Sunday, February 17, 2008

In a press release today, California-based Hallmark/Westland Meat Packing Co. indicated that it has voluntarily recalled just over 143 million pounds (65 million kilograms) of raw and frozen beef products, which is considered to be the largest single recall of beef products in U.S. history. The move follows an investigation by the United States Department of Agriculture (USDA) into allegations of animal cruelty and mishandling of cattle destined for the human food chain.

The USDA’s Food Safety and Inspection Service (FSIS) had determined that beef products produced by the Chino, California company were unfit for human consumption as the cattle had not received “complete and proper inspection.”

The recall has been designated as Class II, which the USDA describes as “a health hazard situation where there is a remote probability of adverse health consequences from the use of the product.”

On Friday, Secretary of Agriculture Ed Schafer indicated that charges had been laid against employees of the plant alleged to have taken part in the mistreatment of cattle. “Today [Friday], the San Bernardino District Attorney filed felony animal cruelty charges against two employees who were terminated by Hallmark/Westland Meat Packing Company,” said Schafer. “It is regrettable that these animals were mistreated and I am encouraged and supportive of these actions by the San Bernardino District Attorney in response to this mistreatment.”

The USDA learned of the possible inhumane handling of non-ambulatory (disabled) cattle at the packing plant on January 30 and has since suspended activities at the plant. “We continue to conduct a thorough investigation into whether any violations of food safety or additional humane handling regulations have occurred,” said Secretary Schafer in a press release. “On February 8, our Office of the Inspector General took the lead on the investigation. At that time, USDA extended the administrative hold on Hallmark/Westland Meat Packing Company products for the National School Lunch Program, the Emergency Food Assistance Program and the Food Distribution Program on Indian Reservations while the investigation continues,” said Schafer.

The FSIS reported that Hallmark/Westland had not contacted the FSIS public health veterinarian, as required, when cattle became ill or disabled after undergoing ante-mortem (slaughter) inspection, putting the company out of compliance with FSIS regulations. “Because the cattle did not receive complete and proper inspection FSIS has determined them to be unfit for human food and the company is conducting a recall,” explained Secretary Schafer.

The cruelty charges stem from an undercover video that reportedly showed sick cattle being moved by crews using forklifts.

“Words cannot accurately express how shocked and horrified I was at the depictions contained on the video that was taken by an individual who worked at our facility from October 3 thru November 14, 2007,” said Steve Mendell, President, Westland Meat Co. and Hallmark Meat Packing. “We have taken swift action regarding the two employees identified on the video and have already implemented aggressive measures to ensure all employees follow our humane handling policies and procedures. We are also cooperating with the USDA investigators on the allegations of inhumane handling treatment which is a serious breech of our company’s policies and training.”

The USDA stressed that it is “extremely unlikely” that the cattle involved were at risk for Bovine spongiform encephalopathy (BSE) or mad-cow disease due to the employment of multiple safeguards. The USDA felt the recall was required, however, as the plant had allegedly violated USDA regulations.

The recall involves raw and frozen beef products produced on various dates from February 1, 2006 to February 2, 2008. For further information about the recall, consumers, media, and distributors are encouraged to contact Hallmark/Westland’s Plant Manager Stan Mendell or Food Safety Consultant Steve Sayer at (909) 590-3340 or the FSIS website, www.fsis.usda.gov.

Saturday, June 13, 2009

NASA has canceled today’s early morning launch of Space Shuttle Endeavour because of a hydrogen fuel leak. The leak was discovered after NASA personnel began to fill Endeavour’s external fuel tank.

“The official scrub time was 12:26 a.m. EDT. Launch teams began draining Endeavour’s external fuel tank of its liquid hydrogen and liquid oxygen at 12:06 a.m.. Fueling was halted after the leak was detected near the Ground Umbilical Carrier Plate, or GUCP, which attached to the external tank at its intertank area,” said NASA in a statement on their website.

Launch for mission STS-127 was scheduled for 7:17 a.m. (EDT) on Saturday from Kennedy Space Center in Florida. If NASA fixes the problem in a reasonable period, the next window of opportunity for launch would be at 6:51 a.m Sunday morning. If the problem cannot be solved by then, NASA says the earliest they would be able to re-schedule Endeavor’s lift off would be June 17. This would conflict with the Lunar Reconnaissance Orbiter (LRO)/Lunar Crater Observation and Sensing Satellite (LCROSS) launch. Space Shuttle Discovery will be on standby in case of emergencies and STS-128 could be readied to launch by August 6.

A similar problem in March forced NASA to push back the launch of Space Shuttle Discovery for mission STS-119. The problem was fixed and Discovery was able to take off.

Mission STS-127 is the 32nd flight dedicated to the International Space Station construction, and the final of a series of three flights dedicated to the assembly of the Japanese Kibo laboratory complex. The STS-127 payload is the Kibo Japanese Experiment Module Exposed Facility and Experiment Logistics Module Exposed Section. The mission is scheduled to last sixteen days.

This trip marks the first time that thirteen people will be on the ISS at the same time. Canada will see two astronauts in space simultaneously, also a first for the nation. Crew members listed to be part of the mission are Commander Mark Polansky, Pilot Doug Hurley, astronauts Wolf, Christopher Cassidy, Canadian Space Agency’s mission specialist Julie Payette, and mission specialists Tom Marshburn and Tim Kopra.

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.

Thursday, December 8, 2016

In findings announced yesterday, scientists from Johns Hopkins University took ordinary commercial drones, swapped out their cameras for coolers and packed them with human plasma, platelets and blood cells. The drones were found to deliver their cargo in usable condition after flights lasting almost half an hour, at distances of up to 12 miles.

“For rural areas that lack access to nearby clinics, or that may lack the infrastructure for collecting blood products or transporting them on their own, drones can provide that access,” says pathologist and lead author of the paper Dr. Timothy Amukele.

Although earlier studies have confirmed that drone flights do not affect the useful properties or microbe populations of human blood products, those experiments were performed on small, vial-sized samples. Here, the drones carried much larger quantities of blood, in the proportions and packaging that doctors and medical technicians would actually use on patients, with units purchased directly from the American Red Cross. Unlike Rwanda’s medical delivery drones, which were custom-made for blood product delivery by Zipline, these experiments were completed with regular, commercially available S900-model machines with minimal modification.

Post-flight, the samples were tested for cell rupture, changes in pH, air bubbles and other damage that might indicate that the packages had thawed out or otherwise become unsuitable for use in transfusions. The samples were found to have arrived intact.

Although the test was performed in an unpopulated area, it is speculated that drones might be useful not only for delivery of blood products to rural medical facilities but also for distributing blood resources through urban areas. John’s Hopkins pathologist and research team leader Dr. Timothy Armukele speculates that emergency medical teams may one day be able to transfuse patients on the spot by calling for a drone to bring blood of the appropriate type.

The details of the experiment have been published in the latest issue of Transfusion.

Friday, January 10, 2020

At about 15:30 local time (1430 UTC) on Tuesday a fire was reported in the “Kiss & Fly” section of a parking structure at Stavanger Airport, Sola in Norway. The structure has over 3000 parking spaces; reports said more than half of those were filled. The airport was quickly closed to air traffic.

It was initially reported the fire started in an electric vehicle, but news broadcaster NRK later reported the fire started in a recalled 2005 Opel Zafira. The car was recalled after a similar fire in Cork, Ireland in August last year, causing damage to about 60 cars. Police said they questioned the car’s owner.

The fire produced heavy smoke, and local officials said there was danger the building might collapse. Nils-Erik Haagenrud of Rogaland Fire and Rescue said late on Tuesday no personnel would be sent into the building. Rogaland Fire and Rescue requested support and equipment from other fire departments. The airport and nearby hotel were both evacuated and local police warned people in the general vicinity to stay inside and close exterior vents and windows. Through Tuesday evening the fire was reduced and the order for a fire extinguisher robot from Oslo Fire and Rescue was canceled.

The airport closure also led to Norwegian Prime Minister Erna Solberg being stranded after a visit to the Johan Sverdrup oil field. Solberg posted on Twitter asking for places to eat for the seven hour drive from Stavanger to the capital of Oslo.

Reports as of Wednesday said an estimated two to three hundred vehicles had been damaged or destroyed, but no humans had been hurt.

By about 22:00 local time (2100 UTC) on Tuesday the flames were under control. Local firefighters planned to continue to monitor the situation and work to prevent further damage. It was also discovered the structure was built without sprinklers. Stavanger Airport, Sola was to open on Wednesday morning, but returning to normal service was expected to take longer. Affected travelers were advised to contact their airlines for rebooking.

Wednesday, August 13, 2008

File:BeijingOlimpicGames2008-08-08.jpg

Officials representing the Beijing Olympic Games in China have confirmed that the organizations in charge of the Opening Ceremony for the 2008 Summer Olympics may have faked at least two parts of the production. The ceremony lasted a total of four and a half hours.

It has been revealed that nine-year-old Lin Miaoke, who performed “Ode to the Motherland” during the ceremony, was only a visual effect. A recording of another girl’s voice played throughout the stadium and on the television and radio broadcasts. It is also now known that that some of the fireworks shown on television were computer-generated imagery.

The New York Times reports Lin’s voice was not perfect, and a member of the Chinese Politburo demanded that a more suitable voice was used. Organizers found that voice in seven-year-old Yang Peiyi. Another girl was used in rehearsals, but she was deemed to be too old.

“The reason was for the national interest,” Chen Qigang, the opening ceremonies general music designer, said Sunday during a radio interview. “The child on camera should be flawless in image, internal feeling and expression.”

Filmmaker Zhang Yimou, the production’s director, praised Lin at a press conference with Chinese media.

“She’s very cute and sings quite well, too,” he said according to a transcript of the news conference. “I was moved every time we did a rehearsal on this, from the bottom of my heart.”

The initial performer was a ten-year-old girl who was not named in the report and “whose voice was really good,” but Zhang decided that she was too old. About ten girls were auditioned for the role at Central People’s Radio Station in Beijing.

“After the recording, we thought that Lin Miaoke’s voice was not very suitable,” Chen Qigang said during his radio interview with Beijing Music Radio. “Finally, we made the decision that the voice we would use was Yang Peiyi’s.”

During the 2006 Winter Olympics in Torino, Italy, tenor Luciano Pavarotti mimed to a recorded version of the song he was singing. The recording was of him, but the singer, then 70 years old, had problems with a cold and opted to lip sync.

Monday, May 21, 2012

Bruce, Canberra — This past week, an overstocked Australian Opals, the women’s national basketball team, prepared for the 2012 Olympic Games in London with a weeklong training camp at the Australian Institute of Sport (AIS) to be used to help narrow the nineteen member Opals squad down to the twelve that go to the Games, and provide players who rarely play together an extended period of time to play together in order to improve on court dynamics.

Camp started on Sunday, with players arriving from hometowns around Australia including Cairns, MacKay, Gladstone, Brisbane, Adelaide, and Melbourne.

The defending champions, the United States women’s national basketball team, are perceived as the Australian Opals’ main competitors. In the last three Olympic Games the Opals got silver medals. In each of these cases the United States got first place. Coach Carrie Graf said “thinking about the US too soon in inappropriate”, “Our focus is first and foremost, game by game winning our pool”. Amongst the Australian Opals’ competitors in the pool are Brazil, Russia, and Great Britain. Carrie Graf said Great Britain “will put up a fight on home turf” but there is a “world class [AIS] facility” and “world class medical support staff” supporting the team.

Australian Opal player Penny Taylor recently suffered injury from a torn anterior cruciate ligament, meaning she cannot play Olympics this year. In regards to the situation player Lauren Jackson, who is going into her fourth Olympics, said “you would never wish that upon anybody.” She says as a team they have to “move on, move through that” and “come together” to pick up their offence and defense. Despite the loss of one of their key players she says “we definitely have the talent there” and the team is all “on the same page.” She feels “pretty confident” and speaks of “very exciting” times ahead. Jenna O’Hea is going into her first Olympics with the team. She is still “pinching” herself and says she is taking it “day by day”.

A typical day at the camp might start with a 7.00am – 8.30am breakfast at the AIS Dining hall, before one and a half or two hours of court, gym, or swimming training. The middle of each day might consist of media meetings, medical checks, team meetings, and time to practise shooting. Around 12.00pm, the players meet to eat lunch and recover from the morning. The afternoon typically consists of more training, and some scrimmage games. Players usually finish around 7.00pm for dinner, and perhaps a massage.

The nineteen players in attendance this week at training camp were Suzy Batkovic, Abby Bishop, Elizabeth Cambage, Rohanee Cox, Cayla Francis, Kristi Harrower, Laura Hodges, Natalie Hurst, Lauren Jackson, Rachel Jarry, Kathleen MacLeod, Jenna O’Hea, Samantha Richards, Jennifer Screen, Belinda Snell, Marianna Tolo, Kristen Veal, Carly Wilson, and Hanna Zavecz. Basketball Australia has named fifteen players that are to attend the second phase of the camp: Suzy Batkovic, Abby Bishop, Elizabeth Cambage, Kristi Harrower, Laura Hodges, Lauren Jackson, Rachel Jarry, Kathleen MacLeod, Jenna O’Hea, Erin Phillips, Samantha Richards, Jennifer Screen, Belinda Snell, Marianna Tolo, and Hanna Zavecz.

Saturday, October 22, 2016

The California Department of Justice on Wednesday released the warrant and affidavit of a criminal investigation of the Wells Fargo bank. The State of California served the warrant on October 5 to search the San Francisco headquarters of Wells Fargo for felonious activities related to identity theft.

The warrant said property to be seized at the bank’s San Francisco headquarters was related to the unauthorized creation of accounts by Wells Fargo employees including the names of individuals for the accounts; account information and fees; the names of employees and their managers who created accounts without the consent of the Wells Fargo customers in question; and all communications including emails referencing the unauthorised accounts.

California Attorney General Kamala Harris’s criminal probe is part of an increasing list of officials nationwide questioning the business practices of Wells Fargo such as California State Treasurer John Chiang who announced a one-year suspension of State investment with the bank on September 28; Illinois State Treasurer Mike Frerichs followed suit with a year-long ban on October 3; and Democratic United States Senators Bob Menendez of New Jersey, Jeff Merkley of Oregon, and Elizabeth Warren of Massachusetts, who wrote to the U.S. Security Exchanges Commission (SEC) suggesting investigation on September 29.