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.

Monday, October 24, 2016

On Friday, Catalonian football club FC Barcelona announced Brazilian forward Neymar signed a five-year contract extension, which runs through June 2021.

Barcelona announced Neymar would be signing a contract extension in July, but Neymar was not physically present at their offices to sign at the time.

Neymar joined the Blaugrana in summer 2013 from Santos FC and since then has featured in 151 games for the Catalonian club. Neymar has won nine trophies with Barça — two La Liga titles, two Copa del Reys and Supercopa de España, and one each of UEFA Champions League, UEFA Super Cup, and FIFA Club World Cup scoring over 90 goals.

Per the contract extension, Neymar’s buyout clause is €200 million at the end of the current season which would rise to €250million by the third season.

After signing the contract extension, Neymar said, “I feel at home […] I am very happy with colleagues on the field” ^{((ca)) Catalonia language: Em sento a casa […] Em sento molt feliç a dins del camp amb els companys} .

Wednesday, August 27, 2008

Operation NANOOK 2008 was held from August 11 to August 25 by the Canadian Forces for the purpose of conducting mock emergency rescue operations for potential maritime disasters in the northeastern Canadian Arctic waters.

Two Canadian navy ships and two airforce planes, a CC-138 Twin Otter and a CP-140 Aurora, took part in the exercises in the Canada’s Arctic. The HMCS Toronto and the Canadian Coast Guard ship Pierre Radisson travelled along the Hudson Strait. The Operation extended to Davis Strait, and Frobisher Bay during the annual NANOOK Operation. There have been 18 such humanitarian operations since 2002. As more Arctic ice melts, the ships sail through uncharted waters. Emergency response times were tested for such potential disasters as oil spills, or rescue operations such as responding to cruise ship emergencies.

General Walter Natynczyk, Canada’s chief of Defence staff, the Honourable Peter MacKay, Defence Minister as well as Minister of the Atlantic Canada Opportunities Agency, and Steven Fletcher, Member of Parliament for Charleswood–St. James–Assiniboia and Parliamentary Secretary for Health, flew to Iqaluit, Nunavut to officially launch the exercise on August 19, 2008 and observe the process.

In addition to the military exercises, Veterans Affairs Canada held a commemorative event onboard the HMCS Toronto to honour the 55th Anniversary of the Cease Fire in Korea, the 65th Anniversary of the Battle of the Atlantic, and the start of the Last 100 days of the First World War. The inaugural ceremonies were held during Community Day activities in the capital city of Iqaluit, followed by the public panel discussion held on Saturday. The community day ceremonies were organized by participants in Operation NANOOK 2008. The public ceremonies received neither Nunavut politicians nor Inuit leaders.

Wednesday, December 21, 2005

In the United States of America and other parts of the word, as Christmas and the holidays draw near, shippers have released information on shipping deadlines. Remember to always clearly label and address your holiday packages.

From: Sue Gardner <edited> Date: Jan 5, 2008 4:15 AM Subject: Thanks re Wikipedia meeting, & next steps To: Jonathan Schwartz <edited>, Greg Papadopoulos <edited> Cc: Roger McNamee <edited>, Erik Möller <edited>

Hi Jonathan & Greg,

This is just a quick note to say thanks so much for meeting with Roger, Erik & me in December. We really appreciate it – hope you both had good holidays afterwards.

In the meeting, we talked about the possibility of Sun making a major contribution to Wikimedia’s hosting, so that you could reinforce your position as open source leaders by association with us in your marketing. We think this makes sense, and would love to make it work.

Next steps. Erik will pull together a wishlist, which we will send to you by the end of January – let’s say January 28. The list will likely come in two versions: one focusing on our immediate needs and our preferences in terms of hardware and software, and one laying out a “Wikimedia runs on Sun” scenario in which we fully switch over, with your help, to an integrated Sun environment. They will target different scales, let’s say about $1M in hardware vs. $5M in hardware/software/support.

Please let us know if any of this is contrary to what you remember, or if you want us to refine/revise anything. Otherwise, you’ll hear from us in about three weeks.

Thanks, Sue

Attachments: Wikimedia_Past_Present_and_Future.pdf (this is the presentation we gave at the meeting)

Friday, December 14, 2007

Reggie Bibbs is a 43-year-old-man living in Houston, Texas. Mr Bibbs was born with a genetic disease called neurofibromatosis (NF), which causes him to develop tumors on his body (see infobox on the right). NF can be a subtle disease, but in Bibbs’ case it has left him with a disfigured face and deformed leg. But he is happy with the way he looks, and doesn’t want to change his appearance to please other people. He has launched a successful campaign entitled “Just Ask”, and that’s just what Wikinews did in a video-interview.

The interview was prepared by Wikinews reporter Michaël Laurent with the help of Bertalan Meskó (who has a popular genetics and web 2.0 blog). Their questions were sent to a close friend of Mr. Bibbs, Lou Congelio, who kindly conducted the interview.

Monday, July 28, 2008

Two bombs detonated in the Güngören district of Istanbul, Turkey Sunday evening, killing at least 17 people and wounding over 150. The neighborhood targeted is mainly residential, and the victims were civilians. At least five of those killed were children, according to local officials.

This bombing was the worst terrorist attack in Istanbul since the 2003 Istanbul Bombings, in which truck bombs exploded outside two Istanbul synagogues, killing 23 and wounding more than 300. Al-Qaeda claimed responsibility for the 2003 attack.

The initial explosion caused little damage, but attracted crowds of onlookers. The second more lethal blast occurred 10 minutes later, about 50 metres away.

“After the first explosion, I rushed outside to check on my two sons, found both of them. But my elder son insisted on going back to find his father,” said Nimet Arslan to International Herald Tribune. Following the second bomb, she said, “a dark smoke filled the air and all I could see or hear was people screaming.” The elder son suffered a broken leg.

Turkish President Abdullah Gül said in a statement, “Nothing can be achieved by terror, violently claiming lives of the innocent. These attacks show the inhumanity and misery of the assailants.”

It is not yet clear who is responsible, but Turkish authorities suspect the Kurdistan Workers Party (PKK), a Kurdish separatist group. “Of course, there are links with the separatist organization,” the governor of Istanbul province, Muammer Güler said, “It’s surely a terror attack, there’s no doubt.” This follows a recent shooting attack on the United States consulate in Istanbul. The US embassy is in Ankara.

On Sunday, the Turkish military announced that its fighter jets had raided twelve PKK settlements in Northern Iraq, which the PKK uses as a base to launch attacks on Turkey, raising speculation of PKK involvement in this attack. However Zubeyir Aydar, a senior Kurdish militant, denied any involvement in the attacks in a statement to a pro-PKK news agency.

Prime Minister Recep Tayyip Erdo?an visited the site on Monday, calling for calm and nationwide solidarity.

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.