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Saturday, April 28, 2012

Friday, July 29, 2011

Today sees the reopening of the National Museum of Scotland following a three-year renovation costing £47.4 million (US$ 77.3 million). Edinburgh’s Chambers Street was closed to traffic for the morning, with the 10am reopening by eleven-year-old Bryony Hare, who took her first steps in the museum, and won a competition organised by the local Evening News paper to be a VIP guest at the event. Prior to the opening, Wikinews toured the renovated museum, viewing the new galleries, and some of the 8,000 objects inside.

Dressed in Victorian attire, Scottish broadcaster Grant Stott acted as master of ceremonies over festivities starting shortly after 9am. The packed street cheered an animatronic Tyrannosaurus Rex created by Millenium FX; onlookers were entertained with a twenty-minute performance by the Mugenkyo Taiko Drummers on the steps of the museum; then, following Bryony Hare knocking three times on the original doors to ask that the museum be opened, the ceremony was heralded with a specially composed fanfare – played on a replica of the museum’s 2,000-year-old carnyx Celtic war-horn. During the fanfare, two abseilers unfurled white pennons down either side of the original entrance.

The completion of the opening to the public was marked with Chinese firecrackers, and fireworks, being set off on the museum roof. As the public crowded into the museum, the Mugenkyo Taiko Drummers resumed their performance; a street theatre group mingled with the large crowd, and the animatronic Tyrannosaurus Rex entertained the thinning crowd of onlookers in the centre of the street.

On Wednesday, the museum welcomed the world’s press for an in depth preview of the new visitor experience. Wikinews was represented by Brian McNeil, who is also Wikimedia UK’s interim liaison with Museum Galleries Scotland.

The new pavement-level Entrance Hall saw journalists mingle with curators. The director, Gordon Rintoul, introduced presentations by Gareth Hoskins and Ralph Applebaum, respective heads of the Architects and Building Design Team; and, the designers responsible for the rejuvenation of the museum.

Describing himself as a “local lad”, Hoskins reminisced about his grandfather regularly bringing him to the museum, and pushing all the buttons on the numerous interactive exhibits throughout the museum. Describing the nearly 150-year-old museum as having become “a little tired”, and a place “only visited on a rainy day”, he commented that many international visitors to Edinburgh did not realise that the building was a public space; explaining the focus was to improve access to the museum – hence the opening of street-level access – and, to “transform the complex”, focus on “opening up the building”, and “creating a number of new spaces […] that would improve facilities and really make this an experience for 21st century museum visitors”.

Hoskins explained that a “rabbit warren” of storage spaces were cleared out to provide street-level access to the museum; the floor in this “crypt-like” space being lowered by 1.5 metres to achieve this goal. Then Hoskins handed over to Applebaum, who expressed his delight to be present at the reopening.

Applebaum commented that one of his first encounters with the museum was seeing “struggling young mothers with two kids in strollers making their way up the steps”, expressing his pleasure at this being made a thing of the past. Applebaum explained that the Victorian age saw the opening of museums for public access, with the National Museum’s earlier incarnation being the “College Museum” – a “first window into this museum’s collection”.

The museum itself is physically connected to the University of Edinburgh’s old college via a bridge which allowed students to move between the two buildings.

Applebaum explained that the museum will, now redeveloped, be used as a social space, with gatherings held in the Grand Gallery, “turning the museum into a social convening space mixed with knowledge”. Continuing, he praised the collections, saying they are “cultural assets [… Scotland is] turning those into real cultural capital”, and the museum is, and museums in general are, providing a sense of “social pride”.

McNeil joined the yellow group on a guided tour round the museum with one of the staff. Climbing the stairs at the rear of the Entrance Hall, the foot of the Window on the World exhibit, the group gained a first chance to see the restored Grand Gallery. This space is flooded with light from the glass ceiling three floors above, supported by 40 cast-iron columns. As may disappoint some visitors, the fish ponds have been removed; these were not an original feature, but originally installed in the 1960s – supposedly to humidify the museum; and failing in this regard. But, several curators joked that they attracted attention as “the only thing that moved” in the museum.

The museum’s original architect was Captain Francis Fowke, also responsible for the design of London’s Royal Albert Hall; his design for the then-Industrial Museum apparently inspired by Joseph Paxton’s Crystal Palace.

The group moved from the Grand Gallery into the Discoveries Gallery to the south side of the museum. The old red staircase is gone, and the Millennium Clock stands to the right of a newly-installed escalator, giving easier access to the upper galleries than the original staircases at each end of the Grand Gallery. Two glass elevators have also been installed, flanking the opening into the Discoveries Gallery and, providing disabled access from top-to-bottom of the museum.

The National Museum of Scotland’s origins can be traced back to 1780 when the 11th Earl of Buchan, David Stuart Erskine, formed the Society of Antiquaries of Scotland; the Society being tasked with the collection and preservation of archaeological artefacts for Scotland. In 1858, control of this was passed to the government of the day and the National Museum of Antiquities of Scotland came into being. Items in the collection at that time were housed at various locations around the city.

On Wednesday, October 28, 1861, during a royal visit to Edinburgh by Queen Victoria, Prince-Consort Albert laid the foundation-stone for what was then intended to be the Industrial Museum. Nearly five years later, it was the second son of Victoria and Albert, Prince Alfred, the then-Duke of Edinburgh, who opened the building which was then known as the Scottish Museum of Science and Art. A full-page feature, published in the following Monday’s issue of The Scotsman covered the history leading up to the opening of the museum, those who had championed its establishment, the building of the collection which it was to house, and Edinburgh University’s donation of their Natural History collection to augment the exhibits put on public display.

Closed for a little over three years, today’s reopening of the museum is seen as the “centrepiece” of National Museums Scotland’s fifteen-year plan to dramatically improve accessibility and better present their collections. Sir Andrew Grossard, chair of the Board of Trustees, said: “The reopening of the National Museum of Scotland, on time and within budget is a tremendous achievement […] Our collections tell great stories about the world, how Scots saw that world, and the disproportionate impact they had upon it. The intellectual and collecting impact of the Scottish diaspora has been profound. It is an inspiring story which has captured the imagination of our many supporters who have helped us achieve our aspirations and to whom we are profoundly grateful.“

The extensive work, carried out with a view to expand publicly accessible space and display more of the museums collections, carried a £47.4 million pricetag. This was jointly funded with £16 million from the Scottish Government, and £17.8 million from the Heritage Lottery Fund. Further funds towards the work came from private sources and totalled £13.6 million. Subsequent development, as part of the longer-term £70 million “Masterplan”, is expected to be completed by 2020 and see an additional eleven galleries opened.

The funding by the Scottish Government can be seen as a ‘canny‘ investment; a report commissioned by National Museums Scotland, and produced by consultancy firm Biggar Economics, suggest the work carried out could be worth £58.1 million per year, compared with an estimated value to the economy of £48.8 prior to the 2008 closure. Visitor figures are expected to rise by over 20%; use of function facilities are predicted to increase, alongside other increases in local hospitality-sector spending.

Proudly commenting on the Scottish Government’s involvement Fiona Hyslop, Cabinet Secretary for Culture and External Affairs, described the reopening as, “one of the nation’s cultural highlights of 2011” and says the rejuvenated museum is, “[a] must-see attraction for local and international visitors alike“. Continuing to extol the museum’s virtues, Hyslop states that it “promotes the best of Scotland and our contributions to the world.“

So-far, the work carried out is estimated to have increased the public space within the museum complex by 50%. Street-level storage rooms, never before seen by the public, have been transformed into new exhibit space, and pavement-level access to the buildings provided which include a new set of visitor facilities. Architectural firm Gareth Hoskins have retained the original Grand Gallery – now the first floor of the museum – described as a “birdcage” structure and originally inspired by The Crystal Palace built in Hyde Park, London for the 1851 Great Exhibition.

The centrepiece in the Grand Gallery is the “Window on the World” exhibit, which stands around 20 metres tall and is currently one of the largest installations in any UK museum. This showcases numerous items from the museum’s collections, rising through four storeys in the centre of the museum. Alexander Hayward, the museums Keeper of Science and Technology, challenged attending journalists to imagine installing “teapots at thirty feet”.

The redeveloped museum includes the opening of sixteen brand new galleries. Housed within, are over 8,000 objects, only 20% of which have been previously seen.

The Window on the World rises through the four floors of the museum and contains over 800 objects. This includes a gyrocopter from the 1930s, the world’s largest scrimshaw – made from the jaws of a sperm whale which the University of Edinburgh requested for their collection, a number of Buddha figures, spearheads, antique tools, an old gramophone and record, a selection of old local signage, and a girder from the doomed Tay Bridge.

The arrangement of galleries around the Grand Gallery’s “birdcage” structure is organised into themes across multiple floors. The World Cultures Galleries allow visitors to explore the culture of the entire planet; Living Lands explains the ways in which our natural environment influences the way we live our lives, and the beliefs that grow out of the places we live – from the Arctic cold of North America to Australia’s deserts.

The adjacent Patterns of Life gallery shows objects ranging from the everyday, to the unusual from all over the world. The functions different objects serve at different periods in peoples’ lives are explored, and complement the contents of the Living Lands gallery.

Performance & Lives houses musical instruments from around the world, alongside masks and costumes; both rooted in long-established traditions and rituals, this displayed alongside contemporary items showing the interpretation of tradition by contemporary artists and instrument-creators.

The museum proudly bills the Facing the Sea gallery as the only one in the UK which is specifically based on the cultures of the South Pacific. It explores the rich diversity of the communities in the region, how the sea shapes the islanders’ lives – describing how their lives are shaped as much by the sea as the land.

Both the Facing the Sea and Performance & Lives galleries are on the second floor, next to the new exhibition shop and foyer which leads to one of the new exhibition galleries, expected to house the visiting Amazing Mummies exhibit in February, coming from Leiden in the Netherlands.

The Inspired by Nature, Artistic Legacies, and Traditions in Sculpture galleries take up most of the east side of the upper floor of the museum. The latter of these shows the sculptors from diverse cultures have, through history, explored the possibilities in expressing oneself using metal, wood, or stone. The Inspired by Nature gallery shows how many artists, including contemporary ones, draw their influence from the world around us – often commenting on our own human impact on that natural world.

Contrastingly, the Artistic Legacies gallery compares more traditional art and the work of modern artists. The displayed exhibits attempt to show how people, in creating specific art objects, attempt to illustrate the human spirit, the cultures they are familiar with, and the imaginative input of the objects’ creators.

The easternmost side of the museum, adjacent to Edinburgh University’s Old College, will bring back memories for many regular visitors to the museum; but, with an extensive array of new items. The museum’s dedicated taxidermy staff have produced a wide variety of fresh examples from the natural world.

At ground level, the Animal World and Wildlife Panorama’s most imposing exhibit is probably the lifesize reproduction of a Tyrannosaurus Rex skeleton. This rubs shoulders with other examples from around the world, including one of a pair of elephants. The on-display elephant could not be removed whilst renovation work was underway, and lurked in a corner of the gallery as work went on around it.

Above, in the Animal Senses gallery, are examples of how we experience the world through our senses, and contrasting examples of wildly differing senses, or extremes of such, present in the natural world. This gallery also has giant screens, suspended in the free space, which show footage ranging from the most tranquil and peaceful life in the sea to the tooth-and-claw bloody savagery of nature.

The Survival gallery gives visitors a look into the ever-ongoing nature of evolution; the causes of some species dying out while others thrive, and the ability of any species to adapt as a method of avoiding extinction.

Earth in Space puts our place in the universe in perspective. Housing Europe’s oldest surviving Astrolabe, dating from the eleventh century, this gallery gives an opportunity to see the technology invented to allow us to look into the big questions about what lies beyond Earth, and probe the origins of the universe and life.

In contrast, the Restless Earth gallery shows examples of the rocks and minerals formed through geological processes here on earth. The continual processes of the planet are explored alongside their impact on human life. An impressive collection of geological specimens are complemented with educational multimedia presentations.

Beyond working on new galleries, and the main redevelopment, the transformation team have revamped galleries that will be familiar to regular past visitors to the museum.

Formerly known as the Ivy Wu Gallery of East Asian Art, the Looking East gallery showcases National Museums Scotland’s extensive collection of Korean, Chinese, and Japanese material. The gallery’s creation was originally sponsored by Sir Gordon Wu, and named after his wife Ivy. It contains items from the last dynasty, the Manchu, and examples of traditional ceramic work. Japan is represented through artefacts from ordinary people’s lives, expositions on the role of the Samurai, and early trade with the West. Korean objects also show the country’s ceramic work, clothing, and traditional accessories used, and worn, by the indigenous people.

The Ancient Egypt gallery has always been a favourite of visitors to the museum. A great many of the exhibits in this space were returned to Scotland from late 19th century excavations; and, are arranged to take visitors through the rituals, and objects associated with, life, death, and the afterlife, as viewed from an Egyptian perspective.

The Art and Industry and European Styles galleries, respectively, show how designs are arrived at and turned into manufactured objects, and the evolution of European style – financed and sponsored by a wide range of artists and patrons. A large number of the objects on display, often purchased or commissioned, by Scots, are now on display for the first time ever.

Shaping our World encourages visitors to take a fresh look at technological objects developed over the last 200 years, many of which are so integrated into our lives that they are taken for granted. Radio, transportation, and modern medicines are covered, with a retrospective on the people who developed many of the items we rely on daily.

What was known as the Museum of Scotland, a modern addition to the classical Victorian-era museum, is now known as the Scottish Galleries following the renovation of the main building.

This dedicated newer wing to the now-integrated National Museum of Scotland covers the history of Scotland from a time before there were people living in the country. The geological timescale is covered in the Beginnings gallery, showing continents arranging themselves into what people today see as familiar outlines on modern-day maps.

Just next door, the history of the earliest occupants of Scotland are on display; hunters and gatherers from around 4,000 B.C give way to farmers in the Early People exhibits.

The Kingdom of the Scots follows Scotland becoming a recognisable nation, and a kingdom ruled over by the Stewart dynasty. Moving closer to modern-times, the Scotland Transformed gallery looks at the country’s history post-union in 1707.

Industry and Empire showcases Scotland’s significant place in the world as a source of heavy engineering work in the form of rail engineering and shipbuilding – key components in the building of the British Empire. Naturally, whisky was another globally-recognised export introduced to the world during empire-building.

Lastly, Scotland: A Changing Nation collects less-tangible items, including personal accounts, from the country’s journey through the 20th century; the social history of Scots, and progress towards being a multicultural nation, is explored through heavy use of multimedia exhibits.

Monday, December 24, 2007

Finnish theatrical hard rock band Lordi have released Beast Loose in Paradise – which will be the soundtrack to the band’s upcoming horror movie Dark Floors – as a downloadable single.

The song was originally intended to be released via Zed.fi, but for unknown reasons has not appeared on the site. However, it has appeared on at least two other sites as a pay-to-download single – MSN Music Finland and MTV3.fi.

The song was one of two recorded last month, and will be released by Sony BMG Finland as an actual CD on January 8 . The other song, titled Studs and Leather, was also written for the movie.

The cover art for the CD single has already been revealed. It is a direct tribute to the KISS album Creatures of the Night.

Most of both songs were composed during Lordi’s tour of the United States as part of Ozzfest, with the band’s lead vocalist saying in an interview with MonsterDiscoHell.com that the main riff of Beast Loose in Paradise was written in Milwaukee, while the chorus of Studs and Leather was composed in St. Augustine.

He went on to say that Studs and Leather had originally been intended for Bend over and Pray the Lord!, an unreleased album from 1999 that had been intended to be Lordi’s debut. The verses from Beast Loose in Paradise had been decided on between the whole band during therapy sessions at Christmas 2006. He said that he had written most of the rest between two US tours, the Ozzfest tour and a tour as the support act for American gothic doom metal band Type O Negative.

He continued to deny a recent rumour posted in Finnish music periodical Soundi that the new material was going to be “more brutal and raw” than that on Lordi’s last album, The Arockalypse. “Our music is not gonna get any brutal or heavier, but not any lighter [either]… I’d say these two songs are familiar Lordi. Although Beast Loose in Paradise is more ‘movie-esque’ and ‘horror-ish’ on purpose. And some might say it’s even heavier, but at the very least the chorus will be familiar and melodic Lordi stuff. And Studs and Leather is basically Heaven’s on Fire (KISS song) meets Balls To The Wall (Accept song).

Sunday, December 23, 2012

Wind storms swept across a large part of Texas on Wednesday, leaving property damaged and many homes without power.

Downed lamposts and trees were reported in multiple locales. One media source reported overturned playground equipment in the city of Rockwall. Winds up to 40 miles-per-hour (mph) were reported over much of the Dallas-Fort Worth Metroplex. Approximately 9,500 people within Tarrant and Dallas counties were without electrical power as late as Thursday afternoon.

Late Wednesday evening, the National Weather Service reported winds at Dallas Love Field up to 66 mph. The city of Edgewood recorded wind speeds up to 70 mph during the storm; three homes, two barns and two business buildings sustained damage. A home in Chandler was damaged when a tree was toppled during the storm (see photo at left).

Dust from as far away as west Texas covered vehicles and other property early Thursday morning in the eastern part of the state. A car wash manager in Tyler told media his business cleaned about three hundred cars on Thursday, busier than usual even for holiday season.

Friday, January 25, 2008

B2B Trade Area of Taipei Game Show, criticized by trade buyers last year, but accompanied with 2008 Taiwan Digital Content Forum, moved to the second floor at Taipei World Trade Center for world-wide participants with a better exchange atmosphere this year.

Not only local OBMs (Softstar Entertainment, Soft-World International Corp., International Games System Corp., …, etc.) but also companies from New Zealand, Canada, Japan, Hong Kong, and South Korea showcased different specialists with multiple styles. Especially on South Korea, participated members from G? Trade Show (Game Show & Trade, All-Round, aka Gstar) showcased gaming industry of South Korea and the G? upcoming at this November with brochures.

In the 2-days Digital Content Forum, world-class experts not only shared industry experiences, members from Taiwan Gaming Industry Association also discussed and forecasted marketing models for gaming industry. With participations from governmental, industrial, and academical executives world-wide, this forum helps them gained precious experiences of digital content industry from several countries.

According to the Taipei Computer Association, the show and forum organizer, the digital content industry in Taiwan was apparently grown up recent years as Minister of Economic Affairs of the Republic of China Steve Ruey-long Chen said at Opening Ceremony yesterday. Without R&Ds from cyber-gaming, and basic conceptions from policies and copyright issues, this (digital content) industry will be fallen down in Taiwan. If this industry wanted to be grown up in sustainability, gaming OBMs in Taiwan should independently produce different and unique games and change market style to market brands and games to the world.

Monday, November 5, 2007

In the 1980’s and the 1990’s there were multiple allegations of sexual abuse of children or non-consenting adults in the context of Satanic rituals that has come to be known as The Satanic Panic. In the United States, the Kern County child abuse cases, McMartin preschool trial and the West Memphis 3 cases garnered worldwide media coverage. One case took place in Jordan, Minnesota, when children made allegations of manufacturing child pornography, ritualistic animal sacrifice, coprophagia, urophagia and infanticide, at which point the Federal Bureau of Investigation was alerted. Twenty-four adults were arrested and charged with acts of sexual abuse, child pornography and other crimes related to satanic ritual abuse; only three went to trial with two acquittals and one conviction. Supreme Court Justice Scalia noted in a discussion of the case, “[t]here is no doubt that some sexual abuse took place in Jordan; but there is no reason to believe it was as widespread as charged,” and cited the repeated, coercive techniques used by the investigators as damaging to the investigation.

One of the most visible Satanic organizations—though one that was never a suspect or charged in any of the Satanic Panic cases—is the Church of Satan, founded by Anton LaVey. Members of the Church, such as Peter H. Gilmore, Peggy Nadramia, Boyd Rice, Adam Parfrey, Diabolos Rex, and musician King Diamond, were active in media appearances to refute allegations of criminal activity and the FBI would later issue an official report debunking the criminal conspiracy theories of this time.

Gilmore feels Satanists are often misunderstood or misrepresented. LaVey’s teachings are based on individualism, self-indulgence, and “eye for an eye” morality, with influence from Friedrich Nietzsche and Ayn Rand; while its rituals and magic draw heavily from occultists such as Aleister Crowley. They do not worship—nor believe in—the Devil or a Christian notion of Satan. The word “Satan” comes from the Hebrew word for “adversary” and originated from the Abrahamic faiths, being traditionally applied to an angel. Church of Satan adherents see themselves as truth-seekers, adversaries and skeptics of the religious world around them.

On a windy October day in Central Park, Wikinews reporter David Shankbone sat down with the High Priest of the Church, Peter H. Gilmore, who has led LaVey’s congregation of Satanists since his passing in 1997 (he became the High Priest in 2001). They discussed the beliefs of the Church, current events, LaVey’s children and how Satanism applies to life and the world.

Friday, March 30, 2012

Senator Rand Paul of Kentucky is the lone holdout preventing a vote on synthetic marijuana legislation in the US Senate through a procedural block that is allowed under the rules. Until Paul lifts his block, the Senate will not be able to act on legislation that has already passed the US House of Representatives last December. Wikinews has investigated the block on the legislation.

Synthetic marijuana can be sold over the counter in some places and it is commonly known by brand names, such as “K2” or “Spice”. Other types of synthetic “designer” drugs, like “bath salts”, belong to a class of substances that are in some cases legal, though they create a health hazard, because they are declared not meant for human consumption.

At issue in the legislation is the amount of chemical substances banned, the criminalization of substances, the authority of the federal versus the state government to makes those decisions, the extent to which the product is a threat or hazard to public health and safety, and the effect such a law would have on the research of these substances. All of these issues were debated in the House. Paul has made an issue of the long prison sentences for marijuana. His critics claim he is going too far by blocking legislation. Paul, a Republican who has libertarian leanings, has argued that the states should have the authority to ban drugs.

According to the National Conference of State Legislatures, 31 states have a ban on both synthetic cannabinoids and substituted cathinones while 39 states have a ban on synthetic cannabinoids. Rand’s home state of Kentucky bans both. But legislation is not a perfect solution; in Cass County, Michigan, four teenagers between the ages of 13 and 14 had an emergency after using synthetic marijuana, but even though Michigan bans both, police are not sure that the substances are illegal. Chemists have to conduct tests on the products.

Although Paul is framing the issue as a legal one, the medical community has turned its attention to this new phenomenon’s impact on public health and safety. In an article that appeared in the March 2012 issue of Pediatriacs, medical researchers led by Dr. Joanna Cohen analyzed the cases of three teens who were hospitalized and treated as emergencies after an incident of synthetic marijuana use. One 16-year-old girl lost her motor skills and was unresponsive yet she had an exceptionally high heart rate and abnormal blood pressure. An 18-year-old boy was extremely sweaty, had a high heart rate and was agitated. And a 16-year-old boy had a speech dysfunction, as well as symptoms of agitation and confusion. The doctors who wrote the study say people are using this product because they believe it can give them a high similar to marijuana, however, the new drug can bring on both psychological symptoms, like psychosis and paranoia, and physical ones, such as convulsions.

One out of every nine high school students has reported use of synthetic marijuana, according to Monitoring the Future released in December 2011. The annual survey can be used to spot new trends in substance use among youth and the report included synthetic marijuana for the first time in 2011.

Poison centers noticed a sharp increase in calls reporting incidents due to synthetic marijuana. According to the American Association of Poison Control Centers, in 2010 centers nationwide took 2,906 calls for synthetic marijuana cases, but by 2011, they took 6,959 calls. The problem is noticeable to local health officials, like in Syracuse, New York, which is Senator Chuck Schumer’s state, where 120 cases were reported and one health professional called it “a significant public health concern.” New York has a ban on substituted cathinones but not synthetic canabanoids, according to the National Conference of State Legislatures.

Although the US Drug Enforcement Agency placed five substances that fall under synthetic marijuana into Schedule I on March 1, 2011, its emergency powers only last one and a half years and its ban has not stopped other substances from being used instead. Schedule I is a running list of banned chemicals.

Three of Paul’s Senate senior colleagues say Paul should drop his block. Senators Chuck Grassley, Chuck Schumer, and Amy Klobuchar are sponsoring bipartisan legislation that aims to ban synthetic marijuana as a serious health threat. The legislation is bipartisan as Grassley is a Republican , while both Schumer and Klobuchar are Democrats. Senator Schumer, in an editorial for the New York Daily News, advocated tackling synthetic marijuana at the national level rather than at the state. Schumer’s argument is that states have tried to ban the ingredients commonly found these products but the manufacturers have the flexibility to alter the ingredients to bypass the law. Schumer said the federal government needs a proactive rather than a reactive stance against drugs. “All we need is one senator, Rand Paul of Kentucky, to release his block on this legislation,” wrote Schumer. “We’re urging him to do the right thing, and let us move forward with a vote.”

Before the Senate took up the issue, similar legislation had already passed in the House. The House voted 317–98 in favor of the Synthetic Drug Control Act of 2011 on December 8, 2011. Pennsylvania Congressperson Charles Dent sponsored the legislation that would add ingredients found in synthetic marijuana to Schedule I. Dent’s legislation included chemicals that are not even found in the United States at this time, but he argues that synthetic marijuana is too great of a public health threat to dismiss.

Standing in opposition to the legislation, Virginia Congressperson Bobby Scott and several fellow Democrats argued Dent’s legislation was bypassing a process for the banning of drugs that was already in place and established. Scott also argued some of the substances banned by the legislation were not even present in the United States but so far only in Europe. His colleagues argued researchers would lose the ability to conduct research freely on these substances and, as Scott noted, the legislation was seeking to ban substances but without any research to back it up.

Grassley’s legislation is named for David Rozga, an Iowan who committed suicide after using synthetic marijuana. In his speech, before the Senate, Grassley said Rozga’s situation inspired him to put forward the legislation.

For some families, the issue has also become an emotional one, as they have lost a loved one. Karen Dobner, a mother from Aurora, Illinois, is blaming Senator Paul for any deaths that may still occur because he is holding up a legislative solution to a problem that she says killed her own son. When her son Max was in college, he tried a synthetic marijuana product and had a panic attack. Dobner believes the car crash that killed her son would not have happened had he not been experiencing the symptoms of the designer drug. Now Dobner keeps calling Paul’s office begging him to stop his hold.

Senator Paul’s office was contacted by both phone and email about this report but it did not respond.

Wednesday, February 7, 2007

The winner of the British television reality show Celebrity Big Brother, Shilpa Shetty expressed her gratitude to Prime Minister Tony Blair during a meeting at the U.K. Houses of Parliament.

The Bollywood actress observed prime minister’s question time in the Commons before meeting Mr Blair himself. She thanked him for his support, describing him as “very sweet.”

The visit took place following an invitation by Labour MP for Leicester South, Keith Vaz, who led calls for action against the treatment of Ms Shetty during her stint on the reality TV show. Celebrity Big Brother was criticised by public and politicians alike last month after Ms Shetty’s treatment by other contestants erupted in an international race row.

Today, she told reporters she had thanked the PM for his support “to me and my country”.

Her visit drew widespread media attention and she was greeted at Parliament by a media scuffle, including over 20 reporters from her native India.

“To see how so much respect has been bestowed upon me has truly been an honour,” she added.

According to organisers, the Commons chef had even prepared a special dessert in her honour “Shilpa’s delight” and she was also introduced to Culture Secretary Tessa Jowell.

The actress was crowned winner of Celebrity Big Brother, following confrontations with fellow housemates Jade Goody, Jo O’Meara and Danielle Lloyd who were accused of bullying and racism. Despite denying the claims, all three lost most of their major endorsements and Jade and Danielle’s partners are said to have left them.

Politicians became embroiled in the proceedings when media regulator Ofcom received more than 40,000 complaints from viewers.This resulted in the row reached both the House of Commons and India, where chancellor Gordon Brown’s bridge-building visit was overshadowed by controversy caused by the programme.

In the evening, Ms Shetty travelled to the city of Leicester to meet with members of Keith Vaz’ constituency. Reena Combo, editor of British Asian entertainment magazine Ikonz, was one of the guests. Ms Combo felt the visit would boost a sense of belonging amongst Leicester-South’s largely Asian population.

“I think it’s wonderful to see Shilpa Shetty taking the time to visit the people of Leicester. There has been a great deal of national interest in Shilpa since her appearance on Big Brother but many of the people here, especially the Asian community, have been fans of the Bollywood star for much longer so it’s nice to see her rewarding her loyal supporters.”

“She has over the last few weeks become an inspiration to many and become very much a part of British life.”

As yet, the Bollywood actress continues her tour of the country as an unofficial ambassador for the Indian film industry and has been invited to attend a Commonwealth reception at London’s Marlborough House on March 12, where she will be meeting with the Queen.