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Monday, March 28, 2011

Sunday morning showed Trafalgar Square, London damaged during the night by demonstrators.

Bottles, cans, and placards littered the concrete ground of one of the most iconic landmarks in London. Demonstrators livid at government cuts had sprayed graffiti on the four bronze lions. “No-one rules if no-one obeys,” one message, next to the symbol of anarchy, read. On the steps leading up to the National Gallery lay placards, dropped by demonstrators the night before. Hours earlier the square was an arena for running battles between the anarchist protesters and riot police.

First, they targetted Oxford Street, arguably the most famous shopping row in the city. The protesters, many dressed in black, hurled smoke bombs and paint at Topshop, which they claimed has systematically abused the tax system. In Piccadilly, they ransacked The Ritz, a hotel popularly known for upmarket opulence. As darkness fell over the capital, many went home. But in Trafalgar Square, protesters lit campfires and danced to music, smoking and eating into the night.

But then the police moved in. Clad in riot gear, the situation began to escalate and both they and the demonstrators began to panic. They raised their batons and shouted at the crowd, while the protesters grabbed metal barriers and hurled them over police lines, using them as battering rams. Some protesters yelled in defence, “Don’t hit us!”, while the more determined shouted, “Shame on you! Your job’s next!” The riot officers pushed protesters into the centre of the square, towards Nelson’s Column. The police started forward at least twice swinging their batons in the air, as protesters retaliated by throwing glass bottles and coins towards the police lines. One officer was taken away with blood pouring from under his visor.

“I have never seen such a fast escalation of violence in my life,” one witness to the violence in the square said. “Everything just kicked off, glass everywhere, police hitting people, people being dragged across the floor. I just can’t believe it.” Other protesters on the front line later described the police retaliation as they began to kettle people in. “I find myself in front of the riot line,” one protester wrote, “taking a blow to the head and a kick to the shin; I am dragged to my feet by a girl with blue hair who squeezes my arm and then raises a union flag defiantly at the cops.”

Fireworks exploded overhead and, towards midnight, the number of protesters had diminished. As the kettling began, many of them slipped away into the night. In the early hours of the morning, the levels of violence began to fade. “Vandalism has been committed and officers have come under sustained attack,” the Metropolitan Police said. “We are holding everyone here until the situation calms down and we determine who is responsible.”

As the street cleaners worked through the morning in London, more than 200 protesters, detained throughout the day, remained in custody. Although the organisers of the march were swift to disassociate themselves with the violence, the protesters were defiant. “I’m not moving, I’m not moving,” one young protester, hemmed in by the riot police, said. “I’ve been on every protest, I won’t let this government destroy our future without a fight. I won’t stand back, I’m not moving.”

Wednesday, December 5, 2007

On Tuesday, the United States Senate Committee on Homeland Security and Governmental Affairs‘s Permanent Subcommittee on Investigations held a hearing titled “Credit Card Practices: Unfair Interest Rate Increases.” The hearing examined the circumstances under which credit card issuers may increase the interest rates of cardholders who are in compliance with the terms of their credit cards. It was a follow-up to a March 2007 hearing.

Subcommittee Chairman Carl Levin said in his opening statement: “Today’s focus is on credit card issuers who hike the interest rates of cardholders who play by the rules — meaning those folks who pay on time, pay at least the minimum amount due, and wake up one day to find their interest rate has gone through the roof — again, not because they paid late or exceeded the credit limit, but because their credit card issuer decided they should be ‘repriced’.”

Present to testify on behalf of credit card issuers were Roger C. Hochschild of Discover Financial Services, Bruce L. Hammonds of Bank of America Corporation, and Ryan Schneider of Capital One Financial Corporation.

Much of the 90 minute hearing focused on specific cases where interest rates were raised, allegedly because credit scores of the debtor dropped, and not because they were delinquent or otherwise behind on payments. According to Levin, this practice made it so that almost all payments went towards finance charges with almost none toward repaying the principal. This, he felt, is an unfair practice, as the credit card companies were negligent in informing their customers of the rate hikes and the reason for such hikes.

The collective credit card debt of Americans totals an estimated US$900 billion. Issuers have come under pressure to disclose their policies in regards to setting fees and interest rates. The US Truth in Lending Act requires that terms of a loan be set forth up front. Fluctuating interest rates on credit cards would, on the surface, appear to violate this act.

Roger C. Hochschild disagreed, arguing that “every card transaction is a new extension of credit … This makes it difficult — and risky — to underwrite, and price, the loan based solely on the borrower’s credit-worthiness at the time of application [for the card].”

Ryan Schneider, agreed: “The ability to modify the terms of a credit card agreement to accommodate changes over time to the economy or the credit-worthiness of consumers must be preserved.”

“Attempts to interfere with the market here … will inevitably result in less credit being offered,” warned Bruce Hammonds. “Risk-based pricing has democratized access to credit,” he added.

All three credit card executives also mentioned an ongoing Federal Reserve System review of credit card rules that already proposes a 45-day notification ahead of any rate changes.

Committee members criticized the industry for varying practices. Included in the criticism was the practice of mailing checks to card-holders, failing to notify applicants that obtaining additional cards could lower their credit score and raise their rates, and “ambushing” card-holders with raised rates.

Ranking minority member of the subcommittee, Norm Coleman said, “families find themselves ensnared in a seemingly inescapable web of credit card debt. They particularly report being saddled with interest rates that skyrocketed on them seemingly out of the blue.”

Friday, July 29, 2011

Today sees the reopening of the National Museum of Scotland following a three-year renovation costing £47.4 million (US$ 77.3 million). Edinburgh’s Chambers Street was closed to traffic for the morning, with the 10am reopening by eleven-year-old Bryony Hare, who took her first steps in the museum, and won a competition organised by the local Evening News paper to be a VIP guest at the event. Prior to the opening, Wikinews toured the renovated museum, viewing the new galleries, and some of the 8,000 objects inside.

Dressed in Victorian attire, Scottish broadcaster Grant Stott acted as master of ceremonies over festivities starting shortly after 9am. The packed street cheered an animatronic Tyrannosaurus Rex created by Millenium FX; onlookers were entertained with a twenty-minute performance by the Mugenkyo Taiko Drummers on the steps of the museum; then, following Bryony Hare knocking three times on the original doors to ask that the museum be opened, the ceremony was heralded with a specially composed fanfare – played on a replica of the museum’s 2,000-year-old carnyx Celtic war-horn. During the fanfare, two abseilers unfurled white pennons down either side of the original entrance.

The completion of the opening to the public was marked with Chinese firecrackers, and fireworks, being set off on the museum roof. As the public crowded into the museum, the Mugenkyo Taiko Drummers resumed their performance; a street theatre group mingled with the large crowd, and the animatronic Tyrannosaurus Rex entertained the thinning crowd of onlookers in the centre of the street.

On Wednesday, the museum welcomed the world’s press for an in depth preview of the new visitor experience. Wikinews was represented by Brian McNeil, who is also Wikimedia UK’s interim liaison with Museum Galleries Scotland.

The new pavement-level Entrance Hall saw journalists mingle with curators. The director, Gordon Rintoul, introduced presentations by Gareth Hoskins and Ralph Applebaum, respective heads of the Architects and Building Design Team; and, the designers responsible for the rejuvenation of the museum.

Describing himself as a “local lad”, Hoskins reminisced about his grandfather regularly bringing him to the museum, and pushing all the buttons on the numerous interactive exhibits throughout the museum. Describing the nearly 150-year-old museum as having become “a little tired”, and a place “only visited on a rainy day”, he commented that many international visitors to Edinburgh did not realise that the building was a public space; explaining the focus was to improve access to the museum – hence the opening of street-level access – and, to “transform the complex”, focus on “opening up the building”, and “creating a number of new spaces […] that would improve facilities and really make this an experience for 21st century museum visitors”.

Hoskins explained that a “rabbit warren” of storage spaces were cleared out to provide street-level access to the museum; the floor in this “crypt-like” space being lowered by 1.5 metres to achieve this goal. Then Hoskins handed over to Applebaum, who expressed his delight to be present at the reopening.

Applebaum commented that one of his first encounters with the museum was seeing “struggling young mothers with two kids in strollers making their way up the steps”, expressing his pleasure at this being made a thing of the past. Applebaum explained that the Victorian age saw the opening of museums for public access, with the National Museum’s earlier incarnation being the “College Museum” – a “first window into this museum’s collection”.

The museum itself is physically connected to the University of Edinburgh’s old college via a bridge which allowed students to move between the two buildings.

Applebaum explained that the museum will, now redeveloped, be used as a social space, with gatherings held in the Grand Gallery, “turning the museum into a social convening space mixed with knowledge”. Continuing, he praised the collections, saying they are “cultural assets [… Scotland is] turning those into real cultural capital”, and the museum is, and museums in general are, providing a sense of “social pride”.

McNeil joined the yellow group on a guided tour round the museum with one of the staff. Climbing the stairs at the rear of the Entrance Hall, the foot of the Window on the World exhibit, the group gained a first chance to see the restored Grand Gallery. This space is flooded with light from the glass ceiling three floors above, supported by 40 cast-iron columns. As may disappoint some visitors, the fish ponds have been removed; these were not an original feature, but originally installed in the 1960s – supposedly to humidify the museum; and failing in this regard. But, several curators joked that they attracted attention as “the only thing that moved” in the museum.

The museum’s original architect was Captain Francis Fowke, also responsible for the design of London’s Royal Albert Hall; his design for the then-Industrial Museum apparently inspired by Joseph Paxton’s Crystal Palace.

The group moved from the Grand Gallery into the Discoveries Gallery to the south side of the museum. The old red staircase is gone, and the Millennium Clock stands to the right of a newly-installed escalator, giving easier access to the upper galleries than the original staircases at each end of the Grand Gallery. Two glass elevators have also been installed, flanking the opening into the Discoveries Gallery and, providing disabled access from top-to-bottom of the museum.

The National Museum of Scotland’s origins can be traced back to 1780 when the 11th Earl of Buchan, David Stuart Erskine, formed the Society of Antiquaries of Scotland; the Society being tasked with the collection and preservation of archaeological artefacts for Scotland. In 1858, control of this was passed to the government of the day and the National Museum of Antiquities of Scotland came into being. Items in the collection at that time were housed at various locations around the city.

On Wednesday, October 28, 1861, during a royal visit to Edinburgh by Queen Victoria, Prince-Consort Albert laid the foundation-stone for what was then intended to be the Industrial Museum. Nearly five years later, it was the second son of Victoria and Albert, Prince Alfred, the then-Duke of Edinburgh, who opened the building which was then known as the Scottish Museum of Science and Art. A full-page feature, published in the following Monday’s issue of The Scotsman covered the history leading up to the opening of the museum, those who had championed its establishment, the building of the collection which it was to house, and Edinburgh University’s donation of their Natural History collection to augment the exhibits put on public display.

Closed for a little over three years, today’s reopening of the museum is seen as the “centrepiece” of National Museums Scotland’s fifteen-year plan to dramatically improve accessibility and better present their collections. Sir Andrew Grossard, chair of the Board of Trustees, said: “The reopening of the National Museum of Scotland, on time and within budget is a tremendous achievement […] Our collections tell great stories about the world, how Scots saw that world, and the disproportionate impact they had upon it. The intellectual and collecting impact of the Scottish diaspora has been profound. It is an inspiring story which has captured the imagination of our many supporters who have helped us achieve our aspirations and to whom we are profoundly grateful.“

The extensive work, carried out with a view to expand publicly accessible space and display more of the museums collections, carried a £47.4 million pricetag. This was jointly funded with £16 million from the Scottish Government, and £17.8 million from the Heritage Lottery Fund. Further funds towards the work came from private sources and totalled £13.6 million. Subsequent development, as part of the longer-term £70 million “Masterplan”, is expected to be completed by 2020 and see an additional eleven galleries opened.

The funding by the Scottish Government can be seen as a ‘canny‘ investment; a report commissioned by National Museums Scotland, and produced by consultancy firm Biggar Economics, suggest the work carried out could be worth £58.1 million per year, compared with an estimated value to the economy of £48.8 prior to the 2008 closure. Visitor figures are expected to rise by over 20%; use of function facilities are predicted to increase, alongside other increases in local hospitality-sector spending.

Proudly commenting on the Scottish Government’s involvement Fiona Hyslop, Cabinet Secretary for Culture and External Affairs, described the reopening as, “one of the nation’s cultural highlights of 2011” and says the rejuvenated museum is, “[a] must-see attraction for local and international visitors alike“. Continuing to extol the museum’s virtues, Hyslop states that it “promotes the best of Scotland and our contributions to the world.“

So-far, the work carried out is estimated to have increased the public space within the museum complex by 50%. Street-level storage rooms, never before seen by the public, have been transformed into new exhibit space, and pavement-level access to the buildings provided which include a new set of visitor facilities. Architectural firm Gareth Hoskins have retained the original Grand Gallery – now the first floor of the museum – described as a “birdcage” structure and originally inspired by The Crystal Palace built in Hyde Park, London for the 1851 Great Exhibition.

The centrepiece in the Grand Gallery is the “Window on the World” exhibit, which stands around 20 metres tall and is currently one of the largest installations in any UK museum. This showcases numerous items from the museum’s collections, rising through four storeys in the centre of the museum. Alexander Hayward, the museums Keeper of Science and Technology, challenged attending journalists to imagine installing “teapots at thirty feet”.

The redeveloped museum includes the opening of sixteen brand new galleries. Housed within, are over 8,000 objects, only 20% of which have been previously seen.

The Window on the World rises through the four floors of the museum and contains over 800 objects. This includes a gyrocopter from the 1930s, the world’s largest scrimshaw – made from the jaws of a sperm whale which the University of Edinburgh requested for their collection, a number of Buddha figures, spearheads, antique tools, an old gramophone and record, a selection of old local signage, and a girder from the doomed Tay Bridge.

The arrangement of galleries around the Grand Gallery’s “birdcage” structure is organised into themes across multiple floors. The World Cultures Galleries allow visitors to explore the culture of the entire planet; Living Lands explains the ways in which our natural environment influences the way we live our lives, and the beliefs that grow out of the places we live – from the Arctic cold of North America to Australia’s deserts.

The adjacent Patterns of Life gallery shows objects ranging from the everyday, to the unusual from all over the world. The functions different objects serve at different periods in peoples’ lives are explored, and complement the contents of the Living Lands gallery.

Performance & Lives houses musical instruments from around the world, alongside masks and costumes; both rooted in long-established traditions and rituals, this displayed alongside contemporary items showing the interpretation of tradition by contemporary artists and instrument-creators.

The museum proudly bills the Facing the Sea gallery as the only one in the UK which is specifically based on the cultures of the South Pacific. It explores the rich diversity of the communities in the region, how the sea shapes the islanders’ lives – describing how their lives are shaped as much by the sea as the land.

Both the Facing the Sea and Performance & Lives galleries are on the second floor, next to the new exhibition shop and foyer which leads to one of the new exhibition galleries, expected to house the visiting Amazing Mummies exhibit in February, coming from Leiden in the Netherlands.

The Inspired by Nature, Artistic Legacies, and Traditions in Sculpture galleries take up most of the east side of the upper floor of the museum. The latter of these shows the sculptors from diverse cultures have, through history, explored the possibilities in expressing oneself using metal, wood, or stone. The Inspired by Nature gallery shows how many artists, including contemporary ones, draw their influence from the world around us – often commenting on our own human impact on that natural world.

Contrastingly, the Artistic Legacies gallery compares more traditional art and the work of modern artists. The displayed exhibits attempt to show how people, in creating specific art objects, attempt to illustrate the human spirit, the cultures they are familiar with, and the imaginative input of the objects’ creators.

The easternmost side of the museum, adjacent to Edinburgh University’s Old College, will bring back memories for many regular visitors to the museum; but, with an extensive array of new items. The museum’s dedicated taxidermy staff have produced a wide variety of fresh examples from the natural world.

At ground level, the Animal World and Wildlife Panorama’s most imposing exhibit is probably the lifesize reproduction of a Tyrannosaurus Rex skeleton. This rubs shoulders with other examples from around the world, including one of a pair of elephants. The on-display elephant could not be removed whilst renovation work was underway, and lurked in a corner of the gallery as work went on around it.

Above, in the Animal Senses gallery, are examples of how we experience the world through our senses, and contrasting examples of wildly differing senses, or extremes of such, present in the natural world. This gallery also has giant screens, suspended in the free space, which show footage ranging from the most tranquil and peaceful life in the sea to the tooth-and-claw bloody savagery of nature.

The Survival gallery gives visitors a look into the ever-ongoing nature of evolution; the causes of some species dying out while others thrive, and the ability of any species to adapt as a method of avoiding extinction.

Earth in Space puts our place in the universe in perspective. Housing Europe’s oldest surviving Astrolabe, dating from the eleventh century, this gallery gives an opportunity to see the technology invented to allow us to look into the big questions about what lies beyond Earth, and probe the origins of the universe and life.

In contrast, the Restless Earth gallery shows examples of the rocks and minerals formed through geological processes here on earth. The continual processes of the planet are explored alongside their impact on human life. An impressive collection of geological specimens are complemented with educational multimedia presentations.

Beyond working on new galleries, and the main redevelopment, the transformation team have revamped galleries that will be familiar to regular past visitors to the museum.

Formerly known as the Ivy Wu Gallery of East Asian Art, the Looking East gallery showcases National Museums Scotland’s extensive collection of Korean, Chinese, and Japanese material. The gallery’s creation was originally sponsored by Sir Gordon Wu, and named after his wife Ivy. It contains items from the last dynasty, the Manchu, and examples of traditional ceramic work. Japan is represented through artefacts from ordinary people’s lives, expositions on the role of the Samurai, and early trade with the West. Korean objects also show the country’s ceramic work, clothing, and traditional accessories used, and worn, by the indigenous people.

The Ancient Egypt gallery has always been a favourite of visitors to the museum. A great many of the exhibits in this space were returned to Scotland from late 19th century excavations; and, are arranged to take visitors through the rituals, and objects associated with, life, death, and the afterlife, as viewed from an Egyptian perspective.

The Art and Industry and European Styles galleries, respectively, show how designs are arrived at and turned into manufactured objects, and the evolution of European style – financed and sponsored by a wide range of artists and patrons. A large number of the objects on display, often purchased or commissioned, by Scots, are now on display for the first time ever.

Shaping our World encourages visitors to take a fresh look at technological objects developed over the last 200 years, many of which are so integrated into our lives that they are taken for granted. Radio, transportation, and modern medicines are covered, with a retrospective on the people who developed many of the items we rely on daily.

What was known as the Museum of Scotland, a modern addition to the classical Victorian-era museum, is now known as the Scottish Galleries following the renovation of the main building.

This dedicated newer wing to the now-integrated National Museum of Scotland covers the history of Scotland from a time before there were people living in the country. The geological timescale is covered in the Beginnings gallery, showing continents arranging themselves into what people today see as familiar outlines on modern-day maps.

Just next door, the history of the earliest occupants of Scotland are on display; hunters and gatherers from around 4,000 B.C give way to farmers in the Early People exhibits.

The Kingdom of the Scots follows Scotland becoming a recognisable nation, and a kingdom ruled over by the Stewart dynasty. Moving closer to modern-times, the Scotland Transformed gallery looks at the country’s history post-union in 1707.

Industry and Empire showcases Scotland’s significant place in the world as a source of heavy engineering work in the form of rail engineering and shipbuilding – key components in the building of the British Empire. Naturally, whisky was another globally-recognised export introduced to the world during empire-building.

Lastly, Scotland: A Changing Nation collects less-tangible items, including personal accounts, from the country’s journey through the 20th century; the social history of Scots, and progress towards being a multicultural nation, is explored through heavy use of multimedia exhibits.

Saturday, October 15, 2005

In the November issue of the Journal of Clinical Investigation,researchers announce that they have found that cannabinoids promoted a generation of new neurons in rats’ hippocampi. The study held true for both a plant-derived and a synthetic cannabinoid. The hippocampus is a part of the brain that contributes to learning and memory. In particular, it has been shown that the hippocampus is essential for the formation of new episodic memories.

“This is quite a surprise, chronic use of marijuana may actually improve learning memory when the new neurons in the hippocampus can mature in two or three months,” said Xia Zhang, with the Neuropsychiatry Research Unit of the University of Saskatchewan.

“Our results were obtained from rats, and there’s a big difference between rats and humans,” added Zhang, “So, I really don’t know yet if our findings apply to humans. But our results indicate that the clinical use of marijuana could make people feel better by helping control anxiety and depression.”

Zhang and his co-workers performed behavioral tests on two purified cannabinoids. The test results indicated that these two cannabinoids have anti-anxiety and antidepression-like effects in rats that may depend on the ability of cannabinoids to promote the production of new neurons in the hippocampus. Marijuana contains a complex mixture of chemicals including cannabinoids and may have somewhat different behavioral effects than the purified cannabinoids tested so far.

Previous studies examining the effects of cannabis have highlighted negative aspects of the drug’s use, such as short term memory difficulties, increased heart rate, nausea, and (in a very small percentage of people) hallucinations. Long term studies about cannabis use tend to be controversial as the data is seen to be biased or flawed. The most agreed upon effect of long term cannabis use is lung damage. However, proponents argue that the correlation between cannabis consumption and lung cancer is misleading suggesting that cannabis use may correlate with tobacco use or that the data is not being properly analyzed.

Tuesday, March 25, 2014

Dave Brockie of rubber-costumed metal act GWAR was found dead in his Richmond, Virginia home late on Sunday. Better known by stage name Oderus Urungus, Brockie was 50.

Founder, singer, leader, and occasional bassist of GWAR, Brockie’s career stretches back to 1984. He and fellow Virginia Commonwealth University art students formed what they dubbed “Earth’s only openly extra-terrestrial rock band”, growing famous for satirical and obscene lyrical themes, and live shows featuring the defilement of effigies and plenty of fake blood.

Fellow founding member Don Drakulich, who still makes props and costumes for the rockers, said he was “very sad” and “shocked”. He said Brockie’s roommate found the corpse. GWAR members changed frequently and the band recovered from the sudden death of guitarist Cory “Flattus Maximus” Smoot during a 2011 tour, but the New York Daily News notes “it’s hard to envision their saga going further” after Brockie’s death.

The band ran with the backstory of crashing to “the most insignificant planet in the universe” 43 million years ago before creating humans by having sex with apes. Becoming encased with ice, the legend ran that upon thawing out in 1984 the members decided to form a band.

Manager Jack Flanagan announced the death via GWAR’s website, adding a post-mortem will be conducted. “My main focus right now is to look after my band mates and his family” he said. Flanagan said another GWAR member found the body.

Brockie said in 2009 “I am one of the blessed people that gets to do what I love to do for a living.” GWAR received a Grammy nomination in 1993, with Phallus in Wonderland up for Best Longform Music Video.

Fellow Virginia rocker Randy Blythe, vocalist for Lamb of God, paid tribute online, writing on Instagram “When someone dies, a lot of the time people will say ‘Oh, he was a unique person, really one of a kind, a true original’ […] I can’t think of ANYONE even remotely like him.”

Blythe also took to Facebook. “Right now, if I were to truly honor Dave in the way HE would do it if it were ME that had died, I would make a completely tasteless joke about his death. But I do not have the stomach for that — Dave would, but not me. He never put much stock in ‘limits’.”

Ex-GWAR guitarist Steve Douglas said on Facebook “I have had a few bad days in my life but this one truly ranks right up there. […] you are gone and it is hurting very badly!” “I wish it was a joke” said another ex-member, Chris Bopst. “Everyone is in shock.”

Former bassist Mike Bishop paid tribute in an interview with Style Weekly. “Dave was one of the funniest, smartest, most creative and energetic persons I’ve known,” he said. “He was brash sometimes, always crass, irreverent, he was hilarious in every way. But he was also deeply intelligent and interested in life, history, politics and art.”

Tuesday, March 28, 2006

As many as 1.5 million government workers, members of 11 unions, went on strike on Tuesday in protest of a government decision to reduce their retirement benefits, a change which would take effect in October.

The strike closed thousands of schools, libraries and leisure centres, disrupted commuters, and reduced some facilities to emergency only staffing.

UNISON claimed that more than a million workers had joined the strike, with General Secretary Dave Prentis saying “this overwhelming show of strength from Lands End to John O’Groats has obviously taken the Local Government Association and some local councils by surprise”.

The benefits change, would effect the “85 year rule,” of the Local Government Pension scheme, which allows government employees to retire at 60 as long as the sum of their age and their years of employment sum to 85 or greater. According to union representatives, the new retirement plan is targeted at lower paid employees, leaving higher paid employees to enjoy the same benefits as before.

Ahead of the strike, the Local Government Association claimed that the changes proposed by unions “would add at least 2% a year to every council taxpayer’s bill”.

The participating unions point out this is likely to be the largest strike in Britain since 1926.

Saturday, May 28, 2005

California State Senator Joseph Dunn, school officials, and environmental professionals met with Kennedy Elementary School parents in a town-hall style meeting in Santa Ana Thursday evening. The parents aired their concerns over health issues at schools and workplaces, including a rash of leukemia cases in the student population, and began a dialogue they have been working toward for years.

Representatives of Markland Manufacturing and of AQMD also spoke at the meeting, explaining their positions. The outcome of the meeting was that Senator Dunn and members of the community will tour the Markland facility and meet with county officials, and another public meeting will be held in a couple of weeks.

Wednesday, November 29, 2006

SkyCabs International, a New Zealand company based in Auckland, New Zealand, has announced that it is planning to build a monorail in New Zealand’s capital, Wellington for about NZ$300 million.

SkyCabs International’s plans are to build a monorail service that starts in Johnsonville which then travels into the central business district (cbd) and then finally goes to Wellington International Airport.

The chief executive of SkyCabs, Hugh Chapman, said that it could be “…economically feasible.” And that the monorail would be “a real opportunity.” The monorail would also be environmentally friendly, according to Mr Chapman.

“SkyCabs’ cabs could run in opposite directions on both sides of the beam – instead of on the top as standard monorails do – at speeds of up to 80kmh and carrying 4800 people an hour in each direction. A monorail around Evans Bay and Oriental Bay would blow tourists’ minds,” said Mr Chapman.

SkyCabs is currently trying to raise $31.2 million so it can built a 600 metre track in Auckland to show investors and the public what the monorail will look like and how it will work as their technology is so far unproven and untested. The possible site is Rainbows End, a theme park in Auckland.

“Potentially, if we can prove it works, the market is about $25.4 billion a year,” Mr Chapman said.

Andrew Cutler, spokesman for the greater Wellington regional council, said: “SkyCabs had briefed some council staff on its ideas. However, given the council and Government recently committed to a $50 million upgrade of the Johnsonville rail line, SkyCabs would certainly not be constructing a Johnsonville-to-city monorail.”