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Friday, March 11, 2005

A Lockheed-Martin built Atlas V launch vehicle, successfully launched from Cape Canaveral, Florida at 21:42 UTC (4:42 p.m. EST). It placed the Inmarsat 4 F-1 communications satellite into orbit. This was Lockheed-Martin’s second try to launch the satellite. Yesterday’s attempt ended in a scrub when the flight control computer passed a red-line with less than three minutes remaining in the countdown.

This was the fifth launch of the Atlas V vehicle, and the first launch where the rocket used three of the first stage, Aerojet built, solid rocket motors. It also had the narrower 4 meter payload fairing.

For the first part of the flight, the rocket was powered by a common booster core with two RD-180 rocket engines plus three solid rocket motors. When their fuel was expended the solid rocket motors burned out and were jettisoned.

The common booster core then continued pushing the payload and upper stage, with its two RD-180 engines producing 806,000lbf of thrust. The common booster core expended its fuel around four and a half minutes into the flight. At this point the first stage common booster core separated from the upper stage and payload.

After the stage separation, the Centaur upper stage started its engine and burned for nearly ten minutes. During this burn, the payload fairing separated from the spacecraft, leaving the satellite exposed on the nose of the rocket in the vacuum of space. When the ten minute burn was up, the Centaur coasted with the satellite for another ten minutes waiting to get to the optimal point for the final burn. At around 24 minutes into the flight, the final burn of the Centaur stage occurred, placing the spacecraft in a super-synchronous transfer orbit. After this burn was complete, the Centaur separated, leaving the spacecraft on its own.

Now the spacecraft must attempt to open its solar arrays and place itself in the final geostationary orbit. Because of this special type of orbit, where the spacecraft goes around once every 24 hours, the satellite will appear to sit in one place over the equator. From this location, Inmarsat will use it to provide BGAN (Broadband Global Area Network) which is a 3G compatible, 432kbit/s data service, to much of the world.

The Atlas vehicle was rolled out of its vertical integration facility 1800 feet from the launch pad early yesterday morning (before the first launch attempt). The reason for this launch day move is because of the clean pad concept.

Past American rockets (with the exception of the Saturns and Space Shuttles) have always been assembled on the launch pad. In the case of a delay in launching, this would cause delays in all the rockets that needed to be launched after the one that experienced the delay. With the new clean pad concept, rockets can be assembled and checked out before being moved to the pad, saving delays in the schedule.

The launch tower and rocket move out to the pad along a set of railroad tracks, making the 1800 foot journey in approximately half an hour, topping out around two miles per hour.

Because of the clean pad concept, none of the launch control electronics or spacecraft environmental systems are on the pad. Instead, they are run along the railroad tracks with the rocket as it moves to the pad on launch day. When they get there, they slide into concrete enclosures so that they are not destroyed during the rocket launch.

Tuesday, June 6, 2006

Google has launched an online spreadsheet site, in a private beta.

The site will allow spreadsheets to be shared between up to 10 users, which is aimed to be useful to teams and small businesses. “Many people already organise information into spreadsheets. Where they are struggling is to share it” said the product manager, Jonathan Rochelle.

Google recently bought the online word-processor Writely, launched a calendar product, as well as a desktop search tool. Many see this as them straying into Microsoft‘s markets.

Google Spreadsheets uses very advanced AJAX (Asynchronous Javascript And Xml) and Client Side Scripting to mimic very effectively it’s desktop counterparts’ functions.

It is surprisingly fast, has very good formatting and advanced formula support, but best of all it has complete support for Microsoft Excel .xls files, and very good collaboration: just enter the e-mail address and you can share easily.

Monday, February 4, 2008

Google has said on its blog that it finds Microsoft’s attempt to buy Yahoo “troubling,” and that Google believes “this [the purchase of Yahoo] is about more than simply a financial transaction, one company taking over another.”

“The hostile bid by Microsoft to Yahoo is worrying,” said David Drummond, the chief legal officer for Google. He continued by saying the takeover is “about preserving the underlying principles of the Internet: openness and innovation.”

Press agency Europa Press said that Eric E. Schmidt and Jerry Yang know that the “possibility of launching a counter is not possible for Google.”

Yahoo said that their executives are examining the offer from Microsoft, a process that they said may take some time.

The Google blog cited Microsoft’s alleged “inappropriate and illegal influence over the PC,” as the reasons for their concerns. They continued by saying that “Microsoft has frequently sought to establish proprietary monopolies.”

Sunday, April 17, 2011

Australian Prime Minister Julia Gillard’s plans to implement a carbon tax in Australia have hit a roadblock today with the national secretary of the Australian Workers Union Paul Howes demanding that exemptions be made to certain heavy polluting industries including steel production as well as concerns about whether jobs will be lost.

Steel producing companies within Australia including BlueScope Steel and OneSteel have supported the move by the union claiming that a carbon tax would affect Australian Jobs. Paul O’Malley, managing director and Chief Executive of BlueScope, said that “the tax threat is still real for the Australian Steel industry and for our customers.”

Paul Howes told The Australian newspaper that “if one job is gone, our support is gone.” Mr. Howes is a powerful figure within the Australian Labor Party who is believed to have been instrumental with the removal of PM Gillard’s predecessor Kevin Rudd. Support for the Gillard Labor Government has dropped to an all time low earlier this year, with only a 30% approval rating.

The move by the AWU has been supported by other unions in Australia, including the Transport Workers Union as well as Opposition Leader Tony Abbott.

Sunday, October 28, 2007

Whether the Civil War, World War II or the Iraq War, it can be challenging to face how conflict penetrates the psyche of a nation and surfaces in the nuances of life. There are thousands—if not millions—of individuals who indulge in fantasies others would deem perverse that have their nascence in some of the darkest moments of human history. It is possible someone you know pays a person to dress like a German Nazi to treat them like a “dirty Jew”, or to force them to pick cotton off the floor like a slave.

An S&M dungeon is a place where these individuals act out such taboos. Businesses that operate to meet their needs are often hidden, but they do exist and are typically legal. The clients want to remain confidential for fear of ostracism in their respective communities. As Sigmund Freud wrote, “Anyone who has violated a taboo becomes taboo himself because he possesses the dangerous quality of tempting others to follow his example.”

Last week Wikinews published the first in a two part series on the BDSM business: an interview with Bill & Rebecca, the owners of Rebecca’s Hidden Chamber. This week we publish the second part: an interview with three dungeon employees, Mistress Alex, Mistress Jada and Mistress Veronica. In their world, BDSM is a game, a harmless pursuit of roleplaying exercises that satiate the desires of the tabooed. These Dominatrixes are the kind of women men fantasize about, but they all look like they could be babysitting your children this Saturday night. Most likely, they will not be.

Mistress Alex has a distinctive sheen when David Shankbone walks into the room. Her moist skin cools quickly from the blow of the air conditioner she stands in front of. Just having finished an hour and a half session, she is dressed in a latex one-piece skirt and matching boots. Mistress Jada, a shapely Latina dressed in red, joins the conversation and remains throughout. When Alex needs to tend to a client, Mistress Veronica, who looks like she would be as comfortable teaching kindergarten as she would “tanning a man’s hide”, takes over for her.

The interview was neither sensational nor typical, but what you read may surprise, repulse, or even awaken feelings you never knew you had. Below is David Shankbone’s interview with three Dominatrixes.

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, October 11, 2006

A small aircraft struck an apartment building in New York this afternoon, killing the pilot and a flight instructor. Cory Lidle, a pitcher for the New York Yankees baseball team, was the registered owner of the aircraft and is believed to have been piloting it; his passport was found on the scene. The flight instructor was Tyler Stanger.

The plane, a Cirrus SR20 with registration number N929CD, hit the 26th floor of the Belaire Condominium, a 50 story brick luxury residential building on the Upper East Side at 524 East 72nd Street at York Avenue near the East River in Manhattan, New York City, of which the first 20 floors are a hospital. An eyewitness, present half a block from the building, reported that the plane hit the building, creating an enormous fireball, broke in two and crashed down onto on the street below. Authorities received a 911 call reporting a crash at 2:42 p.m. Eastern time.

New York City mayor Michael Bloomberg gave a press conference at approximately 5:20 p.m. Eastern time to report that the plane was occupied by a flight instructor and a student pilot, but as next-of-kin had not been able to be notified, the identities of the two people on the plane would not be released at this time.

Apartments were seen to be engulfed in flames. The FBI has stated that it was not an intentional attack. The New York area was grey and overcast during the time at crash; however, visibility was not hampered.

After an hour and a half, the fire was extinguished by the FDNY. According to CNN Television ten people have been injured, six of them firefighters. The New York Times, however, reports that eleven firefighters have been injured.

Initial reports suggested that a helicopter was involved, but the FAA has stated that it was a fixed-wing aircraft. CNN Television reported that it was a single-engine fixed-wing plane which left Teterboro Airport, a busy General Aviation airport in New Jersey, circled the Statue of Liberty was tracked on radar until it was lost near the 59th Street Bridge, that the plane may have been having fuel problems or fuel pump problems, and that it was “a pilot in distress.”

Wallace Sines, a source for CNN stated he believes the plane was a Cirrus SR-20 with an installed parachute, which did not deploy. The whole-plane parachute system may have saved the lives of the aircraft occupants had it been safely deployed clear of buildings, but the system is not designed to prevent the trauma associated with a plane impacting a builing. The Cirrus SR-20 was introduced in 2001 and the Cirrus line of 4-seater aircraft has since become one of the most purchased single engine aircraft in the world. The SR-20 does not normally carry an airline-style flight-data recorder, but some are equipped with GPS equipment which logs flight direction, speed and altitude.

The aircraft was owned by baseball player Cory Lidle. He was on board reported by AP. Lidle was killed, according to reports. CNN Television reported that the FBI stated he was at the controls as the only occupant of the plane, and that his passport was found on the ground below the accident.

A little over an hour and a half after the crash, the fire was extinguished after 39 fire units and over 100 fire fighters responded.

The White House has said that there has been no change in the terror threat alert level and that President Bush is being updated constantly.

La Guardia airport was temporarily restricted to no take offs from other airports, however by 4:10 Eastern Time, CNN Television reported that all New York-area airports were open.

CNN Television announced at 3:50 p.m. Eastern Time that as of a few minutes earlier, NORAD is putting fighter aircraft on patrol over certain major American cities as a precautionary measure similar to the actions taken after the 9/11 attacks as a “just in case” measure. It also reported that tomorrow is the 6th anniversary of the attack on the USS Cole in Aden, Yemen.

Moments after the crash, there was a drop in the New York Stock Exchange, however it quickly returned to normal after it was reported that the crash was an accident.

The New York Yankees organization confirmed the plane is registered to Cory Lidle of the New York Yankees, who was planning to fly from New York to Florida, and that some unnamed member of the Yankees organization was on the plane.

One eye-witness interviewed by the BBC stated: “I was wondering why the plane was doing acrobatics and then the next thing I knew was that it had crashed into the building.” She also added that the plane was a small, white, 4-seater winged aircraft and not a helicopter as many news agencies were reporting it to be.

CNN Television broadcast reports from eyewitnesses who reported:

• A pilot who saw the impact stated, “It looked like a pilot who was desperately trying to get to an airport.”
• Another eyewitness who saw the event from the Brooklyn-Queens Expressway, also referred to the incident as appearing as if the plane was “desperately trying to get to LaGuardia” and that as to whether he “clipped” the building, or struck it directly, that “he hit it dead on.”
• “I heard a buzzing noise and then an explosion which looked like a mushroom cloud.”