Thursday, February 24, 2005

A paste containing synthetic tooth enamel can seal small cavities without drilling. Kazue Yamagishi and colleagues at the FAP Dental Institute in Tokyo say that the paste can repair small cavities in 15 minutes.

Currently, fillers don’t stick to such small cavities so dentists must drill bigger holes. Hydroxyapatite crystals, of which natural enamel is made, bond with teeth to repair tiny areas of damage.

Yamagishi and colleagues have tested their paste on a lower premolar tooth that showed early signs of decay. They found that the synthetic enamel merged with the natural enamel. The synthetic enamel also appears to make teeth stronger which will improve resistance to future decay. As with drilling, however, there is still the potential for pain: The paste is strongly acidic to encourage crystal growth and causes inflammation if it touches the gums.

The paste is reported in the journal Nature.

Sunday, January 25, 2009

As a storm swept across parts of France and Spain on Saturday and Sunday, it left 15 people dead. Its winds were recorded up to 190km/h (118 mph), which are hurricane-force winds.

The storm made landfall near to Bordeaux, France at 5:00 am Central European Time on Saturday the 24th January. It traveled south-eastwards towards the south-east coast of France throughout Saturday morning, finally reaching there at 1:00 pm. It is expected to head north-eastwards over Italy and the Adriatic Sea, but without causing damage. Low pressure systems are fairly common in Europe at this time of year. Some reports have called it the storm of the decade; BBC meteorologist Alex Deakin said “Saturday’s storm is being described as the most damaging since that of December 1999 which killed 88 people.”

Four children aged between 9 and 12 died at a sports hall in Sant Boi de Llobregat, near Barcelona. The children intended on playing baseball, but sought shelter inside a covered area made of concrete with a corrugated iron roof. The structure collapsed, as a result of the wind. Local people and fire-fighters were at the scene in aiding children to escape the rubble. Three children died at the scene, a fourth died in hospital and 16 have been treated for injuries.

Other fatalities include a woman, who died after a wall collapsed and a man struck by a falling tree in the Barcelona area. In Landes, south-west France, a falling tree struck a driver; a 78-year-old man was hit by debris and another man, aged 75, was crushed by a tree. A wall crushed a man in Aigues de Busot in the south-east of Spain. A policeman was struck by a falling tree as he directed traffic in Burela and a sailor from a cargo ship died when the vessel got into trouble off the coast of Galicia. In Burgos, Spain, a woman was crushed by a door.

Approximately 1.7 million homes in France and tens of thousands of homes in Spain experienced power cuts. A woman, aged 73, died in France after a power-outage stopped her breathing machine. Road and rail links were blocked and airports closed. Airports in Bordeaux, Biarritz, Pau and Toulouse were shut, as well as train services, leaving hundreds of passengers stranded overnight.

Michèle Alliot-Marie, the French interior minister, stated that in addition to the 300 civil security agents located in the Landes region of France, another 715 agents would be deployed. She also expressed her intent to fly there today, after the high winds have decreased. French President Nicolas Sarkozy told reporters he would travel to the affected area tomorrow. In Bordeaux’s Gironde region, 19 residents of a retirement home were evacuated by rescuers following its rooftop being blown away. Authorities have also evacuated campers from the pine forests in Landes.

Thousands were evacuated from nearby housing estates in La Nucía, north of Benidorm in Alicante, as the Spanish Army helped to fight a forest fire, which was started by a felled electricity pylon. There were also forest fires in the region of Catalonia, while Spain put emergency services on high alert. Waves over 20 metres high were registered off the northern coast of Spain and dolphins were stranded on beaches in the region as a result of high winds.

Tuesday, October 27, 2015

Early yesterday afternoon local time, a 7.5 magnitude earthquake hit Afghanistan, Pakistan and North India, with its epicenter in the Hindu Kush mountain range which stretches from Afghanistan to North Pakistan, causing damage to life and buildings. A Wikinews correspondent felt the shock waves in Behror, Rajasthan at 2:50 PM IST (0920 UTC).

Hundreds of people died in this disaster. The death toll is highest in Pakistan. Pakistani officials yesterday afternoon declared over 145 people were found dead. United States Geological Survey reported the earthquake occurred at 212km depth due to reverse faulting. Twelve students died in the rush due to trembles, in an Afghani girls’ school in Takhar, near Badakhshan. Two elderly women in Kashmir died due to heart attack. Some people in Pakistan died by crushing by roof collapse.

Indian states Punjab, Jammu and Kashmir, Rajasthan, Uttar Pradesh and Delhi National Capital Region were affected. Srinagar experienced a power cutoff after the earthquake.

During yesterday afternoon, Indian Prime minister Narendra Modi communicated with Pakistani Prime Minister Nawaz Sharif, volunteering help. He also tweeted “Heard about strong earthquake in Afghanistan-Pakistan region whose tremors have been felt in parts of India. I pray for everyone’s safety.”

Yesterday evening, Pervez Rashid, Pakistani Information Minister, declared Pakistan would not ask for help for resources and rescue work and thanked India for offering help. “We have enough resources to handle the situation. Our top priority is to help those affected because of the earthquake”.

As of earlier today, officials in Pakistan and Afghanistan came up with statistics of 237 deaths in Pakistan and a total rising to 311.

Almost a decade ago, this region suffered an earthquake with a magnitude of 7.6.

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.

Monday, February 8, 2010

Commander Ali Dizaei of London’s Metropolitan Police Service today became the most senior officer anywhere in the United Kingdom to be convicted of offences by a court. Dizaei, who was branded a “criminal in uniform” by Independent Police Complaints Commission chair Nick Hardwick, has been jailed for four years after he attempted to frame an Iraqi businessman.

It took a Southwark Crown Court jury under three hours to find Dizaei guilty of misconduct in a public office and attempting to pervert the course of justice. The charges carried a maximum of life imprisonment.

Dizaei, 47, who is head of the National Black Police Association, had gone to the Yas Persian restaurant, run by one of his friends, and taken his wife Shy with him. They then went to their car and struck up a conversation through its open window with the restaurant’s manager. During this conversation they were approached by Waad al-Baghdadi, an Iraqi website designer in his twenties. He requested that Dizaei pay £600 that he owed Baghdadi, who had constructed his website.

According to the Crown, this dispute had been ongoing for months and Dizaei had been attempting to intimidate Baghdadi. He told the Iraqi to depart when he entered the restaurant; although the businessman did, he stayed nearby and rang the 999 emergency number.

The exact content of the argument that led up to this is unclear. Dizaei and his wife testified that Baghdadi was abusive and threatening, telling the officer he would “extract the money out of your throat” while the owner of the Yas said he was “a crook basically… His history … everybody knows he’s not a good gentleman,” said owner Sohrab Eshragi. Eshragi said that the request Baghdadi leave the premises was due to concerns of trouble, claiming Baghdadi had been in a previous fight. Baghdadi denied the allegations and the court rejected Dizaei’s version of events.

While Baghdadi was making his emergency call, Dizaei arrested him and made a 999 call of his own. He requested assistence from other officers, and said that Baghdadi had assaulted him by stabbing his stomach with a shisha pipe. He maintained this account when police arrived and kept it up in written statements, but although Baghdadi was found to be carrying such a pipe examination of Dizaei’s wounds by a police doctor concluded he had inflicted them upon himself.

A Home Office pathologist questioned this finding for the defence. Dr. Nat Cary said it was based on a “fundamentally flawed approach,” and that the injuries were consistent with Dizaei’s version of events. He has helped investigate the assassination of former Pakistani PM Benazir Bhutto, and the death newspaper seller Ian Thomlinson, the latter of whom died during a G20 protest.

The Crown further alleged that Dizaei told Baghdadi “I’ll fuck your life… You think I don’t know what you do in London… I’ll find every single detail of your life in London.” The prosecution case was presented by Peter Wright QC, who has prosecuted in trials over serial murders of Suffolk sex workers and a plot to bomb transatlantic airliners. He said that Dizaei’s actions were a “wholesale abuse of power by a senior police officer for entirely personal and oblique motives.”

Judge Justice Simon said that Dizaei had committed a “grave breach of public trust” and told him “This sentence needs to send a clear message that police officers of whatever rank are not above the law.” A Crown Prosecution Service spokesman said outside the court that “He abused his power and ignored his responsibility,” and that while corruption was unacceptable in any police officer it was particularly so in a senior member of the forces. “The public should have confidence that we will prosecute anyone, regardless of their position, if they commit serious offences. We believe justice has been served for the victim and the public.”

“[I]f he [Dizaei] had been successful, Mr al-Baghdadi may have been sent to prison,” noted Hardwick. “Mr al-Baghdadi has shown tremendous strength of character throughout this case ? from the moment he was confronted by Ali Dizaei, throughout our investigation, and finally when giving evidence at court. We are grateful for the confidence he placed in the IPCC and, as a result of that, justice has been done today.”

Dizaei has been a policeman for 24 years, and at one stage was rumoured to be destined to take control of the Metropolitan Police, although the Metropolitan Police Authority may now choose to end this career. His trial, which began this month, is his second this decade. He was prosecuted in 2003 but cleared of any wrongdoing. The incident with Baghdadi was in June 2008 and Dizaei has been suspended on full pay since September of that year. Hardwick said that “The greatest threat to the reputation of the police service is criminals in uniform like Dizaei.”