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Friday, July 29, 2011

Today sees the reopening of the National Museum of Scotland following a three-year renovation costing £47.4 million (US$ 77.3 million). Edinburgh’s Chambers Street was closed to traffic for the morning, with the 10am reopening by eleven-year-old Bryony Hare, who took her first steps in the museum, and won a competition organised by the local Evening News paper to be a VIP guest at the event. Prior to the opening, Wikinews toured the renovated museum, viewing the new galleries, and some of the 8,000 objects inside.

Dressed in Victorian attire, Scottish broadcaster Grant Stott acted as master of ceremonies over festivities starting shortly after 9am. The packed street cheered an animatronic Tyrannosaurus Rex created by Millenium FX; onlookers were entertained with a twenty-minute performance by the Mugenkyo Taiko Drummers on the steps of the museum; then, following Bryony Hare knocking three times on the original doors to ask that the museum be opened, the ceremony was heralded with a specially composed fanfare – played on a replica of the museum’s 2,000-year-old carnyx Celtic war-horn. During the fanfare, two abseilers unfurled white pennons down either side of the original entrance.

The completion of the opening to the public was marked with Chinese firecrackers, and fireworks, being set off on the museum roof. As the public crowded into the museum, the Mugenkyo Taiko Drummers resumed their performance; a street theatre group mingled with the large crowd, and the animatronic Tyrannosaurus Rex entertained the thinning crowd of onlookers in the centre of the street.

On Wednesday, the museum welcomed the world’s press for an in depth preview of the new visitor experience. Wikinews was represented by Brian McNeil, who is also Wikimedia UK’s interim liaison with Museum Galleries Scotland.

The new pavement-level Entrance Hall saw journalists mingle with curators. The director, Gordon Rintoul, introduced presentations by Gareth Hoskins and Ralph Applebaum, respective heads of the Architects and Building Design Team; and, the designers responsible for the rejuvenation of the museum.

Describing himself as a “local lad”, Hoskins reminisced about his grandfather regularly bringing him to the museum, and pushing all the buttons on the numerous interactive exhibits throughout the museum. Describing the nearly 150-year-old museum as having become “a little tired”, and a place “only visited on a rainy day”, he commented that many international visitors to Edinburgh did not realise that the building was a public space; explaining the focus was to improve access to the museum – hence the opening of street-level access – and, to “transform the complex”, focus on “opening up the building”, and “creating a number of new spaces […] that would improve facilities and really make this an experience for 21st century museum visitors”.

Hoskins explained that a “rabbit warren” of storage spaces were cleared out to provide street-level access to the museum; the floor in this “crypt-like” space being lowered by 1.5 metres to achieve this goal. Then Hoskins handed over to Applebaum, who expressed his delight to be present at the reopening.

Applebaum commented that one of his first encounters with the museum was seeing “struggling young mothers with two kids in strollers making their way up the steps”, expressing his pleasure at this being made a thing of the past. Applebaum explained that the Victorian age saw the opening of museums for public access, with the National Museum’s earlier incarnation being the “College Museum” – a “first window into this museum’s collection”.

The museum itself is physically connected to the University of Edinburgh’s old college via a bridge which allowed students to move between the two buildings.

Applebaum explained that the museum will, now redeveloped, be used as a social space, with gatherings held in the Grand Gallery, “turning the museum into a social convening space mixed with knowledge”. Continuing, he praised the collections, saying they are “cultural assets [… Scotland is] turning those into real cultural capital”, and the museum is, and museums in general are, providing a sense of “social pride”.

McNeil joined the yellow group on a guided tour round the museum with one of the staff. Climbing the stairs at the rear of the Entrance Hall, the foot of the Window on the World exhibit, the group gained a first chance to see the restored Grand Gallery. This space is flooded with light from the glass ceiling three floors above, supported by 40 cast-iron columns. As may disappoint some visitors, the fish ponds have been removed; these were not an original feature, but originally installed in the 1960s – supposedly to humidify the museum; and failing in this regard. But, several curators joked that they attracted attention as “the only thing that moved” in the museum.

The museum’s original architect was Captain Francis Fowke, also responsible for the design of London’s Royal Albert Hall; his design for the then-Industrial Museum apparently inspired by Joseph Paxton’s Crystal Palace.

The group moved from the Grand Gallery into the Discoveries Gallery to the south side of the museum. The old red staircase is gone, and the Millennium Clock stands to the right of a newly-installed escalator, giving easier access to the upper galleries than the original staircases at each end of the Grand Gallery. Two glass elevators have also been installed, flanking the opening into the Discoveries Gallery and, providing disabled access from top-to-bottom of the museum.

The National Museum of Scotland’s origins can be traced back to 1780 when the 11th Earl of Buchan, David Stuart Erskine, formed the Society of Antiquaries of Scotland; the Society being tasked with the collection and preservation of archaeological artefacts for Scotland. In 1858, control of this was passed to the government of the day and the National Museum of Antiquities of Scotland came into being. Items in the collection at that time were housed at various locations around the city.

On Wednesday, October 28, 1861, during a royal visit to Edinburgh by Queen Victoria, Prince-Consort Albert laid the foundation-stone for what was then intended to be the Industrial Museum. Nearly five years later, it was the second son of Victoria and Albert, Prince Alfred, the then-Duke of Edinburgh, who opened the building which was then known as the Scottish Museum of Science and Art. A full-page feature, published in the following Monday’s issue of The Scotsman covered the history leading up to the opening of the museum, those who had championed its establishment, the building of the collection which it was to house, and Edinburgh University’s donation of their Natural History collection to augment the exhibits put on public display.

Closed for a little over three years, today’s reopening of the museum is seen as the “centrepiece” of National Museums Scotland’s fifteen-year plan to dramatically improve accessibility and better present their collections. Sir Andrew Grossard, chair of the Board of Trustees, said: “The reopening of the National Museum of Scotland, on time and within budget is a tremendous achievement […] Our collections tell great stories about the world, how Scots saw that world, and the disproportionate impact they had upon it. The intellectual and collecting impact of the Scottish diaspora has been profound. It is an inspiring story which has captured the imagination of our many supporters who have helped us achieve our aspirations and to whom we are profoundly grateful.“

The extensive work, carried out with a view to expand publicly accessible space and display more of the museums collections, carried a £47.4 million pricetag. This was jointly funded with £16 million from the Scottish Government, and £17.8 million from the Heritage Lottery Fund. Further funds towards the work came from private sources and totalled £13.6 million. Subsequent development, as part of the longer-term £70 million “Masterplan”, is expected to be completed by 2020 and see an additional eleven galleries opened.

The funding by the Scottish Government can be seen as a ‘canny‘ investment; a report commissioned by National Museums Scotland, and produced by consultancy firm Biggar Economics, suggest the work carried out could be worth £58.1 million per year, compared with an estimated value to the economy of £48.8 prior to the 2008 closure. Visitor figures are expected to rise by over 20%; use of function facilities are predicted to increase, alongside other increases in local hospitality-sector spending.

Proudly commenting on the Scottish Government’s involvement Fiona Hyslop, Cabinet Secretary for Culture and External Affairs, described the reopening as, “one of the nation’s cultural highlights of 2011” and says the rejuvenated museum is, “[a] must-see attraction for local and international visitors alike“. Continuing to extol the museum’s virtues, Hyslop states that it “promotes the best of Scotland and our contributions to the world.“

So-far, the work carried out is estimated to have increased the public space within the museum complex by 50%. Street-level storage rooms, never before seen by the public, have been transformed into new exhibit space, and pavement-level access to the buildings provided which include a new set of visitor facilities. Architectural firm Gareth Hoskins have retained the original Grand Gallery – now the first floor of the museum – described as a “birdcage” structure and originally inspired by The Crystal Palace built in Hyde Park, London for the 1851 Great Exhibition.

The centrepiece in the Grand Gallery is the “Window on the World” exhibit, which stands around 20 metres tall and is currently one of the largest installations in any UK museum. This showcases numerous items from the museum’s collections, rising through four storeys in the centre of the museum. Alexander Hayward, the museums Keeper of Science and Technology, challenged attending journalists to imagine installing “teapots at thirty feet”.

The redeveloped museum includes the opening of sixteen brand new galleries. Housed within, are over 8,000 objects, only 20% of which have been previously seen.

The Window on the World rises through the four floors of the museum and contains over 800 objects. This includes a gyrocopter from the 1930s, the world’s largest scrimshaw – made from the jaws of a sperm whale which the University of Edinburgh requested for their collection, a number of Buddha figures, spearheads, antique tools, an old gramophone and record, a selection of old local signage, and a girder from the doomed Tay Bridge.

The arrangement of galleries around the Grand Gallery’s “birdcage” structure is organised into themes across multiple floors. The World Cultures Galleries allow visitors to explore the culture of the entire planet; Living Lands explains the ways in which our natural environment influences the way we live our lives, and the beliefs that grow out of the places we live – from the Arctic cold of North America to Australia’s deserts.

The adjacent Patterns of Life gallery shows objects ranging from the everyday, to the unusual from all over the world. The functions different objects serve at different periods in peoples’ lives are explored, and complement the contents of the Living Lands gallery.

Performance & Lives houses musical instruments from around the world, alongside masks and costumes; both rooted in long-established traditions and rituals, this displayed alongside contemporary items showing the interpretation of tradition by contemporary artists and instrument-creators.

The museum proudly bills the Facing the Sea gallery as the only one in the UK which is specifically based on the cultures of the South Pacific. It explores the rich diversity of the communities in the region, how the sea shapes the islanders’ lives – describing how their lives are shaped as much by the sea as the land.

Both the Facing the Sea and Performance & Lives galleries are on the second floor, next to the new exhibition shop and foyer which leads to one of the new exhibition galleries, expected to house the visiting Amazing Mummies exhibit in February, coming from Leiden in the Netherlands.

The Inspired by Nature, Artistic Legacies, and Traditions in Sculpture galleries take up most of the east side of the upper floor of the museum. The latter of these shows the sculptors from diverse cultures have, through history, explored the possibilities in expressing oneself using metal, wood, or stone. The Inspired by Nature gallery shows how many artists, including contemporary ones, draw their influence from the world around us – often commenting on our own human impact on that natural world.

Contrastingly, the Artistic Legacies gallery compares more traditional art and the work of modern artists. The displayed exhibits attempt to show how people, in creating specific art objects, attempt to illustrate the human spirit, the cultures they are familiar with, and the imaginative input of the objects’ creators.

The easternmost side of the museum, adjacent to Edinburgh University’s Old College, will bring back memories for many regular visitors to the museum; but, with an extensive array of new items. The museum’s dedicated taxidermy staff have produced a wide variety of fresh examples from the natural world.

At ground level, the Animal World and Wildlife Panorama’s most imposing exhibit is probably the lifesize reproduction of a Tyrannosaurus Rex skeleton. This rubs shoulders with other examples from around the world, including one of a pair of elephants. The on-display elephant could not be removed whilst renovation work was underway, and lurked in a corner of the gallery as work went on around it.

Above, in the Animal Senses gallery, are examples of how we experience the world through our senses, and contrasting examples of wildly differing senses, or extremes of such, present in the natural world. This gallery also has giant screens, suspended in the free space, which show footage ranging from the most tranquil and peaceful life in the sea to the tooth-and-claw bloody savagery of nature.

The Survival gallery gives visitors a look into the ever-ongoing nature of evolution; the causes of some species dying out while others thrive, and the ability of any species to adapt as a method of avoiding extinction.

Earth in Space puts our place in the universe in perspective. Housing Europe’s oldest surviving Astrolabe, dating from the eleventh century, this gallery gives an opportunity to see the technology invented to allow us to look into the big questions about what lies beyond Earth, and probe the origins of the universe and life.

In contrast, the Restless Earth gallery shows examples of the rocks and minerals formed through geological processes here on earth. The continual processes of the planet are explored alongside their impact on human life. An impressive collection of geological specimens are complemented with educational multimedia presentations.

Beyond working on new galleries, and the main redevelopment, the transformation team have revamped galleries that will be familiar to regular past visitors to the museum.

Formerly known as the Ivy Wu Gallery of East Asian Art, the Looking East gallery showcases National Museums Scotland’s extensive collection of Korean, Chinese, and Japanese material. The gallery’s creation was originally sponsored by Sir Gordon Wu, and named after his wife Ivy. It contains items from the last dynasty, the Manchu, and examples of traditional ceramic work. Japan is represented through artefacts from ordinary people’s lives, expositions on the role of the Samurai, and early trade with the West. Korean objects also show the country’s ceramic work, clothing, and traditional accessories used, and worn, by the indigenous people.

The Ancient Egypt gallery has always been a favourite of visitors to the museum. A great many of the exhibits in this space were returned to Scotland from late 19th century excavations; and, are arranged to take visitors through the rituals, and objects associated with, life, death, and the afterlife, as viewed from an Egyptian perspective.

The Art and Industry and European Styles galleries, respectively, show how designs are arrived at and turned into manufactured objects, and the evolution of European style – financed and sponsored by a wide range of artists and patrons. A large number of the objects on display, often purchased or commissioned, by Scots, are now on display for the first time ever.

Shaping our World encourages visitors to take a fresh look at technological objects developed over the last 200 years, many of which are so integrated into our lives that they are taken for granted. Radio, transportation, and modern medicines are covered, with a retrospective on the people who developed many of the items we rely on daily.

What was known as the Museum of Scotland, a modern addition to the classical Victorian-era museum, is now known as the Scottish Galleries following the renovation of the main building.

This dedicated newer wing to the now-integrated National Museum of Scotland covers the history of Scotland from a time before there were people living in the country. The geological timescale is covered in the Beginnings gallery, showing continents arranging themselves into what people today see as familiar outlines on modern-day maps.

Just next door, the history of the earliest occupants of Scotland are on display; hunters and gatherers from around 4,000 B.C give way to farmers in the Early People exhibits.

The Kingdom of the Scots follows Scotland becoming a recognisable nation, and a kingdom ruled over by the Stewart dynasty. Moving closer to modern-times, the Scotland Transformed gallery looks at the country’s history post-union in 1707.

Industry and Empire showcases Scotland’s significant place in the world as a source of heavy engineering work in the form of rail engineering and shipbuilding – key components in the building of the British Empire. Naturally, whisky was another globally-recognised export introduced to the world during empire-building.

Lastly, Scotland: A Changing Nation collects less-tangible items, including personal accounts, from the country’s journey through the 20th century; the social history of Scots, and progress towards being a multicultural nation, is explored through heavy use of multimedia exhibits.

Wednesday, September 1, 2010

On Monday, Australian telecommunications company Telstra has introduced dual carrier HSPA+ standard for broadband Internet business customers in the Next G network. This is the first time this technology is being introduced on national scale. The bandwidths the users can deploy increased into two to three times, with Telstra becoming the world’s fastest national mobile broadband service. The switch started with enabling the service for premium users. After some feedback, Telstra may expand the plan.

The higher speeds for wireless are intended to simplify and ease multitasking of users.

John Paitaridis, Telstra’s executive director, network products and services in Enterprise & Government, said “One of the reasons we decided to launch first to Enterprise And Government and Business customers is that clients are saying that their ability to access applications quicker makes a difference to their business and when they start to equate time savings and doing calculations around productivity it does become a return on investment.”

Telstra Business Group Managing Director Deena Shiff also stated that the efforts aren’t as sudden as it might seem, having feedback of many users as the base.

Australians are telling us they can’t afford to be tied to the desk all day and these new speeds mean they can now access mobile broadband at speeds typically reserved for the office. We have been deploying the high-speed capability in the network since December 2009 and now, with the launch of the new Ultimate USB Modem, these new speeds are available to customers across all capital city CBDs and associated airports, selected metropolitan areas and in more than 100 regional locations. These high-speed zones cover approximately 50 per cent of the Australian population and match the areas of highest customer demand and will make the frustration of waiting around for files to download a thing of the past. In other metropolitan and regional areas, the Telstra Ultimate USB Modem offers typical download speeds ranging from 550kbps up to 8Mbps… Our customers have told us that they want higher speed mobile broadband so they can work more flexibly outside of the office and we are delighted to be the first in the world to offer these new blistering speeds on a national network. The new Telstra Ultimate USB Modem provides customers with the speeds needed to handle large files, multi-task and update cloud-hosted applications effortlessly on the go when they are in a coverage area.

Previous modems were able to reach peak speed 21Mbps, with real life speeds ranging from 0.5Mbps to 8 Mbps. The theoretically expected maximum of the new technology is 42Mbps with user speeds varying between 1.1 and 20 Mbps. The new speed is twice as fast. This is caused by that the dual-carrier “Evolved High-Speed Packet Access” technology allows networks to send and receive wireless data using two channels simultaneously. This technology can be deployed on Next G networks. Telstra switched to them in February, thus making the switch to HSPA possible now.

Telstra delayed the implementation of the new technology until elections end. This decision was intended to avoid wrong interpretation of them by Coalition. Coalition’s claims include that wireless networks can be an alternative to the Labor party “fibre-to-the-home” proposal to introduce more expensive wired Internet. The announcement of the new technology, initially planned on August 25, was delayed, with Telstra spokesman Craig Middleton explaining, “We just didn’t want to feel like we were influencing the [telecommunications] debate.”

The political parties have different plans on development and funds on the Internet. The Labor party aims to spend AUD 43 billion to bring 1 Gbps wired Internet nationwide, and the Coalition plans to spend AUD 6 billion to introduce a variety of improvements including upgrade of existing copper Internet as well as expansion of wireless Internet to support 12Mbps. Opposition leader Tony Abbott has said in the past that Australians shouldn’t assume wireless technologies won’t ever be comparable to fixed-line technology. Telstra’s upgrade shows that wireless broadband is reaching the 100 Mbps minimum speeds promised by Labor’s national broadband network.

Telstra has only 2000 devices which support the new technology. This is why the opportunity to try it out is being given only to the Business plan customers, and they receive it for the same price as they were paying for the previous NextG plan. Since October 5, the device will be available for sale, with the Business customers able to buy it with 75% discount and a prepaid data allowance. The upgrade is expected to cover roughly 50% of the population. This is happening at the same time as one of Telstra’s competitors Vodafone is doubling data download quotas on mobile cap plans.

As some testing showed, real life download speeds reached only about the half of the maximum. Telstra executive director of wireless Mike Wright explained that the predicted figures were the estimates, with real life speeds lower due to interfering environmental conditions: “It’s possible to achieve better than the typical user speed claims, but those claims occur in the ideal network environment with good signal quality. When you’re out on the streets you get a lot of variation where the network is subject to signal quality, your location and the network load.”

Wednesday, February 13, 2008

Ren and Stimpy. Bugs Bunny. Philip J. Fry and Professor Hubert Farnsworth on Futurama. Sparx. Bi-Polar Bear. Popeye the Sailor Man. Woody Woodpecker. You may not think you have ever heard Billy West, but chances are on a television program, a movie, a commercial, or as Howard Stern’s voice guru in the 1990’s, you have heard him. West’s talent for creating personalities by twisting his voice has made him one of a handful of voice actors—Hank Azaria and the late Mel Blanc come to mind—who have achieved celebrity for their talent. Indeed, West is one of the few voice actors who can impersonate Blanc in his prime, including characterizations of Bugs Bunny, Daffy Duck, Elmer Fudd and other characters from Warner Bros. cartoons.

What is the fulcrum in Mr. West’s life that led him to realize a talent to shape personalities with his voice, and how did the discovery of that gift shape him? Wikinews reporter David Shankbone found that like many great comedians, West faced more sour early in life than he did sweet. The sour came from a physically and emotionally abusive alcoholic father (“I could tell you the kind of night I was going to have from the sound of the key in the door or the way the car pulled up.”), to his own problems with drug and alcohol use (“There is a point that you can reach in your life where you don’t want to live, but you haven’t made the decision to die.”).

If sin, suffering and redemption feel like the stages of an endless cycle of American existence, West’s own redemption from his brutalized childhood is what helped shape his gift. He performed little bits to cheer up his cowed mother, ravaged by the fact she could not stop her husband’s abuse of young West. “I was the whipping boy and she would just be reduced to tears a lot of times, and I would come in and say stuff, and I would put out little bits just to pull her out of it.”

But West has also enjoyed the sweet. His career blossomed as his talent for creating entire histories behind fictional characters and creatures simply by exploring nuance in his voice landed him at the top of his craft. You may never again be able to forget that behind the voice of your favorite character, there is often an extraordinary life.

Below is David Shankbone’s interview with renowned voice actor Billy West, who for the first time publicly talks about the horrors he faced in his childhood; his misguided search for answers in anger, drugs and alcohol; and the peace he has achieved as one of America’s most recognizable voice actors.

Friday, December 4, 2009

A classified European Union report for 2009 says Israel is actively pursuing the annexation of east Jerusalem. The report accuses Israel of implementing an intricate policy including expanding Jewish settlements and demolishing Palestinian homes. It says policies “are undermining prospects for a Palestinian capital in east Jerusalem and incrementally render a sustainable two-state solution unfeasible”; this is described as, “an integral part of a broader Israeli strategy.”

Israeli Foreign ministry spokesperson, Yigal Palmor, told AFP that the report was “dishonest”, “reflects the Palestinian propaganda” and “is based exclusively on Palestinian versions and figures.” This comes as EU foreign ministers prepare a statement on the Middle East. To allow for US initiatives, EU foreign ministers have not commented on the stalemate between Israel and the Palestinians over past months; but, diplomatic sources say there are “sensitivities” over a Swedish proposal to divide Jerusalem in any peace deal.

Citing official Israeli statistics from the Ministry of Interior executive director of Israel’s HaMoked (Center for the Defence of the Individual) said Wednesday that, “Israel has stripped Palestinians of Jerusalem residency status last year at a faster rate than at any time in the history of the state”. 4,577 residents of East Jerusalem have had their residence revoked in 2008, this is more than half the total revoked in the past 40 years. The Jerusalem municipality places severe restrictions on issuing building permits for Palestinian houses in east Jerusalem, since 2000 over 600 Palestinian-owned structures have been demolished and Palestinians receive fewer than 200 of the 1,500 building permits needed per year.

The 14-page annual report dated November 23 was drafted by European envoys and consuls in Jerusalem and Ramallah and presented to Brussels EU institutions a few days ago. This is the first time the annual report has been made public. Haaretz says, in the past, Israel has pressed the EU not to publish fearing it would undermine the European public’s view of Israel. The report was leaked to Israel’s Haaretz daily newspaper and obtained by AFP yesterday.

The EU report claims the Israeli government and Jerusalem municipality discriminate against Arab residents with regard to building permits, health services, education, sanitation and more. Allegations of assisting private right-wing Jewish organisations, such as Ateret Cohanim and Elad, to alter the city’s demographics are included.The report advises sanctions against people and groups involved in “settlement activity”, and taking other measures to protest Israeli policy and to stop the harming of the Arab population, including an “EU presence at Israeli court cases on house demolitions or evictions of Palestinian families when there is a risk of demolition or eviction of Palestinian families”, and “information sharing on violent settlers in East Jerusalem to assess whether to grant entry to the EU.” The report also recommends implementing measures to strengthen the Palestinian National Authority‘s presence in the city.

Archaeological excavations in Jerusalem near the Temple Mount are mentioned, suggesting “archaeology in this case has become an ideologically motivated tool of national and religious struggle carried out in a manner that modifies the identity and character of the city and threatens to undermine its stability.”

Sunday, July 10, 2011

British-based utility company Centrica, which holds ownership of British Gas, has announced its intentions to increase the prices of domestic electricity and gas later this year. On August 18, 2011, the company plans to raise the costs of gas and electrical supplies by eighteen and sixteen per cent, respectively. According to The Guardian, nine million customers will be affected by these changes.

British price comparison website uSwitch has reported that the “[a]verage household bill for a dual fuel British Gas customer will now go up from £1,096 to £1,288”. Mike O’Connor, the chief executive officer of consumer organisation Consumer Focus, has claimed that the announcement “will send a shock wave across the country” and will place an increasing amount of difficulties “on stretched household budgets. Consumers […] rightly question whether prices are fair.”

Phil Bentley, a managing director for British Gas, has claimed that value increases like this are “an issue facing all energy suppliers”. A director for British Gas, named Ian Peters, has claimed that “a fair return” will be made after the changes occur.

In 2010, British Gas experienced its largest ever profit, making £742 million (US$1,192 million, €835 million). Meanwhile, Centrica achieved £2.4 billion (US$3.8 billion, €2.7 billion) in profits. Richard Lloyd from product sampling charity Which? criticised the decision to raise prices, calling the declaration “unwelcome but unsurprising” for British Gas consumers.

Previously in December 2010, British Gas increased the price of its gas by 6.9%, which equates to £43 (US$69, €48). At the same time, the company’s electricity prices were raised by 6.7%, or £28 (US$45, €32). On Friday, Chris Huhne, the secretary of the Energy and Climate Change Select Committee, said that British electricity businesses must modify themselves so as to avoid “the cycle of fossil fuel addiction. Alternatives like renewables and nuclear power must be allowed to become the dominant component of our energy mix,” said Huhne.

This news comes to light as Scottish Power, a rival energy company to British Gas, announced last month their intentions to up the prices of their electricity and gas supplies by ten and nineteen per cent respectively.

Thursday, June 20, 2019

U.S. heiress Gloria Vanderbilt died on Monday at the age of 95, her son Anderson Cooper announced. She had advanced stomach cancer. Scion of the wealthy Vanderbilt family and the subject of a heavily publicized custody battle early in life, she later also became a performer, artist, and designer of porcelain, linens, and a well-known line of designer jeans.

Anderson Cooper, of CNN, one of Vanderbilt’s four sons, stated, “Gloria Vanderbilt was an extraordinary woman, who loved life, and lived it on her own terms […] She was a painter, a writer, and designer but also a remarkable mother, wife, and friend. She was 95 years old, but ask anyone close to her, and they’d tell you, she was the youngest person they knew, the coolest, and most modern.”

Vanderbilt was born in 1924 into the wealthy Vanderbilt family, great-great granddaughter of the railroad and shipping tycoon Cornelius Vanderbilt. Her father, Reginald Claypoole Vanderbilt, died with liver disease when she was one. At the age of ten, Vanderbilt was the subject of a heavily publicized custody battle between her widowed mother, Gloria Morgan Vanderbilt, and her aunt, Gertrude Vanderbilt Whitney, who controlled a large piece of the Vanderbilt fortune. Her aunt won.

Although she had a trust fund worth US$5 million that she shared with one half-sister, over the course of her life, Vanderbilt also earned income herself through various pursuits. Encouraged to explore creative outlets by a psychotherapist, Vanderbilt took acting lessons and eventually performed on stage in The Time of Your Life in 1955 and appeared on television programs. She also focused on art and design, creating paintings, collages, linens, and a brand of designer jeans that would generate millions in sales. In 1990, the Smithsonian museum featured her jeans alongside the works of designers including Coco Chanel in an exhibit on gender and style.

Syracuse University pop culture professor Robert Thompson remarked, “The thing that really made Gloria Vanderbilt penetrate the American consciousness was the blue jeans war of the late ’70s and early 1980s […] The jeans moved from being functional clothes to designer jeans […] it was her attempt to take something that was so unglamorous and invest it in high fashion style.”

Vanderbilt was married to talent agent Pasquale “Pat” Di Cicco; conductor Leopold Stokowski, who fathered two of her sons; director Sidney Lumet; and author Wyatt Cooper; but, according to her memoirs, also had some degree of romantic involvement with, amongst others, Errol Flynn, Frank Sinatra, and Marlon Brando. She would later say her union with Cooper was her only happy marriage.

Vanderbilt also authored several books, including the memoirs Once Upon a Time and Black Knight, White Knight and the 2009 novel Obsession, which the New York Times called “the steamiest book ever written by an octogenarian.”

Vanderbilt is survived by two sons with Stokowski, Stanislaus and Christopher, and by her son Anderson Cooper. Another son, Carter Cooper, predeceased her.

Monday, August 31, 2009

A study performed at Edinburgh University, Scotland has shown that aspirin may do more harm to your health than good.

The research at the university in Scotland was to assess the effects of taking aspirin on a daily basis where no prior or existing medical conditions would merit its prescription. The researchers monitored 3,350 patients aged between 50–75, who were thought to be at risk of heart disease, but did not show any significant symptoms at the start of the study. Over an eight-year time period, 181 of those people taking aspirin had heart attacks or strokes.

More than 3,000 men aged 50–75 were randomly assigned to receive a daily dose of aspirin or a placebo pill and were watched over the eight year time period. There were 34 major bleeds in people taking aspirin, or 2%, in comparison to 1.2% of those who took the placebo. The Aspirin for Asymptomatic Atherosclerosis (AAA) have found that the routine use of aspirin does not prevent vascular disease or conditions and the use of it “could not be supported.”

Peter Weissberg, a professor at the British Heart Foundation, the company which was partly responsible in funding for the trials said, “we know that patients with symptoms of artery disease, such as angina, heart attack or stroke, can reduce their risk of further problems by taking a small dose of aspirin each day. The findings of this study agree with our current advice that people who do not have symptomatic or diagnosed artery or heart disease should not take aspirin, because the risks of bleeding may outweigh the benefits. Because it’s been around for a long time, people think, ‘It must be safe and it can’t do any harm’. They are taking it ‘just in case’ but it’s much more dangerous than some other drugs that people get concerned about, like statins.”

Professor Gerry Fowkes presented the research from the University of Edinburgh at the European Society of Cardiology congress in Barcelona, Spain, which was attended by more than 30,000 heart specialists.

“Our research suggests that aspirin should not be prescribed to the general population, although it does have benefits for people with established heart disease or other conditions,” stated Fowkes.

Thursday, October 22, 2020

2020 Melbourne Lord Mayor candidate Wayne Tseng answered some questions about his campaign for the upcoming election from Wikinews. The Lord Mayor election in the Australian city is scheduled to take place this week.

Tseng runs a firm called eTranslate, which helps software developers to make the software available to the users. In the candidate’s questionnaire, Tseng said eTranslate had led to him working with all three tiers of the government. He previously belonged to the Australian Liberal Party, but has left since then, to run for mayorship as an independent candidate.

Tseng is of Chinese descent, having moved to Australia with his parents from Vietnam. Graduated in Brisbane, Tseng received his PhD in Melbourne and has been living in the city, he told Wikinews. Tseng also formed Chinese Precinct Chamber of Commerce, an organisation responsible for many “community bond building initiatives”, the Lord Mayor candidate told Wikinews.

Tseng discussed his plans for leading Melbourne, recovering from COVID-19, and “Democracy 2.0” to ensure concerns of minorities in the city were also heard. Tseng also focused on the importance of the multi-culture aspect and talked about making Melbourne the capital of the aboriginals. Tseng also explained why he thinks Melbourne is poised to be a world city by 2030.

Tseng’s deputy Lord Mayor candidate Gricol Yang is a Commercial Banker and works for ANZ Banking Group.

Currently, Sally Capp is the Lord Mayor of Melbourne, the Victorian capital. Capp was elected as an interim Lord Mayor in mid-2018 after the former Lord Mayor Robert Doyle resigned from his position after sexual assault allegations. Doyle served as the Lord Mayor of Melbourne for almost a decade since 2008.