Preliminary hearing for lawsuit against Buffalo, N.Y. hotel proposal rescheduled

Wednesday, July 26, 2006

Buffalo, New York – The preliminary hearing for a lawsuit against the Elmwood Village Hotel proposal has been pushed back to August 10, 2006.

The hotel would require the demolition of at least five properties owned by Hans Mobius, 1109-1121 Elmwood and would cause the closure of several businesses. Already, two businesses, Skunk Tail Glass and Six Nations Native American Gift Shop have relocated, outside the Elmwood Strip. Don apparel, H.O.D. Tattoo and Mondo Video still remain on Elmwood; however, Mondo Video is planning on moving to a new location. The hotel will be 72 rooms and will cost at least 7 million dollars to build. Savarino Construction Services Corporation would be in charge of building the hotel and Wyndham Hotels would operate it.

Attorney Arthur Giacalone says that the court date was pushed back because “the court apparently felt it did not make sense to proceed with oral argument on 7/27 if Savarino is going to re-start the process.” Giacalone also stated that the decision to adjourn until August 10 “was not my idea.” On July 13, 2006 Savarino announced that they were withdrawing the proposal to “resubmit” it to “shed the lawsuits” against the proposal.

Savarino was allegedly supposed to resubmit the proposal by the end of last week but so far has not done so. The final meeting of Buffalo’s Common Council for the summer occurred today. The Council will not meet again until September.

“If they [Savarino] took no action today, re the hotel, [that is, accepting the new application, or rescinding the prior rezoning resolution], nothing official will happen for the next 6 weeks or so,” added Giacalone also saying that if this is the case, “the court may not be willing to hear oral argument on 8/10 since we will still be up in the air about what’s going on.” Giacalone also states that he is unsure about “what they [the Common Council] did today.”

Despite the call for a “do-over” of the proposals process, Giacalone still states that his client’s position of the “pending lawsuit will not be ‘moot’ or ‘academic’ unless and until the Common Council rescinds its prior vote(s) that approved the rezoning” for the buildings on Elmwood and one property on Forest Avenues.

Sam Savarino, CEO of Savarino Construction has been contacted, but has not replied to any e-mails. Area councilman Joseph Golombeck has also been e-mailed, but also has not replied.

Monday, October 11, 2010

Wikinews interviewed author Amy Scobee about her book Scientology – Abuse at the Top, and asked her about her experiences working as an executive within the organization. Scobee joined the organization at age 14, and worked at Scientology’s international management headquarters for several years before leaving in 2005. She served as a Scientology executive in multiple high-ranking positions, working out of the international headquarters of Scientology known as “Gold Base”, located in Gilman Hot Springs near Hemet, California.

Tuesday, January 17, 2006

According to Norwegian and British newspaper sources, Jon Sudbø, a cancer researcher at the Norwegian Radium Hospital, fabricated at least 900 patient records in his research on NSAID drugs published in October of 2005 (PMID 16226613). According to the now-discredited research, the class of drugs, commonly used for pain management, was found to decrease the risk of oral cancer but increase the risk of heart disease.

This field of research is important for the future use of Cox-2 drugs and was received with great interest by the United States Food and Drug Administration and other organizations involved in drug safety and efficacy.

Several other scientists put their name to the article in the Lancet but claim they were misled by Sudbø. The Lancet is publishing a retraction in its upcoming edition. Probes are underway both to investigate how this article passed peer review, and whether previous research by Sudbø was fraudulent.

Saturday, September 1, 2012

London, England — Yesterday Wikinews had the opportunity to tour the Ottobrock wheelchair repair workshops at the Paralympic Village in London.

It is one of a network of workshops at every Paralympic venue. They are run by Ottobrock, which has been repairing wheelchairs at the Paralympics since 1988. The workshop opened on August 22 and will remain until September 10.

The Ottobrock employees include people from 20 countries. Between them, they speak 23 languages. They liken themselves to the pit crew of motor sport — except that they have no idea what sort of equipment they will have to work with. The store room contains 15,000 spare parts, with everything from spare carbon fibre running blades to spare tyres — over 2,000 of them. They stock Ottobrock parts and their competitors’ too, as they have no idea what will arrive at the workshop next. Athletes from around the world bring in all manner of equipment.

The prosthetic technicians have to deal with everything from flat tyres to broken spokes to full-scale rebuilds. They have to be expert problem solvers. They frequently collaborate on determining how best to effect a repair. The objective is to get the wheelchair repaired and back in service as soon as possible.

Wheelchairs vary somewhat in design, depending on the sport. Those for wheelchair basketball and rugby have cambered wheels so they can spin around. Aluminum and titanium parts are used for strength. Ottobrock has a welding workshop where frames are repaired; the teams’ equipment managers understandably cannot bring such heavy equipment with them to the games, so they rely on the workshops. When a repair job is required, it is often required in a hurry. At the Turkey vs United States game, a chair was repaired during the match.

In addition to wheelchairs, the workshops handle all manner of work with prostheses. Carbon fibre running blades are adjusted. Broken feet and legs are a challenge. The Chinese Boccia team brought in its power chairs to have the electronics adjusted. In that sport, having the controls working perfectly is all-important.

There are 4,200 athletes at the Paralympic games. So far, the workshops have carried out 1,100 repairs.

Thursday, August 30, 2012

London, England — At the International Paralympic Committee (IPC) press conference Monday, Sir Philip Craven indicated the goal of the IPC is to grow disability sport globally. At the same time, according to Paul Bird of the Oceania Paralympic Committee, the Micronesian of Oceania has been left completely behind by the Paralympic movement.

According to a member of the Oceania Paralympic Committee, the IPC recognizes fewer countries than the International Olympic Committee, with IPC rules prohibiting countries from becoming full members of the organization if their independence is not clear. This rule dates back to the organization’s founding and no serious attempts have been made to change it since.

As many Micronesian countries are not viewed as independent countries, they cannot join. This includes Guam, the Federated States of Micronesia, the Marshall Islands, Palau, and the Commonwealth of the Northern Mariana Islands. The only eligibility route for elite athletes with disabilities in these countries to the Paralympic Games is through their home country, which for most of the Micronesian region is the United States; they have to compete against better-funded and better-supported competitors to earn national team selection. No disability sport competitors from Micronesia were chosen to represent the United States at the 2012 Summer Paralympics.

This problem is not unique to Micronesia, with the United States territories of Puerto Rico and United States Virgin Islands not being represented as members of the United States team in 2012.

Saturday, January 19, 2013

Zaragoza, Spain — On Thursday, Wikinews traveled to Zaragoza, Spain to interview the nation’s most decorated Paralympian and IPC Athlete Council representative Teresa Perales. A wide range of topics about the Paralympics and sport in Spain were discussed including the evolution of Paralympic sport, disability sport classification, funding support across all levels of elite sport including the Paralympics and Olympics, the role of sportspeople in politics, sponsorship issues, and issues of gender in Spanish sport.

Wednesday, August 27, 2008

Police in Denver, Colorado located in the United States say that three men who were arrested on August 25 for possessing drugs and weapons were not involved in a plot to assassinate US presidential candidate Barack Obama at the Democratic National Convention that night.

“[There was] insufficient evidence of any kind of plot or threat [against Obama]”, stated Troy Eid, Colorado’s district attorney who also said the men were making “racist rants” while high on methamphetamines.

“The alleged threats, hateful and bigoted though they were, involved a group of… methamphetamine abusers, all of whom were impaired at the time. The evidence involving the alleged threats does not warrant federal charges now,” said Eid. Authorities in Colorado will continue to investigate the individuals. “The law recognizes a difference between a true threat – one that can be carried out – and the reported racist rantings of a drug addict,” added Eid.

The alleged threat began when an unnamed female who was with the men stated to authorities that they were shouting racists words and remarks about Obama. At least two of the men are claimed to have ties to white supremacists.

The three men are identified as Tharin Gartrell, 28, Nathan Johnson, 32, and Shawn Robert Adolf, 33. Gartrell was the first suspect arrested. Police found him driving a rental truck while weaving around the road on August 25 and with him rifles,ammunition, drugs, disguises, 2-way radios, a bullet proof vest and identification badges for three unnamed people. Johnson was arrested a short time later and Adolf was arrested trying to escape from police by jumping out of a hotel window on the sixth floor. He broke his ankle and was taken to a local hospital for treatment.

Gartrell is facing charges of possessing drugs. Adolf and Johnson are charged with illegally possessing firearms and possessing methamphetamines. Johnson was also additionally charged with possessing body armor illegally.

Thursday, December 1, 2011

Today saw Edinburgh’s Scottish National Portrait Gallery reopen following a two-and-a-half-year, £17.6m (US$27.4m) refurbishment. Conversion of office and storage areas sees 60% more space available for displays, and the world’s first purpose-built portrait space is redefining what a portrait gallery should contain; amongst the displays are photographs of the Scottish landscape—portraits of the country itself.

First opened in 1889, Sir Robert Rowand Anderson’s red sandstone building was gifted to the nation by John Ritchie Findlay, then-owner of The Scotsman newspaper and, a well-known philanthropist. The original cost of construction between 1885 and 1890 is estimated at over 70,000 pounds sterling. Up until 1954, the building also housed the Society of Antiquaries of Scotland who moved to the National Museum of Scotland buildings on Chambers Street. The society’s original meeting table now sits in the public part of the portrait gallery’s library, stared down on by an array of busts and phrenological artefacts.

Wikinewsie Brian McNeil, with other members of the press, received a guided tour of the gallery last Monday from Deputy Director Nicola Kalinsky. What Kalinsky described as an introduction to the gallery that previously took around 40 minutes, now takes in excess of an hour-and-a-half; with little in the way of questions asked, a more inquisitive tour group could readily take well over two hours to be guided round the seventeen exhibitions currently housed in the gallery.

A substantial amount of the 60% additional exhibition space is readily apparent on the ground floor. On your left as you enter the gallery is the newly-fitted giant glass elevator, and the “Hot Scots” photographic portrait gallery. This exhibit is intended to show well-known Scottish faces, and will change over time as people fall out of favour, and others take their place. A substantial number of the people now being highlighted are current, and recent, cast members from the BBC’s Doctor Who series.

The new elevator (left) is the most visible change to improve disabled access to the gallery. Prior to the renovation work, access was only ‘on request’ through staff using a wooden ramp to allow wheelchair access. The entire Queen Street front of the building is reworked with sloping access in addition to the original steps. Whilst a lift was previously available within the gallery, it was only large enough for two people; when used for a wheelchair, it was so cramped that any disabled person’s helper had to go up or down separately from them.

The gallery expects that the renovation work will see visitor numbers double from before the 2009 closure to around 300,000 each year. As with many of Edinburgh’s museums and galleries, access is free to the public.

The expected significant increase in numbers has seen them working closely with the National Museum of Scotland, which was itself reopened earlier this year after extensive refurbishment work; improved access for wheelchair users also makes it far easier for mothers with baby buggies to access the gallery – prompting more thought on issues as seemingly small as nappy-changing – as Patricia Convery, the gallery’s Head of Press, told Wikinews, a great deal of thought went into the practicalities of increased visitor numbers, and what is needed to ensure as many visitors as possible have a good experience at the gallery.

Press access to the gallery on Monday was from around 11:30am, with refreshments and an opportunity to catch some of the staff in the Grand Hall before a brief welcoming introduction to the refurbished gallery given by John Leighton, director of the National Galleries of Scotland. Centre-stage in the Grand Hall is a statue of Robert Burns built with funds raised from around the British Empire and intended for his memorial situated on Edinburgh’s Calton Hill.

The ambulatories surrounding the Grand Hall give the space a cathedral-like feel, with numerous busts – predominantly of Scottish figures – looking in on the tiled floor. The east corner holds a plaque commemorating the gallery’s reopening, next to a far more ornate memorial to John Ritchie Findlay, who not only funded and commissioned the building’s construction, but masterminded all aspects of the then-new home for the national collection.

Split into two groups, members of the press toured with gallery Director James Holloway, and Nicola Kalinsky, Deputy Director. Wikinews’ McNeil joined Kalinsky’s group, first visiting The Contemporary Scotland Gallery. This ground-floor gallery currently houses two exhibits, first being the Hot Scots display of photographic portraits of well-known Scottish figures from film, television, and music. Centre-stage in this exhibit is the newly-acquired Albert Watson portrait of Sir Sean Connery. James McAvoy, Armando Iannucci, playwright John Byrne, and Dr Who actress Karen Gillan also feature in the 18-photograph display.

The second exhibit in the Contemporary gallery, flanked by the new educational facilities, is the Missing exhibit. This is a video installation by Graham Fagen, and deals with the issue of missing persons. The installation was first shown during the National Theatre of Scotland’s staging of Andrew O’Hagan’s play, The Missing. Amongst the images displayed in Fagen’s video exhibit are clips from the deprived Sighthill and Wester-Hailes areas of Edinburgh, including footage of empty play-areas and footbridges across larger roads that sub-divide the areas.

With the only other facilities on the ground floor being the education suite, reception/information desk, cafe and the gallery’s shop, Wikinews’ McNeil proceeded with the rest of Kalinsky’s tour group to the top floor of the gallery, all easily fitting into the large glass hydraulic elevator.

The top (2nd) floor of the building is now divided into ten galleries, with the larger spaces having had lowered, false ceilings removed, and adjustable ceiling blinds installed to allow a degree of control over the amount of natural light let in. The architects and building contractors responsible for the renovation work were required, for one side of the building, to recreate previously-removed skylights by duplicating those they refurbished on the other. Kalinsky, at one point, highlighted a constructed-from-scratch new sandstone door frame; indistinguishable from the building’s original fittings, she remarked that the building workers had taken “a real interest” in the vision for the gallery.

The tour group were first shown the Citizens of the World gallery, currently hosting an 18th century Enlightenment-themed display which focuses on the works of David Hume and Allan Ramsay. Alongside the most significant 18th century items from the National Portrait Gallery’s collection, are some of the 133 new loans for the opening displays. For previous visitors to the gallery, one other notable change is underfoot; previously carpeted, the original parquet floors of the museum have been polished and varnished, and there is little to indicate it is over 120 years since the flooring was originally laid.

Throughout many of the upper-floor displays, the gallery has placed more light-sensitive works in wall-mounted cabinets and pull-out drawers. Akin to rummaging through the drawers and cupboards of a strange house, a wealth of items – many previously never displayed – are now accessible by the public. Commenting on the larger, featured oils, Deputy Director Kalinsky stressed that centuries-old portraits displayed in the naturally-lit upper exhibitions had not been restored for the opening; focus groups touring the gallery during the renovation had queried this, and the visibly bright colours are actually the consequence of displaying the works in natural light, not costly and risky restoration of the paintings.

There are four other large galleries on the top floor. Reformation to Revolution is an exhibition covering the transition from an absolute Catholic monarchy through to the 1688 revolution. Items on-display include some of the Scottish National Portrait Gallery’s most famous items – including Mary Queen of Scots and The Execution of Charles I. The portrait-based depiction of this historical age is complemented with prints, medals, and miniatures from the period.

Imagining Power is a Jacobite-themed exhibition, one which looks at the sometime-romanticised Stuart dynasty. The Gallery owns the most extensive collection of such material in the world; the portraiture that includes Flora MacDonald and Prince Charles Edward Stuart is complemented by glassware from the period which is on-loan from the Drambuie Liqueur Company which Kalinsky remarked upon as the only way Scots from the period could celebrate the deposed monarchy – toasting The King over the Water in appropriately engraved glasses.

On the other side of the upper floor, the two main naturally-lit exhibitions are The Age of Improvement, and Playing for Scotland. The first of these looks at societal changes through the 18th and 19th centuries, including Nasmyth’s 1787 portrait of the young Robert Burns and – well-known to past visitors to the portrait gallery – Raeburn’s 1822 depiction of Sir Walter Scott. These are complemented with some of the National Gallery’s collection of landscapes and earliest scenes from Scottish industry.

Playing for Scotland takes a look at the development of modern sports in the 19th century; migration from countryside to cities dramatically increased participation in sporting activities, and standardised rules were laid down for many modern sports. This exhibition covers Scotland’s four national sports – curling, shinty, golf, and bowls – and includes some interesting photographic images, such as those of early strong-men, which show how more leisure time increased people’s involvement in sporting activities.

Next to the Reformation to Revolution gallery is A Survey of Scotland. Largely composed of works on-loan from the National Library of Scotland, this showcase of John Slezer’s work which led to the 1693 publication of Theatrum Scotiae also includes some of the important early landscape paintings in the national collection.

The work of Scotland’s first portrait painter, the Aberdeen-born George Jamesone, takes up the other of the smaller exhibits on the east side of the refurbished building. As the first-ever dedicated display of Jamesone’s work, his imaginary heroic portraits of Robert the Bruce and Sir William Wallace are included.

On the west side of the building, the two smaller galleries currently house the Close Encounters and Out of the Shadow exhibits. Close Encounters is an extensive collection of the Glasgow slums photographic work of Thomas Annan. Few people are visible in the black and white images of the slums, making what were squalid conditions appear more romantic than the actual conditions of living in them.

The Out of the Shadow exhibit takes a look at the role of women in 19th century Scotland, showing them moving forward and becoming more recognisable individuals. The exceptions to the rules of the time, known for their work as writers and artists, as-opposed to the perceived role of primary duties as wives and mothers, are showcased. Previously constrained to the domestic sphere and only featuring in portraits alongside men, those on-display are some of the people who laid the groundwork for the Suffrage movement.

The first floor of the newly-reopened building has four exhibits on one side, with the library and photographic gallery on the other. The wood-lined library was moved, in its entirety, from elsewhere in the building and is divided into two parts. In the main public part, the original table from the Society of Antiquaries sits centred and surrounded by glass-fronted cabinets of reference books. Visible, but closed to public access, is the research area. Apart from a slight smell of wood glue, there was little to indicate to the tour group that the entire room had been moved from elsewhere in the building.

The War at Sea exhibit, a collaboration with the Imperial War Museum, showcases the work of official war artist John Lavery. His paintings are on-display, complemented by photographs of the women who worked in British factories throughout the First World War. Just visible from the windows of this gallery is the Firth of Forth where much of the naval action in the war took place. Situated in the corner of the room is a remote-controlled ‘periscope’ which allows visitors a clearer view of the Forth as-seen from the roof of the building.

Sir Patrick Geddes, best-known for his work on urban planning, is cited as one of the key influencers of the Scottish Renaissance Movement which serves as a starting point for The Modern Scot exhibit. A new look at the visual aspects of the movement, and a renewal of Scottish Nationalist culture that began between the two World Wars, continuing into the late 20th century, sees works by William McCance, William Johnstone, and notable modernists on display.

Migration Stories is a mainly photographic exhibit, prominently featuring family portraits from the country’s 30,000-strong Pakistani community, and exploring migration into and out of Scotland. The gallery’s intent is to change the exhibit over time, taking a look at a range of aspects of Scottish identity and the influence on that from migration. In addition to the striking portraits of notable Scots-Pakistani family groups, Fragments of Love – by Pakistani-born filmmaker Sana Bilgrami – and Isabella T. McNair’s visual narration of a Scottish teacher in Lahore are currently on-display.

The adjacent Pioneers of Science exhibit has Ken Currie’s 2002 Three Oncologists as its most dramatic item. Focussing on Scotland’s reputation as a centre of scientific innovation, the model for James Clerk Maxwell’s statue in the city’s George Street sits alongside photographs from the Roslin Institute and a death mask of Dolly the sheep. Deputy Director Kalinsky, commented that Dolly had been an incredibly spoilt animal, often given sweets, and this was evident from her teeth when the death mask was taken.

Now open daily from 10am to 5pm, and with more of their collection visible than ever before, the Scottish National Portrait Gallery will change some of the smaller current exhibits after 12 to 18 months on display. The ground-floor information desk has available five mini-guides, or ‘trails’, which are thematic guides to specific display items. These are: The Secret Nature trail, The Catwalk Collection trail, The Situations Vacant trail, The Best Wee Nation & The World trail, and The Fur Coat an’ Nae Knickers Trail.