Friday, April 18, 2008

The Finnish National Bureau of Investigation yesterday released 600 pages of the 2,000 page final report into the Jokela school shooting. 18-year-old Pekka-Eric Auvinen opened fire at Jokela High School, killing eight before turning his gun on himself, receiving fatal wounds.

The remaining 1,400 pages of the report are to remain confidential. The public section reveals a number of problems that may have impacted on Auvinen’s decision to conduct the attack, but says that police failed to find any conclusive motive. Also released was an animation depicting events at the school.

The report says Auvinen had been bullied since the age of ten and concludes the extent of this problem was greater than previously thought. Auvinen suffered from anxiety and blushing, especially in lessons, and had been diagnosed with a panic disorder, for which he had been prescribed medication. Auvinen also suffered from sleep disorders and loneliness, and had few friends, although one former bully did go on to become a good friend of Auvinen’s. His mother said inability to settle on a suitable ideology contributed to Auvinen’s depression.

His parents had noticed and reacted to the bullying problem, but their intervention only served to worsen the situation. According to entries in Auvinen’s diary, he first began planning the shooting – which he gave the English name “Operation Main Strike” – about eight months prior to actually conducting the shooting.

Auvinen had told his mother that under certain circumstances he could approve of violence. He had often viewed web sites promoting violence and had a number of online contacts whom he discussed his ideas with. One of these was a United States teen arrested for planning a similar attack, and two others discussed the Columbine High School Massacre with him and traded videos they found online. However, there is no evidence he informed anyone of his plans until immediately prior to the attack.

The report called Auvinen a moderately good student, but noted his mental problems had impacted his performance at school. He had been interested in politics from an early age, being involved with the Centre Party, the Social Democratic Party, the Left Alliance, and the Finnish Communist Party.

“In the best case, this (attack) would create massive destruction and chaos, or even a revolution,” read one diary entry. “In any case, I want this to be remembered forever. Maybe I’ll even have a follower; after all, I am a super-person, almost God.” Another revealed he intended to “kill as many of you bastards as possible”. His diary also reveals he was aware he would be dead by the end of the attack.

He obtained a .22 calliber handgun which he named Catherine, having been denied a license for a 9mm gun, and submitted his plans online – including to YouTube – just 14 minutes prior to firing his first shots, having cycled to school. It was determined that, given the time-frame, there was little that could have been done by anyone who saw the material to prevent the attack. He fired 75 shots, 50 of which struck his eight fatally wounded victims, who were apparently chosen at random. Thirteen others were injured in the event.

The deceased were six students, the school headmistress and the school nurse. Auvinen shot at each several times in the region of the head and upper torso. He ultimately shot himself in the school toilet, and died in hospital from head wounds ten hours later, having never regained consciousness.

Police could not determine why he chose the date he did, although it was noted his online relationship with a foreign girl had ended just days before. It was also determined little could be done to predict and prevent future incidents, although one measure being sought is to require medical checks for gun licences and parental consent for prospective owners under 18.

The confidential section of the report discusses causes of death and police operations.

Wednesday, February 7, 2018

Early on Sunday morning, Amtrak’s passenger train number 91, the Silver Star, bound for Miami from New York, slammed into a stationary CSX freight train in Cayce, about ten miles (16 km) south of Columbia, capital of the US state of South Carolina. Two Amtrak employees were killed and at least 116 were injured, some seriously.

The two killed were 54-year-old engineer Michael Kempf of Savannah, Georgia, and 36-year-old conductor Michael Cella of Orange Park, Florida. Robert Sumwalt, chairman of the National Transportation Safety Board, told a press conference the passenger train had been diverted into a siding by a switch left “literally locked, with a padlock” in that position.

The collision happened at about 2:35 am local time (0735 UTC) at a switching yard in the small city of Cayce. The Amtrak train, with reportedly 139 passengers and eight employees aboard, collided head on with the freight train, which was parked with no one on board. The Amtrak locomotive and the leading locomotive on the freight train were destroyed; the Amtrak locomotive and some of its passenger cars derailed, and one of those cars was folded in half. Several freight cars were crumpled, Reuters reported. In a press conference, the state governor, Henry McMaster, said the Amtrak locomotive was “barely recognizable” and described it as “a horrible thing to see, to understand the force involved”.

Harrison Cahill, a spokesman for Lexington County, gave a count of 116 injured, up from an initial report of 70; according to Derrec Becker, public information officer for the South Carolina Emergency Management Division, injuries ranged “from cuts and bruises to severe broken bones”. On Monday a Palmetto Health spokesperson said two patients were in serious and two in critical condition at their facilities. A spill of approximately 5,000 gallons of fuel from the freight train posed no safety hazard, according to officials.

Passenger Derek Pettaway told the CNN network that like most others, he had been sleeping when the collision happened. He said Amtrak staff cleared the passengers from the train rapidly, and there was no panic; “I think people were more in shock than anything else”, he said.

“Key to this investigation is learning why the switch was lined that way”, Sumwalt said. Amtrak’s CEO, Richard Anderson, speaking to reporters on Sunday, held CSX responsible; he stated the track in that area is operated by CSX and the signals, which CSX operates, were not working at the time of the collision and a CSX dispatcher was therefore directing the Amtrak train’s movements. Sumwalt noted an automatic monitoring and braking system called positive train control, which was not in use on the stretch of line, could have forestalled the collision.

Several fatal incidents involving Amtrak trains have occurred in the past three months. On December 18, the inaugural train on a new route in Washington state derailed at high speed while crossing above a highway, killing three; on January 31, the driver of a garbage truck was killed in Virginia when he collided with an Amtrak train chartered to take Republican lawmakers to a retreat.

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Friday, December 31, 2004

New York City — Actor Jerry Orbach died in his home in Manhattan at age 69. Orbach was a staple of American cinema, stage and television, with his most recent role being in the NBC police drama “Law and Order.”

Orbach is survived by his wife of 25 years, Elaine Cancilla, and his two sons Anthony and Christopher.

Orbach was born in the tough Bronx borough of New York City in 1935 to a family of entertainers. His father Leon Orbach was an vaudeville actor and his mother Emily Orbach was a radio singer and greeting card writer.

The family moved often to keep up with travelling Vaudeville acts, but eventually settled in Waukegan Illinois where Orbach played football at the local high school. After graduation, Orbach got a summer job at the Chevy Chase Country Club in Wheeling doing odd jobs ranging from stagecraft to small acting parts in plays.

He then studied drama at the University of Illinois before transferring to Northwestern where he studied the Stanislavsky Method of drama acting. In 1955, Orbach dropped out of college and moved to New York City where he got a job as an understudy in The Threepenny Opera.

Orbach continued to work in theater, eventually earning roles in broadway musicals, but by 1961 had grown dissatisfied with being typecast as a musical actor. He tried briefly to break into film without success, and eventually returned to broadway where he earned numerous accolades for his roles in such musicals as “Guys and Dolls” and “Chicago“.

Orbach finally broke into television in the 1980s as a recurring character in shows such as the mystery-drama “Murder She Wrote” and the hit sitcom “Golden Girls“.

He earned the lead role as the title character in his own short-lived series “The Law and Harry McGraw”, a spinoff of “Murder She Wrote”. Orbach also scored key roles in a few Hollywood films, including the action thriller “F/X”, and the dance-musical hit “Dirty Dancing”, but continued to find his mainstay in television crime dramas.

In 1990, he picked up a role in the new NBC crime drama “Law and Order” as the acerbic-witted Lennie Briscoe, a role which soon become a regular job. Orbach continued in this role in addition to movie roles and occasional musical appearances until his death this last week.

Orbach was diagnosed with Prostate cancer in Spring of 2004, a fact he kept private until November when he checked into New York’s Memorial Sloan-Ketting Cancer Center for treatment. In spite of the aggressive nature of the treatment, he died on the evening of December 28.

Saturday, November 4, 2006

On November 13, Torontonians will be heading to the polls to vote for their ward’s councillor and for mayor. Among Toronto’s ridings is Don Valley East (Ward 33). One candidates responded to Wikinews’ requests for an interview. This ward’s candidates include Zane Caplan, Shelley Carroll (incumbent), Jim Conlon, Sarah Tsang-Fahey, and Anderson Tung.

For more information on the election, read Toronto municipal election, 2006.

Tuesday, February 1, 2011

The president of Egypt has suffered a “devastating blow” after the country’s army announced they would not use force against their own people, who continue to protest against the government tonight. The news came hours after six journalists who reported on the protests were released from custody.

Hosni Mubarak yesterday announced a new cabinet, which does not include several figures who protesters largely do not approve of. Analysts have, however, suggested little had changed within the government; many positions, they say, are filled with military figures.

In a statement broadcast on state media in Egypt, the army said: “To the great people of Egypt, your armed forces, acknowledging the legitimate rights of the people … have not and will not use force against the Egyptian people.” A BBC correspondent in Cairo said the announcement meant it “now seems increasingly likely that the 30-year rule of Mr Mubarak is drawing to a close.”

“The presence of the army in the streets is for your sake and to ensure your safety and wellbeing. The armed forces will not resort to use of force against our great people,” the statement added. “Your armed forces, who are aware of the legitimacy of your demands and are keen to assume their responsibility in protecting the nation and the citizens, affirms that freedom of expression through peaceful means is guaranteed to everybody.”

Earlier today, six journalists from the independent news network Al-Jazeera were released from custody after being detained by police. The U.S. State Department criticized the arrests; equipment was reportedly confiscated from the journalists.

Egyptian officials yesterday ordered the satellite channel to stop broadcasting in the country. Al-Jazeera said they were “appalled” by the government’s decision to close its Egyptian offices, which they described as the “latest attack by the Egyptian regime to strike at its freedom to report independently on the unprecedented events in Egypt.”

In a statement, the news agency added: “Al-Jazeera sees this as an act designed to stifle and repress the freedom of reporting by the network and its journalists. In this time of deep turmoil and unrest in Egyptian society it is imperative that voices from all sides be heard; the closing of our bureau by the Egyptian government is aimed at censoring and silencing the voices of the Egyptian people.”

On Friday, Wikinews reported the government had shut off practically all Internet traffic both out of and into the nation, as well as disrupting cellphone usage. A spokesperson for the social networking website Facebook said “limiting Internet access for millions of people is a matter of concern for the global community.”

A reported 50,000 campaigners, who are demanding the long-time leader step down and complaining of poverty, corruption, and oppression, filled Tahrir Square in Cairo today, chanting “We will stay until the coward leaves.” It is thought 100 people have so far died in the demonstrations. Today there have been protests in Suez, Mansoura, Damanhour, and Alexandria.

Speaking to news media in the area, many protesters said the new cabinet did little to quell their anger. “We want a complete change of government, with a civilian authority,” one said. Another added: “This is not a new government. This is the same regime—this is the same bluff. [Mubarak] has been bluffing us for 30 years.”

In Tahrir Square today, protesters played music as strings of barbed wire and army tanks stood nearby. Demonstrators scaled light poles, hanging Egyptian flags and calling for an end to Mubarak’s rule. “One poster featured Mubarak’s face plastered with a Hitler mustache, a sign of the deep resentment toward the 82-year-old leader they blame for widespread poverty, inflation and official indifference and brutality during his 30 years in power,” one journalist in the square reported this evening.