Tuesday, August 2, 2005

Massey Energy Co., the fourth largest coal producer in the U.S., filed a federal lawsuit against the Governor of West Virginia, Joe Manchin.

Massey’s CEO Don Blankenship alleged that Gov. Manchin acted in retaliation against the company’s coal mining operations because the company spent $650,000 in an advertising campaign to defeat the governor sponsored pension bond proposal. The $5.5 billion bond proposal, intended to shore up the state’s sagging pension plan, was defeated in a special election held in June.

The Massey lawsuit, filed last Tuesday on July 26 in the U.S. District Court in the W.V. southern district, was referred to by Gov. Manchin as having less to do with the bond proposal than with the newly increased state “severance tax” on coal. Nearly 40 million tons of coal production will be subject to the 56-cent tax.

According to Blankenship, that tax amounts to $22.4 million in additional costs for the company, but he denied the increase has anything to do with the lawsuit.

The company reported profits that almost tripled during the second quarter compared to a year ago. Of the company’s rosy earnings picture, Blankenship urged states to “show some frugality” by not placing tax burdens on coal to solve state budget shortfalls. He said his company is “playing a role” because there was no need for the bond sale and the state can afford to make payments into the pension system.

Blankenship acknowledged during a conference call the now-rescinded June 30 permit by the W.V. Department of Environment Protection (DEP). At issue was the department’s permit for mining operations near the Marsh Fork Elementary School, in Sundial, W.V. The school rests at the base of a mountain selected by Massey for “Mountain Top Removal” (MTR) mining techniques. Along with the mining equipment, a coal preparation plant and a sludge pond were established on the mountain. Protest groups, mainly the Coal River Mountain Watch and Mountain Justice Summer, presented a list of demands to Massey officials that included shutting down the preparation plant, ceasing all MTR mining above the Marsh Fork Elementary School, and abandoning plans for a second coal silo near the school. They also ask that the Marsh Fork school be cleaned up or relocated. The state permit for a second coal storage silo was rescinded by the DEP the same day Massey filed the Manchin lawsuit.

Gov. Manchin in June said that Blankenship could expect tougher state scrutiny of his business affairs since the Massey media campaign against the pension bond proposal. “I think that is justified now, since Don has jumped in there with his personal wealth trying to direct public policy,” he said at an appearance at an American Electric Power event in Putnam County.

Friday, October 17, 2008

The left wing of the Industrial Palace (Pr?myslový palác) – central building of the Prague Exhibition Grounds (Výstavišt?) in the capital city of Czech Republic was destroyed by fire yesterday night. The fire began at the roof and flames were visible from kilometers away. Two hundred firefighters fought the fire and got it under control in less than three hours. Two firefighters suffered minor injuries.

The left wing of the Art Nouveau building was destroyed, the roof and most of enclosure walls collapsed. The amount of damage can rise up to 1 billion Czech crowns (approx. 40 million euro). Although a student music festival was organized in close surroundings, none were injured.

Mayor of Prague Pavel Bém promised the city will rebuild the Palace, but refused to comment immediately on the view of the new or renewed building.

The Industrial Palace was inaugurated in 1891. It was the biggest building on the exhibition grounds. Architect Bed?ich Münzberger used the glassed-in steel structures for the first time in the Czech lands. The building was 238 meters long and its main tower was 51 meters tall. It was used mainly for trade fairs and exhibitions, but also for concerts and other culture events.

The cause of the fire is under investigation, and could take a week to discover the cause. Press reports suggest the fire is connected to the October 9 murder of businessman Václav Ko?ka junior, whose father is engaged in the Incheba company and has been leasing the exhibition grounds since 2001. Václav Ko?ka senior is a friend of former Czech prime minister Ji?í Paroubek. However, authorities mentioned an accident – explosion of pressure gas cylinder – was the probable cause. Incheba said they have video of the explosion recorded from the security cameras.

Friday, December 15, 2006

High winds and heavy rains have left 4 people dead, and much of the Seattle, Washington area is without electrical power. A number of large trees have been downed and heavy rains have caused minor flooding in many areas of the city. According to first-hand reports as many as 1 million people and several large organizations such as Microsoft are without power this morning.

Flood, storm, and strong wind watches were in effect last night as a rare thunderstorm system moved into the Pacific Northwest region, hitting areas from Seattle to Portland with high winds and heavy rains. Interstate 5 through Seattle was closed at its intersection with Mercer Street due to standing water. The State Route 520 floating bridge, a major conduit across Lake Washington to the technology-rich Eastside was closed and its drawspan opened to protect it from storm damage well into Friday. Local roads throughout the region were strewn with debris, especially evergreen branches and leaves. Authorities advised people to stay off the roads.

Four deaths were reported in connection with the storm as of Friday. A Seattle woman died in the basement of her home after floodwaters caused the basement door to close and jam shut. Two others died in outlying areas after tall Northwest evergreens fell on their vehicles, and a man in Grays Harbor, near the Pacific coast, died in his sleep after a tree fell on his mobile home. KOMO news reported a caller saying a 100-foot evergreen had fallen into his house.

Downed trees and high winds also brought down powerlines throughout Western Washington. Seattle City Light, the municipal electric utility for the city, reported a peak of 175,000 customers without power, most in the north and south ends of the city, as well as the east edge of town and the Green Lake area.

Puget Sound Energy, the electric utility for much of the Seattle metro area, reported 700,000 customers (over 66%) without power, with the area around Seattle the worst hit. PSE, which had already enlisted additional powerline workers from neighboring states, did not send crews out until mid Friday morning due to continued high winds. Estimates for power restoration were anywhere from a few days to over a week. Island County, at the mouth of Puget Sound, was completely without power.

Schools in Seattle and throughout its suburbs were closed Friday, many due to power outages. The city of Mercer Island, connected to the mainland only by Interstate 90, is reportedly inaccessible.

The Seattle Post-Intelligencer failed to print due to power failures at the printing facility, which had redundant power feeds from both the Seattle utility as well as PSE. It is the first time in 70 years that the paper has not been printed. The Seattle Times, a competing paper under a joint operating agreement, managed to print only 13,000 copies of its regular circulation of over 200,000. The papers located alternate facilities to print a reduced version of their Saturday editions, and their joint Sunday issue was also expected to be reduced.

At Sea-Tac Airport, three terminals were shut down overnight due to the storm. Concourse A and the South Satellite terminal lost power, and a blown-out window caused Concourse C to also close. All terminals were back in working order by midday Friday. Many flights were delayed or cancelled. Likewise, in Oregon, Portland International Airport reported at least 40 flights cancelled. At Seattle’s Boeing Field, winds flipped a private plane over, colliding with another plane.

The Seattle Seahawks vs. San Francisco 49ers football game was delayed 15 minutes. A pre-game power surge temporarily took the Qwest Field’s video displays offline. The gridiron was plagued by standing water, as the stadium’s loudspeakers played “Who’ll Stop The Rain?” shortly before kickoff.

Thursday night’s storm comes after a previous regional storm in the Seattle area earlier in the week, in which trees in a few Seattle suburbs fell onto roads, powerlines, and two school buses. In those incidents no one was hurt, and there were a few spotty power outages.

This is the second serious storm to hit the Northwest since Thanksgiving, In late November, record-setting snowfall had a similar disabling effect on the region.

Thursday, October 4, 2007

Glenn Crowe is running for the NDP in the Ontario provincial election, in the Bramalea-Gore-Malton riding. Wikinews’ Nick Moreau interviewed him regarding his values, his experience, and his campaign.

Crowe did not reply to various questions asked.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.

Thursday, March 21, 2013

Canberra CBD Limited (CCBD) released data this week about a urinal trial in the Australian Capital Territory (ACT)’s Central Business District (CBD) this past weekend that showed the temporary urinals collected 220 litres of urine in a four day period between 7pm and 7am on Thursday, Friday, Saturday and Sunday nights. Estimates showed that 1,200 men relieved themselves in this period, with 450 of them doing so on Saturday night.

A number of businesses in the CBD had complained about men using storefronts and streets to relieve themselves despite the possibility of AU$200 on-the-spot fines. 277 people have been fined in the territory in the past year, with 228 of them being fined for public urination in the CBD.

The urinals were placed in a number of public places including Verity Lane, at the bus interchange on the corner of Alinga Street and Verity Lane, and on City Walk near the corner of Saraton Lane. They have small doors at hip level to provide some degree of privacy despite their very public location. Barcham, writing on The Riot-ACT, notes the privacy afforded to men is limited as the doors appear to be for very short men, saying “The doors sit well below ‘business’ level, meaning they won’t actually provide privacy to anyone over 5 foot tall.”

The urinal trial is scheduled to continue over Easter weekend. In a press release issued by CCBD, CCBD’s chief executive officer is quoted as saying, “Canberra CBD is focussed^[sic] on providing a clean and safe city for the broader Canberra community. […] This urinal trial is not a permanent solution, rather a trial to provide data for decision making purposes.”

Before the start of the trial, CCBD said if the trial proved successful, the ACT government could consider making the urinals a permanent fixture in the CBD. Kros Urinals is maintaining the urinals.

A survey on the Canberra Times website found 43% of respondents liked the idea of the urinals and wanted them to become permanent while only 13% thought the answer was not urinals but more policing for public urination.

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.