Archives July 2020

Friday, August 12, 2011

A car fatally crashed into three individuals in the British city of Birmingham, England. The three men, aged 31, 30, and 21, died during a second consecutive night of violent events in Birmingham.

The incident occurred at approximately 0100 BST (0000 UTC) Wednesday morning in the Birmingham inner-city region of Winson Green. The men were attempting to protect property from nearby riots. Witness reports say that the vehicle contained as many as three passengers and drove at a speed of fifty miles per hour without stopping after the crash.

Police have since recovered a vehicle and arrested a 32-year-old male in association with the incident, on a charge of murder. According to Chief Constable Chris Sims, the details of the incident West Midlands Police have would indicate that “the car was deliberately driven”.

Tariq Jahan, the father of one of those killed, said his son, 21-year-old Haroon Jahan, was attempting to protect the area from nearby violence and unrest. Jahan said he had attempted to perform CPR at the scene of the incident. Jahan said his son was “a very good lad, a good man starting at the beginning of his life and had his whole life ahead of him. I’ve got no words to describe why he was taken and why this has happened and what’s happening to the whole of England.” Jahan said violent acts like this which killed innocent bystanders made “no sense”.

A statement released from West Midlands Police says that “detectives are treating [this incident] as murder. Three men were taken to hospital where two later died from their injuries. A third man was in a critical condition but confirmed dead at around 6:30AM. West Midlands Police have launched a murder inquiry, arrested one man in connection with the incident and recovered a vehicle nearby which will be examined by forensics experts,” the force stated. Police have requested that individuals contact them if they have any information about the incident. About 200 people from the Asian community have gathered at the hospital where the victims were transported after the crash. Two of the victims were known to be brothers. All three of them were reported to be Pakistani Muslims.

The West Midlands has seen other instances of violent behavior. Thefts have taken place in the city centre of Birmingham, West Bromwich and in Wolverhampton. The charges being brought against suspects on remand for court appearances include public disorder offences, such as violent disorder and aggravated burglary. Six police officers have experienced minor injuries as a result of the violence.

According to police, a scrapyard fire which occurred in Birmingham is unrelated to recent violence. Two ambulances were attacked in two separate incidents with objects being thrown at the vehicles. Ambulance staff were left uninjured in both cases. Ambulances have appeared on thirty-five occasions in West Bromwich, Wolverhampton and various parts of Birmingham. Thirty-one individuals were given ambulance staff treatment, with nineteen receiving hospital treatment, albeit for practically minor assaults in most cases.

In Wolverhampton and West Bromwich, there have been reports of roads and streets being closed. Wolverhampton and Birmingham have experienced significant travel disruption, with buses not entering city centres last night. One vehicle in Birmingham and two in West Bromwich have been set alight amongst the violence. Various businesses have also been targeted, such as M&S and a high fidelity shop in Birmingham. A jewelry business in Wolverhampton has been robbed of ornaments, watches and money.

Yesterday, British Deputy Prime Minister Nick Clegg condemned the violent actions of individuals, claiming there was “simply no excuse whatsoever for the violence, looting and destruction”. Below is a picture gallery of the damage caused by public disorder in Birmingham Tuesday night:

Thursday, May 11, 2017

On Tuesday, U.S. President Donald Trump dismissed James Comey from his position as head of the Federal Bureau of Investigation (FBI). Officially, Comey was fired for mishandling the issue with former presidential candidate Hillary Clinton’s alleged misuse of private email servers, but Senate Democrats and the American Civil Liberties Union (ACLU) have raised concerns over whether the real reason may have been that Comey was leading the investigation into the Trump campaign’s alleged ties to Russia and possible tampering with the election that placed Trump in high office.

CNN reports a source within the White House told CNN reporter Dana Bash the President’s office gave this reason intending to avoid controversy because many Democrats have also criticized Comey for mishandling the Clinton case, and some have blamed him for Clinton losing the election. Specifically, recently confirmed Deputy U.S. Attorney General Rod Rosenstein released a memo criticizing Comey’s statements in a July 2016 press conference, in which he called Hillary Clinton “extremely careless” for using private email servers to transmit government information but said she would not be charged with a crime. “The director was wrong to usurp the attorney general’s authority on 5 July 2016, and announce his conclusion that the [Clinton] case should be closed without prosecution. […] Compounding the error, the director ignored another longstanding principle: we do not hold press conferences to release derogatory information about the subject of a declined criminal investigation,” wrote Rosenstein.

“It simply defies logic that President Trump, who made the FBI investigation of Hillary Clinton’s emails a centerpiece of his campaign, would all of the sudden convert to the view that Clinton was treated unfairly,” said Democratic Senator Christopher S. Murphy. CNN legal analyst Jeffrey Toobin rejected it as “absurd.” He went on to compare it to the dismissal of Archibald Cox during the Watergate scandal.

Anthony Romero of the ACLU also expressed concern: “The independence of the FBI director is meant to ensure that the president does not operate above the law. For President Trump to fire the man responsible for investigating his own campaign’s ties to the Russians imperils that fundamental principle.”

Most Republicans agreed with Trump’s decision. Senator Chuck Grassley said, “The handling of the Clinton email investigation is a clear example of how Comey’s decisions have called into question the trust and political independence of the FBI.” However, Republican Representative Justin Amash referred to the rationale behind the dismissal as “bizarre” and said that he and his staff would look into laws that might allow the establishment of an independent commission to continue the Russia investigation. Such a commission has also been called for by Republican Senator John McCain and Democratic Senator Bob Casey.

Minority leader Chuck Schumer said, “If deputy attorney general Rosenstein does not appoint an independent special prosecutor, every American will rightly suspect that the decision to fire director Comey was part of a cover-up.”

Schumer was one of several Senate Democrats to ask for a special prosecutor or special counsel. Others, expressing themselves both by Tweet and traditional television interviews, Tim Kaine of Virginia, Jeff Merkley of Oregon, and Cory Booker of New Jersey. However, special prosecutors are appointed by the U.S. Attorney General, in this case Jeff Sessions who recused himself from any further involvement in the investigation into the Trump campaign’s ties to Russia. According to ABC News chief legal analyst Dan Abrams, the responsibility would then fall to a deputy, who would be unlikey to act except in response to pressure from Congress.

President Trump responded, as is his custom, via tweet: “Cryin’ Chuck Schumer stated recently, ‘I do not have confidence in him (James Comey) any longer.’ Then acts so indignant. #draintheswamp” and “The Democrats have said some of the worst things about James Comey, including the fact that he should be fired, but now they play so sad!”

Deputy Director Andrew McCabe is to serve as acting head of the FBI until a replacement is confirmed.

Thursday, February 24, 2005

A paste containing synthetic tooth enamel can seal small cavities without drilling. Kazue Yamagishi and colleagues at the FAP Dental Institute in Tokyo say that the paste can repair small cavities in 15 minutes.

Currently, fillers don’t stick to such small cavities so dentists must drill bigger holes. Hydroxyapatite crystals, of which natural enamel is made, bond with teeth to repair tiny areas of damage.

Yamagishi and colleagues have tested their paste on a lower premolar tooth that showed early signs of decay. They found that the synthetic enamel merged with the natural enamel. The synthetic enamel also appears to make teeth stronger which will improve resistance to future decay. As with drilling, however, there is still the potential for pain: The paste is strongly acidic to encourage crystal growth and causes inflammation if it touches the gums.

The paste is reported in the journal Nature.

Wednesday, February 13, 2008

NASA Tech Briefs INSIDER newsletter 02/05/08 reports that the winner of the $20,000 first prize in the agency’s “Create the Future” contest is an invention called “Litroenergy”, the luminous output of micro particle “Litrospheres.” Their self-luminance reportedly endures for over 12 years. The spheres are inexpensive, making them useful in many ways. The emitted light is said to be equivalent to a 40 watt bulb, sufficient for reading.

The invention is reported to safely encapsulate a small quantity of electron-emitting tritium with light emitting phosphors inside a robust microscopic sphere. Mixed into paints, plastic films or adhesive tape the spheres can be applied to surfaces for under a dollar per square foot. The maker suggests they will find first use in safety applications such as exit signage and aircraft corridor marking.

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.