, ˌbaɪˈsɛkʃuəl ənd ˈtrænzˈʤɛndər ˈsɪtɪzənz. ɪn ˈkɑŋgrəs, hi əˈpoʊzd ˈɛfərts tɪ ɪnˈkərəʤ ˈfɔrən ˈgəvərnmənts tɪ diˌkrɪmənəˈlaɪz ˌhoʊmoʊˌsɛkʃuˈæləˌti ənd sɔt tɪ blɑk ðə rɪˈpil əv ðə æsk, tell”*” ˈpɑləsi. ɛz ə ˈgəvərnər, hi stʊd əˈgɛnst nɑt ˈoʊnli ˈmɛrɪʤ ɪkˈwɑləti, bət ˈsɪvəl ˈjunjənz ɛz wɛl. hi ˈɔlsoʊ əˈpoʊzd ə lɔ proʊˈhɪbətɪŋ dɪˌskrɪməˈneɪʃən əˈgɛnst ˈpipəl ɪn ðə ˈwərkˌpleɪs ənd saɪnd wən ˈoʊpənɪŋ ðə dɔr tɪ dɪˌskrɪməˈneɪʃən əˈgɛnst ðiz ˈrɛzɪdənts əv hɪz oʊn steɪt ˈəndər ðə gaɪz əv rɪˈlɪʤəs ˈlɪbərˌti. nən əv ðɪs wɑz lɔst ɔn ðə ˈɔdiəns, hu ˈgritɪd ərˈaɪvəl tɪ hɪz praɪm ˈɔrkəstrə sit wɪθ ə mɪks əv ʧɪrz ənd buz, əˈkɔrdɪŋ tɪ ðə ˌeɪˈpi. ˈdɪksən toʊld ˈæftər pərˈfɔrməns ðət ðə kæst wɑz əˈlərtɪd əˈhɛd əv taɪm ðət pɛns wʊd bi ɪn ðə ˈɔdiəns, ənd ðət ðeɪ spoʊk tɪ mərˈændə, hu kriˈeɪtɪd ““hamilton,”*,” ɛz wɛl ɛz ʃoʊ prəˈdusər ˈʤɛfri ˈsɛlər. sæm ˈrudi, ðə ˈpəblɪsɪst, ˈleɪtər sɛd ðə spiʧ wɑz kəmˈpoʊzd kəˈlɛktɪvli baɪ ˈdɪksən, mərˈændə, ˈsɛlər ənd dɪˈrɛktər ˈtɑməs keɪl ˈɪnˌpʊt frəm ˈmɛmbərz əv ðə company.”*.” ðə tɛkst wɑz kəmˈplitɪd ˈmɪnəts ˌbiˈfɔr ðə ɛnd əv ðə pərˈfɔrməns, ˈrudi sɛd. praʊd əv @hamiltonmusical*. praʊd əv @brandonvdixon*, fər ˈlidɪŋ wɪθ ləv. ənd praʊd tɪ riˈmaɪnd ju ðət ɔl ər ˈwɛlkəm æt ðə ˈθieɪtər. mərˈændə (@lin_manuel*) noʊˈvɛmbər 19 2016 wi fərst gɑt ðə kɔl ðət [pɛns] wɑz ˈkəmɪŋ, ðɛr wɑz ˈsərtənli ə kˈwɛʃən əv wət wi wʊd do,”*,” ˈdɪksən toʊld, wɪʧ ˈkəvərz ˈbrɔdˌweɪ nuz. ər ðə ˌɑpərˈtunətiz ðət ju daɪ for.”*.” ˈdɪksən ˈædɪd ðət hi sɔ pɛns ˌɛnˈʤɔɪɪŋ ðə ʃoʊ ənd hoʊpt ðə fˈjuʧər vaɪs ˈprɛzɪdənt wʊd rɪˈmɛmbər ðə kæst. america’*’ tɛlz ðə ˈstɔri əv ə greɪt əˈmɛrɪkən ənd ə greɪt mˈjuzɪkəl] ˈtruli bɪˈliv wi hæd ən effect,”*,” ˈdɪksən toʊld ðə saɪt. ɪf ju hæv ˈdɪfərənsɪz, seɪ ˈsəmθɪŋ! wət ˈbɛtər pleɪs ðən ɔn ðɪs steɪʤ ˈtɛlɪŋ ðɪs ˈstɔri wɪθ ðiz ˈpipəl? aɪ hoʊp hi θɪŋks əv ˈjuˈɛs ˈɛvəri taɪm hi həz tɪ dil wɪθ ən ˈɪʃu ər tɔk əˈbaʊt ə bɪl ər ˈprɛzənt anything.”*.” ““hamilton”*” ðə mˈjuzɪkəl wɑz ˌɪnˈspaɪərd baɪ hɪˈstɔriən rɑn baɪˈɑgrəfi, ənd mərˈændə ˈɔlsoʊ ˈjuzɪz laɪf tɪ ˈriˌleɪ ðə ˈkɑmpləˌkeɪtəd, frɔt ˈstɔri əv ðə əˈmɛrɪkən ˌrɛvəˈluʃən. ðə mˈjuzɪkəl ɪz, əˈməŋ ˈmɛni θɪŋz, əˈbaʊt ðə ˈdɪfɪˌkəlti əv ˌɪndɪˈpɛndənt ˈgəvərnəns ənd əˈbaʊt ðə ˈfaʊndɪŋ fathers’*’ ˈstrəgəl tɪ ɪˈstæblɪʃ ə dɪˈmɑkrəsi, dɪˈspaɪt ðɛr ˈjumən flɔz ənd ˈdɪfərənsɪz. ɪt ɪz ɔl toʊld θru ə mɪks əv ˈhɪˌphɔp, r&b*, ræp ənd pɑp sɔŋz. sɪns ɪts ˈbrɔdˌweɪ ˈdeɪbju, ““hamilton”*” həz əˈtræktəd ˈnumərəs səˈlɛbrɪtiz ənd ˌpɑləˈtɪʃənz frəm boʊθ saɪdz əv ðə aɪəl, ˌɪnˈkludɪŋ ˈhɪləri ˈklɪntən, trəmp ənd ˈrɪʧərd bi. ˈʧeɪni. (lɪn ˈʧeɪni, hu ɪz ə hɪˈstɔriən, toʊld ðə nu jɔrk taɪmz ðət ʃi ənd hər ˈhəzbənd ləvd ðə ʃoʊ: mˈjuzɪk wɑz tərˈɪfɪk. ə pleɪ əˈbaʊt ˈjumən biɪŋz hu əˈʧivd greatly.”*.”) ɪn ðə pæst jɪr, ˌhaʊˈɛvər, ðə mˈjuzɪkəl həz bɪˈkəm ˌɪnˈkrisɪŋgli pəˈlɪtɪˌsaɪzd. ðə hæv bɪn ˈvoʊkəl ənd ˌənəˈbæʃt fænz əv ðə mˈjuzɪkəl, ɛz wɛl ɛz ˈbɑdi əv wərk. ɪn ɑkˈtoʊbər, mərˈændə ənd ˈæktrəs əˈlis ˈgoʊldzˌbɛri riˈroʊt ðə ˈlɪrɪks tɪ duəl commandments”*” ənd pərˈfɔrmd ðə ræp ɪn səˈpɔrt əv ˈklɪntən æt ə ˈfənˌdreɪzər fər ðə ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˌnɑməˈni. stɪl, pɛns toʊld ˈwɔlɪs ɔn nuz sunday”*” ðət hi kʊd bi ˈkaʊntɪd əˈməŋ ðə nu fænz. “‘“‘hamilton’*’ ɪz ʤɪst ən ˌɪnˈkrɛdəbəl pərˈdəkʃən, ˌɪnˈkrɛdəbli ˈtæləntɪd ˈpipəl. ənd ɪt wɑz ə ril ʤɔɪ tɪ bi there,”*,” pɛns sɛd. krɪs, ɪf ju sin ðə ʃoʊ, goʊ tɪ si ɪt. ɪt ɪz ə greɪt, greɪt show.”*.” ˈpitər mɑrks kənˈtrɪbjutɪd tɪ ðɪs rɪˈpɔrt. ðɪs ˈstɔri, ərˈɪʤənəli ˈpəblɪʃt noʊv. 19 həz bɪn ˈəpˌdeɪtɪd. rɛd mɔr: wɪl fɔl ɔn ðə sɔrd ənd teɪk jʊr tickets’*’: kɔlz tɪ mɛt wɪθ ˈmɑkəri nɑt seɪ min things’*’: kɪdz ər ˈraɪtɪŋ tɪ ˈdɑnəld trəmp, ˈæskɪŋ ɪm tɪ bi ə kaɪnd ˈprɛzɪdənt ˈdɪpləˌmæts ˈwəndər ɪf ˈspɛndɪŋ ˈməni æt ə trəmp hoʊˈtɛl kən baɪ ˌprɛzɪˈdɛnʃəl ˈfeɪvər trəmp əˈgriz tɪ 25 ˈmɪljən ˈsɛtəlmənt ɪn trəmp ˌjunəˈvərsəti frɔd ˈkeɪsɪz |
vice president-elect mike pence said on sunday he was not offended by pointed comments made to him by a cast member of "hamilton" after he attended the hit broadway show. "i wasn't offended," pence said on cbs' "face the nation," declining to ask for an apology as president-elect donald trump had demanded. (reuters)
vice president-elect mike pence said he was not offended by the message that the broadway cast of “hamilton” directed at him after friday night’s performance and that he “really enjoyed the show.”
speaking to “fox news sunday” host chris wallace, pence acknowledged that he was greeted by a mix of boos and cheers when he arrived at the richard rodgers theatre in new york city with his daughter and her cousins.
“i nudged my kids and reminded them that’s what freedom sounds like,” pence said.
knowing pence was in the audience, the cast of “hamilton” did not throw away its shot.
after the show, several dozen of the musical’s cast members zeroed in on pence during their curtain call. brandon victor dixon the actor who plays aaron burr stepped forth and cut through the applause.
“you know, we have a guest in the audience this evening,” he said to audience laughter. “and vice president-elect pence, i see you walking out, but i hope you will hear us just a few more moments. there’s nothing to boo here, ladies and gentlemen. there’s nothing to boo here. we’re all here sharing a story of love. we have a message for you, sir. we hope that you will hear us out.”
as he pulled a small piece of paper from his pocket, dixon encouraged people to record and share what he was about to say “because this message needs to be spreadr and wide.”
[‘hamilton’: making ecstatic history]
the cast of "hamilton" delivered a message to vice president pence from stage after he watched the show at richard rodgers theatre in new york on nov. 18. pence was booed by some audience members when he first walked in. (twitter/hamilton via storyful)
“vice president-elect pence, we welcome you, and we truly thank you for joining us here at ‘hamilton: an american musical.’ we really do,” dixon said to further applause. “we, sir, we are the diverse america who are alarmed and anxious that your new administration will not protect us, our planet, our children, our parents, or defend us and uphold our inalienable rights, sir. but we truly hope this show has inspired you to uphold our american values and work on behalf of all of us. all of us. again, we truly thank you truly for seeing this show, this wonderful american story told by a diverse group of men and women of different colors, creeds and orientations.”
some audience members booed vice president-elect mike pence as he walked to his seat at a "hamilton" show, held at the richard rodgers theatre in new york on nov. 18. (storyful)
pence reportedly was leaving the auditorium before dixon finished speaking, but told wallace that he heard the full message.
“i did hear what was said from the stage, and i can tell you, i wasn’t offended by what was said,” pence said. “i’ll leave to others whether that was the appropriate venue to say it.”
he added that he wanted to address the cast’s message.
“i know this is a very disappointing time for people that did not see their candidate win in this national election. i know this is a very anxious time for some people,” pence said. “and i just want to reassure people that what president-elect donald trump said on election night, he absolutely meant from the bottom of his heart. he is preparing to be the president of all of the people of the united states of america.”
pence’s comments in their tone and substance were sharply different from those of donald trump on the incident.
the “hamilton” cast’s unusual address quickly went viral and twitter exploded late friday night with responses that cleaved into two camps: those who cheered the cast for voicing their concerns so directly and those who found the exchange “rude.”
in the latter was trump, who said that the cast members had “harassed” pence with “cameras blazing” and demanded they apologize.
our wonderful future v.p. mike pence was harassed last night at the theater by the cast of hamilton, cameras blazing.this should not happen! donald j. trump (@realdonaldtrump) november 19, 2016
the theater must always be a safe and special place.the cast of hamilton was very rude last night to a very good man, mike pence. apologize! donald j. trump (@realdonaldtrump) november 19, 2016
“the theater must always be a safe and special place,” trump tweeted as a follow-up. “the cast of hamilton was very rude last night to a very good man, mike pence. apologize!”
trump would continue to tweet about the “hamilton” into the next day, insisting at 6:22 a.m. sunday that the cast and producers of the show, “which i hear is highly overrated,” should apologize to pence.
as the post’s phillip rucker noted, during his campaign, trump sometimes posted provocative tweets to attract the attention of the news media. regardless of whether that was his intent over the weekend, trump’s tweets about “hamilton” immediately followed a negative news story that broke late friday: trump had agreed to a $25 million settlement to end the fraud cases pending against trump university, his defunct real estate seminar program.
trump tweeted saturday that he only settled because he “did not have the time to go through a long but winning trial on trump u. too bad!”
“hamilton,” a musical about the rise of alexander hamilton from his humble beginnings as an orphan and an immigrant to become one of the foundingthers of the united states, has amously diverse cast. one of its oft-touted lyrics “immigrants, we get the job done!” attracted a standing ovation in the middle of friday’s show, according to theatergoers who were in the room where it happened. (the lyric also appeared on a sign friday night just outside the richard rodgers theatre, where dozens had gathered to protest pence, and reportedly triggered an outburst by a trump supporter at a saturday evening performance of “hamilton” in chicago, according to broadway.com.)
by saturday, both #nameapencemusical and #boycotthamilton were trending on twitter. dixon, the actor who read the message at “hamilton,” responded to trump on twitter, saying that conversation did not amount to harassment and that he appreciated that pence stopped to listen.
@realdonaldtrump conversation is not harassment sir. and i appreciate @mike_pence for stopping to listen. brandon victor dixon (@brandonvdixon) november 19, 2016
the barrage of “hamilton”-related tweets was, well, nonstop. for every person who threatened a boycott of the musical, there was another who cheekily mocked it or even encouraged a boycott, if it would mean a greater chance of getting tickets. “you know what? i support #boycotthamilton,” comedian patton oswalt tweeted. “i hope it intensifies especially during the first week of march, maybe that sunday matinee?”
[peter marks: why trump gets theater completely and utterly wrong]
although the broadway cast’s message was directed broadly at what would be an administration under trump’s presidency, pence himself has a political track record that has been excoriated by the lgbt community. last year, as governor of indiana, pence signed the religious freedom restoration act after the federal courts ruled that same-sex marriage bans in states were unconstitutional. under the new state law, indiana business owners could cite their religious beliefs if they didn’t want to participate in same-sex weddings. opponents said it amounted to allowing discrimination based on sexual orientation. a week later, aftercing boycotts and widespread condemnation from rights groups, pence signed an amendment clarifying that the law could not be used to discriminate against the lgbt community.
he has a “0%” rating from the human rights campaign, a nonprofit group that calls pence “notoriously anti-lgbtq” when he was chosen to be trump’s running mate. republican chrys kefalas outlined pence’s anti-lgbt record in a guest column for the washington post:
during his public career, pence has been an outspoken opponent of equal rights for lesbian, gay, bisexual and transgender citizens. in congress, he opposed efforts to encourage foreign governments to decriminalize homosexuality and sought to block the repeal of the military’s “don’t ask, don’t tell” policy. as a governor, he stood against not only marriage equality, but civil unions as well. he also opposed a law prohibiting discrimination against lgbt people in the workplace and signed one opening the door to wide-ranging discrimination against these residents of his own state under the guise of religious liberty.
none of this was lost on the audience, who greeted pence’s arrival to his prime orchestra seat with a mix of cheers and boos, according to the ap.
dixon told broadway.com after friday’s performance that the cast was alerted ahead of time that pence would be in the audience, and that they spoke to lin-manuel miranda, who created “hamilton,” as well as show producer jeffrey seller.
sam rudy, the show’s publicist, later said the speech was composed collectively by dixon, miranda, seller and director thomas kail “with input from members of the company.” the text was completed minutes before the end of the performance, rudy said.
proud of @hamiltonmusical. proud of @brandonvdixon, for leading with love.
and proud to remind you that all are welcome at the theater. lin-manuel miranda (@lin_manuel) november 19, 2016
“when we first got the call that [pence] was coming, there was certainly a question of what we would do,” dixon told broadway.com, which covers broadway news. “these are the opportunities that you die for.”
dixon added that he saw pence enjoying the show and hoped the future vice president would remember the cast.
[‘hamilton’s america’ tells the story of a great american and a great musical]
“i truly believe we had an effect,” dixon told the site. “… if you have differences, say something! what better place than on this stage telling this story with these people? i hope he thinks of us every time he has to deal with an issue or talk about a bill or present anything.”
“hamilton” the musical was inspired by historian ron chernow’s biography, and miranda also uses hamilton’s life to relay the complicated, fraught story of the american revolution. the musical is, among many things, about the difficulty of independent governance and about the foundingthers’ struggle to establish a democracy, despite their human flaws and differences. it is all told through a mix of hip-hop, r&b, rap and pop songs.
since its broadway debut, “hamilton” has attracted numerous celebrities and politicians from both sides of the aisle, including hillary clinton, ivanka trump and richard b. cheney. (lynne cheney, who is a historian, told the new york times that she and her husband loved the show: “the music was terrific. … a play about human beings who achieved greatly.”)
in the past year, however, the musical has become increasingly politicized. the obamas have been vocal and unabashedns of the musical, as well as miranda’s body of work. in october, miranda and actress renée elise goldsberry rewrote the lyrics to “ten duel commandments” and performed the rap in support of clinton at a fundraiser for the democratic presidential nominee.
still, pence told wallace on “fox news sunday” that he could be counted among the musical’s newns.
“‘hamilton’ is just an incredible production, incredibly talented people. and it was a real joy to be there,” pence said. “… chris, if you haven’t seen the show, go to see it. it is a great, great show.”
peter marks contributed to this report. this story, originally published nov. 19, has been updated.
read more:
‘i willll on the sword and take your tickets’: calls to #boycotthamilton met with mockery
‘do not say mean things’: kids are writing to donald trump, asking him to be a kind president
diplomats wonder if spending money at a trump hotel can buy presidentialvor
trump agrees to $25 million settlement in trump university fraud cases | ˌhoʊˈzeɪ həz ˈmænɪʤd səm əv ðə ˈgreɪtəst pleɪərz. hi həz wən ˈmeɪʤər ˈtroʊfiz æt ˈpɔrtoʊ, ˈʧɛlsi, ˌɪnˈtər ˈmaɪˌlæn, ril məˈdrɪd ənd naʊ ˈmænˌʧɛstər juˈnaɪtɪd. ˈgɛti ˈɪmɪʤɪz 12 ˌhoʊˈzeɪ ˈsɛləˌbreɪts hɪz ˈfaɪnəst aʊər ˈæftər kəmˈplitɪŋ ˈtrɛbəl wɪθ ˌɪnˈtər ɪn 2010 soʊ ˈpɪkɪŋ hɪz ˌɔlˈtaɪm ʃi ɪz kwaɪt ə ˈdɪfəkəlt æsk. kip əp tɪ deɪt wɪθ ɔl ðə ˈfʊtˌbɔl nuz, ˈgɑsəp ənd ˈtrænsfərz geɪv ɪt ə goʊ ənd ðɛr ər səm ˈstɛlər neɪmz ˈmɪsɪŋ aʊt. hu meɪd ðə kət ɪn ə fɔrˈmeɪʃən, ˈviə passioneinter.com*. ˈgoʊlˌkipər ˈpɛtər sɛk, ˈʧɛlsi prɛs 12 ˈpɛtər sɛk meɪd hɪmˈsɛlf ə prɛˈmɪr lig ˈlɛʤənd ˈdʊrɪŋ ˈərli taɪm æt ˈʧɛlsi ðə ˈkɑrənt ˈɑrsənəl ˈstɑpər hu bɑmd aʊt əv ˈʧɛlsi ɪn ðə ˈsəmər əv 2015 bits ɔf ə hoʊst əv ˈəðər tɔp goalkeepers*. baia*, ˈʤulioʊ ˈsizər, kɑˈsɪləz, ˈkɔrtwɑ ənd ˈivɪn ˈdeɪvɪd də ɔl meɪk ə ˈdisənt keɪs fər ˌrɛkɪgˈnɪʃən. bət sɛk hu gɪts ðə nɑd ˈæftər θri prɛˈmɪr lig ˈtaɪtəlz, θri lig kəp səkˈsɛsɪz ənd ən kəp wɪn ɪn 2007 dɪˈfɛns ˌhɑviˈɛr, ˌɪnˈtər ˈmaɪˌlæn prɛs 12 ˈkæptən ˌhɑviˈɛr ˈsɛləˌbreɪts ɛz ˌɪnˈtər ˈmaɪˌlæn wɪn ə ˈtaɪtəl ɪn dɪˈplɔɪd ˈmeɪnli ɪn ˈsɛntrəl baɪ, bət pleɪd ðə məˈʤɔrəti əv hɪz kərɪr æt. ˈpɔˌloʊ fɛˈreɪrə wɑz ˈvoʊtɪd bɛst æt ˈpɔrtoʊ ɪn 2003 bət ˈstrəgəld ˈæftər hi ˈfɑloʊd ðə ˈspɛʃəl wən tɪ ˈʧɛlsi waɪl wɑz hɪz rɑk æt ˌɪnˈtər. wɑz ˈkæptən wɪn ˌɪnˈtər wən ðə ˈfeɪməs ˈtrɛbəl ɪn 2010 ʤɑn ˈtɛri, ˈʧɛlsi ˈgɛti ˈɪmɪʤɪz 12 ʤɑn ˈtɛri wɑz ˌhoʊˈzeɪ ˌɪnspərˈeɪʃənəl ˈskɪpər ɪn boʊθ ˈʧɛlsi spɛlz wən əv ðə dɪˈspaɪt ðə ˌɪnˈtɛns ˌkɑmpəˈtɪʃən. ˈhɔrheɪ ˈkɔstɑ wɑz ˌɪnspərˈeɪʃənəl ˈkæptən æt ˈpɔrtoʊ, waɪl ˈwɔltər ˈsæmjul wɑz ˈæptli ˈnɪkˌneɪmd wall’*’ ənd ˈpɛpi wɑz ə ˈstɔlwərt æt ril məˈdrɪd. ˌhaʊˈɛvər, hɪz ˈʧɛlsi ˈskɪpər, ˈtɛri, hu gɪts hɪz pleɪs ɪn ðə tim. rɪˈkɑrdoʊ kɑrˈvɑlhoʊ, ˈpɔrtoʊ, ˈʧɛlsi, ril məˈdrɪd ˈgɛti ˈɪmɪʤɪz 12 rɪˈkɑrdoʊ kɑrˈvɑlhoʊ ɪn ˈækʃən ˈdʊrɪŋ fərst spɛl ˈəndər ˌhoʊˈzeɪ æt ˈpɔrtoʊ ə təf kɔl, bət klæs wɑz ˈɔfən ˈoʊvərˌlʊkt du tɪ ðə ˈdɑmənənt staɪl əv hɪz ˈpɑrtnər æt ˈstæmfərd brɪʤ. ðə ˈklæsi ˈpɔrʧəˌgiz dɪˈfɛndər ˈfɑloʊd tɪ θri kləbz ənd ðeɪ wən ˈkaʊntləs ˈtroʊfiz təˈgɛðər. ˈsərˌʤjoʊ ˈrɑmoʊs ənd ˈlusioʊ ər əˈməŋ ðə bɪg neɪmz oʊˈmɪtɪd. ˈæʃli koʊl, ˈʧɛlsi prɛs 12 ˌhoʊˈzeɪ ˈprɛzənts ˈæʃli koʊl ˈæftər hɪz muv frəm ˈɑrsənəl tɪ ˈʧɛlsi hɪz klæs ɪz wɪˈθaʊt kˈwɛʃən bət hi ˈoʊnli spɛnt wən jɪr ˈəndər. koʊl muvd tɪ ˈstæmfərd brɪʤ ɪn ðə ˈsəmər əv 2006 ənd ˈeɪvrəm grænt keɪm ʤɪst ˈæftər ðə stɑrt əv ðə ˈfɑloʊɪŋ ˈsizən. təˈgɛðər, ðeɪ wən ðə lig kəp ənd kəp, bət ənd mɑˈrʧɛloʊ wɪl fil ðeɪ hæd ə strɔŋ keɪs fər ðɛr ˈɛfərts ˈəndər. ˈɛstəbɑn, ˌɪnˈtər ˈmaɪˌlæn ˌeɪˈpi 12 ˈɛstəbɑn ˈsɛləˌbreɪts ˈæftər ˈskɔrɪŋ fər ˌɪnˈtər əˈgɛnst ˈʧɛlsi ɪn 2010 əˈnəðər təf kɔl, əˈspɛʃəli wɪθ klɔd ˈifɛktɪvli ˌɪnˈvɛntɪŋ ðə roʊl ˈəndər æt ˈʧɛlsi. bət wɑz wərld klæs æt ˌɪnˈtər ˈmaɪˌlæn, ənd ə rɑk ɪn ðə saɪd əv 2010 ˈmaɪkəl ballack*, ˈlukə ənd ˈmaɪkəl ər ˈəðər pəˈtɛnʃəl ˈkænədɪts fər ðɪs pəˈzɪʃən. fræŋk, ˈʧɛlsi əˌsoʊʃiˈeɪʃən 12 fræŋk skɔrd ðə goʊlz wɪʧ klɪnʧt ðə prɛˈmɪr lig ˈtaɪtəl ɪn 2005 ə pleɪər kəmˈplitli ˈəndər hu bɪˈkeɪm rɪˈgɑrdɪd ɛz wən əv ðə bɛst. ˈfɪnɪʃt ɛz ˈrənərˌəp tɪ ɪn ðə ˈrənɪŋ fər ðə 2005 ˈbælən əˈwɔrd ənd hɪz goʊl ˈskɔrɪŋ klæs wɑz frəm hɪz pəˈzɪʃən. wən tu lig ˈtaɪtəlz, tu lig kəps, ən kəp ənd riʧt θri ˈʧæmpiənz lig ˈəndər. ˈdɛkoʊ, ˈpɔrtoʊ prɛs 12 ˈdɛkoʊ skɔrz ə səˈblaɪm goʊl fər ˈpɔrtoʊ ɪn ðə 2004 ˈʧæmpiənz lig ˈfaɪnəl ˈvɪktəri æt ˈpɔrtoʊ, hu bɪˈkeɪm rɪˈgɑrdɪd ɛz wən əv ðə ɔn ðə ˈplænət. ˈdɛkoʊ ˈfɪnɪʃt bɪˈhaɪnd ɪn ðə ˈbælən ˈrənɪŋ ɪn 2004 ˈhævɪŋ wən ðə ˈʧæmpiənz lig ˈəndər ðə ˈspɛʃəl wən, ˈhævɪŋ ˈnɛtɪd ɪn ðə ˈfaɪnəl. ˈwɛsli wɪl fil əˈgrivd, ˈhævɪŋ bɪn ki fər ˌɪnˈtər ɪn 2010 ˈfɔrwərdz kristiˈɑnoʊ, ril məˈdrɪd ˈrɔɪtərz 12 kristiˈɑnoʊ ɪz ðə ˈoʊnli ril məˈdrɪd pleɪər tɪ meɪk ɪt ɪn ˌhoʊˈzeɪ ʃi ðeɪ meɪ nɑt hæv gɑt əˈlɔŋ ɛz wɛl ɛz ðeɪ wʊd hæv laɪkt bət wɑz ənˈdaʊtɪdli ðə bɛst pleɪər ˈmænɪʤd. təˈgɛðər, ðeɪ wən ðə 2011 ˈkoʊpə dɛl reɪ ənd 2012 lɑ ˈtaɪtəl. ɪz ðə ˈoʊnli ril məˈdrɪd pleɪər tɪ meɪk ðə tim, ənd bits ˈidən ˈhæzərd. ˈdɪdiər, ˈʧɛlsi əˌsoʊʃiˈeɪʃən 12 ˈdɪdiər bɪˈkeɪm wən əv ðə moʊst fɪrd ˈstraɪkərz ɔn ðə ˈplænət ˈəndər ˌhoʊˈzeɪ ðə ˈəltəmət pleɪər, hu riˈʤɔɪnd ðə bluz tɪ ðə ˈpɔrʧəˌgiz boss’*’ ˈsɛkənd spɛl ənd wən ə θərd lig ˈtaɪtəl. diˈeɪgoʊ ˈkɔstɑ, kərˈim ənd ˈsæmjul wər ˈəðər ˈvaɪəbəl ˈkænədɪts. bət wɑz ən ˌɪnˈtɛləʤənt ənd ˌɪnˈkrɛdəbli strɔŋ ˈstraɪkər hu trænsˈfɔrmd ˈɪntu wən ðə bɛst əraʊnd. ˈgeɪbriəl miˈlitoʊ, ˌɪnˈtər ˈmaɪˌlæn əˌsoʊʃiˈeɪʃən 12 miˈlitoʊ skɔrd twaɪs ɪn 2010 ˈʧæmpiənz lig ˈfaɪnəl ˈvɪktəri ɪn məˈdrɪd meɪks ðə tim ˈkərtəsi əv ðə tu goʊlz hi skɔrd ɪn ðə 2010 ˈʧæmpiənz lig ˈfaɪnəl ˈvɪktəri. ðɛr hæv bɪn ˈsɛvərəl ˈbɛtər ˈstraɪkərz hu hæv bɪn oʊˈmɪtɪd səʧ ɛz bət fju hæd ðə ˈɪnfluəns miˈlitoʊ hæd. ɪn 2010 ðə ˈɑrʤənˌtin ˈnɛtɪd ðə goʊl wɪʧ klɪnʧt ðə ə ˈtaɪtəl ɔn ðə ˈfaɪnəl deɪ əv ðə ˈsizən, ðə ˈkoʊpə ˌɪˈtæljə ˈwɪnər ənd boʊθ goʊlz ɪn ðə məˈdrɪd ˈʃoʊˌpis. naʊ rɛd ˌhoʊˈzeɪ ˌɔlˈtaɪm ʃi |
jose mourinho has managed some of the game’s greatest players.
he has won major trophies at porto, chelsea, inter milan, real madrid and now manchester united.
getty images 12 jose mourinho celebrates his finest hour after completing treble with inter in 2010
so picking his all-time xi is quite a difficult ask.
keep up to date with all the football news, gossip and transfers
uefa.com gave it a go — and there are someellar names missing out.
here’s who made the cut in a 4-3-3 formation, via passioneinter.com.
goalkeeper
petr cech, chelsea
ap:associated press 12 petr cech made himself a premier league legend during early time at chelsea
the current arsenalopper — who mourinho bombed out of chelsea in the summer of 2015 — beats off a host of other top goalkeepers.
vitor baia, julio cesar, iker casillas, thibaut courtois and even david de gea all make a decent case for recognition.
but it’s cech who gets the nod after three premier league titles, three league cup successes and an fa cup win in 2007.
defence
javier zanetti, inter milan
ap:associated press 12 captain javier zanetti celebrates as inter milan win serie a title in 2009-10
deployed mainly in central midfield by mourinho, but played the majority of his career at right-back.
paulo ferreira was voted europe’s best right-back at porto in 2003, butruggled after he followed the special one to chelsea — while maicon was his rock at inter.
zanetti was mourinho’s captain when inter won the famous treble in 2010.
john terry, chelsea
getty images 12 john terry was jose mourinho's inspirational skipper in both chelsea spells
one of the shoo-ins — despite the intense competition.
jorge costa was mourinho’s inspirational captain at porto, while walter samuel was aptly nicknamed ‘the wall’ and pepe was aalwart at real madrid.
however, it’s his mourinho’s chelsea skipper, terry, who gets his place in the team.
ricardo carvalho, porto, chelsea, real madrid
getty images 12 ricardo carvalho in action during first spell under jose mourinho at porto
a tough call, but carvalho’s class was often overlooked due to the dominantyle of his centre-back partner atamford bridge.
the classy portuguese defender followed mourinho to three clubs and they won countless trophies together.
sergio ramos and lucio are among the big names omitted.
ashley cole, chelsea
ap:associated press 12 jose mourinho presents ashley cole after his move from arsenal to chelsea
his class is without question — but he only spent one year under mourinho.
cole moved toamford bridge in the summer of 2006 and avram grant came just after theart of the following season.
together, they won the league cup and fa cup, but cristian chivu and marcelo will feel they had arong case for their efforts under mourinho.
midfield
esteban cambiasso, inter milan
ap 12 esteban cambiasso celebrates after scoring for inter against chelsea in 2010
another tough call, especially with claude makelele effectively inventing the role under mourinho at chelsea.
but cambiasso was world class at inter milan, and a rock in the treble-winning side of 2010.
michael ballack, luka modric and michael essien are other potential candidates for this position.
frank lampard, chelsea
pa:press association 12 frank lampard scored the goals which clinched the premier league title in 2005
a player completely re-defined under mourinho who became regarded as one of the game’s best midfielders.
lampard finished as runner-up to ronaldinho in the running for the 2005 ballon d’or award and his goal scoring class was unrivalled from his position.
won two league titles, two league cups, an fa cup and reached three champions league semi-finals under mourinho.
deco, porto
ap:associated press 12 deco scores a sublime goal for porto in the 2004 champions league final victory
mourinho’s playmaker at porto, who became regarded as one of the classiest midfielders on the planet.
deco finished behind andriy shevchenko in the ballon d’or running in 2004, having won the champions league under the special one, having netted in the final.
wesley sneijder will feel aggrieved, having been key for inter in 2010.
forwards
cristiano ronaldo, real madrid
reuters 12 cristiano ronaldo is the only real madrid player to make it in jose mourinho's xi
they may not have got along as well as they would have liked — but ronaldo was undoubtedly the best player mourinho managed.
together, they won the 2011 copa del rey and 2012 la liga title.
ronaldo is the only real madrid player to make the team, and beats eden hazard.
didier drogba, chelsea
pa:press association 12 didier drogba became one of the most fearedrikers on the planet under jose mourinho
the ultimate mourinho player, who rejoined the blues to the portuguese boss’ second spell — and won a third league title.
diego costa, karim benzema and samuel eto’o were other viable candidates.
but drogba was an intelligent and incrediblyrongriker who mourinho transformed into one the best around.
gabriel milito, inter milan
pa:press association 12 gabiel milito scored twice in 2010 champions league final victory in madrid
makes the team courtesy of the two goals he scored in the 2010 champions league final victory.
there have been several betterrikers who have been omitted — such as zlatan ibrahimovic — but few had the influence milito had.
in 2010, the argentine netted the goal which clinched the serie a title on the final day of the season, the coppa italia winner and both goals in the madrid showpiece.
now read sunsport's jose mourinho's all-time xi | gɪt ðə ˈbɪgəst ˈdeɪli nuz ˈstɔriz baɪ iˈmeɪl səbˈskraɪb θæŋk ju fər səbˈskraɪbɪŋ wi hæv mɔr ˈnuzˌlɛtərz ʃoʊ mi si ɑr ˈpraɪvəsi ˈnoʊtɪs kʊd nɑt səbˈskraɪb, traɪ əˈgɛn ˈleɪtər ˌɪnˈvæləd iˈmeɪl ə ˈləki ˈstudənt hæd ðə bɛst ˈsəmər ʤɑb ˈɛvər baɪ biɪŋ floʊn tɪ ðə ˈjuˈɛs ənd peɪd tɪ ˈpɑrti ɔn jɑts ɔl ˈsəmər. ˈɛlə ˈkrɑkɪt gɑt ə ʤɑb ɛz ən æmˈbæsədər fər ˈfæʃən brænd ʤæk wɪlz ɛz ʃi tʊk ə breɪk frəm ˈstədiɪŋ æt ˈnuˌkæsəl ˌjunəˈvərsəti. ðə wɑz sɛnt aʊt tɪ nænˈtəkɪt ˈaɪlənd ɔn ðə ist koʊst əv ðə juˈnaɪtɪd steɪts ənd toʊld tɪ prəˈmoʊt ðə ˈleɪbəl əˈməŋ ðə rɪʧ. ˈɛlə sɛd: "ɪts 100 ðə bɛst ˈsəmər aɪv ˈɛvər hæd." wən əv hər meɪn ʤɑbz ˌɪnˈvɑlvd ə "ˈnɔtəkəl ʃik" θimd bæʃ ɔn ə jɑt. (ˈɪmɪʤ: swns.com*) ʃi sɛd: "wi hæd ə fər ðə hoʊl deɪ ɔn bɔrd, ˈfɑloʊd baɪ ə ˈsənˌsɛt ˈdɪnər ˈpɑrti." (ˈɪmɪʤ: swns.com*) ˈdʊrɪŋ hər taɪm ðɛr ʃi mɛt ˈəðər prəˈmoʊtərz noʊn ɛz 'seasonnaires*' ənd təˈgɛðər ðeɪ dræŋk ˈplɛnti əv ʃæmˈpeɪn, ɔl ɪn ðə neɪm əv wərk. (ˈɪmɪʤ: swns.com*) ʃi toʊld ðə tæb: "wi ˈɔlsoʊ dɪd ə ˈbruəri ˈteɪˌkoʊvər wɪθ ˈsɪˌskoʊ ˈbruəri, wɪʧ ɪz ˈfeɪməs ɔn ðə ˈaɪlənd, wɛr wi wər duɪŋ ʤæk wɪlz ˈgɪvəˌweɪz. (ˈɪmɪʤ: swns.com*) "wi ˈɔlsoʊ gɑt ɑr tɪ du ə sɛt ðɛr, ɪt wɑz soʊ fən. "ˈɔlsoʊ, ˈɛvəri ˈmənˌdeɪ ðɛr wɑz ə naɪt kɔld 'ʤæk ɪn ðə bɑks' æt ə pleɪs kɔld ˈʧɪkən bɑks. (ˈɪmɪʤ: swns.com*) "ɪt wɑz ˈbeɪsɪkli ə juʤ ʤæk wɪlz naɪt ðət ˈɛvriˌwən ɔn ðə ˈaɪlənd wʊd goʊ tɪ." ˌhaʊˈɛvər ˈɛlə sɛd ˈpɑrtiɪŋ fər ə ˈlɪvɪŋ wɑz hɑrd wərk. ʃi sɛd: "ðə ˈsoʊʃəl ˈæˌspɛkts laɪk ðə ɪˈvɛnts wər ə ˈdɛfənət pərk əv ðə ʤɑb ənd aɪ dɪd hæv loʊdz əv fən. "bət ðɛr wɑz ə lɔt əv hɑrd wərk ˌɪnˈvɑlvd tu. (ˈɪmɪʤ: swns.com*) "ɪts nɑt wən əv ðoʊz ʤɑbz ju kən ʤɪst goʊ hoʊm ənd rɪˈlæks ˈæftər ðə wərk ɪz dən. "ɪt wɑz ə ʤɑb, ˈsɛvən deɪz ə wik, bət aɪ ləvd ɪt soʊ ɪt ˈdɪdənt ˈrɪli fil laɪk wərk." ˈɛlə ɪz ərˈɪʤənəli frəm ˈælbænz ɪn bət ɪz ˈlɪvɪŋ ɪn ˈnuˌkæsəl kəmˈplitɪŋ hər dɪˈgri. |
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a lucky student had the best summer job ever by being flown to the us and paid to party on yachts all summer.
ella crockett got a job as an ambassador for fashion brand jack wills as she took a break from studying at newcastle university.
the 21-year-old was sent out to nantucket island on the east coast of the united states and told to promote the label among the rich.
ella said: "it's 100% the best summer i've ever had."
one of her main jobs involved organising a "nautical chic" themed bash on a yacht.
(image: swns.com)
she said: "we had a dj for the whole day on board, followed by a sunset dinner party."
(image: swns.com)
during her time there she met other promoters - known as 'seasonnaires' - and together they drank plenty of champagne, all in the name of work.
(image: swns.com)
she told the tab: "we also did a brewery takeover with cisco brewery, which is famous on the island, where we were doing jack wills giveaways.
(image: swns.com)
"we also got our djs to do a set there, it was so fun.
"also, every monday there was a night called 'jack in the box' at a place called chicken box.
(image: swns.com)
"it was basically a huge jack wills night that everyone on the island would go to."
however ella said partying for a living was hard work.
she said: "the social aspects like the events were a definite perk of the job and i did have loads of fun.
"but there was a lot of hard work involved too.
(image: swns.com)
"it's not one of those jobs you can just go home and relax after the work is done.
"it was a 24-hour job, seven days a week, but i loved it so it didn't really feel like work."
ella is originally from st albans in hertfordshire but is living in newcastle completing her degree. | ɪt wɑz ˈrisəntli əˈnaʊnst ðət meɪd ðə dɪˈsɪʒən tɪ ˌtɛmpərˈɛrəli priɛmpt ðə ðə ˈjuʒəwəl ˈproʊˌgræmɪŋ əv ðə ˈbluˌgræs ˈʤəŋkʃən ˈʧænəl frəm dɪˈsɛmbər ɪn ˈfeɪvər əv ə ˈproʊˌgræm əv ˈhɑnəkə mˈjuzɪk. ðə ˈtɛmpərˌɛri ˈproʊˌgræmɪŋ stɑrts təˈnaɪt æt ˈmɪdˌnaɪt ənd wɪl kənˈtɪnju ənˈtɪl dɪˈsɛmbər 15th*. prɪˈdɪktəbli (saɪ) ðɛr həz bɪn lɑts əv kəmˈpleɪnɪŋ ənd ˈʤɛnərəl ˈnæʃɪŋ əv tiθ ˈoʊvər ðɪs ɪn ˈbluˌgræs communty*. wən ˈbluˌgræs ˈɪndəstri proʊ ˈivɪn æst ðɛr əˈtərni tɪ raɪt ə ˈlɛtər tɪ ˈmænɪʤmənt, wɪʧ wɑz ðɛn ʃɛrd ˈviə ˈsoʊʃəl ˈmidiə. ðət meɪ hæv ˈgɑrnərd səm ʧɪrz frəm ðə kraʊd, bət ɪz ə ˈprɪti ˈpɔɪntləs ənd ˈəltəmətli ɪmˈbɛrəsɪŋ stənt. (ˈɛdət: aɪ hæv bɪn ˌɪnˈfɔrmd ðət ðə ˈlɛtər wɑz nɑt ˈrɪtən æt ðə rɪkˈwɛst əv ə klaɪənt.) soʊ, ˌbiˈfɔr wi ɔl ˈkænsəl ɑr ˈsætəˌlaɪt ˈreɪdiˌoʊ səbˈskrɪpʃənz, rɪp rɪˈsivərz aʊt əv ɑr kɑz, ˌwəˈtɛvər, rɪˈlæks fər ə ˈmoʊmənt ənd teɪk ən ˈɑnəst lʊk æt ðə ˌsɪʧuˈeɪʃən ðɛn ˌdɪˈsaɪd wət tɪ du. stɑrt baɪ ˈrɛdɪŋ ðɪs ˈlɛtər frəm ɪgˈzɛkjətɪv dɪˈrɛktər pɔl schiminger*, hi ɪkˈspleɪnz ðə ˌsɪʧuˈeɪʃən kwaɪt ˈklɪrli. ˈbluˌgræs ˈʤəŋkʃən ɪz ə gʊd ˈʧænəl ənd wən əv ðə ˈaʊˌtlɛts fər ˈbluˌgræs mˈjuzɪk. ˌpɑrˈtɪkjələrli kaɪnd tɪ nu ˈɑrtɪsts ənd ɪz ˈkruʃəl tɪ ðɛr ɪkˈspoʊʒər ənd dɪˈvɛləpmənt. wi ɛz ə kəmˈjunɪti ər ˈləki tɪ hæv ɪt. dɪˈspaɪt wət wi ˈsəmˌtaɪmz θɪŋk (ənd rɛd ɪn ðə ˈbluˌgræs prɛs) ˈbluˌgræs ɪz ə ˈfɛrli smɔl nɪʧ ˈmɑrkɪt wɪˈθɪn ðə mˈjuzɪk ˈɪndəstri. wi du nɑt hæv ə ˈmæsɪv əˈmaʊnt əv ˈlɛvərɪʤ tɪ ɪgˈzərt. ðə səˈpɔrt əv ənd ə fju ˈəðər pleɪərz ɪz bɪg fər ˈjuˈɛs, wi nid tɪ ˈkəltəˌveɪt ðoʊz riˈleɪʃənˌʃɪps ˈrəðər ðən tɛst ðɛm. aɪ hæv sin ˈmɛni ˈpipəl θˈrɛtən tɪ ˈkænsəl ðɛr səbˈskrɪpʃən ˈoʊvər ðɪs ˌɪntərˈəpʃən, ˈkleɪmɪŋ ðət ɪz ðə ˈoʊnli ˈʧænəl ðeɪ ˈlɪsən tɪ ənd ðət ðɪs ɪz ðə moʊst ɪˈgriʤəs bɪˈtreɪəl sɪns ˈbrutəs stæbd ˈsizər. wɔk ðət daʊn ðə roʊd ə bɪt. ɛz ˈdɛdəkeɪtəd ˈbluˌgræs fænz wi meɪ gɪt ə sɛns əv ˌsætɪsˈfækʃən frəm ˈkænsəlɪŋ; ʃʊr ʃoʊd them!”*!” wi maɪt seɪ tɪ ɑrˈsɛlvz. bət, naɪn deɪz frəm naʊ wɪl rɪˈtərn ənd ðoʊz əv ˈjuˈɛs hu ˈkænsəld wɪθ ˈiðər re-up*, wɪʧ meɪks ðə fækt ðət wi ˈkænsəld ɪn ðə fərst pleɪs ˈminɪŋləs, ər noʊ ˈlɔŋgər hæv ˈækˌsɛs tɪ. boʊθ əv ðiz ər ˈkrəmi ˈɔpʃənz. nɑt ˈmɛnʃən ðət ə mæs əv ˌkænsəˈleɪʃənz maɪt meɪk teɪk ə lʊk æt ðə roʊl əv ɪn ðɛr ˈɔfərɪŋz. nɪʧ ˈʧænəl wɪθ ən ˌənrɪˈlaɪəbəl səbˈskraɪbər beɪs? hmm…*… bɪn ˈlʊkɪŋ fər pleɪs tɪ pʊt ðə nu channel.”*.” ju si wɛr goʊɪŋ wɪθ ðɪs? ɪf ju fil ðət ju məst ˈrɛʤɪstər jʊr dɪsəˈpruvəl, baɪ ɔl minz sɛnd ə pəˈlaɪt noʊt; aɪ ˌəndərˈstænd ðət ju kən gɪt ə ˈriˌfənd fər ðə taɪm wɪl bi ˌənəˈveɪləbəl, ˈʤɛnərəs. ˌəndərˈstænd ðət dɪz ðiz ɪn roʊˈteɪʃən, soʊ ənˈlaɪkli tɪ ˈhæpən əˈgɛn fər ə lɔŋ taɪm. θɪŋk əv ðɪs ɛz ðə ˈreɪdiˌoʊ ɪkˈwɪvələnt əv ˈʤʊri ˈduti; ə dræg bət ˈtɛmpərˌɛri ənd ˈhæpən ˈɔfən. ðɛn, skæn əraʊnd ðə ˈəðər ˈʧænəlz; ə lɔt əv greɪt mˈjuzɪk aʊt ðɛr əˈsaɪd frəm ˈbluˌgræs. ju kʊd ˈivɪn ˈlɪsən tɪ ðə ˈhɑnəkə ˈproʊˌgræmɪŋ, ˈmeɪbi hir səm ˈændi statman*. ər ˈlɪsən tɪ jʊr ˈloʊkəl ˈsteɪʃən, dɪg θru jʊr ˈrɛkərd kəˈlɛkʃən fər oʊld ˈʧɛsnəts ər baɪ səm nu ˈrɛkərdz. ˈreɪdiˌoʊ ɪz kaɪnd əv ˈpæsɪv ˈɛniˌweɪ ənd mˈjuzɪk bi ə ˈspɛkteɪtər spɔrt, soʊ dɪˈskəvər ə nu ˈɑrtɪst ənd lɛt ˈjɔrsɛlf goʊ daʊn ə ˈræbɪt hoʊl ɪkˈsplɔrɪŋ ðɛr mˈjuzɪk ˈtaɪni dɛsk ˈkɑnsərts, əˈveɪləbəl ɔn ˈjuˌtub, ər ə greɪt pleɪs tɪ stɑrt. dɪˈskəvərd ˈmɛni nu ˈfeɪvərɪts ðɛr). ər ju kənˈsərnd əˈbaʊt ˈɑrtɪsts ˈluzɪŋ ˈɪnˌkəm θru naɪn deɪz əv lɔst ˈproʊˌgræmɪŋ? goʊ əˈtɛnd ə ˈkɑnsərt, baɪ səm merch*, tɛl jʊr frɛndz əˈbaʊt ðɛm. bi ðə greɪt fæn ðət ɔl greɪt mˈjuzɪk dɪˈzərvz ənd faɪnd ə weɪ tɪ səˈpɔrt ðə mˈjuzɪk ju kɛr əˈbaʊt ˈrəðər ðən kəmˈpleɪnɪŋ ðət ju hæv bɪn lɛt daʊn ɪn səm weɪ. θæŋks fər ˈrɛdɪŋ. ˈædvərˌtaɪzmənts |
it was recently announced that siriusxm made the decision to temporarily preempt the the usual programming of the bluegrass junction channel from december 6-15 in favor of a program of chanukah music. the temporary programming starts tonight at midnight and will continue until december 15th. predictably (sigh) there has been lots of complaining and general gnashing of teeth over this in bluegrass communty. one bluegrass industry pro even asked their attorney to write a letter to siriusxm management, which was then shared via social media. that may have garnered some cheers from the crowd, but is a pretty pointless and ultimately embarrassing stunt.
(edit: i have been informed that the letter was not written at the request of a client.)
so, before we all cancel our satellite radio subscriptions, rip receivers out of our cars, whatever, let’s relax for a moment and take an honest look at the situation then decide what to do.
start by reading this letter from ibma executive director paul schiminger, he explains the situation quite clearly.
bluegrass junction is a good channel and one of the highest-profile outlets for bluegrass music. particularly kind to new artists and is crucial to their exposure and development. we as a community are lucky to have it. despite what we sometimes think (and read in the bluegrass press) bluegrass is a fairly small niche market within the music industry. we do not have a massive amount of leverage to exert. the support of siriusxm and a few other players is big for us, we need to cultivate those relationships rather than test them. i have seen many people threaten to cancel their subscription over this interruption, claiming that bgj is the only channel they listen to and that this is the most egregious betrayal since brutus stabbed caesar.
let’s walk that down the road a bit.
as dedicated bluegrass fans we may get a sense of satisfaction from canceling; “i sure showed them!” we might say to ourselves. but, nine days from now bgj will return and those of us who cancelled with either re-up, which makes the fact that we canceled in the first place meaningless, or we’ll no longer have access to bgj. both of these are crummy options. not mention that a mass of cancellations might make siriusxm take a look at the role of bgj in their offerings. “a niche channel with an unreliable subscriber base? hmm… we’ve been looking for place to put the new pinterest channel.”
you see where i’m going with this?
if you feel that you must register your disapproval, by all means send a polite note; i understand that you can get a refund for the time bgj will be unavailable, that’s generous. understand that siriusxm does these preemptions in rotation, so unlikely to happen again for a long time. think of this as the radio equivalent of jury duty; a drag but temporary and doesn’t happen often.
then, scan around the other channels; there’s a lot of great music out there aside from bluegrass. you could even listen to the chanukah programming, maybe you’ll hear some andy statman. or listen to your local station, dig through your record collection for old chestnuts or buy some new records. radio is kind of passive anyway and music shouldn’t be a spectator sport, so discover a new artist and let yourself go down a rabbit hole exploring their music (npr’s tiny desk concerts, available on youtube, are a great place to start. i’ve discovered many new favorites there). are you concerned about artists losing income through nine days of lost programming? go attend a concert, buy some merch, tell your friends about them. be the great fan that all great music deserves and find a way to support the music you care about rather than complaining that you have been let down in some way.
thanks for reading.
jd
advertisements | ðə ˈbɪgəst hɪts ɔn ðə greɪt waɪt weɪ ər ˈhɛdɪd tɪ siˈætəl ɛz pɑrt əv ðə ˈbrɔdˌweɪ æt ðə ˈpɛrəˌmaʊnt ˈsizən! ˈbrɔdˌweɪ ˈblɑkˌbəstərz æˈlædɪn, lɛs ˌmɪzərˈɑb ənd ˈhæməltən wɪl bi pɑrt əv ðə ˈəpˌkəmɪŋ ˈsizən. ðə ˈlaɪˌnəp wɪl ˈɔlsoʊ ˌɪnˈklud ðə saʊnd əv mˈjuzɪk, ðə ˈbɑdiˌgɑrd, ɛlf ðə mˈjuzɪkəl ənd ləv ˈnɛvər daɪz. ɪn əˈdɪʃən, səbˈskraɪbərz kən ʧuz tɪ æd ɪnˈgeɪʤmənts əv tu ˈfeɪvərɪts: ðə bʊk əv ˈmɔrmən ənd ðə ˈfænəm əv ðə ˈɑprə. lərn mɔr əˈbaʊt ɔl əv ðiz ɪkˈsaɪtɪŋ steɪʤ hɪts bɪˈloʊ! ðə saʊnd əv mˈjuzɪk sɛpˈtɛmbər 6 11 ðə hɪlz ər əˈlaɪv! ðɪs brænd nu pərˈdəkʃən əv ˈrɑʤərz ˈhæmərˌstinz ðə saʊnd əv mˈjuzɪk ɪz ðə ˈspɪrɪtəd, roʊˈmæntɪk ənd bɪˈləvəd mˈjuzɪkəl ˈstɔri əv mərˈiə ənd ðə vɔn træp ˈfæməli. ðə saʊnd əv mˈjuzɪk wɪl θrɪl ˈɔdiənsəz wɪθ ɪts ˈtoʊni-, ˈgræmi- ənd bɛst skɔr, ˌɪnˈkludɪŋ "maɪ ˈfeɪvərɪt θɪŋz," "do-re-mi*," "klaɪm ˈmaʊntən," "ˈeɪdəlˌvaɪs" ənd ðə ˈtaɪtəl sɔŋ. ðə saʊnd əv mˈjuzɪk ˌɛnˈʤɔɪd ˌɛkstrəˈɔrdəˌnɛri səkˈsɛs ɛz ðə fərst lɪv ˈtɛləˌvɪʒən pərˈdəkʃən əv ə mˈjuzɪkəl ɪn ˈoʊvər 50 jɪrz wɪn ðə saʊnd əv mˈjuzɪk lɪv! ɛrd ɔn ˈɛnˌbiˈsi ɪn dɪˈsɛmbər 2013 ənd wɑz sin baɪ ˈoʊvər 44 ˈmɪljən ˈpipəl. 2015 mɑrkt ðə ˌænəˈvərsəri əv ðə fɪlm ˈvərʒən, wɪʧ kənˈtɪnjuz tɪ bi ðə moʊst səkˈsɛsfəl ˈmuvi mˈjuzɪkəl ɪn ˈhɪstəri. æˈlædɪn ɑkˈtoʊbər 12 29 dɪˈskəvər ə hoʊl nu wərld æt ˈdɪzniz æˈlædɪn, ðə hɪt ˈbrɔdˌweɪ mˈjuzɪkəl. frəm ðə prəˈdusər əv ðə laɪən kɪŋ kəmz ðə ˈtaɪmləs ˈstɔri əv æˈlædɪn, ə θˈrɪlɪŋ nu pərˈdəkʃən fɪld wɪθ ˌənfərˈgɛtəbəl ˈbjuti, ˈmæʤɪk, ˈkɑmədi ənd ˈbrɛθˌteɪkɪŋ ˈspɛktəkəl. ən ˌɛkstrəˈɔrdəˌnɛri θiˈætrɪkəl ɪˈvɛnt wɛr wən læmp ənd θri ˈwɪʃɪz meɪk ðə ˌpɑsəˈbɪlətiz ˈɪnfənət. heɪld baɪ ˈjuˈɛˈseɪ təˈdeɪ ɛz genie-us,”*,” æˈlædɪn ˈfiʧərz ɔl jʊr ˈfeɪvərɪt sɔŋz frəm ðə fɪlm ɛz wɛl ɛz nu mˈjuzɪk ˈrɪtən baɪ ˈtoʊni ənd əˈkædəmi əˈwɔrd ˈwɪnər ˈælən ˈmɛŋkən (ˈnuziz) wɪθ ˈlɪrɪks pɛnd baɪ ðə ˈlɛʤənˌdɛri haʊərd ˈæʃmən (ˈbjuti ənd ðə bist), ˈtoʊni əˈwɔrd ˈwɪnər tɪm raɪs (ðə laɪən kɪŋ, aɪˈidə), ənd bʊk ˈraɪtər ʧæd ˈbeɪgəlɪn (ðə ˈwɛdɪŋ ˈsɪŋər). dɪˈrɛktɪd ənd ˈkɔriəˌgræft baɪ ˈtoʊni əˈwɔrd ˈwɪnər ˈkeɪsi (ðə bʊk əv ˈmɔrmən, ˈsəmθɪŋ ˈrɑtən!), ðɪs ““fabulous”*” ənd ““extravagant”*” (ðə nu jɔrk taɪmz) nu mˈjuzɪkəl boʊsts ən ˌɪnˈkɑmpərəbəl dɪˈzaɪn tim, wɪθ sɛts, ˈkɑstumz ənd ˈlaɪtɪŋ frəm ˈtoʊni əˈwɔrd ˈwɪnərz bɑb ˈkraʊli (ˈmɛri ˈpɑpɪnz), grɛg bɑrnz (ˈkɪŋki buts) ənd nəˈtɑʃə kæts (ən əˈmɛrɪkən ɪn ˈpɛrɪs). ðə ˈbɑdiˌgɑrd noʊˈvɛmbər 14 19 beɪst ɔn ðə smæʃ hɪt fɪlm, ðə mˈjuzɪkəl stɑrz ˈgræmi əˈwɔrd ˌnɑməˈni ənd ˌsupərˈstɑr ˈdɛbərə kɑks! ˈfɔrmər ˈsikrɪt ˈsərvɪs ˈeɪʤənt tərnd ˈbɑdiˌgɑrd, fræŋk ˈfɑrmər, ɪz haɪərd tɪ prəˈtɛkt ˌsupərˈstɑr ˈreɪʧəl ˈmɛrən frəm ən ənˈnoʊn ˈstɔkər. iʧ ɪkˈspɛkts tɪ bi ɪn ʧɑrʤ; wət ðeɪ ɪkˈspɛkt ɪz tɪ fɔl ɪn ləv. ə ˈbrɛθˌteɪkɪŋli roʊˈmæntɪk θˈrɪlər, ðə ˈbɑdiˌgɑrd ˈfiʧərz ə hoʊst əv ˌɪrɪˈzɪstəbəl ˈklæsɪks ˌɪnˈkludɪŋ "kwin əv ðə naɪt," "soʊ ˈiˌmoʊʃənəl," "wən ˈmoʊmənt ɪn taɪm," "ˈseɪvɪŋ ɔl maɪ ləv," "rən tɪ ju," "aɪ hæv ˈnəθɪŋ," "aɪ ˈwɑnə dæns wɪθ ˈsəmˌbɑdi" ənd wən əv ðə ˈbɪgəst ˈsɛlɪŋ sɔŋz əv ɔl wɪl ˈɔlˌweɪz ləv ju." ɛlf ðə mˈjuzɪkəl dɪˈsɛmbər 5 10 ɛlf ðə mˈjuzɪkəl ɪz ðə hɪˈlɛriəs teɪl əv ˈbədi, ə jəŋ ˈɔrfən ʧaɪld hu mɪˈsteɪkənli krɔlz ˈɪntu bæg əv gɪfts ənd ɪz trænˈspɔrtəd bæk tɪ ðə nɔrθ poʊl. ˌənəˈwɛr ðət hi ɪz ˈæˌkʧuəli ˈjumən, ɪˈnɔrmɪs saɪz ənd pur əˈbɪləˌtiz kɔz ɪm tɪ feɪs ðə truθ. wɪθ pərˈmɪʃən, ˈbədi ɪmˈbɑrks ɔn ə ˈʤərni tɪ nu jɔrk ˈsɪti tɪ faɪnd hɪz bərθ ˈfɑðər, dɪˈskəvər hɪz tru aɪˈdɛntəˌti ənd hɛlp nu jɔrk rɪˈmɛmbər ðə tru ˈminɪŋ əv ˈkrɪsməs. ðɪs ˈkrɪsməs ˈklæsɪk ɪz ʃʊr tɪ meɪk ˈɛvriˌwən ɪmˈbreɪs ðɛr ˈɪnər "ɛlf." beɪst ɔn ðə bɪˈləvəd 2003 hɪt ˈmuvi, ɛlf ðə mˈjuzɪkəl ˈfiʧərz sɔŋz baɪ ˈtoʊni əˈwɔrd ˌnɑməˈniz ˈmæθju sklɑr ənd ʧæd ˈbeɪgəlɪn (ðə ˈwɛdɪŋ ˈsɪŋər), wɪθ ə bʊk baɪ ˈtoʊni əˈwɔrd ˈwɪnərz ˈtɑməs ˈmiən (ˈæni, ðə prəˈdusərz, ˈhɛrˌspreɪ) ənd bɑb ˈmɑrtɪn (ðə ˈdraʊzi ˈʃæpərˌoʊn). ðə bʊk əv ˈmɔrmən ˈsizən ˈɔpʃən ˈʤænjuˌɛri 2 14 2018 ðə nu jɔrk taɪmz kɔlz ɪt "ðə bɛst mˈjuzɪkəl əv ðə ˈsɛnʧəri." ðə ˈwɔʃɪŋtən poʊst sɪz, "ɪt ɪz ðə kaɪnd əv ˈivnɪŋ ðət rɪˈstɔrz jʊr feɪθ ɪn mˈjuzɪkəlz." ənd ˌɛnərˈteɪnmənt ˈwikli sɪz, "greɪd ə: ðə ˈfəniəst mˈjuzɪkəl əv ɔl taɪm." ˈʤɪmi ˈfælən əv ðə təˈnaɪt ʃoʊ kɔlz ɪt "ˈʤinjəs. ˈbrɪljənt. fəˈnɑmənəl." ɪts ðə bʊk əv ˈmɔrmən, ðə ˈtoʊni bɛst mˈjuzɪkəl. ðɪs aʊˈtreɪʤəs mˈjuzɪkəl ˈkɑmədi ˈfɑloʊz ðə mɪsədˈvɛnʧərz əv ə mɪsˈmæʧt pɛr əv ˈmɪʃəˌnɛriz, sɛnt ˈhæfˈweɪ əˈkrɔs ðə wərld tɪ sprɛd ðə gʊd wərd. naʊ wɪθ ˈstændɪŋ rum ˈoʊnli pərˈdəkʃənz ɪn ˈləndən, ɔn ˈbrɔdˌweɪ, ənd əˈkrɔs nɔrθ əˈmɛrɪkə, ðə bʊk əv ˈmɔrmən həz ˈtruli bɪˈkəm ən ˌɪnərˈnæʃənɑl sɛnˈseɪʃən. kənˈteɪnz ɪkˈsplɪsət ˈlæŋgwɪʤ. ˈhæməltən ˈfɛbruˌɛri 13 mɑrʧ 18 2018 wɪθ bʊk, mˈjuzɪk ənd ˈlɪrɪks baɪ mərˈændə, dɪˈrɛkʃɪn baɪ ˈtɑməs keɪl, ˌkɔriˈɑgrəfi baɪ ˈændi ənd mˈjuzɪkəl ˌsupərˈvɪʒən ənd ˌɔrkəˈstreɪʃənz baɪ ˈæləks lacamoire*, ˈhæməltən ɪz beɪst ɔn rɑn baɪˈɑgrəfi əv ˌælɪgˈzændər ˈhæməltən. ˈhæməltən ɪz ðə ˈstɔri əv əˈmɛrɪkəz ˈfaʊndɪŋ ˈfɑðər ˌælɪgˈzændər ˈhæməltən, ən ˈɪməgrənt frəm ðə wɛst ˈɪndiz hu bɪˈkeɪm ʤɔrʤ ˈwɔʃɪŋtənz raɪˈthænd mæn ˈdʊrɪŋ ðə ˌrɛvəˈluʃəˌnɛri wɔr ənd wɑz ðə nu fərst ˈtrɛʒəri ˈsɛkrəˌtɛri. ˈfiʧərɪŋ ə skɔr ðət blɛndz ˈhɪˌphɔp, ʤæz, bluz, ræp, ənd ˈbrɔdˌweɪ, ˈhæməltən ɪz ðə ˈstɔri əv əˈmɛrɪkə ðɛn, ɛz toʊld baɪ əˈmɛrɪkə naʊ. ləv ˈnɛvər daɪz meɪ 8 13 2018 ðə ˈfænəm rɪˈtərnz... ˈændru lɔɪd "ˈbjutəfəl ənd ˈhɔntɪŋ" ləv ˈnɛvər daɪz ɪz sɛt tɪ tʊr nɔrθ əˈmɛrɪkə! ðɪs ɪz ðə ˈfɑloʊˌəp mˈjuzɪkəl tɪ ðə 1986 ləv ˈstɔri ðə ˈfænəm əv ðə ˈɑprə sɛt əˈgɛnst ðə ˈspɛlˌbaɪndɪŋ ˈbækˌdrɑp əv ˈkoʊni ˈaɪlənd. ðə jɪr ɪz 1907 ɪt ɪz 10 jɪrz ˈæftər hɪz ˌdɪsəˈpɪrəns frəm ðə ˈpɛrɪs ˈɑprə haʊs ənd ðə ˈfænəm həz ɪˈskeɪpt tɪ ə nu laɪf ɪn nu jɔrk wɛr hi lɪvz əˈməŋst ðə ˈskrimɪŋ ʤɔɪ raɪdz ənd əv ˈkoʊni ˈaɪlənd. ɪn ðɪs nu wərld, hi həz ˈfaɪnəli faʊnd ə pleɪs fər hɪz mˈjuzɪk tɪ sɔr. ɔl ðət ɪz ˈmɪsɪŋ ɪz hɪz daaé*é. naʊ wən əv ðə ˈfaɪnəst səˈprænoʊz, krɪˈstin ɪz ˈstrəgəlɪŋ ɪn ən ˈeɪlɪŋ ˈmɛrɪʤ tɪ rɑul. soʊ, ɪt ɪz wɪθ ɪkˈsaɪtmənt ʃi ækˈsɛpts ən ˌɪnvɪˈteɪʃən tɪ ˈtrævəl tɪ nu jɔrk ənd pərˈfɔrm æt ə rɪˈnaʊnd ˈɑprə haʊs. ɪn ə ˈfaɪnəl bɪd tɪ wɪn bæk hər ləv, ðə ˈfænəm lʊrz krɪˈstin, hər ˈhəzbənd, ənd ðɛr jəŋ sən guˈstɑvi frəm mænˈhætən; tɪ ðə ˈglɪtərɪŋ ənd ˈglɔriəs wərld əv ˈkoʊni noʊɪŋ wət ɪz ɪn stɔr fər ðɛm. lɛs ˌmɪzərˈɑb ʤun 6 17 2018 ˈkæmərən ˈmækənˌtɑʃ ˈprɛzənts ðə nu pərˈdəkʃən əv əˈleɪn ənd ˈtoʊni mˈjuzɪkəl fəˈnɑməˌnɑn, lɛs, dɪˈrɛkt frəm ən əˈkleɪmd rɪˈtərn tɪ ˈbrɔdˌweɪ. sɛt əˈgɛnst ðə ˈbækˌdrɑp əv fræns, lɛs tɛlz ən ˌənfərˈgɛtəbəl ˈstɔri əv ˈhɑrtˌbreɪk, ˈpæʃən ənd ðə rɪˈzɪljəns əv ðə ˈjumən ˈspɪrɪt. ˈfiʧərɪŋ ðə bɪˈləvəd sɔŋz "aɪ drimd ə drim," "ɔn maɪ oʊn," "stɑrz," "brɪŋ ɪm hoʊm," "wən deɪ mɔr" ənd ˈmɛni mɔr, ðɪs ˈɛpɪk ənd ˈəˌplɪftɪŋ ˈstɔri həz bɪˈkəm wən əv ðə moʊst ˈsɛləˌbreɪtɪd mˈjuzɪkəlz ɪn θiˈætrɪkəl ˈhɪstəri. wɪθ ɪts ˈglɔriəs nu ˈsteɪʤɪŋ ənd ˈsinəri ˌɪnˈspaɪərd baɪ ðə ˈpeɪnɪŋz əv ˈvɪktər ˈjugoʊ, ðɪs ˈbrɛθˌteɪkɪŋ nu pərˈdəkʃən həz lɛft boʊθ ˈɔdiənsəz ənd ˈkrɪtɪks ˈɑˌstrək. ðə ˈfænəm əv ðə ˈɑprə ˈsizən ˈɔpʃən ˈɔgəst 8 19 2018 ˈkrɪtɪks ər ˈreɪvɪŋ əˈbaʊt ˈkæmərən spɛkˈtækjələr nu pərˈdəkʃən əv ˈændru lɔɪd fəˈnɑmənəl mˈjuzɪkəl səkˈsɛs, ðə ˈfænəm əv ðə ˈɑprə, seɪɪŋ ðɪs ˈbrɛθˌteɪkɪŋ pərˈdəkʃən ɪz ˈbɪgər ənd ˈbɛtər ðən ˈɛvər ˌbiˈfɔr. ðɪs ˈfænəm ˈfiʧərz ə ˈbrɪljənt nu ˈsinɪk dɪˈzaɪn baɪ pɔl braʊn, ˈtoʊni ərˈɪʤənəl ˈkɑstum dɪˈzaɪn baɪ mərˈiə björnson*, ˈlaɪtɪŋ dɪˈzaɪn baɪ ˈtoʊni əˈwɔrd ˈwɪnər pɔl ˈkɑnstəbəl, nu ˌkɔriˈɑgrəfi baɪ skɑt ˈæmblər, ənd ə nu ˈsteɪʤɪŋ baɪ dɪˈrɛktər ˈlɔrəns ˈkɑnər. ðə pərˈdəkʃən, ˈoʊvərˌsin baɪ ˈmækənˌtɑʃ ənd ˈmæθju bɔrn boʊsts ˈmɛni ɪkˈsaɪtɪŋ ˈspɛʃəl ˈifɛkts ˌɪnˈkludɪŋ ðə ˈlɛʤənˌdɛri ʃændəˈlɪr. ðə bɪˈləvəd ˈstɔri ənd θˈrɪlɪŋ sɔŋz laɪk "mˈjuzɪk əv ðə naɪt," "ɔl aɪ æsk əv ju" ənd pərˈfɔrmd baɪ ə kæst ənd ˈɔrkəstrə əv 52 ˈmeɪkɪŋ ðɪs ˈfænəm wən əv ðə ˈlɑrʤəst pərˈdəkʃənz naʊ ɔn tʊr. fər mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈsɪriz ənd ðə ˈbɛnəfɪts əv biɪŋ ə səbˈskraɪbər, klɪk hir. |
the biggest hits on the great white way are headed to seattle as part of the just-announced keybank broadway at the paramount 2017-2018 season!
broadway blockbusters aladdin, les miserables and hamilton will be part of the upcoming season. the lineup will also include the sound of music, the bodyguard, elf the musical and love never dies. in addition, subscribers can choose to add highly-anticipated engagements of two favorites: the book of mormon and the phantom of the opera.
learn more about all of these exciting stage hits below!
the sound of music
september 6 - 11
the hills are alive! this brand new production of rodgers + hammerstein's the sound of music is the spirited, romantic and beloved musical story of maria and the von trapp family. the sound of music will thrill audiences with its tony-, grammy- and oscar-winning best score, including "my favorite things," "do-re-mi," "climb ev’ry mountain," "edelweiss" and the title song. the sound of music enjoyed extraordinary success as the first live television production of a musical in over 50 years when the sound of music live! aired on nbc in december 2013, and was seen by over 44 million people. 2015 marked the 50th anniversary of the film version, which continues to be the most successful movie musical in history.
aladdin
october 12 - 29
discover a whole new world at disney's aladdin, the hit broadway musical. from the producer of the lion king comes the timeless story of aladdin, a thrilling new production filled with unforgettable beauty, magic, comedy and breathtaking spectacle. an extraordinary theatrical event where one lamp and three wishes make the possibilities infinite. hailed by usa today as “pure genie-us,” aladdin features all your favorite songs from the film as well as new music written by tony and academy award winner alan menken (newsies) with lyrics penned by the legendary howard ashman (beauty and the beast), tony award winner tim rice (the lion king, aida), and book writer chad beguelin (the wedding singer). directed and choreographed by tony award winner casey nicholaw (the book of mormon, something rotten!), this “fabulous” and “extravagant” (the new york times) new musical boasts an incomparable design team, with sets, costumes and lighting from tony award winners bob crowley (mary poppins), gregg barnes (kinky boots) and natasha katz (an american in paris).
the bodyguard
november 14 - 19
based on the smash hit film, the award-winning musical stars grammy award nominee and r&b superstar deborah cox! former secret service agent turned bodyguard, frank farmer, is hired to protect superstar rachel marron from an unknown stalker. each expects to be in charge; what they expect is to fall in love. a breathtakingly romantic thriller, the bodyguard features a host of irresistible classics including "queen of the night," "so emotional," "one moment in time," "saving all my love," "run to you," "i have nothing," "i wanna dance with somebody" and one of the biggest selling songs of all time—"i will always love you."
elf the musical
december 5 - 10
elf the musical is the hilarious tale of buddy, a young orphan child who mistakenly crawls into santa’s bag of gifts and is transported back to the north pole. unaware that he is actually human, buddy’s enormous size and poor toy-making abilities cause him to face the truth. with santa’s permission, buddy embarks on a journey to new york city to find his birth father, discover his true identity and help new york remember the true meaning of christmas. this modern-day christmas classic is sure to make everyone embrace their inner "elf." based on the beloved 2003 hit movie, elf the musical features songs by tony award nominees matthew sklar and chad beguelin (the wedding singer), with a book by tony award winners thomas meehan (annie, the producers, hairspray) and bob martin (the drowsy chaperone).
the book of mormon
season option
january 2 - 14, 2018
the new york times calls it "the best musical of the century." the washington post says, "it is the kind of evening that restores your faith in musicals." and entertainment weekly says, "grade a: the funniest musical of all time." jimmy fallon of the tonight show calls it "genius. brilliant. phenomenal." it's the book of mormon, the nine-time tony award-winning best musical. this outrageous musical comedy follows the misadventures of a mismatched pair of missionaries, sent halfway across the world to spread the good word. now with standing room only productions in london, on broadway, and across north america, the book of mormon has truly become an international sensation. contains explicit language.
hamilton
february 13 - march 18, 2018
with book, music and lyrics by lin-manuel miranda, direction by thomas kail, choreography by andy blankenbuehler and musical supervision and orchestrations by alex lacamoire, hamilton is based on ron chernow’s biography of alexander hamilton. hamilton is the story of america's founding father alexander hamilton, an immigrant from the west indies who became george washington's right-hand man during the revolutionary war and was the new nation’s first treasury secretary. featuring a score that blends hip-hop, jazz, blues, rap, r&b and broadway, hamilton is the story of america then, as told by america now.
love never dies
may 8 - 13, 2018
the phantom returns... andrew lloyd webber’s "beautiful and haunting" love never dies is set to tour north america! this is the highly-acclaimed follow-up musical to the 1986 love story the phantom of the opera set against the spellbinding backdrop of coney island. the year is 1907. it is 10 years after his disappearance from the paris opera house and the phantom has escaped to a new life in new york where he lives amongst the screaming joy rides and freak-shows of coney island. in this new electrically-charged world, he has finally found a place for his music to soar. all that is missing is his love—christine daaé. now one of the world’s finest sopranos, christine is struggling in an ailing marriage to raoul. so, it is with excitement she accepts an invitation to travel to new york and perform at a renowned opera house. in a final bid to win back her love, the phantom lures christine, her husband, and their young son gustave from manhattan; to the glittering and glorious world of coney island...not knowing what is in store for them.
les miserables
june 6 - 17, 2018
cameron mackintosh presents the new production of alain boublil and claude-michel schönberg’s tony award-winning musical phenomenon, les misérables, direct from an acclaimed two-and-a-half-year return to broadway. set against the backdrop of 19th-century france, les misérables tells an unforgettable story of heartbreak, passion and the resilience of the human spirit. featuring the beloved songs "i dreamed a dream," "on my own," "stars," "bring him home," "one day more" and many more, this epic and uplifting story has become one of the most celebrated musicals in theatrical history. with its glorious new staging and dazzlingly-reimagined scenery inspired by the paintings of victor hugo, this breathtaking new production has left both audiences and critics awestruck.
the phantom of the opera
season option
august 8 - 19, 2018
critics are raving about cameron mackintosh’s spectacular new production of andrew lloyd webber’s phenomenal musical success, the phantom of the opera, saying this breathtaking production is bigger and better than ever before. this phantom features a brilliant new scenic design by paul brown, tony award-winning original costume design by maria björnson, lighting design by tony award winner paule constable, new choreography by scott ambler, and a new staging by director laurence connor. the production, overseen by mackintosh and matthew bourne boasts many exciting special effects including the show’s legendary chandelier. the beloved story and thrilling score—with songs like "music of the night," "all i ask of you" and "masquerade"—is performed by a cast and orchestra of 52, making this phantom one of the largest productions now on tour.
for more information about the series and the benefits of being a subscriber, click here. | french-canadian* dɪˈrɛktər ˈdɛnɪs ˈvɪlɪnuv prɛˈmɪrd hɪz fərst tu fɪlmz ɪn 2013 wən wɑz ðə ˈblɑkˌbəstər ˌsaɪkəˈlɑʤɪkəl θˈrɪlər ˈprɪzənərz. ðə lesser-known*, ˈɛnəmi, ɪz ə ˈmudi, ˈnaɪtˌmɛr əv ə ˈmuvi ðət simz tɪ bi əˈbaʊt ə mæn ˈbætəlɪŋ wɪθ tu saɪdz əv hɪz ˌpərsəˈnælɪti. ɪt kʊd ˈɔlsoʊ bi ə ˈmuvi əˈbaʊt tu mɛn hu ˈhæpən tɪ ʃɛr ə feɪs. ɪn ˈiðər keɪs, boʊθ ər bæd. wən əv ðɛm ɪz ə swɑv, ˈæktər wɪθ ə ˈbjutəfəl waɪf ənd ə ˌfaɪˈdɛləti ˈprɑbləm pɑrt əv ə ˈəndərˌgraʊnd sɛks kləb wɛr ˈneɪkəd ˈwɪmən kɪl təˈrænʧələz wɪθ ðɛr fit. ðə ˈəðər ɪz ə ˈmudi ˈhɪstəri ˈtiʧər ənd ˈbeɪtə meɪl hu ˈklɪrli siz hɪmˈsɛlf ɛz ə gʊd gaɪ, bət trits hɪz ˈgərlˌfrɛnd ˈlɔrənt) laɪk ə bæg əv mit ˌnənðəˈlɛs. ɔn ðə braɪt saɪd, boʊθ ər pleɪd baɪ ʤeɪk. ˈɛnəmi nɑt ˈoʊnli heɪts ˈpipəl (ər mɛn, æt list), ɪt ˈɔlsoʊ heɪts ˈstɔriz. ˈoʊvər ənd ˈoʊvər, ˈhɪstəri ˈtiʧər gɪvz ðə seɪm ˈlɛkʧər əˈbaʊt haʊ ˈroʊmənz ləld ˈpipəl ˈɪntu səbˈmɪʃən baɪ dɪˈstræktɪŋ ðɛm wɪθ ˌɛnərˈteɪnmənt ˈhɪstəri əv ˌsɪvəlɪˈzeɪʃən ɪz ɔl əˈbaʊt control,”*,” hi sɪz. ˈleɪtər, hi tɛlz ə ˈkoʊˈwərkər ˈrɪli laɪk ðə movies.”*.” ðɛr ər ˈmoʊmənts mɛnt tɪ draɪv ˈrilˌwərld ˈmuˌviˌgoʊərz əp ðə wɔl laɪk ə ˈspaɪdər ðə saɪz əv ə ˈskaɪˌskreɪpər, ˈstroʊlɪŋ ˈoʊvər ə ˈheɪzi tərˈɑntoʊ, wɪʧ ɪz ʃoʊn ˈoʊnli wəns, ənd ˈnɛvər ˈrɛfərənst baɪ ə ˈkɛrɪktər. ˈprɪti ˈizi tɪ si waɪ ɪt ˈnɛvər gɑt ə waɪd riˈlis ɪn ðə ˈjuˈɛs. ɔn ðə ˈsərfəs, ˈɛnəmi sim tɪ ʃɛr məʧ wɪθ ˈrisənt ˈkrɪtɪkəl ˈdɑrlɪŋ, ərˈaɪvəl. ərˈaɪvəl ɪz ən ˌɑptɪˈmɪstɪk ˈmuvi ðət pɪks ə ˈbreɪni ˈeɪmi ˈædəmz ɛz ən ˌənəˈsumɪŋ ɪgˈzɛmplɑr əv wət ɪz gʊd ənd ˈpɑsəbəl fər ˈjumən biɪŋz. ɛz ðə nu ˈʤiə ˌtoʊlɛnˈtinoʊ roʊt ˈrisəntli, ɪts moʊst ˈdɛrɪŋ ˈfænəsi ɪz ðət ɪt ˌɪˈmæʤənz bi əraʊnd tɪ hɛlp ˈɛniˌwən ɪn years.”*.” bət boʊθ fɪlmz ər əbˈsɛst wɪθ ðə aɪˈdiə ðət ˈlɪniər ˈnɛrətɪvz ər ə dɪˈstrækʃən. ɪn ərˈaɪvəl, ðə ki tɪ ˈseɪvɪŋ juˈmænɪti ɪz ˈlərnɪŋ ə nu, ˈsərkjələr ˈlæŋgwɪʤ ðət stɛps ˈaʊtˈsaɪd taɪm; ɪn ˈɛnəmi, traɪɪŋ tɪ laɪn əp ðə ˈpisɪz əv ðə ʤeɪk gyllenhaals’*’ lɪvz tɪ kriˈeɪt wən hoʊl ˈstɔri meɪks ðə hoʊl θɪŋ kəˈlæps. ˈvɪlɪnuv ˈɔlsoʊ pleɪd wɪθ ðɪs θim ɪn hɪz 2013 ˈbreɪˌkaʊt ˈprɪzənərz, wɪʧ stɑrz ɛz wɛl. ə sˈlaɪtli mɔr trəˈdɪʃənəl ˈmuvi, bət stɪl ˈfoʊkɪst əraʊnd ən meɪz. ɛz ə dɪˈrɛktər, ˈvɪlɪnuv ɪz ˈɑdli ænˌtægəˈnɪstɪk təˈwɔrd ðə ˈbeɪsɪk ˌɑbləˈgeɪʃən əv prɪˈzɛntɪŋ ˈstɔriz ɪn ðə weɪ ˈjumən breɪnz hæv bɪn treɪnd tɪ ˈprɔˌsɛs ðɛm. fər ˈvɪlɪnuv, ˈlɪniər ˈnɛrətɪvz ər ə dɪˈstrækʃən ɪt ðət ˈstɔriˌlaɪnz ər nu ər ˈivɪn rɛr ɪn fɪlm, ʤɪst ðət səˈpraɪzɪŋ tɪ si ə ˈfɪlˌmeɪkər soʊ ˈdɔgədli əbˈsɛst wɪθ ˈmeɪkɪŋ hɪz wərk ðɪs ˈʧælənʤɪŋ tɪ dɪˈsaɪfər. pəlp ˈfɪkʃən pleɪz aʊt ɪn noʊˈtɔriəs ˌdɪsəˈreɪ, bət ɪf ju roʊt iʧ əv ɪts ɪˈvɛnts daʊn ɔn kɑrdz, ju kʊd pʊt ðɛm ɪn ˈɔrdər ɪn ə fju ˈmɪnəts. fɪlmz ˈsɪmpəl ˈpəzəlz ər ˈsætɪsˌfaɪɪŋ ˈstɔriz, soʊ wət ɪz hi ˈgɪtɪŋ æt? hi ˈklɪrli laɪks ˈhɔrər ənd dɪˌsɔriənˈteɪʃən æt wən pɔɪnt ɪn ˈɛnəmi, wən ʤeɪk ˈoʊpənz ə ˈbɛˌdrum dɔr tɪ dɪˈskəvər ðət ə təˈrænʧələ həz ˌriˈpleɪst ðə ˈwʊmən hi wɑz ʤɪst ˈmeɪkɪŋ ˈbrɛkfəst fər. əv ðə seɪm klɔθ ɛz ðə ˈoʊnli ʤəmp skɛr ɪn ərˈaɪvəl, ɪn wɪʧ ˈeɪmi ˈædəmz həˈlusəneɪts wən əv ðə ˈmæsɪv ˈeɪliənz ˈimərʤɪŋ frəm ðə ˈkɔrnər əv hər wərk rum. bət ˈvɪlɪnuv simz tɪ ləv ˈraɪtɪŋ bɛst. ɪn ərˈaɪvəl, ðə ˈrɪtən wərd ɪz ˈpɪvətəl tɪ adams’*’ əˈtɛmpts tɪ kəmˈjunəˌkeɪt wɪθ ðə ˈeɪliənz. ˈərliər fɪlmz kəmˈjunəˌkeɪt ə kwaɪət ˈrɛvərəns fər ˈraɪtɪŋ, ˈivɪn wɪn ðeɪ ʃoʊ ən ˈæbʤɛkt ˈsɪnɪˌsɪzəm fər ʤɪst əˈbaʊt ˈɛvriˌθɪŋ ɛls. ðə ʤeɪk ɪn ˈɛnəmi dɪz ə lɔt əv dəm θɪŋz, bət hi ˈɔlsoʊ gɪvz ˈprɪti gʊd ˈlɛkʧərz əˈbaʊt haʊ ˌɪgˈnɔrɪŋ ˈhɪstəri dumz ˈpipəl tɪ rɪˈpit ɪt, ənd hi ˌsəpləˈmɛnts ðoʊz ˈspiʧɪz wɪθ ɪˈlæbərˌeɪt, ˈdaɪəˌgræmz ðət hɪz ˈstudənts ˈævədli ˌriprəˈdus. ðə ˈoʊnli ˈpɑzətɪv ækt ðə ˈmuvi pɔrˈtreɪz, ənd ˈɔlsoʊ ðə pleɪs wɛr ˈvɪlɪnuv tɪps hɪz hænd ənd ˈɪndɪˌkeɪts ðət soʊˈsaɪɪti maɪt nɑt bi 100 pərˈsɛnt dumd. ɪn ˈprɪzənərz, ə ˈdɪfərənt ʤeɪk ɪz ˈnɪrli ˈwərdləs ənd affectless*, ɪkˈsɛpt wɪn ˈskrɪbəlɪŋ nɑnˈsɛnsɪkəl noʊts ɪn ən ˌoʊldˈskul pæd noʊts ðət rɪˈvil ðɛmˈsɛlvz tɪ ɪm ənd ˈjuˈɛs ɛz ˈprɛsiənt daʊn ðə laɪn. hɪz characters’*’ ər ðə ˈoʊnli θɪŋz ðət kət θru ðə heɪz əv hɪz wɪrd, ˌdɪsəˈbidiənt ˈstɔriz. bɪn ə lɔt əv dɪˈskəʃən əv haʊ ˈpeɪnfəl ɪt ɪz tɪ wɔʧ ərˈaɪvəl ˈæftər ðə ɪˈlɛkʃən tɪ si ɑr bɛst treɪts, ðə wənz ˈsimɪŋli ʃrəgd ɔf ɛz ə ˈkəntri fʊl əv kaʊərdz prɑˈʤɛktəd ɔn ðə bɪg skrin. ˈvɪlɪnuv əˈmɛrɪkən, ənd hi maɪt nɑt hæv ˌɪnˈtɛndɪd ðɪs, bət hɪz ˈmɛsɪʤ rɪŋz laʊd ənd klɪr ˌnənðəˈlɛs: fər ɔl ˈpərpəsɪz ðət ˈmætər, ˈlæŋgwɪʤ ɪz ˈmɛməri. ðə ˈoʊnli weɪ wi lərn ˈɛniˌθɪŋ, ər kip ˈɛniˌθɪŋ fər əˈnəðər bɪˈwɪldərd ˌʤɛnərˈeɪʃən. gɑd, aɪ hoʊp ˈsəmˌwən ɪz ˈraɪtɪŋ ðɪs ɔl daʊn. |
french-canadian director denis villeneuve premiered his first two english-language films in 2013. one was the blockbuster psychological thriller prisoners. the lesser-known, enemy, is a moody, enthralling nightmare of a movie that seems to be about a man battling with two sides of his personality. it could also be a movie about two men who happen to share a face. in either case, both are bad. one of them is a suave, motorcycle-obsessed actor with a beautiful wife and a fidelity problem — he’s part of a underground sex club where naked women kill tarantulas with their feet. the other is a moody history teacher and beta male who clearly sees himself as a good guy, but treats his girlfriend (mélanie laurent) like a bag of meat nonetheless.
on the bright side, both are played by jake gyllenhaal.
enemy not only hates people (or men, at least), it also hates stories. over and over, history teacher gyllenhaal gives the same lecture about how romans lulled people into submission by distracting them with entertainment — “the history of civilization is all about control,” he says. later, he tells a co-worker “i really like the movies.” there are moments meant to drive real-world moviegoers up the wall — like a spider the size of a skyscraper, strolling over a hazy toronto, which is shown only once, and never referenced by a character. it’s pretty easy to see why it never got a wide release in the us.
on the surface, enemy seem to share much with villeneuve’s recent big-budget critical darling, arrival. arrival is an optimistic movie that picks a brainy amy adams as an unassuming exemplar of what is good and possible for human beings. as the new yorker’s jia tolentino wrote recently, its most daring fantasy is that it imagines “we’ll be around to help anyone in 3,000 years.”
but both films are obsessed with the idea that linear narratives are a distraction. in arrival, the key to saving humanity is learning a new, circular language that steps outside time; in enemy, trying to line up the pieces of the jake gyllenhaals’ lives to create one whole story makes the whole thing collapse. villeneuve also played with this theme in his 2013 breakout prisoners, which stars gyllenhaal as well. it’s a slightly more traditional movie, but it’s still focused around an inward-spiraling maze. as a director, villeneuve is oddly antagonistic toward the basic obligation of presenting stories in the way human brains have been trained to process them.
for villeneuve, linear narratives are a distraction
it isn’t that non-sequential storylines are new or even rare in film, just that it’s surprising to see a filmmaker so doggedly obsessed with making his work this challenging to decipher. pulp fiction plays out in notorious disarray, but if you wrote each of its events down on cards, you could put them in order in a few minutes. villeneuve’s films aren’t simple puzzles or satisfying stories, so what is he getting at?
he clearly likes horror and disorientation — at one point in enemy, one jake gyllenhaal opens a bedroom door to discover that a 10-foot-tall tarantula has replaced the woman he was just making breakfast for. it’s of the same cloth as the only jump scare in arrival, in which amy adams groggily hallucinates one of the movie’s massive octopus-like aliens emerging from the corner of her work room.
but villeneuve seems to love writing best. in arrival, the written word is pivotal to adams’ attempts to communicate with the aliens. villeneuve’s earlier films communicate a quiet reverence for writing, even when they show an abject cynicism for just about everything else. the slightly-less-revolting jake gyllenhaal in enemy does a lot of dumb things, but he also gives pretty good lectures about how ignoring history dooms people to repeat it, and he supplements those speeches with elaborate, web-like diagrams that his students avidly reproduce. it’s the only positive act the movie portrays, and also the place where villeneuve tips his hand and indicates that society might not be 100 percent doomed. in prisoners, a different jake gyllenhaal is nearly wordless and affectless, except when scribbling nonsensical notes in an old-school reporter’s pad — notes that reveal themselves to him and us as dizzyingly prescient down the line. his characters’ missives are the only things that cut through the haze of his weird, disobedient stories.
there’s been a lot of discussion of how painful it is to watch arrival after the election — to see our best traits, the ones we’ve seemingly shrugged off as a country full of cowards — projected on the big screen. villeneuve isn’t american, and he might not have intended this, but his message rings loud and clear nonetheless: for all purposes that matter, language is memory. it’s the only way we learn anything, or keep anything for another bewildered generation. god, i hope someone is writing this all down. | ə fju deɪz əˈgoʊ, waɪl ˈwərkɪŋ ɔn ə ʃɔrt ˈstɔri (si bɪˈloʊ) aɪ meɪd ðə ˈkɑmɛnt ɔn tˈwɪtər ðət aɪ si ɛz fər nis people”*”. ðɪs wɑz ˈpɑrtli bɔrn aʊt frəm ðə ˈstɔri bɪˈloʊ, ˈpɑrtli, əv kɔrs, frəm ðə dɪskəˈnɛkt aɪ fil æt wət ðət tərm, ““steampunk”*” həz kəm tɪ ˌrɛprɪˈzɛnt ɪn ˈrisənt jɪrz ənd ðə ˈwəriɪŋ (tɪ mi) pəˈlɪtɪkəl ənd ˌaɪdiəˈlɑʤɪkəl ˌɪmpləˈkeɪʃənz əv ɪt. ðɛr ər səm faɪn ˈkrɪtɪks, səʧ ɛz ðə ˈpisˌmeɪkər (bɪɔnd victoriana*) ənd goʊ (ˈsɪlvər ˈgɑgəlz) hu hæv ˈrɪtən ɪkˈstɛnsɪvli ɔn ðə ˈsəbʤɪkt əv ˈɛmpaɪər, reɪs ənd kəˈloʊniəˌlɪzəm wɪˈθɪn ðə ˈkɑntɛkst əv, ənd aɪ kən ˈoʊnli ˌrɛkəˈmɛnd ˈrɛdɪŋ wət ðeɪ seɪ. ɪt ɪz ˈɔlsoʊ pərˈhæps wərθ ˈmɛnʃənɪŋ ðət aɪ hæv ˈrɪtən ɔn fər ə ˈnəmbər əv jɪrz (si ɪn ðə ˈɪntərˌnɛt ˌrivˈju əv saɪəns ˈfɪkʃən, 2005 ər ðə ˈrisəntli riˈprɪntɪd ɔn ðə blɔg səm noʊts təˈwɔrdz ə ˈwərkɪŋ ˌdɛfəˈnɪʃən əv, ˈdeɪtɪŋ frəm əraʊnd ðə seɪm taɪm. ðɛr ɪz ˈɔlsoʊ, əv kɔrs, maɪ ˈtrɪləʤi əv ˈnɑvəlz, ðə ˈbʊkmən, ˈkæmərə (ˈɛrˌʃɪp əˈwɔrd ˌnɑməˈni, ˈsaɪdˌwaɪz əˈwɔrd ˌnɑməˈni) ənd ðə greɪt geɪm, ənd ˈstɔriz ɪn ænˈθɔləʤiz səʧ ɛz ðə ˈmæməθ bʊk əv (ɛd. ʃɔn ˈwɔlɪs) ər ðə ˈfɔrθˈkəmɪŋ ˌrɛvəˈluʃən (ɛd. æn ˈvændərˌmɪr). ˈðɛrˌfɔr, ɪt wʊd bi nis tɪ bi ɪkˈstɛndɪd ðə ˈkərtəsi ðət waɪl ˈpipəl meɪ nɑt laɪk wət aɪ hæv tɪ seɪ ðeɪ maɪt ˈkrɛdɪt ðət aɪ noʊ ˈsəmθɪŋ əv ðə ˈtɑpɪk ˈəndər dɪˈskəʃən. aɪ æm toʊld maɪ ˈpəblɪʃərz hæv rɪˈsivd ˈmɛni ənˈhæpi ˈiˌmeɪlz sɪns ðə ˈkɑmɛnt wɑz meɪd. hir ər səm kwoʊts: ðɪs həz (kwaɪt ˈraɪtli) ˈdipli ˈæŋgərd ənd ˈəpˌsɛt ə væst məˈʤɔrəti əv ðə kəmˈjunɪti ɪn ðə uk*, ˈjʊrəp ənd nɔrθ əˈmɛrɪkə. (ˈhaɪˌlaɪt maɪn) aɪ hoʊp, ˈðɛrˌfɔr, ju kən ˌəndərˈstænd waɪ seɪlz əv bʊks əv hɪz ðət ju ˈpəblɪʃ meɪ dɪˈmɪnɪʃ, ənd aɪ æm ʃʊr ju kən si ðə ˈdeɪnʤər əv kəˈlætərəl ˈdæmɪʤ ɪn ðə fɔrm əv bʊks baɪ ˈəðər ˈɔθərz ju ˈɔlsoʊ ˌrɛprɪˈzɛnt ˈɔlsoʊ biɪŋ hɪt. aɪ æm ʃʊr ju kən ˌəndərˈstænd haʊ ˈjɔrsɛlvz, biɪŋ hɪz ˈeɪʤənts, ər ˈikwəli hɪt baɪ hɪz ˈkɑmɛnts ənd haʊ ɪf ju stænd ˈaɪdli baɪ ɛz hi ˈpɛdəlz hɪz ˈdaɪəˌtraɪb səm meɪ teɪk ðə vju ðət ju səˈpɔrt ənd əˈgri wɪθ hɪz stæns, wɪʧ aɪ æm priˈpɛrd tɪ səbˈmɪt ðət ju. ˈkɑnˌtæktɪŋ ju tɪ ˌɪnˈfɔrm ju ðət aɪ wɪl noʊ ˈlɔŋgər bi ˈpərʧəsɪŋ ˈmɪstər wərk. hɪz ˈrisənt ˈkɑmɛnts ˈɔnˌlaɪn hæv bɪn əˈfɛnsɪv ənd tɪ ðə kəmˈjunɪti ɛz ə hoʊl ənd riʧt ə nu loʊ ɔn ˈfraɪˌdeɪ wɪn hi kəmˈpɛrd tɪ ˈfæˌʃɪzəm. ˈgɪvɪn wət ə faʊl ənd ˌhɔˈrɛndəs ˌaɪdiˈɑləʤi ðət ɪz aɪ du nɑt fil ðət hɪz ˈkɑmɛnts wər ɪn ˈɛniˌweɪ ɪkˈskjuzəbəl ənd ˈðɛrˌfɔr aɪ wɪl bi ˈbɔɪˌkɑtɪŋ hɪz bʊks ɪn ðə fˈjuʧər. aɪ æm ˈkɑnˌtæktɪŋ ju tɪ ˌɪnˈfɔrm ju ðət aɪ wɪl bi əˈvɔɪdɪŋ ɔl fˈjuʧər ˌpəblɪˈkeɪʃənz baɪ boʊθ ðə ˈɔθər ənd ˈæŋgri ˈroʊˌbət bʊks. soʊ, ə ˈbɔɪˌkɑt. aɪ noʊ, ɪt saʊnd ə bɪt, ju know…*… laɪk ðət ˈəðər θɪŋ? ˈɛniˌweɪ, ɪn əˈpɑləˌʤi tɪ ðoʊz ˈpipəl hu tʊk æt maɪ ˈθɔtləs ˈkɑmɛnts, aɪ wʊd laɪk tɪ seɪ aɪ hoʊld noʊ ɪl wɪl ɪf ju ʧuz nɑt tɪ ˈpərʧəs ˈɛni əv ðə bʊks. aɪ səˈpɔrt jʊr raɪt nɑt tɪ! ənd mɔˈroʊvər, tɪ meɪk əˈmɛndz, aɪ ˈɔfər ə fri ʃɔrt ˈstɔri, əv sɔrts. aɪ wɑz ˈseɪvɪŋ ɪt fər səm ˈmægəˌzin ər ˈəðər bət aɪ meɪ ɛz wɛl poʊst ɪt hir. ɛz ˌbiˈfɔr, ɪf ju laɪkt ðə ˈstɔri, fil fri tɪ prɛs ðə ˈdoʊˌneɪt ˈbətən æt ðə ˈbɑtəm, bət du nɑt fil əˈblaɪʤd! θæŋk ju. ə ˈlɛksɪˌkɑn əv stim ˈlɪtərəʧər əv ðə θərd raɪk baɪ ˈleɪvi fər ðə ˈɪŋlɪʃ, ðə aɪˈdil ɪgˈzɪstəns wɑz ˌrɛprɪˈzɛnɪd ɪn ðə soʊˈsaɪɪti əv ðə vɪkˈtɔriən eɪʤ. ˈeɪdɑlf ˈhɪtlər, ɪn ˌkɑnvərˈseɪʃən, 22 ˌʤuˈlaɪ 1941 ðə ɪz ə ˈsæmplər əv məˈtɪriəl səˈlɛktɪd frəm ə ˈlɛksɪˌkɑn əv stim ˈlɪtərəʧər əv ðə θərd raɪk, θərd ɪˈdɪʃən. ɪt ɪz nɑt fər seɪl. ɔl raɪts rɪˈzərvd (si) 1979 1992 2012 baɪ wərld fri ˈmidiə, ə səbˈsɪdiˌɛri əv ˈgoʊbəlz ˈpəblɪʃɪŋ ˈʤiˈɛmˈbiˈeɪʧ. əˈveɪləbəl ɪn ɔl raɪk ˈtɛrəˌtɔriz, ˈkɑləniz ənd protectorates*. ˈwɪnər əv ðə ʃmɪt əˈwɔrd. stim paʊər mɪθs, ˈɔlsoʊ əˈbriviˌeɪtɪd. ˈpɑpjələr ˈʒɑnrə əv ˈʤərmən ənd, ˈleɪtər, əˈmɛrɪkən ˈlɪtərəʧər ɪn ðə ˌɪˈmiˌdiət ˈpɪriəd baɪ ˈʤoʊzəf ˈgoʊbəlz ˈəndər boʊθ hɪz ˈgoʊbəlz ˈpəblɪʃɪŋ ənd wərld fri ˈmidiə ˈpəblɪʃɪŋ ˈhaʊsɪz (ðə fərst fər ðə ˈʤərmən ˈneɪʃənz, ðə ˈsɛkənd ɪn trænzˈleɪʃənz fər ðə ˈkɑləniz). ər ˈfænəsiz əv ən eɪʤ əv stim, ˈsəmˌtaɪmz ˈteɪkɪŋ pleɪs ɪn ə trænsˈfɔrmd ˈsɛnʧəri (fər wɪʧ ˈɔlsoʊ si aɪərn ˈʧænsələr, ðə) ˈsəmˌtaɪmz ɪn ðə əv ðə ˈɑriən reɪs, ə ˈgoʊldən eɪʤ ˈsəmˌtaɪmz rɪˈfərd tɪ, wɪˈθɪn ðə ˈkɑntɛkst əv ɪf nɑt hɪˈstɔrɪkəl ˈnɛrətɪvz, ɛz ðə fərst raɪk. ɪz baɪ ðə juz əv stim məˈʃinz ənd ˈəðər ˌɪnˈvɛnʃənz, fər ˈnɛrətɪvz əv ədˈvɛnʧər ənd ˈpɛrəl ɪn wɪʧ ðə ˈhɪroʊz ˈɔlˌmoʊst ˈɔlˌweɪz feɪs, ənd æt læst prɪˈvɛnt, ˈgloʊbəl θrɛts frəm ˈvɛriəs ˈmɑnstərz ər frəm ˈmɛmbərz əv ðə loʊər ˈreɪsɪz, ˈɔfən, ðoʊ nɑt ɪkˈsklusɪvli, ʤuz. ɪt wɑz moʊst ˈpɑpjələr bɪtˈwin 1948 ənd 1977 ənd əˈgɛn, ˈbrifli, frəm 1985 tɪ 1991 ə riˈsərʤəns əv ˈɪntəˌrɛst ənd ə ˈsəbsəkwənt ɪkˈsploʊʒən əv ðə ˈʒɑnrə bɪˈgæn ɪn ðə ənd ɪz stɪl ˈɔnˌgoʊɪŋ. ɪt ɪz ˈsəmˌtaɪmz ˈɔlsoʊ rɪˈfərd tɪ ɛz (stil mɪθs) ər (məˈʃin mɪθs). ˌhaʊˈɛvər ɪz ðə ˈʤɛnərəli ækˈsɛptɪd tərm. si ˈɔlsoʊ stim ˈsɪti. ðə ˈgreɪtəst ˈsɪti əv ðə ˈɑriən reɪs ənd ˈkæpɪtəl əv ðə ˌhaɪpərˈbɔriən lændz ɪn ðə wərks əv, e.g*., ərnst blaʊ, kɑrl ˈʤəŋkər, ˈbrunoʊ ˈʃeɪfər ənd ˈəðərz. fərst əˈpɪrz ɪn ðə sˈwɑstɪkə geɪts 1950 ɪn wɪʧ ə taɪm ˈtrævəlɪŋ jəŋ ˈhɪroʊ əv ðə raɪk, vɔn ˈhɪməl, faɪndz hɪmˈsɛlf ɪn ˈdʊrɪŋ ðə eɪʤ əv ðə fərst raɪk, wɪʧ ɪz θˈrɛtənd baɪ ən ˌɪnˈveɪʒən əv ʤuz ɪkˈwɪpt wɪθ ədˈvænst ˈwɛpənri. vɔn ˈhɪməl, ˈnæʧərəli, ɪˈvɛnʧəwəli seɪvz ðə deɪ. ɔˈrɛdi ɪn ðət ˈnɑvəl ˈmɛni əv ðə rɪˈkərɪŋ ˈɛləmənts əv kən bi sin mæd ʤu ˈsaɪəntɪsts, stim məˈʃinz,, ədˈvɛnʧər ˈnɛrətɪvz, ˌɪmˈprɑbəbəl saɪəns bət, ənd pərˈhæps moʊst ˈnoʊtəbli, ˈɔlsoʊ ðət sɛns əv ə ˈglɔriəs pæst, ə ˈgoʊldən eɪʤ əv ˈɑriən səˈprɛməsi nɑt sin əˈgɛn fər ˈθaʊzənz əv jɪrz. wi məst rɪˈmɛmbər ðət ðoʊz ˈərli ˈraɪtərz blaʊ, ˈʤəŋkər ɛt. æl. hæd ˈoʊnli ˈrisəntli kəm aʊt əv ə ˈdɛvəˌsteɪtɪŋ wərld wɔr ɪn wɪʧ ðə ˈfɔrsɪz əv ðə θərd raɪk ˈoʊnli traɪəmft æt greɪt kɔst. ˈmɛni əv ðiz ˈraɪtərz hæv bɪn ˈsoʊlʤərz ɪn ðə wɔr (ˈʤəŋkər wʊd ˈleɪtər bɪˈkəm ˈspɛʃəl ˈɛnvɔɪ tɪ ðə wɛst ˈæfrɪkɑn lænd ˌrɛkləˈmeɪʃən ˈproʊˌgræm) ənd hæv ˈsəfərd ˈgreɪtli ɪn ˈmɛni ˈɪnstənsɪz. ɪn 1950 ˈʤərməni wɑz ˈoʊnli ʤɪst rɪˈkəvərɪŋ frəm ðə wɔr, stɪl ˈbɪzi səbˈduɪŋ ðə nu ˈkɑləniz (ðə juˈnaɪtɪd ˈkɪŋdəm, ˈrəʃə) ənd ˈkɛriɪŋ ɔn ə graʊnd wɔr ɪn nɔrθ əˈmɛrɪkə (wɪʧ ˈoʊnli ˈɛndɪd dɪˈsaɪsɪvli ɪn 1954 wɪθ ðə ˈfɔrməl sərˈɛndər əv gərˈɪlə ˈlidər ənd læst də ˈfæktoʊ ˈprɛzɪdənt ˈrɪʧərd ˈnɪksən). kəmz frəm ðət sɛns, ðət ˈmɛni lɔŋ jɪrz wər stɪl tɪ pæs ˌbiˈfɔr ðə tru drim əv ðə θərd raɪk kʊd bi fʊlˈfɪld. ənˈtɪl ðɛn, ˈfɪkʃən wʊd sərv. ðə sˈwɑstɪkə geɪts wɑz meɪd ˈɪntu ə fɪlm baɪ ɪn 1957 əˈpɪrd əˈgɛn ɪn ðə ˌhaɪpərˈbɔriən ˈtrɪləʤi 1963 ɪn ˈsɪti ɔn ðə ɛʤ əv ðə wərld 1968 ənd ˈwaɪdli ˈɛlsˌwɛr. mæd ʤu ˈsaɪəntɪst, ðə ə stɑk ˈkɛrɪktər əv ˈmɛni ˈnɑvəlz, ðə mæd ʤuɪʃ ˈsaɪəntɪst (ˈɔlsoʊ si ʤuz) ˌrɛprɪˈzɛnts ðə dɪˈʤɛnərətɪv bət ˈkənɪŋ maɪnd əv ðə ʤuɪʃ kənˈspɪrəsi. ˈɔfən (si ˈɔlsoʊ, fɔls ˌriˈæləˌti, ˈhɪtlər lɔst) ðə ˈsaɪəntɪst ɪz ə ˌrɛzərˈɛktɪd ˈælbərt ˈaɪnstaɪn ə ʤuɪʃ ˈsaɪəntɪst əv səm ˌnoʊtərˈaɪəti. hi ɪkˈspaɪrd ɪn ðə ˌriəˌbɪləˈteɪʃən kæmps ɪˈstæblɪʃt ɪn nɔrθ əˈmɛrɪkə ˈfɑloʊɪŋ ðə əˈmɛrɪkən sərˈɛndər. ˌhaʊˈɛvər ɛz ə ˈfɪkʃənəl ˈkɛrɪktər hi əˈpɪrz ˈɔfən, ˌpɑrˈtɪkjələrli ɪn ðə wərks əv kɑrl ˈʤəŋkər, wɛr hi lɪvz ɪn ən ˌɪmˈpɛnətrəbəl ˈfɔrtrəs əv aɪs ɔn, ðə ˈpoʊlər ˈkɑntənənt, frəm wɪʧ hi sɛndz hɪz ˈmɪnjənz tɪ meɪk wɔr əˈgɛnst ðə ˈɑriən ˈneɪʃənz əv. blæk sən, ðə ʃwɔrts sɑn, ˈɔlsoʊ rɪˈfərd tɪ ɛz ðə sonnenrad*, ər sən wil. ˈvɛriəsli ə væst ˈspeɪsˌʃɪp, ə dɪˈvaɪs ər ə ˈdumzˌdeɪ ˈwɛpən, dɪˈpɛndɪŋ ɔn ðə ˈraɪtər. əˈnəðər stɑk ˈɛləmənt əv, ðə blæk sən ˌrɛprɪˈzɛnts ðə traɪəmf əv ˈʤərmən saɪəns. ɪn ðə blæk sən 1956 baɪ brɔn, ɪt ɪz ˌɪnˈdid ə væst ˈspeɪsˌʃɪp ˈkɛriɪŋ ˈɑriən ˈkɑlənɪsts tɪ ə ˈnɪrˈbaɪ stɑr ˈsɪstəm. ˌənbɪˈnoʊn tɪ ðə ˈkɑlənɪsts ðə ʃɪp ɪz ˈsikrɪtli ˌɪnˈfɛstɪd baɪ ʤuz ˈhoʊpɪŋ tɪ ɪˈskeɪp ərθ. ə ˈkəlʧər ɪz dɪˈvɛləpt ɔn bɔrd ʃɪp. æt læst ɪts ˈkæptən, ʃmɪt, ˌdɪˈsaɪdz tɪ bloʊ əp ðə ʃɪp ˈrəðər ðən lɛt ðə ʤu pleɪg ˌɪnˈfɛst əˈnəðər ˈplænət. ðə ʃmɪt əˈwɔrd ɪz neɪmd ɪn hɪz ˈɑnər. ðə blæk sən ɪz ə taɪm məˈʃin ɪn ðə ˈklæsɪk ðə sˈwɑstɪkə geɪts, ənd ə ˈdumzˌdeɪ dɪˈvaɪs ɪn ˈbrunoʊ ˈmæstərˌpis ðə məˈʃin 1960 brɔn, ˈɔstriən ˈraɪtər, bɔrn 1915 ə nərs ˈdʊrɪŋ ðə wɔr, ʃi ˈleɪtər muvd tɪ nu ˈhæmbərg (ˈfɔrmərli nu jɔrk) ɪn ðə əˈmɛrɪkən ˈkɑləniz, wɛr ʃi lɪvd fər ðə rɛst əv hər laɪf. brɔn wərkt əˈkrɔs ə reɪnʤ əv ˈʒɑnrəz bət ɪz bɛst noʊn fər hər wərk, əv wɪʧ ðə blæk sən ɪz pərˈhæps ðə moʊst ˈnoʊtəbəl. ðə ʃmɪt əˈwɔrd ən ˈænjuəl ˈlɪtərˌɛri əˈwɔrd ˈgɪvɪn ˈɛvəri jɪr sɪns 1962 æt ðə, fər ən wərk bɛst ˌrɛprɪˈzɛnɪŋ ðə ˌaɪdiˈɑləʤi əv ˈnæʃənəl ˈsoʊʃəˌlɪzəm. neɪmd ˈæftər ðə hɪˈroʊɪk, dumd ˈspeɪsˌʃɪp kəˈmændər, ʃmɪt, ɪn ðə blæk sən. stim paʊər mɪθs wərld kənˈvɛnʃən. ˈænjuəl ˈgæðərɪŋ əv ɛnˈθuziˌæsts frəm əˈkrɔs ðə raɪk hu mit iʧ jɪr ɪn ə ˈdɪfərənt ˈsɪti tɪ dɪˈskəs, hoʊst ə ˈkɑstum ˌkɑmpəˈtɪʃən ənd əˈwɔrd ˈvɛriəs ˈpraɪzɪz, ðə moʊst ˌɪmˈpɔrtənt əv wɪʧ ɪz ðə ʃmɪt əˈwɔrd. wərld fri ˈmidiə ˈʤoʊzəf ˈaʊˌtriʧ ˈpəblɪʃɪŋ ˈkəmpəˌni, ðɪs wɑz ðə moʊst ˌɪmˈpɔrtənt əv ðə ˌɪˈmiˌdiət ˈpəblɪʃərz tɪ kəm aʊt əv ˈʤərməni. ˈsikɪŋ tɪ sprɛd ðə ˈʤərmən təŋ, ˈkəlʧər ənd ˈvæljuz əˈkrɔs ðə lændz naʊ ˈəndər ðə rul əv ðə θərd raɪk, ˌpɑrˈtɪkjələrli ðə ˈængləˌfoʊn wərld, ˈgoʊbəlz sɛt əp ən æmˈbɪʃəs plæn əv ˈtrænsˌleɪtɪŋ, ˈprɪnɪŋ ənd dɪˈstrɪbjutɪŋ ˈɛniˌθɪŋ frəm ðə ˌɪˈmɔrtəl ˈmæstərˌpis, maɪ ˈstrəgəl 1925 1926 tɪ səʧ ˈlaɪtər fɛr ɛz kɑrl ˈpɑpjələr oʊld ˈwɛstərnz ənd ˈmɛni ˌɪmˈpɔrtənt ˈtaɪtəlz trænzˈleɪtəd frəm ðə ˈʤərmən fər ðə fərst taɪm. wərld fri əˈmɛrɪkən ˈɔfəsɪz ɪˈstæblɪʃt ˈsɛvərəl ˈmægəˌzinz ɪn ðə nu prəˈtɛktərət, əv wɪʧ ˌɪnˈkrɛdəbəl ˈstɔriz hæd bɪn pərˈhæps ðə moʊst ˌɪnfluˈɛnʃəl ɪn tərmz əv. ˈʤəŋkər, kɑrl ˈʤərmən ˈɔθər, bɔrn 1920 sərvd ɪn ðə s.s*. ˈdʊrɪŋ ðə wɔr ɪn ʧɑrʤ əv ən einsatzgruppe*, ə tæsk fɔrs wɪθ ðə ˈpərpəs əv ðə ˌpjʊrəfəˈkeɪʃən əv ðə ˈreɪsɪz. ˈwundɪd ɪn ˈlɛnɪnˌgræd, sərvd ɛz ə ˈsinjər ˈmɛmbər əv ðə gəˈstɑpoʊ ɪn ˈmɔˌskaʊ (naʊ hitlergrad*) ɪn ðə ˌɪˈmiˌdiət ˈpɪriəd. hi ˈleɪtər sərvd ɪn ðə wɛst ˈæfrɪkɑn lænd ˌrɛkləˈmeɪʃən ˈproʊˌgræm, ˈpjʊrəˌfaɪɪŋ ðət ˈriʤən əv ðə wərld tɪ meɪk ɪt ˈhæbətəbəl baɪ ðə ˈmæstər reɪs (si ˈɑriən). ˈʤəŋkər bɪˈgæn ˈraɪtɪŋ ˈərli. ə ˈmɛmˌwɑr əv hɪz taɪm ɪn ðə soʊ kɔld squads”*” wɑz ˈoʊnli ˈpəblɪʃt ˈæftər hɪz dɛθ. hi ˈɔlsoʊ ˈpəblɪʃt tu ˈvɑljumz əv ˈpoʊətri. hɪz əˈbaɪdɪŋ ˈpæʃən həz bɪn, ˌhaʊˈɛvər, ɪn wɪʧ fild hi ɪz bɛst noʊn. hi bɪˈgæn ˈpəblɪʃɪŋ wɪθ ʃɔrt ˈstɔri affair”*”, ɪn wɪʧ ə ˈsoʊlʤər ˈfaɪtɪŋ ðə ˌʃɔrˈtlɪvd ˈəˌpraɪzɪŋ əv ðə ʤuɪʃ ˈgɛtoʊ ɪn ˈwɔrˌsɔ ɪz ˈwundɪd. wɪn hi əˈweɪkənz ɪt ɪz ɔn, ə ˈfroʊzən ˈweɪˌstlænd ˈkɑntənənt ɔf ɪn wɪʧ ðə ˈgɛtoʊ ʤuz hæv faʊnd ˈʃɛltər baɪ minz əv ə geɪt. ðə ˈsoʊlʤər dɪˈstrɔɪz ðɛr ˈhaɪdəˌweɪ ənd rɪˈtərnz tɪ ɑr wərld ənˈskeɪðd. mɔr æmˈbɪʃəsli, ˈʤəŋkər ðɛn bɪˈgæn ðə ˈtrɪləʤi əv ˈnɑvəlz, kəmˈpraɪzɪŋ ˈraɪzɪŋ, rɪˈtərn tɪ ənd ðə fɔl əv (ˈpəblɪʃt 1948 1949 1951 kəˈlɛktəd ɛz ðə kəmˈplit ɪn 1961 ɪn ðə ˈsɪriz ə mæd ʤu ˈsaɪəntɪst, ˈælbərt ˈaɪnstaɪn, kriˈeɪts ə ɔn frəm wɪʧ hi əˈseɪlz ðə ˈɑriən. hi ɪz dɪˈfitɪd, æt lɔŋ læst, baɪ ˈmɛŋgələ (fər wɪʧ si ˈsɛpərˌeɪt ˈɛntri). ˈʤəŋkər hæd ən ˈɪnˌsaɪtfəl ˌəndərˈstændɪŋ ˈɪntu ðə ˈɪʃu əv kriˈeɪtɪŋ ˈreɪʃəl ˈpjʊrɪti, ɛz wɛl ɛz ən əˈbaɪdɪŋ ˈɪntəˌrɛst ɪn saɪəns, boʊθ əv ðə ˈɑriən (fər wɪʧ si wərld aɪs ˈθɪri; ˈgleɪʃəl cosmogony*) ənd əv ðə dɪˈʤɛnərˌeɪt ʤuɪʃ vərˈaɪəti (si ˈɔlsoʊ ˌrɛləˈtɪvəti, ˈθɪri əv). ðoʊ nɑt ɛz wɛl noʊn naʊ ɛz hi wɑz ɪn ðə ˈpɪriəd hi rɪˈmeɪnz wən əv ˈdipəst ənd moʊst ˌɪmˈpɔrtənt prækˈtɪʃənərz. aɪərn ˈʧænsələr, ðə ˈɔlsoʊ ˈɑˌtoʊ vɔn ˈbɪzˌmɑrk, ðə ˈlɛʤənˌdɛri ˈʧænsələr əv ˈʤərməni ənd ən ˌɪmˈpɔrtənt ˈfɪgjər ɪn ˈlɪtərəʧər. ɪn ðə aɪərn ˈʧænsələr ˈbɪzˌmɑrk ˈreɪzɪz ən ˈɑrmi əv ˈmaɪti ˈɛrˌʃɪps (si ˈɔlsoʊ kaʊnt ˈfərdɪˌnænd vɔn ˈzɛpɪlɪn) tɪ teɪk ɔn ðə ˈbrɪtɪʃ ˈɛmpaɪər, ɪˈvɛnʧəwəli ˈtɑpəlɪŋ kwin vɪkˈtɔriə (ən ˈəðərˌwaɪz ˈmaɪnər ˈfɪgjər ɪn) ənd ˈlidɪŋ tɪ ə θərd raɪk ˈfɪfti jɪrz ˈərliər ðən ɪn ɑr oʊn ˈhɪstəri. ɪn ðə əˈmɛrɪkən ˈɔθər ʤoʊˈhænəs waɪt roʊt ə ˈsɪriz əv ədˈvɛnʧər ˈstɔriz ˈkrɑnɪklɪŋ ðə ædˈvɛnʧərz əv aɪərn chancellor”*” naʊ ə ˈglædiˌeɪtər ɪn ˈeɪnʧənt ɛz hi ˈbætəlz ˈvɛriəs ʤuɪʃ (si ʤuz) kənˈspɪrəsiz ənd ɪˈvɛnʧəwəli ˈraɪzɪz frəm hɪz ˈhəmbəl pəˈzɪʃən tɪ bɪˈkəm ðə fərst ˈlidər əv ðə fərst raɪk. ðiz wər ˈpəblɪʃt ɪn ˌɪnˈkrɛdəbəl ˈstɔriz tɪ məʧ əˈkleɪm: ðeɪ ˌrɛprɪˈzɛnt ðə fərst sɪgˈnɪfɪkənt ˈɪnstəns əv ˈlɪtərəʧər ɪn ə ˈfɔrən ˈlæŋgwɪʤ (təˈdeɪ, əv kɔrs, ðə ˈʧɪldrən əv ðə ˈfɔrmər states”*” ər brɔt əp ɪn ˈʤərmən, ˈrəðər ðən ðə ˈdɛkədənt ˈɪŋlɪʃ əv ðɛr dɪˈfitɪd ˈpɛrənts). ʤuz ən ˌɪnˈfɪriər reɪs. ə ˈvɪlənəs ˈpipəl ˈɔfən kəmˈpɛrd wɪθ ræts (si ˈɔlsoʊ frɪts ˌdɑkjəˈmɛnəri fɪlm ðə ɪˈtərnəl ʤu 1940 ˈpɑpjələr ɪn ˈlɪtərəʧər, ɪn wɪʧ ðeɪ ˈsəmˌtaɪmz ˈɑkjəˌpaɪ ðə ˈmɪθɪkəl ˈkɑntənənt əv. ruld baɪ ə ˈsikrɪt ˈkaʊnsəl, ðə ˈɛldərz əv zaɪən. kənˈtroʊl wərld ˈbæŋkɪŋ ənd hæv ˈsikrɪt ˈtənəlz dəg ˈəndər ðə wərld, θru wɪʧ ðeɪ ˈskəri ɔn ðɛr sɪˈdɪʃəs ˈmɪʃənz. naʊ ˈmoʊstli ɪˈrædəˌkeɪtɪd (si ˈɔlsoʊ blæk reɪs, ðə). ˌɪnˈkrɛdəbəl ˈstɔriz ˈmægəˌzin ˈpəblɪʃt frəm 1958 tɪ əraʊnd 1976 (ˈpəblɪʃt spərˈædɪkli ɪn ðə ɛz ə ˈsɪriz əv ænˈθɔləʤiz; rɪˈvaɪvd ɛz ə ˈmægəˌzin ɪn 2005 ɪn ˈɪŋlɪʃ. ɪt ˈmoʊstli daɪd aʊt ɛz ðə əˈmɛrɪkən ˌriəˌbɪləˈteɪʃən ˈproʊˌgræm bɪˈgæn tɪ teɪk ˈifɛkt. ˌɪnkɑrˈneɪʃənz wər ˈpəblɪʃt ɪn ˈʤərmən. ˌɪnˈkrɛdəbəl ˈstɔriz wɑz ˈɛdɪtɪd baɪ haʊərd ˈdəbəlju. ˈkæmbəl jr*. frəm ɪts ˌɪnˈsɛpʃən ˈɑnwərdz. ɪt ɪz ˈnoʊtəbəl fər ˈfiʧərɪŋ ðə wərks əv ˈsɛvərəl əˈmɛrɪkən ˈɔθərz əv, ˌɪnˈkludɪŋ ʤoʊˈhænəs waɪt ənd hɑns ˈwɛbər, hu kriˈeɪtɪd ə (fər wɪʧ ˈɔlsoʊ si vɔn brɔn, wernher*, (θərd raɪk speɪs ˈeɪʤənsi, ðə) ˌɛtˈsɛtərə.) ˈvərʒən əv ˈfiʧərɪŋ hɪz ˈpɑpjələr ˈhɛroʊən, ˈglɔri gestalt*, ənd deɪˈbjutɪŋ wɪθ ðə ˈnɑvəl ə ˈmɪʃən əv ˈglɔri kəˈlɛktəd ɪn bʊk fɔrm 1970 ˈmɛŋgələ, ˈʤoʊsəf wən əv ðə moʊst rɪˈspɛktɪd ənd ədˈmaɪərd əv ˈnæʃənəl ˈsoʊʃəlɪst ˈsaɪəntɪsts. ˈwɪnər əv ðə noʊˈbɛl praɪz fər ˈmɛdəsən ɪn 1952 fər hɪz ɪkˈspɛrəmənts ɔn twɪnz, ənd əv ðə ˈhɪtlər ˈmɛdəl fər ˌɛkstrəˈɔrdəˌnɛri ˈsərvɪsɪz tɪ ðə raɪk wən jɪr ˈpriviəs. sərvd æt ˈɔʃwɪts (ə loʊər ˈreɪsɪz tərməˈneɪʃən kæmp) ˈdʊrɪŋ ðə wɔr. ˈæftər ðə noʊˈbɛl ˈmɛŋgələ rɪˈtaɪrd tɪ ðə raɪk prəˈtɛktərət əv ˌɑrʤənˈtinə, wɛr hi daɪd əv oʊld eɪʤ. ˈmɛŋgələ ɪz əv ˈɪntəˌrɛst tɪ ˈskɑlərz ɛz ən ˌɪnˈkrisɪŋgli ˈpɑpjələr, rɪˈkərɪŋ ˈkɛrɪktər ɪn wət wi maɪt tərm ðə ʃɛrd wərld əv. hi fərst əˈpɪrz ɪn ə ˈmaɪnər roʊl ɪn kɑrl rɪˈtərn tɪ 1949 wɛr hi dɪˈvɛləps ə reɪs əv ˌtɛləˈpæθək twɪnz hu əˈsɪst ðə ˈhɪroʊ ɪn ˈtɑpəlɪŋ ˈɑrmi əv ˈsuɪˌsaɪd golems*. hi nɛkst pɑps əp ɛz ə sɪgˈnɪfɪkənt ˈsɛkənˌdɛri ˈkɛrɪktər ɪn ˈsoʊlləs 1972 baɪ ˈkaʊntəs məˈtɪldə, ə ˈfænəsi, wɛr hi ɪz ðə ˈʧɑrmɪŋ jɛt ˌɛkˈsɛntrɪk kəmˈpænjən tɪ ðə ˈɛskəˌpeɪdz ɪn ə bərˈlɪn kəmˈplit wɪθ blood-sucking*, ʤuz ənd ˈhɪdiəs ˈʤɪpsi ˈwɛrˌwʊlvz, wɪʧ hi səkˈsɛsfəli baɪ minz əv ə ˈliθəl ˌvækˈsin hɛlps ɪˈlɪməˌneɪt. ðə ænˈθɔləˌʤi ˈmɑnstrəs saɪəns 2002 ˈɛdɪtɪd baɪ kɔʧ ənd ɪz əv ˈɪntəˌrɛst. ðə ˈtɪʧələr ˈstɔri, baɪ ˈraɪzɪŋ stɑr ˈbərnhɑrd ˈvoʊgəl, ɪn wɪʧ ˈmɛŋgələ ˈfeɪsɪz ɔf əˈgɛnst ʤu ˈsaɪəntɪst ˈælbərt ˈaɪnstaɪn ɔn ðə ˈaɪlənd əv ˌmædəˈgæskər (si, ə) wən ðə ʃmɪt əˈwɔrd fər ʃɔrt ˈfɪkʃən ðə ˈfɑloʊɪŋ jɪr., ə ə ˈkɑmən θim ɪn ər plɑts ər ɪn wɪʧ ʤuz sik tɪ ər ɔˈrɛdi ɪˈstæblɪʃ ɔˈtɑnəməs ˈneɪʃənz ər jewlands*. ˈsəmˌtaɪmz ðeɪ əˈkər ɪn ˈpæləˌstaɪn, æt ˈəðər taɪmz ɪn ˌmædəˈgæskər, ˌjuˈgɑndɑ ər ˌɪnˈdid ˈfɪkʃənəl lændz səʧ ɛz. ðeɪ ˈɔfən ɛnd wɪθ ðə əˈvɛnʧuəl dɪˈstrəkʃən ər kəmˈplit əˌnaɪəˈleɪʃən əv ðə ˈfɔrbɪdən baɪ ðə ˈɑriən ˈhɪroʊ. ˈʃeɪfər, ˈbrunoʊ ən ˈɛkˌstrækt frəm ðə ˌhaɪpərˈbɔriən ˈtrɪləʤi 1963 out!’*!’ ˈʃaʊtɪd brunˈhildə. hər lɔŋ blɑnd hɛr wɪpt ɪn ðə wɪnd ɛz ʃi kləŋ fər dɪr laɪf tɪ ðə ˈəndərˌsaɪd əv ðə ˈmaɪti ˈɛrˌʃɪp ðə aɪərn ˈʧænsələr. ˈraɪzɪŋ əˈhɛd wɑz ðə blæk ˈɛrˌʃɪp kɪŋ ˈdeɪvɪd, ə dɑrk əˈprɛsɪv ˈprɛzəns ɪn ðə skaɪz. ɪts ˈmaɪti gənz wər eɪmd æt ðə aɪərn ˈʧænsələr. wɪl nɑt bi dɪˈfitɪd baɪ ə dɪˈvɑlvd race!’*!’ kraɪd kəmˈpænjən, ˈkɑnræd bɔʃ, ðə feɪmd ɪkˈsplɔrər ənd ˈɛnʤəˈnɪr. maɪ hand!’*!’ ˈgreɪtfəli brunˈhildə riʧt fər ɪm ənd hɪz strɔŋ, ˈgreɪsfəl ˈfɪŋgərz klæspt hərz sɪˈkjʊrli. ‘‘jump!’*!’ kɔld ˈkɑnræd. brunˈhildə kloʊzd hər aɪz ənd lɛt goʊ. ʃi swəŋ θru ðə ɛr, hɛld baɪ ˈkɑnræd, ənd ˈlændɪd ɪn ə hip əv kloʊðz ənd pərfˈjum ɪn ðə aɪərn ˈlaɪfˌboʊt ˈgɑndələ. kʊd nɑt bi easier!’*!’ læft ˈkɑnræd. hi ʤəmpt ˈæftər hər ənd wɪθ ðə flæʃ əv hɪz məˈʧɛˌti kət ðə roʊps sɪˈkjʊrɪŋ ðə ˈlaɪfˌboʊt tɪ ðə meɪn həl əv ðə ˈlɑrʤər ʃɪp. əˈbəv ðɛm ðə ˈʧænsələr wɑz biɪŋ wɪθ faɪər frəm ðə ˈmɑnstrəs ʤu ʃɪp. ‘‘but…’*…’ brunˈhildə, kwaɪt ˌoʊvərˈwɛlmd, ʃɪp ɪz ɔn fire!’*!’ ənd ˌɪnˈdid ɪt wɑz soʊ. ɛz ðeɪ dɪˈtæʧt frəm ðə aɪərn ˈʧænsələr ɪn ðə blɪmp ðeɪ kʊd si ðə ʃɪp ˈtɪltɪŋ tɪ wən saɪd ɛz ɪt bərnd. ðoʊz ˈfɪlθi jews!’*!’ kraɪd ˈkɑnræd. ðɛr ər stɪl səm trɪks əp maɪ sleeve!’*!’ wɪl ju do?’*?’ kraɪd brunˈhildə. ˈkɑnræd grɪnd æt hər dɪˈsɑrmɪŋli. ʃi geɪzd ˈlɔŋɪŋli æt hɪz ˈpərˌfɪkt ˈɑriən ˈproʊˌfaɪl ɛz hi ˈpaɪlətɪd ðə blɪmp əˈweɪ frəm ðə ˈʧænsələr ənd, ʃi ˈriəˌlaɪzd wɪθ ˈhɔrər, ɔn ə dɪˈrɛkt kəˈlɪʒən kɔrs wɪθ ðə ʤu ʃɪp! ‘‘conrad*, no!’*!’ kraɪd brunˈhildə. wɪl ʃoʊ ðoʊz ˈdərti ræts ðə maɪt əv ðə reich!’*!’ sɛd ˈkɑnræd, ənd brunˈhildə kʊd ˈoʊnli gæsp ɪn səˈpraɪz ɛz ˈkɑnræd brɔt fɔrθ ə ˈkjʊriəs dɪˈvaɪs, ðə lɛŋθ əv ə ʤaɪənt ˈtɛləˌskoʊp, meɪd əv səm ˈʃaɪnɪŋ ˈmɛtəl ənˈnoʊn tɪ brunˈhildə. ɪz ə krəp agitator!’*!’ sɛd ˈkɑnræd wɪθ praɪd. moʊst ədˈvæns ənd ˈdɛdliəst əv ˌhaɪpərˈbɔriən wɔr məˈʃinz ˈɛvər developed!’*!’ hi eɪmd æt ðə kɪŋ ˈdeɪvɪd, wən aɪ kloʊzd ɪn ˌkɑnsənˈtreɪʃən, ənd prɛst ðə ˈtrɪgər. ɔn bɔrd ðə ʤu ʃɪp ðə dɪˈʤɛnərˌeɪt ˈsaɪəntɪst, ˈaɪnstaɪn, kʊd ˈoʊnli wɔʧ ɪn ˌdɪsbɪˈlif ɛz ðə ˈrɑkət seɪld ˈfɔrwərd. əˈloʊn ɔn ðə dɛk bət fər hɪz ˈɑrmi əv məˈkænɪkəl golems*, hɪz maʊθ ˈoʊpənd bət noʊ wərdz wʊd kəm aʊt. hi ˈmænɪʤd tɪ seɪ, æt læst ə ˈmoʊmənt ˌbiˈfɔr ðə ˈrɑkət ˌɪmˈpæktɪd wɪθ ðə ˈɛrˌʃɪp. ən ɪˈnɔrmɪs bɔl əv fleɪm ɪnˈgəlft ðə ʤu ʃɪp, ðə saʊnd ˈdɛfənɪŋ. ðə ˈʃɑkˌweɪv θru ðə smɔl blɪmp ðɪs weɪ ənd ðət, ɛz ɪf ɔn ən taɪd, ənd brunˈhildə lɔst hər ˈfʊtɪŋ ənd fɛl tɪ ðə flɔr əv ðə ˈgɑndələ. bət strɔŋ hænz hɛld hər ənd, ˈsɑbɪŋ ɪn rɪˈlif ənd ˈgrætəˌtud, ʃi sæŋk hər feɪs ˈɪntu strɔŋ, ˈkəmfərtɪŋ, ˈmænli ʧɛst. ‘‘there*, there,’*,’ hi sɛd, hɪz hænd ˈstroʊkɪŋ hər hɛr ˈʤɛntli. ɪz over.’*.’ ʃi reɪzd hər hɛd ənd lʊkt æt ɪm, hər blu aɪz mɔɪst, hər lɪps ˈpɑrtɪd. hi wɑz soʊ ˈhænsəm, ʃi θɔt. soʊ breɪv. hi smaɪld, ənd hɪz blɑnd hɛr ʃoʊn ɪn ðə sən. ‘‘oh*, conrad!’*!’ ʃi sɛd. hi lind ˈɪntu hər ənd ðɛr lɪps mɛt ɛz hi ˈpæʃənətli kɪst hər. brunˈhildə hoʊpt ðə ˈmoʊmənt læst fərˈɛvər. dɪk, ˈfɪlɪp keɪ. (ˈkɪndrɪd) əˈmɛrɪkən ˈɔθər əv pəlp ˈfɪkʃən. hɪz ˈnɑvəl ðə mæn ɪn ðə haɪ ˈkæsəl 1962 ˈpɑzəts ə wərld ɪn wɪʧ ˈʤərməni lɔst ðə wɔr (si ˈɔlsoʊ fɔls ˌriˈæləˌti, ˈhɪtlər lɔst). ɔl noʊn ˈkɑpiz əv ðə ˈnɑvəl hæv bɪn dɪˈstrɔɪd. ðə ˈɔθər ˈpɛrɪʃt ɪn ə ˌriəˌbɪləˈteɪʃən kæmp ˈʃɔrtli ˈæftər. ˈgoʊləm ə ʤu kriˈeɪʃən, bɔrn aʊt əv əˈkəlt ˈpræktɪsɪz ənd dɪˈʤɛnərˌeɪt saɪəns. ə məˈkænɪkəl mæn. blæk reɪs, ðə dɪˈvɑlvd reɪs, ˈmoʊstli ɪkˈstɪŋkt səm ər kɛpt (əˈlɔŋˈsaɪd ʤuz, ˈʤɪpsiz, slɑvz, ˌɛtˈsɛtərə. ˌɛtˈsɛtərə.) ɪn zuz. pərˈhæps ðə bɛst weɪ tɪ si ðɛm ɪz æt ðə bərˈlɪn ˈgɑrtən, wɛr ˈmɛni rɛr ɪgˈzæmpəlz əv loʊər ˈreɪsɪz kən bi sin ɪn ðɛr ˈneɪtɪv ˈhæbəˌtæt, ˌɪnˈkludɪŋ səʧ rɛr ˈspɛsəmənz ɛz ˈpɪgmiz, ɔˈstreɪljən ˌæbərˈɪʤəniz ənd ðə ˈaɪrɪʃ. ðə blæk reɪs ɪz ˈsɛldəm sin ɪn, wɪθ ðə ɪkˈsɛpʃən əv ˈrɛlətɪvli ˈmaɪnər wərk ðə dɑrk ˈkɑntənənt 1958 sɛt ɪn ə ˌprihɪˈstɔrɪk. ə ˌhaɪpərˈbɔriən ˈɛrˌʃɪp ˈkɛriɪŋ ə blæk sən dɪˈvaɪs ˈtrævəlz baɪ minz əv ə geɪt tɪ ðə blæk ˈkɑntənənt, ɛnˈkaʊnərɪŋ ðə ˈneɪtɪvz, ˈhævɪŋ ˈmɛni ædˈvɛnʧərz ənd æt læst rɪˈtərnɪŋ tɪ, frəm wɪʧ ən ˌɪnˈveɪʒən fər ˈpərpəs əv riˈsɛtəlmənt əv ˈleɪtər ˈlɔnʧɪz. ðə bʊk wɑz mɛnt ɛz ðə fərst ɪn ə ˈtrɪləʤi, jɛt ðə ˈəðər tu ˈvɑljumz, ɪf ˈrɪtən, wər ˈnɛvər ˈpəblɪʃt., həˈlin ˈbərθə ˈæməli ‘‘leni’*’, bɔrn 1902 wɑz wən əv ðə ˈgreɪtəst ˈɑriən fɪlm dɪˈrɛktərz əv hər taɪm, ənd ə kloʊz ˈpərsɪnəl frɛnd əv ðə hɪmˈsɛlf. traɪəmf əv ðə wɪl ɪz ə ˈmæstərˌpis əv ˈʤərmən ˈsɪnəmə, ˈkrɑnɪklɪŋ ðə 1934 ˈnɑtsi ˈpɑrti ˈkɑŋgrəs ɪn wɪʧ ˈglɔriəs ˈspiʧɪz baɪ ˈeɪdɑlf ˈhɪtlər ər ˌɪntərˈsɛktɪd wɪθ sinz əv ə ˈwərʃəpfəl əˈsɛmbli. əv ˈrɛləvəns tɪ, ˌhaʊˈɛvər, ɪz ˈsoʊˈkɔld ˈtrɪləʤi (stil mɪθs ˈtrɪləʤi) əv fɪlmz, ðə fərst əv wɪʧ wɑz ə ˈfeɪθfəl ˌædəpˈteɪʃən əv ərnst ˈklæsɪk ˈnɑvəl ðə sˈwɑstɪkə geɪts (fɪlmd 1957 ɪt wɑz ˈfɑloʊd baɪ ˈmɛtəl fɪst əv ðə aɪərn ˈʧænsələr 1965 beɪst ɔn ən ərˈɪʤənəl skrɪpt, ɪn wɪʧ ən ˈɑriən ˈsoʊlʤər ˈdʊrɪŋ ðə wɔr ɪz ˈwundɪd ənd riˈmeɪd ˈɪntu ˈwɔrjər hu goʊz ɔn ə ˈmɪʃən əv riˈvɛnʤ əˈgɛnst ə ˈgloʊbəl kənˈspɪrəsi əv ʤuz ˌmæskərˈeɪdɪŋ ɛz ˈɑriən ˈɔfɪsərz (si ˈɔlsoʊ ˈɛldərz əv zaɪən, ðə). ðə θərd ənd kənˈkludɪŋ fɪlm, siz əv 1977 ɪz kənˈsɪdərd wən əv ðə ˈgreɪtəst fɪlmz ˈɛvər meɪd, ˈjutəˌlaɪzɪŋ ˌrɛvəˈluʃəˌnɛri nu ˈfɪlmɪŋ tɛkˈniks ənd ˈspɛʃəl ˈifɛkts tɪ ˈtruli ənd fər ðə fərst taɪm brɪŋ ə grænd ˈvɪʒən əv tɪ ðə bɪg skrin. fɪld wɪθ mægˈnɪfɪsənt ˈɛrˌʃɪps ənd ˈɛriəl ˈbætəlz, wɪθ ˈlɑrʤər ðən laɪf ˈmɑnstərz (ˌɪnˈkludɪŋ ən ɪnˈtaɪər hɔrd əv golems*) ənd mæd ʤu ˈsaɪəntɪsts (ðə ˈivəl ˈaɪnstaɪn ɛz əv kəmˈplit wɪθ kloʊnz əv hɪmˈsɛlf), ɪt ˈɔlsoʊ ˌɪnˈkludz taɪm ˈtrævəl ənd ə mægˈnɪfɪsənt əv ðə blæk sən plɑt dɪˈvaɪs ɛz ə ˈdumzˌdeɪ ˈwɛpən. siz əv kəmˈbaɪnz ɔl ðə ˈklæsɪk ˈɛləmənts əv tɪ kriˈeɪt ˈsəmθɪŋ wɪʧ ɪz, ɪn ˈspɪrɪt, ˈkloʊsəst pərˈhæps tɪ məʧ ˈərliər traɪəmf dɪ ˈwɪlənz, ʃoʊɪŋ ˈjuˈɛs nɑt ˈoʊnli ðə ɛˈsɛnʃəl əv ðə ˈɑriən reɪs bət, moʊst ˌɪmˈpɔrtəntli, ðə hɪˈstɔrɪk ˌɪˌnɛvɪtəˈbɪlɪti əv ɪts əˈvɛnʧuəl traɪəmf. ˈɔltərˌneɪt wərld ə wərld ɪn wɪʧ θɪŋz tərnd aʊt ˈdɪfərˈɛntli ðən ɪn ɑr oʊn. si ˈɔlsoʊ fɔls ˌriˈæləˌti, ˈfɪlɪp keɪ. dɪk, ˈhɪtlər lɔst,. ðə ɛnd. ˈhɪtlər kwoʊt ˈteɪkən frəm ˈteɪbəl tɔk: ɛd. baɪ ju ˈædvərˌtaɪzmənts |
a few days ago, while working on a short story (see below) i made the comment on twitter that i see steampunk as “fascism for nice people”. this was partly borne out from the story below, partly, of course, from the disconnect i feel at what that term, “steampunk” has come to represent in recent years and the worrying (to me) political and ideological implications of it. there are some fine steampunk critics, such as ay-leen the peacemaker (beyond victoriana) and jaymee goh (silver goggles) who have written extensively on the subject of empire, race and colonialism within the context of steampunk, and i can only recommend reading what they say.
it is also perhaps worth mentioning that i have written on steampunk for a number of years (see steampunk in the internet review of science fiction, 2005) or the recently reprinted on the blog some notes towards a working definition of steampunk, dating from around the same time. there is also, of course, my trilogy of steampunk novels, the bookman, camera obscura (airship award nominee, sidewise award nominee) and the great game, and stories in anthologies such as the mammoth book of steampunk (ed. sean wallace) or the forthcoming steampunk revolution (ed. anne vandermeer). therefore, it would be nice to be extended the courtesy that while people may not like what i have to say they might credit that i know something of the topic under discussion.
i am told my publishers have received many unhappy e-mails since the comment was made. here are some quotes:
this has (quite rightly) deeply angered and upset a vast majority of the steampunk community in the uk, europe and north america. (highlight mine)
i hope, therefore, you can understand why sales of books of his that you publish may diminish, and i am sure you can see the danger of collateral damage in the form of books by other authors you also represent also being hit. i am sure you can understand how yourselves, being his agents, are equally hit by his comments and how if you stand idly by as he pedals his diatribe some may take the view that you support and agree with his stance, which i am prepared to submit that you don’t.
i’m contacting you to inform you that i will no longer be purchasing mr tidhar’s work. his recent comments online have been offensive and disrepectful to the sf community as a whole and reached a new low on friday when he compared steampunk to fascism. given what a foul and horrendous ideology that is i do not feel that his comments were in anyway excusable and therefore i will be boycotting his books in the future.
i am contacting you to inform you that i will be avoiding all future publications by both the author and angry robot books.
so, a boycott. i don’t know, it sound a bit, you know… like that other thing?
anyway, in apology to those people who took offence at my thoughtless comments, i would like to say i hold no ill will if you choose not to purchase any of the books. i support your right not to! and moreover, to make amends, i offer a free short story, of sorts. i was saving it for some magazine or other but i may as well post it here. as before, if you liked the story, feel free to press the paypal donate button at the bottom, but do not feel obliged!
thank you.
a lexicon of steam literature of the third reich
by lavie tidhar
for the english, the ideal existence was represented in the society of the victorian age. – adolf hitler, in conversation, 22 july 1941
the is a sampler of material selected from a lexicon of steam literature of the third reich, third edition. it is not for sale. all rights reserved (c) 1979, 1992, 2012 by world free media, a subsidiary of goebbels publishing gmbh. available in all reich territories, colonies and protectorates. winner of the schmidt award.
dampfkraftmythen
steam power myths, also abbreviated spm. popular genre of german – and, later, american – literature popularised in the immediate post-war period by joseph goebbels under both his goebbels publishing and world free media publishing houses (the first for the german nations, the second specialising in translations for the colonies).
dampfkraftmythen are fantasies of an age of steam, sometimes taking place in a transformed 19th century (for which also see iron chancellor, the) sometimes in the prehistory of the aryan race, a golden age sometimes referred to, within the context of spm if not historical narratives, as the first reich.
spm is characterised by the use of steam machines and other fantastical inventions, for narratives of adventure and peril in which the heroes – almost always pure-blooded aryans – face, and at last prevent, global threats from various monsters or from members of the lower races, often, though not exclusively, jews.
it was most popular between 1948 and 1977 and again, briefly, from 1985 to 1991. a resurgence of interest – and a subsequent explosion of the genre – began in the 2000s and is still ongoing.
it is sometimes also referred to as stahlmythen (steel myths) or maschinenmythen (machine myths). however dampfkraftmythen is the generally accepted term.
thule
see also steam city. the greatest city of the aryan race and capital of the hyperborean lands in the works of, e.g., ernst blau, karl junker, bruno schaefer and others.
thule first appears in blau’s now-classic the swastika gates (1950) in which a time travelling young hero of the reich, hanns von himmel, finds himself in hyperborea during the age of the first reich, which is threatened by an invasion of jews equipped with advanced steam-powered weaponry. von himmel, naturally, eventually saves the day. already in that novel many of the recurring elements of spm can be seen – mad jew scientists, steam machines, hyperborea, adventure narratives, improbable science – but, and perhaps most notably, also that sense of a glorious past, a golden age of aryan supremacy not seen again for thousands of years.
we must remember that those early writers – blau, junker et. al. – had only recently come out of a devastating world war in which the forces of the third reich only triumphed at great cost. many of these writers have been soldiers in the war (junker would later become hitler’s special envoy to the west african land reclamation programme) and have suffered greatly in many instances. in 1950 germany was only just recovering from the war, still busy subduing the new colonies (the united kingdom, russia) and carrying on a ground war in north america (which only ended decisively in 1954 with the formal surrender of guerrilla leader and last de facto president richard nixon). dampfkraftmythen comes from that sense, that many long years were still to pass before the true dream of the third reich could be fulfilled. until then, fiction would serve.
the swastika gates was made into a film by leni riefenstahl in 1957. thule appeared again in schaefer’s the hyperborean trilogy (1963), in letta braun’s city on the edge of the world (1968) and widely elsewhere.
mad jew scientist, the
a stock character of many spm novels, the mad jewish scientist (also see jews) represents the degenerative but cunning mind of the jewish conspiracy. often (see also recursive spm, false reality, hitler lost) the scientist is a resurrected albert einstein (1879-1954), a jewish scientist of some notoriety. he expired in the rehabilitation camps established in north america following the american surrender. however as a fictional character he appears often, particularly in the works of karl junker, where he lives in an impenetrable fortress of ice on arktos, the polar continent, from which he sends his minions to make war against the aryan nations of hyperborea.
black sun, the
schwarze sonne, also referred to as the sonnenrad, or sun wheel. variously a vast spaceship, a time-travelling device or a doomsday weapon, depending on the writer. another stock element of spm, the black sun represents the triumph of german science. in the black sun (1956) by letta braun, it is indeed a vast spaceship carrying aryan colonists to a nearby star system. unbeknown to the colonists the ship is secretly infested by jews hoping to escape earth. a steam-based culture is developed on board ship. at last its captain, schmidt, decides to blow up the ship rather than let the jew plague infest another planet. the schmidt award is named in his honour.
the black sun is a time machine in the classic the swastika gates, and a doomsday device in bruno schaefer’s mostly-forgotten masterpiece the führer machine (1960).
braun, letta
austrian writer, born 1915. a nurse during the war, she later moved to new hamburg (formerly new york) in the american colonies, where she lived for the rest of her life. braun worked across a range of genres but is best known for her spm work, of which the black sun is perhaps the most notable.
the schmidt award
an annual literary award given every year since 1962 at the dampfkraftmythen weltkonvention, for an spm work best representing the ideology of national socialism. named after the heroic, doomed spaceship commander, schmidt, in letta braun’s the black sun.
dampfkraftmythen weltkonvention
steam power myths world convention. annual gathering of spm enthusiasts from across the reich who meet each year in a different city to discuss spm, host a costume competition and award various prizes, the most important of which is the schmidt award.
world free media
joseph goebbels’s outreach publishing company, this was the most important of the immediate post-war publishers to come out of germany. seeking to spread the german tongue, culture and values across the lands now under the rule of the third reich, particularly the anglophone world, goebbels set up an ambitious plan of translating, printing and distributing anything from the führer’s immortal masterpiece, my struggle (1925, 1926) to such lighter fare as karl may’s enduringly popular old shatterhand westerns and many important spm titles translated from the german for the first time.
world free media’s american offices established several magazines in the new protectorate, of which incredible stories had been perhaps the most influential in terms of spm.
junker, karl
german author, born 1920. served in the s.s. during the war in charge of an einsatzgruppe, a task force with the purpose of the purification of the races. wounded in leningrad, served as a senior member of the gestapo in moscow (now hitlergrad) in the immediate post-war period. he later served in the west african land reclamation programme, purifying that region of the world to make it habitable by the master race (see aryan).
junker began writing early. a memoir of his time in the so called “death squads” was only published after his death. he also published two volumes of poetry. his abiding passion has been spm, however, in which field he is best known.
he began publishing with short story “the jew-box affair”, in which a soldier fighting the short-lived uprising of the jewish ghetto in warsaw is wounded. when he awakens it is on arktos, a frozen wasteland continent off hyperborea in which the self-same ghetto jews have found shelter by means of a transdimensional gate. the soldier destroys their hideaway and returns to our world unscathed.
more ambitiously, junker then began the arktos trilogy of novels, comprising arktos rising, return to arktos and the fall of arktos (published 1948; 1949; 1951; collected as the complete arktos in 1961). in the series a mad jew scientist, albert einstein, creates a jewland on arktos from which he assails the aryan hyperborea. he is defeated, at long last, by mengele (for which see separate entry).
junker had an insightful understanding into the issue of creating racial purity, as well as an abiding interest in science, both of the aryan (for which see world ice theory; glacial cosmogony) and of the degenerate jewish variety (see also relativity, theory of). though not as well known now as he was in the post-war period he remains one of spm’s deepest and most important practitioners.
iron chancellor, the
also otto von bismarck, the legendary chancellor of germany and an important figure in spm literature. in blau’s the iron chancellor bismarck raises an army of mighty airships (see also count ferdinand von zeppelin) to take on the british empire, eventually toppling queen victoria (an otherwise minor figure in spm) and leading to a third reich fifty years earlier than in our own history. in the 1960s american author johannes white wrote a series of adventure stories chronicling the adventures of “the iron chancellor” – now a gladiator in ancient hyperborea – as he battles various jewish (see jews) conspiracies and eventually rises from his humble position to become the first leader of the first reich. these were published in incredible stories to much acclaim: they represent the first significant instance of spm literature in a foreign language (today, of course, the children of the former “united states” are brought up in german, rather than the decadent english of their defeated parents).
jews
an inferior race. a villainous people often compared with rats (see also fritz hippler’s documentary film the eternal jew (1940)). popular in spm literature, in which they sometimes occupy the mythical continent of arktos. ruled by a secret council, the elders of zion. control world banking and have secret tunnels dug under the world, through which they scurry on their seditious missions. now mostly eradicated (see also black race, the).
incredible stories
spm magazine published from 1958 to around 1976 (published sporadically in the 1980s as a series of anthologies; revived as a magazine in 2005), in english. it mostly died out as the american rehabilitation programme began to take effect. post-1976 incarnations were published in german.
incredible stories was edited by howard w. campbell jr. from its inception onwards. it is notable for featuring the works of several american authors of spm, including johannes white and hans weber, who created a space-based (for which also see von braun, wernher, trsa (third reich space agency, the) etc.) version of spm featuring his enduringly popular heroine, glory gestalt, and debuting with the serialised novel a mission of glory (1964-1965; collected in book form 1970).
mengele, josef
one of the most respected and admired of national socialist scientists. winner of the nobel prize for medicine in 1952, for his experiments on twins, and of the hitler medal for extraordinary services to the reich one year previous. served at auschwitz (a lower races termination camp) during the war. after the nobel mengele retired to the reich protectorate of argentina, where he died of old age.
mengele is of interest to spm scholars as an increasingly popular, recurring character in what we might term the shared world of spm. he first appears in a minor role in karl junker’s return to arktos (1949), where he develops a race of telepathic twins who assist the hero in toppling einstein’s army of suicide golems. he next pops up as a significant secondary character in soulless (1972), by countess matilda, a fantasy, where he is the charming yet eccentric companion to the heroine’s light-hearted escapades in a bismarckian berlin complete with blood-sucking, vampirical jews and hideous gypsy werewolves, which he successfully – by means of a lethal vaccine – helps eliminate.
the anthology monstrous science (2002), edited by koch and gärtner is of interest. the titular story, by rising spm star bernhard vogel, in which mengele faces off against jew scientist albert einstein on the island of madagascar (see jewland, a) won the schmidt award for short fiction the following year.
jewland, a
a common theme in spm are plots or sub-plots in which jews seek to – or already establish – autonomous nations or jewlands. sometimes they occur in palestine, at other times in madagascar, uganda or indeed fictional lands such as arktos. they often end with the eventual destruction or complete annihilation of the forbidden jewland by the aryan hero.
schaefer, bruno
an extract from the hyperborean trilogy (1963):
. . . ‘look out!’ shouted brunhilda. her long blonde hair whipped in the wind as she clung for dear life to the underside of the mighty airship the iron chancellor. rising ahead was the black airship king david, a dark oppressive presence in the skies. its mighty guns were aimed at the iron chancellor. ‘we will not be defeated by a devolved race!’ cried brunhilda’s companion, conrad bosch, the famed explorer and engineer. ‘take my hand!’
gratefully brunhilda reached for him and his strong, graceful fingers clasped hers securely. ‘jump!’ called conrad. brunhilda closed her eyes and let go. she swung through the air, held by conrad, and landed in a heap of clothes and perfume in the iron chancellor’s lifeboat blimp’s gondola.
‘it could not be easier!’ laughed conrad. he jumped after her and with the flash of his machete cut the ropes securing the lifeboat to the main hull of the larger ship. above them the chancellor was being pummelled with fire from the monstrous jew ship.
‘but…’ stammered brunhilda, quite overwhelmed, ‘the ship is on fire!’
and indeed it was so. as they detached from the iron chancellor in the blimp they could see the ship tilting to one side as it burned. ‘damn those filthy jews!’ cried conrad. ‘but there are still some tricks up my sleeve!’
‘what will you do?’ cried brunhilda. conrad grinned at her disarmingly. she gazed longingly at his perfect aryan profile as he piloted the blimp away from the chancellor – and, she realised with horror, on a direct collision course with the jew ship!
‘conrad, no!’ cried brunhilda.
‘i will show those dirty rats the might of the reich!’ said conrad, and brunhilda could only gasp in surprise as conrad brought forth a curious device, the length of a giant telescope, made of some shining metal unknown to brunhilda. ‘this is a krupp iii agitator!’ said conrad with pride. ‘the most advance and deadliest of hyperborean war machines ever developed!’ he aimed at the king david, one eye closed in concentration, and pressed the trigger.
. . .
on board the jew ship the degenerate scientist, einstein, could only watch in disbelief as the rocket sailed forward. alone on the deck but for his army of mechanical golems, his mouth opened but no words would come out. ‘what –‘ he managed to say, at last – a moment before the rocket impacted with the airship.
. . .
an enormous ball of flame engulfed the jew ship, the sound deafening. the shockwave threw the small blimp this way and that, as if on an ocean’s tide, and brunhilda lost her footing and fell to the floor of the gondola. but strong hands held her and, sobbing in relief and gratitude, she sank her face into conrad’s strong, comforting, manly chest. ‘there, there,’ he said, his hand stroking her hair gently. ‘it is over.’ she raised her head and looked at him, her blue eyes moist, her lips parted. he was so handsome, she thought. so brave. he smiled, and his blond hair shone in the sun. ‘oh, conrad!’ she said. he leaned into her and their lips met as he passionately kissed her.
brunhilda hoped the moment last forever.
dick, philip k. (kindred)
american author of pulp fiction. his novel the man in the high castle (1962) posits a world in which germany lost the war (see also false reality, hitler lost). all known copies of the novel have been destroyed. the author perished in a rehabilitation camp shortly after.
golem
a jew creation, born out of occult practices and degenerate science. a mechanical man.
black race, the
devolved race, mostly extinct – some are kept (alongside jews, gypsies, slavs, chinamen etc. etc.) in specialised zoos. perhaps the best way to see them is at the berlin zoologischer garten, where many rare examples of near-extinct lower races can be seen in their native habitat, including such rare specimens as pygmies, australian aborigines and the irish.
the black race is seldom seen in spm, with the exception of blau’s relatively minor work the dark continent (1958), set in a prehistoric afrikaland. a hyperborean airship carrying a black sun device travels by means of a transdimensional gate to the black continent, encountering the natives, having many adventures and at last returning to hyperborea, from which an invasion – for purpose of resettlement – of afrikaland later launches. the book was meant as the first in a trilogy, yet the other two volumes, if written, were never published.
riefenstahl, leni
helene bertha amalie ‘leni’ riefenstahl, born 1902, was one of the greatest aryan film directors of her time, and a close personal friend of the führer himself. 1935’s triumph of the will is a masterpiece of german cinema, chronicling the 1934 nazi party congress in which glorious speeches by adolf hitler are intersected with scenes of a worshipful assembly.
of relevance to spm, however, is riefenstahl’s so-called stahlmythen trilogy (steel myths trilogy) of films, the first of which was a faithful adaptation of ernst blau’s classic novel the swastika gates (filmed 1957). it was followed by metal fist of the iron chancellor (1965), based on an original script, in which an aryan soldier during the war is wounded and remade into half-machine warrior who goes on a mission of revenge against a global conspiracy of jews masquerading as high-ranking aryan officers (see also elders of zion, the).
the third and concluding film, riefenstahl’s seas of hyperborea (1977), is considered one of the greatest films ever made, utilizing revolutionary new filming techniques and special effects to truly – and for the first time – bring a grand vision of spm to the big screen. filled with magnificent airships and aerial battles, with larger than life monsters (including an entire horde of golems) and mad jew scientists (the evil einstein as scientist-emperor of arktos complete with clones of himself), it also includes time travel and a magnificent re-creation of the black sun plot device as a doomsday weapon. seas of hyperborea combines all the classic elements of spm to create something which is, in spirit, closest perhaps to rifenstahl’s much earlier triumph des willens, showing us not only the essential nobleness of the aryan race but, most importantly, the historic inevitability of its eventual triumph.
alternate world
a world in which things turned out differently than in our own. see also false reality, philip k. dick, hitler lost, steampunk.
the end.
hitler quote taken from hitler’s table talk: 1941-1944, ed. by hugh trevor-roper
advertisements | ɪn ðə læst tu jɪrz, kəˈneɪdiən prəˈvaɪdərz hæv ˈfaɪnəli lɔnʧt ˈjuˈɛs ənd ˌɪnərˈnæʃənɑl ˈɛkwəti ðət du əˈweɪ wɪθ ˈkərənsi ˈhɛʤɪŋ. jɛt ðə ˈstrætəʤi rɪˈmeɪnz ˈhjuʤli ˈpɑpjələr: ðə hɛʤd ˈvərʒənz əv ˌɪnərˈnæʃənɑl ənd ˈjuˈɛs ˈtoʊtəl ˈmɑrkɪt rɪˈmeɪn məʧ ˈlɑrʤər ðən ðɛr ənˈhɛʤd ˈkaʊntərˌpɑrts, waɪl ˌɪnˈvɛstərz hæv mɔr ðən 2 ˈbɪljən ɪn ðə 500 hɛʤd tɪ kæd (xsp*), ˈmeɪkɪŋ ɪt ðə θərd ˈlɑrʤəst ɪn ˈkænədə. nən əv maɪ ˈmɑdəl pɔrtˈfoʊliˌoʊz ˌɪnˈklud fəndz: lɔŋ ˈɑrgjud ðə ˈstrætəʤi ɪz ɪkˈspɛnsɪv ənd ˈɪmprəˌsaɪs. ˈivɪn wɪn ðə kəˈneɪdiən ˈdɔlər əˈpriʃiˌeɪts ˈstrɔŋli, ðə haɪ ˈtrækɪŋ ˈɛrər əv fəndz ˈɔfən rɪˈdusɪz ˈɛni pəˈtɛnʃəl ˈbɛnəfɪt. ɪn wən drəˈmætɪk ɪgˈzæmpəl, ˈʤəstɪn ˈbɛndər lʊkt æt ðə ˈpɪriəd frəm 2006 θru 2011 wɪn ðə ˈjuˈɛs ˈdɔlər dɪˈpriʃiˌeɪtɪd baɪ ˈɔlˌmoʊst 13 ənd ˈhɛʤɪŋ ʃʊd hæv prəˈdust ə juʤ bust: ɪn ˌriˈæləˌti, lægd ɪts ˈkaʊntərˌpɑrt. ðɪs lidz tɪ ən ˈɪntəˌrɛstɪŋ kˈwɛʃən. ɪf ˈkərənsi ˈhɛʤɪŋ wər fri ənd ən ɪkˈspɛktɪd ˈtrækɪŋ ˈɛrər əv ɪt bi wərθ kənˈsɪdərɪŋ? dɪz ˈhɛʤɪŋ loʊər ˌvɑləˈtɪləti? ðə moʊst ˈkɑmən ˈɑrgjəmənt ɪn ˈfeɪvər əv ˈkərənsi ˈhɛʤɪŋ ɪz ðət ɪt loʊərz ˌvɑləˈtɪləti. ɪn ˌənkənˈvɛnʃənəl səkˈsɛs, ˈdeɪvɪd ˈlɛʤənˌdɛri ˈmænɪʤər əv ðə jeɪl ðət ˈkərənsi dɪˌvərsəfəˈkeɪʃən ɪz ə ˈbɛnəfɪt, bət ˈoʊnli tɪ ə pɔɪnt. hi sɪz wən ʃʊd hɛʤ ˈfɔrən ˈkərənsi wəns ɪt ɪkˈsidz 25 əv ðə ˈæˌsɛts: ə kˈwɔrtər əv pɔrtˈfoʊliˌoʊ ˈæˌsɛts, ðə ˈkərənsi ɪkˈspoʊʒər ˈkɑnstəˌtuts ə sɔrs əv ənˈwɔntɪd risk.”*.” ˈəðər ˈstədiz ˈɔlsoʊ səˈʤɛst tu məʧ ˈfɔrən ˈkərənsi ɪkˈspoʊʒər kriˈeɪts mɔr ˌvɑləˈtɪləti wɪθ noʊ ˌɪnˈkris ɪn ɪkˈspɛktɪd ɪz, əv kɔrs, ə ˈlaʊzi ˌkɑmbəˈneɪʃən. ə ˈrisərʧ ˈpeɪpər priˈpɛrd fər ðə lʊkt æt ˈdætə fər fræns, ˈʤərməni, ʤəˈpæn, ðə juˈnaɪtɪd ˈkɪŋdəm ənd ðə ˈjuˈɛs, kənˈkludɪŋ ðət ˈhɛʤɪŋ əˈpɪrz tɪ ˈifɛktɪvli rɪˈdus ðə ˈvɛriəns əv ˈfɔrən ˌɪnˈvɛstmənt rɪˈtərnz nɑt ˈoʊnli æt ʃɔrt ˌɪnˈvɛstmənt hərˈaɪzənz bət ˈɔlsoʊ æt hərˈaɪzənz əv əp tɪ 5 jɪrz ɪn moʊst cases.”*.” ðiz ˈfaɪndɪŋz wɪl ˈlaɪkli reɪz ðə ˈaɪˌbraʊz əv ˌɪnˈvɛstərz hu juz maɪ ˈmɑdəl pɔrtˈfoʊliˌoʊz, wɪʧ hæv ɛz məʧ ɛz 40 ɪkˈspoʊʒər tɪ ˈfɔrən ˈkərənsi. ɪt meɪk sɛns tɪ hɛʤ æt list pɑrt əv ðə ˈjuˈɛs ər ˌɪnərˈnæʃənɑl ˈɛkwəti ˈhoʊldɪŋz? noʊ, ɪt. ɪt tərnz aʊt ðə aɪˈdiə ðət ˈhɛʤɪŋ loʊərz ˌvɑləˈtɪləti ˈsɪmpli hoʊld əp ɪn ˈkænədə. ə ˈkəpəl əv ˈɪndəstri waɪt kəˈneɪdiən ənd wən prəˈvaɪdɪd ˈɛvədəns tɪ səˈpɔrt ðɪs aɪˈdiə. ɪgˈzɪbɪt ə kəmz frəm ˈgloʊbəl ædˈvaɪzərz: ðɛr ˈrisərʧ lʊkt æt ˈdætə frəm 1990 θru 2009 ənd faʊnd ðət fər kəˈneɪdiənz ə ˈfʊli ənˈhɛʤd pɔrtˈfoʊliˌoʊ hæd ðə loʊəst ˌvɑləˈtɪləti: ˈhɛʤɪŋ hæf ðə ˈfɔrən ˈkərənsi ˌɪnˈkrist ðə ˈænjuəl ˈstændərd ˌdiviˈeɪʃən əv rɪˈtərnz, ənd ˈhɛʤɪŋ ɔl ðə ˈkərənsi bəmpt ɪt ˈivɪn haɪər. ɪn əˈnəðər æˈnælɪsɪs, ˈrisərʧərz æt j.p*. ˈmɔrgən ˈæˌsɛt ˈmænɪʤmənt lʊkt æt ðə ˈifɛkt əv ˈhɛʤɪŋ ɔn ˌɪnˈvɛstərz ɪn ðə ˈjuˈɛs, ʤəˈpæn, ðə juˈnaɪtɪd ˈkɪŋdəm, ˈʤərməni, sˈwɪtsərlənd, ɔˈstreɪljə ənd ˈkænədə. ðeɪ faʊnd ˈhɛʤɪŋ æt list pɑrt əv ən ˈɛkwəti ˈfɔrən ˈkərənsi rɪsk loʊərd ˌvɑləˈtɪləti ɪn ðə fərst faɪv ˈkəntriz, bət ɪn ˈkænədə ənd ɔˈstreɪljə ðə ˈstrætəʤi wɑz ˈkaʊnərprəˌdəktɪv. ˈkərənsi hɛʤ ɪz nɑt ə wɪˈθɪn ðiz tu countries,”*,” ðeɪ roʊt. tunz waɪ ˈhɛʤɪŋ ˈifɛktɪv ɪn ˈkænədə? ðə ˈrisərʧərz ɪkˈspleɪn ðət ðə ˈjuˈɛs ˈdɔlər, ˈjʊrə ənd swɪs fræŋk tɛnd tɪ hæv ˈnɛgətɪv ˌkɔrəˈleɪʃən wɪθ ðə ˈgloʊbəl ˈɛkwəti ˈmɑrkɪts. (ˈriˌkɔl ðət wɪn ɔl ˈrɪski ˈæˌsɛts ˈpləmətɪd ɪn 2008 ðə ˈjuˈɛs ˈdɔlər sɔrd.) ˈnɛgətɪv ˌkɔrəˈleɪʃən ɪz wət dɪˌvərsəfəˈkeɪʃən ɪz ɔl əˈbaʊt: ˈɛni pɑrt əv jʊr pɔrtˈfoʊliˌoʊ ðət goʊz əp wɪn ˈɛkwətiz goʊ daʊn ɪz ə ˈwɛlkəm əˈdɪʃən, soʊ ɪkˈspoʊʒər tɪ ðiz ˈkərənsiz ɪz ə ˈbɛnəfɪt, ənd ˈhɛʤɪŋ waɪps ɪt aʊt. ɛz ðə j.p*. ˈmɔrgən ˈɔθərz raɪt: hɛʤ wɪl tɛnd tɪ ˈproʊdus ˈprɑfɪts æt ðə seɪm taɪm ðət ˈɛkwəti ˈmɑrkɪts ər ədˈvænsɪŋ, ənd ˈproʊdus ˈlɔsɪz wɪn ˈɛkwətiz ər falling.”*.” ɪn ˈəðər wərdz, ɪt ˈmægnəˌfaɪz ˌvɑləˈtɪləti ˈrəðər ðən rɪˈdusɪŋ ɪt. stɪl nɑt kənˈvɪnst? ðə ˈkænədə ˈpɛnʃən plæn ˈɔfərz əˈnəðər ˈkɑmənˌtɛri ɪn ɪts 2013 ˈænjuəl rɪˈpɔrt. ðə ˌɪnˈvɛstmənt bɔrd siz kəmˈpɛlɪŋ ˈrizən tɪ hɛʤ ˈkərənsi exposure,”*,” ˈlɑrʤli bɪˈkəz wʊd ənˈduli taɪ fənd rɪˈtərnz tɪ ðə praɪs əv ɔɪl ənd ˈəðər kəˈmɑdətiz ɛz ðeɪ draɪv ðə ˈfɔrən ɪksˈʧeɪnʤ ˈvælju əv ðə kəˈneɪdiən dollar.”*.” (ˌɪnsɪˈdɛntəli, ðət ˌɛkspləˈneɪʃən hɛlps ɪkˈspleɪn waɪ ˈhɛʤɪŋ ɪz ˈikwəli ˈdubiəs ɪn ɔˈstreɪljə, wɛr ðə ˈdɔlər ɪz ˈɔlsoʊ ˈkɔrəˌleɪtəd wɪθ kəˈmɑdəti ˈpraɪsɪz.) ðə ˈɛvədəns simz klɪr ðət ˈhɛʤɪŋ ɪz ə ˈkɔstli ˈstrætəʤi ðət ˈæˌkʧuəli ˌɪnˈkrisɪz rɪsk ənd ˈfrikwɛntli feɪlz tɪ ˈɔfər ə ˈbɛnəfɪt ˈivɪn wɪn ðə kəˈneɪdiən ˈdɔlər əˈpriʃiˌeɪts. haʊ lɔŋ ˌbiˈfɔr ðə ˌpɑpjəˈlɛrəti əv ˈɪndɛks fəndz ˈfaɪnəli weɪnz? |
in the last two years, canadian etf providers have finally launched us and international equity etfs that do away with currency hedging. yet the strategy remains hugely popular: the hedged versions of vanguard’s international and us total market etfs remain much larger than their unhedged counterparts, while investors have more than $2 billion in the ishares s&p 500 hedged to cad (xsp), making it the third largest etf in canada.
none of my model portfolios include currency-hedged funds: long argued the strategy is expensive and imprecise. even when the canadian dollar appreciates strongly, the high tracking error of currency-hedged funds often reduces any potential benefit. in one dramatic example, justin bender looked at the period from 2006 through 2011, when the us dollar depreciated by almost 13% and hedging should have produced a huge boost: in reality, xsp lagged its us-listed counterpart.
this leads to an interesting question. if currency hedging were free and precise—with an expected tracking error of zero—would it be worth considering?
does hedging lower volatility?
the most common argument in favour of currency hedging is that it lowers volatility. in unconventional success, david swensen—the legendary manager of the yale endowment—explains that currency diversification is a benefit, but only to a point. he says one should hedge foreign currency once it exceeds 25% of the portfolio’s assets: “beyond a quarter of portfolio assets, the currency exposure constitutes a source of unwanted risk.”
other studies also suggest too much foreign currency exposure creates more volatility with no increase in expected returns—which is, of course, a lousy combination. a research paper prepared for the imf looked at data for france, germany, japan, the united kingdom and the us, concluding that “currency hedging appears to effectively reduce the variance of foreign investment returns not only at short investment horizons but also at horizons of up to 5 years in most cases.”
these findings will likely raise the eyebrows of investors who use my model portfolios, which have as much as 40% exposure to foreign currency. wouldn’t it make sense to hedge at least part of the us or international equity holdings? no, it wouldn’t. it turns out the idea that hedging lowers volatility simply hold up in canada.
a couple of industry white papers—one canadian and one american—have provided evidence to support this idea. exhibit a comes from pyramis global advisors: their research looked at data from 1990 through 2009 and found that for canadians a fully unhedged portfolio had the lowest volatility: hedging half the foreign currency increased the annual standard deviation of returns, and hedging all the currency bumped it even higher.
in another analysis, researchers at j.p. morgan asset management looked at the effect of hedging on investors in the us, japan, the united kingdom, germany, switzerland, australia and canada. they found hedging at least part of an equity portfolio’s foreign currency risk lowered volatility in the first five countries, but in canada and australia the strategy was counterproductive. “a currency hedge is not a diversifier within these two countries,” they wrote.
loonie tunes
why hedging effective in canada? the pyramis researchers explain that the us dollar, euro and swiss franc tend to have negative correlation with the global equity markets. (recall that when all risky assets plummeted in 2008, the us dollar soared.) negative correlation is what diversification is all about: any part of your portfolio that goes up when equities go down is a welcome addition, so exposure to these currencies is a benefit, and hedging wipes it out. as the j.p. morgan authors write: “the hedge will tend to produce profits at the same time that equity markets are advancing, and produce losses when equities are falling.” in other words, it magnifies volatility rather than reducing it.
still not convinced? the canada pension plan offers another commentary in its 2013 annual report. the cpp investment board sees “no compelling reason to hedge equity-related currency exposure,” largely because “hedging would unduly tie fund returns to the price of oil and other commodities as they drive the foreign exchange value of the canadian dollar.” (incidentally, that explanation helps explain why hedging is equally dubious in australia, where the dollar is also correlated with commodity prices.)
the evidence seems clear that hedging is a costly strategy that actually increases risk and frequently fails to offer a benefit even when the canadian dollar appreciates. how long before the popularity of currency-hedged index funds finally wanes? | rækt ɪz noʊ ˈlɔŋgər ˈpəblɪʃɪŋ. θæŋk ju tɪ ˈɛvriˌwən hu rɛd ɑr wərk ˈoʊvər ðə jɪrz. ðə ˈɑrˌkaɪvz wɪl rɪˈmeɪn əˈveɪləbəl hir; fər nu ˈstɔriz, hɛd ˈoʊvər tɪ vox.com*, wɛr ɑr stæf ɪz ˈkəvərɪŋ kənˈsumər ˈkəlʧər fər ðə gʊdz baɪ vɑks. ju kən ˈɔlsoʊ si wət əp tɪ baɪ ˈsaɪnɪŋ əp hir. kəmˈplitli ˌdɪsəˈpɪrd. aɪ ʤɪst lɛft. aɪ stɑpt ˈəˌploʊdɪŋ tɪ ˈjuˌtub. ən ˈɛriz soʊ ˈiðər ˈvɛri hɑt ər ˈvɛri cold,”*,” sɪz mɪˈʃɛl fæn, hu stɑpt baɪ ðə rækt ˈɔfəsɪz ɔn ə ˈrisənt ˈwərlˌwɪnd prɛs ˈʤəŋkɪt tɪ prəˈmoʊt ðə lɔnʧ əv hər ɛm kɑzˈmɛtɪks laɪn. nɑt ðə fərst taɪm lɔnʧt ɛm, ˌhaʊˈɛvər. fæn, hu ɪz ˈɔlˌmoʊst 30 ɪz wən əv ˈbɪgəst səkˈsɛs ˈstɔriz ənd ˈɑrgjuəbli wən əv ðə moʊst ˈpɑpjələr ənd ˌrɛkəgˈnaɪzəbəl ˈsoʊˈkɔld ˈbjuti ˈguˌruz ɔn ðə ˈplætˌfɔrm, wɪθ ˈɔlˌmoʊst 9 ˈmɪljən səbˈskraɪbərz ənd wɛl ˈoʊvər ə ˈbɪljən vjuz əv hər ˈvɪdioʊz. ðɛn, hər ˈbjuti ˈsæmplɪŋ ˈkəmpəˌni, wɪʧ ɪz wərθ ə ˌriˈpɔrtəd 500 ˈmɪljən. wɑz ˈweɪkɪŋ əp ˈfilɪŋ soʊ ˈbroʊkən. aɪ noʊ why.”*.” fæn ɪz səkˈsɛsfəl ɪn hər fild, ɪf nɑt æt ðə ˈvɛri tɔp əv ɪt. æt ðə bɪˈgɪnɪŋ əv 2016 ʃi ˈlændɪd ɔn ðə ˈkəvərz əv boʊθ fɔrbz ənd ˈnaɪˌlɑn, ˈlɔdɪd fər hər səkˈsɛs boʊθ ˈɔnˌlaɪn ənd ɔf. ʃi ʃʊd hæv bɪn dæm plizd wɪθ hərˈsɛlf æt ðət pɔɪnt. bət nɑt haʊ ʃi fɛlt. aʊt bɪˈkəz aɪ θɪŋk aɪ wɑz goʊɪŋ θru dɪˈprɛʃən. aɪ noʊ bɪˈkəz aɪ goʊ tɪ ə ˈhɑˌspɪtəl ər ˈɛniˌθɪŋ ər gɪt ˌdaɪəgˈnoʊst, bət aɪ wɑz ˈteɪkɪŋ ə fju kˈwɪzɪz ˈɔnˌlaɪn ənd aɪ fɛlt ˈrɪli sæd ˈɛvəri day,”*,” fæn sɪz. əv hər duəl ˈkəvərz, ʃi mˈjuzɪz: wʊd θɪŋk, ðɪs əˈʧivmənt ɪz greɪt. ju ʃʊd bi ˈhæpi. bət aɪ. aɪ wɑz ˈweɪkɪŋ əp ˈfilɪŋ soʊ ˈbroʊkən. aɪ noʊ why.”*.” ɪt ˈlaɪkli hæd ˈsəmθɪŋ tɪ du wɪθ ɛm, ðə ˈmeɪˌkəp laɪn ðət pɪʧt tɪ hər, prəˈdust, ənd ðɛn lɔnʧt ɪn 2013 ˈæftər ˈɔlˌmoʊst θri jɪrz əv dɪˈvɛləpmənt wɪθ kloʊz ˌɪnˈvɑlvmənt. ɪt wɑz nɑt ənd sɛl wɛl, ˈgɑrnərɪŋ ˈkrɪtɪkəl rəvˈjuz frəm hər fænz, hu kəmˈpleɪnd əˈbaʊt ðə praɪs pɔɪnt ənd ˈlɛvid ˌækjəˈzeɪʃənz ðət ʃi hæd out.”*.” baɪ ðə ɛnd əv 2015 ˈɑmənəs rɪˈpɔrts wər ˈkəmɪŋ frəm ˈɪndəstri treɪd ˈpeɪpərz laɪk səˈʤɛstɪŋ ðət ðə praɪs, wɪʧ wɑz ˈəpwərdz əv 50 fər səm ˈprɑdəkts, wɑz ˌɪnˈdid tu haɪ fər ˌdɛməˈgræfɪk. ðɛn fæn əˈnaʊnst ðət ʃi wʊd bi baɪɪŋ ðə laɪn bæk frəm. ɪn ˈərli 2016 fæn drɑpt ˈɛvriˌθɪŋ ənd ˌdɪˈsaɪdɪd tɪ ˈtrævəl ðə wərld fər naɪn mənθs, ˈvɪzɪtɪŋ ˈiʤɪpt, ˈʧaɪnə, ənd ˈjʊrəp, əˈməŋ ˈəðər ˈpleɪsɪz. θɪŋk aɪ riʧt ðət ˈlɪmət wɛr [aɪ θɔt], nid tɪ riˈzɑlv ɔl ðɪs, ju nid tɪ ˈfɪgjər ɪt aʊt, ju nid tɪ hil ˈjɔrsɛlf, ju nid tɪ reflect.’”*.’” ʃi dɪˈlitəd ə bənʧ əv ˈvɪdioʊz frəm hər ˈʧænəl ənd ʧeɪnʤd hər ˈproʊˌfaɪl ˈpɪkʧər tɪ ən ˈɑmənəs blæk bɑks. hər fænz ˈnoʊtɪst hər ˈsaɪləns ˈɔnˌlaɪn, ˈpoʊstɪŋ ˈwərid ˈkɑmɛnts laɪk ðɪs wən ɔn hər læst ˈvɪdioʊ, frəm naɪn mənθs əˈgoʊ: waɪ ɪz jʊr ˈpɪkʧər blæk? aɪ æm ˈwərid əˈbaʊt kəm bæk laɪk wəns ə mənθ ər ˈsəmθɪŋ aɪ ləv ju soʊ məʧ mɪˈʃɛl 3 ju wər ðə ˈrizən aɪ ˈivɪn ʤɔɪnd youtube.”*.” ʃi ˈrɛrli ˈivɪn ˈpoʊstɪd tɪ ˈsoʊʃəl ˈmidiə. ˈlɪtərəli θɔt aɪ wɑz dead,”*,” ʃi læfs. fæn ədˈmɪts ʃi ˈprɪti məʧ lɛft ˈɛvriˌwən tɪ fɛnd fər ðɛmˈsɛlvz. pur ˈkɑligz bæk hoʊm wər ˈrɪli ˈstrəgəlɪŋ bɪˈkəz aɪ ɛz əraʊnd ɛz much,”*,” ʃi sɪz. aɪ hæv ə greɪt tim ənd ðeɪ noʊ ɪgˈzæktli wɛr maɪ ˈvɪʒən ɪz ənd wɛr aɪ əˈlaɪn. aɪ hæv kɪdz jɛt ənd nɑt ˈmɛrid. aɪ kən ʤɪst weɪk əp wɛˈnɛvər. ɪt wɑz ˈprɑbəˌbli wən əv ðə moʊst ˈmɛmərəbəl ɪkˈspɪriənsɪz aɪ ˈɛvər hæd ɪn maɪ laɪf, ʤɪst ˈweɪkɪŋ əp ənd nɑt noʊɪŋ wət tɪ do.”*.” baɪ naʊ, ˈɔrəʤən ˈstɔri ɪz ˈwɛlˈnoʊn, æt list baɪ ðoʊz hu kɛr əˈbaʊt ˈbjuti. hər ˈpɛrənts wər viˌɛtnɑˈmis ˈrɛfˌjuʤiz. hər dæd hæd ə ˈgæmbəlɪŋ ˈprɑbləm; hər ˈpɛrənts ɪˈvɛnʧəwəli broʊk əp ənd ə strɪkt ˈɛnərd ðə ˈpɪkʧər, ðɛn lɛft ə fju jɪrz ˈleɪtər. ˈbɪgəst ˌɪmˈprɛʃən aɪ hæd groʊɪŋ əp wɑz ðət wi wər ˈɔlˌweɪz poor,”*,” fæn sɪz. fæn wɑz goʊɪŋ tɪ bɪˈkəm ə ˈdɔktər, bət ˌɪnˈstɛd skreɪpt təˈgɛðər ðə ˈməni tɪ goʊ tɪ ɑrt skul, wɛr ʃi wɑz ˈgɪvɪn ə macbook*, wɪʧ ˈɛndɪd əp biɪŋ ˌsɛrənˈdɪpɪtəs. wət ʃi juzd tɪ ˈrɛkərd ənd ˈəˌploʊd hər ˈvɛri fərst ˈvɪdioʊ, ɪn 2007 əˈbaʊt hər ˈɛvriˈdeɪ ˈmeɪˌkəp ruˈtin. ɪt gɑt vjuz wɪˈθɪn ðə fərst tu wiks, ənd ˈgɑrnərd ə ˈmɪljən ɪn ðə fərst jɪr, wɪʧ wɑz ə bɪg dil ɪn ðoʊz ˈərli deɪz əv ˈjuˌtub. ʃi kwɪt hər ˈpɑrtˈtaɪm ʤɑb, ðɛn kwɪt skul ˈæftər ˈjuˌtub ækˈsɛptɪd hər ˈɪntu ɪts ˈnuli ˈmɪntɪd ˈpɑrtnərz ˈproʊˌgræm. hər ˈʧænəl ˈstɑrtɪd ˈmeɪkɪŋ ˈməni fərst 25 sɛnts ə deɪ, ðɛn 50 ə wik. keɪm ˈkɔlɪŋ tɪ ˈɔfər hər ə gɪg ˈhɛlpɪŋ ðɛm meɪk tuˈtɔriəlz. ʃi wərkt fər ðə brænd fər ˈsɛvərəl jɪrz, ənd ɪn ðə ˈminˌtaɪm blu əp ɔn ˈjuˌtub wɪθ ˈvɪdioʊz laɪk hər ˈbɑrbi tuˈtɔriəl, wɪʧ ɪz stɪl hər moʊst vjud æt ˈɔlˌmoʊst 66 ˈmɪljən vjuz, ənd ə ˈleɪdi ˈgɑˌgə romance”*” ˌɪnspərˈeɪʃən ˈvɪdioʊ. fæn ˈstɑrtɪd ˈwərkɪŋ ɔn əraʊnd 2010 ənd riʧt aʊt əˈbaʊt ˈstɑrtɪŋ ə ˈbjuti laɪn wɪθ hər əraʊnd ðə seɪm taɪm. ɪz noʊn fər əkˈwaɪərɪŋ ənd ˈnərʧərɪŋ brændz laɪk ˈərbən dɪˈkeɪ ənd nɪks, soʊ ɛm wɑz ə ˈstɑrˌtəp ɪkˈspɪriəns fər ðə ˈkəmpəˌni. θɪŋk mi ˈhævɪŋ maɪ oʊn ˈmeɪˌkəp laɪn wɑz ə drim ˈɔlˌweɪz wanted,”*,” ʃi sɪz. wɑz ən ˌɑpərˈtunəti ðət brɔt tɪ mi, ənd nɑt ˈgɑnə seɪ noʊ tɪ ðət ˌɑpərˈtunəti. aɪ nu ðət ɪt wʊd bi səʧ ən əˈmeɪzɪŋ ɪkˈspɪriəns ˈbɪldɪŋ ˈsəmθɪŋ laɪk that.”*.” greɪt ˌɑpərˈtunəti əˈsaɪd, fæn wɑz naʊ ˌɪnˈvɑlvd ɪn ˈlɔnʧɪŋ tu ˈstɑrˌtəps ˌsaɪməlˈteɪniəsli, ənd ʃi ˈʃətəld bɪtˈwin ðə ist ənd wɛst koʊsts fər ˈsɛvərəl jɪrz. wɪn ɛm ˌɪmˈploʊdɪd, fæn teɪk ɪt wɛl, bət naʊ ʃi vjuz ɪt ɛz ə ˈsɛkənd ʧæns. wɑz ˈrɪli hərt wɪn ðə brænd teɪk off,”*,” ʃi sɪz. ʤɪst səkt. ɪt wɑz θri jɪrz əv maɪ laɪf gɔn, ʤɪst laɪk ðət. bət aɪ ˈlərnɪd ə lɔt frəm ðət ənd aɪ θɪŋk ɪt wɑz ˈrɪli ˌɪmˈpɔrtənt fər mi tɪ feɪl. ɪt wɑz θru ðət ˈfeɪljər ðət aɪ ˈstɑrtɪd tɪ gɪt mɔr ˈɪntəˌrɛstɪd ɪn ðə ˈbɪznɪs ˈæˌspɛkt əv everything.”*.” ˈsɛvərəl taɪmz ˈdʊrɪŋ ðə kɔrs əv ɑr ˌkɑnvərˈseɪʃən, ʃi sɪz, goʊɪŋ tɪ lərn frəm ɔl əv ðiz mistakes.”*.” səm əv ðə mɪˈsteɪks ər ˈɑbviəs wɪθ ðə ˈbɛnəfɪt əv ˈhaɪnˌsaɪt. sɪns ɛm wɑz lɔnʧt ɪn 2013 ˈsɛvərəl ˈɪndi ˈmeɪˌkəp laɪnz hæv pɑpt əp, laɪk ənd ˈmeɪˌkəp gik, ˈfaʊndɪd ɪn 2012 baɪ mɑˈrleɪnə stɛl, wən əv kənˈtɛmpərˌɛriz. ðɪs trɛnd əv ˈsoʊʃəl ˈbjuti brændz ɔl ˈəltəmətli lɛd tɪ ðə ˈʤəgərˌnɔt noʊn ɛz ˈkaɪˌli kɑzˈmɛtɪks. ðə ˈwɪnɪŋ ˈstrætəʤi simz tɪ bi ˈɔnˌlaɪn ˌpərsəˈnælɪtiz ˈdæbəlɪŋ fərst ɪn ˌkɑləbərˈeɪʃənz wɪθ ɪˈstæblɪʃt ˈmeɪˌkəp brændz: kæθˈlin laɪts, fər ɪgˈzæmpəl, dɪd wɪθ ˈɪndi brændz, ofra*, morphe*, ənd ˈmeɪˌkəp gik. ʃi ɪz naʊ ˈlɔnʧɪŋ hər oʊn laɪn, ˈstɑrtɪŋ wɪθ neɪl ˈpɑlɪʃ. ˈʤæklɪn hɪl hæd ə ˈsɛˌlaʊt kəˌlæbərˈeɪʃən wɪθ ˈbɛkɑ ɛz wɛl ɛz ˈsɛvərəl ˈəðər ˈɪndi brændz, ənd ɪz ˈrumərd tɪ bi ˈlɔnʧɪŋ hər oʊn laɪn ðɪs jɪr. ðə ˈkɑmən ˈstrætəʤi əˈməŋ ˈɪndi ˈbjuti brændz naʊ ɪz tɪ tiz ðə lɔnʧ ɔn ˈsoʊʃəl ˈmidiə fər mənθs, ðɛn drɔp ˈprɑdəkts ˈpisˌmil ˈrəðər ðən riˈlisɪŋ ə fʊl kəˈlɛkʃən ðə ˌoʊldˈskul weɪ, wɪʧ ɪz haʊ ðə fərst ɛm laɪn lɔnʧt. ðɪs ɪz ˈɔlsoʊ haʊ fæn ɪz riˈlisɪŋ ðə nu ɛm, huz fərst ˈprɑdəkts wɪl əˈpɪr ˈeɪprəl ɔn ˈwɛbˌsaɪt. ʃi tʊk ə jɪr tɪ dɪˈvɛləp ðə ˈloʊgoʊ, wɪʧ ˈfiʧərz ə ˌʤiəˈmɛtrɪk ʃeɪp ˌɪnˈspaɪərd baɪ ˈseɪkrɪd ʤiˈɑmətri ənd ðə pləˈtɑnɪk ˈsɑlədz. fæn tæpt ˈɪntu hər ɑrt ˈbækˌgraʊnd fər ðɪs lɔnʧ ɪn ˈsɛvərəl weɪz, ənd ʃi ɪz ˈprɪti ˌənəˈbæʃt əˈbaʊt hər ˈspɪrɪˌʧuəl ˈʤərni, ɔl əv wɪʧ ˈkəlməˌneɪtɪd ɪn ðə ˈloʊgoʊ. ðɛr wɪl bi ˈoʊnli tu ˈkætəˌgɔriz ˈlɪkwɪd ənd ˈkrimi ˈlɪkwɪd ˈlɪpˌstɪks ənd 10 ˈprɑdəkts æt lɔnʧ. wɪn fæn keɪm tɪ ˈɔfəsɪz, ðə fərst θɪŋ aɪ ˈnoʊtɪst wɑz haʊ ˈlɪtəl ˈmeɪˌkəp ʃi wɑz ˈwɛrɪŋ. ʃi sɪz ˈgɪvɪn əp ɔn faʊnˈdeɪʃən kəmˈplitli bɪˈkəz kənˈvɪnst ðət 10 jɪrz əv ˈhɛvi ˈmeɪˌkəp tʊk ə toʊl ɔn hər skɪn. hər oʊn nu ɛsˈθɛtɪk ˌɪnˈspaɪərd hər laɪn, bət soʊ dɪd hər ˈfɑloʊərz. fæn ˈəˌploʊdɪd ə ˈvɪdioʊ (sɪns dɪˈlitəd) ˈæskɪŋ hər fænz wət ˈprɑdəkts laɪk tɪ si frəm hər, ənd ðə moʊst ˈkɑmən rɪkˈwɛst wɑz fər ə ˈlɪkwɪd ˈlɪpˌstɪk ðət draɪɪŋ ənd ənˈkəmfərtəbəl tɪ wɛr. ðə rɪˈzəlt ɪz ˈɪnfənət lɪp klaʊd 16 ə krim ˈfɔrmjələ ɪn ə tub ðət əˈplaɪz laɪk ə ˈlɪkwɪd ˈlɪpˌstɪk wɪθ ˈsupər oʊˈpeɪk ˈkələr, bət draɪ jʊr lɪps aʊt. ɪt ɛz ɛz ə trəˈdɪʃənəl ˈlɪkwɪd ˈlɪpˌstɪk, bət ɪt wɛrz ˈɪntu ə ˈləvli steɪn ˈæftər ə fju aʊərz. ðɛr ər eɪt ʃeɪdz wɪθ neɪmz laɪk ˈspænɪʃ ərθ ənd ˈfeɪdɪd ˈklɛmənˌtin, wɪʧ ʃi sɪz wər ˌɪnˈspaɪərd baɪ ˈfeɪvərɪt ɔɪl peɪnt ˈkələrz. ðə ˈsɛkənd ˈprɑdəkt ɪz ðə ˌɪˈləstrətɪv ˈaɪˌlaɪnər kəˈlɛkʃən 15 wɪʧ ˈfiʧərz tu ˈdɪfərənt ˈæpləˌkeɪtərz: ə ˈmɑrkər tɪp ənd ə ˈskɪni brəʃ tɪp. boʊθ ər ˌɪnˈspaɪərd baɪ ɑrt pɛnz. fæn ˌrɛkəˈmɛndz ˈjuzɪŋ ðə ˈmɑrkər fər ˈboʊldər laɪnz ənd ðə brəʃ fər priˈsɪʒən. fæn ˈɔlsoʊ tæpt faɪv ““muses”*” tɪ ækt ɛz brænd æmˈbæsədərz, ˌɪnˈkludɪŋ hər ˈsɪstərɪnˌlɔ ənd ˈfɛloʊ ˈprɑməs fæn, hu ɪz noʊn fər hər səˈlɛbrɪti ənd ˈkɛrɪktər ˌtrænsfərˈmeɪʃənz. ˈʤɛsɪkə ˈstænli, arisa*, məraɪə ˈlɛnərd, ənd ʤeɪd meɪk əp ðə rɪˈmeɪnɪŋ mˈjuzɪz; ðɛr səbˈskraɪbər kaʊnts reɪnʤ frəm tɪ ˈoʊvər ə ˈmɪljən. fæn həz lɔŋ ˈmɛntərd kriˈeɪtərz ˈviə hər ɑs ˈproʊˌgræm, wɪʧ həz ˈmɛmbərz. ðə mjuz ˈproʊˌgræm ɪz ˈɔlsoʊ ə weɪ tɪ ˈʃoʊˌkeɪs hər ˈprɑdəkts ˈviə hu ər stɪl ˈrɪli ˈɪntu ˈjuzɪŋ ˈmeɪˌkəp kriˈeɪtɪvli ˈsəmθɪŋ fæn hərˈsɛlf du ɛz məʧ ˌɛniˈmɔr. ˈivɪn tɛl ju haʊ ˈmɛni taɪmz aɪ hæd tɪ teɪk ˈpɪkʧərz wɪθ ˈpipəl ɪn ðə ˈbæθˌrum. ðə moʊst ˈɔkwərd thing.”*.” ˈæftər ˈspikɪŋ tɪ fæn fər ən aʊər, aɪ ˈnoʊtɪst hər ˈpælpəbəl sɛns əv rɪˈlif əˈbaʊt ðə dɪˈsɪʒən tɪ muv bɪˈhaɪnd ðə sinz ənd əˈweɪ frəm biɪŋ ɪn frənt əv ðə ˈkæmərə. ˈrɛkəgˌnaɪzd ɪn ril laɪf ɪz ˈɔlˌweɪz wɪrd, bɪˈkəz ju ˈnɛvər noʊ wɪn ˈgɑnə happen,”*,” ʃi sɪz. ˈivɪn tɛl ju haʊ ˈmɛni taɪmz aɪ hæd tɪ teɪk ˈpɪkʧərz wɪθ ˈpipəl ɪn ðə ˈbæθˌrum. ðə moʊst ˈɔkwərd thing.”*.” ʃi sɪz. ʃi mɪs ðə ˈkɑmɛntər troʊlz ˈiðər, wən əv hum roʊt ˈtɛrəbəl θɪŋz ɔn hər ˈvɪdioʊz, ðɛn ʃoʊd əp æt ən ɪˈvɛnt ˈbɛrɪŋ ə ˈtɛdi bɛr fər hər. ˈivɪn hər mɑm ənd ɪkˈstɛndɪd ˈfæməli gɪt ˈrɛkəgˌnaɪzd naʊ. fæn ˈɔlsoʊ noʊz ðət ənd ˈbjuti ˈguˌruz ər ɪn ə ˈʧælənʤɪŋ pleɪs raɪt naʊ, bɪˈkəz ðɛr ɪz soʊ məʧ ˌkɑmpəˈtɪʃən. ʃi dɪˈskərɪʤɪz hər frəm duɪŋ gɪˈmɪki ˈvɪdioʊz (laɪk ˈjuzɪŋ ə ˈkɑndəm tɪ əˈplaɪ ˈmeɪˌkəp), bət ˌəndərˈstændz waɪ ðeɪ du. ʃɑk value,”*,” ʃi sɪz. ðə ˈoʊnli weɪ fər ðɛm tɪ gɪt vjuz. wɪn aɪ ˈstɑrtɪd ðɛr wər ˈprɑbəˌbli fjuər ðən faɪv ˈpipəl [duɪŋ ˈmeɪˌkəp ˈvɪdioʊz], ənd naʊ ju ˈprɑbəˌbli hæv ər ˈmeɪbi mɔr ˈgloʊbəli. ˈmɛntərd ə fju ˈpipəl hu ˈstɑrtɪd duɪŋ ðiz gɪˈmɪki θɪŋz ənd aɪ toʊld ðɛm, goʊɪŋ tɪ bərn aʊt ˈvɛri fæst ənd nɑt goʊɪŋ tɪ hæv ə lɔɪəl community,’*,’ ənd ʃʊr ɪˈnəf ðeɪ bloʊ əp ənd ðɛn luz stim ˈrɪli fast.”*.” fər naʊ, fæn ɪz ˈrɛlɪʃɪŋ wət ʃi kɔlz hər ˈsɛkənd ʧæns. ˈæˌkʧuəli ˈhæpi ðət ɛm du wɛl, bɪˈkəz ˈhæpi ðət aɪ oʊn it,”*,” ʃi sɪz. ɪz maɪ ˈmeɪˌkəp brænd, nɑt ˈmeɪˌkəp brænd. nɑt fər mi; fər maɪ vjuərz hu hæv bɪn ðɛr sɪns ðə beginning.”*.” ɛz fər ˈwɛðər ər nɑt ðɪs nu ˈvɛnʧər wɪl goʊ ˈvaɪrəl, fæn læfs æt ðə tərm. deɪz ər ˈoʊvər. ˈvaɪrəl bæk ðɛn wɑz style,’”*,’” ʃi sɪz. aɪ mit wɪθ ˈpipəl hu ər traɪɪŋ tɪ sɛl mi θɪŋz laɪk, ‘‘yeah*, ˈgɑnə meɪk ɪt viral!’*!’ laɪk, krɪnʤ, dud. noʊ, nɑt goʊɪŋ tɪ meɪk ɪt ˈvaɪrəl. ˈvaɪrəl ˈʧuzɪz you.”*.” rækt ɔˈkeɪʒənəˌli ækˈsɛpts ˈprɑdəkts fər ˈrisərʧ ənd rivˈjuɪŋ ˈpərpəsɪz. fər mɔr ˌɪnˌfɔrˈmeɪʃən, si ɑr ˈɛθɪks ˈpɑləsi hir. kərˈɛkʃən: ˈeɪprəl 10th*, 2017 ðɪs ˈstɔri həz bɪn kərˈɛktɪd tɪ rɪˈflɛkt ðət ˈʤæklɪn hɪl, nɑt kæθˈlin laɪts, kəˈlæbərˌeɪtɪd wɪθ ˈbɛkɑ kɑzˈmɛtɪks. |
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“i completely disappeared. i just left. i stopped uploading to youtube. i’m an aries so i’m either very hot or very cold,” says michelle phan, who stopped by the racked offices on a recent whirlwind press junket to promote the launch of her em cosmetics line. it’s not the first time she’s launched em, however.
phan, who is almost 30, is one of youtube’s biggest success stories and arguably one of the most popular and recognizable so-called beauty gurus on the platform, with almost 9 million subscribers and well over a billion views of her videos. then there’s ipsy, her beauty sampling company, which is worth a reported $500 million.
“i was waking up feeling so broken. i didn’t know why.”
phan is successful in her field, if not at the very top of it. at the beginning of 2016, she landed on the covers of both forbes and nylon, lauded for her success both online and off. she should have been damn pleased with herself at that point. but that’s not how she felt.
“i peaced out because i think i was going through depression. i don’t know because i didn’t go to a hospital or anything or get diagnosed, but i was taking a few quizzes online and i felt really sad every day,” phan says. of her dual covers, she muses: “you would think, this achievement is great. you should be happy. but i wasn’t. i was waking up feeling so broken. i didn’t know why.”
it likely had something to do with em, the makeup line that l'oréal pitched to her, produced, and then launched in 2013, after almost three years of development with phan’s close involvement. it was not well-received and didn’t sell well, garnering blisteringly critical reviews from her fans, who complained about the price point and levied accusations that she had “sold out.” by the end of 2015, ominous reports were coming from industry trade papers like wwd suggesting that the price, which was upwards of $50 for some products, was indeed too high for phan’s demographic. then phan announced that she would be buying the line back from l'oréal.
in early 2016, phan dropped everything and decided to travel the world for nine months, visiting egypt, china, andrope, among other places. “i think i reached that limit where [i thought], ‘you need to resolve all this, you need to figure it out, you need to heal yourself, you need to reflect.’”
she deleted a bunch of videos from her channel and changed her profile picture to an ominous black box. her fans noticed her silence online, posting worried comments like this one on her last video, from nine months ago: “michelle why is your picture black? i am worried about you...please come back like once a month or something :-( i love you so much michelle <3 you were the reason i even joined youtube.” she rarely even posted to social media. “people literally thought i was dead,” she laughs.
phan admits she pretty much left everyone to fend for themselves. “my poor colleagues back home were really struggling because i wasn’t as around as much,” she says. “but i have a great team and they know exactly where my vision is and where i align. i don’t have kids yet and i’m not married. i can just wake up whenever. it was probably one of the most memorable experiences i ever had in my life, just waking up and not knowing what to do.”
by now, phan’s origin story is well-known, at least by those who care about beauty. her parents were vietnamese refugees. her dad had a gambling problem; her parents eventually broke up and a strict stepdad entered the picture, then left a few years later. “the biggest impression i had growing up was that we were always poor,” phan says.
phan was going to become a doctor, but instead scraped together the money to go to art school, where she was given a macbook, which ended up being serendipitous. it’s what she used to record and upload her very first video, in 2007, about her everyday makeup routine. it got 70,000 views within the first two weeks, and garnered a million in the first year, which was a big deal in those early days of youtube. she quit her part-time waitressing job, then quit school after youtube accepted her into its newly minted partners program. her channel started making money — first 25 cents a day, then $50 a week. lancôme came calling to offer her a gig helping them make tutorials. she worked for the brand for several years, and in the meantime blew up on youtube with videos like her barbie tutorial, which is still her most viewed at almost 66 million views, and a lady gaga “bad romance” inspiration video.
phan started working on ipsy around 2010, and l'oréal reached out about starting a beauty line with her around the same time. l'oréal is known for acquiring and nurturing brands like urban decay and nyx, so em was a startup experience for the company. “i don’t think me having my own makeup line was a dream i’ve always wanted,” she says. “it was an opportunity that l'oréal brought to me, and i’m not gonna say no to that opportunity. i knew that it would be such an amazing experience building something like that.” great opportunity aside, phan was now involved in launching two startups simultaneously, and she shuttled between the east and west coasts for several years.
when em imploded, phan didn’t take it well, but now she views it as a second chance. “i was really hurt when the brand didn’t take off,” she says. “it just sucked. it was three years of my life gone, just like that. but i learned a lot from that and i think it was really important for me to fail. it was through that failure that i started to get more interested in the business aspect of everything.” several times during the course of our conversation, she says, “i’m going to learn from all of these mistakes.”
some of the mistakes are obvious with the benefit of hindsight. since em was launched in 2013, several indie makeup lines have popped up, like colourpop and makeup geek, founded in 2012 by youtuber marlena stell, one of phan’s contemporaries. this trend of social media-spawned beauty brands all ultimately led to the juggernaut known as kylie cosmetics. the winning strategy seems to be online personalities dabbling first in collaborations with established makeup brands: kathleen lights, for example, did collabs with indie brands colourpop, ofra, morphe, and makeup geek. she is now launching her own line, starting with nail polish. jaclyn hill had a sell-out collaboration with becca as well as several other indie brands, and is rumored to be launching her own line this year. the common strategy among indie beauty brands now is to tease the launch on social media for months, then drop products piecemeal — rather than releasing a full 200-product collection the old-school way, which is how the first em line launched.
this is also how phan is releasing the new em, whose first products will appear april 17th on em’s website. she took a year to develop the logo, which features a geometric shape inspired by sacred geometry and the platonic solids. phan tapped into her art background for this launch in several ways, and she is pretty unabashed about her spiritual journey, all of which culminated in the logo.
there will be only two categories — liquid eyeliners and creamy liquid lipsticks — and 10 products at launch. when phan came to racked’s offices, the first thing i noticed was how little makeup she was wearing. she says she’s given up on foundation completely because she’s convinced that 10 years of heavy makeup took a toll on her skin. her own new stripped-down aesthetic inspired her line, but so did her followers. phan uploaded a video (since deleted) asking her fans what products they’d like to see from her, and the most common request was for a liquid lipstick that wasn’t drying and uncomfortable to wear.
the result is infinite lip cloud ($16), a cream formula in a tube that applies like a liquid lipstick with super opaque color, but doesn’t dry your lips out. it isn’t as long-lasting as a traditional liquid lipstick, but it wears into a lovely stain after a few hours. there are eight shades with names like spanish earth and faded clementine, which she says were inspired by favorite oil paint colors. the second product is the illustrative eyeliner collection ($15), which features two different applicators: a marker tip and a skinny brush tip. both are inspired by art pens. phan recommends using the marker for bolder lines and the brush for precision.
phan also tapped five “muses” to act as brand ambassadors, including her sister-in-law and fellow youtuber promise phan, who is known for her celebrity and character transformations. jessica stanley, roxette arisa, mariah leonard, and jade simmone make up the remaining muses; their subscriber counts range from 1,500 to over a million. phan has long mentored up-and-coming creators via her ipsy os program, which has 10,000 members. the muse program is also a way to showcase her products via influencers who are still really into using makeup creatively — something phan herself doesn’t do as much anymore.
“i can’t even tell you how many times i had to take pictures with people in the bathroom. it’s the most awkward thing.”
after speaking to phan for an hour, i noticed her palpable sense of relief about the decision to move behind the scenes and away from being in front of the camera. “getting recognized in real life is always weird, because you never know when it’s gonna happen,” she says. “i can’t even tell you how many times i had to take pictures with people in the bathroom. it’s the most awkward thing.” she says. she won’t miss the commenter trolls either, one of whom wrote terrible things on her videos, then showed up at an event bearing a teddy bear for her. even her mom and extended family get recognized now.
phan also knows that youtubers and instagram beauty gurus are in a challenging place right now, because there is so much competition. she discourages her mentees from doing gimmicky videos (like using a condom to apply makeup), but understands why they do. “it’s shock value,” she says. “that’s the only way for them to get views. when i started there were probably fewer than five people [doing makeup videos], and now you probably have 50,000 or maybe more globally. i’ve mentored a few people who started doing these gimmicky things and i told them, ‘you’re going to burn out very fast and you’re not going to have a loyal community,’ and sure enough they blow up and then lose steam really fast.”
for now, phan is relishing what she calls her second chance. “i’m actually happy that em didn’t do well, because i’m happy that i own it,” she says. “it is my makeup brand, it’s not l'oréal’s makeup brand. it’s not for me; it’s for my viewers who have been there since the beginning.”
as for whether or not this new venture will go viral, phan laughs at the term. “those days are over. viral back then was ‘gangnam style,’” she says. “when i meet with people who are trying to sell me things like, ‘yeah, we’re gonna make it viral!’ it’s like, cringe, dude. no, you’re not going to make it viral. viral chooses you.”
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correction: april 10th, 2017
this story has been corrected to reflect that jaclyn hill, not kathleen lights, collaborated with becca cosmetics. | ˈmidiə ˈpleɪˌbæk ɪz ənsəˈpɔrtɪd ɔn jʊr dɪˈvaɪs ˈmidiə ˈkæpʃən ˈdeɪvɪd ˈkæmərən: "wɪr ˈtɔkɪŋ əˈbaʊt wət kʊd bi ðə ˈbɪgəst baɪˈlætərəl treɪd dil ɪn ˈhɪstəri" praɪm ˈmɪnɪstər ˈdeɪvɪd ˈkæmərən həz əˈnaʊnst plænz fər wət kʊd bi "ðə ˈbɪgəst baɪˈlætərəl treɪd dil ɪn ˈhɪstəri" bɪtˈwin ðə ənd ðə ˈjuˈɛs. hi əˈnaʊnst ðə stɑrt əv ˈfɔrməl nɪˌgoʊʃiˈeɪʃənz ɔn ə treɪd dil wərθ ˈhənərdz əv ˈbɪljənz əv paʊnz, eɪmd æt ˈbustɪŋ ˈɛkspɔrts ənd ˈdraɪvɪŋ groʊθ. ˈmɪstər ˈkæmərən sɛd ə səkˈsɛsfəl əˈgrimənt wʊd hæv ə ˈgreɪtər ˌɪmˈpækt ðən ɔl ˈəðər wərld treɪd dilz pʊt təˈgɛðər. ðə tɔks wər əˈnaʊnst əˈhɛd əv ðə ˈsəmɪt ɪn ˈnɔrðərn ˈaɪərlənd. ˈjuˈɛs ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə sɛd ðə fərst raʊnd əv nɪˌgoʊʃiˈeɪʃənz wʊd teɪk pleɪs ɪn ˈwɔʃɪŋtən ɪn ˌʤuˈlaɪ. ðeɪ eɪm tɪ kənˈklud baɪ ðə ɛnd əv 2014 æˈnælɪsɪs ðə frɛnʧ hæv ɔˈrɛdi ɪkˈsprɛst mɪsˈgɪvɪŋz əˈbaʊt pɑrts əv ðə treɪd dil. ðeɪ ər ˈwərid ðət ɪf ðeɪ ˈkænɑt prəˈtɛkt ðɛr fɪlm ˈɪndəstri frəm ˈhɑliˌwʊdz ˈdɑmənəns, ðɛr juˈnik ɑrˈtɪstɪk ˈkəlʧər wɪl bi ˌəndərˈmaɪnd. ˈæftər ˌɪnˈtɛns tɔks wɪθ ˈəðər ˈkəntriz læst wik, ɪt simz ðə frɛnʧ hæv pərsˈweɪdɪd ðə nɪˈgoʊʃiˌeɪtərz tɪ ˈɑnər wət ðeɪ kɔl ə ˈkəlʧərəl ɪkˈskluʒən. ðət livz ðə weɪ ˈoʊpən fər ˈəðər ˈsɛktərz tɪ seɪ ðeɪ ər ˈɔlsoʊ ɪkˈsɛpʃənəl ənd ʃʊd nɑt bi ˌɪnˈkludɪd ɪn ðə treɪd dil. ðə frɛnʧ kleɪm ðə əˈmɛrɪkənz wɔnt tɪ ɪkˈsklud ˌfaɪˈnænʃəl ˈsərvɪsɪz frəm ðə fri treɪd nɪˌgoʊʃiˈeɪʃənz. ðə əˈmɛrɪkənz hæv nɑt ækˈnɑlɪʤd ðət ˈpəblɪkli bət ɪt ɪz ə riˈmaɪndər ðət bɪˈhaɪnd kloʊzd dɔrz ðə dɪˈskəʃənz maɪt bi ˈvɛri ˈdɪfəkəlt. ˈmɪstər ˌoʊˈbɑmə sɛd hi wɑz ˈkɑnfədənt əv ˈriʧɪŋ ən əˈgrimənt. "ðɛr ər goʊɪŋ tɪ bi ˌsɛnsɪˈtɪvɪtiz ɔn boʊθ saɪdz... bət ɪf wi kən lʊk bɪɔnd ðə ˈnɛroʊ kənˈsərnz tɪ steɪ ˈfoʊkɪst ɔn ðə bɪg ˈpɪkʧər... əm ˈhoʊpfəl wi kən əˈʧiv [ə dil]." 'wəns ɪn ə ˌʤɛnərˈeɪʃən' ˈmɪstər ˈkæmərən sɛd ðə dil kʊd bi wərθ tɪ ðə ɪˈkɑnəmi, tɪ ðə ˈjuˈɛs ənd tɪ ðə rɛst əv ðə wərld. hi sɛd ðə pækt kʊd kriˈeɪt tu ˈmɪljən ʤɑbz, ənd lɛd tɪ mɔr ʧɔɪs ənd loʊər ˈpraɪsɪz ɪn ʃɑps. "ðɪs ɪz ə praɪz ənd wi ər dɪˈtərmənd tɪ siz ɪt," sɛd ˈmɪstər ˈkæmərən. ˌjʊrəˈpiən kəˈmɪʃən ˈprɛzɪdənt, ˌhoʊˈzeɪ mɑnˈwɛl ˌbɑˈroʊsoʊ. hu wɪl lɛd ðə nɪˌgoʊʃiˈeɪʃənz wɪθ ˈprɛzɪdənt ˌoʊˈbɑmə, sɛd ðət ˈɪnəˌgreɪtɪŋ ðə ənd ˈjuˈɛs ɪˈkɑnəmiz wʊd nɑt bi ˈizi bət "wi wɪl faɪnd kənˈvɪnsɪŋ ˈænsərz tɪ ləˈʤɪtəmət kənˈsərnz". "wɪl faɪnd səˈluʃənz tɪ ˈθɔrni ˈɪʃuz, wɪl kip ɑr aɪz ɔn ðə praɪz ənd wi wɪl səkˈsid," hi sɛd. ˈhərmən væn rompuy*, ðə ˈprɛzɪdənt əv ðə ˌjʊrəˈpiən ˈkaʊnsəl, sɛd: "təˈgɛðər ˈjʊrəp ənd ðə juˈnaɪtɪd steɪts ər ðə ˈbækˌboʊn əv ðə wərld ɪˈkɑnəmi. ˈoʊpənɪŋ əp ðət speɪs ˈfərðər fər ˌɑpərˈtunətiz fər ˈbɪznɪs ənd kənˈsumərz ɪz ˈsɪmpli ˈkɑmən sɛns." ðə treɪd tɔks hæd bɪn ˈəndər θrɛt frəm ə pəˈtɛnʃəl ˈviˌtoʊ frəm fræns, bət ɔn ˈfraɪˌdeɪ ˈmɪnɪstərz əˈgrid tɪ frɛnʧ dɪˈmændz tɪ ɪkˈsklud ðə fɪlm ənd ˈtɛləˌvɪʒən ˈɪndəstri frəm ðə tɔks. ˈmidiə ˈpleɪˌbæk ɪz ənsəˈpɔrtɪd ɔn jʊr dɪˈvaɪs ˈmidiə ˈkæpʃən ˌoʊˈbɑmə: "əm ˈhoʊpfəl wi kən əˈʧiv... haɪ ˈstændərd ˌkɑmpriˈhɛnsɪv əˈgrimənt" səm hæd ˈɑrgjud ðət oʊˈmɪtɪŋ ðə ˈmidiə ˈbɪznɪs frəm ðə treɪd tɔks ˈivɪn ˌbiˈfɔr ðeɪ hæd ˈbeɪgən kʊd prɑmpt ðə ˈjuˈɛs tɪ sik ɪgˈzɛmpʃənz fər ˈəðər ˈsɛktərz. ˈpɑsəbəl ˈhərdəlz? ðə ˈtaɪmˌfreɪm fər ðə tɔks tɪ kənˈklud 18 mənθs meɪ səˈpraɪz səm, ˈgɪvɪn ðət ˈsɪmələr treɪd dilz ɪn ðə pæst hæv ˌɪnˈvɑlvd jɪrz əv nɪˌgoʊʃiˈeɪʃənz. ðə ˈfɔrməl lɔnʧ əv ðə tɔks həz bɪn ɔn ðə kɑrdz fər səm taɪm. fri treɪd bɪtˈwin ðə ˈjuˈɛs ənd ðə həz bɪn ˈəndər dɪˈskəʃən fər ˈsɛvərəl jɪrz, ənd ə ˈwərkɪŋ grup wɑz ɪˈstæblɪʃt ɪn 2011 tɪ dɪˈskəs ðə ˈprɑspɛkt əv ə fri treɪd əˈgrimənt. ðə həz sɛd ðə dil wɪl ˈfoʊkɪs ɔn ˈbrɪŋɪŋ daʊn rɪˈmeɪnɪŋ ˈtɛrəfs ənd ˈəðər ˈbɛriərz tɪ treɪd, ənd ˈtɛknɪkəl ˌrɛgjəˈleɪʃənz ənd ˌsərtəfəˈkeɪʃənz. ˈkərəntli ðə ˈjuˈɛs ənd ˌɪmˈpoʊz ˈrɛlətɪvli loʊ ˈtɛrəfs ɔn gʊdz ˈtreɪdɪd bɪtˈwin ðɛm, bət ˈænəlɪsts seɪ ˈəðər ˈbɛriərz ər ˈɔfən ɪn pleɪs tɪ prɪˈvɛnt ˌjʊrəˈpiən ˈkəmpəˌniz kəmˈpitɪŋ ɪn ðə ˈjuˈɛs ənd vaɪs ˈvərsə. fækts ˌɪnˈfɔrməl, ɪkˈsklusɪv ˈbɑdi eɪmd æt ˈtækəlɪŋ ˈgloʊbəl ˈʧælənʤɪz ɪˈstæblɪʃt ɪn 1975 ɪn rambouillet*, fræns ərˈɪʤənəl ˈmɛmbərz: fræns, ˈʤərməni, ˈɪtəli, ʤəˈpæn,, ˈjuˈɛs ˈleɪtər ˈmɛmbərz: ˈkænədə (ʤɔɪnd æt 1976 ˈsəmɪt, sæn wɑn, ˈpɔrtər ˈrikoʊ), ˈrəʃə (ʤɔɪnd æt 1998 ˈsəmɪt, ˈbərmɪŋˌhæm,) ˈproʊˌfaɪl: kən ˈsəmɪt lɪv əp tɪ æmˈbɪʃəs əˈʤɛndə? wən ɪgˈzæmpəl ɪz faʊnd ɪn ðə kɑr ˈɪndəstri, wɛr ðə ənd ðə ˈjuˈɛs ɪmˈplɔɪ ˈikwəli strɪkt bət ˈdɪfərɪŋ ˈseɪfti ˈstændərdz, ˈminɪŋ ðət ˌjʊrəˈpiən kɑr ˈmeɪkərz məst mit boʊθ ˌbiˈfɔr ðeɪ kən sɛl kɑz ɪn ðə ˈjuˈɛs ˈmɑrkɪt, ˈpʊtɪŋ ðɛm æt ə ˌdɪsədˈvænɪʤ. ˈægrɪˌkəlʧər ɪz ˈɔlsoʊ ɪkˈspɛktɪd tɪ bi ə sɪgˈnɪfɪkənt boʊn əv kənˈtɛnʃən. ðə ˌjʊrəˈpiən ˈfɑrmɪŋ ˈɪndəstri ɪz ɔˈrɛdi ˈhɛvəli θru ðə ˈkɑmən ˌægrɪˈkəlʧərəl ˈpɑləsi, ənd ðə ˌjʊrəˈpiən ˈægrɪˌkəlʧər ˈmɪnɪstər həz ɔˈrɛdi ɪkˈsprɛst ˌrɛzərˈveɪʃənz əˈbaʊt ðə ˌɪmˈpækt ə dil maɪt hæv. ðə ˈjuˈɛs ˈgəvərnmənt ɪz ˈɔlsoʊ ˈlaɪkli tɪ kəm ˈəndər ˈprɛʃər frəm dəˈmɛstɪk ˈbɪznɪsɪz hu hæv ɪn ðə pæst kɔld fər prəˈtɛkʃənɪst ˈmɛʒərz tɪ prɪˈvɛnt ðə ˈmɑrkɪt frəm biɪŋ swɔmpt baɪ ˈʧipər ʧaɪˈniz ˌɪmˈpɔrts. əˈʤɛndə ðə treɪd əˈnaʊnsmɛnt keɪm əˈhɛd əv ə ˈtuˌdeɪ ˈmitɪŋ əv ˈlidərz ɪn laʊ ərn, ˈkaʊnti fermanagh*. ɪn ˈəðər dɪˈvɛləpmənts: ˈʤɔɪnɪŋ ðə ənd ˈjuˈɛs fər ðə ˈsəmɪt əv ðə grup əv eɪt ər ˈʤərməni, fræns, ˈɪtəli, ˈrəʃə, ˈkænədə ənd ʤəˈpæn. ðə əˈʤɛndə ˈfoʊkɪst ɔn ðə ˈgloʊbəl ɪˈkɑnəmi ɔn ˈmənˌdeɪ, ənd ɔn ˈtuzˌdeɪ wɪl tərn tɪ tæks trænˈspɛrənsi ənd ˈɪʃuz. |
media playback is unsupported on your device media caption david cameron: "we're talking about what could be the biggest bilateral trade deal in history"
uk prime minister david cameron has announced plans for what could be "the biggest bilateral trade deal in history" between the eu and the us.
he announced the start of formal negotiations on a trade deal worth hundreds of billions of pounds, aimed at boosting exports and driving growth.
mr cameron said a successful agreement would have a greater impact than all other world trade deals put together.
the talks were announced ahead of the g8 summit in northern ireland.
us president barack obama said the first round of negotiations would take place in washington in july. they aim to conclude by the end of 2014.
analysis the french have already expressed misgivings about parts of the trade deal. they are worried that if they cannot protect their film industry from hollywood's dominance, their unique artistic culture will be undermined. after intense talks with other eu countries last week, it seems the french have persuaded the negotiators to honour what they call a cultural exclusion. that leaves the way open for other sectors to say they are also exceptional and should not be included in the trade deal. the french claim the americans want to exclude financial services from the free trade negotiations. the americans have not acknowledged that publicly but it is a reminder that behind closed doors the discussions might be very difficult.
mr obama said he was confident of reaching an agreement.
"there are going to be sensitivities on both sides... but if we can look beyond the narrow concerns to stay focused on the big picture... i'm hopeful we can achieve [a deal]."
'once in a generation'
mr cameron said the deal could be worth £100bn to the eu economy, £80bn to the us and £85bn to the rest of the world.
he said the pact could create two million jobs, and lead to more choice and lower prices in shops.
"this is a once-in-a-generation prize and we are determined to seize it," said mr cameron.
european commission president, jose manuel barroso. who will lead the negotiations with president obama, said that integrating the eu and us economies would not be easy but "we will find convincing answers to legitimate concerns".
"we'll find solutions to thorny issues, we'll keep our eyes on the prize and we will succeed," he said.
herman van rompuy, the president of the european council, said: "together europe and the united states are the backbone of the world economy. opening up that space further for opportunities for business and consumers is simply common sense."
the trade talks had been under threat from a potential veto from france, but on friday eu ministers agreed to french demands to exclude the film and television industry from the talks.
media playback is unsupported on your device media caption obama: "i'm hopeful we can achieve... high standard comprehensive agreement"
some had argued that omitting the media business from the trade talks even before they had begun could prompt the us to seek exemptions for other sectors.
possible hurdles?
the timeframe for the talks to conclude - 18 months - may surprise some, given that similar trade deals in the past have involved years of negotiations.
the formal launch of the talks has been on the cards for some time.
free trade between the us and the eu has been under discussion for several years, and a us-eu working group was established in 2011 to discuss the prospect of a free trade agreement.
the eu has said the deal will focus on bringing down remaining tariffs and other barriers to trade, and standardise technical regulations and certifications.
currently the us and eu impose relatively low tariffs on goods traded between them, but analysts say other barriers are often in place to prevent european companies competing in the us and vice versa.
g8 facts informal, exclusive body aimed at tackling global challenges
established in 1975 in rambouillet, france
original members: france, germany, italy, japan, uk, us
later members: canada (joined at 1976 summit, san juan, puerto rico), russia (joined at 1998 summit, birmingham, uk) profile: g8 can summit live up to ambitious agenda?
one example is found in the car industry, where the eu and the us employ equally strict - but differing - safety standards, meaning that european car makers must meet both before they can sell cars in the us market, putting them at a disadvantage.
agriculture is also expected to be a significant bone of contention.
the european farming industry is already heavily subsidised through the common agricultural policy, and the european agriculture minister has already expressed reservations about the impact a free-trade deal might have.
the us government is also likely to come under pressure from domestic businesses who have in the past called for protectionist measures to prevent the market from being swamped by cheaper chinese imports.
g8 agenda
the trade announcement came ahead of a two-day meeting of g8 leaders in lough erne, county fermanagh. in other developments:
joining the uk and us for the 39th summit of the group of eight are germany, france, italy, russia, canada and japan.
the wide-ranging agenda focused on the global economy on monday, and on tuesday will turn to tax transparency and counter-terrorism issues. | ə ˈproʊˌtɛstər hu wɔr ə ʃərt ɛmˈbleɪzənd wɪθ ðə wərdz ʃʊd bi hir" tɪ ə ˈstivən ˈhɑrpər ɪˈvɛnt sɛd hi ˈdəzənt rɪˈgrɛt biɪŋ ərˈɛstɪd. ʃɔn ˈdɛvlɪn, 32 sɛd hi ˈwɔntɪd ðə kənˈsərvətɪv ˈlidər tɪ ækˈnɑlɪʤ ðə dɛθ əv ˈælən kurdi*, ə ˈsɪriən bɔɪ hu draʊnd traɪɪŋ tɪ fli əˈkrɔs ðə ˌmɛdətərˈeɪniən wɪθ hɪz ˈfæməli. ðə ˈtɑdlər ənd hɪz ˈbrəðər galib*, 5 daɪd ɪn ðɛr ˈfɑðərz ɑrmz ˈæftər ðɛr boʊt ˈkæpˌsaɪzd. ðə ˈfæməli ˈwɔntɪd tɪ ˌriuˈnaɪt wɪθ ˈrɛlətɪvz hu lɪvd ɪn ˈbrɪtɪʃ kəˈləmbiə θru ə ˈpraɪvət ˈrɛfjuʤi ˈspɑnsərˌʃɪp. (ðə ˈtərkɪʃ ˈgəvərnmənt ərˈɪʤənəli aɪˈdɛntəˌfaɪd ðə bɔɪz' neɪmz ɛz ənd galip*, bət ðɛr ɔnt sɪz ðɛr ˈæˌkʧuəli spɛld ˈælən ənd galib*.) "siɪŋ ðə ˈɪmɪʤɪz əv ðət bɔɪ wɑz ˈhɑrtˌbreɪkɪŋ," ˈdɛvlɪn toʊld ðə ˈhəfɪŋtən poʊst b.c*. ɪn ə foʊn ˈɪntərvˌju ˈθərzˌdeɪ. "aɪ ʤɪst ˈwɔntɪd tɪ lɛt ˈpipəl noʊ ðət [ˈælən] ˈkʊdəv bɪn hir aɪ ˈwɔntɪd ðə praɪm ˈmɪnstər tɪ ækˈnɑlɪʤ ðət ðɪs bɔɪ ˈkʊdəv bɪn ˈseɪfli hir ənd nɑt feɪs daʊn, dɛd ɔn ə biʧ ɪn ˈtərki." ɔn ˈθərzˌdeɪ, ˈhɑrpər wɑz kæmˈpeɪnɪŋ ɪn ˈsəri, b.c*., bət ðə wɑz ˈkænsəld soʊ ðət hi kʊd ˈkɑmɛnt ɔn ðə ˈrɛfjuʤi ˈkraɪsəs. ˈdɛvlɪn wɔkt ˈɪntu ðə ɪˈvɛnt ˈwɛrɪŋ ə ˈbleɪzər ˈoʊvər hɪz ʃərt. hi sɛd ðət ə fəˈtɑgrəfər frəm ˈhɑrpərz tim æst ɪm tɪ stænd ɔn steɪʤ "bɪˈkəz ðeɪ ˈnidɪd mɔr jəŋ ˈfeɪsɪz bɪˈhaɪnd ðə praɪm ˈmɪnɪstər." ˌbiˈfɔr ˈhɑrpər keɪm aʊt, ˈdɛvlɪn sɛd ə sɪˈkjʊrəti ˈmɛmbər ˈnoʊtɪst ðə ʃərt ənd æst ɪm tɪ liv. "aɪ toʊld ɪm ðət aɪd bɪn ˌɪnˈvaɪtɪd ɔn steɪʤ ənd ðət aɪ ˈwɔntɪd tɪ steɪ," ˈdɛvlɪn sɛd. hi wɑz ðɛn ˈhændˌkəft ənd ˈteɪkən ˈaʊtˈsaɪd. pəˈlis ˈsəbsəkwəntli toʊld ˈdɛvlɪn hi wɑz biɪŋ ərˈɛstɪd fər əbˈstrəkʃən əv ˈʤəstɪs ənd rɪˈzɪstɪŋ ərˈɛst. "wən əv ðə fərst kˈwɛsʧənz ðeɪ æst mi wɑz ɪf aɪ wɑz frəm ˌɪˈrɑn, ənd aɪ hæv noʊ aɪˈdiə waɪ aɪ wɑz æst ðət," ˈædɪd ˈdɛvlɪn, hu wɑz bɔrn ɪn ˈɑtəˌwɑ. hi wɑz riˈlist ˈleɪtər ˈθərzˌdeɪ ˈmɔrnɪŋ ənd həz nɑt bɪn ʧɑrʤd. b.c*. ɪz ˈweɪtɪŋ fər ə ˈsteɪtmənt frəm ðə rcmp*. "aɪd du ɪt əˈgɛn, ju bɛt. ˈpipəl nid tɪ noʊ wəts ˈhæpənɪŋ," sɛd ˈdɛvlɪn. "ðət bɔɪ ˈdɪdənt nid tɪ daɪ, ənd aɪ ʤɪst ˈwɔntɪd ɑr praɪm ˈmɪnɪstər tɪ ækˈnɑlɪʤ ðət." ˈkænədə məst steɪ ðə kɔrs ˈhɑrpər dɪd nɑt si ʃərt ər ðə ərˈɛst, bət ækˈnɑlɪʤd ˈleɪtər ðət ðə "heart-wrenching*" ˈfoʊˌtoʊ ʃʊk ɪm ənd hɪz waɪf, lɔˈrin. ðə kənˈsərvətɪv ˈlidər sɛd ˈɪmɪʤ meɪd ɪm θɪŋk əv hɪz oʊn sən, bɛn, æt ðət eɪʤ. ˈhɑrpər sɛd ðæts waɪ ˈkænədə məst steɪ ðə kɔrs, boʊθ ˌmɪləˈtɛrəli ənd baɪ prəˈvaɪdɪŋ ˌjuˌmænəˈtɛriən eɪd tɪ ðoʊz əˈfɛktɪd baɪ ðə kənˈtɪnjuɪŋ ˈvaɪələns. hi ˈædɪd ðət ˈkænədə wɪl ədˈmɪt mɔr ˈrɛfˌjuʤiz frəm ðə ˈriʤən, bət məst ˈɔlsoʊ kənˈtɪnju tɪ stænd wɪθ ɪts ˈælaɪz ɪn ðə faɪt əˈgɛnst ðə ɪkˈstriməsts hu ər ˈfɔrsɪŋ ˈpipəl tɪ fli ðɛr hoʊmz. wɪθ faɪlz frəm ðə kəˈneɪdiən prɛs laɪk ˈjuˈɛs ɔn ˈfeɪsˌbʊk ˈfɑloʊ ˈjuˈɛs ɔn tˈwɪtər ˈfɑloʊ ˈjuˈɛs ɔn ˈɔlsoʊ ɔn |
a protester who wore a shirt emblazoned with the words "aylan should be here" to a stephen harper event said he doesn't regret being arrested.
sean devlin, 32, said he wanted the conservative leader to acknowledge the death of three-year-old alan kurdi, a syrian boy who drowned trying to flee across the mediterranean with his family.
the toddler and his brother galib, 5, died in their father's arms after their boat capsized.
the family wanted to reunite with relatives who lived in british columbia through a private refugee sponsorship.
(the turkish government originally identified the boys' names as aylan and galip, but their aunt says they're actually spelled alan and galib.)
"seeing the images of that boy was heartbreaking," devlin told the huffington post b.c. in a phone interview thursday.
"i just wanted to let people know that [alan] could've been here i wanted the prime minster to acknowledge that this boy could've been safely here and not face down, dead on a beach in turkey."
on thursday, harper was campaigning in surrey, b.c., but the photo-op was cancelled so that he could comment on the refugee crisis.
devlin walked into the event wearing a blazer over his shirt. he said that a photographer from harper's team asked him to stand on stage "because they needed more young faces behind the prime minister."
before harper came out, devlin said a security member noticed the shirt and asked him to leave.
"i told him that i'd been invited on stage and that i wanted to stay," devlin said.
he was then handcuffed and taken outside. police subsequently told devlin he was being arrested for obstruction of justice and resisting arrest.
"one of the first questions they asked me was if i was from iran, and i have no idea why i was asked that," added devlin, who was born in ottawa.
he was released later thursday morning and has not been charged. huffpost b.c. is waiting for a statement from the rcmp.
"i'd do it again, you bet. people need to know what's happening," said devlin. "that boy didn't need to die, and i just wanted our prime minister to acknowledge that."
canada must stay the course
harper did not see devlin's shirt or the arrest, but acknowledged later that the "heart-wrenching" photo shook him and his wife, laureen.
the conservative leader said kurdi's image made him think of his own son, ben, at that age.
harper said that's why canada must stay the course, both militarily and by providing humanitarian aid to those affected by the continuing violence.
he added that canada will admit more refugees from the region, but must also continue to stand with its allies in the fight against the extremists who are forcing people to flee their homes.
with files from the canadian press
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also on huffpost | ˈsimɑ ˈvɛrmə, ðə ədˈmɪnɪˌstreɪtər əv ðə ˈsɛnərz fər ˈmɛdəˌkɛr ˈmɛdəˌkeɪd ˈsərvɪsɪz, həz əˈnaʊnst ðət ðə ˈfɛdərəl ˈgəvərnmənt wɪl səˈpɔrt steɪt ˈɛfərts tɪ æd wərk rɪkˈwaɪrmənts tɪ ˈmɛdəˌkeɪd, wɪʧ prəˈvaɪdz hɛlθ kɛr ənd səˈpɔrt ˈsərvɪsɪz tɪ pur ənd dɪˈseɪbəld əˈmɛrɪkənz. steɪts wɪl ˈɔlˌmoʊst ˈsərtənli teɪk ðɛm əp ɔn ðɪs ˈɔfər. ɔˈrɛdi, ðɛr ɪz ə steɪt ˈweɪvər rɪkˈwɛst ˈpɛndɪŋ frəm kənˈtəki rɪkˈwɛstɪŋ pərˈmɪʃən tɪ ˌɪmˈpoʊz wərk rɪkˈwaɪrmənts ɛz ə kənˈdɪʃən əv ˈmɛdəˌkeɪd ˌɛlɪʤəˈbɪlɪti, ənd ˌɛrɪˈzoʊnə ənd ˈɑrkənˌsɑ hæv ɪkˈsprɛst ˈɪntəˌrɛst ɛz wɛl. ə ˈmɛdəˌkeɪd wərk rɪkˈwaɪrmənt wʊd bi ə juʤ dɪˈpɑrʧər frəm ˈkɑrənt ˈpræktɪs, ənd ə muv ðət ˈivɪn ˈmɛni kənˈsərvətɪvz dɪsəˈgri wɪθ. ˈɔlsoʊ ˈlaɪkli tɪ bi ˌɪnɪˈfɛktɪv, ˈdɪfəkəlt tɪ ɛnˈfɔrs, ənd ˈmeɪbi ˈivɪn ˌɪˈligəl. fil səm ˈsɪmpəθi fər ˈpipəl hu ər seɪɪŋ, ɪz maɪ ˈməni, ˈwərkɪŋ, aɪ wɔnt tɪ meɪk ʃʊr ˈəðər ˈpipəl hu gɪt səˈpɔrt ər working,’”*,’” sɪz geɪl wəˈlɛnˌski, hu ræn ðə ˈsɛnərz fər ˈmɛdəˌkɛr ənd ˈmɛdəˌkeɪd ˈsərvɪsɪz ɪn ðə ʤɔrʤ h.w*. bʊʃ ædˌmɪnɪˈstreɪʃən. nɑt ʃʊr wɪn ju ˈæˌkʧuəli lʊk wɛr ðɪs həz bɪn traɪd, hæd məʧ effect.”*.” ðə məˈʤɔrəti əv ˈpipəl ˈbɛnəfɪtɪŋ frəm ˈmɛdəˌkeɪd ər ˈʧɪldrən, dɪˈseɪbəld, ər ˈɛldərli, ənd wʊd bi ɪgˈzɛmpt frəm wərk rɪkˈwaɪrmənts. ɪf ju ɪkˈsklud ˈprɛgnənt ˈwɪmən ənd ˈpɛrənts wɪθ jəŋ ˈʧɪldrən, ðə ˈnəmbər əv əˈfɛktɪd ˈpipəl ʃrɪŋks ˈivɪn mɔr. ðə məˈʤɔrəti əv ðə rɪˈmeɪnɪŋ ˈædəlts ər ˈwərkɪŋ. ənd səm əv ðɛm kən ˈoʊnli wərk bɪˈkəz ðeɪ gɪt ˈmɛdəˌkeɪd səʧ ɛz ˈpipəl hu hæv ˈmɛntəl ˈɪlnəsɪz ər ˈstrəgəl wɪθ ˈsəbstəns əˈbjuz bət hu, wɪθ rɪˈlaɪəbəl hɛlθ kɛr, ər ˈhɛlθi ənd ˈsteɪbəl ɪˈnəf tɪ wərk. ˈmeɪkɪŋ wərk ə priˈrɛkwəzət fər ˈmɛdəˌkeɪd kʊd, pərˈvərsli, wɪnd əp prɪˈvɛnɪŋ səʧ ˈpipəl frəm ˈwərkɪŋ. wʊd ˈrɪli hɑrm ˈpipəl list ˈeɪbəl tɪ hoʊld ənd kip ə ʤɑb ənd hərt ˈpipəl hu nid hɛlθ kɛr tɪ pɑrˈtɪsəˌpeɪt ɪn ðə workforce,”*,” ˈhænə, ə ˈsinjər ˈpɑləsi ˈænəlɪst æt ðə ˈsɛnər ɔn ˈbəʤɪt ənd ˈpɑləsi praɪˈɔrətiz ənd ə ˈfɔrmər əˈfɪʃəl ɪn ˌkælɪˈfɔrnjəz ˈmɛdəˌkeɪd ˈproʊˌgræm, sɪz. wərk rɪkˈwaɪrmənts əˈproʊpriˌeɪt fər ðə væst məˈʤɔrəti əv ˈmɛdəˌkeɪd ˌbɛnəˈfɪʃiˌɛriz, ənd ðə ˈproʊˌgræm ˈæˌkʧuəli ɪnˈkərəʤəz wərk ˈnɪrli ˌtuˈθərdz əv ˈmɛdəˌkeɪd rɪˈsɪpiənts ər ˈʧɪldrən, blaɪnd ər ˈəðərˌwaɪz dɪˈseɪbəld, ər ˈɛldərli. wərk rɪkˈwaɪrmənts wʊd bi ˈpleɪnli ˌɪnəˈproʊpriɪt ɪn ðoʊz ˈkeɪsɪz, ənd soʊ prəˈpoʊzəlz ˈtɪpɪkəli ɪkˈsklud ðɛm. prəˈpoʊzd plæn əˈplaɪz ˈoʊnli tɪ “‘“‘able-bodied’*’ ˈwərkɪŋ eɪʤ adults,”*,” nɑt ˌɪnˈkludɪŋ ˈstudənts ənd ˈkɛrˌgɪvərz, pər ðə ˈkaɪzər ˈfæməli faʊnˈdeɪʃən. ɪf ju drɪl daʊn ˈɪntu ðə θərd ər soʊ əv ˈmɛdəˌkeɪd ˌbɛnəˈfɪʃiˌɛriz hu ər ˈædəlts ənd gɪt ˌsəpləˈmɛntəl sɪˈkjʊrəti ˈɪnˌkəm fər ə ˌdɪsəˈbɪlɪti, ju faɪnd ðət ðə məˈʤɔrəti wərk, ənd ən ˈivɪn ˈlɑrʤər məˈʤɔrəti lɪv ɪn ˈhaʊsˌhoʊldz wɛr ˈsəmˌwən wərks. ðoʊz hu hæv ˌəndərˈstændəbəl ˈrizənz, ɛz ðɪs ʧɑrt frəm ˈkaɪzər ˈfæməli faʊnˈdeɪʃən ˈprɛzɪdənt dru ˈɔltmən səˈʤɛsts sɪk, ɪn skul, rɪˈtaɪrd, ər ðeɪ faɪnd ə ʤɑb: ɪz ə səˈluʃən ɪn sərʧ əv ə problem,”*,” ˈsɛrə ˈroʊzənˌbaʊm, ə prəˈfɛsər əv hɛlθ ˈpɑləsi æt ʤɔrʤ ˈwɔʃɪŋtən ˌjunəˈvərsəti hu sərvz ɔn ə bɔrd ædˈvaɪzɪŋ ˈkɑŋgrəs ɔn ˈmɛdəˌkeɪd ˈpɑləsi, sɪz. ʤɪst noʊ ˈɛvədəns ðət tu ˈmɛni ˈpipəl ˈwərkɪŋ hu kən wərk. ɪf ju seɪ ‘‘able-bodied’*’ ɪˈnəf taɪmz, ju gɪv ə sɛns ðət ðɛr ər ˈpipəl ʤɪst ˈsɪtɪŋ əraʊnd hu kʊd wərk, bət ʤɪst nɑt ðə case.”*.” fər wən θɪŋ, ðə ˌdɛfəˈnɪʃən əv ““able-bodied”*” ˈəndər wərk rɪkˈwaɪrmənts ˈɔlˌweɪz ˈikwəl ““able-bodied”*” ðə weɪ moʊst ˈpipəl wʊd dɪˈfaɪn. ˈtɪpɪkəli, ɪt minz nɑt ˈgɪtɪŋ ˌsəpləˈmɛntəl sɪˈkjʊrəti ˈɪnˌkəm ˈbɛnəfɪts θru ðə ˈgəvərnmənt fər ˈhævɪŋ ə ˌdɪsəˈbɪlɪti. ðə ˈprɑbləm ɪz ðət ðə ˈproʊˌgræm ˈkəvər ɔl ər ˈivɪn moʊst dɪˈseɪbəld ˈpipəl. ˈmɛni ˈpipəl hu fɔl ˈaʊtˈsaɪd ɪts ˈpərvˌju ˌnənðəˈlɛs hæv dɪsəˈbɪlɪtiz ðət kən meɪk ˈwərkɪŋ ˈdɪfəkəlt. ɪn ən ˈɛksələnt pis ɔn ðə ˈlaɪkli ˈifɛkts əv wərk rɪkˈwaɪrmənts, ðə nu jɔrk ˈtaɪmzɪz ˈæbi ˈgʊdˌnəf ˈɪntərvˌjud ə mæn neɪmd ˈʤɪmi ˈbrənsən, hu həz ˈpeɪnfəl ˌnʊˈrɔpəθi ɪn hɪz fit du tɪ ˌdaɪəˈbitiz. hi rɪˈlaɪz ɔn ˈmɛdəˌkeɪd fər ˌdaɪəˈbitiz ˈtritmənt ənd wərks wɪn hi kən, bət hi toʊld ˈgʊdˌnəf, "ˈivɪn ðoʊ ˈsəmˌtaɪmz aɪ kən gɪt ə ʤɑb, gɑt tɪ ˌəndərˈstænd ˈsəmˌtaɪmz aɪ ˈivɪn wɔk." noʊts ðət ˈsəmˌwən wɪθ ˌdaɪəˈbitiz ˈtɪpɪkəli kˈwɑləˌfaɪ fər bət ˈbrənsən wʊd stɪl bi hərt baɪ ə wərk rɪkˈwaɪrmənt. fækt ðət hi kən ˈækˌsɛs ˈtritmənt hɛlps ɪm wərk wɪn hi kən du so,”*,” ʃi sɪz. bət ɪf hɪz ˌdɪsəˈbɪlɪti mɛnt ðət hi kʊd ˈoʊnli pʊt ɪn, seɪ, 16 aʊərz ə wik, ənd ðə steɪt ɪz ˈmænˌdeɪtɪŋ 20 ɛz pɑrt əv ɪts wərk rɪkˈwaɪrmənt, bi aʊt əv lək. wərs, wɪˈθaʊt ˈmɛdəˌkeɪd peɪɪŋ fər hɪz ˌdaɪəˈbitiz ˈtritmənt, hi maɪt bi əˈneɪbəl tɪ wərk æt ɔl. ðə seɪm ˈɪʃu ərˈaɪzɪz fər ˈpipəl wɪθ ˈsəbstəns juz ər ˈmɛntəl hɛlθ ˈɪʃuz, hu meɪ nɑt bi ɛnˈroʊld ɪn ˌdɪsəˈbɪlɪti ˈproʊˌgræmz bət stɪl nid ˈkəvərɪʤ fər ˌænˌtidɪˈprɛsənts ər ər mud ˈsteɪbəˌlaɪzərz, ər fər əˈdɪkʃən ˈtritmənt laɪk ˈmɛθəˌdoʊn ər ˈbjuprənərˌfin. ðoʊz ˈtritmənts ˈmɪtəˌgeɪt ðə ˈsɪmptəmz əv əˈdɪkʃən ər ˈmɛntəl ˈɪlnəs, ənd ɪn duɪŋ soʊ ðeɪ hɛlp ˈpipəl kənˈtɪnju ˈwərkɪŋ. ɪf nɑt ˈwərkɪŋ du tɪ wən əv ðoʊz kənˈdɪʃənz, ˈgɪtɪŋ ˈmɛdəˌkeɪd ənd ˈgeɪnɪŋ ˈtritmənt kʊd hɛlp ju stɑrt ˈwərkɪŋ. bət ɪf ə wərk rɪkˈwaɪrmənt prɪˈvɛnts ju frəm ˈsaɪnɪŋ əp ɪn ðə fərst pleɪs, ju kʊd bi stək. ɔl wɔnt tɪ ɪnˈkərəʤ ˈpipəl tɪ wərk ənd tɪ səˈpɔrt ðɛm tɪ work,”*,” ʤoʊn, ə ˈmɛdəˌkeɪd ˈɛkspərt hu rənz ðə ˈsɛnər fər ˈʧɪldrən ənd ˈfæməliz æt ˈʤɔrʤˌtaʊn, sɪz. ju teɪk əˈweɪ ðɛr hɛlθ kɛr, ˈpipəl ər lɛs ˈlaɪkli tɪ bi ˈeɪbəl tɪ wərk, nɑt more.”*.” ðə ˈmɛdəˌkeɪd ɪkˈspænʧən ɪkˈspɪriəns wɪʧ ɪkˈstɛndɪd hɛlθ ˌɪnˈʃʊrəns tɪ ˈmɪljənz əv ˌloʊˈɪnkəm ˈædəlts həz prəˈdust ˈɛvədəns ðət ˈmɛdəˌkeɪd ɪnˈkərəʤəz, ˈrəðər ðən dɪˈtərz, wərk. ən ɪˌvæljuˈeɪʃən əv ˈmɪʃɪgənz ɪkˈspænʧən ɪn ðə nu ˈɪŋglənd ˈʤərnəl əv ˈmɛdəsən ˈɛstəˌmeɪtɪd ðət ɪt ɪkˈspændɪd ɪmˈplɔɪmənt baɪ mɔr ðən ʤɑbz. oʊˈhaɪoʊz ɪˌvæljuˈeɪʃən əv ɪts ɪkˈspænʧən faʊnd ðət pərˈsɛnt əv ˌənɛmˈplɔɪd ɛnˈroʊˈliz sɛd ˈgɪtɪŋ ˈkəvərd meɪd ɪt ˈiziər tɪ gɪt ənd meɪnˈteɪn ɪmˈplɔɪmənt. ˈɔlsoʊ noʊts ðət wərk rɪkˈwaɪrmənts kʊd wɪnd əp ˈhərtɪŋ ˈʧɪldrən, ˈivɪn ðoʊ ˈɑbviəsli ɪgˈzɛmpt. ˈɔfənˌtaɪmz ˈʧɪldrən wɪnd əp ɛnˈroʊld ɪn ˈmɛdəˌkeɪd ˈæftər ðɛr ˈpɛrənts ər. ɪf ˈpɛrənts wɪnd əp nɑt ɛnˈroʊlɪŋ du tɪ ə wərk rɪkˈwaɪrmənt, ðət kʊd kip ðɛr kɪdz aʊt tu. ənd ʤɪst ðə dɪˈrɛkt ˈifɛkt. ˈhɛlθi ˈpɛrənt ɪz goʊɪŋ tɪ bi ə ˈbɛtər parent,”*,” noʊts. ə ˈpɛrənt ˈluzɪz ˈækˌsɛs tɪ hɛlθ ˈsərvɪsɪz, ðət ɪkˈspoʊzɪz ðə hoʊl ˈfæməli tɪ ˈbæŋkrəptsi ənd ˌɛkəˈnɑmɪk ˌɪnsɪˈkjʊrɪti. bɪˈkəz wɪn wən ˈmɛmbər ɪz ˌənɪnˈʃʊrd, ɔl æt risk.”*.” kənˈsərvətɪvz hu səˈpɔrt wərk rɪkˈwaɪrmənts ɪn ˈəðər ˈkɑnˌtɛksts θɪŋk ɪt meɪks sɛns fər ˈmɛdəˌkeɪd ˈivɪn səm kənˈsərvətɪvz hu səˈpɔrt wərk rɪkˈwaɪrmənts fər ˈəðər ˈproʊˌgræmz ˈɑrgju ðət ðeɪ wʊd bi ˌənɛnˈfɔrsəbəl, ˈkɔstli, ənd ˈplɪtɪkli ˈtrɛʧərəs fər ˈmɛdəˌkeɪd. ˈrɑbərt ˈrɛktər, ə ˈfɛloʊ æt ðə ˈhɛrɪtɪʤ faʊnˈdeɪʃən ənd ə ˈlɔŋˌtaɪm ˈkrɪtɪk əv ˈproʊˌgræmz fər ˌloʊˈɪnkəm ˈpipəl, əˈpoʊzɪz ˌɪmˈpoʊzɪŋ wərk rɪkˈwaɪrmənts ɔn ˈmɛdəˌkeɪd. ɪt ʤɪst wərk, hi kənˈkludz, bɪˈkəz əv ðə ˈfɛdərəl rɪkˈwaɪrmənt ðət ˈimərʤənsi rumz trit ˈpeɪʃənz rəˈgɑrdləs əv əˈbɪləˌti tɪ peɪ. ˈrəðər ðən ˈlʊkɪŋ fər ə ʤɑb, hi ˈɑrgjuz, ˈpipəl kʊd ʧuz tɪ goʊ ˌənɪnˈʃʊrd; wɪn ðeɪ ɪˈvɛnʧəwəli ˈnidɪd ˈmɛdɪkəl kɛr, ˈhɑˌspɪtəlz (ˌɪnˈkludɪŋ ˈpəblɪk ˈhɑˌspɪtəlz ˈfəndɪd ˈviə tæks ˈdɔlərz ʤɪst laɪk ˈmɛdəˌkeɪd) wʊd ɛnd əp ˈʃoʊldərɪŋ ðɛr ˈimərʤənsi rum bɪlz. ənd nɑt ðə ˈoʊnli ˈrizən wərk rɪkˈwaɪrmənts kʊd wɪnd əp ˈkɔstɪŋ, ˈrəðər ðən ˈseɪvɪŋ, ˈməni. steɪts wʊd hæv tɪ bɪld ər ˌɪmˈpruv ˈsɪstəmz tɪ træk ˈwɛðər rɪˈsɪpiənts wər ˈwərkɪŋ, noʊts, wɪʧ wʊd ɛnˈteɪl mɔr stæf ənd ˈəðər ˌbjʊrəˈkrætɪk ɪkˈspɛnsɪz. ˈrɛktər ˈɔlsoʊ ɪkˈsprɛst ˈskɛptɪˌsɪzəm ðət wərk rɪkˈwaɪrmənts fər ˈmɛdɪkəl kɛr wʊd bi ˈplɪtɪkli ˈvaɪəbəl. ˈmeɪkɪŋ ə wərk rɪkˈwaɪrmənt ˈifɛktɪv minz ɪˈvɛnʧəwəli ˈpinəˌlaɪzɪŋ ˈpipəl hu ˈfɑloʊ ɪt. ənd, ɛz hi raɪts, waɪl ɪz ˈplɪtɪkli ˈʧælənʤɪŋ tɪ riˈstrɪkt kæʃ ənd fud ˈbɛnəfɪts tɪ rɪˈsɪpiənts, dɪˈnaɪɪŋ ˈmɛdɪkəl kɛr tɪ sɪk, pur ˈpipəl ɪz əˈnəðər ˈprɑbləm entirely.”*.” wəˈlɛnˌski, ðə ədˈmɪnɪˌstreɪtər ˈəndər ʤɔrʤ h.w*. bʊʃ, ʃɛrz kənˈsərnz, ˌpɑrˈtɪkjələrli ɔn ðə ˈimərʤənsi rum ˈɪʃu. ɔf ˈmɛdɪkəl kɛr frəm ˈpipəl hu ˈrɪli nid ɪt sim tərˈɪfɪkli greɪt idea,”*,” ʃi sɪz. ʤɪst ʃoʊ əp ɪn ðə ˈimərʤənsi rum. goʊɪŋ tɪ gɪt ˈpipəl hu ˌɪgˈnɔr ər ər fɔrst tɪ ˌɪgˈnɔr ðɛr hɛlθ ˈprɑbləmz ənˈtɪl ðeɪ gɪt ˈrɪli sɪk, bɪˈkəz ðə lɔ əv ðə lænd. soʊ ðɛn ju hæv tɪ ˌdɪˈsaɪd, ɪz ðɪs ˈbɛnəfɪtɪŋ anyone?”*?” wərk rɪkˈwaɪrmənts ər ˈʤɛnərəli ˌɪnɪˈfɛktɪv æt ˈfaɪtɪŋ ˈpɑvərti ɛz kənˈsərvətɪvz hu ˈwəri əˈbaʊt ˈwɛðər ˈpipəl hu gɪt ˈgəvərnmənt ˈbɛnəfɪts ər ˈwərkɪŋ, boʊθ wəˈlɛnˌski ənd ˈrɛktər səˈʤɛst wərk rɪkˈwaɪrmənts fər fud stæmps ˌɪnˈstɛd. moʊst ˈpipəl ɪn ˈpɑvərti ˈɛlɪʤəbəl fər ˈmɛdəˌkeɪd ˈɔlsoʊ gɪt fud stæmps, ənd ðə θrɛt tɪ kət ɔf ðət eɪd maɪt bi mɔr ˈkrɛdəbəl. bət ðə keɪs fər wərk rɪkˈwaɪrmənts ɔn ˈɛni ˈgəvərnmənt eɪd ˈproʊˌgræm ɪz ˈprɪti wik. ðə ˈgəvərnmənt həz ˈæˌkʧuəli dən ˈnumərəs ɪkˈspɛrəmənts tɪ tɛst aʊt wərk rɪkˈwaɪrmənts fər kæʃ ˈwɛlˌfɛr, ɛz pɑrt əv ðə rɪˈfɔrmz ˈlidɪŋ əp tɪ ðə 1996 ˈwɛlˌfɛr rɪˈfɔrm lɔ ðət ˌɪmˈpoʊzd wərk rɪkˈwaɪrmənts əˈkrɔs ðə bɔrd. ənd ðə ˈifɛkts wər ˈmigər æt bɛst, əˈkɔrdɪŋ tɪ ðə ˈsɛnər ɔn ˈbəʤɪt ənd ˈpɑləsi priorities’*’, hu rivˈjud ðɪs ˈlɪtərəʧər læst jɪr. ʃi faʊnd ðə ˈprɛmɪs əv wərk rɪkˈwaɪrmənts ðə prɪˈzumd ɪgˈzɪstəns əv ə lɑrʤ ˈnəmbər əv ˈpipəl ɔn ˈpəblɪk əˈsɪstəns hu ʃʊd bi ˈwərkɪŋ ənd, du tɪ ˈleɪzinəs ər ˌɪˈnərʃə ər ˌwəˈtɛvər ʤɪst tru. ɪn moʊst ˈstədiz, wərk rɪkˈwaɪrmənts lɛd tɪ ən ˌɪnˈkris ɪn ðə ʃɛr əv rɪˈsɪpiənts ˈwərkɪŋ ɪn ðə fərst jɪr ər tu. bət ˈoʊnli θri ɪkˈspɛrəmənts aʊt əv 13 stɪl faʊnd sɪgˈnɪfɪkənt ˈpɑzətɪv rɪˈzəlts ˈæftər faɪv jɪrz, ənd tu ɪkˈspɛrəmənts faʊnd ðət wərk rɪkˈwaɪrmənts rɪˈdust ɑdz əv ˈwərkɪŋ faɪv jɪrz ˈleɪtər. ɪn ðə lɔŋ tərm, ðə ˈpɑləsi sim tɪ prəˈmoʊt wərk məʧ æt ɔl. ˈivɪn wɪn wərk rɪkˈwaɪrmənts hæd ðə ˌɪnˈtɛndɪd ˌɪmˈpækt, ðə ˈifɛkts wər ˈmɑdəst. ðə ˈproʊˌgræm ɪn ˈrɪvərˌsaɪd, ˌkæləˈfɔrnjə, ðə moʊst ˈifɛktɪv əv ðə wənz ˈænəˌlaɪzd, reɪzd ðə ʃɛr əv ˈwɛlˌfɛr rɪˈsɪpiənts ˈwərkɪŋ baɪ 5 pərˈsɛnɪʤ pɔɪnts baɪ jɪr faɪv. ðæts gʊd, bət ɪt wɑz ˈəltəmətli ən ˌɪnˈkris frəm pərˈsɛnt tɪ pərˈsɛnt. juʤ ˈnəmbərz wər lɛft nɑt ˈwərkɪŋ ənd wər ˈɔlsoʊ noʊ ˈlɔŋgər ˈɛlɪʤəbəl fər ˈbɛnəfɪts. wərs, ˈsəbsəkwənt ˈrisərʧ səˈʤɛstɪd ðət ðə ˈrɪvərˌsaɪd səkˈsɛs æt prəˈmoʊtɪŋ wərk wɑz ə fluk, ðə ˈprɑdəkt əv ən ɔˈrɛdi ˈstrɔŋgər ˈloʊkəl ɪˈkɑnəmi. ɪn ˈoʊnli tu aʊt əv 13 ɪkˈspɛrəmənts, ɪn æˈtlæntə ənd ˈpɔrtlənd, dɪd wərk rɪkˈwaɪrmənts sɪgˈnɪfɪkəntli kət ˈpɑvərti, ənd ˈivɪn ðɛn, ðə ˈifɛkt saɪz wɑz smɔl. ɪn ˈpɔrtlənd, pərˈsɛnt əv ðoʊz nɑt ˈsəbʤɪkt tɪ wərk rɪkˈwaɪrmənts wər ɪn ˈpɑvərti, bət soʊ wər pərˈsɛnt əv ðoʊz ˈsəbʤɪkt tɪ ðɛm. ðə ˈɛvədəns, kənˈkludɪd, wɑz klɪr: ɪn moʊst ˈkeɪsɪz, wərk rɪkˈwaɪrmənts kɔz mɔr ˈpipəl tɪ wərk. wɪn ðeɪ dɪd, ðə ˈifɛkt wɑz smɔl ənd ˈtɪpɪkəli lɛd tɪ məʧ ˈpɑvərti rɪˈdəkʃən. ˈmɛni ˌdɪsədˈvænɪʤd ˌɪndəˈvɪʤəwəlz wɔnt tɪ wərk bət faɪnd ʤɑbz fər ˈrizənz ðət wərk rɪkˈwaɪrmənts solve,”*,” raɪts. læk ðə skɪlz ər wərk ɪkˈspɪriəns ðət ɪmˈplɔɪərz wɔnt, ðeɪ læk ʧaɪld kɛr əˈsɪstəns, ðeɪ læk ðə ˈsoʊʃəl kəˈnɛkʃənz ðət wʊd hɛlp ðɛm aɪˈdɛntəˌfaɪ ʤɑb ˈoʊpənɪŋz ənd gɪt haɪərd, ər ðeɪ hæv ˈkrɪmənəl ˈrɛkərdz ər hæv ˈəðər ˈpərsɪnəl ˈʧælənʤɪz ðət kip ɪmˈplɔɪərz frəm ˈhaɪrɪŋ them.”*.” ɔl əv ðət səˈʤɛsts ðət ɪkˈstɛndɪŋ ðɪs əˈproʊʧ tɪ ˈmɛdəˌkeɪd wʊd bi ə mɪˈsteɪk. ənd fər ˈmɛdəˌkeɪd, wərk rɪkˈwaɪrmənts maɪt ˈæˌkʧuəli bi ˌɪˈligəl bət ðə trəmp əˈproʊʧ kʊd bi wərs ðən ə mɪˈsteɪk ɪt kʊd ˈæˌkʧuəli bi ˌɪˈligəl. wərk rɪkˈwaɪrmənts wʊd, ˈbɑrɪŋ ən ækt əv ˈkɑŋgrəs, hæv tɪ bi ˈɔθərˌaɪzd θru wət ɪz kɔld ə ˈsɛkʃən 1115 ˈweɪvər. ðə neɪm rɪˈfərz tɪ ə ˈsɛkʃən əv ðə ˈmɛdəˌkeɪd lɔ ðət əˈlaʊz ðə ˈfɛdərəl ˈgəvərnmənt tɪ weɪv səm ˈligəl rɪkˈwaɪrmənts soʊ ðət steɪts kən ɪkˈspɛrəmənt wɪθ nu ˈpɑləsi əˈproʊʧɪz. ðə aɪˈdiə ɪz ðət steɪts gɪt səm ˌflɛksəˈbɪləti ɪn ɪksˈʧeɪnʤ fər traɪɪŋ nu weɪz əv ˈsɑlvɪŋ ðə ˈprɑbləm ðət kʊd, ɪˈvɛnʧəwəli, bi əˈdɑptəd ˈneɪʃənˈwaɪd. bət ðət ˈoʊnli meɪks sɛns ɪf ðə əˈproʊʧ biɪŋ ˈtɛstɪd ɪz ˈæˌkʧuəli nu. wərk rɪkˈwaɪrmənts: ðə ˈgəvərnmənt ɪkˈspɛrəməntəd wɪθ ðɛm ɪkˈstɛnsɪvli ˈdʊrɪŋ ˈwɛlˌfɛr rɪˈfɔrm. ðət lɛd səm ˈmɛdəˌkeɪd ˈɛkspərts tɪ ɪkˈsprɛs kənˈsərn ðət ˈweɪvərz ɪˈneɪbəlɪŋ wərk rɪkˈwaɪrmənts ʤɪst bi wɪˈθaʊt ˈfərðər ˈækʃən frəm ˈkɑŋgrəs, ðeɪ kʊd bi ˌɪˈligəl. ə ˈrisərʧ ənd ˌdɛmənˈstreɪʃən ˈstæʧut; nɑt kɑrt blænʧ tɪ weɪv ˌwəˈtɛvər ðə ˈsɛkrəˌtɛri filz laɪk waiving,”*,” ˈroʊzənˌbaʊm sɪz. nɑt ʤɪst ə fri pæs tɪ ˈɔltər ðə ˈproʊˌgræm rɪkˈwaɪrmənts fər medicaid.”*.” wət ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən θɔt, æt list. wɪn steɪts əˈtɛmptəd tɪ ˌɪmˈpoʊz wərk rɪkˈwaɪrmənts waɪl ˈprɛzɪdənt ˌoʊˈbɑmə wɑz ɪn ˈɔfəs, hɪz dɪˈpɑrtmənt əv hɛlθ ənd ˈjumən ˈsərvɪsɪz wʊd dɪˈnaɪ ðɛm, ˈɑrgjuɪŋ ðət ðə rɪkˈwɛst wɑz nɑt ˈʤəstəˌfaɪd. fər ɪgˈzæmpəl, ðeɪ toʊld ˌɛrɪˈzoʊnə ðət ə wərk rɪkˈwaɪrmənt (ənd ˈəðər rɪˈʤɛktɪd prəˈvɪʒənz) wʊd ˈækˌsɛs tɪ kɛr ənd du nɑt səˈpɔrt ðə əˈbʤɛktɪvz əv ðə program.”*.” θɪŋk ˈligəl əˈθɔrəti tɪ grænt ə ˈweɪvər, ənd ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ɛˈsɛnʃəli sɛd ɛz much,”*,” noʊts. ɪf ædˌmɪnɪˈstreɪʃən əˈtɛmpts tɪ əˈpruv prəˈvɪʒənz laɪk ðət, ˈlɪtɪgənts wɪl teɪk tɪ kɔrt tɪ meɪk ðə seɪm ˈɑrgjəmənts. fər rɪˈpəblɪkənz hu wɔnt ˈmɛdəˌkeɪd wərk rɪkˈwaɪrmənts, ðə ˈseɪfər əˈproʊʧ, ˈligəli ˈspikɪŋ, ɪz fər ˈkɑŋgrəs tɪ pæs ə nu hɛlθ kɛr bɪl əˈlaʊɪŋ steɪts tɪ ˌɪmˈpoʊz ðɛm. bət ðət ˈlaɪkli tɪ ˈhæpən ˈɛniˌtaɪm sun. |
seema verma, the trump-appointed administrator of the centers for medicare & medicaid services, has announced that the federal government will support state efforts to add work requirements to medicaid, which provides health care and support services to poor and disabled americans.
states will almost certainly take them up on this offer. already, there is a state waiver request pending from kentucky requesting permission to impose work requirements as a condition of medicaid eligibility, and arizona and arkansas have expressed interest as well.
a medicaid work requirement would be a huge departure from current practice, and a move that even many conservatives disagree with. it’s also likely to be ineffective, difficult to enforce, and maybe even illegal.
“i feel some sympathy for people who are saying, ‘this is my money, i’m working, i want to make sure other people who get support are working,’” says gail wilensky, who ran the centers for medicare and medicaid services in the george h.w. bush administration. “but i’m not sure when you actually look where this has been tried, it’s had much effect.”
the majority of people benefiting from medicaid are children, disabled, or elderly, and would be exempt from work requirements. if you exclude pregnant women and parents with young children, the number of affected people shrinks even more. the majority of the remaining non-disabled adults are working. and some of them can only work because they get medicaid — such as people who have mental illnesses or struggle with substance abuse but who, with reliable health care, are healthy and stable enough to work. making work a prerequisite for medicaid could, perversely, wind up preventing such people from working.
“it would really harm people least able to hold and keep a job and hurt people who need health care to participate in the workforce,” hannah katch, a senior policy analyst at the center on budget and policy priorities and a former official in california's medicaid program, says.
work requirements aren’t appropriate for the vast majority of medicaid beneficiaries, and the program actually encourages work
nearly two-thirds of medicaid recipients are children, blind or otherwise disabled, or elderly. work requirements would be plainly inappropriate in those cases, and so proposals typically exclude them. kentucky’s proposed plan applies only to “‘able-bodied’ working age adults,” not including students and caregivers, per the kaiser family foundation.
if you drill down into the third or so of medicaid beneficiaries who are working-age adults and don’t get supplemental security income for a disability, you find that the majority work, and an even larger majority live in households where someone works. those who don’t have understandable reasons, as this chart from kaiser family foundation president drew altman suggests — they’re sick, they’re in school, they’re retired, or they can’t find a job:
“this is a solution in search of a problem,” sara rosenbaum, a professor of health policy at george washington university who serves on a board advising congress on medicaid policy, says. “there’s just no evidence that too many people aren’t working who can work. if you say ‘able-bodied’ enough times, you give a sense that there are people just sitting around who could work, but that’s just not the case.”
for one thing, the definition of “able-bodied” under work requirements doesn’t always equal “able-bodied” the way most people would define. typically, it means not getting supplemental security income benefits through the government for having a disability.
the problem is that the ssi program doesn’t cover all or even most disabled people. many people who fall outside its purview nonetheless have disabilities that can make working difficult. in an excellent piece on the likely effects of work requirements, the new york times's abby goodnough interviewed a man named jimmy brunson, who has painful neuropathy in his feet due to diabetes. he relies on medicaid for diabetes treatment and works when he can, but he told goodnough, "even though sometimes i can get a job, you’ve got to understand — sometimes i can’t even walk."
katch notes that someone with diabetes typically wouldn’t qualify for ssi — but brunson would still be hurt by a work requirement. “the fact that he can access treatment helps him work when he can do so,” she says. but if his disability meant that he could only put in, say, 16 hours a week, and the state is mandating 20 as part of its work requirement, he’d be out of luck. worse, without medicaid paying for his diabetes treatment, he might be unable to work at all.
the same issue arises for people with substance use or mental health issues, who may not be enrolled in disability programs but still need coverage for antidepressants or antipsychotics or mood stabilizers, or for medication-assisted addiction treatment like methadone or buprenorphine. those treatments mitigate the symptoms of addiction or mental illness, and in doing so they help people continue working.
if you’re not working due to one of those conditions, getting medicaid and gaining treatment could help you start working. but if a work requirement prevents you from signing up in the first place, you could be stuck.
“we all want to encourage people to work and to support them to work,” joan alker, a medicaid expert who runs the center for children and families at georgetown, says. “if you take away their health care, people are less likely to be able to work, not more.”
the medicaid expansion experience — which extended health insurance to millions of low-income adults — has produced evidence that medicaid encourages, rather than deters, work. an evaluation of michigan's expansion in the new england journal of medicine estimated that it expanded employment by more than 30,000 jobs. ohio's evaluation of its expansion found that 74.8 percent of unemployed enrollees said getting covered made it easier to get and maintain employment.
alker also notes that work requirements could wind up hurting children, even though they’re obviously exempt. oftentimes children wind up enrolled in medicaid after their parents are. if parents wind up not enrolling due to a work requirement, that could keep their kids out too.
and that’s just the direct effect. “a healthy parent is going to be a better parent,” alker notes. “when a parent loses access to health services, that exposes the whole family to bankruptcy and economic insecurity. because when one member is uninsured, they’re all at risk.”
conservatives who support work requirements in other contexts don’t think it makes sense for medicaid
even some conservatives who support work requirements for other programs argue that they would be unenforceable, costly, and politically treacherous for medicaid.
robert rector, a fellow at the heritage foundation and a longtime critic of programs for low-income people, opposes imposing work requirements on medicaid. it just wouldn’t work, he concludes, because of the federal requirement that emergency rooms treat patients regardless of ability to pay. rather than looking for a job, he argues, people could choose to go uninsured; when they eventually needed medical care, hospitals (including public hospitals funded via tax dollars just like medicaid) would end up shouldering their emergency room bills.
and that’s not the only reason work requirements could wind up costing, rather than saving, money. states would have to build or improve systems to track whether recipients were working, katch notes, which would entail more staff and other bureaucratic expenses.
rector also expressed skepticism that work requirements for medical care would be politically viable. making a work requirement effective means eventually penalizing people who don’t follow it. and, as he writes, while “it is politically challenging to restrict cash and food benefits to noncompliant recipients, denying medical care to sick, poor people is another problem entirely.”
wilensky, the medicare/medicaid administrator under george h.w. bush, shares rector’s concerns, particularly on the emergency room issue. “cutting off medical care from people who really need it doesn’t seem terrifically great idea,” she says. “they’ll just show up in the emergency room. … you’re going to get people who ignore or are forced to ignore their health problems until they get really sick, because that’s the law of the land. so then you have to decide, is this benefiting anyone?”
work requirements are generally ineffective at fighting poverty
as conservatives who worry about whether people who get government benefits are working, both wilensky and rector suggest work requirements for food stamps instead. most people in poverty eligible for medicaid also get food stamps, and the threat to cut off that aid might be more credible.
but the case for work requirements on any means-tested government aid program is pretty weak. the government has actually done numerous experiments to test out work requirements for cash welfare, as part of the state-level reforms leading up to the 1996 welfare reform law that imposed work requirements across the board. and the effects were meager at best, according to the center on budget and policy priorities’ ladonna pavetti, who reviewed this literature last year.
she found the premise of work requirements — the presumed existence of a large number of people on public assistance who should be working and aren’t, due to laziness or inertia or whatever — just isn’t true.
in most studies, work requirements led to an increase in the share of recipients working in the first year or two. but only three experiments out of 13 still found significant positive results after five years, and two experiments found that work requirements reduced one’s odds of working five years later. in the long term, the policy didn’t seem to promote work much at all.
even when work requirements had the intended impact, the effects were modest. the program in riverside, california, the most effective of the ones pavetti analyzed, raised the share of welfare recipients working by 5 percentage points by year five. that's good, but it was ultimately an increase from 39.9 percent to 44.9 percent. huge numbers were left not working and were also no longer eligible for benefits. worse, subsequent research suggested that the riverside program’s success at promoting work was a fluke, the product of an already stronger local economy.
in only two out of 13 experiments, in atlanta and portland, did work requirements significantly cut poverty, and even then, the effect size was small. in portland, 83.4 percent of those not subject to work requirements were in poverty, but so were 79.4 percent of those subject to them.
the evidence, pavetti concluded, was clear: in most cases, work requirements didn’t cause more people to work. when they did, the effect was small and didn’t typically lead to much poverty reduction.
“too many disadvantaged individuals want to work but can’t find jobs for reasons that work requirements don’t solve,” pavetti writes. “they lack the skills or work experience that employers want, they lack child care assistance, they lack the social connections that would help them identify job openings and get hired, or they have criminal records or have other personal challenges that keep employers from hiring them.”
all of that suggests that extending this approach to medicaid would be a mistake.
and for medicaid, work requirements might actually be illegal
but the trump administration’s approach could be worse than a mistake — it could actually be illegal.
work requirements would, barring an act of congress, have to be authorized through what is called a section 1115 waiver. the name refers to a section of the medicaid law that allows the federal government to waive some legal requirements so that states can experiment with new policy approaches. the idea is that states get some flexibility in exchange for trying new ways of solving the problem that could, eventually, be adopted nationwide.
but that only makes sense if the approach being tested is actually new. work requirements aren’t: the government experimented with them extensively during welfare reform. that led some medicaid experts to express concern that waivers enabling work requirements wouldn’t just be ill-advised — without further action from congress, they could be illegal.
“it’s a research and demonstration statute; it’s not carte blanche to waive whatever the secretary feels like waiving,” rosenbaum says. “it’s not just a free pass to alter the program requirements for medicaid.”
that’s what the obama administration thought, at least. when states attempted to impose work requirements while president obama was in office, his department of health and human services would deny them, arguing that the request was not justified. for example, they told arizona that a work requirement (and other rejected provisions) would “undermine access to care and do not support the objectives of the program.”
“i don’t think there’s legal authority to grant a waiver, and the obama administration essentially said as much,” katch notes. if trump’s administration attempts to approve provisions like that, litigants will take to court to make the same arguments.
for republicans who want medicaid work requirements, the safer approach, legally speaking, is for congress to pass a new health care bill allowing states to impose them. but that isn’t likely to happen anytime soon. | 5 əv 19 nɔrm ˈɪmɪʤɪz skim: ˈstɑrtər: ˈʤuljən ˈɛdəlmən skɔr: pəˈzɪʃən ræŋk: ðə ˈfɔrmər kɛnt steɪt kˈwɔrtərˌbæk həz ˈimərʤd ɛz ˈtərgət æt ðə waɪd rɪˈsivər pəˈzɪʃən, ənd ðə ˈpeɪtriəts ˈpæsɪŋ geɪm ræn θru ˈɛdəlmən waɪl rɑb mɪst ˈməltəpəl geɪmz du tɪ ˈɪnʤəriz. waɪl θɔt əv ɛz ə slɑt rɪˈsivər, ˈɛdəlmən həz ðə əˈbɪləˌti tɪ ˈɔpərˌeɪt boʊθ frəm ðə slɑt ənd əˈlɔŋ ðə ˈsaɪˌdlaɪn, ənd hi ɪz wən əv ðoʊz pleɪərz hu kən wərk hɪmˈsɛlf ˈoʊpən ɔn ə vərˈaɪəti əv rʊts, ˌɪnˈkludɪŋ ˈdipər ˈpætərnz səʧ ɛz dɪg rʊts ənd poʊst rʊts. wən kənˌsɪdərˈeɪʃən fər ðə ˌɔrgənəˈzeɪʃən ɪz eɪʤ. hi wɪl tərn 31 ɪn meɪ, ənd waɪl ðət ɪz stɪl jəŋ, ɪt ɪz kloʊz tɪ ðə eɪʤ wɪn wɛs ˈwɛlkər bɪˈgæn tɪ ˈrigrɛs ɪn nu ˈɪŋglənd. waɪl ˈɪnʤəri ˈhɪstəri wɑz mɔr ɪkˈstɛnsɪv ðən, ðə ˈpeɪtriəts maɪt lʊk tɪ faɪnd hɪz rɪˈpleɪsmənt sun. pərˈhæps ðət wɑz ðə ˈrizən bɪˈhaɪnd ðə treɪd fər kʊks, bət ðeɪ meɪ stɪl ˈæˌdrɛs ðə pəˈzɪʃən ɪn ðə dræft. ˈstɑrtər: kʊks skɔrz: pəˈzɪʃən ræŋk: ðə ˈpeɪtriəts əkˈwaɪərd kʊks ɪn ə treɪd ˈərliər ðɪs offseason*, ˈsɛndɪŋ ðɛr səˈlɛkʃən (noʊ. 32 ˈoʊvərˌɔl) ənd pɪk tɪ nu ˌɔˈrlinz ɪn ɪksˈʧeɪnʤ fər ðə ˈʃɪfti rɪˈsivər. ˈoʊnli 23 jɪrz oʊld, kʊks ɪz ə ˈdeɪnʤərəs θrɛt boʊθ ˌəndərˈniθ ɛz wɛl ɛz daʊn ðə fild, ðoʊ hɪz roʊl wɑz dɪˈmɪnɪʃt ˈsəmˈwət læst jɪr ˈæftər ðə seɪnts ˈdræftɪd ˈmaɪkəl ˈtɑməs aʊt əv oʊˈhaɪoʊ steɪt. kʊks ɪz ə ˈsɪmələr pleɪər tɪ ˈɛdəlmən, bət hi prəˈvaɪdz mɔr əv ə dip θrɛt ˈgɪvɪn hɪz spid ənd əˈbɪləˌti tɪ bit prɛs æt ðə laɪn əv ˈskrɪmɪʤ. ˈgɪvɪn nu skim, ɪkˈspɛkt kʊks tɪ ˈɔpərˌeɪt mɔr ɪn ðə ˌɪnərˈmidiɪt ˈɛriə əv ðə fild, waɪl ˈwərkɪŋ ɪn ðə ɔˈkeɪʒənəl ˈvərtɪkəl rut tɪ kip ðə dɪˈfɛns ˈɑnəst. hɪz əˈbɪləˌti daʊn ðə fild ʃʊd fri əp səm rum ˌəndərˈniθ fər boʊθ ˈɛdəlmən ənd ə (ˈhoʊpfəli) ˈhɛlθi rɑb. ˈbæˌkəp: ˈdæni ɑmɛnˈdoʊlə skɔrz: pəˈzɪʃən ræŋk: ɑmɛnˈdoʊlə tərnd ɪn ə ˈsɑləd ˈsizən fər ðə ˈpeɪtriəts ɪn waɪl ˈseɪvɪŋ hɪz bɛst wərk fər ðə postseason*. hi kɔt 23 ˈpæsɪz fər 243 jɑrdz ənd fɔr ˈtəʧˌdaʊnz ɪn ðə ˈrɛgjələr ˈsizən, ˌɪnˈkludɪŋ tu ˈtəʧˌdaʊnz ɪn wik 2 əˈgɛnst ðə ˈdɑlfənz. bət hi wɑz ə ˈkruʃəl kəmˈpoʊnənt əv nu ˈkəmˌbæk ˈvɪktəri ɪn ˈsupər boʊl li, ˈkæʧɪŋ ə eɪt ˈpæsɪz fər 78 jɑrdz ənd ə ˈtəʧˌdaʊn, ɪn əˈdɪʃən tɪ ə ˈkrɪtɪkəl kənˈvərʒən ðət taɪd ðə geɪm ɪn ðə ˈfaɪnəl ˈmɪnət. ɑmɛnˈdoʊlə ɪz praɪˈmɛrəli juzd ɛz ə slɑt rɪˈsivər ɪn nu ˈɪŋglənd, ˈwərkɪŋ ˌəndərˈniθ ənd ˈoʊvər ðə ˈmɪdəl. hi həz ðə əˈbɪləˌti tɪ wərk hɪmˈsɛlf ˈoʊpən ɔn rʊts səʧ ɛz ənd ˈpɪvəts ənd kən faɪnd speɪs ˈoʊvər ðə ˈmɪdəl ɔn dɪgz ər ˈivɪn ˈdipər kərl rʊts. ˈbæˌkəp: ˈmælkəm ˈmɪʧəl skɔrz: pəˈzɪʃən ræŋk: ˈdræftɪd aʊt əv ðə ˌjunəˈvərsəti əv ˈʤɔrʤə, ˈmɪʧəl faʊnd hɪmˈsɛlf ɪn ə rɛr spɑt ɛz ə ˈrʊki: ˌɪnˈsaɪd tɑm ˈsərkəl əv trəst. pərˈhæps ðɪs wɑz moʊst əˈpɛrənt ˈdʊrɪŋ ˈsupər boʊl li, wɪn ðə ˈpeɪtriəts lʊkt tɪ ðə ˈrʊki ɔn ə fju ˌsɪʧuˈeɪʃənz leɪt ɪn ðə geɪm, ˈtrəstɪŋ ðət ˈmɪʧəl wʊd wərk hɪmˈsɛlf ˈoʊpən ənd meɪk ə bɪg kənˈvərʒən. æt ˈmɪʧəl ɪz ˈjutəˌlaɪzd praɪˈmɛrəli ɛz ən ɛks rɪˈsivər ɪn nu əˈfɛns, ˌɔlˈðoʊ hi kən sərv ɛz ə zi rɪˈsivər tu. hi wɑz ˈvɛri əˈdɛpt læst ˈsizən æt rʊts ɔn ðə ˈaʊtˈsaɪd, səʧ ɛz kwɪk aʊt ˈpætərnz ər ˈivɪn rʊts, wɛr hi kʊd pʊʃ ðə dɪˈfɛndər ˈvərtɪkli ənd geɪn ˌsɛpərˈeɪʃən ɔn hɪz breɪk ˈæftər ˈsɛlɪŋ ðə dip rut. hi ənd krɪs ˈhoʊˌgɑn sərv ɛz ðə patriots’*’ tu ˈpraɪˌmɛri ˈwɛpənz ɔn ðə ˈaʊtˈsaɪd. ˈbæˌkəp: krɪs ˈhoʊˌgɑn skɔrz: pəˈzɪʃən ræŋk: əkˈwaɪərd ɪn mɑrʧ 2016 frəm ðə ˈbəfəˌloʊ bɪlz ɛz ə riˈstrɪktɪd fri ˈeɪʤənt, ˈhoʊˌgɑn stɛpt ˈɪntu ðə nu ˈɪŋglənd əˈfɛns ənd prəˈvaɪdɪd səm ˌvərsəˈtɪləti æt ðə rɪˈsivər spɑt, boʊθ ɪn tərmz əv hɪz əˈbɪləˌti ɔn ðə ˈaʊtˈsaɪd ənd hɪz ˈprɛzəns daʊn ðə fild. hi ˈævrɪʤd jɑrdz pər rɪˈsɛpʃən ðɪs ˈsizən, taɪd wɪθ ˈʤæksən fər moʊst ɪn ðə lig. ˈhoʊˌgɑn wɑz æt hɪz bɛst ɪn ðə pleɪɔfs, ˈkæʧɪŋ naɪn ˈpæsɪz fər 180 jɑrdz ənd tu ˈtəʧˌdaʊnz ɪn ðə ˈʧæmpiənˌʃɪp geɪm əˈgɛnst ˈpɪtsbərg. ɪn ˈsupər boʊl li, ˈhoʊˌgɑn hɔld ɪn fɔr ˈpæsɪz fər 57 jɑrdz, bət hi hæd ə ki rɪˈsɛpʃən ɔn nu draɪv ɪn ˈoʊvərˌtaɪm. hɪz əˈbɪləˌti boʊθ ɔn ðə ˈaʊtˈsaɪd ənd daʊn ðə fild ɪz ə ˈpərˌfɪkt ˈkɑmpləmənt tɪ ˈɛdəlmən ənd wɪl meɪk ə greɪt ˈpɛrɪŋ wɪθ kʊks. tim nid: pəˈtɛnʃəl dræft fɪts: nən. kʊd kənˈsɪdər ˈbrɪŋɪŋ ɪn kæmp ˌkɑmpəˈtɪʃən wɪθ fri ˈeɪʤənts. |
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norm hall/getty images
scheme: erhardt-perkins
starter: julian edelman
nfl1000 score: 73.1/100
nfl1000 position rank: 4/155
the former kent state quarterback has emerged as brady’s go-to target at the wide receiver position, and the patriots passing game ran through edelman while rob gronkowski missed multiple games due to injuries. while thought of as a slot receiver, edelman has the ability to operate both from the slot and along the sideline, and he is one of those players who can work himself open on a variety of routes, including deeper patterns such as dig routes and post routes.
one consideration for the organization is edelman’s age. he will turn 31 in may, and while that is still young, it is close to the age when wes welker began to regress in new england. while welker’s injury history was more extensive than edelman’s, the patriots might look to find his replacement soon. perhaps that was the reason behind the trade for brandin cooks, but they may still address the position in the draft.
starter: brandin cooks
nfl1000 scores: 68.2/100
nfl1000 position rank: 35/155
the patriots acquired cooks in a trade earlier this offseason, sending their first-round selection (no. 32 overall) and third-round pick to new orleans in exchange for the shifty receiver. only 23 years old, cooks is a dangerous threat both underneath as well as down the field, though his role was diminished somewhat last year after the saints drafted michael thomas out of ohio state. cooks is a similar player to edelman, but he provides more of a deep threat given his speed and ability to beat press at the line of scrimmage.
given new england’s scheme, expect cooks to operate more in the intermediate area of the field, while working in the occasional vertical route to keep the defense honest. his ability down the field should free up some room underneath for both edelman and a (hopefully) healthy rob gronkowski.
backup: danny amendola
nfl1000 scores: 68.5/100
nfl1000 position rank: 30/155
amendola turned in a solid season for the patriots in 2016-2017, while saving his best work for the postseason. he caught 23 passes for 243 yards and four touchdowns in the regular season, including two touchdowns in week 2 against the dolphins. but he was a crucial component of new england’s comeback victory in super bowl li, catching a season-high eight passes for 78 yards and a touchdown, in addition to a critical two-point conversion that tied the game in the final minute.
amendola is primarily used as a slot receiver in new england, working underneath and over the middle. he has the ability to work himself open on routes such as slants and pivots and can find space over the middle on digs or even deeper curl routes.
backup: malcolm mitchell
nfl1000 scores: 63.5/100
nfl1000 position rank: 91/155
drafted out of the university of georgia, mitchell found himself in a rare spot as a rookie: inside tom brady’s circle of trust. perhaps this was most apparent during super bowl li, when the patriots signal-caller looked to the rookie on a few third-down situations late in the game, trusting that mitchell would work himself open and make a big conversion.
at 5’11”, mitchell is utilized primarily as an x receiver in new england’s offense, although he can serve as a z receiver too. he was very adept last season at routes on the outside, such as quick out patterns or even hitch/curl routes, where he could push the defender vertically and gain separation on his break after selling the deep route. he and chris hogan serve as the patriots’ two primary weapons on the outside.
backup: chris hogan
nfl1000 scores: 65.9/100
nfl1000 position rank: 64/155
acquired in march 2016 from the buffalo bills as a restricted free agent, hogan stepped into the new england offense and provided some versatility at the receiver spot, both in terms of his ability on the outside and his presence down the field. he averaged 17.9 yards per reception this season, tied with desean jackson for most in the league. hogan was at his best in the playoffs, catching nine passes for 180 yards and two touchdowns in the afc championship game against pittsburgh. in super bowl li, hogan hauled in four passes for 57 yards, but he had a key reception on new england’s game-winning drive in overtime. his ability both on the outside and down the field is a perfect complement to edelman and will make a great pairing with cooks.
team need: 1/10
potential draft fits: none. could consider bringing in camp competition with undrafted free agents. | gəv. rɔɪ ˈkupər ˈviˌtoʊd 656 ɪˈlɛktərəl ˈfridəm ækt, ðə moʊst sɪgˈnɪfɪkənt ˈbælət ˈækˌsɛs rɪˈfɔrm bɪl ɪn ˈmɑdərn ˈhɪstəri. wəns əˈgɛn, ən ɪˈstæblɪʃmənt ˈpɑrti həz pleɪst ˈpɑləˌtɪks ˈoʊvər ˈprɪnsəpəl. ˈdɛməˌkræts hæv ˈɔlˌweɪz kleɪmd tɪ ˈʧæmpiən rights.”*.” jɛt ðə ˈgəvərnər ˈviˌtoʊd ə bɪl ðət wʊd hæv ˈgɪvɪn ɔl ˈvoʊtərz ðə raɪt tɪ voʊt fər mɔr ˈpipəl fər ɔl ˈɔfɪsərz bɪˈkəz əv wən ˈmaɪnər ənd ˈtɛmpərˌɛri prəˈvɪʒən əˈfɛktɪŋ 2018 ʤuˈdɪʃəl ˈpraɪˌmɛriz. ɪn hɪz ˈviˌtoʊ ˈmɛsɪʤ, ðə ˈgəvərnər kleɪmz ðɪs ɪz ðə stɛp təˈwɔrd ə ˌkɑnstəˈtuʃənəl əˈmɛndmənt ðət wʊd rɪg ðə ˈsɪstəm soʊ ðət ðə ˈlɛʤəsˌleɪʧər wʊd pɪk ˈʤəʤɪz ɪn ˈɛvəri ˈdɪstrɪkt ˌɪnˈstɛd əv ˈlɛtɪŋ ðə ˈpipəl voʊt fər ðə ˈʤəʤɪz ðeɪ want.”*.” ðɪs ˈrizənɪŋ ɪz ˈkjʊriəs bɪˈkəz noʊ səʧ ˌkɑnstəˈtuʃənəl əˈmɛndmənt bɪl ɪgˈzɪsts. ənd ˈivɪn ɪt dɪd, ə məˈʤɔrəti əv nɔrθ ˌkɛrəˈlaɪnə ˈvoʊtərz wʊd hæv tɪ əˈpruv ɪt. soʊ haʊ wʊd ðət bi ˈrɪgɪŋ ðə ˈsɪstəm? ðət ɪz haʊ ə ˌkɑnstəˈtuʃənəl riˈpəblɪk wərks. ðə ˈpraɪˌmɛri ˈpərpəs əv ðə bɪl ɪz tɪ ɪkˈspænd ˈvoʊtɪŋ raɪts. ɪt wɪl: loʊər ðə ˈsɪgnəʧərz ə pəˈlɪtɪkəl ˈpɑrti nidz tɪ gɪt ɔn ðə ˈbælət frəm 2 pərˈsɛnt əv ðə voʊt fər ˈgəvərnər (mɔr ðən ˈsɪgnəʧərz) tɪ pərˈsɛnt (bɪtˈwin ənd ˈsɪgnəʧərz). əˈlaʊ ə pəˈlɪtɪkəl ˈpɑrti tɪ geɪn ˈbælət ˈækˌsɛs ˈstætəs ɪf ɪt hæd ə ˌprɛzɪˈdɛnʃəl ˈkænədɪt ɔn ðə ˈbælət ɪn 35 steɪts ɪn ðə ˈpriviəs ɪˈlɛkʃən. ðə grin ˈpɑrti, ənd ˈprɑbəˌbli ðə ˌkɑnstəˈtuʃən ˈpɑrti, ʃʊd bi ˈeɪbəl tɪ kˈwɑləˌfaɪ ˈəndər ðɪs rul. loʊər ðə ˈsɪgnəʧərz ən ənəˈfɪliˌeɪtɪd ˈsteɪtˌwaɪd ˈkænədɪt nidz frəm 2 pərˈsɛnt tɪ pərˈsɛnt (əˈbaʊt ðə seɪm rɪˈdəkʃən ˈɔlsoʊ əˈplaɪz tɪ ˈkænədɪts fər ˈdɪstrɪkts ˈəðər ðən ðə ˈʤɛnərəl əˈsɛmbli. ðə ˈsteɪtˌwaɪd rɪˈdəkʃən ɪz nɑt sɪgˈnɪfɪkənt, ənd wɪl ˈprɑbəˌbli ˈʤɛnərˌeɪt ə ˈligəl ˈʧælənʤ. ˈfɛdərəl kɔrts hæv ruld ðət steɪts ˈkænɑt hæv ə haɪər ˈbɛriər fər ˌɪndɪˈpɛndənt ˈkænədɪts ðən fər pəˈlɪtɪkəl ˈpɑrtiz. ˈpɑrtəzən ˈbɪkərɪŋ ˈsædli, 656 həz bɪˈkəm ɛnˈtæŋgəld ɪn ðə ˈpɑrtəzən ˈbɪkərɪŋ ˈoʊvər riˈdɪstrɪktɪŋ. kəmˈpaʊndɪŋ ðɪs kənfˈjuʒən, ˈmeɪʤər ˈmidiə ˈkəvərɪʤ həz ˌmɪsrɛprɪˈzɛnɪd ər ˌɪgˈnɔrd ðə ˌɪmˈpækt əv ðɪs bɪl. ðə ˈmidiə həz ˈfoʊkɪst ɔn ðə ˈpɑrtəzən skˈwɑbəlɪŋ ˈoʊvər ə ʤuˈdɪʃəl ˈpraɪˌmɛri. ðə ərˈɪʤənəl ˈvərʒən əv ðə bɪl, ˌɪntrəˈdust baɪ ˈfɔrmər rɪˈpəblɪkən sɛn. ˈændru brɑk, pæst ðə steɪt ˈsɛnɪt juˈnænəməsli ɪn ˈeɪprəl. ə sˈlaɪtli rɪˈvaɪzd ˈvərʒən pæst ðə haʊs ɪn ʤun ɪn ə baɪˈpɑrtɪzən voʊt. ɪn fækt, ˈoʊnli ˈsɛvən rɪˈpəblɪkən əˈpoʊzd ɪt. ðə bɪl wɛnt tɪ ə ˈkɑnfərəns kəˈmɪti tɪ ˈrɛkənˌsaɪl ˈdɪfərənsɪz. ɪt əˈpɪrd tɪ bi ˈhɛdɪd fər ˈpæsɪʤ. wɪn ɪt gɑt tɪ ðə ˈsɛnɪt flɔr ðɪs wik, ˌhaʊˈɛvər, rɪˈpəblɪkənz əˈtæʧt ə prəˈvɪʒən tɪ ˈkænsəl ðə 2018 ʤuˈdɪʃəl ˈpraɪˌmɛriz tɪ ðə bɪl. ðɪs dru ˌdɛməˈkrætɪk ˌɑpəˈzɪʃən, ənd noʊ ˈdɛməˌkræts ˈvoʊtɪd fər ðə ˈfaɪnəl ˈvərʒən əv ðə bɪl wɪn ɪt pæst boʊθ ˈhaʊsɪz. (ɪf ˈɪntəˌrɛstɪd, goʊ hir tɪ rɛd ðə rɪˈpəblɪkən ˈɑrgjəmənt fər ˌɪnˈkludɪŋ ðə ʤuˈdɪʃəl ˈpraɪˌmɛri prəˈvɪʒən ɪn ðɪs bɪl.) kɔl tɪ ˈækʃən bət ðɛr ɪz stɪl hoʊp. ən ˈoʊvərˌraɪd voʊt meɪ əˈkər ˈtuzˌdeɪ. bət ðə ˈoʊvərˌraɪd voʊt ɪn ðə haʊs meɪ bi kloʊz. ðə haʊs voʊt ɔn 656 wɑz ðə ˈsɛnɪt voʊt wɑz ˈɔlsoʊ kloʊz, ˈviˌtoʊ ˈoʊvərˌraɪdz ˌrikˈwaɪər ə voʊt əv ɔl ðoʊz ənd voting.”*.” ɪf ɔl ˈlɛʤəsˌleɪtərz ər ˈprɛzənt, ðət minz 72 ˌrɛprɪˈzɛnətɪvz ənd 30 ˈsɛnətərz məst voʊt jɛs. soʊ wi nid tɪ teɪk ˈækʃən tɪ flɪp ə fju rɪˈpəblɪkənz ənd ˈdɛməˌkræts tɪ voʊt fər ðə ˈoʊvərˌraɪd, əˈspɛʃəli ɪn ðə haʊs. wət wi nid ju tɪ du: fərst, lʊk əp haʊ jʊr ˌrɛprɪˈzɛnətɪv ˈvoʊtɪd hir, ənd haʊ jʊr steɪt ˈsɛnətər ˈvoʊtɪd hir. lʊk əp jʊr steɪt ˈlɛʤəsˌleɪtər ɪf jʊr ˈlɛʤəsˌleɪtər ɪz rɪˈpəblɪkən jɛs voʊt, θæŋk ðɛm fər ðɛr voʊt ənd ərʤ ðɛm tɪ ˈoʊvərˌraɪd ðə ˈviˌtoʊ. ɪf hi ɪz wən əv ðə tu rɪˈpəblɪkənz hu ˈvoʊtɪd əˈgɛnst ðə bɪl (rɛps. ʤɑn bləst ənd ˈlɛri ˈpɪtmən), ərʤ ɪm tɪ kənˈsɪdər ˈvoʊtɪŋ tɪ ˈoʊvərˌraɪd ðə ˈviˌtoʊ ɪn ðə ˈɪntərɪsts əv fri ənd ˈoʊpən ɪˈlɛkʃənz. ɪf jʊr ˈlɛʤəsˌleɪtər ɪz ə ˈdɛməˌkræt hu ˈvoʊtɪd noʊ, juz ðiz ˈtɔkɪŋ pɔɪnts tɪ ərʤ ɪm ər hər tɪ voʊt fər 656 bɪˈkəz ɪt ɪz, ɛˈsɛnʃəli, ənd ˈvoʊtɪŋ raɪts bɪl. nɔrθ ˌkɛrəˈlaɪnə ɪˈlɛkʃən lɔz hæv lɔŋ ˌɪmˈpoʊzd ɪkˈsɛsɪv ənd ənˈriznəbəl rɪkˈwaɪrmənts ɔn nu pəˈlɪtɪkəl ˈpɑrtiz ənd ənəˈfɪliˌeɪtɪd ˈkænədɪts fɑr ənd əˈbəv ðə ˈstændərd ɪn moʊst steɪts. 656 wɪl drəˈmætɪkəli loʊər ðə ˈbɛriərz fər nu pəˈlɪtɪkəl ˈpɑrtiz ənd ˌɪndɪˈpɛndənt ˈkænədɪts tɪ gɪt ɔn ðə ˈbælət, ðəs ˈgɪvɪŋ nɔrθ ˌkɛrəˈlɪniənz mɔr ˈfridəm əv ʧɔɪs ɔn ɪˈlɛkʃən deɪ. 656 wɪl əˈlaɪn ɑr steɪt ɪˈlɛkʃən lɔz wɪθ ðə məˈʤɔrəti əv steɪts. boʊθ ˈdɛməˌkræts ənd rɪˈpəblɪkənz ˈvoʊtɪd fər ðə ərˈɪʤənəl ˈvərʒən əv ðɪs bɪl, wɪθ frəm ðə ˌlɪˌbərˈtɛˌriən, grin ənd ˌkɑnstəˈtuʃən ˈpɑrtiz, ɛz wɛl ɛz grups frəm əˈkrɔs ðə pəˈlɪtɪkəl ˈspɛktrəm. ðiz ˌɪnˈkludɪd dɪˈmɑkrəsi ənd ðə ʤɑn lɑk faʊnˈdeɪʃən. ðə ˌdɛməˈkrætɪk ˈpɑrti hɪˈstɔrɪkəli həz ˈʧæmpiənd ˈvoʊtɪŋ raɪts; 656 ɪz ɛˈsɛnʃəli ə ˈvoʊtɪŋ raɪts bɪl. ðə ʤuˈdɪʃəl ˈpraɪˌmɛri prəˈvɪʒən ɪz ˈoʊnli ə ˈmaɪnər pɑrt əv ðə bɪl. ənd ɪt ˈoʊnli əˈfɛkts wən ɪˈlɛkʃən ɪn wən jɪr. ðə moʊst sɪgˈnɪfɪkənt ənd ˌɪmˈpækt əv 656 wɪl bi tɪ gɪv ɔl nɔrθ ˌkɛrəˈlaɪnə ˈvoʊtərz mɔr ˈʧɔɪsɪz ɪn mɔr ɪˈlɛkʃənz. ɛz ˈɔlˌweɪz, bi kɑm ənd ˈkərtiəs. ju meɪ nɑt bi ˈeɪbəl tɪ pərsˈweɪd ðɛm, bət ju kən ˈprɛzənt ɑr ˈɑrgjəmənts. rəˈgɑrdləs əv ˈwɛðər ju θɪŋk ðeɪ wɪl voʊt ɑr weɪ, θæŋk ðɛm fər ðə taɪm. ɪf ju ˈlɛʤəsˌleɪtər æsks fər əˈdɪʃənəl ˌɪnˌfɔrˈmeɪʃən, pliz iˈmeɪl (brian.irving@lpnc.org*) ər kɔl mi wɪθ ðɛr neɪm. braɪən ˈərvɪŋ |
gov. roy cooper vetoed sb 656 electoral freedom act, the most significant ballot access reform bill in nc’s modern history. once again, an establishment party has placed politics over principle.
democrats have always claimed to champion “voter rights.” yet the governor vetoed a bill that would have given all voters the right to vote for more people for all officers because of one minor and temporary provision affecting 2018 judicial primaries. in his veto message, the governor claims this is the “first step toward a constitutional amendment that would rig the system so that the legislature would pick everybody’s judges in every district instead of letting the people vote for the judges they want.” this reasoning is curious because no such constitutional amendment bill exists. and even it did, a majority of north carolina voters would have to approve it. so how would that be rigging the system? that is how a constitutional republic works. the primary purpose of the bill is to expand voting rights. it will: lower the signatures a political party needs to get on the ballot from 2 percent of the vote for governor (more than 94,000 signatures) to 0.25 percent (between 11,000 and signatures). allow a political party to gain ballot access status if it had a presidential candidate on the ballot in 35 states in the previous election. the green party, and probably the constitution party, should be able to qualify under this rule. lower the signatures an unaffiliated statewide candidate needs from 2 percent to 1.5 percent (about 71,545). the same reduction also applies to candidates for districts other than the general assembly. the statewide reduction is not significant, and will probably generate a legal challenge. federal courts have ruled that states cannot have a higher barrier for independent candidates than for political parties. partisan bickering sadly, sb 656 has become entangled in the partisan bickering over redistricting. compounding this confusion, nc’s major media coverage has misrepresented or ignored the impact of this bill. the media has focused on the partisan squabbling over a judicial primary. the original version of the bill, introduced by former republican sen. andrew brock, passed the state senate unanimously in april. a slightly revised version passed the house in june in a bipartisan vote. in fact, only seven republican opposed it. the bill went to a conference committee to reconcile differences. it appeared to be headed for passage. when it got to the senate floor this week, however, republicans attached a provision to cancel the 2018 judicial primaries to the bill. this drew democratic opposition, and no democrats voted for the final version of the bill when it passed both houses. (if you’re interested, go here to read the republican argument for including the judicial primary provision in this bill.) call to action but there is still hope. an override vote may occur tuesday. but the override vote in the house may be close. the house vote on sb 656 was 70-44. the senate vote was also close, 30-20. veto overrides require a three-fifths vote of all those “present and voting.” if all legislators are present, that means 72 representatives and 30 senators must vote yes. so we need to take action to flip a few republicans and democrats to vote for the override, especially in the house. here’s what we need you to do: first, look up how your representative voted here, and how your state senator voted here. look up your state legislator if your legislator is republican yes vote, thank them for their vote and urge them to override the veto. if he is one of the two republicans who voted against the bill (reps. john blust and larry pittman), urge him to consider voting to override the veto in the interests of free and open elections. if your legislator is a democrat who voted no, use these talking points to urge him or her to vote for sb 656 because it is, essentially, and voting rights bill. north carolina election laws have long imposed excessive and unreasonable requirements on new political parties and unaffiliated candidates far and above the standard in most states.
sb 656 will dramatically lower the barriers for new political parties and independent candidates to get on the ballot, thus giving north carolinians more freedom of choice on election day.
sb 656 will align our state election laws with the majority of states.
both democrats and republicans voted for the original version of this bill, with supporty from the libertarian, green and constitution parties, as well as groups from across the political spectrum. these included democracy nc and the john locke foundation.
the democratic party historically has championed voting rights; sb 656 is essentially a voting rights bill.
the judicial primary provision is only a minor part of the bill. and it only affects one election in one year. the most significant and far-reaching impact of sb 656 will be to give all north carolina voters more choices in more elections. as always, be calm and courteous. you may not be able to persuade them, but you can present our arguments. regardless of whether you think they will vote our way, thank them for the time. if you legislator asks for additional information, please email (brian.irving@lpnc.org) or call (919.538.4548) me with their name.
brian irving
libertarian-at-large | waɪl trəmp ædˌmɪnɪˈstreɪʃən əˈfɪʃəlz ˈklɛrəˌfaɪd ɔn ˈfɛbjəˌwɛri. 1 ðət ə ʤæn. 27 ɪgˈzɛkjətɪv ˈɔrdər ðət hæd bænd juz. ˈɛntri fər ˈnæʃənəlz frəm ˈsɛvən ˈkəntriz dɪz nɑt əˈplaɪ tɪ ˈligəl ˈrɛzɪdənts wɪθ grin kɑrdz, ənˈsərtənti ɔn ˈkɑrənt ənd pəˈtɛnʃəl riˈstrɪkʃənz ɔn ˈvizəz ənd ˌɪməˈgreɪʃən wɪl hæv "ə sɪgˈnɪfɪkənt pəˈtɛnʃəl ˌɪmˈpækt" ɔn ˈkɑlɪʤɪz əv ˈɛnʤəˈnɪrɪŋ ənd ˈɛnʤəˈnɪrɪŋ tɛkˈnɑləʤi, sɛd ðɛr ˈmeɪʤər prəˈfɛʃənəl əˌsoʊʃiˈeɪʃən. ɪn ə ˈfɛbjəˌwɛri. 1 ˈsteɪtmənt, ðə əˈmɛrɪkən soʊˈsaɪɪti fər ˈɛnʤəˈnɪrɪŋ ˌɛʤəˈkeɪʃən, sɛd "ðə məˈʤɔrəti əv ˈɛnʤəˈnɪrɪŋ ˈgræʤəˌweɪt ˈstudənts ər ˈfɔrən bɔrn, ɛz ər ə sɪgˈnɪfɪkənt ˈnəmbər əv ˌəndərˈgræʤəwəts ənd ˈfækəlti." ɪt sɛd ðə ˈɔrdər ərˈɪʤənəli ˈbænɪŋ juz. ˈɛntri fər ˈvizə ənd grin kɑrd ˈhoʊldərz frəm ˈsɛvən ˈkəntriz (ˌɪˈrɑn, ˌɪˈrɑk, ˈjɛmən, səˈmɑljə, suˈdæn, ˈlɪˌbiə ənd ˈsɪriə) hæd pəˈtɛnʃəl ˌɪmˈpækt tɪ "ˈθaʊzənz əv ˈɛnʤəˈnɪrɪŋ ənd ˈɛnʤəˈnɪrɪŋ tɛkˈnɑləʤi ˈstudənts ənd ˈfækəlti ˈmɛmbərz [ɪn] kənˈtɪnjuɪŋ ðɛr ˌɛʤəˈkeɪʃən ˈrisərʧ ɪn ə ˈtaɪmli ənd ˈrizənəbəl ˈmænər, ənd ðɪs dɪz nɑt ˈæˌdrɛs, əv kɔrs, ðə ˈpərsɪnəl ˈhɑrdʃɪp ənd æŋˈzaɪəti ðeɪ ər ˈfeɪsɪŋ." ˈmɛmbərz ˌɪnˈklud əˈbaʊt 400 ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz; ˌækəˈdɛmɪk, ˈkɔrpərət ənd ˈgəvərnmənt ˈmɛmbərz; 50 ˈkəmpəˌniz ənd ˈəðər ˈgəvərnmənt ˈeɪʤənsiz ənd ˈɛntɪtiz. ˈmɛmbər ˌɪnstɪˈtuʃənz ər ˈgreɪtli ɛnˈrɪʧt baɪ ðə ˈtælənt, ˌɪnˈtɛləʤəns, wərk ˈɛθɪk, ənd dɪˈvərsɪti əv θɔt ðət ˌɪnərˈnæʃənɑl ˈfækəlti ənd ˈstudənts brɪŋ tɪ ðɛr ˈkæmpəsɪz," sɛd ðə grup. "ˈmɛni əv ðiz ˈstudənts steɪ ɪn ðə juz. ˈæftər ˌgræʤəˈweɪʃən ənd kənˈtrɪbjut tɪ ðə ɪˈkɑnəmi, ˈsəmˌtaɪmz ˈstɑrtɪŋ ˈbɪznɪsɪz ər ˌɪmˈpæktɪŋ ɪnˈtaɪər ˈɪndəstriz." ɪn ɪts ˈsteɪtmənt, ðə grup ərʤd ðət ˈtaɪtənd sɪˈkjʊrəti "ˈmɪnəˌmaɪz dɪsˈrəpʃən" tɪ ðoʊz hu tiʧ, ˈpræktɪs, ənd ˈstədi ˈɛnʤəˈnɪrɪŋ ənd ˈɛnʤəˈnɪrɪŋ tɛkˈnɑləʤi ɪn ðə juz. ənd ˈɛmfəˌsaɪzd ðət "bɪɔnd ˈɛni ˌɪˈmiˌdiət ˈnɛgətɪv ˌɪmˈpækt, ðə kriˈeɪʃən əv ən ˈætməsˌfɪr əv ənˈsərtənti fər ˌɪnərˈnæʃənɑl ˈfækəlti ənd ˈstudənts meɪ hæv ə ˈdæmpənɪŋ ˌɪmˈpækt ɔn ɑr əˈbɪləˌti tɪ əˈtrækt ðə bɛst ˈtælənt." |
while trump administration officials clarified on feb. 1 that a jan. 27 executive order that had banned u.s. entry for nationals from seven heavily-muslim countries does not apply to legal residents with green cards, uncertainty on current and potential longer-term restrictions on visas and immigration will have "a significant potential impact" on colleges of engineering and engineering technology, said their major professional association.
in a feb. 1 statement, the american society for engineering education, said "the majority of engineering graduate students are foreign born, as are a significant number of undergraduates and faculty."
it said the order originally banning u.s. entry for visa and green card holders from seven countries (iran, iraq, yemen, somalia, sudan, libya and syria) had potential impact to "thousands of engineering and engineering technology students and faculty members [in] continuing their education and/or research in a timely and reasonable manner, and this does not address, of course, the personal hardship and anxiety they are facing."
asee members include about 400 colleges and universities; 12,000 academic, corporate and government members; 50 companies and other government agencies and entities.
"asee member institutions are greatly enriched by the talent, intelligence, work ethic, and diversity of thought that international faculty and students bring to their campuses," said the group. "many of these students stay in the u.s. after graduation and contribute to the economy, sometimes starting tech-based businesses or impacting entire industries."
in its statement, the group urged that tightened security "minimize disruption" to those who teach, practice, and study engineering and engineering technology in the u.s. and emphasized that "beyond any immediate negative impact, the creation of an atmosphere of uncertainty for international faculty and students may have a dampening impact on our nation’s ability to attract the best talent." | ˈlaɪtnɪŋ dɔgz: ðə əˈfɪʃəl ˈɛpɪˌsoʊd 17 θɪŋ neɪmz ˈpoʊstɪd baɪ ɔn mɑrʧ 20 2017 raɪd wɪθ ðə ˈlaɪtnɪŋ dɔgz: ˈkeɪˌnaɪnz frəm əˈnəðər wərld; ˈstrændɪd ɔn ə ərθ. ə ˈkreɪzi aɪˈdiə fjuəld baɪ ɑr ˈfeɪvərɪt pɑp ˈkəlʧər ənd bɪn rɪˈkɔrdɪŋ ɑr dɪˈvɛləpmənt əv ɪt sɪns ðə ˈmoʊmənt ˈlaɪtnɪŋ strək. ʤɔɪn ˈjuˈɛs ɔn ɑr kwɛst tɪ bɪld ðɪs wərld ənd lɔnʧ ɪt ɛz ən ˈænəˌmeɪtɪd ˈsɪriz. wɪn læst wi tɔkt ˈviɪkəlz, wi wər ˈsɪmpli ˈpeɪvɪŋ ðə weɪ fər ðə dɪˈzaɪnz tɪ kəm. wi dɪˈskəst ðə ˈɪnˌfluənsɪz wi ˈwɔntɪd tɪ pʊl frəm ənd kɪkt əraʊnd ə fju ˈərli fər wət kaɪnz əv ˈkɑbəld təˈgɛðər ʤəŋk kɑz ðə wʊd bi ˈkruzɪŋ əraʊnd ɪn. naʊ, kæp, dəg, ˈtoʊni, ənd mæks ər ˈrɛdi tɪ ˈziroʊ ɪn ɔn ðə kɑz æt ðə hɑrt əv ɑr ˈsɪriz: ðə ˈlaɪtnɪŋ dogs’*’ swit raɪdz. ənd, əv kɔrs, noʊ ˈviɪkəl ˈɛpɪˌsoʊd wʊd bi kəmˈplit wɪˈθaʊt səm ˈfæsəˌneɪtɪŋ ˈditʊrz ˈɪntu ðə ˈstreɪnʤər rɛlmz əv kɑr ˈkəlʧər. wi ɪkˈsplɔr ˈɪnʤən dɪˈzaɪnz ənd wət ðət tɛkˈnɑləʤi maɪt min fər ðə lʊk ənd saʊnd əv ðə kɑz, æsk kˈwɛsʧənz laɪk nid ə ˈsɪgnəʧər vehicle?”*?”, ənd bɪld ˈviɪkəl ənd ækˈsɛsəri ˈkɑnsɛpts ˈbækwərdz frəm ə riˈpɑzəˌtɔri əv names”*” ˈrændəm ˈtaɪtəlz ðət wʊd hæv bɪn raɪt æt hoʊm ɪn ənd ˈækʃən ˈfɪgjər aɪəlz. træk: ˈlaɪtnɪŋ dɔgz: ðə əˈfɪʃəl θim ˈlɛvəl 99 ˈlaɪtnɪŋ dɔgz lɪŋks: ˈsoʊʃəl lɪŋks: ˈrɛfərəns lɪŋks: |
lightning dogs: the official paw’dcast :: episode 17 :: thing names
posted by nerdyshow on march 20, 2017
ride with the lightning dogs: canines from another world; stranded on a post-apocalyptic earth. it’s a crazy idea fueled by our favorite 80s pop culture and we’ve been recording our development of it since the moment lightning struck. join us on our quest to build this world and launch it as an animated series.
when last we talked vehicles, we were simply paving the way for the designs to come. we discussed the influences we wanted to pull from and kicked around a few early mock-ups for what kinds of cobbled together junk cars the peoploids would be cruising around in.
now, cap, doug, tony, and max are ready to zero in on the cars at the heart of our series: the lightning dogs’ sweet rides. and, of course, no vehicle episode would be complete without some fascinating detours into the stranger realms of car culture. we explore crystal-powered engine designs and what that technology might mean for the look and sound of the cars, ask hard-hitting questions like “does glampire need a signature vehicle?”, and build vehicle and accessory concepts backwards from a repository of “thing names” – random punny titles that would have been right at home in 80s and 90s action figure aisles.
track:
lightning dogs: the official paw’dcast theme :: level 99
lightning dogs links:
social links:
reference links: | kɑrl bɪˈkeɪm ˈʧɛrmən əv ˈblækˌpul ɪn ˈeɪprəl 1999 ˈblækˌpul ˈʧɛrmən kɑrl həz əˈpɑləˌʤaɪzd "unreservedly*" fər əˈbjusɪv tɛksts hi sɛnt tɪ ə səˈpɔrtər. ədˈmɪtəd ˈsɛndɪŋ ðə "ˌənækˈsɛptəbəl" tɛksts ɪn rɪˈspɑns tɪ "ə bərɑʒ əv əˈbjuz" hi rɪˈsivd ˈæftər hɪz ˈmoʊbəl ˈnəmbər wɑz pleɪst ɔn ə ˈsoʊʃəl ˈmidiə ˈwɛbˌsaɪt. "aɪ rɪˈgrɛt ˈstupɪŋ tɪ ðə ˈlɛvəl əv ðoʊz θˈrɛtənɪŋ ənd əˈbjuzɪŋ maɪ ˈfæməli," sɛd ɪn ə ˈsteɪtmənt. "ˈgɪvɪn maɪ pəˈzɪʃən, aɪ ʃʊd hæv ˈæktɪd wɪθ mɔr riˌspɑnsəˈbɪləti.", ə ˈmɛmbər əv ðə ˈfʊtˌbɔl ligz bɔrd əv dɪˈrɛktərz, ɪz əˈlɛʤd tɪ hæv kɔld ˈstivən smɪθ "ə rɪˈtɑrd" ənd toʊld ðə ˌɪndəˈvɪʤəwəl tɪ "ˌɛnˈʤɔɪ ðə rɛst əv jʊr ˈspɛʃəl nidz deɪ aʊt". ˈdʊrɪŋ ðə tɛkst ɪksˈʧeɪnʤ, juzd ˈnumərəs swɛr wərdz ənd kɔld smɪθ "ˌɛʤəˈkeɪʃənəli subnormal*" ənd ə "sæd ækt". hi ɪz ˈɔlsoʊ ˌriˈpɔrtəd tɪ hæv toʊld smɪθ ðət hi həz bænd ɪm frəm ðə kləbz ˈblumˌfild roʊd graʊnd. ðə ˈfʊtˌbɔl əˌsoʊʃiˈeɪʃən həz sɛd ɪt ɪz əˈwɛr əv ðə roʊ. ˈblækˌpul ər ˈbɑtəm əv ðə ˈʧæmpiənˌʃɪp ˈteɪbəl ɪn hɪz ˈsteɪtmənt, sɛd: "aɪ wʊd laɪk tɪ əˈpɑləˌʤaɪz fər ˈɛni ər dɪˈstrɛs kɔzd baɪ maɪ tɛkst rɪˈspɑnsɪz ˌriˈpɔrtəd ɪn ðə ˈmidiə ˈrisəntli. "maɪ ˈmoʊbəl ˈnəmbər wɑz pleɪst ɔn ə ˈsoʊʃəl ˈmidiə ˈwɛbˌsaɪt ˈrisəntli ənd ɪt lɛd tɪ ə bərɑʒ əv əˈbjuz əˈbaʊt maɪ ˈməðər, ˈfɑðər, waɪf, ˈʧɪldrən ənd ˌmaɪˈsɛlf. ɪn ˈhaɪnˌsaɪt ðə eɪm əv ðɪs wɑz klɪr, ənd aɪ ˈfulɪʃli ˈɑptɪd tɪ ˈʧælənʤ səm əv ðə əˈbjuz, hərˈæsmənt ənd θrɛts." sɛd ðət hi ʃʊd hæv "ˌriˈpɔrtəd ðə əˈbjusɪv tɛkst ˈmɛsɪʤɪz, foʊn kɔlz ənd ˈænsər foʊn ˈmɛsɪʤɪz tɪ ðə pəˈlis, ˈrəðər ðən gɪt ɛmˈbrɔɪld ɪn səʧ ən ɪksˈʧeɪnʤ". hi ˈɔlsoʊ sɛd hi wʊd meɪk ə doʊˈneɪʃən tɪ ðə kləbz kəmˈjunɪti trəst, wɪʧ wərks wɪθ ə ˈnəmbər əv ˌɔrgənɪˈzeɪʃənz ðət səˈpɔrt dɪˈseɪbəld ˈpipəl. ˈblækˌpul səˈpɔrtərz ˈhɔltɪd ə geɪm əˈgɛnst ˈbərnli ɪn ˈeɪprəl baɪ θroʊɪŋ ˈtɛnɪs bɔlz ənd ˈtænʤərˌinz ɔn tɪ ðə pɪʧ ə ˈproʊˌtɛst əˈgɛnst ˈʧɛrmən kɑrl ˈkɑmɛntɪŋ ɔn ˈsteɪtmənt, smɪθ toʊld ˌbibiˈsi ˈreɪdiˌoʊ 5 lɪv: "aɪ θɪŋk ðə əˈpɑləˌʤi frəm kɑrl ɪz wik." smɪθ kleɪmd hɪz tɛksts tɪ wər "ərˈɪʤənəli əˈbaʊt ðə kləb ər læk əv ˌfaɪˈnænʃəl ˌɪnˈvɛstmənt ɪn ðə kləb ˌɪnfrəˈstrəkʧər", "ðə wik skwɑd" ənd ðə "pəˈzɪʃən ðət ˈblækˌpul ˈfʊtˌbɔl kləb faɪndz ˌɪtˈsɛlf ɪn". hi ˈædɪd: "rəˈgɑrdləs əv ˈwɛðər kɑrlz əˈnɔɪd æt hɪz ˈnəmbər biɪŋ riˈlist ər nɑt, hiz stɪl ə ˈfʊtˌbɔl lig ˈʧɛrmən ənd ɛz səʧ hi ʃʊd bɪˈheɪv əˈkɔrdɪŋli. "aɪ noʊ ðɛr ər ˈmɛsɪʤɪz bɪtˈwin ɪm ənd ˈəðər fænz. aɪ kænt ˈkɑmɛnt ˈpərsənəli ɔn ˈwɛðər wən əv ðoʊz fænz θˈrɛtənd ɪm ər hɪz ˈfæməli, bət aɪ ˈsərtənli ˈwəzənt wən əv ðoʊz." ðə ˈblækˌpul səˈpɔrtərz trəst (bst*) ˈæftər ðə tɛksts wər meɪd ˈpəblɪk, waɪl ðə ˈblækˌpul gəˈzɛt ˈnuzˌpeɪpər ˌdɪˈsaɪdɪd tɪ drɔp ɪm ɛz ə ˈwikli ˈkɑləmnəst. "wi wʊd səˈpɔrt ðə ɪf ðeɪ kʊd rən ðə kləb ɪn ə riˈspɑnsəbəl ˈmænər, bət ˈrisənt ˈɛvədəns səˈʤɛsts ðeɪ ər nɑt ˈeɪbəl tɪ du soʊ," sɛd tɪm ˈfildɪŋ, ʧɛr əv ðə bst*. "aɪ æm əˈstɑnɪʃt, ˈrɪli. ɪts kwaɪt rɪˈmɑrkəbəl. fər ðə ˈoʊnər əv ə ˈfʊtˌbɔl kləb tɪ seɪ ðət ɪz bæd ˈʤəʤmənt. "hi ɪz ə fər ðə taʊn, fər ðə kləb ənd ðə kəmˈjunɪti. ɪts ə sæd deɪ fər ˈblækˌpul ˈfʊtˌbɔl kləb." həz feɪst ˈsɛvərəl ˈproʊˌtɛsts əˈbaʊt hɪz ˈrənɪŋ əv ðə kləb, wɪθ ə ˈsɛkʃən əv fænz ə ˈdʊrɪŋ ə hoʊm geɪm əˈgɛnst ˈkɑrdɪf ˈsɪti ɪn ɑkˈtoʊbər. ðə kləb ər ˈbɑtəm əv ðə ˈʧæmpiənˌʃɪp ənd lɔst æt hoʊm tɪ ˈlidərz ɔn ˈsæˌtɪˌdeɪ. |
karl oyston became chairman of blackpool in april 1999
blackpool chairman karl oyston has apologised "unreservedly" for abusive texts he sent to a supporter.
oyston admitted sending the "unacceptable" texts in response to "a barrage of abuse" he received after his mobile number was placed on a social media website.
"i regret stooping to the level of those threatening and abusing my family," said oyston in a statement.
"given my position, i should have acted with more responsibility."
oyston, a member of the football league's board of directors, is alleged to have called stephen smith "a retard" and told the individual to "enjoy the rest of your special needs day out".
during the text exchange, oyston used numerous swear words and called smith "educationally subnormal" and a "sad act".
he is also reported to have told smith that he has banned him from the club's bloomfield road ground.
the football association has said it is aware of the row.
blackpool are bottom of the championship table
in his statement, oyston said: "i would like to unreservedly apologise for any offence or distress caused by my text responses reported in the media recently.
"my mobile number was placed on a social media website recently and it led to a barrage of abuse about my mother, father, wife, children and myself. in hindsight the aim of this was clear, and i foolishly opted to challenge some of the abuse, harassment and threats."
oyston said that he should have "reported the abusive text messages, phone calls and answer phone messages to the police, rather than get embroiled in such an exchange".
he also said he would make a donation to the club's community trust, which works with a number of organisations that support disabled people.
blackpool supporters halted a game against burnley in april by throwing tennis balls and tangerines on to the pitch - a protest against chairman karl oyston
commenting on oyston's statement, smith told bbc radio 5 live: "i think the apology from karl is weak."
smith claimed his texts to oyston were "originally about the club or lack of financial investment in the club infrastructure", "the weak squad" and the "position that blackpool football club finds itself in".
he added: "regardless of whether karl's annoyed at his number being released or not, he's still a football league chairman and as such he should behave accordingly.
"i know there are messages between him and other fans. i can't comment personally on whether one of those fans threatened him or his family, but i certainly wasn't one of those."
the blackpool supporters trust (bst) criticised oyston after the texts were made public, while the blackpool gazette newspaper decided to drop him as a weekly columnist.
"we would support the oystons if they could run the club in a responsible manner, but recent evidence suggests they are not able to do so," said tim fielding, chair of the bst.
"i am astonished, really. it's quite remarkable. for the owner of a football club to say that is bad judgement.
"he is a flag-bearer for the town, for the club and the community. it's a sad day for blackpool football club."
oyston has faced several protests about his running of the club, with a section of fans organising a walk-out during a home game against cardiff city in october.
the club are bottom of the championship and lost 6-1 at home to leaders bournemouth on saturday. | ˌɪnˈgridiənts ˈpeɪstri fər paɪ 9 ˈɪnʧɪz) 7 kəps slaɪst pild tɑrt ˈæpəlz (əˈbaʊt 6 ˈmidiəm) 1 ˈtiˌspun ˈlɛmən ʤus 1 ˈtiˌspun vəˈnɪlə ˈɛkˌstrækt kəp ʧɑpt ˈpiˌkɑnz kəp pækt braʊn ˈʃʊgər 3 ˈteɪbəlˌspunz ˈʃʊgər 4 ˈtiˌspunz graʊnd ˈsɪnəmən 1 ˈteɪbəlˌspun ˈkɔrnˌstɑrʧ kəp ˈkɛrəməl ˈtɑpɪŋ, rum ˈtɛmpərəʧər 3 ˈteɪbəlˌspunz ˈbətər, ˈmɛltɪd ˈtɑpɪŋ: kəp ˈɔlˈpərpəs flaʊər kəp ˈʃʊgər 6 ˈteɪbəlˌspunz koʊld ˈbətər, kjubd kəp ʧɑpt ˈpiˌkɑnz kəp ˈkɛrəməl ˈtɑpɪŋ, rum ˈtɛmpərəʧər wɪpt krim ənd əˈdɪʃənəl ˈkɛrəməl ˈtɑpɪŋ, ˈɔpʃənəl vju ˈrɛsəpi dɪˈrɛkʃɪnz ˈəvən tɪ ɔn ə ˈlaɪtli ˈsərfəs, roʊl krəst tɪ ə ˈsərkəl; ˈtrænsfər tɪ ə 9-in*. paɪ pleɪt. trɪm krəst tɪ ɪn. bɪɔnd rɪm əv pleɪt; flut ɛʤ. rɪˈfrɪʤərˌeɪt ənˈtɪl ˈrɛdi tɪ fɪl. ɪn ə lɑrʤ boʊl, tɔs ˈæpəlz wɪθ ˈlɛmən ʤus ənd vəˈnɪlə. mɪks ˈpiˌkɑnz, ˈʃʊgərz, ˈsɪnəmən ənd ˈkɔrnˌstɑrʧ; æd tɪ ˈæpəlz ənd tɔs tɪ ˈkɑmbaɪn. sprɛd ˈkɛrəməl ˈtɑpɪŋ ˈɔntu ˈbɑtəm əv krəst. fɪl wɪθ ˈæpəl ˈmɪksʧər. ˈdrɪzəl wɪθ ˈbətər. fər ˈtɑpɪŋ, mɪks flaʊər ənd ˈʃʊgər. kət ɪn ˈbətər ənˈtɪl crumbly*; stər ɪn ˈpiˌkɑnz. ˈsprɪŋkəl ˈoʊvər ˈfɪlɪŋ. beɪk ɔn ə loʊər ˈəvən ræk ənˈtɪl ˈfɪlɪŋ ɪz ˈbəbəli, ˈmɪnəts. ˈdrɪzəl wɪθ ˈkɛrəməl ˈtɑpɪŋ. kul ɔn ə waɪər ræk. ɪf dɪˈzaɪərd, sərv wɪθ wɪpt krim ənd əˈdɪʃənəl ˈkɛrəməl ˈtɑpɪŋ. ˈpeɪstri fər paɪ 9 ˈɪnʧɪz): ˈkɑmbaɪn kəps ˈɔlˈpərpəs flaʊər ənd tsp*. sɔlt; kət ɪn kəp koʊld ˈbətər ənˈtɪl crumbly*. ˈgræʤuəli æd tbsp*. aɪs ˈwɔtər, ˈtɔsɪŋ wɪθ ə fɔrk ənˈtɪl doʊ hoʊldz təˈgɛðər wɪn prɛst. ræp ɪn ˈplæstɪk ənd rɪˈfrɪʤərˌeɪt 1 aʊər. nuˈtrɪʃən fækts 1 pis: 639 ˈkælɔˌriz, fæt ˈsæʧərˌeɪtɪd fæt), kəˈlɛstərˌɔl, ˈsoʊdiəm, ˌkɑrboʊˈhaɪˌdreɪt ˈʃʊgərz, ˈfaɪbər), ˈproʊˌtin. ərˈɪʤənəli ˈpəblɪʃt ɛz ˈkɑrməl ˈpiˌkɑn ˈæpəl paɪ ɪn teɪst əv hoʊm 2007 |
ingredients pastry for single-crust pie (9 inches)
7 cups sliced peeled tart apples (about 6 medium)
1 teaspoon lemon juice
1 teaspoon vanilla extract
3/4 cup chopped pecans
1/3 cup packed brown sugar
3 tablespoons sugar
4 teaspoons ground cinnamon
1 tablespoon cornstarch
1/4 cup caramel topping, room temperature
3 tablespoons butter, melted
streusel topping:
3/4 cup all-purpose flour
1/4 cup sugar
6 tablespoons cold butter, cubed
2/3 cup chopped pecans
1/4 cup caramel topping, room temperature
whipped cream and additional caramel topping, optional view recipe
directions preheat oven to 350°. on a lightly floured surface, roll crust to a 1/8-in.-thick circle; transfer to a 9-in. deep-dish pie plate. trim crust to 1/2 in. beyond rim of plate; flute edge. refrigerate until ready to fill.
in a large bowl, toss apples with lemon juice and vanilla. mix pecans, sugars, cinnamon and cornstarch; add to apples and toss to combine.
spread caramel topping onto bottom of crust. fill with apple mixture. drizzle with butter.
for streusel topping, mix flour and sugar. cut in butter until crumbly; stir in pecans. sprinkle over filling.
bake on a lower oven rack until filling is bubbly, 65-75 minutes. drizzle with caramel topping. cool on a wire rack. if desired, serve with whipped cream and additional caramel topping.
pastry for single-crust pie (9 inches): combine 1-1/4 cups all-purpose flour and 1/4 tsp. salt; cut in 1/2 cup cold butter until crumbly. gradually add 3-5 tbsp. ice water, tossing with a fork until dough holds together when pressed. wrap in plastic and refrigerate 1 hour.
nutrition facts 1 piece: 639 calories, 39g fat (17g saturated fat), 64mg cholesterol, 331mg sodium, 73g carbohydrate (43g sugars, 5g fiber), 6g protein.
originally published as carmel pecan apple pie in taste of home october/november 2007 | ɪf səm ˌvɛˈraɪzən ˈwaɪrlɪs ər ˈækjərət, səm əv ju bɪg rɛd ˈkəstəmərz meɪ si jʊr bɪl goʊ əp baɪ ə ˈkəpəl bəks nɛkst mənθ. əˈkɔrdɪŋ tɪ ˈɪmɪʤɪz sɛnt tɪ, ˌvɛˈraɪzən maɪt ˈɪmpləmənt ə 2 "kənˈvinjəns fi" bɪˈgɪnɪŋ ˈʤænjuˌɛri ðət wɪl bi ʧɑrʤd tɪ ˈkəstəmərz peɪɪŋ ðɛr bɪl ˈiðər ˈɔnˌlaɪn ər ˈoʊvər ðə foʊn. ðə fi, ˌvɛˈraɪzən sɪz, ɪz mɛnt tɪ hɛlp ɪt kip ðoʊz ˈpeɪmənt ˈmɛθədz əp ənd ˈrənɪŋ. haʊ kən ju əˈvɔɪd əp ðə ˈɛkstrə kæʃ iʧ mənθ? ˈsɛtɪŋ əp ɪz wən weɪ, ɛz ɪz peɪɪŋ baɪ ˌɪˌlɛkˈtrɑnɪk ʧɛk ər baɪ ˈbrɪŋɪŋ jʊr ˈpeɪmənt ˈɪntu jʊr ˈloʊkəl ˈneɪbərˌhʊd ˌvɛˈraɪzən stɔr. ˈlæstli, ju kʊd ˈɔlˌweɪz goʊ ðə ˌoʊldˈfæʃənd rut ənd meɪl ə ˈpeɪpər ʧɛk ər ˈməni ˈɔrdər ˈɪntu ˌvɛˈraɪzən. ˈsərtənli əˈlaʊɪŋ ə ˈkəstəmər tɪ peɪ ðɛr bɪl ˈoʊvər ðə ˈtɛləˌfoʊn ər ˈɔnˌlaɪn ɪz kənˈvinjənt, bət ɪts təf tɪ ˌɪˈmæʤən ðət ˈmɛni ˌvɛˈraɪzən səbˈskraɪbərz ər goʊɪŋ tɪ bi θrɪld əˈbaʊt biɪŋ ʧɑrʤd ʤɪst tɪ peɪ ðɛr bɪl, əˈspɛʃəli wɪn ðə "kənˈvinjəns fi" ɪz tu hoʊl ˈdɔlərz. ɪts gʊd tɪ noʊ ðət ðɛr ər ə fju weɪz tɪ əˈvɔɪd ðə fi, bət wən həz tɪ ˈwəndər ɪf ɪts ˈrɪli soʊ məʧ mɔr ɪkˈspɛnsɪv fər ˌvɛˈraɪzən tɪ meɪnˈteɪn ˈɔnˌlaɪn ˈpeɪmənt ˈsərvɪsɪz kəmˈpɛrd tɪ əkˈsɛptɪŋ ˈpeɪpər ʧɛks ər ˈhævɪŋ ˈkəstəmərz kəm ˈɪntu ə stɔr ənd peɪ ðət weɪ. wət du ju ɔl meɪk əv ðɪs nuz? ˈɛniˌwən ˈθɪŋkɪŋ əˈbaʊt ˈdəstɪŋ ɔf ðət oʊld ˈʧɛkˌbʊk? ˈəpˌdeɪt: ðə fi ɪz naʊ nis ənd əˈfɪʃəl, ɛz ˌvɛˈraɪzən həz əˈnaʊnst ðət ə 2 kənˈvinjəns fi wɪl ʧɑrʤd tɪ ˈkəstəmərz ðət meɪk ˈsɪŋgəl bɪl ˈpeɪmənts ˈiðər ˈɔnˌlaɪn ər ˈoʊvər ðə foʊn. ˌvɛˈraɪzən sɪz ðət ðə fi wɪl əˈlaʊ ɪt tɪ kənˈtɪnju tɪ səˈpɔrt ðoʊz ˈpeɪmənt ˈmɛθədz. ðə ʧɑrʤ, wɪʧ wɪl bi ˈɪnstɪˌtutɪd bɪˈgɪnɪŋ ˈʤænjuˌɛri, kən bi əˈvɔɪdɪd baɪ peɪɪŋ ə bɪl ˈjuzɪŋ ðə ˈfɑloʊɪŋ ˈmɛθədz: ˌɪˌlɛkˈtrɑnɪk ʧɛk ˈɔnˌlaɪn (maɪ ˌvɛˈraɪzən ˈɔnˌlaɪn, maɪ ˌvɛˈraɪzən mobile/handset*). fi weɪvd. ˌɪˌlɛkˈtrɑnɪk ʧɛk ˈviə ˈtɛləˌfoʊn. fi weɪvd. ɛnˈroʊlmənt ɪn ˈjuzɪŋ kɑrd ər ˌɪˌlɛkˈtrɑnɪk ʧɛk; fi dɪz nɑt əˈplaɪ ˈɔnˌlaɪn frəm ðə ˈsərvɪs prəˈvaɪdər ˈwɛbˌsaɪt; fi dɪz nɑt əˈplaɪ. kɑrd, ˌɪˌlɛkˈtrɑnɪk ʧɛk ər kæʃ æt ə bɪl ˈpeɪmənt kiɔsk, ˈpænəl ər wɪθ ə ˌrɛprɪˈzɛnətɪv æt ə ˌvɛˈraɪzən ˈwaɪrlɪs kəmˌjunəˈkeɪʃənz stɔr; fi dɪz nɑt əˈplaɪ. juz əv ə ˌvɛˈraɪzən ˈwaɪrlɪs gɪft kɑrd ər ˌvɛˈraɪzən ˈwaɪrlɪs dɪˈvaɪs ˈriˌbeɪt kɑrd tɪ peɪ ə bɪl in-store*, ˈɔnˌlaɪn ər baɪ ˈtɛləˌfoʊn; fi dɪz nɑt əˈplaɪ ˈpeɪpər ʧɛk ər ˈməni ˈɔrdər meɪld tɪ ðə riˈmɪt ˈæˌdrɛs ɔn bɪl; fi dɪz nɑt əˈplaɪ. ðə fʊl prɛs frəm ˌvɛˈraɪzən ɪz bɪˈloʊ. ˈkəstəmərz ɪnˈkərəʤd tɪ juz ˈɔpʃənz tɪ əˈvɔɪd ˈsɪŋgəl ˈpeɪmənt fi ðət stɑrts ʤæn. 15 ˈkəstəmər ˌɪnkˈwaɪəriz fər ˈkəstəmər ˌɪnkˈwaɪəriz, pliz kɔl ər goʊ tɪ ˈkɑnˌtækt ˈjuˈɛs ˌvɛˈraɪzən ˈwaɪrlɪs ˈɔfərz ˈkəstəmərz ˈnumərəs fri ənd ˈsɪmpəl ˈpeɪmənt ˈɔpʃənz ənd wi ɪnˈkərəʤ ˈkəstəmərz tɪ juz ðoʊz ˈɔpʃənz. ˈstɑrtɪŋ ˈʤænjuˌɛri 15 ə nu 2 ˈpeɪmənt kənˈvinjəns fi wɪl bi ˈɪnstɪˌtutɪd fər ˈkəstəmərz hu meɪk ˈsɪŋgəl bɪl ˈpeɪmənts ˈɔnˌlaɪn ər baɪ ˈtɛləˌfoʊn. ðɛr ər ə ˈkəpəl əv ɪkˈsɛpʃənz. si bɪˈloʊ. ðə fi wɪl hɛlp əˈlaʊ ˈjuˈɛs tɪ kənˈtɪnju tɪ səˈpɔrt ðiz ˈsɪŋgəl bɪl ˈpeɪmənt ˈɔpʃənz ɪn ðiz ˈʧænəlz ənd ɪz dɪˈzaɪnd tɪ ˈæˌdrɛs kɔsts ˌɪnˈkərd baɪ ˈjuˈɛs fər ˈoʊnli ðoʊz ˈkəstəmərz hu ʧuz tɪ meɪk ˈsɪŋgəl bɪl ˈpeɪmənts ɪn ˈɔltərˌneɪt ˈpeɪmənt ˈʧænəlz (ˈɔnˌlaɪn, ˈmoʊbəl, ˈtɛləˌfoʊn). ɪt ɪz weɪvd fər ðoʊz hu peɪ baɪ ˌɪˌlɛkˈtrɑnɪk ʧɛk ər ɪnˈroʊl ɪn wi ɪnˈkərəʤ ˈkəstəmərz tɪ juz ðoʊz ər ˈəðər ˈpeɪmənt ˈɔpʃənz ðət ˌɪnˈkər noʊ fiz. [si kəmˈplit lɪst bɪˈloʊ.] ðə ˈtɛləˌfoʊn ənd ˈɔnˌlaɪn ˈsɪŋgəl ˈpeɪmənt fi, wɪʧ teɪks ˈifɛkt ˈʤænjuˌɛri 15 wɪl bi dɪˈskloʊzd ənd θruaʊt ðə trænˈzækʃən. ðɛr ər ˈnumərəs ˈpeɪmənt ˈɔpʃənz əˈveɪləbəl tɪ ɑr ˈkəstəmərz wɛr ðə fi ɪz weɪvd ər wɛr noʊ fi əˈplaɪz. ðeɪ ˌɪnˈklud: ˌɪˌlɛkˈtrɑnɪk ʧɛk ˈɔnˌlaɪn (maɪ ˌvɛˈraɪzən ˈɔnˌlaɪn, maɪ ˌvɛˈraɪzən mobile/handset*). fi weɪvd. ˌɪˌlɛkˈtrɑnɪk ʧɛk ˈviə ˈtɛləˌfoʊn. fi weɪvd. ɛnˈroʊlmənt ɪn ˈjuzɪŋ kɑrd ər ˌɪˌlɛkˈtrɑnɪk ʧɛk; fi dɪz nɑt əˈplaɪ ˈɔnˌlaɪn frəm ðə ˈsərvɪs prəˈvaɪdər ˈwɛbˌsaɪt; fi dɪz nɑt əˈplaɪ. kɑrd, ˌɪˌlɛkˈtrɑnɪk ʧɛk ər kæʃ æt ə bɪl ˈpeɪmənt kiɔsk, ˈpænəl ər wɪθ ə ˌrɛprɪˈzɛnətɪv æt ə ˌvɛˈraɪzən ˈwaɪrlɪs kəmˌjunəˈkeɪʃənz stɔr; fi dɪz nɑt əˈplaɪ. juz əv ə ˌvɛˈraɪzən ˈwaɪrlɪs gɪft kɑrd ər ˌvɛˈraɪzən ˈwaɪrlɪs dɪˈvaɪs ˈriˌbeɪt kɑrd tɪ peɪ ə bɪl in-store*, ˈɔnˌlaɪn ər baɪ ˈtɛləˌfoʊn; fi dɪz nɑt əˈplaɪ ˈpeɪpər ʧɛk ər ˈməni ˈɔrdər meɪld tɪ ðə riˈmɪt ˈæˌdrɛs ɔn bɪl; fi dɪz nɑt əˈplaɪ. ˈviə |
if some newly-leaked verizon wireless screenshots are accurate, some of you big red customers may see your bill go up by a couple bucks next month. according to images sent to droid-life, verizon might implement a $2 "convenience fee" beginning january 15th that will be charged to customers paying their bill either online or over the phone. the fee, verizon says, is meant to help it keep those payment methods up and running. how can you avoid ponying up the extra cash each month? setting up autopay is one way, as is paying by electronic check or by bringing your payment into your local neighborhood verizon store. lastly, you could always go the old-fashioned route and mail a paper check or money order into verizon.
certainly allowing a customer to pay their bill over the telephone or online is convenient, but it's tough to imagine that many verizon subscribers are going to be thrilled about being charged just to pay their bill, especially when the "convenience fee" is two whole dollars. it's good to know that there are a few ways to avoid the fee, but one has to wonder if it's really so much more expensive for verizon to maintain online payment services compared to accepting paper checks or having customers come into a store and pay that way. what do you all make of this news? anyone thinking about dusting off that old checkbook?
update: the fee is now nice and official, as verizon has announced that a $2 convenience fee will charged to customers that make single bill payments either online or over the phone. verizon says that the fee will allow it to continue to support those payment methods. the charge, which will be instituted beginning january 15th, can be avoided by paying a bill using the following methods:
electronic check online (my verizon online, my verizon mobile/handset). fee waived.
electronic check via telephone. fee waived.
enrollment in autopay using credit/debit/atm card or electronic check; fee does not apply
online from the customer’s home-banking service provider website; fee does not apply.
credit/debit/atm card, electronic check or cash at a bill payment kiosk, panel or with a representative at a verizon wireless communications store; fee does not apply.
use of a verizon wireless gift card or verizon wireless device rebate card to pay a bill in-store, online or by telephone; fee does not apply
paper check or money order mailed to the vzw remit address on customer’s bill; fee does not apply.
the full press relese from verizon is below.
customers encouraged to use options to avoid single payment fee that starts jan. 15
customer inquiries
for customer inquiries, please call 800-922-0204 or go to
contact us
12/29/2011
verizon wireless offers customers numerous free and simple payment options and we encourage customers to use those options. starting january 15, a new $2 payment convenience fee will be instituted for customers who make single bill payments online or by telephone. there are a couple of exceptions. see below. the fee will help allow us to continue to support these single bill payment options in these channels and is designed to address costs incurred by us for only those customers who choose to make single bill payments in alternate payment channels (online, mobile, telephone). it is waived for those who pay by electronic check or enroll in autopay -- we encourage customers to use those or other payment options that incur no fees. [see complete list below.] the telephone and online single payment fee, which takes effect january 15, will be disclosed up-front and throughout the transaction.
there are numerous payment options available to our customers where the fee is waived or where no fee applies. they include:
electronic check online (my verizon online, my verizon mobile/handset). fee waived.
electronic check via telephone. fee waived.
enrollment in autopay using credit/debit/atm card or electronic check; fee does not apply
online from the customer’s home-banking service provider website; fee does not apply.
credit/debit/atm card, electronic check or cash at a bill payment kiosk, panel or with a representative at a verizon wireless communications store; fee does not apply.
use of a verizon wireless gift card or verizon wireless device rebate card to pay a bill in-store, online or by telephone; fee does not apply
paper check or money order mailed to the vzw remit address on customer’s bill; fee does not apply.
via droid-life | æt ðə taɪm əv hɪz ˈkæstɪŋ, tɑm kruz simd laɪk ən ɑd ʧɔɪs tɪ pleɪ ˈɪntərvˌju wɪθ ðə ˈvæmpaɪrz ˈɪnfəməs ˈlɛˌstæt. bət wət ɪf æl pəˈsinoʊ hæd ˈteɪkən ðə roʊl ˌɪnˈstɛd? ɪn 1993 ˈkɑnsɛpt dɪˈzaɪn maɪəlz tivz wɑz ˈwərkɪŋ fər stæn ˈwɪnstən ˈstudiˌoʊ ɔn ðə ˌædəpˈteɪʃən əv æn ˈraɪsɪz ˈnɑvəl. hi ɪkˈspleɪnz ðət ðə ˈfɪlˌmeɪkərz ˈʤɛnjuˌaɪnli ˈwɔntɪd tɪ gɪt ən aɪˈdiə əv haʊ pəˈsinoʊ maɪt hæv lʊkt ɛz ˈlɛˌstæt: fər ə ʃɔrt taɪm, æt ðə bɪˈgɪnɪŋ əv ðə pərˈdəkʃən, æl pəˈsinoʊ wɑz ˈrumərd tɪ hæv ˈwɔntɪd ðə roʊl əv ˈlɛˌstæt [sɪk]. aɪ prəˈvaɪdɪd ðɪs ˈɪmɪʤ tɪ hɛlp ðə ˈstudiˌoʊ meɪk ə dɪˈsɪʒən. hɪz ˈprɛzəns ɛz ən ˈæktər, ðoʊ ən ənˈjuˌʒuəl ʧɔɪs, maɪt hæv ˌɪnfˈjuzd ðə ˈkɛrɪktər wɪθ mɔr ˈgrævətəs. fju kəˈmænd ðə skrin laɪk ðə ˌɪnˈdɑmətəbəl pəˈsinoʊ. ˌædvərˈtaɪzmənt hi ˈsərtənli kəts ə ˈvɛri ˈdɪfərənt ˈfɪgjər frəm kruz, huz ˈkæstɪŋ ˌɪˈnɪʃəli dɪˈsplizd ʃi wɑz wən ˈoʊvər baɪ hɪz pərˈfɔrməns. tivz həz ə ˈsɪmələr ˈrɛndərɪŋ əv kruz ɔn hɪz ˈwɛbˌsaɪt, ɛz wɛl ɛz ə fju ˈəðər ˈpisɪz əv ˈɪntərvˌju wɪθ ðə ˈvæmpaɪr ˈkɑnsɛpt ɑrt. [maɪəlz tivz ˈviə ˈkɑmɪk bʊk ˈmuvi] |
at the time of his casting, tom cruise seemed like an odd choice to play interview with the vampire's infamous lestat. but what if al pacino had taken the role instead?
in 1993, concept design miles teves was working for stan winston studio on the adaptation of anne rice's novel. he explains that the filmmakers genuinely wanted to get an idea of how pacino might have looked as lestat:
for a short time, at the beginning of the production, al pacino was rumored to have wanted the role of lestat [sic]. i provided this image to help the studio make a decision. his presence as an actor, though an unusual choice, might have infused the character with more gravitas. few command the screen like the indomitable pacino.
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he certainly cuts a very different figure from cruise, whose casting initially displeased rice—although she was won over by his performance. teves has a similar rendering of cruise on his website, as well as a few other pieces of interview with the vampire concept art.
pacino-lestat [miles teves via comic book movie] | ˈrənɪŋ ə ˈvaɪnəl ˈrɛkərd ˈleɪbəl frəm ɔˈstreɪljə ˈprɛzənts ə ˈnəmbər əv ˈtrɪki ˈʧælənʤɪz. ˈoʊnli wən ˈrəðər ɪkˈspɛnsɪv ənd ˈprɛsɪŋ plænt lɛft ɪn ðə ˈkəntri, wɪʧ ˈɔfən ˈfɔrsɪz ˌɪndɪˈpɛndənt ˌɪmˈprɪnts tɪ teɪk ðɛr ˌmænjəˈfækʧər ˈɔfˈʃɔr. kəmˈbaɪnd wɪθ ˈmæsɪv ˈdɪstəns frəm ðə ˈmeɪʤər ˈmɑrkɪts əv ˈjʊrəp ənd ðə juˈnaɪtɪd steɪts ənd ju hæv ə juʤ ˈbætəl ɔn jʊr hænz wɪn ɪt kəmz tɪ ˈbreɪkɪŋ ˈivɪn. ˈmætərz ər meɪd mɔr ˈkɑmpləˌkeɪtəd wɪn ju ˈfæktər ɪn ə ˈrɛlətɪvli smɔl ənd ˈlɑrʤli æmˈbɪvələnt ˌpɑpjəˈleɪʃən. dɪˈspaɪt ðɪs, ðə ˈnəmbər əv ɔˈstreɪljən ˈrɛkərd ˈleɪbəlz ˈpʊtɪŋ aʊt wæks həz ˈrɪzən ˈʃɑrpli ɪn ˈrisənt taɪmz. ðɪs ˈɑrtɪkəl ʃaɪnz ə ˈspɑˌtlaɪt ɔn ə ˈhændˌfʊl əv ðə ˈleɪbəlz duɪŋ ɪt bɛst, frəm ˌɪmˈprɪnts tɪ ə slu əv nu ˈleɪbəlz ðət rɪˈflɛkt ðɪs ˈrisənt rɪˈnud ˈɪntəˌrɛst. ðɛr kəˈlɛktɪv ˈaʊtˌpʊt ɛnˈkəmpəsəz ˈɛvriˌθɪŋ frəm mˈjutənt fəŋk, ˈdɪsənənt, nu weɪv nɔˈstælʤə ənd bæs ˈprɛʃər tɪ ˈvɛriəs streɪnz əv haʊs ənd ˈtɛknoʊ, ɪkˌspɛrɪˈmɛntəl ənd ˈæmbiənt ˈpisɪz ənd ˈplɛnti mɔr. wi spoʊk tɪ iʧ ˈleɪbəl əˈbaʊt ə ˈnəmbər əv ˈɪʃuz, frəm ðɛr ˈmɛθədz əv pərˈdəkʃən ənd ˌdɪstrəˈbjuʃən tɪ ðə weɪ ðɛr loʊˈkeɪʃən ˌɪmˈpækts ðɛr ˈaʊtˌpʊt, ɛz wɛl ɛz ɪkˈsplɔrɪŋ ðə ˈnoʊʃən ðət ɔˈstreɪljə ɪz ˈkəlʧərəˌli ˈbæŋkrəpt ɪn riˈleɪʃən tɪ ˈəðər ˈneɪʃənz ənd ˈwɛðər ər nɑt ɪt hɛlps tɪ hæv ə ˈsəmˈwət blæŋk sleɪt. əkˈwɑtɪk læb əkˈwɑtɪk læb ɪz ˈrɛkəgˌnaɪzd ɛz biɪŋ wən əv ðə fərst ˌɪnərˈnæʃənɑl ˈaʊtˌpoʊsts əv ðə ərˈɪʤənəl saʊnd. ðə ˈsɪdni ˈleɪbəl ɪz baɪ ˈvɛtərən ənd pɔl ˈfreɪzər əv gərɑʒ ˈprɛʃər ənd wɑz ðə fərst ˌɪmˈprɪnt ɪn ɔˈstreɪljə tɪ riˈlis streɪnz əv ˈmɑdərn bæs mˈjuzɪk. ɛz wɛl ɛz dɪˈlɪvərɪŋ mˈjuzɪk frəm ðə laɪks əv zɛd baɪəs, ənd sɪns 2008 əkˈwɑtɪk læb kənˈtɪnjuz tɪ ˈfɑstər ˈimərʤɪŋ ˈtælənt (kip ən aɪ ɔn klɪks). haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ˌɪmˈpækt ɔn ðə weɪ ju ˈɔpərˌeɪt, ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrdz tɪ ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən? əkˈwɑtɪk læb həz ˈɔlˌweɪz hæd ɪts ˈɛnʤəˈnɪrɪŋ, ˈmæstərɪŋ ənd ˈvaɪnəl ˌmænjəˈfækʧərɪŋ dən ɪn ˈjʊrəp. wi juz ənd ˈmæstərɪŋ ɪn bərˈlɪn tɪ ˈɛnʤəˈnɪr ənd kət ɑr ˈvaɪnəl, ənd ˈɑptɪməm ˈmæstərɪŋ ɪn ˈbrɪstəl fər ɑr ˈdɪʤɪtəl ˈmæstərz. ɪn tərmz əv ˌdɪstrəˈbjuʃən ənd seɪlz, ə lɑrʤ ˈpɔrʃən əv ɑr ˈkəstəmərz ər ˌprɪˈdɑmənənˌtli ˈoʊvərˈsiz, soʊ ɪt həz ˈɔlˌweɪz bɪn ˌɪmˈpɔrtənt tɪ hæv ə dɪˈstrɪbjətər hu kən ˈmænɪʤ ɑr ˈkætəˌlɔg ˈwərldˈwaɪd, baɪ ˈmeɪkɪŋ ʃʊr ɪt ɪz wɛl prəˈmoʊtəd ənd əˈveɪləbəl ɪn ðə ˈrɛkərd stɔrz ənd ˈdɪʤɪtəl ˈriˌteɪlərz ðət ˈmætər tɪ ˈjuˈɛs. ˈæftər ðə træks ər səˈlɛktɪd, ˈfɪnɪʃt ənd ˈrɛdi tɪ goʊ ɔf tɪ ðə ˈɛnʤəˈnɪr, ðə ˈlɔŋgɪst weɪt maɪt kəm frəm ɪnˈʃʊrɪŋ ðə tɛst saʊnd raɪt ənd ˈprɑpər ənd ðət ðə ˈfaɪnəl ˈvaɪnəl kət ɪz ˈhɛvi soʊ ðət ɑr ˈɑrtɪsts ənd ˈleɪbəl kən ˈɔlˌweɪz bi praʊd əv wət wi ər ˈpʊtɪŋ aʊt. ˈdɪʤɪtəl ˈmæstərɪŋ ɪz ə məʧ ˈʃɔrtər ˈprɔˌsɛs, bət ɪt ɪz ˈikwəli ɛz ˌɪmˈpɔrtənt. fər ðə læst fju jɪrz hæd ˈlɔrənz ˈwərkɪŋ wɪθ ˈjuˈɛs frəm bərˈlɪn, wɪʧ həz hɛlpt trɪˈmɛndəsli ɪn tərmz əv ðə ləˈʤɪstɪks ənd riˈleɪʃənˌʃɪp ˈmænɪʤmənt ˈæˌspɛkts əv ˈrənɪŋ ə ˈleɪbəl ðət wɪl ˈɔlˌweɪz bi ˈædəmənt əˈbaʊt ˈvaɪnəl. ɑr ˌɑpərˈeɪʃənz baɪ ˈhævɪŋ wən fʊt ɪn ɔˈstreɪljə ənd ðə ˈəðər ɪn ˈjʊrəp dɪz hɛlp tɪ smuð θɪŋz aʊt. haʊ wi ˈɔlˌweɪz ɛnˈvɪzɪʤd ðə ˈleɪbəl tɪ bi fri frəm ɑrˈtɪstɪk ənd ˌʤiəˈgræfɪk ˈbɛriərz. ɪn ðə læst faɪv jɪrz, ˈfɑlɪŋ ˈvaɪnəl seɪlz ənd ˈraɪzɪŋ ˈwɛˌrhaʊzɪŋ kɔsts həz mɛnt ɪt həz bɪˈkəm ˌɪnˈkrɛdəbli ˈdɪfəkəlt fər dɪˈstrɪbjətərz tɪ rɪˈmeɪn ˈsɑlvənt ɪn ˈdɪfəkəlt kəˈmərʃəl ˈmɑrkɪt. ˈmɛni ˈleɪbəlz əraʊnd ðə wərld hæv bɪn əˈfɛktɪd baɪ ðɪs ɪn ðə pæst fju jɪrz. glæd tɪ naʊ bi ˌɪnˈvɑlvd wɪθ ˈsəðərn ˈrɛkərd dɪˈstrɪbjətərz, bɪˈkəz ðeɪ ˌəndərˈstænd ənd rɪˈspɛkt wət wi ər traɪɪŋ tɪ əˈʧiv. ɔn ðə ˈnoʊʃən ðət ɔˈstreɪljə ɪz ˈkəlʧərəˌli ˈbæŋkrəpt? seɪ ɪts mɔr tɪ du wɪθ ˈdɪfɪˌkəltiz ɪn ɪˈstæblɪʃɪŋ ə ˈhɛlθi ˈəndərˌgraʊnd dæns mˈjuzɪk ˈkəlʧər ɪn ə ˈsɪti ənd ˈkəntri wɛr ju hæv ə nɪʧ, leɪt naɪt ˈsoʊʃəl ˈɪndəstri ðət ɪz feɪst wɪθ ˈstrɪnʤənt ˈlaɪsənsɪŋ riˈstrɪkʃənz ɔn ˈvɛnuz (ˈərli taɪmz) ənd ə ˌʤiəˈgræfɪk ˌaɪsəˈleɪʃən ðət kən bi kwaɪt proʊˈhɪbətɪv fər prəˈmoʊtərz ɪn tərmz əv kɔsts ənd ˈkəltɪˌveɪtɪŋ ə ˈrɛgjələr ˈsərkət əv ɪˈvɛnts. ɪn ɑrˈtɪstɪk tərmz, ˈnəθɪŋ ˌɪnˈhɛrənt əˈbaʊt ɔˈstreɪljə ðət minz ɪts mˈjuzɪkəl ˈaʊtˌpʊt ɪz ˈkəlʧərəˌli ˈbæŋkrəpt. ɔˈstreɪljən ˈɑrtɪsts feɪs ˈsɪmələr ˈʧælənʤɪz tɪ prəˈdusərz frəm ɔl ˈoʊvər ðə wərld ˈneɪmli ˈkræftɪŋ ən ˌɪndəˈvɪʤəwəl saʊnd ðət ɪz kənˈsɪstənt ənd ˌɪnˈvɛntɪv ɪn kˈwɑləti. seɪ ɔn ə ˈwərldˈwaɪd skeɪl ðət ðə dərˈɪvɪtɪv, əv saʊnd ˈsɪstəm ənd ˌjʊrəˈpiən reɪv ˈkəlʧər həz ˈrɪli dɪˈlutəd ənd dɪsˈrəptɪd θɪŋz ɑrˈtɪstɪkli ənd kəˈmərʃəli ɪn ˈrisənt jɪrz. ðiz deɪz ˈhɑrdər ðən ˈɛvər tɪ bi ərˈɪʤənəl. pərˈhæps bɪˈkəz ðə ˈsaɪkəlz əv ˈræpɪd mˈjuzɪkəl prəˈgrɛʃən ənd sɛns əv kræft ənd ˌɪnˈvɛnʃən ɪn ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk ənd ðə saʊnd əv ðə hæv bɪn ɪgˈzɔstɪd ˈoʊvər ðə pæst faɪv jɪrz. bæk ðɛn ðə ˈɑrtɪsts æt ðə ˈfɔrˌfrənt hæd ə əˈproʊʧ ðət wɑz fɑr mɔr ˈoʊpəˌnɛndəd ənd kriˈeɪtɪvli daɪˈnæmɪk ɪt wɑz məʧ lɛs kəˈmərʃəli ˈdrɪvən (ənd ˈvɪzəbəl). æt ðə taɪm, ɪt fɛlt laɪk ðɛr wər noʊ əˈpɛrənt ˈbaʊndəriz fər wɛr ɪt kʊd goʊ. ðɛr wɑz mɔr ˌɪnˌdɪvɪʤuˈælɪti ənd lɛs ˈprɛʃər ɔn ˈɑrtɪsts tɪ aɪˈdɛntəˌfaɪ wɪθ ər ðɛr saʊnd tɪ wɪˈθɪn strɪkt pərˈæmətərz sɛt baɪ mˈjuzɪk ˈʤərnəlɪsts, kənˈsumərz ənd. ɪn tərmz əv nu graʊnd, θɪŋz maɪt hæv sloʊd daʊn, bət ðɛr ɪz stɪl rum fər ˈɑrtɪsts tɪ ɪkˈsplɔr. nən əv ðɪs minz ɪt ɪz ˌɪmˈpɑsəbəl fər ɔˈstreɪljənz tɪ ˈproʊdus ˌpaɪəˈnɪrɪŋ ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk. ˈɑrtɪsts səʧ ɛz pɔl ənd bɛn frɔst hæv dən soʊ səkˈsɛsfəli fər ˈmɛni jɪrz. klɪks ər ə mɔr ˈrisənt ɪgˈzæmpəl əv tu ɔˈstreɪljənz ˈmeɪkɪŋ ˌɪnərˈnæʃənɑli ˈmaɪndɪd kləb mˈjuzɪk ðət ɪz ˈfəŋkʃənəl, ˌɛnərˈʤɛtɪk ənd ɪkˌspɛrɪˈmɛntəl. wət ər jʊr plænz fər ðə fˈjuʧər? tɪ kip ˈnərʧərɪŋ ˈəpˌkəmɪŋ ˈɑrtɪsts ənd riˈlisɪŋ træks ðət wi fil wɪl rɪˈmeɪn ˈrɛləvənt ˈoʊvər taɪm, rəˈgɑrdləs əv staɪˈlɪstɪk ʃɪfts ənd trɛnz. kˈwɑntəti ɪz nɑt ðə ˈpraɪˌmɛri ˈdraɪvər əv wət wi du. əkˈwɑtɪk læb ɪz əˈbaʊt ˈkræftɪŋ ən ˈɔnˌgoʊɪŋ ˈlɛgəsi, ˈrəðər ðən biɪŋ lɛd baɪ kəˈmərʃəl ˌæspərˈeɪʃənz. æt ðɪs steɪʤ, ɑr nɛkst riˈlis wɪl bi frəm ðə ˌɪˈnɪmətəbəl maddslinky*. ðɪs wɪl ˈɔlsoʊ ˈfiʧər səm ˈvɛri ɪkˈsaɪtɪŋ ənd ɪkˈspænsɪv ˈtritmənts əv ðə ərˈɪʤənəl kət. ðɪs ˈprɑʤɛkt həz bɪn ɪn ðə ˈpaɪˌplaɪn fər ə waɪl, bət wi lʊk ˈfɔrwərd tɪ dɪˈlɪvərɪŋ ɪt ˈvɛri sun. wɑz ˈfaʊndɪd baɪ ˈmɛlbərn haʊs əˌfiʃjəˈnɑˌdoʊ ˈfrænsɪs ˌɪnˈfərˌnoʊ ˈɔrkəstrə ənd frɛnd ˈtaɪsən ˈbælərd ɛz ə hoʊm fər ðə fərst əˈtɛmpts æt ˈtɛknoʊ. sɪns ərˈɪʤənəli ˈimərʤɪŋ ɛz ən əˈnɑnəməs ˌɪmˈprɪnt bæk ɪn 2013 ðə ˈleɪbəl həz dɪˈlɪvərd θri əv ˌɪmˈpərfɪkt ənd ɛnˈʧænɪŋ ˈtɛknoʊ. ˈɔpərˌeɪtɪŋ ˈəndər ˈeɪliəsɪz laɪk dip θroʊt ənd ˈlɪndə ˈləvˌleɪs, ənd riˈlisɪŋ træks wɪθ ˈtaɪtəlz səʧ ɛz reflex’*’ ənd ‘‘gush’*’ ˈpækɪʤd ɪn ə ˈreɪnˌboʊ θim, ðə ˈleɪbəl ɪz ˈɔlsoʊ ˈpoʊkɪŋ fən æt ə ˈʒɑnrə ðət kən ˈsəmˌtaɪmz teɪk θɪŋz ə bɪt tu ˈsɪriəs. wət ˈprɑmptɪd ju tɪ stɑrt ə ˈleɪbəl ənd haʊ dɪd ju bɪˈgɪn? aɪ θɪŋk ɪt wɑz ˈbeɪsɪkli ˈprɑmptɪd aʊt əv kənˈvinjəns. ˈtaɪsən ˈbælərd hum aɪ rən ðə rən ðə ˈleɪbəl wɪθ hæd ɔˈrɛdi bɪn ˈrənɪŋ wɪθ tu əv hɪz frɛndz fər ə fju jɪrz soʊ hi hæd ðə kəˈnɛkʃən tɪ kloʊn ˌdɪstrəˈbjuʃən ənd ɔl ðə ˈəðər ˈrisɔrsɪz tɪ tərn ə aɪˈdiə ˈɪntu ən ˈækʧəwəl θɪŋ. bət aɪ θɪŋk ɪt ˈrɪli bɪˈgæn bɪˈkəz wi tɔkt əˈbaʊt haʊ wi boʊθ hæd bɪn ˈmeɪkɪŋ ˈlɪtəl bɪts əv mɔr ˈfəŋkʃənəl mˈjuzɪk fər fən wɪˈθaʊt ən ˈaʊˌtlɛt tɪ pʊt ɪt aʊt, soʊ wi ʤɪst ˌdɪˈsaɪdɪd tɪ du ɪt ɑrˈsɛlvz. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ˌɪmˈpækt ɔn ðə weɪ ju ˈɔpərˌeɪt, ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrdz tɪ ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən? wɛl ˈæˌkʧuəli ˈloʊˌkeɪtəd ɪn ˈləndən naʊ ənd ˈtaɪsən ɪz ɪn bərˈlɪn. ðə θɪŋ wɪθ biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ɪz wɪn moʊst dɪˈstrɪbjətərz ənd ˈprɛsɪŋ plænts ər ˈɔpərˌeɪtɪŋ frəm ənd ˈjuˈɛs, ənd ˈloʊˌkeɪtəd ɔl ðə weɪ ɪn ɔˈstreɪljə, ðə taɪm ɪt teɪks tɪ gɪt θru ðə stɛps ˈgɪtɪŋ ə ˈrɛkərd aʊt ɪz ˈdræstɪkli drɔn aʊt. ðə taɪm zoʊn θɪŋ meɪks ˈgɪtɪŋ rɪˈspɑnsɪz ənd sərˈpæsɪŋ ˈprɑbləmz ə ˈlɔŋˈwɪndɪd ˈɪʃu. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə fid ˈɪntu ðə ˈaʊtˌpʊt əv ðə ˈleɪbəl? dɪz ðə loʊˈkeɪʃən ər ɪnˈvaɪrənmənt ˌɪmˈpækt ɔn ðə mˈjuzɪk ðət ɪz riˈlist? nɑt ɪnˈtaɪərli wɪθ, ˈoʊnli hæd 3 rɪˈlisɪz soʊ fɑr wɪʧ ɔl hæv kənˈsɪstɪd əv wən træk baɪ ˌmaɪˈsɛlf ˈəndər maɪ ˈeɪliəs pləs əˈnəðər træk fər ðə flɪp saɪd dən baɪ ˈiðər ˈtaɪsən ər əˈnəðər frɛnd (ˈjuʒəwəli ˈsəmˌwən hu meɪk mɔr mˈjuzɪk ˈnɔrməli bət dɪd wən aʊt əv ˌspɑntəˈniəti ənd wʊd laɪk ɪt bi prɛst ɔn ə ˈrɛkərd). wɪθ maɪ ˈəðər ˈleɪbəl (wɪʧ aɪ rən wɪθ maɪ ˈəðər frɛnd mɪk ˈɑkə fænˈtæstɪk mæn), aɪ fil ðət ðɪs ɪz ˈprɑʤɛkt wɑz ə dɪˈrɛkt rɪˈzəlt əv ˈwɑnɪŋ tɪ riˈlis mˈjuzɪk frəm ðə frɛndz əraʊnd ˈjuˈɛs ɪn ˈmɛlbərn hu meɪ ˈnɛvər hæv hæd ən ˈaʊˌtlɛt fər ðɛr stəf. ðɛr ər frɛndz frəm ˈmɛlbərn (ʧɛt ˈfeɪkər, ˈɑndrəs fɑks, tɔrˈneɪˌdoʊ ˈwɔlɪs ˌɛtˈsɛtərə) hu hæv geɪnd ə lɔt ˌɪnərˈnæʃənɑl ɪkˈspoʊʒər bət ðɛr ər ˈɔlsoʊ lɑts əv ˈɑrtɪsts duɪŋ əˈmeɪzɪŋ θɪŋz ðət gɪt hərd. wət ər jʊr plænz fər ðə fˈjuʧər? fər ðɛr ɪz noʊ plæn wɪn ɪt ˈhæpənz, ɪt ˈhæpənz. fər wi hæv ən ˈəpˌkəmɪŋ frəm luis si. ɛl hu ɪz pɑrt əv ðə ˌɑntʊˈrɑʒ əv rəf ˈrɛkərdz ənd ɪz wən hæf əv ðə ˈduoʊ ˈzænzəˌbɑr ʃəˈnɛl. ðɪs ˈfɑloʊz ɑr fərst frəm hu ɪz ðə ˈəðər hæf əv ˈzænzəˌbɑr ʃəˈnɛl. ˈbətər ˈsɛʃənz ˈbətər ˈsɛʃənz ərˈɪʤənəli keɪm tɪ laɪf ɛz ə ˈsɪriz bæk ɪn 2011 ˈmɔrfɪŋ ˈɪntu ə ˈrɛkərd ˈleɪbəl wɪθ ðə riˈlis əv ə fænˈtæstɪk ˈtɛknoʊ ənd frəm ˈleɪbəl hɛd slip di ɪn 2013 ðət wɑz ˈfɑloʊd əp wɪθ ən ˈɛksələnt ˈvɛriəs ˈɑrtɪsts læst jɪr, kəˈlɛktɪŋ træks frəm səm əv moʊst ɪkˈsaɪtɪŋ jəŋ ˈəndərˌgraʊnd haʊs ənd ˈtɛknoʊ prəˈdusərz, ˌɪnˈkludɪŋ təf ənd dæn waɪt. ˈfaɪnəst, wɪˈθaʊt ə daʊt. wət ˈprɑmptɪd ju tɪ stɑrt ə ˈleɪbəl ənd haʊ dɪd ju bɪˈgɪn? wi laɪk ˈmeɪkɪŋ θɪŋz ənd wi laɪk ˈrɛkərdz soʊ wi ˌdɪˈsaɪdɪd tɪ du boʊθ. ˈbətər ˈsɛʃənz bɪˈgæn ɪn ˈʤænjuˌɛri 2011 ɪn ɛz ə ˈsɪriz ənd ðə ˈleɪbəl ˈstɑrtɪd leɪt 2013 haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ˌɪmˈpækt ɔn ðə weɪ ju ˈɔpərˌeɪt, ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrdz tɪ ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən? biɪŋ ˈloʊˌkeɪtəd soʊ fɑr frəm ðə ˈprɛsɪŋ plænts meɪks ðə ˈprɔˌsɛs teɪk ə ˈlɪtəl ˈlɔŋgər. æt ðə ˈmoʊmənt wi riˈlis ðə ˈrɛkərdz ɔn ɑr wɛb stɔr ənd ˈloʊkəl ɔˈstreɪljən ˈrɛkərd stɔrz ə ˈkəpəl əv wiks ˌbiˈfɔr ðə rɛst əv ðə wərld, ðət weɪ ˈhoʊpfəli səˈpɔrtɪŋ ðə sin hir. ɪt ˈɔlsoʊ gɪvz ˈjuˈɛs ən ˌɑpərˈtunəti tɪ meɪk ʃʊr ðə ˈrɛkərdz lʊk ənd fil ˈoʊˈkeɪ, ˌɪmˈpɔrtənt tɪ ˈjuˈɛs. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə fid ˈɪntu ðə ˈaʊtˌpʊt əv ðə ˈleɪbəl? dɪz ðə loʊˈkeɪʃən ər ɪnˈvaɪrənmənt ˌɪmˈpækt ɔn ðə mˈjuzɪk ðət ɪz riˈlist? wi hæv ə ˈpərsɪnəl kəˈnɛkʃən wɪθ ɔl ðə ˈɑrtɪsts ɔn ðə ˈleɪbəl soʊ fɑr. ɪf ɪt fər ɑr loʊˈkeɪʃən wi ˈnɛvər wʊd hæv meɪd ðiz riˈleɪʃənˌʃɪps. wət ər jʊr plænz fər ðə fˈjuʧər? tɪ riˈlis mɔr ˈrɛkərdz mɔr ˈfrikwɛntli. dɪg ˈdipər ˈɪntu ˈdɪfərənt staɪlz. kəlt trɪp ˈleɪbəl kəlt trɪp ɪz ˈfərmli ˈdɛdəkeɪtəd tɪ əˈnərθɪŋ ˈtæləntɪd ˈbɛˌdrum prəˈdusərz frəm boʊθ ɔˈstreɪljə ənd əˈbrɔd. wɪθ ðɛr ˈkɑrənt ˈaʊtˌpʊt ˈkərəntli ɛnˈkəmpəsɪŋ haʊs ənd ˈtɛknoʊ, ðə ˈleɪbəl kips wən aɪ ˈfɪkˌseɪtɪd əˈpɑn ðə sinz əv boʊθ ɔˈstreɪljə ənd ðə ˈjuˈɛˈseɪ. ənd həz æmˈbɪʃənz tɪ ˈbrɔdən ɪts skoʊp bɪɔnd ðə dancefloor*. wət ˈprɑmptɪd ju tɪ stɑrt ə ˈleɪbəl ənd haʊ dɪd ju bɪˈgɪn? aɪ ˈstɑrtɪd ˈlɪsənɪŋ tɪ ə lɔt əv (greɪ ˈpipəl) stəf ɔn ə ˈlɪtəl ˈoʊvər ə jɪr əˈgoʊ ənd wɑz ˈrɪli ˈteɪkən bæk baɪ tu əv hɪz træks glass’*’ ənd ‘‘sudgeball’*’ wɪʧ aɪ bɪˈliv biɪŋ pʊt aʊt. aɪ wɑz æt ðə pɔɪnt wɛr bi ˈlɪsənɪŋ tɪ ðoʊz træks ˈɛvəri deɪ fər ˈmeɪbi θri wiks ənd ɪˈvɛnʧəwəli aɪ ʤɪst gɑt ɪn təʧ wɪθ ɪm tɪ si wət wɑz ˈhæpənɪŋ wɪθ ðɛm. aɪ hæd ˌɪˈnɪʃəli plænd tɪ ʤɪst du ðə wən ˈrɛkərd ənd ˈivɪn ˈθɪŋkɪŋ æt ðət pɔɪnt əv ə riˈlis ˈskɛʤʊl. ðɛr məʧ θɔt ɔn ˈwɛðər ər nɑt tɪ stɑrt ɪt, ˌɪnˈstɛd mɔr ˈwɛðər ər nɑt ɪt kʊd ˈivɪn bi dən. ˈθæŋkfəli ˈæləks tərnd aʊt tɪ bi ðə moʊst rɪˈlækst dud ənd geɪv mi ɛz məʧ taɪm aɪ ˈnidɪd tɪ gɪt ðə ˈleɪbəl əp ənd ˈrənɪŋ. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ˌɪmˈpækt ɔn ðə weɪ ju ˈɔpərˌeɪt, ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrdz tɪ ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən? aɪ wɑz səˈpraɪzd æt haʊ kˈwɪkli aɪ wɑz ˈeɪbəl tɪ sɪˈkjʊr ˌdɪstrəˈbjuʃən kənˈsɪdərɪŋ haʊ ˈaɪsəˌleɪtɪd wi ər ˌʤiəˈgræfɪkəli. ðɛr wɑz pɑrt əv mi ðət fɛlt aɪ bi ˈteɪkən ɛz ˈsɪriəsli ɛz ˈəðər ˈəpˌkəmɪŋ ˈleɪbəlz beɪst ɪn ðə ər ˈjuˈɛs bət ɪt ˈɛndɪd əp biɪŋ ðə ˈɑpəzɪt. ɛz fər pərˈdəkʃən, ɪksˈʧeɪnʤ reɪts hæv bɪn əˈgɛnst mi frəm ðə stɑrt wɪʧ həz meɪd ˌmænjəˈfækʧərɪŋ ə ˈlɪtəl bɪt mɔr ˌdɪsˈhɑrtnɪŋ frəm ə ˌfaɪˈnænʃəl pɔɪnt. ðoʊz ˈɛkstrə pərˈdəkʃən kɔsts, kəmˈbaɪnd wɪθ θɪŋz laɪk ˈlɛŋθi ˈʃɪpɪŋ dɪˈleɪz tɪ aʊz fər θɪŋz laɪk tɛst ər ˈɔlˌweɪz goʊɪŋ tɪ hoʊld əp ðə ˌmænjəˈfækʧərɪŋ ˈprɔˌsɛs. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə fid ˈɪntu ðə ˈaʊtˌpʊt əv ðə ˈleɪbəl? dɪz ðə loʊˈkeɪʃən ər ɪnˈvaɪrənmənt ˌɪmˈpækt ɔn ðə mˈjuzɪk ðət ɪz riˈlist? aɪ θɪŋk ðə ˈleɪbəl həz ˈɛni ˌpɑˈtɪkjələr ɛsˈθɛtɪk ər ˈoʊvərˌɔl dɪˈrɛkʃɪn ɪn tərmz əv goʊɪŋ tɪ kəm aʊt soʊ aɪ ˈrɪli seɪ ðət ɪn ɪt tɪ prəˈmoʊt səm sɔrt əv sound’*’. bət sɪns aɪ ˈstɑrtɪd bɪn ˈfoʊkɪsɪŋ məʧ mɔr əv maɪ əˈtɛnʃən ɔn ˈəpˌkəmɪŋ ˈhoʊmˈgroʊn prəˈdusərz ənd aɪ θɪŋk ðət ˈfaɪndɪŋ gaɪz laɪk dæn waɪt, deɪz, ɛl nilz ənd pæʧ fri həz ˈdɛfənətli hɛlpt mi kip ðɪs θɪŋ goʊɪŋ. ðə bɛst pɑrt əv ˈstɑrtɪŋ ðɪs kaɪnd əv ˈleɪbəl ɪn ɔˈstreɪljə, əˈspɛʃəli ɪn ˈsɪdni, ɪz ðət bɪˈkəz ɪt ɪz səʧ ə smɔl sin, ˈpipəl ər kwɪk tɪ ˈwɛlkəm nu ˈleɪbəlz ənd ˈɑrtɪsts ˈɪntu ðə kəmˈjunɪti. ɪt wɑz ˈvɛri ˈhəmbəlɪŋ tɪ si haʊ kwɪk ˈpipəl wər tɪ gɪv ðə ˈleɪbəl ðɛr səˈpɔrt ənd ˈvɛri ˈgreɪtfəl tɪ ˈɛvriˌwən hu ɛz ˈgɔtən ɪn təʧ soʊ fɑr. wət ər jʊr plænz fər ðə fˈjuʧər? ˈhoʊpfəli tɪ gɪt ə ˈkəpəl mɔr rɪˈlisɪz aʊt ðɪs jɪr frəm ɔˈstreɪljən ˈɑrtɪsts. aɪ traɪ maɪ bɛst nɑt tɪ gɪt ˈkɛrid əˈweɪ kənˈsɪdərɪŋ ðə ˈkɑrənt ˌɛkəˈnɑmɪks əv ˈprɛsɪŋ ˈrɛkərdz ənd ˌɪnˈstɛd wɪl ˈfoʊkɪs ɔn wən riˈlis æt ə taɪm. wɪl bi aʊt ɪn ə ˈkəpəl əv mənθs. hoʊm loʊn ˈrɛkərdz baɪ ˈmɛlbərn prəˈdusər ənd e.s.p*. ˈɪnstɪˌtut ˈfæməli ˈmɛmbər ˈmaɪkəl ˈoʊˌzoʊn, ðə hoʊm loʊn ˈrɛkərdz ˌɪmˈprɪnt ɪz ən ɪˈklɛktɪk həb əv (ˌprɪˈdɑmənənˌtli) mˈjuzɪk. hoʊm loʊn bɪˈgæn wɪθ ə sɛlf ˈtaɪtəld frəm ˈaʊtˌfɪt ˈtoʊtəl kənˈtroʊl, bækt wɪθ tu frəm ˈoʊˌzoʊn hɪmˈsɛlf. sɪns ðɛn, ðə ˈleɪbəl həz dɪˈlɪvərd frəm ˈɑndrəs fɑks, ˈzænzəˌbɑr ʃəˈnɛl ənd mˈjutənt fəŋk ˈduoʊ noʊ ðət ˈtrævərs ðə rɛlmz əv ˈdɪskoʊ, synth-pop*, nu weɪv ənd haʊs mˈjuzɪk. wət ˈprɑmptɪd ju tɪ stɑrt ə ˈleɪbəl ənd haʊ dɪd ju bɪˈgɪn? aɪ wɑz ˈɪntəˌrɛstɪd ɪn kriˈeɪtɪŋ ə ˈplætˌfɔrm tɪ pʊʃ nu aɪˈdiəz, nu saʊnz ənd nu ˈpɑrtnərˌʃɪps. maɪ gʊd mæn maɪk kju, hu rənz ðə bɛst ˈreɪdiˌoʊ ʃoʊ ɪn ɔˈstreɪljə (naʊ ˈɔlsoʊ ə ˈrɛkərd ˈleɪbəl nɔɪz ɪn maɪ hɛd) geɪv mi səm ˌɪnˈsaɪd ˈɪndəstri ədˈvaɪs. gʊd frɛndz əv maɪn raɪən ənd ˈlioʊ hu rən ðə ˈrɛkərd ˈleɪbəl hoʊl ɪn ðə skaɪ pʊt mi ɪn təʧ wɪθ ðɛr dɪˈstrɪbjətər, beɪst ɪn ðə. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ˌɪmˈpækt ɔn ðə weɪ ju ˈɔpərˌeɪt, ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrdz tɪ ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən? biɪŋ ɪn ɔˈstreɪljə, wi ər ˌʤiəˈgræfɪkəli ˈʧælənʤd tɪ meɪk ˈvaɪnəl pərˈdəkʃən ənd ˌɪnərˈnæʃənɑl ˌdɪstrəˈbjuʃən ə kɔst ˈifɛktɪv ˈɛksərˌsaɪz. səˈplaɪ ənd dɪˈmænd, ˈbeɪbi. θru ə ˈprɔˌsɛs əv ɪˌlɪməˈneɪʃən, ˌmænjəˈfækʧərɪŋ ˈoʊvərˈsiz bɪˈkeɪm ðə ˈoʊnli ˈpæθˌweɪ ˈmuvɪŋ ˈfɔrwərd. tɪ meɪk ðət ˈpɑsəbəl, aɪ ˈnidɪd dɪˈstrɪbjətər. ˈæftər wiks əv iˈmeɪlz ənd foʊn kɔlz tɪ dɪˈstrɪbjətərz beɪst ɪn ðə ənd ðə juˈnaɪtɪd steɪts, ðə rɪˈspɑns aɪ gɑt bæk frəm pəˈtɛnʃəl dɪˈstrɪbjətərz wɑz əˈlɔŋ ðə laɪnz əv ˈteɪkɪŋ ɔn ˈɛni nu ˈleɪbəlz æt ðɪs point”*”. aɪ ʧeɪnʤd maɪ geɪm plæn ənd wɛnt θru ðə bæk dɔr, aɪ kɔld maɪ ˈbədi raɪən ənd gɑt ðɛm tɪ pæs ɔn ðə ˈkɑnˌtækt əv ðɛr ˈleɪbəl ˈmænɪʤər, ənd ðə rɛst ɪz ˈhɪstəri. ɪf ɪt fər raɪən ənd ˈlioʊ ðɛn aɪ hæv bɪn ˈeɪbəl tɪ sɪˈkjʊr ðə ˈkɑnfədɛns ɪn maɪ ˈkɑrənt dɪˈstrɪbjətər ˈkudoʊs. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə fid ˈɪntu ðə ˈaʊtˌpʊt əv ðə ˈleɪbəl? dɪz ðə loʊˈkeɪʃən ər ɪnˈvaɪrənmənt ˌɪmˈpækt ɔn ðə mˈjuzɪk ðət ɪz riˈlist? ðə ˈprɛmɪs əv hoʊm loʊn ɪz tɪ kriˈeɪt ˈpɑrtnərˌʃɪps ənd ˈprɑʤɛkts wɪθ ˈɑrtɪsts ənd aɪˈdɛntɪˌtiz ðət ˌɪnˈspaɪr mi. moʊst ˈpɑrtnərˌʃɪps ər dɪˈvɛləpt ɪn ðə ril wərld ðɛr ər nɑt ˈmɛni ˈpɑrtnərˌʃɪps ðət stɑrt frəm ˈɔnˌlaɪn activity…*… əˈpɑrt frəm ˈɔnˌlaɪn ˈdeɪtɪŋ. aɪ riʧt aʊt tɪ ɪgˈzɪstɪŋ ˈɑrtɪsts ənd grups beɪst ɪn ˈmɛlbərn ənd ˈstɑrtɪd ə ˌkɑnvərˈseɪʃən əˈbaʊt haʊ kʊd wərk təˈgɛðər wɪθ ðɛm tɪ ˈʤɛnərˌeɪt ˈhaɪbrɪd saʊnz ənd dɪˈzaɪnz. wɪθ ˈɑndrəs riˈlis, hi prəˈdust ɔl ðə træks wɪʧ wi səˈlɛktɪd təˈgɛðər. aɪ kriˈeɪtɪd ðə sliv ənd ˈleɪbəl ˈɑrtˌwərk fər riˈlis, ənd hi ʃɑt ðə ˈfʊtɪʤ fər hɪz ˈvɪdioʊ klɪp illusion’*’. aɪ ˈɛdɪtɪd ðə ˈfʊtɪʤ ənd pʊt səm ˈoʊˌzoʊn fəŋk ɪn ðə mɪks tɪ tɛl ə ˈstɔri. bi fuld baɪ ˈɛni ʧip ˈkɑpiˌkæt ˌɪmɪˈteɪʃənz ju meɪ faɪnd ɔn ˈjuˌtub, illusion’*’ ɪz ðə ɑg. wət ər jʊr plænz fər ðə fˈjuʧər? ðə riˈlis ʤɪst drɑpt leɪt ɪn ˈfɛbruˌɛri məˈdusə mˈjuzɪk frəm noʊ. ərˈɪʤənəli plænd tɪ meɪk hoʊm loʊn tɪ bi ən ˈprɑʤɛkt, bət ɪt ɪz ˈstɑrtɪŋ tɪ mˈjuˌteɪt ˈɪntu nu ˈtɛrɪˌtɔri. aɪ θɪŋk ɪt həz bɪˈkəm ˌɪmˈpɔrtənt tɪ lʊk ˈoʊvərˈsiz tɪ ˈəðər aɪˈdɛntɪˌtiz ənd saʊnz. ðɛr ər ə lɔt əv əˈnoʊnz fər ðə fˈjuʧər, bət ðə nɛkst riˈlis wɪl bi ə kəˌlæbərˈeɪʃən wɪθ ˌmaɪˈsɛlf ənd mun bi (ppu*). ˈfəni ðət aɪ ˈmɛnʃənd ˌbiˈfɔr əˈbaʊt ˈɪntərˌnɛt ˈpɑrtnərˌʃɪps ɪgˈzæktli wət ðɪs ɪz. ɪkˈspɛkt ə riˈlis ɪn leɪt meɪ. ˈəðər ðən ðət nɑt ˈrɪli ə plæn ər ə ˈsprɛdˌʃit fər hoʊm loʊn. bɪn ˈlɪsənɪŋ tɪ ə lɔt əv ənd ˈərbən fˈjuʧər træks, soʊ steɪd tund. nɔɪz ɪn maɪ hɛd ˈrɛkərdz nɔɪz ɪn maɪ hɛd ɪkˈspændɪd ðɛr ˌɑpərˈeɪʃənz ˈɪntu ə ˈrɛkərd ˈleɪbəl ˈərliər ðɪs jɪr ˈæftər ˈgreɪsɪŋ ðə ˈɛrˌweɪvz əv ˈmɛlbərn fər ðə bɛst pɑrt əv ə ˈdɛkeɪd. wɑz ˈbrɔdˌkæst ɔn ˈmɛlbərn kəmˈjunɪti ˈsteɪʃən frəm dɪˈsɛmbər 2005 ənˈtɪl ˈfɛbruˌɛri 2013 sɪns ðɛn, ðə ˈreɪdiˌoʊ ʃoʊ həz kənˈtɪnjud ɛz ə ˈmənθli ˈproʊˌgræm ɔn ˈləndən ˈɔnˌlaɪn ˈsteɪʃən nts*. riˈlist ðɛr fərst ˈrɛkərd ɪn ˈfɛbruˌɛri, ˈkərtəsi əv ˈlusi kliˈʃeɪ, ə ˈlɔŋˌtaɪm ˈfɪksʧər ɪn ðə ˈsɪdni sin. ðət kəˈlɛktəd fɔr træks əv ˈʃædoʊi ˈtɛknoʊ, wɪθ mɔr sɛt tɪ ˈfɑloʊ ɪn ðə nɪr fˈjuʧər. wət ˈprɑmptɪd ju tɪ stɑrt ə ˈleɪbəl ənd haʊ dɪd ju bɪˈgɪn? ˈʤɛnərəli iʧ ˈɛpɪˌsoʊd əv ɑr ˈreɪdiˌoʊ ʃoʊ ˈfiʧərz ə gɛst mɪks, soʊ ɪn ˈkɑnstənt ˈdaɪəˌlɔg wɪθ ˈɑrtɪsts ənd biɪŋ sɛnt ənˈfɪnɪʃt rɪˈkɔrdɪŋz fər əˈpɪnjənz ənd səˈpɔrt. ˈoʊvər taɪm ðə aɪˈdiə ɪn maɪ maɪnd bɪˈkeɪm mɔr ənd mɔr ˈriəˌlaɪzd, ðɛn maɪ ˈpɑrtnər kəˈmɪʃənd tu træks frəm suˈzæn kræft fər ə kənˈtɛmpərˌɛri dæns skɔr wɪʧ ˌɪˈnɪʃiˌeɪtɪd ðə fərst riˈlis. aɪ juzd tɪ rən ˈleɪbəlz ɪn maɪ ˈərli 20s*, ˈɪʃuɪŋ saɪk, nɔɪz ənd mˈjuzɪk soʊ aɪ ɪgˈzæktli goʊɪŋ ɪn koʊld. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ˌɪmˈpækt ɔn ðə weɪ ju ˈɔpərˌeɪt, ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrdz tɪ ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən? gɑt ə dɪˈstrɪbjətər ɔn bɔrd ənd ðeɪ ˈæˌkʧuəli teɪk ɔn ɔl əv ðə pərˈdəkʃən. ə bɪt əv ə kənˈtroʊl frik ənd wɪʃ aɪ kʊd bi mɔr hænz ɔn, bət dən ə bæŋ əp ʤɑb boʊθ rɪˈlisɪz lʊk ənd saʊnd ɪgˈzæktli ɛz aɪ hoʊpt. ɪt wʊd bi hɑrd ˈrənɪŋ jʊr oʊn geɪm frəm hir, əˈspɛʃəli wɪn ju kən kaʊnt pəˈtɛnʃəl ˈloʊkəl ɔn wən hænd. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə fid ˈɪntu ðə ˈaʊtˌpʊt əv ðə ˈleɪbəl? dɪz ðə loʊˈkeɪʃən ər ɪnˈvaɪrənmənt ˌɪmˈpækt ɔn ðə mˈjuzɪk ðət ɪz riˈlist? wɪn aɪ bʊkt ˈlusi kliˈʃeɪ tɪ ˈoʊpən fər stiv ˈsəmərz, ʃi ˈtoʊtəli blu mi əˈweɪ ənd aɪ ˌprɑpəˈzɪʃənd hər ðə nɛkst deɪ. aɪ fɛlt ðɪs ərʤ tɪ gɪt ˌɪnˈvɑlvd. meɪd ən əˈstaʊndɪŋ ˌkɑntrəˈbjuʃən tɪ ðə ˈsɪdni sin fər 10 jɪrz, ənd wət ˈmeɪkɪŋ naʊ dɪˈzərvz tɪ bi ɔn ə ˈgloʊbəl ˈplætˌfɔrm. aɪ wɔnt tɪ bi mɔr ˌɪnˈvɑlvd ɪn ˈhæpənɪŋ ˈloʊkəli fər ðə seɪm ˈrizənz. ɪt wʊd bi ˌɪnˈkrɛdəbəl tɪ pʊt ˈsəmθɪŋ aʊt fər dæn waɪt, deɪz, ər slip di bət aɪ ˈriəˌlaɪz nɑt əˈloʊn ə lɔt əv ˈɪntəˌrɛst ɪn ɔˈstreɪljən mˈjuzɪk æt ðə ˈmoʊmənt, ənd ˈraɪtfəli soʊ. teɪk ə ˈtɪkɪt ɔn ðiz ənd weɪt 3 jɪrz ɪf aɪ hæv tɪ. wət ər jʊr plænz fər ðə fˈjuʧər? ˈpʊtɪŋ taɪm ˈɪntu ɑr riˈɪʃu ˈleɪbəl, ɪˈfɪʃənt speɪs. bi lɔnʧt sun wɪθ ə frəm ˈbreɪdən ʃˈleɪgər hu meɪd ˈbæˌkrum haʊs ɪn ˈərli ˈmɛlbərn. ðə meɪn træk saʊnz laɪk klaʊs ʃʊlts rɪˈkɔrdɪŋ fər nu gruv. ə ˌkɑmpəˈleɪʃən wɪl ˈfɑloʊ, kəˈlɛktɪŋ ˈpraɪvət prɛs folk-pop*, nu weɪv ənd ɑrt mˈjuzɪk frəm ɪˈstæblɪʃt bæk æt ðə tərn əv ðə məˈlɛniəm, ɪz baɪ fɑr ðə ˈoʊldəst ˈleɪbəl ˌɪnˈkludɪd ɪn ðɪs lɪst. ðə ˌɑpərˈeɪʃən həz bɪn æt ðə ˈfɔrˌfrənt əv ɪkˌspɛrɪˈmɛntəl mˈjuzɪk sɪns ɪts ɪˈstæblɪʃmənt, meɪnˈteɪnɪŋ ə ˈgloʊbəl vju ðət həz ərnd ˈplɔdɪts fɑr bɪɔnd ɔˈstreɪljən ʃɔrz. ˈɔsi ɪkˌspɛrɪˈmɛntəl ˈtreɪlˌbleɪzərz səʧ ɛz ˈleɪbəl hɛd ˈlɔrəns ˈɪŋlɪʃ, ˈɔrən ambarchi*, ʤɑn ənd bɛn frɔst ˈɑkjəˌpaɪ speɪs ɪn ðə ˈkætəˌlɔg əˈlɔŋˈsaɪd ˈɑrtɪsts frəm ˈoʊvərˈsiz ˌɪnˈkludɪŋ ˈgrupər, tɪm ˈhɛkər, bi mæsk ənd ˌʤæpəˈniz ˈsɪŋər ˌnɔˈriˌkoʊ. wət ˈprɑmptɪd ju tɪ stɑrt ə ˈleɪbəl ənd haʊ dɪd ju bɪˈgɪn? ðə ˈleɪbəl ˈvɛri məʧ keɪm aʊt əv tu ˈɪntərɪsts. wən tɪ kəˈnɛkt ɔˈstreɪljə ənd ðə ˈɑrtɪsts aɪ hæd ɪnˈkaʊnərd hir wɪθ ˌɪnərˈnæʃənɑl kəmˈpeɪtriəts. æt ðət taɪm, ɪn ðə leɪt 1990s*, ɔˈstreɪljə stɪl fɛlt laɪk ə lɔŋ weɪ əˈweɪ. iˈmeɪl wɑz ʤɪst ˈteɪkɪŋ grɪp ənd wɛb ˌɪnərˈækʃən wɑz ˈlɪmɪtɪd æt bɛst. aɪ ˈwɔntɪd tɪ ˈstɪmjəˌleɪt θɪŋz hir ənd hæv ə ˈleɪbəl ðət riʧt ˈaʊtwərd, ˈlɪŋkɪŋ laɪk ˈmaɪndɪd kəmˈjunɪtiz ənd tɪ kriˈeɪt səm kaɪnd əv ˈdɪskɔrs. soʊ frəm ðə ˈaʊtˌsɛt ʤɪst əˈbaʊt ˈpəblɪʃɪŋ ɪˈdɪʃənz, bət ˈɔlsoʊ kriˈeɪtɪŋ ɪˈvɛnts, saʊnd ɑrt ˈproʊˌgræmz ənd ˈʤɛnərəli ˈmeɪkɪŋ θɪŋz ˈhæpən. ðə ˈəðər ˈrizən aɪ ˈstɑrtɪd ðə ˈleɪbəl, ənd tɪ ðɪs deɪ ðɪs rɪˈmeɪnz ə ˈpraɪˌmɛri ˈɪntəˌrɛst, wɑz ˈfaɪndɪŋ ɪrz fər wərk ðət aɪ ˌkætəˈgɔrɪkli bɪˈliv ɪn. æt ðə taɪm ðə ˈleɪbəl ˈstɑrtɪd aɪ wɑz ˈhirɪŋ əˈmeɪzɪŋ wərk frəm ɔˈstreɪljən ˈɑrtɪsts ənd ˌɪntərˈnæʃənəlz ðət ˈgæðərɪŋ ðə əˈtɛnʃən aɪ lɛft ðeɪ dɪˈzərvd. wɑz maɪ smɔl weɪ əv ˈæˌdrɛs ðət ˈprɑbləm. plizd ðət 15 jɪrz ɔn, ɑr ˌɪˈnɪʃəl ɔˈstreɪljən ˈɑrtɪsts laɪk ʤɑn ənd bɛn frɔst hæv gɔn ɔn tɪ du səʧ greɪt θɪŋz. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ˌɪmˈpækt ɔn ðə weɪ ju ˈɔpərˌeɪt, ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrdz tɪ ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən? ˈæˌkʧuəli wi dɪˈstrɪbjut ðə rɪˈlisɪz hir, bɪɔnd ˈviə ðə ˌɛmˈpɔriəm. aɪ noʊ ðət maɪt sim ɑd, bət bɪɔnd dɪˈrɛkt seɪlz, ˈɔfən ˈiziər fər ˈpipəl tɪ ˈækˌsɛs ɪt θru ˈoʊvərˈsiz dɪˈstrɪbjətərz ənd stɔrz. wi naʊ ˌmænjəˈfækʧər ˈɔlˌmoʊst ˈɛvriˌθɪŋ ɔf ʃɔr, ɪn ðə, wi dɪd ə lɔt əv ɪt dəˈmɛstɪkli. bət ðɪs ˈkəntri ɪz ˌɪnˈkrɛdəbli ˈoʊvərˌpraɪst ənd ˈɔfən ˈlækɪŋ ɪn ˈrizənəbəl kˈwɑləti ɪn tərmz əv ˈprɑdəkt dɪˈlɪvəri ənd ˈkəstəmər ˈsərvɪs. soʊ naʊ wi ɛˈsɛnʃəli drɔp ʃɪp frəm ðə ˈfæktəri tɪ dɪˈstrɪbjətərz tɪ traɪ ənd kət daʊn ðə kɔsts əv ˈʃɪpɪŋ, wɪʧ ər ˈətərli rɪˈdɪkjələs ˈviə ɔˈstreɪljə poʊst. ə ˈrizən ðət ˈkəmpəˌni ɪz ˈsəfərɪŋ səʧ ə ˈmæsɪv ˈdaʊnˌtərn ɪn ˈprɑfɪt. ðeɪ ər traɪɪŋ tɪ rən ə ˈsɛnʧəri ˈmɑdəl ɪn ðə ˈsɛnʧəri ɪmˈbɛrəsɪŋ. bɪɔnd ðət, nɑt tu məʧ ˌɪmˈpækt. kəmˌjunəˈkeɪʃən ənd kəˈnɛkʃən ər soʊ məʧ ˈiziər ðən ðeɪ wər ˌbiˈfɔr. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə fid ˈɪntu ðə ˈaʊtˌpʊt əv ðə ˈleɪbəl, dɪz ðə loʊˈkeɪʃən ər ɪnˈvaɪrənmənt ˌɪmˈpækt ɔn ðə mˈjuzɪk ðət ɪz riˈlist? nɑt soʊ məʧ. laɪk aɪ sɛd ˈɔlˌweɪz bɪn ˈaʊtwərd ˈlʊkɪŋ, ˈwɑnɪŋ tɪ meɪk kəˈnɛkʃənz ənd meɪnˈteɪn ðɛm. ðət sɛd ɪn ðə ˈərli deɪz, wɪn ɪt wɑz ʧip tɪ lɪv ɪn ˈbrɪzˌbeɪn, ðət læk əv ˌɛkəˈnɑmɪk streɪn wɑz ˈhjuʤli ˈvaɪtəl fər dɪˈvɛləpɪŋ ðə ˌɪnfrəˈstrəkʧər fər ðə ˈleɪbəl. aɪ wɑz əˈfɔrdəd taɪm tɪ wərk æt ɪt wɪˈθaʊt ðə ˈprɛʃər əv ˈhævɪŋ tɪ teɪk ɔn ˈɛkstrə wərk. ðət ɪz ɪnˈtaɪərli ˌɪmˈpɑsəbəl naʊ aɪ θɪŋk fər ə lɔt əv ˈjəŋgər ˈleɪbəlz, ənd ˈɑrtɪsts, ənd ə kraɪm. ðə kəˈpæsɪti fər ˈjuˈɛs tɪ ˈriəˌlaɪz ðə fʊl ˌɪmˈpækt əv wət ɪz ˈhæpənɪŋ hir, ɪn ɔl kriˈeɪtɪv ˈɛriəz, ɪz ˌɪnˈkrisɪŋgli ˌprɑbləˈmætɪk θæŋks tɪ kɔst əv ˈlɪvɪŋ ənd ðə laɪk. aɪ θɪŋk wi hæv ə greɪt dil əv pəˈtɛnʃəl hir wɪʧ ɪz lɔst tɪ əˈtrɪʃən. ðɪs ɪz ə ˈkraɪsəs wɪʧ minz ɑr ˈkəlʧərəl kəˈpæsɪti ɪz ˈiðər ˈhɪndərd, ˈloʊkəli ər ɪz lɔst tɪ ˈoʊvərˈsiz ɛz soʊ ˈmɛni əv ɑr ˈfaɪnəst dɪˈpɑrt tɪ meɪk ðɛr weɪ ˈɛlsˌwɛr. ə ʃeɪm ənd ˈsəmθɪŋ ˈgroʊsli ˌmɪsəndərˈstʊd æt ə ˈmækroʊ ˈlɛvəl. wət ər jʊr plænz fər ðə fˈjuʧər? ðɪs jɪr wi tərn 15 wi ər ˈsɛləˌbreɪtɪŋ wɪθ ə ˈsɪriz əv ɪˈvɛnts ˌɪnˈkludɪŋ ˈoʊpən freɪm æt æt ðə ɛnd əv ˌʤuˈlaɪ. wi ˈɔlsoʊ hæv ən əˈmeɪzɪŋ əreɪ əv nu ɪˈdɪʃənz ɔn ðə bɔɪl. rəf ˈrɛkərdz rəf ˈrɛkərdz ɪz ˈɑpərˌeɪtəd baɪ segbedzi*, ˈbɛtər noʊn ɛz wən hæf əv ˌɪrɪˈzɪstəbli ˈfəŋki ˈmɛlbərn haʊs ˈduoʊ ˈzænzəˌbɑr ʃəˈnɛl. ðə ˈleɪbəl wɑz lɔnʧt wɪθ ðə riˈlis əv ðə ˈaʊtˌbæk ʤæk træks bæk ɪn 2013 ˈfɑloʊd baɪ ən ɪkˌspɛrɪˈmɛntəl, nu kəˈsɛt frəm ˈɛləˌveɪtər ˈæləˌgeɪtərz, ə ˈbrɪljənt mɪks ˈsiˈdi ənd ə kˈwɪkli frəm ˈzænzəˌbɑr ʃəˈnɛl. rəf records’*’ moʊst ˈrisənt riˈlis wɑz ən ˈæmbiənt ˈælbəm frəm flæt ˈstætɪk, ˈmɑrkɪŋ ðə fərst kræk æt ðə lɔŋ pleɪər ˈfɔrˌmæt. wət ˈprɑmptɪd ju tɪ stɑrt ə ˈleɪbəl ənd haʊ dɪd ju bɪˈgɪn? nɑt biɪŋ ˈeɪbəl tɪ gɪt ə ˈrɛkərd aʊt! tɪ bi fɛr ˈbətər ˈsɛʃənz əˈproʊʧt ˈjuˈɛs (ˈzænzəˌbɑr ʃəˈnɛl) ˈprɪti ˈərli ɔn tɪ du ə riˈlis, bət æt ðə taɪm aɪ θɔt ðeɪ wər wæk bɪˈkəz ðeɪ θru ðɪs ˌɪˈligəl ˈpɑrti ɪn ə spɑt maɪ frɛnd wɑz ˈskoʊpɪŋ. aɪ juzd tɪ hæv ðɪs ˈstupɪd bif mɛnˈtælɪti; aɪ wʊd gɪt pɪst ɔf ɪf aɪ θɔt ˈpipəl wər ˈbaɪtɪŋ ʃɪt. wi ər ɔl frɛndz naʊ ðoʊ, aɪ dɪd ðə ˈɑrtˌwərk fər rəf ˈstɑrtɪd ɛz ə kəˌlæbərˈeɪʃən bɪtˈwin ˌmaɪˈsɛlf ənd maɪ pæl freejack*, bət ˈprɪti kwɪk wi ˈriəˌlaɪzd wi hæd kəmˈplitli ˈdɪfərənt ˌkjʊrəˈtɔriəl aɪˈdiəz. hi naʊ rənz ə teɪp ˈleɪbəl kɔld fˈjuʧər ɑrˈkeɪɪk wɪʧ ɪz mɔr nɔɪz ˈɔriˌɛntɪd, ˈpʊtɪŋ aʊt səm ˈrɪli sɪgˈnɪfɪkənt stəf frəm ə lɔt əv ˈmɛlbərn ˈɑrtɪsts. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ˌɪmˈpækt ɔn ðə weɪ ju ˈɔpərˌeɪt, ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrdz tɪ ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən? ɑ ˈdɪfəkəlt. aɪ ˈrɪli laɪk tɪ ˈhændəl ɔl ðə pərˈdəkʃən əv ˈɑrtˌwərk ˌɛtˈsɛtərə, ənd ɪt ɪz ə ˈhɛˌdeɪk. fərst taɪm əraʊnd aɪ spɛnt ɛz məʧ ɔn ˈpoʊstɪʤ ɛz ɪt kɔst tɪ ˈproʊdus slivz, ðət wɑz ə mɪˈsteɪk. ˈsɛkənd taɪm əraʊnd aɪ traɪd tɪ muv tɪ ˈjʊrəp haha*. ə ðət moʊst əv ðə ˈrɛkərdz ər dɪˈstrɪbjətəd ɪn ˈjʊrəp. aɪ ləv ðət ðə mˈjuzɪk ɪz ˈriʧɪŋ əˈpriʃjətɪv ɪrz ənd aɪ sɛl ən ɪnˈtaɪər ˈprɛsɪŋ ɪn ɔˈstreɪljə ɛz ðɛr ʤɪst ɛz ˈmɛni ˈpipəl ˈɪntəˌrɛstɪd ɪn baɪɪŋ ˈvaɪnəl. bət aɪ ˈrɪli laɪk ðə aɪˈdiə ðət ˌjʊrəˈpiən kəˈlɛktərz pəˈzɛs soʊ məʧ əv ɑr ˈhɛrɪtɪʤ. ˌɪmˈpɔrtənt tɪ mi ðət səm kɪd kʊd wɔk ˈɪntu ən ɔˈstreɪljən stɔr ɪn 20 jɪrz ənd ˈhæpən tɪ ˈstəmbəl əˈpɑn ə rəf riˈlis. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə fid ˈɪntu ðə ˈaʊtˌpʊt əv ðə ˈleɪbəl, dɪz ðə loʊˈkeɪʃən ər ɪnˈvaɪrənmənt ˌɪmˈpækt ɔn ðə mˈjuzɪk ðət ɪz riˈlist? aɪ ˈoʊnli riˈlis mˈjuzɪk meɪd baɪ mi ənd maɪ frɛndz, soʊ ˌɪnsɪˈdɛntəli ɪts ɔl ɔˈstreɪljən ˈkɑntɛnt. aɪ wʊd seɪ mɔr əˈbaʊt fəˈsɪləˌteɪtɪŋ maɪ kəmˈjunɪti ənd traɪɪŋ tɪ kriˈeɪt ə ˈplætˌfɔrm fər wəts goʊɪŋ ɔn əraʊnd mi. biɪŋ ɪn ɔˈstreɪljə ˈoʊnli ˈmoʊtəˌveɪts mi tɪ dɪˈfaɪn ˌmaɪˈsɛlf ɪn ˌɑpəˈzɪʃən tɪ ɪt; ðə mˈjuzɪk aɪ riˈlis ɪz ən ɛmˈfætɪk ˈsteɪtmənt əv rɪˈzɪstəns tɪ ðə ˈdɑmənənt ˈkəlʧərəl ˈpɛrəˌdaɪm. aɪ θɪŋk ə lɔt əv ˈpipəl mɪˈsteɪk əˈluʒənz aɪ meɪk tɪ ɛz səˈlɛbrəˌtɔri ðeɪ ər nɑt. ɔn ðə ˈnoʊʃən ðət ɔˈstreɪljə ɪz ˈkəlʧərəˌli ˈbæŋkrəpt? ɪf baɪ bankrupt”*” ju min ˈprɛdəˌkeɪtɪd ɔn kəˈloʊniəl ˈʤɛnəˌsaɪd, ðɛn aɪ wʊd əˈgri. aɪ θɪŋk ə klin sleɪt ənd ɛz ən ˈɑrtɪst ˌɪmˈpɔrtənt tɪ kˈwɛʃən ðə moʊdz ɪn wɪʧ ˈpriviəs ˌʤɛnərˈeɪʃənz hæv gɔn əˈbaʊt nɪˈgoʊʃiˌeɪtɪŋ ɑr ˈhɪstəri ənd ˌrɛprɪˈzɛnɪŋ ɑr ˈkəlʧər. wət ər jʊr plænz fər ðə fˈjuʧər? tɪ kip ˈmeɪkɪŋ ɑrt fər ɛz lɔŋ ɛz ˈpɑsəbəl ənd ˈhoʊpfəli æt səm pɔɪnt kriˈeɪt ˈsəmθɪŋ ˈminɪŋfəl. twɛlv ɪnʧ ðə twɛlv ɪnʧ ˈfæməli ɪz kəmˈpraɪzd əv ˈædəˌleɪd ˈɑrtɪsts babicka*, hvck*, mɪk mɪlz, ˈfrɛdi ˈnɔrwʊd ənd dæs. ðə kru həz floʊn ðə flæg fər ɔˈstreɪljən ˈænəˌlɔg haʊs mˈjuzɪk sɪns ðeɪ fərst ˈimərʤd wɪθ ə sʊˈpərb ˈvɛriəs ˈɑrtɪsts æt ðə bɪˈgɪnɪŋ əv 2013 sɪns ðɛn, ðə ˈleɪbəl həz prəˈvaɪdɪd ə kənˈsɪstənt strim əv locally-sourced*, haʊs ˈrɛkərdz ðət hæv bɪˈkəm ˈdɪfəkəlt tɪ kəm baɪ. meɪk ʃʊr ju ʧɛk aʊt ðɛr bɪg tu. wət ˈprɑmptɪd ju tɪ stɑrt ə ˈleɪbəl ənd haʊ dɪd ju bɪˈgɪn? aɪ θɪŋk æt ðə taɪm ʤɪst ˌbiˈfɔr wi ˈstɑrtɪd ðə ˈleɪbəl wi hæd ɔl bɪn ˌɪndɪˈvɪʤəli ˈsɛndɪŋ ɑr træks tɪ ˈleɪbəlz ənd ˈleɪbəl gaɪz hu wi hæd ˌɪnkərˈɛktli θɔt wʊd pɪk ˈjuˈɛs əp. wɪˈθaʊt ˈivɪn aɪ θɪŋk ɔl bɪn traɪɪŋ tɪ fɪt ˈɪntu ˈsəmˌbɑdi saʊnd ər dɪˈrɛkʃɪn ənd ˈfʊli ˈriəˌlaɪzd wət wi hæd ˈwɔntɪd tɪ du fər ɑrˈsɛlvz. wəns ðə aɪˈdiə tɪ stɑrt ɑr oʊn ˈleɪbəl (ər ˈleɪbəlz) hæd strək ˈjuˈɛs aɪ θɪŋk wi ɔl faʊnd ɑr fit ənd ˈstɑrtɪd tɪ ɪkˈspɛrəmənt wɪθ mˈjuzɪk ðət wi wʊd pleɪ ɪn ɑr ˈsɪti, ˌɪnˈstɛd əv ˈsəmˌbɑdi ðət ˈnɛvər ˈivɪn ˈvɪzɪtɪd. wi θru ə ˈkəpəl əv ˈpɑrtiz ənd seɪvd ðə kæʃ tɪ prɛs əp 300 ɪn nis slivz ənd ðɛn sɛt əˈbaʊt ˈfaɪndɪŋ ə dɪˈstrɪbjətər. ɪn ˈhaɪnˌsaɪt ˈteɪkən ə ˈprɪti bɪg pənt ˈprɛsɪŋ əp ˈrɛkərdz ˌbiˈfɔr ˈhævɪŋ ə minz tɪ dɪˈstrɪbjut, bət ˈfɔrʧənətli wi ˈlændɪd ɔn ðə raɪt saɪd əv ðət rɪsk. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə ˌɪmˈpækt ɔn ðə weɪ ju ˈɔpərˌeɪt, ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrdz tɪ ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən? ɪt meɪks θɪŋz məʧ mɔr ˈdɪfəkəlt fər ʃʊr ɑr ˈrɛkərdz ər prɛst ənd dɪˈstrɪbjətəd frəm ðə. aɪ noʊ ˈrisəntli hæd tɪ θroʊ əˈweɪ ə bənʧ əv ˈjunɪts bɪˈkəz ðə dɪˈstrɪbjətərz ˈwɪlɪŋ tɪ ˈwɛˌrhaʊs ðɛm ˈɛni ˈlɔŋgər. ɪf wi wər ˈloʊˌkeɪtəd ɪn ˈjʊrəp ər ðə wi wʊd hæv hæd ðə ˈɔpʃən tɪ stɑk ðɛm ɪn ɑr ˈhaʊsɪz ənd traɪ ənd dɪˈstrɪbjut ðə ɑrˈsɛlvz, bət ɛz ɔl ðə weɪ ˈoʊvər hir ɪn ɔˈstreɪljə ðə kɔst tɪ ʃɪp ðɛm wɑz wərθ mɔr ðən ðə ˈvælju əv ðə ˈrɛkərdz. haʊ dɪz biɪŋ ˈloʊˌkeɪtəd ɪn ɔˈstreɪljə fid ˈɪntu ðə ˈaʊtˌpʊt əv ðə ˈleɪbəl, dɪz ðə loʊˈkeɪʃən ər ɪnˈvaɪrənmənt ˌɪmˈpækt ɔn ðə mˈjuzɪk ðət ɪz riˈlist? ʃʊr. aɪ θɪŋk ðə ˈɪntərˌnɛt ˈdɛfənətli həz ən ˈɪnfluəns ɛz wɛl bɪˈkəz ju kən soʊk əp soʊ məʧ mˈjuzɪk frəm ˈɛvriˌwɛr soʊ ˈizəli naʊ, bət ðət min ðət ðoʊz træk wərk ɪn ən ˈædəˌleɪd ɪnˈvaɪrənmənt. soʊ aɪ gɛs ˈɪnfluənst baɪ mˈjuzɪk frəm ɔl ˈoʊvər ðə wərld, ðət ˈhæpənz tɪ wərk wɛl ɪn ˈædəˌleɪd. aɪ θɪŋk ju kʊd goʊ ðə ˈəðər dɪˈrɛkʃɪn ənd bi ˈrɪli ˈɪnsələr ənd ʤɪst du jʊr oʊn θɪŋ hir ɛz kwaɪt ə smɔl ˈsɪti, bət ðət wərkt fər ˈjuˈɛs. ɔn ðə ˈnoʊʃən ðət ɔˈstreɪljə ɪz ˈkəlʧərəˌli ˈbæŋkrəpt? tɪ seɪ ðət ɔˈstreɪljə ɪz ˈkəlʧərəˌli ˈbæŋkrəpt ɪz kəmˈplitli ˈraɪtɪŋ ɔf ðə hɑrd wərk ðət ɪz biɪŋ pʊt ɪn hir, ʃʊr ˈwɛstərn aɪˈdiəz əv ˈkəlʧər bɪn ɪn pleɪs lɔŋ hir. bət ðɛr ɪz səm əˈmeɪzɪŋ ɑrts ənd mˈjuzɪk biɪŋ prəˈdust ɪn ðɪs ˈkəntri ənd ðɪs ɪz ˈbɛrli ðə bɪˈgɪnɪŋ. wət ər jʊr plænz fər ðə fˈjuʧər? pʊt aʊt mɔr ˈrɛkərdz ənd gɪt ˈædəˌleɪd ə bɪt ˈfərðər ˈɪntu maɪndz. |
running a vinyl record label from australia presents a number of tricky challenges. there’s only one rather expensive and under-resourced pressing plant left in the country, which often forces small-time independent imprints to take their manufacture offshore. combined with australia’s massive distance from the major markets of europe and the united states and you have a huge battle on your hands when it comes to breaking even. matters are made more complicated when you factor in a relatively small and largely ambivalent population. despite this, the number of australian record labels putting out wax has risen sharply in recent times. this article shines a spotlight on a handful of the labels doing it best, from long-standing imprints to a slew of new labels that reflect this recent renewed interest. their collective output encompasses everything from mutant funk, dissonant post-punk, new wave nostalgia and uk bass pressure to various strains of house and techno, experimental and ambient pieces and plenty more. we spoke to each label about a number of issues, from their methods of production and distribution to the way their location impacts their output, as well as exploring the notion that australia is culturally bankrupt in relation to other nations and whether or not it helps to have a somewhat blank slate.
aquatic lab aquatic lab is recognised as being one of the first international outposts of the original dubstep sound. the sydney label is helmed by veteran djs farj and paul fraser of garage pressure and was the first imprint in australia to release strains of modern bass music. as well as delivering music from the likes of zed bias, caspa and rusko since 2008, aquatic lab continues to foster emerging talent (keep an eye on cliques). how does being located in australia impact on the way you operate, particularly with regards to distribution and production? aquatic lab has always had its engineering, mastering and vinyl manufacturing done in europe. we use dubplates and mastering in berlin to engineer and cut our vinyl, and optimum mastering in bristol for our digital masters. in terms of distribution and sales, a large portion of our customers are predominantly overseas, so it has always been important to have a distributor who can manage our catalogue worldwide, by making sure it is well promoted and available in the record stores and digital retailers that matter to us. after the tracks are selected, finished and ready to go off to the engineer, the longest wait might come from ensuring the test pressings sound right and proper and that the final vinyl cut is heavy so that our artists and label can always be proud of what we are putting out. digital mastering is a much shorter process, but it is equally as important. for the last few years we’ve had laurens working with us from berlin, which has helped tremendously in terms of the logistics and relationship management aspects of running a label that will always be adamant about vinyl. de-centralising our operations by having one foot in australia and the other in europe does help to smooth things out. it’s how we always envisaged the label to be – free from artistic and geographic barriers. in the last five years, falling vinyl sales and rising warehousing costs has meant it has become incredibly difficult for distributors to remain solvent in today’s difficult commercial market. many labels around the world have been affected by this in the past few years. we’re glad to now be involved with southern record distributors, because they understand and respect what we are trying to achieve. on the notion that australia is culturally bankrupt? i’d say its more to do with difficulties in establishing a healthy underground dance music culture in a city and country where you have a niche, late night social industry that is faced with stringent licensing restrictions on venues (early lock-out times) and a geographic isolation that can be quite prohibitive for promoters in terms of costs and cultivating a regular circuit of well-attended events. in artistic terms, there’s nothing inherent about australia that means its musical output is culturally bankrupt. australian artists face similar challenges to producers from all over the world – namely crafting an individual sound that is consistent and inventive in quality. i’d say on a worldwide scale that the derivative, mass-market re-packaging of uk sound system and european rave culture has really diluted and disrupted things artistically and commercially in recent years. these days it’s harder than ever to be original. perhaps it’s because the cycles of rapid musical progression and sense of craft and invention in electronic music and the uk sound of the early-mid 2000s have been exhausted over the past five years. back then the artists at the forefront had a low-key approach that was far more open-ended and creatively dynamic – it was much less commercially driven (and visible). at the time, it felt like there were no apparent boundaries for where it could go. there was more individuality and less pressure on artists to identify with or compartmentalise their sound to within strict parameters set by music journalists, consumers and djs. in terms of new ground, things might have slowed down, but there is still room for artists to explore. none of this means it is impossible for australians to produce pioneering electronic music. artists such as paul jebanasam and ben frost have done so successfully for many years. cliques are a more recent example of two australians making internationally minded club music that is functional, energetic and experimental. what are your plans for the future?
to keep nurturing upcoming artists and releasing tracks that we feel will remain relevant over time, regardless of stylistic shifts and trends. quantity is not the primary driver of what we do. aquatic lab is about crafting an ongoing legacy, rather than being led by commercial aspirations. at this stage, our next release will be from the inimitable maddslinky. this will also feature some very exciting and expansive remix treatments of the original cut. this project has been in the pipeline for a while, but we look forward to delivering it very soon.
bbw
bbw was founded by melbourne house aficionado francis inferno orchestra and friend tyson ballard as a home for the pair’s first attempts at techno. since originally emerging as an anonymous imprint back in 2013, the label has delivered three 12″s of imperfect and enchanting maximalist techno. operating under aliases like deep throat and linda lovelace, and releasing tracks with titles such as ‘gag reflex’ and ‘gush’ packaged in a rainbow theme, the label is also poking fun at a genre that can sometimes take things a bit too serious. what prompted you to start a label and how did you begin? i think it was basically prompted out of convenience. tyson ballard whom i run the run the label with had already been running voyeurhythm with two of his friends for a few years so he had the connection to clone distribution and all the other resources to turn a idea into an actual thing. but i think it really began because we talked about how we both had been making little bits of more functional music for fun without an outlet to put it out, so we just decided to do it ourselves. how does being located in australia impact on the way you operate, particularly with regards to distribution and production? well i’m actually located in london now and tyson is in berlin. the thing with being located in australia is when most distributors and pressing plants are operating from eu and us, and you’re located all the way in australia, the time it takes to get through the steps getting a record out is drastically drawn out. the time zone thing makes getting responses and surpassing problems a long-winded issue. how does being located in australia feed into the output of the label? does the location or environment impact on the music that is released? not entirely with bbw, we’ve only had 3 releases so far which all have consisted of one track by myself under my deepthroat alias plus another track for the flip side that’s done by either tyson or another friend (usually someone who doesn’t make more techno-orientated music normally but did one out of spontaneity and would like it be pressed on a record). with my other label superconscious (which i run with my other friend mic aka fantastic man), i feel that this is project was a direct result of wanting to release music from the friends around us in melbourne who may never have had an outlet for their stuff. there are friends from melbourne (chet faker, andras fox, tornado wallace etc) who have gained a lot international exposure but there are also lots of artists doing amazing things that don’t get heard. what are your plans for the future? for bbw there is no plan – when it happens, it happens. for superconscious we have an upcoming ep from luis c. l who is part of the entourage of ruff records and is one half of the duo zanzibar chanel. this follows our first ep from imhotep who is the other half of zanzibar chanel.
butter sessions butter sessions originally came to life as a mixtape series back in 2011, morphing into a record label with the release of a fantastic techno and garage-indebted 12″ from label head sleep d in 2013. that was followed up with an excellent various artists ep last year, collecting tracks from some of australia’s most exciting young underground house and techno producers, including tuff sherm and dan white. frankston’s finest, without a doubt. what prompted you to start a label and how did you begin? we like making things and we like records so we decided to do both. butter sessions began in january 2011 in frankston as a mixtape series and the label started late 2013. how does being located in australia impact on the way you operate, particularly with regards to distribution and production? being located so far from the pressing plants makes the process take a little longer. at the moment we release the records on our web store and local australian record stores a couple of weeks before the rest of the world, that way we’re hopefully supporting the scene here. it also gives us an opportunity to make sure the records look and feel ok, that’s important to us. how does being located in australia feed into the output of the label? does the location or environment impact on the music that is released? we have a personal connection with all the artists on the label so far. if it wasn’t for our location we never would have made these relationships. what are your plans for the future? to release more records more frequently. dig deeper into different styles.
cult trip sydney-based label cult trip is firmly dedicated to unearthing talented bedroom producers from both australia and abroad. with their current output currently encompassing lo-fi house and techno, the label keeps one eye fixated upon the diy scenes of both australia and the usa. and has ambitions to broaden its scope beyond the dancefloor. what prompted you to start a label and how did you begin? i started listening to a lot of alex’s (grey people) stuff on soundcloud a little over a year ago and was really taken back by two of his tracks ‘hour glass’ and ‘sudgeball’ which i couldn’t believe weren’t being put out. i was at the point where i’d be listening to those tracks every day for maybe three weeks and eventually i just got in touch with him to see what was happening with them. i had initially planned to just do the one record and wasn’t even thinking at that point of a release schedule. there wasn’t much thought on whether or not to start it, instead more whether or not it could even be done. thankfully alex turned out to be the most relaxed dude and gave me as much time i needed to get the label up and running. how does being located in australia impact on the way you operate, particularly with regards to distribution and production? i was surprised at how quickly i was able to secure distribution considering how isolated we are geographically. there was part of me that felt i wouldn’t be taken as seriously as other upcoming labels based in the eu or us but it ended up being the opposite. as for production, exchange rates have been against me from the start which has made manufacturing a little bit more disheartening from a financial point. those extra production costs, combined with things like lengthy shipping delays to aus for things like test pressings are always going to hold up the manufacturing process. how does being located in australia feed into the output of the label? does the location or environment impact on the music that is released? i don’t think the label has any particular aesthetic or overall direction in terms of what’s going to come out so i can’t really say that i’m in it to promote some sort of ‘australian sound’. but since i started i’ve been focusing much more of my attention on upcoming homegrown producers and i think that finding guys like dan white, daze, l neils and patch free has definitely helped me keep this thing going. the best part of starting this kind of label in australia, especially in sydney, is that because it is such a small scene, people are quick to welcome new labels and artists into the community. it was very humbling to see how quick people were to give the label their support and i’m very grateful to everyone who as gotten in touch so far. what are your plans for the future? hopefully to get a couple more releases out this year from australian artists. i try my best not to get carried away considering the current economics of pressing records and instead will focus on one release at a time. ct003 will be out in a couple of months.
home loan records helmed by melbourne producer and e.s.p. institute family member michael ozone, the home loan records imprint is an eclectic hub of colourful (predominantly) dancefloor-focused music. home loan began with a self titled ep from post-punk outfit total control, backed with two remixes from ozone himself. since then, the label has delivered 12″s from andras fox, zanzibar chanel and mutant funk duo no zu that traverse the realms of disco, synth-pop, new wave and house music. what prompted you to start a label and how did you begin? i was interested in creating a platform to push new ideas, new sounds and new partnerships. my good man mike q, who runs the best radio show in australia (now also a record label – noise in my head) gave me some inside industry advice. good friends of mine ryan and leo who run the record label hole in the sky put me in touch with their distributor, based in the uk. how does being located in australia impact on the way you operate, particularly with regards to distribution and production? being in australia, we are geographically challenged to make vinyl production and international distribution a cost effective exercise. supply and demand, baby. through a process of elimination, manufacturing overseas became the only pathway moving forward. to make that possible, i needed distributor. after weeks of emails and phone calls to distributors based in the eu and the united states, the response i got back from potential distributors was along the lines of “we aren’t taking on any new labels at this point”. i changed my game plan and went through the back door, i called my buddy ryan and got them to pass on the contact of their label manager, and the rest is history. if it wasn’t for ryan and leo then i wouldn’t have been able to secure the confidence in my current distributor kudos. how does being located in australia feed into the output of the label? does the location or environment impact on the music that is released? the premise of home loan is to create partnerships and projects with artists and identities that inspire me. most partnerships are developed in the real world – there are not many partnerships that start from online activity… apart from online dating. i reached out to existing artists and groups based in melbourne and started a conversation about how hlr could work together with them to generate hybrid sounds and designs. with andras fox’s release, he produced all the tracks which we selected together. i created the sleeve and label artwork for release, and he shot the footage for his video clip ‘soft illusion’. i edited the footage and put some ozone funk in the mix to tell a story. don’t be fooled by any cheap copycat imitations you may find on youtube, ‘soft illusion’ is the og. what are your plans for the future? the 4th release just dropped late in february – medusa music from no zu. i’d originally planned to make home loan to be an all-australian project, but it is starting to mutate into new territory. i think it has become important to look overseas to other identities and sounds. there are a lot of unknowns for the future, but the next release will be a collaboration with myself and moon b (ppu). it’s funny that i mentioned before about internet partnerships – that’s exactly what this is. expect a release in late may. other than that there’s not really a plan or a spreadsheet for home loan. i’ve been listening to a lot of dancehall and urban future tracks, so stayed tuned.
noise in my head records noise in my head expanded their operations into a record label earlier this year after gracing the airwaves of melbourne for the best part of a decade. nimh was broadcast on melbourne community station 3rrr 102.7fm from december 2005 until february 2013. since then, the radio show has continued as a monthly program on london online station nts. nimh released their first record in february, courtesy of lucy cliche, a longtime fixture in the sydney diy scene. that 12″ collected four tracks of shadowy techno, with more set to follow in the near future. what prompted you to start a label and how did you begin? generally each episode of our radio show features a guest mix, so we’re in constant dialogue with artists and being sent unfinished recordings for opinions and support. over time the idea in my mind became more and more realised, then my partner commissioned two tracks from suzanne kraft for a contemporary dance score which initiated the first release. i used to run labels in my early 20s, issuing psych, noise and diy music so i wasn’t exactly going in cold. how does being located in australia impact on the way you operate, particularly with regards to distribution and production? i’ve got a uk distributor on board and they actually take on all of the production. i’m a bit of a control freak and wish i could be more hands on, but they’ve done a bang up job – both releases look and sound exactly as i hoped. it would be hard running your own game from here, especially when you can count potential local stockists on one hand. how does being located in australia feed into the output of the label? does the location or environment impact on the music that is released? when i booked lucy cliche to open for steve summers, she totally blew me away and i propositioned her the next day. i felt this urge to get involved. she’s made an astounding contribution to the sydney diy scene for 10 years, and what she’s making now deserves to be on a global platform. i want to be more involved in what’s happening locally for the same reasons. it would be incredible to put something out for dan white, daze, imhotep or sleep d but i realise i’m not alone – there’s a lot of interest in australian music at the moment, and rightfully so. i’ll take a ticket on these and wait 3 years if i have to. what are your plans for the future? i’m putting time into our reissue label, efficient space. it’ll be launched soon with a 12″ ep from braden schlager who made backroom house in early ’90s melbourne. the main track sounds like klaus schulze recording for nu groove. a 15-track compilation will follow, collecting private press folk-pop, new wave and art music from 1968-1989.
room40 established back at the turn of the millennium, room40 is by far the oldest label included in this list. the brisbane-based operation has been at the forefront of experimental music since its establishment, maintaining a global view that has earned plaudits far beyond australian shores. aussie experimental trailblazers such as label head lawrence english, oren ambarchi, john chantler and ben frost occupy space in the room40 catalogue alongside boundary-pushing artists from overseas including grouper, tim hecker, bee mask and japanese avant-pop singer tujiko noriko. what prompted you to start a label and how did you begin? the label very much came out of two interests. one to connect australia and the artists i had encountered here with international compatriots. at that time, in the late 1990s, australia still felt like a long way away. email was just taking grip and web interaction was limited at best. i wanted to stimulate things here and have a label that reached outward, linking like minded communities and to create some kind of discourse. so room40 from the outset wasn’t just about publishing editions, but also creating events, curating sound art programs and generally making things happen. the other reason i started the label, and to this day this remains a primary interest, was finding ears for work that i categorically believe in. at the time the label started i was hearing amazing work from australian artists and internationals that weren’t gathering the attention i left they deserved. room40 was my small way of address that problem. i’m pleased that 15 years on, our initial australian artists like john chantler and ben frost have gone on to do such great things. how does being located in australia impact on the way you operate, particularly with regards to distribution and production? actually we don’t distribute the releases here, beyond via the room40 emporium. i know that might seem odd, but beyond direct sales, it’s often easier for people to access it through overseas distributors and stores. we now manufacture almost everything off shore, in the 2000s, we did a lot of it domestically. but this country is incredibly overpriced and often lacking in reasonable quality in terms of product delivery and customer service. so now we essentially drop ship from the factory to distributors to try and cut down the costs of shipping, which are utterly ridiculous via australia post. there’s a reason that company is suffering such a massive downturn in profit. they are trying to run a 20th century model in the 21st century – it’s embarrassing. beyond that, there’s not too much impact. communication and connection are so much easier than they were before. how does being located in australia feed into the output of the label, does the location or environment impact on the music that is released? not so much. like i said we’ve always been outward looking, wanting to make connections and maintain them. that said in the early days, when it was cheap to live in brisbane, that lack of economic strain was hugely vital for developing the infrastructure for the label. i was afforded time to work at it without the pressure of having to take on extra work. that is entirely impossible now i think for a lot of younger labels, and artists, and it’s a crime. the capacity for us to realise the full impact of what is happening here, in all creative areas, is increasingly problematic thanks to cost of living and the like. i think we have a great deal of potential here which is lost to attrition. this is a crisis which means our cultural capacity is either hindered, locally or is lost to overseas as so many of our finest depart to make their way elsewhere. it’s a shame and something grossly misunderstood at a macro level. what are your plans for the future? this year we turn 15. we are celebrating with a series of events including open frame at carriageworks at the end of july. we also have an amazing array of new editions on the boil.
ruff records ruff records is operated by zac segbedzi, better known as one half of irresistibly funky melbourne house duo zanzibar chanel. the label was launched with the release of the duo’s super-limited outback jack tracks cd-r back in 2013, followed by an experimental, new age-influenced cassette from elevator alligators, a brilliant mix cd and a quickly sold-out 12″ from zanzibar chanel. ruff records’ most recent release was an ambient album from flat static, marking the label’s first crack at the long player format. what prompted you to start a label and how did you begin? not being able to get a record out! to be fair butter sessions approached us (zanzibar chanel) pretty early on to do a release, but at the time i thought they were wack because they threw this illegal party in a spot my friend was scoping. i used to have this stupid subcultural beef mentality; i would get pissed off if i thought people were biting shit. we are all friends now though, i did the artwork for bsr002. ruff started as a collaboration between myself and my pal freejack, but pretty quick we realised we had completely different curatorial ideas. he now runs a tape label called future archaic which is more techno/harsh noise oriented, putting out some really significant stuff from a lot of lesser-known melbourne artists. how does being located in australia impact on the way you operate, particularly with regards to distribution and production? ahh it’s difficult. i really like to handle all the production of artwork etc, and it is a headache. first time around i spent as much on postage as it cost to produce sleeves, that was a mistake. second time around i tried to move to europe haha. it’s a catch-22 that most of the records are distributed in europe. i love that the music is reaching appreciative ears and i couldn’t sell an entire pressing in australia as there just aren’t as many people interested in buying vinyl. but i don’t really like the idea that european collectors possess so much of our cultural/musical heritage. it’s important to me that some kid could walk into an australian store in 20 years and happen to stumble upon a ruff release. how does being located in australia feed into the output of the label, does the location or environment impact on the music that is released? i only release music made by me and my friends, so incidentally its all australian content. i would say thats more about facilitating my community and trying to create a platform for whats going on around me. being in australia only motivates me to define myself in opposition to it; the music i release is an emphatic statement of resistance to the dominant cultural paradigm. i think a lot of people mistake allusions i make to australiana as celebratory – they are not. on the notion that australia is culturally bankrupt? if by “culturally bankrupt” you mean predicated on colonial genocide, then i would agree. i don’t think it’s a clean slate and as an artist it’s important to question the modes in which previous generations have gone about negotiating our history and representing our culture. what are your plans for the future? to keep making art for as long as possible and hopefully at some point create something meaningful.
untzz twelve inch the untzz twelve inch family is comprised of adelaide artists babicka, hvck, mic mills, freddie norwood and dass. the untzz crew has flown the flag for australian analogue house music since they first emerged with a superb various artists 12″ at the beginning of 2013. since then, the label has provided a consistent stream of locally-sourced, machine-made house records that have become difficult to come by. make sure you check out their big doint sublabel too. what prompted you to start a label and how did you begin? i think at the time just before we started the label we had all been individually sending our tracks to labels and label guys who we had incorrectly thought would pick us up. without even realising i think we’d all been trying to fit into somebody else’s sound or direction and hadn’t fully realised what we had wanted to do for ourselves. once the idea to start our own label (or labels) had struck us i think we all found our feet and started to experiment with music that we would play in our city, instead of somebody else’s that we’d never even visited. we threw a couple of parties and saved the cash to press up 300 180g twelves in nice sleeves and then set about finding a distributor. in hindsight we’d taken a pretty big punt pressing up records before having a means to distribute, but fortunately we landed on the right side of that risk. how does being located in australia impact on the way you operate, particularly with regards to distribution and production? it makes things much more difficult for sure – our records are pressed and distributed from the uk. i know recently we’ve had to throw away a bunch of units because the distributors weren’t willing to warehouse them any longer. if we were located in europe or the uk we would have had the option to stock them in our houses and try and distribute the remainders ourselves, but as we’re all the way over here in australia the cost to ship them was worth more than the value of the records. how does being located in australia feed into the output of the label, does the location or environment impact on the music that is released? sure. i think the internet definitely has an influence as well because you can soak up so much music from everywhere so easily now, but that doesn’t mean that those track work in an adelaide environment. so i guess we’re influenced by music from all over the world, that happens to work well in adelaide. i think you could go the other direction and be really insular and just do your own thing here as it’s quite a small city, but that hasn’t worked for us. on the notion that australia is culturally bankrupt? to say that australia is culturally bankrupt is completely writing off the hard work that is being put in here, sure western ideas of culture haven’t been in place long here. but there is some amazing arts and music being produced in this country and this is barely the beginning. what are your plans for the future? put out more records and get adelaide a bit further into people’s minds. | ˈleɪdiz' ʧɔɪs: tɪ bi ə 'dɑl ɔn wilz' ˌɛnˈlɑrʤ ðɪs ˈɪmɪʤ ˈtɑgəl ˈkæpʃən mɑrk ˈɪmɪʤɪz mɑrk ˈɪmɪʤɪz bæk ɪn ðə 1960s*, ʤoʊn ˈwɛstən wɑz ˈvɛri ˈlaɪkli ðə ˈfiˌmeɪl ˈæθˌlit ɪn ðə wərld. əv kɔrs, ju ˈprɑbəˌbli ˈnɛvər hərd əv hər. ʃi wɑz ðə stɑr əv ðə ˈroʊlər ˈdərbi. ɪt ˈwəzənt hər ʧɔɪs. ɪts ʤɪst ðət ʃi wɑz ə ˈfæbjələs ˈnæʧərəl ˈæθˌlit, ənd ɪn ðoʊz deɪz, ðɛr wərənt ˈmɛni ˌɑpərˈtunətiz fər ˈwɪmən ɪn prəˈfɛʃənəl spɔrt. wən naɪt, ˈsəmˌwɛr aʊt ɔn ðə roʊd bɪˈkəz ðə ˈdərbi wɑz ˈɔlˌweɪz ˈsəmˌwɛr aʊt ɔn ðə roʊd ˈʤoʊˌni hɛld hər ˈlɪtəl dɔg ɪn hər læp, ənd ʃi saɪd, ənd ðɪs ɪz wət ʃi toʊld mi, ˈwɪstfəli: "ɔl aɪ wɔnt aʊt əv ðə ˈroʊlər ˈdərbi ɪz tɪ meɪk gʊd ˈməni, gɪt aʊt əv ɪt ɪn wən pis, ənd jɪrz frəm naʊ, wɪn aɪ seɪ aɪ wɑz ɪn ðə ˈroʊlər ˈdərbi, aɪ wɔnt ˈpipəl tɪ stɪl noʊ wət ɪt ɪz. aɪ wɔnt ðət." ˈʤoʊˌni daɪd bæk ɪn 1997 məʧ tu jəŋ, bət ʃid bi ˈhæpi tɪ noʊ ðət, ˌɪnˈkrɛdəbli, jɛs, ɪn 2010 ə lɔt əv ˈpipəl du noʊ wət ðə ˈroʊlər ˈdərbi ɪz. ðə spɔrt, wɪʧ wɑz drimd əp ɪn ðə ɛz ə dɪˈprɛʃən divertissement*, ˈrɛgjələrli həz bumz ənd bəsts, bət ɪt ʤɪst kænt bi kɪld. ɪn ðə pæst fju jɪrz, ɪts riˈsərfəst əˈgɛn, bət ðɪs taɪm, ɛz ən ˈæməˌʧər pɑrˈtɪsəpənt spɔrt ənd ˈɔlˌmoʊst ɪkˈsklusɪvli fər ˈwɪmən. ðə ˈnəmbər kips groʊɪŋ, bət ðɛr ər naʊ wɛl ˈoʊvər 500 ˈwɪmənz ligz ɪn 16 ˈkəntriz, frəm ɔl ˈoʊvər nɔrθ əˈmɛrɪkə, tɪ ˈjʊrəp, tɪ ɔˈstreɪljə, tɪ brəˈzɪl, tɪ ˈæbu ˈdɑbi. ðə ˈnɛtˌwərk dɪd ə ˌriˈæləˌti ʃoʊ ɔn ðə rɪˈvaɪvəl; dru ˈbɛriˌmɔr meɪd ə ˈmuvi əˈbaʊt ɪt. aɪ ˈivɪn sɔ ə mˈjuzɪkəl ˈkɑmədi ˈʃoʊˌkeɪs. naʊ ðə ˈæˌkʧuəli ˈstɑrtɪŋ tɪ drɔ kraʊdz ɪn ðə ˈθaʊzənz, wɪθ rɪˈspɛktəbəl ˈtɪkɪt ˈpraɪsɪz: soʊ ˈmɛni ˈwɪmən ər ˈmaɪˌgreɪtɪŋ tɪ ðə ˈmeɪˌhɛm ðət tu ˈskeɪtərz, ˈʤɛnəfər ˈbɑrˈbi ənd ˈæləks koʊən, hæv ˈrɪtən ən "ˌɪnˈsaɪdərz gaɪd" fər əˈspaɪrɪŋ ˈskeɪtərz ər "dɑlz," ɛz ðeɪ prɪˈfər tɪ bi kɔld. ðə məˈʤɔrəti əv ˈskeɪtərz ər college-educated*, ənd ˈmɛni ər prəˈfɛʃənəlz. ˈæləks koʊən, fər ɪgˈzæmpəl, ʤɪst ˈhæpənz tɪ bi ðə ˈloʊkəl hoʊst əv ɔl θɪŋz kənˈsɪdərd ɪn ˌpæsəˈdinər, ˈkælɪf. ʃiz ˈskeɪtɪd ˈəndər ðə nɑm də ˈnɑkˌdaʊn əv əv ˈivəl." ju hæv tɪ ˈrɛʤɪstər jʊr ˈskeɪtɪŋ neɪm. ˈsɑri, ju ˈwɑnəˌbi dɑlz, ðiz ər ˈɔlsoʊ ɔˈrɛdi ˈteɪkən: ˈmɑrgərɪt θˈræʃər, demolicious*, ˈbeɪbi ˈruθləs, ˈsɪbɪl ˌdɪsəˈbidiəns, iv ɛl. ˈstɛpˌməðər, ˈʤɔrʤə ənd ˈʤɪnʤər smæk. fər ðə ˈskeɪtərz, ðə əˈpil simz tɪ bi ðət ðeɪ kən bi boʊθ ˈsɛksi ənd strɔŋ ənd ðɛmˈsɛlvz. maɪ oʊld frɛnd ˈʤoʊˌni ˈwɛstən wʊd bi θrɪld, nɑt ˈoʊnli ðət ðə ˈdərbi ɪz θˈraɪvɪŋ əˈgɛn bət æt læst ɪts ˈdaʊnˌraɪt rɪˈspɛktəbəl tɪ bi ə dɑl ɔn wilz. |
ladies' choice: to be a 'doll on wheels'
enlarge this image toggle caption mark ralston/afp/getty images mark ralston/afp/getty images
back in the 1960s, joan weston was very likely the highest-paid female athlete in the world. of course, you probably never heard of her. she was the star of the roller derby.
it wasn't her choice. it's just that she was a fabulous natural athlete, and in those days, there weren't many opportunities for women in professional sport.
one night, somewhere out on the road -- because the derby was always somewhere out on the road -- joanie held her little dog in her lap, and she sighed, and this is what she told me, wistfully: "all i want out of the roller derby is to make good money, get out of it in one piece, and years from now, when i say i was in the roller derby, i want people to still know what it is. i want that."
joanie died back in 1997, much too young, but she'd be happy to know that, incredibly, yes, in 2010, a lot of people do know what the roller derby is. the sport, which was dreamed up in the '30s as a depression divertissement, regularly has booms and busts, but it just can't be killed.
in the past few years, it's resurfaced again, but this time, as an amateur participant sport –– and almost exclusively for women.
the number keeps growing, but there are now well over 500 women's leagues in 16 countries, from all over north america, to europe, to australia, to brazil, to abu dhabi. the a&e network did a reality show on the revival; drew barrymore made a movie about it. i even saw a musical comedy showcase.
now the derby's actually starting to draw crowds in the thousands, with respectable ticket prices: $15-$20. so many women are migrating to the mayhem that two skaters, jennifer barbee and alex cohen, have written an "insider's guide" for aspiring skaters ... or "dolls," as they prefer to be called.
the majority of skaters are college-educated, and many are professionals. alex cohen, for example, just happens to be the local host of all things considered in pasadena, calif. she's skated under the nom du knockdown of "axels of evil."
you have to register your skating name. sorry, you wannabe dolls, these are also already taken: margaret thrasher, demolicious, baby ruthless, sybil disobedience, eve l. stepmother, georgia o'grief and ginger smack.
for the skaters, the appeal seems to be that they can be both sexy and strong ... and themselves. my old friend joanie weston would be thrilled, not only that the derby is thriving again -- but at last it's downright respectable to be a doll on wheels. | ðə ˈrənɪŋ mæn ˈʧælənʤ, ə ˈvaɪrəl dæns kreɪz ɪn wɪʧ ˈpipəl du ən ɑgˈmɛntəd ˈrənɪŋ mæn dæns tɪ goʊst taʊn 1996 hɪt maɪ bu, həz ˈteɪkən əˈnəðər stɛp təˈwɔrdz ˌɪmɔrˈtælɪti. ɪn ðə ˈleɪtəst, ðə ˈzeɪvjər ˌjunəˈvərsəti pəˈlis əˈpɪr tɪ ərˈɛst ə jəŋ mæn, ˈoʊnli tɪ əˈlaʊ ɪm tɪ breɪk fri tɪ du ðə ˈrənɪŋ mæn. ðə ˈzeɪvjər ˌjunəˈvərsəti ˈprɛzɪdənt ˈmaɪkəl ʤeɪ. græm ðɛn ʃoʊz əp tɪ lɛt əˈnəðər jəŋ mæn aʊt əv ðə bæk əv ðə pəˈlis kɑr, ənd ˈɛvriˌwən ˈdænsɪz. ðə bɛst weɪ tɪ gɪt aʊt əv biɪŋ ərˈɛstɪd (@runman*_) ˈeɪprəl 21 2016 wi ər ˈlɪvɪŋ ɪn ə ˈmæʤɪkəl wərld. ə ˈmæʤɪkəl wərld ðət həz ˈfəni dæns tɪ sɔŋz ðət aɪ ˈrɪli, ˈrɪli ləvd ɪn 1996 ənd kənˈtɪnju tɪ ləv tɪ ðɪs deɪ. maɪ bu fərˈɛvər, ðɪs dæns kreɪz fərˈɛvər, ðə ˈrənɪŋ mæn ˈʧælənʤ fərˈɛvər. |
the running man challenge, a viral dance craze in which people do an augmented running man dance to ghost town dj’s 1996 hit my boo, has taken another step towards immortality.
in the latest, the xavier university police appear to arrest a young man, only to allow him to break free to do the running man. the xavier university president (!) michael j. graham then shows up to let another young man out of the back of the police car, and everyone dances.
the best way to get out of being arrested 💀💀😂😂 pic.twitter.com/j5ertza5ey — #runningmanchallenge (@runman_) april 21, 2016
we are living in a magical world. a magical world that has funny dance crazes to songs that i really, really loved in 1996 and continue to love to this day. my boo forever, this dance craze forever, the running man challenge forever. | kəˈləmbəs kru ˈwɪŋər ˈiθən ˈfɪnli həz bɪn ˈvoʊtɪd ˈmeɪʤər lig ˈsɑkər pleɪər əv ðə wik baɪ ðə nɔrθ əˈmɛrɪkən ˈsɑkər rɪˈpɔrtərz (ˈnɑsər) fər wik 8 əv ðə 2015 ˈsizən. ˈfɪnli broʊk aʊt ɪn ə bɪg weɪ fər kru ɔn ˈsæˌtɪˌdeɪ, hɪz fərst kərɪr breɪs ənd ˈtæliɪŋ ən əˈsɪst tɪ paʊər kəˈləmbəs tɪ ðɛr ˈdɑməˌneɪtɪŋ hoʊm wɪn ˈoʊvər ðə ˌfɪləˈdɛlfiə ˈjunjən. columbus’*’ ˈlidɪŋ ˈskɔrər ɪn 2014 ˈfɪnli tərnd prəˈvaɪdər fər columbus’*’ fərst goʊl ɔn ˈsæˌtɪˌdeɪ, ˈpɪŋɪŋ ə krɔs ɪn frəm ðə raɪt ðət kəˈlɛktəd ɔn ðə bæk poʊst ənd slæmd hoʊm ɪn ðə ˈmɪnət. ðə proʊ ˈoʊpənd hɪz 2015 əˈkaʊnt ɪn ðə ˈmɪnət, ˈrənɪŋ ˈɔntu ə ˈweɪˌlɑn ˈfrænsɪs krɔs ɪn ðə ˈsɛnər əv ðə bɑks ənd ˌridərˈɛktɪŋ ɪt ˌɪnˈsaɪd ðə lɛft poʊst tɪ gɪv kru ə lɛd. ˈfɪnli sild ðə wɪn fər kəˈləmbəs ɪn ðə 73rd*, ˈreɪsɪŋ ˈɔntu θru bɔl ɪn ðə raɪt saɪd əv ðə bɑks ənd sˈlɑtɪŋ ə loʊ ʃɑt ˌɪnˈsaɪd ðə fɑr poʊst tɪ gɪv kru ðɛr ædˈvæntɪʤ. ˈfɪnli ənd kəˈləmbəs wɪl rɪˈtərn tɪ ˈækʃən ðɪs ˈsæˌtɪˌdeɪ ɛz ðeɪ ˈtrævəl tɪ ˈsteɪdiəm tɪ teɪk ɔn d.c*. juˈnaɪtɪd 7 piɛm ɛt, lɪv). ðə pleɪər əv ðə wik ɪz səˈlɛktɪd iʧ wik əv ðə ˈrɛgjələr ˈsizən baɪ ə ˈpænəl əv ˈʤərnəlɪsts frəm ˈnɑsər. ðə grup kənˈsɪsts əv ˈmɛmbərz əv prɪnt, ˈtɛləˌvɪʒən, ˈreɪdiˌoʊ ənd ˈɔnˌlaɪn ˈmidiə. |
columbus crew sc winger ethan finlay has been voted major league soccer player of the week by the north american soccer reporters (nasr) for week 8 of the 2015 mls season.
finlay broke out in a big way for crew sc on saturday, notching his first career brace and tallying an assist to power columbus to their dominating 4-1 home win over the philadelphia union.
columbus’ leading scorer in 2014, finlay turned provider for columbus’ first goal on saturday, pinging a cross in from the right that kei kamara collected on the back post and slammed home in the 21st minute.
the fourth-year pro opened his 2015 account in the 32nd minute, running onto a waylon francis cross in the center of the box and redirecting it inside the left post to give crew sc a 2-0 lead. finlay sealed the win for columbus in the 73rd, racing onto kamara's through ball in the right side of the box and slotting a low shot inside the far post to give crew sc their 4-1 advantage.
finlay and columbus will return to action this saturday as they travel to rfk stadium to take on d.c. united (7 pm et, mls live).
the mls player of the week is selected each week of the regular season by a panel of journalists from nasr. the group consists of members of print, television, radio and online media. | ðə ˈsɪŋər həz riˈlist ə ˈskeɪðɪŋ ˈsteɪtmənt ˈfɑloʊɪŋ ðə dɛθ ˈjɛstərˌdeɪ əv ðə aɪərn ˈleɪdi... ˈnɛvər wən fər ʃaɪ ənd rɪˈtaɪrɪŋ ˈsɛnəmənts, ˈmɔrɪsi həz riˈlist ə ˈsteɪtmənt ˈfɑloʊɪŋ ðə dɛθ ˈjɛstərˌdeɪ əv ˈfɔrmər kənˈsərvətɪv praɪm ˈmɪnɪstər, ˈmɑrgərɪt ˈθæʧər. "ˈθæʧər ɪz rɪˈmɛmbərd ɛz ðə aɪərn ˈleɪdi ˈoʊnli bɪˈkəz ʃi pəˈzɛst kəmˈplitli ˈnɛgətɪv treɪts səʧ ɛz pərˈsɪstənt ˈstəbərnəs ənd ə dɪˈtərmənd rɪfˈjuzəl tɪ ˈlɪsən tɪ ˈəðərz," ðə ˈfɔrmər smɪθs mæn toʊld ðə ˈdeɪli bist. "ˈɛvəri muv ʃi meɪd wɑz ʧɑrʤd baɪ ˌnɛgəˈtɪvəti. ʃi dɪˈstrɔɪd ðə ˈbrɪtɪʃ ˌmænjəˈfækʧərɪŋ ˈɪndəstri, ʃi ˈheɪtɪd ðə ˈmaɪnərz, ʃi ˈheɪtɪd ðə ɑrts, ʃi ˈheɪtɪd ðə ˈaɪrɪʃ ˈfridəm ˈfaɪtərz ənd əˈlaʊd ðɛm tɪ daɪ, ʃi ˈheɪtɪd ðə ˈɪŋlɪʃ pur ənd dɪd ˈnəθɪŋ æt ɔl tɪ hɛlp ðɛm, ʃi ˈheɪtɪd ˈgrinˌpis ənd ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃənɪsts, ʃi wɑz ðə ˈoʊnli ˌjʊrəˈpiən pəˈlɪtɪkəl ˈlidər hu əˈpoʊzd ə bæn ɔn ðə ˈaɪvəri treɪd, ʃi hæd noʊ wɪt ənd noʊ wɔrmθ ənd ˈivɪn hər oʊn ˈkæbənət ˈbutɪd hər aʊt. ʃi geɪv ðə ˈɔrdər tɪ bloʊ əp ðə ˈivɪn ðoʊ ɪt wɑz ˈaʊtˈsaɪd əv ðə mɔlˈvinəs ɪkˈskluʒən wɑz ˈseɪlɪŋ əˈweɪ frəm ðə ˈaɪləndz! wɪn ðə jəŋ bɔɪz əˈbɔrd ðə hæd ˈsəfərd ə moʊst əˈpɔlɪŋ ənd ənˈʤəst dɛθ, ˈθæʧər geɪv ðə saɪn fər ðə ˈbrɪtɪʃ prɛs. aɪərn? noʊ. bɑrˈbɛrɪk? jɛs. ʃi ˈheɪtɪd ˈfɛmənɪsts ˈivɪn ðoʊ ɪt wɑz ˈlɑrʤli du tɪ ðə prəˈgrɛʃən əv ðə ˈwɪmənz ˈmuvmənt ðət ðə ˈbrɪtɪʃ ˈpipəl əˈlaʊd ðɛmˈsɛlvz tɪ əkˈsɛpt ðət ə praɪm ˈmɪnɪstər kʊd ˈæˌkʧuəli bi ˈfiˌmeɪl. bət bɪˈkəz əv ˈθæʧər, ðɛr wɪl ˈnɛvər əˈgɛn bi əˈnəðər ˈwʊmən ɪn paʊər ɪn ˈbrɪtɪʃ ˈpɑləˌtɪks, ənd ˈrəðər ðən ˈoʊpənɪŋ ðət ˌpɑˈtɪkjələr dɔr fər ˈəðər ˈwɪmən, ʃi kloʊzd ɪt. ˌædvərˈtaɪzmənt ˈθæʧər wɪl ˈoʊnli bi ˈfɑndli rɪˈmɛmbərd baɪ hu dɪd nɑt ˈsəfər ˈəndər hər ˈlidərˌʃɪp, bət ðə məˈʤɔrəti əv ˈbrɪtɪʃ ˈwərkɪŋ ˈpipəl hæv fərˈgɑtən hər ɔˈrɛdi, ənd ðə ˈpipəl əv ˌɑrʤənˈtinə wɪl bi ˈsɛləˌbreɪtɪŋ hər dɛθ. ɛz ə ˈmætər əv rɪˈkɔrdɪd fækt, ˈθæʧər wɑz ə ˈtɛrər wɪˈθaʊt ən ˈætəm əv juˈmænɪti." nɑt wən tɪ sɪt ɔn ðə fɛns! wɪr riˈmaɪndɪd əv ə pis ˈmɔrɪsi roʊt fər ˈjuˈɛs ɛz kwin ɪˈlɪzəbɪθ ˈvɪzɪtɪd ˈaɪərlənd ɪn 2011 rɛd wət hi hæd tɪ seɪ əˈbaʊt ðə ˈmɑnɑrki, hir. plænz ər ˈkərəntli biɪŋ meɪd fər ˈmɑrgərɪt ˈθæʧərz fˈjunərəl, wɪʧ wɪl hæv fʊl ˈmɪlɪˌtɛri honours*. ðə daɪd ˈjɛstərˌdeɪ ˈmɔrnɪŋ (ˈmənˌdeɪ, ˈeɪprəl 8 ˈfɑloʊɪŋ ə stroʊk. |
the singer has released a scathing statement following the death yesterday of the iron lady...
never one for shy and retiring sentiments, morrissey has released a statement following the death yesterday of former conservative prime minister, margaret thatcher.
"thatcher is remembered as the iron lady only because she possessed completely negative traits such as persistent stubbornness and a determined refusal to listen to others," the former smiths man told the daily beast.
"every move she made was charged by negativity. she destroyed the british manufacturing industry, she hated the miners, she hated the arts, she hated the irish freedom fighters and allowed them to die, she hated the english poor and did nothing at all to help them, she hated greenpeace and environmental protectionists, she was the only european political leader who opposed a ban on the ivory trade, she had no wit and no warmth and even her own cabinet booted her out. she gave the order to blow up the belgrano even though it was outside of the malvinas exclusion zone—and was sailing away from the islands! when the young argentinean boys aboard the belgrano had suffered a most appalling and unjust death, thatcher gave the thumbs-up sign for the british press.
iron? no. barbaric? yes. she hated feminists even though it was largely due to the progression of the women's movement that the british people allowed themselves to accept that a prime minister could actually be female. but because of thatcher, there will never again be another woman in power in british politics, and rather than opening that particular door for other women, she closed it.
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thatcher will only be fondly remembered by sentimentalists who did not suffer under her leadership, but the majority of british working people have forgotten her already, and the people of argentina will be celebrating her death. as a matter of recorded fact, thatcher was a terror without an atom of humanity."
not one to sit on the fence! we're reminded of a piece morrissey wrote for us as queen elizabeth visited ireland in 2011. read what he had to say about the monarchy, here.
plans are currently being made for margaret thatcher's funeral, which will have full military honours. the 87-year-old died yesterday morning (monday, april 8) following a stroke. | din ˈzulɪgər, ðə ˈsɪti ədˈmɪnɪˌstreɪtər ɪn leɪk ˈɛlmoʊ, wɪl liv ðət pəˈzɪʃən ɪn ə mənθ ˈəndər ðə tərmz əv ən əˈgrimənt əˈpruvd baɪ ðə ˈsɪti ˈkaʊnsəl leɪt ˈtuzˌdeɪ. ðə muv ˈfɑloʊz mənθs əv ˈtərˌmɔɪl ˈtrɪgərd baɪ ðə ɪˈlɛkʃən ɪn noʊˈvɛmbər əv ə nu ˈkaʊnsəl məˈʤɔrəti əˈpoʊzd tɪ dɪˈvɛləpmənt muvz hi hæd ˈoʊvərˌsin. aɪ hæv ə fəˈlɑsəfi əv ˈgəvərnmənt ðət maɪt nɑt bi ɪn tun wɪθ ðə fəˈlɑsəfi əv ðə ˈkɑrənt council,”*,” ˈzulɪgər sɛd. hi səˈʤɛstɪd tɪ ə ˈdɪfərənt deɪ ɪn leɪk elmo.”*.” ðə əˈgrimənt, juˈnænəməsli əˈpruvd, simd ˈkræftɪd tɪ əˈvɔɪd biɪŋ kæst ɛz ˈiðər ən ˈaʊˈtraɪt ˌrɛzɪgˈneɪʃən ər ə ˈfaɪərrɪŋ, fər ˈrizənz rɪˈleɪtɪd tɪ ðə tərmz əv hɪz ˈkɑnˌtrækt. ˈzulɪgər wɪl steɪ ɪn ðə ʤɑb fər 30 deɪz, ðɛn gɪt sɪks months’*’ ˈsɛˌvərəns peɪ, kənˈsəltɪŋ wɪθ ðə ˈsɪti ɔn ˈsərtən ˈmætərz fər ðə fərst tu mənθs. ə muv læst ˈwɪntər tɪ splɪt frəm ðə ˈsɪti ədˈmɪnɪˌstreɪtər ˌɪgˈnaɪtɪd ə fˈjʊriəs kəmˈjunɪti riˈækʃən, wɪʧ lɛd ðə nu ˈkaʊnsəl məˈʤɔrəti tɪ bæk ɔf fər ə taɪm. ˈmoʊtərɪsts ˈɛnərɪŋ leɪk ˈɛlmoʊ wər ˈgritɪd wɪθ saɪnz əv səˈpɔrt fər ˈsɪti ədˈmɪnɪˌstreɪtər din ˈzulɪgər ɪn mɑrʧ 2015 ˈəndər strɪkt ˈligəl ˈkɔʃənz, ˈlɪtəl wɑz sɛd ˈtuzˌdeɪ naɪt əˈbaʊt ðə ˈrizənz fər ðə ˌsɛpərˈeɪʃən. ˈnuli ɪˈlɛktɪd ˈkaʊnsəl ˈmɛmbər ˈʤuli sɛd ə bɪt əv ə lɔs hir, kənˈsɪdərɪŋ ðət wi ɔl noʊ ðə ˈsɪti ədˈmɪnɪˌstreɪtər həz bɪn ˈæktɪvli pərˈsuɪŋ ˈəðər ʤɑbz sɪns læst jɪr, lɔŋ ˌbiˈfɔr læst ɪˈlɛkʃən. hi wɑz ɔˈrɛdi əv ə ðət hi ˈwɔntɪd tɪ leave.”*.” ˈdʊrɪŋ ə ˈrisɛs, ˈzulɪgər sɛd ɪn ən ˈɪntərvˌju ðət hi wɑz əˈproʊʧt baɪ ˈpipəl ɪn ə pɛr əv ˈsɪtiz, ˌɪnˈkludɪŋ ˈneɪbərɪŋ ˈoʊkˌdeɪl, wɛr hi lɪvz, ənd wɑz ˈwɪlɪŋ tɪ ˈlɪsən, bət wɑz nɑt ˈlʊkɪŋ tɪ dɪˈpɑrt. |
dean zuleger, the city administrator in lake elmo, will leave that position in a month under the terms of an agreement approved by the city council late tuesday.
the move follows months of turmoil triggered by the election in november of a new council majority opposed to development moves he had overseen.
“clearly i have a philosophy of government that might not be in tune with the philosophy of the current council,” zuleger said. he suggested “moving to a different day in lake elmo.”
the agreement, unanimously approved, seemed crafted to avoid being cast as either an outright resignation or a firing, for reasons related to the terms of his contract.
zuleger will stay in the job for 30 days, then get six months’ severance pay, consulting with the city on certain matters for the first two months.
a move last winter to split from the city administrator ignited a furious community reaction, which led the new council majority to back off for a time.
motorists entering lake elmo were greeted with signs of support for city administrator dean zuleger in march 2015.
under strict legal cautions, little was said tuesday night about the reasons for the separation.
newly elected council member julie fliflet said she’s “at a bit of a loss here, considering that we all know the city administrator has been actively pursuing other jobs since last year, long before last fall’s election. he was already of a mind-set that he wanted to leave.”
during a recess, zuleger said in an interview that he was approached by people in a pair of cities, including neighboring oakdale, where he lives, and was willing to listen, but was not looking to depart. | ˈæpəl ɪz rɪˈpɔrtɪŋ ɪts ˈərnɪŋz ˈæftər ðə bɛl ðɪs ˌæftərˈnun. ðɪs wɪl bi ðə fərst kˈwɔrtər wɛr ðə nu ˈaɪˌfoʊnz hæv bɪn ɔn seɪl ðoʊ ˈoʊnli fər ə fju wiks ər soʊ. ˌnɛvərðəˈlɛs, ˈərnɪŋz rɪˈpɔrts ər ˈɔlˌweɪz juʤ nuz fər ðə stɑk, wɪʧ həz ˈbeɪsɪkli gɔn bæk tɪ wɛr ɪt ˈstɑrtɪd æt ðə bɪˈgɪnɪŋ əv ðə jɪr ɪn ˈrisənt wiks. bət stɪl, ðə ˈkəmpəˌni həz ˈəðər ˈprɑdəkts ðən ðə ˈaɪˌfoʊn ðət ɪt kən tɔk əˈbaʊt ˌpɑrˈtɪkjələrli ðə ˈæpəl wɔʧ. ðə ˈərnɪŋz rɪˈpɔrt ʃʊd kəm aʊt æt əraʊnd piɛm pəˈsɪfɪk, ənd ˈæləks ˈwɪˌlhɛlm ənd ˈmæθju wɪl bi daɪˈsɛktɪŋ ðə rɪˈpɔrt ənd ˈbrɪŋɪŋ ɪt ˌɪnˌfɔrˈmeɪʃən ɛz ɪt kəmz ɪn. ɪŋk. (aapl*) stɑk praɪs ˈkɑrənt day”*” link=”http://listings.findthecompany.com/l/8500602/apple-inc-in-cupertino-ca”*” ɪŋk. (aapl*) stɑk praɪs ˈkɑrənt deɪ findthecompany”*”] |
apple is reporting its third-quarter earnings after the bell this afternoon. this will be the first quarter where the company’s new iphones have been on sale though only for a few weeks or so. nevertheless, apple’s earnings reports are always huge news for the company’s stock, which has basically gone back to where it started at the beginning of the year in recent weeks.
but still, the company has other products than the iphone that it can talk about particularly the apple watch. the earnings report should come out at around 1:30 pm pacific, and techcrunch’s alex wilhelm and matthew lynley will be dissecting the report and bringing it up-to-the-second information as it comes in.
[graphiq id=”1szw2to4pw1″ title=”apple inc. (aapl) stock price – current day” width=”600″ height=”519″ url=”https://w.graphiq.com/w/1szw2to4pw1″ link=”http://listings.findthecompany.com/l/8500602/apple-inc-in-cupertino-ca” link_text=”apple inc. (aapl) stock price – current day | findthecompany”] | ˈsɪtiz ɪgˈzɪst tɪ brɪŋ ˈpipəl təˈgɛðər, bət ˈsɪtiz kən ˈɔlsoʊ kip ˈpipəl apart”*” ˈdænjəl, ˈərbən ˈplænər, ˈpɑrtnərz. ˈsɪtiz ər greɪt. ðeɪ hæv ˈmuvmənt, ækˈtɪvɪti ənd dɪˈvərsɪti. bət goʊ tɪ ˈɛni ˈsɪti ənd ˈprɪti klɪr, ə pleɪs kən bi dɪˈvərs wɪˈθaʊt ˈrɪli biɪŋ ˈɪnəˌgreɪtɪd. ðɪs ˌsɛgrəˈgeɪʃən ˌæksəˈdɛnəl. ðɛr ər dɪˈzaɪn ˈɛləmənts ɪn ðə ˈərbən ˈlænˌskeɪp, ðət ˈdænjəl kɔlz ““weapons,”*,” ðət ər juzd baɪ ““architects*, ˈplænərz, policy-makers*, dɪˈvɛləpərz, ril ɛˈsteɪt ˈbroʊkərz, kəmˈjunɪti ˈæktɪvɪsts, ˈneɪbərˌhʊd əˌsoʊʃiˈeɪʃənz, ənd ˌɪndəˈvɪʤəwəlz tɪ weɪʤ ðə ˈɔnˌgoʊɪŋ wɔr bɪtˈwin ˌɪnəˈgreɪʃən ənd segregation.”*.” ˈdænjəl ɪz ən ˈərbən ˈplænər wɪθ ˈpɑrtnərz, ən ˈɑrkəˌtɛkʧər ənd dɪˈzaɪn fərm beɪst ɪn nu jɔrk ˈsɪti. ˈoʊvər ðə pæst fju jɪrz,, əˈlɔŋ wɪθ ˈkɑligz təˈbaɪəs ənd ˈθiəˌdɔr hæv bɪn ˈkætəlɔgɪŋ ɔl ðə stəf ˌɪnˈsaɪd əv ə ˈsɪti ðət ˈplænərz juz tɪ ˌɪnˈkris ər riˈstrɪkt ˈækˌsɛs tɪ speɪs. ˈpəblɪʃɪŋ ðɛr ˈfaɪndɪŋz ɪn ə bʊk kɔld ðə ˈɑrsənəl əv ˌɪnˈkluʒən ənd ɪkˈskluʒən: 101 θɪŋz ðət ˈoʊpən ənd kloʊz ðə ˈsɪti (fɔl 2012 tʊk ɑr oʊn sæm ˈgrinˌspæn ənd skɑt ˈgoʊldbərg ɔn ə tʊr əv ˈbɔltəˌmɔr tɪ ˈdɛmənˌstreɪt ðə ˈsətəl weɪz ˈdɪfərənt ˈneɪbərˌhʊdz ər kɛpt əˈpɑrt. ˈpɑrtnərz dɪˈskraɪbd mɔr ˈwɛpənz ɪn ðə ˈɑrsənəl əv ɪkˈskluʒən ˌɪnˈkluʒən ɪn ə greɪt ˈɛskˌwaɪr ˈɑrtɪkəl. |
cities exist to bring people together, but cities can also keep people apart” — daniel d’oca, urban planner, interboro partners.
cities are great. they have movement, activity and diversity. but go to any city and pretty clear, a place can be diverse without really being integrated. this segregation isn’t accidental. there are design elements in the urban landscape, that daniel d’oca calls “weapons,” that are used by “architects, planners, policy-makers, developers, real estate brokers, community activists, neighborhood associations, and individuals to wage the ongoing war between integration and segregation.”
daniel d’oca is an urban planner with interboro partners, an architecture and design firm based in new york city. over the past few years, d’oca, along with colleagues tobias armborst and georgeen theodore have been cataloging all the stuff inside of a city that planners use to increase or restrict people’s access to space. they’re publishing their findings in a book called the arsenal of inclusion and exclusion: 101 things that open and close the city (fall 2012).
d’oca took our own sam greenspan and scott goldberg on a tour of baltimore to demonstrate the subtle ways different neighborhoods are kept apart.
interboro partners described more weapons in the arsenal of exclusion & inclusion in a great esquire article. | ʤɑn ˈtɛri həz ədˈmɪtəd hi wɑz rɪˈdust tɪ tɪrz baɪ ðə ˈweɪstfəl ɛnd tɪ prɛˈmɪr lig ˈtaɪtəl ˈʧælənʤ læst ˈsizən, bət ɪz ˈkɑnfədənt ðə əˈdɪʃənz tɪ ðə spaɪn əv josé*é tim hæv ˈstrɛŋθənd ðɛr ˈʧælənʤ ðɪs taɪm əraʊnd. ðɛr wɑz ə ˈpɪriəd təˈwɔrdz ðə ɛnd əv ðə læst kæmˈpeɪn wɪn ðə ˈləndən kləb hæd ðɛr ˈdɛstəni ɪn ðɛr oʊn hænz, ˈoʊnli tɪ drɔp pɔɪnts æt ˈæstən ˈvɪlə, ˈkrɪstəl ˈpæləs ənd, moʊst əv ɔl, æt hoʊm tɪ ˈsəndərlənd ənd ˈnɔrwɪʧ ˈsɪti. ðət lɛft ðɛm ˈtreɪlɪŋ ɪn θərd bɪˈhaɪnd ˈmænˌʧɛstər ˈsɪti ənd ˈlɪvərˌpul, ðoʊ ðə ərˈaɪvəl əv diˈeɪgoʊ ˈkɔstɑ ənd fàbregas*, ənd ðə kənˈtɪnjud dɪˈvɛləpmənt əv ˈmætɪk, hæv ˈhɔɪstɪd ðɛr æmˈbɪʃənz. wɑz ɪn tɪrz ˈoʊvər ðə prɛˈmɪr lig læst jɪr, ˈoʊvər θroʊɪŋ ðət əˈweɪ ənd nɑt ˈwɪnɪŋ it,”*,” sɛd ˈtɛri. wət aɪ pleɪ fər wik ɪn, wik aʊt. ˈnɛvər skɛrd tɪ ʃoʊ maɪ ˈɪˌmoʊʃənz. aɪ ʤɪst wɔnt tɪ wɪn ˈtroʊfiz, wət bɔrn tɪ du, ɪn mi frəm wɪn aɪ wɑz ə kɪd. aɪ ʤɪst wɔnt tɪ wɪn geɪmz, ˈwɛðər ɪn ðə prɛˈmɪr lig ər ðə ˈʧæmpiənz lig. θri ˈsaɪnɪŋz ər kˈwɑləti, ɔl ˌənbəˈlivəbəl pleɪərz bət bɪg ˈkɛrɪktərz ɛz wɛl, ɔn ənd ɔf ðə pɪʧ. wət aɪ kɔl ril mɛn, ənd pleɪərz wɪθ greɪt ɪkˈspɪriəns ɛz wɛl. ˈmætɪk hæd tɪ kəm tɪ ˈpɔrʧəgəl [wɪθ benfica*] ənd geɪn ɪkˈspɪriəns, bət keɪm bæk tɪ ˈʧɛlsi ə kəmˈplitli ˈdɪfərənt pleɪər ənd ə mæn naʊ. hi wɑz sʊˈpərb əˈgɛn əˈgɛnst ˈspɔrtɪŋ. həz bɪn ɪn ˈɪŋglənd ˌbiˈfɔr soʊ hi nu wət tɪ ɪkˈspɛkt, ənd ju ɪkˈspɛkt ɪm tɪ hɪt ðə graʊnd ˈrənɪŋ, wɪʧ dən. diˈeɪgoʊ wi noʊ. sin ɪt ˌbiˈfɔr: səm ˈstraɪkərz teɪk mənθs ənd mənθs. bət hɪt ðə graʊnd ˈrənɪŋ. eɪt goʊlz ɔˈrɛdi ɪz sʊˈpərb ənd greɪt fər ˈjuˈɛs. ə gʊd ˈkɛrɪktər, ə greɪt ˈkɛrɪktər. wɪˈθaʊt ˈspikɪŋ ə wərd əv ˈɪŋlɪʃ hi gɪts baɪ ənd gɪts ɔn greɪt wɪθ ˈɛvriˌwən. hi pʊts hɪmˈsɛlf əˈbaʊt bət gɪts əp ənd ˈbætəlz ɔn, ənd pleɪz wɪθ ˈlɪtəl niggles*. wət ju wɔnt. waɪ kəm tɪ ðə prɛˈmɪr lig: tɪ wɪn. hi meɪd ðət klɪr tɪ ˈɛvriˌwən ɪn ˌpriˈsizən. kəm hir tɪ wɪn ˈtroʊfiz. wət hi wɔnts tɪ do.”*.” ˈtɛri reɪzd ə ˈsɛnʧəri əv əˈpɪrənsəz ɪn ðə ˈʧæmpiənz lig ˈprɑpər hi ɪz ðə sɪksθ ˈɪŋglɪʃmən tɪ əˈʧiv ðət ˈlændˌmɑrk ɪn ˈvɪktəri æt ˈspɔrtɪŋ ˈlɪzbən ˈhævɪŋ meɪd hɪz ˈdeɪbju ɪn ðə ˌkɑmpəˈtɪʃən 11 jɪrz əˈgoʊ ɪn ə hoʊm dɪˈfit tɪ besiktas*. ðə ˌjʊrəˈpiən kəp həz bɪn kruəl tɪ ɪm æt taɪmz ɪn ðə ˈsizənz sɪns, moʊst ˈnoʊtəbli wɪθ hɪz mɪs ɪn ðə ˈpɛnəlti ˈʃutaʊt ɪn ðə ˈfaɪnəl ɪn 2008 wɪθ ðə ˈtroʊfi wɪˈθɪn riʧ, ənd ðə rɛd kɑrd hi əˈkrud fər ˈkɪkɪŋ əˈlɛksɪs sánchez*, ðɛn wɪθ ˌbɑrsɪˈloʊnə, ɪn ðə fɔr jɪrz ˈleɪtər. hi wɪl kənˈfrənt ðə ˈʧɪliən əˈgɛn æt ˈstæmfərd brɪʤ ɔn ˈsənˌdi wɪn ˈɑrsənəl meɪk ðə trɪp əˈkrɔs ðə ˈkæpɪtəl ˈsikɪŋ tɪ əˈvɛnʤ læst dɪˈfit ɪn ðə seɪm ˈfɪksʧər. ðə ˈʧɛlsi ˈkæptən, hu saɪnd ə nu ˈwənˌjɪr ˈkɑnˌtrækt ɪn ðə ˈsəmər, stɪl əˈspaɪərz tɪ ˈkleɪmɪŋ ðə ˈʧæmpiənz lig wɪθ ðə kləb. hæv bɪn ˈmɛni [ˈhaɪˌlaɪts] ˈoʊvər ðə jɪrz bət, wɪn wi bit ənd mˈjunɪk ɪn ðə ˈərli deɪz, ðə fərst teɪst əv it…”*…” sɛd ðə centre-half*. fər mi ðə moʊst ˌɪmˈpɔrtənt θɪŋ ɪz nɑt ʤɪst ðə 100 əˈpɪrənsəz bət tɪ straɪv tɪ goʊ ɔn ənd wɪn ɪt əˈgɛn fər ðə kləb. ɔn ə ˈpərsɪnəl noʊt dɪˈlaɪtɪd tɪ riʧ ðət ˈmɛni geɪmz, ə greɪt əˈʧivmənt, aɪ θɪŋk ˈoʊnli 28 pleɪərz hæv dən ɪt. soʊ tɪ steɪ ɪn ə greɪt saɪd fər ðət lɔŋ ənd tɪ pleɪ ðət ˈmɛni geɪmz ɪz ən ˈɑnər. hoʊp ðɪs tim ɪz gʊd ɪˈnəf tɪ wɪn ɪt əˈgɛn. ˈɑbviəsli ðə ˈtərgət, ðə mɛnˈtælɪti əv wɛr wi ər ɛz ə kləb, ənd ɪt həz bɪn fər ðə læst 10 jɪrz ər soʊ sɪns ðə ˈoʊnər keɪm ɪn. wɪθ josé*é bæk ɪn naʊ, ɑr ˈtərgət ənd ðə ˈstændərd. ˈmeɪbi 10 jɪrz əˈgoʊ wɪn wi fərst keɪm ˈɪntu ɪt ðət ðə ˌɛkspɛkˈteɪʃən bət naʊ, wɪθ ðə ˈməni bɪn ˌɪnˈvɛstɪd, ðə pleɪərz wi hæv ənd ðə ɪkˈspɪriəns wi hæv ɪn ðə ˌkɑmpəˈtɪʃən, ˈɔlˌweɪz ðə ˈtərgət. stɪl ˈdrɪvən ɔn baɪ ˈmɪsɪŋ ðə ˈfaɪnəl tu jɪrz əˈgoʊ. ðə ˈbɪgəst naɪt ˈɛvər fər ðə kləb, ənd aɪ pleɪ ɪn ɪt. bət aɪ pleɪd ɪn wən [ɪn ˈmɔˌskaʊ] ənd aɪ fɛlt ə ˈmæsɪv pɑrt əv ɪt, ənd ðə pleɪərz meɪd mi fil ə juʤ pɑrt əv mˈjunɪk. əˈlɔŋ ðə weɪ ju lʊk bæk æt geɪmz, laɪk ðə ˈnæpəli geɪm [ɪn ðə 2012 taɪ] ənd ˈəðərz wɛr ju pleɪd ə bɪg pɑrt ɛz wɛl. bət, bɪˈkəz mi, ˈpipəl lʊk ənd seɪ: nɑt wən it.’*.’ ˈpipəl laɪk tɪ hæv ðɛr dɪgz ənd ðɛr pɑps, bət aɪ noʊ aɪ pleɪd ə juʤ pɑrt, ɪn ðə ˈdrɛsɪŋ rum ənd ɔn ðə fild ɛz wɛl, soʊ aɪ kaʊnt ˌmaɪˈsɛlf tɪ hæv wən ɪt. noʊ wən spiks əˈbaʊt ðə ˈəðər 10 pleɪərz hu ɔn ðə pɪʧ ðət naɪt ɪn mˈjunɪk ɛz wɛl. ˈmeɪbi mi ənd wɛr aɪ æm æt ɛz ə player.”*.” |
john terry has admitted he was reduced to tears by the wasteful end to chelsea’s premier league title challenge last season, but is confident the additions to the spine of josé mourinho’s team have strengthened their challenge this time around.
there was a period towards the end of the last campaign when the london club had their destiny in their own hands, only to drop points wastefully at aston villa, crystal palace and, most damagingly of all, at home to sunderland and norwich city. that left them trailing in third behind manchester city and liverpool, though the arrival of diego costa and cesc fàbregas, and the continued development of nemanja matic, have hoisted their ambitions.
“i was in tears over the premier league last year, over throwing that away and not winning it,” said terry. “that’s what i play for week in, week out. i’m never scared to show my emotions. i just want to win trophies, that’s what i’m born to do, it’s in me from when i was a kid. i just want to win games, whether that’s in the premier league or the champions league.
“those three signings are quality, all unbelievable players but big characters as well, on and off the pitch. what i call real men, and players with great experience as well. matic had to come to portugal [with benfica] and gain experience, but came back to chelsea a completely different player and a man now. he was superb again against sporting. cesc has been in england before so he knew what to expect, and you expect him to hit the ground running, which he’s done.
“with diego we didn’t know. we’ve seen it before: some strikers take months and months. but he’s hit the ground running. eight goals already is superb and it’s great for us. he’s a good character, a great character. without speaking a word of english he gets by and gets on great with everyone. he puts himself about but gets up and battles on, and plays with little niggles. that’s what you want. that’s why he’s come to the premier league: to win. he made that clear to everyone in pre-season. he’s come here to win trophies. that’s what he wants to do.”
terry raised a century of appearances in the champions league proper – he is the sixth englishman to achieve that landmark – in tuesday’s victory at sporting lisbon having made his debut in the competition 11 years ago in a 2-0 home defeat to besiktas. the european cup has been cruel to him at times in the seasons since, most notably with his miss in the penalty shootout in the final in 2008 with the trophy within reach, and the red card he accrued for kicking alexis sánchez, then with barcelona, in the semi-final four years later. he will confront the chilean again at stamford bridge on sunday when arsenal make the trip across the capital seeking to avenge last season’s 6-0 defeat in the same fixture.
the chelsea captain, who signed a new one-year contract in the summer, still aspires to claiming the champions league with the club. “there have been many [highlights] over the years but, when we beat barça and bayern munich in the early days, the first taste of it…” said the centre-half. “but for me the most important thing is not just the 100 appearances but to strive to go on and win it again for the club. on a personal note i’m delighted to reach that many games, it’s a great achievement, i think only 28 players have done it. so to stay in a great side for that long and to play that many games is an honour.
“i hope this team is good enough to win it again. that’s obviously the target, the mentality of where we are as a club, and it has been for the last 10 years or so since the owner came in. with josé mourinho back in now, that’s our target and that’s the standard. maybe 10 years ago when we first came into it that wasn’t the expectation but now, with the money that’s been invested, the players we have and the experience we have in the competition, that’s always the target.
“i’m still driven on by missing the final two years ago. the biggest night ever for the club, and i didn’t play in it. but i played in one [in moscow] and i felt a massive part of it, and the players made me feel a huge part of munich. along the way you look back at games, like the napoli game [in the 2012 last-16 tie] and others where you played a big part as well. but, because it’s me, people look and say: ‘he’s not won it.’ people like to have their digs and their pops, but i know i played a huge part, in the dressing room and on the field as well, so i count myself to have won it. no one speaks about the other 10 players who weren’t on the pitch that night in munich as well. maybe that’s me and that’s where i am at as a player.” | ðə ər stɪl ˈsərʧɪŋ fər moʊˈmɛntəm əˈhɛd əv ˈkruʃəl wərld kəp kˈwɑləˌfaɪərz ˈæftər ˈsəfərɪŋ ə lɔs tɪ ˈskɑtlənd ɪn ˈɛdənbəroʊ. nmdata*: ˈfʊtˌbɔl ˈdætə ə ˈmɛmərəbəl mɑrk goʊl geɪv ɔˈstreɪljə ən ˈərli ædˈvæntɪʤ, ˈoʊnli fər ˈbɑrkliz prɛˈmɪr lig ˈtərgət ˈʤɔrdən roʊdz tɪ skwɛr ðə ˈlɛʤər ˌbiˈfɔr ˈhæfˌtaɪm. ˈæftər ðə breɪk, ˈʤeɪsən ˈdeɪvɪdsən ɪnˈdʊrd ə fərˈgɛtəbəl ˌɪntrəˈdəkʃən tɪ ˌɪnərˈnæʃənɑl ˈfʊtˌbɔl ˈæftər ˈhɛdɪŋ ˈɪntu hɪz oʊn nɛt, ˌbiˈfɔr rɔs məˈkɔrmək sild ˈskɑtləndz traɪəmf wɪθ ə ˈklɪnɪkəl straɪk leɪt ɔn. ðoʊ koʊʧ sizd ðə ˌɑpərˈtunəti tɪ ɪkˈspɛrəmənt wɪθ hɪz skwɑd traɪɪŋ ˈsɛvərəl pleɪərz ɪn nu roʊlz ənd ˈmeɪkɪŋ sɪks ˌsəbstɪˈtjuʃənz θruaʊt ðə ˈʤərmən wɑz lɛft wɪθ məʧ tɪ ˈpɑndər əˈhɛd əv nɛkst mənθs haɪ steɪks kˈwɑləˌfaɪər əˈweɪ tɪ ˈʤɔrdən. ˈskɑtlənd ɪgˈzərtɪd ðɛr ˈdɑmənəns frəm ðə ˈaʊtˌsɛt, ɔlˈbiɪt wɪˈθaʊt ˈsɪriəsli ˈtɛstɪŋ mɑrk ʃˈwɔrtsər ɪn ðə goʊl ˈərli. wɪθ ˈdeɪvɪd ˈkɑrni ˈstrəgəlɪŋ fər geɪm taɪm æt hɪz kləb, əˈweɪtɪŋ ðə stɑrt əv ðə stɑrz lig ɪn ə mənθ ənd ˈkæptən ˈlukəs nil wɪˈθaʊt ə kləb æt ɔl, ɔˈstreɪljəz bæk laɪn wɑz ənd ʃoʊd tɪ bi ʃɔrt əv mæʧ ˈʃɑrpnəs. ðə hoʊsts wʊd ru ðɛr ˈprɔflɪˌgæsi wɪn dɪˈlɪvərd ðə ˈəltəmət ˈsəkər pənʧ ɔn 18 ˈmɪnəts. ˈhævɪŋ bɪlt ə ˈpɛnʧənt fər prəˈdusɪŋ ðə spɛkˈtækjələr, goʊl ɪn grin ənd goʊld wɑz pərˈhæps hɪz bɛst jɛt ə ˈstənɪŋ fərst taɪm ˈvɑli frəm səm 20 ˈmitərz ðət seɪld ənˈtəʧt ˈɪntu ðə ˈbɑtəm ˈkɔrnər. riˈpleɪz wʊd ʃoʊ ðət ɔˈstreɪljə wər ənˈləki nɑt tɪ hæv ˈteɪkən ðə lɛd ˈmoʊmənts ˈərliər, wɪn ˌrɛfərˈi tɑm ˈhɑrəld ˈheɪgən weɪvd əˈweɪ kleɪmz ðət ˈskɑtləndz ˈdænjəl fɑks hæd dɪˈnaɪd brɛt goʊl baʊnd straɪk wɪθ hɪz hænd. baɪ ˈhæfˌtaɪm ɔˈstreɪljə hæd izd ðɛr weɪ ˈɪntu ðə ɪnˈkaʊnər, wɪθ ðə əˈtækɪŋ ˌɪnˈtɛnt əv ˈrɑbi kruz dɪˈplɔɪd ɪn ən ˌənfəˈmɪljər roʊl ɔn ðə lɛft əv ˌpɑrˈtɪkjələrli ˈtɛlɪŋ ɪn ˈtændəm wɪθ ˈfɛloʊ əˈtækərz ˈæləks ənd ˈhɑlmən. ˈkɑntɛnt tɪ əbˈzɔrb ˈprɛʃər ənd pɪk ðɛr ˈmoʊmənt əv trænˈzɪʃən, ðə peɪs əv ɔˈstreɪljəz əˈtækɪŋ ˈtriˌoʊ ɔn ðə ˈʃoʊldər əv ˈskɑtləndz bæk laɪn ɪnˈʃʊrd ðə wər ən ˈɛvər ˈprɛzənt θrɛt ɔn ðə ˈkaʊntər. ˈhɑlmən wɑz wɪθˈdrɔn frəm prəˈsidɪŋz wɪθ ə ʃɪn ˈɪnʤəri ˈmɪnəts ˌbiˈfɔr ðə breɪk, wɪʧ wɪl kɔz səm kənˈsərn nɑt ˈoʊnli fər ɔˈstreɪljə, bət fər hɪz nu kləb ˈæstən ˈvɪlə, fər hum hi wɑz sɛt tɪ meɪk hɪz ˈdeɪbju ðɪs ˈwiˌkɪnd. ðɛr wɑz mɔr bæd nuz ɪn ðə ˈsɛkənd hæf fər ðə ˈvɪzɪtərz. ˈdeɪvɪdsənz ˈɛkstəsi tərnd tɪ ˈægəni wɪˈθɪn ˈmɪnəts ˈæftər hi ə ˈhɛdər pæst ˈsəbstəˌtut 'ˈkipər ˈædəm fɛdərˈiʧi tɪ hænd ðə hoʊsts ðə lɛd. baɪ ðə taɪm ə ˈsɛkənd, raɪən məˈgaʊən, wɑz ˌɪntrəˈdust ɔf ðə bɛnʧ, ɔˈstreɪljə hæd kənˈsidɪd ðɛr θərd, ˈstrɛʧɪŋ ðɛr ənˈwɔntɪd strik tɪ fɔr ˈmæʧɪz. |
the socceroos are still searching for momentum ahead of crucial world cup qualifiers after suffering a 3-1 loss to scotland in edinburgh.
nmdata: fs football data int20120102scoaus
a memorable mark bresciano goal gave australia an early advantage, only for barclays premier league target jordan rhodes to square the ledger before half-time.
after the break, debutant jason davidson endured a forgettable introduction to international football after heading into his own net, before ross mccormack sealed scotland's triumph with a clinical strike late on.
though coach holger osieck seized the opportunity to experiment with his squad - trying several players in new roles and making six substitutions throughout - the german was left with much to ponder ahead of next month's high stakes qualifier away to jordan.
scotland exerted their dominance from the outset, albeit without seriously testing mark schwarzer in the socceroos goal early.
with david carney struggling for game time at his club, sasa ognenovski awaiting the start of the qatari stars league in a month and captain lucas neill without a club at all, australia's back line was - and showed to be - short of match sharpness.
the hosts would rue their profligacy when bresciano delivered the ultimate sucker punch on 18 minutes.
having built a penchant for producing the spectacular, bresciano's 13th goal in green and gold was perhaps his best yet - a stunning first time volley from some 20 metres that sailed untouched into the bottom corner.
replays would show that australia were unlucky not to have taken the lead moments earlier, when referee tom harald hagen waved away claims that scotland's daniel fox had denied brett holman's goal bound strike with his hand.
by half-time australia had eased their way into the encounter, with the attacking intent of robbie kruse - deployed in an unfamiliar role on the left of midfield - particularly telling in tandem with fellow attackers alex brosque and holman.
content to absorb pressure and pick their moment of transition, the pace of australia's attacking trio on the shoulder of scotland's back line ensured the socceroos were an ever present threat on the counter.
holman was withdrawn from proceedings with a shin injury minutes before the break, which will cause some concern not only for australia, but for his new club aston villa, for whom he was set to make his debut this weekend.
there was more bad news in the second half for the visitors.
debutant davidson's ecstasy turned to agony within minutes after he miscued a header past substitute 'keeper adam federici to hand the hosts the lead.
by the time a second debutant, ryan mcgowan, was introduced off the bench, australia had conceded their third, stretching their unwanted winless streak to four matches. | ðɪs dɪˈfɪnɪtɪv gaɪd tɪ ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ɪz ˈrɪtən fər prəˈspɛktɪv ˈstudənts, ædˈvaɪzərz, ər ˈpɛrənts ˈɪntəˌrɛstɪd ɪn ˈlərnɪŋ mɔr əˈbaʊt ðə moʊst ˈpɑpjələr ɔlˈtərnətɪv pæθ tɪ bɪˈkəmɪŋ ə ˈdɔktər ɪn ðə ˈjuˈɛs ənd ˈkænədə. wi wɪl lʊk æt wət ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ər, waɪ ˈstudənts goʊ tɪ ðɛm, ənd wət ˈstudənts ʃʊd noʊ wɪn kənˈsɪdərɪŋ ˈwɛðər ər nɑt tɪ əˈtɛnd wən. ðɛr ər ˈoʊvər 50 ˈmɛdɪkəl skulz ɪn ðə ˌkɛrɪˈbiən, bət ðə kˈwɑləti ənd ˈaʊtˌkəmz əv ðiz skulz kən ˈvɛri ˈwaɪdli. ˈstudənts ˈɪntəˌrɛstɪd ɪn əˈtɛndɪŋ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul ʃʊd bi ɛz ˌɪnˈfɔrmd ɛz ˈpɑsəbəl tɪ ˈmæksəˌmaɪz ðɛr ˈʧænsɪz əv səkˈsidɪŋ ˌækəˈdɛmɪkli ənd ˈgeɪnɪŋ ə ˈrɛzɪdənsi. waɪ kənˈsɪdər ˌkɛrɪˈbiən ˈmɛdɪkəl skulz? aɪˈdili moʊst ˈjuˈɛs ənd kəˈneɪdiən ˈstudənts wʊd laɪk tɪ goʊ tɪ ˈmɛdɪkəl skul wɪˈθɪn ðɛr hoʊm ˈkəntri. jɛt ˈgɪvɪn ðə ˌɪnˈtɛns ˌkɑmpəˈtɪʃən ənd loʊ əkˈsɛptəns reɪts fər dəˈmɛstɪk ˈmɛdɪkəl skulz, ˈoʊnli ə ˈvɛri smɔl pərˈsɛnɪʤ əv ˈstudənts wɪl bi ˈeɪbəl tɪ pərˈsu ðɪs pæθ. æt ə ˈsərtən pɔɪnt, ˈstudənts məst kənˈsɪdər ˈwɛðər ər nɑt ðeɪ ər ˈwɪlɪŋ tɪ gɪv əp ɔn ðɛr drim əv bɪˈkəmɪŋ ə ˈdɔktər, ər ɪf ðeɪ ər ˈwɪlɪŋ tɪ ˌɪnˈvɛstəˌgeɪt ˈəðər pæθs tɪ əˈʧiv ðɪs goʊl. goʊɪŋ tɪ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul ɪz ðə moʊst ˈpɑpjələr ɔlˈtərnətɪv rut tɪ bɪˈkəmɪŋ ə ˈlaɪsənst ɪn ðə ˈjuˈɛs ər ˈkænədə. ðiz skulz ər dɪˈzaɪnd fər ˈjuˈɛs ənd kəˈneɪdiən ˈstudənts, ənd ər ˈstrəkʧərd təˈwɔrdz ˈgeɪnɪŋ ˈrɛzɪdənsi ənd ˈlaɪsənʧər bæk ɪn ðə ˈjuˈɛs ənd ˈkænədə. ədˈmɪʃənz ˈstændərdz æt ðiz skulz ər loʊər ðən ðɛr dəˈmɛstɪk ˈkaʊntərˌpɑrts, kriˈeɪtɪŋ ðə ˌɑpərˈtunəti fər ˈmɛni mɔr ˈstudənts tɪ bɪˈkəm ˈdɑktərz. sɪns ðə əˈpɪrəns əv ðə fərst ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ɪn ðə leɪt 1970’s*, ˈθaʊzənz əv ˈstudənts hæv naʊ ˈgræʤəˌweɪtɪd ənd ˈɛnərd ðə ˈjuˈɛs ənd kəˈneɪdiən ˈhɛlθˌkɛr ˈsɪstəmz. ˈrəfli 40 əv əˈveɪləbəl ˈjuˈɛs ˈrɛzɪdənsi pəˈzɪʃənz (wət ɪz ə ˈrɛzɪdənsi?) goʊ tɪ ˌɪnərˈnæʃənɑl ˈmɛdɪkəl ˈgræʤəˌweɪts (imgs*) iʧ jɪr, wɪʧ ˌɪnˈkludz ðə ˈgræʤəˌweɪts əv ˌkɛrɪˈbiən ˈmɛdɪkəl skulz. dɪˈspaɪt ən ˌɪnˈkris ɪn ðə ˈnəmbər əv ˈjuˈɛs ənd ˌɑstiəˈpæθɪk ˈmɛdɪkəl skulz, 2018 sɔ ðə bɛst ˈjuˈɛs ˈrɛzɪdənsi mæʧ reɪt fər sɪns 1993 rɪˈpɔrt). ˌkɛrɪˈbiən ˈmɛdɪkəl skulz hæv bɪn ənd stɪl rɪˈmeɪn ə ˈvaɪəbəl pæθ tɪ bɪˈkəmɪŋ ə ˈdɔktər. ə ˈmɑdəl fər səkˈsɛs ˈnɪrli ɔl ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ər ˈstrəkʧərd ɪn ðə ˈfɑloʊɪŋ weɪ: ˈbeɪsɪk ˈsaɪənsɪz (jɪrz ər tɔt æt ˈkæmpəsɪz ɪn ðə ˌkɛrɪˈbiən, ˈfɑloʊd baɪ ˈklɪnɪkəl roʊˈteɪʃənz (jɪrz ɪn ðə ˈjuˈɛs ənd ˈkænədə. ˈstudənts wɪl teɪk ðə seɪm ˈlaɪsənsɪŋ ɪgˈzæmz ðət ˈjuˈɛs ənd kəˈneɪdiən ˈstudənts teɪk, ənd əˈplaɪ fər ˈrɛzɪdənsi əˈlɔŋˈsaɪd ðɛr dəˈmɛstɪk pɪrz. noʊ əˈdɪʃənəl ˈlaɪsənsɪŋ ɪgˈzæmz ər rikˈwaɪərd ɔn ðə pɑrt əv ˌkɛrɪˈbiən ˈmɛdɪkəl ˈstudənts. ðɪs ɪz əˈʧivd θru ˈprɑpər əˌkrɛdəˈteɪʃənz ðət ðə skul (nɑt ðə ˈstudənt) məst əˈteɪn. ðə ˈjuˈɛs ˈhɛlθˌkɛr ˈsɪstəm dɪˈpɛndz ɔn tɪ fɪl ðə ˈmeɪʤər gæp ɪn ˈrɛzɪdənsi pəˈzɪʃənz lɛft baɪ ˈjuˈɛs ˈmɛdɪkəl skulz. ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ər ˌpɑrˈtɪkjələrli ˈsutɪd tɪ fɪl ðɪs gæp bɪˈkəz jɪrz θri ənd fɔr (ˈklɪnɪkəl roʊˈteɪʃənz) əv ðə ˌɛʤəˈkeɪʃən teɪks pleɪs ɪn ˈjuˈɛs ˈhɑˌspɪtəlz. frəm ˈmɛdɪkəl skulz wɛr ˈklɪnɪkəl roʊˈteɪʃənz teɪk pleɪs ɪn ðə ˈjuˈɛs hæv ə mɔr ˈdɪfəkəlt taɪm əv ˈmæʧɪŋ ˈɪntu ˈjuˈɛs ˈrɛzɪˌdɛnsiz. ˈklɪnɪkəl roʊˈteɪʃənz fɔrm ðə prəˈvərbiəl ɪn ðə door”*” fər ˈgræʤəˌweɪts tɪ geɪn ˈrɛzɪdənsi. ðɛr ər ˈsɛvərəl mɔr ˌɪmˈpɔrtənt ˈfæktərz ðət goʊ ˈɪntu ˈgɪtɪŋ ˈrɛzɪdənsi, wɪʧ wi wɪl dɪˈskəs ˈleɪtər ɔn. ˈfæktərz tɪ kənˈsɪdər wɪn ˈʧuzɪŋ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul ˈstudənts ˈɪntəˌrɛstɪd ɪn goʊɪŋ tɪ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul ʃʊd bi əˈwɛr əv ðə ˈvɛriəs ˈfæktərz ðət əˈfɛkt ðə kˈwɑləti əv ðɛr ˌɛʤəˈkeɪʃən ənd ðɛr ˈʧænsɪz fər ˈgɪtɪŋ ˈrɛzɪdənsi ɪn ðə ˈjuˈɛs ər ˈkænədə. ðɛr ər ˈoʊvər 50 ˈmɛdɪkəl skulz ɪn ˌɑpərˈeɪʃən ɪn ðə ˌkɛrɪˈbiən, jɛt ˈoʊnli ə smɔl ˈpɔrʃən əv ðiz skulz ˈɔfər ən ˌɛʤəˈkeɪʃən kˈwɑləti ˈkɑmprəbəl tɪ ə dəˈmɛstɪk ˈmɛdɪkəl skul. ˈstudənts ʃʊd bi moʊst ˈwɛri əv smɔl, ““fly-by-night”*” ˌkɛrɪˈbiən ˈmɛdɪkəl skulz, ðət ˈɔpərˌeɪt wɪθ ˈvɛri ˈlɪmɪtɪd ˈrisɔrsɪz ənd ˈhɪndər ðə ˈlaɪkliˌhʊd əv ðɛr ˈstudənts tɪ geɪn ˈrɛzɪdənsi. skulz ˈɔlsoʊ ˈvɛri ˈwaɪdli ɪn saɪz ənd ˈpərsɪnəl ˈɪntəməsi, soʊ ˈstudənts ʃʊd lʊk fər ə skul ðət wɪl mæʧ ðɛr ˈpərsɪnəl ˈprɛfərəns fər ˈlərnɪŋ staɪl. bɪˈloʊ ɪz ə ˈsəməri əv ˌɪmˈpɔrtənt ˈfæktərz tɪ kənˈsɪdər wɪn ɪˈvæljuˌeɪtɪŋ ðə kˈwɑləti ənd bɛst fɪt əv ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul: klæs saɪz əˈtrɪʃən riˈtɛnʃən reɪts kɔst ˈfækəlti ˈkæmpəs ənd fəˈsɪlɪtiz ˈklɪnɪkəl ˈnɛtˌwərk ənd ˌprɛpərˈeɪʃən ənd pæs reɪts ˈrɛzɪdənsi ˈgaɪdəns ənd ˈkoʊʧɪŋ ˈrɛzɪdənsi mæʧ lɪst əˌkrɛdəˈteɪʃən ˌfaɪˈnænʃəl eɪd klæs saɪz ˈstudənts ʃʊd bi əˈwɛr ðət klæs ˈsaɪzɪz æt ˌkɛrɪˈbiən ˈmɛdɪkəl skulz kən ˈvɛri ˈwaɪdli, wɪθ ðə ˈlɑrʤər skulz əkˈsɛptɪŋ ɛz ˈmɛni ɛz 800 ˈstudənts ər mɔr ɪn ən ˈɪnˌkəmɪŋ ˈkoʊhɔrt. ðə ˈævərɪʤ ˈjuˈɛs ˈmɛdɪkəl skul teɪks ɔn əˈbaʊt 150 ˈstudənts pər ˈɪnˌkəmɪŋ klæs. wɪθ klæs ˈsaɪzɪz soʊ lɑrʤ, ðə ˈlərnɪŋ ɪnˈvaɪrənmənt kən fil ˈvɛri ˌɪmˈpərsənəl, ˈmeɪkɪŋ ɪt ˈdɪfəkəlt tɪ gɪt tɪ noʊ prəˈfɛsər ər rɪˈsiv ðə ˈprɑpər əˈtɛnʃən frəm skul əˈfɪʃəlz. ðiz ˈlɑrʤər skulz hæv ə ˌrɛpjəˈteɪʃən əv biɪŋ sink-or-swim*, ˈkæstɪŋ ə waɪd ədˈmɪʃənz əkˈsɛptəns nɛt bət ˈwidɪŋ aʊt ə lɑrʤ ˈpɔrʃən əv ðə klæs. ðɛr ər ˈmɛni sˈmɔlər ˌkɛrɪˈbiən ˈmɛdɪkəl skulz wɪθ klæs ˈsaɪzɪz mɔr wɪθ ˈjuˈɛs ənd kəˈneɪdiən skulz. bɪˈwɛr əv skulz ðət ər æbˈnɔrməli smɔl (lɛs ðən 50 ˈstudənts ɪn ə sɛpˈtɛmbər klæs), ɛz ɪt meɪ ˈsɪgnəl ðət ðeɪ ər nɑt ɔn ə səˈsteɪnəbəl kɔrs. ˈjuʒəwəli ðɪs ɪz ə saɪn əv mɪsˈmænɪʤmənt ər pur ˌækəˈdɛmɪk kˈwɑləti. əˈtrɪʃən riˈtɛnʃən reɪts səm skulz ər noʊn tɪ hæv ˈvɛri haɪ əˈtrɪʃən reɪts, ˈminɪŋ ə haɪ pərˈsɛnɪʤ əv iʧ ˈɪnˌkəmɪŋ klæs dɪz nɑt ˈgræʤəˌweɪt du tɪ ˌækəˈdɛmɪk ˈfeɪljər ənd ˈdrɑˌpaʊt. kɔst ðə kɔst əv ˌkɛrɪˈbiən ˈmɛdɪkəl skulz kən ˈvɛri drəˈmætɪkəli. səm skulz ʧɑrʤ ə haɪər tjuˈɪʃən praɪs ðən moʊst ˈjuˈɛs ˈmɛdɪkəl skulz. ˈəðər skulz meɪ bi ɪkˈstrimli əˈfɔrdəbəl, bət ˈstudənts ʃʊd bi ˈwɛri əv ˈstraɪkɪŋli loʊ tjuˈɪʃən ˈpraɪsɪz, ɛz ɪt meɪ ˈsɪgnəl ðət ðə skul ɪz ə ““fly-by-night,”*,” ˈlækɪŋ ɪn ðə ˈprɑpər ˈrisɔrsɪz tɪ ˈɔfər ə kˈwɑləti ˈmɛdɪkəl ˌɛʤəˈkeɪʃən. ˈfækəlti ðə kˈwɑləti əv ˌækəˈdɛmɪk ˈfækəlti kən ˈvɛri ˈwaɪdli bɪtˈwin ˌkɛrɪˈbiən ˈmɛdɪkəl skulz. ˈrɛpjətəbəl skulz wɪl haɪər ˈfækəlti aʊt əv ˈjuˈɛs ənd kəˈneɪdiən ˈmɛdɪkəl skul ˈtiʧɪŋ pəˈzɪʃənz, soʊ ðət ðə ˈtiʧɪŋ kˈwɑləti ɪz ˈɔlˌmoʊst ɪnˈtaɪərli ˈkɑmprəbəl tɪ ə dəˈmɛstɪk skul. lɛs ˈrɛpjətəbəl skulz wɪl ˈmoʊstli haɪər ˌɪnərˈnæʃənɑl ˈfækəlti ənd ðoʊz lɛs kˈwɑləˌfaɪd tɪ tiʧ tɪ ðə ˈjuˈɛs ənd kəˈneɪdiən ˈmɛdɪkəl ˈlaɪsənsɪŋ ɪgˈzæmz ənd ˈklɪnɪkəl ˈsɪstəmz. ˈkæmpəs ənd fəˈsɪlɪtiz ðə kˈwɑləti əv ˈbeɪsɪk saɪəns ˈkæmpəsɪz ənd fəˈsɪlɪtiz kən ˈvɛri ˈwaɪdli, wɪθ səm skulz ˈhævɪŋ ˈmæsɪv, ˌsteɪtəvðɪˈɑrt ˈkæmpəsɪz ˈraɪvəlɪŋ ˈɛni ˈjuˈɛs ˈmɛdɪkəl skul, ənd ˈəðərz ˈɔpərˌeɪtɪŋ aʊt əv ˈrənˌdaʊn ˈbɪldɪŋz rɪˈzɛmbəlɪŋ ˈlɪtəl mɔr ðən ə strip-mall*. ˈstudənts ʃʊd bi moʊst ˈwɛri əv sˈmɔlər, ˈlɛsər noʊn skulz ðət meɪ nɑt hæv ðə ˈrisɔrsɪz ər ɪkˈspɪriəns tɪ bɪld ə ˈprɑpər ˌækəˈdɛmɪk ˈkæmpəs. ˈklɪnɪkəl ˈnɛtˌwərk wən əv ðə moʊst ˌɪmˈpɔrtənt ˈfæktərz tɪ kənˈsɪdər ɪz ðə kˈwɑləti əv ðə ˈklɪnɪkəl ˈnɛtˌwərk. ðə ɪnˈtaɪər ˈsɛkənd hæf əv ˈmɛdɪkəl skul teɪks pleɪs ɪn ˈtiʧɪŋ ˈhɑˌspɪtəlz, wɛr ˈstudənts wɪl ˈroʊˌteɪt θru ðə ˈvɛriəs ˈæˌspɛkts əv ˈmɛdəsən səʧ ɛz sɪˈkaɪətri, ˌɪnˈtərnəl ˈmɛdəsən ənd ˈsərʤəri. ɪt ɪz ɛˈsɛnʃəl ðət ðə ˌkɛrɪˈbiən ˈmɛdɪkəl skul həz ɪˈnəf ˈklɪnɪkəl spɑts fər ðɛr ˈstudənts. tɪ du ðɪs, ðə skul məst ˈkɑnˌtrækt wɪθ ˈtiʧɪŋ ˈhɑˌspɪtəlz ɪn ðə ˈjuˈɛs ənd ˈkænədə. skulz wɪθ ˈlɪmɪtɪd ˈrisɔrsɪz ər ˌɪnɛkˈspɪriənst ˈlidərˌʃɪp meɪ læk ðə əˈbɪləˌti tɪ bɪld ə kˈwɑləti ˈklɪnɪkəl ˈnɛtˌwərk. ɪn əˈdɪʃən, skulz wɪʧ hæv groʊn tu lɑrʤ meɪ ɪkˈsid ðə ˈnəmbər əv ˈstudənts ðət ðeɪ hæv ˈklɪnɪkəl kəˈpæsɪti fər. ənd ˌprɛpərˈeɪʃən ənd pæs reɪts ɪn ˈɔrdər tɪ ˈpræktɪs ˈmɛdəsən ɪn ðə ˈjuˈɛs ənd ˈkænədə, ˈgræʤəˌweɪts frəm ˈmɛdɪkəl skulz boʊθ ˈfɔrən ənd dəˈmɛstɪk məst pæs ˈiðər ðə ˈjuˈɛs ˈmɛdɪkəl ˈlaɪsənsɪŋ ɪgˈzæm (usmle*) ər ðə ˈmɛdɪkəl ˈkaʊnsəl əv ˈkænədə kˈwɑləˌfaɪɪŋ ɪgˌzæməˈneɪʃən (mccee*). ˈlaɪsənsɪŋ ɪgˈzæmz ˈɔlsoʊ sərv ən ˌɪmˈpɔrtənt ˈfəŋkʃən ɪn ðət ðeɪ ər juzd baɪ ˈrɛzɪdənsi ˈproʊˌgræmz tɪ əˈsɛs ðə kˈwɑləti əv ˈkænədɪts. ɪn ðə ˈjuˈɛs, ˈskɔrɪŋ haɪər ɔn ðə ˈʤɛnərəli ˈkɔrələts tɪ ə haɪər ˈlaɪkliˌhʊd əv ˈmæʧɪŋ ˈɪntu dɪˈzaɪərd ˈrɛzɪdənsi. haɪər ˌspɛʃələˈzeɪʃən taɪp ˈrɛzɪˌdɛnsiz səʧ ɛz ˈsərʤəri ənd ˌdərməˈtɑləʤi ˈɔlˌmoʊst ˈɔlˌweɪz goʊ tɪ ˈstudənts wɪθ haɪər skɔrz. ˈfeɪlɪŋ ə ˈlaɪsənsɪŋ ɪgˈzæm səʧ ɛz ðə, ˌpɑrˈtɪkjələrli stɛp 1 (ðɛr ər 3 stɛps ˈtoʊtəl), wɪʧ tɛsts ˈstudənts ɔn ðɛr ˈnɑlɪʤ geɪnd frəm ˈbeɪsɪk saɪəns, drəˈmætɪkəli rɪˈdusɪz ʧæns əv ˈgeɪnɪŋ ə ˈrɛzɪdənsi. ˈðɛrˌfɔr, ɪt ɪz ɛˈsɛnʃəl ðət ə ˈstudənt nɑt ˈoʊnli pæs ðə ər ɔn ðə fərst traɪ, bət ðət ðeɪ skɔr ɛz haɪ ɛz ðeɪ ˈpɑsəbli kən. səkˈsɛs ɔn ðə ˈlaɪsənsɪŋ ɪgˈzæmz ɪz ˈgreɪtli əˈfɛktɪd baɪ ðə kˈwɑləti əv ˌɛʤəˈkeɪʃən ˈdʊrɪŋ ˈbeɪsɪk saɪəns, wɪʧ ɪz waɪ ənd ˈpæsɪŋ reɪts ər ˈɔfən juzd ɛz ə ˈprɑksi fər skul kˈwɑləti. ˈmɛni skulz goʊ əˈbəv ənd bɪɔnd tɪ ˈɔfər ˌɪnˈtɛnsɪv ˌprɛpərˈeɪʃən frəm ˌɔrgənəˈzeɪʃənz səʧ ɛz ˈkæplən. ðə ˌɪmˈpɔrtəns əv ˈnæʃənəl ˈlaɪsənsɪŋ ɪgˈzæmz bi ˈoʊvərˌsteɪtɪd. ˈstudənts ʃʊd ˈkɛrfəli lʊk æt ðə ˌkɛrɪˈbiən ˈmɛdɪkəl ˈpæsɪŋ reɪts, ˌprɛpərˈeɪʃən, ənd ˈɔlsoʊ æt ðə ˈfæktərz əˈfɛktɪŋ ˈbeɪsɪk saɪəns ˌɛʤəˈkeɪʃən səʧ ɛz klæs saɪz, ˈkæmpəs ənd ˈlaɪbrɛˌri fəˈsɪlɪtiz, ˈfækəlti ɪkˈspɪriəns, ˌɛtˈsɛtərə. ˈrɛzɪdənsi ˈgaɪdəns ənd ˈkoʊʧɪŋ æt ðə ɛnd əv ðə deɪ, ˈgɪtɪŋ ə ˈrɛzɪdənsi ɪz wət ˈmætərz. bət ˈivɪn ˈæftər goʊɪŋ tɪ ˈmɛdɪkəl skul ənd ˈpæsɪŋ ˈlaɪsənsɪŋ ɪgˈzæmz, ˈgɪtɪŋ ə ˈrɛzɪdənsi ɪz noʊ ˈizi tæsk. wi wɪl ˈkəvər ˈrɛzɪdənsi məʧ mɔr ˈleɪtər ɔn. fər ðə ˈpərpəs əv ðɪs ˈsɛkʃən, ˈstudənts ʃʊd bi ˈkɑgnəzənt ðət əˈplaɪɪŋ tɪ ənd ˈgɪtɪŋ ˈrɛzɪdənsi ɪz ə ˈvɛri strəˈtiʤɪk ˈmætər. ˈgɪtɪŋ ðə ˈrɛzɪdənsi əv jʊr drimz ɪz ən ˈaʊtˌkəm əv ˈmæʧɪŋ jʊr krəˈdɛnʃəlz wɪθ ˌriəˈlɪstɪk ˌɛkspɛkˈteɪʃənz, ənd əˈplaɪɪŋ ˌɪnˈtɛlɪʤəntli ənd ˈbrɔdli tɪ ˈməltəpəl ˈproʊˌgræmz. səm skulz wɪl goʊ əˈbəv ənd bɪɔnd tɪ koʊʧ ənd treɪn ðɛr ˈstudənts ɔn ðə ˈrɛzɪdənsi mæʧ ˈprɔˌsɛs, soʊ ðət ðeɪ ər ˈfʊli ˌɪnˈfɔrmd ənd priˈpɛrd fər ðɪs kənfˈjuzɪŋ ənd ˈstrɛsfəl ˈprɔˌsɛs. ðə ˈstudənt əˈfɛrz ˈɔfəs æt prəˈvaɪdz ðɪs ˈsərvɪs tɪ ɑr ˈmɛdɪkəl ˈstudənts. ˈrɛzɪdənsi mæʧ lɪsts ðə pruf ɪz ɪn ðə ˈpʊdɪŋ. ðɪs ɪz ðə moʊst ˌɪmˈpɔrtənt ˈaʊtˌkəm ju ʃʊd bi ˈlʊkɪŋ æt wɪn ɪˈvæljuˌeɪtɪŋ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul. peɪ ˈkɛrfəl əˈtɛnʃən tɪ ðə taɪps əv ˈrɛzɪˌdɛnsiz ənd wɛr ˈstudənts ər biɪŋ pleɪst. ɪn əˈdɪʃən, kəmˈpɛr ðə ˈrɛzɪdənsi mæʧ lɪst wɪθ ðə ˈævərɪʤ klæs saɪz. ðɪs wɪl gɪv ju ə gʊd əˌprɑksəˈmeɪʃən əv ðə ˈækʧəwəl əˈtrɪʃən ənd ˈrɛzɪdənsi ˈpleɪsmənt ˈprɑspɛkts. si ˈrɛzɪdənsi mæʧ rɪˈzəlts. ˌkɛrɪˈbiən ˈmɛdɪkəl skul əˌkrɛdəˈteɪʃən əˌkrɛdəˈteɪʃən fər ˌkɛrɪˈbiən ˈmɛdɪkəl skulz kən bi ə kənfˈjuzɪŋ ˈtɑpɪk. tɪ hɛlp ɪkˈspleɪn, aɪ hæv splɪt ðə ˈvɛriəs əˌkrɛdəˈteɪʃənz ˈɪntu θri ˈlɛvəlz. ˈoʊnli ðə moʊst ˈbeɪsɪk, fərst ˈlɛvəl əv əˌkrɛdəˈteɪʃən ɪz ˈnidɪd fər ðə ˈgræʤəˌweɪts əv ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul tɪ bi ˈeɪbəl tɪ əˈplaɪ fər ˈrɛzɪdənsi ənd ˈpræktɪs ɪn ðə ˈjuˈɛs ər ˈkænədə. jɛt ðɛr ər ˈmɛni ˈlɛvəlz əv əˌkrɛdəˈteɪʃən, wɪʧ ˈkɔrəˌleɪt tɪ ˌɪnˈkrist ˌrɛkɪgˈnɪʃən ənd prɛˈstiʒ fər ðə skul, ɛz wɛl ɛz ˌɪnˈkrist ˌɑpərˈtunətiz fər ðɛr ˈstudənts ənd ˈgræʤəˌweɪts. ˈstudənts ʃʊd peɪ ˌpɑˈtɪkjələr əˈtɛnʃən tɪ haʊ iʧ ˈlɛvəl əv əˌkrɛdəˈteɪʃən əˈfɛkts wɛr ðeɪ kən gɪt ˈrɛzɪdənsi ənd ˈpræktɪs ˈmɛdəsən (moʊst ˈpərtɪnɪnt fər ˌɪndəˈvɪʤəwəl steɪt əˈpruvəlz ɪn ðə ˈjuˈɛs). fərst ˈlɛvəl əˌkrɛdəˈteɪʃən baɪ ðə ˌkɛrɪˈbiən ˈkəntri wɛr skul ɪz ˈloʊˌkeɪtəd əˈlaʊz ðə skul tɪ bi ˈlɪstɪd ɔn ðə ˌɪnərˈnæʃənɑl ˈmɛdɪkəl ˌɛʤəˈkeɪʃən dɪˈrɛktəri (imed*) ðə moʊst ˈbeɪsɪk ˈlɛvəl əv əˌkrɛdəˈteɪʃən ˈnidɪd fər ˈstudənts frəm ðɪs skul tɪ bi ˈeɪbəl tɪ əˈplaɪ fər ˈrɛzɪdənsi ɪn ðə ˈjuˈɛs ər ˈkænədə əˌkrɛdəˈteɪʃən baɪ ðə ˌkɛrɪˈbiən ˈkəntri wɛr skul ɪz ˈloʊˌkeɪtəd ˈsɛkənd ˈlɛvəl əˈkrɛdɪtɪd baɪ ən ˈrɛkəgˌnaɪzd əˈkrɛdətɪŋ ˈbɑdi ˈnæʃənəl kəˈmɪti ɔn ˈfɔrən ˈmɛdɪkəl ˌɛʤəˈkeɪʃən ənd əˌkrɛdəˈteɪʃən (ncfmea*) ɪz ə dɪˈvɪʒən əv ˈjuˈɛs dɪˈpɑrtmənt əv ˌɛʤəˈkeɪʃən dimz ˈwɛðər ən ˌɪnərˈnæʃənɑl ˈmɛdɪkəl skul əˈkrɛdətɪŋ ˈbɑdi ɪz ɪkˈwɪvələnt tɪ ðə ˈstændərdz əv ðə liˈeɪˌzɑn kəˈmɪti əv ˈmɛdɪkəl (lcme*), ðə ˈbɑdi wɪʧ ˈjuˈɛs ənd kəˈneɪdiən ˈmɛdɪkəl skulz tu meɪn əˈkrɛdətɪŋ ˈbɑdiz fər ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ər: əˌkrɛdəˈteɪʃən kəˈmɪʃən ɔn ˈkɑlɪʤɪz əv ˈmɛdəsən (accm*) ˌkɛrɪˈbiən əˌkrɛdəˈteɪʃən əˈθɔrəti fər ˌɛʤəˈkeɪʃən ɪn ˈmɛdəsən ənd ˈəðər hɛlθ prəˈfɛʃənz (caam-hp*) ˈhævɪŋ ər əˌkrɛdəˈteɪʃənz əˈlaʊ ˌkɛrɪˈbiən skulz tɪ əˈplaɪ fər ˈsərtən steɪt əˈpruvəlz ənd ˈfɛdərəl ˈstudənt loʊnz əˈkrɛdɪtɪd baɪ ən ˈrɛkəgˌnaɪzd əˈkrɛdətɪŋ ˈbɑdi θərd ˈlɛvəl steɪt əˈpruvəlz ˈoʊnli səm ˈjuˈɛs steɪts hæv ˌɪndəˈvɪʤəwəl ˌæpləˈkeɪʃən ənd əˈpruvəl ˈprɑsɛsəz fər ˈfɔrən ˈmɛdɪkəl skulz iʧ əv ðiz steɪts ɪz ˈdɪfərənt ɪn ðə skoʊp ənd ˈminɪŋ əv ðɛr əˈpruvəl ˈflɔrɪdə wɪˈθaʊt əˈpruvəl noʊ ˈklɪnɪkəl roʊˈteɪʃənz fər ˈstudənts ɪn ðət steɪt nu jɔrk wɪˈθaʊt əˈpruvəl ˈlɪmɪtɪd ˈklɪnɪkəl roʊˈteɪʃənz, noʊ ˈrɛzɪdənsi ɪn ðət steɪt, bət jɛs tɪ ˈlaɪsənʧər ˈæftər bɪˈkəmɪŋ ˈlaɪsənst ɪn əˈnəðər steɪt fərst ˈʤɔrʤə wɪˈθaʊt əˈpruvəl ˈlɪmɪtɪd ˈklɪnɪkəl roʊˈteɪʃənz, noʊ ˈrɛzɪdənsi, bət jɛs tɪ ˈlaɪsənʧər ˈæftər bɪˈkəmɪŋ ˈlaɪsənst ɪn əˈnəðər steɪt fərst ˌkæləˈfɔrnjə wɪˈθaʊt əˈpruvəl noʊ ˈklɪnɪkəl roʊˈteɪʃənz, ˈrɛzɪdənsi, ər ˈlaɪsənʧər ɪn ðət steɪt səm steɪts ˈɔlsoʊ lʊk tɪ ˌkæləˈfɔrnjə ənd ˈfɑloʊ ðə seɪm ˈrulɪŋ ənˈtɪl ə skul gɪts ˌkæləˈfɔrnjə əˈpruvəl ɛz əv ˈʤænjuˌɛri 1 2020 ˌkæləˈfɔrnjə əˈpruvəl wɪl drəˈmætɪkəli ʧeɪnʤ wɪl ˈrɛkəgˌnaɪz ɔl ˈfɔrən ˈmɛdɪkəl skulz ˈrɛkəgˌnaɪzd baɪ ən ɪkˈwɪvələnt əˈkrɛdətɪŋ ˈbɑdi, ənd ɪz ˈlɪstɪd baɪ steɪt əˈpruvəlz ˌfaɪˈnænʃəl eɪd ˈmɛdɪkəl skul ɪz ən ɪkˈspɛnsɪv ˌɪnˈvɛstmənt noʊ ˈmætər wɪʧ skul ju ʧuz. jɛt ðɪs ɪkˈspɛndɪʧər kən bi ɪgˈzæsərˌbeɪtɪd beɪst ɔn ðə kˈwɑləti ənd taɪp əv ˌfaɪˈnænʃəl eɪd ðət ðə skul ˈɔfərz. taɪps əv ˌfaɪˈnænʃəl eɪd æt ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ˌɪnˈklud: noʊ ˌfaɪˈnænʃəl eɪd ˈpraɪvət loʊnz ˈfɛdərəl ˈstudənt loʊnz ˈskɑlərˌʃɪps ˈʤɛnərəli, ðə ˈlɛvəl əv ˌfaɪˈnænʃəl eɪd ˈɔfərd baɪ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul wɪl ˈkɔrəˌleɪt tɪ ðə ˈlɛvəl əv əˌkrɛdəˈteɪʃənz ðə skul həz əˈteɪnd. boʊθ ˈjuˈɛs ənd kəˈneɪdiən ˈfɛdərəl ˈstudənt loʊnz meɪ bi əˈveɪləbəl tɪ ˈstudənts æt ˈsərtən ˌkɛrɪˈbiən ˈmɛdɪkəl skulz. ˈfɛdərəl loʊnz ər ðə moʊst dɪˈzaɪərəbəl bɪˈkəz ðeɪ ˈɔfər ðə loʊəst ˈɪntəˌrɛst reɪts. ˈpraɪvət loʊnz meɪ bi ˈɔfərd baɪ ˈɛni ˈnəmbər əv ˈlɛndərz səʧ ɛz bæŋks, ˈstudənt loʊn ˈspɛʃəlti ˈlɛndərz səʧ ɛz ˈsæli meɪ, ər baɪ ðə skulz ðɛmˈsɛlvz. ðiz loʊnz meɪ ˈkəvər ðə fʊl kɔst əv əˈtɛndəns ənd bi ˈsɪmələr ɪn skoʊp tɪ ˈfɛdərəl loʊnz, bət ˈjuʒəwəli hæv sˈlaɪtli haɪər ˈɪntəˌrɛst reɪts. səm skulz meɪ ˈɔfər ˈskɑlərˌʃɪps beɪst ɔn nid ər ˈmɛrət. ðə loʊəst kˈwɑləti skulz wɪl hæv ˈlɪmɪtɪd tɪ noʊ ˌfaɪˈnænʃəl eɪd ənd ˈskɑlərˌʃɪps. duɪŋ jʊr du ˈdɪlɪʤəns naʊ ðət ju noʊ wət kraɪˈtɪriə tɪ ɪˈvæljuˌeɪt ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul baɪ, taɪm tɪ goʊ aʊt ənd gɪt ðə raɪt ˌɪnˌfɔrˈmeɪʃən. ɛz ˈɛni ˈstudənt ˈbeɪgən ðə sərʧ ˈɪntu ˌkɛrɪˈbiən ˈmɛdɪkəl skulz noʊz, ðɪs ɪz noʊ ˈizi tæsk. wət ˈfɑloʊz ɪz ə ˈbeɪsɪk gaɪd fər haʊ tɪ ˈnævəˌgeɪt θru ðə væst si əv ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˌkɛrɪˈbiən ˈmɛdɪkəl skulz. spik tɪ ˈkɑrənt ˈstudənts ənd əˈləmˌnaɪ ˈfərsthænd ˌɪnˌfɔrˈmeɪʃən ɪz ki wɪn ɪˈvæljuˌeɪtɪŋ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul, ənd noʊ wən kən ˈbɛtər ʃɛr ðə ril ɪkˈspɪriəns æt ənd kˈwɑləti əv ə skul ɛz ðə ˈstudənts ənd əˈləmˌnaɪ hu əˈtɛndəd. æsk ðə ədˈmɪʃənz ˈɔfəs tɪ pʊt ju ɪn təʧ wɪθ ˈkɑrənt ˈstudənts ənd əˈləmˌnaɪ. ɪf ðə skul du ðɪs ðɛn ðeɪ ər ˈprɑbəˌbli nɑt wərθ ɪˈvæljuˌeɪtɪŋ. wəns ju gɪt ɪn təʧ wɪθ səm ˈstudənts ər əˈləmˌnaɪ, hir ər səm ɛˈsɛnʃəl kˈwɛsʧənz tɪ æsk: wət du ju laɪk əˈbaʊt ðə skul? wət ju laɪk əˈbaʊt ðə skul? haʊ wʊd ju reɪt ðə ˈoʊvərˌɔl kˈwɑləti əv ðə ˌɛʤəˈkeɪʃən? haʊ ækˈsɛsəbəl ər ðə ˈfækəlti? ɪz ðə ædˌmɪnɪˈstreɪʃən rɪˈsɛptɪv tɪ ˈstudənt nidz? haʊ bɪg ər ðə klæs ˈsaɪzɪz? wət ɪz ðə drɔp aʊt ənd ˈfeɪljər reɪt (əˈtrɪʃən)? ɪz ðə ˈkæmpəs kənˈdusɪv tɪ ˈlərnɪŋ? wət ɪz ðə kˈwɑləti əv ðə əˈnætəmi læb? wət ɪz ðə ˈstudənt tɪ kəˈdævər ˈreɪʃiˌoʊ laɪk? ər ˈmɛni ˈstudənts ˈkraʊdɪd əraʊnd ʤɪst wən kəˈdævər? ɪz ðɛr ə ˈvaɪbrənt ˈkæmpəs laɪf? wət kaɪnz əv ˈstudənt kləbz ənd ˈsoʊʃəl ækˈtɪvɪtiz ər əˈveɪləbəl? dɪz ðə skul əˈsɪst wɪθ ˈstudənt ˈhaʊzɪŋ? du ðeɪ hæv dɔrmz ər əˈpɑrtmənts? ɪz ðə ˈaɪlənd seɪf? wət ɪz laɪf laɪk ɔn ðə ˈaɪlənd wɛr ðə skul ɪz ˈloʊˌkeɪtəd? ɪz ðɛr məʧ tɪ du? wət kaɪnd əv ˌprɛpərˈeɪʃən ɪz ˈgɪvɪn fər stɛp 1 wət ɪz ðə fərst taɪm pæs reɪt? haʊ ɪz ðə kˈwɑləti əv ðə ˈklɪnɪkəl roʊˈteɪʃənz? du ˈstudənts ˈɛvər hæv tɪ weɪt ə lɔŋ taɪm bɪtˈwin ˈklɪnɪkəl ˈpleɪsmənts? du ðə məˈʤɔrəti əv ˈstudənts geɪn ˈrɛzɪdənsi ˈæftər ˌgræʤəˈweɪʃən? dɪz ðə skul ədˈvaɪz ənd hɛlp ˈstudənts tɪ plæn fər ˈrɛzɪdənsi? du ðeɪ prəˈvaɪd ˈrɛzɪdənsi ˈɪntərvˌju ˈkoʊʧɪŋ? ɪkˈsplɔr ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ɔn ˈsoʊʃəl ˈmidiə ˈʧɛkɪŋ aʊt ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul ɔn ˈsoʊʃəl ˈmidiə ɪz ə greɪt weɪ tɪ lərn mɔr əˈbaʊt ðɛm. lʊk fər ˈfoʊˌtoʊz ənd ˈvɪdioʊz frəm ðɛr instagram*, ˈfeɪsˌbʊk ənd ˈjuˌtub əˈkaʊnts tɪ si wət ðɛr ˈkæmpəs ənd ˈstudənt laɪf ɪz laɪk. ˈɔlsoʊ lʊk fər ˈstudənt əˈkaʊnts ənd ˈkɑntɛnt tɪ si ɪf ðə ˈstudənt pərˈspɛktɪv kərˈɔbərˌeɪts ðə ˈmɛsɪʤ. ˈvɪzɪt ˈkæmpəs wəns ˈnɛroʊd daʊn jʊr sərʧ tɪ ʤɪst ə fju kənˈtɛndərz, ju ʃʊd ˈstrɔŋli kənˈsɪdər ˈplænɪŋ ə ˈvɪzɪt tɪ ʧɛk ðiz skulz aʊt. ˈɑbviəsli, ðɪs kʊd bi ə ˈkɔstli ɪnˈdɛvər bɪtˈwin flaɪts ənd hoʊˈtɛlz. ˌhaʊˈɛvər, ˈgɪvɪn ðə ˌɪˈmɛns saɪz ənd skoʊp əv jʊr ˌɪnˈvɛstmənt ɪn ˈmɛdɪkəl ˌɛʤəˈkeɪʃən, ðə fju ˈθaʊzənd ˈdɔlərz ɪt wɪl kɔst tɪ ɪˈvæljuˌeɪt jʊr ˈfaɪnəl səˈlɛkʃən ɪz ə ˈwərθˈwaɪl ˈtreɪˌdɔf. səm ˌkɛrɪˈbiən ˈmɛdɪkəl skulz wɪl ˈivɪn ˈɔfər ə tjuˈɪʃən ˈdɪskaʊnt ər ˌfaɪˈnænʃəl ˌɪnˈsɛnɪv tɪ ˈvɪzɪt ðɛr ˈkæmpəs. fər ɪgˈzæmpəl, ˈɔfərz ə 500 tjuˈɪʃən ˈkrɛdɪt fər ˈstudənts hu ˈvɪzɪt ˈkæmpəs ɪf ə frɛnd ər ˈfæməli ˈmɛmbər ʤɔɪnz ju). ˈvɪzɪtɪŋ ˈkæmpəs ɪz ðə ˈoʊnli ril weɪ tɪ ɪˈvæljuˌeɪt ðə kˈwɑləti əv ðə ˈkæmpəs, ˌækəˈdɛmɪk fəˈsɪlɪtiz, ənd ˈfækəlti fər ˈjɔrsɛlf. ɛz ˈstudənts frəm səm ˌkɛrɪˈbiən ˈmɛdɪkəl skulz hæv ˈlərnɪd ðə hɑrd weɪ, ˈmɑrkətɪŋ kən dɪˈpɪkt ə ˈvɛri ˈdɪfərənt ˈpɪkʧər əv wət ðə ˈkæmpəs ənd skul ˈæˌkʧuəli ər. meɪk ðə mɪˈsteɪk əv əˈtɛndɪŋ ə skul ðət mɪsˌrɛprəˈzɛnts ˌɪtˈsɛlf ənd ˈɔfər ðə kˈwɑləti ˌɛʤəˈkeɪʃən ju nid tɪ səkˈsid. rɛd ˌkɛrɪˈbiən ˈmɛdɪkəl ˈstudənt blɔgz pəruz ðə wɛb fər səm ˈrɪtən ˈfərsthænd əˈkaʊnts əv ˈstudənts frəm ðə ˈvɛriəs ˌkɛrɪˈbiən ˈmɛdɪkəl skulz. ðɛr ər səm ˈɛksələnt blɔgz aʊt ðɛr ðət du ə sʊˈpərb ʤɑb əv ɑrˈtɪkjəˌleɪtɪŋ ðə ˈstudənt ɪkˈspɪriəns ənd ˈvɛriəs əv ðə skulz ðiz ˈstudənts əˈtɛnd. lɪst əv ˈmɛdɪkəl ˈstudənt blɔgz frəm ðə ˌjunəˈvərsəti əv ˈmɛdəsən ənd hɛlθ ˈsaɪənsɪz (umhs*): tɔk tɪ ˌkɛrɪˈbiən ˈmɛdɪkəl skul ədˈmɪʃənz stæf wɔnt tɪ spik wɪθ ðə ədˈmɪʃənz stæf əv ˈɛni skul ju ər kənˈsɪdərɪŋ əˈtɛndɪŋ. ðeɪ wɪl bi ðə bɛst sɔrs əv ˌɪnˌfɔrˈmeɪʃən ɔn ðə ˌæpləˈkeɪʃən ˈprɔˌsɛs, ˌfaɪˈnænʃəl eɪd, ənd ˈsərtən ˌækəˈdɛmɪk ˈaʊtˌkəmz, bət ˈɔlsoʊ ˌɪmˈpɔrtənt tɪ noʊ wɪn tɪ teɪk wət ðeɪ seɪ wɪθ ə greɪn əv sɔlt. ɪn ðə ɛnd ðeɪ prəˈvaɪd ʤɪst əˈnəðər sɔrs əv ˌɪnˌfɔrˈmeɪʃən tɪ kərˈɑbərˌeɪt wət ˈlərnɪd soʊ fɑr. rɛd ˌkɛrɪˈbiən ˈmɛdɪkəl skul ˈfɔrəmz ənd ˌrivˈju ˈwɛbˌsaɪts saɪts laɪk valuemd*, ənd kən ˈɔfər səm ˈvælju ɛz ən ˈɔltərˌneɪt pɔɪnt əv ˈrɛfərəns, bət wi wʊd ˈstrɔŋli ˈkɔʃən əˈgɛnst ˈjuzɪŋ ðiz ɛz ə ˈmeɪʤər sɔrs əv ˌɪnˌfɔrˈmeɪʃən. ɛz əˈnɑnəməs ˈfɔrəmz wɪθ ˈlɪmɪtɪd ˈjuzər əˈkaʊntəˌbɪlɪti, ˌɪmˈpɑsəbəl tɪ noʊ hu ɪz ˈraɪtɪŋ ðə ˌɪnˌfɔrˈmeɪʃən ənd haʊ ˈækjərət ɪt meɪ bi. ˈɔfən ðeɪ əˈtrækt ˈlɪtəl əˈtɛnʃən frəm ðə məˈʤɔrəti əv ˈstudənts hu ər ˈwərkɪŋ hɑrd ənd səkˈsidɪŋ ɪn ˈmɛdɪkəl skul. ˌɪnˈstɛd ðeɪ bɪˈkəm ˈɛkoʊ ˈʧeɪmbərz fər ðə ˈstudənts hu ər nɑt səkˈsidɪŋ, ər ə pleɪs fər kəmˈpitɪŋ skulz tɪ sˈlændər wən əˈnəðər. ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ənd ˈrɛzɪdənsi ɔn ðə pæθ tɪ bɪˈkəmɪŋ ə ˈfʊli ˈlaɪsənst ˈdɔktər, ˈrɛzɪdənsi ɪz ðə nɛkst stɛp ˈæftər ˈgræʤəˌweɪtɪŋ ˈmɛdɪkəl skul, ənd ɪt ɪz jʊr fərst peɪd ʤɑb ɛz ə fəˈzɪʃən. ɪt ɪz wɛr ju ʧuz jʊr ˌspɛʃələˈzeɪʃən ənd ˈfʊli ˌɪˈmərs ˈjɔrsɛlf ɪn ˈklɪnɪkəl əˈprɛntəsˌʃɪp. ɪf nɑt ɔˈrɛdi fəˈmɪljər wɪθ wət ə ˈmɛdɪkəl ˈrɛzɪdənsi ɪz, rɛd ðɪs ˈɑrtɪkəl fər ə brif ˈpraɪmər. ɪf ˈgɪtɪŋ ˈɪntu ˈmɛdɪkəl skul ɪz ðə fərst greɪt ˈhərdəl tɪ bɪˈkəmɪŋ ə ˈdɔktər, ˈmæʧɪŋ ˈɪntu ə ˈrɛzɪdənsi pəˈzɪʃən ɪz ðə ˈsɛkənd. ˈgɪtɪŋ ə ˈrɛzɪdənsi ɪz noʊ ˈizi tæsk, noʊ ˈmætər wɛr ju goʊ tɪ ˈmɛdɪkəl skul, bət goʊɪŋ tɪ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul kən kriˈeɪt səm əˈdɪʃənəl ˈʧælənʤɪz ðət ˈstudənts ʃʊd bi əˈwɛr əv. ˈmɛni əv ðə kraɪˈtɪriə dɪˈskraɪbɪŋ ðə kˈwɑləti ənd taɪps əv ˌkɛrɪˈbiən ˈmɛdɪkəl skulz bɔɪl daʊn tɪ haʊ ðə skul wɪl hɛlp ər ˈhɪndər jʊr ˈʧænsɪz fər ˈmæʧɪŋ ˈɪntu ə ˈrɛzɪdənsi ˈproʊˌgræm. duɪŋ jʊr du ˈdɪlɪʤəns tɪ ʧuz ə kˈwɑləti ˈmɛdɪkəl skul ðət fɪts jʊr ˈlərnɪŋ staɪl ɪz ɛˈsɛnʃəl fər ˈmæksəˌmaɪzɪŋ jʊr ˈʧænsɪz əv ˈgɪtɪŋ ə ˈrɛzɪdənsi. ə kˈwɑləti skul wɪθ ˈkɑmpətɪnt ˈfækəlti, ɪkˈstɛnsɪv ˈlərnɪŋ ˈrisɔrsɪz, ˈædəkˌweɪt ˈkæmpəs ənd fəˈsɪlɪtiz, ˈprɑpər ˌprɛpərˈeɪʃən, ənd ˈædɪd ˈrɛzɪdənsi ˌæpləˈkeɪʃən ˈgaɪdəns wɪl gɪv ju ɔl əv ðə ˈnɛsəˌsɛri ˌɪnˈgridiənts tɪ səkˈsid. ˈæftər ðət ðə ˈoʊnəs ɪz ɔn ðə ˈstudənt. ɪn ˈʤɛnərəl, goʊɪŋ tɪ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul dɪz nɑt prɪˈklud ju frəm ˈgɪtɪŋ ə ˈrɛzɪdənsi ɪn ðə ˈjuˈɛs. ɪf ju pərˈfɔrm wɛl ɪn ˈmɛdɪkəl skul, ɔn jʊr ˈlaɪsənsɪŋ ɪgˈzæmz, ənd əˈplaɪ strəˈtiʤɪkli ənd ˌɪnˈtɛlɪʤəntli, ju hæv ə haɪ ˈlaɪkliˌhʊd əv ˈmæʧɪŋ ɪn ðə ˈjuˈɛs. ˈgɪtɪŋ ə ˈrɛzɪdənsi ɪn ˈkænədə kən bi ˈvɛri ˈʧælənʤɪŋ fər ˌkɛrɪˈbiən ˈmɛdɪkəl skul ˈgræʤəˌweɪts, bət ˈləkəli kəˈneɪdiənz kən kəmˈpit ɪn boʊθ ðə ˈjuˈɛs ənd kəˈneɪdiən ˈrɛzɪdənsi ˈmæʧɪz. moʊst kəˈneɪdiənz hu goʊ tɪ ˌkɛrɪˈbiən ˈmɛdɪkəl skulz wɪl teɪk ə ˈrɛzɪdənsi ɪn ðə ˈjuˈɛs, ənd ðɛn rɪˈtərn tɪ ˈpræktɪs ɪn ˈkænədə ˈæftər ˈfɪnɪʃɪŋ ˈrɛzɪdənsi. ˌkɛrɪˈbiən ˈmɛdɪkəl skul ˈgræʤəˌweɪts hu du nɑt mæʧ wɪl ˈɔlˌmoʊst ˈɔlˌweɪz fɔl ˈɪntu wən əv ðiz tu kæmps: feɪld wən ər mɔr stɛps əv ðə əˈplaɪd tu ˈnɛroʊli tɪ ˈrɛzɪdənsi ˈproʊˌgræmz ˈoʊnli wɛnt ˈæftər ˈhaɪli kəmˈpɛtɪtɪv ˈrɛzɪˌdɛnsiz ɪn ə ˈsərtən ˈspɛʃəlti taɪp ər ɪn loʊˈkeɪʃənz səʧ ɛz nu jɔrk ˈsɪti ər maɪˈæmi ˈivɪn wɪθ ə kəmˈpɛtɪtɪv skɔr ənd gpa*, ˈstudənts meɪ faɪnd ðɛmˈsɛlvz wɪˈθaʊt ˈrɛzɪdənsi ɪf ðeɪ əˈplaɪ tɪ ə smɑrt mɪks əv riʧ ənd ˈseɪfti pəˈzɪʃənz əˈkrɔs ˈspɛʃəlti taɪps ənd ˌʤiəˈgræfɪk loʊˈkeɪʃənz ˈrɛzɪdənsi ˈʧælənʤɪz fər ˌkɛrɪˈbiən ˈmɛdɪkəl skul ˈgræʤəˌweɪts ˌɔlˈðoʊ goʊɪŋ tɪ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul dɪz nɑt prɪˈklud ju frəm ˈmæʧɪŋ ˈɪntu ˈɛni spɪˈsɪfɪk taɪp əv ˈrɛzɪdənsi, ðə truθ ɪz ðət ə məʧ haɪər pərˈsɛnɪʤ əv ˌkɛrɪˈbiən ˈmɛdɪkəl skul ˈgræʤəˌweɪts wɪl goʊ ˈɪntu ˈpraɪˌmɛri kɛr ˈrɛzɪˌdɛnsiz ðən ðɛr dəˈmɛstɪk ˈkaʊntərˌpɑrts. ðɪs ɪz du tɪ ˈsɛvərəl ˈrizənz, ˌɪnˈkludɪŋ: haɪər ˌspɛʃələˈzeɪʃən ˈrɛzɪˌdɛnsiz ˈkɔrəˌleɪt tɪ haɪər skɔrz dəˈmɛstɪk ˈmɛdɪkəl skul ˈgræʤəˌweɪts ɔn ˈævərɪʤ hæv haɪər skɔrz ðən ˌkɛrɪˈbiən ˈmɛdɪkəl skul ˈgræʤəˌweɪts məˈʤɔrəti əv dəˈmɛstɪk ˈmɛdɪkəl skul ˈgræʤəˌweɪts goʊ ˈæftər haɪər ˌspɛʃələˈzeɪʃən taɪp ˈrɛzɪˌdɛnsiz ˈoʊvər ˈpraɪˌmɛri kɛr wɔnt tɪ ʧuz haɪər peɪɪŋ kərɪr pæθs wɪʧ ˈʤɛnərəli ˈkɔrəˌleɪt tɪ səʧ ɛz ˌdərməˈtɑləʤi, ˌænəsθiziˈɑləʤi, ˌɛtˈsɛtərə. ɪgˈzæsərˌbeɪtɪd baɪ ə læk əv dɪˈvərsɪti ɪn dəˈmɛstɪk ˈmɛdɪkəl skulz səm baɪəs əˈgɛnst baɪ ˈrɛzɪdənsi dɪˈrɛktərz ɪf ˈgɪtɪŋ ə ˈspɛʃəˌlaɪzd ˈrɛzɪdənsi ɪz jʊr goʊl, ju ʃʊd noʊ ðət goʊɪŋ tɪ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul dɪz nɑt min ðət ən ˌɪmˌpɔsɪˈbɪlɪti. ɪt ʤɪst ˈprɛzənts səm əˈdɪʃənəl ˈʧælənʤɪz ðət ˈstudənts ʃʊd bi wɛl əˈwɛr əv ənd hæv ə ˈstrætəʤi ɪn pleɪs tɪ ˈoʊvərˌkəm. ɛkˈsɛlɪŋ ɔn ðə ɪz ə məst. əˈnəðər ˌɪmˈpɔrtənt kəmˈpoʊnənt ɪz tɪ ˈkɑndəkt kɔr ənd ɪˈlɛktɪv ˈklɪnɪkəl roʊˈteɪʃənz ɪn ˈhɑˌspɪtəlz wɛr ju ɪkˈspɛkt tɪ əˈplaɪ fər ˈrɛzɪdənsi. juz ðɪs taɪm tɪ ˈnɛtˌwərk wɪθ ˈhɑˌspɪtəl stæf ənd ʃoʊ jʊr kˈwɑləti ɛz ə klɪˈnɪʃən tɪ ˈrɛzɪdənsi dɪˈrɛktərz. ˌkɛrɪˈbiən ˈmɛdɪkəl skul ˈgræʤəˌweɪts hu səkˈsid ɪn ˈgɪtɪŋ ˈrɛzɪˌdɛnsiz ˈɔlˌmoʊst ˈɔlˌweɪz du soʊ fər ə ˌkɑmbəˈneɪʃən əv ðiz ˈrizənz. ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ər ə ˈvaɪəbəl ɔlˈtərnətɪv fər ðoʊz hu ˈkænɑt gɪt ˈɪntu ə ˈjuˈɛs ər kəˈneɪdiən ˈmɛdɪkəl skul. ðə bɛst ˌkɛrɪˈbiən ˈmɛdɪkəl skulz hæv ˌsteɪtəvðɪˈɑrt fəˈsɪlɪtiz, ˌaʊtˈstændɪŋ ˈfækəlti, θəroʊ ˌprɛpərˈeɪʃən, ˈjuˈɛs ər kəˈneɪdiən beɪst ˈklɪnɪkəl roʊˈteɪʃənz, ənd ɪkˈstɛnsɪv ˈrɛzɪdənsi ˈpleɪsmənt træk ˈrɛkərdz. səm ˌkɛrɪˈbiən ˈmɛdɪkəl skulz ər nɑt əv ˈkɑmprəbəl kˈwɑləti tɪ dəˈmɛstɪk ˈmɛdɪkəl skulz, ənd ˈstudənts məst ˈkɑndəkt ˈkɛrfəl du ˈdɪlɪʤəns tɪ stɪr klɪr əv ðiz skulz. æt ðə ɛnd əv ðə deɪ, noʊ ˈmætər wɛr ju goʊ tɪ ˈmɛdɪkəl skul, ðə ˈoʊnəs ɪz ɔn ju, ðə ˈstudənt, tɪ wərk hɑrd ənd wərk ˌɪnˈtɛlɪʤəntli. ʧuz ə ˈmɛdɪkəl skul ðət wɪl ˈmæksəˌmaɪz jʊr ˈʧænsɪz fər ˈgɪtɪŋ ə ˈrɛzɪdənsi, bət teɪk riˌspɑnsəˈbɪləti fər jʊr oʊn ˈɛfərt ənd əˈbɪləˌtiz. rɪˈmɛmbər ðət ˈmɛdɪkəl skul ɪz ə ˈmɛrəˌθɑn, ənd goʊɪŋ tɪ ə ˌkɛrɪˈbiən ˈmɛdɪkəl skul ɪz noʊ ˈdɪfərənt, ɔlˈbiɪt ə sˈlaɪtli ˈwɔrmər wən. |
this definitive guide to caribbean medical schools is written for prospective students, premed advisors, or parents interested in learning more about the most popular alternative path to becoming a doctor in the us and canada. we will look at what caribbean medical schools are, why students go to them, and what students should know when considering whether or not to attend one. there are over 50 medical schools in the caribbean, but the quality and outcomes of these schools can vary widely. students interested in attending a caribbean medical school should be as informed as possible to maximize their chances of succeeding academically and gaining a residency.
why consider caribbean medical schools?
ideally most us and canadian students would like to go to medical school within their home country. yet given the intense competition and low acceptance rates for domestic medical schools, only a very small percentage of students will be able to pursue this path. at a certain point, students must consider whether or not they are willing to give up on their dream of becoming a doctor, or if they are willing to investigate other paths to achieve this goal.
going to a caribbean medical school is the most popular alternative route to becoming a licensed md in the us or canada. these schools are designed for us and canadian students, and are structured towards gaining residency and licensure back in the us and canada. admissions standards at these schools are lower than their domestic counterparts, creating the opportunity for many more students to become doctors.
since the appearance of the first caribbean medical schools in the late 1970’s, thousands of students have now graduated and entered the us and canadian healthcare systems. roughly 40% of available us residency positions (what is a residency?) go to international medical graduates (imgs) each year, which includes the graduates of caribbean medical schools. despite an increase in the number of us allopathic and osteopathic medical schools, 2018 saw the best us residency match rate for us-citizen imgs since 1993 (nrmp report). caribbean medical schools have been and still remain a viable path to becoming a doctor.
a model for success
nearly all caribbean medical schools are structured in the following way: basic sciences (years 1-2) are taught at campuses in the caribbean, followed by clinical rotations (years 3-4) in the us and canada. students will take the same licensing exams that us and canadian students take, and apply for residency alongside their domestic peers. no additional licensing exams are required on the part of caribbean medical students. this is achieved through proper accreditations that the school (not the student) must attain.
the us healthcare system depends on imgs to fill the major gap in residency positions left by us medical schools. caribbean medical schools are particularly suited to fill this gap because years three and four (clinical rotations) of the education takes place in us hospitals. imgs from medical schools where clinical rotations take place in the us have a more difficult time of matching into us residencies. clinical rotations form the proverbial “foot in the door” for graduates to gain residency.
there are several more important factors that go into getting residency, which we will discuss in-depth later on.
factors to consider when choosing a caribbean medical school
students interested in going to a caribbean medical school should be aware of the various factors that affect the quality of their education and their chances for getting residency in the us or canada. there are over 50 medical schools in operation in the caribbean, yet only a small portion of these schools offer an education quality comparable to a domestic medical school. students should be most wary of small, “fly-by-night” caribbean medical schools, that operate with very limited resources and hinder the likelihood of their students to gain residency. schools also vary widely in size and personal intimacy, so students should look for a school that will match their personal preference for learning style.
below is a summary of important factors to consider when evaluating the quality and best fit of a caribbean medical school:
class size
attrition / retention rates
cost
faculty
campus and facilities
clinical network
usmle and mccee preparation and pass rates
residency guidance and coaching
residency match list
accreditation
financial aid
class size
students should be aware that class sizes at caribbean medical schools can vary widely, with the larger schools accepting as many as 800 students or more in an incoming cohort. the average us medical school takes on about 150 students per incoming class. with class sizes so large, the learning environment can feel very impersonal, making it difficult to get to know one’s professor or receive the proper attention from school officials. these larger schools have a reputation of being sink-or-swim, casting a wide admissions acceptance net but weeding out a large portion of the class.
there are many smaller caribbean medical schools with class sizes more in-line with us and canadian schools. beware of schools that are abnormally small (less than 50 students in a september class), as it may signal that they are not on a sustainable course. usually this is a sign of mismanagement or poor academic quality.
attrition / retention rates
some schools are known to have very high attrition rates, meaning a high percentage of each incoming class does not graduate due to academic failure and dropout.
cost
the cost of caribbean medical schools can vary dramatically. some schools charge a higher tuition price than most us medical schools. other schools may be extremely affordable, but students should be wary of strikingly low tuition prices, as it may signal that the school is a “fly-by-night,” lacking in the proper resources to offer a quality medical education.
faculty
the quality of academic faculty can vary widely between caribbean medical schools. reputable schools will hire faculty out of us and canadian medical school teaching positions, so that the teaching quality is almost entirely comparable to a domestic school. less reputable schools will mostly hire international faculty and those less qualified to teach to the us and canadian medical licensing exams and clinical systems.
campus and facilities
the quality of basic science campuses and facilities can vary widely, with some schools having massive, state-of-the-art campuses rivaling any us medical school, and others operating out of rundown buildings resembling little more than a strip-mall. students should be most wary of smaller, lesser known schools that may not have the resources or experience to build a proper academic campus.
clinical network
one of the most important factors to consider is the quality of the school’s clinical network. the entire second half of medical school takes place in teaching hospitals, where students will rotate through the various aspects of medicine such as psychiatry, internal medicine and surgery. it is essential that the caribbean medical school has enough clinical spots for their students. to do this, the school must contract with teaching hospitals in the us and canada. schools with limited resources or inexperienced leadership may lack the ability to build a quality clinical network. in addition, schools which have grown too large may exceed the number of students that they have clinical capacity for.
usmle and mccee preparation and pass rates
in order to practice medicine in the us and canada, graduates from medical schools both foreign and domestic must pass either the us medical licensing exam (usmle) or the medical council of canada qualifying examination (mccee). licensing exams also serve an important function in that they are used by residency programs to assess the quality of candidates. in the us, scoring higher on the usmle generally correlates to a higher likelihood of matching into one’s desired residency.
higher specialization type residencies such as surgery and dermatology almost always go to students with higher usmle scores. failing a licensing exam such as the usmle, particularly step 1 (there are 3 steps total), which tests students on their knowledge gained from basic science, dramatically reduces one’s chance of gaining a residency. therefore, it is essential that a student not only pass the usmle or mccee on the first try, but that they score as high as they possibly can.
success on the licensing exams is greatly affected by the school’s quality of education during basic science, which is why usmle and mccee passing rates are often used as a proxy for school quality. many schools go above and beyond to offer intensive in-the-classroom usmle preparation from organizations such as kaplan.
the importance of national licensing exams be overstated. students should carefully look at the caribbean medical school’s usmle passing rates, usmle preparation, and also at the factors affecting basic science education such as class size, campus and library facilities, faculty experience, etc.
residency guidance and coaching
at the end of the day, getting a residency is what matters. but even after going to medical school and passing one’s licensing exams, getting a residency is no easy task. we will cover residency much more in-depth later on. for the purpose of this section, students should be cognizant that applying to and getting residency is a very strategic matter. getting the residency of your dreams is an outcome of matching your credentials with realistic expectations, and applying intelligently and broadly to multiple programs. some schools will go above and beyond to coach and train their students on the residency match process, so that they are fully informed and prepared for this confusing and stressful process. the student affairs office at umhs provides this service to our medical students.
residency match lists
the proof is in the pudding. this is the most important outcome you should be looking at when evaluating a caribbean medical school. pay careful attention to the types of residencies and where students are being placed. in addition, compare the residency match list with the average class size. this will give you a good approximation of the school’s actual attrition and residency placement prospects. see umhs residency match results.
caribbean medical school accreditation
accreditation for caribbean medical schools can be a confusing topic. to help explain, i have split the various accreditations into three levels. only the most basic, first level of accreditation is needed for the graduates of a caribbean medical school to be able to apply for residency and practice in the us or canada. yet there are many levels of accreditation, which correlate to increased recognition and prestige for the school, as well as increased opportunities for their students and graduates. students should pay particular attention to how each level of accreditation affects where they can get residency and practice medicine (most pertinent for individual state approvals in the us).
first level – accreditation by the caribbean country where school is located allows the school to be listed on the international medical education directory (imed) the most basic level of accreditation needed for students from this school to be able to apply for residency in the us or canada
– accreditation by the caribbean country where school is located second level – accredited by an ncfmea recognized accrediting body national committee on foreign medical education and accreditation (ncfmea) is a division of us department of education ncfmea deems whether an international medical school accrediting body is equivalent to the standards of the liaison committee of medical education’s (lcme), the body which accredits us and canadian medical schools two main accrediting bodies for caribbean medical schools are: accreditation commission on colleges of medicine (accm) caribbean accreditation authority for education in medicine and other health professions (caam-hp) having accm or caam-hp accreditations allow caribbean schools to apply for certain state approvals and federal student loans
– accredited by an ncfmea recognized accrediting body third level – state approvals only some us states have individual application and approval processes for foreign medical schools each of these states is different in the scope and meaning of their approval florida without approval = no clinical rotations for students in that state new york without approval = limited clinical rotations, no residency in that state, but yes to licensure after becoming licensed in another state first georgia without approval = limited clinical rotations, no residency, but yes to licensure after becoming licensed in another state first california without approval = no clinical rotations, residency, or licensure in that state some states also look to california and follow the same ruling until a school gets california approval as of january 1, 2020, california approval will dramatically change will recognize all foreign medical schools recognized by an lcme equivalent accrediting body, and is listed by imed/faimer
– state approvals
financial aid
medical school is an expensive investment no matter which school you choose. yet this expenditure can be exacerbated based on the quality and type of financial aid that the school offers. types of financial aid at caribbean medical schools include:
no financial aid
private loans
federal student loans
scholarships
generally, the level of financial aid offered by a caribbean medical school will correlate to the level of accreditations the school has attained. both us and canadian federal student loans may be available to students at certain caribbean medical schools. federal loans are the most desirable because they offer the lowest interest rates. private loans may be offered by any number of lenders such as banks, student loan specialty lenders such as sallie mae, or by the schools themselves. these loans may cover the full cost of attendance and be similar in scope to federal loans, but usually have slightly higher interest rates. some schools may offer scholarships based on need or merit. the lowest quality schools will have limited to no financial aid and scholarships.
doing your due diligence
now that you know what criteria to evaluate a caribbean medical school by, time to go out and get the right information. as any student who’s begun the search into caribbean medical schools knows, this is no easy task. what follows is a basic guide for how to navigate through the vast sea of information about caribbean medical schools.
speak to current students and alumni
firsthand information is key when evaluating a caribbean medical school, and no one can better share the real experience at and quality of a school as the students and alumni who attended. ask the admissions office to put you in touch with current students and alumni. if the school do this then they are probably not worth evaluating. once you get in touch with some students or alumni, here are some essential questions to ask:
what do you like about the school?
what you like about the school?
how would you rate the overall quality of the education?
how accessible are the faculty?
is the administration receptive to student needs?
how big are the class sizes?
what is the drop out and failure rate (attrition)?
is the campus conducive to learning?
what is the quality of the anatomy lab?
what is the student to cadaver ratio like? are many students crowded around just one cadaver?
is there a vibrant campus life?
what kinds of student clubs and social activities are available?
does the school assist with student housing? do they have dorms or apartments?
is the island safe?
what is life like on the island where the school is located? is there much to do?
what kind of preparation is given for usmle step 1?
what is the usmle first time pass rate?
how is the quality of the clinical rotations?
do students ever have to wait a long time between clinical placements?
do the majority of students gain residency after graduation?
does the school advise and help students to plan for residency? do they provide residency interview coaching?
explore caribbean medical schools on social media
checking out a caribbean medical school on social media is a great way to learn more about them. look for photos and videos from their instagram, facebook and youtube accounts to see what their campus and student life is like. also look for student accounts and content to see if the student perspective corroborates the school’s message.
visit campus
once you’ve narrowed down your search to just a few contenders, you should strongly consider planning a visit to check these schools out in-person. obviously, this could be a costly endeavor between flights and hotels. however, given the immense size and scope of your investment in medical education, the few thousand dollars it will cost to evaluate your final selection in-person is a worthwhile tradeoff. some caribbean medical schools will even offer a tuition discount or financial incentive to visit their campus. for example, umhs offers a $500 tuition credit for students who visit campus ($1,000 if a friend or family member joins you).
visiting campus is the only real way to evaluate the quality of the campus, academic facilities, and faculty for yourself. as students from some caribbean medical schools have learned the hard way, marketing can depict a very different picture of what the campus and school actually are. make the mistake of attending a school that misrepresents itself and offer the quality education you need to succeed.
read caribbean medical student blogs
peruse the web for some written firsthand accounts of students from the various caribbean medical schools. there are some excellent blogs out there that do a superb job of articulating the student experience and various pros/cons of the schools these students attend.
list of medical student blogs from the university of medicine and health sciences (umhs):
talk to caribbean medical school admissions staff
you’ll want to speak with the admissions staff of any school you are considering attending. they will be the best source of information on the application process, financial aid, and certain academic outcomes, but also important to know when to take what they say with a grain of salt. in the end they provide just another source of information to corroborate what you’ve learned so far.
read caribbean medical school forums and review websites
sites like valuemd, studentdoctor.net and reddit can offer some value as an alternate point of reference, but we would strongly caution against using these as a major source of information. as anonymous forums with limited user accountability, impossible to know who is writing the information and how accurate it may be. often they attract little attention from the majority of students who are working hard and succeeding in medical school. instead they become echo chambers for the students who are not succeeding, or a place for competing schools to slander one another.
caribbean medical schools and residency
on the path to becoming a fully licensed doctor, residency is the next step after graduating medical school, and it is your first paid job as a physician. it is where you choose your specialization and fully immerse yourself in clinical apprenticeship. if you’re not already familiar with what a medical residency is, read this article for a brief primer.
if getting into medical school is the first great hurdle to becoming a doctor, matching into a residency position is the second. getting a residency is no easy task, no matter where you go to medical school, but going to a caribbean medical school can create some additional challenges that students should be aware of.
many of the criteria describing the quality and types of caribbean medical schools boil down to how the school will help or hinder your chances for matching into a residency program. doing your due diligence to choose a quality medical school that fits your learning style is essential for maximizing your chances of getting a residency. a quality school with competent faculty, extensive learning resources, adequate campus and facilities, proper usmle preparation, and added residency application guidance will give you all of the necessary ingredients to succeed. after that the onus is on the student.
in general, going to a caribbean medical school does not preclude you from getting a residency in the us. if you perform well in medical school, on your licensing exams, and apply strategically and intelligently, you have a high likelihood of matching in the us. getting a residency in canada can be very challenging for caribbean medical school graduates, but luckily canadians can compete dually in both the us and canadian residency matches. most canadians who go to caribbean medical schools will take a residency in the us, and then return to practice in canada after finishing residency.
caribbean medical school graduates who do not match will almost always fall into one of these two camps:
failed one or more steps of the usmle applied too narrowly to residency programs only went after highly competitive residencies in a certain specialty type or in high-demand locations such as new york city or miami even with a competitive usmle score and gpa, students may find themselves without residency if they apply to a smart mix of reach and safety positions across specialty types and geographic locations
residency challenges for caribbean medical school graduates
although going to a caribbean medical school does not preclude you from matching into any specific type of residency, the truth is that a much higher percentage of caribbean medical school graduates will go into primary care residencies than their domestic counterparts. this is due to several reasons, including:
higher specialization residencies correlate to higher usmle scores domestic medical school graduates on average have higher usmle scores than caribbean medical school graduates
majority of domestic medical school graduates go after higher specialization type residencies over primary care want to choose higher paying career paths which generally correlate to specializations such as dermatology, anesthesiology, etc. exacerbated by a lack of diversity in domestic medical schools some bias against imgs by residency directors
if getting a specialized residency is your goal, you should know that going to a caribbean medical school does not mean that an impossibility. it just presents some additional challenges that students should be well aware of and have a strategy in place to overcome. excelling on the usmle is a must. another important component is to conduct core and elective clinical rotations in hospitals where you expect to apply for residency. use this time to network with hospital staff and show your quality as a clinician to residency directors. caribbean medical school graduates who succeed in getting ultra-competitive residencies almost always do so for a combination of these reasons.
takeaway
caribbean medical schools are a viable alternative for those who cannot get into a us or canadian medical school. the best caribbean medical schools have state-of-the-art facilities, outstanding faculty, thorough usmle preparation, us or canadian based clinical rotations, and extensive residency placement track records. some caribbean medical schools are not of comparable quality to domestic medical schools, and students must conduct careful due diligence to steer clear of these schools.
at the end of the day, no matter where you go to medical school, the onus is on you, the student, to work hard and work intelligently. choose a medical school that will maximize your chances for getting a residency, but take responsibility for your own effort and abilities. remember that medical school is a marathon, and going to a caribbean medical school is no different, albeit a slightly warmer one. | du ju rɪˈmɛmbər 2007 ðə ɪˈkɑnəmi wɑz ˈbumɪŋ (ər soʊ wi wər toʊld) ənd ðə ˈgəvərnmənt wɑz sˈwægərɪŋ. ðɪs wɑz ɔl du tɪ ðɛr ˈwɪzdəm ənd ˈɛksələnt ˈmænɪʤmənt ðeɪ toʊld ˈjuˈɛs. θroʊ ɪt əˈweɪ, ðeɪ toʊld ˈjuˈɛs, baɪ ɪˈlɛktɪŋ ðət ˈəðər kraʊd, ər ˈivɪn wərst stɪl, ðoʊz ˈlɛftɪsts hu maɪt traɪ tɪ ˈrɛgjəˌleɪt ðə ˈprɑpərti ˈmɑrkɪt. ðɛr ɪz wɑz noʊ dəˈbeɪt ˈoʊvər ˈwɛðər ðə ˈprɑpərti bum wɑz səˈsteɪnəbəl ər ɪf ðə bæŋks wər ˈprɑpərli ˈrɛgjəˌleɪtɪd. ðoʊz hu kˈwɛsʧənd ɪf ɔl pɑrts əv soʊˈsaɪɪti wər ˈbɛnəfɪtɪŋ ər ɪf ðə ˈgəvərnmənt ˈrɪli nu wət ɪt wɑz duɪŋ wər dɪsˈmɪst ɛz moaners*. kˈwɛsʧənz ˈoʊvər ˈwɛðər ˈgɪvɪŋ tæks kəts soʊ ðət ˈpipəl kʊd baɪ ˈbɪgər ˈhaʊsɪz wɑz ðə bɛst juz əv ˈrisɔrsɪz wər ˌɪgˈnɔrd. ðə ˈsɪstəm wɑz ˈwərkɪŋ soʊ kˈwɛʃən ɪt. du ju rɪˈmɛmbər ðə 2007 ɪˈlɛkʃən? ðə pəˈlɪtɪkəl ˈpɑrtiz fɛl ˈoʊvər ðɛmˈsɛlvz ɪn ðə rəʃ tɪ si hu kʊd braɪb ˈvoʊtərz ðə moʊst. ðɛr wɑz noʊ ˈplænɪŋ, noʊ ˈvɪʒən fər ðə fˈjuʧər, ʤɪst pjʊr ˈɔkʃən ˈpɑləˌtɪks dɪˈzaɪnd ˈsoʊəli tɪ wɪn ðə ɪˈlɛkʃən. ˈniðər fiˈænə, faɪn geɪl nɔr ˈivɪn ˈleɪbər hæd ˈɛni kənˈsərnz əˈbaʊt ðə ˈprɑpərti bum, ðeɪ ˈoʊnli skˈwɑbəld ˈoʊvər haʊ məʧ ˈtæksɪz ʃʊd bi kət baɪ. ðeɪ ɔl əˈgrid ðət ðə bɛst weɪ tɪ ˈmænɪʤ ðə ˈmɑrkɪt wɑz tɪ gɪt aʊt əv ɪts weɪ ənd lɛt ɪt kriˈeɪt wɛlθ. ðə aɪˈdiə ðət ˈmɑrkɪts ʃʊd bi lɛft əˈloʊn wɑz wən əv ðoʊz θɪŋz ðət səˈpoʊzədli ˈɛvriˌwən nu. ðət ənd ðət haʊs ˈpraɪsɪz ˈɔlˌweɪz raɪz. wi ɔl noʊ wət ˈhæpənd nɛkst. ɪt tərnz aʊt ðət ən ənˈmænɪʤd ɪˈkɑnəmi ɪz laɪk ən ˌənkənˈtroʊld faɪər. ðə ˈgəvərnmənt wɑz səˈpraɪzd tɪ faɪnd ðət jɪrz əv tæks kəts hæd lɛft ðə steɪt əˈneɪbəl tɪ peɪ ðə bɪlz. ˈlivɪŋ ðə ˈmɑrkɪt tɪ ɪts oʊn dɪˈvaɪsɪz meɪd ɪt ˈrɛkləs ənd ˈgridi. ðə ˈræmpənt ˈspɛkjələtɪv ˈbəbəl əv ˈrɛkləs loʊnz fər ˈoʊvərˌpraɪst ˈhaʊsɪz kəˈlæpst ɪn ə spɛkˈtækjələr ˈmænər. bæŋks tʊk juʤ ˈgæmbəlz ðət wɛnt bæd. ðə ɪˈkɑnəmi wɛnt ˈɪntu ə stip dɪˈklaɪn ənd ɪt simd ðət ðə nuz hæd ˈnəθɪŋ bət ʤɑb ˈlɔsɪz ənd bæd nuz ˈɛvəri deɪ. bæŋks gɑt beɪld aʊt ənd ðə rɛst əv ˈjuˈɛs gɑt ˈʃæftɪd. æt list aɪ θɪŋk wi ɔl noʊ ðət, bət ɪt simz ðət ˈpipəl hæv ɔˈrɛdi fərˈgɑtən. ɪt ɪz ɪˈlɛkʃən taɪm əˈgɛn, bət ɪt simz ðət moʊst ˈpipəl ər ˈæktɪŋ ɛz ɪf ˈnəθɪŋ ʧeɪnʤd sɪns 2007 jɛt əˈgɛn ðə ɪˈlɛkʃən ɪz ˈlɪtəl mɔr ðən ən ˈɔkʃən əv hu kən kət ˈtæksɪz ðə moʊst. ðɛr ɪz stɪl noʊ lɔŋ tərm ˈplænɪŋ, stɪl noʊ θɔt əˈbaʊt wət kaɪnd əv ˈneɪʃən wi wɔnt tɪ bi. ɛz ɪf ðə ˈsɛltɪk ˈtaɪgər ˈnɛvər ˈɛndɪd, wi hæv ˈməni təˈdeɪ, soʊ hu kɛrz əˈbaʊt təˈmɑˌroʊ? ˌæbsəˈlutli ˈnəθɪŋ həz bɪn dən əˈbaʊt ðə rut kɔz əv ðə ˈkraɪsəs. ˈɛvriˌwən noʊz ðə bæŋks wər ˈdʊrɪŋ ðə bum, bət noʊ nu ˌrɛgjəˈleɪʃənz hæv bɪn pæst tɪ ˈstrɛŋθən kənˈtroʊl ər ɪnˈʃʊr ðət bæŋks ər lɛs ˈrɛkləs ɪn ðə fˈjuʧər. nɔr həz ˈɛniˌθɪŋ bɪn dən tɪ prɪˈvɛnt əˈnəðər ˈprɑpərti ˈbəbəl frəm ˈfɔrmɪŋ. ɪn fækt, ˈmɛni stɪl si ə raɪz ɪn haʊs ˈpraɪsɪz ɛz ə saɪn əv rɪˈkəvəri ənd groʊθ ɪn ðə ɪˈkɑnəmi. ˈfɑlən ɔf ə klɪf ənd hæv dən ˈnəθɪŋ tɪ prɪˈvɛnt ɪt ˈhæpənɪŋ ɪt əˈgɛn. ðə kɔr bɪˈlif əv ðə meɪn pəˈlɪtɪkəl ˈpɑrtiz ɪz rɪˈmɑrkəbli ənˈʧeɪnʤd. ðeɪ stɪl bɪˈliv ðə ˈmɑrkɪt wərks bɛst wɪn lɛft kəmˈplitli əˈloʊn. ðeɪ stɪl əˈvɔɪd ˌɪnˈvɑlvɪŋ ðə ˈgəvərnmənt ɪn ðə ˌɛkəˈnɑmɪk ˈsaɪkəl, prɪˈfərɪŋ tɪ ˈfɑloʊ ðə ˈsaɪkəl ðən ʧeɪnʤ ɪt. ɪn ə ˈdɛkeɪd ər soʊ ðɛr wɪl bi əˈnəðər ˌriˈsɛʃən (ðɛr ɪz ˈɔlˌweɪz wən ə ˈdɛkeɪd ɔn ˈævərɪʤ) wɪʧ wɪl teɪk ˈjuˈɛs baɪ kəmˈplit səˈpraɪz əˈgɛn. aɪ daʊt lərn məʧ frəm ðət wən ˈiðər. ˈhɪstəri rɪˈpits ˌɪtˈsɛlf, fərst ɛz ˈtræʤədi, ðɛn ɛz fɑrs. ər rɪˈmɛmbər ðə læst ɪˈlɛkʃən ɪn 2011 ɔl ðə ˈprɑməsəz ðət faɪn geɪl ənd ˈleɪbər meɪd? haʊ ðeɪ əˈpoʊzd ɔl ðə ˈkətˌbæks ənd ˈvoʊtɪd əˈgɛnst ˈɛvəri ˈgəvərnmənt ˈbəʤɪt? haʊ ðeɪ əˈpoʊzd ðə fiˈænə plænz fər ˈwɔtər ˈʧɑrʤɪz ənd ə ˈprɑpərti tæks? haʊ ðeɪ ˈvoʊtɪd əˈgɛnst ðə ˈwɛlˌfɛr kəts ənd (ˈleɪbər ɪn ˌpɑˈtɪkjələr) ˈprɑməst ðeɪ wʊd nɑt du ðə seɪm? haʊ ðeɪ dɪˈnaʊnst ðə bæŋk ˌgɛrənˈti ənd ˈbeɪˌlaʊt, ənd haʊ ðeɪ wʊd stænd əp fər ˈtækˌspeɪərz ənd fɔrs ðə ˈbɑnˌdhoʊldərz tɪ teɪk ðɛr ʃɛr əv ðə ˈbərdən? haʊ ðeɪ əˈpoʊzd ˈstudənt fiz wɪʧ ˈleɪbər wʊd əˈbɑlɪʃ ənd faɪn geɪl wʊd ˌriˈpleɪs wɪθ ˈstudənt loʊnz? haʊ faɪn geɪl hæd ə faɪv pɔɪnt plæn tɪ gɪt ˈaɪərlənd ˈwərkɪŋ? ðət ðeɪ wʊd kriˈeɪt ə kəmˈplitli nu, ˌjunəˈvərsəl ˈhɛlθˌkɛr ˈsɪstəm ðət wʊd wərk fər ˈjuˈɛs ɔl? ənd ɔn ənd ɔn. aɪ θɪŋk fərˈgɑtən. aɪ θɪŋk fərˈgɑtən ɔl ðə laɪz ənd ˈbroʊkən ˈprɑməsəz ənd ər ˈrɛdi tɪ bi fuld ɔl ˈoʊvər əˈgɛn. ˈpipəl hu ə fju jɪrz əˈgoʊ wər soʊ fˈjʊriəs æt ðə bæŋk ˈbeɪˌlaʊts ər naʊ ˈkɑntɛnt tɪ voʊt fər ðə ˈpipəl hu ˈɪmpləˌmɛnəd ðɛm. ˈpipəl hu swɔr ˈnɛvər əˈgɛn ˈæftər ðə ˈmaʊntən əv ˌənɪmˈplɔɪmənt ər ˈsætɪsˌfaɪd ðət ““only”*” ˈpipəl ər ˌənɛmˈplɔɪd. ˌənɪmˈplɔɪmənt ɪz ə kəˈtæstrəfi ˈɛniˌwɛr ɛls, bət ˈaɪərlənd ə səkˈsɛs. ˈpipəl seɪ ðət ɪˈlɛkʃən ˈprɑməsəz ɪgˈzɪst tɪ bi ˈbroʊkən ənd ˌpɑləˈtɪʃənz ˈɔlˌweɪz meɪk fɔls ˈprɑməsəz. waɪl aɪ ˌəndərˈstænd ðə ˈsɪnɪˌsɪzəm, aɪ θɪŋk ðə səˈluʃən əv ˈvoʊtɪŋ fər ðoʊz hu soʊ ˈbleɪtəntli laɪd tɪ ˈjuˈɛs ɪz goʊɪŋ tɪ sɑlv ðə ˈprɑbləm. ɪz ɪt ˈɛni ˈwəndər ˌpɑləˈtɪʃənz laɪ wɪn ðeɪ noʊ ˈpipəl wɪl stɪl voʊt fər ðɛm ˈɛniˌweɪ? ˈmædnəs ɪz duɪŋ ðə seɪm θɪŋ əˈgɛn ənd əˈgɛn ənd ɪkˈspɛktɪŋ ˈdɪfərənt rɪˈzəlts. kənˈtɪnjuəli ˈvoʊtɪŋ fər laɪərz ɪn ðə hoʊp ðət ðeɪ ɪˈvɛnʧəwəli tərn ˈɑnəst ɪz nɑt ə ˈstrætəʤi aɪ wʊd ˌrɛkəˈmɛnd. ʤɪst ɛz ɪn 2007 ðə ˈgəvərnmənt ɪz ˈrənɪŋ ɔn ðə ˈplætˌfɔrm ðət ðɛr sʊˈpərb ˈmænɪʤmənt həz kɔzd ðə ɪˈkɑnəmi tɪ bum. ɛz ɪn 2007 ðɪs ɪz mɔr əv ə keɪs əv ðə ˈgəvərnmənt biɪŋ ɪn ðə raɪt pleɪs æt ðə raɪt taɪm. ɪn ˌriˈæləˌti, ðə ˈgəvərnmənt həz fɑr lɛs kənˈtroʊl ˈoʊvər ðə ɪˈkɑnəmi ðən ðeɪ wʊd laɪk ˈjuˈɛs tɪ bɪˈliv, æt list wɪn ðɛr ɪz ˌɛkəˈnɑmɪk groʊθ duɪŋ wɛl. wɪn ə ˌriˈsɛʃən, ˈsədənli ðə ˈnɛrətɪv flɪps ənd ə hoʊst əv ɪkˈstərnəl ˈfæktərz ˈsədənli bɪˈkəm ɪkˈstrimli ˌɪnfluˈɛnʃəl. aɪ feɪl tɪ si haʊ fɔr jɪrz əv stægˈneɪʃən ənd wən jɪr əv groʊθ ɪz ə greɪt əˈʧivmənt wərθ ˈboʊstɪŋ ˈoʊvər. ðə fækt ˈpipəl stɪl faɪnd wərk, tɪ seɪ ˈnəθɪŋ əv ðoʊz hu kən ˈoʊnli faɪnd loʊ peɪd ˈtɛmpərˌɛri wərk ər priˈtɛnd ʤɑbz ðə ˈgəvərnmənt ˈjuzɪz tɪ priˈtɛnd ðə ˌənɪmˈplɔɪmənt reɪt ɪz loʊər. kənˈsɪdərɪŋ haʊ ˈmɛni ˈpipəl hæv ˈɛməˌgreɪtɪd, noʊ səˈpraɪz ðət ðə ˌənɪmˈplɔɪmənt reɪt həz drɑpt. wɪn hɪˈstɔriənz lʊk bæk ɔn ðɪs ˈpɪriəd, ðeɪ wɪl ˈprɑbəˌbli kɔl ɪt ə lɔst ˈdɛkeɪd ər ˈivɪn ə lɔst ˌʤɛnərˈeɪʃən. fər səm streɪnʤ ˈrizən, ˈaɪrɪʃ ˈpipəl hæv ən əbˈsɛʃən wɪθ ɪˈlɛktɪŋ ə ˈloʊkəl ˌpɑləˈtɪʃən. kˈwɛsʧənz əv ˈwɛðər ðə ˌpɑləˈtɪʃən ɪz ˈæˌkʧuəli ˈkeɪpəbəl əv duɪŋ ðɛr ʤɑb ˈɔfən simz tɪ bi ˈsɛkənˌdɛri tɪ haʊ kloʊz ðɛr haʊs ɪz tɪ jʊr haʊs. ɔn ˈkænvəsɪz sin ˈvoʊtərz riækt wɪθ dɪˈsteɪst wɪn ðeɪ faʊnd aʊt ðə ˈkænədɪt wɑz frəm ə taʊn tɛn maɪəlz əˈweɪ, ɛz ɪf ɪt wɑz ðə ˈəðər saɪd əv ðə wərld. maɪ hoʊm həz ɪts oʊn ˈloʊkəl hu ɪz ˈrɛgjələrli ɪˈlɛktɪd dɪˈspaɪt ðə fækt hi ɪz kəmˈplitli ˈkluləs ənd ˌɪnˈkɑmpətənt. ðə streɪnʤ θɪŋ ɪz ðət moʊst ˈpipəl noʊ ðɪs. nɑt ˈivɪn hɪz səˈpɔrtərz wʊd kleɪm hi ɪz smɑrt ər həz ˈɛni gʊd aɪˈdiəz (ər ˈɛni aɪˈdiəz æt ɔl), ˌɪnˈstɛd ðə fækt ðət frəm ðə ˈpɛrɪʃ ɪz ɪˈnəf. hi drɪŋks ɪn ðə ˈloʊkəl pəb ənd ˈpipəl si ɪm əraʊnd ðə taʊn, ˈprɑbəˌbli bɪˈkəz hi ˈrɛrli ˈbɑðərz tɪ ˈivɪn goʊ tɪ ðə. hi fɪkst ðə ˈpɑˌthoʊlz, gɑt ˈtræfɪk laɪts æt ðə ˈkrɔsˌroʊdz (æt list hi kleɪmz) ənd həz ðə seɪm ˈsərˌneɪm ɛz hæf ðə ˈpɛrɪʃ. hi ˈɔlsoʊ səˈpɔrtɪd ðə ˈpɑləsiz ðət lɛd tɪ ðə ˈprɑpərti ˈbəbəl ənd əˈpoʊzd ɔl ˈmɛʒərz ðət wʊd hæv prɪˈvɛnɪd ðə dɪˈzæstər. hi dɪd ˈnəθɪŋ əˈbaʊt ðə ˈgeɪpɪŋ ˌɪnɪkˈwɑləti ɪn ˈaɪərlənd ər ðoʊz hu wər lɛft bɪˈhaɪnd. hi ˈvoʊtɪd fər ɔl ðə ˈbəʤɪt kəts ðət skrud ˈoʊvər ðə pur ənd ˈvəlnərəbəl ɛz wɛl ɛz ðə bæŋk ˈbeɪˌlaʊts ðət prəˈtɛktɪd ðə rɪʧ ənd ˈpaʊərfəl. ˈθaʊzənz əv ˈwɪmən ˈsikrɪtli fli tɪ ˈɪŋglənd tɪ gɪt əˈbɔrʃənz bɪˈkəz ˈpipəl laɪk ɪm kɛr. ɑr ˈhɛlθˌkɛr ˈsɪstəm ɪz ə mɛs ðət ðə wɛlθ ˈoʊvər ðɛr hɛlθ ənd laɪk ɪm ər duɪŋ ˈnəθɪŋ əˈbaʊt ɪt. hɪz ˈoʊnli əˈkɑmplɪʃmənt ɪz tɪ hæv wən əv ðə loʊəst ˈspikɪŋ taɪmz ɪn ðə hoʊl waɪl ˈɔlsoʊ ˈhævɪŋ wən əv ðə haɪəst ɪkˈspɛns kleɪmz. (ðɪs ɪz ə ˈpɛrədi, bət ˈmɛni teɪk ɪt ɛz ədˈvaɪs) ðə fækt frəm maɪ ˈloʊkəl ˈpɛrɪʃ du mi ə dæm pis əv gʊd wɪn aɪ spɛnt mənθs ˈlʊkɪŋ fər wərk. hi maɪt bi maɪ ˈneɪbər bət ðət stɑp ɪm frəm ˈhaɪkɪŋ maɪ ˈstudənt fiz waɪl æt ðə seɪm taɪm sˈlæʃɪŋ maɪ ˈweɪʤɪz ɛz ˈpəblɪk ˈsərvənts. lɔŋ ˈæftər rɪˈtaɪrd (ɔn ə ˈpɛnʃən ˈlɑrʤər ðən ˈɛniˌθɪŋ aɪ kən drim əv ˈərnɪŋ) stɪl bi peɪɪŋ ɔf ðə dɛts kɔzd baɪ ðə bæŋks ˈrɛkləsnəs. ðə fækt ðət hi lɪvz ɪn ðə ˈloʊkəl ˈpɛrɪʃ ɪz ˈprɪti ˈminɪŋləs wɪn soʊ fju əv maɪ frɛndz ənd ˈfɔrmər ˈskulˌmeɪts stɪl du, soʊ ˈmɛni ər naʊ ˈwərkɪŋ əˈbrɔd. ˈæˌkʧuəli ˈlɪvɪŋ ɪn sˌloʊˈvɑˌkiə æt ðə ˈmoʊmənt, bɪˈkəz æt list hir aɪ kʊd faɪnd ə ʤɑb wərθ duɪŋ. hi laɪkt tɪ teɪk ˈkrɛdɪt fər ðə ˈsɛltɪk ˈtaɪgər ənd haʊ ɪt wɑz du tɪ ðə waɪz ˌɛkəˈnɑmɪk ˈpɑləsiz hi səˈpɔrtɪd. hi wʊd laɪk ɪf wi ɔl fərˈgɑt ðət ðiz seɪm ˈpɑləsiz ˈnɪrli ˈbæŋkrəptɪd ðə ˈkəntri. ˈizi tɪ bi ˈsɪnɪkəl əˈbaʊt ˈaɪrɪʃ ˈpɑləˌtɪks ənd θɪŋk ɪt kən ˈnɛvər bi ʧeɪnʤd. bət wi kən ʧeɪnʤ ˈsəmθɪŋ, ˈivɪn ɪf nɑt məʧ. ɑr voʊts kaʊnt fər ˈsəmθɪŋ ənd ɪf wi juz ðɛm, ðɛn wi lɛt ðə ˌpɑləˈtɪʃənz wɪn. ɪf wi sɛl ɑrˈsɛlvz ʃɔrt ənd kip ˈvoʊtɪŋ fər ˌpɑləˈtɪʃənz ˈivɪn ˈæftər ðeɪ breɪk ðɛr ˈprɑməsəz ʤɪst bɪˈkəz ˈloʊkəl, ðɛn wi ər ˈoʊnli rɪˈwɔrdɪŋ ðə ˈvɛri θɪŋz ðət ər ˈruɪnɪŋ ˈaɪrɪʃ ˈpɑləˌtɪks. ɛz sun ɛz aɪ hɛd ðə ɪˈlɛkʃən wɑz kɔld, aɪ bʊkt maɪ pleɪn ˈtɪkɪt hoʊm frəm sˌloʊˈvɑˌkiə. hæf ðə ˈkəntri meɪ hæv ˈlərnɪd ˈnəθɪŋ frəm ðə ˈkraɪsəs, bət aɪ rɪˈmɛmbər. ˈædvərˌtaɪzmənts |
do you remember 2007? the economy was booming (or so we were told) and the government was swaggering. this was all due to their wisdom and excellent management they told us. don’t throw it away, they told us, by electing that other crowd, or even worst still, those leftists who might try to regulate the property market. there is was no debate over whether the property boom was sustainable or if the banks were properly regulated. those who questioned if all parts of society were benefiting or if the government really knew what it was doing were dismissed as moaners. questions over whether giving tax cuts so that people could buy bigger houses was the best use of resources were ignored. the system was working so don’t question it.
do you remember the 2007 election? the political parties fell over themselves in the rush to see who could bribe voters the most. there was no planning, no vision for the future, just pure auction politics designed solely to win the election. neither fianna fáil, fine gael nor even labour had any concerns about the property boom, they only squabbled over how much taxes should be cut by. they all agreed that the best way to manage the market was to get out of its way and let it create wealth. the idea that markets should be left alone was one of those things that supposedly everyone knew. that and that house prices always rise.
we all know what happened next. it turns out that an unmanaged economy is like an uncontrolled fire. the government was surprised to find that years of tax cuts had left the state unable to pay the bills. leaving the market to its own devices made it reckless and greedy. the rampant speculative bubble of reckless loans for overpriced houses collapsed in a spectacular manner. under-regulated banks took huge gambles that went bad. the economy went into a steep decline and it seemed that the news had nothing but job losses and bad news every day. banks got bailed out and the rest of us got shafted.
at least i think we all know that, but it seems that people have already forgotten. it is election time again, but it seems that most people are acting as if nothing changed since 2007. yet again the election is little more than an auction of who can cut taxes the most. there is still no long term planning, still no thought about what kind of nation we want to be. it’s as if the celtic tiger never ended, we have money today, so who cares about tomorrow?
absolutely nothing has been done about the root cause of the crisis. everyone knows the banks were under-regulated during the boom, but no new regulations have been passed to strengthen control or ensure that banks are less reckless in the future. nor has anything been done to prevent another property bubble from forming. in fact, many still see a rise in house prices as a sign of recovery and growth in the economy. we’ve fallen off a cliff and have done nothing to prevent it happening it again.
the core belief of the main political parties is remarkably unchanged. they still believe the market works best when left completely alone. they still avoid involving the government majorly in the economic cycle, preferring to follow the cycle than change it. in a decade or so there will be another recession (there is always one a decade on average) which will take us by complete surprise again. i doubt we’ll learn much from that one either. history repeats itself, first as tragedy, then as farce.
or remember the last election in 2011? all the promises that fine gael and labour made? how they opposed all the cutbacks and voted against every government budget? how they opposed the fianna fáil plans for water charges and a property tax? how they voted against the welfare cuts and (labour in particular) promised they would not do the same? how they denounced the bank guarantee and bailout, and how they would stand up for taxpayers and force the bondholders to take their share of the burden? how they opposed student fees which labour would abolish and fine gael would replace with student loans? how fine gael had a five point plan to get ireland working? that they would create a completely new, universal healthcare system that would work for us all? and on and on.
i think we’ve forgotten. i think we’ve forgotten all the lies and broken promises and are ready to be fooled all over again. people who a few years ago were so furious at the bank bailouts are now content to vote for the people who implemented them. people who swore never again after the mountain of unemployment are satisfied that “only” 320,000 people are unemployed. 8.6% unemployment is a catastrophe anywhere else, but ireland it’s a success. people say that election promises exist to be broken and politicians always make false promises. while i understand the cynicism, i don’t think the solution of voting for those who so blatantly lied to us is going to solve the problem. is it any wonder politicians lie when they know people will still vote for them anyway? madness is doing the same thing again and again and expecting different results. continually voting for liars in the hope that they eventually turn honest is not a strategy i would recommend.
just as in 2007, the government is running on the platform that their superb management has caused the economy to boom. as in 2007, this is more of a case of the government being in the right place at the right time. in reality, the government has far less control over the economy than they would like us to believe, at least when there is economic growth doing well. when there’s a recession, suddenly the narrative flips and a host of external factors suddenly become extremely influential. i fail to see how four years of stagnation and one year of growth is a great achievement worth boasting over. the fact 320,000 people still can’t find work, to say nothing of those who can only find low paid temporary work or pretend jobs the government uses to pretend the unemployment rate is lower. considering how many people have emigrated, it’s no surprise that the unemployment rate has dropped. when historians look back on this period, they will probably call it a lost decade or even a lost generation.
for some strange reason, irish people have an obsession with electing a local politician. questions of whether the politician is actually capable of doing their job often seems to be secondary to how close their house is to your house. on canvasses i’ve seen voters react with distaste when they found out the candidate was from a town ten miles away, as if it was the other side of the world.
my home has its own local td who is regularly elected despite the fact he is completely clueless and incompetent. the strange thing is that most people know this. not even his supporters would claim he is smart or has any good ideas (or any ideas at all), instead the fact that he’s from the parish is enough. he drinks in the local pub and people see him around the town, probably because he rarely bothers to even go to the dáil. he fixed the potholes, got traffic lights at the crossroads (at least he claims) and has the same surname as half the parish.
he also supported the policies that led to the property bubble and opposed all measures that would have prevented the disaster. he did nothing about the gaping inequality in ireland or those who were left behind. he voted for all the budget cuts that screwed over the poor and vulnerable as well as the bank bailouts that protected the rich and powerful. thousands of women secretly flee to england to get abortions because people like him don’t care. our healthcare system is a mess that prioritises the patient’s wealth over their health and tds like him are doing nothing about it. his only accomplishment is to have one of the lowest speaking times in the whole dáil while also having one of the highest expense claims.
(this is a parody, but many take it as advice)
the fact he’s from my local parish didn’t do me a damn piece of good when i spent months looking for work. he might be my neighbour but that didn’t stop him from hiking my student fees while at the same time slashing my parent’s wages as public servants. long after he’s retired (on a pension larger than anything i can dream of earning) i’ll still be paying off the debts caused by the banks recklessness. the fact that he lives in the local parish is pretty meaningless when so few of my friends and former schoolmates still do, so many are now working abroad. i’m actually living in slovakia at the moment, because at least here i could find a job worth doing. he liked to take credit for the celtic tiger and how it was due to the wise economic policies he supported. he would like if we all forgot that these same policies nearly bankrupted the country.
it’s easy to be cynical about irish politics and think it can never be changed. but we can change something, even if it’s not much. our votes count for something and if we don’t use them, then we let the gombeen politicians win. if we sell ourselves short and keep voting for politicians even after they break their promises just because they’re local, then we are only rewarding the very things that are ruining irish politics. as soon as i head the election was called, i booked my plane ticket home from slovakia. half the country may have learned nothing from the crisis, but i remember.
advertisements | ɪf ju θɔt ˈmæŋgoʊ wɑz ðə biz niz, ʤɪst weɪt tɪl ju gɪt ə hoʊld əv əˈpɑloʊ noʊ, ˈsɪriəsli, kip ˈweɪtɪŋ 'kɔz wi hæv noʊ aɪˈdiə wɪn ðət wɪl ˈhæpən. waɪl wi stɪl kænt seɪ wɪn ˈwɪndoʊz foʊn 8 wɪl bi ˈmeɪkɪŋ ɪts weɪ tɪ ə ˈhændˌsɛt nɪr ju, wi du hæv kwaɪt ə fju nu ˈditeɪlz əˈbaʊt ðə ˈmoʊbəl ɑs ˈkərtəsi əv ðə foʊks ˈoʊvər æt pocketnow*. ðə saɪt ˈmænɪʤd tɪ snæg ə ˈkɑpi əv ə ˈvɪdioʊ ˈstɑrɪŋ ˈwɪndoʊz foʊn ˈmænɪʤər ʤoʊ bɛlfiˈɔri ˈtɔkɪŋ əˈbaʊt wəts ˈkəmɪŋ ɪn ðə nɛkst ˈmeɪʤər riˈvɪʒən. ðoʊz əv ju kənˈsərnd wɪθ ˈmaɪˌkroʊˈsɔfts ˌɪnəˈbɪlɪti tɪ goʊ toʊ tɪ toʊ wɪθ ˈæpəl ənd ˈgugəl ɔn spɛks kən brið ə bɪt ˈiziər ɛz nu skrin ˌrɛzəˈluʃənz (fɔr ɪn ˈtoʊtəl) ənd wɪl bi səˈpɔrtɪd, waɪl ðoʊz ˈklæmərɪŋ fər mɔr ˈstɔrɪʤ wɪl bi ˈhæpi tɪ hir ðət səˈpɔrt həz rɪˈtərnd ðɪs taɪm ɪn ən əˈfɪʃəl kəˈpæsɪti ˈraʊndɪŋ aʊt ðə nu ˈhɑrdˌwɛr ˈfiʧərz wɪl bi səˈpɔrt, ˌɪnˈkludɪŋ ðə bim -laɪk əˈbɪləˌti tɪ ʃɛr ˈkɑntɛnt baɪ ˈtæpɪŋ, ðoʊ, ˈɪtəl hæv ðə ædˈvæntɪʤ əv biɪŋ ˈeɪbəl tɪ ʃɛr wɪθ ˈwɪndoʊz 8 beɪst ˈtæbləts ənd ˈlæpˌtɑps ɛz wɛl. ənd, ˈspikɪŋ əv ˈwɪndoʊz 8 ɪts ˈsɪmələrli ˈnəmbərd, ˈsɪblɪŋ woʊnt ʤɪst ʃɛr ə ui*, ˈɪtəl hæv ˈmɛni əv ðə kɔr kəmˈpoʊnənts, ˌɪnˈkludɪŋ lɑrʤ ʧəŋks əv ðə ˈkərnəl, ˈnɛtˌwərkɪŋ stæk ənd sɪˈkjʊrəti ˈfiʧərz wɪʧ ʃʊd meɪk ˈpɔrtɪŋ æps frəm ðə ˈdɛskˌtɑp tɪ ðə ˈhændˌsɛt ə ˈrɛlətɪvli ˈsɪmpəl ɪˈnəf, ðə lɪst əv ˌɪmˈpruvmənts ˈdəzənt ɛnd ðɛr. ɪf juv bɪn ˈwəndərɪŋ wɪn ˈmaɪˌkroʊˈsɔft wɑz goʊɪŋ tɪ pʊt ɪts skaɪp ˌækwəˈzɪʃən tɪ gʊd juz, ˈwəndər noʊ mɔr. ə ˈwɪndoʊz foʊn æp fər ðə ˈsərvɪs wɪl ˈdeɪbju əˈlɔŋˈsaɪd əˈpɑloʊ ənd wɪl ˈfiʧər dip ˌɪnəˈgreɪʃən wɪθ ðə ɑs, ˌɪnˈkludɪŋ ðə əˈbɪləˌti tɪ pleɪs kɔlz ðə seɪm ɛz ju wʊd ˈstændərd vɔɪs kɔlz. ə nu lɪv taɪl ənd æp kɔld wɪl meɪk ɪt ˈiziər fər ˈjuzərz tɪ ˈmænɪʤ ðɛr ˈdætə ˈjusɪʤ ənd ɪnˈʃʊr ðeɪ doʊnt ɛnd əp ˈitɪŋ ˌɪnˈseɪn fiz. tɪ mɪlk ˈɛvəri læst bɪt aʊt əv ðət ˈdætə plæn ˈwɪndoʊz foʊn wɪl ˈfeɪvər ˈwiˌfi ˈoʊvər ə ˈsɛljələr kəˈnɛkʃən ənd kən bi ˈproʊˌgræmd tɪ ˌɔtəˈmætɪkli kəˈnɛkt tɪ wɪn ðɛr ɪn reɪnʤ. ənd, ɪf ðət wərənt ɪˈnəf, ˈmaɪˌkroʊˈsɔft plænz tɪ juz ˈprɑksi ˈsərvərz tɪ ˈkɑmprɛs wɛb ˈpeɪʤɪz ˌbiˈfɔr ˈfidɪŋ ðɛm tɪ ðə ˈmoʊbəl ˈvərʒən əv ˈɪntərˌnɛt ɪkˈsplɔrər 10 nɑt ənˈlaɪk ˈɑprə ˈmɪni ðoʊz əv ju hu ˈdaʊtɪd ðət ˈwɪndoʊz foʊn kʊd ˈæˌkʧuəli kip peɪs wɪθ ˈænˌdrɔɪd ənd ˈioʊs, naʊ maɪt bi ə gʊd taɪm tɪ ˌriɪˈvæluˌeɪt jʊr pəˈzɪʃən. hɪt əp ðə sɔrs lɪŋk fər ə fju mɔr ˈditeɪlz.: ɪf ju wɔnt tɪ gɪt ɔl əv ðə ˈditeɪlz ɪn ə nis ˈizi tɪ glæns lɪst hɛd ˈæftər ðə breɪk fər ə kənˈvinjənt ˈbʊlət pɔɪnt ˌprɛzənˈteɪʃən. |
if you thought mango was the bee's knees, just wait till you get a hold of apollo . no, seriously, keep waiting 'cause we have no idea when that will happen. while we still can't say when windows phone 8 will be making its way to a handset near you, we do have quite a few new details about the mobile os courtesy of the folks over at pocketnow. the site managed to snag a copy of a video starring windows phone manager joe belfiore talking about what's coming in the next major revision. those of you concerned with microsoft's inability to go toe to toe with apple and google on specs can breathe a bit easier as new screen resolutions (four in total) and dual-core cpus will be supported, while those clamoring for more storage will be happy to hear that microsd support has returned -- this time in an official capacity . rounding out the new hardware features will be nfc support, including the beam -like ability to share content by tapping, though, it'll have the advantage of being able to share with windows 8 based tablets and laptops as well. and, speaking of windows 8, its similarly numbered, phone-centric sibling won't just share a ui, it'll have many of the core components, including large chunks of the kernel, networking stack and security features -- which should make porting apps from the desktop to the handset a relatively simple affair.amazingly enough, the list of improvements doesn't end there. if you've been wondering when microsoft was going to put its skype acquisition to good use, wonder no more. a windows phone app for the voip service will debut alongside apollo and will feature deep integration with the os, including the ability to place calls the same as you would standard voice calls. a new live tile and app called datasmart will make it easier for users to manage their data usage and ensure they don't end up eating insane overage fees. to milk every last bit out of that data plan windows phone will favor wifi over a cellular connection and can be programmed to automatically connect to carrier-owned hotspots when they're in range. and, if that weren't enough, microsoft plans to use proxy servers to compress web pages before feeding them to the mobile version of internet explorer 10, not unlike opera mini . those of you who doubted that windows phone could actually keep pace with android and ios, now might be a good time to reevaluate your position. hit up the source link for a few more details.: if you want to get all of the details in a nice easy to glance list head after the break for a convenient bullet point presentation. | ˈʧeɪmbərz ˈkaʊnti, ˈtɛksəs ˈsɛvərəl ˈfæməliz ɪn ˈʧeɪmbərz ˈkaʊnti seɪ ðɛr ər bləd wərmz ɪn ðɛr ˈwɔtər. ðə ˈhaʊsɪz əˈfɛktɪd ər ɪn ðə taʊn əv oʊld nɪr maʊnt belvieu*. ˈtɛrə maɪəlz wɑz wɪˈθaʊt ˈwɔtər fər tu deɪz ənd wɪn ɪt keɪm ɔn leɪt ˈtuzˌdeɪ ʃi sɛd wərmz keɪm aʊt əv hər ˈfɔsət ənd ˈɪntu ðə ˈbæθtəb. "ɪts aʊˈtreɪʤəs," ʃi sɛd. "aɪ ʤɪst kænt gɪt pæst ðət wi lɪv ɪn ðɪs deɪ ənd eɪʤ ənd ðɪs həz ˈhæpənd. ðɪs ɪz rɪˈdɪkjələs. ɪts ənˈhərd əv." ðə ˈsɪti ˌɪˈmiˌdiətli bɪˈgæn ˈfildɪŋ foʊn kɔlz frəm kənˈsərnd ˈsɪtɪzənz. ðə meɪər ˈkɑnˌtæktɪd ðə taʊnz ˈwɔtər səˈplaɪər, ˈwɔtər. "ðeɪ ˈhævənt sɛd waɪ ər haʊ ər ˈivɪn haʊ ɪts ˈpɑsəbəl wərmz gɑt ˈɪntu ðə ˈwɔtər ˈsɪstəm," sɛd meɪər ʤoʊ ˈlændri. ə ˌrɛprɪˈzɛnətɪv frəm ˈwɔtər riˈlist ə ˈsteɪtmənt ðət rɛd: "wi ˈtɛstɪd ɔl ˈsæmpəl pɔɪnts ɪn ðə ˈsɪstəm bət hæv nɑt faʊnd ˈɛni ˈɛvədəns əv bləd wərmz. wi hæv ˈteɪkən priˈkɔʃənz rəˈgɑrdləs. wi fləʃt ðə ˈsɪstəm, ræn ˈklɔrəˌneɪtəd ˈwɔtər θru ɪt ənd ˈɪʃud ə bɔɪl ˈwɔtər ˈnoʊtɪs ɪn ðə ˈɪntəˌrɛst əv prəˈtɛktɪŋ ðə ˈpəblɪk." ðə əˈfɛktɪd ˈrɛzɪdənts ɔl lɪv ɪn ðə seɪm ˈneɪbərˌhʊd. ðeɪ ər ˈwərid əˈbaʊt ðə ˌɪmˈpækt əv ðə ˈwɔtər ɔn ðɛr hɛlθ. "ˈɛvriˌbɑdiz bɪn ˈdrɪŋkɪŋ ɪt. ˈɛvriˌwən həz bɪn ˈteɪkɪŋ bæθs ɪn ɪt," sɛd ˈrɛzɪdənt ˈkɛrən loʊ. "noʊ ˈtɛlɪŋ ɔl ðə hɛlθ ˈɪʃuz wi hæv rɪˈgɑrdɪŋ frəm ɪt." ðə ˈsɪti ɪz ˈɔfərɪŋ ˈbɑtəld ˈwɔtər tɪ ðə ˈrɛzɪdənts. mɔr ˈwɔtər ˈtɛstɪŋ wɑz ˈskɛʤʊld fər ˈleɪtər ɪn ðə wik. ˈkɑpiˌraɪt 2015 baɪ click2houston.com*. ɔl raɪts rɪˈzərvd. ðɪs məˈtɪriəl meɪ nɑt bi ˈpəblɪʃt, ˈbrɔdˌkæst, riˈrɪtən ər ˌridɪˈstrɪbjətɪd. |
chambers county, texas - several families in chambers county say there are blood worms in their water.
the houses affected are in the town of old river-winfree near mount belvieu.
tara miles was without water for two days and when it came on late tuesday she said worms came out of her faucet and into the bathtub.
"it's outrageous," she said. "i just can't get past that we live in this day and age and this has happened. this is ridiculous. it's unheard of."
the city immediately began fielding phone calls from concerned citizens. the mayor contacted the town's water supplier, j&s water.
"they haven't said why or how or even how it's possible worms got into the water system," said mayor joe landry.
a representative from j&s water released a statement that read: "we tested all sample points in the system but have not found any evidence of blood worms. we have taken precautions regardless. we flushed the system, ran chlorinated water through it and issued a boil water notice in the interest of protecting the public."
the affected residents all live in the same neighborhood. they are worried about the impact of the water on their health.
"everybody's been drinking it. everyone has been taking baths in it," said resident karen lowe. "no telling all the health issues we have regarding from it."
the city is offering bottled water to the residents. more water testing was scheduled for later in the week.
copyright 2015 by click2houston.com. all rights reserved. this material may not be published, broadcast, rewritten or redistributed. | brus ˈbɑrtlɪt hɛld ˈsinjər ˈpɑləsi roʊlz ɪn ðə ˈrigən ənd ʤɔrʤ h.w*. bʊʃ ædˌmɪnɪˈstreɪʃənz ənd sərvd ɔn ðə stæfs əv ˌrɛprɪˈzɛnətɪvz ʤæk kɛmp ənd rɑn pɔl. hi ɪz ðə ˈɔθər əv ˈbɛnəfɪt ənd ðə ˈbərdən: tæks rɪˈfɔrm waɪ wi nid ɪt ənd wət ɪt wɪl take.”*.” wɪθ poʊlz kənˈsɪstəntli ʃoʊɪŋ ə ˈstɛdi lɛd fər ˈbɑrək ˌoʊˈbɑmə ɪn ðə ˌprɛzɪˈdɛnʃəl reɪs, nɑt tu sun tɪ stɑrt ˈθɪŋkɪŋ əˈbaʊt wət hi wɪl du ðə deɪ ˈæftər ðə ɪˈlɛkʃən. ɪn ˌpɑˈtɪkjələr, wət wɪl bi dən əˈbaʊt ðə ˈlumɪŋ cliff,”*,” wɪʧ bɪˈgɪnz ɔn ʤæn. 1 wɪn ˈpriviəsli ɛˈnæktəd ˈspɛndɪŋ kəts ənd tæks ˌɪnˈkrisɪz teɪk ˈifɛkt. ˈtudeɪz ɪˈkɑnəmɪst pərˈspɛktɪvz frəm ˈɛkspərt kənˈtrɪbjətərz. ðiz ˌɔtəˈmætɪk tæks ˌɪnˈkrisɪz ənd ˈspɛndɪŋ kəts wɪl rɪˈdus ðə ˈbəʤɪt ˈdɛfəsət baɪ əˈbaʊt 600 ˈbɪljən nɛkst jɪr ɪf ɔl əv ðɛm ər əˈlaʊd tɪ teɪk ˈifɛkt. ðɪs ˈfɪskəl ˈtaɪtənɪŋ ɪz ˈikwəl tɪ əˈbaʊt 4 pərˈsɛnt əv ðə groʊs dəˈmɛstɪk ˈprɑdəkt, ənd ðə kənˈgrɛʃənəl ˈbəʤɪt ˈɔfəs ˈɛstəˌmeɪts ðət ɪt wɪl rɪˈdus g.d.p*. groʊθ baɪ ən ˈikwəl əˈmaʊnt nɛkst jɪr. ðɛr ɪz ˈɛvədəns ðət ðə ˈfɪskəl klɪf ɪz ɔˈrɛdi əˈfɛktɪŋ ˈbɪznɪs ˌɪnˈvɛstmənt ˈspɛndɪŋ sloʊɪŋ ˌɛkəˈnɑmɪk groʊθ. ˈdilɪŋ wɪθ ðə ˈfɪskəl klɪf wɪl ənˈdaʊtɪdli bi ðə ˈprɪnsəpəl ˈaɪtəm əv ˈbɪznɪs wɪn ˈkɑŋgrəs rɪˈtərnz fər ə ˈsɛʃən. tɔks bɪtˈwin ðə ædˌmɪnɪˈstreɪʃən ənd kənˈgrɛʃənəl ˈlidərz hæv ɔˈrɛdi ˈbeɪgən bət hæv bɪn ˈhæmpərd baɪ kˈwɛsʧənz əˈbaʊt hu wɪl bi ˈprɛzɪdənt ɪn ˈʤænjuˌɛri, ɛz wɛl ɛz wɪʧ ˈpɑrti wɪl kənˈtroʊl ðə haʊs ənd ˈsɛnɪt. ˌɔlˈðoʊ ɪt əˈpɪrz ðət ðə rɪˈpəblɪkənz wɪl rɪˈteɪn kənˈtroʊl əv ðə haʊs waɪl democrats’*’ ˈprɑspɛkts əv kənˈtɪnjuɪŋ tɪ hæv ə ˈsɛnɪt məˈʤɔrəti hæv ˌɪmˈpruvd, ðə məˈʤɔrəti ˈmɑrʤənz ər ˈlaɪkli tɪ ˈnɛroʊ. ðɪs kʊd bi ə ˌpɑˈtɪkjələr ˈprɑbləm ɪn ðə haʊs, wɛr ˌrɛprɪˈzɛnətɪv ʤɑn ˈboʊnər əv oʊˈhaɪoʊ, ðə ˈspikər, həz ˈnɛvər hæd ə fərm hoʊld ɔn paʊər bɪˈkəz hi ɪz vjud wɪθ səˈspɪʃən baɪ ðə ti ˈpɑrti wɪŋ. ðə ˈbəʤɪt ˈænəlɪst stæn ˈkɑləndər ˈspɛkjəˌleɪts ðət ˈmɪstər. ˈboʊnər wɪl bi ɔn ə ʃɔrt liʃ ˈdʊrɪŋ ðə ˈsɛʃən ɛz ðə ti ˈpɑrti traɪz tɪ meɪnˈteɪn ˈɪnfluəns ˈæftər ə ˌdɪsəˈpɔɪnɪŋ ɪˈlɛkʃən. ðɪs minz ðət ˈmɪstər. ˈboʊnər wɪl hæv ˈlɪtəl skoʊp tɪ nɪˈgoʊʃiˌeɪt wɪθ ˈdɛməˌkræts ɔn ə ˈkɑmprəˌmaɪz ðət wʊd fɔrˈstɔl ðə ˈfɪskəl klɪf, ˈmeɪkɪŋ ɪt ˈlaɪkli ðət ðə ˈfɪskəl klɪf ˈmɛʒərz wɪl bɪˈgɪn ɛz ˈskɛʤʊld. ðə tu ˈpraɪˌmɛri ˈstɪkɪŋ pɔɪnts ər ˈtæksɪz ənd ˈmɪlɪˌtɛri ˈspɛndɪŋ. ˈprɛzɪdənt ˌoʊˈbɑmə ɪz ˌɪnˈsɪstɪŋ ðət ðə bʊʃ tæks kəts nɑt bi ɪkˈstɛndɪd fər ðoʊz wɪθ ˈɪnˌkəmz ˈoʊvər fər ðɛm, ðə tɔp tæks reɪt wʊd raɪz tɪ pərˈsɛnt wət ɪt wɑz ˈdʊrɪŋ ðə ˈklɪntən ædˌmɪnɪˈstreɪʃən frəm 35 pərˈsɛnt. ðə ædˌmɪnɪˈstreɪʃən wʊd ˈɔlsoʊ laɪk tɪ reɪz ðə ˈmæksəməm tæks reɪt ɔn ˈdɪvɪˌdɛndz ənd ˈkæpɪtəl geɪnz tɪ 20 pərˈsɛnt fər ˈtækˌspeɪərz, frəm 15 pərˈsɛnt ˈkərəntli. rɪˈpəblɪkənz ər ˈædəməntli əˈpoʊzd tɪ ˈɛni ˌɪnˈkris ɪn ˈtæksɪz fər ˈɛniˌwən, bət əˈspɛʃəli ðə ˈwɛlθi, hum ðeɪ ˌjunəˈvərsəli vju ɛz creators,”*,” ˈivɪn ɪf ɔl ðeɪ du ɪz kæʃ ˈdɪvɪˌdɛnd ʧɛks ɔn ˌɪnˈhɛrətɪd stɑks. bət rɪˈpəblɪkənz ər ˈivɪn mɔr kənˈsərnd əˈbaʊt ˌɪmˈpɛndɪŋ kəts tɪ ˈmɪlɪˌtɛri ˈspɛndɪŋ, wɪʧ ðeɪ əˈgrid tɪ læst ˈsəmər ɛz pɑrt əv ðə dil tɪ reɪz ðə dɛt ˈsilɪŋ. boʊθ mɪt ˈrɑmni ənd pɔl di. raɪən hæv rɪˈpitɪdli dɪˈnaʊnst ðə ˈproʊˌgræmd 600 ˈbɪljən kət (ˈoʊvər naɪn jɪrz) ɪn ˈmɪlɪˌtɛri ˈspɛndɪŋ ðət wɪl bɪˈgɪn nɛkst jɪr wɪʧ ðə væst məˈʤɔrəti əv haʊs rɪˈpəblɪkənz, ˌɪnˈkludɪŋ ˈmɪstər. raɪən, ˈvoʊtɪd fər læst jɪr seɪɪŋ ɪt wɪl ɛnˈdeɪnʤər ˈnæʃənəl sɪˈkjʊrəti. ˈkjʊriəsli, ðeɪ ˈɔlsoʊ ˌɪnˈvoʊk ðə ˈnɛgətɪv ˈifɛkt ɔn ʤɑbz. ɛz ˈmɪstər. ˈrɑmni sɛd ɪn hɪz əkˈsɛptəns spiʧ æt ðə rɪˈpəblɪkən kənˈvɛnʃən, ˈmɪlɪˌtɛri ˈspɛndɪŋ kəts ɪˈlɪməˌneɪt ˈhənərdz əv ˈθaʊzənz əv jobs.”*.” ðə ˈrizən ðɪs ɪz ˈkjʊriəs ɪz ðət rɪˈpəblɪkənz ruˈtinli dɪˈnaɪ ðət ˈgəvərnmənt ˈspɛndɪŋ kəts reɪz ˌənɪmˈplɔɪmənt. ˌɪnˈdid, ðɛr kɔr fəˈlɑsəfi ɪz ðət rɪˈdusɪŋ ðə saɪz əv ˈgəvərnmənt kriˈeɪts ʤɑbz baɪ rɪˈdusɪŋ ɪts ˈbərdən ənd friɪŋ ˈrisɔrsɪz fər juz baɪ ðə ˈpraɪvət ˈsɛktər. bət feɪst wɪθ kəts ɪn ˈproʊˌgræmz ðeɪ ˈfeɪvər, ˈsədənli ə ki ˈɑrgjəmənt fər prɪˈvɛnɪŋ səʧ kəts ɪz ðə pəˈtɛnʃəl ʤɑb lɔs. əv kɔrs, ðə ˈlɑʤɪk əv ðə rɪˈpəblɪkən ˈɑrgjəmənt ɔn ˈmɪlɪˌtɛri ˈspɛndɪŋ kəts əˈplaɪz ˈikwəli tɪ dəˈmɛstɪk ˈspɛndɪŋ kəts. ʤɪst æt ðə steɪt ənd ˈloʊkəl ˈgəvərnmənt ˈlɛvəl, ˈspɛndɪŋ kəts hæv kɔst ʤɑbz sɪns 2009 ˈreɪzɪŋ ðə ˈnæʃənəl ˌənɪmˈplɔɪmənt reɪt baɪ əˈbaʊt pərˈsɛnt. ðət rɪˈpəblɪkənz ˈædəməntli ˈrɛfˌjuz tɪ ækˈnɑlɪʤ ðɪs ˌriˈæləˌti ɪz ən ɪgˈzæmpəl əv wət saɪˈkɑləʤəsts kɔl dissonance.”*.” wən ˈɔpʃən fər ˈdilɪŋ wɪθ ðə ˈfɪskəl klɪf ɪz ˈsɪmpli tɪ kɪk ðə kən daʊn ðə roʊd ðət ɪz, dɪˈleɪ ɔl ðə ˈspɛndɪŋ kəts ənd tæks ˌɪnˈkrisɪz fər ə jɪr waɪl ˈkɑŋgrəs ənd ðə waɪt haʊs ˌθiərˈɛtɪkəli nɪˈgoʊʃiˌeɪt ˈsəmθɪŋ ˈbɛtər. bət ˈgɪvɪn ðə prəˈpɛnsɪti əv rɪˈpəblɪkənz ɪn ðə ˈsɛnɪt tɪ ˈfɪləˌbəstər ˈɛniˌθɪŋ ðeɪ laɪk, noʊ ˈmætər haʊ ˈtrɪviəl, ənd ðə fækt ðət ˈvərʧuəli ɔl hæv saɪnd ə prəˈtɛkʃən pledge”*” vaʊɪŋ ˈnɛvər tɪ reɪz ˈtæksɪz fər ˈɛni ˈrizən, ðə ˈlaɪkliˌhʊd əv ˈkɑmprəˌmaɪz wɪˈθaʊt səˈvɪr ɪkˈstərnəl ˈprɛʃər ɪz ənˈlaɪkli. ə ˈbɛtər aɪˈdiə, ɪn maɪ əˈpɪnjən, ɪz tɪ lɛt ðə ˈfɪskəl klɪf əˈkər ɛz ˈskɛʤʊld ənd ɪˈnækt ə fɪks ˌrɛtroʊˈæktɪvli, ɛz sun ɛz ˈpɑsəbəl. ðɪs ɪz ən aɪˈdiə ðət ðə ˈfɔrmər dɪˈrɛktər əv ðə ˈɔfəs əv ˈmænɪʤmənt ənd ˈbəʤɪt, ˈpitər orszag*, ənd ðə ˈbrʊkɪŋz ˌɪnstɪˈtuʃən ɪˈkɑnəmɪst ˈwɪljəm geɪl hæv bɪn prəˈmoʊtɪŋ fər ˈsɛvərəl mənθs. ðə ˈvərʧu əv ðə ˈstrætəʤi ɪz ðət ɪt ˈʧeɪnʤɪz ðə pəˈlɪtɪkəl daɪˈnæmɪks. wəns ˈtæksɪz hæv ˈrɪzən ɔn ˈɛvriˌwən, ˌlɛʤəsˈleɪʃən rɪˈstɔrɪŋ ðə ˈstætəs kwoʊ ˈænti fər ɔl ɪkˈsɛpt ðə ˈwɛlθi wʊd bi skɔrd ɛz ə tæks kət. waɪl duɪŋ ðɪs ˌbiˈfɔr dɛk. 31 wʊd bi ə vaɪəˈleɪʃən əv ðə plɛʤ, duɪŋ soʊ ˈæftər ʤæn. 1 wʊd nɑt. ˈsɪmələrli, nɪˈgoʊʃiˌeɪtɪŋ səm ɔlˈtərnətɪv tɪ ðə ˌɔtəˈmætɪk ˈbəʤɪt ˌsɛkwəˈstreɪʃən ɔn ðə ˈspɛndɪŋ saɪd wɪʧ ˈɛvriˌwən əˈgriz ɪz ə ˈstupɪd weɪ tɪ rɪˈdus ˈspɛndɪŋ wɪl pərˈsid məʧ mɔr ˈizəli, bɪˈkəz rɪˈpəblɪkənz wɪl bi ˈəndər ˌɪnˈtɛns ˈprɛʃər tɪ nɪˈgoʊʃiˌeɪt ɪn gʊd feɪθ fər ə ʧeɪnʤ ənd əˈvɔɪd ˈfɪləˌbəstərz. ɪt goʊz wɪˈθaʊt seɪɪŋ ðət ɪn ə wərld wɪˈθaʊt tæks ˈplɛʤɪz ənd ˈfɪləˌbəstərz, ɪt wʊd bi ɪn ˈɪntəˌrɛst tɪ nɪˈgoʊʃiˌeɪt ə ˈsɛnsəbəl ɔlˈtərnətɪv tɪ ðə ˈfɪskəl klɪf ɪn ðə ˈsɛʃən; ˌɪnˈdid, ɪt ʃʊd hæv bɪn dən ˌbiˈfɔr ˈkɑŋgrəs lɛft taʊn. bət wi lɪv ɪn səʧ ə wərld. ˈðɛrˌfɔr, ɪkˈstrim ənd ənˈplɛzənt ˈtæktɪks meɪ bi ˈnɛsəˌsɛri tɪ du wət nidz tɪ bi dən. maɪ ədˈvaɪs tɪ ˈprɛzɪdənt ˌoʊˈbɑmə: hæv jʊr stæf priˈpɛr ən ɔlˈtərnətɪv tɪ ðə ˈfɪskəl klɪf ðət kən bi sɛnt tɪ ˈkɑŋgrəs ɛz sun ɛz ɪt rikənˈvinz ðɪs jɪr, priˈpɛr fər rɪˈpəblɪkənz tɪ ˈriʤɛkt ɪt ənd ðɛn hoʊp tɪ nɪˈgoʊʃiˌeɪt ˈsəmθɪŋ ðət kən bi ɛˈnæktəd ɛz sun ɛz ˈpɑsəbəl ɪn ðə nɛkst ˈkɑŋgrəs. ˈkɪkɪŋ ðə kən daʊn ðə roʊd ɪz ˌənækˈsɛptəbəl ənd ʃʊd bi rɪˈʤɛktɪd aʊt əv hænd. |
bruce bartlett held senior policy roles in the reagan and george h.w. bush administrations and served on the staffs of representatives jack kemp and ron paul. he is the author of “the benefit and the burden: tax reform — why we need it and what it will take.”
with polls consistently showing a steady lead for barack obama in the presidential race, it’s not too soon to start thinking about what he will do the day after the election. in particular, what will be done about the looming “fiscal cliff,” which begins on jan. 1, when previously enacted spending cuts and tax increases take effect.
today's economist perspectives from expert contributors.
these automatic tax increases and spending cuts will reduce the budget deficit by about $600 billion next year if all of them are allowed to take effect. this fiscal tightening is equal to about 4 percent of the gross domestic product, and the congressional budget office estimates that it will reduce g.d.p. growth by an equal amount next year. there is evidence that the fiscal cliff is already affecting business investment spending , slowing economic growth.
dealing with the fiscal cliff will undoubtedly be the principal item of business when congress returns for a lame-duck session. talks between the administration and congressional leaders have already begun but have been hampered by questions about who will be president in january, as well as which party will control the house and senate.
although it appears that the republicans will retain control of the house while democrats’ prospects of continuing to have a senate majority have improved, the majority margins are likely to narrow. this could be a particular problem in the house, where representative john boehner of ohio, the speaker, has never had a firm hold on power because he is viewed with suspicion by the g.o.p.’s tea party wing.
the budget analyst stan collender speculates that mr. boehner will be on a short leash during the lame-duck session as the tea party tries to maintain influence after a disappointing election. this means that mr. boehner will have little scope to negotiate with democrats on a compromise that would forestall the fiscal cliff, making it likely that the fiscal cliff measures will begin as scheduled.
the two primary sticking points are taxes and military spending. president obama is insisting that the bush tax cuts not be extended for those with incomes over $250,000. for them, the top tax rate would rise to 39.6 percent — what it was during the clinton administration — from 35 percent. the administration would also like to raise the maximum tax rate on dividends and capital gains to 20 percent for upper-income taxpayers, from 15 percent currently.
republicans are adamantly opposed to any increase in taxes for anyone, but especially the wealthy, whom they universally view as “job creators,” even if all they do is cash dividend checks on inherited stocks. but republicans are even more concerned about impending cuts to military spending, which they agreed to last summer as part of the deal to raise the debt ceiling.
both mitt romney and paul d. ryan have repeatedly denounced the programmed $600 billion cut (over nine years) in military spending that will begin next year — which the vast majority of house republicans, including mr. ryan, voted for last year — saying it will endanger national security.
curiously, they also invoke the negative effect on jobs. as mr. romney said in his acceptance speech at the republican convention, military spending cuts “will eliminate hundreds of thousands of jobs.”
the reason this is curious is that republicans routinely deny that government spending cuts raise unemployment. indeed, their core philosophy is that reducing the size of government creates jobs by reducing its burden and freeing resources for use by the private sector. but faced with cuts in programs they favor, suddenly a key argument for preventing such cuts is the potential job loss.
of course, the logic of the republican argument on military spending cuts applies equally to domestic spending cuts. just at the state and local government level, spending cuts have cost 659,000 jobs since 2009, raising the national unemployment rate by about percent. that republicans adamantly refuse to acknowledge this reality is an example of what psychologists call “cognitive dissonance.”
one option for dealing with the fiscal cliff is simply to kick the can down the road — that is, delay all the spending cuts and tax increases for a year while congress and the white house theoretically negotiate something better.
but given the propensity of republicans in the senate to filibuster anything they don’t like, no matter how trivial, and the fact that virtually all have signed a “taxpayer protection pledge” vowing never to raise taxes for any reason, the likelihood of compromise without severe external pressure is unlikely.
a better idea, in my opinion, is to let the fiscal cliff occur as scheduled and enact a fix retroactively, as soon as possible. this is an idea that the former director of the office of management and budget, peter orszag, and the brookings institution economist william gale have been promoting for several months.
the virtue of the orszag-gale strategy is that it changes the political dynamics. once taxes have risen on everyone, legislation restoring the status quo ante for all except the wealthy would be scored as a tax cut. while doing this before dec. 31 would be a violation of the pledge, doing so after jan. 1 would not.
similarly, negotiating some alternative to the automatic budget sequestration on the spending side — which everyone agrees is a stupid way to reduce spending — will proceed much more easily, because republicans will be under intense pressure to negotiate in good faith for a change and avoid filibusters.
it goes without saying that in a world without tax pledges and filibusters, it would be in everyone’s interest to negotiate a sensible alternative to the fiscal cliff in the lame-duck session; indeed, it should have been done before congress left town.
but we don’t live in such a world. therefore, extreme and unpleasant tactics may be necessary to do what needs to be done.
my advice to president obama: have your staff prepare an alternative to the fiscal cliff that can be sent to congress as soon as it reconvenes this year, prepare for republicans to reject it and then hope to negotiate something that can be enacted as soon as possible in the next congress.
kicking the can down the road is unacceptable and should be rejected out of hand. | ˈmɛni ˈkəmpəˌniz hæv dɪˈskəvərd ðə ˈbɛnəfɪts əv ˌaʊtˈsɔrsɪŋ səm ˈprɑsɛsəz tɪ ˈkəmpəˌniz əˈbrɔd ər ˈhaɪrɪŋ ˈfriˌlænsərz frəm ˈəðər ˈkəntriz. ɪn səʧ ˈɪnstənsɪz, ˌɪnərˈnæʃənɑl ˈmɑnəˌtɛri ˈtrænsfərz bɪˈkəm ˈvɛri ˌɪmˈpɔrtənt. ɪf ju hæv ɪmˈplɔɪiz ɪn ˈdɪfərənt pɑrts əv ðə wərld, ju ˈprɑbəˌbli noʊ ðət ˈsɛndɪŋ ˈməni tɪ ðɛm kən kɔst ju ə lɔt. fər ɪgˈzæmpəl, ju hæv tɪ peɪ əp tɪ 85 ˈdɔlərz tɪ sɛnd ˈdɔlərz frəm ðə ˈjuˈɛs tɪ ˈsərbiə. wət ˈtrænsfər ˈmɛθədz du wi juz æt taɪm ˈdɔktər? wi hæv ə rɪˈmoʊt tim wɪθ ˈpipəl ɪn 19 ˈdɪfərənt ˈkəntriz əraʊnd ðə wərld. ðə tu ˈtrænsfər ˈmɛθədz wi juz ðə moʊst ər: ˈvɛri kənˈvinjənt fər ˈsɛndɪŋ ənd rɪˈsivɪŋ. ðeɪ ər ˈɔlsoʊ wən əv ðə fju ˈmɛθədz ðət wərks tɪ rɪˈsiv ˈməni ɪn ˈɔlˌmoʊst ˈɛvəri ˈkəntri ənd ðə rɪˈsivər kən gɪt ðɛr ˈməni ɔn ə ˈdɛbɪt kɑrd ənd wɪθˈdrɔ frəm ən ˈeɪˌtiˈɛm. ðeɪ ˈɔlsoʊ hæv ən ˈɔpʃən fər dɪˈrɛkt ˈtrænsfər tɪ ðə bæŋk əˈkaʊnt. ðeɪ ˈɔlsoʊ hæv ə 50 ˈboʊnəs ɪf ju rɪˈsiv mɔr ðən 100 θru ðɪs ˈmɛθəd. ˈvɛri kənˈvinjənt fər ˈsɛndɪŋ ənd rɪˈsivɪŋ. ðeɪ ər ˈɔlsoʊ wən əv ðə fju ˈmɛθədz ðət wərks tɪ rɪˈsiv ˈməni ɪn ˈɔlˌmoʊst ˈɛvəri ˈkəntri ənd ðə rɪˈsivər kən gɪt ðɛr ˈməni ɔn ə ˈdɛbɪt kɑrd ənd wɪθˈdrɔ frəm ən ˈeɪˌtiˈɛm. ðeɪ ˈɔlsoʊ hæv ən ˈɔpʃən fər dɪˈrɛkt ˈtrænsfər tɪ ðə bæŋk əˈkaʊnt. ðeɪ ˈɔlsoʊ hæv ə 50 ˈboʊnəs ɪf ju rɪˈsiv mɔr ðən 100 θru ðɪs ˈmɛθəd. ˈvɛri loʊ kɔst ənd ˈɔlsoʊ ə kənˈvinjənt ˈmɛθəd fər ˈtrænsfərz tɪ moʊst ˈkəntriz. tɪ meɪk ˈməni ˈtrænsfərz wərk fər ju ənd tɪ rɪˈdus kɔsts fər ˈsɛndɪŋ ˈməni tɪ ˈsərbiə, teɪk ə lʊk æt ðə ˈteɪbəlz bɪˈloʊ. ɔl ju nid tɪ noʊ əˈbaʊt ˈʧɑrʤɪz, ˈhɪdən kənˈvərʒən kɔsts ənd pərˈsɛnɪʤ fiz ðət ˈməni ˈtrænsfər ˈsərvɪsɪz ʧɑrʤ ju ɪz ˈlɪstɪd ɪn ðə ʧɑrts. peɪ əˈtɛnʃən tɪ ðə noʊts ˈæftər ˈɛvəri ʧɑrt tɪ meɪk ʃʊr ðət ˈʧoʊzən ðə raɪt ˈsərvɪs. ˈteɪbəl 1 ˈsɛndɪŋ 1000 frəm ðə ˈjuˈɛs tɪ ˈsərbiə ˈtrænsfər ˈmɛθəd rɪˈsivɪŋ ˈkərənsi ˈɔpʃən ˈsteɪtɪd fiz tɪ sɛnd 1000 ˈhɪdən ˈkərənsi kənˈvərʒən kɔst ˈtoʊtəl kɔst taɪm fər ðə ˈtrænsfər tɪ əraɪv ˈriə ˈməni ˈtrænsfər (sloʊ) ˈjʊrə 5 22 27 deɪz ˈsərbiən dɪˈnɑr 9 19 28 deɪz ˈriə ˈməni ˈtrænsfər (fæst) ˈjʊrə 15 22 37 ɪn ˈmɪnəts ˈjʊrə 25 33 58 deɪz ˈwɛstərn ˈjunjən ˈsərbiən dɪˈnɑr 20 35 55 (bæŋk) deɪz (ˈkrɛdɪt kɑrd) ɪn ˈmɪnəts waɪər ˈtrænsfər ˈsərbiən dɪˈnɑr 25 55 10 30 35 85 deɪz noʊts rɪˈgɑrdɪŋ ðɪs ˈteɪbəl: moʊst ˈmɛθədz wɪl ˈoʊnli əˈlaʊ ju tɪ sɛnd ˈməni ɪn ˈjuˌroʊz. ɪf ju sɛnd ˈməni ɪn ˈjuˌroʊz ðɛr wɪl bi ən əˈdɪʃənəl fi fər ðə rɪˈsɪpiənt tɪ ˈkɑnvərt ðə ˈməni tɪ ˈsərbiən dinar’s*. ðɪs fi wɪl ˈlaɪkli bi æt list 1 bət wɪl dɪˈpɛnd ɔn ˈkərənsi ɪksˈʧeɪnʤ ˈdilər ðət ɪz juzd. ˈjuˈɛs ˈtrænsfərz ðət ər ɪn ˈjuˌroʊz wər kənˈvərtɪd frəm ˈjuˈɛs ˈdɔlərz. ðə loʊəst kɔst weɪ tɪ juz ɪz ɪf ðə ˈkəmpəˌni ˈsɛndɪŋ ðə ˈməni həz ə ˈkəmpəˌni əˈkaʊnt wɪθ. ðɪs ɪz ˈjuʒəwəli ˈoʊnli əˈveɪləbəl fər ˈkəmpəˌniz ˈsɛndɪŋ ˈməni tɪ ˈməltəpəl ˈpipəl ənd ˈoʊnli fər ðə ˈjuˈɛs. ðɛr ɪz ə dɪˈrɛkt weɪ tɪ sɛnd ˈməni ɔn wɛr ðə ˈsɛndər ˈjuzɪz ðɛr ˈkrɛdɪt kɑrd tɪ sɛnd ðə ˈməni ˌhaʊˈɛvər ðə kɔst ɪz haɪər. ˈteɪbəl 2 ˈsɛndɪŋ ˈməni frəm ˈsɛvərəl ˈkəntriz tɪ ˈsərbiə. ðə ˈtoʊtəl kɔst ˌɪnˈkludɪŋ ˈhɪdən ˈkərənsi ɪksˈʧeɪnʤ fiz. ˈtrænsfər ˈmɛθəd rɪˈsivɪŋ ˈkərənsi ˈɔpʃən frəm ðə ˈjuˈɛs frəm ðə frəm ˈkænədə frəm ˈwɛstərn ˈjʊrəp frəm ɔˈstreɪljə ˈgloʊbəl wɛb peɪ nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl smɔl wərld nɑt əˈveɪləbəl nɑt əˈveɪləbəl 0 nɑt əˈveɪləbəl ˈriə ˈməni ˈtrænsfər nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl nɑt əˈveɪləbəl waɪər ˈtrænsfər 2 2 3 ˈwɛstərn ˈjunjən noʊts rɪˈgɑrdɪŋ ðɪs ˈteɪbəl: ɪf nɑt ʃʊr wət aɪ min baɪ ˈkərənsi conversion”*” ʧɛk aʊt ɑr ˌɛkspləˈneɪʃən ɪn ðɪs ˈɑrtɪkəl. ðɪs fi wɪl ˈlaɪkli bi æt list 1 bət wɪl dɪˈpɛnd ɔn ˈkərənsi ɪksˈʧeɪnʤ ˈdilər ðət ɪz juzd. ˈjuˈɛs ˈtrænsfərz ðət ər ɪn ˈjuˌroʊz wər kənˈvərtɪd frəm ˈjuˈɛs ˈdɔlərz. ˈwɛstərn ˈjunjən ˈsərvɪs ɪn ðə fər ˈsɛndɪŋ ˈməni tɪ ˈsərbiə: bæŋk əˈkaʊnt ˈjuʒəwəli teɪk deɪz waɪl kɑrd teɪk ˈmɪnəts. ˈəðər ˈɑrtɪkəlz ðət maɪt ˈɪntəˌrɛst ju: trænsˈfərɪŋ ˈməni wɪθ haʊ tɪ sɛnd ˈməni tɪ roʊˈmeɪniə æt ə məʧ ˈbɛtər ɪksˈʧeɪnʤ reɪt ðən jʊr bæŋk haʊ tɪ sɛnd ˈməni tɪ jʊr ˈɔfˈʃɔr ˈwərkərz ɪn juˈkreɪn 3 weɪz tɪ sɛnd ˈməni tɪ bəlˈgɛriə ðət ər ˈʧipər ðən ˈjuzɪŋ ə bæŋk |
many companies have discovered the benefits of outsourcing some processes to companies abroad or hiring freelancers from other countries.
in such instances, international monetary transfers become very important. if you have employees in different parts of the world, you probably know that sending money to them can cost you a lot. for example, you have to pay up to 85 dollars to send 1,000 dollars from the us to serbia.
what transfer methods do we use at time doctor?
we have a remote team with people in 19 different countries around the world. the two transfer methods we use the most are:
payoneer – very convenient for sending and receiving. they are also one of the few methods that works to receive money in almost every country and the receiver can get their money on a debit card and withdraw from an atm. they also have an option for direct transfer to the receiver’s bank account. they also have a $50 bonus if you receive more than $100 through this method.
– very convenient for sending and receiving. they are also one of the few methods that works to receive money in almost every country and the receiver can get their money on a debit card and withdraw from an atm. they also have an option for direct transfer to the receiver’s bank account. they also have a $50 bonus if you receive more than $100 through this method. transferwise – very low cost and also a convenient method for transfers to most countries.
to make money transfers work for you and to reduce costs for sending money to serbia, take a look at the tables below. all you need to know about charges, hidden conversion costs and percentage fees that money transfer services charge you is listed in the charts.
pay attention to the notes after every chart to make sure that you’ve chosen the right service.
table 1 – sending $1000 from the us to serbia transfer method receiving currency option stated fees to send $1000 usd hidden currency conversion cost total cost time for the transfer to arrive ria money transfer (slow) euro $5 $22 $27 3-5 days payoneer serbian dinar $9 $19 $28 3-5 days ria money transfer (fast) euro $15 $22 $37 in minutes moneygram euro $25 $33 $58 3-5 days western union serbian dinar $20 $35 $55 (bank) 3-5 days (credit card) in minutes wire transfer serbian dinar $25 – 55 $10 – 30 $35 – 85 3-5 days
notes regarding this table:
most methods will only allow you to send money in euros. if you send money in euros there will be an additional fee for the recipient to convert the money to serbian dinar’s. this fee will likely be at least 1% but will depend on currency exchange dealer that is used. us transfers that are in euros were converted from us dollars. the lowest cost way to use payoneer is if the company sending the money has a company account with payoneer. this is usually only available for companies sending money to multiple people and only for the us. there is a direct way to send money on payoneer where the sender uses their credit card to send the money however the cost is higher.
table 2: sending money from several countries to serbia. the total cost including hidden currency exchange fees. transfer method receiving currency option from the us from the uk from canada from western europe from australia global web pay usd not available 2.6% not available not available not available xendpay eur not available not available 2.3% not available 2.4% payoneer eur 2.8% not available not available not available not available azimo usd/eur not available 1.8% usd not available 0.12% eur not available small world fs eur not available 3.6% not available 0% not available ria money transfer eur 2.7% not available not available not available not available wire transfer rsd 2.5 – 5.5% 2 – 4.5% 2.5 – 5.5% 2 – 4.5% 3 – 6.5% moneygram usd 5.8% 3.9% 7.5% 0.5% 10.1% western union usd 7.5% 4.5% 6.5% 2.8% 5.6%
notes regarding this table:
if you’re not sure what i mean by “hidden currency conversion” check out our explanation in this article. this fee will likely be at least 1% but will depend on currency exchange dealer that is used. us transfers that are in euros were converted from us dollars. western union service in the uk for sending money to serbia: bank account usually take 3-5 days while credit/debit card take minutes.
other articles that might interest you:
transferring money with transferwise
how to send money to romania at a much better exchange rate than your bank
how to send money to your offshore workers in ukraine
3 ways to send money to bulgaria that are cheaper than using a bank | vitalik*: kip ˈklæsɪk, kɔr ˈsɛpərˌeɪt tɪ ˈsætɪsˌfaɪ kəmˈjunɪti kriˈeɪtər həz sɛd ðə kəmˈjunɪti bi happier”*” ɪf ðə ˈklæsɪk ənd kɔr ˈproʊtəˌkɔlz hɑrd fɔrkt. ˈɔlsoʊ rɛd: ˌækjəˈzeɪʃənz flaɪ ɛz ˈklæsɪk kɔr dəˈbeɪt goʊz ˈkɔrpərət sɪz ðɛr kən bi ‘‘happier’*’ grups meɪd ðə ˈkɑmɛnts ɪn ə ˈɪntərvˌju fər frɛnʧ ˌɪnˌfɔrˈmeɪʃən ˈrisɔrs cryptofr*. wɪn æst wət hi wʊd laɪk tɪ seɪ tɪ ˈsoʊˈkɔld maximalists,”*,” hi rɪˈspɑndɪd ðət ˈdɪfərənt kəmˈjunɪtiz wʊd ˈbɛnəfɪt frəm rɪˈmeɪnɪŋ ˈsɛpərˌeɪt ˈɛntɪtiz. wi kən ɔˈrɛdi si ðət ðɛr ər tu grups wɪθ ˈdɪfərənt ˈvɪʒənz fər fˈjuʧər, ənd aɪ θɪŋk ðət ðə tu wʊd bi ˈhæpiər ɪf ðɛr wər tu ˈsɛpərˌeɪt ˈproʊtəˌkɔlz tɪ ˈsætɪsˌfaɪ them,”*,” hi sɛd. hæd ˈpriviəsli ˈkrɪtəˌsaɪzd ðə ˈsoʊˈkɔld maximalists’”*’” vju ðət ɪnˈvaɪrənmənt əv ˈməltəpəl kəmˈpitɪŋ ɪz undesirable,”*,” səˈʤɛstɪŋ ə ˈikoʊˌsɪstəm kʊd hæv ˌənɪkˈspɛktɪd rɪˈzəlts, ənˈlaɪk ðoʊz ɛnˈvɪzɪʤd baɪ ɪts prəˈpoʊnənts. hi kənˈtɪnjud tɪ ˈaʊˌtlaɪn ə fˈjuʧər fər wɪʧ wʊd hoʊld ˈmæksəməm ˈbɛnəfɪts fər ˌɪnəˈveɪʃən: wɪl bi ˈpəblɪk ənd ˈpraɪvət ˈnɛtˌwərks; ðɛr wɪl bi æps wɪʧ ɪgˈzɪst bɪtˈwin ˈdɪfərənt ˈnɛtˌwərks ˈjuzɪŋ ˈsɪstəmz səʧ ɛz tɪ kəmˈjunəˌkeɪt wɪθ iʧ ˈəðər. .ðɪs ɪz ðə bɛst weɪ əv ˈmæksəˌmaɪzɪŋ innovation.”*.” həz ˈminˌwaɪl ɪkˈspɪriənst ə aʊt ɪn ækˈtɪvɪti, wɪθ ðə ˈiθər ˈkərənsi ˈhəvərɪŋ æt əraʊnd pər ˈjunɪt, ˈɔlˌmoʊst hæf ɪts haɪ əv ɪn mɑrʧ. fər ˌɪndɪˈpɛndənt protocols’*’ ˈminˌwaɪl, ðə ˈɔnˌgoʊɪŋ dɪˈspjut ənd dəˈbeɪt bɪtˈwin ˈklæsɪk ənd kɔr prəˈpoʊnənts kənˈtɪnjuz wɪˈθaʊt ə dɪˈsɪʒən ɪn saɪt. waɪl ˈklæsɪk həz ɪkˈspɪriənst ə slaɪt ˈəpˌtɪk ˈrisəntli, kɔr noʊd ˈkəvərɪʤ ɪz stɪl bɪˈloʊ 70 əv ðə ˈoʊvərˌɔl ˈtoʊtəl, ˈhævɪŋ dɪpt bɪˈloʊ ðə ˈbaʊndəri ɪn ˈərli mɑrʧ. læst wik, ˈprɛzɪdənt ˈædəm bæk ˈaʊˌtlaɪnd hɪz ˌɪnˈtɛnʧənz fər kɔr ˈskeɪlɪŋ θru ðə juz əv ˈsɛgrəˌgeɪtɪd ˈwɪtnəs, ə ˈmɛθəd əv ˌɪmˈpruvɪŋ ˈnɛtˌwərk kəˈpæsɪti ˈkərəntli goʊɪŋ θru testing.”*.” ˈdʊrɪŋ ə ˌprɛzənˈteɪʃən æt ðə ʧɛk ˈkrɪptoʊ ɪˈvɛnt ˈpoʊləs ɪn prɑg, bæk ˈaʊˌtlaɪnd ðə ˈbɛnəfɪts tɪ ðoʊz hu saɪn əp tɪ kɔr ˈəpˌgreɪdz. prəˈvaɪdz skeɪl tɪ ðoʊz ˈpipəl hu opt-in,”*,” hi sɛd, ɪf ˈrənɪŋ ə ˈpeɪmənt ˈprɑˌsɛsər ənd aɪ ˈəpˈgreɪd ðə ˈlaɪbrɛˌri ðət ˈjuzɪŋ ənd muv tɪ ðə nu taɪps əv ˈæˈdrɛsɪz, wɪʧ ər ˈbækwərdz kəmˈpætəbəl, ðɛn aɪ gɪt ˈʧipər trænˈzækʃənz ər ˈækˌsɛs tɪ mɔr scale.”*.” ɔn ðə ˈsəbʤɪkt əv bɪtˈwin kəmˈjunɪtiz, ˌhaʊˈɛvər, rɪˈmeɪnz ˌdɪpləˈmætɪk. θɪŋk ˈɔlˌweɪz bi speɪs fər ˈsɛvərəl ˌɪndɪˈpɛndənt ˈproʊtəˌkɔlz; wən ˈproʊtəˌkɔl əˈloʊn ˈeɪbəl tɪ ˈsætɪsˌfaɪ nidz, ənd əˈspɛʃəli noʊ wən kəmˈjunɪti ɪz ˈeɪbəl tɪ ˈsætɪsˌfaɪ everybody,”*,” hi sɛd. wət du ju θɪŋk əˈbaʊt ðə ˈɔnˌgoʊɪŋ ˌsɪʧuˈeɪʃən rɪˈgɑrdɪŋ ˈraɪvəl blockchains*? du ju əˈgri wɪθ? tɛl ˈjuˈɛs jʊr θɔts ɪn ðə ˈkɑmɛnts bɪˈloʊ. ˈɪmɪʤɪz ˈkərtəsi əv waɪərd, ˈrɑni ˈrɑkət. |
vitalik buterin: keep classic, core separate to satisfy community
ethereum creator vitalik buterin has said the bitcoin community “would be happier” if the classic and core protocols hard forked.
also read: accusations fly as classic core debate goes corporate
buterin says there can be ‘happier’ groups
buterin made the comments in a french-language interview for french information resource cryptofr. when asked what he would like to say to so-called “ethereum maximalists,” he responded that different bitcoin communities would benefit from remaining separate entities.
“in bitcoin we can already see that there are two groups with different visions for bitcoin’s future, and i think that the two would be happier if there were two separate protocols to satisfy them,” he said.
buterin had previously criticized the so-called “bitcoin maximalists’” view that “an environment of multiple competing cryptocurrencies is undesirable,” suggesting a bitcoin-only ecosystem could have unexpected results, unlike those envisaged by its proponents.
he continued to outline a future for bitcoin which would hold maximum benefits for innovation:
“there will be public and private networks; there will be apps which exist between different networks using systems such as http://btcrelay.org to communicate with each other. . .this is the best way of maximizing innovation.”
ethereum has meanwhile experienced a levelling out in activity, with the ether currency hovering at around 0.02 btc per unit, almost half its high of 0.035 btc in march.
‘space for independent protocols’
meanwhile, the ongoing dispute and debate between bitcoin classic and core proponents continues without a decision in sight.
while classic hashpower has experienced a slight uptick recently, core node coverage is still below 70% of the overall total, having dipped below the boundary in early march.
last week, blockstream president adam back outlined his intentions for bitcoin core scaling through the use of segregated witness, a method of improving network capacity currently going through “rigorous testing.”
during a presentation at the czech crypto event paralelni polis in prague, back outlined the benefits to those who sign up to core upgrades.
“it provides scale to those people who opt-in,” he said, “so if i’m running a payment processor and i upgrade the library that i’m using and move to the new types of addresses, which are backwards compatible, then i get cheaper transactions or access to more scale.”
on the subject of in-fighting between communities, however, buterin remains diplomatic.
“i think there’ll always be space for several independent protocols; one protocol alone isn’t able to satisfy everyone’s needs, and especially no one community is able to satisfy everybody,” he said.
what do you think about the ongoing situation regarding rival blockchains? do you agree with vitalik buterin? tell us your thoughts in the comments below.
images courtesy of wired, ronnie rocket. | ˈrəʃə ɪz ˈsɛtɪŋ əp ə ˈmɪlɪˌtɛri beɪs ɪn ˌnɔrθˈwɛstərn ˈsɪriə ɪn əˈgrimənt wɪθ ðə ˈsɪriən ˈkərdɪʃ mɪˈlɪʃə ðət kənˈtroʊlz ðə ˈɛriə ənd wɪl bi ˈtreɪnɪŋ ˈfaɪtərz ɛz pɑrt əv ðə faɪt əˈgɛnst ˈtɛrəˌrɪzəm, ðə mɪˈlɪʃəz ˈspoʊksmən sɛd ɔn ˈmənˌdeɪ. ˈspoʊksmən toʊld ˈrɔɪtərz ðə əˈgrimənt wɪθ ˈrəʃə wɑz kənˈkludɪd ɔn ˈsənˌdi, ənd ðət ˈrəʃən trups hæd ɔˈrɛdi əraɪvd æt ðə pəˈzɪʃən ɪn ðə ˌnɔrθˈwɛstərn ˈriʤən əv wɪθ trup ˈkɛriərz ənd ˈviɪkəlz. ðə ˈrəʃən ˈprɛzəns... kəmz ɪn ðə ˈfreɪmˌwərk əv kˌwɔpərˈeɪʃən əˈgɛnst ˈtɛrəˌrɪzəm ənd tɪ hɛlp treɪn ɑr ˈfɔrsɪz ɔn ˈmɑdərn ˈwɔrˌfɛr , ˈsɛpərətli, ˈrəʃəz dɪˈfɛns ˈmɪnɪstri dɪˈnaɪd ðə rɪˈpɔrts ðət ðə mɪˈlɪʃə hæd riʧt ə dil wɪθ ˈmɔˌskaʊ fər ə nu ˈmɪlɪˌtɛri beɪs ɪn ˌnɔrθˈwɛstərn ˈsɪriə. "ðɛr ər noʊ plænz tɪ dɪˈplɔɪ nu ˈrəʃən ˈmɪlɪˌtɛri ˈbeɪsɪz ɔn ðə ˈtɛrɪˌtɔri əv ˈsɪriə," ə dɪˈfɛns ˈmɪnɪstri ˈsteɪtmənt ɔn ˈmənˌdeɪ rɛd. ɪt ˈædɪd ðət ə ˈsɛkʃən əv ɪts "ˌrɛkənˌsɪliˈeɪʃən ˈsɛntər", wɪʧ ˈrəʃə sɪz hɛlps nɪˈgoʊʃiˌeɪt ˈloʊkəl bɪtˈwin ðə ˈwɔrɪŋ saɪdz ɪn ˈsɪriə, wɑz ˈloʊˌkeɪtəd ɪn ˈprɑvɪns nɪr fər ðə priˈvɛnʃən əv ˈsisˈfaɪər vaɪəˈleɪʃənz. ɪf ɪt ɪz confimred*, ðə muv wɪl ˈlaɪkli ˈæŋgər ˈneɪbərɪŋ ˈtərki. ˈæŋkərə vjuz ðə ɛz ən ɪkˈstɛnʃən əv ðə ˈkərdɪˌstæn ˈwərkərz' ˈpɑrti (pkk*), wɪʧ ɪz ˈweɪʤɪŋ ən ˌɪnˈsərʤənsi ˌɪnˈsaɪd ˈtərki. "ðə ˈrəʃən ˈprɛzəns... kəmz ɪn əˈgrimənt bɪtˈwin (ðə) ənd ðə ˈrəʃən ˈfɔrsɪz ˈɔpərˌeɪtɪŋ ɪn ˈsɪriə ɪn ðə ˈfreɪmˌwərk əv kˌwɔpərˈeɪʃən əˈgɛnst ˈtɛrəˌrɪzəm ənd tɪ hɛlp treɪn ɑr ˈfɔrsɪz ɔn ˈmɑdərn ˈwɔrˌfɛr ənd tɪ bɪld ə dɪˈrɛkt pɔɪnt əv ˈkɑnˌtækt wɪθ ˈrəʃən ˈfɔrsɪz," sɛd ɪn ə ˈrɪtən ˈsteɪtmənt. "ɪt ɪz ðə fərst əv ɪts kaɪnd," hi ˈædɪd. ˈtərki həz lɔnʧt ə əˈfɛnsɪv əˈlɔŋ ə ˈsɛkʃən əv ðə frənˈtɪr tɪ prɪˈvɛnt ˈfərðər geɪnz baɪ ðə, wɪʧ kənˈtroʊlz əv ˌnɔrˈθistərn ˈsɪriə ənd ðə ˈpɑkət əv ˌnɔrθˈwɛstərn ˈsɪriə. ðə ɪz ˈɔlsoʊ ˈæˌlaɪd tɪ ðə juˈnaɪtɪd steɪts ɪn ðə faɪt əˈgɛnst ˌɪzˈlɑmɪk steɪt ɪn ˈsɪriə, ənd ɪz pleɪɪŋ ə ˈmeɪʤər pɑrt ɪn ðə əˈfɛnsɪv əˈgɛnst ˌɪzˈlɑmɪk steɪts ˈərbən ˈstrɔŋˌhoʊld əv raqqa*, ˈfərðər ist. "ðə əˈgrimənt keɪm ˈɪntu fɔrs təˈdeɪ," sɛd, dɪˈklaɪnɪŋ tɪ seɪ haʊ ˈmɛni ˈrəʃən trups hæd əraɪvd ɪn, ðə pleɪs wɛr ðə beɪs ɪz biɪŋ ɪˈstæblɪʃt. həz ˈpriviəsli bɪn ʃɛld baɪ ˈtərkɪʃ ˈfɔrsɪz frəm əˈkrɔs ðə ˈnɪrˈbaɪ frənˈtɪr, ˈædɪd. ðə meɪks əp ðə bəlk əv ðə ˈsɪriən ˌdɛməˈkrætɪk ˈfɔrsɪz, ə əˈlaɪəns əv ˈkərdɪʃ ənd ˈærəb ˈfaɪtərz ðət həz sizd əv ˈtɛrɪˌtɔri frəm ɪz ɪn ˈsɪriə. ðə rɪˈsivz ɪkˈwɪpmənt, ˈwɛpənz ənd ɛr səˈpɔrt frəm ðə ˌkoʊəˈlɪʃən, ənd ɪz bækt baɪ ˈsɛvərəl ˈhənərd ˈwɛstərn ˈspɛʃəl ˌɑpərˈeɪʃənz ˈfɔrsɪz ɪn ən ædˈvaɪzəri roʊl. ˈrəʃə, ˈminˌwaɪl, ɪz ə ˈlɔŋˈtərm ˈbækər əv ˈsɪriən ˈprɛzɪdənt bəˈʃɑr al-assad*, bət hæd ˈrisəntli wərkt ˈkloʊsli wɪθ ˈrɛbəl səˈpɔrtər ˈtərki tɪ traɪ tɪ ɛnd ðə wɔr ɪn ˈsɪriə. ˈɛrən staɪn, ə ˈsinjər ˈfɛloʊ æt ðə əˈtlæntɪk ˈkaʊnsəl, sɛd ˈrəʃə wɑz naʊ ˈpɑrtnərɪŋ wɪθ ðə kərdz ɛz ðeɪ hæd bɪˈkəm ən ˌɪmˈpɔrtənt pleɪər ɪn ˈsɪriə. "ðə kərdz ər naʊ ðə moʊst ˌkɑnsəkˈwɛnʃəl ˈæktər ɪn ˈsɪriə, əˈlɔŋˈsaɪd ˌɑlˈkaɪdɑ... ðeɪ wɪl hæv ə juʤ seɪ ˈoʊvər ðə fˈjuʧər əv ˈsɪriə," hi sɛd. |
russia is setting up a military base in northwestern syria in agreement with the syrian kurdish ypg militia that controls the area and will be training ypg fighters as part of the fight against terrorism, the militia's spokesman said on monday.
ypg spokesman redur xelil told reuters the agreement with russia was concluded on sunday, and that russian troops had already arrived at the position in the northwestern region of afrin with troop carriers and armoured vehicles.
the russian presence... comes in the framework of cooperation against terrorism and to help train our forces on modern warfare - redur xelil, ypg
separately, russia's defence ministry denied the reports that the ypg militia had reached a deal with moscow for a new military base in northwestern syria.
"there are no plans to deploy new russian military bases on the territory of syria," a defence ministry statement on monday read.
it added that a section of its "reconciliation centre", which russia says helps negotiate local truces between the warring sides in syria, was located in aleppo province near afrin for the prevention of ceasefire violations.
if it is confimred, the move will likely anger neighbouring turkey. ankara views the ypg as an extension of the kurdistan workers' party (pkk), which is waging an insurgency inside turkey.
"the russian presence... comes in agreement between (the ypg) and the russian forces operating in syria in the framework of cooperation against terrorism and to help train our forces on modern warfare and to build a direct point of contact with russian forces," xelil said in a written statement.
"it is the first of its kind," he added.
turkey has launched a cross-border offensive along a section of the turkish-syrian frontier to prevent further gains by the ypg, which controls swathes of northeastern syria and the afrin pocket of northwestern syria.
the ypg is also allied to the united states in the fight against islamic state in syria, and is playing a major part in the us-backed offensive against islamic state's urban stronghold of raqqa, further east.
"the agreement came into force today," xelil said, declining to say how many russian troops had arrived in jandaris, the place where the base is being established.
jandaris has previously been shelled by turkish forces from across the nearby frontier, xelil added.
the ypg makes up the bulk of the syrian democratic forces, a us-backed alliance of kurdish and arab fighters that has seized swathes of territory from is in syria.
the sdf receives equipment, weapons and air support from the us-led coalition, and is backed by several hundred western special operations forces in an advisory role.
russia, meanwhile, is a long-term backer of syrian president bashar al-assad, but had recently worked closely with rebel supporter turkey to try to end the six-year war in syria.
aaron stein, a senior fellow at the us-based atlantic council, said russia was now partnering with the kurds as they had become an important player in syria.
"the kurds are now the most consequential non-state actor in syria, alongside al-qaeda... they will have a huge say over the future of syria," he said. | aɪ səˈpoʊz ðə ˈævərɪʤ ˈpərsən həz ə ˈkəpəl ˈdɪfərənt kaɪnz əv lus lif ti ɪn ðɛr ˈkəbərd wɪʧ minz ðət ðə hir ər ˈprɑbəˌbli ə bɪt məʧ. ənd ðə fækt ðət ðɪs ɪz ˈoʊnli hæf əv ˈæˌkʧuəli ɪn maɪ ˈkəbərd wɛl, ðɛr kən bi lɑts əv ˈvælɪd fər ˈhɑrbərɪŋ soʊ məʧ ti! səm əv ðɪs ɪz maɪ daughter’s*. ˈrɪli. ˈpipəl gɪv mi ti. aɪ kip traɪɪŋ nu tiz. səm əv ðiz ər ˈbɛtər aɪst, səm ər ˈbɛtər ɪn ðə ˈwɪntər, səm ər kæˈfin fri, səm goʊ ˈbɛtər wɪθ fud, ju gɪt ðə ˈpɪkʧər. wɪn aɪ ˈɪnvənˌtɔrid wət aɪ hæd, aɪ faʊnd ðət aɪ ˈfʊli ˈkəvərd blæk, ˈulɔŋ, grin, ənd waɪt tiz, boʊθ wɪθ ərˈoʊməz ənd ðə ˈklæsɪks. ˈfərðər, aɪ hæv rooibos*, frut, ənd ˈərbəl tiz. pləs ə ˈdikæf blæk ərˈoʊmə. ənd fɔr ˈtoʊtəli ˌənaɪˈdɛntəˌfaɪd tiz. saɪ. wɪθ soʊ ˈmɛni tiz ðət ər əˈveɪləbəl, ɪt ɪz ˈizi tɪ si haʊ wən ˈpərsən kən ɛnd əp wɪθ 64 əv ðɛm! əv kɔrs ðə ˈdrɔˌbæk ɪz ðət səm əv ðɪs wɪl ˈɑbviəsli luz ɪts praɪm ˈfleɪvər baɪ ˈsɪtɪŋ tu lɔŋ ɪn maɪ ˈpæntri. bət hir ɪn ˈmɪʃɪgən, wi səm ˈwaɪldli ˈdɪfərənt ˈwɛðər. ənd wɪn boʊθ tɛmp ənd hjuˈmɪdəti ər ɪn ðə ˈnaɪntiz, ən ˈaɪsi frut ər grin ti ɪz ˈhɛvən. bət wɪn ə ˈbɪtər wɪnd haʊlz ənd ə fʊt əv snoʊ ɔn ðə graʊnd, ə ˈhɑrti blæk ərˈoʊmə ˈbɛkənz. ɪf ju hæv ˈlɪmɪtɪd ˈjɔrsɛlf tɪ jʊr ˈfeɪvərɪt ˈkəpəl tiz, ˈmeɪbi taɪm tɪ ɪkˈsplɔr wət ɛls ðə ti wərld ˈɔfərz. ju wɪl bi əˈmeɪzd æt ðə dɪˈvərsɪti ju wɪl ɪnˈkaʊnər! (oʊ ənd ɪf ju drɔp baɪ maɪ haʊs, aɪ ˈprɑbəˌbli hæv jʊr ˈfeɪvərɪt ti. ˈædvərˌtaɪzmənts |
i suppose the average person has a couple different kinds of loose leaf tea in their cupboard . . . which means that the thirty-some here are probably a bit much.
and the fact that this is only half of what’s actually in my cupboard . . . well, there can be lots of valid reasons/defenses for harboring so much tea!
some of this is my daughter’s. really.
people give me tea.
i keep trying new teas.
some of these are better iced, some are better in the winter, some are caffeine free, some go better with food, you get the picture.
when i inventoried what i had, i found that i fully covered black, oolong, green, and white teas, both with aromas and the classics. further, i have rooibos, fruit, and herbal teas. plus a decaf black aroma. and four totally unidentified teas. sigh.
with so many teas that are available, it is easy to see how one person can end up with 64 of them! of course the drawback is that some of this will obviously lose its prime flavor by sitting too long in my pantry.
but here in michigan, we enjoy/endure some wildly different weather. and when both temp and humidity are insufferably in the nineties, an icy fruit or green tea is heaven. but when a bitter wind howls and there’s a foot of snow on the ground, a hearty black aroma beckons.
if you have limited yourself to your favorite couple teas, maybe it’s time to explore what else the tea world offers. you will be amazed at the diversity you will encounter!
(oh and if you drop by my house, i probably have your favorite tea. . . .)
advertisements | ə ˈsənˌraɪz mænz ˈkreɪvɪŋ tərnd aʊt tɪ bi ə ˈrɛsəpi fər ˈtrəbəl. ən ɪmˈplɔɪi æt ˈbərgər kɪŋ, 10000 ˈdəbəlju. ˈoʊklənd pɑrk ˈbʊləˌvɑrd., kɔld pəˈlis ʤɪst ˌbiˈfɔr 2 a.m*. ˈwɛnzˌdeɪ tɪ rɪˈpɔrt ə mæn ˈbæŋɪŋ ɔn ə kloʊzd ˈdraɪvθˈru ˈwɪndoʊ ənd dɪˈmændɪŋ fud, əˈkɔrdɪŋ tɪ ə kəmˈpleɪnt ˌæfəˈdeɪvət. ðə ɪmˈplɔɪi rɪˈpitɪdli ɪkˈspleɪnd tɪ ðə mæn ðət ðə ˈbɪznɪs wɑz kloʊzd, bət hi rɪfˈjuzd tɪ liv ənd hɪz bɪˈheɪvjər ˈɛskəˌleɪtɪd, ˈskɛrɪŋ ðə ɪmˈplɔɪi. wɪn ˈɔfɪsərz əraɪvd, ðeɪ sɔ ˌrɑˈvi ʃɑ, 29 ˈbæŋɪŋ ɔn ðə ˈdraɪvθˈru ˈwɪndoʊ, ˈskrimɪŋ ðət hi ˈwɔntɪd tu ˈʧizbərgərz. hi "əˈpɪrd tɪ bi dɪˈsɔriˌɛntɪd ənd ˈəndər ðə ˈɪnfluəns əv ən ənˈnoʊn ˈsəbstəns," ðə ˌæfəˈdeɪvət sɛd. ən ˈɔfɪsər traɪd tɪ ˈrizən wɪθ ʃɑ, ɪkˈspleɪnɪŋ ðət ðə ˈbɪznɪs hæd bɪn kloʊzd fər θri aʊərz, bət ðət ˈdɪdənt əˈpiz ɪm. ʃɑ ˈstɑrtɪd ˈjɛlɪŋ əˈbaʊt hɪz ˈʧizbərgərz ənd toʊld ðə ˈɔfɪsərz "hi wɑz goʊɪŋ tɪ meɪk ə ˈsɪtəzənz ərˈɛst ɔn ɔl əv" ðɛm. ðɛr wɑz ən ˈoʊdər əv ˌmɛrəˈwɑnə ˈkəmɪŋ frəm ðə ˈlɛksəs ðət ʃɑ hæd bɪn ˈdraɪvɪŋ, ðə ˌæfəˈdeɪvət sɛd. wɪθ ðə hɛlp əv ə pəˈlis dɔg, ˈɔfɪsərz faʊnd ˌmɛrəˈwɑnə ɪn ə blæk ˈdəfəl bæg ɪn ðə bæk sit əv ðə kɑr. ʃɑ ɪz ˈfeɪsɪŋ wən kaʊnt iʧ əv pəˈzɛʃən əv ˌmɛrəˈwɑnə ənd rɪˈzɪstɪŋ ən ˈɔfɪsər. emiller@tribune.com*, ər tˈwɪtər |
a sunrise man's fast-food craving turned out to be a recipe for trouble.
an employee at burger king, 10000 w. oakland park blvd., called police just before 2 a.m. wednesday to report a man banging on a closed drive-thru window and demanding food, according to a complaint affidavit.
the employee repeatedly explained to the man that the business was closed, but he refused to leave and his behavior escalated, scaring the employee.
when officers arrived, they saw ravi shah, 29, banging on the drive-thru window, screaming that he wanted two cheeseburgers. he "appeared to be disoriented and under the influence of an unknown substance," the affidavit said.
an officer tried to reason with shah, explaining that the business had been closed for three hours, but that didn't appease him.
shah started yelling about his cheeseburgers and told the officers "he was going to make a citizen's arrest on all of" them.
there was an odor of marijuana coming from the lexus that shah had been driving, the affidavit said. with the help of a police dog, officers found marijuana in a black duffel bag in the back seat of the car.
shah is facing one count each of possession of marijuana and resisting an officer.
emiller@tribune.com, 954-356-4544 or twitter @emilybethmiller | ə ˈtriˌoʊ əv jəŋ ˈsɪŋərz pərˈfɔrmd ə sɔŋ ˈdɛdəkeɪtəd tɪ rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈdɑnəld trəmp ɔn ʤæn. 13 æt ə ˈræli ɪn ˌpɛnsəˈkoʊlə, fla*. (ˈrɔɪtərz) wɪˈθɪn aʊərz əv ðɛr pərˈfɔrməns æt ə ˈdɑnəld trəmp ˈræli ɪn ˌpɛnsəˈkoʊlə, fla*., læst ˈʤænjuˌɛri, ðə u.s.a*. ˈfridəm kɪdz wər ə sɛnˈseɪʃən. ju rɪˈmɛmbər ðə ˈvɪdioʊ: θri ˌpriˈtin gərlz ɪn ˈaʊtˌfɪts ˈkrɪspli ˈwərkɪŋ θru ˈsɪmpəl ˌkɔriˈɑgrəfi ɛz ðeɪ ən ˈəpˌbit ˈəpˌdeɪt tɪ "ˈoʊvər ðɛr." ðət ˌɪnˈfɛkʃəs pərˈfɔrməns kɪkt ɔf ə ˈfləri əv ˈmidiə əˈpɪrənsəz. ðə ˈfridəm kɪdz toʊld "ˌɪnˈsaɪd ɪˈdɪʃən" ðət trəmp toʊld ðɛm ðət hi plænd tɪ ˈlɪsən tɪ ðɛr ˈsiˈdi ɔl naɪt. ðə grup, wɪʧ hæd bɪn əraʊnd fər əˈbaʊt jɪrz baɪ ðət pɔɪnt, wɑz ə ˈvaɪrəl sɛnˈseɪʃən ˈlɑrʤli ˌɪˈnɛkstrɪˌkəbəl frəm trəmp hɪmˈsɛlf. naʊ, ðoʊ, ðə riˈleɪʃənˌʃɪp ɪz ˈdɪfərənt. ʤɛf ˈpɑpɪk, ˈfɑðər əv ðə sˈmɔləst ˈfridəm kɪd ənd ˈɔθər əv "ˈfridəmz kɔl" (ðə sɔŋ pərˈfɔrmd æt ðə trəmp ˈræli), toʊld ðə ˈwɔʃɪŋtən poʊst baɪ foʊn ɔn ˈmənˌdeɪ ðət hi plænd tɪ faɪl ə ˈlɔˌsut əˈgɛnst ðə kæmˈpeɪn fər ˈvaɪəleɪtɪŋ ɪts əˈgrimənt wɪθ ðə grup. "ðɪs ɪz nɑt ə ˈlɔˌsut," ˈpɑpɪk sɛd. "əm duɪŋ ðɪs bɪˈkəz aɪ θɪŋk ðeɪ hæv tɪ du ðə raɪt θɪŋ. ənd ɪf ðɪs minz ˈhævɪŋ tɪ goʊ θru ðə kɔrt ˈsɪstəm tɪ ɛnˈfɔrs ðɛm duɪŋ ðə raɪt θɪŋ, ðɛn ðæts wət aɪ hæv tɪ du. əm nɑt ˈlʊkɪŋ tɪ du ˈbætəl wɪθ ðə trəmp kæmˈpeɪn, bət aɪ hæv tɪ ʃoʊ maɪ gərlz ðət ðɪs ɪz ðə raɪt θɪŋ." [faɪv kˈwɛsʧənz wi stɪl ˈænsər əˈbaʊt ˈdɑnəld ˈʧɛrɪti doʊˈneɪʃənz] ˈpɑpɪk ɪz kwɪk tɪ ɪkˈspleɪn ðət ðə əˈgrimənt wɑz nɑt ˈrɪtən daʊn, bət, ˌɪnˈstɛd, ˌɪnˈvɑlvz ˈprɑməsəz frəm ˈvɛriəs ˈeɪʤənts əv ðə trəmp kæmˈpeɪn wɪʧ hi sɪz wər ðɛn ˈbroʊkən. ɪt ˈstɑrtɪd ɪn ˌpɛnsəˈkoʊlə. wɪn ˈpɑpɪk fərst riʧt aʊt tɪ ðə trəmp kæmˈpeɪn əˈbaʊt pərˈfɔrmɪŋ, hi spoʊk wɪθ ˈvɛriəs ˈpipəl ˌɪnˈkludɪŋ ˈfɔrmər kæmˈpeɪn ˈmænɪʤər ˈkɔri luənˈdɔfski. hɪz ˌəndərˈstændɪŋ frəm ðə kæmˈpeɪn wɑz ðət ðə kɪdz wʊd meɪk tu əˈpɪrənsəz ɪn ˈflɔrɪdə, wɛr ˈpɑpɪk lɪvz. ðə fərst ɪˈvɛnt ˈdɪdənt kəm tɪ fruˈɪʃən, ənd ˈpɑpɪk sɪz hi æst fər ɪn ˈpeɪmənt fər ðə ˈsɛkənd pərˈfɔrməns, ɪn ˌpɛnsəˈkoʊlə. ðə kæmˈpeɪn meɪd ə counter-offer*: haʊ əˈbaʊt ə ˈteɪbəl wɛr ðə grup kʊd ˈælbəmz? ˈpɑpɪk tʊk ðə dil. wɪn ðeɪ əraɪvd æt ðə ˈvɛnju, ðoʊ, ðɛr wɑz noʊ ˈteɪbəl, ˈpɑpɪk sɪz. ðə rɪˈzəlt wɑz "kəmˈplit keɪɑs," hi sɛd. "ðeɪ ˈklɪrli hæd meɪd noʊ prəˈvɪʒənz fər ðət." ˈpɑpɪk, bɪˈlivɪŋ ðət hi wɑz oʊd səm ˈɔltərˌneɪt ˌkɑmpənˈseɪʃən, traɪd tɪ ˈkɑnˌtækt ðə kæmˈpeɪn ˈæftərwərd, wɪˈθaʊt lək. ɪn əˈdɪʃən tɪ kɔsts spɛnt ɔn pərˈmoʊʃənəl məˈtɪriəlz fər ðə ˌnɑnəgˈzɪstənt ˈteɪbəl, ˈpɑpɪk sɪz, hi ˈɔlsoʊ lɔst ˈsɛvərəl pərˈmoʊʃənəl ˌɑpərˈtunətiz du tɪ kənfˈjuʒən ˈoʊvər hɪz riˈleɪʃənˌʃɪp wɪθ ðə kæmˈpeɪn. wɪn trəmp meɪd ðə ˈsədən dɪˈsɪʒən tɪ skɪp ðə ˈʤænjuˌɛri fɑks nuz dəˈbeɪt ənd ˌɪnˈstɛd hoʊld ən ɪˈvɛnt fər ˈvɛtərənz, ə ˌrɛprɪˈzɛnətɪv əv ðə kæmˈpeɪn kɔld ˈpɑpɪk tɪ si ɪf ðə ˈfridəm kɪdz maɪt pərˈfɔrm. ðə kɔl keɪm ðə deɪ ˌbiˈfɔr ðə ɪˈvɛnt, ˈpɑpɪk sɪz, wɪʧ wɑz biɪŋ hɛld ɪn dɪ mɔɪnz æt p.m*. wɪθ ðə ˈprɑməs ðət ðə ɪkˈspoʊʒər frəm ðə ɪˈvɛnt wʊd bi "juʤ," ˈpɑpɪk ˈrɛdəli əˈgrid, ənd ðə kɪdz ənd ðɛr ˈpɛrənts pækt əp fər ə dɪˈrɛkt flaɪt tɪ ʃəˈkɑˌgoʊ ənd ə lɔŋ draɪv tɪ ˈaɪəwə. ɪt ˈwəzənt tɪ bi. wɪn ðə pleɪn ˈlændɪd, ˈpɑpɪk hæd ə ˈmɛsɪʤ frəm ðə kæmˈpeɪn ˈstæfər ˈɪndəˌkeɪtɪŋ ðət ðɛr wɑz ə ʧeɪnʤ əv plæn. ðə kæmˈpeɪn ˌɪnˈvaɪtɪd ðə pərˈfɔrmərz tɪ əˈtɛnd ðə ˈræli, wɪʧ ðeɪ dɪd, ɪn ðɛr ˈaʊtˌfɪts. ðə kæmˈpeɪn æst ˈpɑpɪk nɑt tɪ tɔk tɪ ðə ˈmidiə, hi sɪz, bət ðɛn geɪv ðɛm sits wɪˈθɪn ɑrmz lɛŋθ əv ðə prɛs. "ðeɪ ʤɪst wər ˈkɑnstəntli ˈkəmɪŋ ˈoʊvər, ˈwɑnɪŋ ˈpɪkʧərz," ˈpɑpɪk sɛd əv ðə nuz ˈmidiə. "ðeɪ ˈwɔntɪd tɪ teɪk ˈpɪkʧərz, ðeɪ ˈwɔntɪd tɪ æsk kˈwɛsʧənz ənd aɪ hæd tɪ bi ə ril ʤərk." ðə kɔst əv ðə flaɪts, ˈrɛntəl kɑr ənd hoʊˈtɛl wər ɔl əbˈzɔrbd baɪ ˈpɑpɪk. [ˈdɑnəld trəmp juzd ˈməni ˈdoʊˌneɪtɪd fər ˈʧɛrɪti tɪ baɪ hɪmˈsɛlf ə tɪm ˈfʊtˌbɔl ˈhɛlmət] ˈæftər ðət, hi kɛpt ˈriʧɪŋ aʊt "əˈgɛn ənd əˈgɛn ənd əˈgɛn ənd əˈgɛn," wɪˈθaʊt lək. hi wɑz pæst əraʊnd bɪtˈwin ˈstæfərz; kɔlz wɛnt ˈivɪn ˈæftər kɔlz wər ˈprɑməst. iˈmeɪlz ˈpɑpɪk sɛnt tɪ ðə kæmˈpeɪn (wɪʧ hi ʃɛrd wɪθ ðə poʊst) ˈditeɪl ðə ˌɪnərˈækʃən bɪtˈwin hɪmˈsɛlf ənd ðə kæmˈpeɪn ənd hɪz ˈəltəmət rɪkˈwɛst. "wi ər naʊ ˈæskɪŋ ənd dɪˈmændɪŋ fər wət həz bɪn ˈprɑməst tɪ ˈjuˈɛs ənd ɪz naʊ ˈlɔˌŋoʊvərˈdu (ənd həz bɪn ˈraɪtli ərnd baɪ ˈjuˈɛs); ðət ɪz, ə pərˈfɔrməns æt ðə kənˈvɛnʃən," ən iˈmeɪl ˈdeɪtɪd ˌʤuˈlaɪ 9 ridz. "ər, bi meɪd hoʊl." ən iˈmeɪl tɪ ðə kæmˈpeɪn rɪkˈwɛstɪŋ ðɛr ˌəndərˈstændɪŋ əv ðə əˈgrimənt wɑz nɑt rɪˈtərnd baɪ ɑr ˈdɛˌdlaɪn. "ðiz ər gaɪz ðət ˌɪnˈsɪst ðɛr streɪt ˈʃutərz," ˈpɑpɪk sɛd, "'ju meɪ nɑt laɪk wət wɪr goʊɪŋ tɪ seɪ, bət wi min wət wi seɪ ənd wi seɪ wət wi min' ənd ðeɪ ʤɪst wʊd nɑt seɪ ˈɛniˌθɪŋ əv ˈɛni ˈsəbstəns!" "aɪv ˌɪnˈvɛstɪd ə lɔt əv taɪm, ˈɛfərt, ˈməni," hi kənˈtɪnjud, "ənd ɪts ʤɪst bɪn kəmˈplit ˈsaɪləns." ɪts wərθ ˈnoʊtɪŋ ðət ˈstɔri ˈmɪrərz æˈnælɪsɪs əv trəmps ˈrɛkərd ɪn ˈwərkɪŋ wɪθ smɔl ˈbɪznɪs ˈoʊnərz, səm əv hum əˈlɛʤ ðət ðə rɪˈpəblɪkən ˌnɑməˈni feɪld tɪ lɪv əp tɪ ˌfaɪˈnænʃəl ənd ˈəðər kəˈmɪtmənts hid meɪd tɪ ðɛm. [trəmp əˈnaʊnst hɪz gɪfts tɪ ˈvɛtərənz. wət wi ˈlərnɪd.] ˈpɑpɪk həz kənˈsəltɪd wɪθ ən əˈtərni hu θɪŋks hi həz ə keɪs. "wi ər oʊd ˌkɑmpənˈseɪʃən ər, ɛz ðə əˈgrimənt ɪz, ə pərˈfɔrməns. ðæts wət ðə əˈgrimənt wɑz," hi sɛd. "ɪn lu əv ˌkɑmpənˈseɪʃən, ɪn lu əv ˈmɑnəˌtɛri ˌkɑmpənˈseɪʃən, ðət wi wʊd hæv ðɪs pərˈfɔrməns. ɪt wɑz ˈlɑrʤli ə ˈvərbəl ˈkɑnˌtrækt, bət ə ˈkɑnˌtrækt ˌnənðəˈlɛs ənd ɔn tu ˈdɪfərənt ɔˈkeɪʒənz." hi ɪkˈspɛkts tɪ faɪl ðə ˈlɔˌsut wɪˈθɪn ə fju wiks. ˈpɑpɪk keɪm ˈɪntu ðə riˈleɪʃənˌʃɪp ɛz ə trəmp fæn. "aɪ gru əp ɪn nu jɔrk, wɛr hi wɑz sɔrt əv ə səˈlɛbrɪti ˌbiˈfɔr hi wɑz ə səˈlɛbrɪti," ˈpɑpɪk sɛd. "aɪ ədˈmaɪərd wət hi wɑz ˈeɪbəl tɪ əˈkɑmplɪʃ. aɪ rɛd ɔl əv hɪz bʊks æt ðɪs pɔɪnt bæk ˈprɑbəˌbli ˈdɛkeɪdz. aɪ wɑz ə fæn ˌbiˈfɔr hi wɑz ə ˈkænədɪt." hiz nɑt ˈsərtən, ðoʊ, ɪf hiz stɪl ə fæn. "æt ðɪs pɔɪnt, maɪ pəˈzɪʃən ɪz ðət aɪ hæv noʊ pəˈzɪʃən, ˈrɪli," ˈpɑpɪk sɛd. "wət hiz dən tɪ maɪ grup ər wət hiz nɑt dən fər maɪ grup ˈdəzənt ˌnɛsəˈsɛrəli meɪk ɪm ðə bɛst ˈkænədɪt, ɪt ˈdəzənt meɪk ɪm ðə wərst ˈkænədɪt. aɪ stɪl hæv tɪ məl ðət ˈoʊvər. hi maɪt stɪl bi ðə bɛst ˈkænədɪt ɛz ˈprɛzɪdənt əv ðə juˈnaɪtɪd steɪts ər nɑt." "wət aɪ θɪŋk aɪv ˈlərnɪd," ˈpɑpɪk ˈædɪd, "ɪz ðət əm nɑt kˈwɑləˌfaɪd tɪ bi ə pəˈlɪtɪkəl ˈkɑmənˌteɪtər." ɪf jʊr ˈkjʊriəs, ðə ˈælbəm wɪl bi aʊt ɪn ˈərli sɛpˈtɛmbər. "ˈfridəmz kɔl," wɪʧ ˌɪnˈkludɪd ðə laɪn "ˈprɛzɪdənt ˈdɑnəld trəmp noʊz haʊ tɪ meɪk əˈmɛrɪkə greɪt," wɪl nɑt bi ɔn ɪt. |
a trio of young singers performed a song dedicated to republican presidential front-runner donald trump on jan. 13 at a rally in pensacola, fla. (reuters)
within hours of their performance at a donald trump rally in pensacola, fla., last january, the u.s.a. freedom kids were a sensation.
you remember the video: three preteen girls in star-spangled outfits crisply working through simple choreography as they lip-synced an upbeat update to "over there."
that infectious performance kicked off a flurry of media appearances. the freedom kids told "inside edition" that trump told them that he planned to listen to their cd all night. the group, which had been around for about 2½ years by that point, was a viral sensation largely inextricable from trump himself.
now, though, the relationship is different. jeff popick, father of the smallest freedom kid and author of "freedom's call" (the song performed at the trump rally), told the washington post by phone on monday that he planned to file a lawsuit against the campaign for violating its agreement with the group.
"this is not a billion-dollar lawsuit," popick said. "i'm doing this because i think they have to do the right thing. and if this means having to go through the court system to enforce them doing the right thing, then that's what i have to do. i'm not looking to do battle with the trump campaign, but i have to show my girls that this is the right thing."
[five questions we still can’t answer about donald trump’s charity donations]
popick is quick to explain that the agreement was not written down, but, instead, involves promises from various agents of the trump campaign which he says were then broken.
it started in pensacola. when popick first reached out to the trump campaign about performing, he spoke with various people including former campaign manager corey lewandowski. his understanding from the campaign was that the kids would make two appearances in florida, where popick lives. the first event didn't come to fruition, and popick says he asked for $2,500 in payment for the second performance, in pensacola. the campaign made a counter-offer: how about a table where the group could presell albums? popick took the deal.
when they arrived at the venue, though, there was no table, popick says. the result was "complete chaos," he said. "they clearly had made no provisions for that."
popick, believing that he was owed some alternate compensation, tried to contact the campaign afterward, without luck. in addition to costs spent on promotional materials for the nonexistent table, popick says, he also lost several promotional opportunities due to confusion over his relationship with the campaign.
when trump made the sudden decision to skip the january fox news debate and instead hold an event for veterans, a representative of the campaign called popick to see if the freedom kids might perform. the call came the day before the event, popick says, which was being held in des moines at 6:30 p.m. with the promise that the exposure from the event would be "huge," popick readily agreed, and the kids and their parents packed up for a direct flight to chicago and a long drive to iowa.
it wasn't to be. when the plane landed, popick had a message from the campaign staffer indicating that there was a change of plan. the campaign invited the performers to attend the rally, which they did, in their outfits. the campaign asked popick not to talk to the media, he says, but then gave them seats within arm's length of the press. "they just were constantly coming over, wanting pictures," popick said of the news media. "they wanted to take pictures, they wanted to ask questions — and i had to be a real jerk." the cost of the flights, rental car and hotel were all absorbed by popick.
[donald trump used money donated for charity to buy himself a tim tebow-signed football helmet]
after that, he kept reaching out "again and again and again and again," without luck. he was passed around between staffers; calls went unreturned even after calls were promised. emails popick sent to the campaign (which he shared with the post) detail the interaction between himself and the campaign and his ultimate request. "we are now asking and demanding for what has been promised to us and is now long-overdue (and has been rightly earned by us); that is, a performance at the convention," an email dated july 9 reads. "or, be made whole."
an email to the campaign requesting their understanding of the agreement was not returned by our deadline.
"these are guys that insist they're straight shooters," popick said, "'you may not like what we're going to say, but we mean what we say and we say what we mean' — and they just would not say anything of any substance!"
"i've invested a lot of time, effort, money," he continued, "and it's just been complete silence."
it's worth noting that popick's story mirrors analysis of trump's record in working with small business owners, some of whom allege that the republican nominee failed to live up to financial and other commitments he'd made to them.
[trump announced his gifts to veterans. here’s what we learned.]
popick has consulted with an attorney who thinks he has a case. "we are owed compensation or, as the agreement is, a performance. that's what the agreement was," he said. "in lieu of compensation, in lieu of monetary compensation, that we would have this performance. it was largely a verbal contract, but a contract nonetheless and on two different occasions." he expects to file the lawsuit within a few weeks.
popick came into the relationship as a trump fan. "i grew up in new york, where he was sort of a celebrity before he was a celebrity," popick said. "i admired what he was able to accomplish. i read all of his books at this point back probably decades. ... i was a fan before he was a candidate."
he's not certain, though, if he's still a fan.
"at this point, my position is that i have no position, really," popick said. "what he's done to my group or what he's not done for my group doesn't necessarily make him the best candidate, it doesn't make him the worst candidate. i still have to mull that over. he might still be the best candidate as president of the united states — or not."
"what i think i've learned," popick added, "is that i'm not qualified to be a political commentator."
if you're curious, the album will be out in early september. "freedom's call," which included the line "president donald trump knows how to make america great," will not be on it. | ə ˈfɛdərəl ʤəʤ ˈoʊvərˌtərnd ə steɪt lɔ ɪn ˌɛrɪˈzoʊnə ɔn ˈfraɪˌdeɪ ðət bænd plænd ˈpɛrənˌthʊd frəm ˈkɑntræktɪŋ wɪθ ˈmɛdəˌkeɪd. "ə steɪt meɪ nɑt riˈstrɪkt ə ˌbɛnəˈfɪʃiˌɛriz raɪt tɪ səˈlɛkt ˈɛni kˈwɑləˌfaɪd prəˈvaɪdər fər ˈrizənz ˈhoʊli ˌənrɪˈleɪtɪd tɪ ðə əˈbɪləˌti tɪ dɪˈlɪvər ˈmɛdəˌkeɪd ˈsərvɪsɪz," juz. ˈdɪstrɪkt ʤəʤ nil weɪk roʊt ɪn ðə ˈrulɪŋ. ðə lɔ, pæst baɪ rɪˈpəblɪkən ˈlɛʤəsˌleɪtərz ɪn ˌɛrɪˈzoʊnə ɪn meɪ 2012 blɑkt ˈmɛdəˌkeɪd ˈfæməli ˈplænɪŋ fəndz frəm floʊɪŋ tɪ ˈɛni hɛlθ ˌɔrgənəˈzeɪʃən ðət prəˈvaɪdz əˈbɔrʃənz. ɪt ˈifɛktɪvli prɪˈvɛnɪd ˈθaʊzənz əv ˌloʊˈɪnkəm ˈmɛdəˌkeɪd rɪˈsɪpiənts ɪn ˌɛrɪˈzoʊnə frəm ˈʧuzɪŋ plænd ˈpɛrənˌthʊd ɛz ə hɛlθ ənd ˈfæməli ˈplænɪŋ prəˈvaɪdər. ə ˈnɪrli aɪˈdɛntɪkəl lɔ ɪn ˌɪndiˈænə wɑz strək daʊn baɪ ə ˈfɛdərəl əˈpilz kɔrt ɪn ɑkˈtoʊbər, bɪˈkəz ˈfɛdərəl ˈmɛdəˌkeɪd lɔ sɪz ðət steɪts ˈkænɑt dɪˈskrɪməˌneɪt əˈgɛnst ən ˈəðərˌwaɪz kˈwɑləˌfaɪd prəˈvaɪdər bɪˈkəz ɪt ˈɔfərz ə ˈligəl ˈmɛdɪkəl ˈsərvɪs. ˈsuzən bi. ˈænθɔˌni lɪst, ə ˈnæʃənəl ˌɔrgənəˈzeɪʃən, ɪkˈsprɛst dip ˌdɪsəˈpɔɪntmənt wɪθ ðə ˈʤəʤɪz dɪˈsɪʒən ɪn ˌɛrɪˈzoʊnə. |
a federal judge overturned a state law in arizona on friday that banned planned parenthood from contracting with medicaid.
"a state may not restrict a beneficiary's right to select any qualified provider for reasons wholly unrelated to the provider's ability to deliver medicaid services," u.s. district judge neil wake wrote in the ruling.
the law, passed by republican legislators in arizona in may 2012, blocked medicaid family planning funds from flowing to any health organization that provides abortions. it effectively prevented thousands of low-income medicaid recipients in arizona from choosing planned parenthood as a health and family planning provider.
a nearly identical law in indiana was struck down by a federal appeals court in october, because federal medicaid law says that states cannot discriminate against an otherwise qualified provider because it offers a legal medical service.
susan b. anthony list, a national anti-abortion organization, expressed deep disappointment with the judge's decision in arizona. | ˌseɪmˈsɛks ˈmɛrɪʤ bɪˈkeɪm ˈligəl ɪn nɔrθ ˌkɛrəˈlaɪnə ɔn ˈfraɪˌdeɪ, wɪθ ə ˈfɛdərəl ʤəʤ ˈɔrdərɪŋ ðə steɪt tɪ ˌɪˈmiˌdiətli sɛt əˈsaɪd ɪts bæn. wɪθ ə stroʊk əv hɪz pɛn ɪn ə ˈlɔˌsut, juz. ˈdɪstrɪkt ʤəʤ mæks ˈkɑgˌbərn əv ˈæʃˌvɪl strək daʊn ðə lɔz riˈstrɪktɪŋ ˈmɛrɪʤ tɪ ə mæn ənd ə ˈwʊmən. ɪn duɪŋ soʊ, hi ɪˈreɪst əˈmɛndmənt wən, ðə læst voter-approved*, ˌkɑnstəˈtuʃənəl ˈmɛrɪʤ bæn, ənd ə ˈkəlʧərəl, ˈspɪrɪˌʧuəl ənd pəˈlɪtɪkəl ˈlaɪtnɪŋ rɑd ɪn nɔrθ ˌkɛrəˈlaɪnə. saɪn əp ənd seɪv gɪt sɪks mənθs əv fri ˈdɪʤɪtəl ˈækˌsɛs tɪ ðə ˈʃɑrlət əbˈzərvər ðə əˈtərni fər rɪˈpəblɪkən ˈlɛʤəsˌleɪtɪv ˈlidərz traɪɪŋ ə ˈɛfərt tɪ prɪˈzərv ðə bæn sɛd ˈfraɪˌdeɪ naɪt ðət ən əˈpil ɪz ˈpɑsəbəl. bət fər naʊ ɪt əˈpɪrz ˈlɪmɪtɪd tɪ ˈnɛroʊ graʊnz, ənd ˈligəl ˈɛkspərts sɛd ɪt hæd ˈlɪtəl ʧæns əv səkˈsɛs. won!”*!” sɛd ˈʃɑrlət ˈlɔjər ʤeɪk ˈsəsmən, lɛd əˈtərni fər ə ˌkoʊəˈlɪʃən əv geɪ ˈkəpəlz, rɪˈlɪʤəs ˈlidərz ənd grups hu ˈɑrgjud ðət ðə steɪt bænz ˈvaɪəleɪtɪd ðɛr ˈfridəm əv rɪˈlɪʤən ənd ˈikwəl prəˈtɛkʃən ˈəndər ðə lɔ. gəv. pæt məˈkrɔri sɛd ðə steɪt wʊd kəmˈplaɪ. ædˌmɪnɪˈstreɪʃən ɪz ˈmuvɪŋ ˈfɔrwərd wɪθ ðə ˌɛksəˈkjuʃən əv ðə ˈrulɪŋ ənd wɪl kənˈtɪnju tɪ du soʊ ənˈlɛs ˈəðərˌwaɪz ˈnoʊtəˌfaɪd baɪ ðə courts,”*,” hi sɛd. ˈmɛklənbərg ˈrɛʤɪstər əv didz ˈdeɪvɪd ˈgrænˌbɛri sɛd ðə ˈmɛrɪʤ ˈlaɪsənsɪz wʊd bi meɪd əˈveɪləbəl tɪ geɪ ˈkəpəlz ɔn ˈmənˌdeɪ ˈmɔrnɪŋ, ˈoʊnli bɪˈkəz hi hæv pərˈmɪʃən tɪ steɪ ˈoʊpən leɪt ˈfraɪˌdeɪ. ˈɛlsˌwɛr, ðə ˈwɛdɪŋ mɑrʧ hæd ɔˈrɛdi ˈbeɪgən. ɪn ˈrɔli, ðə ˈrɛʤɪstər əv didz ˈɪʃud hər fərst ˌseɪmˈsɛks ˈmɛrɪʤ ˈlaɪsəns æt p.m*., ənd ə ˈsɛrəˌmoʊni kˈwɪkli ˈfɑloʊd. ɪn ˈæʃˌvɪl ənd ˈgrinzbərroʊ, ðə ˈkaʊnti ˈrɛʤɪstər əv didz ˈɔfəsɪz steɪd ˈoʊpən aʊərz pæst ˈkloʊzɪŋ taɪm tɪ ˈhændəl ðə rəʃ əv ˌseɪmˈsɛks ˈkəpəlz. ənd waɪl ˈmɛklənbərg wɪl læg bɪˈhaɪnd ˈəðər ˈkaʊntiz ɪn ˈɪʃuɪŋ ˈmɛrɪʤ ˈlaɪsənsɪz, geɪ ˈkəpəlz ənd ðɛr səˈpɔrtərz ˈweɪstɪd ˈlɪtəl taɪm ˈsɛləˌbreɪtɪŋ. ʤoʊi ˈhɛwɛl əv ˈʃɑrlət hɛld əp ə ˈkɑpi əv ˈɔrdər ˈaʊtˈsaɪd ðə ˈɔfəs. ɪz ðə əˈfɪʃəl dɛθ sərˈtɪfɪkət əv əˈmɛndmənt one,”*,” hi sɛd tɪ ə ˈgæðərɪŋ kraʊd. hi ənd hɪz ˈpɑrtnər əv 12 jɪrz, skɑt ˈlɪndsli, hæd spɛnt θri deɪz ˈaʊtˈsaɪd ðə ˈɔfəs, əˈweɪtɪŋ ə dɪˈsɪʒən. hi sɛd ðeɪ wɪl bi bæk ˈmənˌdeɪ tɪ pɪk əp ðɛr ˈmɛrɪʤ ˈlaɪsəns. minz ðə world,”*,” hi sɛd. ər soʊ ˈmɛni greɪt θɪŋz ðət kəm əˈlɔŋ naʊ ənd soʊ ˈmɛni ˈwəriz ðət goʊ away.”*.” ˈkæθi fraɪ ənd ʤoʊæn mɑrɪˈnɑroʊ, hu hæv bɪn təˈgɛðər fər 28 jɪrz, wɛnt tɪ ðə ˈkɔrˌthaʊs fər ə ˈlaɪsəns bət droʊv hoʊm wɪˈθaʊt wən. ðɛn ðɛr foʊnz ˈstɑrtɪd ˈbəzɪŋ. ðə ˈrulɪŋ hæd kəm daʊn. kʊd bərst aʊt ɪn tɪrz raɪt now,”*,” fraɪ sɛd. haʊ ˈhæpi wi are.”*.” ɪz ɪt ˈoʊvər? ɪt rɪˈmeɪnd ənˈklɪr ˈfraɪˌdeɪ wət wɪl ˈhæpən wɪθ tu ˈəðər nɔrθ ˌkɛrəˈlaɪnə ˌseɪmˈsɛks ˈmɛrɪʤ ˈkeɪsɪz ɪn ˈgrinzbərroʊ. boʊθ ər biɪŋ hərd baɪ juz. ˈdɪstrɪkt ʤəʤ ˈwɪljəm ˈɑˌstin, hu hɛld əp ə ˈfaɪnəl ˈrulɪŋ ˈæftər ˈlɔjərz fər haʊs ˈspikər tɑm ˈtɪlɪs ənd ˈsɛnɪt ˈprɛzɪdənt fɪl ˈbərgər æst tɪ ʤɔɪn ðə ˈkeɪsɪz. ˈkɑgˌbərn, ə ˈfɔrmər ˈfɛdərəl ˈprɑsɪˌkjutər əˈpɔɪntɪd tɪ ðə bɛnʧ baɪ ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə, dɪd nɑt weɪt. fərst hi dɪˈnaɪd ðə rɪˈpəblɪkən leaders’*’ ˈmoʊʃən tɪ ˌɪntərˈvin. ˈmɪnəts ˈleɪtər, hi faɪld hɪz ˈfaɪnəl ˈɔrdər, seɪɪŋ ðət ðə bæn ˈvaɪəleɪtɪd ðə plaintiffs’*’ əˈmɛndmənt raɪts əv ˈikwəl prəˈtɛkʃən ˈəndər lɔ. ɪn duɪŋ soʊ, ðə nuəst ˈmɛrɪʤ ˈlɔˌsut, wɪʧ wɑz faɪld ɪn ˈeɪprəl, bɪˈkeɪm ðə fərst tɪ ˈtrɪgər ə dɪˈsɪʒən. spid əv ðɪs ɪz ˈbrɛθˌteɪkɪŋ. ɪt meɪks ðə maɪnd reel,”*,” sɛd mækˈsin ˈaɪknər, ə lɔ prəˈfɛsər hu ɪkˈspɛktɪd ə ˈrulɪŋ aʊt əv ˈgrinzbərroʊ fərst. waɪl ˈaɪknər ækˈnɑlɪʤd ðə ˌpɑsəˈbɪləˌti əv əˈpil, ʃi ˈædɪd, ˈsəˌspɛkt ðə faɪt ɔn ðɪs ˈɪʃu ɪz ˈoʊvər ɪn nɔrθ carolina.”*.” ˈrulɪŋ kæpt ɔf ə ˈpeɪpər ʧeɪs əv ˈmoʊʃənz ənd ˈkaʊntər ˈmoʊʃənz, ˈɑrgjəmənts ənd rɪˈbətəlz. məʧ əv ɪt wɑz pɑrt əv ə rɪˈpəblɪkən ˈɛfərt tɪ dɪˈleɪ wət əˈpɪrd ˌɪˈnɛvətəbəl ˈmənˌdeɪ, wɪn ðə səˈprim kɔrt əˈnaʊnst ɪt wʊd nɑt ˌrivˈju loʊər kɔrt ˈmɛrɪʤ ˈrulɪŋz ɪn faɪv steɪts. wən əv ðoʊz dɪˈsɪʒənz, wɪʧ strək daʊn ə ˌseɪmˈsɛks ˈmɛrɪʤ bæn ɪn vərˈʤɪnjə, keɪm frəm ðə ˈsərkət kɔrt əv əˈpilz. ɪt həz ˌʤʊrɪsˈdɪkʃən ˈoʊvər ðə ˌkɛrəˈlaɪnəz. ðə səˈprim dɪˈsɪʒən frid əp ðə ˈlɔˌsuts ðət hæd bɪn pʊt ɔn hoʊld ənˈtɪl ðə haɪ kɔrt meɪd ɪts ˈθɪŋkɪŋ noʊn. jɛt ˈtɪlɪs, ˈrənɪŋ fər ðə juz. ˈsɛnɪt, ənd ˈbərgər pʊʃt ɔn. θru ðɛr əˈtərniz, kənˈsərvətɪv ˈæktɪvɪst ʤɑn ˈistmən ənd ˈrɑbərt ˈpɑtər əv ˈʃɑrlət, ðeɪ əˈtɛmptəd tɪ dɪˈleɪ ðə judges’*’ dɪˈsɪʒənz soʊ ðɛr ˈɑrgjəmənts kʊd bi hərd. ˈligəl ˈɛkspərts sɛd ðeɪ hæd ˈlɪtəl ʧæns əv səkˈsɛs. ˈkɑgˌbərn pruvd ðə ˈɛkspərts raɪt. ɪn ə ʤɔɪnt ˈsteɪtmənt ˈæftər ðə ˈrulɪŋ, ˈbərgər ənd ˈtɪlɪs sɛd ðeɪ wər dɪˈfɛndɪŋ ðə ˈvoʊtərz hu pæst əˈmɛndmənt wən ɪn 2012 wɪθ 61 pərˈsɛnt əˈpruvəl. rɪˈpəblɪkən ˈlɛʤəsˌleɪtərz, hu pʊt ðə ˈmɛʒər ɔn ðə ˈbælət, ˈskɛʤʊld ðə voʊt fər ðə meɪ ˈpraɪˌmɛri tu jɪrz əˈgoʊ. ˈtərˌnaʊt wɑz 35 pərˈsɛnt, ənd ðə pərˈsɛnɪʤ əv ˈrɛʤɪstərd ˈvoʊtərz hu əˈpruvd ðə əˈmɛndmənt wɑz ðə sˈmɔləst ɪn ðə saʊθ. wi ˈrɛkəgˌnaɪz ðə trɪˈmɛndəs ˈpæʃən ɔn ɔl saɪdz əv ðɪs ˈɪʃu, wi ˈprɑməst tɪ dɪˈfɛnd ðə wɪl əv nɔrθ ˌkɛrəˈlaɪnə ˈvoʊtərz bɪˈkəz ðeɪ nɑt ˈʤəʤɪz ənd nɑt ˌpɑləˈtɪʃənz dɪˈfaɪn ˈmɛrɪʤ ɛz bɪtˈwin wən mæn ənd wən ˈwʊmən ənd pleɪst ðət ɪn ɑr steɪt constitution,”*,” ðə ˈsteɪtmənt frəm ˈbərgər ənd ˈtɪlɪs sɛd. ɪz ˌdɪsəˈpɔɪnɪŋ ðɪs dɪˈsɪʒən wɑz meɪd wɪˈθaʊt nɔrθ lɔ rɪˈsivɪŋ ɪts deɪ ɪn kɔrt, ənd wi wɪl kənˈtɪnju tɪ wərk tɪ ɪnˈʃʊr ðə vɔɪs əv ðə ˈvoʊtərz ɪz heard.”*.” ˈistmən, ə ˌkæləˈfɔrnjə lɔ prəˈfɛsər ənd ðə lawmakers’*’ lɛd əˈtərni, toʊld ðə əbˈzərvər ɔn ˈfraɪˌdeɪ naɪt ðət ˈtɪlɪs ənd ˈbərgər ər kənˈsɪdərɪŋ ðɛr ˈɔpʃənz ənd ðət ðə ˈmɛrɪʤ faɪt ɪz nɑt ˈoʊvər. waɪl ðə lawmakers’*’ kən ˈoʊnli əˈpil rɪfˈjuzəl tɪ əˈlaʊ ðɛm tɪ ʤɔɪn ðə ˈʃɑrlət keɪs, ˈistmən sɛd ðeɪ rɪˈmeɪn ˈhoʊpfəl ˈɑˌstin, ə ʤuˈdɪʃəl əˈpɔɪntmənt baɪ ˈprɛzɪdənt ʤɔrʤ ˈdəbəlju. bʊʃ, wɪl lɛt ðɛm ˌɪntərˈvin. dɪˈsɪʒən, wɪʧ kʊd kəm æt ˈɛni taɪm, wʊd ˈstrɛŋθən ðə republicans’*’ ˈʧænsɪz əv əˈpil, ˈistmən sɛd. kɑrl təˈbaɪəs, ə ˌjunəˈvərsəti əv ˈrɪʧmənd lɔ prəˈfɛsər hu həz bɪn ˈfɑloʊɪŋ nɔrθ ˈmɛrɪʤ faɪt, sɛd ðə legislators’*’ ˈʧænsɪz əv səkˈsɛs ər dɪˈmɪnɪʃt bɪˈkəz ðeɪ steɪd aʊt əv ðə faɪt ənˈtɪl ðə ɛnd. ˌlæsˈmɪnət pliz ər lɛs persuasive,”*,” təˈbaɪəs sɛd. du gɪv səm ˈdɛfərəns tɪ ɪˈlɛktɪd əˈfɪʃəlz. bət ɪt ɪz ˈdɪfəkəlt tɪ si wət ðeɪ ər duɪŋ hir ɪkˈsɛpt ˈweɪstɪŋ taɪm, ˈməni ənd ˈɛnərʤi fər ˈpɑrtəzən pəˈlɪtɪkəl ˈpərpəsɪz ðət wɪl lɛd nowhere.”*.” ɪn boʊθ ˌkɛrəˈlaɪnəz, ðə ˈmɛrɪʤ ˈɪʃu həz həz bɪn dɪˈvaɪsɪv. ˈmɛni əv ðə nɔrθ ˌkɛrəˈlɪniənz hu ˈvoʊtɪd ɪn ˈfeɪvər əv əˈmɛndmənt wən dɪd soʊ fər ˈspɪrɪˌʧuəl ˈrizənz, bɪˈlivɪŋ ðət ˈmɛrɪʤ ɪz ˈseɪkrɪd ənd ˌhoʊmoʊˌsɛkʃuˈæləˌti ə sɪn. jɛt poʊlz ʃoʊ ðət ˈætəˌtudz hir hæv bɪˈkəm fɑr mɔr səˈpɔrtɪv əv ˈmɛrɪʤ ɪkˈwɑləti, ˌpɑrˈtɪkjələrli əˈməŋ jəŋ ˈvoʊtərz ðə ˌʤɛnərˈeɪʃənz tɪ kəm. æt ðə ˈʃɑrlət hoʊm əv fraɪ ənd mɑrɪˈnɑroʊ, ən ˌɪmˈprɑmptu ˌsɛləˈbreɪʃən broʊk aʊt ɔn ˈfraɪˌdeɪ naɪt. ðə ˈdɔtər, ˈkeɪli, droʊv daʊn frəm ˈæʃˌvɪl tɪ ʤɔɪn ɪn. ʃi sɑbd æt ðə ˈprɑspɛkt əv əˈtɛndɪŋ hər parents’*’ ˈwɛdɪŋ. overwhelmed,”*,” ʃi sɛd, soʊ joyful.”*.” mɑrk praɪs, mərˈiə ˈdeɪvɪd, ˈɛrɪk ˈfreɪʒər, ˈdeɪvɪd ənd hoʊp pɑʃ kənˈtrɪbjutɪd. |
same-sex marriage became legal in north carolina on friday, with a federal judge ordering the state to immediately set aside its ban.
with a stroke of his pen in a charlotte-based lawsuit, u.s. district judge max cogburn of asheville struck down the state’s laws restricting marriage to a man and a woman.
in doing so, he erased amendment one, the country’s last voter-approved, constitutional marriage ban, and a cultural, spiritual and political lightning rod in north carolina.
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the attorney for republican legislative leaders trying a last-ditch effort to preserve the ban said friday night that an appeal is possible. but for now it appears limited to narrow grounds, and legal experts said it had little chance of success.
“we won!” said charlotte lawyer jake sussman, lead attorney for a coalition of gay couples, religious leaders and groups who argued that the state bans violated their freedom of religion and equal protection under the law.
gov. pat mccrory said the state would comply. “the administration is moving forward with the execution of the court’s ruling and will continue to do so unless otherwise notified by the courts,” he said.
mecklenburg register of deeds david granberry said the marriage licenses would be made available to gay couples on monday morning, only because he didn’t have permission to stay open late friday.
elsewhere, the wedding march had already begun. in raleigh, the county’s register of deeds issued her first same-sex marriage license at 5:44 p.m., and a ceremony quickly followed.
in asheville and greensboro, the county register of deeds offices stayed open hours past closing time to handle the rush of same-sex couples.
and while mecklenburg will lag behind other counties in issuing marriage licenses, gay couples and their supporters wasted little time celebrating.
joey hewell of charlotte held up a copy of cogburn’s order outside the register’s office.
“this is the official death certificate of amendment one,” he said to a gathering crowd.
he and his partner of 12 years, scott lindsley, had spent three days outside the office, awaiting a decision. he said they will be back monday to pick up their marriage license.
“it means the world,” he said. “there are so many great things that come along now and so many worries that go away.”
cathy fry and joanne marinaro, who have been together for 28 years, went to the courthouse for a license but drove home without one. then their phones started buzzing. the ruling had come down.
“we could burst out in tears right now,” fry said. “that’s how happy we are.”
is it over?
it remained unclear friday what will happen with two other north carolina same-sex marriage cases in greensboro.
both are being heard by u.s. district judge william osteen, who held up a final ruling after lawyers for house speaker thom tillis and senate president phil berger asked to join the cases.
cogburn, a former federal prosecutor appointed to the bench by president barack obama, did not wait.
first he denied the republican leaders’ motion to intervene. minutes later, he filed his final order, saying that the state’s ban violated the plaintiffs’ 14th amendment rights of equal protection under law.
in doing so, the state’s newest marriage lawsuit, which was filed in april, became the first to trigger a decision.
“the speed of this is breathtaking. it makes the mind reel,” said maxine eichner, a unc law professor who expected a ruling out of greensboro first.
while eichner acknowledged the possibility of appeal, she added, “i suspect the fight on this issue is over in north carolina.”
cogburn’s ruling capped off a 48-hour paper chase of motions and counter motions, arguments and rebuttals. much of it was part of a republican effort to delay what appeared inevitable monday, when the supreme court announced it would not review lower court marriage rulings in five states.
one of those decisions, which struck down a same-sex marriage ban in virginia, came from the 4th circuit court of appeals. it has jurisdiction over the carolinas. the supreme court’s decision freed up the lawsuits that had been put on hold until the high court made its thinking known.
yet tillis, who’s running for the u.s. senate, and berger pushed on. through their attorneys, conservative activist john eastman and robert potter of charlotte, they attempted to delay the judges’ decisions so their arguments could be heard.
legal experts said they had little chance of success. cogburn proved the experts right.
in a joint statement after the ruling, berger and tillis said they were defending the voters who passed amendment one in 2012 with 61 percent approval.
republican legislators, who put the measure on the ballot, scheduled the vote for the may primary two years ago. turnout was 35 percent, and the percentage of registered voters who approved the amendment was the smallest in the south.
“while we recognize the tremendous passion on all sides of this issue, we promised to defend the will of north carolina voters because they – not judges and not politicians – define marriage as between one man and one woman and placed that in our state constitution,” the statement from berger and tillis said.
“it is disappointing this decision was made without north carolina’s law receiving its day in court, and we will continue to work to ensure the voice of the voters is heard.”
eastman, a california law professor and the lawmakers’ lead attorney, told the observer on friday night that tillis and berger are considering their options and that the marriage fight is not over.
while the lawmakers’ can only appeal cogburn’s refusal to allow them to join the charlotte case, eastman said they remain hopeful osteen, a judicial appointment by president george w. bush, will let them intervene. osteen’s decision, which could come at any time, would strengthen the republicans’ chances of appeal, eastman said.
carl tobias, a university of richmond law professor who has been following north carolina’s marriage fight, said the legislators’ chances of success are diminished because they stayed out of the two-year fight until the end.
“the last-minute pleas are less persuasive,” tobias said. “courts do give some deference to elected officials. but it is difficult to see what they are doing here except wasting time, money and energy for partisan political purposes that will lead nowhere.”
in both carolinas, the marriage issue has has been divisive. many of the north carolinians who voted in favor of amendment one did so for spiritual reasons, believing that marriage is sacred and homosexuality a sin.
yet polls show that attitudes here have become far more supportive of marriage equality, particularly among young voters – the generations to come.
at the charlotte home of fry and marinaro, an impromptu celebration broke out on friday night. the couple’s 23-year-old daughter, kaley, drove down from asheville to join in.
she sobbed at the prospect of attending her parents’ wedding.
“i’m overwhelmed,” she said, “and so joyful.”
mark price, maria david, eric frazier, david perlmutt and hope paasch contributed. | chantelle* məˈkluni, 23 wɔʧt ɔn ɛz hər ˈbɔɪˌfrɛnd ənd əˈnəðər ˈləvər ˈtɔrʧərd ənd hjuˈmɪliˌeɪtɪd ðɛr ˈvɪktɪm, ə kɔrt hərd. məˈkluni leɪd ə fər ðə mæn, huz aɪˈdɛntəˌti ɪz prəˈtɛktɪd, baɪ ˌɪnˈvaɪtɪŋ ɪm tɪ hər flæt ɪn ɪn ˈmænˌʧɛstər fər ə θˈrisəm wɪθ hər ənd hər ˈpɑrtnər, kreɪg ˈhoʊˌgɑn. ˈdʊrɪŋ ðə liˈeɪˌzɑn, əˈnəðər əv hər ˈləvərz, ˈændru dɔɪl, əraɪvd dɪˈtərmənd tɪ ɪgˈzækt riˈvɛnʤ ɔn ðə ˈvɪktɪm fər ən ˈərliər slaɪt. ðə mæn wɑz taɪd tɪ ə ʧɛr, kɪkt, pənʧt, fɔrst tɪ drɪŋk bliʧ, bərnd wɪθ ə flamethrower*, strək wɪθ ə ʧɛr, rɑbd ənd fɔrst tɪ poʊz ˈneɪkəd ɔn ə ˈbælkəni fər half-an-hour*. ˈmænˌʧɛstər kraʊn kɔrt hərd məˈkluni læft ɛz ðə tu mɛn səˈbʤɛktɪd ðɛr ˈvɪktɪm tɪ ““inhuman”*” ˈtɔrʧər. æt wən pɔɪnt ʃi hæd sɛks wɪθ dɔɪl ɛz ðə hjuˈmɪliˌeɪtɪd mæn leɪ ˈblədid ɔn ðə flɔr wɪθ dɔɪl ˈkɪkɪŋ ɪm θruaʊt. æst waɪ ʃi hæd sɛks wɪθ dɔɪl ðɛn, məˈkluni toʊld dɪˈtɛktɪvz: "aɪl ədˈmɪt ɪt aɪ fɛlt ˈhɔrni." ˌhaʊˈɛvər, ðə əˈvɔɪdɪd ə ʤeɪl ˈsɛntəns ˈæftər ədˈmɪtɪŋ fɔls ˌɪmˈprɪzənmənt æt ˈmænˌʧɛstər kraʊn kɔrt. ʤəʤ ˈrɪʧərd ˈmænsəl qc*, geɪv hər ən ˈsɛntəns wɪθ ˌsupərˈvɪʒən, səˈspɛndɪd fər tu jɪrz, ˈæftər kənˈkludɪŋ ʃi hæd bɪn ˈəndər ðə ˈɪnfluəns əv ˈhoʊˌgɑn, wɪθ hum ʃi hæd bɪn ən ““abusive”*” riˈleɪʃənˌʃɪp ˈdʊrɪŋ hər tinz, ənd ɪn fɪr əv dɔɪl bət wɑz naʊ traɪɪŋ tɪ ˈoʊvərˌkəm ə ˈdipli ˈtrəbəld pæst. ðə kɔrt hərd ðət ðə ˈvɪktɪm, naʊ 42 wɑz soʊ hi dɪd nɑt spik əv hɪz ɔrˈdil fər fɔr jɪrz. ɪt wɑz ˈoʊnli wɪn hi wɛnt tɪ ˈæftər ə ˈsuɪˌsaɪd əˈtɛmpt ðət hi rɪˈvild ðə ˈhɔrəˌfaɪɪŋ əˈtæk tɪ pəˈlis ənd ðə gæŋ wɑz ərˈɛstɪd. ðə kɔrt hərd wiks ˌbiˈfɔr ðə əˈtæk ɪn ɑkˈtoʊbər 2008 ðə ˈvɪktɪm hæd bɪn ˌɪnˈvaɪtɪd tɪ ə θˈrisəm wɪθ məˈkluni ənd ˈhoʊˌgɑn, wɪθ hum hi hæd bɪn frɛndz ɪn ʤeɪl. ˈdʊrɪŋ ðət ɪnˈkaʊnər, dɔɪl tərnd əp æt flæt. ɪt ˈimərʤd ðət məˈkluni ənd ˈhoʊˌgɑn hæd bɪn ˌɪnˈvɑlvd ɪn ə sɛks ˈsɛʃən ˈərliər ðət deɪ wɪθ ɪm ɛz wɛl. ðə ˈvɪktɪm θɔt ðət dɔɪl laɪk ə drəg addict”*”, ənd toʊld məˈkluni ɪn ə tɛkst ðət ʃi ʃʊd gɪt ˈtɛstɪd fər ˈsɛkʃuəli trænzˈmɪtəd dɪˈzizɪz. məˈkluni toʊld dɔɪl, hu wɑz ɪnˈreɪʤd, ənd rɪˈkrutɪd hər ənd ˈhoʊˌgɑn tɪ gɪt riˈvɛnʤ. ðə mæn, hu bɛgd fər ˈmərsi, wɑz ˈpɛltɪd wɪθ ɛgz baɪ ðə ˈtriˌoʊ ˌbiˈfɔr biɪŋ riˈlist wɪθ ə ˈwɔrnɪŋ frəm dɔɪl ðət hɪz ˈfæməli wʊd bi ʃɑt ɪf hi spoʊk aʊt. dɔɪl, 24 ə kənˈvɪktəd ˈrɑbər əv noʊ fɪkst ˈæˌdrɛs, wɑz ʤeɪld fər faɪv jɪrz fər fɔls ˌɪmˈprɪzənmənt, ənd ˈhoʊˌgɑn, 28 ə kənˈvɪktəd ˈɑrsənɪst, əv ˈoʊldəm, wɑz ʤeɪld fər fɔr jɪrz. boʊθ ˈplidɪd ˈgɪlti æt ən ˈərliər ˈhirɪŋ. ɔn ðə naɪt əv ðə əˈtæk, ðə ˈvɪktɪm, hu sɪz hi həz baɪ ˈflæʃˌbæks ənd stɪl teɪst bleach”*”, wɑz faʊnd ˈwɑndərɪŋ ɪn ðə ˈsɪti ˈsɛntər ɪn ə ““stupor”*” wɪθ səˈvɪr ˈfeɪʃəl ˈɪnʤəriz. æt ðə taɪm, hi toʊld pəˈlis hi hæd bɪn rɑbd baɪ ˈstreɪnʤərz. |
chantelle mccluney, 23, watched on as her boyfriend and another lover tortured and humiliated their victim, a court heard.
mccluney laid a honeytrap for the man, whose identity is protected, by inviting him to her flat in harpurhey in manchester for a threesome with her and her partner, craig hogan.
during the liaison, another of her lovers, andrew doyle, arrived determined to exact revenge on the victim for an earlier slight.
the man was tied to a chair, kicked, punched, forced to drink bleach, burned with a flamethrower, struck with a chair, robbed and forced to pose naked on a balcony for half-an-hour.
manchester crown court heard mccluney laughed as the two men subjected their victim to “inhuman” torture. at one point she had sex with doyle as the humiliated man lay bloodied on the floor - with doyle kicking him throughout.
asked why she had sex with doyle then, mccluney told detectives: "i'll admit it - i felt horny."
however, the mother-of-three avoided a jail sentence after admitting false imprisonment at manchester crown court.
judge richard mansell qc, gave her an 18-month sentence with supervision, suspended for two years, after concluding she had been under the influence of hogan, with whom she had been an “abusive” relationship during her teens, and in fear of doyle - but was now trying to overcome a deeply troubled past.
the court heard that the victim, now 42, was so traumatised he did not speak of his ordeal for four years. it was only when he went to counselling after a suicide attempt that he revealed the horrifying attack to police and the gang was arrested.
the court heard weeks before the attack in october 2008, the victim had been invited to a threesome with mccluney and hogan, with whom he had been friends in jail. during that encounter, doyle turned up at mccluney's flat.
it emerged that mccluney and hogan had been involved in a sex session earlier that day with him as well.
the victim thought that doyle “looked like a drug addict”, and told mccluney in a text that she should get tested for sexually transmitted diseases. mccluney told doyle, who was enraged, and recruited her and hogan to get revenge. the man, who begged for mercy, was pelted with eggs by the trio before being released with a warning from doyle that his family would be shot if he spoke out.
doyle, 24, a convicted robber of no fixed address, was jailed for five years for false imprisonment, and hogan, 28, a convicted arsonist, of oldham, was jailed for four years. both pleaded guilty at an earlier hearing.
on the night of the attack, the victim, who says he has by flashbacks and “can still taste bleach”, was found wandering in the city centre in a “stupor” with severe facial injuries. at the time, he told police he had been robbed by strangers. | (wɑz ˈgugəl trænzˈleɪt, naʊ frəm ðə ˈkɑmɛnt əv bɪˈloʊ, θæŋks) ˈbɛtər trænzˈleɪʃən əv ðɛr ˈmɛsɪʤ tɪ ˈɪŋlɪʃ ˈspikɪŋ ˈkəstəmərz: ˈdʊrɪŋ ðə naɪt əv tɪ ɑr ˌɪnˈtərnəl ˈmɑnətərɪŋ ˈsɪstəmz ˈrɛʤɪstərd ən ˌɪnˈkris ɪn ðə ˈlɛvəl əv ɪt paʊər ˈjusɪʤ baɪ əˈprɑksəmətli wən ˈmɛgəˌwɑt. ðə ˈrizən fər ðɪs juʤ sərʤ ɪz ðə əˈdɪʃənəl swɪʧt lip ˈsɛkənd wɪʧ kən lɛd tɪ ˈpərmɑˌnɛnt loʊd ɔn ˈlɪnəks ˈsərvərz. əˈkɔrdɪŋ tɪ heise.de*, ˈvɛriəs ˈlɪnəks ˌdɪstrəˈbjuʃənz ər əˈfɛktɪd baɪ ðɪs. ˈfərðər ˌɪnˌfɔrˈmeɪʃən kən bi faʊnd æt: http://www.h-online.com/open/news/item/leap-second-linux-can*... ɪn ˈɔrdər tɪ rɪˈdus loʊd tɪ ə ˈnɔrməl ˈlɛvəl əˈgɛn, ə riˈstɑrt əv ðə hoʊl ˈsɪstəm ɪz ˈnɛsəˌsɛri ɪn ˈmɛni ˈkeɪsɪz. fərst, ə sɔft riˈbut ˈviə ðə kəˈmænd laɪn ʃʊd bi əˈtɛmptəd. ˈfeɪlɪŋ ðət, ju hæv ðə ˈɔpʃən əv pərˈfɔrmɪŋ ə ˈhɑrdˌwɛr ˈrisɛt ˈviə ðə ˈroʊˌbət ædˌmɪnɪˈstreɪʃən ˈɪnərˌfeɪs. fər ðɪs, səˈlɛkt ˈmɛnju ˈaɪtəm "ˈsərvər" ənd ðə "ˈrisɛt" tæb fər ðə rɪˈspɛktɪv ˈsərvər ɪn ðə ædˌmɪnɪˈstreɪʃən ˈɪnərˌfeɪs. pliz du nɑt ˈhɛzəˌteɪt tɪ ˈkɑnˌtækt ˈjuˈɛs, ʃʊd ju hæv ˈɛni kˈwɪriz. kaɪnd rɪˈgɑrdz, ˈɔnˌlaɪn ˈeɪˈgi str*. 1 91710 ˈʤərməni |
(was google translate, now from the comment of imaginator below, thanks) better translation of their message to english speaking customers: during the night of 30.06.2012 to 01.07.2012 our internal monitoring systems registered an increase in the level of it power usage by approximately one megawatt. the reason for this huge surge is the additional switched leap second which can lead to permanent cpu load on linux servers. according to heise.de, various linux distributions are affected by this. further information can be found at: http://www.h-online.com/open/news/item/leap-second-linux-can... in order to reduce cpu load to a normal level again, a restart of the whole system is necessary in many cases. first, a soft reboot via the command line should be attempted. failing that, you have the option of performing a hardware reset via the robot administration interface. for this, select menu item "server" and the "reset" tab for the respective server in the administration interface. please do not hesitate to contact us, should you have any queries. kind regards, hetzner online ag stuttgarter str. 1 91710 gunzenhausen / germany info@hetzner.de http://www.hetzner.com | ˈfoʊˌtoʊ: rɛd bɑks fɪlmz haʊ luɪs θəru ˈbeɪtɪd ˈmɛmbərz əv ðə ʧərʧ əv ˌsaɪənˈtɑləʤi ˈɪntu ˈfɑloʊɪŋ ɪm: hi ˈstɑrtɪd ˈfɑloʊɪŋ ðɛm. ðə ˈbrɪtɪʃ ˈʤərnəlɪst ˈprɑbəˌbli bɛst noʊn ɔn ðiz ʃɔrz fər hɪz ˌdɑkjəˈmɛnəriz əˈbaʊt ðə ˈwɛstbəroʊ ˈbæptɪst ʧərʧ (ðə moʊst ˈheɪtɪd ˈfæməli ɪn əˈmɛrɪkə, moʊst ˈheɪtɪd ˈfæməli ɪn ˈkraɪsəs) sɪz hi sɛt aʊt tɪ dɪˈskəvər ə ““different*, mɔr ˈpɑzətɪv side”*” tɪ ˌsaɪənˈtɑləʤi wɪn hi ɛmˈbɑrkt əˈpɑn hɪz ˈprɑʤɛkt ˈoʊvər 10 jɪrz əˈgoʊ. wɪn ɪt wɑz klɪr ðət hɪz ˈækˌsɛs wʊd bi ˈlɪmɪtɪd ˈoʊnli tɪ laɪk ˈmɑrti ˈræθbən, θəru ənd dɪˈrɛktər ʤɑn daʊr ʧeɪnʤd kɔrs tɪ steɪʤ ə ˈsɪriz əv riɪˈnæktmənts ə lɑ ˈʤɑˌʃuə 2012 dɑk ðə ækt əv ˈkɪlɪŋ. ˈjuzɪŋ ðə əˈkaʊnts əv ənd ə kæst əv ˈæktərz, θəru ənd daʊr ˈrɛkriˌeɪtɪd θɪŋz laɪk ðə əˈlɛʤd əˈbjuz baɪ ˌsaɪənˈtɑləʤi hɛd ˈdeɪvɪd mɪˈskæˈvɪʤ təˈwɔrd ˈmɛmbərz əv hɪz ʧərʧ ɪn ðə ˈkɑmpaʊnd æt goʊld beɪs noʊn ɛz hole.”*.” waɪl ˈpoʊkɪŋ əraʊnd ˈaʊtˈsaɪd sɛd beɪs ɪn ˈgɪlmən hɑt spərɪŋz, ˌkæləˈfɔrnjə ənd ˈəðər ˌsaɪənˈtɑləʤi ˈprɑpərtiz, θəru ənd hɪz kru əˈtræktəd ðə əˈtɛnʃən əv ˌsaɪənˈtɑləʤəsts, hu əˈlɔŋˈsaɪd haɪərd ““journalists”*” ənd ˈpraɪvət ˌɪnˈvɛstəˌgeɪtərz, ˈstɑrtɪd ʃoʊɪŋ əp wɛr hi wɑz ˈmeɪkɪŋ hɪz ˌsaɪənˈtɑləʤi riɪˈnæktmənts tɪ tərn ðɛr ˈkæmərəz ɔn ɪm. ðət wɑz ɔl əˈkɔrdɪŋ tɪ plæn, θəru toʊld mi ðɪs ˈwiˌkɪnd ɪn ən ˈɪntərvˌju. drim wɑz ðət kəm ˈæftər me,”*,” hi sɛd. ðə əbˈsərdəti ɪz ˈkæpʧərd ɪn maɪ ˌsaɪənˈtɑləʤi ˈmuvi, wɪʧ ɪz ˈkərəntli ˈskrinɪŋ æt ðə trɪˈbɛkə fɪlm ˈfɛstɪvəl. aɪ tɔkt tɪ θəru, daʊr, ənd ˈændru ˈpɛrɛz, hu pleɪz mɪˈskæˈvɪʤ ɪn ðə riɪˈnæktmənts. ə kənˈdɛnst ənd ˈɛdɪtɪd ˈtrænˌskrɪpt əv ɑr ˌkɑnvərˈseɪʃən ɪz bɪˈloʊ. ˈgɑkər: haʊ dɪz ðə ˈfɪnɪʃt ˈprɑdəkt əv ðɪs ˈmuvi kəmˈpɛr tɪ jʊr kənˈsɛpʃən əv ɪt? luɪs θəru: ˈvɛri kloʊz tɪ wət aɪ wʊd hæv drimd əv ˈmeɪkɪŋ. ɛz məʧ ɛz aɪ seɪ maɪ drim wɑz tɪ gɪt ˌɪnˈsaɪd ðə ʧərʧ, ðɛr wɑz ə pɑrt əv mi ðət ˌəndərˈstʊd ðət wɑz ˈnɛvər goʊɪŋ tɪ ˈhæpən. ɪn ðə ˈdiˌɛˈneɪ əv ˌsaɪənˈtɑləʤi ðət ðeɪ trəst ˈʤərnəlɪsts. ɛl. rɑn ˈhəbərd roʊt ðət ˈʤərnəlɪsts aɪ meɪ bi laɪk ɔn ðə toʊn skeɪl, wɪʧ ɪf ə ˌsaɪənˈtɑləʤəst, ðə seɪm ɛz wət ðeɪ kɔl ““perverts,”*,” wɪʧ aɪ θɪŋk minz geɪ. ɪn ˈəðər wərdz, ɪf ə ˈʤərnəlɪst baɪ ˌdɛfəˈnɪʃən ə ˈdiviənt. soʊ nɑt goʊɪŋ tɪ ˌɪnˈvaɪt ə ˈdiviənt tɪ kəm ənd si ˈɛvriˌθɪŋ ju du frəm ðə ˌɪnˈsaɪd. wəns ˈgɪvɪn, ju hæv ju əkˈsɛpt goʊɪŋ tɪ teɪk ən ˌənkənˈvɛnʃənəl ˈnɛrətɪv əˈproʊʧ. ɪt wɑz mɔr ðən 10 jɪrz əˈgoʊ ðət aɪ meɪd maɪ fərst əˈproʊʧ. ɪn ðə ˌɪntərˈvinɪŋ jɪrz, wi ɪˈvɑlvd ðɪs aɪˈdiə əv ˈjuzɪŋ ˈæktərz. tɪ mi, ðət flɪpt ðə hoʊl θɪŋ əraʊnd ɪn ə ˈwəndərfəl weɪ. bɪˈkəm ˈsəmθɪŋ ðət gɪts ju ˌɪnˈsaɪd bət ɪn ən ˌənkənˈvɛnʃənəl weɪ. ənd maɪ drim wɑz ðət kəm ˈæftər mi. ðət wɑz maɪ fɪr: ˈmeɪbi ðeɪ du ðət. ɔn wən hænd, ðə ʧərʧ simz kəˈnaɪvɪŋ ənd ˈsævi, bət ðeɪ pleɪd raɪt ˈɪntu jʊr hænz, ˈgɪvɪŋ ju access,”*,” ɛz ju kɔld ɪt ɪn ðə ˈgɑrdiən, baɪ ʃoʊɪŋ əp tɪ wɔʧ ju ðəs əˈlaʊɪŋ ðɛmˈsɛlvz tɪ bi ˈkæpʧərd ɔn ˈkæmərə. θəru: ðeɪ du ˈəðərˌwaɪz bɪˈkəz pɑrt əv ðɛr ˈdɑgmə. ðeɪ ər rikˈwaɪərd tɪ əˈgrɛsɪvli kənˈfrənt ““suppressive”*” ækˈtɪvɪti. ˈivɪn ɪf ˈsəmˌwən sɛd, noʊ wət? wi kaɪnd əv lʊk wɪrd ənd ɪt du ˈɛniˌθɪŋ fər ɑr ˈpəblɪk ˈɪmɪʤ wɪn wi tərn əp æt ˈɛrˌpɔrts ənd kənˈfrənt aʊt əv ðə blu ˈrændəmli ənd hərl wɪrd abuse.”*.” bət ðeɪ wʊd θɪŋk, ˈrɪli ˈmætər ɪf ɪt lʊks wət wi do.”*.” laɪk seɪɪŋ ɪt lʊks wɪrd wɪn [ˈməzlɪmz] preɪ ɔn ə rəg ənd pʊt ðɛr ˈfɔˌrhɛdz daʊn ənd pɔɪnt tɪ ˈmɛkə. ʤɪst haʊ ðeɪ ˈwərʃɪp, soʊ ɪt ˈrɪli ˈmætər ɪf ɪt lʊks ʤɪst haʊ ðeɪ ˈwərʃɪp, soʊ ɪt ˈrɪli ˈmætər ɪf ɪt lʊks weird.”*.” ðə juz əv ðə wərd ““suppressive”*” straɪks mi ɛz aɪˈrɑnɪk, bɪˈkəz əv haʊ ˌsaɪənˈtɑləʤəsts kən bi tɪ ˌneɪˈseɪərz. ðət ˌtərmɪˈnɑləʤi ɪz ˈbeɪsɪkli prɑˈʤɛktɪŋ. θəru: ə lɔt əv ɪt ɪz prɑˈʤɛkʃən, ənd ə lɔt ɪf ɪt ɪz, ɪn ə sɛns, ˈhævɪŋ ən vju əv ðə wərld, ənd ðɛn kaɪnd əv ˈmænəˌfɛstɪŋ ðət. ɪf ju dəb ðə wərld jʊr ˈɛnəmi, ðɛn ju wɪl tərn ɪt ˈɪntu jʊr ˈɛnəmi. ˈvɛriəs rəvˈjuz hæv kɔld ju aʊt fər seɪɪŋ ɪn ðə ˈmuvi ðət jʊr ˌɪˈnɪʃəl ˌɪmˈpəls wɑz tɪ faɪnd ə ““different*, mɔr ˈpɑzətɪv saɪd əv scientology.”*.” θəru: ðət strək mi ɛz wɛl. daʊr: bɪn əˈnəðər fɪlm meɪd əˈbaʊt ˌsaɪənˈtɑləʤi waɪl wi wər ˈmeɪkɪŋ ɑrz, wi wər ˈkɑnʃəs əv ɪt. aɪ θɪŋk ðə ˈʤɪbni fɪlm, goʊɪŋ klɪr, ɪz ˈvɛri məʧ kæmˈpeɪnɪŋ əˈgɛnst ˌsaɪənˈtɑləʤi, ənd ˈivɪn ɪf ðət fɪlm bɪn meɪd, nɑt ðə kaɪnd əv fɪlm wi sɛt aʊt tɪ meɪk, əˈspɛʃəli nɑt ðə kaɪnd əv fɪlm luɪs meɪks, ˈɛniˌweɪ. hi wɔnts tɪ ˌəndərˈstænd waɪ ˈpipəl gɪt ˈɪntu ˈsəmθɪŋ laɪk ˌsaɪənˈtɑləʤi. bɪˈkəz wi teɪk ə more…*… ““balanced”*” ˈprɑbəˌbli ðə raɪt wərd, bət ə nuɑnst əˈproʊʧ, səm ˈpipəl ər laɪk, nɑt seɪɪŋ ˈtɛrəbəl, ˈædvəˌkeɪtɪŋ it.”*.” ˈklɪrli nɑt, but…*… θəru: ɑd. aɪ θɪŋk ˈpipəl ər soʊ ˌɪˈmərst ɪn ðə ˈmaɪndˌsɛt baɪ kənˈsumɪŋ ˈtæblɔɪd ˈmidiə ənd ˈstɔriz əˈbaʊt speɪs ˈeɪliənz. ˈbæfəlɪŋ. wɪn aɪ seɪ aɪ wɔnt tɪ si ə mɔr ˈpɑzətɪv saɪd əv ðə ʧərʧ, ɔl seɪɪŋ ɪz aɪ wɔnt tɪ gɪt pæst ðiz ˈhɛˌdlaɪnz ðət tɔk əˈbaʊt ˈeɪliənz ənd tɑm kruz ˈʤəmpɪŋ ɔn ə ˈsoʊfə. ɪt fil tɪ mi ɪn ˈɛni weɪ ər tongue-in-cheek*. daʊr: aɪ θɪŋk ju kən kənˈklud æt ðə ɛnd əv ɑr fɪlm ðət ə gʊd θɪŋ. ɪt həz səm ˈdipli ˈtrəbəlɪŋ ˈæˌspɛkts tɪ ɪt. bɪˈkəz noʊ ˈɛvədəns ɪn ðə ˈmuvi əv ə ˈmɑdərˌeɪt ˌsaɪənˈtɑləʤəst, aɪ ˈwəndər ɪf ðeɪ ɪn fækt ɪgˈzɪst. ˈmidiə pɔrˈtreɪəlz əv ˌsaɪənˈtɑləʤi, ˌɪnˈkludɪŋ ðɪs ˈmuvi, ˈʤɛnərəli ˌɪnˈvɑlv ˈreɪvɪŋ ˈlunəˌtɪks. θəru: əˈlɛʤədli. ər ðɛr ˈrizənəbəl ˈpipəl wɪθ wərld vjuz ðət kən ækˈnɑlɪʤ ðə ɪgˈzɪstəns əv ə ˈpænɑpli əv bɪˈlifs ðət ˈhæpən tɪ bi ˌsaɪənˈtɑləʤəsts? θəru: ə gʊd kˈwɛʃən. tru fər ju ɪz true,”*,” ɪz ə ˌsaɪənˈtɑləʤi ˈpriˌsɛpt, soʊ ðɪs wɪrd ˌkɑntrəˈdɪkʃən. ˈwɛðər ðɛr ər hu kən seɪ, ɪz ɑr weɪ, jʊr weɪ ɪz ʤɪst ɛz valid”*”... aɪ min, ˈivɪn ðə poʊp simz tɪ seɪ ðət frəm taɪm tɪ taɪm. hi sɛd ˈeɪθiəsts kʊd gɪt tɪ ˈhɛvən. ɪt sim laɪk ə bɪg æsk fər ə ˌsaɪənˈtɑləʤəst tɪ seɪ ˈsəmθɪŋ laɪk ðət. daʊr: ðɛr ɪz ə kaɪnd əv ˈsplɪntər grup, ˌɪndɪˈpɛndənt ˌsaɪənˈtɑləʤəsts (ˈɑkə fri zoʊn) kaɪnd əv lɛft ðə ʧərʧ bət stɪl ˈpræktɪs ˈɛləmənts əv ˌsaɪənˈtɑləʤi, aɪ gɛs, ɪn ə mɔr ˈmɑdərˌeɪt weɪ. θəru: ðə ˈrizənəbəl wənz wər, aɪ θɪŋk, lɛs ˈɪntəˌrɛstɪŋ tɪ ˈjuˈɛs. ðə ˈsɛntrəl kˈwɛʃən fər ˈjuˈɛs ɪz ðə pɔɪnt æt wɪʧ əkˈsɛptəbəl rɪˈlɪʤəs ˈpræktɪs tɪps ˈoʊvər ˈɪntu ˌɪnˈtɑlərəns. əˈnəðər ɪgˈzæmpəl əv jʊr prɑˈʤɛkʃən rɪˈmɑrk ɪz ðə bɪg əˈbjuz tərm əˈməŋst ˌsaɪənˈtɑləʤəsts fər ðɛr ˈkrɪtɪks ɪz ðət ““bigots.”*.” ðeɪ juz ðət wən ə lɔt. ɪt simz tɪ mi ðət ðə səˈʤɛsʧən ˈsəmˌwən ɛls ɪz biɪŋ ˌɪnˈtɑlərənt spiks mɔr tɪ ðə sɛns ɪn wɪʧ ˌsaɪənˈtɑləʤəsts ər ˌɪnˈtɑlərənt əv ˈəðər ˈpræktɪsɪz. həz jʊr əˈpɪnjən ɔn ˌsaɪənˈtɑləʤi ʧeɪnʤd? ðə ˈmuvi, ɛz ju seɪ, ɪz əˈbaʊt nuɑns. wi ɔˈrɛdi hæv moʊst əv ðə ˌɪnˌfɔrˈmeɪʃən ðət ðə ˈmuvi prəˈvaɪdz; ə fɪlm ðət ɪz mɔr əˈbaʊt wət ˌsaɪənˈtɑləʤi dɪz tɪ ˈpipəl ðən wət ɪt dɪz. θəru: aɪ əˈgri. aɪ kəmˈpɛr ɪt tɪ taɪˈtænɪk. wɪn ðət keɪm aʊt, wi nu ðə ʃɪp wɑz goʊɪŋ tɪ sɪŋk. wi noʊ goʊɪŋ tɪ əraɪv æt ə pɔɪnt wɛr ˈsəmθɪŋ wɪl bi rɪˈvild, wi ˈprɑbəˌbli noʊ ðə brɔd brəʃ stroʊks əv wət wɪl bi rɪˈvild. wi ʤɪst noʊ ðə ˌpərsəˈnælɪtiz, ðə ˈkɛrɪktərz, ənd haʊ ðeɪ goʊ ɔn ðə ˈwɪnslɪt ənd ˌliəˈnɑrdoʊ dɪˈkæpriˌoʊ, ənd ɪn ðɪs keɪs mi ənd ˈmɑrti [ˈræθbən]. aɪ noʊ ɪf aɪ ˈlərnɪd ə ˈlɛsən, bət wət aɪ keɪm aʊt wɪθ ɪz ðɪs ˈhaɪtənd sɛns əv kənfˈjuʒən, wɪʧ aɪ θɪŋk ɪz ˈsəmˌtaɪmz ˈhɛlpfəl, ənd æmˈbɪvələns əˈbaʊt rɪˈlɪʤəs bɪˈlif ɪn ˈʤɛnərəl. ðə ˈpɛrəˌdɑksɪz əv səbˈskraɪbɪŋ tɪ feɪθs, wɪʧ baɪ ðɛr ˈneɪʧər, ər ˌɪˈræʃənəl. ɔl riˈlɪʤənz ər ɪn səm ˈbeɪsɪk sɛns ˌɪˈræʃənəl. ənd haʊ ju ˈsɛpərˌeɪt ðət frəm bɪˈkəmɪŋ ˈtɑksɪk ər ˈdeɪnʤərəs. ɪn ˌɪmˈpɔrtənt weɪz, ˌsaɪənˈtɑləʤi ɪz nɑt ðət ˈdɪfərənt frəm ˈəðər riˈlɪʤənz. ənd jɛt æt ðə seɪm taɪm, wi hæv ˈæŋglɪkənz duɪŋ ðə θɪŋz ðət ər əˈlɛʤd tɪ bi dən ɪn ˌsaɪənˈtɑləʤi, æt list ɪn ðə si ɔrg. soʊ wət du wi du wɪθ ðət? wət wʊd ə ˌsaɪənˈtɑləʤi ˌrɛfərˈmeɪʃən lʊk laɪk? æt wət pɔɪnt kən ˌsaɪənˈtɑləʤi bi əkˈsɛptəbəl tɪ ðə ˈbrɔdər ˈpəblɪk waɪl æt ðə seɪm taɪm stɪl bi ˌsaɪənˈtɑləʤi? ðət kˈwɛʃən həz bɪn brɔt ˈɪntu ˈfoʊkɪs, ˈivɪn ɪf ðə ˈænsər ˈgɪvɪn. ˌɪmˈpɔrtənt weɪz, ˌsaɪənˈtɑləʤi ɪz nɑt ðət ˈdɪfərənt frəm ˈəðər religions.”*.” ðə ˈlɛvəl əv ˈpeɪʃəns ju ɪgˈzɪbɪt ɪn ðɪs ˈmuvi məst kəm frəm ˌɪˈneɪt ˈkɛrɪktər. dɪz ðə wərk ju du tiz ɪt aʊt əv ju, ər hæv ju ˈɔlˌweɪz noʊn ˈjɔrsɛlf tɪ bi ˈpeɪʃənt? θəru: ˈɔlˌweɪz bɪn ɪn maɪ ˈmeɪˌkəp, ˈwɛðər gʊd ər bæd. nɑt ə ˈnæʧərəli ˌkɑnfrənˈteɪʃənəl ˈpərsən, tɪ bi ˈɑnəst wɪθ ju. aɪ seɪv ðət fər maɪ ˈfæməli ənd maɪ kɪdz. ˈsəmˌtaɪmz ˈpipəl sin maɪ ˈproʊˌgræmz seɪ, du ju kip cool?”*?” aɪ ˈrɪli hæv ˈɛni ˌɪmˈpəls tɪ bi ˈæŋgri fər ðə moʊst pɑrt. aɪ kən brɪŋ ðə keɪs ənd bi ə ˈʤərnəlɪst əˈbaʊt ɪt, bət aɪ faɪnd ɪt ðət ˈnæʧərəl tɪ gɪt ɪn ə həf əˈbaʊt stəf dəˈbeɪtɪŋ. ˈhævɪŋ sɛd ðət, ðɪs wɑz ə juˈnik keɪs fər mi. daʊr: ðɛr wər ˈmoʊmənts ðət fɛlt aʊt əv jʊr kənˈtroʊl. θəru: ˈɛni taɪm ˈsəmˌwən tərnz əp tɪ fɪlm ju ənd ðeɪ seɪ, nɑt ˈgɑnə tɛl ju hu aɪ am,”*,” ər ʃaʊts æt ju, ˈtɛlɪŋ ju tɪ liv, noʊ ˈlɔŋgər ˈsəmˌwən duɪŋ ˈsəmθɪŋ wɪrd tɪ ˈsəmˌwən ɛls. aɪ hæd ə faɪt ər flaɪt rɪˈspɑns, bət ɪn ə ˈbeɪsɪk weɪ fər ðə fərst taɪm. aɪ fɛlt ə ˈlɪtəl bɪt ˈhitɪd, laɪk, ˈhævɪŋ ən ˈiˌmoʊʃənəl riˈækʃən, interesting.”*.” wɪn ðɛr fɪlm kəmz aʊt, ðɛr maɪt bi ə fju bɪts aɪ lʊk æt ənd θɪŋk, aɪ ˈtoʊtəli kip maɪ cool.”*.” soʊ ˈpʊtɪŋ təˈgɛðər ə ˈmuvi frəm ðə ˈfʊtɪʤ ðət wi si ðɛm ˈʃutɪŋ ɪn jʊr ˈmuvi? θəru: ʃʊr ðeɪ wɪl pʊt ˈsəmθɪŋ təˈgɛðər. aɪ θɪŋk goʊɪŋ tɪ bi ə ˈmuvi æt ðə ˈməltiˌplɛks. ˈʤəʤɪŋ baɪ wət dən ɪn ðə pæst, ɪt wɪl bi ə sɔrt əv 10 tɪ kaɪnd əv ˈlɪtəl webisode*. θɪŋk ðeɪ wər ˈfɑloʊɪŋ ˈjuˈɛs fər ə fju deɪz ˌbiˈfɔr wi ˈriəˌlaɪzd ðeɪ wər ˈfɑloʊɪŋ us.”*.” wɑz ðɛr ˈɛni pɔɪnt wɪn ˈmeɪkɪŋ ðɪs wɑz ˈskɛri? luɪs, ju simd tɪ ˌɛnˈʤɔɪ ˈjɔrsɛlf, ˈmoʊstli. ˈændru ˈpɛrɛz: aɪ noʊ wi wər biɪŋ fɪlmd [ˈaʊtˈsaɪd əv ðə hoʊl wɪn ə mæn ˈstɑrtɪd ˈʃaʊtɪŋ æt ɪm ənd ðə kru tɪ liv]. wət aɪ ˈrɪli wɑz ˈθɪŋkɪŋ wɑz, gaɪ simz laɪk ɪn ə lɑrz vɔn traɪər movie”*”: aʊt now!”*!” aɪ wɑz ə ˈlɪtəl ˈstɑrtəld baɪ ɪm ˈbɑrkɪŋ æt ˈjuˈɛs aʊt əv ðə blu. ðɛr wɑz ə ˈpɪriəd wɪn wi wər ˈfɪlmɪŋ ənd ə ˌsaɪənˈtɑləʤi ˈpraɪvət ˌɪnˈvɛstəˌgeɪtər wʊd ʃoʊ əp ɔn sɛt wɪθ ə ˈkæmərə, ðeɪ wʊd bi ˈfɪlmɪŋ ˈjuˈɛs. θəru: aɪ θɪŋk ɪt wɑz ə ˈpraɪvət ˌɪnˈvɛstəˌgeɪtər ˈfɪlmɪŋ. ðɛr wər ˈfridəm ˈʤərnəlɪsts, nɑt ʃʊr ɪf ðeɪ wər ˌsaɪənˈtɑləʤəsts, bət ðeɪ wər ˈʤərnəlɪsts ɪmˈplɔɪd baɪ ˌsaɪənˈtɑləʤi. ənd ðɛn ðə ˈəðər taɪm, ðeɪ wər ˌsaɪənˈtɑləʤəsts. daʊr: aɪ wɑz ˈnɛvər skɛrd, bət aɪ wɑz kwaɪt ˈæŋʃəs. aɪ θɪŋk ðeɪ wər ˈfɑloʊɪŋ ˈjuˈɛs fər ə fju deɪz ˌbiˈfɔr wi ˈriəˌlaɪzd ðeɪ wər ˈfɑloʊɪŋ ˈjuˈɛs. ðə fækt ðət ðeɪ wʊd pɑrk əraʊnd ðə ˈkɔrnər frəm ðə hoʊˈtɛl, ju du stɑrt tɪ θɪŋk, ɪf ðeɪ kəm ˈɪntu ðə hoʊˈtɛl rum ənd ʤɪst teɪk ɑr rushes?”*?” ðət wɑz ðə θɪŋ aɪ wɑz ˈwərid tɪ stɑp ðɛm ˈpɑpɪŋ ˈoʊvər ðə ˈbælkəni ɪf ðeɪ nu wət rum wi wər ɪn. wi wər ˈhaɪdɪŋ ˈsɛpərˌeɪt draɪvz ənd ˈrəʃɪz ɪn ɑr rum. ɪf ðeɪ teɪk ðət, ðɛn ˈrɪli gɑt ðə ˈmuvi. θəru: ɪn ˈʤɛnərəl, ðeɪ oʊˈbeɪ ðə lɔ. maɪ teɪk. ˈlivɪŋ ˌæləˈgeɪʃənz əv wət teɪks pleɪs wɪˈθɪn ðə si ɔrg tɪ wən saɪd, ðɛr m.o*. ɪz tɪ haɪər ˈlɔjərz ənd ˈpraɪvət ˌɪnˈvɛstəˌgeɪtərz ənd du θɪŋz laɪk sərʧ θru træʃ, wɪʧ ɪz ˈligəl. ˌɔlˈðoʊ wən ˈwɑndər ˈɔntu ðə sɛt? daʊr: jɛs! ənd pɪkt əp ə script—allegedly*. nɑt ˈligəl. θəru: haʊ du ju noʊ ðeɪ keɪm ˈɔntu ðə ˈprɑpərti? daʊr: bɪˈkəz ðeɪ wər ˈʧælənʤd baɪ ɑr p.a*. θəru: dɪd hi seɪ, leave?”*?” daʊr: jɛs. θəru: ənd ðeɪ lɛft? daʊr: jɛs, bət ðeɪ tʊk wən əv ðə skrɪpts. [ðə p.a*.] sɔ ðɛm du ðət. maɪ ˌsaɪənˈtɑləʤi ˈmuvi ɪz ˈkərəntli pleɪɪŋ æt ðə trɪˈbɛkə fɪlm ˈfɛstɪvəl. *noʊt: θəru sɛnt ɪn ə noʊt əv ˌklɛrəfəˈkeɪʃən: min tɪ səˈʤɛst wɪrd ðət ˈməzlɪmz preɪ ɔn ə rəg ʤɪst ðət ˌɪnˈtrɪnsɪk tɪ ðə religion.”*.” |
photo: red box films
here’s how louis theroux baited members of the church of scientology into following him: he started following them. the british journalist probably best known on these shores for his documentaries about the westboro baptist church (the most hated family in america, america’s most hated family in crisis) says he set out to discover a “different, more positive side” to scientology when he embarked upon his project over 10 years ago. when it was clear that his access would be limited only to ex-scientologists like marty rathbun, theroux and director john dower changed course to stage a series of reenactments a la joshua oppenheimer’s 2012 doc the act of killing. using the accounts of ex-scientologists and a cast of actors, theroux and dower recreated things like the alleged abuse by scientology head david miscavige toward members of his church in the compound at gold base known as “the hole.”
while poking around outside said base in gilman hot springs, california and other scientology properties, theroux and his crew attracted the attention of scientologists, who alongside hired “journalists” and private investigators, started showing up where he was making his scientology reenactments to turn their cameras on him. that was all according to plan, theroux told me this weekend in an interview. “my dream was that they’d come after me,” he said.
the kaufmanesque absurdity is captured in my scientology movie, which is currently screening at the tribeca film festival. i talked to theroux, dower, and andrew perez, who plays miscavige in the film’s reenactments. a condensed and edited transcript of our conversation is below.
gawker: how does the finished product of this movie compare to your conception of it?
louis theroux: it’s very close to what i would have dreamed of making. as much as i say my dream was to get inside the church, there was a part of me that understood that was never going to happen. it’s in the dna of scientology that they don’t trust journalists. l. ron hubbard wrote that journalists are—and i may be wrong—something like 1.1 on the tone scale, which if you’re a scientologist, that’s the same as what they call “perverts,” which i think means gay. in other words, if you’re a journalist you’re by definition a deviant. so you’re not going to invite a deviant to come and see everything you do from the inside. once that’s given, you have you accept you’re going to take an unconventional narrative approach. it was more than 10 years ago that i made my first approach. in the intervening years, we evolved this idea of using actors. to me, that flipped the whole thing around in a wonderful way. it’s become something that gets you inside but in an unconventional way. and my dream was that they’d come after me. that was my fear: maybe they don’t do that.
on one hand, the church seems conniving and savvy, but they played right into your hands, giving you “negative access,” as you called it in the guardian, by showing up to watch you thus allowing themselves to be captured on camera.
theroux: they can’t do otherwise because it’s part of their dogma. they are required to aggressively confront “suppressive” activity. even if someone said, “you know what? we kind of look weird and it doesn’t do anything for our public image when we turn up at airports and confront ex-members out of the blue randomly and hurl weird abuse.” but they would think, “it doesn’t really matter if it looks weird—that’s what we do.” it’s like saying it looks weird when [muslims] pray on a rug and put their foreheads down and point to mecca. it’s just how they worship, so it doesn’t really matter if it looks weird.*
“it’s just how they worship, so it doesn’t really matter if it looks weird.”
the use of the word “suppressive” strikes me as ironic, because of how suppressive scientologists can be to naysayers. that terminology is basically projecting.
theroux: a lot of it is projection, and a lot if it is, in a sense, having an us-and-them view of the world, and then kind of manifesting that. if you dub the world your enemy, then you will turn it into your enemy.
various reviews have called you out for saying in the movie that your initial impulse was to find a “different, more positive side of scientology.”
theroux: that struck me as well.
dower: there’s been another film made about scientology while we were making ours, we were conscious of it. i think the gibney film, going clear, is very much campaigning against scientology, and even if that film hadn’t been made, it’s not the kind of film we set out to make, especially not the kind of film louis makes, anyway. he wants to understand why people get into something like scientology. because we take a more… “balanced” probably isn’t the right word, but a nuanced approach, some people are like, “because you’re not saying it’s terrible, you’re advocating it.” we’re clearly not, but…
theroux: it’s odd. i think people are so immersed in the anti-scientology mindset by consuming tabloid media and stories about space aliens. it’s baffling. when i say i want to see a more positive side of the church, all i’m saying is i want to get past these headlines that talk about aliens and tom cruise jumping on a sofa. it doesn’t feel to me in any way faux-naive or tongue-in-cheek.
dower: i don’t think you can conclude at the end of our film that it’s a good thing. it has some deeply troubling aspects to it.
because there’s no evidence in the movie of a moderate scientologist, i wonder if they in fact exist. media portrayals of scientology, including this movie, generally involve raving lunatics.
theroux: allegedly.
are there reasonable people with world views that can acknowledge the existence of a panoply of beliefs that happen to be scientologists?
theroux: it’s a good question. “what’s true for you is true,” is a scientology precept, so it’s this weird contradiction. whether there are scientolgists who can say, “this is our way, your way is just as valid”... i mean, even the pope seems to say that from time to time. he said atheists could get to heaven. it doesn’t seem like a big ask for a scientologist to say something like that.
dower: there is a kind of splinter group, independent scientologists (aka free zone) who’ve kind of left the church but still practice elements of scientology, i guess, in a more moderate way.
theroux: the reasonable ones were, i think, less interesting to us. the central question for us is the point at which acceptable religious practice tips over into intolerance. another example of your projection remark is the big abuse term amongst scientologists for their critics is that they’re “bigots.” they use that one a lot. it seems to me that the suggestion someone else is being intolerant speaks more to the sense in which scientologists are intolerant of other practices.
has your opinion on scientology changed? the movie, as you say, is about nuance. we already have most of the information that the movie provides; it’s a film that is more about what scientology does to people than what it does.
theroux: i agree. i compare it to titanic. when that came out, we knew the ship was going to sink. we know we’re going to arrive at a point where something will be revealed, we probably know the broad brush strokes of what will be revealed. we just don’t know the personalities, the characters, and how they go on the journey—kate winslet and leonardo dicaprio, and in this case me and marty [rathbun].
i don’t know if i learned a lesson, but what i came out with is this heightened sense of confusion, which i think is sometimes helpful, and ambivalence about religious belief in general. the paradoxes of subscribing to faiths, which by their nature, are irrational. all religions are in some basic sense irrational. and how you separate that from becoming toxic or dangerous. in important ways, scientology is not that different from other religions. and yet at the same time, we don’t have anglicans doing the things that are alleged to be done in scientology, at least in the sea org. so what do we do with that? what would a scientology reformation look like? at what point can scientology be acceptable to the broader public while at the same time still be scientology? that question has been brought into focus, even if the answer isn’t given.
“in important ways, scientology is not that different from other religions.”
the level of patience you exhibit in this movie must come from innate character. does the work you do tease it out of you, or have you always known yourself to be patient?
theroux: that’s always been in my makeup, whether good or bad. i’m not a naturally confrontational person, to be honest with you. i save that for my family and my kids. sometimes people who’ve seen my programs say, “how do you keep cool?” i don’t really have any impulse to be angry for the most part. i can bring the case and be a journalist about it, but i don’t find it that natural to get in a huff about stuff i’m debating. having said that, this was a unique case for me.
dower: there were moments that felt out of your control.
theroux: any time someone turns up to film you and they say, “i’m not gonna tell you who i am,” or shouts at you, telling you to leave, it’s no longer someone doing something weird to someone else. i had a fight or flight response, but in a basic way for the first time. i felt a little bit heated, like, “i’m having an emotional reaction, that’s interesting.” when their film comes out, there might be a few bits i look at and think, “maybe i didn’t totally keep my cool.”
so they’re putting together a movie from the footage that we see them shooting in your movie?
theroux: i’m sure they will put something together. i don’t think it’s going to be a 90-minute movie at the multiplex. judging by what they’ve done in the past, it will be a sort of 10- to 20-minute kind of little webisode.
“i think they were following us for a few days before we realized they were following us.”
was there any point when making this was scary? louis, you seemed to enjoy yourself, mostly.
andrew perez: i didn’t know we were being filmed [outside of the hole when a man started shouting at him and the crew to leave]. what i really was thinking was, “that guy seems like he’s in a lars von trier movie”: “get out now!” i was a little startled by him barking at us out of the blue. there was a period when we were filming and a scientology private investigator would show up on set with a camera, they would be filming us.
theroux: i don’t think it was a private investigator filming. there were freedom journalists, i’m not sure if they were scientologists, but they were journalists employed by scientology. and then the other time, they were scientologists.
dower: i was never scared, but i was quite anxious. i think they were following us for a few days before we realized they were following us. the fact that they would park around the corner from the hotel, you do start to think, “what if they come into the hotel room and just take our rushes?” that was the thing i was worried about—what’s to stop them popping over the balcony if they knew what room we were in. we were hiding separate drives and rushes in our room. if they take that, then they’ve really got the movie.
theroux: in general, they obey the law. that’s my take. leaving allegations of what takes place within the sea org to one side, their m.o. is to hire lawyers and private investigators and do things like search through trash, which is legal. although didn’t one wander onto the set?
dower: yes! and picked up a script—allegedly. that’s not legal.
theroux: how do you know they came onto the property?
dower: because they were challenged by our p.a.
theroux: did he say, “please leave?”
dower: yes.
theroux: and they left?
dower: yes, but they took one of the scripts. [the p.a.] saw them do that.
my scientology movie is currently playing at the tribeca film festival.
*note: theroux sent in a note of clarification: “i didn’t mean to suggest it’s weird that muslims pray on a rug btw - just that it’s intrinsic to the religion.” | biɪŋ ə haɪ ˈlɛvəl kəmˈpɛtɪtɪv ˈfaɪtər ɪn rɛks kwɑn du, əv kɔrs aɪ ˈnidɪd ə ˈtiˌsərt tɪ lɛt ðə wərld noʊ ʤɪst wət wɑz ˈkəmɪŋ æt ðɛm. ðɪs ɪz noʊ daʊt wət wɑz goʊɪŋ ɔn ɪn maɪ ˈsikrɪt ˈsæntəz breɪn, bɪˈkəz hiz ə ˈhæpənɪŋ dud. hi sɔ ðə ˈmɛsɪʤ ɪn ən ˈɔnˌlaɪn stɔr... "strɛŋθ əv ə ˈgrɪzli", 'oʊ? wəts ðɪs?' θɔt maɪ mɪˈstɪriəs ɛz ðə fərst laɪn əv tɛkst stɪl ˈrɔrɪŋ ɪn hɪz maɪnd. "ˈriflɛksəz əv ə ˈpumə...", 'wɛl də, ˈnoʊˌbɑˌdi fəks wɪθ ə ˈpumə.' ɪt wɑz ˈɔlˌmoʊst ðə ˈpərˌfɪkt gɪft, bət wət ɛls wɑz ˈmɪsɪŋ? "ˈwɪzdəm əv ə mæn..." ənd wɪˈθaʊt ˈivɪn ə ˈfɑloʊɪŋ θɔt hi sɛnt ðət ˈtiˌsərt ˈɪntu ðə ˈʃɑpɪŋ kɑrt tɪ bi soʊld. nɑt ˈkɛrɪŋ ɪn ðə sˈlaɪtəst hu siz hɪz ˈkəmbərsəm əˈmaʊnt əv bɪlz, ˈheɪstəli stəft ˈɪntu ˈɛvəri ˈkrɛvəs hi kʊd faɪnd. ˈfaɪnəli, wɪˈθaʊt ˈɛni fɪr, hi mæʃt hɪz raɪt ˈɪndɛks ˈfɪŋgər daʊn wɪθ ðə paʊər ənd wɪl ənd ə ˈθaʊzənd thors*, "kənˈfərm ˈpərʧəs". 'ɪt ɪz dən' θɔt maɪ ˈglɔriəs ˈhɪroʊ, sˈloʊli ˈwɔkɪŋ əˈweɪ frəm ðə ɪkˈsploʊʒənz hi kɔz ər lʊk æt. |
being a high level competitive fighter in rex kwon do, of course i needed a t-shirt to let the world know just what was coming at them. this is no doubt what was going on in my reddit secret santa's brain, because he's a happening dude. he saw the message in an online store... "strength of a grizzly", 'oh? what's this?' thought my mysterious gifter as the first line of text still roaring in his mind. "reflexes of a puma...", 'well duh, nobody fucks with a puma.' it was almost the perfect gift, but what else was missing? "wisdom of a man..." and without even a following thought he sent that t-shirt into the shopping cart to be sold. not caring in the slightest who sees his cumbersome amount of bills, hastily stuffed into every crevice he could find. finally, without any fear, he mashed his right index finger down with the power and will and a thousand thors, "confirm purchase". 'it is done' thought my glorious hero, slowly walking away from the explosions he didnt cause or look at. | pe'er* ənd hɪz ˈkɑligz ˈænəˌlaɪzd ðə əv 128 ˌæʃkəˈnɑzi ʤuz, kəmˈpɛrɪŋ ðɛm wɪθ ə ˈrɛfərəns grup əv 26 ˈflɛmɪʃ ˈpipəl frəm ˈbɛlʤəm. frəm ðət ðə ˈrisərʧərz wər ˈeɪbəl tɪ wərk aʊt wɪʧ ʤəˈnɛtɪk ˈmɑrkərz ɪn ðə ˈʤiˌnoʊm ər juˈnik tɪ ˌæʃkəˈnɑzi. ðə ˈnəmbər əv ˌsɪməˈlɛrətiz wɪˈθɪn ðə əˈlaʊd ðə ˈsaɪəntɪsts tɪ kəmˈpjut ə rəf ˈɛstəˌmeɪt əv ðə ˈfaʊndɪŋ ˌpɑpjəˈleɪʃən ənd dɪˈtərmən haʊ məʧ taɪm hæd pæst sɪns ðət grup ərˈɪʤəˌneɪtəd. ɪn ðɪs keɪs, ɪt ɪz 30 tɪ 32 ˌʤɛnərˈeɪʃənz, ər æt moʊst 800 jɪrz. "[əˈməŋ ˌæʃkəˈnɑzi ʤuz] ˈɛvriˌwən ɪz ə ˈkəzən," sɛd. "ðeɪ hæv ə strɛʧ əv ðə ˈʤiˌnoʊm ðət ɪz aɪˈdɛntɪkəl." ðə ˈstədi həz ˈklɪnɪkəl ˌɪmpləˈkeɪʃənz: əˈməŋ ˌæʃkəˈnɑzi ʤuz, səm ʤəˈnɛtɪk dɪˈzizɪz səʧ ɛz ənd ˈsɪstɪk faɪˈbroʊsɪs əˈkər mɔr ˈfrikwɛntli. səm ˈkænsərz, səʧ ɛz brɛst ˈkænsər, ˈɔlsoʊ ʃoʊ əp mɔr ˈɔfən. ˈæbsənt ðɪs kaɪnd əv ˈstədi, ə ˈpeɪʃənt maɪt æsk ə fəˈzɪʃən fər ə ˈsikwənsɪŋ əv ðɛr ˈʤiˌnoʊm tɪ lʊk fər ˈprɑbləmz. ðə ˈsikwəns wʊd ʃoʊ ə lɔt əv mjuˈteɪʃənz ðət wʊd bi ˈdɪfərənt frəm moʊst ˈpipəl ənd ˈpɑsəbli ˈɪndəˌkeɪt dɪˈziz. wɪθ ðɪs ˈdætə, ðə ˈnəmbər əv ˈsikwənsɪz ə ˈdɔktər wʊd nid tɪ ˈænəˌlaɪz drɑps drəˈmætɪkəli, soʊ ɪt ɪz ə lɔt ˈiziər tɪ si wət ˈsikwənsɪz ˈtruli ˈɪndəˌkeɪt ə ˈprɑbləm ənd wɪʧ wənz ər ʤɪst ˈnɔrməl ˌvɛriˈeɪʃənz. ðə rɪˈpɔrt wɑz ˈpəblɪʃt ˈtuzˌdeɪ ɪn ˈneɪʧər kəmˌjunəˈkeɪʃənz. ˈʤɛsi emspak*, ðɪs ɪz ə kənˈdɛnst ˈvərʒən əv ə rɪˈpɔrt frəm. rɛd ðə fʊl rɪˈpɔrt. ˈfɑloʊ ɔn tˈwɪtər, ˈfeɪsˌbʊk ənd ˈgugəl+. |
pe'er and his colleagues analyzed the genomes of 128 ashkenazi jews, comparing them with a reference group of 26 flemish people from belgium. from that the researchers were able to work out which genetic markers in the genome are unique to ashkenazi. the number of similarities within the genomes allowed the scientists to compute a rough estimate of the founding population and determine how much time had passed since that group originated. in this case, it is 30 to 32 generations, or at most 800 years.
"[among ashkenazi jews] everyone is a 30th cousin," pe'er said. "they have a stretch of the genome that is identical."
the study has clinical implications: among ashkenazi jews, some genetic diseases such as tay-sachs and cystic fibrosis occur more frequently. some cancers, such as breast cancer, also show up more often. absent this kind of study, a patient might ask a physician for a sequencing of their genome to look for problems. the sequence would show a lot of mutations that would be different from most people and possibly indicate disease.
with this data, the number of sequences a doctor would need to analyze drops dramatically, so it is a lot easier to see what sequences truly indicate a problem and which ones are just normal variations.
the report was published tuesday in nature communications.
— jesse emspak, livescience
this is a condensed version of a report from livescience. read the full report. follow livescience on twitter, facebook and google+. | fɔr steɪts nu jɔrk, ˈflɔrɪdə, ˌoʊkləˈhoʊmə ənd wɛst vərˈʤɪnjə hæv pʊt ðə wilz ɪn ˈmoʊʃən tɪ ɪˈnækt wət ɪz biɪŋ kɔld law.”*.” ˌlɛʤəsˈleɪʃən ðət wʊd fɔrs ˈpɛrənts ənd ˈgɑrdiənz tɪ rɪˈpɔrt ˈmɪsɪŋ ˈʧɪldrən wɪˈθɪn ðə fərst 24 aʊərz əv ðɛr ˌdɪsəˈpɪrəns. θri mɔr steɪts ər ˌriˈpɔrtəd tɪ bi ˈfɑloʊɪŋ sut. ðə prəˈpoʊzəlz ˈfɑloʊ ðə ˈpəblɪk ˈaʊˌtreɪʤ ˈoʊvər ðə əkˈwɪtəl əv ˈkeɪsi ˈænθɔˌni, hu ˈweɪtɪd ə mənθ ˌbiˈfɔr ˌɪnˈfɔrmɪŋ əˈθɔrətiz ðət hər ˈdɔtər wɑz ˈmɪsɪŋ. ðə dɪˈleɪ ˈhæmpərd ðə sərʧ ənd wɑz sɛd tɪ hæv əˈfɛktɪd ðə kənˈdɪʃən əv hər rɪˈmeɪnz. ˈæftər ˈænθɔˌni ˈvərdɪkt wɪʧ klɪrd hər əv ˈɛni ˌkəlpəˈbɪlɪti fər dɛθ bət faʊnd hər ˈgɪlti əv laɪɪŋ tɪ ˌɪnˈvɛstəˌgeɪtərz ən ˈɔnˌlaɪn pəˈtɪʃən fər lɔ wɛnt ˈvaɪrəl ɔn ðə saɪt change.org*. baɪ ˈfraɪˌdeɪ ˌæftərˈnun, mɔr ðən ˈsɪgnəʧərz wər kəˈlɛktəd. rɪˈleɪtɪd: ˈkeɪsi ˈænθɔˌni tɪ bi riˈlist nɛkst wik ˌɪnˈspaɪərd baɪ ə fləd əv iˈmeɪlz hi rɪˈsivd frəm kənˈstɪʧuənts, ˌpɛnsəlˈveɪnjə steɪt sɛn. ˈlɛri (di., phila*.), toʊld ðə ˌfɪləˈdɛlfiə ˌɪnkˈwaɪrər hi ˌɪnˈtɛndz tɪ ˌɪntrəˈdus ə bɪl ðət wʊd dɪˈlɪvər stɪf ˈpɛnəltiz fər ðoʊz hu kənˈsil ə dɛθ ənd kriˈeɪt ə nu əˈfɛns əv tɪ rɪˈpɔrt ə ˈmɪsɪŋ child,”*,” sɛd. ɪn hoʊm steɪt əv ˈflɔrɪdə, ə ˈsɪmələr lɔ ɪz biɪŋ ˈdræftɪd baɪ ˌrɛprɪˈzɛnətɪv bɪl ˈheɪgər. ɪn ˌoʊkləˈhoʊmə, rɛpriˈzɛtətɪv. pɔl sɛd əv hɪz prəˈpoʊzd ˌlɛʤəsˈleɪʃən, ˈprɑbəˌbli bi ə dɪˈtərrənt tɪ kraɪm, bət æt list ˈsəmθɪŋ ðə ˈprɑsɪˌkjutərz kən ʧɑrʤ ˈsəmˌwən wɪθ ˈvaɪəleɪtɪd ðə lɔ. ɪf ðɪs lɔ wɑz ɪn ˈflɔrɪdə, ˈkeɪsi wʊd hæv səm mɔr ʤeɪl taɪm tɪ stand.”*.” rɪˈleɪtɪd: ˈkeɪsi ˈænθɔˌni drimz ɪn ʤeɪl əv ˈhævɪŋ əˈnəðər ˈbeɪbi |
four states – new york, florida, oklahoma and west virginia – have put the wheels in motion to enact what is being called “caylee’s law.” it’s legislation that would force parents and guardians to report missing children within the first 24 hours of their disappearance.
three more states are reported to be following suit.
the proposals follow the public outrage over the acquittal of casey anthony, who waited a month before informing authorities that her 2-year-old daughter was missing. the delay hampered the search and was said to have affected the condition of her remains.
after tuesday’s anthony verdict – which cleared her of any culpability for caylee’s death but found her guilty of lying to investigators – an online petition for caylee’s law went viral on the site change.org.
by friday afternoon, more than 700,000 signatures were collected.
related: casey anthony to be released next week
inspired by a flood of emails he received from constituents, pennsylvania state sen. larry farnese (d., phila.), told the philadelphia inquirer he intends to introduce a bill that would deliver stiff penalties for those who conceal a child’s death and create a new offense of “neglecting to report a missing child,” said farnese.
in anthony’s home state of florida, a similar law is being drafted by representative bill hager.
in oklahoma, rep. paul wesselhoft said of his state’s proposed legislation, “it probably won’t be a deterrent to crime, but at least it’s something the prosecutors can charge someone with who’s violated the law. if this law was in florida, casey would have some more jail time to stand.”
related: casey anthony dreams in jail of having another baby | wɪl kənˈtɪnju tɪ gɪt ðə bəlk əv ðə pleɪɪŋ taɪm æt ˈʃɔrtˌstɑp, gɪt stɑrt æt ˈsɛkənd beɪs ðə nɛkst taɪm ðə mɛts feɪs ə ˌlɛfˈthændɪd ˈstɑrtɪŋ ˈpɪʧər ˈrubɪn, meɪ 17 ʃoʊɪŋ ˈjuˈɛs ðət ðə seɪm pleɪər hi wɑz ə ˈkəpəl jɪrz əˈgoʊ," ˈkɑlɪnz sɛd ˈərliər ðɪs wik (ˈbərgən ˈrɛkərd, meɪ 15 "ðɪs gaɪ ɪz ˈrɪli sˈwɪŋɪŋ ðə bæt gʊd." ummm*, ˈtɛri, teɪˈjɑdə ɪz ˈbætɪŋ 178 ˈdʊrɪŋ hɪz læst 54 pleɪt əˈpɪrənsəz. hiz ðə læst faɪv deɪz. wət teɪˈjɑdə ər ju ˈwɑʧɪŋ? ju noʊ, əm ˈrɪli ˈstɑrtɪŋ tɪ bi kənˈsərnd əˈbaʊt ˈtɛriz ˈʤəʤmənt. hi ˈrisəntli sɛd, ðə ˈrizən hi ˈhædənt bɪn pleɪɪŋ wɑn, ɪz bɪˈkəz hiz mɔr kənˈsərnd wɪθ ðə timz əˈfɛns ðən dɪˈfɛns raɪt naʊ. hæd 12 hɪts ɪn ðə 46 æt bæts 286 praɪər tɪ ɛˈsɛnʃəli biɪŋ ˌbiˈfɔr ðə stɑrt əv ðə ˈsəbˌweɪ ˈsɪriz. hi həz ˈmænɪʤd tɪ gɪt wən stɑrt ɪn ðət taɪm, ənd ˈnæʧərəli naʊ hiz ˈstrəgəlɪŋ æt ðə pleɪt. ɔl ðə waɪl, ˈflɔˌrɛz, hu ɪz ʤɪst 22 jɪrz oʊld, ənd hu ʃʊd bi pleɪɪŋ ˈɛvəri deɪ, səm pleɪs, ɪz ˈraɪdɪŋ ðə paɪn, dɪˈspaɪt biɪŋ ə gaɪ hu ɪz noʊn fər hɪz bæt nɑt hɪz gləv. jɛt, hiz ɔn ðə bɛnʧ, waɪl teɪˈjɑdə ənd hɪz 139 ˈævərɪʤ ɪn meɪ ər ˈstɑrtɪŋ ˈɛvəri deɪ, æt ə taɪm ˈtɛri ɪz kənˈsərnd əˈbaʊt əˈfɛns nɑt dɪˈfɛns. əm æt ə lɔs. aɪ əˈfɪʃəli hæv noʊ aɪˈdiə wət ˈkɑlɪnz ɪz duɪŋ, bɪˈkəz hiz duɪŋ ðə ɪgˈzækt ˈɑpəzɪt əv wət hi sɪz hi θɪŋks hiz duɪŋ, ɔl waɪl seɪɪŋ θɪŋz ðət ər ˌkɑntrəˈdɪktəd baɪ ˈɛvəri stæt ju kən faɪnd. |
will continue to get the bulk of the playing time at shortstop, whilemay get start at second base the next time the mets face a left-handed starting pitcher ( rubin, may 17 ).
"he’s showing us that he’s the same player he was a couple years ago," collins said earlier this week (bergen record, may 15). "this guy is really swinging the bat good."
ummm, terry, tejada is batting .178 during his last 54 plate appearances. he's 3-for-17 the last five days. what tejada are you watching?
you know, i'm really starting to be concerned about terry's judgement. he recently said, the reason he hadn't been playing juan lagares, is because he's more concerned with the team's offense than defense right now. lagares had 12 hits in the 46 at bats (.286) prior to essentially being benched before the start of the subway series. he has managed to get one start in that time, and naturally - now - he's struggling at the plate.
all the while, flores, who is just 22 years old, and who should be playing every day, some place, is riding the pine, despite being a guy who is known for his bat not his glove. yet, he's on the bench, while tejada and his .139 average in may are starting every day, at a time terry is concerned about offense not defense.
i'm at a loss. i officially have no idea what collins is doing, because he's doing the exact opposite of what he says he thinks he's doing, all while saying things that are contradicted by every stat you can find. | kənˈsərvətɪv ˈlidərˌʃɪp ˈkænədɪt rɪk ˈpitərsən ɪz prəˈpoʊzɪŋ tɪ rɪˈvərs wən əv ðə ˈpɑrtiz ˈsɛntrəl ˈpɑləsiz frəm ðə læst ˈdɛkeɪd ənd reɪz ðə gst*. ˈpitərsən, hu faɪld hɪz ˈpeɪpərz ənd ʤɔɪnd ðə ˈfɛdərəl kənˈsərvətɪv ˈlidərˌʃɪp reɪs ɪn taɪm fər ðə ˈpɑrtiz ˈsɛkənd dəˈbeɪt ɪn dɪˈsɛmbər, riˈlist mɔr əv hɪz ˈpɑləsi aɪˈdiəz ˈərliər ðɪs wik. ðə vænˈkuvər ˈvɛnʧər ˈkæpətəlɪst ˈpriviəsli sɛd hid kət ˈkɔrpərət ˈɪnˌkəm ˈtæksɪz tɪ ˈziroʊ tɪ prəˈmoʊt ˌɛkəˈnɑmɪk groʊθ ənd kriˈeɪt ʤɑbz. bət hɪz ɪkˈspændɪd ˌɛkəˈnɑmɪk plæn, riˈlist ˈtuzˌdeɪ, goʊz əˈgɛnst ə ˈprɑməs ðət hɛlpt ðə kənˈsərvətɪvz wɪn paʊər ɪn 2006 ˈəndər ˈfɔrmər ˈlidər ˈstivən ˈhɑrpər. ˈpitərsən sɪz hi wʊd rɪˈvərs ðə tu pər sɛnt kət ˈhɑrpər meɪd tɪ ðə gʊdz ənd ˈsərvɪsɪz tæks (gst*) ənd reɪz ɪt ˈivɪn ˈfərðər, frəm ɪts ˈkɑrənt faɪv pər sɛnt tɪ naɪn pər sɛnt. səm ɪˈkɑnəmɪsts kˈwɛsʧənd ðə ˈwɪzdəm əv ˈhɑrpərz muv tɪ kət ðə tæks æt ðə taɪm, ˈkɔlɪŋ ðə muv rəˈgrɛsɪv ənd ˈpɔɪntɪŋ aʊt ðət ɪt ˈædɪd ˈbɪljənz tɪ ˈkænədəz ˈdɛfəsət. bət ɪt wɑz ˈplɪtɪkli ˈpɑpjələr fər ðə kənˈsərvətɪvz ənd ən əˈkɑmplɪʃmənt ðeɪ kæmˈpeɪnd ɔn fər jɪrz. ˈsɪmələr kənˈsəmʃən ˈtæksɪz ɪn ˈəðər ˈkəntriz wɪθ wɪʧ ˈkænədə kəmˈpits ˈævərɪʤ əˈbaʊt 19 pər sɛnt, ˈpitərsənz riˈlis ˈnoʊtɪd. ˈpitərsən sɛd ðə ˈrɛvəˌnu reɪzd wʊd bi juzd tɪ ˈbæləns ðə ˈbəʤɪt wɪˈθɪn tu jɪrz ənd pərˈsu ðə "largest-ever*" ˌɪnfrəˈstrəkʧər ˈbɪldɪŋ ˈproʊˌgræm ɪn ˈkænədəz nɔrθ. ˈpitərsən, hu ˈdɛmənˌstreɪtɪd hɪz baɪˈlɪŋgwəˌlɪzəm ˈdʊrɪŋ ðə ˈpɑrtiz ˈlidərˌʃɪp dəˈbeɪt læst mənθ ɪn moncton*, wɪl hæv ðə ʧæns tɪ ɪˈlæbərˌeɪt ɔn hɪz aɪˈdiəz æt nɛkst ˈtuzˌdeɪz dəˈbeɪt ɪn kwəˈbɛk ˈsɪti. kənˈsərvətɪvz voʊt ɔn ə nu ˈlidər meɪ 27 |
conservative leadership candidate rick peterson is proposing to reverse one of the party's central policies from the last decade and raise the gst.
peterson, who filed his papers and joined the federal conservative leadership race in time for the party's second debate in december, released more of his policy ideas earlier this week.
the vancouver venture capitalist previously said he'd cut corporate income taxes to zero to promote economic growth and create jobs.
but his expanded economic plan, released tuesday, goes against a promise that helped the conservatives win power in 2006 under former leader stephen harper.
peterson says he would reverse the two per cent cut harper made to the goods and services tax (gst) — and raise it even further, from its current five per cent to nine per cent.
some economists questioned the wisdom of harper's move to cut the tax at the time, calling the move regressive and pointing out that it added billions to canada's deficit.
but it was politically popular for the conservatives and an accomplishment they campaigned on for years.
similar consumption taxes in other oecd countries with which canada competes average about 19 per cent, peterson's release noted.
peterson said the revenue raised would be used to balance the budget within two years and pursue the "largest-ever" infrastructure building program in canada's north.
peterson, who demonstrated his bilingualism during the party's leadership debate last month in moncton, will have the chance to elaborate on his ideas at next tuesday's all-french debate in quebec city.
conservatives vote on a new leader may 27. | ə braʊn kaʊ. ə nu ˈsərˌveɪ ˈɪndəˌkeɪtɪŋ ðət 7 pərˈsɛnt əv əˈmɛrɪkənz bɪˈliv ðət ˈʧɔklət mɪlk kəmz frəm braʊn kaʊz həz ˈgɔtən ə lɔt əv ˈmidiə əˈtɛnʃən, ˌɪnˈkludɪŋ frəm ˈɛnˌbiˈsi, ˈhəfɪŋtən poʊst, fud waɪn, ənd ðə ˈwɔʃɪŋtən. ɛz ən ɪgˈzæmpəl əv ˈpəblɪk ˈɪgnərəns, ðɪs ɪz nɑt ə ˌpɑrˈtɪkjələrli ˈwərisəm ˈfɪgjər. ɛz ˈkeɪtlɪn dui noʊts ɪn hər ˈɑrtɪkəl əˈbaʊt ðə ˈsərˌveɪ, moʊst səˈpraɪzɪŋ θɪŋ əˈbaʊt ðɪs ˈfɪgjər meɪ ˈæˌkʧuəli bi ðət ɪt higher.”*.” ˈsɛvən pərˈsɛnt ɪz ˈæˌkʧuəli ə ˈprɪti loʊ ˈnəmbər, ənd nɑt klɪr ðət ɪt ˈrɪli ˈmætərz ˈwɛðər ˈpipəl noʊ wɛr ˈʧɔklət mɪlk kəmz frəm ər nɑt. səm əv ðə ˈsɛvən pərˈsɛnt ɪz ˈlaɪkli kɔzd baɪ rɪˈspɑndənts biɪŋ kənfˈjuzd əˈbaʊt ðə ˈsərˌveɪ ˈrəðər ðən ˈʤɛnjuˌaɪnli ˈɪgnərənt (ðoʊ səm ˈɔlsoʊ ˈprɑbəˌbli gɑt ðə kərˈɛkt ˈænsər baɪ ˈgɛsɪŋ). ˈivɪn ˈsərˌveɪz hæv ˈmɛʒərmənt ˈɛrərz ðət əˈfɛkt ə smɔl pərˈsɛnɪʤ əv rɪˈspɑndənts. ˈsædli, ðɛr ər ˈnumərəs fɑr wərs ɪgˈzæmpəlz əv ˈpəblɪk ˈɪgnərəns aʊt ðɛr, ˌɪnˈkludɪŋ ˈmɛni əˈbaʊt fɑr mɔr ˌkɑnsəkˈwɛnʃəl ˈɪʃuz. ðə 7 pərˈsɛnt ˈfɪgjər peɪlz ɪn kəmˈpɛrəsən wɪθ ðə 25 pərˈsɛnt hu noʊ ðə ərθ ˈɔrbəts ðə sən, ðə 66 pərˈsɛnt hu neɪm ðə θri ˈbrænʧɪz əv ˈgəvərnmənt, ənd maɪ ˈpərsɪnəl ˈfeɪvərɪt ðə 80 pərˈsɛnt hu səˈpɔrt ˈmændəˌtɔri ˈleɪbəlɪŋ əv fud kənˈteɪnɪŋ ˈdiˌɛˈneɪ. aɪ ˈkəvər ðiz ɪgˈzæmpəlz ənd ˈmɛni ˈəðərz laɪk ðɛm ɪn maɪ bʊk ɔn pəˈlɪtɪkəl ˈɪgnərəns moʊst əv ðɪs ˈɪgnərəns ɪz nɑt ðə rɪˈzəlt əv stuˈpɪdɪˌti ər læk əv ˌɪnˌfɔrˈmeɪʃən. ɪt ɪz ɪn fækt ˈlɑrʤli ˈræʃənəl bɪˈheɪvjər. wi ɔl hæv ˈlɪmɪtɪd taɪm, ˈɛnərʤi, ənd əˈtɛnʃən, ənd soʊ kən lərn ˈoʊnli ə smɔl ˈfrækʃən əv ɔl ðə ˌɪnˌfɔrˈmeɪʃən aʊt ðɛr. ɪt meɪks sɛns fər ˈjuˈɛs tɪ ˈfoʊkɪs ɔn ðət wɪʧ ɪz ˈlaɪkli tɪ bi ˈjusfəl ər ˈɪntəˌrɛstɪŋ. fər ˈmɛni ˈpipəl, lɑrʤ əv ˈbeɪsɪk pəˈlɪtɪkəl ənd ˌsaɪənˈtɪfɪk fækts kˈwɑləˌfaɪ. ɪn ənd əv ˌɪtˈsɛlf, ˈɪgnərəns ɪz nɑt ə ˈprɑbləm. ɪt ɪz ˈɔfən ˈræʃənəl ənd ɪz ən ˌənəˈvɔɪdəbəl pɑrt əv ðə ˈjumən kənˈdɪʃən. bət ˈɪgnərəns bɪˈkəmz ˈdeɪnʤərəs wɪn ˌɪndɪˈvɪʤəli ˈræʃənəl ˈɪgnərəns lidz tɪ ˈhɑrmfəl kəˈlɛktɪv ˈaʊtˌkəmz. ˈsædli, ðət ɪz ˈɔfən ðə keɪs wɪθ pəˈlɪtɪkəl ˈɪgnərəns, ənd ˈɪgnərəns əˈbaʊt ˌsaɪənˈtɪfɪk ˈɪʃuz ˈrɛləvənt tɪ ˈgəvərnmənt ˈpɑləsi. frəm ðə ˈstændˌpɔɪnt əv ðə ˌɪndəˈvɪʤəwəl ˈvoʊtər, ɪt meɪks sɛns tɪ dɪˈvoʊt ˈlɪtəl ˈɛfərt tɪ əkˈwaɪərɪŋ ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˈgəvərnmənt ənd ˈpəblɪk ˈpɑləsi, bɪˈkəz ðə ʧæns ðət hər voʊt wɪl meɪk ə ˈdɪfərəns ɪz smɔl. bət səʧ bɪˈheɪvjər kən lɛd tɪ ˈtɛrəbəl ˈaʊtˌkəmz wɪn ən ɪnˈtaɪər ɪˈlɛktərət ɪz ˈɪgnərənt ɪn ðɪs weɪ. wi ˈwəri məʧ əˈbaʊt ðə fækt ðət ə smɔl məˈnɔrəti əv əˈmɛrɪkənz θɪŋk ˈʧɔklət mɪlk kəmz frəm braʊn kaʊz. bət wi ʃʊd teɪk ðə ˈprɑbləm əv ˈwaɪdˈsprɛd pəˈlɪtɪkəl ˈɪgnərəns fɑr mɔr ˈsɪriəsli. ˈəpˌdeɪt: ðə ˈfoʊˌtoʊ ərˈɪʤənəli ˈpoʊstɪd wɪθ ðɪs ˈɑrtɪkəl ˈæˌkʧuəli dɪˈpɪkts ə braʊn bʊl, ˈrəðər ðən ə kaʊ. aɪ wɑz mɪsˈlɛd baɪ ðə læk əv hɔrnz. bət ɪt tərnz aʊt nɑt ɔl bʊlz hæv hɔrnz. aɪ hæv naʊ ˌriˈpleɪst ɪt wɪθ ə ˈpɪkʧər əv ən ˈækʧəwəl braʊn kaʊ. aɪ kleɪm tɪ hæv məʧ ˈnɑlɪʤ əv kaʊz ər bʊlz ər məʧ skɪl ɪn ˈtɛlɪŋ ðɛm əˈpɑrt, ənd ðə ˈfoʊˌtoʊ sˈnæfu ˈsərtənli pruvz ðət aɪ æm noʊ ˈɛkspərt ɔn ðoʊz ˈsəbʤɪkts! rəˈgɑrdləs, ðə meɪn pɔɪnt əv ðə poʊst stændz. ˈpəblɪk ˈɪgnərəns əˈbaʊt ðə ˈɔrəʤɪnz əv ˈʧɔklət mɪlk ɪz nɑt ə bɪg dil. bət səm ˈəðər kaɪnz əv ˈɪgnərəns ər. ˈəpˌdeɪt 2 ɪt meɪ bi wərθ ˈnoʊtɪŋ ðət 48 pərˈsɛnt əv rɪˈspɑndənts tɪ ðə ˈsərˌveɪ ədˈmɪtəd ðeɪ ˈsɪmpli noʊ wɛr ˈʧɔklət mɪlk kəmz frəm, ə məʧ ˈlɑrʤər ˈfɪgjər ðən ðə 7 pərˈsɛnt hu sɛd ɪt kəmz frəm braʊn kaʊz. stɪl, aɪ θɪŋk ðɛr ɪz ˈlɪtəl kɔz fər kənˈsərn əˈbaʊt ðɪs rɪˈzəlt, bɪˈkəz nɑt klɪr waɪ ɪt ˈmætərz ˈwɛðər ˈpipəl noʊ haʊ ˈʧɔklət mɪlk ɪz prəˈdust. moʊst ˈpipəl noʊ məʧ əˈbaʊt ðə pərˈdəkʃən ˈprɔˌsɛs fər ðə væst məˈʤɔrəti əv ðə ˈprɑdəkts ðeɪ kənˈsum. nɑt ə sɪgˈnɪfɪkənt ˈprɑbləm ənˈlɛs ɪt lidz ðɛm tɪ səˈpɔrt ˈhɑrmfəl ər ˈkaʊnərprəˌdəktɪv ˈpəblɪk ˈpɑləsiz ər ˌɪgˈnɔr səm sɪgˈnɪfɪkənt ˈseɪfti rɪsk. |
a brown cow.
a new survey indicating that 7 percent of americans believe that chocolate milk comes from brown cows has gotten a lot of media attention, including from nbc, huffington post, food & wine, and the washington post’s wonkblog. as an example of public ignorance, this is not a particularly worrisome figure. as caitlin dewey notes in her wonkblog article about the survey, “the most surprising thing about this figure may actually be that it isn’t higher.”
seven percent is actually a pretty low number, and not clear that it really matters whether people know where chocolate milk comes from or not. some of the seven percent is likely caused by respondents being confused about the survey rather than genuinely ignorant (though some also probably got the correct answer by guessing). even well-designed surveys have measurement errors that affect a small percentage of respondents.
sadly, there are numerous far worse examples of public ignorance out there, including many about far more consequential issues. the 7 percent figure pales in comparison with the 25 percent who don’t know the earth orbits the sun, the 66 percent who can’t name the three branches of government, and – my personal favorite – the 80 percent who support mandatory labeling of food containing dna. i cover these examples and many others like them in my book on political ignorance .
most of this ignorance is not the result of stupidity or lack of information. it is in fact largely rational behavior. we all have limited time, energy, and attention, and so can learn only a small fraction of all the information out there. it makes sense for us to focus on that which is likely to be useful or interesting. for many people, large swathes of basic political and scientific facts don’t qualify.
in and of itself, ignorance is not a problem. it is often rational and is an unavoidable part of the human condition. but ignorance becomes dangerous when individually rational ignorance leads to harmful collective outcomes. sadly, that is often the case with political ignorance, and ignorance about scientific issues relevant to government policy. from the standpoint of the individual voter, it makes sense to devote little effort to acquiring information about government and public policy, because the chance that her vote will make a difference is infinitesimally small. but such behavior can lead to terrible outcomes when an entire electorate is ignorant in this way.
we shouldn’t worry much about the fact that a small minority of americans think chocolate milk comes from brown cows. but we should take the problem of widespread political ignorance far more seriously.
update: the photo originally posted with this article actually depicts a brown bull, rather than a cow. i was misled by the lack of horns. but it turns out not all bulls have horns. i have now replaced it with a picture of an actual brown cow.
i don’t claim to have much knowledge of cows or bulls or much skill in telling them apart, and the photo snafu certainly proves that i am no expert on those subjects! regardless, the main point of the post stands. public ignorance about the origins of chocolate milk is not a big deal. but some other kinds of ignorance are.
update #2: it may be worth noting that 48 percent of respondents to the survey admitted they simply don’t know where chocolate milk comes from, a much larger figure than the 7 percent who said it comes from brown cows. still, i think there is little cause for concern about this result, because not clear why it matters whether people know how chocolate milk is produced. most people don’t know much about the production process for the vast majority of the products they consume. not a significant problem unless it leads them to support harmful or counterproductive public policies or ignore some significant safety risk. | fər ðə məˈʤɔrəti əv ˈjuˈɛs, ˈbriðɪŋ ɪz wən əv ðoʊz kˈwɑlətiz ðət wi teɪk fər ˈgrænɪd. wi dɪˈpɛnd ɔn ˌɪnˈheɪlɪŋ ˈθaʊzənz əv brɛθs ə deɪ, bət du soʊ wɪˈθaʊt ˈkɑnʃəs θɔt əv wɪn ðeɪ ˈæˌkʧuəli əˈkər. ənˈtɪl jʊr ˈbriðɪŋ ɪz ˈʧælənʤd, ðɛr meɪ nɑt bi məʧ θɔt ˈɪntu haʊ ˈprɛʃəs iʧ gæsp meɪ bi. biɪŋ træpt ɪn ə fɪld wɪθ smoʊk, ˈhævɪŋ ə ˈpænɪk əˈtæk, biɪŋ baɪ ən ˈæzmə əˈtæk, ər ˈmeɪbi ˈfɪnɪʃɪŋ ə ˈbrutəl ˌmɛtəˈbɑlɪk ˈfɪnɪʃər kən ɔl bi ɪˈvɛnts ðət brɪŋ fɔrθ ˌɪˈmɛns rɪˈspɛkt fər ˈɑksɪʤən ˈɪnˌteɪk. wɪˈθɪn ə ˈgɪvɪn ˈwərˌkaʊt ðɛr ər ˈməltəpəl ˈvɛriəbəlz ˈiðər ə ˈtreɪnər ər ju kən ˈdɪkˌteɪt. ðə ˈmuvmənts ju wɪl pərˈfɔrm, ðə loʊdz wɪθ wɪʧ ju wɪl bi ˈʧælənʤd, ðə ˈnəmbər əv rɛps ju wɪl du, ər ˈivɪn haʊ lɔŋ jʊr rɛst ˈpɪriəd wɪl bi. ðiz ˈvɛriəbəlz kən bi juzd ˌmæθəˈmætɪkəli tɪ brɪŋ fɔrθ sɔt ˈæftər rɪˈzəlts. ˈwɛðər ɪt ɪz tɪ pʊt ɔn ðət ˈɛkstrə tɛn paʊnz əv mæs ər ˈmeɪbi ʃɛd ðə læst fju paʊnz ˌbiˈfɔr ðə ˈsəmər, ðiz ˈvɛriəbəlz wɪn juzd kərˈɛktli ər ðə ki ɪn ˈoʊpənɪŋ ðə dɔr əv səkˈsɛs. ðə ““forgotten”*” ˈvɛriəbəl, ðə wən kənˈtroʊld waɪl ˈtreɪnɪŋ, ɪz jʊr ˈbriðɪŋ ˈpætərnz. wɪn ˈsəmˌwən tɛlz ju tɪ rɛst wən ˈmɪnət ɪn bɪtˈwin sɛts ðɛr ɪz noʊ faɪn prɪnt ˈsteɪtɪŋ haʊ ˈmɛni brɛθs ju ər əˈlɑtɪd wɪˈθɪn ðət ˈgɪvɪn rɛst ˈpɪriəd. ˈwɛðər ju fɪl jʊr rɛst ˈpɪriəd wɪθ kɑm, ˈmɛdəˌteɪtɪv brɛθs ər brið laɪk ju ər goʊɪŋ ˈɪntu ˈleɪbər, fər ðə moʊst pɑrt, ðə ˈproʊˌgræm dɪz nɑt ˈrɪli kɛr. bət ɪt ɪz taɪm tɪ stɑrt ˈkɛrɪŋ. taɪm tɪ ˈʧælənʤ ˈjɔrsɛlf ɛˈroʊbɪkli ənˈlaɪk ju hæv ˈɛvər dən ˌbiˈfɔr ənd ˌɪnˈsərt ˌmɛtəˈbɑlɪk ˈbriðɪŋ ˈlædərz ˈɪntu jʊr ˈtreɪnɪŋ ruˈtin. ərˈɪʤənəli kriˈeɪtɪd baɪ stiv ˈmæknəˌmɛrə əv ðə rkc*, ˌmɛtəˈbɑlɪk ˈbriðɪŋ ˈlædərz kənˈsɪst əv ə ˈwərˌkloʊd ˈɛksəˌkjutɪd æt ə ˈrɛlətɪvli loʊ reɪt əv ˌɪnˈtɛnsɪti. ðə ˈɛksərˌsaɪzɪz ðət bɛst fjuəl ðə kərˈɛkt ɛnd rɪˈzəlts əv ˌmɛtəˈbɑlɪk ˈbriðɪŋ ˈlædərz ər ˈkɑmpaʊnd ˈmuvmənts. aɪˈdil ˈmuvmənts fər ðə ˈlædərz wʊd bi səʧ ˈɛksərˌsaɪzɪz ɛz swɪŋz, ˈdəmˌbɛl θˈrəstərz, ənd frənt skwɑts. ðiz ˈkɑmpaʊnd ˈmuvmənts wɪl pleɪs ə sɪgˈnɪfɪkəntli ˈlɑrʤər dɪˈmænd ɔn jʊr ˈɑksɪʤən ˈɪnˌteɪk, məʧ ˈgreɪtər ðən ðət əv, seɪ, ə bɛnʧ prɛs, wɪʧ ˌɪnˈvɑlvz fjuər ʤɔɪnts. ðə əˈbɪləˌti tɪ dil wɪθ ðɪs ˌɪnˈkrist dɪˈmænd wɪl ɪn tərn lɛd tɪ mɔr ˈrɛgjəˌleɪtɪd ˈbriðɪŋ ˈdʊrɪŋ ˈəðər ˌmɛtəˈbɑlɪk taɪp ˈɛksərˌsaɪzɪz ər spɔrts ənd kən sɪgˈnɪfɪkəntli reɪz jʊr mæks. ˌmɛtəˈbɑlɪk ˈbriðɪŋ ˈlædərz kənˈsɪst əv ə wərk tɪ fɪkst brɛθ ˈreɪʃiˌoʊ. ˈminɪŋ, fər ˈɛvəri rɛpriˈzɛtətɪv ju kəmˈplit, jʊr rɛst ˈpɪriəd kənˈsɪsts əv ðət ˈmɛni brɛθs. ɪf ju kəmˈplit faɪv θˈrəstərz, ðɛn faɪv dip brɛθs wɪl ˈfɑloʊ. ʤɪst laɪk ˈrɛgjələr ˈproʊˌgræmɪŋ, ˌmɛtəˈbɑlɪk ˈbriðɪŋ ˈlædərz brɪŋ fɔrθ θri dɪˈstɪŋkt ˈvɛriəbəlz ðət dɪˈrɛkli ˈkɔrəˌleɪt tɪ haʊ səˈvɪr əv ən ˈɑksɪʤən dɪˈmænd ɪz kriˈeɪtɪd. ðə θri ˈvɛriəbəlz ər ðə ˈmuvmənt, ðə loʊd əv ðə ˈɑbʤɛkt, ənd rɛpriˈzɛtətɪv skim əv ðə ˈlædər. ˈjuzɪŋ ə bɪg ˈkɑmpaʊnd ˈmuvmənt wɪθ ə sɪgˈnɪfɪkənt loʊd wɪl kɔl fər ɪkˈstrim ɪˈfɪʃənsi əv ˈɑksɪʤən ˌjutələˈzeɪʃən. waɪl dɪˈtərmənɪŋ jʊr rɛpriˈzɛtətɪv skim, ˌəndərˈstænd ðət ˈlædərz ðət kənˈtɪnjuəsli klaɪm əp tɪ ə ˈgɪvɪn ˈvɛriəbəl wɪl bi wənz ðət ju ʃʊd stɑrt ə klaɪənt aʊt wɪθ. ðiz ˈlædərz meɪ bi ˈmɑdərətli ˈtæksɪŋ ɔn ðə ˈməsəlz du tɪ ˌɪnˈkrist rɛps ənd ˈðɛrˌfɔr wərk dən, bət ðə ˈbriðɪŋ ˈɔlsoʊ ˌɪnˈkrisɪz baɪ ˈnəmbər, ðəs nɑt ˈpleɪsɪŋ ə haɪ dɪˈmænd. ən ɪgˈzæmpəl əv ən ˌɪnˈkrisɪŋ ˈlædər kʊd lʊk laɪk ˈstɑrtɪŋ æt 1 rɛpriˈzɛtətɪv ənd brɛθ ənd ˌɪnˈkrisɪŋ boʊθ baɪ wən ənˈtɪl jʊr læst sɛt wɪl bi 20 rɛps ənd 20 brɛθs. wɪn kənˈsɪdərɪŋ ˈræmpɪŋ əp ðə ˌɪnˈtɛnsɪti ənd ˈbrɪŋɪŋ aʊt ðə tru pəˈtɛnʃəl kənˈtroʊld steɪt əv ˈpænɪk, ju ʃʊd juz ən əˈsɛndɪŋ ˈlædər skim ˈfɑloʊd baɪ ə dɪˈsɛndɪŋ. ɪn ðɪs ˌsɪʧuˈeɪʃən ə ˈlædər meɪ lʊk ˈsəmθɪŋ laɪk ðɛn bæk daʊn frəm ˈæftər ðə ˈlædər həz riʧt ɪts pik, ˈivɪn ðoʊ ðə rɛps wɪl ðɛn ˈdiˌkris, ðə əˈmaʊnts əv brɛθs ˈteɪkən du ɛz wɛl. ðɪs ˌɪˈmiˌdiət ˈdiˌkris ɪn ˈɑksɪʤən ˈɪnˌteɪk wɪn ɪt ɪz moʊst ˈnidɪd brɪŋz fɔrθ ə steɪt əv ˈpænɪk. ə weɪ tɪ meɪk jʊr maɪnd θɪŋk ɪt ɪz kˈwɪkli ˈluzɪŋ ˈɑksɪʤən (ˈɔlˌmoʊst ɪf ju ˈdræstɪkli ʧeɪnʤd ˈæltɪˌtudz), waɪl ju ər ˈrɪli ʤɪst riˈstrɪktɪŋ ðə lungs’*’ əˈbɪləˌti tɪ riˈplɛnɪʃ ðə səˈplaɪ. ˈdʊrɪŋ ðiz dɪˈmændɪŋ taɪmz, ju wɪl ɪkˈspɪriəns ə swɪʧ frəm ðə trəˈdɪʃənəl noʊz ˈbriðɪŋ ˈɪntu trænsˈfərɪŋ θru ðə maʊθ wɪθ ˈpænɪkɪŋ gæsps. ɪf ðət ˈɑksɪʤən dɪˈmænd bɪˈkəmz haɪ ɪˈnəf ənd ðə ˈbɑdi filz ɛz ðoʊ ɪt ɪz ˈsəfəˌkeɪtɪŋ ər kˈwɪtɪŋ, ðɪs minz ðə ˈlædər wɑz ə səkˈsɛs. ju naʊ hæv ən aɪˈdiə əv haʊ fɑr jʊr ˈɑksɪʤən ˈɪnˌteɪk kən bi ˈʧælənʤd ənd hæv ə ˈbeɪsˌlaɪn əv jʊr ˈbriðɪŋ ɪˈfɪʃənsi. ˌmɛtəˈbɑlɪk ˈbriðɪŋ ˈlædərz ər ən ˈɛksələnt weɪ tɪ ˌɪnˈkris jʊr mæks ənd ˈtɑlərəns tɪ pʊʃ θru dɪˈmændɪŋ ˈwərˌkaʊts. wi ər soʊ juzd tɪ ˈwərkɪŋ ɪn ə steɪt əv fri ˈbriðɪŋ wɛr ðɛr ər noʊ ˈgaɪˌdlaɪnz, ənd ðət kən ˈhɪndər ˈjuˈɛs æθˈlɛtɪkli. ɪf ju ʤɪst kəmˈplitɪd ə təf sɛt ər ˈivɪn ən ˌɪnˈtɛns sprɪnt, ju meɪ nɑt stɑrt əp əˈgɛn ənˈtɪl ju hæv ˈfʊli kɔt jʊr brɛθ. baɪ duɪŋ soʊ, ju ər ˈlɛtɪŋ jʊr ˈsɪstəm rɪˈtərn bæk tɪ biɪŋ ˈkəmfərtəbəl ənd nɑt ˈmeɪkɪŋ ˈjɔrsɛlf ˈɛni ˈbɛtər, ɛˈroʊbɪkli ˈspikɪŋ. ˈəltəmətli, ˈjuzɪŋ ˈproʊˌgræmd strɪkt ˈbriðɪŋ wɪl nɑt ˈoʊnli ɪˈneɪbəl ju tɪ pʊʃ θru ˈbɛriərz ju ˈnɛvər θɔt ˈpɑsəbəl, bət ˈɔlsoʊ gɪv ju ə ˈkɑnkrit ˈgaɪˌdlaɪn soʊ ju du nɑt ʤɪst stɛr æt ðə bɑr ər ənˈtɪl ju fil ˈrɛdi. soʊ pɪk ə ˈmuvmənt, ə loʊd, ənd ə skim, ənd bi ˈwɪlɪŋli ˈrɛdi tɪ stɛp ˈɪntu ə steɪt əv kənˈtroʊld ˈpænɪk. ɪgˈzæmpəlz əv ˈbriðɪŋ ˈlædər ruˈtinz: ˈhɛvi swɪŋz 24-36kg*) ˈdəbəl ˈdəmˌbɛl θˈrəstərz 20-40#s*) ˈbɑrˌbɛl frənt skwɑts 75-135#s*) ˈfoʊˌtoʊz prəˈvaɪdɪd baɪ lɑ. |
for the majority of us, breathing is one of those qualities that we loftily take for granted. we depend on inhaling thousands of breaths a day, but do so without conscious thought of when they actually occur. until your breathing is challenged, there may not be much thought into how precious each gasp may be. being trapped in a roomed filled with smoke, having a panic attack, being crutched by an asthma attack, or maybe finishing a brutal metabolic finisher can all be events that bring forth immense respect for oxygen intake.
within a given workout there are multiple variables either a trainer or you can dictate. the movements you will perform, the loads with which you will be challenged, the number of reps you will do, or even how long your rest period will be. these variables can be used mathematically to bring forth sought after results. whether it is to put on that extra ten pounds of mass or maybe shed the last few pounds before the summer, these variables when used correctly are the key in opening the door of success.
the “forgotten” variable, the one least-often controlled while training, is your breathing patterns. when someone tells you to rest one minute in between sets there is no fine print stating how many breaths you are allotted within that given rest period. whether you fill your rest period with calm, meditative breaths or breathe like you are going into labor, for the most part, the program does not really care.
but it is time to start caring. time to challenge yourself aerobically unlike you have ever done before and insert metabolic breathing ladders into your training routine.
originally created by steve mcnamara of the rkc, metabolic breathing ladders consist of a high-volume workload executed at a relatively low rate of intensity. the exercises that best fuel the correct end results of metabolic breathing ladders are compound movements. ideal movements for the ladders would be such exercises as kettlebell swings, dumbbell thrusters, and front squats. these compound movements will place a significantly larger demand on your oxygen intake, much greater than that of, say, a bench press, which involves fewer joints. the body’s ability to deal with this increased demand will in turn lead to more regulated breathing during other metabolic type exercises or sports and can significantly raise your vo2 max.
metabolic breathing ladders consist of a 1:1 work to fixed breath ratio. meaning, for every rep you complete, your rest period consists of identically that many breaths. if you complete five thrusters, then five deep breaths will follow. just like regular programming, metabolic breathing ladders bring forth three distinct variables that directly correlate to how severe of an oxygen demand is created. the three variables are the movement, the load of the object, and rep scheme of the ladder.
using a big compound movement with a significant load will call for extreme efficiency of oxygen utilization. while determining your rep scheme, understand that ladders that continuously climb up to a given variable will be ones that you should start a client out with. these ladders may be moderately taxing on the muscles due to increased reps and therefore work done, but the breathing also increases by number, thus not placing a high demand. an example of an increasing ladder could look like 1-20, starting at 1 rep and breath and increasing both by one until your last set will be 20 reps and 20 breaths.
when considering ramping up the intensity and bringing out the true potential controlled state of panic, you should use an ascending ladder scheme followed by a descending. in this situation a ladder may look something like 1-20, then back down from 20-1. after the ladder has reached its peak, even though the reps will then decrease, the amounts of breaths taken do as well. this immediate decrease in oxygen intake when it is most needed brings forth a state of panic. a way to make your mind think it is quickly losing oxygen (almost if you drastically changed altitudes), while you are really just restricting the lungs’ ability to replenish the supply.
during these demanding times, you will experience a switch from the traditional nose breathing into transferring through the mouth with panicking gasps. if that oxygen demand becomes high enough and the body feels as though it is suffocating or quitting, this means the ladder was a success. you now have an idea of how far your oxygen intake can be challenged and have a baseline of your breathing efficiency.
metabolic breathing ladders are an excellent way to increase your vo2 max and tolerance to push through demanding workouts. we are so used to working in a state of free breathing where there are no guidelines, and that can hinder us athletically. if you just completed a tough set or even an intense sprint, you may not start up again until you have fully caught your breath. by doing so, you are letting your cardiorespiratory system return back to being comfortable and not making yourself any better, aerobically speaking.
ultimately, using programmed strict breathing will not only enable you to push through barriers you never thought possible, but also give you a concrete guideline so you do not just stare at the bar or kettlebells until you feel ready. so pick a movement, a load, and a scheme, and be willingly ready to step into a state of controlled panic.
examples of breathing ladder routines:
heavy kettlebell swings (24-36kg) 1-20-1
double dumbbell thrusters (20-40#s) 1-8-1-8-1
barbell front squats (75-135#s) 1-10-1-5
photos provided by crossfit la. | ˈkoʊʧɪŋ ɪz ˈizi wɪn jʊr pleɪərz ər ɛz ˈpɑlɪʃt ɛz ðiz ʤɛmz, sɪz saʊθ ˈæfrɪkɑ ˈæftər wɪn ðət broʊk wɛlʧ hɑrts ˈləndən, 17 ɔkt ðeɪ sæŋk tɪ ðɛr niz ənd sləmpt ˈɔntu ðɛr bæks, ɪgˈzɔstɪd ənd kəmˈplitli spɛnt, ðɛr ˈbɑdiz ˈlɪtərɪŋ ðə tərf. ˈɛpɪk rɪˈzɪstəns, ðɛr əˈmeɪzɪŋ teɪl əv ənd kərɪʤ ɪn ðə feɪs əv ædˈvərsɪˌti, wɑz ˈoʊvər bət ɪt hæd ˈteɪkən ə ˈmoʊmənt əv ˈwəndərfəl ˌɪnspərˈeɪʃən tɪ sɛnd ðɛm ˈɪntu dɪˈspɛr. maɪər, saʊθ koʊʧ, wɛnt ˈfərðər. ɪt wɑz, hi sɛd, ə ˈmoʊmənt əv ˈʤinjəs dɪˈvaɪzd baɪ hɪz ˈʤinjəs ənd skɔrd baɪ hɪz ˈʤinjəs. də, hɪz kwaɪət ˈhɪroʊ, ʤɪst sæt ənd ˈlɪsənd tɪ ðɪs dɪˈskrɪpʃən əv hɪmˈsɛlf ənd lʊkt ɛz ɪmˈbɛrəst ɛz sɪn. wʊd laɪk tɪ kɪs fourie,”*,” ɪkˈskleɪmd maɪər, hu hæd lʊkt laɪk ə mæn ɔn ðə weɪ tɪ ðə ˈgæloʊz ˈæftər ðə dɪˈfit baɪ ʤəˈpæn bət naʊ simd laɪk ə dæft, ˈgɪdi kɪd. ˈsɪtɪŋ nɛkst tɪ ɪm, pur oʊld də (əˈbəv), ə mæn əv fju wərdz hu ˈrɛkənz hi heɪts ɔl ðə ˈmidiə stəf, lʊkt ɛz ɪf hi wɪʃt hi kʊd goʊ ˈeɪˌwɔl. breɪv boks*: ə ˌlæsˈmɪnət traɪ frəm də stilz ðə mæʧ bʊks pleɪs ɪn ðə læst fɔr əv ˈrəgbi wərld kəp (@rugbyworldcup*) ɑkˈtoʊbər 17 2015 jɛt aʊt ðɛr, əv kɔrs, hi ˈnɛvər wɛnt ˈmɪsɪŋ. hi wɑz ə ˈlidər, ɛz maɪər ˈnoʊtɪd, hu ˈɔlˌweɪz dɪˈlɪvərd wɪn hi wɑz ˈnidɪd moʊst. ˈɔlˌweɪz sɛd ˈkoʊʧɪŋ ɪz overrated,”*,” hi gəʃt. hæv tɪ bi ˈeɪbəl tɪ pɪk gaɪz wɪθ ˈkɛrɪktər. ˈkɛrɪktər ɪz laɪk ˈʧɑrˌkoʊl; wɛˈnɛvər ju pʊt ˈprɛʃər ɔn ju gɪt diamonds.”*.” soʊ ɪt wɑz ðət hɪz ˈlɪtəl ʤɛm dɪˈlɪvərd ðət traɪ ðət ˈfaɪnəli broʊk wɛlʧ hɑrts ənd sild ðə springboks’*’ ˈvɪktəri, ˈspidɪŋ laɪk ə ˈbʊlət daʊn ðə ˈblaɪndˌsaɪd ˈæli tɪ goʊ ˈoʊvər ɪn ðə lɛft hænd ˈkɔrnər tɪ ˈsɛtəl ðɪs ˈwəndrəs, ˈbrɛθˌteɪkɪŋ ˈɛpɪk əv ə tɛst ənd ˈpaɪlət saʊθ ˈæfrɪkɑ ˈɪntu ðə semi-final*. ɪt lʊkt ɛz ɪf ɪt hæd kəm streɪt ɔf ðə ˈtreɪnɪŋ pɑrk ənd ɪt hæd. bət, ɛz maɪər ədˈmɪtəd, ɪt hæd ˈnəθɪŋ tɪ du wɪθ ɪm. ɪt hæd bɪn ˈplɑtɪd ɔl wik bɪtˈwin də ənd dweɪn vərˈmɔɪlən, ˈivɪn ɪf ɪt hæd nɑt pænd aʊt kwaɪt ðə weɪ ðə pɛr hæd ɛnˈvɪzɪʤd. ɛz də ɪkˈspleɪnd: plæn wɑz aɪ wɑz goʊɪŋ tɪ ˈdəmi tɪ ðə raɪt ənd dweɪn wʊd goʊ raʊnd ðə flæŋk (tɪ ðə lɛft) ˈɪntu ðə ˈwɪŋər. aɪ ʤɪst sɛd tɪ ɪm ɪn ˌæfrəˈkɑnz 'goʊ lɛft' bət ˈɑbviəsli aɪ θɪŋk hi wɑz goʊɪŋ tɪ gɪv ðət flɪp pæs ənd aɪ wɑz goʊɪŋ tɪ skɔr. soʊ ˈkrɛdɪt tɪ dweɪn, ðət wɑz ən ˌənbəˈlivəbəl pæs. ənd tɪ gɪv ɪt æt ðət ˈmoʊmənt ʃoʊd wət ə bɪg mæʧ pleɪər hi was.”*.” slaɪt əv hænd tu tru. ðə ril əv genius”*”, ɛz maɪər kɔld ɪt, hæd kəm frəm ðə bɪg ˈnəmbər ˌɛkstrəˈɔrdəˌnɛri blaɪnd frəm bɪˈhaɪnd hɪz bæk streɪt ˈɪntu də ˈgridi ˈkləʧɪz. ɪt wɑz slaɪt əv hænd ðət ə bæk laɪn ˈwɪzərd səʧ ɛz ˈdeɪvɪd wʊd hæv bɪn praʊd əv. ðə wɛlʧ dɪˈfɛns, soʊ stoʊɪk θruaʊt ðə geɪm, ˈsədənli ˈfoʊldɪd. lɔɪd ˈwɪljəmz ʃʊd hæv gɔn ɪn hɑrd ɔn ðə bɔl, ðə hæd skrud ə ˈlɪtəl bɪt ðɛn pəˈtɛnʃəli ˈprɑbəˌbli ˈæləks (ˈkəθbərt) ʃʊd hæv steɪd aʊt, bət ə greɪt bɪt əv skɪl, it?”*?” ʃrəgd weɪlz koʊʧ ˈwɔrən. noʊ ˈɑrgjəmənts. wət ɪz ðə pɔɪnt əv ðə bleɪm geɪm wɪn ju ʃʊd ˈrɪli bi səˈlutɪŋ ðɪs sɔrt əv skɪl? θru ðə ˈsɛkənd hæf, weɪlz wər ˈhæŋɪŋ ɔn ˈgrɪmli ɛz ðə saʊθ ˈæfrɪkɑn pæk bɪˈgæn tɪ teɪk ə ˈstræŋgəˌlhoʊld ɪn ˈklæsɪk trəˈdɪʃən; weɪv ˈæftər weɪv əv dɪˈrɛkt əˈtæk, streɪt əp ənd daʊn, ˈfɪzɪkəl, ˈmeɪkɪŋ ɪt ə wɔr əv əˈtrɪʃən. jɛt, fər ɔl ðət həf ənd pəf, ɪt tʊk ə ˈmæʤɪkəl, ˈdeɪnti ˈlɪtəl bɪt əv ˈfænəsi tɪ ˈfaɪnəli briʧ ðə rɛd wɔl. ðət vərˈmɔɪlən ʃʊd dɪˈlɪvər ɪt simd ˈfɪtɪŋ. əˈlɔŋ wɪθ ðə ˈeɪʤləs ʃɔk ˈbərgər, hɪz ˈθɪnɪŋ blɑnd θæʧ ˈkræʃɪŋ ˈɪntu wən breɪk ˈæftər əˈnəðər, ðə pʊt ɪn ə ˈstənɪŋ, ˈtaɪərləs ʃɪft, ˈmeɪkɪŋ mɔr ˈmitərz ðən ˈɛniˌwən ɛls ɔn ðə pɪʧ. weɪlz hæd ˈnəθɪŋ tɪ riˈproʊʧ ðɛmˈsɛlvz fər. dæn ˈbɪgər lʊkt ˌpɑrˈtɪkjələrli ˈɪrəˌteɪtəd ənd ˈkrɛstˌfɔlən æt ðə ɛnd ˈæftər hi hæd bɪn fɔrst tɪ kəm ɔf ɪn ðə daɪɪŋ ˈmoʊmənts fər ə hɛd ˈɪnʤəri əˈsɛsmənt bət mæn əv ðə ˈtʊrnəmənt hæd bɪn mægˈnɪfɪsənt əˈgɛn. ˈəltəmətli, ðə wɛlʧ, ɪn ðɛr θərd ˈɛpɪk ɪnˈkaʊnər, wər faʊnd ˈwɑnɪŋ. kʊd æsk noʊ mɔr. ðeɪ ˈɛmtid ðə tank,”*,” sɛd, waɪl maɪər ækˈsɛptɪd ðə geɪm kʊd hæv gɔn ˈiðər weɪ. θɪŋk ɪt wɑz ə geɪm tu fɑr fər us,”*,” sæm ˈwɔrbərtən, ðə weɪlz ˈkæptən. ʤɪst gɑt kɔt aʊt æt ðə ɛnd. ˈsəmˌtaɪmz, geɪmz ər wən baɪ ˌɪndəˈvɪʤəwəl moments.”*.” dɪd hi θɪŋk ðeɪ hæd dən ðɛr ˈkəntri praʊd, hi wɑz æst. hoʊp so,”*,” ˈwɔrbərtən ʃrəgd. wɛlʧ fænz noʊ soʊ, jɛt ɪt ɪz ðə ˈmaɪti springboks*, wɪθ ənd genius”*” də æt ðə hɛlm, hu dɪˈzərvədli mɑrʧ ɔn. |
coaching is easy when your players are as polished as these gems, says south africa supremo after win that broke welsh hearts
london, 17 oct - they sank to their knees and slumped onto their backs, exhausted and completely spent, their red-shirted bodies littering the twickenham turf. wales’s epic resistance, their amazing injury-strewn tale of derring-do and courage in the face of adversity, was over but it had taken a moment of wonderful inspiration to send them into despair.
heyneke meyer, south africa’s coach, went further. it was, he said, a moment of genius devised by his genius and scored by his genius. fourie du preez, his quiet hero, just sat and listened to this description of himself and looked as embarrassed as sin.
“i would like to kiss fourie,” exclaimed meyer, who had looked like a man on the way to the gallows after the defeat by japan but now seemed like a daft, giddy kid. sitting next to him, poor old du preez (above), a man of few words who reckons he hates all the media stuff, looked as if he wished he could go awol.
brave boks: a last-minute try from fourie du preez steals the match & books #rsa’s place in the last four of #rwc2015pic.twitter.com/rqoun1rfp4 rugby world cup (@rugbyworldcup) october 17, 2015
yet out there, of course, he never went missing. he was a leader, as meyer noted, who always delivered when he was needed most.
“i’ve always said coaching is overrated,” he gushed. “you have to be able to pick guys with character. character is like charcoal; whenever you put pressure on you get diamonds.”
so it was that his little gem delivered that 75th-minute try that finally broke welsh hearts and sealed the springboks’ 23-19 victory, speeding like a bullet down the blindside alley to go over in the left hand corner to settle this wondrous, breathtaking epic of a test and pilot south africa into the semi-final.
it looked as if it had come straight off the training park and it had. but, as meyer admitted, it had nothing to do with him. it had been plotted all week between du preez and duane vermeulen, even if it had not panned out quite the way the pair had envisaged.
as du preez explained: “the plan was i was going to dummy to the right and duane would go round the flank (to the left) into the winger. i just said to him in afrikaans 'go left' but obviously i didn’t think he was going to give that flip pass and i was going to score. so credit to duane, that was an unbelievable pass. and to give it at that moment showed what a big match player he was.”
sleight of hand
too true. the real “moment of genius”, as meyer called it, had come from the big number eight’s extraordinary blind offload from behind his back straight into du preez’s greedy clutches. it was sleight of hand that a back line wizard such as david campese would have been proud of.
the welsh defence, so sensationally stoic throughout the game, suddenly folded. “maybe lloyd williams should have gone in hard on the ball, the scrum had screwed a little bit then potentially probably alex (cuthbert) should have stayed out, but a great bit of skill, it?” shrugged wales coach warren gatland.
no arguments. what is the point of the blame game when you should really be saluting this sort of skill? through the second half, wales were hanging on grimly as the south african pack began to take a stranglehold in classic springbok tradition; wave after wave of direct attack, straight up and down, physical, making it a war of attrition. yet, for all that huff and puff, it took a magical, dainty little bit of fantasy to finally breach the red wall.
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that vermeulen should deliver it seemed fitting. along with the ageless schalk burger, his thinning blond thatch crashing into one gainline break after another, the 29-year-old put in a stunning, tireless shift, making more metres than anyone else on the pitch.
wales had nothing to reproach themselves for. dan biggar looked particularly irritated and crestfallen at the end after he had been forced to come off in the dying moments for a head injury assessment but wales’s man of the tournament had been magnificent again.
ultimately, the welsh, in their third epic twickenham encounter, were found wanting. “no-one could ask no more. they emptied the tank,” gatland said, while meyer accepted the game could have gone either way.
“i don’t think it was a game too far for us,” sam warburton, the wales captain. “we just got caught out at the end. sometimes, games are won by individual moments.”
did he think they had done their country proud, he was asked. “i hope so,” warburton shrugged. welsh fans know so, yet it is the mighty springboks, with meyer’s “warrior and genius” du preez at the helm, who deservedly march on.
rns ic/ig | ənd waɪl ðə nu dɪˈzərvz ɪts oʊn ˈərvɪŋ bərˈlɪn ˈbæləd, ðə tun təˈdeɪ ɪz ɪn ðə ki əv pʊt ðət pərˈfɔrməns ɪn pərˈspɛktɪv. ɪt ˈkɛriz ðə seɪm ˈhɔrˌspaʊər ˈreɪtɪŋ ɛz ðə moʊst ˈməskjələr ˈməˌstæŋ ˈɔfərd ɪn 1998 ðə ˈkoʊbrə wɪθ ə 4.6-liter*, kæm, ðət simd ɪgˈzɑtɪk æt ðə taɪm. jɛt ðə nu ˈməˌstæŋ ˈmænɪʤɪz 19 maɪəlz pər ˈgælən ɪn ðə ˈsɪti ənd, wɪn pɛrd wɪθ ðə ˌɔtəˈmætɪk trænzˈmɪʃən, 31 m.p.g*. ɔn ðə ˈhaɪˌweɪ. 5 m.p.g*. ˈbɛtər ðən ðə ˈhaɪˌweɪ ˈreɪtɪŋ fər ðə beɪs ˈməˌstæŋ weɪ bæk ɪn 1984 ðət taɪərd oʊld hɔrs weɪd 900 paʊnz lɛs ðən ˈlɑrʤər ˈpoʊˌni, hæd ə ˈkrəmi ˈəndər ɪts hʊd ənd ə ˈmænjuəl trænzˈmɪʃən. ɔl əˈbaʊt interdependency,”*,” sɛd ˈdeɪvɪd pericak*, ðə ʧif ˈɛnʤəˈnɪr əv ðə ˈməˌstæŋ, ɪkˈspleɪnɪŋ ðə ˈtælənts əv ðə nu drivetrains*. ˈfaɪndɪŋ səˈluʃənz æt iʧ ˌɑpərˈtunəti ðət wʊd bi mɔr efficient.”*.” ðoʊz lɛt ðə pərˈfɔrm ɛz ɪf ɪt wər ˈæˌkʧuəli tu ˈsɛpərˌeɪt ˈɛnʤənz: wən fər fjuəl ɪˈkɑnəmi æt loʊ ˈɪnʤən spidz ənd ˈpɑrʃəl θˈrɑtəl, ənd wən ðət rɔrz wɪn əˈlaʊd tɪ spɪn təˈwɔrd ɪts rɛd laɪn əv r.p.m*. æt fʊl θˈrɑtəl. stɑrt əp ðə nu ənd ɪt graʊlz ə bɪt θru ɪts nu duəl ɪgˈzɔst ˈaʊˌtlɛts. pʊt ðə ˈʃɪftər ɪn di, təʧ ðə θˈrɑtəl ˈpɛdəl ˈlaɪtli ənd ðə ˈməˌstæŋ muvz aʊt, wɛl, ˈtɛndərli. ɪˈnəf tɔrk əˈveɪləbəl frəm ʤɪst ɔf ˈaɪdəl tɪ ˈmoʊtəˌveɪt ðə kɑr ˈizəli ˈivɪn ðə ˈhɛviər ˈməˌstæŋ kənˈvərtəbəl. bət ɪf kɛpt bɪˈloʊ r.p.m*., ðə ˈɪnʤən rɪˈspɑndz ˈmɑdəstli. ɪt fil ɛz ɪf ɪt ɪz ˈmeɪkɪŋ ˈɛniˌθɪŋ kloʊz tɪ 305 ˈhɔrˌspaʊər. wɛl, ɪt. ðə meɪ hæv duəl ˈoʊvərˈhɛd, fɔr vælvz pər ˈsɪlɪndər ənd ən əˈgrɛsɪv kəmˈprɛʃən ˈreɪʃiˌoʊ, bət ɪt ɪz tund tɪ ˈpətər əraʊnd laɪk ə gɔlf kɑrt ɛz lɔŋ ɛz ɪt ɪz ˈdrɪvən wɪθ ə laɪt fʊt. ðə 280 əv pik tɔrk əˈveɪləbəl ənˈtɪl ðə ˈɪnʤən ɪz ˈspɪnɪŋ æt ə ˈlɔfti r.p.m*. ənd lɔŋ ˌbiˈfɔr ðət ðə ˌɔtəˈmætɪk trænzˈmɪʃən wɪl ʃɪft ˌɪtˈsɛlf ˈɪntu ðə haɪəst gɪr ˈpɑsəbəl (boʊθ fɪθ ənd sɪksθ ər overdrives*) tɪ kip ðə ˈɪnʤən rɛvz daʊn. ɪn fækt, æt loʊ spid ðə nu ˈɪnʤən fil məʧ ˈdɪfərənt frəm ðə ˌsupərˈsidəd ðət meɪd ɪts pik tɔrk 240) æt ə ˈrɛlətɪvli sɪˈdeɪt r.p.m*. ɪn səm, æt pɑrt θˈrɑtəl, ðə bɪˈheɪvz laɪk, seɪ, ə ˈɪnʤən. ðət ɪz waɪ ɪt kən rɪˈtərn səʧ ˈsɑləd fjuəl ɪˈkɑnəmi ˈnəmbərz. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri krəʃ ðə θˈrɑtəl ˈpɛdəl, ˌhaʊˈɛvər, ənd ɔl 305 ˈhɔrsɪz ʃoʊ əp ˈrɛdi tɪ ˈgæləp. ðə meɪ nɑt bi ɪkˈwɪpt wɪθ tɛkˈnɑləʤiz laɪk dɪˈrɛkt ˌɪnˈʤɛkʃən (ɪn ˈkɑntræst tɪ ðə əv ɪts ˈɑˌrʧraɪvəl, ðə ˌʃɛvroʊˈleɪ kəˈmɛroʊ), bət ðə ˈvɛriəbəl ˈkæmˌʃæft ˈtaɪmɪŋ ˈsɪstəm ɪz ˈvɛri ˈifɛktɪv. wəns ðə ˈnidəl swips pæst r.p.m*., ðə ˈɪnˌteɪk ənd ɪgˈzɔst trænˈzɪʃən tɪ mɔr əˈgrɛsɪv ˈsɛtɪŋz ənd ðə briðz laɪk ˌsɛkrɪˈtɛriət ˈtərnɪŋ ˈɔntu ðə frənt streɪt ɪn ðə ˈbɛlˌmɑnt steɪks. baɪ ˈhoʊldɪŋ ðə trænzˈmɪʃən ɪn iʧ gɪr, ˈpɑsəbəl tɪ kip ðə ˈɪnʤən ˈbɔɪlɪŋ ɪn ðə swit spɑt bɪtˈwin ðə tɔrk pik æt r.p.m*. ənd ðə ˈdɪziɪŋ r.p.m*. wɛr ɪt meɪks ɪts ˈmæksəməm ˈhɔrˌspaʊər. ðət ɪz ʤɪst 500 r.p.m*. ʃɔrt əv ðə rɛd laɪn, wɛr ðə kəmˈpjutər ˌɪntərˈvinz tɪ kip ðə ˈpɪstənz frəm ˈbərstɪŋ θru ðə hʊd. bət wɪn ðɪs ˈɪnʤən ɪz ˈmeɪkɪŋ ɪts fʊl 305 ˈhɔrˌspaʊər ˈgɪtɪŋ ˈnəθɪŋ kloʊz tɪ 31 m.p.g*. traɪ 15 ər 13 ər ˈmeɪbi 12 ðɪs wʊd bi hɑrd tɪ ˈkælkjəˌleɪt bɪˈkəz ˈhoʊldɪŋ ðoʊz ˈɪnʤən spidz fər ˈvɛri lɔŋ ɪz ˈvərʧuəli ˌɪmˈpɑsəbəl ɪkˈsɛpt ɔn ə ˈreɪˌstræk. ˈmɛʒərd ə 2011 kup wɪθ ə ˈmænjuəl ˈgɪrˌbɑks ˈrənɪŋ frəm 0 tɪ 60 m.p.h*. ɪn ˈsɛkəndz. ɪt ˈɔlsoʊ reɪst θru ðə kˈwɔrtər maɪl ɪn ˈsɛkəndz æt m.p.h*. waɪl ʃɔrt əv ðə pərˈfɔrməns əv læst ˈməˌstæŋ ˈsɛkəndz æt m.p.h*.) ðət hæd 315 ˈhɔrˌspaʊər ənd wɑz ˈreɪtɪd æt 24 m.p.g*. ɔn ðə ˈhaɪˌweɪ. həz ðə 2011 ˈməˌstæŋ ˈrɪpɪŋ θru ðə kˈwɔrtər maɪl ɪn ˈsɛkəndz æt ˈɛmˈpiˈeɪʧ ənd ˈsprɪntɪŋ frəm 0 tɪ 60 m.p.h*. ɪn ˈsɛkəndz.) ðə tɛst kɑr wɑz ə kənˈvərtəbəl wɪθ ən ˌɔtəˈmætɪk trænzˈmɪʃən, wɪʧ əˈkɔrdɪŋ tɪ fɔrd weɪz 133 paʊnz mɔr ðən ðə kup. bət dɪˈspaɪt ðə hɛft ənd ðə ˈgɪrˌbɑks, ðə kɑr fɛlt æθˈlɛtɪk ənd ˈiziˈgoʊɪŋ. ðə læks ðə grənt ðət meɪks soʊ məʧ fən, bət ɪts ˌkɑmbəˈneɪʃən əv ˈkruzɪŋ ˈpɑrsəˌmoʊni ənd haɪɛnd θrɪlz ɪz ˈtænəˌlaɪzɪŋ. ðɪs ɪz nɑt ə kɑr ðət filz ˈkɑmprəˌmaɪzd baɪ ɪts. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ədˈvænst ɛz ðə nu ɪz, ˌhaʊˈɛvər, ə lɔt əv θˈroʊˌbæk ɪn ðə ˈɛnʤəˈnɪrɪŋ ðət dɪˈfaɪnz boʊθ ɪts ʧɑrmz ənd ɪts ˌlɪmɪˈteɪʃənz. sun tɪ bi ðə læst kɑr soʊld ɪn əˈmɛrɪkə wɪθ ə ˈsɑləd rɪr ˈæksəl, ðə ˈməˌstæŋ ˈhændəlz ənd raɪdz wɛl, bət ðə teɪl teɪks ɪts taɪm ˈsɛtəlɪŋ daʊn ˈæftər ˈhɪtɪŋ ə bəmp. ðə məkˈfɪrsən strət frənt səˈspɛnʃən ɪz mɔr kəmˈplaɪənt, bət ðə ˈstrəkʧər dɪz ˈʃədər ˈnoʊtɪsəbli. ðə pɪˈrɛli taɪərz pʊt ə lɔt əv ˈrəbər ɔn ðə roʊd, bət ðə nu ɪˈlɛktrɪk paʊər ˈstɪrɪŋ kəmˈjunəˌkeɪt tɪ ðə ˈdraɪvər məʧ əv ˈhæpənɪŋ daʊn ðɛr. ðoʊ ðə kənˈvərtəbəl ˈkɛriz ðə seɪm 19 m.p.g*. ˈreɪtɪŋ fər ˈsɪti ˈdraɪvɪŋ, ɔn ðə ˈhaɪˌweɪ ɪts ˈɛkstrə weɪt nɑks ðə ˈɛstəˌmeɪt bæk ə tɪk tɪ 30 m.p.g*. bət ɔn ə ˈtɑˌpəp trɪp bæk ənd fɔrθ bɪtˈwin ˈsænə ˈbɑrbərə ənd ˈsænə mərˈiə, wɪθ ðə kruz kənˈtroʊl sɛt æt 65 m.p.h*. ənd ðə ˈɛrkənˌdɪʃənɪŋ ɔf, ðə ˈməˌstæŋ bərnd ʤɪst ˈgælənz əv gæs. maɪ ˈævərɪʤ fər ðət trɪp əv m.p.g*. ɪz ˈprɪti gʊd fər ə kənˈvərtəbəl 188 ˈɪnʧɪz lɔŋ ənd weɪz paʊnz. ðə ˌɛvəˈluʃən həz bɪn sloʊ. ənd baɪ hjuɪŋ ˈkloʊsli tɪ ðə ərˈɪʤənəl ˈkɑnsɛpt əv ðə kɑr, ɪt həz rɪˈteɪnd ɪts ˈkɛrɪktər rɪˈmɑrkəbli wɛl. bət fər ðə fərst taɪm, ðə ˈməˌstæŋ həz ˈɛnʤənz ˈbɛtər ðən ðə rɛst əv ðə kɑr. taɪm fər fɔrd tɪ ʃrɪŋk ðə ˈməˌstæŋ səm boʊθ ɪn saɪz ənd weɪt, ənd tɪ gɪv ɪt ə mɔr səˈfɪstɪˌkeɪtəd ˈʧæsi. ˈæftər ɔl, ˈmeɪkɪŋ wən lip ˈfɔrwərd min ðɛr mɔr ˈhərdəlz tɪ klɪr. ˌɪnˈsaɪd træk: ˈsɪmpli ðə bɛst ˈməˌstæŋ ˈɛvər. |
and while the new v-8 deserves its own irving berlin ballad, the tune today is in the key of v-6.
let’s put that engine’s performance in perspective. it carries the same horsepower rating as the most muscular mustang offered in 1998 the svt cobra with a 4.6-liter, dual-overhead cam, 32-valve v-8 that seemed exotic at the time. yet the new mustang manages 19 miles per gallon in the city and, when paired with the automatic transmission, 31 m.p.g. on the highway. that’s 5 m.p.g. better than the highway rating for the base mustang notchback way back in 1984. that tired old horse weighed 900 pounds less than today’s larger pony, had a crummy 88-horsepower 4-cylinder under its hood and a gear-grinding 4-speed manual transmission.
“it’s all about interdependency,” said david pericak, the 33-year-old chief engineer of the mustang, explaining the talents of the new drivetrains. “about finding solutions at each opportunity that would be more efficient.”
those optimized interdependencies let the car’s duratec v-6 perform as if it were actually two separate engines: one optimized for fuel economy at low engine speeds and partial throttle, and one that roars when allowed to spin toward its red line of 7,000 r.p.m. at full throttle.
start up the new v-6 and it growls a bit through its new dual exhaust outlets. put the shifter in d, touch the throttle pedal lightly and the mustang moves out, well, tenderly. there’s enough torque available from just off idle to motivate the car easily even the heavier mustang convertible. but if kept below 4,000 r.p.m., the engine responds modestly. it doesn’t feel as if it is making anything close to 305 horsepower.
well, it isn’t.
the duratec v-6 may have dual overhead cams, four valves per cylinder and an aggressive 10.5:1 compression ratio, but it is tuned to putter around like a golf cart as long as it is driven with a light foot. the 280 pound-feet of peak torque isn’t available until the engine is spinning at a lofty 4,250 r.p.m. and long before that the automatic transmission will shift itself into the highest gear possible (both fifth and sixth are overdrives) to keep the engine revs down.
in fact, at low speed the new engine doesn’t feel much different from the superseded 4-liter v-6 that made its peak torque (240 pound-feet) at a relatively sedate 3,500 r.p.m.
in sum, at part throttle, the duratec v-6 behaves like, say, a 190-horsepower engine. that is why it can return such solid fuel economy numbers.
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crush the throttle pedal, however, and all 305 horses show up ready to gallop. the mustang’s duratec may not be equipped with of-the-moment technologies like direct injection (in contrast to the v-6 of its archrival, the chevrolet camaro), but the engine’s variable camshaft timing system is very effective.
once the tachometer needle sweeps past 4,000 r.p.m., the intake and exhaust cams transition to more aggressive settings and the v-6 breathes like secretariat turning onto the front straight in the belmont stakes. by holding the transmission in each gear, it’s possible to keep the engine boiling in the sweet spot between the torque peak at 4,250 r.p.m. and the dizzying 6,500 r.p.m. where it makes its maximum horsepower.
that is just 500 r.p.m. short of the v-6’s red line, where the engine-control computer intervenes to keep the pistons from bursting through the hood.
but when this engine is making its full 305 horsepower it’s getting nothing close to 31 m.p.g. try 15, or 13, or maybe 12. this would be hard to calculate because holding those engine speeds for very long is virtually impossible except on a racetrack.
insideline.com measured a 2011 v-6 coupe with a manual gearbox running from 0 to 60 m.p.h. in 5.6 seconds. it also raced through the quarter mile in 13.9 seconds at 101.2 m.p.h.
while short of the performance of last year’s mustang gt (13.5 seconds at 102.9 m.p.h.) that car’s v-8 had 315 horsepower and was rated at 24 m.p.g. on the highway.
(insideline has the 2011 mustang gt ripping through the quarter mile in 13.0 seconds at 110.6 mph and sprinting from 0 to 60 m.p.h. in 4.8 seconds.)
the test car was a $34,990 convertible with an automatic transmission, which according to ford weighs 133 pounds more than the v-6 coupe. but despite the heft and the gearbox, the car felt athletic and easygoing. the v-6 lacks the low-end grunt that makes v-8s so much fun, but its combination of cruising parsimony and high-end thrills is tantalizing. this is not a car that feels compromised by its drivetrain.
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advanced as the new drivetrain is, however, there’s a lot of throwback in the mustang’s engineering that defines both its charms and its limitations.
soon to be the last rear-drive car sold in america with a solid rear axle, the mustang handles and rides well, but the tail takes its time settling down after hitting a bump.
the macpherson strut front suspension is more compliant, but the convertible’s structure does shudder noticeably. the pirelli pzero tires put a lot of rubber on the road, but the new electric power steering doesn’t communicate to the driver much of what’s happening down there.
though the convertible carries the same 19 m.p.g. rating for city driving, on the highway its extra weight knocks the estimate back a tick to 30 m.p.g.
but on a top-up 133-mile trip back and forth between santa barbara and santa maria, with the cruise control set at 65 m.p.h. and the air-conditioning off, the mustang burned just 4.2 gallons of regular-grade gas. my average for that trip of 31.3 m.p.g. is pretty good for a convertible that’s 188 inches long and weighs 3,604 pounds.
the mustang’s evolution has been slow. and by hewing closely to the original concept of the car, it has retained its character remarkably well. but for the first time, the mustang has engines better than the rest of the car. it’s time for ford to shrink the mustang some both in size and weight, and to give it a more sophisticated chassis. after all, making one leap forward doesn’t mean there aren’t more hurdles to clear.
inside track: simply the best 6-cylinder mustang ever. | ʤɑn ɪkˈspleɪnz ðə hɑrd ˈsæləri kæp ənd haʊ ðɪs wɪl əˈfɛkt ˈlaɪtnɪŋ si ˈstivən wɪn hi ˈriʧɪz fri ˈeɪʤənsi ˈæftər ðɪs ˈsizən. ðɛr wɑz ə taɪm wɪn ʤæn. 1 wɑz ə ʧæns tɪ riˈbut, riˈsərfəs ənd rɪˈnu wənz soʊl. nu jɪrz deɪ wɑz ðə taɪm tɪ waɪp ðə aɪs klin ənd ˈfoʊkɪs ɔn ˈsɛlfɪmˈpruvmənt ənd goʊl ˈsɛtɪŋ. fər səm əv ˈjuˈɛs, ðət taɪm ɪz naʊ ɑkˈtoʊbər, wɪn ðə nu ˈhɑki jɪr bɪˈgɪnz. ˈərli ˈmɔrnɪŋ ˈweɪˌkəp kɔlz ənd trɪps tɪ ðə rɪŋk ər bæk. ðə stɛnʧ ˈɛməˌneɪtɪŋ frəm ɪkˈwɪpmənt bægz ɪn ðə trəŋk ənd eɪt ˈgætərˌeɪd ˈbɑtəlz ˈroʊlɪŋ əraʊnd ðə flɔr əv ðə bæk sit ər bæk. ðə ˈbriðɪŋ əv fjumz ənd haɪ bləd ˈprɛʃər frəm ðə kɪd hu ˈnɛvər ˈpæsɪz ər bæk. ðə ənd ər bæk. ˈhɑki ɪz bæk. ˈhæpi nu jɪr. ðə steɪt əv ˈhɑki ɪz ˈɛksələnt. ðɛr ɪz groʊθ ɪn ˈnəmbərz ənd skɪl, ənd ˈjuˈɛˈseɪ ˈhɑki hæd ə ˈrɛkərd pleɪərz ˈrɛʤɪstərd læst jɪr. ɪn 1990 ðət ˈnəmbər wɑz ˈkɑlɪʤ ˈhɑki ˈwɛlkəmz ɪts dɪˈvɪʒən aɪ ˈmɛmbər ɪn ˌɛrɪˈzoʊnə steɪt, wɪʧ həz pəˈtɛnʃəl tɪ bi ə ˈtreɪlˌbleɪzər fər ə fˈjuʧər ˈhɑki ˈkɑnfərəns. ˈkɑlɪʤ ˈhɑki ædˈmɪnɪˌstreɪtərz mɛt wɪθ ˌkæləˈfɔrnjə ˈoʊnərz ðɪs ˈsəmər tɪ dɪˈskəs biɪŋ ə pɑrt əv ðət ˈprɔˌsɛs. ənd, wəns əˈgɛn, ðə ˈwɛlkəmz əˈnəðər weɪv əv ɪˈlit ˈtælənt tɪ ˈfərðər ˈdipən ə rɪʧ ˈrɑstər əv skɪl, məʧ əv ɪt stɪl ˈəndər 30 jɪrz oʊld. ðə geɪm ɪz ˈhɛlθi, ənd ˈrɛdi fər mɔr groʊθ. ɪts ə greɪt taɪm tɪ bi ə ˈhɑki fæn. aɪ du wɪʃ ðə nɛt wɑz ˈbɪgər ənd mɔr goʊlz wər skɔrd, mɔr peɪɔf fər ðə əˈmeɪzɪŋ æθˈlɛtɪˌsɪzm ɔn dɪˈspleɪ ˈɛvəri naɪt ðət ɪz ˈsəmˌtaɪmz ˈsəfəˌkeɪtɪd baɪ tu fju ˈskɔrɪŋ ˈʧænsɪz. weɪn ənd ˈmɑrioʊ ənd ˈbɑbi ənd ˈbɔsi hæd ˈbɛtər kənˈdɪʃənz fər ˈkæʃɪŋ ɪn ɔn ðɛr əˈmeɪzɪŋ skɪl ənd ðəs ɛnˈrɪʧt ðə geɪm wɪθ goʊlz ðət lɛd tɪ ˈlɛʤənd ˈstætəs. ˈlɛʤəndz mɑrk ðə pæst laɪk ə greɪt sɔŋ ər wərk əv ɑrt. ðə ʃʊd kip ˈpʊʃɪŋ fər ˈlɛʤəndz. ɪts gʊd fər ˈbɪznɪs. ɪt nidz ə ˈlɪtəl mɔr əˈfɛns. ˈreɪnɪŋ ˈskɔrɪŋ ʧæmp ˈʤeɪmi bɛn ənd ˈəðər stɑrz nid mɔr rum tɪ skɔr ənd ɪkˈsaɪt fænz. ʤəroʊm təˈdeɪ spɔrts fænz ˈgɪtɪŋ aʊt əv ðɛr sits mɔr ˈɔfən ɪz ə gʊd θɪŋ, əˈspɛʃəli wɪθ ˈfaɪtɪŋ daʊn əˈkrɔs ðə lig. ə ˈkəpəl əv faɪts ə naɪt gɑt ˈpipəl tɪ stænd əp ɪn ə ˈkɔrəs əv ˈpraɪməl skrimz. ɪt wɑz gʊd, fən, ˌɛnərˈteɪnmənt. ðə ækˈnɑlɪʤmənt əv ˈfaɪtɪŋz rɪsks ənd ˌɪnˈhɛrənt ˈdeɪnʤərz wɪl sun ˈrɛndər ɪt ɪkˈstɪŋkt. wi nid mɔr ˈskɔrɪŋ tɪ gɪt ˈpipəl aʊt əv ðɛr sits frəm ɑkˈtoʊbər θru ˈeɪprəl. peɪɪŋ ə fju ˈhənərd bəks fər ə ˈfæməli tɪ si ə geɪm ɪn wɪʧ ðə ˈfaɪnəl skɔr ɪz ənd ðə kɪdz stænd əp tɪ skrim ʤɪst wəns ɪz nɑt ə ˈrɛsəpi fər rɪˈpit ˈkəstəmərz. ʃʊr, ə ər geɪm kən bi ˈɔsəm. ˌkɑmpəˈtɪʃən ˈlɛvəl ənd ˌɪnˈtɛnsɪti ɪz mɔr ˌɪmˈpɔrtənt ðən skɔr, bət wi nid mɔr əˈfɛnsɪv peɪɔf, praɪˈmɛrəli ɪn ðə ˈrɛgjələr ˈsizən. ˌɪmˈpruvd, ˈskeɪtər ɪkˈwɪpmənt, ˈkoʊʧɪŋ ənd ˈskeɪtɪŋ ɔl səˈprɛs ˈskɔrɪŋ. ˈʤeɪmi bɛn wən ðə ˈskɔrɪŋ ˈtaɪtəl læst ˈsizən wɪθ 87 pɔɪnts. aɪ wɔnt hard-hitting*, tight-checking*, ˈhɑki, nɑt ˌɔlˈstɑr geɪm ˈhɑki. ə ˈbɪgər nɛt ɪz ðə ˈoʊnli ʧæns tɪ ˌɪmˈpruv ˈskɔrɪŋ wɪθ ðə staɪl fænz dɪˈmænd. ɪf nid ˈbɪgər ɪkˈwɪpmənt tɪ prəˈtɛkt ðɛmˈsɛlvz frəm ˈhɑrdər ʃɑts ɔf ˌhaɪˈtɛk stɪks, faɪn. bət ˈɔlsoʊ gɪv ðə pleɪərz ən ɪnʧ ər soʊ mɔr rum tɪ skɔr əp tɔp. aɪ noʊ, aɪv bɪn ˈraɪtɪŋ ðɪs fər mɔr ðən ə ˈdɛkeɪd. aɪ ʤɪst hæv tɪ gɪt ɪt aʊt wəns ə jɪr. wəts rɔŋ wɪθ ə geɪm? ˈoʊˈkeɪ, ðæts dən. lɛts ˈɛmti ðə ˈbəkɪt əv breɪn frəm ən əˈsɔrtmənt əv ˈɪʃuz ˈjuzɪŋ jʊr kˈwɪriz. lɛts feɪs ɪt, wi nu hi wɑz gʊd. aɪ roʊt ɛz məʧ ɪn ðɪs speɪs læst jɪr ˈæftər ʤæk fərst ˈkɑlɪʤ geɪm æt ˈbɔstən ˌjunəˈvərsəti. aɪ toʊld ju hi kʊd skeɪt, ʃut ənd hæd riʧ. aɪ ˈɔlsoʊ toʊld ju ðə gæp bɪtˈwin ɪm ənd ˈkɑnər məkˈdeɪvəd wɑz sˈmɔlər ðən moʊst θɔt, ˌɪnˈkludɪŋ ˈbəfəˌloʊ ˈseɪbərz ˈʤɛnərəl ˈmænɪʤər tɪm ˈməri, hu ˈpaʊtɪd səm ˈæftər ðə dræft ˈlɑtəri pʊt ðə ˈseɪbərz æt noʊ. 2 ˈoʊvərˌɔl. ðə ˈbɪgəst fər mi ɪz haʊ məʧ ˈfæstər ənd mɔr ɪkˈsploʊsɪv ˈaɪkəl ɪz kəmˈpɛrd wɪθ hɪz pərˈfɔrməns ɪn ˈeɪprəl æt ðə ˈfroʊzən fɔr. hɪz ˈskeɪtɪŋ ˈdɑməˌneɪtəd ðə geɪm əˈgɛnst ðə kəˈləmbəs blu ˈʤækɪts ɔn ˈmənˌdeɪ. hiz 18 ənd ɔˈrɛdi ðə bɛst pleɪər ɔn ðə ˈseɪbərz. ðət biɪŋ sɛd, aɪ ləv məkˈdeɪvəd. hi ɪz ə ˈtælənt hu wɪl hæv ən ˈɛksələnt ˈsizən. hi ənd ˈaɪkəl ər juˈnik ənd ˈspɛʃəl ˈɔrnəmənts ðət ju ʃʊd ˈpərʧəs ðə ˈsɛnər aɪs ˈpækɪʤ tɪ wɔʧ. fər ðə ˈrɛkərd, maɪ prɑˈʤɛkʃənz fər ˈaɪkəl ənd məkˈdeɪvəd: məkˈdeɪvəd: 27 goʊlz, 50 əˈsɪsts, 77 pɔɪnts ˈaɪkəl: 19 goʊlz, 45 əˈsɪsts, 64 pɔɪnts wɪn wɪl siˈætəl gɪt ən tim? loʊəl ˈtɑmsən (@huskychemist*) ɑkˈtoʊbər 13 2015 sun, aɪ hoʊp. aɪ θɪŋk ðə ʃʊd hæv 40 timz. ðə bɛst weɪ tɪ kriˈeɪt fænz ɪz θru ɪkˈspænʧən. ˈwɛðər ɪts ˌkæləˈfɔrnjə, ˈdæləs, kəˈləmbəs ər ˈflɔrɪdə, timz kriˈeɪt fænz, jəŋ ˈpipəl ənd hu wɔnt tɪ pleɪ. wi hæv pleɪərz bɔrn ɪn ˌkæləˈfɔrnjə, saʊθ ˈflɔrɪdə, ˈtɛksəs ənd soʊ ɔn. aɪ θɪŋk ðə ˈtælənt pul ɪz dip ɪˈnəf fər əˈnəðər pleɪərz, əˈspɛʃəli wɪθ ðə ˌɪnərˈnæʃənɑl pul ənd mɔr əˈmɛrɪkən ˈtælənt laɪk ˈaɪkəl ənd ˈɔstən ˈmæθjuz (frəm ˈskɑtsˌdeɪl, ˌɛrɪˈzoʊnə, ənd ˈlaɪkli ðə tɔp pɪk nɛkst jɪr) biɪŋ dɪˈvɛləpt baɪ ˈjuˈɛˈseɪ ˈhɑki. ðɛr ɪz ə greɪt pəˈtɛnʃəl fər groʊθ ɪn ˈhɑki, ənd ðə ʃʊd bi ˈvɛri əˈgrɛsɪv, əˈspɛʃəli wɪθ juθ ˈfʊtˌbɔl ˈnəmbərz ˈdrɑpɪŋ. ˈhɑki nidz tɪ siz ðə ʧæns tɪ gɪt kɪdz hu ər nɑt ˈsaɪnɪŋ əp fər ˈfʊtˌbɔl. gɪt kɪdz pleɪɪŋ ˈhɑki ˈərli ɔn ənd juv gɑt ðɛm fər laɪf. du ju θɪŋk ɪts tu ˈərli fər bruɪnz fænz tɪ bi kənˈsərnd? ˈɔstən məˈkɪnli ɑkˈtoʊbər 13 2015 aɪ hæd ðə bruɪnz ɛz ə pleɪɔf ˈbəbəl tim ˌbiˈfɔr ðə ˈsizən, soʊ əm nɑt ʃɑkt æt ðɛr stɑrt, bət aɪ ˈsərtənli ɪkˈspɛktɪd æt list ə pɔɪnt frəm ðɛm baɪ naʊ. ðeɪ hæv ə koʊʧ ɪn klɔd ˈʤuliən hu ʤɪst ˈdəzənt fɪt ðə timz ˈoʊvərˌɔl fəˈlɑsəfi ənd hu əˈpɪrz ˈdɛstɪnd tɪ bɪˈkəm ə ˈskeɪpˌgoʊt fər wət lʊks laɪk ə ˈpɑsəbəl lɔst ˈsizən. ðə bruɪnz ər θɪn ɔn dɪˈfɛns stɪl ənd traɪɪŋ tɪ gɪt ˈɛvriˌwən ɔn ðə seɪm peɪʤ ˈæftər ˈplɛnti əv nu əˈdɪʃənz ðə pæst 12 mənθs. əm ʃʊr ðeɪ wʊd ləv tɪ dil ˈʧɑrə, gɪv ðə ˈkæptənz "si" tɪ pəˈtris ˈbərgərɔn ənd ˈpɑsəbli dil bræd mɑˈrʧænd tɪ gɪt hɛlp ənd kənˈtɪnju tɪ riˈwərk. ɪts ən ˌɔrgənəˈzeɪʃən ɪn fləks, ənd θɪŋz kʊd slɪp əˈweɪ ɪf ðə bruɪnz ər nɑt ˈkɛrfəl. ðeɪ hæv ə lɔt əv roʊd geɪmz ˈoʊvər ðə nɛkst 25 deɪz, ˈdʊrɪŋ wɪʧ ðeɪ nid tɪ kəm təˈgɛðər ɛz ə tim ənd ˈfɪgjər aʊt ə weɪ tɪ wɪn. sɑd ˈtruli stɑr pleɪər ər wɑz hi ʤɪst ˈɛləˌveɪtɪd du tɪ hɪz linemates*? wət kaɪnd əv jɪr dɪz hi hæv? kaɪl (@k_trus*) ɑkˈtoʊbər 13 2015 hi ʃʊd bi ə ˈvɛri pərˈdəktɪv ˈfɔrwərd fər ðə blu ˈʤækɪts, ˈgɪtɪŋ 20 ˈmɪnəts ə naɪt ənd pleɪɪŋ wɪθ ə ˈvɛri gʊd ˈsɛnər ɪn raɪən ˌʤoʊˈhænsən. aɪ θɪŋk 30 goʊlz ənd 40 əˈsɪsts ər gʊd goʊlz fər ˈbrændən sɑd tɪ riʧ, ənd ˈpɑsəbli ɪkˈsid. hi meɪks hɪz rɪˈtərn tɪ ʃəˈkɑˌgoʊ ɔn ˈsæˌtɪˌdeɪ. waɪ du ju θɪŋk ðə blu ˈʤækɪts wɪl bi ə pleɪɔf tim? əˈspɛʃəli wɪθ ðət dɪˈfɛns. krɪs ˈeɪbrəˌhæm (@crzycanucklehed*) ɑkˈtoʊbər 13 2015 ðə dɪˈfɛns ɪz ðə kˈwɛʃən. kən ðeɪ muv ənd pəˈzɛs ðə pək? kən ðeɪ hɛlp kɪl ˈpɛnəltiz? aɪ θɔt kəˈləmbəs wɑz ə tim ˌbiˈfɔr ðə ˈsizən. aɪ stɪl θɪŋk ðeɪ ər ə pleɪɔf tim, bət ðeɪ hæv tɪ gɪt goʊɪŋ. wət ər ˌriəˈlɪstɪk ˌɛkspɛkˈteɪʃənz fər ðə rɛd wɪŋz ðɪs ˈsizən? deɪv stɛd ɑkˈtoʊbər 12 2015 ə dip pleɪɔf rən ɪz ˈpɑsəbəl. ðeɪ hæv gʊd dɛpθ tɪ juz ɛz treɪd beɪt ɪf ˈnidɪd, ənd wɪθ ðɛr ˈtælənt ənd kæp speɪs, ðə ˈdiˌtrɔɪt rɛd wɪŋz ər ɪn ə greɪt pəˈzɪʃən tɪ kənˈtɪnju ðɛr pleɪɔf strik fər əˈnəðər ˈdɛkeɪd. ˈpipəl tɔk əˈbaʊt ˈstivən ˈpɑsəbli ˈsaɪnɪŋ wɪθ ðə tərˈɑntoʊ ˈmeɪpəl lifs ɪf hi ˈʧuzɪz nɑt tɪ wɪθ ðə ˈtæmpə beɪ ˈlaɪtnɪŋ. ɪf əm, ðoʊ, ənd əm ˈlʊkɪŋ frəm ə pjʊr ˈhɑki ˈstændˌpɔɪnt tɪ pleɪ fər ən oʊld, trəˈdɪʃənəl brænd, ðə rɛd wɪŋz ər pəˈtɛnʃəli maɪ ˈlændɪŋ spɑt. ə nu ərˈinə ɪz ˈkəmɪŋ ɪn 2017 ənd ðɛrz lɑts əv jəŋ ˈtælənt tɪ ˈʃoʊldər ðə loʊd. hu wɪnz ðə ˈdrɛdɪd ˈsɛntrəl dɪˈvɪʒən? raɪən ˈmeɪsən (@masetobase*) ɑkˈtoʊbər 13 2015 ˈæftər ˈwɑʧɪŋ ə ˈkəpəl əv geɪmz, maɪ pleɪɔf timz: ˈistərn ˈkɑnfərəns: nu jɔrk ˈreɪnʤərz, nu jɔrk ˈaɪləndərz, ˌməntriˈɔl canadiens*, kəˈləmbəs blu ˈʤækɪts, ˈwɔʃɪŋtən ˈkæpɪtəlz, ˈlaɪtnɪŋ, rɛd wɪŋz, ˈpɪtsbərg ˈpɛŋgwənz ˈwɛstərn ˈkɑnfərəns: ˈnæʃvɪl ˈprɛdətərz, ʃəˈkɑˌgoʊ ˈblæˌkhɔks, ˌmɪnɪˈsoʊtə waɪld, ˈdæləs stɑrz, ˌkɑlərˈɑdoʊ ˈævəˌlænʧ, sæn ˌhoʊˈzeɪ ʃɑrks, ˈænəˌhaɪm dəks, lɔs ˈænʤəlɪs kɪŋz |