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1 of 6 names are not required on the backs of jerseys in college football, so why have a rule legislating what can be written in the space? the only allows three force, army and put something other than a player's name on the space above the numbers on the backs of their uniforms. yet for every other school it's a surname or nothing at all. a handful of teams wanted to go with in 2014, yet each was rebuffed. vanderbilt still went ahead and wore its "anchor down" jerseys for the season opener against temple and nearly paid a steep price. "we sent an email design concept to the football rules committee, got a cursory response which says, 'it looks good to us,'" vanderbilt athletics department spokesman rod williamson said via david climer of the tennessean. "we thought that meant every piece of the communication was fine." initially, officials working the game announced that the commodores' uniform violation would result in a loss of a timeout for each quarter those jerseys were worn. that ruling was quickly overturned, though it didn't help in the long run, as it was blown out in its first game under new coach derek mason. this isn't a matter of schools wanting their players to stand out, like with the old and its use of nicknames on jerseys. instead, it's meant more to inspire camaraderie and solidarity, as with south florida coach willie taggart's (disallowed) wish to have "the team" on the back of the bulls' tops.

1 əv 6 neɪmz ər nɑt rikˈwaɪərd ɔn ðə bæks əv ˈʤərziz ɪn ˈkɑlɪʤ ˈfʊtˌbɔl, soʊ waɪ hæv ə rul ˈlɛʤɪsˌleɪtɪŋ wət kən bi ˈrɪtən ɪn ðə speɪs? ðə ˈoʊnli əˈlaʊz θri fɔrs, ˈɑrmi ənd pʊt ˈsəmθɪŋ ˈəðər ðən ə pleɪərz neɪm ɔn ðə speɪs əˈbəv ðə ˈnəmbərz ɔn ðə bæks əv ðɛr ˈjunəˌfɔrmz. jɛt fər ˈɛvəri ˈəðər skul ɪts ə ˈsərˌneɪm ər ˈnəθɪŋ æt ɔl. ə ˈhændˌfʊl əv timz ˈwɔntɪd tɪ goʊ wɪθ ɪn 2014 jɛt iʧ wɑz rɪˈbəft. ˈvændərbɪlt stɪl wɛnt əˈhɛd ənd wɔr ɪts "ˈæŋkər daʊn" ˈʤərziz fər ðə ˈsizən ˈoʊpənər əˈgɛnst ˈtɛmpəl ənd ˈnɪrli peɪd ə stip praɪs. "wi sɛnt ən iˈmeɪl dɪˈzaɪn ˈkɑnsɛpt tɪ ðə ˈfʊtˌbɔl rulz kəˈmɪti, gɑt ə ˈkərsəri rɪˈspɑns wɪʧ sɪz, 'ɪt lʊks gʊd tɪ ˈjuˈɛs,'" ˈvændərbɪlt æθˈlɛtɪks dɪˈpɑrtmənt ˈspoʊksmən rɑd ˈwɪljəmsən sɛd ˈviə ˈdeɪvɪd ˈklaɪmər əv ðə ˌtɛnɪˈsiən. "wi θɔt ðət mɛnt ˈɛvəri pis əv ðə kəmˌjunəˈkeɪʃən wɑz faɪn." ˌɪˈnɪʃəli, əˈfɪʃəlz ˈwərkɪŋ ðə geɪm əˈnaʊnst ðət ðə commodores*' ˈjunəˌfɔrm vaɪəˈleɪʃən wʊd rɪˈzəlt ɪn ə lɔs əv ə ˈtaɪˌmaʊt fər iʧ kˈwɔrtər ðoʊz ˈʤərziz wər wɔrn. ðət ˈrulɪŋ wɑz kˈwɪkli ˈoʊvərˌtərnd, ðoʊ ɪt ˈdɪdənt hɛlp ɪn ðə lɔŋ rən, ɛz ɪt wɑz bloʊn aʊt ɪn ɪts fərst geɪm ˈəndər nu koʊʧ ˈdɛrɪk ˈmeɪsən. ðɪs ˈɪzənt ə ˈmætər əv skulz ˈwɑnɪŋ ðɛr pleɪərz tɪ stænd aʊt, laɪk wɪθ ðə oʊld ənd ɪts juz əv ˈnɪkˌneɪmz ɔn ˈʤərziz. ˌɪnˈstɛd, ɪts mɛnt mɔr tɪ ˌɪnˈspaɪr ˌkɑmərˈɑdəri ənd ˌsɑləˈdɛrəti, ɛz wɪθ saʊθ ˈflɔrɪdə koʊʧ ˈwɪli ˈtægərts (ˌdɪsəˈlaʊd) wɪʃ tɪ hæv "ðə tim" ɔn ðə bæk əv ðə bʊlz' tɑps.

toys that we really describe! bowlingual voice a employee poses with the voice, a gadget that expresses dogs’ emotions, at the annual tokyo toy show 2009. claims the gadget analyses a voice through a wireless microphone attached to its collar and then displays its emotions. maui flowers dog bikini make a summertime splash with the maui flowers dog bikini. your dog will not be able to resist this cute spandex bathing suit. canine maui flowers bikini is for easy movement with a comfy and practical fit. dog interactive toy by nina ‘dog’, has a single removable bone that has to be dislodged by the dog, who can then rotate the top section to access treats in the compartments below. by gradually reducing the number of treats, you can encourage him to work harder. nina’s range of durable interactive games have been designed to stimulate a brain whilst reinforcing his relationship with people. each design has a unique mechanism that requires mental as well as physical dexterity to work through the challenges and reveal hidden food rewards. they can be set to differing levels of complexity, to satisfy all ages and breeds of dog. zig a zag ball the zig a zag ball is a ball that gives hours of crazy fun! using 1 aa battery which is supplied with the toy you can turn the ball on and watch your dog play for hours with the unpredictable movements the ball makes. the toy is made from non toxic material and measures in diameter. dog tornado interactive toy by nina the idea behind the ‘dog tornado’ is for the dog to dislodge the bones, then turn the revolving sections to reveal hidden treats. the tornado has many variables to increase the level of difficulty as the skill improves. with a little practise, he will soon learn to dislodge the bones and turn the tornado to access the rewards. nina’s range of durable interactive games have been designed to stimulate a brain whilst reinforcing his relationship with people. each design has a unique mechanism that requires mental as well as physical dexterity to work through the challenges and reveal hidden food rewards. they can be set to differing levels of complexity, to satisfy all ages and breeds of dog. hotdoll, love doll for dogs dogs are animals with enormous sexual appetites that be controlled easily. so this is in artificial way to stop dogs inborn character. the is a natural way (and actually a beneficial one for health) to control its sexual impulses. this love doll for dogs is shaped to be grabbed easily by the paws like grabbing female hips. designer: clement eloy. humunga dog toy the dog toy. on one side, a fun black ball for your dog to play with while on the flip side is a moustache (yes,). a holiday meal fit for a dog really, how cute is this? the set includes turkey, corn, baked potato, biscuit, and what appears to be broccoli, served on top of a frisbee. yes, a frisbee plate! grrrona mexican beer dog toy long summer days kicking back with a mexican beer and a slice of lime. summer bliss! your pooch will love this embroidered plush toy featuring a squeaker inside for added delight. doggie chill pill oh boy, you just feel sometimes like giving your dog a “chill pill”? well, now you can er figuratively. these chill pills plush and rope toys from crack me up.

tɔɪz ðət wi ˈrɪli dɪˈskraɪb! vɔɪs ə ɪmˈplɔɪi ˈpoʊzɪz wɪθ ðə vɔɪs, ə ˈgæʤət ðət ɪkˈsprɛsɪz dogs’*’ ˈɪˌmoʊʃənz, æt ðə ˈænjuəl ˈtoʊkiˌoʊ tɔɪ ʃoʊ 2009 kleɪmz ðə ˈgæʤət æˈnælɪˌsiz ə vɔɪs θru ə ˈwaɪrlɪs ˈmaɪkrəˌfoʊn əˈtæʧt tɪ ɪts ˈkɑlər ənd ðɛn dɪˈspleɪz ɪts ˈɪˌmoʊʃənz. maʊi flaʊərz dɔg bɪˈkini meɪk ə ˈsəmərˌtaɪm splæʃ wɪθ ðə maʊi flaʊərz dɔg bɪˈkini. jʊr dɔg wɪl nɑt bi ˈeɪbəl tɪ rɪˈzɪst ðɪs kjut ˈspændəks ˈbeɪðɪŋ sut. ˈkeɪˌnaɪn maʊi flaʊərz bɪˈkini ɪz fər ˈizi ˈmuvmənt wɪθ ə ˈkəmfi ənd ˈpræktɪkəl fɪt. dɔg ˌɪnərˈæktɪv tɔɪ baɪ ˈninə spinny’*’, həz ə ˈsɪŋgəl rɪˈmuvəbəl boʊn ðət həz tɪ bi dɪsˈlɑʤd baɪ ðə dɔg, hu kən ðɛn ˈroʊˌteɪt ðə tɔp ˈsɛkʃən tɪ ˈækˌsɛs trits ɪn ðə kəmˈpɑrtmənts bɪˈloʊ. baɪ ˈgræʤuəli rɪˈdusɪŋ ðə ˈnəmbər əv trits, ju kən ɪnˈkərəʤ ɪm tɪ wərk ˈhɑrdər. ˈninə reɪnʤ əv ˈdʊrəbəl ˌɪnərˈæktɪv geɪmz hæv bɪn dɪˈzaɪnd tɪ ˈstɪmjəˌleɪt ə breɪn waɪlst ˌriɪnˈfɔrsɪŋ hɪz riˈleɪʃənˌʃɪp wɪθ ˈpipəl. iʧ dɪˈzaɪn həz ə juˈnik ˈmɛkəˌnɪzəm ðət rikˈwaɪərz ˈmɛntəl ɛz wɛl ɛz ˈfɪzɪkəl dɛkˈstɛrɪti tɪ wərk θru ðə ˈʧælənʤɪz ənd rɪˈvil ˈhɪdən fud rɪˈwɔrdz. ðeɪ kən bi sɛt tɪ ˈdɪfərɪŋ ˈlɛvəlz əv kəmˈplɛksɪti, tɪ ˈsætɪsˌfaɪ ɔl ˈeɪʤɪz ənd bridz əv dɔg. zɪg ə zæg bɔl ðə zɪg ə zæg bɔl ɪz ə bɔl ðət gɪvz aʊərz əv ˈkreɪzi fən! ˈjuzɪŋ 1 eɪeɪ ˈbætəri wɪʧ ɪz səˈplaɪd wɪθ ðə tɔɪ ju kən tərn ðə bɔl ɔn ənd wɔʧ jʊr dɔg pleɪ fər aʊərz wɪθ ðə ˌənprɪˈdɪktəbəl ˈmuvmənts ðə bɔl meɪks. ðə tɔɪ ɪz meɪd frəm nɑn ˈtɑksɪk məˈtɪriəl ənd ˈmɛʒərz ɪn daɪˈæmətər. dɔg tɔrˈneɪˌdoʊ ˌɪnərˈæktɪv tɔɪ baɪ ˈninə ðə aɪˈdiə bɪˈhaɪnd ðə tornado’*’ ɪz fər ðə dɔg tɪ dɪsˈlɑʤ ðə boʊnz, ðɛn tərn ðə riˈvɑlvɪŋ ˈsɛkʃənz tɪ rɪˈvil ˈhɪdən trits. ðə tɔrˈneɪˌdoʊ həz ˈmɛni ˈvɛriəbəlz tɪ ˌɪnˈkris ðə ˈlɛvəl əv ˈdɪfɪˌkəlti ɛz ðə skɪl ˌɪmˈpruvz. wɪθ ə ˈlɪtəl ˈpræktɪs, hi wɪl sun lərn tɪ dɪsˈlɑʤ ðə boʊnz ənd tərn ðə tɔrˈneɪˌdoʊ tɪ ˈækˌsɛs ðə rɪˈwɔrdz. ˈninə reɪnʤ əv ˈdʊrəbəl ˌɪnərˈæktɪv geɪmz hæv bɪn dɪˈzaɪnd tɪ ˈstɪmjəˌleɪt ə breɪn waɪlst ˌriɪnˈfɔrsɪŋ hɪz riˈleɪʃənˌʃɪp wɪθ ˈpipəl. iʧ dɪˈzaɪn həz ə juˈnik ˈmɛkəˌnɪzəm ðət rikˈwaɪərz ˈmɛntəl ɛz wɛl ɛz ˈfɪzɪkəl dɛkˈstɛrɪti tɪ wərk θru ðə ˈʧælənʤɪz ənd rɪˈvil ˈhɪdən fud rɪˈwɔrdz. ðeɪ kən bi sɛt tɪ ˈdɪfərɪŋ ˈlɛvəlz əv kəmˈplɛksɪti, tɪ ˈsætɪsˌfaɪ ɔl ˈeɪʤɪz ənd bridz əv dɔg., ləv dɑl fər dɔgz dɔgz ər ˈænəməlz wɪθ ɪˈnɔrmɪs ˈsɛkʃuəl ˈæpəˌtaɪts ðət bi kənˈtroʊld ˈizəli. soʊ ðɪs ɪz ɪn ˌɑrtəˈfɪʃəl weɪ tɪ stɑp dɔgz ˈɪnˌbɔrn ˈkɛrɪktər. ðə ɪz ə ˈnæʧərəl weɪ (ənd ˈæˌkʧuəli ə ˌbɛnəˈfɪʃəl wən fər hɛlθ) tɪ kənˈtroʊl ɪts ˈsɛkʃuəl ˌɪmˈpəlsɪz. ðɪs ləv dɑl fər dɔgz ɪz ʃeɪpt tɪ bi græbd ˈizəli baɪ ðə pɔz laɪk ˈgræbɪŋ ˈfiˌmeɪl hɪps. dɪˈzaɪnər: ˈklɛmənt ˈilɔɪ. dɔg tɔɪ ðə dɔg tɔɪ. ɔn wən saɪd, ə fən blæk bɔl fər jʊr dɔg tɪ pleɪ wɪθ waɪl ɔn ðə flɪp saɪd ɪz ə ˈməˌstæʃ (jɛs,). ə ˈhɑlɪˌdeɪ mil fɪt fər ə dɔg ˈrɪli, haʊ kjut ɪz ðɪs? ðə sɛt ˌɪnˈkludz ˈtərki, kɔrn, beɪkt pəˈteɪˌtoʊ, ˈbɪskət, ənd wət əˈpɪrz tɪ bi ˈbrɑkəli, sərvd ɔn tɔp əv ə ˈfrɪsbi. jɛs, ə ˈfrɪsbi pleɪt! ˈmɛksəkən bɪr dɔg tɔɪ lɔŋ ˈsəmər deɪz ˈkɪkɪŋ bæk wɪθ ə ˈmɛksəkən bɪr ənd ə slaɪs əv laɪm. ˈsəmər blɪs! jʊr puʧ wɪl ləv ðɪs ɛmˈbrɔɪdərd pləʃ tɔɪ ˈfiʧərɪŋ ə skˈwikər ˌɪnˈsaɪd fər ˈædɪd dɪˈlaɪt. ˈdɔgi ʧɪl pɪl oʊ bɔɪ, ju ʤɪst fil ˈsəmˌtaɪmz laɪk ˈgɪvɪŋ jʊr dɔg ə pill”*”? wɛl, naʊ ju kən ər fɪˈgjʊrətɪvli. ðiz ʧɪl pɪlz pləʃ ənd roʊp tɔɪz frəm kræk mi əp.

the los angeles times published an interview with jesse eisenberg about his batman v superman: dawn of justice role, and it has some interesting new details. advertisement when asked about lex different hair styles in the movie, eisenberg replied “when you see the movie, see. the greatest scene that ever gotten to take part in it accounts for the change in hair.” that’s high praise! eisenberg also revealed that fans will see lex in batman v superman: dawn of justice. “the character has a core of reality,” eisenberg explained. “[luthor] has a back story tragic and an emotional inner life authentic. in the movie. it was my interest in playing the character with a real emotional core, and this writer, chris interest in creating a character that seemed viable in reality.” zack snyder told the los angeles times that he originally offered eisenberg a different role (he say which), and eisenberg declined. he then went back to eisenberg with the lex offer, which he obviously accepted. “i feel like once [eisenberg] found out who lex was he embraced it,” snyder said. “once you kind of start digging into lex, a bit of a scary thing to be that guy. i think he just goes ‘oh, just be that guy and then when i go home not him.’ i think the thing with jessie is he immune to the reality of playing a character.” source: the los angeles times

ðə lɔs ˈænʤəlɪs taɪmz ˈpəblɪʃt ən ˈɪntərvˌju wɪθ ˈʤɛsi ˈaɪzənbərg əˈbaʊt hɪz ˈbætˌmæn vi ˈsupərˌmæn: dɔn əv ˈʤəstɪs roʊl, ənd ɪt həz səm ˈɪntəˌrɛstɪŋ nu ˈditeɪlz. ˌædvərˈtaɪzmənt wɪn æst əˈbaʊt lɛks ˈdɪfərənt hɛr staɪlz ɪn ðə ˈmuvi, ˈaɪzənbərg rɪˈplaɪd ju si ðə ˈmuvi, si. ðə ˈgreɪtəst sin ðət ˈɛvər ˈgɔtən tɪ teɪk pɑrt ɪn ɪt əˈkaʊnts fər ðə ʧeɪnʤ ɪn hair.”*.” haɪ preɪz! ˈaɪzənbərg ˈɔlsoʊ rɪˈvild ðət fænz wɪl si lɛks ɪn ˈbætˌmæn vi ˈsupərˌmæn: dɔn əv ˈʤəstɪs. ˈkɛrɪktər həz ə kɔr əv reality,”*,” ˈaɪzənbərg ɪkˈspleɪnd. “[“[luthor*] həz ə bæk ˈstɔri ˈtræʤɪk ənd ən ˈiˌmoʊʃənəl ˈɪnər laɪf əˈθɛnɪk. ɪn ðə ˈmuvi. ɪt wɑz maɪ ˈɪntəˌrɛst ɪn pleɪɪŋ ðə ˈkɛrɪktər wɪθ ə ril ˈiˌmoʊʃənəl kɔr, ənd ðɪs ˈraɪtər, krɪs ˈɪntəˌrɛst ɪn kriˈeɪtɪŋ ə ˈkɛrɪktər ðət simd ˈvaɪəbəl ɪn reality.”*.” zæk sˈnaɪdər toʊld ðə lɔs ˈænʤəlɪs taɪmz ðət hi ərˈɪʤənəli ˈɔfərd ˈaɪzənbərg ə ˈdɪfərənt roʊl (hi seɪ wɪʧ), ənd ˈaɪzənbərg dɪˈklaɪnd. hi ðɛn wɛnt bæk tɪ ˈaɪzənbərg wɪθ ðə lɛks ˈɔfər, wɪʧ hi ˈɑbviəsli ækˈsɛptɪd. fil laɪk wəns [ˈaɪzənbərg] faʊnd aʊt hu lɛks wɑz hi ɛmˈbreɪst it,”*,” sˈnaɪdər sɛd. ju kaɪnd əv stɑrt ˈdɪgɪŋ ˈɪntu lɛks, ə bɪt əv ə ˈskɛri θɪŋ tɪ bi ðət gaɪ. aɪ θɪŋk hi ʤɪst goʊz ‘‘oh*, ʤɪst bi ðət gaɪ ənd ðɛn wɪn aɪ goʊ hoʊm nɑt him.’*.’ aɪ θɪŋk ðə θɪŋ wɪθ ˈʤɛsi ɪz hi ˌɪmˈjun tɪ ðə ˌriˈæləˌti əv pleɪɪŋ ə character.”*.” sɔrs: ðə lɔs ˈænʤəlɪs taɪmz

leicester were twice denied by the woodwork as well as by saves from ben foster leicester missed the chance to go five points clear at the top of the premier league as west brom came from behind to claim a thrilling draw. salomon rondon shrugged off robert huth to give west brom the lead, but a danny drinkwater deflected shot levelled it. andy king finished a wonderful move to put leicester ahead only for craig gardner to with a free-kick. leicester twice hit the bar at a raucous king poweradium, but could not find a winner. the draw leaves the foxes three points ahead of tottenham, who can go top with victory at west ham on wednesday, and six ahead of arsenal, who face swansea. west brom, who have now lost only two of their past 10 league games,ay - 12 points clear of the zone. relive thrilling draw with west brom no more late drama media playback is not supported on this device no negatives despite a draw - ranieri leicester were below their best on saturday butill managed to beat norwich thanks to a late winner - here they were much improved, but could not conjure similar drama despite laying siege to the west brom goal. west brom may have planned to concede possession and defend deep, and they were duly bombarded by wave after wave of leicester attacks, mainly down the flanks through the excellent pair of riyad and marc. on saturday, the foxes had 13 attempts on goal - here they had 22, with headers from jamie and okazaki hitting the woodwork. ben foster also saved well from jeffrey and wes morgan, while leonardo ulloa could not repeat his weekend heroics when the ball flashed across the face of goal in the very last minute. baggies forced out of their shell eight of west 11 attempts on goal came in the second half west brom could have been forgiven for thinking that allowing leicester the lion's share of possession was a sound approach. against norwich, leicester had the majority of the ball for only the third time this season andruggled. whether by design or necessity, the were happy to sit back in the first period, especially after rondon got on the end of darren through ball to put the visitors ahead. however, even with nine red shirts behind the ball, leicesterill found a way to lead, meaning west brom had to make more of the play in the second half. it worked to their advantage as, after needlessly handballed, gardner curled in a sublime free-kick. rondon could even have won it but somehow turned over from inside the box, and the ultimately needed some fortune to hang on at the end of a breathless night. king of the king power king (10) finished from's wonderful following a ball from king was making only his seventh leagueart of the season, in the side for the injured kante. the welsh is the only member of the foxes squad remaining from their time in the third tier seven years ago and has winners' medals from both league one and the championship. here he looked to have taken aride towards adding a premier league medal when he met's athletic to finish sharply past foster. but in the end the odds on king completing an unlikely lengthened - and leicester could be back to second in the table as early as wednesday night. man of the match marc was a constant threat down the leicester left before being substituted what they said leicester manager claudio ranieri: "i am very pleased with our performance. they played so well - there was no panic after the first goal. we played much better than against norwich. i am satisfied with the performance. just sometimes you can do everything but the ball doesn't want to go in. "i want to create a lot of chances and sooner or later we score. tonight wasn't the right moment but we are alive and we fight to the end. everybody is ready to fight, to play well, to create chances. only the victory was missing. "we tried to do everything and well done to my players. we never never give up. we always try the best in every situation. every team plays football and we have to find the solution and try to win. it is important not to lose the match too as they could have counter-attacked." media playback is not supported on this device happy with' form west brom manager tony: "leicester are a good side. they ask questions of you. "it's another point on the way for us. it's important for us to get to 40 points and we are happy with the way things are going. we need the hunger and desire to get to 40 points. we should have kept the ball better tonight. i'm really pleased with the players though. "i'd love to see leicester win the title." theats leicester are the first premier league team this season to score 50+ goals in the competition. two of three goals from outside the area this season have been scored by danny drinkwater. leicester's record as the only premier league side not to concede at home in 2016 ended. riyad has had a part in a 25 premier league goals this season (14 goals, 11 assists). salomon rondon has scored in three of his past five premier league games, having failed to score in his previous nine in the competition. andy king is the fourth to score on david's day in premier league history (also pembridge, saunders and collison). craig gardner has had a role in three of the' last five premier league goals (scored two, assisted one). gardner has also scored in premier league games for the first time since last april (also v palace and leicester). what's next? leicester travel to watford on saturday, while west brom welcome manchester united on sunday.

ˈlɛstər wər twaɪs dɪˈnaɪd baɪ ðə ˈwʊdˌwərk ɛz wɛl ɛz baɪ seɪvz frəm bɛn ˈfɑstər ˈlɛstər mɪst ðə ʧæns tɪ goʊ faɪv pɔɪnts klɪr æt ðə tɔp əv ðə prɛˈmɪr lig ɛz wɛst brɑm keɪm frəm bɪˈhaɪnd tɪ kleɪm ə θˈrɪlɪŋ drɔ. ˈsæləmən ˈrɑndən ʃrəgd ɔf ˈrɑbərt huθ tɪ gɪv wɛst brɑm ðə lɛd, bət ə ˈdæni ˈdrɪŋkˌwɔtər dɪˈflɛktɪd ʃɑt ˈlɛvəld ɪt. ˈændi kɪŋ ˈfɪnɪʃt ə ˈwəndərfəl muv tɪ pʊt ˈlɛstər əˈhɛd ˈoʊnli fər kreɪg ˈgɑrdnər tɪ wɪθ ə free-kick*. ˈlɛstər twaɪs hɪt ðə bɑr æt ə ˈrɔkəs kɪŋ paʊər ˈsteɪdiəm, bət kʊd nɑt faɪnd ə ˈwɪnər. ðə drɔ livz ðə ˈfɑksəz θri pɔɪnts əˈhɛd əv ˈtɑtənˌhæm, hu kən goʊ tɔp wɪθ ˈvɪktəri æt wɛst hæm ɔn ˈwɛnzˌdeɪ, ənd sɪks əˈhɛd əv ˈɑrsənəl, hu feɪs swansea*. wɛst brɑm, hu hæv naʊ lɔst ˈoʊnli tu əv ðɛr pæst 10 lig geɪmz, steɪ 12 pɔɪnts klɪr əv ðə zoʊn. riˈlɪv θˈrɪlɪŋ drɔ wɪθ wɛst brɑm noʊ mɔr leɪt ˈdrɑmə ˈmidiə ˈpleɪˌbæk ɪz nɑt səˈpɔrtɪd ɔn ðɪs dɪˈvaɪs noʊ ˈnɛgətɪvz dɪˈspaɪt ə drɔ ˌræniˈɛri ˈlɛstər wər bɪˈloʊ ðɛr bɛst ɔn ˈsæˌtɪˌdeɪ bət stɪl ˈmænɪʤd tɪ bit ˈnɔrwɪʧ θæŋks tɪ ə leɪt ˈwɪnər hir ðeɪ wər məʧ ˌɪmˈpruvd, bət kʊd nɑt ˈkɑnʤər ˈsɪmələr ˈdrɑmə dɪˈspaɪt leɪɪŋ siʤ tɪ ðə wɛst brɑm goʊl. wɛst brɑm meɪ hæv plænd tɪ kənˈsid pəˈzɛʃən ənd dɪˈfɛnd dip, ənd ðeɪ wər ˈduli bɑmˈbɑrdɪd baɪ weɪv ˈæftər weɪv əv ˈlɛstər əˈtæks, ˈmeɪnli daʊn ðə flæŋks θru ðə ˈɛksələnt pɛr əv riɑd ənd mɑrk. ɔn ˈsæˌtɪˌdeɪ, ðə ˈfɑksəz hæd 13 əˈtɛmpts ɔn goʊl hir ðeɪ hæd 22 wɪθ ˈhɛdərz frəm ˈʤeɪmi ənd oʊkɑˈzɑki ˈhɪtɪŋ ðə ˈwʊdˌwərk. bɛn ˈfɑstər ˈɔlsoʊ seɪvd wɛl frəm ˈʤɛfri ənd wɛs ˈmɔrgən, waɪl ˌliəˈnɑrdoʊ uˈloʊə kʊd nɑt rɪˈpit hɪz ˈwiˌkɪnd hɪˈroʊɪks wɪn ðə bɔl flæʃt əˈkrɔs ðə feɪs əv goʊl ɪn ðə ˈvɛri læst ˈmɪnət. fɔrst aʊt əv ðɛr ʃɛl eɪt əv wɛst 11 əˈtɛmpts ɔn goʊl keɪm ɪn ðə ˈsɛkənd hæf wɛst brɑm kʊd hæv bɪn fərˈgɪvən fər ˈθɪŋkɪŋ ðət əˈlaʊɪŋ ˈlɛstər ðə laɪənz ʃɛr əv pəˈzɛʃən wɑz ə saʊnd əˈproʊʧ. əˈgɛnst ˈnɔrwɪʧ, ˈlɛstər hæd ðə məˈʤɔrəti əv ðə bɔl fər ˈoʊnli ðə θərd taɪm ðɪs ˈsizən ənd ˈstrəgəld. ˈwɛðər baɪ dɪˈzaɪn ər nəˈsɛsɪti, ðə wər ˈhæpi tɪ sɪt bæk ɪn ðə fərst ˈpɪriəd, əˈspɛʃəli ˈæftər ˈrɑndən gɑt ɔn ðə ɛnd əv ˈdɑrən θru bɔl tɪ pʊt ðə ˈvɪzɪtərz əˈhɛd. ˌhaʊˈɛvər, ˈivɪn wɪθ naɪn rɛd ʃərts bɪˈhaɪnd ðə bɔl, ˈlɛstər stɪl faʊnd ə weɪ tɪ lɛd, ˈminɪŋ wɛst brɑm hæd tɪ meɪk mɔr əv ðə pleɪ ɪn ðə ˈsɛkənd hæf. ɪt wərkt tɪ ðɛr ædˈvæntɪʤ ɛz, ˈæftər ˈnidləsli handballed*, ˈgɑrdnər kərld ɪn ə səˈblaɪm free-kick*. ˈrɑndən kʊd ˈivɪn hæv wən ɪt bət ˈsəmˌhaʊ tərnd ˈoʊvər frəm ˌɪnˈsaɪd ðə bɑks, ənd ðə ˈəltəmətli ˈnidɪd səm ˈfɔrʧən tɪ hæŋ ɔn æt ðə ɛnd əv ə ˈbrɛθləs naɪt. kɪŋ əv ðə kɪŋ paʊər kɪŋ 10 ˈfɪnɪʃt frəm ˈwəndərfəl ˈfɑloʊɪŋ ə bɔl frəm kɪŋ wɑz ˈmeɪkɪŋ ˈoʊnli hɪz ˈsɛvənθ lig stɑrt əv ðə ˈsizən, ɪn ðə saɪd fər ðə ˈɪnʤərd kante*. ðə wɛlʧ ɪz ðə ˈoʊnli ˈmɛmbər əv ðə ˈfɑksəz skwɑd rɪˈmeɪnɪŋ frəm ðɛr taɪm ɪn ðə θərd tir ˈsɛvən jɪrz əˈgoʊ ənd həz ˈwɪnərz' ˈmɛdəlz frəm boʊθ lig wən ənd ðə ˈʧæmpiənˌʃɪp. hir hi lʊkt tɪ hæv ˈteɪkən ə straɪd təˈwɔrdz ˈædɪŋ ə prɛˈmɪr lig ˈmɛdəl wɪn hi mɛt æθˈlɛtɪk tɪ ˈfɪnɪʃ ˈʃɑrpli pæst ˈfɑstər. bət ɪn ðə ɛnd ðə ɑdz ɔn kɪŋ kəmˈplitɪŋ ən ənˈlaɪkli ˈlɛŋθənd ənd ˈlɛstər kʊd bi bæk tɪ ˈsɛkənd ɪn ðə ˈteɪbəl ɛz ˈərli ɛz ˈwɛnzˌdeɪ naɪt. mæn əv ðə mæʧ mɑrk wɑz ə ˈkɑnstənt θrɛt daʊn ðə ˈlɛstər lɛft ˌbiˈfɔr biɪŋ ˈsəbstəˌtutəd wət ðeɪ sɛd ˈlɛstər ˈmænɪʤər ˈklɔdiˌoʊ ˌræniˈɛri: "aɪ æm ˈvɛri plizd wɪθ ɑr pərˈfɔrməns. ðeɪ pleɪd soʊ wɛl ðɛr wɑz noʊ ˈpænɪk ˈæftər ðə fərst goʊl. wi pleɪd məʧ ˈbɛtər ðən əˈgɛnst ˈnɔrwɪʧ. aɪ æm ˈsætɪsˌfaɪd wɪθ ðə pərˈfɔrməns. ʤɪst ˈsəmˌtaɪmz ju kən du ˈɛvriˌθɪŋ bət ðə bɔl ˈdəzənt wɔnt tɪ goʊ ɪn. "aɪ wɔnt tɪ kriˈeɪt ə lɔt əv ˈʧænsɪz ənd ˈsunər ər ˈleɪtər wi skɔr. təˈnaɪt ˈwəzənt ðə raɪt ˈmoʊmənt bət wi ər əˈlaɪv ənd wi faɪt tɪ ðə ɛnd. ˈɛvriˌbɑdi ɪz ˈrɛdi tɪ faɪt, tɪ pleɪ wɛl, tɪ kriˈeɪt ˈʧænsɪz. ˈoʊnli ðə ˈvɪktəri wɑz ˈmɪsɪŋ. "wi traɪd tɪ du ˈɛvriˌθɪŋ ənd wɛl dən tɪ maɪ pleɪərz. wi ˈnɛvər ˈnɛvər gɪv əp. wi ˈɔlˌweɪz traɪ ðə bɛst ɪn ˈɛvəri ˌsɪʧuˈeɪʃən. ˈɛvəri tim pleɪz ˈfʊtˌbɔl ənd wi hæv tɪ faɪnd ðə səˈluʃən ənd traɪ tɪ wɪn. ɪt ɪz ˌɪmˈpɔrtənt nɑt tɪ luz ðə mæʧ tu ɛz ðeɪ kʊd hæv counter-attacked*." ˈmidiə ˈpleɪˌbæk ɪz nɑt səˈpɔrtɪd ɔn ðɪs dɪˈvaɪs ˈhæpi wɪθ' fɔrm wɛst brɑm ˈmænɪʤər ˈtoʊni: "ˈlɛstər ər ə gʊd saɪd. ðeɪ æsk kˈwɛsʧənz əv ju. "ɪts əˈnəðər pɔɪnt ɔn ðə weɪ fər ˈjuˈɛs. ɪts ˌɪmˈpɔrtənt fər ˈjuˈɛs tɪ gɪt tɪ 40 pɔɪnts ənd wi ər ˈhæpi wɪθ ðə weɪ θɪŋz ər goʊɪŋ. wi nid ðə ˈhəŋgər ənd dɪˈzaɪər tɪ gɪt tɪ 40 pɔɪnts. wi ʃʊd hæv kɛpt ðə bɔl ˈbɛtər təˈnaɪt. əm ˈrɪli plizd wɪθ ðə pleɪərz ðoʊ. "aɪd ləv tɪ si ˈlɛstər wɪn ðə ˈtaɪtəl." ðə stæts ˈlɛstər ər ðə fərst prɛˈmɪr lig tim ðɪs ˈsizən tɪ skɔr 50 goʊlz ɪn ðə ˌkɑmpəˈtɪʃən. tu əv θri goʊlz frəm ˈaʊtˈsaɪd ðə ˈɛriə ðɪs ˈsizən hæv bɪn skɔrd baɪ ˈdæni ˈdrɪŋkˌwɔtər. ˈrɛkərd ɛz ðə ˈoʊnli prɛˈmɪr lig saɪd nɑt tɪ kənˈsid æt hoʊm ɪn 2016 ˈɛndɪd. riɑd həz hæd ə pɑrt ɪn ə 25 prɛˈmɪr lig goʊlz ðɪs ˈsizən 14 goʊlz, 11 əˈsɪsts). ˈsæləmən ˈrɑndən həz skɔrd ɪn θri əv hɪz pæst faɪv prɛˈmɪr lig geɪmz, ˈhævɪŋ feɪld tɪ skɔr ɪn hɪz ˈpriviəs naɪn ɪn ðə ˌkɑmpəˈtɪʃən. ˈændi kɪŋ ɪz ðə fɔrθ tɪ skɔr ɔn ˈdeɪvɪdz deɪ ɪn prɛˈmɪr lig ˈhɪstəri (ˈɔlsoʊ ˈpɛmˌbrɪʤ, ˈsɔndərz ənd ˈkɑlɪsən). kreɪg ˈgɑrdnər həz hæd ə roʊl ɪn θri əv ðə' læst faɪv prɛˈmɪr lig goʊlz (skɔrd tu, əˈsɪstɪd wən). ˈgɑrdnər həz ˈɔlsoʊ skɔrd ɪn prɛˈmɪr lig geɪmz fər ðə fərst taɪm sɪns læst ˈeɪprəl (ˈɔlsoʊ vi ˈpæləs ənd ˈlɛstər). wəts nɛkst? ˈlɛstər ˈtrævəl tɪ ˈwɔtfərd ɔn ˈsæˌtɪˌdeɪ, waɪl wɛst brɑm ˈwɛlkəm ˈmænˌʧɛstər juˈnaɪtɪd ɔn ˈsənˌdi.

cocorosie / venue, vancouver bc, october 24 photo: alan ranta published oct 25, 2013 9 surrealism was in the air as the faithful came out in force, as renaissance fair ladies in frilly dresses that looked like they walked out of the liner notes filled venue to skeletons and mummies hanging from the ceiling to light the halloween spirit, and a stretched across the stage, los angeles rapper regan farquhar (a.k.a.) warmed the crowd up with a solo set. he tweaked beats ranging from hard house to symphonic glitch over which he laid his signature cerebral flows, delivered at a breakneck pace that could rival busta rhymes in his prime. while obviously talented, farquhar seemed almost schizophrenic, alternately dazzling and as he attempted to engage the distracted crowd with and beckons to the crowd for the theatrics, sisters bianca and sierra casady, along with nakamura and ace, took the stage wearing muumuus, the first of many costumes they'd move through. sierra would rock lingerie, an apron, and a sequin geometric tutu, while bianca put on a twin rivers t-shirt from the, a top hat, overalls, a "pride" baseball hat, and bottom jogging pants, with both later donning the tribal masks from their "we are on fire" performance went far beyond costumes, though: nakamura played a nord keyboard, upright piano, and trumpet, among other things; sierra spent time between harp, piano, and vocal processors; and bianca laid down bass lines on a and performed various wind instruments. was the only musician who didn't change instruments between every felt live and fresh. for all the dense soundscapes, they sprinkled in stunning minimal moments like when bianca sang the majority of "harmless monster" from their recent just a piano accompaniment, or when nailed an solo exhibition mid-set, including his take on theatricality was something else. they played with the, or at least got caught up in it a couple times, and used a white vanity set to stage broadway moments, fanning themselves there before an early costume change or makeup. with her creepy, childlike voice and hip-hop style, bianca was reminiscent of beth gibbons, but sierra earned of this show; her opera training at the de paris shined through, with her shimmering soprano, and hooks like "welcome to the afterlife" and "this is the end of time" with all the drama of a disney the end of their set, during a take on "god has a voice, she speaks through me," sierra put on a silver that slipped down and became tangled. abandoning the third verse, she turned away from the crowd and ripped it off, taking a large chunk of her hair with it. while bianca momentarily looked at her with concern, sierra ditched the clump of jewelry and tresses and returned to the mic, powering through to sing the rest of the track like nothing the biggest crowd response arguably went to their laden "smokey taboo" from 2010's, came back for an incendiary verse on their upbeat take on "k-hole" from, which brought their set to a natural crescendo.

cocorosie* ˈvɛnju, vænˈkuvər bc*, ɑkˈtoʊbər 24 ˈfoʊˌtoʊ: ˈælən ˈræntə ˈpəblɪʃt ɔkt 25 2013 9 sərˈiəˌlɪzəm wɑz ɪn ðə ɛr ɛz ðə ˈfeɪθfəl keɪm aʊt ɪn fɔrs, ɛz ˌrɛnəˈsɑns fɛr ˈleɪdiz ɪn ˈfrɪli ˈdrɛsɪz ðət lʊkt laɪk ðeɪ wɔkt aʊt əv ðə ˈlaɪnər noʊts fɪld ˈvɛnju tɪ ˈskɛlətənz ənd ˈməmiz ˈhæŋɪŋ frəm ðə ˈsilɪŋ tɪ laɪt ðə ˌhæləˈwin ˈspɪrɪt, ənd ə strɛʧt əˈkrɔs ðə steɪʤ, lɔs ˈænʤəlɪs ˈræpər ˈrigən ˈfɑrkwər (a.k.a*.) wɔrmd ðə kraʊd əp wɪθ ə ˈsoʊˌloʊ sɛt. hi twikt bits ˈreɪnʤɪŋ frəm hɑrd haʊs tɪ sɪmˈfɑnɪk glɪʧ ˈoʊvər wɪʧ hi leɪd hɪz ˈsɪgnəʧər ˈsɛrəbrəl floʊz, dɪˈlɪvərd æt ə ˈbreɪkˌnɛk peɪs ðət kʊd ˈraɪvəl ˈbəstə raɪmz ɪn hɪz praɪm. waɪl ˈɑbviəsli ˈtæləntɪd, ˈfɑrkwər simd ˈɔlˌmoʊst ˌʃɪzəˈfrɛnɪk, ˈɔltərnətli ˈdæzəlɪŋ ənd ɛz hi əˈtɛmptəd tɪ ɪnˈgeɪʤ ðə dɪˈstræktɪd kraʊd wɪθ ənd ˈbɛkənz tɪ ðə kraʊd fər ðə ˈθitrɪks, ˈsɪstərz biˈɑŋkə ənd siˈɛrə kəˈsɑˌdi, əˈlɔŋ wɪθ nɑkɑˈmʊrə ənd eɪs, tʊk ðə steɪʤ ˈwɛrɪŋ muumuus*, ðə fərst əv ˈmɛni ˈkɑstumz ðeɪd muv θru. siˈɛrə wʊd rɑk ˈlɑnʒərˌeɪ, ən ˈeɪprən, ənd ə ˈsikwɪn ˌʤiəˈmɛtrɪk ˈtuˌtu, waɪl biˈɑŋkə pʊt ɔn ə twɪn ˈrɪvərz ˈtiˌsərt frəm ðə, ə tɔp hæt, ˈoʊvərˌɔlz, ə "praɪd" ˈbeɪsˈbɔl hæt, ənd ˈbɑtəm ˈʤɔgɪŋ pænts, wɪθ boʊθ ˈleɪtər ˈdɑnɪŋ ðə ˈtraɪbəl mæsks frəm ðɛr "wi ər ɔn faɪər" pərˈfɔrməns wɛnt fɑr bɪɔnd ˈkɑstumz, ðoʊ: nɑkɑˈmʊrə pleɪd ə nɔrd ˈkiˌbɔrd, ˈəˌpraɪt piˈænə, ənd ˈtrəmpət, əˈməŋ ˈəðər θɪŋz; siˈɛrə spɛnt taɪm bɪtˈwin hɑrp, piˈænə, ənd ˈvoʊkəl ˈprɑˌsɛsərz; ənd biˈɑŋkə leɪd daʊn bæs laɪnz ɔn ə ənd pərˈfɔrmd ˈvɛriəs wɪnd ˈɪnstrəmənts. wɑz ðə ˈoʊnli mjuˈzɪʃən hu ˈdɪdənt ʧeɪnʤ ˈɪnstrəmənts bɪtˈwin ˈɛvəri fɛlt lɪv ənd frɛʃ. fər ɔl ðə dɛns soundscapes*, ðeɪ ˈsprɪŋkəld ɪn ˈstənɪŋ ˈmɪnəməl ˈmoʊmənts laɪk wɪn biˈɑŋkə sæŋ ðə məˈʤɔrəti əv "ˈhɑrmləs ˈmɑnstər" frəm ðɛr ˈrisənt ʤɪst ə piˈænə əˈkəmpnɪmənt, ər wɪn neɪld ən ˈsoʊˌloʊ ˌɛksəˈbɪʃən mid-set*, ˌɪnˈkludɪŋ hɪz teɪk ɔn θiˌætrəˈkæləˌti wɑz ˈsəmθɪŋ ɛls. ðeɪ pleɪd wɪθ ðə, ər æt list gɑt kɔt əp ɪn ɪt ə ˈkəpəl taɪmz, ənd juzd ə waɪt ˈvænɪti sɛt tɪ steɪʤ ˈbrɔdˌweɪ ˈmoʊmənts, ˈfænɪŋ ðɛmˈsɛlvz ðɛr ˌbiˈfɔr ən ˈərli ˈkɑstum ʧeɪnʤ ər ˈmeɪˌkəp. wɪθ hər ˈkripi, ˈʧaɪlˌdlaɪk vɔɪs ənd ˈhɪˌphɔp staɪl, biˈɑŋkə wɑz ˌrɛməˈnɪsənt əv bɛθ ˈgɪbɪnz, bət siˈɛrə ərnd əv ðɪs ʃoʊ; hər ˈɑprə ˈtreɪnɪŋ æt ðə də ˈpɛrɪs ʃaɪnd θru, wɪθ hər ˈʃɪmərɪŋ səˈprɑnoʊ, ənd hʊks laɪk "ˈwɛlkəm tɪ ðə ˈæftərˌlaɪf" ənd "ðɪs ɪz ðə ɛnd əv taɪm" wɪθ ɔl ðə ˈdrɑmə əv ə ˈdɪzni ðə ɛnd əv ðɛr sɛt, ˈdʊrɪŋ ə teɪk ɔn "gɑd həz ə vɔɪs, ʃi spiks θru mi," siˈɛrə pʊt ɔn ə ˈsɪlvər ðət slɪpt daʊn ənd bɪˈkeɪm ˈtæŋgəld. əˈbændənɪŋ ðə θərd vərs, ʃi tərnd əˈweɪ frəm ðə kraʊd ənd rɪpt ɪt ɔf, ˈteɪkɪŋ ə lɑrʤ ʧəŋk əv hər hɛr wɪθ ɪt. waɪl biˈɑŋkə ˌmoʊmənˈtɛrəli lʊkt æt hər wɪθ kənˈsərn, siˈɛrə dɪʧt ðə kləmp əv ˈʤuəlri ənd ˈtrɛsɪz ənd rɪˈtərnd tɪ ðə mɪk, paʊərɪŋ θru tɪ sɪŋ ðə rɛst əv ðə træk laɪk ˈnəθɪŋ ðə ˈbɪgəst kraʊd rɪˈspɑns ˈɑrgjuəbli wɛnt tɪ ðɛr ˈleɪdən "sˈmoʊki tæˈbu" frəm 2010's*, keɪm bæk fər ən ˌɪnˈsɛndiɛri vərs ɔn ðɛr ˈəpˌbit teɪk ɔn "k-hole*" frəm, wɪʧ brɔt ðɛr sɛt tɪ ə ˈnæʧərəl krɪˈʃɛndoʊ.

thousand oaks, calif. -- robert quinn crept toward the line of scrimmage with just over nine minutes remaining in sunday's second quarter. he burst around indianapolis colts left tackle anthony at the snap, then picked himself up off the ground and wrapped his arms around the upper body of quarterback scott for his first sack of the year. two plays later, with the los angeles rams in a nickel package on third and long, quinn operated out of a stance and did the very same thing -- he got around, went after, then quickly shifted his focus to robert turbin after a quick pitch, sending the colts' running back to the ground almost immediately after he caught the football. in a span of three plays, quinn was personally responsible for a loss of 11 yards. "that was just the official knock the rust off," quinn said, smiling. "it's just fun to make a couple plays." in defensive coordinator wade phillips' base set, robert quinn has from defensive end to outside linebacker, where he will sometimes drop into coverage but mostly rush the passer. sean m. images if he can remain healthy, quinn should make a whole lot more plays in wade phillips' system. phillips' base set required quinn to transition from defensive end to outside linebacker, where he will take on a role similar to the one demarcus ware played in dallas and in denver, occasionally dropping back in coverage but predominantly going after the quarterback. ware announced his retirement with an post that highlighted his accomplishments on his jersey. that post is now laminated and taped to quinn's locker for motivation, as are the career statistics for some of the other great defensive ends and outside linebackers throughout nfl history. the rams have been very careful with quinn, who amassed 40 sacks from but made only 15 starts from. he didn't play in any preseason games and was held out of several practices while under what head coach sean mcvay continually referred to as a "maintenance program." but quinn made most of his adjustment to outside linebacker during the program and said in the days leading up to the opener that he is "pretty comfortable with where i'm at." the rams played quinn in only 50 percent of the defensive snaps in their rout of the colts, but he made his presence felt nonetheless. "he's certainly a rusher that you have to account for," said mcvay, who will probably give quinn more snaps as the weeks go by. "he's got a great get-off; love the effort and intensity he plays with. he's one of the guys that i've always had a lot of respect for, just coaching against him in years past. when no. 94 is right, you feel him. he is an elite rusher and he certainly looked like that guy [on sunday]."

ˈθaʊzənd oʊks, ˈkælɪf. ˈrɑbərt kwɪn krɛpt təˈwɔrd ðə laɪn əv ˈskrɪmɪʤ wɪθ ʤɪst ˈoʊvər naɪn ˈmɪnəts rɪˈmeɪnɪŋ ɪn ˈsənˌdiz ˈsɛkənd kˈwɔrtər. hi bərst əraʊnd ˌɪndiəˈnæpəlɪs koʊlts lɛft ˈtækəl ˈænθɔˌni æt ðə snæp, ðɛn pɪkt hɪmˈsɛlf əp ɔf ðə graʊnd ənd ræpt hɪz ɑrmz əraʊnd ðə ˈəpər ˈbɑdi əv kˈwɔrtərˌbæk skɑt fər hɪz fərst sæk əv ðə jɪr. tu pleɪz ˈleɪtər, wɪθ ðə lɔs ˈænʤəlɪs ræmz ɪn ə ˈnɪkəl ˈpækɪʤ ɔn θərd ənd lɔŋ, kwɪn ˈɑpərˌeɪtəd aʊt əv ə stæns ənd dɪd ðə ˈvɛri seɪm θɪŋ hi gɑt əraʊnd, wɛnt ˈæftər, ðɛn kˈwɪkli ˈʃɪftɪd hɪz ˈfoʊkɪs tɪ ˈrɑbərt ˈtərbɪn ˈæftər ə kwɪk pɪʧ, ˈsɛndɪŋ ðə koʊlts' ˈrənɪŋ bæk tɪ ðə graʊnd ˈɔlˌmoʊst ˌɪˈmiˌdiətli ˈæftər hi kɔt ðə ˈfʊtˌbɔl. ɪn ə spæn əv θri pleɪz, kwɪn wɑz ˈpərsənəli riˈspɑnsəbəl fər ə lɔs əv 11 jɑrdz. "ðət wɑz ʤɪst ðə əˈfɪʃəl nɑk ðə rəst ɔf," kwɪn sɛd, sˈmaɪlɪŋ. "ɪts ʤɪst fən tɪ meɪk ə ˈkəpəl pleɪz." ɪn dɪˈfɛnsɪv koʊˈɔrdəˌneɪtər weɪd ˈfɪlɪps' beɪs sɛt, ˈrɑbərt kwɪn həz frəm dɪˈfɛnsɪv ɛnd tɪ ˈaʊtˈsaɪd ˈlaɪnˌbækər, wɛr hi wɪl ˈsəmˌtaɪmz drɔp ˈɪntu ˈkəvərɪʤ bət ˈmoʊstli rəʃ ðə ˈpæsər. ʃɔn ɛm. ˈɪmɪʤɪz ɪf hi kən rɪˈmeɪn ˈhɛlθi, kwɪn ʃʊd meɪk ə hoʊl lɔt mɔr pleɪz ɪn weɪd ˈfɪlɪps' ˈsɪstəm. ˈfɪlɪps' beɪs sɛt rikˈwaɪərd kwɪn tɪ trænˈzɪʃən frəm dɪˈfɛnsɪv ɛnd tɪ ˈaʊtˈsaɪd ˈlaɪnˌbækər, wɛr hi wɪl teɪk ɔn ə roʊl ˈsɪmələr tɪ ðə wən ˈdɛmɑrkɪs wɛr pleɪd ɪn ˈdæləs ənd ɪn ˈdɛnvər, ɔˈkeɪʒənəˌli ˈdrɑpɪŋ bæk ɪn ˈkəvərɪʤ bət ˌprɪˈdɑmənənˌtli goʊɪŋ ˈæftər ðə kˈwɔrtərˌbæk. wɛr əˈnaʊnst hɪz rɪˈtaɪərmənt wɪθ ən poʊst ðət ˈhaɪˌlaɪtɪd hɪz əˈkɑmplɪʃmənts ɔn hɪz ˈʤərzi. ðət poʊst ɪz naʊ ˈlæməˌneɪtəd ənd teɪpt tɪ kwɪnz ˈlɑkər fər ˌmoʊtəˈveɪʃən, ɛz ər ðə kərɪr stəˈtɪstɪks fər səm əv ðə ˈəðər greɪt dɪˈfɛnsɪv ɛndz ənd ˈaʊtˈsaɪd ˈlaɪnˌbækərz θruaʊt ˈɛˌnɛˈfɛl ˈhɪstəri. ðə ræmz hæv bɪn ˈvɛri ˈkɛrfəl wɪθ kwɪn, hu əˈmæst 40 sæks frəm bət meɪd ˈoʊnli 15 stɑrts frəm hi ˈdɪdənt pleɪ ɪn ˈɛni ˌpriˈsizən geɪmz ənd wɑz hɛld aʊt əv ˈsɛvərəl ˈpræktɪsɪz waɪl ˈəndər wət hɛd koʊʧ ʃɔn məkˈveɪ kənˈtɪnjuəli rɪˈfərd tɪ ɛz ə "ˈmeɪntənəns ˈproʊˌgræm." bət kwɪn meɪd moʊst əv hɪz əˈʤəstmənt tɪ ˈaʊtˈsaɪd ˈlaɪnˌbækər ˈdʊrɪŋ ðə ˈproʊˌgræm ənd sɛd ɪn ðə deɪz ˈlidɪŋ əp tɪ ðə ˈoʊpənər ðət hi ɪz "ˈprɪti ˈkəmfərtəbəl wɪθ wɛr əm æt." ðə ræmz pleɪd kwɪn ɪn ˈoʊnli 50 pərˈsɛnt əv ðə dɪˈfɛnsɪv snæps ɪn ðɛr raʊt əv ðə koʊlts, bət hi meɪd hɪz ˈprɛzəns fɛlt ˌnənðəˈlɛs. "hiz ˈsərtənli ə ˈrəʃər ðət ju hæv tɪ əˈkaʊnt fər," sɛd məkˈveɪ, hu wɪl ˈprɑbəˌbli gɪv kwɪn mɔr snæps ɛz ðə wiks goʊ baɪ. "hiz gɑt ə greɪt get-off*; ləv ðə ˈɛfərt ənd ˌɪnˈtɛnsɪti hi pleɪz wɪθ. hiz wən əv ðə gaɪz ðət aɪv ˈɔlˌweɪz hæd ə lɔt əv rɪˈspɛkt fər, ʤɪst ˈkoʊʧɪŋ əˈgɛnst ɪm ɪn jɪrz pæst. wɪn noʊ. 94 ɪz raɪt, ju fil ɪm. hi ɪz ən ɪˈlit ˈrəʃər ənd hi ˈsərtənli lʊkt laɪk ðət gaɪ [ɔn ˈsənˌdi]."

a gay couple living in wynantskill, new york had their home and car struck by vandals this week. john mcenerney said his partner lyle houston woke up thursday morning to discover the spray painted slur on the side of their home. the crude graffiti is difficult to read but “jenner fags” appears visible. a window pane in a side door and the window of jeep were also broken. “you would think my initial gut reaction would be like, ‘oh my god, i fear for my life.,'” said mcenerney in an interview with wnyt. “i kind of feel more sorry for the person that they felt it was necessary to try to destroy house.” wynt adds: lyle said there was also an incident monday night, but his scared away someone he now thinks was trying to break in. the couple says they scared, just going to remain positive

ə geɪ ˈkəpəl ˈlɪvɪŋ ɪn wynantskill*, nu jɔrk hæd ðɛr hoʊm ənd kɑr strək baɪ ˈvændəlz ðɪs wik. ʤɑn ˈmækənɛrni sɛd hɪz ˈpɑrtnər laɪl ˈhjustən woʊk əp ˈθərzˌdeɪ ˈmɔrnɪŋ tɪ dɪˈskəvər ðə spreɪ ˈpeɪnɪd slər ɔn ðə saɪd əv ðɛr hoʊm. ðə krud grəˈfiti ɪz ˈdɪfəkəlt tɪ rɛd bət fags”*” əˈpɪrz ˈvɪzəbəl. ə ˈwɪndoʊ peɪn ɪn ə saɪd dɔr ənd ðə ˈwɪndoʊ əv ʤip wər ˈɔlsoʊ ˈbroʊkən. wʊd θɪŋk maɪ ˌɪˈnɪʃəl gət riˈækʃən wʊd bi laɪk, maɪ gɑd, aɪ fɪr fər maɪ life.,'”*.,'” sɛd ˈmækənɛrni ɪn ən ˈɪntərvˌju wɪθ wnyt*. kaɪnd əv fil mɔr ˈsɑri fər ðə ˈpərsən ðət ðeɪ fɛlt ɪt wɑz ˈnɛsəˌsɛri tɪ traɪ tɪ dɪˈstrɔɪ house.”*.” ædz: laɪl sɛd ðɛr wɑz ˈɔlsoʊ ən ˈɪnsədənt ˈmənˌdeɪ naɪt, bət hɪz skɛrd əˈweɪ ˈsəmˌwən hi naʊ θɪŋks wɑz traɪɪŋ tɪ breɪk ɪn. ðə ˈkəpəl sɪz ðeɪ skɛrd, ʤɪst goʊɪŋ tɪ rɪˈmeɪn ˈpɑzətɪv

we talked to 'guardian' about his team's victory over liquid as well as the upcoming grand final of one new york. despite going down in the first map to liquid, region team rallied and won the series and advance to the final of the $250,000 event, with players "flamie" and aleksandr "s1mple" having strong performances. afterwards, we caught up with "guardian" of the team to ask him a few questions about the liquid match, the grand final, and the new update and pause rules that are in effect in new york. you will be able to find all of our interviews from one new york on our youtube channel here. stich writes for and can be found on twitter

wi tɔkt tɪ 'ˈgɑrdiən' əˈbaʊt hɪz timz ˈvɪktəri ˈoʊvər ˈlɪkwɪd ɛz wɛl ɛz ðə ˈəpˌkəmɪŋ grænd ˈfaɪnəl əv wən nu jɔrk. dɪˈspaɪt goʊɪŋ daʊn ɪn ðə fərst mæp tɪ ˈlɪkwɪd, ˈriʤən tim ˈrælid ənd wən ðə ˈsɪriz ənd ədˈvæns tɪ ðə ˈfaɪnəl əv ðə ɪˈvɛnt, wɪθ pleɪərz "flamie*" ənd ˌæləkˈsændər "s1mple*" ˈhævɪŋ strɔŋ pərˈfɔrmənsɪz. ˈæftərwərdz, wi kɔt əp wɪθ "ˈgɑrdiən" əv ðə tim tɪ æsk ɪm ə fju kˈwɛsʧənz əˈbaʊt ðə ˈlɪkwɪd mæʧ, ðə grænd ˈfaɪnəl, ənd ðə nu ˈəpˌdeɪt ənd pɔz rulz ðət ər ɪn ˈifɛkt ɪn nu jɔrk. ju wɪl bi ˈeɪbəl tɪ faɪnd ɔl əv ɑr ˈɪntərvˌjuz frəm wən nu jɔrk ɔn ɑr ˈjuˌtub ˈʧænəl hir. stɪʧ raɪts fər ənd kən bi faʊnd ɔn tˈwɪtər

async io for rust (part ii) paulcolomiets blocked follow following nov 12, 2015 this is a second article about designing “rotor”, the library for doinghronous io in rust. this part describes what changed since the previous article as well as expands on discussion points of the previous write-up. state machines are good enough one of the hottest topics in the discussion of the previous article was whether threads are the better abstraction for. and if os threads are not good enough some kind of green threading should be introduced. there are two such libraries being developed: and (both of them do not work in stable rust yet). still i believe a good fit for low-level protocol handling. this section looks at issues with the threading model for handling in rust. you may skip the section if you are more interested in rotor rather than design decisions. memory ownership typical request processing code looks like: it looks nothing wrong at a glance. no memory leaks here. but note that both “buf” and “parsed” are still being allocated while the response is being sent. but they are useless at that point in time. is it easy to fix? yes, just pass them by value, or wrap code block in braces. is it easy to find? no. the code is too simplistic to show you the complexity. but compare it to the state machine: it’s easy to reason about memory usage in this case. also, note that nothing is allocated for idle connection at all (except obviously the state machine itself). 2. timeout handling timeout handling is inevitable in any networking code. in most languages with green threading are simple: spawn another micro thread that sleeps and throws an exception to parent. if parent finished earlier, kill timer thread. but rust have exceptions. an example of timeout handling in go should show you the complexity. to give you the short breakdown: it adds a timer with a callback, which finds current “cancel callback” in a map, which in turn closes an underlying connection. the process involves at least 3 shared locked objects, and may involve sending a message through a channel. a cancel are changed during the lifetime of the request several times and special channels just for cancel operation are created in multiple places (if not clear: that happens on every request even if no timeout occurred). 3. connection pooling threaded code dealing with client connections usually works along the lines of: acquire a connection from pool do something with the connection release the connection to pool sometimes okay. but often things go out of control. for example, one may use two different connections for backends a and b, and keep both acquired at the same time. when resource a becomes slow, connection pool b quickly becomes exhausted too, just because hold on the resource. this is probably the norm for small python applications which handle ten simultaneous requests. but this can quickly become an issue for a server in rust which can probably process a million requests per second (unproven yet, but got half of the million on 4 core). rotor forces the user to think about such cases. the easiest way to handle client connection in rotor is to send a message to a connection pool with the message being “do this unit of work for me”. where examples of the unit of work are: execute a request, push message to kafka, execute a transaction. this is possible with threading model, just much less common. 4. unit tests and much easier to unit test a state machine. you can inspect it layer by layer because the state machines in rotor are generic over the type of the next layer. you can test each state and each action separately without starting from the initial handshake. often you can clone the state machine in test and continue by multiple paths. obviously, you can test an assembled state machine. you can test with fake transport (i.e. without actually creating the sockets). many of the unit test features are easy and obvious on state machines but are impossible or very cumbersome on threaded code. what’s new in rotor? so we keep state machines. we still pass them to action by value and rely on return value optimization (rvo) to do that fast. we still use the context thing and have state machine types generic over it. however, we get rid of scope. this was an object that was carrying main loop operations to the state machine. it was too hard to handle because each layer of abstraction required a new unique type passed to the next layer and required that type to implement a number of traits. the traits could not be derived automatically in current rust language. the most important subset of the functionality is now served by return value. we have a common return type that is used in all actions: the m is a state machine, and v is a return value from the action to the lower layer. the v is defined by the specific lower layer. you should think of it as ofhronous counterpart of result. any action may return “continue” to wait for the next event. “stop” to stop the state machine and “timeout” to set the timeout on a connection. the value v is very dependent on layer used. for example on lowest layer there is a trait eventmachine, which has the following action: if an action returns “continue(m, some(n))” this means n is a new state machine that must be inserted into the map of the state machines of the main loop. the “accept” transport uses it to accept connections. (note the type of both things is the same because all connections are stored in the same slab, so are of the same type; “accept” transport uses to differentiate between the initial listening socket and a client connection). any communication between two subsequent layers may be performed as a series of the action calls and return values. for example, server implementation may accept full response as value, but may also accept of headers, chunkofbody, endofbody, to allowhronous response generation. timers work similarly: return the time of the next wake up. next timer returned from the action replaces the previous one. this allows to get rid of possible timer leaks. the timers of each subsequent layer coalesce into a single timer (simple “min(x, y)” operation), so we have maximum one timer per state machine. we currently use a timers instead of timeout-style, unlike in system calls. the return type will probably slightly change in the future. for example, the stop action may grow an error type. but overall type looks like a more deliberate decision than what we have used before. another thing we keep is transport. it is the structure that contains network buffers which we pass from the stream to the protocol parser. we pass the socket directly for a couple of reasons: this way protocol parser need to be generic over streams (tcp, unix, ssl). transport type is the same for all of them. easier to unit test protocol parser. just fill the buffers, instead of opening real os sockets (especially important for testing partial sends, which might be coalesced by os) unproven, but by using this it should be possible to pass buffers or buffers of stack directly to the protocol without changing the code. if protocol itself handles buffers, it will do additional buffering anyway in those cases. future work in the near future, going to figure out the shape of the “async” object. in particular, whether possible to use it as a carrier for exception handling rfc, and what consequences of this are. also, going to play with more. the large problem of the is not how to handle them but rather how to define them. for example, application might have five timeout classes: idle, header-receiving, request-body-receiving, response-generation, response-sending. and at least two of them may depend on the request itself. another hot topic is messaging between state machines. currently, it is accomplished by a “wakeup” event that is triggered by a message to the main loop that contains machine token and no payload. the action then through the state machine to all layers. expected that state machine will find out what is the payload itself by looking into some queue or a cell. still better abstractions should be created to accomplish pattern on top of that (probably something that looks like a future) similar thing for queues shared between connection pool and may be other things. another exciting task is to figure out a better interface for the pair. this is interesting for two reasons: simpler to write protocols and network stack the second point needs a detailed explanation. for example, instead of the current “wake me up after the next read” abstraction we could provide a “wake me up when there are in the buffer” operation. then changing the underlying stream, into, the driver can arrange a network buffer of this size for the connection. so you copy incoming packets and still have a contiguous chunk of data from the network, which can be used directly. disclaimer: my understanding of how or stack work are very sparse and theoretical, so i may be wrong. conclusions different languages have different idioms. i think found a good way to makehronous applications in rust. this is not to say that threads are bad. threads in rust are very great. just threads for handling a large number of network connections and timers is not very good. i believe that “rotor” library starts to gain its shape. which means there will probably be no drastic changes in how it will work. still some types, names, and other things will change in ways until it is feature complete. which probably means that at least some critical number protocols implemented and at least few small applications. benchmark and the fun part. just passed the point of millions of requests per second served: this works on–4790k (which is cpu), on (which also means that “wrk” runs on the same machine too).

async* aɪoʊ fər rəst (pɑrt ii*) blɑkt ˈfɑloʊ ˈfɑloʊɪŋ noʊv 12 2015 ðɪs ɪz ə ˈsɛkənd ˈɑrtɪkəl əˈbaʊt dɪˈzaɪnɪŋ ““rotor”*”, ðə ˈlaɪbrɛˌri fər duɪŋ ˈeɪˈsɪŋkrənəs aɪoʊ ɪn rəst. ðɪs pɑrt dɪˈskraɪbz wət ʧeɪnʤd sɪns ðə ˈpriviəs ˈɑrtɪkəl ɛz wɛl ɛz ɪkˈspændz ɔn dɪˈskəʃən pɔɪnts əv ðə ˈpriviəs write-up*. steɪt məˈʃinz ər gʊd ɪˈnəf wən əv ðə ˈhɑtəst ˈtɑpɪks ɪn ðə dɪˈskəʃən əv ðə ˈpriviəs ˈɑrtɪkəl wɑz ˈwɛðər θrɛdz ər ðə ˈbɛtər æbˈstrækʃən fər. ənd ɪf ɑs θrɛdz ər nɑt gʊd ɪˈnəf səm kaɪnd əv grin θˈrɛdɪŋ ʃʊd bi ˌɪntrəˈdust. ðɛr ər tu səʧ ˈlaɪbrɛˌriz biɪŋ dɪˈvɛləpt: ənd (boʊθ əv ðɛm du nɑt wərk ɪn ˈsteɪbəl rəst jɛt). stɪl aɪ bɪˈliv ə gʊd fɪt fər ˌloʊˈlɛvəl ˈproʊtəˌkɔl ˈhændəlɪŋ. ðɪs ˈsɛkʃən lʊks æt ˈɪʃuz wɪθ ðə θˈrɛdɪŋ ˈmɑdəl fər ˈhændəlɪŋ ɪn rəst. ju meɪ skɪp ðə ˈsɛkʃən ɪf ju ər mɔr ˈɪntəˌrɛstɪd ɪn ˈroʊtər ˈrəðər ðən dɪˈzaɪn dɪˈsɪʒənz. ˈmɛməri ˈoʊnərˌʃɪp ˈtɪpɪkəl rɪkˈwɛst ˈprɑsɛsɪŋ koʊd lʊks laɪk: ɪt lʊks ˈnəθɪŋ rɔŋ æt ə glæns. noʊ ˈmɛməri liks hir. bət noʊt ðət boʊθ ““buf”*” ənd ““parsed”*” ər stɪl biɪŋ ˈæləˌkeɪtɪd waɪl ðə rɪˈspɑns ɪz biɪŋ sɛnt. bət ðeɪ ər ˈjusləs æt ðət pɔɪnt ɪn taɪm. ɪz ɪt ˈizi tɪ fɪks? jɛs, ʤɪst pæs ðɛm baɪ ˈvælju, ər ræp koʊd blɑk ɪn ˈbreɪsɪz. ɪz ɪt ˈizi tɪ faɪnd? noʊ. ðə koʊd ɪz tu sɪmˈplɪstɪk tɪ ʃoʊ ju ðə kəmˈplɛksɪti. bət kəmˈpɛr ɪt tɪ ðə steɪt məˈʃin: ˈizi tɪ ˈrizən əˈbaʊt ˈmɛməri ˈjusɪʤ ɪn ðɪs keɪs. ˈɔlsoʊ, noʊt ðət ˈnəθɪŋ ɪz ˈæləˌkeɪtɪd fər ˈaɪdəl kəˈnɛkʃən æt ɔl (ɪkˈsɛpt ˈɑbviəsli ðə steɪt məˈʃin ˌɪtˈsɛlf). 2 ˈtaɪˌmaʊt ˈhændəlɪŋ ˈtaɪˌmaʊt ˈhændəlɪŋ ɪz ˌɪˈnɛvətəbəl ɪn ˈɛni ˈnɛtˌwərkɪŋ koʊd. ɪn moʊst ˈlæŋgwɪʤɪz wɪθ grin θˈrɛdɪŋ ər ˈsɪmpəl: spɔn əˈnəðər ˈmaɪˌkroʊ θrɛd ðət slips ənd θroʊz ən ɪkˈsɛpʃən tɪ ˈpɛrənt. ɪf ˈpɛrənt ˈfɪnɪʃt ˈərliər, kɪl ˈtaɪmər θrɛd. bət rəst hæv ɪkˈsɛpʃənz. ən ɪgˈzæmpəl əv ˈtaɪˌmaʊt ˈhændəlɪŋ ɪn goʊ ʃʊd ʃoʊ ju ðə kəmˈplɛksɪti. tɪ gɪv ju ðə ʃɔrt ˈbreɪkˌdaʊn: ɪt ædz ə ˈtaɪmər wɪθ ə callback*, wɪʧ faɪndz ˈkɑrənt callback”*” ɪn ə mæp, wɪʧ ɪn tərn ˈkloʊzɪz ən ˌəndərˈlaɪɪŋ kəˈnɛkʃən. ðə ˈprɔˌsɛs ˌɪnˈvɑlvz æt list 3 ʃɛrd lɑkt ˈɑbʤɛkts, ənd meɪ ˌɪnˈvɑlv ˈsɛndɪŋ ə ˈmɛsɪʤ θru ə ˈʧænəl. ə ˈkænsəl ər ʧeɪnʤd ˈdʊrɪŋ ðə ˈlaɪfˌtaɪm əv ðə rɪkˈwɛst ˈsɛvərəl taɪmz ənd ˈspɛʃəl ˈʧænəlz ʤɪst fər ˈkænsəl ˌɑpərˈeɪʃən ər kriˈeɪtɪd ɪn ˈməltəpəl ˈpleɪsɪz (ɪf nɑt klɪr: ðət ˈhæpənz ɔn ˈɛvəri rɪkˈwɛst ˈivɪn ɪf noʊ ˈtaɪˌmaʊt əˈkərd). 3 kəˈnɛkʃən ˈpulɪŋ θˈrɛdɪd koʊd ˈdilɪŋ wɪθ klaɪənt kəˈnɛkʃənz ˈjuʒəwəli wərks əˈlɔŋ ðə laɪnz əv: əkˈwaɪər ə kəˈnɛkʃən frəm pul du ˈsəmθɪŋ wɪθ ðə kəˈnɛkʃən riˈlis ðə kəˈnɛkʃən tɪ pul ˈsəmˌtaɪmz ˌoʊˈkeɪ. bət ˈɔfən θɪŋz goʊ aʊt əv kənˈtroʊl. fər ɪgˈzæmpəl, wən meɪ juz tu ˈdɪfərənt kəˈnɛkʃənz fər ˌbæˈkɛndz ə ənd bi, ənd kip boʊθ əkˈwaɪərd æt ðə seɪm taɪm. wɪn ˈrisɔrs ə bɪˈkəmz sloʊ, kəˈnɛkʃən pul bi kˈwɪkli bɪˈkəmz ɪgˈzɔstɪd tu, ʤɪst bɪˈkəz hoʊld ɔn ðə ˈrisɔrs. ðɪs ɪz ˈprɑbəˌbli ðə nɔrm fər smɔl ˈpaɪθɑn ˌæpləˈkeɪʃənz wɪʧ ˈhændəl tɛn ˌsaɪməlˈteɪniəs rɪkˈwɛsts. bət ðɪs kən kˈwɪkli bɪˈkəm ən ˈɪʃu fər ə ˈsərvər ɪn rəst wɪʧ kən ˈprɑbəˌbli ˈprɔˌsɛs ə ˈmɪljən rɪkˈwɛsts pər ˈsɛkənd (ənˈpruvən jɛt, bət gɑt hæf əv ðə ˈmɪljən ɔn 4 kɔr ˈroʊtər ˈfɔrsɪz ðə ˈjuzər tɪ θɪŋk əˈbaʊt səʧ ˈkeɪsɪz. ðə ˈiziəst weɪ tɪ ˈhændəl klaɪənt kəˈnɛkʃən ɪn ˈroʊtər ɪz tɪ sɛnd ə ˈmɛsɪʤ tɪ ə kəˈnɛkʃən pul wɪθ ðə ˈmɛsɪʤ biɪŋ ðɪs ˈjunɪt əv wərk fər me”*”. wɛr ɪgˈzæmpəlz əv ðə ˈjunɪt əv wərk ər: ˈɛksəˌkjut ə rɪkˈwɛst, pʊʃ ˈmɛsɪʤ tɪ ˈkɑfkə, ˈɛksəˌkjut ə trænˈzækʃən. ðɪs ɪz ˈpɑsəbəl wɪθ θˈrɛdɪŋ ˈmɑdəl, ʤɪst məʧ lɛs ˈkɑmən. 4 ˈjunɪt tɛsts ənd məʧ ˈiziər tɪ ˈjunɪt tɛst ə steɪt məˈʃin. ju kən ˌɪnˈspɛkt ɪt leɪər baɪ leɪər bɪˈkəz ðə steɪt məˈʃinz ɪn ˈroʊtər ər ʤəˈnɛrɪk ˈoʊvər ðə taɪp əv ðə nɛkst leɪər. ju kən tɛst iʧ steɪt ənd iʧ ˈækʃən ˈsɛpərətli wɪˈθaʊt ˈstɑrtɪŋ frəm ðə ˌɪˈnɪʃəl ˈhændˌʃeɪk. ˈɔfən ju kən kloʊn ðə steɪt məˈʃin ɪn tɛst ənd kənˈtɪnju baɪ ˈməltəpəl pæθs. ˈɑbviəsli, ju kən tɛst ən əˈsɛmbəld steɪt məˈʃin. ju kən tɛst wɪθ feɪk ˈtrænspɔrt (i.e*. wɪˈθaʊt ˈæˌkʧuəli kriˈeɪtɪŋ ðə ˈsɑkəts). ˈmɛni əv ðə ˈjunɪt tɛst ˈfiʧərz ər ˈizi ənd ˈɑbviəs ɔn steɪt məˈʃinz bət ər ˌɪmˈpɑsəbəl ər ˈvɛri ˈkəmbərsəm ɔn θˈrɛdɪd koʊd. nu ɪn ˈroʊtər? soʊ wi kip steɪt məˈʃinz. wi stɪl pæs ðɛm tɪ ˈækʃən baɪ ˈvælju ənd rɪˈlaɪ ɔn rɪˈtərn ˈvælju ɑptɪmɪˈzeɪʃən (rvo*) tɪ du ðət fæst. wi stɪl juz ðə ˈkɑntɛkst θɪŋ ənd hæv steɪt məˈʃin taɪps ʤəˈnɛrɪk ˈoʊvər ɪt. ˌhaʊˈɛvər, wi gɪt rɪd əv skoʊp. ðɪs wɑz ən ˈɑbʤɛkt ðət wɑz ˈkɛriɪŋ meɪn lup ˌɑpərˈeɪʃənz tɪ ðə steɪt məˈʃin. ɪt wɑz tu hɑrd tɪ ˈhændəl bɪˈkəz iʧ leɪər əv æbˈstrækʃən rikˈwaɪərd ə nu juˈnik taɪp pæst tɪ ðə nɛkst leɪər ənd rikˈwaɪərd ðət taɪp tɪ ˈɪmpləmənt ə ˈnəmbər əv treɪts. ðə treɪts kʊd nɑt bi dəraɪvd ˌɔtəˈmætɪkli ɪn ˈkɑrənt rəst ˈlæŋgwɪʤ. ðə moʊst ˌɪmˈpɔrtənt ˈsəbˌsɛt əv ðə ˌfəŋkʃəˈnælɪti ɪz naʊ sərvd baɪ rɪˈtərn ˈvælju. wi hæv ə ˈkɑmən rɪˈtərn taɪp ðət ɪz juzd ɪn ɔl ˈækʃənz: ðə ɛm ɪz ə steɪt məˈʃin, ənd vi ɪz ə rɪˈtərn ˈvælju frəm ðə ˈækʃən tɪ ðə loʊər leɪər. ðə vi ɪz dɪˈfaɪnd baɪ ðə spɪˈsɪfɪk loʊər leɪər. ju ʃʊd θɪŋk əv ɪt ɛz əv ˈeɪˈsɪŋkrənəs ˈkaʊntərˌpɑrt əv rɪˈzəlt. ˈɛni ˈækʃən meɪ rɪˈtərn ““continue”*” tɪ weɪt fər ðə nɛkst ɪˈvɛnt. ““stop”*” tɪ stɑp ðə steɪt məˈʃin ənd ““timeout”*” tɪ sɛt ðə ˈtaɪˌmaʊt ɔn ə kəˈnɛkʃən. ðə ˈvælju vi ɪz ˈvɛri dɪˈpɛndənt ɔn leɪər juzd. fər ɪgˈzæmpəl ɔn loʊəst leɪər ðɛr ɪz ə treɪt eventmachine*, wɪʧ həz ðə ˈfɑloʊɪŋ ˈækʃən: ɪf ən ˈækʃən rɪˈtərnz ““continue(m*, some(n))”*))” ðɪs minz ɛn ɪz ə nu steɪt məˈʃin ðət məst bi ˌɪnˈsərtɪd ˈɪntu ðə mæp əv ðə steɪt məˈʃinz əv ðə meɪn lup. ðə ““accept”*” ˈtrænspɔrt ˈjuzɪz ɪt tɪ əkˈsɛpt kəˈnɛkʃənz. (noʊt ðə taɪp əv boʊθ θɪŋz ɪz ðə seɪm bɪˈkəz ɔl kəˈnɛkʃənz ər stɔrd ɪn ðə seɪm slæb, soʊ ər əv ðə seɪm taɪp; ““accept”*” ˈtrænspɔrt ˈjuzɪz tɪ ˌdɪfərˈɛnʧiˌeɪt bɪtˈwin ðə ˌɪˈnɪʃəl ˈlɪsənɪŋ ˈsɑkət ənd ə klaɪənt kəˈnɛkʃən). ˈɛni kəmˌjunəˈkeɪʃən bɪtˈwin tu ˈsəbsəkwənt leɪərz meɪ bi pərˈfɔrmd ɛz ə ˈsɪriz əv ðə ˈækʃən kɔlz ənd rɪˈtərn ˈvæljuz. fər ɪgˈzæmpəl, ˈsərvər ˌɪmpləmɛnˈteɪʃən meɪ əkˈsɛpt fʊl rɪˈspɑns ɛz ˈvælju, bət meɪ ˈɔlsoʊ əkˈsɛpt əv ˈhɛdərz, chunkofbody*, endofbody*, tɪ əˈlaʊ ˈeɪˈsɪŋkrənəs rɪˈspɑns ˌʤɛnərˈeɪʃən. ˈtaɪmərz wərk ˈsɪmələrli: rɪˈtərn ðə taɪm əv ðə nɛkst weɪk əp. nɛkst ˈtaɪmər rɪˈtərnd frəm ðə ˈækʃən rɪˈpleɪsɪz ðə ˈpriviəs wən. ðɪs əˈlaʊz tɪ gɪt rɪd əv ˈpɑsəbəl ˈtaɪmər liks. ðə ˈtaɪmərz əv iʧ ˈsəbsəkwənt leɪər ˌkoʊəˈlɛs ˈɪntu ə ˈsɪŋgəl ˈtaɪmər (ˈsɪmpəl ““min(x*, y)”*)” ˌɑpərˈeɪʃən), soʊ wi hæv ˈmæksəməm wən ˈtaɪmər pər steɪt məˈʃin. wi ˈkərəntli juz ə ˈtaɪmərz ˌɪnˈstɛd əv timeout-style*, ənˈlaɪk ɪn ˈsɪstəm kɔlz. ðə rɪˈtərn taɪp wɪl ˈprɑbəˌbli sˈlaɪtli ʧeɪnʤ ɪn ðə fˈjuʧər. fər ɪgˈzæmpəl, ðə stɑp ˈækʃən meɪ groʊ ən ˈɛrər taɪp. bət ˈoʊvərˌɔl taɪp lʊks laɪk ə mɔr dɪˈlɪbərˌeɪt dɪˈsɪʒən ðən wət wi hæv juzd ˌbiˈfɔr. əˈnəðər θɪŋ wi kip ɪz ˈtrænspɔrt. ɪt ɪz ðə ˈstrəkʧər ðət kənˈteɪnz ˈnɛtˌwərk ˈbəfərz wɪʧ wi pæs frəm ðə strim tɪ ðə ˈproʊtəˌkɔl ˈpɑrsər. wi pæs ðə ˈsɑkət dɪˈrɛkli fər ə ˈkəpəl əv ˈrizənz: ðɪs weɪ ˈproʊtəˌkɔl ˈpɑrsər nid tɪ bi ʤəˈnɛrɪk ˈoʊvər strimz (tcp*, ˈjunɪks, ssl*). ˈtrænspɔrt taɪp ɪz ðə seɪm fər ɔl əv ðɛm. ˈiziər tɪ ˈjunɪt tɛst ˈproʊtəˌkɔl ˈpɑrsər. ʤɪst fɪl ðə ˈbəfərz, ˌɪnˈstɛd əv ˈoʊpənɪŋ ril ɑs ˈsɑkəts (əˈspɛʃəli ˌɪmˈpɔrtənt fər ˈtɛstɪŋ ˈpɑrʃəl sɛndz, wɪʧ maɪt bi ˌkoʊəˈlɛst baɪ ɑs) ənˈpruvən, bət baɪ ˈjuzɪŋ ðɪs ɪt ʃʊd bi ˈpɑsəbəl tɪ pæs ˈbəfərz ər ˈbəfərz əv stæk dɪˈrɛkli tɪ ðə ˈproʊtəˌkɔl wɪˈθaʊt ˈʧeɪnʤɪŋ ðə koʊd. ɪf ˈproʊtəˌkɔl ˌɪtˈsɛlf ˈhændəlz ˈbəfərz, ɪt wɪl du əˈdɪʃənəl ˈbəfərɪŋ ˈɛniˌweɪ ɪn ðoʊz ˈkeɪsɪz. fˈjuʧər wərk ɪn ðə nɪr fˈjuʧər, goʊɪŋ tɪ ˈfɪgjər aʊt ðə ʃeɪp əv ðə ““async”*” ˈɑbʤɛkt. ɪn ˌpɑˈtɪkjələr, ˈwɛðər ˈpɑsəbəl tɪ juz ɪt ɛz ə ˈkɛriər fər ɪkˈsɛpʃən ˈhændəlɪŋ rfc*, ənd wət ˈkɑnsəkˌwɛnsəz əv ðɪs ər. ˈɔlsoʊ, goʊɪŋ tɪ pleɪ wɪθ mɔr. ðə lɑrʤ ˈprɑbləm əv ðə ɪz nɑt haʊ tɪ ˈhændəl ðɛm bət ˈrəðər haʊ tɪ dɪˈfaɪn ðɛm. fər ɪgˈzæmpəl, ˌæpləˈkeɪʃən maɪt hæv faɪv ˈtaɪˌmaʊt ˈklæsɪz: ˈaɪdəl, header-receiving*, request-body-receiving*, response-generation*, response-sending*. ənd æt list tu əv ðɛm meɪ dɪˈpɛnd ɔn ðə rɪkˈwɛst ˌɪtˈsɛlf. əˈnəðər hɑt ˈtɑpɪk ɪz ˈmɛsɪʤɪŋ bɪtˈwin steɪt məˈʃinz. ˈkərəntli, ɪt ɪz əˈkɑmplɪʃt baɪ ə ““wakeup”*” ɪˈvɛnt ðət ɪz ˈtrɪgərd baɪ ə ˈmɛsɪʤ tɪ ðə meɪn lup ðət kənˈteɪnz məˈʃin ˈtoʊkən ənd noʊ ˈpeɪˌloʊd. ðə ˈækʃən ðɛn θru ðə steɪt məˈʃin tɪ ɔl leɪərz. ɪkˈspɛktɪd ðət steɪt məˈʃin wɪl faɪnd aʊt wət ɪz ðə ˈpeɪˌloʊd ˌɪtˈsɛlf baɪ ˈlʊkɪŋ ˈɪntu səm kju ər ə sɛl. stɪl ˈbɛtər æbˈstrækʃənz ʃʊd bi kriˈeɪtɪd tɪ əˈkɑmplɪʃ ˈpætərn ɔn tɔp əv ðət (ˈprɑbəˌbli ˈsəmθɪŋ ðət lʊks laɪk ə fˈjuʧər) ˈsɪmələr θɪŋ fər kjuz ʃɛrd bɪtˈwin kəˈnɛkʃən pul ənd meɪ bi ˈəðər θɪŋz. əˈnəðər ɪkˈsaɪtɪŋ tæsk ɪz tɪ ˈfɪgjər aʊt ə ˈbɛtər ˈɪnərˌfeɪs fər ðə pɛr. ðɪs ɪz ˈɪntəˌrɛstɪŋ fər tu ˈrizənz: ˈsɪmpələr tɪ raɪt ˈproʊtəˌkɔlz ənd ˈnɛtˌwərk stæk ðə ˈsɛkənd pɔɪnt nidz ə dɪˈteɪld ˌɛkspləˈneɪʃən. fər ɪgˈzæmpəl, ˌɪnˈstɛd əv ðə ˈkɑrənt mi əp ˈæftər ðə nɛkst read”*” æbˈstrækʃən wi kʊd prəˈvaɪd ə mi əp wɪn ðɛr ər ɪn ðə buffer”*” ˌɑpərˈeɪʃən. ðɛn ˈʧeɪnʤɪŋ ðə ˌəndərˈlaɪɪŋ strim, ˈɪntu, ðə ˈdraɪvər kən əreɪnʤ ə ˈnɛtˌwərk ˈbəfər əv ðɪs saɪz fər ðə kəˈnɛkʃən. soʊ ju ˈkɑpi ˈɪnˌkəmɪŋ ˈpækɪts ənd stɪl hæv ə kənˈtɪgjuəs ʧəŋk əv ˈdætə frəm ðə ˈnɛtˌwərk, wɪʧ kən bi juzd dɪˈrɛkli. dɪˈskleɪmər: maɪ ˌəndərˈstændɪŋ əv haʊ ər stæk wərk ər ˈvɛri spɑrs ənd ˌθiərˈɛtɪkəl, soʊ aɪ meɪ bi rɔŋ. kənˈkluʒənz ˈdɪfərənt ˈlæŋgwɪʤɪz hæv ˈdɪfərənt ˈɪdiəmz. aɪ θɪŋk faʊnd ə gʊd weɪ tɪ meɪk ˈeɪˈsɪŋkrənəs ˌæpləˈkeɪʃənz ɪn rəst. ðɪs ɪz nɑt tɪ seɪ ðət θrɛdz ər bæd. θrɛdz ɪn rəst ər ˈvɛri greɪt. ʤɪst θrɛdz fər ˈhændəlɪŋ ə lɑrʤ ˈnəmbər əv ˈnɛtˌwərk kəˈnɛkʃənz ənd ˈtaɪmərz ɪz nɑt ˈvɛri gʊd. aɪ bɪˈliv ðət ““rotor”*” ˈlaɪbrɛˌri stɑrts tɪ geɪn ɪts ʃeɪp. wɪʧ minz ðɛr wɪl ˈprɑbəˌbli bi noʊ ˈdræstɪk ˈʧeɪnʤɪz ɪn haʊ ɪt wɪl wərk. stɪl səm taɪps, neɪmz, ənd ˈəðər θɪŋz wɪl ʧeɪnʤ ɪn weɪz ənˈtɪl ɪt ɪz ˈfiʧər kəmˈplit. wɪʧ ˈprɑbəˌbli minz ðət æt list səm ˈkrɪtɪkəl ˈnəmbər ˈproʊtəˌkɔlz ˈɪmpləˌmɛnəd ənd æt list fju smɔl ˌæpləˈkeɪʃənz. ˈbɛnʧˌmɑrk ənd ðə fən pɑrt. ʤɪst pæst ðə pɔɪnt əv ˈmɪljənz əv rɪkˈwɛsts pər ˈsɛkənd sərvd: ðɪs wərks ɔn (wɪʧ ɪz cpu*), ɔn (wɪʧ ˈɔlsoʊ minz ðət ““wrk”*” rənz ɔn ðə seɪm məˈʃin tu).

denver's cannabis industry is hoping to add more minorities to its workforce. two local organizations are teaming up to bridge the gap between people in minority groups and employment opportunities. marijuana industry group and de la raza started the initial effort on sunday at the cannabis career summit at mile high station. servicios de la raza provides support services for communities it says are underrepresented in the denver area. the strong push to hire more minorities was spurred by city council, according to mig executive director kristi kelly. “they really threw down the gauntlet to us in the last year and said, ‘hey, not seeing people of color represented at the same proportion as our city,’” kelly said. “so, we really want to change that.” the partnership aims to “break down barriers of discrimination and lack of access,” said de la raza executive director rudy gonzales. “cannabis businesses offer meaningful employment at living wages,” gonzales said. “that’s what we look for when we want to break the cycle of poverty.” the two groups hope to use the new strategy to also create opportunities for the people they say have gotten into trouble with the law because of marijuana. the organizations said previous offenders often have a hard time getting jobs and their hope is to make it easier for them to find work. copyright 2017 kusa

ˈdɛnvərz ˈkænəbəs ˈɪndəstri ɪz ˈhoʊpɪŋ tɪ æd mɔr məˈnɔrətiz tɪ ɪts ˈwərkˌfɔrs. tu ˈloʊkəl ˌɔrgənəˈzeɪʃənz ər ˈtimɪŋ əp tɪ brɪʤ ðə gæp bɪtˈwin ˈpipəl ɪn məˈnɔrəti grups ənd ɪmˈplɔɪmənt ˌɑpərˈtunətiz. ˌmɛrəˈwɑnə ˈɪndəstri grup ənd də lɑ ˈræzə ˈstɑrtɪd ðə ˌɪˈnɪʃəl ˈɛfərt ɔn ˈsənˌdi æt ðə ˈkænəbəs kərɪr ˈsəmɪt æt maɪl haɪ ˈsteɪʃən. də lɑ ˈræzə prəˈvaɪdz səˈpɔrt ˈsərvɪsɪz fər kəmˈjunɪtiz ɪt sɪz ər əndərˌrɛprɪˈzɛntɪd ɪn ðə ˈdɛnvər ˈɛriə. ðə strɔŋ pʊʃ tɪ haɪər mɔr məˈnɔrətiz wɑz spərd baɪ ˈsɪti ˈkaʊnsəl, əˈkɔrdɪŋ tɪ mɪg ɪgˈzɛkjətɪv dɪˈrɛktər ˈkrɪsti ˈkɛli. ˈrɪli θru daʊn ðə ˈgɔntlət tɪ ˈjuˈɛs ɪn ðə læst jɪr ənd sɛd, ‘‘hey*, nɑt siɪŋ ˈpipəl əv ˈkələr ˌrɛprɪˈzɛnɪd æt ðə seɪm prəˈpɔrʃən ɛz ɑr city,’”*,’” ˈkɛli sɛd. ““so*, wi ˈrɪli wɔnt tɪ ʧeɪnʤ that.”*.” ðə ˈpɑrtnərˌʃɪp eɪmz tɪ daʊn ˈbɛriərz əv dɪˌskrɪməˈneɪʃən ənd læk əv access,”*,” sɛd də lɑ ˈræzə ɪgˈzɛkjətɪv dɪˈrɛktər ˈrudi gɑnˈzɑləs. ˈbɪznɪsɪz ˈɔfər ˈminɪŋfəl ɪmˈplɔɪmənt æt ˈlɪvɪŋ wages,”*,” gɑnˈzɑləs sɛd. wət wi lʊk fər wɪn wi wɔnt tɪ breɪk ðə ˈsaɪkəl əv poverty.”*.” ðə tu grups hoʊp tɪ juz ðə nu ˈstrætəʤi tɪ ˈɔlsoʊ kriˈeɪt ˌɑpərˈtunətiz fər ðə ˈpipəl ðeɪ seɪ hæv ˈgɔtən ˈɪntu ˈtrəbəl wɪθ ðə lɔ bɪˈkəz əv ˌmɛrəˈwɑnə. ðə ˌɔrgənəˈzeɪʃənz sɛd ˈpriviəs əˈfɛndərz ˈɔfən hæv ə hɑrd taɪm ˈgɪtɪŋ ʤɑbz ənd ðɛr hoʊp ɪz tɪ meɪk ɪt ˈiziər fər ðɛm tɪ faɪnd wərk. ˈkɑpiˌraɪt 2017 ˈkuzə

cisco today announced that has completed a technology test of cisco's solution between the national supercomputing center, sara, in amsterdam, the netherlands, and cern in geneva, switzerland, using the cisco ons 15454 transport platform. the cisco system uses dense (dwdm) to unite multiple optical carrier signals on a single optical fiber, leading to several benefits including increased fiber capacity. the test involved introducing single carrier optical interfaces into's existing optical infrastructure made up of a combination of 10g, and wavelengths. once connected, the cisco solution was quickly operational without any disruption to the existing network. this demonstration shows that can utilize its existing infrastructure and help protect its network investment while supporting new data services over the existing fiber infrastructure.

ˈsɪˌskoʊ təˈdeɪ əˈnaʊnst ðət həz kəmˈplitɪd ə tɛkˈnɑləʤi tɛst əv ˈsɪˌskoʊz səˈluʃən bɪtˈwin ðə ˈnæʃənəl supərkəmˈpjutɪŋ ˈsɛnər, ˈsɛrə, ɪn ˈæmstərˌdæm, ðə ˈnɛðərləndz, ənd sərn ɪn ʤəˈnivə, sˈwɪtsərlənd, ˈjuzɪŋ ðə ˈsɪˌskoʊ ɑnz 15454 ˈtrænspɔrt ˈplætˌfɔrm. ðə ˈsɪˌskoʊ ˈsɪstəm ˈjuzɪz dɛns (dwdm*) tɪ ˈjuˌnaɪt ˈməltəpəl ˈɑptɪkəl ˈkɛriər ˈsɪgnəlz ɔn ə ˈsɪŋgəl ˈɑptɪkəl ˈfaɪbər, ˈlidɪŋ tɪ ˈsɛvərəl ˈbɛnəfɪts ˌɪnˈkludɪŋ ˌɪnˈkrist ˈfaɪbər kəˈpæsɪti. ðə tɛst ˌɪnˈvɑlvd ˌɪntrəˈdusɪŋ ˈsɪŋgəl ˈkɛriər ˈɑptɪkəl ˈɪnərˌfeɪsɪz ˈɪntu ɪgˈzɪstɪŋ ˈɑptɪkəl ˌɪnfrəˈstrəkʧər meɪd əp əv ə ˌkɑmbəˈneɪʃən əv 10g*, ənd ˈweɪvˌlɛŋθs. wəns kəˈnɛktɪd, ðə ˈsɪˌskoʊ səˈluʃən wɑz kˈwɪkli ˌɑpərˈeɪʃənəl wɪˈθaʊt ˈɛni dɪsˈrəpʃən tɪ ðə ɪgˈzɪstɪŋ ˈnɛtˌwərk. ðɪs ˌdɛmənˈstreɪʃən ʃoʊz ðət kən ˈjutəˌlaɪz ɪts ɪgˈzɪstɪŋ ˌɪnfrəˈstrəkʧər ənd hɛlp prəˈtɛkt ɪts ˈnɛtˌwərk ˌɪnˈvɛstmənt waɪl səˈpɔrtɪŋ nu ˈdætə ˈsərvɪsɪz ˈoʊvər ðə ɪgˈzɪstɪŋ ˈfaɪbər ˌɪnfrəˈstrəkʧər.

when it came to choosing my first “older” only the music choice of 2019 it was very clear which route be taking. fresh in my memory as i type is the recent launch of venus unwrapped, the concert series at kings place which will spend the next eleven months throwing a light on the achievements of women composers. that opening event saw soprano mary bevan and members of the orchestra of the age of enlightenment perform the music of seventeenth century venetian composer barbara strozzi, and by the time the year is out over 100 women composers will have been represented across over sixty events. it should be fascinating, and i suspect many of us will emerge the other end having had perceptions challenged and changed. so the first track on this is the first movement of french composer louise 1847 symphony no 3 in g minor, a magnificent work that represents a colossal achievement not simply for the fact that it was composed at a time when women were barred from composition classes at the paris conservatoire, but also because this was an era during which symphonic music in general was out of fashion on parisian stages, audiences instead preferring grand opera. opening with solitary oboe, before quickly and expertly building to a huge climax, this is a brilliantly crafted and thoroughly work which thoroughly explains why robert schumann admired her music so much. it’s schumann who then tops this three new release choices, in the shape of cellist gautier new programme for warner classics, after which we have early music vocal ensemble stile antico on harmonia mundi, with a programme around english elizabethan composers in exile. then to finish, a first foray into the recording studio from the young quartet resulted in a programme of mendelssohn and haydn which no doubt still be describing in eleven months’ time as one of the most satisfying recording debuts of 2019. schumann years in development, gautier latest album is an programme of live concert recordings dating between 2009 and 2015, made with some of his musical collaborators and champions. its superlative is the cello concerto (composed so the three movements flowed seamlessly into each other with no breaks, such was dislike of applause), recorded in 2015 in the amsterdam with the chamber orchestra of europe under bernard (first concert together 1997). playing here is supremely elegant and unfailingly beautiful of tone. however equally taut with drama, and with a wonderful quality which brings to the fore the turbulence and instability which dominated so much of life and psychological state. and the coe meanwhile are with every step of the way, with a reading imbued with understanding of both composer and soloist. the rest of the album then underlines status as one of the finest chamber musicians, with recordings made with pianist martha (first concert 2002) at her martha project festival in lugano: the adagio and allegro, the and the im; then the for which joined by violinist brother renaud (first concert 1997). with all of these it feels every bit as much like perfection every step of the way, with chamber bonding which be any tighter, closer or more instinctive. or indeed more exquisite, when it comes to moments such as the brothers’ lines of the central slow movement. obviously early days, but i have a feeling this will turn out to be one of this albums. so lucky us that we get it as early as january. stile antico this latest beautifully conceived album from early music vocal ensemble stile antico is built around the music of elizabeth composers who found themselves in exile as a result of their catholic faith. sometimes this was textbook geographical exile, with composers such as peter philips, richard dering and john dowland effectively choosing spiritual home over physical home by leaving shores for new lives on the continent. for other composers though, such as robert white and william byrd, the exile took the form of spiritual exile in england itself. the works stile antico have chosen span the emotional and stylistic gamut. on the one hand, robert (1538-1574) affecting a 5: a dramatic and individual setting of the old testament from jeremiah, meditating on the babylonians’ destruction of jerusalem, which would have felt especially pertinent subject matter for an catholic. but on the other hand there are works such as peter philips’ joyous and slightly more “gaude maria virgo”. the stile antico sound itself is clear and agile, with female sopranos so of tone that at points you believe not what listening to, and the two tracks chosen show that off to the full. first, richard italianate, “factum est silentium”, which sets a dramatic passage from the book of revelation. the second extract is then the only modern piece, from one of finest british composers: watkins’ 2014 setting of poem the phoenix and the turtle, which on the surface describes the funeral rites of the phoenix and the turtle dove (symbolic of perfection and devoted love), but which may also have been an allegory about catholic martyrs. consone quartet every so often a debut recording comes along which absolutely leaps out of the stereo at you as something special right from its first seconds, and this is one of these. formed in 2012 at royal college of music, the quartet on exploring classical and early romantic period repertoire on period instruments, and their successes to date include winning the 2016 royal league ensemble prize, and two prizes at the 2015 york early music competition, including a place on the scheme for young artists at ambronay. at the centre of this programme now recorded through that same scheme is the first of pair of string quartets of 1799, commissioned by the wealthy viennese patron prince maximilian who at the same time commissioned a set of quartets from the young beethoven. this are two mendelssohn quartets: the string quartet no 1 of 1829, written by the eighteen year old composer shortly after death sent shockwaves across the musical world; then the four string quartet movements dating from various periods of life, which after his death in 1847 were grouped together and published (in 1850) as his. string quartet no 1 find on this, and the tender and poised reading displays all the qualities hear across their programme: clean, lucid tone; and tightly ensemble playing; beautifully spun long lines; and a compelling narrative to the phrasing which has you hanging on for their every next musical word.

wɪn ɪt keɪm tɪ ˈʧuzɪŋ maɪ fərst ““older”*” ˈoʊnli ðə mˈjuzɪk ʧɔɪs əv 2019 ɪt wɑz ˈvɛri klɪr wɪʧ rut bi ˈteɪkɪŋ. frɛʃ ɪn maɪ ˈmɛməri ɛz aɪ taɪp ɪz ðə ˈrisənt lɔnʧ əv ˈvinəs ənˈræpt, ðə ˈkɑnsərt ˈsɪriz æt kɪŋz pleɪs wɪʧ wɪl spɛnd ðə nɛkst ˈilɛvən mənθs θroʊɪŋ ə laɪt ɔn ðə əˈʧivmənts əv ˈwɪmən kəmˈpoʊzərz. ðət ˈoʊpənɪŋ ɪˈvɛnt sɔ səˈprɑnoʊ ˈmɛri ˈbɛvən ənd ˈmɛmbərz əv ðə ˈɔrkəstrə əv ðə eɪʤ əv ˌɛnˈlaɪtənmənt pərˈfɔrm ðə mˈjuzɪk əv ˈsɛvənˈtinθ ˈsɛnʧəri vəˈniʃən kəmˈpoʊzər ˈbɑrbərə strozzi*, ənd baɪ ðə taɪm ðə jɪr ɪz aʊt ˈoʊvər 100 ˈwɪmən kəmˈpoʊzərz wɪl hæv bɪn ˌrɛprɪˈzɛnɪd əˈkrɔs ˈoʊvər ˈsɪksti ɪˈvɛnts. ɪt ʃʊd bi ˈfæsəˌneɪtɪŋ, ənd aɪ ˈsəˌspɛkt ˈmɛni əv ˈjuˈɛs wɪl ˈimərʤ ðə ˈəðər ɛnd ˈhævɪŋ hæd pərˈsɛpʃənz ˈʧælənʤd ənd ʧeɪnʤd. soʊ ðə fərst træk ɔn ðɪs ɪz ðə fərst ˈmuvmənt əv frɛnʧ kəmˈpoʊzər luiz 1847 ˈsɪmfəni noʊ 3 ɪn ʤi ˈmaɪnər, ə mægˈnɪfɪsənt wərk ðət ˌrɛprɪˈzɛnts ə kəˈlɑsəl əˈʧivmənt nɑt ˈsɪmpli fər ðə fækt ðət ɪt wɑz kəmˈpoʊzd æt ə taɪm wɪn ˈwɪmən wər bɑrd frəm ˌkɑmpəˈzɪʃən ˈklæsɪz æt ðə ˈpɛrɪs conservatoire*, bət ˈɔlsoʊ bɪˈkəz ðɪs wɑz ən ˈɪrə ˈdʊrɪŋ wɪʧ sɪmˈfɑnɪk mˈjuzɪk ɪn ˈʤɛnərəl wɑz aʊt əv ˈfæʃən ɔn pərˈɪʒən ˈsteɪʤɪz, ˈɔdiənsəz ˌɪnˈstɛd prɪˈfərɪŋ grænd ˈɑprə. ˈoʊpənɪŋ wɪθ ˈsɑləˌtɛri ˈoʊboʊ, ˌbiˈfɔr kˈwɪkli ənd ˈɛkspərtli ˈbɪldɪŋ tɪ ə juʤ ˈklaɪˌmæks, ðɪs ɪz ə ˈbrɪljəntli ˈkræftɪd ənd ˈθəroʊli wərk wɪʧ ˈθəroʊli ɪkˈspleɪnz waɪ ˈrɑbərt ˈʃumən ədˈmaɪərd hər mˈjuzɪk soʊ məʧ. ˈʃumən hu ðɛn tɑps ðɪs θri nu riˈlis ˈʧɔɪsɪz, ɪn ðə ʃeɪp əv ˈʧɛləst ˈgaʊtiər nu ˈproʊˌgræm fər ˈwɔrnər ˈklæsɪks, ˈæftər wɪʧ wi hæv ˈərli mˈjuzɪk ˈvoʊkəl ɑnˈsɑmbəl staɪl ɑnˈtikoʊ ɔn hɑrˈmoʊniə ˈməndi, wɪθ ə ˈproʊˌgræm əraʊnd ˈɪŋlɪʃ ˌɛlɪzəˈbiθən kəmˈpoʊzərz ɪn ˈɛkˌsaɪl. ðɛn tɪ ˈfɪnɪʃ, ə fərst ˈfɔreɪ ˈɪntu ðə rɪˈkɔrdɪŋ ˈstudiˌoʊ frəm ðə jəŋ kwɔrˈtɛt rɪˈzəltɪd ɪn ə ˈproʊˌgræm əv ˈmɛndəlsən ənd ˈhaɪdən wɪʧ noʊ daʊt stɪl bi dɪˈskraɪbɪŋ ɪn ˈilɛvən months’*’ taɪm ɛz wən əv ðə moʊst ˈsætɪsˌfaɪɪŋ rɪˈkɔrdɪŋ ˈdeɪbjuz əv 2019 ˈʃumən jɪrz ɪn dɪˈvɛləpmənt, ˈgaʊtiər ˈleɪtəst ˈælbəm ɪz ən ˈproʊˌgræm əv lɪv ˈkɑnsərt rɪˈkɔrdɪŋz ˈdeɪtɪŋ bɪtˈwin 2009 ənd 2015 meɪd wɪθ səm əv hɪz mˈjuzɪkəl kəˈlæbərˌeɪtərz ənd ˈʧæmpiənz. ɪts sʊˈpərlətɪv ɪz ðə ˈʧɛloʊ kənˈʧɛrtoʊ (kəmˈpoʊzd soʊ ðə θri ˈmuvmənts floʊd ˈsimləsli ˈɪntu iʧ ˈəðər wɪθ noʊ breɪks, səʧ wɑz dɪsˈlaɪk əv əˈplɔz), rɪˈkɔrdɪd ɪn 2015 ɪn ðə ˈæmstərˌdæm wɪθ ðə ˈʧeɪmbər ˈɔrkəstrə əv ˈjʊrəp ˈəndər ˈbərnərd (fərst ˈkɑnsərt təˈgɛðər 1997 pleɪɪŋ hir ɪz suˈpriməli ˈɛləgənt ənd ənˈfeɪlɪŋli ˈbjutəfəl əv toʊn. ˌhaʊˈɛvər ˈikwəli tɔt wɪθ ˈdrɑmə, ənd wɪθ ə ˈwəndərfəl kˈwɑləti wɪʧ brɪŋz tɪ ðə fɔr ðə ˈtərbjələns ənd ˌɪnstəˈbɪlɪti wɪʧ ˈdɑməˌneɪtəd soʊ məʧ əv laɪf ənd ˌsaɪkəˈlɑʤɪkəl steɪt. ənd ðə koʊ ˈminˌwaɪl ər wɪθ ˈɛvəri stɛp əv ðə weɪ, wɪθ ə ˈrɛdɪŋ ˌɪmˈbjud wɪθ ˌəndərˈstændɪŋ əv boʊθ kəmˈpoʊzər ənd ˈsoʊˌloʊɪst. ðə rɛst əv ðə ˈælbəm ðɛn ˈəndərˌlaɪnz ˈstætəs ɛz wən əv ðə ˈfaɪnəst ˈʧeɪmbər mjuˈzɪʃənz, wɪθ rɪˈkɔrdɪŋz meɪd wɪθ ˈpiənɪst ˈmɑrθə (fərst ˈkɑnsərt 2002 æt hər ˈmɑrθə ˈprɑʤɛkt ˈfɛstɪvəl ɪn luˈgɑnoʊ: ðə əˈdɑʒiˌoʊ ənd əˈlɛˌgroʊ ðə ənd ðə ɪm ðɛn ðə fər wɪʧ ʤɔɪnd baɪ vaɪəˈlɪnəst ˈbrəðər rɪˈnoʊ (fərst ˈkɑnsərt 1997 wɪθ ɔl əv ðiz ɪt filz ˈɛvəri bɪt ɛz məʧ laɪk pərˈfɛkʃən ˈɛvəri stɛp əv ðə weɪ, wɪθ ˈʧeɪmbər ˈbɑndɪŋ wɪʧ bi ˈɛni ˈtaɪtər, ˈkloʊzər ər mɔr ˌɪnˈstɪŋktɪv. ər ˌɪnˈdid mɔr ˈɛkskwəzət, wɪn ɪt kəmz tɪ ˈmoʊmənts səʧ ɛz ðə brothers’*’ laɪnz əv ðə ˈsɛntrəl sloʊ ˈmuvmənt. ˈɑbviəsli ˈərli deɪz, bət aɪ hæv ə ˈfilɪŋ ðɪs wɪl tərn aʊt tɪ bi wən əv ðɪs ˈælbəmz. soʊ ˈləki ˈjuˈɛs ðət wi gɪt ɪt ɛz ˈərli ɛz ˈʤænjuˌɛri. staɪl ɑnˈtikoʊ ðɪs ˈleɪtəst ˈbjutəfli kənˈsivd ˈælbəm frəm ˈərli mˈjuzɪk ˈvoʊkəl ɑnˈsɑmbəl staɪl ɑnˈtikoʊ ɪz bɪlt əraʊnd ðə mˈjuzɪk əv ɪˈlɪzəbɪθ kəmˈpoʊzərz hu faʊnd ðɛmˈsɛlvz ɪn ˈɛkˌsaɪl ɛz ə rɪˈzəlt əv ðɛr ˈkæθlɪk feɪθ. ˈsəmˌtaɪmz ðɪs wɑz ˈtɛkstˌbʊk ˌʤiəˈgræfɪkəl ˈɛkˌsaɪl, wɪθ kəmˈpoʊzərz səʧ ɛz ˈpitər ˈfɪlɪps, ˈrɪʧərd ˈdɪrɪŋ ənd ʤɑn ˈdaʊlənd ˈifɛktɪvli ˈʧuzɪŋ ˈspɪrɪˌʧuəl hoʊm ˈoʊvər ˈfɪzɪkəl hoʊm baɪ ˈlivɪŋ ʃɔrz fər nu lɪvz ɔn ðə ˈkɑntənənt. fər ˈəðər kəmˈpoʊzərz ðoʊ, səʧ ɛz ˈrɑbərt waɪt ənd ˈwɪljəm bərd, ðə ˈɛkˌsaɪl tʊk ðə fɔrm əv ˈspɪrɪˌʧuəl ˈɛkˌsaɪl ɪn ˈɪŋglənd ˌɪtˈsɛlf. ðə wərks staɪl ɑnˈtikoʊ hæv ˈʧoʊzən spæn ðə ˈiˌmoʊʃənəl ənd staɪˈlɪstɪk ˈgæmət. ɔn ðə wən hænd, ˈrɑbərt əˈfɛktɪŋ ə 5 ə drəˈmætɪk ənd ˌɪndəˈvɪʤəwəl ˈsɛtɪŋ əv ðə oʊld ˈtɛstəmənt frəm ˌʤɛrəˈmaɪə, ˈmɛdəˌteɪtɪŋ ɔn ðə babylonians’*’ dɪˈstrəkʃən əv ʤərˈusələm, wɪʧ wʊd hæv fɛlt əˈspɛʃəli ˈpərtɪnɪnt ˈsəbʤɪkt ˈmætər fər ən ˈkæθlɪk. bət ɔn ðə ˈəðər hænd ðɛr ər wərks səʧ ɛz ˈpitər philips’*’ ʤɔɪəs ənd sˈlaɪtli mɔr mərˈiə virgo”*”. ðə staɪl ɑnˈtikoʊ saʊnd ˌɪtˈsɛlf ɪz klɪr ənd ˈæʤəl, wɪθ ˈfiˌmeɪl səˈprænoʊz soʊ əv toʊn ðət æt pɔɪnts ju bɪˈliv nɑt wət ˈlɪsənɪŋ tɪ, ənd ðə tu træks ˈʧoʊzən ʃoʊ ðət ɔf tɪ ðə fʊl. fərst, ˈrɪʧərd ˌɪˈtæljəˌneɪt, ɛst silentium”*”, wɪʧ sɛts ə drəˈmætɪk ˈpæsɪʤ frəm ðə bʊk əv ˌrɛvəˈleɪʃən. ðə ˈsɛkənd ˈɛkˌstrækt ɪz ðɛn ðə ˈoʊnli ˈmɑdərn pis, frəm wən əv ˈfaɪnəst ˈbrɪtɪʃ kəmˈpoʊzərz: watkins’*’ 2014 ˈsɛtɪŋ əv poʊəm ðə ˈfinɪks ənd ðə ˈtərtəl, wɪʧ ɔn ðə ˈsərfəs dɪˈskraɪbz ðə fˈjunərəl raɪts əv ðə ˈfinɪks ənd ðə ˈtərtəl dəv (sɪmˈbɑlɪk əv pərˈfɛkʃən ənd dɪˈvoʊtɪd ləv), bət wɪʧ meɪ ˈɔlsoʊ hæv bɪn ən ˈæləˌgɔri əˈbaʊt ˈkæθlɪk ˈmɑrtərz. kwɔrˈtɛt ˈɛvəri soʊ ˈɔfən ə ˈdeɪbju rɪˈkɔrdɪŋ kəmz əˈlɔŋ wɪʧ ˌæbsəˈlutli lips aʊt əv ðə ˈstɛriˌoʊ æt ju ɛz ˈsəmθɪŋ ˈspɛʃəl raɪt frəm ɪts fərst ˈsɛkəndz, ənd ðɪs ɪz wən əv ðiz. fɔrmd ɪn 2012 æt rɔɪəl ˈkɑlɪʤ əv mˈjuzɪk, ðə kwɔrˈtɛt ɔn ɪkˈsplɔrɪŋ ˈklæsɪkəl ənd ˈərli roʊˈmæntɪk ˈpɪriəd ˈrɛpərtˌwɑr ɔn ˈpɪriəd ˈɪnstrəmənts, ənd ðɛr səkˈsɛsɪz tɪ deɪt ˌɪnˈklud ˈwɪnɪŋ ðə 2016 rɔɪəl lig ɑnˈsɑmbəl praɪz, ənd tu ˈpraɪzɪz æt ðə 2015 jɔrk ˈərli mˈjuzɪk ˌkɑmpəˈtɪʃən, ˌɪnˈkludɪŋ ə pleɪs ɔn ðə skim fər jəŋ ˈɑrtɪsts æt ambronay*. æt ðə ˈsɛntər əv ðɪs ˈproʊˌgræm naʊ rɪˈkɔrdɪd θru ðət seɪm skim ɪz ðə fərst əv pɛr əv strɪŋ kwɔrˈtɛts əv 1799 kəˈmɪʃənd baɪ ðə ˈwɛlθi viˈɛˌnis ˈpeɪtrən prɪns ˌmæksɪˈmɪliən hu æt ðə seɪm taɪm kəˈmɪʃənd ə sɛt əv kwɔrˈtɛts frəm ðə jəŋ ˈbeɪtoʊvən. ðɪs ər tu ˈmɛndəlsən kwɔrˈtɛts: ðə strɪŋ kwɔrˈtɛt noʊ 1 əv 1829 ˈrɪtən baɪ ðə ˈeɪˈtin jɪr oʊld kəmˈpoʊzər ˈʃɔrtli ˈæftər dɛθ sɛnt ˈʃɑkˌweɪvz əˈkrɔs ðə mˈjuzɪkəl wərld; ðɛn ðə fɔr strɪŋ kwɔrˈtɛt ˈmuvmənts ˈdeɪtɪŋ frəm ˈvɛriəs ˈpɪriədz əv laɪf, wɪʧ ˈæftər hɪz dɛθ ɪn 1847 wər grupt təˈgɛðər ənd ˈpəblɪʃt (ɪn 1850 ɛz hɪz strɪŋ kwɔrˈtɛt noʊ 1 faɪnd ɔn ðɪs, ənd ðə ˈtɛndər ənd pɔɪzd ˈrɛdɪŋ dɪˈspleɪz ɔl ðə kˈwɑlətiz hir əˈkrɔs ðɛr ˈproʊˌgræm: klin, ˈlusɪd toʊn; ənd ˈtaɪtli ɑnˈsɑmbəl pleɪɪŋ; ˈbjutəfli spən lɔŋ laɪnz; ənd ə kəmˈpɛlɪŋ ˈnɛrətɪv tɪ ðə ˈfreɪzɪŋ wɪʧ həz ju ˈhæŋɪŋ ɔn fər ðɛr ˈɛvəri nɛkst mˈjuzɪkəl wərd.

stephen hawking says pope told him not to study beginning of universe hong kong (ap) astrophysicist stephen hawking said thursday that the late pope john paul once told scientists they should not study the beginning of the universe because it was the work of god. hawking, author of the a brief history of time, said john paul made the comments at a cosmology conference at the vatican. he did not say when the meeting was held. hawking quoted the pope as saying, "it's ok to study the universe and where it began. but we should not inquire into the beginning itself because that was the moment of creation and the work of god." the scientist then joked that he was glad john paul did not realize that he had presented a paper at the conference suggesting how the universe began. "i didn't fancy the thought of being handed over to the inquisition like galileo," hawking said during a audience at hong kong university of science and technology. the church condemned galileo in the century for supporting nicholas copernicus' discovery that the earth revolved around the sun. church teaching at the time placed earth at the center of the universe. but in 1992, pope john paul issued a declaration saying the church's denunciation of galileo was an error resulting from "tragic mutual incomprehension." hawking is one of the theoretical physicists of his generation. he has done groundbreaking research on black holes and the origins of the universe, and he proposes that space and time have no beginning and no end. during a session, hawking was asked where constants like gravity come from and whether gravity can distort light. but there were several humorous moments. the hawking, who suffers from amyotrophic lateral sclerosis, communicates with an electronic speech synthesizer. hawking was asked why his computerized voice has an american accent. "the voice i use is a very old hardware speech synthesizer made in 1986," he said. "i keep it because i have not heard a voice i like better and because i have identified with it." he said he once considered using a machine that gave him a french accent, but he did not because his wife would divorce him. but hawking said he is shopping for a new system because his current hardware is large and fragile, using components that are no longer made. "i have been trying to get a software version, but it seems very difficult," he said. he urged people with physical disabilities not to give up on their ambitions. "you can't afford to be disabled in spirit as well as physically," he said. "people won't have time for you." hawking ended his lecture saying, "we are getting closer to answering the questions: why are we here? where did we come from?" copyright 2007 the associated press. all rights reserved. this material may not be published, broadcast, rewritten or redistributed.

ˈstivən ˈhɔkɪŋ sɪz poʊp toʊld ɪm nɑt tɪ ˈstədi bɪˈgɪnɪŋ əv ˈjunəˌvərs hɔŋ kɔŋg (ˌeɪˈpi) ˌæstroʊˈfɪsɪsɪst ˈstivən ˈhɔkɪŋ sɛd ˈθərzˌdeɪ ðət ðə leɪt poʊp ʤɑn pɔl wəns toʊld ˈsaɪəntɪsts ðeɪ ʃʊd nɑt ˈstədi ðə bɪˈgɪnɪŋ əv ðə ˈjunəˌvərs bɪˈkəz ɪt wɑz ðə wərk əv gɑd. ˈhɔkɪŋ, ˈɔθər əv ðə ə brif ˈhɪstəri əv taɪm, sɛd ʤɑn pɔl meɪd ðə ˈkɑmɛnts æt ə kɔzˈmɔləʤi ˈkɑnfərəns æt ðə ˈvætɪkən. hi dɪd nɑt seɪ wɪn ðə ˈmitɪŋ wɑz hɛld. ˈhɔkɪŋ kˈwoʊtɪd ðə poʊp ɛz seɪɪŋ, "ɪts ˈoʊˈkeɪ tɪ ˈstədi ðə ˈjunəˌvərs ənd wɛr ɪt bɪˈgæn. bət wi ʃʊd nɑt ˌɪnkˈwaɪr ˈɪntu ðə bɪˈgɪnɪŋ ˌɪtˈsɛlf bɪˈkəz ðət wɑz ðə ˈmoʊmənt əv kriˈeɪʃən ənd ðə wərk əv gɑd." ðə ˈsaɪəntɪst ðɛn ʤoʊkt ðət hi wɑz glæd ʤɑn pɔl dɪd nɑt ˈriəˌlaɪz ðət hi hæd pərˈzɛnəd ə ˈpeɪpər æt ðə ˈkɑnfərəns səˈʤɛstɪŋ haʊ ðə ˈjunəˌvərs bɪˈgæn. "aɪ ˈdɪdənt ˈfænsi ðə θɔt əv biɪŋ ˈhændɪd ˈoʊvər tɪ ðə ˌɪnkwəˈzɪʃən laɪk ˌgæləˈlioʊ," ˈhɔkɪŋ sɛd ˈdʊrɪŋ ə ˈɔdiəns æt hɔŋ kɔŋg ˌjunəˈvərsəti əv saɪəns ənd tɛkˈnɑləʤi. ðə ʧərʧ kənˈdɛmd ˌgæləˈlioʊ ɪn ðə ˈsɛnʧəri fər səˈpɔrtɪŋ ˈnɪkələs kəˈpərnəkəs' ˌdɪˈskəvri ðət ðə ərθ riˈvɑlvd əraʊnd ðə sən. ʧərʧ ˈtiʧɪŋ æt ðə taɪm pleɪst ərθ æt ðə ˈsɛnər əv ðə ˈjunəˌvərs. bət ɪn 1992 poʊp ʤɑn pɔl ˈɪʃud ə ˌdɛklərˈeɪʃən seɪɪŋ ðə ˈʧərʧəz dɪˌnənsiˈeɪʃən əv ˌgæləˈlioʊ wɑz ən ˈɛrər rɪˈzəltɪŋ frəm "ˈtræʤɪk mˈjuʧuəl incomprehension*." ˈhɔkɪŋ ɪz wən əv ðə ˌθiərˈɛtɪkəl ˈfɪzɪsɪsts əv hɪz ˌʤɛnərˈeɪʃən. hi həz dən ˈgraʊnˌbreɪkɪŋ ˈrisərʧ ɔn blæk hoʊlz ənd ðə ˈɔrəʤɪnz əv ðə ˈjunəˌvərs, ənd hi prəˈpoʊzɪz ðət speɪs ənd taɪm hæv noʊ bɪˈgɪnɪŋ ənd noʊ ɛnd. ˈdʊrɪŋ ə ˈsɛʃən, ˈhɔkɪŋ wɑz æst wɛr ˈkɑnstənts laɪk ˈgrævɪti kəm frəm ənd ˈwɛðər ˈgrævɪti kən dɪˈstɔrt laɪt. bət ðɛr wər ˈsɛvərəl ˈhjumərəs ˈmoʊmənts. ðə ˈhɔkɪŋ, hu ˈsəfərz frəm ˌæmiəˈtroʊfɪk ˈlætərəl sklərˈoʊsəs, kəmˈjunɪˌkeɪts wɪθ ən ˌɪˌlɛkˈtrɑnɪk spiʧ ˈsɪnθəˌsaɪzər. ˈhɔkɪŋ wɑz æst waɪ hɪz kəmˈpjutərˌaɪzd vɔɪs həz ən əˈmɛrɪkən ˈækˌsɛnt. "ðə vɔɪs aɪ juz ɪz ə ˈvɛri oʊld ˈhɑrdˌwɛr spiʧ ˈsɪnθəˌsaɪzər meɪd ɪn 1986 hi sɛd. "aɪ kip ɪt bɪˈkəz aɪ hæv nɑt hərd ə vɔɪs aɪ laɪk ˈbɛtər ənd bɪˈkəz aɪ hæv aɪˈdɛntəˌfaɪd wɪθ ɪt." hi sɛd hi wəns kənˈsɪdərd ˈjuzɪŋ ə məˈʃin ðət geɪv ɪm ə frɛnʧ ˈækˌsɛnt, bət hi dɪd nɑt bɪˈkəz hɪz waɪf wʊd dɪˈvɔrs ɪm. bət ˈhɔkɪŋ sɛd hi ɪz ˈʃɑpɪŋ fər ə nu ˈsɪstəm bɪˈkəz hɪz ˈkɑrənt ˈhɑrdˌwɛr ɪz lɑrʤ ənd ˈfræʤəl, ˈjuzɪŋ kəmˈpoʊnənts ðət ər noʊ ˈlɔŋgər meɪd. "aɪ hæv bɪn traɪɪŋ tɪ gɪt ə ˈsɔfˌwɛr ˈvərʒən, bət ɪt simz ˈvɛri ˈdɪfəkəlt," hi sɛd. hi ərʤd ˈpipəl wɪθ ˈfɪzɪkəl dɪsəˈbɪlɪtiz nɑt tɪ gɪv əp ɔn ðɛr æmˈbɪʃənz. "ju kænt əˈfɔrd tɪ bi dɪˈseɪbəld ɪn ˈspɪrɪt ɛz wɛl ɛz ˈfɪzɪkəli," hi sɛd. "ˈpipəl woʊnt hæv taɪm fər ju." ˈhɔkɪŋ ˈɛndɪd hɪz ˈlɛkʧər seɪɪŋ, "wi ər ˈgɪtɪŋ ˈkloʊzər tɪ ˈænsərɪŋ ðə kˈwɛsʧənz: waɪ ər wi hir? wɛr dɪd wi kəm frəm?" ˈkɑpiˌraɪt 2007 ðə əˈsoʊʃiˌeɪtəd prɛs. ɔl raɪts rɪˈzərvd. ðɪs məˈtɪriəl meɪ nɑt bi ˈpəblɪʃt, ˈbrɔdˌkæst, riˈrɪtən ər ˌridɪˈstrɪbjətɪd.

iranian experts at a company have manufactured the farsi version of speech recognition software. hadi, the managing director of the company, said the software can transcribe the user's voice and audio recordings of conference sessions into digital text. he explained that users should ensure that microphone is connected to their computers, adding that the users need to set up computer for the speech recognition software. veysi also said if the user makes a mistake, the software edits it and the entire is editable. "older versions of the software could understand input from a variety of users but with a limited vocabulary bank," he said, adding that additionally, background noise posed limiting factors on the effectiveness of speech recognition technology. "the new software recognizes about words and the user can say commands to turn off the system," he said. most people can talk faster than they move their fingers on a keyboard, so with speech recognition software they are able to work as fast as you can talk, particularly with systems that have high dictation accuracy. hands-free computing is one of the biggest advantages of voice dictation programs. working a job that requires a lot of between the computer and other tasks can typing cumbersome. it's beneficial to those who aren't the best spellers and busy parents with their hands full who just want to get that email sent. however, one of the largest benefits is to those with limited mobility or disabilities that restrict keyboard and mouse use. the software can be used easily.

ˌɪˈrɑniən ˈɛkspərts æt ə ˈkəmpəˌni hæv ˌmænjəˈfækʧərd ðə ˈfɑrsi ˈvərʒən əv spiʧ ˌrɛkɪgˈnɪʃən ˈsɔfˌwɛr., ðə ˈmænəʤɪŋ dɪˈrɛktər əv ðə ˈkəmpəˌni, sɛd ðə ˈsɔfˌwɛr kən trænˈskraɪb ðə ˈjuzərz vɔɪs ənd ˈɑdiˌoʊ rɪˈkɔrdɪŋz əv ˈkɑnfərəns ˈsɛʃənz ˈɪntu ˈdɪʤɪtəl tɛkst. hi ɪkˈspleɪnd ðət ˈjuzərz ʃʊd ɪnˈʃʊr ðət ˈmaɪkrəˌfoʊn ɪz kəˈnɛktɪd tɪ ðɛr kəmˈpjutərz, ˈædɪŋ ðət ðə ˈjuzərz nid tɪ sɛt əp kəmˈpjutər fər ðə spiʧ ˌrɛkɪgˈnɪʃən ˈsɔfˌwɛr. ˈɔlsoʊ sɛd ɪf ðə ˈjuzər meɪks ə mɪˈsteɪk, ðə ˈsɔfˌwɛr ˈɛdɪts ɪt ənd ðə ɪnˈtaɪər ɪz editable*. "ˈoʊldər ˈvərʒənz əv ðə ˈsɔfˌwɛr kʊd ˌəndərˈstænd ˈɪnˌpʊt frəm ə vərˈaɪəti əv ˈjuzərz bət wɪθ ə ˈlɪmɪtɪd voʊˈkæbjəˌlɛri bæŋk," hi sɛd, ˈædɪŋ ðət əˈdɪʃəˌnəli, ˈbækˌgraʊnd nɔɪz poʊzd ˈlɪmətɪŋ ˈfæktərz ɔn ðə ˈifɛktɪvnəs əv spiʧ ˌrɛkɪgˈnɪʃən tɛkˈnɑləʤi. "ðə nu ˈsɔfˌwɛr ˈrɛkəgˌnaɪzɪz əˈbaʊt wərdz ənd ðə ˈjuzər kən seɪ kəˈmændz tɪ tərn ɔf ðə ˈsɪstəm," hi sɛd. moʊst ˈpipəl kən tɔk ˈfæstər ðən ðeɪ muv ðɛr ˈfɪŋgərz ɔn ə ˈkiˌbɔrd, soʊ wɪθ spiʧ ˌrɛkɪgˈnɪʃən ˈsɔfˌwɛr ðeɪ ər ˈeɪbəl tɪ wərk ɛz fæst ɛz ju kən tɔk, ˌpɑrˈtɪkjələrli wɪθ ˈsɪstəmz ðət hæv haɪ dɪkˈteɪʃən ˈækjərəsi. kəmˈpjutɪŋ ɪz wən əv ðə ˈbɪgəst ædˈvæntɪʤɪz əv vɔɪs dɪkˈteɪʃən ˈproʊˌgræmz. ˈwərkɪŋ ə ʤɑb ðət rikˈwaɪərz ə lɔt əv bɪtˈwin ðə kəmˈpjutər ənd ˈəðər tæsks kən ˈtaɪpɪŋ ˈkəmbərsəm. ɪts ˌbɛnəˈfɪʃəl tɪ ðoʊz hu ˈɑrənt ðə bɛst ˈspɛlərz ənd ˈbɪzi ˈpɛrənts wɪθ ðɛr hænz fʊl hu ʤɪst wɔnt tɪ gɪt ðət iˈmeɪl sɛnt. ˌhaʊˈɛvər, wən əv ðə ˈlɑrʤəst ˈbɛnəfɪts ɪz tɪ ðoʊz wɪθ ˈlɪmɪtɪd moʊˈbɪlɪti ər dɪsəˈbɪlɪtiz ðət riˈstrɪkt ˈkiˌbɔrd ənd maʊs juz. ðə ˈsɔfˌwɛr kən bi juzd ˈizəli.

share this... reddit email “no freeman may be taken or imprisoned or be of his freehold or liberties, or his free customs, or be outlawed or exiled, or in any manner destroyed, but by the lawful judgement of his peers, or by the law of the land.” these words were first written in the coronation charter, also called the charter of liberties, which was a proclamation by henry i issued in 1100. in 1100! just think about that for a moment. 915 years ago on this island, uniquely in the world, great men were laying the philosophical foundations of a special type of liberty and striving to restrain the power of their rulers. it marked the beginning of an historic struggle for the soul of england that took place over centuries while absolutism and tyranny was established unchallenged on the continent. when the struggle was won this great country of ours was the freest in the world. freeborn englishmen were envied and admired around the globe for the constitutional liberty they enjoyed and the spirit of freedom that thrived here like nowhere else. sadly, that is all part of history now and we must fight this struggle once again. it is a sign of the times that a british prime minister, and a conservative at that, can say something like this: “for too long, we have been a passively tolerant society, saying to our citizens ‘as long as you obey the law, we will leave you alone’” did our prime minister really think about what he was saying when he uttered these disgraceful words when addressing british citizens? it is astonishingly to not realise just how dangerous this kind of rhetoric is and what the wider implications are. the british people have been numbed to shockingly rhetoric such as this, just a continuation of the authoritarian mantra. it is the equivalent to when blair said, let no one be in any doubt, the rules of the game are changing”. well, the rules are changing again and we are close to sweeping away every last vestige of british liberty. as long as you obey the law, we will leave you alone should be a slogan for the british state to forever abide by because it is a basic tenet of a free society. the prime minister should remember that he works for british citizens and he is not our master. sadly, the majority election win is being seen as a mandate to clamp down on civil liberties in the name of security from the islamist bogeymen. a ghastly combination of paternalism, new labour style authoritarianism and the restless government urge to be seen to be doing something is the dominant force in the conservative party now. there are no longer any restraints on theresa may and she is preparing measures that trample over our freedoms. a bill including plans for an “extremism disruption order” is to be included in the speech. this had previously been blocked by the liberal democrats on the grounds of protecting free speech, which is a stand worth remembering and giving credit for. the police will be given powers to apply to the high court for an order to limit the “harmful activities” of someone they deem to be an “extremist individual”. the elastic definition of “harmful” is to include a risk of public disorder, a risk of harassment, alarm or distress or creating a “threat to the functioning of democracy”. those deemed to be “extremist individuals” will be banned from broadcasting and will be required to submit in advance to the police any publication intended to be printed or placed on the internet. extremist groups deemed to be undermining democracy or indulging in hate speech in public places will also be banned. the measures have been stretched beyond stopping those who incite violence to those who are perceived by the authorities to be espousing views or undertaking harmful activities for the “purpose of overthrowing democracy”. how vague, if it to be made illegal to not believe in democracy, should anarchists and purist libertarians be worried? are revolutionary socialist groups to be illegal? the “extremism disruption orders” are designed to the intent to promote terrorism, or give hate speeches, and whether an individual has that intent will be based on the judgement of ministers. essentially the measures are expanding the definition of people who could potentially be imprisoned or have their freedom restricted from those who do things, to those who think things. the language of the police gets a bit when they speak of targeting individuals who operate in what they call “pre-criminal space”. these new measures have a terrifying potential to be used zealously to the point that they are used in situations in which certain “bad” or “extreme” thoughts never actually led to any action being taken and were perhaps never going to lead to any action being taken. it could mean british citizens being prosecuted in our courts on the basis of their thoughts. the age old test of criminal liability according to common law, actus non reum mens sit rea (the act is not culpable unless the mind is guilty) will be violated as the courts prosecute based only on the guilty mind (mens rea) in the absence of action (actus). thought crime has become part of our public life and discourse and we already arrest people simply for what they say, or tweet. all the old customs of english liberty are fading into memory. now we seem set to officially introduce thought crime into our legal system. to override the many difficulties of prosecuting thought crime in our criminal justice system (which is set up to protect the rights of the individual) and to all the legal challenges it would likely inspire, it is the home secretary and ministers who will make judgements, further breaking down the barriers separating the government and the courts that are in place to prevent exactly the abuse of power that these measures represent. “…because it may be too great a temptation to human frailty apt to grasp at power, for the same persons who have the power of making laws, to have also in their hands power to execute them” john locke the terrorism investigation and prevention measures will restrict the freedom of movement and expression without guilt being proven at a fair and public hearing. we have witnessed the erosion over time of habeas corpus, jury trial and the presumption of innocence- the finest safeguards of liberty ever conceived- and we are now witnessing their abolition. these restrictions are also violations of our much ballyhooed “human rights” but luckily these rights come with the conditions, caveats and get out clauses necessary for the government to remove them at will. the human rights act protect us from new bonfire of liberties, it protect us now. the test that should be applied before introducing legislation in the name of security is to whether we can foresee this government, or any future government, and the all the authorities it empowers, potentially abusing these new powers in the future. any thinking and person can see these measures have a huge potential for serious abuse. throughout history liberty has been abolished and totalitarianism imposed in a sudden revolution or invasion to the tune of marching jack boots. we feel safe and secure in the knowledge that this is unlikely to happen in britain but we have been lulled into a false sense of security. our liberal democracy will not be abolished through a flash of violence; the state will become totalitarian incrementally, measure by measure, introduced with consent of a timid and fearful populace cowering from the terrorist threat. it is unjust and totally contrary to our values for restrictions to be placed on individual freedom without due process. i urge every liberty minded conservative to dissent; you cannot stand up for, and conserve, british values while violating them in a climate of fear and intimidation. with the exception of incitement to violence, in all cases speech must be free. in a genuinely free society it is only after a crime has been committed that the law becomes involved. nor do the authorities have any right to speech or publications before they are expressed. just think of what a sad state of affairs it would be for the police to be poring over speeches and articles for signs of “extremism”. curbing free speech is setting us on to the road to and tyranny, a road paved with good intentions and calls for greater security. by allowing fanatics to speak and publish openly they can be identified, observed and their networks monitored. if we oppress opinions we are merely ensuring that they are expressed in secret, which is dangerous. the free competition of ideas is essential for societal development and progress, and therein lays the answer. if we allow those who we perceive to have abhorrent and “extreme” views to express them openly we can combat them fiercely. for we know that the ideals, principles and values we hold dear are superior and will endure (if we conserve them). our timidity is betraying young muslims lured into temptation by false prophets and corrupt ideology. the ideas and views of islamists are not just immoral and disgusting; they are downright stupid, ridiculous and laughable. let us speak up for british values and all the virtues of our free society. we have all the cultural muscle we need to face down these pretentious islamist in the open exchange of ideas. let them speak openly, and we can defeat them through criticism, refutation, ridicule and satire. by readily betraying our values in the face of terrorism, we are defeated. we are letting them win and we are proving right their assertion that we are weak and hypocritical. it has been said repeatedly that the proposed security measures are designed to protect “british values”. well, upholding british values means protecting the principles of equality before the law and freedom of expression. if david cameron and theresa may are unsure as to what constitutes a british value, happy to offer the following examples: “we must be free or die, who speak the tongue that shakespeare spake; the faith and morals hold which milton held.” “give me the liberty to know, to utter, and to argue freely according to conscience, above all liberties.” “if the arguments of the present chapter are of any validity, there ought to exist the fullest liberty of professing and discussing, as a matter of ethical conviction, any doctrine, however immoral it may be considered.”. “he that would make his own liberty secure, must guard even his enemy from oppression; for if he violates this duty, he establishes a precedent that will reach to himself.” celebrate the magna carta and the continuing importance of liberty with us on june 10th.

ʃɛr ðɪs... iˈmeɪl ˈfrimən meɪ bi ˈteɪkən ər ˌɪmˈprɪzənd ər bi əv hɪz ˈfriˌhoʊld ər ˈlɪbərˌtiz, ər hɪz fri ˈkəstəmz, ər bi ˈaʊˌtlɔd ər ˈɛkˌsaɪld, ər ɪn ˈɛni ˈmænər dɪˈstrɔɪd, bət baɪ ðə ˈlɔfəl ˈʤəʤmənt əv hɪz pɪrz, ər baɪ ðə lɔ əv ðə land.”*.” ðiz wərdz wər fərst ˈrɪtən ɪn ðə ˌkɔrəˈneɪʃən ˈʧɑrtər, ˈɔlsoʊ kɔld ðə ˈʧɑrtər əv ˈlɪbərˌtiz, wɪʧ wɑz ə ˌprɑkləˈmeɪʃən baɪ ˈhɛnri aɪ ˈɪʃud ɪn 1100 ɪn 1100 ʤɪst θɪŋk əˈbaʊt ðət fər ə ˈmoʊmənt. 915 jɪrz əˈgoʊ ɔn ðɪs ˈaɪlənd, juˈnikli ɪn ðə wərld, greɪt mɛn wər leɪɪŋ ðə ˌfɪləˈsɑfɪkəl faʊnˈdeɪʃənz əv ə ˈspɛʃəl taɪp əv ˈlɪbərˌti ənd ˈstraɪvɪŋ tɪ riˈstreɪn ðə paʊər əv ðɛr ˈrulərz. ɪt mɑrkt ðə bɪˈgɪnɪŋ əv ən hɪˈstɔrɪk ˈstrəgəl fər ðə soʊl əv ˈɪŋglənd ðət tʊk pleɪs ˈoʊvər ˈsɛnʧəriz waɪl ˈæbsəˌluˌtɪzəm ənd ˈtɪrəni wɑz ɪˈstæblɪʃt ənˈʧælɪnʤd ɔn ðə ˈkɑntənənt. wɪn ðə ˈstrəgəl wɑz wən ðɪs greɪt ˈkəntri əv ɑrz wɑz ðə friɪst ɪn ðə wərld. ˈfribərn ˌɛŋˈlɪʃmən wər ˈɛnvid ənd ədˈmaɪərd əraʊnd ðə gloʊb fər ðə ˌkɑnstəˈtuʃənəl ˈlɪbərˌti ðeɪ ˌɛnˈʤɔɪd ənd ðə ˈspɪrɪt əv ˈfridəm ðət θraɪvd hir laɪk ˈnoʊˌwɛr ɛls. ˈsædli, ðət ɪz ɔl pɑrt əv ˈhɪstəri naʊ ənd wi məst faɪt ðɪs ˈstrəgəl wəns əˈgɛn. ɪt ɪz ə saɪn əv ðə taɪmz ðət ə ˈbrɪtɪʃ praɪm ˈmɪnɪstər, ənd ə kənˈsərvətɪv æt ðət, kən seɪ ˈsəmθɪŋ laɪk ðɪs: tu lɔŋ, wi hæv bɪn ə ˈpæsɪvli ˈtɑlərənt soʊˈsaɪɪti, seɪɪŋ tɪ ɑr ˈsɪtɪzənz lɔŋ ɛz ju oʊˈbeɪ ðə lɔ, wi wɪl liv ju alone’”*’” dɪd ɑr praɪm ˈmɪnɪstər ˈrɪli θɪŋk əˈbaʊt wət hi wɑz seɪɪŋ wɪn hi ˈətərd ðiz dɪsˈgreɪsfəl wərdz wɪn æˈdrɛsɪŋ ˈbrɪtɪʃ ˈsɪtɪzənz? ɪt ɪz əˈstɑnɪʃɪŋli tɪ nɑt ˈriəˌlaɪz ʤɪst haʊ ˈdeɪnʤərəs ðɪs kaɪnd əv ˈrɛtərɪk ɪz ənd wət ðə ˈwaɪdər ˌɪmpləˈkeɪʃənz ər. ðə ˈbrɪtɪʃ ˈpipəl hæv bɪn nəmd tɪ ˈʃɑkɪŋli ˈrɛtərɪk səʧ ɛz ðɪs, ʤɪst ə kənˌtɪnjuˈeɪʃən əv ðə əˌθɔrəˈtɛriən ˈmæntrə. ɪt ɪz ðə ɪkˈwɪvələnt tɪ wɪn blɛr sɛd, lɛt noʊ wən bi ɪn ˈɛni daʊt, ðə rulz əv ðə geɪm ər changing”*”. wɛl, ðə rulz ər ˈʧeɪnʤɪŋ əˈgɛn ənd wi ər kloʊz tɪ sˈwipɪŋ əˈweɪ ˈɛvəri læst ˈvɛstɪʤ əv ˈbrɪtɪʃ ˈlɪbərˌti. ɛz lɔŋ ɛz ju oʊˈbeɪ ðə lɔ, wi wɪl liv ju əˈloʊn ʃʊd bi ə sˈloʊgən fər ðə ˈbrɪtɪʃ steɪt tɪ fərˈɛvər əˈbaɪd baɪ bɪˈkəz ɪt ɪz ə ˈbeɪsɪk ˈtɛnət əv ə fri soʊˈsaɪɪti. ðə praɪm ˈmɪnɪstər ʃʊd rɪˈmɛmbər ðət hi wərks fər ˈbrɪtɪʃ ˈsɪtɪzənz ənd hi ɪz nɑt ɑr ˈmæstər. ˈsædli, ðə məˈʤɔrəti ɪˈlɛkʃən wɪn ɪz biɪŋ sin ɛz ə ˈmænˌdeɪt tɪ klæmp daʊn ɔn ˈsɪvəl ˈlɪbərˌtiz ɪn ðə neɪm əv sɪˈkjʊrəti frəm ðə ˈɪsləmɪst ˈbʊgiˌmɪn. ə ˈgæstli ˌkɑmbəˈneɪʃən əv pəˈtərnəˌlɪzəm, nu ˈleɪbər staɪl əˌθɔrəˈtɛriəˌnɪzəm ənd ðə ˈrɛstləs ˈgəvərnmənt ərʤ tɪ bi sin tɪ bi duɪŋ ˈsəmθɪŋ ɪz ðə ˈdɑmənənt fɔrs ɪn ðə kənˈsərvətɪv ˈpɑrti naʊ. ðɛr ər noʊ ˈlɔŋgər ˈɛni rɪˈstreɪnts ɔn tərˈisə meɪ ənd ʃi ɪz pərˈpɛrɪŋ ˈmɛʒərz ðət ˈtræmpəl ˈoʊvər ɑr ˈfridəmz. ə bɪl ˌɪnˈkludɪŋ plænz fər ən dɪsˈrəpʃən order”*” ɪz tɪ bi ˌɪnˈkludɪd ɪn ðə spiʧ. ðɪs hæd ˈpriviəsli bɪn blɑkt baɪ ðə ˈlɪˌbərəl ˈdɛməˌkræts ɔn ðə graʊnz əv prəˈtɛktɪŋ fri spiʧ, wɪʧ ɪz ə stænd wərθ rɪˈmɛmbərɪŋ ənd ˈgɪvɪŋ ˈkrɛdɪt fər. ðə pəˈlis wɪl bi ˈgɪvɪn paʊərz tɪ əˈplaɪ tɪ ðə haɪ kɔrt fər ən ˈɔrdər tɪ ˈlɪmət ðə activities”*” əv ˈsəmˌwən ðeɪ dim tɪ bi ən individual”*”. ðə ɪˈlæstɪk ˌdɛfəˈnɪʃən əv ““harmful”*” ɪz tɪ ˌɪnˈklud ə rɪsk əv ˈpəblɪk dɪˈsɔrdər, ə rɪsk əv hərˈæsmənt, əˈlɑrm ər dɪˈstrɛs ər kriˈeɪtɪŋ ə tɪ ðə ˈfəŋkʃənɪŋ əv democracy”*”. ðoʊz dimd tɪ bi individuals”*” wɪl bi bænd frəm ˈbrɔdˌkæstɪŋ ənd wɪl bi rikˈwaɪərd tɪ səbˈmɪt ɪn ədˈvæns tɪ ðə pəˈlis ˈɛni ˌpəblɪˈkeɪʃən ˌɪnˈtɛndɪd tɪ bi ˈprɪnɪd ər pleɪst ɔn ðə ˈɪntərˌnɛt. ɪkˈstrimɪst grups dimd tɪ bi ˈəndərˌmaɪnɪŋ dɪˈmɑkrəsi ər ˌɪnˈdəlʤɪŋ ɪn heɪt spiʧ ɪn ˈpəblɪk ˈpleɪsɪz wɪl ˈɔlsoʊ bi bænd. ðə ˈmɛʒərz hæv bɪn strɛʧt bɪɔnd ˈstɑpɪŋ ðoʊz hu ˌɪnˈsaɪt ˈvaɪələns tɪ ðoʊz hu ər pərˈsivd baɪ ðə əˈθɔrətiz tɪ bi ɪˈspaʊzɪŋ vjuz ər ˈəndərˌteɪkɪŋ ˈhɑrmfəl ækˈtɪvɪtiz fər ðə əv ˈoʊvərθˌroʊɪŋ democracy”*”. haʊ veɪg, ɪf ɪt tɪ bi meɪd ˌɪˈligəl tɪ nɑt bɪˈliv ɪn dɪˈmɑkrəsi, ʃʊd ˈænərˌkɪsts ənd ˈpjʊrɪst ˌlɪbərˈtɛˌriənz bi ˈwərid? ər ˌrɛvəˈluʃəˌnɛri ˈsoʊʃəlɪst grups tɪ bi ˌɪˈligəl? ðə dɪsˈrəpʃən orders”*” ər dɪˈzaɪnd tɪ ðə ˌɪnˈtɛnt tɪ prəˈmoʊt ˈtɛrəˌrɪzəm, ər gɪv heɪt ˈspiʧɪz, ənd ˈwɛðər ən ˌɪndəˈvɪʤəwəl həz ðət ˌɪnˈtɛnt wɪl bi beɪst ɔn ðə ˈʤəʤmənt əv ˈmɪnɪstərz. ɛˈsɛnʃəli ðə ˈmɛʒərz ər ɪkˈspændɪŋ ðə ˌdɛfəˈnɪʃən əv ˈpipəl hu kʊd pəˈtɛnʃəli bi ˌɪmˈprɪzənd ər hæv ðɛr ˈfridəm riˈstrɪktɪd frəm ðoʊz hu du θɪŋz, tɪ ðoʊz hu θɪŋk θɪŋz. ðə ˈlæŋgwɪʤ əv ðə pəˈlis gɪts ə bɪt wɪn ðeɪ spik əv ˈtɑrgətɪŋ ˌɪndəˈvɪʤəwəlz hu ˈɔpərˌeɪt ɪn wət ðeɪ kɔl space”*”. ðiz nu ˈmɛʒərz hæv ə ˈtɛrəˌfaɪɪŋ pəˈtɛnʃəl tɪ bi juzd ˈzɛləsli tɪ ðə pɔɪnt ðət ðeɪ ər juzd ɪn ˌsɪʧuˈeɪʃənz ɪn wɪʧ ˈsərtən ““bad”*” ər ““extreme”*” θɔts ˈnɛvər ˈæˌkʧuəli lɛd tɪ ˈɛni ˈækʃən biɪŋ ˈteɪkən ənd wər pərˈhæps ˈnɛvər goʊɪŋ tɪ lɛd tɪ ˈɛni ˈækʃən biɪŋ ˈteɪkən. ɪt kʊd min ˈbrɪtɪʃ ˈsɪtɪzənz biɪŋ ˈprɑsɪˌkjutɪd ɪn ɑr kɔrts ɔn ðə ˈbeɪsɪs əv ðɛr θɔts. ðə eɪʤ oʊld tɛst əv ˈkrɪmənəl ˌlaɪəˈbɪlɪti əˈkɔrdɪŋ tɪ ˈkɑmən lɔ, ˈæktəs nɑn ˈriəm mɛnz sɪt reɪ (ðə ækt ɪz nɑt ˈkəlpəbəl ənˈlɛs ðə maɪnd ɪz ˈgɪlti) wɪl bi ˈvaɪəleɪtɪd ɛz ðə kɔrts ˈprɑsəˌkjut beɪst ˈoʊnli ɔn ðə ˈgɪlti maɪnd (mɛnz reɪ) ɪn ðə ˈæbsəns əv ˈækʃən (ˈæktəs). θɔt kraɪm həz bɪˈkəm pɑrt əv ɑr ˈpəblɪk laɪf ənd ˈdɪskɔrs ənd wi ɔˈrɛdi ərˈɛst ˈpipəl ˈsɪmpli fər wət ðeɪ seɪ, ər twit. ɔl ðə oʊld ˈkəstəmz əv ˈɪŋlɪʃ ˈlɪbərˌti ər ˈfeɪdɪŋ ˈɪntu ˈmɛməri. naʊ wi sim sɛt tɪ əˈfɪʃəli ˌɪntrəˈdus θɔt kraɪm ˈɪntu ɑr ˈligəl ˈsɪstəm. tɪ ˈoʊvərˌraɪd ðə ˈmɛni ˈdɪfɪˌkəltiz əv ˈprɑsɪˌkjutɪŋ θɔt kraɪm ɪn ɑr ˈkrɪmənəl ˈʤəstɪs ˈsɪstəm (wɪʧ ɪz sɛt əp tɪ prəˈtɛkt ðə raɪts əv ðə ˌɪndəˈvɪʤəwəl) ənd tɪ ɔl ðə ˈligəl ˈʧælənʤɪz ɪt wʊd ˈlaɪkli ˌɪnˈspaɪr, ɪt ɪz ðə hoʊm ˈsɛkrəˌtɛri ənd ˈmɪnɪstərz hu wɪl meɪk ˈʤəʤmənts, ˈfərðər ˈbreɪkɪŋ daʊn ðə ˈbɛriərz ˈsɛpərˌeɪtɪŋ ðə ˈgəvərnmənt ənd ðə kɔrts ðət ər ɪn pleɪs tɪ prɪˈvɛnt ɪgˈzæktli ðə əˈbjuz əv paʊər ðət ðiz ˈmɛʒərz ˌrɛprɪˈzɛnt. ɪt meɪ bi tu greɪt ə tɛmˈteɪʃən tɪ ˈjumən ˈfreɪlti æpt tɪ græsp æt paʊər, fər ðə seɪm ˈpərsənz hu hæv ðə paʊər əv ˈmeɪkɪŋ lɔz, tɪ hæv ˈɔlsoʊ ɪn ðɛr hænz paʊər tɪ ˈɛksəˌkjut them”*” ʤɑn lɑk ðə ˈtɛrəˌrɪzəm ˌɪnˌvɛstəˈgeɪʃən ənd priˈvɛnʃən ˈmɛʒərz wɪl riˈstrɪkt ðə ˈfridəm əv ˈmuvmənt ənd ɪkˈsprɛʃən wɪˈθaʊt gɪlt biɪŋ ˈpruvən æt ə fɛr ənd ˈpəblɪk ˈhirɪŋ. wi hæv ˈwɪtnəst ðə ɪˈroʊʒən ˈoʊvər taɪm əv ˈhæbiəs ˈkɔrpəs, ˈʤʊri traɪəl ənd ðə prɪˈzəmpʃən əv ˈɪnəsəns- ðə ˈfaɪnəst ˈseɪfˌgɑrdz əv ˈlɪbərˌti ˈɛvər kənˈsivd- ənd wi ər naʊ ˈwɪtnəsɪŋ ðɛr ˌæbəˈlɪʃən. ðiz riˈstrɪkʃənz ər ˈɔlsoʊ vaɪəˈleɪʃənz əv ɑr məʧ ˈbæliˈhud rights”*” bət ˈləkəli ðiz raɪts kəm wɪθ ðə kənˈdɪʃənz, ˈkeɪviˌæts ənd gɪt aʊt ˈklɔzɪz ˈnɛsəˌsɛri fər ðə ˈgəvərnmənt tɪ riˈmuv ðɛm æt wɪl. ðə ˈjumən raɪts ækt prəˈtɛkt ˈjuˈɛs frəm nu ˈbɑnˌfaɪər əv ˈlɪbərˌtiz, ɪt prəˈtɛkt ˈjuˈɛs naʊ. ðə tɛst ðət ʃʊd bi əˈplaɪd ˌbiˈfɔr ˌɪntrəˈdusɪŋ ˌlɛʤəsˈleɪʃən ɪn ðə neɪm əv sɪˈkjʊrəti ɪz tɪ ˈwɛðər wi kən fɔrˈsi ðɪs ˈgəvərnmənt, ər ˈɛni fˈjuʧər ˈgəvərnmənt, ənd ðə ɔl ðə əˈθɔrətiz ɪt ɪmˈpaʊərz, pəˈtɛnʃəli əˈbjuzɪŋ ðiz nu paʊərz ɪn ðə fˈjuʧər. ˈɛni ˈθɪŋkɪŋ ənd ˈpərsən kən si ðiz ˈmɛʒərz hæv ə juʤ pəˈtɛnʃəl fər ˈsɪriəs əˈbjuz. θruaʊt ˈhɪstəri ˈlɪbərˌti həz bɪn əˈbɑlɪʃt ənd ˌtoʊˌtæləˈtɛriəˌnɪzəm ˌɪmˈpoʊzd ɪn ə ˈsədən ˌrɛvəˈluʃən ər ˌɪnˈveɪʒən tɪ ðə tun əv ˈmɑrʧɪŋ ʤæk buts. wi fil seɪf ənd sɪˈkjʊr ɪn ðə ˈnɑlɪʤ ðət ðɪs ɪz ənˈlaɪkli tɪ ˈhæpən ɪn ˈbrɪtən bət wi hæv bɪn ləld ˈɪntu ə fɔls sɛns əv sɪˈkjʊrəti. ɑr ˈlɪˌbərəl dɪˈmɑkrəsi wɪl nɑt bi əˈbɑlɪʃt θru ə flæʃ əv ˈvaɪələns; ðə steɪt wɪl bɪˈkəm ˌtoʊˌtælɪˈtɛriən ˌɪnkrəˈmɛntəˌli, ˈmɛʒər baɪ ˈmɛʒər, ˌɪntrəˈdust wɪθ kənˈsɛnt əv ə ˈtɪmɪd ənd ˈfɪrfəl ˈpɑpjələs kaʊərɪŋ frəm ðə ˈtɛrərɪst θrɛt. ɪt ɪz ənˈʤəst ənd ˈtoʊtəli ˈkɑntrɛri tɪ ɑr ˈvæljuz fər riˈstrɪkʃənz tɪ bi pleɪst ɔn ˌɪndəˈvɪʤəwəl ˈfridəm wɪˈθaʊt du ˈprɔˌsɛs. aɪ ərʤ ˈɛvəri ˈlɪbərˌti ˈmaɪndɪd kənˈsərvətɪv tɪ dɪˈsɛnt; ju ˈkænɑt stænd əp fər, ənd kənˈsərv, ˈbrɪtɪʃ ˈvæljuz waɪl ˈvaɪəleɪtɪŋ ðɛm ɪn ə ˈklaɪmɪt əv fɪr ənd ˌɪnˌtɪmɪˈdeɪʃən. wɪθ ðə ɪkˈsɛpʃən əv ˌɪnˈsaɪtmənt tɪ ˈvaɪələns, ɪn ɔl ˈkeɪsɪz spiʧ məst bi fri. ɪn ə ˈʤɛnjuˌaɪnli fri soʊˈsaɪɪti ɪt ɪz ˈoʊnli ˈæftər ə kraɪm həz bɪn kəˈmɪtɪd ðət ðə lɔ bɪˈkəmz ˌɪnˈvɑlvd. nɔr du ðə əˈθɔrətiz hæv ˈɛni raɪt tɪ spiʧ ər ˌpəblɪˈkeɪʃənz ˌbiˈfɔr ðeɪ ər ɪkˈsprɛst. ʤɪst θɪŋk əv wət ə sæd steɪt əv əˈfɛrz ɪt wʊd bi fər ðə pəˈlis tɪ bi ˈpɔrɪŋ ˈoʊvər ˈspiʧɪz ənd ˈɑrtɪkəlz fər saɪnz əv ““extremism”*”. ˈkərbɪŋ fri spiʧ ɪz ˈsɛtɪŋ ˈjuˈɛs ɔn tɪ ðə roʊd tɪ ənd ˈtɪrəni, ə roʊd peɪvd wɪθ gʊd ˌɪnˈtɛnʧənz ənd kɔlz fər ˈgreɪtər sɪˈkjʊrəti. baɪ əˈlaʊɪŋ fəˈnætɪks tɪ spik ənd ˈpəblɪʃ ˈoʊpənli ðeɪ kən bi aɪˈdɛntəˌfaɪd, əbˈzərvd ənd ðɛr ˈnɛtˌwərks ˈmɑnətərd. ɪf wi əˈprɛs əˈpɪnjənz wi ər ˈmɪrli ɪnˈʃʊrɪŋ ðət ðeɪ ər ɪkˈsprɛst ɪn ˈsikrɪt, wɪʧ ɪz ˈdeɪnʤərəs. ðə fri ˌkɑmpəˈtɪʃən əv aɪˈdiəz ɪz ɛˈsɛnʃəl fər səˈsaɪɪtəl dɪˈvɛləpmənt ənd ˈprɑˌgrɛs, ənd ðɛˈrɪn leɪz ðə ˈænsər. ɪf wi əˈlaʊ ðoʊz hu wi pərˈsiv tɪ hæv æˈbhɔrənt ənd ““extreme”*” vjuz tɪ ɪkˈsprɛs ðɛm ˈoʊpənli wi kən ˈkɑmbæt ðɛm ˈfɪrsli. fər wi noʊ ðət ðə aɪˈdilz, ˈprɪnsəpəlz ənd ˈvæljuz wi hoʊld dɪr ər suˈpɪriər ənd wɪl ɪnˈdʊr (ɪf wi kənˈsərv ðɛm). ɑr təˈmɪdəti ɪz bɪˈtreɪɪŋ jəŋ ˈməzlɪmz lʊrd ˈɪntu tɛmˈteɪʃən baɪ fɔls ˈprɑfəts ənd kərəpt ˌaɪdiˈɑləʤi. ðə aɪˈdiəz ənd vjuz əv ˈɪsləmɪsts ər nɑt ʤɪst ˌɪˈmɔrəl ənd dɪsˈgəstɪŋ; ðeɪ ər ˈdaʊnˌraɪt ˈstupɪd, rɪˈdɪkjələs ənd ˈlæfəbəl. lɛt ˈjuˈɛs spik əp fər ˈbrɪtɪʃ ˈvæljuz ənd ɔl ðə ˈvərʧuz əv ɑr fri soʊˈsaɪɪti. wi hæv ɔl ðə ˈkəlʧərəl ˈməsəl wi nid tɪ feɪs daʊn ðiz priˈtɛnʃəs ˈɪsləmɪst ɪn ðə ˈoʊpən ɪksˈʧeɪnʤ əv aɪˈdiəz. lɛt ðɛm spik ˈoʊpənli, ənd wi kən dɪˈfit ðɛm θru ˈkrɪtɪˌsɪzəm, ˌrɛfjuˈteɪʃən, ˈrɪdəˌkjul ənd ˈsæˌtaɪər. baɪ ˈrɛdəli bɪˈtreɪɪŋ ɑr ˈvæljuz ɪn ðə feɪs əv ˈtɛrəˌrɪzəm, wi ər dɪˈfitɪd. wi ər ˈlɛtɪŋ ðɛm wɪn ənd wi ər ˈpruvɪŋ raɪt ðɛr əˈsərʃən ðət wi ər wik ənd ˌhɪpəˈkrɪtɪkəl. ɪt həz bɪn sɛd rɪˈpitɪdli ðət ðə prəˈpoʊzd sɪˈkjʊrəti ˈmɛʒərz ər dɪˈzaɪnd tɪ prəˈtɛkt values”*”. wɛl, əˈphoʊldɪŋ ˈbrɪtɪʃ ˈvæljuz minz prəˈtɛktɪŋ ðə ˈprɪnsəpəlz əv ɪkˈwɑləti ˌbiˈfɔr ðə lɔ ənd ˈfridəm əv ɪkˈsprɛʃən. ɪf ˈdeɪvɪd ˈkæmərən ənd tərˈisə meɪ ər ənˈʃʊr ɛz tɪ wət ˈkɑnstəˌtuts ə ˈbrɪtɪʃ ˈvælju, ˈhæpi tɪ ˈɔfər ðə ˈfɑloʊɪŋ ɪgˈzæmpəlz: məst bi fri ər daɪ, hu spik ðə təŋ ðət ˈʃeɪkˌspir speɪk; ðə feɪθ ənd ˈmɔrəlz hoʊld wɪʧ ˈmɪltən held.”*.” mi ðə ˈlɪbərˌti tɪ noʊ, tɪ ˈətər, ənd tɪ ˈɑrgju ˈfrili əˈkɔrdɪŋ tɪ ˈkɑnʃəns, əˈbəv ɔl liberties.”*.” ðə ˈɑrgjəmənts əv ðə ˈprɛzənt ˈʧæptər ər əv ˈɛni vəˈlɪdɪti, ðɛr ɔt tɪ ɪgˈzɪst ðə ˈfʊləst ˈlɪbərˌti əv prəˈfɛsɪŋ ənd dɪˈskəsɪŋ, ɛz ə ˈmætər əv ˈɛθɪkəl kənˈvɪkʃən, ˈɛni ˈdɔktərɪn, ˌhaʊˈɛvər ˌɪˈmɔrəl ɪt meɪ bi considered.”*.”. ðət wʊd meɪk hɪz oʊn ˈlɪbərˌti sɪˈkjʊr, məst gɑrd ˈivɪn hɪz ˈɛnəmi frəm əˈprɛʃən; fər ɪf hi ˈvaɪəleɪts ðɪs ˈduti, hi ɪˈstæblɪʃɪz ə ˈprɛsɪdənt ðət wɪl riʧ tɪ himself.”*.” ˈsɛləˌbreɪt ðə ˈmægnə ˈkɑrtə ənd ðə kənˈtɪnjuɪŋ ˌɪmˈpɔrtəns əv ˈlɪbərˌti wɪθ ˈjuˈɛs ɔn ʤun 10th*.

tigeraidan originally posted by no one knows the reason why cain was suspended for the miami game so to say he needs to get it together is assuming and that is never a good thing. as far as the other 2, is a senior so his career was over after this year anyways and i am afraid to say probably just sealed his fate as a tiger but he had ample amount of time to get it together so i can't feel sorry for him. with that said there are rules that have to be followed and if you break those rules you have to be dealt with but i am not going to judge these young men on failing a drug test. i am sure the last thing any college kid wants to do is take a drug test. hopefully it is a learning lesson for these kids but they don't need so called fans judging their lives or their decisions. they made their choices now they must live with the consequences and it isn't fair to have those fans who know nothing about them berate them because they can't help their favorite team win. if it is your first instinct to name call and tell everyone how stupid they are then you damn sure better have a clean closet....

tigeraidan* ərˈɪʤənəli ˈpoʊstɪd baɪ noʊ wən noʊz ðə ˈrizən waɪ keɪn wɑz səˈspɛndɪd fər ðə maɪˈæmi geɪm soʊ tɪ seɪ hi nidz tɪ gɪt ɪt təˈgɛðər ɪz əˈsumɪŋ ənd ðət ɪz ˈnɛvər ə gʊd θɪŋ. ɛz fɑr ɛz ðə ˈəðər 2 ɪz ə ˈsinjər soʊ hɪz kərɪr wɑz ˈoʊvər ˈæftər ðɪs jɪr ˈɛniˌweɪz ənd aɪ æm əˈfreɪd tɪ seɪ ˈprɑbəˌbli ʤɪst sild hɪz feɪt ɛz ə ˈtaɪgər bət hi hæd ˈæmpəl əˈmaʊnt əv taɪm tɪ gɪt ɪt təˈgɛðər soʊ aɪ kænt fil ˈsɑri fər ɪm. wɪθ ðət sɛd ðɛr ər rulz ðət hæv tɪ bi ˈfɑloʊd ənd ɪf ju breɪk ðoʊz rulz ju hæv tɪ bi dɛlt wɪθ bət aɪ æm nɑt goʊɪŋ tɪ ʤəʤ ðiz jəŋ mɛn ɔn ˈfeɪlɪŋ ə drəg tɛst. aɪ æm ʃʊr ðə læst θɪŋ ˈɛni ˈkɑlɪʤ kɪd wɔnts tɪ du ɪz teɪk ə drəg tɛst. ˈhoʊpfəli ɪt ɪz ə ˈlərnɪŋ ˈlɛsən fər ðiz kɪdz bət ðeɪ doʊnt nid soʊ kɔld fænz ˈʤəʤɪŋ ðɛr lɪvz ər ðɛr dɪˈsɪʒənz. ðeɪ meɪd ðɛr ˈʧɔɪsɪz naʊ ðeɪ məst lɪv wɪθ ðə ˈkɑnsəkˌwɛnsəz ənd ɪt ˈɪzənt fɛr tɪ hæv ðoʊz fænz hu noʊ ˈnəθɪŋ əˈbaʊt ðɛm bɪˈreɪt ðɛm bɪˈkəz ðeɪ kænt hɛlp ðɛr ˈfeɪvərɪt tim wɪn. ɪf ɪt ɪz jʊr fərst ˈɪnstɪŋkt tɪ neɪm kɔl ənd tɛl ˈɛvriˌwən haʊ ˈstupɪd ðeɪ ər ðɛn ju dæm ʃʊr ˈbɛtər hæv ə klin ˈklɑzət....

guardian investigation reveals death toll over 12 months with many desperately trying risky routes into to escape makeshift camps without sanitation at french port facebook twitter calais migrants: ‘get to england or die trying’ at least 15 migrants in and around the french port of calais have died in the past year as an influx of young men and women from east africa take ever greater risks to get the, according to an investigation by the guardian. growing numbers of young families, some with children as young as three, have also arrived in the french town in the past few months and are living in makeshift camps without sanitation or running water. theropean director of the refugee agency (unhcr) described the situation as shameful and warned more people will die in the refugee camps in the coming weeks as temperatures plummet. “the conditions are totally unacceptable and are not consistent with the kind of values that a democratic society should have,” vincent from the told the guardian. “this is a shameful situation to witness in the heart of therope union.” the french authorities do not generally keep a record of the migrants who die in calais, but local charities and the say at least 15 people, including young women and teenagers, have died in the past 12 months. last month one man died after attempting to jump from a bridge onto a moving lorry, and two more were killed in nearby dunkirk when the truck they were hiding in caught fire. earlier this month an eritrean man was knocked down and killed as he looked for a lorry to board. cochetel said he believed conditions in calais were now worse than those at refugee camps in turkey, where hundreds of thousands of people arrive each month to escape the bloodshed in syria. he said the british and french governments had yet to appreciate the severity of the situation. “you will have people dying of cold and even more desperate people taking even more risks,” he said. “some of the people there are becoming so tired and desperate that they are ready to do very dangerous things.” the french port has repeatedly hit the headlines in the past year, amid an increasingly hostile debate in the around immigration and asylum. as more people arrived in calais and conditions deteriorated clashes erupted between different groups of migrants and politicians on both sides of the channel called for ever tougher measures to secure the port. despite this the harsh reality of life for the people in the camps has been largely ignored. today a guardian investigation also reveals: • more and more teenagers and young children some just three years old have arrived over the past few months, mainly from east africa. • young women living in the camps are being sexually exploited often by trafficking gangs which are offering a route into england in exchange for sex. • new camps are springing up along the coast and around the entrance to thero tunnel as french and british authorities step up security at the calais port. juliette delaplace, who works for catholique, a charity that has been assisting migrants in calais for 10 years said: “no other year has seen as many migrants die. they are jumping on lorries and taking more risks.” most but not all of these deaths in the calais area happened as migrants attempted to make the perilous journey to the. in the event of a migrant death the charity helps to raise money from local community groups to repatriate the body. the charity receives no support from local authorities in this process. those families and friends who can not raise enough money to repatriate their bodies are buried in unmarked graves in cemetery plots usually reserved for the homeless. migrants, mainly from eritrea, have gathered their tents in an abandoned calais. many try to hop on trucks to get to england. photograph: etienne hussain, an agricultural engineer who left his wife and two young children in egypt to try to find work to provide for his family, said a friend of his, a from sudan, died earlier this year after holding onto the underside of a lorry for three hours. “he just hold on any longer,” said hussain who has been in the camp nicknamed “the jungle” for two months and tries every night to get onto a lorry bound for the. cochetel said it was typical of the growing risks people were prepared to take. “we are seeing more and more people taking crazy risks because they feel they have nothing to lose so they take whatever chance they can to get to a place where they feel their life is going to be better or to where they think they will be protected.” migrants also told the guardian that trafficking gangs were openly operating in calais and offering to smuggle people into the for between and. some said traffickers were coercing vulnerable young girls into having sex in return for being smuggled into the. cochetel said: “we know that it is going on. for a few of them it might be what is termed “survival sex”, a sort of strategy, for others yes it is exploitation by smugglers in exchange for getting them on the back of a truck.” a eritrean woman who has been living in calais for two months told the guardian she was fearful: “i am not safe living in the jungle. there is a lot of drinking in the camp and this creates problems. it is very dangerous for a woman living here.” earlier this year more than 100 migrants broke through port security in an attempt to force their way onto ferries bound for the. there have also been clashes between different groups of migrants in the town. the government has pledged to help secure the port but said that was not enough, arguing that people would “always find a way around fences”. he said the along with other northernropean countries - had to “provide a mechanism” that allows those with legitimate claims to seek asylum when they first arrived in southern countries. and he warned that until there was concerted-wide action the situation in calais was likely to deteriorate further. “there will be more deaths and more tension… in the mid term it is just bad news coming for these people,” warned. • additional reporting: anne escaping from calais camp: ‘i risk my life whatever if takes’ with his face lit by the flames from the small campfire mohammed, a who fled the conflict in gaza earlier this year, quietly explains how he ended up in a squalid camp just 20 miles from the english coast. “i had no choice but to leave and try and find something better,” he says. “our house was destroyed …we had nothing, i just wanted to feel one moment of safety, one moment when i am not cold, when i am not treated like an insect.” migrants in calais gather food and supplies during the day, waiting for the night or a traffic jam to hop on trucks on their way to england photograph: etienne tonight, as on every other evening for the past month, mohammed and his four friends two syrians and two egyptians, who met on a smugglers’ boat crossing the mediterranean will set off on their nightly quest; pitting themselves against the french police and private security guards protecting lorry parks ands in an attempt to find their way onto the back of a truck and what they hope will be a better life in the. “it is dangerous and difficult when you have not had food or sleep but every night we must try,” mohammed says with a smile as he pulls his hat down against the biting cold. “we have left our homes to find a better life. we can not stay here and put up with this.” he gestures behind him to the muddy field stretching into the distance, spotted with campfires and covered with makeshift shelters. beyond the tents are piles of rubbish, and beyond that, the strip of wasteland used by the hundreds of people who live here as a toilet. mohammed and his friends are among thousands of people who, having fled war, persecution and poverty beyondrope’s borders, are living in increasingly precarious conditions in makeshift camps across northern france waiting and hoping for their chance to make it to the. many more people seek refuge in otherropean countries but the concentration of those waiting here and the conditions in which they are living set calais apart. according to local charities and the refugee agency at least 15 people, including young women and teenagers, have died in the past 12 months. as first light spreads over the largest camp in calais known as the jungle mohammed and his friends make their way back to their shelter along a railway track after another fruitless night. during the early hours they were chased by police and one of friends, hussain from egypt, was pepper sprayed, before falling into a ditch. his plight prompts gentle mocking from his friends but the atmosphere is sombre. the men have just been told another of their friends a from sudan has died. the group, exhausted and cold from a night tramping the dual and lorry parks that surround the french port, falls silent. they know it is a fate that could befall any of them. over the past few months it is not just the numbers of people arriving in calais that have caused alarm among politicians and aid workers it is their age. following the chaos in libya since the overthrow of the regime thousands of young people have used the failed state to flee oppressive regimes in east africa in search of a better life inrope. among the dirt and makeshift shelters of the jungle, watches her mother winta, 18, cooking over a small fire of twigs. in one pan are two potatoes, in the other coffee. plays on a filthy plastic as her father, 24, explains how he left eritrea to escape compulsory military conscription and a brutal regime that amnesty says is responsible for widespread human rights abuses. he takes a battered picture from his wallet of himself smiling next to another man. “he killed himself rather than stay or get locked up and so i knew i had to leave,” says quietly. the family left their home in eritrea a year ago, heading first to sudan before paying smugglers to take them across the sahara desert, through libya and onto another smugglers’ boat bound forrope. like many of those in the camp he is reluctant to reveal too many details in case the eritrean authorities take action against his remaining family. but in a halting voice he says the worst part of the journey was crossing the sahara, where they had little water and seven of the people they were with died. he says the gangs in libya “treated them like dogs”. and now sitting in the camp in northern france in the cold he admits he faces a fresh challenge: getting onto the back of a lorry with his daughter and young wife. if he does not succeed, the family who have never experienced a northropean winter face months of freezing conditions sheltering in a derelict sports hall at the centre of the jungle with little food. “it’s very difficult here with a young child because we are trying to get onto lorries which is very dangerous, but i would do anything for her, for her future. i will risk my life whatever it takes,” says. according to the and her family are among about 3000 migrants in and around calais three times the number at the beginning of the year who are taking greater risks to try to get to the. most of them live in makeshift camps like the jungle or in squats scattered around the town and survive on one meal a day provided by local charities. the french authorities have pledged to open a new day centre in january to help the most vulnerable people. opponents have claimed this will only attract more migrants to the town. those in the camps are it will ever open and say even if it does it will be too little, too late. whether the centre does help or not it is clear the problem is no longer confined to calais. the guardian spent time with truck drivers who say their lorries are regularly targeted by smugglers in car parks more than 125 miles (200km) from the french port. migrants have also set up smaller camps across the region from the fields near the entrance to the channel tunnel to a small wood near a shopping centre in dunkirk. at one lorry park about half way between calais and paris, matthew, who works for a-based furniture removal company, checks his lorry for the final time before turning in for the night. he seems overly paranoid as he points to the hedge surrounding the car park. “they will be in there now watching and waiting to see which lorries look the best bet.” but as dusk settles he is proved right. there is a movement in the hedge and matthew goes for a closer look in time to see three young men in their late teens or sitting in the bushes. “even here so far from the coast they are trying to get on now. it is getting beyond a joke.” two weeks later his firm decide to stop using calais altogether. for many politicians the answer to the unfolding crisis in calais seems to be two-fold: build bigger and higher fences and make life for those who do make it through to the as uncomfortable as possible. others suggest that only closer at level with countries from northernrope working much more closely with those in the south to offer asylum to refugees and return others when they first arrive can the problem be addressed. however, as record numbers of people flee poverty and war in the middle east and africa it seems unlikely that people will stop leaving their homes in search of a better, safer life inrope for the foreseeable future. “when i get to england i will study and then get a job and work so my daughter can have a better life,” says, who a few weeks after we spoke discovered his wife was pregnant with their second child. as he settles down to his one meal of the day as the night closes in on the jungle he remains sure he is doing the right thing, despite the risks. “we did not have a life at home and we do not really have one here. so we must keep trying.”

ˈgɑrdiən ˌɪnˌvɛstəˈgeɪʃən rɪˈvilz dɛθ toʊl ˈoʊvər 12 mənθs wɪθ ˈmɛni ˈdɛspərətli traɪɪŋ ˈrɪski rʊts ˈɪntu tɪ ɪˈskeɪp ˈmeɪkˌʃɪft kæmps wɪˈθaʊt ˌsænɪˈteɪʃən æt frɛnʧ pɔrt ˈfeɪsˌbʊk tˈwɪtər kəˈleɪ ˈmaɪgrənts: tɪ ˈɪŋglənd ər daɪ trying’*’ æt list 15 ˈmaɪgrənts ɪn ənd əraʊnd ðə frɛnʧ pɔrt əv kəˈleɪ hæv daɪd ɪn ðə pæst jɪr ɛz ən ˈɪnˌfləks əv jəŋ mɛn ənd ˈwɪmən frəm ist ˈæfrɪkɑ teɪk ˈɛvər ˈgreɪtər rɪsks tɪ gɪt ðə, əˈkɔrdɪŋ tɪ ən ˌɪnˌvɛstəˈgeɪʃən baɪ ðə ˈgɑrdiən. groʊɪŋ ˈnəmbərz əv jəŋ ˈfæməliz, səm wɪθ ˈʧɪldrən ɛz jəŋ ɛz θri, hæv ˈɔlsoʊ əraɪvd ɪn ðə frɛnʧ taʊn ɪn ðə pæst fju mənθs ənd ər ˈlɪvɪŋ ɪn ˈmeɪkˌʃɪft kæmps wɪˈθaʊt ˌsænɪˈteɪʃən ər ˈrənɪŋ ˈwɔtər. ðə ˌjʊrəˈpiən dɪˈrɛktər əv ðə ˈrɛfjuʤi ˈeɪʤənsi (unhcr*) dɪˈskraɪbd ðə ˌsɪʧuˈeɪʃən ɛz ˈʃeɪmfəl ənd wɔrnd mɔr ˈpipəl wɪl daɪ ɪn ðə ˈrɛfjuʤi kæmps ɪn ðə ˈkəmɪŋ wiks ɛz ˈtɛmpərəʧərz ˈpləmət. kənˈdɪʃənz ər ˈtoʊtəli ˌənækˈsɛptəbəl ənd ər nɑt kənˈsɪstənt wɪθ ðə kaɪnd əv ˈvæljuz ðət ə ˌdɛməˈkrætɪk soʊˈsaɪɪti ʃʊd have,”*,” ˈvɪnsɪnt frəm ðə toʊld ðə ˈgɑrdiən. ɪz ə ˈʃeɪmfəl ˌsɪʧuˈeɪʃən tɪ ˈwɪtnəs ɪn ðə hɑrt əv ðə ˈjʊrəp union.”*.” ðə frɛnʧ əˈθɔrətiz du nɑt ˈʤɛnərəli kip ə ˈrɛkərd əv ðə ˈmaɪgrənts hu daɪ ɪn kəˈleɪ, bət ˈloʊkəl ˈʧɛrɪtiz ənd ðə seɪ æt list 15 ˈpipəl, ˌɪnˈkludɪŋ jəŋ ˈwɪmən ənd ˈtiˌneɪʤərz, hæv daɪd ɪn ðə pæst 12 mənθs. læst mənθ wən mæn daɪd ˈæftər əˈtɛmptɪŋ tɪ ʤəmp frəm ə brɪʤ ˈɔntu ə ˈmuvɪŋ ˈlɔri, ənd tu mɔr wər kɪld ɪn ˈnɪrˈbaɪ ˈdənkərk wɪn ðə trək ðeɪ wər ˈhaɪdɪŋ ɪn kɔt faɪər. ˈərliər ðɪs mənθ ən ˌɛrɪˈtriən mæn wɑz nɑkt daʊn ənd kɪld ɛz hi lʊkt fər ə ˈlɔri tɪ bɔrd. sɛd hi bɪˈlivd kənˈdɪʃənz ɪn kəˈleɪ wər naʊ wərs ðən ðoʊz æt ˈrɛfjuʤi kæmps ɪn ˈtərki, wɛr ˈhənərdz əv ˈθaʊzənz əv ˈpipəl əraɪv iʧ mənθ tɪ ɪˈskeɪp ðə ˈblədˌʃɛd ɪn ˈsɪriə. hi sɛd ðə ˈbrɪtɪʃ ənd frɛnʧ ˈgəvərnmənts hæd jɛt tɪ əˈpriʃiˌeɪt ðə sɪˈvɛrɪti əv ðə ˌsɪʧuˈeɪʃən. wɪl hæv ˈpipəl daɪɪŋ əv koʊld ənd ˈivɪn mɔr ˈdɛspərɪt ˈpipəl ˈteɪkɪŋ ˈivɪn mɔr risks,”*,” hi sɛd. əv ðə ˈpipəl ðɛr ər bɪˈkəmɪŋ soʊ taɪərd ənd ˈdɛspərɪt ðət ðeɪ ər ˈrɛdi tɪ du ˈvɛri ˈdeɪnʤərəs things.”*.” ðə frɛnʧ pɔrt həz rɪˈpitɪdli hɪt ðə ˈhɛˌdlaɪnz ɪn ðə pæst jɪr, əˈmɪd ən ˌɪnˈkrisɪŋgli ˈhɑstəl dəˈbeɪt ɪn ðə əraʊnd ˌɪməˈgreɪʃən ənd əˈsaɪləm. ɛz mɔr ˈpipəl əraɪvd ɪn kəˈleɪ ənd kənˈdɪʃənz dɪˈtɪriərˌeɪtɪd ˈklæʃɪz ˌɪˈrəptɪd bɪtˈwin ˈdɪfərənt grups əv ˈmaɪgrənts ənd ˌpɑləˈtɪʃənz ɔn boʊθ saɪdz əv ðə ˈʧænəl kɔld fər ˈɛvər ˈtəfər ˈmɛʒərz tɪ sɪˈkjʊr ðə pɔrt. dɪˈspaɪt ðɪs ðə hɑrʃ ˌriˈæləˌti əv laɪf fər ðə ˈpipəl ɪn ðə kæmps həz bɪn ˈlɑrʤli ˌɪgˈnɔrd. təˈdeɪ ə ˈgɑrdiən ˌɪnˌvɛstəˈgeɪʃən ˈɔlsoʊ rɪˈvilz: mɔr ənd mɔr ˈtiˌneɪʤərz ənd jəŋ ˈʧɪldrən səm ʤɪst θri jɪrz oʊld hæv əraɪvd ˈoʊvər ðə pæst fju mənθs, ˈmeɪnli frəm ist ˈæfrɪkɑ. jəŋ ˈwɪmən ˈlɪvɪŋ ɪn ðə kæmps ər biɪŋ ˈsɛkʃuəli ˈɛkˌsplɔɪtəd ˈɔfən baɪ ˈtræfɪkɪŋ gæŋz wɪʧ ər ˈɔfərɪŋ ə rut ˈɪntu ˈɪŋglənd ɪn ɪksˈʧeɪnʤ fər sɛks. nu kæmps ər ˈsprɪŋɪŋ əp əˈlɔŋ ðə koʊst ənd əraʊnd ðə ˈɛntrəns tɪ ðə ˈjʊrə ˈtənəl ɛz frɛnʧ ənd ˈbrɪtɪʃ əˈθɔrətiz stɛp əp sɪˈkjʊrəti æt ðə kəˈleɪ pɔrt. ʤuliˈɛt delaplace*, hu wərks fər catholique*, ə ˈʧɛrɪti ðət həz bɪn əˈsɪstɪŋ ˈmaɪgrənts ɪn kəˈleɪ fər 10 jɪrz sɛd: ˈəðər jɪr həz sin ɛz ˈmɛni ˈmaɪgrənts daɪ. ðeɪ ər ˈʤəmpɪŋ ɔn ˈlɔriz ənd ˈteɪkɪŋ mɔr risks.”*.” moʊst bət nɑt ɔl əv ðiz dɛθs ɪn ðə kəˈleɪ ˈɛriə ˈhæpənd ɛz ˈmaɪgrənts əˈtɛmptəd tɪ meɪk ðə ˈpɛrələs ˈʤərni tɪ ðə. ɪn ðə ɪˈvɛnt əv ə ˈmaɪgrənt dɛθ ðə ˈʧɛrɪti hɛlps tɪ reɪz ˈməni frəm ˈloʊkəl kəmˈjunɪti grups tɪ riˈpeɪtriˌeɪt ðə ˈbɑdi. ðə ˈʧɛrɪti rɪˈsivz noʊ səˈpɔrt frəm ˈloʊkəl əˈθɔrətiz ɪn ðɪs ˈprɔˌsɛs. ðoʊz ˈfæməliz ənd frɛndz hu kən nɑt reɪz ɪˈnəf ˈməni tɪ riˈpeɪtriˌeɪt ðɛr ˈbɑdiz ər ˈbɛrid ɪn ənˈmɑrkt greɪvz ɪn ˈsɛmɪˌtɛri plɑts ˈjuʒəwəli rɪˈzərvd fər ðə ˈhoʊmləs. ˈmaɪgrənts, ˈmeɪnli frəm ˌɛrɪˈtriə, hæv ˈgæðərd ðɛr tɛnts ɪn ən əˈbændənd kəˈleɪ. ˈmɛni traɪ tɪ hɑp ɔn trəks tɪ gɪt tɪ ˈɪŋglənd. ˈfoʊtəˌgræf: ˈɛtiɛn huˈseɪn, ən ˌægrɪˈkəlʧərəl ˈɛnʤəˈnɪr hu lɛft hɪz waɪf ənd tu jəŋ ˈʧɪldrən ɪn ˈiʤɪpt tɪ traɪ tɪ faɪnd wərk tɪ prəˈvaɪd fər hɪz ˈfæməli, sɛd ə frɛnd əv hɪz, ə frəm suˈdæn, daɪd ˈərliər ðɪs jɪr ˈæftər ˈhoʊldɪŋ ˈɔntu ðə ˈəndərˌsaɪd əv ə ˈlɔri fər θri aʊərz. ʤɪst hoʊld ɔn ˈɛni longer,”*,” sɛd huˈseɪn hu həz bɪn ɪn ðə kæmp ˈnɪkˌneɪmd jungle”*” fər tu mənθs ənd traɪz ˈɛvəri naɪt tɪ gɪt ˈɔntu ə ˈlɔri baʊnd fər ðə. sɛd ɪt wɑz ˈtɪpɪkəl əv ðə groʊɪŋ rɪsks ˈpipəl wər priˈpɛrd tɪ teɪk. ər siɪŋ mɔr ənd mɔr ˈpipəl ˈteɪkɪŋ ˈkreɪzi rɪsks bɪˈkəz ðeɪ fil ðeɪ hæv ˈnəθɪŋ tɪ luz soʊ ðeɪ teɪk ˌwəˈtɛvər ʧæns ðeɪ kən tɪ gɪt tɪ ə pleɪs wɛr ðeɪ fil ðɛr laɪf ɪz goʊɪŋ tɪ bi ˈbɛtər ər tɪ wɛr ðeɪ θɪŋk ðeɪ wɪl bi protected.”*.” ˈmaɪgrənts ˈɔlsoʊ toʊld ðə ˈgɑrdiən ðət ˈtræfɪkɪŋ gæŋz wər ˈoʊpənli ˈɔpərˌeɪtɪŋ ɪn kəˈleɪ ənd ˈɔfərɪŋ tɪ sˈməgəl ˈpipəl ˈɪntu ðə fər bɪtˈwin ənd səm sɛd ˈtræfɪkərz wər koʊəˈrsɪŋ ˈvəlnərəbəl jəŋ gərlz ˈɪntu ˈhævɪŋ sɛks ɪn rɪˈtərn fər biɪŋ sˈməgəld ˈɪntu ðə. sɛd: noʊ ðət ɪt ɪz goʊɪŋ ɔn. fər ə fju əv ðɛm ɪt maɪt bi wət ɪz tərmd sex”*”, ə sɔrt əv ˈstrætəʤi, fər ˈəðərz jɛs ɪt ɪz ˌɛkˌsplɔɪˈteɪʃən baɪ sˈməgələrz ɪn ɪksˈʧeɪnʤ fər ˈgɪtɪŋ ðɛm ɔn ðə bæk əv ə truck.”*.” ə ˌɛrɪˈtriən ˈwʊmən hu həz bɪn ˈlɪvɪŋ ɪn kəˈleɪ fər tu mənθs toʊld ðə ˈgɑrdiən ʃi wɑz ˈfɪrfəl: æm nɑt seɪf ˈlɪvɪŋ ɪn ðə ˈʤəŋgəl. ðɛr ɪz ə lɔt əv ˈdrɪŋkɪŋ ɪn ðə kæmp ənd ðɪs kriˈeɪts ˈprɑbləmz. ɪt ɪz ˈvɛri ˈdeɪnʤərəs fər ə ˈwʊmən ˈlɪvɪŋ here.”*.” ˈərliər ðɪs jɪr mɔr ðən 100 ˈmaɪgrənts broʊk θru pɔrt sɪˈkjʊrəti ɪn ən əˈtɛmpt tɪ fɔrs ðɛr weɪ ˈɔntu ˈfɛriz baʊnd fər ðə. ðɛr hæv ˈɔlsoʊ bɪn ˈklæʃɪz bɪtˈwin ˈdɪfərənt grups əv ˈmaɪgrənts ɪn ðə taʊn. ðə ˈgəvərnmənt həz plɛʤd tɪ hɛlp sɪˈkjʊr ðə pɔrt bət sɛd ðət wɑz nɑt ɪˈnəf, ˈɑrgjuɪŋ ðət ˈpipəl wʊd faɪnd ə weɪ əraʊnd fences”*”. hi sɛd ðə əˈlɔŋ wɪθ ˈəðər ˈnɔrðərn ˌjʊrəˈpiən ˈkəntriz hæd tɪ ə mechanism”*” ðət əˈlaʊz ðoʊz wɪθ ləˈʤɪtəmət kleɪmz tɪ sik əˈsaɪləm wɪn ðeɪ fərst əraɪvd ɪn ˈsəðərn ˈkəntriz. ənd hi wɔrnd ðət ənˈtɪl ðɛr wɑz kənˈsərtɪd ˈækʃən ðə ˌsɪʧuˈeɪʃən ɪn kəˈleɪ wɑz ˈlaɪkli tɪ dɪˈtɪriərˌeɪt ˈfərðər. wɪl bi mɔr dɛθs ənd mɔr tension…*… ɪn ðə mɪd tərm ɪt ɪz ʤɪst bæd nuz ˈkəmɪŋ fər ðiz people,”*,” wɔrnd. əˈdɪʃənəl rɪˈpɔrtɪŋ: æn ɪˈskeɪpɪŋ frəm kəˈleɪ kæmp: rɪsk maɪ laɪf ˌwəˈtɛvər ɪf takes’*’ wɪθ hɪz feɪs lɪt baɪ ðə fleɪmz frəm ðə smɔl ˈkæmpˌfaɪər moʊˈhæmɪd, ə hu flɛd ðə ˈkɑnflɪkt ɪn ˈgɑzə ˈərliər ðɪs jɪr, kˈwaɪətli ɪkˈspleɪnz haʊ hi ˈɛndɪd əp ɪn ə skˈwɑləd kæmp ʤɪst 20 maɪəlz frəm ðə ˈɪŋlɪʃ koʊst. hæd noʊ ʧɔɪs bət tɪ liv ənd traɪ ənd faɪnd ˈsəmθɪŋ better,”*,” hi sɪz. haʊs wɑz dɪˈstrɔɪd hæd ˈnəθɪŋ, aɪ ʤɪst ˈwɔntɪd tɪ fil wən ˈmoʊmənt əv ˈseɪfti, wən ˈmoʊmənt wɪn aɪ æm nɑt koʊld, wɪn aɪ æm nɑt ˈtritɪd laɪk ən insect.”*.” ˈmaɪgrənts ɪn kəˈleɪ ˈgæðər fud ənd səˈplaɪz ˈdʊrɪŋ ðə deɪ, ˈweɪtɪŋ fər ðə naɪt ər ə ˈtræfɪk ʤæm tɪ hɑp ɔn trəks ɔn ðɛr weɪ tɪ ˈɪŋglənd ˈfoʊtəˌgræf: ˈɛtiɛn təˈnaɪt, ɛz ɔn ˈɛvəri ˈəðər ˈivnɪŋ fər ðə pæst mənθ, moʊˈhæmɪd ənd hɪz fɔr frɛndz tu ˈsɪriənz ənd tu ɪˈʤɪpʃənz, hu mɛt ɔn ə smugglers’*’ boʊt ˈkrɔsɪŋ ðə ˌmɛdətərˈeɪniən wɪl sɛt ɔf ɔn ðɛr ˈnaɪtli kwɛst; ˈpɪtɪŋ ðɛmˈsɛlvz əˈgɛnst ðə frɛnʧ pəˈlis ənd ˈpraɪvət sɪˈkjʊrəti gɑrdz prəˈtɛktɪŋ ˈlɔri pɑrks ənd ɪn ən əˈtɛmpt tɪ faɪnd ðɛr weɪ ˈɔntu ðə bæk əv ə trək ənd wət ðeɪ hoʊp wɪl bi ə ˈbɛtər laɪf ɪn ðə. ɪz ˈdeɪnʤərəs ənd ˈdɪfəkəlt wɪn ju hæv nɑt hæd fud ər slip bət ˈɛvəri naɪt wi məst try,”*,” moʊˈhæmɪd sɪz wɪθ ə smaɪl ɛz hi pʊlz hɪz hæt daʊn əˈgɛnst ðə ˈbaɪtɪŋ koʊld. hæv lɛft ɑr hoʊmz tɪ faɪnd ə ˈbɛtər laɪf. wi kən nɑt steɪ hir ənd pʊt əp wɪθ this.”*.” hi ˈʤɛsʧərz bɪˈhaɪnd ɪm tɪ ðə ˈmədi fild ˈstrɛʧɪŋ ˈɪntu ðə ˈdɪstəns, ˈspɑtɪd wɪθ ˈkæmpˌfaɪərz ənd ˈkəvərd wɪθ ˈmeɪkˌʃɪft ˈʃɛltərz. bɪɔnd ðə tɛnts ər paɪlz əv ˈrəbɪʃ, ənd bɪɔnd ðət, ðə strɪp əv ˈweɪˌstlænd juzd baɪ ðə ˈhənərdz əv ˈpipəl hu lɪv hir ɛz ə ˈtɔɪlət. moʊˈhæmɪd ənd hɪz frɛndz ər əˈməŋ ˈθaʊzənz əv ˈpipəl hu, ˈhævɪŋ flɛd wɔr, ˌpərsəˈkjuʃən ənd ˈpɑvərti bɪɔnd ˈbɔrdərz, ər ˈlɪvɪŋ ɪn ˌɪnˈkrisɪŋgli priˈkɛriəs kənˈdɪʃənz ɪn ˈmeɪkˌʃɪft kæmps əˈkrɔs ˈnɔrðərn fræns ˈweɪtɪŋ ənd ˈhoʊpɪŋ fər ðɛr ʧæns tɪ meɪk ɪt tɪ ðə. ˈmɛni mɔr ˈpipəl sik ˈrɛfjuʤ ɪn ˈəðər ˌjʊrəˈpiən ˈkəntriz bət ðə ˌkɑnsənˈtreɪʃən əv ðoʊz ˈweɪtɪŋ hir ənd ðə kənˈdɪʃənz ɪn wɪʧ ðeɪ ər ˈlɪvɪŋ sɛt kəˈleɪ əˈpɑrt. əˈkɔrdɪŋ tɪ ˈloʊkəl ˈʧɛrɪtiz ənd ðə ˈrɛfjuʤi ˈeɪʤənsi æt list 15 ˈpipəl, ˌɪnˈkludɪŋ jəŋ ˈwɪmən ənd ˈtiˌneɪʤərz, hæv daɪd ɪn ðə pæst 12 mənθs. ɛz fərst laɪt sprɛdz ˈoʊvər ðə ˈlɑrʤəst kæmp ɪn kəˈleɪ noʊn ɛz ðə ˈʤəŋgəl moʊˈhæmɪd ənd hɪz frɛndz meɪk ðɛr weɪ bæk tɪ ðɛr ˈʃɛltər əˈlɔŋ ə ˈreɪlˌweɪ træk ˈæftər əˈnəðər ˈfrutləs naɪt. ˈdʊrɪŋ ðə ˈərli aʊərz ðeɪ wər ʧeɪst baɪ pəˈlis ənd wən əv frɛndz, huˈseɪn frəm ˈiʤɪpt, wɑz ˈpɛpər spreɪd, ˌbiˈfɔr ˈfɑlɪŋ ˈɪntu ə dɪʧ. hɪz plaɪt prɑmpts ˈʤɛnəl ˈmɑkɪŋ frəm hɪz frɛndz bət ðə ˈætməsˌfɪr ɪz sombre*. ðə mɛn hæv ʤɪst bɪn toʊld əˈnəðər əv ðɛr frɛndz ə frəm suˈdæn həz daɪd. ðə grup, ɪgˈzɔstɪd ənd koʊld frəm ə naɪt ˈtræmpɪŋ ðə duəl ənd ˈlɔri pɑrks ðət səraʊnd ðə frɛnʧ pɔrt, fɔlz ˈsaɪlənt. ðeɪ noʊ ɪt ɪz ə feɪt ðət kʊd bɪˈfɔl ˈɛni əv ðɛm. ˈoʊvər ðə pæst fju mənθs ɪt ɪz nɑt ʤɪst ðə ˈnəmbərz əv ˈpipəl ərˈaɪvɪŋ ɪn kəˈleɪ ðət hæv kɔzd əˈlɑrm əˈməŋ ˌpɑləˈtɪʃənz ənd eɪd ˈwərkərz ɪt ɪz ðɛr eɪʤ. ˈfɑloʊɪŋ ðə keɪɑs ɪn ˈlɪˌbiə sɪns ðə ˈoʊvərθˌroʊ əv ðə rəˈʒim ˈθaʊzənz əv jəŋ ˈpipəl hæv juzd ðə feɪld steɪt tɪ fli əˈprɛsɪv rəˈʒimz ɪn ist ˈæfrɪkɑ ɪn sərʧ əv ə ˈbɛtər laɪf ɪn ˈjʊrəp. əˈməŋ ðə dərt ənd ˈmeɪkˌʃɪft ˈʃɛltərz əv ðə ˈʤəŋgəl, ˈwɑʧɪz hər ˈməðər winta*, 18 ˈkʊkɪŋ ˈoʊvər ə smɔl faɪər əv twɪgz. ɪn wən pæn ər tu pəˈteɪtoʊz, ɪn ðə ˈəðər ˈkɔfi. pleɪz ɔn ə ˈfɪlθi ˈplæstɪk ɛz hər ˈfɑðər, 24 ɪkˈspleɪnz haʊ hi lɛft ˌɛrɪˈtriə tɪ ɪˈskeɪp kəmˈpəlsəri ˈmɪlɪˌtɛri kənˈskrɪpʃən ənd ə ˈbrutəl rəˈʒim ðət ˈæmnəsti sɪz ɪz riˈspɑnsəbəl fər ˈwaɪdˈsprɛd ˈjumən raɪts əˈbjuzɪz. hi teɪks ə ˈbætərd ˈpɪkʧər frəm hɪz ˈwɔlət əv hɪmˈsɛlf sˈmaɪlɪŋ nɛkst tɪ əˈnəðər mæn. kɪld hɪmˈsɛlf ˈrəðər ðən steɪ ər gɪt lɑkt əp ənd soʊ aɪ nu aɪ hæd tɪ leave,”*,” sɪz kˈwaɪətli. ðə ˈfæməli lɛft ðɛr hoʊm ɪn ˌɛrɪˈtriə ə jɪr əˈgoʊ, ˈhɛdɪŋ fərst tɪ suˈdæn ˌbiˈfɔr peɪɪŋ sˈməgələrz tɪ teɪk ðɛm əˈkrɔs ðə səˈhɛrə ˈdɛzərt, θru ˈlɪˌbiə ənd ˈɔntu əˈnəðər smugglers’*’ boʊt baʊnd fər ˈjʊrəp. laɪk ˈmɛni əv ðoʊz ɪn ðə kæmp hi ɪz rɪˈləktənt tɪ rɪˈvil tu ˈmɛni ˈditeɪlz ɪn keɪs ðə ˌɛrɪˈtriən əˈθɔrətiz teɪk ˈækʃən əˈgɛnst hɪz rɪˈmeɪnɪŋ ˈfæməli. bət ɪn ə ˈhɔltɪŋ vɔɪs hi sɪz ðə wərst pɑrt əv ðə ˈʤərni wɑz ˈkrɔsɪŋ ðə səˈhɛrə, wɛr ðeɪ hæd ˈlɪtəl ˈwɔtər ənd ˈsɛvən əv ðə ˈpipəl ðeɪ wər wɪθ daɪd. hi sɪz ðə gæŋz ɪn ˈlɪˌbiə ðɛm laɪk dogs”*”. ənd naʊ ˈsɪtɪŋ ɪn ðə kæmp ɪn ˈnɔrðərn fræns ɪn ðə koʊld hi ədˈmɪts hi ˈfeɪsɪz ə frɛʃ ˈʧælənʤ: ˈgɪtɪŋ ˈɔntu ðə bæk əv ə ˈlɔri wɪθ hɪz ˈdɔtər ənd jəŋ waɪf. ɪf hi dɪz nɑt səkˈsid, ðə ˈfæməli hu hæv ˈnɛvər ɪkˈspɪriənst ə nɔrθ ˌjʊrəˈpiən ˈwɪntər feɪs mənθs əv ˈfrizɪŋ kənˈdɪʃənz ˈʃɛltərɪŋ ɪn ə ˈdɛrəˌlɪkt spɔrts hɔl æt ðə ˈsɛntər əv ðə ˈʤəŋgəl wɪθ ˈlɪtəl fud. ˈvɛri ˈdɪfəkəlt hir wɪθ ə jəŋ ʧaɪld bɪˈkəz wi ər traɪɪŋ tɪ gɪt ˈɔntu ˈlɔriz wɪʧ ɪz ˈvɛri ˈdeɪnʤərəs, bət aɪ wʊd du ˈɛniˌθɪŋ fər hər, fər hər fˈjuʧər. aɪ wɪl rɪsk maɪ laɪf ˌwəˈtɛvər ɪt takes,”*,” sɪz. əˈkɔrdɪŋ tɪ ðə ənd hər ˈfæməli ər əˈməŋ əˈbaʊt 3000 ˈmaɪgrənts ɪn ənd əraʊnd kəˈleɪ θri taɪmz ðə ˈnəmbər æt ðə bɪˈgɪnɪŋ əv ðə jɪr hu ər ˈteɪkɪŋ ˈgreɪtər rɪsks tɪ traɪ tɪ gɪt tɪ ðə. moʊst əv ðɛm lɪv ɪn ˈmeɪkˌʃɪft kæmps laɪk ðə ˈʤəŋgəl ər ɪn skwɑts ˈskætərd əraʊnd ðə taʊn ənd sərˈvaɪv ɔn wən mil ə deɪ prəˈvaɪdɪd baɪ ˈloʊkəl ˈʧɛrɪtiz. ðə frɛnʧ əˈθɔrətiz hæv plɛʤd tɪ ˈoʊpən ə nu deɪ ˈsɛntər ɪn ˈʤænjuˌɛri tɪ hɛlp ðə moʊst ˈvəlnərəbəl ˈpipəl. əˈpoʊnənts hæv kleɪmd ðɪs wɪl ˈoʊnli əˈtrækt mɔr ˈmaɪgrənts tɪ ðə taʊn. ðoʊz ɪn ðə kæmps ər ɪt wɪl ˈɛvər ˈoʊpən ənd seɪ ˈivɪn ɪf ɪt dɪz ɪt wɪl bi tu ˈlɪtəl, tu leɪt. ˈwɛðər ðə ˈsɛntər dɪz hɛlp ər nɑt ɪt ɪz klɪr ðə ˈprɑbləm ɪz noʊ ˈlɔŋgər kənˈfaɪnd tɪ kəˈleɪ. ðə ˈgɑrdiən spɛnt taɪm wɪθ trək ˈdraɪvərz hu seɪ ðɛr ˈlɔriz ər ˈrɛgjələrli ˈtɑrgətɪd baɪ sˈməgələrz ɪn kɑr pɑrks mɔr ðən 125 maɪəlz 200km*) frəm ðə frɛnʧ pɔrt. ˈmaɪgrənts hæv ˈɔlsoʊ sɛt əp sˈmɔlər kæmps əˈkrɔs ðə ˈriʤən frəm ðə fildz nɪr ðə ˈɛntrəns tɪ ðə ˈʧænəl ˈtənəl tɪ ə smɔl wʊd nɪr ə ˈʃɑpɪŋ ˈsɛntər ɪn ˈdənkərk. æt wən ˈlɔri pɑrk əˈbaʊt hæf weɪ bɪtˈwin kəˈleɪ ənd ˈpɛrɪs, ˈmæθju, hu wərks fər ə ˈfərnɪʧər rɪˈmuvəl ˈkəmpəˌni, ʧɛks hɪz ˈlɔri fər ðə ˈfaɪnəl taɪm ˌbiˈfɔr ˈtərnɪŋ ɪn fər ðə naɪt. hi simz ˈoʊvərli ˈpɛrəˌnɔɪd ɛz hi pɔɪnts tɪ ðə hɛʤ sərˈaʊndɪŋ ðə kɑr pɑrk. wɪl bi ɪn ðɛr naʊ ˈwɑʧɪŋ ənd ˈweɪtɪŋ tɪ si wɪʧ ˈlɔriz lʊk ðə bɛst bet.”*.” bət ɛz dəsk ˈsɛtəlz hi ɪz pruvd raɪt. ðɛr ɪz ə ˈmuvmənt ɪn ðə hɛʤ ənd ˈmæθju goʊz fər ə ˈkloʊzər lʊk ɪn taɪm tɪ si θri jəŋ mɛn ɪn ðɛr leɪt tinz ər ˈsɪtɪŋ ɪn ðə ˈbʊʃəz. hir soʊ fɑr frəm ðə koʊst ðeɪ ər traɪɪŋ tɪ gɪt ɔn naʊ. ɪt ɪz ˈgɪtɪŋ bɪɔnd ə joke.”*.” tu wiks ˈleɪtər hɪz fərm ˌdɪˈsaɪd tɪ stɑp ˈjuzɪŋ kəˈleɪ ˌɔltəˈgɛðər. fər ˈmɛni ˌpɑləˈtɪʃənz ðə ˈænsər tɪ ðə ənˈfoʊldɪŋ ˈkraɪsəs ɪn kəˈleɪ simz tɪ bi two-fold*: bɪld ˈbɪgər ənd haɪər ˈfɛnsɪz ənd meɪk laɪf fər ðoʊz hu du meɪk ɪt θru tɪ ðə ɛz ənˈkəmfərtəbəl ɛz ˈpɑsəbəl. ˈəðərz səˈʤɛst ðət ˈoʊnli ˈkloʊzər æt ˈlɛvəl wɪθ ˈkəntriz frəm ˈnɔrðərn ˈjʊrəp ˈwərkɪŋ məʧ mɔr ˈkloʊsli wɪθ ðoʊz ɪn ðə saʊθ tɪ ˈɔfər əˈsaɪləm tɪ ˈrɛfˌjuʤiz ənd rɪˈtərn ˈəðərz wɪn ðeɪ fərst əraɪv kən ðə ˈprɑbləm bi əˈdrɛst. ˌhaʊˈɛvər, ɛz ˈrɛkərd ˈnəmbərz əv ˈpipəl fli ˈpɑvərti ənd wɔr ɪn ðə ˈmɪdəl ist ənd ˈæfrɪkɑ ɪt simz ənˈlaɪkli ðət ˈpipəl wɪl stɑp ˈlivɪŋ ðɛr hoʊmz ɪn sərʧ əv ə ˈbɛtər, ˈseɪfər laɪf ɪn ˈjʊrəp fər ðə fɔrˈsiəbəl fˈjuʧər. aɪ gɪt tɪ ˈɪŋglənd aɪ wɪl ˈstədi ənd ðɛn gɪt ə ʤɑb ənd wərk soʊ maɪ ˈdɔtər kən hæv ə ˈbɛtər life,”*,” sɪz, hu ə fju wiks ˈæftər wi spoʊk dɪˈskəvərd hɪz waɪf wɑz ˈprɛgnənt wɪθ ðɛr ˈsɛkənd ʧaɪld. ɛz hi ˈsɛtəlz daʊn tɪ hɪz wən mil əv ðə deɪ ɛz ðə naɪt ˈkloʊzɪz ɪn ɔn ðə ˈʤəŋgəl hi rɪˈmeɪnz ʃʊr hi ɪz duɪŋ ðə raɪt θɪŋ, dɪˈspaɪt ðə rɪsks. dɪd nɑt hæv ə laɪf æt hoʊm ənd wi du nɑt ˈrɪli hæv wən hir. soʊ wi məst kip trying.”*.”

for other uses, see 1999 studio album by red hot chili peppers californication is the seventh studio album by american rock band red hot chili peppers. it was released on june 8,] on warner bros. records and was produced by rick rubin. marked the return of john, who had previously appeared on mother's milk and blood sugar sex, to replace dave navarro as the band's guitarist. return was credited with changing the band's sound altogether, producing a notable shift in style from the music recorded with navarro. the album's subject material incorporated various sexual innuendos commonly associated with the band, but also contained more varied themes than previous outings, including death, of suicide, california, drugs, globalization, and travel. californication is the chili peppers' most commercially successful studio release internationally, with over 15 million copies sold] and more than 6 million in the united states] as of 2002, the album had sold over 4 million copies in] the record produced several hits for the band, including "otherside", "californication" and the grammy "scar tissue". peaked at number three on the u.s. billboard 200. the record marked a significant change in style for the band: rolling stone's greg tate noted that "while all previous chili peppers projects have been highly spirited, dares to be spiritual and] another critic, billboard's paul verna, mentioned that the album brought out "the group's softer, melodic side," as opposed to their previous six] background [ edit ] in 1984, the red hot chili peppers started off as a band, driven by exuberant rapping and manic slap-bass" (sanneh, 2002). guitarist john, who had joined in 1988 at the age of 18, left the band in the middle of a 1992 tour that promoted their critically acclaimed album blood sugar sex] it took over a year for the band to find a new guitarist with whom to record officially. dave navarro, formerly of jane's addiction, was invited to join the chili peppers after marshall, who had finished the remaining tour dates for blood sugar sex, was] navarro influenced the band's ensuing album, one hot minute, by incorporating various elements of heavy metal and psychedelic] which was something for which the chili peppers had not previously been notable. compared to blood sugar sex, one hot minute was a commercial disappointment, selling only half of what blood sugar sex had originally] navarro and the band parted ways in early 1998, clearing the way for eventual] in the years following his departure from the chili peppers, had developed a vicious addiction to both heroin and cocaine that left him in poverty and near] friends convinced him to enter drug rehabilitation in january] in april 1998, following completion, bassist flea visited his former and openly invited him to the band, an invitation readily accepted. within the week, reunited for the first time in six years, the foursome gathered to play and the newly reunited red hot chili] through a number of lineup changes, the red hot chili peppers had released multiple compilation or greatest hits albums prior to return; pushed for the group to change their" sound and become more of a rock act" for.[17] writing and composition [ edit ] "around the world" "around the world", the second single from, combined harder, more abrasive guitar with a deeply melodic chorus representative of the band's stylistic shift. "otherside", was one of the darkest recordings following one hot minute due to' continuing drug addiction which considerably affected his songwriting. the track prominently features a sparse guitar arrangement that played on a 1955 "otherside", the third single from, was one of the darkest recordings to' continuing drug addiction which considerably affected his songwriting. the track prominently features a sparse guitar arrangement that played on a 1955 white falcon problems playing these files? see media help. much of the album was written in the band members' homes in the summer of 1998. and often spent days together discussing song creation, guitar riffs and lyrical content. bass and percussion aspects of the record were constructed through jam sessions and the individual work of flea and drummer chad] most of the material and lyrics throughout the songs in the album came from the "personal and professional turmoil" that different members of the band went currently going through at the time. this resulted in the "sensitive approach that one might not expect from a band whose followers are and fraternity boys". anthony main point behind this album was to "tell tales of wandering souls who've lost their way searching for the american dream in california". californication's lyrics were derived from anthony' ideas, outlooks, and perceptions of life and its meaning. "porcelain" resulted from meeting with a young mother at the ymca, who was attempting to battle her alcohol addiction while living with her infant] also had a love interest in logan, a fashion designer whom met while she was working in new york city. involvement with logan influenced his multiple examinations of love throughout, in songs such as "porcelain" and "this velvet glove." [20] sarcasm was a concept that had dealt with in the past, and he ultimately crafted a song around it. he was inspired by former dave navarro, whom he considered to be the "king of] approached the guitar line present in "scar tissue" as an attempt to use two notes that are played far apart, but produce a "cool] he had explored this technique on his first solo album, and usually just a t-shirt. considers "scar tissue" to be a "very simple example of the technique, but i think it's a style that sounds like me". the guitarist made use of slide for the solos in the] the song "emit remmus", which is "summer time" spelled backwards, was inspired by anthony's brief relationship with melanie c of the spice] "get on top", a song which contains significant use of a wah pedal, was formed after a jam session conducted shortly after had listened to public enemy: "i came up with [the rhythm to the song] on the way to tapping it out with my] the understated guitar solo played in the middle of the song was originally intended to be more noticeable, according to, who was playing screaming guitar solos. he changed his thought process after listening to steve howe's guitar solo on yes' "siberian khatru": "the band sounded really they're playing really then this clean guitar solo comes out over on top. it's really beautiful, like it's on its own sort of shelf. for 'get on top' i wanted to play something that contrasted between the solo and the] "savior", a song found towards the end of the album, features heavy effects, most notably an micro with] notes that the sound is "directly inspired by eric clapton's playing in cream. if you listen to the actual notes, they're like a clapton just don't sound like it because of the] the hit "around the world", which harkens back to the chili peppers' sound, was constructed by at his home. the rhythm and beat, however, are intricate; this required him to play the song with the rest of the band rather than alone for them to understand] the bass lick was composed in "maybe 15 minutes," according to: "flea is the best bass player in the world. his sense of timing and the way he thinks is so] the title track of the album was among the most difficult for the band to complete. felt compelled to write an appropriate guitar ensemble that would appropriately complement the poignant lyrical content, but encountered] the song was barely making progress, and would have been scrapped had it not been for' urgency to include it on the album. completed the final riff two days before recording, after drawing inspiration from the soundtrack song to "carnage] the title track was intended to represent californian lifestyles and, more specifically, the "fake" nature which is associated with much of hollywood. it references kurt cobain of nirvana and uses considerable imagery to capture the evocative nature of] the record was a change of style for the chili peppers, especially compared to their previous album, one hot minute, which combined various elements of heavy metal and psychedelic rock. although still contains some funk rock songs (such as "around the world", "get on top", "i like dirt", "purple stain" and "right on time"), it leaned towards more melodic riffs (for example, "scar tissue" and "otherside") and focused on songs with implemented structure rather than] outtakes [ edit ] the album featured a few outtakes that didn't appear on the studio album. "gong li" and "instrumental #1" were released on the "scar tissue" single. the instrumental "teatro jam" was released on the "around the world" single while "how strong" was featured on the "otherside" single. "instrumental #2" was released on a bonus disc for the album. in 2006, itunes exclusively released "fat dance," "over funk" and "quixoticelixer" along with the album for download. "slowly, deeply" an instrumental track, would later be released as a to the "universally speaking" single in 2003, while "bunker hill" would be on during the band's greatest hits sessions in 2003 and released on the "fortune faded" single that same year. in august and september 2014, unreleased demos from 1998 were leaked to the internet. many of the demos were of songs that made the final album or released ass; however, some were different from the final album version with the most notable differences being a reggae influenced version of the title track with different lyrics and a very different vocal melody, a version "scar tissue" with a longer intro, a slower version of "purple stain" with added lyrics and different chorus, "porcelain alice", the original version of "porcelain" with different lyrics, an instrumental version of 'quixoticelixer' (with the working title "new wave song"), "how strong is your love", the original version of "how strong" and the original demos for "fat dance" and "bunker hill" (originally titled "these are not my dreams of bunker hill"). the leaked demos also included never before heard songs such as "plate of brown", "tellin' a lie", "mommason", & nicobar", "boatman", "sugar sugar" and "trouble in the pub". in february 2015, a collection of rough mixes of outtakes from the sessions was leaked. this group of songs, which were recorded on april 21, 1999 at the village studio, contains a version of "trouble in the pub" with vocals along with "blondie", a song mentioned in an interview as an album outtake however the song turns out only to be a rough mix of "instrumental #2". an mix of the album also exists that features alternate versions of some songs, such as extended endings ("easily"), extra verses ("savior"), alternate choruses ("around the world") and different guitar mixes ("how] promotion and release [ edit ] rick rubin had produced their two previous albums. however, the chili peppers decided to look for other producers for.[27] david bowie had shown great interest in working with the band and asked to produce the album; however, the chili peppers chose to remain with rubin for.[27] rubin had, in the past, granted the chili peppers creative freedom on their recording material; this was something they thought necessary for the album to be unique, and could only occur with his] recording took place at cello studios in los angeles. in early 1999, following the recording process, the band played "scar tissue", "otherside", and "californication" to their managers, and it was decided that "scar tissue" would be the lead single for the] to support their reunited line-up, the band played various proms across the country to promote.[29] it sprouted a competition, which called upon high school students to write essays on "how they could make their schools better, safer, happier, more rocking places, so that they didn't have to go to school afraid. if you wrote the essay, you got a free ticket to the] californication was released on june 8, 1999, debuting at #5 but peaking at #3 on the billboard 200 chart. in europe, the album peaked at #5 on the top 40, #1 on the finnish, austrian, swedish and new zealand charts, and #2 on the top 40 of france and the netherlands. it was certified gold just over a month later, ony 22, 1999, and its continuing sales have resulted in it being certified] in march 2006, the red hot chili peppers' albums were made available to purchase on the itunes music] albums bought there included new previously unreleased tracks ("fat dance", "over funk", and "quixoticelixer"). commercial performance [ edit ] in the united states the album debuted and peaked at number three on the billboard 200 the week of june 26, 1999 with copies] the next week it dropped to number seven and it was present on the chart for one hundred one] it was certified six times platinum by the on june 28, 2016 for shipments of six] in the united kingdom it debuted and peaked at number five on june 16, 1999, the next week it fell off to number seven; the album remained on the chart for one hundred sixty nine] it was certified four times platinum by the on september 2, 2016 denoting shipments of one million two hundred thousand] in germany, it was the band's album, staying on the media control charts for 114 weeks (more than 2 years) and selling more than copies, reaching] critical reception and legacy [ edit ] californication received favorable reviews in contrast to its less popular predecessor, one hot minute, and it was a greater success] rolling stone credited for his drastically improved vocals: "[his] vocal cords have apparently been down to some crossroads and over the rehab, and returned with heretofore range, body, pitch, soulfulness, and melodic] songs such as "otherside" and "porcelain" were called "pumpkins-esque", while the album as a whole was "epiphanal" and the are now moving toward real holy grail: that salty marriage of esoteric mythology and insatiable musicality that souls, binds communities and heals the] other critics credited the album's success to the return of. greg prato said that the "obvious reason for [the band's] rebirth is the reappearance of guitarist john", considering him to be the "quintessential] the album as a whole was "a bona fide chili peppers] entertainment weekly also credits with transforming the band's sound into a "more relaxed, less grating, and, in their own way, more introspective album than ever] mark woodlief of ray gun commented that "'this velvet glove' strikes an intricate balance between a lush acoustic guitar foundation and rock," woodlief continued "the disco intro to 'parallel universe' gives way to a scorching western motif in the chorus, and excursions at the song's] while many critics found the band's new sound refreshing, criticized the chili peppers for rarely using their trademark funk sound, asking: "can we have our brain-dead, rock animals back now, please? all this false empathy is starting to make my removed rib] pitchfork, while considering the album a triumph over one hot minute, felt lacked the funk that was in blood sugar sex.[44] it went on to scrutinize some lyrics for being overly sexual, but also considered to be "the best big-time american rock guitarist going right] critic robert gave the album a honorable mention ( ), describing the band as "new age fuck fiends" and citing "scar tissue" and "purple stain" as] over the years, has maintained its popularity. "scar tissue" won the grammy award for best rock song in] the album was ranked number 399 on rolling stone magazine's 2003 list of "the 500 greatest albums of all time" and, in 2006, the chili peppers recorded a for aol sessions that included "scar tissue" and] the album produced many staple hits for the chili peppers; five of the sixteen songs on their greatest hits album were taken from.[54] waveform of "unmastered" version of " " (top) versus of original cd release version (bottom), showing difference in volume levels. the album received criticism for what tim anderson of the guardian called "excessive compression and distortion" in the process of digital] stylus magazine labeled it as one of the victims of the war and commented that it suffered from digital clipping so much that "even consumers complained about] an early, alternately mastered version of the album with a different track listing and mixing, probably a candidate, has been circulated on the] accolades [ edit ] the information regarding accolades attributed to is adapted from] tour [ edit ] immediately following the release of, the band embarked on a world tour to support the record, beginning in the united states. to culminate the us leg of their tour, the chili peppers were asked to close woodstock '99, which became infamous for the resulting] the band was informed minutes before arriving that the crowds and bonfires in the fields had gone out of] when the chili peppers performed a tribute to jimi song "fire" to finish their set as a favor to sister, the disruption escalated into violence when several women, who had been crowd surfing and moshing, were raped and nearby property was looted and] felt that "it was clear that this situation had nothing to do with woodstock any more. it wasn't symbolic of peace and love, but of greed and cashing in ... we woke up to papers and radio stations us for playing] to kick off the band's european tour, the band staged a free show in moscow's red square, on august 14, 1999, to a crowd of over] recalled the situation: "red square was so filled with russians that we needed a police escort to get near the] following the european leg, the group did a show in new york city, at the windows on the world, for radio contest-winners, and then at the big day out festival in australia following several japanese tour] flea, however, began to feel the repercussions of touring causing the band to set up concerts that were less strenuous, and consequently less financially rewarding, for them. these shows would finish the remainder of the] as one of the last shows before the release of their next album by the way, the chili peppers played rock in rio] track listing [ edit ] all tracks written by red hot chili peppers (flea, john, anthony, chad smith). japanese edition bonus track no. title length 16. "gong li" itunes bonus tracks no. title length 16. "fat dance" 17. "over funk" 18. "quixoticelixer" australian edition bonus disc no. title length 1. "gong li" 2. "how strong" 3. "instrumental #2" personnel [ edit ] red hot chili peppers [ edit ] additional musicians [ edit ] production [ edit ] lindsay chase production coordinator mike nicholson and greg collins additional engineering greg additional engineering jennifer hilliard assistant engineer chris holmes mix engineer ok hee kim assistant engineer vlado meller mastering rick rubin production david schiffman additional engineering jim scott engineer, mixing john sorenson additional engineering design [ edit ] lawrence art direction sonya photography red hot chili peppers art direction tony photography charts [ edit ] references [ edit ] bibliography [ edit ] dimery, robert. 1001 albums you must hear before you die . new york, ny: universe, 2006.. . new york, ny: universe, 2006.., anthony and larry sloman. scar tissue . new york, ny: hyperion, 2004.. . new york, ny: hyperion, 2004.. larkin, colin. red hot chili peppers -." encyclopedia of popular music, ed. oxford music online. oxford university press. web. 27 sep. 2016. sanneh, k. (2002, 14). a band even better cooled down. new york times (1923–current file)

fər ˈəðər ˈjuzɪz, si 1999 ˈstudiˌoʊ ˈælbəm baɪ rɛd hɑt ˈʧɪli ˈpɛpərz ɪz ðə ˈsɛvənθ ˈstudiˌoʊ ˈælbəm baɪ əˈmɛrɪkən rɑk bænd rɛd hɑt ˈʧɪli ˈpɛpərz. ɪt wɑz riˈlist ɔn ʤun 8 ɔn ˈwɔrnər bros*. ˈrɛkərdz ənd wɑz prəˈdust baɪ rɪk ˈrubɪn. mɑrkt ðə rɪˈtərn əv ʤɑn, hu hæd ˈpriviəsli əˈpɪrd ɔn ˈməðərz mɪlk ənd bləd ˈʃʊgər sɛks, tɪ ˌriˈpleɪs deɪv nəˈvɑroʊ ɛz ðə bændz ˌgɪˈtɑrɪst. rɪˈtərn wɑz ˈkrɛdɪtɪd wɪθ ˈʧeɪnʤɪŋ ðə bændz saʊnd ˌɔltəˈgɛðər, prəˈdusɪŋ ə ˈnoʊtəbəl ʃɪft ɪn staɪl frəm ðə mˈjuzɪk rɪˈkɔrdɪd wɪθ nəˈvɑroʊ. ðə ˈælbəmz ˈsəbʤɪkt məˈtɪriəl ˌɪnˈkɔrpərˌeɪtɪd ˈvɛriəs ˈsɛkʃuəl ˌɪnjuˈɛndoʊz ˈkɑmənli əˈsoʊʃiˌeɪtəd wɪθ ðə bænd, bət ˈɔlsoʊ kənˈteɪnd mɔr ˈvɛrid θimz ðən ˈpriviəs ˈaʊtɪŋz, ˌɪnˈkludɪŋ dɛθ, əv ˈsuɪˌsaɪd, ˌkæləˈfɔrnjə, drəgz, ˌgloʊbəlɪˈzeɪʃən, ənd ˈtrævəl. ɪz ðə ˈʧɪli ˈpɛpərz' moʊst kəˈmərʃəli səkˈsɛsfəl ˈstudiˌoʊ riˈlis ˌɪnərˈnæʃənɑli, wɪθ ˈoʊvər 15 ˈmɪljən ˈkɑpiz soʊld ənd mɔr ðən 6 ˈmɪljən ɪn ðə juˈnaɪtɪd steɪts ɛz əv 2002 ðə ˈælbəm hæd soʊld ˈoʊvər 4 ˈmɪljən ˈkɑpiz ɪn ðə ˈrɛkərd prəˈdust ˈsɛvərəl hɪts fər ðə bænd, ˌɪnˈkludɪŋ "otherside*", "californication*" ənd ðə ˈgræmi "skɑr ˈtɪʃu". pikt æt ˈnəmbər θri ɔn ðə juz. ˈbɪlˌbɔrd 200 ðə ˈrɛkərd mɑrkt ə sɪgˈnɪfɪkənt ʧeɪnʤ ɪn staɪl fər ðə bænd: ˈroʊlɪŋ stoʊnz grɛg teɪt ˈnoʊtɪd ðət "waɪl ɔl ˈpriviəs ˈʧɪli ˈpɛpərz ˈprɑʤɛkts hæv bɪn ˈhaɪli ˈspɪrɪtəd, dɛrz tɪ bi ˈspɪrɪˌʧuəl ənd əˈnəðər ˈkrɪtɪk, ˈbɪlˌbɔrdz pɔl ˈvərnə, ˈmɛnʃənd ðət ðə ˈælbəm brɔt aʊt "ðə grups ˈsɔftər, məˈlɑdɪk saɪd," ɛz əˈpoʊzd tɪ ðɛr ˈpriviəs sɪks ˈbækˌgraʊnd ˈɛdət ɪn 1984 ðə rɛd hɑt ˈʧɪli ˈpɛpərz ˈstɑrtɪd ɔf ɛz ə bænd, ˈdrɪvən baɪ ɪgˈzubərənt ˈræpɪŋ ənd ˈmænɪk slap-bass*" (sanneh*, 2002 ˌgɪˈtɑrɪst ʤɑn, hu hæd ʤɔɪnd ɪn 1988 æt ðə eɪʤ əv 18 lɛft ðə bænd ɪn ðə ˈmɪdəl əv ə 1992 tʊr ðət prəˈmoʊtəd ðɛr ˈkrɪtɪkəli əˈkleɪmd ˈælbəm bləd ˈʃʊgər sɛks ɪt tʊk ˈoʊvər ə jɪr fər ðə bænd tɪ faɪnd ə nu ˌgɪˈtɑrɪst wɪθ hum tɪ ˈrɛkərd əˈfɪʃəli. deɪv nəˈvɑroʊ, ˈfɔrmərli əv ʤeɪnz əˈdɪkʃən, wɑz ˌɪnˈvaɪtɪd tɪ ʤɔɪn ðə ˈʧɪli ˈpɛpərz ˈæftər ˈmɑrʃəl, hu hæd ˈfɪnɪʃt ðə rɪˈmeɪnɪŋ tʊr deɪts fər bləd ˈʃʊgər sɛks, wɑz nəˈvɑroʊ ˈɪnfluənst ðə bændz ˈɛnsuɪŋ ˈælbəm, wən hɑt ˈmɪnət, baɪ ˌɪnˈkɔrpərˌeɪtɪŋ ˈvɛriəs ˈɛləmənts əv ˈhɛvi ˈmɛtəl ənd ˌsaɪkəˈdɛlɪk wɪʧ wɑz ˈsəmθɪŋ fər wɪʧ ðə ˈʧɪli ˈpɛpərz hæd nɑt ˈpriviəsli bɪn ˈnoʊtəbəl. kəmˈpɛrd tɪ bləd ˈʃʊgər sɛks, wən hɑt ˈmɪnət wɑz ə kəˈmərʃəl ˌdɪsəˈpɔɪntmənt, ˈsɛlɪŋ ˈoʊnli hæf əv wət bləd ˈʃʊgər sɛks hæd ərˈɪʤənəli nəˈvɑroʊ ənd ðə bænd ˈpɑrtɪd weɪz ɪn ˈərli 1998 ˈklɪrɪŋ ðə weɪ fər əˈvɛnʧuəl ɪn ðə jɪrz ˈfɑloʊɪŋ hɪz dɪˈpɑrʧər frəm ðə ˈʧɪli ˈpɛpərz, hæd dɪˈvɛləpt ə ˈvɪʃəs əˈdɪkʃən tɪ boʊθ ˈhɛroʊən ənd koʊˈkeɪn ðət lɛft ɪm ɪn ˈpɑvərti ənd nɪr frɛndz kənˈvɪnst ɪm tɪ ˈɛnər drəg ˌriəˌbɪləˈteɪʃən ɪn ˈʤænjuˌɛri ɪn ˈeɪprəl 1998 ˈfɑloʊɪŋ kəmˈpliʃən, ˈbeɪsɪst fli ˈvɪzɪtɪd hɪz ˈfɔrmər ənd ˈoʊpənli ˌɪnˈvaɪtɪd ɪm tɪ ðə bænd, ən ˌɪnvɪˈteɪʃən ˈrɛdəli ækˈsɛptɪd. wɪˈθɪn ðə wik, ˌriuˈnaɪtɪd fər ðə fərst taɪm ɪn sɪks jɪrz, ðə ˈfɔrsəm ˈgæðərd tɪ pleɪ ənd ðə ˈnuli ˌriuˈnaɪtɪd rɛd hɑt ˈʧɪli θru ə ˈnəmbər əv ˈlaɪˌnəp ˈʧeɪnʤɪz, ðə rɛd hɑt ˈʧɪli ˈpɛpərz hæd riˈlist ˈməltəpəl ˌkɑmpəˈleɪʃən ər ˈgreɪtəst hɪts ˈælbəmz praɪər tɪ rɪˈtərn; pʊʃt fər ðə grup tɪ ʧeɪnʤ ðɛr" saʊnd ənd bɪˈkəm mɔr əv ə rɑk ækt" fər ˈraɪtɪŋ ənd ˌkɑmpəˈzɪʃən ˈɛdət "əraʊnd ðə wərld" "əraʊnd ðə wərld", ðə ˈsɛkənd ˈsɪŋgəl frəm, kəmˈbaɪnd ˈhɑrdər, mɔr əˈbreɪsɪv gɪˈtɑr wɪθ ə ˈdipli məˈlɑdɪk ˈkɔrəs ˌrɛprɪˈzɛnətɪv əv ðə bændz staɪˈlɪstɪk ʃɪft. "otherside*", wɑz wən əv ðə ˈdɑrkəst rɪˈkɔrdɪŋz ˈfɑloʊɪŋ wən hɑt ˈmɪnət du tɪ' kənˈtɪnjuɪŋ drəg əˈdɪkʃən wɪʧ kənˈsɪdərəbli əˈfɛktɪd hɪz ˈsɔŋˌraɪtɪŋ. ðə træk ˈprɑmənəntli ˈfiʧərz ə spɑrs gɪˈtɑr ərˈeɪnʤmənt ðət pleɪd ɔn ə 1955 "otherside*", ðə θərd ˈsɪŋgəl frəm, wɑz wən əv ðə ˈdɑrkəst rɪˈkɔrdɪŋz tɪ' kənˈtɪnjuɪŋ drəg əˈdɪkʃən wɪʧ kənˈsɪdərəbli əˈfɛktɪd hɪz ˈsɔŋˌraɪtɪŋ. ðə træk ˈprɑmənəntli ˈfiʧərz ə spɑrs gɪˈtɑr ərˈeɪnʤmənt ðət pleɪd ɔn ə 1955 waɪt ˈfælkən ˈprɑbləmz pleɪɪŋ ðiz faɪlz? si ˈmidiə hɛlp. məʧ əv ðə ˈælbəm wɑz ˈrɪtən ɪn ðə bænd ˈmɛmbərz' hoʊmz ɪn ðə ˈsəmər əv 1998 ənd ˈɔfən spɛnt deɪz təˈgɛðər dɪˈskəsɪŋ sɔŋ kriˈeɪʃən, gɪˈtɑr rɪfs ənd ˈlɪrɪkəl ˈkɑntɛnt. bæs ənd pərˈkəʃən ˈæˌspɛkts əv ðə ˈrɛkərd wər kənˈstrəktɪd θru ʤæm ˈsɛʃənz ənd ðə ˌɪndəˈvɪʤəwəl wərk əv fli ənd ˈdrəmər ʧæd moʊst əv ðə məˈtɪriəl ənd ˈlɪrɪks θruaʊt ðə sɔŋz ɪn ðə ˈælbəm keɪm frəm ðə "ˈpərsɪnəl ənd prəˈfɛʃənəl ˈtərˌmɔɪl" ðət ˈdɪfərənt ˈmɛmbərz əv ðə bænd wɛnt ˈkərəntli goʊɪŋ θru æt ðə taɪm. ðɪs rɪˈzəltɪd ɪn ðə "ˈsɛnsɪtɪv əˈproʊʧ ðət wən maɪt nɑt ɪkˈspɛkt frəm ə bænd huz ˈfɑloʊərz ər ənd frəˈtərnɪti bɔɪz". ˈænθɔˌni meɪn pɔɪnt bɪˈhaɪnd ðɪs ˈælbəm wɑz tɪ "tɛl teɪlz əv ˈwɑndərɪŋ soʊlz huv lɔst ðɛr weɪ ˈsərʧɪŋ fər ðə əˈmɛrɪkən drim ɪn ˌkæləˈfɔrnjə". ˈlɪrɪks wər dəraɪvd frəm ˈænθɔˌni' aɪˈdiəz, ˈaʊˌtlʊks, ənd pərˈsɛpʃənz əv laɪf ənd ɪts ˈminɪŋ. "ˈpɔrsələn" rɪˈzəltɪd frəm ˈmitɪŋ wɪθ ə jəŋ ˈməðər æt ðə ymca*, hu wɑz əˈtɛmptɪŋ tɪ ˈbætəl hər ˈælkəˌhɑl əˈdɪkʃən waɪl ˈlɪvɪŋ wɪθ hər ˈɪnfənt ˈɔlsoʊ hæd ə ləv ˈɪntəˌrɛst ɪn ˈloʊgən, ə ˈfæʃən dɪˈzaɪnər hum mɛt waɪl ʃi wɑz ˈwərkɪŋ ɪn nu jɔrk ˈsɪti. ˌɪnˈvɑlvmənt wɪθ ˈloʊgən ˈɪnfluənst hɪz ˈməltəpəl ɪgˌzæməˈneɪʃənz əv ləv θruaʊt, ɪn sɔŋz səʧ ɛz "ˈpɔrsələn" ənd "ðɪs ˈvɛlvət gləv." 20 ˈsɑrˌkæzəm wɑz ə ˈkɑnsɛpt ðət hæd dɛlt wɪθ ɪn ðə pæst, ənd hi ˈəltəmətli ˈkræftɪd ə sɔŋ əraʊnd ɪt. hi wɑz ˌɪnˈspaɪərd baɪ ˈfɔrmər deɪv nəˈvɑroʊ, hum hi kənˈsɪdərd tɪ bi ðə "kɪŋ əv əˈproʊʧt ðə gɪˈtɑr laɪn ˈprɛzənt ɪn "skɑr ˈtɪʃu" ɛz ən əˈtɛmpt tɪ juz tu noʊts ðət ər pleɪd fɑr əˈpɑrt, bət ˈproʊdus ə "kul hi hæd ɪkˈsplɔrd ðɪs tɛkˈnik ɔn hɪz fərst ˈsoʊˌloʊ ˈælbəm, ənd ˈjuʒəwəli ʤɪst ə ˈtiˌsərt. kənˈsɪdərz "skɑr ˈtɪʃu" tɪ bi ə "ˈvɛri ˈsɪmpəl ɪgˈzæmpəl əv ðə tɛkˈnik, bət aɪ θɪŋk ɪts ə staɪl ðət saʊnz laɪk mi". ðə ˌgɪˈtɑrɪst meɪd juz əv slaɪd fər ðə ˈsoʊloʊz ɪn ðə ðə sɔŋ "ɪˈmɪt remmus*", wɪʧ ɪz "ˈsəmər taɪm" spɛld ˈbækwərdz, wɑz ˌɪnˈspaɪərd baɪ ˈænθɔˌniz brif riˈleɪʃənˌʃɪp wɪθ ˈmɛləni si əv ðə spaɪs "gɪt ɔn tɔp", ə sɔŋ wɪʧ kənˈteɪnz sɪgˈnɪfɪkənt juz əv ə wɑ ˈpɛdəl, wɑz fɔrmd ˈæftər ə ʤæm ˈsɛʃən kənˈdəktəd ˈʃɔrtli ˈæftər hæd ˈlɪsənd tɪ ˈpəblɪk ˈɛnəmi: "aɪ keɪm əp wɪθ [ðə ˈrɪðəm tɪ ðə sɔŋ] ɔn ðə weɪ tɪ ˈtæpɪŋ ɪt aʊt wɪθ maɪ ðə ˈəndərˌsteɪtɪd gɪˈtɑr ˈsoʊˌloʊ pleɪd ɪn ðə ˈmɪdəl əv ðə sɔŋ wɑz ərˈɪʤənəli ˌɪnˈtɛndɪd tɪ bi mɔr ˈnoʊtəsəbəl, əˈkɔrdɪŋ tɪ, hu wɑz pleɪɪŋ ˈskrimɪŋ gɪˈtɑr ˈsoʊloʊz. hi ʧeɪnʤd hɪz θɔt ˈprɔˌsɛs ˈæftər ˈlɪsənɪŋ tɪ stiv haʊz gɪˈtɑr ˈsoʊˌloʊ ɔn jɛs' "saɪˈbɪriən khatru*": "ðə bænd ˈsaʊndɪd ˈrɪli ðɛr pleɪɪŋ ˈrɪli ðɛn ðɪs klin gɪˈtɑr ˈsoʊˌloʊ kəmz aʊt ˈoʊvər ɔn tɔp. ɪts ˈrɪli ˈbjutəfəl, laɪk ɪts ɔn ɪts oʊn sɔrt əv ʃɛlf. fər 'gɪt ɔn tɔp' aɪ ˈwɔntɪd tɪ pleɪ ˈsəmθɪŋ ðət kənˈtræstəd bɪtˈwin ðə ˈsoʊˌloʊ ənd ðə "ˈseɪvjər", ə sɔŋ faʊnd təˈwɔrdz ðə ɛnd əv ðə ˈælbəm, ˈfiʧərz ˈhɛvi ˈifɛkts, moʊst ˈnoʊtəbli ən ˈmaɪˌkroʊ wɪθ noʊts ðət ðə saʊnd ɪz "dɪˈrɛkli ˌɪnˈspaɪərd baɪ ˈɛrɪk ˈklæptənz pleɪɪŋ ɪn krim. ɪf ju ˈlɪsən tɪ ðə ˈækʧəwəl noʊts, ðɛr laɪk ə ˈklæptən ʤɪst doʊnt saʊnd laɪk ɪt bɪˈkəz əv ðə ðə hɪt "əraʊnd ðə wərld", wɪʧ ˈhɑrkənz bæk tɪ ðə ˈʧɪli ˈpɛpərz' saʊnd, wɑz kənˈstrəktɪd baɪ æt hɪz hoʊm. ðə ˈrɪðəm ənd bit, ˌhaʊˈɛvər, ər ˈɪntrəkət; ðɪs rikˈwaɪərd ɪm tɪ pleɪ ðə sɔŋ wɪθ ðə rɛst əv ðə bænd ˈrəðər ðən əˈloʊn fər ðɛm tɪ ˌəndərˈstænd ðə bæs lɪk wɑz kəmˈpoʊzd ɪn "ˈmeɪbi 15 ˈmɪnəts," əˈkɔrdɪŋ tɪ: "fli ɪz ðə bɛst bæs pleɪər ɪn ðə wərld. hɪz sɛns əv ˈtaɪmɪŋ ənd ðə weɪ hi θɪŋks ɪz soʊ ðə ˈtaɪtəl træk əv ðə ˈælbəm wɑz əˈməŋ ðə moʊst ˈdɪfəkəlt fər ðə bænd tɪ kəmˈplit. fɛlt kəmˈpɛld tɪ raɪt ən əˈproʊpriˌeɪt gɪˈtɑr ɑnˈsɑmbəl ðət wʊd əˈproʊpriɪtli ˈkɑmpləmənt ðə ˈpɔɪnjənt ˈlɪrɪkəl ˈkɑntɛnt, bət ɪnˈkaʊnərd ðə sɔŋ wɑz ˈbɛrli ˈmeɪkɪŋ ˈprɑˌgrɛs, ənd wʊd hæv bɪn skræpt hæd ɪt nɑt bɪn fər' ˈərʤənsi tɪ ˌɪnˈklud ɪt ɔn ðə ˈælbəm. kəmˈplitɪd ðə ˈfaɪnəl rɪf tu deɪz ˌbiˈfɔr rɪˈkɔrdɪŋ, ˈæftər drɔɪŋ ˌɪnspərˈeɪʃən frəm ðə ˈsaʊnˌtræk sɔŋ tɪ "ˈkɑrnɪʤ ðə ˈtaɪtəl træk wɑz ˌɪnˈtɛndɪd tɪ ˌrɛprɪˈzɛnt ˌkælɪˈfɔrnjən ˈlaɪfˌstaɪlz ənd, mɔr spəˈsɪfɪkli, ðə "feɪk" ˈneɪʧər wɪʧ ɪz əˈsoʊʃiˌeɪtəd wɪθ məʧ əv ˈhɑliˌwʊd. ɪt ˈrɛfərənsɪz kərt ˈkoʊˌbeɪn əv nɪrˈvɑnə ənd ˈjuzɪz kənˈsɪdərəbəl ˈɪmɪʤri tɪ ˈkæpʧər ðə ɪˈvɑkətɪv ˈneɪʧər əv ðə ˈrɛkərd wɑz ə ʧeɪnʤ əv staɪl fər ðə ˈʧɪli ˈpɛpərz, əˈspɛʃəli kəmˈpɛrd tɪ ðɛr ˈpriviəs ˈælbəm, wən hɑt ˈmɪnət, wɪʧ kəmˈbaɪnd ˈvɛriəs ˈɛləmənts əv ˈhɛvi ˈmɛtəl ənd ˌsaɪkəˈdɛlɪk rɑk. ˌɔlˈðoʊ stɪl kənˈteɪnz səm fəŋk rɑk sɔŋz (səʧ ɛz "əraʊnd ðə wərld", "gɪt ɔn tɔp", "aɪ laɪk dərt", "ˈpərpəl steɪn" ənd "raɪt ɔn taɪm"), ɪt lind təˈwɔrdz mɔr məˈlɑdɪk rɪfs (fər ɪgˈzæmpəl, "skɑr ˈtɪʃu" ənd "otherside*") ənd ˈfoʊkɪst ɔn sɔŋz wɪθ ˈɪmpləˌmɛnəd ˈstrəkʧər ˈrəðər ðən ˈaʊˌteɪks ˈɛdət ðə ˈælbəm ˈfiʧərd ə fju ˈaʊˌteɪks ðət ˈdɪdənt əˈpɪr ɔn ðə ˈstudiˌoʊ ˈælbəm. "gɔŋ li" ənd "ˌɪnstrəˈmɛnəl 1 wər riˈlist ɔn ðə "skɑr ˈtɪʃu" ˈsɪŋgəl. ðə ˌɪnstrəˈmɛnəl "ˈtitroʊ ʤæm" wɑz riˈlist ɔn ðə "əraʊnd ðə wərld" ˈsɪŋgəl waɪl "haʊ strɔŋ" wɑz ˈfiʧərd ɔn ðə "otherside*" ˈsɪŋgəl. "ˌɪnstrəˈmɛnəl 2 wɑz riˈlist ɔn ə ˈboʊnəs dɪsk fər ðə ˈælbəm. ɪn 2006 ˈaɪˌtunz ɪkˈsklusɪvli riˈlist "fæt dæns," "ˈoʊvər fəŋk" ənd "quixoticelixer*" əˈlɔŋ wɪθ ðə ˈælbəm fər ˈdaʊnˌloʊd. "sˈloʊli, ˈdipli" ən ˌɪnstrəˈmɛnəl træk, wʊd ˈleɪtər bi riˈlist ɛz ə tɪ ðə "ˌjunəˈvərsəli ˈspikɪŋ" ˈsɪŋgəl ɪn 2003 waɪl "ˈbəŋkər hɪl" wʊd bi ɔn ˈdʊrɪŋ ðə bændz ˈgreɪtəst hɪts ˈsɛʃənz ɪn 2003 ənd riˈlist ɔn ðə "ˈfɔrʧən ˈfeɪdɪd" ˈsɪŋgəl ðət seɪm jɪr. ɪn ˈɔgəst ənd sɛpˈtɛmbər 2014 ənrɪˈlist ˈdɛˌmoʊz frəm 1998 wər likt tɪ ðə ˈɪntərˌnɛt. ˈmɛni əv ðə ˈdɛˌmoʊz wər əv sɔŋz ðət meɪd ðə ˈfaɪnəl ˈælbəm ər riˈlist ɛz b-sides*; ˌhaʊˈɛvər, səm wər ˈdɪfərənt frəm ðə ˈfaɪnəl ˈælbəm ˈvərʒən wɪθ ðə moʊst ˈnoʊtəbəl ˈdɪfərənsɪz biɪŋ ə ˈrɛˌgeɪ ˈɪnfluənst ˈvərʒən əv ðə ˈtaɪtəl træk wɪθ ˈdɪfərənt ˈlɪrɪks ənd ə ˈvɛri ˈdɪfərənt ˈvoʊkəl ˈmɛlədi, ə ˈvərʒən "skɑr ˈtɪʃu" wɪθ ə ˈlɔŋgər ˈɪntroʊ, ə sloʊər ˈvərʒən əv "ˈpərpəl steɪn" wɪθ ˈædɪd ˈlɪrɪks ənd ˈdɪfərənt ˈkɔrəs, "ˈpɔrsələn ˈælɪs", ðə ərˈɪʤənəl ˈvərʒən əv "ˈpɔrsələn" wɪθ ˈdɪfərənt ˈlɪrɪks, ən ˌɪnstrəˈmɛnəl ˈvərʒən əv 'quixoticelixer*' (wɪθ ðə ˈwərkɪŋ ˈtaɪtəl "nu weɪv sɔŋ"), "haʊ strɔŋ ɪz jʊr ləv", ðə ərˈɪʤənəl ˈvərʒən əv "haʊ strɔŋ" ənd ðə ərˈɪʤənəl ˈdɛˌmoʊz fər "fæt dæns" ənd "ˈbəŋkər hɪl" (ərˈɪʤənəli ˈtaɪtəld "ðiz ər nɑt maɪ drimz əv ˈbəŋkər hɪl"). ðə likt ˈdɛˌmoʊz ˈɔlsoʊ ˌɪnˈkludɪd ˈnɛvər ˌbiˈfɔr hərd sɔŋz səʧ ɛz "pleɪt əv braʊn", "tellin*' ə laɪ", "mommason*", nicobar*", "ˈboʊtmən", "ˈʃʊgər ˈʃʊgər" ənd "ˈtrəbəl ɪn ðə pəb". ɪn ˈfɛbruˌɛri 2015 ə kəˈlɛkʃən əv rəf ˈmɪksɪz əv ˈaʊˌteɪks frəm ðə ˈsɛʃənz wɑz likt. ðɪs grup əv sɔŋz, wɪʧ wər rɪˈkɔrdɪd ɔn ˈeɪprəl 21 1999 æt ðə ˈvɪlɪʤ ˈstudiˌoʊ, kənˈteɪnz ə ˈvərʒən əv "ˈtrəbəl ɪn ðə pəb" wɪθ ˈvoʊkəlz əˈlɔŋ wɪθ "ˈblɑndi", ə sɔŋ ˈmɛnʃənd ɪn ən ˈɪntərvˌju ɛz ən ˈælbəm ˈaʊˌteɪk ˌhaʊˈɛvər ðə sɔŋ tərnz aʊt ˈoʊnli tɪ bi ə rəf mɪks əv "ˌɪnstrəˈmɛnəl 2 ən mɪks əv ðə ˈælbəm ˈɔlsoʊ ɪgˈzɪsts ðət ˈfiʧərz ˈɔltərˌneɪt ˈvərʒənz əv səm sɔŋz, səʧ ɛz ɪkˈstɛndɪd ˈɛndɪŋz ("ˈizəli"), ˈɛkstrə ˈvərsɪz ("ˈseɪvjər"), ˈɔltərˌneɪt ˈkɔrəsɪz ("əraʊnd ðə wərld") ənd ˈdɪfərənt gɪˈtɑr ˈmɪksɪz ("haʊ pərˈmoʊʃən ənd riˈlis ˈɛdət rɪk ˈrubɪn hæd prəˈdust ðɛr tu ˈpriviəs ˈælbəmz. ˌhaʊˈɛvər, ðə ˈʧɪli ˈpɛpərz ˌdɪˈsaɪdɪd tɪ lʊk fər ˈəðər prəˈdusərz fər ˈdeɪvɪd boʊi hæd ʃoʊn greɪt ˈɪntəˌrɛst ɪn ˈwərkɪŋ wɪθ ðə bænd ənd æst tɪ ˈproʊdus ðə ˈælbəm; ˌhaʊˈɛvər, ðə ˈʧɪli ˈpɛpərz ʧoʊz tɪ rɪˈmeɪn wɪθ ˈrubɪn fər ˈrubɪn hæd, ɪn ðə pæst, ˈgrænɪd ðə ˈʧɪli ˈpɛpərz kriˈeɪtɪv ˈfridəm ɔn ðɛr rɪˈkɔrdɪŋ məˈtɪriəl; ðɪs wɑz ˈsəmθɪŋ ðeɪ θɔt ˈnɛsəˌsɛri fər ðə ˈælbəm tɪ bi juˈnik, ənd kʊd ˈoʊnli əˈkər wɪθ hɪz rɪˈkɔrdɪŋ tʊk pleɪs æt ˈʧɛloʊ ˈstudiˌoʊz ɪn lɔs ˈænʤəlɪs. ɪn ˈərli 1999 ˈfɑloʊɪŋ ðə rɪˈkɔrdɪŋ ˈprɔˌsɛs, ðə bænd pleɪd "skɑr ˈtɪʃu", "otherside*", ənd "californication*" tɪ ðɛr ˈmænɪʤərz, ənd ɪt wɑz ˌdɪˈsaɪdɪd ðət "skɑr ˈtɪʃu" wʊd bi ðə lɛd ˈsɪŋgəl fər ðə tɪ səˈpɔrt ðɛr ˌriuˈnaɪtɪd ˈlaɪˌnəp, ðə bænd pleɪd ˈvɛriəs prɑmz əˈkrɔs ðə ˈkəntri tɪ prəˈmoʊt ɪt ˈspraʊtɪd ə ˌkɑmpəˈtɪʃən, wɪʧ kɔld əˈpɑn haɪ skul ˈstudənts tɪ raɪt ˈɛˌseɪz ɔn "haʊ ðeɪ kʊd meɪk ðɛr skulz ˈbɛtər, ˈseɪfər, ˈhæpiər, mɔr ˈrɑkɪŋ ˈpleɪsɪz, soʊ ðət ðeɪ ˈdɪdənt hæv tɪ goʊ tɪ skul əˈfreɪd. ɪf ju roʊt ðə ˈɛˌseɪ, ju gɑt ə fri ˈtɪkɪt tɪ ðə wɑz riˈlist ɔn ʤun 8 1999 deɪˈbjutɪŋ æt 5 bət ˈpikɪŋ æt 3 ɔn ðə ˈbɪlˌbɔrd 200 ʧɑrt. ɪn ˈjʊrəp, ðə ˈælbəm pikt æt 5 ɔn ðə tɔp 40 1 ɔn ðə ˈfɪnɪʃ, ˈɔstriən, sˈwidɪʃ ənd nu ˈzilənd ʧɑrts, ənd 2 ɔn ðə tɔp 40 əv fræns ənd ðə ˈnɛðərləndz. ɪt wɑz ˈsərtəˌfaɪd goʊld ʤɪst ˈoʊvər ə mənθ ˈleɪtər, ɔn ˌʤuˈlaɪ 22 1999 ənd ɪts kənˈtɪnjuɪŋ seɪlz hæv rɪˈzəltɪd ɪn ɪt biɪŋ ˈsərtəˌfaɪd ɪn mɑrʧ 2006 ðə rɛd hɑt ˈʧɪli ˈpɛpərz' ˈælbəmz wər meɪd əˈveɪləbəl tɪ ˈpərʧəs ɔn ðə ˈaɪˌtunz mˈjuzɪk ˈælbəmz bɔt ðɛr ˌɪnˈkludɪd nu ˈpriviəsli ənrɪˈlist træks ("fæt dæns", "ˈoʊvər fəŋk", ənd "quixoticelixer*"). kəˈmərʃəl pərˈfɔrməns ˈɛdət ɪn ðə juˈnaɪtɪd steɪts ðə ˈælbəm ˈdeɪbjutɪd ənd pikt æt ˈnəmbər θri ɔn ðə ˈbɪlˌbɔrd 200 ðə wik əv ʤun 26 1999 wɪθ ˈkɑpiz ðə nɛkst wik ɪt drɑpt tɪ ˈnəmbər ˈsɛvən ənd ɪt wɑz ˈprɛzənt ɔn ðə ʧɑrt fər wən ˈhənərd wən ɪt wɑz ˈsərtəˌfaɪd sɪks taɪmz ˈplætənəm baɪ ðə ɔn ʤun 28 2016 fər ˈʃɪpmənts əv sɪks ɪn ðə juˈnaɪtɪd ˈkɪŋdəm ɪt ˈdeɪbjutɪd ənd pikt æt ˈnəmbər faɪv ɔn ʤun 16 1999 ðə nɛkst wik ɪt fɛl ɔf tɪ ˈnəmbər ˈsɛvən; ðə ˈælbəm rɪˈmeɪnd ɔn ðə ʧɑrt fər wən ˈhənərd ˈsɪksti naɪn ɪt wɑz ˈsərtəˌfaɪd fɔr taɪmz ˈplætənəm baɪ ðə ɔn sɛpˈtɛmbər 2 2016 dɪˈnoʊtɪŋ ˈʃɪpmənts əv wən ˈmɪljən tu ˈhənərd ˈθaʊzənd ɪn ˈʤərməni, ɪt wɑz ðə bændz ˈælbəm, steɪɪŋ ɔn ðə ˈmidiə kənˈtroʊl ʧɑrts fər 114 wiks (mɔr ðən 2 jɪrz) ənd ˈsɛlɪŋ mɔr ðən ˈkɑpiz, ˈriʧɪŋ ˈkrɪtɪkəl rɪˈsɛpʃən ənd ˈlɛgəsi ˈɛdət rɪˈsivd ˈfeɪvərəbəl rəvˈjuz ɪn ˈkɑntræst tɪ ɪts lɛs ˈpɑpjələr ˈprɛdəˌsɛsər, wən hɑt ˈmɪnət, ənd ɪt wɑz ə ˈgreɪtər səkˈsɛs ˈroʊlɪŋ stoʊn ˈkrɛdɪtɪd fər hɪz ˈdræstɪkli ˌɪmˈpruvd ˈvoʊkəlz: "[hɪz] ˈvoʊkəl kɔrdz hæv əˈpɛrəntli bɪn daʊn tɪ səm ˈkrɔsˌroʊdz ənd ˈoʊvər ðə rihæb, ənd rɪˈtərnd wɪθ ˌhɪrtəˈfɔr reɪnʤ, ˈbɑdi, pɪʧ, soulfulness*, ənd məˈlɑdɪk sɔŋz səʧ ɛz "otherside*" ənd "ˈpɔrsələn" wər kɔld "pumpkins-esque*", waɪl ðə ˈælbəm ɛz ə hoʊl wɑz "epiphanal*" ənd ðə ər naʊ ˈmuvɪŋ təˈwɔrd ril ˈhoʊli greɪl: ðət ˈsɔlti ˈmɛrɪʤ əv ˌɛsəˈtɛrɪk məˈθɑləˌʤi ənd ˌɪnˈseɪʃəbəl mˌjuzɪˈkæləti ðət soʊlz, baɪndz kəmˈjunɪtiz ənd hilz ðə ˈəðər ˈkrɪtɪks ˈkrɛdɪtɪd ðə ˈælbəmz səkˈsɛs tɪ ðə rɪˈtərn əv. grɛg ˈprɑtoʊ sɛd ðət ðə "ˈɑbviəs ˈrizən fər [ðə bændz] riˈbərθ ɪz ðə ˌriəˈpɪrəns əv ˌgɪˈtɑrɪst ʤɑn", kənˈsɪdərɪŋ ɪm tɪ bi ðə "kˌwɪntɪˈsɛnʃəl ðə ˈælbəm ɛz ə hoʊl wɑz "ə ˈboʊnə faɪd ˈʧɪli ˈpɛpərz ˌɛnərˈteɪnmənt ˈwikli ˈɔlsoʊ ˈkrɛdɪts wɪθ trænsˈfɔrmɪŋ ðə bændz saʊnd ˈɪntu ə "mɔr rɪˈlækst, lɛs ˈgreɪtɪŋ, ənd, ɪn ðɛr oʊn weɪ, mɔr ˌɪntrəˈspɛktɪv ˈælbəm ðən ˈɛvər mɑrk ˈwʊˌdlif əv reɪ gən ˈkɑmɛntəd ðət "'ðɪs ˈvɛlvət gləv' straɪks ən ˈɪntrəkət ˈbæləns bɪtˈwin ə ləʃ əˈkustɪk gɪˈtɑr faʊnˈdeɪʃən ənd rɑk," ˈwʊˌdlif kənˈtɪnjud "ðə ˈdɪskoʊ ˈɪntroʊ tɪ 'ˈpɛrəˌlɛl ˈjunəˌvərs' gɪvz weɪ tɪ ə ˈskɔrʧɪŋ ˈwɛstərn moʊˈtif ɪn ðə ˈkɔrəs, ənd ɪkˈskərʒənz æt ðə sɔŋz waɪl ˈmɛni ˈkrɪtɪks faʊnd ðə bændz nu saʊnd rɪˈfrɛʃɪŋ, ˈkrɪtəˌsaɪzd ðə ˈʧɪli ˈpɛpərz fər ˈrɛrli ˈjuzɪŋ ðɛr ˈtreɪdˌmɑrk fəŋk saʊnd, ˈæskɪŋ: "kən wi hæv ɑr brain-dead*, rɑk ˈænəməlz bæk naʊ, pliz? ɔl ðɪs fɔls ˈɛmpəθi ɪz ˈstɑrtɪŋ tɪ meɪk maɪ riˈmuvd rɪb ˈpɪʧˌfɔrk, waɪl kənˈsɪdərɪŋ ðə ˈælbəm ə traɪəmf ˈoʊvər wən hɑt ˈmɪnət, fɛlt lækt ðə fəŋk ðət wɑz ɪn bləd ˈʃʊgər sɛks ɪt wɛnt ɔn tɪ ˈskrutəˌnaɪz səm ˈlɪrɪks fər biɪŋ ˈoʊvərli ˈsɛkʃuəl, bət ˈɔlsoʊ kənˈsɪdərd tɪ bi "ðə bɛst ˈbɪgˌtaɪm əˈmɛrɪkən rɑk ˌgɪˈtɑrɪst goʊɪŋ raɪt ˈkrɪtɪk ˈrɑbərt geɪv ðə ˈælbəm ə ˈɑnərəbəl ˈmɛnʃən dɪˈskraɪbɪŋ ðə bænd ɛz "nu eɪʤ fək findz" ənd ˈsaɪtɪŋ "skɑr ˈtɪʃu" ənd "ˈpərpəl steɪn" ɛz ˈoʊvər ðə jɪrz, həz meɪnˈteɪnd ɪts ˌpɑpjəˈlɛrəti. "skɑr ˈtɪʃu" wən ðə ˈgræmi əˈwɔrd fər bɛst rɑk sɔŋ ɪn ðə ˈælbəm wɑz ræŋkt ˈnəmbər 399 ɔn ˈroʊlɪŋ stoʊn ˈmægəˌzinz 2003 lɪst əv "ðə 500 ˈgreɪtəst ˈælbəmz əv ɔl taɪm" ənd, ɪn 2006 ðə ˈʧɪli ˈpɛpərz rɪˈkɔrdɪd ə fər əˈmərɪkəˈɑnˌlaɪn ˈsɛʃənz ðət ˌɪnˈkludɪd "skɑr ˈtɪʃu" ənd ðə ˈælbəm prəˈdust ˈmɛni ˈsteɪpəl hɪts fər ðə ˈʧɪli ˈpɛpərz; faɪv əv ðə ˈsɪkˈstin sɔŋz ɔn ðɛr ˈgreɪtəst hɪts ˈælbəm wər ˈteɪkən frəm əv "unmastered*" ˈvərʒən əv (tɔp) ˈvərsəz əv ərˈɪʤənəl ˈsiˈdi riˈlis ˈvərʒən (ˈbɑtəm), ʃoʊɪŋ ˈdɪfərəns ɪn ˈvɑljum ˈlɛvəlz. ðə ˈælbəm rɪˈsivd ˈkrɪtɪˌsɪzəm fər wət tɪm ˈændərsən əv ðə ˈgɑrdiən kɔld "ɪkˈsɛsɪv kəmˈprɛʃən ənd dɪˈstɔrʃən" ɪn ðə ˈprɔˌsɛs əv ˈdɪʤɪtəl ˈstaɪləs ˈmægəˌzin ˈleɪbəld ɪt ɛz wən əv ðə ˈvɪktɪmz əv ðə wɔr ənd ˈkɑmɛntəd ðət ɪt ˈsəfərd frəm ˈdɪʤɪtəl ˈklɪpɪŋ soʊ məʧ ðət "ˈivɪn kənˈsumərz kəmˈpleɪnd əˈbaʊt ən ˈərli, ˈɔltərnətli ˈmæstərd ˈvərʒən əv ðə ˈælbəm wɪθ ə ˈdɪfərənt træk ˈlɪstɪŋ ənd ˈmɪksɪŋ, ˈprɑbəˌbli ə ˈkænədɪt, həz bɪn ˈsərkjəˌleɪtɪd ɔn ðə ˈækəˌleɪdz ˈɛdət ðə ˌɪnˌfɔrˈmeɪʃən rɪˈgɑrdɪŋ ˈækəˌleɪdz əˈtrɪbjətəd tɪ ɪz əˈdæptɪd frəm tʊr ˈɛdət ˌɪˈmiˌdiətli ˈfɑloʊɪŋ ðə riˈlis əv, ðə bænd ɛmˈbɑrkt ɔn ə wərld tʊr tɪ səˈpɔrt ðə ˈrɛkərd, bɪˈgɪnɪŋ ɪn ðə juˈnaɪtɪd steɪts. tɪ ˈkəlmɪˌneɪt ðə ˈjuˈɛs lɛg əv ðɛr tʊr, ðə ˈʧɪli ˈpɛpərz wər æst tɪ kloʊz ˈwʊdˌstɑk 99 wɪʧ bɪˈkeɪm ˈɪnfəməs fər ðə rɪˈzəltɪŋ ðə bænd wɑz ˌɪnˈfɔrmd ˈmɪnəts ˌbiˈfɔr ərˈaɪvɪŋ ðət ðə kraʊdz ənd ˈbɑnˌfaɪərz ɪn ðə fildz hæd gɔn aʊt əv wɪn ðə ˈʧɪli ˈpɛpərz pərˈfɔrmd ə ˈtrɪbjut tɪ ˈʤɪmi sɔŋ "faɪər" tɪ ˈfɪnɪʃ ðɛr sɛt ɛz ə ˈfeɪvər tɪ ˈsɪstər, ðə dɪsˈrəpʃən ˈɛskəˌleɪtɪd ˈɪntu ˈvaɪələns wɪn ˈsɛvərəl ˈwɪmən, hu hæd bɪn kraʊd ˈsərfɪŋ ənd moshing*, wər reɪpt ənd ˈnɪrˈbaɪ ˈprɑpərti wɑz ˈlutɪd ənd fɛlt ðət "ɪt wɑz klɪr ðət ðɪs ˌsɪʧuˈeɪʃən hæd ˈnəθɪŋ tɪ du wɪθ ˈwʊdˌstɑk ˈɛni mɔr. ɪt ˈwəzənt sɪmˈbɑlɪk əv pis ənd ləv, bət əv grid ənd ˈkæʃɪŋ ɪn wi woʊk əp tɪ ˈpeɪpərz ənd ˈreɪdiˌoʊ ˈsteɪʃənz ˈjuˈɛs fər pleɪɪŋ tɪ kɪk ɔf ðə bændz ˌjʊrəˈpiən tʊr, ðə bænd steɪʤd ə fri ʃoʊ ɪn ˈmɔˌskoʊz rɛd skwɛr, ɔn ˈɔgəst 14 1999 tɪ ə kraʊd əv ˈoʊvər rɪˈkɔld ðə ˌsɪʧuˈeɪʃən: "rɛd skwɛr wɑz soʊ fɪld wɪθ ˈrəʃənz ðət wi ˈnidɪd ə pəˈlis ˈɛskɔrt tɪ gɪt nɪr ðə ˈfɑloʊɪŋ ðə ˌjʊrəˈpiən lɛg, ðə grup dɪd ə ʃoʊ ɪn nu jɔrk ˈsɪti, æt ðə ˈwɪndoʊz ɔn ðə wərld, fər ˈreɪdiˌoʊ contest-winners*, ənd ðɛn æt ðə bɪg deɪ aʊt ˈfɛstɪvəl ɪn ɔˈstreɪljə ˈfɑloʊɪŋ ˈsɛvərəl ˌʤæpəˈniz tʊr fli, ˌhaʊˈɛvər, bɪˈgæn tɪ fil ðə ˌripərˈkəʃənz əv ˈtʊrɪŋ ˈkɔzɪŋ ðə bænd tɪ sɛt əp ˈkɑnsərts ðət wər lɛs ˈstrɛnjuəs, ənd ˈkɑnsəkˌwɛntli lɛs ˌfaɪˈnænʃəli rɪˈwɔrdɪŋ, fər ðɛm. ðiz ʃoʊz wʊd ˈfɪnɪʃ ðə rɪˈmeɪndər əv ðə ɛz wən əv ðə læst ʃoʊz ˌbiˈfɔr ðə riˈlis əv ðɛr nɛkst ˈælbəm baɪ ðə weɪ, ðə ˈʧɪli ˈpɛpərz pleɪd rɑk ɪn ˈrioʊ træk ˈlɪstɪŋ ˈɛdət ɔl træks ˈrɪtən baɪ rɛd hɑt ˈʧɪli ˈpɛpərz (fli, ʤɑn, ˈænθɔˌni, ʧæd smɪθ). ˌʤæpəˈniz ɪˈdɪʃən ˈboʊnəs træk noʊ. ˈtaɪtəl lɛŋθ 16 "gɔŋ li" ˈaɪˌtunz ˈboʊnəs træks noʊ. ˈtaɪtəl lɛŋθ 16 "fæt dæns" 17 "ˈoʊvər fəŋk" 18 "quixoticelixer*" ɔˈstreɪljən ɪˈdɪʃən ˈboʊnəs dɪsk noʊ. ˈtaɪtəl lɛŋθ 1 "gɔŋ li" 2 "haʊ strɔŋ" 3 "ˌɪnstrəˈmɛnəl 2 ˌpərsəˈnɛl ˈɛdət rɛd hɑt ˈʧɪli ˈpɛpərz ˈɛdət əˈdɪʃənəl mjuˈzɪʃənz ˈɛdət pərˈdəkʃən ˈɛdət ˈlɪndzi ʧeɪs pərˈdəkʃən koʊˈɔrdəˌneɪtər maɪk ˈnɪkəlsən ənd grɛg ˈkɑlɪnz əˈdɪʃənəl ˈɛnʤəˈnɪrɪŋ grɛg əˈdɪʃənəl ˈɛnʤəˈnɪrɪŋ ˈʤɛnəfər ˈhɪljɑrd əˈsɪstənt ˈɛnʤəˈnɪr krɪs hoʊmz mɪks ˈɛnʤəˈnɪr ˈoʊˈkeɪ hi kɪm əˈsɪstənt ˈɛnʤəˈnɪr ˈmɛlər ˈmæstərɪŋ rɪk ˈrubɪn pərˈdəkʃən ˈdeɪvɪd ˈʃɪfmən əˈdɪʃənəl ˈɛnʤəˈnɪrɪŋ ʤɪm skɑt ˈɛnʤəˈnɪr, ˈmɪksɪŋ ʤɑn ˈsɔrənsən əˈdɪʃənəl ˈɛnʤəˈnɪrɪŋ dɪˈzaɪn ˈɛdət ˈlɔrəns ɑrt dɪˈrɛkʃɪn ˈsoʊnjə fəˈtɑgrəfi rɛd hɑt ˈʧɪli ˈpɛpərz ɑrt dɪˈrɛkʃɪn ˈtoʊni fəˈtɑgrəfi ʧɑrts ˈɛdət ˈrɛfərənsɪz ˈɛdət ˌbɪbliˈɑgrəfi ˈɛdət dimery*, ˈrɑbərt. 1001 ˈælbəmz ju məst hir ˌbiˈfɔr ju daɪ nu jɔrk, ny*: ˈjunəˌvərs, 2006 nu jɔrk, ny*: ˈjunəˌvərs, 2006, ˈænθɔˌni ənd ˈlɛri sˈloʊmən. skɑr ˈtɪʃu nu jɔrk, ny*: haɪˈpɪriən, 2004 nu jɔrk, ny*: haɪˈpɪriən, 2004 ˈlɑrkɪn, ˈkoʊlɪn. rɛd hɑt ˈʧɪli ˈpɛpərz ." ɪnˌsaɪkləˈpidiə əv ˈpɑpjələr mˈjuzɪk, ɛd. ˈɑksfərd mˈjuzɪk ˈɔnˌlaɪn. ˈɑksfərd ˌjunəˈvərsəti prɛs. wɛb. 27 ˈɛˈsiˈpi. 2016 sanneh*, keɪ. 2002 14 ə bænd ˈivɪn ˈbɛtər kuld daʊn. nu jɔrk taɪmz faɪl)

story highlights david frum: hundreds of thousands of americans lost power in snowstorms this week he says this happens regularly in u.s., but not in germany, where power lines are buried some say it would be too costly to bury power lines; he says cost creates benefits frum: it's a project that would benefit many, create jobs; our grandchildren will thank us congratulations: if you're reading this, there's a good chance you still have electricity. unfortunately, hundreds of thousands of americans hit by winter weather in the south this week couldn't join you. and ice and storms making their way north threaten loss of power stretching to vermont. why do americans tolerate such outages? they are not inevitable. the german power grid has outages at an average rate of 21 minutes per year. the winds may howl. the trees may fall. but in germany, the lights stay on. david frum there's no teutonic engineering magic to this impressive record. it's achieved by a very simple decision: germany buries almost all of its and power lines, the lines that serve individual homes and apartments. americans could do the same. they have chosen not to. the choice has been made for reasons of cost. the industry rule of thumb is that it costs about 10 times as much to bury wire as to string wire overhead: up to $1 million per mile, industry representatives claim. since american cities are much less dense than european ones, there would be a lot more wire to string to serve a u.s. population than a european one. cost matters. but now reflect: 1. there's reason to think that industry estimates of the cost of burying wires are inflated. while the u.s. industry guesstimates costs, a large-scale study of the problem conducted recently in the united kingdom estimated the cost premium at to times the cost of overhead wire, not 10 times. just watched atlantans stocks up for winter storm replay more videos ... must watch atlantans stocks up for winter storm just watched atlanta ready for second ice blast? replay more videos ... must watch atlanta ready for second ice blast? 2. u.s. cost figures are a moving target. american cities are becoming denser as the baby boomers age and opt for living . denser cities require fewer miles of wire to serve their populations. 3. costs can only be understood in relation to benefits. as the climate warms, storms and power outages are becoming more common. and as the population ages, power failures become more dangerous. in france, where air conditioning is uncommon, a 2003 heat wave left people dead , almost all of them elderly. if burying power lines prevented power outages during the hotter summers --and winters -- ahead, the decision could save many lives. 4. as you may have heard, many americans remain unemployed. joblessness is acute among less educated workers, many of whom used to work in the depressed construction industry. burying power lines is a project that could put many hundreds of thousands of the unemployed to work at tasks that make use of their skills and experience. the obama stimulus failed to produce many projects of lasting benefit to the country. yet even now, borrowing costs remain low for governments and large ultilities. burying power lines is a public works project for the century that our children and grandchildren would appreciate -- and that might save our parents' lives.

ˈstɔri ˈhaɪˌlaɪts ˈdeɪvɪd frəm: ˈhənərdz əv ˈθaʊzənz əv əˈmɛrɪkənz lɔst paʊər ɪn sˈnoʊˌstɔrmz ðɪs wik hi sɪz ðɪs ˈhæpənz ˈrɛgjələrli ɪn juz., bət nɑt ɪn ˈʤərməni, wɛr paʊər laɪnz ər ˈbɛrid səm seɪ ɪt wʊd bi tu ˈkɔstli tɪ ˈbɛri paʊər laɪnz; hi sɪz kɔst kriˈeɪts ˈbɛnəfɪts frəm: ɪts ə ˈprɑʤɛkt ðət wʊd ˈbɛnəfɪt ˈmɛni, kriˈeɪt ʤɑbz; ɑr ˈgrænˌʧɪldrən wɪl θæŋk ˈjuˈɛs kənˌgræʧəˈleɪʃənz: ɪf jʊr ˈrɛdɪŋ ðɪs, ðɛrz ə gʊd ʧæns ju stɪl hæv ɪˌlɛkˈtrɪsəti. ənˈfɔrʧənətli, ˈhənərdz əv ˈθaʊzənz əv əˈmɛrɪkənz hɪt baɪ ˈwɪntər ˈwɛðər ɪn ðə saʊθ ðɪs wik ˈkʊdənt ʤɔɪn ju. ənd aɪs ənd stɔrmz ˈmeɪkɪŋ ðɛr weɪ nɔrθ θˈrɛtən lɔs əv paʊər ˈstrɛʧɪŋ tɪ vərˈmɑnt. waɪ du əˈmɛrɪkənz ˈtɑlərˌeɪt səʧ ˈaʊtɪʤɪz? ðeɪ ər nɑt ˌɪˈnɛvətəbəl. ðə ˈʤərmən paʊər grɪd həz ˈaʊtɪʤɪz æt ən ˈævərɪʤ reɪt əv 21 ˈmɪnəts pər jɪr. ðə wɪndz meɪ haʊl. ðə triz meɪ fɔl. bət ɪn ˈʤərməni, ðə laɪts steɪ ɔn. ˈdeɪvɪd frəm ðɛrz noʊ tuˈtɔnɪk ˈɛnʤəˈnɪrɪŋ ˈmæʤɪk tɪ ðɪs ˌɪmˈprɛsɪv ˈrɛkərd. ɪts əˈʧivd baɪ ə ˈvɛri ˈsɪmpəl dɪˈsɪʒən: ˈʤərməni ˈbɛriz ˈɔlˌmoʊst ɔl əv ɪts ənd paʊər laɪnz, ðə laɪnz ðət sərv ˌɪndəˈvɪʤəwəl hoʊmz ənd əˈpɑrtmənts. əˈmɛrɪkənz kʊd du ðə seɪm. ðeɪ hæv ˈʧoʊzən nɑt tɪ. ðə ʧɔɪs həz bɪn meɪd fər ˈrizənz əv kɔst. ðə ˈɪndəstri rul əv θəm ɪz ðət ɪt kɔsts əˈbaʊt 10 taɪmz ɛz məʧ tɪ ˈbɛri waɪər ɛz tɪ strɪŋ waɪər ˈoʊvərˈhɛd: əp tɪ 1 ˈmɪljən pər maɪl, ˈɪndəstri ˌrɛprɪˈzɛnətɪvz kleɪm. sɪns əˈmɛrɪkən ˈsɪtiz ər məʧ lɛs dɛns ðən ˌjʊrəˈpiən wənz, ðɛr wʊd bi ə lɔt mɔr waɪər tɪ strɪŋ tɪ sərv ə juz. ˌpɑpjəˈleɪʃən ðən ə ˌjʊrəˈpiən wən. kɔst ˈmætərz. bət naʊ rɪˈflɛkt: 1 ðɛrz ˈrizən tɪ θɪŋk ðət ˈɪndəstri ˈɛstəˌmeɪts əv ðə kɔst əv ˈbɛriɪŋ waɪərz ər ˌɪnˈfleɪtɪd. waɪl ðə juz. ˈɪndəstri ˈgɛstɪmɪts kɔsts, ə ˈlɑrʤˌskeɪl ˈstədi əv ðə ˈprɑbləm kənˈdəktəd ˈrisəntli ɪn ðə juˈnaɪtɪd ˈkɪŋdəm ˈɛstəˌmeɪtɪd ðə kɔst ˈprimiəm æt tɪ taɪmz ðə kɔst əv ˈoʊvərˈhɛd waɪər, nɑt 10 taɪmz. ʤɪst wɔʧt ˌæˈtlænənz stɑks əp fər ˈwɪntər stɔrm riˈpleɪ mɔr ˈvɪdioʊz məst wɔʧ ˌæˈtlænənz stɑks əp fər ˈwɪntər stɔrm ʤɪst wɔʧt æˈtlæntə ˈrɛdi fər ˈsɛkənd aɪs blæst? riˈpleɪ mɔr ˈvɪdioʊz məst wɔʧ æˈtlæntə ˈrɛdi fər ˈsɛkənd aɪs blæst? 2 juz. kɔst ˈfɪgjərz ər ə ˈmuvɪŋ ˈtərgət. əˈmɛrɪkən ˈsɪtiz ər bɪˈkəmɪŋ ˈdɛnsər ɛz ðə ˈbeɪbi ˈbumərz eɪʤ ənd ɑpt fər ˈlɪvɪŋ ˈdɛnsər ˈsɪtiz ˌrikˈwaɪər fjuər maɪəlz əv waɪər tɪ sərv ðɛr ˌpɑpjəˈleɪʃənz. 3 kɔsts kən ˈoʊnli bi ˌəndərˈstʊd ɪn riˈleɪʃən tɪ ˈbɛnəfɪts. ɛz ðə ˈklaɪmɪt wɔrmz, stɔrmz ənd paʊər ˈaʊtɪʤɪz ər bɪˈkəmɪŋ mɔr ˈkɑmən. ənd ɛz ðə ˌpɑpjəˈleɪʃən ˈeɪʤɪz, paʊər ˈfeɪljərz bɪˈkəm mɔr ˈdeɪnʤərəs. ɪn fræns, wɛr ɛr kənˈdɪʃənɪŋ ɪz ənˈkɑmən, ə 2003 hit weɪv lɛft ˈpipəl dɛd ˈɔlˌmoʊst ɔl əv ðɛm ˈɛldərli. ɪf ˈbɛriɪŋ paʊər laɪnz prɪˈvɛnɪd paʊər ˈaʊtɪʤɪz ˈdʊrɪŋ ðə ˈhɑtər ˈsəmərz --ənd ˈwɪntərz əˈhɛd, ðə dɪˈsɪʒən kʊd seɪv ˈmɛni lɪvz. 4 ɛz ju meɪ hæv hərd, ˈmɛni əˈmɛrɪkənz rɪˈmeɪn ˌənɛmˈplɔɪd. ˈʤɑbləsnəs ɪz əˈkjut əˈməŋ lɛs ˈɛʤəˌkeɪtɪd ˈwərkərz, ˈmɛni əv hum juzd tɪ wərk ɪn ðə dɪˈprɛst kənˈstrəkʃən ˈɪndəstri. ˈbɛriɪŋ paʊər laɪnz ɪz ə ˈprɑʤɛkt ðət kʊd pʊt ˈmɛni ˈhənərdz əv ˈθaʊzənz əv ðə ˌənɛmˈplɔɪd tɪ wərk æt tæsks ðət meɪk juz əv ðɛr skɪlz ənd ɪkˈspɪriəns. ðə ˌoʊˈbɑmə ˈstɪmjələs feɪld tɪ ˈproʊdus ˈmɛni ˈprɑʤɛkts əv ˈlæstɪŋ ˈbɛnəfɪt tɪ ðə ˈkəntri. jɛt ˈivɪn naʊ, ˈbɑroʊɪŋ kɔsts rɪˈmeɪn loʊ fər ˈgəvərnmənts ənd lɑrʤ ultilities*. ˈbɛriɪŋ paʊər laɪnz ɪz ə ˈpəblɪk wərks ˈprɑʤɛkt fər ðə ˈsɛnʧəri ðət ɑr ˈʧɪldrən ənd ˈgrænˌʧɪldrən wʊd əˈpriʃiˌeɪt ənd ðət maɪt seɪv ɑr ˈpɛrənts' lɪvz.

apple will add all iphone 4 models, the late 2010 air, airport extreme, and mid 2009 airport time capsule to its vintage and obsolete products list starting october 31, according to japanese website mac apple products on the vintage and obsolete list are no longer eligible for hardware service, beyond a few exceptions. apple defines vintage products as those that have not been manufactured for more than five years but less than seven years ago, while obsolete products are those that were discontinued more than seven years ago. each of the products added were released between 2009 and report specifically pertains to apple's vintage and obsolete products list in japan, but the new additions will more than likely extend to the united states, australia, canada, and the rest of the and europe already models of the iphone 4 around the world last month, while the late 2010 air joins the mid 2009 imac, 2010 mac mini, and mid 2010 and pro among apple's recently sierra remains compatible with the late 2010 air, while the iphone 4 cannot be updated beyond ios. read how to identify your air model or how to identify your iphone model the current air has not been updated in 584 days. refreshed models with ports are expected later this month at the earliest.

ˈæpəl wɪl æd ɔl ˈaɪˌfoʊn 4 ˈmɑdəlz, ðə leɪt 2010 ɛr, ˈɛrˌpɔrt ɪkˈstrim, ənd mɪd 2009 ˈɛrˌpɔrt taɪm ˈkæpsəl tɪ ɪts ˈvɪntɪʤ ənd ˌɑbsəˈlit ˈprɑdəkts lɪst ˈstɑrtɪŋ ɑkˈtoʊbər 31 əˈkɔrdɪŋ tɪ ˌʤæpəˈniz ˈwɛbˌsaɪt mæk ˈæpəl ˈprɑdəkts ɔn ðə ˈvɪntɪʤ ənd ˌɑbsəˈlit lɪst ər noʊ ˈlɔŋgər ˈɛlɪʤəbəl fər ˈhɑrdˌwɛr ˈsərvɪs, bɪɔnd ə fju ɪkˈsɛpʃənz. ˈæpəl dɪˈfaɪnz ˈvɪntɪʤ ˈprɑdəkts ɛz ðoʊz ðət hæv nɑt bɪn ˌmænjəˈfækʧərd fər mɔr ðən faɪv jɪrz bət lɛs ðən ˈsɛvən jɪrz əˈgoʊ, waɪl ˌɑbsəˈlit ˈprɑdəkts ər ðoʊz ðət wər dɪskənˈtɪnjud mɔr ðən ˈsɛvən jɪrz əˈgoʊ. iʧ əv ðə ˈprɑdəkts ˈædɪd wər riˈlist bɪtˈwin 2009 ənd rɪˈpɔrt spəˈsɪfɪkli pərˈteɪnz tɪ ˈæpəlz ˈvɪntɪʤ ənd ˌɑbsəˈlit ˈprɑdəkts lɪst ɪn ʤəˈpæn, bət ðə nu əˈdɪʃənz wɪl mɔr ðən ˈlaɪkli ɪkˈstɛnd tɪ ðə juˈnaɪtɪd steɪts, ɔˈstreɪljə, ˈkænədə, ənd ðə rɛst əv ðə ənd ˈjʊrəp ɔˈrɛdi ˈmɑdəlz əv ðə ˈaɪˌfoʊn 4 əraʊnd ðə wərld læst mənθ, waɪl ðə leɪt 2010 ɛr ʤɔɪnz ðə mɪd 2009 imac*, 2010 mæk ˈmɪni, ənd mɪd 2010 ənd proʊ əˈməŋ ˈæpəlz ˈrisəntli siˈɛrə rɪˈmeɪnz kəmˈpætəbəl wɪθ ðə leɪt 2010 ɛr, waɪl ðə ˈaɪˌfoʊn 4 ˈkænɑt bi ˈəpˌdeɪtɪd bɪɔnd ˈioʊs rɛd haʊ tɪ aɪˈdɛntəˌfaɪ jʊr ɛr ˈmɑdəl ər haʊ tɪ aɪˈdɛntəˌfaɪ jʊr ˈaɪˌfoʊn ˈmɑdəl ðə ˈkɑrənt ɛr həz nɑt bɪn ˈəpˌdeɪtɪd ɪn 584 deɪz. riˈfrɛʃt ˈmɑdəlz wɪθ pɔrts ər ɪkˈspɛktɪd ˈleɪtər ðɪs mənθ æt ðə ˈərliəst.

defending world champions, european champions in 2008 and 2012, success at the level, real madrid and barcelona continually top or near the top of the wealthiest clubs list and home grown players much sought after around the world this is a golden age for spanish soccer ........or is it? last week there was a very public reminder that success has not brought benefit to all. because for all the success achieved over the last 10 years or so spain has an unsustainable system by which the top two teams real madrid and barcelona - siphon off so much money that the others are faced with accepting the inevitably of irrelevance or incurring so much debt that bankruptcy becomes just another milestone in the business plan. along the way suppliers go unpaid, taxes owing to governments mount and players and support staff are surprised if a pay check arrives on time. racing santander is not a well known name having never won a top honor in their one hundred year history. fans in north america are more likely to recognize the name on account of us international defender carlos bocanegra playing on loan at santander last season before signing for chivas usa. others with a slightly longer memory may remember when businessman bought the club in 2003. there is nothing particularly unusual with a foreign businessman buying a spanish soccer team but was not content to just own the club he wanted to run and manage every aspect of the club. a short while after buying a 24% stake and controlling interest in the club a tv interviewer asked is he was not cutting a bit more off than he could chew with his management style/ego-trip. his response was to say the least sharp and to the point; “there’s a running the most powerful country in the world without a qualification to his name. and you ask me for a diploma to run a football team? give me a break.” however, could not get the spanish football federation to budge on the technical qualifications to actually coach the club but they were no match for. employed someone with the appropriate qualifications and installed his stooge as a coach. meanwhile, accredited himself as the club photographer albeit one who sat next to the bench and barked instructions to his players. the first and possibly only in the game. piterman later bought alves but by 2007 he was gone from spanish soccer. nonetheless, he is still regarded as being one of the weirdest characters ever to own a spanish team and that is no mean achievement in a business that spawns them. but back to this current edition of racing santander. last thursday, santander, currently in the third tier of spanish soccer after suffering two successive demotions took to the field for a copa del rey second leg match against top flight real sociedad. but that was about as far as it got. a few days before the scheduled game the santander players had issued a statement stating that unless the club president and the board of directors resigned en masse, they the players would refuse to play. the players’ beef was that despite many promises to the contrary the club had not paid them for months. by kick off time the resignation of the board had not been forthcoming. so when the referee blew for the game to start, santander, rather than competing for the ball simply stood around the centre circle, arms locked in unison, offering their version of roberto duran's famous "no más." after a rather one sided 30 or so seconds in which sociedad knocked the ball around (100% pass completion rates no doubt), referee jesus gil was left with no option but to abandon the match. the stand taken by the santander players drew unqualified support …well almost. the spanish football federation (sff) took a dim view of the players’ actions and banned santander from next cup competition and fined the club $4,000. most right minded people would point out that rather than making an issue of the santander protest the is far more culpable for allowing it to get to that stage. but the situation has become so prevalent that it is doubtful that the would no where to start. non-payment of wages has been a festering sore for spanish soccer for many years. just over two years ago it led to a players strike and at that time it was estimated that players in the top two levels of the spanish game were essentially subsidizing their respective clubs to the tune of anywhere between $40m to $80m. industrial action lasted just one week at the start of the season after both sides agreed on a deal to protect players’ salaries in the event of clubs declaring insolvency. nonetheless, unpaid wages and a litany of clubs seeking bankruptcy protection continue to haunt spanish soccer at all levels. in fact, spain leads all other leagues with the unenviable record of the most bankrupt teams. unpaid taxes have hovered around the $1b for a number of years with the top 20 indebted clubs at the end of the season owing a cumulative total of $4b to creditors. underpinning the financially dysfunctional model is a tv rights deal that currently sees real madrid and barcelona pocket around 42% of the revenue while the remainder is split between the other 18 clubs. actually, it is not so much a tv deal as as of deals. but with one eye to the barclays premier league (and now a) where tv rights are sold as a package and the money is distributed more equitably although not equally, spanish clubs have accepted, in principle at least, the selling of rights collectively and that the distribution of income must change. but accepting a concept in principle is one thing, actually tailoring a binding agreement is something else. barcelona and real madrid have made it clear that they will not accept a deal that gives them less money than they currently receive. so although there has been talk of the big two receiving a smaller percentage the percentage may drop but barca and real the tv pie to grow significantly in order to generate the same or greater cash flow. the other issue is that the spanish top league seems intent on show stopping one night performance in rome from a few thousand years ago. the intention was to have the new system in place for the season but now the talk is of. already, la only generates around 50% of the premier broadcast income and around 75% of what a generates. in the intervening years these gaps are only likely to grow ever larger with every team outside of the big two bearing an excessive burden. there is, however, one group who changed the way they do business. from onwards 35% of all domestic television revenues will be deducted at source and remitted to the spanish taxman. post-script one bit of redeeming news is that over the weekend the racing santander board was replaced. conversely, carrying debts of over $65m the future looks bleak for all concerned.

dɪˈfɛndɪŋ wərld ˈʧæmpiənz, ˌjʊrəˈpiən ˈʧæmpiənz ɪn 2008 ənd 2012 səkˈsɛs æt ðə ˈlɛvəl, ril məˈdrɪd ənd ˌbɑrsɪˈloʊnə kənˈtɪnjuəli tɔp ər nɪr ðə tɔp əv ðə ˈwɛlθiəst kləbz lɪst ənd hoʊm groʊn pleɪərz məʧ sɔt ˈæftər əraʊnd ðə wərld ðɪs ɪz ə ˈgoʊldən eɪʤ fər ˈspænɪʃ ˈsɑkər ........ər ɪz ɪt? læst wik ðɛr wɑz ə ˈvɛri ˈpəblɪk riˈmaɪndər ðət səkˈsɛs həz nɑt brɔt ˈbɛnəfɪt tɪ ɔl. bɪˈkəz fər ɔl ðə səkˈsɛs əˈʧivd ˈoʊvər ðə læst 10 jɪrz ər soʊ speɪn həz ən ˌənsəˈsteɪnəbəl ˈsɪstəm baɪ wɪʧ ðə tɔp tu timz ril məˈdrɪd ənd ˌbɑrsɪˈloʊnə ˈsaɪfən ɔf soʊ məʧ ˈməni ðət ðə ˈəðərz ər feɪst wɪθ əkˈsɛptɪŋ ðə ˌɪˈnɛvətəbli əv ˌɪˈrɛləvəns ər ˌɪnˈkərɪŋ soʊ məʧ dɛt ðət ˈbæŋkrəptsi bɪˈkəmz ʤɪst əˈnəðər ˈmaɪlˌstoʊn ɪn ðə ˈbɪznɪs plæn. əˈlɔŋ ðə weɪ səˈplaɪərz goʊ ənˈpeɪd, ˈtæksɪz oʊɪŋ tɪ ˈgəvərnmənts maʊnt ənd pleɪərz ənd səˈpɔrt stæf ər səˈpraɪzd ɪf ə peɪ ʧɛk əraɪvz ɔn taɪm. ˈreɪsɪŋ ˌsænˈtændər ɪz nɑt ə wɛl noʊn neɪm ˈhævɪŋ ˈnɛvər wən ə tɔp ˈɑnər ɪn ðɛr wən ˈhənərd jɪr ˈhɪstəri. fænz ɪn nɔrθ əˈmɛrɪkə ər mɔr ˈlaɪkli tɪ ˈrɛkəgˌnaɪz ðə neɪm ɔn əˈkaʊnt əv ˈjuˈɛs ˌɪnərˈnæʃənɑl dɪˈfɛndər ˈkɑrloʊs ˌboʊkəˈnɛgrə pleɪɪŋ ɔn loʊn æt ˌsænˈtændər læst ˈsizən ˌbiˈfɔr ˈsaɪnɪŋ fər ˈʧivəs ˈjuˈɛˈseɪ. ˈəðərz wɪθ ə sˈlaɪtli ˈlɔŋgər ˈmɛməri meɪ rɪˈmɛmbər wɪn ˈbɪznɪsˌmæn bɔt ðə kləb ɪn 2003 ðɛr ɪz ˈnəθɪŋ ˌpɑrˈtɪkjələrli ənˈjuˌʒuəl wɪθ ə ˈfɔrən ˈbɪznɪsˌmæn baɪɪŋ ə ˈspænɪʃ ˈsɑkər tim bət wɑz nɑt ˈkɑntɛnt tɪ ʤɪst oʊn ðə kləb hi ˈwɔntɪd tɪ rən ənd ˈmænɪʤ ˈɛvəri ˈæˌspɛkt əv ðə kləb. ə ʃɔrt waɪl ˈæftər baɪɪŋ ə 24 steɪk ənd kənˈtroʊlɪŋ ˈɪntəˌrɛst ɪn ðə kləb ə ˌtɛləˈvɪʒən ˈɪntərvˌjuər æst ɪz hi wɑz nɑt ˈkətɪŋ ə bɪt mɔr ɔf ðən hi kʊd ʧu wɪθ hɪz ˈmænɪʤmənt style/ego-trip*. hɪz rɪˈspɑns wɑz tɪ seɪ ðə list ʃɑrp ənd tɪ ðə pɔɪnt; ə ˈrənɪŋ ðə moʊst ˈpaʊərfəl ˈkəntri ɪn ðə wərld wɪˈθaʊt ə kˌwɑləfəˈkeɪʃən tɪ hɪz neɪm. ənd ju æsk mi fər ə dɪˈploʊmɑ tɪ rən ə ˈfʊtˌbɔl tim? gɪv mi ə break.”*.” ˌhaʊˈɛvər, kʊd nɑt gɪt ðə ˈspænɪʃ ˈfʊtˌbɔl ˌfɛdərˈeɪʃən tɪ bəʤ ɔn ðə ˈtɛknɪkəl kˌwɑləfəˈkeɪʃənz tɪ ˈæˌkʧuəli koʊʧ ðə kləb bət ðeɪ wər noʊ mæʧ fər. ɪmˈplɔɪd ˈsəmˌwən wɪθ ðə əˈproʊpriˌeɪt kˌwɑləfəˈkeɪʃənz ənd ˌɪnˈstɔld hɪz stuʤ ɛz ə koʊʧ. ˈminˌwaɪl, əˈkrɛdɪtɪd hɪmˈsɛlf ɛz ðə kləb fəˈtɑgrəfər ɔlˈbiɪt wən hu sæt nɛkst tɪ ðə bɛnʧ ənd bɑrkt ˌɪnˈstrəkʃənz tɪ hɪz pleɪərz. ðə fərst ənd ˈpɑsəbli ˈoʊnli ɪn ðə geɪm. ˈleɪtər bɔt ˈɑlvɛs bət baɪ 2007 hi wɑz gɔn frəm ˈspænɪʃ ˈsɑkər. ˌnənðəˈlɛs, hi ɪz stɪl rɪˈgɑrdɪd ɛz biɪŋ wən əv ðə ˈwɪrdəst ˈkɛrɪktərz ˈɛvər tɪ oʊn ə ˈspænɪʃ tim ənd ðət ɪz noʊ min əˈʧivmənt ɪn ə ˈbɪznɪs ðət spɔnz ðɛm. bət bæk tɪ ðɪs ˈkɑrənt ɪˈdɪʃən əv ˈreɪsɪŋ ˌsænˈtændər. læst ˈθərzˌdeɪ, ˌsænˈtændər, ˈkərəntli ɪn ðə θərd tir əv ˈspænɪʃ ˈsɑkər ˈæftər ˈsəfərɪŋ tu səkˈsɛsɪv dɪˈmoʊʃənz tʊk tɪ ðə fild fər ə ˈkoʊpə dɛl reɪ ˈsɛkənd lɛg mæʧ əˈgɛnst tɔp flaɪt ril ˌsoʊsiˈdæd. bət ðət wɑz əˈbaʊt ɛz fɑr ɛz ɪt gɑt. ə fju deɪz ˌbiˈfɔr ðə ˈskɛʤʊld geɪm ðə ˌsænˈtændər pleɪərz hæd ˈɪʃud ə ˈsteɪtmənt ˈsteɪtɪŋ ðət ənˈlɛs ðə kləb ˈprɛzɪdənt ənd ðə bɔrd əv dɪˈrɛktərz rɪˈzaɪnd ɛn mæs, ðeɪ ðə pleɪərz wʊd ˈrɛfˌjuz tɪ pleɪ. ðə players’*’ bif wɑz ðət dɪˈspaɪt ˈmɛni ˈprɑməsəz tɪ ðə ˈkɑntrɛri ðə kləb hæd nɑt peɪd ðɛm fər mənθs. baɪ kɪk ɔf taɪm ðə ˌrɛzɪgˈneɪʃən əv ðə bɔrd hæd nɑt bɪn ˈfɔrθˈkəmɪŋ. soʊ wɪn ðə ˌrɛfərˈi blu fər ðə geɪm tɪ stɑrt, ˌsænˈtændər, ˈrəðər ðən kəmˈpitɪŋ fər ðə bɔl ˈsɪmpli stʊd əraʊnd ðə ˈsɛntər ˈsərkəl, ɑrmz lɑkt ɪn ˈjunɪsən, ˈɔfərɪŋ ðɛr ˈvərʒən əv rəˈbɛrtoʊ dəræns ˈfeɪməs "noʊ más*." ˈæftər ə ˈrəðər wən ˈsaɪdɪd 30 ər soʊ ˈsɛkəndz ɪn wɪʧ ˌsoʊsiˈdæd nɑkt ðə bɔl əraʊnd 100 pæs kəmˈpliʃən reɪts noʊ daʊt), ˌrɛfərˈi ˈʤizəs gɪl wɑz lɛft wɪθ noʊ ˈɔpʃən bət tɪ əˈbændən ðə mæʧ. ðə stænd ˈteɪkən baɪ ðə ˌsænˈtændər pleɪərz dru ənkˈwɑlɪˌfaɪd səˈpɔrt ˈɔlˌmoʊst. ðə ˈspænɪʃ ˈfʊtˌbɔl ˌfɛdərˈeɪʃən (sff*) tʊk ə dɪm vju əv ðə players’*’ ˈækʃənz ənd bænd ˌsænˈtændər frəm nɛkst kəp ˌkɑmpəˈtɪʃən ənd faɪnd ðə kləb moʊst raɪt ˈmaɪndɪd ˈpipəl wʊd pɔɪnt aʊt ðət ˈrəðər ðən ˈmeɪkɪŋ ən ˈɪʃu əv ðə ˌsænˈtændər ˈproʊˌtɛst ðə ɪz fɑr mɔr ˈkəlpəbəl fər əˈlaʊɪŋ ɪt tɪ gɪt tɪ ðət steɪʤ. bət ðə ˌsɪʧuˈeɪʃən həz bɪˈkəm soʊ ˈprɛvələnt ðət ɪt ɪz ˈdaʊtfəl ðət ðə wʊd noʊ wɛr tɪ stɑrt. nɑnˈpeɪmənt əv ˈweɪʤɪz həz bɪn ə ˈfɛstərɪŋ sɔr fər ˈspænɪʃ ˈsɑkər fər ˈmɛni jɪrz. ʤɪst ˈoʊvər tu jɪrz əˈgoʊ ɪt lɛd tɪ ə pleɪərz straɪk ənd æt ðət taɪm ɪt wɑz ˈɛstəˌmeɪtɪd ðət pleɪərz ɪn ðə tɔp tu ˈlɛvəlz əv ðə ˈspænɪʃ geɪm wər ɛˈsɛnʃəli ˈsəbsɪˌdaɪzɪŋ ðɛr rɪˈspɛktɪv kləbz tɪ ðə tun əv ˈɛniˌwɛr bɪtˈwin tɪ 80m*. ˌɪnˈdəstriəl ˈækʃən ˈlæstɪd ʤɪst wən wik æt ðə stɑrt əv ðə ˈsizən ˈæftər boʊθ saɪdz əˈgrid ɔn ə dil tɪ prəˈtɛkt players’*’ ˈsæləriz ɪn ðə ɪˈvɛnt əv kləbz dɪˈklɛrɪŋ ˌɪnˈsɑlvənsi. ˌnənðəˈlɛs, ənˈpeɪd ˈweɪʤɪz ənd ə ˈlɪtəni əv kləbz ˈsikɪŋ ˈbæŋkrəptsi prəˈtɛkʃən kənˈtɪnju tɪ hɔnt ˈspænɪʃ ˈsɑkər æt ɔl ˈlɛvəlz. ɪn fækt, speɪn lidz ɔl ˈəðər ligz wɪθ ðə əˈnɛnˌviəbəl ˈrɛkərd əv ðə moʊst ˈbæŋkrəpt timz. ənˈpeɪd ˈtæksɪz hæv ˈhəvərd əraʊnd ðə fər ə ˈnəmbər əv jɪrz wɪθ ðə tɔp 20 ˌɪnˈdɛtɪd kləbz æt ðə ɛnd əv ðə ˈsizən oʊɪŋ ə ˈkjumjələtɪv ˈtoʊtəl əv tɪ ˈkrɛdɪtərz. ˈəndərˌpɪnɪŋ ðə ˌfaɪˈnænʃəli dɪsˈfəŋkʃənəl ˈmɑdəl ɪz ə ˌtɛləˈvɪʒən raɪts dil ðət ˈkərəntli siz ril məˈdrɪd ənd ˌbɑrsɪˈloʊnə ˈpɑkət əraʊnd 42 əv ðə ˈrɛvəˌnu waɪl ðə rɪˈmeɪndər ɪz splɪt bɪtˈwin ðə ˈəðər 18 kləbz. ˈæˌkʧuəli, ɪt ɪz nɑt soʊ məʧ ə ˌtɛləˈvɪʒən dil ɛz ə ˈsɪriz əv dilz. bət wɪθ wən aɪ tɪ ðə ˈbɑrkliz prɛˈmɪr lig (ənd naʊ ə) wɛr ˌtɛləˈvɪʒən raɪts ər soʊld ɛz ə ˈpækɪʤ ənd ðə ˈməni ɪz dɪˈstrɪbjətəd mɔr ˈɛkwɪtəbli ˌɔlˈðoʊ nɑt ˈikwəli, ˈspænɪʃ kləbz hæv ækˈsɛptɪd, ɪn ˈprɪnsəpəl æt list, ðə ˈsɛlɪŋ əv raɪts kəˈlɛktɪvli ənd ðət ðə ˌdɪstrəˈbjuʃən əv ˈɪnˌkəm məst ʧeɪnʤ. bət əkˈsɛptɪŋ ə ˈkɑnsɛpt ɪn ˈprɪnsəpəl ɪz wən θɪŋ, ˈæˌkʧuəli ˈteɪlərɪŋ ə ˈbaɪndɪŋ əˈgrimənt ɪz ˈsəmθɪŋ ɛls. ˌbɑrsɪˈloʊnə ənd ril məˈdrɪd hæv meɪd ɪt klɪr ðət ðeɪ wɪl nɑt əkˈsɛpt ə dil ðət gɪvz ðɛm lɛs ˈməni ðən ðeɪ ˈkərəntli rɪˈsiv. soʊ ˌɔlˈðoʊ ðɛr həz bɪn tɔk əv ðə bɪg tu rɪˈsivɪŋ ə sˈmɔlər pərˈsɛnɪʤ ðə pərˈsɛnɪʤ meɪ drɔp bət ˈbɑrkə ənd ril ðə ˌtɛləˈvɪʒən paɪ tɪ groʊ sɪgˈnɪfɪkəntli ɪn ˈɔrdər tɪ ˈʤɛnərˌeɪt ðə seɪm ər ˈgreɪtər kæʃ floʊ. ðə ˈəðər ˈɪʃu ɪz ðət ðə ˈspænɪʃ tɔp lig simz ˌɪnˈtɛnt ɔn ʃoʊ ˈstɑpɪŋ wən naɪt pərˈfɔrməns ɪn roʊm frəm ə fju ˈθaʊzənd jɪrz əˈgoʊ. ðə ˌɪnˈtɛnʧən wɑz tɪ hæv ðə nu ˈsɪstəm ɪn pleɪs fər ðə ˈsizən bət naʊ ðə tɔk ɪz əv ɔˈrɛdi, lɑ ˈoʊnli ˈʤɛnərˌeɪts əraʊnd 50 əv ðə prɛˈmɪr ˈbrɔdˌkæst ˈɪnˌkəm ənd əraʊnd 75 əv wət ə ˈʤɛnərˌeɪts. ɪn ðə ˌɪntərˈvinɪŋ jɪrz ðiz gæps ər ˈoʊnli ˈlaɪkli tɪ groʊ ˈɛvər ˈlɑrʤər wɪθ ˈɛvəri tim ˈaʊtˈsaɪd əv ðə bɪg tu ˈbɛrɪŋ ən ɪkˈsɛsɪv ˈbərdən. ðɛr ɪz, ˌhaʊˈɛvər, wən grup hu ʧeɪnʤd ðə weɪ ðeɪ du ˈbɪznɪs. frəm ˈɑnwərdz 35 əv ɔl dəˈmɛstɪk ˈtɛləˌvɪʒən ˈrɛvəˌnuz wɪl bi dɪˈdəktɪd æt sɔrs ənd riˈmɪtɪd tɪ ðə ˈspænɪʃ taxman*. wən bɪt əv rɪˈdimɪŋ nuz ɪz ðət ˈoʊvər ðə ˈwiˌkɪnd ðə ˈreɪsɪŋ ˌsænˈtændər bɔrd wɑz ˌriˈpleɪst. ˈkɑnvərsli, ˈkɛriɪŋ dɛts əv ˈoʊvər ðə fˈjuʧər lʊks blik fər ɔl kənˈsərnd.

the dane completed another solid day of testing for the french works team at barcelona on tuesday, logging 119 laps before running out of fuel and stopping out on circuit in the dying stages. with only one day left in the car before heading to melbourne, magnussen says a clearer idea of where renault stands in the competitive pecking order is beginning to emerge. “i think just around the points, maybe just outside, on a good day,” he told media at the end of the day. “if we can get points in melbourne, a good weekend. “we’re running different tyres [to our rivals]. if you look at the field today, many people were on mediums, some were on softs, so difficult to say. “but it looks quite close around the midfield, hopefully it will be close so we can make a difference.” ready for melbourne asked what the was still missing, magnussen added: “the same as any car and power. the more of that you have, the faster you go, so always what you look for. “we can what we have, and room for improvement, but come on a long way the three days been in the car. “i feel ready for melbourne you can never feel 100 percent ready, but be happy to go there now.” magnussen said there would be no major upgrades on the for melbourne, but mentioned that there is a new front wing in the pipeline. “we have a new front wing to try out, hopefully at the end of the week with [palmer],” he said. “so see how that works. but [besides that] nothing too big for the first race.”

ðə deɪn kəmˈplitɪd əˈnəðər ˈsɑləd deɪ əv ˈtɛstɪŋ fər ðə frɛnʧ wərks tim æt ˌbɑrsɪˈloʊnə ɔn ˈtuzˌdeɪ, ˈlɔgɪŋ 119 læps ˌbiˈfɔr ˈrənɪŋ aʊt əv fjuəl ənd ˈstɑpɪŋ aʊt ɔn ˈsərkət ɪn ðə daɪɪŋ ˈsteɪʤɪz. wɪθ ˈoʊnli wən deɪ lɛft ɪn ðə kɑr ˌbiˈfɔr ˈhɛdɪŋ tɪ ˈmɛlbərn, ˈmægnəsən sɪz ə ˈklɪrər aɪˈdiə əv wɛr rɪˈnɔlt stændz ɪn ðə kəmˈpɛtɪtɪv ˈpɛkɪŋ ˈɔrdər ɪz bɪˈgɪnɪŋ tɪ ˈimərʤ. θɪŋk ʤɪst əraʊnd ðə pɔɪnts, ˈmeɪbi ʤɪst ˈaʊtˈsaɪd, ɔn ə gʊd day,”*,” hi toʊld ˈmidiə æt ðə ɛnd əv ðə deɪ. wi kən gɪt pɔɪnts ɪn ˈmɛlbərn, ə gʊd ˈwiˌkɪnd. ˈrənɪŋ ˈdɪfərənt taɪərz [tɪ ɑr ˈraɪvəlz]. ɪf ju lʊk æt ðə fild təˈdeɪ, ˈmɛni ˈpipəl wər ɔn ˈmidiəmz, səm wər ɔn softs*, soʊ ˈdɪfəkəlt tɪ seɪ. ɪt lʊks kwaɪt kloʊz əraʊnd ðə midfield*, ˈhoʊpfəli ɪt wɪl bi kloʊz soʊ wi kən meɪk ə difference.”*.” ˈrɛdi fər ˈmɛlbərn æst wət ðə wɑz stɪl ˈmɪsɪŋ, ˈmægnəsən ˈædɪd: seɪm ɛz ˈɛni kɑr ənd paʊər. ðə mɔr əv ðət ju hæv, ðə ˈfæstər ju goʊ, soʊ ˈɔlˌweɪz wət ju lʊk fər. kən wət wi hæv, ənd rum fər ˌɪmˈpruvmənt, bət kəm ɔn ə lɔŋ weɪ ðə θri deɪz bɪn ɪn ðə kɑr. fil ˈrɛdi fər ˈmɛlbərn ju kən ˈnɛvər fil 100 pərˈsɛnt ˈrɛdi, bət bi ˈhæpi tɪ goʊ ðɛr now.”*.” ˈmægnəsən sɛd ðɛr wʊd bi noʊ ˈmeɪʤər ˈəpˌgreɪdz ɔn ðə fər ˈmɛlbərn, bət ˈmɛnʃənd ðət ðɛr ɪz ə nu frənt wɪŋ ɪn ðə ˈpaɪˌplaɪn. hæv ə nu frənt wɪŋ tɪ traɪ aʊt, ˈhoʊpfəli æt ðə ɛnd əv ðə wik wɪθ [palmer],”*],” hi sɛd. si haʊ ðət wərks. bət [ˌbiˈsaɪdz ðət] ˈnəθɪŋ tu bɪg fər ðə fərst race.”*.”

well it's for muslims to fight each other and take each others properties. but besides the scenario, it's permitted to have slaves. allah speaks about believing slaves in several of the quran. in = and do not marry polytheistic women until they believe. and a believing slave woman is better than a polytheist, even though she might please you. and do not marry polytheistic men [to your women] until they believe. and a believing slave is better than a polytheist, even though he might please you. those invite [you] to the fire, but allah invites to paradise and to forgiveness, by his permission. and he makes clear his verses to the people that perhaps they may remember. surah = and never is it for a believer to kill a believer except by mistake. and whoever kills a believer by mistake - then the freeing of a believing slave and a compensation payment presented to the family [is required] unless they give [up their right as] charity... so allah speaks about believing slaves while they are enslaved. there's nothing wrong with having slaves in general as long as you treat them properly and give them their rights.

wɛl ɪts fər ˈməzlɪmz tɪ faɪt iʧ ˈəðər ənd teɪk iʧ ˈəðərz ˈprɑpərtiz. bət ˌbiˈsaɪdz ðə sɪˈnɛrioʊ, ɪts pərˈmɪtɪd tɪ hæv sleɪvz. ˈɑlə spiks əˈbaʊt bɪˈlivɪŋ sleɪvz ɪn ˈsɛvərəl əv ðə quran*. ɪn ənd du nɑt ˈmɛri ˌpɑˌliθiˈɪstɪk ˈwɪmən ənˈtɪl ðeɪ bɪˈliv. ənd ə bɪˈlivɪŋ sleɪv ˈwʊmən ɪz ˈbɛtər ðən ə polytheist*, ˈivɪn ðoʊ ʃi maɪt pliz ju. ənd du nɑt ˈmɛri ˌpɑˌliθiˈɪstɪk mɛn [tɪ jʊr ˈwɪmən] ənˈtɪl ðeɪ bɪˈliv. ənd ə bɪˈlivɪŋ sleɪv ɪz ˈbɛtər ðən ə polytheist*, ˈivɪn ðoʊ hi maɪt pliz ju. ðoʊz ˌɪnˈvaɪt [ju] tɪ ðə faɪər, bət ˈɑlə ˌɪnˈvaɪts tɪ ˈpɛrəˌdaɪs ənd tɪ fərˈgɪvnəs, baɪ hɪz pərˈmɪʃən. ənd hi meɪks klɪr hɪz ˈvərsɪz tɪ ðə ˈpipəl ðət pərˈhæps ðeɪ meɪ rɪˈmɛmbər. ənd ˈnɛvər ɪz ɪt fər ə bɪˈlivər tɪ kɪl ə bɪˈlivər ɪkˈsɛpt baɪ mɪˈsteɪk. ənd huˈɛvər kɪlz ə bɪˈlivər baɪ mɪˈsteɪk ðɛn ðə friɪŋ əv ə bɪˈlivɪŋ sleɪv ənd ə ˌkɑmpənˈseɪʃən ˈpeɪmənt pərˈzɛnəd tɪ ðə ˈfæməli [ɪz rikˈwaɪərd] ənˈlɛs ðeɪ gɪv [əp ðɛr raɪt ɛz] ˈʧɛrɪti... soʊ ˈɑlə spiks əˈbaʊt bɪˈlivɪŋ sleɪvz waɪl ðeɪ ər ɛnsˈleɪvd. ðɛrz ˈnəθɪŋ rɔŋ wɪθ ˈhævɪŋ sleɪvz ɪn ˈʤɛnərəl ɛz lɔŋ ɛz ju trit ðɛm ˈprɑpərli ənd gɪv ðɛm ðɛr raɪts.

only five beers into our 2014 journey and already had two beers with gingerbread men on the label. (albeit this time, one of them dismembered.) and three beers that seem to feature ginger even when they (like the 2014 anchor christmas ale). and i have insider knowledge that at least one more beer in the series is ginger heavy. friends, this may be a movement. if you like ginger, no problem. otherwise, well. this entry is from the boston beer company, otherwise known as samuel adams. it be that much of a stretch to fill an entire with different samuel adams beers that could be loosely considered holiday beers or winter warmers. we might get around to them all fezziwig, white christmas, chocolate bock, holiday porter, cold snap…. as i noted back in 2012 when enjoying the samuel adams winter lager, one could drink a different beer each week from the samuel adams roster and still be going after an entire year. this particular brew is one of 16 beers in the small batch series, all high beers in bottles that might best be shared, which is exactly what happened tonight. we put the merry maker to the test, we being the shakespeare group that gets together every month or so to read through the works. this has been going on for quite up on twenty been through every play at least twice, most three times, some four times. we also snack, drink, gossip about town politics, solve worldly problems. in short, we have enough fun that we just keep going, reading on even through the deaths of several members, absorbing shakespeare into our beings to whatever degree we do. we swap parts, get overly histrionic, delve into knotted analysis. mostly we just read and let the words wash over us. and plenty. we rarely make it through an entire play in one evening. so it was finishing up the “the tempest” tonight, a play with its fair share of enchantment and merriment. but it also has that compelling valedictory feeling that suggests shakespeare knew he was winding up his career, and i had the pleasure of reading tonight when he makes that marvelous speech: our revels now are ended. these our actors, as i foretold you, were all spirits and are melted into air, into thin air: and, like the baseless fabric of this vision, the towers, the gorgeous palaces, the solemn temples, the great globe itself, yea, all which it inherit, shall dissolve and, like this insubstantial pageant faded, leave not a rack behind. we are such stuff as dreams are made on, and our little life is rounded with a sleep. –act iv, scene 1 our revels were just getting going when i poured out the merry maker. a stout all right, opaque in the glass, redolent of ginger in the nose, but it gets more complicated in the palate, with cinnamon, and nutmeg in the spice mix, roasted barley and a bit of wheat and oats, leading to a smooth, mouthfeel. east kent and hops are along for the ride. the three beer drinkers among us all liked the beer, all found the ginger and sweetness components muted to an agreeable degree, and object to the strength, since we spread the beer around, thereby avoiding the antics of trinculo, and caliban. deb luskin, not a big beer drinker, but a graceful writer, gave it a sip and a review: “ew!” name: merry maker gingerbread stout brewer: boston beer co., massachusetts style: spiced sweet stout abv: 9% availability: november, nationwide for more information: [december 18, 2014] <12 beers of christmas 6: winter ale 12 beers of christmas 4: guinness the 1759>

ˈoʊnli faɪv bɪrz ˈɪntu ɑr 2014 ˈʤərni ənd ɔˈrɛdi hæd tu bɪrz wɪθ ˈʤɪnʤərˌbrɛd mɛn ɔn ðə ˈleɪbəl. (ɔlˈbiɪt ðɪs taɪm, wən əv ðɛm dɪsˈmɛmbərd.) ənd θri bɪrz ðət sim tɪ ˈfiʧər ˈʤɪnʤər ˈivɪn wɪn ðeɪ (laɪk ðə 2014 ˈæŋkər ˈkrɪsməs eɪl). ənd aɪ hæv ˌɪnˈsaɪdər ˈnɑlɪʤ ðət æt list wən mɔr bɪr ɪn ðə ˈsɪriz ɪz ˈʤɪnʤər ˈhɛvi. frɛndz, ðɪs meɪ bi ə ˈmuvmənt. ɪf ju laɪk ˈʤɪnʤər, noʊ ˈprɑbləm. ˈəðərˌwaɪz, wɛl. ðɪs ˈɛntri ɪz frəm ðə ˈbɔstən bɪr ˈkəmpəˌni, ˈəðərˌwaɪz noʊn ɛz ˈsæmjul ˈædəmz. ɪt bi ðət məʧ əv ə strɛʧ tɪ fɪl ən ɪnˈtaɪər wɪθ ˈdɪfərənt ˈsæmjul ˈædəmz bɪrz ðət kʊd bi ˈlusli kənˈsɪdərd ˈhɑlɪˌdeɪ bɪrz ər ˈwɪntər warmers*. wi maɪt gɪt əraʊnd tɪ ðɛm ɔl fezziwig*, waɪt ˈkrɪsməs, ˈʧɔklət bɑk, ˈhɑlɪˌdeɪ ˈpɔrtər, koʊld snap…*…. ɛz aɪ ˈnoʊtɪd bæk ɪn 2012 wɪn ˌɛnˈʤɔɪɪŋ ðə ˈsæmjul ˈædəmz ˈwɪntər ˈlɑgər, wən kʊd drɪŋk ə ˈdɪfərənt bɪr iʧ wik frəm ðə ˈsæmjul ˈædəmz ˈrɑstər ənd stɪl bi goʊɪŋ ˈæftər ən ɪnˈtaɪər jɪr. ðɪs ˌpɑˈtɪkjələr bru ɪz wən əv 16 bɪrz ɪn ðə smɔl bæʧ ˈsɪriz, ɔl haɪ bɪrz ɪn ˈbɑtəlz ðət maɪt bɛst bi ʃɛrd, wɪʧ ɪz ɪgˈzæktli wət ˈhæpənd təˈnaɪt. wi pʊt ðə ˈmɛri ˈmeɪkər tɪ ðə tɛst, wi biɪŋ ðə ˈʃeɪkˌspir grup ðət gɪts təˈgɛðər ˈɛvəri mənθ ər soʊ tɪ rɛd θru ðə wərks. ðɪs həz bɪn goʊɪŋ ɔn fər kwaɪt əp ɔn tˈwɛnti bɪn θru ˈɛvəri pleɪ æt list twaɪs, moʊst θri taɪmz, səm fɔr taɪmz. wi ˈɔlsoʊ snæk, drɪŋk, ˈgɑsəp əˈbaʊt taʊn ˈpɑləˌtɪks, sɑlv ˈwərldli ˈprɑbləmz. ɪn ʃɔrt, wi hæv ɪˈnəf fən ðət wi ʤɪst kip goʊɪŋ, ˈrɛdɪŋ ɔn ˈivɪn θru ðə dɛθs əv ˈsɛvərəl ˈmɛmbərz, əbˈzɔrbɪŋ ˈʃeɪkˌspir ˈɪntu ɑr biɪŋz tɪ ˌwəˈtɛvər dɪˈgri wi du. wi swɑp pɑrts, gɪt ˈoʊvərli ˌhɪstriˈɑnɪk, dɛlv ˈɪntu ˈnɑtɪd æˈnælɪsɪs. ˈmoʊstli wi ʤɪst rɛd ənd lɛt ðə wərdz wɑʃ ˈoʊvər ˈjuˈɛs. ənd ˈplɛnti. wi ˈrɛrli meɪk ɪt θru ən ɪnˈtaɪər pleɪ ɪn wən ˈivnɪŋ. soʊ ɪt wɑz ˈfɪnɪʃɪŋ əp ðə tempest”*” təˈnaɪt, ə pleɪ wɪθ ɪts fɛr ʃɛr əv ɛnˈʧæntmənt ənd merriment*. bət ɪt ˈɔlsoʊ həz ðət kəmˈpɛlɪŋ ˌvæləˈdɪktəri ˈfilɪŋ ðət səˈʤɛsts ˈʃeɪkˌspir nu hi wɑz ˈwaɪndɪŋ əp hɪz kərɪr, ənd aɪ hæd ðə ˈplɛʒər əv ˈrɛdɪŋ təˈnaɪt wɪn hi meɪks ðət ˈmɑrvələs spiʧ: ɑr ˈrɛvəlz naʊ ər ˈɛndɪd. ðiz ɑr ˈæktərz, ɛz aɪ fɔrˈtoʊld ju, wər ɔl ˈspɪrɪts ənd ər ˈmɛltɪd ˈɪntu ɛr, ˈɪntu θɪn ɛr: ənd, laɪk ðə ˈbeɪsləs ˈfæbrɪk əv ðɪs ˈvɪʒən, ðə taʊərz, ðə ˈgɔrʤəs ˈpæləsɪz, ðə ˈsɑləm ˈtɛmpəlz, ðə greɪt gloʊb ˌɪtˈsɛlf, jeɪ, ɔl wɪʧ ɪt ˌɪnˈhɛrət, ʃæl dɪˈzɑlv ənd, laɪk ðɪs ˌɪnsəbˈstænʃəl ˈpæʤənt ˈfeɪdɪd, liv nɑt ə ræk bɪˈhaɪnd. wi ər səʧ stəf ɛz drimz ər meɪd ɔn, ənd ɑr ˈlɪtəl laɪf ɪz ˈraʊndɪd wɪθ ə slip. iv*, sin 1 ɑr ˈrɛvəlz wər ʤɪst ˈgɪtɪŋ goʊɪŋ wɪn aɪ pɔrd aʊt ðə ˈmɛri ˈmeɪkər. ə staʊt ɔl raɪt, oʊˈpeɪk ɪn ðə glæs, ˈrɛdələnt əv ˈʤɪnʤər ɪn ðə noʊz, bət ɪt gɪts mɔr ˈkɑmpləˌkeɪtəd ɪn ðə ˈpælɪt, wɪθ ˈsɪnəmən, ənd ˈnətˌmɛg ɪn ðə spaɪs mɪks, ˈroʊstɪd ˈbɑrli ənd ə bɪt əv wit ənd oʊts, ˈlidɪŋ tɪ ə smuð, mouthfeel*. ist kɛnt ənd hɑps ər əˈlɔŋ fər ðə raɪd. ðə θri bɪr ˈdrɪŋkərz əˈməŋ ˈjuˈɛs ɔl laɪkt ðə bɪr, ɔl faʊnd ðə ˈʤɪnʤər ənd sˈwitnəs kəmˈpoʊnənts mˈjutɪd tɪ ən əˈgriəbəl dɪˈgri, ənd ˈɑbʤɛkt tɪ ðə strɛŋθ, sɪns wi sprɛd ðə bɪr əraʊnd, ˈðɛrˈbaɪ əˈvɔɪdɪŋ ðə ˈæntɪks əv trinculo*, ənd caliban*. dɛb ˈləskɪn, nɑt ə bɪg bɪr ˈdrɪŋkər, bət ə ˈgreɪsfəl ˈraɪtər, geɪv ɪt ə sɪp ənd ə ˌrivˈju: ““ew!”*!” neɪm: ˈmɛri ˈmeɪkər ˈʤɪnʤərˌbrɛd staʊt bruər: ˈbɔstən bɪr koʊ., ˌmæsəˈʧusəts staɪl: spaɪst swit staʊt: 9 əˌveɪləˈbɪlɪti: noʊˈvɛmbər, ˈneɪʃənˈwaɪd fər mɔr ˌɪnˌfɔrˈmeɪʃən: [dɪˈsɛmbər 18 2014 12 bɪrz əv ˈkrɪsməs 6 ˈwɪntər eɪl 12 bɪrz əv ˈkrɪsməs 4 ˈgɪnəs ðə 1759

july 21, 2009 dennis responds to a critique of his article on the 1989 tiananmen uprising from a member of the party for socialism and liberation. my article on the 1989 tiananmen square uprising in china ("twenty years after tiananmen square") for drew a harsh response from richard becker, writing for the party for socialism and liberation (psl). including footnotes, becker's reply is nearly twice as long as my original article. it is packed, every inch of the way, with denunciations of me and the international socialist organization, which publishes. why should a relatively brief article on tiananmen provoke such a lengthy and hostile response? it isn't because my article was a sustained attack on mentioned the organization once, three paragraphs from the end. the answer is that what you think about the tiananmen square uprising goes to the heart of what you think about socialism. the american socialist hal draper once wrote a brilliant essay titled "the two souls of socialism" that identifies two trends in the socialist movement who believe socialism can be imposed "from above," in the name of the working class, whether by electing socialists to government office or through a military victory and force of arms; and those who think socialism must be achieved "from below," by the collective action of the majority in overturning capitalism and creating a workers' state based on mass democracy and freedom. the 1989 tiananmen square uprising shook china's rulers becker and the have two feet firmly planted in the "socialism from above" camp. their identification of china with socialism depends, above all else, on the fact that the chinese communist party (ccp) remains in charge. to the, the is, ultimately, the embodiment of socialism, rather than anything to do with the chinese working class. therefore, at those points when the bureaucracy was at odds with the mass of the chinese working class, the sides with the--even when that means defending indefensible repression and violence by china's state machine. ultimately,'s socialism from above drives people like becker to ever ever more of logic and distortions of fact about tiananmen square. this is clear from the beginning of becker's response to my article, when he takes offense at my distaste for the chinese national sign, he says, of my "cultural arrogance, jingoism and apparent ignorance." besides being born in hong kong, i lived on the mainland as well, where i attended public primary school. since i actually had to listen to the chinese national anthem weekly during the ceremony at school, i might have some basis for my personal opinion. perhaps even a stronger one than becker has for his. in fact, in my article, i pointed out that china's anthem, unlike those of other countries, calls on the people to "stand up" and refuse to be slaves. but it's worth mentioning that the author of these lyrics, tian han, died in 1968 while in prison for "standing up." this was during china's cultural revolution, which becker refers to as a period of "debate [and] fierce polemics." tian han was on the wrong side of those was denounced as a "poisonous weed" and charged with opposing the in 1964. he refused to recant and remained in prison until his death at age 70. during this time, the national anthem was changed to "sailing the seas depends on the helmsman," which ends with the line "mao zedong thought is a sun that never sets." becker's gripes about me and china's national anthem serve as a point for the complaint that i'm hostile to "the chinese revolution in its to the 1949 revolution and the victory of mao's red army after the "long march." leaving aside the fact that my article is about a rebellion in china 40 years later, the truth is that the does view the 1949 revolution as a step forward in having driven out the colonial powers and ended the imperialist occupation of china. but that doesn't mean we have to say china is a socialist society. it's possible to support the chinese revolution, but also believe it wasn't a revolution that put the working class in is the's definition of a socialist revolution, and more to the point, karl marx's. the mass of chinese workers played no role in the 1949 revolution--"socialism" was imposed from above in classic fashion, by the victorious red they have never exercised any real authority since then in how china was run. that authority has stayed in the hands of the leaders of the. becker spends yet more time on another point in china's history that preceded the tiananmen cultural revolution. though initiated by mao against other members of the leadership, says becker, the cultural revolution sparked a "truly mass among young people and later among chinese workers." he also states that "millions of mainly young chinese engaged in fierce struggle within the, and against some of its top leaders, including deng." this begs a question about the tiananmen rebellion in 1989. while it wasn't started by a leader to further a faction fight within the bureaucracy, the tiananmen movement did take root among "millions of mainly young chinese," and "later among chinese workers." it engaged in "fierce struggle" against the and "some of its top leaders, including deng." so why does becker hold up one as an example of open debate and free thinking, and the other as something only george bush sr. and the cia could love? what exactly is the's criteria for supporting or opposing a movement from below in a supposedly socialist country? one can only infer that because the cultural revolution was initiated by than a mass popular movement from below, as in the case of has merit to the. an issue of's socialism and liberation magazine that focuses on china characterizes the cultural revolution as an "advance and the "old capitalist roaders" ultimately successful at defeating mao and his allies, some of whom supported a state." so for the, the cultural revolution was a mixed bag of positives and the right-wingers won, it was at least an example of the freedom to dissent in socialist china. neither becker nor the socialism and liberation writers mention how, from the end of 1968 until mao's death in 1976, tens of millions of youth were deported to the countryside to halt the cultural tens of thousands were simply killed. nor that mao himself closed ranks with the rest of the leadership to put an end to the cultural revolution, out of fear that society would get out of control. some maoist organizations view mao's death and the end of the cultural revolution as the end of socialism in china. but for the, even this is going too far. despite the fact that the "capitalist roaders" have run china without any significant resistance within the leadership since 1976, the still maintains that the should not have been overthrown in 1989. according to leader brian becker in socialism and liberation, the process of capitalist class relations becoming entrenched in china is "unfinished," and "as long as the [ccp] retains its hold on political power, there is a possibility, however great or small, that this trend can still be reversed." on this basis, the tiananmen movement is slandered, and the is defended for crushing the uprising by students and the same logic that the and its forerunner, the workers' world party, used in supporting assaults on hungary to put down the 1956 revolution and on czechoslovakia in 1968 against the prague spring. it would have been a step forward for chinese workers if the 1989 uprising had won more rights. becker dismisses this suggestion by me as "some rosy, democratic and affluent future where everyone could vote for various millionaire politicians." i wonder if he would make the same argument about black people in the u.s. who struggled against murderous jim crow racism for the right to vote? becker views the continued rule of the as more important than the right to free speech, protest or, yes, even voting. he sides with leader li peng, who said there were "sufficient human rights" in prior to ordering troops to crush the tiananmen resistance. having the rights to free speech, to protest and to organize independent trade unions isn't the end of the matter, of course. but it is certainly better to have them than to be rounded up in the middle of the night and carted off for talking to your coworkers about working conditions. when it comes to insisting that few people were killed in the suppression of the tiananmen protests, becker quotes selectively from his dependable sources in the u.s. corporate media, the new york times and wall street journal. despite his recognition that the "capitalist roaders" were in charge in china and were developing commercial ties with the u.s., becker seems unable to comprehend that the u.s. ruling class might have had an interest in downplaying the bloodshed at tiananmen. there was, after all, money to be made, and after a short period of token protest, the u.s. government and corporate america got down to the business of making it in china. no one knows how many people died in the chinese military's crushing of the tiananmen revolt. what we can say for sure is that the protesters and ordinary people in beijing suffered the brunt of the the chinese military, as becker absurdly claims. whatever the exact body count, this is a question of which side you're state and its repressive apparatus, or the resistance. the actions of the student and worker protesters of tiananmen deserve our support, not the chinese government. no amount of political contortions can excuse being on the wrong side about tiananmen.

ˌʤuˈlaɪ 21 2009 ˈdɛnɪs rɪˈspɑndz tɪ ə krɪˈtik əv hɪz ˈɑrtɪkəl ɔn ðə 1989 tiˈɛnænˌmɛn ˈəˌpraɪzɪŋ frəm ə ˈmɛmbər əv ðə ˈpɑrti fər ˈsoʊʃəˌlɪzəm ənd ˌlɪˌbərˈeɪʃən. maɪ ˈɑrtɪkəl ɔn ðə 1989 tiˈɛnænˌmɛn skwɛr ˈəˌpraɪzɪŋ ɪn ˈʧaɪnə ("tˈwɛnti jɪrz ˈæftər tiˈɛnænˌmɛn skwɛr") fər dru ə hɑrʃ rɪˈspɑns frəm ˈrɪʧərd ˈbɛkər, ˈraɪtɪŋ fər ðə ˈpɑrti fər ˈsoʊʃəˌlɪzəm ənd ˌlɪˌbərˈeɪʃən (psl*). ˌɪnˈkludɪŋ ˈfʊtˌnoʊts, ˈbɛkərz rɪˈplaɪ ɪz ˈnɪrli twaɪs ɛz lɔŋ ɛz maɪ ərˈɪʤənəl ˈɑrtɪkəl. ɪt ɪz pækt, ˈɛvəri ɪnʧ əv ðə weɪ, wɪθ dɪˌnənsiˈeɪʃənz əv mi ənd ðə ˌɪnərˈnæʃənɑl ˈsoʊʃəlɪst ˌɔrgənəˈzeɪʃən, wɪʧ ˈpəblɪʃɪz. waɪ ʃʊd ə ˈrɛlətɪvli brif ˈɑrtɪkəl ɔn tiˈɛnænˌmɛn prəˈvoʊk səʧ ə ˈlɛŋθi ənd ˈhɑstəl rɪˈspɑns? ɪt ˈɪzənt bɪˈkəz maɪ ˈɑrtɪkəl wɑz ə səˈsteɪnd əˈtæk ɔn ˈmɛnʃənd ðə ˌɔrgənəˈzeɪʃən wəns, θri ˈpɛrəˌgræfs frəm ðə ɛnd. ðə ˈænsər ɪz ðət wət ju θɪŋk əˈbaʊt ðə tiˈɛnænˌmɛn skwɛr ˈəˌpraɪzɪŋ goʊz tɪ ðə hɑrt əv wət ju θɪŋk əˈbaʊt ˈsoʊʃəˌlɪzəm. ðə əˈmɛrɪkən ˈsoʊʃəlɪst hæl ˈdreɪpər wəns roʊt ə ˈbrɪljənt ˈɛˌseɪ ˈtaɪtəld "ðə tu soʊlz əv ˈsoʊʃəˌlɪzəm" ðət aɪˈdɛntəˌfaɪz tu trɛnz ɪn ðə ˈsoʊʃəlɪst ˈmuvmənt hu bɪˈliv ˈsoʊʃəˌlɪzəm kən bi ˌɪmˈpoʊzd "frəm əˈbəv," ɪn ðə neɪm əv ðə ˈwərkɪŋ klæs, ˈwɛðər baɪ ɪˈlɛktɪŋ ˈsoʊʃəlɪsts tɪ ˈgəvərnmənt ˈɔfəs ər θru ə ˈmɪlɪˌtɛri ˈvɪktəri ənd fɔrs əv ɑrmz; ənd ðoʊz hu θɪŋk ˈsoʊʃəˌlɪzəm məst bi əˈʧivd "frəm bɪˈloʊ," baɪ ðə kəˈlɛktɪv ˈækʃən əv ðə məˈʤɔrəti ɪn ˈoʊvərˌtərnɪŋ ˈkæpɪtəˌlɪzəm ənd kriˈeɪtɪŋ ə ˈwərkərz' steɪt beɪst ɔn mæs dɪˈmɑkrəsi ənd ˈfridəm. ðə 1989 tiˈɛnænˌmɛn skwɛr ˈəˌpraɪzɪŋ ʃʊk ˈʧaɪnəz ˈrulərz ˈbɛkər ənd ðə hæv tu fit ˈfərmli ˈplænɪd ɪn ðə "ˈsoʊʃəˌlɪzəm frəm əˈbəv" kæmp. ðɛr aɪˌdɛntəfəˈkeɪʃən əv ˈʧaɪnə wɪθ ˈsoʊʃəˌlɪzəm dɪˈpɛndz, əˈbəv ɔl ɛls, ɔn ðə fækt ðət ðə ʧaɪˈniz ˈkɑmjənəst ˈpɑrti (ccp*) rɪˈmeɪnz ɪn ʧɑrʤ. tɪ ðə, ðə ɪz, ˈəltəmətli, ðə ɛmˈbɑdimənt əv ˈsoʊʃəˌlɪzəm, ˈrəðər ðən ˈɛniˌθɪŋ tɪ du wɪθ ðə ʧaɪˈniz ˈwərkɪŋ klæs. ˈðɛrˌfɔr, æt ðoʊz pɔɪnts wɪn ðə bjʊˈrɑkrəsi wɑz æt ɑdz wɪθ ðə mæs əv ðə ʧaɪˈniz ˈwərkɪŋ klæs, ðə saɪdz wɪθ ðə wɪn ðət minz dɪˈfɛndɪŋ ˌɪndɪˈfɛnsəbəl riˈprɛʃən ənd ˈvaɪələns baɪ ˈʧaɪnəz steɪt məˈʃin. ˈəltəmətli, ˈsoʊʃəˌlɪzəm frəm əˈbəv draɪvz ˈpipəl laɪk ˈbɛkər tɪ ˈɛvər ˈɛvər mɔr əv ˈlɑʤɪk ənd dɪˈstɔrʃənz əv fækt əˈbaʊt tiˈɛnænˌmɛn skwɛr. ðɪs ɪz klɪr frəm ðə bɪˈgɪnɪŋ əv ˈbɛkərz rɪˈspɑns tɪ maɪ ˈɑrtɪkəl, wɪn hi teɪks əˈfɛns æt maɪ dɪˈsteɪst fər ðə ʧaɪˈniz ˈnæʃənəl saɪn, hi sɪz, əv maɪ "ˈkəlʧərəl ˈɛrəgəns, ˈʤɪŋˌgoʊɪzəm ənd əˈpɛrənt ˈɪgnərəns." ˌbiˈsaɪdz biɪŋ bɔrn ɪn hɔŋ kɔŋg, aɪ lɪvd ɔn ðə ˈmeɪnˌlænd ɛz wɛl, wɛr aɪ əˈtɛndəd ˈpəblɪk ˈpraɪˌmɛri skul. sɪns aɪ ˈæˌkʧuəli hæd tɪ ˈlɪsən tɪ ðə ʧaɪˈniz ˈnæʃənəl ˈænθəm ˈwikli ˈdʊrɪŋ ðə ˈsɛrəˌmoʊni æt skul, aɪ maɪt hæv səm ˈbeɪsɪs fər maɪ ˈpərsɪnəl əˈpɪnjən. pərˈhæps ˈivɪn ə ˈstrɔŋgər wən ðən ˈbɛkər həz fər hɪz. ɪn fækt, ɪn maɪ ˈɑrtɪkəl, aɪ ˈpɔɪntɪd aʊt ðət ˈʧaɪnəz ˈænθəm, ənˈlaɪk ðoʊz əv ˈəðər ˈkəntriz, kɔlz ɔn ðə ˈpipəl tɪ "stænd əp" ənd ˈrɛfˌjuz tɪ bi sleɪvz. bət ɪts wərθ ˈmɛnʃənɪŋ ðət ðə ˈɔθər əv ðiz ˈlɪrɪks, tjɑn hɑn, daɪd ɪn 1968 waɪl ɪn ˈprɪzən fər "ˈstændɪŋ əp." ðɪs wɑz ˈdʊrɪŋ ˈʧaɪnəz ˈkəlʧərəl ˌrɛvəˈluʃən, wɪʧ ˈbɛkər rɪˈfərz tɪ ɛz ə ˈpɪriəd əv "dəˈbeɪt [ənd] fɪrs poʊˈlɛmɪks." tjɑn hɑn wɑz ɔn ðə rɔŋ saɪd əv ðoʊz wɑz dɪˈnaʊnst ɛz ə "ˈpɔɪzənəs wid" ənd ʧɑrʤd wɪθ əˈpoʊzɪŋ ðə ɪn 1964 hi rɪfˈjuzd tɪ riˈkænt ənd rɪˈmeɪnd ɪn ˈprɪzən ənˈtɪl hɪz dɛθ æt eɪʤ 70 ˈdʊrɪŋ ðɪs taɪm, ðə ˈnæʃənəl ˈænθəm wɑz ʧeɪnʤd tɪ "ˈseɪlɪŋ ðə siz dɪˈpɛndz ɔn ðə ˈhɛlmzˌmæn," wɪʧ ɛndz wɪθ ðə laɪn "maʊ zəˈdɔŋ θɔt ɪz ə sən ðət ˈnɛvər sɛts." ˈbɛkərz graɪps əˈbaʊt mi ənd ˈʧaɪnəz ˈnæʃənəl ˈænθəm sərv ɛz ə pɔɪnt fər ðə kəmˈpleɪnt ðət əm ˈhɑstəl tɪ "ðə ʧaɪˈniz ˌrɛvəˈluʃən ɪn ɪts tɪ ðə 1949 ˌrɛvəˈluʃən ənd ðə ˈvɪktəri əv maʊz rɛd ˈɑrmi ˈæftər ðə "lɔŋ mɑrʧ." ˈlivɪŋ əˈsaɪd ðə fækt ðət maɪ ˈɑrtɪkəl ɪz əˈbaʊt ə rɪˈbɛljən ɪn ˈʧaɪnə 40 jɪrz ˈleɪtər, ðə truθ ɪz ðət ðə dɪz vju ðə 1949 ˌrɛvəˈluʃən ɛz ə stɛp ˈfɔrwərd ɪn ˈhævɪŋ ˈdrɪvən aʊt ðə kəˈloʊniəl paʊərz ənd ˈɛndɪd ðə ˌɪmˈpɪriəlɪst ˌɑkjəˈpeɪʃən əv ˈʧaɪnə. bət ðət ˈdəzənt min wi hæv tɪ seɪ ˈʧaɪnə ɪz ə ˈsoʊʃəlɪst soʊˈsaɪɪti. ɪts ˈpɑsəbəl tɪ səˈpɔrt ðə ʧaɪˈniz ˌrɛvəˈluʃən, bət ˈɔlsoʊ bɪˈliv ɪt ˈwəzənt ə ˌrɛvəˈluʃən ðət pʊt ðə ˈwərkɪŋ klæs ɪn ɪz ðə ˌdɛfəˈnɪʃən əv ə ˈsoʊʃəlɪst ˌrɛvəˈluʃən, ənd mɔr tɪ ðə pɔɪnt, kɑrl marx's*. ðə mæs əv ʧaɪˈniz ˈwərkərz pleɪd noʊ roʊl ɪn ðə 1949 revolution--"socialism*" wɑz ˌɪmˈpoʊzd frəm əˈbəv ɪn ˈklæsɪk ˈfæʃən, baɪ ðə vɪkˈtɔriəs rɛd ðeɪ hæv ˈnɛvər ˈɛksərˌsaɪzd ˈɛni ril əˈθɔrəti sɪns ðɛn ɪn haʊ ˈʧaɪnə wɑz rən. ðət əˈθɔrəti həz steɪd ɪn ðə hænz əv ðə ˈlidərz əv ðə. ˈbɛkər spɛnz jɛt mɔr taɪm ɔn əˈnəðər pɔɪnt ɪn ˈʧaɪnəz ˈhɪstəri ðət prɪˈsidɪd ðə tiˈɛnænˌmɛn ˈkəlʧərəl ˌrɛvəˈluʃən. ðoʊ ˌɪˈnɪʃiˌeɪtɪd baɪ maʊ əˈgɛnst ˈəðər ˈmɛmbərz əv ðə ˈlidərˌʃɪp, sɪz ˈbɛkər, ðə ˈkəlʧərəl ˌrɛvəˈluʃən spɑrkt ə "ˈtruli mæs əˈməŋ jəŋ ˈpipəl ənd ˈleɪtər əˈməŋ ʧaɪˈniz ˈwərkərz." hi ˈɔlsoʊ steɪts ðət "ˈmɪljənz əv ˈmeɪnli jəŋ ʧaɪˈniz ɪnˈgeɪʤd ɪn fɪrs ˈstrəgəl wɪˈθɪn ðə, ənd əˈgɛnst səm əv ɪts tɔp ˈlidərz, ˌɪnˈkludɪŋ dɛŋ." ðɪs bɛgz ə kˈwɛʃən əˈbaʊt ðə tiˈɛnænˌmɛn rɪˈbɛljən ɪn 1989 waɪl ɪt ˈwəzənt ˈstɑrtɪd baɪ ə ˈlidər tɪ ˈfərðər ə ˈfækʃən faɪt wɪˈθɪn ðə bjʊˈrɑkrəsi, ðə tiˈɛnænˌmɛn ˈmuvmənt dɪd teɪk rut əˈməŋ "ˈmɪljənz əv ˈmeɪnli jəŋ ʧaɪˈniz," ənd "ˈleɪtər əˈməŋ ʧaɪˈniz ˈwərkərz." ɪt ɪnˈgeɪʤd ɪn "fɪrs ˈstrəgəl" əˈgɛnst ðə ənd "səm əv ɪts tɔp ˈlidərz, ˌɪnˈkludɪŋ dɛŋ." soʊ waɪ dɪz ˈbɛkər hoʊld əp wən ɛz ən ɪgˈzæmpəl əv ˈoʊpən dəˈbeɪt ənd fri ˈθɪŋkɪŋ, ənd ðə ˈəðər ɛz ˈsəmθɪŋ ˈoʊnli ʤɔrʤ bʊʃ ˈsɪstər. ənd ðə siaɪeɪ kʊd ləv? wət ɪgˈzæktli ɪz ðə kraɪˈtɪriə fər səˈpɔrtɪŋ ər əˈpoʊzɪŋ ə ˈmuvmənt frəm bɪˈloʊ ɪn ə səˈpoʊzədli ˈsoʊʃəlɪst ˈkəntri? wən kən ˈoʊnli ˌɪnˈfər ðət bɪˈkəz ðə ˈkəlʧərəl ˌrɛvəˈluʃən wɑz ˌɪˈnɪʃiˌeɪtɪd baɪ ðən ə mæs ˈpɑpjələr ˈmuvmənt frəm bɪˈloʊ, ɛz ɪn ðə keɪs əv həz ˈmɛrət tɪ ðə. ən ˈɪʃu əv ˈsoʊʃəˌlɪzəm ənd ˌlɪˌbərˈeɪʃən ˈmægəˌzin ðət ˈfoʊkɪsɪz ɔn ˈʧaɪnə ˈkɛrɪktərˌaɪzəz ðə ˈkəlʧərəl ˌrɛvəˈluʃən ɛz ən "ədˈvæns ənd ðə "oʊld ˈkæpətəlɪst roaders*" ˈəltəmətli səkˈsɛsfəl æt dɪˈfitɪŋ maʊ ənd hɪz ˈælaɪz, səm əv hum səˈpɔrtɪd ə steɪt." soʊ fər ðə, ðə ˈkəlʧərəl ˌrɛvəˈluʃən wɑz ə mɪkst bæg əv ˈpɑzətɪvz ənd ðə ˌraɪtˈwɪŋərz wən, ɪt wɑz æt list ən ɪgˈzæmpəl əv ðə ˈfridəm tɪ dɪˈsɛnt ɪn ˈsoʊʃəlɪst ˈʧaɪnə. ˈniðər ˈbɛkər nɔr ðə ˈsoʊʃəˌlɪzəm ənd ˌlɪˌbərˈeɪʃən ˈraɪtərz ˈmɛnʃən haʊ, frəm ðə ɛnd əv 1968 ənˈtɪl maʊz dɛθ ɪn 1976 tɛnz əv ˈmɪljənz əv juθ wər dɪˈpɔrtəd tɪ ðə ˈkəntriˌsaɪd tɪ hɔlt ðə ˈkəlʧərəl tɛnz əv ˈθaʊzənz wər ˈsɪmpli kɪld. nɔr ðət maʊ hɪmˈsɛlf kloʊzd ræŋks wɪθ ðə rɛst əv ðə ˈlidərˌʃɪp tɪ pʊt ən ɛnd tɪ ðə ˈkəlʧərəl ˌrɛvəˈluʃən, aʊt əv fɪr ðət soʊˈsaɪɪti wʊd gɪt aʊt əv kənˈtroʊl. səm maʊɪst ˌɔrgənəˈzeɪʃənz vju maʊz dɛθ ənd ðə ɛnd əv ðə ˈkəlʧərəl ˌrɛvəˈluʃən ɛz ðə ɛnd əv ˈsoʊʃəˌlɪzəm ɪn ˈʧaɪnə. bət fər ðə, ˈivɪn ðɪs ɪz goʊɪŋ tu fɑr. dɪˈspaɪt ðə fækt ðət ðə "ˈkæpətəlɪst roaders*" hæv rən ˈʧaɪnə wɪˈθaʊt ˈɛni sɪgˈnɪfɪkənt rɪˈzɪstəns wɪˈθɪn ðə ˈlidərˌʃɪp sɪns 1976 ðə stɪl meɪnˈteɪnz ðət ðə ʃʊd nɑt hæv bɪn ˌoʊvərθˈroʊn ɪn 1989 əˈkɔrdɪŋ tɪ ˈlidər braɪən ˈbɛkər ɪn ˈsoʊʃəˌlɪzəm ənd ˌlɪˌbərˈeɪʃən, ðə ˈprɔˌsɛs əv ˈkæpətəlɪst klæs riˈleɪʃənz bɪˈkəmɪŋ ɪnˈtrɛnʧt ɪn ˈʧaɪnə ɪz "ənˈfɪnɪʃt," ənd "ɛz lɔŋ ɛz ðə [ccp*] rɪˈteɪnz ɪts hoʊld ɔn pəˈlɪtɪkəl paʊər, ðɛr ɪz ə ˌpɑsəˈbɪləˌti, ˌhaʊˈɛvər greɪt ər smɔl, ðət ðɪs trɛnd kən stɪl bi rɪˈvərst." ɔn ðɪs ˈbeɪsɪs, ðə tiˈɛnænˌmɛn ˈmuvmənt ɪz sˈlændərd, ənd ðə ɪz dɪˈfɛndɪd fər ˈkrəʃɪŋ ðə ˈəˌpraɪzɪŋ baɪ ˈstudənts ənd ðə seɪm ˈlɑʤɪk ðət ðə ənd ɪts ˈfɔˌrənər, ðə ˈwərkərz' wərld ˈpɑrti, juzd ɪn səˈpɔrtɪŋ əˈsɔlts ɔn ˈhəŋgəri tɪ pʊt daʊn ðə 1956 ˌrɛvəˈluʃən ənd ɔn ˌʧɛkəsloʊˈvɑkiə ɪn 1968 əˈgɛnst ðə prɑg spərɪŋ. ɪt wʊd hæv bɪn ə stɛp ˈfɔrwərd fər ʧaɪˈniz ˈwərkərz ɪf ðə 1989 ˈəˌpraɪzɪŋ hæd wən mɔr raɪts. ˈbɛkər dɪsˈmɪsɪz ðɪs səˈʤɛsʧən baɪ mi ɛz "səm ˈroʊzi, ˌdɛməˈkrætɪk ənd ˈæfluənt fˈjuʧər wɛr ˈɛvriˌwən kʊd voʊt fər ˈvɛriəs ˌmɪljəˈnɛr ˌpɑləˈtɪʃənz." aɪ ˈwəndər ɪf hi wʊd meɪk ðə seɪm ˈɑrgjəmənt əˈbaʊt blæk ˈpipəl ɪn ðə juz. hu ˈstrəgəld əˈgɛnst ˈmərdərəs ʤɪm kroʊ ˈreɪˌsɪzəm fər ðə raɪt tɪ voʊt? ˈbɛkər vjuz ðə kənˈtɪnjud rul əv ðə ɛz mɔr ˌɪmˈpɔrtənt ðən ðə raɪt tɪ fri spiʧ, ˈproʊˌtɛst ər, jɛs, ˈivɪn ˈvoʊtɪŋ. hi saɪdz wɪθ ˈlidər li pɛŋ, hu sɛd ðɛr wər "səˈfɪʃənt ˈjumən raɪts" ɪn praɪər tɪ ˈɔrdərɪŋ trups tɪ krəʃ ðə tiˈɛnænˌmɛn rɪˈzɪstəns. ˈhævɪŋ ðə raɪts tɪ fri spiʧ, tɪ ˈproʊˌtɛst ənd tɪ ˈɔrgəˌnaɪz ˌɪndɪˈpɛndənt treɪd ˈjunjənz ˈɪzənt ðə ɛnd əv ðə ˈmætər, əv kɔrs. bət ɪt ɪz ˈsərtənli ˈbɛtər tɪ hæv ðɛm ðən tɪ bi ˈraʊndɪd əp ɪn ðə ˈmɪdəl əv ðə naɪt ənd ˈkɑrtɪd ɔf fər ˈtɔkɪŋ tɪ jʊr ˈkoʊˈwərkərz əˈbaʊt ˈwərkɪŋ kənˈdɪʃənz. wɪn ɪt kəmz tɪ ˌɪnˈsɪstɪŋ ðət fju ˈpipəl wər kɪld ɪn ðə səˈprɛʃən əv ðə tiˈɛnænˌmɛn ˈproʊˌtɛsts, ˈbɛkər kwoʊts səˈlɛktɪvli frəm hɪz dɪˈpɛndəbəl ˈsɔrsəz ɪn ðə juz. ˈkɔrpərət ˈmidiə, ðə nu jɔrk taɪmz ənd wɔl strit ˈʤərnəl. dɪˈspaɪt hɪz ˌrɛkɪgˈnɪʃən ðət ðə "ˈkæpətəlɪst roaders*" wər ɪn ʧɑrʤ ɪn ˈʧaɪnə ənd wər dɪˈvɛləpɪŋ kəˈmərʃəl taɪz wɪθ ðə juz., ˈbɛkər simz əˈneɪbəl tɪ ˌkɑmpriˈhɛnd ðət ðə juz. ˈrulɪŋ klæs maɪt hæv hæd ən ˈɪntəˌrɛst ɪn ˈdaʊnˌpleɪɪŋ ðə ˈblədˌʃɛd æt tiˈɛnænˌmɛn. ðɛr wɑz, ˈæftər ɔl, ˈməni tɪ bi meɪd, ənd ˈæftər ə ʃɔrt ˈpɪriəd əv ˈtoʊkən ˈproʊˌtɛst, ðə juz. ˈgəvərnmənt ənd ˈkɔrpərət əˈmɛrɪkə gɑt daʊn tɪ ðə ˈbɪznɪs əv ˈmeɪkɪŋ ɪt ɪn ˈʧaɪnə. noʊ wən noʊz haʊ ˈmɛni ˈpipəl daɪd ɪn ðə ʧaɪˈniz ˈmɪlɪˌtɛriz ˈkrəʃɪŋ əv ðə tiˈɛnænˌmɛn rɪˈvoʊlt. wət wi kən seɪ fər ʃʊr ɪz ðət ðə ˈproʊˌtɛstərz ənd ˈɔrdəˌnɛri ˈpipəl ɪn ˌbeɪˈʒɪŋ ˈsəfərd ðə brənt əv ðə ðə ʧaɪˈniz ˈmɪlɪˌtɛri, ɛz ˈbɛkər əbˈsərdli kleɪmz. ˌwəˈtɛvər ðə ɪgˈzækt ˈbɑdi kaʊnt, ðɪs ɪz ə kˈwɛʃən əv wɪʧ saɪd jʊr steɪt ənd ɪts riˈprɛsɪv ˌæpərˈætəs, ər ðə rɪˈzɪstəns. ðə ˈækʃənz əv ðə ˈstudənt ənd ˈwərkər ˈproʊˌtɛstərz əv tiˈɛnænˌmɛn dɪˈzərv ɑr səˈpɔrt, nɑt ðə ʧaɪˈniz ˈgəvərnmənt. noʊ əˈmaʊnt əv pəˈlɪtɪkəl kənˈtɔrʃənz kən ɪkˈskjuz biɪŋ ɔn ðə rɔŋ saɪd əˈbaʊt tiˈɛnænˌmɛn.

with the help of eb games and numerous football clubs, recently hosted a series of launch nights for 14; the most recent release in the incredibly popular soccer video game franchise. the launch events were held in perth, adelaide, melbourne, sydney and newcastle, with the participation of players from perth glory, adelaide united, melbourne victory, sydney, western sydney wanderers, and newcastle jets. patients in the hospitals were given the opportunity to play 14 on the day of its release, meeting some of their favourite players, and going with them on the game. as it turns out some of the professionals really met their matches in the video games, with the kids coming out on top on numerous occasions! eb games provided with copies of the game, as well as vouchers for prizes. sydney was kind enough to donate some awesome seats to their games for the patients, and all of the clubs bought some sweet along to the events. all of the players involved had a great time experiencing the program too beyond playing, players were given the chance to hit the wards (one patient at sydney hospital decked out his room with a plethora of sydney the guys were impressed), do some origami, play some drums, and participate in some of and favourite pastimes old (uno championships) and new (the up app is proving immensely popular recently). this series of 14 launch events was an incredible success for the program, the clubs involved, eb games, and most importantly, the patients admitted to hospital nationally. has plenty more planned for the coming months hopefully, we can work with clubs again prior to the release of 15. livewire is showcasing some of the stuff that we do on so check us out there by following @starlight_livewire. livewire is one of adolescent programs, which is proudly supported by nib foundation. aims to bring fresh and exciting workshops to the wards, and empowers teenagers to be social and have fun during their admission. advertisements

wɪθ ðə hɛlp əv ɛb geɪmz ənd ˈnumərəs ˈfʊtˌbɔl kləbz, ˈrisəntli ˈhoʊstɪd ə ˈsɪriz əv lɔnʧ naɪts fər 14 ðə moʊst ˈrisənt riˈlis ɪn ðə ˌɪnˈkrɛdəbli ˈpɑpjələr ˈsɑkər ˈvɪdioʊ geɪm ˈfrænˌʧaɪz. ðə lɔnʧ ɪˈvɛnts wər hɛld ɪn pərθ, ˈædəˌleɪd, ˈmɛlbərn, ˈsɪdni ənd ˈnuˌkæsəl, wɪθ ðə pɑrˌtɪsəˈpeɪʃən əv pleɪərz frəm pərθ ˈglɔri, ˈædəˌleɪd juˈnaɪtɪd, ˈmɛlbərn ˈvɪktəri, ˈsɪdni, ˈwɛstərn ˈsɪdni ˈwɑndərərz, ənd ˈnuˌkæsəl ʤɛts. ˈpeɪʃənz ɪn ðə ˈhɑˌspɪtəlz wər ˈgɪvɪn ðə ˌɑpərˈtunəti tɪ pleɪ 14 ɔn ðə deɪ əv ɪts riˈlis, ˈmitɪŋ səm əv ðɛr ˈfeɪvərɪt pleɪərz, ənd goʊɪŋ wɪθ ðɛm ɔn ðə geɪm. ɛz ɪt tərnz aʊt səm əv ðə prəˈfɛʃənəlz ˈrɪli mɛt ðɛr ˈmæʧɪz ɪn ðə ˈvɪdioʊ geɪmz, wɪθ ðə kɪdz ˈkəmɪŋ aʊt ɔn tɔp ɔn ˈnumərəs ɔˈkeɪʒənz! ɛb geɪmz prəˈvaɪdɪd wɪθ ˈkɑpiz əv ðə geɪm, ɛz wɛl ɛz ˈvaʊʧərz fər ˈpraɪzɪz. ˈsɪdni wɑz kaɪnd ɪˈnəf tɪ ˈdoʊˌneɪt səm ˈɔsəm sits tɪ ðɛr geɪmz fər ðə ˈpeɪʃənz, ənd ɔl əv ðə kləbz bɔt səm swit əˈlɔŋ tɪ ðə ɪˈvɛnts. ɔl əv ðə pleɪərz ˌɪnˈvɑlvd hæd ə greɪt taɪm ɪkˈspɪriənsɪŋ ðə ˈproʊˌgræm tu bɪɔnd pleɪɪŋ, pleɪərz wər ˈgɪvɪn ðə ʧæns tɪ hɪt ðə wɔrdz (wən ˈpeɪʃənt æt ˈsɪdni ˈhɑˌspɪtəl dɛkt aʊt hɪz rum wɪθ ə ˈplɛθərə əv ˈsɪdni ðə gaɪz wər ˌɪmˈprɛst), du səm ˌɔriˈgɑˌmi, pleɪ səm drəmz, ənd pɑrˈtɪsəˌpeɪt ɪn səm əv ənd ˈfeɪvərɪt ˈpæˌstaɪmz oʊld (ˈuˌnoʊ ˈʧæmpiənˌʃɪps) ənd nu (ðə əp æp ɪz ˈpruvɪŋ ˌɪˈmɛnsli ˈpɑpjələr ˈrisəntli). ðɪs ˈsɪriz əv 14 lɔnʧ ɪˈvɛnts wɑz ən ˌɪnˈkrɛdəbəl səkˈsɛs fər ðə ˈproʊˌgræm, ðə kləbz ˌɪnˈvɑlvd, ɛb geɪmz, ənd moʊst ˌɪmˈpɔrtəntli, ðə ˈpeɪʃənz ədˈmɪtəd tɪ ˈhɑˌspɪtəl ˈnæʃənəli. həz ˈplɛnti mɔr plænd fər ðə ˈkəmɪŋ mənθs ˈhoʊpfəli, wi kən wərk wɪθ kləbz əˈgɛn praɪər tɪ ðə riˈlis əv 15 ɪz ˈʃoʊkeɪsɪŋ səm əv ðə stəf ðət wi du ɔn soʊ ʧɛk ˈjuˈɛs aʊt ðɛr baɪ ˈfɑloʊɪŋ @starlight_livewire*. ɪz wən əv ˌædəˈlɛsənt ˈproʊˌgræmz, wɪʧ ɪz ˈpraʊdli səˈpɔrtɪd baɪ nɪb faʊnˈdeɪʃən. eɪmz tɪ brɪŋ frɛʃ ənd ɪkˈsaɪtɪŋ ˈwərkˌʃɑps tɪ ðə wɔrdz, ənd ɪmˈpaʊərz ˈtiˌneɪʤərz tɪ bi ˈsoʊʃəl ənd hæv fən ˈdʊrɪŋ ðɛr ədˈmɪʃən. ˈædvərˌtaɪzmənts

when zak moved to detroit five years ago, he seemed to be swimming against the tide. he bought a house in a city battered by job loss, blight and crime, at a time when much of the population was on its way out. he arrived with a plan to open a bike factory in a city long abandoned by manufacturers. he had no experience, a serious cyclist and had left a vibrant hometown, calgary, for a place that would become largest city to file for bankruptcy. but as an entrepreneur, was used to taking risks. today, his company, detroit bikes, is a growing business and part of a lively entrepreneurial scene crucial to the revival of detroit. the scene includes tech startups, investors, artisans, foodies, shop owners and transplants like, drawn to mix of grit and opportunity. detroit bikes appears this week on page on and kicks off a series about entrepreneurship in the motor city. “it’s a great city to start something in,” says, a music entrepreneur before he launched detroit bikes. “there’s a real culture of encouraging each other and teamwork, almost. and a lot of really talented people.” entrepreneurs key to resurgence once the automotive center of the world, detroit has become one of the most distressed cities in america, a decline triggered by lost jobs and hastened by the mortgage crisis. by the time it filed for bankruptcy in 2013, the city had shriveled to its smallest population since the 1910 census. detroit emerged from bankruptcy last year and is on a long road of tackling crime, poverty and thousands of vacant lots and streets. entrepreneurs play a key part in recovery, with businesses and investments revitalizing its downtown. business district used to be a lackluster space with empty buildings, but now with office workers, a thriving tech community and a busy of retail and residents. “the entrepreneurial scene in detroit is amazing. off the charts. got these incredible, passionate people who are pouring their heart and souls into the city,” says josh, a founder of detroit venture partners, a venture capital firm that funds tech startups in detroit. recently stepped down as ceo of detroit venture partners to focus on his career as a book author and keynote speaker. detroit’s woes have made it cheaper for entrepreneurs to start up, while fueling an underdog mindset and desire to help the city. that collective pride shows up in slogans like “detroit hustles harder” and “detroit vs. everybody.” “there is this detroit grit, like been kicked down. like the rocky balboa of cities; fighting for life and glory,” says. “i think that is in contrast to silicon valley i want to be disparaging anybody but we look at them and say, ‘oh, sipping their frappuccinos. they just got their stanford degree. that nice.’ and like streetfighters. exaggerating, obviously, but the vibe here. we have this real gritty, scrappy, resilient tenacity.” much of resurgence can be traced to one man, quicken loans founder and chairman dan gilbert, who also founded detroit venture partners. real estate company has invested $1.6 billion in downtown detroit. his companies have filled the area with employees in less than five years. more than 70 tech companies exist in a single square block, many backed by detroit venture partners. business presence has sparked a surge of people living, shopping and dining downtown. gabe karp, a partner with detroit venture partners, often asks young people in interviews why they want to be in detroit, when previous generations would have passed. their answer relays a new buzz, a passion to be the first chapter in a comeback story of a once great city. “they say, ‘we’re hearing about going on, and it sounds really exciting… we want to be there on the ground floor, help write that chapter and be part of that story,’” karp says. detroit bikes renews manufacturing in the city count detroit bikes as part of the story. founder and president had launched two canadian music venues and a music festival when he decided to join community of problem solvers. he started detroit bikes in 2011, with a mission to renew manufacturing in the city. last year, his factory in detroit made about a thousand bikes. he calls them the “honda civics of bikes,” to distinguish them from specialty and racing bikes. this year, expects to make about bikes, with nearly half destined for new belgium brewing, the maker of fat tire amber ale. the colorado brewery will use the bikes for employee gifts and promotions. is also opening his first retail store in detroit. “it’s a region filled with people who are innovative and like making things,” says, whose skilled, workforce includes bike enthusiasts and former auto workers. “so a culture of getting things done that is facilitating this existence.” for henry ford ii, detroit master builder, the company is a return to family roots. his grandfather worked for the ford motor company and had named his son after founder henry ford. the son then worked for chrysler, and much of the large, extended family worked in factories belonging to the big three: ford, chrysler and general motors. “we were known as ‘the other ford family,’” ford says. he himself ended up in the mortgage industry until he was laid off, and then he started a house painting business. “to come (to detroit bikes) to reintroduce manufacturing to the city, to make a product that gets people to move around… it still gives me goosebumps, thinking about the lineage that has come to this particular point,” he says. load third party embed as an avid bike, parks and neighborhood advocate, ford has been fighting the decline of detroit for years. to see his hometown become trendy with everyone from tech developers to hipster distillers makes him laugh with joy. “being a unique individual showcasing your talent is like the new hot thing,” he says. “everybody wants to show us what they can do. people are coming here from all over the country, because of the access to material, talent and overall attitude to get things done and see where it goes from here.” lead photo: detroit bikes master builder henry ford ii. photo by ami vitale.

wɪn zæk muvd tɪ ˈdiˌtrɔɪt faɪv jɪrz əˈgoʊ, hi simd tɪ bi sˈwɪmɪŋ əˈgɛnst ðə taɪd. hi bɔt ə haʊs ɪn ə ˈsɪti ˈbætərd baɪ ʤɑb lɔs, blaɪt ənd kraɪm, æt ə taɪm wɪn məʧ əv ðə ˌpɑpjəˈleɪʃən wɑz ɔn ɪts weɪ aʊt. hi əraɪvd wɪθ ə plæn tɪ ˈoʊpən ə baɪk ˈfæktəri ɪn ə ˈsɪti lɔŋ əˈbændənd baɪ ˌmænjəˈfækʧərərz. hi hæd noʊ ɪkˈspɪriəns, ə ˈsɪriəs ˈsaɪkəlɪst ənd hæd lɛft ə ˈvaɪbrənt ˈhoʊmˌtaʊn, ˈkælgəri, fər ə pleɪs ðət wʊd bɪˈkəm ˈlɑrʤəst ˈsɪti tɪ faɪl fər ˈbæŋkrəptsi. bət ɛz ən ˌɑntrəprəˈnʊr, wɑz juzd tɪ ˈteɪkɪŋ rɪsks. təˈdeɪ, hɪz ˈkəmpəˌni, ˈdiˌtrɔɪt baɪks, ɪz ə groʊɪŋ ˈbɪznɪs ənd pɑrt əv ə ˈlaɪvli ˌɑntrəprəˈnəriəl sin ˈkruʃəl tɪ ðə rɪˈvaɪvəl əv ˈdiˌtrɔɪt. ðə sin ˌɪnˈkludz tɛk ˈstɑrˌtəps, ˌɪnˈvɛstərz, ˈɑrtəzənz, foodies*, ʃɑp ˈoʊnərz ənd trænˈsplænts laɪk, drɔn tɪ mɪks əv grɪt ənd ˌɑpərˈtunəti. ˈdiˌtrɔɪt baɪks əˈpɪrz ðɪs wik ɔn peɪʤ ɔn ənd kɪks ɔf ə ˈsɪriz əˈbaʊt ˌɑntrəprəˈnərʃɪp ɪn ðə ˈmoʊtər ˈsɪti. ə greɪt ˈsɪti tɪ stɑrt ˈsəmθɪŋ in,”*,” sɪz, ə mˈjuzɪk ˌɑntrəprəˈnʊr ˌbiˈfɔr hi lɔnʧt ˈdiˌtrɔɪt baɪks. ə ril ˈkəlʧər əv ɪnˈkərəʤɪŋ iʧ ˈəðər ənd ˈtimˌwərk, ˈɔlˌmoʊst. ənd ə lɔt əv ˈrɪli ˈtæləntɪd people.”*.” ˌɑntrəprəˈnərz ki tɪ riˈsərʤəns wəns ðə ˌɔtəˈmoʊtɪv ˈsɛnər əv ðə wərld, ˈdiˌtrɔɪt həz bɪˈkəm wən əv ðə moʊst dɪˈstrɛst ˈsɪtiz ɪn əˈmɛrɪkə, ə dɪˈklaɪn ˈtrɪgərd baɪ lɔst ʤɑbz ənd ˈheɪsənd baɪ ðə ˈmɔrgɪʤ ˈkraɪsəs. baɪ ðə taɪm ɪt faɪld fər ˈbæŋkrəptsi ɪn 2013 ðə ˈsɪti hæd ʃˈrɪvəld tɪ ɪts sˈmɔləst ˌpɑpjəˈleɪʃən sɪns ðə 1910 ˈsɛnsəs. ˈdiˌtrɔɪt ˈimərʤd frəm ˈbæŋkrəptsi læst jɪr ənd ɪz ɔn ə lɔŋ roʊd əv ˈtækəlɪŋ kraɪm, ˈpɑvərti ənd ˈθaʊzənz əv ˈveɪkənt lɑts ənd strits. ˌɑntrəprəˈnərz pleɪ ə ki pɑrt ɪn rɪˈkəvəri, wɪθ ˈbɪznɪsɪz ənd ˌɪnˈvɛstmənts riˈvaɪtəˌlaɪzɪŋ ɪts ˈdaʊnˈtaʊn. ˈbɪznɪs ˈdɪstrɪkt juzd tɪ bi ə ˈlæˌkləstər speɪs wɪθ ˈɛmti ˈbɪldɪŋz, bət naʊ wɪθ ˈɔfəs ˈwərkərz, ə θˈraɪvɪŋ tɛk kəmˈjunɪti ənd ə ˈbɪzi əv ˈriˌteɪl ənd ˈrɛzɪdənts. ˌɑntrəprəˈnəriəl sin ɪn ˈdiˌtrɔɪt ɪz əˈmeɪzɪŋ. ɔf ðə ʧɑrts. gɑt ðiz ˌɪnˈkrɛdəbəl, ˈpæʃənət ˈpipəl hu ər ˈpɔrɪŋ ðɛr hɑrt ənd soʊlz ˈɪntu ðə city,”*,” sɪz ʤɑʃ, ə ˈfaʊndər əv ˈdiˌtrɔɪt ˈvɛnʧər ˈpɑrtnərz, ə ˈvɛnʧər ˈkæpɪtəl fərm ðət fəndz tɛk ˈstɑrˌtəps ɪn ˈdiˌtrɔɪt. ˈrisəntli stɛpt daʊn ɛz ˈsiˌiˈoʊ əv ˈdiˌtrɔɪt ˈvɛnʧər ˈpɑrtnərz tɪ ˈfoʊkɪs ɔn hɪz kərɪr ɛz ə bʊk ˈɔθər ənd ˈkiˌnoʊt ˈspikər. woʊz hæv meɪd ɪt ˈʧipər fər ˌɑntrəprəˈnərz tɪ stɑrt əp, waɪl fˈjulɪŋ ən ˈəndərˌdɔg ˈmaɪndˌsɛt ənd dɪˈzaɪər tɪ hɛlp ðə ˈsɪti. ðət kəˈlɛktɪv praɪd ʃoʊz əp ɪn sˈloʊgənz laɪk ˈhəsəlz harder”*” ənd ˈvərsəz. everybody.”*.” ɪz ðɪs ˈdiˌtrɔɪt grɪt, laɪk bɪn kɪkt daʊn. laɪk ðə ˈrɑki bɑlˈboʊə əv ˈsɪtiz; ˈfaɪtɪŋ fər laɪf ənd glory,”*,” sɪz. θɪŋk ðət ɪz ɪn ˈkɑntræst tɪ ˈsɪləkən ˈvæli aɪ wɔnt tɪ bi dɪˈspɛrɪʤɪŋ ˈɛnibədi bət wi lʊk æt ðɛm ənd seɪ, ‘‘oh*, ˈsɪpɪŋ ðɛr frappuccinos*. ðeɪ ʤɪst gɑt ðɛr ˈstænfərd dɪˈgri. ðət nice.’*.’ ənd laɪk streetfighters*. ɪgˈzæʤərˌeɪtɪŋ, ˈɑbviəsli, bət ðə vaɪb hir. wi hæv ðɪs ril ˈgrɪti, ˈskræpi, rɪˈzɪljənt tenacity.”*.” məʧ əv riˈsərʤəns kən bi treɪst tɪ wən mæn, kˈwɪkən loʊnz ˈfaʊndər ənd ˈʧɛrmən dæn ˈgɪlbərt, hu ˈɔlsoʊ ˈfaʊndɪd ˈdiˌtrɔɪt ˈvɛnʧər ˈpɑrtnərz. ril ɛˈsteɪt ˈkəmpəˌni həz ˌɪnˈvɛstɪd ˈbɪljən ɪn ˈdaʊnˈtaʊn ˈdiˌtrɔɪt. hɪz ˈkəmpəˌniz hæv fɪld ðə ˈɛriə wɪθ ɪmˈplɔɪiz ɪn lɛs ðən faɪv jɪrz. mɔr ðən 70 tɛk ˈkəmpəˌniz ɪgˈzɪst ɪn ə ˈsɪŋgəl skwɛr blɑk, ˈmɛni bækt baɪ ˈdiˌtrɔɪt ˈvɛnʧər ˈpɑrtnərz. ˈbɪznɪs ˈprɛzəns həz spɑrkt ə sərʤ əv ˈpipəl ˈlɪvɪŋ, ˈʃɑpɪŋ ənd ˈdaɪnɪŋ ˈdaʊnˈtaʊn. geɪb kɑrp, ə ˈpɑrtnər wɪθ ˈdiˌtrɔɪt ˈvɛnʧər ˈpɑrtnərz, ˈɔfən æsks jəŋ ˈpipəl ɪn ˈɪntərvˌjuz waɪ ðeɪ wɔnt tɪ bi ɪn ˈdiˌtrɔɪt, wɪn ˈpriviəs ˌʤɛnərˈeɪʃənz wʊd hæv pæst. ðɛr ˈænsər ˈriˌleɪz ə nu bəz, ə ˈpæʃən tɪ bi ðə fərst ˈʧæptər ɪn ə ˈkəmˌbæk ˈstɔri əv ə wəns greɪt ˈsɪti. seɪ, ˈhirɪŋ əˈbaʊt goʊɪŋ ɔn, ənd ɪt saʊnz ˈrɪli exciting…*… wi wɔnt tɪ bi ðɛr ɔn ðə graʊnd flɔr, hɛlp raɪt ðət ˈʧæptər ənd bi pɑrt əv ðət story,’”*,’” kɑrp sɪz. ˈdiˌtrɔɪt baɪks rɪˈnuz ˌmænjəˈfækʧərɪŋ ɪn ðə ˈsɪti kaʊnt ˈdiˌtrɔɪt baɪks ɛz pɑrt əv ðə ˈstɔri. ˈfaʊndər ənd ˈprɛzɪdənt hæd lɔnʧt tu kəˈneɪdiən mˈjuzɪk ˈvɛnuz ənd ə mˈjuzɪk ˈfɛstɪvəl wɪn hi ˌdɪˈsaɪdɪd tɪ ʤɔɪn kəmˈjunɪti əv ˈprɑbləm ˈsɑlvərz. hi ˈstɑrtɪd ˈdiˌtrɔɪt baɪks ɪn 2011 wɪθ ə ˈmɪʃən tɪ rɪˈnu ˌmænjəˈfækʧərɪŋ ɪn ðə ˈsɪti. læst jɪr, hɪz ˈfæktəri ɪn ˈdiˌtrɔɪt meɪd əˈbaʊt ə ˈθaʊzənd baɪks. hi kɔlz ðɛm ðə ˈsɪvɪks əv bikes,”*,” tɪ dɪˈstɪŋgwɪʃ ðɛm frəm ˈspɛʃəlti ənd ˈreɪsɪŋ baɪks. ðɪs jɪr, ɪkˈspɛkts tɪ meɪk əˈbaʊt baɪks, wɪθ ˈnɪrli hæf ˈdɛstɪnd fər nu ˈbɛlʤəm bruɪŋ, ðə ˈmeɪkər əv fæt taɪər ˈæmbər eɪl. ðə ˌkɑlərˈɑdoʊ ˈbruəri wɪl juz ðə baɪks fər ɪmˈplɔɪi gɪfts ənd pərˈmoʊʃənz. ɪz ˈɔlsoʊ ˈoʊpənɪŋ hɪz fərst ˈriˌteɪl stɔr ɪn ˈdiˌtrɔɪt. ə ˈriʤən fɪld wɪθ ˈpipəl hu ər ˈɪnəˌveɪtɪv ənd laɪk ˈmeɪkɪŋ things,”*,” sɪz, huz skɪld, ˈwərkˌfɔrs ˌɪnˈkludz baɪk ɛnˈθuziˌæsts ənd ˈfɔrmər ˈɔtoʊ ˈwərkərz. ə ˈkəlʧər əv ˈgɪtɪŋ θɪŋz dən ðət ɪz fəˈsɪləˌteɪtɪŋ ðɪs existence.”*.” fər ˈhɛnri fɔrd ii*, ˈdiˌtrɔɪt ˈmæstər ˈbɪldər, ðə ˈkəmpəˌni ɪz ə rɪˈtərn tɪ ˈfæməli ruts. hɪz ˈgrænˌfɑðər wərkt fər ðə fɔrd ˈmoʊtər ˈkəmpəˌni ənd hæd neɪmd hɪz sən ˈæftər ˈfaʊndər ˈhɛnri fɔrd. ðə sən ðɛn wərkt fər ˈkraɪslər, ənd məʧ əv ðə lɑrʤ, ɪkˈstɛndɪd ˈfæməli wərkt ɪn ˈfæktəriz bɪˈlɔŋɪŋ tɪ ðə bɪg θri: fɔrd, ˈkraɪslər ənd ˈʤɛnərəl ˈmoʊtərz. wər noʊn ɛz ˈəðər fɔrd family,’”*,’” fɔrd sɪz. hi hɪmˈsɛlf ˈɛndɪd əp ɪn ðə ˈmɔrgɪʤ ˈɪndəstri ənˈtɪl hi wɑz leɪd ɔf, ənd ðɛn hi ˈstɑrtɪd ə haʊs ˈpeɪnɪŋ ˈbɪznɪs. kəm (tɪ ˈdiˌtrɔɪt baɪks) tɪ ˌriɪntrəˈdus ˌmænjəˈfækʧərɪŋ tɪ ðə ˈsɪti, tɪ meɪk ə ˈprɑdəkt ðət gɪts ˈpipəl tɪ muv around…*… ɪt stɪl gɪvz mi goosebumps*, ˈθɪŋkɪŋ əˈbaʊt ðə ˈlɪniəʤ ðət həz kəm tɪ ðɪs ˌpɑˈtɪkjələr point,”*,” hi sɪz. loʊd θərd ˈpɑrti ɪmˈbɛd ɛz ən ˈævɪd baɪk, pɑrks ənd ˈneɪbərˌhʊd ˈædvəˌkeɪt, fɔrd həz bɪn ˈfaɪtɪŋ ðə dɪˈklaɪn əv ˈdiˌtrɔɪt fər jɪrz. tɪ si hɪz ˈhoʊmˌtaʊn bɪˈkəm ˈtrɛndi wɪθ ˈɛvriˌwən frəm tɛk dɪˈvɛləpərz tɪ ˈhɪpstər dɪˈstɪlərz meɪks ɪm læf wɪθ ʤɔɪ. ə juˈnik ˌɪndəˈvɪʤəwəl ˈʃoʊkeɪsɪŋ jʊr ˈtælənt ɪz laɪk ðə nu hɑt thing,”*,” hi sɪz. wɔnts tɪ ʃoʊ ˈjuˈɛs wət ðeɪ kən du. ˈpipəl ər ˈkəmɪŋ hir frəm ɔl ˈoʊvər ðə ˈkəntri, bɪˈkəz əv ðə ˈækˌsɛs tɪ məˈtɪriəl, ˈtælənt ənd ˈoʊvərˌɔl ˈætəˌtud tɪ gɪt θɪŋz dən ənd si wɛr ɪt goʊz frəm here.”*.” lɛd ˈfoʊˌtoʊ: ˈdiˌtrɔɪt baɪks ˈmæstər ˈbɪldər ˈhɛnri fɔrd ii*. ˈfoʊˌtoʊ baɪ ˈɑmi ˌvaɪˈtæl.

jon sr. watches as his son, republican presidential candidate, former utah gov. jon huntsman announces his withdrawal from the race, monday, jan. 16, 2012, in myrtle beach, s.c. (ap goldman) jon huntsman, sr., a wealthy industrialist and a republican, is endorsing rep. jim matheson (d-utah) over republican rising star mia love in utah's congressional district. "the matheson and huntsman families have enjoyed three generations of respected association," huntsman said in a statement released on friday afternoon, according to the salt lake tribune. "[rep. jim matheson] is a conservative 'blue dog' congressional leader from utah who represents our state very well." huntsman is the father of jon huntsman jr., who previously served as utah's governor and ran in the republican presidential primary this election cycle. another huntsman son, david, also endorsed matheson, as did abby huntsman, who is the daughter of jon huntsman jr. and works at live. although the salt lake tribune notes that huntsman sr. is a "lifelong republican," he has occasionally donated to democrats in the past, including fellow mormon sen. harry reid (d-nev.) and sen. ron wyden (d-ore.). love is one of the republican party's top prospects, and she is narrowly leading matheson in the most recent poll.

ʤɑn ˈsɪstər. ˈwɑʧɪz ɛz hɪz sən, rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪt, ˈfɔrmər ˈjuˌtɔ gəv. ʤɑn ˈhəntsmən əˈnaʊnsɪz hɪz wɪθˈdrɔəl frəm ðə reɪs, ˈmənˌdeɪ, ʤæn. 16 2012 ɪn ˈmərtəl biʧ, s.c*. (ˌeɪˈpi ˈgoʊldmən) ʤɑn ˈhəntsmən, ˈsɪstər., ə ˈwɛlθi ˌɪnˈdəstriəlɪst ənd ə rɪˈpəblɪkən, ɪz ɛnˈdɔrsɪŋ rɛpriˈzɛtətɪv. ʤɪm ˈmæθəsən (d-utah*) ˈoʊvər rɪˈpəblɪkən ˈraɪzɪŋ stɑr ˈmiə ləv ɪn ˈjutɑz kənˈgrɛʃənəl ˈdɪstrɪkt. "ðə ˈmæθəsən ənd ˈhəntsmən ˈfæməliz hæv ˌɛnˈʤɔɪd θri ˌʤɛnərˈeɪʃənz əv rɪˈspɛktɪd əˌsoʊʃiˈeɪʃən," ˈhəntsmən sɛd ɪn ə ˈsteɪtmənt riˈlist ɔn ˈfraɪˌdeɪ ˌæftərˈnun, əˈkɔrdɪŋ tɪ ðə sɔlt leɪk ˈtrɪbjun. "[rɛpriˈzɛtətɪv. ʤɪm ˈmæθəsən] ɪz ə kənˈsərvətɪv 'blu dɔg' kənˈgrɛʃənəl ˈlidər frəm ˈjuˌtɔ hu ˌrɛprɪˈzɛnts ɑr steɪt ˈvɛri wɛl." ˈhəntsmən ɪz ðə ˈfɑðər əv ʤɑn ˈhəntsmən jr*., hu ˈpriviəsli sərvd ɛz ˈjutɑz ˈgəvərnər ənd ræn ɪn ðə rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈpraɪˌmɛri ðɪs ɪˈlɛkʃən ˈsaɪkəl. əˈnəðər ˈhəntsmən sən, ˈdeɪvɪd, ˈɔlsoʊ ɛnˈdɔrst ˈmæθəsən, ɛz dɪd ˈæbi ˈhəntsmən, hu ɪz ðə ˈdɔtər əv ʤɑn ˈhəntsmən jr*. ənd wərks æt lɪv. ˌɔlˈðoʊ ðə sɔlt leɪk ˈtrɪbjun noʊts ðət ˈhəntsmən ˈsɪstər. ɪz ə "ˈlaɪˈflɔŋ rɪˈpəblɪkən," hi həz ɔˈkeɪʒənəˌli ˈdoʊˌneɪtɪd tɪ ˈdɛməˌkræts ɪn ðə pæst, ˌɪnˈkludɪŋ ˈfɛloʊ ˈmɔrmən sɛn. ˈhɛri rid (d-nev*.) ənd sɛn. rɑn ˈwaɪdən (d-ore*.). ləv ɪz wən əv ðə rɪˈpəblɪkən ˈpɑrtiz tɔp ˈprɑspɛkts, ənd ʃi ɪz ˈnɛroʊli ˈlidɪŋ ˈmæθəsən ɪn ðə moʊst ˈrisənt poʊl.

edoardo mortara has taken pole position for the world cup qualifying race in a qualifying session dominated by3s at macau on friday afternoon. the team driving academy driver posted a time of in the closing stages after battling with daniel, raffaele, augusto and robin throughout the session. juncadella will line up alongside mortara after setting a lap time seconds slower than the macau winner. the top four grid positions were secured by drivers. maro engel and will start from third and fourth in their mercedes, with audi sport team nico mueller the best entrant in fifth. frijns looked set to take a strong grid position after topping free practice 2 earlier in the day but a collision with the barrier took him out of contention for much of the session. as a result, the no. 1 audi will take the start of the qualifying race from 17th. the qualifying race will get underway at p.m. local time on saturday. results: qualifying

ˌɛdˈwɑrdoʊ mɔrˈtɑrə həz ˈteɪkən poʊl pəˈzɪʃən fər ðə wərld kəp kˈwɑləˌfaɪɪŋ reɪs ɪn ə kˈwɑləˌfaɪɪŋ ˈsɛʃən ˈdɑməˌneɪtəd baɪ æt məˈkaʊ ɔn ˈfraɪˌdeɪ ˌæftərˈnun. ðə tim ˈdraɪvɪŋ əˈkædəmi ˈdraɪvər ˈpoʊstɪd ə taɪm əv ɪn ðə ˈkloʊzɪŋ ˈsteɪʤɪz ˈæftər ˈbætəlɪŋ wɪθ ˈdænjəl, rɑfaɪˈɛleɪ, ˌɔˈgəstoʊ ənd ˈrɑbɪn θruaʊt ðə ˈsɛʃən. wɪl laɪn əp əˈlɔŋˈsaɪd mɔrˈtɑrə ˈæftər ˈsɛtɪŋ ə læp taɪm ˈsɛkəndz sloʊər ðən ðə məˈkaʊ ˈwɪnər. ðə tɔp fɔr grɪd pəˈzɪʃənz wər sɪˈkjʊrd baɪ ˈdraɪvərz. ˈmɑroʊ ˈɛngəl ənd wɪl stɑrt frəm θərd ənd fɔrθ ɪn ðɛr mərˈseɪdiz, wɪθ ˈɔdi spɔrt tim ˈnikoʊ mˈjulər ðə bɛst ˈɛntrənt ɪn fɪθ. lʊkt sɛt tɪ teɪk ə strɔŋ grɪd pəˈzɪʃən ˈæftər ˈtɑpɪŋ fri ˈpræktɪs 2 ˈərliər ɪn ðə deɪ bət ə kəˈlɪʒən wɪθ ðə ˈbɛriər tʊk ɪm aʊt əv kənˈtɛnʃən fər məʧ əv ðə ˈsɛʃən. ɛz ə rɪˈzəlt, ðə noʊ. 1 ˈɔdi wɪl teɪk ðə stɑrt əv ðə kˈwɑləˌfaɪɪŋ reɪs frəm 17th*. ðə kˈwɑləˌfaɪɪŋ reɪs wɪl gɪt ˌəndərˈweɪ æt p.m*. ˈloʊkəl taɪm ɔn ˈsæˌtɪˌdeɪ. rɪˈzəlts: kˈwɑləˌfaɪɪŋ

i know this is not dish of tea william weld, former massachusetts governor, uttered this one on morning joe, when he introduced the topic of climate change. this is a of “not cup of tea” (not preference) and maybe “dish it out” (to dispense something, often verbally)? or was the speaker just thinking of “cup and saucer” and got the two confused? no one knows except mr. weld, and perhaps he either. on that note, i think have a “disha”. a big thanks to two people who heard this one and sent it in almost simultaneously: david stephens and donna calvert. thanks david and donna! advertisements they would jump on a bullet for him this was uttered when discussing the blind loyalty of trump supporters. it is a conflation of “take a bullet for (someone)” and “falling (or jumping) on a grenade for (someone)”, both meaning to accept a personally harmful or sacrificial task to protect someone else. jumping on a bullet seem like a great sacrifice to me, so perhaps this speaker was not such a loyal follower. a big thanks to john kooser for hearing this one. the manafort situation throws the whole incentive system on its head columbia law school professor berger uttered this one on the show “the hour with brian williams”. she was discussing the pardon system and the manafort case. this is a of “turn (something) on its head” (to alter something in an unexpected way) and “throw it out the window” (forgotten, disregarded). “turning” and “throwing” seems to have caused the mixup here. a big thanks to frank king for hearing this one. is it “defend on your own” night? the contributor says her husband says this when she feel like cooking for dinner. the prompts a visual of the family opening the refrigerator and fighting for the best leftovers. this is a of “stand on (own) two feet” (act independently) and “fend for (oneself)” (take care of oneself without the assistance of others). i suppose the speaker was thinking of the word “fend” but uttered “defend” instead. a tip of the hat to lori snider for sending this one in! my hackles were ruffled this was overheard at a nearby table at breakfast. this is a brilliant conflation of “ruffle (ones’) feathers” and “raise (one’s) hackles”, both meaning to make one irritated or angry. “ruffle” and “raise” both begin with the letter r, possibly contributing to the mix. by the way, do you know what “hackles” are? hackles are the hairs on the back of an neck, which stick up when the animal feels fearful or angry (late 1800s). so, the two expressions involve some type of body covering sticking up, a perfect explanation of the. a bravo to sam edelmann who heard this one all the way from india. i’m worried stiff heard on the show with chris hayes. this is a conflation of “scared stiff” (utterly terrified) and “worried sick” (very concerned about a person or situation). i have heard this one a lot. “sick” and “stiff” are similar sounding words, contributing to the. a big thanks to frank king for hearing this one! if you liked this one, check out my book ons, “he smokes like a fish and others”. available on amazon for a cheap $7.99. just click on the link

aɪ noʊ ðɪs ɪz nɑt dɪʃ əv ti ˈwɪljəm wɛld, ˈfɔrmər ˌmæsəˈʧusəts ˈgəvərnər, ˈətərd ðɪs wən ɔn ˈmɔrnɪŋ ʤoʊ, wɪn hi ˌɪntrəˈdust ðə ˈtɑpɪk əv ˈklaɪmɪt ʧeɪnʤ. ðɪs ɪz ə əv kəp əv tea”*” (nɑt ˈprɛfərəns) ənd ˈmeɪbi ɪt out”*” (tɪ dɪˈspɛns ˈsəmθɪŋ, ˈɔfən vərˈbæli)? ər wɑz ðə ˈspikər ʤɪst ˈθɪŋkɪŋ əv ənd saucer”*” ənd gɑt ðə tu kənfˈjuzd? noʊ wən noʊz ɪkˈsɛpt ˈmɪstər. wɛld, ənd pərˈhæps hi ˈiðər. ɔn ðət noʊt, aɪ θɪŋk hæv ə ““disha”*”. ə bɪg θæŋks tɪ tu ˈpipəl hu hərd ðɪs wən ənd sɛnt ɪt ɪn ˈɔlˌmoʊst ˌsaɪməlˈteɪniəsli: ˈdeɪvɪd ˈstɛfənz ənd ˈdɑnə ˈkælvərt. θæŋks ˈdeɪvɪd ənd ˈdɑnə! ˈædvərˌtaɪzmənts ðeɪ wʊd ʤəmp ɔn ə ˈbʊlət fər ɪm ðɪs wɑz ˈətərd wɪn dɪˈskəsɪŋ ðə blaɪnd ˈlɔɪəlti əv trəmp səˈpɔrtərz. ɪt ɪz ə kənˈfleɪʃən əv ə ˈbʊlət fər (someone)”*)” ənd (ər ˈʤəmpɪŋ) ɔn ə grəˈneɪd fər (someone)”*)”, boʊθ ˈminɪŋ tɪ əkˈsɛpt ə ˈpərsənəli ˈhɑrmfəl ər ˌsækrəˈfɪʃəl tæsk tɪ prəˈtɛkt ˈsəmˌwən ɛls. ˈʤəmpɪŋ ɔn ə ˈbʊlət sim laɪk ə greɪt ˈsækrəˌfaɪs tɪ mi, soʊ pərˈhæps ðɪs ˈspikər wɑz nɑt səʧ ə lɔɪəl ˈfɑloʊər. ə bɪg θæŋks tɪ ʤɑn ˈkuzər fər ˈhirɪŋ ðɪs wən. ðə ˈmænəfɔrt ˌsɪʧuˈeɪʃən θroʊz ðə hoʊl ˌɪnˈsɛnɪv ˈsɪstəm ɔn ɪts hɛd kəˈləmbiə lɔ skul prəˈfɛsər ˈbərgər ˈətərd ðɪs wən ɔn ðə ʃoʊ aʊər wɪθ braɪən williams”*”. ʃi wɑz dɪˈskəsɪŋ ðə ˈpɑrdən ˈsɪstəm ənd ðə ˈmænəfɔrt keɪs. ðɪs ɪz ə əv (ˈsəmθɪŋ) ɔn ɪts head”*” (tɪ ˈɔltər ˈsəmθɪŋ ɪn ən ˌənɪkˈspɛktɪd weɪ) ənd ɪt aʊt ðə window”*” (fərˈgɑtən, ˌdɪsrɪˈgɑrdɪd). ““turning”*” ənd ““throwing”*” simz tɪ hæv kɔzd ðə ˈmɪksəp hir. ə bɪg θæŋks tɪ fræŋk kɪŋ fər ˈhirɪŋ ðɪs wən. ɪz ɪt ɔn jʊr own”*” naɪt? ðə kənˈtrɪbjətər sɪz hər ˈhəzbənd sɪz ðɪs wɪn ʃi fil laɪk ˈkʊkɪŋ fər ˈdɪnər. ðə prɑmpts ə ˈvɪʒəwəl əv ðə ˈfæməli ˈoʊpənɪŋ ðə rɪˈfrɪʤərˌeɪtər ənd ˈfaɪtɪŋ fər ðə bɛst ˈlɛfˌtoʊvərz. ðɪs ɪz ə əv ɔn (oʊn) tu feet”*” (ækt ˌɪndɪˈpɛndəntli) ənd fər (oneself)”*)” (teɪk kɛr əv ˌwənˈsɛlf wɪˈθaʊt ðə əˈsɪstəns əv ˈəðərz). aɪ səˈpoʊz ðə ˈspikər wɑz ˈθɪŋkɪŋ əv ðə wərd ““fend”*” bət ˈətərd ““defend”*” ˌɪnˈstɛd. ə tɪp əv ðə hæt tɪ ˈlɔri sˈnaɪdər fər ˈsɛndɪŋ ðɪs wən ɪn! maɪ ˈhækəlz wər ˈrəfəld ðɪs wɑz ˈoʊvərˈhərd æt ə ˈnɪrˈbaɪ ˈteɪbəl æt ˈbrɛkfəst. ðɪs ɪz ə ˈbrɪljənt kənˈfleɪʃən əv (ones’*’) feathers”*” ənd (one’s*) hackles”*”, boʊθ ˈminɪŋ tɪ meɪk wən ˈɪrəˌteɪtəd ər ˈæŋgri. ““ruffle”*” ənd ““raise”*” boʊθ bɪˈgɪn wɪθ ðə ˈlɛtər ɑr, ˈpɑsəbli kənˈtrɪbjutɪŋ tɪ ðə mɪks. baɪ ðə weɪ, du ju noʊ wət ““hackles”*” ər? ˈhækəlz ər ðə hɛrz ɔn ðə bæk əv ən nɛk, wɪʧ stɪk əp wɪn ðə ˈænəməl filz ˈfɪrfəl ər ˈæŋgri (leɪt 1800s*). soʊ, ðə tu ɪkˈsprɛʃənz ˌɪnˈvɑlv səm taɪp əv ˈbɑdi ˈkəvərɪŋ ˈstɪkɪŋ əp, ə ˈpərˌfɪkt ˌɛkspləˈneɪʃən əv ðə. ə ˈbrɑvoʊ tɪ sæm ˈɛdəlmən hu hərd ðɪs wən ɔl ðə weɪ frəm ˈɪndiə. ˈwərid stɪf hərd ɔn ðə ʃoʊ wɪθ krɪs heɪz. ðɪs ɪz ə kənˈfleɪʃən əv stiff”*” (ˈətərli ˈtɛrəˌfaɪd) ənd sick”*” (ˈvɛri kənˈsərnd əˈbaʊt ə ˈpərsən ər ˌsɪʧuˈeɪʃən). aɪ hæv hərd ðɪs wən ə lɔt. ““sick”*” ənd ““stiff”*” ər ˈsɪmələr ˈsaʊndɪŋ wərdz, kənˈtrɪbjutɪŋ tɪ ðə. ə bɪg θæŋks tɪ fræŋk kɪŋ fər ˈhirɪŋ ðɪs wən! ɪf ju laɪkt ðɪs wən, ʧɛk aʊt maɪ bʊk ɔn malaphors*, smoʊks laɪk ə fɪʃ ənd ˈəðər malaphors”*”. əˈveɪləbəl ɔn ˈæməˌzɑn fər ə ʧip ʤɪst klɪk ɔn ðə lɪŋk

there haven't been as many articles nationally complaining about the new being installed at field as one would imagine, but i was alerted to a special one from today on twitter. it's penned by gregg easterbrook, who doesn't have the best reputation as far as integrity goes, but it's also one of the laziest ones i've seen. i've the paragraph below, with their in case they try to ninja edit the egregious errors. the fleecing of taxpayers just agreed to pay $43 million to spruce up the stadium where the jaguars play. owner shad khan, net worth estimated by forbes at $3.8 billion, will contribute only $20 million. a new hotel tax will fund the giveaway: ordinary people using hotels in the jacksonville will pay more so that a billionaire can have a new toy. if the gigantic scoreboard to be funded by the tax sells more tickets, the billionaire will keep the gains. and will hotels in jacksonville lose business owing to the new tax, or hotel workers face layoffs triggered by an nfl owner's subsidized toy? meanwhile a jacksonville public school district needs $51 million in facility upgrades. the same month jacksonville had no problem finding $43 million right away for a gift to the nfl, local politicians said the school money could only be supplied over several decades. the first big error is notion that this is a new tax that will put burden on local hotels, which could potentially cost people their jobs. the problem with that notion is, is it ignores that it's not a new tax. it's an existing tax that has been in place for a few years already, since oh... 1984. it was modified in 1994. it's not changing. it's not increasing. there is no new burden that wasn't already there. it's not going to cost anyone their job gregg. don't worry. if you click the "several decades" hyperlink, you'll notice something peculiar. when i initially clicked it, i was a bit confused. i'd never heard of the my journal courier in jacksonville. that's probably because it doesn't exist in jacksonville, florida... but rather jacksonville, illinois. in case their copy winds up fixed, it went to this article about the jacksonville, il school district. there are certainly arguments on both sides regarding using public funds for sports arenas, but good god man. you didn't even get any of it right. honestly: how does this get through copy edit? how do you not realize that a tax you're calling new isn't new? how do you not realize you're linking to an article about schools in the state of illinois and not florida? i don't understand. update, pm: it appears gregg easterbrook tried to fix his mistake, but no where in the article does it acknowledge that an egregious error was made in the first place. there's not a notation for a foot note, an asterisk, a note from the editor that an error was made. nothing. not only did easterbrook try to the lazy error away, but he still failed to acknowledge the fact that this isn't a new tax and it's not going to have any bearing on any hotel employee's jobs. not only that, but i failed to mention the first time that it's not the nfl owner's toy, it's the city's toy, which will allow them more events at the municipally owned stadium that will pay for the. he tried to save his initial erroneous point by linking to the duval county school budget plan with zero context of what it means or where that money comes from or the fact that neither have anything to do with one another. one is being paid for with a revenue bond, which pays for itself. though, again, a little research would have lead mr. easterbrook to that conclusion. it's clear he still hasn't done any outside of simple google searching, while utterly failing at it the first time. update am,: @boldcitycap use of word "new" corrected -- thank you for pointing out. gregg easterbrook (@easterbrookg) november 21, 2013 it appears easterbrook once again attempted to correct his mistake, once again without any notation or acknowledgement of a mistake being made. in this correction, he literally just removed the word "new" when he called the bed tax a new tax. but, even his corrections are lazy because he didn't change the corresponding sentences which continue to infer that it's a new tax that will put a burden on hotel employees and businesses. through the whole ordeal, only one thing is clear: gregg easterbrook doesn't like publicly funded stadiums, which is fine, but he also has absolutely no idea how the field are being paid for. he also doesn't have much of a grasp as to how florida schools are funded, which is to say they cannot be funded by revenue bonds. he also throws in a jab about how "if the team sells more tickets, the billionaire will keep the gains," which is also false. while the jaguars will gain more money from more ticket sales, so will the city. the city will also attract more events, which are already in the works, that the jaguars will see no money from. since i published this, gregg easterbrook has apparently blocked me on twitter, as well as the big cat country twitter handle. there have also been users who have reported that is actively deleting comments off the article noting the mistakes that easterbrook made. but hey, bloggers are the big danger to journalism. not journalists, right? 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ðɛr ˈhævənt bɪn ɛz ˈmɛni ˈɑrtɪkəlz ˈnæʃənəli kəmˈpleɪnɪŋ əˈbaʊt ðə nu biɪŋ ˌɪnˈstɔld æt fild ɛz wən wʊd ˌɪˈmæʤən, bət aɪ wɑz əˈlərtɪd tɪ ə ˈspɛʃəl wən frəm təˈdeɪ ɔn tˈwɪtər. ɪts pɛnd baɪ grɛg ˈistərˌbrʊk, hu ˈdəzənt hæv ðə bɛst ˌrɛpjəˈteɪʃən ɛz fɑr ɛz ˌɪnˈtɛgrəti goʊz, bət ɪts ˈɔlsoʊ wən əv ðə ˈleɪziəst wənz aɪv sin. aɪv ðə ˈpɛrəˌgræf bɪˈloʊ, wɪθ ðɛr ɪn keɪs ðeɪ traɪ tɪ ˈnɪnʤə ˈɛdət ðə ɪˈgriʤəs ˈɛrərz. ðə ˈflisɪŋ əv ˈtækˌspeɪərz ʤɪst əˈgrid tɪ peɪ 43 ˈmɪljən tɪ sprus əp ðə ˈsteɪdiəm wɛr ðə ˈʤægˌwɑrz pleɪ. ˈoʊnər ʃæd kɑn, nɛt wərθ ˈɛstəˌmeɪtɪd baɪ fɔrbz æt ˈbɪljən, wɪl kənˈtrɪbjut ˈoʊnli 20 ˈmɪljən. ə nu hoʊˈtɛl tæks wɪl fənd ðə ˈgɪvəˌweɪ: ˈɔrdəˌnɛri ˈpipəl ˈjuzɪŋ hoʊˈtɛlz ɪn ðə ˈʤæksənˌvɪl wɪl peɪ mɔr soʊ ðət ə ˌbɪljəˈnɛr kən hæv ə nu tɔɪ. ɪf ðə ʤaɪˈgænɪk ˈskɔrˌbɔrd tɪ bi ˈfəndɪd baɪ ðə tæks sɛlz mɔr ˈtɪkɪts, ðə ˌbɪljəˈnɛr wɪl kip ðə geɪnz. ənd wɪl hoʊˈtɛlz ɪn ˈʤæksənˌvɪl luz ˈbɪznɪs oʊɪŋ tɪ ðə nu tæks, ər hoʊˈtɛl ˈwərkərz feɪs leɪɔfs ˈtrɪgərd baɪ ən ˈɛˌnɛˈfɛl ˈoʊnərz ˈsəbsɪˌdaɪzd tɔɪ? ˈminˌwaɪl ə ˈʤæksənˌvɪl ˈpəblɪk skul ˈdɪstrɪkt nidz 51 ˈmɪljən ɪn fəˈsɪlɪti ˈəpˌgreɪdz. ðə seɪm mənθ ˈʤæksənˌvɪl hæd noʊ ˈprɑbləm ˈfaɪndɪŋ 43 ˈmɪljən raɪt əˈweɪ fər ə gɪft tɪ ðə ˈɛˌnɛˈfɛl, ˈloʊkəl ˌpɑləˈtɪʃənz sɛd ðə skul ˈməni kʊd ˈoʊnli bi səˈplaɪd ˈoʊvər ˈsɛvərəl ˈdɛkeɪdz. ðə fərst bɪg ˈɛrər ɪz ˈnoʊʃən ðət ðɪs ɪz ə nu tæks ðət wɪl pʊt ˈbərdən ɔn ˈloʊkəl hoʊˈtɛlz, wɪʧ kʊd pəˈtɛnʃəli kɔst ˈpipəl ðɛr ʤɑbz. ðə ˈprɑbləm wɪθ ðət ˈnoʊʃən ɪz, ɪz ɪt ˌɪgˈnɔrz ðət ɪts nɑt ə nu tæks. ɪts ən ɪgˈzɪstɪŋ tæks ðət həz bɪn ɪn pleɪs fər ə fju jɪrz ɔˈrɛdi, sɪns oʊ... 1984 ɪt wɑz ˈmɑdəˌfaɪd ɪn 1994 ɪts nɑt ˈʧeɪnʤɪŋ. ɪts nɑt ˌɪnˈkrisɪŋ. ðɛr ɪz noʊ nu ˈbərdən ðət ˈwəzənt ɔˈrɛdi ðɛr. ɪts nɑt goʊɪŋ tɪ kɔst ˈɛniˌwən ðɛr ʤɑb grɛg. doʊnt ˈwəri. ɪf ju klɪk ðə "ˈsɛvərəl ˈdɛkeɪdz" ˈhaɪpərlɪŋk, jul ˈnoʊtɪs ˈsəmθɪŋ pɪˈkjuljər. wɪn aɪ ˌɪˈnɪʃəli klɪkt ɪt, aɪ wɑz ə bɪt kənfˈjuzd. aɪd ˈnɛvər hərd əv ðə maɪ ˈʤərnəl ˈkəriər ɪn ˈʤæksənˌvɪl. ðæts ˈprɑbəˌbli bɪˈkəz ɪt ˈdəzənt ɪgˈzɪst ɪn ˈʤæksənˌvɪl, ˈflɔrɪdə... bət ˈrəðər ˈʤæksənˌvɪl, ˌɪləˈnɔɪz. ɪn keɪs ðɛr ˈkɑpi wɪndz əp fɪkst, ɪt wɛnt tɪ ðɪs ˈɑrtɪkəl əˈbaʊt ðə ˈʤæksənˌvɪl, ɪl skul ˈdɪstrɪkt. ðɛr ər ˈsərtənli ˈɑrgjəmənts ɔn boʊθ saɪdz rɪˈgɑrdɪŋ ˈjuzɪŋ ˈpəblɪk fəndz fər spɔrts ərˈinəz, bət gʊd gɑd mæn. ju ˈdɪdənt ˈivɪn gɪt ˈɛni əv ɪt raɪt. ˈɑnəstli: haʊ dɪz ðɪs gɪt θru ˈkɑpi ˈɛdət? haʊ du ju nɑt ˈriəˌlaɪz ðət ə tæks jʊr ˈkɔlɪŋ nu ˈɪzənt nu? haʊ du ju nɑt ˈriəˌlaɪz jʊr ˈlɪŋkɪŋ tɪ ən ˈɑrtɪkəl əˈbaʊt skulz ɪn ðə steɪt əv ˌɪləˈnɔɪz ənd nɑt ˈflɔrɪdə? aɪ doʊnt ˌəndərˈstænd. ˈəpˌdeɪt, piɛm: ɪt əˈpɪrz grɛg ˈistərˌbrʊk traɪd tɪ fɪks hɪz mɪˈsteɪk, bət noʊ wɛr ɪn ðə ˈɑrtɪkəl dɪz ɪt ækˈnɑlɪʤ ðət ən ɪˈgriʤəs ˈɛrər wɑz meɪd ɪn ðə fərst pleɪs. ðɛrz nɑt ə noʊˈteɪʃən fər ə fʊt noʊt, ən ˈæstərɪsk, ə noʊt frəm ðə ˈɛdɪtər ðət ən ˈɛrər wɑz meɪd. ˈnəθɪŋ. nɑt ˈoʊnli dɪd ˈistərˌbrʊk traɪ tɪ ðə ˈleɪzi ˈɛrər əˈweɪ, bət hi stɪl feɪld tɪ ækˈnɑlɪʤ ðə fækt ðət ðɪs ˈɪzənt ə nu tæks ənd ɪts nɑt goʊɪŋ tɪ hæv ˈɛni ˈbɛrɪŋ ɔn ˈɛni hoʊˈtɛl ɪmˈplɔɪiz ʤɑbz. nɑt ˈoʊnli ðət, bət aɪ feɪld tɪ ˈmɛnʃən ðə fərst taɪm ðət ɪts nɑt ðə ˈɛˌnɛˈfɛl ˈoʊnərz tɔɪ, ɪts ðə ˈsɪtiz tɔɪ, wɪʧ wɪl əˈlaʊ ðɛm mɔr ɪˈvɛnts æt ðə mjuˈnɪsɪpəli oʊnd ˈsteɪdiəm ðət wɪl peɪ fər ðə. hi traɪd tɪ seɪv hɪz ˌɪˈnɪʃəl ɛˈroʊniəs pɔɪnt baɪ ˈlɪŋkɪŋ tɪ ðə duˈvæl ˈkaʊnti skul ˈbəʤɪt plæn wɪθ ˈziroʊ ˈkɑntɛkst əv wət ɪt minz ər wɛr ðət ˈməni kəmz frəm ər ðə fækt ðət ˈniðər hæv ˈɛniˌθɪŋ tɪ du wɪθ wən əˈnəðər. wən ɪz biɪŋ peɪd fər wɪθ ə ˈrɛvəˌnu bɑnd, wɪʧ peɪz fər ˌɪtˈsɛlf. ðoʊ, əˈgɛn, ə ˈlɪtəl ˈrisərʧ wʊd hæv lɛd ˈmɪstər. ˈistərˌbrʊk tɪ ðət kənˈkluʒən. ɪts klɪr hi stɪl ˈhæzənt dən ˈɛni ˈaʊtˈsaɪd əv ˈsɪmpəl ˈgugəl ˈsərʧɪŋ, waɪl ˈətərli ˈfeɪlɪŋ æt ɪt ðə fərst taɪm. ˈəpˌdeɪt æm, juz əv wərd "nu" kərˈɛktɪd θæŋk ju fər ˈpɔɪntɪŋ aʊt. grɛg ˈistərˌbrʊk (@easterbrookg*) noʊˈvɛmbər 21 2013 ɪt əˈpɪrz ˈistərˌbrʊk wəns əˈgɛn əˈtɛmptəd tɪ kərˈɛkt hɪz mɪˈsteɪk, wəns əˈgɛn wɪˈθaʊt ˈɛni noʊˈteɪʃən ər ækˈnɑlɪʤmənt əv ə mɪˈsteɪk biɪŋ meɪd. ɪn ðɪs kərˈɛkʃən, hi ˈlɪtərəli ʤɪst riˈmuvd ðə wərd "nu" wɪn hi kɔld ðə bɛd tæks ə nu tæks. bət, ˈivɪn hɪz kərˈɛkʃənz ər ˈleɪzi bɪˈkəz hi ˈdɪdənt ʧeɪnʤ ðə ˌkɔrəˈspɑndɪŋ ˈsɛntənsɪz wɪʧ kənˈtɪnju tɪ ˌɪnˈfər ðət ɪts ə nu tæks ðət wɪl pʊt ə ˈbərdən ɔn hoʊˈtɛl ɪmˈplɔɪiz ənd ˈbɪznɪsɪz. θru ðə hoʊl ɔrˈdil, ˈoʊnli wən θɪŋ ɪz klɪr: grɛg ˈistərˌbrʊk ˈdəzənt laɪk ˈpəblɪkli ˈfəndɪd ˈsteɪdiəmz, wɪʧ ɪz faɪn, bət hi ˈɔlsoʊ həz ˌæbsəˈlutli noʊ aɪˈdiə haʊ ðə fild ər biɪŋ peɪd fər. hi ˈɔlsoʊ ˈdəzənt hæv məʧ əv ə græsp ɛz tɪ haʊ ˈflɔrɪdə skulz ər ˈfəndɪd, wɪʧ ɪz tɪ seɪ ðeɪ ˈkænɑt bi ˈfəndɪd baɪ ˈrɛvəˌnu bɑndz. hi ˈɔlsoʊ θroʊz ɪn ə ʤæb əˈbaʊt haʊ "ɪf ðə tim sɛlz mɔr ˈtɪkɪts, ðə ˌbɪljəˈnɛr wɪl kip ðə geɪnz," wɪʧ ɪz ˈɔlsoʊ fɔls. waɪl ðə ˈʤægˌwɑrz wɪl geɪn mɔr ˈməni frəm mɔr ˈtɪkɪt seɪlz, soʊ wɪl ðə ˈsɪti. ðə ˈsɪti wɪl ˈɔlsoʊ əˈtrækt mɔr ɪˈvɛnts, wɪʧ ər ɔˈrɛdi ɪn ðə wərks, ðət ðə ˈʤægˌwɑrz wɪl si noʊ ˈməni frəm. sɪns aɪ ˈpəblɪʃt ðɪs, grɛg ˈistərˌbrʊk həz əˈpɛrəntli blɑkt mi ɔn tˈwɪtər, ɛz wɛl ɛz ðə bɪg kæt ˈkəntri tˈwɪtər ˈhændəl. ðɛr hæv ˈɔlsoʊ bɪn ˈjuzərz hu hæv ˌriˈpɔrtəd ðət ɪz ˈæktɪvli dɪˈlitɪŋ ˈkɑmɛnts ɔf ðə ˈɑrtɪkəl ˈnoʊtɪŋ ðə mɪˈsteɪks ðət ˈistərˌbrʊk meɪd. bət heɪ, ˈblɔgərz ər ðə bɪg ˈdeɪnʤər tɪ ˈʤərnəˌlɪzəm. nɑt ˈʤərnəlɪsts, raɪt? mɔr frəm bɪg kæt ˈkəntri: ˈfɑloʊ ˈfɑloʊ

for the at the washington heights library this month, the son of a former custodian returned to his old home. he grew up in what used to be the apartment on the third floor. while his father shoveled coal at night to heat the place, he would go downstairs to read about boat building and navigating by the stars. ronald clark went on to become the first in his family to graduate from high school and college, and decades later he built himself a boat and navigated by the stars that he had learned about in the library under him. a few years ago, library officials hired the architect andrew berman to revamp the two upper stories of that andrew branch on street. mr. berman has now turned the apartment into a clubhouse for teenagers, and the whole second floor into a palace for young children, with seating nooks and sofas under towering windows. a snaking, bookshelf divides the room into quadrants, scaling it down for pint-size patrons. smart, sunny and simple, the redesign feels lofty and homey at the same time, original vision for the branches. in ways big and small, architects like mr. berman have changed new york city this year. projects like the library branch made it a little more livable and humane. what follows is nothing nearly as disciplined or logical as a list of architectural highs and lows in town. more a kind of belated thank you note for a few projects that kept faith with ideals and the better self.

fər ðə æt ðə ˈwɔʃɪŋtən haɪts ˈlaɪbrɛˌri ðɪs mənθ, ðə sən əv ə ˈfɔrmər kəˈstoʊdiən rɪˈtərnd tɪ hɪz oʊld hoʊm. hi gru əp ɪn wət juzd tɪ bi ðə əˈpɑrtmənt ɔn ðə θərd flɔr. waɪl hɪz ˈfɑðər ˈʃəvəld koʊl æt naɪt tɪ hit ðə pleɪs, hi wʊd goʊ ˈdaʊnˈstɛrz tɪ rɛd əˈbaʊt boʊt ˈbɪldɪŋ ənd ˈnævəˌgeɪtɪŋ baɪ ðə stɑrz. ˈrɑnəld klɑrk wɛnt ɔn tɪ bɪˈkəm ðə fərst ɪn hɪz ˈfæməli tɪ ˈgræʤəˌweɪt frəm haɪ skul ənd ˈkɑlɪʤ, ənd ˈdɛkeɪdz ˈleɪtər hi bɪlt hɪmˈsɛlf ə boʊt ənd ˈnævəˌgeɪtɪd baɪ ðə stɑrz ðət hi hæd ˈlərnɪd əˈbaʊt ɪn ðə ˈlaɪbrɛˌri ˈəndər ɪm. ə fju jɪrz əˈgoʊ, ˈlaɪbrɛˌri əˈfɪʃəlz haɪərd ðə ˈɑrkəˌtɛkt ˈændru ˈbərmən tɪ riˈvæmp ðə tu ˈəpər ˈstɔriz əv ðət ˈændru brænʧ ɔn strit. ˈmɪstər. ˈbərmən həz naʊ tərnd ðə əˈpɑrtmənt ˈɪntu ə ˈkləˌbhaʊs fər ˈtiˌneɪʤərz, ənd ðə hoʊl ˈsɛkənd flɔr ˈɪntu ə ˈpæləs fər jəŋ ˈʧɪldrən, wɪθ ˈsitɪŋ nʊks ənd ˈsoʊfəz ˈəndər ˈtaʊrɪŋ ˈwɪndoʊz. ə sˈneɪkɪŋ, ˈbʊkˌʃɛlf dɪˈvaɪdz ðə rum ˈɪntu quadrants*, ˈskeɪlɪŋ ɪt daʊn fər ˈpaɪntˈsaɪz ˈpeɪtrənz. smɑrt, ˈsəni ənd ˈsɪmpəl, ðə ˌridɪˈzaɪn filz ˈlɔfti ənd ˈhoʊmi æt ðə seɪm taɪm, ərˈɪʤənəl ˈvɪʒən fər ðə ˈbrænʧɪz. ɪn weɪz bɪg ənd smɔl, ˈɑrkəˌtɛkts laɪk ˈmɪstər. ˈbərmən hæv ʧeɪnʤd nu jɔrk ˈsɪti ðɪs jɪr. ˈprɑʤɛkts laɪk ðə ˈlaɪbrɛˌri brænʧ meɪd ɪt ə ˈlɪtəl mɔr ˈlɪvəbəl ənd hjuˈmeɪn. wət ˈfɑloʊz ɪz ˈnəθɪŋ ˈnɪrli ɛz ˈdɪsəplənd ər ˈlɑʤɪkəl ɛz ə lɪst əv ˌɑrkəˈtɛkʧərəl haɪz ənd loʊz ɪn taʊn. mɔr ə kaɪnd əv bɪˈleɪtɪd θæŋk ju noʊt fər ə fju ˈprɑʤɛkts ðət kɛpt feɪθ wɪθ aɪˈdilz ənd ðə ˈbɛtər sɛlf.

touch typing hi, my name is roman, and i am addicted to tools. do you type for hours every day like i do? then let me share a journey to the holy grail ergonomic typing. touch typing can change your life (in a good way). if you're looking for a new keyboard or considering learning an alternative layout, you should definitely keep reading. long story short i "touch typed" with seven fingers for decades and managed to type at average speed with pretty poor accuracy. i tried so many times to learn proper technique, but i always gave up in a week. a year ago i decided it was now or never. i had only one goal: to type faster, like 100. spoiler: i'm not there yet. back then i was using on an apple wireless keyboard. this was my method: "okay, roll up your sleeves, and just memorize every key for all ten fingers." it took two days. i memorized all the keys during that weekend. typing speed plummeted to 10 on the first day; i was "thinking" before pressing almost every key. i could type with 100% accuracy without looking, but it was very very slow. next phase: typing lessons every day for an hour. from time to time i typed with my seven (favorite) fingers when i needed to get work done, but in a few days i switched to the method cold turkey. i continued practicing every day at and and finally reached 40 in two weeks. phew... as soon as i returned to my original speed and accuracy, i decided to upgrade my keyboard to an ergonomic one. two months later arrived. and of course, i wanted to try an alternative keyboard layout on it. after a quick analysis, i picked the norman layout: it's easy to learn, and it significantly reduces distance traveled from the home row. relearning. my speed dropped to 10, and recovered to 40 in three weeks. i switched to the full time and played with layers, ending up with a solution. i reached 50 in 40 days and stopped all typing lessons. today i am a happy user. my average speed on norman is 60, and it's increasing every month, slowly but steadily. lessons learned fast and accurate typing is a skill for a programmer. i wish i'd switched to the right path earlier. i am not the fastest typist, just a bit quicker than average. my achievements in terms of words per minute are very humble. still, i can say the return on investment is overwhelmingly high. proper typing style better typing speed saves me a few hours every week on code documentation, notes, and emails. fast typing enables blogging: you can find an hour for a draft, but it is harder to find two. so a difference of 20 can affect your productivity quite significantly. if you are an average typist, you should invest few minutes a day in typing lessons. focus on accuracy and practice every day. totally worth it. ergonomic keyboard if you have a mac, there's a good chance that your keyboard is excellent. apple keyboards are robust, compact, and quiet. ergodox is louder and bigger. the primary benefit of is ergonomics. (surprise!) as with any split keyboard, you can sit (or stand) straight, so your posture is healthier, and it's simply more relaxing. my initial goal was just to improve my typing speed. of course, high speed is necessary, but when i started using, i realized that comfort is the primary reward: my hands, shoulders, and back are much happier now. yes, costs three hundred dollars, but it's the best keyboard available today for that price, and the keyboard is the most important part of my workplace. if you're typing all day long, you can connect your awesome keyboard to any cheap computer and be productive in no time. alternative keyboard layout i use norman and like it better than. i haven't tried any other layouts, and honestly, i'm not sure that learning alternative layouts is worth it. what i am 100% sure of is that i can learn any keyboard layout and be productive in two weeks. layouts and keyboards do not limit my speed; my fingers can move faster than i can compose words in english. why not stick with on all my keyboards? switching to a different layout and keyboard helped me break my bad typing habits. it's easier to learn correct technique from scratch on an entirely new instrument than it is to to fix those bad habits deeply wired into your brain. how did i choose norman? two sources. first, people who already who use multiple layouts for years: gary bernhardt, aaron patterson, a good review by ted. second, i compared dvorak, colemak, workman, norman, and even my custom layout with a keyboard layout analyzer (made by patrick gillespie). norman performed slightly better than the others on my custom corpus of text. one more reason i picked norman: it's easy to switch to and back to norman in few minutes. (i use when i travel.) norman is just a difference from. i use vim with both and norman, and i do not anything in vim. in the beginning, i had one annoying issue: on norman are in weird locations. i was hitting u instead of j . that was such a painful week. now everything is just fine. looking back, i am not entirely sure if all these layouts made any difference in my case. i can learn any crazy layout and reach an average speed in few weeks, but it won't increase my speed beyond that level. maybe i should try on someday. level up if you need to type at high speed for hours at a time, then you should probably follow knight and learn stenography. beware: the learning curve for steno is steep and you need a steno machine (or for the first time you can use keyboard, e.g.,). conclusion typing can be fun if you fix your bad typing habits. the earlier you start learning, the more rewarding it can be. teach kids to touch type as soon as they start playing with the computer. this skill will stay relevant for at least one more generation. if you want to take away only one thing from my story, it's this: learn proper touch typing technique today. recipe take a typing test on. slower than 40? practice 15 minutes every day for a month. if your accuracy is lower than 95%, slow down and try to type as accurately as possible. if you type more than four hours every day, you should use an ergonomic keyboard. see also typing with pleasure by pavel fating, dirtiest little secret by steve yegge, norman layout by david norman, my keyboard layout on © roman user agreement privacy policy

təʧ ˈtaɪpɪŋ haɪ, maɪ neɪm ɪz ˈroʊmən, ənd aɪ æm əˈdɪktɪd tɪ tulz. du ju taɪp fər aʊərz ˈɛvəri deɪ laɪk aɪ du? ðɛn lɛt mi ʃɛr ə ˈʤərni tɪ ðə ˈhoʊli greɪl ˌərgəˈnɑmɪk ˈtaɪpɪŋ. təʧ ˈtaɪpɪŋ kən ʧeɪnʤ jʊr laɪf (ɪn ə gʊd weɪ). ɪf jʊr ˈlʊkɪŋ fər ə nu ˈkiˌbɔrd ər kənˈsɪdərɪŋ ˈlərnɪŋ ən ɔlˈtərnətɪv leɪaʊt, ju ʃʊd ˈdɛfənətli kip ˈrɛdɪŋ. lɔŋ ˈstɔri ʃɔrt aɪ "təʧ taɪpt" wɪθ ˈsɛvən ˈfɪŋgərz fər ˈdɛkeɪdz ənd ˈmænɪʤd tɪ taɪp æt ˈævərɪʤ spid wɪθ ˈprɪti pur ˈækjərəsi. aɪ traɪd soʊ ˈmɛni taɪmz tɪ lərn ˈprɑpər tɛkˈnik, bət aɪ ˈɔlˌweɪz geɪv əp ɪn ə wik. ə jɪr əˈgoʊ aɪ ˌdɪˈsaɪdɪd ɪt wɑz naʊ ər ˈnɛvər. aɪ hæd ˈoʊnli wən goʊl: tɪ taɪp ˈfæstər, laɪk 100. ˈspɔɪlər: əm nɑt ðɛr jɛt. bæk ðɛn aɪ wɑz ˈjuzɪŋ ɔn ən ˈæpəl ˈwaɪrlɪs ˈkiˌbɔrd. ðɪs wɑz maɪ ˈmɛθəd: "ˌoʊˈkeɪ, roʊl əp jʊr slivz, ənd ʤɪst ˈmɛmərˌaɪz ˈɛvəri ki fər ɔl tɛn ˈfɪŋgərz." ɪt tʊk tu deɪz. aɪ ˈmɛmərˌaɪzd ɔl ðə kiz ˈdʊrɪŋ ðət ˈwiˌkɪnd. ˈtaɪpɪŋ spid ˈpləmətɪd tɪ 10 ɔn ðə fərst deɪ; aɪ wɑz "ˈθɪŋkɪŋ" ˌbiˈfɔr ˈprɛsɪŋ ˈɔlˌmoʊst ˈɛvəri ki. aɪ kʊd taɪp wɪθ 100 ˈækjərəsi wɪˈθaʊt ˈlʊkɪŋ, bət ɪt wɑz ˈvɛri ˈvɛri sloʊ. nɛkst feɪz: ˈtaɪpɪŋ ˈlɛsənz ˈɛvəri deɪ fər ən aʊər. frəm taɪm tɪ taɪm aɪ taɪpt wɪθ maɪ ˈsɛvən (ˈfeɪvərɪt) ˈfɪŋgərz wɪn aɪ ˈnidɪd tɪ gɪt wərk dən, bət ɪn ə fju deɪz aɪ swɪʧt tɪ ðə ˈmɛθəd koʊld ˈtərki. aɪ kənˈtɪnjud ˈpræktɪsɪŋ ˈɛvəri deɪ æt ənd ənd ˈfaɪnəli riʧt 40 ɪn tu wiks. fju... ɛz sun ɛz aɪ rɪˈtərnd tɪ maɪ ərˈɪʤənəl spid ənd ˈækjərəsi, aɪ ˌdɪˈsaɪdɪd tɪ ˈəpˈgreɪd maɪ ˈkiˌbɔrd tɪ ən ˌərgəˈnɑmɪk wən. tu mənθs ˈleɪtər əraɪvd. ənd əv kɔrs, aɪ ˈwɔntɪd tɪ traɪ ən ɔlˈtərnətɪv ˈkiˌbɔrd leɪaʊt ɔn ɪt. ˈæftər ə kwɪk æˈnælɪsɪs, aɪ pɪkt ðə ˈnɔrmən leɪaʊt: ɪts ˈizi tɪ lərn, ənd ɪt sɪgˈnɪfɪkəntli rɪˈdusɪz ˈdɪstəns ˈtrævəld frəm ðə hoʊm roʊ. riˈlɛrnɪŋ. maɪ spid drɑpt tɪ 10, ənd rɪˈkəvərd tɪ 40 ɪn θri wiks. aɪ swɪʧt tɪ ðə fʊl taɪm ənd pleɪd wɪθ leɪərz, ˈɛndɪŋ əp wɪθ ə səˈluʃən. aɪ riʧt 50 ɪn 40 deɪz ənd stɑpt ɔl ˈtaɪpɪŋ ˈlɛsənz. təˈdeɪ aɪ æm ə ˈhæpi ˈjuzər. maɪ ˈævərɪʤ spid ɔn ˈnɔrmən ɪz 60, ənd ɪts ˌɪnˈkrisɪŋ ˈɛvəri mənθ, sˈloʊli bət ˈstɛdəli. ˈlɛsənz ˈlərnɪd fæst ənd ˈækjərət ˈtaɪpɪŋ ɪz ə skɪl fər ə ˈproʊˌgræmər. aɪ wɪʃ aɪd swɪʧt tɪ ðə raɪt pæθ ˈərliər. aɪ æm nɑt ðə ˈfæstəst ˈtaɪpɪst, ʤɪst ə bɪt kˈwɪkər ðən ˈævərɪʤ. maɪ əˈʧivmənts ɪn tərmz əv wərdz pər ˈmɪnət ər ˈvɛri ˈhəmbəl. stɪl, aɪ kən seɪ ðə rɪˈtərn ɔn ˌɪnˈvɛstmənt ɪz ˌoʊvərˈwɛlmɪŋli haɪ. ˈprɑpər ˈtaɪpɪŋ staɪl ˈbɛtər ˈtaɪpɪŋ spid seɪvz mi ə fju aʊərz ˈɛvəri wik ɔn koʊd ˌdɑkjəmɛnˈteɪʃən, noʊts, ənd iˈmeɪlz. fæst ˈtaɪpɪŋ ɪˈneɪbəlz ˈblɔgɪŋ: ju kən faɪnd ən aʊər fər ə dræft, bət ɪt ɪz ˈhɑrdər tɪ faɪnd tu. soʊ ə ˈdɪfərəns əv 20 kən əˈfɛkt jʊr ˌproʊdəkˈtɪvɪti kwaɪt sɪgˈnɪfɪkəntli. ɪf ju ər ən ˈævərɪʤ ˈtaɪpɪst, ju ʃʊd ˌɪnˈvɛst fju ˈmɪnəts ə deɪ ɪn ˈtaɪpɪŋ ˈlɛsənz. ˈfoʊkɪs ɔn ˈækjərəsi ənd ˈpræktɪs ˈɛvəri deɪ. ˈtoʊtəli wərθ ɪt. ˌərgəˈnɑmɪk ˈkiˌbɔrd ɪf ju hæv ə mæk, ðɛrz ə gʊd ʧæns ðət jʊr ˈkiˌbɔrd ɪz ˈɛksələnt. ˈæpəl ˈkiˌbɔrdz ər roʊˈbəst, ˈkɑmpækt, ənd kwaɪət. ɪz ˈlaʊdər ənd ˈbɪgər. ðə ˈpraɪˌmɛri ˈbɛnəfɪt əv ɪz ˌərgəˈnɑmɪks. (səˈpraɪz!) ɛz wɪθ ˈɛni splɪt ˈkiˌbɔrd, ju kən sɪt (ər stænd) streɪt, soʊ jʊr ˈpɑsʧər ɪz ˈhɛlθiər, ənd ɪts ˈsɪmpli mɔr rɪˈlæksɪŋ. maɪ ˌɪˈnɪʃəl goʊl wɑz ʤɪst tɪ ˌɪmˈpruv maɪ ˈtaɪpɪŋ spid. əv kɔrs, haɪ spid ɪz ˈnɛsəˌsɛri, bət wɪn aɪ ˈstɑrtɪd ˈjuzɪŋ, aɪ ˈriəˌlaɪzd ðət ˈkəmfərt ɪz ðə ˈpraɪˌmɛri rɪˈwɔrd: maɪ hænz, ˈʃoʊldərz, ənd bæk ər məʧ ˈhæpiər naʊ. jɛs, kɔsts θri ˈhənərd ˈdɔlərz, bət ɪts ðə bɛst ˈkiˌbɔrd əˈveɪləbəl təˈdeɪ fər ðət praɪs, ənd ðə ˈkiˌbɔrd ɪz ðə moʊst ˌɪmˈpɔrtənt pɑrt əv maɪ ˈwərkˌpleɪs. ɪf jʊr ˈtaɪpɪŋ ɔl deɪ lɔŋ, ju kən kəˈnɛkt jʊr ˈɔsəm ˈkiˌbɔrd tɪ ˈɛni ʧip kəmˈpjutər ənd bi pərˈdəktɪv ɪn noʊ taɪm. ɔlˈtərnətɪv ˈkiˌbɔrd leɪaʊt aɪ juz ˈnɔrmən ənd laɪk ɪt ˈbɛtər ðən. aɪ ˈhævənt traɪd ˈɛni ˈəðər leɪaʊts, ənd ˈɑnəstli, əm nɑt ʃʊr ðət ˈlərnɪŋ ɔlˈtərnətɪv leɪaʊts ɪz wərθ ɪt. wət aɪ æm 100 ʃʊr əv ɪz ðət aɪ kən lərn ˈɛni ˈkiˌbɔrd leɪaʊt ənd bi pərˈdəktɪv ɪn tu wiks. leɪaʊts ənd ˈkiˌbɔrdz du nɑt ˈlɪmət maɪ spid; maɪ ˈfɪŋgərz kən muv ˈfæstər ðən aɪ kən kəmˈpoʊz wərdz ɪn ˈɪŋlɪʃ. waɪ nɑt stɪk wɪθ ɔn ɔl maɪ ˈkiˌbɔrdz? sˈwɪʧɪŋ tɪ ə ˈdɪfərənt leɪaʊt ənd ˈkiˌbɔrd hɛlpt mi breɪk maɪ bæd ˈtaɪpɪŋ ˈhæbəts. ɪts ˈiziər tɪ lərn kərˈɛkt tɛkˈnik frəm skræʧ ɔn ən ɪnˈtaɪərli nu ˈɪnstrəmənt ðən ɪt ɪz tɪ tɪ fɪks ðoʊz bæd ˈhæbəts ˈdipli waɪərd ˈɪntu jʊr breɪn. haʊ dɪd aɪ ʧuz ˈnɔrmən? tu ˈsɔrsəz. fərst, ˈpipəl hu ɔˈrɛdi hu juz ˈməltəpəl leɪaʊts fər jɪrz: ˈgɛri ˈbərnhɑrt, ˈɛrən ˈpætərsən, ə gʊd ˌrivˈju baɪ tɛd. ˈsɛkənd, aɪ kəmˈpɛrd dˈvɔrək, colemak*, ˈwərkmən, ˈnɔrmən, ənd ˈivɪn maɪ ˈkəstəm leɪaʊt wɪθ ə ˈkiˌbɔrd leɪaʊt ˈænəˌlaɪzər (meɪd baɪ ˈpætrɪk gəˈlɛspi). ˈnɔrmən pərˈfɔrmd sˈlaɪtli ˈbɛtər ðən ðə ˈəðərz ɔn maɪ ˈkəstəm ˈkɔrpəs əv tɛkst. wən mɔr ˈrizən aɪ pɪkt ˈnɔrmən: ɪts ˈizi tɪ swɪʧ tɪ ənd bæk tɪ ˈnɔrmən ɪn fju ˈmɪnəts. (aɪ juz wɪn aɪ ˈtrævəl.) ˈnɔrmən ɪz ʤɪst ə ˈdɪfərəns frəm. aɪ juz vɪm wɪθ boʊθ ənd ˈnɔrmən, ənd aɪ du nɑt ˈɛniˌθɪŋ ɪn vɪm. ɪn ðə bɪˈgɪnɪŋ, aɪ hæd wən əˈnɔɪɪŋ ˈɪʃu: ɔn ˈnɔrmən ər ɪn wɪrd loʊˈkeɪʃənz. aɪ wɑz ˈhɪtɪŋ ju ˌɪnˈstɛd əv ʤeɪ ðət wɑz səʧ ə ˈpeɪnfəl wik. naʊ ˈɛvriˌθɪŋ ɪz ʤɪst faɪn. ˈlʊkɪŋ bæk, aɪ æm nɑt ɪnˈtaɪərli ʃʊr ɪf ɔl ðiz leɪaʊts meɪd ˈɛni ˈdɪfərəns ɪn maɪ keɪs. aɪ kən lərn ˈɛni ˈkreɪzi leɪaʊt ənd riʧ ən ˈævərɪʤ spid ɪn fju wiks, bət ɪt woʊnt ˌɪnˈkris maɪ spid bɪɔnd ðət ˈlɛvəl. ˈmeɪbi aɪ ʃʊd traɪ ɔn ˈsəmˌdeɪ. ˈlɛvəl əp ɪf ju nid tɪ taɪp æt haɪ spid fər aʊərz æt ə taɪm, ðɛn ju ʃʊd ˈprɑbəˌbli ˈfɑloʊ naɪt ənd lərn stenography*. bɪˈwɛr: ðə ˈlərnɪŋ kərv fər ˈstɛnoʊ ɪz stip ənd ju nid ə ˈstɛnoʊ məˈʃin (ər fər ðə fərst taɪm ju kən juz ˈkiˌbɔrd, e.g*.,). kənˈkluʒən ˈtaɪpɪŋ kən bi fən ɪf ju fɪks jʊr bæd ˈtaɪpɪŋ ˈhæbəts. ðə ˈərliər ju stɑrt ˈlərnɪŋ, ðə mɔr rɪˈwɔrdɪŋ ɪt kən bi. tiʧ kɪdz tɪ təʧ taɪp ɛz sun ɛz ðeɪ stɑrt pleɪɪŋ wɪθ ðə kəmˈpjutər. ðɪs skɪl wɪl steɪ ˈrɛləvənt fər æt list wən mɔr ˌʤɛnərˈeɪʃən. ɪf ju wɔnt tɪ teɪk əˈweɪ ˈoʊnli wən θɪŋ frəm maɪ ˈstɔri, ɪts ðɪs: lərn ˈprɑpər təʧ ˈtaɪpɪŋ tɛkˈnik təˈdeɪ. ˈrɛsəpi teɪk ə ˈtaɪpɪŋ tɛst ɔn. sloʊər ðən 40? ˈpræktɪs 15 ˈmɪnəts ˈɛvəri deɪ fər ə mənθ. ɪf jʊr ˈækjərəsi ɪz loʊər ðən 95 sloʊ daʊn ənd traɪ tɪ taɪp ɛz ˈækjərətli ɛz ˈpɑsəbəl. ɪf ju taɪp mɔr ðən fɔr aʊərz ˈɛvəri deɪ, ju ʃʊd juz ən ˌərgəˈnɑmɪk ˈkiˌbɔrd. si ˈɔlsoʊ ˈtaɪpɪŋ wɪθ ˈplɛʒər baɪ ˈpævəl fating*, ˈdərtiəst ˈlɪtəl ˈsikrɪt baɪ stiv yegge*, ˈnɔrmən leɪaʊt baɪ ˈdeɪvɪd ˈnɔrmən, maɪ ˈkiˌbɔrd leɪaʊt ɔn ˈroʊmən ˈjuzər əˈgrimənt ˈpraɪvəsi ˈpɑləsi

no one at corporate headquarters in new york city had any idea why members of the national organization for women were lined up outside. it was the fall of 1971, and the manufacturer best known for their oreo and chips ahoy! snacks had not made any obviously sexist advertisements or taken any particular political stance. they sold cookies. then they read the signs: “sick toys for children make for a sick society.” that may, nabisco had attempted to diversify by purchasing aurora company, the west hempstead, new york model kit maker best known for their plastic kits of monster, the wolf man, and other horror film icons. the cheap plastic toys came in pieces and could be glued together and painted. unknown to nabisco, aurora had recently branched out and begun offering entire model kit. instead of a single figure, consumers could buy detailed “sets” for their monsters to interact with. there was a guillotine, a pendulum, and a laboratory; a female protagonist, referred to in the copy as “the victim,” was and ready to be dismembered, beheaded, or trapped in a spiked cage. kids could also opt to have, the villain licensed from warren publishing, operate the winch and pulley while her plastic captive was shackled to a table. each kit also contained a comic, which instructed builders on how to assemble the torture scenes for maximum enjoyment. a narrator named dr. deadly seemed to opine on the appeal of the victim once she was fully assembled. “now that gotten her all together, i think i like the other way. in pieces yesssss.” in addition to fig newtons, nabisco realized it had also been peddling tiny torture racks. z1do4u via youtube since its inception in 1952, aurora had seen enormous success by exploring the horror genre. as television came into prominence and late movies screened the classic universal monster films of the 1930s, a new generation of monster buffs had been nourished. kits featuring dracula, the mummy, and even godzilla were cheap to produce and sell. (many models retailed for just 98 cents.) having the consumer construct them with contact cement and model paint gave them a sense of accomplishment. aurora held contests for custom kits, highlighting winners in monster magazines. by the 1960s, they had started noticing that a lot of submissions revolved around expansive, morbid scenarios: a mad laboratory, or an execution motif. to aurora, it was a clear indication that their consumers wanted context for their models. in 1964, the company unveiled its chamber of horrors guillotine, which featured an unfortunate male sentenced to death via a chopping blade: once activated, his head could be retrieved from the basket, re-attached, and executed once again. while the toy did have some precedent in guillotine was popular among children, some of whom used it to decapitate was some minor furor from parents, and aurora pursue the line. six years later, the company felt the cultural climate was ready for something more provocative: they began developing a line dubbed monster scenes. using generic characters like the victim, designers concocted elaborate scenarios that put the unfortunate captives in mortal peril. one scenario had a mad scientist hovering over his captive with a tray full of hot coals and a set of tongs; another designed after edgar allan the pit and the pendulum featured a swinging blade that would cleave the victim in two. (or at least nudge her side; once assembled, the toys easily come back apart.) aurora also pursued the license for, a buxom vampire featured in james horror periodicals: warren sold a lot of aurora kits via his mail order business, and a decision was made to include his character in the line rather than risk dissolving a partnership. unpainted, she appeared to be virtually naked. her counterpart, the victim, sported hot pants and a halter top; a dress or flowing skirt was deemed impractical in order to have her fit on the torture rack. in a big departure from previous kits, the monster scenes featured parts, the better to lure in consumers who were concerned over fumes from glue or contact cement. once assembled, the characters could be placed in the pain cage, the pain parlor, and other disturbing scenarios. eager to trumpet their daring new line, marketing made the unfortunate choice of plastering each box with a stamp: “rated ‘x’ for excitement!” in an included comic book, concern that someone might hear the victim screaming by saying, “don’t is new york. no one will help her.” (the gallows humor was later interpreted to be a reference to kitty genovese, a woman who was murdered in 1964 while nearby did nothing.) monster scenes debuted at the hobby industry association of trade show in february 1971. aurora hired model nina anderson to demonstrate the playsets, which attracted a stream of curious media members. anderson, not particularly versed in the features, made a show of lopping off arms and legs before an angry aurora executive told her the parts meant for that. but anderson had perfected her sales pitch. of, she told the chicago that the busty character could be placed in a cage to “make her a girl.” still, aurora thought they had a hit. they even began to sketch out plans to license dc lois lane as a marquee “victim.” aurora began shipping the kits in march 1971. the characters—vampirella, doctor deadly, the victim, and $1.30, while the retailed for $2. there was no overestimating adolescent interest. by the fall, approximately of the kits had been sold. according to aurora, the toys were paradoxically healthy for young consumers, allowing them to overcome fearful scenarios by having control over them. the company said it had consulted with psychiatrists prior to producing the torture scenes and found no objection. but parents objected plenty. letters came in to syndicated newspaper columns and to company headquarters. kids wrote, too, but with requests for more sets to be added; they wanted gallows, a bed of nails, plants, and wheels of torture. in her syndicated advice column, ann landers weighed in: "for $1.99 you can own a doll named. she comes equipped with a beaker of blood. if all this symptomatic of a warped society, like to know what is." under fire by now and other activism groups, nabisco was horrified to see headlines in the new york times and other papers calling attention to the fact that one of its subsidiaries was peddling toys of victimized women in shackles. under corporate pressure, aurora began toning down the line by identifying “the victim” as doctor daughter, a slightly less generic personification. they also began shipping in red plastic instead of the neutral, gray that led some critics to declare her nude out of the box. the pendulum was deemed beyond hope and pulled entirely. the furor over the toys reached television: rowan & got a reaction from a joke about the torture toys. by december 1971, nabisco had endured enough. after promising media they would cease production of the toys, they began to announce a recall of inventory already in stores. treated like a contaminated product, monster scenes had lasted a paltry nine months. as the wore on, aurora returned to less controversial kits. nabisco, flustered by the negative publicity, cut their development budget before selling the company to monogram in 1977. plans for a prehistoric line of kits and an extension of monster scenes were curtailed in the process. the kits eventually became embraced by collectors, some of whom tried to recreate the store displays or make modifications to the existing kits. aurora employees queried about the project expressed amazement that the toys had been perceived as or felt they were simply delivering the kind of exaggerated play premise that adolescent kids loved. decades later, toys like electric chair character from sin city who could be electrocuted on mcfarlane toys would invite a similar level of controversy, though nothing that quite reached the levels of misstep. their product had helped compel california legislature to pass a toy ban into law on july 1, 1972 prohibiting “torture toys” and replica grenades from being sold in the state. as for the excess inventory: when nabisco made the call to discontinue the kits, the remaining stock was hauled to canada. the boxes removed the “rated x” endorsement but kept another bit of fine print: “for ages 8 and up.” additional sources: aurora monster scenes: the most controversial toys of a generation.

noʊ wən æt ˈkɔrpərət ˈhɛdˌkɔrtərz ɪn nu jɔrk ˈsɪti hæd ˈɛni aɪˈdiə waɪ ˈmɛmbərz əv ðə ˈnæʃənəl ˌɔrgənəˈzeɪʃən fər ˈwɪmən wər laɪnd əp ˈaʊtˈsaɪd. ɪt wɑz ðə fɔl əv 1971 ənd ðə ˌmænjəˈfækʧərər bɛst noʊn fər ðɛr ˈɔrioʊ ənd ʧɪps əˈhɔɪ! snæks hæd nɑt meɪd ˈɛni ˈɑbviəsli ˈsɛksɪst ˈædvərˌtaɪzmənts ər ˈteɪkən ˈɛni ˌpɑˈtɪkjələr pəˈlɪtɪkəl stæns. ðeɪ soʊld ˈkʊkiz. ðɛn ðeɪ rɛd ðə saɪnz: tɔɪz fər ˈʧɪldrən meɪk fər ə sɪk society.”*.” ðət meɪ, nəˈbɪˌskoʊ hæd əˈtɛmptəd tɪ dɪˈvərsəˌfaɪ baɪ ˈpərʧəsɪŋ ərˈɔrə ˈkəmpəˌni, ðə wɛst ˈhɛmpstɛd, nu jɔrk ˈmɑdəl kɪt ˈmeɪkər bɛst noʊn fər ðɛr ˈplæstɪk kɪts əv ˈmɑnstər, ðə wʊlf mæn, ənd ˈəðər ˈhɔrər fɪlm ˈaɪˌkɑnz. ðə ʧip ˈplæstɪk tɔɪz keɪm ɪn ˈpisɪz ənd kʊd bi glud təˈgɛðər ənd ˈpeɪnɪd. ənˈnoʊn tɪ nəˈbɪˌskoʊ, ərˈɔrə hæd ˈrisəntli brænʧt aʊt ənd ˈbeɪgən ˈɔfərɪŋ ɪnˈtaɪər ˈmɑdəl kɪt. ˌɪnˈstɛd əv ə ˈsɪŋgəl ˈfɪgjər, kənˈsumərz kʊd baɪ dɪˈteɪld ““sets”*” fər ðɛr ˈmɑnstərz tɪ ˌɪnərˈækt wɪθ. ðɛr wɑz ə ˈgɪləˌtin, ə ˈpɛnʤələm, ənd ə ˈlæbrəˌtɔri; ə ˈfiˌmeɪl proʊˈtægənəst, rɪˈfərd tɪ ɪn ðə ˈkɑpi ɛz victim,”*,” wɑz ənd ˈrɛdi tɪ bi dɪsˈmɛmbərd, bɪˈhɛdɪd, ər træpt ɪn ə spaɪkt keɪʤ. kɪdz kʊd ˈɔlsoʊ ɑpt tɪ hæv, ðə ˈvɪlən ˈlaɪsənst frəm ˈwɔrən ˈpəblɪʃɪŋ, ˈɔpərˌeɪt ðə wɪnʧ ənd ˈpʊli waɪl hər ˈplæstɪk ˈkæptɪv wɑz ˈʃækəld tɪ ə ˈteɪbəl. iʧ kɪt ˈɔlsoʊ kənˈteɪnd ə ˈkɑmɪk, wɪʧ ˌɪnˈstrəktɪd ˈbɪldərz ɔn haʊ tɪ əˈsɛmbəl ðə ˈtɔrʧər sinz fər ˈmæksəməm ˌɛnˈʤɔɪmənt. ə ˈnɛreɪtər neɪmd ˈdɑktər. ˈdɛdli simd tɪ oʊˈpaɪn ɔn ðə əˈpil əv ðə ˈvɪktɪm wəns ʃi wɑz ˈfʊli əˈsɛmbəld. ðət ˈgɔtən hər ɔl təˈgɛðər, aɪ θɪŋk aɪ laɪk ðə ˈəðər weɪ. ɪn ˈpisɪz yesssss.”*.” ɪn əˈdɪʃən tɪ fɪg newtons*, nəˈbɪˌskoʊ ˈriəˌlaɪzd ɪt hæd ˈɔlsoʊ bɪn ˈpɛdəlɪŋ ˈtaɪni ˈtɔrʧər ræks. ˈviə ˈjuˌtub sɪns ɪts ˌɪnˈsɛpʃən ɪn 1952 ərˈɔrə hæd sin ɪˈnɔrmɪs səkˈsɛs baɪ ɪkˈsplɔrɪŋ ðə ˈhɔrər ˈʒɑnrə. ɛz ˈtɛləˌvɪʒən keɪm ˈɪntu ˈprɑmənəns ənd leɪt ˈmuviz skrind ðə ˈklæsɪk ˌjunəˈvərsəl ˈmɑnstər fɪlmz əv ðə 1930s*, ə nu ˌʤɛnərˈeɪʃən əv ˈmɑnstər bəfs hæd bɪn nərɪʃt. kɪts ˈfiʧərɪŋ ˈdrækjulə, ðə ˈməmi, ənd ˈivɪn ˌgɑdˈzɪlə wər ʧip tɪ ˈproʊdus ənd sɛl. (ˈmɛni ˈmɑdəlz ˈriˌteɪld fər ʤɪst 98 sɛnts.) ˈhævɪŋ ðə kənˈsumər ˈkɑnstrəkt ðɛm wɪθ ˈkɑnˌtækt sɪˈmɛnt ənd ˈmɑdəl peɪnt geɪv ðɛm ə sɛns əv əˈkɑmplɪʃmənt. ərˈɔrə hɛld ˈkɑntɛsts fər ˈkəstəm kɪts, ˈhaɪˌlaɪtɪŋ ˈwɪnərz ɪn ˈmɑnstər ˈmægəˌzinz. baɪ ðə 1960s*, ðeɪ hæd ˈstɑrtɪd ˈnoʊtɪsɪŋ ðət ə lɔt əv səbˈmɪʃənz riˈvɑlvd əraʊnd ɪkˈspænsɪv, ˈmɔrbəd sɪˈnɛrioʊz: ə mæd ˈlæbrəˌtɔri, ər ən ˌɛksəˈkjuʃən moʊˈtif. tɪ ərˈɔrə, ɪt wɑz ə klɪr ˌɪndəˈkeɪʃən ðət ðɛr kənˈsumərz ˈwɔntɪd ˈkɑntɛkst fər ðɛr ˈmɑdəlz. ɪn 1964 ðə ˈkəmpəˌni ənˈveɪld ɪts ˈʧeɪmbər əv ˈhɔrərz ˈgɪləˌtin, wɪʧ ˈfiʧərd ən ənˈfɔrʧənət meɪl ˈsɛntənst tɪ dɛθ ˈviə ə ˈʧɑpɪŋ bleɪd: wəns ˈæktɪˌveɪtɪd, hɪz hɛd kʊd bi riˈtrivd frəm ðə ˈbæskət, re-attached*, ənd ˈɛksəˌkjutɪd wəns əˈgɛn. waɪl ðə tɔɪ dɪd hæv səm ˈprɛsɪdənt ɪn ˈgɪləˌtin wɑz ˈpɑpjələr əˈməŋ ˈʧɪldrən, səm əv hum juzd ɪt tɪ diˈkæpəˌteɪt wɑz səm ˈmaɪnər fˈjʊrɔr frəm ˈpɛrənts, ənd ərˈɔrə pərˈsu ðə laɪn. sɪks jɪrz ˈleɪtər, ðə ˈkəmpəˌni fɛlt ðə ˈkəlʧərəl ˈklaɪmɪt wɑz ˈrɛdi fər ˈsəmθɪŋ mɔr proʊˈvɑkətɪv: ðeɪ bɪˈgæn dɪˈvɛləpɪŋ ə laɪn dəbd ˈmɑnstər sinz. ˈjuzɪŋ ʤəˈnɛrɪk ˈkɛrɪktərz laɪk ðə ˈvɪktɪm, dɪˈzaɪnərz kənˈkɑktəd ɪˈlæbərˌeɪt sɪˈnɛrioʊz ðət pʊt ðə ənˈfɔrʧənət ˈkæptɪvz ɪn ˈmɔrtəl ˈpɛrəl. wən sɪˈnɛrioʊ hæd ə mæd ˈsaɪəntɪst ˈhəvərɪŋ ˈoʊvər hɪz ˈkæptɪv wɪθ ə treɪ fʊl əv hɑt koʊlz ənd ə sɛt əv tɔŋz; əˈnəðər dɪˈzaɪnd ˈæftər ˈɛdgər ˈælən ðə pɪt ənd ðə ˈpɛnʤələm ˈfiʧərd ə sˈwɪŋɪŋ bleɪd ðət wʊd kliv ðə ˈvɪktɪm ɪn tu. (ər æt list nəʤ hər saɪd; wəns əˈsɛmbəld, ðə tɔɪz ˈizəli kəm bæk əˈpɑrt.) ərˈɔrə ˈɔlsoʊ pərˈsud ðə ˈlaɪsəns fər, ə ˈbəksəm ˈvæmpaɪr ˈfiʧərd ɪn ʤeɪmz ˈhɔrər ˌpɪriˈɑdɪkəlz: ˈwɔrən soʊld ə lɔt əv ərˈɔrə kɪts ˈviə hɪz meɪl ˈɔrdər ˈbɪznɪs, ənd ə dɪˈsɪʒən wɑz meɪd tɪ ˌɪnˈklud hɪz ˈkɛrɪktər ɪn ðə laɪn ˈrəðər ðən rɪsk dɪˈzɔlvɪŋ ə ˈpɑrtnərˌʃɪp. ənˈpeɪntɪd, ʃi əˈpɪrd tɪ bi ˈvərʧuəli ˈneɪkəd. hər ˈkaʊntərˌpɑrt, ðə ˈvɪktɪm, ˈspɔrtɪd hɑt pænts ənd ə ˈhɔltər tɔp; ə drɛs ər floʊɪŋ skərt wɑz dimd ˌɪmˈpræktɪkəl ɪn ˈɔrdər tɪ hæv hər fɪt ɔn ðə ˈtɔrʧər ræk. ɪn ə bɪg dɪˈpɑrʧər frəm ˈpriviəs kɪts, ðə ˈmɑnstər sinz ˈfiʧərd pɑrts, ðə ˈbɛtər tɪ lʊr ɪn kənˈsumərz hu wər kənˈsərnd ˈoʊvər fjumz frəm glu ər ˈkɑnˌtækt sɪˈmɛnt. wəns əˈsɛmbəld, ðə ˈkɛrɪktərz kʊd bi pleɪst ɪn ðə peɪn keɪʤ, ðə peɪn ˈpɑrlər, ənd ˈəðər dɪˈstərbɪŋ sɪˈnɛrioʊz. ˈigər tɪ ˈtrəmpət ðɛr ˈdɛrɪŋ nu laɪn, ˈmɑrkətɪŋ meɪd ðə ənˈfɔrʧənət ʧɔɪs əv ˈplæstərɪŋ iʧ bɑks wɪθ ə stæmp: ‘‘x’*’ fər excitement!”*!” ɪn ən ˌɪnˈkludɪd ˈkɑmɪk bʊk, kənˈsərn ðət ˈsəmˌwən maɪt hir ðə ˈvɪktɪm ˈskrimɪŋ baɪ seɪɪŋ, ɪz nu jɔrk. noʊ wən wɪl hɛlp her.”*.” (ðə ˈgæloʊz ˈhjumər wɑz ˈleɪtər ˌɪnˈtərprətəd tɪ bi ə ˈrɛfərəns tɪ ˈkɪti ˈʤɛnəviz, ə ˈwʊmən hu wɑz ˈmərdərd ɪn 1964 waɪl ˈnɪrˈbaɪ dɪd ˈnəθɪŋ.) ˈmɑnstər sinz ˈdeɪbjutɪd æt ðə ˈhɑbi ˈɪndəstri əˌsoʊʃiˈeɪʃən əv treɪd ʃoʊ ɪn ˈfɛbruˌɛri 1971 ərˈɔrə haɪərd ˈmɑdəl ˈninə ˈændərsən tɪ ˈdɛmənˌstreɪt ðə playsets*, wɪʧ əˈtræktəd ə strim əv ˈkjʊriəs ˈmidiə ˈmɛmbərz. ˈændərsən, nɑt ˌpɑrˈtɪkjələrli vərst ɪn ðə ˈfiʧərz, meɪd ə ʃoʊ əv ˈlɑpɪŋ ɔf ɑrmz ənd lɛgz ˌbiˈfɔr ən ˈæŋgri ərˈɔrə ɪgˈzɛkjətɪv toʊld hər ðə pɑrts mɛnt fər ðət. bət ˈændərsən hæd pərˈfɛktəd hər seɪlz pɪʧ. əv, ʃi toʊld ðə ʃəˈkɑˌgoʊ ðət ðə ˈbəsti ˈkɛrɪktər kʊd bi pleɪst ɪn ə keɪʤ tɪ hər ə girl.”*.” stɪl, ərˈɔrə θɔt ðeɪ hæd ə hɪt. ðeɪ ˈivɪn bɪˈgæn tɪ skɛʧ aʊt plænz tɪ ˈlaɪsəns ˌdiˈsi loʊəs leɪn ɛz ə mɑrˈki ““victim.”*.” ərˈɔrə bɪˈgæn ˈʃɪpɪŋ ðə kɪts ɪn mɑrʧ 1971 ðə characters—vampirella*, ˈdɔktər ˈdɛdli, ðə ˈvɪktɪm, ənd waɪl ðə ˈriˌteɪld fər 2 ðɛr wɑz noʊ ˌoʊvərˈɛstəˌmeɪtɪŋ ˌædəˈlɛsənt ˈɪntəˌrɛst. baɪ ðə fɔl, əˈprɑksəmətli əv ðə kɪts hæd bɪn soʊld. əˈkɔrdɪŋ tɪ ərˈɔrə, ðə tɔɪz wər ˌpɛrəˈdɑksəkəli ˈhɛlθi fər jəŋ kənˈsumərz, əˈlaʊɪŋ ðɛm tɪ ˈoʊvərˌkəm ˈfɪrfəl sɪˈnɛrioʊz baɪ ˈhævɪŋ kənˈtroʊl ˈoʊvər ðɛm. ðə ˈkəmpəˌni sɛd ɪt hæd kənˈsəltɪd wɪθ səˈkaɪətrəsts praɪər tɪ prəˈdusɪŋ ðə ˈtɔrʧər sinz ənd faʊnd noʊ əˈbʤɛkʃən. bət ˈpɛrənts əˈbʤɛktəd ˈplɛnti. ˈlɛtərz keɪm ɪn tɪ ˈsɪndɪˌkeɪtɪd ˈnuzˌpeɪpər ˈkɑləmz ənd tɪ ˈkəmpəˌni ˈhɛdˌkɔrtərz. kɪdz roʊt, tu, bət wɪθ rɪkˈwɛsts fər mɔr sɛts tɪ bi ˈædɪd; ðeɪ ˈwɔntɪd ˈgæloʊz, ə bɛd əv neɪlz, plænts, ənd wilz əv ˈtɔrʧər. ɪn hər ˈsɪndɪˌkeɪtɪd ədˈvaɪs ˈkɑləm, æn ˈlændərz weɪd ɪn: "fər ju kən oʊn ə dɑl neɪmd. ʃi kəmz ɪkˈwɪpt wɪθ ə ˈbikər əv bləd. ɪf ɔl ðɪs ˌsɪmptəˈmætɪk əv ə wɔrpt soʊˈsaɪɪti, laɪk tɪ noʊ wət ɪz." ˈəndər faɪər baɪ naʊ ənd ˈəðər ˈæktɪˌvɪzəm grups, nəˈbɪˌskoʊ wɑz ˈhɔrəˌfaɪd tɪ si ˈhɛˌdlaɪnz ɪn ðə nu jɔrk taɪmz ənd ˈəðər ˈpeɪpərz ˈkɔlɪŋ əˈtɛnʃən tɪ ðə fækt ðət wən əv ɪts səbˈsɪdiˌɛriz wɑz ˈpɛdəlɪŋ tɔɪz əv ˈvɪktəmaɪzd ˈwɪmən ɪn ˈʃækəlz. ˈəndər ˈkɔrpərət ˈprɛʃər, ərˈɔrə bɪˈgæn ˈtoʊnɪŋ daʊn ðə laɪn baɪ aɪˈdɛntəˌfaɪɪŋ victim”*” ɛz ˈdɔktər ˈdɔtər, ə sˈlaɪtli lɛs ʤəˈnɛrɪk pərˌsɑnəfəˈkeɪʃən. ðeɪ ˈɔlsoʊ bɪˈgæn ˈʃɪpɪŋ ɪn rɛd ˈplæstɪk ˌɪnˈstɛd əv ðə ˈnutrəl, greɪ ðət lɛd səm ˈkrɪtɪks tɪ dɪˈklɛr hər nud aʊt əv ðə bɑks. ðə ˈpɛnʤələm wɑz dimd bɪɔnd hoʊp ənd pʊld ɪnˈtaɪərli. ðə fˈjʊrɔr ˈoʊvər ðə tɔɪz riʧt ˈtɛləˌvɪʒən: roʊən gɑt ə riˈækʃən frəm ə ʤoʊk əˈbaʊt ðə ˈtɔrʧər tɔɪz. baɪ dɪˈsɛmbər 1971 nəˈbɪˌskoʊ hæd ɪnˈdʊrd ɪˈnəf. ˈæftər ˈprɑməsɪŋ ˈmidiə ðeɪ wʊd sis pərˈdəkʃən əv ðə tɔɪz, ðeɪ bɪˈgæn tɪ əˈnaʊns ə ˈriˌkɔl əv ˌɪnvənˈtɔri ɔˈrɛdi ɪn stɔrz. ˈtritɪd laɪk ə kənˈtæməˌneɪtɪd ˈprɑdəkt, ˈmɑnstər sinz hæd ˈlæstɪd ə ˈpɔltri naɪn mənθs. ɛz ðə wɔr ɔn, ərˈɔrə rɪˈtərnd tɪ lɛs ˌkɑntrəˈvərʃəl kɪts. nəˈbɪˌskoʊ, ˈfləstərd baɪ ðə ˈnɛgətɪv pəˈblɪsɪti, kət ðɛr dɪˈvɛləpmənt ˈbəʤɪt ˌbiˈfɔr ˈsɛlɪŋ ðə ˈkəmpəˌni tɪ ˈmɑnəˌgræm ɪn 1977 plænz fər ə ˌprihɪˈstɔrɪk laɪn əv kɪts ənd ən ɪkˈstɛnʃən əv ˈmɑnstər sinz wər kərˈteɪld ɪn ðə ˈprɔˌsɛs. ðə kɪts ɪˈvɛnʧəwəli bɪˈkeɪm ɛmˈbreɪst baɪ kəˈlɛktərz, səm əv hum traɪd tɪ ˈrɛkriˌeɪt ðə stɔr dɪˈspleɪz ər meɪk ˌmɑdəfəˈkeɪʃənz tɪ ðə ɪgˈzɪstɪŋ kɪts. ərˈɔrə ɪmˈplɔɪiz kˈwɪrid əˈbaʊt ðə ˈprɑʤɛkt ɪkˈsprɛst əˈmeɪzmənt ðət ðə tɔɪz hæd bɪn pərˈsivd ɛz ər fɛlt ðeɪ wər ˈsɪmpli dɪˈlɪvərɪŋ ðə kaɪnd əv ɪgˈzæʤərˌeɪtɪd pleɪ ˈprɛmɪs ðət ˌædəˈlɛsənt kɪdz ləvd. ˈdɛkeɪdz ˈleɪtər, tɔɪz laɪk ɪˈlɛktrɪk ʧɛr ˈkɛrɪktər frəm sɪn ˈsɪti hu kʊd bi ˌɪˈlɛktrəˌkjutɪd ɔn məkˈfɑrlən tɔɪz wʊd ˌɪnˈvaɪt ə ˈsɪmələr ˈlɛvəl əv ˈkɑntrəˌvərsi, ðoʊ ˈnəθɪŋ ðət kwaɪt riʧt ðə ˈlɛvəlz əv mɪˈstɛp. ðɛr ˈprɑdəkt hæd hɛlpt kəmˈpɛl ˌkæləˈfɔrnjə ˈlɛʤəsˌleɪʧər tɪ pæs ə tɔɪ bæn ˈɪntu lɔ ɔn ˌʤuˈlaɪ 1 1972 proʊˈhɪbətɪŋ toys”*” ənd ˈrɛplɪkə grəˈneɪdz frəm biɪŋ soʊld ɪn ðə steɪt. ɛz fər ðə ˈɛkˌsɛs ˌɪnvənˈtɔri: wɪn nəˈbɪˌskoʊ meɪd ðə kɔl tɪ dɪskənˈtɪnju ðə kɪts, ðə rɪˈmeɪnɪŋ stɑk wɑz hɔld tɪ ˈkænədə. ðə ˈbɑksɪz riˈmuvd ðə x”*” ɛnˈdɔrsmənt bət kɛpt əˈnəðər bɪt əv faɪn prɪnt: ˈeɪʤɪz 8 ənd up.”*.” əˈdɪʃənəl ˈsɔrsəz: ərˈɔrə ˈmɑnstər sinz: ðə moʊst ˌkɑntrəˈvərʃəl tɔɪz əv ə ˌʤɛnərˈeɪʃən.

these discussions will continue in coming weeks with other times editors and reporters. translating the paper to the web q: i recently had the opportunity to have lunch with the publisher of the local daily paper here (there is only one local daily paper here). i told her of my preference to get my local and national news online, browsing several news sites as a part of my morning routine. however, i quickly discovered that i was missing important stories that had prominent placement in the print version but were impossible to find in the online version. in trying to explain my difficulty with her site, i could only think of the times as an excellent example of online news reporting. so, my question is, what makes your site such a great online version of your print product? where are they going wrong? why i explain it clearly to someone else answer this)? also, you use a font that i think is difficult to read in general, although it does not bother me on your site. why did you choose what i think is such an non-traditional font for your site? a: first, thanks for the kind words. whatever success we've had with making a useful and engaging source for online news, in my opinion, comes from realizing that we're not just trying to what's available to readers in the printed newspaper. rather, we're trying to create something that's true to this medium, that borrows the best of what works in print and that takes advantage of the unique aspects of digital media. this means we pay a lot of attention to how people use our content online. that is, not just how they read it, but how they make use of it: how they might scan the page haphazardly rather than diligently reading from top to bottom; what parts of the page they look to first and last; what they expect to change from visit to visit; which visual cues are meaningful for them and which design flourishes they find useless. advertisement continue reading the main story there are a multitude of factors like these that continually evaluating, though i admit that as an online business certainly not alone in being mindful of them. i think what we do differently from any number of other sites, whether established news organizations or young companies, is that we very expressly try to maintain continuity with a brand over 150 years old. so, sometimes we may purposefully approach a design problem differently from how our colleagues in the print art department might, but just as often try to bend the technology so that it makes sense when seen through the lens of the visual legacy. that might be the intangible quality talking about. visual consistency q: regardless of platform or browser, looks the same. this is not an easy feat to accomplish because of inconsistencies between browsers and how they handle and. how do you do it and with which tools? a: our preference to use a text editor, like homesite, or textmate, to “hand code” everything, rather than to use a (what you see is what you get) and authoring program, like dreamweaver. we just find it yields better and faster results. but really the consistency that you see (and i have to admit, far from perfect) is the result of a vigilant collaboration between many different groups the visual designers and technologists in the design team that i lead, their counterparts in our technology staff, and the many, many people who come together to make the site a reality every hour of every day. one of the things that makes my job here so satisfying is that, among all of these many different kinds of collaborators, a healthy respect for design. everyone is committed to putting the best face forward for the times including paying close attention to visual integrity of the site. regardless of the tools you use, it's really only that kind of commitment that makes it possible to maintain consistency on a site as sprawling as ours. the sources of inspiration q. i was wondering how much influence the design of other media web sites has on your design choices for the new york times's web site? for instance, i think the guardian has one of the most visually appealing front pages of any online news outlet i've ever seen though the underlying pages are not nearly as beautiful. do you look for direction or inspiration from other sites? a. we definitely look at the competition from other news organizations, both for how design informs the way they present the news, and for how they've designed and integrated tools for making the news more useful to their audiences. (and yes, over at the guardian, their creative director, mark porter, and his team are doing some really terrific work that we admire greatly.) however, that's only part of the homework we do. i think it would be a fallacy for us to think that we're only competing for the attention of a discrete "media" audience. internet usage is very eclectic by nature, and it's the responsibility of my team to be conscious of that. advertisement continue reading the main story so, just as often, we draw inspiration from what's happening in digital media at large, regardless of whether or not a news organization is explicitly involved, and often regardless of whether a given digital product deals in the news at all. that means that sites of miscellaneous classification like youtube, wikipedia, craigslist and facebook and countless others, many of which might have only recently emerged from their founders' garages are of as much interest to us as competitors like the guardian and our other peers. what does a design director do? q. can you give a little more insight into exactly what you do as a design director does it involve actual production work, is it purely supervisory, or does it fall somewhere in the middle? also, what do titles and terms like information architect, design technologist and user experience mean? i've heard of them used elsewhere, but what does it mean for the times? a. the question of "what do you and your design team do?" is pretty hard to answer without resorting to a tremendous amount of and, frankly, loopy jargon. i'm going to try, but forgive me in advance if i lapse back into it. when most people hear "design" and "nytimes.com" together, they usually think of the wonderful interactive graphics or multimedia storytelling done by our colleagues on the graphics and multimedia teams. (in fact, steve duenes, the graphics director, offered lots of insight into much of this work in his own talk to the newsroom session some weeks ago.) though we do work with these teams in a support capacity, it's not the core of what we do. if you think of their work as design for the content that appears on our site, then you can think of the work that my team does as design for the framework for that content. which is to say, we create the underlying platform on top of which the content sits. even setting aside the vast amounts of original reporting that we publish every day, our site is still under more or less continuous revision, so that framework is constantly being tended to. we're always looking at ways to improve various sections of the site, tweaking our, adding new features and tools and removing impediments to people's consumption and use of the news. as the design director, my responsibility is to oversee the creative aspects of these continual improvements. each one is a project of its own with some range in scope, from very short and discrete to long and drawn out over many months. and each project requires one or more of the members on my team: information architects (who are charged with organizing the features and the flow of information so that people can make use of them most intuitively), design technologists (who do the actual coding of many of these sites, using,, javascript, flash, etc.) visual designers (who handle the overall look and feel, including layout, typography, color, proportion, etc.). advertisement continue reading the main story you could say that all put together, the final product of our efforts is the user experience, or the sum total of the content and the framework as it's used by visitors to the site. of course, it's not true that my design group is the only team responsible for creating this experience; it's really the result of contributions across the board, from editors and reporters to project managers and software engineers and many more. finally, my job doesn't involve as much hands-on design work as it would in an ideal world. the majority of my day is spent either in a supervisory capacity, reviewing and discussing work done by my staff, or sitting in meetings, planning for upcoming enhancements to the site and how design can make them happen. the way i usually put it is that my job as design director isn't actually to do great design, but rather to help create and sustain the conditions under which great design can happen. the design of blogs q. i love all the blogs springing up on. can you talk about their design and specifically their logos? a. i'm especially proud of the design work that's gone into our blogs for many reasons, but especially for how our designers have dealt with sheer scale. over the past years, as the times newsroom has embraced blogging with tremendous alacrity, we've created over 150 blogs, and over a third of those remain active today. the challenge is even more complex when you consider that, though each blog has its own needs, the vast majority must be based on a single template (within wordpress, our web log publishing system) that manages all of the blogs together. as you can imagine, that requires that the template be very versatile and that our designers be very nimble. so by virtue of the fact that we're constantly launching new blogs, we're also in a perpetual state of revision and refinement. we're the typography, adding new features to the right-hand column, incorporating new kinds of media content into the articles, etc. all of which is work that may then be reflected back on the other blogs. jeremy zilar, the design technologist in my group whose primary responsibility is to develop and support these blogs, said, "every blog we launch seems to bring something new to our template that every other blog can benefit from." as for the the logos that we've developed for the blogs, that too has been an evolution. in the beginning, we were very liberal with our use of art, and gave illustrators lots of creative leeway to render a distinct visual identity at the top of each new blog. over time though, we've refined our approach so that the the typography is more or less consistent, and that each logo has a compact, illustration to identify it. in one of my favorite examples of our web staff working with our colleagues in the print art department, almost all of these logos are a tight collaboration between rebecca paterson, one of our very talented digital designers, and nicholas blechman, who art directs the book review section. photo for each new blog, they work together to brainstorm a concept, select a freelance illustrator, and art direct its execution. within that fairly restrictive formula we've set for the art, i think they've done an amazing job cultivating a great variety of artful logos. advertisement continue reading the main story the publishing software q. i was wondering how permissive the new york times's content management system is with custom layout. is there only one template that an article must follow, or are there exceptions? if there are exceptions, how do you handle them? q. how involved are you in the design of the content management system that feeds the front end? the posting of news and videos to a popular media site in a timely manner requires a highly usable and solution. is your back end as as your front end? cheers from a fellow otis grad. a. our content management system the software that we use to publish our articles on our web site is based on a finite number of. so in large measure we're resigned to working within those layouts. the range of expression that you see day to day on the home page and on our various section fronts is really a credit to the editors and producers who do the actual publishing of the articles. they use the c.m.s. the most and have learned to be very creative with it. (my design group is focused on the site as a platform, and we don't often get involved with the daily layout of the news.) if there are any shortcomings in the range of expression that those offer, it's the job of my design group, working with our technology team, to create new ones that better suit the needs of the editing staff. this can be a lengthy and involved process. often it doesn't make sense to invest the effort in creating a brand new template if the needs it will address are singular or short-term. so we will often not frequently, but often enough try to work around the limitations of the existing using custom code, essentially "hacking into" our own to achieve a unusual presentation. a great example of this is the work that our design technologist bart did for our recent series on china and the environment, "choking on growth." newsletter sign up continue reading the main story please verify you're not a robot by clicking the box. invalid email address. please re-enter. you must select a newsletter to subscribe to. sign up you will receive emails containing news content , updates and promotions from the new york times. you may at any time. you agree to receive occasional updates and special offers for the new york times's products and services. thank you for subscribing. an error has occurred. please try again later. view all new york times newsletters. these aren't ideal of course, so we try to be sparing in our use of them. we want to maintain as much design flexibility as we can, of course, but we also have to be practical about the technical implications. pushing the c.m.s. too far in these ways would be untenable. our director of content management systems, brad kagawa, said, "the need to structure data" encode the content in such a way that it makes sense to our systems "is sometimes at odds with the desire to have custom layouts. with the c.m.s. publishing to dozens of delivery channels (web, rss, mobile, times reader, the times archive, various partner feeds, amazon kindle, etc.) we have to store everything in a structured and way but at the same time retain that flexibility." as a result, the design team is actively involved in the design and planning of our next generation c.m.s. alex wright, the information architect who is heading up the design aspect of it, said: "as you might imagine, it's a large undertaking. we're constantly making adjustments to the interface as we develop new ideas about how to streamline the publishing process while supporting the complex requirements of a large organization." interaction with reporters and editors q. you have stated that you and your staff are involved with what you describe as the framework for. to what extent do you and your staff interact with reporters and editors? how does that work? assuming you do work with the reporters and editors, is that the same as what happens with the graphics team? in any case, how does your team work with the graphics team? advertisement continue reading the main story a. we do work with editors and reporters quite a bit. more often than not, in fact. going back for a moment to the subject of the last question: blogs are a great example of how we work together. each blog we create begins as a conversation between editors and designers. because they're so highly focused on specific subject areas, we really try hard to create the right design solution for those particular editorial needs. for some of our more standard journalism, our teams work together to create special layouts of our home page or section fronts. this tends to happen only when we have at least a few days' advanced notice, so ongoing stories like the presidential campaign, big events like the pope's visit to the united states or special series like "choking on growth" are good examples of that. those happen regularly if not frequently, but we're always eager to design for the news when we can. at the same time, we're continually collaborating with editors and reporters on what i described before as the platform. editorial input is really a key component on these design challenges. an obvious example would be the section fronts we've overhauled over the past year or two, e.g., health and movies. similarly, for last year's major overhaul of how we present our slideshows, editors and photo editors were deeply involved in establishing the requirements that guided that redesign. even platform projects that aren't explicitly examples of delivering times journalism, like our my times product, were designed from scratch with the input of the editing staff from the very start personas in the design process q. do you use a design process to craft your interaction design? if so, how do you go about your user research, given that you have such a broad base of users? a. every time we add a new feature to the site, redesign an existing section or create new digital products of any kind, we start with the premise that our primary "clients" are the people who will actually be using it, and not necessarily our staff of journalists, technologists, businesspeople or designers. it's kind of an obvious assumption, but it really is the hardest part of the process for any design team, regardless of the industry: setting aside your own familiarity with the content, your own expertise and envisioning a solution through the eyes of those whose relationship with your product is much more casual. when i say "design team" here, i mean it in the larger context, including product developers, software programmers, project managers, marketers as well as reporters, editors and many more. everyone here is involved in the design process, so everyone has to be able to make that leap into design" thinking. we employ a lot of research for this. we have a customer insight group that pays a lot of attention to site metrics: the traffic we get, how the site is being used, and the overall statistical patterns for that usage. we also work with them frequently to perform tests, where we bring in real people to our in-house testing facilities to watch how they interact with new design solutions we put in front of them. advertisement continue reading the main story sometimes this research feeds into the "personas" method of designing, in which we write detailed descriptions of archetypal users and make design decisions around the goals and needs of those actual. personally, i have mixed feelings about the effectiveness of that technique, though i don't question the basic premise that understanding our users is the single most important start to any solution. we like to be flexible, though. alex wright, information architect, said: "different projects call for different design approaches; we try to avoid locking ourselves into a design process. for major projects (like section redesigns), we do use and scenario modeling methods. for other projects, we use a mix of different methods: field studies, eye tracking, online surveys, card sorting and, of course, traditional testing." some pet peeves q. it's hard to find the link to the obituaries section on the front page of. why is it listed on the lower part of the lefthand column in small print along with blogs, crosswords, etc., when it deserves to be placed higher up in the column and in larger print along with other newsworthy sections such as sports, science, arts and style? q. other papers, notably the seattle times and the san francisco chronicle manage to include pictures and graphics from their stories in the printer version that shows up on the browser. it would add a lot in some cases. why can't the times manage to do this (going forward, if not for past stories)? q. a lot of times i enjoy the new york times videos and would like to share them with some of my colleagues. but i find that doesn't have the embedded source like youtube does. blogs nowadays embed all sorts of youtube videos and other videos from different host sites and it makes it easier for people view things without actually visiting the site. my question is, why doesn't the include embedded sources and will we see that in the future? a. i'm going to try to answer these three questions with one general answer, and by extension, hopefully address several other questions that were sent in by readers who also requested changes to or expressed frustrations with various parts of. i don't necessarily disagree with most of the suggestions and criticisms that people have about the functionality of our site. they're quite valid and they'd almost always go a long way toward improving the overall experience on the site for users. in fact, if you cornered me in conversation, it wouldn't take much effort to elicit from me a long list of my own frustrations and peeves, things i'd very much like to see fixed. at any given time though, my design group is working on roughly a dozen or more projects of size, while simultaneously watching for urgent problems cropping up across a site of significant volume and breadth. that keeps us very busy. so as a matter of resources having enough designers to take care of everything it's almost impossible for us to implement every change or improvement we'd like to see happen. advertisement continue reading the main story even if the design team doubled or tripled in size (and i actually believe that beyond a relatively small staff count, most larger design teams are actually less effective than smaller ones), we can't implement these changes on our own. for many of them, we'd very much need the collaboration and support of our colleagues throughout the company, especially those in our technology group, and they have their hands full as well. luckily, a lot of our projects are actually focused on overhauling and improving existing areas of the site that have been long neglected. so in a sense, we're continually trying to root out these imperfections. it just may take us a while to get to the ones mentioned in these questions. recommended course of study? q. what course of study would you recommend at the graduate or undergraduate level for someone looking to work in your field? or, failing that, what practical experience do you think most prepared you for your current job? a. i don't presume to be an educator, so it's probably best for me to answer this question in terms of what i look for when hiring a new employee. it's actually quite a complex mix of varied skills: an ideal applicant would have very strong traditional graphic design skills; training in and interaction design; practical experience coding xhtml,, javascript and flash; a commercially viable comfort level with database and application programming; and last but not least sound news judgment based on a deep understanding of current affairs. mind you, almost nobody possesses this exact combination of skills. if there's a school or curriculum somewhere that's turning out these kinds of candidates regularly, i'd be very interested to know. (besides, i tend not to pay nearly as much attention to where a candidate was schooled as i do to that candidate's portfolio of work samples and practical experience.) so obviously i look for people who can combine as many of these skills as possible. i'm not sure it would be fair to say that any one skill is more important than the other because they're all vital, but i can say that having a particularly weak foundation in traditional graphic design lacking an understanding of typography, color, composition and visual storytelling more or less disqualifies one immediately. there are a few other intangible qualities that i look for, too. the ability to effectively articulate one's ideas about design is a big plus; translating subjective nuances into explanations is a critical requirement for this job. agile skills are also an imperative; being able to think about a design problem in a larger context than one's own role as a designer only makes it easier to pull off ambitious solutions. and maybe most important of all is enthusiasm for the work; there's no substitute for a designer who feels truly invested in the work. all the news and links that fit? q. could you talk about balancing the multitude of links to options, services, newspaper sections, etc. on a page with the actual content of the paper? when is it better to make readers click through one or two levels to find something instead of cluttering the front page with links? is there a science to this, or is it design instinct? advertisement continue reading the main story a. there's no question that there's a lot of stuff on our pages. in fact, to speak frankly, i'd say that often there's just too much stuff. too many links, ads, extra features and even too much text. we often hear from users and even from our own staff that we should be seeking to reduce the number of visual elements on each page. however, throughout virtually the entire site, we have to achieve a delicate balance between the concerns of our newsroom, our business, our technological infrastructure, our brand and, most important, the people who use the site. just about anything that appears on any given page is tied to some intricate combination of editorial judgment, revenue, technical restriction and user behavior. you can think of it as an elaborate logic puzzle, with the onus on my design staff to solve the puzzle using as few elements as possible, in as aesthetically pleasing a manner as possible. we strive to distill every template that we create down to its core parts, and actively debate the placement of nearly every element. there's no magic formula for this, unfortunately. in some cases we do find it better to design a feature so that people are required to click through it. in other instances, we find or simply presenting all of the available options up front is the better course. and at times there are design solutions that everyone feels are the simplest and best, but that can't be implemented due to some pragmatic constraint imposed by any of the many interdependent factors driving the site. as you can imagine, it's no easy feat which isn't meant as an excuse. this difficulty of the situation, while not always enjoyable, is a big part of the reason many of us have signed on for this job. it's an interesting design challenge because it's a hard one. we're under no illusions that what you see on the site is the best possible design ever. we look at it as a work in progress, and something that can be continually improved.

ðiz dɪˈskəʃənz wɪl kənˈtɪnju ɪn ˈkəmɪŋ wiks wɪθ ˈəðər taɪmz ˈɛdɪtərz ənd rɪˈpɔrtərz. ˈtrænsˌleɪtɪŋ ðə ˈpeɪpər tɪ ðə wɛb kju: aɪ ˈrisəntli hæd ðə ˌɑpərˈtunəti tɪ hæv lənʧ wɪθ ðə ˈpəblɪʃər əv ðə ˈloʊkəl ˈdeɪli ˈpeɪpər hir (ðɛr ɪz ˈoʊnli wən ˈloʊkəl ˈdeɪli ˈpeɪpər hir). aɪ toʊld hər əv maɪ ˈprɛfərəns tɪ gɪt maɪ ˈloʊkəl ənd ˈnæʃənəl nuz ˈɔnˌlaɪn, ˈbraʊzɪŋ ˈsɛvərəl nuz saɪts ɛz ə pɑrt əv maɪ ˈmɔrnɪŋ ruˈtin. ˌhaʊˈɛvər, aɪ kˈwɪkli dɪˈskəvərd ðət aɪ wɑz ˈmɪsɪŋ ˌɪmˈpɔrtənt ˈstɔriz ðət hæd ˈprɑmənənt ˈpleɪsmənt ɪn ðə prɪnt ˈvərʒən bət wər ˌɪmˈpɑsəbəl tɪ faɪnd ɪn ðə ˈɔnˌlaɪn ˈvərʒən. ɪn traɪɪŋ tɪ ɪkˈspleɪn maɪ ˈdɪfɪˌkəlti wɪθ hər saɪt, aɪ kʊd ˈoʊnli θɪŋk əv ðə taɪmz ɛz ən ˈɛksələnt ɪgˈzæmpəl əv ˈɔnˌlaɪn nuz rɪˈpɔrtɪŋ. soʊ, maɪ kˈwɛʃən ɪz, wət meɪks jʊr saɪt səʧ ə greɪt ˈɔnˌlaɪn ˈvərʒən əv jʊr prɪnt ˈprɑdəkt? wɛr ər ðeɪ goʊɪŋ rɔŋ? waɪ aɪ ɪkˈspleɪn ɪt ˈklɪrli tɪ ˈsəmˌwən ɛls ˈænsər ðɪs)? ˈɔlsoʊ, ju juz ə fɑnt ðət aɪ θɪŋk ɪz ˈdɪfəkəlt tɪ rɛd ɪn ˈʤɛnərəl, ˌɔlˈðoʊ ɪt dɪz nɑt ˈbɑðər mi ɔn jʊr saɪt. waɪ dɪd ju ʧuz wət aɪ θɪŋk ɪz səʧ ən ˌnɑntrəˈdɪʃənəl fɑnt fər jʊr saɪt? ə: fərst, θæŋks fər ðə kaɪnd wərdz. ˌwəˈtɛvər səkˈsɛs wiv hæd wɪθ ˈmeɪkɪŋ ə ˈjusfəl ənd ɪnˈgeɪʤɪŋ sɔrs fər ˈɔnˌlaɪn nuz, ɪn maɪ əˈpɪnjən, kəmz frəm ˈriəˌlaɪzɪŋ ðət wɪr nɑt ʤɪst traɪɪŋ tɪ wəts əˈveɪləbəl tɪ ˈridərz ɪn ðə ˈprɪnɪd ˈnuzˌpeɪpər. ˈrəðər, wɪr traɪɪŋ tɪ kriˈeɪt ˈsəmθɪŋ ðæts tru tɪ ðɪs ˈmidiəm, ðət ˈbɑroʊz ðə bɛst əv wət wərks ɪn prɪnt ənd ðət teɪks ædˈvæntɪʤ əv ðə juˈnik ˈæˌspɛkts əv ˈdɪʤɪtəl ˈmidiə. ðɪs minz wi peɪ ə lɔt əv əˈtɛnʃən tɪ haʊ ˈpipəl juz ɑr ˈkɑntɛnt ˈɔnˌlaɪn. ðət ɪz, nɑt ʤɪst haʊ ðeɪ rɛd ɪt, bət haʊ ðeɪ meɪk juz əv ɪt: haʊ ðeɪ maɪt skæn ðə peɪʤ ˈhæfəzərdli ˈrəðər ðən ˈdɪləʤəntli ˈrɛdɪŋ frəm tɔp tɪ ˈbɑtəm; wət pɑrts əv ðə peɪʤ ðeɪ lʊk tɪ fərst ənd læst; wət ðeɪ ɪkˈspɛkt tɪ ʧeɪnʤ frəm ˈvɪzɪt tɪ ˈvɪzɪt; wɪʧ ˈvɪʒəwəl kjuz ər ˈminɪŋfəl fər ðɛm ənd wɪʧ dɪˈzaɪn ˈflərɪʃɪz ðeɪ faɪnd ˈjusləs. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ðɛr ər ə ˈməltəˌtud əv ˈfæktərz laɪk ðiz ðət kənˈtɪnjuəli ɪˈvæljuˌeɪtɪŋ, ðoʊ aɪ ədˈmɪt ðət ɛz ən ˈɔnˌlaɪn ˈbɪznɪs ˈsərtənli nɑt əˈloʊn ɪn biɪŋ ˈmaɪndfəl əv ðɛm. aɪ θɪŋk wət wi du ˈdɪfərˈɛntli frəm ˈɛni ˈnəmbər əv ˈəðər saɪts, ˈwɛðər ɪˈstæblɪʃt nuz ˌɔrgənəˈzeɪʃənz ər jəŋ ˈkəmpəˌniz, ɪz ðət wi ˈvɛri ɛkˈsprɛsli traɪ tɪ meɪnˈteɪn ˌkɑntəˈnuəti wɪθ ə brænd ˈoʊvər 150 jɪrz oʊld. soʊ, ˈsəmˌtaɪmz wi meɪ ˈpərpəsfəli əˈproʊʧ ə dɪˈzaɪn ˈprɑbləm ˈdɪfərˈɛntli frəm haʊ ɑr ˈkɑligz ɪn ðə prɪnt ɑrt dɪˈpɑrtmənt maɪt, bət ʤɪst ɛz ˈɔfən traɪ tɪ bɛnd ðə tɛkˈnɑləʤi soʊ ðət ɪt meɪks sɛns wɪn sin θru ðə lɛnz əv ðə ˈvɪʒəwəl ˈlɛgəsi. ðət maɪt bi ðə ˌɪnˈtænʤəbəl kˈwɑləti ˈtɔkɪŋ əˈbaʊt. ˈvɪʒəwəl kənˈsɪstənsi kju: rəˈgɑrdləs əv ˈplætˌfɔrm ər ˈbraʊzər, lʊks ðə seɪm. ðɪs ɪz nɑt ən ˈizi fit tɪ əˈkɑmplɪʃ bɪˈkəz əv ˌɪŋˈkɑnsɪˌstɛnsiz bɪtˈwin ˈbraʊzərz ənd haʊ ðeɪ ˈhændəl ənd. haʊ du ju du ɪt ənd wɪθ wɪʧ tulz? ə: ɑr ˈprɛfərəns tɪ juz ə tɛkst ˈɛdɪtər, laɪk homesite*, ər textmate*, tɪ code”*” ˈɛvriˌθɪŋ, ˈrəðər ðən tɪ juz ə (wət ju si ɪz wət ju gɪt) ənd ˈɔθərɪŋ ˈproʊˌgræm, laɪk dreamweaver*. wi ʤɪst faɪnd ɪt jildz ˈbɛtər ənd ˈfæstər rɪˈzəlts. bət ˈrɪli ðə kənˈsɪstənsi ðət ju si (ənd aɪ hæv tɪ ədˈmɪt, fɑr frəm ˈpərˌfɪkt) ɪz ðə rɪˈzəlt əv ə ˈvɪʤələnt kəˌlæbərˈeɪʃən bɪtˈwin ˈmɛni ˈdɪfərənt grups ðə ˈvɪʒəwəl dɪˈzaɪnərz ənd ˌtɛkˈnɑləʤɪsts ɪn ðə dɪˈzaɪn tim ðət aɪ lɛd, ðɛr ˈkaʊntərˌpɑrts ɪn ɑr tɛkˈnɑləʤi stæf, ənd ðə ˈmɛni, ˈmɛni ˈpipəl hu kəm təˈgɛðər tɪ meɪk ðə saɪt ə ˌriˈæləˌti ˈɛvəri aʊər əv ˈɛvəri deɪ. wən əv ðə θɪŋz ðət meɪks maɪ ʤɑb hir soʊ ˈsætɪsˌfaɪɪŋ ɪz ðət, əˈməŋ ɔl əv ðiz ˈmɛni ˈdɪfərənt kaɪnz əv kəˈlæbərˌeɪtərz, ə ˈhɛlθi rɪˈspɛkt fər dɪˈzaɪn. ˈɛvriˌwən ɪz kəˈmɪtɪd tɪ ˈpʊtɪŋ ðə bɛst feɪs ˈfɔrwərd fər ðə taɪmz ˌɪnˈkludɪŋ peɪɪŋ kloʊz əˈtɛnʃən tɪ ˈvɪʒəwəl ˌɪnˈtɛgrəti əv ðə saɪt. rəˈgɑrdləs əv ðə tulz ju juz, ɪts ˈrɪli ˈoʊnli ðət kaɪnd əv kəˈmɪtmənt ðət meɪks ɪt ˈpɑsəbəl tɪ meɪnˈteɪn kənˈsɪstənsi ɔn ə saɪt ɛz ˈsprɔlɪŋ ɛz ɑrz. ðə ˈsɔrsəz əv ˌɪnspərˈeɪʃən kju. aɪ wɑz ˈwəndərɪŋ haʊ məʧ ˈɪnfluəns ðə dɪˈzaɪn əv ˈəðər ˈmidiə wɛb saɪts həz ɔn jʊr dɪˈzaɪn ˈʧɔɪsɪz fər ðə nu jɔrk ˈtaɪmzɪz wɛb saɪt? fər ˈɪnstəns, aɪ θɪŋk ðə ˈgɑrdiən həz wən əv ðə moʊst ˈvɪʒwəli əˈpilɪŋ frənt ˈpeɪʤɪz əv ˈɛni ˈɔnˌlaɪn nuz ˈaʊˌtlɛt aɪv ˈɛvər sin ðoʊ ðə ˌəndərˈlaɪɪŋ ˈpeɪʤɪz ər nɑt ˈnɪrli ɛz ˈbjutəfəl. du ju lʊk fər dɪˈrɛkʃɪn ər ˌɪnspərˈeɪʃən frəm ˈəðər saɪts? ə. wi ˈdɛfənətli lʊk æt ðə ˌkɑmpəˈtɪʃən frəm ˈəðər nuz ˌɔrgənəˈzeɪʃənz, boʊθ fər haʊ dɪˈzaɪn ˌɪnˈfɔrmz ðə weɪ ðeɪ ˈprɛzənt ðə nuz, ənd fər haʊ ðeɪv dɪˈzaɪnd ənd ˈɪnəˌgreɪtɪd tulz fər ˈmeɪkɪŋ ðə nuz mɔr ˈjusfəl tɪ ðɛr ˈɔdiənsəz. (ənd jɛs, ˈoʊvər æt ðə ˈgɑrdiən, ðɛr kriˈeɪtɪv dɪˈrɛktər, mɑrk ˈpɔrtər, ənd hɪz tim ər duɪŋ səm ˈrɪli tərˈɪfɪk wərk ðət wi ædˈmaɪr ˈgreɪtli.) ˌhaʊˈɛvər, ðæts ˈoʊnli pɑrt əv ðə ˈhoʊmˌwərk wi du. aɪ θɪŋk ɪt wʊd bi ə ˈfæləsi fər ˈjuˈɛs tɪ θɪŋk ðət wɪr ˈoʊnli kəmˈpitɪŋ fər ðə əˈtɛnʃən əv ə dɪˈskrit "ˈmidiə" ˈɔdiəns. ˈɪntərˌnɛt ˈjusɪʤ ɪz ˈvɛri ɪˈklɛktɪk baɪ ˈneɪʧər, ənd ɪts ðə riˌspɑnsəˈbɪləti əv maɪ tim tɪ bi ˈkɑnʃəs əv ðət. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri soʊ, ʤɪst ɛz ˈɔfən, wi drɔ ˌɪnspərˈeɪʃən frəm wəts ˈhæpənɪŋ ɪn ˈdɪʤɪtəl ˈmidiə æt lɑrʤ, rəˈgɑrdləs əv ˈwɛðər ər nɑt ə nuz ˌɔrgənəˈzeɪʃən ɪz ɪkˈsplɪsətli ˌɪnˈvɑlvd, ənd ˈɔfən rəˈgɑrdləs əv ˈwɛðər ə ˈgɪvɪn ˈdɪʤɪtəl ˈprɑdəkt dilz ɪn ðə nuz æt ɔl. ðət minz ðət saɪts əv ˌmɪsəˈleɪniəs ˌklæsəfəˈkeɪʃən laɪk ˈjuˌtub, ˈwɪkiˌpiˌdiə, ˈkreɪgzˌlɪst ənd ˈfeɪsˌbʊk ənd ˈkaʊntləs ˈəðərz, ˈmɛni əv wɪʧ maɪt hæv ˈoʊnli ˈrisəntli ˈimərʤd frəm ðɛr ˈfaʊndərz' gərˈɑʒɪz ər əv ɛz məʧ ˈɪntəˌrɛst tɪ ˈjuˈɛs ɛz kəmˈpɛtɪtərz laɪk ðə ˈgɑrdiən ənd ɑr ˈəðər pɪrz. wət dɪz ə dɪˈzaɪn dɪˈrɛktər du? kju. kən ju gɪv ə ˈlɪtəl mɔr ˈɪnˌsaɪt ˈɪntu ɪgˈzæktli wət ju du ɛz ə dɪˈzaɪn dɪˈrɛktər dɪz ɪt ˌɪnˈvɑlv ˈækʧəwəl pərˈdəkʃən wərk, ɪz ɪt ˈpjʊrli ˌsupərˈvaɪzəri, ər dɪz ɪt fɔl ˈsəmˌwɛr ɪn ðə ˈmɪdəl? ˈɔlsoʊ, wət du ˈtaɪtəlz ənd tərmz laɪk ˌɪnˌfɔrˈmeɪʃən ˈɑrkəˌtɛkt, dɪˈzaɪn ˌtɛkˈnɑləʤɪst ənd ˈjuzər ɪkˈspɪriəns min? aɪv hərd əv ðɛm juzd ˈɛlsˌwɛr, bət wət dɪz ɪt min fər ðə taɪmz? ə. ðə kˈwɛʃən əv "wət du ju ənd jʊr dɪˈzaɪn tim du?" ɪz ˈprɪti hɑrd tɪ ˈænsər wɪˈθaʊt rɪˈzɔrtɪŋ tɪ ə trɪˈmɛndəs əˈmaʊnt əv ənd, ˈfræŋkli, ˈlupi ˈʤɑrgən. əm goʊɪŋ tɪ traɪ, bət fərˈgɪv mi ɪn ədˈvæns ɪf aɪ læps bæk ˈɪntu ɪt. wɪn moʊst ˈpipəl hir "dɪˈzaɪn" ənd "nytimes.com*" təˈgɛðər, ðeɪ ˈjuʒəwəli θɪŋk əv ðə ˈwəndərfəl ˌɪnərˈæktɪv ˈgræfɪks ər ˌməltiˈmidiə ˈstɔriˌtɛlɪŋ dən baɪ ɑr ˈkɑligz ɔn ðə ˈgræfɪks ənd ˌməltiˈmidiə timz. (ɪn fækt, stiv duenes*, ðə ˈgræfɪks dɪˈrɛktər, ˈɔfərd lɑts əv ˈɪnˌsaɪt ˈɪntu məʧ əv ðɪs wərk ɪn hɪz oʊn tɔk tɪ ðə ˈnuzˌrum ˈsɛʃən səm wiks əˈgoʊ.) ðoʊ wi du wərk wɪθ ðiz timz ɪn ə səˈpɔrt kəˈpæsɪti, ɪts nɑt ðə kɔr əv wət wi du. ɪf ju θɪŋk əv ðɛr wərk ɛz dɪˈzaɪn fər ðə ˈkɑntɛnt ðət əˈpɪrz ɔn ɑr saɪt, ðɛn ju kən θɪŋk əv ðə wərk ðət maɪ tim dɪz ɛz dɪˈzaɪn fər ðə ˈfreɪmˌwərk fər ðət ˈkɑntɛnt. wɪʧ ɪz tɪ seɪ, wi kriˈeɪt ðə ˌəndərˈlaɪɪŋ ˈplætˌfɔrm ɔn tɔp əv wɪʧ ðə ˈkɑntɛnt sɪts. ˈivɪn ˈsɛtɪŋ əˈsaɪd ðə væst əˈmaʊnts əv ərˈɪʤənəl rɪˈpɔrtɪŋ ðət wi ˈpəblɪʃ ˈɛvəri deɪ, ɑr saɪt ɪz stɪl ˈəndər mɔr ər lɛs kənˈtɪnjuəs riˈvɪʒən, soʊ ðət ˈfreɪmˌwərk ɪz ˈkɑnstəntli biɪŋ ˈtɛndɪd tɪ. wɪr ˈɔlˌweɪz ˈlʊkɪŋ æt weɪz tɪ ˌɪmˈpruv ˈvɛriəs ˈsɛkʃənz əv ðə saɪt, tˈwikɪŋ ɑr, ˈædɪŋ nu ˈfiʧərz ənd tulz ənd riˈmuvɪŋ ˌɪmˈpɛdəmənts tɪ ˈpipəlz kənˈsəmʃən ənd juz əv ðə nuz. ɛz ðə dɪˈzaɪn dɪˈrɛktər, maɪ riˌspɑnsəˈbɪləti ɪz tɪ ˈoʊvərˌsi ðə kriˈeɪtɪv ˈæˌspɛkts əv ðiz kənˈtɪnjuəl ˌɪmˈpruvmənts. iʧ wən ɪz ə ˈprɑʤɛkt əv ɪts oʊn wɪθ səm reɪnʤ ɪn skoʊp, frəm ˈvɛri ʃɔrt ənd dɪˈskrit tɪ lɔŋ ənd drɔn aʊt ˈoʊvər ˈmɛni mənθs. ənd iʧ ˈprɑʤɛkt rikˈwaɪərz wən ər mɔr əv ðə ˈmɛmbərz ɔn maɪ tim: ˌɪnˌfɔrˈmeɪʃən ˈɑrkəˌtɛkts (hu ər ʧɑrʤd wɪθ ˈɔrgəˌnaɪzɪŋ ðə ˈfiʧərz ənd ðə floʊ əv ˌɪnˌfɔrˈmeɪʃən soʊ ðət ˈpipəl kən meɪk juz əv ðɛm moʊst ˌɪnˈtuɪtɪvli), dɪˈzaɪn ˌtɛkˈnɑləʤɪsts (hu du ðə ˈækʧəwəl ˈkoʊdɪŋ əv ˈmɛni əv ðiz saɪts, ˈjuzɪŋ,, ˈʤɑvəˌskrɪpt, flæʃ, ˌɛtˈsɛtərə.) ˈvɪʒəwəl dɪˈzaɪnərz (hu ˈhændəl ðə ˈoʊvərˌɔl lʊk ənd fil, ˌɪnˈkludɪŋ leɪaʊt, təˈpɑgrəfi, ˈkələr, prəˈpɔrʃən, ˌɛtˈsɛtərə.). ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ju kʊd seɪ ðət ɔl pʊt təˈgɛðər, ðə ˈfaɪnəl ˈprɑdəkt əv ɑr ˈɛfərts ɪz ðə ˈjuzər ɪkˈspɪriəns, ər ðə səm ˈtoʊtəl əv ðə ˈkɑntɛnt ənd ðə ˈfreɪmˌwərk ɛz ɪts juzd baɪ ˈvɪzɪtərz tɪ ðə saɪt. əv kɔrs, ɪts nɑt tru ðət maɪ dɪˈzaɪn grup ɪz ðə ˈoʊnli tim riˈspɑnsəbəl fər kriˈeɪtɪŋ ðɪs ɪkˈspɪriəns; ɪts ˈrɪli ðə rɪˈzəlt əv ˌkɑntrəˈbjuʃənz əˈkrɔs ðə bɔrd, frəm ˈɛdɪtərz ənd rɪˈpɔrtərz tɪ ˈprɑʤɛkt ˈmænɪʤərz ənd ˈsɔfˌwɛr ˈɛnʤəˈnɪrz ənd ˈmɛni mɔr. ˈfaɪnəli, maɪ ʤɑb ˈdəzənt ˌɪnˈvɑlv ɛz məʧ ˌhænˈzɔn dɪˈzaɪn wərk ɛz ɪt wʊd ɪn ən aɪˈdil wərld. ðə məˈʤɔrəti əv maɪ deɪ ɪz spɛnt ˈiðər ɪn ə ˌsupərˈvaɪzəri kəˈpæsɪti, rivˈjuɪŋ ənd dɪˈskəsɪŋ wərk dən baɪ maɪ stæf, ər ˈsɪtɪŋ ɪn ˈmitɪŋz, ˈplænɪŋ fər ˈəpˌkəmɪŋ ɛnˈhænsmənts tɪ ðə saɪt ənd haʊ dɪˈzaɪn kən meɪk ðɛm ˈhæpən. ðə weɪ aɪ ˈjuʒəwəli pʊt ɪt ɪz ðət maɪ ʤɑb ɛz dɪˈzaɪn dɪˈrɛktər ˈɪzənt ˈæˌkʧuəli tɪ du greɪt dɪˈzaɪn, bət ˈrəðər tɪ hɛlp kriˈeɪt ənd səˈsteɪn ðə kənˈdɪʃənz ˈəndər wɪʧ greɪt dɪˈzaɪn kən ˈhæpən. ðə dɪˈzaɪn əv blɔgz kju. aɪ ləv ɔl ðə blɔgz ˈsprɪŋɪŋ əp ɔn. kən ju tɔk əˈbaʊt ðɛr dɪˈzaɪn ənd spəˈsɪfɪkli ðɛr ˈloʊˌgoʊz? ə. əm əˈspɛʃəli praʊd əv ðə dɪˈzaɪn wərk ðæts gɔn ˈɪntu ɑr blɔgz fər ˈmɛni ˈrizənz, bət əˈspɛʃəli fər haʊ ɑr dɪˈzaɪnərz hæv dɛlt wɪθ ʃɪr skeɪl. ˈoʊvər ðə pæst jɪrz, ɛz ðə taɪmz ˈnuzˌrum həz ɛmˈbreɪst ˈblɔgɪŋ wɪθ trɪˈmɛndəs əˈlækrəti, wiv kriˈeɪtɪd ˈoʊvər 150 blɔgz, ənd ˈoʊvər ə θərd əv ðoʊz rɪˈmeɪn ˈæktɪv təˈdeɪ. ðə ˈʧælənʤ ɪz ˈivɪn mɔr ˈkɑmplɛks wɪn ju kənˈsɪdər ðət, ðoʊ iʧ blɔg həz ɪts oʊn nidz, ðə væst məˈʤɔrəti məst bi beɪst ɔn ə ˈsɪŋgəl ˈtɛmplət (wɪˈθɪn wordpress*, ɑr wɛb lɔg ˈpəblɪʃɪŋ ˈsɪstəm) ðət ˈmænɪʤɪz ɔl əv ðə blɔgz təˈgɛðər. ɛz ju kən ˌɪˈmæʤən, ðət rikˈwaɪərz ðət ðə ˈtɛmplət bi ˈvɛri ˈvərsətəl ənd ðət ɑr dɪˈzaɪnərz bi ˈvɛri ˈnɪmbəl. soʊ baɪ ˈvərʧu əv ðə fækt ðət wɪr ˈkɑnstəntli ˈlɔnʧɪŋ nu blɔgz, wɪr ˈɔlsoʊ ɪn ə pərˈpɛʧuəl steɪt əv riˈvɪʒən ənd rəˈfaɪnmənt. wɪr ðə təˈpɑgrəfi, ˈædɪŋ nu ˈfiʧərz tɪ ðə raɪˈthænd ˈkɑləm, ˌɪnˈkɔrpərˌeɪtɪŋ nu kaɪnz əv ˈmidiə ˈkɑntɛnt ˈɪntu ðə ˈɑrtɪkəlz, ˌɛtˈsɛtərə. ɔl əv wɪʧ ɪz wərk ðət meɪ ðɛn bi rɪˈflɛktɪd bæk ɔn ðə ˈəðər blɔgz. ˈʤɛrəˌmi zilar*, ðə dɪˈzaɪn ˌtɛkˈnɑləʤɪst ɪn maɪ grup huz ˈpraɪˌmɛri riˌspɑnsəˈbɪləti ɪz tɪ dɪˈvɛləp ənd səˈpɔrt ðiz blɔgz, sɛd, "ˈɛvəri blɔg wi lɔnʧ simz tɪ brɪŋ ˈsəmθɪŋ nu tɪ ɑr ˈtɛmplət ðət ˈɛvəri ˈəðər blɔg kən ˈbɛnəfɪt frəm." ɛz fər ðə ðə ˈloʊˌgoʊz ðət wiv dɪˈvɛləpt fər ðə blɔgz, ðət tu həz bɪn ən ˌɛvəˈluʃən. ɪn ðə bɪˈgɪnɪŋ, wi wər ˈvɛri ˈlɪˌbərəl wɪθ ɑr juz əv ɑrt, ənd geɪv ˈɪləˌstreɪtərz lɑts əv kriˈeɪtɪv ˈliˌweɪ tɪ ˈrɛndər ə dɪˈstɪŋkt ˈvɪʒəwəl aɪˈdɛntəˌti æt ðə tɔp əv iʧ nu blɔg. ˈoʊvər taɪm ðoʊ, wiv rɪˈfaɪnd ɑr əˈproʊʧ soʊ ðət ðə ðə təˈpɑgrəfi ɪz mɔr ər lɛs kənˈsɪstənt, ənd ðət iʧ ˈloʊgoʊ həz ə ˈkɑmpækt, ˌɪləˈstreɪʃən tɪ aɪˈdɛntəˌfaɪ ɪt. ɪn wən əv maɪ ˈfeɪvərɪt ɪgˈzæmpəlz əv ɑr wɛb stæf ˈwərkɪŋ wɪθ ɑr ˈkɑligz ɪn ðə prɪnt ɑrt dɪˈpɑrtmənt, ˈɔlˌmoʊst ɔl əv ðiz ˈloʊˌgoʊz ər ə taɪt kəˌlæbərˈeɪʃən bɪtˈwin rəˈbɛkə ˈpætərsən, wən əv ɑr ˈvɛri ˈtæləntɪd ˈdɪʤɪtəl dɪˈzaɪnərz, ənd ˈnɪkələs ˈblɛkmən, hu ɑrt dɪˈrɛkts ðə bʊk ˌrivˈju ˈsɛkʃən. ˈfoʊˌtoʊ fər iʧ nu blɔg, ðeɪ wərk təˈgɛðər tɪ ˈbreɪnˌstɔrm ə ˈkɑnsɛpt, səˈlɛkt ə ˈfriˌlæns ˈɪləˌstreɪtər, ənd ɑrt dɪˈrɛkt ɪts ˌɛksəˈkjuʃən. wɪˈθɪn ðət ˈfɛrli riˈstrɪktɪv ˈfɔrmjələ wiv sɛt fər ðə ɑrt, aɪ θɪŋk ðeɪv dən ən əˈmeɪzɪŋ ʤɑb ˈkəltɪˌveɪtɪŋ ə greɪt vərˈaɪəti əv ˈɑrtfəl ˈloʊˌgoʊz. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ðə ˈpəblɪʃɪŋ ˈsɔfˌwɛr kju. aɪ wɑz ˈwəndərɪŋ haʊ pərˈmɪsɪv ðə nu jɔrk ˈtaɪmzɪz ˈkɑntɛnt ˈmænɪʤmənt ˈsɪstəm ɪz wɪθ ˈkəstəm leɪaʊt. ɪz ðɛr ˈoʊnli wən ˈtɛmplət ðət ən ˈɑrtɪkəl məst ˈfɑloʊ, ər ər ðɛr ɪkˈsɛpʃənz? ɪf ðɛr ər ɪkˈsɛpʃənz, haʊ du ju ˈhændəl ðɛm? kju. haʊ ˌɪnˈvɑlvd ər ju ɪn ðə dɪˈzaɪn əv ðə ˈkɑntɛnt ˈmænɪʤmənt ˈsɪstəm ðət fidz ðə frənt ɛnd? ðə ˈpoʊstɪŋ əv nuz ənd ˈvɪdioʊz tɪ ə ˈpɑpjələr ˈmidiə saɪt ɪn ə ˈtaɪmli ˈmænər rikˈwaɪərz ə ˈhaɪli ˈjuzəbəl ənd səˈluʃən. ɪz jʊr bæk ɛnd ɛz ɛz jʊr frənt ɛnd? ʧɪrz frəm ə ˈfɛloʊ ˈoʊtɪs græd. ə. ɑr ˈkɑntɛnt ˈmænɪʤmənt ˈsɪstəm ðə ˈsɔfˌwɛr ðət wi juz tɪ ˈpəblɪʃ ɑr ˈɑrtɪkəlz ɔn ɑr wɛb saɪt ɪz beɪst ɔn ə ˈfaɪˌnaɪt ˈnəmbər əv. soʊ ɪn lɑrʤ ˈmɛʒər wɪr rɪˈzaɪnd tɪ ˈwərkɪŋ wɪˈθɪn ðoʊz leɪaʊts. ðə reɪnʤ əv ɪkˈsprɛʃən ðət ju si deɪ tɪ deɪ ɔn ðə hoʊm peɪʤ ənd ɔn ɑr ˈvɛriəs ˈsɛkʃən frənts ɪz ˈrɪli ə ˈkrɛdɪt tɪ ðə ˈɛdɪtərz ənd prəˈdusərz hu du ðə ˈækʧəwəl ˈpəblɪʃɪŋ əv ðə ˈɑrtɪkəlz. ðeɪ juz ðə c.m.s*. ðə moʊst ənd hæv ˈlərnɪd tɪ bi ˈvɛri kriˈeɪtɪv wɪθ ɪt. (maɪ dɪˈzaɪn grup ɪz ˈfoʊkɪst ɔn ðə saɪt ɛz ə ˈplætˌfɔrm, ənd wi doʊnt ˈɔfən gɪt ˌɪnˈvɑlvd wɪθ ðə ˈdeɪli leɪaʊt əv ðə nuz.) ɪf ðɛr ər ˈɛni ˈʃɔrtˌkəmɪŋz ɪn ðə reɪnʤ əv ɪkˈsprɛʃən ðət ðoʊz ˈɔfər, ɪts ðə ʤɑb əv maɪ dɪˈzaɪn grup, ˈwərkɪŋ wɪθ ɑr tɛkˈnɑləʤi tim, tɪ kriˈeɪt nu wənz ðət ˈbɛtər sut ðə nidz əv ðə ˈɛdɪtɪŋ stæf. ðɪs kən bi ə ˈlɛŋθi ənd ˌɪnˈvɑlvd ˈprɔˌsɛs. ˈɔfən ɪt ˈdəzənt meɪk sɛns tɪ ˌɪnˈvɛst ðə ˈɛfərt ɪn kriˈeɪtɪŋ ə brænd nu ˈtɛmplət ɪf ðə nidz ɪt wɪl ˈæˌdrɛs ər ˈsɪŋgjələr ər ˌʃɔrtˈtərm. soʊ wi wɪl ˈɔfən nɑt ˈfrikwɛntli, bət ˈɔfən ɪˈnəf traɪ tɪ wərk əraʊnd ðə ˌlɪmɪˈteɪʃənz əv ðə ɪgˈzɪstɪŋ ˈjuzɪŋ ˈkəstəm koʊd, ɛˈsɛnʃəli "ˈhækɪŋ ˈɪntu" ɑr oʊn tɪ əˈʧiv ə ənˈjuˌʒuəl ˌprɛzənˈteɪʃən. ə greɪt ɪgˈzæmpəl əv ðɪs ɪz ðə wərk ðət ɑr dɪˈzaɪn ˌtɛkˈnɑləʤɪst bɑrt dɪd fər ɑr ˈrisənt ˈsɪriz ɔn ˈʧaɪnə ənd ðə ɪnˈvaɪrənmənt, "ˈʧoʊkɪŋ ɔn groʊθ." 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. ðiz ˈɑrənt aɪˈdil əv kɔrs, soʊ wi traɪ tɪ bi ˈspɛrɪŋ ɪn ɑr juz əv ðɛm. wi wɔnt tɪ meɪnˈteɪn ɛz məʧ dɪˈzaɪn ˌflɛksəˈbɪləti ɛz wi kən, əv kɔrs, bət wi ˈɔlsoʊ hæv tɪ bi ˈpræktɪkəl əˈbaʊt ðə ˈtɛknɪkəl ˌɪmpləˈkeɪʃənz. ˈpʊʃɪŋ ðə c.m.s*. tu fɑr ɪn ðiz weɪz wʊd bi ənˈtɛnəbəl. ɑr dɪˈrɛktər əv ˈkɑntɛnt ˈmænɪʤmənt ˈsɪstəmz, bræd kəˈgɑwə, sɛd, "ðə nid tɪ ˈstrəkʧər ˈdætə" ɛnˈkoʊd ðə ˈkɑntɛnt ɪn səʧ ə weɪ ðət ɪt meɪks sɛns tɪ ɑr ˈsɪstəmz "ɪz ˈsəmˌtaɪmz æt ɑdz wɪθ ðə dɪˈzaɪər tɪ hæv ˈkəstəm leɪaʊts. wɪθ ðə c.m.s*. ˈpəblɪʃɪŋ tɪ ˈdəzənz əv dɪˈlɪvəri ˈʧænəlz (wɛb, rss*, ˈmoʊbəl, taɪmz ˈridər, ðə taɪmz ˈɑrˌkaɪv, ˈvɛriəs ˈpɑrtnər fidz, ˈæməˌzɑn ˈkɪndəl, ˌɛtˈsɛtərə.) wi hæv tɪ stɔr ˈɛvriˌθɪŋ ɪn ə ˈstrəkʧərd ənd weɪ bət æt ðə seɪm taɪm rɪˈteɪn ðət ˌflɛksəˈbɪləti." ɛz ə rɪˈzəlt, ðə dɪˈzaɪn tim ɪz ˈæktɪvli ˌɪnˈvɑlvd ɪn ðə dɪˈzaɪn ənd ˈplænɪŋ əv ɑr nɛkst ˌʤɛnərˈeɪʃən c.m.s*. ˈæləks raɪt, ðə ˌɪnˌfɔrˈmeɪʃən ˈɑrkəˌtɛkt hu ɪz ˈhɛdɪŋ əp ðə dɪˈzaɪn ˈæˌspɛkt əv ɪt, sɛd: "ɛz ju maɪt ˌɪˈmæʤən, ɪts ə lɑrʤ ˈəndərˌteɪkɪŋ. wɪr ˈkɑnstəntli ˈmeɪkɪŋ əˈʤəstmənts tɪ ðə ˈɪnərˌfeɪs ɛz wi dɪˈvɛləp nu aɪˈdiəz əˈbaʊt haʊ tɪ ˈstrimˌlaɪn ðə ˈpəblɪʃɪŋ ˈprɔˌsɛs waɪl səˈpɔrtɪŋ ðə ˈkɑmplɛks rɪkˈwaɪrmənts əv ə lɑrʤ ˌɔrgənəˈzeɪʃən." ˌɪnərˈækʃən wɪθ rɪˈpɔrtərz ənd ˈɛdɪtərz kju. ju hæv ˈsteɪtɪd ðət ju ənd jʊr stæf ər ˌɪnˈvɑlvd wɪθ wət ju dɪˈskraɪb ɛz ðə ˈfreɪmˌwərk fər. tɪ wət ɪkˈstɛnt du ju ənd jʊr stæf ˌɪnərˈækt wɪθ rɪˈpɔrtərz ənd ˈɛdɪtərz? haʊ dɪz ðət wərk? əˈsumɪŋ ju du wərk wɪθ ðə rɪˈpɔrtərz ənd ˈɛdɪtərz, ɪz ðət ðə seɪm ɛz wət ˈhæpənz wɪθ ðə ˈgræfɪks tim? ɪn ˈɛni keɪs, haʊ dɪz jʊr tim wərk wɪθ ðə ˈgræfɪks tim? ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ə. wi du wərk wɪθ ˈɛdɪtərz ənd rɪˈpɔrtərz kwaɪt ə bɪt. mɔr ˈɔfən ðən nɑt, ɪn fækt. goʊɪŋ bæk fər ə ˈmoʊmənt tɪ ðə ˈsəbʤɪkt əv ðə læst kˈwɛʃən: blɔgz ər ə greɪt ɪgˈzæmpəl əv haʊ wi wərk təˈgɛðər. iʧ blɔg wi kriˈeɪt bɪˈgɪnz ɛz ə ˌkɑnvərˈseɪʃən bɪtˈwin ˈɛdɪtərz ənd dɪˈzaɪnərz. bɪˈkəz ðɛr soʊ ˈhaɪli ˈfoʊkɪst ɔn spɪˈsɪfɪk ˈsəbʤɪkt ˈɛriəz, wi ˈrɪli traɪ hɑrd tɪ kriˈeɪt ðə raɪt dɪˈzaɪn səˈluʃən fər ðoʊz ˌpɑˈtɪkjələr ˌɛdəˈtɔriəl nidz. fər səm əv ɑr mɔr ˈstændərd ˈʤərnəˌlɪzəm, ɑr timz wərk təˈgɛðər tɪ kriˈeɪt ˈspɛʃəl leɪaʊts əv ɑr hoʊm peɪʤ ər ˈsɛkʃən frənts. ðɪs tɛndz tɪ ˈhæpən ˈoʊnli wɪn wi hæv æt list ə fju deɪz' ədˈvænst ˈnoʊtɪs, soʊ ˈɔnˌgoʊɪŋ ˈstɔriz laɪk ðə ˌprɛzɪˈdɛnʃəl kæmˈpeɪn, bɪg ɪˈvɛnts laɪk ðə poʊps ˈvɪzɪt tɪ ðə juˈnaɪtɪd steɪts ər ˈspɛʃəl ˈsɪriz laɪk "ˈʧoʊkɪŋ ɔn groʊθ" ər gʊd ɪgˈzæmpəlz əv ðət. ðoʊz ˈhæpən ˈrɛgjələrli ɪf nɑt ˈfrikwɛntli, bət wɪr ˈɔlˌweɪz ˈigər tɪ dɪˈzaɪn fər ðə nuz wɪn wi kən. æt ðə seɪm taɪm, wɪr kənˈtɪnjuəli kəˈlæbərˌeɪtɪŋ wɪθ ˈɛdɪtərz ənd rɪˈpɔrtərz ɔn wət aɪ dɪˈskraɪbd ˌbiˈfɔr ɛz ðə ˈplætˌfɔrm. ˌɛdəˈtɔriəl ˈɪnˌpʊt ɪz ˈrɪli ə ki kəmˈpoʊnənt ɔn ðiz dɪˈzaɪn ˈʧælənʤɪz. ən ˈɑbviəs ɪgˈzæmpəl wʊd bi ðə ˈsɛkʃən frənts wiv ˈoʊvərˌhɔld ˈoʊvər ðə pæst jɪr ər tu, e.g*., hɛlθ ənd ˈmuviz. ˈsɪmələrli, fər læst jɪrz ˈmeɪʤər ˈoʊvərˌhɔl əv haʊ wi ˈprɛzənt ɑr slideshows*, ˈɛdɪtərz ənd ˈfoʊˌtoʊ ˈɛdɪtərz wər ˈdipli ˌɪnˈvɑlvd ɪn ɪˈstæblɪʃɪŋ ðə rɪkˈwaɪrmənts ðət ˈgaɪdɪd ðət ˌridɪˈzaɪn. ˈivɪn ˈplætˌfɔrm ˈprɑʤɛkts ðət ˈɑrənt ɪkˈsplɪsətli ɪgˈzæmpəlz əv dɪˈlɪvərɪŋ taɪmz ˈʤərnəˌlɪzəm, laɪk ɑr maɪ taɪmz ˈprɑdəkt, wər dɪˈzaɪnd frəm skræʧ wɪθ ðə ˈɪnˌpʊt əv ðə ˈɛdɪtɪŋ stæf frəm ðə ˈvɛri stɑrt ɪn ðə dɪˈzaɪn ˈprɔˌsɛs kju. du ju juz ə dɪˈzaɪn ˈprɔˌsɛs tɪ kræft jʊr ˌɪnərˈækʃən dɪˈzaɪn? ɪf soʊ, haʊ du ju goʊ əˈbaʊt jʊr ˈjuzər ˈrisərʧ, ˈgɪvɪn ðət ju hæv səʧ ə brɔd beɪs əv ˈjuzərz? ə. ˈɛvəri taɪm wi æd ə nu ˈfiʧər tɪ ðə saɪt, ˌridɪˈzaɪn ən ɪgˈzɪstɪŋ ˈsɛkʃən ər kriˈeɪt nu ˈdɪʤɪtəl ˈprɑdəkts əv ˈɛni kaɪnd, wi stɑrt wɪθ ðə ˈprɛmɪs ðət ɑr ˈpraɪˌmɛri "klaɪənts" ər ðə ˈpipəl hu wɪl ˈæˌkʧuəli bi ˈjuzɪŋ ɪt, ənd nɑt ˌnɛsəˈsɛrəli ɑr stæf əv ˈʤərnəlɪsts, ˌtɛkˈnɑləʤɪsts, ˈbɪznəˈspipəl ər dɪˈzaɪnərz. ɪts kaɪnd əv ən ˈɑbviəs əˈsəmpʃən, bət ɪt ˈrɪli ɪz ðə ˈhɑrdəst pɑrt əv ðə ˈprɔˌsɛs fər ˈɛni dɪˈzaɪn tim, rəˈgɑrdləs əv ðə ˈɪndəstri: ˈsɛtɪŋ əˈsaɪd jʊr oʊn fəˌmɪˈljɛrəti wɪθ ðə ˈkɑntɛnt, jʊr oʊn ˌɛkspərˈtiz ənd ɛnˈvɪʒənɪŋ ə səˈluʃən θru ðə aɪz əv ðoʊz huz riˈleɪʃənˌʃɪp wɪθ jʊr ˈprɑdəkt ɪz məʧ mɔr ˈkæʒəwəl. wɪn aɪ seɪ "dɪˈzaɪn tim" hir, aɪ min ɪt ɪn ðə ˈlɑrʤər ˈkɑntɛkst, ˌɪnˈkludɪŋ ˈprɑdəkt dɪˈvɛləpərz, ˈsɔfˌwɛr ˈproʊˌgræmərz, ˈprɑʤɛkt ˈmænɪʤərz, ˌmɑrkətərz ɛz wɛl ɛz rɪˈpɔrtərz, ˈɛdɪtərz ənd ˈmɛni mɔr. ˈɛvriˌwən hir ɪz ˌɪnˈvɑlvd ɪn ðə dɪˈzaɪn ˈprɔˌsɛs, soʊ ˈɛvriˌwən həz tɪ bi ˈeɪbəl tɪ meɪk ðət lip ˈɪntu dɪˈzaɪn" ˈθɪŋkɪŋ. wi ɪmˈplɔɪ ə lɔt əv ˈrisərʧ fər ðɪs. wi hæv ə ˈkəstəmər ˈɪnˌsaɪt grup ðət peɪz ə lɔt əv əˈtɛnʃən tɪ saɪt ˈmɛtrɪks: ðə ˈtræfɪk wi gɪt, haʊ ðə saɪt ɪz biɪŋ juzd, ənd ðə ˈoʊvərˌɔl stəˈtɪstɪkəl ˈpætərnz fər ðət ˈjusɪʤ. wi ˈɔlsoʊ wərk wɪθ ðɛm ˈfrikwɛntli tɪ pərˈfɔrm tɛsts, wɛr wi brɪŋ ɪn ril ˈpipəl tɪ ɑr ˌɪnˈhaʊs ˈtɛstɪŋ fəˈsɪlɪtiz tɪ wɔʧ haʊ ðeɪ ˌɪnərˈækt wɪθ nu dɪˈzaɪn səˈluʃənz wi pʊt ɪn frənt əv ðɛm. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ˈsəmˌtaɪmz ðɪs ˈrisərʧ fidz ˈɪntu ðə "personas*" ˈmɛθəd əv dɪˈzaɪnɪŋ, ɪn wɪʧ wi raɪt dɪˈteɪld dɪˈskrɪpʃənz əv ˈɑrkˈtaɪpəl ˈjuzərz ənd meɪk dɪˈzaɪn dɪˈsɪʒənz əraʊnd ðə goʊlz ənd nidz əv ðoʊz ˈækʧəwəl. ˈpərsənəli, aɪ hæv mɪkst ˈfilɪŋz əˈbaʊt ðə ˈifɛktɪvnəs əv ðət tɛkˈnik, ðoʊ aɪ doʊnt kˈwɛʃən ðə ˈbeɪsɪk ˈprɛmɪs ðət ˌəndərˈstændɪŋ ɑr ˈjuzərz ɪz ðə ˈsɪŋgəl moʊst ˌɪmˈpɔrtənt stɑrt tɪ ˈɛni səˈluʃən. wi laɪk tɪ bi ˈflɛksəbəl, ðoʊ. ˈæləks raɪt, ˌɪnˌfɔrˈmeɪʃən ˈɑrkəˌtɛkt, sɛd: "ˈdɪfərənt ˈprɑʤɛkts kɔl fər ˈdɪfərənt dɪˈzaɪn əˈproʊʧɪz; wi traɪ tɪ əˈvɔɪd ˈlɑkɪŋ ɑrˈsɛlvz ˈɪntu ə dɪˈzaɪn ˈprɔˌsɛs. fər ˈmeɪʤər ˈprɑʤɛkts (laɪk ˈsɛkʃən redesigns*), wi du juz ənd sɪˈnɛrioʊ ˈmɑdəlɪŋ ˈmɛθədz. fər ˈəðər ˈprɑʤɛkts, wi juz ə mɪks əv ˈdɪfərənt ˈmɛθədz: fild ˈstədiz, aɪ ˈtrækɪŋ, ˈɔnˌlaɪn ˈsərˌveɪz, kɑrd ˈsɔrtɪŋ ənd, əv kɔrs, trəˈdɪʃənəl ˈtɛstɪŋ." səm pɛt pivz kju. ɪts hɑrd tɪ faɪnd ðə lɪŋk tɪ ðə oʊˈbɪʧuˌɛriz ˈsɛkʃən ɔn ðə frənt peɪʤ əv. waɪ ɪz ɪt ˈlɪstɪd ɔn ðə loʊər pɑrt əv ðə ˌlɛfˈthænd ˈkɑləm ɪn smɔl prɪnt əˈlɔŋ wɪθ blɔgz, ˈkrɔsˌwərdz, ˌɛtˈsɛtərə., wɪn ɪt dɪˈzərvz tɪ bi pleɪst haɪər əp ɪn ðə ˈkɑləm ənd ɪn ˈlɑrʤər prɪnt əˈlɔŋ wɪθ ˈəðər ˈnuzˌwərði ˈsɛkʃənz səʧ ɛz spɔrts, saɪəns, ɑrts ənd staɪl? kju. ˈəðər ˈpeɪpərz, ˈnoʊtəbli ðə siˈætəl taɪmz ənd ðə sæn frænˈsɪskoʊ ˈkrɑnɪkəl ˈmænɪʤ tɪ ˌɪnˈklud ˈpɪkʧərz ənd ˈgræfɪks frəm ðɛr ˈstɔriz ɪn ðə ˈprɪnər ˈvərʒən ðət ʃoʊz əp ɔn ðə ˈbraʊzər. ɪt wʊd æd ə lɔt ɪn səm ˈkeɪsɪz. waɪ kænt ðə taɪmz ˈmænɪʤ tɪ du ðɪs (goʊɪŋ ˈfɔrwərd, ɪf nɑt fər pæst ˈstɔriz)? kju. ə lɔt əv taɪmz aɪ ˌɛnˈʤɔɪ ðə nu jɔrk taɪmz ˈvɪdioʊz ənd wʊd laɪk tɪ ʃɛr ðɛm wɪθ səm əv maɪ ˈkɑligz. bət aɪ faɪnd ðət ˈdəzənt hæv ðə ɛmˈbɛdɪd sɔrs laɪk ˈjuˌtub dɪz. blɔgz ˈnaʊəˌdeɪz ɪmˈbɛd ɔl sɔrts əv ˈjuˌtub ˈvɪdioʊz ənd ˈəðər ˈvɪdioʊz frəm ˈdɪfərənt hoʊst saɪts ənd ɪt meɪks ɪt ˈiziər fər ˈpipəl vju θɪŋz wɪˈθaʊt ˈæˌkʧuəli ˈvɪzɪtɪŋ ðə saɪt. maɪ kˈwɛʃən ɪz, waɪ ˈdəzənt ðə ˌɪnˈklud ɛmˈbɛdɪd ˈsɔrsəz ənd wɪl wi si ðət ɪn ðə fˈjuʧər? ə. əm goʊɪŋ tɪ traɪ tɪ ˈænsər ðiz θri kˈwɛsʧənz wɪθ wən ˈʤɛnərəl ˈænsər, ənd baɪ ɪkˈstɛnʃən, ˈhoʊpfəli ˈæˌdrɛs ˈsɛvərəl ˈəðər kˈwɛsʧənz ðət wər sɛnt ɪn baɪ ˈridərz hu ˈɔlsoʊ rɪkˈwɛstɪd ˈʧeɪnʤɪz tɪ ər ɪkˈsprɛst frəˈstreɪʃənz wɪθ ˈvɛriəs pɑrts əv. aɪ doʊnt ˌnɛsəˈsɛrəli dɪsəˈgri wɪθ moʊst əv ðə səˈʤɛsʧənz ənd ˈkrɪtɪˌsɪzəmz ðət ˈpipəl hæv əˈbaʊt ðə ˌfəŋkʃəˈnælɪti əv ɑr saɪt. ðɛr kwaɪt ˈvælɪd ənd ðeɪd ˈɔlˌmoʊst ˈɔlˌweɪz goʊ ə lɔŋ weɪ təˈwɔrd ˌɪmˈpruvɪŋ ðə ˈoʊvərˌɔl ɪkˈspɪriəns ɔn ðə saɪt fər ˈjuzərz. ɪn fækt, ɪf ju ˈkɔrnərd mi ɪn ˌkɑnvərˈseɪʃən, ɪt ˈwʊdənt teɪk məʧ ˈɛfərt tɪ ɪˈlɪsɪt frəm mi ə lɔŋ lɪst əv maɪ oʊn frəˈstreɪʃənz ənd pivz, θɪŋz aɪd ˈvɛri məʧ laɪk tɪ si fɪkst. æt ˈɛni ˈgɪvɪn taɪm ðoʊ, maɪ dɪˈzaɪn grup ɪz ˈwərkɪŋ ɔn ˈrəfli ə ˈdəzən ər mɔr ˈprɑʤɛkts əv saɪz, waɪl ˌsaɪməlˈteɪniəsli ˈwɑʧɪŋ fər ˈərʤənt ˈprɑbləmz ˈkrɑpɪŋ əp əˈkrɔs ə saɪt əv sɪgˈnɪfɪkənt ˈvɑljum ənd brɛdθ. ðət kips ˈjuˈɛs ˈvɛri ˈbɪzi. soʊ ɛz ə ˈmætər əv ˈrisɔrsɪz ˈhævɪŋ ɪˈnəf dɪˈzaɪnərz tɪ teɪk kɛr əv ˈɛvriˌθɪŋ ɪts ˈɔlˌmoʊst ˌɪmˈpɑsəbəl fər ˈjuˈɛs tɪ ˈɪmpləmənt ˈɛvəri ʧeɪnʤ ər ˌɪmˈpruvmənt wid laɪk tɪ si ˈhæpən. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ˈivɪn ɪf ðə dɪˈzaɪn tim ˈdəbəld ər ˈtrɪpəld ɪn saɪz (ənd aɪ ˈæˌkʧuəli bɪˈliv ðət bɪɔnd ə ˈrɛlətɪvli smɔl stæf kaʊnt, moʊst ˈlɑrʤər dɪˈzaɪn timz ər ˈæˌkʧuəli lɛs ˈifɛktɪv ðən sˈmɔlər wənz), wi kænt ˈɪmpləmənt ðiz ˈʧeɪnʤɪz ɔn ɑr oʊn. fər ˈmɛni əv ðɛm, wid ˈvɛri məʧ nid ðə kəˌlæbərˈeɪʃən ənd səˈpɔrt əv ɑr ˈkɑligz θruaʊt ðə ˈkəmpəˌni, əˈspɛʃəli ðoʊz ɪn ɑr tɛkˈnɑləʤi grup, ənd ðeɪ hæv ðɛr hænz fʊl ɛz wɛl. ˈləkəli, ə lɔt əv ɑr ˈprɑʤɛkts ər ˈæˌkʧuəli ˈfoʊkɪst ɔn ˈoʊvərˌhɔlɪŋ ənd ˌɪmˈpruvɪŋ ɪgˈzɪstɪŋ ˈɛriəz əv ðə saɪt ðət hæv bɪn lɔŋ nɪˈglɛktɪd. soʊ ɪn ə sɛns, wɪr kənˈtɪnjuəli traɪɪŋ tɪ rut aʊt ðiz ˌɪmpərˈfɛkʃənz. ɪt ʤɪst meɪ teɪk ˈjuˈɛs ə waɪl tɪ gɪt tɪ ðə wənz ˈmɛnʃənd ɪn ðiz kˈwɛsʧənz. ˌrɛkəˈmɛndɪd kɔrs əv ˈstədi? kju. wət kɔrs əv ˈstədi wʊd ju ˌrɛkəˈmɛnd æt ðə ˈgræʤəˌweɪt ər ˌəndərˈgræʤəwət ˈlɛvəl fər ˈsəmˌwən ˈlʊkɪŋ tɪ wərk ɪn jʊr fild? ər, ˈfeɪlɪŋ ðət, wət ˈpræktɪkəl ɪkˈspɪriəns du ju θɪŋk moʊst priˈpɛrd ju fər jʊr ˈkɑrənt ʤɑb? ə. aɪ doʊnt prɪˈzum tɪ bi ən ˈɛʤəˌkeɪtər, soʊ ɪts ˈprɑbəˌbli bɛst fər mi tɪ ˈænsər ðɪs kˈwɛʃən ɪn tərmz əv wət aɪ lʊk fər wɪn ˈhaɪrɪŋ ə nu ɪmˈplɔɪi. ɪts ˈæˌkʧuəli kwaɪt ə ˈkɑmplɛks mɪks əv ˈvɛrid skɪlz: ən aɪˈdil ˈæplɪkənt wʊd hæv ˈvɛri strɔŋ trəˈdɪʃənəl ˈgræfɪk dɪˈzaɪn skɪlz; ˈtreɪnɪŋ ɪn ənd ˌɪnərˈækʃən dɪˈzaɪn; ˈpræktɪkəl ɪkˈspɪriəns ˈkoʊdɪŋ xhtml*,, ˈʤɑvəˌskrɪpt ənd flæʃ; ə kəˈmərʃəli ˈvaɪəbəl ˈkəmfərt ˈlɛvəl wɪθ ˈdætəˌbeɪs ənd ˌæpləˈkeɪʃən ˈproʊˌgræmɪŋ; ənd læst bət nɑt list saʊnd nuz ˈʤəʤmənt beɪst ɔn ə dip ˌəndərˈstændɪŋ əv ˈkɑrənt əˈfɛrz. maɪnd ju, ˈɔlˌmoʊst ˈnoʊˌbɑˌdi pəˈzɛsɪz ðɪs ɪgˈzækt ˌkɑmbəˈneɪʃən əv skɪlz. ɪf ðɛrz ə skul ər kərˈɪkjələm ˈsəmˌwɛr ðæts ˈtərnɪŋ aʊt ðiz kaɪnz əv ˈkænədɪts ˈrɛgjələrli, aɪd bi ˈvɛri ˈɪntəˌrɛstɪd tɪ noʊ. (ˌbiˈsaɪdz, aɪ tɛnd nɑt tɪ peɪ ˈnɪrli ɛz məʧ əˈtɛnʃən tɪ wɛr ə ˈkænədɪt wɑz skuld ɛz aɪ du tɪ ðət ˈkændədeɪts pɔrtˈfoʊliˌoʊ əv wərk ˈsæmpəlz ənd ˈpræktɪkəl ɪkˈspɪriəns.) soʊ ˈɑbviəsli aɪ lʊk fər ˈpipəl hu kən ˈkɑmbaɪn ɛz ˈmɛni əv ðiz skɪlz ɛz ˈpɑsəbəl. əm nɑt ʃʊr ɪt wʊd bi fɛr tɪ seɪ ðət ˈɛni wən skɪl ɪz mɔr ˌɪmˈpɔrtənt ðən ðə ˈəðər bɪˈkəz ðɛr ɔl ˈvaɪtəl, bət aɪ kən seɪ ðət ˈhævɪŋ ə ˌpɑrˈtɪkjələrli wik faʊnˈdeɪʃən ɪn trəˈdɪʃənəl ˈgræfɪk dɪˈzaɪn ˈlækɪŋ ən ˌəndərˈstændɪŋ əv təˈpɑgrəfi, ˈkələr, ˌkɑmpəˈzɪʃən ənd ˈvɪʒəwəl ˈstɔriˌtɛlɪŋ mɔr ər lɛs dɪskˈwɑləˌfaɪz wən ˌɪˈmiˌdiətli. ðɛr ər ə fju ˈəðər ˌɪnˈtænʤəbəl kˈwɑlətiz ðət aɪ lʊk fər, tu. ðə əˈbɪləˌti tɪ ˈifɛktɪvli ɑrˈtɪkjəˌleɪt wənz aɪˈdiəz əˈbaʊt dɪˈzaɪn ɪz ə bɪg pləs; ˈtrænsˌleɪtɪŋ səˈbʤɛktɪv ˈnuɑnsɪz ˈɪntu ˌɛkspləˈneɪʃənz ɪz ə ˈkrɪtɪkəl rɪkˈwaɪrmənt fər ðɪs ʤɑb. ˈæʤəl skɪlz ər ˈɔlsoʊ ən ˌɪmˈpɛrətɪv; biɪŋ ˈeɪbəl tɪ θɪŋk əˈbaʊt ə dɪˈzaɪn ˈprɑbləm ɪn ə ˈlɑrʤər ˈkɑntɛkst ðən wənz oʊn roʊl ɛz ə dɪˈzaɪnər ˈoʊnli meɪks ɪt ˈiziər tɪ pʊl ɔf æmˈbɪʃəs səˈluʃənz. ənd ˈmeɪbi moʊst ˌɪmˈpɔrtənt əv ɔl ɪz ɪnˈθuziˌæzəm fər ðə wərk; ðɛrz noʊ ˈsəbstəˌtut fər ə dɪˈzaɪnər hu filz ˈtruli ˌɪnˈvɛstɪd ɪn ðə wərk. ɔl ðə nuz ənd lɪŋks ðət fɪt? kju. kʊd ju tɔk əˈbaʊt ˈbælənsɪŋ ðə ˈməltəˌtud əv lɪŋks tɪ ˈɔpʃənz, ˈsərvɪsɪz, ˈnuzˌpeɪpər ˈsɛkʃənz, ˌɛtˈsɛtərə. ɔn ə peɪʤ wɪθ ðə ˈækʧəwəl ˈkɑntɛnt əv ðə ˈpeɪpər? wɪn ɪz ɪt ˈbɛtər tɪ meɪk ˈridərz klɪk θru wən ər tu ˈlɛvəlz tɪ faɪnd ˈsəmθɪŋ ˌɪnˈstɛd əv ˈklətərɪŋ ðə frənt peɪʤ wɪθ lɪŋks? ɪz ðɛr ə saɪəns tɪ ðɪs, ər ɪz ɪt dɪˈzaɪn ˈɪnstɪŋkt? ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ə. ðɛrz noʊ kˈwɛʃən ðət ðɛrz ə lɔt əv stəf ɔn ɑr ˈpeɪʤɪz. ɪn fækt, tɪ spik ˈfræŋkli, aɪd seɪ ðət ˈɔfən ðɛrz ʤɪst tu məʧ stəf. tu ˈmɛni lɪŋks, ædz, ˈɛkstrə ˈfiʧərz ənd ˈivɪn tu məʧ tɛkst. wi ˈɔfən hir frəm ˈjuzərz ənd ˈivɪn frəm ɑr oʊn stæf ðət wi ʃʊd bi ˈsikɪŋ tɪ rɪˈdus ðə ˈnəmbər əv ˈvɪʒəwəl ˈɛləmənts ɔn iʧ peɪʤ. ˌhaʊˈɛvər, θruaʊt ˈvərʧuəli ðə ɪnˈtaɪər saɪt, wi hæv tɪ əˈʧiv ə ˈdɛləkət ˈbæləns bɪtˈwin ðə kənˈsərnz əv ɑr ˈnuzˌrum, ɑr ˈbɪznɪs, ɑr ˌtɛknəˈlɑʤɪkəl ˌɪnfrəˈstrəkʧər, ɑr brænd ənd, moʊst ˌɪmˈpɔrtənt, ðə ˈpipəl hu juz ðə saɪt. ʤɪst əˈbaʊt ˈɛniˌθɪŋ ðət əˈpɪrz ɔn ˈɛni ˈgɪvɪn peɪʤ ɪz taɪd tɪ səm ˈɪntrəkət ˌkɑmbəˈneɪʃən əv ˌɛdəˈtɔriəl ˈʤəʤmənt, ˈrɛvəˌnu, ˈtɛknɪkəl riˈstrɪkʃən ənd ˈjuzər bɪˈheɪvjər. ju kən θɪŋk əv ɪt ɛz ən ɪˈlæbərˌeɪt ˈlɑʤɪk ˈpəzəl, wɪθ ðə ˈoʊnəs ɔn maɪ dɪˈzaɪn stæf tɪ sɑlv ðə ˈpəzəl ˈjuzɪŋ ɛz fju ˈɛləmənts ɛz ˈpɑsəbəl, ɪn ɛz ɛsˈθɛtɪkli ˈplizɪŋ ə ˈmænər ɛz ˈpɑsəbəl. wi straɪv tɪ dɪˈstɪl ˈɛvəri ˈtɛmplət ðət wi kriˈeɪt daʊn tɪ ɪts kɔr pɑrts, ənd ˈæktɪvli dəˈbeɪt ðə ˈpleɪsmənt əv ˈnɪrli ˈɛvəri ˈɛləmənt. ðɛrz noʊ ˈmæʤɪk ˈfɔrmjələ fər ðɪs, ənˈfɔrʧənətli. ɪn səm ˈkeɪsɪz wi du faɪnd ɪt ˈbɛtər tɪ dɪˈzaɪn ə ˈfiʧər soʊ ðət ˈpipəl ər rikˈwaɪərd tɪ klɪk θru ɪt. ɪn ˈəðər ˈɪnstənsɪz, wi faɪnd ər ˈsɪmpli prɪˈzɛntɪŋ ɔl əv ðə əˈveɪləbəl ˈɔpʃənz əp frənt ɪz ðə ˈbɛtər kɔrs. ənd æt taɪmz ðɛr ər dɪˈzaɪn səˈluʃənz ðət ˈɛvriˌwən filz ər ðə ˈsɪmpləst ənd bɛst, bət ðət kænt bi ˈɪmpləˌmɛnəd du tɪ səm prægˈmætɪk kənˈstreɪnt ˌɪmˈpoʊzd baɪ ˈɛni əv ðə ˈmɛni ˌɪntərdɪˈpɛndənt ˈfæktərz ˈdraɪvɪŋ ðə saɪt. ɛz ju kən ˌɪˈmæʤən, ɪts noʊ ˈizi fit wɪʧ ˈɪzənt mɛnt ɛz ən ɪkˈskjuz. ðɪs ˈdɪfɪˌkəlti əv ðə ˌsɪʧuˈeɪʃən, waɪl nɑt ˈɔlˌweɪz ˌɛnˈʤɔɪəbəl, ɪz ə bɪg pɑrt əv ðə ˈrizən ˈmɛni əv ˈjuˈɛs hæv saɪnd ɔn fər ðɪs ʤɑb. ɪts ən ˈɪntəˌrɛstɪŋ dɪˈzaɪn ˈʧælənʤ bɪˈkəz ɪts ə hɑrd wən. wɪr ˈəndər noʊ ˌɪˈluʒənz ðət wət ju si ɔn ðə saɪt ɪz ðə bɛst ˈpɑsəbəl dɪˈzaɪn ˈɛvər. wi lʊk æt ɪt ɛz ə wərk ɪn ˈprɑˌgrɛs, ənd ˈsəmθɪŋ ðət kən bi kənˈtɪnjuəli ˌɪmˈpruvd.

eric fanning (waving) is the first openly gay secretary of the army in us history. the first openly gay us secretary of the army eric fanning rode in the san diego pride parade on sunday in an open car with boyfriend ben masri-cohen. fanning spent the weekend in the sunny california city and also appeared at a rally and at a san diego padres baseball game. his appearance came just weeks after the us military announced it would begin to allow transgender military personnel to serve openly for the first time. ‘for many in our military, pride in san diego has special meaning,’ fanning told an audience at the spirit of stonewall rally friday evening at balboa park. ‘with their actions, they sent a clear message to our country: that possible to take deep pride in being part of two great families, the u.s. military and the community.’ he also addressed critics who are against allowing transgender people to serve openly. ‘today, when our critics say that the military is not a place for social experimentation, they may be right. but equality and are not experiments. they are american values.’ manning later told the san diego union-tribune: ‘i want to be able to recruit from the broadest base of people possible who meet the requirements. so why we open up service to those people who meet those requirements that are all about the job and the mission? people who just want to serve.’ fanning, 47, also spoke at the rally of the 12 june shooting massacre at the orlando nightclub pulse that killed 49 people and injured 53 others. ‘we should come together, even as we grieve and mourn,’ fanning told the crowd. ‘because we must respond to acts of cowardice with acts of confidence, with acts of pride in who we are and what we believe.’ his nomination last fall by president barack obama came just five years after the historic end of ask, tell. that law prohibited gay, lesbian and bisexual americans from serving in the us armed forces openly. enacted in the 1990s, prevented fanning from joining the military himself.

ˈɛrɪk ˈfænɪŋ (ˈweɪvɪŋ) ɪz ðə fərst ˈoʊpənli geɪ ˈsɛkrəˌtɛri əv ðə ˈɑrmi ɪn ˈjuˈɛs ˈhɪstəri. ðə fərst ˈoʊpənli geɪ ˈjuˈɛs ˈsɛkrəˌtɛri əv ðə ˈɑrmi ˈɛrɪk ˈfænɪŋ roʊd ɪn ðə sæn diˈeɪgoʊ praɪd pəreɪd ɔn ˈsənˌdi ɪn ən ˈoʊpən kɑr wɪθ ˈbɔɪˌfrɛnd bɛn masri-cohen*. ˈfænɪŋ spɛnt ðə ˈwiˌkɪnd ɪn ðə ˈsəni ˌkæləˈfɔrnjə ˈsɪti ənd ˈɔlsoʊ əˈpɪrd æt ə ˈræli ənd æt ə sæn diˈeɪgoʊ ˈpæˌdreɪz ˈbeɪsˈbɔl geɪm. hɪz əˈpɪrəns keɪm ʤɪst wiks ˈæftər ðə ˈjuˈɛs ˈmɪlɪˌtɛri əˈnaʊnst ɪt wʊd bɪˈgɪn tɪ əˈlaʊ ˈtrænzˈʤɛndər ˈmɪlɪˌtɛri ˌpərsəˈnɛl tɪ sərv ˈoʊpənli fər ðə fərst taɪm. ˈmɛni ɪn ɑr ˈmɪlɪˌtɛri, praɪd ɪn sæn diˈeɪgoʊ həz ˈspɛʃəl meaning,’*,’ ˈfænɪŋ toʊld ən ˈɔdiəns æt ðə ˈspɪrɪt əv ˈstoʊnˌwɔl ˈræli ˈfraɪˌdeɪ ˈivnɪŋ æt bɑlˈboʊə pɑrk. ðɛr ˈækʃənz, ðeɪ sɛnt ə klɪr ˈmɛsɪʤ tɪ ɑr ˈkəntri: ðət ˈpɑsəbəl tɪ teɪk dip praɪd ɪn biɪŋ pɑrt əv tu greɪt ˈfæməliz, ðə juz. ˈmɪlɪˌtɛri ənd ðə community.’*.’ hi ˈɔlsoʊ əˈdrɛst ˈkrɪtɪks hu ər əˈgɛnst əˈlaʊɪŋ ˈtrænzˈʤɛndər ˈpipəl tɪ sərv ˈoʊpənli. ‘‘today*, wɪn ɑr ˈkrɪtɪks seɪ ðət ðə ˈmɪlɪˌtɛri ɪz nɑt ə pleɪs fər ˈsoʊʃəl ɪkˌspɛrəmənˈteɪʃən, ðeɪ meɪ bi raɪt. bət ɪkˈwɑləti ənd ər nɑt ɪkˈspɛrəmənts. ðeɪ ər əˈmɛrɪkən values.’*.’ ˈmænɪŋ ˈleɪtər toʊld ðə sæn diˈeɪgoʊ union-tribune*: wɔnt tɪ bi ˈeɪbəl tɪ rɪˈkrut frəm ðə ˈbrɔdɪst beɪs əv ˈpipəl ˈpɑsəbəl hu mit ðə rɪkˈwaɪrmənts. soʊ waɪ wi ˈoʊpən əp ˈsərvɪs tɪ ðoʊz ˈpipəl hu mit ðoʊz rɪkˈwaɪrmənts ðət ər ɔl əˈbaʊt ðə ʤɑb ənd ðə ˈmɪʃən? ˈpipəl hu ʤɪst wɔnt tɪ serve.’*.’ ˈfænɪŋ, 47 ˈɔlsoʊ spoʊk æt ðə ˈræli əv ðə 12 ʤun ˈʃutɪŋ ˈmæsəkər æt ðə ɔˈrlænˌdoʊ ˈnaɪtˌkləb pəls ðət kɪld 49 ˈpipəl ənd ˈɪnʤərd 53 ˈəðərz. ʃʊd kəm təˈgɛðər, ˈivɪn ɛz wi griv ənd mourn,’*,’ ˈfænɪŋ toʊld ðə kraʊd. wi məst rɪˈspɑnd tɪ ækts əv ˈkaʊərdəs wɪθ ækts əv ˈkɑnfədɛns, wɪθ ækts əv praɪd ɪn hu wi ər ənd wət wi believe.’*.’ hɪz ˌnɑməˈneɪʃən læst fɔl baɪ ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə keɪm ʤɪst faɪv jɪrz ˈæftər ðə hɪˈstɔrɪk ɛnd əv æsk, tɛl. ðət lɔ proʊˈhɪbətəd geɪ, ˈlɛzbiən ənd ˌbaɪˈsɛkʃuəl əˈmɛrɪkənz frəm ˈsərvɪŋ ɪn ðə ˈjuˈɛs ɑrmd ˈfɔrsɪz ˈoʊpənli. ɛˈnæktəd ɪn ðə 1990s*, prɪˈvɛnɪd ˈfænɪŋ frəm ˈʤɔɪnɪŋ ðə ˈmɪlɪˌtɛri hɪmˈsɛlf.

he would have gotten away with it, too, if it hadn't been for that elastic waistband. tazviona, 40, entered a london liquor store last january, wielding a kitchen knife and disguised with a pair of light blue boxer shorts over his face, according to the telegraph. police say the zimbabwean man then threatened to "use the knife" if store employee harry mahalingham, 34, did not give him money. mahalingham, however, was not about to give in to demands from a talking pair of underwear. the sales assistant leapt over the counter, grabbed a display sign, and proceeded to beat with it, the new zimbabwe reported. ultimately,'s disguise failed him. security camera footage shows the boxer shorts slipping off the head, revealing his face. police identified based this footage as well as dna samples from the underwear, which the thief discarded as he fled the shop, according to upi.

hi wʊd hæv ˈgɔtən əˈweɪ wɪθ ɪt, tu, ɪf ɪt ˈhædənt bɪn fər ðət ɪˈlæstɪk waistband*., 40 ˈɛnərd ə ˈləndən ˈlɪkər stɔr læst ˈʤænjuˌɛri, ˈwildɪŋ ə ˈkɪʧən naɪf ənd dɪsˈgaɪzd wɪθ ə pɛr əv laɪt blu ˈbɑksər ʃɔrts ˈoʊvər hɪz feɪs, əˈkɔrdɪŋ tɪ ðə ˈtɛləˌgræf. pəˈlis seɪ ðə zɪmˈbɑbwiən mæn ðɛn θˈrɛtənd tɪ "juz ðə naɪf" ɪf stɔr ɪmˈplɔɪi ˈhɛri mahalingham*, 34 dɪd nɑt gɪv ɪm ˈməni. mahalingham*, ˌhaʊˈɛvər, wɑz nɑt əˈbaʊt tɪ gɪv ɪn tɪ dɪˈmændz frəm ə ˈtɔkɪŋ pɛr əv ˈəndərˌwɛr. ðə seɪlz əˈsɪstənt lɛpt ˈoʊvər ðə ˈkaʊntər, græbd ə dɪˈspleɪ saɪn, ənd prəˈsidəd tɪ bit wɪθ ɪt, ðə nu zɪmˈbɑbweɪ ˌriˈpɔrtəd. ˈəltəmətli, dɪsˈgaɪz feɪld ɪm. sɪˈkjʊrəti ˈkæmərə ˈfʊtɪʤ ʃoʊz ðə ˈbɑksər ʃɔrts sˈlɪpɪŋ ɔf ðə hɛd, rɪˈvilɪŋ hɪz feɪs. pəˈlis aɪˈdɛntəˌfaɪd beɪst ðɪs ˈfʊtɪʤ ɛz wɛl ɛz ˈdiˌɛˈneɪ ˈsæmpəlz frəm ðə ˈəndərˌwɛr, wɪʧ ðə θif dɪˈskɑrdɪd ɛz hi flɛd ðə ʃɑp, əˈkɔrdɪŋ tɪ upi*.

show of hands, please: who thought, back in february, that be approaching memorial day with the baltimore orioles in possession of the record in the american league? uh-huh; not many of you. now: who thought instead, three months ago, that the 2016 orioles would be fortunate to end the season with 75 wins? a few more, and we are among you. we revisit our thinking, if you can call it that. we will point out, though, that the orioles will certainly come back to earth. first of all, none of the other teams in the al east are going to be pushovers. more importantly, the orioles have been somewhat fortunate so far this year, just as they were somewhat unfortunate last year. their record today is; their pythagorean projection assume you know what we mean) has them more like. conversely, the 2015 orioles finished, whereas their pythagorean projection had them more like 83-79—which, over 43 games, makes for 22 wins. the small difference between the seasons can be fully accounted for by the acquisition of mark trumbo and the advent of kevin gausman. we confess to being mistaken about the orioles not only in bulk but at retail. sure, we (sort of) touted joey rickard before (we think) anyone else, and proud of it (although he certainly has cooled off). but we envision a by chris tillman. and the guy we absolutely adored on draft day was pedro (.191/.300/.351) alvarez. you know how might try to make games shorter by using automatic intentional walks? we propose automatic strikeouts, starting with pedro. even bother having him approach home plate. so our orioles picks have been wrong. but perhaps our next orioles pick will be right. in fact, sure it will be: mike wright, starting pitcher. his story so far, in telegraphese: right-handed, 26 years old, former prospect, era in audition last season, era in 7 starts this season, durable, hard thrower, good stuff, command problems, misses too few bats, owned in 1% of yahoo and leagues. a compelling addition to your fantasy squad, correct? wright is nonetheless extremely interesting, because he and his surroundings have a virtually pharmaceutical purity if inclined to see them, as we are, as elements of a laboratory experiment. our regular readers, if there are any, know that we are somewhat unhinged on the subject of starting pitchers. in our monologues on the subject, we commence by noting that a fair number of starting pitchers are good for five and only five innings, and turn to pumpkins if they stay around longer than that. we add that, while long-winded starters get scarcer, each harvest of relief pitchers capable of throwing 15 or 20 pitches at 97 mph every couple of days seems more abundant than the last. we then mention that the success of the kansas city royals, who push their starting pitchers and have an unprecedentedly deep and bullpen, has inspired imitators and will inspire yet more as the tactic proves effective generally. and we opine that managers who want to keep their jobs will have to will deploy these redoubtable preemptively. that is, they wait until the starter gets in trouble in the sixth or seventh inning, but instead will bring in the cavalry at the start of those innings, even if the starter has been pitching effectively and has thrown relatively few pitches. just occurs, starting pitchers who can go only five good innings before detonating will have significantly more value, in both fantasy baseball and reality baseball. the orioles have exactly what they need to effect this strategy. wright is a pitcher to the tip of his cleats. made 7 starts this season. his numbers for the first 5 innings: 35 ip, 31 h, 10 w, 13 er, 25 k, era, whip,. his numbers as a starter in the innings thereafter: 5 ip, 11 h, 4 w, 10 er, 5 k, we even bring ourselves to do the rest of the math. baltimore’s of course also got a formidable bullpen to take over where wright leaves off. here are the aggregate stats for the big 4 of brad brach, givens, darren o’day, and zach britton: 315 ip, era, whip,. so got a starter and a bullpen full of reliable hard of the three preconditions for our experiment. do we also have a manager not afraid to yank wright after he throws five good innings, whatever feelings on the subject may be? not so far, but we have hope. buck showalter has let wright pitch into the in 6 of 7 starts, with generally unhappy results. but an attentive manager, and has never been scared to rely on his bullpen, even when that been less formidable than the one got now. so perhaps gotten the message, or will soon get it.

ʃoʊ əv hænz, pliz: hu θɔt, bæk ɪn ˈfɛbruˌɛri, ðət bi əˈproʊʧɪŋ məˈmɔriəl deɪ wɪθ ðə ˈbɔltəˌmɔr ˈɔriˌoʊlz ɪn pəˈzɛʃən əv ðə ˈrɛkərd ɪn ðə əˈmɛrɪkən lig? ˈəˈhə; nɑt ˈmɛni əv ju. naʊ: hu θɔt ˌɪnˈstɛd, θri mənθs əˈgoʊ, ðət ðə 2016 ˈɔriˌoʊlz wʊd bi ˈfɔrʧənət tɪ ɛnd ðə ˈsizən wɪθ 75 wɪnz? ə fju mɔr, ənd wi ər əˈməŋ ju. wi riˈvɪzɪt ɑr ˈθɪŋkɪŋ, ɪf ju kən kɔl ɪt ðət. wi wɪl pɔɪnt aʊt, ðoʊ, ðət ðə ˈɔriˌoʊlz wɪl ˈsərtənli kəm bæk tɪ ərθ. fərst əv ɔl, nən əv ðə ˈəðər timz ɪn ðə æl ist ər goʊɪŋ tɪ bi pushovers*. mɔr ˌɪmˈpɔrtəntli, ðə ˈɔriˌoʊlz hæv bɪn ˈsəmˈwət ˈfɔrʧənət soʊ fɑr ðɪs jɪr, ʤɪst ɛz ðeɪ wər ˈsəmˈwət ənˈfɔrʧənət læst jɪr. ðɛr ˈrɛkərd təˈdeɪ ɪz ðɛr ˌpɪθəˈgɔriən prɑˈʤɛkʃən əˈsum ju noʊ wət wi min) həz ðɛm mɔr laɪk ˈkɑnvərsli, ðə 2015 ˈɔriˌoʊlz ˈfɪnɪʃt wɛˈræz ðɛr ˌpɪθəˈgɔriən prɑˈʤɛkʃən hæd ðɛm mɔr laɪk 83-79—which*, ˈoʊvər 43 geɪmz, meɪks fər 22 wɪnz. ðə smɔl ˈdɪfərəns bɪtˈwin ðə ˈsizənz kən bi ˈfʊli əˈkaʊntɪd fər baɪ ðə ˌækwəˈzɪʃən əv mɑrk ˈtrəmboʊ ənd ðə ˈædˌvɛnt əv ˈkɛvɪn ˈgaʊsmən. wi kənˈfɛs tɪ biɪŋ mɪˈsteɪkən əˈbaʊt ðə ˈɔriˌoʊlz nɑt ˈoʊnli ɪn bəlk bət æt ˈriˌteɪl. ʃʊr, wi (sɔrt əv) ˈtaʊtɪd ʤoʊi ˈrɪkərd ˌbiˈfɔr (wi θɪŋk) ˈɛniˌwən ɛls, ənd praʊd əv ɪt (ˌɔlˈðoʊ hi ˈsərtənli həz kuld ɔf). bət wi ɛnˈvɪʒən ə baɪ krɪs ˈtɪlmən. ənd ðə gaɪ wi ˌæbsəˈlutli əˈdɔrd ɔn dræft deɪ wɑz ˈpeɪdroʊ ˈælvərˌɛz. ju noʊ haʊ maɪt traɪ tɪ meɪk geɪmz ˈʃɔrtər baɪ ˈjuzɪŋ ˌɔtəˈmætɪk ˌɪnˈtɛnʃənəl wɔks? wi prəˈpoʊz ˌɔtəˈmætɪk ˈstraɪˌkaʊts, ˈstɑrtɪŋ wɪθ ˈpeɪdroʊ. ˈivɪn ˈbɑðər ˈhævɪŋ ɪm əˈproʊʧ hoʊm pleɪt. soʊ ɑr ˈɔriˌoʊlz pɪks hæv bɪn rɔŋ. bət pərˈhæps ɑr nɛkst ˈɔriˌoʊlz pɪk wɪl bi raɪt. ɪn fækt, ʃʊr ɪt wɪl bi: maɪk raɪt, ˈstɑrtɪŋ ˈpɪʧər. hɪz ˈstɔri soʊ fɑr, ɪn telegraphese*: raɪˈthændɪd, 26 jɪrz oʊld, ˈfɔrmər ˈprɑspɛkt, ˈɪrə ɪn ɑˈdɪʃən læst ˈsizən, ˈɪrə ɪn 7 stɑrts ðɪs ˈsizən, ˈdʊrəbəl, hɑrd θroʊər, gʊd stəf, kəˈmænd ˈprɑbləmz, ˈmɪsɪz tu fju bæts, oʊnd ɪn 1 əv ˈjɑˌhu ənd ligz. ə kəmˈpɛlɪŋ əˈdɪʃən tɪ jʊr ˈfænəsi skwɑd, kərˈɛkt? raɪt ɪz ˌnənðəˈlɛs ɪkˈstrimli ˈɪntəˌrɛstɪŋ, bɪˈkəz hi ənd hɪz sərˈaʊndɪŋz hæv ə ˈvərʧuəli ˌfɑrməˈsutɪkəl ˈpjʊrɪti ɪf ˌɪnˈklaɪnd tɪ si ðɛm, ɛz wi ər, ɛz ˈɛləmənts əv ə ˈlæbrəˌtɔri ɪkˈspɛrəmənt. ɑr ˈrɛgjələr ˈridərz, ɪf ðɛr ər ˈɛni, noʊ ðət wi ər ˈsəmˈwət ənˈhɪnʤd ɔn ðə ˈsəbʤɪkt əv ˈstɑrtɪŋ ˈpɪʧərz. ɪn ɑr ˈmɑnəˌlɔgz ɔn ðə ˈsəbʤɪkt, wi kəˈmɛns baɪ ˈnoʊtɪŋ ðət ə fɛr ˈnəmbər əv ˈstɑrtɪŋ ˈpɪʧərz ər gʊd fər faɪv ənd ˈoʊnli faɪv ˈɪnɪŋz, ənd tərn tɪ ˈpəmpkənz ɪf ðeɪ steɪ əraʊnd ˈlɔŋgər ðən ðət. wi æd ðət, waɪl ˈlɔŋˈwɪndɪd ˈstɑrtərz gɪt ˈskɛrsər, iʧ ˈhɑrvəst əv rɪˈlif ˈpɪʧərz ˈkeɪpəbəl əv θroʊɪŋ 15 ər 20 ˈpɪʧɪz æt 97 ˈɛmˈpiˈeɪʧ ˈɛvəri ˈkəpəl əv deɪz simz mɔr əˈbəndənt ðən ðə læst. wi ðɛn ˈmɛnʃən ðət ðə səkˈsɛs əv ðə ˈkænzəs ˈsɪti rɔɪəlz, hu pʊʃ ðɛr ˈstɑrtɪŋ ˈpɪʧərz ənd hæv ən ənˈprɛsəˌdɛntɪdli dip ənd ˈbʊlˌpɛn, həz ˌɪnˈspaɪərd ˈɪmɪˌteɪtərz ənd wɪl ˌɪnˈspaɪr jɛt mɔr ɛz ðə ˈtæktɪk pruvz ˈifɛktɪv ˈʤɛnərəli. ənd wi oʊˈpaɪn ðət ˈmænɪʤərz hu wɔnt tɪ kip ðɛr ʤɑbz wɪl hæv tɪ wɪl dɪˈplɔɪ ðiz rəˈdaʊtəbəl priˈɛmptɪvli. ðət ɪz, ðeɪ weɪt ənˈtɪl ðə ˈstɑrtər gɪts ɪn ˈtrəbəl ɪn ðə sɪksθ ər ˈsɛvənθ ˈɪnɪŋ, bət ˌɪnˈstɛd wɪl brɪŋ ɪn ðə ˈkævəlri æt ðə stɑrt əv ðoʊz ˈɪnɪŋz, ˈivɪn ɪf ðə ˈstɑrtər həz bɪn ˈpɪʧɪŋ ˈifɛktɪvli ənd həz θroʊn ˈrɛlətɪvli fju ˈpɪʧɪz. ʤɪst əˈkərz, ˈstɑrtɪŋ ˈpɪʧərz hu kən goʊ ˈoʊnli faɪv gʊd ˈɪnɪŋz ˌbiˈfɔr ˈdɛtəˌneɪtɪŋ wɪl hæv sɪgˈnɪfɪkəntli mɔr ˈvælju, ɪn boʊθ ˈfænəsi ˈbeɪsˈbɔl ənd ˌriˈæləˌti ˈbeɪsˈbɔl. ðə ˈɔriˌoʊlz hæv ɪgˈzæktli wət ðeɪ nid tɪ ˈifɛkt ðɪs ˈstrætəʤi. raɪt ɪz ə ˈpɪʧər tɪ ðə tɪp əv hɪz klits. meɪd 7 stɑrts ðɪs ˈsizən. hɪz ˈnəmbərz fər ðə fərst 5 ˈɪnɪŋz: 35 ˌaɪˌpi, 31 eɪʧ, 10 ˈdəbəlju, 13 ər, 25 keɪ, ˈɪrə, wɪp, hɪz ˈnəmbərz ɛz ə ˈstɑrtər ɪn ðə ˈɪnɪŋz ðɛˈræftər: 5 ˌaɪˌpi, 11 eɪʧ, 4 ˈdəbəlju, 10 ər, 5 keɪ, wi ˈivɪn brɪŋ ɑrˈsɛlvz tɪ du ðə rɛst əv ðə mæθ. əv kɔrs ˈɔlsoʊ gɑt ə ˌfɔrˈmɪdəbəl ˈbʊlˌpɛn tɪ teɪk ˈoʊvər wɛr raɪt livz ɔf. hir ər ðə ˈægrəgət stæts fər ðə bɪg 4 əv bræd bræʧ, ˈgɪvənz, ˈdɑrən o’day*, ənd zæk ˈbrɪtən: 315 ˌaɪˌpi, ˈɪrə, wɪp, soʊ gɑt ə ˈstɑrtər ənd ə ˈbʊlˌpɛn fʊl əv rɪˈlaɪəbəl hɑrd əv ðə θri ˌprikənˈdɪʃənz fər ɑr ɪkˈspɛrəmənt. du wi ˈɔlsoʊ hæv ə ˈmænɪʤər nɑt əˈfreɪd tɪ jæŋk raɪt ˈæftər hi θroʊz faɪv gʊd ˈɪnɪŋz, ˌwəˈtɛvər ˈfilɪŋz ɔn ðə ˈsəbʤɪkt meɪ bi? nɑt soʊ fɑr, bət wi hæv hoʊp. bək ˈʃoʊəltər həz lɛt raɪt pɪʧ ˈɪntu ðə ɪn 6 əv 7 stɑrts, wɪθ ˈʤɛnərəli ənˈhæpi rɪˈzəlts. bət ən əˈtɛntɪv ˈmænɪʤər, ənd həz ˈnɛvər bɪn skɛrd tɪ rɪˈlaɪ ɔn hɪz ˈbʊlˌpɛn, ˈivɪn wɪn ðət bɪn lɛs ˌfɔrˈmɪdəbəl ðən ðə wən gɑt naʊ. soʊ pərˈhæps ˈgɔtən ðə ˈmɛsɪʤ, ər wɪl sun gɪt ɪt.

sharp uptick in wildfires strains great plains agencies the great plains had long been spared the agony of frequent wildfires until recent years. a satellite analysis published by scientists this week showed the number of large wildfires burning up of the great plains rose 350 percent during 30 years, while the total area burned each year increased four-fold. smoke from a 2016 wildfire in south dakota. credit: “there really been very many large wildfires in the great plains until recently,” said victoria donovan, a phd candidate at the university of nebraska who led the analysis, published friday in geophysical research letters. a variety of factors are thought to be behind the wildfires, including warming caused by fossil fuel pollution, growing populations and the expansions of cities and towns, invasions by weeds, and the of a century of firefighting, which allowed flammable trees and dry grass to build up in wilderness and rural areas. “obviously being driven by some sort of change,” donovan said. “it’s largely been seen as a low risk area for wildfire. had highly successful suppression efforts over the past century.” the spreading rash of fires across the flat and grassy states west of the mississippi river has jolted a region unaccustomed them, even as it has been overshadowed in the news and dwarfed in firefighting budgets by bigger wildfires tearing up the west coast. “the low frequency tends to lull all of us into a sense of complacency,” said michele steinberg, manager of fire operations at the nonprofit national fire protection association. “we have a long way to go with education, particularly for folks where they have not seen a lot of fire.” because wildfires have been relatively rare in the great plains until recently, many states and counties have come to depend heavily on each other for assistance when they strike. “they rely on their neighbors,” steinberg said. but the shared firefighting resources are becoming strained as more fires need to be fought. “you’re seeing conditions that are just right for not only ignition of fire, but also fire spread,” steinberg said. the new analysis also examined rising instances of wildfires in states from texas to north dakota, altogether spanning nearly a third of the country, including some of its most remote areas. the study showed there had been a “pulse” during the last decade in the number of fires and acres burned in the great plains, said, another university of nebraska scientist involved with the study. “it’s not individual fires getting bigger, like some might expect, just a result of having more fires,” said. “fire departments have the kinds of staffing and resources that states with a history of wildfire do.” the rise in wildfires in the great plains mirrors similar changes underway elsewhere in the u.s. and abroad as the climate and environment change, and as humans spark fires at times of year when they naturally strike, reshaping landscapes and ecosystems. “2016 was a big fire year in the great plains, and 2017 has been no slouch,” said john abatzoglou, a university of idaho scientist. he involved with the new analysis; his research has shown fire risks are greatest in the great plains when hot and windy conditions follow wet years. “the increases over the past three decades in the region are similar to those in neighboring regions.” you may also like: may continues a ridiculous warm streak for the planet a congressman is forging ahead on climate action new york boardwalk shows climate adaptation costs editor's note: an earlier version of this story incorrectly referred to fires in arizona. they were not part of the great plains analysis.

ʃɑrp ˈəpˌtɪk ɪn ˈwaɪldˌfaɪərz streɪnz greɪt pleɪnz ˈeɪʤənsiz ðə greɪt pleɪnz hæd lɔŋ bɪn spɛrd ðə ˈægəni əv ˈfrikˌwɛnt ˈwaɪldˌfaɪərz ənˈtɪl ˈrisənt jɪrz. ə ˈsætəˌlaɪt æˈnælɪsɪs ˈpəblɪʃt baɪ ˈsaɪəntɪsts ðɪs wik ʃoʊd ðə ˈnəmbər əv lɑrʤ ˈwaɪldˌfaɪərz ˈbərnɪŋ əp əv ðə greɪt pleɪnz roʊz 350 pərˈsɛnt ˈdʊrɪŋ 30 jɪrz, waɪl ðə ˈtoʊtəl ˈɛriə bərnd iʧ jɪr ˌɪnˈkrist four-fold*. smoʊk frəm ə 2016 ˈwaɪldˌfaɪər ɪn saʊθ dəˈkoʊtə. ˈkrɛdɪt: ˈrɪli bɪn ˈvɛri ˈmɛni lɑrʤ ˈwaɪldˌfaɪərz ɪn ðə greɪt pleɪnz ənˈtɪl recently,”*,” sɛd vɪkˈtɔriə ˈdɑnəvən, ə ˈpiˌeɪʧˈdi ˈkænədɪt æt ðə ˌjunəˈvərsəti əv nəˈbræskə hu lɛd ðə æˈnælɪsɪs, ˈpəblɪʃt ˈfraɪˌdeɪ ɪn ˌʤioʊˈfɪzəkəl ˈrisərʧ ˈlɛtərz. ə vərˈaɪəti əv ˈfæktərz ər θɔt tɪ bi bɪˈhaɪnd ðə ˈwaɪldˌfaɪərz, ˌɪnˈkludɪŋ ˈwɔrmɪŋ kɔzd baɪ ˈfɑsəl fjuəl pəˈluʃən, groʊɪŋ ˌpɑpjəˈleɪʃənz ənd ðə ɪkˈspænʧənz əv ˈsɪtiz ənd taʊnz, ˌɪnˈveɪʒənz baɪ widz, ənd ðə əv ə ˈsɛnʧəri əv ˈfaɪrˌfaɪtɪŋ, wɪʧ əˈlaʊd ˈflæməbəl triz ənd draɪ græs tɪ bɪld əp ɪn ˈwɪldərnəs ənd ˈrʊrəl ˈɛriəz. biɪŋ ˈdrɪvən baɪ səm sɔrt əv change,”*,” ˈdɑnəvən sɛd. ˈlɑrʤli bɪn sin ɛz ə loʊ rɪsk ˈɛriə fər ˈwaɪldˌfaɪər. hæd ˈhaɪli səkˈsɛsfəl səˈprɛʃən ˈɛfərts ˈoʊvər ðə pæst century.”*.” ðə ˈsprɛdɪŋ ræʃ əv faɪərz əˈkrɔs ðə flæt ənd ˈgræsi steɪts wɛst əv ðə ˌmɪsɪˈsɪpi ˈrɪvər həz ˈʤoʊltɪd ə ˈriʤən ˌənəˈkəstəmd ðɛm, ˈivɪn ɛz ɪt həz bɪn ˌoʊvərˈʃædoʊd ɪn ðə nuz ənd dwɔrft ɪn ˈfaɪrˌfaɪtɪŋ ˈbəʤɪts baɪ ˈbɪgər ˈwaɪldˌfaɪərz ˈtɪrɪŋ əp ðə wɛst koʊst. loʊ ˈfrikwənsi tɛndz tɪ ləl ɔl əv ˈjuˈɛs ˈɪntu ə sɛns əv complacency,”*,” sɛd mɪˈʃɛl ˈstaɪnbərg, ˈmænɪʤər əv faɪər ˌɑpərˈeɪʃənz æt ðə nɑnˈprɑfət ˈnæʃənəl faɪər prəˈtɛkʃən əˌsoʊʃiˈeɪʃən. hæv ə lɔŋ weɪ tɪ goʊ wɪθ ˌɛʤəˈkeɪʃən, ˌpɑrˈtɪkjələrli fər foʊks wɛr ðeɪ hæv nɑt sin ə lɔt əv fire.”*.” bɪˈkəz ˈwaɪldˌfaɪərz hæv bɪn ˈrɛlətɪvli rɛr ɪn ðə greɪt pleɪnz ənˈtɪl ˈrisəntli, ˈmɛni steɪts ənd ˈkaʊntiz hæv kəm tɪ dɪˈpɛnd ˈhɛvəli ɔn iʧ ˈəðər fər əˈsɪstəns wɪn ðeɪ straɪk. rɪˈlaɪ ɔn ðɛr neighbors,”*,” ˈstaɪnbərg sɛd. bət ðə ʃɛrd ˈfaɪrˌfaɪtɪŋ ˈrisɔrsɪz ər bɪˈkəmɪŋ streɪnd ɛz mɔr faɪərz nid tɪ bi fɔt. siɪŋ kənˈdɪʃənz ðət ər ʤɪst raɪt fər nɑt ˈoʊnli ˌɪgˈnɪʃən əv faɪər, bət ˈɔlsoʊ faɪər spread,”*,” ˈstaɪnbərg sɛd. ðə nu æˈnælɪsɪs ˈɔlsoʊ ɪgˈzæmənd ˈraɪzɪŋ ˈɪnstənsɪz əv ˈwaɪldˌfaɪərz ɪn steɪts frəm ˈtɛksəs tɪ nɔrθ dəˈkoʊtə, ˌɔltəˈgɛðər ˈspænɪŋ ˈnɪrli ə θərd əv ðə ˈkəntri, ˌɪnˈkludɪŋ səm əv ɪts moʊst rɪˈmoʊt ˈɛriəz. ðə ˈstədi ʃoʊd ðɛr hæd bɪn ə ““pulse”*” ˈdʊrɪŋ ðə læst ˈdɛkeɪd ɪn ðə ˈnəmbər əv faɪərz ənd ˈeɪkərz bərnd ɪn ðə greɪt pleɪnz, sɛd, əˈnəðər ˌjunəˈvərsəti əv nəˈbræskə ˈsaɪəntɪst ˌɪnˈvɑlvd wɪθ ðə ˈstədi. nɑt ˌɪndəˈvɪʤəwəl faɪərz ˈgɪtɪŋ ˈbɪgər, laɪk səm maɪt ɪkˈspɛkt, ʤɪst ə rɪˈzəlt əv ˈhævɪŋ mɔr fires,”*,” sɛd. dɪˈpɑrtmənts hæv ðə kaɪnz əv ˈstæfɪŋ ənd ˈrisɔrsɪz ðət steɪts wɪθ ə ˈhɪstəri əv ˈwaɪldˌfaɪər do.”*.” ðə raɪz ɪn ˈwaɪldˌfaɪərz ɪn ðə greɪt pleɪnz ˈmɪrərz ˈsɪmələr ˈʧeɪnʤɪz ˌəndərˈweɪ ˈɛlsˌwɛr ɪn ðə juz. ənd əˈbrɔd ɛz ðə ˈklaɪmɪt ənd ɪnˈvaɪrənmənt ʧeɪnʤ, ənd ɛz ˈjumənz spɑrk faɪərz æt taɪmz əv jɪr wɪn ðeɪ ˈnæʧərəli straɪk, riˈʃeɪpɪŋ ˈlænˌskeɪps ənd ˈikoʊˌsɪstəmz. wɑz ə bɪg faɪər jɪr ɪn ðə greɪt pleɪnz, ənd 2017 həz bɪn noʊ slouch,”*,” sɛd ʤɑn abatzoglou*, ə ˌjunəˈvərsəti əv ˈaɪdəˌhoʊ ˈsaɪəntɪst. hi ˌɪnˈvɑlvd wɪθ ðə nu æˈnælɪsɪs; hɪz ˈrisərʧ həz ʃoʊn faɪər rɪsks ər ˈgreɪtəst ɪn ðə greɪt pleɪnz wɪn hɑt ənd ˈwɪndi kənˈdɪʃənz ˈfɑloʊ wɛt jɪrz. ˌɪnˈkrisɪz ˈoʊvər ðə pæst θri ˈdɛkeɪdz ɪn ðə ˈriʤən ər ˈsɪmələr tɪ ðoʊz ɪn ˈneɪbərɪŋ regions.”*.” ju meɪ ˈɔlsoʊ laɪk: meɪ kənˈtɪnjuz ə rɪˈdɪkjələs wɔrm strik fər ðə ˈplænət ə ˈkɑŋgrəsmən ɪz ˈfɔrʤɪŋ əˈhɛd ɔn ˈklaɪmɪt ˈækʃən nu jɔrk ˈbɔrdˌwɔk ʃoʊz ˈklaɪmɪt ˌædəpˈteɪʃən kɔsts ˈɛdɪtərz noʊt: ən ˈərliər ˈvərʒən əv ðɪs ˈstɔri ˌɪnkərˈɛktli rɪˈfərd tɪ faɪərz ɪn ˌɛrɪˈzoʊnə. ðeɪ wər nɑt pɑrt əv ðə greɪt pleɪnz æˈnælɪsɪs.

getty image following the publication of bloomberg political correspondent joshua report from within the “trump bunker,” former presidential candidate bernie sanders noticed a pertinent passage about voter suppression. the hillary clinton surrogate was especially interested in a quote from a senior official touting the trump plans for at least three different campaigns designed to discourage potential clinton voters from showing up at the polls on november 8th. the pertinent passage from the bloomberg article mince words. “voter suppression” is explicitly mentioned, and according to reporting, because a top adviser said those two exact words together, in the same sentence, while being totally serious: trump’s campaign has devised another strategy, which, not surprisingly, is negative. instead of expanding the electorate, [stephen k. bannon] and his team are trying to shrink it. “we have three major voter suppression operations under way,” says a senior official. aimed at three groups clinton needs to win overwhelmingly: idealistic white liberals, young women, and african americans. green goes on to list specific examples of trump campaign personnel purchasing ad time at television and radio stations with predominantly african-american or latino audiences, and inundating the airwaves with materials designed to turn those inclined to vote democrat away from the polls. despite the use of the perilous phrase, however, nothing in article suggests the trump campaign is physically preventing people from participating. even so, sanders was none too pleased with the report and aired his grievances on twitter thursday morning:

ˈgɛti ˈɪmɪʤ ˈfɑloʊɪŋ ðə ˌpəblɪˈkeɪʃən əv ˈblumbərg pəˈlɪtɪkəl ˌkɔrəˈspɑndənt ˈʤɑˌʃuə rɪˈpɔrt frəm wɪˈθɪn ðə bunker,”*,” ˈfɔrmər ˌprɛzɪˈdɛnʃəl ˈkænədɪt ˈbərni ˈsændərz ˈnoʊtɪst ə ˈpərtɪnɪnt ˈpæsɪʤ əˈbaʊt ˈvoʊtər səˈprɛʃən. ðə ˈhɪləri ˈklɪntən ˈsərəˌgeɪt wɑz əˈspɛʃəli ˈɪntəˌrɛstɪd ɪn ə kwoʊt frəm ə ˈsinjər əˈfɪʃəl ˈtaʊtɪŋ ðə trəmp plænz fər æt list θri ˈdɪfərənt kæmˈpeɪnz dɪˈzaɪnd tɪ dɪˈskərɪʤ pəˈtɛnʃəl ˈklɪntən ˈvoʊtərz frəm ʃoʊɪŋ əp æt ðə poʊlz ɔn noʊˈvɛmbər 8th*. ðə ˈpərtɪnɪnt ˈpæsɪʤ frəm ðə ˈblumbərg ˈɑrtɪkəl mɪns wərdz. suppression”*” ɪz ɪkˈsplɪsətli ˈmɛnʃənd, ənd əˈkɔrdɪŋ tɪ rɪˈpɔrtɪŋ, bɪˈkəz ə tɔp ædˈvaɪzər sɛd ðoʊz tu ɪgˈzækt wərdz təˈgɛðər, ɪn ðə seɪm ˈsɛntəns, waɪl biɪŋ ˈtoʊtəli ˈsɪriəs: kæmˈpeɪn həz dɪˈvaɪzd əˈnəðər ˈstrætəʤi, wɪʧ, nɑt səˈpraɪzɪŋli, ɪz ˈnɛgətɪv. ˌɪnˈstɛd əv ɪkˈspændɪŋ ðə ɪˈlɛktərət, [ˈstivən keɪ. ˈbænən] ənd hɪz tim ər traɪɪŋ tɪ ʃrɪŋk ɪt. hæv θri ˈmeɪʤər ˈvoʊtər səˈprɛʃən ˌɑpərˈeɪʃənz ˈəndər way,”*,” sɪz ə ˈsinjər əˈfɪʃəl. eɪmd æt θri grups ˈklɪntən nidz tɪ wɪn ˌoʊvərˈwɛlmɪŋli: aɪˌdiəˈlɪstɪk waɪt ˈlɪˌbərəlz, jəŋ ˈwɪmən, ənd ˈæfrɪkɑn əˈmɛrɪkənz. grin goʊz ɔn tɪ lɪst spɪˈsɪfɪk ɪgˈzæmpəlz əv trəmp kæmˈpeɪn ˌpərsəˈnɛl ˈpərʧəsɪŋ æd taɪm æt ˈtɛləˌvɪʒən ənd ˈreɪdiˌoʊ ˈsteɪʃənz wɪθ ˌprɪˈdɑmənənˌtli ˈæfrɪkənəˈmɛrɪkən ər ləˈtinoʊ ˈɔdiənsəz, ənd ˌɪˈnənˌdeɪtɪŋ ðə ˈɛrˌweɪvz wɪθ məˈtɪriəlz dɪˈzaɪnd tɪ tərn ðoʊz ˌɪnˈklaɪnd tɪ voʊt ˈdɛməˌkræt əˈweɪ frəm ðə poʊlz. dɪˈspaɪt ðə juz əv ðə ˈpɛrələs freɪz, ˌhaʊˈɛvər, ˈnəθɪŋ ɪn ˈɑrtɪkəl səˈʤɛsts ðə trəmp kæmˈpeɪn ɪz ˈfɪzɪkəli prɪˈvɛnɪŋ ˈpipəl frəm pɑrˈtɪsəˌpeɪtɪŋ. ˈivɪn soʊ, ˈsændərz wɑz nən tu plizd wɪθ ðə rɪˈpɔrt ənd ɛrd hɪz ˈgrivənsɪz ɔn tˈwɪtər ˈθərzˌdeɪ ˈmɔrnɪŋ:

inside publishing no word unspoken midway through the confessions, st. augustine recalls how he used to marvel at the way ambrose, the bishop of milan, read his manuscripts: "his eyes traveled across the pages and his heart searched out the meaning, but his voice and tongue stayed still." scholars have sparred for decades over whether offhand observation reveals something momentous: namely, that silent seemingly mundane act you're engaged in right now--was, in the dark ages, a genuine novelty. evidence abounds that ancient and medieval readers relished giving voice to their favorite texts in order to appreciate more fully the cadences of homer and lucian. of course, we equally enjoy reading poetry aloud. the question is: could the earliest readers literally not shut up? paul saenger thinks his argument for the onetime dominance of the spoken word doesn't rest on augustine. saenger, a expert and a curator of rare books at chicago's newberry library, believes that reading aloud wasn't a mere preference for the ancients, but a practical necessity. his explanation is simple: anditwaseasiertoreadthemaloud. in his provocative new book, space between words: the origins of silent reading (stanford), saenger argues that the practice of transcribing greek and latin manuscripts without spaces, or in, made reading silently a difficult task. "it wasn't literally impossible to read silently," saenger says, "but the notation system was so awkward that the vast majority of readers would have needed to sound out the syllables, if only in a muffled voice." book asserts that only at the end of the seventh century, when irish monks introduced regular word separation into medieval manuscripts, did swift, silent reading become feasible. why is it so hard to read text without spacing? just imagine how difficult it would be for your computer's spell checker if you wrote a document in. the program would initially have to determine which syllables to slice into words, and then proceed with its main task. the human brain, fortunately, is more than a word processor, but the burden of breaking strings of letters into words is, nonetheless, a laborious first step. and therein lies thesis: "there is a correlation between a propensity to read orally in both past and contemporary cultures and the duration of cognitive activity needed to achieve lexical access in that culture's script." saenger, who has a ph.d. in medieval history, backs up his claims with cutting-edge scientific research. (to his delight, he discovered that psychologists had been testing adult abilities to read english versions of for decades, "without being aware of its real-world precursor.") clinical tests reveal that the brain processes the reading of spaced which words are essentially digested from the decoding of continuous script. in fact, different parts of the brain handle these two tasks: studies of japanese patients demonstrate that, depending on the site of a cerebral lesion, a person may lose the faculty for reading kanji ideographs, but not japanese phonetic script, which lacks regular word vice versa. the implication is that, even if early medieval readers of somehow managed to keep their mouths shut, they were performing a mental task fundamentally different from that of contemporary readers. to modern eyes, the benefits of word spacing seem obvious. what took so long, then? actually, word spaces can be found in ancient hebrew manuscripts, as well as in a few of the very earliest greek papyri. but saenger doubts those word spaces engendered fluid silent reading at the time. after all, he notes, these manuscripts were all written without vowels, making the use of word spaces a virtual necessity for any kind of deciphering. in any case, following the greeks' swift incorporation of phoenician vowels in the ninth century b.c., scribes began crushing all the words together and writing in. indeed, the entire greek literary canon, from the iliad onward, was written down this way. why? were the scribes trying to save paper? saenger offers an explanation for this baffling step backward. "the ancient world did not possess the desire, characteristic of the modern age, to make reading easier and swifter," he writes. "those who not interested in the swift intrusive consultation of books." the canon was small, and prized texts were typically memorized. who cared, then, if it was hard to slog through a manuscript the first dozen times? and let's not forget the inherent elitism of greek and roman readers. "the notion that the greater portion of the population should be autonomous and readers was entirely foreign to the elitist literate mentality of the ancient world," saenger writes. fortunately, this situation didn't last forever. while an ambiguous text format "enhanced the mystery and power of clerics," saenger notes, such awkwardness served no purpose in a scholarly universe in which readers began "to grapple with highly technical concepts" of science, law, and theology. starting in the fifth century, scribes began to speckle manuscripts with spaces. as saenger writes, "the introduction of word separation reflected a mentality in which reading was primarily a visual process for which the stylistic virtue of sound was subordinate to rapid access to meaning." most have decried sporadic spacing as a sign that medieval monks didn't fully understand what they were transcribing. but saenger sees it as a "great leap forward. it allowed the brain to find its bearings." he's even coined a new term, "aeration," to describe such manuscripts. having spent the past fifteen years combing medieval manuscript libraries on both sides of the atlantic, saenger identifies the first properly spaced latin manuscript as the irish book of mulling, an illuminated translation of the gospels dating from around 690 a.d. indeed, he notes, the irish soon adopted the the verb videre, "to see," as a way to describe reading. in a similar spirit, an irish monk compared the activity of reading to a cat silently stalking a mouse. why ireland? for one thing, irish monasteries were home to a select collection of biblical texts from late antiquity, all of which featured word spacing (but no vowels). moreover, the monks approached latin as a foreign language, and word separation greatly aided readers struggling with the vocabulary. (the french, in contrast, didn't think of their vernacular language as particularly different from latin.) in the end, muses saenger, "people at the frontiers have always been more open to linguistic innovation and combining things in new ways." over the next couple of centuries, this irish innovation spread to other to england, then to the low countries and the rest of europe. by the twelfth century, reports saenger, murmuring monks had become a relic of the past. (there's no precise date available, alas, for the first appearance of a silence, please! sign.) as reading became a silent activity, new types of manuscripts that took advantage of this intimacy were produced, from pocket prayer books to erotica. more important, the intellectual orthodoxy enforced by group readings of manuscripts melted away as scholars retired to private rooms for quiet study. book is sure to meet some strong resistance. many simply refuse to believe that the ancients didn't learn to read silently. in a classic 1968 article, "silent reading in antiquity," bernard knox wondered sarcastically, "are we really to imagine that read aloud all the manuscripts of homer he used for his edition?" last year, russian classicist a.k. dug in his heels, insisting in classical quarterly that "the phenomenon of reading itself is fundamentally the same in modern and in ancient culture." why are some scholars so opposed to the idea that would impose limits on the ancients' reading abilities? "it's funny," laughs saenger. "mathematicians have no problem seeing the importance of notation. newton's contribution in the principia was both intellectual and notational, with all its symbolic innovations. but refuse to accept that reading has anything to do with the page it's printed on." of course, aren't the types eager to jump on the interdisciplinary bandwagon. "these folks tend to be tremendously conservative by orientation," saenger muses. "they tend to be frightened by modern things like psychological research. at one conference, after i laid out my ideas, some called me a freudian." daniel zalewski

ˌɪnˈsaɪd ˈpəblɪʃɪŋ noʊ wərd ənˈspoʊkən ˈmɪdˌweɪ θru ðə kənˈfɛʃənz, st*. ˈɔgəˌstin ˈriˌkɔlz haʊ hi juzd tɪ ˈmɑrvəl æt ðə weɪ ˈæmˌbroʊz, ðə ˈbɪʃəp əv ˈmaɪˌlæn, rɛd hɪz ˈmænjəˌskrɪpts: "hɪz aɪz ˈtrævəld əˈkrɔs ðə ˈpeɪʤɪz ənd hɪz hɑrt sərʧt aʊt ðə ˈminɪŋ, bət hɪz vɔɪs ənd təŋ steɪd stɪl." ˈskɑlərz hæv spɑrd fər ˈdɛkeɪdz ˈoʊvər ˈwɛðər ˈɔfˈhænd ˌɑbzərˈveɪʃən rɪˈvilz ˈsəmθɪŋ moʊˈmɛntəs: ˈneɪmli, ðət ˈsaɪlənt ˈsimɪŋli mənˈdeɪn ækt jʊr ɪnˈgeɪʤd ɪn raɪt now--was*, ɪn ðə dɑrk ˈeɪʤɪz, ə ˈʤɛnjuˌaɪn ˈnɑvəlti. ˈɛvədəns əˈbaʊndz ðət ˈeɪnʧənt ənd mɪˈdjivəl ˈridərz ˈrɛlɪʃt ˈgɪvɪŋ vɔɪs tɪ ðɛr ˈfeɪvərɪt tɛksts ɪn ˈɔrdər tɪ əˈpriʃiˌeɪt mɔr ˈfʊli ðə ˈkeɪdənsɪz əv ˈhoʊmər ənd ˈluʃən. əv kɔrs, wi ˈikwəli ˌɛnˈʤɔɪ ˈrɛdɪŋ ˈpoʊətri əˈlaʊd. ðə kˈwɛʃən ɪz: kʊd ðə ˈərliəst ˈridərz ˈlɪtərəli nɑt ʃət əp? pɔl ˈsɛnʤər θɪŋks hɪz ˈɑrgjəmənt fər ðə ˈwənˈtaɪm ˈdɑmənəns əv ðə ˈspoʊkən wərd ˈdəzənt rɛst ɔn ˈɔgəˌstin. ˈsɛnʤər, ə ˈɛkspərt ənd ə ˈkjʊrətər əv rɛr bʊks æt ʃəˈkɑˌgoʊz ˈnuˌbɛri ˈlaɪbrɛˌri, bɪˈlivz ðət ˈrɛdɪŋ əˈlaʊd ˈwəzənt ə mɪr ˈprɛfərəns fər ðə ˈeɪnʧənts, bət ə ˈpræktɪkəl nəˈsɛsɪti. hɪz ˌɛkspləˈneɪʃən ɪz ˈsɪmpəl: anditwaseasiertoreadthemaloud*. ɪn hɪz proʊˈvɑkətɪv nu bʊk, speɪs bɪtˈwin wərdz: ðə ˈɔrəʤɪnz əv ˈsaɪlənt ˈrɛdɪŋ (ˈstænfərd), ˈsɛnʤər ˈɑrgjuz ðət ðə ˈpræktɪs əv trænˈskraɪbɪŋ grik ənd ˈlætən ˈmænjəˌskrɪpts wɪˈθaʊt ˈspeɪsɪz, ər ɪn, meɪd ˈrɛdɪŋ ˈsaɪləntli ə ˈdɪfəkəlt tæsk. "ɪt ˈwəzənt ˈlɪtərəli ˌɪmˈpɑsəbəl tɪ rɛd ˈsaɪləntli," ˈsɛnʤər sɪz, "bət ðə noʊˈteɪʃən ˈsɪstəm wɑz soʊ ˈɔkwərd ðət ðə væst məˈʤɔrəti əv ˈridərz wʊd hæv ˈnidɪd tɪ saʊnd aʊt ðə ˈsɪləbəlz, ɪf ˈoʊnli ɪn ə ˈməfəld vɔɪs." bʊk əˈsərts ðət ˈoʊnli æt ðə ɛnd əv ðə ˈsɛvənθ ˈsɛnʧəri, wɪn ˈaɪrɪʃ məŋks ˌɪntrəˈdust ˈrɛgjələr wərd ˌsɛpərˈeɪʃən ˈɪntu mɪˈdjivəl ˈmænjəˌskrɪpts, dɪd swɪft, ˈsaɪlənt ˈrɛdɪŋ bɪˈkəm ˈfizəbəl. waɪ ɪz ɪt soʊ hɑrd tɪ rɛd tɛkst wɪˈθaʊt ˈspeɪsɪŋ? ʤɪst ˌɪˈmæʤən haʊ ˈdɪfəkəlt ɪt wʊd bi fər jʊr kəmˈpjutərz spɛl ˈʧɛkər ɪf ju roʊt ə ˈdɑkjəmɛnt ɪn. ðə ˈproʊˌgræm wʊd ˌɪˈnɪʃəli hæv tɪ dɪˈtərmən wɪʧ ˈsɪləbəlz tɪ slaɪs ˈɪntu wərdz, ənd ðɛn pərˈsid wɪθ ɪts meɪn tæsk. ðə ˈjumən breɪn, ˈfɔrʧənətli, ɪz mɔr ðən ə wərd ˈprɑˌsɛsər, bət ðə ˈbərdən əv ˈbreɪkɪŋ strɪŋz əv ˈlɛtərz ˈɪntu wərdz ɪz, ˌnənðəˈlɛs, ə ləˈbɔriəs fərst stɛp. ənd ðɛˈrɪn laɪz ˈθiˌsɪs: "ðɛr ɪz ə ˌkɔrəˈleɪʃən bɪtˈwin ə prəˈpɛnsɪti tɪ rɛd ˈɔrəli ɪn boʊθ pæst ənd kənˈtɛmpərˌɛri ˈkəlʧərz ənd ðə ˈdʊˈreɪʃən əv ˈkɑgnɪtɪv ækˈtɪvɪti ˈnidɪd tɪ əˈʧiv ˈlɛksɪkəl ˈækˌsɛs ɪn ðət ˈkəlʧərz skrɪpt." ˈsɛnʤər, hu həz ə ph.d*. ɪn mɪˈdjivəl ˈhɪstəri, bæks əp hɪz kleɪmz wɪθ ˈkətɪˌŋɛʤ ˌsaɪənˈtɪfɪk ˈrisərʧ. (tɪ hɪz dɪˈlaɪt, hi dɪˈskəvərd ðət saɪˈkɑləʤəsts hæd bɪn ˈtɛstɪŋ ˈædəlt əˈbɪləˌtiz tɪ rɛd ˈɪŋlɪʃ ˈvərʒənz əv fər ˈdɛkeɪdz, "wɪˈθaʊt biɪŋ əˈwɛr əv ɪts ˈrilˌwərld priˈkərsər.") ˈklɪnɪkəl tɛsts rɪˈvil ðət ðə breɪn ˈprɑsɛsəz ðə ˈrɛdɪŋ əv speɪst wɪʧ wərdz ər ɛˈsɛnʃəli ˈdaɪˌʤɛstɪd frəm ðə dɪˈkoʊdɪŋ əv kənˈtɪnjuəs skrɪpt. ɪn fækt, ˈdɪfərənt pɑrts əv ðə breɪn ˈhændəl ðiz tu tæsks: ˈstədiz əv ˌʤæpəˈniz ˈpeɪʃənz ˈdɛmənˌstreɪt ðət, dɪˈpɛndɪŋ ɔn ðə saɪt əv ə ˈsɛrəbrəl ˈliʒən, ə ˈpərsən meɪ luz ðə ˈfækəlti fər ˈrɛdɪŋ ˈkænʤi ideographs*, bət nɑt ˌʤæpəˈniz fəˈnɛtɪk skrɪpt, wɪʧ læks ˈrɛgjələr wərd vaɪs ˈvərsə. ðə ˌɪmpləˈkeɪʃən ɪz ðət, ˈivɪn ɪf ˈərli mɪˈdjivəl ˈridərz əv ˈsəmˌhaʊ ˈmænɪʤd tɪ kip ðɛr maʊðz ʃət, ðeɪ wər pərˈfɔrmɪŋ ə ˈmɛntəl tæsk ˌfəndəˈmɛnəli ˈdɪfərənt frəm ðət əv kənˈtɛmpərˌɛri ˈridərz. tɪ ˈmɑdərn aɪz, ðə ˈbɛnəfɪts əv wərd ˈspeɪsɪŋ sim ˈɑbviəs. wət tʊk soʊ lɔŋ, ðɛn? ˈæˌkʧuəli, wərd ˈspeɪsɪz kən bi faʊnd ɪn ˈeɪnʧənt ˈhibru ˈmænjəˌskrɪpts, ɛz wɛl ɛz ɪn ə fju əv ðə ˈvɛri ˈərliəst grik papyri*. bət ˈsɛnʤər daʊts ðoʊz wərd ˈspeɪsɪz ɛnˈʤɛndərd fluɪd ˈsaɪlənt ˈrɛdɪŋ æt ðə taɪm. ˈæftər ɔl, hi noʊts, ðiz ˈmænjəˌskrɪpts wər ɔl ˈrɪtən wɪˈθaʊt vaʊəlz, ˈmeɪkɪŋ ðə juz əv wərd ˈspeɪsɪz ə ˈvərʧuəl nəˈsɛsɪti fər ˈɛni kaɪnd əv dəˈsaɪfərɪŋ. ɪn ˈɛni keɪs, ˈfɑloʊɪŋ ðə griks' swɪft ˌɪnˌkɔrpərˈeɪʃən əv fəˈniʃən vaʊəlz ɪn ðə naɪnθ ˈsɛnʧəri b.c*., skraɪbz bɪˈgæn ˈkrəʃɪŋ ɔl ðə wərdz təˈgɛðər ənd ˈraɪtɪŋ ɪn. ˌɪnˈdid, ðə ɪnˈtaɪər grik ˈlɪtərˌɛri ˈkænən, frəm ðə ˈɪliəd ˈɔnwərd, wɑz ˈrɪtən daʊn ðɪs weɪ. waɪ? wər ðə skraɪbz traɪɪŋ tɪ seɪv ˈpeɪpər? ˈsɛnʤər ˈɔfərz ən ˌɛkspləˈneɪʃən fər ðɪs ˈbæfəlɪŋ stɛp ˈbækwərd. "ðə ˈeɪnʧənt wərld dɪd nɑt pəˈzɛs ðə dɪˈzaɪər, ˌkɛrɪktərˈɪstɪk əv ðə ˈmɑdərn eɪʤ, tɪ meɪk ˈrɛdɪŋ ˈiziər ənd sˈwɪftər," hi raɪts. "ðoʊz hu nɑt ˈɪntəˌrɛstɪd ɪn ðə swɪft ˌɪnˈtrusɪv ˌkɑnsəlˈteɪʃən əv bʊks." ðə ˈkænən wɑz smɔl, ənd praɪzd tɛksts wər ˈtɪpɪkəli ˈmɛmərˌaɪzd. hu kɛrd, ðɛn, ɪf ɪt wɑz hɑrd tɪ slɑg θru ə ˈmænjəˌskrɪpt ðə fərst ˈdəzən taɪmz? ənd lɛts nɑt fərˈgɛt ðə ˌɪnˈhɛrənt ˈɛlɪˌtɪzəm əv grik ənd ˈroʊmən ˈridərz. "ðə ˈnoʊʃən ðət ðə ˈgreɪtər ˈpɔrʃən əv ðə ˌpɑpjəˈleɪʃən ʃʊd bi ɔˈtɑnəməs ənd ˈridərz wɑz ɪnˈtaɪərli ˈfɔrən tɪ ðə ɪˈlitɪst ˈlɪtərət mɛnˈtælɪti əv ðə ˈeɪnʧənt wərld," ˈsɛnʤər raɪts. ˈfɔrʧənətli, ðɪs ˌsɪʧuˈeɪʃən ˈdɪdənt læst fərˈɛvər. waɪl ən æmˈbɪgjuəs tɛkst ˈfɔrˌmæt "ɛnˈhænst ðə ˈmɪstəri ənd paʊər əv ˈklɛrɪks," ˈsɛnʤər noʊts, səʧ ˈɔkwərdnəs sərvd noʊ ˈpərpəs ɪn ə ˈskɑlərli ˈjunəˌvərs ɪn wɪʧ ˈridərz bɪˈgæn "tɪ ˈgræpəl wɪθ ˈhaɪli ˈtɛknɪkəl ˈkɑnsɛpts" əv saɪəns, lɔ, ənd θiˈɑləʤi. ˈstɑrtɪŋ ɪn ðə fɪθ ˈsɛnʧəri, skraɪbz bɪˈgæn tɪ ˈspɛkəl ˈmænjəˌskrɪpts wɪθ ˈspeɪsɪz. ɛz ˈsɛnʤər raɪts, "ðə ˌɪntrəˈdəkʃən əv wərd ˌsɛpərˈeɪʃən rɪˈflɛktɪd ə mɛnˈtælɪti ɪn wɪʧ ˈrɛdɪŋ wɑz praɪˈmɛrəli ə ˈvɪʒəwəl ˈprɔˌsɛs fər wɪʧ ðə staɪˈlɪstɪk ˈvərʧu əv saʊnd wɑz səˈbɔrdəˌneɪt tɪ ˈræpɪd ˈækˌsɛs tɪ ˈminɪŋ." moʊst hæv dɪˈkraɪd spərˈædɪk ˈspeɪsɪŋ ɛz ə saɪn ðət mɪˈdjivəl məŋks ˈdɪdənt ˈfʊli ˌəndərˈstænd wət ðeɪ wər trænˈskraɪbɪŋ. bət ˈsɛnʤər siz ɪt ɛz ə "greɪt lip ˈfɔrwərd. ɪt əˈlaʊd ðə breɪn tɪ faɪnd ɪts ˈbɛrɪŋz." hiz ˈivɪn kɔɪnd ə nu tərm, "aeration*," tɪ dɪˈskraɪb səʧ ˈmænjəˌskrɪpts. ˈhævɪŋ spɛnt ðə pæst ˈfɪfˈtin jɪrz ˈkoʊmɪŋ mɪˈdjivəl ˈmænjəˌskrɪpt ˈlaɪbrɛˌriz ɔn boʊθ saɪdz əv ðə əˈtlæntɪk, ˈsɛnʤər aɪˈdɛntəˌfaɪz ðə fərst ˈprɑpərli speɪst ˈlætən ˈmænjəˌskrɪpt ɛz ðə ˈaɪrɪʃ bʊk əv ˈməlɪŋ, ən ˌɪˈluməˌneɪtəd trænzˈleɪʃən əv ðə ˈgɑspəlz ˈdeɪtɪŋ frəm əraʊnd 690 a.d*. ˌɪnˈdid, hi noʊts, ðə ˈaɪrɪʃ sun əˈdɑptəd ðə ðə vərb videre*, "tɪ si," ɛz ə weɪ tɪ dɪˈskraɪb ˈrɛdɪŋ. ɪn ə ˈsɪmələr ˈspɪrɪt, ən ˈaɪrɪʃ məŋk kəmˈpɛrd ðə ækˈtɪvɪti əv ˈrɛdɪŋ tɪ ə kæt ˈsaɪləntli ˈstɔkɪŋ ə maʊs. waɪ ˈaɪərlənd? fər wən θɪŋ, ˈaɪrɪʃ ˈmɑnəˌstɛriz wər hoʊm tɪ ə səˈlɛkt kəˈlɛkʃən əv ˈbɪblɪkəl tɛksts frəm leɪt ænˈtɪkwəti, ɔl əv wɪʧ ˈfiʧərd wərd ˈspeɪsɪŋ (bət noʊ vaʊəlz). mɔˈroʊvər, ðə məŋks əˈproʊʧt ˈlætən ɛz ə ˈfɔrən ˈlæŋgwɪʤ, ənd wərd ˌsɛpərˈeɪʃən ˈgreɪtli ˈeɪdɪd ˈridərz ˈstrəgəlɪŋ wɪθ ðə voʊˈkæbjəˌlɛri. (ðə frɛnʧ, ɪn ˈkɑntræst, ˈdɪdənt θɪŋk əv ðɛr vərˈnækjələr ˈlæŋgwɪʤ ɛz ˌpɑrˈtɪkjələrli ˈdɪfərənt frəm ˈlætən.) ɪn ðə ɛnd, mˈjuzɪz ˈsɛnʤər, "ˈpipəl æt ðə frənˈtɪrz hæv ˈɔlˌweɪz bɪn mɔr ˈoʊpən tɪ lɪŋgˈwɪstɪk ˌɪnəˈveɪʃən ənd kəmˈbaɪnɪŋ θɪŋz ɪn nu weɪz." ˈoʊvər ðə nɛkst ˈkəpəl əv ˈsɛnʧəriz, ðɪs ˈaɪrɪʃ ˌɪnəˈveɪʃən sprɛd tɪ ˈəðər tɪ ˈɪŋglənd, ðɛn tɪ ðə loʊ ˈkəntriz ənd ðə rɛst əv ˈjʊrəp. baɪ ðə twɛlfθ ˈsɛnʧəri, rɪˈpɔrts ˈsɛnʤər, ˈmərmərɪŋ məŋks hæd bɪˈkəm ə ˈrɛlɪk əv ðə pæst. (ðɛrz noʊ prɪˈsaɪs deɪt əˈveɪləbəl, əˈlæs, fər ðə fərst əˈpɪrəns əv ə ˈsaɪləns, pliz! saɪn.) ɛz ˈrɛdɪŋ bɪˈkeɪm ə ˈsaɪlənt ækˈtɪvɪti, nu taɪps əv ˈmænjəˌskrɪpts ðət tʊk ædˈvæntɪʤ əv ðɪs ˈɪntəməsi wər prəˈdust, frəm ˈpɑkət prɛr bʊks tɪ ɪˈrɑtɪkə. mɔr ˌɪmˈpɔrtənt, ðə ˌɪnəˈlɛkʧuəl ˈɔrθəˌdɑksi ɛnˈfɔrst baɪ grup ˈridɪŋz əv ˈmænjəˌskrɪpts ˈmɛltɪd əˈweɪ ɛz ˈskɑlərz rɪˈtaɪrd tɪ ˈpraɪvət rumz fər kwaɪət ˈstədi. bʊk ɪz ʃʊr tɪ mit səm strɔŋ rɪˈzɪstəns. ˈmɛni ˈsɪmpli ˈrɛfˌjuz tɪ bɪˈliv ðət ðə ˈeɪnʧənts ˈdɪdənt lərn tɪ rɛd ˈsaɪləntli. ɪn ə ˈklæsɪk 1968 ˈɑrtɪkəl, "ˈsaɪlənt ˈrɛdɪŋ ɪn ænˈtɪkwəti," ˈbərnərd nɑks ˈwəndərd sɑrˈkæstɪkli, "ər wi ˈrɪli tɪ ˌɪˈmæʤən ðət rɛd əˈlaʊd ɔl ðə ˈmænjəˌskrɪpts əv ˈhoʊmər hi juzd fər hɪz ɪˈdɪʃən?" læst jɪr, ˈrəʃən ˈklæsəsəst a.k*. dəg ɪn hɪz hilz, ˌɪnˈsɪstɪŋ ɪn ˈklæsɪkəl kˈwɔrtərli ðət "ðə fəˈnɑməˌnɑn əv ˈrɛdɪŋ ˌɪtˈsɛlf ɪz ˌfəndəˈmɛnəli ðə seɪm ɪn ˈmɑdərn ənd ɪn ˈeɪnʧənt ˈkəlʧər." waɪ ər səm ˈskɑlərz soʊ əˈpoʊzd tɪ ðə aɪˈdiə ðət wʊd ˌɪmˈpoʊz ˈlɪmɪts ɔn ðə ˈeɪnʧənts' ˈrɛdɪŋ əˈbɪləˌtiz? "ɪts ˈfəni," læfs ˈsɛnʤər. "ˌmæθəməˈtɪʃənz hæv noʊ ˈprɑbləm siɪŋ ðə ˌɪmˈpɔrtəns əv noʊˈteɪʃən. ˈnutənz ˌkɑntrəˈbjuʃən ɪn ðə prɪnˈsɪpiə wɑz boʊθ ˌɪnəˈlɛkʧuəl ənd notational*, wɪθ ɔl ɪts sɪmˈbɑlɪk ˌɪnəˈveɪʃənz. bət ˈrɛfˌjuz tɪ əkˈsɛpt ðət ˈrɛdɪŋ həz ˈɛniˌθɪŋ tɪ du wɪθ ðə peɪʤ ɪts ˈprɪnɪd ɔn." əv kɔrs, ˈɑrənt ðə taɪps ˈigər tɪ ʤəmp ɔn ðə ˌɪntərˈdɪsəpləˌnɛri ˈbændˌwægən. "ðiz foʊks tɛnd tɪ bi trɪˈmɛndəsli kənˈsərvətɪv baɪ ˌɔriɛnˈteɪʃən," ˈsɛnʤər mˈjuzɪz. "ðeɪ tɛnd tɪ bi ˈfraɪtənd baɪ ˈmɑdərn θɪŋz laɪk ˌsaɪkəˈlɑʤɪkəl ˈrisərʧ. æt wən ˈkɑnfərəns, ˈæftər aɪ leɪd aʊt maɪ aɪˈdiəz, səm kɔld mi ə ˈfrudiən." ˈdænjəl zəˈlɛfski

ten years on, new estimates of the economic cost of the wars in iraq and afghanistan this week marks the tenth anniversary of the american invasion of iraq. what have the wars in iraq and afghanistan cost the united states to date? what additional bills will come due in the future? economists and budget analysts have made many estimates since the early 2000s. only one regularity has emerged from their work: each new round of estimates is higher than those before. last week the watson institute for international studies at brown university released a new set of estimates. the numbers are summarized on the web site of the cost of war project and detailed in a paper by professor c. crawford. the estimate of the total cost of the two wars now comes to just under $4 trillion. it supposed to cost so much the wars were not supposed to cost so much. as the administration of president george w. bush was building a case for the iraq war in 2002, with some american troops already deployed in afghanistan, the question of cost naturally came up. in september of that year, lawrence b. lindsey, then chairman of the council of economic advisers, estimated that a new iraq war would cost $100 billion, maybe $200 billion at a maximum. with a midterm election on the horizon, the white house viewed that estimate as shockingly high. the president quickly dismissed lindsey. many observers saw his war cost estimate as a major reason. later that year, mitchel e. daniels jr., then head of the office of management and budget, told the new york times that $50 to $60 billion would be a more realistic figure, the same or a bit less than the cost of the 1991 gulf war. as it turned out, the cost of the iraq war came to $770 billion over the next twelve years, measured by defense department appropriations alone. appropriations for afghanistan added another $609 billion, pushing the cost of the two wars to well over a trillion, or $1,379 billion to be exact. the following chart, which gives the tally, makes estimates, let alone daniels’s, look optimistic. getting to four trillion $1,379 billion is a lot of money, but it still $4 trillion. how do we get from the total appropriations to the larger cost figure that crawford gives? we start by adding in three budget items that represent war expenditures by agencies other than. the state department and u.s. aid spent some $84 billion on reconstruction and development aid in iraq and afghanistan. next comes $19 billion in military aid to pakistan. operation noble eagle added another $29 billion, largely for mobilizing the national guard for homeland security operations. that brings the total to just over $1,510 billion. there is more. the watson institute study attributes several more expenditure categories either to the war itself or the climate of war that shaped u.s. policy decisions after. these include: $135 billion for medical care and benefits of iraq and afghan war veterans. an estimated $743 billion in additions to the base budget. although these funds were not spent directly in the war theaters, the researchers believe they would not have been appropriated had the wars not been undertaken. $455 billion for homeland security. again, the assumption is made that much or all of this spending would not have been undertaken but for the war and climate of war. $130 billion in additional spending on war operations and base budget for 2014. we are now up to $2,973 billion, roughly $3 trillion, through the projected end of afghan combat operations in 2014. however, the costs of war will have a long tail that extends for decades after american troops come home. one of the biggest components will be future expenditures for medical care and other benefits for war veterans. the institute estimates those at $754 billion through 2053, for a total of $3,727 billion. finally, there are interest payments. for the most part the wars were financed by borrowing, so the above costs added directly to the federal debt. the institute study calculates the interest costs of war borrowing at $254 billion through the end of 2012. we have now arrived at watson figure of just under $4 trillion. the institute suggests that possible future interest payments might eventually add as much as $7 trillion more, but that is far more speculative. although we can fairly say that war costs added directly to federal deficits in the early years, more recently the size of those deficits and the accumulated debt have begun to affect both taxes and spending for other programs. without past war expenditures, the federal debt at the end of 2012 would have been about 51 percent of rather than the actual 71 percent. that would have reduced the pressure to raise taxes as part of the fiscal cliff negotiations at the end of 2012 and to cut spending by letting the sequester go into effect in 2013. from 2012 on, then, it becomes less reasonable to say that the federal debt would be lower without the wars. saying that does not diminish the budgetary opportunity cost of war expenditures. it just means that as we go forward, we may bear them in the form of a squeeze on other programs or higher taxes rather than as interest payments on war debt. what about the cost of human life? the watson institute study addresses only the budgetary costs of the war. beyond that, there are human costs. most people would agree that the human costs of war are beyond quantification, and for the most part, i would go along with that. still, to help put the budgetary costs of the war in perspective, we could try applying statistical value of life methodology to war casualties. various u.s. agencies apply statistical values of life to evaluate costs and benefits of policy measures like improving road safety or reducing air pollution. courts use statistical value of life numbers in awarding compensation for accidental death. the values of life used in such situations come, among other sources, from studies of the extra pay required to compensate for differences in risk of death among various occupations. these highly imperfect numbers tend to run in the range of $6 to $8 million for the life of an american of working age. the same method can be used to calculate proportionately smaller values for the reduction in quality of life as the result of disability. just as a envelope exercise, suppose we imagine what the additional budgetary cost would have been if the u.s. government had paid a death benefit of $7 million dollars for each service member killed in action and a $1 million cash benefit for pain and suffering to each person wounded in combat. applying those numbers to killed and wounded would add about another $85 billion to the cost of the war. that does not include the statistical value of life of more than american soldiers and contractors who died from causes in the two war theaters, or the almost allied military personnel who died there. the watson institute also estimates that between and civilians have been killed in iraq, afghanistan, and pakistan during the war. i even pretend to suggest what statistical value of life would fairly compensate those war victims and their families. pick your own number, multiply it out, and add it to the total. the bottom line many people will object to the entire premise of the watson institute study and of this post. they will say that the dollar cost of the war and the statistical value of the lives lost in it are completely beside the point. the war was never about economics; it was about national security, national honor, and bringing peace and democracy to oppressed peoples in lands. still, one help but wonder. if congress had been told that the price tag would be not $50 billion, but $4 trillion, would it have voted so overwhelmingly for the iraq war resolution of october 2, 2002?

tɛn jɪrz ɔn, nu ˈɛstəˌmeɪts əv ðə ˌɛkəˈnɑmɪk kɔst əv ðə wɔrz ɪn ˌɪˈrɑk ənd æfˈgænəˌstæn ðɪs wik mɑrks ðə tɛnθ ˌænəˈvərsəri əv ðə əˈmɛrɪkən ˌɪnˈveɪʒən əv ˌɪˈrɑk. wət hæv ðə wɔrz ɪn ˌɪˈrɑk ənd æfˈgænəˌstæn kɔst ðə juˈnaɪtɪd steɪts tɪ deɪt? wət əˈdɪʃənəl bɪlz wɪl kəm du ɪn ðə fˈjuʧər? ɪˈkɑnəmɪsts ənd ˈbəʤɪt ˈænəlɪsts hæv meɪd ˈmɛni ˈɛstəˌmeɪts sɪns ðə ˈərli 2000s*. ˈoʊnli wən ˌrɛgjəˈlɛrəti həz ˈimərʤd frəm ðɛr wərk: iʧ nu raʊnd əv ˈɛstəˌmeɪts ɪz haɪər ðən ðoʊz ˌbiˈfɔr. læst wik ðə ˈwɑtsən ˈɪnstɪˌtut fər ˌɪnərˈnæʃənɑl ˈstədiz æt braʊn ˌjunəˈvərsəti riˈlist ə nu sɛt əv ˈɛstəˌmeɪts. ðə ˈnəmbərz ər ˈsəmərˌaɪzd ɔn ðə wɛb saɪt əv ðə kɔst əv wɔr ˈprɑʤɛkt ənd dɪˈteɪld ɪn ə ˈpeɪpər baɪ prəˈfɛsər si. ˈkrɔfərd. ðə ˈɛstəˌmeɪt əv ðə ˈtoʊtəl kɔst əv ðə tu wɔrz naʊ kəmz tɪ ʤɪst ˈəndər 4 ˈtrɪljən. ɪt səˈpoʊzd tɪ kɔst soʊ məʧ ðə wɔrz wər nɑt səˈpoʊzd tɪ kɔst soʊ məʧ. ɛz ðə ædˌmɪnɪˈstreɪʃən əv ˈprɛzɪdənt ʤɔrʤ ˈdəbəlju. bʊʃ wɑz ˈbɪldɪŋ ə keɪs fər ðə ˌɪˈrɑk wɔr ɪn 2002 wɪθ səm əˈmɛrɪkən trups ɔˈrɛdi dɪˈplɔɪd ɪn æfˈgænəˌstæn, ðə kˈwɛʃən əv kɔst ˈnæʧərəli keɪm əp. ɪn sɛpˈtɛmbər əv ðət jɪr, ˈlɔrəns bi. ˈlɪndzi, ðɛn ˈʧɛrmən əv ðə ˈkaʊnsəl əv ˌɛkəˈnɑmɪk ædˈvaɪzərz, ˈɛstəˌmeɪtɪd ðət ə nu ˌɪˈrɑk wɔr wʊd kɔst 100 ˈbɪljən, ˈmeɪbi 200 ˈbɪljən æt ə ˈmæksəməm. wɪθ ə ˈmɪdˌtərm ɪˈlɛkʃən ɔn ðə hərˈaɪzən, ðə waɪt haʊs vjud ðət ˈɛstəˌmeɪt ɛz ˈʃɑkɪŋli haɪ. ðə ˈprɛzɪdənt kˈwɪkli dɪsˈmɪst ˈlɪndzi. ˈmɛni əbˈzərvərz sɔ hɪz wɔr kɔst ˈɛstəˌmeɪt ɛz ə ˈmeɪʤər ˈrizən. ˈleɪtər ðət jɪr, ˈmɪʧəl i. ˈdænjɛlz jr*., ðɛn hɛd əv ðə ˈɔfəs əv ˈmænɪʤmənt ənd ˈbəʤɪt, toʊld ðə nu jɔrk taɪmz ðət 50 tɪ 60 ˈbɪljən wʊd bi ə mɔr ˌriəˈlɪstɪk ˈfɪgjər, ðə seɪm ər ə bɪt lɛs ðən ðə kɔst əv ðə 1991 gəlf wɔr. ɛz ɪt tərnd aʊt, ðə kɔst əv ðə ˌɪˈrɑk wɔr keɪm tɪ 770 ˈbɪljən ˈoʊvər ðə nɛkst twɛlv jɪrz, ˈmɛʒərd baɪ dɪˈfɛns dɪˈpɑrtmənt əˌproʊpriˈeɪʃənz əˈloʊn. əˌproʊpriˈeɪʃənz fər æfˈgænəˌstæn ˈædɪd əˈnəðər 609 ˈbɪljən, ˈpʊʃɪŋ ðə kɔst əv ðə tu wɔrz tɪ wɛl ˈoʊvər ə ˈtrɪljən, ər ˈbɪljən tɪ bi ɪgˈzækt. ðə ˈfɑloʊɪŋ ʧɑrt, wɪʧ gɪvz ðə ˈtæli, meɪks ˈɛstəˌmeɪts, lɛt əˈloʊn daniels’s*, lʊk ˌɑptɪˈmɪstɪk. ˈgɪtɪŋ tɪ fɔr ˈtrɪljən ˈbɪljən ɪz ə lɔt əv ˈməni, bət ɪt stɪl 4 ˈtrɪljən. haʊ du wi gɪt frəm ðə ˈtoʊtəl əˌproʊpriˈeɪʃənz tɪ ðə ˈlɑrʤər kɔst ˈfɪgjər ðət ˈkrɔfərd gɪvz? wi stɑrt baɪ ˈædɪŋ ɪn θri ˈbəʤɪt ˈaɪtəmz ðət ˌrɛprɪˈzɛnt wɔr ɪkˈspɛndɪʧərz baɪ ˈeɪʤənsiz ˈəðər ðən. ðə steɪt dɪˈpɑrtmənt ənd juz. eɪd spɛnt səm 84 ˈbɪljən ɔn ˌrikənˈstrəkʃən ənd dɪˈvɛləpmənt eɪd ɪn ˌɪˈrɑk ənd æfˈgænəˌstæn. nɛkst kəmz 19 ˈbɪljən ɪn ˈmɪlɪˌtɛri eɪd tɪ ˈpækɪˌstæn. ˌɑpərˈeɪʃən ˈnoʊbəl ˈigəl ˈædɪd əˈnəðər 29 ˈbɪljən, ˈlɑrʤli fər ˈmoʊbəˌlaɪzɪŋ ðə ˈnæʃənəl gɑrd fər ˈhoʊmˌlænd sɪˈkjʊrəti ˌɑpərˈeɪʃənz. ðət brɪŋz ðə ˈtoʊtəl tɪ ʤɪst ˈoʊvər ˈbɪljən. ðɛr ɪz mɔr. ðə ˈwɑtsən ˈɪnstɪˌtut ˈstədi əˈtrɪˌbjuts ˈsɛvərəl mɔr ɪkˈspɛndɪʧər ˈkætəˌgɔriz ˈiðər tɪ ðə wɔr ˌɪtˈsɛlf ər ðə ˈklaɪmɪt əv wɔr ðət ʃeɪpt juz. ˈpɑləsi dɪˈsɪʒənz ˈæftər ðiz ˌɪnˈklud: 135 ˈbɪljən fər ˈmɛdɪkəl kɛr ənd ˈbɛnəfɪts əv ˌɪˈrɑk ənd ˈæfˌgæn wɔr ˈvɛtərənz. ən ˈɛstəˌmeɪtɪd 743 ˈbɪljən ɪn əˈdɪʃənz tɪ ðə beɪs ˈbəʤɪt. ˌɔlˈðoʊ ðiz fəndz wər nɑt spɛnt dɪˈrɛkli ɪn ðə wɔr ˈθiətərz, ðə ˈrisərʧərz bɪˈliv ðeɪ wʊd nɑt hæv bɪn əˈproʊpriˌeɪtɪd hæd ðə wɔrz nɑt bɪn ˈəndərˌteɪkən. 455 ˈbɪljən fər ˈhoʊmˌlænd sɪˈkjʊrəti. əˈgɛn, ðə əˈsəmpʃən ɪz meɪd ðət məʧ ər ɔl əv ðɪs ˈspɛndɪŋ wʊd nɑt hæv bɪn ˈəndərˌteɪkən bət fər ðə wɔr ənd ˈklaɪmɪt əv wɔr. 130 ˈbɪljən ɪn əˈdɪʃənəl ˈspɛndɪŋ ɔn wɔr ˌɑpərˈeɪʃənz ənd beɪs ˈbəʤɪt fər 2014 wi ər naʊ əp tɪ ˈbɪljən, ˈrəfli 3 ˈtrɪljən, θru ðə prɑˈʤɛktəd ɛnd əv ˈæfˌgæn ˈkɑmbæt ˌɑpərˈeɪʃənz ɪn 2014 ˌhaʊˈɛvər, ðə kɔsts əv wɔr wɪl hæv ə lɔŋ teɪl ðət ɪkˈstɛndz fər ˈdɛkeɪdz ˈæftər əˈmɛrɪkən trups kəm hoʊm. wən əv ðə ˈbɪgəst kəmˈpoʊnənts wɪl bi fˈjuʧər ɪkˈspɛndɪʧərz fər ˈmɛdɪkəl kɛr ənd ˈəðər ˈbɛnəfɪts fər wɔr ˈvɛtərənz. ðə ˈɪnstɪˌtut ˈɛstəˌmeɪts ðoʊz æt 754 ˈbɪljən θru 2053 fər ə ˈtoʊtəl əv ˈbɪljən. ˈfaɪnəli, ðɛr ər ˈɪntəˌrɛst ˈpeɪmənts. fər ðə moʊst pɑrt ðə wɔrz wər ˈfaɪˌnænst baɪ ˈbɑroʊɪŋ, soʊ ðə əˈbəv kɔsts ˈædɪd dɪˈrɛkli tɪ ðə ˈfɛdərəl dɛt. ðə ˈɪnstɪˌtut ˈstədi ˈkælkjəˌleɪts ðə ˈɪntəˌrɛst kɔsts əv wɔr ˈbɑroʊɪŋ æt 254 ˈbɪljən θru ðə ɛnd əv 2012 wi hæv naʊ əraɪvd æt ˈwɑtsən ˈfɪgjər əv ʤɪst ˈəndər 4 ˈtrɪljən. ðə ˈɪnstɪˌtut səˈʤɛsts ðət ˈpɑsəbəl fˈjuʧər ˈɪntəˌrɛst ˈpeɪmənts maɪt ɪˈvɛnʧəwəli æd ɛz məʧ ɛz 7 ˈtrɪljən mɔr, bət ðət ɪz fɑr mɔr ˈspɛkjələtɪv. ˌɔlˈðoʊ wi kən ˈfɛrli seɪ ðət wɔr kɔsts ˈædɪd dɪˈrɛkli tɪ ˈfɛdərəl ˈdɛfɪsɪts ɪn ðə ˈərli jɪrz, mɔr ˈrisəntli ðə saɪz əv ðoʊz ˈdɛfɪsɪts ənd ðə əˈkjumjəˌleɪtɪd dɛt hæv ˈbeɪgən tɪ əˈfɛkt boʊθ ˈtæksɪz ənd ˈspɛndɪŋ fər ˈəðər ˈproʊˌgræmz. wɪˈθaʊt pæst wɔr ɪkˈspɛndɪʧərz, ðə ˈfɛdərəl dɛt æt ðə ɛnd əv 2012 wʊd hæv bɪn əˈbaʊt 51 pərˈsɛnt əv ˈrəðər ðən ðə ˈækʧəwəl 71 pərˈsɛnt. ðət wʊd hæv rɪˈdust ðə ˈprɛʃər tɪ reɪz ˈtæksɪz ɛz pɑrt əv ðə ˈfɪskəl klɪf nɪˌgoʊʃiˈeɪʃənz æt ðə ɛnd əv 2012 ənd tɪ kət ˈspɛndɪŋ baɪ ˈlɛtɪŋ ðə sɪkˈwɛstər goʊ ˈɪntu ˈifɛkt ɪn 2013 frəm 2012 ɔn, ðɛn, ɪt bɪˈkəmz lɛs ˈrizənəbəl tɪ seɪ ðət ðə ˈfɛdərəl dɛt wʊd bi loʊər wɪˈθaʊt ðə wɔrz. seɪɪŋ ðət dɪz nɑt dɪˈmɪnɪʃ ðə ˈbəʤɪˌtɛri ˌɑpərˈtunəti kɔst əv wɔr ɪkˈspɛndɪʧərz. ɪt ʤɪst minz ðət ɛz wi goʊ ˈfɔrwərd, wi meɪ bɛr ðɛm ɪn ðə fɔrm əv ə skwiz ɔn ˈəðər ˈproʊˌgræmz ər haɪər ˈtæksɪz ˈrəðər ðən ɛz ˈɪntəˌrɛst ˈpeɪmənts ɔn wɔr dɛt. wət əˈbaʊt ðə kɔst əv ˈjumən laɪf? ðə ˈwɑtsən ˈɪnstɪˌtut ˈstədi ˈæˈdrɛsɪz ˈoʊnli ðə ˈbəʤɪˌtɛri kɔsts əv ðə wɔr. bɪɔnd ðət, ðɛr ər ˈjumən kɔsts. moʊst ˈpipəl wʊd əˈgri ðət ðə ˈjumən kɔsts əv wɔr ər bɪɔnd kˌwɑntɪfəˈkeɪʃən, ənd fər ðə moʊst pɑrt, aɪ wʊd goʊ əˈlɔŋ wɪθ ðət. stɪl, tɪ hɛlp pʊt ðə ˈbəʤɪˌtɛri kɔsts əv ðə wɔr ɪn pərˈspɛktɪv, wi kʊd traɪ əˈplaɪɪŋ stəˈtɪstɪkəl ˈvælju əv laɪf ˌmɛθəˈdɑləʤi tɪ wɔr ˈkæʒəwəltiz. ˈvɛriəs juz. ˈeɪʤənsiz əˈplaɪ stəˈtɪstɪkəl ˈvæljuz əv laɪf tɪ ɪˈvæljuˌeɪt kɔsts ənd ˈbɛnəfɪts əv ˈpɑləsi ˈmɛʒərz laɪk ˌɪmˈpruvɪŋ roʊd ˈseɪfti ər rɪˈdusɪŋ ɛr pəˈluʃən. kɔrts juz stəˈtɪstɪkəl ˈvælju əv laɪf ˈnəmbərz ɪn əˈwɔrdɪŋ ˌkɑmpənˈseɪʃən fər ˌæksəˈdɛnəl dɛθ. ðə ˈvæljuz əv laɪf juzd ɪn səʧ ˌsɪʧuˈeɪʃənz kəm, əˈməŋ ˈəðər ˈsɔrsəz, frəm ˈstədiz əv ðə ˈɛkstrə peɪ rikˈwaɪərd tɪ ˈkɑmpənˌseɪt fər ˈdɪfərənsɪz ɪn rɪsk əv dɛθ əˈməŋ ˈvɛriəs ˌɑkjəˈpeɪʃənz. ðiz ˈhaɪli ˌɪmˈpərfɪkt ˈnəmbərz tɛnd tɪ rən ɪn ðə reɪnʤ əv 6 tɪ 8 ˈmɪljən fər ðə laɪf əv ən əˈmɛrɪkən əv ˈwərkɪŋ eɪʤ. ðə seɪm ˈmɛθəd kən bi juzd tɪ ˈkælkjəˌleɪt prəˈpɔrʃənətli sˈmɔlər ˈvæljuz fər ðə rɪˈdəkʃən ɪn kˈwɑləti əv laɪf ɛz ðə rɪˈzəlt əv ˌdɪsəˈbɪlɪti. ʤɪst ɛz ə ˈɛnvəˌloʊp ˈɛksərˌsaɪz, səˈpoʊz wi ˌɪˈmæʤən wət ðə əˈdɪʃənəl ˈbəʤɪˌtɛri kɔst wʊd hæv bɪn ɪf ðə juz. ˈgəvərnmənt hæd peɪd ə dɛθ ˈbɛnəfɪt əv 7 ˈmɪljən ˈdɔlərz fər iʧ ˈsərvɪs ˈmɛmbər kɪld ɪn ˈækʃən ənd ə 1 ˈmɪljən kæʃ ˈbɛnəfɪt fər peɪn ənd ˈsəfərɪŋ tɪ iʧ ˈpərsən ˈwundɪd ɪn ˈkɑmbæt. əˈplaɪɪŋ ðoʊz ˈnəmbərz tɪ kɪld ənd ˈwundɪd wʊd æd əˈbaʊt əˈnəðər 85 ˈbɪljən tɪ ðə kɔst əv ðə wɔr. ðət dɪz nɑt ˌɪnˈklud ðə stəˈtɪstɪkəl ˈvælju əv laɪf əv mɔr ðən əˈmɛrɪkən ˈsoʊlʤərz ənd ˈkɑnˌtræktərz hu daɪd frəm ˈkɔzɪz ɪn ðə tu wɔr ˈθiətərz, ər ðə ˈɔlˌmoʊst ˈæˌlaɪd ˈmɪlɪˌtɛri ˌpərsəˈnɛl hu daɪd ðɛr. ðə ˈwɑtsən ˈɪnstɪˌtut ˈɔlsoʊ ˈɛstəˌmeɪts ðət bɪtˈwin ənd səˈvɪljənz hæv bɪn kɪld ɪn ˌɪˈrɑk, æfˈgænəˌstæn, ənd ˈpækɪˌstæn ˈdʊrɪŋ ðə wɔr. aɪ ˈivɪn priˈtɛnd tɪ səˈʤɛst wət stəˈtɪstɪkəl ˈvælju əv laɪf wʊd ˈfɛrli ˈkɑmpənˌseɪt ðoʊz wɔr ˈvɪktɪmz ənd ðɛr ˈfæməliz. pɪk jʊr oʊn ˈnəmbər, ˈməltəˌplaɪ ɪt aʊt, ənd æd ɪt tɪ ðə ˈtoʊtəl. ðə ˈbɑtəm laɪn ˈmɛni ˈpipəl wɪl ˈɑbʤɛkt tɪ ðə ɪnˈtaɪər ˈprɛmɪs əv ðə ˈwɑtsən ˈɪnstɪˌtut ˈstədi ənd əv ðɪs poʊst. ðeɪ wɪl seɪ ðət ðə ˈdɔlər kɔst əv ðə wɔr ənd ðə stəˈtɪstɪkəl ˈvælju əv ðə lɪvz lɔst ɪn ɪt ər kəmˈplitli ˌbiˈsaɪd ðə pɔɪnt. ðə wɔr wɑz ˈnɛvər əˈbaʊt ˌɛkəˈnɑmɪks; ɪt wɑz əˈbaʊt ˈnæʃənəl sɪˈkjʊrəti, ˈnæʃənəl ˈɑnər, ənd ˈbrɪŋɪŋ pis ənd dɪˈmɑkrəsi tɪ əˈprɛst ˈpipəlz ɪn lændz. stɪl, wən hɛlp bət ˈwəndər. ɪf ˈkɑŋgrəs hæd bɪn toʊld ðət ðə praɪs tæg wʊd bi nɑt 50 ˈbɪljən, bət 4 ˈtrɪljən, wʊd ɪt hæv ˈvoʊtɪd soʊ ˌoʊvərˈwɛlmɪŋli fər ðə ˌɪˈrɑk wɔr ˌrɛzəˈluʃən əv ɑkˈtoʊbər 2 2002

this is why people agree with sound of same headphones there have been interesting researches on the sound of headphones as it is found to believe that every human being have a different opinion on the same headphone sound and this behavior has been researched by brent butterworth who has provided an reasoning about the same. in a recent study, different humans have been made to hear a same headphone sound and asked about their opinions. interestingly, every test subject had a different take on the sound heard which proves the theory of disagreement as every human has a different take on same headphone sound. every human has different hearing and interpretation capabilities it has been found that the reason for different interpretations is due to the development process of human ears as the ear canals vary from human to human. as quoted by jacob soendergaard, a sales engineer in a sound and vibration company. each minute variation in geometry (ear canal shape, amount of folds and creases in the canal, aspect ratio of canal, location of double bends, size of tympanic membrane [eardrum], etc.) will affect the hearing perception especially at the high frequencies with very short wavelengths. hence, in the case of frequencies between to 20 (human hearing range), even a minuscule difference in offsetting of the human eardrum, which can be referred to as a measurement device, by a millimetre can result in varied results from person to person. every human has a different scientifically, the human brain uses hand related transfer function or to locate sound in three dimensions. this function involves the time difference between the arrival of sound at the ears, difference in sound levels, differences in frequency caused by acoustical effects of heads, shoulders and pinnae. all these functions support the interpretation of the sound. headphones adjustments to the ears the fitting of headphones plays a great role in the sound performance output of headphones. it is dependent on the fit of the ear pads of an on the pinna. for a good bass of headphones, a good seal will ensure the same. in case if any space is created, the headphones will have a low bass, which might result in the tonal imbalance. different humans have different tastes it has been observed that one of the reasons behind the different taste could be varied perception of humans towards a headphone sound. this can be obvious as every human is different and the like and dislikes to a particular headphone sound mostly depends upon which sound is more likeable to a particular human. hearing ability varies the hearing capability of a human undergoes changes with age. if the human ear is exposed to loud sounds continuously, it might result in low hearing capabilities in the long run as the ear might have lost hearing efficiency at loud sounds. also, as you grow old with age, the hearing aid of humans starts to show changes, the efficiency of which slowly withers away with time. reference source:

ðɪs ɪz waɪ ˈpipəl əˈgri wɪθ saʊnd əv seɪm ˈhɛdˌfoʊnz ðɛr hæv bɪn ˈɪntəˌrɛstɪŋ riˈsərʧɪz ɔn ðə saʊnd əv ˈhɛdˌfoʊnz ɛz ɪt ɪz faʊnd tɪ bɪˈliv ðət ˈɛvəri ˈjumən biɪŋ hæv ə ˈdɪfərənt əˈpɪnjən ɔn ðə seɪm ˈhɛdˌfoʊn saʊnd ənd ðɪs bɪˈheɪvjər həz bɪn riˈsərʧt baɪ brɛnt ˈbətərˌwərθ hu həz prəˈvaɪdɪd ən ˈrizənɪŋ əˈbaʊt ðə seɪm. ɪn ə ˈrisənt ˈstədi, ˈdɪfərənt ˈjumənz hæv bɪn meɪd tɪ hir ə seɪm ˈhɛdˌfoʊn saʊnd ənd æst əˈbaʊt ðɛr əˈpɪnjənz. ˈɪntəˌrɛstɪŋli, ˈɛvəri tɛst ˈsəbʤɪkt hæd ə ˈdɪfərənt teɪk ɔn ðə saʊnd hərd wɪʧ pruvz ðə ˈθɪri əv dɪsəˈgrimənt ɛz ˈɛvəri ˈjumən həz ə ˈdɪfərənt teɪk ɔn seɪm ˈhɛdˌfoʊn saʊnd. ˈɛvəri ˈjumən həz ˈdɪfərənt ˈhirɪŋ ənd ˌɪnˌtərprɪˈteɪʃən ˌkeɪpəˈbɪlətiz ɪt həz bɪn faʊnd ðət ðə ˈrizən fər ˈdɪfərənt ˌɪnˌtərprɪˈteɪʃənz ɪz du tɪ ðə dɪˈvɛləpmənt ˈprɔˌsɛs əv ˈjumən ɪrz ɛz ðə ɪr kəˈnælz ˈvɛri frəm ˈjumən tɪ ˈjumən. ɛz kˈwoʊtɪd baɪ ˈʤeɪkəb soendergaard*, ə seɪlz ˈɛnʤəˈnɪr ɪn ə saʊnd ənd vaɪˈbreɪʃən ˈkəmpəˌni. iʧ ˈmɪnət ˌvɛriˈeɪʃən ɪn ʤiˈɑmətri (ɪr kəˈnæl ʃeɪp, əˈmaʊnt əv foʊldz ənd ˈkrisɪz ɪn ðə kəˈnæl, ˈæˌspɛkt ˈreɪʃiˌoʊ əv kəˈnæl, loʊˈkeɪʃən əv ˈdəbəl bɛndz, saɪz əv tɪmˈpænɪk ˈmɛmˌbreɪn [eardrum*], ˌɛtˈsɛtərə.) wɪl əˈfɛkt ðə ˈhirɪŋ pərˈsɛpʃən əˈspɛʃəli æt ðə haɪ ˈfrikwənsiz wɪθ ˈvɛri ʃɔrt ˈweɪvˌlɛŋθs. hɛns, ɪn ðə keɪs əv ˈfrikwənsiz bɪtˈwin tɪ 20 (ˈjumən ˈhirɪŋ reɪnʤ), ˈivɪn ə ˈmɪnəˌskjul ˈdɪfərəns ɪn ˈɔfˌsɛtɪŋ əv ðə ˈjumən eardrum*, wɪʧ kən bi rɪˈfərd tɪ ɛz ə ˈmɛʒərmənt dɪˈvaɪs, baɪ ə ˈmɪləˌmitər kən rɪˈzəlt ɪn ˈvɛrid rɪˈzəlts frəm ˈpərsən tɪ ˈpərsən. ˈɛvəri ˈjumən həz ə ˈdɪfərənt ˌsaɪənˈtɪfɪkəli, ðə ˈjumən breɪn ˈjuzɪz hænd rɪˈleɪtɪd ˈtrænsfər ˈfəŋkʃən ər tɪ ˈloʊˌkeɪt saʊnd ɪn θri dɪˈmɛnʃənz. ðɪs ˈfəŋkʃən ˌɪnˈvɑlvz ðə taɪm ˈdɪfərəns bɪtˈwin ðə ərˈaɪvəl əv saʊnd æt ðə ɪrz, ˈdɪfərəns ɪn saʊnd ˈlɛvəlz, ˈdɪfərənsɪz ɪn ˈfrikwənsi kɔzd baɪ əˈkustɪkəl ˈifɛkts əv hɛdz, ˈʃoʊldərz ənd pinnae*. ɔl ðiz ˈfəŋkʃənz səˈpɔrt ðə ˌɪnˌtərprɪˈteɪʃən əv ðə saʊnd. ˈhɛdˌfoʊnz əˈʤəstmənts tɪ ðə ɪrz ðə ˈfɪtɪŋ əv ˈhɛdˌfoʊnz pleɪz ə greɪt roʊl ɪn ðə saʊnd pərˈfɔrməns ˈaʊtˌpʊt əv ˈhɛdˌfoʊnz. ɪt ɪz dɪˈpɛndənt ɔn ðə fɪt əv ðə ɪr pædz əv ən ɔn ðə pinna*. fər ə gʊd bæs əv ˈhɛdˌfoʊnz, ə gʊd sil wɪl ɪnˈʃʊr ðə seɪm. ɪn keɪs ɪf ˈɛni speɪs ɪz kriˈeɪtɪd, ðə ˈhɛdˌfoʊnz wɪl hæv ə loʊ bæs, wɪʧ maɪt rɪˈzəlt ɪn ðə ˈtoʊnəl ɪmˈbæləns. ˈdɪfərənt ˈjumənz hæv ˈdɪfərənt teɪsts ɪt həz bɪn əbˈzərvd ðət wən əv ðə ˈrizənz bɪˈhaɪnd ðə ˈdɪfərənt teɪst kʊd bi ˈvɛrid pərˈsɛpʃən əv ˈjumənz təˈwɔrdz ə ˈhɛdˌfoʊn saʊnd. ðɪs kən bi ˈɑbviəs ɛz ˈɛvəri ˈjumən ɪz ˈdɪfərənt ənd ðə laɪk ənd dɪsˈlaɪks tɪ ə ˌpɑˈtɪkjələr ˈhɛdˌfoʊn saʊnd ˈmoʊstli dɪˈpɛndz əˈpɑn wɪʧ saʊnd ɪz mɔr ˈlaɪkəbəl tɪ ə ˌpɑˈtɪkjələr ˈjumən. ˈhirɪŋ əˈbɪləˌti ˈvɛriz ðə ˈhirɪŋ ˌkeɪpəˈbɪləti əv ə ˈjumən ˈəndərˌgoʊz ˈʧeɪnʤɪz wɪθ eɪʤ. ɪf ðə ˈjumən ɪr ɪz ɪkˈspoʊzd tɪ laʊd saʊnz kənˈtɪnjuəsli, ɪt maɪt rɪˈzəlt ɪn loʊ ˈhirɪŋ ˌkeɪpəˈbɪlətiz ɪn ðə lɔŋ rən ɛz ðə ɪr maɪt hæv lɔst ˈhirɪŋ ɪˈfɪʃənsi æt laʊd saʊnz. ˈɔlsoʊ, ɛz ju groʊ oʊld wɪθ eɪʤ, ðə ˈhirɪŋ eɪd əv ˈjumənz stɑrts tɪ ʃoʊ ˈʧeɪnʤɪz, ðə ɪˈfɪʃənsi əv wɪʧ sˈloʊli ˈwɪðərz əˈweɪ wɪθ taɪm. ˈrɛfərəns sɔrs:

after my exam earlier was postponed due to some problems between pearson vue and lab communications, i did my deploy last friday. and it was a pass on the first attempt woohoo. the exam is a whopping (or somewhat with 205 minutes) hours getting through tasks where time management is the most important piece. well next to actually knowing what you need to be doing. i missed some questions in the end, but 30 questions seem to be enough to barely pass. i was a bit slow as deployment is something i do differently in real life, irritated about the not working (arrow del key combination is not my cookie) while my pavlov keeps hitting that key and in the last part of the exam i had to keep pushing radio buttons several times before they got active. some tips for the time management when you will attempt the exam: prepare your exam lab experience. do hands on labs from the courses. is it not for the subjects, is it knowing how to operate the lab environment. the exam lab is the same as the hands-on labs. i used several and so on. do note the horizon are not the versions used in the version, but most items are still in the right place. i have also used cloud for my labs. bonus with the is that you already have the password to use in the exam drilled. familiarize with the subjects. read through the exam objectives and practice those in your own lab or hands on labs. these blog posts were very helpful: going through the-dtm deploy study guide several times with this blog post series: https://szumigalski.com/2016/08/01/vcap6-dtm-study-guide/. prepare yourself about the exam lab environment with this blog post: http://sostechblog.com/2016/07/26/vcap6-dtm-desktop-and-mobility-deployment-exam-launch/. schedule your exam. have something to work to. do this before starting to study, but allow for a reasonable study preparation period. there is no non-native english speaker time extension, 205 minutes is what everyone gets. a study group with peers is worth it, especially working together on a shared goal and for sharing experiences, tips and tricks. at our company (http://itq.nl) we did were we had multiple sessions and let some of the team present an objective. have peers at your company that go for the same kind of exams? well reach out on twitter, the community is strong in its knowledge sharing force and you will get a group in no time. mirage base layer and application layer capturing, restoring, as well as app volumes capturing take time to complete. make a note on your and do some other questions while these are capturing. return to see the progress. set your environment to a comfortable screen resolution, mine was to set the screen to. also change this resolution in the remote desktop manager. if you happen to need console access to a virtual machine (mostly will work), use the web client not or the client console as the are not working. once at the exam, go through the exam questions, start the capturings, complete the ones you know, skip the ones you know or are not sure about. you can navigate back and forth through the tasks, but go skipping in berserk mode. have some idea what questions are for what subjects, use your white board to write done the questions, make notes and mark completed, in progress or fail. do take time to read the assignment, you have multiple clusters, desktops and connections servers. wasted time starting the task on the wrong component. don’t let slow performance get you. this is a lab environment and not running in your exam centre or even region. it can be slow, be prepared and be patience. but that mean that if it is unworkable you say something about it…. know how horizon architecture, application capturing and desktop pools work, know your way with identity manager (vidm) and mirage, know the and command line help options, and you will be a okay. and yes that time management…. – enjoy your exam experience! sources:.com, szumigalski.com,

ˈæftər maɪ ɪgˈzæm ˈərliər wɑz poʊstˈpoʊnd du tɪ səm ˈprɑbləmz bɪtˈwin ˈpɪrsən vju ənd læb kəmˌjunəˈkeɪʃənz, aɪ dɪd maɪ dɪˈplɔɪ læst ˈfraɪˌdeɪ. ənd ɪt wɑz ə pæs ɔn ðə fərst əˈtɛmpt woohoo*. ðə ɪgˈzæm ɪz ə ˈwɑpɪŋ (ər ˈsəmˈwət wɪθ 205 ˈmɪnəts) aʊərz ˈgɪtɪŋ θru tæsks wɛr taɪm ˈmænɪʤmənt ɪz ðə moʊst ˌɪmˈpɔrtənt pis. wɛl nɛkst tɪ ˈæˌkʧuəli noʊɪŋ wət ju nid tɪ bi duɪŋ. aɪ mɪst səm kˈwɛsʧənz ɪn ðə ɛnd, bət 30 kˈwɛsʧənz sim tɪ bi ɪˈnəf tɪ ˈbɛrli pæs. aɪ wɑz ə bɪt sloʊ ɛz dɪˈplɔɪmənt ɪz ˈsəmθɪŋ aɪ du ˈdɪfərˈɛntli ɪn ril laɪf, ˈɪrəˌteɪtəd əˈbaʊt ðə nɑt ˈwərkɪŋ (ˈɛroʊ dɛl ki ˌkɑmbəˈneɪʃən ɪz nɑt maɪ ˈkʊki) waɪl maɪ ˈpævlɑv kips ˈhɪtɪŋ ðət ki ənd ɪn ðə læst pɑrt əv ðə ɪgˈzæm aɪ hæd tɪ kip ˈpʊʃɪŋ ˈreɪdiˌoʊ ˈbətənz ˈsɛvərəl taɪmz ˌbiˈfɔr ðeɪ gɑt ˈæktɪv. səm tɪps fər ðə taɪm ˈmænɪʤmənt wɪn ju wɪl əˈtɛmpt ðə ɪgˈzæm: priˈpɛr jʊr ɪgˈzæm læb ɪkˈspɪriəns. du hænz ɔn læbz frəm ðə ˈkɔrsɪz. ɪz ɪt nɑt fər ðə ˈsəbʤɪkts, ɪz ɪt noʊɪŋ haʊ tɪ ˈɔpərˌeɪt ðə læb ɪnˈvaɪrənmənt. ðə ɪgˈzæm læb ɪz ðə seɪm ɛz ðə ˌhænˈzɔn læbz. aɪ juzd ˈsɛvərəl ənd soʊ ɔn. du noʊt ðə hərˈaɪzən ər nɑt ðə ˈvərʒənz juzd ɪn ðə ˈvərʒən, bət moʊst ˈaɪtəmz ər stɪl ɪn ðə raɪt pleɪs. aɪ hæv ˈɔlsoʊ juzd klaʊd fər maɪ læbz. ˈboʊnəs wɪθ ðə ɪz ðət ju ɔˈrɛdi hæv ðə ˈpæsˌwərd tɪ juz ɪn ðə ɪgˈzæm drɪld. fəˈmɪljərˌaɪz wɪθ ðə ˈsəbʤɪkts. rɛd θru ðə ɪgˈzæm əˈbʤɛktɪvz ənd ˈpræktɪs ðoʊz ɪn jʊr oʊn læb ər hænz ɔn læbz. ðiz blɔg poʊsts wər ˈvɛri ˈhɛlpfəl: goʊɪŋ θru ðə dɪˈplɔɪ ˈstədi gaɪd ˈsɛvərəl taɪmz wɪθ ðɪs blɔg poʊst ˈsɪriz: https://szumigalski.com/2016/08/01/vcap6-dtm-study-guide*/. priˈpɛr ˈjɔrsɛlf əˈbaʊt ðə ɪgˈzæm læb ɪnˈvaɪrənmənt wɪθ ðɪs blɔg poʊst: http://sostechblog.com/2016/07/26/vcap6-dtm-desktop-and-mobility-deployment-exam-launch*/. ˈskɛʤʊl jʊr ɪgˈzæm. hæv ˈsəmθɪŋ tɪ wərk tɪ. du ðɪs ˌbiˈfɔr ˈstɑrtɪŋ tɪ ˈstədi, bət əˈlaʊ fər ə ˈrizənəbəl ˈstədi ˌprɛpərˈeɪʃən ˈpɪriəd. ðɛr ɪz noʊ ˈnɑˈneɪtɪv ˈɪŋlɪʃ ˈspikər taɪm ɪkˈstɛnʃən, 205 ˈmɪnəts ɪz wət ˈɛvriˌwən gɪts. ə ˈstədi grup wɪθ pɪrz ɪz wərθ ɪt, əˈspɛʃəli ˈwərkɪŋ təˈgɛðər ɔn ə ʃɛrd goʊl ənd fər ˈʃɛrɪŋ ɪkˈspɪriənsɪz, tɪps ənd trɪks. æt ɑr ˈkəmpəˌni (http://itq.nl*) wi dɪd wər wi hæd ˈməltəpəl ˈsɛʃənz ənd lɛt səm əv ðə tim ˈprɛzənt ən əˈbʤɛktɪv. hæv pɪrz æt jʊr ˈkəmpəˌni ðət goʊ fər ðə seɪm kaɪnd əv ɪgˈzæmz? wɛl riʧ aʊt ɔn tˈwɪtər, ðə kəmˈjunɪti ɪz strɔŋ ɪn ɪts ˈnɑlɪʤ ˈʃɛrɪŋ fɔrs ənd ju wɪl gɪt ə grup ɪn noʊ taɪm. mərɑʒ beɪs leɪər ənd ˌæpləˈkeɪʃən leɪər ˈkæpʧərɪŋ, rɪˈstɔrɪŋ, ɛz wɛl ɛz æp ˈvɑljumz ˈkæpʧərɪŋ teɪk taɪm tɪ kəmˈplit. meɪk ə noʊt ɔn jʊr ənd du səm ˈəðər kˈwɛsʧənz waɪl ðiz ər ˈkæpʧərɪŋ. rɪˈtərn tɪ si ðə ˈprɑˌgrɛs. sɛt jʊr ɪnˈvaɪrənmənt tɪ ə ˈkəmfərtəbəl skrin ˌrɛzəˈluʃən, maɪn wɑz tɪ sɛt ðə skrin tɪ ˈɔlsoʊ ʧeɪnʤ ðɪs ˌrɛzəˈluʃən ɪn ðə rɪˈmoʊt ˈdɛskˌtɑp ˈmænɪʤər. ɪf ju ˈhæpən tɪ nid ˈkɑnsoʊl ˈækˌsɛs tɪ ə ˈvərʧuəl məˈʃin (ˈmoʊstli wɪl wərk), juz ðə wɛb klaɪənt nɑt ər ðə klaɪənt ˈkɑnsoʊl ɛz ðə ər nɑt ˈwərkɪŋ. wəns æt ðə ɪgˈzæm, goʊ θru ðə ɪgˈzæm kˈwɛsʧənz, stɑrt ðə capturings*, kəmˈplit ðə wənz ju noʊ, skɪp ðə wənz ju noʊ ər ər nɑt ʃʊr əˈbaʊt. ju kən ˈnævəˌgeɪt bæk ənd fɔrθ θru ðə tæsks, bət goʊ ˈskɪpɪŋ ɪn bərˈsərk moʊd. hæv səm aɪˈdiə wət kˈwɛsʧənz ər fər wət ˈsəbʤɪkts, juz jʊr waɪt bɔrd tɪ raɪt dən ðə kˈwɛsʧənz, meɪk noʊts ənd mɑrk kəmˈplitɪd, ɪn ˈprɑˌgrɛs ər feɪl. du teɪk taɪm tɪ rɛd ðə əˈsaɪnmənt, ju hæv ˈməltəpəl ˈkləstərz, ˈdɛskˌtɑps ənd kəˈnɛkʃənz ˈsərvərz. ˈweɪstɪd taɪm ˈstɑrtɪŋ ðə tæsk ɔn ðə rɔŋ kəmˈpoʊnənt. lɛt sloʊ pərˈfɔrməns gɪt ju. ðɪs ɪz ə læb ɪnˈvaɪrənmənt ənd nɑt ˈrənɪŋ ɪn jʊr ɪgˈzæm ˈsɛntər ər ˈivɪn ˈriʤən. ɪt kən bi sloʊ, bi priˈpɛrd ənd bi ˈpeɪʃəns. bət ðət min ðət ɪf ɪt ɪz ənˈwərkəbəl ju seɪ ˈsəmθɪŋ əˈbaʊt it…*…. noʊ haʊ hərˈaɪzən ˈɑrkəˌtɛkʧər, ˌæpləˈkeɪʃən ˈkæpʧərɪŋ ənd ˈdɛskˌtɑp pulz wərk, noʊ jʊr weɪ wɪθ aɪˈdɛntəˌti ˈmænɪʤər (vidm*) ənd mərɑʒ, noʊ ðə ənd kəˈmænd laɪn hɛlp ˈɔpʃənz, ənd ju wɪl bi ə ˌoʊˈkeɪ. ənd jɛs ðət taɪm management…*…. ˌɛnˈʤɔɪ jʊr ɪgˈzæm ɪkˈspɪriəns! ˈsɔrsəz: vmware.com*, szumigalski.com*,

call goes out for reality series tryouts along with fighting championships’ move from over to spike tv in january, the promotion has also announced that it intends to air a new reality series on its new network. there have been few details released about the new reality series, but on monday put out the call for open tryouts. the tryouts are open for the 155 and weight classes. any fighter that applies must have at least three professional victories on their record and must not have an equal or greater number of losses than wins. all applicants must also be over 21 years of age. the open tryouts are slated for nov. 10 from 8 a.m. to 4 p.m. at the american top team gym in coconut creak, fla. applications can be downloaded at and video submission sent to castingbellator@gmail.com. the man in charge of developing the reality series is producer bertrand van munster, who was behind the cbs hit the amazing race and several other series. the reality series format has been a big hit in the past for spike tv when it with the for the ultimate fighter. stay tuned to for more news and updates.

kɔl goʊz aʊt fər ˌriˈæləˌti ˈsɪriz traɪaʊts əˈlɔŋ wɪθ ˈfaɪtɪŋ championships’*’ muv frəm ˈoʊvər tɪ spaɪk ˌtɛləˈvɪʒən ɪn ˈʤænjuˌɛri, ðə pərˈmoʊʃən həz ˈɔlsoʊ əˈnaʊnst ðət ɪt ˌɪnˈtɛndz tɪ ɛr ə nu ˌriˈæləˌti ˈsɪriz ɔn ɪts nu ˈnɛtˌwərk. ðɛr hæv bɪn fju ˈditeɪlz riˈlist əˈbaʊt ðə nu ˌriˈæləˌti ˈsɪriz, bət ɔn ˈmənˌdeɪ pʊt aʊt ðə kɔl fər ˈoʊpən traɪaʊts. ðə traɪaʊts ər ˈoʊpən fər ðə 155 ənd weɪt ˈklæsɪz. ˈɛni ˈfaɪtər ðət əˈplaɪz məst hæv æt list θri prəˈfɛʃənəl ˈvɪktəriz ɔn ðɛr ˈrɛkərd ənd məst nɑt hæv ən ˈikwəl ər ˈgreɪtər ˈnəmbər əv ˈlɔsɪz ðən wɪnz. ɔl ˈæplɪkənts məst ˈɔlsoʊ bi ˈoʊvər 21 jɪrz əv eɪʤ. ðə ˈoʊpən traɪaʊts ər sˈleɪtɪd fər noʊv. 10 frəm 8 a.m*. tɪ 4 p.m*. æt ðə əˈmɛrɪkən tɔp tim ʤɪm ɪn ˈkoʊkəˌnət krik, fla*. ˌæpləˈkeɪʃənz kən bi ˈdaʊnˌloʊdɪd æt ənd ˈvɪdioʊ səbˈmɪʃən sɛnt tɪ castingbellator@gmail.com*. ðə mæn ɪn ʧɑrʤ əv dɪˈvɛləpɪŋ ðə ˌriˈæləˌti ˈsɪriz ɪz prəˈdusər ˈbərtrənd væn ˈmənstər, hu wɑz bɪˈhaɪnd ðə ˈsiˌbiˌɛs hɪt ðə əˈmeɪzɪŋ reɪs ənd ˈsɛvərəl ˈəðər ˈsɪriz. ðə ˌriˈæləˌti ˈsɪriz ˈfɔrˌmæt həz bɪn ə bɪg hɪt ɪn ðə pæst fər spaɪk ˌtɛləˈvɪʒən wɪn ɪt wɪθ ðə fər ðə ˈəltəmət ˈfaɪtər. steɪ tund tɪ fər mɔr nuz ənd ˈəpˌdeɪts.

web comics are a great way to get some downtime and inspiration, and are a nice, creative way to fill a break in work. web comics are free and easily accessible, and there are plenty of great ones out there. in this article, we've picked some of the best web comics to explore. some of the world's most well-known fictional characters were born through the medium of comics. the likes of batman, superman and spider-man have all won the hearts of successive generations of readers to such an extent that, despite the rise of the internet, the printed comic industry is still booming. if you're inspired to create your own, take a look at our guides to how to create a comic page, and how to colour comics. nedroid (pronounced 'neh-droid') is a web comic by artist anthony clark. he has his fingers in a few different comic pies, but is best known for a goofy comic series featuring a hybrid, of course that has been running since 2006. james squires is an illustrator based in new zealand who describes himself as a 'delusional comic person, coffee drinker, cat owner'. he's the artist behind web comic moonbeard. these surreal, cartoons often feature surprising twists, and they're well worth a browse. you can also browse his work via his feed. webcomic name first appeared in july 2016 and swiftly became a firm favourite. it's the work of artist alex norris and it never fails to amuse us with its excellently naive artwork, blobby characters and simple jokes, usually topped off with name's staple 'oh no' punchline. it shouldn't really work but it very much does, every single time. anne bird boy follows the story of bali, a boy who is keen to prove his worth to his tribe. after being banned from the ceremony that would make him an adult, he stumbles upon a legendary weapon and must flee across a dangerous land of gods, men and beasts to prevent it falling into the wrong hands. the story was picked up by comics and has been compiled into graphic novels bird boy volume 1: the sword of mali mani and bird boy volume 2: the wood. with a thumbs up from mike mignola, it's definitely worth checking out. canadian comic artist kate beaton, blended her expertise in history and anthropology with a talent for visual storytelling to give us this popular. kate started the web strip during her breaks from her day job and they were all created in ms paint (really). beaton's simple, whimsical style, western historical figures from james joyce to ada lovelace make hark! a vagrant a particular favourite of ours, and have won the artist multiple awards. she's no longer adding to the collection, but the version is well worth a browse. written and drawn by jake wyatt with a helping hand from kathryn wyatt, this ongoing fantasy web comic is the tale of one girl's quest for revenge. this web comic is updated every wednesday, and has gained popularity for its stunning visuals and engaging story. when the story finishes (we're not sure when this will be yet), there are plans to released by image comics as a print version. run by and laura jayne cox, the sad ghost club is a web comic with a cult following. "the sad ghost club is a club for anyone ever felt sad or lost," they explain in their manifesto. "it's the club for those who feel like they're part of any other club; we love creating comics and zines to highlight the issues that a lot of go through." branching out into tote bags, beanies, t-shirts, badges and more, the duo have come a long way with their tales of a lonely little ghost. and cox's approach ensures you'll be smiling through each story, knowing you're not alone in the world after all. created by trudy cooper and doug bayne, is often a very web comic on a medieval fantasy realm which is decidedly sexual in nature. not for the faint-hearted, cooper and bayne bring their world to life through hilarious short stories and inspirational illustrations just don't let your boss catch you reading it. if you've embarked on games or dipped your toes into the world of medieval fantasy stories, you'll know that people tend to take both very seriously. the order of the stick is a web comic that pokes fun at the subjects with a unique flair. it was created by artist rich burlew, who brings the stick figure into the modern age. artist and writer james hornsby has been and professional wrestling culture with his hilarious botched spot ever since 2008. creating his own characters including and rad bad debone, this is one of those web comics that anyone can enjoy whether you like wrestling or not. deathbulge was initially a comic series about a death metal band, but illustrator and writer dan came to believe that was too limiting, so decided to draw whatever he felt like. it seems his change in direction worked, as the web comic has become a firm favourite among web comic fans. with out a new issue every monday, there's always something fresh. scary go round is the home of the web comics of john allison. there are a few different stories there, all of which form part of a shared universe, and take place around the city of tackleford. the current comic, giant days, follows regular esther de groot as she attends university. an inventive web comic with illustrations and witty dialogue that mtv favourite daria would be proud of. tom is a hero of sorts among the illustrator and crowd. based in london, not only does he draw a regular cartoon for the guardian newspaper, he's also created a number of comic books. although you're all just jealous of my is indeed, a printed publication, you can sample its delights on his tumblr. gemma correll charts her 'mostly boring' life in her daily diaries gemma correll describes herself as a cartoonist, writer, illustrator and small person. it's arguable whether her sketchbook diaries technically count as a web comic, but they're so charming that we just had to include them here. charting her 'mostly boring' life, cute illustrations teamed with refreshingly honest observations make for some delightful reading. related articles:

wɛb ˈkɑmɪks ər ə greɪt weɪ tɪ gɪt səm ˈdaʊnˌtaɪm ənd ˌɪnspərˈeɪʃən, ənd ər ə nis, kriˈeɪtɪv weɪ tɪ fɪl ə breɪk ɪn wərk. wɛb ˈkɑmɪks ər fri ənd ˈizəli ækˈsɛsəbəl, ənd ðɛr ər ˈplɛnti əv greɪt wənz aʊt ðɛr. ɪn ðɪs ˈɑrtɪkəl, wiv pɪkt səm əv ðə bɛst wɛb ˈkɑmɪks tɪ ɪkˈsplɔr. səm əv ðə wərldz moʊst ˈwɛlˈnoʊn ˈfɪkʃənəl ˈkɛrɪktərz wər bɔrn θru ðə ˈmidiəm əv ˈkɑmɪks. ðə laɪks əv ˈbætˌmæn, ˈsupərˌmæn ənd ˈspaɪdərmæn hæv ɔl wən ðə hɑrts əv səkˈsɛsɪv ˌʤɛnərˈeɪʃənz əv ˈridərz tɪ səʧ ən ɪkˈstɛnt ðət, dɪˈspaɪt ðə raɪz əv ðə ˈɪntərˌnɛt, ðə ˈprɪnɪd ˈkɑmɪk ˈɪndəstri ɪz stɪl ˈbumɪŋ. ɪf jʊr ˌɪnˈspaɪərd tɪ kriˈeɪt jʊr oʊn, teɪk ə lʊk æt ɑr gaɪdz tɪ haʊ tɪ kriˈeɪt ə ˈkɑmɪk peɪʤ, ənd haʊ tɪ ˈkələr ˈkɑmɪks. (prəˈnaʊnst 'neh-droid*') ɪz ə wɛb ˈkɑmɪk baɪ ˈɑrtɪst ˈænθɔˌni klɑrk. hi həz hɪz ˈfɪŋgərz ɪn ə fju ˈdɪfərənt ˈkɑmɪk paɪz, bət ɪz bɛst noʊn fər ə ˈgufi ˈkɑmɪk ˈsɪriz ˈfiʧərɪŋ ə ˈhaɪbrɪd, əv kɔrs ðət həz bɪn ˈrənɪŋ sɪns 2006 ʤeɪmz skwaɪərz ɪz ən ˈɪləˌstreɪtər beɪst ɪn nu ˈzilənd hu dɪˈskraɪbz hɪmˈsɛlf ɛz ə 'dɪˈluʒənəl ˈkɑmɪk ˈpərsən, ˈkɔfi ˈdrɪŋkər, kæt ˈoʊnər'. hiz ðə ˈɑrtɪst bɪˈhaɪnd wɛb ˈkɑmɪk moonbeard*. ðiz sərˈil, kɑrˈtunz ˈɔfən ˈfiʧər səˈpraɪzɪŋ twɪsts, ənd ðɛr wɛl wərθ ə braʊz. ju kən ˈɔlsoʊ braʊz hɪz wərk ˈviə hɪz fid. neɪm fərst əˈpɪrd ɪn ˌʤuˈlaɪ 2016 ənd sˈwɪftli bɪˈkeɪm ə fərm ˈfeɪvərɪt. ɪts ðə wərk əv ˈɑrtɪst ˈæləks ˈnɔrɪs ənd ɪt ˈnɛvər feɪlz tɪ əmˈjuz ˈjuˈɛs wɪθ ɪts ˈɛksələntli naɪiv ˈɑrtˌwərk, ˈblɑbi ˈkɛrɪktərz ənd ˈsɪmpəl ʤoʊks, ˈjuʒəwəli tɑpt ɔf wɪθ neɪmz ˈsteɪpəl 'oʊ noʊ' ˈpənˌʧlaɪn. ɪt ˈʃʊdənt ˈrɪli wərk bət ɪt ˈvɛri məʧ dɪz, ˈɛvəri ˈsɪŋgəl taɪm. æn bərd bɔɪ ˈfɑloʊz ðə ˈstɔri əv ˈbɑli, ə bɔɪ hu ɪz kin tɪ pruv hɪz wərθ tɪ hɪz traɪb. ˈæftər biɪŋ bænd frəm ðə ˈsɛrəˌmoʊni ðət wʊd meɪk ɪm ən ˈædəlt, hi ˈstəmbəlz əˈpɑn ə ˈlɛʤənˌdɛri ˈwɛpən ənd məst fli əˈkrɔs ə ˈdeɪnʤərəs lænd əv gɑdz, mɛn ənd bists tɪ prɪˈvɛnt ɪt ˈfɑlɪŋ ˈɪntu ðə rɔŋ hænz. ðə ˈstɔri wɑz pɪkt əp baɪ ˈkɑmɪks ənd həz bɪn kəmˈpaɪld ˈɪntu ˈgræfɪk ˈnɑvəlz bərd bɔɪ ˈvɑljum 1 ðə sɔrd əv ˈmɑli ˈmɑni ənd bərd bɔɪ ˈvɑljum 2 ðə wʊd. wɪθ ə θəmz əp frəm maɪk mignola*, ɪts ˈdɛfənətli wərθ ˈʧɛkɪŋ aʊt. kəˈneɪdiən ˈkɑmɪk ˈɑrtɪst keɪt ˈbitən, ˈblɛndɪd hər ˌɛkspərˈtiz ɪn ˈhɪstəri ənd ˌænθrəˈpɑləʤi wɪθ ə ˈtælənt fər ˈvɪʒəwəl ˈstɔriˌtɛlɪŋ tɪ gɪv ˈjuˈɛs ðɪs ˈpɑpjələr. keɪt ˈstɑrtɪd ðə wɛb strɪp ˈdʊrɪŋ hər breɪks frəm hər deɪ ʤɑb ənd ðeɪ wər ɔl kriˈeɪtɪd ɪn mɪz peɪnt (ˈrɪli). ˈsɪmpəl, ˈwɪmzɪkəl staɪl, ˈwɛstərn hɪˈstɔrɪkəl ˈfɪgjərz frəm ʤeɪmz ʤɔɪs tɪ ˈeɪdə ˈləvˌleɪs meɪk hɑrk! ə ˈveɪgrənt ə ˌpɑˈtɪkjələr ˈfeɪvərɪt əv ɑrz, ənd hæv wən ðə ˈɑrtɪst ˈməltəpəl əˈwɔrdz. ʃiz noʊ ˈlɔŋgər ˈædɪŋ tɪ ðə kəˈlɛkʃən, bət ðə ˈvərʒən ɪz wɛl wərθ ə braʊz. ˈrɪtən ənd drɔn baɪ ʤeɪk waɪət wɪθ ə ˈhɛlpɪŋ hænd frəm ˈkæθrɪn waɪət, ðɪs ˈɔnˌgoʊɪŋ ˈfænəsi wɛb ˈkɑmɪk ɪz ðə teɪl əv wən gərlz kwɛst fər riˈvɛnʤ. ðɪs wɛb ˈkɑmɪk ɪz ˈəpˌdeɪtɪd ˈɛvəri ˈwɛnzˌdeɪ, ənd həz geɪnd ˌpɑpjəˈlɛrəti fər ɪts ˈstənɪŋ ˈvɪʒwəlz ənd ɪnˈgeɪʤɪŋ ˈstɔri. wɪn ðə ˈstɔri ˈfɪnɪʃɪz (wɪr nɑt ʃʊr wɪn ðɪs wɪl bi jɛt), ðɛr ər plænz tɪ riˈlist baɪ ˈɪmɪʤ ˈkɑmɪks ɛz ə prɪnt ˈvərʒən. rən baɪ ənd ˈlɔrə ʤeɪn kɑks, ðə sæd goʊst kləb ɪz ə wɛb ˈkɑmɪk wɪθ ə kəlt ˈfɑloʊɪŋ. "ðə sæd goʊst kləb ɪz ə kləb fər ˈɛniˌwən ˈɛvər fɛlt sæd ər lɔst," ðeɪ ɪkˈspleɪn ɪn ðɛr ˌmænɪˈfɛˌstoʊ. "ɪts ðə kləb fər ðoʊz hu fil laɪk ðɛr pɑrt əv ˈɛni ˈəðər kləb; wi ləv kriˈeɪtɪŋ ˈkɑmɪks ənd zaɪnz tɪ ˈhaɪˌlaɪt ðə ˈɪʃuz ðət ə lɔt əv goʊ θru." ˈbrænʧɪŋ aʊt ˈɪntu toʊt bægz, beanies*, ˈtiˌsərts, ˈbæʤɪz ənd mɔr, ðə ˈduoʊ hæv kəm ə lɔŋ weɪ wɪθ ðɛr teɪlz əv ə ˈloʊnli ˈlɪtəl goʊst. ənd ˈkɑksɪz əˈproʊʧ ɪnˈʃʊrz jul bi sˈmaɪlɪŋ θru iʧ ˈstɔri, noʊɪŋ jʊr nɑt əˈloʊn ɪn ðə wərld ˈæftər ɔl. kriˈeɪtɪd baɪ ˈtrudi ˈkupər ənd dəg beɪn, ɪz ˈɔfən ə ˈvɛri wɛb ˈkɑmɪk ɔn ə mɪˈdjivəl ˈfænəsi rɛlm wɪʧ ɪz ˌdɪˈsaɪdədli ˈsɛkʃuəl ɪn ˈneɪʧər. nɑt fər ðə faint-hearted*, ˈkupər ənd beɪn brɪŋ ðɛr wərld tɪ laɪf θru hɪˈlɛriəs ʃɔrt ˈstɔriz ənd ˌɪnspərˈeɪʃənəl ˌɪləˈstreɪʃənz ʤɪst doʊnt lɛt jʊr bɔs kæʧ ju ˈrɛdɪŋ ɪt. ɪf juv ɛmˈbɑrkt ɔn geɪmz ər dɪpt jʊr toʊz ˈɪntu ðə wərld əv mɪˈdjivəl ˈfænəsi ˈstɔriz, jul noʊ ðət ˈpipəl tɛnd tɪ teɪk boʊθ ˈvɛri ˈsɪriəsli. ðə ˈɔrdər əv ðə stɪk ɪz ə wɛb ˈkɑmɪk ðət poʊks fən æt ðə ˈsəbʤɪkts wɪθ ə juˈnik flɛr. ɪt wɑz kriˈeɪtɪd baɪ ˈɑrtɪst rɪʧ ˈbərlu, hu brɪŋz ðə stɪk ˈfɪgjər ˈɪntu ðə ˈmɑdərn eɪʤ. ˈɑrtɪst ənd ˈraɪtər ʤeɪmz ˈhɔrnzbi həz bɪn ənd prəˈfɛʃənəl ˈrɛsəlɪŋ ˈkəlʧər wɪθ hɪz hɪˈlɛriəs bɑʧt spɑt ˈɛvər sɪns 2008 kriˈeɪtɪŋ hɪz oʊn ˈkɛrɪktərz ˌɪnˈkludɪŋ ənd ræd bæd debone*, ðɪs ɪz wən əv ðoʊz wɛb ˈkɑmɪks ðət ˈɛniˌwən kən ˌɛnˈʤɔɪ ˈwɛðər ju laɪk ˈrɛsəlɪŋ ər nɑt. wɑz ˌɪˈnɪʃəli ə ˈkɑmɪk ˈsɪriz əˈbaʊt ə dɛθ ˈmɛtəl bænd, bət ˈɪləˌstreɪtər ənd ˈraɪtər dæn keɪm tɪ bɪˈliv ðət wɑz tu ˈlɪmətɪŋ, soʊ ˌdɪˈsaɪdɪd tɪ drɔ ˌwəˈtɛvər hi fɛlt laɪk. ɪt simz hɪz ʧeɪnʤ ɪn dɪˈrɛkʃɪn wərkt, ɛz ðə wɛb ˈkɑmɪk həz bɪˈkəm ə fərm ˈfeɪvərɪt əˈməŋ wɛb ˈkɑmɪk fænz. wɪθ aʊt ə nu ˈɪʃu ˈɛvəri ˈmənˌdeɪ, ðɛrz ˈɔlˌweɪz ˈsəmθɪŋ frɛʃ. ˈskɛri goʊ raʊnd ɪz ðə hoʊm əv ðə wɛb ˈkɑmɪks əv ʤɑn ˈælɪsən. ðɛr ər ə fju ˈdɪfərənt ˈstɔriz ðɛr, ɔl əv wɪʧ fɔrm pɑrt əv ə ʃɛrd ˈjunəˌvərs, ənd teɪk pleɪs əraʊnd ðə ˈsɪti əv tackleford*. ðə ˈkɑrənt ˈkɑmɪk, ʤaɪənt deɪz, ˈfɑloʊz ˈrɛgjələr ˈɛstər də grut ɛz ʃi əˈtɛndz ˌjunəˈvərsəti. ən ˌɪnˈvɛntɪv wɛb ˈkɑmɪk wɪθ ˌɪləˈstreɪʃənz ənd ˈwɪti ˈdaɪəˌlɔg ðət ˈɛmˈtiˈvi ˈfeɪvərɪt ˈdɑriə wʊd bi praʊd əv. tɑm ɪz ə ˈhɪroʊ əv sɔrts əˈməŋ ðə ˈɪləˌstreɪtər ənd kraʊd. beɪst ɪn ˈləndən, nɑt ˈoʊnli dɪz hi drɔ ə ˈrɛgjələr kɑrˈtun fər ðə ˈgɑrdiən ˈnuzˌpeɪpər, hiz ˈɔlsoʊ kriˈeɪtɪd ə ˈnəmbər əv ˈkɑmɪk bʊks. ˌɔlˈðoʊ jʊr ɔl ʤɪst ˈʤɛləs əv maɪ ɪz ˌɪnˈdid, ə ˈprɪnɪd ˌpəblɪˈkeɪʃən, ju kən ˈsæmpəl ɪts dɪˈlaɪts ɔn hɪz ˈtəmblər. ˈʤɛmə kəreɪl ʧɑrts hər 'ˈmoʊstli ˈbɔrɪŋ' laɪf ɪn hər ˈdeɪli ˈdaɪəriz ˈʤɛmə kəreɪl dɪˈskraɪbz hərˈsɛlf ɛz ə kɑrˈtunəst, ˈraɪtər, ˈɪləˌstreɪtər ənd smɔl ˈpərsən. ɪts ˈɑrgjuəbəl ˈwɛðər hər ˈskɛʧˌbʊk ˈdaɪəriz ˈtɛknɪkəli kaʊnt ɛz ə wɛb ˈkɑmɪk, bət ðɛr soʊ ˈʧɑrmɪŋ ðət wi ʤɪst hæd tɪ ˌɪnˈklud ðɛm hir. ˈʧɑrtɪŋ hər 'ˈmoʊstli ˈbɔrɪŋ' laɪf, kjut ˌɪləˈstreɪʃənz timd wɪθ riˈfrɛʃɪŋli ˈɑnəst ˌɑbzərˈveɪʃənz meɪk fər səm dɪˈlaɪtfəl ˈrɛdɪŋ. rɪˈleɪtɪd ˈɑrtɪkəlz:

why meditate? steve pearl has been meditating for over 40 years since he became a buddhist in the in dharamsala, india. as a child of the steve was active in the movement in palo alto, ca. bitten by the wanderlust bug, he found a loophole loophole and managed to dodge the draft when he moved to europe with his mother and brother from veracruz, mexico on a frigate ship. he and his brother andy, drove a red van across the former yugoslavia, a iran, and afghanistan where they bartered the van for six horses. they made their way to india through pakistan on these horses with a band of friends. he almost died on a mountain pass along the way. he worked on a pirate ship in back when it was still a small fishing hamlet. he even made and sold sandals on the spanish steps in rome. he first came in contact with buddhism in dharamsala, india and was a buddhist monk for well over a decade. he was also a pilot doing aerial photography. steve is currently retired and has chronicled the adventures of his youth in a book called from kalamazoo to kathmandu. learn more about meditation: 5 tips for getting started with meditation

waɪ ˈmɛdəˌteɪt? stiv pərl həz bɪn ˈmɛdəˌteɪtɪŋ fər ˈoʊvər 40 jɪrz sɪns hi bɪˈkeɪm ə ˈbudəst ɪn ðə ɪn ˈdɑrɑmsɑˌlɑ, ˈɪndiə. ɛz ə ʧaɪld əv ðə stiv wɑz ˈæktɪv ɪn ðə ˈmuvmənt ɪn ˈpæloʊ ˈæltoʊ, ˈsiˈeɪ. ˈbɪtən baɪ ðə ˈwɑndərˌləst bəg, hi faʊnd ə ˈluˌphoʊl ˈluˌphoʊl ənd ˈmænɪʤd tɪ dɑʤ ðə dræft wɪn hi muvd tɪ ˈjʊrəp wɪθ hɪz ˈməðər ənd ˈbrəðər frəm veracruz*, ˈmɛksəˌkoʊ ɔn ə ˈfrɪgət ʃɪp. hi ənd hɪz ˈbrəðər ˈændi, droʊv ə rɛd væn əˈkrɔs ðə ˈfɔrmər ˌjugoʊsˈlɑviə, ə ˌɪˈrɑn, ənd æfˈgænəˌstæn wɛr ðeɪ ˈbɑrtərd ðə væn fər sɪks ˈhɔrsɪz. ðeɪ meɪd ðɛr weɪ tɪ ˈɪndiə θru ˈpækɪˌstæn ɔn ðiz ˈhɔrsɪz wɪθ ə bænd əv frɛndz. hi ˈɔlˌmoʊst daɪd ɔn ə ˈmaʊntən pæs əˈlɔŋ ðə weɪ. hi wərkt ɔn ə ˈpaɪrət ʃɪp ɪn bæk wɪn ɪt wɑz stɪl ə smɔl ˈfɪʃɪŋ ˈhæmlɪt. hi ˈivɪn meɪd ənd soʊld ˈsændəlz ɔn ðə ˈspænɪʃ stɛps ɪn roʊm. hi fərst keɪm ɪn ˈkɑnˌtækt wɪθ ˈbudɪzəm ɪn ˈdɑrɑmsɑˌlɑ, ˈɪndiə ənd wɑz ə ˈbudəst məŋk fər wɛl ˈoʊvər ə ˈdɛkeɪd. hi wɑz ˈɔlsoʊ ə ˈpaɪlət duɪŋ ˈɛriəl fəˈtɑgrəfi. stiv ɪz ˈkərəntli rɪˈtaɪrd ənd həz ˈkrɑnɪkəld ðə ædˈvɛnʧərz əv hɪz juθ ɪn ə bʊk kɔld frəm ˌkæləməˈzu tɪ kathmandu*. lərn mɔr əˈbaʊt ˌmɛdəˈteɪʃən: 5 tɪps fər ˈgɪtɪŋ ˈstɑrtɪd wɪθ ˌmɛdəˈteɪʃən

crusader kings : the middle-earth project mod has been released, you can download the new full build below. posted by on 27th, 2014 middle earth project download this is a full update of the middle earth project mod for crusader kings. this update is compatible with version of crusader kings. this is a beta and there will be bugs. nothing is set in stone and we will appreciate any input that you think might improve the mod. an extended map look into belegaer, the great sea of the west, and discover the borders of the lost lands of and. new islands, like tol or tol appears now. we reworked too some areas, like bellakar, or the areas of and the misty mountains. welcome to gwaihir, the lord of the eagles, and all his kin in rosroval, the "peak of the eagles". the line of is still alive, and mount gram can to war once again. all fears the new powers of the of the north now! create your own kingdom of middlemen in enedwaith, and become the high king of isenvale, to balance the power of both and gondor! craft your own objects ! as a dwarf or a craftsman, you're now able to craft your own objects. create some jewels, forge weapons, and improve your skills to be the proud heir of of nogrod, or of ! as a master or legendary craftsman, reconquer ost-in-edhil, and try to rebuild the gwaith-i-mirdain, the brotherhood of, where were forged the rings of power. gather the other craftsmen, and together, you'll give prestige and glory to your kin ! use the rings of the dwarves to create more wealth in your mines, or try to find the one ring, and maybe you'll find a lesser ring, these rings forged by the of as essays of the rings of power. the now, the are all created, one trait by stone. try to keep the stones in your dynasty, and gain a lot of prestige with them ! as one of the guardians of the, use your stone during wars to call your friends to the battlefield ! as an elf or aean, travel to elostirion, and try to see the lights of tol eresseä through the stone of, the only one who wasn't connected with the others in middle-earth. you can gain more prestige, or become more depressed... will you be as perceptive than the great? more corrections... - fixed some bugs, like the "the old" for elves and dwarves - random generated characters will now have some chance to gain one of the blood of - colonize and purge the provinces of your vassals there is much more, and you can read the full included with the download. that's all for now, we hope you enjoy this next step in the ladder. want to help? we are still in need of in and events, as well as other or lon here or on the paradox forums if you are interested in joining the team.

kruˈseɪdər kɪŋz ðə ˈmɪdəˌlʊrθ ˈprɑʤɛkt mɔd həz bɪn riˈlist, ju kən ˈdaʊnˌloʊd ðə nu fʊl bɪld bɪˈloʊ. ˈpoʊstɪd baɪ ɔn 27th*, 2014 ˈmɪdəl ərθ ˈprɑʤɛkt ˈdaʊnˌloʊd ðɪs ɪz ə fʊl ˈəpˌdeɪt əv ðə ˈmɪdəl ərθ ˈprɑʤɛkt mɔd fər kruˈseɪdər kɪŋz. ðɪs ˈəpˌdeɪt ɪz kəmˈpætəbəl wɪθ ˈvərʒən əv kruˈseɪdər kɪŋz. ðɪs ɪz ə ˈbeɪtə ənd ðɛr wɪl bi bəgz. ˈnəθɪŋ ɪz sɛt ɪn stoʊn ənd wi wɪl əˈpriʃiˌeɪt ˈɛni ˈɪnˌpʊt ðət ju θɪŋk maɪt ˌɪmˈpruv ðə mɔd. ən ɪkˈstɛndɪd mæp lʊk ˈɪntu belegaer*, ðə greɪt si əv ðə wɛst, ənd dɪˈskəvər ðə ˈbɔrdərz əv ðə lɔst lændz əv ənd. nu ˈaɪləndz, laɪk tɔl ər tɔl əˈpɪrz naʊ. wi riˈwərkt tu səm ˈɛriəz, laɪk bellakar*, ər ðə ˈɛriəz əv ənd ðə ˈmɪsti ˈmaʊntənz. ˈwɛlkəm tɪ gwaihir*, ðə lɔrd əv ðə ˈigəlz, ənd ɔl hɪz kɪn ɪn rosroval*, ðə "pik əv ðə ˈigəlz". ðə laɪn əv ɪz stɪl əˈlaɪv, ənd maʊnt græm kən tɪ wɔr wəns əˈgɛn. ɔl fɪrz ðə nu paʊərz əv ðə əv ðə nɔrθ naʊ! kriˈeɪt jʊr oʊn ˈkɪŋdəm əv ˈmɪdəlˌmɛn ɪn enedwaith*, ənd bɪˈkəm ðə haɪ kɪŋ əv isenvale*, tɪ ˈbæləns ðə paʊər əv boʊθ ənd gondor*! kræft jʊr oʊn ˈɑbʤɛkts ɛz ə dwɔrf ər ə ˈkræftsmən, jʊr naʊ ˈeɪbəl tɪ kræft jʊr oʊn ˈɑbʤɛkts. kriˈeɪt səm ʤuəlz, fɔrʤ ˈwɛpənz, ənd ˌɪmˈpruv jʊr skɪlz tɪ bi ðə praʊd ɛr əv əv nogrod*, ər əv ɛz ə ˈmæstər ər ˈlɛʤənˌdɛri ˈkræftsmən, riˈkɔŋkər ost-in-edhil*, ənd traɪ tɪ riˈbɪld ðə gwaith-i-mirdain*, ðə ˈbrəðərˌhʊd əv, wɛr wər fɔrʤd ðə rɪŋz əv paʊər. ˈgæðər ðə ˈəðər ˈkræftsmɛn, ənd təˈgɛðər, jul gɪv prɛˈstiʒ ənd ˈglɔri tɪ jʊr kɪn juz ðə rɪŋz əv ðə dwɔrvz tɪ kriˈeɪt mɔr wɛlθ ɪn jʊr maɪnz, ər traɪ tɪ faɪnd ðə wən rɪŋ, ənd ˈmeɪbi jul faɪnd ə ˈlɛsər rɪŋ, ðiz rɪŋz fɔrʤd baɪ ðə əv ɛz ˈɛˌseɪz əv ðə rɪŋz əv paʊər. ðə naʊ, ðə ər ɔl kriˈeɪtɪd, wən treɪt baɪ stoʊn. traɪ tɪ kip ðə stoʊnz ɪn jʊr ˈdaɪnəsti, ənd geɪn ə lɔt əv prɛˈstiʒ wɪθ ðɛm ɛz wən əv ðə ˈgɑrdiənz əv ðə, juz jʊr stoʊn ˈdʊrɪŋ wɔrz tɪ kɔl jʊr frɛndz tɪ ðə ˈbætəlˌfild ɛz ən ɛlf ər ə numenorean*, ˈtrævəl tɪ elostirion*, ənd traɪ tɪ si ðə laɪts əv tɔl eresseä*ä θru ðə stoʊn əv, ðə ˈoʊnli wən hu ˈwəzənt kəˈnɛktɪd wɪθ ðə ˈəðərz ɪn ˈmɪdəˌlʊrθ. ju kən geɪn mɔr prɛˈstiʒ, ər bɪˈkəm mɔr dɪˈprɛst... wɪl ju bi ɛz pərˈsɛptɪv ðən ðə greɪt? mɔr kərˈɛkʃənz... fɪkst səm bəgz, laɪk ðə "ðə oʊld" fər ɛlvz ənd dwɔrvz ˈrændəm ˈʤɛnərˌeɪtɪd ˈkɛrɪktərz wɪl naʊ hæv səm ʧæns tɪ geɪn wən əv ðə bləd əv ˈkɑləˌnaɪz ənd pərʤ ðə ˈprɑvənsəz əv jʊr ˈvæsəlz ðɛr ɪz məʧ mɔr, ənd ju kən rɛd ðə fʊl ˌɪnˈkludɪd wɪθ ðə ˈdaʊnˌloʊd. ðæts ɔl fər naʊ, wi hoʊp ju ˌɛnˈʤɔɪ ðɪs nɛkst stɛp ɪn ðə ˈlædər. wɔnt tɪ hɛlp? wi ər stɪl ɪn nid əv ɪn ənd ɪˈvɛnts, ɛz wɛl ɛz ˈəðər ər lɑn hir ər ɔn ðə ˈpɛrəˌdɑks ˈfɔrəmz ɪf ju ər ˈɪntəˌrɛstɪd ɪn ˈʤɔɪnɪŋ ðə tim.

sony’s “back up & restore” app gets hacked [update] sony has a potentially serious issue on their hands as its “back up & restore” app appears to have been hacked. looking at the play store ‘my apps’ section on our reveals that the app is now managed by the “heart hacker group.” as a system app, there is no way to delete the app either, so given the permissions this particular app has (see below) it is a serious issue. we’re not sure how the app has been hacked. potentially, sony play store account may be compromised, where the hacker has replaced the original app. however, wait to hear from sony directly. the google play store listing for this new hacked version can be found here (please do not install). at this stage, we say whether this app is doing anything harmful, but contacted sony and will let you know their response. in the meantime, check your phone to see if you are affected and we will post updates in this post. update: sony has a quick update on its support forums: “sony mobile takes the security and privacy of customer data very seriously. we are currently investigating these reports. more information will follow as soon as we have fully assessed the situation.“ update 2: the app in question has been removed from the google play store. also it is no longer present in “my apps” within the play store app. we still await for the ‘all clear’ from sony and an explanation on how this happened in the first place. update 3: sony has released a statement explaining what has happened in this situation and that ultimately there was no risk to users: “it appears that an party developer created an application using the same name and identifier as our “backup & restore” service, and uploaded it to google play. as the app mirrored our ‘backup & restore’ service naming structure, it appeared as downloaded on some products within google “my apps”, when in fact it actually installed. we provide ‘backup & restore’ on google play it is on devices, with all version and maintenance updates handled directly through our update centre. this application posed no risk to users, but has since been removed from google play.“ permissions of hacked “back up & restore” app thanks brad!

sony’s* əp restore”*” æp gɪts hækt [ˈəpˌdeɪt] ˈsoʊni həz ə pəˈtɛnʃəli ˈsɪriəs ˈɪʃu ɔn ðɛr hænz ɛz ɪts əp restore”*” æp əˈpɪrz tɪ hæv bɪn hækt. ˈlʊkɪŋ æt ðə pleɪ stɔr apps’*’ ˈsɛkʃən ɔn ɑr rɪˈvilz ðət ðə æp ɪz naʊ ˈmænɪʤd baɪ ðə ˈhækər group.”*.” ɛz ə ˈsɪstəm æp, ðɛr ɪz noʊ weɪ tɪ dɪˈlit ðə æp ˈiðər, soʊ ˈgɪvɪn ðə pərˈmɪʃənz ðɪs ˌpɑˈtɪkjələr æp həz (si bɪˈloʊ) ɪt ɪz ə ˈsɪriəs ˈɪʃu. nɑt ʃʊr haʊ ðə æp həz bɪn hækt. pəˈtɛnʃəli, ˈsoʊni pleɪ stɔr əˈkaʊnt meɪ bi ˈkɑmprəˌmaɪzd, wɛr ðə ˈhækər həz ˌriˈpleɪst ðə ərˈɪʤənəl æp. ˌhaʊˈɛvər, weɪt tɪ hir frəm ˈsoʊni dɪˈrɛkli. ðə ˈgugəl pleɪ stɔr ˈlɪstɪŋ fər ðɪs nu hækt ˈvərʒən kən bi faʊnd hir (pliz du nɑt ˌɪnˈstɔl). æt ðɪs steɪʤ, wi seɪ ˈwɛðər ðɪs æp ɪz duɪŋ ˈɛniˌθɪŋ ˈhɑrmfəl, bət ˈkɑnˌtæktɪd ˈsoʊni ənd wɪl lɛt ju noʊ ðɛr rɪˈspɑns. ɪn ðə ˈminˌtaɪm, ʧɛk jʊr foʊn tɪ si ɪf ju ər əˈfɛktɪd ənd wi wɪl poʊst ˈəpˌdeɪts ɪn ðɪs poʊst. ˈəpˌdeɪt: ˈsoʊni həz ə kwɪk ˈəpˌdeɪt ɔn ɪts səˈpɔrt ˈfɔrəmz: ˈmoʊbəl teɪks ðə sɪˈkjʊrəti ənd ˈpraɪvəsi əv ˈkəstəmər ˈdætə ˈvɛri ˈsɪriəsli. wi ər ˈkərəntli ˌɪnˈvɛstəˌgeɪtɪŋ ðiz rɪˈpɔrts. mɔr ˌɪnˌfɔrˈmeɪʃən wɪl ˈfɑloʊ ɛz sun ɛz wi hæv ˈfʊli əˈsɛst ðə situation.“*.“ ˈəpˌdeɪt 2 ðə æp ɪn kˈwɛʃən həz bɪn riˈmuvd frəm ðə ˈgugəl pleɪ stɔr. ˈɔlsoʊ ɪt ɪz noʊ ˈlɔŋgər ˈprɛzənt ɪn apps”*” wɪˈθɪn ðə pleɪ stɔr æp. wi stɪl əˈweɪt fər ðə clear’*’ frəm ˈsoʊni ənd ən ˌɛkspləˈneɪʃən ɔn haʊ ðɪs ˈhæpənd ɪn ðə fərst pleɪs. ˈəpˌdeɪt 3 ˈsoʊni həz riˈlist ə ˈsteɪtmənt ɪkˈspleɪnɪŋ wət həz ˈhæpənd ɪn ðɪs ˌsɪʧuˈeɪʃən ənd ðət ˈəltəmətli ðɛr wɑz noʊ rɪsk tɪ ˈjuzərz: əˈpɪrz ðət ən ˈpɑrti dɪˈvɛləpər kriˈeɪtɪd ən ˌæpləˈkeɪʃən ˈjuzɪŋ ðə seɪm neɪm ənd aɪˈdɛntəˌfaɪər ɛz ɑr restore”*” ˈsərvɪs, ənd ˈəˌploʊdɪd ɪt tɪ ˈgugəl pleɪ. ɛz ðə æp ˈmɪrərd ɑr restore’*’ ˈsərvɪs ˈneɪmɪŋ ˈstrəkʧər, ɪt əˈpɪrd ɛz ˈdaʊnˌloʊdɪd ɔn səm ˈprɑdəkts wɪˈθɪn ˈgugəl apps”*”, wɪn ɪn fækt ɪt ˈæˌkʧuəli ˌɪnˈstɔld. wi prəˈvaɪd restore’*’ ɔn ˈgugəl pleɪ ɪt ɪz ɔn dɪˈvaɪsɪz, wɪθ ɔl ˈvərʒən ənd ˈmeɪntənəns ˈəpˌdeɪts ˈhændəld dɪˈrɛkli θru ɑr ˈəpˌdeɪt ˈsɛntər. ðɪs ˌæpləˈkeɪʃən poʊzd noʊ rɪsk tɪ ˈjuzərz, bət həz sɪns bɪn riˈmuvd frəm ˈgugəl play.“*.“ pərˈmɪʃənz əv hækt əp restore”*” æp θæŋks bræd!

watch the live on this page on wednesday, february 6, 2019 thursday, february 7 at 7 pm et. (the initial date had to be postponed due to severe weather.) clifford v. johnson is a theoretical physicist passionate about sharing science with the public. he resolved to write a book explaining physics to a lay audience, but he felt that words on a printed page did not fully convey the dynamic, collaborative nature of fundamental research. what if, he wondered, you could represent multiple voices and points of view? what if one could make the reader feel immersed in scientific discourse, rather than reading the words of an expert sharing a single perspective? he wanted to write a book that would give readers a experience of the process of fundamental science. johnson realized that graphic novels are the unique narrative medium he was searching for. through the written word and compelling visuals, graphic novels immerse the reader in a sensory world of ideas. this realization led johnson to write and draw the dialogues: conversations about the nature of the universe (mit press), which allows readers to eavesdrop on a series of dialogues, set in locations around the world, about cutting-edge scientific topics. in his public lecture at perimeter on february 6 february 7, johnson will discuss the process of turning complex scientific topics into compelling visual narratives. the talk will be “graphic,” but in a way. clifford v. work in science ranges from teaching and research into black holes, particle physics, string theory, and cosmology, to public outreach where he strives to put science back into the general culture. he helps artists, writers, and filmmakers incorporate science into their work, and appears on several tv and online shows. he has been a science advisor for many tv shows and movies, including nat genius (featuring einstein), agent carter, thor: ragnarok, avengers: infinity war, and more. tickets to attend this lecture in person will be available here on monday, january 21 at 9 am et.

wɔʧ ðə lɪv ɔn ðɪs peɪʤ ɔn ˈwɛnzˌdeɪ, ˈfɛbruˌɛri 6 2019 ˈθərzˌdeɪ, ˈfɛbruˌɛri 7 æt 7 piɛm ɛt. (ðə ˌɪˈnɪʃəl deɪt hæd tɪ bi poʊstˈpoʊnd du tɪ səˈvɪr ˈwɛðər.) ˈklɪfərd vi. ˈʤɑnsən ɪz ə ˌθiərˈɛtɪkəl ˈfɪzɪsɪst ˈpæʃənət əˈbaʊt ˈʃɛrɪŋ saɪəns wɪθ ðə ˈpəblɪk. hi riˈzɑlvd tɪ raɪt ə bʊk ɪkˈspleɪnɪŋ ˈfɪzɪks tɪ ə leɪ ˈɔdiəns, bət hi fɛlt ðət wərdz ɔn ə ˈprɪnɪd peɪʤ dɪd nɑt ˈfʊli kənˈveɪ ðə daɪˈnæmɪk, kəˈlæbərˌeɪtɪv ˈneɪʧər əv ˌfəndəˈmɛnəl ˈrisərʧ. wət ɪf, hi ˈwəndərd, ju kʊd ˌrɛprɪˈzɛnt ˈməltəpəl ˈvɔɪsɪz ənd pɔɪnts əv vju? wət ɪf wən kʊd meɪk ðə ˈridər fil ˌɪˈmərst ɪn ˌsaɪənˈtɪfɪk ˈdɪskɔrs, ˈrəðər ðən ˈrɛdɪŋ ðə wərdz əv ən ˈɛkspərt ˈʃɛrɪŋ ə ˈsɪŋgəl pərˈspɛktɪv? hi ˈwɔntɪd tɪ raɪt ə bʊk ðət wʊd gɪv ˈridərz ə ɪkˈspɪriəns əv ðə ˈprɔˌsɛs əv ˌfəndəˈmɛnəl saɪəns. ˈʤɑnsən ˈriəˌlaɪzd ðət ˈgræfɪk ˈnɑvəlz ər ðə juˈnik ˈnɛrətɪv ˈmidiəm hi wɑz ˈsərʧɪŋ fər. θru ðə ˈrɪtən wərd ənd kəmˈpɛlɪŋ ˈvɪʒwəlz, ˈgræfɪk ˈnɑvəlz ˌɪˈmərs ðə ˈridər ɪn ə ˈsɛnsəri wərld əv aɪˈdiəz. ðɪs ˈriləˈzeɪʃən lɛd ˈʤɑnsən tɪ raɪt ənd drɔ ðə ˈdaɪəˌlɔgz: ˌkɑnvərˈseɪʃənz əˈbaʊt ðə ˈneɪʧər əv ðə ˈjunəˌvərs (ˈɛˈmaɪˈti prɛs), wɪʧ əˈlaʊz ˈridərz tɪ ˈivzˌdrɑp ɔn ə ˈsɪriz əv ˈdaɪəˌlɔgz, sɛt ɪn loʊˈkeɪʃənz əraʊnd ðə wərld, əˈbaʊt ˈkətɪˌŋɛʤ ˌsaɪənˈtɪfɪk ˈtɑpɪks. ɪn hɪz ˈpəblɪk ˈlɛkʧər æt pərˈɪmətər ɔn ˈfɛbruˌɛri 6 ˈfɛbruˌɛri 7 ˈʤɑnsən wɪl dɪˈskəs ðə ˈprɔˌsɛs əv ˈtərnɪŋ ˈkɑmplɛks ˌsaɪənˈtɪfɪk ˈtɑpɪks ˈɪntu kəmˈpɛlɪŋ ˈvɪʒəwəl ˈnɛrətɪvz. ðə tɔk wɪl bi ““graphic,”*,” bət ɪn ə weɪ. ˈklɪfərd vi. wərk ɪn saɪəns ˈreɪnʤɪz frəm ˈtiʧɪŋ ənd ˈrisərʧ ˈɪntu blæk hoʊlz, ˈpɑrtɪkəl ˈfɪzɪks, strɪŋ ˈθɪri, ənd kɔzˈmɔləʤi, tɪ ˈpəblɪk ˈaʊˌtriʧ wɛr hi straɪvz tɪ pʊt saɪəns bæk ˈɪntu ðə ˈʤɛnərəl ˈkəlʧər. hi hɛlps ˈɑrtɪsts, ˈraɪtərz, ənd ˈfɪlˌmeɪkərz ˌɪnˈkɔrpərˌeɪt saɪəns ˈɪntu ðɛr wərk, ənd əˈpɪrz ɔn ˈsɛvərəl ˌtɛləˈvɪʒən ənd ˈɔnˌlaɪn ʃoʊz. hi həz bɪn ə saɪəns ædˈvaɪzər fər ˈmɛni ˌtɛləˈvɪʒən ʃoʊz ənd ˈmuviz, ˌɪnˈkludɪŋ næt ˈʤinjəs (ˈfiʧərɪŋ ˈaɪnstaɪn), ˈeɪʤənt ˈkɑrtər, θɔr: ragnarok*, avengers*: ˌɪnˈfɪnɪti wɔr, ənd mɔr. ˈtɪkɪts tɪ əˈtɛnd ðɪs ˈlɛkʧər ɪn ˈpərsən wɪl bi əˈveɪləbəl hir ɔn ˈmənˌdeɪ, ˈʤænjuˌɛri 21 æt 9 æm ɛt.

when the photo of secret medical first leaked, napoli fans across the world were distraught. the loss of our star striker would have hurt enough but to lose him to our most hated rival; that was heartbreaking. just months earlier he had been kissing our shirt and singing with fans under the stands shouting about defending the city. now he plays for the team whose fans invoke vesuvius to bury that city in lava. as if that were not enough, just as hurtful to fans was his motivation. leave for money. napoli president aurelio de laurentiis came forward and said he had offered more to the argentine striker than he is currently receiving at. left “to win”. he obviously believe he could do that in a blue shirt; and if he believe it, then why should we as fans? without his help and that of his 36 goals, what reason would there be to even dream of competing for trophies? while the supporters remained in shock, the club went to work; scooping up some of the most talented young players in italy and europe (milik, zielinski, diawara, rog, maksimovic). yet with youth comes inexperience, and it was only natural to think it would take time for the new to settle in and contribute on the field. however, the two youngsters that have been given a chance, zielinski and, have made an immediate impact. zielinski is already pushing allan for a starting spot and has made his claim as the starting striker with a goal per minute ratio that is top in europe. their contributions so far have been invaluable and they have given us reason to have high, but tempered, expectations for the other additions. yet what has really stood out is how the team as a whole has performed on the pitch. sometimes having a star player can damage a team as they look to force feed him the ball in times of need. perhaps this was the case with in napol; for as impressive as napoli were last season, this year they look even better. the movement seems even more coordinated. at their best, the players have looked like a single attacking entity. they did at times last year as well but these days it seems more like the normal run of affairs. without a doubt the extra time for the returning players to learn system has helped, yet one cannot help but wonder if they are also playing a bit more free mentally without having to worry about feeding a striker who would at times throw a fit if he serviced well. it’s important to remain grounded and remember that are still clear favorites to win the title. they had a terrible start to last season only to put on an amazing run of 25 matches in which they collected 73 out of a possible 75 points. at the same time, it is also important to appreciate this moment at the top of the table; to be grateful to the coach and players that have left us wondering if perhaps out of our midsummer despair emerged stronger than ever.

wɪn ðə ˈfoʊˌtoʊ əv ˈsikrɪt ˈmɛdɪkəl fərst likt, ˈnæpəli fænz əˈkrɔs ðə wərld wər dɪˈstrɔt. ðə lɔs əv ɑr stɑr ˈstraɪkər wʊd hæv hərt ɪˈnəf bət tɪ luz ɪm tɪ ɑr moʊst ˈheɪtɪd ˈraɪvəl; ðət wɑz ˈhɑrtˌbreɪkɪŋ. ʤɪst mənθs ˈərliər hi hæd bɪn ˈkɪsɪŋ ɑr ʃərt ənd ˈsɪŋɪŋ wɪθ fænz ˈəndər ðə stændz ˈʃaʊtɪŋ əˈbaʊt dɪˈfɛndɪŋ ðə ˈsɪti. naʊ hi pleɪz fər ðə tim huz fænz ˌɪnˈvoʊk vəˈsuviəs tɪ ˈbɛri ðət ˈsɪti ɪn ˈlɑvə. ɛz ɪf ðət wər nɑt ɪˈnəf, ʤɪst ɛz ˈhərtfəl tɪ fænz wɑz hɪz ˌmoʊtəˈveɪʃən. liv fər ˈməni. ˈnæpəli ˈprɛzɪdənt aʊˈreɪlioʊ də ˈlɔrənˌtiz keɪm ˈfɔrwərd ənd sɛd hi hæd ˈɔfərd mɔr tɪ ðə ˈɑrʤənˌtin ˈstraɪkər ðən hi ɪz ˈkərəntli rɪˈsivɪŋ æt. lɛft win”*”. hi ˈɑbviəsli bɪˈliv hi kʊd du ðət ɪn ə blu ʃərt; ənd ɪf hi bɪˈliv ɪt, ðɛn waɪ ʃʊd wi ɛz fænz? wɪˈθaʊt hɪz hɛlp ənd ðət əv hɪz 36 goʊlz, wət ˈrizən wʊd ðɛr bi tɪ ˈivɪn drim əv kəmˈpitɪŋ fər ˈtroʊfiz? waɪl ðə səˈpɔrtərz rɪˈmeɪnd ɪn ʃɑk, ðə kləb wɛnt tɪ wərk; ˈskupɪŋ əp səm əv ðə moʊst ˈtæləntɪd jəŋ pleɪərz ɪn ˈɪtəli ənd ˈjʊrəp (milik*, ziˈlɪnski, diawara*, rɑg, maksimovic*). jɛt wɪθ juθ kəmz ˌɪnɪkˈspɪriəns, ənd ɪt wɑz ˈoʊnli ˈnæʧərəl tɪ θɪŋk ɪt wʊd teɪk taɪm fər ðə nu tɪ ˈsɛtəl ɪn ənd kənˈtrɪbjut ɔn ðə fild. ˌhaʊˈɛvər, ðə tu ˈjəŋstərz ðət hæv bɪn ˈgɪvɪn ə ʧæns, ziˈlɪnski ənd, hæv meɪd ən ˌɪˈmiˌdiət ˌɪmˈpækt. ziˈlɪnski ɪz ɔˈrɛdi ˈpʊʃɪŋ ˈælən fər ə ˈstɑrtɪŋ spɑt ənd həz meɪd hɪz kleɪm ɛz ðə ˈstɑrtɪŋ ˈstraɪkər wɪθ ə goʊl pər ˈmɪnət ˈreɪʃiˌoʊ ðət ɪz tɔp ɪn ˈjʊrəp. ðɛr ˌkɑntrəˈbjuʃənz soʊ fɑr hæv bɪn ˌɪnˈvæljəbəl ənd ðeɪ hæv ˈgɪvɪn ˈjuˈɛs ˈrizən tɪ hæv haɪ, bət ˈtɛmpərd, ˌɛkspɛkˈteɪʃənz fər ðə ˈəðər əˈdɪʃənz. jɛt wət həz ˈrɪli stʊd aʊt ɪz haʊ ðə tim ɛz ə hoʊl həz pərˈfɔrmd ɔn ðə pɪʧ. ˈsəmˌtaɪmz ˈhævɪŋ ə stɑr pleɪər kən ˈdæmɪʤ ə tim ɛz ðeɪ lʊk tɪ fɔrs fid ɪm ðə bɔl ɪn taɪmz əv nid. pərˈhæps ðɪs wɑz ðə keɪs wɪθ ɪn napol*; fər ɛz ˌɪmˈprɛsɪv ɛz ˈnæpəli wər læst ˈsizən, ðɪs jɪr ðeɪ lʊk ˈivɪn ˈbɛtər. ðə ˈmuvmənt simz ˈivɪn mɔr koʊˈɔrdəneɪtɪd. æt ðɛr bɛst, ðə pleɪərz hæv lʊkt laɪk ə ˈsɪŋgəl əˈtækɪŋ ˈɛntɪti. ðeɪ dɪd æt taɪmz læst jɪr ɛz wɛl bət ðiz deɪz ɪt simz mɔr laɪk ðə ˈnɔrməl rən əv əˈfɛrz. wɪˈθaʊt ə daʊt ðə ˈɛkstrə taɪm fər ðə rɪˈtərnɪŋ pleɪərz tɪ lərn ˈsɪstəm həz hɛlpt, jɛt wən ˈkænɑt hɛlp bət ˈwəndər ɪf ðeɪ ər ˈɔlsoʊ pleɪɪŋ ə bɪt mɔr fri ˈmɛnəli wɪˈθaʊt ˈhævɪŋ tɪ ˈwəri əˈbaʊt ˈfidɪŋ ə ˈstraɪkər hu wʊd æt taɪmz θroʊ ə fɪt ɪf hi ˈsərvɪst wɛl. ˌɪmˈpɔrtənt tɪ rɪˈmeɪn ˈgraʊndɪd ənd rɪˈmɛmbər ðət ər stɪl klɪr ˈfeɪvərɪts tɪ wɪn ðə ˈtaɪtəl. ðeɪ hæd ə ˈtɛrəbəl stɑrt tɪ læst ˈsizən ˈoʊnli tɪ pʊt ɔn ən əˈmeɪzɪŋ rən əv 25 ˈmæʧɪz ɪn wɪʧ ðeɪ kəˈlɛktəd 73 aʊt əv ə ˈpɑsəbəl 75 pɔɪnts. æt ðə seɪm taɪm, ɪt ɪz ˈɔlsoʊ ˌɪmˈpɔrtənt tɪ əˈpriʃiˌeɪt ðɪs ˈmoʊmənt æt ðə tɔp əv ðə ˈteɪbəl; tɪ bi ˈgreɪtfəl tɪ ðə koʊʧ ənd pleɪərz ðət hæv lɛft ˈjuˈɛs ˈwəndərɪŋ ɪf pərˈhæps aʊt əv ɑr ˈmɪdˈsəmər dɪˈspɛr ˈimərʤd ˈstrɔŋgər ðən ˈɛvər.

three and a half years into a war that has left dead, forced more than from their homes and sucked in america, russia and a host of regional meddlers, the un has a new plan for syria: “aleppo first”. it seeks to fix a local ceasefire in, once a proud and bustling metropolis of that has been reduced to a pockmarked carcass of mostly empty buildings, in the hope of gradually “freezing” battles elsewhere. don’t hold your breath. the limited scope of the initiative, proposed on november by de, the special envoy, underscores the of this bloodiest conflict. a break in the fighting that has split in two would certainly cheer its surviving residents, many of whom no longer care who wins. but too many factors militate against even a limited local ceasefire, let alone a negotiated peace. get our daily newsletter upgrade your and get our daily dispatch and editor's picks. president bashar government said it would study the ceasefire plan, which mr de described as a potential building block for a wider solution. “of course they say no,” says emile of the international institute for strategic studies, a in london. “assad likes anything that appears to bolster his legitimacy.” yet he notes that previous syrian ceasefires have tended to come in two contexts: either regime forces have besieged a rebel district and offered a choice between starvation and surrender, or a halt to fighting has proven tactically useful, allowing the government to redeploy forces elsewhere. in fact, mr assad has been doing better lately. the air assault against islamic state (is) and other jihadist groups has battered some of his foes, and allowed him to pose as an ally in fighting terrorists. mr assad has up his own, far less discriminating, aerial bombardment of rebel areas. and he has been able to release ground forces to make gains in some places, including, after months of stalemate. america’s decision to hit jihadist groups other than is has further splintered the fractious rebels. some have defected to extremist groups, including is and (which is affiliated to al-qaeda), convinced that coalition is in effect an ally of mr. revelations that president barack obama promised not to attack the assad regime in a secret letter to ayatollah ali khamenei, supreme leader and mr staunchest ally, have deepened such sunni fears. yet, even though they are hopelessly squeezed between the regime and hostile is forces, which control territory to the east of, mainstream rebel groups inside the city seem determined to hold on. a commander laid out four conditions in response to mr de: a halt to bombing by the regime; release of political prisoners (whose number is estimated at); the expulsion of “criminal terrorist militias” allied to the government (ie, lebanese and iraqi fighters who bolster depleted army); and the surrender for trial of those responsible for using chemical weapons against syrian civilians. bravado, perhaps, but despite the attrition of war and the waning enthusiasm of the rebels’ supporters in the west and the gulf, mr foes continue to harass his forces. fierce aerial bombardments have not stopped a slow, steady rebel advance from the south towards the capital, damascus. given the nastiness of the regime and the gathering strength of the jihadists, the bleak underlying reality facing the people of syria is well captured by a commentator in who writes under the pseudonym edward dark: “an outright victory by either side is neither a real possibility nor a desirable prospect.”

θri ənd ə hæf jɪrz ˈɪntu ə wɔr ðət həz lɛft dɛd, fɔrst mɔr ðən frəm ðɛr hoʊmz ənd səkt ɪn əˈmɛrɪkə, ˈrəʃə ənd ə hoʊst əv ˈriʤənəl meddlers*, ðə ˈjuˈɛn həz ə nu plæn fər ˈsɪriə: first”*”. ɪt siks tɪ fɪks ə ˈloʊkəl ˈsisˈfaɪər ɪn, wəns ə praʊd ənd ˈbəsəlɪŋ məˈtrɑpələs əv ðət həz bɪn rɪˈdust tɪ ə ˈpɑkˌmɑrkt ˈkɑrkəs əv ˈmoʊstli ˈɛmti ˈbɪldɪŋz, ɪn ðə hoʊp əv ˈgræʤuəli ““freezing”*” ˈbætəlz ˈɛlsˌwɛr. hoʊld jʊr brɛθ. ðə ˈlɪmɪtɪd skoʊp əv ðə ˌɪˈnɪʃətɪv, prəˈpoʊzd ɔn noʊˈvɛmbər baɪ də, ðə ˈspɛʃəl ˈɛnvɔɪ, ˌəndərˈskɔrz ðə əv ðɪs ˈblədiəst ˈkɑnflɪkt. ə breɪk ɪn ðə ˈfaɪtɪŋ ðət həz splɪt ɪn tu wʊd ˈsərtənli ʧɪr ɪts sərˈvaɪvɪŋ ˈrɛzɪdənts, ˈmɛni əv hum noʊ ˈlɔŋgər kɛr hu wɪnz. bət tu ˈmɛni ˈfæktərz ˈmɪlɪˌteɪt əˈgɛnst ˈivɪn ə ˈlɪmɪtɪd ˈloʊkəl ˈsisˈfaɪər, lɛt əˈloʊn ə nɪˈgoʊʃiˌeɪtɪd pis. gɪt ɑr ˈdeɪli ˈnuzˌlɛtər ˈəpˈgreɪd jʊr ənd gɪt ɑr ˈdeɪli dɪˈspæʧ ənd ˈɛdɪtərz pɪks. ˈprɛzɪdənt bəˈʃɑr ˈgəvərnmənt sɛd ɪt wʊd ˈstədi ðə ˈsisˈfaɪər plæn, wɪʧ ˈmɪstər də dɪˈskraɪbd ɛz ə pəˈtɛnʃəl ˈbɪldɪŋ blɑk fər ə ˈwaɪdər səˈluʃən. kɔrs ðeɪ seɪ no,”*,” sɪz eɪˈmil əv ðə ˌɪnərˈnæʃənɑl ˈɪnstɪˌtut fər strəˈtiʤɪk ˈstədiz, ə ɪn ˈləndən. laɪks ˈɛniˌθɪŋ ðət əˈpɪrz tɪ ˈboʊlstər hɪz legitimacy.”*.” jɛt hi noʊts ðət ˈpriviəs ˈsɪriən ˈsisˈfaɪərz hæv ˈtɛndɪd tɪ kəm ɪn tu ˈkɑnˌtɛksts: ˈiðər rəˈʒim ˈfɔrsɪz hæv bɪˈsiʤd ə ˈrɛbəl ˈdɪstrɪkt ənd ˈɔfərd ə ʧɔɪs bɪtˈwin stɑrˈveɪʃən ənd sərˈɛndər, ər ə hɔlt tɪ ˈfaɪtɪŋ həz ˈpruvən ˈtæktɪkəli ˈjusfəl, əˈlaʊɪŋ ðə ˈgəvərnmənt tɪ ˌridɪˈplɔɪ ˈfɔrsɪz ˈɛlsˌwɛr. ɪn fækt, ˈmɪstər əˈsɑd həz bɪn duɪŋ ˈbɛtər ˈleɪtli. ðə ɛr əˈsɔlt əˈgɛnst ˌɪzˈlɑmɪk steɪt (ɪz) ənd ˈəðər ʤiˈhɑˌdɪst grups həz ˈbætərd səm əv hɪz foʊz, ənd əˈlaʊd ɪm tɪ poʊz ɛz ən ˈælaɪ ɪn ˈfaɪtɪŋ ˈtɛrəˌrɪsts. ˈmɪstər əˈsɑd həz əp hɪz oʊn, fɑr lɛs dɪˈskrɪməˌneɪtɪŋ, ˈɛriəl bɑmˈbɑrdmənt əv ˈrɛbəl ˈɛriəz. ənd hi həz bɪn ˈeɪbəl tɪ riˈlis graʊnd ˈfɔrsɪz tɪ meɪk geɪnz ɪn səm ˈpleɪsɪz, ˌɪnˈkludɪŋ, ˈæftər mənθs əv ˈsteɪlˌmeɪt. dɪˈsɪʒən tɪ hɪt ʤiˈhɑˌdɪst grups ˈəðər ðən ɪz həz ˈfərðər ˈsplɪntərd ðə ˈfrækʃəs ˈrɛbəlz. səm hæv dɪˈfɛktɪd tɪ ɪkˈstrimɪst grups, ˌɪnˈkludɪŋ ɪz ənd (wɪʧ ɪz əˈfɪliˌeɪtɪd tɪ ˌɑlˈkaɪdɑ), kənˈvɪnst ðət ˌkoʊəˈlɪʃən ɪz ɪn ˈifɛkt ən ˈælaɪ əv ˈmɪstər. ˌrɛvəˈleɪʃənz ðət ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ˈprɑməst nɑt tɪ əˈtæk ðə əˈsɑd rəˈʒim ɪn ə ˈsikrɪt ˈlɛtər tɪ ˌaɪəˈtoʊlə ˈɑli kəˈmeɪˌni, səˈprim ˈlidər ənd ˈmɪstər ˈstɔnʧəst ˈælaɪ, hæv ˈdipənd səʧ ˈsuni fɪrz. jɛt, ˈivɪn ðoʊ ðeɪ ər ˈhoʊpləsli skwizd bɪtˈwin ðə rəˈʒim ənd ˈhɑstəl ɪz ˈfɔrsɪz, wɪʧ kənˈtroʊl ˈtɛrɪˌtɔri tɪ ðə ist əv, ˈmeɪnˌstrim ˈrɛbəl grups ˌɪnˈsaɪd ðə ˈsɪti sim dɪˈtərmənd tɪ hoʊld ɔn. ə kəˈmændər leɪd aʊt fɔr kənˈdɪʃənz ɪn rɪˈspɑns tɪ ˈmɪstər də: ə hɔlt tɪ ˈbɑmɪŋ baɪ ðə rəˈʒim; riˈlis əv pəˈlɪtɪkəl ˈprɪzənərz (huz ˈnəmbər ɪz ˈɛstəˌmeɪtɪd æt ðə ɪkˈspəlʃən əv ˈtɛrərɪst militias”*” ˈæˌlaɪd tɪ ðə ˈgəvərnmənt (ie*, ˈlɛbəˌniz ənd ˌɪˈræki ˈfaɪtərz hu ˈboʊlstər dɪˈplitɪd ˈɑrmi); ənd ðə sərˈɛndər fər traɪəl əv ðoʊz riˈspɑnsəbəl fər ˈjuzɪŋ ˈkɛmɪkəl ˈwɛpənz əˈgɛnst ˈsɪriən səˈvɪljənz. brəˈvɑdoʊ, pərˈhæps, bət dɪˈspaɪt ðə əˈtrɪʃən əv wɔr ənd ðə ˈweɪnɪŋ ɪnˈθuziˌæzəm əv ðə rebels’*’ səˈpɔrtərz ɪn ðə wɛst ənd ðə gəlf, ˈmɪstər foʊz kənˈtɪnju tɪ həræs hɪz ˈfɔrsɪz. fɪrs ˈɛriəl bɑmˈbɑrdmənts hæv nɑt stɑpt ə sloʊ, ˈstɛdi ˈrɛbəl ədˈvæns frəm ðə saʊθ təˈwɔrdz ðə ˈkæpɪtəl, dəˈmæskəs. ˈgɪvɪn ðə ˈnæstinəs əv ðə rəˈʒim ənd ðə ˈgæðərɪŋ strɛŋθ əv ðə ʤiˈhɑˌdɪsts, ðə blik ˌəndərˈlaɪɪŋ ˌriˈæləˌti ˈfeɪsɪŋ ðə ˈpipəl əv ˈsɪriə ɪz wɛl ˈkæpʧərd baɪ ə ˈkɑmənˌteɪtər ɪn hu raɪts ˈəndər ðə ˈsudəˌnɪm ˈɛdwərd dɑrk: ˈaʊˈtraɪt ˈvɪktəri baɪ ˈiðər saɪd ɪz ˈniðər ə ril ˌpɑsəˈbɪləˌti nɔr ə dɪˈzaɪərəbəl prospect.”*.”

the democratic ground has shifted in new york. yes, the polls suggest hillary clinton will win, maybe even handily, tuesday in what, for want of a more compelling alternative, must be called her home state. but cut to the chase. going back to the 1950s, the new york primary was the stop on the national schedule where the candidates pledged their loyalty to israel. i remember very clearly the first new york primary i ever covered, in 1988. that was the year that ed koch, then the mayor, famously said that jews would have to be “crazy” to vote for jesse jackson. but new york has changed, and its democratic party has changed dramatically since koch endorsed al gore, who, stuck in third place in a three-way race, opened new contest by accusing michael dukakis of putting “public pressure on israel” due to his a “naive legalism, an exaggerated faith in the united nations, and a seeming reluctance to ever have the united states act on its own when necessary.” from there, it was off to the races as koch endorsing gore and firing some wild shots at dukakis and especially jackson. that 1988 primary was the worst, but in just about every new york primary since, candidates in both parties have competed to each other, which has usually meant adopting not merely talking points but ones. i expressed the fear after sanders won wisconsin that clinton might try to turn new york into an israel referendum. she could have. and maybe she would have if the polls were closer. but she has not. not only that. the needle moved significantly, and astoundingly, in the other direction. here, sanders deserves tremendous credit. he said at last debate: “as somebody who is 100 percent, in the long this is not going to be easy, god only knows, but in the long run if we are ever going to bring peace to that region which has seen so much hatred and so much war, we are going to have to treat the palestinian people with respect and dignity.” an acknowledgement that palestinians are human a new york primary, no less! clinton could 12 or so years ago, undoubtedly would by saying something like until the palestinians get better leaders and stop teaching hatred to their children, my posture change. not only did she not do that, but sanders forced her to acknowledge the point. she said: “as secretary of state for president obama, the person who held the last three meetings between the president of the palestinian authority and the prime minister of israel. three long meetings. and i was absolutely focused on what was fair and right for the palestinians. i was absolutely focused on what we needed to do to make sure that the palestinian people had the right to self-government.” sanders is to be commended for this could herald the start of a positive change in the way democrats at least talk about the middle east. but he was also able to get away with it because new york has changed so much. in 2011, ed koch came from seemingly nowhere to hijack the special election to replace anthony weiner in the house, turning it into a nationally viewed referendum on israel policies and costing democrats what had seemed like a safe seat in the process. that was his last hurrah, and may have also been the last one for the staunchly jewish democrats who were once a dominant force in the politics. the jews who remain in the party, especially those younger than 40 or so, are much more than the generation been dying off (if koch were still alive, probably have popped off about comment, and have stormed our way back to 1988 again). on that one, sanders showed that more in touch with the current mindset of a crucial new york constituency than clinton is. but with regard to african-american and latino voters, especially those older than 40 (which is to say most of them), he still displays no feel at all for them, and no intrinsic empathy. carrying on as he has about the south being “conservative” is, as i wrote last week, insulting to black voters everywhere. have to bet this is a big topic of discussion on new york black radio, and was sunday in the social halls of ame churches from brooklyn to buffalo. if clinton wins, the margin will again be provided by these voters. be very interested to see what the tallies are in three political regions: the city, the suburbs (nassau, suffolk, westchester, rockland, putnam), and upstate. if the polls are right and clinton wins by double digits, she should carry them all; and with 247 total delegates at stake (not including the supers), the difference between a win and a win could amount to 12 or 13 huge difference at this point in the campaign. i was standing in that field on pat farm that day in july 1999 when clinton first put herself out there as new future senator. she served the state by all accounts well, well enough that the republicans muster up a serious candidate against her when she ran for reelection, and well enough, if the polling holds up, to push her across the finish line tomorrow. but if this new york primary is remembered in the future for anything, be remembered as the one that finally buried some nasty ghosts from 1988, and be sanders who will deserve the credit for that.

ðə ˌdɛməˈkrætɪk graʊnd həz ˈʃɪftɪd ɪn nu jɔrk. jɛs, ðə poʊlz səˈʤɛst ˈhɪləri ˈklɪntən wɪl wɪn, ˈmeɪbi ˈivɪn ˈhændəli, ˈtuzˌdeɪ ɪn wət, fər wɔnt əv ə mɔr kəmˈpɛlɪŋ ɔlˈtərnətɪv, məst bi kɔld hər hoʊm steɪt. bət kət tɪ ðə ʧeɪs. goʊɪŋ bæk tɪ ðə 1950s*, ðə nu jɔrk ˈpraɪˌmɛri wɑz ðə stɑp ɔn ðə ˈnæʃənəl ˈskɛʤʊl wɛr ðə ˈkænədɪts plɛʤd ðɛr ˈlɔɪəlti tɪ ˈɪzriəl. aɪ rɪˈmɛmbər ˈvɛri ˈklɪrli ðə fərst nu jɔrk ˈpraɪˌmɛri aɪ ˈɛvər ˈkəvərd, ɪn 1988 ðət wɑz ðə jɪr ðət ɛd kɔʧ, ðɛn ðə meɪər, ˈfeɪməsli sɛd ðət ʤuz wʊd hæv tɪ bi ““crazy”*” tɪ voʊt fər ˈʤɛsi ˈʤæksən. bət nu jɔrk həz ʧeɪnʤd, ənd ɪts ˌdɛməˈkrætɪk ˈpɑrti həz ʧeɪnʤd drəˈmætɪkəli sɪns kɔʧ ɛnˈdɔrst æl gɔr, hu, stək ɪn θərd pleɪs ɪn ə θˈriˌweɪ reɪs, ˈoʊpənd nu ˈkɑntɛst baɪ əˈkjuzɪŋ ˈmaɪkəl duˈkɑkɪs əv ˈpʊtɪŋ ˈprɛʃər ɔn israel”*” du tɪ hɪz ə ˈligəˌlɪzəm, ən ɪgˈzæʤərˌeɪtɪd feɪθ ɪn ðə juˈnaɪtɪd ˈneɪʃənz, ənd ə ˈsimɪŋ rɪˈləktəns tɪ ˈɛvər hæv ðə juˈnaɪtɪd steɪts ækt ɔn ɪts oʊn wɪn necessary.”*.” frəm ðɛr, ɪt wɑz ɔf tɪ ðə ˈreɪsɪz ɛz kɔʧ ɛnˈdɔrsɪŋ gɔr ənd ˈfaɪərrɪŋ səm waɪld ʃɑts æt duˈkɑkɪs ənd əˈspɛʃəli ˈʤæksən. ðət 1988 ˈpraɪˌmɛri wɑz ðə wərst, bət ɪn ʤɪst əˈbaʊt ˈɛvəri nu jɔrk ˈpraɪˌmɛri sɪns, ˈkænədɪts ɪn boʊθ ˈpɑrtiz hæv kəmˈpitɪd tɪ iʧ ˈəðər, wɪʧ həz ˈjuʒəwəli mɛnt əˈdɑptɪŋ nɑt ˈmɪrli ˈtɔkɪŋ pɔɪnts bət wənz. aɪ ɪkˈsprɛst ðə fɪr ˈæftər ˈsændərz wən wɪˈskɑnsən ðət ˈklɪntən maɪt traɪ tɪ tərn nu jɔrk ˈɪntu ən ˈɪzriəl ˌrɛfərˈɛndəm. ʃi kʊd hæv. ənd ˈmeɪbi ʃi wʊd hæv ɪf ðə poʊlz wər ˈkloʊzər. bət ʃi həz nɑt. nɑt ˈoʊnli ðət. ðə ˈnidəl muvd sɪgˈnɪfɪkəntli, ənd əˈstaʊndɪŋli, ɪn ðə ˈəðər dɪˈrɛkʃɪn. hir, ˈsændərz dɪˈzərvz trɪˈmɛndəs ˈkrɛdɪt. hi sɛd æt læst dəˈbeɪt: ˈsəmˌbɑdi hu ɪz 100 pərˈsɛnt, ɪn ðə lɔŋ ðɪs ɪz nɑt goʊɪŋ tɪ bi ˈizi, gɑd ˈoʊnli noʊz, bət ɪn ðə lɔŋ rən ɪf wi ər ˈɛvər goʊɪŋ tɪ brɪŋ pis tɪ ðət ˈriʤən wɪʧ həz sin soʊ məʧ ˈheɪtrəd ənd soʊ məʧ wɔr, wi ər goʊɪŋ tɪ hæv tɪ trit ðə ˌpælɪˈstɪniən ˈpipəl wɪθ rɪˈspɛkt ənd dignity.”*.” ən ækˈnɑlɪʤmənt ðət ˌpælɪˈstɪniənz ər ˈjumən ə nu jɔrk ˈpraɪˌmɛri, noʊ lɛs! ˈklɪntən kʊd 12 ər soʊ jɪrz əˈgoʊ, ənˈdaʊtɪdli wʊd baɪ seɪɪŋ ˈsəmθɪŋ laɪk ənˈtɪl ðə ˌpælɪˈstɪniənz gɪt ˈbɛtər ˈlidərz ənd stɑp ˈtiʧɪŋ ˈheɪtrəd tɪ ðɛr ˈʧɪldrən, maɪ ˈpɑsʧər ʧeɪnʤ. nɑt ˈoʊnli dɪd ʃi nɑt du ðət, bət ˈsændərz fɔrst hər tɪ ækˈnɑlɪʤ ðə pɔɪnt. ʃi sɛd: ˈsɛkrəˌtɛri əv steɪt fər ˈprɛzɪdənt ˌoʊˈbɑmə, ðə ˈpərsən hu hɛld ðə læst θri ˈmitɪŋz bɪtˈwin ðə ˈprɛzɪdənt əv ðə ˌpælɪˈstɪniən əˈθɔrəti ənd ðə praɪm ˈmɪnɪstər əv ˈɪzriəl. θri lɔŋ ˈmitɪŋz. ənd aɪ wɑz ˌæbsəˈlutli ˈfoʊkɪst ɔn wət wɑz fɛr ənd raɪt fər ðə ˌpælɪˈstɪniənz. aɪ wɑz ˌæbsəˈlutli ˈfoʊkɪst ɔn wət wi ˈnidɪd tɪ du tɪ meɪk ʃʊr ðət ðə ˌpælɪˈstɪniən ˈpipəl hæd ðə raɪt tɪ self-government.”*.” ˈsændərz ɪz tɪ bi kəˈmɛndɪd fər ðɪs kʊd ˈhɛrəld ðə stɑrt əv ə ˈpɑzətɪv ʧeɪnʤ ɪn ðə weɪ ˈdɛməˌkræts æt list tɔk əˈbaʊt ðə ˈmɪdəl ist. bət hi wɑz ˈɔlsoʊ ˈeɪbəl tɪ gɪt əˈweɪ wɪθ ɪt bɪˈkəz nu jɔrk həz ʧeɪnʤd soʊ məʧ. ɪn 2011 ɛd kɔʧ keɪm frəm ˈsimɪŋli ˈnoʊˌwɛr tɪ ˈhaɪˌʤæk ðə ˈspɛʃəl ɪˈlɛkʃən tɪ ˌriˈpleɪs ˈænθɔˌni ˈwaɪnər ɪn ðə haʊs, ˈtərnɪŋ ɪt ˈɪntu ə ˈnæʃənəli vjud ˌrɛfərˈɛndəm ɔn ˈɪzriəl ˈpɑləsiz ənd ˈkɔstɪŋ ˈdɛməˌkræts wət hæd simd laɪk ə seɪf sit ɪn ðə ˈprɔˌsɛs. ðət wɑz hɪz læst hʊˈrɑ, ənd meɪ hæv ˈɔlsoʊ bɪn ðə læst wən fər ðə ˈstɔnʧli ʤuɪʃ ˈdɛməˌkræts hu wər wəns ə ˈdɑmənənt fɔrs ɪn ðə ˈpɑləˌtɪks. ðə ʤuz hu rɪˈmeɪn ɪn ðə ˈpɑrti, əˈspɛʃəli ðoʊz ˈjəŋgər ðən 40 ər soʊ, ər məʧ mɔr ðən ðə ˌʤɛnərˈeɪʃən bɪn daɪɪŋ ɔf (ɪf kɔʧ wər stɪl əˈlaɪv, ˈprɑbəˌbli hæv pɑpt ɔf əˈbaʊt ˈkɑmɛnt, ənd hæv stɔrmd ɑr weɪ bæk tɪ 1988 əˈgɛn). ɔn ðət wən, ˈsændərz ʃoʊd ðət mɔr ɪn təʧ wɪθ ðə ˈkɑrənt ˈmaɪndˌsɛt əv ə ˈkruʃəl nu jɔrk kənˈstɪʧuənsi ðən ˈklɪntən ɪz. bət wɪθ rɪˈgɑrd tɪ ˈæfrɪkənəˈmɛrɪkən ənd ləˈtinoʊ ˈvoʊtərz, əˈspɛʃəli ðoʊz ˈoʊldər ðən 40 (wɪʧ ɪz tɪ seɪ moʊst əv ðɛm), hi stɪl dɪˈspleɪz noʊ fil æt ɔl fər ðɛm, ənd noʊ ˌɪnˈtrɪnsɪk ˈɛmpəθi. ˈkɛriɪŋ ɔn ɛz hi həz əˈbaʊt ðə saʊθ biɪŋ ““conservative”*” ɪz, ɛz aɪ roʊt læst wik, ˌɪnˈsəltɪŋ tɪ blæk ˈvoʊtərz ˈɛvriˌwɛr. hæv tɪ bɛt ðɪs ɪz ə bɪg ˈtɑpɪk əv dɪˈskəʃən ɔn nu jɔrk blæk ˈreɪdiˌoʊ, ənd wɑz ˈsənˌdi ɪn ðə ˈsoʊʃəl hɔlz əv eɪm ˈʧərʧɪz frəm ˈbrʊklɪn tɪ ˈbəfəˌloʊ. ɪf ˈklɪntən wɪnz, ðə ˈmɑrʤən wɪl əˈgɛn bi prəˈvaɪdɪd baɪ ðiz ˈvoʊtərz. bi ˈvɛri ˈɪntəˌrɛstɪd tɪ si wət ðə ˈtæliz ər ɪn θri pəˈlɪtɪkəl ˈriʤənz: ðə ˈsɪti, ðə ˈsəbərbz (ˈnæsɔ, ˈsəfək, ˈwɛˌstʧɛstər, ˈrɑklənd, ˈpətnəm), ənd ˈəpˈsteɪt. ɪf ðə poʊlz ər raɪt ənd ˈklɪntən wɪnz baɪ ˈdəbəl ˈdɪʤɪts, ʃi ʃʊd ˈkɛri ðɛm ɔl; ənd wɪθ 247 ˈtoʊtəl ˈdɛləˌgeɪts æt steɪk (nɑt ˌɪnˈkludɪŋ ðə ˈsupərz), ðə ˈdɪfərəns bɪtˈwin ə wɪn ənd ə wɪn kʊd əˈmaʊnt tɪ 12 ər 13 juʤ ˈdɪfərəns æt ðɪs pɔɪnt ɪn ðə kæmˈpeɪn. aɪ wɑz ˈstændɪŋ ɪn ðət fild ɔn pæt fɑrm ðət deɪ ɪn ˌʤuˈlaɪ 1999 wɪn ˈklɪntən fərst pʊt hərˈsɛlf aʊt ðɛr ɛz nu fˈjuʧər ˈsɛnətər. ʃi sərvd ðə steɪt baɪ ɔl əˈkaʊnts wɛl, wɛl ɪˈnəf ðət ðə rɪˈpəblɪkənz ˈməstər əp ə ˈsɪriəs ˈkænədɪt əˈgɛnst hər wɪn ʃi ræn fər riɪˈlɛkʃən, ənd wɛl ɪˈnəf, ɪf ðə ˈpoʊlɪŋ hoʊldz əp, tɪ pʊʃ hər əˈkrɔs ðə ˈfɪnɪʃ laɪn təˈmɑˌroʊ. bət ɪf ðɪs nu jɔrk ˈpraɪˌmɛri ɪz rɪˈmɛmbərd ɪn ðə fˈjuʧər fər ˈɛniˌθɪŋ, bi rɪˈmɛmbərd ɛz ðə wən ðət ˈfaɪnəli ˈbɛrid səm ˈnæsti goʊsts frəm 1988 ənd bi ˈsændərz hu wɪl dɪˈzərv ðə ˈkrɛdɪt fər ðət.

boston -- when the toronto of the american hockey league helped out with a reading program in a number of local schools last season, the experience was a little different for one of the players than the rest. the kids were tasked with doing projects on one of books chosen for the curriculum, which was sponsored by the along with and first book canada; the winning class got to go to a game. one of the options was "the bambino and me." another was "hockey hero." each was written by hyman. becoming an author wasn't exactly what hyman had planned to do with his life. his goal was to become an player, a dream he reached with his debut on feb. 29; that it was with the toronto maple leafs was doubly special for a kid who grew up in toronto. that was what he would have said, had he been asked, about his aspirations back in elementary school or middle school or high school. hockey was always his first love. but somewhere along the way hyman found a parallel path, one that might last beyond the playing days. "i didn't really expect much from writing," hyman said saturday. "i wasn't trying to go out there and be an author. but it's a big passion of mine and i just really, really enjoyed it, so once everything came together it was a no-brainer for me that i wanted to keep pursuing writing." it started when hyman was in seventh grade, when he wrote the story that would become the basis for "hockey hero" for a competition. he won. his father helped him explore the idea of the book, which he eventually did. inquiries led the pair to freelance book editor janice weaver, who often works on children's books. they began working together on "the bambino and me" when hyman was in high school. the book is built, in parts, around real-life quotes from babe ruth. "what i really liked about that project, the thing that kind of struck me about it first, was that zach had used so many of babe ruth's own words to tell the story," weaver said. "i thought it was a really nice way of bringing the factual elements into a fictional story and giving you a good flavor for what that person was like. i thought it was clever and i thought it showed a maturity in his writing that you don't expect to see in a story written by a high school kid." the collaboration with weaver eventually led hyman to work with penguin random house with "the bambino and me" and, eventually, the revamped "hockey hero" being published under the tundra books imprint. that's not all. his third book, "the secret," is in its final stages, with just the art to be completed; hyman expects it to be published in the beginning of 2017. it's expected to be followed by a fourth book with a basketball focus. "the secret" is his first book without a sports theme. the books are written in the many of a hockey player's life, at home and in the summers, when a break from training gives hyman the time and ability to sit with the words. then he gets to share them. "it's fun to write for kids because i remember when i was a kid and i always used to love reading children's books and looking at the pictures and being all excited. it's a lot of fun when you read the books to kids and see their faces light up," hyman said, his own face aglow. "that's definitely a big reason why i write children's books. it's fun for me too." it's clear that other career impacts his writing, his sense of hard work and goals and dreams. he has been through it. he has seen how that translates into real life, into finding himself in exactly the place he always hoped he would, playing for his hometown hockey team, serving as a role model to the kids he entertains, whether on the ice or in his books. "one of the things i really love about the books is they have a sort of old school message to them," weaver said. "a simple kind of nostalgic, in some cases, message to them. and a lot of the messages of the books are about dreaming big, following your dreams, working hard to achieve your dreams. "i think that's very much reflective of the way -- from what i know of zach -- of how he lives his own life and how he conducts himself in terms of his athletic career, so i think there's a real there between the way he lives his life and what he believes on a daily basis and tries to put into action, and the messages that he's trying to convey through his books." it means something to him. it's something that's real to him. as career has taken off on the ice -- he has four goals and five assists in 27 games for the maple leafs -- he continues to learn the lessons that likely one day will be encapsulated in future books, future labors of love. "it's just a big passion of mine and i'm fortunate to be working with awesome people who help me out along the way," hyman said. "just focusing on hockey and writing is something that i'll obviously continue to do. "writing is going to last longer than hockey. you can't play hockey forever, but [you] definitely can write forever. just enjoying it; it's amazing. i get to live the life of a hockey player and also have writing. it's pretty special. i'm really lucky."

ˈbɔstən wɪn ðə tərˈɑntoʊ əv ðə əˈmɛrɪkən ˈhɑki lig hɛlpt aʊt wɪθ ə ˈrɛdɪŋ ˈproʊˌgræm ɪn ə ˈnəmbər əv ˈloʊkəl skulz læst ˈsizən, ðə ɪkˈspɪriəns wɑz ə ˈlɪtəl ˈdɪfərənt fər wən əv ðə pleɪərz ðən ðə rɛst. ðə kɪdz wər tæskt wɪθ duɪŋ ˈprɑʤɛkts ɔn wən əv bʊks ˈʧoʊzən fər ðə kərˈɪkjələm, wɪʧ wɑz ˈspɑnsərd baɪ ðə əˈlɔŋ wɪθ ənd fərst bʊk ˈkænədə; ðə ˈwɪnɪŋ klæs gɑt tɪ goʊ tɪ ə geɪm. wən əv ðə ˈɔpʃənz wɑz "ðə ˌbæmˈbinoʊ ənd mi." əˈnəðər wɑz "ˈhɑki ˈhɪroʊ." iʧ wɑz ˈrɪtən baɪ ˈhaɪmən. bɪˈkəmɪŋ ən ˈɔθər ˈwəzənt ɪgˈzæktli wət ˈhaɪmən hæd plænd tɪ du wɪθ hɪz laɪf. hɪz goʊl wɑz tɪ bɪˈkəm ən pleɪər, ə drim hi riʧt wɪθ hɪz ˈdeɪbju ɔn ˈfɛbjəˌwɛri. 29 ðət ɪt wɑz wɪθ ðə tərˈɑntoʊ ˈmeɪpəl lifs wɑz ˈdəbli ˈspɛʃəl fər ə kɪd hu gru əp ɪn tərˈɑntoʊ. ðət wɑz wət hi wʊd hæv sɛd, hæd hi bɪn æst, əˈbaʊt hɪz ˌæspərˈeɪʃənz bæk ɪn ˌɛləˈmɛnʧri skul ər ˈmɪdəl skul ər haɪ skul. ˈhɑki wɑz ˈɔlˌweɪz hɪz fərst ləv. bət ˈsəmˌwɛr əˈlɔŋ ðə weɪ ˈhaɪmən faʊnd ə ˈpɛrəˌlɛl pæθ, wən ðət maɪt læst bɪɔnd ðə pleɪɪŋ deɪz. "aɪ ˈdɪdənt ˈrɪli ɪkˈspɛkt məʧ frəm ˈraɪtɪŋ," ˈhaɪmən sɛd ˈsæˌtɪˌdeɪ. "aɪ ˈwəzənt traɪɪŋ tɪ goʊ aʊt ðɛr ənd bi ən ˈɔθər. bət ɪts ə bɪg ˈpæʃən əv maɪn ənd aɪ ʤɪst ˈrɪli, ˈrɪli ˌɛnˈʤɔɪd ɪt, soʊ wəns ˈɛvriˌθɪŋ keɪm təˈgɛðər ɪt wɑz ə ˌnoʊˈbreɪnər fər mi ðət aɪ ˈwɔntɪd tɪ kip pərˈsuɪŋ ˈraɪtɪŋ." ɪt ˈstɑrtɪd wɪn ˈhaɪmən wɑz ɪn ˈsɛvənθ greɪd, wɪn hi roʊt ðə ˈstɔri ðət wʊd bɪˈkəm ðə ˈbeɪsɪs fər "ˈhɑki ˈhɪroʊ" fər ə ˌkɑmpəˈtɪʃən. hi wən. hɪz ˈfɑðər hɛlpt ɪm ɪkˈsplɔr ðə aɪˈdiə əv ðə bʊk, wɪʧ hi ɪˈvɛnʧəwəli dɪd. ˌɪnkˈwaɪəriz lɛd ðə pɛr tɪ ˈfriˌlæns bʊk ˈɛdɪtər ˈʤænɪs ˈwivər, hu ˈɔfən wərks ɔn ˈʧɪldrənz bʊks. ðeɪ bɪˈgæn ˈwərkɪŋ təˈgɛðər ɔn "ðə ˌbæmˈbinoʊ ənd mi" wɪn ˈhaɪmən wɑz ɪn haɪ skul. ðə bʊk ɪz bɪlt, ɪn pɑrts, əraʊnd ˈriˌllaɪf kwoʊts frəm beɪb ruθ. "wət aɪ ˈrɪli laɪkt əˈbaʊt ðət ˈprɑʤɛkt, ðə θɪŋ ðət kaɪnd əv strək mi əˈbaʊt ɪt fərst, wɑz ðət zæk hæd juzd soʊ ˈmɛni əv beɪb ruθs oʊn wərdz tɪ tɛl ðə ˈstɔri," ˈwivər sɛd. "aɪ θɔt ɪt wɑz ə ˈrɪli nis weɪ əv ˈbrɪŋɪŋ ðə ˈfækʧuəl ˈɛləmənts ˈɪntu ə ˈfɪkʃənəl ˈstɔri ənd ˈgɪvɪŋ ju ə gʊd ˈfleɪvər fər wət ðət ˈpərsən wɑz laɪk. aɪ θɔt ɪt wɑz ˈklɛvər ənd aɪ θɔt ɪt ʃoʊd ə məˈʧʊrəti ɪn hɪz ˈraɪtɪŋ ðət ju doʊnt ɪkˈspɛkt tɪ si ɪn ə ˈstɔri ˈrɪtən baɪ ə haɪ skul kɪd." ðə kəˌlæbərˈeɪʃən wɪθ ˈwivər ɪˈvɛnʧəwəli lɛd ˈhaɪmən tɪ wərk wɪθ ˈpɛŋgwən ˈrændəm haʊs wɪθ "ðə ˌbæmˈbinoʊ ənd mi" ənd, ɪˈvɛnʧəwəli, ðə riˈvæmpt "ˈhɑki ˈhɪroʊ" biɪŋ ˈpəblɪʃt ˈəndər ðə ˈtəndrə bʊks ˌɪmˈprɪnt. ðæts nɑt ɔl. hɪz θərd bʊk, "ðə ˈsikrɪt," ɪz ɪn ɪts ˈfaɪnəl ˈsteɪʤɪz, wɪθ ʤɪst ðə ɑrt tɪ bi kəmˈplitɪd; ˈhaɪmən ɪkˈspɛkts ɪt tɪ bi ˈpəblɪʃt ɪn ðə bɪˈgɪnɪŋ əv 2017 ɪts ɪkˈspɛktɪd tɪ bi ˈfɑloʊd baɪ ə fɔrθ bʊk wɪθ ə ˈbæskətˌbɔl ˈfoʊkɪs. "ðə ˈsikrɪt" ɪz hɪz fərst bʊk wɪˈθaʊt ə spɔrts θim. ðə bʊks ər ˈrɪtən ɪn ðə ˈmɛni əv ə ˈhɑki pleɪərz laɪf, æt hoʊm ənd ɪn ðə ˈsəmərz, wɪn ə breɪk frəm ˈtreɪnɪŋ gɪvz ˈhaɪmən ðə taɪm ənd əˈbɪləˌti tɪ sɪt wɪθ ðə wərdz. ðɛn hi gɪts tɪ ʃɛr ðɛm. "ɪts fən tɪ raɪt fər kɪdz bɪˈkəz aɪ rɪˈmɛmbər wɪn aɪ wɑz ə kɪd ənd aɪ ˈɔlˌweɪz juzd tɪ ləv ˈrɛdɪŋ ˈʧɪldrənz bʊks ənd ˈlʊkɪŋ æt ðə ˈpɪkʧərz ənd biɪŋ ɔl ɪkˈsaɪtɪd. ɪts ə lɔt əv fən wɪn ju rɛd ðə bʊks tɪ kɪdz ənd si ðɛr ˈfeɪsɪz laɪt əp," ˈhaɪmən sɛd, hɪz oʊn feɪs əˈgloʊ. "ðæts ˈdɛfənətli ə bɪg ˈrizən waɪ aɪ raɪt ˈʧɪldrənz bʊks. ɪts fən fər mi tu." ɪts klɪr ðət ˈəðər kərɪr ˌɪmˈpækts hɪz ˈraɪtɪŋ, hɪz sɛns əv hɑrd wərk ənd goʊlz ənd drimz. hi həz bɪn θru ɪt. hi həz sin haʊ ðət ˈtrænsˌleɪts ˈɪntu ril laɪf, ˈɪntu ˈfaɪndɪŋ hɪmˈsɛlf ɪn ɪgˈzæktli ðə pleɪs hi ˈɔlˌweɪz hoʊpt hi wʊd, pleɪɪŋ fər hɪz ˈhoʊmˌtaʊn ˈhɑki tim, ˈsərvɪŋ ɛz ə roʊl ˈmɑdəl tɪ ðə kɪdz hi ˌɛnərˈteɪnz, ˈwɛðər ɔn ðə aɪs ər ɪn hɪz bʊks. "wən əv ðə θɪŋz aɪ ˈrɪli ləv əˈbaʊt ðə bʊks ɪz ðeɪ hæv ə sɔrt əv oʊld skul ˈmɛsɪʤ tɪ ðɛm," ˈwivər sɛd. "ə ˈsɪmpəl kaɪnd əv nɔˈstælʤɪk, ɪn səm ˈkeɪsɪz, ˈmɛsɪʤ tɪ ðɛm. ənd ə lɔt əv ðə ˈmɛsɪʤɪz əv ðə bʊks ər əˈbaʊt ˈdrimɪŋ bɪg, ˈfɑloʊɪŋ jʊr drimz, ˈwərkɪŋ hɑrd tɪ əˈʧiv jʊr drimz. "aɪ θɪŋk ðæts ˈvɛri məʧ rɪˈflɛktɪv əv ðə weɪ frəm wət aɪ noʊ əv zæk əv haʊ hi lɪvz hɪz oʊn laɪf ənd haʊ hi kənˈdəkts hɪmˈsɛlf ɪn tərmz əv hɪz æθˈlɛtɪk kərɪr, soʊ aɪ θɪŋk ðɛrz ə ril ðɛr bɪtˈwin ðə weɪ hi lɪvz hɪz laɪf ənd wət hi bɪˈlivz ɔn ə ˈdeɪli ˈbeɪsɪs ənd traɪz tɪ pʊt ˈɪntu ˈækʃən, ənd ðə ˈmɛsɪʤɪz ðət hiz traɪɪŋ tɪ kənˈveɪ θru hɪz bʊks." ɪt minz ˈsəmθɪŋ tɪ ɪm. ɪts ˈsəmθɪŋ ðæts ril tɪ ɪm. ɛz kərɪr həz ˈteɪkən ɔf ɔn ðə aɪs hi həz fɔr goʊlz ənd faɪv əˈsɪsts ɪn 27 geɪmz fər ðə ˈmeɪpəl lifs hi kənˈtɪnjuz tɪ lərn ðə ˈlɛsənz ðət ˈlaɪkli wən deɪ wɪl bi ɛnˈkæpsəˌleɪtɪd ɪn fˈjuʧər bʊks, fˈjuʧər ˈleɪbərz əv ləv. "ɪts ʤɪst ə bɪg ˈpæʃən əv maɪn ənd əm ˈfɔrʧənət tɪ bi ˈwərkɪŋ wɪθ ˈɔsəm ˈpipəl hu hɛlp mi aʊt əˈlɔŋ ðə weɪ," ˈhaɪmən sɛd. "ʤɪst ˈfoʊkɪsɪŋ ɔn ˈhɑki ənd ˈraɪtɪŋ ɪz ˈsəmθɪŋ ðət aɪl ˈɑbviəsli kənˈtɪnju tɪ du. "ˈraɪtɪŋ ɪz goʊɪŋ tɪ læst ˈlɔŋgər ðən ˈhɑki. ju kænt pleɪ ˈhɑki fərˈɛvər, bət [ju] ˈdɛfənətli kən raɪt fərˈɛvər. ʤɪst ˌɛnˈʤɔɪɪŋ ɪt; ɪts əˈmeɪzɪŋ. aɪ gɪt tɪ lɪv ðə laɪf əv ə ˈhɑki pleɪər ənd ˈɔlsoʊ hæv ˈraɪtɪŋ. ɪts ˈprɪti ˈspɛʃəl. əm ˈrɪli ˈləki."

the geography of canada describes the geographic features of canada, the world's second largest country in total area. situated in northern north america (constituting 41% of the continent's area), canada spans a vast, diverse territory between the north pacific ocean to the west and the north atlantic ocean to the east and the arctic ocean to the north (hence the country's motto "from sea to sea"), with the united states to the south (contiguous united states) and northwest (alaska). greenland is to the northeast; off the southern coast of newfoundland lies saint pierre and, an overseas of france. since 1925, canada has claimed the portion of the arctic between and longitude to the north pole; however, this claim is] while the magnetic north pole lies within the canadian arctic territorial claim as of 2011, recent measurements indicate it is moving towards] covering or mi (land: or mi; freshwater: or mi), canada is slightly less than as large as russia and slightly smaller than europe. in total area, canada is slightly larger than both the u.s. and china; however, canada ranks fourth in land area (i.e. total area minus the area of lakes and is (3,600,950 mi) and the u.s. is (3,537,438] the population of canada, as of may 10, 2016, is concentrated in the south close to its border with the contiguous u.s.; with a population density ofopleruare kilometre (9.1/sq mi), it is one of the most sparsely populated countries in the world. the northernmost settlement in in the canadian forces station (cfs) alert (just north of alert,) on the northern tip of ellesmere island at 62°19′w, just 834 kilometres (518 mi) from the north pole. climate [ edit ] köppen climate classification types of canada arctic tundra covers parts of extreme northern canada. canada has a diverse climate. the climate varies from temperate on the west coast of british] to a climate in the] extreme northern canada can have snow for most of the year with a polar] landlocked areas tend to have a warm summer continental climate] with the exception of southwestern ontario which has a hot summer humid continental] parts of western canada have a climate, and parts of vancouver island can even be classified as cool summer mediterranean] temperature extremes in canada range from °c (113 °f) in and yellow grass, saskatchewan ony 5, 1937 to °c (−81.4 °f) in snag, yukon on monday, february 3,] extremes [ edit ] climate data for canada month jan feb mar may jun aug sep oct nov dec year record high record high °c (°f) (66.9) (72.7) (83.3) (99.0) (108.0) (109.9) 45 (113) (109.9) 40 (104) (93.2) (79.0) (72.0) 45 (113) record low °c (°f) (−78.0) (−81.4) (−66.5) (−56.0) (−26.0) (−5.1) (16.0) (5) (−25.1) (−43.1) (−65.9) (−76) (−81.4) record low wind chill.5 source: environment canada physical geography [ edit ] a satellite composite image of canada. forests prevail throughout the country, including the arctic, the coast mountains and saint elias mountains. the relatively flat prairies facilitate agriculture. the great lakes feed the st. lawrence river (in the southeast) where lowlands host much of canada's population. canada covers (3,855,100 mi) and a panoply of various regions. there are 8 main] canada also encompasses vast maritime terrain, with the world's longest coastline of kilometres (151,019] the physical geography of canada is widely varied. forests prevail throughout the country, ice is prominent in northerly arctic regions and through the rocky mountains, and the relatively flat canadian prairies in the southwest facilitate productive] the great lakes feed the st. lawrence river (in the southeast) where lowlands host much of canada's population. appalachian mountains [ edit ] the appalachian mountain range extends from alabama through the gaspéninsula and the atlantic provinces, creating rolling hills by river] it also runs through parts of southern] the appalachian mountains (more specifically the mountains, notre dame, and long range mountains) are an old and eroded range of mountains, approximately 380 million years in age. notable mountains in the appalachians include mount (quebec, m or), mount carleton (new brunswick, 817 m or), the (newfoundland, 814 m or] parts of the appalachians are home to a rich endemic flora and fauna and are considered to have been during the last glaciation needed] great lakes and st. lawrence lowlands [ edit ] the southern parts of quebec and ontario, in the section of the great lakes (bordered entirely by ontario on the canadian side) and st. lawrence basin (often called st. lawrence lowlands), is another particularly rich sedimentary] prior to its colonization and heavy urban sprawl of the century, this eastern great lakes lowland forests area was home to large mixed forests covering a mostly flat area of land between the appalachian mountains and the canadian] most of this forest has been cut down through agriculture and logging operations, but the remaining forests are for the most part heavily protected. in this part of canada the gulf of st. lawrence is one of the world's largest estuary (see gulf of st. lawrence lowland] the great lakes from space while the relief of these lowlands is particularly flat and regular, a group of known as the hills are spread along a mostly regular line across the] the most notable are montreal's mount royal and mont saint-hilaire. these hills are known for a great richness in precious] canadian shield [ edit ] the northeastern part of alberta, northern parts of saskatchewan, manitoba, ontario, and quebec, as well as most of labrador (the mainland portions of the province of newfoundland and labrador), are located on a vast rock base known as the canadian shield. the shield mostly consists of eroded hilly terrain and contains many lakes and important rivers used for hydroelectric production, particularly in northern quebec and ontario. the shield also an area of wetlands, the hudson bay lowlands. some particular regions of the shield are referred to as mountain ranges, including the and laurentian] the shield cannot support intensive agriculture, although there is subsistence agriculture and small dairy farms in many of the river valleys and around the abundant lakes, particularly in the southern regions. forest covers much of the shield, with a mix of conifers that provide valuable timber resources in areas such as the central canadian shield forests that covers much of northern ontario. the region is known for its extensive mineral] the canadian shield is known for its vast minerals, such as emeralds, diamonds and copper. the canadian shield is also called the mineral house. canadian interior plains [ edit ] the canadian prairies are part of a vast sedimentary plain covering much of alberta, southern saskatchewan, and southwestern manitoba, as well as much of the region between the rocky mountains and the great slave and great bear lakes in northwest territories. the plains generally describes the expanses of (largely flat) arable agricultural land which sustain extensive grain farming operations in the southern part of the provinces. despite this, some areas such as the cypress hills and the alberta badlands are quite hilly and the prairie provinces contain large areas of forest such as the canadian forests. the size is roughly ~1,900,000 (733,594.1 mi). western [ edit ] the canadian, contiguous with the american, is bounded by the rocky mountains to the east and the pacific ocean to the west. the canadian rockies are part of a major continental divide that extends north and south through western north america and western south america. the columbia and the fraser rivers have their headwaters in the canadian rockies and are the second and third largest rivers respectively to drain to the west coast of north america. to the west of their headwaters, across the rocky mountain trench, is a second belt of mountains, the columbia mountains, comprising the selkirk, purcell, and mountains sub-ranges. immediately west of the columbia mountains is a large and rugged interior plateau, encompassing the and regions in central british columbia (the fraser plateau), the plateau further north, and also the thompson plateau in the south. theace river valley in northeastern british columbia is canada's most northerly agricultural region, although it is part of the prairies. the dry, temperate climate of the valley in south central british columbia provides ideal conditions for fruit growing and a flourishing wine industry; the belt of the southern interior also includes the fraser canyon, and thompson, nicola, similkameen, and boundary regions and is common in these areas also, and also in the west kootenay. between the plateau and the coast is the province's largest mountain range, the coast mountains. the coast mountains contain some of the largest in the world. on the south coast of british columbia, vancouver island is separated from the mainland by the continuous juan de, georgia, and johnstone straits. those straits include a large number of islands, notably the gulf islands and discovery islands. north, near the alaskan border, haida lies across strait from the north coast region and to its north, across dixon entrance from southeast alaska. other than in the plateau regions of the interior and its many river valleys, most of british columbia is coniferous forest. the only temperate rain forests in canada are found along the pacific coast in the coast mountains, on vancouver island, and on haida, and in the mountains on the eastern flank of the plateau. the western continues past the river in northernmost british columbia to include the mackenzie and selwyn ranges which lie in the far western northwest territories and the eastern yukon territory. west of them is the large yukon plateau and, west of that, the yukon ranges and saint elias mountains, which include canada's and british columbia's highest summits, mount saint elias in the region and mount fairweather in the region. the headwaters of the yukon river, the largest and longest of the rivers on the pacific slope, lie in northern british columbia at and lakes. volcanoes [ edit ] western canada has many volcanoes and is part of the pacific ring of fire, a system of volcanoes found around the margins of the pacific ocean. there are over 200 young volcanic centres that stretch northward from the cascade range to yukon. they are grouped into five volcanic belts with different volcano types and tectonic settings. the northernn volcanic province was formed by faulting, cracking, rifting, and the interaction between the pacific plate and the north american plate. the garibaldi volcanic belt was formed by of the juan de plate beneath the north american plate. the volcanic belt was formed as a result of the north american plate sliding westward over the hotspot. the group is believed to have formed as a result of extension behind the zone. the wrangell volcanic field formed as a result of of the pacific plate beneath the north american plate at the end of the aleutian trench. volcanism has also occurred in the canadian shield. it contains over 150 volcanic belts (now deformed and eroded down to nearly flat plains) that range from 600 million to billion years old. many of canada's major ore deposits are associated with precambrian volcanoes. there are pillow in the northwest territories that are about billion years old and are preserved in the cameron river volcanic belt. the pillow in rocks over 2 billion years old in the canadian shield signify that great oceanic volcanoes existed during the early stages of the formation of the earth's crust. ancient volcanoes play an important role in estimating canada's mineral potential. many of the volcanic belts bear ore deposits that are related to the. canadian arctic [ edit ] while the largest part of the canadian arctic is composed of seemingly endless and tundra north of the tree line, it encompasses geological regions of varying types: the arctic (with the british empire range and the united states range on ellesmere island) contains the northernmost mountain system in the world. the arctic lowlands and hudson bay lowlands comprise a substantial part of the geographic region often designated as the canadian shield (in contrast to the sole geologic area). the ground in the arctic is mostly composed of, making construction difficult and often hazardous, and agriculture virtually impossible. the arctic, when defined as everything north of the tree line, covers most of and the northernmost parts of northwest territories, yukon, manitoba, ontario, quebec, and labrador. hydrography [ edit ] bc ab on nu drainage basins of canada canada holds vast reserves of water: its rivers discharge nearly 9% of the world's renewable water] it contains a quarter of the world's wetlands, and it has the third largest amount of glaciers (after antarctica and greenland). because of extensive glaciation, canada hosts more than two million lakes: of those that are entirely within canada, more than are between 3 and 100uare kilometres (1.2 and mi) in area, while 563 are larger than 100 (38.69] rivers [ edit ] canada’s two longest rivers are the mackenzie, which empties into the arctic ocean and drains a large part of northwestern canada, and the st. lawrence, which drains the great lakes and empties into the gulf of st. lawrence. the mackenzie is over (2,600 mi) in length while the st. lawrence is over (1,900 mi) in length. rounding out the ten longest rivers within canada are the nelson, churchill,ace, fraser, north saskatchewan, ottawa, and yukon] drainage basins [ edit ] the atlantic watershed drains the entirety of the atlantic provinces (parts of the border are fixed at the atlantic ocean continental divide), most of inhabited quebec and large parts of southern ontario. it is mostly drained by the economically important st. lawrence river and its tributaries, notably the saguenay, and ottawa rivers. the great lakes and lake are also drained by the st. lawrence. the churchill river and saint john river are other important elements of the atlantic watershed in] the hudson bay watershed drains over a third of canada. it covers manitoba, northern ontario and quebec, most of saskatchewan, southern alberta, southwestern and the southern half of island. this basin is most important in fighting drought in the prairies and producing hydroelectricity, especially in manitoba, northern ontario and quebec. major elements of this watershed include lake winnipeg, nelson river, the north saskatchewan and south saskatchewan rivers, river, and lake on island. lake lies on the boundary between the hudson bay and arctic ocean watersheds and drains into both. it is the largest lake in the world that naturally drains in two] the continental divide in the rockies separates the pacific watershed in british columbia and yukon from the arctic and hudson bay watersheds. this watershed the agriculturally important areas of inner british columbia (such as the and kootenay valleys), and is used to produce hydroelectricity. major elements are the yukon, columbia and fraser] the northern parts of alberta, manitoba and british columbia, most of northwest territories and, and parts of yukon are drained by the arctic watershed. this watershed has been little used for hydroelectricity, with the exception of the mackenzie river, the longest river in canada. theace, and rivers, as well as great bear lake and great slave lake (respectively the largest and second largest lakes wholly enclosed by canada) are significant elements of the arctic watershed. each of these elements eventually merges with the mackenzie, thereby draining the vast majority of the arctic] the southernmost part of alberta drains into the gulf of mexico through the milk river and its tributaries. the milk river originates in the rocky mountains of montana, then flows into alberta, then returns into the united states, where it is drained by the missouri river. a small area of southwestern saskatchewan is drained by battle creek, which empties into the milk] floristic geography [ edit ] canada has produced a biodiversity action plan in response to the 1992 international accord; the plan addresses conservation of endangered species and certain habitats. the main biomes of canada are: political geography [ edit ] for historical political boundaries of canada, see territorial evolution of canada canada is divided into ten provinces and three territories. according to statistics canada,rcent of the population is concentrated within 150 kilometres (93 mi) of the nation's southern border with the united states,% live south of the parallel, and over 60rcent of the population lives along the great lakes and st. lawrence river between windsor, ontario and quebec city. this leaves the vast majority of canada's territory as sparsely populated wilderness; canada's population density isople/km2 (9.1/mi2), among the lowest in the world. despite this,rcent of canada's population resides in urban areas, where population densities are] canada shares with the u.s. the world's longest border at kilometres (5,526 mi); kilometres (1,539 mi) are with alaska. the danish island dependency of greenland lies to canada's northeast, separated from the canadian arctic islands by bay and davis strait. the french islands of saint pierre and lie off the southern coast of newfoundland in the gulf of st. lawrence and have a maritime territorial enclave within canada's exclusive economic zone. canada also shares a land border with denmark, as maps released in december 2006 show that the agreed upon boundaries run through the middle of hans] canada's geographic proximity to the united states has historically bound the two countries together in the political world as well. canada's position between the soviet union (now russia) and the u.s. was strategically important during the cold war since the route over the north pole and canada was the fastest route by air between the two countries and the most direct route for intercontinental ballistic missiles. since the end of the cold war, there has been growing speculation that canada's arctic maritime claims may become increasingly important if global warming melts the ice enough to open the northwest passage. similarly, the island (with denmark), in the nares strait between ellesmere island and northern greenland, may be a flashpoint for challenges to overall claims of canadian sovereignty in the] natural resources [ edit ] canada's abundance of natural resources is reflected in their continued importance in the economy of canada. major industries are fisheries, forestry, agriculture,troleum products and mining. the fisheries industry has historically been one of canada's strongest. unmatched cod stocks on the grand banks off newfoundland launched this industry in the century. today these stocks are nearly depleted, and their conservation has become a preoccupation of the atlantic provinces. on the west coast, tuna stocks are now restricted. the less depleted (but still greatly diminished) salmon population continues to drive a strong fisheries industry. canada claims 22 (12 nmi) of territorial sea, a contiguous zone of 44 (24 nmi), an exclusive economic zone of 370 (200 nmi) and a continental shelf of 370 (200 nmi) or to the edge of the continental margin. forestry has long been a major industry in canada. forest products contribute one fifth of the nation's exports. the provinces with the largest forestry industries are british columbia, ontario and quebec.rcent of canada's land area is covered in forest. the forests account for of canada's forestland. fiver cent of canada's land area is arable, none of which is forrmanent crops. threer cent of canada's land area is covered byrmanent pastures. canada hasuare kilometres (2,800) of irrigated land (1993 estimate). agricultural regions in canada include the canadian prairies, the lower mainland and various regions within the interior of british columbia, the st. lawrence basin and the canadian maritimes. main crops in canada include flax, oats, wheat, maize, barley, sugar beets and rye in the prairies; flax and maize in western ontario; oats and potatoes in the maritimes. fruit and vegetables are grown primarily in the annapolis valley of nova scotia, southwestern ontario, the golden horseshoe region of ontario, along the south coast of georgian bay and in the valley of british columbia. cattle and sheep are raised in the valleys and of british columbia. cattle, sheep and hogs are raised on the prairies, cattle and hogs in western ontario, sheep and hogs in quebec, and sheep in the maritimes. there are significant dairy regions in central nova scotia, southern new brunswick, the st. lawrence valley, northeastern ontario, southwestern ontario, the red river valley of manitoba and the valleys in the british columbia interior, on vancouver island and in the lower mainland. fossil fuels are a more recently developed resource in canada, with oil and gas being extracted from deposits in the western canadian sedimentary basin since the mid 1900s. while canada's crude oil deposits are fewer, technological developments in recent decades have opened up oil production in oil sands to the point where canada now has some of the largest reserves of oil in the world. in other forms, canadian industry has a long history of extracting large coal and natural gas reserves. canada's mineral resources are diverse and extensive. across the canadian shield and in the north there are large iron, nickel, zinc, copper, gold, lead, molybdenum, and uranium reserves. large diamond concentrations have been recently developed in the arctic, making canada one of the world's largest producers. throughout the shield there are many mining towns extracting these minerals. the largest, and best known, is sudbury, ontario. sudbury is an exception to the normal process of forming minerals in the shield since there is significant evidence that the sudbury basin is an ancient meteorite impact crater. the nearby, but less known magnetic anomaly has striking similarities to the sudbury basin. its magnetic anomalies are very similar to the sudbury basin, and so it could be a second impact] the shield is also covered by vast forests that support an important logging industry. canada's many rivers have afforded extensive development of hydroelectric power. extensively developed in british columbia, ontario, quebec and labrador, the many dams have long provided a clean, dependable source of energy. natural hazards [ edit ] continuous in the north is a serious obstacle to development. storms form east of the rocky mountains, a result of the mixing of air masses from the arctic, pacific, and north american interior, and produce most of the country's rain and snow east of the mountains. current environmental issues [ edit ] air pollution and resulting acid rain severely affects lakes and damages] metal smelting, utilities, and vehicle emissions impact agricultural and forest productivity. and ocean waters are becoming contaminated from agricultural, industrial, mining, and forestry] global climate change and the warming of the polar region will likely cause significant changes to the environment, including loss of the polar] the exploration for resource then the extraction of these resources and an alternative transport route to the panama canal through the northwest passage. extreme points [ edit ] topographic map the northernmost point within the boundaries of canada is cape columbia, ellesmere island, .[47] the northernmost point of the canadian mainland is zenith point onninsula, .[47] the southernmost point is middle island, in lake erie, ontario (41°41′n, 82°40′w); the southernmost water point lies just south of the island, on the border (41°40′35″n). the southernmost point of the canadian mainland is pointlee, ontario .[47] the westernmost point is boundaryak 187 (60°18′22.929″n, 141°00′7.128″w) at the southern end of the border which is roughly following but leans very slightly east as it goes north .[48][47] the point is cape spear, newfoundland (47°31′n, 52°37′w) .[47] the point of the canadian mainland is elijah point, cape st. charles, labrador (52°13′n, 55°37′w) .[47] the lowest point is sea level at 0] whilst the highest point is mount logan, yukon, at m / .[47] the canadian pole of inaccessibility is allegedly near river, alberta (latitude: 60 n, longitude: 60 w). the furthest distance that can be travelled to canadian points of land is between the southwest tip of national park and reserve (next to mount saint elias) and cripple cove, (near cape race) at a distance of nautical miles (5,566.37; mi). see also [ edit ] bc ab on nu geography by province references [ edit ] further reading [ edit ] this article incorporates public domain material from the cia world website https://www.cia.gov/library/publications/the-world-factbook/index.html. the barren lands collection, university of toronto

ðə ʤiˈɑgrəfi əv ˈkænədə dɪˈskraɪbz ðə ˌʤiəˈgræfɪk ˈfiʧərz əv ˈkænədə, ðə wərldz ˈsɛkənd ˈlɑrʤəst ˈkəntri ɪn ˈtoʊtəl ˈɛriə. ˈsɪʧuˌeɪtɪd ɪn ˈnɔrðərn nɔrθ əˈmɛrɪkə (ˈkɑnstəˌtutɪŋ 41 əv ðə ˈkɑntənənts ˈɛriə), ˈkænədə spænz ə væst, dɪˈvərs ˈtɛrɪˌtɔri bɪtˈwin ðə nɔrθ pəˈsɪfɪk ˈoʊʃən tɪ ðə wɛst ənd ðə nɔrθ əˈtlæntɪk ˈoʊʃən tɪ ðə ist ənd ðə ˈɑrtɪk ˈoʊʃən tɪ ðə nɔrθ (hɛns ðə ˈkəntriz ˈmɑtoʊ "frəm si tɪ si"), wɪθ ðə juˈnaɪtɪd steɪts tɪ ðə saʊθ (kənˈtɪgjuəs juˈnaɪtɪd steɪts) ənd ˌnɔrθˈwɛst (əˈlæskə). ˈgrinˌlænd ɪz tɪ ðə ˌnɔrˈθist; ɔf ðə ˈsəðərn koʊst əv ˈnufəndlənd laɪz seɪnt piɛr ənd, ən ˈoʊvərˈsiz əv fræns. sɪns 1925 ˈkænədə həz kleɪmd ðə ˈpɔrʃən əv ðə ˈɑrtɪk bɪtˈwin ənd ˈlɑnʤəˌtud tɪ ðə nɔrθ poʊl; ˌhaʊˈɛvər, ðɪs kleɪm ɪz waɪl ðə mægˈnɛtɪk nɔrθ poʊl laɪz wɪˈθɪn ðə kəˈneɪdiən ˈɑrtɪk ˌtɛrɪˈtɔriəl kleɪm ɛz əv 2011 ˈrisənt ˈmɛʒərmənts ˈɪndəˌkeɪt ɪt ɪz ˈmuvɪŋ təˈwɔrdz ˈkəvərɪŋ ər mi (lænd: ər mi; ˈfrɛʃˌwɔtər: ər mi), ˈkænədə ɪz sˈlaɪtli lɛs ðən ɛz lɑrʤ ɛz ˈrəʃə ənd sˈlaɪtli sˈmɔlər ðən ˈjʊrəp. ɪn ˈtoʊtəl ˈɛriə, ˈkænədə ɪz sˈlaɪtli ˈlɑrʤər ðən boʊθ ðə juz. ənd ˈʧaɪnə; ˌhaʊˈɛvər, ˈkænədə ræŋks fɔrθ ɪn lænd ˈɛriə (i.e*. ˈtoʊtəl ˈɛriə ˈmaɪnəs ðə ˈɛriə əv leɪks ənd ɪz mi) ənd ðə juz. ɪz ðə ˌpɑpjəˈleɪʃən əv ˈkænədə, ɛz əv meɪ 10 2016 ɪz ˈkɔnsənˌtreɪtɪd ɪn ðə saʊθ kloʊz tɪ ɪts ˈbɔrdər wɪθ ðə kənˈtɪgjuəs juz.; wɪθ ə ˌpɑpjəˈleɪʃən ˈdɛnsɪti əv ˈpipəl pər skwɛr ˌkɪˈlɔˌmətər mi), ɪt ɪz wən əv ðə moʊst ˈspɑrsli ˈpɑpjəˌleɪtəd ˈkəntriz ɪn ðə wərld. ðə ˈnɔrðərnˌmoʊst ˈsɛtəlmənt ɪn ɪn ðə kəˈneɪdiən ˈfɔrsɪz ˈsteɪʃən (cfs*) əˈlərt (ʤɪst nɔrθ əv əˈlərt,) ɔn ðə ˈnɔrðərn tɪp əv ˈɛlzˌmɪr ˈaɪlənd æt 62°19′w*, ʤɪst 834 ˌkɪˈlɔˌmətərz 518 mi) frəm ðə nɔrθ poʊl. ˈklaɪmɪt ˈɛdət ˈklaɪmɪt ˌklæsəfəˈkeɪʃən taɪps əv ˈkænədə ˈɑrtɪk ˈtəndrə ˈkəvərz pɑrts əv ɪkˈstrim ˈnɔrðərn ˈkænədə. ˈkænədə həz ə dɪˈvərs ˈklaɪmɪt. ðə ˈklaɪmɪt ˈvɛriz frəm ˈtɛmpərət ɔn ðə wɛst koʊst əv ˈbrɪtɪʃ tɪ ə ˈklaɪmɪt ɪn ðə ɪkˈstrim ˈnɔrðərn ˈkænədə kən hæv snoʊ fər moʊst əv ðə jɪr wɪθ ə ˈpoʊlər ˈlænˌdlɑkt ˈɛriəz tɛnd tɪ hæv ə wɔrm ˈsəmər ˌkɑntəˈnɛnəl ˈklaɪmɪt wɪθ ðə ɪkˈsɛpʃən əv ˌsaʊθˈwɛstərn ɑnˈtɛrioʊ wɪʧ həz ə hɑt ˈsəmər ˈjumɪd ˌkɑntəˈnɛnəl pɑrts əv ˈwɛstərn ˈkænədə hæv ə ˈklaɪmɪt, ənd pɑrts əv vænˈkuvər ˈaɪlənd kən ˈivɪn bi ˈklæsəˌfaɪd ɛz kul ˈsəmər ˌmɛdətərˈeɪniən ˈtɛmpərəʧər ɪkˈstrimz ɪn ˈkænədə reɪnʤ frəm 113 °°f*) ɪn ənd ˈjɛloʊ græs, sæˈskæʧəˌwɔn ɔn ˌʤuˈlaɪ 5 1937 tɪ °°f*) ɪn snæg, ˈjuˌkɑn ɔn ˈmənˌdeɪ, ˈfɛbruˌɛri 3 ɪkˈstrimz ˈɛdət ˈklaɪmɪt ˈdætə fər ˈkænədə mənθ ʤæn ˈfɛbjəˌwɛri mɑr meɪ ʤən ˈɔgəst ˈɛˈsiˈpi ɔkt noʊv dɛk jɪr ˈrɛkərd haɪ ˈrɛkərd haɪ (°°f*) 45 113 40 104 45 113 ˈrɛkərd loʊ (°°f*) 5 ˈrɛkərd loʊ wɪnd ʧɪl sɔrs: ɪnˈvaɪrənmənt ˈkænədə ˈfɪzɪkəl ʤiˈɑgrəfi ˈɛdət ə ˈsætəˌlaɪt kəmˈpɑzət ˈɪmɪʤ əv ˈkænədə. ˈfɔrəsts prɪˈveɪl θruaʊt ðə ˈkəntri, ˌɪnˈkludɪŋ ðə ˈɑrtɪk, ðə koʊst ˈmaʊntənz ənd seɪnt əˈlaɪəs ˈmaʊntənz. ðə ˈrɛlətɪvli flæt ˈpreɪriz fəˈsɪləˌteɪt ˈægrɪˌkəlʧər. ðə greɪt leɪks fid ðə st*. ˈlɔrəns ˈrɪvər (ɪn ðə ˌsaʊˈθist) wɛr ˈloʊˌlændz hoʊst məʧ əv ˈkænədəz ˌpɑpjəˈleɪʃən. ˈkænədə ˈkəvərz mi) ənd ə ˈpænɑpli əv ˈvɛriəs ˈriʤənz. ðɛr ər 8 meɪn ˈkænədə ˈɔlsoʊ ɛnˈkəmpəsəz væst ˈmærəˌtaɪm təreɪn, wɪθ ðə wərldz ˈlɔŋgɪst ˈkoʊˌstlaɪn əv ˌkɪˈlɔˌmətərz ðə ˈfɪzɪkəl ʤiˈɑgrəfi əv ˈkænədə ɪz ˈwaɪdli ˈvɛrid. ˈfɔrəsts prɪˈveɪl θruaʊt ðə ˈkəntri, aɪs ɪz ˈprɑmənənt ɪn ˈnɔrðərli ˈɑrtɪk ˈriʤənz ənd θru ðə ˈrɑki ˈmaʊntənz, ənd ðə ˈrɛlətɪvli flæt kəˈneɪdiən ˈpreɪriz ɪn ðə ˌsaʊθˈwɛst fəˈsɪləˌteɪt pərˈdəktɪv ðə greɪt leɪks fid ðə st*. ˈlɔrəns ˈrɪvər (ɪn ðə ˌsaʊˈθist) wɛr ˈloʊˌlændz hoʊst məʧ əv ˈkænədəz ˌpɑpjəˈleɪʃən. ˌæpəˈlæʧən ˈmaʊntənz ˈɛdət ðə ˌæpəˈlæʧən ˈmaʊntən reɪnʤ ɪkˈstɛndz frəm ˌæləˈbæmə θru ðə gaspé*é pəˈnɪnsələ ənd ðə əˈtlæntɪk ˈprɑvənsəz, kriˈeɪtɪŋ ˈroʊlɪŋ hɪlz baɪ ˈrɪvər ɪt ˈɔlsoʊ rənz θru pɑrts əv ˈsəðərn ðə ˌæpəˈlæʧən ˈmaʊntənz (mɔr spəˈsɪfɪkli ðə ˈmaʊntənz, ˈnoʊtər deɪm, ənd lɔŋ reɪnʤ ˈmaʊntənz) ər ən oʊld ənd ɪˈroʊdɪd reɪnʤ əv ˈmaʊntənz, əˈprɑksəmətli 380 ˈmɪljən jɪrz ɪn eɪʤ. ˈnoʊtəbəl ˈmaʊntənz ɪn ðə ˌæpəˈleɪʧənz ˌɪnˈklud maʊnt (kwəˈbɛk, ɛm ər), maʊnt ˈkɑrltən (nu ˈbrənzwɪk, 817 ɛm ər), ðə (ˈnufəndlənd, 814 ɛm ər pɑrts əv ðə ˌæpəˈleɪʧənz ər hoʊm tɪ ə rɪʧ ɛnˈdɛmɪk ˈflɔrə ənd ˈfɔnə ənd ər kənˈsɪdərd tɪ hæv bɪn ˈdʊrɪŋ ðə læst ˌgleɪʃiˈeɪʃən ˈnidɪd] greɪt leɪks ənd st*. ˈlɔrəns ˈloʊˌlændz ˈɛdət ðə ˈsəðərn pɑrts əv kwəˈbɛk ənd ɑnˈtɛrioʊ, ɪn ðə ˈsɛkʃən əv ðə greɪt leɪks (ˈbɔrdərd ɪnˈtaɪərli baɪ ɑnˈtɛrioʊ ɔn ðə kəˈneɪdiən saɪd) ənd st*. ˈlɔrəns ˈbeɪsən (ˈɔfən kɔld st*. ˈlɔrəns ˈloʊˌlændz), ɪz əˈnəðər ˌpɑrˈtɪkjələrli rɪʧ ˌsɛdəˈmɛntəri praɪər tɪ ɪts ˌkɑlənɪˈzeɪʃən ənd ˈhɛvi ˈərbən sprɔl əv ðə ˈsɛnʧəri, ðɪs ˈistərn greɪt leɪks ˈloʊˌlænd ˈfɔrəsts ˈɛriə wɑz hoʊm tɪ lɑrʤ mɪkst ˈfɔrəsts ˈkəvərɪŋ ə ˈmoʊstli flæt ˈɛriə əv lænd bɪtˈwin ðə ˌæpəˈlæʧən ˈmaʊntənz ənd ðə kəˈneɪdiən moʊst əv ðɪs ˈfɔrɪst həz bɪn kət daʊn θru ˈægrɪˌkəlʧər ənd ˈlɔgɪŋ ˌɑpərˈeɪʃənz, bət ðə rɪˈmeɪnɪŋ ˈfɔrəsts ər fər ðə moʊst pɑrt ˈhɛvəli prəˈtɛktɪd. ɪn ðɪs pɑrt əv ˈkænədə ðə gəlf əv st*. ˈlɔrəns ɪz wən əv ðə wərldz ˈlɑrʤəst ˈɛsʧuˌɛri (si gəlf əv st*. ˈlɔrəns ˈloʊˌlænd ðə greɪt leɪks frəm speɪs waɪl ðə rɪˈlif əv ðiz ˈloʊˌlændz ɪz ˌpɑrˈtɪkjələrli flæt ənd ˈrɛgjələr, ə grup əv noʊn ɛz ðə hɪlz ər sprɛd əˈlɔŋ ə ˈmoʊstli ˈrɛgjələr laɪn əˈkrɔs ðə ðə moʊst ˈnoʊtəbəl ər ˌmɑntriˈɑlz maʊnt rɔɪəl ənd mɑnt saint-hilaire*. ðiz hɪlz ər noʊn fər ə greɪt ˈrɪʧnəs ɪn ˈprɛʃəs kəˈneɪdiən ʃild ˈɛdət ðə ˌnɔrˈθistərn pɑrt əv ælˈbərtə, ˈnɔrðərn pɑrts əv sæˈskæʧəˌwɔn, ˌmænɪˈtoʊbə, ɑnˈtɛrioʊ, ənd kwəˈbɛk, ɛz wɛl ɛz moʊst əv ˈlæbrəˌdɔr (ðə ˈmeɪnˌlænd ˈpɔrʃənz əv ðə ˈprɑvɪns əv ˈnufəndlənd ənd ˈlæbrəˌdɔr), ər ˈloʊˌkeɪtəd ɔn ə væst rɑk beɪs noʊn ɛz ðə kəˈneɪdiən ʃild. ðə ʃild ˈmoʊstli kənˈsɪsts əv ɪˈroʊdɪd ˈhɪli təreɪn ənd kənˈteɪnz ˈmɛni leɪks ənd ˌɪmˈpɔrtənt ˈrɪvərz juzd fər ˌhaɪdroʊɪˈlɛktrɪk pərˈdəkʃən, ˌpɑrˈtɪkjələrli ɪn ˈnɔrðərn kwəˈbɛk ənd ɑnˈtɛrioʊ. ðə ʃild ˈɔlsoʊ ən ˈɛriə əv ˈwɛˌtlændz, ðə ˈhədsən beɪ ˈloʊˌlændz. səm ˌpɑˈtɪkjələr ˈriʤənz əv ðə ʃild ər rɪˈfərd tɪ ɛz ˈmaʊntən ˈreɪnʤɪz, ˌɪnˈkludɪŋ ðə ənd lɔˈrɛnʃən ðə ʃild ˈkænɑt səˈpɔrt ˌɪnˈtɛnsɪv ˈægrɪˌkəlʧər, ˌɔlˈðoʊ ðɛr ɪz səbˈsɪstəns ˈægrɪˌkəlʧər ənd smɔl ˈdɛri fɑrmz ɪn ˈmɛni əv ðə ˈrɪvər ˈvæliz ənd əraʊnd ðə əˈbəndənt leɪks, ˌpɑrˈtɪkjələrli ɪn ðə ˈsəðərn ˈriʤənz. ˈfɔrɪst ˈkəvərz məʧ əv ðə ʃild, wɪθ ə mɪks əv ˈkɑnəfərz ðət prəˈvaɪd ˈvæljəbəl ˈtɪmbər ˈrisɔrsɪz ɪn ˈɛriəz səʧ ɛz ðə ˈsɛntrəl kəˈneɪdiən ʃild ˈfɔrəsts ðət ˈkəvərz məʧ əv ˈnɔrðərn ɑnˈtɛrioʊ. ðə ˈriʤən ɪz noʊn fər ɪts ɪkˈstɛnsɪv ˈmɪnərəl ðə kəˈneɪdiən ʃild ɪz noʊn fər ɪts væst ˈmɪnərəlz, səʧ ɛz ˈɛmərrəldz, ˈdaɪməndz ənd ˈkɑpər. ðə kəˈneɪdiən ʃild ɪz ˈɔlsoʊ kɔld ðə ˈmɪnərəl haʊs. kəˈneɪdiən ˌɪnˈtɪriər pleɪnz ˈɛdət ðə kəˈneɪdiən ˈpreɪriz ər pɑrt əv ə væst ˌsɛdəˈmɛntəri pleɪn ˈkəvərɪŋ məʧ əv ælˈbərtə, ˈsəðərn sæˈskæʧəˌwɔn, ənd ˌsaʊθˈwɛstərn ˌmænɪˈtoʊbə, ɛz wɛl ɛz məʧ əv ðə ˈriʤən bɪtˈwin ðə ˈrɑki ˈmaʊntənz ənd ðə greɪt sleɪv ənd greɪt bɛr leɪks ɪn ˌnɔrθˈwɛst ˈtɛrəˌtɔriz. ðə pleɪnz ˈʤɛnərəli dɪˈskraɪbz ðə ɪkˈspænsɪz əv (ˈlɑrʤli flæt) ˈærəbəl ˌægrɪˈkəlʧərəl lænd wɪʧ səˈsteɪn ɪkˈstɛnsɪv greɪn ˈfɑrmɪŋ ˌɑpərˈeɪʃənz ɪn ðə ˈsəðərn pɑrt əv ðə ˈprɑvənsəz. dɪˈspaɪt ðɪs, səm ˈɛriəz səʧ ɛz ðə ˈsaɪprɪs hɪlz ənd ðə ælˈbərtə ˈbæˌdlændz ər kwaɪt ˈhɪli ənd ðə ˈprɛri ˈprɑvənsəz kənˈteɪn lɑrʤ ˈɛriəz əv ˈfɔrɪst səʧ ɛz ðə kəˈneɪdiən ˈfɔrəsts. ðə saɪz ɪz ˈrəfli mi). ˈwɛstərn ˈɛdət ðə kəˈneɪdiən, kənˈtɪgjuəs wɪθ ðə əˈmɛrɪkən, ɪz ˈbaʊndɪd baɪ ðə ˈrɑki ˈmaʊntənz tɪ ðə ist ənd ðə pəˈsɪfɪk ˈoʊʃən tɪ ðə wɛst. ðə kəˈneɪdiən ˈrɑkiz ər pɑrt əv ə ˈmeɪʤər ˌkɑntəˈnɛnəl dɪˈvaɪd ðət ɪkˈstɛndz nɔrθ ənd saʊθ θru ˈwɛstərn nɔrθ əˈmɛrɪkə ənd ˈwɛstərn saʊθ əˈmɛrɪkə. ðə kəˈləmbiə ənd ðə ˈfreɪzər ˈrɪvərz hæv ðɛr ˈhɛdˌwɔtərz ɪn ðə kəˈneɪdiən ˈrɑkiz ənd ər ðə ˈsɛkənd ənd θərd ˈlɑrʤəst ˈrɪvərz rɪˈspɛktɪvli tɪ dreɪn tɪ ðə wɛst koʊst əv nɔrθ əˈmɛrɪkə. tɪ ðə wɛst əv ðɛr ˈhɛdˌwɔtərz, əˈkrɔs ðə ˈrɑki ˈmaʊntən trɛnʧ, ɪz ə ˈsɛkənd bɛlt əv ˈmaʊntənz, ðə kəˈləmbiə ˈmaʊntənz, kəmˈpraɪzɪŋ ðə ˈsɛlkərk, pərˈsɛl, ənd ˈmaʊntənz sub-ranges*. ˌɪˈmiˌdiətli wɛst əv ðə kəˈləmbiə ˈmaʊntənz ɪz ə lɑrʤ ənd ˈrəgəd ˌɪnˈtɪriər plæˈtoʊ, ɛnˈkəmpəsɪŋ ðə ənd ˈriʤənz ɪn ˈsɛntrəl ˈbrɪtɪʃ kəˈləmbiə (ðə ˈfreɪzər plæˈtoʊ), ðə plæˈtoʊ ˈfərðər nɔrθ, ənd ˈɔlsoʊ ðə ˈtɑmsən plæˈtoʊ ɪn ðə saʊθ. ðə pis ˈrɪvər ˈvæli ɪn ˌnɔrˈθistərn ˈbrɪtɪʃ kəˈləmbiə ɪz ˈkænədəz moʊst ˈnɔrðərli ˌægrɪˈkəlʧərəl ˈriʤən, ˌɔlˈðoʊ ɪt ɪz pɑrt əv ðə ˈpreɪriz. ðə draɪ, ˈtɛmpərət ˈklaɪmɪt əv ðə ˈvæli ɪn saʊθ ˈsɛntrəl ˈbrɪtɪʃ kəˈləmbiə prəˈvaɪdz aɪˈdil kənˈdɪʃənz fər frut groʊɪŋ ənd ə ˈflərɪʃɪŋ waɪn ˈɪndəstri; ðə bɛlt əv ðə ˈsəðərn ˌɪnˈtɪriər ˈɔlsoʊ ˌɪnˈkludz ðə ˈfreɪzər ˈkænjən, ənd ˈtɑmsən, nɪˈkoʊlɑ, similkameen*, ənd ˈbaʊndəri ˈriʤənz ənd ɪz ˈkɑmən ɪn ðiz ˈɛriəz ˈɔlsoʊ, ənd ˈɔlsoʊ ɪn ðə wɛst ˈkutəˌneɪ. bɪtˈwin ðə plæˈtoʊ ənd ðə koʊst ɪz ðə ˈprɑvənsɪz ˈlɑrʤəst ˈmaʊntən reɪnʤ, ðə koʊst ˈmaʊntənz. ðə koʊst ˈmaʊntənz kənˈteɪn səm əv ðə ˈlɑrʤəst ɪn ðə wərld. ɔn ðə saʊθ koʊst əv ˈbrɪtɪʃ kəˈləmbiə, vænˈkuvər ˈaɪlənd ɪz ˈsɛpərˌeɪtɪd frəm ðə ˈmeɪnˌlænd baɪ ðə kənˈtɪnjuəs wɑn də, ˈʤɔrʤə, ənd ˈʤɑnˌstoʊn streɪts. ðoʊz streɪts ˌɪnˈklud ə lɑrʤ ˈnəmbər əv ˈaɪləndz, ˈnoʊtəbli ðə gəlf ˈaɪləndz ənd ˌdɪˈskəvri ˈaɪləndz. nɔrθ, nɪr ðə əˈlæskən ˈbɔrdər, ˈhaɪdə laɪz əˈkrɔs streɪt frəm ðə nɔrθ koʊst ˈriʤən ənd tɪ ɪts nɔrθ, əˈkrɔs ˈdɪksən ˈɛntrəns frəm ˌsaʊˈθist əˈlæskə. ˈəðər ðən ɪn ðə plæˈtoʊ ˈriʤənz əv ðə ˌɪnˈtɪriər ənd ɪts ˈmɛni ˈrɪvər ˈvæliz, moʊst əv ˈbrɪtɪʃ kəˈləmbiə ɪz kəˈnɪfərəs ˈfɔrɪst. ðə ˈoʊnli ˈtɛmpərət reɪn ˈfɔrəsts ɪn ˈkænədə ər faʊnd əˈlɔŋ ðə pəˈsɪfɪk koʊst ɪn ðə koʊst ˈmaʊntənz, ɔn vænˈkuvər ˈaɪlənd, ənd ɔn ˈhaɪdə, ənd ɪn ðə ˈmaʊntənz ɔn ðə ˈistərn flæŋk əv ðə plæˈtoʊ. ðə ˈwɛstərn kənˈtɪnjuz pæst ðə ˈrɪvər ɪn ˈnɔrðərnˌmoʊst ˈbrɪtɪʃ kəˈləmbiə tɪ ˌɪnˈklud ðə məˈkɛnzi ənd ˈsɛlwɪn ˈreɪnʤɪz wɪʧ laɪ ɪn ðə fɑr ˈwɛstərn ˌnɔrθˈwɛst ˈtɛrəˌtɔriz ənd ðə ˈistərn ˈjuˌkɑn ˈtɛrɪˌtɔri. wɛst əv ðɛm ɪz ðə lɑrʤ ˈjuˌkɑn plæˈtoʊ ənd, wɛst əv ðət, ðə ˈjuˌkɑn ˈreɪnʤɪz ənd seɪnt əˈlaɪəs ˈmaʊntənz, wɪʧ ˌɪnˈklud ˈkænədəz ənd ˈbrɪtɪʃ kəˈləmbiəz haɪəst ˈsəmɪts, maʊnt seɪnt əˈlaɪəs ɪn ðə ˈriʤən ənd maʊnt ˈfɛrˌwɛðər ɪn ðə ˈriʤən. ðə ˈhɛdˌwɔtərz əv ðə ˈjuˌkɑn ˈrɪvər, ðə ˈlɑrʤəst ənd ˈlɔŋgɪst əv ðə ˈrɪvərz ɔn ðə pəˈsɪfɪk sloʊp, laɪ ɪn ˈnɔrðərn ˈbrɪtɪʃ kəˈləmbiə æt ənd leɪks. vɑlˈkeɪnoʊz ˈɛdət ˈwɛstərn ˈkænədə həz ˈmɛni vɑlˈkeɪnoʊz ənd ɪz pɑrt əv ðə pəˈsɪfɪk rɪŋ əv faɪər, ə ˈsɪstəm əv vɑlˈkeɪnoʊz faʊnd əraʊnd ðə ˈmɑrʤənz əv ðə pəˈsɪfɪk ˈoʊʃən. ðɛr ər ˈoʊvər 200 jəŋ vɑlˈkænɪk ˈsɛntərz ðət strɛʧ ˈnɔrθwərd frəm ðə kæˈskeɪd reɪnʤ tɪ ˈjuˌkɑn. ðeɪ ər grupt ˈɪntu faɪv vɑlˈkænɪk bɛlts wɪθ ˈdɪfərənt vɑlˈkeɪnoʊ taɪps ənd tɛkˈtɑnɪk ˈsɛtɪŋz. ðə ˈnɔrðərn vɑlˈkænɪk ˈprɑvɪns wɑz fɔrmd baɪ ˈfɔltɪŋ, ˈkrækɪŋ, rifting*, ənd ðə ˌɪnərˈækʃən bɪtˈwin ðə pəˈsɪfɪk pleɪt ənd ðə nɔrθ əˈmɛrɪkən pleɪt. ðə ˌgærəˈbɔldi vɑlˈkænɪk bɛlt wɑz fɔrmd baɪ əv ðə wɑn də pleɪt bɪˈniθ ðə nɔrθ əˈmɛrɪkən pleɪt. ðə vɑlˈkænɪk bɛlt wɑz fɔrmd ɛz ə rɪˈzəlt əv ðə nɔrθ əˈmɛrɪkən pleɪt sˈlaɪdɪŋ ˈwɛstwərd ˈoʊvər ðə ˈhɑtˌspɑt. ðə grup ɪz bɪˈlivd tɪ hæv fɔrmd ɛz ə rɪˈzəlt əv ɪkˈstɛnʃən bɪˈhaɪnd ðə zoʊn. ðə ˈræŋgəl vɑlˈkænɪk fild fɔrmd ɛz ə rɪˈzəlt əv əv ðə pəˈsɪfɪk pleɪt bɪˈniθ ðə nɔrθ əˈmɛrɪkən pleɪt æt ðə ɛnd əv ðə əˈluʃən trɛnʧ. həz ˈɔlsoʊ əˈkərd ɪn ðə kəˈneɪdiən ʃild. ɪt kənˈteɪnz ˈoʊvər 150 vɑlˈkænɪk bɛlts (naʊ dɪˈfɔrmd ənd ɪˈroʊdɪd daʊn tɪ ˈnɪrli flæt pleɪnz) ðət reɪnʤ frəm 600 ˈmɪljən tɪ ˈbɪljən jɪrz oʊld. ˈmɛni əv ˈkænədəz ˈmeɪʤər ɔr dɪˈpɑzəts ər əˈsoʊʃiˌeɪtəd wɪθ priˈkæmbriən vɑlˈkeɪnoʊz. ðɛr ər ˈpɪloʊ ɪn ðə ˌnɔrθˈwɛst ˈtɛrəˌtɔriz ðət ər əˈbaʊt ˈbɪljən jɪrz oʊld ənd ər prɪˈzərvd ɪn ðə ˈkæmərən ˈrɪvər vɑlˈkænɪk bɛlt. ðə ˈpɪloʊ ɪn rɑks ˈoʊvər 2 ˈbɪljən jɪrz oʊld ɪn ðə kəˈneɪdiən ʃild ˈsɪgnəˌfaɪ ðət greɪt ˌoʊʃiˈænɪk vɑlˈkeɪnoʊz ɪgˈzɪstəd ˈdʊrɪŋ ðə ˈərli ˈsteɪʤɪz əv ðə fɔrˈmeɪʃən əv ðə ərθs krəst. ˈeɪnʧənt vɑlˈkeɪnoʊz pleɪ ən ˌɪmˈpɔrtənt roʊl ɪn ˈɛstəˌmeɪtɪŋ ˈkænədəz ˈmɪnərəl pəˈtɛnʃəl. ˈmɛni əv ðə vɑlˈkænɪk bɛlts bɛr ɔr dɪˈpɑzəts ðət ər rɪˈleɪtɪd tɪ ðə. kəˈneɪdiən ˈɑrtɪk ˈɛdət waɪl ðə ˈlɑrʤəst pɑrt əv ðə kəˈneɪdiən ˈɑrtɪk ɪz kəmˈpoʊzd əv ˈsimɪŋli ˈɛndləs ənd ˈtəndrə nɔrθ əv ðə tri laɪn, ɪt ɛnˈkəmpəsəz ˌʤiəˈlɑʤɪkəl ˈriʤənz əv ˈvɛriɪŋ taɪps: ðə ˈɑrtɪk (wɪθ ðə ˈbrɪtɪʃ ˈɛmpaɪər reɪnʤ ənd ðə juˈnaɪtɪd steɪts reɪnʤ ɔn ˈɛlzˌmɪr ˈaɪlənd) kənˈteɪnz ðə ˈnɔrðərnˌmoʊst ˈmaʊntən ˈsɪstəm ɪn ðə wərld. ðə ˈɑrtɪk ˈloʊˌlændz ənd ˈhədsən beɪ ˈloʊˌlændz kəmˈpraɪz ə səbˈstænʃəl pɑrt əv ðə ˌʤiəˈgræfɪk ˈriʤən ˈɔfən ˈdɛzɪgˌneɪtɪd ɛz ðə kəˈneɪdiən ʃild (ɪn ˈkɑntræst tɪ ðə soʊl ˌʤiəˈlɑʤɪk ˈɛriə). ðə graʊnd ɪn ðə ˈɑrtɪk ɪz ˈmoʊstli kəmˈpoʊzd əv, ˈmeɪkɪŋ kənˈstrəkʃən ˈdɪfəkəlt ənd ˈɔfən ˈhæzərdəs, ənd ˈægrɪˌkəlʧər ˈvərʧuəli ˌɪmˈpɑsəbəl. ðə ˈɑrtɪk, wɪn dɪˈfaɪnd ɛz ˈɛvriˌθɪŋ nɔrθ əv ðə tri laɪn, ˈkəvərz moʊst əv ənd ðə ˈnɔrðərnˌmoʊst pɑrts əv ˌnɔrθˈwɛst ˈtɛrəˌtɔriz, ˈjuˌkɑn, ˌmænɪˈtoʊbə, ɑnˈtɛrioʊ, kwəˈbɛk, ənd ˈlæbrəˌdɔr. ˈɛdət æb ɔn nu ˈdreɪnɪʤ ˈbeɪsənz əv ˈkænədə ˈkænədə hoʊldz væst rɪˈzərvz əv ˈwɔtər: ɪts ˈrɪvərz ˈdɪsˌʧɑrʤ ˈnɪrli 9 əv ðə wərldz riˈnuəbəl ˈwɔtər ɪt kənˈteɪnz ə kˈwɔrtər əv ðə wərldz ˈwɛˌtlændz, ənd ɪt həz ðə θərd ˈlɑrʤəst əˈmaʊnt əv ˈgleɪʃərz (ˈæftər ˌæˈnɑrtɪkə ənd ˈgrinˌlænd). bɪˈkəz əv ɪkˈstɛnsɪv ˌgleɪʃiˈeɪʃən, ˈkænədə hoʊsts mɔr ðən tu ˈmɪljən leɪks: əv ðoʊz ðət ər ɪnˈtaɪərli wɪˈθɪn ˈkænədə, mɔr ðən ər bɪtˈwin 3 ənd 100 skwɛr ˌkɪˈlɔˌmətərz ənd mi) ɪn ˈɛriə, waɪl 563 ər ˈlɑrʤər ðən 100 ˈrɪvərz ˈɛdət tu ˈlɔŋgɪst ˈrɪvərz ər ðə məˈkɛnzi, wɪʧ ˈɛmtiz ˈɪntu ðə ˈɑrtɪk ˈoʊʃən ənd dreɪnz ə lɑrʤ pɑrt əv ˌnɔrθˈwɛstərn ˈkænədə, ənd ðə st*. ˈlɔrəns, wɪʧ dreɪnz ðə greɪt leɪks ənd ˈɛmtiz ˈɪntu ðə gəlf əv st*. ˈlɔrəns. ðə məˈkɛnzi ɪz ˈoʊvər mi) ɪn lɛŋθ waɪl ðə st*. ˈlɔrəns ɪz ˈoʊvər mi) ɪn lɛŋθ. ˈraʊndɪŋ aʊt ðə tɛn ˈlɔŋgɪst ˈrɪvərz wɪˈθɪn ˈkænədə ər ðə ˈnɛlsən, ˈʧərʧɪl, pis, ˈfreɪzər, nɔrθ sæˈskæʧəˌwɔn, ˈɑtəˌwɑ, ənd ˈjuˌkɑn ˈdreɪnɪʤ ˈbeɪsənz ˈɛdət ðə əˈtlæntɪk ˈwɔtərˌʃɛd dreɪnz ðə ɪnˈtaɪərti əv ðə əˈtlæntɪk ˈprɑvənsəz (pɑrts əv ðə ˈbɔrdər ər fɪkst æt ðə əˈtlæntɪk ˈoʊʃən ˌkɑntəˈnɛnəl dɪˈvaɪd), moʊst əv ˌɪnˈhæbətəd kwəˈbɛk ənd lɑrʤ pɑrts əv ˈsəðərn ɑnˈtɛrioʊ. ɪt ɪz ˈmoʊstli dreɪnd baɪ ðə ˌɛkəˈnɑmɪkli ˌɪmˈpɔrtənt st*. ˈlɔrəns ˈrɪvər ənd ɪts ˈtrɪbjəˌtɛriz, ˈnoʊtəbli ðə ˈsægəneɪ, ənd ˈɑtəˌwɑ ˈrɪvərz. ðə greɪt leɪks ənd leɪk ər ˈɔlsoʊ dreɪnd baɪ ðə st*. ˈlɔrəns. ðə ˈʧərʧɪl ˈrɪvər ənd seɪnt ʤɑn ˈrɪvər ər ˈəðər ˌɪmˈpɔrtənt ˈɛləmənts əv ðə əˈtlæntɪk ˈwɔtərˌʃɛd ɪn ðə ˈhədsən beɪ ˈwɔtərˌʃɛd dreɪnz ˈoʊvər ə θərd əv ˈkænədə. ɪt ˈkəvərz ˌmænɪˈtoʊbə, ˈnɔrðərn ɑnˈtɛrioʊ ənd kwəˈbɛk, moʊst əv sæˈskæʧəˌwɔn, ˈsəðərn ælˈbərtə, ˌsaʊθˈwɛstərn ənd ðə ˈsəðərn hæf əv ˈaɪlənd. ðɪs ˈbeɪsən ɪz moʊst ˌɪmˈpɔrtənt ɪn ˈfaɪtɪŋ draʊt ɪn ðə ˈpreɪriz ənd prəˈdusɪŋ hydroelectricity*, əˈspɛʃəli ɪn ˌmænɪˈtoʊbə, ˈnɔrðərn ɑnˈtɛrioʊ ənd kwəˈbɛk. ˈmeɪʤər ˈɛləmənts əv ðɪs ˈwɔtərˌʃɛd ˌɪnˈklud leɪk ˈwɪnɪpəg, ˈnɛlsən ˈrɪvər, ðə nɔrθ sæˈskæʧəˌwɔn ənd saʊθ sæˈskæʧəˌwɔn ˈrɪvərz, ˈrɪvər, ənd leɪk ɔn ˈaɪlənd. leɪk laɪz ɔn ðə ˈbaʊndəri bɪtˈwin ðə ˈhədsən beɪ ənd ˈɑrtɪk ˈoʊʃən ˈwɔtərˌʃɛdz ənd dreɪnz ˈɪntu boʊθ. ɪt ɪz ðə ˈlɑrʤəst leɪk ɪn ðə wərld ðət ˈnæʧərəli dreɪnz ɪn tu ðə ˌkɑntəˈnɛnəl dɪˈvaɪd ɪn ðə ˈrɑkiz ˈsɛpərˌeɪts ðə pəˈsɪfɪk ˈwɔtərˌʃɛd ɪn ˈbrɪtɪʃ kəˈləmbiə ənd ˈjuˌkɑn frəm ðə ˈɑrtɪk ənd ˈhədsən beɪ ˈwɔtərˌʃɛdz. ðɪs ˈwɔtərˌʃɛd ðə ˌægrɪˈkəlʧərəli ˌɪmˈpɔrtənt ˈɛriəz əv ˈɪnər ˈbrɪtɪʃ kəˈləmbiə (səʧ ɛz ðə ənd ˈkutəˌneɪ ˈvæliz), ənd ɪz juzd tɪ ˈproʊdus hydroelectricity*. ˈmeɪʤər ˈɛləmənts ər ðə ˈjuˌkɑn, kəˈləmbiə ənd ˈfreɪzər ðə ˈnɔrðərn pɑrts əv ælˈbərtə, ˌmænɪˈtoʊbə ənd ˈbrɪtɪʃ kəˈləmbiə, moʊst əv ˌnɔrθˈwɛst ˈtɛrəˌtɔriz ənd, ənd pɑrts əv ˈjuˌkɑn ər dreɪnd baɪ ðə ˈɑrtɪk ˈwɔtərˌʃɛd. ðɪs ˈwɔtərˌʃɛd həz bɪn ˈlɪtəl juzd fər hydroelectricity*, wɪθ ðə ɪkˈsɛpʃən əv ðə məˈkɛnzi ˈrɪvər, ðə ˈlɔŋgɪst ˈrɪvər ɪn ˈkænədə. ðə pis, ənd ˈrɪvərz, ɛz wɛl ɛz greɪt bɛr leɪk ənd greɪt sleɪv leɪk (rɪˈspɛktɪvli ðə ˈlɑrʤəst ənd ˈsɛkənd ˈlɑrʤəst leɪks ˈhoʊli ɪnˈkloʊzd baɪ ˈkænədə) ər sɪgˈnɪfɪkənt ˈɛləmənts əv ðə ˈɑrtɪk ˈwɔtərˌʃɛd. iʧ əv ðiz ˈɛləmənts ɪˈvɛnʧəwəli ˈmərʤɪz wɪθ ðə məˈkɛnzi, ˈðɛrˈbaɪ ˈdreɪnɪŋ ðə væst məˈʤɔrəti əv ðə ˈɑrtɪk ðə ˈsəðərnˌmoʊst pɑrt əv ælˈbərtə dreɪnz ˈɪntu ðə gəlf əv ˈmɛksəˌkoʊ θru ðə mɪlk ˈrɪvər ənd ɪts ˈtrɪbjəˌtɛriz. ðə mɪlk ˈrɪvər ərˈɪʤəˌneɪts ɪn ðə ˈrɑki ˈmaʊntənz əv mɑnˈtænə, ðɛn floʊz ˈɪntu ælˈbərtə, ðɛn rɪˈtərnz ˈɪntu ðə juˈnaɪtɪd steɪts, wɛr ɪt ɪz dreɪnd baɪ ðə məˈzʊri ˈrɪvər. ə smɔl ˈɛriə əv ˌsaʊθˈwɛstərn sæˈskæʧəˌwɔn ɪz dreɪnd baɪ ˈbætəl krik, wɪʧ ˈɛmtiz ˈɪntu ðə mɪlk ʤiˈɑgrəfi ˈɛdət ˈkænədə həz prəˈdust ə ˌbaɪoʊdaɪˈvərsəti ˈækʃən plæn ɪn rɪˈspɑns tɪ ðə 1992 ˌɪnərˈnæʃənɑl əˈkɔrd; ðə plæn ˈæˈdrɛsɪz ˌkɑnsərˈveɪʃən əv ɪnˈdeɪnʤərd ˈspiʃiz ənd ˈsərtən ˈhæbəˌtæts. ðə meɪn baɪoʊmz əv ˈkænədə ər: pəˈlɪtɪkəl ʤiˈɑgrəfi ˈɛdət fər hɪˈstɔrɪkəl pəˈlɪtɪkəl ˈbaʊndəriz əv ˈkænədə, si ˌtɛrɪˈtɔriəl ˌɛvəˈluʃən əv ˈkænədə ˈkænədə ɪz dɪˈvaɪdɪd ˈɪntu tɛn ˈprɑvənsəz ənd θri ˈtɛrəˌtɔriz. əˈkɔrdɪŋ tɪ stəˈtɪstɪks ˈkænədə, pərˈsɛnt əv ðə ˌpɑpjəˈleɪʃən ɪz ˈkɔnsənˌtreɪtɪd wɪˈθɪn 150 ˌkɪˈlɔˌmətərz 93 mi) əv ðə ˈneɪʃənz ˈsəðərn ˈbɔrdər wɪθ ðə juˈnaɪtɪd steɪts, lɪv saʊθ əv ðə ˈpɛrəˌlɛl, ənd ˈoʊvər 60 pərˈsɛnt əv ðə ˌpɑpjəˈleɪʃən lɪvz əˈlɔŋ ðə greɪt leɪks ənd st*. ˈlɔrəns ˈrɪvər bɪtˈwin ˈwɪnzər, ɑnˈtɛrioʊ ənd kwəˈbɛk ˈsɪti. ðɪs livz ðə væst məˈʤɔrəti əv ˈkænədəz ˈtɛrɪˌtɔri ɛz ˈspɑrsli ˈpɑpjəˌleɪtəd ˈwɪldərnəs; ˈkænədəz ˌpɑpjəˈleɪʃən ˈdɛnsɪti ɪz əˈməŋ ðə loʊəst ɪn ðə wərld. dɪˈspaɪt ðɪs, pərˈsɛnt əv ˈkænədəz ˌpɑpjəˈleɪʃən rɪˈzaɪdz ɪn ˈərbən ˈɛriəz, wɛr ˌpɑpjəˈleɪʃən ˈdɛnsətiz ər ˈkænədə ʃɛrz wɪθ ðə juz. ðə wərldz ˈlɔŋgɪst ˈbɔrdər æt ˌkɪˈlɔˌmətərz mi); ˌkɪˈlɔˌmətərz mi) ər wɪθ əˈlæskə. ðə ˈdeɪnɪʃ ˈaɪlənd dɪˈpɛndənsi əv ˈgrinˌlænd laɪz tɪ ˈkænədəz ˌnɔrˈθist, ˈsɛpərˌeɪtɪd frəm ðə kəˈneɪdiən ˈɑrtɪk ˈaɪləndz baɪ beɪ ənd ˈdeɪvɪs streɪt. ðə frɛnʧ ˈaɪləndz əv seɪnt piɛr ənd laɪ ɔf ðə ˈsəðərn koʊst əv ˈnufəndlənd ɪn ðə gəlf əv st*. ˈlɔrəns ənd hæv ə ˈmærəˌtaɪm ˌtɛrɪˈtɔriəl ˈɛnˌkleɪv wɪˈθɪn ˈkænədəz ɪkˈsklusɪv ˌɛkəˈnɑmɪk zoʊn. ˈkænədə ˈɔlsoʊ ʃɛrz ə lænd ˈbɔrdər wɪθ ˈdɛnˌmɑrk, ɛz mæps riˈlist ɪn dɪˈsɛmbər 2006 ʃoʊ ðət ðə əˈgrid əˈpɑn ˈbaʊndəriz rən θru ðə ˈmɪdəl əv hɑns ˈkænədəz ˌʤiəˈgræfɪk prɑkˈsɪməti tɪ ðə juˈnaɪtɪd steɪts həz hɪˈstɔrɪkəli baʊnd ðə tu ˈkəntriz təˈgɛðər ɪn ðə pəˈlɪtɪkəl wərld ɛz wɛl. ˈkænədəz pəˈzɪʃən bɪtˈwin ðə ˈsoʊviˌɛt ˈjunjən (naʊ ˈrəʃə) ənd ðə juz. wɑz strəˈtiʤɪkli ˌɪmˈpɔrtənt ˈdʊrɪŋ ðə koʊld wɔr sɪns ðə rut ˈoʊvər ðə nɔrθ poʊl ənd ˈkænədə wɑz ðə ˈfæstəst rut baɪ ɛr bɪtˈwin ðə tu ˈkəntriz ənd ðə moʊst dɪˈrɛkt rut fər ˌɪntərˌkɑntəˈnɛntəl bəˈlɪstɪk ˈmɪsəlz. sɪns ðə ɛnd əv ðə koʊld wɔr, ðɛr həz bɪn groʊɪŋ ˌspɛkjəˈleɪʃən ðət ˈkænədəz ˈɑrtɪk ˈmærəˌtaɪm kleɪmz meɪ bɪˈkəm ˌɪnˈkrisɪŋgli ˌɪmˈpɔrtənt ɪf ˈgloʊbəl ˈwɔrmɪŋ mɛlts ðə aɪs ɪˈnəf tɪ ˈoʊpən ðə ˌnɔrθˈwɛst ˈpæsɪʤ. ˈsɪmələrli, ðə ˈaɪlənd (wɪθ ˈdɛnˌmɑrk), ɪn ðə nærz streɪt bɪtˈwin ˈɛlzˌmɪr ˈaɪlənd ənd ˈnɔrðərn ˈgrinˌlænd, meɪ bi ə ˈflæʃˌpɔɪnt fər ˈʧælənʤɪz tɪ ˈoʊvərˌɔl kleɪmz əv kəˈneɪdiən ˈsɑvrənti ɪn ðə ˈnæʧərəl ˈrisɔrsɪz ˈɛdət ˈkænədəz əˈbəndəns əv ˈnæʧərəl ˈrisɔrsɪz ɪz rɪˈflɛktɪd ɪn ðɛr kənˈtɪnjud ˌɪmˈpɔrtəns ɪn ðə ɪˈkɑnəmi əv ˈkænədə. ˈmeɪʤər ˈɪndəstriz ər ˈfɪʃəriz, ˈfɔrəstri, ˈægrɪˌkəlʧər, pəˈtroʊliəm ˈprɑdəkts ənd ˈmaɪnɪŋ. ðə ˈfɪʃəriz ˈɪndəstri həz hɪˈstɔrɪkəli bɪn wən əv ˈkænədəz ˈstrɔŋgəst. ənˈmæʧt ˈsiˈoʊˈdi stɑks ɔn ðə grænd bæŋks ɔf ˈnufəndlənd lɔnʧt ðɪs ˈɪndəstri ɪn ðə ˈsɛnʧəri. təˈdeɪ ðiz stɑks ər ˈnɪrli dɪˈplitɪd, ənd ðɛr ˌkɑnsərˈveɪʃən həz bɪˈkəm ə priˌɑkjəˈpeɪʃən əv ðə əˈtlæntɪk ˈprɑvənsəz. ɔn ðə wɛst koʊst, ˈtunə stɑks ər naʊ riˈstrɪktɪd. ðə lɛs dɪˈplitɪd (bət stɪl ˈgreɪtli dɪˈmɪnɪʃt) ˈsæmən ˌpɑpjəˈleɪʃən kənˈtɪnjuz tɪ draɪv ə strɔŋ ˈfɪʃəriz ˈɪndəstri. ˈkænədə kleɪmz 22 12 nmi*) əv ˌtɛrɪˈtɔriəl si, ə kənˈtɪgjuəs zoʊn əv 44 24 nmi*), ən ɪkˈsklusɪv ˌɛkəˈnɑmɪk zoʊn əv 370 200 nmi*) ənd ə ˌkɑntəˈnɛnəl ʃɛlf əv 370 200 nmi*) ər tɪ ðə ɛʤ əv ðə ˌkɑntəˈnɛnəl ˈmɑrʤən. ˈfɔrəstri həz lɔŋ bɪn ə ˈmeɪʤər ˈɪndəstri ɪn ˈkænədə. ˈfɔrɪst ˈprɑdəkts kənˈtrɪbjut wən fɪθ əv ðə ˈneɪʃənz ˈɛkspɔrts. ðə ˈprɑvənsəz wɪθ ðə ˈlɑrʤəst ˈfɔrəstri ˈɪndəstriz ər ˈbrɪtɪʃ kəˈləmbiə, ɑnˈtɛrioʊ ənd kwəˈbɛk. pərˈsɛnt əv ˈkænədəz lænd ˈɛriə ɪz ˈkəvərd ɪn ˈfɔrɪst. ðə ˈfɔrəsts əˈkaʊnt fər əv ˈkænədəz forestland*. faɪv pər sɛnt əv ˈkænədəz lænd ˈɛriə ɪz ˈærəbəl, nən əv wɪʧ ɪz fər ˈpərmɑˌnɛnt krɑps. θri pər sɛnt əv ˈkænədəz lænd ˈɛriə ɪz ˈkəvərd baɪ ˈpərmɑˌnɛnt ˈpæsʧərz. ˈkænədə həz skwɛr ˌkɪˈlɔˌmətərz əv ˈɪrəˌgeɪtɪd lænd 1993 ˈɛstəˌmeɪt). ˌægrɪˈkəlʧərəl ˈriʤənz ɪn ˈkænədə ˌɪnˈklud ðə kəˈneɪdiən ˈpreɪriz, ðə loʊər ˈmeɪnˌlænd ənd ˈvɛriəs ˈriʤənz wɪˈθɪn ðə ˌɪnˈtɪriər əv ˈbrɪtɪʃ kəˈləmbiə, ðə st*. ˈlɔrəns ˈbeɪsən ənd ðə kəˈneɪdiən ˈmærəˌtaɪmz. meɪn krɑps ɪn ˈkænədə ˌɪnˈklud flæks, oʊts, wit, meɪz, ˈbɑrli, ˈʃʊgər bits ənd raɪ ɪn ðə ˈpreɪriz; flæks ənd meɪz ɪn ˈwɛstərn ɑnˈtɛrioʊ; oʊts ənd pəˈteɪtoʊz ɪn ðə ˈmærəˌtaɪmz. frut ənd ˈvɛʤtəbəlz ər groʊn praɪˈmɛrəli ɪn ðə əˈnæpəlɪs ˈvæli əv ˈnoʊvə ˈskoʊʃə, ˌsaʊθˈwɛstərn ɑnˈtɛrioʊ, ðə ˈgoʊldən ˈhɔrsˌʃu ˈriʤən əv ɑnˈtɛrioʊ, əˈlɔŋ ðə saʊθ koʊst əv ˈʤɔrʤən beɪ ənd ɪn ðə ˈvæli əv ˈbrɪtɪʃ kəˈləmbiə. ˈkætəl ənd ʃip ər reɪzd ɪn ðə ˈvæliz ənd əv ˈbrɪtɪʃ kəˈləmbiə. ˈkætəl, ʃip ənd hɑgz ər reɪzd ɔn ðə ˈpreɪriz, ˈkætəl ənd hɑgz ɪn ˈwɛstərn ɑnˈtɛrioʊ, ʃip ənd hɑgz ɪn kwəˈbɛk, ənd ʃip ɪn ðə ˈmærəˌtaɪmz. ðɛr ər sɪgˈnɪfɪkənt ˈdɛri ˈriʤənz ɪn ˈsɛntrəl ˈnoʊvə ˈskoʊʃə, ˈsəðərn nu ˈbrənzwɪk, ðə st*. ˈlɔrəns ˈvæli, ˌnɔrˈθistərn ɑnˈtɛrioʊ, ˌsaʊθˈwɛstərn ɑnˈtɛrioʊ, ðə rɛd ˈrɪvər ˈvæli əv ˌmænɪˈtoʊbə ənd ðə ˈvæliz ɪn ðə ˈbrɪtɪʃ kəˈləmbiə ˌɪnˈtɪriər, ɔn vænˈkuvər ˈaɪlənd ənd ɪn ðə loʊər ˈmeɪnˌlænd. ˈfɑsəl fjuəlz ər ə mɔr ˈrisəntli dɪˈvɛləpt ˈrisɔrs ɪn ˈkænədə, wɪθ ɔɪl ənd gæs biɪŋ ɛkˈstræktɪd frəm dɪˈpɑzəts ɪn ðə ˈwɛstərn kəˈneɪdiən ˌsɛdəˈmɛntəri ˈbeɪsən sɪns ðə mɪd 1900s*. waɪl ˈkænədəz krud ɔɪl dɪˈpɑzəts ər fjuər, ˌtɛknəˈlɑʤɪkəl dɪˈvɛləpmənts ɪn ˈrisənt ˈdɛkeɪdz hæv ˈoʊpənd əp ɔɪl pərˈdəkʃən ɪn ɔɪl sændz tɪ ðə pɔɪnt wɛr ˈkænədə naʊ həz səm əv ðə ˈlɑrʤəst rɪˈzərvz əv ɔɪl ɪn ðə wərld. ɪn ˈəðər fɔrmz, kəˈneɪdiən ˈɪndəstri həz ə lɔŋ ˈhɪstəri əv ɛkˈstræktɪŋ lɑrʤ koʊl ənd ˈnæʧərəl gæs rɪˈzərvz. ˈkænədəz ˈmɪnərəl ˈrisɔrsɪz ər dɪˈvərs ənd ɪkˈstɛnsɪv. əˈkrɔs ðə kəˈneɪdiən ʃild ənd ɪn ðə nɔrθ ðɛr ər lɑrʤ aɪərn, ˈnɪkəl, zɪŋk, ˈkɑpər, goʊld, lɛd, məˈlɪbdɪnəm, ənd jərˈeɪniəm rɪˈzərvz. lɑrʤ ˈdaɪmənd ˌkɑnsənˈtreɪʃənz hæv bɪn ˈrisəntli dɪˈvɛləpt ɪn ðə ˈɑrtɪk, ˈmeɪkɪŋ ˈkænədə wən əv ðə wərldz ˈlɑrʤəst prəˈdusərz. θruaʊt ðə ʃild ðɛr ər ˈmɛni ˈmaɪnɪŋ taʊnz ɛkˈstræktɪŋ ðiz ˈmɪnərəlz. ðə ˈlɑrʤəst, ənd bɛst noʊn, ɪz ˈsədˌbɛri, ɑnˈtɛrioʊ. ˈsədˌbɛri ɪz ən ɪkˈsɛpʃən tɪ ðə ˈnɔrməl ˈprɔˌsɛs əv ˈfɔrmɪŋ ˈmɪnərəlz ɪn ðə ʃild sɪns ðɛr ɪz sɪgˈnɪfɪkənt ˈɛvədəns ðət ðə ˈsədˌbɛri ˈbeɪsən ɪz ən ˈeɪnʧənt ˈmitiɔˌraɪt ˌɪmˈpækt ˈkreɪtər. ðə ˈnɪrˈbaɪ, bət lɛs noʊn mægˈnɛtɪk əˈnɑməli həz ˈstraɪkɪŋ ˌsɪməˈlɛrətiz tɪ ðə ˈsədˌbɛri ˈbeɪsən. ɪts mægˈnɛtɪk əˈnɑməliz ər ˈvɛri ˈsɪmələr tɪ ðə ˈsədˌbɛri ˈbeɪsən, ənd soʊ ɪt kʊd bi ə ˈsɛkənd ˌɪmˈpækt ðə ʃild ɪz ˈɔlsoʊ ˈkəvərd baɪ væst ˈfɔrəsts ðət səˈpɔrt ən ˌɪmˈpɔrtənt ˈlɔgɪŋ ˈɪndəstri. ˈkænədəz ˈmɛni ˈrɪvərz hæv əˈfɔrdəd ɪkˈstɛnsɪv dɪˈvɛləpmənt əv ˌhaɪdroʊɪˈlɛktrɪk paʊər. ɪkˈstɛnsɪvli dɪˈvɛləpt ɪn ˈbrɪtɪʃ kəˈləmbiə, ɑnˈtɛrioʊ, kwəˈbɛk ənd ˈlæbrəˌdɔr, ðə ˈmɛni dæmz hæv lɔŋ prəˈvaɪdɪd ə klin, dɪˈpɛndəbəl sɔrs əv ˈɛnərʤi. ˈnæʧərəl ˈhæzərdz ˈɛdət kənˈtɪnjuəs ɪn ðə nɔrθ ɪz ə ˈsɪriəs ˈɑbstəkəl tɪ dɪˈvɛləpmənt. stɔrmz fɔrm ist əv ðə ˈrɑki ˈmaʊntənz, ə rɪˈzəlt əv ðə ˈmɪksɪŋ əv ɛr ˈmæsɪz frəm ðə ˈɑrtɪk, pəˈsɪfɪk, ənd nɔrθ əˈmɛrɪkən ˌɪnˈtɪriər, ənd ˈproʊdus moʊst əv ðə ˈkəntriz reɪn ənd snoʊ ist əv ðə ˈmaʊntənz. ˈkɑrənt ɪnˌvaɪrənˈmɛnəl ˈɪʃuz ˈɛdət ɛr pəˈluʃən ənd rɪˈzəltɪŋ ˈæsəd reɪn səˈvɪrli əˈfɛkts leɪks ənd ˈdæmɪʤɪz ˈmɛtəl sˈmɛltɪŋ, juˈtɪlətiz, ənd ˈviɪkəl ɪˈmɪʃənz ˌɪmˈpækt ˌægrɪˈkəlʧərəl ənd ˈfɔrɪst ˌproʊdəkˈtɪvɪti. ənd ˈoʊʃən ˈwɔtərz ər bɪˈkəmɪŋ kənˈtæməˌneɪtɪd frəm ˌægrɪˈkəlʧərəl, ˌɪnˈdəstriəl, ˈmaɪnɪŋ, ənd ˈfɔrəstri ˈgloʊbəl ˈklaɪmɪt ʧeɪnʤ ənd ðə ˈwɔrmɪŋ əv ðə ˈpoʊlər ˈriʤən wɪl ˈlaɪkli kɔz sɪgˈnɪfɪkənt ˈʧeɪnʤɪz tɪ ðə ɪnˈvaɪrənmənt, ˌɪnˈkludɪŋ lɔs əv ðə ˈpoʊlər ðə ˌɛksplərˈeɪʃən fər ˈrisɔrs ðɛn ðə ɛkˈstrækʃən əv ðiz ˈrisɔrsɪz ənd ən ɔlˈtərnətɪv ˈtrænspɔrt rut tɪ ðə ˈpænəˌmɑ kəˈnæl θru ðə ˌnɔrθˈwɛst ˈpæsɪʤ. ɪkˈstrim pɔɪnts ˈɛdət ˌtɑpəˈgræfɪk mæp ðə ˈnɔrðərnˌmoʊst pɔɪnt wɪˈθɪn ðə ˈbaʊndəriz əv ˈkænədə ɪz keɪp kəˈləmbiə, ˈɛlzˌmɪr ˈaɪlənd, 47 ðə ˈnɔrðərnˌmoʊst pɔɪnt əv ðə kəˈneɪdiən ˈmeɪnˌlænd ɪz ˈzinɪθ pɔɪnt ɔn pəˈnɪnsələ, 47 ðə ˈsəðərnˌmoʊst pɔɪnt ɪz ˈmɪdəl ˈaɪlənd, ɪn leɪk ˈɪri, ɑnˈtɛrioʊ 41°41′n*, 82°40′w*); ðə ˈsəðərnˌmoʊst ˈwɔtər pɔɪnt laɪz ʤɪst saʊθ əv ðə ˈaɪlənd, ɔn ðə ˈbɔrdər 41°40′35″n*). ðə ˈsəðərnˌmoʊst pɔɪnt əv ðə kəˈneɪdiən ˈmeɪnˌlænd ɪz pɔɪnt pelee*, ɑnˈtɛrioʊ 47 ðə ˈwɛstərnˌmoʊst pɔɪnt ɪz ˈbaʊndəri pik 187 60°18′22.929″n*, 141°00′7.128″w*) æt ðə ˈsəðərn ɛnd əv ðə ˈbɔrdər wɪʧ ɪz ˈrəfli ˈfɑloʊɪŋ bət linz ˈvɛri sˈlaɪtli ist ɛz ɪt goʊz nɔrθ ðə pɔɪnt ɪz keɪp spɪr, ˈnufəndlənd 47°31′n*, 52°37′w*) 47 ðə pɔɪnt əv ðə kəˈneɪdiən ˈmeɪnˌlænd ɪz ɛˈlaɪʤə pɔɪnt, keɪp st*. ˈʧɑrəlz, ˈlæbrəˌdɔr 52°13′n*, 55°37′w*) 47 ðə loʊəst pɔɪnt ɪz si ˈlɛvəl æt 0 waɪlst ðə haɪəst pɔɪnt ɪz maʊnt ˈloʊgən, ˈjuˌkɑn, æt ɛm 47 ðə kəˈneɪdiən poʊl əv ˌɪnəkˌsɛsəˈbɪləti ɪz əˈlɛʤədli nɪr ˈrɪvər, ælˈbərtə (ˈlætəˌtud: 60 ɛn, ˈlɑnʤəˌtud: 60 ˈdəbəlju). ðə ˈfərθəst ˈdɪstəns ðət kən bi ˈtrævəld tɪ kəˈneɪdiən pɔɪnts əv lænd ɪz bɪtˈwin ðə ˌsaʊθˈwɛst tɪp əv ˈnæʃənəl pɑrk ənd rɪˈzərv (nɛkst tɪ maʊnt seɪnt əˈlaɪəs) ənd ˈkrɪpəl koʊv, (nɪr keɪp reɪs) æt ə ˈdɪstəns əv ˈnɔtəkəl maɪəlz; mi). si ˈɔlsoʊ ˈɛdət æb ɔn nu ʤiˈɑgrəfi baɪ ˈprɑvɪns ˈrɛfərənsɪz ˈɛdət ˈfərðər ˈrɛdɪŋ ˈɛdət ðɪs ˈɑrtɪkəl ˌɪnˈkɔrpərˌeɪts ˈpəblɪk doʊˈmeɪn məˈtɪriəl frəm ðə siaɪeɪ wərld ˈwɛbˌsaɪt https://www.cia.gov/library/publications/the-world-factbook/index.html*. ðə ˈbɛrən lændz kəˈlɛkʃən, ˌjunəˈvərsəti əv tərˈɑntoʊ

prepare to be merry: brooklyn has nabbed jerry. jim who scored laughs as the jerry (terry/larry) for seven seasons on parks and recreation is in the second episode of the police fourth season. he will pop up as a cop who crosses paths with jake (andy samberg) and holt (andre braugher) while the two are hiding out in witness protection in florida. o’heir is the second main cast member of parks to appear on brooklyn. nick offerman as an ex-boyfriend of holt last season. brooklyn michael schur also parks and recreation. o’heir’s recent tv credits include veep, hot in cleveland, another period, and the bold and the beautiful. he also starred in the indie comedic thriller middle man. the second episode of fourth season also features a guest spot by ken marino, who will play the replacement captain while holt is in a witness protection program. the premiere episode, which airs sept. 20 on fox, also boasts a few celebrity guests, such as maya rudolph, rhea perlman, and taccone.

priˈpɛr tɪ bi ˈmɛri: ˈbrʊklɪn həz næbd ˈʤɛri. ʤɪm hu skɔrd læfs ɛz ðə ˈʤɛri (terry/larry*) fər ˈsɛvən ˈsizənz ɔn pɑrks ənd ˌrɛkriˈeɪʃən ɪz ɪn ðə ˈsɛkənd ˈɛpɪˌsoʊd əv ðə pəˈlis fɔrθ ˈsizən. hi wɪl pɑp əp ɛz ə kɑp hu ˈkrɔsɪz pæθs wɪθ ʤeɪk (ˈændi ˈsæmbərg) ənd hoʊlt (ˈɑnˌdreɪ braugher*) waɪl ðə tu ər ˈhaɪdɪŋ aʊt ɪn ˈwɪtnəs prəˈtɛkʃən ɪn ˈflɔrɪdə. ɪz ðə ˈsɛkənd meɪn kæst ˈmɛmbər əv pɑrks tɪ əˈpɪr ɔn ˈbrʊklɪn. nɪk ˈɔfərmən ɛz ən ˈɛksˈbɔɪˌfrɛnd əv hoʊlt læst ˈsizən. ˈbrʊklɪn ˈmaɪkəl ʃər ˈɔlsoʊ pɑrks ənd ˌrɛkriˈeɪʃən. ˈrisənt ˌtɛləˈvɪʒən ˈkrɛdɪts ˌɪnˈklud vip, hɑt ɪn ˈklivlənd, əˈnəðər ˈpɪriəd, ənd ðə boʊld ənd ðə ˈbjutəfəl. hi ˈɔlsoʊ stɑrd ɪn ðə ˈɪndi kəˈmidɪk θˈrɪlər ˈmɪdəl mæn. ðə ˈsɛkənd ˈɛpɪˌsoʊd əv fɔrθ ˈsizən ˈɔlsoʊ ˈfiʧərz ə gɛst spɑt baɪ kɛn mərˈinoʊ, hu wɪl pleɪ ðə rɪˈpleɪsmənt ˈkæptən waɪl hoʊlt ɪz ɪn ə ˈwɪtnəs prəˈtɛkʃən ˈproʊˌgræm. ðə prɛˈmɪr ˈɛpɪˌsoʊd, wɪʧ ɛrz sɛpt. 20 ɔn fɑks, ˈɔlsoʊ boʊsts ə fju səˈlɛbrɪti gɛsts, səʧ ɛz maɪə ˈrudɔlf, ˈriə ˈpərlmən, ənd taccone*.

uruguay is set to introduce legislation allowing the state to sell and distribute marijuana, a first in latin america. the measure was one of 15 measures to fight crime presented by president jose administration. the goal was for "strict state control over the distribution and production" of cannabis, said defence minister fernandez. the government will also urge that marijuana sales be worldwide, said, adding the measure could discourage the use of so-called hard drugs. marijuana consumption is already legal in uruguay. "we want to fight against two different things: one is drug consumption and the other is drug trafficking. we think the ban on certain drugs is creating more problems in society than the drug itself," the minister told a news conference. "homicides related to settling scores have increased and that's a clear sign that certain phenomena are appearing in uruguay that didn't exist before," he said. the bill would and set rules for the production and sale of marijuana but would not allow people to grow the plant for their own personal use. the proposals also include increased prison time for cases of police corruption, and tougher sentences for criminal youths. the government did not however give details on how the new system would work. in uruguay about $75m changes hands each year in the illegal marijuana trade, according to official estimates. as of last year, 20 per cent of people between 15 and 65 years old reported they had smoked marijuana at least once and about 5 per cent of respondents were habitual users. a government survey puts the percentage of the population that consumed marijuana over the last year at per cent, compared to one per cent who consumed cocaine in the same time. the proposal to the marijuana market is one of 15 measures that include tougher penalties for police corruption, trafficking and juvenile offenders.

ˈjərəgˌweɪ ɪz sɛt tɪ ˌɪntrəˈdus ˌlɛʤəsˈleɪʃən əˈlaʊɪŋ ðə steɪt tɪ sɛl ənd dɪˈstrɪbjut ˌmɛrəˈwɑnə, ə fərst ɪn ˈlætən əˈmɛrɪkə. ðə ˈmɛʒər wɑz wən əv 15 ˈmɛʒərz tɪ faɪt kraɪm pərˈzɛnəd baɪ ˈprɛzɪdənt ˌhoʊˈzeɪ ædˌmɪnɪˈstreɪʃən. ðə goʊl wɑz fər "strɪkt steɪt kənˈtroʊl ˈoʊvər ðə ˌdɪstrəˈbjuʃən ənd pərˈdəkʃən" əv ˈkænəbəs, sɛd dɪˈfɛns ˈmɪnɪstər fɛrˈnɑndɛz. ðə ˈgəvərnmənt wɪl ˈɔlsoʊ ərʤ ðət ˌmɛrəˈwɑnə seɪlz bi ˈwərldˈwaɪd, sɛd, ˈædɪŋ ðə ˈmɛʒər kʊd dɪˈskərɪʤ ðə juz əv ˈsoʊˈkɔld hɑrd drəgz. ˌmɛrəˈwɑnə kənˈsəmʃən ɪz ɔˈrɛdi ˈligəl ɪn ˈjərəgˌweɪ. "wi wɔnt tɪ faɪt əˈgɛnst tu ˈdɪfərənt θɪŋz: wən ɪz drəg kənˈsəmʃən ənd ðə ˈəðər ɪz drəg ˈtræfɪkɪŋ. wi θɪŋk ðə bæn ɔn ˈsərtən drəgz ɪz kriˈeɪtɪŋ mɔr ˈprɑbləmz ɪn soʊˈsaɪɪti ðən ðə drəg ˌɪtˈsɛlf," ðə ˈmɪnɪstər toʊld ə nuz ˈkɑnfərəns. "ˈhɑməˌsaɪdz rɪˈleɪtɪd tɪ ˈsɛtəlɪŋ skɔrz hæv ˌɪnˈkrist ənd ðæts ə klɪr saɪn ðət ˈsərtən fəˈnɑmənə ər əˈpɪrɪŋ ɪn ˈjərəgˌweɪ ðət ˈdɪdənt ɪgˈzɪst ˌbiˈfɔr," hi sɛd. ðə bɪl wʊd ənd sɛt rulz fər ðə pərˈdəkʃən ənd seɪl əv ˌmɛrəˈwɑnə bət wʊd nɑt əˈlaʊ ˈpipəl tɪ groʊ ðə plænt fər ðɛr oʊn ˈpərsɪnəl juz. ðə prəˈpoʊzəlz ˈɔlsoʊ ˌɪnˈklud ˌɪnˈkrist ˈprɪzən taɪm fər ˈkeɪsɪz əv pəˈlis kərˈəpʃən, ənd ˈtəfər ˈsɛntənsɪz fər ˈkrɪmənəl juθs. ðə ˈgəvərnmənt dɪd nɑt ˌhaʊˈɛvər gɪv ˈditeɪlz ɔn haʊ ðə nu ˈsɪstəm wʊd wərk. ɪn ˈjərəgˌweɪ əˈbaʊt ˈʧeɪnʤɪz hænz iʧ jɪr ɪn ðə ˌɪˈligəl ˌmɛrəˈwɑnə treɪd, əˈkɔrdɪŋ tɪ əˈfɪʃəl ˈɛstəˌmeɪts. ɛz əv læst jɪr, 20 pər sɛnt əv ˈpipəl bɪtˈwin 15 ənd 65 jɪrz oʊld ˌriˈpɔrtəd ðeɪ hæd smoʊkt ˌmɛrəˈwɑnə æt list wəns ənd əˈbaʊt 5 pər sɛnt əv rɪˈspɑndənts wər həˈbɪʧuəl ˈjuzərz. ə ˈgəvərnmənt ˈsərˌveɪ pʊts ðə pərˈsɛnɪʤ əv ðə ˌpɑpjəˈleɪʃən ðət kənˈsumd ˌmɛrəˈwɑnə ˈoʊvər ðə læst jɪr æt pər sɛnt, kəmˈpɛrd tɪ wən pər sɛnt hu kənˈsumd koʊˈkeɪn ɪn ðə seɪm taɪm. ðə prəˈpoʊzəl tɪ ðə ˌmɛrəˈwɑnə ˈmɑrkɪt ɪz wən əv 15 ˈmɛʒərz ðət ˌɪnˈklud ˈtəfər ˈpɛnəltiz fər pəˈlis kərˈəpʃən, ˈtræfɪkɪŋ ənd ˈʤuvəˌnaɪl əˈfɛndərz.

please enable javascript to watch this video the mother of a man who suffered from bipolar disorder said on sunday that she questions the police version of what led up to the fatal shooting of her son at medical center. ruben jose herrera was shot at the hospital, in unincorporated torrance, around p.m. saturday after police said he reached for a gun. herrera’s name was confirmed by his mother, herrera, and the office on sunday. the ordeal began hours prior, when someone reported a man was throwing bottles against an apartment complex, the los angeles police department said. in the version of the events on saturday, the vandalism suspect took a fighting stance when officers arrived, kicking and punching at them, and eventually reaching for a gun. the mother said sunday that ruben had been sitting and putting air in his tires when police arrived, and that he cooperated with them. police responded by beating her son using pepper spray, a taser on him twice, and socking him multiple times in the face and back, she said. “my son was doing everything he was told. i told them to stop. my son was bipolar. you know, ‘please, hit him,’” herrera said. “he (an officer) just told me to shut up and go inside.” ruben herrera was then taken to medical center, and was initially said to be cooperating with police, lapd cmdr. phillip said. it was not known what he was treated for, but his mother said he suffered injuries to his face and knees. during treatment, herrera was handcuffed to a gurney in the emergency room. his handcuffs were briefly taken off around p.m., when said the suspect picked up a metal chair and began swinging it. witnesses told police the man reached for an gun, prompting an officer to fire a single round. medical responders at the hospital attempted to save life, but he was pronounced dead at the scene, said. the mother says the officers should have treated her son differently. “if my son is bipolar, and they know in danger, why do they him? i know my son do that. just lying,” herrera said. she then claimed police were telling a version of the story that would protect themselves. “they have to kill my son. my son was only 26. regardless of whatever they say, they have taken his life like that,” she said. police have not said whether or not the altercation was captured on video. graciel herrera was informed of her death around 9 p.m., and after police had told her daughter around 3 p.m. that ruben had been released from the hospital, she said. ruben herrera was the person in 2015 to have been shot and killed by an lapd officer, and to have been shot, the los angeles times reports. the case was being investigated by the officer of inspector general.

pliz ɪˈneɪbəl ˈʤɑvəˌskrɪpt tɪ wɔʧ ðɪs ˈvɪdioʊ ðə ˈməðər əv ə mæn hu ˈsəfərd frəm baɪˈpoʊlər dɪˈsɔrdər sɛd ɔn ˈsənˌdi ðət ʃi kˈwɛsʧənz ðə pəˈlis ˈvərʒən əv wət lɛd əp tɪ ðə ˈfeɪtəl ˈʃutɪŋ əv hər sən æt ˈmɛdɪkəl ˈsɛnər. ˈrubən ˌhoʊˈzeɪ hərˈɛrə wɑz ʃɑt æt ðə ˈhɑˌspɪtəl, ɪn ˌənɪnˈkɔrpərˌeɪtɪd ˈtɔrəns, əraʊnd p.m*. ˈsæˌtɪˌdeɪ ˈæftər pəˈlis sɛd hi riʧt fər ə gən. neɪm wɑz kənˈfərmd baɪ hɪz ˈməðər, hərˈɛrə, ənd ðə ˈɔfəs ɔn ˈsənˌdi. ðə ɔrˈdil bɪˈgæn aʊərz praɪər, wɪn ˈsəmˌwən ˌriˈpɔrtəd ə mæn wɑz θroʊɪŋ ˈbɑtəlz əˈgɛnst ən əˈpɑrtmənt ˈkɑmplɛks, ðə lɔs ˈænʤəlɪs pəˈlis dɪˈpɑrtmənt sɛd. ɪn ðə ˈvərʒən əv ðə ɪˈvɛnts ɔn ˈsæˌtɪˌdeɪ, ðə ˈvændəlɪzəm ˈsəˌspɛkt tʊk ə ˈfaɪtɪŋ stæns wɪn ˈɔfɪsərz əraɪvd, ˈkɪkɪŋ ənd ˈpənʧɪŋ æt ðɛm, ənd ɪˈvɛnʧəwəli ˈriʧɪŋ fər ə gən. ðə ˈməðər sɛd ˈsənˌdi ðət ˈrubən hæd bɪn ˈsɪtɪŋ ənd ˈpʊtɪŋ ɛr ɪn hɪz taɪərz wɪn pəˈlis əraɪvd, ənd ðət hi kˈwɑpərˌeɪtəd wɪθ ðɛm. pəˈlis rɪˈspɑndɪd baɪ ˈbitɪŋ hər sən ˈjuzɪŋ ˈpɛpər spreɪ, ə ˈteɪzər ɔn ɪm twaɪs, ənd ˈsɑkɪŋ ɪm ˈməltəpəl taɪmz ɪn ðə feɪs ənd bæk, ʃi sɛd. sən wɑz duɪŋ ˈɛvriˌθɪŋ hi wɑz toʊld. aɪ toʊld ðɛm tɪ stɑp. maɪ sən wɑz baɪˈpoʊlər. ju noʊ, ‘‘please*, hɪt him,’”*,’” hərˈɛrə sɛd. (ən ˈɔfɪsər) ʤɪst toʊld mi tɪ ʃət əp ənd goʊ inside.”*.” ˈrubən hərˈɛrə wɑz ðɛn ˈteɪkən tɪ ˈmɛdɪkəl ˈsɛnər, ənd wɑz ˌɪˈnɪʃəli sɛd tɪ bi koʊˈɑpərˌeɪtɪŋ wɪθ pəˈlis, ˈɛˈleɪˈpiˈdi cmdr*. ˈfɪlɪp sɛd. ɪt wɑz nɑt noʊn wət hi wɑz ˈtritɪd fər, bət hɪz ˈməðər sɛd hi ˈsəfərd ˈɪnʤəriz tɪ hɪz feɪs ənd niz. ˈdʊrɪŋ ˈtritmənt, hərˈɛrə wɑz ˈhændˌkəft tɪ ə ˈgərni ɪn ðə ˈimərʤənsi rum. hɪz ˈhændˌkəfs wər ˈbrifli ˈteɪkən ɔf əraʊnd p.m*., wɪn sɛd ðə ˈsəˌspɛkt pɪkt əp ə ˈmɛtəl ʧɛr ənd bɪˈgæn sˈwɪŋɪŋ ɪt. ˈwɪtnəsɪz toʊld pəˈlis ðə mæn riʧt fər ən gən, ˈprɑmptɪŋ ən ˈɔfɪsər tɪ faɪər ə ˈsɪŋgəl raʊnd. ˈmɛdɪkəl rɪˈspɑndərz æt ðə ˈhɑˌspɪtəl əˈtɛmptəd tɪ seɪv laɪf, bət hi wɑz prəˈnaʊnst dɛd æt ðə sin, sɛd. ðə ˈməðər sɪz ðə ˈɔfɪsərz ʃʊd hæv ˈtritɪd hər sən ˈdɪfərˈɛntli. maɪ sən ɪz baɪˈpoʊlər, ənd ðeɪ noʊ ɪn ˈdeɪnʤər, waɪ du ðeɪ ɪm? aɪ noʊ maɪ sən du ðət. ʤɪst lying,”*,” hərˈɛrə sɛd. ʃi ðɛn kleɪmd pəˈlis wər ˈtɛlɪŋ ə ˈvərʒən əv ðə ˈstɔri ðət wʊd prəˈtɛkt ðɛmˈsɛlvz. hæv tɪ kɪl maɪ sən. maɪ sən wɑz ˈoʊnli 26 rəˈgɑrdləs əv ˌwəˈtɛvər ðeɪ seɪ, ðeɪ hæv ˈteɪkən hɪz laɪf laɪk that,”*,” ʃi sɛd. pəˈlis hæv nɑt sɛd ˈwɛðər ər nɑt ðə ˌɑltərˈkeɪʃən wɑz ˈkæpʧərd ɔn ˈvɪdioʊ. hərˈɛrə wɑz ˌɪnˈfɔrmd əv hər dɛθ əraʊnd 9 p.m*., ənd ˈæftər pəˈlis hæd toʊld hər ˈdɔtər əraʊnd 3 p.m*. ðət ˈrubən hæd bɪn riˈlist frəm ðə ˈhɑˌspɪtəl, ʃi sɛd. ˈrubən hərˈɛrə wɑz ðə ˈpərsən ɪn 2015 tɪ hæv bɪn ʃɑt ənd kɪld baɪ ən ˈɛˈleɪˈpiˈdi ˈɔfɪsər, ənd tɪ hæv bɪn ʃɑt, ðə lɔs ˈænʤəlɪs taɪmz rɪˈpɔrts. ðə keɪs wɑz biɪŋ ˌɪnˈvɛstəˌgeɪtɪd baɪ ðə ˈɔfɪsər əv ˌɪnˈspɛktər ˈʤɛnərəl.

freedom of religion has wrongly and unfairly been used to deny marriage rights to gay and lesbian australians and must be strongly resisted, labor penny wong has said. in a rallying call for the separation of church and state, the south australian senator blasted religious fundamentalists for limiting the freedom of "those who do not 'conform' to their views". "religious freedom means being free to worship and to follow your faith without suffering persecution or discrimination for your beliefs. it does not mean imposing your beliefs on everyone else," senator wong told the labor lawyers gathering on tuesday night. "and it most emphatically does not mean deploying the power of the state to enforce one set of religious beliefs. one's own views should not determine the rights of others."

ˈfridəm əv rɪˈlɪʤən həz ˈrɔŋli ənd ənˈfɛrli bɪn juzd tɪ dɪˈnaɪ ˈmɛrɪʤ raɪts tɪ geɪ ənd ˈlɛzbiən ɔˈstreɪljənz ənd məst bi ˈstrɔŋli rɪˈzɪstɪd, ˈleɪbər ˈpɛni wɔŋ həz sɛd. ɪn ə ˈræliɪŋ kɔl fər ðə ˌsɛpərˈeɪʃən əv ʧərʧ ənd steɪt, ðə saʊθ ɔˈstreɪljən ˈsɛnətər ˈblæstɪd rɪˈlɪʤəs ˌfəndəˈmɛnəlɪsts fər ˈlɪmətɪŋ ðə ˈfridəm əv "ðoʊz hu du nɑt 'kənˈfɔrm' tɪ ðɛr vjuz". "rɪˈlɪʤəs ˈfridəm minz biɪŋ fri tɪ ˈwərʃɪp ənd tɪ ˈfɑloʊ jʊr feɪθ wɪˈθaʊt ˈsəfərɪŋ ˌpərsəˈkjuʃən ər dɪˌskrɪməˈneɪʃən fər jʊr bɪˈlifs. ɪt dɪz nɑt min ˌɪmˈpoʊzɪŋ jʊr bɪˈlifs ɔn ˈɛvriˌwən ɛls," ˈsɛnətər wɔŋ toʊld ðə ˈleɪbər ˈlɔjərz ˈgæðərɪŋ ɔn ˈtuzˌdeɪ naɪt. "ənd ɪt moʊst ɛmˈfætɪkəli dɪz nɑt min dɪˈplɔɪɪŋ ðə paʊər əv ðə steɪt tɪ ɛnˈfɔrs wən sɛt əv rɪˈlɪʤəs bɪˈlifs. wənz oʊn vjuz ʃʊd nɑt dɪˈtərmən ðə raɪts əv ˈəðərz."

close sealed a deal months in the making to acquire its biggest rival,, for $105 billion. video provided by newsy belgium's, which owns budweiser and is the world's largest brewer, has agreed to buy no. 2 of britain for $107 billion.: joe raedle, getty images) anheuser-busch on wednesday formalized a deal to acquire its african rival for $107 billion, creating a gigantic global beer company hoping to reach deeper into developing markets. the companies had been weighing a deal since mid-september, with rejecting several overtures from the ab before accepting the deal. it still faces approval by regulators. the acquisition gives budweiser maker ab access to many emerging markets. gets 35% of its revenue from latin america and 34% from africa. “we've admired this company for a very long time. the company has a strong portfolio of brands," ab ceo carlos brito said on a conference call. "together, ab and create a truly global business." ab will pay about $67 per share in cash for most of's stock, though shareholders can also elect to receive alternative compensation involving a mix of cash and stock. as part of the deal, molson coors will buy out's 58% stake in their joint venture, called millercoors, in a deal valued at $12 billion in cash, reflecting an effort to appease regulators concerned about the combined giant's size. together, a combined ab and would control almost 30% of global beer sales. brito declined to estimate the combined company's global market share following the sale of millercoors, saying that most of its business "is done through local brands." but the combined company will have total revenue of about $64 billion, excluding's joint ventures. brito told investors that the two companies have a "largely complementary" footprint and that the new company will "take its place as one of the leading consumer products companies." he said the company would seek expeditious regulatory approval and hopes to close the deal in the second half of 2016. sabmiller's shares were up% after the announcement. ab's shares rose% in brussels. ab is betting that it can leverage the broader footprint to pursue growth opportunities in africa, asia and the middle east. it also expects to save $1.4 billion per year by combining operations. had already signaled plans to shed $1.05 billion in costs, which will continue. brito said 35% of the "synergies" will come from administrative overhead and overlapping headquarter operations. the company also plans to save money through increased purchasing power, packaging and brewery distribution. the company is paying a premium of about 50% above’s stock price on sept. 14, the last day before media reports disclosed the acquisition talks. follow usa today reporter nathan on twitter @nathanbomey. close francesco curto, of deutsche asset & wealth management, and bloomberg's matt campbell, discuss ab's formal offer to buy and what it means for investors. they speak with manus cranny on bloomberg television's "the pulse." bloomberg kim on twitter: @khjelmgaard. nathan on twitter: @nathanbomey. read or share this story:

kloʊz sild ə dil mənθs ɪn ðə ˈmeɪkɪŋ tɪ əkˈwaɪər ɪts ˈbɪgəst ˈraɪvəl,, fər 105 ˈbɪljən. ˈvɪdioʊ prəˈvaɪdɪd baɪ ˈnuzi ˈbɛlʤəmz, wɪʧ oʊnz ˈbədwaɪzər ənd ɪz ðə wərldz ˈlɑrʤəst bruər, həz əˈgrid tɪ baɪ noʊ. 2 əv ˈbrɪtən fər 107 ˈbɪljən. ʤoʊ raedle*, ˈgɛti ˈɪmɪʤɪz) ɔn ˈwɛnzˌdeɪ ˈfɔrməˌlaɪzd ə dil tɪ əkˈwaɪər ɪts ˈæfrɪkɑn ˈraɪvəl fər 107 ˈbɪljən, kriˈeɪtɪŋ ə ʤaɪˈgænɪk ˈgloʊbəl bɪr ˈkəmpəˌni ˈhoʊpɪŋ tɪ riʧ ˈdipər ˈɪntu dɪˈvɛləpɪŋ ˈmɑrkɪts. ðə ˈkəmpəˌniz hæd bɪn weɪɪŋ ə dil sɪns mid-september*, wɪθ rɪˈʤɛktɪŋ ˈsɛvərəl ˈoʊvərˌʧʊrz frəm ðə æb ˌbiˈfɔr əkˈsɛptɪŋ ðə dil. ɪt stɪl ˈfeɪsɪz əˈpruvəl baɪ ˈrɛgjəˌleɪtərz. ðə ˌækwəˈzɪʃən gɪvz ˈbədwaɪzər ˈmeɪkər æb ˈækˌsɛs tɪ ˈmɛni ˈimərʤɪŋ ˈmɑrkɪts. gɪts 35 əv ɪts ˈrɛvəˌnu frəm ˈlætən əˈmɛrɪkə ənd 34 frəm ˈæfrɪkɑ. ədˈmaɪərd ðɪs ˈkəmpəˌni fər ə ˈvɛri lɔŋ taɪm. ðə ˈkəmpəˌni həz ə strɔŋ pɔrtˈfoʊliˌoʊ əv brændz," æb ˈsiˌiˈoʊ ˈkɑrloʊs ˈbritoʊ sɛd ɔn ə ˈkɑnfərəns kɔl. "təˈgɛðər, æb ənd kriˈeɪt ə ˈtruli ˈgloʊbəl ˈbɪznɪs." æb wɪl peɪ əˈbaʊt 67 pər ʃɛr ɪn kæʃ fər moʊst əv stɑk, ðoʊ ˈʃɛˌrhoʊldərz kən ˈɔlsoʊ ɪˈlɛkt tɪ rɪˈsiv ɔlˈtərnətɪv ˌkɑmpənˈseɪʃən ˌɪnˈvɑlvɪŋ ə mɪks əv kæʃ ənd stɑk. ɛz pɑrt əv ðə dil, ˈmoʊlsən kurz wɪl baɪ aʊt 58 steɪk ɪn ðɛr ʤɔɪnt ˈvɛnʧər, kɔld millercoors*, ɪn ə dil ˈvæljud æt 12 ˈbɪljən ɪn kæʃ, rɪˈflɛktɪŋ ən ˈɛfərt tɪ əˈpiz ˈrɛgjəˌleɪtərz kənˈsərnd əˈbaʊt ðə kəmˈbaɪnd ʤaɪənts saɪz. təˈgɛðər, ə kəmˈbaɪnd æb ənd wʊd kənˈtroʊl ˈɔlˌmoʊst 30 əv ˈgloʊbəl bɪr seɪlz. ˈbritoʊ dɪˈklaɪnd tɪ ˈɛstəˌmeɪt ðə kəmˈbaɪnd ˈkəmpəniz ˈgloʊbəl ˈmɑrkɪt ʃɛr ˈfɑloʊɪŋ ðə seɪl əv millercoors*, seɪɪŋ ðət moʊst əv ɪts ˈbɪznɪs "ɪz dən θru ˈloʊkəl brændz." bət ðə kəmˈbaɪnd ˈkəmpəˌni wɪl hæv ˈtoʊtəl ˈrɛvəˌnu əv əˈbaʊt 64 ˈbɪljən, ɪkˈskludɪŋ ʤɔɪnt ˈvɛnʧərz. ˈbritoʊ toʊld ˌɪnˈvɛstərz ðət ðə tu ˈkəmpəˌniz hæv ə "ˈlɑrʤli ˌkɑmpləˈmɛnʧi" ˈfʊtˌprɪnt ənd ðət ðə nu ˈkəmpəˌni wɪl "teɪk ɪts pleɪs ɛz wən əv ðə ˈlidɪŋ kənˈsumər ˈprɑdəkts ˈkəmpəˌniz." hi sɛd ðə ˈkəmpəˌni wʊd sik ˌɛkspəˈdɪʃəs ˈrɛgjələˌtɔri əˈpruvəl ənd hoʊps tɪ kloʊz ðə dil ɪn ðə ˈsɛkənd hæf əv 2016 ʃɛrz wər əp ˈæftər ðə əˈnaʊnsmɛnt. æb ʃɛrz roʊz ɪn ˈbrəsəlz. æb ɪz ˈbɛtɪŋ ðət ɪt kən ˈlɛvərɪʤ ðə ˈbrɔdər ˈfʊtˌprɪnt tɪ pərˈsu groʊθ ˌɑpərˈtunətiz ɪn ˈæfrɪkɑ, ˈeɪʒə ənd ðə ˈmɪdəl ist. ɪt ˈɔlsoʊ ɪkˈspɛkts tɪ seɪv ˈbɪljən pər jɪr baɪ kəmˈbaɪnɪŋ ˌɑpərˈeɪʃənz. hæd ɔˈrɛdi ˈsɪgnəld plænz tɪ ʃɛd ˈbɪljən ɪn kɔsts, wɪʧ wɪl kənˈtɪnju. ˈbritoʊ sɛd 35 əv ðə "ˈsɪnərʤiz" wɪl kəm frəm ədˈmɪnɪˌstreɪtɪv ˈoʊvərˈhɛd ənd ˈoʊvərˌlæpɪŋ ˈhɛdˌkɔrtər ˌɑpərˈeɪʃənz. ðə ˈkəmpəˌni ˈɔlsoʊ plænz tɪ seɪv ˈməni θru ˌɪnˈkrist ˈpərʧəsɪŋ paʊər, ˈpækɪʤɪŋ ənd ˈbruəri ˌdɪstrəˈbjuʃən. ðə ˈkəmpəˌni ɪz peɪɪŋ ə ˈprimiəm əv əˈbaʊt 50 əˈbəv stɑk praɪs ɔn sɛpt. 14 ðə læst deɪ ˌbiˈfɔr ˈmidiə rɪˈpɔrts dɪˈskloʊzd ðə ˌækwəˈzɪʃən tɔks. ˈfɑloʊ ˈjuˈɛˈseɪ təˈdeɪ rɪˈpɔrtər ˈneɪθən ɔn tˈwɪtər @nathanbomey*. kloʊz frænˈʧɛskoʊ ˈkʊrtoʊ, əv dɔɪʧ ˈæˌsɛt wɛlθ ˈmænɪʤmənt, ənd ˈblumbərgz mæt ˈkæmbəl, dɪˈskəs æb ˈfɔrməl ˈɔfər tɪ baɪ ənd wət ɪt minz fər ˌɪnˈvɛstərz. ðeɪ spik wɪθ ˈmeɪnɪs ˈkræni ɔn ˈblumbərg ˈtɛləˌvɪʒənz "ðə pəls." ˈblumbərg kɪm ɔn tˈwɪtər: @khjelmgaard*. ˈneɪθən ɔn tˈwɪtər: @nathanbomey*. rɛd ər ʃɛr ðɪs ˈstɔri:

a derry man who smashed a window “head-butted his own reflection”, derry magistrates court heard today. the court was told gerard mcgaughey, of park, was drunk when he committed the in a city centre bar on may 2, causing over of damage. the court was told he could not remember what happened. “the whole sorry incident is captured on cctv,” defence solicitor seamus quigley told the court. “the prosecution suggest he turned around and was almost spooked by his own reflection in the door. “if the prosecution theory is correct, he may be fortunate that he is not charged with attempted assault.” mcgaughey pleaded guilty to criminal damage and was ordered to pay compensation to the bar and was given a two year conditional discharge.

ə ˈdɛri mæn hu smæʃt ə ˈwɪndoʊ hɪz oʊn reflection”*”, ˈdɛri ˈmæʤɪˌstreɪts kɔrt hərd təˈdeɪ. ðə kɔrt wɑz toʊld ʤərɑrd məˈgɔi, əv pɑrk, wɑz drəŋk wɪn hi kəˈmɪtɪd ðə ɪn ə ˈsɪti ˈsɛntər bɑr ɔn meɪ 2 ˈkɔzɪŋ ˈoʊvər əv ˈdæmɪʤ. ðə kɔrt wɑz toʊld hi kʊd nɑt rɪˈmɛmbər wət ˈhæpənd. hoʊl ˈsɑri ˈɪnsədənt ɪz ˈkæpʧərd ɔn cctv,”*,” dɪˈfɛns səˈlɪsətər ˈʃeɪməs kˈwɪgli toʊld ðə kɔrt. ˌprɑsəˈkjuʃən səˈʤɛst hi tərnd əraʊnd ənd wɑz ˈɔlˌmoʊst spukt baɪ hɪz oʊn rɪˈflɛkʃən ɪn ðə dɔr. ðə ˌprɑsəˈkjuʃən ˈθɪri ɪz kərˈɛkt, hi meɪ bi ˈfɔrʧənət ðət hi ɪz nɑt ʧɑrʤd wɪθ əˈtɛmptəd assault.”*.” məˈgɔi ˈplidɪd ˈgɪlti tɪ ˈkrɪmənəl ˈdæmɪʤ ənd wɑz ˈɔrdərd tɪ peɪ ˌkɑmpənˈseɪʃən tɪ ðə bɑr ənd wɑz ˈgɪvɪn ə tu jɪr kənˈdɪʃənəl ˈdɪsˌʧɑrʤ.

european astro pi challenge: code your experiment - more details esa is inviting teams of students who are 16 years old and younger to join the first european astro pi challenge and have their experiments run on the international space station! take this opportunity to learn about science and coding, just like space scientists do! deadline to submit your registration is 13 november 2016. astronaut thomas officially launched the first european astro pi challenge last week. thomas is looking forward to his first to the international space station (iss) with the mission later this year, and is looking forward to assisting the astro pi challenge from orbit. watch thomas’ message in the video above! what is an astro pi? astro pi is the name of a small computer developed by the raspberry pi foundation, in collaboration with the space agency and. there are two very special astro pi’s. their names are ed and izzy, and they have been qualified for. they are now onboard the for students like you to use. astro pi computers come with a set of sensors and gadgets that can be used to run cool scientific experiments. this set of sensors is called ‘sense hat’. with the sense hat you can sense movements, measure humidity, temperature and pressure, and detect radiation. ed and izzy are also equipped with a joystick and buttons just like a videogame console! discover more about the astro pi sense hat and its sensors here and experience what you can do with them by using this emulator. join the competition: your code may go to space! astro pi inside its flight case the european astro pi challenge invites school students to design a scientific experiment that can be run using astro pi sensors, and to write the computer code with which the astro pi needs to be programmed in order to execute this experiment on the. ed is ready and anxious to run your code. what are you waiting for? the astro pi challenge is divided into three phases. you have to succeed phase 1 in order to be selected to participate in phases 2 and 3. phase 1 warm up and show us you are up to the astro pi challenge!’s astro pi kit in this phase, expects your team - with the help of your teacher - to get acquainted with the astro pi and its sensors (see links provided above) and to demonstrate you have a clear idea of the kind of science experiments you can run with it. in order to achieve this objective, asks you to come up with an experiment idea to be run using the astro pi on the and its sensors (sense hat), and to describe this idea by filling out this template. no coding is needed at this stage: only an experiment idea! your idea can be related to different aspects of life and work onboard the. search for cosmic rays? record a loss of altitude or measure the acceleration of the? or perhaps just detect the movement? here you can find some ideas for using astro pi and doing fantastic science. have a look and get inspired! ask your teacher to give you guidance and help you find additional inspiration by downloading the guide here. the more creative, rich, and original your idea is, the better you will demonstrate your motivation, and the bigger chance you will have to be selected for phase 2 of the challenge. if your experiment idea is selected, you will also receive an-branded astro pi kit, including all its sensors and components, directly at your school for free! you have until 13 november 2016 to submit your entries. do this by following the indications provided below in the section ‘how do i submit my application?’. the selected teams will be notified of their acceptance to phase 2 by 25 november 2016. phase 2 take the scientific mission assigned by and write your computer code in this second phase, which will take place between 25 november 2016 and 28 february 2017, thomas will assign the selected student teams with a scientific mission to be run on the using astro pi ed. to accomplish the objectives of this mission, you will have to define the steps of the scientific experiment you want to run, and you will have to write the computer code necessary to operate the astro pi accordingly. you will have to use the ‘python’ programming language. not an expert in coding? worry! will provide you with supporting material and guidelines that explain how to use the astro pi and its sensors and to how to write a simple code in python. this material will be published on this site by 21 november 2016. phase 3 best are selected and run on the in this third phase, which will take place between 1 march and 15 may 2017, an evaluation panel composed of, the raspberry pi foundation, and other national experts will select the winning per country that will be sent to the to be run on astro pi ed. on 15 may 2017, the results of the experiments will be published, and astronaut thomas will comment them from orbit! who can take part? teams of students 16 years old and under from an member state*. each team must be supported by at least one teacher. member states: austria, belgium, czech republic, denmark, estonia, finland, france, germany, greece, hungary, ireland, italy, luxembourg, the netherlands, norway, poland, portugal, romania, spain, sweden, switzerland, united kingdom how do i submit my application? in phase 1 (4 october 13 november 2016), teams have to register online and submit their original experiment idea. the deadline is 13 november 2016. if you are a team from austria, belgium, czech republic, denmark, estonia, finland, germany, greece, hungary, ireland, italy, luxembourg, the netherlands, norway, romania, spain, sweden, switzerland, united kingdom, you can access the online registration form here, where you will need to provide information about your school, team and teacher. you will also have to attach the template (‘describe your experiment idea’) in english. if you are a team from france, you should register through the centre national (cnes), in french, at this link. if you are a team from poland, you should register through poland in polish. if you are a team from portugal, you should register through the portugal in portuguese. in phase 2 (25 november 2016 - 28 february 2017), the selected teams will be notified on how to submit the experiment they propose to accomplish, as well as the computer codes necessary to operate astro pi. deadline is 28 february 2017. for questions, please send an email to teachers @.int with the subject: european astro pi challenge. good luck! 1st european astro pi challenge timeline launch of european astro pi challenge phase 1 registration and submission of experiment idea publication of supporting resources and astro pi guidelines selection of teams who presented best experiment ideas announcement of selected teams and mission announcement distribution of astro pi kits to the selected teams phase 2 - discover the astro pi, design the experiment to accomplish the mission, write and submit your code deadline for submitting your phase 3 best are selected and run on the selection of the bests to be run on the announcement of the selected publication of the results (after the codes have been run on the)

ˌjʊrəˈpiən ˈæstroʊ paɪ ˈʧælənʤ: koʊd jʊr ɪkˈspɛrəmənt mɔr ˈditeɪlz ɪz ˌɪnˈvaɪtɪŋ timz əv ˈstudənts hu ər 16 jɪrz oʊld ənd ˈjəŋgər tɪ ʤɔɪn ðə fərst ˌjʊrəˈpiən ˈæstroʊ paɪ ˈʧælənʤ ənd hæv ðɛr ɪkˈspɛrəmənts rən ɔn ðə ˌɪnərˈnæʃənɑl speɪs ˈsteɪʃən! teɪk ðɪs ˌɑpərˈtunəti tɪ lərn əˈbaʊt saɪəns ənd ˈkoʊdɪŋ, ʤɪst laɪk speɪs ˈsaɪəntɪsts du! ˈdɛˌdlaɪn tɪ səbˈmɪt jʊr ˌrɛʤɪˈstreɪʃən ɪz 13 noʊˈvɛmbər 2016 ˈæstrəˌnɑt ˈtɑməs əˈfɪʃəli lɔnʧt ðə fərst ˌjʊrəˈpiən ˈæstroʊ paɪ ˈʧælənʤ læst wik. ˈtɑməs ɪz ˈlʊkɪŋ ˈfɔrwərd tɪ hɪz fərst tɪ ðə ˌɪnərˈnæʃənɑl speɪs ˈsteɪʃən (iss*) wɪθ ðə ˈmɪʃən ˈleɪtər ðɪs jɪr, ənd ɪz ˈlʊkɪŋ ˈfɔrwərd tɪ əˈsɪstɪŋ ðə ˈæstroʊ paɪ ˈʧælənʤ frəm ˈɔrbət. wɔʧ thomas’*’ ˈmɛsɪʤ ɪn ðə ˈvɪdioʊ əˈbəv! wət ɪz ən ˈæstroʊ paɪ? ˈæstroʊ paɪ ɪz ðə neɪm əv ə smɔl kəmˈpjutər dɪˈvɛləpt baɪ ðə ˈræzˌbɛri paɪ faʊnˈdeɪʃən, ɪn kəˌlæbərˈeɪʃən wɪθ ðə speɪs ˈeɪʤənsi ənd. ðɛr ər tu ˈvɛri ˈspɛʃəl ˈæstroʊ pi’s*. ðɛr neɪmz ər ɛd ənd ˈɪzi, ənd ðeɪ hæv bɪn kˈwɑləˌfaɪd fər. ðeɪ ər naʊ ˈɑnˌbɔrd ðə fər ˈstudənts laɪk ju tɪ juz. ˈæstroʊ paɪ kəmˈpjutərz kəm wɪθ ə sɛt əv ˈsɛnsərz ənd ˈgæʤəts ðət kən bi juzd tɪ rən kul ˌsaɪənˈtɪfɪk ɪkˈspɛrəmənts. ðɪs sɛt əv ˈsɛnsərz ɪz kɔld hat’*’. wɪθ ðə sɛns hæt ju kən sɛns ˈmuvmənts, ˈmɛʒər hjuˈmɪdəti, ˈtɛmpərəʧər ənd ˈprɛʃər, ənd dɪˈtɛkt ˌreɪdiˈeɪʃən. ɛd ənd ˈɪzi ər ˈɔlsoʊ ɪkˈwɪpt wɪθ ə ˈʤɔɪˌstɪk ənd ˈbətənz ʤɪst laɪk ə ˈvɪdioʊˌgeɪm ˈkɑnsoʊl! dɪˈskəvər mɔr əˈbaʊt ðə ˈæstroʊ paɪ sɛns hæt ənd ɪts ˈsɛnsərz hir ənd ɪkˈspɪriəns wət ju kən du wɪθ ðɛm baɪ ˈjuzɪŋ ðɪs emulator*. ʤɔɪn ðə ˌkɑmpəˈtɪʃən: jʊr koʊd meɪ goʊ tɪ speɪs! ˈæstroʊ paɪ ˌɪnˈsaɪd ɪts flaɪt keɪs ðə ˌjʊrəˈpiən ˈæstroʊ paɪ ˈʧælənʤ ˌɪnˈvaɪts skul ˈstudənts tɪ dɪˈzaɪn ə ˌsaɪənˈtɪfɪk ɪkˈspɛrəmənt ðət kən bi rən ˈjuzɪŋ ˈæstroʊ paɪ ˈsɛnsərz, ənd tɪ raɪt ðə kəmˈpjutər koʊd wɪθ wɪʧ ðə ˈæstroʊ paɪ nidz tɪ bi ˈproʊˌgræmd ɪn ˈɔrdər tɪ ˈɛksəˌkjut ðɪs ɪkˈspɛrəmənt ɔn ðə. ɛd ɪz ˈrɛdi ənd ˈæŋʃəs tɪ rən jʊr koʊd. wət ər ju ˈweɪtɪŋ fər? ðə ˈæstroʊ paɪ ˈʧælənʤ ɪz dɪˈvaɪdɪd ˈɪntu θri ˈfeɪzɪz. ju hæv tɪ səkˈsid feɪz 1 ɪn ˈɔrdər tɪ bi səˈlɛktɪd tɪ pɑrˈtɪsəˌpeɪt ɪn ˈfeɪzɪz 2 ənd 3 feɪz 1 wɔrm əp ənd ʃoʊ ˈjuˈɛs ju ər əp tɪ ðə ˈæstroʊ paɪ ˈʧælənʤ! ˈæstroʊ paɪ kɪt ɪn ðɪs feɪz, ɪkˈspɛkts jʊr tim wɪθ ðə hɛlp əv jʊr ˈtiʧər tɪ gɪt əkˈweɪnɪd wɪθ ðə ˈæstroʊ paɪ ənd ɪts ˈsɛnsərz (si lɪŋks prəˈvaɪdɪd əˈbəv) ənd tɪ ˈdɛmənˌstreɪt ju hæv ə klɪr aɪˈdiə əv ðə kaɪnd əv saɪəns ɪkˈspɛrəmənts ju kən rən wɪθ ɪt. ɪn ˈɔrdər tɪ əˈʧiv ðɪs əˈbʤɛktɪv, æsks ju tɪ kəm əp wɪθ ən ɪkˈspɛrəmənt aɪˈdiə tɪ bi rən ˈjuzɪŋ ðə ˈæstroʊ paɪ ɔn ðə ənd ɪts ˈsɛnsərz (sɛns hæt), ənd tɪ dɪˈskraɪb ðɪs aɪˈdiə baɪ ˈfɪlɪŋ aʊt ðɪs ˈtɛmplət. noʊ ˈkoʊdɪŋ ɪz ˈnidɪd æt ðɪs steɪʤ: ˈoʊnli ən ɪkˈspɛrəmənt aɪˈdiə! jʊr aɪˈdiə kən bi rɪˈleɪtɪd tɪ ˈdɪfərənt ˈæˌspɛkts əv laɪf ənd wərk ˈɑnˌbɔrd ðə. sərʧ fər ˈkɑzmɪk reɪz? ˈrɛkərd ə lɔs əv ˈæltəˌtud ər ˈmɛʒər ðə ˌækˌsɛlərˈeɪʃən əv ðə? ər pərˈhæps ʤɪst dɪˈtɛkt ðə ˈmuvmənt? hir ju kən faɪnd səm aɪˈdiəz fər ˈjuzɪŋ ˈæstroʊ paɪ ənd duɪŋ fænˈtæstɪk saɪəns. hæv ə lʊk ənd gɪt ˌɪnˈspaɪərd! æsk jʊr ˈtiʧər tɪ gɪv ju ˈgaɪdəns ənd hɛlp ju faɪnd əˈdɪʃənəl ˌɪnspərˈeɪʃən baɪ ˈdaʊnˌloʊdɪŋ ðə gaɪd hir. ðə mɔr kriˈeɪtɪv, rɪʧ, ənd ərˈɪʤənəl jʊr aɪˈdiə ɪz, ðə ˈbɛtər ju wɪl ˈdɛmənˌstreɪt jʊr ˌmoʊtəˈveɪʃən, ənd ðə ˈbɪgər ʧæns ju wɪl hæv tɪ bi səˈlɛktɪd fər feɪz 2 əv ðə ˈʧælənʤ. ɪf jʊr ɪkˈspɛrəmənt aɪˈdiə ɪz səˈlɛktɪd, ju wɪl ˈɔlsoʊ rɪˈsiv ən ˈæstroʊ paɪ kɪt, ˌɪnˈkludɪŋ ɔl ɪts ˈsɛnsərz ənd kəmˈpoʊnənts, dɪˈrɛkli æt jʊr skul fər fri! ju hæv ənˈtɪl 13 noʊˈvɛmbər 2016 tɪ səbˈmɪt jʊr ˈɛntriz. du ðɪs baɪ ˈfɑloʊɪŋ ðə ˌɪndəˈkeɪʃənz prəˈvaɪdɪd bɪˈloʊ ɪn ðə ˈsɛkʃən du aɪ səbˈmɪt maɪ application?’*?’. ðə səˈlɛktɪd timz wɪl bi ˈnoʊtəˌfaɪd əv ðɛr əkˈsɛptəns tɪ feɪz 2 baɪ 25 noʊˈvɛmbər 2016 feɪz 2 teɪk ðə ˌsaɪənˈtɪfɪk ˈmɪʃən əˈsaɪnd baɪ ənd raɪt jʊr kəmˈpjutər koʊd ɪn ðɪs ˈsɛkənd feɪz, wɪʧ wɪl teɪk pleɪs bɪtˈwin 25 noʊˈvɛmbər 2016 ənd 28 ˈfɛbruˌɛri 2017 ˈtɑməs wɪl əˈsaɪn ðə səˈlɛktɪd ˈstudənt timz wɪθ ə ˌsaɪənˈtɪfɪk ˈmɪʃən tɪ bi rən ɔn ðə ˈjuzɪŋ ˈæstroʊ paɪ ɛd. tɪ əˈkɑmplɪʃ ðə əˈbʤɛktɪvz əv ðɪs ˈmɪʃən, ju wɪl hæv tɪ dɪˈfaɪn ðə stɛps əv ðə ˌsaɪənˈtɪfɪk ɪkˈspɛrəmənt ju wɔnt tɪ rən, ənd ju wɪl hæv tɪ raɪt ðə kəmˈpjutər koʊd ˈnɛsəˌsɛri tɪ ˈɔpərˌeɪt ðə ˈæstroʊ paɪ əˈkɔrdɪŋli. ju wɪl hæv tɪ juz ðə ‘‘python’*’ ˈproʊˌgræmɪŋ ˈlæŋgwɪʤ. nɑt ən ˈɛkspərt ɪn ˈkoʊdɪŋ? ˈwəri! wɪl prəˈvaɪd ju wɪθ səˈpɔrtɪŋ məˈtɪriəl ənd ˈgaɪˌdlaɪnz ðət ɪkˈspleɪn haʊ tɪ juz ðə ˈæstroʊ paɪ ənd ɪts ˈsɛnsərz ənd tɪ haʊ tɪ raɪt ə ˈsɪmpəl koʊd ɪn ˈpaɪθɑn. ðɪs məˈtɪriəl wɪl bi ˈpəblɪʃt ɔn ðɪs saɪt baɪ 21 noʊˈvɛmbər 2016 feɪz 3 bɛst ər səˈlɛktɪd ənd rən ɔn ðə ɪn ðɪs θərd feɪz, wɪʧ wɪl teɪk pleɪs bɪtˈwin 1 mɑrʧ ənd 15 meɪ 2017 ən ɪˌvæljuˈeɪʃən ˈpænəl kəmˈpoʊzd əv, ðə ˈræzˌbɛri paɪ faʊnˈdeɪʃən, ənd ˈəðər ˈnæʃənəl ˈɛkspərts wɪl səˈlɛkt ðə ˈwɪnɪŋ pər ˈkəntri ðət wɪl bi sɛnt tɪ ðə tɪ bi rən ɔn ˈæstroʊ paɪ ɛd. ɔn 15 meɪ 2017 ðə rɪˈzəlts əv ðə ɪkˈspɛrəmənts wɪl bi ˈpəblɪʃt, ənd ˈæstrəˌnɑt ˈtɑməs wɪl ˈkɑmɛnt ðɛm frəm ˈɔrbət! hu kən teɪk pɑrt? timz əv ˈstudənts 16 jɪrz oʊld ənd ˈəndər frəm ən ˈmɛmbər steɪt*. iʧ tim məst bi səˈpɔrtɪd baɪ æt list wən ˈtiʧər. ˈmɛmbər steɪts: ˈɔstriə, ˈbɛlʤəm, ʧɛk riˈpəblɪk, ˈdɛnˌmɑrk, ɛˈstoʊniə, ˈfɪnˌlænd, fræns, ˈʤərməni, gris, ˈhəŋgəri, ˈaɪərlənd, ˈɪtəli, ˈləksəmˌbɔrg, ðə ˈnɛðərləndz, ˈnɔrˌweɪ, ˈpoʊlənd, ˈpɔrʧəgəl, roʊˈmeɪniə, speɪn, sˈwidən, sˈwɪtsərlənd, juˈnaɪtɪd ˈkɪŋdəm haʊ du aɪ səbˈmɪt maɪ ˌæpləˈkeɪʃən? ɪn feɪz 1 4 ɑkˈtoʊbər 13 noʊˈvɛmbər 2016 timz hæv tɪ ˈrɛʤɪstər ˈɔnˌlaɪn ənd səbˈmɪt ðɛr ərˈɪʤənəl ɪkˈspɛrəmənt aɪˈdiə. ðə ˈdɛˌdlaɪn ɪz 13 noʊˈvɛmbər 2016 ɪf ju ər ə tim frəm ˈɔstriə, ˈbɛlʤəm, ʧɛk riˈpəblɪk, ˈdɛnˌmɑrk, ɛˈstoʊniə, ˈfɪnˌlænd, ˈʤərməni, gris, ˈhəŋgəri, ˈaɪərlənd, ˈɪtəli, ˈləksəmˌbɔrg, ðə ˈnɛðərləndz, ˈnɔrˌweɪ, roʊˈmeɪniə, speɪn, sˈwidən, sˈwɪtsərlənd, juˈnaɪtɪd ˈkɪŋdəm, ju kən ˈækˌsɛs ðə ˈɔnˌlaɪn ˌrɛʤɪˈstreɪʃən fɔrm hir, wɛr ju wɪl nid tɪ prəˈvaɪd ˌɪnˌfɔrˈmeɪʃən əˈbaʊt jʊr skul, tim ənd ˈtiʧər. ju wɪl ˈɔlsoʊ hæv tɪ əˈtæʧ ðə ˈtɛmplət jʊr ɪkˈspɛrəmənt idea’*’) ɪn ˈɪŋlɪʃ. ɪf ju ər ə tim frəm fræns, ju ʃʊd ˈrɛʤɪstər θru ðə ˈsɛntər ˈnæʃənəl (cnes*), ɪn frɛnʧ, æt ðɪs lɪŋk. ɪf ju ər ə tim frəm ˈpoʊlənd, ju ʃʊd ˈrɛʤɪstər θru ˈpoʊlənd ɪn ˈpɑlɪʃ. ɪf ju ər ə tim frəm ˈpɔrʧəgəl, ju ʃʊd ˈrɛʤɪstər θru ðə ˈpɔrʧəgəl ɪn ˈpɔrʧəˌgiz. ɪn feɪz 2 25 noʊˈvɛmbər 2016 28 ˈfɛbruˌɛri 2017 ðə səˈlɛktɪd timz wɪl bi ˈnoʊtəˌfaɪd ɔn haʊ tɪ səbˈmɪt ðə ɪkˈspɛrəmənt ðeɪ prəˈpoʊz tɪ əˈkɑmplɪʃ, ɛz wɛl ɛz ðə kəmˈpjutər koʊdz ˈnɛsəˌsɛri tɪ ˈɔpərˌeɪt ˈæstroʊ paɪ. ˈdɛˌdlaɪn ɪz 28 ˈfɛbruˌɛri 2017 fər kˈwɛsʧənz, pliz sɛnd ən iˈmeɪl tɪ ˈtiʧərz wɪθ ðə ˈsəbʤɪkt: ˌjʊrəˈpiən ˈæstroʊ paɪ ˈʧælənʤ. gʊd lək! ˌjʊrəˈpiən ˈæstroʊ paɪ ˈʧælənʤ ˈtaɪmlaɪn lɔnʧ əv ˌjʊrəˈpiən ˈæstroʊ paɪ ˈʧælənʤ feɪz 1 ˌrɛʤɪˈstreɪʃən ənd səbˈmɪʃən əv ɪkˈspɛrəmənt aɪˈdiə ˌpəblɪˈkeɪʃən əv səˈpɔrtɪŋ ˈrisɔrsɪz ənd ˈæstroʊ paɪ ˈgaɪˌdlaɪnz səˈlɛkʃən əv timz hu pərˈzɛnəd bɛst ɪkˈspɛrəmənt aɪˈdiəz əˈnaʊnsmɛnt əv səˈlɛktɪd timz ənd ˈmɪʃən əˈnaʊnsmɛnt ˌdɪstrəˈbjuʃən əv ˈæstroʊ paɪ kɪts tɪ ðə səˈlɛktɪd timz feɪz 2 dɪˈskəvər ðə ˈæstroʊ paɪ, dɪˈzaɪn ðə ɪkˈspɛrəmənt tɪ əˈkɑmplɪʃ ðə ˈmɪʃən, raɪt ənd səbˈmɪt jʊr koʊd ˈdɛˌdlaɪn fər səbˈmɪtɪŋ jʊr feɪz 3 bɛst ər səˈlɛktɪd ənd rən ɔn ðə səˈlɛkʃən əv ðə bɛst tɪ bi rən ɔn ðə əˈnaʊnsmɛnt əv ðə səˈlɛktɪd ˌpəblɪˈkeɪʃən əv ðə rɪˈzəlts (ˈæftər ðə koʊdz hæv bɪn rən ɔn ðə)

(editor’s note: the following is an email we received from a listener and his wife, who play and on the shadowlands server. our sincere thanks to them both for providing such a comprehensive report!) i thought give you an exclusive on the happenings at the cantina tour in dallas on may 17th. my wife and i went to meet with the developers and other fans. yes, she is an active player, i am a very lucky man and acknowledge this. we had a great time. about eighty people showed up, nearly all of them players. worth noting that about a quarter of them were women, and there were many player couples there as well. four people were there to answer questions and meet the fans. schubert (lead designer), jesse sky (senior designer), ambern (live services specialist a.k.a. helps fix bugs and writes the patch notes) and eric musco (community manager a.k.a. a ball of energy). overall it was a very casual atmosphere. all types of fans were present (both the good and the troll). the room was packed, especially at the beginning. free appetizers and drinks were available all night, provided by. prizes were also given out. everyone got the much coveted fawn code. a couple of people got star wars gentle giant bookends (pricey!), signed copies of books were given out, and even clothes and hats. most of the night was spent mingling, but for about an hour the developers took a casual from the and were very honest and as candid as they could be. i tried to write down most of the questions. paraphrase their answers. i able to cover all the questions asked at the event, nor their answers. please note that any answers i heard from the team are being interpreted by me writing quickly on a small notepad, and thus should not be weighted with the same degree of importance as if come from. any errors reporting are my own, not theirs. questions 1) will we get legacy datacrons? jesse sky: high on his own list of wants, but no eta. 2) can we get dye packs for speeders? eric musco: probably not, because speeders are an ability, not an item. 3) legacy transfers? jesse sky: likes idea but no eta. talked about this before, but worried about unintended consequences. 4) will guild members be able to their guilds by doing missions, where both the player and the guild get credit equally? damion schubert: on our wall of crazy. no eta. (the “wall of crazy” refers to the abundance of good ideas for content that they want to put out, but can only take on so many ideas with finite resources and various larger priorities. crazy the amount of good ideas they have.) 5) legacy chat system? damion schubert: on the wall of crazy, but recently became more of a possibility due to the recent unintended bug, where players could chat with someone across all of that toons. 6) why masks under hoods and why they legacy in the new collections? damion/eric/jesse: they are an item they want you to earn on your individual character, not as part of a legacy. part of the high content. there would be many technical issues to overcome in order to make that happen. also a helmet in their view, not a mask, and you usually put hoods over helmets. 7) why the discounted for subscribers? eric musco: very much heard the community on this, and are actively coming up with more ideas for future subscriber benefits or discounts. at this point, eric actively stressed how much they care about subscribers getting much more out of the game than. also then stated that his team at now is the best ever been at implementing and fixing content as well as actively listening to feedback throughout the community. also said that subscribers will be getting a lot better experience over in the future. then they talked about the struggle it is to balance subscribers and. (in my opinion, it sounded like he was saying they might not always get it right, but that they care about getting it right in the long run, especially with subscribers. and that very human, not corporate, distinction is important to note.) damion went on to say that subscribers are buying the majority of the cartel coins and that information lost on them. cartel success equals more resources that can have to develop more game content. he also stated very emphatically that in his personal philosophy against “pay to win” gaming. 8) when are we gonna get guild ships? damion schubert: guild ships are his baby, he really, really wants us to have them, but will be a long time before they come out. and only when they look awesome. eric then went on to say that they know guild players are the most active and loyal subscribers statistically in the game and that this info lost on them. 9) more open world? jesse sky: difficult to implement and no plans atm. if we do see more be more like the event. 10) guild banks on ships and more guild bank slots? damion schubert: add that to my wall of crazy. 11) why is mask not part of the collections when it was used as an example as being something in the collections? eric musco: (he got very honest and open with us on this one.) mask should not have been used as an example. it was an honest mistake. mask is about a specific toon achievement gain, not legacy. sincerely apologize for the confusion. eric and then went on to say that only so much gear can be a part of the collections and the achievements because of technical limitations. 12) will arenas for small teams come out? damion schubert: he answer directly, but said that a big patch was coming soon that should make us happy. (in my opinion, it seemed they were very aware of the lack of love for in recent months and are very excited at what will be coming out for in the near future.) 13) is bolster now working? jesse sky: bolser is working better now but if you see problems please let them know through the official forums or tickets. help. 14) will more edition content be coming out? eric musco: more content is coming out. dyes not binding on and security vendors was not intended. future exclusive content is coming. 15) how successful was the? damion schubert: was a very big day for them. also because of dye packs and the ability to change your look. so successful that actively paying attention for more ideas in the future for all of this. closely watching the boards for feedback on the and body and how it will relate to the future content they implement. 16) is alacrity working as intended in for players? jesse sky: no. working as we originally implemented, but players using it as intended and something we may work on. 17) why relations in the story content? damion schubert: at this point got very sincere and earnest in his feelings about this subject and talked for a few minutes about it. what he said, was not part of the original design implementation, so it get included. in retrospect they say this was a mistake. it will be too difficult technically to change the game story as it sits now to include, but moving forward they will not make the same mistakes. additionally more story content is coming, but no eta.” 18) will we ever get flying mounts? damion/jesse: (both laughed at this.) hold your breath. to get flying mounts have to redesign the entire game. they went into some brief practical and technical reasons why not. it would be an enormous resource drain for a significant amount of time and that energy could be better spent elsewhere. if it were to ever happen in (which it won’t), it would have to be in a new area of the game specially designed with flying mounts in mind. 19) was the cantina tour held in dallas this weekend because of the event at the same time? eric musco: yes. as much as possible combining events. at this point someone asked about the restriction on the frequency of (player) name change to the game, and said he needed to get “philosophical” with us. in his opinion, the less player names change the better. why? because to create a more stable community that can police itself, better that trolls and jerks change their name. if people were able to do this whenever they wanted with no monetary penalty, trolls would change their names all the time and degrade the overall community. he went on at length on this subject. if the internet were a happy perfect place all for it, but because not we need to be realistic and think about consequences. (before this i was for name changes, after i heard him i was against it; he was very convincing!) finally,, jesse, eric and amber said they loved the cantina tour because it keeps them motivated and in touch with the fans’ feelings that you only get in person. we then spent the rest of the night talking with the developers either one-on-one or in small groups. for me, the thing take away from the event was that these are people who are trying their best with finite resources and time, and that they sincerely love this game. they play the game themselves and want it to succeed as much as, or more, than the players. full of energy (amazing to me) and very funny. amber joked that be shocked at how much of their own money the people at have spent on buying the cartel packs. specifically amber and eric said that when not working, playing all the time and that when players are frustrated, so are they. they have to relate, they live it with fellow players. when something bugs, they get mad too, and they work on fixing it. they encouraged players to submit tickets and post issues on the forums with. spot everything, and need accurate feedback from the community to help them overcome bugs/issues. all four of them handled the crowd pretty well. they each took a thousand and -girl questions for four hours. major props for professionalism, especially when some of the fans lacked basic human interaction skills or hygiene. the four of them gave real, answers. we shook hands, we broke bread, we shared beer and we could look each other in the eye. we came out of it more hopeful for than before. we were very glad to have gone. we would highly recommend for other fans to go to future cantina tour events. make sure you get there early. may the cartel coins be with you!

(editor’s* noʊt: ðə ˈfɑloʊɪŋ ɪz ən iˈmeɪl wi rɪˈsivd frəm ə ˈlɪsənər ənd hɪz waɪf, hu pleɪ ənd ɔn ðə ˈʃædoʊˌlændz ˈsərvər. ɑr sɪnˈsɪr θæŋks tɪ ðɛm boʊθ fər prəˈvaɪdɪŋ səʧ ə ˌkɑmpriˈhɛnsɪv rɪˈpɔrt!) aɪ θɔt gɪv ju ən ɪkˈsklusɪv ɔn ðə ˈhæpənɪŋz æt ðə ˌkænˈtinə tʊr ɪn ˈdæləs ɔn meɪ 17th*. maɪ waɪf ənd aɪ wɛnt tɪ mit wɪθ ðə dɪˈvɛləpərz ənd ˈəðər fænz. jɛs, ʃi ɪz ən ˈæktɪv pleɪər, aɪ æm ə ˈvɛri ˈləki mæn ənd ækˈnɑlɪʤ ðɪs. wi hæd ə greɪt taɪm. əˈbaʊt ˈeɪti ˈpipəl ʃoʊd əp, ˈnɪrli ɔl əv ðɛm pleɪərz. wərθ ˈnoʊtɪŋ ðət əˈbaʊt ə kˈwɔrtər əv ðɛm wər ˈwɪmən, ənd ðɛr wər ˈmɛni pleɪər ˈkəpəlz ðɛr ɛz wɛl. fɔr ˈpipəl wər ðɛr tɪ ˈænsər kˈwɛsʧənz ənd mit ðə fænz. ˈʃubərt (lɛd dɪˈzaɪnər), ˈʤɛsi skaɪ (ˈsinjər dɪˈzaɪnər), ˈæmbər grin (lɪv ˈsərvɪsɪz ˈspɛʃəlɪst a.k.a*. hɛlps fɪks bəgz ənd raɪts ðə pæʧ noʊts) ənd ˈɛrɪk ˈmuskoʊ (kəmˈjunɪti ˈmænɪʤər a.k.a*. ə bɔl əv ˈɛnərʤi). ˈoʊvərˌɔl ɪt wɑz ə ˈvɛri ˈkæʒəwəl ˈætməsˌfɪr. ɔl taɪps əv fænz wər ˈprɛzənt (boʊθ ðə gʊd ənd ðə troʊl). ðə rum wɑz pækt, əˈspɛʃəli æt ðə bɪˈgɪnɪŋ. fri ˈæpəˌtaɪzərz ənd drɪŋks wər əˈveɪləbəl ɔl naɪt, prəˈvaɪdɪd baɪ. ˈpraɪzɪz wər ˈɔlsoʊ ˈgɪvɪn aʊt. ˈɛvriˌwən gɑt ðə məʧ ˈkəvətɪd fɔn koʊd. ə ˈkəpəl əv ˈpipəl gɑt stɑr wɔrz ˈʤɛnəl ʤaɪənt ˈbʊˌkɛndz (ˈpraɪsi!), saɪnd ˈkɑpiz əv bʊks wər ˈgɪvɪn aʊt, ənd ˈivɪn kloʊðz ənd hæts. moʊst əv ðə naɪt wɑz spɛnt ˈmɪŋgəlɪŋ, bət fər əˈbaʊt ən aʊər ðə dɪˈvɛləpərz tʊk ə ˈkæʒəwəl frəm ðə ənd wər ˈvɛri ˈɑnəst ənd ɛz ˈkændɪd ɛz ðeɪ kʊd bi. aɪ traɪd tɪ raɪt daʊn moʊst əv ðə kˈwɛsʧənz. ˈpɛrəˌfreɪz ðɛr ˈænsərz. aɪ ˈeɪbəl tɪ ˈkəvər ɔl ðə kˈwɛsʧənz æst æt ðə ɪˈvɛnt, nɔr ðɛr ˈænsərz. pliz noʊt ðət ˈɛni ˈænsərz aɪ hərd frəm ðə tim ər biɪŋ ˌɪnˈtərprətəd baɪ mi ˈraɪtɪŋ kˈwɪkli ɔn ə smɔl notepad*, ənd ðəs ʃʊd nɑt bi ˈweɪtɪd wɪθ ðə seɪm dɪˈgri əv ˌɪmˈpɔrtəns ɛz ɪf kəm frəm. ˈɛni ˈɛrərz rɪˈpɔrtɪŋ ər maɪ oʊn, nɑt ðɛrz. kˈwɛsʧənz 1 wɪl wi gɪt ˈlɛgəsi datacrons*? ˈʤɛsi skaɪ: haɪ ɔn hɪz oʊn lɪst əv wɔnts, bət noʊ eta*. 2 kən wi gɪt daɪ pæks fər ˈspidərz? ˈɛrɪk ˈmuskoʊ: ˈprɑbəˌbli nɑt, bɪˈkəz ˈspidərz ər ən əˈbɪləˌti, nɑt ən ˈaɪtəm. 3 ˈlɛgəsi ˈtrænsfərz? ˈʤɛsi skaɪ: laɪks aɪˈdiə bət noʊ eta*. tɔkt əˈbaʊt ðɪs ˌbiˈfɔr, bət ˈwərid əˈbaʊt ˌənɪnˈtɛndɪd ˈkɑnsəkˌwɛnsəz. 4 wɪl gɪld ˈmɛmbərz bi ˈeɪbəl tɪ ðɛr gɪldz baɪ duɪŋ ˈmɪʃənz, wɛr boʊθ ðə pleɪər ənd ðə gɪld gɪt ˈkrɛdɪt ˈikwəli? ˈʃubərt: ɔn ɑr wɔl əv ˈkreɪzi. noʊ eta*. (ðə əv crazy”*” rɪˈfərz tɪ ðə əˈbəndəns əv gʊd aɪˈdiəz fər ˈkɑntɛnt ðət ðeɪ wɔnt tɪ pʊt aʊt, bət kən ˈoʊnli teɪk ɔn soʊ ˈmɛni aɪˈdiəz wɪθ ˈfaɪˌnaɪt ˈrisɔrsɪz ənd ˈvɛriəs ˈlɑrʤər praɪˈɔrətiz. ˈkreɪzi ðə əˈmaʊnt əv gʊd aɪˈdiəz ðeɪ hæv.) 5 ˈlɛgəsi ʧæt ˈsɪstəm? ˈʃubərt: ɔn ðə wɔl əv ˈkreɪzi, bət ˈrisəntli bɪˈkeɪm mɔr əv ə ˌpɑsəˈbɪləˌti du tɪ ðə ˈrisənt ˌənɪnˈtɛndɪd bəg, wɛr pleɪərz kʊd ʧæt wɪθ ˈsəmˌwən əˈkrɔs ɔl əv ðət toons*. 6 waɪ mæsks ˈəndər hʊdz ənd waɪ ðeɪ ˈlɛgəsi ɪn ðə nu kəˈlɛkʃənz? damion/eric/jesse*: ðeɪ ər ən ˈaɪtəm ðeɪ wɔnt ju tɪ ərn ɔn jʊr ˌɪndəˈvɪʤəwəl ˈkɛrɪktər, nɑt ɛz pɑrt əv ə ˈlɛgəsi. pɑrt əv ðə haɪ ˈkɑntɛnt. ðɛr wʊd bi ˈmɛni ˈtɛknɪkəl ˈɪʃuz tɪ ˈoʊvərˌkəm ɪn ˈɔrdər tɪ meɪk ðət ˈhæpən. ˈɔlsoʊ ə ˈhɛlmət ɪn ðɛr vju, nɑt ə mæsk, ənd ju ˈjuʒəwəli pʊt hʊdz ˈoʊvər ˈhɛlməts. 7 waɪ ðə ˈdɪˌskaʊnɪd fər səbˈskraɪbərz? ˈɛrɪk ˈmuskoʊ: ˈvɛri məʧ hərd ðə kəmˈjunɪti ɔn ðɪs, ənd ər ˈæktɪvli ˈkəmɪŋ əp wɪθ mɔr aɪˈdiəz fər fˈjuʧər səbˈskraɪbər ˈbɛnəfɪts ər ˈdɪˌskaʊnts. æt ðɪs pɔɪnt, ˈɛrɪk ˈæktɪvli strɛst haʊ məʧ ðeɪ kɛr əˈbaʊt səbˈskraɪbərz ˈgɪtɪŋ məʧ mɔr aʊt əv ðə geɪm ðən. ˈɔlsoʊ ðɛn ˈsteɪtɪd ðət hɪz tim æt naʊ ɪz ðə bɛst ˈɛvər bɪn æt ˈɪmpləˌmɛnɪŋ ənd ˈfɪksɪŋ ˈkɑntɛnt ɛz wɛl ɛz ˈæktɪvli ˈlɪsənɪŋ tɪ ˈfidˌbæk θruaʊt ðə kəmˈjunɪti. ˈɔlsoʊ sɛd ðət səbˈskraɪbərz wɪl bi ˈgɪtɪŋ ə lɔt ˈbɛtər ɪkˈspɪriəns ˈoʊvər ɪn ðə fˈjuʧər. ðɛn ðeɪ tɔkt əˈbaʊt ðə ˈstrəgəl ɪt ɪz tɪ ˈbæləns səbˈskraɪbərz ənd. (ɪn maɪ əˈpɪnjən, ɪt ˈsaʊndɪd laɪk hi wɑz seɪɪŋ ðeɪ maɪt nɑt ˈɔlˌweɪz gɪt ɪt raɪt, bət ðət ðeɪ kɛr əˈbaʊt ˈgɪtɪŋ ɪt raɪt ɪn ðə lɔŋ rən, əˈspɛʃəli wɪθ səbˈskraɪbərz. ənd ðət ˈvɛri ˈjumən, nɑt ˈkɔrpərət, dɪˈstɪŋkʃən ɪz ˌɪmˈpɔrtənt tɪ noʊt.) wɛnt ɔn tɪ seɪ ðət səbˈskraɪbərz ər baɪɪŋ ðə məˈʤɔrəti əv ðə kɑrˈtɛl kɔɪnz ənd ðət ˌɪnˌfɔrˈmeɪʃən lɔst ɔn ðɛm. kɑrˈtɛl səkˈsɛs ˈikwəlz mɔr ˈrisɔrsɪz ðət kən hæv tɪ dɪˈvɛləp mɔr geɪm ˈkɑntɛnt. hi ˈɔlsoʊ ˈsteɪtɪd ˈvɛri ɛmˈfætɪkəli ðət ɪn hɪz ˈpərsɪnəl fəˈlɑsəfi əˈgɛnst tɪ win”*” ˈgeɪmɪŋ. 8 wɪn ər wi ˈgɑnə gɪt gɪld ʃɪps? ˈʃubərt: gɪld ʃɪps ər hɪz ˈbeɪbi, hi ˈrɪli, ˈrɪli wɔnts ˈjuˈɛs tɪ hæv ðɛm, bət wɪl bi ə lɔŋ taɪm ˌbiˈfɔr ðeɪ kəm aʊt. ənd ˈoʊnli wɪn ðeɪ lʊk ˈɔsəm. ˈɛrɪk ðɛn wɛnt ɔn tɪ seɪ ðət ðeɪ noʊ gɪld pleɪərz ər ðə moʊst ˈæktɪv ənd lɔɪəl səbˈskraɪbərz stəˈtɪstɪkəli ɪn ðə geɪm ənd ðət ðɪs ˈɪnfoʊ lɔst ɔn ðɛm. 9 mɔr ˈoʊpən wərld? ˈʤɛsi skaɪ: ˈdɪfəkəlt tɪ ˈɪmpləmənt ənd noʊ plænz ˈeɪˌtiˈɛm. ɪf wi du si mɔr bi mɔr laɪk ðə ɪˈvɛnt. 10 gɪld bæŋks ɔn ʃɪps ənd mɔr gɪld bæŋk slɑts? ˈʃubərt: æd ðət tɪ maɪ wɔl əv ˈkreɪzi. 11 waɪ ɪz mæsk nɑt pɑrt əv ðə kəˈlɛkʃənz wɪn ɪt wɑz juzd ɛz ən ɪgˈzæmpəl ɛz biɪŋ ˈsəmθɪŋ ɪn ðə kəˈlɛkʃənz? ˈɛrɪk ˈmuskoʊ: (hi gɑt ˈvɛri ˈɑnəst ənd ˈoʊpən wɪθ ˈjuˈɛs ɔn ðɪs wən.) mæsk ʃʊd nɑt hæv bɪn juzd ɛz ən ɪgˈzæmpəl. ɪt wɑz ən ˈɑnəst mɪˈsteɪk. mæsk ɪz əˈbaʊt ə spɪˈsɪfɪk tun əˈʧivmənt geɪn, nɑt ˈlɛgəsi. sɪnˈsɪrli əˈpɑləˌʤaɪz fər ðə kənfˈjuʒən. ˈɛrɪk ənd ðɛn wɛnt ɔn tɪ seɪ ðət ˈoʊnli soʊ məʧ gɪr kən bi ə pɑrt əv ðə kəˈlɛkʃənz ənd ðə əˈʧivmənts bɪˈkəz əv ˈtɛknɪkəl ˌlɪmɪˈteɪʃənz. 12 wɪl ərˈinəz fər smɔl timz kəm aʊt? ˈʃubərt: hi ˈænsər dɪˈrɛkli, bət sɛd ðət ə bɪg pæʧ wɑz ˈkəmɪŋ sun ðət ʃʊd meɪk ˈjuˈɛs ˈhæpi. (ɪn maɪ əˈpɪnjən, ɪt simd ðeɪ wər ˈvɛri əˈwɛr əv ðə læk əv ləv fər ɪn ˈrisənt mənθs ənd ər ˈvɛri ɪkˈsaɪtɪd æt wət wɪl bi ˈkəmɪŋ aʊt fər ɪn ðə nɪr fˈjuʧər.) 13 ɪz ˈboʊlstər naʊ ˈwərkɪŋ? ˈʤɛsi skaɪ: ˈboʊlsər ɪz ˈwərkɪŋ ˈbɛtər naʊ bət ɪf ju si ˈprɑbləmz pliz lɛt ðɛm noʊ θru ðə əˈfɪʃəl ˈfɔrəmz ər ˈtɪkɪts. hɛlp. 14 wɪl mɔr ɪˈdɪʃən ˈkɑntɛnt bi ˈkəmɪŋ aʊt? ˈɛrɪk ˈmuskoʊ: mɔr ˈkɑntɛnt ɪz ˈkəmɪŋ aʊt. daɪz nɑt ˈbaɪndɪŋ ɔn ənd sɪˈkjʊrəti ˈvɛndərz wɑz nɑt ˌɪnˈtɛndɪd. fˈjuʧər ɪkˈsklusɪv ˈkɑntɛnt ɪz ˈkəmɪŋ. 15 haʊ səkˈsɛsfəl wɑz ðə? ˈʃubərt: wɑz ə ˈvɛri bɪg deɪ fər ðɛm. ˈɔlsoʊ bɪˈkəz əv daɪ pæks ənd ðə əˈbɪləˌti tɪ ʧeɪnʤ jʊr lʊk. soʊ səkˈsɛsfəl ðət ˈæktɪvli peɪɪŋ əˈtɛnʃən fər mɔr aɪˈdiəz ɪn ðə fˈjuʧər fər ɔl əv ðɪs. ˈkloʊsli ˈwɑʧɪŋ ðə bɔrdz fər ˈfidˌbæk ɔn ðə ənd ˈbɑdi ənd haʊ ɪt wɪl rɪˈleɪt tɪ ðə fˈjuʧər ˈkɑntɛnt ðeɪ ˈɪmpləmənt. 16 ɪz əˈlækrəti ˈwərkɪŋ ɛz ˌɪnˈtɛndɪd ɪn fər pleɪərz? ˈʤɛsi skaɪ: noʊ. ˈwərkɪŋ ɛz wi ərˈɪʤənəli ˈɪmpləˌmɛnəd, bət pleɪərz ˈjuzɪŋ ɪt ɛz ˌɪnˈtɛndɪd ənd ˈsəmθɪŋ wi meɪ wərk ɔn. 17 waɪ riˈleɪʃənz ɪn ðə ˈstɔri ˈkɑntɛnt? ˈʃubərt: æt ðɪs pɔɪnt gɑt ˈvɛri sɪnˈsɪr ənd ˈərnɪst ɪn hɪz ˈfilɪŋz əˈbaʊt ðɪs ˈsəbʤɪkt ənd tɔkt fər ə fju ˈmɪnəts əˈbaʊt ɪt. wət hi sɛd, wɑz nɑt pɑrt əv ðə ərˈɪʤənəl dɪˈzaɪn ˌɪmpləmɛnˈteɪʃən, soʊ ɪt gɪt ˌɪnˈkludɪd. ɪn ˈrɛtrəˌspɛkt ðeɪ seɪ ðɪs wɑz ə mɪˈsteɪk. ɪt wɪl bi tu ˈdɪfəkəlt ˈtɛknɪkəli tɪ ʧeɪnʤ ðə geɪm ˈstɔri ɛz ɪt sɪts naʊ tɪ ˌɪnˈklud, bət ˈmuvɪŋ ˈfɔrwərd ðeɪ wɪl nɑt meɪk ðə seɪm mɪˈsteɪks. əˈdɪʃəˌnəli mɔr ˈstɔri ˈkɑntɛnt ɪz ˈkəmɪŋ, bət noʊ eta.”*.” 18 wɪl wi ˈɛvər gɪt flaɪɪŋ maʊnts? damion/jesse*: (boʊθ læft æt ðɪs.) hoʊld jʊr brɛθ. tɪ gɪt flaɪɪŋ maʊnts hæv tɪ ˌridɪˈzaɪn ðə ɪnˈtaɪər geɪm. ðeɪ wɛnt ˈɪntu səm brif ˈpræktɪkəl ənd ˈtɛknɪkəl ˈrizənz waɪ nɑt. ɪt wʊd bi ən ɪˈnɔrmɪs ˈrisɔrs dreɪn fər ə sɪgˈnɪfɪkənt əˈmaʊnt əv taɪm ənd ðət ˈɛnərʤi kʊd bi ˈbɛtər spɛnt ˈɛlsˌwɛr. ɪf ɪt wər tɪ ˈɛvər ˈhæpən ɪn (wɪʧ ɪt won’t*), ɪt wʊd hæv tɪ bi ɪn ə nu ˈɛriə əv ðə geɪm ˈspɛʃəli dɪˈzaɪnd wɪθ flaɪɪŋ maʊnts ɪn maɪnd. 19 wɑz ðə ˌkænˈtinə tʊr hɛld ɪn ˈdæləs ðɪs ˈwiˌkɪnd bɪˈkəz əv ðə ɪˈvɛnt æt ðə seɪm taɪm? ˈɛrɪk ˈmuskoʊ: jɛs. ɛz məʧ ɛz ˈpɑsəbəl kəmˈbaɪnɪŋ ɪˈvɛnts. æt ðɪs pɔɪnt ˈsəmˌwən æst əˈbaʊt ðə riˈstrɪkʃən ɔn ðə ˈfrikwənsi əv (pleɪər) neɪm ʧeɪnʤ tɪ ðə geɪm, ənd sɛd hi ˈnidɪd tɪ gɪt ““philosophical”*” wɪθ ˈjuˈɛs. ɪn hɪz əˈpɪnjən, ðə lɛs pleɪər neɪmz ʧeɪnʤ ðə ˈbɛtər. waɪ? bɪˈkəz tɪ kriˈeɪt ə mɔr ˈsteɪbəl kəmˈjunɪti ðət kən pəˈlis ˌɪtˈsɛlf, ˈbɛtər ðət troʊlz ənd ʤərks ʧeɪnʤ ðɛr neɪm. ɪf ˈpipəl wər ˈeɪbəl tɪ du ðɪs wɛˈnɛvər ðeɪ ˈwɔntɪd wɪθ noʊ ˈmɑnəˌtɛri ˈpɛnəlti, troʊlz wʊd ʧeɪnʤ ðɛr neɪmz ɔl ðə taɪm ənd dɪˈgreɪd ðə ˈoʊvərˌɔl kəmˈjunɪti. hi wɛnt ɔn æt lɛŋθ ɔn ðɪs ˈsəbʤɪkt. ɪf ðə ˈɪntərˌnɛt wər ə ˈhæpi ˈpərˌfɪkt pleɪs ɔl fər ɪt, bət bɪˈkəz nɑt wi nid tɪ bi ˌriəˈlɪstɪk ənd θɪŋk əˈbaʊt ˈkɑnsəkˌwɛnsəz. (ˌbiˈfɔr ðɪs aɪ wɑz fər neɪm ˈʧeɪnʤɪz, ˈæftər aɪ hərd ɪm aɪ wɑz əˈgɛnst ɪt; hi wɑz ˈvɛri kənˈvɪnsɪŋ!) ˈfaɪnəli,, ˈʤɛsi, ˈɛrɪk ənd ˈæmbər sɛd ðeɪ ləvd ðə ˌkænˈtinə tʊr bɪˈkəz ɪt kips ðɛm ˈmoʊtəˌveɪtəd ənd ɪn təʧ wɪθ ðə fans’*’ ˈfilɪŋz ðət ju ˈoʊnli gɪt ɪn ˈpərsən. wi ðɛn spɛnt ðə rɛst əv ðə naɪt ˈtɔkɪŋ wɪθ ðə dɪˈvɛləpərz ˈiðər ˌwənɔnˈwən ər ɪn smɔl grups. fər mi, ðə θɪŋ teɪk əˈweɪ frəm ðə ɪˈvɛnt wɑz ðət ðiz ər ˈpipəl hu ər traɪɪŋ ðɛr bɛst wɪθ ˈfaɪˌnaɪt ˈrisɔrsɪz ənd taɪm, ənd ðət ðeɪ sɪnˈsɪrli ləv ðɪs geɪm. ðeɪ pleɪ ðə geɪm ðɛmˈsɛlvz ənd wɔnt ɪt tɪ səkˈsid ɛz məʧ ɛz, ər mɔr, ðən ðə pleɪərz. fʊl əv ˈɛnərʤi (əˈmeɪzɪŋ tɪ mi) ənd ˈvɛri ˈfəni. ˈæmbər ʤoʊkt ðət bi ʃɑkt æt haʊ məʧ əv ðɛr oʊn ˈməni ðə ˈpipəl æt hæv spɛnt ɔn baɪɪŋ ðə kɑrˈtɛl pæks. spəˈsɪfɪkli ˈæmbər ənd ˈɛrɪk sɛd ðət wɪn nɑt ˈwərkɪŋ, pleɪɪŋ ɔl ðə taɪm ənd ðət wɪn pleɪərz ər ˈfrəˌstreɪtəd, soʊ ər ðeɪ. ðeɪ hæv tɪ rɪˈleɪt, ðeɪ lɪv ɪt wɪθ ˈfɛloʊ pleɪərz. wɪn ˈsəmθɪŋ bəgz, ðeɪ gɪt mæd tu, ənd ðeɪ wərk ɔn ˈfɪksɪŋ ɪt. ðeɪ ɪnˈkərəʤd pleɪərz tɪ səbˈmɪt ˈtɪkɪts ənd poʊst ˈɪʃuz ɔn ðə ˈfɔrəmz wɪθ. spɑt ˈɛvriˌθɪŋ, ənd nid ˈækjərət ˈfidˌbæk frəm ðə kəmˈjunɪti tɪ hɛlp ðɛm ˈoʊvərˌkəm bugs/issues*. ɔl fɔr əv ðɛm ˈhændəld ðə kraʊd ˈprɪti wɛl. ðeɪ iʧ tʊk ə ˈθaʊzənd ənd -gərl kˈwɛsʧənz fər fɔr aʊərz. ˈmeɪʤər prɑps fər prəˈfɛʃənəˌlɪzəm, əˈspɛʃəli wɪn səm əv ðə fænz lækt ˈbeɪsɪk ˈjumən ˌɪnərˈækʃən skɪlz ər ˈhaɪˌʤin. ðə fɔr əv ðɛm geɪv ril, ˈænsərz. wi ʃʊk hænz, wi broʊk brɛd, wi ʃɛrd bɪr ənd wi kʊd lʊk iʧ ˈəðər ɪn ðə aɪ. wi keɪm aʊt əv ɪt mɔr ˈhoʊpfəl fər ðən ˌbiˈfɔr. wi wər ˈvɛri glæd tɪ hæv gɔn. wi wʊd ˈhaɪli ˌrɛkəˈmɛnd fər ˈəðər fænz tɪ goʊ tɪ fˈjuʧər ˌkænˈtinə tʊr ɪˈvɛnts. meɪk ʃʊr ju gɪt ðɛr ˈərli. meɪ ðə kɑrˈtɛl kɔɪnz bi wɪθ ju!

sony might be staring down the barrel of another playstation network security breach. the company, having just had a successful launch of the playstation 4 console, has sent out emails to an unknown number of users requiring them to change their passwords because of “irregular activity” on the account. it seems the warning might have come too late for some users are beginning to report fraudulent charges on the linked credit cards. unlike the breach a few years back, it appear that mountains of customer data were stolen, but someone seems to have at least gained access to and passwords. reports indicate content is being purchased on accounts without authorization. one user tells that $150 was charged to his wallet, and another says 14 content was bought by someone with his profile. it may seem odd that someone would steal account credentials only to add content to the account, but there is a way for the thief to benefit. by adding his or her console to the account the thief is able to download all the content they want and play it offline, assuming there is no additional measure employed by the game. one user has also reported $650 charged to a clothing retailer on the card used for, but not clear if the supposed perpetrators got that kind of access. sony spoken publicly about the breach yet, but the emails are genuine. something happened, but we might have to wait until after the weekend to find out what.

ˈsoʊni maɪt bi ˈstɛrɪŋ daʊn ðə ˈbɛrəl əv əˈnəðər ˈpleɪˌsteɪʃən ˈnɛtˌwərk sɪˈkjʊrəti briʧ. ðə ˈkəmpəˌni, ˈhævɪŋ ʤɪst hæd ə səkˈsɛsfəl lɔnʧ əv ðə ˈpleɪˌsteɪʃən 4 ˈkɑnsoʊl, həz sɛnt aʊt iˈmeɪlz tɪ ən ənˈnoʊn ˈnəmbər əv ˈjuzərz rikˈwaɪərɪŋ ðɛm tɪ ʧeɪnʤ ðɛr ˈpæsˌwərdz bɪˈkəz əv activity”*” ɔn ðə əˈkaʊnt. ɪt simz ðə ˈwɔrnɪŋ maɪt hæv kəm tu leɪt fər səm ˈjuzərz ər bɪˈgɪnɪŋ tɪ rɪˈpɔrt ˈfrɔʤələnt ˈʧɑrʤɪz ɔn ðə lɪŋkt ˈkrɛdɪt kɑrdz. ənˈlaɪk ðə briʧ ə fju jɪrz bæk, ɪt əˈpɪr ðət ˈmaʊntənz əv ˈkəstəmər ˈdætə wər ˈstoʊlən, bət ˈsəmˌwən simz tɪ hæv æt list geɪnd ˈækˌsɛs tɪ ənd ˈpæsˌwərdz. rɪˈpɔrts ˈɪndəˌkeɪt ˈkɑntɛnt ɪz biɪŋ ˈpərʧəst ɔn əˈkaʊnts wɪˈθaʊt ˌɔθərəˈzeɪʃən. wən ˈjuzər tɛlz ðət 150 wɑz ʧɑrʤd tɪ hɪz ˈwɔlət, ənd əˈnəðər sɪz 14 ˈkɑntɛnt wɑz bɔt baɪ ˈsəmˌwən wɪθ hɪz ˈproʊˌfaɪl. ɪt meɪ sim ɑd ðət ˈsəmˌwən wʊd stil əˈkaʊnt krəˈdɛnʃəlz ˈoʊnli tɪ æd ˈkɑntɛnt tɪ ðə əˈkaʊnt, bət ðɛr ɪz ə weɪ fər ðə θif tɪ ˈbɛnəfɪt. baɪ ˈædɪŋ hɪz ər hər ˈkɑnsoʊl tɪ ðə əˈkaʊnt ðə θif ɪz ˈeɪbəl tɪ ˈdaʊnˌloʊd ɔl ðə ˈkɑntɛnt ðeɪ wɔnt ənd pleɪ ɪt ˈɔˌflaɪn, əˈsumɪŋ ðɛr ɪz noʊ əˈdɪʃənəl ˈmɛʒər ɪmˈplɔɪd baɪ ðə geɪm. wən ˈjuzər həz ˈɔlsoʊ ˌriˈpɔrtəd 650 ʧɑrʤd tɪ ə ˈkloʊðɪŋ ˈriˌteɪlər ɔn ðə kɑrd juzd fər, bət nɑt klɪr ɪf ðə səˈpoʊzd ˈpərpəˌtreɪtərz gɑt ðət kaɪnd əv ˈækˌsɛs. ˈsoʊni ˈspoʊkən ˈpəblɪkli əˈbaʊt ðə briʧ jɛt, bət ðə iˈmeɪlz ər ˈʤɛnjuˌaɪn. ˈsəmθɪŋ ˈhæpənd, bət wi maɪt hæv tɪ weɪt ənˈtɪl ˈæftər ðə ˈwiˌkɪnd tɪ faɪnd aʊt wət.

but some of the leading liberal insiders, like harold h. koh, the state legal adviser, are pushing for the united states to join the ban. and even some pentagon officials are said to favor a change. in a sign of the urgency, the white house is holding regular meetings with officials from the pentagon and state department. the administration has summoned outside experts, like karl f. inderfurth, a former senior diplomat who led the delegation to ottawa in 1997, where the united states watched as 120 other countries signed the pact. “i’m guardedly optimistic,” said a senior administration official who favors the treaty and who spoke on condition of anonymity because he was not authorized to speak publicly. “why stick with the status quo when we would get so much credit for even a modest move?” a pentagon spokesman said it would be “premature” to comment before the review was completed. it is not clear where the defense secretary, robert m. gates, stands. the white house said that the united states is already helping deal with the fallout from mines. “the u.s. record on humanitarian mine action shows that we share the concern of parties to the ottawa convention,” said michael hammer, a spokesman for the national security council. some analysts say the rationale for land mines is even weaker now than it was in 1997. technological advances have enabled the pentagon to create explosives that function like mines but are detonated remotely, making them permissible under the treaty. the united states has not used land mines since 1991, despite fighting wars in iraq and afghanistan two countries that have ratified the treaty. newsletter sign up continue reading the main story please verify you're not a robot by clicking the box. invalid email address. please re-enter. you must select a newsletter to subscribe to. sign up you will receive emails containing news content , updates and promotions from the new york times. you may at any time. you agree to receive occasional updates and special offers for the new york times's products and services. thank you for subscribing. an error has occurred. please try again later. view all new york times newsletters. “the situation has changed significantly in recent years,” said mr. inderfurth, who is now a professor of international affairs at george washington university. “there is every reason to believe we could join this treaty.” next week, senator leahy plans to send a letter to mr. obama, urging him to join the ban. the letter notes that 158 countries have signed the treaty, including britain and other nato allies. it is signed by 68 senators, including 10 republicans. advertisement continue reading the main story in the 13 years since diana, princess of wales, walked near a minefield in angola to dramatize the dangers, land mines have receded as a political cause. they were not an issue in the presidential campaign or in the early days of the administration. by all accounts, the initial land mine review was “cursory and half-hearted,” in mr. words. last november, on the eve of a meeting on the treaty in colombia, a state department spokesman declared, “we would not be able to meet our national defense needs nor our security commitments to our friends and allies if we signed this.” a day later, after a storm of protest from mr. leahy and human rights groups, the administration insisted that the review was still under way, and that the comments were premature. but one senior official said the “negative blowback” forced a more serious examination. the current review is being coordinated by two senior officials at the national security council, samantha power and barry pavel. another key player is andrew j. shapiro, the state top liaison to the pentagon who served as an adviser to mrs. clinton on defense policy when she was in the senate. officials said mr. koh, a former dean of yale law school, was drafting legal arguments on issues like the status of land mines in south korea, where american troops are deployed. in the past, the pentagon has sought a “korean exception” that would allow it to keep a stockpile of mines in the demilitarized zone. but while those mines are there to protect american soldiers, control over them has been transferred to south korea, which is not a party to the treaty. the goal of those who favor the treaty is to get back to the policy of the clinton administration, which declined to sign the treaty in 1997 but said it wanted the united states to be compliant by 2006. in 2004, the bush administration issued a new policy that emphasized the development of safer and more sophisticated mines, but pointedly refused to go along with a ban. since the treaty has been in force for more than a decade, the united states would no longer sign it, but accede to its terms, a decision that would still require ratification by the senate. the most likely outcome, several officials said, is for the administration to bring the united states closer to full compliance, while setting a goal, as mr. clinton did, to join it eventually. such a move might not satisfy the advocates, said heather hurlburt, the executive director of the national security network, a foreign policy group. “but you definitely have people within the administration working to bring the united states closer to the spirit of the treaty,” she said.

bət səm əv ðə ˈlidɪŋ ˈlɪˌbərəl ˌɪnˈsaɪdərz, laɪk ˈhɛrəld eɪʧ. koʊ, ðə steɪt ˈligəl ædˈvaɪzər, ər ˈpʊʃɪŋ fər ðə juˈnaɪtɪd steɪts tɪ ʤɔɪn ðə bæn. ənd ˈivɪn səm ˈpɛnɪˌgɑn əˈfɪʃəlz ər sɛd tɪ ˈfeɪvər ə ʧeɪnʤ. ɪn ə saɪn əv ðə ˈərʤənsi, ðə waɪt haʊs ɪz ˈhoʊldɪŋ ˈrɛgjələr ˈmitɪŋz wɪθ əˈfɪʃəlz frəm ðə ˈpɛnɪˌgɑn ənd steɪt dɪˈpɑrtmənt. ðə ædˌmɪnɪˈstreɪʃən həz ˈsəmənd ˈaʊtˈsaɪd ˈɛkspərts, laɪk kɑrl ɛf. inderfurth*, ə ˈfɔrmər ˈsinjər ˈdɪpləˌmæt hu lɛd ðə ˌdɛləˈgeɪʃən tɪ ˈɑtəˌwɑ ɪn 1997 wɛr ðə juˈnaɪtɪd steɪts wɔʧt ɛz 120 ˈəðər ˈkəntriz saɪnd ðə pækt. ˈgɑrdɪdli optimistic,”*,” sɛd ə ˈsinjər ædˌmɪnɪˈstreɪʃən əˈfɪʃəl hu ˈfeɪvərz ðə ˈtriti ənd hu spoʊk ɔn kənˈdɪʃən əv ˌænəˈnɪmɪti bɪˈkəz hi wɑz nɑt ˈɔθərˌaɪzd tɪ spik ˈpəblɪkli. stɪk wɪθ ðə ˈstætəs kwoʊ wɪn wi wʊd gɪt soʊ məʧ ˈkrɛdɪt fər ˈivɪn ə ˈmɑdəst move?”*?” ə ˈpɛnɪˌgɑn ˈspoʊksmən sɛd ɪt wʊd bi ““premature”*” tɪ ˈkɑmɛnt ˌbiˈfɔr ðə ˌrivˈju wɑz kəmˈplitɪd. ɪt ɪz nɑt klɪr wɛr ðə dɪˈfɛns ˈsɛkrəˌtɛri, ˈrɑbərt ɛm. geɪts, stændz. ðə waɪt haʊs sɛd ðət ðə juˈnaɪtɪd steɪts ɪz ɔˈrɛdi ˈhɛlpɪŋ dil wɪθ ðə ˈfɔˌlaʊt frəm maɪnz. juz. ˈrɛkərd ɔn ˌjuˌmænəˈtɛriən maɪn ˈækʃən ʃoʊz ðət wi ʃɛr ðə kənˈsərn əv ˈpɑrtiz tɪ ðə ˈɑtəˌwɑ convention,”*,” sɛd ˈmaɪkəl ˈhæmər, ə ˈspoʊksmən fər ðə ˈnæʃənəl sɪˈkjʊrəti ˈkaʊnsəl. səm ˈænəlɪsts seɪ ðə ˌræʃəˈnæl fər lænd maɪnz ɪz ˈivɪn ˈwikər naʊ ðən ɪt wɑz ɪn 1997 ˌtɛknəˈlɑʤɪkəl ədˈvænsɪz hæv ɪˈneɪbəld ðə ˈpɛnɪˌgɑn tɪ kriˈeɪt ɪkˈsploʊsɪvz ðət ˈfəŋkʃən laɪk maɪnz bət ər ˈdɛtəˌneɪtəd riˈmoʊtli, ˈmeɪkɪŋ ðɛm pərˈmɪsəbəl ˈəndər ðə ˈtriti. ðə juˈnaɪtɪd steɪts həz nɑt juzd lænd maɪnz sɪns 1991 dɪˈspaɪt ˈfaɪtɪŋ wɔrz ɪn ˌɪˈrɑk ənd æfˈgænəˌstæn tu ˈkəntriz ðət hæv ˈrætəˌfaɪd ðə ˈtriti. 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. ˌsɪʧuˈeɪʃən həz ʧeɪnʤd sɪgˈnɪfɪkəntli ɪn ˈrisənt years,”*,” sɛd ˈmɪstər. inderfurth*, hu ɪz naʊ ə prəˈfɛsər əv ˌɪnərˈnæʃənɑl əˈfɛrz æt ʤɔrʤ ˈwɔʃɪŋtən ˌjunəˈvərsəti. ɪz ˈɛvəri ˈrizən tɪ bɪˈliv wi kʊd ʤɔɪn ðɪs treaty.”*.” nɛkst wik, ˈsɛnətər ˈleɪhi plænz tɪ sɛnd ə ˈlɛtər tɪ ˈmɪstər. ˌoʊˈbɑmə, ˈərʤɪŋ ɪm tɪ ʤɔɪn ðə bæn. ðə ˈlɛtər noʊts ðət 158 ˈkəntriz hæv saɪnd ðə ˈtriti, ˌɪnˈkludɪŋ ˈbrɪtən ənd ˈəðər ˈneɪtoʊ ˈælaɪz. ɪt ɪz saɪnd baɪ 68 ˈsɛnətərz, ˌɪnˈkludɪŋ 10 rɪˈpəblɪkənz. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ɪn ðə 13 jɪrz sɪns daɪˈænə, ˈprɪnsɛs əv weɪlz, wɔkt nɪr ə ˈmaɪnˌfild ɪn æŋˈgoʊlə tɪ ˈdrɑməˌtaɪz ðə ˈdeɪnʤərz, lænd maɪnz hæv rɪˈsidɪd ɛz ə pəˈlɪtɪkəl kɔz. ðeɪ wər nɑt ən ˈɪʃu ɪn ðə ˌprɛzɪˈdɛnʃəl kæmˈpeɪn ər ɪn ðə ˈərli deɪz əv ðə ædˌmɪnɪˈstreɪʃən. baɪ ɔl əˈkaʊnts, ðə ˌɪˈnɪʃəl lænd maɪn ˌrivˈju wɑz ənd half-hearted,”*,” ɪn ˈmɪstər. wərdz. læst noʊˈvɛmbər, ɔn ðə iv əv ə ˈmitɪŋ ɔn ðə ˈtriti ɪn kəˈləmbiə, ə steɪt dɪˈpɑrtmənt ˈspoʊksmən dɪˈklɛrd, wʊd nɑt bi ˈeɪbəl tɪ mit ɑr ˈnæʃənəl dɪˈfɛns nidz nɔr ɑr sɪˈkjʊrəti kəˈmɪtmənts tɪ ɑr frɛndz ənd ˈælaɪz ɪf wi saɪnd this.”*.” ə deɪ ˈleɪtər, ˈæftər ə stɔrm əv ˈproʊˌtɛst frəm ˈmɪstər. ˈleɪhi ənd ˈjumən raɪts grups, ðə ædˌmɪnɪˈstreɪʃən ˌɪnˈsɪstɪd ðət ðə ˌrivˈju wɑz stɪl ˈəndər weɪ, ənd ðət ðə ˈkɑmɛnts wər ˌpriməˈʧʊr. bət wən ˈsinjər əˈfɪʃəl sɛd ðə blowback”*” fɔrst ə mɔr ˈsɪriəs ɪgˌzæməˈneɪʃən. ðə ˈkɑrənt ˌrivˈju ɪz biɪŋ koʊˈɔrdəneɪtɪd baɪ tu ˈsinjər əˈfɪʃəlz æt ðə ˈnæʃənəl sɪˈkjʊrəti ˈkaʊnsəl, səˈmænθə paʊər ənd ˈbɛri ˈpævəl. əˈnəðər ki pleɪər ɪz ˈændru ʤeɪ. ʃəˈpɪroʊ, ðə steɪt tɔp liˈeɪˌzɑn tɪ ðə ˈpɛnɪˌgɑn hu sərvd ɛz ən ædˈvaɪzər tɪ ˈmɪsɪz. ˈklɪntən ɔn dɪˈfɛns ˈpɑləsi wɪn ʃi wɑz ɪn ðə ˈsɛnɪt. əˈfɪʃəlz sɛd ˈmɪstər. koʊ, ə ˈfɔrmər din əv jeɪl lɔ skul, wɑz ˈdræftɪŋ ˈligəl ˈɑrgjəmənts ɔn ˈɪʃuz laɪk ðə ˈstætəs əv lænd maɪnz ɪn saʊθ ˌkɔˈriə, wɛr əˈmɛrɪkən trups ər dɪˈplɔɪd. ɪn ðə pæst, ðə ˈpɛnɪˌgɑn həz sɔt ə exception”*” ðət wʊd əˈlaʊ ɪt tɪ kip ə ˈstɑkˌpaɪl əv maɪnz ɪn ðə diˈmɪlətərˌaɪzd zoʊn. bət waɪl ðoʊz maɪnz ər ðɛr tɪ prəˈtɛkt əˈmɛrɪkən ˈsoʊlʤərz, kənˈtroʊl ˈoʊvər ðɛm həz bɪn ˈtrænsfərd tɪ saʊθ ˌkɔˈriə, wɪʧ ɪz nɑt ə ˈpɑrti tɪ ðə ˈtriti. ðə goʊl əv ðoʊz hu ˈfeɪvər ðə ˈtriti ɪz tɪ gɪt bæk tɪ ðə ˈpɑləsi əv ðə ˈklɪntən ædˌmɪnɪˈstreɪʃən, wɪʧ dɪˈklaɪnd tɪ saɪn ðə ˈtriti ɪn 1997 bət sɛd ɪt ˈwɔntɪd ðə juˈnaɪtɪd steɪts tɪ bi kəmˈplaɪənt baɪ 2006 ɪn 2004 ðə bʊʃ ædˌmɪnɪˈstreɪʃən ˈɪʃud ə nu ˈpɑləsi ðət ˈɛmfəˌsaɪzd ðə dɪˈvɛləpmənt əv ˈseɪfər ənd mɔr səˈfɪstɪˌkeɪtəd maɪnz, bət ˈpɔɪntɪˌdli rɪfˈjuzd tɪ goʊ əˈlɔŋ wɪθ ə bæn. sɪns ðə ˈtriti həz bɪn ɪn fɔrs fər mɔr ðən ə ˈdɛkeɪd, ðə juˈnaɪtɪd steɪts wʊd noʊ ˈlɔŋgər saɪn ɪt, bət ækˈsid tɪ ɪts tərmz, ə dɪˈsɪʒən ðət wʊd stɪl ˌrikˈwaɪər ˌrætəfəˈkeɪʃən baɪ ðə ˈsɛnɪt. ðə moʊst ˈlaɪkli ˈaʊtˌkəm, ˈsɛvərəl əˈfɪʃəlz sɛd, ɪz fər ðə ædˌmɪnɪˈstreɪʃən tɪ brɪŋ ðə juˈnaɪtɪd steɪts ˈkloʊzər tɪ fʊl kəmˈplaɪəns, waɪl ˈsɛtɪŋ ə goʊl, ɛz ˈmɪstər. ˈklɪntən dɪd, tɪ ʤɔɪn ɪt ɪˈvɛnʧəwəli. səʧ ə muv maɪt nɑt ˈsætɪsˌfaɪ ðə ˈædvəˌkeɪts, sɛd ˈhɛðər ˈhərlbərt, ðə ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə ˈnæʃənəl sɪˈkjʊrəti ˈnɛtˌwərk, ə ˈfɔrən ˈpɑləsi grup. ju ˈdɛfənətli hæv ˈpipəl wɪˈθɪn ðə ædˌmɪnɪˈstreɪʃən ˈwərkɪŋ tɪ brɪŋ ðə juˈnaɪtɪd steɪts ˈkloʊzər tɪ ðə ˈspɪrɪt əv ðə treaty,”*,” ʃi sɛd.

photo: stephen starr i'm on the shores of lake, the lake in turkey, and no one wants to talk about salt. it took 10 minutes of pleading with a security guard, even though he'd been told that a journalist would be visiting, to gain entry to the salt enterprise's huge facility on the eastern shore of europe's biggest salt lake. "you can drive through and come back out again, but don't get out of the car," he warned. inside the yard, mountains of the bright salt are piled three stories high by a conveyer belt being fed by a convoy of trucks. except for three men sitting around a table in the shade at the yard's edge, there are few signs of anyone willing to brave the august heat. a fourth man runs out of a building and with his arms appears to signal "get out, now." every spring, snow melt and rain flow south through turkey's anatolia and into lake, adding a of water. the water evaporates by summer, leaving behind a layer of salt granules ready for harvest. the salt forms because the lake is endorheic, meaning it has no outflow. flamingos are seen at lake on july 16, 2015. salinas, a type of especially found in salt fields, colorize a part of the lake every summer. photo: agency via getty images for locals, the lake is an important source of cash. every summer farmers and large-scale producers go to work on the ethereal landscape that produces 60 per cent of all salt harvested in turkey every year. lake also provides life to the largest flamingo colony in the middle east and north africa breeding pairs in is a crucial resting stop and sanctuary for dozens of other species migrating between africa and central europe. what's more, it's a unesco special environmental protection area and a spectacular sight that turns red every july as a algae bloom explodes under the heat of the summer sun. but lake is disappearing. locals say one's feet in the salt takes away aches. photo: stephen starr since the 2013 park protests, when people took to the streets to demonstrate against the ruling party's plans to destroy a popular park in central istanbul, environmentalists and government officials have been fighting a battle of preservation versus progress. the massive dams, highways, and bridges built around turkey over the past decade have provided jobs for thousands of working class turks, and helped to keep the in power. environmentalists say the nationwide building boom is the passion project of a single man: president erdogan, who is pushing for turkey to become one of the top 10 global economies by the time its centenary comes around in 2023. the push for industrialization is evident here at lake. a combination of falling precipitation; the inflow of wastewater from konya, a city of people; and upstream well drilling for crop irrigation is killing an already limited supply of fresh water. once turkey's second largest lake, some conservationists estimate lake has reportedly shrunk by half in the last 40 aksoy, a biologist at turkey's ministry for environment and urbanisation, says a lack of data means little consensus has been reached on the precise amount of decline, or which activity is most damaging. turkish officials claim the drought is temporary or cyclical at worst, and that efforts to pump treated water into the lake are underway. the government has also pointed to its efforts in garnering lake special unesco status as an example of its seriousness about protecting local habitats, including that of the flamingos. yet according to government biologist aksoy, no part of an action plan involving four ministries to transfer water to stop the lake drying up has been implemented yet. "so far these actions are not satisfactory," said sumer, a water politics expert and international relations lecturer at university in konya. "the situation... is worsening." streams such as this, that feed into lake, are vanishing. photo: stephen starr three miles away on the eastern shore of the lake, there is little sense of concern. from afar, the groups of people walking across the lake's bleached white surface appear like slow-moving, tiny alien beings. despite the wind driving salt into their hair, burning their eyes and creeping down their throats, tourists come in the hundreds to sample the homeopathic healing power the large salt granules are said to offer. unsurprisingly, the local developers see an opportunity: next to a parking lot clogged by coaches are two construction sites where hotel resorts are being built. closer to the lake's shore, signs advertising the benefits have been crudely hammered into the lakebed. nearby, a putrid stream of water leaks slowly into the lake from behind a fast food joint. there are no flamingos to be seen anywhere. several flamingo colonies on the lake have already vanished, said tuba of the turkish conservation organization dernegi, which translates to "nature association." photo: stephen starr "there is a final flamingo colony in the middle of the lake," she said. "this colony depends on lake completely." water that once drained into the lake can no longer do so, she said, because of damming and crop irrigation. long-term research further suggests the government's efforts might not be enough. a study published in 2012 found that temperatures in the karst central anatolian region that includes lake have risen degrees celsius (0.72 fahrenheit) during that time, suggesting climate change is affecting precipitation, which is contributing to the reduced amount of water available to the lake. the global increase over the entire past century has been degrees celsius (1.08 fahrenheit). with demands from farmers and factories increasing and the lake's nascent recreational value thought to be $5 million and counting, the share left for flamingos and other species is shrinking, just like the lake itself.

ˈfoʊˌtoʊ: ˈstivən stɑr əm ɔn ðə ʃɔrz əv leɪk, ðə leɪk ɪn ˈtərki, ənd noʊ wən wɔnts tɪ tɔk əˈbaʊt sɔlt. ɪt tʊk 10 ˈmɪnəts əv ˈplidɪŋ wɪθ ə sɪˈkjʊrəti gɑrd, ˈivɪn ðoʊ hid bɪn toʊld ðət ə ˈʤərnəlɪst wʊd bi ˈvɪzɪtɪŋ, tɪ geɪn ˈɛntri tɪ ðə sɔlt ˈɛnərˌpraɪzɪz juʤ fəˈsɪlɪti ɔn ðə ˈistərn ʃɔr əv ˈjʊrəps ˈbɪgəst sɔlt leɪk. "ju kən draɪv θru ənd kəm bæk aʊt əˈgɛn, bət doʊnt gɪt aʊt əv ðə kɑr," hi wɔrnd. ˌɪnˈsaɪd ðə jɑrd, ˈmaʊntənz əv ðə braɪt sɔlt ər paɪld θri ˈstɔriz haɪ baɪ ə kənˈveɪər bɛlt biɪŋ fɛd baɪ ə ˈkɑnˌvɔɪ əv trəks. ɪkˈsɛpt fər θri mɛn ˈsɪtɪŋ əraʊnd ə ˈteɪbəl ɪn ðə ʃeɪd æt ðə jɑrdz ɛʤ, ðɛr ər fju saɪnz əv ˈɛniˌwən ˈwɪlɪŋ tɪ breɪv ðə ˈɔgəst hit. ə fɔrθ mæn rənz aʊt əv ə ˈbɪldɪŋ ənd wɪθ hɪz ɑrmz əˈpɪrz tɪ ˈsɪgnəl "gɪt aʊt, naʊ." ˈɛvəri spərɪŋ, snoʊ mɛlt ənd reɪn floʊ saʊθ θru ˈtərkiz ˌænəˈtoʊliə ənd ˈɪntu leɪk, ˈædɪŋ ə əv ˈwɔtər. ðə ˈwɔtər ɪˈvæpərˌeɪts baɪ ˈsəmər, ˈlivɪŋ bɪˈhaɪnd ə leɪər əv sɔlt ˈgrænjəlz ˈrɛdi fər ˈhɑrvəst. ðə sɔlt fɔrmz bɪˈkəz ðə leɪk ɪz endorheic*, ˈminɪŋ ɪt həz noʊ ˈaʊtˌfloʊ. fləˈmɪŋgoʊz ər sin æt leɪk ɔn ˌʤuˈlaɪ 16 2015 səˈlinəz, ə taɪp əv əˈspɛʃəli faʊnd ɪn sɔlt fildz, ˈkələrˌaɪz ə pɑrt əv ðə leɪk ˈɛvəri ˈsəmər. ˈfoʊˌtoʊ: ˈeɪʤənsi ˈviə ˈgɛti ˈɪmɪʤɪz fər ˈloʊkəlz, ðə leɪk ɪz ən ˌɪmˈpɔrtənt sɔrs əv kæʃ. ˈɛvəri ˈsəmər ˈfɑrmərz ənd ˈlɑrʤˌskeɪl prəˈdusərz goʊ tɪ wərk ɔn ðə ɪˈθɪriəl ˈlænˌskeɪp ðət prəˈdusɪz 60 pər sɛnt əv ɔl sɔlt ˈhɑrvəstɪd ɪn ˈtərki ˈɛvəri jɪr. leɪk ˈɔlsoʊ prəˈvaɪdz laɪf tɪ ðə ˈlɑrʤəst fləˈmɪŋgoʊ ˈkɑləni ɪn ðə ˈmɪdəl ist ənd nɔrθ ˈæfrɪkɑ ˈbridɪŋ pɛrz ɪn ɪz ə ˈkruʃəl ˈrɛstɪŋ stɑp ənd ˈsæŋkʧuˌɛri fər ˈdəzənz əv ˈəðər ˈspiʃiz ˈmaɪˌgreɪtɪŋ bɪtˈwin ˈæfrɪkɑ ənd ˈsɛntrəl ˈjʊrəp. wəts mɔr, ɪts ə juˈnɛˌskoʊ ˈspɛʃəl ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən ˈɛriə ənd ə spɛkˈtækjələr saɪt ðət tərnz rɛd ˈɛvəri ˌʤuˈlaɪ ɛz ə ˈælʤi blum ɪkˈsploʊdz ˈəndər ðə hit əv ðə ˈsəmər sən. bət leɪk ɪz ˌdɪsəˈpɪrɪŋ. ˈloʊkəlz seɪ wənz fit ɪn ðə sɔlt teɪks əˈweɪ eɪks. ˈfoʊˌtoʊ: ˈstivən stɑr sɪns ðə 2013 pɑrk ˈproʊˌtɛsts, wɪn ˈpipəl tʊk tɪ ðə strits tɪ ˈdɛmənˌstreɪt əˈgɛnst ðə ˈrulɪŋ ˈpɑrtiz plænz tɪ dɪˈstrɔɪ ə ˈpɑpjələr pɑrk ɪn ˈsɛntrəl ˌɪstɑnˈbul, ɛnˈvaɪrənˌmɛnəlɪsts ənd ˈgəvərnmənt əˈfɪʃəlz hæv bɪn ˈfaɪtɪŋ ə ˈbætəl əv ˌprɛzərˈveɪʃən ˈvərsəz ˈprɑˌgrɛs. ðə ˈmæsɪv dæmz, ˈhaɪˌweɪz, ənd ˈbrɪʤɪz bɪlt əraʊnd ˈtərki ˈoʊvər ðə pæst ˈdɛkeɪd hæv prəˈvaɪdɪd ʤɑbz fər ˈθaʊzənz əv ˈwərkɪŋ klæs tərks, ənd hɛlpt tɪ kip ðə ɪn paʊər. ɛnˈvaɪrənˌmɛnəlɪsts seɪ ðə ˈneɪʃənˈwaɪd ˈbɪldɪŋ bum ɪz ðə ˈpæʃən ˈprɑʤɛkt əv ə ˈsɪŋgəl mæn: ˈprɛzɪdənt erdogan*, hu ɪz ˈpʊʃɪŋ fər ˈtərki tɪ bɪˈkəm wən əv ðə tɔp 10 ˈgloʊbəl ɪˈkɑnəmiz baɪ ðə taɪm ɪts ˈsɛntəˌnɛri kəmz əraʊnd ɪn 2023 ðə pʊʃ fər ˌɪnˌdəstriəlɪˈzeɪʃən ɪz ˈɛvədənt hir æt leɪk. ə ˌkɑmbəˈneɪʃən əv ˈfɑlɪŋ prɪˌsɪpɪˈteɪʃən; ðə ˈɪnˌfloʊ əv ˈweɪstˌwɔtər frəm konya*, ə ˈsɪti əv ˈpipəl; ənd ˈəpˈstrim wɛl ˈdrɪlɪŋ fər krɑp ˌɪrəˈgeɪʃən ɪz ˈkɪlɪŋ ən ɔˈrɛdi ˈlɪmɪtɪd səˈplaɪ əv frɛʃ ˈwɔtər. wəns ˈtərkiz ˈsɛkənd ˈlɑrʤəst leɪk, səm ˌkɑnsərˈveɪʃənɪsts ˈɛstəˌmeɪt leɪk həz rɪˈpɔrtədli ʃrəŋk baɪ hæf ɪn ðə læst 40 aksoy*, ə baɪˈɑləʤɪst æt ˈtərkiz ˈmɪnɪstri fər ɪnˈvaɪrənmənt ənd urbanisation*, sɪz ə læk əv ˈdætə minz ˈlɪtəl kənˈsɛnsəs həz bɪn riʧt ɔn ðə prɪˈsaɪs əˈmaʊnt əv dɪˈklaɪn, ər wɪʧ ækˈtɪvɪti ɪz moʊst ˈdæmɪʤɪŋ. ˈtərkɪʃ əˈfɪʃəlz kleɪm ðə draʊt ɪz ˈtɛmpərˌɛri ər ˈsɪklɪkəl æt wərst, ənd ðət ˈɛfərts tɪ pəmp ˈtritɪd ˈwɔtər ˈɪntu ðə leɪk ər ˌəndərˈweɪ. ðə ˈgəvərnmənt həz ˈɔlsoʊ ˈpɔɪntɪd tɪ ɪts ˈɛfərts ɪn ˈgɑrnərɪŋ leɪk ˈspɛʃəl juˈnɛˌskoʊ ˈstætəs ɛz ən ɪgˈzæmpəl əv ɪts ˈsɪriəsnəs əˈbaʊt prəˈtɛktɪŋ ˈloʊkəl ˈhæbəˌtæts, ˌɪnˈkludɪŋ ðət əv ðə fləˈmɪŋgoʊz. jɛt əˈkɔrdɪŋ tɪ ˈgəvərnmənt baɪˈɑləʤɪst aksoy*, noʊ pɑrt əv ən ˈækʃən plæn ˌɪnˈvɑlvɪŋ fɔr ˈmɪnɪstriz tɪ ˈtrænsfər ˈwɔtər tɪ stɑp ðə leɪk draɪɪŋ əp həz bɪn ˈɪmpləˌmɛnəd jɛt. "soʊ fɑr ðiz ˈækʃənz ər nɑt ˌsætɪsˈfæktəri," sɛd sumer*, ə ˈwɔtər ˈpɑləˌtɪks ˈɛkspərt ənd ˌɪnərˈnæʃənɑl riˈleɪʃənz ˈlɛkʧərər æt ˌjunəˈvərsəti ɪn konya*. "ðə ˌsɪʧuˈeɪʃən... ɪz ˈwərsənɪŋ." strimz səʧ ɛz ðɪs, ðət fid ˈɪntu leɪk, ər ˈvænɪʃɪŋ. ˈfoʊˌtoʊ: ˈstivən stɑr θri maɪəlz əˈweɪ ɔn ðə ˈistərn ʃɔr əv ðə leɪk, ðɛr ɪz ˈlɪtəl sɛns əv kənˈsərn. frəm əˈfɑr, ðə grups əv ˈpipəl ˈwɔkɪŋ əˈkrɔs ðə leɪks bliʧt waɪt ˈsərfəs əˈpɪr laɪk slow-moving*, ˈtaɪni ˈeɪliən biɪŋz. dɪˈspaɪt ðə wɪnd ˈdraɪvɪŋ sɔlt ˈɪntu ðɛr hɛr, ˈbərnɪŋ ðɛr aɪz ənd ˈkripɪŋ daʊn ðɛr θroʊts, ˈtʊrɪsts kəm ɪn ðə ˈhənərdz tɪ ˈsæmpəl ðə ˌhoʊmioʊˈpæθək ˈhilɪŋ paʊər ðə lɑrʤ sɔlt ˈgrænjəlz ər sɛd tɪ ˈɔfər. ˌənsərˈpraɪzɪŋli, ðə ˈloʊkəl dɪˈvɛləpərz si ən ˌɑpərˈtunəti: nɛkst tɪ ə ˈpɑrkɪŋ lɔt klɔgd baɪ ˈkoʊʧɪz ər tu kənˈstrəkʃən saɪts wɛr hoʊˈtɛl rɪˈzɔrts ər biɪŋ bɪlt. ˈkloʊzər tɪ ðə leɪks ʃɔr, saɪnz ˈædvərˌtaɪzɪŋ ðə ˈbɛnəfɪts hæv bɪn ˈkrudli ˈhæmərd ˈɪntu ðə lakebed*. ˈnɪrˈbaɪ, ə ˈpjutrɪd strim əv ˈwɔtər liks sˈloʊli ˈɪntu ðə leɪk frəm bɪˈhaɪnd ə fæst fud ʤɔɪnt. ðɛr ər noʊ fləˈmɪŋgoʊz tɪ bi sin ˈɛniˌwɛr. ˈsɛvərəl fləˈmɪŋgoʊ ˈkɑləniz ɔn ðə leɪk hæv ɔˈrɛdi ˈvænɪʃt, sɛd ˈtubə əv ðə ˈtərkɪʃ ˌkɑnsərˈveɪʃən ˌɔrgənəˈzeɪʃən dernegi*, wɪʧ ˈtrænsˌleɪts tɪ "ˈneɪʧər əˌsoʊʃiˈeɪʃən." ˈfoʊˌtoʊ: ˈstivən stɑr "ðɛr ɪz ə ˈfaɪnəl fləˈmɪŋgoʊ ˈkɑləni ɪn ðə ˈmɪdəl əv ðə leɪk," ʃi sɛd. "ðɪs ˈkɑləni dɪˈpɛndz ɔn leɪk kəmˈplitli." ˈwɔtər ðət wəns dreɪnd ˈɪntu ðə leɪk kən noʊ ˈlɔŋgər du soʊ, ʃi sɛd, bɪˈkəz əv ˈdæmɪŋ ənd krɑp ˌɪrəˈgeɪʃən. ˈlɔŋˈtərm ˈrisərʧ ˈfərðər səˈʤɛsts ðə ˈgəvərnmənts ˈɛfərts maɪt nɑt bi ɪˈnəf. ə ˈstədi ˈpəblɪʃt ɪn 2012 faʊnd ðət ˈtɛmpərəʧərz ɪn ðə kɑrst ˈsɛntrəl ˌænəˈtoʊliən ˈriʤən ðət ˌɪnˈkludz leɪk hæv ˈrɪzən dɪˈgriz ˈsɛlsiəs ˈfɛrənˌhaɪt) ˈdʊrɪŋ ðət taɪm, səˈʤɛstɪŋ ˈklaɪmɪt ʧeɪnʤ ɪz əˈfɛktɪŋ prɪˌsɪpɪˈteɪʃən, wɪʧ ɪz kənˈtrɪbjutɪŋ tɪ ðə rɪˈdust əˈmaʊnt əv ˈwɔtər əˈveɪləbəl tɪ ðə leɪk. ðə ˈgloʊbəl ˌɪnˈkris ˈoʊvər ðə ɪnˈtaɪər pæst ˈsɛnʧəri həz bɪn dɪˈgriz ˈsɛlsiəs ˈfɛrənˌhaɪt). wɪθ dɪˈmændz frəm ˈfɑrmərz ənd ˈfæktəriz ˌɪnˈkrisɪŋ ənd ðə leɪks ˈneɪsənt ˌrɛkriˈeɪʃənəl ˈvælju θɔt tɪ bi 5 ˈmɪljən ənd ˈkaʊntɪŋ, ðə ʃɛr lɛft fər fləˈmɪŋgoʊz ənd ˈəðər ˈspiʃiz ɪz ʃˈrɪŋkɪŋ, ʤɪst laɪk ðə leɪk ˌɪtˈsɛlf.

a source at, the venezuelan state oil company, has played down speculation about pastor immediate future. reports have suggested that amid a corruption scandal and the plunging price of oil, the company is late to make its due payments to the based renault team. other rumours, however, say a plunging renault may be facing a emissions scandal of its own, and therefore wants to shy away from associating with another company like. so amid reports maldonado could be replaced by kevin magnussen, a source said: "this is all speculation at the moment. "we have not received any information other than what was agreed last year with lotus," the source told the venezuelan newspaper el universal. however, the source did not deny it has held meetings this week with renault officials in caracas. "such meetings are always held to plan joint activities, so it is nothing strange," the source insisted. (gmm)

ə sɔrs æt, ðə ˌvɛnɪzˈweɪlən steɪt ɔɪl ˈkəmpəˌni, həz pleɪd daʊn ˌspɛkjəˈleɪʃən əˈbaʊt ˈpæstər ˌɪˈmiˌdiət fˈjuʧər. rɪˈpɔrts hæv səˈʤɛstɪd ðət əˈmɪd ə kərˈəpʃən ˈskændəl ənd ðə ˈplənʤɪŋ praɪs əv ɔɪl, ðə ˈkəmpəˌni ɪz leɪt tɪ meɪk ɪts du ˈpeɪmənts tɪ ðə beɪst rɪˈnɔlt tim. ˈəðər ˈrumərz, ˌhaʊˈɛvər, seɪ ə ˈplənʤɪŋ rɪˈnɔlt meɪ bi ˈfeɪsɪŋ ə ɪˈmɪʃənz ˈskændəl əv ɪts oʊn, ənd ˈðɛrˌfɔr wɔnts tɪ ʃaɪ əˈweɪ frəm əˈsoʊsiˌeɪtɪŋ wɪθ əˈnəðər ˈkəmpəˌni laɪk. soʊ əˈmɪd rɪˈpɔrts mældəˈnɑdoʊ kʊd bi ˌriˈpleɪst baɪ ˈkɛvɪn ˈmægnəsən, ə sɔrs sɛd: "ðɪs ɪz ɔl ˌspɛkjəˈleɪʃən æt ðə ˈmoʊmənt. "wi hæv nɑt rɪˈsivd ˈɛni ˌɪnˌfɔrˈmeɪʃən ˈəðər ðən wət wɑz əˈgrid læst jɪr wɪθ ˈloʊtəs," ðə sɔrs toʊld ðə ˌvɛnɪzˈweɪlən ˈnuzˌpeɪpər ɛl ˌjunəˈvərsəl. ˌhaʊˈɛvər, ðə sɔrs dɪd nɑt dɪˈnaɪ ɪt həz hɛld ˈmitɪŋz ðɪs wik wɪθ rɪˈnɔlt əˈfɪʃəlz ɪn kərˈɑkəs. "səʧ ˈmitɪŋz ər ˈɔlˌweɪz hɛld tɪ plæn ʤɔɪnt ækˈtɪvɪtiz, soʊ ɪt ɪz ˈnəθɪŋ streɪnʤ," ðə sɔrs ˌɪnˈsɪstɪd. (gmm*)

in cities around the u.s., a growing awareness that streets are meant for more than just cars, and in fact, that streets should be safe places no matter what form of transit you choose, whether a pedestrian, cyclist, bus rider, skateboarder, or jumper (okay, maybe not the latter). the national complete streets coalition puts out a measure every year on just how well cities are doing at forming so-called “complete streets” policies that consider these various modes of transport as equals in transportation planning. this list shows marked growth in cities adopting this progressive way of thinking about transit. (we covered last list here.) in 2013, according to the report released today, 83 jurisdictions adopted complete streets it a total of 610 that have done so over the years. “the majority of policies are in smaller suburban communities again this year. i think those are good things. this mischaracterization of the complete streets idea as applying to big cities,” says stefanie seskin, deputy director of the coalition, a project of smart growth america. here is the ranking of the top 10 complete streets policies in 2013, based on metrics including vision, design, and clear performance measures: littleton, ma peru, in fort lauderdale, auburn, me lewiston, me baltimore county, portsmouth, muscatine, ia piqua, oh oakland, ca hayward, ca, livermore, ca, and massachusetts dept. of transportation (tie) the top community, littleton, massachusetts, got to number one for its clear look at how the idea of complete streets would work for them, how it would be implemented, and how it could work with other jurisdictions to make sure streets were safe beyond the small borders. last list included many cities in california, this year, there is much more geographic diversity. “it really speaks to the breadth of happening here,” says craig chester, with smart growth america. one interesting development, says seskin, is that more and more policies, such as the one recently created by the massachusetts department of transportation, are considering public health as a primary motivation. the growing awareness that transportation can be about promoting active lifestyles, and not just getting from point a to b, is leading to a broadening of the policy conversation, she says. another positive change compared to last year is that more policies adopted include specific steps of actions to take, rather than simply vague commitments, says seskin. but a lot more needs to be done, especially for improved policies at the state and federal level that support local work.

ɪn ˈsɪtiz əraʊnd ðə juz., ə groʊɪŋ əˈwɛrnəs ðət strits ər mɛnt fər mɔr ðən ʤɪst kɑz, ənd ɪn fækt, ðət strits ʃʊd bi seɪf ˈpleɪsɪz noʊ ˈmætər wət fɔrm əv ˈtrænzɪt ju ʧuz, ˈwɛðər ə pəˈdɛstriən, ˈsaɪkəlɪst, bəs ˈraɪdər, skateboarder*, ər ˈʤəmpər (ˌoʊˈkeɪ, ˈmeɪbi nɑt ðə ˈlætər). ðə ˈnæʃənəl kəmˈplit strits ˌkoʊəˈlɪʃən pʊts aʊt ə ˈmɛʒər ˈɛvəri jɪr ɔn ʤɪst haʊ wɛl ˈsɪtiz ər duɪŋ æt ˈfɔrmɪŋ ˈsoʊˈkɔld streets”*” ˈpɑləsiz ðət kənˈsɪdər ðiz ˈvɛriəs moʊdz əv ˈtrænspɔrt ɛz ˈikwəlz ɪn ˌtrænspərˈteɪʃən ˈplænɪŋ. ðɪs lɪst ʃoʊz mɑrkt groʊθ ɪn ˈsɪtiz əˈdɑptɪŋ ðɪs prəˈgrɛsɪv weɪ əv ˈθɪŋkɪŋ əˈbaʊt ˈtrænzɪt. (wi ˈkəvərd læst lɪst hir.) ɪn 2013 əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt riˈlist təˈdeɪ, 83 ˌʤʊrɪsˈdɪkʃənz əˈdɑptəd kəmˈplit strits ɪt ə ˈtoʊtəl əv 610 ðət hæv dən soʊ ˈoʊvər ðə jɪrz. məˈʤɔrəti əv ˈpɑləsiz ər ɪn sˈmɔlər səˈbərbən kəmˈjunɪtiz əˈgɛn ðɪs jɪr. aɪ θɪŋk ðoʊz ər gʊd θɪŋz. ðɪs mɪˌskærəktərəˈzeɪʃən əv ðə kəmˈplit strits aɪˈdiə ɛz əˈplaɪɪŋ tɪ bɪg cities,”*,” sɪz ˈstɛfəni seskin*, ˈdɛpjəti dɪˈrɛktər əv ðə ˌkoʊəˈlɪʃən, ə ˈprɑʤɛkt əv smɑrt groʊθ əˈmɛrɪkə. hir ɪz ðə ˈræŋkɪŋ əv ðə tɔp 10 kəmˈplit strits ˈpɑləsiz ɪn 2013 beɪst ɔn ˈmɛtrɪks ˌɪnˈkludɪŋ ˈvɪʒən, dɪˈzaɪn, ənd klɪr pərˈfɔrməns ˈmɛʒərz: ˈlɪtəltən, mɑ pəru, ɪn fɔrt ˈlɔdərˌdeɪl, ˈɑbərn, mi ˈluəstən, mi ˈbɔltəˌmɔr ˈkaʊnti, ˈpɔrtsməθ, ˈməskəˌtin, ˈiə piqua*, oʊ ˈoʊklənd, ˈsiˈeɪ ˈheɪwərd, ˈsiˈeɪ, lɪvərˈmɔr, ˈsiˈeɪ, ənd ˌmæsəˈʧusəts dept*. əv ˌtrænspərˈteɪʃən (taɪ) ðə tɔp kəmˈjunɪti, ˈlɪtəltən, ˌmæsəˈʧusəts, gɑt tɪ ˈnəmbər wən fər ɪts klɪr lʊk æt haʊ ðə aɪˈdiə əv kəmˈplit strits wʊd wərk fər ðɛm, haʊ ɪt wʊd bi ˈɪmpləˌmɛnəd, ənd haʊ ɪt kʊd wərk wɪθ ˈəðər ˌʤʊrɪsˈdɪkʃənz tɪ meɪk ʃʊr strits wər seɪf bɪɔnd ðə smɔl ˈbɔrdərz. læst lɪst ˌɪnˈkludɪd ˈmɛni ˈsɪtiz ɪn ˌkæləˈfɔrnjə, ðɪs jɪr, ðɛr ɪz məʧ mɔr ˌʤiəˈgræfɪk dɪˈvərsɪti. ˈrɪli spiks tɪ ðə brɛdθ əv ˈhæpənɪŋ here,”*,” sɪz kreɪg ˈʧɛstər, wɪθ smɑrt groʊθ əˈmɛrɪkə. wən ˈɪntəˌrɛstɪŋ dɪˈvɛləpmənt, sɪz seskin*, ɪz ðət mɔr ənd mɔr ˈpɑləsiz, səʧ ɛz ðə wən ˈrisəntli kriˈeɪtɪd baɪ ðə ˌmæsəˈʧusəts dɪˈpɑrtmənt əv ˌtrænspərˈteɪʃən, ər kənˈsɪdərɪŋ ˈpəblɪk hɛlθ ɛz ə ˈpraɪˌmɛri ˌmoʊtəˈveɪʃən. ðə groʊɪŋ əˈwɛrnəs ðət ˌtrænspərˈteɪʃən kən bi əˈbaʊt prəˈmoʊtɪŋ ˈæktɪv ˈlaɪfˌstaɪlz, ənd nɑt ʤɪst ˈgɪtɪŋ frəm pɔɪnt ə tɪ bi, ɪz ˈlidɪŋ tɪ ə ˈbrɔdənɪŋ əv ðə ˈpɑləsi ˌkɑnvərˈseɪʃən, ʃi sɪz. əˈnəðər ˈpɑzətɪv ʧeɪnʤ kəmˈpɛrd tɪ læst jɪr ɪz ðət mɔr ˈpɑləsiz əˈdɑptəd ˌɪnˈklud spɪˈsɪfɪk stɛps əv ˈækʃənz tɪ teɪk, ˈrəðər ðən ˈsɪmpli veɪg kəˈmɪtmənts, sɪz seskin*. bət ə lɔt mɔr nidz tɪ bi dən, əˈspɛʃəli fər ˌɪmˈpruvd ˈpɑləsiz æt ðə steɪt ənd ˈfɛdərəl ˈlɛvəl ðət səˈpɔrt ˈloʊkəl wərk.

“some christians are more offended by the idea of everyone going to heaven than by the idea of everyone going to hell.” - evolving in monkey town, chapter 9 if read evolving in monkey town you know that some of my most serious doubts about christianity were triggered by questions related to religious pluralism and the destiny of the un-evangelized. after witnessing the public execution of a muslim woman from afghanistan on tv, i began struggling with the idea that millions upon millions of people like had been sentenced to hell for eternity, most without ever hearing the gospel. in chapter 9 i write: in sunday school, they always make hell out to be a place for people like hitler, not a place for his victims. but if my sunday school teachers and college professors were right, then hell will be populated not only by people like hitler and stalin, hussein and milosevic but by the people that they persecuted. if only christians go to heaven, then the piles of suitcases and bags of human hair displayed at the holocaust museum represent thousands upon thousands of men, women, and children suffering eternal agony and the hands of angry god. if salvation is available only to christians, then the gospel good news at all. for most of the human race, terrible news. as travelled around the country talking about my experience with doubt, been approached by many people, especially college students and young adults, who relate most to this section of the book. with tears in their eyes, they confess that they too lie awake at night wondering how a loving god could damn the majority of his creation to hell, how a god who “desires that all be saved” could leave so many without hope. in the book i explain why i think scripture gives us reason to be optimistic about the future of humanity, but it has become increasingly clear to me over the past few months that this is a topic people desperately want to talk about. with this in mind, i recently requested an advance review copy of rob new book love wins: heaven, hell and the fate of every person who has ever lived. i was especially intrigued by a video trailer for the book in which bell asks the very questions been asking myself since childhood and the very questions with which so many in my generation wrestle: will only a few select people make it into heaven? how does one become one of these few? are people like ghandi and anne frank really in hell, along with millions and millions of other people? do we need a loving jesus to rescue us from a hateful god? is this what the gospel is all about? is the gospel good news or bad news? what is the essence of god's character? most of us received our review copies yet, but that stop a few bloggers from issuing their opinions about the book this weekend. without even knowing position, they declared it outside the bounds of orthodoxy and influenced by satan. john piper even issued a flippant “farewell” to bell via twitter. the message was clear: ask questions about heaven and hell and you will be cast out. but as soared and many rose to his defense, it became clear that that what john piper and justin taylor failed to realize is that we are already asking these questions. we are asking them in our dorm rooms, at our kitchen tables, over coffee, in classrooms, at bible studies, at church, in our journals, in our hearts, and in thousands upon thousands of tearful, faithful prayers each night. scot mcknight said it well in an interview with christianity today when he noted that “rob is tapping into what i think is the biggest issue facing today, and this fury shows that it just might be that big of an issue.” ready or not, we are having this conversation. and important that a variety of views are represented fairly and to to conditional immortality to universalism. the christian tradition is rich with a diversity of perspectives regarding heaven and hell, and we should hear them all out. most of us are not so impressionable as to simply believe whatever one or two popular theologians tell us, but to do the research and reflection necessary to make up our own minds. at the end of the day, this isn't really about rob bell or john piper or a single book or a single blog post. it's about a conversation that's been rumbling beneath the surface for a while now and has finally found the light. may it be lively. may it be civil. and may it honor the one who prayed that our unity would reflect the sweet harmony of the the world indeed is watching. *** do you agree with scot mcknight that that this is perhaps the biggest issue facing today? what sort of questions have you been asking about heaven and hell? (note: please do not comment on rob book specifically unless you have actually read it.)

““some* ˈkrɪsʧɪnz ər mɔr əˈfɛndɪd baɪ ðə aɪˈdiə əv ˈɛvriˌwən goʊɪŋ tɪ ˈhɛvən ðən baɪ ðə aɪˈdiə əv ˈɛvriˌwən goʊɪŋ tɪ hell.”*.” ɪˈvɑlvɪŋ ɪn ˈməŋki taʊn, ˈʧæptər 9 ɪf rɛd ɪˈvɑlvɪŋ ɪn ˈməŋki taʊn ju noʊ ðət səm əv maɪ moʊst ˈsɪriəs daʊts əˈbaʊt ˌkrɪsʧiˈænɪti wər ˈtrɪgərd baɪ kˈwɛsʧənz rɪˈleɪtɪd tɪ rɪˈlɪʤəs ˈplʊrəˌlɪzəm ənd ðə ˈdɛstəni əv ðə un-evangelized*. ˈæftər ˈwɪtnəsɪŋ ðə ˈpəblɪk ˌɛksəˈkjuʃən əv ə ˈməzlɪm ˈwʊmən frəm æfˈgænəˌstæn ɔn ˌtɛləˈvɪʒən, aɪ bɪˈgæn ˈstrəgəlɪŋ wɪθ ðə aɪˈdiə ðət ˈmɪljənz əˈpɑn ˈmɪljənz əv ˈpipəl laɪk hæd bɪn ˈsɛntənst tɪ hɛl fər ɪˈtərnəti, moʊst wɪˈθaʊt ˈɛvər ˈhirɪŋ ðə ˈgɔspəl. ɪn ˈʧæptər 9 aɪ raɪt: ɪn ˈsənˌdi skul, ðeɪ ˈɔlˌweɪz meɪk hɛl aʊt tɪ bi ə pleɪs fər ˈpipəl laɪk ˈhɪtlər, nɑt ə pleɪs fər hɪz ˈvɪktɪmz. bət ɪf maɪ ˈsənˌdi skul ˈtiʧərz ənd ˈkɑlɪʤ prəˈfɛsərz wər raɪt, ðɛn hɛl wɪl bi ˈpɑpjəˌleɪtəd nɑt ˈoʊnli baɪ ˈpipəl laɪk ˈhɪtlər ənd ˈstɑlən, huˈseɪn ənd mɪˈloʊsəvɪʧ bət baɪ ðə ˈpipəl ðət ðeɪ ˈpərsəˌkjutəd. ɪf ˈoʊnli ˈkrɪsʧɪnz goʊ tɪ ˈhɛvən, ðɛn ðə paɪlz əv ˈsutˌkeɪsɪz ənd bægz əv ˈjumən hɛr dɪˈspleɪd æt ðə ˈhɔləˌkɔst mˈjuziəm ˌrɛprɪˈzɛnt ˈθaʊzənz əˈpɑn ˈθaʊzənz əv mɛn, ˈwɪmən, ənd ˈʧɪldrən ˈsəfərɪŋ ɪˈtərnəl ˈægəni ənd ðə hænz əv ˈæŋgri gɑd. ɪf sælˈveɪʃən ɪz əˈveɪləbəl ˈoʊnli tɪ ˈkrɪsʧɪnz, ðɛn ðə ˈgɔspəl gʊd nuz æt ɔl. fər moʊst əv ðə ˈjumən reɪs, ˈtɛrəbəl nuz. ɛz ˈtrævəld əraʊnd ðə ˈkəntri ˈtɔkɪŋ əˈbaʊt maɪ ɪkˈspɪriəns wɪθ daʊt, bɪn əˈproʊʧt baɪ ˈmɛni ˈpipəl, əˈspɛʃəli ˈkɑlɪʤ ˈstudənts ənd jəŋ ˈædəlts, hu rɪˈleɪt moʊst tɪ ðɪs ˈsɛkʃən əv ðə bʊk. wɪθ tɪrz ɪn ðɛr aɪz, ðeɪ kənˈfɛs ðət ðeɪ tu laɪ əˈweɪk æt naɪt ˈwəndərɪŋ haʊ ə ˈləvɪŋ gɑd kʊd dæm ðə məˈʤɔrəti əv hɪz kriˈeɪʃən tɪ hɛl, haʊ ə gɑd hu ðət ɔl bi saved”*” kʊd liv soʊ ˈmɛni wɪˈθaʊt hoʊp. ɪn ðə bʊk aɪ ɪkˈspleɪn waɪ aɪ θɪŋk ˈskrɪpʧər gɪvz ˈjuˈɛs ˈrizən tɪ bi ˌɑptɪˈmɪstɪk əˈbaʊt ðə fˈjuʧər əv juˈmænɪti, bət ɪt həz bɪˈkəm ˌɪnˈkrisɪŋgli klɪr tɪ mi ˈoʊvər ðə pæst fju mənθs ðət ðɪs ɪz ə ˈtɑpɪk ˈpipəl ˈdɛspərətli wɔnt tɪ tɔk əˈbaʊt. wɪθ ðɪs ɪn maɪnd, aɪ ˈrisəntli rɪkˈwɛstɪd ən ədˈvæns ˌrivˈju ˈkɑpi əv rɑb nu bʊk ləv wɪnz: ˈhɛvən, hɛl ənd ðə feɪt əv ˈɛvəri ˈpərsən hu həz ˈɛvər lɪvd. aɪ wɑz əˈspɛʃəli ˌɪnˈtrigd baɪ ə ˈvɪdioʊ ˈtreɪlər fər ðə bʊk ɪn wɪʧ bɛl æsks ðə ˈvɛri kˈwɛsʧənz bɪn ˈæskɪŋ ˌmaɪˈsɛlf sɪns ˈʧaɪlˌdhʊd ənd ðə ˈvɛri kˈwɛsʧənz wɪθ wɪʧ soʊ ˈmɛni ɪn maɪ ˌʤɛnərˈeɪʃən ˈrɛsəl: wɪl ˈoʊnli ə fju səˈlɛkt ˈpipəl meɪk ɪt ˈɪntu ˈhɛvən? haʊ dɪz wən bɪˈkəm wən əv ðiz fju? ər ˈpipəl laɪk ˈgɑndi ənd æn fræŋk ˈrɪli ɪn hɛl, əˈlɔŋ wɪθ ˈmɪljənz ənd ˈmɪljənz əv ˈəðər ˈpipəl? du wi nid ə ˈləvɪŋ ˈʤizəs tɪ ˈrɛskju ˈjuˈɛs frəm ə ˈheɪtfəl gɑd? ɪz ðɪs wət ðə ˈgɔspəl ɪz ɔl əˈbaʊt? ɪz ðə ˈgɔspəl gʊd nuz ər bæd nuz? wət ɪz ðə ˈɛsəns əv gɑdz ˈkɛrɪktər? moʊst əv ˈjuˈɛs rɪˈsivd ɑr ˌrivˈju ˈkɑpiz jɛt, bət ðət stɑp ə fju ˈblɔgərz frəm ˈɪʃuɪŋ ðɛr əˈpɪnjənz əˈbaʊt ðə bʊk ðɪs ˈwiˌkɪnd. wɪˈθaʊt ˈivɪn noʊɪŋ pəˈzɪʃən, ðeɪ dɪˈklɛrd ɪt ˈaʊtˈsaɪd ðə baʊndz əv ˈɔrθəˌdɑksi ənd ˈɪnfluənst baɪ ˈseɪtən. ʤɑn ˈpaɪpər ˈivɪn ˈɪʃud ə ˈflɪpənt ““farewell”*” tɪ bɛl ˈviə tˈwɪtər. ðə ˈmɛsɪʤ wɑz klɪr: æsk kˈwɛsʧənz əˈbaʊt ˈhɛvən ənd hɛl ənd ju wɪl bi kæst aʊt. bət ɛz sɔrd ənd ˈmɛni roʊz tɪ hɪz dɪˈfɛns, ɪt bɪˈkeɪm klɪr ðət ðət wət ʤɑn ˈpaɪpər ənd ˈʤəstɪn ˈteɪlər feɪld tɪ ˈriəˌlaɪz ɪz ðət wi ər ɔˈrɛdi ˈæskɪŋ ðiz kˈwɛsʧənz. wi ər ˈæskɪŋ ðɛm ɪn ɑr dɔrm rumz, æt ɑr ˈkɪʧən ˈteɪbəlz, ˈoʊvər ˈkɔfi, ɪn ˈklæsˌrumz, æt ˈbaɪbəl ˈstədiz, æt ʧərʧ, ɪn ɑr ˈʤərnəlz, ɪn ɑr hɑrts, ənd ɪn ˈθaʊzənz əˈpɑn ˈθaʊzənz əv ˈtɪrfəl, ˈfeɪθfəl prɛrz iʧ naɪt. skɑt məkˈnaɪt sɛd ɪt wɛl ɪn ən ˈɪntərvˌju wɪθ ˌkrɪsʧiˈænɪti təˈdeɪ wɪn hi ˈnoʊtɪd ðət ɪz ˈtæpɪŋ ˈɪntu wət aɪ θɪŋk ɪz ðə ˈbɪgəst ˈɪʃu ˈfeɪsɪŋ təˈdeɪ, ənd ðɪs fˈjʊri ʃoʊz ðət ɪt ʤɪst maɪt bi ðət bɪg əv ən issue.”*.” ˈrɛdi ər nɑt, wi ər ˈhævɪŋ ðɪs ˌkɑnvərˈseɪʃən. ənd ˌɪmˈpɔrtənt ðət ə vərˈaɪəti əv vjuz ər ˌrɛprɪˈzɛnɪd ˈfɛrli ənd tɪ tɪ kənˈdɪʃənəl ˌɪmɔrˈtælɪti tɪ universalism*. ðə ˈkrɪsʧɪn trəˈdɪʃən ɪz rɪʧ wɪθ ə dɪˈvərsɪti əv pərˈspɛktɪvz rɪˈgɑrdɪŋ ˈhɛvən ənd hɛl, ənd wi ʃʊd hir ðɛm ɔl aʊt. moʊst əv ˈjuˈɛs ər nɑt soʊ ˌɪmˈprɛʃənəbəl ɛz tɪ ˈsɪmpli bɪˈliv ˌwəˈtɛvər wən ər tu ˈpɑpjələr ˌθiəˈloʊʤənz tɛl ˈjuˈɛs, bət tɪ du ðə ˈrisərʧ ənd rɪˈflɛkʃən ˈnɛsəˌsɛri tɪ meɪk əp ɑr oʊn maɪndz. æt ðə ɛnd əv ðə deɪ, ðɪs ˈɪzənt ˈrɪli əˈbaʊt rɑb bɛl ər ʤɑn ˈpaɪpər ər ə ˈsɪŋgəl bʊk ər ə ˈsɪŋgəl blɔg poʊst. ɪts əˈbaʊt ə ˌkɑnvərˈseɪʃən ðæts bɪn ˈrəmbəlɪŋ bɪˈniθ ðə ˈsərfəs fər ə waɪl naʊ ənd həz ˈfaɪnəli faʊnd ðə laɪt. meɪ ɪt bi ˈlaɪvli. meɪ ɪt bi ˈsɪvəl. ənd meɪ ɪt ˈɑnər ðə wən hu preɪd ðət ɑr ˈjunɪti wʊd rɪˈflɛkt ðə swit ˈhɑrməni əv ðə ðə wərld ˌɪnˈdid ɪz ˈwɑʧɪŋ. du ju əˈgri wɪθ skɑt məkˈnaɪt ðət ðət ðɪs ɪz pərˈhæps ðə ˈbɪgəst ˈɪʃu ˈfeɪsɪŋ təˈdeɪ? wət sɔrt əv kˈwɛsʧənz hæv ju bɪn ˈæskɪŋ əˈbaʊt ˈhɛvən ənd hɛl? (noʊt: pliz du nɑt ˈkɑmɛnt ɔn rɑb bʊk spəˈsɪfɪkli ənˈlɛs ju hæv ˈæˌkʧuəli rɛd ɪt.)

msnbc terrorism analyst evan kohlmann declared, “you cannot have a situation where you take in immigrants and you do not integrate them” and that belgium learned the lesson britain did, which is that letting jihadists live in their country is dangerous when they kicked out “all those people that they had allowed to live in london, that turned it into londonistan” on broadcast of’s “hardball.” kohlmann said, “belgian society, in particular, is very segregated. you cannot have a situation where you take in immigrants and you do not integrate them.” host chris matthews then wondered, “well, why do they take them in if they have no intention of letting them become belgian? the purpose of that? why they just bar them at the door, instead of letting them come in with the purpose of them?” kohlmann responded, “this is a very important question that we should be asking the belgians. i mean, you do that, and then have no surveillance, or no oversight whatsoever. asking for problems. and the truth is is that the belgians have had an attitude, which not their own, the british had this for years as well, which is that, let jihadists live here, as long as not targeting us. as long as targeting other people, not the end of the world. the british learned their lesson after, after the 2005 terror attacks, all those people that they had allowed to live in london, that turned it into londonistan, they kicked all those people out. they arrested them. they extradited them. but the belgians seem to have had that realization.” follow ian hanchett on twitter

msnbc* ˈtɛrəˌrɪzəm ˈænəlɪst ˈɛvən ˈkoʊlmən dɪˈklɛrd, ˈkænɑt hæv ə ˌsɪʧuˈeɪʃən wɛr ju teɪk ɪn ˈɪməgrənts ənd ju du nɑt ˈɪnəˌgreɪt them”*” ənd ðət ˈbɛlʤəm ˈlərnɪd ðə ˈlɛsən ˈbrɪtən dɪd, wɪʧ ɪz ðət ˈlɛtɪŋ ʤiˈhɑˌdɪsts lɪv ɪn ðɛr ˈkəntri ɪz ˈdeɪnʤərəs wɪn ðeɪ kɪkt aʊt ðoʊz ˈpipəl ðət ðeɪ hæd əˈlaʊd tɪ lɪv ɪn ˈləndən, ðət tərnd ɪt ˈɪntu londonistan”*” ɔn ˈbrɔdˌkæst əv ““hardball.”*.” ˈkoʊlmən sɛd, soʊˈsaɪɪti, ɪn ˌpɑˈtɪkjələr, ɪz ˈvɛri ˈsɛgrəˌgeɪtɪd. ju ˈkænɑt hæv ə ˌsɪʧuˈeɪʃən wɛr ju teɪk ɪn ˈɪməgrənts ənd ju du nɑt ˈɪnəˌgreɪt them.”*.” hoʊst krɪs ˈmæθjuz ðɛn ˈwəndərd, ““well*, waɪ du ðeɪ teɪk ðɛm ɪn ɪf ðeɪ hæv noʊ ˌɪnˈtɛnʧən əv ˈlɛtɪŋ ðɛm bɪˈkəm ˈbɛlʤən? ðə ˈpərpəs əv ðət? waɪ ðeɪ ʤɪst bɑr ðɛm æt ðə dɔr, ˌɪnˈstɛd əv ˈlɛtɪŋ ðɛm kəm ɪn wɪθ ðə ˈpərpəs əv them?”*?” ˈkoʊlmən rɪˈspɑndɪd, ɪz ə ˈvɛri ˌɪmˈpɔrtənt kˈwɛʃən ðət wi ʃʊd bi ˈæskɪŋ ðə ˈbɛlʤənz. aɪ min, ju du ðət, ənd ðɛn hæv noʊ sərˈveɪləns, ər noʊ ˈoʊvərˌsaɪt ˌwətsoʊˈɛvər. ˈæskɪŋ fər ˈprɑbləmz. ənd ðə truθ ɪz ɪz ðət ðə ˈbɛlʤənz hæv hæd ən ˈætəˌtud, wɪʧ nɑt ðɛr oʊn, ðə ˈbrɪtɪʃ hæd ðɪs fər jɪrz ɛz wɛl, wɪʧ ɪz ðət, lɛt ʤiˈhɑˌdɪsts lɪv hir, ɛz lɔŋ ɛz nɑt ˈtɑrgətɪŋ ˈjuˈɛs. ɛz lɔŋ ɛz ˈtɑrgətɪŋ ˈəðər ˈpipəl, nɑt ðə ɛnd əv ðə wərld. ðə ˈbrɪtɪʃ ˈlərnɪd ðɛr ˈlɛsən ˈæftər ˈæftər ðə 2005 ˈtɛrər əˈtæks, ɔl ðoʊz ˈpipəl ðət ðeɪ hæd əˈlaʊd tɪ lɪv ɪn ˈləndən, ðət tərnd ɪt ˈɪntu londonistan*, ðeɪ kɪkt ɔl ðoʊz ˈpipəl aʊt. ðeɪ ərˈɛstɪd ðɛm. ðeɪ ˈɛkstrəˌdaɪtɪd ðɛm. bət ðə ˈbɛlʤənz sim tɪ hæv hæd ðət realization.”*.” ˈfɑloʊ ˈiən ˈhænʧɪt ɔn tˈwɪtər

author anne rice delivered the ultimate smack down on her facebook page yesterday, telling her fans, “i will no longer tolerate hate speech in the guise of christian belief.” ms. rice, whose son christopher made out list of top ten gay bachelors last week, has been a longtime rights supporter. following hollywood actress ellen coming out this weekend, rice posted a congratulatory note on facebook saturday to which dozens of haters left vile comments under the post. ms. rice then took to facebook with this awesome post: our post commending actress ellen page for her courage in coming out as gay attracted a lot of hostility and hate and hate speech as well as positive and substantive comments. i have banned many from the page today. i will no longer tolerate hate speech in the guise of christian belief with the usual irresponsible pick and choose bible quotes and talk of “sin” and hellfire. i have had enough of it, and i think the world has had enough of it too. again, i commend ellen page for her bravery in coming out. i hope more celebrities and public figures will be inspired to do so. anyone who thinks this does not matter is deceiving himself or herself. it matters very much. gay people in all walks of life suffer from bigotry, bias, superstition, and ignorance. hats off to ellen page! (and please do not come here to tell us publicly that you “don’t care.” if you care, expect us to care that you care!). rice also took time to respond to several of the over comments to her post. in one response anne explained how she bans who spread hate on her page: i ban those who engage in hate speech under the guise of christianity. and when people say they are the page or rejecting me and my works, i also delete and ban them. this is my personal choice based on my experience on the page. rebecca commented: i do not care. the american people have fish to fry. rice hit back with this response: then why post here? obviously you do care enough to tell us that you disapprove of our caring. well, i do care. i think what ellen page did was brave and her courage will have a decidedly positive effect against the and ignorance that underscore the persecution of gays in our country. mike h. left this response to her post: i love the way you see people who like or agree with that lifestyle are always”haters”. by that definition what do you think you are when you like what christians believe. total hypocrisey. ms rice i think you also are dabbling in some self deception. to which rice responded with this comment: mike, in my experience many christians are extremely aggressive towards those they despise and seek to control and change. they spend millions in america trying to interfere with a right to choose and a gay civil rights. they are vocal and “in your face” with their hate of gays and other strong religious biases. if they would respect the rights and dignity of those who do not share their belief system, it would be better for everyone. but sadly, they. and when they bring hate speech to this page, i will delete and ban them. mike, i think the aggression and hostility of christians towards those they condemn can be compared in any way to gay rights activists. gay rights activists spend millions trying to persecute and demonize others or oppress them in terms of civil rights. i hope you do some research on this topic. we have a serious problem in this country with aggressive christians violating our separation of church and state, and campaigning to oppress women and gays, and sometimes children. i think we are in a time in america when we must demand that all people claiming to be christian take full moral responsibility for their belief system and the harm it has done historically and the harm it continues to do in our country. i see no reason to give christians a pass on any of this. robyn wrote: i had made a comment late last night about how i believe in love. and how i am grateful to jesus loving me as a sinner. i received a reply back about you not wanting me to preach on your page. i feel i was preaching, but stating my opinion, as so many others. i apologize if there were a misunderstanding. i enjoy your work, and your opinions. i totally agree about your stance on ellen page and perhaps, so many others. have a great day… off to do some chores. rice replied with: robyn, for many of us, words like “sin” and even “jesus loving” have become associated, sadly, with bigotry and hate. this your doing. it mine. it has to do with the way this language has been used in america aggressively and boldly on a national level in a war against rights and gay rights. so i find myself highly sensitive to it. i respect your good intentions. i cannot change at this point my own negative reaction to the word “sin.” i think it is a very poor word to use in discussing the human spirit and the moral problems which all human beings face every day. but again, i respect your sincerity. i think a good idea to remember that religion has to do with faith in things which cannot be proven, and which have divided people into warring camps and warring nations for centuries. saying that jesus loves you may sound innocent and neutral. but blood has been shed in the name of jesus for almost years. again, i respect your sincerity, but i do ask that people not preach christianity on this page. {h/t: instinct via thenewcivilrightsmovement]

ˈɔθər æn raɪs dɪˈlɪvərd ðə ˈəltəmət smæk daʊn ɔn hər ˈfeɪsˌbʊk peɪʤ ˈjɛstərˌdeɪ, ˈtɛlɪŋ hər fænz, wɪl noʊ ˈlɔŋgər ˈtɑlərˌeɪt heɪt spiʧ ɪn ðə gaɪz əv ˈkrɪsʧɪn belief.”*.” mɪz. raɪs, huz sən ˈkrɪstəfər meɪd aʊt lɪst əv tɔp tɛn geɪ ˈbæʧlərz læst wik, həz bɪn ə ˈlɔŋˌtaɪm raɪts səˈpɔrtər. ˈfɑloʊɪŋ ˈhɑliˌwʊd ˈæktrəs ˈɛlən ˈkəmɪŋ aʊt ðɪs ˈwiˌkɪnd, raɪs ˈpoʊstɪd ə kənˈgræʧələˌtɔri noʊt ɔn ˈfeɪsˌbʊk ˈsæˌtɪˌdeɪ tɪ wɪʧ ˈdəzənz əv ˈheɪtərz lɛft vaɪl ˈkɑmɛnts ˈəndər ðə poʊst. mɪz. raɪs ðɛn tʊk tɪ ˈfeɪsˌbʊk wɪθ ðɪs ˈɔsəm poʊst: ɑr poʊst kəˈmɛndɪŋ ˈæktrəs ˈɛlən peɪʤ fər hər kərɪʤ ɪn ˈkəmɪŋ aʊt ɛz geɪ əˈtræktəd ə lɔt əv hɑˈstɪləti ənd heɪt ənd heɪt spiʧ ɛz wɛl ɛz ˈpɑzətɪv ənd ˈsəbstəntɪv ˈkɑmɛnts. aɪ hæv bænd ˈmɛni frəm ðə peɪʤ təˈdeɪ. aɪ wɪl noʊ ˈlɔŋgər ˈtɑlərˌeɪt heɪt spiʧ ɪn ðə gaɪz əv ˈkrɪsʧɪn bɪˈlif wɪθ ðə ˈjuʒəwəl ˌɪrəˈspɑnsəbəl pɪk ənd ʧuz ˈbaɪbəl kwoʊts ənd tɔk əv ““sin”*” ənd ˈhɛlˌfaɪr. aɪ hæv hæd ɪˈnəf əv ɪt, ənd aɪ θɪŋk ðə wərld həz hæd ɪˈnəf əv ɪt tu. əˈgɛn, aɪ kəˈmɛnd ˈɛlən peɪʤ fər hər ˈbreɪvəri ɪn ˈkəmɪŋ aʊt. aɪ hoʊp mɔr səˈlɛbrɪtiz ənd ˈpəblɪk ˈfɪgjərz wɪl bi ˌɪnˈspaɪərd tɪ du soʊ. ˈɛniˌwən hu θɪŋks ðɪs dɪz nɑt ˈmætər ɪz dɪˈsivɪŋ hɪmˈsɛlf ər hərˈsɛlf. ɪt ˈmætərz ˈvɛri məʧ. geɪ ˈpipəl ɪn ɔl wɔks əv laɪf ˈsəfər frəm ˈbɪgətri, baɪəs, ˌsupərˈstɪʃən, ənd ˈɪgnərəns. hæts ɔf tɪ ˈɛlən peɪʤ! (ənd pliz du nɑt kəm hir tɪ tɛl ˈjuˈɛs ˈpəblɪkli ðət ju care.”*.” ɪf ju kɛr, ɪkˈspɛkt ˈjuˈɛs tɪ kɛr ðət ju kɛr!). raɪs ˈɔlsoʊ tʊk taɪm tɪ rɪˈspɑnd tɪ ˈsɛvərəl əv ðə ˈoʊvər ˈkɑmɛnts tɪ hər poʊst. ɪn wən rɪˈspɑns æn ɪkˈspleɪnd haʊ ʃi bænz hu sprɛd heɪt ɔn hər peɪʤ: aɪ bæn ðoʊz hu ɪnˈgeɪʤ ɪn heɪt spiʧ ˈəndər ðə gaɪz əv ˌkrɪsʧiˈænɪti. ənd wɪn ˈpipəl seɪ ðeɪ ər ðə peɪʤ ər rɪˈʤɛktɪŋ mi ənd maɪ wərks, aɪ ˈɔlsoʊ dɪˈlit ənd bæn ðɛm. ðɪs ɪz maɪ ˈpərsɪnəl ʧɔɪs beɪst ɔn maɪ ɪkˈspɪriəns ɔn ðə peɪʤ. rəˈbɛkə ˈkɑmɛntəd: aɪ du nɑt kɛr. ðə əˈmɛrɪkən ˈpipəl hæv fɪʃ tɪ fraɪ. raɪs hɪt bæk wɪθ ðɪs rɪˈspɑns: ðɛn waɪ poʊst hir? ˈɑbviəsli ju du kɛr ɪˈnəf tɪ tɛl ˈjuˈɛs ðət ju ˌdɪsəˈpruv əv ɑr ˈkɛrɪŋ. wɛl, aɪ du kɛr. aɪ θɪŋk wət ˈɛlən peɪʤ dɪd wɑz breɪv ənd hər kərɪʤ wɪl hæv ə ˌdɪˈsaɪdədli ˈpɑzətɪv ˈifɛkt əˈgɛnst ðə ənd ˈɪgnərəns ðət ˌəndərˈskɔr ðə ˌpərsəˈkjuʃən əv geɪz ɪn ɑr ˈkəntri. maɪk eɪʧ. lɛft ðɪs rɪˈspɑns tɪ hər poʊst: aɪ ləv ðə weɪ ju si ˈpipəl hu laɪk ər əˈgri wɪθ ðət ˈlaɪfˌstaɪl ər always”haters”*”. baɪ ðət ˌdɛfəˈnɪʃən wət du ju θɪŋk ju ər wɪn ju laɪk wət ˈkrɪsʧɪnz bɪˈliv. ˈtoʊtəl hypocrisey*. mɪz raɪs aɪ θɪŋk ju ˈɔlsoʊ ər ˈdæbəlɪŋ ɪn səm sɛlf dɪˈsɛpʃən. tɪ wɪʧ raɪs rɪˈspɑndɪd wɪθ ðɪs ˈkɑmɛnt: maɪk, ɪn maɪ ɪkˈspɪriəns ˈmɛni ˈkrɪsʧɪnz ər ɪkˈstrimli əˈgrɛsɪv təˈwɔrdz ðoʊz ðeɪ dɪˈspaɪz ənd sik tɪ kənˈtroʊl ənd ʧeɪnʤ. ðeɪ spɛnd ˈmɪljənz ɪn əˈmɛrɪkə traɪɪŋ tɪ ˌɪnərˈfɪr wɪθ ə raɪt tɪ ʧuz ənd ə geɪ ˈsɪvəl raɪts. ðeɪ ər ˈvoʊkəl ənd jʊr face”*” wɪθ ðɛr heɪt əv geɪz ənd ˈəðər strɔŋ rɪˈlɪʤəs ˈbaɪəsɪz. ɪf ðeɪ wʊd rɪˈspɛkt ðə raɪts ənd ˈdɪgnəti əv ðoʊz hu du nɑt ʃɛr ðɛr bɪˈlif ˈsɪstəm, ɪt wʊd bi ˈbɛtər fər ˈɛvriˌwən. bət ˈsædli, ðeɪ. ənd wɪn ðeɪ brɪŋ heɪt spiʧ tɪ ðɪs peɪʤ, aɪ wɪl dɪˈlit ənd bæn ðɛm. maɪk, aɪ θɪŋk ðə əˈgrɛʃən ənd hɑˈstɪləti əv ˈkrɪsʧɪnz təˈwɔrdz ðoʊz ðeɪ kənˈdɛm kən bi kəmˈpɛrd ɪn ˈɛni weɪ tɪ geɪ raɪts ˈæktɪvɪsts. geɪ raɪts ˈæktɪvɪsts spɛnd ˈmɪljənz traɪɪŋ tɪ ˈpərsəˌkjut ənd ˈdiməˌnaɪz ˈəðərz ər əˈprɛs ðɛm ɪn tərmz əv ˈsɪvəl raɪts. aɪ hoʊp ju du səm ˈrisərʧ ɔn ðɪs ˈtɑpɪk. wi hæv ə ˈsɪriəs ˈprɑbləm ɪn ðɪs ˈkəntri wɪθ əˈgrɛsɪv ˈkrɪsʧɪnz ˈvaɪəleɪtɪŋ ɑr ˌsɛpərˈeɪʃən əv ʧərʧ ənd steɪt, ənd kæmˈpeɪnɪŋ tɪ əˈprɛs ˈwɪmən ənd geɪz, ənd ˈsəmˌtaɪmz ˈʧɪldrən. aɪ θɪŋk wi ər ɪn ə taɪm ɪn əˈmɛrɪkə wɪn wi məst dɪˈmænd ðət ɔl ˈpipəl ˈkleɪmɪŋ tɪ bi ˈkrɪsʧɪn teɪk fʊl ˈmɔrəl riˌspɑnsəˈbɪləti fər ðɛr bɪˈlif ˈsɪstəm ənd ðə hɑrm ɪt həz dən hɪˈstɔrɪkəli ənd ðə hɑrm ɪt kənˈtɪnjuz tɪ du ɪn ɑr ˈkəntri. aɪ si noʊ ˈrizən tɪ gɪv ˈkrɪsʧɪnz ə pæs ɔn ˈɛni əv ðɪs. ˈrɑbɪn roʊt: aɪ hæd meɪd ə ˈkɑmɛnt leɪt læst naɪt əˈbaʊt haʊ aɪ bɪˈliv ɪn ləv. ənd haʊ aɪ æm ˈgreɪtfəl tɪ ˈʤizəs ˈləvɪŋ mi ɛz ə ˈsɪnər. aɪ rɪˈsivd ə rɪˈplaɪ bæk əˈbaʊt ju nɑt ˈwɑnɪŋ mi tɪ priʧ ɔn jʊr peɪʤ. aɪ fil aɪ wɑz ˈpriʧɪŋ, bət ˈsteɪtɪŋ maɪ əˈpɪnjən, ɛz soʊ ˈmɛni ˈəðərz. aɪ əˈpɑləˌʤaɪz ɪf ðɛr wər ə ˌmɪsəndərˈstændɪŋ. aɪ ˌɛnˈʤɔɪ jʊr wərk, ənd jʊr əˈpɪnjənz. aɪ ˈtoʊtəli əˈgri əˈbaʊt jʊr stæns ɔn ˈɛlən peɪʤ ənd pərˈhæps, soʊ ˈmɛni ˈəðərz. hæv ə greɪt day…*… ɔf tɪ du səm ʧɔrz. raɪs rɪˈplaɪd wɪθ: ˈrɑbɪn, fər ˈmɛni əv ˈjuˈɛs, wərdz laɪk ““sin”*” ənd ˈivɪn loving”*” hæv bɪˈkəm əˈsoʊʃiˌeɪtəd, ˈsædli, wɪθ ˈbɪgətri ənd heɪt. ðɪs jʊr duɪŋ. ɪt maɪn. ɪt həz tɪ du wɪθ ðə weɪ ðɪs ˈlæŋgwɪʤ həz bɪn juzd ɪn əˈmɛrɪkə əˈgrɛsɪvli ənd ˈboʊldli ɔn ə ˈnæʃənəl ˈlɛvəl ɪn ə wɔr əˈgɛnst raɪts ənd geɪ raɪts. soʊ aɪ faɪnd ˌmaɪˈsɛlf ˈhaɪli ˈsɛnsɪtɪv tɪ ɪt. aɪ rɪˈspɛkt jʊr gʊd ˌɪnˈtɛnʧənz. aɪ ˈkænɑt ʧeɪnʤ æt ðɪs pɔɪnt maɪ oʊn ˈnɛgətɪv riˈækʃən tɪ ðə wərd ““sin.”*.” aɪ θɪŋk ɪt ɪz ə ˈvɛri pur wərd tɪ juz ɪn dɪˈskəsɪŋ ðə ˈjumən ˈspɪrɪt ənd ðə ˈmɔrəl ˈprɑbləmz wɪʧ ɔl ˈjumən biɪŋz feɪs ˈɛvəri deɪ. bət əˈgɛn, aɪ rɪˈspɛkt jʊr sɪnˈsɛrəti. aɪ θɪŋk ə gʊd aɪˈdiə tɪ rɪˈmɛmbər ðət rɪˈlɪʤən həz tɪ du wɪθ feɪθ ɪn θɪŋz wɪʧ ˈkænɑt bi ˈpruvən, ənd wɪʧ hæv dɪˈvaɪdɪd ˈpipəl ˈɪntu ˈwɔrɪŋ kæmps ənd ˈwɔrɪŋ ˈneɪʃənz fər ˈsɛnʧəriz. seɪɪŋ ðət ˈʤizəs ləvz ju meɪ saʊnd ˈɪnəsənt ənd ˈnutrəl. bət bləd həz bɪn ʃɛd ɪn ðə neɪm əv ˈʤizəs fər ˈɔlˌmoʊst jɪrz. əˈgɛn, aɪ rɪˈspɛkt jʊr sɪnˈsɛrəti, bət aɪ du æsk ðət ˈpipəl nɑt priʧ ˌkrɪsʧiˈænɪti ɔn ðɪs peɪʤ. {h/t*: ˈɪnstɪŋkt ˈviə thenewcivilrightsmovement*]

albano brás, the owner of the small café, recalls them very well. they were regulars, “good lads”, calm, who appeared at the end of the day or at the weekend and always in a group. however much he attempted to recall some incident, the 52 year old emigrant in for the last two decades is unable to point to any particular warning sign that the “boys” might have given. they laughed at the comments of others, there were no muslim items of clothing nor was there any reference to either the koran or to islam. they just did not consume alcohol. they watched the football with a bottle of orange or pineapple soda. and there was no censure should one of their friends drink a super bock beer. religion was left very much at the door of the. between 2012 and 2013, the five began sharing an apartment in, located between the calm road and road, next to a park with squirrels running through the trees. however, the portuguese spent very little time there. it served only for sleeping, washing, praying and watching jihadist propaganda videos on the internet. there was no television out of choice that they stuck to with pride. the rent and daily needs were paid for by low level jobs in clothes stores or cleaning. there was not much money left at the end of the week but, then again, the group was not given to great extravagances. as a friend stated: “they did not need much to live. the remained satisfied with very little.” the house was just a minute from a bus stop serving routes 58 and 69, which would take them not only to café but also to the university of east london, in stratford, where most of them studied, and the mosque they attended in forest gate. they would head off to work or the faculty in the morning and return in the evening, a daily routine similar to the rest of the immigrants living in the neighbourhood. proves little more than a dormitory for its approximately forty thousand inhabitants, over half of whom belong to an ethnic minority, a ratio far higher than the greater london average. here, the unemployment, poverty and criminality rates are also way above the national averages. and, this is where one of largest muslim communities lives. in portugal, none of the five paid any attention to religion. some had even grown up in catholic households. the conversion to islam and the had taken place there, in greater london, in a quick process lasting just a few months in the majority of cases. edgar, the first portuguese person in the group to emigrate and turn muslim, went onto influence his brother celso and his three friends. however, who influenced him? “they went over to the more radical side of islam because they wanted to, out of faith, due to not agreeing with the foreign policy of the west against muslims. nobody twisted their heads around. it was just like that. in lisbon, the muslims did not understand these questions. here they did”, was the attempted explanation of a friend of the group who remains in london. those responsible at the forest gate mosque, a white prefabricated building, modest in scale, which also serves as a religious schools, guaranteed to expresso that they did not know any “brother” of portuguese nationality but did accept their might be a few “black sheep” in amongst the flock of hundreds of persons attending the mosque daily.

ɑlˈbɑnoʊ brás*, ðə ˈoʊnər əv ðə smɔl café*é, ˈriˌkɔlz ðɛm ˈvɛri wɛl. ðeɪ wər ˈrɛgjələrz, lads”*”, kɑm, hu əˈpɪrd æt ðə ɛnd əv ðə deɪ ər æt ðə ˈwiˌkɪnd ənd ˈɔlˌweɪz ɪn ə grup. ˌhaʊˈɛvər məʧ hi əˈtɛmptəd tɪ ˈriˌkɔl səm ˈɪnsədənt, ðə 52 jɪr oʊld ˈɛməgrənt ɪn fər ðə læst tu ˈdɛkeɪdz ɪz əˈneɪbəl tɪ pɔɪnt tɪ ˈɛni ˌpɑˈtɪkjələr ˈwɔrnɪŋ saɪn ðət ðə ““boys”*” maɪt hæv ˈgɪvɪn. ðeɪ læft æt ðə ˈkɑmɛnts əv ˈəðərz, ðɛr wər noʊ ˈməzlɪm ˈaɪtəmz əv ˈkloʊðɪŋ nɔr wɑz ðɛr ˈɛni ˈrɛfərəns tɪ ˈiðər ðə kɔˈrɑn ər tɪ ˌɪsˈlɑm. ðeɪ ʤɪst dɪd nɑt kənˈsum ˈælkəˌhɑl. ðeɪ wɔʧt ðə ˈfʊtˌbɔl wɪθ ə ˈbɑtəl əv ˈɔrɪnʤ ər ˈpaɪˌnæpəl ˈsoʊdə. ənd ðɛr wɑz noʊ ˈsɛnʃər ʃʊd wən əv ðɛr frɛndz drɪŋk ə ˈsupər bɑk bɪr. rɪˈlɪʤən wɑz lɛft ˈvɛri məʧ æt ðə dɔr əv ðə. bɪtˈwin 2012 ənd 2013 ðə faɪv bɪˈgæn ˈʃɛrɪŋ ən əˈpɑrtmənt ɪn, ˈloʊˌkeɪtəd bɪtˈwin ðə kɑm roʊd ənd roʊd, nɛkst tɪ ə pɑrk wɪθ skwərəlz ˈrənɪŋ θru ðə triz. ˌhaʊˈɛvər, ðə ˈpɔrʧəˌgiz spɛnt ˈvɛri ˈlɪtəl taɪm ðɛr. ɪt sərvd ˈoʊnli fər sˈlipɪŋ, ˈwɑʃɪŋ, preɪɪŋ ənd ˈwɑʧɪŋ ʤiˈhɑˌdɪst ˌprɑpəˈgændə ˈvɪdioʊz ɔn ðə ˈɪntərˌnɛt. ðɛr wɑz noʊ ˈtɛləˌvɪʒən aʊt əv ʧɔɪs ðət ðeɪ stək tɪ wɪθ praɪd. ðə rɛnt ənd ˈdeɪli nidz wər peɪd fər baɪ loʊ ˈlɛvəl ʤɑbz ɪn kloʊðz stɔrz ər ˈklinɪŋ. ðɛr wɑz nɑt məʧ ˈməni lɛft æt ðə ɛnd əv ðə wik bət, ðɛn əˈgɛn, ðə grup wɑz nɑt ˈgɪvɪn tɪ greɪt extravagances*. ɛz ə frɛnd ˈsteɪtɪd: dɪd nɑt nid məʧ tɪ lɪv. ðə rɪˈmeɪnd ˈsætɪsˌfaɪd wɪθ ˈvɛri little.”*.” ðə haʊs wɑz ʤɪst ə ˈmɪnət frəm ə bəs stɑp ˈsərvɪŋ rʊts 58 ənd 69 wɪʧ wʊd teɪk ðɛm nɑt ˈoʊnli tɪ café*é bət ˈɔlsoʊ tɪ ðə ˌjunəˈvərsəti əv ist ˈləndən, ɪn ˈstrætfərd, wɛr moʊst əv ðɛm ˈstədid, ənd ðə mɔsk ðeɪ əˈtɛndəd ɪn ˈfɔrɪst geɪt. ðeɪ wʊd hɛd ɔf tɪ wərk ər ðə ˈfækəlti ɪn ðə ˈmɔrnɪŋ ənd rɪˈtərn ɪn ðə ˈivnɪŋ, ə ˈdeɪli ruˈtin ˈsɪmələr tɪ ðə rɛst əv ðə ˈɪməgrənts ˈlɪvɪŋ ɪn ðə ˈneɪbərˌhʊd. pruvz ˈlɪtəl mɔr ðən ə ˈdɔrməˌtɔri fər ɪts əˈprɑksəmətli ˈfɔrti ˈθaʊzənd ˌɪnˈhæbɪtənts, ˈoʊvər hæf əv hum bɪˈlɔŋ tɪ ən ˈɛθnɪk məˈnɔrəti, ə ˈreɪʃiˌoʊ fɑr haɪər ðən ðə ˈgreɪtər ˈləndən ˈævərɪʤ. hir, ðə ˌənɪmˈplɔɪmənt, ˈpɑvərti ənd ˌkrɪməˈnælɪti reɪts ər ˈɔlsoʊ weɪ əˈbəv ðə ˈnæʃənəl ˈævrɪʤɪz. ənd, ðɪs ɪz wɛr wən əv ˈlɑrʤəst ˈməzlɪm kəmˈjunɪtiz lɪvz. ɪn ˈpɔrʧəgəl, nən əv ðə faɪv peɪd ˈɛni əˈtɛnʃən tɪ rɪˈlɪʤən. səm hæd ˈivɪn groʊn əp ɪn ˈkæθlɪk ˈhaʊsˌhoʊldz. ðə kənˈvərʒən tɪ ˌɪsˈlɑm ənd ðə hæd ˈteɪkən pleɪs ðɛr, ɪn ˈgreɪtər ˈləndən, ɪn ə kwɪk ˈprɔˌsɛs ˈlæstɪŋ ʤɪst ə fju mənθs ɪn ðə məˈʤɔrəti əv ˈkeɪsɪz. ˈɛdgər, ðə fərst ˈpɔrʧəˌgiz ˈpərsən ɪn ðə grup tɪ ˈɛməˌgreɪt ənd tərn ˈməzlɪm, wɛnt ˈɔntu ˈɪnfluəns hɪz ˈbrəðər ˈsɛlsoʊ ənd hɪz θri frɛndz. ˌhaʊˈɛvər, hu ˈɪnfluənst ɪm? wɛnt ˈoʊvər tɪ ðə mɔr ˈrædɪkəl saɪd əv ˌɪsˈlɑm bɪˈkəz ðeɪ ˈwɔntɪd tɪ, aʊt əv feɪθ, du tɪ nɑt əˈgriɪŋ wɪθ ðə ˈfɔrən ˈpɑləsi əv ðə wɛst əˈgɛnst ˈməzlɪmz. ˈnoʊˌbɑˌdi tˈwɪstɪd ðɛr hɛdz əraʊnd. ɪt wɑz ʤɪst laɪk ðət. ɪn ˈlɪzbən, ðə ˈməzlɪmz dɪd nɑt ˌəndərˈstænd ðiz kˈwɛsʧənz. hir ðeɪ did”*”, wɑz ðə əˈtɛmptəd ˌɛkspləˈneɪʃən əv ə frɛnd əv ðə grup hu rɪˈmeɪnz ɪn ˈləndən. ðoʊz riˈspɑnsəbəl æt ðə ˈfɔrɪst geɪt mɔsk, ə waɪt priˈfæbrɪˌkeɪtɪd ˈbɪldɪŋ, ˈmɑdəst ɪn skeɪl, wɪʧ ˈɔlsoʊ sərvz ɛz ə rɪˈlɪʤəs skulz, ˌgɛrənˈtid tɪ ɪkˈspɛsoʊ ðət ðeɪ dɪd nɑt noʊ ˈɛni ““brother”*” əv ˈpɔrʧəˌgiz ˌnæʃəˈnælɪti bət dɪd əkˈsɛpt ðɛr maɪt bi ə fju sheep”*” ɪn əˈməŋst ðə flɑk əv ˈhənərdz əv ˈpərsənz əˈtɛndɪŋ ðə mɔsk ˈdeɪli.

ufc on fox 15: machida vs. rockhold was an event that saw a multitude of lower ranked fighters defeat their higher ranked counterparts. this resulted in a lot of movement in this official rankings. in his most impressive performance in the, luke rockhold defeated former champion machida, and moved up three spots from #4 to the #1 spot in the division. although souza won his fight in dominate fashion, a win against chris compare to defeating machida, as souza dropped from the #1 spot to #2 at middleweight. machida dropped from #2 to #4. the breakout star of the event was max holloway as he dominated the higher ranked cub swanson. holloway moved to #6 at featherweight, while swanson surprisingly stayed at #5. paige vanzant also had a breakout performance, dominating veteran felice herrig. she had the biggest jump in the rankings, moving up 5 spots to #7 in the division. herrig fell down three spots to #11 . ovince st. round ko of patrick cummins did not give him too much of a boost in the rankings, as he stayed at #7 at light-heavyweight. cummins fell a spot couple to #13 . beniel makes his debut in the rankings after putting on a showcase against the former #12 ranked lightweight jim miller. is ranked at #14 , while miller has fallen off of the rankings. there was no movement in the rankings as no fighter within the top 15 fought. even though rockhold and souza are ranked higher at middleweight, fighters anderson silva and continue to hold their ranking. for the full rankings, click the link here, or visit.com/rankings. main photo

ufc* ɔn fɑks 15 məˈʧidə ˈvərsəz. ˈrɑˌkhoʊld wɑz ən ɪˈvɛnt ðət sɔ ə ˈməltəˌtud əv loʊər ræŋkt ˈfaɪtərz dɪˈfit ðɛr haɪər ræŋkt ˈkaʊntərˌpɑrts. ðɪs rɪˈzəltɪd ɪn ə lɔt əv ˈmuvmənt ɪn ðɪs əˈfɪʃəl ˈræŋkɪŋz. ɪn hɪz moʊst ˌɪmˈprɛsɪv pərˈfɔrməns ɪn ðə, luk ˈrɑˌkhoʊld dɪˈfitɪd ˈfɔrmər ˈʧæmpiən məˈʧidə, ənd muvd əp θri spɑts frəm 4 tɪ ðə 1 spɑt ɪn ðə dɪˈvɪʒən. ˌɔlˈðoʊ ˈsuzə wən hɪz faɪt ɪn ˈdɑməˌneɪt ˈfæʃən, ə wɪn əˈgɛnst krɪs kəmˈpɛr tɪ dɪˈfitɪŋ məˈʧidə, ɛz ˈsuzə drɑpt frəm ðə 1 spɑt tɪ 2 æt ˈmɪdəlˌweɪt. məˈʧidə drɑpt frəm 2 tɪ 4 ðə ˈbreɪˌkaʊt stɑr əv ðə ɪˈvɛnt wɑz mæks ˈhɑloʊˌweɪ ɛz hi ˈdɑməˌneɪtəd ðə haɪər ræŋkt kəb sˈwɑnsən. ˈhɑloʊˌweɪ muvd tɪ 6 æt ˈfɛðərˌweɪt, waɪl sˈwɑnsən səˈpraɪzɪŋli steɪd æt 5 peɪʤ ˈvɑnzənt ˈɔlsoʊ hæd ə ˈbreɪˌkaʊt pərˈfɔrməns, ˈdɑməˌneɪtɪŋ ˈvɛtərən fəˈlis ˈhɛrɪg. ʃi hæd ðə ˈbɪgəst ʤəmp ɪn ðə ˈræŋkɪŋz, ˈmuvɪŋ əp 5 spɑts tɪ 7 ɪn ðə dɪˈvɪʒən. ˈhɛrɪg fɛl daʊn θri spɑts tɪ 11 st*. raʊnd koʊ əv ˈpætrɪk ˈkəmɪnz dɪd nɑt gɪv ɪm tu məʧ əv ə bust ɪn ðə ˈræŋkɪŋz, ɛz hi steɪd æt 7 æt light-heavyweight*. ˈkəmɪnz fɛl ə spɑt ˈkəpəl tɪ 13 meɪks hɪz ˈdeɪbju ɪn ðə ˈræŋkɪŋz ˈæftər ˈpʊtɪŋ ɔn ə ˈʃoʊˌkeɪs əˈgɛnst ðə ˈfɔrmər 12 ræŋkt ˈlaɪtˈweɪt ʤɪm ˈmɪlər. ɪz ræŋkt æt 14 waɪl ˈmɪlər həz ˈfɑlən ɔf əv ðə ˈræŋkɪŋz. ðɛr wɑz noʊ ˈmuvmənt ɪn ðə ˈræŋkɪŋz ɛz noʊ ˈfaɪtər wɪˈθɪn ðə tɔp 15 fɔt. ˈivɪn ðoʊ ˈrɑˌkhoʊld ənd ˈsuzə ər ræŋkt haɪər æt ˈmɪdəlˌweɪt, ˈfaɪtərz ˈændərsən ˈsɪlvə ənd kənˈtɪnju tɪ hoʊld ðɛr ˈræŋkɪŋ. fər ðə fʊl ˈræŋkɪŋz, klɪk ðə lɪŋk hir, ər ˈvɪzɪt ufc.com/rankings*. meɪn ˈfoʊˌtoʊ

the super bowl is over, which means that baseball season is almost here. more precisely, baseball prediction season is almost here, where ostensibly smart writers trip over themselves to be aggressively dumb in public. i know i'm addicted to the rush, not sure about everyone else. there's just something about picking the royals for third place that really gets the endorphins firing. before we get to the actual predictions, though, we'll start with something a little lighter. there are six divisions in baseball. all of them will have a champion in seven months. our job today is to rank the divisional races to predict which one will be the most exciting. i didn't do this last year, so i can't laugh at past results, but i absolutely guarantee that my prediction for the divisional race would have been the east because the nationals were going to win by 13 games. it turns out that the east really was a boring division toward the end, but not because the nationals ran away with it. the same will invariably apply to this year: the best divisions in baseball will disappoint, and a random team will come out of nowhere to be this year's astros, which will turn an unexciting race into a september thriller. until then, we'll go with what we think we know. here are the best divisional races in baseball, in order from "least exciting" to "most exciting." 6. east before you yell at me too loudly, note that all of these divisional races are rare, beautiful creatures that just might steal our hearts by october. a bad divisional race is still a glorious divisional race, and this exercise is like ranking our children. but some kids are objectively worse than other kids. that's not my fault, and i'm not going to apologize for it. and the east should have two good teams, one team on the cusp and two lousy teams. that's a combo to make them a clear finisher. while the other five divisions might not have the raw intensity of a potential arms race, they'll mix a third team in the discussion that's more interesting than the marlins, and they'll have more interesting teams than the phillies and a more interesting team than the braves. that applies if those two switch places, too. in the most basic sense, a great divisional race can be defined by just two teams beating each other up. no one cares about who finished third in the 1993 west. no one cares who finished third in the 2012 al west. so, why should we use the overall strength of the division in our criteria? because fewer contending teams means fewer chances at excitement. last year, the east looked like one great team, one pretty okay team, and some also-rans, and it ended up being a pretty boring division by september. not the way we expected, but still. if there's a glut of teams, the excitement potential goes way down. 5. al west i really want to make a contending a's team happen. partially for selfish reasons, partially because it would really jimmy up this whole al west race and create chaos. i'm a baseball fan second, and a chaos fan first. which is the same thing as saying i'm a baseball fan twice. alas, the closer we get to the season, the less convinced i am that the a's will get to .500, much less threaten the division leaders. and if you're thinking the al west is going to be one of the best races in baseball, you have to be thinking it's a scrum. the mariners are coated with a slick, substance that prevents them from getting too close to the top of the division, and the angels might be history's most boring team if you limit the pool to "contending teams that employ the best player in the world." but, again, if you think of yu pitching to mike trout on a warm august night, with everyone checking the scoreboard to see how that game is going, you're excited about this race. it just lacks oomph at the bottom. 4. al central if you want parity, the al central has it. has the projected rosters for each team on their depth charts, and they've tallied up the projected war for each team. here's where the al central teams rank: 12. indians (39 projected war) 19. tigers (33) 19. royals (33) 21. white sox (33) 23. twins (32) the royals aren't getting a lot of respect, just like last year. zips' gas is probably broken, and it's telling us that the secret ingredient is love, which you would think the royals have by this point. but i'll take the over again, if only because the burns from last year's projections are still raw. and if you're taking the over on the royals, why not the tigers, too? that sure is one heck of a lineup, at least in the middle. and the white sox rotation truly is underrated, even once you realize that john danks has been replacement level for years now. the twins have the kind of young talent that could go supernova at any second, which would alter the complexion of the race completely. i'm looking for five teams with a shot at the al central, which vaults them ahead of the other teams. in reality, one team will probably lose 90 and another team will have a lead by the middle of august. from the cold distance, though, it looks like a superb testament to the wonders of parity. 3. west they're going to have the lousy teams, just like the east. there's a clear top three and bottom two, just like the east. but there's a that elevates them above: the and zack greinke, even if zips and other projection systems aren't convinced. the giants and dodgers fighting it out has more of a ring to it than the nats and mets. that last one could be bias, but i've seen enough ken burns documentaries to know what people really care about. there's also just a touch of uncertainty with the two bottom-feeders, with the rockies' homegrown rotation looking to surprise and the padres together a staff filled with some angry pitchers trying to rebound from disappointing seasons. i've seen worse february rosters make it to the final month of the season in contention. and while you might think it would be a very padres thing to lose in an undistinguished fashion, you're wrong. as a observer, i can attest that it would be much, much more padres to contend past the trading deadline behind fantastic andrew and james shields seasons, spend prospects to acquire reinforcements rather than trade away their best players for prospects, and then finish the season in third place, wondering why they didn't just trade their best players for prospects at the deadline like they were planning to before the season started. 2. central this is the start of an aesthetic argument. is it better to watch a division with three powerhouse teams, total heavyweights that might all threaten 100 wins, or is it better to watch a division with five teams that might all finish and create chaos? if you choose the former, the heavyweights with a chance to win 100, i don't blame you. the cubs, pirates and cardinals really are outstanding collections of talent. even though the pirates had an unfortunately dull offseason, and the cardinals lost their most valuable position player and pitcher from last season's juggernaut, it's still a three-way race that should be compelling all season. sign up for our newsletter get all kinds of stories, rumors, game coverage and vines of dudes getting hit in the beans in your every day. email i just can't get over the reds and brewers, both of whom have a chance to be awful. we're talking awful, even if only because of the distribution of talent around the division. and while that shouldn't make a difference when enjoying a race in september, it will. the cubs will finish the season with a set against the reds, who will be busy seeing if is the left fielder of the future, and starting a homemade brad penny that they made from assorted body parts that they found in mr. redlegs' office. meanwhile, the cardinals and pirates will be slamming each others' heads against the turf. the brewers were against the cubs and cardinals last year, and the reds were against those two. for some reason, both teams were a game over .500 against the pirates, so maybe this imbalance is a feature, not a bug, and it ferrets out the team that can't take care of the weaker teams in the division. still, there's something about the that bugs me. give me strong teams up and down the division. give me possibly weak teams, as long as they are five of them. maybe i'm just a baseball socialist, i don't know. 1. al east to get here, where you're excited about the american league east and the five teams within, you have to make some assumptions. first, you have to be somewhat curious about the orioles. i was ready to proclaim their rotation very underrated for this article, and then i looked up second-stats, and, ha ha ha, no, they're probably rated just fine. he still has that delivery, which means he's going to be inconsistent for the rest of his days. but i believe in their lineup. or, at least, their capacity to hit 200 again. i believe that kim is going to get on base, and i believe that scott whispered, "hit better, you fool" into matt wieters' ear, and that he whispered, "okay" back. second, you have to forget that we were all jazzed about the red sox at this time last year, too. they have david price, sure, but it's still a rotation filled with young players and uncertainty. or, to put it another way, (last year's red sox + david price) a 2015 contender, so are we really so jazzed about the way they finished last year? yeah, kinda. third, you have to believe in the rays' rotation to an extent that it's not hard to see them aping the 2015 mets, where the lineup does just enough until the deadline. fourth, you have to forget that almost everyone on the yankees has a collection. you also have to forget that most of the ligaments in the starting rotation are held together only by the aid of george astral manipulation from beyond the grave. they've forgotten it. they're the yankees. they don't care, and you know they'll contend. you should probably just forget all that. fifth, you have to ignore both the blue jays' rotation of adequacy and their potential to run away with the division by july. which is hard to do in both cases, which means they probably even out. maybe. add in the potential for red chicanery -- but only if we can catch any of the games on national tv, somehow -- and you have the division i'm most looking forward to. the east should also be kind of cool, you know. there really isn't a wrong answer, and this entire article is basically a long-winded way of writing, "excited about baseball, y'all." last year was kind of a dud when it came to september races, especially once the cubs and pirates had the wild card safety net. hopefully this year, we have some chaos.

ðə ˈsupər boʊl ɪz ˈoʊvər, wɪʧ minz ðət ˈbeɪsˈbɔl ˈsizən ɪz ˈɔlˌmoʊst hir. mɔr prɪˈsaɪsli, ˈbeɪsˈbɔl priˈdɪkʃən ˈsizən ɪz ˈɔlˌmoʊst hir, wɛr ɑˈstɛnsəbli smɑrt ˈraɪtərz trɪp ˈoʊvər ðɛmˈsɛlvz tɪ bi əˈgrɛsɪvli dəm ɪn ˈpəblɪk. aɪ noʊ əm əˈdɪktɪd tɪ ðə rəʃ, nɑt ʃʊr əˈbaʊt ˈɛvriˌwən ɛls. ðɛrz ʤɪst ˈsəmθɪŋ əˈbaʊt ˈpɪkɪŋ ðə rɔɪəlz fər θərd pleɪs ðət ˈrɪli gɪts ðə ɛnˈdɔrfɪnz ˈfaɪərrɪŋ. ˌbiˈfɔr wi gɪt tɪ ðə ˈækʧəwəl priˈdɪkʃənz, ðoʊ, wɪl stɑrt wɪθ ˈsəmθɪŋ ə ˈlɪtəl ˈlaɪtər. ðɛr ər sɪks dɪˈvɪʒənz ɪn ˈbeɪsˈbɔl. ɔl əv ðɛm wɪl hæv ə ˈʧæmpiən ɪn ˈsɛvən mənθs. ɑr ʤɑb təˈdeɪ ɪz tɪ ræŋk ðə dɪˈvɪʒənəl ˈreɪsɪz tɪ prɪˈdɪkt wɪʧ wən wɪl bi ðə moʊst ɪkˈsaɪtɪŋ. aɪ ˈdɪdənt du ðɪs læst jɪr, soʊ aɪ kænt læf æt pæst rɪˈzəlts, bət aɪ ˌæbsəˈlutli ˌgɛrənˈti ðət maɪ priˈdɪkʃən fər ðə dɪˈvɪʒənəl reɪs wʊd hæv bɪn ðə ist bɪˈkəz ðə ˈnæʃənəlz wər goʊɪŋ tɪ wɪn baɪ 13 geɪmz. ɪt tərnz aʊt ðət ðə ist ˈrɪli wɑz ə ˈbɔrɪŋ dɪˈvɪʒən təˈwɔrd ðə ɛnd, bət nɑt bɪˈkəz ðə ˈnæʃənəlz ræn əˈweɪ wɪθ ɪt. ðə seɪm wɪl ˌɪnˈvɛriəbli əˈplaɪ tɪ ðɪs jɪr: ðə bɛst dɪˈvɪʒənz ɪn ˈbeɪsˈbɔl wɪl ˌdɪsəˈpɔɪnt, ənd ə ˈrændəm tim wɪl kəm aʊt əv ˈnoʊˌwɛr tɪ bi ðɪs jɪrz ˈæstroʊs, wɪʧ wɪl tərn ən ənɪkˈsaɪtɪŋ reɪs ˈɪntu ə sɛpˈtɛmbər θˈrɪlər. ənˈtɪl ðɛn, wɪl goʊ wɪθ wət wi θɪŋk wi noʊ. hir ər ðə bɛst dɪˈvɪʒənəl ˈreɪsɪz ɪn ˈbeɪsˈbɔl, ɪn ˈɔrdər frəm "list ɪkˈsaɪtɪŋ" tɪ "moʊst ɪkˈsaɪtɪŋ." 6 ist ˌbiˈfɔr ju jɛl æt mi tu ˈlaʊdli, noʊt ðət ɔl əv ðiz dɪˈvɪʒənəl ˈreɪsɪz ər rɛr, ˈbjutəfəl ˈkriʧərz ðət ʤɪst maɪt stil ɑr hɑrts baɪ ɑkˈtoʊbər. ə bæd dɪˈvɪʒənəl reɪs ɪz stɪl ə ˈglɔriəs dɪˈvɪʒənəl reɪs, ənd ðɪs ˈɛksərˌsaɪz ɪz laɪk ˈræŋkɪŋ ɑr ˈʧɪldrən. bət səm kɪdz ər ɑˈbʤɛktɪvli wərs ðən ˈəðər kɪdz. ðæts nɑt maɪ fɔlt, ənd əm nɑt goʊɪŋ tɪ əˈpɑləˌʤaɪz fər ɪt. ənd ðə ist ʃʊd hæv tu gʊd timz, wən tim ɔn ðə kəsp ənd tu ˈlaʊzi timz. ðæts ə ˈkɑmˌboʊ tɪ meɪk ðɛm ə klɪr ˈfɪnɪʃər. waɪl ðə ˈəðər faɪv dɪˈvɪʒənz maɪt nɑt hæv ðə rɑ ˌɪnˈtɛnsɪti əv ə pəˈtɛnʃəl ɑrmz reɪs, ðɛl mɪks ə θərd tim ɪn ðə dɪˈskəʃən ðæts mɔr ˈɪntəˌrɛstɪŋ ðən ðə ˈmɑrlənz, ənd ðɛl hæv mɔr ˈɪntəˌrɛstɪŋ timz ðən ðə ˈfɪliz ənd ə mɔr ˈɪntəˌrɛstɪŋ tim ðən ðə breɪvz. ðət əˈplaɪz ɪf ðoʊz tu swɪʧ ˈpleɪsɪz, tu. ɪn ðə moʊst ˈbeɪsɪk sɛns, ə greɪt dɪˈvɪʒənəl reɪs kən bi dɪˈfaɪnd baɪ ʤɪst tu timz ˈbitɪŋ iʧ ˈəðər əp. noʊ wən kɛrz əˈbaʊt hu ˈfɪnɪʃt θərd ɪn ðə 1993 wɛst. noʊ wən kɛrz hu ˈfɪnɪʃt θərd ɪn ðə 2012 æl wɛst. soʊ, waɪ ʃʊd wi juz ðə ˈoʊvərˌɔl strɛŋθ əv ðə dɪˈvɪʒən ɪn ɑr kraɪˈtɪriə? bɪˈkəz fjuər kənˈtɛndɪŋ timz minz fjuər ˈʧænsɪz æt ɪkˈsaɪtmənt. læst jɪr, ðə ist lʊkt laɪk wən greɪt tim, wən ˈprɪti ˌoʊˈkeɪ tim, ənd səm also-rans*, ənd ɪt ˈɛndɪd əp biɪŋ ə ˈprɪti ˈbɔrɪŋ dɪˈvɪʒən baɪ sɛpˈtɛmbər. nɑt ðə weɪ wi ɪkˈspɛktɪd, bət stɪl. ɪf ðɛrz ə glət əv timz, ðə ɪkˈsaɪtmənt pəˈtɛnʃəl goʊz weɪ daʊn. 5 æl wɛst aɪ ˈrɪli wɔnt tɪ meɪk ə kənˈtɛndɪŋ eɪz tim ˈhæpən. ˈpɑrʃəli fər ˈsɛlfɪʃ ˈrizənz, ˈpɑrʃəli bɪˈkəz ɪt wʊd ˈrɪli ˈʤɪmi əp ðɪs hoʊl æl wɛst reɪs ənd kriˈeɪt keɪɑs. əm ə ˈbeɪsˈbɔl fæn ˈsɛkənd, ənd ə keɪɑs fæn fərst. wɪʧ ɪz ðə seɪm θɪŋ ɛz seɪɪŋ əm ə ˈbeɪsˈbɔl fæn twaɪs. əˈlæs, ðə ˈkloʊzər wi gɪt tɪ ðə ˈsizən, ðə lɛs kənˈvɪnst aɪ æm ðət ðə eɪz wɪl gɪt tɪ 500 məʧ lɛs θˈrɛtən ðə dɪˈvɪʒən ˈlidərz. ənd ɪf jʊr ˈθɪŋkɪŋ ðə æl wɛst ɪz goʊɪŋ tɪ bi wən əv ðə bɛst ˈreɪsɪz ɪn ˈbeɪsˈbɔl, ju hæv tɪ bi ˈθɪŋkɪŋ ɪts ə scrum*. ðə ˈmɛrənərz ər ˈkoʊtɪd wɪθ ə slɪk, ˈsəbstəns ðət prɪˈvɛnts ðɛm frəm ˈgɪtɪŋ tu kloʊz tɪ ðə tɔp əv ðə dɪˈvɪʒən, ənd ðə ˈeɪnʤəlz maɪt bi ˈhɪstəriz moʊst ˈbɔrɪŋ tim ɪf ju ˈlɪmət ðə pul tɪ "kənˈtɛndɪŋ timz ðət ɪmˈplɔɪ ðə bɛst pleɪər ɪn ðə wərld." bət, əˈgɛn, ɪf ju θɪŋk əv ju ˈpɪʧɪŋ tɪ maɪk traʊt ɔn ə wɔrm ˈɔgəst naɪt, wɪθ ˈɛvriˌwən ˈʧɛkɪŋ ðə ˈskɔrˌbɔrd tɪ si haʊ ðət geɪm ɪz goʊɪŋ, jʊr ɪkˈsaɪtɪd əˈbaʊt ðɪs reɪs. ɪt ʤɪst læks umf æt ðə ˈbɑtəm. 4 æl ˈsɛntrəl ɪf ju wɔnt ˈpɛrəti, ðə æl ˈsɛntrəl həz ɪt. həz ðə prɑˈʤɛktəd ˈrɑstərz fər iʧ tim ɔn ðɛr dɛpθ ʧɑrts, ənd ðeɪv ˈtælid əp ðə prɑˈʤɛktəd wɔr fər iʧ tim. hɪrz wɛr ðə æl ˈsɛntrəl timz ræŋk: 12 ˈɪndiənz 39 prɑˈʤɛktəd wɔr) 19 ˈtaɪgərz 33 19 rɔɪəlz 33 21 waɪt sɑks 33 23 twɪnz 32 ðə rɔɪəlz ˈɑrənt ˈgɪtɪŋ ə lɔt əv rɪˈspɛkt, ʤɪst laɪk læst jɪr. zɪps' gæs ɪz ˈprɑbəˌbli ˈbroʊkən, ənd ɪts ˈtɛlɪŋ ˈjuˈɛs ðət ðə ˈsikrɪt ˌɪnˈgridiənt ɪz ləv, wɪʧ ju wʊd θɪŋk ðə rɔɪəlz hæv baɪ ðɪs pɔɪnt. bət aɪl teɪk ðə ˈoʊvər əˈgɛn, ɪf ˈoʊnli bɪˈkəz ðə bərnz frəm læst jɪrz prɑˈʤɛkʃənz ər stɪl rɑ. ənd ɪf jʊr ˈteɪkɪŋ ðə ˈoʊvər ɔn ðə rɔɪəlz, waɪ nɑt ðə ˈtaɪgərz, tu? ðət ʃʊr ɪz wən hɛk əv ə ˈlaɪˌnəp, æt list ɪn ðə ˈmɪdəl. ənd ðə waɪt sɑks roʊˈteɪʃən ˈtruli ɪz ˌəndərˈreɪtɪd, ˈivɪn wəns ju ˈriəˌlaɪz ðət ʤɑn dæŋks həz bɪn rɪˈpleɪsmənt ˈlɛvəl fər jɪrz naʊ. ðə twɪnz hæv ðə kaɪnd əv jəŋ ˈtælənt ðət kʊd goʊ ˌsupərˈnoʊvə æt ˈɛni ˈsɛkənd, wɪʧ wʊd ˈɔltər ðə kəmˈplɛkʃən əv ðə reɪs kəmˈplitli. əm ˈlʊkɪŋ fər faɪv timz wɪθ ə ʃɑt æt ðə æl ˈsɛntrəl, wɪʧ vɔlts ðɛm əˈhɛd əv ðə ˈəðər timz. ɪn ˌriˈæləˌti, wən tim wɪl ˈprɑbəˌbli luz 90 ənd əˈnəðər tim wɪl hæv ə lɛd baɪ ðə ˈmɪdəl əv ˈɔgəst. frəm ðə koʊld ˈdɪstəns, ðoʊ, ɪt lʊks laɪk ə sʊˈpərb ˈtɛstəmənt tɪ ðə ˈwəndərz əv ˈpɛrəti. 3 wɛst ðɛr goʊɪŋ tɪ hæv ðə ˈlaʊzi timz, ʤɪst laɪk ðə ist. ðɛrz ə klɪr tɔp θri ənd ˈbɑtəm tu, ʤɪst laɪk ðə ist. bət ðɛrz ə ðət ˈɛləˌveɪts ðɛm əˈbəv: ðə ənd zæk greɪŋk, ˈivɪn ɪf zɪps ənd ˈəðər prɑˈʤɛkʃən ˈsɪstəmz ˈɑrənt kənˈvɪnst. ðə ʤaɪənts ənd ˈdɑʤərz ˈfaɪtɪŋ ɪt aʊt həz mɔr əv ə rɪŋ tɪ ɪt ðən ðə næts ənd mɛts. ðət læst wən kʊd bi baɪəs, bət aɪv sin ɪˈnəf kɛn bərnz ˌdɑkjəˈmɛnəriz tɪ noʊ wət ˈpipəl ˈrɪli kɛr əˈbaʊt. ðɛrz ˈɔlsoʊ ʤɪst ə təʧ əv ənˈsərtənti wɪθ ðə tu bottom-feeders*, wɪθ ðə ˈrɑkiz' ˈhoʊmˈgroʊn roʊˈteɪʃən ˈlʊkɪŋ tɪ səˈpraɪz ənd ðə ˈpæˌdreɪz təˈgɛðər ə stæf fɪld wɪθ səm ˈæŋgri ˈpɪʧərz traɪɪŋ tɪ riˈbaʊnd frəm ˌdɪsəˈpɔɪnɪŋ ˈsizənz. aɪv sin wərs ˈfɛbruˌɛri ˈrɑstərz meɪk ɪt tɪ ðə ˈfaɪnəl mənθ əv ðə ˈsizən ɪn kənˈtɛnʃən. ənd waɪl ju maɪt θɪŋk ɪt wʊd bi ə ˈvɛri ˈpæˌdreɪz θɪŋ tɪ luz ɪn ən ˌəndɪˈstɪŋgwɪʃt ˈfæʃən, jʊr rɔŋ. ɛz ə əbˈzərvər, aɪ kən əˈtɛst ðət ɪt wʊd bi məʧ, məʧ mɔr ˈpæˌdreɪz tɪ kənˈtɛnd pæst ðə ˈtreɪdɪŋ ˈdɛˌdlaɪn bɪˈhaɪnd fænˈtæstɪk ˈændru ənd ʤeɪmz ʃildz ˈsizənz, spɛnd ˈprɑspɛkts tɪ əkˈwaɪər ˌriɪnˈfɔrsmənts ˈrəðər ðən treɪd əˈweɪ ðɛr bɛst pleɪərz fər ˈprɑspɛkts, ənd ðɛn ˈfɪnɪʃ ðə ˈsizən ɪn θərd pleɪs, ˈwəndərɪŋ waɪ ðeɪ ˈdɪdənt ʤɪst treɪd ðɛr bɛst pleɪərz fər ˈprɑspɛkts æt ðə ˈdɛˌdlaɪn laɪk ðeɪ wər ˈplænɪŋ tɪ ˌbiˈfɔr ðə ˈsizən ˈstɑrtɪd. 2 ˈsɛntrəl ðɪs ɪz ðə stɑrt əv ən ɛsˈθɛtɪk ˈɑrgjəmənt. ɪz ɪt ˈbɛtər tɪ wɔʧ ə dɪˈvɪʒən wɪθ θri ˈpaʊərˌhaʊs timz, ˈtoʊtəl ˈhɛviˌweɪts ðət maɪt ɔl θˈrɛtən 100 wɪnz, ər ɪz ɪt ˈbɛtər tɪ wɔʧ ə dɪˈvɪʒən wɪθ faɪv timz ðət maɪt ɔl ˈfɪnɪʃ ənd kriˈeɪt keɪɑs? ɪf ju ʧuz ðə ˈfɔrmər, ðə ˈhɛviˌweɪts wɪθ ə ʧæns tɪ wɪn 100 aɪ doʊnt bleɪm ju. ðə kəbz, ˈpaɪrəts ənd ˈkɑrdɪnəlz ˈrɪli ər ˌaʊtˈstændɪŋ kəˈlɛkʃənz əv ˈtælənt. ˈivɪn ðoʊ ðə ˈpaɪrəts hæd ən ənˈfɔrʧənətli dəl offseason*, ənd ðə ˈkɑrdɪnəlz lɔst ðɛr moʊst ˈvæljəbəl pəˈzɪʃən pleɪər ənd ˈpɪʧər frəm læst ˈsizənz ˈʤəgərˌnɔt, ɪts stɪl ə θˈriˌweɪ reɪs ðət ʃʊd bi kəmˈpɛlɪŋ ɔl ˈsizən. saɪn əp fər ɑr ˈnuzˌlɛtər gɪt ɔl kaɪnz əv ˈstɔriz, ˈrumərz, geɪm ˈkəvərɪʤ ənd vaɪnz əv djudz ˈgɪtɪŋ hɪt ɪn ðə binz ɪn jʊr ˈɛvəri deɪ. iˈmeɪl aɪ ʤɪst kænt gɪt ˈoʊvər ðə rɛdz ənd bruərz, boʊθ əv hum hæv ə ʧæns tɪ bi ˈɔfəl. wɪr ˈtɔkɪŋ ˈɔfəl, ˈivɪn ɪf ˈoʊnli bɪˈkəz əv ðə ˌdɪstrəˈbjuʃən əv ˈtælənt əraʊnd ðə dɪˈvɪʒən. ənd waɪl ðət ˈʃʊdənt meɪk ə ˈdɪfərəns wɪn ˌɛnˈʤɔɪɪŋ ə reɪs ɪn sɛpˈtɛmbər, ɪt wɪl. ðə kəbz wɪl ˈfɪnɪʃ ðə ˈsizən wɪθ ə sɛt əˈgɛnst ðə rɛdz, hu wɪl bi ˈbɪzi siɪŋ ɪf ɪz ðə lɛft ˈfildər əv ðə fˈjuʧər, ənd ˈstɑrtɪŋ ə ˈhoʊˈmeɪd bræd ˈpɛni ðət ðeɪ meɪd frəm əˈsɔrtɪd ˈbɑdi pɑrts ðət ðeɪ faʊnd ɪn ˈmɪstər. redlegs*' ˈɔfəs. ˈminˌwaɪl, ðə ˈkɑrdɪnəlz ənd ˈpaɪrəts wɪl bi sˈlæmɪŋ iʧ ˈəðərz' hɛdz əˈgɛnst ðə tərf. ðə bruərz wər əˈgɛnst ðə kəbz ənd ˈkɑrdɪnəlz læst jɪr, ənd ðə rɛdz wər əˈgɛnst ðoʊz tu. fər səm ˈrizən, boʊθ timz wər ə geɪm ˈoʊvər 500 əˈgɛnst ðə ˈpaɪrəts, soʊ ˈmeɪbi ðɪs ɪmˈbæləns ɪz ə ˈfiʧər, nɑt ə bəg, ənd ɪt ˈfɛrəts aʊt ðə tim ðət kænt teɪk kɛr əv ðə ˈwikər timz ɪn ðə dɪˈvɪʒən. stɪl, ðɛrz ˈsəmθɪŋ əˈbaʊt ðə ðət bəgz mi. gɪv mi strɔŋ timz əp ənd daʊn ðə dɪˈvɪʒən. gɪv mi ˈpɑsəbli wik timz, ɛz lɔŋ ɛz ðeɪ ər faɪv əv ðɛm. ˈmeɪbi əm ʤɪst ə ˈbeɪsˈbɔl ˈsoʊʃəlɪst, aɪ doʊnt noʊ. 1 æl ist tɪ gɪt hir, wɛr jʊr ɪkˈsaɪtɪd əˈbaʊt ðə əˈmɛrɪkən lig ist ənd ðə faɪv timz wɪˈθɪn, ju hæv tɪ meɪk səm əˈsəmpʃənz. fərst, ju hæv tɪ bi ˈsəmˈwət ˈkjʊriəs əˈbaʊt ðə ˈɔriˌoʊlz. aɪ wɑz ˈrɛdi tɪ proʊˈkleɪm ðɛr roʊˈteɪʃən ˈvɛri ˌəndərˈreɪtɪd fər ðɪs ˈɑrtɪkəl, ənd ðɛn aɪ lʊkt əp second-stats*, ənd, hɑ hɑ hɑ, noʊ, ðɛr ˈprɑbəˌbli ˈreɪtɪd ʤɪst faɪn. hi stɪl həz ðət dɪˈlɪvəri, wɪʧ minz hiz goʊɪŋ tɪ bi ˌɪnkənˈsɪstənt fər ðə rɛst əv hɪz deɪz. bət aɪ bɪˈliv ɪn ðɛr ˈlaɪˌnəp. ər, æt list, ðɛr kəˈpæsɪti tɪ hɪt 200 əˈgɛn. aɪ bɪˈliv ðət kɪm ɪz goʊɪŋ tɪ gɪt ɔn beɪs, ənd aɪ bɪˈliv ðət skɑt ˈwɪspərd, "hɪt ˈbɛtər, ju ful" ˈɪntu mæt wieters*' ɪr, ənd ðət hi ˈwɪspərd, "ˌoʊˈkeɪ" bæk. ˈsɛkənd, ju hæv tɪ fərˈgɛt ðət wi wər ɔl ʤæzd əˈbaʊt ðə rɛd sɑks æt ðɪs taɪm læst jɪr, tu. ðeɪ hæv ˈdeɪvɪd praɪs, ʃʊr, bət ɪts stɪl ə roʊˈteɪʃən fɪld wɪθ jəŋ pleɪərz ənd ənˈsərtənti. ər, tɪ pʊt ɪt əˈnəðər weɪ, (læst jɪrz rɛd sɑks ˈdeɪvɪd praɪs) ə 2015 kənˈtɛndər, soʊ ər wi ˈrɪli soʊ ʤæzd əˈbaʊt ðə weɪ ðeɪ ˈfɪnɪʃt læst jɪr? jæ, ˈkɪndə. θərd, ju hæv tɪ bɪˈliv ɪn ðə reɪz' roʊˈteɪʃən tɪ ən ɪkˈstɛnt ðət ɪts nɑt hɑrd tɪ si ðɛm ˈeɪpɪŋ ðə 2015 mɛts, wɛr ðə ˈlaɪˌnəp dɪz ʤɪst ɪˈnəf ənˈtɪl ðə ˈdɛˌdlaɪn. fɔrθ, ju hæv tɪ fərˈgɛt ðət ˈɔlˌmoʊst ˈɛvriˌwən ɔn ðə ˈjæŋkiz həz ə kəˈlɛkʃən. ju ˈɔlsoʊ hæv tɪ fərˈgɛt ðət moʊst əv ðə ˈlɪgəmənts ɪn ðə ˈstɑrtɪŋ roʊˈteɪʃən ər hɛld təˈgɛðər ˈoʊnli baɪ ðə eɪd əv ʤɔrʤ ˈæstrəl məˌnɪpjəˈleɪʃən frəm bɪɔnd ðə greɪv. ðeɪv fərˈgɑtən ɪt. ðɛr ðə ˈjæŋkiz. ðeɪ doʊnt kɛr, ənd ju noʊ ðɛl kənˈtɛnd. ju ʃʊd ˈprɑbəˌbli ʤɪst fərˈgɛt ɔl ðət. fɪθ, ju hæv tɪ ˌɪgˈnɔr boʊθ ðə blu ʤeɪz' roʊˈteɪʃən əv ˈædəkwəsi ənd ðɛr pəˈtɛnʃəl tɪ rən əˈweɪ wɪθ ðə dɪˈvɪʒən baɪ ˌʤuˈlaɪ. wɪʧ ɪz hɑrd tɪ du ɪn boʊθ ˈkeɪsɪz, wɪʧ minz ðeɪ ˈprɑbəˌbli ˈivɪn aʊt. ˈmeɪbi. æd ɪn ðə pəˈtɛnʃəl fər rɛd ʃɪˈkeɪnəri bət ˈoʊnli ɪf wi kən kæʧ ˈɛni əv ðə geɪmz ɔn ˈnæʃənəl ˌtɛləˈvɪʒən, ˈsəmˌhaʊ ənd ju hæv ðə dɪˈvɪʒən əm moʊst ˈlʊkɪŋ ˈfɔrwərd tɪ. ðə ist ʃʊd ˈɔlsoʊ bi kaɪnd əv kul, ju noʊ. ðɛr ˈrɪli ˈɪzənt ə rɔŋ ˈænsər, ənd ðɪs ɪnˈtaɪər ˈɑrtɪkəl ɪz ˈbeɪsɪkli ə ˈlɔŋˈwɪndɪd weɪ əv ˈraɪtɪŋ, "ɪkˈsaɪtɪd əˈbaʊt ˈbeɪsˈbɔl, jɔl." læst jɪr wɑz kaɪnd əv ə dəd wɪn ɪt keɪm tɪ sɛpˈtɛmbər ˈreɪsɪz, əˈspɛʃəli wəns ðə kəbz ənd ˈpaɪrəts hæd ðə waɪld kɑrd ˈseɪfti nɛt. ˈhoʊpfəli ðɪs jɪr, wi hæv səm keɪɑs.

imagine what toronto would look like if we had put librarians in charge of running the place a long time ago. librarians would not have allowed a gold rush to crush the city. librarians would integrate everyone regardless of age or background into a healthy, well-fed, multilingual, vibrant society. too bad. stupidity rules. and stupidity says penalize the toronto public library system for achieving the world-class status that otherwise eludes this titanic town. sure enough, this year's proposed budget includes a 10 per cent funding cut to the, despite the fact that more people visit libraries here than in any city in north america - or anywhere, i'd say, though they don't. nineteen million a year. it's a freezing sunday afternoon, november 24, and i give up counting; every possible seat in the council chambers is taken by the overflow crowd of library supporters. a hot dixieland band distracts from the lack of any apparent heating other than human. maureen o'reilly, president of the toronto public library workers union local 4948, chairs the meeting. she introduces her mother, who's sitting comfortably in the mayor's chair. balloons and books for children are upstairs in thes' lounge. the library system no longer has a recognized classification of children's librarian any more. young people are criminalized while perpetrates this immeasurable crime against youth. pennies are no longer in use except when it comes to libraries. when amalgamation was forced on toronto in 1998, libraries got just over 2 cents' worth of every budget dollar. since then, the amount has decreased. acquisitions, staffing, access and buildings have all suffered. this rescue meeting proposes restoration and reinvestment to the tune of 4 cents a day per resident. over the last 20 years, there's been a 44 per cent increase in library usage while the system has absorbed more than $800 million in cumulative cuts. the most popular thing in town survives on an annual allowance of just $169 million as the blank cheque handed to police careens toward the mark. as usual, it's up to the and children elites to kick up a fuss. fortunately, our librarians are prepared. we watch a short film by animators james braithwaite and josh raskin celebrating our book centres as part of "intellectual infrastructure." tricia hennessy of the canadian centre for policy alternatives calls canada a "safe haven for progressive thought," which is cute. she shows a series of graphs illustrating the dives of funding, staffing and acquisitions, and questions why the government refuses to supply the demand. she describes the "business" model as "how to drive a really good thing into the ground." exactly. hennessy points out that, interestingly, other services - fire, parks and recreation, sanitation - have not been forced to take the hit that libraries had to. the city paid consultants back in 2011 to assess the library system; they advised the lowering of standards, american-style. o'reilly and library board member janet davis point to proposals being floated for "study halls" - rooms in the library with no books or computers available, and no library staff. just a security guard. library activist bravo tells of the crucial role the institution played in her adjustment to the city and how it became a place to escape the heat with her baby. she lists poetry and other programs offered only in libraries, not schools. "young people can find themselves. the library is a neutral space where everybody can feel at home," she says. the revelation that 51 per cent of workers are now part-time, with no benefits or pension, prompts cries of "shame!" davis encourages residents to call theirs and invites all to monday and tuesday, december 2 and 3, in committee room 1. as i exit the hall of the city of the future that never was, i find heat blowing out the door. news@nowtoronto

ˌɪˈmæʤən wət tərˈɑntoʊ wʊd lʊk laɪk ɪf wi hæd pʊt laɪˈbrɛˌriənz ɪn ʧɑrʤ əv ˈrənɪŋ ðə pleɪs ə lɔŋ taɪm əˈgoʊ. laɪˈbrɛˌriənz wʊd nɑt hæv əˈlaʊd ə goʊld rəʃ tɪ krəʃ ðə ˈsɪti. laɪˈbrɛˌriənz wʊd ˈɪnəˌgreɪt ˈɛvriˌwən rəˈgɑrdləs əv eɪʤ ər ˈbækˌgraʊnd ˈɪntu ə ˈhɛlθi, well-fed*, ˌməltiˈlɪŋwəl, ˈvaɪbrənt soʊˈsaɪɪti. tu bæd. stuˈpɪdɪˌti rulz. ənd stuˈpɪdɪˌti sɪz ˈpɛnəˌlaɪz ðə tərˈɑntoʊ ˈpəblɪk ˈlaɪbrɛˌri ˈsɪstəm fər əˈʧivɪŋ ðə ˈwərldˌklæs ˈstætəs ðət ˈəðərˌwaɪz ɪˈludz ðɪs taɪˈtænɪk taʊn. ʃʊr ɪˈnəf, ðɪs jɪrz prəˈpoʊzd ˈbəʤɪt ˌɪnˈkludz ə 10 pər sɛnt ˈfəndɪŋ kət tɪ ðə, dɪˈspaɪt ðə fækt ðət mɔr ˈpipəl ˈvɪzɪt ˈlaɪbrɛˌriz hir ðən ɪn ˈɛni ˈsɪti ɪn nɔrθ əˈmɛrɪkə ər ˈɛniˌwɛr, aɪd seɪ, ðoʊ ðeɪ doʊnt. ˈnaɪnˈtin ˈmɪljən ə jɪr. ɪts ə ˈfrizɪŋ ˈsənˌdi ˌæftərˈnun, noʊˈvɛmbər 24 ənd aɪ gɪv əp ˈkaʊntɪŋ; ˈɛvəri ˈpɑsəbəl sit ɪn ðə ˈkaʊnsəl ˈʧeɪmbərz ɪz ˈteɪkən baɪ ðə ˌoʊvərˈfloʊ kraʊd əv ˈlaɪbrɛˌri səˈpɔrtərz. ə hɑt ˈdɪksiˌlænd bænd dɪˈstrækts frəm ðə læk əv ˈɛni əˈpɛrənt ˈhitɪŋ ˈəðər ðən ˈjumən. mɔˈrin oʊˈraɪli, ˈprɛzɪdənt əv ðə tərˈɑntoʊ ˈpəblɪk ˈlaɪbrɛˌri ˈwərkərz ˈjunjən ˈloʊkəl 4948 ʧɛrz ðə ˈmitɪŋ. ʃi ˌɪntrəˈdusɪz hər ˈməðər, huz ˈsɪtɪŋ ˈkəmfərtəbli ɪn ðə meɪərz ʧɛr. bəˈlunz ənd bʊks fər ˈʧɪldrən ər əpˈstɛrz ɪn ðə' laʊnʤ. ðə ˈlaɪbrɛˌri ˈsɪstəm noʊ ˈlɔŋgər həz ə ˈrɛkəgˌnaɪzd ˌklæsəfəˈkeɪʃən əv ˈʧɪldrənz laɪˈbrɛˌriən ˈɛni mɔr. jəŋ ˈpipəl ər ˈkrɪmənəˌlaɪzd waɪl ˈpərpəˌtreɪts ðɪs ˌɪˈmɛʒərˌæbəl kraɪm əˈgɛnst juθ. ˈpɛniz ər noʊ ˈlɔŋgər ɪn juz ɪkˈsɛpt wɪn ɪt kəmz tɪ ˈlaɪbrɛˌriz. wɪn əˌmælgəˈmeɪʃən wɑz fɔrst ɔn tərˈɑntoʊ ɪn 1998 ˈlaɪbrɛˌriz gɑt ʤɪst ˈoʊvər 2 sɛnts' wərθ əv ˈɛvəri ˈbəʤɪt ˈdɔlər. sɪns ðɛn, ðə əˈmaʊnt həz ˈdiˌkrist. ˌækwəˈzɪʃənz, ˈstæfɪŋ, ˈækˌsɛs ənd ˈbɪldɪŋz hæv ɔl ˈsəfərd. ðɪs ˈrɛskju ˈmitɪŋ prəˈpoʊzɪz ˌrɛstərˈeɪʃən ənd ˌriɪnˈvɛstmənt tɪ ðə tun əv 4 sɛnts ə deɪ pər ˈrɛzɪdənt. ˈoʊvər ðə læst 20 jɪrz, ðɛrz bɪn ə 44 pər sɛnt ˌɪnˈkris ɪn ˈlaɪbrɛˌri ˈjusɪʤ waɪl ðə ˈsɪstəm həz əbˈzɔrbd mɔr ðən 800 ˈmɪljən ɪn ˈkjumjələtɪv kəts. ðə moʊst ˈpɑpjələr θɪŋ ɪn taʊn sərˈvaɪvz ɔn ən ˈænjuəl əˈlaʊəns əv ʤɪst 169 ˈmɪljən ɛz ðə blæŋk ʧɛk ˈhændɪd tɪ pəˈlis kərˈinz təˈwɔrd ðə mɑrk. ɛz ˈjuʒəwəl, ɪts əp tɪ ðə ənd ˈʧɪldrən ɪˈlits tɪ kɪk əp ə fəs. ˈfɔrʧənətli, ɑr laɪˈbrɛˌriənz ər priˈpɛrd. wi wɔʧ ə ʃɔrt fɪlm baɪ ˈænəˌmeɪtərz ʤeɪmz ˈbreɪθˌweɪt ənd ʤɑʃ ˈræskɪn ˈsɛləˌbreɪtɪŋ ɑr bʊk ˈsɛntərz ɛz pɑrt əv "ˌɪnəˈlɛkʧuəl ˌɪnfrəˈstrəkʧər." ˈtrɪʃə ˈhɛnəsi əv ðə kəˈneɪdiən ˈsɛntər fər ˈpɑləsi ɔlˈtərnətɪvz kɔlz ˈkænədə ə "seɪf ˈheɪvən fər prəˈgrɛsɪv θɔt," wɪʧ ɪz kjut. ʃi ʃoʊz ə ˈsɪriz əv græfs ˈɪləˌstreɪtɪŋ ðə daɪvz əv ˈfəndɪŋ, ˈstæfɪŋ ənd ˌækwəˈzɪʃənz, ənd kˈwɛsʧənz waɪ ðə ˈgəvərnmənt rɪfˈjuzɪz tɪ səˈplaɪ ðə dɪˈmænd. ʃi dɪˈskraɪbz ðə "ˈbɪznɪs" ˈmɑdəl ɛz "haʊ tɪ draɪv ə ˈrɪli gʊd θɪŋ ˈɪntu ðə graʊnd." ɪgˈzæktli. ˈhɛnəsi pɔɪnts aʊt ðət, ˈɪntəˌrɛstɪŋli, ˈəðər ˈsərvɪsɪz faɪər, pɑrks ənd ˌrɛkriˈeɪʃən, ˌsænɪˈteɪʃən hæv nɑt bɪn fɔrst tɪ teɪk ðə hɪt ðət ˈlaɪbrɛˌriz hæd tɪ. ðə ˈsɪti peɪd kənˈsəltənts bæk ɪn 2011 tɪ əˈsɛs ðə ˈlaɪbrɛˌri ˈsɪstəm; ðeɪ ədˈvaɪzd ðə loʊərɪŋ əv ˈstændərdz, american-style*. oʊˈraɪli ənd ˈlaɪbrɛˌri bɔrd ˈmɛmbər ˈʤænɪt ˈdeɪvɪs pɔɪnt tɪ prəˈpoʊzəlz biɪŋ ˈfloʊtɪd fər "ˈstədi hɔlz" rumz ɪn ðə ˈlaɪbrɛˌri wɪθ noʊ bʊks ər kəmˈpjutərz əˈveɪləbəl, ənd noʊ ˈlaɪbrɛˌri stæf. ʤɪst ə sɪˈkjʊrəti gɑrd. ˈlaɪbrɛˌri ˈæktɪvɪst ˈbrɑvoʊ tɛlz əv ðə ˈkruʃəl roʊl ðə ˌɪnstɪˈtuʃən pleɪd ɪn hər əˈʤəstmənt tɪ ðə ˈsɪti ənd haʊ ɪt bɪˈkeɪm ə pleɪs tɪ ɪˈskeɪp ðə hit wɪθ hər ˈbeɪbi. ʃi lɪsts ˈpoʊətri ənd ˈəðər ˈproʊˌgræmz ˈɔfərd ˈoʊnli ɪn ˈlaɪbrɛˌriz, nɑt skulz. "jəŋ ˈpipəl kən faɪnd ðɛmˈsɛlvz. ðə ˈlaɪbrɛˌri ɪz ə ˈnutrəl speɪs wɛr ˈɛvriˌbɑdi kən fil æt hoʊm," ʃi sɪz. ðə ˌrɛvəˈleɪʃən ðət 51 pər sɛnt əv ˈwərkərz ər naʊ ˈpɑrtˈtaɪm, wɪθ noʊ ˈbɛnəfɪts ər ˈpɛnʃən, prɑmpts kraɪz əv "ʃeɪm!" ˈdeɪvɪs ɪnˈkərəʤəz ˈrɛzɪdənts tɪ kɔl ðɛr ənd ˌɪnˈvaɪts ɔl tɪ ˈmənˌdeɪ ənd ˈtuzˌdeɪ, dɪˈsɛmbər 2 ənd 3 ɪn kəˈmɪti rum 1 ɛz aɪ ˈɛksət ðə hɔl əv ðə ˈsɪti əv ðə fˈjuʧər ðət ˈnɛvər wɑz, aɪ faɪnd hit bloʊɪŋ aʊt ðə dɔr.

donald trump plans to elevate commissioner pai to lead the agency, replacing outgoing chairman tom wheeler, politico reports, citing sources familiar with the matter. an official announcement could come as soon as this afternoon. pai has been a reliably conservative voice on the commission pai, first appointed by president obama for a republican seat on the commission, has been a reliably conservative voice, often speaking out for deregulation and opposing progressive measures from the democratic majority. he has widely been seen as a frontrunner in the race for a new chairman, and while it was suggested he may be made interim leader, politico reports the move is permanent. when the’s net neutrality rules were passed in 2015, pai was one of the most vocal sources of dissent, along with fellow republican commissioner michael o'rielly. after ascent to the presidency, concluding with inauguration, those rules are in danger, and nomination will do little to ease concerns for supporters of the rules. pai has been critical of the net neutrality rules at the time the rules were passed, pai said they would lead to "higher broadband prices, slower broadband speeds, less broadband deployment, less innovation, and fewer options for consumers." he has been similarly critical of privacy rules and other regulatory measures approved by the commission. in a speech last month, pai vowed that the new commission under the trump administration would take a “weed whacker” to regulations passed under obama.

ˈdɑnəld trəmp plænz tɪ ˈɛləˌveɪt kəˈmɪʃənər pɑi tɪ lɛd ðə ˈeɪʤənsi, rɪˈpleɪsɪŋ ˈaʊtˌgoʊɪŋ ˈʧɛrmən tɑm ˈwilər, pəˈlɪtɪˌkoʊ rɪˈpɔrts, ˈsaɪtɪŋ ˈsɔrsəz fəˈmɪljər wɪθ ðə ˈmætər. ən əˈfɪʃəl əˈnaʊnsmɛnt kʊd kəm ɛz sun ɛz ðɪs ˌæftərˈnun. pɑi həz bɪn ə rɪˈlaɪəbli kənˈsərvətɪv vɔɪs ɔn ðə kəˈmɪʃən pɑi, fərst əˈpɔɪntɪd baɪ ˈprɛzɪdənt ˌoʊˈbɑmə fər ə rɪˈpəblɪkən sit ɔn ðə kəˈmɪʃən, həz bɪn ə rɪˈlaɪəbli kənˈsərvətɪv vɔɪs, ˈɔfən ˈspikɪŋ aʊt fər diˌrɛgjəˈleɪʃən ənd əˈpoʊzɪŋ prəˈgrɛsɪv ˈmɛʒərz frəm ðə ˌdɛməˈkrætɪk məˈʤɔrəti. hi həz ˈwaɪdli bɪn sin ɛz ə ˈfrənˌtrənər ɪn ðə reɪs fər ə nu ˈʧɛrmən, ənd waɪl ɪt wɑz səˈʤɛstɪd hi meɪ bi meɪd ˈɪnərəm ˈlidər, pəˈlɪtɪˌkoʊ rɪˈpɔrts ðə muv ɪz ˈpərmɑˌnɛnt. wɪn ðə nɛt nuˈtræləti rulz wər pæst ɪn 2015 pɑi wɑz wən əv ðə moʊst ˈvoʊkəl ˈsɔrsəz əv dɪˈsɛnt, əˈlɔŋ wɪθ ˈfɛloʊ rɪˈpəblɪkən kəˈmɪʃənər ˈmaɪkəl o'rielly*. ˈæftər əˈsɛnt tɪ ðə ˈprɛzɪdənsi, kənˈkludɪŋ wɪθ ˌɪˌnɔgjəˈreɪʃən, ðoʊz rulz ər ɪn ˈdeɪnʤər, ənd ˌnɑməˈneɪʃən wɪl du ˈlɪtəl tɪ iz kənˈsərnz fər səˈpɔrtərz əv ðə rulz. pɑi həz bɪn ˈkrɪtɪkəl əv ðə nɛt nuˈtræləti rulz æt ðə taɪm ðə rulz wər pæst, pɑi sɛd ðeɪ wʊd lɛd tɪ "haɪər ˈbrɔdˌbænd ˈpraɪsɪz, sloʊər ˈbrɔdˌbænd spidz, lɛs ˈbrɔdˌbænd dɪˈplɔɪmənt, lɛs ˌɪnəˈveɪʃən, ənd fjuər ˈɔpʃənz fər kənˈsumərz." hi həz bɪn ˈsɪmələrli ˈkrɪtɪkəl əv ˈpraɪvəsi rulz ənd ˈəðər ˈrɛgjələˌtɔri ˈmɛʒərz əˈpruvd baɪ ðə kəˈmɪʃən. ɪn ə spiʧ læst mənθ, pɑi vaʊd ðət ðə nu kəˈmɪʃən ˈəndər ðə trəmp ædˌmɪnɪˈstreɪʃən wʊd teɪk ə whacker”*” tɪ ˌrɛgjəˈleɪʃənz pæst ˈəndər ˌoʊˈbɑmə.

we are collecting cases of technological progress, to inform our understanding of whether artificial intelligence research is likely to undergo such a discontinuity. this page details our investigation. we have verified that five technological trends underwent a jump in improvement equivalent to more than a decade at previous rates, three of which underwent more than a century of progress. details motivations we are interested in whether artificial intelligence research is likely to undergo progress in the to capabilities, or whether it will get there via incremental steps. if the former, we are interested in the nature of such. why are we interested in this? if discontinuity is likely, a transition to ai is more likely to be abrupt, more likely to be soon, and more likely to be disruptive. also, if we think a discontinuity is likely, then our research should investigate questions such as how to prepare or be warned, and not questions like when the present of ai progress will reach capabilities. as well as being decision relevant and important, this question appears to attract substantial disagreement, making it particularly important to resolve. this project aims to shed light on the potential for in ai by investigating the degree and nature of in other technologies. this seems an informative baseline for our expectations about ai, especially if we have no strong reason to expect artificial intelligence to be radically unusual in this regard. we are interested in several specific questions, such as: how common is abrupt progress in technology? where there are, how much progress do they represent? (relative to previous rates of progress) what predicts such, if anything? we are also interested in overall distributions of size of progress increments, but searching specifically for the very largest increments bears on this in a less straightforward way, so we are likely to investigate it by other means later. methods we have collected around fifty instances of technological change which are contenders for being. many of these are suggestions offered to us in response to a facebook question, a quora question, and personal communications. we obtained some by searching for abrupt graphs in google images, and noting their subject matter. we are taking these cases one by one, and assessing whether each involved progress on plausible and interesting metrics. for instance, if we were told that fishing hooks became radically stronger in 1997, we might investigate the strength of fishing hooks over we could find the also their cost and how many fish could be caught, because these are measures of more natural interest which we might expect to be related. we generally count progress in an area as ‘discontinuous’ if the improvement between two measurements is far larger than what one would normally expect over the same time period. this definition is open to revision, as we gain a better understanding of the landscape. tentative findings we know of four large or moderate. that is, where at least ten years of progress at usual rates occurred on one occasion. we have roughly thirty suggestions for trends that may have been that we have not finished looking into. the method of calling for examples of progress does not lend itself well to giving a precise base rate of discontinuity, because we do not know how many technological trends participants knew about or considered. in particular, we would need to know how many technological trends there are, such that if they contained a large discontinuity, it would have been reported to us. if we guess that fifty people considered our question seriously, and each of them knows something about fifty technological trends, with thirty of those overlapping with the others, then we have tech trends, that might have a discontinuity somewhere in them. if we conservatively suppose that all of the suggested are actual, then we have around forty moderate, in one thousand examples, for an overall rate of a moderate discontinuity in around 4% of technological trends. these guesses are far too uncertain for us to put any weight on this number, however. list of cases we have evaluated this is a list of areas of technological progress which we have tentatively determined to either involve technological progress, or not. note that we only investigate cases that looked likely to be. key:: large discontinuity (>100 years of progress at once): moderate discontinuity (>10 years of progress at once): no sign of substantial: investigation begun but in progress the haber process the haber process was the first energy efficient method of producing ammonia, which is key to making fertilizer. the reason to expect that the haber process might represent technological progress is that previous processes were barely affordable, while the haber process was hugely is credited with fixing much of the nitrogen now in human has been used on an industrial scale since 1913. a likely place to look for then is in the energy cost of fixing nitrogen. table 4 in chemistry for the future suggests that the invention of the haber reduced the energy expense by around 60% per nitrogen bonded over a method developed eight years earlier. the previous step however appears to have represented at least a 50% improvement over the process of two years earlier (though the figure is hard to read). later improvements to the haber process appear to have been comparable. thus it seems the haber process was not an unusually large improvement in energy efficiency, but was probably instead the improvement that happened to take the process into the range of affordability. since it appears that energy was an important expense, and the haber process was especially notable for being energy efficient, and yet did not represent a particular discontinuity in energy efficiency progress, it seems unlikely that the haber process involved a discontinuity. furthermore, it appears that the world moved to using the haber process over other sources of fertilizer gradually, suggesting there was not a massive price differential, nor any sharp practical change as a result of the adoption of the process. in the the us imported much nitrogen from chile. alternative nitrogen source calcium reached peak production in 1945, thirty years since the haber process reached industrial scale production. the amount of synthetic nitrogen fertilizer applied abruptly changed since 1860 (see). neither has the amount of food produced, for a few foods at least. in sum, it seems the haber process has had a large effect, but it was produced by a moderate change in efficiency, and manifest over a long period. penicillin on syphilis penicillin was introduced to clinical use in 1941, and quickly became the preferred treatment for syphilis. at around that time, there began a steep decline in the prevalence of syphilis, which appears to be generally attributed to penicillin. cases of syphilis declined by around 80% over fifteen years, as shown in figure 1. between 1940 and 1975, deaths from syphilis declined by over 98%, from 14 deaths per hundred thousand to, as shown in figure 2. it is possible from our perspective that this decline is not entirely from penicillin. us surgeon general thomas launched a national syphilis control campaign in 1938. wikipedia also attributes some of the syphilis decline over the and centuries to decreasing virulence of the spirochete. nonetheless, penicillin is likely responsible for most of it. either way, the decrease in deaths from syphilis appears to have been rapid, but not abrupt: syphilis cases and deaths gradually came down over around fifteen years. in figure 2, the annual reductions during the fastest decline are not much larger than the characteristic difference between years before the decline. even if effect on the national death rate from syphilis was gradual, we might expect this to be due to frictions like institutional inertia, rather than ongoing technological improvements. thus it could still be the case that penicillin was a radically better drug than its predecessors, when applied. recent predecessors to penicillin included arsenic and bismuth compounds, and intentionally contracting malaria. it appears on casual investigation that penicillin was successful about 85% of the time soon after its development, while a previous and successful around 90% of the time, though it is unclear whether the same success is being measured. however the success figures (for the latter at least) include only people who completed the treatment, and it appears that perhaps only a quarter of patients tended to receive a ‘minimum curative dose’ of arsenic and bismuth therapy before ‘defaulting’, seemingly due to the prolonged nature of the treatment and unpleasant side effects (though the death rate for untreated syphilis is apparently%, so it is somewhat surprising to us that so many people would default from treatment). for an early version of penicillin, almost all patients could receive a minimum curative dose; a difference that might represent a large improvement in syphilis treatment. if penicillin made an abrupt difference to syphilis treatment then, it seems it is likely to have been in terms of costs, broadly construed (which were partly reflected in willingness to be treated). the time required for treatment reduced from more than 20 days to 8 days for the first penicillin patients. the side effects qualitatively reduced from horrible and sometimes deadly to bearable (see above). evaluating these costs quantitatively will remain beyond the scope of this investigation at present. even if penicillin was in fact a large improvement over its predecessors in absolute terms, in terms of characteristic progress in syphilis treatments, it was less obviously unusual. arsphenamine, released in 1910, was sold as ‘salvarsan’ and known as ‘magic bullet’, and won its discoverer paul a nobel prize. a physician at the time describes: “arsenobenzol, designated whatever the future may bring to justify the present enthusiasm, is now actually a more or less incredible advance in the treatment of syphilis and in many ways is superior to the old mercury as valuable as this will continue to be because of its eminently powerful and eminently rapid property.” in sum, penicillin probably made quick but not abrupt progress in reducing syphilis and syphilis mortality. it is unclear whether penicillin is much more likely to cure a patient than earlier treatments, conditional on the treatment being carried out, but it appears penicillin treatment was around four times more likely to be carried out, due to lower costs. qualitatively it appears that penicillin represented an important reduction in costs, but it is hard to evaluate this precisely or compare it with the longer term progress. it appears that as recently as 1910 another drug for syphilis also represented qualitatively impressive progress in treatment. nuclear weapons main article: discontinuity from nuclear weapons nuclear weapons represented abrupt progress in explosive power, but probably not in cost-effectiveness. nuclear weapons represented progress in relative explosive efficiency which would have taken over six thousand years at previous rates. high temperature superconductors main article: cases of technological progress high temperature superconductors represented abrupt progress in the temperature at which superconductivity could take place. in a brief period, progress took place which would previously have taken at least a hundred years. jet-propelled vehicles main article: cases of technological progress jet-propelled vehicles produced a moderate thirty years of progress at previous the land speed record. fairey delta 2 and lockheed main article: cases of technological progress fairey delta 2 and lockheed were planes which increased the air speed record by relatively large factors. they represented years and years of progress respectively, at previous rates. the printing press the printing press is generally credited with massively increasing the availability of the printed word, starting in around 1450. for instance, some estimate that the number of books in europe climbed from to in the fifty years following the printing press. we have not looked into this in depth yet, and there is some ambiguity around the relevance of other printing methods. for instance, according to wikipedia, in the century books were cheaper than those printed on a printing press. aluminium it is often claimed that the discovery of the process in the brought the price of aluminium down precipitously. we found several of quantitative data about this, but they seriously conflict. by far the most rigorous looking is a report from patricia at the us geological survey, from which we get the following data. however be warned that some of these figures may be off by orders of magnitude, if other sources are trusted. plunkert provides a table of historic aluminium prices, according to which the nominal price fell from $8 per pound to $0.58 per pound sometime between 1887 and 1895 (during most of which time no records are available). this period probably captures the innovation of interest, as the process was patented in 1886 according to, and the price only dropped by $1 per pound during the preceding fifteen years according to her table. also says that the price was held artificially low to encourage consumers in the early 1900s, suggesting the same may have been true earlier, however this seems likely to be a small correction. the sewing machine early sewing machines apparently brought the time to produce clothing down by an order of magnitude (from 14 hours to 75 minutes for a dress shirt by one estimate). however it appears that the technology progressed more slowly, then was taken up by the public later probably when it became cost-effective, at which time adoptees may have experienced a rapid reduction in sewing time (presumably at some expense). these impressions are from a very casual perusal of the evidence. video compression blogger john mcgowan claims that video compression performance was constant at a ratio of around 250 for about seven years prior to 2003, then jumped to around 900. information storage volume according to the performance curves database (pcdb), ‘information storage volume’ for both handwriting and printing has grown by a factor of three in recent years, after less than doubling in the hundred years previously. it is unclear what exactly is being measured here however. undersea cable price the bandwidth per cable length available for a dollar apparently grew by more than 1000 times in around 1880. chess ai there was a notable discontinuity in chess ai according to the ratings. however it appears to be less than ten years of progress at previous rates. also, part of this jump appears to have been caused by the introduction of new hardware in the contest. infrared detector sensitivity infrared detector sensitivity is measured in terms of ‘noise equivalent power’ (nep), or the amount of power (energy per time) that needs to hit the sensor for the output to have a ratio of one. we investigated progress in infrared detection technology because according to academic press (1974), the represented a four order of magnitude improvement in sensitivity over detectors. however our own investigation suggests there were other innovations between detectors and the in question, and thus no abrupt improvement. we list advances we know of here, and summarize them in figure 5. the 1947 point is. the 1969 point is nearly four orders of magnitude better. however we know of at least four other detectors with intermediate levels of sensitivity, and these are spread fairly evenly between the device and the most efficient cooled one listed. we have not checked whether the progress between the detector and the first cooled detector was, given previous rates. this is because we have no strong reason to suspect it is. genome sequencing this appears to have seen at least a moderate discontinuity. an investigation is in progress. building height main article: discontinuity from the khalifa the khalifa represented a large (175 year) discontinuity in the trend of maximum building heights over time. it did not represent a particular discontinuity in the trend of maximum structure heights over time.

wi ər kəˈlɛktɪŋ ˈkeɪsɪz əv ˌtɛknəˈlɑʤɪkəl ˈprɑˌgrɛs, tɪ ˌɪnˈfɔrm ɑr ˌəndərˈstændɪŋ əv ˈwɛðər ˌɑrtəˈfɪʃəl ˌɪnˈtɛləʤəns ˈrisərʧ ɪz ˈlaɪkli tɪ ˌəndərˈgoʊ səʧ ə dɪˌskɑntɪˈnuɪti. ðɪs peɪʤ ˈditeɪlz ɑr ˌɪnˌvɛstəˈgeɪʃən. wi hæv ˈvɛrəˌfaɪd ðət faɪv ˌtɛknəˈlɑʤɪkəl trɛnz ˌəndərˈwɛnt ə ʤəmp ɪn ˌɪmˈpruvmənt ɪkˈwɪvələnt tɪ mɔr ðən ə ˈdɛkeɪd æt ˈpriviəs reɪts, θri əv wɪʧ ˌəndərˈwɛnt mɔr ðən ə ˈsɛnʧəri əv ˈprɑˌgrɛs. ˈditeɪlz ˌmoʊtəˈveɪʃənz wi ər ˈɪntəˌrɛstɪd ɪn ˈwɛðər ˌɑrtəˈfɪʃəl ˌɪnˈtɛləʤəns ˈrisərʧ ɪz ˈlaɪkli tɪ ˌəndərˈgoʊ ˈprɑˌgrɛs ɪn ðə tɪ ˌkeɪpəˈbɪlətiz, ər ˈwɛðər ɪt wɪl gɪt ðɛr ˈviə ˌɪnkrəˈmɛntəl stɛps. ɪf ðə ˈfɔrmər, wi ər ˈɪntəˌrɛstɪd ɪn ðə ˈneɪʧər əv səʧ. waɪ ər wi ˈɪntəˌrɛstɪd ɪn ðɪs? ɪf dɪˌskɑntɪˈnuɪti ɪz ˈlaɪkli, ə trænˈzɪʃən tɪ eɪaɪ ɪz mɔr ˈlaɪkli tɪ bi əˈbrəpt, mɔr ˈlaɪkli tɪ bi sun, ənd mɔr ˈlaɪkli tɪ bi dɪsˈrəptɪv. ˈɔlsoʊ, ɪf wi θɪŋk ə dɪˌskɑntɪˈnuɪti ɪz ˈlaɪkli, ðɛn ɑr ˈrisərʧ ʃʊd ˌɪnˈvɛstəˌgeɪt kˈwɛsʧənz səʧ ɛz haʊ tɪ priˈpɛr ər bi wɔrnd, ənd nɑt kˈwɛsʧənz laɪk wɪn ðə ˈprɛzənt əv eɪaɪ ˈprɑˌgrɛs wɪl riʧ ˌkeɪpəˈbɪlətiz. ɛz wɛl ɛz biɪŋ dɪˈsɪʒən ˈrɛləvənt ənd ˌɪmˈpɔrtənt, ðɪs kˈwɛʃən əˈpɪrz tɪ əˈtrækt səbˈstænʃəl dɪsəˈgrimənt, ˈmeɪkɪŋ ɪt ˌpɑrˈtɪkjələrli ˌɪmˈpɔrtənt tɪ riˈzɑlv. ðɪs ˈprɑʤɛkt eɪmz tɪ ʃɛd laɪt ɔn ðə pəˈtɛnʃəl fər ɪn eɪaɪ baɪ ˌɪnˈvɛstəˌgeɪtɪŋ ðə dɪˈgri ənd ˈneɪʧər əv ɪn ˈəðər tɛkˈnɑləʤiz. ðɪs simz ən ˌɪnˈfɔrmətɪv ˈbeɪsˌlaɪn fər ɑr ˌɛkspɛkˈteɪʃənz əˈbaʊt eɪaɪ, əˈspɛʃəli ɪf wi hæv noʊ strɔŋ ˈrizən tɪ ɪkˈspɛkt ˌɑrtəˈfɪʃəl ˌɪnˈtɛləʤəns tɪ bi ˈrædɪkli ənˈjuˌʒuəl ɪn ðɪs rɪˈgɑrd. wi ər ˈɪntəˌrɛstɪd ɪn ˈsɛvərəl spɪˈsɪfɪk kˈwɛsʧənz, səʧ ɛz: haʊ ˈkɑmən ɪz əˈbrəpt ˈprɑˌgrɛs ɪn tɛkˈnɑləʤi? wɛr ðɛr ər, haʊ məʧ ˈprɑˌgrɛs du ðeɪ ˌrɛprɪˈzɛnt? (ˈrɛlətɪv tɪ ˈpriviəs reɪts əv ˈprɑˌgrɛs) wət prɪˈdɪkts səʧ, ɪf ˈɛniˌθɪŋ? wi ər ˈɔlsoʊ ˈɪntəˌrɛstɪd ɪn ˈoʊvərˌɔl ˌdɪstrəˈbjuʃənz əv saɪz əv ˈprɑˌgrɛs ˈɪŋkrəˌmɛnts, bət ˈsərʧɪŋ spəˈsɪfɪkli fər ðə ˈvɛri ˈlɑrʤəst ˈɪŋkrəˌmɛnts bɛrz ɔn ðɪs ɪn ə lɛs ˈstreɪtˈfɔrwərd weɪ, soʊ wi ər ˈlaɪkli tɪ ˌɪnˈvɛstəˌgeɪt ɪt baɪ ˈəðər minz ˈleɪtər. ˈmɛθədz wi hæv kəˈlɛktəd əraʊnd ˈfɪfti ˈɪnstənsɪz əv ˌtɛknəˈlɑʤɪkəl ʧeɪnʤ wɪʧ ər kənˈtɛndərz fər biɪŋ. ˈmɛni əv ðiz ər səˈʤɛsʧənz ˈɔfərd tɪ ˈjuˈɛs ɪn rɪˈspɑns tɪ ə ˈfeɪsˌbʊk kˈwɛʃən, ə kˈwɔrə kˈwɛʃən, ənd ˈpərsɪnəl kəmˌjunəˈkeɪʃənz. wi əbˈteɪnd səm baɪ ˈsərʧɪŋ fər əˈbrəpt græfs ɪn ˈgugəl ˈɪmɪʤɪz, ənd ˈnoʊtɪŋ ðɛr ˈsəbʤɪkt ˈmætər. wi ər ˈteɪkɪŋ ðiz ˈkeɪsɪz wən baɪ wən, ənd əˈsɛsɪŋ ˈwɛðər iʧ ˌɪnˈvɑlvd ˈprɑˌgrɛs ɔn ˈplɔzəbəl ənd ˈɪntəˌrɛstɪŋ ˈmɛtrɪks. fər ˈɪnstəns, ɪf wi wər toʊld ðət ˈfɪʃɪŋ hʊks bɪˈkeɪm ˈrædɪkli ˈstrɔŋgər ɪn 1997 wi maɪt ˌɪnˈvɛstəˌgeɪt ðə strɛŋθ əv ˈfɪʃɪŋ hʊks ˈoʊvər wi kʊd faɪnd ðə ˈɔlsoʊ ðɛr kɔst ənd haʊ ˈmɛni fɪʃ kʊd bi kɔt, bɪˈkəz ðiz ər ˈmɛʒərz əv mɔr ˈnæʧərəl ˈɪntəˌrɛst wɪʧ wi maɪt ɪkˈspɛkt tɪ bi rɪˈleɪtɪd. wi ˈʤɛnərəli kaʊnt ˈprɑˌgrɛs ɪn ən ˈɛriə ɛz ‘‘discontinuous’*’ ɪf ðə ˌɪmˈpruvmənt bɪtˈwin tu ˈmɛʒərmənts ɪz fɑr ˈlɑrʤər ðən wət wən wʊd ˈnɔrməli ɪkˈspɛkt ˈoʊvər ðə seɪm taɪm ˈpɪriəd. ðɪs ˌdɛfəˈnɪʃən ɪz ˈoʊpən tɪ riˈvɪʒən, ɛz wi geɪn ə ˈbɛtər ˌəndərˈstændɪŋ əv ðə ˈlænˌskeɪp. ˈtɛntətɪv ˈfaɪndɪŋz wi noʊ əv fɔr lɑrʤ ər ˈmɑdərˌeɪt. ðət ɪz, wɛr æt list tɛn jɪrz əv ˈprɑˌgrɛs æt ˈjuʒəwəl reɪts əˈkərd ɔn wən əˈkeɪʒən. wi hæv ˈrəfli ˈθərˌdi səˈʤɛsʧənz fər trɛnz ðət meɪ hæv bɪn ðət wi hæv nɑt ˈfɪnɪʃt ˈlʊkɪŋ ˈɪntu. ðə ˈmɛθəd əv ˈkɔlɪŋ fər ɪgˈzæmpəlz əv ˈprɑˌgrɛs dɪz nɑt lɛnd ˌɪtˈsɛlf wɛl tɪ ˈgɪvɪŋ ə prɪˈsaɪs beɪs reɪt əv dɪˌskɑntɪˈnuɪti, bɪˈkəz wi du nɑt noʊ haʊ ˈmɛni ˌtɛknəˈlɑʤɪkəl trɛnz pɑrˈtɪsəpənts nu əˈbaʊt ər kənˈsɪdərd. ɪn ˌpɑˈtɪkjələr, wi wʊd nid tɪ noʊ haʊ ˈmɛni ˌtɛknəˈlɑʤɪkəl trɛnz ðɛr ər, səʧ ðət ɪf ðeɪ kənˈteɪnd ə lɑrʤ dɪˌskɑntɪˈnuɪti, ɪt wʊd hæv bɪn ˌriˈpɔrtəd tɪ ˈjuˈɛs. ɪf wi gɛs ðət ˈfɪfti ˈpipəl kənˈsɪdərd ɑr kˈwɛʃən ˈsɪriəsli, ənd iʧ əv ðɛm noʊz ˈsəmθɪŋ əˈbaʊt ˈfɪfti ˌtɛknəˈlɑʤɪkəl trɛnz, wɪθ ˈθərˌdi əv ðoʊz ˈoʊvərˌlæpɪŋ wɪθ ðə ˈəðərz, ðɛn wi hæv tɛk trɛnz, ðət maɪt hæv ə dɪˌskɑntɪˈnuɪti ˈsəmˌwɛr ɪn ðɛm. ɪf wi kənˈsərvətɪvli səˈpoʊz ðət ɔl əv ðə səˈʤɛstɪd ər ˈækʧəwəl, ðɛn wi hæv əraʊnd ˈfɔrti ˈmɑdərˌeɪt, ɪn wən ˈθaʊzənd ɪgˈzæmpəlz, fər ən ˈoʊvərˌɔl reɪt əv ə ˈmɑdərˌeɪt dɪˌskɑntɪˈnuɪti ɪn əraʊnd 4 əv ˌtɛknəˈlɑʤɪkəl trɛnz. ðiz ˈgɛsɪz ər fɑr tu ənˈsərtən fər ˈjuˈɛs tɪ pʊt ˈɛni weɪt ɔn ðɪs ˈnəmbər, ˌhaʊˈɛvər. lɪst əv ˈkeɪsɪz wi hæv ɪˈvæljuˌeɪtəd ðɪs ɪz ə lɪst əv ˈɛriəz əv ˌtɛknəˈlɑʤɪkəl ˈprɑˌgrɛs wɪʧ wi hæv ˈtɛntətɪvli dɪˈtərmənd tɪ ˈiðər ˌɪnˈvɑlv ˌtɛknəˈlɑʤɪkəl ˈprɑˌgrɛs, ər nɑt. noʊt ðət wi ˈoʊnli ˌɪnˈvɛstəˌgeɪt ˈkeɪsɪz ðət lʊkt ˈlaɪkli tɪ bi. ki:: lɑrʤ dɪˌskɑntɪˈnuɪti 100 jɪrz əv ˈprɑˌgrɛs æt wəns): ˈmɑdərˌeɪt dɪˌskɑntɪˈnuɪti 10 jɪrz əv ˈprɑˌgrɛs æt wəns): noʊ saɪn əv səbˈstænʃəl: ˌɪnˌvɛstəˈgeɪʃən ˈbeɪgən bət ɪn ˈprɑˌgrɛs ðə ˈheɪbər ˈprɔˌsɛs ðə ˈheɪbər ˈprɔˌsɛs wɑz ðə fərst ˈɛnərʤi ɪˈfɪʃənt ˈmɛθəd əv prəˈdusɪŋ əˈmoʊnjə, wɪʧ ɪz ki tɪ ˈmeɪkɪŋ ˈfərtəˌlaɪzər. ðə ˈrizən tɪ ɪkˈspɛkt ðət ðə ˈheɪbər ˈprɔˌsɛs maɪt ˌrɛprɪˈzɛnt ˌtɛknəˈlɑʤɪkəl ˈprɑˌgrɛs ɪz ðət ˈpriviəs ˈprɑsɛsəz wər ˈbɛrli əˈfɔrdəbəl, waɪl ðə ˈheɪbər ˈprɔˌsɛs wɑz ˈhjuʤli ɪz ˈkrɛdɪtɪd wɪθ ˈfɪksɪŋ məʧ əv ðə ˈnaɪtrəʤən naʊ ɪn ˈjumən həz bɪn juzd ɔn ən ˌɪnˈdəstriəl skeɪl sɪns 1913 ə ˈlaɪkli pleɪs tɪ lʊk fər ðɛn ɪz ɪn ðə ˈɛnərʤi kɔst əv ˈfɪksɪŋ ˈnaɪtrəʤən. ˈteɪbəl 4 ɪn ˈkɛmɪstri fər ðə fˈjuʧər səˈʤɛsts ðət ðə ˌɪnˈvɛnʃən əv ðə ˈheɪbər rɪˈdust ðə ˈɛnərʤi ɪkˈspɛns baɪ əraʊnd 60 pər ˈnaɪtrəʤən ˈbɑndɪd ˈoʊvər ə ˈmɛθəd dɪˈvɛləpt eɪt jɪrz ˈərliər. ðə ˈpriviəs stɛp ˌhaʊˈɛvər əˈpɪrz tɪ hæv ˌrɛprɪˈzɛnɪd æt list ə 50 ˌɪmˈpruvmənt ˈoʊvər ðə ˈprɔˌsɛs əv tu jɪrz ˈərliər (ðoʊ ðə ˈfɪgjər ɪz hɑrd tɪ rɛd). ˈleɪtər ˌɪmˈpruvmənts tɪ ðə ˈheɪbər ˈprɔˌsɛs əˈpɪr tɪ hæv bɪn ˈkɑmprəbəl. ðəs ɪt simz ðə ˈheɪbər ˈprɔˌsɛs wɑz nɑt ən ənˈjuˌʒuəli lɑrʤ ˌɪmˈpruvmənt ɪn ˈɛnərʤi ɪˈfɪʃənsi, bət wɑz ˈprɑbəˌbli ˌɪnˈstɛd ðə ˌɪmˈpruvmənt ðət ˈhæpənd tɪ teɪk ðə ˈprɔˌsɛs ˈɪntu ðə reɪnʤ əv əˌfɔrdəˈbɪləti. sɪns ɪt əˈpɪrz ðət ˈɛnərʤi wɑz ən ˌɪmˈpɔrtənt ɪkˈspɛns, ənd ðə ˈheɪbər ˈprɔˌsɛs wɑz əˈspɛʃəli ˈnoʊtəbəl fər biɪŋ ˈɛnərʤi ɪˈfɪʃənt, ənd jɛt dɪd nɑt ˌrɛprɪˈzɛnt ə ˌpɑˈtɪkjələr dɪˌskɑntɪˈnuɪti ɪn ˈɛnərʤi ɪˈfɪʃənsi ˈprɑˌgrɛs, ɪt simz ənˈlaɪkli ðət ðə ˈheɪbər ˈprɔˌsɛs ˌɪnˈvɑlvd ə dɪˌskɑntɪˈnuɪti. ˈfərðərˌmɔr, ɪt əˈpɪrz ðət ðə wərld muvd tɪ ˈjuzɪŋ ðə ˈheɪbər ˈprɔˌsɛs ˈoʊvər ˈəðər ˈsɔrsəz əv ˈfərtəˌlaɪzər ˈgræʤuəli, səˈʤɛstɪŋ ðɛr wɑz nɑt ə ˈmæsɪv praɪs ˌdɪfərˈɛnʃəl, nɔr ˈɛni ʃɑrp ˈpræktɪkəl ʧeɪnʤ ɛz ə rɪˈzəlt əv ðə əˈdɑpʃən əv ðə ˈprɔˌsɛs. ɪn ðə ðə ˈjuˈɛs ˌɪmˈpɔrtɪd məʧ ˈnaɪtrəʤən frəm ˈʧɪli. ɔlˈtərnətɪv ˈnaɪtrəʤən sɔrs ˈkælsiəm riʧt pik pərˈdəkʃən ɪn 1945 ˈθərˌdi jɪrz sɪns ðə ˈheɪbər ˈprɔˌsɛs riʧt ˌɪnˈdəstriəl skeɪl pərˈdəkʃən. ðə əˈmaʊnt əv sɪnˈθɛtɪk ˈnaɪtrəʤən ˈfərtəˌlaɪzər əˈplaɪd əˈbrəptli ʧeɪnʤd sɪns 1860 (si ˈniðər həz ðə əˈmaʊnt əv fud prəˈdust, fər ə fju fudz æt list. ɪn səm, ɪt simz ðə ˈheɪbər ˈprɔˌsɛs həz hæd ə lɑrʤ ˈifɛkt, bət ɪt wɑz prəˈdust baɪ ə ˈmɑdərˌeɪt ʧeɪnʤ ɪn ɪˈfɪʃənsi, ənd ˈmænəˌfɛst ˈoʊvər ə lɔŋ ˈpɪriəd. ˌpɛnəˈsɪlən ɔn ˈsɪfəlɪs ˌpɛnəˈsɪlən wɑz ˌɪntrəˈdust tɪ ˈklɪnɪkəl juz ɪn 1941 ənd kˈwɪkli bɪˈkeɪm ðə prɪˈfərd ˈtritmənt fər ˈsɪfəlɪs. æt əraʊnd ðət taɪm, ðɛr bɪˈgæn ə stip dɪˈklaɪn ɪn ðə ˈprɛvələns əv ˈsɪfəlɪs, wɪʧ əˈpɪrz tɪ bi ˈʤɛnərəli əˈtrɪbjətəd tɪ ˌpɛnəˈsɪlən. ˈkeɪsɪz əv ˈsɪfəlɪs dɪˈklaɪnd baɪ əraʊnd 80 ˈoʊvər ˈfɪfˈtin jɪrz, ɛz ʃoʊn ɪn ˈfɪgjər 1 bɪtˈwin 1940 ənd 1975 dɛθs frəm ˈsɪfəlɪs dɪˈklaɪnd baɪ ˈoʊvər 98 frəm 14 dɛθs pər ˈhənərd ˈθaʊzənd tɪ ɛz ʃoʊn ɪn ˈfɪgjər 2 ɪt ɪz ˈpɑsəbəl frəm ɑr pərˈspɛktɪv ðət ðɪs dɪˈklaɪn ɪz nɑt ɪnˈtaɪərli frəm ˌpɛnəˈsɪlən. ˈjuˈɛs ˈsərʤɪn ˈʤɛnərəl ˈtɑməs lɔnʧt ə ˈnæʃənəl ˈsɪfəlɪs kənˈtroʊl kæmˈpeɪn ɪn 1938 ˈwɪkiˌpiˌdiə ˈɔlsoʊ əˈtrɪˌbjuts səm əv ðə ˈsɪfəlɪs dɪˈklaɪn ˈoʊvər ðə ənd ˈsɛnʧəriz tɪ ˈdiˌkrisɪŋ ˈvɪrələns əv ðə spirochete*. ˌnənðəˈlɛs, ˌpɛnəˈsɪlən ɪz ˈlaɪkli riˈspɑnsəbəl fər moʊst əv ɪt. ˈiðər weɪ, ðə ˈdiˌkris ɪn dɛθs frəm ˈsɪfəlɪs əˈpɪrz tɪ hæv bɪn ˈræpɪd, bət nɑt əˈbrəpt: ˈsɪfəlɪs ˈkeɪsɪz ənd dɛθs ˈgræʤuəli keɪm daʊn ˈoʊvər əraʊnd ˈfɪfˈtin jɪrz. ɪn ˈfɪgjər 2 ðə ˈænjuəl rɪˈdəkʃənz ˈdʊrɪŋ ðə ˈfæstəst dɪˈklaɪn ər nɑt məʧ ˈlɑrʤər ðən ðə ˌkɛrɪktərˈɪstɪk ˈdɪfərəns bɪtˈwin jɪrz ˌbiˈfɔr ðə dɪˈklaɪn. ˈivɪn ɪf ˈifɛkt ɔn ðə ˈnæʃənəl dɛθ reɪt frəm ˈsɪfəlɪs wɑz ˈgræʤuəl, wi maɪt ɪkˈspɛkt ðɪs tɪ bi du tɪ ˈfrɪkʃənz laɪk ˌɪnstɪˈtuʃənəl ˌɪˈnərʃə, ˈrəðər ðən ˈɔnˌgoʊɪŋ ˌtɛknəˈlɑʤɪkəl ˌɪmˈpruvmənts. ðəs ɪt kʊd stɪl bi ðə keɪs ðət ˌpɛnəˈsɪlən wɑz ə ˈrædɪkli ˈbɛtər drəg ðən ɪts ˈprɛdəˌsɛsərz, wɪn əˈplaɪd. ˈrisənt ˈprɛdəˌsɛsərz tɪ ˌpɛnəˈsɪlən ˌɪnˈkludɪd ˈɑrsənɪk ənd ˈbɪzməθ ˈkɑmpaʊndz, ənd ˌɪnˈtɛnʃənəli ˈkɑntræktɪŋ məˈlɛriə. ɪt əˈpɪrz ɔn ˈkæʒəwəl ˌɪnˌvɛstəˈgeɪʃən ðət ˌpɛnəˈsɪlən wɑz səkˈsɛsfəl əˈbaʊt 85 əv ðə taɪm sun ˈæftər ɪts dɪˈvɛləpmənt, waɪl ə ˈpriviəs ənd səkˈsɛsfəl əraʊnd 90 əv ðə taɪm, ðoʊ ɪt ɪz ənˈklɪr ˈwɛðər ðə seɪm səkˈsɛs ɪz biɪŋ ˈmɛʒərd. ˌhaʊˈɛvər ðə səkˈsɛs ˈfɪgjərz (fər ðə ˈlætər æt list) ˌɪnˈklud ˈoʊnli ˈpipəl hu kəmˈplitɪd ðə ˈtritmənt, ənd ɪt əˈpɪrz ðət pərˈhæps ˈoʊnli ə kˈwɔrtər əv ˈpeɪʃənz ˈtɛndɪd tɪ rɪˈsiv ə ˈkjʊrətɪv dose’*’ əv ˈɑrsənɪk ənd ˈbɪzməθ ˈθɛrəpi ˌbiˈfɔr ‘‘defaulting’*’, ˈsimɪŋli du tɪ ðə prəˈlɔŋd ˈneɪʧər əv ðə ˈtritmənt ənd ənˈplɛzənt saɪd ˈifɛkts (ðoʊ ðə dɛθ reɪt fər ənˈtritɪd ˈsɪfəlɪs ɪz əˈpɛrəntli soʊ ɪt ɪz ˈsəmˈwət səˈpraɪzɪŋ tɪ ˈjuˈɛs ðət soʊ ˈmɛni ˈpipəl wʊd dɪˈfɔlt frəm ˈtritmənt). fər ən ˈərli ˈvərʒən əv ˌpɛnəˈsɪlən, ˈɔlˌmoʊst ɔl ˈpeɪʃənz kʊd rɪˈsiv ə ˈmɪnəməm ˈkjʊrətɪv doʊs; ə ˈdɪfərəns ðət maɪt ˌrɛprɪˈzɛnt ə lɑrʤ ˌɪmˈpruvmənt ɪn ˈsɪfəlɪs ˈtritmənt. ɪf ˌpɛnəˈsɪlən meɪd ən əˈbrəpt ˈdɪfərəns tɪ ˈsɪfəlɪs ˈtritmənt ðɛn, ɪt simz ɪt ɪz ˈlaɪkli tɪ hæv bɪn ɪn tərmz əv kɔsts, ˈbrɔdli kənˈstrud (wɪʧ wər ˈpɑrtli rɪˈflɛktɪd ɪn ˈwɪlɪŋnəs tɪ bi ˈtritɪd). ðə taɪm rikˈwaɪərd fər ˈtritmənt rɪˈdust frəm mɔr ðən 20 deɪz tɪ 8 deɪz fər ðə fərst ˌpɛnəˈsɪlən ˈpeɪʃənz. ðə saɪd ˈifɛkts kˌwɑləˈteɪtɪvli rɪˈdust frəm ˈhɔrəbəl ənd ˈsəmˌtaɪmz ˈdɛdli tɪ ˈbɛrəbəl (si əˈbəv). ɪˈvæljuˌeɪtɪŋ ðiz kɔsts kˌwɑntɪˈteɪtəvli wɪl rɪˈmeɪn bɪɔnd ðə skoʊp əv ðɪs ˌɪnˌvɛstəˈgeɪʃən æt ˈprɛzənt. ˈivɪn ɪf ˌpɛnəˈsɪlən wɑz ɪn fækt ə lɑrʤ ˌɪmˈpruvmənt ˈoʊvər ɪts ˈprɛdəˌsɛsərz ɪn ˈæbsəˌlut tərmz, ɪn tərmz əv ˌkɛrɪktərˈɪstɪk ˈprɑˌgrɛs ɪn ˈsɪfəlɪs ˈtritmənts, ɪt wɑz lɛs ˈɑbviəsli ənˈjuˌʒuəl. arsphenamine*, riˈlist ɪn 1910 wɑz soʊld ɛz ‘‘salvarsan’*’ ənd noʊn ɛz bullet’*’, ənd wən ɪts dɪˈskəvərər pɔl ə noʊˈbɛl praɪz. ə fəˈzɪʃən æt ðə taɪm dɪˈskraɪbz: ““arsenobenzol*, ˈdɛzɪgˌneɪtɪd ˌwəˈtɛvər ðə fˈjuʧər meɪ brɪŋ tɪ ˈʤəstəˌfaɪ ðə ˈprɛzənt ɪnˈθuziˌæzəm, ɪz naʊ ˈæˌkʧuəli ə mɔr ər lɛs ˌɪnˈkrɛdəbəl ədˈvæns ɪn ðə ˈtritmənt əv ˈsɪfəlɪs ənd ɪn ˈmɛni weɪz ɪz suˈpɪriər tɪ ðə oʊld ˈmərkjəri ɛz ˈvæljəbəl ɛz ðɪs wɪl kənˈtɪnju tɪ bi bɪˈkəz əv ɪts ˈɛmənəntli ˈpaʊərfəl ənd ˈɛmənəntli ˈræpɪd property.”*.” ɪn səm, ˌpɛnəˈsɪlən ˈprɑbəˌbli meɪd kwɪk bət nɑt əˈbrəpt ˈprɑˌgrɛs ɪn rɪˈdusɪŋ ˈsɪfəlɪs ənd ˈsɪfəlɪs mɔrˈtæləti. ɪt ɪz ənˈklɪr ˈwɛðər ˌpɛnəˈsɪlən ɪz məʧ mɔr ˈlaɪkli tɪ kjʊr ə ˈpeɪʃənt ðən ˈərliər ˈtritmənts, kənˈdɪʃənəl ɔn ðə ˈtritmənt biɪŋ ˈkɛrid aʊt, bət ɪt əˈpɪrz ˌpɛnəˈsɪlən ˈtritmənt wɑz əraʊnd fɔr taɪmz mɔr ˈlaɪkli tɪ bi ˈkɛrid aʊt, du tɪ loʊər kɔsts. kˌwɑləˈteɪtɪvli ɪt əˈpɪrz ðət ˌpɛnəˈsɪlən ˌrɛprɪˈzɛnɪd ən ˌɪmˈpɔrtənt rɪˈdəkʃən ɪn kɔsts, bət ɪt ɪz hɑrd tɪ ɪˈvæljuˌeɪt ðɪs prɪˈsaɪsli ər kəmˈpɛr ɪt wɪθ ðə ˈlɔŋgər tərm ˈprɑˌgrɛs. ɪt əˈpɪrz ðət ɛz ˈrisəntli ɛz 1910 əˈnəðər drəg fər ˈsɪfəlɪs ˈɔlsoʊ ˌrɛprɪˈzɛnɪd kˌwɑləˈteɪtɪvli ˌɪmˈprɛsɪv ˈprɑˌgrɛs ɪn ˈtritmənt. ˈnukliər ˈwɛpənz meɪn ˈɑrtɪkəl: dɪˌskɑntɪˈnuɪti frəm ˈnukliər ˈwɛpənz ˈnukliər ˈwɛpənz ˌrɛprɪˈzɛnɪd əˈbrəpt ˈprɑˌgrɛs ɪn ɪkˈsploʊsɪv paʊər, bət ˈprɑbəˌbli nɑt ɪn cost-effectiveness*. ˈnukliər ˈwɛpənz ˌrɛprɪˈzɛnɪd ˈprɑˌgrɛs ɪn ˈrɛlətɪv ɪkˈsploʊsɪv ɪˈfɪʃənsi wɪʧ wʊd hæv ˈteɪkən ˈoʊvər sɪks ˈθaʊzənd jɪrz æt ˈpriviəs reɪts. haɪ ˈtɛmpərəʧər ˈsupərkənˌdəktərz meɪn ˈɑrtɪkəl: ˈkeɪsɪz əv ˌtɛknəˈlɑʤɪkəl ˈprɑˌgrɛs haɪ ˈtɛmpərəʧər ˈsupərkənˌdəktərz ˌrɛprɪˈzɛnɪd əˈbrəpt ˈprɑˌgrɛs ɪn ðə ˈtɛmpərəʧər æt wɪʧ ˌsupərˌkɑnˌdəkˈtɪvəti kʊd teɪk pleɪs. ɪn ə brif ˈpɪriəd, ˈprɑˌgrɛs tʊk pleɪs wɪʧ wʊd ˈpriviəsli hæv ˈteɪkən æt list ə ˈhənərd jɪrz. ˈviɪkəlz meɪn ˈɑrtɪkəl: ˈkeɪsɪz əv ˌtɛknəˈlɑʤɪkəl ˈprɑˌgrɛs ˈviɪkəlz prəˈdust ə ˈmɑdərˌeɪt ˈθərˌdi jɪrz əv ˈprɑˌgrɛs æt ˈpriviəs ðə lænd spid ˈrɛkərd. ˈfɛri ˈdɛltə 2 ənd ˈlɑˌkhid meɪn ˈɑrtɪkəl: ˈkeɪsɪz əv ˌtɛknəˈlɑʤɪkəl ˈprɑˌgrɛs ˈfɛri ˈdɛltə 2 ənd ˈlɑˌkhid wər pleɪnz wɪʧ ˌɪnˈkrist ðə ɛr spid ˈrɛkərd baɪ ˈrɛlətɪvli lɑrʤ ˈfæktərz. ðeɪ ˌrɛprɪˈzɛnɪd jɪrz ənd jɪrz əv ˈprɑˌgrɛs rɪˈspɛktɪvli, æt ˈpriviəs reɪts. ðə ˈprɪnɪŋ prɛs ðə ˈprɪnɪŋ prɛs ɪz ˈʤɛnərəli ˈkrɛdɪtɪd wɪθ ˈmæsɪvli ˌɪnˈkrisɪŋ ðə əˌveɪləˈbɪlɪti əv ðə ˈprɪnɪd wərd, ˈstɑrtɪŋ ɪn əraʊnd 1450 fər ˈɪnstəns, səm ˈɛstəˌmeɪt ðət ðə ˈnəmbər əv bʊks ɪn ˈjʊrəp klaɪmd frəm tɪ ɪn ðə ˈfɪfti jɪrz ˈfɑloʊɪŋ ðə ˈprɪnɪŋ prɛs. wi hæv nɑt lʊkt ˈɪntu ðɪs ɪn dɛpθ jɛt, ənd ðɛr ɪz səm ˌæmbɪˈgjuəti əraʊnd ðə ˈrɛləvəns əv ˈəðər ˈprɪnɪŋ ˈmɛθədz. fər ˈɪnstəns, əˈkɔrdɪŋ tɪ ˈwɪkiˌpiˌdiə, ɪn ðə ˈsɛnʧəri bʊks wər ˈʧipər ðən ðoʊz ˈprɪnɪd ɔn ə ˈprɪnɪŋ prɛs. ˌæˈljumɪnəm ɪt ɪz ˈɔfən kleɪmd ðət ðə ˌdɪˈskəvri əv ðə ˈprɔˌsɛs ɪn ðə brɔt ðə praɪs əv ˌæˈljumɪnəm daʊn ˌpriˈsɪpɪtəsli. wi faʊnd ˈsɛvərəl əv kˈwɑntɪˌteɪtɪv ˈdætə əˈbaʊt ðɪs, bət ðeɪ ˈsɪriəsli ˈkɑnflɪkt. baɪ fɑr ðə moʊst ˈrɪgərəs ˈlʊkɪŋ ɪz ə rɪˈpɔrt frəm pəˈtrɪʃə æt ðə ˈjuˈɛs ˌʤiəˈlɑʤɪkəl ˈsərˌveɪ, frəm wɪʧ wi gɪt ðə ˈfɑloʊɪŋ ˈdætə. ˌhaʊˈɛvər bi wɔrnd ðət səm əv ðiz ˈfɪgjərz meɪ bi ɔf baɪ ˈɔrdərz əv ˈmægnəˌtud, ɪf ˈəðər ˈsɔrsəz ər ˈtrəstɪd. prəˈvaɪdz ə ˈteɪbəl əv hɪˈstɔrɪk ˌæˈljumɪnəm ˈpraɪsɪz, əˈkɔrdɪŋ tɪ wɪʧ ðə ˈnɑmənəl praɪs fɛl frəm 8 pər paʊnd tɪ pər paʊnd ˈsəmˌtaɪm bɪtˈwin 1887 ənd 1895 (ˈdʊrɪŋ moʊst əv wɪʧ taɪm noʊ ˈrɛkərdz ər əˈveɪləbəl). ðɪs ˈpɪriəd ˈprɑbəˌbli ˈkæpʧərz ðə ˌɪnəˈveɪʃən əv ˈɪntəˌrɛst, ɛz ðə ˈprɔˌsɛs wɑz ˈpætəntɪd ɪn 1886 əˈkɔrdɪŋ tɪ, ənd ðə praɪs ˈoʊnli drɑpt baɪ 1 pər paʊnd ˈdʊrɪŋ ðə priˈsidɪŋ ˈfɪfˈtin jɪrz əˈkɔrdɪŋ tɪ hər ˈteɪbəl. ˈɔlsoʊ sɪz ðət ðə praɪs wɑz hɛld ˌɑrtəˈfɪʃəli loʊ tɪ ɪnˈkərəʤ kənˈsumərz ɪn ðə ˈərli 1900s*, səˈʤɛstɪŋ ðə seɪm meɪ hæv bɪn tru ˈərliər, ˌhaʊˈɛvər ðɪs simz ˈlaɪkli tɪ bi ə smɔl kərˈɛkʃən. ðə soʊɪŋ məˈʃin ˈərli soʊɪŋ məˈʃinz əˈpɛrəntli brɔt ðə taɪm tɪ ˈproʊdus ˈkloʊðɪŋ daʊn baɪ ən ˈɔrdər əv ˈmægnəˌtud (frəm 14 aʊərz tɪ 75 ˈmɪnəts fər ə drɛs ʃərt baɪ wən ˈɛstəˌmeɪt). ˌhaʊˈɛvər ɪt əˈpɪrz ðət ðə tɛkˈnɑləʤi prəˈgrɛst mɔr sˈloʊli, ðɛn wɑz ˈteɪkən əp baɪ ðə ˈpəblɪk ˈleɪtər ˈprɑbəˌbli wɪn ɪt bɪˈkeɪm cost-effective*, æt wɪʧ taɪm əˈdɑpˈtiz meɪ hæv ɪkˈspɪriənst ə ˈræpɪd rɪˈdəkʃən ɪn soʊɪŋ taɪm (prɪˈzuməbli æt səm ɪkˈspɛns). ðiz ˌɪmˈprɛʃənz ər frəm ə ˈvɛri ˈkæʒəwəl pərˈuzəl əv ðə ˈɛvədəns. ˈvɪdioʊ kəmˈprɛʃən ˈblɔgər ʤɑn məˈgaʊən kleɪmz ðət ˈvɪdioʊ kəmˈprɛʃən pərˈfɔrməns wɑz ˈkɑnstənt æt ə ˈreɪʃiˌoʊ əv əraʊnd 250 fər əˈbaʊt ˈsɛvən jɪrz praɪər tɪ 2003 ðɛn ʤəmpt tɪ əraʊnd 900 ˌɪnˌfɔrˈmeɪʃən ˈstɔrɪʤ ˈvɑljum əˈkɔrdɪŋ tɪ ðə pərˈfɔrməns kərvz ˈdætəˌbeɪs (pcdb*), ˈstɔrɪʤ volume’*’ fər boʊθ ˈhænˌdraɪtɪŋ ənd ˈprɪnɪŋ həz groʊn baɪ ə ˈfæktər əv θri ɪn ˈrisənt jɪrz, ˈæftər lɛs ðən ˈdəbəlɪŋ ɪn ðə ˈhənərd jɪrz ˈpriviəsli. ɪt ɪz ənˈklɪr wət ɪgˈzæktli ɪz biɪŋ ˈmɛʒərd hir ˌhaʊˈɛvər. ˌəndərˈsi ˈkeɪbəl praɪs ðə ˈbændwɪdθ pər ˈkeɪbəl lɛŋθ əˈveɪləbəl fər ə ˈdɔlər əˈpɛrəntli gru baɪ mɔr ðən 1000 taɪmz ɪn əraʊnd 1880 ʧɛs eɪaɪ ðɛr wɑz ə ˈnoʊtəbəl dɪˌskɑntɪˈnuɪti ɪn ʧɛs eɪaɪ əˈkɔrdɪŋ tɪ ðə ˈreɪtɪŋz. ˌhaʊˈɛvər ɪt əˈpɪrz tɪ bi lɛs ðən tɛn jɪrz əv ˈprɑˌgrɛs æt ˈpriviəs reɪts. ˈɔlsoʊ, pɑrt əv ðɪs ʤəmp əˈpɪrz tɪ hæv bɪn kɔzd baɪ ðə ˌɪntrəˈdəkʃən əv nu ˈhɑrdˌwɛr ɪn ðə ˈkɑntɛst. ˌɪnfrərˈɛd dɪˈtɛktər ˌsɛnsɪˈtɪvɪti ˌɪnfrərˈɛd dɪˈtɛktər ˌsɛnsɪˈtɪvɪti ɪz ˈmɛʒərd ɪn tərmz əv ɪkˈwɪvələnt power’*’ (nep*), ər ðə əˈmaʊnt əv paʊər (ˈɛnərʤi pər taɪm) ðət nidz tɪ hɪt ðə ˈsɛnsər fər ðə ˈaʊtˌpʊt tɪ hæv ə ˈreɪʃiˌoʊ əv wən. wi ˌɪnˈvɛstəˌgeɪtɪd ˈprɑˌgrɛs ɪn ˌɪnfrərˈɛd dɪˈtɛkʃən tɛkˈnɑləʤi bɪˈkəz əˈkɔrdɪŋ tɪ ˌækəˈdɛmɪk prɛs 1974 ðə ˌrɛprɪˈzɛnɪd ə fɔr ˈɔrdər əv ˈmægnəˌtud ˌɪmˈpruvmənt ɪn ˌsɛnsɪˈtɪvɪti ˈoʊvər dɪˈtɛktərz. ˌhaʊˈɛvər ɑr oʊn ˌɪnˌvɛstəˈgeɪʃən səˈʤɛsts ðɛr wər ˈəðər ˌɪnəˈveɪʃənz bɪtˈwin dɪˈtɛktərz ənd ðə ɪn kˈwɛʃən, ənd ðəs noʊ əˈbrəpt ˌɪmˈpruvmənt. wi lɪst ədˈvænsɪz wi noʊ əv hir, ənd ˈsəmərˌaɪz ðɛm ɪn ˈfɪgjər 5 ðə 1947 pɔɪnt ɪz. ðə 1969 pɔɪnt ɪz ˈnɪrli fɔr ˈɔrdərz əv ˈmægnəˌtud ˈbɛtər. ˌhaʊˈɛvər wi noʊ əv æt list fɔr ˈəðər dɪˈtɛktərz wɪθ ˌɪnərˈmidiɪt ˈlɛvəlz əv ˌsɛnsɪˈtɪvɪti, ənd ðiz ər sprɛd ˈfɛrli ˈivənli bɪtˈwin ðə dɪˈvaɪs ənd ðə moʊst ɪˈfɪʃənt kuld wən ˈlɪstɪd. wi hæv nɑt ʧɛkt ˈwɛðər ðə ˈprɑˌgrɛs bɪtˈwin ðə dɪˈtɛktər ənd ðə fərst kuld dɪˈtɛktər wɑz, ˈgɪvɪn ˈpriviəs reɪts. ðɪs ɪz bɪˈkəz wi hæv noʊ strɔŋ ˈrizən tɪ ˈsəˌspɛkt ɪt ɪz. ˈʤiˌnoʊm ˈsikwənsɪŋ ðɪs əˈpɪrz tɪ hæv sin æt list ə ˈmɑdərˌeɪt dɪˌskɑntɪˈnuɪti. ən ˌɪnˌvɛstəˈgeɪʃən ɪz ɪn ˈprɑˌgrɛs. ˈbɪldɪŋ haɪt meɪn ˈɑrtɪkəl: dɪˌskɑntɪˈnuɪti frəm ðə kəˈlifə ðə kəˈlifə ˌrɛprɪˈzɛnɪd ə lɑrʤ 175 jɪr) dɪˌskɑntɪˈnuɪti ɪn ðə trɛnd əv ˈmæksəməm ˈbɪldɪŋ haɪts ˈoʊvər taɪm. ɪt dɪd nɑt ˌrɛprɪˈzɛnt ə ˌpɑˈtɪkjələr dɪˌskɑntɪˈnuɪti ɪn ðə trɛnd əv ˈmæksəməm ˈstrəkʧər haɪts ˈoʊvər taɪm.

microsoft has pushed out a c# software development kit (sdk) for its language parsing api, luis. luis the language understanding intelligent service is another chunk of the capability redmond is so keen on. it's a environment which microsoft reckons helps developers teach existing apps to understand “book tickets to paris”, “turn on the lights” and so on. that's covered by luisclient: interactions are handled by the “predict” and “reply” functions. can also “create handlers for each intent (as shown in the sample) and setup a router using these handlers in order to have the router handle the responses instead of doing so within the client application”, redmond explains at github. you need an app first, though, because it's when you publish the app here that you get the app id and app key to use luis. the idea is to relieve developers of as much effort as possible, with models built for and bing doing the hard work. “turn on the lights” the “intent” needs only a simple response (“ok”), but as microsoft explains, “i'd like to buy a black dress” needs a more nuanced response (“what size?”, for example). that's the bit microsoft is trying to simplify, with a developer's interface to define both the intent, and set the response parameters. luis includes entities; the developer then trains the model, and finally publishes it to an endpoint as json.

ˈmaɪˌkroʊˈsɔft həz pʊʃt aʊt ə si# ˈsɔfˌwɛr dɪˈvɛləpmənt kɪt (sdk*) fər ɪts ˈlæŋgwɪʤ ˈpɑrsɪŋ api*, luis. luis ðə ˈlæŋgwɪʤ ˌəndərˈstændɪŋ ˌɪnˈtɛləʤənt ˈsərvɪs ɪz əˈnəðər ʧəŋk əv ðə ˌkeɪpəˈbɪləti ˈrɛdmənd ɪz soʊ kin ɔn. ɪts ə ɪnˈvaɪrənmənt wɪʧ ˈmaɪˌkroʊˈsɔft ˈrɛkənz hɛlps dɪˈvɛləpərz tiʧ ɪgˈzɪstɪŋ æps tɪ ˌəndərˈstænd ˈtɪkɪts tɪ paris”*”, ɔn ðə lights”*” ənd soʊ ɔn. ðæts ˈkəvərd baɪ luisclient*: ˌɪnərˈækʃənz ər ˈhændəld baɪ ðə ““predict”*” ənd ““reply”*” ˈfəŋkʃənz. kən ˈɔlsoʊ ˈhændələrz fər iʧ ˌɪnˈtɛnt (ɛz ʃoʊn ɪn ðə ˈsæmpəl) ənd ˈsɛˌtəp ə ˈrutər ˈjuzɪŋ ðiz ˈhændələrz ɪn ˈɔrdər tɪ hæv ðə ˈrutər ˈhændəl ðə rɪˈspɑnsɪz ˌɪnˈstɛd əv duɪŋ soʊ wɪˈθɪn ðə klaɪənt application”*”, ˈrɛdmənd ɪkˈspleɪnz æt github*. ju nid ən æp fərst, ðoʊ, bɪˈkəz ɪts wɪn ju ˈpəblɪʃ ðə æp hir ðət ju gɪt ðə æp ˈaɪˈdi ənd æp ki tɪ juz luis. ðə aɪˈdiə ɪz tɪ rɪˈliv dɪˈvɛləpərz əv ɛz məʧ ˈɛfərt ɛz ˈpɑsəbəl, wɪθ ˈmɑdəlz bɪlt fər ənd bɪŋ duɪŋ ðə hɑrd wərk. ɔn ðə lights”*” ðə ““intent”*” nidz ˈoʊnli ə ˈsɪmpəl rɪˈspɑns (““ok”*”), bət ɛz ˈmaɪˌkroʊˈsɔft ɪkˈspleɪnz, laɪk tɪ baɪ ə blæk dress”*” nidz ə mɔr nuɑnst rɪˈspɑns size?”*?”, fər ɪgˈzæmpəl). ðæts ðə bɪt ˈmaɪˌkroʊˈsɔft ɪz traɪɪŋ tɪ ˈsɪmpləˌfaɪ, wɪθ ə dɪˈvɛləpərz ˈɪnərˌfeɪs tɪ dɪˈfaɪn boʊθ ðə ˌɪnˈtɛnt, ənd sɛt ðə rɪˈspɑns pərˈæmətərz. luis ˌɪnˈkludz ˈɛntɪtiz; ðə dɪˈvɛləpər ðɛn treɪnz ðə ˈmɑdəl, ənd ˈfaɪnəli ˈpəblɪʃɪz ɪt tɪ ən ˈɛndˌpɔɪnt ɛz json*.

thigh-high politics is an column by teen vogue writer lauren duca that breaks down the news, provides resources for the resistance, and just generally refuses to accept toxic nonsense. i was en route to the sydney airport in australia when my cab driver asked me if i was ashamed of president donald trump. i immediately answered yes, before thinking about how ludicrous that question would be in any other context. it would have been provocative, perhaps, to ask an american tourist if she was ashamed of former presidents barack obama or george w. bush (though the global favorability ratings were far lower). bush deceived the country as a means of invading iraq, but even as public understanding about his actions became and global disgust morphed into widespread protest, there was still a patina of reverence associated with the commander in chief. at least in polite interaction, respect for the office was generally assumed outside of the countries they were actively bombing, anyway. under trump, any such sense of deference has been obliterated. my cab driver in sydney trying to be rude, he was worried. the subtext rang of pity rather than condemnation, and the same was true of many other australians and other foreigners i met while traveling through the country over the course of two weeks in october. on a dive boat off the great barrier reef in cairns, i sat surrounded by an australian man, two brothers from denmark, and a couple from germany, while the other new yorker and i attempted to explain how trump happened. as we discussed horrors like the travel ban, birth control rollback, and the ongoing aggravation of north korea, they alternately stared in horror or shook their heads in sympathetic disbelief. we offended we were desperate to separate ourselves from the mess that is america. it was as if we had done something profoundly humiliating and they were at a total loss as to how to make us feel better. or, as one of my twitter followers put it a few days later, “we used to look up to you. now embarrassed for you.” a similar sentiment is shared by the global population. a pew research poll of 37 countries conducted in january revealed that only 22% of respondents have “confidence in trump to do the right thing when it comes to international affairs,” down from 64% under obama. analysis of the pew numbers also shows that the average favorability rating has dropped significantly, from 65 to 50%. imagine both of those numbers would be lower if conducted today. world leaders have echoed discontent with trump. during the campaign, the president of argentina, mauricio macri, called trump a “crackpot candidate.” the prime minister of australia notoriously mocked him in leaked audio, poking at his relationship with russia, and ideas about “fake news.” canadian prime minister justin trudeau has been cautious to explicitly insult the states, but emphasized belief that “diversity is a strength” in response to travel ban. french president emmanuel decried “mistake” in leaving the paris climate accord. and, perhaps most profoundly, german chancellor angela merkel insisted her country can no longer rely on america in allied foreign diplomacy. “the times in which we could completely depend on others are on the way out. experienced that in the last few days,” she said during a campaign event in may. “we europeans have to take our destiny into our own hands of course in friendship with the we have to know that we have to fight for our own future.”

thigh-high* ˈpɑləˌtɪks ɪz ən ˈkɑləm baɪ tin voʊg ˈraɪtər ˈlɔrən ˈdukə ðət breɪks daʊn ðə nuz, prəˈvaɪdz ˈrisɔrsɪz fər ðə rɪˈzɪstəns, ənd ʤɪst ˈʤɛnərəli rɪfˈjuzɪz tɪ əkˈsɛpt ˈtɑksɪk ˈnɑnsɛns. aɪ wɑz ɛn rut tɪ ðə ˈsɪdni ˈɛrˌpɔrt ɪn ɔˈstreɪljə wɪn maɪ kæb ˈdraɪvər æst mi ɪf aɪ wɑz əˈʃeɪmd əv ˈprɛzɪdənt ˈdɑnəld trəmp. aɪ ˌɪˈmiˌdiətli ˈænsərd jɛs, ˌbiˈfɔr ˈθɪŋkɪŋ əˈbaʊt haʊ ˈludəkrəs ðət kˈwɛʃən wʊd bi ɪn ˈɛni ˈəðər ˈkɑntɛkst. ɪt wʊd hæv bɪn proʊˈvɑkətɪv, pərˈhæps, tɪ æsk ən əˈmɛrɪkən ˈtʊrɪst ɪf ʃi wɑz əˈʃeɪmd əv ˈfɔrmər ˈprɛzɪˌdɛnts ˈbɑrək ˌoʊˈbɑmə ər ʤɔrʤ ˈdəbəlju. bʊʃ (ðoʊ ðə ˈgloʊbəl ˌfævərəˈbɪlɪti ˈreɪtɪŋz wər fɑr loʊər). bʊʃ dɪˈsivd ðə ˈkəntri ɛz ə minz əv ˌɪnˈveɪdɪŋ ˌɪˈrɑk, bət ˈivɪn ɛz ˈpəblɪk ˌəndərˈstændɪŋ əˈbaʊt hɪz ˈækʃənz bɪˈkeɪm ənd ˈgloʊbəl dɪsˈgəst mɔrft ˈɪntu ˈwaɪdˈsprɛd ˈproʊˌtɛst, ðɛr wɑz stɪl ə pəˈtinə əv ˈrɛvərəns əˈsoʊʃiˌeɪtəd wɪθ ðə kəˈmændər ɪn ʧif. æt list ɪn pəˈlaɪt ˌɪnərˈækʃən, rɪˈspɛkt fər ðə ˈɔfəs wɑz ˈʤɛnərəli əˈsumd ˈaʊtˈsaɪd əv ðə ˈkəntriz ðeɪ wər ˈæktɪvli ˈbɑmɪŋ, ˈɛniˌweɪ. ˈəndər trəmp, ˈɛni səʧ sɛns əv ˈdɛfərəns həz bɪn əˈblɪtərˌeɪtɪd. maɪ kæb ˈdraɪvər ɪn ˈsɪdni traɪɪŋ tɪ bi rud, hi wɑz ˈwərid. ðə ˈsəbˌtɛkst ræŋ əv ˈpɪti ˈrəðər ðən ˌkɑndəmˈneɪʃən, ənd ðə seɪm wɑz tru əv ˈmɛni ˈəðər ɔˈstreɪljənz ənd ˈəðər ˈfɔrənərz aɪ mɛt waɪl ˈtrævəlɪŋ θru ðə ˈkəntri ˈoʊvər ðə kɔrs əv tu wiks ɪn ɑkˈtoʊbər. ɔn ə daɪv boʊt ɔf ðə greɪt ˈbɛriər rif ɪn kɛrnz, aɪ sæt sərˈaʊndɪd baɪ ən ɔˈstreɪljən mæn, tu ˈbrəðərz frəm ˈdɛnˌmɑrk, ənd ə ˈkəpəl frəm ˈʤərməni, waɪl ðə ˈəðər nu ˈjɔrkər ənd aɪ əˈtɛmptəd tɪ ɪkˈspleɪn haʊ trəmp ˈhæpənd. ɛz wi dɪˈskəst ˈhɔrərz laɪk ðə ˈtrævəl bæn, bərθ kənˈtroʊl ˈroʊlˌbæk, ənd ðə ˈɔnˌgoʊɪŋ ˌægrəˈveɪʃən əv nɔrθ ˌkɔˈriə, ðeɪ ˈɔltərnətli stɛrd ɪn ˈhɔrər ər ʃʊk ðɛr hɛdz ɪn ˌsɪmpəˈθɛtɪk ˌdɪsbɪˈlif. wi əˈfɛndɪd wi wər ˈdɛspərɪt tɪ ˈsɛpərˌeɪt ɑrˈsɛlvz frəm ðə mɛs ðət ɪz əˈmɛrɪkə. ɪt wɑz ɛz ɪf wi hæd dən ˈsəmθɪŋ proʊˈfaʊndli hjuˈmɪliˌeɪtɪŋ ənd ðeɪ wər æt ə ˈtoʊtəl lɔs ɛz tɪ haʊ tɪ meɪk ˈjuˈɛs fil ˈbɛtər. ər, ɛz wən əv maɪ tˈwɪtər ˈfɑloʊərz pʊt ɪt ə fju deɪz ˈleɪtər, juzd tɪ lʊk əp tɪ ju. naʊ ɪmˈbɛrəst fər you.”*.” ə ˈsɪmələr ˈsɛnəmənt ɪz ʃɛrd baɪ ðə ˈgloʊbəl ˌpɑpjəˈleɪʃən. ə pju ˈrisərʧ poʊl əv 37 ˈkəntriz kənˈdəktəd ɪn ˈʤænjuˌɛri rɪˈvild ðət ˈoʊnli 22 əv rɪˈspɑndənts hæv ɪn trəmp tɪ du ðə raɪt θɪŋ wɪn ɪt kəmz tɪ ˌɪnərˈnæʃənɑl affairs,”*,” daʊn frəm 64 ˈəndər ˌoʊˈbɑmə. æˈnælɪsɪs əv ðə pju ˈnəmbərz ˈɔlsoʊ ʃoʊz ðət ðə ˈævərɪʤ ˌfævərəˈbɪlɪti ˈreɪtɪŋ həz drɑpt sɪgˈnɪfɪkəntli, frəm 65 tɪ 50 ˌɪˈmæʤən boʊθ əv ðoʊz ˈnəmbərz wʊd bi loʊər ɪf kənˈdəktəd təˈdeɪ. wərld ˈlidərz hæv ˈɛkoʊd dɪskənˈtɛnt wɪθ trəmp. ˈdʊrɪŋ ðə kæmˈpeɪn, ðə ˈprɛzɪdənt əv ˌɑrʤənˈtinə, maʊˈrisioʊ ˈmækri, kɔld trəmp ə candidate.”*.” ðə praɪm ˈmɪnɪstər əv ɔˈstreɪljə noʊˈtɔriəsli mɑkt ɪm ɪn likt ˈɑdiˌoʊ, ˈpoʊkɪŋ æt hɪz riˈleɪʃənˌʃɪp wɪθ ˈrəʃə, ənd aɪˈdiəz əˈbaʊt news.”*.” kəˈneɪdiən praɪm ˈmɪnɪstər ˈʤəstɪn truˈdoʊ həz bɪn ˈkɔʃəs tɪ ɪkˈsplɪsətli ˌɪnˈsəlt ðə steɪts, bət ˈɛmfəˌsaɪzd bɪˈlif ðət ɪz ə strength”*” ɪn rɪˈspɑns tɪ ˈtrævəl bæn. frɛnʧ ˈprɛzɪdənt ɪˈmænjuəl dɪˈkraɪd ““mistake”*” ɪn ˈlivɪŋ ðə ˈpɛrɪs ˈklaɪmɪt əˈkɔrd. ənd, pərˈhæps moʊst proʊˈfaʊndli, ˈʤərmən ˈʧænsələr ˈænʤələ ˈmərkəl ˌɪnˈsɪstɪd hər ˈkəntri kən noʊ ˈlɔŋgər rɪˈlaɪ ɔn əˈmɛrɪkə ɪn ˈæˌlaɪd ˈfɔrən dɪˈploʊməsi. taɪmz ɪn wɪʧ wi kʊd kəmˈplitli dɪˈpɛnd ɔn ˈəðərz ər ɔn ðə weɪ aʊt. ɪkˈspɪriənst ðət ɪn ðə læst fju days,”*,” ʃi sɛd ˈdʊrɪŋ ə kæmˈpeɪn ɪˈvɛnt ɪn meɪ. ˌjʊrəˈpiənz hæv tɪ teɪk ɑr ˈdɛstəni ˈɪntu ɑr oʊn hænz əv kɔrs ɪn ˈfrɛndʃɪp wɪθ ðə wi hæv tɪ noʊ ðət wi hæv tɪ faɪt fər ɑr oʊn future.”*.”

most light emitters, from candles to light bulbs to computer screens, look the same from any angle. but in a paper published this week on the nature website, mit researchers report the development of a new light source a fiber only a little thicker than a human hair whose brightness can be varied for different viewers. the fiber thus opens the possibility of displays woven from flexible fibers that project different information to viewers’ left and right eyes. the fiber could also enable medical devices that can be threaded into narrow openings to irradiate diseased tissue, selectively activating therapeutic compounds while leaving healthy tissue untouched. the paper is the work of seven researchers affiliated with research laboratory of electronics (rle), including fink, a professor of materials science and electrical engineering and the director; john joannopoulos, the francis wright davis professor of physics; lead author alexander, a graduate student at harvard university who is doing is phd research with group; and lei wei, a at rle. the work was funded by the u.s. army and the national science foundation, through institute for soldier nanotechnologies and center for materials science and engineering. the newly developed fiber has a hollow core; surrounding this core are alternating layers of materials with different optical properties, which together act as a mirror. in the core is a droplet of fluid that can be moved up and down the fiber. when the droplet receives energy, or is “pumped” in experiments, the researchers used another laser to pump the droplet it emits light. the light bounces back and forth between the mirrors, emerging from the core as a laser beam. surrounding the core are four channels filled with liquid crystals, which vary the brightness of the emitted light; each channel is controlled by two electrode channels running parallel to it. yet despite the complexity of its structure, the fiber is only 400 micrometers across. (a human hair is usually somewhere around 100 micrometers in diameter.) in experiments, the researchers simultaneously activated liquid crystals on opposite sides of the fiber to investigate a hypothetical application in which a transparent, woven display would present the same image to viewers on both sides not mirror images, as a display that emitted light uniformly would. but in principle, says, no reason a fiber have many channels that vary the light intensity in several different directions. “you can build as many of these channels as you want around the laser,” says. “the process is very scalable.” as a display technology, the fibers have the obvious drawback that each of them provides only one image pixel. to make the fibers more useful, the researchers are investigating the possibility that the single pixel the droplet of water could oscillate back and forth fast enough to fool the viewer into perceiving a line rather than a colored point. even before the researchers answer that question, however, the fiber could prove useful in the burgeoning field of photodynamic therapy, in which light activates injected therapeutic compounds only at targeted locations. “the coolest thing about this work, really, is the way made,” says marko loncar, an associate professor of electrical engineering at harvard university. “the technology that they used to do it, basically, they can make kilometers of these things. remarkable.” loncar adds, “and they envision this being used for surgeries and things like that, where it would be really hard to use any other laser approach.” loncar also thinks that the problem of pumping the fluid droplet back and forth to produce images is probably soluble. “there are entire lasers that depend on microfluidics,” he says. “the handling of fluids on a small scale nowadays is a pretty developed technology. so i see this as a major obstacle.”

moʊst laɪt emitters*, frəm ˈkændəlz tɪ laɪt bəlbz tɪ kəmˈpjutər skrinz, lʊk ðə seɪm frəm ˈɛni ˈæŋgəl. bət ɪn ə ˈpeɪpər ˈpəblɪʃt ðɪs wik ɔn ðə ˈneɪʧər ˈwɛbˌsaɪt, ˈɛˈmaɪˈti ˈrisərʧərz rɪˈpɔrt ðə dɪˈvɛləpmənt əv ə nu laɪt sɔrs ə ˈfaɪbər ˈoʊnli ə ˈlɪtəl ˈθɪkər ðən ə ˈjumən hɛr huz ˈbraɪtnəs kən bi ˈvɛrid fər ˈdɪfərənt vjuərz. ðə ˈfaɪbər ðəs ˈoʊpənz ðə ˌpɑsəˈbɪləˌti əv dɪˈspleɪz ˈwoʊvən frəm ˈflɛksəbəl ˈfaɪbərz ðət ˈprɑʤɛkt ˈdɪfərənt ˌɪnˌfɔrˈmeɪʃən tɪ viewers’*’ lɛft ənd raɪt aɪz. ðə ˈfaɪbər kʊd ˈɔlsoʊ ɪˈneɪbəl ˈmɛdɪkəl dɪˈvaɪsɪz ðət kən bi θˈrɛdɪd ˈɪntu ˈnɛroʊ ˈoʊpənɪŋz tɪ ˌɪˈreɪdiˌeɪt dɪˈzizd ˈtɪʃu, səˈlɛktɪvli ˈæktəˌveɪtɪŋ ˌθɛrəˈpjutɪk ˈkɑmpaʊndz waɪl ˈlivɪŋ ˈhɛlθi ˈtɪʃu ənˈtəʧt. ðə ˈpeɪpər ɪz ðə wərk əv ˈsɛvən ˈrisərʧərz əˈfɪliˌeɪtɪd wɪθ ˈrisərʧ ˈlæbrəˌtɔri əv ˌɪˌlɛkˈtrɑnɪks (rle*), ˌɪnˈkludɪŋ fɪŋk, ə prəˈfɛsər əv məˈtɪriəlz saɪəns ənd ɪˈlɛktrɪkəl ˈɛnʤəˈnɪrɪŋ ənd ðə dɪˈrɛktər; ʤɑn joannopoulos*, ðə ˈfrænsɪs raɪt ˈdeɪvɪs prəˈfɛsər əv ˈfɪzɪks; lɛd ˈɔθər ˌælɪgˈzændər, ə ˈgræʤəˌweɪt ˈstudənt æt ˈhɑrvərd ˌjunəˈvərsəti hu ɪz duɪŋ ɪz ˈpiˌeɪʧˈdi ˈrisərʧ wɪθ grup; ənd leɪ weɪ, ə æt rle*. ðə wərk wɑz ˈfəndɪd baɪ ðə juz. ˈɑrmi ənd ðə ˈnæʃənəl saɪəns faʊnˈdeɪʃən, θru ˈɪnstɪˌtut fər ˈsoʊlʤər ˌnænoʊˌtɛkˈnɑləˌʤiz ənd ˈsɛnər fər məˈtɪriəlz saɪəns ənd ˈɛnʤəˈnɪrɪŋ. ðə ˈnuli dɪˈvɛləpt ˈfaɪbər həz ə ˈhɑloʊ kɔr; sərˈaʊndɪŋ ðɪs kɔr ər ˈɔltərˌneɪtɪŋ leɪərz əv məˈtɪriəlz wɪθ ˈdɪfərənt ˈɑptɪkəl ˈprɑpərtiz, wɪʧ təˈgɛðər ækt ɛz ə ˈmɪrər. ɪn ðə kɔr ɪz ə ˈdrɑplət əv fluɪd ðət kən bi muvd əp ənd daʊn ðə ˈfaɪbər. wɪn ðə ˈdrɑplət rɪˈsivz ˈɛnərʤi, ər ɪz ““pumped”*” ɪn ɪkˈspɛrəmənts, ðə ˈrisərʧərz juzd əˈnəðər ˈleɪzər tɪ pəmp ðə ˈdrɑplət ɪt ɪˈmɪts laɪt. ðə laɪt ˈbaʊnsɪz bæk ənd fɔrθ bɪtˈwin ðə ˈmɪrərz, ˈimərʤɪŋ frəm ðə kɔr ɛz ə ˈleɪzər bim. sərˈaʊndɪŋ ðə kɔr ər fɔr ˈʧænəlz fɪld wɪθ ˈlɪkwɪd ˈkrɪstəlz, wɪʧ ˈvɛri ðə ˈbraɪtnəs əv ðə ɪˈmɪtɪd laɪt; iʧ ˈʧænəl ɪz kənˈtroʊld baɪ tu ˌɪˈlɛktroʊd ˈʧænəlz ˈrənɪŋ ˈpɛrəˌlɛl tɪ ɪt. jɛt dɪˈspaɪt ðə kəmˈplɛksɪti əv ɪts ˈstrəkʧər, ðə ˈfaɪbər ɪz ˈoʊnli 400 maɪˈkrɑmətərz əˈkrɔs. (ə ˈjumən hɛr ɪz ˈjuʒəwəli ˈsəmˌwɛr əraʊnd 100 maɪˈkrɑmətərz ɪn daɪˈæmətər.) ɪn ɪkˈspɛrəmənts, ðə ˈrisərʧərz ˌsaɪməlˈteɪniəsli ˈæktɪˌveɪtɪd ˈlɪkwɪd ˈkrɪstəlz ɔn ˈɑpəzɪt saɪdz əv ðə ˈfaɪbər tɪ ˌɪnˈvɛstəˌgeɪt ə ˌhaɪpəˈθɛtɪkəl ˌæpləˈkeɪʃən ɪn wɪʧ ə trænˈspɛrənt, ˈwoʊvən dɪˈspleɪ wʊd ˈprɛzənt ðə seɪm ˈɪmɪʤ tɪ vjuərz ɔn boʊθ saɪdz nɑt ˈmɪrər ˈɪmɪʤɪz, ɛz ə dɪˈspleɪ ðət ɪˈmɪtɪd laɪt ˈjunəˌfɔrmli wʊd. bət ɪn ˈprɪnsəpəl, sɪz, noʊ ˈrizən ə ˈfaɪbər hæv ˈmɛni ˈʧænəlz ðət ˈvɛri ðə laɪt ˌɪnˈtɛnsɪti ɪn ˈsɛvərəl ˈdɪfərənt dɪˈrɛkʃɪnz. kən bɪld ɛz ˈmɛni əv ðiz ˈʧænəlz ɛz ju wɔnt əraʊnd ðə laser,”*,” sɪz. ˈprɔˌsɛs ɪz ˈvɛri scalable.”*.” ɛz ə dɪˈspleɪ tɛkˈnɑləʤi, ðə ˈfaɪbərz hæv ðə ˈɑbviəs ˈdrɔˌbæk ðət iʧ əv ðɛm prəˈvaɪdz ˈoʊnli wən ˈɪmɪʤ ˈpɪksəl. tɪ meɪk ðə ˈfaɪbərz mɔr ˈjusfəl, ðə ˈrisərʧərz ər ˌɪnˈvɛstəˌgeɪtɪŋ ðə ˌpɑsəˈbɪləˌti ðət ðə ˈsɪŋgəl ˈpɪksəl ðə ˈdrɑplət əv ˈwɔtər kʊd ˈɑsəˌleɪt bæk ənd fɔrθ fæst ɪˈnəf tɪ ful ðə vjuər ˈɪntu pərˈsivɪŋ ə laɪn ˈrəðər ðən ə ˈkələrd pɔɪnt. ˈivɪn ˌbiˈfɔr ðə ˈrisərʧərz ˈænsər ðət kˈwɛʃən, ˌhaʊˈɛvər, ðə ˈfaɪbər kʊd pruv ˈjusfəl ɪn ðə ˈbərʤənɪŋ fild əv ˌfoʊtoʊdaɪˈnæmɪk ˈθɛrəpi, ɪn wɪʧ laɪt ˈæktəˌveɪts ˌɪnˈʤɛktɪd ˌθɛrəˈpjutɪk ˈkɑmpaʊndz ˈoʊnli æt ˈtɑrgətɪd loʊˈkeɪʃənz. ˈkuləst θɪŋ əˈbaʊt ðɪs wərk, ˈrɪli, ɪz ðə weɪ made,”*,” sɪz ˈmɑrkoʊ ˈlɑnkɑr, ən əˈsoʊʃiˌeɪt prəˈfɛsər əv ɪˈlɛktrɪkəl ˈɛnʤəˈnɪrɪŋ æt ˈhɑrvərd ˌjunəˈvərsəti. tɛkˈnɑləʤi ðət ðeɪ juzd tɪ du ɪt, ˈbeɪsɪkli, ðeɪ kən meɪk ˈkɪləˌmitərz əv ðiz θɪŋz. remarkable.”*.” ˈlɑnkɑr ædz, ðeɪ ɛnˈvɪʒən ðɪs biɪŋ juzd fər ˈsərʤəriz ənd θɪŋz laɪk ðət, wɛr ɪt wʊd bi ˈrɪli hɑrd tɪ juz ˈɛni ˈəðər ˈleɪzər approach.”*.” ˈlɑnkɑr ˈɔlsoʊ θɪŋks ðət ðə ˈprɑbləm əv ˈpəmpɪŋ ðə fluɪd ˈdrɑplət bæk ənd fɔrθ tɪ ˈproʊdus ˈɪmɪʤɪz ɪz ˈprɑbəˌbli ˈsɑljəbəl. ər ɪnˈtaɪər ˈleɪzərz ðət dɪˈpɛnd ɔn microfluidics,”*,” hi sɪz. ˈhændəlɪŋ əv fluɪdz ɔn ə smɔl skeɪl ˈnaʊəˌdeɪz ɪz ə ˈprɪti dɪˈvɛləpt tɛkˈnɑləʤi. soʊ aɪ si ðɪs ɛz ə ˈmeɪʤər obstacle.”*.”

is this the best in modern poker history? erik seidel took down another high event, capturing the inaugural championship $100,000 super high-roller. for the win, seidel banks $1,092,780. he defeated erick lindgren ($700,500) heads-up for the title. in 2011 alone, seidel has earned $5,590,166. this includes: :: a fourth for $295,960 in the $25k high rollers. :: a third for $618,139 in the $100k aussie millions high rollers. :: a first for $2,472,555 in the $250k aussie millions super high rollers. :: a first for $144,570 in the $25k high rollers. :: a first for $750,000 in the $25k nbc national heads-up. :: a second for $155,103 in the hollywood poker open. between winning all of these events and the fact that nobody can get money off the site he helped tilt is pretty much the epicenter of the poker economy at this point. where all of this places seidel on all-time winningest player list is still debatable, depending on what tournaments you include for your list. either first by a large margin or third. regardless, by any measurable, the 2011 poker scene has been owned by erik seidel. and the doj. get full payouts here.

ɪz ðɪs ðə bɛst ɪn ˈmɑdərn ˈpoʊkər ˈhɪstəri? ˈɛrɪk ˈsaɪdəl tʊk daʊn əˈnəðər haɪ ɪˈvɛnt, ˈkæpʧərɪŋ ðə ˌɪˈnɔgərəl ˈʧæmpiənˌʃɪp ˈsupər high-roller*. fər ðə wɪn, ˈsaɪdəl bæŋks hi dɪˈfitɪd ˈɛrɪk ˈlɪndgrɛn ˈhɛdˌzəp fər ðə ˈtaɪtəl. ɪn 2011 əˈloʊn, ˈsaɪdəl həz ərnd ðɪs ˌɪnˈkludz: ə fɔrθ fər ɪn ðə haɪ ˈroʊlərz. ə θərd fər ɪn ðə ˈɔsi ˈmɪljənz haɪ ˈroʊlərz. ə fərst fər ɪn ðə ˈɔsi ˈmɪljənz ˈsupər haɪ ˈroʊlərz. ə fərst fər ɪn ðə haɪ ˈroʊlərz. ə fərst fər ɪn ðə ˈɛnˌbiˈsi ˈnæʃənəl ˈhɛdˌzəp. ə ˈsɛkənd fər ɪn ðə ˈhɑliˌwʊd ˈpoʊkər ˈoʊpən. bɪtˈwin ˈwɪnɪŋ ɔl əv ðiz ɪˈvɛnts ənd ðə fækt ðət ˈnoʊˌbɑˌdi kən gɪt ˈməni ɔf ðə saɪt hi hɛlpt tɪlt ɪz ˈprɪti məʧ ðə ˈɛpəˌsɛntər əv ðə ˈpoʊkər ɪˈkɑnəmi æt ðɪs pɔɪnt. wɛr ɔl əv ðɪs ˈpleɪsɪz ˈsaɪdəl ɔn ˌɔlˈtaɪm ˈwɪnɪŋəst pleɪər lɪst ɪz stɪl dəˈbeɪtəbəl, dɪˈpɛndɪŋ ɔn wət ˈtərnəmənts ju ˌɪnˈklud fər jʊr lɪst. ˈiðər fərst baɪ ə lɑrʤ ˈmɑrʤən ər θərd. rəˈgɑrdləs, baɪ ˈɛni ˈmɛʒərəbəl, ðə 2011 ˈpoʊkər sin həz bɪn oʊnd baɪ ˈɛrɪk ˈsaɪdəl. ənd ðə doj*. gɪt fʊl peɪaʊts hir.

the task force formed to create a set of voluntary disclosure recommendations has more than doubled the number of companies supporting its mission in the five months since it first published its findings. the task force on financial disclosures (tcfd) now has 237 companies with a combined market capitalization of more than $6.3 trillion that have publicly committed to its goals, according to its head, michael bloomberg, the former new york mayor and entrepreneur. the was established by the group of global regulators known as the financial stability board, chaired by bank of england gov. mark carney, and published its recommendations in june with the aim of encouraging companies to help investors understand the risks to their investments from temperature change, rising sea levels and natural disasters. the companies that have signed up include more than 150 financial firms with assets of more than $81.7 trillion, the said in a statement released at the one planet summit hosted by french president emmanuel macron. the summit marks the anniversary of the paris climate agreement, which seeks to limit the global temperature rise to below 2 degrees celsius by reducing greenhouse emissions. president donald trump has pledged to pull the u.s. from the paris agreement, dismaying climate activists but spurring a greater effort from the private sector to push through its goals without government help. insurers have said anything higher than a 2 increase would make the world uninsurable. in case you missed it: u.s. health insurers are in a state of denial about climate change the companies span a broad range of industries and sectors, from construction to consumer goods, energy, metals and mining, as well as the full capital and investment chain, from companies that issue debt and equity to the largest credit rating agencies and stock exchanges. the list includes bank of america corp. bac, +0.07% , blackrock inc. blk, +0.36% , inc. c, -0.64% chase & co. jpm, -0.76% , morgan stanley ms, +0.52% and investors including the new york city employees’ retirement system, among others. “climate change poses both economic risks and opportunities,” said bloomberg. “but right now, companies have the data they need to accurately measure the risks and evaluate the opportunities. that prevents them from taking protective measures and identifying sustainable investments that could have strong returns.” read now: in trump era up to companies to push climate agenda, advocates say the movement won a victory late monday, when energy giant exxon mobil corp. xom, +0.20% said it would disclose details on how climate change may affect its business, bowing to pressure from shareholders who voted 62% in favor of a resolution on climate change at its annual shareholder meeting this year. there was more good news when french insurer axa axa, +0.11% said it would pull billion ($2.8 billion) from the coal industry, shed all investment in oil sands and no longer insure new projects in either sector, as the wall street journal reported. dutch lender ing ing, +1.42% said it would cut its exposure to coal power to zero by 2025 and the world bank said it would no longer finance upstream oil and gas after 2019. that comes after sovereign fund said recently it is recommending to its government a divestment from fossil fuels. companies are expected to start making the first disclosures in the coming year and the will report on their progress this time next year at the summit in argentina, said carney. the task force is also planning to launch a platform to further support companies that are interested in implementing its recommendations. the knowledge hub will go live in the first quarter and be available via 222.tcfdhub.org. the 500 spx, -0.08% has gained 19% in 2017, while the dow jones industrial average djia, -0.13% has gained 24%. read now: axa to spend billion to fight climate change

ðə tæsk fɔrs fɔrmd tɪ kriˈeɪt ə sɛt əv ˈvɑləntɛri dɪˈskloʊʒər ˌrɛkəmənˈdeɪʃənz həz mɔr ðən ˈdəbəld ðə ˈnəmbər əv ˈkəmpəˌniz səˈpɔrtɪŋ ɪts ˈmɪʃən ɪn ðə faɪv mənθs sɪns ɪt fərst ˈpəblɪʃt ɪts ˈfaɪndɪŋz. ðə tæsk fɔrs ɔn ˌfaɪˈnænʃəl dɪˈskloʊʒərz (tcfd*) naʊ həz 237 ˈkəmpəˌniz wɪθ ə kəmˈbaɪnd ˈmɑrkɪt ˌkæpɪtəlɪˈzeɪʃən əv mɔr ðən ˈtrɪljən ðət hæv ˈpəblɪkli kəˈmɪtɪd tɪ ɪts goʊlz, əˈkɔrdɪŋ tɪ ɪts hɛd, ˈmaɪkəl ˈblumbərg, ðə ˈfɔrmər nu jɔrk meɪər ənd ˌɑntrəprəˈnʊr. ðə wɑz ɪˈstæblɪʃt baɪ ðə grup əv ˈgloʊbəl ˈrɛgjəˌleɪtərz noʊn ɛz ðə ˌfaɪˈnænʃəl stəˈbɪlɪti bɔrd, ʧɛrd baɪ bæŋk əv ˈɪŋglənd gəv. mɑrk ˈkɑrni, ənd ˈpəblɪʃt ɪts ˌrɛkəmənˈdeɪʃənz ɪn ʤun wɪθ ðə eɪm əv ɪnˈkərəʤɪŋ ˈkəmpəˌniz tɪ hɛlp ˌɪnˈvɛstərz ˌəndərˈstænd ðə rɪsks tɪ ðɛr ˌɪnˈvɛstmənts frəm ˈtɛmpərəʧər ʧeɪnʤ, ˈraɪzɪŋ si ˈlɛvəlz ənd ˈnæʧərəl dɪˈzæstərz. ðə ˈkəmpəˌniz ðət hæv saɪnd əp ˌɪnˈklud mɔr ðən 150 ˌfaɪˈnænʃəl fərmz wɪθ ˈæˌsɛts əv mɔr ðən ˈtrɪljən, ðə sɛd ɪn ə ˈsteɪtmənt riˈlist æt ðə wən ˈplænət ˈsəmɪt ˈhoʊstɪd baɪ frɛnʧ ˈprɛzɪdənt ɪˈmænjuəl macron*. ðə ˈsəmɪt mɑrks ðə ˌænəˈvərsəri əv ðə ˈpɛrɪs ˈklaɪmɪt əˈgrimənt, wɪʧ siks tɪ ˈlɪmət ðə ˈgloʊbəl ˈtɛmpərəʧər raɪz tɪ bɪˈloʊ 2 dɪˈgriz ˈsɛlsiəs baɪ rɪˈdusɪŋ ˈgrinˌhaʊs ɪˈmɪʃənz. ˈprɛzɪdənt ˈdɑnəld trəmp həz plɛʤd tɪ pʊl ðə juz. frəm ðə ˈpɛrɪs əˈgrimənt, dɪsˈmeɪɪŋ ˈklaɪmɪt ˈæktɪvɪsts bət spərɪŋ ə ˈgreɪtər ˈɛfərt frəm ðə ˈpraɪvət ˈsɛktər tɪ pʊʃ θru ɪts goʊlz wɪˈθaʊt ˈgəvərnmənt hɛlp. ˌɪnˈʃʊrərz hæv sɛd ˈɛniˌθɪŋ haɪər ðən ə 2 ˌɪnˈkris wʊd meɪk ðə wərld ənɪnˈʃʊrəbəl. ɪn keɪs ju mɪst ɪt: juz. hɛlθ ˌɪnˈʃʊrərz ər ɪn ə steɪt əv dɪˈnaɪəl əˈbaʊt ˈklaɪmɪt ʧeɪnʤ ðə ˈkəmpəˌniz spæn ə brɔd reɪnʤ əv ˈɪndəstriz ənd ˈsɛktərz, frəm kənˈstrəkʃən tɪ kənˈsumər gʊdz, ˈɛnərʤi, ˈmɛtəlz ənd ˈmaɪnɪŋ, ɛz wɛl ɛz ðə fʊl ˈkæpɪtəl ənd ˌɪnˈvɛstmənt ʧeɪn, frəm ˈkəmpəˌniz ðət ˈɪʃu dɛt ənd ˈɛkwəti tɪ ðə ˈlɑrʤəst ˈkrɛdɪt ˈreɪtɪŋ ˈeɪʤənsiz ənd stɑk ɪksˈʧeɪnʤɪz. ðə lɪst ˌɪnˈkludz bæŋk əv əˈmɛrɪkə ˈkɔrpərˈeɪʃən. bac*, ˈblæˌkrɑk ɪŋk. blk*, ɪŋk. si, ʧeɪs koʊ. jpm*, ˈmɔrgən ˈstænli mɪz, ənd ˌɪnˈvɛstərz ˌɪnˈkludɪŋ ðə nu jɔrk ˈsɪti employees’*’ rɪˈtaɪərmənt ˈsɪstəm, əˈməŋ ˈəðərz. ʧeɪnʤ ˈpoʊzɪz boʊθ ˌɛkəˈnɑmɪk rɪsks ənd opportunities,”*,” sɛd ˈblumbərg. raɪt naʊ, ˈkəmpəˌniz hæv ðə ˈdætə ðeɪ nid tɪ ˈækjərətli ˈmɛʒər ðə rɪsks ənd ɪˈvæljuˌeɪt ðə ˌɑpərˈtunətiz. ðət prɪˈvɛnts ðɛm frəm ˈteɪkɪŋ prəˈtɛktɪv ˈmɛʒərz ənd aɪˈdɛntəˌfaɪɪŋ səˈsteɪnəbəl ˌɪnˈvɛstmənts ðət kʊd hæv strɔŋ returns.”*.” rɛd naʊ: ɪn trəmp ˈɪrə əp tɪ ˈkəmpəˌniz tɪ pʊʃ ˈklaɪmɪt əˈʤɛndə, ˈædvəˌkeɪts seɪ ðə ˈmuvmənt wən ə ˈvɪktəri leɪt ˈmənˌdeɪ, wɪn ˈɛnərʤi ʤaɪənt ˈɛksɑn ˈmoʊbəl ˈkɔrpərˈeɪʃən. xom*, sɛd ɪt wʊd dɪˈskloʊz ˈditeɪlz ɔn haʊ ˈklaɪmɪt ʧeɪnʤ meɪ əˈfɛkt ɪts ˈbɪznɪs, boʊɪŋ tɪ ˈprɛʃər frəm ˈʃɛˌrhoʊldərz hu ˈvoʊtɪd 62 ɪn ˈfeɪvər əv ə ˌrɛzəˈluʃən ɔn ˈklaɪmɪt ʧeɪnʤ æt ɪts ˈænjuəl ˈʃɛˌrhoʊldər ˈmitɪŋ ðɪs jɪr. ðɛr wɑz mɔr gʊd nuz wɪn frɛnʧ ˌɪnˈʃʊrər ˈæksə ˈæksə, sɛd ɪt wʊd pʊl ˈbɪljən ˈbɪljən) frəm ðə koʊl ˈɪndəstri, ʃɛd ɔl ˌɪnˈvɛstmənt ɪn ɔɪl sændz ənd noʊ ˈlɔŋgər ˌɪnˈʃʊr nu ˈprɑʤɛkts ɪn ˈiðər ˈsɛktər, ɛz ðə wɔl strit ˈʤərnəl ˌriˈpɔrtəd. dəʧ ˈlɛndər ɪŋ ɪŋ, sɛd ɪt wʊd kət ɪts ɪkˈspoʊʒər tɪ koʊl paʊər tɪ ˈziroʊ baɪ 2025 ənd ðə wərld bæŋk sɛd ɪt wʊd noʊ ˈlɔŋgər ˈfaɪˌnæns ˈəpˈstrim ɔɪl ənd gæs ˈæftər 2019 ðət kəmz ˈæftər ˈsɑvrən fənd sɛd ˈrisəntli ɪt ɪz ˌrɛkəˈmɛndɪŋ tɪ ɪts ˈgəvərnmənt ə dɪˈvɛsmənt frəm ˈfɑsəl fjuəlz. ˈkəmpəˌniz ər ɪkˈspɛktɪd tɪ stɑrt ˈmeɪkɪŋ ðə fərst dɪˈskloʊʒərz ɪn ðə ˈkəmɪŋ jɪr ənd ðə wɪl rɪˈpɔrt ɔn ðɛr ˈprɑˌgrɛs ðɪs taɪm nɛkst jɪr æt ðə ˈsəmɪt ɪn ˌɑrʤənˈtinə, sɛd ˈkɑrni. ðə tæsk fɔrs ɪz ˈɔlsoʊ ˈplænɪŋ tɪ lɔnʧ ə ˈplætˌfɔrm tɪ ˈfərðər səˈpɔrt ˈkəmpəˌniz ðət ər ˈɪntəˌrɛstɪd ɪn ˈɪmpləˌmɛnɪŋ ɪts ˌrɛkəmənˈdeɪʃənz. ðə ˈnɑlɪʤ həb wɪl goʊ lɪv ɪn ðə fərst kˈwɔrtər ənd bi əˈveɪləbəl ˈviə 222.tcfdhub.org*. ðə 500 spx*, həz geɪnd 19 ɪn 2017 waɪl ðə daʊ ʤoʊnz ˌɪnˈdəstriəl ˈævərɪʤ djia*, həz geɪnd 24 rɛd naʊ: ˈæksə tɪ spɛnd ˈbɪljən tɪ faɪt ˈklaɪmɪt ʧeɪnʤ

cambridge mass. (reuters) - albanian prime minister edi rama said he was “disappointed” at serbian officials’ comments following a drone stunt at a soccer match this week but vowed on thursday to push ahead with plans to meet his counterpart in belgrade next week. prime minister of albania edi rama is interviewed by reuters at the kennedy school of government at harvard university in cambridge, massachusetts october 16, 2014. snyder relations between the two countries have been tense since a tuesday incident in which a drone bearing a flag representing “greater albania,” an area covering all parts of the balkans where ethnic albanians live, flew over a major soccer match between the albanian and serbian teams, prompting a brawl on the field and the cancellation of the game. serbian interior minister earlier on thursday claimed the incident showed that albania was “not mature enough” to join the european community. “we feel really sad and we feel really disappointed about what happened and about how serbian authorities are reacting. unbelievable,” rama said in an interview with reuters. but he said he would not allow the remarks, or claims by serbian officials that his brother had been responsible for the drone, to derail his plans to visit the serbian capital on oct. 22, in what would be the first visit to that city by an albanian leader in almost 70 years. “we should not be driven by this kind of politics of the past and hatred of the past. we should not be driven by what happened at a soccer game,” rama said ahead of a speech at harvard university, just outside boston. “i am very determined to go ahead.” the albanian team fled the field at match, held in the to the euro 2016 championships. riot police were called in to disperse the crowd. rama noted that, in an effort to avoid any violent outbursts, albania had sent no fans to the game other than a contingent of 45 dignitaries including his brother. the group was searched carefully by serbian authorities, he added. “i see how someone could have brought in a drone or a flag when even scarves with albanian symbols were not allowed to enter the stadium,” rama said. “it’s clear that the flying object came from out of the stadium.” he also asked why media accounts to the game played down the crowd shouting threats to kill albanians, using an ethnic slur. both serbia and albania aim one day to join the european union. relations between the two have long been marked by tensions over former province of kosovo, which has an majority and declared independence in 2008. “we are not going to respond in the same old way of a region that has suffered so much from this old way, from a region that has finally found peace,” rama said. “we are in peace not because we became angels but because we are all convinced that europe is our destination and we want to be part of the european family of nations as members of the european union.”

ˈkeɪmbrɪʤ mæs. (ˈrɔɪtərz) ælˈbeɪniən praɪm ˈmɪnɪstər ˈidi ˈrɑmə sɛd hi wɑz ““disappointed”*” æt ˈsərbiən officials’*’ ˈkɑmɛnts ˈfɑloʊɪŋ ə droʊn stənt æt ə ˈsɑkər mæʧ ðɪs wik bət vaʊd ɔn ˈθərzˌdeɪ tɪ pʊʃ əˈhɛd wɪθ plænz tɪ mit hɪz ˈkaʊntərˌpɑrt ɪn ˈbɛlˌgrɑd nɛkst wik. praɪm ˈmɪnɪstər əv ælˈbeɪniə ˈidi ˈrɑmə ɪz ˈɪntərvˌjud baɪ ˈrɔɪtərz æt ðə ˈkɛnədi skul əv ˈgəvərnmənt æt ˈhɑrvərd ˌjunəˈvərsəti ɪn ˈkeɪmbrɪʤ, ˌmæsəˈʧusəts ɑkˈtoʊbər 16 2014 sˈnaɪdər riˈleɪʃənz bɪtˈwin ðə tu ˈkəntriz hæv bɪn tɛns sɪns ə ˈtuzˌdeɪ ˈɪnsədənt ɪn wɪʧ ə droʊn ˈbɛrɪŋ ə flæg ˌrɛprɪˈzɛnɪŋ albania,”*,” ən ˈɛriə ˈkəvərɪŋ ɔl pɑrts əv ðə ˈbɔlkənz wɛr ˈɛθnɪk ælˈbeɪniənz lɪv, flu ˈoʊvər ə ˈmeɪʤər ˈsɑkər mæʧ bɪtˈwin ðə ælˈbeɪniən ənd ˈsərbiən timz, ˈprɑmptɪŋ ə brɔl ɔn ðə fild ənd ðə ˌkænsəˈleɪʃən əv ðə geɪm. ˈsərbiən ˌɪnˈtɪriər ˈmɪnɪstər ˈərliər ɔn ˈθərzˌdeɪ kleɪmd ðə ˈɪnsədənt ʃoʊd ðət ælˈbeɪniə wɑz məˈʧʊr enough”*” tɪ ʤɔɪn ðə ˌjʊrəˈpiən kəmˈjunɪti. fil ˈrɪli sæd ənd wi fil ˈrɪli ˌdɪsəˈpɔɪnɪd əˈbaʊt wət ˈhæpənd ənd əˈbaʊt haʊ ˈsərbiən əˈθɔrətiz ər riˈæktɪŋ. unbelievable,”*,” ˈrɑmə sɛd ɪn ən ˈɪntərvˌju wɪθ ˈrɔɪtərz. bət hi sɛd hi wʊd nɑt əˈlaʊ ðə rɪˈmɑrks, ər kleɪmz baɪ ˈsərbiən əˈfɪʃəlz ðət hɪz ˈbrəðər hæd bɪn riˈspɑnsəbəl fər ðə droʊn, tɪ dɪˈreɪl hɪz plænz tɪ ˈvɪzɪt ðə ˈsərbiən ˈkæpɪtəl ɔn ɔkt. 22 ɪn wət wʊd bi ðə fərst ˈvɪzɪt tɪ ðət ˈsɪti baɪ ən ælˈbeɪniən ˈlidər ɪn ˈɔlˌmoʊst 70 jɪrz. ʃʊd nɑt bi ˈdrɪvən baɪ ðɪs kaɪnd əv ˈpɑləˌtɪks əv ðə pæst ənd ˈheɪtrəd əv ðə pæst. wi ʃʊd nɑt bi ˈdrɪvən baɪ wət ˈhæpənd æt ə ˈsɑkər game,”*,” ˈrɑmə sɛd əˈhɛd əv ə spiʧ æt ˈhɑrvərd ˌjunəˈvərsəti, ʤɪst ˈaʊtˈsaɪd ˈbɔstən. æm ˈvɛri dɪˈtərmənd tɪ goʊ ahead.”*.” ðə ælˈbeɪniən tim flɛd ðə fild æt mæʧ, hɛld ɪn ðə tɪ ðə ˈjʊrə 2016 ˈʧæmpiənˌʃɪps. raɪət pəˈlis wər kɔld ɪn tɪ dɪˈspərs ðə kraʊd. ˈrɑmə ˈnoʊtɪd ðət, ɪn ən ˈɛfərt tɪ əˈvɔɪd ˈɛni ˈvaɪələnt ˈaʊtˌbərsts, ælˈbeɪniə hæd sɛnt noʊ fænz tɪ ðə geɪm ˈəðər ðən ə kənˈtɪnʤənt əv 45 ˈdɪgnəˌtɛriz ˌɪnˈkludɪŋ hɪz ˈbrəðər. ðə grup wɑz sərʧt ˈkɛrfəli baɪ ˈsərbiən əˈθɔrətiz, hi ˈædɪd. si haʊ ˈsəmˌwən kʊd hæv brɔt ɪn ə droʊn ər ə flæg wɪn ˈivɪn skɑrvz wɪθ ælˈbeɪniən ˈsɪmbəlz wər nɑt əˈlaʊd tɪ ˈɛnər ðə stadium,”*,” ˈrɑmə sɛd. klɪr ðət ðə flaɪɪŋ ˈɑbʤɛkt keɪm frəm aʊt əv ðə stadium.”*.” hi ˈɔlsoʊ æst waɪ ˈmidiə əˈkaʊnts tɪ ðə geɪm pleɪd daʊn ðə kraʊd ˈʃaʊtɪŋ θrɛts tɪ kɪl ælˈbeɪniənz, ˈjuzɪŋ ən ˈɛθnɪk slər. boʊθ ˈsərbiə ənd ælˈbeɪniə eɪm wən deɪ tɪ ʤɔɪn ðə ˌjʊrəˈpiən ˈjunjən. riˈleɪʃənz bɪtˈwin ðə tu hæv lɔŋ bɪn mɑrkt baɪ ˈtɛnʧənz ˈoʊvər ˈfɔrmər ˈprɑvɪns əv ˈkoʊsoʊˌvoʊ, wɪʧ həz ən məˈʤɔrəti ənd dɪˈklɛrd ˌɪndɪˈpɛndəns ɪn 2008 ər nɑt goʊɪŋ tɪ rɪˈspɑnd ɪn ðə seɪm oʊld weɪ əv ə ˈriʤən ðət həz ˈsəfərd soʊ məʧ frəm ðɪs oʊld weɪ, frəm ə ˈriʤən ðət həz ˈfaɪnəli faʊnd peace,”*,” ˈrɑmə sɛd. ər ɪn pis nɑt bɪˈkəz wi bɪˈkeɪm ˈeɪnʤəlz bət bɪˈkəz wi ər ɔl kənˈvɪnst ðət ˈjʊrəp ɪz ɑr ˌdɛstɪˈneɪʃən ənd wi wɔnt tɪ bi pɑrt əv ðə ˌjʊrəˈpiən ˈfæməli əv ˈneɪʃənz ɛz ˈmɛmbərz əv ðə ˌjʊrəˈpiən union.”*.”

the handy to-do list and task management app astrid is shutting down. what's your favorite app for simple task reminders? yahoo-owned astrid was scheduled to shut down on monday.: getty images) story highlights yahoo acquired astrid in may the astrid service is scheduled to shut down on monday any.do is a handy replacement for simple task management san francisco today's to-do list: settle on a good for astrid, the handy to-do list app that is slated to shut down today. done and done. in the spirit of the handy little reminder and task management app, the astrid team on sunday night sent an email to users reminding us that the service is shutting down on monday and will no longer be available. astrid had about 4 million downloads before its purchase by yahoo in may for an undisclosed sum. as of sunday night, you could download any data you wanted to retain from the service at astrid.com/home/export. the folks at astrid recommended several replacements wrike, wunderlist, sandglaz, and though there are a truly exhausting number of to-do list apps available on multiple platforms. i didn't want to spend a ton of time checking out alternatives. after a quick search in google play, apple's app store and the web a few weeks ago, i settled on and it has filled nearly all of my simple requirements. it's simple to add a task reminder in and that is all i really want in a to-do list app a way to quickly add tasks, prompts and lists to get me through my personal day and work day: move the car! edit these stories! call this person back! any.do, from an startup, does all that in a very minimalist way, much like astrid, which i'd latched onto as much for its cheeky prompts as ease of use. i liked that i could log in with my google account and sync tasks across my devices whether android or ios or via the web (like astrid, there's also a chrome browser extension for). you could use it to screen incoming calls or set up meeting reminders. does all of that too, although you must either create an account or log in via facebook rather than google. there is nice integration with my account with. open an email and you see an task bar offering "what's next" options "follow up with margie," "set up meeting with xx". yahoo bought astrid in may— one in a dizzying string of acquisitions under ceo marissa mayer as part of the company's efforts to reach a younger, mobile audience. readers: what's your favorite to-do management app? drop us a note at techcomments@usatoday.com. follow nancy blair on twitter: @nansanfran. read or share this story:

ðə ˈhændi ˌtuˈdu lɪst ənd tæsk ˈmænɪʤmənt æp ˈæstrɪd ɪz ˈʃətɪŋ daʊn. wəts jʊr ˈfeɪvərɪt æp fər ˈsɪmpəl tæsk riˈmaɪndərz? ˈæstrɪd wɑz ˈskɛʤʊld tɪ ʃət daʊn ɔn ˈmənˌdeɪ. ˈgɛti ˈɪmɪʤɪz) ˈstɔri ˈhaɪˌlaɪts ˈjɑˌhu əkˈwaɪərd ˈæstrɪd ɪn meɪ ðə ˈæstrɪd ˈsərvɪs ɪz ˈskɛʤʊld tɪ ʃət daʊn ɔn ˈmənˌdeɪ ɪz ə ˈhændi rɪˈpleɪsmənt fər ˈsɪmpəl tæsk ˈmænɪʤmənt sæn frænˈsɪskoʊ ˈtudeɪz ˌtuˈdu lɪst: ˈsɛtəl ɔn ə gʊd fər ˈæstrɪd, ðə ˈhændi ˌtuˈdu lɪst æp ðət ɪz sˈleɪtɪd tɪ ʃət daʊn təˈdeɪ. dən ənd dən. ɪn ðə ˈspɪrɪt əv ðə ˈhændi ˈlɪtəl riˈmaɪndər ənd tæsk ˈmænɪʤmənt æp, ðə ˈæstrɪd tim ɔn ˈsənˌdi naɪt sɛnt ən iˈmeɪl tɪ ˈjuzərz riˈmaɪndɪŋ ˈjuˈɛs ðət ðə ˈsərvɪs ɪz ˈʃətɪŋ daʊn ɔn ˈmənˌdeɪ ənd wɪl noʊ ˈlɔŋgər bi əˈveɪləbəl. ˈæstrɪd hæd əˈbaʊt 4 ˈmɪljən ˈdaʊnˌloʊdz ˌbiˈfɔr ɪts ˈpərʧəs baɪ ˈjɑˌhu ɪn meɪ fər ən ˌəndɪˈskloʊzd səm. ɛz əv ˈsənˌdi naɪt, ju kʊd ˈdaʊnˌloʊd ˈɛni ˈdætə ju ˈwɔntɪd tɪ rɪˈteɪn frəm ðə ˈsərvɪs æt astrid.com/home/export*. ðə foʊks æt ˈæstrɪd ˌrɛkəˈmɛndɪd ˈsɛvərəl riˈpleɪsmənts wrike*, wunderlist*, sandglaz*, ənd ðoʊ ðɛr ər ə ˈtruli ɪgˈzɔstɪŋ ˈnəmbər əv ˌtuˈdu lɪst æps əˈveɪləbəl ɔn ˈməltəpəl ˈplætˌfɔrmz. aɪ ˈdɪdənt wɔnt tɪ spɛnd ə tən əv taɪm ˈʧɛkɪŋ aʊt ɔlˈtərnətɪvz. ˈæftər ə kwɪk sərʧ ɪn ˈgugəl pleɪ, ˈæpəlz æp stɔr ənd ðə wɛb ə fju wiks əˈgoʊ, aɪ ˈsɛtəld ɔn ənd ɪt həz fɪld ˈnɪrli ɔl əv maɪ ˈsɪmpəl rɪkˈwaɪrmənts. ɪts ˈsɪmpəl tɪ æd ə tæsk riˈmaɪndər ɪn ənd ðət ɪz ɔl aɪ ˈrɪli wɔnt ɪn ə ˌtuˈdu lɪst æp ə weɪ tɪ kˈwɪkli æd tæsks, prɑmpts ənd lɪsts tɪ gɪt mi θru maɪ ˈpərsɪnəl deɪ ənd wərk deɪ: muv ðə kɑr! ˈɛdət ðiz ˈstɔriz! kɔl ðɪs ˈpərsən bæk!, frəm ən ˈstɑrˌtəp, dɪz ɔl ðət ɪn ə ˈvɛri ˈmɪnəməlɪst weɪ, məʧ laɪk ˈæstrɪd, wɪʧ aɪd læʧt ˈɔntu ɛz məʧ fər ɪts ˈʧiki prɑmpts ɛz iz əv juz. aɪ laɪkt ðət aɪ kʊd lɔg ɪn wɪθ maɪ ˈgugəl əˈkaʊnt ənd sɪŋk tæsks əˈkrɔs maɪ dɪˈvaɪsɪz ˈwɛðər ˈænˌdrɔɪd ər ˈioʊs ər ˈviə ðə wɛb (laɪk ˈæstrɪd, ðɛrz ˈɔlsoʊ ə kroʊm ˈbraʊzər ɪkˈstɛnʃən fər). ju kʊd juz ɪt tɪ skrin ˈɪnˌkəmɪŋ kɔlz ər sɛt əp ˈmitɪŋ riˈmaɪndərz. dɪz ɔl əv ðət tu, ˌɔlˈðoʊ ju məst ˈiðər kriˈeɪt ən əˈkaʊnt ər lɔg ɪn ˈviə ˈfeɪsˌbʊk ˈrəðər ðən ˈgugəl. ðɛr ɪz nis ˌɪnəˈgreɪʃən wɪθ maɪ əˈkaʊnt wɪθ. ˈoʊpən ən iˈmeɪl ənd ju si ən tæsk bɑr ˈɔfərɪŋ "wəts nɛkst" ˈɔpʃənz "ˈfɑloʊ əp wɪθ ˈmɑrʤi," "sɛt əp ˈmitɪŋ wɪθ xx*". ˈjɑˌhu bɔt ˈæstrɪd ɪn meɪ wən ɪn ə ˈdɪziɪŋ strɪŋ əv ˌækwəˈzɪʃənz ˈəndər ˈsiˌiˈoʊ mɑˈrɪsə meɪər ɛz pɑrt əv ðə ˈkəmpəniz ˈɛfərts tɪ riʧ ə ˈjəŋgər, ˈmoʊbəl ˈɔdiəns. ˈridərz: wəts jʊr ˈfeɪvərɪt ˌtuˈdu ˈmænɪʤmənt æp? drɔp ˈjuˈɛs ə noʊt æt techcomments@usatoday.com*. ˈfɑloʊ ˈnænsi blɛr ɔn tˈwɪtər: @nansanfran*. rɛd ər ʃɛr ðɪs ˈstɔri:

it is one of most beloved past times. every year, when the weather gets cold and the days get shorter millions gather around their television sets to cheer on their favorite football teams. from the grid iron to the gravy train: how the nfl scored a nonprofit status those same fans funnel billions upon billions of dollars into the industry to buy everything from tickets to memorabilia. in fact, the national football league collects upwards of $9 billion in revenue each year, making the league the most lucrative in the world according to forbes. on top of the massive profits the teams enjoy, the league also scores big with tax breaks handed down from the federal government, specifically income taxes. the teams themselves are considered for-profit entities and pay taxes -- however, the leagues, which set the rules, negotiate contracts, discipline players and come up with a programming schedule, do not. “the nfl is exempt for federal and state income tax under section of the federal tax code, which is very different from the sections that exempt charities and other philanthropic organizations,” chair of the nonprofit organizations practice at venable law firm, jeff tenenbaum explains, “a organization, which is typically reserved for trade and professional associations and chambers of commerce and some sports leagues, is a category that… carries with it exemption from paying federal and state corporate income tax on your net income.” and, the nfl alone. the national hockey league, the professional golfers’ association, the u.s. tennis association and numerous other sporting leagues also enjoy similar statuses. so, how did such a situation come about? since the 1940’s, the nfl has received some tax breaks from federal and state governments. however, it until 1966 that language was formally added to the national tax code which officially protected professional football. at the time, there were not one but two professional football leagues: the nfl and the american football league or the afl. on june 8, 1966, the two leagues formally announced plans to merge. the first ever super bowl was also held that very season. in order to merge, the leagues had to approach congress to ask for an exemption to antitrust laws, which prohibit monopolies that limit competition. nitty gritty tax law after a lobbying blitz by both the nfl and the afl, congress eventually agreed to allow the two leagues to merge. during that same time, football lobbyists also pushed for the nfl to be explicitly added to federal tax code as a trade association. as a result, section 6 of unites states code 26 regarding 501 exemptions was modified to read as such: (6)business leagues, chambers of commerce, real-estate boards, boards of trade, or professional football leagues (whether or not administering a pension fund for football players), not organized for profit and no part of the net earnings of which to the benefit of any private shareholder or individual. according to the irs, in order to be considered a trade association and, therefore, tax exempt, the activities must: “be devoted to the improvement of business conditions of one or more lines of business as distinguished from the performance of particular services for individual persons. it must be shown that the conditions of a particular trade or the interests of the community will be advanced. merely indicating the name of the organization or the object of the local statute under which it is created is not enough to demonstrate the required general purpose.” in its 2010 990 tax return form, the nfl described itself as a “trade association promoting interests of its 32 member clubs.” whether or not promoting the interests of 32 member clubs equates to improving business condition is up to the irs to decide. because the phrase ‘professional football leagues’ was added to the text, the nfl is protected, but the internal revenue service takes that to mean other sporting leagues are as well. this is a notion tenenbaum himself sees as suspect. “i think the legitimate question is, ‘does the fact that they were written in so specifically, with some very particular, specific language, does that mean that congress actually meant to exempt the nfl from taxes under section or was congress simply saying a professional sports league that broadly promotes a particular sport, another category of what we mean by, the nfl may or may not be one of those. we really know the answer to that.” a look at the playbook to truly understand whether or not the nfl meets those criteria, a basic understanding of the structure is required. the origin goes all the way back to september 17, 1920, when team owners and football enthusiasts came together in canton, ohio to organize a central group that makes and enforces rules. today, the nfl represents 32 teams in two conferences: the national football conference (nfc) and the american football conference (afc). the organization's main duties include hiring league employees, disciplining people who break the rules, negotiating television deals, distributing money from those television profits to teams, suspending players and coaches, handing down fines and, in serious cases, canceling contracts or teams of draft picks. in order to be able to conduct its business, each team pays annual dues. according to forbes, only about $500,000 of the league's money comes in annually from fines and penalties and less than $200,000 comes from investment income. teams pay the organization about $6 million in dues annually. however, as reports, team owners are not taxed on that money since it is considered a donation to a nonprofit organization. in spite of the fact that the nfl in its entirety is the most profitable sport in the us, the league itself is actually operating in the red. in 2011 alone, the nfl reported $77 million in losses. “the expenses outweigh the revenues so it is actually losing money. so the irony is if it were a taxable entity it be paying any tax because, like any entity, if you exceed your revenues you pay any tax, no net income,” tenenbaum points out. but, how can a league which brings in over $250 million annually still report losses year after year? that's probably because the majority of the money goes to executives' contracts. roger goodell makes how much?! according to irs salary transparency rules, tax exempt organizations can pay no more than fair market value compensation for services. it is also because of the fact that the nfl files taxes as a trade association that the public gets to know exactly what its executives make. those very tax forms reveal that current nfl commissioner roger goodell made nearly $29.5 million in 2011 alone. almost triple the $11.6 million he pulled the year before. those big checks almost guarantee that goodell is perhaps the only sports commissioner who makes as much as or more money than the athletes themselves. new england patriots quarterback tom brady, for instance, made a mere $18 million by comparison, and former indianapolis colts quarterback peyton manning had a salary of $23 million in 2011. rt america reached out to the nfl, as well as the on multiple occasions. none of the leagues chose to comment on their tax exempt status. flag on the play: petitioning the status because of the revenues the nfl as a whole pulls in along with the massive salaries its executives enjoy, a number of people have spoken out against the tax exempt status, even fans themselves. lynda woolard is a longtime new orleans saints fan and yet she started a petition on to call for an end to the nonprofit status. “i started the petition because i saw a real imbalance of power in the league," woolard told. “so, to me, i was trying to think of a way to really give the fans a voice.” so far, the petition has been signed by over people. also a letter attached to the bottom of the petition for the public to send to members of congress, which a number of people have taken advantage of. woolard, who runs a nonprofit charitable foundation herself, says the biggest obstacle to overcome is lack of awareness. but she has gotten ample support. “sports fans coalition at contact me and say they would like to go to washington on the petition signers’ behalf and try to find someone to sign on to put this into the upcoming budget hearings that are coming up. so we do have a champion in washington.” the senator who called ‘off-sides’ the sports fans coalition the only group in washington taking the nfl to task. republican senator tom coburn released a government waste book in 2012 detailing just how much money this sports loophole is draining from the american economy. coburn argues that taxpayers are losing millions annually. “hardworking taxpayers should not be forced to provide funding to offset tax giveaways to lucrative major professional sports teams and leagues,” the government waste book reads, “based on publicly available information about the nfl and alone, barring major leagues from using the non-profit status may generate at least $91 million of federal revenue every year.” in april, coburn introduced an amendment to senate bill 743 or the marketplace fairness act of 2013, which would amend the irs tax code. the bill passed the senate in may, though amendment never came up for a vote. but that stopped the oklahoma senator from continuing this battle. on september of this year, senator coburn introduced his newest initiative to end the status for professional sports called the properly reducing over exemptions for sports, or pro sports, act. the goal is to amend the internal revenue code of 1986 to exclude major professional sports leagues from qualifying as organizations. if passed, all professional sporting organizations with annual revenue that exceeds $10 million would be forced to pay federal income taxes. the bill has been referred to committee but has a virtually nonexistent chance of passing by the end of the year. even if the pro sports act did eventually pass, zimbalist and others argue the league tax exempt status is not as big of an issue as you might think. “i think frankly it make a great deal of difference because, as i say, as a central organization that is fulfilling a coordinating function, it generate profits that it keeps itself and it can always, by changing its accounting, it can always make any potential surplus disappear,” zimbalist said. “when the joint committee on taxation scored the coburn bill to try to figure out how much money it would raise over 10 years, it came in at $10 million a year, which is basically a rounding error in federal budget standards. a tiny, tiny fraction and that has to be because these leagues are not generating a lot of net revenue, at least the league itself… so in terms of any real impact to the tax payers and to the bottom line, really not going to have any. people may be outraged, maybe justifiably so, but if anyone thinks this is going to be a boon to the u.s. treasury, just simply not,” tenenbaum agrees. if you build it, they will pay… another major issue that is entirely separate from the tax exempt status debate but equally important is the massive amount of money states shell out to build state-of-the-art stadiums. harvard university professor of urban planning judith grant long calculated that league-wide, 70 percent of nfl stadium capital costs have been provided by taxpayers. the price tag on these behemoth stadiums, often featuring retractable roofs, interchangeable fields and massive jumbotrons, has risen substantially in recent years. “the costs of land, infrastructure, operations and forgone property taxes add 25 percent to the taxpayer bill for the 121 sports facilities in use during 2010, increasing the average public cost to $259 million, or $89 million more than the $170 million commonly reported by the sports industry and media,” book, “public/private partnerships for major league sports facilities,” contends. big pay for sports teams to play. in fact there are only three nfl franchises, the new england patriots, new york giants, and new york jets, which have paid three-quarters or more of their stadium capital costs, meaning 29 other stadiums were funded, in part by taxpayers. centurylink field, where the seattle seahawks play, finished it construction in 2002 to the tune of $560 million. a whopping $390 million, or 70 percent, of that money for construction came from taxpayers. another example: the dallas cowboys’ stadium. the seat stadium came to a grand total of $1.3 billion when it completed its construction in 2009. taxpayers handed over $444 million to contribute to the total. on top of that, cowboys owner jerry jones, who ranks 166 on forbes’ list of richest americans with a net worth of $3 billion, is exempt from paying around $6 million in property taxes annually as an incentive the state offered to keep the team in dallas. on the other hand, professional sports teams argue their presence is an economic boon for the cities. so, proponents of stadium investments argue capital costs are a small investment for cities to make in order to guarantee a long and profitable future regardless of how well the teams perform. however, academic research has proved time and again public investment in sports stadiums do not result in the economic returns that would make such an investment worth it. live long and costly once the stadium is built and opening day is over, taxpayers continue to front money for years to come on maintenance and operation costs as well as functions necessary for game days such as traffic control. maintenance extends from deep below ground in the sewer system all the way up to electrical costs. the minnesota viking stadium cost a grand total of $950 million to build. city residents are expected to shell out an additional $7.5 million on maintenance costs. and, when those stadiums need to be repaired or refurbished, that bill is once again addressed to the city. earlier this year, the carolina panthers asked the state to pay $62 million for capital improvements, according to charlotte observer reporter steve harrison. team owners want to renovate the bank of america city of charlotte will fork over an additional $125 on the promise that the panthers will stay in the city for the next 15 years. tack on top of that $15 million that the city would need to pay for maintenance and $375,000 for traffic control and taxpayers are looking at quite a big chunk of change. notably, all 32 nfl teams made forbes’ list of the 50 most valuable sports franchises around the world with the panthers claiming the spot. a starker example of taxpayers footing the bill for renovation was brought about in the aftermath of hurricane katrina back in 2005. for days and weeks after the hurricane, hundreds of stranded families waited in the superdome for help. the stadium acted as a symbol of the storm and the disastrous response. since that historic storm, taxpayers have coughed up $471 million to restore the superdome to its former glory. if you pay for it, they will leave… along with a long history of states offering incentives like tax breaks and stadium construction, there is also a long history of states refusing to fund these expensive stadiums and paying dearly for it. it has become somewhat of a tradition in professional sports for teams to threaten to leave if local governments refuse to write a check. in fact, many have left as a result. some of the most recent examples of teams playing chicken with local governments are the minnesota vikings threatening to leave in 2011 over stadium disputes and, this year, the atlanta falcons, st. louis rams and san diego chargers are all threatening to pack their bags if they get what they want. interestingly, as part of the 1966 antitrust exemption congress granted the nfl in its pursuit to merge with the afl, the league agreed to a rule forcing all existing franchises to be retained, meaning there must be 32 at all times, and none of those teams were allowed to move outside of their metropolitan areas. so, how teams are traveling from city to city in the modern era remains somewhat of a mystery. in the end, many cities and states are more willing to hand over millions and offer tax incentives to teams rather than risk losing them for good. post- game commentary in the end, america may be too invested in sports to adequately address any of these issues, from the tax exempt status to subsidized stadiums to its unparalleled broadcasting privileges. some of these issues affect taxpayers more than others but all reaffirm how deeply ingrained professional sports, or perhaps just professional football, are in our culture. love it or hate it, 17 million viewers will still tune in from kickoff to the fourth quarter to take part in most profitable tradition.

ɪt ɪz wən əv moʊst bɪˈləvəd pæst taɪmz. ˈɛvəri jɪr, wɪn ðə ˈwɛðər gɪts koʊld ənd ðə deɪz gɪt ˈʃɔrtər ˈmɪljənz ˈgæðər əraʊnd ðɛr ˈtɛləˌvɪʒən sɛts tɪ ʧɪr ɔn ðɛr ˈfeɪvərɪt ˈfʊtˌbɔl timz. frəm ðə grɪd aɪərn tɪ ðə ˈgreɪvi treɪn: haʊ ðə ˈɛˌnɛˈfɛl skɔrd ə nɑnˈprɑfət ˈstætəs ðoʊz seɪm fænz ˈfənəl ˈbɪljənz əˈpɑn ˈbɪljənz əv ˈdɔlərz ˈɪntu ðə ˈɪndəstri tɪ baɪ ˈɛvriˌθɪŋ frəm ˈtɪkɪts tɪ ˌmɛmərəˈbiljə. ɪn fækt, ðə ˈnæʃənəl ˈfʊtˌbɔl lig kəˈlɛkts ˈəpwərdz əv 9 ˈbɪljən ɪn ˈrɛvəˌnu iʧ jɪr, ˈmeɪkɪŋ ðə lig ðə moʊst ˈlukrətɪv ɪn ðə wərld əˈkɔrdɪŋ tɪ fɔrbz. ɔn tɔp əv ðə ˈmæsɪv ˈprɑfɪts ðə timz ˌɛnˈʤɔɪ, ðə lig ˈɔlsoʊ skɔrz bɪg wɪθ tæks breɪks ˈhændɪd daʊn frəm ðə ˈfɛdərəl ˈgəvərnmənt, spəˈsɪfɪkli ˈɪnˌkəm ˈtæksɪz. ðə timz ðɛmˈsɛlvz ər kənˈsɪdərd ˌfərˈprɑfɪt ˈɛntɪtiz ənd peɪ ˈtæksɪz ˌhaʊˈɛvər, ðə ligz, wɪʧ sɛt ðə rulz, nɪˈgoʊʃiˌeɪt ˈkɑnˌtrækts, ˈdɪsəplən pleɪərz ənd kəm əp wɪθ ə ˈproʊˌgræmɪŋ ˈskɛʤʊl, du nɑt. ˈɛˌnɛˈfɛl ɪz ɪgˈzɛmpt fər ˈfɛdərəl ənd steɪt ˈɪnˌkəm tæks ˈəndər ˈsɛkʃən əv ðə ˈfɛdərəl tæks koʊd, wɪʧ ɪz ˈvɛri ˈdɪfərənt frəm ðə ˈsɛkʃənz ðət ɪgˈzɛmpt ˈʧɛrɪtiz ənd ˈəðər ˌfɪlənθˈrɑpɪk organizations,”*,” ʧɛr əv ðə nɑnˈprɑfət ˌɔrgənəˈzeɪʃənz ˈpræktɪs æt ˈvɛnəbəl lɔ fərm, ʤɛf ˈtɛnənˌbaʊm ɪkˈspleɪnz, ˌɔrgənəˈzeɪʃən, wɪʧ ɪz ˈtɪpɪkəli rɪˈzərvd fər treɪd ənd prəˈfɛʃənəl əˌsoʊʃiˈeɪʃənz ənd ˈʧeɪmbərz əv ˈkɑmərs ənd səm spɔrts ligz, ɪz ə ˈkætəˌgɔri that…*… ˈkɛriz wɪθ ɪt ɪgˈzɛmpʃən frəm peɪɪŋ ˈfɛdərəl ənd steɪt ˈkɔrpərət ˈɪnˌkəm tæks ɔn jʊr nɛt income.”*.” ənd, ðə ˈɛˌnɛˈfɛl əˈloʊn. ðə ˈnæʃənəl ˈhɑki lig, ðə prəˈfɛʃənəl golfers’*’ əˌsoʊʃiˈeɪʃən, ðə juz. ˈtɛnɪs əˌsoʊʃiˈeɪʃən ənd ˈnumərəs ˈəðər ˈspɔrtɪŋ ligz ˈɔlsoʊ ˌɛnˈʤɔɪ ˈsɪmələr statuses*. soʊ, haʊ dɪd səʧ ə ˌsɪʧuˈeɪʃən kəm əˈbaʊt? sɪns ðə 1940’s*, ðə ˈɛˌnɛˈfɛl həz rɪˈsivd səm tæks breɪks frəm ˈfɛdərəl ənd steɪt ˈgəvərnmənts. ˌhaʊˈɛvər, ɪt ənˈtɪl 1966 ðət ˈlæŋgwɪʤ wɑz ˈfɔrməli ˈædɪd tɪ ðə ˈnæʃənəl tæks koʊd wɪʧ əˈfɪʃəli prəˈtɛktɪd prəˈfɛʃənəl ˈfʊtˌbɔl. æt ðə taɪm, ðɛr wər nɑt wən bət tu prəˈfɛʃənəl ˈfʊtˌbɔl ligz: ðə ˈɛˌnɛˈfɛl ənd ðə əˈmɛrɪkən ˈfʊtˌbɔl lig ər ðə afl*. ɔn ʤun 8 1966 ðə tu ligz ˈfɔrməli əˈnaʊnst plænz tɪ mərʤ. ðə fərst ˈɛvər ˈsupər boʊl wɑz ˈɔlsoʊ hɛld ðət ˈvɛri ˈsizən. ɪn ˈɔrdər tɪ mərʤ, ðə ligz hæd tɪ əˈproʊʧ ˈkɑŋgrəs tɪ æsk fər ən ɪgˈzɛmpʃən tɪ ˌæntaɪˈtrəst lɔz, wɪʧ proʊˈhɪbət məˈnɑpəliz ðət ˈlɪmət ˌkɑmpəˈtɪʃən. ˈnɪti ˈgrɪti tæks lɔ ˈæftər ə ˈlɑbiɪŋ blɪts baɪ boʊθ ðə ˈɛˌnɛˈfɛl ənd ðə afl*, ˈkɑŋgrəs ɪˈvɛnʧəwəli əˈgrid tɪ əˈlaʊ ðə tu ligz tɪ mərʤ. ˈdʊrɪŋ ðət seɪm taɪm, ˈfʊtˌbɔl ˈlɑbiɪsts ˈɔlsoʊ pʊʃt fər ðə ˈɛˌnɛˈfɛl tɪ bi ɪkˈsplɪsətli ˈædɪd tɪ ˈfɛdərəl tæks koʊd ɛz ə treɪd əˌsoʊʃiˈeɪʃən. ɛz ə rɪˈzəlt, ˈsɛkʃən 6 əv juˈnaɪts steɪts koʊd 26 rɪˈgɑrdɪŋ 501 ɪgˈzɛmpʃənz wɑz ˈmɑdəˌfaɪd tɪ rɛd ɛz səʧ: ligz, ˈʧeɪmbərz əv ˈkɑmərs, ˈrilɪˌsteɪt bɔrdz, bɔrdz əv treɪd, ər prəˈfɛʃənəl ˈfʊtˌbɔl ligz (ˈwɛðər ər nɑt ædˈmɪnɪˌstərɪŋ ə ˈpɛnʃən fənd fər ˈfʊtˌbɔl pleɪərz), nɑt ˈɔrgəˌnaɪzd fər ˈprɑfɪt ənd noʊ pɑrt əv ðə nɛt ˈərnɪŋz əv wɪʧ tɪ ðə ˈbɛnəfɪt əv ˈɛni ˈpraɪvət ˈʃɛˌrhoʊldər ər ˌɪndəˈvɪʤəwəl. əˈkɔrdɪŋ tɪ ðə ˈaɪˌɑˈrɛs, ɪn ˈɔrdər tɪ bi kənˈsɪdərd ə treɪd əˌsoʊʃiˈeɪʃən ənd, ˈðɛrˌfɔr, tæks ɪgˈzɛmpt, ðə ækˈtɪvɪtiz məst: dɪˈvoʊtɪd tɪ ðə ˌɪmˈpruvmənt əv ˈbɪznɪs kənˈdɪʃənz əv wən ər mɔr laɪnz əv ˈbɪznɪs ɛz dɪˈstɪŋgwɪʃt frəm ðə pərˈfɔrməns əv ˌpɑˈtɪkjələr ˈsərvɪsɪz fər ˌɪndəˈvɪʤəwəl ˈpərsənz. ɪt məst bi ʃoʊn ðət ðə kənˈdɪʃənz əv ə ˌpɑˈtɪkjələr treɪd ər ðə ˈɪntərɪsts əv ðə kəmˈjunɪti wɪl bi ədˈvænst. ˈmɪrli ˈɪndəˌkeɪtɪŋ ðə neɪm əv ðə ˌɔrgənəˈzeɪʃən ər ðə ˈɑbʤɛkt əv ðə ˈloʊkəl ˈstæʧut ˈəndər wɪʧ ɪt ɪz kriˈeɪtɪd ɪz nɑt ɪˈnəf tɪ ˈdɛmənˌstreɪt ðə rikˈwaɪərd ˈʤɛnərəl purpose.”*.” ɪn ɪts 2010 990 tæks rɪˈtərn fɔrm, ðə ˈɛˌnɛˈfɛl dɪˈskraɪbd ˌɪtˈsɛlf ɛz ə əˌsoʊʃiˈeɪʃən prəˈmoʊtɪŋ ˈɪntərɪsts əv ɪts 32 ˈmɛmbər clubs.”*.” ˈwɛðər ər nɑt prəˈmoʊtɪŋ ðə ˈɪntərɪsts əv 32 ˈmɛmbər kləbz ɪkˈweɪts tɪ ˌɪmˈpruvɪŋ ˈbɪznɪs kənˈdɪʃən ɪz əp tɪ ðə ˈaɪˌɑˈrɛs tɪ ˌdɪˈsaɪd. bɪˈkəz ðə freɪz ˈfʊtˌbɔl leagues’*’ wɑz ˈædɪd tɪ ðə tɛkst, ðə ˈɛˌnɛˈfɛl ɪz prəˈtɛktɪd, bət ðə ˌɪnˈtərnəl ˈrɛvəˌnu ˈsərvɪs teɪks ðət tɪ min ˈəðər ˈspɔrtɪŋ ligz ər ɛz wɛl. ðɪs ɪz ə ˈnoʊʃən ˈtɛnənˌbaʊm hɪmˈsɛlf siz ɛz ˈsəˌspɛkt. θɪŋk ðə ləˈʤɪtəmət kˈwɛʃən ɪz, ðə fækt ðət ðeɪ wər ˈrɪtən ɪn soʊ spəˈsɪfɪkli, wɪθ səm ˈvɛri ˌpɑˈtɪkjələr, spɪˈsɪfɪk ˈlæŋgwɪʤ, dɪz ðət min ðət ˈkɑŋgrəs ˈæˌkʧuəli mɛnt tɪ ɪgˈzɛmpt ðə ˈɛˌnɛˈfɛl frəm ˈtæksɪz ˈəndər ˈsɛkʃən ər wɑz ˈkɑŋgrəs ˈsɪmpli seɪɪŋ ə prəˈfɛʃənəl spɔrts lig ðət ˈbrɔdli prəˈmoʊts ə ˌpɑˈtɪkjələr spɔrt, əˈnəðər ˈkætəˌgɔri əv wət wi min baɪ ðə ˈɛˌnɛˈfɛl meɪ ər meɪ nɑt bi wən əv ðoʊz. wi ˈrɪli noʊ ðə ˈænsər tɪ that.”*.” ə lʊk æt ðə ˈpleɪbʊk tɪ ˈtruli ˌəndərˈstænd ˈwɛðər ər nɑt ðə ˈɛˌnɛˈfɛl mits ðoʊz kraɪˈtɪriə, ə ˈbeɪsɪk ˌəndərˈstændɪŋ əv ðə ˈstrəkʧər ɪz rikˈwaɪərd. ðə ˈɔrəʤən goʊz ɔl ðə weɪ bæk tɪ sɛpˈtɛmbər 17 1920 wɪn tim ˈoʊnərz ənd ˈfʊtˌbɔl ɛnˈθuziˌæsts keɪm təˈgɛðər ɪn ˈkæntən, oʊˈhaɪoʊ tɪ ˈɔrgəˌnaɪz ə ˈsɛntrəl grup ðət meɪks ənd ɛnˈfɔrsɪz rulz. təˈdeɪ, ðə ˈɛˌnɛˈfɛl ˌrɛprɪˈzɛnts 32 timz ɪn tu ˈkɑnfərənsəz: ðə ˈnæʃənəl ˈfʊtˌbɔl ˈkɑnfərəns (nfc*) ənd ðə əˈmɛrɪkən ˈfʊtˌbɔl ˈkɑnfərəns (afc*). ðə ˌɔrgənɪˈzeɪʃənz meɪn ˈdutiz ˌɪnˈklud ˈhaɪrɪŋ lig ɪmˈplɔɪiz, ˈdɪsəplənɪŋ ˈpipəl hu breɪk ðə rulz, nɪˈgoʊʃiˌeɪtɪŋ ˈtɛləˌvɪʒən dilz, dɪˈstrɪbjutɪŋ ˈməni frəm ðoʊz ˈtɛləˌvɪʒən ˈprɑfɪts tɪ timz, səˈspɛndɪŋ pleɪərz ənd ˈkoʊʧɪz, ˈhændɪŋ daʊn faɪnz ənd, ɪn ˈsɪriəs ˈkeɪsɪz, ˈkænsəlɪŋ ˈkɑnˌtrækts ər timz əv dræft pɪks. ɪn ˈɔrdər tɪ bi ˈeɪbəl tɪ ˈkɑndəkt ɪts ˈbɪznɪs, iʧ tim peɪz ˈænjuəl duz. əˈkɔrdɪŋ tɪ fɔrbz, ˈoʊnli əˈbaʊt əv ðə ligz ˈməni kəmz ɪn ˈænjuəli frəm faɪnz ənd ˈpɛnəltiz ənd lɛs ðən kəmz frəm ˌɪnˈvɛstmənt ˈɪnˌkəm. timz peɪ ðə ˌɔrgənəˈzeɪʃən əˈbaʊt 6 ˈmɪljən ɪn duz ˈænjuəli. ˌhaʊˈɛvər, ɛz rɪˈpɔrts, tim ˈoʊnərz ər nɑt tækst ɔn ðət ˈməni sɪns ɪt ɪz kənˈsɪdərd ə doʊˈneɪʃən tɪ ə nɑnˈprɑfət ˌɔrgənəˈzeɪʃən. ɪn spaɪt əv ðə fækt ðət ðə ˈɛˌnɛˈfɛl ɪn ɪts ɪnˈtaɪərti ɪz ðə moʊst ˈprɑfətəbəl spɔrt ɪn ðə ˈjuˈɛs, ðə lig ˌɪtˈsɛlf ɪz ˈæˌkʧuəli ˈɔpərˌeɪtɪŋ ɪn ðə rɛd. ɪn 2011 əˈloʊn, ðə ˈɛˌnɛˈfɛl ˌriˈpɔrtəd 77 ˈmɪljən ɪn ˈlɔsɪz. ɪkˈspɛnsɪz ˈaʊtˌweɪ ðə ˈrɛvəˌnuz soʊ ɪt ɪz ˈæˌkʧuəli ˈluzɪŋ ˈməni. soʊ ðə ˈaɪrəni ɪz ɪf ɪt wər ə ˈtæksəbəl ˈɛntɪti ɪt bi peɪɪŋ ˈɛni tæks bɪˈkəz, laɪk ˈɛni ˈɛntɪti, ɪf ju ɪkˈsid jʊr ˈrɛvəˌnuz ju peɪ ˈɛni tæks, noʊ nɛt income,”*,” ˈtɛnənˌbaʊm pɔɪnts aʊt. bət, haʊ kən ə lig wɪʧ brɪŋz ɪn ˈoʊvər 250 ˈmɪljən ˈænjuəli stɪl rɪˈpɔrt ˈlɔsɪz jɪr ˈæftər jɪr? ðæts ˈprɑbəˌbli bɪˈkəz ðə məˈʤɔrəti əv ðə ˈməni goʊz tɪ ɪgˈzɛkjətɪvz' ˈkɑnˌtrækts. ˈrɑʤər ˈgʊdɛl meɪks haʊ məʧ?! əˈkɔrdɪŋ tɪ ˈaɪˌɑˈrɛs ˈsæləri trænˈspɛrənsi rulz, tæks ɪgˈzɛmpt ˌɔrgənəˈzeɪʃənz kən peɪ noʊ mɔr ðən fɛr ˈmɑrkɪt ˈvælju ˌkɑmpənˈseɪʃən fər ˈsərvɪsɪz. ɪt ɪz ˈɔlsoʊ bɪˈkəz əv ðə fækt ðət ðə ˈɛˌnɛˈfɛl faɪlz ˈtæksɪz ɛz ə treɪd əˌsoʊʃiˈeɪʃən ðət ðə ˈpəblɪk gɪts tɪ noʊ ɪgˈzæktli wət ɪts ɪgˈzɛkjətɪvz meɪk. ðoʊz ˈvɛri tæks fɔrmz rɪˈvil ðət ˈkɑrənt ˈɛˌnɛˈfɛl kəˈmɪʃənər ˈrɑʤər ˈgʊdɛl meɪd ˈnɪrli ˈmɪljən ɪn 2011 əˈloʊn. ˈɔlˌmoʊst ˈtrɪpəl ðə ˈmɪljən hi pʊld ðə jɪr ˌbiˈfɔr. ðoʊz bɪg ʧɛks ˈɔlˌmoʊst ˌgɛrənˈti ðət ˈgʊdɛl ɪz pərˈhæps ðə ˈoʊnli spɔrts kəˈmɪʃənər hu meɪks ɛz məʧ ɛz ər mɔr ˈməni ðən ðə ˈæθˌlits ðɛmˈsɛlvz. nu ˈɪŋglənd ˈpeɪtriəts kˈwɔrtərˌbæk tɑm ˈbreɪdi, fər ˈɪnstəns, meɪd ə mɪr 18 ˈmɪljən baɪ kəmˈpɛrəsən, ənd ˈfɔrmər ˌɪndiəˈnæpəlɪs koʊlts kˈwɔrtərˌbæk ˈpeɪtən ˈmænɪŋ hæd ə ˈsæləri əv 23 ˈmɪljən ɪn 2011 əˈmɛrɪkə riʧt aʊt tɪ ðə ˈɛˌnɛˈfɛl, ɛz wɛl ɛz ðə ɔn ˈməltəpəl ɔˈkeɪʒənz. nən əv ðə ligz ʧoʊz tɪ ˈkɑmɛnt ɔn ðɛr tæks ɪgˈzɛmpt ˈstætəs. flæg ɔn ðə pleɪ: pəˈtɪʃənɪŋ ðə ˈstætəs bɪˈkəz əv ðə ˈrɛvəˌnuz ðə ˈɛˌnɛˈfɛl ɛz ə hoʊl pʊlz ɪn əˈlɔŋ wɪθ ðə ˈmæsɪv ˈsæləriz ɪts ɪgˈzɛkjətɪvz ˌɛnˈʤɔɪ, ə ˈnəmbər əv ˈpipəl hæv ˈspoʊkən aʊt əˈgɛnst ðə tæks ɪgˈzɛmpt ˈstætəs, ˈivɪn fænz ðɛmˈsɛlvz. ˈlɪndə ˈwʊlərd ɪz ə ˈlɔŋˌtaɪm nu ˌɔˈrlinz seɪnts fæn ənd jɛt ʃi ˈstɑrtɪd ə pəˈtɪʃən ɔn tɪ kɔl fər ən ɛnd tɪ ðə nɑnˈprɑfət ˈstætəs. ˈstɑrtɪd ðə pəˈtɪʃən bɪˈkəz aɪ sɔ ə ril ɪmˈbæləns əv paʊər ɪn ðə lig," ˈwʊlərd toʊld. ““so*, tɪ mi, aɪ wɑz traɪɪŋ tɪ θɪŋk əv ə weɪ tɪ ˈrɪli gɪv ðə fænz ə voice.”*.” soʊ fɑr, ðə pəˈtɪʃən həz bɪn saɪnd baɪ ˈoʊvər ˈpipəl. ˈɔlsoʊ ə ˈlɛtər əˈtæʧt tɪ ðə ˈbɑtəm əv ðə pəˈtɪʃən fər ðə ˈpəblɪk tɪ sɛnd tɪ ˈmɛmbərz əv ˈkɑŋgrəs, wɪʧ ə ˈnəmbər əv ˈpipəl hæv ˈteɪkən ædˈvæntɪʤ əv. ˈwʊlərd, hu rənz ə nɑnˈprɑfət ˈʧɛrətəbəl faʊnˈdeɪʃən hərˈsɛlf, sɪz ðə ˈbɪgəst ˈɑbstəkəl tɪ ˈoʊvərˌkəm ɪz læk əv əˈwɛrnəs. bət ʃi həz ˈgɔtən ˈæmpəl səˈpɔrt. fænz ˌkoʊəˈlɪʃən æt ˈkɑnˌtækt mi ənd seɪ ðeɪ wʊd laɪk tɪ goʊ tɪ ˈwɔʃɪŋtən ɔn ðə pəˈtɪʃən signers’*’ bɪˈhæf ənd traɪ tɪ faɪnd ˈsəmˌwən tɪ saɪn ɔn tɪ pʊt ðɪs ˈɪntu ðə ˈəpˌkəmɪŋ ˈbəʤɪt ˈhirɪŋz ðət ər ˈkəmɪŋ əp. soʊ wi du hæv ə ˈʧæmpiən ɪn washington.”*.” ðə ˈsɛnətər hu kɔld ‘‘off-sides’*’ ðə spɔrts fænz ˌkoʊəˈlɪʃən ðə ˈoʊnli grup ɪn ˈwɔʃɪŋtən ˈteɪkɪŋ ðə ˈɛˌnɛˈfɛl tɪ tæsk. rɪˈpəblɪkən ˈsɛnətər tɑm ˈkoʊbərn riˈlist ə ˈgəvərnmənt weɪst bʊk ɪn 2012 dɪˈteɪlɪŋ ʤɪst haʊ məʧ ˈməni ðɪs spɔrts ˈluˌphoʊl ɪz ˈdreɪnɪŋ frəm ðə əˈmɛrɪkən ɪˈkɑnəmi. ˈkoʊbərn ˈɑrgjuz ðət ˈtækˌspeɪərz ər ˈluzɪŋ ˈmɪljənz ˈænjuəli. ˈtækˌspeɪərz ʃʊd nɑt bi fɔrst tɪ prəˈvaɪd ˈfəndɪŋ tɪ ˈɔfˌsɛt tæks ˈgɪvəˌweɪz tɪ ˈlukrətɪv ˈmeɪʤər prəˈfɛʃənəl spɔrts timz ənd leagues,”*,” ðə ˈgəvərnmənt weɪst bʊk ridz, ɔn ˈpəblɪkli əˈveɪləbəl ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈɛˌnɛˈfɛl ənd əˈloʊn, ˈbɑrɪŋ ˈmeɪʤər ligz frəm ˈjuzɪŋ ðə ˌnɑnˈprɔfɪt ˈstætəs meɪ ˈʤɛnərˌeɪt æt list 91 ˈmɪljən əv ˈfɛdərəl ˈrɛvəˌnu ˈɛvəri year.”*.” ɪn ˈeɪprəl, ˈkoʊbərn ˌɪntrəˈdust ən əˈmɛndmənt tɪ ˈsɛnɪt bɪl 743 ər ðə ˈmɑrkɪtˌpleɪs ˈfɛrnəs ækt əv 2013 wɪʧ wʊd əˈmɛnd ðə ˈaɪˌɑˈrɛs tæks koʊd. ðə bɪl pæst ðə ˈsɛnɪt ɪn meɪ, ðoʊ əˈmɛndmənt ˈnɛvər keɪm əp fər ə voʊt. bət ðət stɑpt ðə ˌoʊkləˈhoʊmə ˈsɛnətər frəm kənˈtɪnjuɪŋ ðɪs ˈbætəl. ɔn sɛpˈtɛmbər əv ðɪs jɪr, ˈsɛnətər ˈkoʊbərn ˌɪntrəˈdust hɪz nuəst ˌɪˈnɪʃətɪv tɪ ɛnd ðə ˈstætəs fər prəˈfɛʃənəl spɔrts kɔld ðə ˈprɑpərli rɪˈdusɪŋ ˈoʊvər ɪgˈzɛmpʃənz fər spɔrts, ər proʊ spɔrts, ækt. ðə goʊl ɪz tɪ əˈmɛnd ðə ˌɪnˈtərnəl ˈrɛvəˌnu koʊd əv 1986 tɪ ɪkˈsklud ˈmeɪʤər prəˈfɛʃənəl spɔrts ligz frəm kˈwɑləˌfaɪɪŋ ɛz ˌɔrgənəˈzeɪʃənz. ɪf pæst, ɔl prəˈfɛʃənəl ˈspɔrtɪŋ ˌɔrgənəˈzeɪʃənz wɪθ ˈænjuəl ˈrɛvəˌnu ðət ɪkˈsidz 10 ˈmɪljən wʊd bi fɔrst tɪ peɪ ˈfɛdərəl ˈɪnˌkəm ˈtæksɪz. ðə bɪl həz bɪn rɪˈfərd tɪ kəˈmɪti bət həz ə ˈvərʧuəli ˌnɑnəgˈzɪstənt ʧæns əv ˈpæsɪŋ baɪ ðə ɛnd əv ðə jɪr. ˈivɪn ɪf ðə proʊ spɔrts ækt dɪd ɪˈvɛnʧəwəli pæs, ˈzɪmbəlɪst ənd ˈəðərz ˈɑrgju ðə lig tæks ɪgˈzɛmpt ˈstætəs ɪz nɑt ɛz bɪg əv ən ˈɪʃu ɛz ju maɪt θɪŋk. θɪŋk ˈfræŋkli ɪt meɪk ə greɪt dil əv ˈdɪfərəns bɪˈkəz, ɛz aɪ seɪ, ɛz ə ˈsɛntrəl ˌɔrgənəˈzeɪʃən ðət ɪz fʊlˈfɪlɪŋ ə koʊˈɔrdəˌneɪtɪŋ ˈfəŋkʃən, ɪt ˈʤɛnərˌeɪt ˈprɑfɪts ðət ɪt kips ˌɪtˈsɛlf ənd ɪt kən ˈɔlˌweɪz, baɪ ˈʧeɪnʤɪŋ ɪts əˈkaʊnɪŋ, ɪt kən ˈɔlˌweɪz meɪk ˈɛni pəˈtɛnʃəl ˈsərpləs disappear,”*,” ˈzɪmbəlɪst sɛd. ðə ʤɔɪnt kəˈmɪti ɔn tækˈseɪʃən skɔrd ðə ˈkoʊbərn bɪl tɪ traɪ tɪ ˈfɪgjər aʊt haʊ məʧ ˈməni ɪt wʊd reɪz ˈoʊvər 10 jɪrz, ɪt keɪm ɪn æt 10 ˈmɪljən ə jɪr, wɪʧ ɪz ˈbeɪsɪkli ə ˈraʊndɪŋ ˈɛrər ɪn ˈfɛdərəl ˈbəʤɪt ˈstændərdz. ə ˈtaɪni, ˈtaɪni ˈfrækʃən ənd ðət həz tɪ bi bɪˈkəz ðiz ligz ər nɑt ˈʤɛnərˌeɪtɪŋ ə lɔt əv nɛt ˈrɛvəˌnu, æt list ðə lig itself…*… soʊ ɪn tərmz əv ˈɛni ril ˌɪmˈpækt tɪ ðə tæks peɪərz ənd tɪ ðə ˈbɑtəm laɪn, ˈrɪli nɑt goʊɪŋ tɪ hæv ˈɛni. ˈpipəl meɪ bi ˈaʊˌtreɪʤd, ˈmeɪbi ˈʤəstəˌfaɪəbli soʊ, bət ɪf ˈɛniˌwən θɪŋks ðɪs ɪz goʊɪŋ tɪ bi ə bun tɪ ðə juz. ˈtrɛʒəri, ʤɪst ˈsɪmpli not,”*,” ˈtɛnənˌbaʊm əˈgriz. ɪf ju bɪld ɪt, ðeɪ wɪl pay…*… əˈnəðər ˈmeɪʤər ˈɪʃu ðət ɪz ɪnˈtaɪərli ˈsɛpərˌeɪt frəm ðə tæks ɪgˈzɛmpt ˈstætəs dəˈbeɪt bət ˈikwəli ˌɪmˈpɔrtənt ɪz ðə ˈmæsɪv əˈmaʊnt əv ˈməni steɪts ʃɛl aʊt tɪ bɪld ˌsteɪtəvðɪˈɑrt ˈsteɪdiəmz. ˈhɑrvərd ˌjunəˈvərsəti prəˈfɛsər əv ˈərbən ˈplænɪŋ ˈʤudɪθ grænt lɔŋ ˈkælkjəˌleɪtɪd ðət league-wide*, 70 pərˈsɛnt əv ˈɛˌnɛˈfɛl ˈsteɪdiəm ˈkæpɪtəl kɔsts hæv bɪn prəˈvaɪdɪd baɪ ˈtækˌspeɪərz. ðə praɪs tæg ɔn ðiz ˈbihəməθ ˈsteɪdiəmz, ˈɔfən ˈfiʧərɪŋ riˈtræktəbəl rufs, ˌɪnərˈʧeɪnʤəbəl fildz ənd ˈmæsɪv ˈʤəmboʊtrɔnz, həz ˈrɪzən səbˈstænʃəli ɪn ˈrisənt jɪrz. kɔsts əv lænd, ˌɪnfrəˈstrəkʧər, ˌɑpərˈeɪʃənz ənd fɔrˈgɑn ˈprɑpərti ˈtæksɪz æd 25 pərˈsɛnt tɪ ðə ˈtækˌspeɪər bɪl fər ðə 121 spɔrts fəˈsɪlɪtiz ɪn juz ˈdʊrɪŋ 2010 ˌɪnˈkrisɪŋ ðə ˈævərɪʤ ˈpəblɪk kɔst tɪ 259 ˈmɪljən, ər 89 ˈmɪljən mɔr ðən ðə 170 ˈmɪljən ˈkɑmənli ˌriˈpɔrtəd baɪ ðə spɔrts ˈɪndəstri ənd media,”*,” bʊk, ˈpɑrtnərˌʃɪps fər ˈmeɪʤər lig spɔrts facilities,”*,” kənˈtɛndz. bɪg peɪ fər spɔrts timz tɪ pleɪ. ɪn fækt ðɛr ər ˈoʊnli θri ˈɛˌnɛˈfɛl ˈfrænˌʧaɪzɪz, ðə nu ˈɪŋglənd ˈpeɪtriəts, nu jɔrk ʤaɪənts, ənd nu jɔrk ʤɛts, wɪʧ hæv peɪd θˌrikˈwɔrtərz ər mɔr əv ðɛr ˈsteɪdiəm ˈkæpɪtəl kɔsts, ˈminɪŋ 29 ˈəðər ˈsteɪdiəmz wər ˈfəndɪd, ɪn pɑrt baɪ ˈtækˌspeɪərz. fild, wɛr ðə siˈætəl ˈsiˌhɔks pleɪ, ˈfɪnɪʃt ɪt kənˈstrəkʃən ɪn 2002 tɪ ðə tun əv 560 ˈmɪljən. ə ˈwɑpɪŋ 390 ˈmɪljən, ər 70 pərˈsɛnt, əv ðət ˈməni fər kənˈstrəkʃən keɪm frəm ˈtækˌspeɪərz. əˈnəðər ɪgˈzæmpəl: ðə ˈdæləs cowboys’*’ ˈsteɪdiəm. ðə sit ˈsteɪdiəm keɪm tɪ ə grænd ˈtoʊtəl əv ˈbɪljən wɪn ɪt kəmˈplitɪd ɪts kənˈstrəkʃən ɪn 2009 ˈtækˌspeɪərz ˈhændɪd ˈoʊvər 444 ˈmɪljən tɪ kənˈtrɪbjut tɪ ðə ˈtoʊtəl. ɔn tɔp əv ðət, ˈkaʊˌbɔɪz ˈoʊnər ˈʤɛri ʤoʊnz, hu ræŋks 166 ɔn forbes’*’ lɪst əv ˈrɪʧəst əˈmɛrɪkənz wɪθ ə nɛt wərθ əv 3 ˈbɪljən, ɪz ɪgˈzɛmpt frəm peɪɪŋ əraʊnd 6 ˈmɪljən ɪn ˈprɑpərti ˈtæksɪz ˈænjuəli ɛz ən ˌɪnˈsɛnɪv ðə steɪt ˈɔfərd tɪ kip ðə tim ɪn ˈdæləs. ɔn ðə ˈəðər hænd, prəˈfɛʃənəl spɔrts timz ˈɑrgju ðɛr ˈprɛzəns ɪz ən ˌɛkəˈnɑmɪk bun fər ðə ˈsɪtiz. soʊ, prəˈpoʊnənts əv ˈsteɪdiəm ˌɪnˈvɛstmənts ˈɑrgju ˈkæpɪtəl kɔsts ər ə smɔl ˌɪnˈvɛstmənt fər ˈsɪtiz tɪ meɪk ɪn ˈɔrdər tɪ ˌgɛrənˈti ə lɔŋ ənd ˈprɑfətəbəl fˈjuʧər rəˈgɑrdləs əv haʊ wɛl ðə timz pərˈfɔrm. ˌhaʊˈɛvər, ˌækəˈdɛmɪk ˈrisərʧ həz pruvd taɪm ənd əˈgɛn ˈpəblɪk ˌɪnˈvɛstmənt ɪn spɔrts ˈsteɪdiəmz du nɑt rɪˈzəlt ɪn ðə ˌɛkəˈnɑmɪk rɪˈtərnz ðət wʊd meɪk səʧ ən ˌɪnˈvɛstmənt wərθ ɪt. lɪv lɔŋ ənd ˈkɔstli wəns ðə ˈsteɪdiəm ɪz bɪlt ənd ˈoʊpənɪŋ deɪ ɪz ˈoʊvər, ˈtækˌspeɪərz kənˈtɪnju tɪ frənt ˈməni fər jɪrz tɪ kəm ɔn ˈmeɪntənəns ənd ˌɑpərˈeɪʃən kɔsts ɛz wɛl ɛz ˈfəŋkʃənz ˈnɛsəˌsɛri fər geɪm deɪz səʧ ɛz ˈtræfɪk kənˈtroʊl. ˈmeɪntənəns ɪkˈstɛndz frəm dip bɪˈloʊ graʊnd ɪn ðə suər ˈsɪstəm ɔl ðə weɪ əp tɪ ɪˈlɛktrɪkəl kɔsts. ðə ˌmɪnɪˈsoʊtə ˈvaɪkɪŋ ˈsteɪdiəm kɔst ə grænd ˈtoʊtəl əv 950 ˈmɪljən tɪ bɪld. ˈsɪti ˈrɛzɪdənts ər ɪkˈspɛktɪd tɪ ʃɛl aʊt ən əˈdɪʃənəl ˈmɪljən ɔn ˈmeɪntənəns kɔsts. ənd, wɪn ðoʊz ˈsteɪdiəmz nid tɪ bi rɪˈpɛrd ər riˈfərbɪʃt, ðət bɪl ɪz wəns əˈgɛn əˈdrɛst tɪ ðə ˈsɪti. ˈərliər ðɪs jɪr, ðə ˌkɛrəˈlaɪnə ˈpænθərz æst ðə steɪt tɪ peɪ 62 ˈmɪljən fər ˈkæpɪtəl ˌɪmˈpruvmənts, əˈkɔrdɪŋ tɪ ˈʃɑrlət əbˈzərvər rɪˈpɔrtər stiv ˈhɛrɪsən. tim ˈoʊnərz wɔnt tɪ ˈrɛnəˌveɪt ðə bæŋk əv əˈmɛrɪkə ˈsɪti əv ˈʃɑrlət wɪl fɔrk ˈoʊvər ən əˈdɪʃənəl 125 ɔn ðə ˈprɑməs ðət ðə ˈpænθərz wɪl steɪ ɪn ðə ˈsɪti fər ðə nɛkst 15 jɪrz. tæk ɔn tɔp əv ðət 15 ˈmɪljən ðət ðə ˈsɪti wʊd nid tɪ peɪ fər ˈmeɪntənəns ənd fər ˈtræfɪk kənˈtroʊl ənd ˈtækˌspeɪərz ər ˈlʊkɪŋ æt kwaɪt ə bɪg ʧəŋk əv ʧeɪnʤ. ˈnoʊtəbli, ɔl 32 ˈɛˌnɛˈfɛl timz meɪd forbes’*’ lɪst əv ðə 50 moʊst ˈvæljəbəl spɔrts ˈfrænˌʧaɪzɪz əraʊnd ðə wərld wɪθ ðə ˈpænθərz ˈkleɪmɪŋ ðə spɑt. ə ˈstɑrkər ɪgˈzæmpəl əv ˈtækˌspeɪərz ˈfʊtɪŋ ðə bɪl fər ˌrɛnəˈveɪʃən wɑz brɔt əˈbaʊt ɪn ðə ˈæftərˌmæθ əv ˈhərəˌkeɪnz kəˈtrinə bæk ɪn 2005 fər deɪz ənd wiks ˈæftər ðə ˈhərəˌkeɪnz, ˈhənərdz əv ˈstrændɪd ˈfæməliz ˈweɪtɪd ɪn ðə ˌsupərˈdoʊm fər hɛlp. ðə ˈsteɪdiəm ˈæktɪd ɛz ə ˈsɪmbəl əv ðə stɔrm ənd ðə dɪˈzæstrəs rɪˈspɑns. sɪns ðət hɪˈstɔrɪk stɔrm, ˈtækˌspeɪərz hæv kɔft əp 471 ˈmɪljən tɪ rɪˈstɔr ðə ˌsupərˈdoʊm tɪ ɪts ˈfɔrmər ˈglɔri. ɪf ju peɪ fər ɪt, ðeɪ wɪl leave…*… əˈlɔŋ wɪθ ə lɔŋ ˈhɪstəri əv steɪts ˈɔfərɪŋ ˌɪnˈsɪnɪvz laɪk tæks breɪks ənd ˈsteɪdiəm kənˈstrəkʃən, ðɛr ɪz ˈɔlsoʊ ə lɔŋ ˈhɪstəri əv steɪts rɪfˈjuzɪŋ tɪ fənd ðiz ɪkˈspɛnsɪv ˈsteɪdiəmz ənd peɪɪŋ ˈdɪrli fər ɪt. ɪt həz bɪˈkəm ˈsəmˈwət əv ə trəˈdɪʃən ɪn prəˈfɛʃənəl spɔrts fər timz tɪ θˈrɛtən tɪ liv ɪf ˈloʊkəl ˈgəvərnmənts ˈrɛfˌjuz tɪ raɪt ə ʧɛk. ɪn fækt, ˈmɛni hæv lɛft ɛz ə rɪˈzəlt. səm əv ðə moʊst ˈrisənt ɪgˈzæmpəlz əv timz pleɪɪŋ ˈʧɪkən wɪθ ˈloʊkəl ˈgəvərnmənts ər ðə ˌmɪnɪˈsoʊtə ˈvaɪkɪŋz θˈrɛtənɪŋ tɪ liv ɪn 2011 ˈoʊvər ˈsteɪdiəm dɪˈspjuts ənd, ðɪs jɪr, ðə æˈtlæntə ˈfælkənz, st*. luɪs ræmz ənd sæn diˈeɪgoʊ ˈʧɑrʤərz ər ɔl θˈrɛtənɪŋ tɪ pæk ðɛr bægz ɪf ðeɪ gɪt wət ðeɪ wɔnt. ˈɪntəˌrɛstɪŋli, ɛz pɑrt əv ðə 1966 ˌæntaɪˈtrəst ɪgˈzɛmpʃən ˈkɑŋgrəs ˈgrænɪd ðə ˈɛˌnɛˈfɛl ɪn ɪts pərˈsut tɪ mərʤ wɪθ ðə afl*, ðə lig əˈgrid tɪ ə rul ˈfɔrsɪŋ ɔl ɪgˈzɪstɪŋ ˈfrænˌʧaɪzɪz tɪ bi rɪˈteɪnd, ˈminɪŋ ðɛr məst bi 32 æt ɔl taɪmz, ənd nən əv ðoʊz timz wər əˈlaʊd tɪ muv ˈaʊtˈsaɪd əv ðɛr ˌmɛtrəˈpɑlətən ˈɛriəz. soʊ, haʊ timz ər ˈtrævəlɪŋ frəm ˈsɪti tɪ ˈsɪti ɪn ðə ˈmɑdərn ˈɪrə rɪˈmeɪnz ˈsəmˈwət əv ə ˈmɪstəri. ɪn ðə ɛnd, ˈmɛni ˈsɪtiz ənd steɪts ər mɔr ˈwɪlɪŋ tɪ hænd ˈoʊvər ˈmɪljənz ənd ˈɔfər tæks ˌɪnˈsɪnɪvz tɪ timz ˈrəðər ðən rɪsk ˈluzɪŋ ðɛm fər gʊd. poʊst- geɪm ˈkɑmənˌtɛri ɪn ðə ɛnd, əˈmɛrɪkə meɪ bi tu ˌɪnˈvɛstɪd ɪn spɔrts tɪ ˈædəkwɪtli ˈæˌdrɛs ˈɛni əv ðiz ˈɪʃuz, frəm ðə tæks ɪgˈzɛmpt ˈstætəs tɪ ˈsəbsɪˌdaɪzd ˈsteɪdiəmz tɪ ɪts ənˈpɛrəˌlɛld ˈbrɔdˌkæstɪŋ ˈprɪvɪˌlɪʤɪz. səm əv ðiz ˈɪʃuz əˈfɛkt ˈtækˌspeɪərz mɔr ðən ˈəðərz bət ɔl ˌriəˈfərm haʊ ˈdipli ˌɪnˈgreɪnd prəˈfɛʃənəl spɔrts, ər pərˈhæps ʤɪst prəˈfɛʃənəl ˈfʊtˌbɔl, ər ɪn ɑr ˈkəlʧər. ləv ɪt ər heɪt ɪt, 17 ˈmɪljən vjuərz wɪl stɪl tun ɪn frəm ˈkɪˌkɔf tɪ ðə fɔrθ kˈwɔrtər tɪ teɪk pɑrt ɪn moʊst ˈprɑfətəbəl trəˈdɪʃən.

if antioxidant supplement labels are to be believed, you should stop reading this article and gobble down some pills: spurred by the rising sales of antioxidant supplements, pom wonderful, makers of pomegranate juice, now makes an antioxidant supplement that they claim has "extraordinary health benefits." this proclamation is echoed by numerous health supplement ads in health food stores and on the internet. for instance, source resveratrol advises on the general nutrition centers web site that taking antioxidants "…may help prevent damage throughout the body and provide protective support to the cardiovascular system.*" problem solved. except a bit of a is delivered by the footnote: "these statements have not been evaluated by the food and drug administration. this product is not intended to diagnose, treat, cure or prevent any disease." so, do the purported health benefits of antioxidants actually exist? here's the theory: just as the name suggests, antioxidants slow down oxidation, a process that is part of normal bodily functions but can also damage cells. oxidation can even increase the of cholesterol, upping the risk that it will block circulation and cause heart attacks or strokes. so it at least theoretically makes sense that antioxidants such as vitamin c, vitamin e and other antioxidant compounds found in carrots and other vegetables, are good for you. ditto antioxidants found in, red wine and licorice root. and early studies in the showed that people who ate more antioxidants had a lower risk of heart disease and stroke. but those findings didn't hold up for antioxidant supplements. in later studies, such supplements did not affect risk in some studies actually attacks and strokes. nancy cook, an epidemiologist at brigham and women's hospital in boston and a of one of these studies, suggests two possible explanations for these results: it could be that studies of supplements are using the wrong doses and combinations of antioxidants. or, people who eat lots of foods, not already doing the kinds of things that lower heart disease risk, namely exercise and, well, eating plenty of fruits and vegetables. biochemist michael of the medical center in haifa, israel, suggests another alternative. his research focuses on. in a recent study, he found that mice bred to have blockages in their arteries and developed fewer blockages in their arteries after they were fed parts of. because such blockages can cause heart attacks and strokes, he says his studies suggest antioxidants work against such events. and although earlier studies found that vitamin clear such blockages, he found that the kinds of antioxidants in do. his theory: there are many sources of stress—viruses, toxins, physical each antioxidant might be effective against a particular type of stress, but not the others. in other words, it depends whether the antioxidants you're taking are fighting against the good, normal oxidation in your body or the bad oxidation. "the devil's in the details in a lot of these things," says andrew shao of the council for responsible nutrition, a trade association in washington, d.c., representing supplement manufacturers. "if you were to take all the marketing at face value, you might think that the ideal situation is to have no oxidation whatsoever. that is not what you want. it's part of normal biochemistry, part of the immune system." "most [antioxidants] don't work alone," he adds. "they're not drugs." like cook, shao recommends a diet high in antioxidants and a healthy lifestyle that includes regular exercise. "that may run counter to what you see in some marketing," he says, although he refused to say which ads he meant. marketing also makes it difficult for consumers to know what they are getting. "is the product on the shelf the same one that was studied in clinical trials?" shao asks. for foods, the food and drug administration (fda) and the federal trade commission monitor claims made on the label or in advertising, but "it very much depends on the strength and specificity of the language in the claim," he says. a product that claims "antioxidant support" will raise less ire than one that claims to lower the risk of a particular disease. in any case, the research is clear: large, carefully controlled studies and trials have consistently found no benefit to antioxidant supplements, says alice lichtenstein of tufts university.* "you have to take the totality of the data, and that's what we normally do [in science]," she says. "why are they popular? i don't know. maybe because it sounds like the easy answer." with reporting by willa austen isikoff * note (7/7/08): this sentence has been modified since the original posting.

ɪf ˌæntiˈɑksədənt ˌsəpləˈmɛnt ˈleɪbəlz ər tɪ bi bɪˈlivd, ju ʃʊd stɑp ˈrɛdɪŋ ðɪs ˈɑrtɪkəl ənd ˈgɑbəl daʊn səm pɪlz: spərd baɪ ðə ˈraɪzɪŋ seɪlz əv ˌæntiˈɑksədənt ˌsəpləˈmɛnts, pɔm ˈwəndərfəl, ˈmeɪkərz əv ˌpɑməˈgrænət ʤus, naʊ meɪks ən ˌæntiˈɑksədənt ˌsəpləˈmɛnt ðət ðeɪ kleɪm həz "ˌɛkstrəˈɔrdəˌnɛri hɛlθ ˈbɛnəfɪts." ðɪs ˌprɑkləˈmeɪʃən ɪz ˈɛkoʊd baɪ ˈnumərəs hɛlθ ˌsəpləˈmɛnt ædz ɪn hɛlθ fud stɔrz ənd ɔn ðə ˈɪntərˌnɛt. fər ˈɪnstəns, sɔrs rɛsˈvərətrɔl ædˈvaɪzɪz ɔn ðə ˈʤɛnərəl nuˈtrɪʃən ˈsɛnərz wɛb saɪt ðət ˈteɪkɪŋ ˌæntiˈɑksədənts hɛlp prɪˈvɛnt ˈdæmɪʤ θruaʊt ðə ˈbɑdi ənd prəˈvaɪd prəˈtɛktɪv səˈpɔrt tɪ ðə ˌkɑrdioʊˈvæskjələr ˈsɪstəm.*" ˈprɑbləm sɑlvd. ɪkˈsɛpt ə bɪt əv ə ɪz dɪˈlɪvərd baɪ ðə ˈfʊtˌnoʊt: "ðiz ˈsteɪtmənts hæv nɑt bɪn ɪˈvæljuˌeɪtəd baɪ ðə fud ənd drəg ædˌmɪnɪˈstreɪʃən. ðɪs ˈprɑdəkt ɪz nɑt ˌɪnˈtɛndɪd tɪ ˌdaɪəgˈnoʊs, trit, kjʊr ər prɪˈvɛnt ˈɛni dɪˈziz." soʊ, du ðə pərˈpɔrtɪd hɛlθ ˈbɛnəfɪts əv ˌæntiˈɑksədənts ˈæˌkʧuəli ɪgˈzɪst? hɪrz ðə ˈθɪri: ʤɪst ɛz ðə neɪm səˈʤɛsts, ˌæntiˈɑksədənts sloʊ daʊn ˌɑksəˈdeɪʃən, ə ˈprɔˌsɛs ðət ɪz pɑrt əv ˈnɔrməl ˈbɑdəli ˈfəŋkʃənz bət kən ˈɔlsoʊ ˈdæmɪʤ sɛlz. ˌɑksəˈdeɪʃən kən ˈivɪn ˌɪnˈkris ðə əv kəˈlɛstərˌɔl, ˈəpɪŋ ðə rɪsk ðət ɪt wɪl blɑk ˈsərkjəˌleɪʃən ənd kɔz hɑrt əˈtæks ər stroʊks. soʊ ɪt æt list ˌθiərˈɛtɪkəli meɪks sɛns ðət ˌæntiˈɑksədənts səʧ ɛz ˈvaɪtəmən si, ˈvaɪtəmən i ənd ˈəðər ˌæntiˈɑksədənt ˈkɑmpaʊndz faʊnd ɪn ˈkɛrəts ənd ˈəðər ˈvɛʤtəbəlz, ər gʊd fər ju. ˈdɪtoʊ ˌæntiˈɑksədənts faʊnd ɪn, rɛd waɪn ənd ˈlɪkərɪʃ rut. ənd ˈərli ˈstədiz ɪn ðə ʃoʊd ðət ˈpipəl hu eɪt mɔr ˌæntiˈɑksədənts hæd ə loʊər rɪsk əv hɑrt dɪˈziz ənd stroʊk. bət ðoʊz ˈfaɪndɪŋz ˈdɪdənt hoʊld əp fər ˌæntiˈɑksədənt ˌsəpləˈmɛnts. ɪn ˈleɪtər ˈstədiz, səʧ ˌsəpləˈmɛnts dɪd nɑt əˈfɛkt rɪsk ɪn səm ˈstədiz ˈæˌkʧuəli əˈtæks ənd stroʊks. ˈnænsi kʊk, ən ˌɛpəˌdiˌmiˈɑləˌʤɪst æt ˈbrɪgəm ənd ˈwɪmənz ˈhɑˌspɪtəl ɪn ˈbɔstən ənd ə əv wən əv ðiz ˈstədiz, səˈʤɛsts tu ˈpɑsəbəl ˌɛkspləˈneɪʃənz fər ðiz rɪˈzəlts: ɪt kʊd bi ðət ˈstədiz əv ˌsəpləˈmɛnts ər ˈjuzɪŋ ðə rɔŋ ˈdoʊsɪz ənd ˌkɑmbəˈneɪʃənz əv ˌæntiˈɑksədənts. ər, ˈpipəl hu it lɑts əv fudz, nɑt ɔˈrɛdi duɪŋ ðə kaɪnz əv θɪŋz ðət loʊər hɑrt dɪˈziz rɪsk, ˈneɪmli ˈɛksərˌsaɪz ənd, wɛl, ˈitɪŋ ˈplɛnti əv fruts ənd ˈvɛʤtəbəlz. ˌbaɪoʊˈkɛmɪst ˈmaɪkəl əv ðə ˈmɛdɪkəl ˈsɛnər ɪn ˈhaɪfə, ˈɪzriəl, səˈʤɛsts əˈnəðər ɔlˈtərnətɪv. hɪz ˈrisərʧ ˈfoʊkɪsɪz ɔn. ɪn ə ˈrisənt ˈstədi, hi faʊnd ðət maɪs brɛd tɪ hæv ˈblɑkɪʤɪz ɪn ðɛr ˈɑrtəriz ənd dɪˈvɛləpt fjuər ˈblɑkɪʤɪz ɪn ðɛr ˈɑrtəriz ˈæftər ðeɪ wər fɛd pɑrts əv. bɪˈkəz səʧ ˈblɑkɪʤɪz kən kɔz hɑrt əˈtæks ənd stroʊks, hi sɪz hɪz ˈstədiz səˈʤɛst ˌæntiˈɑksədənts wərk əˈgɛnst səʧ ɪˈvɛnts. ənd ˌɔlˈðoʊ ˈərliər ˈstədiz faʊnd ðət ˈvaɪtəmən klɪr səʧ ˈblɑkɪʤɪz, hi faʊnd ðət ðə kaɪnz əv ˌæntiˈɑksədənts ɪn du. hɪz ˈθɪri: ðɛr ər ˈmɛni ˈsɔrsəz əv stress—viruses*, ˈtɑksənz, ˈfɪzɪkəl iʧ ˌæntiˈɑksədənt maɪt bi ˈifɛktɪv əˈgɛnst ə ˌpɑˈtɪkjələr taɪp əv strɛs, bət nɑt ðə ˈəðərz. ɪn ˈəðər wərdz, ɪt dɪˈpɛndz ˈwɛðər ðə ˌæntiˈɑksədənts jʊr ˈteɪkɪŋ ər ˈfaɪtɪŋ əˈgɛnst ðə gʊd, ˈnɔrməl ˌɑksəˈdeɪʃən ɪn jʊr ˈbɑdi ər ðə bæd ˌɑksəˈdeɪʃən. "ðə ˈdɛvəlz ɪn ðə ˈditeɪlz ɪn ə lɔt əv ðiz θɪŋz," sɪz ˈændru ʃaʊ əv ðə ˈkaʊnsəl fər riˈspɑnsəbəl nuˈtrɪʃən, ə treɪd əˌsoʊʃiˈeɪʃən ɪn ˈwɔʃɪŋtən, d.c*., ˌrɛprɪˈzɛnɪŋ ˌsəpləˈmɛnt ˌmænjəˈfækʧərərz. "ɪf ju wər tɪ teɪk ɔl ðə ˈmɑrkətɪŋ æt feɪs ˈvælju, ju maɪt θɪŋk ðət ðə aɪˈdil ˌsɪʧuˈeɪʃən ɪz tɪ hæv noʊ ˌɑksəˈdeɪʃən ˌwətsoʊˈɛvər. ðət ɪz nɑt wət ju wɔnt. ɪts pɑrt əv ˈnɔrməl ˌbaɪoʊˈkɛmɪˌstri, pɑrt əv ðə ˌɪmˈjun ˈsɪstəm." "moʊst [ˌæntiˈɑksədənts] doʊnt wərk əˈloʊn," hi ædz. "ðɛr nɑt drəgz." laɪk kʊk, ʃaʊ ˌrɛkəˈmɛndz ə daɪət haɪ ɪn ˌæntiˈɑksədənts ənd ə ˈhɛlθi ˈlaɪfˌstaɪl ðət ˌɪnˈkludz ˈrɛgjələr ˈɛksərˌsaɪz. "ðət meɪ rən ˈkaʊntər tɪ wət ju si ɪn səm ˈmɑrkətɪŋ," hi sɪz, ˌɔlˈðoʊ hi rɪfˈjuzd tɪ seɪ wɪʧ ædz hi mɛnt. ˈmɑrkətɪŋ ˈɔlsoʊ meɪks ɪt ˈdɪfəkəlt fər kənˈsumərz tɪ noʊ wət ðeɪ ər ˈgɪtɪŋ. "ɪz ðə ˈprɑdəkt ɔn ðə ʃɛlf ðə seɪm wən ðət wɑz ˈstədid ɪn ˈklɪnɪkəl traɪəlz?" ʃaʊ æsks. fər fudz, ðə fud ənd drəg ædˌmɪnɪˈstreɪʃən (fda*) ənd ðə ˈfɛdərəl treɪd kəˈmɪʃən ˈmɑnətər kleɪmz meɪd ɔn ðə ˈleɪbəl ər ɪn ˈædvərˌtaɪzɪŋ, bət "ɪt ˈvɛri məʧ dɪˈpɛndz ɔn ðə strɛŋθ ənd ˌspɛsəˈfɪsəti əv ðə ˈlæŋgwɪʤ ɪn ðə kleɪm," hi sɪz. ə ˈprɑdəkt ðət kleɪmz "ˌæntiˈɑksədənt səˈpɔrt" wɪl reɪz lɛs aɪr ðən wən ðət kleɪmz tɪ loʊər ðə rɪsk əv ə ˌpɑˈtɪkjələr dɪˈziz. ɪn ˈɛni keɪs, ðə ˈrisərʧ ɪz klɪr: lɑrʤ, ˈkɛrfəli kənˈtroʊld ˈstədiz ənd traɪəlz hæv kənˈsɪstəntli faʊnd noʊ ˈbɛnəfɪt tɪ ˌæntiˈɑksədənt ˌsəpləˈmɛnts, sɪz ˈælɪs ˈlɪktənˌstin əv təfts "ju hæv tɪ teɪk ðə toʊˈtæləti əv ðə ˈdætə, ənd ðæts wət wi ˈnɔrməli du [ɪn saɪəns]," ʃi sɪz. "waɪ ər ðeɪ ˈpɑpjələr? aɪ doʊnt noʊ. ˈmeɪbi bɪˈkəz ɪt saʊnz laɪk ðə ˈizi ˈænsər." wɪθ rɪˈpɔrtɪŋ baɪ ˈwɪlə ˈɔstɪn ˈɪzəkɔf noʊt ðɪs ˈsɛntəns həz bɪn ˈmɑdəˌfaɪd sɪns ðə ərˈɪʤənəl ˈpoʊstɪŋ.

gorillaz, and liam gallagher set for malahide castle next year? ah, the old internet rumour mill. what on earth was life like before you? according to reports on a couple of mammoth irish digital content pedallers, are primed to play malahide castle on tuesday, june 5, damon will play saturday, june 9 and liam gallagher (whose debut solo album christine costello reviewed for us over here) will play an unspecified date in the month. according to a post by enjoy malahide (and face it, who enjoy malahide?) the shows are provisional and dependent upon successful planning permission. assuming granted, and these shows are, you know, actually in the pipeline, we can expect three right off the bat there.

gorillaz*, ənd ˈliəm ˈgæləgər sɛt fər ˌmæləˈhaɪd ˈkæsəl nɛkst jɪr? ɑ, ðə oʊld ˈɪntərˌnɛt ˈrumər mɪl. wət ɔn ərθ wɑz laɪf laɪk ˌbiˈfɔr ju? əˈkɔrdɪŋ tɪ rɪˈpɔrts ɔn ə ˈkəpəl əv ˈmæməθ ˈaɪrɪʃ ˈdɪʤɪtəl ˈkɑntɛnt pedallers*, ər praɪmd tɪ pleɪ ˌmæləˈhaɪd ˈkæsəl ɔn ˈtuzˌdeɪ, ʤun 5 ˈdeɪmən wɪl pleɪ ˈsæˌtɪˌdeɪ, ʤun 9 ənd ˈliəm ˈgæləgər (huz ˈdeɪbju ˈsoʊˌloʊ ˈælbəm krɪˈstin ˌkɔˈstɛloʊ rivˈjud fər ˈjuˈɛs ˈoʊvər hir) wɪl pleɪ ən ənˈspɛsəˌfaɪd deɪt ɪn ðə mənθ. əˈkɔrdɪŋ tɪ ə poʊst baɪ ˌɛnˈʤɔɪ ˌmæləˈhaɪd (ənd feɪs ɪt, hu ˌɛnˈʤɔɪ ˌmæləˈhaɪd?) ðə ʃoʊz ər prəˈvɪʒənəl ənd dɪˈpɛndənt əˈpɑn səkˈsɛsfəl ˈplænɪŋ pərˈmɪʃən. əˈsumɪŋ ˈgrænɪd, ənd ðiz ʃoʊz ər, ju noʊ, ˈæˌkʧuəli ɪn ðə ˈpaɪˌplaɪn, wi kən ɪkˈspɛkt θri raɪt ɔf ðə bæt ðɛr.

there are many short track drivers out there who dominated their local tracks and touring divisions but never got a chance to make it to the big time. there's also some out there who did make it to top levels, only to be phased out by younger, more funded drivers. while they may have had to hang up their helmets for one reason or another, many of those drivers are still around the racetrack. they're not behind the wheel anymore. instead, they're up on the stand. spotting wasn't something that guys like freddie kraft, mike herman, jr., tim fedewa and eddie started out doing. it was something that they did on the side when they had free time. "towards the end of my career when things weren't going the way i wanted them to... through some mutual friends i heard that bill elliott needed a spotter for a few races here and there so i said i'd do it," said tim fedewa who now spots for racing in the sprint cup series. "i'd race saturday in the busch car and sunday i'd stay over and help bill occasionally. "when i couldn't drive anymore i needed to make a living," said fedewa. "i just kept spotting and it's come to this." the fedewa from holt, michigan scored four wins in what was then known as the nascar busch series. he said that his favorite moment behind the wheel was the day he won his first busch race at nazareth speedway (pa) in 1995. "they had a memorial service in michigan that day for my grandmother so it was pretty surreal that they were burying her at the same time the race was going on and i couldn't be there," said fedewa. "but i know she was there with me so it was pretty special." mike herman, jr. was racing on the hooters pro cup circuit while at the same time spotting for joe gibbs racing in the pro series east. herman is a champion in late model stock cars at concord speedway (nc) and now spots for ricky stenhouse, jr. in the cup series. "it just so happened that the east schedule and the pro cup schedule didn't overlap so it worked out well," said the kannapolis, native who also raced at bowman gray stadium (nc). "i basically worked through east, arca, trucks, nationwide. basically like a driving career you're just making the right moves and it led me to where i'm at today." freddie kraft spots for michael annett at the cup level as well as for darrell "bubba" wallace, jr. in the camping world truck series. he raced at long island's riverhead raceway in the figure 8 division for three full seasons and he'll quickly admit that he wasn't the best driver out there. "in 1999 i spent most of my time parked on the trying to figure out what the hell was wrong with my car," said the kraft who grew up in kings park, new york. "i wasn't into it like i needed to be. didn't put enough time into the cars. it was more about hanging out with my friends. more about spotting for my buddies." but kraft has an interesting claim to riverhead fame. "i actually won rookie of the year twice (1999 and 2004) which is pretty impressive because it's the same division," said kraft with a laugh. "i think it was a lack of options the second year. i don't think there was anybody else. maybe they kind of played some kind of joke on me, but that's the story there. i think they kind of forgot." kraft started spotting for jarrod hayes at riverhead, then started spotting for jimmy blewett and others before making his way up the ladder to where he is now. kraft has even won a couple of championships spotting for fellow long islander george brunnhoelzl, on the nascar southern modified tour. "it came time to make a decision about whether i wanted to race or do what i do now," said kraft. "i picked spotting obviously." kraft is accompanied by another long islander on the stand. eddie, from levittown, ny, spots for jeff gordon. raced at riverhead as well as islip speedway (ny) before running on the nascar modified tour. "in 1996 tommy baldwin, steve park, bono (kevin manion) and myself all moved to charlotte," said. "we got a house together and just went to work. i started out as a mechanic and a pit crew guy. then i started spotting for bill elliott back in 1999 so i just kept on doing it." the spotter is one of the most important pieces to the race team puzzle. thanks to all the safety devices the drivers have now like the hans device and containment seats their visibility is extremely limited. the spotter is a second set of eyes for the driver. but does being a former driver make for a better spotter? "i feel it definitely helps but to be a good spotter you don't have to have driving experience," said herman. "from my standpoint it definitely plays into what i say every time i key the mic to talk. because i know i've seen the view. i know what he's thinking. i know what he's feeling." fedewa said that being a former driver helps him deal with his current driver, kevin harvick, when he gets angry and goes on a rant over the radio because he's been in that position before. "i know when i was driving i blew up and cussed and threw a fit," said fedewa. "it wasn't directed at anybody in particular. besides all the outside pressures, your sponsors, owners, it's the personal pressure you put on yourself as a driver. i try to say something that will make sense to him and calm him down instead of irritating him some more. or i just say nothing and let him go. usually five or 10 laps later they forget about it and it's over with." they haven't forgotten their roots either. herman and kraft still like to spot some short track races when they get the chance to. herman will go spot for ryan preece on occasion like he did on mother's day weekend this year at lee usa speedway (nh). "i have an extreme love for short track racing to this day," said herman. "i love the venues. it's rough and tumble. short track racing is tough. every lap is a battle. sometimes at the big tracks it kind of gets spread out and it's all about the speed." kraft likes to spot for timmy for races whenever there isn't a conflict with his other responsibilities. "any time i get to do short track racing i jump right on it because i love it," said kraft. they may not be behind the wheel anymore battling it out on the short tracks like they used to, but they're still winning races and doing it at the highest levels of the sport. "it never ever gets old to win," said. "that's why we make all the sacrifices we made our whole lives to stay in this business as hard as it is and as strenuous as it is at times." -by rob blount, regional editor (long island, ct, and nj) -twitter: -feature photo credit: freddie kraft facebook. related posts « robinson among entries for next era 100 at blythe readies for fall brawl »

ðɛr ər ˈmɛni ʃɔrt træk ˈdraɪvərz aʊt ðɛr hu ˈdɑməˌneɪtəd ðɛr ˈloʊkəl træks ənd ˈtʊrɪŋ dɪˈvɪʒənz bət ˈnɛvər gɑt ə ʧæns tɪ meɪk ɪt tɪ ðə bɪg taɪm. ðɛrz ˈɔlsoʊ səm aʊt ðɛr hu dɪd meɪk ɪt tɪ tɔp ˈlɛvəlz, ˈoʊnli tɪ bi feɪzd aʊt baɪ ˈjəŋgər, mɔr ˈfəndɪd ˈdraɪvərz. waɪl ðeɪ meɪ hæv hæd tɪ hæŋ əp ðɛr ˈhɛlməts fər wən ˈrizən ər əˈnəðər, ˈmɛni əv ðoʊz ˈdraɪvərz ər stɪl əraʊnd ðə ˈreɪˌstræk. ðɛr nɑt bɪˈhaɪnd ðə wil ˌɛniˈmɔr. ˌɪnˈstɛd, ðɛr əp ɔn ðə stænd. ˈspɑtɪŋ ˈwəzənt ˈsəmθɪŋ ðət gaɪz laɪk ˈfrɛdi kræft, maɪk ˈhərmən, jr*., tɪm ˈfɛdɛˌwɑ ənd ˈɛdi ˈstɑrtɪd aʊt duɪŋ. ɪt wɑz ˈsəmθɪŋ ðət ðeɪ dɪd ɔn ðə saɪd wɪn ðeɪ hæd fri taɪm. "təˈwɔrdz ðə ɛnd əv maɪ kərɪr wɪn θɪŋz wərənt goʊɪŋ ðə weɪ aɪ ˈwɔntɪd ðɛm tɪ... θru səm mˈjuʧuəl frɛndz aɪ hərd ðət bɪl ˈɛliət ˈnidɪd ə ˈspɑtər fər ə fju ˈreɪsɪz hir ənd ðɛr soʊ aɪ sɛd aɪd du ɪt," sɛd tɪm ˈfɛdɛˌwɑ hu naʊ spɑts fər ˈreɪsɪŋ ɪn ðə sprɪnt kəp ˈsɪriz. "aɪd reɪs ˈsæˌtɪˌdeɪ ɪn ðə bʊʃ kɑr ənd ˈsənˌdi aɪd steɪ ˈoʊvər ənd hɛlp bɪl ɔˈkeɪʒənəˌli. "wɪn aɪ ˈkʊdənt draɪv ˌɛniˈmɔr aɪ ˈnidɪd tɪ meɪk ə ˈlɪvɪŋ," sɛd ˈfɛdɛˌwɑ. "aɪ ʤɪst kɛpt ˈspɑtɪŋ ənd ɪts kəm tɪ ðɪs." ðə ˈfɛdɛˌwɑ frəm hoʊlt, ˈmɪʃɪgən skɔrd fɔr wɪnz ɪn wət wɑz ðɛn noʊn ɛz ðə ˈnæˌskɑr bʊʃ ˈsɪriz. hi sɛd ðət hɪz ˈfeɪvərɪt ˈmoʊmənt bɪˈhaɪnd ðə wil wɑz ðə deɪ hi wən hɪz fərst bʊʃ reɪs æt ˈnæzərɪθ ˈspidˌweɪ (pɑ) ɪn 1995 "ðeɪ hæd ə məˈmɔriəl ˈsərvɪs ɪn ˈmɪʃɪgən ðət deɪ fər maɪ ˈgrændˌməðər soʊ ɪt wɑz ˈprɪti sərˈil ðət ðeɪ wər ˈbɛriɪŋ hər æt ðə seɪm taɪm ðə reɪs wɑz goʊɪŋ ɔn ənd aɪ ˈkʊdənt bi ðɛr," sɛd ˈfɛdɛˌwɑ. "bət aɪ noʊ ʃi wɑz ðɛr wɪθ mi soʊ ɪt wɑz ˈprɪti ˈspɛʃəl." maɪk ˈhərmən, jr*. wɑz ˈreɪsɪŋ ɔn ðə ˈhutərz proʊ kəp ˈsərkət waɪl æt ðə seɪm taɪm ˈspɑtɪŋ fər ʤoʊ gɪbz ˈreɪsɪŋ ɪn ðə proʊ ˈsɪriz ist. ˈhərmən ɪz ə ˈʧæmpiən ɪn leɪt ˈmɑdəl stɑk kɑz æt ˈkɑnˌkɔrd ˈspidˌweɪ (nc*) ənd naʊ spɑts fər ˈrɪˌki ˈstɛnˌhaʊs, jr*. ɪn ðə kəp ˈsɪriz. "ɪt ʤɪst soʊ ˈhæpənd ðət ðə ist ˈskɛʤʊl ənd ðə proʊ kəp ˈskɛʤʊl ˈdɪdənt ˈoʊvərˌlæp soʊ ɪt wərkt aʊt wɛl," sɛd ðə kannapolis*, ˈneɪtɪv hu ˈɔlsoʊ reɪst æt ˈboʊmən greɪ ˈsteɪdiəm (nc*). "aɪ ˈbeɪsɪkli wərkt θru ist, arca*, trəks, ˈneɪʃənˈwaɪd. ˈbeɪsɪkli laɪk ə ˈdraɪvɪŋ kərɪr jʊr ʤɪst ˈmeɪkɪŋ ðə raɪt muvz ənd ɪt lɛd mi tɪ wɛr əm æt təˈdeɪ." ˈfrɛdi kræft spɑts fər ˈmaɪkəl əˈnɛt æt ðə kəp ˈlɛvəl ɛz wɛl ɛz fər ˈdɛrəl "ˈbəbə" ˈwɔlɪs, jr*. ɪn ðə ˈkæmpɪŋ wərld trək ˈsɪriz. hi reɪst æt lɔŋ ˈaɪləndz ˈrɪvərˌhɛd ˈreɪsˌweɪ ɪn ðə ˈfɪgjər 8 dɪˈvɪʒən fər θri fʊl ˈsizənz ənd hil kˈwɪkli ədˈmɪt ðət hi ˈwəzənt ðə bɛst ˈdraɪvər aʊt ðɛr. "ɪn 1999 aɪ spɛnt moʊst əv maɪ taɪm pɑrkt ɔn ðə traɪɪŋ tɪ ˈfɪgjər aʊt wət ðə hɛl wɑz rɔŋ wɪθ maɪ kɑr," sɛd ðə kræft hu gru əp ɪn kɪŋz pɑrk, nu jɔrk. "aɪ ˈwəzənt ˈɪntu ɪt laɪk aɪ ˈnidɪd tɪ bi. ˈdɪdənt pʊt ɪˈnəf taɪm ˈɪntu ðə kɑz. ɪt wɑz mɔr əˈbaʊt ˈhæŋɪŋ aʊt wɪθ maɪ frɛndz. mɔr əˈbaʊt ˈspɑtɪŋ fər maɪ ˈbədiz." bət kræft həz ən ˈɪntəˌrɛstɪŋ kleɪm tɪ ˈrɪvərˌhɛd feɪm. "aɪ ˈæˌkʧuəli wən ˈrʊki əv ðə jɪr twaɪs 1999 ənd 2004 wɪʧ ɪz ˈprɪti ˌɪmˈprɛsɪv bɪˈkəz ɪts ðə seɪm dɪˈvɪʒən," sɛd kræft wɪθ ə læf. "aɪ θɪŋk ɪt wɑz ə læk əv ˈɔpʃənz ðə ˈsɛkənd jɪr. aɪ doʊnt θɪŋk ðɛr wɑz ˈɛnibədi ɛls. ˈmeɪbi ðeɪ kaɪnd əv pleɪd səm kaɪnd əv ʤoʊk ɔn mi, bət ðæts ðə ˈstɔri ðɛr. aɪ θɪŋk ðeɪ kaɪnd əv fərˈgɑt." kræft ˈstɑrtɪd ˈspɑtɪŋ fər ˈʤærə heɪz æt ˈrɪvərˌhɛd, ðɛn ˈstɑrtɪd ˈspɑtɪŋ fər ˈʤɪmi bluɪt ənd ˈəðərz ˌbiˈfɔr ˈmeɪkɪŋ hɪz weɪ əp ðə ˈlædər tɪ wɛr hi ɪz naʊ. kræft həz ˈivɪn wən ə ˈkəpəl əv ˈʧæmpiənˌʃɪps ˈspɑtɪŋ fər ˈfɛloʊ lɔŋ ˈaɪləndər ʤɔrʤ brunnhoelzl*, ɔn ðə ˈnæˌskɑr ˈsəðərn ˈmɑdəˌfaɪd tʊr. "ɪt keɪm taɪm tɪ meɪk ə dɪˈsɪʒən əˈbaʊt ˈwɛðər aɪ ˈwɔntɪd tɪ reɪs ər du wət aɪ du naʊ," sɛd kræft. "aɪ pɪkt ˈspɑtɪŋ ˈɑbviəsli." kræft ɪz əˈkəmpənid baɪ əˈnəðər lɔŋ ˈaɪləndər ɔn ðə stænd. ˈɛdi, frəm ˈlɛvɪˌtaʊn, ny*, spɑts fər ʤɛf ˈgɔrdən. reɪst æt ˈrɪvərˌhɛd ɛz wɛl ɛz ˈaɪslɪp ˈspidˌweɪ (ny*) ˌbiˈfɔr ˈrənɪŋ ɔn ðə ˈnæˌskɑr ˈmɑdəˌfaɪd tʊr. "ɪn 1996 ˈtɑmi ˈbɔldwən, stiv pɑrk, ˈboʊnoʊ (ˈkɛvɪn mɑnˈjɔn) ənd ˌmaɪˈsɛlf ɔl muvd tɪ ˈʃɑrlət," sɛd. "wi gɑt ə haʊs təˈgɛðər ənd ʤɪst wɛnt tɪ wərk. aɪ ˈstɑrtɪd aʊt ɛz ə mɪˈkænɪk ənd ə pɪt kru gaɪ. ðɛn aɪ ˈstɑrtɪd ˈspɑtɪŋ fər bɪl ˈɛliət bæk ɪn 1999 soʊ aɪ ʤɪst kɛpt ɔn duɪŋ ɪt." ðə ˈspɑtər ɪz wən əv ðə moʊst ˌɪmˈpɔrtənt ˈpisɪz tɪ ðə reɪs tim ˈpəzəl. θæŋks tɪ ɔl ðə ˈseɪfti dɪˈvaɪsɪz ðə ˈdraɪvərz hæv naʊ laɪk ðə hɑns dɪˈvaɪs ənd kənˈteɪnmənt sits ðɛr ˌvɪzəˈbɪlɪti ɪz ɪkˈstrimli ˈlɪmɪtɪd. ðə ˈspɑtər ɪz ə ˈsɛkənd sɛt əv aɪz fər ðə ˈdraɪvər. bət dɪz biɪŋ ə ˈfɔrmər ˈdraɪvər meɪk fər ə ˈbɛtər ˈspɑtər? "aɪ fil ɪt ˈdɛfənətli hɛlps bət tɪ bi ə gʊd ˈspɑtər ju doʊnt hæv tɪ hæv ˈdraɪvɪŋ ɪkˈspɪriəns," sɛd ˈhərmən. "frəm maɪ ˈstændˌpɔɪnt ɪt ˈdɛfənətli pleɪz ˈɪntu wət aɪ seɪ ˈɛvəri taɪm aɪ ki ðə mɪk tɪ tɔk. bɪˈkəz aɪ noʊ aɪv sin ðə vju. aɪ noʊ wət hiz ˈθɪŋkɪŋ. aɪ noʊ wət hiz ˈfilɪŋ." ˈfɛdɛˌwɑ sɛd ðət biɪŋ ə ˈfɔrmər ˈdraɪvər hɛlps ɪm dil wɪθ hɪz ˈkɑrənt ˈdraɪvər, ˈkɛvɪn harvick*, wɪn hi gɪts ˈæŋgri ənd goʊz ɔn ə rænt ˈoʊvər ðə ˈreɪdiˌoʊ bɪˈkəz hiz bɪn ɪn ðət pəˈzɪʃən ˌbiˈfɔr. "aɪ noʊ wɪn aɪ wɑz ˈdraɪvɪŋ aɪ blu əp ənd kəst ənd θru ə fɪt," sɛd ˈfɛdɛˌwɑ. "ɪt ˈwəzənt dɪˈrɛktɪd æt ˈɛnibədi ɪn ˌpɑˈtɪkjələr. ˌbiˈsaɪdz ɔl ðə ˈaʊtˈsaɪd ˈprɛʃərz, jʊr ˈspɑnsərz, ˈoʊnərz, ɪts ðə ˈpərsɪnəl ˈprɛʃər ju pʊt ɔn ˈjɔrsɛlf ɛz ə ˈdraɪvər. aɪ traɪ tɪ seɪ ˈsəmθɪŋ ðət wɪl meɪk sɛns tɪ ɪm ənd kɑm ɪm daʊn ˌɪnˈstɛd əv ˈɪrəˌteɪtɪŋ ɪm səm mɔr. ər aɪ ʤɪst seɪ ˈnəθɪŋ ənd lɛt ɪm goʊ. ˈjuʒəwəli faɪv ər 10 læps ˈleɪtər ðeɪ fərˈgɛt əˈbaʊt ɪt ənd ɪts ˈoʊvər wɪθ." ðeɪ ˈhævənt fərˈgɑtən ðɛr ruts ˈiðər. ˈhərmən ənd kræft stɪl laɪk tɪ spɑt səm ʃɔrt træk ˈreɪsɪz wɪn ðeɪ gɪt ðə ʧæns tɪ. ˈhərmən wɪl goʊ spɑt fər raɪən pris ɔn əˈkeɪʒən laɪk hi dɪd ɔn ˈməðərz deɪ ˈwiˌkɪnd ðɪs jɪr æt li ˈjuˈɛˈseɪ ˈspidˌweɪ (nh*). "aɪ hæv ən ɪkˈstrim ləv fər ʃɔrt træk ˈreɪsɪŋ tɪ ðɪs deɪ," sɛd ˈhərmən. "aɪ ləv ðə ˈvɛnuz. ɪts rəf ənd ˈtəmbəl. ʃɔrt træk ˈreɪsɪŋ ɪz təf. ˈɛvəri læp ɪz ə ˈbætəl. ˈsəmˌtaɪmz æt ðə bɪg træks ɪt kaɪnd əv gɪts sprɛd aʊt ənd ɪts ɔl əˈbaʊt ðə spid." kræft laɪks tɪ spɑt fər ˈtɪmi fər ˈreɪsɪz wɛˈnɛvər ðɛr ˈɪzənt ə ˈkɑnflɪkt wɪθ hɪz ˈəðər riˌspɑnsəˈbɪlətiz. "ˈɛni taɪm aɪ gɪt tɪ du ʃɔrt træk ˈreɪsɪŋ aɪ ʤəmp raɪt ɔn ɪt bɪˈkəz aɪ ləv ɪt," sɛd kræft. ðeɪ meɪ nɑt bi bɪˈhaɪnd ðə wil ˌɛniˈmɔr ˈbætəlɪŋ ɪt aʊt ɔn ðə ʃɔrt træks laɪk ðeɪ juzd tɪ, bət ðɛr stɪl ˈwɪnɪŋ ˈreɪsɪz ənd duɪŋ ɪt æt ðə haɪəst ˈlɛvəlz əv ðə spɔrt. "ɪt ˈnɛvər ˈɛvər gɪts oʊld tɪ wɪn," sɛd. "ðæts waɪ wi meɪk ɔl ðə ˈsækrəˌfaɪsɪz wi meɪd ɑr hoʊl lɪvz tɪ steɪ ɪn ðɪs ˈbɪznɪs ɛz hɑrd ɛz ɪt ɪz ənd ɛz ˈstrɛnjuəs ɛz ɪt ɪz æt taɪmz." -baɪ rɑb blaʊnt, ˈriʤənəl ˈɛdɪtər (lɔŋ ˈaɪlənd, kɔrt, ənd nj*) -tˈwɪtər: -ˈfiʧər ˈfoʊˌtoʊ ˈkrɛdɪt: ˈfrɛdi kræft ˈfeɪsˌbʊk. rɪˈleɪtɪd poʊsts ˈrɑbənsən əˈməŋ ˈɛntriz fər nɛkst ˈɪrə 100 æt blaɪð ˈrɛdiz fər fɔl brɔl

join us on saturday, january 28, 2012 at noon for the biggest flipper bowl yet! the new year is almost here and that means flipper bowl is a month away! the new year is almost here and that means flipper bowl is a month away! the new year is almost here and that means flipper bowl is a month away! the new year is almost here and that means flipper bowl is a month away! join us on saturday, january 28, 2012 at noon for the biggest flipper bowl yet! the young associates board's flipper bowl has gotten so huge we've moved to one of the biggest bar venues in chicago - joe's on weed! this event has sold out in past years, so register by january and save $5 per person! get your team ready and sign up at http://www.events.org/flipperbowl. individual entry - now $35! (after january $40) team of 6 - now $210! (after january $240) spectator ticket - now $30! (after january $35) all proceeds from this event are donated to support pediatric brain tumor research and family support services at children's memorial hospital. check out the shining moments from flipper bowl ii! returning teams ...remember where you finished last year?

ʤɔɪn ˈjuˈɛs ɔn ˈsæˌtɪˌdeɪ, ˈʤænjuˌɛri 28 2012 æt nun fər ðə ˈbɪgəst ˈflɪpər boʊl jɛt! ðə nu jɪr ɪz ˈɔlˌmoʊst hir ənd ðət minz ˈflɪpər boʊl ɪz ə mənθ əˈweɪ! ðə nu jɪr ɪz ˈɔlˌmoʊst hir ənd ðət minz ˈflɪpər boʊl ɪz ə mənθ əˈweɪ! ðə nu jɪr ɪz ˈɔlˌmoʊst hir ənd ðət minz ˈflɪpər boʊl ɪz ə mənθ əˈweɪ! ðə nu jɪr ɪz ˈɔlˌmoʊst hir ənd ðət minz ˈflɪpər boʊl ɪz ə mənθ əˈweɪ! ʤɔɪn ˈjuˈɛs ɔn ˈsæˌtɪˌdeɪ, ˈʤænjuˌɛri 28 2012 æt nun fər ðə ˈbɪgəst ˈflɪpər boʊl jɛt! ðə jəŋ əˈsoʊʃiˌeɪts bɔrdz ˈflɪpər boʊl həz ˈgɔtən soʊ juʤ wiv muvd tɪ wən əv ðə ˈbɪgəst bɑr ˈvɛnuz ɪn ʃəˈkɑˌgoʊ ʤoʊz ɔn wid! ðɪs ɪˈvɛnt həz soʊld aʊt ɪn pæst jɪrz, soʊ ˈrɛʤɪstər baɪ ˈʤænjuˌɛri ənd seɪv 5 pər ˈpərsən! gɪt jʊr tim ˈrɛdi ənd saɪn əp æt http://www.events.org/flipperbowl*. ˌɪndəˈvɪʤəwəl ˈɛntri naʊ 35 (ˈæftər ˈʤænjuˌɛri 40 tim əv 6 naʊ 210 (ˈæftər ˈʤænjuˌɛri 240 ˈspɛkteɪtər ˈtɪkɪt naʊ 30 (ˈæftər ˈʤænjuˌɛri 35 ɔl prəˈsidz frəm ðɪs ɪˈvɛnt ər ˈdoʊˌneɪtɪd tɪ səˈpɔrt ˌpidiˈætrɪk breɪn ˈtumər ˈrisərʧ ənd ˈfæməli səˈpɔrt ˈsərvɪsɪz æt ˈʧɪldrənz məˈmɔriəl ˈhɑˌspɪtəl. ʧɛk aʊt ðə ˈʃaɪnɪŋ ˈmoʊmənts frəm ˈflɪpər boʊl ii*! rɪˈtərnɪŋ timz ...rɪˈmɛmbər wɛr ju ˈfɪnɪʃt læst jɪr?

haunting past: the 63 tombstones at in today lie neglected haunting past: the 63 tombstones at in today lie neglected history is not just about quests and conquests. beyond the ramparts and the battlefields there were the ordinary men and women, the farmers, the shopkeepers, the housewives, the blacksmiths, the servants, who worked to keep the empires going. but their narratives lie frozen and unheard amidst the dead debris of time. if you look around carefully, you will find that every place has a nook or cranny which records history. it could be a decaying log hut, an inscription on the rocks, perhaps a path long and overrun by weeds. all these have their own stories to tell. there's such a corner in with a sad tale to relate. the rows of tombstones there tell a story that is redolent of the days when the world revolved around men, when women wilfully or otherwise immolated themselves on their husband's funeral pyre. they recall insane acts, like those of sultan ibrahim of the ottoman empire who drowned his entire harem when he was told that one of them enjoyed a relationship with a eunuch. a concubine swam free and lived to tell the tale. none of the 63 noble women of survived to recount their horrific experience. it was the year 1658, when ali of the dynasty was preparing to go to war against, the indefatigable ruler. under constant pressure from on one side and on the other, depended on his generals to stall the enemies, and he counted general khan among his most trusted warriors. khan was a brave man who had but one weakness: and omens. when asked to lead a battle against, khan contacted astrologers who predicted doom - death at the hands of the soldiers. fearing that his wives would remarry after his death, the anxious general chose to kill them. some say they were pushed into a deep well, while others say they fell to his sword. the proved correct, for khan did die in battle. his wives lie buried just 5 from at a place that now bears titular testimony to the - (60 graves). ironically, the tomb built by the general for himself, who wanted to be close to his wives in life and in death, stands adjacent to the burial ground surrounded by fields. the site has now been declared to be of national importance under the ancient monuments and archaeological sites and remains act 1958 and is under the jurisdiction of the archaeological survey of india (asi). but official acceptance of responsibility for its upkeep is not too evident. the tombstones are scarred by graffiti, and people often come to the shady spot for rest or boisterous fun. "people need to hear the stories that cry out from these graves," says maashelkar, 65, who owns four acres of land besides the graveyard. he laments that there is not even a proper road leading to the monument. another inhabitant of the area, kalbargi, adds, "this town is full of such monuments but there is not much awareness about them." apart from the famous gumbaz,, or the "city of victory", has 50 mosques and 20 historic tombs. but the has no money to protect them. "we are working on a tight budget," says a. venkateshiah, archaeologist of the's circle, under whose jurisdiction falls. another resident, kumar, until recently the union minister for tourism and culture, explained that since the had an annual budget of only 156 crore, after meeting staff salaries and other expenses it was left with a mere to spend per monument. "many in the government dismiss the as only a grave, forgetting the taj mahal too is only a mausoleum," adds v. hari, a local resident who feels the site could become a tourist attraction. karnataka tourism minister baig says's monuments are being considered in a plan the government is drawing up to promote tourism in the state. till the plan becomes a reality, very few will know of a general who so loved his wives that he murdered them.

ˈhɔntɪŋ pæst: ðə 63 ˈtumˌstoʊnz æt ɪn təˈdeɪ laɪ nɪˈglɛktɪd ˈhɔntɪŋ pæst: ðə 63 ˈtumˌstoʊnz æt ɪn təˈdeɪ laɪ nɪˈglɛktɪd ˈhɪstəri ɪz nɑt ʤɪst əˈbaʊt kwɛsts ənd ˈkɑnkˌwɛsts. bɪɔnd ðə ˈræmˌpɑrts ənd ðə ˈbætəlˌfildz ðɛr wər ðə ˈɔrdəˌnɛri mɛn ənd ˈwɪmən, ðə ˈfɑrmərz, ðə ˈʃɑpˌkipərz, ðə ˈhaʊsˌwaɪvz, ðə blacksmiths*, ðə ˈsərvənts, hu wərkt tɪ kip ðə ˈɛmpaɪərz goʊɪŋ. bət ðɛr ˈnɛrətɪvz laɪ ˈfroʊzən ənd ənˈhərd əˈmɪdst ðə dɛd dəˈbri əv taɪm. ɪf ju lʊk əraʊnd ˈkɛrfəli, ju wɪl faɪnd ðət ˈɛvəri pleɪs həz ə nʊk ər ˈkræni wɪʧ ˈrɛkərdz ˈhɪstəri. ɪt kʊd bi ə dɪˈkeɪɪŋ lɔg hət, ən ˌɪnˈskrɪpʃən ɔn ðə rɑks, pərˈhæps ə pæθ lɔŋ ənd ˈoʊvərˌrən baɪ widz. ɔl ðiz hæv ðɛr oʊn ˈstɔriz tɪ tɛl. ðɛrz səʧ ə ˈkɔrnər ɪn wɪθ ə sæd teɪl tɪ rɪˈleɪt. ðə roʊz əv ˈtumˌstoʊnz ðɛr tɛl ə ˈstɔri ðət ɪz ˈrɛdələnt əv ðə deɪz wɪn ðə wərld riˈvɑlvd əraʊnd mɛn, wɪn ˈwɪmən ˈwɪlfəli ər ˈəðərˌwaɪz ˈɪməˌleɪtəd ðɛmˈsɛlvz ɔn ðɛr ˈhəzbəndz fˈjunərəl paɪər. ðeɪ ˈriˌkɔl ˌɪnˈseɪn ækts, laɪk ðoʊz əv ˈsəltən ˌɪbrɑˈhim əv ðə ˈɑtəmən ˈɛmpaɪər hu draʊnd hɪz ɪnˈtaɪər ˈhɛrəm wɪn hi wɑz toʊld ðət wən əv ðɛm ˌɛnˈʤɔɪd ə riˈleɪʃənˌʃɪp wɪθ ə ˈjunək. ə ˈkɑnkjəˌbaɪn swæm fri ənd lɪvd tɪ tɛl ðə teɪl. nən əv ðə 63 ˈnoʊbəl ˈwɪmən əv sərˈvaɪvd tɪ ˌriˈkaʊnt ðɛr hɔˈrɪfɪk ɪkˈspɪriəns. ɪt wɑz ðə jɪr 1658 wɪn ˈɑli əv ðə ˈdaɪnəsti wɑz pərˈpɛrɪŋ tɪ goʊ tɪ wɔr əˈgɛnst, ðə ˌɪndɪˈfætɪgəbəl ˈrulər. ˈəndər ˈkɑnstənt ˈprɛʃər frəm ɔn wən saɪd ənd ɔn ðə ˈəðər, dɪˈpɛndɪd ɔn hɪz ˈʤɛnərəlz tɪ stɔl ðə ˈɛnəmiz, ənd hi ˈkaʊntɪd ˈʤɛnərəl kɑn əˈməŋ hɪz moʊst ˈtrəstɪd ˈwɔrjərz. kɑn wɑz ə breɪv mæn hu hæd bət wən ˈwiknəs: ənd ˈoʊmənz. wɪn æst tɪ lɛd ə ˈbætəl əˈgɛnst, kɑn ˈkɑnˌtæktɪd əˈstrɑləʤərz hu prɪˈdɪktɪd dum dɛθ æt ðə hænz əv ðə ˈsoʊlʤərz. ˈfɪrɪŋ ðət hɪz waɪvz wʊd riˈmɛri ˈæftər hɪz dɛθ, ðə ˈæŋʃəs ˈʤɛnərəl ʧoʊz tɪ kɪl ðɛm. səm seɪ ðeɪ wər pʊʃt ˈɪntu ə dip wɛl, waɪl ˈəðərz seɪ ðeɪ fɛl tɪ hɪz sɔrd. ðə pruvd kərˈɛkt, fər kɑn dɪd daɪ ɪn ˈbætəl. hɪz waɪvz laɪ ˈbɛrid ʤɪst 5 frəm æt ə pleɪs ðət naʊ bɛrz ˈtɪʧələr ˈtɛstɪˌmoʊni tɪ ðə 60 greɪvz). aɪˈrɑnɪkli, ðə tum bɪlt baɪ ðə ˈʤɛnərəl fər hɪmˈsɛlf, hu ˈwɔntɪd tɪ bi kloʊz tɪ hɪz waɪvz ɪn laɪf ənd ɪn dɛθ, stændz əˈʤeɪsənt tɪ ðə ˈbɛriəl graʊnd sərˈaʊndɪd baɪ fildz. ðə saɪt həz naʊ bɪn dɪˈklɛrd tɪ bi əv ˈnæʃənəl ˌɪmˈpɔrtəns ˈəndər ðə ˈeɪnʧənt ˈmɑnjəmənts ənd ˌɑrkiəˈlɑʤɪkəl saɪts ənd rɪˈmeɪnz ækt 1958 ənd ɪz ˈəndər ðə ˌʤʊrɪsˈdɪkʃən əv ðə ˌɑrkiəˈlɑʤɪkəl ˈsərˌveɪ əv ˈɪndiə (asi*). bət əˈfɪʃəl əkˈsɛptəns əv riˌspɑnsəˈbɪləti fər ɪts ˈəpˌkip ɪz nɑt tu ˈɛvədənt. ðə ˈtumˌstoʊnz ər skɑrd baɪ grəˈfiti, ənd ˈpipəl ˈɔfən kəm tɪ ðə ˈʃeɪdi spɑt fər rɛst ər ˈbɔɪstərəs fən. "ˈpipəl nid tɪ hir ðə ˈstɔriz ðət kraɪ aʊt frəm ðiz greɪvz," sɪz maashelkar*, 65 hu oʊnz fɔr ˈeɪkərz əv lænd ˌbiˈsaɪdz ðə ˈgreɪvˌjɑrd. hi ləˈmɛnts ðət ðɛr ɪz nɑt ˈivɪn ə ˈprɑpər roʊd ˈlidɪŋ tɪ ðə ˈmɑnjəmənt. əˈnəðər ˌɪnˈhæbɪtənt əv ðə ˈɛriə, kalbargi*, ædz, "ðɪs taʊn ɪz fʊl əv səʧ ˈmɑnjəmənts bət ðɛr ɪz nɑt məʧ əˈwɛrnəs əˈbaʊt ðɛm." əˈpɑrt frəm ðə ˈfeɪməs gumbaz*,, ər ðə "ˈsɪti əv ˈvɪktəri", həz 50 mɔsks ənd 20 hɪˈstɔrɪk tumz. bət ðə həz noʊ ˈməni tɪ prəˈtɛkt ðɛm. "wi ər ˈwərkɪŋ ɔn ə taɪt ˈbəʤɪt," sɪz ə. venkateshiah*, ˌɑrkiˈɑləʤɪst əv ðə ˈsərkəl, ˈəndər huz ˌʤʊrɪsˈdɪkʃən fɔlz. əˈnəðər ˈrɛzɪdənt, kuˈmɑr, ənˈtɪl ˈrisəntli ðə ˈjunjən ˈmɪnɪstər fər ˈtʊˌrɪzəm ənd ˈkəlʧər, ɪkˈspleɪnd ðət sɪns ðə hæd ən ˈænjuəl ˈbəʤɪt əv ˈoʊnli 156 crore*, ˈæftər ˈmitɪŋ stæf ˈsæləriz ənd ˈəðər ɪkˈspɛnsɪz ɪt wɑz lɛft wɪθ ə mɪr tɪ spɛnd pər ˈmɑnjəmənt. "ˈmɛni ɪn ðə ˈgəvərnmənt dɪsˈmɪs ðə ɛz ˈoʊnli ə greɪv, fərˈgɛtɪŋ ðə tɑʒ məˈhɑl tu ɪz ˈoʊnli ə ˌmɔsəˈliəm," ædz vi. ˈhɑri, ə ˈloʊkəl ˈrɛzɪdənt hu filz ðə saɪt kʊd bɪˈkəm ə ˈtʊrɪst əˈtrækʃən. ˈtʊˌrɪzəm ˈmɪnɪstər beɪg sɪz ˈmɑnjəmənts ər biɪŋ kənˈsɪdərd ɪn ə plæn ðə ˈgəvərnmənt ɪz drɔɪŋ əp tɪ prəˈmoʊt ˈtʊˌrɪzəm ɪn ðə steɪt. tɪl ðə plæn bɪˈkəmz ə ˌriˈæləˌti, ˈvɛri fju wɪl noʊ əv ə ˈʤɛnərəl hu soʊ ləvd hɪz waɪvz ðət hi ˈmərdərd ðɛm.

the youngest person arrested was 13. all of the kids were handcuffed, cursed at and humiliated, and several spent 30 hours or more in jail. to date, there has been no evidence produced no witnesses, no photographs or videotapes, no dented vehicles or broken mirrors, nothing whatsoever to indicate that any of the youngsters had done anything at all that was wrong. how is it that you can have a rampage in broad daylight on a street in new york city and not be able to show in any way that the rampage occurred? photo at least 22 of the 32 people arrested have had their charges dismissed or were never formally charged at all. no one has been convicted of anything. the case against anderson was dropped last month after his lawyer, ron kuby, filed a motion demanding that mr. office produce documentary evidence of the youngsters misbehaving. no evidence was produced. instead, an assistant district attorney moved to have the charges against mr. anderson dismissed, acknowledging that the case against the defendant could not be proved. i’d like to know why, after the better part of a year, the authorities are still tormenting some of these kids. why are charges still hanging over 10 of them? why should it take more than nine months to resolve charges of unlawful assembly and disorderly conduct? newsletter sign up continue reading the main story please verify you're not a robot by clicking the box. invalid email address. please re-enter. you must select a newsletter to subscribe to. sign up you will receive emails containing news content , updates and promotions from the new york times. you may at any time. you agree to receive occasional updates and special offers for the new york times's products and services. thank you for subscribing. an error has occurred. please try again later. view all new york times newsletters. a number of the kids have missed days at school to show up for court dates at which nothing of consequence happens. asher callender, a senior at community high school, had to go to court on friday, only to have his case postponed again until march 3. these are not gangsters. these are not drug dealers. these are kids who were trying to go to a wake for a friend. it was not the kids who were out of control, it was the criminal justice system, which seem to tell the difference between right and wrong, between the truth and deliberate lies, or between justice on the one hand and gratuitously cruel behavior by public officials on the other. advertisement continue reading the main story all the charges in this case should be dropped and police commissioner ray kelly, who apparently wants to be mayor of this city, and district attorney hynes should offer the kids a public apology. the authorities have become accustomed to treating disadvantaged young people in new york city like dirt and getting away with it. in this case, local school officials, community residents and the civic group make the road new york rallied to the youngsters’ cause. neither the police nor the district attorney expected to be confronted in any kind of sustained way over their treatment of these kids. mr. hynes said on the radio program: “none of these kids are going to be prosecuted. not going to go to jail ... we are going to offer every one of them community service.” what he meant was that he expected the kids to go quietly, to plead guilty and passively accept the blot on their records and what he thought of as mild punishment. but the kids had a surprise for him. they refused to plead guilty to something they done. ten of them are still paying the price for standing up for themselves.

ðə ˈjəŋgəst ˈpərsən ərˈɛstɪd wɑz 13 ɔl əv ðə kɪdz wər ˈhændˌkəft, kərst æt ənd hjuˈmɪliˌeɪtɪd, ənd ˈsɛvərəl spɛnt 30 aʊərz ər mɔr ɪn ʤeɪl. tɪ deɪt, ðɛr həz bɪn noʊ ˈɛvədəns prəˈdust noʊ ˈwɪtnəsɪz, noʊ ˈfoʊtəˌgræfs ər ˈvɪdioʊˈteɪps, noʊ ˈdɛntɪd ˈviɪkəlz ər ˈbroʊkən ˈmɪrərz, ˈnəθɪŋ ˌwətsoʊˈɛvər tɪ ˈɪndəˌkeɪt ðət ˈɛni əv ðə ˈjəŋstərz hæd dən ˈɛniˌθɪŋ æt ɔl ðət wɑz rɔŋ. haʊ ɪz ɪt ðət ju kən hæv ə ˈræmˌpeɪʤ ɪn brɔd ˈdeɪˌlaɪt ɔn ə strit ɪn nu jɔrk ˈsɪti ənd nɑt bi ˈeɪbəl tɪ ʃoʊ ɪn ˈɛni weɪ ðət ðə ˈræmˌpeɪʤ əˈkərd? ˈfoʊˌtoʊ æt list 22 əv ðə 32 ˈpipəl ərˈɛstɪd hæv hæd ðɛr ˈʧɑrʤɪz dɪsˈmɪst ər wər ˈnɛvər ˈfɔrməli ʧɑrʤd æt ɔl. noʊ wən həz bɪn kənˈvɪktəd əv ˈɛniˌθɪŋ. ðə keɪs əˈgɛnst ˈændərsən wɑz drɑpt læst mənθ ˈæftər hɪz ˈlɔjər, rɑn ˈkjubi, faɪld ə ˈmoʊʃən dɪˈmændɪŋ ðət ˈmɪstər. ˈɔfəs ˈproʊdus ˌdɑkjəˈmɛnəri ˈɛvədəns əv ðə ˈjəŋstərz ˌmɪsbəˈheɪvɪŋ. noʊ ˈɛvədəns wɑz prəˈdust. ˌɪnˈstɛd, ən əˈsɪstənt ˈdɪstrɪkt əˈtərni muvd tɪ hæv ðə ˈʧɑrʤɪz əˈgɛnst ˈmɪstər. ˈændərsən dɪsˈmɪst, ækˈnɑlɪʤɪŋ ðət ðə keɪs əˈgɛnst ðə dɪˈfɛndənt kʊd nɑt bi pruvd. laɪk tɪ noʊ waɪ, ˈæftər ðə ˈbɛtər pɑrt əv ə jɪr, ðə əˈθɔrətiz ər stɪl ˈtɔrˌmɛntɪŋ səm əv ðiz kɪdz. waɪ ər ˈʧɑrʤɪz stɪl ˈhæŋɪŋ ˈoʊvər 10 əv ðɛm? waɪ ʃʊd ɪt teɪk mɔr ðən naɪn mənθs tɪ riˈzɑlv ˈʧɑrʤɪz əv ənˈlɔfəl əˈsɛmbli ənd dɪˈsɔrdərli ˈkɑndəkt? 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. ə ˈnəmbər əv ðə kɪdz hæv mɪst deɪz æt skul tɪ ʃoʊ əp fər kɔrt deɪts æt wɪʧ ˈnəθɪŋ əv ˈkɑnsəkwəns ˈhæpənz. ˈæʃər kəˈlɛndər, ə ˈsinjər æt kəmˈjunɪti haɪ skul, hæd tɪ goʊ tɪ kɔrt ɔn ˈfraɪˌdeɪ, ˈoʊnli tɪ hæv hɪz keɪs poʊstˈpoʊnd əˈgɛn ənˈtɪl mɑrʧ 3 ðiz ər nɑt ˈgæŋstərz. ðiz ər nɑt drəg ˈdilərz. ðiz ər kɪdz hu wər traɪɪŋ tɪ goʊ tɪ ə weɪk fər ə frɛnd. ɪt wɑz nɑt ðə kɪdz hu wər aʊt əv kənˈtroʊl, ɪt wɑz ðə ˈkrɪmənəl ˈʤəstɪs ˈsɪstəm, wɪʧ sim tɪ tɛl ðə ˈdɪfərəns bɪtˈwin raɪt ənd rɔŋ, bɪtˈwin ðə truθ ənd dɪˈlɪbərˌeɪt laɪz, ər bɪtˈwin ˈʤəstɪs ɔn ðə wən hænd ənd grəˈtuətəsli kruəl bɪˈheɪvjər baɪ ˈpəblɪk əˈfɪʃəlz ɔn ðə ˈəðər. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ɔl ðə ˈʧɑrʤɪz ɪn ðɪs keɪs ʃʊd bi drɑpt ənd pəˈlis kəˈmɪʃənər reɪ ˈkɛli, hu əˈpɛrəntli wɔnts tɪ bi meɪər əv ðɪs ˈsɪti, ənd ˈdɪstrɪkt əˈtərni haɪnz ʃʊd ˈɔfər ðə kɪdz ə ˈpəblɪk əˈpɑləˌʤi. ðə əˈθɔrətiz hæv bɪˈkəm əˈkəstəmd tɪ ˈtritɪŋ ˌdɪsədˈvænɪʤd jəŋ ˈpipəl ɪn nu jɔrk ˈsɪti laɪk dərt ənd ˈgɪtɪŋ əˈweɪ wɪθ ɪt. ɪn ðɪs keɪs, ˈloʊkəl skul əˈfɪʃəlz, kəmˈjunɪti ˈrɛzɪdənts ənd ðə ˈsɪvɪk grup meɪk ðə roʊd nu jɔrk ˈrælid tɪ ðə youngsters’*’ kɔz. ˈniðər ðə pəˈlis nɔr ðə ˈdɪstrɪkt əˈtərni ɪkˈspɛktɪd tɪ bi kənˈfrəntɪd ɪn ˈɛni kaɪnd əv səˈsteɪnd weɪ ˈoʊvər ðɛr ˈtritmənt əv ðiz kɪdz. ˈmɪstər. haɪnz sɛd ɔn ðə ˈreɪdiˌoʊ ˈproʊˌgræm: əv ðiz kɪdz ər goʊɪŋ tɪ bi ˈprɑsɪˌkjutɪd. nɑt goʊɪŋ tɪ goʊ tɪ ʤeɪl wi ər goʊɪŋ tɪ ˈɔfər ˈɛvəri wən əv ðɛm kəmˈjunɪti service.”*.” wət hi mɛnt wɑz ðət hi ɪkˈspɛktɪd ðə kɪdz tɪ goʊ kˈwaɪətli, tɪ plid ˈgɪlti ənd ˈpæsɪvli əkˈsɛpt ðə blɑt ɔn ðɛr ˈrɛkərdz ənd wət hi θɔt əv ɛz maɪld ˈpənɪʃmənt. bət ðə kɪdz hæd ə səˈpraɪz fər ɪm. ðeɪ rɪfˈjuzd tɪ plid ˈgɪlti tɪ ˈsəmθɪŋ ðeɪ dən. tɛn əv ðɛm ər stɪl peɪɪŋ ðə praɪs fər ˈstændɪŋ əp fər ðɛmˈsɛlvz.

margaret thatcher and her chancellor sir geoffrey howe were behind a politically toxic plan in 1982 to dismantle the welfare state, newly released downing street documents show. she later attempted to distance herself from the plans after what was described as a "riot" in her cabinet. the proposals considered by her cabinet included compulsory charges for schooling and a massive scaling back of other public services. "this would of course mean the end of the national health service," declared a confidential cabinet memorandum by the central policy review staff in september 1982, released by the national archives on friday under the rule. nigel lawson, then the energy secretary, said the report by the official on long-term public spending options caused "the nearest thing to a cabinet riot in the history of the thatcher administration". in her memoirs, thatcher said: "i was horrified when i saw this paper. i pointed out that it would almost certainly be leaked and give a totally false impression it was all a total nonsense," claiming the proposals were never seriously considered by her or her ministers. but the 1982 cabinet papers show the politically explosive paper was discussed at a special extended cabinet discussion on 9 september that year. they show that thatcher and howe had been encouraging the to come up with such long-term radical options since february that year and that howe continued to defend them even after the cabinet "riot" described by lawson. as part of that revolt a version of the paper was leaked to the press, provoking labour accusations that thatcher had a secret agenda to dismantle the postwar welfare state a charge that continues to echo down the years. thatcher responded by famously promising in her 1982 conservative party conference speech in brighton that the was "safe with us" a claim that every conservative leader since has felt compelled to repeat. but the papers show the revised version of the paper that was leaked was mild in comparison with the original set of proposals and that thatcher's horror had more to do with the prospect of a leak than with the nature of its contents. the leaked version proposed introducing education vouchers, ending the state funding of higher education, freezing welfare benefits and an health service. but as john sparrow, the merchant banker thatcher had appointed to head the, complained to her when she demanded a more circumspect version, the revised paper "loses a large part of its punch". the original version went a lot further, including compulsory charges for schooling alongside a "drastic reduction in resources going to the public sector", university tuition fees and breaking the link that then existed between welfare benefits and prices. but the earlier most controversial privatisation proposal concerned the health service: "it is therefore worth considering aiming over a period to end the state provision of healthcare for the bulk of the population, so that medical facilities would be privately owned and run, and those seeking healthcare would be required to pay for it. "those who could not afford to pay would then have their charges met by the state, via some form of or reimbursement." the only exceptions might be the long-term institutional care of the "mentally handicapped, elderly" who "clearly could not afford to pay". one of those who worked on the paper was david cameron's current advisor on crime and policing, lord wasserman. the cabinet papers show gordon wasserman, who was on the's staff from, proposed cutting 25% of state school teachers in a background paper for the education section. the cabinet papers show that far from being some kind of surprise freelance operation, the report was encouraged and commissioned by thatcher and howe. as early as february, howe was pressing for a discussion on the future size and shape of the public sector. on 28 july, the downing street papers show that he told thatcher: "we should not be inhibited at this stage by such considerations as the alleged impossibility of change. a discussion of this kind would pave the way for some major strategic decisions affecting our as a government for the next parliament." howe proposed a treasury paper also be discussed at the special cabinet meeting on 9 september: "the pm agrees too that it would be useful if there were a paper pointing up some of the options open to us." thatcher said they should be "vigorously explored". on the eve of the meeting, the cabinet secretary, sir robert armstrong, told thatcher that howe had suggested "and you agreed" that the should be asked to prepare a paper outlining possible ways of making significant changes to the scale and pattern of public expenditure. armstrong said the value of the meeting lay in the chance for the cabinet to "lift its eyes from current preoccupations and to focus on what they like the shape of things in this country to be at the end of the decade. "at the extreme end, some may argue that any of the radical proposals discussed by the would be even more unacceptable than the prospect of unchanged policies. but the meeting will have failed in its purpose if ministers are not willing at least to contemplate the possibility of radical action," said armstrong, who went on to recommend that all options should be remitted for further study.

ˈmɑrgərɪt ˈθæʧər ənd hər ˈʧænsələr sər ˈʤɛfri haʊ wər bɪˈhaɪnd ə ˈplɪtɪkli ˈtɑksɪk plæn ɪn 1982 tɪ dɪsˈmænəl ðə ˈwɛlˌfɛr steɪt, ˈnuli riˈlist ˈdaʊnɪŋ strit ˈdɑkjəmənts ʃoʊ. ʃi ˈleɪtər əˈtɛmptəd tɪ ˈdɪstəns hərˈsɛlf frəm ðə plænz ˈæftər wət wɑz dɪˈskraɪbd ɛz ə "raɪət" ɪn hər ˈkæbənət. ðə prəˈpoʊzəlz kənˈsɪdərd baɪ hər ˈkæbənət ˌɪnˈkludɪd kəmˈpəlsəri ˈʧɑrʤɪz fər ˈskulɪŋ ənd ə ˈmæsɪv ˈskeɪlɪŋ bæk əv ˈəðər ˈpəblɪk ˈsərvɪsɪz. "ðɪs wʊd əv kɔrs min ðə ɛnd əv ðə ˈnæʃənəl hɛlθ ˈsərvɪs," dɪˈklɛrd ə ˌkɑnfəˈdɛnʃəl ˈkæbənət ˌmɛmərˈændəm baɪ ðə ˈsɛntrəl ˈpɑləsi ˌrivˈju stæf ɪn sɛpˈtɛmbər 1982 riˈlist baɪ ðə ˈnæʃənəl ˈɑrˌkaɪvz ɔn ˈfraɪˌdeɪ ˈəndər ðə rul. ˈnaɪʤəl ˈlɔsən, ðɛn ðə ˈɛnərʤi ˈsɛkrəˌtɛri, sɛd ðə rɪˈpɔrt baɪ ðə əˈfɪʃəl ɔn ˈlɔŋˈtərm ˈpəblɪk ˈspɛndɪŋ ˈɔpʃənz kɔzd "ðə ˈnɪrəst θɪŋ tɪ ə ˈkæbənət raɪət ɪn ðə ˈhɪstəri əv ðə ˈθæʧər ædˌmɪnɪˈstreɪʃən". ɪn hər ˈmɛmˌwɑrz, ˈθæʧər sɛd: "aɪ wɑz ˈhɔrəˌfaɪd wɪn aɪ sɔ ðɪs ˈpeɪpər. aɪ ˈpɔɪntɪd aʊt ðət ɪt wʊd ˈɔlˌmoʊst ˈsərtənli bi likt ənd gɪv ə ˈtoʊtəli fɔls ˌɪmˈprɛʃən ɪt wɑz ɔl ə ˈtoʊtəl ˈnɑnsɛns," ˈkleɪmɪŋ ðə prəˈpoʊzəlz wər ˈnɛvər ˈsɪriəsli kənˈsɪdərd baɪ hər ər hər ˈmɪnɪstərz. bət ðə 1982 ˈkæbənət ˈpeɪpərz ʃoʊ ðə ˈplɪtɪkli ɪkˈsploʊsɪv ˈpeɪpər wɑz dɪˈskəst æt ə ˈspɛʃəl ɪkˈstɛndɪd ˈkæbənət dɪˈskəʃən ɔn 9 sɛpˈtɛmbər ðət jɪr. ðeɪ ʃoʊ ðət ˈθæʧər ənd haʊ hæd bɪn ɪnˈkərəʤɪŋ ðə tɪ kəm əp wɪθ səʧ ˈlɔŋˈtərm ˈrædɪkəl ˈɔpʃənz sɪns ˈfɛbruˌɛri ðət jɪr ənd ðət haʊ kənˈtɪnjud tɪ dɪˈfɛnd ðɛm ˈivɪn ˈæftər ðə ˈkæbənət "raɪət" dɪˈskraɪbd baɪ ˈlɔsən. ɛz pɑrt əv ðət rɪˈvoʊlt ə ˈvərʒən əv ðə ˈpeɪpər wɑz likt tɪ ðə prɛs, prəˈvoʊkɪŋ ˈleɪbər ˌækjəˈzeɪʃənz ðət ˈθæʧər hæd ə ˈsikrɪt əˈʤɛndə tɪ dɪsˈmænəl ðə ˈpoʊstˈwɔr ˈwɛlˌfɛr steɪt ə ʧɑrʤ ðət kənˈtɪnjuz tɪ ˈɛkoʊ daʊn ðə jɪrz. ˈθæʧər rɪˈspɑndɪd baɪ ˈfeɪməsli ˈprɑməsɪŋ ɪn hər 1982 kənˈsərvətɪv ˈpɑrti ˈkɑnfərəns spiʧ ɪn ˈbraɪtən ðət ðə wɑz "seɪf wɪθ ˈjuˈɛs" ə kleɪm ðət ˈɛvəri kənˈsərvətɪv ˈlidər sɪns həz fɛlt kəmˈpɛld tɪ rɪˈpit. bət ðə ˈpeɪpərz ʃoʊ ðə rɪˈvaɪzd ˈvərʒən əv ðə ˈpeɪpər ðət wɑz likt wɑz maɪld ɪn kəmˈpɛrəsən wɪθ ðə ərˈɪʤənəl sɛt əv prəˈpoʊzəlz ənd ðət ˈθæʧərz ˈhɔrər hæd mɔr tɪ du wɪθ ðə ˈprɑspɛkt əv ə lik ðən wɪθ ðə ˈneɪʧər əv ɪts ˈkɑntɛnts. ðə likt ˈvərʒən prəˈpoʊzd ˌɪntrəˈdusɪŋ ˌɛʤəˈkeɪʃən ˈvaʊʧərz, ˈɛndɪŋ ðə steɪt ˈfəndɪŋ əv haɪər ˌɛʤəˈkeɪʃən, ˈfrizɪŋ ˈwɛlˌfɛr ˈbɛnəfɪts ənd ən hɛlθ ˈsərvɪs. bət ɛz ʤɑn ˈspɛroʊ, ðə ˈmərʧənt ˈbæŋkər ˈθæʧər hæd əˈpɔɪntɪd tɪ hɛd ðə, kəmˈpleɪnd tɪ hər wɪn ʃi dɪˈmændɪd ə mɔr ˈsərkəmˌspɛkt ˈvərʒən, ðə rɪˈvaɪzd ˈpeɪpər "ˈluzɪz ə lɑrʤ pɑrt əv ɪts pənʧ". ðə ərˈɪʤənəl ˈvərʒən wɛnt ə lɔt ˈfərðər, ˌɪnˈkludɪŋ kəmˈpəlsəri ˈʧɑrʤɪz fər ˈskulɪŋ əˈlɔŋˈsaɪd ə "ˈdræstɪk rɪˈdəkʃən ɪn ˈrisɔrsɪz goʊɪŋ tɪ ðə ˈpəblɪk ˈsɛktər", ˌjunəˈvərsəti tjuˈɪʃən fiz ənd ˈbreɪkɪŋ ðə lɪŋk ðət ðɛn ɪgˈzɪstəd bɪtˈwin ˈwɛlˌfɛr ˈbɛnəfɪts ənd ˈpraɪsɪz. bət ðə ˈərliər moʊst ˌkɑntrəˈvərʃəl ˈpraɪvətəˈzeɪʃən prəˈpoʊzəl kənˈsərnd ðə hɛlθ ˈsərvɪs: "ɪt ɪz ˈðɛrˌfɔr wərθ kənˈsɪdərɪŋ ˈeɪmɪŋ ˈoʊvər ə ˈpɪriəd tɪ ɛnd ðə steɪt prəˈvɪʒən əv ˈhɛlθˌkɛr fər ðə bəlk əv ðə ˌpɑpjəˈleɪʃən, soʊ ðət ˈmɛdɪkəl fəˈsɪlɪtiz wʊd bi ˈpraɪvətli oʊnd ənd rən, ənd ðoʊz ˈsikɪŋ ˈhɛlθˌkɛr wʊd bi rikˈwaɪərd tɪ peɪ fər ɪt. "ðoʊz hu kʊd nɑt əˈfɔrd tɪ peɪ wʊd ðɛn hæv ðɛr ˈʧɑrʤɪz mɛt baɪ ðə steɪt, ˈviə səm fɔrm əv ər ˌriɪmˈbərsmənt." ðə ˈoʊnli ɪkˈsɛpʃənz maɪt bi ðə ˈlɔŋˈtərm ˌɪnstɪˈtuʃənəl kɛr əv ðə "ˈmɛnəli ˈhændiˌkæpt, ˈɛldərli" hu "ˈklɪrli kʊd nɑt əˈfɔrd tɪ peɪ". wən əv ðoʊz hu wərkt ɔn ðə ˈpeɪpər wɑz ˈdeɪvɪd ˈkæmərənz ˈkɑrənt ædˈvaɪzər ɔn kraɪm ənd pəˈlisɪŋ, lɔrd ˈwɑsərmən. ðə ˈkæbənət ˈpeɪpərz ʃoʊ ˈgɔrdən ˈwɑsərmən, hu wɑz ɔn ðə stæf frəm prəˈpoʊzd ˈkətɪŋ 25 əv steɪt skul ˈtiʧərz ɪn ə ˈbækˌgraʊnd ˈpeɪpər fər ðə ˌɛʤəˈkeɪʃən ˈsɛkʃən. ðə ˈkæbənət ˈpeɪpərz ʃoʊ ðət fɑr frəm biɪŋ səm kaɪnd əv səˈpraɪz ˈfriˌlæns ˌɑpərˈeɪʃən, ðə rɪˈpɔrt wɑz ɪnˈkərəʤd ənd kəˈmɪʃənd baɪ ˈθæʧər ənd haʊ. ɛz ˈərli ɛz ˈfɛbruˌɛri, haʊ wɑz ˈprɛsɪŋ fər ə dɪˈskəʃən ɔn ðə fˈjuʧər saɪz ənd ʃeɪp əv ðə ˈpəblɪk ˈsɛktər. ɔn 28 ˌʤuˈlaɪ, ðə ˈdaʊnɪŋ strit ˈpeɪpərz ʃoʊ ðət hi toʊld ˈθæʧər: "wi ʃʊd nɑt bi ˌɪnˈhɪbətɪd æt ðɪs steɪʤ baɪ səʧ kənˌsɪdərˈeɪʃənz ɛz ðə əˈlɛʤd ˌɪmˌpɔsɪˈbɪlɪti əv ʧeɪnʤ. ə dɪˈskəʃən əv ðɪs kaɪnd wʊd peɪv ðə weɪ fər səm ˈmeɪʤər strəˈtiʤɪk dɪˈsɪʒənz əˈfɛktɪŋ ɑr ɛz ə ˈgəvərnmənt fər ðə nɛkst ˈpɑrləmɛnt." haʊ prəˈpoʊzd ə ˈtrɛʒəri ˈpeɪpər ˈɔlsoʊ bi dɪˈskəst æt ðə ˈspɛʃəl ˈkæbənət ˈmitɪŋ ɔn 9 sɛpˈtɛmbər: "ðə piɛm əˈgriz tu ðət ɪt wʊd bi ˈjusfəl ɪf ðɛr wər ə ˈpeɪpər ˈpɔɪntɪŋ əp səm əv ðə ˈɔpʃənz ˈoʊpən tɪ ˈjuˈɛs." ˈθæʧər sɛd ðeɪ ʃʊd bi "ˈvɪgərəsli ɪkˈsplɔrd". ɔn ðə iv əv ðə ˈmitɪŋ, ðə ˈkæbənət ˈsɛkrəˌtɛri, sər ˈrɑbərt ˈɑrmˌstrɔŋ, toʊld ˈθæʧər ðət haʊ hæd səˈʤɛstɪd "ənd ju əˈgrid" ðət ðə ʃʊd bi æst tɪ priˈpɛr ə ˈpeɪpər ˈaʊˌtlaɪnɪŋ ˈpɑsəbəl weɪz əv ˈmeɪkɪŋ sɪgˈnɪfɪkənt ˈʧeɪnʤɪz tɪ ðə skeɪl ənd ˈpætərn əv ˈpəblɪk ɪkˈspɛndɪʧər. ˈɑrmˌstrɔŋ sɛd ðə ˈvælju əv ðə ˈmitɪŋ leɪ ɪn ðə ʧæns fər ðə ˈkæbənət tɪ "lɪft ɪts aɪz frəm ˈkɑrənt priˌɑkjəˈpeɪʃənz ənd tɪ ˈfoʊkɪs ɔn wət ðeɪ laɪk ðə ʃeɪp əv θɪŋz ɪn ðɪs ˈkəntri tɪ bi æt ðə ɛnd əv ðə ˈdɛkeɪd. "æt ðə ɪkˈstrim ɛnd, səm meɪ ˈɑrgju ðət ˈɛni əv ðə ˈrædɪkəl prəˈpoʊzəlz dɪˈskəst baɪ ðə wʊd bi ˈivɪn mɔr ˌənækˈsɛptəbəl ðən ðə ˈprɑspɛkt əv ənˈʧeɪnʤd ˈpɑləsiz. bət ðə ˈmitɪŋ wɪl hæv feɪld ɪn ɪts ˈpərpəs ɪf ˈmɪnɪstərz ər nɑt ˈwɪlɪŋ æt list tɪ ˈkɑntəmˌpleɪt ðə ˌpɑsəˈbɪləˌti əv ˈrædɪkəl ˈækʃən," sɛd ˈɑrmˌstrɔŋ, hu wɛnt ɔn tɪ ˌrɛkəˈmɛnd ðət ɔl ˈɔpʃənz ʃʊd bi riˈmɪtɪd fər ˈfərðər ˈstədi.

by ellen rabat dutch lawmaker was found not guilty of hate speech but guilty of discrimination and group insult. he will face no punishment. the verdict is in reference to comments, the leader of the freedom party, made about moroccans while campaigning in the hague in 2014. on camera, said of his campaign: ‘they are voting for a safer and more social city with fewer problems and, if possible, fewer moroccans.’ also asked the audience at a rally if they wanted ‘more or less moroccans’ and the crowd responded, as instructed, ‘less’. the comments were met with backlash from politicians, muslim organizations, and people. in december 2014, public prosecution announced its intent to take to court for discrimination and inciting hatred. during the case, judges wanted to determine whether the remarks were impulsive or planned in advance. they also wanted to address the fact that later claimed his remarks referred to ‘criminal moroccans’ while simultaneously refusing to withdraw his statements previously made in the hague. the public prosecutor also argued that used rhetoric to ‘drive the room’, saying ‘the unnecessarily hurtful nature of the statements can exist without foul language. the grievance lies mainly in the tone of speech, and inflammatory failed as a politician.’ the court found not guilty of hate speech, as his comments were not a call for violence. however, he was found guilty of discrimination and group insult. it was ‘legally and convincingly proven’ that had insulted moroccans as an ethnic group, violating the international convention on the elimination of all forms of racial discrimination. he will not pay a fine, as the prosecution requested, as the court ruled that a criminal conviction was sufficient punishment. three hating judges declare that moroccans are a race and convict me and half of the netherlands. madness. (@geertwilderspvv) december 9, 2016 wilders questioned the legitimacy of the court, and his lawyer announced that they will appeal the decision.

baɪ ˈɛlən dəʧ ˈlɔˌmeɪkər wɑz faʊnd nɑt ˈgɪlti əv heɪt spiʧ bət ˈgɪlti əv dɪˌskrɪməˈneɪʃən ənd grup ˌɪnˈsəlt. hi wɪl feɪs noʊ ˈpənɪʃmənt. ðə ˈvərdɪkt ɪz ɪn ˈrɛfərəns tɪ ˈkɑmɛnts, ðə ˈlidər əv ðə ˈfridəm ˈpɑrti, meɪd əˈbaʊt mərˈɑkənz waɪl kæmˈpeɪnɪŋ ɪn ðə heɪg ɪn 2014 ɔn ˈkæmərə, sɛd əv hɪz kæmˈpeɪn: ər ˈvoʊtɪŋ fər ə ˈseɪfər ənd mɔr ˈsoʊʃəl ˈsɪti wɪθ fjuər ˈprɑbləmz ənd, ɪf ˈpɑsəbəl, fjuər moroccans.’*.’ ˈɔlsoʊ æst ðə ˈɔdiəns æt ə ˈræli ɪf ðeɪ ˈwɔntɪd ər lɛs moroccans’*’ ənd ðə kraʊd rɪˈspɑndɪd, ɛz ˌɪnˈstrəktɪd, ‘‘less’*’. ðə ˈkɑmɛnts wər mɛt wɪθ ˈbæˌklæʃ frəm ˌpɑləˈtɪʃənz, ˈməzlɪm ˌɔrgənəˈzeɪʃənz, ənd ˈpipəl. ɪn dɪˈsɛmbər 2014 ˈpəblɪk ˌprɑsəˈkjuʃən əˈnaʊnst ɪts ˌɪnˈtɛnt tɪ teɪk tɪ kɔrt fər dɪˌskrɪməˈneɪʃən ənd ˌɪnˈsaɪtɪŋ ˈheɪtrəd. ˈdʊrɪŋ ðə keɪs, ˈʤəʤɪz ˈwɔntɪd tɪ dɪˈtərmən ˈwɛðər ðə rɪˈmɑrks wər ˌɪmˈpəlsɪv ər plænd ɪn ədˈvæns. ðeɪ ˈɔlsoʊ ˈwɔntɪd tɪ ˈæˌdrɛs ðə fækt ðət ˈleɪtər kleɪmd hɪz rɪˈmɑrks rɪˈfərd tɪ moroccans’*’ waɪl ˌsaɪməlˈteɪniəsli rɪfˈjuzɪŋ tɪ wɪθˈdrɔ hɪz ˈsteɪtmənts ˈpriviəsli meɪd ɪn ðə heɪg. ðə ˈpəblɪk ˈprɑsɪˌkjutər ˈɔlsoʊ ˈɑrgjud ðət juzd ˈrɛtərɪk tɪ ðə room’*’, seɪɪŋ ənˈnɛsəˌsɛrəli ˈhərtfəl ˈneɪʧər əv ðə ˈsteɪtmənts kən ɪgˈzɪst wɪˈθaʊt faʊl ˈlæŋgwɪʤ. ðə ˈgrivəns laɪz ˈmeɪnli ɪn ðə toʊn əv spiʧ, ənd ɪnˈflæməˌtɔri feɪld ɛz ə politician.’*.’ ðə kɔrt faʊnd nɑt ˈgɪlti əv heɪt spiʧ, ɛz hɪz ˈkɑmɛnts wər nɑt ə kɔl fər ˈvaɪələns. ˌhaʊˈɛvər, hi wɑz faʊnd ˈgɪlti əv dɪˌskrɪməˈneɪʃən ənd grup ˌɪnˈsəlt. ɪt wɑz ənd kənˈvɪnsɪŋli proven’*’ ðət hæd ˌɪnˈsəltɪd mərˈɑkənz ɛz ən ˈɛθnɪk grup, ˈvaɪəleɪtɪŋ ðə ˌɪnərˈnæʃənɑl kənˈvɛnʃən ɔn ðə ɪˌlɪməˈneɪʃən əv ɔl fɔrmz əv ˈreɪʃəl dɪˌskrɪməˈneɪʃən. hi wɪl nɑt peɪ ə faɪn, ɛz ðə ˌprɑsəˈkjuʃən rɪkˈwɛstɪd, ɛz ðə kɔrt ruld ðət ə ˈkrɪmənəl kənˈvɪkʃən wɑz səˈfɪʃənt ˈpənɪʃmənt. θri ˈheɪtɪŋ ˈʤəʤɪz dɪˈklɛr ðət mərˈɑkənz ər ə reɪs ənd ˈkɑnvɪkt mi ənd hæf əv ðə ˈnɛðərləndz. ˈmædnəs. (@geertwilderspvv*) dɪˈsɛmbər 9 2016 kˈwɛsʧənd ðə lɪˈʤɪtəməsi əv ðə kɔrt, ənd hɪz ˈlɔjər əˈnaʊnst ðət ðeɪ wɪl əˈpil ðə dɪˈsɪʒən.

at the beginning? quite a bit. over time? not as much. in this paper we compare the labor market performance of israeli students who graduated from one of the leading universities, hebrew university (hu), with those who graduated from a professional undergraduate college, college of management academic studies (comas). our results support a model in which employers have good information about the quality of hu graduates and pay them according to their ability, but in which the market has relatively little information about comas graduates. hence, comas graduates are initially treated as if they were the average comas graduate, who is weaker [than an] hu graduate, consequently earning less than [hu] graduates. however, over time the market differentiates among them so that after several years of experience, comas and hu graduates with similar entry scores have similar earnings. our results are therefore consistent with the view that employers use education information to screen workers but that the market acquires information fairly rapidly.

æt ðə bɪˈgɪnɪŋ? kwaɪt ə bɪt. ˈoʊvər taɪm? nɑt ɛz məʧ. ɪn ðɪs ˈpeɪpər wi kəmˈpɛr ðə ˈleɪbər ˈmɑrkɪt pərˈfɔrməns əv ˌɪzˈreɪli ˈstudənts hu ˈgræʤəˌweɪtɪd frəm wən əv ðə ˈlidɪŋ ˌjunəˈvərsətiz, ˈhibru ˌjunəˈvərsəti (hu), wɪθ ðoʊz hu ˈgræʤəˌweɪtɪd frəm ə prəˈfɛʃənəl ˌəndərˈgræʤəwət ˈkɑlɪʤ, ˈkɑlɪʤ əv ˈmænɪʤmənt ˌækəˈdɛmɪk ˈstədiz (ˈkoʊməz). ɑr rɪˈzəlts səˈpɔrt ə ˈmɑdəl ɪn wɪʧ ɪmˈplɔɪərz hæv gʊd ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə kˈwɑləti əv hu ˈgræʤəˌweɪts ənd peɪ ðɛm əˈkɔrdɪŋ tɪ ðɛr əˈbɪləˌti, bət ɪn wɪʧ ðə ˈmɑrkɪt həz ˈrɛlətɪvli ˈlɪtəl ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˈkoʊməz ˈgræʤəˌweɪts. hɛns, ˈkoʊməz ˈgræʤəˌweɪts ər ˌɪˈnɪʃəli ˈtritɪd ɛz ɪf ðeɪ wər ðə ˈævərɪʤ ˈkoʊməz ˈgræʤəˌweɪt, hu ɪz ˈwikər [ðən ən] hu ˈgræʤəˌweɪt, ˈkɑnsəkˌwɛntli ˈərnɪŋ lɛs ðən [hu] ˈgræʤəˌweɪts. ˌhaʊˈɛvər, ˈoʊvər taɪm ðə ˈmɑrkɪt ˌdɪfərˈɛnʧiˌeɪts əˈməŋ ðɛm soʊ ðət ˈæftər ˈsɛvərəl jɪrz əv ɪkˈspɪriəns, ˈkoʊməz ənd hu ˈgræʤəˌweɪts wɪθ ˈsɪmələr ˈɛntri skɔrz hæv ˈsɪmələr ˈərnɪŋz. ɑr rɪˈzəlts ər ˈðɛrˌfɔr kənˈsɪstənt wɪθ ðə vju ðət ɪmˈplɔɪərz juz ˌɛʤəˈkeɪʃən ˌɪnˌfɔrˈmeɪʃən tɪ skrin ˈwərkərz bət ðət ðə ˈmɑrkɪt əkˈwaɪərz ˌɪnˌfɔrˈmeɪʃən ˈfɛrli ˈræpədli.

itty bitty songbird instructions if you are at chicago 2016 right now, you have one of these little guys on your display. as part of my duties as master 2015, i created 555 of these for the express purpose of pimping the on awards night. if yours falls apart, you now have instructions for putting him back together. a huge thanks goes out to members for helping me build the whole mess: meghan & ryan nelson, jim miller, derek medina, lester marcinkowski, donnie & lauren greenfield and jordan breithaupt. also dustin, & chase who stayed into the morning to get all the arms & heads done. thanks too, to my atomic goblin crew, & dave for the final full body assembly. and finally, thanks to mel, evan & adam for staying up all night in the event hall to help me make sure all the were properly pimped. you guys are awesome! medic!!! and thanks to nick and all the that is for making a space for all of us. done

ˈɪti ˈbɪti ˈsɔŋˌbərd ˌɪnˈstrəkʃənz ɪf ju ər æt ʃəˈkɑˌgoʊ 2016 raɪt naʊ, ju hæv wən əv ðiz ˈlɪtəl gaɪz ɔn jʊr dɪˈspleɪ. ɛz pɑrt əv maɪ ˈdutiz ɛz ˈmæstər 2015 aɪ kriˈeɪtɪd 555 əv ðiz fər ðə ɪkˈsprɛs ˈpərpəs əv ˈpɪmpɪŋ ðə ɔn əˈwɔrdz naɪt. ɪf jʊrz fɔlz əˈpɑrt, ju naʊ hæv ˌɪnˈstrəkʃənz fər ˈpʊtɪŋ ɪm bæk təˈgɛðər. ə juʤ θæŋks goʊz aʊt tɪ ˈmɛmbərz fər ˈhɛlpɪŋ mi bɪld ðə hoʊl mɛs: ˈmɛgən raɪən ˈnɛlsən, ʤɪm ˈmɪlər, ˈdɛrɪk məˈdinə, ˈlɛstər mərʧɪŋˈkɔfski, ˈdɑni ˈlɔrən ˈgrinˌfild ənd ˈʤɔrdən ˈbraɪθaʊpt. ˈɔlsoʊ ˈdəstɪn, ʧeɪs hu steɪd ˈɪntu ðə ˈmɔrnɪŋ tɪ gɪt ɔl ðə ɑrmz hɛdz dən. θæŋks tu, tɪ maɪ əˈtɑmɪk ˈgɑblɪn kru, deɪv fər ðə ˈfaɪnəl fʊl ˈbɑdi əˈsɛmbli. ənd ˈfaɪnəli, θæŋks tɪ mɛl, ˈɛvən ˈædəm fər steɪɪŋ əp ɔl naɪt ɪn ðə ɪˈvɛnt hɔl tɪ hɛlp mi meɪk ʃʊr ɔl ðə wər ˈprɑpərli pimped*. ju gaɪz ər ˈɔsəm! ˈmɛdɪk!!! ənd θæŋks tɪ nɪk ənd ɔl ðə ðət ɪz fər ˈmeɪkɪŋ ə speɪs fər ɔl əv ˈjuˈɛs. dən

this article is about the light machine gun. for the hunting rifle, see browning bar the browning automatic rifle (bar) is a family of american automatic rifles and machine guns used by the united states and numerous other countries during the century. the primary variant of the bar series was the, chambered for the .30-06 springfield rifle cartridge and designed by john browning in 1917 for the american expeditionary forces in europe as a replacement for the and benét–mercié machine guns that us forces had previously been issued. the bar was designed to be carried by infantrymen during an] advance while supported by the sling over the shoulder, or to be fired from the hip. this is a concept called "walking fire" thought to be necessary for the individual soldier during trench] the bar never entirely lived up to the original hopes of the war department as either a rifle or a machine] the u.s. army, in practice, used the bar as a light machine gun, often fired from a (introduced on models after] a variant of the original bar, the colt monitor machine rifle, remains the lightest production automatic firearm chambered for the .30-06 springfield cartridge, though the limited capacity of its standard magazine tended to hamper its utility in that] although the weapon did see some action in world war i, the bar did not become standard issue in the us army until 1938, when it was issued to squads as a portable light machine gun. the bar saw extensive service in both world war and the korean war and saw limited service in the vietnam war. the us army began phasing out the bar in the late 1950s, when it was intended to be replaced by a squad automatic weapon (saw) variant of the, and was without a portable light machine gun until the introduction of the machine gun in 1957. history [ edit ] john m. browning, the inventor of the rifle, and frank f. burton, the winchester expert on rifles, discussing the finer points of the bar at the winchester plant the us entered world war i with an inadequate, small, and obsolete assortment of domestic and foreign machine gun designs, due primarily to bureaucratic indecision and the lack of an established military doctrine for their employment. when the 1917 united states declaration of war on germany was announced on 6 april 1917, the high command was made aware that to fight this trench war, dominated bys, they had on hand a mere 670 benét–merciés, 282 maxims and 158 colts,] after much debate, it was finally agreed that a rapid rearmament with domestic weapons would be required, but until that time, us troops would be issued whatever the french and british had to offer. the arms donated by the french were often or surplus and chambered in lebel, further complicating logistics as machine gunners and infantrymen were issued different types of] development [ edit ] a live fire demonstration of the bar in front of military and government officials in 1917, prior to america's entry to the war, john browning personally brought to washington, d.c. two types of automatic weapons for the purposes of demonstration: a machine gun (later adopted as the browning machine gun) and a automatic rifle known then as the browning machine rifle or bmr, both chambered for the standard us .30-06 springfield] browning had arranged for a public demonstration of both weapons at a location in southern washington, d.c. known as congress] there, on 27 february 1917, in front of a crowd of 300 people (including military officials, congressmen, senators, foreign dignitaries and the press), browning staged a demonstration which so impressed the gathered crowd, that he was immediately awarded a contract for the weapon and it was hastily adopted into service (the machine gun underwent further] additional tests were conducted for us army ordnance officials at springfield armory in may 1917, and both weapons were unanimously recommended for immediate adoption. in order to avoid confusion with the machine gun, the bar came to be known as the or rifle, caliber .30, automatic, browning, according to official nomenclature. on 16 july 1917, bars were ordered from colt's patent firearms manufacturing company, which had secured an exclusive concession to manufacture the bar under browning's patents (browning's u.s. patent was owned by] however colt was already producing at peak capacity (contracted to manufacture the vickers machine gun for the british army) and requested a delay in production while they expanded their manufacturing output with a new facility in meriden, connecticut. due to the urgent need for the weapon, the request was denied and the winchester repeating arms company (wrac) was designated as the prime contractor. winchester gave valuable assistance in refining the bar's final design, correcting the drawings in preparation for mass] among the changes made, the ejection pattern was modified (spent casings were directed to the right side of the weapon instead of straight up). initial production [ edit ] 2nd lt. val browning with the browning automatic rifle in france since work on the gun did not begin until february 1918, so hurried was the schedule at winchester to bring the bar into full production that the first production batch of guns was delivered out of] it was discovered that many components did not interchange between rifles, and production was temporarily halted until manufacturing procedures were upgraded to bring the weapon up to] the initial contract with winchester called for bars. they were in full production by june 1918, delivering guns, and from july were turning out units per month. colt and corp. also began production shortly after winchester got into full production., burdened by a contract to make rifles for the belgian government, acquired the mayo radiator factory and used it exclusively to carry out production of the bar. the first unit from this source was delivered on 11 june 1918 and the company's peak output reached 200 automatic rifles per] colt had produced only bars by the time of the armistice due to the heavy demands of previous] these three companies produced a combined daily output of 706 rifles and a total of approximately bars were delivered by all sources by the end of the] between bars had been manufactured jointly by colt, winchester and. by july 1918 the bar had begun to arrive in france, and the first unit to receive them was the us army's infantry division, which took them into action for the first time on 13 september] the weapon was personally demonstrated against the enemy by lt. val allen browning, the] despite being introduced very late in the war, the bar made an impact disproportionate to its numbers; it was used extensively during the offensive and made a significant impression on the allies (france alone requested automatic rifles to replace their machine] us marines briefly took possession of the bar. troops from the first battalion of the sixth marines had talked the "doggies" of the us army's division into trading their bars for theirs. however, complaints from officers of the resulted in the issuance of a command from marine lt. col. harry lee on 9 october 1918: all browning guns and equipment in marine possession were to be turned] design details and accessories [ edit ] the is a selective-fire, automatic rifle using a gas-operated, piston rod by propellant gases bled through a vent in the barrel. the bolt is locked by a rising bolt lock. the weapon fires from an open bolt. the cartridge casing is contained in the bolt and a fixed is installed in the trigger group. the bar is (the bolt carrier serves as the striker) and uses a trigger mechanism with a fire lever that enables operating in either or fully automatic firing modes. the lever is located on the left side of the receiver and is simultaneously the manual safety lever in the "s" position weapon is safe, "f" fire, "a" automatic fire). the "safe" setting blocks the trigger. the weapon's barrel is screwed into the receiver and is not quickly detachable. the feeds using box magazines, although magazines were also used in an role; these were withdrawn from use in 1927. the has a cylindrical flash suppressor fitted to the muzzle end. the original bar was equipped with a fixed wooden and adjustable iron sights, consisting of a forward post and a rear leaf sight with 100 to yard (91-1,372 m) range graduations. as a heavy automatic rifle designed for support fire, the was not fitted with a bayonet mount and no bayonet was ever] only one experimental bayonet fitting was ever made for the bar by] this was a standard bayonet fitted at the winchester factory with a special muzzle ring. the bayonet was attached to a standard bar by means of a special experimental flash hider] this prototype hider assembly came from the winchester in-house factory museum in new haven, ct, with a tag printed on one side winchester repeating arms haven conn., and handwritten on the other side: combined flash hider, front sight and bayonet mount for automatic rifle model 1918 with bayonet and scabbard and the date september 7,] there is no evidence whatsoever of military adoption nor a military stock number, name or] variants and subsequent models [ edit ] the primary us variants. the early bar. during its lengthy service life, the bar underwent continuous development, receiving many improvements and modifications. the first major attempt at improving the resulted in the machine rifle, adopted by the united states cavalry in 1922 as a light machine gun. the weapon used a new heavy profile ribbed barrel, an adjustable spiked (mounted to a swiveling collar on the barrel) with a rear, monopod, a sling swivel and a new rear endplate, fixed to the stock retaining sleeve. the hand guard was changed, and in 1926 the bar's sights were redesigned to accommodate the m1 .30-06 ball ammunition then coming into service for use. an fbi special agent practices with the colt monitor (r 80). the monitor had a separate pistol grip and long, slotted cutts recoil. in 1931 the colt arms co. introduced the monitor automatic machine rifle (r 80), intended primarily for use by prison guards and] intended for use as a automatic rifle, the monitor omitted the, instead featuring a separate pistol grip and butt stock attached to a lightweight receiver, along with a shortened, 458 (18.0 in), barrel fitted with a (100) cutts] weighing 16 lb 3 oz (7.34) empty, the monitor had a rate of fire of approximately 500] around 125 were produced; 90 were purchased by the] eleven went to the us treasury department in 1934, while the rest went to various state prisons, banks, security companies and accredited police] although available for export sale, no examples appear to have been exported. in 1932 a greatly shortened version designed for bush warfare was developed by maj. h.l. smith and was the subject of an report by capt. merritt a. edson, ordnance officer at the depot in philadelphia,] the barrel was shortened nine inches (229) at the muzzle and the gas port and gas cylinder tube were relocated. the modified bar weighed 13 lb 12 oz (6.24) and was only inches (880) long] though it proved superior to the in accuracy when fired prone in automatic mode and equal in accuracy to the standard at ranges of yards (460–550 m) from a rest, it was less accurate when fired from the shoulder, and had a loud report combined with a fierce muzzle] attaching a cutts materially reduced the muzzle blast, but this was more than offset by the increase in smoke and dust at the muzzle when fired, obscuring the operator's] nor did it improve control of the weapon when fired in bursts of automatic] though the report recommended building six of these jungle bars for further evaluation, no further work was done on the] thea1, featuring a lightweight spiked with a leg height adjustment feature attached to the gas cylinder and a hinged steel butt plate, was formally approved on 24 june] thea1 was intended to increase the weapon's effectiveness and firing in bursts. relatively fews were rebuilt to the newa1 standard. in april 1938 work commenced on an improved bar for the us army. the army specified a need for a bar designed to serve in the role of a light machine gun for support fire. early prototypes were fitted withs as well as pistol grip housings and a unique mechanism purchased from] the rate mechanism performed well in trials, and the pistol grip housing enabled the operator to fire more comfortably from the prone position. however, in 1939 the army declared that all modifications to the basic bar be capable of being retrofitted to earlier guns with no loss of parts] this effectively killed the-designed pistol grip and its proven rate mechanism for the new] final development of thea2 was authorized on 30 june] the-designed pistol grip and mechanism with two rates of automatic fire was shelved in favor of a mechanism designed by springfield armory, and housed in the butt stock. the springfield armory rate also provided two rates of fully automatic fire only, activated by engaging the toggle. additionally, a was fitted to the muzzle end of the barrel, magazine guides were added to the front of the trigger guard, the hand guard was shortened, a heat shield was added to help the cooling process, a small separate stock rest (monopod) was included for attachment to the butt and the weapon's role was changed to that of a squad light machine gun. the bar's rear sight scales were also modified to accommodate the newly standardized m2 ball ammunition with its lighter, bullet. thea2's walnut butt stock is approximately one inch (2.5 cm) longer than the bar's butt] thea2's barrel was also fitted with a new flash suppressor and fully adjustable iron sights. late in the war a carrying handle was added. because of budget limitations initiala2 production consisted of conversions of older bars (remaining in surplus) along with a limited number ofs anda1s. after the outbreak of war, attempts to ramp up newa2 production were stymied by the discovery that the world war i tooling used to produce the was either worn out or incompatible with modern production] new production was first undertaken at the new england small arms corp. and international business machines corp. (a total of new weapons were manufactured). in 1942 a shortage of black walnut for butt stocks and grips led to the development of a black plastic butt stock for the] composed of a mixture of and resinox, and impregnated with shredded fabric, the stocks were sandblasted to reduce] the firestone rubber and latex products co. produced the plastic butt stock for the us army, which was formally adopted on march 21,] the machine rifle was declared obsolete in 1940, but they were used by merrill's marauders in burma later in the war as a slightly lighter alternative to thea2. production rates greatly increased in 1943 after introduced a method of casting bar receivers from a new type of malleable pig iron developed by the saginaw division of general motors, called] after it successfully passed a series of tests at springfield armory, the chief of ordnance instructed other bar receiver manufacturers to change over from steel to castings for this] during the korean wara2 production was resumed, this time contracted to the royal mcbee typewriter co., which produced an additionala2s.[23] heavy counter assault rifle [ edit ] heavy counter assault rifle-hcar. in 2006 ohio ordnance works worked on the modernization of the bar, named the heavy counter assault rifle] the ohio ordnance works includes improvements such as an buffer tube with adjustable stock, an optional 16" shortened barrel with adjustable gas regulator, hand guard and receiver rails as well as a flash] it also addresses the original bar's weight issue through material reduction by machining material from the receiver, and through a dimpled barrel removing 8 lbs.] it also features a proprietary magazine, to increase firepower from the original magazine. international and commercial models [ edit ] export models [ edit ] the bar also found a ready market overseas and in various forms was widely exported. in 1919 the colt company developed and produced a commercial variant called the automatic machine rifle model 1919 (company designation: model u), which has a different return mechanism compared to the (it is installed in the stock rather than the gas tube) and lacks a flash hider. later the model 1924 rifle was offered for a short period of time, featuring a pistol grip and a redesigned hand guard. these colt automatic rifles were available in a number of calibers, including .30-06 springfield (7.62×63mm), belgian mauser, mauser,, mauser and .303 british (7.7×56mmr).[27] all of the colt automatic rifles appear to have been sold directly to.[27] an improved version of the model 1924, the model 1925), has achieved the highest popularity in export sales. it is based on the model 1924 but uses a heavy, barrel, a lightweight and is equipped with dust covers in the magazine well and ejection port (some of these features were patented: us patents #1548709 and #1533968). the model 1925 was produced in various calibers, including .30-06 springfield (7.62×63mm), belgian mauser, mauser, mauser, and .303 british (7.7×56mmr) (no model 1925 rifles in appear to have been] a minor variant of the model 1925) was the light machine gun with a barrel (produced in 1942 in small quantities for the dutch army). between imported over 800 examples of the colt machine rifles for sale] all of the colt automatic machine rifles, including the colt monitor, were available for export] after 1929 the model 1925 and the colt monitor were available for export sale in colt's exclusive sales territories per its agreement with.[13] these colt territories included north america, central america, the west indies, south america, great britain, russia, turkey, siam (thailand), india and] belgium [ edit ] a variant known as the 1930 was developed in belgian mauser by and adopted by the belgian army. the 1930 is basically a licensed copy of the colt automatic machine rifle, model 1925 (r] the 1930 has a different gas valve and a mechanical fire control mechanism designed by saive, located in the trigger grip] some of these rate mechanisms and pistol grip housings were later purchased by springfield armory for evaluation and possible adoption on a replacement for the.[17] the weapon also had a hinged shoulder plate and was adapted for use on a tripod mount. in 1932 belgium adopted a new version of the 1930 allocated the service designation d or "removable"), which had a barrel, shoulder rest and a simplified method for easier cleaning and maintenance. the d was produced even after world war in versions adapted for .30-06 springfield and ammunition. the final variant in belgian service was the model chambered for the nato cartridge and feeding from the magazines for the] poland [ edit ] production of the bar in belgium began only after signing an agreement with poland (on 10 december 1927) involving the procurement of wz. 1928 light machine guns chambered in mauser, which are similar to the variant but designed specifically to meet the requirements of the polish army. changes to the base design include a pistol grip, different type of, rear sight and a slightly longer barrel. subsequent rifles were assembled in poland under license by the state rifle factory karabinów) in warsaw. the wz. 1928 was accepted into service with the polish army in 1927 under the formal name browning wz. 1928 the outbreak of world war—was the primary light support weapon of polish infantry and cavalry formations (in 1939 poland had a total of approximately wz. 1928 rifles in service). additional detail modifications were introduced on the production line; among them were the replacement of the iron sights with a smaller version and reshaping the butt to a fish tail. in the polish designer lewandowski was tasked with developing a flexible machine gun based on the browning. this resulted in the wz. 1937. changes included increasing the weapon's rate of fire to rounds/min, eliminating the butt stock, adding a grip to the rear of the receiver, moving the main drive spring under the barrel and, most importantly, changing the feed system. sustained fire was practically impossible with the standard box magazine, so a new feed mechanism was developed that was added to the receiver as a module. it contains a spring-loaded, lever that would feed a round from a pan magazine located above the receiver and force the round into the feed path during unlocking. the machine gun was accepted in 1937 and ordered by the polish air force as the karabin wz. 1937 ("observers machine gun model 1937"). eventually 339 machine guns were acquired and used as armament in the łoś medium bomber and the reconnaissance aircraft. sweden [ edit ] swedish model, which was nearly identical to the configuration. model with barrel. in 1920 belgian arms manufacturer nationale (fn) acquired sales and production rights to the bar series of firearms in europe from colt. the first bar model sold by was the or "machinegun rifle") chambered for the cartridge. the is a variant of the model 1919 designed to swedish specifications and manufactured initially by colt's and later under license at the carl in eskilstuna. compared to the model 1919, the swedish weapon from the different spiked and dust covers for ejection. the would become one of sweden's main support weapons in the years together with the, medium machine gun (swedish adaptation of the austrian). dissatisfied with the rapidly overheating fixed barrel of the, carl gustaf began to design a new mechanism for the barrel that mates the externally chamber to a series of rotating flanges in the receiver operated by a locking lever. the barrel also received cooling fins along its entire length. these enhancements were incorporated into the prototype, which was favorably evaluated during trials in 1935. the final version was the, adopted for service in 1937, which uses a smooth-contour, barrel. numerous guns were retrofitted with the receiver extension and barrel and renamed the-37.[citation needed] the remained in service until replaced by the mag, but was still in use until 1980. carl gustaf also developed a prototype; however, it was never adopted. china [ edit ] fn. the chinese nationalist army used the throughout the second war. the chinese bar was chambered for the german mauser round, the standard rifle cartridge of the national revolutionary army. after the outbreak of the pacific war, the chinese expeditionary army in burma was equipped with american bars. towards the end of the war small quantities of american equipment, including the bar, made their way into mainland china. civilian use [ edit ] with the cessation of hostilities, colt arms co. received the browning patents to produce the bar that had been withheld from issue during the] this allowed colt to make the bar available for commercial sale, including to civilian owners. the colt automatic machine rifle model 1919, initially made up of overruns from the military production contract, was the first of several commercial colt bars that would follow. however, the high price of the weapon and its limited utility for most civilian owners resulted in few sales. ad topperwien, a famous trick shooter of the early 1920s, purchased one of the first bars to perform aerial target shooting] occasional bar sales were made to civilian owners through distributors such as the hardware] in 1931 the new colt monitor was made available to civilians during the depression at $300 each, including a spare parts kit, sling, cleaning accessories and six magazines, but colt records indicate no domestic sales to] after passage of the national firearms act of 1934, civilian bar ownership was restricted even further. importation of machine guns for us civilian transfer was banned in 1968 and us production of machine guns for civilian transfer was banned in 1986. however, some transferable bar models exist in the us and occasionally come up for sale to qualified buyers. some companies are manufacturing copies for sale to civilians. ohio ordnance works, inc., in chardon, oh, holds an exclusive patent for the rifle), which is a contemporary variant of the and is legal for civilians to] criminal and law enforcement use [ edit ] although the colt monitor version of the bar failed to interest us civilian buyers in the midst of the] the underworld was a lot more interested: in 1936 the price of a colt monitor was $5,000, with military bars going for somewhat] the army's was a favorite of gangster clyde barrow, who obtained his through periodic robberies of army national guard armories in the midwest. barrow liked to use (ap) .30-06 ammunition he obtained from armory stores, and frequently modified his bars to suit his own] barrow taught hisrlfriend bonnie parker to fire the as well, and by all accounts she was an excellent bar operator. she used an on to pin down unsuspecting law officers after they confronted the gang at a house in joplin,] a missouri highway patrolman at the scene, forced to dive for cover behind a substantial oak tree after bonnie parker opened up on him, later stated, "that little woman filled my face with splinters on the other side of that tree with one of those damned] as the use of automatic weapons by criminal elements in the us became more widespread, fbi director j. edgar hoover ordered the agency to acquire and commence regular training with automatic shoulder weapons, including the thompson submachine gun and the bar. for its bars the fbi turned to colt, which sold 90 colt monitor automatic machine rifles to the] some of the fbi's monitors were distributed to field offices for use as support weapons if needed on a particular operation, while the remainder were retained at the fbi academy in quantico, virginia, for training] colt sold an additional 11 colt monitors to the us treasury department in 1934, while 24 guns were sold to state prisons, banks, security companies and accredited city, county and state police] at least one member of the ambush team that killed bonnie and clyde was armed with a colt] although it has sometimes been alleged that the ora2 bar was used by members of the liberation army (sla) in a shootout with los angeles police on 17 may 1974, no members ever used such a weapon. the confusion arose out of browning's decision in the to also designate its hunting rifle the browning bar. the converted a .30-06 browning bar hunting rifle and a .243 remington model 742 to automatic fire by filing down the sear, and it was these weapons that were used in the needed] in us military service [ edit ] world war i [ edit ] at its inception, the was intended to be used as a rifle capable of both and fully automatic fire. first issued in september 1918 to the aef, it was based on the concept of "walking fire", a french practice in use since 1916 for which the 1915 (chauchat) had been used accompanying advancing squads of toward the enemy trenches, as regular machine guns were too cumbersome to move with the troops during an assault. in addition to operation, bar gunners were issued a belt with magazine pouches for the bar and sidearm along with a "cup" to support the stock of the rifle when held at the hip. in theory, this allowed the soldier to lay fire while walking forward, keeping the enemy's head down, a practice known as "marching fire". the idea would resurface in the submachine gun and ultimately the assault rifle. it is not known if any of the devices actually saw combat use. the bar only saw minor action in france during world war i, being brought into action only as late as september 1918, less than three months before armistice day. the intentional delay had been inspired by general pershing, the a.e.f. commander, in order not to let the barl into enemy hands too early. thousand bars were available by november 1918 and they would have been used in much larger numbers at the front if the war had lasted into 1919. interwar use [ edit ] a us army soldier trains with a bar during the years, as the u.s. army was reduced significantly in size, the bar remained in the smaller extant regular army and by the 1930s, was also issued to state national guard units to be maintained at their armories.ven the part-time nature, smaller manning and lesser security of these national guard armories when compared to regular army installations, some bars were subject to theft by domestic civilian criminal] the bar was also standard issue to us naval landing forces during the] the weapon was a standard item in us warship armories, and each bar was accompanied by a spare] large capital ships often had over 200 bars on] with many of the us navy bars remaining in service well into the] the bar also saw action with us marine corps units participating in the haitian and nicaraguan interventions, as well as with us navy shipboard personnel in the course of patrol and gunboat duty along the yangtze river in] the first marine brigade stationed in port-au-prince, haiti, noted that training a man to use the bar took a full two days of range practice and instruction, compared to half a day with the .45 caliber thompson submachine] prior to world war both the us army and marine corps had a separate bar squad together with three rifle squads in the "square" organisation of the time. when converting to the "triangular" organisation the separate bar squad was eliminated with bars going to each rifle squad. world war [ edit ] a us marine infantryman firing a bar at enemy positions when the threat of a new war arose, ordnance belatedly realized that it had no portable, squad light machine gun, and attempted to convert the bar to that role with the adoption of thea2 by the us army on 30 june] the bar was issued as the sole automatic fire support for a] and all men were trained at the basic level how to operate and fire the weapon in case the designated operators were killed or wounded. at the start of the war, infantry companies designated bar teams, a gunner, an assistant gunner, and an ammunition bearers who carried additional magazines for the gun. by 1944, some units were using one-man bar teams, with the other in the squad detailed to carry additional magazines or bandoliers of .30] despite various claims on the subject, the bar was issued to soldiers of various] as originally conceived, us army tactical doctrine called for onea2 per squad, using several men to support and carry ammunition for the] fire and movement tactics centered on the m1 in the squad, while the bar man was detailed to support the in the attack and provide mobility to the with a base of] this doctrine received a setback early in the war after us ground forces encountered german troops, with automatic weapons, including fast-firing, portable machine] in some cases, particularly in the attack, every fourth german infantryman was equipped with an automatic weapon, either a submachine gun or a machine] elements of the marine division at okinawa with the lead marine (onward elmo mccullough) carrying a bar in an attempt to overcome the bar's limited capability, us army divisions increasingly began to specify two bar fire teams per squad, following the practice of the us marine corps. one team would typically provide covering fire until a magazine was empty, whereupon the second team would open fire, thus allowing the first team to reload. in the pacific, the bar was often employed at the point or tail of a patrol or infantry column, where its firepower could help break contact on a jungle trail in the event of an] after combat experience showed the benefits of maximizing portable automatic firepower in formations, the us marine corps began to increase the number of bars in its combat divisions, from 513 per division in 1943 to 867 per division in] a squad was developed, consisting of 3 fire teams, with one bar per fire team, or three bars per squad. instead of supporting the m1 in the attack, marine tactical doctrine was focused around the bar, with supporting and protecting the bar] despite the improvements in thea2, the bar remained a difficult weapon to master with its open bolt and strong recoil spring, requiring additional range practice and training to hit targets accurately without] as a squad light machine gun, the bar's effectiveness was mixed, since its thin, barrel and small magazine capacity greatly limited its firepower in comparison to genuine light machine guns such as the british bren and the japanese type 96. the weapon's mechanism, a delicately balanced system described by one ordnance sergeant as a "rube goldberg device", came in for much criticism, often causing malfunctions when not regularly] the and rest (monopod), which contributed so much to thea2's accuracy when firing prone on the rifle range, proved far less valuable under actual field combat] the stock rest was dropped from production in 1942, while thea2's and flash hider were often discarded by individual soldiers and marines to save weight and improve portability, particularly in the pacific theatre of] with these modifications, the bar effectively reverted to its original role as a portable, automatic] due to production demands, war priorities, subcontractor issues, and material] demand for thea2 frequently exceeded supply, and as late as 1945 some army units were sent into combat still carrying older,] after a period of service, ordnance personnel began to receive bars with inoperable or malfunctioning recoil buffer mechanisms. this was eventually traced to the soldier's common practice of cleaning the bar in a vertical position with the butt of the weapon on the ground, allowing cleaning fluid and burned powder to collect in the recoil buffer] additionally, unlike the m1 rifle, the bar's gas cylinder was never changed to stainless steel. consequently, the gas cylinder frequently rusted solid from the use of m2 service ammunition in a humid environment when not stripped and cleaned on a daily] while not without design flaws (a thin-diameter, fixed barrel that quickly overheated, limited magazine capacity, complex procedure, unreliable recoil buffer mechanism, a gas cylinder assembly made of metals, and many small internal parts), the bar proved rugged and reliable enough when regularly and cleaned. during world war, the bar saw extensive service, both official and unofficial, with many branches of service. one of the bar's most unusual uses was as a defensive aircraft weapon. in 1944, captain wally a. gayda, of the air transport command, reportedly used a bar to return fire against a japanese army nakajima fighter that had attacked his cargo plane over the hump in burma. gayda shoved the rifle out his forward cabin window, emptying the magazine and apparently killing the japanese] korean war [ edit ] korean war, 1951: a us soldier behind an sherman tank, with ana2 the bar continued in service in the korean war. the last military contract for the manufacture of thea2 was awarded to the royal typewriter co. of hartford, connecticut, which manufactured a total ofa2s during the conflict, using cast receivers and trigger] in his study of infantry weapons in korea, historian s.l.a. marshall interviewed hundreds of officers and men in reports on the effectiveness of various u.s. small arms in the] general marshall's report noted that an overwhelming majority of respondents praised the bar and the utility of automatic fire delivered by a lightweight, portable small arm in both day and night] in his autobiography colonel david hackworth praised the bar as 'the best weapon of the korean] a typical bar gunner of the korean war carried the belt and combat suspenders, with three or four extra magazines in] extra canteens, .45 pistol, grenades, and a flak vest added still more] as in world war, many bar gunners disposed of the heavy and other accoutrements of thea2, but unlike the prior conflict the flash hider was always retained because of its utility in night] the large amounts of ammunition expended by bar teams in korea placed additional demands on the assistant gunner to stay in close contact with the bar at all times, particularly on] while the bar magazines themselves always seemed to be in short supply, gen. marshall reported that in the squad were markedly willing to carry extra ammunition for the bar] in combat, thea2 frequently decided the outcome of determined attacks by north korean and chinese communist forces. communist tactical doctrine centered on the mortar and machine gun, with attacks designed to envelop and cut off united nations forces from supply and reinforcement. communist machine gun teams were the men in anyven north korean or chinese infantry unit, skilled at placing their heavily camouflaged and protected weapons as close to un forces as] once concealed, they often surprised un forces by opening fire at very short ranges, covering any exposed ground with a hail of accurately sighted machine gun] under these conditions it was frequently impossible for us machine gun crews to move up their browninga4 anda6 guns in response without taking heavy casualties; when they were able to do so, their position was carefully noted by the enemy, who would frequently kill the exposed gun crews with mortar or machine gun fire while they were still their] the bar gunner, who could approach the enemy gun position alone (and prone if need be), proved invaluable in this type of] during the height of combat, the bar gunner was often used as the 'fire brigade' weapon, helping to bolster weak areas of the perimeter under heavy pressure by communist forces. in defense, it was often used to strengthen the firepower of a forward] another role for the bar was to deter or eliminate enemy sniper fire. in the absence of a trained sniper, the bar proved more effective than the random response of five or six m1.[65] compared to world war, us infantry forces saw a huge increase in the number of night engagements. the added firepower of the bar rifleman and his ability to redeploy to 'hot spots' around the unit perimeter proved indispensable in deterring night infiltration by as well as repelling large-scale night infantry] whilea2 guns were almost universally praised for performance in combat, a number of malfunctions in combat were reported witha2s, particularly weapons that had been reconditioned by ordnance in japan, which did not replace operating (recoil) springs as a requirement of the reconditioning] after decades of complaints, ordnance addressed the problem of maintaining the problematic gas piston on the bar by issuing disposable nylon gas] when the nylon valve became caked over with carbon, it could be discarded and replaced with a fresh unit, eliminating the tedious task of cleaning and polishing the valve with wire brush and solvent (frequently in short supply to line] a south vietnamese soldier using a bar vietnam war [ edit ] thea2 was used in the early stages of the vietnam war, when the us delivered a quantity of 'obsolete', small] to the south vietnamese army and associated allies, including the hill of south vietnam. us special forces advisors frequently chose the bar over currently available infantry weapons. as one special forces sergeant declared, "many times since my three tours of duty in vietnam i have thanked god for ... having a bar that actually worked, as opposed to the jamming ... we had a lot of viet cong infiltrators in all our [special forces] camps, who would steal weapons every chance they got. needless to say, the most popular weapon to steal was the venerable old] post-vietnam use [ edit ] quantities of the bar remained in use by the army national guard up until the mid-1970s. many recipients of us foreign aid adopted the bar and used it into the 1990s. users [ edit ] polish resistance fighters during the warsaw uprising , 1944. the wz. 28 seen here is likely a survivor of the 1939 september campaign bar in use by vietnamese communist guerrillas, 1966 british home guard in 1941. the man on the end of the front rank is carrying a bar see also [ edit ] notes [ edit ]

ðɪs ˈɑrtɪkəl ɪz əˈbaʊt ðə laɪt məˈʃin gən. fər ðə ˈhəntɪŋ ˈraɪfəl, si ˈbraʊnɪŋ bɑr ðə ˈbraʊnɪŋ ˌɔtəˈmætɪk ˈraɪfəl (bɑr) ɪz ə ˈfæməli əv əˈmɛrɪkən ˌɔtəˈmætɪk ˈraɪfəlz ənd məˈʃin gənz juzd baɪ ðə juˈnaɪtɪd steɪts ənd ˈnumərəs ˈəðər ˈkəntriz ˈdʊrɪŋ ðə ˈsɛnʧəri. ðə ˈpraɪˌmɛri ˈvɛriənt əv ðə bɑr ˈsɪriz wɑz ðə ˈʧeɪmbərd fər ðə ˈsprɪŋˌfild ˈraɪfəl ˈkɑrtrɪʤ ənd dɪˈzaɪnd baɪ ʤɑn ˈbraʊnɪŋ ɪn 1917 fər ðə əˈmɛrɪkən ˌɛkspəˈdɪʃəˌnɛri ˈfɔrsɪz ɪn ˈjʊrəp ɛz ə rɪˈpleɪsmənt fər ðə ənd benét–mercié*é məˈʃin gənz ðət ˈjuˈɛs ˈfɔrsɪz hæd ˈpriviəsli bɪn ˈɪʃud. ðə bɑr wɑz dɪˈzaɪnd tɪ bi ˈkɛrid baɪ ˈɪnfæntrimən ˈdʊrɪŋ ən ədˈvæns waɪl səˈpɔrtɪd baɪ ðə slɪŋ ˈoʊvər ðə ˈʃoʊldər, ər tɪ bi faɪərd frəm ðə hɪp. ðɪs ɪz ə ˈkɑnsɛpt kɔld "ˈwɔkɪŋ faɪər" θɔt tɪ bi ˈnɛsəˌsɛri fər ðə ˌɪndəˈvɪʤəwəl ˈsoʊlʤər ˈdʊrɪŋ trɛnʧ ðə bɑr ˈnɛvər ɪnˈtaɪərli lɪvd əp tɪ ðə ərˈɪʤənəl hoʊps əv ðə wɔr dɪˈpɑrtmənt ɛz ˈiðər ə ˈraɪfəl ər ə məˈʃin ðə juz. ˈɑrmi, ɪn ˈpræktɪs, juzd ðə bɑr ɛz ə laɪt məˈʃin gən, ˈɔfən faɪərd frəm ə (ˌɪntrəˈdust ɔn ˈmɑdəlz ˈæftər ə ˈvɛriənt əv ðə ərˈɪʤənəl bɑr, ðə koʊlt ˈmɑnətər məˈʃin ˈraɪfəl, rɪˈmeɪnz ðə ˈlaɪtəst pərˈdəkʃən ˌɔtəˈmætɪk ˈfaɪˌrɑrm ˈʧeɪmbərd fər ðə ˈsprɪŋˌfild ˈkɑrtrɪʤ, ðoʊ ðə ˈlɪmɪtɪd kəˈpæsɪti əv ɪts ˈstændərd ˈmægəˌzin ˈtɛndɪd tɪ ˈhæmpər ɪts juˈtɪləti ɪn ðət ˌɔlˈðoʊ ðə ˈwɛpən dɪd si səm ˈækʃən ɪn wərld wɔr aɪ, ðə bɑr dɪd nɑt bɪˈkəm ˈstændərd ˈɪʃu ɪn ðə ˈjuˈɛs ˈɑrmi ənˈtɪl 1938 wɪn ɪt wɑz ˈɪʃud tɪ skwɑdz ɛz ə ˈpɔrtəbəl laɪt məˈʃin gən. ðə bɑr sɔ ɪkˈstɛnsɪv ˈsərvɪs ɪn boʊθ wərld wɔr ənd ðə ˌkɔˈriən wɔr ənd sɔ ˈlɪmɪtɪd ˈsərvɪs ɪn ðə viˌɛtˈnɑm wɔr. ðə ˈjuˈɛs ˈɑrmi bɪˈgæn ˈfeɪzɪŋ aʊt ðə bɑr ɪn ðə leɪt 1950s*, wɪn ɪt wɑz ˌɪnˈtɛndɪd tɪ bi ˌriˈpleɪst baɪ ə skwɑd ˌɔtəˈmætɪk ˈwɛpən (sɔ) ˈvɛriənt əv ðə ənd wɑz wɪˈθaʊt ə ˈpɔrtəbəl laɪt məˈʃin gən ənˈtɪl ðə ˌɪntrəˈdəkʃən əv ðə məˈʃin gən ɪn 1957 ˈhɪstəri ˈɛdət ʤɑn ɛm. ˈbraʊnɪŋ, ðə ˌɪnˈvɛntər əv ðə ˈraɪfəl, ənd fræŋk ɛf. ˈbərtən, ðə ˈwɪnˌʧɛstər ˈɛkspərt ɔn ˈraɪfəlz, dɪˈskəsɪŋ ðə ˈfaɪnər pɔɪnts əv ðə bɑr æt ðə ˈwɪnˌʧɛstər plænt ðə ˈjuˈɛs ˈɛnərd wərld wɔr aɪ wɪθ ən ˌɪˈnædəkˌweɪt, smɔl, ənd ˌɑbsəˈlit əˈsɔrtmənt əv dəˈmɛstɪk ənd ˈfɔrən məˈʃin gən dɪˈzaɪnz, du praɪˈmɛrəli tɪ ˌbjʊrəˈkrætɪk ˌɪndɪˈsɪʒən ənd ðə læk əv ən ɪˈstæblɪʃt ˈmɪlɪˌtɛri ˈdɔktərɪn fər ðɛr ɪmˈplɔɪmənt. wɪn ðə 1917 juˈnaɪtɪd steɪts ˌdɛklərˈeɪʃən əv wɔr ɔn ˈʤərməni wɑz əˈnaʊnst ɔn 6 ˈeɪprəl 1917 ðə haɪ kəˈmænd wɑz meɪd əˈwɛr ðət tɪ faɪt ðɪs trɛnʧ wɔr, ˈdɑməˌneɪtəd baɪ machine-guns*, ðeɪ hæd ɔn hænd ə mɪr 670 benét–merciés*, 282 ˈmæksəmz ənd 158 koʊlts, ˈæftər məʧ dəˈbeɪt, ɪt wɑz ˈfaɪnəli əˈgrid ðət ə ˈræpɪd riˈɑrməmənt wɪθ dəˈmɛstɪk ˈwɛpənz wʊd bi rikˈwaɪərd, bət ənˈtɪl ðət taɪm, ˈjuˈɛs trups wʊd bi ˈɪʃud ˌwəˈtɛvər ðə frɛnʧ ənd ˈbrɪtɪʃ hæd tɪ ˈɔfər. ðə ɑrmz ˈdoʊˌneɪtɪd baɪ ðə frɛnʧ wər ˈɔfən ər ˈsərpləs ənd ˈʧeɪmbərd ɪn ˈlɛbəl, ˈfərðər ˈkɑmpləˌkeɪtɪŋ ləˈʤɪstɪks ɛz məˈʃin ˈgənərz ənd ˈɪnfæntrimən wər ˈɪʃud ˈdɪfərənt taɪps əv dɪˈvɛləpmənt ˈɛdət ə lɪv faɪər ˌdɛmənˈstreɪʃən əv ðə bɑr ɪn frənt əv ˈmɪlɪˌtɛri ənd ˈgəvərnmənt əˈfɪʃəlz ɪn 1917 praɪər tɪ əˈmɛrɪkəz ˈɛntri tɪ ðə wɔr, ʤɑn ˈbraʊnɪŋ ˈpərsənəli brɔt tɪ ˈwɔʃɪŋtən, d.c*. tu taɪps əv ˌɔtəˈmætɪk ˈwɛpənz fər ðə ˈpərpəsɪz əv ˌdɛmənˈstreɪʃən: ə məˈʃin gən (ˈleɪtər əˈdɑptəd ɛz ðə ˈbraʊnɪŋ məˈʃin gən) ənd ə ˌɔtəˈmætɪk ˈraɪfəl noʊn ðɛn ɛz ðə ˈbraʊnɪŋ məˈʃin ˈraɪfəl ər bmr*, boʊθ ˈʧeɪmbərd fər ðə ˈstændərd ˈjuˈɛs ˈsprɪŋˌfild ˈbraʊnɪŋ hæd əreɪnʤd fər ə ˈpəblɪk ˌdɛmənˈstreɪʃən əv boʊθ ˈwɛpənz æt ə loʊˈkeɪʃən ɪn ˈsəðərn ˈwɔʃɪŋtən, d.c*. noʊn ɛz ˈkɑŋgrəs ðɛr, ɔn 27 ˈfɛbruˌɛri 1917 ɪn frənt əv ə kraʊd əv 300 ˈpipəl (ˌɪnˈkludɪŋ ˈmɪlɪˌtɛri əˈfɪʃəlz, ˈkɑŋgrəsmɪn, ˈsɛnətərz, ˈfɔrən ˈdɪgnəˌtɛriz ənd ðə prɛs), ˈbraʊnɪŋ steɪʤd ə ˌdɛmənˈstreɪʃən wɪʧ soʊ ˌɪmˈprɛst ðə ˈgæðərd kraʊd, ðət hi wɑz ˌɪˈmiˌdiətli əˈwɔrdɪd ə ˈkɑnˌtrækt fər ðə ˈwɛpən ənd ɪt wɑz ˈheɪstəli əˈdɑptəd ˈɪntu ˈsərvɪs (ðə məˈʃin gən ˌəndərˈwɛnt ˈfərðər əˈdɪʃənəl tɛsts wər kənˈdəktəd fər ˈjuˈɛs ˈɑrmi ˈɔrdnəns əˈfɪʃəlz æt ˈsprɪŋˌfild ˈɑrməri ɪn meɪ 1917 ənd boʊθ ˈwɛpənz wər juˈnænəməsli ˌrɛkəˈmɛndɪd fər ˌɪˈmiˌdiət əˈdɑpʃən. ɪn ˈɔrdər tɪ əˈvɔɪd kənfˈjuʒən wɪθ ðə məˈʃin gən, ðə bɑr keɪm tɪ bi noʊn ɛz ðə ər ˈraɪfəl, ˈkæləbər 30 ˌɔtəˈmætɪk, ˈbraʊnɪŋ, əˈkɔrdɪŋ tɪ əˈfɪʃəl ˈnoʊmənˌkleɪʧər. ɔn 16 ˌʤuˈlaɪ 1917 bɑrz wər ˈɔrdərd frəm koʊlts ˈpætənt ˈfaɪˌrɑrmz ˌmænjəˈfækʧərɪŋ ˈkəmpəˌni, wɪʧ hæd sɪˈkjʊrd ən ɪkˈsklusɪv kənˈsɛʃən tɪ ˌmænjəˈfækʧər ðə bɑr ˈəndər ˈbraʊnɪŋz ˈpætənts (ˈbraʊnɪŋz juz. ˈpætənt wɑz oʊnd baɪ ˌhaʊˈɛvər koʊlt wɑz ɔˈrɛdi prəˈdusɪŋ æt pik kəˈpæsɪti (ˈkɑntræktəd tɪ ˌmænjəˈfækʧər ðə ˈvɪkərz məˈʃin gən fər ðə ˈbrɪtɪʃ ˈɑrmi) ənd rɪkˈwɛstɪd ə dɪˈleɪ ɪn pərˈdəkʃən waɪl ðeɪ ɪkˈspændɪd ðɛr ˌmænjəˈfækʧərɪŋ ˈaʊtˌpʊt wɪθ ə nu fəˈsɪlɪti ɪn ˈmɛrɪdən, kəˈnɛtəkət. du tɪ ðə ˈərʤənt nid fər ðə ˈwɛpən, ðə rɪkˈwɛst wɑz dɪˈnaɪd ənd ðə ˈwɪnˌʧɛstər rɪˈpitɪŋ ɑrmz ˈkəmpəˌni (wrac*) wɑz ˈdɛzɪgˌneɪtɪd ɛz ðə praɪm ˈkɑnˌtræktər. ˈwɪnˌʧɛstər geɪv ˈvæljəbəl əˈsɪstəns ɪn rɪˈfaɪnɪŋ ðə bɑrz ˈfaɪnəl dɪˈzaɪn, kərˈɛktɪŋ ðə drɔɪŋz ɪn ˌprɛpərˈeɪʃən fər mæs əˈməŋ ðə ˈʧeɪnʤɪz meɪd, ðə ɪˈʤɛkʃən ˈpætərn wɑz ˈmɑdəˌfaɪd (spɛnt ˈkeɪsɪŋz wər dɪˈrɛktɪd tɪ ðə raɪt saɪd əv ðə ˈwɛpən ˌɪnˈstɛd əv streɪt əp). ˌɪˈnɪʃəl pərˈdəkʃən ˈɛdət lt*. væl ˈbraʊnɪŋ wɪθ ðə ˈbraʊnɪŋ ˌɔtəˈmætɪk ˈraɪfəl ɪn fræns sɪns wərk ɔn ðə gən dɪd nɑt bɪˈgɪn ənˈtɪl ˈfɛbruˌɛri 1918 soʊ ˈhərid wɑz ðə ˈskɛʤʊl æt ˈwɪnˌʧɛstər tɪ brɪŋ ðə bɑr ˈɪntu fʊl pərˈdəkʃən ðət ðə fərst pərˈdəkʃən bæʧ əv gənz wɑz dɪˈlɪvərd aʊt əv ɪt wɑz dɪˈskəvərd ðət ˈmɛni kəmˈpoʊnənts dɪd nɑt ˌɪnərˈʧeɪnʤ bɪtˈwin ˈraɪfəlz, ənd pərˈdəkʃən wɑz ˌtɛmpərˈɛrəli ˈhɔltɪd ənˈtɪl ˌmænjəˈfækʧərɪŋ prəˈsiʤərz wər ˈəpˌgreɪdɪd tɪ brɪŋ ðə ˈwɛpən əp tɪ ðə ˌɪˈnɪʃəl ˈkɑnˌtrækt wɪθ ˈwɪnˌʧɛstər kɔld fər bɑrz. ðeɪ wər ɪn fʊl pərˈdəkʃən baɪ ʤun 1918 dɪˈlɪvərɪŋ gənz, ənd frəm ˌʤuˈlaɪ wər ˈtərnɪŋ aʊt ˈjunɪts pər mənθ. koʊlt ənd ˈkɔrpərˈeɪʃən. ˈɔlsoʊ bɪˈgæn pərˈdəkʃən ˈʃɔrtli ˈæftər ˈwɪnˌʧɛstər gɑt ˈɪntu fʊl pərˈdəkʃən., ˈbərdənd baɪ ə ˈkɑnˌtrækt tɪ meɪk ˈraɪfəlz fər ðə ˈbɛlʤən ˈgəvərnmənt, əkˈwaɪərd ðə meɪoʊ ˈreɪdiˌeɪtər ˈfæktəri ənd juzd ɪt ɪkˈsklusɪvli tɪ ˈkɛri aʊt pərˈdəkʃən əv ðə bɑr. ðə fərst ˈjunɪt frəm ðɪs sɔrs wɑz dɪˈlɪvərd ɔn 11 ʤun 1918 ənd ðə ˈkəmpəniz pik ˈaʊtˌpʊt riʧt 200 ˌɔtəˈmætɪk ˈraɪfəlz pər koʊlt hæd prəˈdust ˈoʊnli bɑrz baɪ ðə taɪm əv ðə ˈɑrməstəs du tɪ ðə ˈhɛvi dɪˈmændz əv ˈpriviəs ðiz θri ˈkəmpəˌniz prəˈdust ə kəmˈbaɪnd ˈdeɪli ˈaʊtˌpʊt əv 706 ˈraɪfəlz ənd ə ˈtoʊtəl əv əˈprɑksəmətli bɑrz wər dɪˈlɪvərd baɪ ɔl ˈsɔrsəz baɪ ðə ɛnd əv ðə bɪtˈwin bɑrz hæd bɪn ˌmænjəˈfækʧərd ˈʤɔɪntli baɪ koʊlt, ˈwɪnˌʧɛstər ənd. baɪ ˌʤuˈlaɪ 1918 ðə bɑr hæd ˈbeɪgən tɪ əraɪv ɪn fræns, ənd ðə fərst ˈjunɪt tɪ rɪˈsiv ðɛm wɑz ðə ˈjuˈɛs ˈɑrmiz ˈɪnfəntri dɪˈvɪʒən, wɪʧ tʊk ðɛm ˈɪntu ˈækʃən fər ðə fərst taɪm ɔn 13 sɛpˈtɛmbər ðə ˈwɛpən wɑz ˈpərsənəli ˈdɛmənˌstreɪtɪd əˈgɛnst ðə ˈɛnəmi baɪ lt*. væl ˈælən ˈbraʊnɪŋ, ðə dɪˈspaɪt biɪŋ ˌɪntrəˈdust ˈvɛri leɪt ɪn ðə wɔr, ðə bɑr meɪd ən ˌɪmˈpækt ˌdɪsprəˈpɔrʃənɪt tɪ ɪts ˈnəmbərz; ɪt wɑz juzd ɪkˈstɛnsɪvli ˈdʊrɪŋ ðə əˈfɛnsɪv ənd meɪd ə sɪgˈnɪfɪkənt ˌɪmˈprɛʃən ɔn ðə ˈælaɪz (fræns əˈloʊn rɪkˈwɛstɪd ˌɔtəˈmætɪk ˈraɪfəlz tɪ ˌriˈpleɪs ðɛr məˈʃin ˈjuˈɛs mərˈinz ˈbrifli tʊk pəˈzɛʃən əv ðə bɑr. trups frəm ðə fərst bəˈtæljən əv ðə sɪksθ mərˈinz hæd tɔkt ðə "ˈdɔgiz" əv ðə ˈjuˈɛs ˈɑrmiz dɪˈvɪʒən ˈɪntu ˈtreɪdɪŋ ðɛr bɑrz fər ðɛr chauchats*. ˌhaʊˈɛvər, kəmˈpleɪnts frəm ˈɔfɪsərz əv ðə rɪˈzəltɪd ɪn ðə ˈɪʃuəns əv ə kəˈmænd frəm mərˈin lt*. col*. ˈhɛri li ɔn 9 ɑkˈtoʊbər 1918 ɔl ˈbraʊnɪŋ gənz ənd ɪkˈwɪpmənt ɪn mərˈin pəˈzɛʃən wər tɪ bi tərnd dɪˈzaɪn ˈditeɪlz ənd ækˈsɛsəriz ˈɛdət ðə ɪz ə selective-fire*, ˌɔtəˈmætɪk ˈraɪfəl ˈjuzɪŋ ə gas-operated*, ˈpɪstən rɑd baɪ prəˈpɛlənt ˈgæsɪz blɛd θru ə vɛnt ɪn ðə ˈbɛrəl. ðə boʊlt ɪz lɑkt baɪ ə ˈraɪzɪŋ boʊlt lɑk. ðə ˈwɛpən faɪərz frəm ən ˈoʊpən boʊlt. ðə ˈkɑrtrɪʤ ˈkeɪsɪŋ ɪz kənˈteɪnd ɪn ðə boʊlt ənd ə fɪkst ɪz ˌɪnˈstɔld ɪn ðə ˈtrɪgər grup. ðə bɑr ɪz (ðə boʊlt ˈkɛriər sərvz ɛz ðə ˈstraɪkər) ənd ˈjuzɪz ə ˈtrɪgər ˈmɛkəˌnɪzəm wɪθ ə faɪər ˈlɛvər ðət ɪˈneɪbəlz ˈɔpərˌeɪtɪŋ ɪn ˈiðər ər ˈfʊli ˌɔtəˈmætɪk ˈfaɪərrɪŋ moʊdz. ðə ˈlɛvər ɪz ˈloʊˌkeɪtəd ɔn ðə lɛft saɪd əv ðə rɪˈsivər ənd ɪz ˌsaɪməlˈteɪniəsli ðə ˈmænjuəl ˈseɪfti ˈlɛvər ɪn ðə "ɛs" pəˈzɪʃən ˈwɛpən ɪz seɪf, "ɛf" faɪər, "ə" ˌɔtəˈmætɪk faɪər). ðə "seɪf" ˈsɛtɪŋ blɑks ðə ˈtrɪgər. ðə ˈwɛpənz ˈbɛrəl ɪz skrud ˈɪntu ðə rɪˈsivər ənd ɪz nɑt kˈwɪkli dɪˈtæʧəbəl. ðə fidz ˈjuzɪŋ bɑks ˈmægəˌzinz, ˌɔlˈðoʊ ˈmægəˌzinz wər ˈɔlsoʊ juzd ɪn ən roʊl; ðiz wər wɪθˈdrɔn frəm juz ɪn 1927 ðə həz ə sɪˈlɪndrɪkəl flæʃ səˈprɛsər ˈfɪtɪd tɪ ðə ˈməzəl ɛnd. ðə ərˈɪʤənəl bɑr wɑz ɪkˈwɪpt wɪθ ə fɪkst ˈwʊdən ənd əˈʤəstəbəl aɪərn saɪts, kənˈsɪstɪŋ əv ə ˈfɔrwərd poʊst ənd ə rɪr lif saɪt wɪθ 100 tɪ jɑrd ɛm) reɪnʤ ˌgræʤəˈweɪʃənz. ɛz ə ˈhɛvi ˌɔtəˈmætɪk ˈraɪfəl dɪˈzaɪnd fər səˈpɔrt faɪər, ðə wɑz nɑt ˈfɪtɪd wɪθ ə ˈbeɪəˌnɛt maʊnt ənd noʊ ˈbeɪəˌnɛt wɑz ˈɛvər ˈoʊnli wən ɪkˌspɛrɪˈmɛntəl ˈbeɪəˌnɛt ˈfɪtɪŋ wɑz ˈɛvər meɪd fər ðə bɑr baɪ ðɪs wɑz ə ˈstændərd ˈbeɪəˌnɛt ˈfɪtɪd æt ðə ˈwɪnˌʧɛstər ˈfæktəri wɪθ ə ˈspɛʃəl ˈməzəl rɪŋ. ðə ˈbeɪəˌnɛt wɑz əˈtæʧt tɪ ə ˈstændərd bɑr baɪ minz əv ə ˈspɛʃəl ɪkˌspɛrɪˈmɛntəl flæʃ ˈhaɪdər ðɪs ˈproʊtoʊˌtaɪp ˈhaɪdər əˈsɛmbli keɪm frəm ðə ˈwɪnˌʧɛstər ˌɪnˈhaʊs ˈfæktəri mˈjuziəm ɪn nu ˈheɪvən, kɔrt, wɪθ ə tæg ˈprɪnɪd ɔn wən saɪd ˈwɪnˌʧɛstər rɪˈpitɪŋ ɑrmz ˈheɪvən kɑn., ənd ˈhænˌdrɪtən ɔn ðə ˈəðər saɪd: kəmˈbaɪnd flæʃ ˈhaɪdər, frənt saɪt ənd ˈbeɪəˌnɛt maʊnt fər ˌɔtəˈmætɪk ˈraɪfəl ˈmɑdəl 1918 wɪθ ˈbeɪəˌnɛt ənd ˈskæbərd ənd ðə deɪt sɛpˈtɛmbər 7 ðɛr ɪz noʊ ˈɛvədəns ˌwətsoʊˈɛvər əv ˈmɪlɪˌtɛri əˈdɑpʃən nɔr ə ˈmɪlɪˌtɛri stɑk ˈnəmbər, neɪm ər ˈvɛriənts ənd ˈsəbsəkwənt ˈmɑdəlz ˈɛdət ðə ˈpraɪˌmɛri ˈjuˈɛs ˈvɛriənts. ðə ˈərli bɑr. ˈdʊrɪŋ ɪts ˈlɛŋθi ˈsərvɪs laɪf, ðə bɑr ˌəndərˈwɛnt kənˈtɪnjuəs dɪˈvɛləpmənt, rɪˈsivɪŋ ˈmɛni ˌɪmˈpruvmənts ənd ˌmɑdəfəˈkeɪʃənz. ðə fərst ˈmeɪʤər əˈtɛmpt æt ˌɪmˈpruvɪŋ ðə rɪˈzəltɪd ɪn ðə məˈʃin ˈraɪfəl, əˈdɑptəd baɪ ðə juˈnaɪtɪd steɪts ˈkævəlri ɪn 1922 ɛz ə laɪt məˈʃin gən. ðə ˈwɛpən juzd ə nu ˈhɛvi ˈproʊˌfaɪl rɪbd ˈbɛrəl, ən əˈʤəstəbəl spaɪkt (ˈmaʊnɪd tɪ ə sˈwɪvəlɪŋ ˈkɑlər ɔn ðə ˈbɛrəl) wɪθ ə rɪr, monopod*, ə slɪŋ sˈwɪvəl ənd ə nu rɪr endplate*, fɪkst tɪ ðə stɑk rɪˈteɪnɪŋ sliv. ðə hænd gɑrd wɑz ʧeɪnʤd, ənd ɪn 1926 ðə bɑrz saɪts wər ˌridɪˈzaɪnd tɪ əˈkɑməˌdeɪt ðə ˈɛmˈwən bɔl ˌæmjəˈnɪʃən ðɛn ˈkəmɪŋ ˈɪntu ˈsərvɪs fər juz. ən ˈɛfˈbiˈaɪ ˈspɛʃəl ˈeɪʤənt ˈpræktɪsɪz wɪθ ðə koʊlt ˈmɑnətər (ɑr 80 ðə ˈmɑnətər hæd ə ˈsɛpərˌeɪt ˈpɪstəl grɪp ənd lɔŋ, sˈlɑtɪd kəts riˈkɔɪl. ɪn 1931 ðə koʊlt ɑrmz koʊ. ˌɪntrəˈdust ðə ˈmɑnətər ˌɔtəˈmætɪk məˈʃin ˈraɪfəl (ɑr 80 ˌɪnˈtɛndɪd praɪˈmɛrəli fər juz baɪ ˈprɪzən gɑrdz ənd ˌɪnˈtɛndɪd fər juz ɛz ə ˌɔtəˈmætɪk ˈraɪfəl, ðə ˈmɑnətər oʊˈmɪtɪd ðə, ˌɪnˈstɛd ˈfiʧərɪŋ ə ˈsɛpərˌeɪt ˈpɪstəl grɪp ənd bət stɑk əˈtæʧt tɪ ə ˈlaɪtˈweɪt rɪˈsivər, əˈlɔŋ wɪθ ə ˈʃɔrtənd, 458 ɪn), ˈbɛrəl ˈfɪtɪd wɪθ ə 100) kəts weɪɪŋ 16 paʊnd 3 ɑz) ˈɛmti, ðə ˈmɑnətər hæd ə reɪt əv faɪər əv əˈprɑksəmətli 500 əraʊnd 125 wər prəˈdust; 90 wər ˈpərʧəst baɪ ðə ˈilɛvən wɛnt tɪ ðə ˈjuˈɛs ˈtrɛʒəri dɪˈpɑrtmənt ɪn 1934 waɪl ðə rɛst wɛnt tɪ ˈvɛriəs steɪt ˈprɪzənz, bæŋks, sɪˈkjʊrəti ˈkəmpəˌniz ənd əˈkrɛdɪtɪd pəˈlis ˌɔlˈðoʊ əˈveɪləbəl fər ˈɛkspɔrt seɪl, noʊ ɪgˈzæmpəlz əˈpɪr tɪ hæv bɪn ɪkˈspɔrtəd. ɪn 1932 ə ˈgreɪtli ˈʃɔrtənd ˈvərʒən dɪˈzaɪnd fər bʊʃ ˈwɔrˌfɛr wɑz dɪˈvɛləpt baɪ mæʤ. h.l*. smɪθ ənd wɑz ðə ˈsəbʤɪkt əv ən rɪˈpɔrt baɪ capt*. ˈmɛrɪt ə. ˈɛdsən, ˈɔrdnəns ˈɔfɪsər æt ðə ˈdipoʊ ɪn ˌfɪləˈdɛlfiə, ðə ˈbɛrəl wɑz ˈʃɔrtənd naɪn ˈɪnʧɪz 229) æt ðə ˈməzəl ənd ðə gæs pɔrt ənd gæs ˈsɪlɪndər tub wər ˌriˈloʊkeɪtɪd. ðə ˈmɑdəˌfaɪd bɑr weɪd 13 paʊnd 12 ɑz) ənd wɑz ˈoʊnli ˈɪnʧɪz 880) lɔŋ ðoʊ ɪt pruvd suˈpɪriər tɪ ðə ɪn ˈækjərəsi wɪn faɪərd proʊn ɪn ˌɔtəˈmætɪk moʊd ənd ˈikwəl ɪn ˈækjərəsi tɪ ðə ˈstændərd æt ˈreɪnʤɪz əv jɑrdz ɛm) frəm ə rɛst, ɪt wɑz lɛs ˈækjərət wɪn faɪərd frəm ðə ˈʃoʊldər, ənd hæd ə laʊd rɪˈpɔrt kəmˈbaɪnd wɪθ ə fɪrs ˈməzəl əˈtæʧɪŋ ə kəts məˈtɪriəli rɪˈdust ðə ˈməzəl blæst, bət ðɪs wɑz mɔr ðən ˈɔfˌsɛt baɪ ðə ˌɪnˈkris ɪn smoʊk ənd dəst æt ðə ˈməzəl wɪn faɪərd, əbˈskjʊrɪŋ ðə ˈɑpərˌeɪtərz nɔr dɪd ɪt ˌɪmˈpruv kənˈtroʊl əv ðə ˈwɛpən wɪn faɪərd ɪn bərsts əv ˌɔtəˈmætɪk ðoʊ ðə rɪˈpɔrt ˌrɛkəˈmɛndɪd ˈbɪldɪŋ sɪks əv ðiz ˈʤəŋgəl bɑrz fər ˈfərðər ɪˌvæljuˈeɪʃən, noʊ ˈfərðər wərk wɑz dən ɔn ðə ðə ˈfiʧərɪŋ ə ˈlaɪtˈweɪt spaɪkt wɪθ ə lɛg haɪt əˈʤəstmənt ˈfiʧər əˈtæʧt tɪ ðə gæs ˈsɪlɪndər ənd ə hɪnʤd stil bət pleɪt, wɑz ˈfɔrməli əˈpruvd ɔn 24 ʤun ðə wɑz ˌɪnˈtɛndɪd tɪ ˌɪnˈkris ðə ˈwɛpənz ˈifɛktɪvnəs ənd ˈfaɪərrɪŋ ɪn bərsts. ˈrɛlətɪvli fju wər riˈbɪlt tɪ ðə nu ˈstændərd. ɪn ˈeɪprəl 1938 wərk kəˈmɛnst ɔn ən ˌɪmˈpruvd bɑr fər ðə ˈjuˈɛs ˈɑrmi. ðə ˈɑrmi ˈspɛsəˌfaɪd ə nid fər ə bɑr dɪˈzaɪnd tɪ sərv ɪn ðə roʊl əv ə laɪt məˈʃin gən fər səˈpɔrt faɪər. ˈərli ˈproʊtoʊˌtaɪps wər ˈfɪtɪd wɪθ ɛz wɛl ɛz ˈpɪstəl grɪp ˈhaʊzɪŋz ənd ə juˈnik ˈmɛkəˌnɪzəm ˈpərʧəst frəm ðə reɪt ˈmɛkəˌnɪzəm pərˈfɔrmd wɛl ɪn traɪəlz, ənd ðə ˈpɪstəl grɪp ˈhaʊzɪŋ ɪˈneɪbəld ðə ˈɑpərˌeɪtər tɪ faɪər mɔr ˈkəmfərtəbli frəm ðə proʊn pəˈzɪʃən. ˌhaʊˈɛvər, ɪn 1939 ðə ˈɑrmi dɪˈklɛrd ðət ɔl ˌmɑdəfəˈkeɪʃənz tɪ ðə ˈbeɪsɪk bɑr bi ˈkeɪpəbəl əv biɪŋ ˈrɛˌtroʊˌfɪtɪd tɪ ˈərliər gənz wɪθ noʊ lɔs əv pɑrts ðɪs ˈifɛktɪvli kɪld ðə ˈpɪstəl grɪp ənd ɪts ˈpruvən reɪt ˈmɛkəˌnɪzəm fər ðə nu ˈfaɪnəl dɪˈvɛləpmənt əv ðə wɑz ˈɔθərˌaɪzd ɔn 30 ʤun ðə ˈpɪstəl grɪp ənd ˈmɛkəˌnɪzəm wɪθ tu reɪts əv ˌɔtəˈmætɪk faɪər wɑz ʃɛlvd ɪn ˈfeɪvər əv ə ˈmɛkəˌnɪzəm dɪˈzaɪnd baɪ ˈsprɪŋˌfild ˈɑrməri, ənd haʊzd ɪn ðə bət stɑk. ðə ˈsprɪŋˌfild ˈɑrməri reɪt ˈɔlsoʊ prəˈvaɪdɪd tu reɪts əv ˈfʊli ˌɔtəˈmætɪk faɪər ˈoʊnli, ˈæktɪˌveɪtɪd baɪ ɪnˈgeɪʤɪŋ ðə ˈtɑgəl. əˈdɪʃəˌnəli, ə wɑz ˈfɪtɪd tɪ ðə ˈməzəl ɛnd əv ðə ˈbɛrəl, ˈmægəˌzin gaɪdz wər ˈædɪd tɪ ðə frənt əv ðə ˈtrɪgər gɑrd, ðə hænd gɑrd wɑz ˈʃɔrtənd, ə hit ʃild wɑz ˈædɪd tɪ hɛlp ðə ˈkulɪŋ ˈprɔˌsɛs, ə smɔl ˈsɛpərˌeɪt stɑk rɛst (monopod*) wɑz ˌɪnˈkludɪd fər əˈtæʧmənt tɪ ðə bət ənd ðə ˈwɛpənz roʊl wɑz ʧeɪnʤd tɪ ðət əv ə skwɑd laɪt məˈʃin gən. ðə bɑrz rɪr saɪt skeɪlz wər ˈɔlsoʊ ˈmɑdəˌfaɪd tɪ əˈkɑməˌdeɪt ðə ˈnuli ˈstændərˌdaɪzd ˈɛmˈtu bɔl ˌæmjəˈnɪʃən wɪθ ɪts ˈlaɪtər, ˈbʊlət. ðə ˈwɔlˌnət bət stɑk ɪz əˈprɑksəmətli wən ɪnʧ cm*) ˈlɔŋgər ðən ðə bɑrz bət ðə ˈbɛrəl wɑz ˈɔlsoʊ ˈfɪtɪd wɪθ ə nu flæʃ səˈprɛsər ənd ˈfʊli əˈʤəstəbəl aɪərn saɪts. leɪt ɪn ðə wɔr ə ˈkɛriɪŋ ˈhændəl wɑz ˈædɪd. bɪˈkəz əv ˈbəʤɪt ˌlɪmɪˈteɪʃənz ˌɪˈnɪʃəl pərˈdəkʃən kənˈsɪstɪd əv kənˈvərʒənz əv ˈoʊldər bɑrz (rɪˈmeɪnɪŋ ɪn ˈsərpləs) əˈlɔŋ wɪθ ə ˈlɪmɪtɪd ˈnəmbər əv ənd m1918a1s*. ˈæftər ðə ˈaʊtˌbreɪk əv wɔr, əˈtɛmpts tɪ ræmp əp nu pərˈdəkʃən wər ˈstaɪmid baɪ ðə ˌdɪˈskəvri ðət ðə wərld wɔr aɪ ˈtulɪŋ juzd tɪ ˈproʊdus ðə wɑz ˈiðər wɔrn aʊt ər ˌɪnkəmˈpætəbəl wɪθ ˈmɑdərn pərˈdəkʃən nu pərˈdəkʃən wɑz fərst ˈəndərˌteɪkən æt ðə nu ˈɪŋglənd smɔl ɑrmz ˈkɔrpərˈeɪʃən. ənd ˌɪnərˈnæʃənɑl ˈbɪznɪs məˈʃinz ˈkɔrpərˈeɪʃən. (ə ˈtoʊtəl əv nu ˈwɛpənz wər ˌmænjəˈfækʧərd). ɪn 1942 ə ˈʃɔrtɪʤ əv blæk ˈwɔlˌnət fər bət stɑks ənd grɪps lɛd tɪ ðə dɪˈvɛləpmənt əv ə blæk ˈplæstɪk bət stɑk fər ðə kəmˈpoʊzd əv ə ˈmɪksʧər əv ənd resinox*, ənd ˌɪmˈprɛgˌneɪtəd wɪθ ʃˈrɛdɪd ˈfæbrɪk, ðə stɑks wər ˈsændˌblæstɪd tɪ rɪˈdus ðə ˈfaɪrˌstoʊn ˈrəbər ənd ˈleɪˌtɛks ˈprɑdəkts koʊ. prəˈdust ðə ˈplæstɪk bət stɑk fər ðə ˈjuˈɛs ˈɑrmi, wɪʧ wɑz ˈfɔrməli əˈdɑptəd ɔn mɑrʧ 21 ðə məˈʃin ˈraɪfəl wɑz dɪˈklɛrd ˌɑbsəˈlit ɪn 1940 bət ðeɪ wər juzd baɪ ˈmɛrəlz mərˈɔdərz ɪn ˈbərmə ˈleɪtər ɪn ðə wɔr ɛz ə sˈlaɪtli ˈlaɪtər ɔlˈtərnətɪv tɪ ðə pərˈdəkʃən reɪts ˈgreɪtli ˌɪnˈkrist ɪn 1943 ˈæftər ˌɪntrəˈdust ə ˈmɛθəd əv ˈkæstɪŋ bɑr rɪˈsivərz frəm ə nu taɪp əv ˈmæliəbəl pɪg aɪərn dɪˈvɛləpt baɪ ðə ˈsægɪˌnɔ dɪˈvɪʒən əv ˈʤɛnərəl ˈmoʊtərz, kɔld ˈæftər ɪt səkˈsɛsfəli pæst ə ˈsɪriz əv tɛsts æt ˈsprɪŋˌfild ˈɑrməri, ðə ʧif əv ˈɔrdnəns ˌɪnˈstrəktɪd ˈəðər bɑr rɪˈsivər ˌmænjəˈfækʧərərz tɪ ʧeɪnʤ ˈoʊvər frəm stil tɪ ˈkæstɪŋz fər ðɪs ˈdʊrɪŋ ðə ˌkɔˈriən wɔr pərˈdəkʃən wɑz rɪˈzumd, ðɪs taɪm ˈkɑntræktəd tɪ ðə rɔɪəl məkˈbi ˈtaɪˌpraɪtər koʊ., wɪʧ prəˈdust ən əˈdɪʃənəl ˈhɛvi ˈkaʊntər əˈsɔlt ˈraɪfəl ˈɛdət ˈhɛvi ˈkaʊntər əˈsɔlt rifle-hcar*. ɪn 2006 oʊˈhaɪoʊ ˈɔrdnəns wərks wərkt ɔn ðə ˌmɑdərnəˈzeɪʃən əv ðə bɑr, neɪmd ðə ˈhɛvi ˈkaʊntər əˈsɔlt ˈraɪfəl ðə oʊˈhaɪoʊ ˈɔrdnəns wərks ˌɪnˈkludz ˌɪmˈpruvmənts səʧ ɛz ən ˈbəfər tub wɪθ əˈʤəstəbəl stɑk, ən ˈɔpʃənəl 16 ˈʃɔrtənd ˈbɛrəl wɪθ əˈʤəstəbəl gæs ˈrɛgjəˌleɪtər, hænd gɑrd ənd rɪˈsivər reɪlz ɛz wɛl ɛz ə flæʃ ɪt ˈɔlsoʊ ˈæˈdrɛsɪz ðə ərˈɪʤənəl bɑrz weɪt ˈɪʃu θru məˈtɪriəl rɪˈdəkʃən baɪ məˈʃinɪŋ məˈtɪriəl frəm ðə rɪˈsivər, ənd θru ə ˈdɪmpəld ˈbɛrəl riˈmuvɪŋ 8 paʊndz. ɪt ˈɔlsoʊ ˈfiʧərz ə prəˈpraɪəˌtɛri ˈmægəˌzin, tɪ ˌɪnˈkris ˈfaɪrˌpaʊər frəm ðə ərˈɪʤənəl ˈmægəˌzin. ˌɪnərˈnæʃənɑl ənd kəˈmərʃəl ˈmɑdəlz ˈɛdət ˈɛkspɔrt ˈmɑdəlz ˈɛdət ðə bɑr ˈɔlsoʊ faʊnd ə ˈrɛdi ˈmɑrkɪt ˈoʊvərˈsiz ənd ɪn ˈvɛriəs fɔrmz wɑz ˈwaɪdli ɪkˈspɔrtəd. ɪn 1919 ðə koʊlt ˈkəmpəˌni dɪˈvɛləpt ənd prəˈdust ə kəˈmərʃəl ˈvɛriənt kɔld ðə ˌɔtəˈmætɪk məˈʃin ˈraɪfəl ˈmɑdəl 1919 (ˈkəmpəˌni ˌdɛzɪgˈneɪʃən: ˈmɑdəl ju), wɪʧ həz ə ˈdɪfərənt rɪˈtərn ˈmɛkəˌnɪzəm kəmˈpɛrd tɪ ðə (ɪt ɪz ˌɪnˈstɔld ɪn ðə stɑk ˈrəðər ðən ðə gæs tub) ənd læks ə flæʃ ˈhaɪdər. ˈleɪtər ðə ˈmɑdəl 1924 ˈraɪfəl wɑz ˈɔfərd fər ə ʃɔrt ˈpɪriəd əv taɪm, ˈfiʧərɪŋ ə ˈpɪstəl grɪp ənd ə ˌridɪˈzaɪnd hænd gɑrd. ðiz koʊlt ˌɔtəˈmætɪk ˈraɪfəlz wər əˈveɪləbəl ɪn ə ˈnəmbər əv calibers*, ˌɪnˈkludɪŋ ˈsprɪŋˌfild 7.62×63mm*), ˈbɛlʤən ˈmaʊsər, ˈmaʊsər,, ˈmaʊsər ənd 303 ˈbrɪtɪʃ ɔl əv ðə koʊlt ˌɔtəˈmætɪk ˈraɪfəlz əˈpɪr tɪ hæv bɪn soʊld dɪˈrɛkli tɪ ən ˌɪmˈpruvd ˈvərʒən əv ðə ˈmɑdəl 1924 ðə ˈmɑdəl 1925 həz əˈʧivd ðə haɪəst ˌpɑpjəˈlɛrəti ɪn ˈɛkspɔrt seɪlz. ɪt ɪz beɪst ɔn ðə ˈmɑdəl 1924 bət ˈjuzɪz ə ˈhɛvi, ˈbɛrəl, ə ˈlaɪtˈweɪt ənd ɪz ɪkˈwɪpt wɪθ dəst ˈkəvərz ɪn ðə ˈmægəˌzin wɛl ənd ɪˈʤɛkʃən pɔrt (səm əv ðiz ˈfiʧərz wər ˈpætəntɪd: ˈjuˈɛs ˈpætənts 1548709 ənd 1533968 ðə ˈmɑdəl 1925 wɑz prəˈdust ɪn ˈvɛriəs calibers*, ˌɪnˈkludɪŋ ˈsprɪŋˌfild 7.62×63mm*), ˈbɛlʤən ˈmaʊsər, ˈmaʊsər, ˈmaʊsər, ənd 303 ˈbrɪtɪʃ 7.7×56mmr*) (noʊ ˈmɑdəl 1925 ˈraɪfəlz ɪn əˈpɪr tɪ hæv bɪn ə ˈmaɪnər ˈvɛriənt əv ðə ˈmɑdəl 1925 wɑz ðə laɪt məˈʃin gən wɪθ ə ˈbɛrəl (prəˈdust ɪn 1942 ɪn smɔl kˈwɑntətiz fər ðə dəʧ ˈɑrmi). bɪtˈwin ˌɪmˈpɔrtɪd ˈoʊvər 800 ɪgˈzæmpəlz əv ðə koʊlt məˈʃin ˈraɪfəlz fər seɪl ɔl əv ðə koʊlt ˌɔtəˈmætɪk məˈʃin ˈraɪfəlz, ˌɪnˈkludɪŋ ðə koʊlt ˈmɑnətər, wər əˈveɪləbəl fər ˈɛkspɔrt ˈæftər 1929 ðə ˈmɑdəl 1925 ənd ðə koʊlt ˈmɑnətər wər əˈveɪləbəl fər ˈɛkspɔrt seɪl ɪn koʊlts ɪkˈsklusɪv seɪlz ˈtɛrəˌtɔriz pər ɪts əˈgrimənt wɪθ ðiz koʊlt ˈtɛrəˌtɔriz ˌɪnˈkludɪd nɔrθ əˈmɛrɪkə, ˈsɛntrəl əˈmɛrɪkə, ðə wɛst ˈɪndiz, saʊθ əˈmɛrɪkə, greɪt ˈbrɪtən, ˈrəʃə, ˈtərki, saɪæm (ˈtaɪˌlænd), ˈɪndiə ənd ˈbɛlʤəm ˈɛdət ə ˈvɛriənt noʊn ɛz ðə 1930 wɑz dɪˈvɛləpt ɪn ˈbɛlʤən ˈmaʊsər baɪ ənd əˈdɑptəd baɪ ðə ˈbɛlʤən ˈɑrmi. ðə 1930 ɪz ˈbeɪsɪkli ə ˈlaɪsənst ˈkɑpi əv ðə koʊlt ˌɔtəˈmætɪk məˈʃin ˈraɪfəl, ˈmɑdəl 1925 (ɑr ðə 1930 həz ə ˈdɪfərənt gæs vælv ənd ə məˈkænɪkəl faɪər kənˈtroʊl ˈmɛkəˌnɪzəm dɪˈzaɪnd baɪ saive*, ˈloʊˌkeɪtəd ɪn ðə ˈtrɪgər grɪp səm əv ðiz reɪt ˈmɛkəˌnɪzəmz ənd ˈpɪstəl grɪp ˈhaʊzɪŋz wər ˈleɪtər ˈpərʧəst baɪ ˈsprɪŋˌfild ˈɑrməri fər ɪˌvæljuˈeɪʃən ənd ˈpɑsəbəl əˈdɑpʃən ɔn ə rɪˈpleɪsmənt fər ðə ðə ˈwɛpən ˈɔlsoʊ hæd ə hɪnʤd ˈʃoʊldər pleɪt ənd wɑz əˈdæptɪd fər juz ɔn ə ˈtraɪˌpɑd maʊnt. ɪn 1932 ˈbɛlʤəm əˈdɑptəd ə nu ˈvərʒən əv ðə 1930 ˈæləˌkeɪtɪd ðə ˈsərvɪs ˌdɛzɪgˈneɪʃən di ər "rɪˈmuvəbəl"), wɪʧ hæd ə ˈbɛrəl, ˈʃoʊldər rɛst ənd ə ˈsɪmpləˌfaɪd ˈmɛθəd fər ˈiziər ˈklinɪŋ ənd ˈmeɪntənəns. ðə di wɑz prəˈdust ˈivɪn ˈæftər wərld wɔr ɪn ˈvərʒənz əˈdæptɪd fər ˈsprɪŋˌfild ənd ˌæmjəˈnɪʃən. ðə ˈfaɪnəl ˈvɛriənt ɪn ˈbɛlʤən ˈsərvɪs wɑz ðə ˈmɑdəl ˈʧeɪmbərd fər ðə ˈneɪtoʊ ˈkɑrtrɪʤ ənd ˈfidɪŋ frəm ðə ˈmægəˌzinz fər ðə ˈpoʊlənd ˈɛdət pərˈdəkʃən əv ðə bɑr ɪn ˈbɛlʤəm bɪˈgæn ˈoʊnli ˈæftər ˈsaɪnɪŋ ən əˈgrimənt wɪθ ˈpoʊlənd (ɔn 10 dɪˈsɛmbər 1927 ˌɪnˈvɑlvɪŋ ðə proʊˈkjʊrmənt əv wz*. 1928 laɪt məˈʃin gənz ˈʧeɪmbərd ɪn ˈmaʊsər, wɪʧ ər ˈsɪmələr tɪ ðə ˈvɛriənt bət dɪˈzaɪnd spəˈsɪfɪkli tɪ mit ðə rɪkˈwaɪrmənts əv ðə ˈpɑlɪʃ ˈɑrmi. ˈʧeɪnʤɪz tɪ ðə beɪs dɪˈzaɪn ˌɪnˈklud ə ˈpɪstəl grɪp, ˈdɪfərənt taɪp əv, rɪr saɪt ənd ə sˈlaɪtli ˈlɔŋgər ˈbɛrəl. ˈsəbsəkwənt ˈraɪfəlz wər əˈsɛmbəld ɪn ˈpoʊlənd ˈəndər ˈlaɪsəns baɪ ðə steɪt ˈraɪfəl ˈfæktəri karabinów*) ɪn ˈwɔrˌsɔ. ðə wz*. 1928 wɑz ækˈsɛptɪd ˈɪntu ˈsərvɪs wɪθ ðə ˈpɑlɪʃ ˈɑrmi ɪn 1927 ˈəndər ðə ˈfɔrməl neɪm ˈbraʊnɪŋ wz*. 1928 ðə ˈaʊtˌbreɪk əv wərld wɔr ðə ˈpraɪˌmɛri laɪt səˈpɔrt ˈwɛpən əv ˈpɑlɪʃ ˈɪnfəntri ənd ˈkævəlri fɔrˈmeɪʃənz (ɪn 1939 ˈpoʊlənd hæd ə ˈtoʊtəl əv əˈprɑksəmətli wz*. 1928 ˈraɪfəlz ɪn ˈsərvɪs). əˈdɪʃənəl ˈditeɪl ˌmɑdəfəˈkeɪʃənz wər ˌɪntrəˈdust ɔn ðə pərˈdəkʃən laɪn; əˈməŋ ðɛm wər ðə rɪˈpleɪsmənt əv ðə aɪərn saɪts wɪθ ə sˈmɔlər ˈvərʒən ənd riˈʃeɪpɪŋ ðə bət tɪ ə fɪʃ teɪl. ɪn ðə ˈpɑlɪʃ dɪˈzaɪnər luənˈdɔfski wɑz tæskt wɪθ dɪˈvɛləpɪŋ ə ˈflɛksəbəl məˈʃin gən beɪst ɔn ðə ˈbraʊnɪŋ ðɪs rɪˈzəltɪd ɪn ðə wz*. 1937 ˈʧeɪnʤɪz ˌɪnˈkludɪd ˌɪnˈkrisɪŋ ðə ˈwɛpənz reɪt əv faɪər tɪ rounds/min*, ɪˈlɪməˌneɪtɪŋ ðə bət stɑk, ˈædɪŋ ə grɪp tɪ ðə rɪr əv ðə rɪˈsivər, ˈmuvɪŋ ðə meɪn draɪv spərɪŋ ˈəndər ðə ˈbɛrəl ənd, moʊst ˌɪmˈpɔrtəntli, ˈʧeɪnʤɪŋ ðə fid ˈsɪstəm. səˈsteɪnd faɪər wɑz ˈpræktɪkəli ˌɪmˈpɑsəbəl wɪθ ðə ˈstændərd bɑks ˈmægəˌzin, soʊ ə nu fid ˈmɛkəˌnɪzəm wɑz dɪˈvɛləpt ðət wɑz ˈædɪd tɪ ðə rɪˈsivər ɛz ə ˈmɑʤul. ɪt kənˈteɪnz ə spring-loaded*, ˈlɛvər ðət wʊd fid ə raʊnd frəm ə pæn ˈmægəˌzin ˈloʊˌkeɪtəd əˈbəv ðə rɪˈsivər ənd fɔrs ðə raʊnd ˈɪntu ðə fid pæθ ˈdʊrɪŋ ənˈlɑkɪŋ. ðə məˈʃin gən wɑz ækˈsɛptɪd ɪn 1937 ənd ˈɔrdərd baɪ ðə ˈpɑlɪʃ ɛr fɔrs ɛz ðə kɑˈrɑbin wz*. 1937 ("əbˈzərvərz məˈʃin gən ˈmɑdəl 1937 ɪˈvɛnʧəwəli 339 məˈʃin gənz wər əkˈwaɪərd ənd juzd ɛz ˈɑrməmənt ɪn ðə łłoś*ś ˈmidiəm ˈbɑmər ənd ðə riˈkɑnəsəns ˈɛrˌkræft. sˈwidən ˈɛdət sˈwidɪʃ ˈmɑdəl, wɪʧ wɑz ˈnɪrli aɪˈdɛntɪkəl tɪ ðə kənˌfɪgjərˈeɪʃən. ˈmɑdəl wɪθ ˈbɛrəl. ɪn 1920 ˈbɛlʤən ɑrmz ˌmænjəˈfækʧərər ˈnæʃəˌnæleɪ (fn*) əkˈwaɪərd seɪlz ənd pərˈdəkʃən raɪts tɪ ðə bɑr ˈsɪriz əv ˈfaɪˌrɑrmz ɪn ˈjʊrəp frəm koʊlt. ðə fərst bɑr ˈmɑdəl soʊld baɪ wɑz ðə ər "məˈʃingən ˈraɪfəl") ˈʧeɪmbərd fər ðə ˈkɑrtrɪʤ. ðə ɪz ə ˈvɛriənt əv ðə ˈmɑdəl 1919 dɪˈzaɪnd tɪ sˈwidɪʃ ˌspɛsəfəˈkeɪʃənz ənd ˌmænjəˈfækʧərd ˌɪˈnɪʃəli baɪ koʊlts ənd ˈleɪtər ˈəndər ˈlaɪsəns æt ðə kɑrl ɪn eskilstuna*. kəmˈpɛrd tɪ ðə ˈmɑdəl 1919 ðə sˈwidɪʃ ˈwɛpən frəm ðə ˈdɪfərənt spaɪkt ənd dəst ˈkəvərz fər ɪˈʤɛkʃən. ðə wʊd bɪˈkəm wən əv sˈwidənz meɪn səˈpɔrt ˈwɛpənz ɪn ðə jɪrz təˈgɛðər wɪθ ðə, ˈmidiəm məˈʃin gən (sˈwidɪʃ ˌædəpˈteɪʃən əv ðə ˈɔstriən dɪˈsætəsˌfaɪd wɪθ ðə ˈræpədli ˈoʊvərˌhitɪŋ fɪkst ˈbɛrəl əv ðə kɑrl ˈgustɑf bɪˈgæn tɪ dɪˈzaɪn ə nu ˈmɛkəˌnɪzəm fər ðə ˈbɛrəl ðət meɪts ðə ɪkˈstərnəli ˈʧeɪmbər tɪ ə ˈsɪriz əv ˈroʊˌteɪtɪŋ ˈflænʤəz ɪn ðə rɪˈsivər ˈɑpərˌeɪtəd baɪ ə ˈlɑkɪŋ ˈlɛvər. ðə ˈbɛrəl ˈɔlsoʊ rɪˈsivd ˈkulɪŋ fɪnz əˈlɔŋ ɪts ɪnˈtaɪər lɛŋθ. ðiz ɛnˈhænsmənts wər ˌɪnˈkɔrpərˌeɪtɪd ˈɪntu ðə ˈproʊtoʊˌtaɪp, wɪʧ wɑz ˈfeɪvərəbli ɪˈvæljuˌeɪtəd ˈdʊrɪŋ traɪəlz ɪn 1935 ðə ˈfaɪnəl ˈvərʒən wɑz ðə əˈdɑptəd fər ˈsərvɪs ɪn 1937 wɪʧ ˈjuzɪz ə smooth-contour*, ˈbɛrəl. ˈnumərəs gənz wər ˈrɛˌtroʊˌfɪtɪd wɪθ ðə rɪˈsivər ɪkˈstɛnʃən ənd ˈbɛrəl ənd riˈneɪmd ðə ˈnidɪd] ðə rɪˈmeɪnd ɪn ˈsərvɪs ənˈtɪl ˌriˈpleɪst baɪ ðə mæg, bət wɑz stɪl ɪn juz ənˈtɪl 1980 kɑrl ˈgustɑf ˈɔlsoʊ dɪˈvɛləpt ə ˈproʊtoʊˌtaɪp; ˌhaʊˈɛvər, ɪt wɑz ˈnɛvər əˈdɑptəd. ˈʧaɪnə ˈɛdət ðə ʧaɪˈniz ˈnæʃənəlɪst ˈɑrmi juzd ðə θruaʊt ðə ˈsɛkənd wɔr. ðə ʧaɪˈniz bɑr wɑz ˈʧeɪmbərd fər ðə ˈʤərmən ˈmaʊsər raʊnd, ðə ˈstændərd ˈraɪfəl ˈkɑrtrɪʤ əv ðə ˈnæʃənəl ˌrɛvəˈluʃəˌnɛri ˈɑrmi. ˈæftər ðə ˈaʊtˌbreɪk əv ðə pəˈsɪfɪk wɔr, ðə ʧaɪˈniz ˌɛkspəˈdɪʃəˌnɛri ˈɑrmi ɪn ˈbərmə wɑz ɪkˈwɪpt wɪθ əˈmɛrɪkən bɑrz. təˈwɔrdz ðə ɛnd əv ðə wɔr smɔl kˈwɑntətiz əv əˈmɛrɪkən ɪkˈwɪpmənt, ˌɪnˈkludɪŋ ðə bɑr, meɪd ðɛr weɪ ˈɪntu ˈmeɪnˌlænd ˈʧaɪnə. səˈvɪljən juz ˈɛdət wɪθ ðə ˌsɛˈseɪʃən əv hɑˈstɪlətiz, koʊlt ɑrmz koʊ. rɪˈsivd ðə ˈbraʊnɪŋ ˈpætənts tɪ ˈproʊdus ðə bɑr ðət hæd bɪn wɪθˈhɛld frəm ˈɪʃu ˈdʊrɪŋ ðə ðɪs əˈlaʊd koʊlt tɪ meɪk ðə bɑr əˈveɪləbəl fər kəˈmərʃəl seɪl, ˌɪnˈkludɪŋ tɪ səˈvɪljən ˈoʊnərz. ðə koʊlt ˌɔtəˈmætɪk məˈʃin ˈraɪfəl ˈmɑdəl 1919 ˌɪˈnɪʃəli meɪd əp əv ˈoʊvərˌrənz frəm ðə ˈmɪlɪˌtɛri pərˈdəkʃən ˈkɑnˌtrækt, wɑz ðə fərst əv ˈsɛvərəl kəˈmərʃəl koʊlt bɑrz ðət wʊd ˈfɑloʊ. ˌhaʊˈɛvər, ðə haɪ praɪs əv ðə ˈwɛpən ənd ɪts ˈlɪmɪtɪd juˈtɪləti fər moʊst səˈvɪljən ˈoʊnərz rɪˈzəltɪd ɪn fju seɪlz. æd topperwien*, ə ˈfeɪməs trɪk ˈʃutər əv ðə ˈərli 1920s*, ˈpərʧəst wən əv ðə fərst bɑrz tɪ pərˈfɔrm ˈɛriəl ˈtərgət ˈʃutɪŋ ɔˈkeɪʒənəl bɑr seɪlz wər meɪd tɪ səˈvɪljən ˈoʊnərz θru dɪˈstrɪbjətərz səʧ ɛz ðə ˈhɑrdˌwɛr ɪn 1931 ðə nu koʊlt ˈmɑnətər wɑz meɪd əˈveɪləbəl tɪ səˈvɪljənz ˈdʊrɪŋ ðə dɪˈprɛʃən æt 300 iʧ, ˌɪnˈkludɪŋ ə spɛr pɑrts kɪt, slɪŋ, ˈklinɪŋ ækˈsɛsəriz ənd sɪks ˈmægəˌzinz, bət koʊlt ˈrɛkərdz ˈɪndəˌkeɪt noʊ dəˈmɛstɪk seɪlz tɪ ˈæftər ˈpæsɪʤ əv ðə ˈnæʃənəl ˈfaɪˌrɑrmz ækt əv 1934 səˈvɪljən bɑr ˈoʊnərˌʃɪp wɑz riˈstrɪktɪd ˈivɪn ˈfərðər. ˌɪmpɔrˈteɪʃən əv məˈʃin gənz fər ˈjuˈɛs səˈvɪljən ˈtrænsfər wɑz bænd ɪn 1968 ənd ˈjuˈɛs pərˈdəkʃən əv məˈʃin gənz fər səˈvɪljən ˈtrænsfər wɑz bænd ɪn 1986 ˌhaʊˈɛvər, səm trænsˈfərəbəl bɑr ˈmɑdəlz ɪgˈzɪst ɪn ðə ˈjuˈɛs ənd ɔˈkeɪʒənəˌli kəm əp fər seɪl tɪ kˈwɑləˌfaɪd baɪərz. səm ˈkəmpəˌniz ər ˌmænjəˈfækʧərɪŋ ˈkɑpiz fər seɪl tɪ səˈvɪljənz. oʊˈhaɪoʊ ˈɔrdnəns wərks, ɪŋk., ɪn chardon*, oʊ, hoʊldz ən ɪkˈsklusɪv ˈpætənt fər ðə ˈraɪfəl), wɪʧ ɪz ə kənˈtɛmpərˌɛri ˈvɛriənt əv ðə ənd ɪz ˈligəl fər səˈvɪljənz tɪ ˈkrɪmənəl ənd lɔ ɛnˈfɔrsmənt juz ˈɛdət ˌɔlˈðoʊ ðə koʊlt ˈmɑnətər ˈvərʒən əv ðə bɑr feɪld tɪ ˈɪntəˌrɛst ˈjuˈɛs səˈvɪljən baɪərz ɪn ðə mɪst əv ðə ðə ˈəndərˌwərld wɑz ə lɔt mɔr ˈɪntəˌrɛstɪd: ɪn 1936 ðə praɪs əv ə koʊlt ˈmɑnətər wɑz wɪθ ˈmɪlɪˌtɛri bɑrz goʊɪŋ fər ˈsəmˈwət ðə ˈɑrmiz wɑz ə ˈfeɪvərɪt əv ˈgæŋstər klaɪd ˈbɛroʊ, hu əbˈteɪnd hɪz θru ˌpɪriˈɑdɪk ˈrɑbəriz əv ˈɑrmi ˈnæʃənəl gɑrd ˈɑrməriz ɪn ðə ˌmɪdˈwɛst. ˈbɛroʊ laɪkt tɪ juz (ˌeɪˈpi) ˌæmjəˈnɪʃən hi əbˈteɪnd frəm ˈɑrməri stɔrz, ənd ˈfrikwɛntli ˈmɑdəˌfaɪd hɪz bɑrz tɪ sut hɪz oʊn ˈbɛroʊ tɔt hɪz ˈgərlˌfrɛnd ˈbɑni ˈpɑrkər tɪ faɪər ðə ɛz wɛl, ənd baɪ ɔl əˈkaʊnts ʃi wɑz ən ˈɛksələnt bɑr ˈɑpərˌeɪtər. ʃi juzd ən ɔn tɪ pɪn daʊn ˌənsəˈspɛktɪŋ lɔ ˈɔfɪsərz ˈæftər ðeɪ kənˈfrəntɪd ðə gæŋ æt ə haʊs ɪn ˈʤɑplɪn, ə məˈzʊri ˈhaɪˌweɪ pəˈtroʊlˌmæn æt ðə sin, fɔrst tɪ daɪv fər ˈkəvər bɪˈhaɪnd ə səbˈstænʃəl oʊk tri ˈæftər ˈbɑni ˈpɑrkər ˈoʊpənd əp ɔn ɪm, ˈleɪtər ˈsteɪtɪd, "ðət ˈlɪtəl ˈwʊmən fɪld maɪ feɪs wɪθ ˈsplɪntərz ɔn ðə ˈəðər saɪd əv ðət tri wɪθ wən əv ðoʊz dæmd ɛz ðə juz əv ˌɔtəˈmætɪk ˈwɛpənz baɪ ˈkrɪmənəl ˈɛləmənts ɪn ðə ˈjuˈɛs bɪˈkeɪm mɔr ˈwaɪdˈsprɛd, ˈɛfˈbiˈaɪ dɪˈrɛktər ʤeɪ. ˈɛdgər ˈhuvər ˈɔrdərd ðə ˈeɪʤənsi tɪ əkˈwaɪər ənd kəˈmɛns ˈrɛgjələr ˈtreɪnɪŋ wɪθ ˌɔtəˈmætɪk ˈʃoʊldər ˈwɛpənz, ˌɪnˈkludɪŋ ðə ˈtɑmsən ˌsəbməˈʃin gən ənd ðə bɑr. fər ɪts bɑrz ðə ˈɛfˈbiˈaɪ tərnd tɪ koʊlt, wɪʧ soʊld 90 koʊlt ˈmɑnətər ˌɔtəˈmætɪk məˈʃin ˈraɪfəlz tɪ ðə səm əv ðə ˈɛfˈbiˈaɪz ˈmɑnətərz wər dɪˈstrɪbjətəd tɪ fild ˈɔfəsɪz fər juz ɛz səˈpɔrt ˈwɛpənz ɪf ˈnidɪd ɔn ə ˌpɑˈtɪkjələr ˌɑpərˈeɪʃən, waɪl ðə rɪˈmeɪndər wər rɪˈteɪnd æt ðə ˈɛfˈbiˈaɪ əˈkædəmi ɪn kˈwɑntɪkoʊ, vərˈʤɪnjə, fər ˈtreɪnɪŋ koʊlt soʊld ən əˈdɪʃənəl 11 koʊlt ˈmɑnətərz tɪ ðə ˈjuˈɛs ˈtrɛʒəri dɪˈpɑrtmənt ɪn 1934 waɪl 24 gənz wər soʊld tɪ steɪt ˈprɪzənz, bæŋks, sɪˈkjʊrəti ˈkəmpəˌniz ənd əˈkrɛdɪtɪd ˈsɪti, ˈkaʊnti ənd steɪt pəˈlis æt list wən ˈmɛmbər əv ðə ˈæmˌbʊʃ tim ðət kɪld ˈbɑni ənd klaɪd wɑz ɑrmd wɪθ ə koʊlt ˌɔlˈðoʊ ɪt həz ˈsəmˌtaɪmz bɪn əˈlɛʤd ðət ðə ər bɑr wɑz juzd baɪ ˈmɛmbərz əv ðə ˌlɪˌbərˈeɪʃən ˈɑrmi (sla*) ɪn ə ˈʃutaʊt wɪθ lɔs ˈænʤəlɪs pəˈlis ɔn 17 meɪ 1974 noʊ ˈmɛmbərz ˈɛvər juzd səʧ ə ˈwɛpən. ðə kənfˈjuʒən əroʊz aʊt əv ˈbraʊnɪŋz dɪˈsɪʒən ɪn ðə tɪ ˈɔlsoʊ ˈdɛzɪgˌneɪt ɪts ˈhəntɪŋ ˈraɪfəl ðə ˈbraʊnɪŋ bɑr. ðə kənˈvərtɪd ə ˈbraʊnɪŋ bɑr ˈhəntɪŋ ˈraɪfəl ənd ə 243 ˈrɛmɪŋtən ˈmɑdəl 742 tɪ ˌɔtəˈmætɪk faɪər baɪ ˈfaɪlɪŋ daʊn ðə sɪr, ənd ɪt wɑz ðiz ˈwɛpənz ðət wər juzd ɪn ðə ˈnidɪd] ɪn ˈjuˈɛs ˈmɪlɪˌtɛri ˈsərvɪs ˈɛdət wərld wɔr aɪ ˈɛdət æt ɪts ˌɪnˈsɛpʃən, ðə wɑz ˌɪnˈtɛndɪd tɪ bi juzd ɛz ə ˈraɪfəl ˈkeɪpəbəl əv boʊθ ənd ˈfʊli ˌɔtəˈmætɪk faɪər. fərst ˈɪʃud ɪn sɛpˈtɛmbər 1918 tɪ ðə aef*, ɪt wɑz beɪst ɔn ðə ˈkɑnsɛpt əv "ˈwɔkɪŋ faɪər", ə frɛnʧ ˈpræktɪs ɪn juz sɪns 1916 fər wɪʧ ðə 1915 (chauchat*) hæd bɪn juzd əˈkəmpəniɪŋ ədˈvænsɪŋ skwɑdz əv təˈwɔrd ðə ˈɛnəmi ˈtrɛnʧɪz, ɛz ˈrɛgjələr məˈʃin gənz wər tu ˈkəmbərsəm tɪ muv wɪθ ðə trups ˈdʊrɪŋ ən əˈsɔlt. ɪn əˈdɪʃən tɪ ˌɑpərˈeɪʃən, bɑr ˈgənərz wər ˈɪʃud ə bɛlt wɪθ ˈmægəˌzin ˈpaʊʧəz fər ðə bɑr ənd ˈsaɪdɑrm əˈlɔŋ wɪθ ə "kəp" tɪ səˈpɔrt ðə stɑk əv ðə ˈraɪfəl wɪn hɛld æt ðə hɪp. ɪn ˈθɪri, ðɪs əˈlaʊd ðə ˈsoʊlʤər tɪ leɪ faɪər waɪl ˈwɔkɪŋ ˈfɔrwərd, ˈkipɪŋ ðə ˈɛnəmiz hɛd daʊn, ə ˈpræktɪs noʊn ɛz "ˈmɑrʧɪŋ faɪər". ðə aɪˈdiə wʊd riˈsərfəs ɪn ðə ˌsəbməˈʃin gən ənd ˈəltəmətli ðə əˈsɔlt ˈraɪfəl. ɪt ɪz nɑt noʊn ɪf ˈɛni əv ðə dɪˈvaɪsɪz ˈæˌkʧuəli sɔ ˈkɑmbæt juz. ðə bɑr ˈoʊnli sɔ ˈmaɪnər ˈækʃən ɪn fræns ˈdʊrɪŋ wərld wɔr aɪ, biɪŋ brɔt ˈɪntu ˈækʃən ˈoʊnli ɛz leɪt ɛz sɛpˈtɛmbər 1918 lɛs ðən θri mənθs ˌbiˈfɔr ˈɑrməstəs deɪ. ðə ˌɪnˈtɛnʃənəl dɪˈleɪ hæd bɪn ˌɪnˈspaɪərd baɪ ˈʤɛnərəl ˈpərʃɪŋ, ðə a.e.f*. kəˈmændər, ɪn ˈɔrdər nɑt tɪ lɛt ðə bɑr fɔl ˈɪntu ˈɛnəmi hænz tu ˈərli. ˈθaʊzənd bɑrz wər əˈveɪləbəl baɪ noʊˈvɛmbər 1918 ənd ðeɪ wʊd hæv bɪn juzd ɪn məʧ ˈlɑrʤər ˈnəmbərz æt ðə frənt ɪf ðə wɔr hæd ˈlæstɪd ˈɪntu 1919 juz ˈɛdət ə ˈjuˈɛs ˈɑrmi ˈsoʊlʤər treɪnz wɪθ ə bɑr ˈdʊrɪŋ ðə jɪrz, ɛz ðə juz. ˈɑrmi wɑz rɪˈdust sɪgˈnɪfɪkəntli ɪn saɪz, ðə bɑr rɪˈmeɪnd ɪn ðə sˈmɔlər ˈɛkstənt ˈrɛgjələr ˈɑrmi ənd baɪ ðə 1930s*, wɑz ˈɔlsoʊ ˈɪʃud tɪ steɪt ˈnæʃənəl gɑrd ˈjunɪts tɪ bi meɪnˈteɪnd æt ðɛr ˈɑrməriz. ˈgɪvɪn ðə ˈpɑrtˈtaɪm ˈneɪʧər, sˈmɔlər ˈmænɪŋ ənd ˈlɛsər sɪˈkjʊrəti əv ðiz ˈnæʃənəl gɑrd ˈɑrməriz wɪn kəmˈpɛrd tɪ ˈrɛgjələr ˈɑrmi ˌɪnstəˈleɪʃənz, səm bɑrz wər ˈsəbʤɪkt tɪ θɛft baɪ dəˈmɛstɪk səˈvɪljən ˈkrɪmənəl ðə bɑr wɑz ˈɔlsoʊ ˈstændərd ˈɪʃu tɪ ˈjuˈɛs ˈneɪvəl ˈlændɪŋ ˈfɔrsɪz ˈdʊrɪŋ ðə ðə ˈwɛpən wɑz ə ˈstændərd ˈaɪtəm ɪn ˈjuˈɛs ˈwɔrˌʃɪp ˈɑrməriz, ənd iʧ bɑr wɑz əˈkəmpənid baɪ ə spɛr lɑrʤ ˈkæpɪtəl ʃɪps ˈɔfən hæd ˈoʊvər 200 bɑrz ɔn wɪθ ˈmɛni əv ðə ˈjuˈɛs ˈneɪvi bɑrz rɪˈmeɪnɪŋ ɪn ˈsərvɪs wɛl ˈɪntu ðə ðə bɑr ˈɔlsoʊ sɔ ˈækʃən wɪθ ˈjuˈɛs mərˈin kɔrz ˈjunɪts pɑrˈtɪsəˌpeɪtɪŋ ɪn ðə ˈheɪʃən ənd ˌnɪkərˈɑgwən ˌɪntərˈvɛnʃənz, ɛz wɛl ɛz wɪθ ˈjuˈɛs ˈneɪvi ˈʃɪpˌbɔrd ˌpərsəˈnɛl ɪn ðə kɔrs əv pəˈtroʊl ənd ˈgənˌboʊt ˈduti əˈlɔŋ ðə ˈjæŋktˈsi ˈrɪvər ɪn ðə fərst mərˈin brɪˈgeɪd ˈsteɪʃənd ɪn ˌpɔrtoʊˈprɪns, ˈheɪti, ˈnoʊtɪd ðət ˈtreɪnɪŋ ə mæn tɪ juz ðə bɑr tʊk ə fʊl tu deɪz əv reɪnʤ ˈpræktɪs ənd ˌɪnˈstrəkʃən, kəmˈpɛrd tɪ hæf ə deɪ wɪθ ðə 45 ˈkæləbər ˈtɑmsən ˌsəbməˈʃin praɪər tɪ wərld wɔr boʊθ ðə ˈjuˈɛs ˈɑrmi ənd mərˈin kɔrz hæd ə ˈsɛpərˌeɪt bɑr skwɑd təˈgɛðər wɪθ θri ˈraɪfəl skwɑdz ɪn ðə "skwɛr" ˌɔrgənɪˈzeɪʃən əv ðə taɪm. wɪn kənˈvərtɪŋ tɪ ðə "traɪˈæŋgjələr" ˌɔrgənɪˈzeɪʃən ðə ˈsɛpərˌeɪt bɑr skwɑd wɑz ɪˈlɪməˌneɪtɪd wɪθ bɑrz goʊɪŋ tɪ iʧ ˈraɪfəl skwɑd. wərld wɔr ˈɛdət ə ˈjuˈɛs mərˈin ˈɪnfæntrimən ˈfaɪərrɪŋ ə bɑr æt ˈɛnəmi pəˈzɪʃənz wɪn ðə θrɛt əv ə nu wɔr əroʊz, ˈɔrdnəns bɪˈleɪtədli ˈriəˌlaɪzd ðət ɪt hæd noʊ ˈpɔrtəbəl, skwɑd laɪt məˈʃin gən, ənd əˈtɛmptəd tɪ ˈkɑnvərt ðə bɑr tɪ ðət roʊl wɪθ ðə əˈdɑpʃən əv ðə baɪ ðə ˈjuˈɛs ˈɑrmi ɔn 30 ʤun ðə bɑr wɑz ˈɪʃud ɛz ðə soʊl ˌɔtəˈmætɪk faɪər səˈpɔrt fər ə ənd ɔl mɛn wər treɪnd æt ðə ˈbeɪsɪk ˈlɛvəl haʊ tɪ ˈɔpərˌeɪt ənd faɪər ðə ˈwɛpən ɪn keɪs ðə ˈdɛzɪgˌneɪtɪd ˈɔpərˌeɪtərz wər kɪld ər ˈwundɪd. æt ðə stɑrt əv ðə wɔr, ˈɪnfəntri ˈkəmpəˌniz ˈdɛzɪgˌneɪtɪd bɑr timz, ə ˈgənər, ən əˈsɪstənt ˈgənər, ənd ən ˌæmjəˈnɪʃən ˈbɛrərz hu ˈkɛrid əˈdɪʃənəl ˈmægəˌzinz fər ðə gən. baɪ 1944 səm ˈjunɪts wər ˈjuzɪŋ ˌwəˈmæn bɑr timz, wɪθ ðə ˈəðər ɪn ðə skwɑd dɪˈteɪld tɪ ˈkɛri əˈdɪʃənəl ˈmægəˌzinz ər ˌbændəˈlɪrz əv 30 dɪˈspaɪt ˈvɛriəs kleɪmz ɔn ðə ˈsəbʤɪkt, ðə bɑr wɑz ˈɪʃud tɪ ˈsoʊlʤərz əv ˈvɛriəs ɛz ərˈɪʤənəli kənˈsivd, ˈjuˈɛs ˈɑrmi ˈtæktɪkəl ˈdɔktərɪn kɔld fər wən pər skwɑd, ˈjuzɪŋ ˈsɛvərəl mɛn tɪ səˈpɔrt ənd ˈkɛri ˌæmjəˈnɪʃən fər ðə faɪər ənd ˈmuvmənt ˈtæktɪks ˈsɛntərd ɔn ðə ˈɛmˈwən ɪn ðə skwɑd, waɪl ðə bɑr mæn wɑz dɪˈteɪld tɪ səˈpɔrt ðə ɪn ðə əˈtæk ənd prəˈvaɪd moʊˈbɪlɪti tɪ ðə wɪθ ə beɪs əv ðɪs ˈdɔktərɪn rɪˈsivd ə ˈsɛtˌbæk ˈərli ɪn ðə wɔr ˈæftər ˈjuˈɛs graʊnd ˈfɔrsɪz ɪnˈkaʊnərd ˈʤərmən trups, wɪθ ˌɔtəˈmætɪk ˈwɛpənz, ˌɪnˈkludɪŋ fast-firing*, ˈpɔrtəbəl məˈʃin ɪn səm ˈkeɪsɪz, ˌpɑrˈtɪkjələrli ɪn ðə əˈtæk, ˈɛvəri fɔrθ ˈʤərmən ˈɪnfæntrimən wɑz ɪkˈwɪpt wɪθ ən ˌɔtəˈmætɪk ˈwɛpən, ˈiðər ə ˌsəbməˈʃin gən ər ə məˈʃin ˈɛləmənts əv ðə mərˈin dɪˈvɪʒən æt ˌoʊˌkɪˈnɑwə wɪθ ðə lɛd mərˈin (ˈɔnwərd ˈɛlmoʊ məˈkələ) ˈkɛriɪŋ ə bɑr ɪn ən əˈtɛmpt tɪ ˈoʊvərˌkəm ðə bɑrz ˈlɪmɪtɪd ˌkeɪpəˈbɪləti, ˈjuˈɛs ˈɑrmi dɪˈvɪʒənz ˌɪnˈkrisɪŋgli bɪˈgæn tɪ ˈspɛsəˌfaɪ tu bɑr faɪər timz pər skwɑd, ˈfɑloʊɪŋ ðə ˈpræktɪs əv ðə ˈjuˈɛs mərˈin kɔrz. wən tim wʊd ˈtɪpɪkəli prəˈvaɪd ˈkəvərɪŋ faɪər ənˈtɪl ə ˈmægəˌzin wɑz ˈɛmti, ˈwɛrəˈpɑn ðə ˈsɛkənd tim wʊd ˈoʊpən faɪər, ðəs əˈlaʊɪŋ ðə fərst tim tɪ riˈloʊd. ɪn ðə pəˈsɪfɪk, ðə bɑr wɑz ˈɔfən ɪmˈplɔɪd æt ðə pɔɪnt ər teɪl əv ə pəˈtroʊl ər ˈɪnfəntri ˈkɑləm, wɛr ɪts ˈfaɪrˌpaʊər kʊd hɛlp breɪk ˈkɑnˌtækt ɔn ə ˈʤəŋgəl treɪl ɪn ðə ɪˈvɛnt əv ən ˈæftər ˈkɑmbæt ɪkˈspɪriəns ʃoʊd ðə ˈbɛnəfɪts əv ˈmæksəˌmaɪzɪŋ ˈpɔrtəbəl ˌɔtəˈmætɪk ˈfaɪrˌpaʊər ɪn fɔrˈmeɪʃənz, ðə ˈjuˈɛs mərˈin kɔrz bɪˈgæn tɪ ˌɪnˈkris ðə ˈnəmbər əv bɑrz ɪn ɪts ˈkɑmbæt dɪˈvɪʒənz, frəm 513 pər dɪˈvɪʒən ɪn 1943 tɪ 867 pər dɪˈvɪʒən ɪn ə skwɑd wɑz dɪˈvɛləpt, kənˈsɪstɪŋ əv 3 faɪər timz, wɪθ wən bɑr pər faɪər tim, ər θri bɑrz pər skwɑd. ˌɪnˈstɛd əv səˈpɔrtɪŋ ðə ˈɛmˈwən ɪn ðə əˈtæk, mərˈin ˈtæktɪkəl ˈdɔktərɪn wɑz ˈfoʊkɪst əraʊnd ðə bɑr, wɪθ səˈpɔrtɪŋ ənd prəˈtɛktɪŋ ðə bɑr dɪˈspaɪt ðə ˌɪmˈpruvmənts ɪn ðə ðə bɑr rɪˈmeɪnd ə ˈdɪfəkəlt ˈwɛpən tɪ ˈmæstər wɪθ ɪts ˈoʊpən boʊlt ənd strɔŋ riˈkɔɪl spərɪŋ, rikˈwaɪərɪŋ əˈdɪʃənəl reɪnʤ ˈpræktɪs ənd ˈtreɪnɪŋ tɪ hɪt ˈtɑrgəts ˈækjərətli wɪˈθaʊt ɛz ə skwɑd laɪt məˈʃin gən, ðə bɑrz ˈifɛktɪvnəs wɑz mɪkst, sɪns ɪts θɪn, ˈbɛrəl ənd smɔl ˈmægəˌzin kəˈpæsɪti ˈgreɪtli ˈlɪmɪtɪd ɪts ˈfaɪrˌpaʊər ɪn kəmˈpɛrəsən tɪ ˈʤɛnjuˌaɪn laɪt məˈʃin gənz səʧ ɛz ðə ˈbrɪtɪʃ brɛn ənd ðə ˌʤæpəˈniz taɪp 96 ðə ˈwɛpənz ˈmɛkəˌnɪzəm, ə ˈdɛləkətli ˈbælənst ˈsɪstəm dɪˈskraɪbd baɪ wən ˈɔrdnəns ˈsɑrʤənt ɛz ə "rub ˈgoʊldbərg dɪˈvaɪs", keɪm ɪn fər məʧ ˈkrɪtɪˌsɪzəm, ˈɔfən ˈkɔzɪŋ mælˈfəŋkʃənz wɪn nɑt ˈrɛgjələrli ðə ənd rɛst (monopod*), wɪʧ kənˈtrɪbjutɪd soʊ məʧ tɪ ðə ˈækjərəsi wɪn ˈfaɪərrɪŋ proʊn ɔn ðə ˈraɪfəl reɪnʤ, pruvd fɑr lɛs ˈvæljəbəl ˈəndər ˈækʧəwəl fild ˈkɑmbæt ðə stɑk rɛst wɑz drɑpt frəm pərˈdəkʃən ɪn 1942 waɪl ðə ənd flæʃ ˈhaɪdər wər ˈɔfən dɪˈskɑrdɪd baɪ ˌɪndəˈvɪʤəwəl ˈsoʊlʤərz ənd mərˈinz tɪ seɪv weɪt ənd ˌɪmˈpruv ˌpɔrtəˈbɪlɪti, ˌpɑrˈtɪkjələrli ɪn ðə pəˈsɪfɪk ˈθiətər əv wɪθ ðiz ˌmɑdəfəˈkeɪʃənz, ðə bɑr ˈifɛktɪvli rɪˈvərtɪd tɪ ɪts ərˈɪʤənəl roʊl ɛz ə ˈpɔrtəbəl, ˌɔtəˈmætɪk du tɪ pərˈdəkʃən dɪˈmændz, wɔr praɪˈɔrətiz, səbˈkɑnˌtræktər ˈɪʃuz, ənd məˈtɪriəl dɪˈmænd fər ðə ˈfrikwɛntli ɪkˈsidɪd səˈplaɪ, ənd ɛz leɪt ɛz 1945 səm ˈɑrmi ˈjunɪts wər sɛnt ˈɪntu ˈkɑmbæt stɪl ˈkɛriɪŋ ˈoʊldər, ˈæftər ə ˈpɪriəd əv ˈsərvɪs, ˈɔrdnəns ˌpərsəˈnɛl bɪˈgæn tɪ rɪˈsiv bɑrz wɪθ ˌɪˈnɑpərəbəl ər mælˈfəŋkʃənɪŋ riˈkɔɪl ˈbəfər ˈmɛkəˌnɪzəmz. ðɪs wɑz ɪˈvɛnʧəwəli treɪst tɪ ðə ˈsoʊlʤərz ˈkɑmən ˈpræktɪs əv ˈklinɪŋ ðə bɑr ɪn ə ˈvərtɪkəl pəˈzɪʃən wɪθ ðə bət əv ðə ˈwɛpən ɔn ðə graʊnd, əˈlaʊɪŋ ˈklinɪŋ fluɪd ənd bərnd ˈpaʊdər tɪ kəˈlɛkt ɪn ðə riˈkɔɪl ˈbəfər əˈdɪʃəˌnəli, ənˈlaɪk ðə ˈɛmˈwən ˈraɪfəl, ðə bɑrz gæs ˈsɪlɪndər wɑz ˈnɛvər ʧeɪnʤd tɪ ˈsteɪnləs stil. ˈkɑnsəkˌwɛntli, ðə gæs ˈsɪlɪndər ˈfrikwɛntli ˈrəstɪd ˈsɑləd frəm ðə juz əv ˈɛmˈtu ˈsərvɪs ˌæmjəˈnɪʃən ɪn ə ˈjumɪd ɪnˈvaɪrənmənt wɪn nɑt strɪpt ənd klind ɔn ə ˈdeɪli waɪl nɑt wɪˈθaʊt dɪˈzaɪn flɔz (ə thin-diameter*, fɪkst ˈbɛrəl ðət kˈwɪkli ˈoʊvərˌhitɪd, ˈlɪmɪtɪd ˈmægəˌzin kəˈpæsɪti, ˈkɑmplɛks prəˈsiʤər, ˌənrɪˈlaɪəbəl riˈkɔɪl ˈbəfər ˈmɛkəˌnɪzəm, ə gæs ˈsɪlɪndər əˈsɛmbli meɪd əv ˈmɛtəlz, ənd ˈmɛni smɔl ˌɪnˈtərnəl pɑrts), ðə bɑr pruvd ˈrəgəd ənd rɪˈlaɪəbəl ɪˈnəf wɪn ˈrɛgjələrli ənd klind. ˈdʊrɪŋ wərld wɔr, ðə bɑr sɔ ɪkˈstɛnsɪv ˈsərvɪs, boʊθ əˈfɪʃəl ənd ˌənəˈfɪʃəl, wɪθ ˈmɛni ˈbrænʧɪz əv ˈsərvɪs. wən əv ðə bɑrz moʊst ənˈjuˌʒuəl ˈjuzɪz wɑz ɛz ə dɪˈfɛnsɪv ˈɛrˌkræft ˈwɛpən. ɪn 1944 ˈkæptən ˈwɔli ə. ˈgeɪdə, əv ðə ɛr ˈtrænspɔrt kəˈmænd, rɪˈpɔrtədli juzd ə bɑr tɪ rɪˈtərn faɪər əˈgɛnst ə ˌʤæpəˈniz ˈɑrmi nɑkɑˈʤimə ˈfaɪtər ðət hæd əˈtækt hɪz ˈkɑrˌgoʊ pleɪn ˈoʊvər ðə həmp ɪn ˈbərmə. ˈgeɪdə ʃəvd ðə ˈraɪfəl aʊt hɪz ˈfɔrwərd ˈkæbən ˈwɪndoʊ, ˈɛmtiɪŋ ðə ˈmægəˌzin ənd əˈpɛrəntli ˈkɪlɪŋ ðə ˌʤæpəˈniz ˌkɔˈriən wɔr ˈɛdət ˌkɔˈriən wɔr, 1951 ə ˈjuˈɛs ˈsoʊlʤər bɪˈhaɪnd ən ˈʃərmən tæŋk, wɪθ ən ðə bɑr kənˈtɪnjud ɪn ˈsərvɪs ɪn ðə ˌkɔˈriən wɔr. ðə læst ˈmɪlɪˌtɛri ˈkɑnˌtrækt fər ðə ˌmænjəˈfækʧər əv ðə wɑz əˈwɔrdɪd tɪ ðə rɔɪəl ˈtaɪˌpraɪtər koʊ. əv ˈhɑrtfərd, kəˈnɛtəkət, wɪʧ ˌmænjəˈfækʧərd ə ˈtoʊtəl əv ˈdʊrɪŋ ðə ˈkɑnflɪkt, ˈjuzɪŋ kæst rɪˈsivərz ənd ˈtrɪgər ɪn hɪz ˈstədi əv ˈɪnfəntri ˈwɛpənz ɪn ˌkɔˈriə, hɪˈstɔriən s.l.a*. ˈmɑrʃəl ˈɪntərvˌjud ˈhənərdz əv ˈɔfɪsərz ənd mɛn ɪn rɪˈpɔrts ɔn ðə ˈifɛktɪvnəs əv ˈvɛriəs juz. smɔl ɑrmz ɪn ðə ˈʤɛnərəl ˈmɑrʃəlz rɪˈpɔrt ˈnoʊtɪd ðət ən ˌoʊvərˈwɛlmɪŋ məˈʤɔrəti əv rɪˈspɑndənts preɪzd ðə bɑr ənd ðə juˈtɪləti əv ˌɔtəˈmætɪk faɪər dɪˈlɪvərd baɪ ə ˈlaɪtˈweɪt, ˈpɔrtəbəl smɔl ɑrm ɪn boʊθ deɪ ənd naɪt ɪn hɪz ˌɔtəbaɪˈɑgrəfi ˈkərnəl ˈdeɪvɪd ˈhækˌwərθ preɪzd ðə bɑr ɛz 'ðə bɛst ˈwɛpən əv ðə ˌkɔˈriən ə ˈtɪpɪkəl bɑr ˈgənər əv ðə ˌkɔˈriən wɔr ˈkɛrid ðə bɛlt ənd ˈkɑmbæt səˈspɛndərz, wɪθ θri ər fɔr ˈɛkstrə ˈmægəˌzinz ɪn ˈɛkstrə kænˈtinz, 45 ˈpɪstəl, grəˈneɪdz, ənd ə flæk vɛst ˈædɪd stɪl mɔr ɛz ɪn wərld wɔr, ˈmɛni bɑr ˈgənərz dɪˈspoʊzd əv ðə ˈhɛvi ənd ˈəðər əˈkutərmənts əv ðə bət ənˈlaɪk ðə praɪər ˈkɑnflɪkt ðə flæʃ ˈhaɪdər wɑz ˈɔlˌweɪz rɪˈteɪnd bɪˈkəz əv ɪts juˈtɪləti ɪn naɪt ðə lɑrʤ əˈmaʊnts əv ˌæmjəˈnɪʃən ɪkˈspɛndɪd baɪ bɑr timz ɪn ˌkɔˈriə pleɪst əˈdɪʃənəl dɪˈmændz ɔn ðə əˈsɪstənt ˈgənər tɪ steɪ ɪn kloʊz ˈkɑnˌtækt wɪθ ðə bɑr æt ɔl taɪmz, ˌpɑrˈtɪkjələrli ɔn waɪl ðə bɑr ˈmægəˌzinz ðɛmˈsɛlvz ˈɔlˌweɪz simd tɪ bi ɪn ʃɔrt səˈplaɪ, ʤɛn. ˈmɑrʃəl ˌriˈpɔrtəd ðət ɪn ðə skwɑd wər ˈmɑrkɪdli ˈwɪlɪŋ tɪ ˈkɛri ˈɛkstrə ˌæmjəˈnɪʃən fər ðə bɑr ɪn ˈkɑmbæt, ðə ˈfrikwɛntli ˌdɪˈsaɪdɪd ðə ˈaʊtˌkəm əv dɪˈtərmənd əˈtæks baɪ nɔrθ ˌkɔˈriən ənd ʧaɪˈniz ˈkɑmjənəst ˈfɔrsɪz. ˈkɑmjənəst ˈtæktɪkəl ˈdɔktərɪn ˈsɛntərd ɔn ðə ˈmɔrtər ənd məˈʃin gən, wɪθ əˈtæks dɪˈzaɪnd tɪ ɪnˈvɛləp ənd kət ɔf juˈnaɪtɪd ˈneɪʃənz ˈfɔrsɪz frəm səˈplaɪ ənd ˌriɪnˈfɔrsmənt. ˈkɑmjənəst məˈʃin gən timz wər ðə mɛn ɪn ˈɛni ˈgɪvɪn nɔrθ ˌkɔˈriən ər ʧaɪˈniz ˈɪnfəntri ˈjunɪt, skɪld æt ˈpleɪsɪŋ ðɛr ˈhɛvəli ˈkæməˌflɑʒd ənd prəˈtɛktɪd ˈwɛpənz ɛz kloʊz tɪ ˈjuˈɛn ˈfɔrsɪz ɛz wəns kənˈsild, ðeɪ ˈɔfən səˈpraɪzd ˈjuˈɛn ˈfɔrsɪz baɪ ˈoʊpənɪŋ faɪər æt ˈvɛri ʃɔrt ˈreɪnʤɪz, ˈkəvərɪŋ ˈɛni ɪkˈspoʊzd graʊnd wɪθ ə heɪl əv ˈækjərətli ˈsaɪtɪd məˈʃin gən ˈəndər ðiz kənˈdɪʃənz ɪt wɑz ˈfrikwɛntli ˌɪmˈpɑsəbəl fər ˈjuˈɛs məˈʃin gən kruz tɪ muv əp ðɛr ˈbraʊnɪŋ ənd gənz ɪn rɪˈspɑns wɪˈθaʊt ˈteɪkɪŋ ˈhɛvi ˈkæʒəwəltiz; wɪn ðeɪ wər ˈeɪbəl tɪ du soʊ, ðɛr pəˈzɪʃən wɑz ˈkɛrfəli ˈnoʊtɪd baɪ ðə ˈɛnəmi, hu wʊd ˈfrikwɛntli kɪl ðə ɪkˈspoʊzd gən kruz wɪθ ˈmɔrtər ər məˈʃin gən faɪər waɪl ðeɪ wər stɪl ðɛr ðə bɑr ˈgənər, hu kʊd əˈproʊʧ ðə ˈɛnəmi gən pəˈzɪʃən əˈloʊn (ənd proʊn ɪf nid bi), pruvd ˌɪnˈvæljəbəl ɪn ðɪs taɪp əv ˈdʊrɪŋ ðə haɪt əv ˈkɑmbæt, ðə bɑr ˈgənər wɑz ˈɔfən juzd ɛz ðə 'faɪər brɪˈgeɪd' ˈwɛpən, ˈhɛlpɪŋ tɪ ˈboʊlstər wik ˈɛriəz əv ðə pərˈɪmətər ˈəndər ˈhɛvi ˈprɛʃər baɪ ˈkɑmjənəst ˈfɔrsɪz. ɪn dɪˈfɛns, ɪt wɑz ˈɔfən juzd tɪ ˈstrɛŋθən ðə ˈfaɪrˌpaʊər əv ə ˈfɔrwərd əˈnəðər roʊl fər ðə bɑr wɑz tɪ dɪˈtər ər ɪˈlɪməˌneɪt ˈɛnəmi sˈnaɪpər faɪər. ɪn ðə ˈæbsəns əv ə treɪnd sˈnaɪpər, ðə bɑr pruvd mɔr ˈifɛktɪv ðən ðə ˈrændəm rɪˈspɑns əv faɪv ər sɪks ˈɛmˈwən kəmˈpɛrd tɪ wərld wɔr, ˈjuˈɛs ˈɪnfəntri ˈfɔrsɪz sɔ ə juʤ ˌɪnˈkris ɪn ðə ˈnəmbər əv naɪt ɪnˈgeɪʤmənts. ðə ˈædɪd ˈfaɪrˌpaʊər əv ðə bɑr ˈraɪfəlmən ənd hɪz əˈbɪləˌti tɪ ˌridɪˈplɔɪ tɪ 'hɑt spɑts' əraʊnd ðə ˈjunɪt pərˈɪmətər pruvd ˌɪndɪˈspɛnsəbəl ɪn dɪˈtərɪŋ naɪt ˌɪnfɪlˈtreɪʃən baɪ ɛz wɛl ɛz rəˈpɛlɪŋ ˈlɑrʤˌskeɪl naɪt ˈɪnfəntri waɪl gənz wər ˈɔlˌmoʊst ˌjunəˈvərsəli preɪzd fər pərˈfɔrməns ɪn ˈkɑmbæt, ə ˈnəmbər əv mælˈfəŋkʃənz ɪn ˈkɑmbæt wər ˌriˈpɔrtəd wɪθ, ˌpɑrˈtɪkjələrli ˈwɛpənz ðət hæd bɪn ˌrikənˈdɪʃənd baɪ ˈɔrdnəns ɪn ʤəˈpæn, wɪʧ dɪd nɑt ˌriˈpleɪs ˈɔpərˌeɪtɪŋ (riˈkɔɪl) spərɪŋz ɛz ə rɪkˈwaɪrmənt əv ðə ˌrikənˈdɪʃənɪŋ ˈæftər ˈdɛkeɪdz əv kəmˈpleɪnts, ˈɔrdnəns əˈdrɛst ðə ˈprɑbləm əv meɪnˈteɪnɪŋ ðə ˌprɑbləˈmætɪk gæs ˈpɪstən ɔn ðə bɑr baɪ ˈɪʃuɪŋ dɪˈspoʊzəbəl ˈnaɪˌlɑn gæs wɪn ðə ˈnaɪˌlɑn vælv bɪˈkeɪm keɪkt ˈoʊvər wɪθ ˈkɑrbən, ɪt kʊd bi dɪˈskɑrdɪd ənd ˌriˈpleɪst wɪθ ə frɛʃ ˈjunɪt, ɪˈlɪməˌneɪtɪŋ ðə ˈtidiəs tæsk əv ˈklinɪŋ ənd ˈpɑlɪʃɪŋ ðə vælv wɪθ waɪər brəʃ ənd ˈsɑlvənt (ˈfrikwɛntli ɪn ʃɔrt səˈplaɪ tɪ laɪn ə saʊθ viˌɛtnɑˈmis ˈsoʊlʤər ˈjuzɪŋ ə bɑr viˌɛtˈnɑm wɔr ˈɛdət ðə wɑz juzd ɪn ðə ˈərli ˈsteɪʤɪz əv ðə viˌɛtˈnɑm wɔr, wɪn ðə ˈjuˈɛs dɪˈlɪvərd ə kˈwɑntəti əv 'ˌɑbsəˈlit', smɔl tɪ ðə saʊθ viˌɛtnɑˈmis ˈɑrmi ənd əˈsoʊʃiˌeɪtəd ˈælaɪz, ˌɪnˈkludɪŋ ðə hɪl əv saʊθ viˌɛtˈnɑm. ˈjuˈɛs ˈspɛʃəl ˈfɔrsɪz ædˈvaɪzərz ˈfrikwɛntli ʧoʊz ðə bɑr ˈoʊvər ˈkərəntli əˈveɪləbəl ˈɪnfəntri ˈwɛpənz. ɛz wən ˈspɛʃəl ˈfɔrsɪz ˈsɑrʤənt dɪˈklɛrd, "ˈmɛni taɪmz sɪns maɪ θri tʊrz əv ˈduti ɪn viˌɛtˈnɑm aɪ hæv θæŋkt gɑd fər ˈhævɪŋ ə bɑr ðət ˈæˌkʧuəli wərkt, ɛz əˈpoʊzd tɪ ðə ˈʤæmɪŋ wi hæd ə lɔt əv viɛt kɔŋ ˈɪnfɪlˌtreɪtərz ɪn ɔl ɑr [ˈspɛʃəl ˈfɔrsɪz] kæmps, hu wʊd stil ˈwɛpənz ˈɛvəri ʧæns ðeɪ gɑt. ˈnidləs tɪ seɪ, ðə moʊst ˈpɑpjələr ˈwɛpən tɪ stil wɑz ðə ˈvɛnərəbəl oʊld juz ˈɛdət kˈwɑntətiz əv ðə bɑr rɪˈmeɪnd ɪn juz baɪ ðə ˈɑrmi ˈnæʃənəl gɑrd əp ənˈtɪl ðə mid-1970s*. ˈmɛni rɪˈsɪpiənts əv ˈjuˈɛs ˈfɔrən eɪd əˈdɑptəd ðə bɑr ənd juzd ɪt ˈɪntu ðə 1990s*. ˈjuzərz ˈɛdət ˈpɑlɪʃ rɪˈzɪstəns ˈfaɪtərz ˈdʊrɪŋ ðə ˈwɔrˌsɔ ˈəˌpraɪzɪŋ 1944 ðə wz*. 28 sin hir ɪz ˈlaɪkli ə sərˈvaɪvər əv ðə 1939 sɛpˈtɛmbər kæmˈpeɪn bɑr ɪn juz baɪ viˌɛtnɑˈmis ˈkɑmjənəst gərˈɪləz, 1966 ˈbrɪtɪʃ hoʊm gɑrd ɪn 1941 ðə mæn ɔn ðə ɛnd əv ðə frənt ræŋk ɪz ˈkɛriɪŋ ə bɑr si ˈɔlsoʊ ˈɛdət noʊts ˈɛdət

[this is a chapter from my latest novel, a sequel to the fall of doc future and call. the start is here, and links to my other work here. it can be read on its own, but contains spoilers for those two books. i post new chapters about every two weeks, and the next chapter is planned for around november 24th.] previous: chapter 13 the silence was oppressive. flicker’s hearing was quite acute. her power and reaction time let her start damping the effect of loud noises while they were still in her outer ears, and she created her own shockwaves so often it had long ago become second nature. so she never suffered the gradual, subtle hearing deterioration most people did from loud music and environmental noise. but there was no sound. no people besides journeyman and her, no traffic, no running machinery, no birds, no insects, no running water. not even any wind at the moment. the faint rustle of seemed loud. there all that much to see, large, shallow pothole in the dark. it was about twenty feet wide and maybe three deep. it was filled with a mixture of dead weeds, mud, and ice. “there’s nothing here,” she said, after shining her flashlight around. “not now,” said journeyman. "but a siberian elm grew there, until a few years ago. the one i brought to.“ they were near the outskirts of pripyat, in the chernobyl exclusion zone. flicker was back in her costume, and she checked the radioactivitye threatening, but enough to keep most people away. there were a few hotter spots at the bottom of the hole. most of it was from shorter lived isotopes had decayed, in the since the disaster. "what happened?” flicker turned the flashlight off, and let her eyes start adjusting to the night again. “i know.” he continue right away, and the silence was back. “do you want to go somewhere else to talk?” she asked after a while. “we probably should. i had a lot to drink, and this place gets to me. it sure got to her. that was the problem.” he sighed. "but this was the last place i saw her, and i wanted you to see it, since been telling you the story.“ "thank you for trusting me.” “this part… so much about trust. just about pain. and helplessness.” “which requires trust, to share.” “yeah, i suppose right.” a little while later, after a quick trip to her decontamination shower, flicker rejoined journeyman at his home and workshop, a converted former farmhouse located in one of the more rugged areas of pennsylvania. she sat beside him on the couch, legs curled underneath her body, holding a mug of hot chocolate. he stared at his cup of tea. "my idea turn out to be nearly as good as i thought. people are scared of chernobyl. and it had plenty of trees. but a lot of them very happy trees. and that matters, to a dryad. the red forest gave nightmares.“ "the red forest?” “the pine trees just downwind of the plant were all killed by the fallout radiation, but they just stood there, dried out and brownish-red. the people handling the cleanup ended up bulldozing them all and burying them in trenches, because of fears of what would happen if they caught fire. still the most contaminated area in the world, though most of it is underground now. "and could feel echoes from was like a ghost forest to her, of trees that died horribly.” “oh no.” “she was always tough, but she… all that stable, even to start with. and losing her original tree was a big blow to her sanity. usually survive usually want to survive was why never wanted to talk about it. "chernobyl was a good place to hide. but it a good place to heal, especially for someone who already suffered from depression. she happy with her new one of her more lucid moments, she really chewed me out for the arrogance of daring to pick a tree for her. i asked what i was supposed to have done, and she said i should have let her die.” “ouch.” “yeah. i did what i could to help her, but it much. i arranged a satellite net connection, but she interested anymore. she had always had important responsibilities, even if she always like them, and without anything to do she just started drifting away.” journeyman took a swallow of tea, then set his cup down. "i tried to talk to her about portal theory, and other worlds, because she was sick of earth, and supposedly have a natural ability to use trees as a kind of she stay interested for very long at a time. she kept losing patience and yelling at me to just go away. to live my owne, because she have one to share, anymore. “i still brought her cigarettes. light up, then curse at me for bringing memories back, when she wanted to forget. "and then one day, a little over a year later, i ported in to had been longer than usual since my last one, almost a she was gone. and so was her tree.” “did you try to find her?” asked flicker. journeyman met her eyes, then looked down. "i looked around a bit, in the abandoned buildings nearby where been living. most of the stuff brought her was still there, but there were some clothes and personal items missing. there any note, and i started up her computer to check that–nothing. “and then i noticed something about the hole where her tree had how wide and shallow it was?” “yeah.” “that pretty much matched the area of the root system. the area have to disturb if you wanted to move the whole thing without hurting it.” “oh. so–” “sylvi must have found a way to take her tree with her. because who else would bother? so i think it was suicide. or foul play. and since there was no note… i think she wanted me to find her, wherever she went. i remembered what said, all those years ago, about not trying to rescue someone who want to be rescued. so i finally listened.” “and let–” his voice choked up and he turned away. flicker put her hand on his back. “and let her go,” he whispered. flicker was finally learning how to listen, too. just because someone had stopped talking for the moment necessarily mean they were done. journeyman continued a little while later, as they shared some takeout stir fry. “it was the thinking i did about the aftermath of the curse that made me decide to become a superhero. because if i could do that, i absolutely needed to be thinking of consequences beyond the personal. or end up a villain by default. i was arguably already there; very few people see themselves as villains, but being willing to kill people that way was what call a hint.” “is that when you starting talking to doc? you were so grim and mysterious, that first visit.” “yeah, but i was grim because of. doc was way more understanding and accepting than i expected. he had a reputation for being pretty paranoid.” “he’s good at hiding suspicion while he does a database psych evaluation, and he had a lot of people try to fool him during the lost years, so he knows the patterns. and, well, you knew magic, you could teleport, you wanted to be a superhero, and you asked for his help you really think say no?” “heh. i very sure of anything off the grid most of the time means you risk missing significant changes. an occupational hazard for magicians. but even the limited database access he gave me opened up all kinds of possibilities for proper mathematical analysis of had the resources or statistical tools before. "and doc was real happy to have me as a source and for the magical community. he does some chancy stuff, but he listens. and he understood what needed not to go in the database.” journeyman snorted. "you were the problem there. think the database was yours, not his.“ "i’ve used it as auxiliary memory from the beginning, because of the mismatch between what i want to remember and what i can actually stuff into my long term memory every time i sleep, before my high speed storage decays. so i feel very possessive– why i spent so much of my money on the capacity for a complete backup.” flicker smiled. "but willing to compromise, realized just how much of a pain magic makes computer security.“ "i fully appreciate it either, until i got the thought password stealing was the main threat. but stella is taking care of it.” “yeah.” flicker hesitated for a moment. "there is one thing like to suggest. you can tell me to mind my own business if you want. not getting closure bothers as much as it does me, but still. if you find a note at chernobyl… then you really be sure want you to know what happened. particularly given what you said about her mental state. “if you want to find if you want it going into the can talk to. really good at tracing threads. and know where to start. or if rather i know either, you can talk to yourself. give permission.” “um.” journeyman stared off onto space while he considered. "i… think need to sleep on that. thank you for the offer, it means a lot. but we should get sure the world stopped throwing up crises while been out of touch.“ ***** cryptographer and privacy expert chuck shiner sat on the low retaining wall outside the conference center, talking on his phone. the presentations been most interested in were over, his own until tomorrow, and he was thinking of getting something to eat. "not bad,” he said. "but it was obvious where everyone added a bit at the beginning and a new summary slide to try to keep up with current events.“ he yawned as he listened to the response from one of his colleagues, who was currently in japan. the last talk attended had consisted of decent results presented by someone with an unfortunately soothing voice and manner, and chuck was still shaking off the resulting torpor. "yes, using one right now. worked fine so far, but i had a chance to play with it much. heard adoption estimates from about a million all the way up to half a billion. which seems a little extreme, today, but i want to bet against it tomorrow, at the rate spreading. no one really knows except the upp folks, and they released any figures yet.” several other conference attendees sat on the wall or nearby benches, drinking coffee, checking messages, talking, or just enjoying the late afternoon sun. a steady stream of pedestrians thronged the sidewalk between them and the nearby street, and gulls at dropped scraps. he looked up at the blue sky above the line of buildings, watching other birds wheel and turn against the scattered clouds. “we picked the wrong week to be traveling. like to take a closer look at the infrastructure, but the fleet and black swan are obviously dominating the discussion here. did… yes, i sent my own list to that address, but who knows.” he frowned. a dot had just appeared from behind one the clouds, and appeared to be moving closer. definitely not a military jet? but there was something wrong with the shape. a faint rumble echoed, just audible above the traffic noise. a sonic boom? “how many? no i. the news feeds have been going crazy, so missing things…” he trailed off to stare. the dot had turned into a humanoid flyer remarkably quickly. she was nearly overhead when she dove for the ground, flexed her legs to soften her landing, and stood. she was less than fifty feet away. everyone else nearby was staring as well, and there was a screech of brakes and a near collision as at least one driver did a double take. the newcomer folded her wings and turned towards him. he felt a little thrill of fear. those eyes… “uh, listen, can i call you back? someone who wants to… talk to me, i think.” he ended the call as she came closer. “chuck shiner?” “yes?” her voice, appearance, and manner of approach had already established her own identity beyond any doubt. “i’m interested in your conference presentation, but afraid attending it would be unnecessarily disruptive. establishing social trust as an intelligent non-human is rather relevant to me, and i thought you might like to add an anecdotal example. i understand you have a few questions, as well. do you have time to talk? i thought buy you dinner.” she smiled. “sure…” his day had just turned completely surreal. there was a fancy restaurant next to the conference center that packed like the others, but it was ridiculously catered to those wealthy enough to pay a large premium not to have to rub shoulders with run of the mill attendees. “table for two,” said the entity beside him to the maitre d’ after they entered. "i have a reservation.“ "name?” asked the maitre d’. there were appearances to maintain, after all. “black swan.” next: chapter 15

[ðɪs ɪz ə ˈʧæptər frəm maɪ ˈleɪtəst ˈnɑvəl, ə ˈsikwəl tɪ ðə fɔl əv dɑk fˈjuʧər ənd kɔl. ðə stɑrt ɪz hir, ənd lɪŋks tɪ maɪ ˈəðər wərk hir. ɪt kən bi rɛd ɔn ɪts oʊn, bət kənˈteɪnz ˈspɔɪlərz fər ðoʊz tu bʊks. aɪ poʊst nu ˈʧæptərz əˈbaʊt ˈɛvəri tu wiks, ənd ðə nɛkst ˈʧæptər ɪz plænd fər əraʊnd noʊˈvɛmbər 24th*.] ˈpriviəs: ˈʧæptər 13 ðə ˈsaɪləns wɑz əˈprɛsɪv. ˈhirɪŋ wɑz kwaɪt əˈkjut. hər paʊər ənd riˈækʃən taɪm lɛt hər stɑrt ˈdæmpɪŋ ðə ˈifɛkt əv laʊd ˈnɔɪzɪz waɪl ðeɪ wər stɪl ɪn hər ˈaʊtər ɪrz, ənd ʃi kriˈeɪtɪd hər oʊn ˈʃɑkˌweɪvz soʊ ˈɔfən ɪt hæd lɔŋ əˈgoʊ bɪˈkəm ˈsɛkənd ˈneɪʧər. soʊ ʃi ˈnɛvər ˈsəfərd ðə ˈgræʤuəl, ˈsətəl ˈhirɪŋ dɪˈtɪriərˌeɪʃən moʊst ˈpipəl dɪd frəm laʊd mˈjuzɪk ənd ɪnˌvaɪrənˈmɛnəl nɔɪz. bət ðɛr wɑz noʊ saʊnd. noʊ ˈpipəl ˌbiˈsaɪdz ˈʤərniˌmæn ənd hər, noʊ ˈtræfɪk, noʊ ˈrənɪŋ məˈʃinəri, noʊ bərdz, noʊ ˈɪnˌsɛkts, noʊ ˈrənɪŋ ˈwɔtər. nɑt ˈivɪn ˈɛni wɪnd æt ðə ˈmoʊmənt. ðə feɪnt ˈrəsəl əv simd laʊd. ðɛr ɔl ðət məʧ tɪ si, lɑrʤ, ˈʃæloʊ ˈpɑˌthoʊl ɪn ðə dɑrk. ɪt wɑz əˈbaʊt tˈwɛnti fit waɪd ənd ˈmeɪbi θri dip. ɪt wɑz fɪld wɪθ ə ˈmɪksʧər əv dɛd widz, məd, ənd aɪs. ˈnəθɪŋ here,”*,” ʃi sɛd, ˈæftər ˈʃaɪnɪŋ hər ˈflæʃˌlaɪt əraʊnd. now,”*,” sɛd ˈʤərniˌmæn. "bət ə saɪˈbɪriən ɛlm gru ðɛr, ənˈtɪl ə fju jɪrz əˈgoʊ. ðə wən aɪ brɔt to.“*.“ ðeɪ wər nɪr ðə ˈaʊtˌskərts əv pripyat*, ɪn ðə ʧərˈnoʊbəl ɪkˈskluʒən zoʊn. ˈflɪkər wɑz bæk ɪn hər ˈkɑstum, ənd ʃi ʧɛkt ðə ˌreɪdioʊˌækˈtɪvəˌti laɪf θˈrɛtənɪŋ, bət ɪˈnəf tɪ kip moʊst ˈpipəl əˈweɪ. ðɛr wər ə fju ˈhɑtər spɑts æt ðə ˈbɑtəm əv ðə hoʊl. moʊst əv ɪt wɑz frəm ˈʃɔrtər lɪvd ˈaɪsəˌtoʊps hæd dɪˈkeɪd, ɪn ðə sɪns ðə dɪˈzæstər. "wət happened?”*?” ˈflɪkər tərnd ðə ˈflæʃˌlaɪt ɔf, ənd lɛt hər aɪz stɑrt əˈʤəstɪŋ tɪ ðə naɪt əˈgɛn. know.”*.” hi kənˈtɪnju raɪt əˈweɪ, ənd ðə ˈsaɪləns wɑz bæk. ju wɔnt tɪ goʊ ˈsəmˌwɛr ɛls tɪ talk?”*?” ʃi æst ˈæftər ə waɪl. ˈprɑbəˌbli ʃʊd. aɪ hæd ə lɔt tɪ drɪŋk, ənd ðɪs pleɪs gɪts tɪ mi. ɪt ʃʊr gɑt tɪ hər. ðət wɑz ðə problem.”*.” hi saɪd. "bət ðɪs wɑz ðə læst pleɪs aɪ sɔ hər, ənd aɪ ˈwɔntɪd ju tɪ si ɪt, sɪns bɪn ˈtɛlɪŋ ju ðə story.“*.“ "θæŋk ju fər ˈtrəstɪŋ me.”*.” part…*… soʊ məʧ əˈbaʊt trəst. ʤɪst əˈbaʊt peɪn. ənd helplessness.”*.” rikˈwaɪərz trəst, tɪ share.”*.” ““yeah*, aɪ səˈpoʊz right.”*.” ə ˈlɪtəl waɪl ˈleɪtər, ˈæftər ə kwɪk trɪp tɪ hər dikənˌtæməˈneɪʃən ʃaʊər, ˈflɪkər riˈʤɔɪnd ˈʤərniˌmæn æt hɪz hoʊm ənd ˈwərkˌʃɑp, ə kənˈvərtɪd ˈfɔrmər ˈfɑrmˌhaʊs ˈloʊˌkeɪtəd ɪn wən əv ðə mɔr ˈrəgəd ˈɛriəz əv ˌpɛnsəlˈveɪnjə. ʃi sæt ˌbiˈsaɪd ɪm ɔn ðə kaʊʧ, lɛgz kərld ˌəndərˈniθ hər ˈbɑdi, ˈhoʊldɪŋ ə məg əv hɑt ˈʧɔklət. hi stɛrd æt hɪz kəp əv ti. "maɪ aɪˈdiə tərn aʊt tɪ bi ˈnɪrli ɛz gʊd ɛz aɪ θɔt. ˈpipəl ər skɛrd əv ʧərˈnoʊbəl. ənd ɪt hæd ˈplɛnti əv triz. bət ə lɔt əv ðɛm ˈvɛri ˈhæpi triz. ənd ðət ˈmætərz, tɪ ə dryad*. ðə rɛd ˈfɔrɪst geɪv nightmares.“*.“ "ðə rɛd forest?”*?” paɪn triz ʤɪst daʊnˈwɪnd əv ðə plænt wər ɔl kɪld baɪ ðə ˈfɔˌlaʊt ˌreɪdiˈeɪʃən, bət ðeɪ ʤɪst stʊd ðɛr, draɪd aʊt ənd brownish-red*. ðə ˈpipəl ˈhændəlɪŋ ðə ˈkliˌnəp ˈɛndɪd əp ˈbʊlˌdoʊzɪŋ ðɛm ɔl ənd ˈbɛriɪŋ ðɛm ɪn ˈtrɛnʧɪz, bɪˈkəz əv fɪrz əv wət wʊd ˈhæpən ɪf ðeɪ kɔt faɪər. stɪl ðə moʊst kənˈtæməˌneɪtɪd ˈɛriə ɪn ðə wərld, ðoʊ moʊst əv ɪt ɪz ˈəndərˌgraʊnd naʊ. "ənd kʊd fil ˈɛkoʊz frəm wɑz laɪk ə goʊst ˈfɔrɪst tɪ hər, əv triz ðət daɪd horribly.”*.” no.”*.” wɑz ˈɔlˌweɪz təf, bət ʃi wasn’t…*… ɔl ðət ˈsteɪbəl, ˈivɪn tɪ stɑrt wɪθ. ənd ˈluzɪŋ hər ərˈɪʤənəl tri wɑz ə bɪg bloʊ tɪ hər ˈsænəti. ˈjuʒəwəli sərˈvaɪv ˈjuʒəwəli wɔnt tɪ sərˈvaɪv wɑz waɪ ˈnɛvər ˈwɔntɪd tɪ tɔk əˈbaʊt ɪt. "ʧərˈnoʊbəl wɑz ə gʊd pleɪs tɪ haɪd. bət ɪt ə gʊd pleɪs tɪ hil, əˈspɛʃəli fər ˈsəmˌwən hu ɔˈrɛdi ˈsəfərd frəm dɪˈprɛʃən. ʃi ˈhæpi wɪθ hər nu wən əv hər mɔr ˈlusɪd ˈmoʊmənts, ʃi ˈrɪli ʧud mi aʊt fər ðə ˈɛrəgəns əv ˈdɛrɪŋ tɪ pɪk ə tri fər hər. aɪ æst wət aɪ wɑz səˈpoʊzd tɪ hæv dən, ənd ʃi sɛd aɪ ʃʊd hæv lɛt hər die.”*.” ““ouch.”*.” ““yeah*. aɪ dɪd wət aɪ kʊd tɪ hɛlp hər, bət ɪt məʧ. aɪ əreɪnʤd ə ˈsætəˌlaɪt nɛt kəˈnɛkʃən, bət ʃi ˈɪntəˌrɛstɪd ˌɛniˈmɔr. ʃi hæd ˈɔlˌweɪz hæd ˌɪmˈpɔrtənt riˌspɑnsəˈbɪlətiz, ˈivɪn ɪf ʃi ˈɔlˌweɪz laɪk ðɛm, ənd wɪˈθaʊt ˈɛniˌθɪŋ tɪ du ʃi ʤɪst ˈstɑrtɪd ˈdrɪftɪŋ away.”*.” ˈʤərniˌmæn tʊk ə sˈwɔloʊ əv ti, ðɛn sɛt hɪz kəp daʊn. "aɪ traɪd tɪ tɔk tɪ hər əˈbaʊt ˈpɔrtəl ˈθɪri, ənd ˈəðər wərldz, bɪˈkəz ʃi wɑz sɪk əv ərθ, ənd səˈpoʊzədli hæv ə ˈnæʧərəl əˈbɪləˌti tɪ juz triz ɛz ə kaɪnd əv ʃi steɪ ˈɪntəˌrɛstɪd fər ˈvɛri lɔŋ æt ə taɪm. ʃi kɛpt ˈluzɪŋ ˈpeɪʃəns ənd ˈjɛlɪŋ æt mi tɪ ʤɪst goʊ əˈweɪ. tɪ lɪv maɪ oʊn laɪf, bɪˈkəz ʃi hæv wən tɪ ʃɛr, ˌɛniˈmɔr. stɪl brɔt hər ˌsɪgəˈrɛts. laɪt əp, ðɛn kərs æt mi fər ˈbrɪŋɪŋ ˈmɛməriz bæk, wɪn ʃi ˈwɔntɪd tɪ fərˈgɛt. "ənd ðɛn wən deɪ, ə ˈlɪtəl ˈoʊvər ə jɪr ˈleɪtər, aɪ ˈpɔrtɪd ɪn tɪ hæd bɪn ˈlɔŋgər ðən ˈjuʒəwəl sɪns maɪ læst wən, ˈɔlˌmoʊst ə ʃi wɑz gɔn. ənd soʊ wɑz hər tree.”*.” ju traɪ tɪ faɪnd her?”*?” æst ˈflɪkər. ˈʤərniˌmæn mɛt hər aɪz, ðɛn lʊkt daʊn. "aɪ lʊkt əraʊnd ə bɪt, ɪn ðə əˈbændənd ˈbɪldɪŋz ˈnɪrˈbaɪ wɛr bɪn ˈlɪvɪŋ. moʊst əv ðə stəf brɔt hər wɑz stɪl ðɛr, bət ðɛr wər səm kloʊðz ənd ˈpərsɪnəl ˈaɪtəmz ˈmɪsɪŋ. ðɛr ˈɛni noʊt, ənd aɪ ˈstɑrtɪd əp hər kəmˈpjutər tɪ ʧɛk that–nothing*. ðɛn aɪ ˈnoʊtɪst ˈsəmθɪŋ əˈbaʊt ðə hoʊl wɛr hər tri hæd haʊ waɪd ənd ˈʃæloʊ ɪt was?”*?” ““yeah.”*.” ˈprɪti məʧ mæʧt ðə ˈɛriə əv ðə rut ˈsɪstəm. ðə ˈɛriə hæv tɪ dɪˈstərb ɪf ju ˈwɔntɪd tɪ muv ðə hoʊl θɪŋ wɪˈθaʊt ˈhərtɪŋ it.”*.”. so–”*–” məst hæv faʊnd ə weɪ tɪ teɪk hər tri wɪθ hər. bɪˈkəz hu ɛls wʊd ˈbɑðər? soʊ aɪ θɪŋk ɪt wɑz ˈsuɪˌsaɪd. ər faʊl pleɪ. ənd sɪns ðɛr wɑz noʊ note…*… aɪ θɪŋk ʃi ˈwɔntɪd mi tɪ faɪnd hər, wɛˈrɛvər ʃi wɛnt. aɪ rɪˈmɛmbərd wət sɛd, ɔl ðoʊz jɪrz əˈgoʊ, əˈbaʊt nɑt traɪɪŋ tɪ ˈrɛskju ˈsəmˌwən hu wɔnt tɪ bi ˈrɛskjud. soʊ aɪ ˈfaɪnəli listened.”*.” let–”*–” hɪz vɔɪs ʧoʊkt əp ənd hi tərnd əˈweɪ. ˈflɪkər pʊt hər hænd ɔn hɪz bæk. lɛt hər go,”*,” hi ˈwɪspərd. ˈflɪkər wɑz ˈfaɪnəli ˈlərnɪŋ haʊ tɪ ˈlɪsən, tu. ʤɪst bɪˈkəz ˈsəmˌwən hæd stɑpt ˈtɔkɪŋ fər ðə ˈmoʊmənt ˌnɛsəˈsɛrəli min ðeɪ wər dən. ˈʤərniˌmæn kənˈtɪnjud ə ˈlɪtəl waɪl ˈleɪtər, ɛz ðeɪ ʃɛrd səm ˈteɪˌkaʊt stər fraɪ. wɑz ðə ˈθɪŋkɪŋ aɪ dɪd əˈbaʊt ðə ˈæftərˌmæθ əv ðə kərs ðət meɪd mi ˌdɪˈsaɪd tɪ bɪˈkəm ə ˌsupərˈhiroʊ. bɪˈkəz ɪf aɪ kʊd du ðət, aɪ ˌæbsəˈlutli ˈnidɪd tɪ bi ˈθɪŋkɪŋ əv ˈkɑnsəkˌwɛnsəz bɪɔnd ðə ˈpərsɪnəl. ər ɛnd əp ə ˈvɪlən baɪ dɪˈfɔlt. aɪ wɑz ˈɑrgjuəbli ɔˈrɛdi ðɛr; ˈvɛri fju ˈpipəl si ðɛmˈsɛlvz ɛz ˈvɪlənz, bət biɪŋ ˈwɪlɪŋ tɪ kɪl ˈpipəl ðət weɪ wɑz wət kɔl ə hint.”*.” ðət wɪn ju ˈstɑrtɪŋ ˈtɔkɪŋ tɪ dɑk? ju wər soʊ grɪm ənd mɪˈstɪriəs, ðət fərst visit.”*.” ““yeah*, bət aɪ wɑz grɪm bɪˈkəz əv. dɑk wɑz weɪ mɔr ˌəndərˈstændɪŋ ənd əkˈsɛptɪŋ ðən aɪ ɪkˈspɛktɪd. hi hæd ə ˌrɛpjəˈteɪʃən fər biɪŋ ˈprɪti paranoid.”*.” gʊd æt ˈhaɪdɪŋ səˈspɪʃən waɪl hi dɪz ə ˈdætəˌbeɪs saɪk ɪˌvæljuˈeɪʃən, ənd hi hæd ə lɔt əv ˈpipəl traɪ tɪ ful ɪm ˈdʊrɪŋ ðə lɔst jɪrz, soʊ hi noʊz ðə ˈpætərnz. ənd, wɛl, ju nu ˈmæʤɪk, ju kʊd ˈtɛləˈpɔrt, ju ˈwɔntɪd tɪ bi ə ˌsupərˈhiroʊ, ənd ju æst fər hɪz hɛlp ju ˈrɪli θɪŋk seɪ no?”*?” ““heh*. aɪ ˈvɛri ʃʊr əv ˈɛniˌθɪŋ ɔf ðə grɪd moʊst əv ðə taɪm minz ju rɪsk ˈmɪsɪŋ sɪgˈnɪfɪkənt ˈʧeɪnʤɪz. ən ɑkjəˈpeɪʃənəl ˈhæzərd fər məˈʤɪʃənz. bət ˈivɪn ðə ˈlɪmɪtɪd ˈdætəˌbeɪs ˈækˌsɛs hi geɪv mi ˈoʊpənd əp ɔl kaɪnz əv ˌpɑsəˈbɪlətiz fər ˈprɑpər ˌmæθəˈmætɪkəl æˈnælɪsɪs əv hæd ðə ˈrisɔrsɪz ər stəˈtɪstɪkəl tulz ˌbiˈfɔr. "ənd dɑk wɑz ril ˈhæpi tɪ hæv mi ɛz ə sɔrs ənd fər ðə ˈmæʤɪkəl kəmˈjunɪti. hi dɪz səm ˈʧænsi stəf, bət hi ˈlɪsənz. ənd hi ˌəndərˈstʊd wət ˈnidɪd nɑt tɪ goʊ ɪn ðə database.”*.” ˈʤərniˌmæn sˈnɔrtɪd. "ju wər ðə ˈprɑbləm ðɛr. θɪŋk ðə ˈdætəˌbeɪs wɑz jʊrz, nɑt his.“*.“ juzd ɪt ɛz ɑgˈzɪljəri ˈmɛməri frəm ðə bɪˈgɪnɪŋ, bɪˈkəz əv ðə ˈmɪsˌmæʧ bɪtˈwin wət aɪ wɔnt tɪ rɪˈmɛmbər ənd wət aɪ kən ˈæˌkʧuəli stəf ˈɪntu maɪ lɔŋ tərm ˈmɛməri ˈɛvəri taɪm aɪ slip, ˌbiˈfɔr maɪ haɪ spid ˈstɔrɪʤ dəˈkeɪz. soʊ aɪ fil ˈvɛri possessive–*– waɪ aɪ spɛnt soʊ məʧ əv maɪ ˈməni ɔn ðə kəˈpæsɪti fər ə kəmˈplit backup.”*.” ˈflɪkər smaɪld. "bət ˈwɪlɪŋ tɪ ˈkɑmprəˌmaɪz, ˈriəˌlaɪzd ʤɪst haʊ məʧ əv ə peɪn ˈmæʤɪk meɪks kəmˈpjutər security.“*.“ "aɪ ˈfʊli əˈpriʃiˌeɪt ɪt ˈiðər, ənˈtɪl aɪ gɑt ðə θɔt ˈpæsˌwərd ˈstilɪŋ wɑz ðə meɪn θrɛt. bət ˈstɛlə ɪz ˈteɪkɪŋ kɛr əv it.”*.” ““yeah.”*.” ˈflɪkər ˈhɛzɪˌteɪtɪd fər ə ˈmoʊmənt. "ðɛr ɪz wən θɪŋ laɪk tɪ səˈʤɛst. ju kən tɛl mi tɪ maɪnd maɪ oʊn ˈbɪznɪs ɪf ju wɔnt. nɑt ˈgɪtɪŋ ˈkloʊʒər ˈbɑðərz ɛz məʧ ɛz ɪt dɪz mi, bət stɪl. ɪf ju faɪnd ə noʊt æt chernobyl…*… ðɛn ju ˈrɪli bi ʃʊr wɔnt ju tɪ noʊ wət ˈhæpənd. ˌpɑrˈtɪkjələrli ˈgɪvɪn wət ju sɛd əˈbaʊt hər ˈmɛntəl steɪt. ju wɔnt tɪ faɪnd ɪf ju wɔnt ɪt goʊɪŋ ˈɪntu ðə kən tɔk tɪ. ˈrɪli gʊd æt ˈtreɪsɪŋ θrɛdz. ənd noʊ wɛr tɪ stɑrt. ər ɪf ˈrəðər aɪ noʊ ˈiðər, ju kən tɔk tɪ ˈjɔrsɛlf. gɪv permission.”*.” ““um.”*.” ˈʤərniˌmæn stɛrd ɔf ˈɔntu speɪs waɪl hi kənˈsɪdərd. "i…*… θɪŋk nid tɪ slip ɔn ðət. θæŋk ju fər ðə ˈɔfər, ɪt minz ə lɔt. bət wi ʃʊd gɪt ʃʊr ðə wərld stɑpt θroʊɪŋ əp ˈkraɪsiz waɪl bɪn aʊt əv touch.“*.“ ənd ˈpraɪvəsi ˈɛkspərt ʧək ˈʃaɪnər sæt ɔn ðə loʊ rɪˈteɪnɪŋ wɔl ˈaʊtˈsaɪd ðə ˈkɑnfərəns ˈsɛnər, ˈtɔkɪŋ ɔn hɪz foʊn. ðə ˌprɛzənˈteɪʃənz bɪn moʊst ˈɪntəˌrɛstɪd ɪn wər ˈoʊvər, hɪz oʊn ənˈtɪl təˈmɑˌroʊ, ənd hi wɑz ˈθɪŋkɪŋ əv ˈgɪtɪŋ ˈsəmθɪŋ tɪ it. "nɑt bad,”*,” hi sɛd. "bət ɪt wɑz ˈɑbviəs wɛr ˈɛvriˌwən ˈædɪd ə bɪt æt ðə bɪˈgɪnɪŋ ənd ə nu ˈsəməri slaɪd tɪ traɪ tɪ kip əp wɪθ ˈkɑrənt events.“*.“ hi jɔnd ɛz hi ˈlɪsənd tɪ ðə rɪˈspɑns frəm wən əv hɪz ˈkɑligz, hu wɑz ˈkərəntli ɪn ʤəˈpæn. ðə læst tɔk əˈtɛndəd hæd kənˈsɪstɪd əv ˈdisənt rɪˈzəlts pərˈzɛnəd baɪ ˈsəmˌwən wɪθ ən ənˈfɔrʧənətli ˈsuðɪŋ vɔɪs ənd ˈmænər, ənd ʧək wɑz stɪl ˈʃeɪkɪŋ ɔf ðə rɪˈzəltɪŋ ˈtɔrpər. "jɛs, ˈjuzɪŋ wən raɪt naʊ. wərkt faɪn soʊ fɑr, bət aɪ hæd ə ʧæns tɪ pleɪ wɪθ ɪt məʧ. hərd əˈdɑpʃən ˈɛstəˌmeɪts frəm əˈbaʊt ə ˈmɪljən ɔl ðə weɪ əp tɪ hæf ə ˈbɪljən. wɪʧ simz ə ˈlɪtəl ɪkˈstrim, təˈdeɪ, bət aɪ wɔnt tɪ bɛt əˈgɛnst ɪt təˈmɑˌroʊ, æt ðə reɪt ˈsprɛdɪŋ. noʊ wən ˈrɪli noʊz ɪkˈsɛpt ðə əp foʊks, ənd ðeɪ riˈlist ˈɛni ˈfɪgjərz yet.”*.” ˈsɛvərəl ˈəðər ˈkɑnfərəns əˈtɛnˈdiz sæt ɔn ðə wɔl ər ˈnɪrˈbaɪ ˈbɛnʧɪz, ˈdrɪŋkɪŋ ˈkɔfi, ˈʧɛkɪŋ ˈmɛsɪʤɪz, ˈtɔkɪŋ, ər ʤɪst ˌɛnˈʤɔɪɪŋ ðə leɪt ˌæftərˈnun sən. ə ˈstɛdi strim əv pəˈdɛstriənz θrɔŋd ðə ˈsaɪdˌwɔk bɪtˈwin ðɛm ənd ðə ˈnɪrˈbaɪ strit, ənd gəlz æt drɑpt skræps. hi lʊkt əp æt ðə blu skaɪ əˈbəv ðə laɪn əv ˈbɪldɪŋz, ˈwɑʧɪŋ ˈəðər bərdz wil ənd tərn əˈgɛnst ðə ˈskætərd klaʊdz. pɪkt ðə rɔŋ wik tɪ bi ˈtrævəlɪŋ. laɪk tɪ teɪk ə ˈkloʊzər lʊk æt ðə ˌɪnfrəˈstrəkʧər, bət ðə flit ənd blæk swɔn ər ˈɑbviəsli ˈdɑməˌneɪtɪŋ ðə dɪˈskəʃən hir. did…*… jɛs, aɪ sɛnt maɪ oʊn lɪst tɪ ðət ˈæˌdrɛs, bət hu knows.”*.” hi fraʊnd. ə dɑt hæd ʤɪst əˈpɪrd frəm bɪˈhaɪnd wən ðə klaʊdz, ənd əˈpɪrd tɪ bi ˈmuvɪŋ ˈkloʊzər. ˈdɛfənətli nɑt ə ˈmɪlɪˌtɛri ʤɛt? bət ðɛr wɑz ˈsəmθɪŋ rɔŋ wɪθ ðə ʃeɪp. ə feɪnt ˈrəmbəl ˈɛkoʊd, ʤɪst ˈɑdəbəl əˈbəv ðə ˈtræfɪk nɔɪz. ə ˈsɑnɪk bum? ˈmɛni? noʊ aɪ. ðə nuz fidz hæv bɪn goʊɪŋ ˈkreɪzi, soʊ ˈmɪsɪŋ things…”*…” hi treɪld ɔf tɪ stɛr. ðə dɑt hæd tərnd ˈɪntu ə ˈhjuməˌnɔɪd flaɪər rɪˈmɑrkəbli kˈwɪkli. ʃi wɑz ˈnɪrli ˈoʊvərˈhɛd wɪn ʃi dəv fər ðə graʊnd, flɛkst hər lɛgz tɪ ˈsɔfən hər ˈlændɪŋ, ənd stʊd. ʃi wɑz lɛs ðən ˈfɪfti fit əˈweɪ. ˈɛvriˌwən ɛls ˈnɪrˈbaɪ wɑz ˈstɛrɪŋ ɛz wɛl, ənd ðɛr wɑz ə skriʧ əv breɪks ənd ə nɪr kəˈlɪʒən ɛz æt list wən ˈdraɪvər dɪd ə ˈdəbəl teɪk. ðə ˈnuˌkəmər ˈfoʊldɪd hər wɪŋz ənd tərnd təˈwɔrdz ɪm. hi fɛlt ə ˈlɪtəl θrɪl əv fɪr. ðoʊz eyes…*… ““uh*, ˈlɪsən, kən aɪ kɔl ju bæk? ˈsəmˌwən hu wɔnts to…*… tɔk tɪ mi, aɪ think.”*.” hi ˈɛndɪd ðə kɔl ɛz ʃi keɪm ˈkloʊzər. shiner?”*?” ““yes?”*?” hər vɔɪs, əˈpɪrəns, ənd ˈmænər əv əˈproʊʧ hæd ɔˈrɛdi ɪˈstæblɪʃt hər oʊn aɪˈdɛntəˌti bɪɔnd ˈɛni daʊt. ˈɪntəˌrɛstɪd ɪn jʊr ˈkɑnfərəns ˌprɛzənˈteɪʃən, bət əˈfreɪd əˈtɛndɪŋ ɪt wʊd bi ənˈnɛsəˌsɛrəli dɪsˈrəptɪv. ɪˈstæblɪʃɪŋ ˈsoʊʃəl trəst ɛz ən ˌɪnˈtɛləʤənt nɑnˈhjumən ɪz ˈrəðər ˈrɛləvənt tɪ mi, ənd aɪ θɔt ju maɪt laɪk tɪ æd ən ˌænɪkˈdoʊtəl ɪgˈzæmpəl. aɪ ˌəndərˈstænd ju hæv ə fju kˈwɛsʧənz, ɛz wɛl. du ju hæv taɪm tɪ tɔk? aɪ θɔt baɪ ju dinner.”*.” ʃi smaɪld. ““sure…”*…” hɪz deɪ hæd ʤɪst tərnd kəmˈplitli sərˈil. ðɛr wɑz ə ˈfænsi ˈrɛˌstrɑnt nɛkst tɪ ðə ˈkɑnfərəns ˈsɛnər ðət pækt laɪk ðə ˈəðərz, bət ɪt wɑz rəˈdɪkjələsli ˈkeɪtərd tɪ ðoʊz ˈwɛlθi ɪˈnəf tɪ peɪ ə lɑrʤ ˈprimiəm nɑt tɪ hæv tɪ rəb ˈʃoʊldərz wɪθ rən əv ðə mɪl əˈtɛnˈdiz. fər two,”*,” sɛd ðə ˈɛntɪti ˌbiˈsaɪd ɪm tɪ ðə ˈmeɪtrə d’*’ ˈæftər ðeɪ ˈɛnərd. "aɪ hæv ə reservation.“*.“ "name?”*?” æst ðə ˈmeɪtrə d’*’. ðɛr wər əˈpɪrənsəz tɪ meɪnˈteɪn, ˈæftər ɔl. swan.”*.” nɛkst: ˈʧæptər 15

boca raton, fla. -- the detroit lions are still playing coy with what their alternate uniforms will look like next season, but president rod wood shed some more light on their roll out tuesday. "they'll be rolled out, i think, once the schedule comes out -- which, hopefully, will be relatively soon," wood said tuesday during the nfl owners meetings at the boca raton resort & spa. "that's usually kind of late april. there'll be more clarity around the thursday night schedule, and then i think the league will be prepared to kind of talk about the whole color rush idea for the whole nfl." the lions are about to wear their first alternate uniform since this thanksgiving game against new england in 2010. the league debuted the color rush uniforms last season, and will expand the program to include all teams playing on thursday this year. schedules have not been announced yet, so it's unclear whether the lions have a thursday night game or will be wearing the alternate look on thanksgiving. this will mark the first time since the thanksgiving game in 2010 that detroit has worn an alternate uniform. they lost that game against new england. some players have already seen the look, , who raved about it. wood said he's seen the jerseys as well, though declined to offer any more clues. "i'm not about them," he said. "i am not talking about them." what color will they be? "that would be giving it away, wouldn't it?" he said with a smile. -- download the detroit lions app for iphone and android -- follow sports on facebook, twitter and

ˈboʊkə rəˈtoʊn, fla*. ðə ˈdiˌtrɔɪt laɪənz ər stɪl pleɪɪŋ kɔɪ wɪθ wət ðɛr ˈɔltərˌneɪt ˈjunəˌfɔrmz wɪl lʊk laɪk nɛkst ˈsizən, bət ˈprɛzɪdənt rɑd wʊd ʃɛd səm mɔr laɪt ɔn ðɛr roʊl aʊt ˈtuzˌdeɪ. "ðɛl bi roʊld aʊt, aɪ θɪŋk, wəns ðə ˈskɛʤʊl kəmz aʊt wɪʧ, ˈhoʊpfəli, wɪl bi ˈrɛlətɪvli sun," wʊd sɛd ˈtuzˌdeɪ ˈdʊrɪŋ ðə ˈɛˌnɛˈfɛl ˈoʊnərz ˈmitɪŋz æt ðə ˈboʊkə rəˈtoʊn rɪˈzɔrt spɑ. "ðæts ˈjuʒəwəli kaɪnd əv leɪt ˈeɪprəl. ˈðɛrəl bi mɔr ˈklɛrɪti əraʊnd ðə ˈθərzˌdeɪ naɪt ˈskɛʤʊl, ənd ðɛn aɪ θɪŋk ðə lig wɪl bi priˈpɛrd tɪ kaɪnd əv tɔk əˈbaʊt ðə hoʊl ˈkələr rəʃ aɪˈdiə fər ðə hoʊl ˈɛˌnɛˈfɛl." ðə laɪənz ər əˈbaʊt tɪ wɛr ðɛr fərst ˈɔltərˌneɪt ˈjunəˌfɔrm sɪns ðɪs ˌθæŋksˈgɪvɪŋ geɪm əˈgɛnst nu ˈɪŋglənd ɪn 2010 ðə lig ˈdeɪbjutɪd ðə ˈkələr rəʃ ˈjunəˌfɔrmz læst ˈsizən, ənd wɪl ɪkˈspænd ðə ˈproʊˌgræm tɪ ˌɪnˈklud ɔl timz pleɪɪŋ ɔn ˈθərzˌdeɪ ðɪs jɪr. ˈskɛʤʊlz hæv nɑt bɪn əˈnaʊnst jɛt, soʊ ɪts ənˈklɪr ˈwɛðər ðə laɪənz hæv ə ˈθərzˌdeɪ naɪt geɪm ər wɪl bi ˈwɛrɪŋ ðə ˈɔltərˌneɪt lʊk ɔn ˌθæŋksˈgɪvɪŋ. ðɪs wɪl mɑrk ðə fərst taɪm sɪns ðə ˌθæŋksˈgɪvɪŋ geɪm ɪn 2010 ðət ˈdiˌtrɔɪt həz wɔrn ən ˈɔltərˌneɪt ˈjunəˌfɔrm. ðeɪ lɔst ðət geɪm əˈgɛnst nu ˈɪŋglənd. səm pleɪərz hæv ɔˈrɛdi sin ðə lʊk, hu reɪvd əˈbaʊt ɪt. wʊd sɛd hiz sin ðə ˈʤərziz ɛz wɛl, ðoʊ dɪˈklaɪnd tɪ ˈɔfər ˈɛni mɔr kluz. "əm nɑt əˈbaʊt ðɛm," hi sɛd. "aɪ æm nɑt ˈtɔkɪŋ əˈbaʊt ðɛm." wət ˈkələr wɪl ðeɪ bi? "ðət wʊd bi ˈgɪvɪŋ ɪt əˈweɪ, ˈwʊdənt ɪt?" hi sɛd wɪθ ə smaɪl. ˈdaʊnˌloʊd ðə ˈdiˌtrɔɪt laɪənz æp fər ˈaɪˌfoʊn ənd ˈænˌdrɔɪd ˈfɑloʊ spɔrts ɔn ˈfeɪsˌbʊk, tˈwɪtər ənd

when does work become real work? when no woman shows up to do it. it feels like a footnote to the tumult of month 1 of the trump presidency, a minor detail easily lost in the toxic stew of news about russia, executive orders, legal appeals and challenged twitter blitzes. but by now, most of america knows that trump has declared herself the first lady who wouldn’t. instead of taking up the mantle of first hostess and slipping into the role of a landlocked julie the cruise director without complaint, the intermittent has chosen to mostly stay in new york city with her young son, at least through the end of the school year, emerging from her gilded penthouse for a white house dinner here or a sightseeing jaunt there. while a libel lawsuit suggests that mrs. trump had an eye on eventually her role as “one of the most photographed women in the world,” she has seemed uninterested in doing the work of the first lady. she waited until the end of january to name a social secretary and has yet to hire a full staff for her office. during his news conference thursday, president trump gave a progress report, explaining that his wife had “opened up the visitors center” and predicted that she would be a “fantastic” first lady, insofar as she was “always the highest quality that ever find.” you know what got until gone. now that mr. trump has turned 1600 pennsylvania avenue into a bachelor pad, clear that been taking our first ladies for granted.

wɪn dɪz wərk bɪˈkəm ril wərk? wɪn noʊ ˈwʊmən ʃoʊz əp tɪ du ɪt. ɪt filz laɪk ə ˈfʊtˌnoʊt tɪ ðə ˈtuməlt əv mənθ 1 əv ðə trəmp ˈprɛzɪdənsi, ə ˈmaɪnər ˈditeɪl ˈizəli lɔst ɪn ðə ˈtɑksɪk stu əv nuz əˈbaʊt ˈrəʃə, ɪgˈzɛkjətɪv ˈɔrdərz, ˈligəl əˈpilz ənd ˈʧælənʤd tˈwɪtər ˈblɪtsɪz. bət baɪ naʊ, moʊst əv əˈmɛrɪkə noʊz ðət trəmp həz dɪˈklɛrd hərˈsɛlf ðə fərst ˈleɪdi hu wouldn’t*. ˌɪnˈstɛd əv ˈteɪkɪŋ əp ðə ˈmæntəl əv fərst ˈhoʊstəs ənd sˈlɪpɪŋ ˈɪntu ðə roʊl əv ə ˈlænˌdlɑkt ˈʤuli ðə kruz dɪˈrɛktər wɪˈθaʊt kəmˈpleɪnt, ðə ˌɪntərˈmɪtənt həz ˈʧoʊzən tɪ ˈmoʊstli steɪ ɪn nu jɔrk ˈsɪti wɪθ hər jəŋ sən, æt list θru ðə ɛnd əv ðə skul jɪr, ˈimərʤɪŋ frəm hər ˈgɪldɪd ˈpɛnˌthaʊs fər ə waɪt haʊs ˈdɪnər hir ər ə ˈsaɪtˈsiɪŋ ʤɔnt ðɛr. waɪl ə ˈlaɪbɛl ˈlɔˌsut səˈʤɛsts ðət ˈmɪsɪz. trəmp hæd ən aɪ ɔn ɪˈvɛnʧəwəli hər roʊl ɛz əv ðə moʊst ˈfoʊtəˌgræft ˈwɪmən ɪn ðə world,”*,” ʃi həz simd əˈnɪntrəstəd ɪn duɪŋ ðə wərk əv ðə fərst ˈleɪdi. ʃi ˈweɪtɪd ənˈtɪl ðə ɛnd əv ˈʤænjuˌɛri tɪ neɪm ə ˈsoʊʃəl ˈsɛkrəˌtɛri ənd həz jɛt tɪ haɪər ə fʊl stæf fər hər ˈɔfəs. ˈdʊrɪŋ hɪz nuz ˈkɑnfərəns ˈθərzˌdeɪ, ˈprɛzɪdənt trəmp geɪv ə ˈprɑˌgrɛs rɪˈpɔrt, ɪkˈspleɪnɪŋ ðət hɪz waɪf hæd əp ðə ˈvɪzɪtərz center”*” ənd prɪˈdɪktɪd ðət ʃi wʊd bi ə ““fantastic”*” fərst ˈleɪdi, ˈɪnsəfɑr ɛz ʃi wɑz ðə haɪəst kˈwɑləti ðət ˈɛvər find.”*.” ju noʊ wət gɑt ənˈtɪl gɔn. naʊ ðət ˈmɪstər. trəmp həz tərnd 1600 ˌpɛnsəlˈveɪnjə ˈævəˌnu ˈɪntu ə ˈbæʧələr pæd, klɪr ðət bɪn ˈteɪkɪŋ ɑr fərst ˈleɪdiz fər ˈgrænɪd.

houston (cn) a texas judge is facing a call for her suspension by a state ethics commission that claims she habitually bought prescription cough syrup on the black market, took marijuana that her bailiff seized from a defendant and paid female prostitutes for sex. hilary green is a justice of the peace in harris county with jurisdiction over minor misdemeanors punishable by up to a $500 fine, and civil matters with not more than $10,000 at stake. she has presided over the court since june 2007 and retained the position through three elections, winning more than 80 percent of the vote in november 2016, despite media coverage of her nasty divorce from former houston controller ronald green that she filed for in april 2014. the state commission on judicial conduct filed a motion to suspend green without pay with the texas supreme court on wednesday, a request largely based on the lurid testimony of her claude barnes. green had a five-year extramarital affair with barnes that ended in the autumn of 2015, according to barnes’ deposition before the executive director of the judicial conduct commission. barnes admitted in the deposition he filed a complaint about green with the commission in december 2015 out of spite because she led him to believe she wanted to have an exclusive relationship with him after she finalized her divorce, but caught her “cheating” and said she had “unprotected sex with numerous partners” behind his back. “in january of 2010, i witness [sic] judge hilary green smoke marijuana and illegally purchase several times. between 2011 i also witness her pay for sex from female escorts and consume the street drug ecstasy,” barnes wrote in his complaint, using the brand name of the cough syrup he says green became addicted to over the course of their fling. barnes said in his deposition that he got a bottle of cough syrup for green six to eight times from 2010 to 2014, from his former coworker, who jacked up the price from $460 to $600 per bottle. barnes said green initially told him she took a teaspoon of the syrup to help her sleep, but her usage steadily increased. “at one point in time i just saw her turn the bottle up. there was no longer teaspoons. it was just a swig,” barnes said in the january 2016 deposition. according to the deposition, green twice paid for female escorts off and she and barnes had with the women at hotels in houston and austin, where green was attending a conference for judges. barnes said in his deposition that green once showed him a baggie of marijuana and told him she got it from her bailiff, who had taken it from a kid in her courtroom. the commission states in its complaint to the supreme court that in response to ethics complaints, green lied to it in 2014 and 2017 about her relationship with a convicted felon who remodeled her house, and that she had stopped taking cough syrup in 2013. “judge nature and frequency of misconduct and criminal activity in her own courtroom is incompatible with continuing to serve as a judge,” the motion to suspend states. “she not only misused, but she illegally obtained and consumed marijuana and ecstasy with her former boyfriend, claude barnes. judge green also gave hundreds of dollars to her courtroom bailiff to purchase for her.” green exchanged sexually charged text messages with the same bailiff, according to the commission, which faults green for not reassigning the bailiff. but attorney chip babcock with jackson walker in houston told courthouse news on thursday she has no control over the bailiff. “he work for her and so she have any personnel responsibility over him so she fire him or reassign him if she wanted to,” he said. babcock said he will file response on june 2 with the texas supreme court. “we’re going to aggressively defend this,” he said, adding that he believe many of the claims in the motion to suspend. “they are in many respects untrue and in all respects they are from many years ago and they are the result of allegations made by her ex-husband in the context of a bitter divorce case, and allegations made by somebody who is admittedly angry and out to hurt her. so their credibility is not the best,” he said, talking about barnes. he said work is not the issue and voters agree. “she has been an exemplary judge and was reelected in november of last year by a huge majority, over 80 percent of the vote, and won a contested primary in the spring so obviously the citizens of her precinct think doing a bad job,” he said. the commission asked the supreme court to indefinitely suspend green from the bench while its motion plays out, its executive director eric vinson said thursday in a phone interview. “this is the first step that they have to do before they can recommend to the supreme court to remove a judge,” he said. tussionex is a combination of the pain killer and chlorpheniramine, an antihistamine. like this: like loading...

ˈhjustən (cn*) ə ˈtɛksəs ʤəʤ ɪz ˈfeɪsɪŋ ə kɔl fər hər səˈspɛnʃən baɪ ə steɪt ˈɛθɪks kəˈmɪʃən ðət kleɪmz ʃi həˈbɪʧuəli bɔt prəˈskrɪpʃən kɔf ˈsɪrəp ɔn ðə blæk ˈmɑrkɪt, tʊk ˌmɛrəˈwɑnə ðət hər ˈbeɪlɪf sizd frəm ə dɪˈfɛndənt ənd peɪd ˈfiˌmeɪl ˈprɑstəˌtuts fər sɛks. ˈhɪləri grin ɪz ə ˈʤəstɪs əv ðə pis ɪn ˈhɛrɪs ˈkaʊnti wɪθ ˌʤʊrɪsˈdɪkʃən ˈoʊvər ˈmaɪnər ˌmɪsdəˈminərz ˈpənɪʃəbəl baɪ əp tɪ ə 500 faɪn, ənd ˈsɪvəl ˈmætərz wɪθ nɑt mɔr ðən æt steɪk. ʃi həz prɪˈzaɪdɪd ˈoʊvər ðə kɔrt sɪns ʤun 2007 ənd rɪˈteɪnd ðə pəˈzɪʃən θru θri ɪˈlɛkʃənz, ˈwɪnɪŋ mɔr ðən 80 pərˈsɛnt əv ðə voʊt ɪn noʊˈvɛmbər 2016 dɪˈspaɪt ˈmidiə ˈkəvərɪʤ əv hər ˈnæsti dɪˈvɔrs frəm ˈfɔrmər ˈhjustən kənˈtroʊlər ˈrɑnəld grin ðət ʃi faɪld fər ɪn ˈeɪprəl 2014 ðə steɪt kəˈmɪʃən ɔn ʤuˈdɪʃəl ˈkɑndəkt faɪld ə ˈmoʊʃən tɪ səˈspɛnd grin wɪˈθaʊt peɪ wɪθ ðə ˈtɛksəs səˈprim kɔrt ɔn ˈwɛnzˌdeɪ, ə rɪkˈwɛst ˈlɑrʤli beɪst ɔn ðə ˈlʊrəd ˈtɛstɪˌmoʊni əv hər klɔd bɑrnz. grin hæd ə ˈfaɪvˌjɪr ˌɛkstrəˈmɛrətəl əˈfɛr wɪθ bɑrnz ðət ˈɛndɪd ɪn ðə ˈɔtəm əv 2015 əˈkɔrdɪŋ tɪ barnes’*’ ˌdɛpəˈzɪʃən ˌbiˈfɔr ðə ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə ʤuˈdɪʃəl ˈkɑndəkt kəˈmɪʃən. bɑrnz ədˈmɪtəd ɪn ðə ˌdɛpəˈzɪʃən hi faɪld ə kəmˈpleɪnt əˈbaʊt grin wɪθ ðə kəˈmɪʃən ɪn dɪˈsɛmbər 2015 aʊt əv spaɪt bɪˈkəz ʃi lɛd ɪm tɪ bɪˈliv ʃi ˈwɔntɪd tɪ hæv ən ɪkˈsklusɪv riˈleɪʃənˌʃɪp wɪθ ɪm ˈæftər ʃi ˈfaɪnəˌlaɪzd hər dɪˈvɔrs, bət kɔt hər ““cheating”*” ənd sɛd ʃi hæd sɛks wɪθ ˈnumərəs partners”*” bɪˈhaɪnd hɪz bæk. ˈʤænjuˌɛri əv 2010 aɪ ˈwɪtnəs [sɪk] ʤəʤ ˈhɪləri grin smoʊk ˌmɛrəˈwɑnə ənd ˌɪˈligəli ˈpərʧəs ˈsɛvərəl taɪmz. bɪtˈwin 2011 aɪ ˈɔlsoʊ ˈwɪtnəs hər peɪ fər sɛks frəm ˈfiˌmeɪl ˈɛskɔrts ənd kənˈsum ðə strit drəg ecstasy,”*,” bɑrnz roʊt ɪn hɪz kəmˈpleɪnt, ˈjuzɪŋ ðə brænd neɪm əv ðə kɔf ˈsɪrəp hi sɪz grin bɪˈkeɪm əˈdɪktɪd tɪ ˈoʊvər ðə kɔrs əv ðɛr flɪŋ. bɑrnz sɛd ɪn hɪz ˌdɛpəˈzɪʃən ðət hi gɑt ə ˈbɑtəl əv kɔf ˈsɪrəp fər grin sɪks tɪ eɪt taɪmz frəm 2010 tɪ 2014 frəm hɪz ˈfɔrmər ˈkoʊˈwərkər, hu ʤækt əp ðə praɪs frəm 460 tɪ 600 pər ˈbɑtəl. bɑrnz sɛd grin ˌɪˈnɪʃəli toʊld ɪm ʃi tʊk ə ˈtiˌspun əv ðə ˈsɪrəp tɪ hɛlp hər slip, bət hər ˈjusɪʤ ˈstɛdəli ˌɪnˈkrist. wən pɔɪnt ɪn taɪm aɪ ʤɪst sɔ hər tərn ðə ˈbɑtəl əp. ðɛr wɑz noʊ ˈlɔŋgər ˈtiˌspunz. ɪt wɑz ʤɪst ə swig,”*,” bɑrnz sɛd ɪn ðə ˈʤænjuˌɛri 2016 ˌdɛpəˈzɪʃən. əˈkɔrdɪŋ tɪ ðə ˌdɛpəˈzɪʃən, grin twaɪs peɪd fər ˈfiˌmeɪl ˈɛskɔrts ɔf ənd ʃi ənd bɑrnz hæd wɪθ ðə ˈwɪmən æt hoʊˈtɛlz ɪn ˈhjustən ənd ˈɔstən, wɛr grin wɑz əˈtɛndɪŋ ə ˈkɑnfərəns fər ˈʤəʤɪz. bɑrnz sɛd ɪn hɪz ˌdɛpəˈzɪʃən ðət grin wəns ʃoʊd ɪm ə ˈbægi əv ˌmɛrəˈwɑnə ənd toʊld ɪm ʃi gɑt ɪt frəm hər ˈbeɪlɪf, hu hæd ˈteɪkən ɪt frəm ə kɪd ɪn hər ˈkɔrˌtrum. ðə kəˈmɪʃən steɪts ɪn ɪts kəmˈpleɪnt tɪ ðə səˈprim kɔrt ðət ɪn rɪˈspɑns tɪ ˈɛθɪks kəmˈpleɪnts, grin laɪd tɪ ɪt ɪn 2014 ənd 2017 əˈbaʊt hər riˈleɪʃənˌʃɪp wɪθ ə kənˈvɪktəd ˈfɛlən hu riˈmɑdəld hər haʊs, ənd ðət ʃi hæd stɑpt ˈteɪkɪŋ kɔf ˈsɪrəp ɪn 2013 ˈneɪʧər ənd ˈfrikwənsi əv mɪˈskɑndəkt ənd ˈkrɪmənəl ækˈtɪvɪti ɪn hər oʊn ˈkɔrˌtrum ɪz ˌɪnkəmˈpætəbəl wɪθ kənˈtɪnjuɪŋ tɪ sərv ɛz ə judge,”*,” ðə ˈmoʊʃən tɪ səˈspɛnd steɪts. nɑt ˈoʊnli mɪsˈjuzd, bət ʃi ˌɪˈligəli əbˈteɪnd ənd kənˈsumd ˌmɛrəˈwɑnə ənd ˈɛkstəsi wɪθ hər ˈfɔrmər ˈbɔɪˌfrɛnd, klɔd bɑrnz. ʤəʤ grin ˈɔlsoʊ geɪv ˈhənərdz əv ˈdɔlərz tɪ hər ˈkɔrˌtrum ˈbeɪlɪf tɪ ˈpərʧəs fər her.”*.” grin ɪksˈʧeɪnʤd ˈsɛkʃuəli ʧɑrʤd tɛkst ˈmɛsɪʤɪz wɪθ ðə seɪm ˈbeɪlɪf, əˈkɔrdɪŋ tɪ ðə kəˈmɪʃən, wɪʧ fɔlts grin fər nɑt ˌriəˈsaɪnɪŋ ðə ˈbeɪlɪf. bət əˈtərni ʧɪp ˈbæbkɔk wɪθ ˈʤæksən ˈwɔkər ɪn ˈhjustən toʊld ˈkɔrˌthaʊs nuz ɔn ˈθərzˌdeɪ ʃi həz noʊ kənˈtroʊl ˈoʊvər ðə ˈbeɪlɪf. wərk fər hər ənd soʊ ʃi hæv ˈɛni ˌpərsəˈnɛl riˌspɑnsəˈbɪləti ˈoʊvər ɪm soʊ ʃi faɪər ɪm ər ˌriəˈsaɪn ɪm ɪf ʃi ˈwɔntɪd to,”*,” hi sɛd. ˈbæbkɔk sɛd hi wɪl faɪl rɪˈspɑns ɔn ʤun 2 wɪθ ðə ˈtɛksəs səˈprim kɔrt. goʊɪŋ tɪ əˈgrɛsɪvli dɪˈfɛnd this,”*,” hi sɛd, ˈædɪŋ ðət hi bɪˈliv ˈmɛni əv ðə kleɪmz ɪn ðə ˈmoʊʃən tɪ səˈspɛnd. ər ɪn ˈmɛni rɪˈspɛkts ənˈtru ənd ɪn ɔl rɪˈspɛkts ðeɪ ər frəm ˈmɛni jɪrz əˈgoʊ ənd ðeɪ ər ðə rɪˈzəlt əv ˌæləˈgeɪʃənz meɪd baɪ hər ˈɛksˈhəzbənd ɪn ðə ˈkɑntɛkst əv ə ˈbɪtər dɪˈvɔrs keɪs, ənd ˌæləˈgeɪʃənz meɪd baɪ ˈsəmˌbɑdi hu ɪz ædˈmɪtɪdli ˈæŋgri ənd aʊt tɪ hərt hər. soʊ ðɛr ˌkrɛdəˈbɪlɪti ɪz nɑt ðə best,”*,” hi sɛd, ˈtɔkɪŋ əˈbaʊt bɑrnz. hi sɛd wərk ɪz nɑt ðə ˈɪʃu ənd ˈvoʊtərz əˈgri. həz bɪn ən ɪgˈzɛmpləri ʤəʤ ənd wɑz riɪˈlɛktɪd ɪn noʊˈvɛmbər əv læst jɪr baɪ ə juʤ məˈʤɔrəti, ˈoʊvər 80 pərˈsɛnt əv ðə voʊt, ənd wən ə kənˈtɛstəd ˈpraɪˌmɛri ɪn ðə spərɪŋ soʊ ˈɑbviəsli ðə ˈsɪtɪzənz əv hər ˈpriˌsɪŋkt θɪŋk duɪŋ ə bæd job,”*,” hi sɛd. ðə kəˈmɪʃən æst ðə səˈprim kɔrt tɪ ˌɪnˈdɛfənətli səˈspɛnd grin frəm ðə bɛnʧ waɪl ɪts ˈmoʊʃən pleɪz aʊt, ɪts ɪgˈzɛkjətɪv dɪˈrɛktər ˈɛrɪk ˈvɪnsən sɛd ˈθərzˌdeɪ ɪn ə foʊn ˈɪntərvˌju. ɪz ðə fərst stɛp ðət ðeɪ hæv tɪ du ˌbiˈfɔr ðeɪ kən ˌrɛkəˈmɛnd tɪ ðə səˈprim kɔrt tɪ riˈmuv ə judge,”*,” hi sɛd. ɪz ə ˌkɑmbəˈneɪʃən əv ðə peɪn ˈkɪlər ənd chlorpheniramine*, ən ˌæntiˈhɪstəmən. laɪk ðɪs: laɪk ˈloʊdɪŋ...