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Tuesday, April 2, 2013

Mount Stromlo, Canberra — This Easter weekend, elite mountain bike riders competed in the Australian 24-hour solo championships at Canberra’s Stromlo Forest Park. Jason English from Port MacQuarie rode 33 laps and won the men’s race. Liz Smith from Wollongong rode 25 laps and won the women’s race.

Races are won by riding the most laps. If two riders complete the same number of laps in 24-hours, the winner is the one who has ridden them in the shortest time.

Riders wear lights on their helmets and bicycles during night laps. Due to the time of year, there is roughly twelve hours of daylight and twelve hours of darkness each day.

The event is a curtain raiser for the WEMBO World Solo 24 hour Mountain Bike Championships, which will be held at Stromlo Forest Park on 12 and 13 October 2013. The race was for solo riders only.

The weekend before, the teams of riders took to the track at the Mont 24 hour race at Canberra’s Kowen forest. With over 3,000 riders participating, it is now Australia’s largest cycling race.

The team version of the race was favoured by the weekend warriors, but also attracted more than a few elite athletes. Laps were ridden in relay fashion: each rider handed over the baton (which looked like a credit card) to another member of the team after riding one or more laps.

The track was in excellent condition, running through the trees. Without steep climbs or overly difficult technical sections, it permitted fast lap times.

No injuries were reported.

Wednesday, November 9, 2005

The Dover, Pennsylvania school board became the first to mandate inclusion of Intelligent Design in a public school biology curriculum. For this year’s November 8 election, Republicans fielded a pro-Intelligent Design slate of candidates including some returning candidates who had previously voted to include a statement about Intelligent Design in the biology curriculum. A mixed slate of Democrat and Republican candidates came forward as an alternative group of school board candidates, the Dover CARES coalition. They proposed to remove Intelligent Design from the biology curriculum but allow discussion of Intelligent Design in courses dealing with philosophy and comparative religion.

All eight open school board seats were won by Dover CARES coalition candidates. Two candidates who had previously voted as school board members to include intelligent design in the public school science curriculum received the fewest votes in Tuesday’s election. One of the newly elected board members is Bryan Rehm, a parent of a Dover school student. Rehm, along with ten other parents, initiated a law suit against the school board for its decision to insert Intelligent Design into the science curriculum.

In October 2004, the Dover school board decided that Intelligent Design is a scientific theory that should be mentioned in biology classes that include discussion of biological evolution as part of the course content. The board mandated that a statement should be read in those classes stating “Intelligent Design is an explanation of the origin of life,” and “The school leaves the discussion of the Origins of Life to individual students and their families.”

The school board’s statement on Intelligent Design directs students to the book Of Pandas and People as a source of information “for students who might be interested in gaining an understanding of what Intelligent Design actually involves.” This book is published by the Foundation for Thought and Ethics, a non-profit organization founded for the purpose of “promoting and publishing textbooks presenting a Christian perspective.”

Parents of some Dover public school students filed a lawsuit against the school board, charging that including the school board’s statement on Intelligent Design was an attempt to introduce religion into the science curriculum. The book Of Pandas and People says, “Intelligent design means that various forms of life began abruptly through an intelligent agency.” The original complaint in the law suit against the school board claimed that “Intelligent design is a non-scientific argument or assertion.”

The US District Court Judge John Jones, who heard the non-jury case, hopes to make his ruling by the end of the year. The evidence phase of the trial ended on November 4, 2005.

A local Dover newspaper, the York Daily Record, editorialized that Dover voters should take trial testimony into account during the general election when they could cast votes for school board members along with other elective offices.

Biology teachers in the Dover schools have refused to read the school board’s statement on Intelligent Design to students because the Pennsylvania state code for education states that “The professional educator may not knowingly and intentionally misrepresent subject matter.” In a letter to their administrator, the teachers stated their view that “Intelligent design is not science.” School administrators have been reading the school board’s Intelligent Design statement to students in Dover public schools.

Monday, August 20, 2007

An unnamed woman from Mitchell, Queensland, Australia has died after her pet camel knocked her down to the ground, stomped on her, and then laid on top of her, in what police suspect was an attempt by the camel to mate with her. The woman was found at 18:30 (AEST) by her husband after he finished feeding his stock at the family ranch.

The woman in question had a fondness for exotic pets, and received the camel as a 60th birthday present. The camel was ten months old, and weighed 152 kg (336 lbs). Camels have lived in Australia since they were transported there in the 1840s. Camels are not normally aggressive, but can become more dangerous if treated as pets.

According to the police, the camel displayed possible mating behaviour. Craig Gregory, Detective Senior Constable for Queensland Police said, “I’d say it’s probably been playing, or it may be even a sexual sort of thing.” One camel expert, Chris Hill, claimed that the animal’s behaviour was definitely sexual.

Tuesday, December 5, 2006

Australia has clinched a dramatic win in the second 2006-07 Ashes Test match in Adelaide. In a massive swing of dominance and control, England forfeited a huge advantage on the fifth and final day after controlling the Test for the first four.

England won the toss and batted first on the Adelaide Oval wicket. After losing a couple of early wickets, they recovered to amass 6-551 dec. spanning the opening two days. Paul Collingwood scored a patient 206, whilst teammate Kevin Pietersen built an innings of 158 in a much more brief fashion.

In response, Australia began their first innings poorly, losing Matthew Hayden before the close of play on day 2. On the morning of day 3, Justin Langer and Damien Martyn also fell cheaply. However, a captain’s effort by Ricky Ponting (142) and support by Michael Clarke (124), as well as cameos by Adam Gilchrist and Shane Warne, helped the Aussies to just shy of England’s massive total. Matthew Hoggard was the shining light for the visitors, taking 7-109.

England resumed the fifth day at 1-59, and the match looked headed for a draw. However, with some magic from Shane Warne, Australia managed to roll England for just 129 in the last over before tea, setting up a thrilling final session run chase. Warne took 4-49, and was backed up well by Glenn McGrath, who took 2-15.

Requiring 168 to win off 35 overs, Australia came out firing, scoring quickly before losing both Hayden and Justin Langer early. Ricky Ponting was joined by Michael Hussey, who was promoted to number four, and built a steady partnership before Ponting was dismissed for 49. Damien Martyn then fell cheaply, and Hussey was joined by Michael Clarke to complete the chase. The pair batted through to the total was reached, with Hussey scoring 61 not out. Australia reached the target with 19 balls to spare, at 6:45pm local time.

No team had lost after declaring on as high a total batting first as England did in more than 125 years of Tests. As a Nine Network commentator described it, “Australia has just won the most extraordinary Test match; however, it was [a Test] that England should never have lost”. Prior to the start of play, bookmakers had a draw paying $1.02.

Australia now go into the third test at the WACA ground in Perth, Western Australia knowing one more win will reclaim the Ashes urn which they lost for the first time in over a decade in England during 2005.

Wednesday, April 26, 2006

Six workers in the post office in Hueytown, Alabama developed breathing problems and 23 were sent to the hospital after a chemical used in the manufacture of fishing lures leaked from a package.

The post office, located five miles west of downtown Birmingham, Alabama, was evacuated, and Hueytown firefighters in hazardous materials attire inspected the chemical. The chemical was found to have leaked from an inadequately designed package, evaporated quickly leaving a garlicky scent, and discolored the flooring tile in the post office. Workers complained of symptoms ranging from breathing difficulties to vomiting to burning in the throat.

The chemical was later identified as “J.J.’s Magic,” a yellow dye for soft plastic fishing lures which contains garlic oil as a fish attractant. The manufacturer confirmed that a two-ounce bottle of the product was sent to a customer in suburban Birmingham and speculated that the container may have cracked in transit.

Sunday, February 13, 2005Cordon-bleu chef Homaru Cantu has announced a technique which allows him to create dishes made of edible, inkjet printed paper. Cantu, a head chef at the Moto restaurant in Chicago, has modified an ink-jet printer with the help of computer specialists from local firm Deep Labs and loaded it with cartridges containing concoctions of fruit and vegetables. Using this modified printer Cantu then prints onto edible sheets of soybean and potato starch tasty images downloaded from the web.

“You can make an ink-jet printer do just about anything,” says Cantu. Once the items have been printed they are dipped into a powder made of soy sauce, sugar and vegetables before then being further processed by frying, freezing, or baking them.

Cantu has applied the technique to the printing of menus so that diners can further flavor their soups by ripping up the menu and adding it to the dish.

He hopes that his idea may find its way into popular media. “Just imagine going through a magazine and looking at an ad for pizza. You wonder what it tastes like, so you rip a page out and eat it,” says the chef who is working at perfecting the flavors and has applied for a patent on the technique.

Cantu also has plans for further culinary innovations. He plans to cook steak using a handheld laser that will sear the inside of the steak well done whilst leaving the outside medium rare. He also plans to use the laser to produce bread baked from the inside out thus producing a crust on the inside.

Thursday, January 14, 2010

Digital radio listeners in the UK may have noticed a new station on their list over the last few months with the beta launch of Amazing Radio, founded by Paul Campbell as a follow up and companion to Amazing Tunes. However, unlike the majority of the other stations on both digital and FM, Amazing Radio doesn’t play normal, mainstream music. Instead, its playlist consists solely of music from unsigned bands and artists who have signed up and uploaded their music to AmazingTunes.com. Their music can then be downloaded from the site, for which they get paid. The more downloads and interest an artist receives, the more likely they are to get played on the national radio station. Amazing markets itself as an “ethical” download website, on which artists get 70% of the download revenues. They now have more than 22,000 songs uploaded, with about 100 uploaded every day.

Paul Campbell himself has extensive experience in both radio and television production, having worked for BBC Radio 4 and Channel 4. After success with his own production company in the nineties and with support from investors, Campbell launched Amazing Tunes in 2005.

As Amazing Radio introduces a new schedule for the New Year, with presenters rather than solely pre-recorded links, Wikinews reporter Tristan Thomas interviewed Campbell to find out more.

((Wikinews)) Hi Paul, thanks for doing this interview.

((Paul Campbell)) My pleasure – thanks very much for asking me. We’re really grateful that Wikinews is interested in us.

((WN)) At the end of 2009, you complained to the BBC Trust about BBC Introducing. Can you explain what this was about and the reasons for it. Has anything come of it?

((PC)) Sure: in a nutshell, the complaint was about unfair competition – about the BBC not following its own rules. It’s still ongoing. It will take, ahem, a while to resolve.

The details are a bit complex, but here goes. (If you commit suicide out of the boredom at what follows, I apologise).

As British readers will know, the BBC has a guaranteed and very comfortable income derived from the Licence Fee – effectively a tax you have to pay if you want a TV. According to Wikipedia (so it must be true), this generates an income to the BBC of about stg4.5bn per annum. Nice.

Not really. In recent years the beeb has increasingly used this gargantuan income – and its incredible audience reach online, on radio & TV – to launch new services that make life impossible for everyone who is not the BBC. These have ranged from e-learning content (that completely wrecked the market for private publishers), to a new digital radio station (that caused a private speech station to go bust), to an attempt to launch online regional news services (which caused howls of outrage from local newspapers). The BBC does it for the best of reasons – to provide a public service – but BBC people live in an insulated, publicly-funded world, one where you know with complete certainty you’ll get paid on the 15th of every month. It’s a million miles away from the real world, where entrepreneurial people take risks, and lose their jobs and their houses if it goes wrong. Here, the BBC’s actions have grave implications. And not just for private companies: the UK as a whole is very good at creative industries, which are the fastest-growing part of the economy. But it’s kinda hard to grow a global business if your domestic market has been wrecked by a rampaging, publicly-funded, bull in a china shop. So by accidentally knackering private companies, the BBC is also damaging the British economy.

Wise people noticed this. A few years ago the Governance of the BBC was changed. A new regulator, the BBC Trust, was created. It tried to address the problem. It insists the Corporation does a ‘public value test’ when it wants to launch a new service, or to expand an existing one.

Here, it hasn’t. Although the BBC has a longstanding commitment to play new music on its local radio stations, and one of its most famous DJs John Peel had an outstanding show on BBC Radio 1 for many years which played new music (and was, incidentally, produced by one of our new presenters), it’s suddenly changed the game. It’s launched a huge expansion and automation of this formerly piecemeal and limited activity, targeted exclusively at unsigned bands. BBC Introducing is a pan-BBC brand, combining local and network radio, television, online, even a special stage at Glastonbury. There’s a very expensive online upload service which I just know would have cost ten times what we had to spend on our similar service. There’s a Head of Department, doubtless with dozens of staff. I’ll bet they have BBC Introducing pens. It’s everywhere.

This is, by any reckoning, a ‘new service’. But it’s not been subjected to a public value test. Worse, I have it on very good authority from someone inside the BBC that BBC Worldwide – its commercial arm – is planning to launch a BBC Introducing record label – i.e., an overtly commercial expansion of BBC Introducing. This would be like the BBC trying to create a new version of the music industry, all by itself.

Whether or not you think it’s a good thing for the beeb to champion new music, you may agree it should follow its own rules. It hasn’t. There was no Public Value Test; no request to the Trust to be allowed to do this.

So we complained. It was a bit hilarious. The Trust said they weren’t allowed to investigate until we’d complained to the beeb itself and the BBC had rejected our complaint. There was a long pause as I tried to understand the logic. I said ‘I’m guessing the BBC didn’t do a PVT because it didn’t think it needed to do a PVT. We think they should have done. We’re asking you to investigate, to see if you agree’. They said ‘you have to complain to them first. It’s protocol’. It’s all very British – i.e., charmingly polite … ludicrously bureaucratic … and totally useless.

So we have another hoop to jump through. We’re now preparing our formal complaint to the BBC itself – whose Director General is someone I used to work with, when we were both fresh-faced BBC trainees in 1981. It takes time: I’ll have to write it myself, and I have a business to run. The beeb will have a small army of staff whose only job is to read it … and reject it. (They always reject criticism; it’s the BBC’s default position. They usually do it with a slightly pained expression, hurt that anyone could fail to understand their brilliance and omniscience. Either that, or they try to demolish your intellect and cast doubt on your probity. Either way, they’ll reject it).

When they do, we’ll then be able to go back to the BBC Trust to say ‘guess what? The BBC rejected our complaint. Now will you investigate?’. Yawn.

All this might make me seem a BBC-hater. Actually nothing could be further from the truth. The BBC trained me. I was once, so I was told by the Head of Appointments, its youngest-ever Producer. Despite appearances, I firmly believe it’s one of the best things about the UK. I wrote to The Times of London recently in defence of it. But unfortunately it’s really, really bad at understanding the damage it does to private companies, the ones like ours that create jobs and try to create wealth, without the benefit of a guaranteed income. (Or even, any income at all).

The stakes are high. The conventional music industry is falling to bits around us. There’s an historic opportunity to re-invent music in a way that’s fair to musicians and music-lovers, and also creates jobs and wealth in the real economy. It’s vitally important the BBC, with its publicly-funded hobnailed boots, doesn’t ruin that opportunity.

So we’ll do our complaint, wait for it to be rejected, complain to the Trust, and keep battering away. Fun fun fun. (This would never happen in the States).

((WN)) You don’t accept any PRS registered artists at all. Why not?

((PC)) We’d love to – after all, we have the same aim as PRS, which is to make it easier for musicians to earn a living from their talent. But we can’t. There’s two reasons.

1. PRS has a barmy standard contract for using their members’ music online. It requires us to pay them a fixed percentage of ALL revenue from that website – whether or not the revenue is derived from their members’ work. So if we had 100,000 songs from non-PRS artists on amazingtunes.com, and one song from a PRS artist, we’d have to pay them a percentage of the revenue from ALL 100,000 songs. I.e., we’d have to take money out of the pockets out of non-PRS artists to pay to PRS. That would be immoral.

2. If we played PRS artists on the radio, we’d have to pay PRS for our use of their members’ music. Sound fair enough? But PRS doesn’t know what to do with the money. They’d put it into a big bucket, then share it out among ALL their artists – not the members whose songs we played, all their artists, including rich and famous signed ones. The vast majority of PRS payments go to a tiny minority of artists (and big record labels). So it would be another case of stealing from Peter to pay Paul. Paul McCartney, that is.

I wrote to the CEO of PRS when we first launched Amazing Radio pointing out these absurdities and asking if we could do a more intelligent deal. I said that I thought we had identical aims – to make life fair for musicians. I suggested we could/should be a feeder to them, introducing new members to PRS as they grew in the music industry. But so far, the PRS head is still firmly in the sand.

((WN)) And how would you suggest PRS could improve? If they did, would you consider allowing artists registered with them?

((PC)) PRS could improve by;

a. buying some computers (so they could handle our comprehensive data about the tracks we play, and then pay the right people);

b. accepting that we want to mix PRS and non-PRS artists, and only asking for a share of the artists they actually represent.

If they did that, we’d sign up. This would not necessarily be popular with our audience. A lot of people – especially charities and small businesses – like the fact that they can listen to Amazing Radio without a PRS licence. But we’d do it anyway, as it would be a better service for musicians.

My personal view is that the PRS should also stop threatening to murder law-abiding people who want to listen to music at work. There was a recent case where they threatened someone for singing at work. They actually did that. They later apologized, but it revealed the corporate mentality. I think it’s incredibly counter-productive; it means their members make less money, not more; it’s ruining perceptions of what motivates musicians; it’s causing thousands of people to stop listening to music. When really, PRS should be encouraging that, shouldn’t it?

((WN)) With regard to Amazing Tunes, how many downloads could your most popular artist expect to receive per month and monetary wise, how would this compare to them receiving that number from iTunes?

((PC)) Sorry, but we don’t currently release detailed figures – our competitors would love it, but we’d rather be nice to our artists and our investors instead. We do say that we expect amazingtunes.com artists to make ‘anything from a few quid, to a good living, to a small fortune’. At the moment, because it’s still very early days, people are clustered towards the first two of those options. As things grow – and there’s been incredible growth even in the past few months – we hope/expect more and more artists will start to make tens of thousands of pounds each month. We’ll soon register for the official chart, and our guess is that someone will have a major hit before long. Then everything will go really crazy.

So far as the iTunes comparisons go, the facts are already public domain. An artist on iTunes can expect to make 8p from a 79p download. The same artist on amazingtunes.com will make about 52p. We only deduct the VAT and the cost of the transaction: 70% of what’s left goes to the artist. What’s more, their income will improve over time – the more downloads we sell, the less the transactions cost us, so the more cash there is to give to the artists. That’s one reason we ask people to buy eight or more songs in one transaction – it’s much more cost-effective, less of their cash goes to VISA, more to the artist. (See my Blog post on this here – [1]).

((WN)) Amazing Radio launched in mid-2009. How has it grown since then and what are your current listening figures?

((PC)) It’s gone mad since then. I’ve worked in broadcasting and the media since 1978 (I was very very young then, mind you). I’ve never known anything like it. The reaction has been absolutely incredible – and it’s growing faster than ever right now. The most humbling thing has been the audience feedback – masses of long emails from people we’ve never met, saying they found it by accident, and they love it.

We’ve not yet paid for RAJAR audience figures because – well, because we’re a bit mean really, and I’m not convinced they would accurately measure our audience. I think RAJAR is very good at coming out with figures for radio stations that have been going for 40 years, but not very accurate when it comes to new and innovative stations which are also listened to a lot online and especially popular with young people. But the best guess I’ve heard in the industry is that we have something like 600,000 listeners in the UK on DAB. That’s an estimate, but it came from a very wise source. We have slightly more than that number on top as regular users online, and a weekly reach for amazingtunes.com of about two million users. But it’s all growing so fast, those numbers will be out of date by the time you read this.

((WN)) DAB transmission costs are well over half a million pounds a year. How is this being funded currently and how are you planning to fund it in the future?

((PC)) We’re not contractually allowed to tell you what we pay, so we can’t confirm or deny the cost. Whatever the true figure, it is undeniably expensive; but it gives our musicians a chance to be on national radio. We figure it’s worth it. I’m reminded of that wonderful teachers’ union bumper sticker: ‘if you think education’s expensive, try ignorance’. If you think creating the world’s first radio station playing 100% new music is expensive …. try being inaudible.

So far, we’ve been funded by a very small number of private investors, people of enormous wisdom and insight, natch. They understand that we have a very serious, long-term and audacious ambition to change the music industry for the better, to make radio interesting again, and to turn the word ‘amazing’ into a global challenger brand.

This year, we expect to do one final fund-raising in the UK, then to raise a lot of money on the West Coast of the USA to make this absolutely massive and global, fast. They understand this scale of ambition there.

((WN)) What are your plans for Amazing Radio in 2010? Any exciting announcements to come?

((PC)) ‘Fraid so.

In 2010, we hope to make Amazing Radio the default station for everyone who has ever had that incredible experience of hearing a song for the first time, and having to stop what you’re doing to listen to it: a station for everyone who has broad musical tastes, a respect for musical talent and an open mind. We want it to be constantly surprising, fresh, original, sometimes hilarious, always unexpected.

Blimey, I sound like some corporate twat.

Now (obviously) it wouldn’t be massively unexpected if we suddenly started revealing all the unexpected things in advance – but basically, we’d like the message to spread that we’re doing something different, fresh, original and ethical – so we’ll launch more new programmes and more new services – on Amazing Radio and amazingtunes.com. Things like our virtual radio station Amazing Ambient. [2]. There’ll be some video and some TV along soon too. And other cool stuff.

It may not be ‘insanely cool’; just cool will do just fine.

We also want to do it in other places. E.g. America. We’ve already started there. We’ll be unexpected there too.

((WN)) Finally, your favourite artist on Amazing Tunes/Radio at the moment?

((PC)) Now this will sound like a real cop-out, but I never ever say who my favourite artist is. It’s for a serious reason. I’m not some musical Einstein – I’m merely the bloke who started amazing. And I’m merely a drummer. My taste doesn’t matter. EVERYBODY’s musical taste does. One of the many problems of conventional record companies is that they think geezers in suits in big glass buildings have the right to decide what’s good music. We think the world does. I’ve found hundreds of incredible songs that I love, across loads of styles of music. You’ll find hundreds of your own. Enjoy.

((WN)) Thank you very much for your time Paul. Good luck for 2010.

((PC)) Thanks very much, we really appreciate it. 2010 is going to be amazing.