mynewhopeumc.org

Friday, February 17, 2012

A fatal accident inquiry concluded three patients who underwent keyhole surgery to remove their gall bladders died as a result of mistakes during, and after, the operations. Agnes Nicol, George Johnstone, and Andrew Ritchie died within a three-month period in 2006 whilst in the care of NHS Lanarkshire in Scotland.

Later expanded to look at all three deaths, the inquiry initially established to look into the case of Nicol, 50, who received surgery in late 2005. A surgeon at Wishaw General Hospital mistakenly cut her bile duct and her right hepatic artery. Whilst suturing her portal vein, her liver was left with 20% of its normal blood supply; the errors were not discovered until her transfer to liver specialists at Edinburgh’s Royal Infirmary.

By then, her liver was seriously damaged. She developed septicaemia, dying from multiple organ failure in March 2006.

Johnstone, 54, underwent the same procedure at Monklands District General Hospital on May 9, 2006. A consultant surgeon accidentally damaged, possibly severing, his bile duct. He died two days later in intensive care from the combined effects of multiple organ failure and a heart ailment.

Ritchie, 62, died in intensive care a week after an operation in June 2006. He died from intra abdominal haemorrhage caused by errors during the surgery.

Different surgeons were involved each time and the inquiry, under Sheriff Robert Dickson, found no evidence of poor training or inadequate experience. Dickson noted that in each case there was lack of action on a “growing body of evidence that there was something fundamentally wrong with the patient” and surgeons failed to contemplate their own actions as potentially responsible. He agreed with two professors that it may have been possible to save their lives “had the post-operative care been to the standard which they expected, and had there been a proper management plan which staff could have worked to” and noted that all the patients suffered from a lack of adequate medical notes being available after their surgery. He described the care as having “clear faults”.

NHS Lanarkshire has issued an apology, saying they “did fall below the high standards of care we aim to maintain in these cases and this has been extremely distressing for the patients’ families. We would like to take this opportunity to apologise to them.” The health board added improvements had been made regarding “these types of cases” as well as with document management.

Friday, August 5, 2005

I-Holding ehf, a Icelandic investment company owned by Baugur Group, Straumur investment bank, B2B Holdings and Birgis Bieltvedts, has bought 80% in Illum warehouse in Denmark from Merrill Lynch International Global Principal Investment. The same group recently bought Wessel & Vett A/S and Magasin du Nord, so it already owned 20% in Illum.

Illum will be run separately from Magasin du Nord.

Illum reported a profit and 11% gain in sales the first three months of 2005.

Skarphéðni Berg Steinarssyni from Nordic Investment at Baugur Group said the Danish retail market is increasing and they believe in Illum because it’s a well known brand in Denmark.

Icelanders invest in Denmark and UK

Icelandic companies have been investing heavily in Denmark for the last few years. Recently the Fons Investment ehf. bought the Danish airlines Sterling Air and Mearsk Air. Eimskip, a shipping company in Iceland, recently bought the shipping division of Mearsk. I-Holdings have been investing heavily in the Denish retailer market.

Baugur Group, as well as FL Group, have been investing in the UK market. FL Group has bought 11% in easyJet.com and has shown an interest in buying more. Baugur Group has been investing in the retailer market and has bought among other things Iceland supermarket chain as well as Hamleys, a well known toy store.

Tuesday, November 14, 2006

Studies carried out by researchers near the village of Khiam found radio active material at the site of bombing by Israel during the 2006 Israel-Lebanon conflict. The UN says that it has found no evidence of urianum-based munitions.

Two previously unknown Lebanese professors of physics, Mohammad Ali Kubaissi and Ibrahim Rachidi claim that the levels of radiation, about 700 nanosieverts per hour, twenty times the average levels, are consistent with the use of a depleted uranium bomb casing. Military use of depleted uranium is quite controversial due to its toxicity and low level radioactivity. Depleted uranium features in the list of weapons capable of causing mass destruction, superflous injury and unnecessary suffering, passed by the Sub-Commission on Prevention of Discrimination and Protection of Minorities of the UNHRC in 1996 and 1997.

This analysis has been partially coroborated by an independent consultant specialising in career, organisation and community psychology issues, Dai Williams, affiliated with the environmentalist organisation Green Audit, with testing done by Chris Busby, a member of the Defence Depleted Uranium Oversight Board of the British Ministry of Defence and a director and co-founder of Green Audit. Williams believes that these anomalies may have been caused by Israel’s use of uranium based weapons involving some secret physical techniques, not nuclear fission; however, there are no known such physical processes.

The U.S. is currently the only nation known to use depleted uranium bomb casings and munitions. Some observers have claimed that Israel used depleted uranium muntions during the 1973 Arab-Israeli war; however, U.N. observers have never found Israel using depleted uranium.

This level of radiation is also consistent with Israel having destroyed some form of storage facility for nuclear material. Such facilities are speculated to exist in the Middle East, often controlled by Islamic extremist groups who (allegedly) hope to construct a dirty bomb.

Dirty bombs are not considered to be as effective militarily as merely using more explosives. Post September 11th news reports about the dangers of dirty bombs have been criticized as fear mongering for fallaciously assuming years of continued exposure by victims without acounting for clean up procedures, or even rain fall.

Friday, May 11, 2012

Two years after a skydiving plane crashed in New Zealand, killing all nine on board, a report has blamed overloading for what was the nation’s worst air accident for seventeen years. The modified aircraft was unable to handle a full complement of eight passengers.

Five locals and four foreign tourists died when the FU-24 crashed on takeoff at Fox Glacier. Eyewitness accounts said the plane took off earlier than normal, pitching up steeply before falling from a high of about 100m (330ft). It struck the ground nose-first.

The report by New Zealand’s Transport Accident Investigation Commission (TAIC), after an investigation led by Ian McClelland, says the aircraft did not accumulate sufficient airspeed before it took off. It further notes that the plane’s centre of gravity was far to the rear. The plane had been converted three months prior from an agricultural aircraft and this had not been performed well, according to the TAIC.

TAIC go on to say the Civil Aviation Authority failed to spot paperwork discrepencies when approving the modified aircraft. “As a result the aeroplane was being flown outside its loading limits every time it carried a full load of eight parachutists,” said the report. It was “an accident waiting to happen”.

Graeme Harris, the nation’s head of civil aviation, described weight checks as “basic airmanship, taught to every student pilot” and noted all pilots are responsible for conducting them. “It is very sad that a critical element of pre-flight planning, which should be second nature to any pilot, appears to have been done so poorly. This is an accident that no pilot should ever forget.”

The local victims were Adam Bennett, 47, Michael Suter, 32, Christopher McDonald, 62, and Rodney Miller, 55, who were professional skydivers, and pilot Chaminda Senadhira, 33. The foreign victims were Irishman Patrick Byrne, 26, Australian Glen Bourke, 18, German Annita Kirsten, 23, and Briton Brad Coker, 24.

Chris Coker, Brad Coker’s father, has urged NZ Prime Minister John Key to increase regulation. The local Civil Aviation Authority has already decreed no FU-24 should carry more than six individually weighed passengers as a result of the crash, and last year introduced a law aimed at tightening up adventure flight regulation. The stricter rules came into effect earlier this month.

The TAIC report reminded pilots to calculate weights individually for each aircraft, as even two planes of the same model can differ. It further notes aircraft modification is “a safety-critical process that must be done in strict accordance with rules and guidelines and with appropriate regulatory oversight”.

Saturday, February 12, 2011

In the final quarter of 2010, airline Air Canada (TSX:AC.B) earnings rose to 134 million CAD, 42 cents per share, capping a sharp return to profitability in 2010.

The year resulted in the company’s highest-ever earnings before interest, taxes, depreciation, amortisation, and rent (EBITDAR) of $1.39 billion, 707 million more than the previous year. Operating income for fourth quarter was reported as $85 million, which compared very favourably with an $83 million loss in 2009.

Only 21 months ago Air Canada was threatened with bankruptcy and using its financial weakness in negotiations with its employees, achieving status quo contracts. With labour contracts scheduled to end this month and next, the strong position of the airlines is expected to stiffen union resolve to share in the increased net revenues.

Those revenues were helped by increasing numbers of passengers and reducing costs, as well as foreign exchange gains. International travel, especially to the Pacific region, led the rises. US travellers through the main Toronto hub more than doubled, indicating the increase in foreign air traffic to and through Canadian airports.

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.

Wednesday, February 4, 2009

On Tuesday, United States President Barack Obama saw two of his cabinet nominations withdraw from consideration after issues with their taxes became public knowledge.

Former Senator Tom Daschle from South Dakota withdrew after it was revealed he failed to pay US$128,203 in taxes. He has since made the payment including a $11,964 interest payment. Obama had nominated him as the Secretary of Health and Human Services.

Nancy Killefer, whom Obama had appointed to the newly created position of Chief Performance Officer, withdrew her nomination because she had failed to pay payroll taxes on a household employee.

“I think I screwed up,” Obama said in an interview with CNN. “And, I take responsibility for it and we’re going to make sure we fix it so it doesn’t happen again.”

Last week, Timothy F. Geithner survived his nomination and was confirmed as Secretary of the Treasury, even though it was revealed that he had failed to pay $34,000 in taxes on income earned while working for the International Monetary Fund.