fuzhong.org

Tuesday, October 9, 2007

Stuart Ryan is running for the Communist Party in the Ontario provincial election in Ottawa Centre. Wikinews interviewed him regarding his values, his experience, and his campaign.

Tuesday, February 6, 2007

San Jose, California –Cell phones, cigarette lighters and glowsticks are raised in tribute as Circle of Life begins playing. Soon cheers drown out the song as the multicoloured performers appear on stage. A somewhat unusual introduction; but this is no ordinary show, and these are no ordinary attendees. This is Further Confusion, the second largest furry convention in the world.

The volunteer organizers have something to cheer about, too; Furry fans have gathered from far and wide at the DoubleTree Hotel to indulge their love of anthropomorphics, and Further Confusion’s 9th year is its largest, with a paid attendance of 2061. Their gains mirror those of Midwest FurFest, a similar convention held in Schaumburg, Illinois which grew 35% last November.

Both events feature art shows and auctions, live puppetry performance, masquerades, variety shows, games and parades, as well as panels that range from science and technology to society, sex and spirituality. Filling out the schedule, the hotel walls are lined with announcements of public and private room parties for separate groups. At night, the disco floor fills with dancing cats, dogs, and dragons.

For some, dressing up plays a large part of the convention – almost 300 brought a full costume. There are few professional mascots here, though, and only one or two of the costumes would be recognized by even the most avid cartoon-watcher. Instead, each act is planned and performed by other attendees, wearing “fursuits” of their own design. Many play off the year’s secret-agent theme — “Fur Your Eyes Only”.

Other fans seem content to restrict themselves to small accessories — perhaps some combination of paws, ears, or tail. Each fur bears a 3″x2″ badge detailing their personal character, or “fursona“. Often these characters are better-known than the people who play them.

It may seem lighthearted, even frivolous, but these conventions are becoming big business. Furry fans spent over $180,000 for lodging during the five days (Jan 18-22) of Further Confusion, and another $50,000 at the art auction. Attendees also purchase all manner of merchandise from attending dealers and artists, from on-the-spot art commissions and comic books of all ratings to prints, sculptures, and plush toys – even their very own fluffy tail.

Of course, any business has risk, and conventions can drain wallets when the sums just don’t add up. The first furry con, ConFurence in Southern California, ran successfully for over a decade, but cost its new organizer an estimated $60,000 in its last four years due to falling attendance before folding in 2003.

Anthropomorphic Arts and Education board member Peter Torkelson says that won’t happen to Further Confusion. Indeed, the convention ran a healthy surplus of almost $30,000 on $125,000 revenue last year, allowing it to pay off the last of its old debts and save for the future. As Torkelson explains: “The idea is if for some reason, say an earthquake happens, and it cripples the revenue stream, the convention will be able to survive into the next year. It does help our staff to know that we have [a reserve].”

The reserve also gives AAE the financial flexibility to fund charities throughout the year, a big part of its 501(c)(3) mandate. Over the nine years of the convention, attendees have raised over $60,000 for a variety of animal sanctuaries, wildlife refuges, and the Comic Book Legal Defense Fund.

Further Confusion’s hopes for the future are high. Chairwoman Laura Cherry noted that, unlike previous years, the board has “gone all out” for next year’s tenth anniversary, booking as many rooms as the hotel could offer. The host for 2009 has yet to be decided, but for many fans the question was not whether the current hotel will reach a limit, but when – and where – the convention will find a new home.

Thursday, September 27, 2007

John Vanderslice has recently learned to enjoy America again. The singer-songwriter, who National Public Radio called “one of the most imaginative, prolific and consistently rewarding artists making music today,” found it through an unlikely source: his French girlfriend. “For the first time in my life I wouldn’t say I was defending the country but I was in this very strange position…”

Since breaking off from San Francisco local legends, mk Ultra, Vanderslice has produced six critically-acclaimed albums. His most recent, Emerald City, was released July 24th. Titled after the nickname given to the American-occupied Green Zone in Baghdad, it chronicles a world on the verge of imminent collapse under the weight of its own paranoia and loneliness. David Shankbone recently went to the Bowery Ballroom and spoke with Vanderslice about music, photography, touring and what makes a depressed liberal angry.

DS: How is the tour going?

JV: Great! I was just on the Wiki page for Inland Empire, and there is a great synopsis on the film. What’s on there is the best thing I have read about that film. The tour has been great. The thing with touring: say you are on vacation…let’s say you are doing an intense vacation. I went to Thailand alone, and there’s a part of you that just wants to go home. I don’t know what it is. I like to be home, but on tour there is a free floating anxiety that says: Go Home. Go Home.

DS: Anywhere, or just outside of the country?

JV: Anywhere. I want to be home in San Francisco, and I really do love being on tour, but there is almost like a homing beacon inside of me that is beeping and it creates a certain amount of anxiety.

DS: I can relate: You and I have moved around a lot, and we have a lot in common. Pranks, for one. David Bowie is another.

JV: Yeah, I saw that you like David Bowie on your MySpace.

DS: When I was in college I listened to him nonstop. Do you have a favorite album of his?

JV: I loved all the things from early to late seventies. Hunky Dory to Low to “Heroes” to Lodger. Low changed my life. The second I got was Hunky Dory, and the third was Diamond Dogs, which is a very underrated album. Then I got Ziggy Stardust and I was like, wow, this is important…this means something. There was tons of music I discovered in the seventh and eighth grade that I discovered, but I don’t love, respect and relate to it as much as I do Bowie. Especially Low…I was just on a panel with Steve Albini about how it has had a lot of impact.

DS: You said seventh and eighth grade. Were you always listening to people like Bowie or bands like the Velvets, or did you have an Eddie Murphy My Girl Wants to Party All the Time phase?

JV: The thing for me that was the uncool music, I had an older brother who was really into prog music, so it was like Gentle Giant and Yes and King Crimson and Genesis. All the new Genesis that was happening at the time was mind-blowing. Phil Collins‘s solo record…we had every single solo record, like the Mike Rutherford solo record.

DS: Do you shun that music now or is it still a part of you?

JV: Oh no, I appreciate all music. I’m an anti-snob. Last night when I was going to sleep I was watching Ocean’s Thirteen on my computer. It’s not like I always need to watch some super-fragmented, fucked-up art movie like Inland Empire. It’s part of how I relate to the audience. We end every night by going out into the audience and playing acoustically, directly, right in front of the audience, six inches away—that is part of my philosophy.

DS: Do you think New York or San Francisco suffers from artistic elitism more?

JV: I think because of the Internet that there is less and less elitism; everyone is into some little superstar on YouTube and everyone can now appreciate now Justin Timberlake. There is no need for factions. There is too much information, and I think the idea has broken down that some people…I mean, when was the last time you met someone who was into ska, or into punk, and they dressed the part? I don’t meet those people anymore.

DS: Everything is fusion now, like cuisine. It’s hard to find a purely French or purely Vietnamese restaurant.

JV: Exactly! When I was in high school there were factions. I remember the guys who listened to Black Flag. They looked the part! Like they were in theater.

DS: You still find some emos.

JV: Yes, I believe it. But even emo kids, compared to their older brethren, are so open-minded. I opened up for Sunny Day Real Estate and Pedro the Lion, and I did not find their fans to be the cliquish people that I feared, because I was never playing or marketed in the emo genre. I would say it’s because of the Internet.

DS: You could clearly create music that is more mainstream pop and be successful with it, but you choose a lot of very personal and political themes for your music. Are you ever tempted to put out a studio album geared toward the charts just to make some cash?

JV: I would say no. I’m definitely a capitalist, I was an econ major and I have no problem with making money, but I made a pact with myself very early on that I was only going to release music that was true to the voices and harmonic things I heard inside of me—that were honestly inside me—and I have never broken that pact. We just pulled two new songs from Emerald City because I didn’t feel they were exactly what I wanted to have on a record. Maybe I’m too stubborn or not capable of it, but I don’t think…part of the equation for me: this is a low stakes game, making indie music. Relative to the world, with the people I grew up with and where they are now and how much money they make. The money in indie music is a low stakes game from a financial perspective. So the one thing you can have as an indie artist is credibility, and when you burn your credibility, you are done, man. You can not recover from that. These years I have been true to myself, that’s all I have.

DS: Do you think Spoon burned their indie credibility for allowing their music to be used in commercials and by making more studio-oriented albums? They are one of my favorite bands, but they have come a long way from A Series of Sneaks and Girls Can Tell.

JV: They have, but no, I don’t think they’ve lost their credibility at all. I know those guys so well, and Brit and Jim are doing exactly the music they want to do. Brit owns his own studio, and they completely control their means of production, and they are very insulated by being on Merge, and I think their new album—and I bought Telephono when it came out—is as good as anything they have done.

DS: Do you think letting your music be used on commercials does not bring the credibility problem it once did? That used to be the line of demarcation–the whole Sting thing–that if you did commercials you sold out.

JV: Five years ago I would have said that it would have bothered me. It doesn’t bother me anymore. The thing is that bands have shrinking options for revenue streams, and sync deals and licensing, it’s like, man, you better be open to that idea. I remember when Spike Lee said, ‘Yeah, I did these Nike commercials, but it allowed me to do these other films that I wanted to make,’ and in some ways there is an article that Of Montreal and Spoon and other bands that have done sync deals have actually insulated themselves further from the difficulties of being a successful independent band, because they have had some income come in that have allowed them to stay put on labels where they are not being pushed around by anyone.

The ultimate problem—sort of like the only philosophical problem is suicide—the only philosophical problem is whether to be assigned to a major label because you are then going to have so much editorial input that it is probably going to really hurt what you are doing.

DS: Do you believe the only philosophical question is whether to commit suicide?

JV: Absolutely. I think the rest is internal chatter and if I logged and tried to counter the internal chatter I have inside my own brain there is no way I could match that.

DS: When you see artists like Pete Doherty or Amy Winehouse out on 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 their music?

JV: The thing for me is they are profound iconic figures for me, and I don’t even know their music. I don’t know Winehouse or Doherty’s music, I just know that they are acting a very crucial, mythic part in our culture, and they might be doing it unknowingly.

DS: Glorification of drugs? The rock lifestyle?

JV: More like an out-of-control Id, completely unregulated personal relationships to the world in general. It’s not just drugs, it’s everything. It’s arguing and scratching people’s faces and driving on the wrong side of the road. Those are just the infractions that land them in jail. I think it might be unknowing, but in some ways they are beautiful figures for going that far off the deep end.

DS: As tragic figures?

JV: Yeah, as totally tragic figures. I appreciate that. I take no pleasure in saying that, but I also believe they are important. The figures that go outside—let’s say GG Allin or Penderetsky in the world of classical music—people who are so far outside of the normal boundaries of behavior and communication, it in some way enlarges the size of your landscape, and it’s beautiful. I know it sounds weird to say that, but it is.

DS: They are examples, as well. I recently covered for Wikinews the Iranian President speaking at Columbia and a student named Matt Glick told me that he supported the Iranian President speaking so that he could protest him, that if we don’t give a platform and voice for people, how can we say that they are wrong? I think it’s almost the same thing; they are beautiful as examples of how living a certain way can destroy you, and to look at them and say, “Don’t be that.”

JV: Absolutely, and let me tell you where I’m coming from. I don’t do drugs, I drink maybe three or four times a year. I don’t have any problematic relationship to drugs because there has been a history around me, like probably any musician or creative person, of just blinding array of drug abuse and problems. For me, I am a little bit of a control freak and I don’t have those issues. I just shut those doors. But I also understand and I am very sympathetic to someone who does not shut that door, but goes into that room and stays.

DS: Is it a problem for you to work with people who are using drugs?

JV: I would never work with them. It is a very selfish decision to make and usually those people are total energy vampires and they will take everything they can get from you. Again, this is all in theory…I love that stuff in theory. If Amy Winehouse was my girlfriend, I would probably not be very happy.

DS: Your latest CD is Emerald City and that is an allusion to the compound that we created in Baghdad. How has the current political client affected you in terms of your music?

JV: In some ways, both Pixel Revolt and Emerald City were born out of a recharged and re-energized position of my being….I was so beaten down after the 2000 election and after 9/11 and then the invasion of Iraq, Afghanistan; I was so depleted as a person after all that stuff happened, that I had to write my way out of it. I really had to write political songs because for me it is a way of making sense and processing what is going on. The question I’m asked all the time is do I think is a responsibility of people to write politically and I always say, My God, no. if you’re Morrissey, then you write Morrissey stuff. If you are Dan Bejar and Destroyer, then you are Dan Bejar and you are a fucking genius. Write about whatever it is you want to write about. But to get out of that hole I had to write about that.

DS: There are two times I felt deeply connected to New York City, and that was 9/11 and the re-election of George Bush. The depression of the city was palpable during both. I was in law school during the Iraq War, and then when Hurricane Katrina hit, we watched our countrymen debate the logic of rebuilding one of our most culturally significant cities, as we were funding almost without question the destruction of another country to then rebuild it, which seems less and less likely. Do you find it is difficult to enjoy living in America when you see all of these sorts of things going on, and the sort of arguments we have amongst ourselves as a people?

JV: I would say yes, absolutely, but one thing changed that was very strange: I fell in love with a French girl and the genesis of Emerald City was going through this visa process to get her into the country, which was through the State Department. In the middle of process we had her visa reviewed and everything shifted over to Homeland Security. All of my complicated feelings about this country became even more dour and complicated, because here was Homeland Security mailing me letters and all involved in my love life, and they were grilling my girlfriend in Paris and they were grilling me, and we couldn’t travel because she had a pending visa. In some strange ways the thing that changed everything was that we finally got the visa accepted and she came here. Now she is a Parisian girl, and it goes without saying that she despises America, and she would never have considered moving to America. So she moves here and is asking me almost breathlessly, How can you allow this to happen—

DS: –you, John Vanderslice, how can you allow this—

JV: –Me! Yes! So for the first time in my life I wouldn’t say I was defending the country but I was in this very strange position of saying, Listen, not that many people vote and the churches run fucking everything here, man. It’s like if you take out the evangelical Christian you have basically a progressive western European country. That’s all there is to it. But these people don’t vote, poor people don’t vote, there’s a complicated equation of extreme corruption and voter fraud here, and I found myself trying to rattle of all the reasons to her why I am personally not responsible, and it put me in a very interesting position. And then Sarkozy got elected in France and I watched her go through the same horrific thing that we’ve gone through here, and Sarkozy is a nut, man. This guy is a nut.

DS: But he doesn’t compare to George Bush or Dick Cheney. He’s almost a liberal by American standards.

JV: No, because their President doesn’t have much power. It’s interesting because he is a WAPO right-wing and he was very close to Le Pen and he was a card-carrying straight-up Nazi. I view Sarkozy as somewhat of a far-right candidate, especially in the context of French politics. He is dismantling everything. It’s all changing. The school system, the remnants of the socialized medical care system. The thing is he doesn’t have the foreign policy power that Bush does. Bush and Cheney have unprecedented amounts of power, and black budgets…I mean, come on, we’re spending half a trillion dollars in Iraq, and that’s just the money accounted for.

DS: What’s the reaction to you and your music when you play off the coasts?

JV: I would say good…

DS: Have you ever been Dixiechicked?

JV: No! I want to be! I would love to be, because then that means I’m really part of some fiery debate, but I would say there’s a lot of depressed in every single town. You can say Salt Lake City, you can look at what we consider to be conservative cities, and when you play those towns, man, the kids that come out are more or less on the same page and politically active because they are fish out of water.

DS: Depression breeds apathy, and your music seems geared toward anger, trying to wake people from their apathy. Your music is not maudlin and sad, but seems to be an attempt to awaken a spirit, with a self-reflective bent.

JV: That’s the trick. I would say that honestly, when Katrina happened, I thought, “okay, this is a trick to make people so crazy and so angry that they can’t even think. If you were in a community and basically were in a more or less quasi-police state surveillance society with no accountability, where we are pouring untold billions into our infrastructure to protect outside threats against via terrorism, or whatever, and then a natural disaster happens and there is no response. There is an empty response. There is all these ships off the shore that were just out there, just waiting, and nobody came. Michael Brown. It is one of the most insane things I have ever seen in my life.

DS: Is there a feeling in San Francisco that if an earthquake struck, you all would be on your own?

JV: Yes, of course. Part of what happened in New Orleans is that it was a Catholic city, it was a city of sin, it was a black city. And San Francisco? Bush wouldn’t even visit California in the beginning because his numbers were so low. Before Schwarzenegger definitely. I’m totally afraid of the earthquake, and I think everyone is out there. America is in the worst of both worlds: a laissez-fare economy and then the Grover Norquist anti-tax, starve the government until it turns into nothing more than a Argentinian-style government where there are these super rich invisible elite who own everything and there’s no distribution of wealth and nothing that resembles the New Deal, twentieth century embracing of human rights and equality, war against poverty, all of these things. They are trying to kill all that stuff. So, in some ways, it is the worst of both worlds because they are pushing us towards that, and on the same side they have put in a Supreme Court that is so right wing and so fanatically opposed to upholding civil rights, whether it be for foreign fighters…I mean, we are going to see movement with abortion, Miranda rights and stuff that is going to come up on the Court. We’ve tortured so many people who have had no intelligence value that you have to start to look at torture as a symbolic and almost ritualized behavior; you have this…

DS: Organ failure. That’s our baseline…

JV: Yeah, and you have to wonder about how we were torturing people to do nothing more than to send the darkest signal to the world to say, Listen, we are so fucking weird that if you cross the line with us, we are going to be at war with your religion, with your government, and we are going to destroy you.

DS: I interviewed Congressman Tom Tancredo, who is running for President, and he feels we should use as a deterrent against Islam the bombing of the Muslim holy cities of Mecca and Medina.

JV: You would radicalize the very few people who have not been radicalized, yet, by our actions and beliefs. We know what we’ve done out there, and we are going to paying for this for a long time. When Hezbollah was bombing Israel in that border excursion last year, the Hezbollah fighters were writing the names of battles they fought with the Jews in the Seventh Century on their helmets. This shit is never forgotten.

DS: You read a lot of the stuff that is written about you on blogs and on the Internet. Do you ever respond?

JV: No, and I would say that I read stuff that tends to be . I’ve done interviews that have been solely about film and photography. For some reason hearing myself talk about music, and maybe because I have been talking about it for so long, it’s snoozeville. Most interviews I do are very regimented and they tend to follow a certain line. I understand. If I was them, it’s a 200 word piece and I may have never played that town, in Des Moines or something. But, in general, it’s like…my band mates ask why don’t I read the weeklies when I’m in town, and Google my name. It would be really like looking yourself in the mirror. When you look at yourself in the mirror you are just error-correcting. There must be some sort of hall of mirrors thing that happens when you are completely involved in the Internet conversation about your music, and in some ways I think that I’m very innocently making music, because I don’t make music in any way that has to do with the response to that music. I don’t believe that the response to the music has anything to do with it. This is something I got from John Cage and Marcel Duchamp, I think the perception of the artwork, in some ways, has nothing to do with the artwork, and I think that is a beautiful, glorious and flattering thing to say to the perceiver, the viewer of that artwork. I’ve spent a lot of time looking at Paul Klee‘s drawings, lithographs, watercolors and paintings and when I read his diaries I’m not sure how much of a correlation there is between what his color schemes are denoting and what he is saying and what I am getting out of it. I’m not sure that it matters. Inland Empire is a great example. Lynch basically says, I don’t want to talk about it because I’m going to close doors for the viewer. It’s up to you. It’s not that it’s a riddle or a puzzle. You know how much of your own experience you are putting into the digestion of your own art. That’s not to say that that guy arranges notes in an interesting way, and sings in an interesting way and arranges words in an interesting way, but often, if someone says they really like my music, what I want to say is, That’s cool you focused your attention on that thing, but it does not make me go home and say, Wow, you’re great. My ego is not involved in it.

DS: Often people assume an artist makes an achievement, say wins a Tony or a Grammy or even a Cable Ace Award and people think the artist must feel this lasting sense of accomplishment, but it doesn’t typically happen that way, does it? Often there is some time of elation and satisfaction, but almost immediately the artist is being asked, “Okay, what’s the next thing? What’s next?” and there is an internal pressure to move beyond that achievement and not focus on it.

JV: Oh yeah, exactly. There’s a moment of relief when a mastered record gets back, and then I swear to you that ten minutes after that point I feel there are bigger fish to fry. I grew up listening to classical music, and there is something inside of me that says, Okay, I’ve made six records. Whoop-dee-doo. I grew up listening to Gustav Mahler, and I will never, ever approach what he did.

DS: Do you try?

JV: I love Mahler, but no, his music is too expansive and intellectual, and it’s realized harmonically and compositionally in a way that is five languages beyond me. And that’s okay. I’m very happy to do what I do. How can anyone be so jazzed about making a record when you are up against, shit, five thousand records a week—

DS: —but a lot of it’s crap—

JV: —a lot of it’s crap, but a lot of it is really, really good and doesn’t get the attention it deserves. A lot of it is very good. I’m shocked at some of the stuff I hear. I listen to a lot of music and I am mailed a lot of CDs, and I’m on the web all the time.

DS: I’ve done a lot of photography for Wikipedia and the genesis of it was an attempt to pin down reality, to try to understand a world that I felt had fallen out of my grasp of understanding, because I felt I had no sense of what this world was about anymore. For that, my work is very encyclopedic, and it fit well with Wikipedia. What was the reason you began investing time and effort into photography?

JV: It came from trying to making sense of touring. Touring is incredibly fast and there is so much compressed imagery that comes to you, whether it is the window in the van, or like now, when we are whisking through the Northeast in seven days. Let me tell you, I see a lot of really close people in those seven days. We move a lot, and there is a lot of input coming in. The shows are tremendous and, it is emotionally so overwhelming that you can not log it. You can not keep a file of it. It’s almost like if I take photos while I am doing this, it slows it down or stops it momentarily and orders it. It has made touring less of a blur; concretizes these times. I go back and develop the film, and when I look at the tour I remember things in a very different way. It coalesces. Let’s say I take on fucking photo in Athens, Georgia. That’s really intense. And I tend to take a photo of someone I like, or photos of people I really admire and like.

DS: What bands are working with your studio, Tiny Telephone?

JV: Death Cab for Cutie is going to come back and track their next record there. Right now there is a band called Hello Central that is in there, and they are really good. They’re from L.A. Maids of State was just in there and w:Deerhoof was just in there. Book of Knotts is coming in soon. That will be cool because I think they are going to have Beck sing on a tune. That will be really cool. There’s this band called Jordan from Paris that is starting this week.

DS: Do they approach you, or do you approach them?

JV I would say they approach me. It’s generally word of mouth. We never advertise and it’s very cheap, below market. It’s analog. There’s this self-fulfilling thing that when you’re booked, you stay booked. More bands come in, and they know about it and they keep the business going that way. But it’s totally word of mouth.

Thursday, January 12, 2017

Esteban Ruiz Santiago, 26, appeared in federal court in Fort Lauderdale, Broward County, Florida this Monday. Santiago stands accused of a shooting at Fort Lauderdale-Hollywood International Airport on Friday at 12:55 p.m. local time (1755 UTC) at the lower level baggage claim area in Terminal 2 of the airport. The incident killed five people and injured six, with roughly another 40 people injured in the crowd while hastily evacuating from the scene.

Police drove Santiago from the Broward County main jail to the court building in the morning. At the hearing, Santiago attended handcuffed and also cuffed at the ankles, guarded by at least eight police officers. The Magistrate, Judge Alicia Valle, questioned Santiago on his finances. The prosecutor also sought a detention order for public safety and flight risk. The hearing took about 20 minutes. The Judge ordered Santiago a public defender, and set a detention hearing for January 17, and the arraignment hearing for January 23. After the hearing, the police returned Santiago to the Broward County main jail.

At the hearing, Santiago had admitted to earning US$2,100 a month as a security guard in Alaska, while only having about US$10 of savings in a bank, and no other property. The Judge also informed Santiago of the penalties that may be imposed on him in the case he was convicted.

On Friday, authorities said, Santiago arrived from Anchorage, Alaska with only one baggage item — a suitcase with an unloaded Glock 9 mm semi-automatic handgun. Upon arriving at the airport, he picked up the suitcase at the baggage claim carousel and loaded it in a nearby bathroom. Then he walked out and started shooting people, at random according to a witness. People started to run and hide, and Santiago continued to shoot. Then Santiago stopped shooting, witnesses claiming he ran out of ammunition. The police arrested him. He did not resist the arrest.

According to officials, Santiago received a mental health evaluation in November, after he traveled to an FBI office and walked in alleging his head was controlled by the government and he heard voices urging him to watch ISIS propaganda. At the time of that incident he left his infant son and a gun in a car, and the infant was given to mother’s care. His gun was seized at the time of that incident, but Santiago was given it back on December 8.

Santiago traveled from Anchorage, Alaska to Minneapolis to Fort Lauderdale Airport on a Delta Airlines flight. Investigations were ongoing to determine the motivation for the incident. No evidence was found of Santiago communicating with any other individual in relation to the incident; he seemed to be acting alone. In an interview, Santiago admitted to having planned the shooting in advance when purchasing the airline ticket. According to CNN, Esteban Santiago previously belonged to the Alaska Army National Guard, including a ten-month stint in Iraq where he was given a combat action badge. According to Santiago’s family, his mental health issues started after his ten-month tour in Iraq, after which he began to tell them about auditory hallucinations.

All flights to and from Fort Lauderdale Airport were suspended by the Federal Aviation Administration (FAA) until Saturday morning, and roads in and out of the airport closed.

Santiago was born in New Jersey. He spent his childhood in Puerto Rico, an unincorporated US territory in the northeastern Caribbean Sea.

At the time of the incident, it was legal in the US to transport guns in a hard-sided and locked container by air. In Florida, it was also legal to carry a gun in an airport terminal without removing the gun from its case.

Sunday, April 19, 2009

At least twelve children have been injured after a swing ride at the Puyallup, Washington Spring Fair toppled over.

The ride is called a ‘LollySwing’, which is located in Kiddyland, where the riders sit in swings while the machine spins them around. It is owned by Funtastic Traveling Shows which has been a ride provider for the fair for over 50 years. The accident happened at around 6:30 p.m. (PDT).

Injuries are being described as mostly cuts and bruises, but one child was reported to have been in a neck brace and was taken to a local hospital. Five other children were also hospitalized.

According to one witness, “it just all of a sudden topped over.” The cause is under investigation. The ride has been at the fair for the past five years. Among the seven largest operators of fair rides in Washington, from 2001 to 2007 there were only seven reports of injuries related to mechanical failures.

Wednesday, March 3, 2010

Ford Motor Company said on Tuesday that its sales in the United States rose 43% in February compared to the same period last year, as the automaker outsold rivals Toyota and General Motors.

Ford said that total sales improved to 142,285 units, compared to 141,951 units sold by GM. Additionally, Ford said that its share of the total US car market rose to 17%, up from 14% a year ago. The increase was better than analysts had predicted, and Ford’s stock rose to a five-year high in morning trading, before declining later in the day. Ford’s sales were significantly influenced by a 74% increase in fleet sales to businesses. Rental car agencies alone accounted for around 30,000 units sold. Sales to retail consumers increased only 28%.

The increases were led by sales of two sedans, the Fusion and Taurus, which rose 166.5 and 93.3% respectively, although sales of other models such as SUVs and pickup trucks also increased. Both models were significantly redesigned last year, and analysts said that improved quality from such cars were driving the increases.

Other companies also reported February sales today, nearly all reporting sales gains as well, although none as large as those of Ford. Toyota was the sole exception to the sales gains, as their sales declined 8.7%, as the company was faced with a global recall during the month that led to a temporary stoppage of production for some models.

“The strength of our new products … are resonating with customers,” said Ken Czubay, Ford’s vice president of sales and marketing. However, he believed that traditional Toyota customers were not buying rival autos, but rather awaiting the results from the recalls.

Monday, August 11, 2008

Buffalo, New York —The Buffalo Fire Department and Police were called to a hazmat situation at Canisius College on Main Street after security reported that a one gallon glass container containing chloroform broke, spilling about a pint onto the floor of the college’s science building.

According to communications by firefighters, who arrived at around 8:20 a.m. (eastern time), the glass container spilled on the third floor in room 318. As a precaution the building was evacuated and East Delevan road between Main Street and Jefferson Avenues was closed to all vehicle and pedestrian traffic while crews worked to clean up the spill.

At about 9:15 hazmat crews entered the room and began to clean up the chemical “using kitty litter” and fans to air out the room. They then sealed the material in a five gallon container. At 9:23 a.m. firefighters stated that they no longer detected the chemical in the air and began to pack up their gear.

Officials for the college assessed the situation and decided to keep the building closed for the day. “At 8:22am this morning the Public Safety Department and Buffalo Fire Department responded to a report of a chemical spill on the third floor of the Health Science Center. As the building is cleaned, the Health Science Building will remain closed today and reopen tomorrow morning,” a college official said to Wikinews, adding they could not confirm the firefighter reports.

Firefighters believe the container containing the chemical was knocked over while someone working with maintenance was cleaning the floors.

There are no reports of injuries, but WKBW reports that the maintenance worker was taken to Sister’s of Saint Mercy’s hospital not far from the college for observation.

Chloroform is a common solvent used in chemistry laboratories. Minimal exposure can cause dizziness, headaches and fainting while prolonged exposure can cause liver and kidney damage. It is considered a hazardous material and environmentally unsafe. Banned as a consumer product since 1976 in the U.S., it was previously used in toothpaste, cough medicines and pharmaceuticals.

Thursday, February 8, 2007

Birks was recently announced as the “Official Supplier of Jewelery” for the 2010 Vancouver-Whistler Olympics. The company will create licensed products with the logos of the 2010 Olympic Games, 2010 Paralympic Games, and the Canadian Olympic team emblem, including necklaces, earrings, pendants and rings.

The partnership was announced at an employee celebration in Vancouver, to mark the centenary of Mayors Jewelers Inc., an American company Birks acquired in 2002.

The six-year sponsorship includes the rights to the Canadian Olympic team logo during the Beijing 2008 and London 2012 Olympic Games.

Thomas A. Andruskevich, president and CEO, Birks & Mayors stated in a press release:

The products will be launched in early 2008.

Also released today is information that Jackson-Triggs Esprit will be a special line of wines, created to celebrate the athletic event. The Vincor Canada wine is named in relevance to “spirit”, both the spirit of the Olympians, and alcoholic beverage usage of the word.

President and CEO of Vincor Canada Jay Wright said, “We are thrilled to have this opportunity to honor our Canadian athletes while affirming our role as Canada’s wine industry leader. Like our Olympic and Paralympic athletes, Vincor Canada shares a passion and determination towards excellence. This agreement is by far Vincor Canada’s most ambitious and broad-reaching sponsorship and will be great for the Canadian wine industry. I hope Canada will join us in the excitement that we feel regarding this exceptional opportunity to position Canadian wine brands on the world stage.”

The wines, featuring Olympic logo, will be distributed to liquor stores and restaurants across the country this summer. Proceeds from each bottle will go towards the Canadian Olympic Team.

Both the Chardonnay and Merlot will retail for CDN$11.95 MSRP. Inniskillin Wines’ vineyards, harvested since 1975, in either the Niagara Peninsula in Ontario pr the Okanagan Valley in British Columbia will create the wine.

Within the past few weeks, the Vancouver Organizing Committee for the 2010 Olympic and Paralympic Winter Games (VANOC) has announced a Omega-brand countdown clock that will tour British Columbia events, as the company is the “Official Olympic Timekeeper”. Canadian Pacific was named official rail freight services provider, and the Royal Canadian Mint announced they will create circulation and collector coins to mark the occasion.

There are 1099 days until the XXI Olympiad, according to the official website of the event.

Wednesday, April 1, 2009

According to the payroll services company ADP, United States private sector employers cut 742,000 jobs in in March. The figures were almost 80,000 more than the average analyst prediction of 663,000 losses. This is the largest monthly payroll decline since January 2001, when the ADP began tracking job activity.

ADP also updated its job loss statistics for February, from 697,000 to 706,000.

“The sharp employment declines among medium- and small-size businesses indicate that the recession continues to spread aggressively beyond manufacturing and housing-related activities to almost every area of the economy,” said Joel Prakken, the chairman of the company that conducts the ADP survey, Macroeconomic Advisors LLC.

“Despite some recent indications that stock prices, consumer spending, and housing activity may be bottoming out, employment, which usually trails overall economic activity, is likely to remain very weak for at least several more months,” he added.

The US Labor Department‘s report for employment statistics for March is due to be out on Friday. Analysts predicted that the department will announce the unemployment rate increased to 8.5% with 660,000 jobs eliminated in March. However, the bad news from ADP has prompted some to think that the current forecasts are too optimistic.