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Thursday, September 6, 2012

London, England— Tuesday, following her team’s 62–37 win over Mexico in the quarter-finals at the North Greewich Arena, Wikinews interviewed Amber Merrit of the Australian women’s national wheelchair basketball team.

In their next match, the Gliders will face the victors from the United States versus Canada, having suffered their first loss of this year’s Games to Canada on Sunday night by seven points.

((Laura Hale)) I’m excited to see you in London, because you were so fantastic in that interview.

[Wikinews previously interviewed Merrit, and teammates in July. —Ed.]

Amber Merrit: Thank you.

((WN)) Which state are you from?

AM: I’m from WA. [Western Australia —Ed.]

((WN)) You wheel change! What was wrong with your wheel?

AM: I smashed out three spokes. Someone hit me, and I lost three spokes in my chair.

((WN)) was that because you were playing really aggressively against Mexico?

AM: Yeah, or they were playing really aggressive against us.

((WN)) Watching that game it didn’t seem that they were playing that aggressive, in terms of they came in with set pieces; they weren’t doing the full-court press; they didn’t seem prepared for your offensive and defensive tenacity. ((Hawkeye7)) You kept on all holding them out, where they weren’t even getting across the centre line

AM: I think we have a really physical style of basketball where we’re going to press, and when we press we try to stop chairs and make sure they don’t get over that halfway line. They’re going to come out and play as hard as they can against us and sometimes there is that odd mishap where they might smash a few spokes cause they hit us. It happens.

((WN)) You tipped a lot in previous games. You haven’t tipped so much in this series.

AM: No, I’ve managed to keep my balance this time. Or maybe they haven’t hit me hard enough to put me down on the floor.

((WN)) Part of the appeal of wheelchair basketball, and I feel guilty admitting it, it watching you guys tip.

AM: And fall out. It’s embarrassing but I like it.

((WN)) You’ve got your next game coming up, which is going to be against the winner of the United States or Canada later today

AM: We’re not 100% sure yet who that’s going to be.

((WN)) Looking forward to meeting them?

AM: Yeah! Looking forward to coming up against them.

((WN)) Who would you prefer?

AM: I don’t know if I have a preference, to be honest. Whoever its going to be, we’re still going to go out there and play as hard as we can and take it to them as a team.

((WN)) Do you think you’ve been adequately prepared coming in to this, with your tournament in Sydney, your tournament in the Netherlands?

AM: Yeah, I think we’ve come in very well prepared for this tournament. We’ve been together for a while now as a team. Of course we had the Gliders and Rollers world challenge. We also went to Arnheim in the Netherlands for a pre-tournament, and we’ve trained together in Cardiff. And then after Cardiff we came in to London; so we’ve had that time together as a team and we’re doing really well.

((WN)) Does that give you an advantage over other teams?

AM: I’m not sure, because I don’t know what other teams have been doing behind the scenes as their training.

((WN)) Thank you very much.

AM: No worries!

Friday, March 17, 2006

A U.S. raid near Balad on Wednesday resulted in the deaths of between nine and 13 civilians. An Associated Press photographer recorded pictures of the bodies of two men, five children, and four covered corpses reported to be women. The victims had bits of rubble tangled in their hair and were covered in dust. Police Capt. Hakim Azzawi said in an interview with the Washington Post that 13 in total were dead, two men, five children, and six women. The U.S. military confirmed the attack but said only four people died — two women, a man and a child.

Family of the victims said the 11 dead people were wrapped in blankets and driven in three pickup trucks to the Tikrit General Hospital.

The US military said that the raid resulted in a “foreign fighter facilitator” being taken into coalition custody for questioning.

Police Capt. Laith Mohammed stated that the attack 50 miles north of Baghdad involved U.S. warplanes and armored vehicles, which flattened a house in the village of Isahaqi.

Ahmed, the brother of the dead man, told the Associated Press, “The dead family was not part of the resistance. They were women and children. The Americans have promised us a better life, but we get only death.”

Saturday, September 22, 2007

British architect Norman Foster and FC Barcelona president Joan Laporta presented today in Barcelona the redevelopment project for the team’s stadium, Camp Nou, built in 1957.

The Catalan club expects that this redesign will turn the stadium into a city landmark and that “the external image of the stadium will become a recognized brand for FCB.” Works will begin in 2008.

The new stadium will be wrapped in a colourful mosaic made up of the team’s colours (blue and red) and those of the Catalan flag (red and yellow) and reminiscent of Gaudi’s style. This reptile-like cover of tiles and lights will allow the stadium to transform itself according to the time of day and the events taking place. The project also includes the building of a retractable roof.

According to the Club, “the remodelled stadium is designed such that it can be built with minimal disruption FCB normal football activity.”

Tuesday, May 1, 2007

The final round of the ELSA Moot Court Competition on WTO Law is taking place in Geneva this week. Eighteen teams from Europe, North America, Latin America and Asia-Pacific have made it to the finals to contest one of the key issues underpinning WTO trade negotiations – commitment to public health.

The 2001 WTO Doha Declaration on TRIPS and Public Health was a vital step in increasing access to medicines in health emergencies. It permits governments to temporarily set aside patents on specific medicines to protect the health of their people.

Many of the key arguments of the WTO negotiations on this matter as well as the issues surrounding free trade agreements (FTAs) between WTO members will be used by the students as they debate the issues at hand. Students will play out a dispute between two WTO members – one setting aside a pharmaceutical patent, the other challenging this on behalf of its industry – in front of a distinguished panel of judges, including many WTO luminaries.

Giorgio Sacerdoti, Chairman, WTO Appellate Body, said: “The WTO dispute settlement system fulfills at least two important systemic functions in today world society: (1) “ensure the respect of treaty based rights and obligations in a multilateral setting by providing the speedy resolution of disputes in an impartial way, based on the rule of law”, (2) “by collective monitoring ensure implementation of those decisions”. Lawyers are called to play an increasing role in this mechanism. ELSA has to be commended for preparing students to this challenge and opportunity on a worldwide basis.”

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.

Monday, August 20, 2007

Two police vehicles were damaged and police officers narrowly avoided injury in Great Yarmouth, England after a mob of over 100 people assembled outside a local police station.

The event has been labelled by local police as a ‘major incident’ and has so far resulted in 15 arrests pertaining to violent disorder, possession of drugs and taking a vehicle without consent. Over 100 police officers were involved in the event; many of them from bordering counties.

The mob assembled in the early hours of Monday morning and threw missiles including wine bottles and beer cans at the building.

The conflict is thought to be connected to the prior arrests of three people driving a van containing sound equipment in connection with an unlicensed music event which was being monitored by the police several hours earlier. At the event, police had made three arrests and seized 44 vehicles.

The police are also investigating a burglary which occurred on Harfrey’s Industrial Estate in the close vicinity of the illegal music event. Police Chief Supt Scully has warned people away from the area as it is now being treated as a crime scene.

Wednesday, November 2, 2005

A small group of people gathered in protest outside the New South Wales Parliament in Sydney, Australia at midday. The group was protesting the proposed Anti-Terrorism Bill, calling upon Premier Iemma not to support the laws. The protest was organised by the New South Wales Greens and was addressed by several speakers, including Lee Rhiannon, an elected Greens parliamentarian from the New South Wales Legislative Council.

One protester carried a placard which read: “Terrorism Laws=Fascism!” She compared the proposed legislation to the 1933 German Enabling Act, saying “It is the most basic rule of democracy is that you have the right to legal representation and Hitler took that away, that was Habeas corpus as it was called, in 1933 legislation and from that moment on thats when everything began. They could remove people, anyone who objected anyone who was a witness, anyone who tried to find out what happened could also be removed.”

“John Howard’s terror law would not make Australia safer”, Lee Rhiannon said in her speech, “They will not stop a London style bombing occurring in Australia and that’s what we need to remember. This is another one of John Howards’s lies. Let’s remember weapons of mass destruction, (and) children overboard.”

The Australian government introduced anti-terror laws after September 11, and has sought to extend those laws in the wake of the London train bombings.

The government claimed in a media release today that it has this week received specific information about a terrorist threat to Australia.

“The Government has received specific intelligence and police information this week which gives cause for serious concern about a potential terrorist threat. The detail of this intelligence has been provided to the Leader of the Opposition and the Shadow Minister for Homeland Security,” the release said.

The government claims that the new bill is intended to improve the ability of intelligence services and the police to counter this threat.

“The Government is satisfied on the advice provided to it that the immediate passage of this bill would strengthen the capacity of law enforcement agencies to effectively respond to this threat,” the release said.

Dr Andrew Lynch, Project Director of the Terrorism and Law project at the Gilbert & Tobin Centre of Public Law, has said that Rhiannon has raised some valid issues regarding some of the provisions in the proposed legislation.

“It is difficult to see how many of [the provisions] will enhance our security. For example, the bans on free speech will only drive inciting and hateful messages under ground which must make the job of security forces harder in identifying real threats. The restrictions on family members knowing about the detention of their children is not conceivably going to improve our safety. There is a lot to be said for the view that depriving people of their liberty on the basis only of ‘reasonable suspicion’ might well fuel feelings of alienation amongst some groups which could be harnessed by extremists,” Dr Lynch said.