Thursday, December 4, 2008

A study by the United States Department of Veterans Affairs presented to a Congressional panel on November 17, has confirmed that Gulf War Syndrome is a legitimate illness contracted by soldiers who took pyridostigmine bromide pills in order to counter the effects of nerve gas during the First Gulf War in Iraq. Several other factors likely contributed to Gulf War Syndrome, including excessive exposure to pesticides, mainly Permethrin and DEET, and chemical weapons residue caused by the American demolition of the Iraqi munitions depot in Khamisiyah.

The report estimates that about 1 out of every 4 veterans of the Gulf War are affected by this illness; this could mean anywhere between 175,000 and 210,000 soldiers are affected by the syndrome. The report also concluded that veterans exposed to the toxins spread by the destruction of the munitions depot have died of brain cancer at double the rate of other Gulf War veterans. Other problems associated with the condition are: fatigue, headaches, joint pain, rashes, breathing difficulty, forgetfulness, circulation problems, and cardiac troubles.

Gulf War Syndrome has been the focal point of veterans rights groups since the illness first became noticed in the early 1990s. The United States and British governments claimed that the illness was merely psychological trauma from war misinterpreted as an illness, and veterans could not receive medical coverage for the illness.

“I feel vindicated, but I’m angry. This is so long overdue,” said Denise Nichols, an advocate for veterans’ rights and a nurse who served during Operation Desert Storm. The National Gulf Veterans and Families Association (NGVFA) said that many veterans committed suicide after learning that the government did not recognize their illness as real.

Friday, April 23, 2021

On Tuesday, Finance Minister of Ireland Paschal Donohoe criticised talks co-ordinated by the Organisation for Economic Co-operation and Development (OECD) for a global minimum corporate tax rate, arguing smaller countries like Ireland “need to be able to use tax policy as a legitimate lever to compensate for the real, material and persistent advantage enjoyed by larger countries”.

Speaking to virtual attendees at a virtual seminar about international tax, Donohoe said any deal must “accommodate Ireland’s 12.5% rate”. This 12.5% rate benefits large corporations including Apple, Google and Facebook which account for one in eight jobs in the country. According to CNBC, corporate tax receipts in Ireland totalled €11.8 billion in 2020, and the Department of Finance has projected, according to The Irish Times that figure increase from €11.6 billion in 2021 to €12.5 billion by 2025.

Donohoe also said Ireland’s low taxes serve as an incentive to attract jobs and investment, saying while he supported an agreement with “appropriate and acceptable tax competition”, it must be lower than the 21% proposed by the United States.

Donohoe said nations should recognise the low tax rates present in Ireland and other small countries, citing “advantages of scale, location, resources, industrial heritage” present in larger ones. Defending his own long-established rate, Donohoe said a 12.5% rate is “within the ambit of healthy tax competition” as a rate which “stimulate[s] investment, growth and innovation, which are core to Ireland’s industrial policy”. According to The Guardian, current proposals would shrink Ireland’s corporate tax base by 20%; and tax receipts to be €2 billon lower than it would otherwise be in 2025, per Irish Department of Finance.

Brian Keegan, the director of public policy at Chartered Accountants Ireland said it was “not tax change, it’s political change”. Head of tax for the OECD Pascal Saint-Amans said “there is a new dynamic that is likely to bring us to a resolution”, and the US’ willingness to address expressed concerns simplifies an admittedly-complex blueprint.

A spokesperson for the Irish Department of Finance told CNBC on Monday “political level discussions on these issues have not yet taken place”.

The Guardian reported many companies in Ireland pay less on revenues as compared to other countries; with Apple paying as little as 0.005% in 2014. A European Commission ruling in 2016 ordered Apple to pay €13 billion it owed back taxes to the Government of Ireland ; it was struck down in July on the grounds “[t]he commission did not succeed in showing to the requisite legal standard that there was an advantage.”

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Thursday, March 17, 2011

Owsley Stanley, mass-producer of LSD, the drug underlying much of the culture of the 1960s California hippie era, died Sunday in a car accident in Australia at the age of 76, his family announced on Tuesday.

According to The New York Times, “Mr. Stanley lent the ’60s a great deal of its color — like White Lightning, Monterey Purple and Blue Cheer, the varieties of his LSD that were among the most popular.”

Stanley, a talented, self-taught chemist who was known for the purity of his LSD, supplied the drug to such music groups as the Grateful Dead, the Beatles, and Jimi Hendrix, and provided the acid for Ken Kesey and his Merry Pranksters, whose antics were recorded by Tom Wolfe in the The Electric Kool-Aid Acid Test. The Rolling Stones once called his acid “the best LSD in the world … the genuine Owsley.”

He was also an early sound engineer and designed the high-fidelity sound system for the live rock concerts of the Grateful Dead, known as the “wall of sound”. It was essentially a massive public address system made up of 600 speakers that enabled musicians to mix their sound from the stage and reduce distortion. His recordings of Grateful Dead live performances, some having been commercially released, are valued as a documentary of their early music.

Sam Cutler, formerly the tour manager of the Rolling Stones, said of Stanley: “He was a very sophisticated man, an amalgam of scientist and engineer, chemist and artist.”

Stanley was born in Kentucky and studied engineering briefly at the University of Virginia before dropping out and joining the Air Force. In 1958, he moved to California and worked at a wide variety of jobs, before enrolling at the UC at Berkeley in 1963, at a time when drug use was pervasive. He got his first taste of LSD in April 1964 which transformed him. “I remember the first time I took acid and walked outside, and the cars were kissing the parking meters,” he said in an interview with the Rolling Stone Magazine in 2007.

Deciding to provide his own LSD to ensure its quality, Stanley created his own lab to produce it. According to The Washington Post, “Working at first from a makeshift bathroom laboratory in Berkeley, Mr. Stanley produced at least 1 million doses of LSD between 1965 and 1967.” His LSD was widely distributed. The lab was raided and he spent two years in prison.

Stanley moved to Australia in the 1980s when he become convinced the Northern Hemisphere would be destroyed in the coming of a new ice age. He lived in the Australian bush near Cairns, Queensland.

Friday, March 29, 2019Toronto Comicon 2019 returned to its titular city from March 15 to 17, as one of the largest pop culture events in Canada. The popular event featured celebrity guests like actors Dan Fogler, Ron Perlman, John De Lancie, John Rhys-Davies, and Jaleel White, as well as comic artists, authors, and professional cosplayers. The event included a large show floor with hundreds of retailers and artists promoting their creations. Wikinews’ Nicholas Moreau attended the event, taking photos of the various sights.

John Rhys-Davies broke news when he revealed that a Sliders reboot is being considered. “Jerry [O’Connell] and I are talking to NBC at the moment. The basic problem is that no one knows who owns the rights”. Their legal department had apparently been looking into the matter for two months, as of the convention weekend. Emma Caufield talked of being cast in an NBC television pilot while a recurring guest actor on Buffy the Vampire Slayer. Faced with loosing the character of Anya Jenkins, the producers finally committed to making her a regular. “It was a good day,” she recalls.

Special effects costumer Ian Campbell, whose screen credits include Star Trek: Discovery, had a booth at the convention displaying his prop replicas and cosplay items. Amidst the bustle of activity, Campbell was working on a Thanos helmet sculpt. After the convention, he told Wikinews that “it can be tough to maintain focus with so many people streaming past and along questions, but sculpting in front of a crowd at conventions is great because it allows people to see the process that goes into what I do […] it also can serve as inspiration to other to pursue their own artistic endeavors.”

Lisa Mancini has been cosplaying for two years, her “passion” for the hobby “stemmed through my love for Halloween.” She typically chooses “to portray beloved characters from childhood or strong females. I also enjoy a good gender bent cosplay to ensure a touch of uniqueness!”

Mancini told Wikinews after the event that the best part of cosplay is “bringing a character to life.” One of the characters she took on this year was Squirrel Girl, a Marvel Comics character. Mancini has been described by the Daily Hive as a “squirrel whisperer”, for the close affinity some of the animals have for her.

Stephanie Chapman has knit a variety of knit outfits, an uncommon technique for cosplay. Prompted by Ron Perlman’s visit, she wore a costume based on Hellboy character Abe Sapien, which lacks the eyeholes of her normal masks. With “Abe, I wanted to go for accuracy over comfort,” Chapman told Wikinews, a choice leaving her largely helpless without a handler. The costume “is very warm […] so I have to stay hydrated and try to keep as calm as possible. It’s just really hard to stay calm when I meet someone like Ron Perlman”. With the combination of excitement and “the stress I’m putting on my body”, she shared that she was prone to meltdown in suit.

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.

Tuesday, September 27, 2005

Sun Microsystems has released StarOffice 8 today. StarOffice 8 is a commercial office suite that includes word-processing, spreadsheet, presentation, drawing and database applications.

According to Sun, StarOffice 8 “provides excellent compatibility with Microsoft Office”. This new version improves Word, Excel and PowerPoint import and export filters, improving support for password-protected Word and Excel files and presentations with complex animations, autoshapes and slide transitions. StarOffice 8 also includes a Microsoft Office macro converter allowing many Microsoft Office macros to work in StarOffice.

StarOffice 8 is also the first commercial office suite to support the OASIS Open Document Format for Office Applications (OpenDocument). OpenDocument is an XML based file format created by the Organization for the Advancement of Structured Information Standards. Massachusetts has recently announced the plan to switch to OpenDocument format. Microsoft has said it will not support the OpenDocument format.

StarOffice 8 is based on the open source OpenOffice.org project. OpenOffice.org was founded July 2000, by Sun with the release of StarOffice code under two open source licenses.

StarOffice 8 is available as a download from Sun’s Web site for $69.95, or packaged product can be ordered for $99.95. Enterprise customers can purchase StarOffice 8 for $35 (£20) per user. OpenOffice.org is available for free from openoffice.org.

Thursday, April 2, 2009

A Chechen and Russian mother raised the wrong son for two years after the babies were swapped at the hospital.

Anna Androsova began investigating when her son had no family resemblance and developed a darker complexion and dark hair.

“It was a nightmare. I loved little Nikita but somehow always knew something wasn’t quite right,” said Androsova, “There was no family resemblance and my husband was suspicious.”

She re-examined the maternity ward ID tag she still had in her possession. Androsova saw the tag read Zarema Taisumova.

Androsova found Taisumova to tell her of the mix up. However it wasn’t until DNA testing was done at a hospital and a court case, that toddlers came to live with their biological parents.

Nikita, the dark-haired brown-eyed boy was renamed Ali and is at home with his biological Chechen mother Taisumova who deeply misses Adlan. It took weeks for Taisumova to recover from the shock.

“I can’t turn off my love like a switch or a light,” said Tiasumova, “I loved him for two years and will always feel I am his real mother. Of course, I am happy to have my own son but you can’t help the way you feel.”

Blue-eyed Adlan was renamed Nikita and was returned to his Russian biological mother Androsova. The family is adjusting to the transition from the first Nikita to the new Nikita.