Tuesday, December 5, 2006

The Reserve Bank of New Zealand wrote to retails banks warning them that there will be a shortage on 20 cent coins (NZ$0.20) leading up to Christmas. They have now announced that they have distributed 4.75 million new twenty cent coins in the past week alone “…close to the number issued in a typical year.”

Ten million new coins are expected to arrive in the next few days.

The Reserve Bank is wondering where all the new coins went, just five weeks after the new design was first introduced. Brian Lang, currency manager for the Reserve Bank, said: “The pattern of demand for new coins has been markedly different to that for the old coins.” He suggests that people are keeping them in jars, like the old design coins.

Some stores are already unable to give out twenty cent coins as they don’t have any according to the Newmarket Business Association.

Mr Lang said: “To put this into perspective, by 30 November, the Bank had issued almost as many 20c coins (49.6m) as 10c coins (53.0m). In the past issue of 20 cent coins would normally have been about half the amount of 10 cent coins.”

The head of Newmarket Business Association, Cameron Brewer, said: “…the Reserve Bank told us that they’d done a lot of work and that everything was going to be just fine. Well here we are just five weeks into the new coins and only days away from the Christmas rush, and the country’s running out of its own currency.”

Mr Lang said: “The Bank has sufficient supplies of 10c and 50c coins for several years’ normal issues.”

“…tens of millions of the old 20 cent pieces sit idle because they are no longer legal tender,” Mr Brewer said referring to the old ‘silver’ coins that were used before the introduction of new coins.

The Reserve Bank still doesn’t know why the pattern of demand of twenty cent coins has changed.

“… such a staggering miscalculation by the Reserve Bank should never have happened,” Mr Brewer said.

Sunday, January 21, 2007

In the United Kingdom, an anti-pollution operation is under way after the stricken ship MSC Napoli started to leak dangerous heavy fuel oil.

The heavy fuel oil that is leaking from the beached Italian ship is extremely dangerous for the environment. Fear of pollution increased after the ship was further damaged during storms last Thursday. MSC Napoli was beached by Devon coastguards after it suffered heavy structual damage in the gale force storms of Thursday, 18 January 2007, that wreaked havoc across Northern Europe. The ship, which contains 160 containers of hazardous chemical substances, is listing at 35 degrees.

The entire 26-man crew was rescued by navy helicopters Thursday after severe gales. Cracks were found on both sides of the ship, but the current oil leak was not expected.

Around 2,400 containers were carried by the 62,000 tonne ship, some of which contain potentially dangerous hazardous chemicals.

The Coastguards have reported that up to 200 of the containers carrying materials such as perfume and battery acid are loose from the ship and they are looking for missing containers. South African stainless steel producer Columbus Stainless confirmed on Friday that there was at least 1,000 tonnes of nickel on board MSC Napoli.

A hole in the ship flooded the engine room and there’s now fears that the ship will break up. Saturday MSC Napoli was towed to Portland when a ”structural failure” forced the salvage team to beach it. As the storms have continued MSC Napoli has been further damaged.

The authorities have warned people about the pollution, which already has reached the beaches at Devon, but many want to see it on their own. Police have closed Branscombe Beach as more than 20 containers have broken up scattering their contents along the beach.

Sky News reported Sunday that the costs of the accident might be very high as thousands of pounds worth of BMW motorbikes, car parts, empty oak barrels and perfume might get lost in flooding containers.

Friday, April 3, 2009

The G20 Summit held in London, England concluded Thursday with an injection into the economy of US$5 trillion by the end of 2010.

Global trade would be supported by $250 billion (169.5 billion pounds). “We are going to act decisively to kickstart international trade. We will ensure availability of at least $250 billion over the next two years,” said Gordon Brown Prime Minister of the United Kingdom.

The International Monetary Fund IMF will have access to $750bn in resources of which $250bn will support special drawing rights.

Developing countries received $100bn which will be dispensed via Multilateral development banks. Towards this end, the IMF will sell off gold reserves.

China will support the IMF fund by $40bn, the European Union by $100bn, and Japan by $100bn.

There will be increased regulation on banking and credit ratings agencies. There was a commitment to clamp down on hedge funds, tax havens and toxic assets. To restore consumer confidence in the financial sector, a new Financial Stability Board will be initiated internationally. There would be new policies implemented to control pay and bonuses paid to the heads of banks and corporations.

The G20 leaders were adverse to protectionism and rallied to support international trade and investment.

The Leaders’ statement said, “We reaffirm the commitment made in Washington: to refrain from raising new barriers to investment or to trade in goods and services, imposing new export restrictions, or implementing World Trade Organization (WTO) inconsistent measures to stimulate exports.”

Eoin O’Malley, senior adviser on international trade at BusinessEurope, said “The measure also needs to be part of wider package to avoid protectionism and conclude the Doha round which will stimulate trade growth. The key point now is to move forward with Doha. The key now is implementation. G20 governments must act quickly to provide this finance to companies that need it urgently.”

Monday, March 12, 2007

A CSX freight train traveling from Buffalo to Selkirk derailed in Oneida, New York.

No injuries have yet been reported as a result of the accident. It is not yet known what caused the accident; CSX and NTSB officials are investigating.

Twenty six of the train’s 79 cars derailed around 7:00 a.m. local time; the derailment led to the explosion of at least one tank car carrying propane. Two other cars are known to contain hazardous materials. As many as seven cars have been reported as burning.

As a precaution, 23 miles (37 kilometers) of the adjacent Thruway have been closed between Syracuse and Verona. Authorities have ordered a complete evacuation for a one-mile radius around the derailment site, including a jail and two elementary schools. Amtrak‘s Empire Service between Albany and Syracuse is suspended and Lake Shore Limited between Syracuse and Chicago is also affected; passengers on these routes are being bused around the affected area.

At the time of the accident the train had a two-man crew and was traversing a section of track that has a 60 mile per hour (MPH) speed limit. The train crew were not injured; it is not yet known what speed the train was traveling when the accident occurred.

Monday, December 3, 2007

At Thanksgiving dinner David Shankbone told his white middle class family that he was to interview Reverend Al Sharpton that Saturday. The announcement caused an impassioned discussion about the civil rights leader’s work, the problems facing the black community and whether Sharpton helps or hurts his cause. Opinion was divided. “He’s an opportunist.” “He only stirs things up.” “Why do I always see his face when there’s a problem?”

Shankbone went to the National Action Network’s headquarters in Harlem with this Thanksgiving discussion to inform the conversation. Below is his interview with Al Sharpton on everything from Tawana Brawley, his purported feud with Barack Obama, criticism by influential African Americans such as Clarence Page, his experience running for President, to how he never expected he would see fifty (he is now 53). “People would say to me, ‘Now that I hear you, even if I disagree with you I don’t think you’re as bad as I thought,'” said Sharpton. “I would say, ‘Let me ask you a question: what was “bad as you thought”?’ And they couldn’t say. They don’t know why they think you’re bad, they just know you’re supposed to be bad because the right wing tells them you’re bad.”

Thursday, May 13, 2010

Currency exchanges offices in the United Kingdom have today stopped the sale of €500 notes after an investigation by the Serious Organised Crime Agency (SOCA) concluded that up to 90% of the notes were being used by money launderers and other organised criminals. Ian Cruxton, deputy director of SOCA, said that the Euro had been chosen as the currency of choice by criminal gangs due to the large denomination of the notes, adding “[i]t should now be impossible now to buy a €500 note over the counter from one of the suppliers. And that’s going to have an effect on the criminals — it means they are going to have to find other means of trying to move their money.”

The note was introduced by the European Central Bank in 2002, when the currency itself officially entered into circulation. The notoriety of the note’s criminal uses has earned it the nickname “the Bin Laden” after Al-Qaeda suspect Osama bin Laden — something that everyone knows is out there, but law-abiding people rarely see. The Euro is the official currency of 16 European countries, colloquially known as the Eurozone, as well as unofficially in a further 4 nations.

Since its introduction, there has been mounting international concern over criminal use of the large denomination note, which facilitates money laundering by allowing large concentrations of cash to be concealed in small spaces, for example, €20,000 can be concealed in a cigarette packet and £1 million in €500 notes weighs 2.2kg while the equivalent in £20 notes weighs 50kg. The highest denomination note in Sterling is £50, making high-value denominations in other currencies, such as the Euro, tempting for those wishing to move large amounts of money.

When asked if criminal demand for the note would simply be displaced to other high-value notes, such as the €200 note (the next-highest denomination), Ian Cruxton, deputy director of SOCA said he believed that would be the case, however, with less of the €200 note in circulation, their movements would be easier to track than those of the €500.

Tourists returning to the UK from holidays in Europe will still be able to change their €500 notes for Sterling but will be unable to purchase them. The European Central Bank has no plans for a withdrawal of the note, given the legitimate demand for it in countries such as Germany and Italy, where cash is used far more frequently than alternatives such as credit cards.

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.