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Saturday, October 1, 2005

New Zealand has relaxed the safety rules imposed on internal airlines in 2002, once more allowing passengers to carry pocket knives with blades less than 60mm long and knitting needles.

Other larger items remain banned, including ice-skates, pool cues, hockey sticks, skateboards, cricket bats and harpoons.

Other countries more at risk from terrorism such as the United States of America and Australia will maintain their stricter rules and continue to ban a range of small, sharp objects from their internal flights.

The airlines have also agreed to help return items seized from passengers before boarding.

Friday, May 28, 2010

A man accused of being a serial killer has appeared in Bradford magistrates court in West Yorkshire today charged with three counts of murder. 40-year-old Stephen Griffiths is accused of killing Suzanne Blamires, 36, Susan Rushworth, 43, and Shelley Armitage, 31, all prostitutes.

Griffiths, a former van driver with a degree in psychology and studying for a PhD in criminology, gave his name as “Crossbow Cannibal” when asked. He has been in police custody since Monday when police were alerted to a CCTV recording that appeared to show a murder.

A caretaker had been reviewing footage from the flats where Griffiths lives when he saw footage of a woman and a man enter a flat early on Saturday morning. Two minutes later, she ran out and was followed by the man, who beat her to the ground and shot her in the head with a crossbow. Over the course of the weekend, the man was seen several times with bin bags and a rucksack.

On Tuesday, the day after the arrest of Griffiths, Blamires’ remains were found in the River Aire in nearby Shipley. She had been cut into several pieces and her head was located in a rucksack. Police continue to search for the other two alleged victims; Rushworth has been missing since June last year and Armitage vanished in April.

Police have searched much of Bradford’s red-light district, where Griffiths’ third-floor flat is located. Forensic investigations at the flat are expected to last around three weeks. There are plans to search landfill sites for bodies, and police may yet expand the inquiry to cover three more cold cases, although at present they have not been linked to the current inquiry.

Sniffer dogs have been used throughout the city, and police have been taking away plastic evidence bags. Some alleyways remain closed off. Police charged their suspect yesterday.

Griffiths was known as “the lizard man” in his block of flats owing to his habit of walking his two pet monitor lizards in the area. One neighbour is reported to have quoted him as saying he was studying for “a PhD in murder and Jack the Ripper,” and he has spent time in a high-security psychiatric hospital. During his five-minute court appearance he did not enter a plea, kept his head bowed and fidgeted with his cuffed hands. He said “Here, I guess,” when asked for his address.

As he stood in the glass-fronted dock, guarded by three security officers, he was watched by the families of Rushworth and Armitage, who were accompanied by police family liaison officers. Blamires’ family chose not to be present, but the victim’s mother Nicky Blamires, 54, has told the press that Suzanne was a “much-loved” family member even though she “went down the wrong path and did not have the life she was meant to have.” “Nobody deserves this,” she said. “All these girls were human beings and people’s daughters.”

Griffiths’ morning court appearance was followed by a second one this afternoon, at Bradford Crown Court. This time, he confirmed his name without incident. He was remanded into custody until next month, when he will appear in court again.

British media has been quick to compare the case to Peter Sutcliffe, dubbed the “Yorkshire Ripper”. Sutcliffe was a Bradford killer responsible for thirteen murders and seven attempted murders, including several prostitutes. Since his 1981 conviction he has spent most of the last three decades in Broadmoor high-security psychiatric hospital near London.

Tuesday, November 3, 2009

The wife of English football player Wayne Rooney has given birth to a baby boy in Liverpool, England.

Coleen Rooney gave birth to the child in the Liverpool Women’s Hospital at 1420 GMT, after being nine days overdue. The child has been named Kai Wayne Rooney. The father was present at the birth. The birth itself was natural, however Coleen did have to be induced.

A spokesperson for the married couple has said: “Mother and baby are both absolutely fine. Wayne and Coleen are thrilled with the wonderful addition to their family life.” Wayne Rooney is a striker player for Manchester United F.C. He had to abandon earlier training sessions due to the birth taking place.

Sunday, April 25, 2010

At least ten people are dead after a large, destructive tornado tore through Yazoo City, Mississippi yesterday. The tornado has been rated an EF4 on the Enhanced Fujita Scale, and is estimated to have had at most 170 mph winds.

Five of the deaths were in Choctaw County, four in Yazoo County, and one in Holmes County. 21 people have been hospitalized as a result of the storm, and others have been trapped in cars and houses. Multiple injuries resulted from cars being blown off of Interstate 55 during the storm.

The tornado moved along a path 97 miles long and 1.75 miles wide at its widest point. Among damaged or destroyed buildings included at least twenty houses, a church, and several businesses. According to Yazoo City mayor McArthur Straughter, the storm ripped the roofs off of every building in the area. Fallen trees and debris are hindering access to some parts of Yazoo City and Yazoo County. Before ravaging the city, the tornado damaged a chemical plant in Louisiana, causing a nitrogen leak and several injuries.

The Salvation Army is aiding relief efforts by providing hot meals, coffee, cold drinks, and spiritual counseling to tornado victims in Yazoo and Warren Counties.

The tornado occurred on the third, and most active, day of a severe weather outbreak that had previously affected areas of Colorado, Kansas, Oklahoma, Texas, Arkansas, and Louisiana, the latter two of which were also effected during Saturday’s outbreak. The Storm Prediction Center has received 104 reports of tornadoes so far during this outbreak.

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.

Friday, March 29, 2019Toronto Comicon 2019 returned to its titular city from March 15 to 17, as one of the largest pop culture events in Canada. The popular event featured celebrity guests like actors Dan Fogler, Ron Perlman, John De Lancie, John Rhys-Davies, and Jaleel White, as well as comic artists, authors, and professional cosplayers. The event included a large show floor with hundreds of retailers and artists promoting their creations. Wikinews’ Nicholas Moreau attended the event, taking photos of the various sights.

John Rhys-Davies broke news when he revealed that a Sliders reboot is being considered. “Jerry [O’Connell] and I are talking to NBC at the moment. The basic problem is that no one knows who owns the rights”. Their legal department had apparently been looking into the matter for two months, as of the convention weekend. Emma Caufield talked of being cast in an NBC television pilot while a recurring guest actor on Buffy the Vampire Slayer. Faced with loosing the character of Anya Jenkins, the producers finally committed to making her a regular. “It was a good day,” she recalls.

Special effects costumer Ian Campbell, whose screen credits include Star Trek: Discovery, had a booth at the convention displaying his prop replicas and cosplay items. Amidst the bustle of activity, Campbell was working on a Thanos helmet sculpt. After the convention, he told Wikinews that “it can be tough to maintain focus with so many people streaming past and along questions, but sculpting in front of a crowd at conventions is great because it allows people to see the process that goes into what I do […] it also can serve as inspiration to other to pursue their own artistic endeavors.”

Lisa Mancini has been cosplaying for two years, her “passion” for the hobby “stemmed through my love for Halloween.” She typically chooses “to portray beloved characters from childhood or strong females. I also enjoy a good gender bent cosplay to ensure a touch of uniqueness!”

Mancini told Wikinews after the event that the best part of cosplay is “bringing a character to life.” One of the characters she took on this year was Squirrel Girl, a Marvel Comics character. Mancini has been described by the Daily Hive as a “squirrel whisperer”, for the close affinity some of the animals have for her.

Stephanie Chapman has knit a variety of knit outfits, an uncommon technique for cosplay. Prompted by Ron Perlman’s visit, she wore a costume based on Hellboy character Abe Sapien, which lacks the eyeholes of her normal masks. With “Abe, I wanted to go for accuracy over comfort,” Chapman told Wikinews, a choice leaving her largely helpless without a handler. The costume “is very warm […] so I have to stay hydrated and try to keep as calm as possible. It’s just really hard to stay calm when I meet someone like Ron Perlman”. With the combination of excitement and “the stress I’m putting on my body”, she shared that she was prone to meltdown in suit.

Thursday, December 1, 2011

Today saw Edinburgh’s Scottish National Portrait Gallery reopen following a two-and-a-half-year, £17.6m (US$27.4m) refurbishment. Conversion of office and storage areas sees 60% more space available for displays, and the world’s first purpose-built portrait space is redefining what a portrait gallery should contain; amongst the displays are photographs of the Scottish landscape—portraits of the country itself.

First opened in 1889, Sir Robert Rowand Anderson’s red sandstone building was gifted to the nation by John Ritchie Findlay, then-owner of The Scotsman newspaper and, a well-known philanthropist. The original cost of construction between 1885 and 1890 is estimated at over 70,000 pounds sterling. Up until 1954, the building also housed the Society of Antiquaries of Scotland who moved to the National Museum of Scotland buildings on Chambers Street. The society’s original meeting table now sits in the public part of the portrait gallery’s library, stared down on by an array of busts and phrenological artefacts.

Wikinewsie Brian McNeil, with other members of the press, received a guided tour of the gallery last Monday from Deputy Director Nicola Kalinsky. What Kalinsky described as an introduction to the gallery that previously took around 40 minutes, now takes in excess of an hour-and-a-half; with little in the way of questions asked, a more inquisitive tour group could readily take well over two hours to be guided round the seventeen exhibitions currently housed in the gallery.

A substantial amount of the 60% additional exhibition space is readily apparent on the ground floor. On your left as you enter the gallery is the newly-fitted giant glass elevator, and the “Hot Scots” photographic portrait gallery. This exhibit is intended to show well-known Scottish faces, and will change over time as people fall out of favour, and others take their place. A substantial number of the people now being highlighted are current, and recent, cast members from the BBC’s Doctor Who series.

The new elevator (left) is the most visible change to improve disabled access to the gallery. Prior to the renovation work, access was only ‘on request’ through staff using a wooden ramp to allow wheelchair access. The entire Queen Street front of the building is reworked with sloping access in addition to the original steps. Whilst a lift was previously available within the gallery, it was only large enough for two people; when used for a wheelchair, it was so cramped that any disabled person’s helper had to go up or down separately from them.

The gallery expects that the renovation work will see visitor numbers double from before the 2009 closure to around 300,000 each year. As with many of Edinburgh’s museums and galleries, access is free to the public.

The expected significant increase in numbers has seen them working closely with the National Museum of Scotland, which was itself reopened earlier this year after extensive refurbishment work; improved access for wheelchair users also makes it far easier for mothers with baby buggies to access the gallery – prompting more thought on issues as seemingly small as nappy-changing – as Patricia Convery, the gallery’s Head of Press, told Wikinews, a great deal of thought went into the practicalities of increased visitor numbers, and what is needed to ensure as many visitors as possible have a good experience at the gallery.

Press access to the gallery on Monday was from around 11:30am, with refreshments and an opportunity to catch some of the staff in the Grand Hall before a brief welcoming introduction to the refurbished gallery given by John Leighton, director of the National Galleries of Scotland. Centre-stage in the Grand Hall is a statue of Robert Burns built with funds raised from around the British Empire and intended for his memorial situated on Edinburgh’s Calton Hill.

The ambulatories surrounding the Grand Hall give the space a cathedral-like feel, with numerous busts – predominantly of Scottish figures – looking in on the tiled floor. The east corner holds a plaque commemorating the gallery’s reopening, next to a far more ornate memorial to John Ritchie Findlay, who not only funded and commissioned the building’s construction, but masterminded all aspects of the then-new home for the national collection.

Split into two groups, members of the press toured with gallery Director James Holloway, and Nicola Kalinsky, Deputy Director. Wikinews’ McNeil joined Kalinsky’s group, first visiting The Contemporary Scotland Gallery. This ground-floor gallery currently houses two exhibits, first being the Hot Scots display of photographic portraits of well-known Scottish figures from film, television, and music. Centre-stage in this exhibit is the newly-acquired Albert Watson portrait of Sir Sean Connery. James McAvoy, Armando Iannucci, playwright John Byrne, and Dr Who actress Karen Gillan also feature in the 18-photograph display.

The second exhibit in the Contemporary gallery, flanked by the new educational facilities, is the Missing exhibit. This is a video installation by Graham Fagen, and deals with the issue of missing persons. The installation was first shown during the National Theatre of Scotland’s staging of Andrew O’Hagan’s play, The Missing. Amongst the images displayed in Fagen’s video exhibit are clips from the deprived Sighthill and Wester-Hailes areas of Edinburgh, including footage of empty play-areas and footbridges across larger roads that sub-divide the areas.

With the only other facilities on the ground floor being the education suite, reception/information desk, cafe and the gallery’s shop, Wikinews’ McNeil proceeded with the rest of Kalinsky’s tour group to the top floor of the gallery, all easily fitting into the large glass hydraulic elevator.

The top (2nd) floor of the building is now divided into ten galleries, with the larger spaces having had lowered, false ceilings removed, and adjustable ceiling blinds installed to allow a degree of control over the amount of natural light let in. The architects and building contractors responsible for the renovation work were required, for one side of the building, to recreate previously-removed skylights by duplicating those they refurbished on the other. Kalinsky, at one point, highlighted a constructed-from-scratch new sandstone door frame; indistinguishable from the building’s original fittings, she remarked that the building workers had taken “a real interest” in the vision for the gallery.

The tour group were first shown the Citizens of the World gallery, currently hosting an 18th century Enlightenment-themed display which focuses on the works of David Hume and Allan Ramsay. Alongside the most significant 18th century items from the National Portrait Gallery’s collection, are some of the 133 new loans for the opening displays. For previous visitors to the gallery, one other notable change is underfoot; previously carpeted, the original parquet floors of the museum have been polished and varnished, and there is little to indicate it is over 120 years since the flooring was originally laid.

Throughout many of the upper-floor displays, the gallery has placed more light-sensitive works in wall-mounted cabinets and pull-out drawers. Akin to rummaging through the drawers and cupboards of a strange house, a wealth of items – many previously never displayed – are now accessible by the public. Commenting on the larger, featured oils, Deputy Director Kalinsky stressed that centuries-old portraits displayed in the naturally-lit upper exhibitions had not been restored for the opening; focus groups touring the gallery during the renovation had queried this, and the visibly bright colours are actually the consequence of displaying the works in natural light, not costly and risky restoration of the paintings.

There are four other large galleries on the top floor. Reformation to Revolution is an exhibition covering the transition from an absolute Catholic monarchy through to the 1688 revolution. Items on-display include some of the Scottish National Portrait Gallery’s most famous items – including Mary Queen of Scots and The Execution of Charles I. The portrait-based depiction of this historical age is complemented with prints, medals, and miniatures from the period.

Imagining Power is a Jacobite-themed exhibition, one which looks at the sometime-romanticised Stuart dynasty. The Gallery owns the most extensive collection of such material in the world; the portraiture that includes Flora MacDonald and Prince Charles Edward Stuart is complemented by glassware from the period which is on-loan from the Drambuie Liqueur Company which Kalinsky remarked upon as the only way Scots from the period could celebrate the deposed monarchy – toasting The King over the Water in appropriately engraved glasses.

On the other side of the upper floor, the two main naturally-lit exhibitions are The Age of Improvement, and Playing for Scotland. The first of these looks at societal changes through the 18th and 19th centuries, including Nasmyth’s 1787 portrait of the young Robert Burns and – well-known to past visitors to the portrait gallery – Raeburn’s 1822 depiction of Sir Walter Scott. These are complemented with some of the National Gallery’s collection of landscapes and earliest scenes from Scottish industry.

Playing for Scotland takes a look at the development of modern sports in the 19th century; migration from countryside to cities dramatically increased participation in sporting activities, and standardised rules were laid down for many modern sports. This exhibition covers Scotland’s four national sports – curling, shinty, golf, and bowls – and includes some interesting photographic images, such as those of early strong-men, which show how more leisure time increased people’s involvement in sporting activities.

Next to the Reformation to Revolution gallery is A Survey of Scotland. Largely composed of works on-loan from the National Library of Scotland, this showcase of John Slezer’s work which led to the 1693 publication of Theatrum Scotiae also includes some of the important early landscape paintings in the national collection.

The work of Scotland’s first portrait painter, the Aberdeen-born George Jamesone, takes up the other of the smaller exhibits on the east side of the refurbished building. As the first-ever dedicated display of Jamesone’s work, his imaginary heroic portraits of Robert the Bruce and Sir William Wallace are included.

On the west side of the building, the two smaller galleries currently house the Close Encounters and Out of the Shadow exhibits. Close Encounters is an extensive collection of the Glasgow slums photographic work of Thomas Annan. Few people are visible in the black and white images of the slums, making what were squalid conditions appear more romantic than the actual conditions of living in them.

The Out of the Shadow exhibit takes a look at the role of women in 19th century Scotland, showing them moving forward and becoming more recognisable individuals. The exceptions to the rules of the time, known for their work as writers and artists, as-opposed to the perceived role of primary duties as wives and mothers, are showcased. Previously constrained to the domestic sphere and only featuring in portraits alongside men, those on-display are some of the people who laid the groundwork for the Suffrage movement.

The first floor of the newly-reopened building has four exhibits on one side, with the library and photographic gallery on the other. The wood-lined library was moved, in its entirety, from elsewhere in the building and is divided into two parts. In the main public part, the original table from the Society of Antiquaries sits centred and surrounded by glass-fronted cabinets of reference books. Visible, but closed to public access, is the research area. Apart from a slight smell of wood glue, there was little to indicate to the tour group that the entire room had been moved from elsewhere in the building.

The War at Sea exhibit, a collaboration with the Imperial War Museum, showcases the work of official war artist John Lavery. His paintings are on-display, complemented by photographs of the women who worked in British factories throughout the First World War. Just visible from the windows of this gallery is the Firth of Forth where much of the naval action in the war took place. Situated in the corner of the room is a remote-controlled ‘periscope’ which allows visitors a clearer view of the Forth as-seen from the roof of the building.

Sir Patrick Geddes, best-known for his work on urban planning, is cited as one of the key influencers of the Scottish Renaissance Movement which serves as a starting point for The Modern Scot exhibit. A new look at the visual aspects of the movement, and a renewal of Scottish Nationalist culture that began between the two World Wars, continuing into the late 20th century, sees works by William McCance, William Johnstone, and notable modernists on display.

Migration Stories is a mainly photographic exhibit, prominently featuring family portraits from the country’s 30,000-strong Pakistani community, and exploring migration into and out of Scotland. The gallery’s intent is to change the exhibit over time, taking a look at a range of aspects of Scottish identity and the influence on that from migration. In addition to the striking portraits of notable Scots-Pakistani family groups, Fragments of Love – by Pakistani-born filmmaker Sana Bilgrami – and Isabella T. McNair’s visual narration of a Scottish teacher in Lahore are currently on-display.

The adjacent Pioneers of Science exhibit has Ken Currie’s 2002 Three Oncologists as its most dramatic item. Focussing on Scotland’s reputation as a centre of scientific innovation, the model for James Clerk Maxwell’s statue in the city’s George Street sits alongside photographs from the Roslin Institute and a death mask of Dolly the sheep. Deputy Director Kalinsky, commented that Dolly had been an incredibly spoilt animal, often given sweets, and this was evident from her teeth when the death mask was taken.

Now open daily from 10am to 5pm, and with more of their collection visible than ever before, the Scottish National Portrait Gallery will change some of the smaller current exhibits after 12 to 18 months on display. The ground-floor information desk has available five mini-guides, or ‘trails’, which are thematic guides to specific display items. These are: The Secret Nature trail, The Catwalk Collection trail, The Situations Vacant trail, The Best Wee Nation & The World trail, and The Fur Coat an’ Nae Knickers Trail.