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Friday, May 18, 2012

Bruce, Canberra — In an exclusive interview with Wikinews, Australian Paralympians Evan O’Hanlon and Scott Reardon discussed the increased professionalism of their sport, and the challenges elite athletes now face in securing sponsorship deals.

O’Hanlon, with the support of his Australian teammates, is on a mission to professionalise Paralympic athletics. He is leading a charge to encourage runners to cover the logos on shoes they wear to training and in competition because he believes that many people who see him in pictures when he wins world records think his shoes are paid for by sponsors; they are not.

Paralympic athletic competitors must buy their own shoes; while Australian Paralympic competitors receive support from the government, they still must pay for things their abled-bodied counterparts would not. O’Hanlon and Reardon believe unless competitors organise as a group and act together, they will not change the sponsorship landscape for Paralympic athletes.

Teammate Michelle Errichiello didn’t tape over the logos on her shoes, while O’Hanlon told Wikinews that he had taped over the logos on a pair of practice sprint shoes which he wouldn’t normally cover due to photographers being present at the athletics track. They intentionally choose the flesh colour of the tape to make it more noticed by spectators, highlighting their cause and raising its profile.

O’Hanlon told Wikinews reporters that additional information about these sponsorship issues could be found on his website.

Thursday, July 24, 2008

Conservative Party leader David Cameron was last night a victim of crime following the theft of his bicycle.

The Leader of the Opposition in the United Kingdom was out shopping in West London when the incident happened at around 6:30 last night. He was said to have chained the bike to a short bollard while he picked up some groceries in Tesco on Portobello Road. When he came out, the bike along with its chain had vanished.

He stated that he “would very much like it back” and that to him “it was absolutely priceless”. He is also said to have reported the theft on the Scotland Yard online reporting website, but was pessimistic about it being returned. The thieves are said to be a group of teenagers.

Around 19,000 bicycles are reported stolen every year in London alone.

Cameron’s spokesperson said he had owned the bike for five years, and used it regularly to cycle to work. She stated he was “pretty hacked off” by the theft.

Thursday, October 25, 2007File:Entrance of Disneyland Paris.jpg

Walt Disney Resorts in Paris, Hong Kong, and Tokyo will eliminate trans fats from all food served at the parks by 2009.

This move comes in addition to ridding foods of trans fats at Disneyland in California and Walt Disney World in Florida, by the end of this calendar year. The American parks began to take action a year ago, as a response to nutritionists. Healthier options such as low-fat milk and baby carrots have been added to the menu, to increase guest choices.

Disney Consumer Products has already licensed the company’s brands to healthy prepared food products in Canada, via Sobey’s grocery stores’ Compliments label, while Tesco supermarkets will start offering similar foods next month.

As concern over childhood obesity grows, many companies are taking steps to cleanup their act, and gain the trust of customers. Trans fats have been linked to coronary diseases.

A compilation of brief news reports for Friday, February 6, 2009.

British television presenter and newspaper columnist Jeremy Clarkson has told journalists in Sydney, Australia, that UK Prime Minister Gordon Brown is a “one-eyed Scottish idiot”.

The remark caused outrage amongst Scottish Labour politicians with some calling for the BBC to sack him. Clarkson has since apologised.

Sources

• “Clarkson apologises for PM remark” — BBC News Online, February 6, 2009
• Deborah Summers. “Scottish politicians urge BBC to take Clarkson off air over Brown jibes” — The Guardian, February 6, 2009

U.S. Court of Appeals Judge Stephen Reinhardt has ruled that same-sex marriages must be treated the same as straight marriages by authorities when it comes to healthcare and benefits rights. He also said that the 1996 Defense of Marriage Act was unconstitutional.

The judge was ruling in a specific administrative dispute process, so the judgment does not set a wider precedent.

Sources

• Caitlin Millat. “Gay, Lesbian Couples Entitled to Straight Treatment: Judge” — MSNBC, February 6, 2009
• Carol J Williams. “Rulings on gay couples’ benefits question Defense of Marriage Act” — The Los Angeles Times, February 6, 2009

The troubled Royal Bank of Scotland, now 68% controlled by the UK government, has fired seven non-executive directors from the pre-credit crunch era.

The bank is about to report losses of £28 billion and has been under fire for plans to pay bonuses to the trading staff who generated them.

Sources

• “RBS wields axe in boardroom shake-up” — London Stock Exchange, February 6, 2009
• “RBS chairman in boardroom clear-out” — The Press Association, February 6, 2009

Baugur, the Icelandic retail giant, has failed to get bankruptcy protection from its creditors at home and has placed its British arm in administration.

The group, which owns or has stakes in a large number of British High Street famous names, is being pursued for the equivalent of £1 billion in Iceland by the recently nationalized Landsbanki.

Sources

• Julia Finch. “Baugur goes into administration” — The Guardian, February 6, 2009
• Marcus Leroux. “Baugur loses battle for control of UK retailers” — The Times, February 6, 2009

Saturday, December 6, 2008

The Non-Disclosure agreement for companies working with the UK Government on the National identity card has been leaked on WikiLeaks. The document states, among other things, what rights the Government has to search the properties of companies involved and the obligations on the companies to keep information secret.

Section five of the document states that if a company fails to comply with the agreement, or in other cases at the “sole discretion” of the Home Office, the government may search the property, records and computers of the company. The anonymous individual who leaked the documents has stated that “no search warrant or judicial oversight would be required,” to carry out the search.

The leaker also states that individuals working for the company may have their computers searched “without any suspicion of a crime having been committed,” although the document does require that these searches may only take place “for the purposes of ensuring that all National Identity Scheme information and associated copies are secure in accordance with this agreement or have been destroyed permanently or removed from their possession.

Section two of the document requires that the document is secured in accordance with policy set out by the government, and requires that the information is only disclosed to those who need to have access as part of the identity card programme.

Section four of the document states that it shall be liable to the government for any breach of the agreement, and that, except for obligations required by the Official Secrets Act, the requirements shall no longer apply 25 years after the signing of the agreement, which took place in 2007.

The individual leaking the document has stated that he did so “to bring attention to the manner of construction of the ID scheme and the highly secretive approach being adopted by the UK government.”

Despite the criticism of the scheme, the Home Office has stated that the cards are required to “help protect people from identity fraud and theft,” and “disrupt the use of false and multiple identities by criminals and those involved in terrorist activity.”

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.