Author: Admin

Friday, August 31, 2007

Finland’s National Bureau of Investigation, a division of Finland’s national police, has ten suspects currently, in its recent investigation into alleged dog fighting in the south of the country.

All the suspects are male Finns residing in southern Finland. The new developments are the result of an investigation into four to six alleged dog fights. Dog fighting is a breach of animal cruelty laws in Finland, and the case will be considered for prosecution in October. They are being investigated under suspicion of breaching the Prevention of Cruelty to Animals Act.

Chief Inspector Olli Töyräs of the Keskusrikospoliisin told reporters, “I would not like to speculate on the motives for the arranging of these dog fights. At least thus far there has been no evidence of illegal gambling on the outcome of fights. There also does not seem to be any large-scale organisation behind the incidents or connections with organised crime groupings. It would appear to be the pastime of a group of individuals.” Despite this, the group is known to have links throughout Scandinavia, as well as possible links to Russia.

He added that about a dozen pit bulls from America were involved in the incidents.

Key evidence includes video footage and testimony from veterinary surgeons, who were present when police raided several locations suspected to be involved. “Statements by veterinary surgeons are a significant part of the investigation. They play the same role here as forensic pathologists would in a normal violent crime investigation,” Inspector Töyräs said.

The investigation was begun as a result of an investigation into dog fighting in the United Kingdom by the state-run British Broadcasting Corporation (BBC). A BBC journalist teamed up with a man with military experience to infiltrate a notorious dog fighting ring from Ulster, Ireland, known as The Farmer Boys. This uncovered links to a group involved in comparable activity in Finland. The documentary, which is part of the Panorama series, was broadcast in Finland yesterday by YLE.

The BBC had contacted Finland regarding it’s discoveries in April. The BBC itself had begun it’s investigation after Gerard Cavlan, a football player from Northern Ireland, was convicted on charges related to dog fighting.

The programme included graphic scenes of a dog fight in Finland, filmed using hidden cameras. The show’s team also purchased a pit bull from a dealer in Finland with false documents showing it to be another breed (pit bulls are illegal in Britain) and successfully transported it back without detection via Germany and Ireland, taking a ferry into England from Northern Ireland.

The dog breeder is a member of SATHY, an organisation which describes itself as “a Finnish club devoted to dog breeds not recognized by FCI related associations (such as the Finnish Kennel Club, and some others). [The] Most important breeds for us are the American Bulldog, American Pit Bull Terrier, Toy Fox Terrier, American Hairless Terrier and Olde English Bulldog.”

SATHY has issued a statement via their website to the affect that they felt the programme was misleading, and that Finnish dog breeders have initiated legal proceedings against the British journalist responsible for the programme. One of the dog breeders shown during the programme denied any criminal activity when approached by the Finnish Helsingin Sanomat news service.

Privacy laws in Finland required the faces of those believed to be involved to be pixelated during the Finnish version of the broadcast, although this was not mirrored in the UK screening – which, in an unprecedented move, coincided exactly with the showing in Finland. The show was widely discussed on the internet, with large volumes of material requiring deleted by site administrators as breaching Finnish privacy legislation.

The investigation is the only one ever conducted into dog fighting in Finland. Töyräs explained the problem to journalists: ”We have only had vague unconnected hints of this sort of activity in the past, and on the basis of these it was not possible to mount an earlier investigation.”

Wednesday, November 1, 2006

The New Zealand Medical Association (NZMA) has warned the public against taking party pills, even though they are legal in New Zealand. This warning comes because Benzylpiperazine, or BZP, can trigger hypothermia, seizures, paranoia, insomnia, anxiety, nausea, vomiting, palpitations and spasms of the muscle. Some of those side effects will occur if the person has taken 4.5 tablets.

Those who do take party pills should not mix them with medication, drugs or alcohol. Also those with mental illnesses are advised to steer clear of the pills.

Ross Boswell, chairman of the medical association, said: “There were growing concerns about the safety of BZP-based party pills,” and the legality of the pills is coming under fire. “If people insist on taking the pills, they should make sure they stick to the manufacturer’s recommended dose, of one or two pills, and not combine them with other stimulants.”

A study done at the Christchurch Hospital has shown that 61 patients had been to the emergency department a total of 80 times. Of those 80 times, 15 of them were toxic seizures and two patients presented life threatening conditions.

The pills are often sold as “herbal highs” but according to Boswell, there is nothing “herbal” about them as they were first made to treat cattle that had worms.

Boswell said: “Further research on the effects of BZP is soon to be released by the Health Minister,” as the New Zealand government is debating whether or not they should be banned or have their sale restricted.

Saturday, February 5, 2022

Yesterday, former lawyer Michael Avenatti was convicted for wire fraud and identity theft, stealing hundreds of thousands of dollars from Stormy Daniels, a pornographic film actor who was publishing a book in 2018 about her alleged affair with then-United States president Donald Trump.

According to testimony, Avenatti convinced Daniels’ agent to forward payments from her book publisher to an account under his control, without informing her.

Avenatti was convicted by jury in the United States District Court for the Southern District of New York in Manhattan, New York, New York where he represented himself. Sentencing has been scheduled for May 24. Avenatti was previously convicted of attempting to extort millions from sports brand Nike in 2020.

Saturday, June 25, 2005

Seven months after suspicions were first raised, United States Agriculture Secretary Mike Johanns confirmed that a second American cow has tested positive for BSE (also known as ‘mad cow disease’), as determined by a lab in Weybridge, England. The department believes that this cow was born in the United States.

The delay in confirmation followed two conflicting test results from last November. The “Western blot” test, which is a more sophisticated test, could have helped reach a final determination, but the U.S. refused to perform it in November. The department’s inspector general, Phyllis Fong, ordered the Western blot test in June without advising Johanns and by the time Johanns found out about it, the testing was under way.

Johanns was annoyed that the round of testing which confirmed “Mad Cow” had been ordered without him being consulted first.”I was asked by the Senate and the president to operate the department,” Johanns said. “I believe, in this area, very clearly, the secretary should be consulted, whoever the secretary is, before testing is undertaken. From my standpoint, I believe I was put there to operate the department and was very disappointed.”

A senior research associate with Consumers Union, Michael Hansen, said USDA officials “almost sound like some Keystone Kops.”

Johanns reassured Americans that they should not be afraid of eating beef, saying: “This animal was blocked from entering the food supply because of the firewalls we have in place. Americans have every reason to continue to be confident in the safety of our beef.”

On June 17, the Associated Press reported: “American cattle are eating chicken litter, cattle blood and restaurant leftovers that could help transmit mad cow disease — a gap in the U.S. defense that the Bush administration promised to close nearly 18 months ago.”

John Stauber, co-author of “Mad Cow USA: Could the Nightmare Happen Here?” said: “Once the cameras were turned off and the media coverage dissipated, then it’s been business as usual, no real reform, just keep feeding slaughterhouse waste. The entire U.S. policy is designed to protect the livestock industry’s access to slaughterhouse waste as cheap feed.”

Critics of the U.S. testing regimen said the fumbles this time increase their concerns about America’s screening process.

“How can we be sure they were really negative?” Craig Culp, a spokesman for the Center for Food Safety asked; “After all, (here is a cow that was) negative in November that is positive in June.”

The companies which render slaughter waste say new restrictions are not warranted. “We process about 50 billion pounds of product annually — in visual terms, that is a convoy of semi trucks, four lanes wide, running from New York to L.A. every year,” said Jim Hodges, president of the American Meat Institute Foundation.

The dream of success is as simple as weaving. Generally, people cannot think outside the box because of their fascination with life. Those who can, they are successful. One such dreamer and energetic youth is Rumel Ahmed who has established himself as a successful entrepreneur, web and graphic designer.

Rumel was born on 29 July  and brought up in Golapganj Upazila of Sylhet District. His father is Hafiz Uddin and mother is Rukiya. From a young age, he had a different inclination

towards technology, but he was also very adept. He started developing his skills in web and graphic design at the age of 14.

At a very young age, he started his freelancing career in the local marketplace and went on to become almost successful. Now he is also known as a good web designer. He always wondered how a unique business could grow. He established Little scientist branding and Little Scientists, when he was 18 years old. 

Little Scientists is a digital agency where you can easily find a variety of solutions ranging from branding to digital marketing, web design and development, business ideas. There are many start-up companies in Bangladesh which are not able to attract people due to proper branding. Little Scientists will provide cutting edge solutions so that these small start-ups can easily start their business in a smart and attractive way. Not only this, with the help of Little Scientists you can find beautiful brandable domain names without any hassle.

Rumel said the beginning was never easy. Even so, no one from my parents or family stopped me from doing this. I feel proud of them. When I was 12, I didn’t have a smartphone or a computer. There was a Java phone, by which I used to google how to build a website. At that time, I made a website for myself with my mobile. Later computers, smartphones came to me and the speed of skill development increased. Then I started learning web and graphic design well. Whenever I had a problem, I would google it and watch videos on youtube.

From the beginning, a different spirit was at work. I think there is no shortcut to success, you have to work hard to succeed. Different obstacles will come, if I stop, I will lose.

When asked about his hobbies, Rumel said, “I have been a cricket lover since I was a child. I like cricket very much. And there was a little bit of music practice. Sometimes it feels good to listen to different songs and cover favorite songs. I love to acquire knowledge and develop new skills.”

His suggestion for young entrepreneurs to develop skills, work hard and not to waste time on social media. If time could be invested in knowing or learning something new, many would probably go far beyond their dreams. Learning has become much easier than before. If you have the desire to achieve something, then you will definitely succeed.

Rumel was not an extraordinary boy. But now he is known by too many people just for his hard work and passion.

Thursday, December 1, 2011

Today saw Edinburgh’s Scottish National Portrait Gallery reopen following a two-and-a-half-year, £17.6m (US$27.4m) refurbishment. Conversion of office and storage areas sees 60% more space available for displays, and the world’s first purpose-built portrait space is redefining what a portrait gallery should contain; amongst the displays are photographs of the Scottish landscape—portraits of the country itself.

First opened in 1889, Sir Robert Rowand Anderson’s red sandstone building was gifted to the nation by John Ritchie Findlay, then-owner of The Scotsman newspaper and, a well-known philanthropist. The original cost of construction between 1885 and 1890 is estimated at over 70,000 pounds sterling. Up until 1954, the building also housed the Society of Antiquaries of Scotland who moved to the National Museum of Scotland buildings on Chambers Street. The society’s original meeting table now sits in the public part of the portrait gallery’s library, stared down on by an array of busts and phrenological artefacts.

Wikinewsie Brian McNeil, with other members of the press, received a guided tour of the gallery last Monday from Deputy Director Nicola Kalinsky. What Kalinsky described as an introduction to the gallery that previously took around 40 minutes, now takes in excess of an hour-and-a-half; with little in the way of questions asked, a more inquisitive tour group could readily take well over two hours to be guided round the seventeen exhibitions currently housed in the gallery.

A substantial amount of the 60% additional exhibition space is readily apparent on the ground floor. On your left as you enter the gallery is the newly-fitted giant glass elevator, and the “Hot Scots” photographic portrait gallery. This exhibit is intended to show well-known Scottish faces, and will change over time as people fall out of favour, and others take their place. A substantial number of the people now being highlighted are current, and recent, cast members from the BBC’s Doctor Who series.

The new elevator (left) is the most visible change to improve disabled access to the gallery. Prior to the renovation work, access was only ‘on request’ through staff using a wooden ramp to allow wheelchair access. The entire Queen Street front of the building is reworked with sloping access in addition to the original steps. Whilst a lift was previously available within the gallery, it was only large enough for two people; when used for a wheelchair, it was so cramped that any disabled person’s helper had to go up or down separately from them.

The gallery expects that the renovation work will see visitor numbers double from before the 2009 closure to around 300,000 each year. As with many of Edinburgh’s museums and galleries, access is free to the public.

The expected significant increase in numbers has seen them working closely with the National Museum of Scotland, which was itself reopened earlier this year after extensive refurbishment work; improved access for wheelchair users also makes it far easier for mothers with baby buggies to access the gallery – prompting more thought on issues as seemingly small as nappy-changing – as Patricia Convery, the gallery’s Head of Press, told Wikinews, a great deal of thought went into the practicalities of increased visitor numbers, and what is needed to ensure as many visitors as possible have a good experience at the gallery.

Press access to the gallery on Monday was from around 11:30am, with refreshments and an opportunity to catch some of the staff in the Grand Hall before a brief welcoming introduction to the refurbished gallery given by John Leighton, director of the National Galleries of Scotland. Centre-stage in the Grand Hall is a statue of Robert Burns built with funds raised from around the British Empire and intended for his memorial situated on Edinburgh’s Calton Hill.

The ambulatories surrounding the Grand Hall give the space a cathedral-like feel, with numerous busts – predominantly of Scottish figures – looking in on the tiled floor. The east corner holds a plaque commemorating the gallery’s reopening, next to a far more ornate memorial to John Ritchie Findlay, who not only funded and commissioned the building’s construction, but masterminded all aspects of the then-new home for the national collection.

Split into two groups, members of the press toured with gallery Director James Holloway, and Nicola Kalinsky, Deputy Director. Wikinews’ McNeil joined Kalinsky’s group, first visiting The Contemporary Scotland Gallery. This ground-floor gallery currently houses two exhibits, first being the Hot Scots display of photographic portraits of well-known Scottish figures from film, television, and music. Centre-stage in this exhibit is the newly-acquired Albert Watson portrait of Sir Sean Connery. James McAvoy, Armando Iannucci, playwright John Byrne, and Dr Who actress Karen Gillan also feature in the 18-photograph display.

The second exhibit in the Contemporary gallery, flanked by the new educational facilities, is the Missing exhibit. This is a video installation by Graham Fagen, and deals with the issue of missing persons. The installation was first shown during the National Theatre of Scotland’s staging of Andrew O’Hagan’s play, The Missing. Amongst the images displayed in Fagen’s video exhibit are clips from the deprived Sighthill and Wester-Hailes areas of Edinburgh, including footage of empty play-areas and footbridges across larger roads that sub-divide the areas.

With the only other facilities on the ground floor being the education suite, reception/information desk, cafe and the gallery’s shop, Wikinews’ McNeil proceeded with the rest of Kalinsky’s tour group to the top floor of the gallery, all easily fitting into the large glass hydraulic elevator.

The top (2nd) floor of the building is now divided into ten galleries, with the larger spaces having had lowered, false ceilings removed, and adjustable ceiling blinds installed to allow a degree of control over the amount of natural light let in. The architects and building contractors responsible for the renovation work were required, for one side of the building, to recreate previously-removed skylights by duplicating those they refurbished on the other. Kalinsky, at one point, highlighted a constructed-from-scratch new sandstone door frame; indistinguishable from the building’s original fittings, she remarked that the building workers had taken “a real interest” in the vision for the gallery.

The tour group were first shown the Citizens of the World gallery, currently hosting an 18th century Enlightenment-themed display which focuses on the works of David Hume and Allan Ramsay. Alongside the most significant 18th century items from the National Portrait Gallery’s collection, are some of the 133 new loans for the opening displays. For previous visitors to the gallery, one other notable change is underfoot; previously carpeted, the original parquet floors of the museum have been polished and varnished, and there is little to indicate it is over 120 years since the flooring was originally laid.

Throughout many of the upper-floor displays, the gallery has placed more light-sensitive works in wall-mounted cabinets and pull-out drawers. Akin to rummaging through the drawers and cupboards of a strange house, a wealth of items – many previously never displayed – are now accessible by the public. Commenting on the larger, featured oils, Deputy Director Kalinsky stressed that centuries-old portraits displayed in the naturally-lit upper exhibitions had not been restored for the opening; focus groups touring the gallery during the renovation had queried this, and the visibly bright colours are actually the consequence of displaying the works in natural light, not costly and risky restoration of the paintings.

There are four other large galleries on the top floor. Reformation to Revolution is an exhibition covering the transition from an absolute Catholic monarchy through to the 1688 revolution. Items on-display include some of the Scottish National Portrait Gallery’s most famous items – including Mary Queen of Scots and The Execution of Charles I. The portrait-based depiction of this historical age is complemented with prints, medals, and miniatures from the period.

Imagining Power is a Jacobite-themed exhibition, one which looks at the sometime-romanticised Stuart dynasty. The Gallery owns the most extensive collection of such material in the world; the portraiture that includes Flora MacDonald and Prince Charles Edward Stuart is complemented by glassware from the period which is on-loan from the Drambuie Liqueur Company which Kalinsky remarked upon as the only way Scots from the period could celebrate the deposed monarchy – toasting The King over the Water in appropriately engraved glasses.

On the other side of the upper floor, the two main naturally-lit exhibitions are The Age of Improvement, and Playing for Scotland. The first of these looks at societal changes through the 18th and 19th centuries, including Nasmyth’s 1787 portrait of the young Robert Burns and – well-known to past visitors to the portrait gallery – Raeburn’s 1822 depiction of Sir Walter Scott. These are complemented with some of the National Gallery’s collection of landscapes and earliest scenes from Scottish industry.

Playing for Scotland takes a look at the development of modern sports in the 19th century; migration from countryside to cities dramatically increased participation in sporting activities, and standardised rules were laid down for many modern sports. This exhibition covers Scotland’s four national sports – curling, shinty, golf, and bowls – and includes some interesting photographic images, such as those of early strong-men, which show how more leisure time increased people’s involvement in sporting activities.

Next to the Reformation to Revolution gallery is A Survey of Scotland. Largely composed of works on-loan from the National Library of Scotland, this showcase of John Slezer’s work which led to the 1693 publication of Theatrum Scotiae also includes some of the important early landscape paintings in the national collection.

The work of Scotland’s first portrait painter, the Aberdeen-born George Jamesone, takes up the other of the smaller exhibits on the east side of the refurbished building. As the first-ever dedicated display of Jamesone’s work, his imaginary heroic portraits of Robert the Bruce and Sir William Wallace are included.

On the west side of the building, the two smaller galleries currently house the Close Encounters and Out of the Shadow exhibits. Close Encounters is an extensive collection of the Glasgow slums photographic work of Thomas Annan. Few people are visible in the black and white images of the slums, making what were squalid conditions appear more romantic than the actual conditions of living in them.

The Out of the Shadow exhibit takes a look at the role of women in 19th century Scotland, showing them moving forward and becoming more recognisable individuals. The exceptions to the rules of the time, known for their work as writers and artists, as-opposed to the perceived role of primary duties as wives and mothers, are showcased. Previously constrained to the domestic sphere and only featuring in portraits alongside men, those on-display are some of the people who laid the groundwork for the Suffrage movement.

The first floor of the newly-reopened building has four exhibits on one side, with the library and photographic gallery on the other. The wood-lined library was moved, in its entirety, from elsewhere in the building and is divided into two parts. In the main public part, the original table from the Society of Antiquaries sits centred and surrounded by glass-fronted cabinets of reference books. Visible, but closed to public access, is the research area. Apart from a slight smell of wood glue, there was little to indicate to the tour group that the entire room had been moved from elsewhere in the building.

The War at Sea exhibit, a collaboration with the Imperial War Museum, showcases the work of official war artist John Lavery. His paintings are on-display, complemented by photographs of the women who worked in British factories throughout the First World War. Just visible from the windows of this gallery is the Firth of Forth where much of the naval action in the war took place. Situated in the corner of the room is a remote-controlled ‘periscope’ which allows visitors a clearer view of the Forth as-seen from the roof of the building.

Sir Patrick Geddes, best-known for his work on urban planning, is cited as one of the key influencers of the Scottish Renaissance Movement which serves as a starting point for The Modern Scot exhibit. A new look at the visual aspects of the movement, and a renewal of Scottish Nationalist culture that began between the two World Wars, continuing into the late 20th century, sees works by William McCance, William Johnstone, and notable modernists on display.

Migration Stories is a mainly photographic exhibit, prominently featuring family portraits from the country’s 30,000-strong Pakistani community, and exploring migration into and out of Scotland. The gallery’s intent is to change the exhibit over time, taking a look at a range of aspects of Scottish identity and the influence on that from migration. In addition to the striking portraits of notable Scots-Pakistani family groups, Fragments of Love – by Pakistani-born filmmaker Sana Bilgrami – and Isabella T. McNair’s visual narration of a Scottish teacher in Lahore are currently on-display.

The adjacent Pioneers of Science exhibit has Ken Currie’s 2002 Three Oncologists as its most dramatic item. Focussing on Scotland’s reputation as a centre of scientific innovation, the model for James Clerk Maxwell’s statue in the city’s George Street sits alongside photographs from the Roslin Institute and a death mask of Dolly the sheep. Deputy Director Kalinsky, commented that Dolly had been an incredibly spoilt animal, often given sweets, and this was evident from her teeth when the death mask was taken.

Now open daily from 10am to 5pm, and with more of their collection visible than ever before, the Scottish National Portrait Gallery will change some of the smaller current exhibits after 12 to 18 months on display. The ground-floor information desk has available five mini-guides, or ‘trails’, which are thematic guides to specific display items. These are: The Secret Nature trail, The Catwalk Collection trail, The Situations Vacant trail, The Best Wee Nation & The World trail, and The Fur Coat an’ Nae Knickers Trail.