Tuesday, January 28, 2014

Evansville, Indiana, United States — This past week marked the opening night of an Andy Warhol exhibit at the University of Southern Indiana. USI’s art gallery, like 189 other educational galleries and museums around the country, is a recipient of a major Warhol donor program, and this program is cultivating new interest in Warhol’s photographic legacy. Wikinews reporters attended the opening and spoke to donors, exhibit organizers and patrons.

The USI art gallery celebrated the Thursday opening with its display of Warhol’s Polaroids, gelatin silver prints and several colored screen prints. USI’s exhibit, which is located in Evansville, Indiana, is to run from January 23 through March 9.

The McCutchan Art Center/Pace Galleries at USI bases its exhibit around roughly 100 Polaroids selected from its collection. The Polaroids were all donated by the Andy Warhol Photographic Legacy Program, according to Kristen Wilkins, assistant professor of photography and curator of the exhibit. The Andy Warhol Foundation for the Visual Arts made two donations to USI Art Collections, in 2007 and a second recently.

Kathryn Waters, director of the gallery, expressed interest in further donations from the foundation in the future.

Since 2007 the Andy Warhol Photographic Legacy Program has seeded university art galleries throughout the United States with over 28,000 Andy Warhol photographs and other artifacts. The program takes a decentralized approach to Warhol’s photography collection and encourages university art galleries to regularly disseminate and educate audiences about Warhol’s artistic vision, especially in the area of photography.

Wikinews provides additional video, audio and photographs so our readers may learn more.

Wilkins observed that the 2007 starting date of the donation program, which is part of the Andy Warhol Foundation for the Visual Arts, coincided with the 20th anniversary of Andy Warhol’s death in 1987. USI was not alone in receiving a donation.

K.C. Maurer, chief financial officer and treasurer at the Andy Warhol Foundation, said 500 institutions received the initial invitation and currently 190 universities have accepted one or more donations. Institutional recipients, said Mauer, are required to exhibit their donated Warhol photographs every ten years as one stipulation.

While USI is holding its exhibit, there are also Warhol Polaroid exhibits at the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York and an Edward Steichen and Andy Warhol exhibit at the Mary & Leigh Block Museum of Art at Northwestern University in Evanston, Illinois. All have received Polaroids from the foundation.

University exhibits can reach out and attract large audiences. For example, the Weatherspoon Art Museum at the University of North Carolina at Greensboro saw attendance levels reach 11,000 visitors when it exhibited its Warhol collection in 2010, according to curator Elaine Gustafon. That exhibit was part of a collaboration combining the collections from Duke University, located in Durham, North Carolina, and University of North Carolina at Chapel Hill, which also were recipients of donated items from the Andy Warhol Photographic Legacy Program.

Each collection donated by the Andy Warhol Photographic Legacy Program holds Polaroids of well-known celebrities. The successful UNC Greensboro exhibit included Polaroids of author Truman Capote and singer-songwriter Carly Simon.

“I think America’s obsession with celebrity culture is as strong today as it was when Warhol was living”, said Gustafon. “People are still intrigued by how stars live, dress and socialize, since it is so different from most people’s every day lives.”

Wilkins explained Warhol’s obsession with celebrities began when he first collected head shots as a kid and continued as a passion throughout his life. “He’s hanging out with the celebrities, and has kind of become the same sort of celebrity he was interested in documenting earlier in his career”, Wilkins said.

The exhibit at USI includes Polaroids of actor Dennis Hopper; musician Nick Rhodes of Duran Duran; publishers Jann Wenner of Rolling Stone Magazine and Carlo De Benedetti of Italy’s la Repubblica; disco club owner Steve Rubell of Studio 54; photographers Nat Finkelstein, Christopher Makos and Felice Quinto; and athletes Vitas Gerulaitis (tennis) and Jack Nicklaus (golf).

Wikinews observed the USI exhibit identifies and features Polaroids of fashion designer Halston, a former resident of Evansville.

University collections across the United States also include Polaroids of “unknowns” who have not yet had their fifteen minutes of fame. Cynthia Thompson, curator and director of exhibits at the University of Arkansas, Fayetteville, said, “These images serve as documentation of people in his every day life and art — one which many of us enjoy a glimpse into.”

Warhol was close to important touchstones of the 1960s, including art, music, consumer culture, fashion, and celebrity worship, which were all buzzwords and images Wikinews observed at USI’s opening exhibit.

He was also an influential figure in the pop art movement. “Pop art was about what popular American culture really thought was important”, Kathryn Waters said. “That’s why he did the Campbell Soup cans or the Marilyn pictures, these iconic products of American culture whether they be in film, video or actually products we consumed. So even back in the sixties, he was very aware of this part of our culture. Which as we all know in 2014, has only increased probably a thousand fold.”

“I think everybody knows Andy Warhol’s name, even non-art people, that’s a name they might know because he was such a personality”, Water said.

Hilary Braysmith, USI associate professor of art history, said, “I think his photography is equally influential as his graphic works, his more famous pictures of Marilyn. In terms of the evolution of photography and experimentation, like painting on them or the celebrity fascination, I think he was really ground-breaking in that regard.”

The Polaroid format is not what made Warhol famous, however, he is in the company of other well-known photographers who used the camera, such as Ansel Adams, Chuck Close, Walker Evans, Robert Mapplethorpe, and Helmut Newton.

Wilkins said, “[Warhol] liked the way photo booths and the Polaroid’s front flash looked”. She explained how Warhol’s adoption of the Polaroid camera revealed his process. According to Wilkins, Warhol was able to reproduce the Polaroid photograph and create an enlargement of it, which he then could use to commit the image to the silk screen medium by applying paint or manipulating them further. One of the silk screens exhibited at USI this time was the Annie Oakley screen print called “Cowboys and Indians” from 1987.

Wilkins also said Warhol was both an artist and a businessperson. “As a way to commercialize his work, he would make a blue Marilyn and a pink Marilyn and a yellow Marilyn, and then you could pick your favorite color and buy that. It was a very practical salesman approach to his work. He was very prolific but very business minded about that.”

“He wanted to be rich and famous and he made lots of choices to go that way”, Wilkins said.

Kiara Perkins, a second year USI art major, admitted she was willing to skip class Thursday night to attend the opening exhibit but then circumstances allowed for her to attend the exhibit. Why did she so badly want to attend? “It’s Warhol. He is a legend.”

For Kevin Allton, a USI instructor in English, Warhol was also a legend. He said, “Andy Warhol was the center of the Zeitgeist for the 20th century and everything since. He is a post-modern diety.”

Allton said he had only seen the Silver Clouds installation before in film. The Silver Clouds installation were silver balloons blown up with helium, and those balloons filled one of the smaller rooms in the gallery. “I thought that in real life it was really kind of magical,” Allton said. “I smacked them around.”

Elements of the Zeitgeist were also playfully recreated on USI’s opening night. In her opening remarks for attendees, Waters pointed out those features to attendees, noting the touches of the Warhol Factory, or the studio where he worked, that were present around them. She pointed to the refreshment table with Campbell’s Soup served with “electric” Kool Aid and tables adorned with colorful gumball “pills”. The music in the background was from such bands as The Velvet Underground.

The big hit of the evening, Wikinews observed from the long line, was the Polaroid-room where attendees could wear a Warhol-like wig or don crazy glasses and have their own Polaroid taken. The Polaroids were ready in an instant and immediately displayed at the entry of the exhibit. Exhibit goers then became part of the very exhibit they had wanted to attend. In fact, many people Wikinews observed took out their mobiles as they left for the evening and used their own phone cameras to make one further record of the moment — a photo of a photo. Perhaps they had learned an important lesson from the Warhol exhibit that cultural events like these were ripe for use and reuse. We might even call these exit instant snap shots, the self selfie.

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.

Wednesday, April 29, 2015

In Seattle, on Sunday, Seattle Sounders FC beat the Portland Timbers 1–0 in the Cascadia Cup battle. Stefan Frei notched his fourth shutout this season while Clint Dempsey scored the winning goal in the 77th minute with an assist from Andy Rose. Seattle is now 1–0 in the cup while Portland falls to 0–2.

Portland almost scored minutes later when sub Fanendo Adi rattled the crossbar in the 81st minute. The Timbers also led the Sounders in shots with 11–10. Seattle was glad to have points before hitting the road. Head Coach Sigi Schmid added “We’ve got 13 points now in seven games, so we’re happy with that and we want to come back from these three road games with as many as possible.”

The total crowd on Sunday was tallied at 41,451. Seattle now stands at 4-2-1 with Portland struggling at 2-3-3. Portland hosts the Vancouver Whitecaps next weekend and Seattle travels to face New York City FC.

Wednesday, April 25, 2007

The Iranian police forces have faced criticism from Ayatollah Hashemi Shahrudi, the head of the judiciary who was appointed by Grand Ayatollah Ali Khamenei, for their re-invigorated campaign to do away with un-Islamic dress.

Ayatollah Shahroudi proclaimed, “Tough measures on social problems will backfire and have counter-productive effects.” Others have, of course, made it clear that un-Islamic dress can lead to moral corruption, engender innumerable vices, and hurt the Islamic character of the nation.

Some believe that no one had any issue with the creation of an Islamic atmosphere. The core of the matter revolves around the implementation of the Islamic dress code; additionally, heavy-handed measures should be shunned. For instance, Mehdi Ahmadi, information head of Tehran’s police, told Al Jazeera: “Some citizens may complain about the way the law is being enforced but they all agree with the plan itself.”

According to one student, “You simply can’t tell people what to wear. They don’t understand that use of force only brings hatred towards them, not love.” Nevertheless, Hojatoll-Islam Mostafa Pour-Mohammadi, Iran’s interior minister who is in charge of policing, prognosticated positive feedback from the populace when he said, “People are unhappy with the social and moral status of the society. They expect that the fight against social insecurity be properly implemented.” Thus, Hujjat al-Islam Pour-Mohammadi re-iterated the necessity of proper implementation and methodology towards the restoration of morality in the Islamic Republic. Islamic officials and religious people affirm that this is indispensable to promote righteousness, curb sin, and bring open sinners to justice.

Following the Islamic Revolution in 1979, hijab became mandatory in Iran for every woman including foreigners after over 98% of citizens voted for an Islamic government. Women may face caning up to 74 strokes for failing to observe hijab. In this recent crackdown, the authorities have arrested many citizens throughout the country. Not only have women been taken into custody for their hair being uncovered on their foreheads and tight clothes that show body shapes, For men they need to cover from knee to their waist as according to Sharia. Even a foreign journalist was detained because the photograph on her press card was indecent.

It has not been clear whence the directive for the re-newed clampdown emanated. Some have blamed Mahmoud Ahmadinejad while Gholam Hossein Elham, the government spokesman, stated to reporters, “The police work as agents of the judiciary to confront crimes. The government as an executive body does not interfere in the affairs of the judiciary.” The following pre-election speech seems to corroborate this latter statement:

Friday, June 2, 2006

Scottish police have arrested a man and a woman after finding Britain’s largest ever stash of Gamma-butyrolactone. The man in charge of the operation, Graeme Pearson, director of the Scottish Crime and Drug Enforcement Agency, called the find “the most significant discovery of the drug in the UK.”

Denise Caron MacPherson, 45, and Hanan Rabin, 53, have been charged with exporting the drug, also known as GHB, to the United States between 19 April and 24 May. The news of the Scottish factory comes as a US study found drug use was involved in two-thirds of sex attacks, while 5 per cent were given an actual “date rape” drug.

Graham Rhodes for The Roofie Foundation, a helpline for victims of drug rape, said: “I am very relieved this has been recovered as in the wrong hands it is very dangerous. Not only is it used to spike the drinks of people to rape them but it’s also used to assault and rob people.”

Used by ravers, robbers and bodybuilders, the base chemical (gamma-hydroxybutyrate) was taken during a raid on a house and business in West Lothian. The haul would have been put on the United States illicit drug market and sold for fun and more sinister purposes.

In its non-powder form GHB is barely detectable: clear and having no smell it can be particularly potent with a few drops mixed into an alcoholic drink. Once a sufficient amount of the salty liquid has been ingested the victim can be knocked out within an hour.

While GHB is known both as “liquid ecstasy” and the date rapist’s “Plan A”, the versatile compound is also used by body builders instead of anabolic steroids, by dieters and as a sleeping aid.

In Britain, GHB is a “Class C” drug which means making it, holding it and selling it is punishable with up to two years in prison. The effects of rape, for which the drug is reportedly used, can last a lifetime. Jane Cumming, from support group Crisis, said she received an average of 4 calls a week from people claiming to be victims of date rape.

The pair, who were caught in Livingston, were accused of distributing the drug in Scotland from MacPherson’s house around the same time as they were exporting to the United States, while MacPherson was also charged with Cannabis possession.

Saturday, February 11, 2006

Craigslist.com, a popular free online classifieds site, has been sued for hosting discriminatory housing ads by the Chicago Lawyers’ Committee for Civil Rights Under Law Inc., a fair housing group.

The housing ads cited as objectionable included such statements as “NO MINORITIES,” “Requirements: Clean Godly Christian Male,” and “Only Muslims apply.”

Stephen Libowsky, a lawyer for the housing group, said “Our goal is to have the Internet places like Craigslist treated no differently than newspapers and other media who have traditionally been posting real estate advertisements. All of the gains are going to get lost if the same rules don’t apply.”

Craigslist CEO Jim Buckmaster conceded “We admit that one or two postings per 100,000 are discriminatory” but explained that Craiglist’s 19 employees could not physically screen the 8 million new ads posted each month. He continued, “Instead, we’ve done something much more powerful and effective, in providing our users with a flagging system whereby problematic ads are promptly removed by users themselves.” Buckmaster claimed the “NO MINORITIES” ad was removed within two hours.

Buckmaster wrote on the site that, “Though well-intentioned, this lawsuit misguidedly demands that we regress to primitive, mistake-prone, and wholly inadequate methods, methods which would actually be less effective in catching discriminatory ads than what we have in place currently, and which would vastly reduce the number of legitimate non-discriminatory ads that the site could process.”

He continued, “Ironically, if this lawsuit were to succeed the net effect would be to deal a double blow to civil rights – by significantly reducing access to equal opportunity housing, and by undercutting our fundamental free speech rights – thereby doing a great disservice to the very persons these lawyers purport to represent.”

Buckmaster also said “It is our understanding that the law is very clear to the effect that sites like Craigslist cannot be held legally liable for the content of postings submitted by end users.” This claim appears based upon Section 230 of the Communications Decency Act which states that “No provider or user of an interactive computer service shall be treated as the publisher or speaker of any information provided by another information content provider.”

Under section 7b of the web site’s Terms of Service agreement, users are not allowed to post an ad “that violates the Fair Housing Act by stating, in any notice or ad for the sale or rental of any dwelling, a discriminatory preference based on race, color, national origin, religion, sex, familial status or handicap (or violates any state or local law prohibiting discrimination on the basis of these or other characteristics)”.

Wednesday, May 4, 2005

NASA‘s Mars Reconnaissance Orbiter (MRO), the latest robotic spacecraft destined for Mars, arrived at Kennedy Space Center‘s Shuttle Landing Facility on April 30 aboard a C-17 cargo plane and was delivered to the Payload Hazardous Servicing Facility to begin processing. Launching is scheduled for August 10, 2005.

With a mission time line through 2010, the MRO will conduct studies of the Martian atmosphere, surface and subsurface in far greater detail than previous missions. Possible landing sites for future Mars landings will be evaluated and the orbiter will also act as a high-data-rate communications relay for surface missions.

“Great work by a talented team has brought Mars Reconnaissance Orbiter to this milestone in our progress toward a successful mission,” said Jim Graf of NASA’s Jet Propulsion Laboratory (JPL) project manager for the mission.

Multiple mechanical assembly operations and electrical tests are scheduled to verify the craft’s readiness for launch. A May test to verify communication abilities through NASA’s Deep Space Network will be conducted and in June deployment of the high gain communications antenna will be tested. A deployment test is also scheduled for the Orbiter’s large solar arrays.

The MRO will be filled with hydrazine fuel in July for its “Mars orbit insertion burn” which reduces the craft’s velocity and places it in orbit about the red planet. July 26 will see the Mars Reconnaissance Orbiter installed in an Atlas V rocket fairing for final assembly with the rocket on July 29.

After the scheduled launch, the MRO will spend seven months cruising to Mars and another six months aerobraking after orbital insertion. A variety of scientific instruments on board will be used to search for geological evidence of past seas, ancient shorelines.The craft was built near Denver by Lockheed Martin Space Systems which also supplies the Atlas V launch vehicle.

The Mars Reconnaissance Orbiter mission is managed by JPL, a division of the California Institute of Technology, Pasadena, for the NASA Science Mission Directorate, Washington. Lockheed Martin Space Systems is the prime contractor for the project. International Launch Services, a Lockheed Martin joint venture, and Lockheed Martin Space Systems are providing launch services for the mission.

More information about the Mars Reconnaissance Orbiter is available at: Mars Reconnaissance Orbiter website

Friday, March 11, 2011

Tera Myers, a former actress in pornographic films, has left her position as a science teacher at Parkway North High School in St. Louis County, Missouri after her past was revealed by a student. This marks the second such controversy involving Myers, also known under the names Tericka Dye and the stage name Rikki Anderson. She was suspended by Kentucky’s McCracken County Public Schools system in 2006 after her career in pornography was made public.

Don Senti, interim superintendent of the district, said Myers was on administrative leave from her position at the school at her own request. Myers’ request, granted “out of respect for her privacy and that of her family,” came after a student inquired about her pornographic career. The district said Myers passed background checks before being hired as a teacher in 2007, but it did not know about her past until the student found out about it online, because her career in the pornography industry was legal. A Parkway representative said the Kentucky school at which Myers last worked was contacted in 2007 to verify her references, but no mention of her suspension or stint in pornography was provided.

Myers will continue to be paid until the end of the semester, at which time she is to leave the Parkway School District. “We’re surprised, very surprised,” said Parkway spokesperson Paul Tandy. “At the same time we feel for her and her family. We do believe she has tried to move on with her life … Unfortunately, even though it happened fifteen years ago, [the video] is still there.” According to Tandy, Dye “was concerned about the impact it would have in the building,” and, on March 4, informed the school’s principal of her past after being asked by the student. Myers also was the coach of the girls’ volleyball at Parkway North High School.

Myers previously taught at Reidland High School in Paducah, Kentucky, and was suspended in 2006 after a student there discovered her pornographic career. That May, Myers defended herself, saying, “Anybody who has been in my classroom could tell you how much I love teaching and how much I love these students, and that should be what matters more than anything in my past.” Known as Tericka Dye at the time, she protested against her dismissal and even appeared on the “Dr. Phil” talk show.

Myers said she became involved in the adult industry after working as an impoverished exotic dancer in California.

Thursday, November 8, 2007

Queues have started to form today outside the London Apple store for the launch of the iPhone. The phone launches tomorrow at 6.02 p.m. UTC exclusively onto the O2 network amid controversy. The iPhone was launched five months ago in the United States and is set to launch in the United Kingdom and Germany tomorrow.

Many people have braved the poor weather and have set up camp in the street in a bid to be the first of many thousands to buy the product on the first day of it’s release in the UK. Apple have already sold 1.4 million of the units in the US, some of which have already been imported into the UK un-officially. The cost of the device is set as £269 on a minimum £35 per month contract and will be sold at The Carphone Warehouse, O2 and Apple Stores across the UK.

The iPhone has a touch screen display and can act as a phone, text device, web browser, music player and email client all in one. The launch of the product onto one phone network only has caused controversy internationally and has led to many people using free and paid methods of unlocking the phone to be able to use it on other networks even though it voids the warranty. Apple replied to this move by releasing software patches that, when installed, will prevent functionality of the phone.