bingger.net

Monday, January 23, 2006

A mutated form of the Avian (Bird Flu) virus has been found in a sample taken from a Turkish patient.

The mutated form is said to make the virus easier to attach itself to humans rather than animals says a report in the Nature journal.

The situation is being monitored by the World Health Organization but says “it is too early to know whether the virus is changing in ways that would signal the start of a human flu pandemic,” says Maria Cheng a spokeswoman for the WHO. “It’s one isolate from a single virus from Turkey. The sample suggests the virus might be more inclined to bind to human cells rather than animal cells, but there’s no evidence that it’s becoming more infectious. If we started to see a lot more samples from Turkey with this mutation and saw the virus changing, we’d be more concerned.”

However, the Nature report says there is a second mutation that also “signals adaptation to humans.”

Cheng also said that “flu viruses mutate all the time. For us to assign public health significance to a genetic change we need to match it to what is happening epidemiologically — how the virus is behaving — and clinically — if it’s more or less virulent.”

In Turkey the fatality rate from the Bird Flu is 50% where elsewhere in the world reports of infection were only scattered. Entire families have been affected in Turkey and more reports come out almost every day of mild symptoms.

So far, Turkey has suffered four deaths and 21 infections. In addition to those cases the WHO reports 145 cases and 80 deaths in Cambodia, China, Indonesia, Thailand and Vietnam.

“When this outbreak (in Turkey) was first reported, there was a lot of concern it was behaving differently,” said Cheng. Subsequent investigation, however, has indicated no major behavioral change.

“The team there told us that after two weeks of investigating, they haven’t found substantial differences in the pattern we’ve seen in Southeast Asia,” said Cheng.

The mutations were discovered by scientists in London, England in a lab.

Cheng said this may “signify the virus is trying different things to see if it can more easily infect humans. So far, we haven’t seen that the virus has the ability to do this. But it’s important that we continue monitoring. We would be concerned if we were seeing successive generations of spread of the virus. We haven’t so far. All these people had a very clear history of contact with diseased birds.”

Health officials say that so far they do not see any evidence yet that the virus can spread easily in humans.

The Bird Flu virus, strain H5N1, first started to infect humans in 1997 in Hong Kong. In 2003 it re-emerged and it has so far been difficult to control.

Tuesday, June 12, 2007

North America’s largest outdoor dog festival came back to Toronto last weekend for its fifth year. It ran from the 9th of June to the 10th of June at Toronto’s historical St. Lawrence Market. A Wikinews reporter was there on Sunday to report on some of the events that happened on the last day.

The “Woofstock” dog festival attracted as many as 140,000 people with their dogs. The festival had tons of accessories, sold under tents, to buy for dogs; food, toys, designer clothes, and more. About 400 vendors and exhibitors were there to promote their products, which also gave private dog companies or groups a chance to show their new products. The local SPCA and some animal rescues were under tents answering questions from visitors. While walking, all visitors could see the CN Tower and other very tall buildings.

One of the local TV stations, Citytv, was there. They hosted a live event at the show which was broadcast on TV. People came up on the stage and asked questions regarding their dogs and the host and co-host answered them.

A man, who called himself the “Chalk Master”, drew two pictures on pavement with chalk. He did it for free but donations were welcome. One was a picture of a girl’s head beside a dog’s head, and another with a wolf.

“Hello Humans. I’ve been invited here to provide your eyeball(s), with some pretty colours. I don’t get paid as I work this weekend strictly for tips… so, if you like what you see please make a DONATION. If you don’t like it simply reach into the pocket of the person next to you and give me their money. CHALK MASTER.”

A contest called “Canada’s top dog” had its own tent with a professional photographer taking pictures of dogs behind a white screen; the winning photo is to be published on the cover of “Puppy and dog basics” magazine.

Large “Gourmet” dog bones were also served from a cart and table.

Next year’s festival is expected to be bigger and better with even more attractions.

Sunday, July 15, 2007

A judge in the province of Ontario, Canada dismissed marijuana possession charges against a Toronto man, ruling that Canada’s laws governing possession are unconstitutional.

The unidentified defendant, 29, had been charged with possession after police had found him carrying 3.5 grams of marijuana.

Since July 30, 2001, Canada has allowed a medical exemption for the possession and growing of marijuana, under Health Canada‘s Marijuana Medical Access Regulations. The regulations describe eligible persons as those “suffering from grave and debilitating illnesses.” Canada contracts a company, Prairie Plant Systems, to cultivate and package seeds and/or dried marijuana for shipping of a monthly supply to eligible patients. A packet of 30 seeds costs CA$20, plus taxes. Dried marijuana costs patients CA$150 for 30 grams (slightly more than one ounce).

The defendant in the legal case was not suffering from an illness and was not in need of an exemption from the possession laws. The man put forth a defence that questioned the legality of the medical exemption since it was only a regulation, not a law. He argued that all possession laws, therefore, should be struck down.

The judge presiding over the case, Howard Borenstein, agreed with the argument. “The government told the public not to worry about access to marijuana,” said Judge Borenstein. “They have a policy but not law. In my view that is unconstitutional.”

The defendant’s lawyer, Brian McAllister, felt that the ruling may have significant consequences for possession laws throughout the province. “Obviously, there’s thousands of people that get charged with this offence every year,” said McAllister. He suggested that Ontario residents can cite the new ruling as a defence for possession charges. “That’s probably why the government will likely appeal the decision,” he said.

Judge Borenstein will make his ruling official in two weeks time. Prosecutors in the case have said that they will appeal the decision soon.

In related news, a Liberal senator from the province of British Columbia, Larry Campbell, said Wednesday that the federal government should decriminalize marijuana and “tax the hell out of it,”. He said the government should use the revenue for health care priorities. Sales should be controlled by government, he stated, in the same way that alcohol is sold. He noted that organized crime is pulling in large profits on the growing and sale of the drug.

Senator Campbell also suggested that too many resources are placed on the criminal prosecution of people for possession of small amounts of marijuana. “This is not a drug that causes criminality,” he said. “People are getting criminal records for essentially nothing.”

A recent UN survey, the 2007 World Drug Report, has determined that marijuana use in Canada is the highest among developed nations. Some 16.8 percent of Canadians between the ages of 15 and 64 used marijuana in 2004, compared to 12.6 percent of Americans, 8.7 percent for Britain, 8.6 percent for France, 6.9 percent for Germany, and 0.1 percent of Japanese.

York University law professor Alan Young, said the report’s numbers may be skewed higher for Canadians due to the willingness of Canadians to discuss the issue. “It’s become a large part of youth culture in Canada, and more importantly, 50 percent of marijuana smokers are over the age of 30,” he said. “So it’s really gone to all age groups, all class groups. There’s no question about it that there is less stigma in Canada.”

Only four other countries ranked ahead of Canada on marijuana use: Papua New Guinea, Micronesia, Ghana, and Zambia.

The UN data for harder drugs such as amphetamines and ecstasy showed relatively low use among Canadians.

Thursday, October 4, 2007

Larry Stevens is running for the Libertarian Party in the Ontario provincial election, in the Kitchener-Conestoga riding. Wikinews’ Nick Moreau interviewed him regarding his values, his experience, and his campaign.

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.

Saturday, November 4, 2006

An advertisement for Dove beauty products has been viewed by well over three million people, without ever being on television. A copywriter from Ogilvy Toronto, the advertising agency that created a spot named “evolution”, uploaded the advertisement to video sharing website YouTube.

While the official upload of the ad itself has been viewed 1,119,262 times, there are dozens of copies of the ad on YouTube, adding to a minimum of 3,059,546 views. The official copy of the video is the website’s 12th most viewed this month, 53rd of all time.

Unofficial uploads have each received high levels of viewership, with 449595, 445322, 207906, 201670, 195265, 116501, and 102634 plays.

The agency did not originally intend to upload the video to YouTube, only display it on the company’s homepage. Staff member Tim Piper uploaded it to his account on October 6, about a week before it first got media coverage on Good Morning America.

The ad begins with a woman walking into a photo shoot. From there, she is primped and plucked by hair and makeup artists, then tweaked on a Photoshop-like program. The photo-manipulation is then posted on a billboard for the fictional “Easel Foundation Makeup” brand. Two young, teenage girls walk past, glancing at the board. “No wonder our perception of beauty is distorted” ends the ad in text, “Every girl deserves to feel beautiful just the way she is.”

The creative team for the ad included Tim Piper, Mike Kirkland, Janet Kestin, Nancy Vonk, directors T Piper (treatment and post production) and Yael Staav (live action) from Reginald Pike, Soho post production, Rogue editing, Vapor music, Gabor Jurina and Make-up: Diana Carreiro, and Reginald Pike.

The official French copy of the ad has only received 132 views, although it was only uploaded on November 2, 2006.

Wednesday, August 10, 2005

Fourteen people are presumed dead after a passenger helicopter of the Finnish company Copterline crashed into the Baltic Sea, 5 km off the coast of Estonia.

After hours of search, the wreck was found with a sonar at a depth of approximately 60 meters. The cabin is damaged but has remained in one piece, and passengers were found dead inside the cabin. Lifting of the wreckage is being planned at the moment.

The Sikorsky S-76 was on a scheduled passenger flight to Helsinki from Tallinn, the Estonian capital. The craft came down just three minutes after take-off at 12:43 pm (GMT+3). According to an eyewitness, two loud bangs were heard before the craft crashed down. No smoke or fire were seen after the bangs.

On board were six Finnish, four Estonian and two American passengers as well as two Finnish crew members.Both of the pilots were experienced, with over 10 years of flight experience in the company.

Estonian rescue helicopters and boats have been sent, a Finnish rescue helicopter and mini submarines also at the scene.

Investigation of the causes of the accident is underway, but one possible reason is the bad weather as the area has been suffering from severe storms recently, the winds at the time are believed to have been 17-20 metres a second. “Many of the helicopters safety measures failed”, said the spokesman from Copterline. The safety measures include the ability of the craft to glide down in case of engine failure and the ability to float on water, both of which seemed to have failed. Copterline, one of the largest helicopter airlines in Europe, has cancelled all upcoming flights today, but are continuing as scheduled tomorrow morning.

An overview in Estonian (some pics & timeline)

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.

Saturday, November 4, 2006

An advertisement for Dove beauty products has been viewed by well over three million people, without ever being on television. A copywriter from Ogilvy Toronto, the advertising agency that created a spot named “evolution”, uploaded the advertisement to video sharing website YouTube.

While the official upload of the ad itself has been viewed 1,119,262 times, there are dozens of copies of the ad on YouTube, adding to a minimum of 3,059,546 views. The official copy of the video is the website’s 12th most viewed this month, 53rd of all time.

Unofficial uploads have each received high levels of viewership, with 449595, 445322, 207906, 201670, 195265, 116501, and 102634 plays.

The agency did not originally intend to upload the video to YouTube, only display it on the company’s homepage. Staff member Tim Piper uploaded it to his account on October 6, about a week before it first got media coverage on Good Morning America.

The ad begins with a woman walking into a photo shoot. From there, she is primped and plucked by hair and makeup artists, then tweaked on a Photoshop-like program. The photo-manipulation is then posted on a billboard for the fictional “Easel Foundation Makeup” brand. Two young, teenage girls walk past, glancing at the board. “No wonder our perception of beauty is distorted” ends the ad in text, “Every girl deserves to feel beautiful just the way she is.”

The creative team for the ad included Tim Piper, Mike Kirkland, Janet Kestin, Nancy Vonk, directors T Piper (treatment and post production) and Yael Staav (live action) from Reginald Pike, Soho post production, Rogue editing, Vapor music, Gabor Jurina and Make-up: Diana Carreiro, and Reginald Pike.

The official French copy of the ad has only received 132 views, although it was only uploaded on November 2, 2006.

Saturday, November 4, 2006

An advertisement for Dove beauty products has been viewed by well over three million people, without ever being on television. A copywriter from Ogilvy Toronto, the advertising agency that created a spot named “evolution”, uploaded the advertisement to video sharing website YouTube.

While the official upload of the ad itself has been viewed 1,119,262 times, there are dozens of copies of the ad on YouTube, adding to a minimum of 3,059,546 views. The official copy of the video is the website’s 12th most viewed this month, 53rd of all time.

Unofficial uploads have each received high levels of viewership, with 449595, 445322, 207906, 201670, 195265, 116501, and 102634 plays.

The agency did not originally intend to upload the video to YouTube, only display it on the company’s homepage. Staff member Tim Piper uploaded it to his account on October 6, about a week before it first got media coverage on Good Morning America.

The ad begins with a woman walking into a photo shoot. From there, she is primped and plucked by hair and makeup artists, then tweaked on a Photoshop-like program. The photo-manipulation is then posted on a billboard for the fictional “Easel Foundation Makeup” brand. Two young, teenage girls walk past, glancing at the board. “No wonder our perception of beauty is distorted” ends the ad in text, “Every girl deserves to feel beautiful just the way she is.”

The creative team for the ad included Tim Piper, Mike Kirkland, Janet Kestin, Nancy Vonk, directors T Piper (treatment and post production) and Yael Staav (live action) from Reginald Pike, Soho post production, Rogue editing, Vapor music, Gabor Jurina and Make-up: Diana Carreiro, and Reginald Pike.

The official French copy of the ad has only received 132 views, although it was only uploaded on November 2, 2006.