marathon06.org

Saturday, October 8, 2005

Numerous smuggled artifacts were found at an Austrian tour guide’s home. Five Italians were arrested and twenty-eight others are now being investigated. The Austrian, known as “Mozart” in the art trafficking world, received a citation for his involvement.

Police claim that some 600 artifacts, which had been illegally excavated, were found. Most ranged from 8th century BCE to the 5th century CE. Many of the items were gold and silver, along with ceramics. One item, a cup, has been valued at several thousand Euros.

The artifacts were plundered from an archaeological site near Rome by “Mozart” using his tour guide credentials. Italian authorities expect that the plundered artifacts will finally be displayed in Italian museums.

Thursday, September 2, 2010

It has emerged that the 33 Chilean miners trapped underground after the mine they were working in collapsed could be brought to the surface in a shorter time than was initially feared. While officials publicly announced that the men would not be brought to the surface until Christmas, sources inside technical meetings have revealed that they could in fact be on the surface by early November. The news comes as families were allowed to speak by radio-telephone to their trapped loved ones on Sunday. Over the weekend, video images filmed by the miners emerged showing the miners playing dominoes at a table and singing the Chilean national anthem. The miners also used the camera to send video messages to their families on the surface, saying that they regularly broke into tears, but were feeling better having received food and water.

The grainy nightvision images, filmed on a high definition camcorder that was sent down a small shaft to the mine, show the men in good spirits, chanting “long live Chile, and long live the miners.” They are unshaven and stripped to the waist because of the heat underground, and are seen wearing white clinical trousers that have been designed to keep them dry. Giving a guided tour of the area they are occupying, Mario Sepúlveda, one of the miners, explains they have a “little cup to brush our teeth”, and a place where they pray each day. “We have everything organized,” he tells the camera. Gesturing to the table in the center of the room, he says that “we meet here every day. We plan, we have assemblies here every day so that all the decisions we make are based on the thoughts of all 33.” Another unidentified miner asks to rescuers, “get us out of here soon, please.” A thermometer is shown in the video, reading 29.5C (85F).

As the film continues, it becomes evident that the miners have stuck a poster of a topless woman on the wall. The miners appear shy, and one man puts his hand to his face, presumably dazzled by the light mounted on the cameraman’s helmet. One miner sent a message to his family. “Be calm”, he says. “We’re going to get out of here. And we thank you from the bottom of our hearts for your efforts.” Another said that the miners are “sure that there are people here in Chile that are big people, that are powerful people, that are intelligent people, and they have the technology and they will all work together to get us out of here.” Speaking to the camera, one says: “we have had the great fortune that trapped in this mine there are good, professional people. We have electricians, we have mechanics, we have machine operators and we will let you know that while you are working to rescue us on the surface, we are down here ready to help you too.” It has been reported that Mario Gómez, 63, has become the group’s “spiritual leader”, having worked in the mines for over fifty years. He has requested that materials to build a shrine be sent down to the cavern.

Upon seeing the video in a private screening, family members, who are living in a small village of tents at the entrance to the San José copper-gold mine—which they have named Camp Hope—were elated. “He’s skinny, bearded and it was painful to see him with his head hanging down, but I am so happy to see him alive”, said Ruth Contreras, the mother of Carlos Bravo, who is trapped in the mine. The video, of which only a small portion has been released to the public, shows the miners, many of them wearing helmets, cracking jokes and thanking the rescuers for their continued efforts. The supplies are being sent to the men through a small shaft only twelve centimeters wide, and a laboratory has been set up with the purpose of designing collapsible cots and miniature sandwiches, which can be sent down such a narrow space.

CNN reported on Friday that “officials are splitting the men into two shifts so one group sleeps while the other works or has leisure time .. On average, each man has lost 22 pounds (10 kilograms) since they became trapped three weeks ago, and dehydration remains a threat. But a survey of the men indicates that at least nine miners are still too overweight to fit through the proposed rescue shaft. Initially, the miners survived by draining water from a water-cooled piece of equipment. To stay hydrated in the 90-degree mine, each miner must drink eight or nine pints of water per day.”

But while there are jubilant celebrations on the surface that the miners are alive, officials are now nervous that the miners could become depressed, trapped in a dark room the size of a small apartment. Chilean health minister Jaime Mañalich said that, on the video, he saw the telltale signs of depression. “They are more isolated, they don’t want to be on the screen, they are not eating well”, he said. “I would say depression is the correct word.” He said that doctors who had watched the video had observed the men suffering from “severe dermatological problems.” Dr. Rodrigo Figueroa, head of the trauma, stress and disaster unit at the Catholic University in Santiago, Chile, explained that “following the euphoria of being discovered, the normal psychological reaction would be for the men to collapse in a combination of fatigue and stress … People who are trained for emergencies – like these miners – tend to minimize their own needs or to ignore them. When it is time to ask for help, they don’t.” NASA has advised emergency workers that entertaining the miners would be a good idea. They are to be sent a television system complete with taped football matches. Another dilemma facing Mañalich is whether the miners should be permitted to smoke underground. While nicotine gum has been delivered to the miners, sending down cigarettes is a plan that has not been ruled out.

With the news that drilling of the main rescue tunnel was expected to begin on Monday, officials have informed the media that they hope to have the miners out of the mine by Christmas—but sources with access to technical meetings have suggested that the miners could actually be rescued by the first week of November. A news report described the rescue plan—”the main focus is a machine that bores straight down to 688m and creates a chimney-type duct that could be used to haul the miners out one by one in a rescue basket. A second drilling operation will attempt to intercept a mining tunnel at a depth of roughly 350m. The miners would then have to make their way through several miles of dark, muddy tunnels and meet the rescue drill at roughly the halfway point of their current depth of 688m.” Iván Viveros Aranas, a Chilean policeman working at Camp Hope, told reporters that Chile “has shown a unity regardless of religion or social class. You see people arriving here just to volunteer, they have no relation at all to these families.”

But over the weekend, The New York Times reported that the “miners who have astonished the world with their discipline a half-mile underground will have to aid their own escape — clearing 3,000 to 4,000 tons of rock that will fall as the rescue hole is drilled, the engineer in charge of drilling said Sunday … The work will require about a half-dozen men working in shifts 24 hours a day.” Andrés Sougarret, a senior engineer involved in operating the drill said that “the miners are going to have to take out all that material as it falls.”

The families of those trapped were allowed to speak to them by radio-telephone on Sunday—a possibility that brought reassurance both the miners and those on the surface. The Intendant of the Atacama Region, Ximena Matas, said that there had been “moments of great emotion.” She continued to say that the families “listened with great interest and they both felt and realized that the men are well. This has been a very important moment, which no doubt strengthens their [the miners’] morale.” The phone line is thought to be quite temperamental, but it is hoped that soon, those in the mine and those in Camp Hope will be able to talk every day. “To hear his voice was a balm to my heart … He is aware that the rescue is not going to happen today, that it will take some time. He asked us to stay calm as everything is going to be OK … He sounded relaxed and since it was so short I didn’t manage to ask anything. Twenty seconds was nothing”, said said Jessica Cortés, who spoke to her husband Víctor Zamora, who was not even a miner, but a vehicle mechanic. “He went in that day because a vehicle had broken down inside the mine … At first they told us he had been crushed [to death].”

Esteban Rojas sent up a letter from inside the mine, proposing to his long-time partner Jessica Yáñez, 43. While they have officially been married for 25 years, their wedding was a civil service—but Rojas has now promised to have a church ceremony which is customary in Chile. “Please keep praying that we get out of this alive. And when I do get out, we will buy a dress and get married,” the letter read. Yáñez told a newspaper that she thought he was never going to ask her. “We have talked about it before, but he never asked me … He knows that however long it takes, I’ll wait for him, because with him I’ve been through good and bad.”

Friday, July 29, 2011

Today sees the reopening of the National Museum of Scotland following a three-year renovation costing £47.4 million (US$ 77.3 million). Edinburgh’s Chambers Street was closed to traffic for the morning, with the 10am reopening by eleven-year-old Bryony Hare, who took her first steps in the museum, and won a competition organised by the local Evening News paper to be a VIP guest at the event. Prior to the opening, Wikinews toured the renovated museum, viewing the new galleries, and some of the 8,000 objects inside.

Dressed in Victorian attire, Scottish broadcaster Grant Stott acted as master of ceremonies over festivities starting shortly after 9am. The packed street cheered an animatronic Tyrannosaurus Rex created by Millenium FX; onlookers were entertained with a twenty-minute performance by the Mugenkyo Taiko Drummers on the steps of the museum; then, following Bryony Hare knocking three times on the original doors to ask that the museum be opened, the ceremony was heralded with a specially composed fanfare – played on a replica of the museum’s 2,000-year-old carnyx Celtic war-horn. During the fanfare, two abseilers unfurled white pennons down either side of the original entrance.

The completion of the opening to the public was marked with Chinese firecrackers, and fireworks, being set off on the museum roof. As the public crowded into the museum, the Mugenkyo Taiko Drummers resumed their performance; a street theatre group mingled with the large crowd, and the animatronic Tyrannosaurus Rex entertained the thinning crowd of onlookers in the centre of the street.

On Wednesday, the museum welcomed the world’s press for an in depth preview of the new visitor experience. Wikinews was represented by Brian McNeil, who is also Wikimedia UK’s interim liaison with Museum Galleries Scotland.

The new pavement-level Entrance Hall saw journalists mingle with curators. The director, Gordon Rintoul, introduced presentations by Gareth Hoskins and Ralph Applebaum, respective heads of the Architects and Building Design Team; and, the designers responsible for the rejuvenation of the museum.

Describing himself as a “local lad”, Hoskins reminisced about his grandfather regularly bringing him to the museum, and pushing all the buttons on the numerous interactive exhibits throughout the museum. Describing the nearly 150-year-old museum as having become “a little tired”, and a place “only visited on a rainy day”, he commented that many international visitors to Edinburgh did not realise that the building was a public space; explaining the focus was to improve access to the museum – hence the opening of street-level access – and, to “transform the complex”, focus on “opening up the building”, and “creating a number of new spaces […] that would improve facilities and really make this an experience for 21st century museum visitors”.

Hoskins explained that a “rabbit warren” of storage spaces were cleared out to provide street-level access to the museum; the floor in this “crypt-like” space being lowered by 1.5 metres to achieve this goal. Then Hoskins handed over to Applebaum, who expressed his delight to be present at the reopening.

Applebaum commented that one of his first encounters with the museum was seeing “struggling young mothers with two kids in strollers making their way up the steps”, expressing his pleasure at this being made a thing of the past. Applebaum explained that the Victorian age saw the opening of museums for public access, with the National Museum’s earlier incarnation being the “College Museum” – a “first window into this museum’s collection”.

The museum itself is physically connected to the University of Edinburgh’s old college via a bridge which allowed students to move between the two buildings.

Applebaum explained that the museum will, now redeveloped, be used as a social space, with gatherings held in the Grand Gallery, “turning the museum into a social convening space mixed with knowledge”. Continuing, he praised the collections, saying they are “cultural assets [… Scotland is] turning those into real cultural capital”, and the museum is, and museums in general are, providing a sense of “social pride”.

McNeil joined the yellow group on a guided tour round the museum with one of the staff. Climbing the stairs at the rear of the Entrance Hall, the foot of the Window on the World exhibit, the group gained a first chance to see the restored Grand Gallery. This space is flooded with light from the glass ceiling three floors above, supported by 40 cast-iron columns. As may disappoint some visitors, the fish ponds have been removed; these were not an original feature, but originally installed in the 1960s – supposedly to humidify the museum; and failing in this regard. But, several curators joked that they attracted attention as “the only thing that moved” in the museum.

The museum’s original architect was Captain Francis Fowke, also responsible for the design of London’s Royal Albert Hall; his design for the then-Industrial Museum apparently inspired by Joseph Paxton’s Crystal Palace.

The group moved from the Grand Gallery into the Discoveries Gallery to the south side of the museum. The old red staircase is gone, and the Millennium Clock stands to the right of a newly-installed escalator, giving easier access to the upper galleries than the original staircases at each end of the Grand Gallery. Two glass elevators have also been installed, flanking the opening into the Discoveries Gallery and, providing disabled access from top-to-bottom of the museum.

The National Museum of Scotland’s origins can be traced back to 1780 when the 11th Earl of Buchan, David Stuart Erskine, formed the Society of Antiquaries of Scotland; the Society being tasked with the collection and preservation of archaeological artefacts for Scotland. In 1858, control of this was passed to the government of the day and the National Museum of Antiquities of Scotland came into being. Items in the collection at that time were housed at various locations around the city.

On Wednesday, October 28, 1861, during a royal visit to Edinburgh by Queen Victoria, Prince-Consort Albert laid the foundation-stone for what was then intended to be the Industrial Museum. Nearly five years later, it was the second son of Victoria and Albert, Prince Alfred, the then-Duke of Edinburgh, who opened the building which was then known as the Scottish Museum of Science and Art. A full-page feature, published in the following Monday’s issue of The Scotsman covered the history leading up to the opening of the museum, those who had championed its establishment, the building of the collection which it was to house, and Edinburgh University’s donation of their Natural History collection to augment the exhibits put on public display.

Closed for a little over three years, today’s reopening of the museum is seen as the “centrepiece” of National Museums Scotland’s fifteen-year plan to dramatically improve accessibility and better present their collections. Sir Andrew Grossard, chair of the Board of Trustees, said: “The reopening of the National Museum of Scotland, on time and within budget is a tremendous achievement […] Our collections tell great stories about the world, how Scots saw that world, and the disproportionate impact they had upon it. The intellectual and collecting impact of the Scottish diaspora has been profound. It is an inspiring story which has captured the imagination of our many supporters who have helped us achieve our aspirations and to whom we are profoundly grateful.“

The extensive work, carried out with a view to expand publicly accessible space and display more of the museums collections, carried a £47.4 million pricetag. This was jointly funded with £16 million from the Scottish Government, and £17.8 million from the Heritage Lottery Fund. Further funds towards the work came from private sources and totalled £13.6 million. Subsequent development, as part of the longer-term £70 million “Masterplan”, is expected to be completed by 2020 and see an additional eleven galleries opened.

The funding by the Scottish Government can be seen as a ‘canny‘ investment; a report commissioned by National Museums Scotland, and produced by consultancy firm Biggar Economics, suggest the work carried out could be worth £58.1 million per year, compared with an estimated value to the economy of £48.8 prior to the 2008 closure. Visitor figures are expected to rise by over 20%; use of function facilities are predicted to increase, alongside other increases in local hospitality-sector spending.

Proudly commenting on the Scottish Government’s involvement Fiona Hyslop, Cabinet Secretary for Culture and External Affairs, described the reopening as, “one of the nation’s cultural highlights of 2011” and says the rejuvenated museum is, “[a] must-see attraction for local and international visitors alike“. Continuing to extol the museum’s virtues, Hyslop states that it “promotes the best of Scotland and our contributions to the world.“

So-far, the work carried out is estimated to have increased the public space within the museum complex by 50%. Street-level storage rooms, never before seen by the public, have been transformed into new exhibit space, and pavement-level access to the buildings provided which include a new set of visitor facilities. Architectural firm Gareth Hoskins have retained the original Grand Gallery – now the first floor of the museum – described as a “birdcage” structure and originally inspired by The Crystal Palace built in Hyde Park, London for the 1851 Great Exhibition.

The centrepiece in the Grand Gallery is the “Window on the World” exhibit, which stands around 20 metres tall and is currently one of the largest installations in any UK museum. This showcases numerous items from the museum’s collections, rising through four storeys in the centre of the museum. Alexander Hayward, the museums Keeper of Science and Technology, challenged attending journalists to imagine installing “teapots at thirty feet”.

The redeveloped museum includes the opening of sixteen brand new galleries. Housed within, are over 8,000 objects, only 20% of which have been previously seen.

The Window on the World rises through the four floors of the museum and contains over 800 objects. This includes a gyrocopter from the 1930s, the world’s largest scrimshaw – made from the jaws of a sperm whale which the University of Edinburgh requested for their collection, a number of Buddha figures, spearheads, antique tools, an old gramophone and record, a selection of old local signage, and a girder from the doomed Tay Bridge.

The arrangement of galleries around the Grand Gallery’s “birdcage” structure is organised into themes across multiple floors. The World Cultures Galleries allow visitors to explore the culture of the entire planet; Living Lands explains the ways in which our natural environment influences the way we live our lives, and the beliefs that grow out of the places we live – from the Arctic cold of North America to Australia’s deserts.

The adjacent Patterns of Life gallery shows objects ranging from the everyday, to the unusual from all over the world. The functions different objects serve at different periods in peoples’ lives are explored, and complement the contents of the Living Lands gallery.

Performance & Lives houses musical instruments from around the world, alongside masks and costumes; both rooted in long-established traditions and rituals, this displayed alongside contemporary items showing the interpretation of tradition by contemporary artists and instrument-creators.

The museum proudly bills the Facing the Sea gallery as the only one in the UK which is specifically based on the cultures of the South Pacific. It explores the rich diversity of the communities in the region, how the sea shapes the islanders’ lives – describing how their lives are shaped as much by the sea as the land.

Both the Facing the Sea and Performance & Lives galleries are on the second floor, next to the new exhibition shop and foyer which leads to one of the new exhibition galleries, expected to house the visiting Amazing Mummies exhibit in February, coming from Leiden in the Netherlands.

The Inspired by Nature, Artistic Legacies, and Traditions in Sculpture galleries take up most of the east side of the upper floor of the museum. The latter of these shows the sculptors from diverse cultures have, through history, explored the possibilities in expressing oneself using metal, wood, or stone. The Inspired by Nature gallery shows how many artists, including contemporary ones, draw their influence from the world around us – often commenting on our own human impact on that natural world.

Contrastingly, the Artistic Legacies gallery compares more traditional art and the work of modern artists. The displayed exhibits attempt to show how people, in creating specific art objects, attempt to illustrate the human spirit, the cultures they are familiar with, and the imaginative input of the objects’ creators.

The easternmost side of the museum, adjacent to Edinburgh University’s Old College, will bring back memories for many regular visitors to the museum; but, with an extensive array of new items. The museum’s dedicated taxidermy staff have produced a wide variety of fresh examples from the natural world.

At ground level, the Animal World and Wildlife Panorama’s most imposing exhibit is probably the lifesize reproduction of a Tyrannosaurus Rex skeleton. This rubs shoulders with other examples from around the world, including one of a pair of elephants. The on-display elephant could not be removed whilst renovation work was underway, and lurked in a corner of the gallery as work went on around it.

Above, in the Animal Senses gallery, are examples of how we experience the world through our senses, and contrasting examples of wildly differing senses, or extremes of such, present in the natural world. This gallery also has giant screens, suspended in the free space, which show footage ranging from the most tranquil and peaceful life in the sea to the tooth-and-claw bloody savagery of nature.

The Survival gallery gives visitors a look into the ever-ongoing nature of evolution; the causes of some species dying out while others thrive, and the ability of any species to adapt as a method of avoiding extinction.

Earth in Space puts our place in the universe in perspective. Housing Europe’s oldest surviving Astrolabe, dating from the eleventh century, this gallery gives an opportunity to see the technology invented to allow us to look into the big questions about what lies beyond Earth, and probe the origins of the universe and life.

In contrast, the Restless Earth gallery shows examples of the rocks and minerals formed through geological processes here on earth. The continual processes of the planet are explored alongside their impact on human life. An impressive collection of geological specimens are complemented with educational multimedia presentations.

Beyond working on new galleries, and the main redevelopment, the transformation team have revamped galleries that will be familiar to regular past visitors to the museum.

Formerly known as the Ivy Wu Gallery of East Asian Art, the Looking East gallery showcases National Museums Scotland’s extensive collection of Korean, Chinese, and Japanese material. The gallery’s creation was originally sponsored by Sir Gordon Wu, and named after his wife Ivy. It contains items from the last dynasty, the Manchu, and examples of traditional ceramic work. Japan is represented through artefacts from ordinary people’s lives, expositions on the role of the Samurai, and early trade with the West. Korean objects also show the country’s ceramic work, clothing, and traditional accessories used, and worn, by the indigenous people.

The Ancient Egypt gallery has always been a favourite of visitors to the museum. A great many of the exhibits in this space were returned to Scotland from late 19th century excavations; and, are arranged to take visitors through the rituals, and objects associated with, life, death, and the afterlife, as viewed from an Egyptian perspective.

The Art and Industry and European Styles galleries, respectively, show how designs are arrived at and turned into manufactured objects, and the evolution of European style – financed and sponsored by a wide range of artists and patrons. A large number of the objects on display, often purchased or commissioned, by Scots, are now on display for the first time ever.

Shaping our World encourages visitors to take a fresh look at technological objects developed over the last 200 years, many of which are so integrated into our lives that they are taken for granted. Radio, transportation, and modern medicines are covered, with a retrospective on the people who developed many of the items we rely on daily.

What was known as the Museum of Scotland, a modern addition to the classical Victorian-era museum, is now known as the Scottish Galleries following the renovation of the main building.

This dedicated newer wing to the now-integrated National Museum of Scotland covers the history of Scotland from a time before there were people living in the country. The geological timescale is covered in the Beginnings gallery, showing continents arranging themselves into what people today see as familiar outlines on modern-day maps.

Just next door, the history of the earliest occupants of Scotland are on display; hunters and gatherers from around 4,000 B.C give way to farmers in the Early People exhibits.

The Kingdom of the Scots follows Scotland becoming a recognisable nation, and a kingdom ruled over by the Stewart dynasty. Moving closer to modern-times, the Scotland Transformed gallery looks at the country’s history post-union in 1707.

Industry and Empire showcases Scotland’s significant place in the world as a source of heavy engineering work in the form of rail engineering and shipbuilding – key components in the building of the British Empire. Naturally, whisky was another globally-recognised export introduced to the world during empire-building.

Lastly, Scotland: A Changing Nation collects less-tangible items, including personal accounts, from the country’s journey through the 20th century; the social history of Scots, and progress towards being a multicultural nation, is explored through heavy use of multimedia exhibits.

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Thursday, September 14, 2006

The 2006 Liverpool Biennial art festival will start its ten week run on September 16, finishing on the November 26. The exhibition uses public places located across the city.

Installation will be situated at sites across the city including St. George’s Hall and Church of St Luke with specialist centers such as the Bluecoat Arts Centre, FACT centre, Tate Liverpool and the Walker Art Gallery providing exhibition space.

The international ’06 exhibition includes 35 commissioned works, while the 24th John Moores Exhibition of Contemporary Painting is the UK’s longest running open painting competition.

The Independents is an art exhibition that runs alongside the Biennial. Several shorter festivals will run over this period including the Hope Street festival.

Thursday, November 16, 2006

Currently, there are blackouts, heavy rain, and high winds in British Columbia. Over 220,000 BC Hydro customers have no power. Buildings have already collapsed and trees have been knowed down. Five Vancouver rivers were in danger of flooding, which rain fell at 10 mm an hour for more than six hours at midday.

The steel frame of a four-storey building under construction in Vancouver collapsed. Construction workers escaped injury, luckily they were on a coffee break at the time of the incident. The steel frame crushed cars in a parking lot and missed a truck driver.

Citizens had to evacuate a subdivision of 30 homes. The winds smashed trees into houses in West Vancouver.

“We have some real fears here with electrical problems,” said Captain Rob Jones Cook of the Vancouver Fire Department. “This is impinging on electrical poles and lamp standards. We also have hydro bus lines running down two sides of the building.” The Vancouver Fire Department says they have no idea as to why the building collapsed.

Winds are gusting at more than 100 kilometres an hour (62 mph) in some areas and rainfall amounts of 50 to 130 millimetres.

According BC Hydro spokeswoman Elisha Moreno, the hardest-hit areas are Vancouver, Surrey, Langley, Abbotsford and Mission, B.C. “We’re trying to be optimistic and hoping it’s by end of day today, but there may very well be customers that are into the early-morning hours before restoration,” Moreno said.

Extensive ferry cancellations, road closures, and massive power outages are in effect until the storm ends.

The RCMP have advised people to stay home and off the highway.

The same heavy weather has also affected nearby Washington State, USA.

Tuesday, April 10, 2018

On Saturday, the Trump Tower, in Midtown, New York City, caught fire shortly before 18:00 EST (2200 UTC) on the 50th floor, claiming the life of a 67-year-old resident, Todd Brassner, who lived in apartment 50C. All other residents were evacuated without incident. During the fire, six firefighters received non-life-threatening burns and other minor injuries. Neither US President Donald Trump nor the First Family were in the building at the time of the fire.

The high-end Fifth Avenue address is the personal residence of President Donald Trump, whose family occupies the top three stories of the 58-story building. The US Secret Service maintains a constant security presence inside the building with the New York City Police Department guarding a hard perimeter, intended to stop vehicular attacks, and a soft perimeter, intended for on-foot attacks.

The four-alarm fire required 200 firemen, extra police, and paramedics. At 20:00 EST (0000 UTC Sunday), the New York City Fire Department (FDNY) declared the fire was under control. Trump tweeted, “Firemen (and women) did a great job. THANK YOU!” This is the second fire at Trump Tower since the election; previously on January 8, a fire was caused by an electrical malfunction in a cooling tower on the roof. Three FDNY firefighters received minor injuries, and all residents and office workers evacuated without incident on that occasion.

Trump Tower provides a number of unique problems never before encountered by the Secret Service. Never has a US President’s personal residence been inside a skyscraper or in a densely populated area like Midtown. The security measures have disrupted vehicular and pedestrian traffic requiring time consuming detours and delaying emergency response.

The New York Fire Code did not mandate sprinkler systems at the time Trump Tower was built in 1983, which might have reduced the size and severity of the fire had they been present. The 50th-floor apartment was, according to FDNY Fire Commissioner Daniel Nigro, “[T]he apartment was virtually, entirely on fire.” The Secret Service monitors all the fire alarms in the building but it took time to find the source of the thick black smoke emanating from the fire. Secret Service Agents escorted the firefighters throughout the building, including the Trump residence.

Brassner, the sole casualty, was unconscious when firefighters pulled him out of apartment 50C. He was transported to Mount Sinai Roosevelt Hospital. Originally listed as critical, he was pronounced dead sometime during the night. Brassner, guitar collector, was acquainted with artist Andy Warhol and was acknowledged in Warhol’s 1989 autobiography, The Andy Warhol Diaries. The cause of the fire is unknown, with investigations into Brassner’s death and the emergency response ongoing. Currently, the Secret Service leads the investigation.

Thursday, June 25, 2015

Live music venues in Edinburgh, Scotland are awaiting a review later this year on the 2005 licensing policy, which places limitations on the volume of amplified music in the city. Investigating into how the policy is affecting the Edinburgh music scene, a group of Wikinews writers interviewed venue owners, academics, the City of Edinburgh Council, and local band The Mean Reds to get different perspectives on the issue.

Since the clause was introduced by the government of the city of Edinburgh, licensed venues have been prohibited from allowing music to be amplified to the extent it is audible to nearby residential properties. This has affected the live music scene, with several venues discontinuing regular events such as open mic nights, and hosting bands and artists.

Currently, the licensing policy allows licensing standards officers to order a venue to cease live music on any particular night, based on a single noise complaint from the public. The volume is not electronically measured to determine if it breaches a decibel volume level. Over roughly the past year there have been 56 separate noise complaints made against 18 venues throughout the city.

A petition to amend the clause has garnered over 3,000 signatures, including the support of bar owners, musicians, and members of the general public.

On November 17, 2014, the government’s Culture and Sport Committee hosted an open forum meeting at Usher Hall. Musicians, venue owners and industry professionals were encouraged to provide their thoughts on how the council could improve live music in the city. Ways to promote live music as a key cultural aspect of Edinburgh were discussed and it was suggested that it could be beneficial to try and replicate the management system of live music of other global cities renowned for their live music scenes. However, the suggestion which prevailed above all others was simply to review the existing licensing policy.

Councillor (Cllr) Norma Austin-Hart, Vice Convenor of the Culture and Sport Committee, is responsible for the working group Music is Audible. The group is comprised of local music professionals, and councillors and officials from Edinburgh Council. A document circulated to the Music is Audible group stated the council aims “to achieve a balance between protecting residents and supporting venues”.

Following standard procedure, when a complaint is made, a Licensing Standards Officer (LSO) is dispatched to investigate the venue and evaluate the level of noise. If deemed to be too loud, the LSO asks the venue to lower the noise level. According to a document provided by the City of Edinburgh Council, “not one single business has lost its license or been closed down because of a breach to the noise condition in Edinburgh.”

In the Scotland Licensing Policy (2005), Clause 6.2 states, “where the operating plan indicates that music is to be played in a premises, the board will consider the imposition of a condition requiring amplified music from those premises to be inaudible in residential property.” According to Cllr Austin-Hart, the high volume of tenement housing in the city centre makes it difficult for music to be inaudible.

During the Edinburgh Festival Fringe during the summer, venues are given temporary licences that allow them to operate for the duration of the festival and under the condition that “all amplified music and vocals are controlled to the satisfaction of the Director of Services for Communities”, as stated in a document from the council. During the festival, there is an 11 p.m. noise restriction on amplified music, and noise may be measured by Environmental Health staff using sophisticated equipment. Noise is restricted to 65dB(A) from the facades of residential properties; however, complaints from residents still occur. In the document from the council, they note these conditions and limitations for temporary venues would not necessarily be appropriate for permanent licensed premises.

In a phone interview, Cllr Austin-Hart expressed her concern about the unsettlement in Edinburgh regarding live music. She referenced the closure of the well-known Picture House, a venue that has provided entertainment for over half a century, and the community’s opposition to commercial public bar chain Wetherspoon buying the venue. “[It] is a well-known pub that does not play any form of music”, Cllr Austin-Hart said. “[T]hey feel as if it is another blow to Edinburgh’s live music”. “[We] cannot stop Wetherspoon’s from buying this venue; we have no control over this.”

The venue has operated under different names, including the Caley Palais which hosted bands such as Queen and AC/DC. The Picture House opened in 2008.

One of the venues which has been significantly affected by the licensing laws is the Phoenix Bar, on Broughton Street. The bar’s owner, Sam Roberts, was induced to cease live music gigs in March, following a number of noise complaints against the venue. As a result, Ms Roberts was inspired to start the aforementioned petition to have Clause 6.2 of the licensing policy reviewed, in an effort to remove the ‘inaudibility’ statement that is affecting venues and the music scene.

“I think we not only encourage it, but actively support the Edinburgh music scene,” Ms Roberts says of the Phoenix Bar and other venues, “the problem is that it is a dying scene.”

When Ms Roberts purchased the venue in 2013, she continued the existing 30-year legacy established by the previous owners of hosting live acts. Representative of Edinburgh’s colourful music scene, a diverse range of genres have been hosted at the venue. Ms Roberts described the atmosphere when live music acts perform at her venue as “electric”. “The whole community comes together singing, dancing and having a party. Letting their hair down and forgetting their troubles. People go home happy after a brilliant night out. All the staff usually join in; the pub comes alive”. However licensing restrictions have seen a majority of the acts shut down due to noise complaints. “We have put on jazz, blues, rock, rockabilly, folk, celtic and pop live acts and have had to close everything down.” “Residents in Edinburgh unfortunately know that the Council policy gives them all the rights in the world, and the pubs and clubs none”, Ms Roberts clarified.

Discussing how inaudibility has affected venues and musicians alike, Ms Roberts stated many pubs have lost profit through the absence of gigs, and trying to soundproof their venue. “It has put many musicians out of work and it has had an enormous effect on earnings in the pub. […] Many clubs and bars have been forced to invest in thousands of pounds worth of soundproofing equipment which has nearly bankrupted them, only to find that even the tiniest bit of noise can still force a closure. It is a ridiculously one-sided situation.” Ms Roberts feels inaudibility is an unfair clause for venues. “I think it very clearly favours residents in Edinburgh and not business. […] Nothing is being done to support local business, and closing down all the live music venues in Edinburgh has hurt financially in so many ways. Not only do you lose money, you lose new faces, you lose the respect of the local musicians, and you begin to lose all hope in a ‘fair go’.”

With the petition holding a considerable number of signatures, Ms Roberts states she is still sceptical of any change occurring. “Over three thousand people have signed the petition and still the council is not moving. They have taken action on petitions with far fewer signatures.” Ms Roberts also added, “Right now I don’t think Edinburgh has much hope of positive change”.

Ms Roberts seems to have lost all hope for positive change in relation to Edinburgh’s music scene, and argues Glasgow is now the regional choice for live music and venues. “[E]veryone in the business knows they have to go to Glasgow for a decent scene. Glasgow City Council get behind their city.”

Ms Martina Cannon, member of local band The Mean Reds, said a regular ‘Open Mic Night’ she hosted at The Parlour on Duke Street has ceased after a number of complaints were made against the venue. “It was a shame because it had built up some momentum over the months it had been running”. She described financial loss to the venue from cancelling the event, as well as loss to her as organiser of the event.

Sneaky Pete’s music bar and club, owned by Nick Stewart, is described on its website as “open and busy every night”.”Many clubs could be defined as bars that host music, but we really are a music venue that serves drinks”, Mr Stewart says. He sees the live music scene as essential for maintaining nightlife in Edinburgh not only because of the economic benefit but more importantly because of the cultural significance. “Music is one of the important things in life. […] it’s emotionally and intellectually engaging, and it adds to the quality of life that people lead.”

Sneaky Pete’s has not been immune to the inaudibility clause. The business has spent about 20,000 pounds on multiple soundproofing fixes designed to quell complaints from neighboring residents. “The business suffered a great deal in between losing the option to do gigs for fear of complaints, and finishing the soundproofing. As I mentioned, we are a music business that serves drinks, not a bar that also has music, so when we lose shows, we lose a great deal of trade”, said Mr Stewart.

He believes there is a better way to go about handling complaints and fixing public nuisances. “The local mandatory condition requiring ‘amplified music and vocals’ to be ‘inaudible’ should be struck from all licenses. The requirement presupposes that nuisance is caused by music venues, when this may not reasonably be said to be the case. […] Nuisance is not defined in the Licensing Act nor is it defined in the Public Health Act (Scotland) 2008. However, The Consultation on Guidance to accompany the Statutory Nuisance Provisions of the Public Health etc (Scotland) Act 2008 states that ‘There are eight key issues to consider when evaluating whether a nuisance exists[…]'”.

The eight key factors are impact, locality, time, frequency, duration, convention, importance, and avoidability. Stewart believes it is these factors that should be taken into consideration by LSOs responding to complaints instead of the sole factor of “audibility”.He believes multiple steps should be taken before considering revocation of licenses. Firstly, LSOs should determine whether a venue is a nuisance based on the eight factors. Then, the venue should have the opportunity to comply by using methods such as changing the nature of their live performances (e.g. from hard rock to acoustic rock), changing their hours of operation, or soundproofing. If the venue still fails to comply, then a board can review their license with the goal of finding more ways to bring them into compliance as opposed to revoking their license.

Nick Stewart has discussed his proposal at length with Music is Audible and said he means to present his proposal to the City of Edinburgh Council.

Dr Adam Behr, a music academic and research associate at the University of Edinburgh who has conducted research on the cultural value of live music, says live music significantly contributes to the economic performance of cities. He said studies have shown revenue creation and the provision of employment are significant factors which come about as a result of live music. A 2014 report by UK Music showed the economic value generated by live music in the UK in 2013 was £789 million and provided the equivalent of 21,600 full time jobs.

As the music industry is international by nature, Behr says this complicates the way revenue is allocated, “For instance, if an American artist plays a venue owned by a British company at a gig which is promoted by a company that is part British owned but majority owned by, say, Live Nation (a major international entertainment company) — then the flow of revenues might not be as straightforward as it seems [at] first.”

Despite these complexities, Behr highlighted the broader advantages, “There are, of course, ancillary benefits, especially for big gigs […] Obviously other local businesses like bars, restaurants and carparks benefit from increased trade”, he added.

Behr criticised the idea of making music inaudible and called it “unrealistic”. He said it could limit what kind of music can be played at venues and could force vendors to spend a large amount of money on equipment that enables them to meet noise cancelling requirements. He also mentioned the consequences this has for grassroots music venues as more ‘established’ venues within the city would be the only ones able to afford these changes.

Alongside the inaudibility dispute has been the number of sites that have been closing for the past number of years. According to Dr Behr, this has brought attention to the issue of retaining live music venues in the city and has caused the council to re-evaluate its music strategy and overall cultural policy.

This month, Dr Behr said he is to work on a live music census for Edinburgh’s Council which aims to find out what types of music is played, where, and what exactly it brings to the city. This is in an effort to get the Edinburgh city council to see any opportunities it has with live music and the importance of grassroots venues. The census is similar to one conducted in Victoria, Australia in 2012 on the extent of live music in the state and its economic benefit.

As for the solution to the inaudibility clause, Behr says the initial step is dialogue, and this has already begun. “Having forum discussion, though, is a start — and an improvement”, he said. “There won’t be an overnight solution, but work is ongoing to try to find one that can stick in the long term.”

Beverley Whitrick, Strategic Director of Music Venue Trust, said she is unable to comment on her work with the City of Edinburgh Council or on potential changes to the inaudibility clause in the Licensing Policy. However, she says, “I have been asked to assess the situation and make recommendations in September”.

According to The Scotsman, the Council is working toward helping Edinburgh’s cultural and entertainment scene. Deputy Council Leader Sandy Howat said views of the entertainment industry needs to change and the Council will no longer consider the scene as a “sideline”.

Senior members of the Council, The Scotsman reported, aim to review the planning of the city to make culture more of a priority. Howat said, “If you’re trying to harness a living community and are creating facilities for people living, working and playing then culture should form part of that.”

The review of the inaudibility clause in the Licensing Policy is set to be reviewed near the end of 2016 but the concept of bringing it forward to this year is still under discussion.