Archives November 2018

Monday, March 31, 2014

The Eleventh International Human Rights Documentary Film Festival Docudays UA, in Kyiv, Ukraine, ended on Friday.

The Awards Ceremony was held in the Red Hall of the Kyiv Cinema House. There were 36 documentary films competing for prizes in three festival programs: DOCU/Short, DOCU/Right, DOCU/Life. There were also special prizes from Students’ Jury, Audience Award, and the Andriy Matrosov Award from Docudays UA Organizing Committee.

The special guest of the Awards Ceremony was a symbol of the festival — Nikita Mikhalko. He is featured on the official posters of the festival. Nikita was on Maidan Nezalezhnosti on February 19, in the morning. The picture of him was chosen by the organizers as the “image that would deliver the spirit of our [Docudays UA] festival to the best of its possible might”. The piece of movie where he is taking tangerines from a woman that morning has become the official trailer of the festival. The episode is featured in the opening film of the festival Euromaidan: Rough Cut. Thus Nikita and his burning glasses have become the symbols of the festival. The organizers decided to find out who the symbol of the festival was, and if he was alive. They have started looking for him and luckily, they were able to ask him to come as a special guest of the Awards Ceremony. Nikita had the opportunity to say on the microphone, “Slava Ukraini” (Glory to Ukraine), and have the whole hall hollering back at him, “Heroiam Slava” (Glory to the Heroes).

The Eleventh Docudays UA Winners are (in the order of awarding):

Audience Award

The Audience Award went to Joanna, directed by Aneta Kopacz, Poland, 2013.

Student’s Jury Award

The Students’ Jury Award went to Tucker and the Fox, directed by Arash Lahooti, Iran, 2013, awarded for “an optimistic story about a life-long passion”.

DOCU/Short

Joanna, directed by Aneta Kopacz, Poland, 2013, received special mention. The jury chose it for “filmmaker’s ability to be both intimate and discreet”

Mom, directed by Lidia Sheinina, Russia, 2013, received special mention for “ability of the filmmaker to find in the closed world of one apartment ‘things that quicken the heart'”.

The main prize went to Liza, Go Home!, directed by Oksana Buraja, Lithuania, Estonia, 2012. The film was awarded for “filmmaker’s poetic sensibility and respect for other humans’ secrets”.

Andrei Zagdansky, a Ukrainian-American, was awarding. The other two members of the jury were Victoria Belopolskaya of Russia, and Stéphanie Lamorré of France.

DOCU/Right

No Fire Zone: The Killing Fields of Sri Lanka, directed by Callum Macrae, UK, 2013, received special mention. The film was awarded for “the powerful use of video advocacy in global awareness-raising and opinion-shaping regarding the mass murders of civilians belonging to a Tamil minority in Sri Lanka”.

Captain and His Pirate, directed by Andy Wolff, Belgium, Germany, 2012, received special mention for “exceptional courage of the film crew and an outstanding presentation of international piracy phenomenon as presented by a victim and his prison guard”.

The main prize went to Mother’s Dream, directed by Valerie Gudenus, Switzerland, 2013. The jury awarded the film for “a highly sensitive, empathic, and artistic presentation of a controversial and socially resonant human rights problem, affecting the fates of women and children globally”.

Natalka Zubar of Ukraine announced the winners. The other two members of the jury were Andrzej Poczobut of Belarus, and Oksana Sarkisova of Hungary.

DOCU/Life

Crepuscule, directed by Valentyn Vasyanovych, Ukraine, 2014, received special mention. The film was awarded for “a visually and emotionally superior depiction of human resilience, sensibility, and interdependence”.

Night Labor, directed by David Redmon and Ashley Sabin, USA, Canada, 2013, received special mention for “a provocative, atypical, allegorical description of industrial work and personal freedom”.

The main prize went to The Last Limousine, directed by Daria Khlestkina, Russia, 2014, awarded for “a dignified, compassionate portrayal of state-factory workers lost in transition, but not in humanity”. The jury mentioned the film was perfectly casted.

The whole jury was present: Boris Miti? of Serbia, Chris McDonald of Canada, and Simone Baumann of Germany.

Andriy Matrosov Award from the Docudays UA Organizing Committee

The Andrey Matrosove Award went to A Diary of a Journey, directed by Piotr Stasik, Poland, 2013.

After the ceremony The Last Limousine, the winning film of DOCU/Life program, was screened.

The festival was first held in 2003, called at that time Docudays on Human Rights. In 2006 the festival was accepted as part of the international Human Rights Film Network at the International Documentary Film Festival Amsterdam. It is usually held during the last week of March.

Saturday, September 17, 2005

A story about a man carrying over 30,000 (sometimes reported as 40,000) volts of static electricity in his body, allegedly generated by a wool sweater and nylon jacket combination, is circulating through major news outlets. The story, carried first by the Warrnambool Standard, says that the man, Frank Clewer, a 58-year old cleaner from Dennington, involuntarily created a scene by causing fire departments to evacuate three buildings where he had left his mark, before he realized he was causing the burn marks on carpets and allowed the fire department to help him.

The story has been picked up by The Register, Guardian, BBC, USA Today, Reuters, local agencies of ABC, the San Francisco Chronicle, and other news outlets.

Several unanswered objections mark the story as a possible hoax:

• Clewer enters and exits his car several times in the story — if he opened the car by touching its presumably metal lock, he would surely release some electricity into the car through his hand; everyone has at some point experienced the painful shock of touching a door handle or car keys to a lock. Though the car might not be grounded, it would still be at a lower potential and thus energy would be transferred. This would be noticeable; the story does not comment that Clewer understood what was happening to him.
• Firefighters supposedly “used a device to check static electricity on him and his belongings.” While firefighters would be likely to carry a high-voltage multimeter around to measure the current and voltage ratings of downed power lines, it is unlikely that the same device could measure such a large voltage resulting from a very small amount of static energy without de-electrifying it.
• For such a large voltage to be stored, humidity would have to have been extremely low on that day for the air around him not to ionize and source current, removing the static energy.
• If he was carrying such a large voltage, his hair would probably have stood on end, as this is a notable effect when one touches a Van de Graaf generator. Note: It is uncertain at what voltage this effect begins, and since Van de Graaf machines routinely exceed Megavolts of electric potential, this may not be a verifiable objection.
• This statement: “Firefighters took possession of Clewer’s jacket and stored it in the courtyard of the fire station, where it continued to give off a strong electrical current.” (Reuters UK) First, there is no reason they would need to take possession of the jacket — the static electricity could be dealt with by simply dumping water on it. Second, the jacket could not “give off” an electric current without some continuous source of energy, which, in storage, is impossible. It is possible that the jacket could hold a voltage, but the effects of this would not be visible — if they were, they would be short-lived as the jacket would lose its static energy. In any event, the current would be miniscule.
• The amount of energy stored on Clewer’s person and possessions could not have been more than a few Joules; this is unlikely to have burned carpet.

The equation for stored energy in capacitors is:

Where U = energy, C = capacitance, and V = voltage. A human body by itself typically has a capacitance of around 250 pF, which would mean a voltage of 30,000 V would produce energy of 0.11 joules. Even if Clewer’s possessions resulted in a parallel capacitance of 1 microfarad, this would still only result in an energy storage of 450 J. This amount of energy would be insufficient to burn carpet or char plastic, although a spark could ignite flammable vapor or gas.

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.

Sunday, March 9, 2008

The International Football Association Board (IFAB), the body that decides on the laws of the game, has decided to discontinue all experiments involving technology, and for the first time has also decided on the exact size of a soccer field.

Instead of pursuing the idea of using cameras or microchips in the ball to see if it has crossed the goal-line, the International Board wants to see if the introduction of two extra assistant referees can improve the quality of referee’s decisions.

FIFA general secretary Jerome Valcke declared: “We have decided to freeze for the time being the goal-line technology and all technology experiments. We will look on these two additional referees and we avoid considering any goal-line technology during this time.”

FIFA President Sepp Blatter said the move was necessary to maintain the universal spirit of the game: “We have 260 million people directly involved in the game. If we maintain the laws of the game … it’s so easy to understand … We have to live with errors, football has to keep its human face.”

“We have to maintain the laws of the game in their simplicity. Do you want technical devices to take decisions? That’s why, after three years of tests with no conclusions, I am in favour of putting the whole thing on ice,” Blatter explained.

UEFA president Michel Platini agreed: “Football should stay human, but two more officials can help, especially around the goal.” Platini made the suggestion to freeze all investigations into technology and to try two additional assistants behind each goal.

Blatter said the system using the microchip “was very complicated, needing electrified lines on the field of play and other devices including antennae and when we tested it in Tokyo last year there was one mistake during the seven matches we used as an experiment at the Club World Championship.” With regards to the system using cameras, he pointed to “problems with players obscuring the views of the cameras, or of flares or weather conditions.”

The system of the extra referees will be tested at an upcoming FIFA or UEFA tournament, and a final ruling is expected at next year’s meeting, according to FIFA’s Jerome Valcke.

Hawk-Eye, the company that was working on the goal-line technology that is already being used for line calls in tennis, reacted with disappointment: “I’m livid, it is completely out of the blue… A year ago they met and gave us four criteria to meet and we have met all of them, yet they have kicked it out now… We have invested an awful lot of money and now we have no return on that investment,” director Paul Hawkins said. He said he was encouraged to continue research on the project only 10 days ago at a private showing for IFAB members at Reading’s Madejski Stadium.

While the Welsh FA were also against the idea, the English Football Association supported the use of technology and was hoping to start using it by next season. The FA clubs and referees supported the use of Hawk-Eye technology, said Mike Foster, general secretary of the English Premier League. A spokesperson of the Premier League said that “A lot of time, money and effort has gone into developing a system that meets all the criteria laid down last year.” The Scottish and Northern Irish FA also voted in favour of the goal-line technology.

FA chief executive Brian Barwick expressed his disappointment at the annual meeting of the IFAB in Gleneagles, Scotland: “We were in favour of goal-line technology but there will be no more experiments and it will not be back on the agenda next year, or in the foreseeable future.”

FIFA President Blatter denied ulterior motives for the decision: “There has been no change of heart. Referees make decisions, not machines… I have defended goal-line technology but it has become clear that such systems are too complicated and very costly. Nor would they necessarily add anything positive to the game and could harm the authority of the referee.”

Monday, August 31, 2015

A fire in the eastern Saudi city of Alkhobar tore through a housing complex for oil workers yesterday, killing eleven, according to civil officials.

The Radium complex is rented by oil firm Aramco for their employees. According to nearby resident Mohammed Siddique the fire broke out early in the morning. Siddique says the building contains locals, as well as Westerners and Asians. The cause is unclear but the civil defence ministry tweeted “Cars and furniture caught fire in the basement of one of the towers”.

Over 200 people were injured. Firefighters scaled the burning tower on ladders, and helicopters were on-scene. Other towers in the complex were evacuated. Thick smoke from the blaze complicated rescue efforts.

Aramco CEO Amin H. Nasser said the firm is “deeply saddened to learn of the fatalities and injuries. We offer heartfelt condolences to the families. Our immediate priority is to provide full support to those affected by this tragic incident.” Aramco, which produces and exports more crude oil than any competitor worldwide, say the fire is under investigation.

Sunday, September 18, 2005

San Francisco police have recovered a laptop stolen on March 11 from the University of California, Berkeley. The laptop was left unattended in the Graduate Division and contained personal information on 98,369 graduate students and applicants going as far back as 1976. This information included names, birth dates, addresses, and Social Security numbers.

The Silicon Valley forensic lab which analyzed the laptop said it had been reformatted, making it very difficult to determine if the data had been accessed. “There’s nothing in the Police Department investigation that points to any type of identity theft or credit card theft” said university spokeswoman Janet Gilmore.

The laptop was stolen by an unknown woman, who sold it to Shuki Alburati, who sold the laptop to an unsuspecting South Carolina man. Shuki Alburati was arrested on June 8 for receiving stolen property; he has been charged with one misdemeanor count.

He claims he didn’t know the laptop, a new IBM X40 worth $2,429, was stolen. He purchased the laptop from the woman, who said it wasn’t stolen, for $300 or $340. A few days later, on April 19, he placed the laptop on eBay. The winning bidder was a man in South Carolina who bought the laptop for $1,195.50. Police have said this man is not a suspect. Police were alerted by IBM after the man called IBM for tech support.

Shuki Alburati has pleaded not guilty. He claimed “It’s unfair, I didn’t know it was stolen.” His trial is scheduled for Sept. 30 before Superior Court Judge Michael Gaffey in Oakland. The woman who stole the laptop has not yet been found.

Friday, April 25, 2008

At 15:35 UTC this afternoon (23:35 local time), the Chinese Long March 3C (CZ-3C) carrier rocket lifted off on its maiden flight, from launch pad 2 at the Xichang Satellite Launch Centre. It placed the Tianlian-1 satellite into a geosynchronous transfer orbit. Tianlian-1, also known as Tian Lian 1 and TL-1, a spacecraft tracking and data relay communications satellite, similar in function to the American Tracking and Data Relay Satellites (TDRS), will be used to track and communicate with manned Shenzhou spacecraft in low Earth orbit. It will be able to cover around half of the spacecraft’s trajectory, compared to the 12 percent which can be covered by China’s fleet of tracking ships and ground stations. The next Shenzhou mission, Shenzhou 7, is currently scheduled for launch in October. Tianlian-1 is based on the DFH-3 satellite bus.

This is the 19^th orbital launch of 2008, and the first this year to be conducted by the People’s Republic of China. It is currently believed that China intend to conduct one more launch before the end of April, however due to secrecy surrounding China’s space programme, it is difficult to be certain of this.

The Long March 3C is a new version of the Long March 3 rocket, which serves as an intermediate between the Long March 3A, and the Long March 3B. It is 55 metres tall, and can place a 3,700 kilogram payload into a geosynchronous transfer orbit.

Thursday, May 25, 2006

A jury in Houston found Former Enron Corp. CEOs Kenneth L. Lay and Jeffrey K. Skilling guilty of 6 kinds of white-collar crime on May 25. Lay was convicted of all ten counts against him, while Skilling was convicted of only nineteen of the charged twenty-eight counts. The variety of charges on which both men were convicted was astonishing; conspiracy, wire fraud, false statements to banks and auditors, and others. Both men now face many years in prison.

Outside the courtroom, Skilling continued to proclaim his innocence. “Obviously, I’m disappointed, but that’s the way the system works,” Skilling said after the verdict. He is expected to appeal. Lay did not immediately speak to reporters outside the courtroom.

The verdict was reached on the sixth day of deliberations after a four-month-long trial and brings to a close the first of the wave of accounting scandals earlier in the decade. The verdict also represents another major victory for the government, which has successfully prosecuted a number of high-profile executives involved in accounting scandals, as well as obtained sixteen guilty pleas from former Enron executives.

Sentencing has been set for September 11, 2006. U.S. District Judge Sim Lake ordered Lay to post a $5 million bond and surrender his passport before leaving the courtroom.

[edit]

Thursday, December 20, 2012

Recently, Wikinews spent time with with Canadian Paralympic skier Vanessa Knight who was at Copper Mountain, Colorado for the IPC Nor-Am Cup.

((Wikinews)) We’re interviewing Vanessa Knight, who’s from Canada.

Vanessa Knight: That’s right!

((WN)) And what kind of skier are you?

Vanessa Knight: I am a disabled racer. I have a left arm amputation and I’m a speed skier.

((WN)) So you’re one of the standing skiers.

Vanessa Knight: Yes.

((WN)) I’ve been asking a lot of Paralympic disability skiers, what is the craziest skier of the slope? The standing ones, the blind ones, or the mono skiers?

Vanessa Knight: Oh my God, the blind ones for sure. I couldn’t imagine throwing myself down a hill without seeing anything. Especially the B1s. They have duct tape on their goggles.

((WN)) Where from Canada are you from?

Vanessa Knight: I’m from Quebec. Montreal.

((WN)) And how long have you been skiing?

Vanessa Knight: I’ve just entered my fourth year.

((WN)) And are you going to Sochi?

Vanessa Knight: I hope so!

((WN)) Are you going to beat… oh! Australia doesn’t have any skiers for you to beat. Do you think the level of competition for women’s disability skiing is high enough to give the sport a future?

Vanessa Knight: I think the level of competition is high enough, yes. But I still think we need more racers and people to get involved and really promote the sport, because, I mean, the more the merrier, right?

((WN)) Why are there so many men in skiing compared to women?

Vanessa Knight: I guess some girls are just scared and they don’t want to throw themselves out there. But I’m not like that and neither are the rest of the girls here. They’re not afraid to throw themselves down a hill and go fast.

((WN)) Do you think skiers are some of the craziest Paralympic athletes?

Vanessa Knight: Oh definitely.

((WN)) Is there anything you want to say about disability skiing in Canada that people in Australia or the world should know?

Vanessa Knight: Pretty much to say: It’s really cold in Canada. And we love it!