Saturday, January 26, 2008

Investigators examining the wreck of British Airways Flight 38, a Boeing 777 that crash landed short of the runway at London’s Heathrow Airport in the first hull loss of a 777, are examining the aircraft’s fuel system as a possible factor in the crash. No-one was killed as the scheduled flight from Beijing, China lost power during final approach on January 17.

136 passengers and 16 crew were on board when power was lost to the two Rolls-Royce engines about two miles from the runway, at a height of 600 feet. Autopilot and autothrottle were engaged at the time, the latter having just commanded an increase of thrust to the engines when power was lost. Co-pilot John Coward, in control at the time, was subsequently praised for being able to glide the disabled plane to within 1,000 feet of the runway, clearing a number of houses along the way.

Subsequent investigation has revealed that not only did the engines not fail simultaneously, but neither failed completely, contradicting initial belief. A preliminary report by the United Kingdom’s Aircraft Accident Investigation Branch (AAIB) stated that after the autothrottle commanded more thrust “The engines both initially responded but after about 3 seconds the thrust of the right engine reduced. Some eight seconds later the thrust reduced on the left engine to a similar level… Both engines continued to produce thrust at an engine speed above flight idle, but less than the commanded thrust.” This situation prevailed until impact.

On Wednesday the AAIB stated that they were examining “All possible scenarios that could explain the thrust reduction and continued lack of response of the engines.” However, it also went on to specifically mention attention to the jet’s fuel system, saying “This work includes a detailed analysis and examination of the complete fuel-flow path from the aircraft tanks to the engine-fuel nozzles.” The AAIB also ruled out the plane having completely run out of fuel, stating that there was “adequate fuel” in the tanks when the plane crashed. In addition to the fuel required to get to the target destination or emergency alternative airport – whichever is further – aircraft typically carry between thirty and forty-five minutes worth of extra fuel as a safety margin.

Possible scenarios being examined include fuel contamination, coming either from fuel taken on at Beijing or leakage from an unknown source. In particular, a heavy contaminant at the bottom of the tanks would explain a lack of earlier problems on the flight, as the fuel levels would only have become low in the final stages of the trip. Another possibility is that a central part of the fuel system developed a leak, reducing the amount of fuel available to the engines.

It is known that, according to the AAIB, “the autothrottle and engine-control commands were performing as expected prior to, and after, the reduction in thrust,” suggesting that all software in the aircraft was functioning correctly and rendering a software failure unlikely, although this possibility also remains under investigation.

Friday, March 8, 2013

Wednesday, a team of researchers at the University of East Anglia, Norwich, United Kingdom published a study of the increasing deer population in the United Kingdom, in the Journal of Wildlife Management. They proposed to cull about half each year out of the estimated 1.5 million deer population.

Wikinews interviewed senior lecturer in ecology Dr. Paul Dolman, the lead author of the study, about the problems being faced from the increase in deer population.

((WN)) What prompted your research into the effect of the deer population on other wildlife?

Dr. Paul Dolman: As a conservation ecologist I have a long standing interest in woodland management.

((WN)) What sort of problems are arising from the continuing increase in the deer population?

Dr. Paul Dolman: In North America and parts of Europe including the UK, increasing deer populations are changing the structure of forest habitats. This has knock-on effects on plant communities, bird and small mammal populations, with a reduction in the numbers of woodland birds that need a complex shrub layer. In Britain, declines in a number of woodland bird species have been linked to increases in deer numbers. Other problems include damage to agricultural crops, and increased numbers of deer-related road traffic accidents.

((WN)) Which species of deer had the most severe impact on other animals and wildlife?

Dr. Paul Dolman: In the UK there are six deer species, of which two are native (red and roe) and four are introduced (muntjac, sika, fallow and Chinese water deer). There has not yet been sufficient detailed work to disentangle their effects, but it appears that fallow deer and muntjac have particularly strong effects on woodlands and other biodiversity.

((WN)) Is there an absence in the number of natural predators of the deer, which would otherwise control population?

Dr. Paul Dolman: Increases in deer populations are at least partly related to the historic removal of large predators (including species such as wolf, brown bear and lynx), as well as the abundance of nutritious cropland. However in densely settled farmed landscapes such as much of lowland England reintroduction of predators is problematic and control by culling is therefore an important aspect of deer management.

Saturday, April 28, 2012

A Florida man was arrested after he allegedly left multiple phone messages with a local animal shelter in Brooksville, threatening to blow them up. Peter Dalessandro, 52, surrendered himself to authorities around 11:00 p.m. (local time) on Wednesday.

Dalessandro has been charged with multiple counts of threatening to place or discharge an explosive device and multiple counts of assault. Dalessandro allegedly made six calls after a puppy the shelter had taken in was euthanized quickly. He called the shelter several times on April 20 and threatened to kill anyone who was there and stated that a bomb was on the property. A search of the property, however, revealed no bomb.

Allegedly, Dalessandro was angered about a recent incident involving euthanizing of an eight-month-old puppy at the shelter within fifteen minutes after the dog’s arrival. According to reports, it is the animal shelter’s policy to euthanize animals as soon as possible if there is no room to house them. However, The Miami Herald reports a shelter volunteer’s claim that there were at least ten kennels open at the time the dog was taken in. An investigation has been opened into the incident and is ongoing. Several employees of the shelter have been relieved of their duties until it has completed.

The director of the shelter called the euthanizing a mistake. Further reports reveal that Dalessandro allegedly called the shelter staff “scumbags” and told them, “I don’t know how you can make an error like that. I’m going to place a bomb and kill everybody.”

Dalessandro has reportedly made threats of a similar nature not related to this case. According to police, Dalessandro has a history of harshly reacting to news of animals dying or which have suffered abuse and has a rap sheet dating back to 2001. Some of the accusations against him include calling individuals who have been accused of killing animals and calling an attorney defending an individual accused of killing a dog.

Sunday, January 27, 2008

Viktor Schreckengost, the father of industrial design and creator of the Jazz Bowl, an iconic piece of Jazz Age art designed for Eleanor Roosevelt during his association with Cowan Pottery died yesterday. He was 101.

Schreckengost was born on June 26, 1906 in Sebring, Ohio, United States.

Schreckengost’s peers included the far more famous designers Raymond Loewy and Norman Bel Geddes.

In 2000, the Cleveland Museum of Art curated the first ever retrospective of Schreckengost’s work. Stunning in scope, the exhibition included sculpture, pottery, dinnerware, drawings, and paintings.

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.

Monday, September 24, 2007

Marion Schaffer is running for the Green Party of Ontario in the Ontario provincial election, in the Oakville 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.

Tuesday, March 13, 2007

Pennsylvania governor Ed Rendell announced Tuesday morning that a deal had been struck between state and local officials and the Pittsburgh Penguins hockey franchise. The Penguins organization will formally announce the deal tonight, prior to the Penguins game against the Buffalo Sabres at the Mellon Arena. The deal will ensure that the Penguins will remain in the city with a 30 year lease on a new arena to be built in downtown Pittsburgh. The framework of the deal was constructed in an emergency meeting last Thursday in Philadelphia, when both government and franchise officials indicated that progress had been made, with the details laid out over the weekend. With the new deal, the Penguins organization would be expected to pay $3.8 million per year, as well as $7.5 million per year from both Don Barden, owner of Majestic Star Casino, and the state economic development fund. The Penguins organization has also been given the option of building a parking garage on property of the Pittsburgh Sports Authority between Centre and Fifth avenues, by contributing $500,000 per year.

The new arena is expected to cost approximately $290 million, and should be completed and ready to host hockey games by 2009. The Penguins will sign a temporary lease to keep the team at Mellon Arena until the new building is finished.