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Explosion in Tel Aviv injures at least 40, kills at least 8

Monday, April 17, 2006

Tel Aviv police report that a Palestinian suicide bomber has caused an explosion at a restaurant in central Tel Aviv. Eight people are reported dead and at least 40 injured in the blast.

Two of the victims died after they had arrived at Ichilov Hospital in Tel Aviv. Of the wounded, six were seriously hurt, 12 sustained moderate wounds, while the rest were lightly injured.

A suicide bomber targeted the same restaurant, “The Mayor’s Felafel,” on January 19. At least 20 were wounded in that attack. The restaurant was reportedly full of holiday travellers.

Palestinian group Islamic Jihad has claimed responsibility for the attack, as it has for six suicide bombings carried out since a cease-fire was declared in February 2005. Palestinian sources identified the bomber as Sami Salim Hamad, an Islamic Jihad activist from the village of Qabatiyah, on outskirts of the West Bank city of Jenin, where the Battle of Jenin occurred in 2002.

The suicide bombing was the first since Hamas took over the government of the Palestinian Authority less than three weeks ago. On Sunday, Islamic Jihad pledged to carry out more attacks.

The Bush administration has strongly criticized the attacks, calling it “a despicable act of terror for which there is no excuse or justification.” Khaled Abu Helal, spokesman for the Hamas-led Interior Ministry, called the attack “a direct result of the policy of the occupation and the brutal aggression and siege committed against our people.”

Israeli Foreign Ministry spokesman Gideon Meir said Israel held Hamas responsible for the attacks, accusing it of “giving support to all the other terrorist organizations.”

The known deceased:Piroska Boda (50): citizenship: Romanian, nationality: Hungarian, foreign worker in Natanja, spending Easter holidays in Tel AvivRozália Besenyei (48): citizenship: Romanian, nationality: Hungarian7 others are known to be of Israeli citizenship

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Bat for Lashes plays the Bowery Ballroom: an Interview with Natasha Khan

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.

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Kennedy Center names 2007 honors recipients

Friday, September 14, 2007

The Kennedy Center announced that its 30th presentation of the Kennedy Center Honors would go to pianist Leon Fleisher, comedian Steve Martin, singer Diana Ross, director Martin Scorsese and musician Brian Wilson. The Center was opened to the public in 1971 and was envisioned as part of the National Cultural Center Act, which mandated that the independent, privately-funded institution would present a wide variety of both classical and contemporary performances, commission the creation of new artistic works, and undertake a variety of educational missions to increase awareness of the arts.

In a statement, Kennedy Center Chairman Stephen A. Schwarzman said that “with their extraordinary talent, creativity and perseverance, the five 2007 honorees have transformed the way we, as Americans, see, hear and feel the performing arts.”

Fleisher, 79, a member of the Peabody Institute‘s music faculty, is a pianist who lost use of his right hand in 1965 due to a neurological condition. He became an accomplished musician and conductor through the use of his left hand. At 67, he regained the use of his right hand. With the advent of Botox therapy, he was once more able to undertake two-hand performances in 2004, his first in four decades. “I’m very gratified by the fact that it’s an apolitical honor,” Fleisher said. “It is given by colleagues and professional people who are aware of what [an artist] has done, so it really is apolitical — and that much more of an honor.”

Martin, 62, a comedian who has written books and essays in addition to his acting and stand-up comedy career, rose to fame during his work on the American television program Saturday Night Live in the 1970’s. Schwarzman praised his work as that of a “renaissance comic whose talents wipe out the boundaries between artistic disciplines.” Martin responded to the honor saying, “I am grateful to the Kennedy Center for finally alleviating in me years of covetousness and trophy envy.”

Ross, 63, was a product of Detroit‘s Brewster-Douglass Projects when as a teeager she and friends Mary Wilson and Florence Ballardis formed The Supremes, a ground-breaking Motown act. She portrayed singer Billie Holiday in the 1972 film Lady Sings the Blues, which earned her an Oscar nomination and a Golden Globe award. “Diana Ross’ singular, instantly recognizable voice has spread romance and joy throughout the world,” said Schwarzman. Ross said she was “taken aback. It is a huge, huge honor and I am excited to be in this class of people.”

Scorsese, 64, is one of the most accomplished directors the United States ever produced, whose work includes Mean Streets, Taxi Driver, GoodFellas, Cape Fear, The Last Temptation of Christ and The Departed, for which he won a 2006 Academy Award for Best Director after being nominated eight times. Scorsese said, “I’m very honored to be receiving this recognition from the Kennedy Center and proud to be joining the company of the very distinguished individuals who have received this honor in years past.”

Wilson, 65, along with his brothers Dennis and Carl, formed the Beach Boys in 1961. They had a series of hits that included “Surfin’ U.S.A.” and “Wouldn’t It Be Nice.” Their 1966 album Pet Sounds is considered one of the most influential recordings in American music. “This is something so unexpected and I feel extremely fortunate to be in the company of such great artists,” said Wilson, who is currently on tour.

The Kennedy Center’s board of trustees is responsible for selecting honorees for “lifetime contributions to American culture through the performing arts.” Previous honorees, including Elton John and Steven Spielberg, also submitted recommendations. A wide variety of people were under consideration, including Emanuel Ax, Evgeny Kissin, Renee Fleming, Laurence Fishburne, Francis Ford Coppola, Melissa Etheridge and Kenny Chesney.

President Bush and first lady Laura Bush will attend the center’s presentation at its opera house on December 2, 2007, which will broadcast on December 26 on CBS.

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Stanford physicists print smallest-ever letters ‘SU’ at subatomic level of 1.5 nanometres tall

Wednesday, February 4, 2009

A new historic physics record has been set by scientists for exceedingly small writing, opening a new door to computing‘s future. Stanford University physicists have claimed to have written the letters “SU” at sub-atomic size.

Graduate students Christopher Moon, Laila Mattos, Brian Foster and Gabriel Zeltzer, under the direction of assistant professor of physics Hari Manoharan, have produced the world’s smallest lettering, which is approximately 1.5 nanometres tall, using a molecular projector, called Scanning Tunneling Microscope (STM) to push individual carbon monoxide molecules on a copper or silver sheet surface, based on interference of electron energy states.

A nanometre (Greek: ?????, nanos, dwarf; ?????, metr?, count) is a unit of length in the metric system, equal to one billionth of a metre (i.e., 10-9 m or one millionth of a millimetre), and also equals ten Ångström, an internationally recognized non-SI unit of length. It is often associated with the field of nanotechnology.

“We miniaturised their size so drastically that we ended up with the smallest writing in history,” said Manoharan. “S” and “U,” the two letters in honor of their employer have been reduced so tiny in nanoimprint that if used to print out 32 volumes of an Encyclopedia, 2,000 times, the contents would easily fit on a pinhead.

In the world of downsizing, nanoscribes Manoharan and Moon have proven that information, if reduced in size smaller than an atom, can be stored in more compact form than previously thought. In computing jargon, small sizing results to greater speed and better computer data storage.

“Writing really small has a long history. We wondered: What are the limits? How far can you go? Because materials are made of atoms, it was always believed that if you continue scaling down, you’d end up at that fundamental limit. You’d hit a wall,” said Manoharan.

In writing the letters, the Stanford team utilized an electron‘s unique feature of “pinball table for electrons” — its ability to bounce between different quantum states. In the vibration-proof basement lab of Stanford’s Varian Physics Building, the physicists used a Scanning tunneling microscope in encoding the “S” and “U” within the patterns formed by the electron’s activity, called wave function, arranging carbon monoxide molecules in a very specific pattern on a copper or silver sheet surface.

“Imagine [the copper as] a very shallow pool of water into which we put some rocks [the carbon monoxide molecules]. The water waves scatter and interfere off the rocks, making well defined standing wave patterns,” Manoharan noted. If the “rocks” are placed just right, then the shapes of the waves will form any letters in the alphabet, the researchers said. They used the quantum properties of electrons, rather than photons, as their source of illumination.

According to the study, the atoms were ordered in a circular fashion, with a hole in the middle. A flow of electrons was thereafter fired at the copper support, which resulted into a ripple effect in between the existing atoms. These were pushed aside, and a holographic projection of the letters “SU” became visible in the space between them. “What we did is show that the atom is not the limit — that you can go below that,” Manoharan said.

“It’s difficult to properly express the size of their stacked S and U, but the equivalent would be 0.3 nanometres. This is sufficiently small that you could copy out the Encyclopaedia Britannica on the head of a pin not just once, but thousands of times over,” Manoharan and his nanohologram collaborator Christopher Moon explained.

The team has also shown the salient features of the holographic principle, a property of quantum gravity theories which resolves the black hole information paradox within string theory. They stacked “S” and the “U” – two layers, or pages, of information — within the hologram.

The team stressed their discovery was concentrating electrons in space, in essence, a wire, hoping such a structure could be used to wire together a super-fast quantum computer in the future. In essence, “these electron patterns can act as holograms, that pack information into subatomic spaces, which could one day lead to unlimited information storage,” the study states.

The “Conclusion” of the Stanford article goes as follows:

According to theory, a quantum state can encode any amount of information (at zero temperature), requiring only sufficiently high bandwidth and time in which to read it out. In practice, only recently has progress been made towards encoding several bits into the shapes of bosonic single-photon wave functions, which has applications in quantum key distribution. We have experimentally demonstrated that 35 bits can be permanently encoded into a time-independent fermionic state, and that two such states can be simultaneously prepared in the same area of space. We have simulated hundreds of stacked pairs of random 7 times 5-pixel arrays as well as various ideas for pathological bit patterns, and in every case the information was theoretically encodable. In all experimental attempts, extending down to the subatomic regime, the encoding was successful and the data were retrieved at 100% fidelity. We believe the limitations on bit size are approxlambda/4, but surprisingly the information density can be significantly boosted by using higher-energy electrons and stacking multiple pages holographically. Determining the full theoretical and practical limits of this technique—the trade-offs between information content (the number of pages and bits per page), contrast (the number of measurements required per bit to overcome noise), and the number of atoms in the hologram—will involve further work.Quantum holographic encoding in a two-dimensional electron gas, Christopher R. Moon, Laila S. Mattos, Brian K. Foster, Gabriel Zeltzer & Hari C. Manoharan

The team is not the first to design or print small letters, as attempts have been made since as early as 1960. In December 1959, Nobel Prize-winning physicist Richard Feynman, who delivered his now-legendary lecture entitled “There’s Plenty of Room at the Bottom,” promised new opportunities for those who “thought small.”

Feynman was an American physicist known for the path integral formulation of quantum mechanics, the theory of quantum electrodynamics and the physics of the superfluidity of supercooled liquid helium, as well as work in particle physics (he proposed the parton model).

Feynman offered two challenges at the annual meeting of the American Physical Society, held that year in Caltech, offering a $1000 prize to the first person to solve each of them. Both challenges involved nanotechnology, and the first prize was won by William McLellan, who solved the first. The first problem required someone to build a working electric motor that would fit inside a cube 1/64 inches on each side. McLellan achieved this feat by November 1960 with his 250-microgram 2000-rpm motor consisting of 13 separate parts.

In 1985, the prize for the second challenge was claimed by Stanford Tom Newman, who, working with electrical engineering professor Fabian Pease, used electron lithography. He wrote or engraved the first page of Charles Dickens’ A Tale of Two Cities, at the required scale, on the head of a pin, with a beam of electrons. The main problem he had before he could claim the prize was finding the text after he had written it; the head of the pin was a huge empty space compared with the text inscribed on it. Such small print could only be read with an electron microscope.

In 1989, however, Stanford lost its record, when Donald Eigler and Erhard Schweizer, scientists at IBM’s Almaden Research Center in San Jose were the first to position or manipulate 35 individual atoms of xenon one at a time to form the letters I, B and M using a STM. The atoms were pushed on the surface of the nickel to create letters 5nm tall.

In 1991, Japanese researchers managed to chisel 1.5 nm-tall characters onto a molybdenum disulphide crystal, using the same STM method. Hitachi, at that time, set the record for the smallest microscopic calligraphy ever designed. The Stanford effort failed to surpass the feat, but it, however, introduced a novel technique. Having equaled Hitachi’s record, the Stanford team went a step further. They used a holographic variation on the IBM technique, for instead of fixing the letters onto a support, the new method created them holographically.

In the scientific breakthrough, the Stanford team has now claimed they have written the smallest letters ever – assembled from subatomic-sized bits as small as 0.3 nanometers, or roughly one third of a billionth of a meter. The new super-mini letters created are 40 times smaller than the original effort and more than four times smaller than the IBM initials, states the paper Quantum holographic encoding in a two-dimensional electron gas, published online in the journal Nature Nanotechnology. The new sub-atomic size letters are around a third of the size of the atomic ones created by Eigler and Schweizer at IBM.

A subatomic particle is an elementary or composite particle smaller than an atom. Particle physics and nuclear physics are concerned with the study of these particles, their interactions, and non-atomic matter. Subatomic particles include the atomic constituents electrons, protons, and neutrons. Protons and neutrons are composite particles, consisting of quarks.

“Everyone can look around and see the growing amount of information we deal with on a daily basis. All that knowledge is out there. For society to move forward, we need a better way to process it, and store it more densely,” Manoharan said. “Although these projections are stable — they’ll last as long as none of the carbon dioxide molecules move — this technique is unlikely to revolutionize storage, as it’s currently a bit too challenging to determine and create the appropriate pattern of molecules to create a desired hologram,” the authors cautioned. Nevertheless, they suggest that “the practical limits of both the technique and the data density it enables merit further research.”

In 2000, it was Hari Manoharan, Christopher Lutz and Donald Eigler who first experimentally observed quantum mirage at the IBM Almaden Research Center in San Jose, California. In physics, a quantum mirage is a peculiar result in quantum chaos. Their study in a paper published in Nature, states they demonstrated that the Kondo resonance signature of a magnetic adatom located at one focus of an elliptically shaped quantum corral could be projected to, and made large at the other focus of the corral.

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Spelbound declared winner of Britain’s Got Talent 2010

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.”

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American Samoa received eight minutes warning before 2009 tsunami

Friday, September 24, 2010

People in American Samoa were given only eight minutes warning that a tsunami, which killed 32 people in the unincorporated territory, resulting from the 2009 Samoa earthquake, was approaching. A report published by the United States Congress admits that the warning was issued sixteen minutes after the 8.0 magnitude earthquake struck Samoa. The tsunami killed nearly 200 people in American Samoa, Samoa and Tonga.

The report, written by the National Research Council, describes the length of time between the earthquake and the initial tsunami warning being issued as “relatively long”, and states that the standard time for such a warning to be issued to be around two minutes. The study also revealed that one third of tsunami sensors are not working at any given time.

John Orcutt, a [seismologist and head of the committee that wrote the report, described the delay as a “major concern”, but he also said that “a large number of people” in American Samoa “didn’t understand and there were lives that were lost because people simply didn’t take the action to get away from the shore when they felt this huge earthquake. People have to understand the signs of a tsunami and head to higher ground.”

The Federal Emergency Management Agency, whose purpose is to coordinate the response to a disaster that has occurred in the United States and that overwhelms the resources of local and state authorities, and the Government of American Samoa did not respond to e-mails regarding the news.

The study also notes that people living in other coastal cities around the world are at risk of being unprepared for tsunamis that arrive soon after the earthquake occurs, stating that in many places, warnings might not be issued in time. “If the source were so close to shore that only minutes were available before the tsunami reached the coast, the public would need to recognize natural [signs of a tsunami approaching].” The report states that when they fear a tsunami is imminent, people should know to evacuate even “without official warnings.”

The report warns that because tsunamis are so rare, people living near the coast do not know what to do, but it also criticises authorities for not informing citizens of how to react when a tsunami is approaching. “Everybody thought that the tsunami was a single wave, and once the expected landfall time came and left, they thought it was over,” said Costas Synolakis, who is director of the Tsunami Research Center at the University of Southern California, and one of the report’s authors. He continued, “In fact, tsunamis are a series of waves that can last for three to four hours.”

He said that the United States must take action, training first responders in low-lying coastal areas, and adding more tsunami sensors to give advance warning of approaching waves. Synolakis added that, after receiving warning that there may have been a tsunami on the way after the Chile earthquake earlier this year, the response of firefighters at the Port of Los Angeles was poor because they were unfamiliar with how to deal with such a threat.

In the capital of American Samoa, Pago Pago, the tsunami measured 1.57 meters in height. The superintendent of the National Park of American Samoa Mike Reynolds reported four waves as high as six meters. People who experienced the quake said it was long, lasting from 90 seconds to three minutes. “Pago Pago city streets were strewn with overturned vehicles, cars, and debris. Some buildings located only slightly above sea level were completely destroyed by the waves, and power in some locations is not expected to be restored for up to a month,” Wikinews reported at the time.

Didi Afuafi, 28, who was riding on a bus in American Samoa when the tsunami struck, described her experiences. “I was scared. I was shocked. All the people on the bus were screaming, crying and trying to call their homes. We couldn’t get on cell phones. The phones just died on us. It was just crazy,” she said. “This is going to be talked about for generations.” U.S. President Barack Obama said of the disaster: “My deepest sympathies are with the families who lost loved ones and many people who have been affected by the earthquake and the tsunami.”

The people of American Samoa will, next Wednesday, according to a press release by the government, “hold island-wide services to honor the memories of the 34 loved ones who lost their lives” during the tsunami. Church services will be held at 6:00 a.m., followed at 6:48 a.m.—the time when the earthquake occured—thirty-two bells will be rung in memory of those who perished.

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Freighter hits fishing boat in Gulf of Suez; thirteen dead

Tuesday, December 16, 2014

A freighter hit a fishing boat around midnight on Sunday morning in the Gulf of Suez in the Red Sea. Of the 40 Egyptian fisherman on board, thirteen are dead and thirteen more missing.

Survivor Al Sayyed Mohamed Arafat told local media he jumped from the fishing boat, named Badr al-Islam, as the container ship approached. He says he hung onto a wooden crate for four hours before rescue. Local authorities have promised compensation to each survivor.

A vessel, flagged in Panama, suspected to be involved in the collision has been detained by the military. The army said yesterday one victim raised the alarm by phone and the military sent four boats and a helicopter to commence search and rescue off the Gabal al-Zayt coastline.

A plane has since joined the search. The military say the fishing boat lacked safety equipment for emergency communications.

The detained ship was found south of the Gulf, near the port of Safaga. It was carrying 220 tonnes of cargo according to the General Authority for the Red Sea Ports.

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Wikinews interviews William Pomerantz, Senior Director of Space Prizes at the X PRIZE Foundation

Regardless of who wins the prize, people all around the world will be able to experience the mission through high-def video-streams.
Saturday, August 28, 2010

Andreas Hornig, Wikinews contributor and team member of Synergy Moon, competitor in the Google Lunar X Prize, managed to interview Senior Director of Space Prizes William Pomerantz of the X PRIZE Foundation about the competitions, goals, and impacts via e-mail for HDTVTotal.com and Wikinews.

By Wikinews,

the free news source

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This exclusive interview features first-hand journalism by a Wikinews reporter. See the collaboration page for more details.


This article is part of a page redesign trial on Wikinews. Please leave comments or bug reports on this redesign.This interview originally appeared on HDTVTotal.com, released under the Creative Commons Attribution 3.0 license. Credit for this interview goes to HDTVTotal.com and Andreas -horn- Hornig.