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Sunday, May 31, 2009

A bomb on an Iranian domestic passenger aeroplane was successfully defused by authorities on Saturday, according to officials.

The bomb was found aboard a Kish Air flight departing from Ahvaz, bound for the Iranian capital of Tehran.

“15 minutes after the plane with 131 passengers took off, flight security guards found a handmade bomb placed in the lavatory. The plane landed immediately at Ahvaz airport and the bomb was defused,” said the Fars news agency.

The plane made an emergency landing at its departure airport at Ahvaz. After the bomb was defused, the flight took off again.

“The suspicious package and the details of the sabotage operation in the Tehran-Ahvaz Boeing is under investigation,” said the head of the Revolutionary Guards air security operation, to the Iranian IRNA news agency.

“I do not confirm a link between this and the Zahedan operation. But we believe our enemies want to create a threatening environment before the presidential election and exploit the open space in the country and spark despair among people,” he said.

These are the latest in a series of attacks coming ahead of next month’s presidential elections. The incident comes two days after a bomb attack on a mosque killed 25 people on Thursday. On Saturday three men were hanged for that attack, which officials blamed on al-Qaeda, the United States and Israel.

Thursday, February 14, 2008

The German noble family of Waldburg-Wolfegg has sold the manuscript known as the The Housebook to an unknown buyer. There is speculation in the German press that it was purchased by Baron August von Finck who currently resides in Switzerland, and that the price paid was €20 million.

It is unclear whether the purchase is in fact legally valid because the manuscript was sold without the permission of the government of Tübingen required by the law of fideikommiss dissolution (similar to the common law institution Fee tail). German law forbids the export of such a precious manuscript, which is registered in the list of national cultural property.

The Housebook of Wolfegg is an illustrated manuscript that was created after 1480 by an unidentified artist known as the “Master of the Housebook” (or Master of the Amsterdam Cabinet) and possibly other artists. It was exhibited at the National Gallery of Art in the United States in 1998.

Wednesday, March 7, 2007

A full crowd showed up at the Guiseppe Meazza in Italy today to watch AC Milan take on Scottish side Celtic. The first leg of the matches ended in a goalless draw, as both teams were spirited in defense. Kaka and Inzaghi played as frontmen for AC, while Vennegoor of Hesselink and Jiri Jarosik were the strike pair for Celtic.Milan had the first chance of the game early when Kaka found room and flashed a shot towards the bottom corner, but keeper Artur Boruc got down well to make the stop. Celtic then had a valid penalty claim after only 6 minutes when Jarosik’s volley looked to be blocked by the hand of Maldini, but referee Konrad Plautz waved away the appeals. Celtic’s defense continued to play well, and they limited Milan’s chances to long ranged shots. Lee Naylor then performed defensive heroics for Celtic as he took the ball away from the open Inzaghi, who was waiting to tap the ball in at the back post. Kaka had two more shots from range at the net, but neither were on target. Naylor again saved Celtic by clearing the ball off the line from a Kaka attempt.Over an hour had passed when Gord Strachan sent Thomas Graveson on for Celtic in place of Jarosik, and the Dane almost scored right away. He struck a fine shot at the net, but Massimo Oddo did well to block the attempt. Milan counter attacked quickly, and Kaka saw his attempt also blocked by a defender. McManus and Naylor were forced to clear headers off the line from Ambrosini and Inzaghi, both occurring after corners. Maldini then had a header at the Celtic net, but Boruc was again in the right place to make the stop. Celtic had another claim for a penalty when Nakamura was brought down in the area, but the Austrian referee again waved away all appeals. Boruc was again forced into action from a Seedorf free kick, which he was able to deflect out with a hand. Kaka then shot towards the goal, but the crossbar saved Celtic from going a goal down. As 90 minutes approached, Celtic had two well positioned free-kicks, but could take advantage of neither, and the game entered extra time.It took Milan little time to go ahead in the extra period, and the scorer would be no other than the Brazilian Kaka. The youthful striker put on a burst of speed to beat out the tired Celtic defenders and blasted the ball through Borucs legs to give the homeside the lead. The game continued however, as the Champions League works on full extra time, and Celtic still had 27 minutes to equalize. It was Milan who pushed however, and Andrea Pirlo twice forced Boruc to make saves. Then Kaka, in search of a brace, sent a volley over the net after being left alone during a corner kick. Gravesen’s long effort for Celtic was easy pickings for Dida, and Craig Beattie headed a good chance over the bar. Celtic vainly tried to tie the game, bringing on Kenny Miller, but AC finished the game comfortably, and advanced to the next round of the tournament.

Monday, May 14, 2007

MuchMusic announced the nominees for their MMVA People’s Choice awards today. In their 18th year, the MuchMusic Video Awards (MMVAs) have always had categories open to public voting. Simple Plan holds the record for number of People’s Choice wins, with four.

Viewers can watch all the videos on MuchAXS, muchmusic.com’s “viewer-controlled broadband community.” From there, viewers can either vote online at muchmusic.com, or text “MMVA” to 299299 to vote on their phone (Canada only).

Favourite Canadian Artist:

• Avril Lavigne / “Girlfriend”
• City and Colour / “Comin’ Home”
• George / “Talk To Me”
• k-os / “Sunday Morning”
• Nelly Furtado / “Say It Right”

Favourite International Artist:

• Akon / “Smack That”
• Fergie / “Fergalicious”
• Gwen Stefani / “The Sweet Escape”
• Hilary Duff / “With Love”
• Justin Timberlake / “SexyBack”

Favourite Canadian Group:

• Alexisonfire / “This Could Be Anywhere In The World”
• Billy Talent / “Devil In A Midnight Mass”
• Hedley / “Gunnin'”
• Nickelback / “Far Away”
• Three Days Grace / “Pain”

Favourite International Group:

• Evanescence / “Call Me When You’re Sober”
• The Killers / “When You Were Young”
• My Chemical Romance / “Welcome To The Black Parade”
• Pussycat Dolls / “Buttons”
• Red Hot Chili Peppers / “Dani California”

Friday, October 17, 2008

The British Association of Dermatologists (BAD) has released a report saying that an illness they named ‘mobile phone dermatitis’, in which individuals owning a cell phone have developed a rash on the side of their face, is likely linked to nickel deposits in the metal of some cellular phones. Nickel has been known to cause rashes on those who have a sensitivity to, or are allergic to the metal. Nickel is also mixed with other metals to make jewelry.

The Association says that the condition is likely to affect people who spend too much time talking on the phone. They found that those who spend too much time text messaging or talking for long periods on the phone, were most likely to develop a rash, sometimes severe, on their face and ears, or the tips of their fingers.

Tests in January, performed on 22 cellular phones by scientists at Brown University in Rhode Island located in the United States, had found that just under half, a total of 10, contained nickel while the rest had rubber buttons and a plastic case. Initially the rashes were unexplained, and researchers could not find a reason why so many individuals began to experience the symptoms. In most cases the rashes were untreatable.

“Cell phones intended for rugged use … often have rubber coating and no surface nickel. Those with more fashionable designs often have metallic accents and are more likely to contain free nickel in their casings,” said Lionel Bercovitch MD., one of the researchers, in a report in the journal for the Canadian Medical Association on January 1, 2008.

Researchers also state that although some people may not be allergic to nickel, “prolonged” and continuous exposure to it can cause severe reactions.

“Prolonged or repetitive contact with a nickel-containing phone is more likely to cause a skin reaction in those who are allergic,” said BAD dermatologist Dr. Graham Lowe in a press release. In the United Kingdom alone, BAD says nearly 30% of the population suffers from rashes brought on by prolonged exposure to the metal.

The researchers also recommend individuals to buy swab test kits to test for traces of nickel.

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.

Monday, September 3, 2012

London, England— Last Friday, Wikinews interviewed Trischa Zorn, 55-time medal-winner. The U.S. Paralympic swimmer’s haul includes 41 golds.

Zorn discussed a variety of issues, including frustration with the classification system that has disadvantaged some United States swimmers because of what she sees as its subjective nature. She also talked about the increased visibility of the Games, how things have changed from when she started in 1980 to the current 2012 Summer Paralympics. Zorn discussed how sponsorship has evolved from her early time participating, and issues with the Paralympics inside the United States at the present.

This year Zorn was inducted into the International Paralympic Hall of Fame at a ceremony in London. Having last competed in the 2004 Summer Paralympics, if she was swimming today, she would be classified as an S12 swimmer. She currently works for the United States Department of Veterans Affairs, helping returning soldiers adjust to life as civilians.

((Laura Hale)) We do Wikinews, which is related to Wikipedia … And, your article on Wikipedia sucks.

Trischa Zorn: Right

((WN)) The sources don’t agree on how many [Paralympic] medals you won. So how many medals have you won?

TZ: 55 medals. 41 gold, nine silver and five bronze.

((WN)) More gold medals than the next nearest total medal winner.

TZ: Correct

((Hawkeye7)) In fact, the next two, three, maybe four, put together.

TZ: Correct

((WN)) You started [Paralympic] swimming in 1980.

TZ: My first games was in 1980, and my last games was in 2004 in Athens.

((WN)) 2004?

TZ: Yes. Eight years ago.

((WN)) And you medalled there?

TZ: I got a bronze. I was only swimming in two events.

((WN)) And you remember all 55?

TZ: I know what events I swam. Relays and stuff. The discrepancy is because early on they weren’t really keeping track of the events. Like my first games in 1980, I won seven medals, and they only recorded five. In 1984, because the games were in New York, and because of the boycott, from when we boycotted in 1980, not a lot of European countries came over. So there wasn’t a lot of statistic keeping.

((WN)) We have found the IPC database had a lot of problems on the Australian side. We have been correcting that.

TZ: I have a whole list of all the events.What ones I won. A British writer was writing a book and wanted to include me, so I collated all my results and sent it to her.

((WN)) When you started in 1980, did they have the three categories for blind swimming?

TZ: They had the three categories, but they weren’t like S categories now. There was B1 for blind, B2 and B3. I was in the middle, a B2. The equivalent to S12 now.

((WN)) Has classification on the blind sports side changed much since you started?

TZ: They would like it to be in the regular classification S1 to S10. They would like everybody to be all one and use a points system. But I’m not a big fan of the points system, and I’m not a big fan of the classification procedure.

((WN)) Blind sports is the only medically based classification left. The rest are all functionality based.

TZ: Correct

((WN)) They are moving towards an evidence based system, but I’m not sure what that is.

TZ: Unfortunately, the classifications are very subjective. And a lot of the classifications, they don’t go by actual evidence of medical documentation, it’s what you can do in the water. So, for example, we have one of our athletes, Mallory Weggemann, that was an S7. She had multiple world records as an S7 and two days before she was supposed to comes here the IPC says: “We want to reclassify you. We want to do your classification all over” So she came here and they put her through a dry land regimen of classification. Then they said “let’s get you in the water. We’ll classify you there.” Then they said: “Oh no! You’re an S8!” Even though she had medical documentation to say that she was a T10 paraplegic with no function in her legs.

((WN)) Did classification ever effect you?

TZ: Not with me, but there has been problems with the S13. It’s supposed to be best corrected. There have been people that I swam against in the past that two years later were disqualified. Their vision, now they found out, was too good. It’s very subjective. There needs to be a test where they can see what you can see. Because, as an athlete, you go in and somebody says: “Can you see this?” or “Can you read that?”

((WN)) You’re involved with the veterans? On the sports side?

TZ: I work for the Department of Veterans’ Affairs.

((WN)) How long have you worked for them?

TZ: I have worked for them for a year now. I actually see some of the veterans like Brad that have come back lately, and how they have come through Walter Reed. I work more on the business side of it. But its still nice to see that they are being welcomed back, being provided opportunities for sports. Things that they thought that they would never be able to do.

((WN)) One of the criticisms of the US Paralympic Committee, and I don’t want to get you in trouble, is that the reason that the US is having problems right now with funding support is that they have been focused on veterans, and ignoring other people with disabilities. Would you care to comment on that?

TZ: Well I think that anything in the US that deals with veterans, the US is very passionate about, and sports, unfortunately, amateur sports, have become a business. And any kind of funding through the Department of Defense, going for veterans and whatever programs they are involved in is very important. But, as I’ve always said, funds always end up drying up. They’re not always going to be there, so you can’t depend strictly on that. Therefore, you need to have a well-rounded funding base, not just for veterans, for all athletes.

((Hawkeye7)) Where does funding normally come from in the United States?

((Laura Hale)) Hawkeye7’s an Australian, so his model is that the government pays for sport.

TZ: It’s funny, I look and I see what the Paralympic athletes get now, and what we even got in ’08 compared to when I first came. We had to pay to go to the Paralympics. We had to pay for our uniforms. It was only from Sydney that we didn’t have to pay anything, and we were provided uniforms. So each games has built on certain things. So, for example, 1988 was the first time that we had the same venues as the Olympics. ’92 was the first time that we were able to actually hear our national anthem, because before you didn’t, you just heard a games recording. So then in ’96 obviously because it was in the US, I think they thought that that was going to bring more awareness, and it did to an extent; but, once it was gone it kind of dwindled away. And then, in 2000 in Sydney, things had become … we were the first – there were four of us – we were able to train at an Olympic training centre. Not with the team, but we were able to use the facilities at the Olympic training centre full-time. But now they have a full time resident program. They are not training alongside Olympic athletes, but at least they are funded by the Olympic Committee. They get to train there, they get to live there. So things have changed. And then people argue about prize money, and sponsorship. It’s different.

((WN)) Do you think they should be sponsored? In Australia, Evan O’Hanlon, he’s an athlete, he has cerebral palsy, her covers his shoes with tape, because he feels that he is advertising for whoever makes his shoes, and he feels that he should get sponsorship. Do you think that we have reached the point with disability sports on the world stage where the elite athletes should be sponsored?

TZ: Well I think that there are certain talented athletes in the US that are now getting the global sponsors such as Jessica Long being a Visa athlete and having opportunities with Coke. And Rudy Garcia-Tolson with BP. And those big companies are jumpingon board and seeing the opportunities not just from a marketing standpoint, but you are allowing the young athletes to see that and touch it, and before it wasn’t. I mean you are basically competing because you love the sport. Now it’s just like Olympic athletes. They know what the possibilities of an outcome is going to be. Now, granted, Paralympic athletes don’t get $50,000 for a gold medal, or $10,000 for a bronze. We’d be lucky if we get $5,000 or $10,000.

((WN)) Do you think that all 55 of your Paralympic medals are equivalent to Olympic medals?

TZ: They are equivalent in respect that I did the same training as any Olympic athlete. I trained alongside able bodied athletes in the club setting where I trained, and a college setting.

((WN)) Which clubs and which colleges was that?

TZ: Actually, when I was younger I swam for San Diego Matadors down in California, and in college at the University of Nebraska, and then when I moved to Indiana I was training there with a coach it was with the Riviera Swim Club.

((WN)) You’ve been all over.

TZ: I’ve been going east as I’ve left my home state of California.

((WN)) Because of sport?

TZ: Because of coaching. My club coach left the club and went to the college level. So when I went to college he continued coaching.

((WN)) Did you get a scholarship?

TZ: I was on a full athletic scholarship. I was the first physically disabled athlete to get a full Division One scholarship.

((WN)) That is so cool.

TZ: I guess they say, they are not as equal, but medals are medals, and whatever your heart is and whatever you think of it, that is what it means.

((WN)) In Australia, my impression is that they do view them as exactly the same, whereas in America, some people do not even know that the Paralympics are on.

TZ: Yes. And unfortunately it’s a stereotypical society. In the US we don’t typically stereotype Paralympic athletes as the Australians or the Europeans do, and especially if you don’t look disabled. If you put me next to Jessica Long, she’s an incredible athlete but her story is going to be more desirable, because her disability is more noticeable. Don’t do that for me. But it’s to the extent where you are losing the focus of the athletics.

((Laura Hale)) Is there anything else we should know in terms of the history of the Paralympics?

((Hawkeye7)) Particularly about yourself.

((Laura Hale)) Are you a shy and retiring individual?

TZ: I am. And I think that’s part of it. I’m not very good with bragging.

((WN)) At selling yourself?

TZ: At selling myself. And I feel that my medals and my performance in the water speaks for itself.

((WN)) You were out there tonight presenting a medal.

TZ: And it was an honour to be on that side of it for these games. In 2008, I was honoured to be part of the Presidential delegation. I am involved with the US Olympic Committee as an athlete adviser on the rules and regulations and the rights of athletes. That’s basically where I want to be right now. I want to be an advocate for athletes.

((Hawkeye7)) We were at water polo match in Canberra, watching the Australian Olympic water polo team. And Ellie Cole walked in and they announced: “Ladies and gentlemen, this is Ellie Cole!” These Olympians applauded Ellie Cole.

((Laura Hale)) They do that at the Canberra Capitals games. They introduced Ellie Cole and her dad. It’s a completely different perspective. People outside the United States ask: “Why don’t you acknowledge them? What is wrong with the US?”

((Hawkeye7)) Every ad break [in Australia] there’s a Paralympian

((Laura Hale)) Grace Bowman! You haven’t done any commercials have you?

TZ: No to the extent that some athletes do, but for Visa and Coke. For Atlanta we did some commercials for Coke, it’s headquarters is in Atlanta. I’ve done Hartford Insurance, but not globally.

((Laura Hale)) Thank you.

((Hawkeye7)) Thank you.

April 7, 2005

Bitmover, the company producing a management program for computer source code named Bitkeeper (BK), announced on April 5 that it will no longer be providing a free version of its product.

As a result of Bitmover’s announcement, the programmer who wrote the original Linux kernel, Linus Torvalds, stated on a mailing list that he “decided to not use BK mainly because [he] need[s] to figure out the alternatives”. As to an alternative to Bitkeeper, Torvalds hinted that he is considering Monotone but that Subversion, a recent replacement for CVS, is out of the running. Bitkeeper was originally developed to allow Torvalds to manage code contributions more easily, according to Jeremy Andrews at Kerneltrap.org, and was previously provided to kernel developers free of charge, though it was restricted in its use.

Bitkeeper is the software that Torvalds and hundreds of other Linux developers use to manage submissions of code to the Linux kernel, the heart of the computer operating systems referred to as “Linux” or “GNU/Linux”. Linux is distributed in many different forms, bundled with other software by companies such as Red Hat, Novell, and Linspire.

While the details are not clear, it appears from Andrews’ article that Bitmover’s decision to stop releasing the free version of Bitkeeper is related to a dispute with Torvalds’ employer, Open Source Development Labs (OSDL).

According to Kerneltrap, an OSDL contractor had been reverse engineering the free version of Bitkeeper in order to make an open source replacement, which is prohibited by the license under which the free version of Bitkeeper is released. Nevertheless, Torvalds notes in his post that he is “personally very happy with BK, and with Larry [McVoy, the CEO of Bitmover].”