Tuesday, July 27, 2010

WikiLeaks has released a mass of “secret” material from the United States’ involvement in Afghanistan in the five years from 2004 to 2009.

The material was scrutinised in co-operation with the main stream newspapers The Guardian and The New York Times, and the German magazine Der Spiegel, who cross-referenced the leaked documents with published material to check the veracity of the material.

The material makes explicit the accusation that the Taliban is receiving support including man portable anti-aircraft missiles from Iran, and Pakistan. However, despite being condemned by the authorities in the United States, commentators have said that nothing in the released material would come as a surprise to anyone who has been following the war.

Wednesday, February 11, 2009

On Monday, France announced a rescue plan for its struggling automotive industry. The plan totals €6.5 billion (US$8.5 billion). The European Commission, which enforces European Union legislation, said the conditions may break EU rules.

The plan calls for PSA Peugeot Citroën and Renault, the two largest French automakers, to receive a five-year loan of €3 billion at 6% interest, each. Meanwhile, Renault Trucks, which is owned by Volvo Group of Sweden, will receive a €500 million loan.

French President Nicolas Sarkozy said that the funds should be invested in environmental technology. Sarkozy added that “Renault and PSA have also committed to not to close any production sites for the duration of their loan and to do whatever they can to avoid layoffs.”

“It’s a commitment that I applaud because it ensures that this acute but temporary crisis will not destroy our industrial base and automotive know-how,” the President concluded.

The European Commission is concerned about the implied obligation to not close production facilities, which would go against EU rules.

“There are indications that carmakers will be obliged to maintain their center of production in France as a condition for government support,” said Jonathan Todd, a spokesman for the Commission on Tuesday in Brussels. “The Commission will not authorize aid that would tend to undermine the single market.”

Conditions that violate these rules “would render the aid illegal and will not be tolerated by the commission,” Todd said. “If there are measures that question the single market, the risk would be that the recession would be much worse, even becoming a depression as in the 1930s.”

“Today the Commission has written to the French authorities to ask for clarification of the plan,” Todd explained at a briefing. “We have not actually reached any conclusions as regards the French measures. We have a few concerns with what we saw in the press.”

Slovakia has already said that it will appeal to the EC, if the loans amount to a distortion of competition law.

“The philosophy of the EU is a single market without any barriers to transfer products and services,” Ján Po?iatek, the finance minister of Slovakia said.

In Germany, Verband der Automobilindustrie executive director Klaus Braeunig said that the French plan is “a clear distortion of competition.” He added, “We don’t want an international race in subsidies.”

Sunday, September 2, 2012

London, England — Yesterday at London’s Basketball Arena, the Canada women’s national wheelchair basketball team earned their first victory of the London Paralympics when they defeated the Australia women’s national wheelchair basketball team 57–50.

Canada took a one point lead into the second half, when the scores were 33–32 because of a last minute foul that sent Canada to the free throw line where they capitalized by making one of their shots. 4.5 point player Janet McLachlan and 2 point player Katie Harnock dominated in minutes played for Canada during the first half, playing all 20 minutes and leading their team in scoring with 11 first half points for McLachlan and 12 for Harnock. The Canadian team was loudly supported by spectators, earning more cheering from the largely Great Britain supporting fans than the Australians.

The second half saw Canada slowly increase their lead, keeping tied with Australia 4–4 in the first half of third, 6–4 in the last half of the third, 6–4 in the first half of the fourth, and 8–6 in the last half of the fourth. McLachlan finished the game as Canada’s leading scorer with 28 total, 17 in the second half. Harnock had a quieter second half only scoring 2 points to finish with 14. Cindy Ouellett was the team’s third leading scorer, finishing the game with ten.

The Canadian team supported their team from the bench, chanting “Get it out! Get it out!” when on defense and “Let’s go Canada” when on the offense. Other times, one player led the team in chanting support for their players on the court. The team was consistently louder than the Australian bench.

Throughout the game, the Canadians tipped themselves over more in their chairs than the Australians. Ouellett tipped once, and bounced in her chair, with a wheel leaving the ground as she attempted to block shots and steal the ball. Ouellett and Australian Cobi Crispin locked wheels, and required a break in the game where Australia’s coach came on to the court and removed Ouellett’s wheel to detach the pair before putting it back on again.

Following the game, Australia’s Amber Merritt said of playing Canada, “I have the utmost respect for Canada. They’re a great team, but we’ll refocus on the game tomorrow [against the Netherlands] and go out and play like we know we can, the Australian way.”

Prior to the start of the game, McLachlan was the team’s dominating player in the competition. She was ranked eighth in the competition in field goal percentage, and was Canada’a highest ranked player in this category. She ranked second in the tournament in total field goals made per game, with 12. Teammate Katie Harnock ranked eighth. Tara Feser ranked fourth in the tournament for 2 point field goal percentage at 57.1%, while McLachlan ranked ninth with 50.0%. McLachlan was second in 2 point field goals made per game, at 12. Harnock was tied for first with Mexico’s Floralia Estrada Bernal in the competition for 3 point field goal percentage at 20%, and was ranked second in the tournament for most 3 point field goals made with one.

As a team coming into the game, Canada was ranked sixth in total field goal percentage, eighth in free throw percentage, sixth in average rebounds per game, second in fouls, and last in turnovers.

Coming into this game, Canada had lost their first game 70–59 to the Netherlands. They are scheduled to play Brazil today.

Sunday, October 7, 2007

Cecile Willert is running for the Green Party of Ontario in the Ontario provincial election, in the Ajax—Pickering riding. Wikinews’ Nick Moreau interviewed her regarding her values, her experience, and her campaign.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.

Saturday, January 19, 2008

Buffalo, New York —According to scanner frequencies of the Buffalo, New York fire department, smoke was reported on at least five floors at the northeast side at One HSBC Center in downtown Buffalo. The call came in around 10:50 p.m. (Eastern Time) on Friday January 18, not long after the ending of the NHL hockey game: the Sabres versus the Atlanta Thrashers which was held at HSBC Arena, a few blocks away from the tower.

According to firefighters communications the people that were on the 22nd floor made it out of the building safely. Firefighters saw “white smoke of varying intensities, believed to have been electrical” on floors 9 through 13. The source of the smoke was not identified, but the first alarm was on the 13th floor, followed by the 10th then the 9th.

Because of the cold temperatures and wind chills in the 10’s, workers at the tower were allowed back into the first floor, which has been cleared by firefighters earlier in the call.

At 11:41 p.m., firefighters gave the all clear to begin packing up with no conclusion as to where the smoke originated. They used ventilation fans to clear the floors of smoke and then shut them off to see if anymore smoke would reappear, which it did not. Remaining employees and personnel have since been allowed back to work. No damage is reported.

The tower, built in 1970, is the tallest in Buffalo and is home several agencies including the Consulate General of Canada. HSBC currently occupies 75% of the tower which has 40 floors. It stands at 529 feet (161.2 meters) tall.

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Saturday, July 19, 2008

This year’s Leisure Taiwan trade show (a.k.a Taiwan Sport Recreation and Leisure Show) started yesterday, with 131 companies participating including sports media companies such as ESPN and VideoLand Television, businesses selling sports equipment and fitness clubs.

There were also a variety of sports being played in the arena built for the trade show. The events included a 3-on-3 basketball tournament, free style shooting, and bicycle test-riding. In addition, conferences discussed issues related to sports and physical education.

A major topic in the trade show was energy-efficiency and, as a result, bicycles and similar sports equipment were being heavily promoted.

Next Tuesday, companies from the electronics industry plan to promote their industry at “2008 Digital E-Park.” In previous years, organizations from the electronics industry have showcased their products at Leisure Taiwan instead of at the Digital E-Park, so this move has reduced the number of markets covered by Leisure Taiwan.

Saturday, May 7, 2005

Testing began on a chemical reactor at the Newport Chemical Depot near Terre Haute, Indiana on Friday morning. If successful, the reactor will be put to use destroying the large VX nerve gas stockpiles stored at the facility over the course of the next two years. After the disposal project experienced several delays, the facility announced it would begin pumping VX into a completed disposal unit for testing. The unit consists of a chemical reactor in which the VX will be mixed with water and sodium hydroxide, heated to 194°F while mixed with paddles. The resulting chemical, called hydrolysate, is chemically similar to commercial drain cleaners and has similar properties. If the test is successfully completed , the unit will continue processing the VX until the entire stockpile has been neutralized, a process projected to take two years. Administrators expect to complete testing on May 10, 2005.

According to the controversial plan, the finished waste product would be shipped to New Jersey for final reprocessing. The inert chemical would then be emptied into the Delaware River where natural attenuation would occur.

Residents near the proposed river disposal site in New Jersey oppose this idea. The contractor for the final component of this disposal would be the DuPont Corporation.

NCD is a bulk chemical storage and destruction facility in west central Indiana, thirty miles north of Terre Haute. Originally founded during World War II to produce RDX, a conventional explosive, it later became a site for chemical weapons manufacturing during the Cold War. It is now used to securely store and gradually neutralize part of the US stockpile of VX.

VX was manufactured by the U.S. in the 1950s and 60’s as a deterrent to possible Soviet Union use. It was never deployed, and the manufacture was halted in 1969 after an order signed by then-president Richard Nixon.

In 1999, the Army announced it awarded a disposal contract to Parsons Infrastructure & Technology, Inc., a business unit of Parsons Corporation. Some 220 civilian Parsons employees work at the facility, which is supervised by an Army officer reporting to the U.S. Army Chemical Materials Agency, and a board of civilian government overseers called the Indiana Citizens’ Advisory Commission, some of whose members are appointed by the state governor.

Security at the facility is controversial. A private security service, supplemented by a complement of Indiana National Guard soldiers, guarded the facility until April 14, 2005, when the soldiers were withdrawn. An Indianapolis television station has questioned security measures in some of its special reports.