Thursday, August 23, 2007

Researchers say that new, ten million-year-old fossils found in Ethiopia, prove that the theory that humans may have evolved from a species of great apes eight million years ago, may not be true, but that humans may have split from apes as long as 10.5 million years ago.

At least nine fossilized teeth, one canine tooth and eight molars, of a previously unknown species of apes found in Africa were discovered by a team of researchers from Ethiopia and Japan who then compared the 3-D make up of the teeth to other fossils that date back as far as 8 million years and found that the fossils are likely a “direct ancestor” of apes currently living in Africa and that the new ape fossils were that of a species of gorilla who ate mostly plants high in fiber.

Current fossils and research say that the evolutionary split from apes to humans occurred at least eight million years ago. The new fossils say that the split may have happened as long as 10.5 million years ago.

“Based on this fossil, that means the split is much earlier than has been anticipated by the molecular evidence. That means everything has to be put back,” said researcher at the Rift Valley Research Service in Ethiopia and a co-author of the study, Berhane Asfaw.

Despite the finds, other researchers are not convinced that the findings are correct.

“It is stretching the evidence to base a time scale for the evolution of the great apes on this new fossil. These structures appear on at least three independent lineages of apes, including gorillas, and they could relate to a dietary shift rather than indicating a new genetic trait,” said a Professor at the London Natural History Museum in the United Kingdom, Peter Andrews who also added, “but the fossil evidence for the evolution of our closest living relatives, the great apes, is almost non-existent.

Researchers have named the newly discovered species Cororapithecus abyssinicus whose remains were found in the Afar Region of Ethiopia, the same place where the remains of Lucy were discovered in 1974.

Thursday, June 25, 2015

Live music venues in Edinburgh, Scotland are awaiting a review later this year on the 2005 licensing policy, which places limitations on the volume of amplified music in the city. Investigating into how the policy is affecting the Edinburgh music scene, a group of Wikinews writers interviewed venue owners, academics, the City of Edinburgh Council, and local band The Mean Reds to get different perspectives on the issue.

Since the clause was introduced by the government of the city of Edinburgh, licensed venues have been prohibited from allowing music to be amplified to the extent it is audible to nearby residential properties. This has affected the live music scene, with several venues discontinuing regular events such as open mic nights, and hosting bands and artists.

Currently, the licensing policy allows licensing standards officers to order a venue to cease live music on any particular night, based on a single noise complaint from the public. The volume is not electronically measured to determine if it breaches a decibel volume level. Over roughly the past year there have been 56 separate noise complaints made against 18 venues throughout the city.

A petition to amend the clause has garnered over 3,000 signatures, including the support of bar owners, musicians, and members of the general public.

On November 17, 2014, the government’s Culture and Sport Committee hosted an open forum meeting at Usher Hall. Musicians, venue owners and industry professionals were encouraged to provide their thoughts on how the council could improve live music in the city. Ways to promote live music as a key cultural aspect of Edinburgh were discussed and it was suggested that it could be beneficial to try and replicate the management system of live music of other global cities renowned for their live music scenes. However, the suggestion which prevailed above all others was simply to review the existing licensing policy.

Councillor (Cllr) Norma Austin-Hart, Vice Convenor of the Culture and Sport Committee, is responsible for the working group Music is Audible. The group is comprised of local music professionals, and councillors and officials from Edinburgh Council. A document circulated to the Music is Audible group stated the council aims “to achieve a balance between protecting residents and supporting venues”.

Following standard procedure, when a complaint is made, a Licensing Standards Officer (LSO) is dispatched to investigate the venue and evaluate the level of noise. If deemed to be too loud, the LSO asks the venue to lower the noise level. According to a document provided by the City of Edinburgh Council, “not one single business has lost its license or been closed down because of a breach to the noise condition in Edinburgh.”

In the Scotland Licensing Policy (2005), Clause 6.2 states, “where the operating plan indicates that music is to be played in a premises, the board will consider the imposition of a condition requiring amplified music from those premises to be inaudible in residential property.” According to Cllr Austin-Hart, the high volume of tenement housing in the city centre makes it difficult for music to be inaudible.

During the Edinburgh Festival Fringe during the summer, venues are given temporary licences that allow them to operate for the duration of the festival and under the condition that “all amplified music and vocals are controlled to the satisfaction of the Director of Services for Communities”, as stated in a document from the council. During the festival, there is an 11 p.m. noise restriction on amplified music, and noise may be measured by Environmental Health staff using sophisticated equipment. Noise is restricted to 65dB(A) from the facades of residential properties; however, complaints from residents still occur. In the document from the council, they note these conditions and limitations for temporary venues would not necessarily be appropriate for permanent licensed premises.

In a phone interview, Cllr Austin-Hart expressed her concern about the unsettlement in Edinburgh regarding live music. She referenced the closure of the well-known Picture House, a venue that has provided entertainment for over half a century, and the community’s opposition to commercial public bar chain Wetherspoon buying the venue. “[It] is a well-known pub that does not play any form of music”, Cllr Austin-Hart said. “[T]hey feel as if it is another blow to Edinburgh’s live music”. “[We] cannot stop Wetherspoon’s from buying this venue; we have no control over this.”

The venue has operated under different names, including the Caley Palais which hosted bands such as Queen and AC/DC. The Picture House opened in 2008.

One of the venues which has been significantly affected by the licensing laws is the Phoenix Bar, on Broughton Street. The bar’s owner, Sam Roberts, was induced to cease live music gigs in March, following a number of noise complaints against the venue. As a result, Ms Roberts was inspired to start the aforementioned petition to have Clause 6.2 of the licensing policy reviewed, in an effort to remove the ‘inaudibility’ statement that is affecting venues and the music scene.

“I think we not only encourage it, but actively support the Edinburgh music scene,” Ms Roberts says of the Phoenix Bar and other venues, “the problem is that it is a dying scene.”

When Ms Roberts purchased the venue in 2013, she continued the existing 30-year legacy established by the previous owners of hosting live acts. Representative of Edinburgh’s colourful music scene, a diverse range of genres have been hosted at the venue. Ms Roberts described the atmosphere when live music acts perform at her venue as “electric”. “The whole community comes together singing, dancing and having a party. Letting their hair down and forgetting their troubles. People go home happy after a brilliant night out. All the staff usually join in; the pub comes alive”. However licensing restrictions have seen a majority of the acts shut down due to noise complaints. “We have put on jazz, blues, rock, rockabilly, folk, celtic and pop live acts and have had to close everything down.” “Residents in Edinburgh unfortunately know that the Council policy gives them all the rights in the world, and the pubs and clubs none”, Ms Roberts clarified.

Discussing how inaudibility has affected venues and musicians alike, Ms Roberts stated many pubs have lost profit through the absence of gigs, and trying to soundproof their venue. “It has put many musicians out of work and it has had an enormous effect on earnings in the pub. […] Many clubs and bars have been forced to invest in thousands of pounds worth of soundproofing equipment which has nearly bankrupted them, only to find that even the tiniest bit of noise can still force a closure. It is a ridiculously one-sided situation.” Ms Roberts feels inaudibility is an unfair clause for venues. “I think it very clearly favours residents in Edinburgh and not business. […] Nothing is being done to support local business, and closing down all the live music venues in Edinburgh has hurt financially in so many ways. Not only do you lose money, you lose new faces, you lose the respect of the local musicians, and you begin to lose all hope in a ‘fair go’.”

With the petition holding a considerable number of signatures, Ms Roberts states she is still sceptical of any change occurring. “Over three thousand people have signed the petition and still the council is not moving. They have taken action on petitions with far fewer signatures.” Ms Roberts also added, “Right now I don’t think Edinburgh has much hope of positive change”.

Ms Roberts seems to have lost all hope for positive change in relation to Edinburgh’s music scene, and argues Glasgow is now the regional choice for live music and venues. “[E]veryone in the business knows they have to go to Glasgow for a decent scene. Glasgow City Council get behind their city.”

Ms Martina Cannon, member of local band The Mean Reds, said a regular ‘Open Mic Night’ she hosted at The Parlour on Duke Street has ceased after a number of complaints were made against the venue. “It was a shame because it had built up some momentum over the months it had been running”. She described financial loss to the venue from cancelling the event, as well as loss to her as organiser of the event.

Sneaky Pete’s music bar and club, owned by Nick Stewart, is described on its website as “open and busy every night”.”Many clubs could be defined as bars that host music, but we really are a music venue that serves drinks”, Mr Stewart says. He sees the live music scene as essential for maintaining nightlife in Edinburgh not only because of the economic benefit but more importantly because of the cultural significance. “Music is one of the important things in life. […] it’s emotionally and intellectually engaging, and it adds to the quality of life that people lead.”

Sneaky Pete’s has not been immune to the inaudibility clause. The business has spent about 20,000 pounds on multiple soundproofing fixes designed to quell complaints from neighboring residents. “The business suffered a great deal in between losing the option to do gigs for fear of complaints, and finishing the soundproofing. As I mentioned, we are a music business that serves drinks, not a bar that also has music, so when we lose shows, we lose a great deal of trade”, said Mr Stewart.

He believes there is a better way to go about handling complaints and fixing public nuisances. “The local mandatory condition requiring ‘amplified music and vocals’ to be ‘inaudible’ should be struck from all licenses. The requirement presupposes that nuisance is caused by music venues, when this may not reasonably be said to be the case. […] Nuisance is not defined in the Licensing Act nor is it defined in the Public Health Act (Scotland) 2008. However, The Consultation on Guidance to accompany the Statutory Nuisance Provisions of the Public Health etc (Scotland) Act 2008 states that ‘There are eight key issues to consider when evaluating whether a nuisance exists[…]'”.

The eight key factors are impact, locality, time, frequency, duration, convention, importance, and avoidability. Stewart believes it is these factors that should be taken into consideration by LSOs responding to complaints instead of the sole factor of “audibility”.He believes multiple steps should be taken before considering revocation of licenses. Firstly, LSOs should determine whether a venue is a nuisance based on the eight factors. Then, the venue should have the opportunity to comply by using methods such as changing the nature of their live performances (e.g. from hard rock to acoustic rock), changing their hours of operation, or soundproofing. If the venue still fails to comply, then a board can review their license with the goal of finding more ways to bring them into compliance as opposed to revoking their license.

Nick Stewart has discussed his proposal at length with Music is Audible and said he means to present his proposal to the City of Edinburgh Council.

Dr Adam Behr, a music academic and research associate at the University of Edinburgh who has conducted research on the cultural value of live music, says live music significantly contributes to the economic performance of cities. He said studies have shown revenue creation and the provision of employment are significant factors which come about as a result of live music. A 2014 report by UK Music showed the economic value generated by live music in the UK in 2013 was £789 million and provided the equivalent of 21,600 full time jobs.

As the music industry is international by nature, Behr says this complicates the way revenue is allocated, “For instance, if an American artist plays a venue owned by a British company at a gig which is promoted by a company that is part British owned but majority owned by, say, Live Nation (a major international entertainment company) — then the flow of revenues might not be as straightforward as it seems [at] first.”

Despite these complexities, Behr highlighted the broader advantages, “There are, of course, ancillary benefits, especially for big gigs […] Obviously other local businesses like bars, restaurants and carparks benefit from increased trade”, he added.

Behr criticised the idea of making music inaudible and called it “unrealistic”. He said it could limit what kind of music can be played at venues and could force vendors to spend a large amount of money on equipment that enables them to meet noise cancelling requirements. He also mentioned the consequences this has for grassroots music venues as more ‘established’ venues within the city would be the only ones able to afford these changes.

Alongside the inaudibility dispute has been the number of sites that have been closing for the past number of years. According to Dr Behr, this has brought attention to the issue of retaining live music venues in the city and has caused the council to re-evaluate its music strategy and overall cultural policy.

This month, Dr Behr said he is to work on a live music census for Edinburgh’s Council which aims to find out what types of music is played, where, and what exactly it brings to the city. This is in an effort to get the Edinburgh city council to see any opportunities it has with live music and the importance of grassroots venues. The census is similar to one conducted in Victoria, Australia in 2012 on the extent of live music in the state and its economic benefit.

As for the solution to the inaudibility clause, Behr says the initial step is dialogue, and this has already begun. “Having forum discussion, though, is a start — and an improvement”, he said. “There won’t be an overnight solution, but work is ongoing to try to find one that can stick in the long term.”

Beverley Whitrick, Strategic Director of Music Venue Trust, said she is unable to comment on her work with the City of Edinburgh Council or on potential changes to the inaudibility clause in the Licensing Policy. However, she says, “I have been asked to assess the situation and make recommendations in September”.

According to The Scotsman, the Council is working toward helping Edinburgh’s cultural and entertainment scene. Deputy Council Leader Sandy Howat said views of the entertainment industry needs to change and the Council will no longer consider the scene as a “sideline”.

Senior members of the Council, The Scotsman reported, aim to review the planning of the city to make culture more of a priority. Howat said, “If you’re trying to harness a living community and are creating facilities for people living, working and playing then culture should form part of that.”

The review of the inaudibility clause in the Licensing Policy is set to be reviewed near the end of 2016 but the concept of bringing it forward to this year is still under discussion.

Monday, March 21, 2011

Sales of existing homes in the U.S. fell 9.6% in February, the National Association of Realtors (NAR) said today, in a sign that the U.S. housing market is still depressed. The figure was worse than the 3.9% decline anticipated by the economists surveyed by Dow Jones Newswires and questions whether the U.S. housing market is beginning to recover or will continue to fall.

A combination of foreclosures and short sales, where the mortgage holder sells the house for less than owed on the mortgage, accounted for almost 40% of the sales.

Millions of foreclosures have forced down home prices and the number of foreclosures are predicted to rise this year. The inventory of existing homes listed for sale rose 3.5% at the end of February, a 8.6-month supply at the current sales rate. As more homes are listed in the spring, the inventory of houses for sale will probably increase. A five or six month inventory is usually considered a healthy balance between supply and demand.

According to Moody’s Analytics, another 3.6 million bank-owned homes and possible foreclosures will be added to the inventory by 2013, adding to the 6.7 million home foreclosures since 2006. Thus housing inventories will probably continue to remain high, delaying the point when prices stabilize. The median sales price in February fell 5.2%, down to a price level not seen since April 2002.

“We have an uneven, choppy recovery,” said NAR’s chief economist Lawrence Yun. “Hopefully it is a recovery that is taking place.”

Saturday, February 3, 2018

On Wednesday, English football club Chelsea FC announced signing French forward Olivier Giroud from cross-town rivals Arsenal FC on a eighteen-month contract. The deal is reportedly worth about £18 million. Olivier Giroud is to wear jersey number 18, the club announced via their website.

31-year-old Giroud joined The Gunners in 2012. Since then, the Frenchman has played 253 games for Arsenal and scored 105 goals. During his tenure at the Emirates Stadium, Giroud has won three FA Cups. He has also won the Community Shield trophy with Arsenal.

Giroud remarked on joining The Blues, “Chelsea is one of the biggest teams in the Premier League. They have won maybe the most trophies in the last six or seven years. It’s a massive club and I am proud to sign for Chelsea, and I’m looking forward to playing.”

Chelsea loaned Belgian forward Michy Batshuayi to German club Borussia Dortmund. Giroud’s departure from Arsenal was announced shortly after Arsenal announced signing Gabonese striker Pierre-Emerick Aubameyang from Dortmund for about £56 million making him the costliest player in Arsenal’s history.

Sunday, June 27, 2010

Toyota announced on Friday that it will recall around 17,000 Lexus vehicles in response to risks of the fuel tank in the cars leaking after a collision.

The Lexus HS 250h model was subjected to the recall following a US National Highway Traffic Safety Administration (NHTSA) investigation. Despite previously passing Toyota safety inspections, the conclusions of an NHTSA sub-contracted investigator were that; when the vehicles in question collided with an object at more than fifty-miles-per hour, more than 142 grams of fuel, the maximum allowed by US law, leaked from the crashed car.

According to Toyota, further tests did not show any additional failure of the fuel tank.

In response to the findings, Toyota issued a recall of all affected vehicles, since the company had no solution immediately available. The recall includes 13,000 cars already sold, as well as another 4,000 still at dealerships.

Toyota says it plans to conduct further tests to determine the cause of the leak. A Toyota spokesman, Brian Lyons, said that the company was “still working to determine what the root cause of the condition is.” It’s still unclear when exactly the recall will take place, or when dealerships will be allowed to sell this model again. Lyons said that Toyota is “working feverishly to get this resolved as soon as possible.”

Toyota isn’t aware of any accidents stemming from the leaking fuel tank in the affected vehicles, first introduced in the summer of 2009.

Tuesday, January 28, 2014

Evansville, Indiana, United States — This past week marked the opening night of an Andy Warhol exhibit at the University of Southern Indiana. USI’s art gallery, like 189 other educational galleries and museums around the country, is a recipient of a major Warhol donor program, and this program is cultivating new interest in Warhol’s photographic legacy. Wikinews reporters attended the opening and spoke to donors, exhibit organizers and patrons.

The USI art gallery celebrated the Thursday opening with its display of Warhol’s Polaroids, gelatin silver prints and several colored screen prints. USI’s exhibit, which is located in Evansville, Indiana, is to run from January 23 through March 9.

The McCutchan Art Center/Pace Galleries at USI bases its exhibit around roughly 100 Polaroids selected from its collection. The Polaroids were all donated by the Andy Warhol Photographic Legacy Program, according to Kristen Wilkins, assistant professor of photography and curator of the exhibit. The Andy Warhol Foundation for the Visual Arts made two donations to USI Art Collections, in 2007 and a second recently.

Kathryn Waters, director of the gallery, expressed interest in further donations from the foundation in the future.

Since 2007 the Andy Warhol Photographic Legacy Program has seeded university art galleries throughout the United States with over 28,000 Andy Warhol photographs and other artifacts. The program takes a decentralized approach to Warhol’s photography collection and encourages university art galleries to regularly disseminate and educate audiences about Warhol’s artistic vision, especially in the area of photography.

Wikinews provides additional video, audio and photographs so our readers may learn more.

Wilkins observed that the 2007 starting date of the donation program, which is part of the Andy Warhol Foundation for the Visual Arts, coincided with the 20th anniversary of Andy Warhol’s death in 1987. USI was not alone in receiving a donation.

K.C. Maurer, chief financial officer and treasurer at the Andy Warhol Foundation, said 500 institutions received the initial invitation and currently 190 universities have accepted one or more donations. Institutional recipients, said Mauer, are required to exhibit their donated Warhol photographs every ten years as one stipulation.

While USI is holding its exhibit, there are also Warhol Polaroid exhibits at the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York and an Edward Steichen and Andy Warhol exhibit at the Mary & Leigh Block Museum of Art at Northwestern University in Evanston, Illinois. All have received Polaroids from the foundation.

University exhibits can reach out and attract large audiences. For example, the Weatherspoon Art Museum at the University of North Carolina at Greensboro saw attendance levels reach 11,000 visitors when it exhibited its Warhol collection in 2010, according to curator Elaine Gustafon. That exhibit was part of a collaboration combining the collections from Duke University, located in Durham, North Carolina, and University of North Carolina at Chapel Hill, which also were recipients of donated items from the Andy Warhol Photographic Legacy Program.

Each collection donated by the Andy Warhol Photographic Legacy Program holds Polaroids of well-known celebrities. The successful UNC Greensboro exhibit included Polaroids of author Truman Capote and singer-songwriter Carly Simon.

“I think America’s obsession with celebrity culture is as strong today as it was when Warhol was living”, said Gustafon. “People are still intrigued by how stars live, dress and socialize, since it is so different from most people’s every day lives.”

Wilkins explained Warhol’s obsession with celebrities began when he first collected head shots as a kid and continued as a passion throughout his life. “He’s hanging out with the celebrities, and has kind of become the same sort of celebrity he was interested in documenting earlier in his career”, Wilkins said.

The exhibit at USI includes Polaroids of actor Dennis Hopper; musician Nick Rhodes of Duran Duran; publishers Jann Wenner of Rolling Stone Magazine and Carlo De Benedetti of Italy’s la Repubblica; disco club owner Steve Rubell of Studio 54; photographers Nat Finkelstein, Christopher Makos and Felice Quinto; and athletes Vitas Gerulaitis (tennis) and Jack Nicklaus (golf).

Wikinews observed the USI exhibit identifies and features Polaroids of fashion designer Halston, a former resident of Evansville.

University collections across the United States also include Polaroids of “unknowns” who have not yet had their fifteen minutes of fame. Cynthia Thompson, curator and director of exhibits at the University of Arkansas, Fayetteville, said, “These images serve as documentation of people in his every day life and art — one which many of us enjoy a glimpse into.”

Warhol was close to important touchstones of the 1960s, including art, music, consumer culture, fashion, and celebrity worship, which were all buzzwords and images Wikinews observed at USI’s opening exhibit.

He was also an influential figure in the pop art movement. “Pop art was about what popular American culture really thought was important”, Kathryn Waters said. “That’s why he did the Campbell Soup cans or the Marilyn pictures, these iconic products of American culture whether they be in film, video or actually products we consumed. So even back in the sixties, he was very aware of this part of our culture. Which as we all know in 2014, has only increased probably a thousand fold.”

“I think everybody knows Andy Warhol’s name, even non-art people, that’s a name they might know because he was such a personality”, Water said.

Hilary Braysmith, USI associate professor of art history, said, “I think his photography is equally influential as his graphic works, his more famous pictures of Marilyn. In terms of the evolution of photography and experimentation, like painting on them or the celebrity fascination, I think he was really ground-breaking in that regard.”

The Polaroid format is not what made Warhol famous, however, he is in the company of other well-known photographers who used the camera, such as Ansel Adams, Chuck Close, Walker Evans, Robert Mapplethorpe, and Helmut Newton.

Wilkins said, “[Warhol] liked the way photo booths and the Polaroid’s front flash looked”. She explained how Warhol’s adoption of the Polaroid camera revealed his process. According to Wilkins, Warhol was able to reproduce the Polaroid photograph and create an enlargement of it, which he then could use to commit the image to the silk screen medium by applying paint or manipulating them further. One of the silk screens exhibited at USI this time was the Annie Oakley screen print called “Cowboys and Indians” from 1987.

Wilkins also said Warhol was both an artist and a businessperson. “As a way to commercialize his work, he would make a blue Marilyn and a pink Marilyn and a yellow Marilyn, and then you could pick your favorite color and buy that. It was a very practical salesman approach to his work. He was very prolific but very business minded about that.”

“He wanted to be rich and famous and he made lots of choices to go that way”, Wilkins said.

Kiara Perkins, a second year USI art major, admitted she was willing to skip class Thursday night to attend the opening exhibit but then circumstances allowed for her to attend the exhibit. Why did she so badly want to attend? “It’s Warhol. He is a legend.”

For Kevin Allton, a USI instructor in English, Warhol was also a legend. He said, “Andy Warhol was the center of the Zeitgeist for the 20th century and everything since. He is a post-modern diety.”

Allton said he had only seen the Silver Clouds installation before in film. The Silver Clouds installation were silver balloons blown up with helium, and those balloons filled one of the smaller rooms in the gallery. “I thought that in real life it was really kind of magical,” Allton said. “I smacked them around.”

Elements of the Zeitgeist were also playfully recreated on USI’s opening night. In her opening remarks for attendees, Waters pointed out those features to attendees, noting the touches of the Warhol Factory, or the studio where he worked, that were present around them. She pointed to the refreshment table with Campbell’s Soup served with “electric” Kool Aid and tables adorned with colorful gumball “pills”. The music in the background was from such bands as The Velvet Underground.

The big hit of the evening, Wikinews observed from the long line, was the Polaroid-room where attendees could wear a Warhol-like wig or don crazy glasses and have their own Polaroid taken. The Polaroids were ready in an instant and immediately displayed at the entry of the exhibit. Exhibit goers then became part of the very exhibit they had wanted to attend. In fact, many people Wikinews observed took out their mobiles as they left for the evening and used their own phone cameras to make one further record of the moment — a photo of a photo. Perhaps they had learned an important lesson from the Warhol exhibit that cultural events like these were ripe for use and reuse. We might even call these exit instant snap shots, the self selfie.

Wednesday, May 10, 2006

According to the Alcohol Tobacco and Firearms Agency or ATF, at least 686 sticks of dynamite and at least 30 pounds of ammonium nitrate were stolen from Gold Mountain Mine Company in Big Bear City, California located in San Bernardino County. Fuel oil and mining equipment are also among the items stolen. When combined, the fuel oil and ammonium nitrate become combustible and authorities fear what could be done with the explosives.

“The obvious concern is someone stole it, and what are they going to do with it? This is a quantity of explosives that could do significant damage. We need to recover these items,” said John D’Angelo, spokesman for the ATF.

The thieves cut locks on the gate that leads to the facility and then cut the locks on a metal storage bin and stole its contents and everything inside the facility. The man responsible for mining operations in the area does so as a hobby. The robbery was reported on May 3.

“We urge anyone who has information about this theft to contact ATF and the San Bernardino Sheriff’s Department. Our job is to keep the public safe. We take the theft of explosives extremely seriously, and we will relentlessly follow up every lead until we solve the case,” said John A. Torres who is the special agent in charge of the ATF in Los Angeles.

Authorities have offered a $25,000 reward for information about the crime that leads to an arrest and conviction.

Tuesday, August 17, 2010

Plastic surgeon to the stars Dr. Frank Ryan has died in a car accident at age 50. It is reported that the Jeep Ryan was driving crashed over the side of the Pacific Coast Highway and landed on rocks. Lifeguards were first on the scene and unsuccessfully tried to rescue Ryan. It is thought that no other vehicle was involved in the incident.

Dr. Ryan, a celebrity in his own right, performed plastic surgery on several stars including Janice Dickinson, Gene Simmons, Shauna Sand and Adrianne Curry. He appeared on several television shows and became one of the first people to perform plastic surgery on television in 1995.

A representative for Janice Dickinson released a statement about the death of Ryan. She said “Janice is deeply, deeply anguished! She is stunned and wants the world to know what a genius Dr. Ryan was.”

Ryan was traveling with his pet dog at the time of the crash; the dog was found seriously injured in the ocean and was transported to a local veterinarian. Dr. Ryan was pronounced dead at the scene.

Tuesday, March 6, 2007

A rupture in the underground stormwater drain system opened a huge sinkhole on February 23, killing three people and bringing down twelve houses in Guatemala City.

Teenagers Irma and David Soyos and their father, 53-year old Domingo Soyos were killed when their house collapsed into the sinkhole. Nearly a thousand people were evacuated from the San Antonio neighborhood after the collapse.

Wikinews interviewed Eric Haddox, a civil engineer who has visited the site of the sinkhole and spoken to the engineers working on fixing the drain. Mr. Haddox, who specialises in the building of earthworks, roads, water supply and sewage systems, and is working as a missionary in Guatemala, visited the site following the collapse to help in the recovery effort.

Mr. Haddox told us that the size of the hole is much smaller than the 330 feet depth originally reported and that the erosion causing the collapse is believed to have happened over a long time, and not just during the recent rains as initially suspected.

There are also concerns that a four-story building less than a metre from the edge of the hole may collapse as the earth under the building continues to be eroded.

Before the collapse, a junction box linked two collector pipes to a 3.5m main pipe leading to a nearby canyon in a system believed to be 20 to 50 years old. The surrounding earth had been filled in artificially to level the ground, but the fill was not well compacted before being built upon. Such leveling of the ground is widespread in Guatemala city.

It is thought that, at some point in the last 20 years, either one of the collector pipes ruptured or was detached from the junction box, possibly because of seismic activity. Water gushing out of the break following rainstorms gradually eroded the loosely compacted soil, creating an expanding cavern around the junction box. On February 23, the roof of this cavern collapsed, creating the sinkhole, 20m wide at the top and tapering out towards the bottom, which is about 60m (204 feet) deep, not 330 feet as originally reported.

“Things like this don’t happen often and there are many interesting engineering lessons to be learned with them”, Mr. Haddox said.

The sinkhole has continued to expand even after the collapse, since the collector pipes continue to carry water, which cascades 15m down the sinkhole to the main pipe, further eroding the sides of the sinkhole. The hole was about 25m wide at the top and 40m wide at the bottom a week ago.

A bypass pipe is being laid to divert the water away from the junction to arrest further erosion. The sinkhole will then have to be drained before repair work can begin.

Authorities are also concerned that similar breakages and undermining may be happening at other locations, Mr. Haddox said. Muddy water has been seen coming out of the main collector pipes, but it is not certain whether this is due to ruptures elsewhere or simply mud from the surface that has been washed into the drainage system.