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Friday, June 2, 2006

Scottish police have arrested a man and a woman after finding Britain’s largest ever stash of Gamma-butyrolactone. The man in charge of the operation, Graeme Pearson, director of the Scottish Crime and Drug Enforcement Agency, called the find “the most significant discovery of the drug in the UK.”

Denise Caron MacPherson, 45, and Hanan Rabin, 53, have been charged with exporting the drug, also known as GHB, to the United States between 19 April and 24 May. The news of the Scottish factory comes as a US study found drug use was involved in two-thirds of sex attacks, while 5 per cent were given an actual “date rape” drug.

Graham Rhodes for The Roofie Foundation, a helpline for victims of drug rape, said: “I am very relieved this has been recovered as in the wrong hands it is very dangerous. Not only is it used to spike the drinks of people to rape them but it’s also used to assault and rob people.”

Used by ravers, robbers and bodybuilders, the base chemical (gamma-hydroxybutyrate) was taken during a raid on a house and business in West Lothian. The haul would have been put on the United States illicit drug market and sold for fun and more sinister purposes.

In its non-powder form GHB is barely detectable: clear and having no smell it can be particularly potent with a few drops mixed into an alcoholic drink. Once a sufficient amount of the salty liquid has been ingested the victim can be knocked out within an hour.

While GHB is known both as “liquid ecstasy” and the date rapist’s “Plan A”, the versatile compound is also used by body builders instead of anabolic steroids, by dieters and as a sleeping aid.

In Britain, GHB is a “Class C” drug which means making it, holding it and selling it is punishable with up to two years in prison. The effects of rape, for which the drug is reportedly used, can last a lifetime. Jane Cumming, from support group Crisis, said she received an average of 4 calls a week from people claiming to be victims of date rape.

The pair, who were caught in Livingston, were accused of distributing the drug in Scotland from MacPherson’s house around the same time as they were exporting to the United States, while MacPherson was also charged with Cannabis possession.

Wednesday, December 5, 2007

Wikinews recently spoke with Mark Busse, president of the BC Chapter of the Society of Graphic Designers of Canada, to find out what his organization’s views are of the 2010 Winter Olympic and Paralympic mascots, Miga, Quatchi, and Sumi.

Many people love them. Obviously some don’t. Kids seem to adore them. But as a professional designer, I am trying to keep an open mind and try to consider the big picture and audience before judging them too quickly.

The mascot design was a very difficult problem for the VANOC 2010 planning committee — and a very important project with lots at stake. Unlike during the original logo competition, VANOC chose to not engage in an open, speculative contest, but rather came to the Society of Graphic Designers for assistance and guidance, followed our recommendations and engaged in a thorough, thoughtful, fair and comprehensive design competition and process. They had our full cooperation and support and we encouraged all GDC members to participate.

I would have likely designed something different, although I had suggested using BC mythology, such as a Sasquatch, to capture the imagination of a predominantly young international audience. But I think the result of VANOC’s careful design process is a solution that captured BC’s spirit, culture, attitude, geography, wildlife, athleticism — even mythology — in a clever and friendly way. Quatchi, Miga and Sumi are respectful of BC aboriginal heritage without alienating all Canadians.

While the products at HBC stores of the mascots have been flying off the shelves, many have bashed the designs for having “too much” of a Japanese influence. As of 2001, 1.5% of Vancouverites were Japanese heritage, and 29.9% were of Chinese descent. Vancouver’s Chinatown is one of the largest historic Chinatowns in North America, and Japan has had diplomatic relations with the city since 1930.

This is the first time the Olympic and Paralympic mascots have been unveiled at the same time.

Busse is also a partner and the design director at Industrial Brand Creative, a design firm in the province. He is co-chair of Graphex ’08, a design exhibition at the Emily Carr Institute, which “showcases the best cultural, social and business communications in Canada.”

Saturday, March 26, 2011

On Thursday, London’s Mayor Boris Johnson announced the shortlist of bidders to supply up to ten further trams to Transport for London (TfL) for use on the city’s Tramlink network in Croydon. The trams will be used to supply additional capacity on the network between Elmers End, central Croydon and Therapia Lane — one of the most congested parts of the route.

TfL, who purchased the Tramlink network from Tramtrack Croydon Ltd. in 2008, announced the plans late January, after submitting the tender to the Official Journal of the European Union (OJEU) on January 29. According to the notice, the additional trams will operate approximately 75,000km per year, will be needed for “at least 10, but not more than 20 years” and can be either new build or existing vehicles that can be modified — at a reasonable cost — to run on the Tramlink infrastructure.

The tram fleet is currently made up of 24 Bombardier CR4000 trams, which were constructed for the opening of the 28km network between 1998 and 2000. 22 of these trams are currently needed to operate the three tram routes each day, and the new service is expected to require at least an additional five trams daily, bringing about the need for a boost to the fleet levels.

The shortlist to supply the trams consists of City of Edinburgh/CAF, Stadler (Stadler Pankow GmBH) and Pesa (Pojazdy Szynowe PESA Bydgoszcz S.A.Holding, and the the three consortia will now be invited to submit proposals to supply the additional trams. The Invitation to Tender will run for four weeks.

It is not currently known whether the bids made by Stadler and Pesa will be for new-build or second-hand vehicles, however the bid from Edinburgh/CAF is to use a number of the currently-dormant trams that were constructed for that city’s own tram network. The system has had several set backs since construction began, with the network now set to open in stages with a number of tram lines (but not the trams to operate them) being cancelled, leading to a large surplus of vehicles that could be hired out in the short term. The trams are amongst some of the longest and heaviest in Europe, though, and will require a large amount of modification to enable them to be able to operate on Croydon’s network if the bid is successful.

Shortly after the announcement, whilst inspecting one of the network’s current trams at East Croydon tram stop, Boris Johnson said: “I have no greater responsibility as Mayor than to ensure people can move around this city with ease, comfort and reliability.

“Trams in Croydon have proved a major success and this is reflected in journey numbers which have soared by 45 per cent since the network opened in 2000.

“I look forward to the extra vehicles developing this vital, much-appreciated, and indeed attractive, form of transport further.”

Funding for the new trams is expected to largely come from TfL, however the London Borough of Croydon has also confirmed a £3m contribution to the project. This will also include the refurbishment of tram stop surrounds.

Croydon Council Leader Mike Fisher said: “This is looking like a great deal for Croydon and shows the benefits of an ambitious local authority and committed Mayor working together, pooling resources and expertise.

“There is real support to get additional trams for Croydon to keep pace with growing demand for Tramlink services and also to secure major improvements for pedestrians and transport users around and between East and West Croydon stations.”

TfL anticipates that, providing a successful bid is made, the new trams would be delivered to the network’s depot at Therapia Lane in late 2011, with an entry into service from early 2012.

Monday, June 7, 2010

An acrobatic group known by the name of Spelbound has been declared as the winner of Britain’s Got Talent 2010, a televised variety talent show competition broadcast on ITV in the United Kingdom. As the winning act of the show, Spelbound have won £100,000 (US$144,580, €120,313, A$175,079) and a place at The Royal Variety Performance, an annual gala evening that is attended by senior members of the British Royal Family.

In no particular order, the top three acts were revealed to be two dancers known by their stage name of Twist and Pulse, gymnastic group Spelbound and Kieran Gaffney, whose act involves playing on the drum kit. After Kieran Gaffney was revealed to be in third place, Anthony McPartlin, who hosts Britain’s Got Talent with Declan Donnelly, said to Kieran: “Well done Kieran. Kieran, you’re a star, you came back, you got all the way to the final. I know you’ve loved this. You’ve loved this, haven’t you?” In response to this, Kieran Gaffney stated: “Thank you very much. Thank you, everyone for supporting me. Thank you.”

Shortly afterwards, on the episode that was broadcast live on ITV1 on Saturday, Anthony announced: “After tens of thousands of auditons, five semi-finals and an amazing final, this…this is it. One of you is about to walk away with £100,000 and a place at this year’s Royal Variety Performance. The winner of Britain’s Got Talent 2010 is…Spelbound!” Glen Murphy from Twist and Pulse commented about finishing in second place, stating: “Yeah, it’s amazing. I can’t even believe it. I can’t believe it at all.”

Alex Uttley, a 24-year-old member of Spelbound, commented on the gymnastic group’s victory, commenting: “Oh, my god. This is unbelieveable. We just want to say thank you to everyone out there. It just shows that all our hard work has paid off.” One of the coaches of Spelbound, named Neil Griffiths, stated about Spelbound: “Oh, they’ve worked so hard over the last few weeks. Um, since the semi-final, we…we really had to pull out the stops to try and up the game. They’ve not known they’ve worked in the gym from six in the morning till twelve…twelve o’clock of the night. I couldn’t have asked for more. Um, it’s a team of coaches. I don’t take all the credit myself. There’s, uh, two people up there that know who they are who’ve been fantastic.”

Spelbound consists of 24-year-old Alex Uttley, Nicholas Illingworth, aged 24, Adam Buckingham, aged 21, 20-year-old Adam McAssey, 19-year-old Douglas Fordyce, 18-year-old Edward Upcott, 18-year-old Leighanne Cowler, 17-year-old Katie Axten, 17-year-old Lauren Kemp, 15-year-old Jonathan Stranks, Abigail Ralph, aged 15, 13-year-old Hollianne Wood and Amy Mackenzie, aged 12. Bookmakers had previously predicted that Spelbound would be the most likely act to become the winner of the series.

The running order for the final started with Twist and Pulse. The second act to perform was Liam McNally, a 14-year-old singer. The running order subsequently continued with 40-year-old impressionist Paul Burling, singer Christopher Stone, aged 28, Tina & Chandi, a woman and dog dancing act, Connected, a five-piece singing group, Kieran Gaffney, aged 12, 22-year-old Tobias Mead, a dancer, 80-year-old singer Janey Cutler and Spelbound in that particular order.

Earlier on in the final, Britain’s Got Talent judge Amanda Holden has stated to Spelbound: “We are hosting the 2012 Olympics and I think ‘what a brilliant opening act’.” Fellow judge Piers Morgan also commented that “[t]he purpose of this show is to identify hidden great British talent. You are that act.” After Spelbound won in the final, another judge, named Simon Cowell, stated that “the right boys and girls won on the night” and that he could “only say on live TV that that was one of the most astonishing things I have ever seen. Seriously.”

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.