anahataenergy.com

Monday, October 25, 2010

	We already boarded up everything, and we already got everything, office equipment and everything, stored in a safe place. We got all the tourists out, and get the whole place secured down.

Hurricane Richard made landfall in Belize about 20 mi (35 km) south-southeast of Belize City with winds of 90 mph (150 kph) at approximately 6:45 local time (0045 UTC) according to the National Hurricane Center (NHC). Richard is currently lashing the country with strong winds and heavy rain, which, officials have said, could cause life threatening floods and landslides.

Officials have revealed that 10,000 people are currently sheltering in schools and churches, while some have moved to Belmopan, as the country is battered by strong winds and heavy rains. Although tourists have been evacuated from vulnerable areas, some residents have decided to ride out the storm in their homes.

The area which Richard made landfall in is populated with neighborhoods made of wooden houses with zinc roofs. According to a clerk at a bed and breakfast, Fanny Llanos, “the winds are very strong [and are] getting stronger.” She also said that palm trees were struggling in the winds and there were loud sounds all around.

It has also been reported that 3 foot (1 meter) waves were beginning to hit the docks. Local emergency officials have advised store owners not to increase prices as people tried to stock up for the impending arrival of the hurricane.

Landslides have blocked one of the countries highways in the Colon province, blocking access to 40 towns leaving 15,000 people trapped. Teams are trying to clear the highway. Residents have advised that they have taken adequate preparations for the storm with one man saying that “he expected only some beach erosion and minor damage to homes.”

Full Wikinews coverage of the 2010 hurricane season

Sunday, November 11, 2007

Boston-based singer-songwriter Antje Duvekot has made a name for herself in the folk music world with powerful ballads of heartbreak and longing for a deeper spirituality, but coming up empty-handed. Below is David Shankbone’s interview with the folk chanteuse.

---

David Shankbone: Tell me about your new album.

Antje Duvekot: It’s called Big Dream Boulevard and it’s the first studio album I made. It’s not so new; I made it in May of 2006. It’s produced by Séamus Egan, who is the leader of a fairly renowned band named Solas.

DS: You mentioned you used to explore more dark themes in your work, but that lately you are exploring lighter fare. What themes are you exploring on this album?

AD: In the future I am hoping for more light themes. I feel like I have worked through a lot of the darkness, and personally I feel like I’m ready to write a batch of lighter songs, but that’s just how I’m feeling right now. My last record, Big Dream Boulevard, was a pretty heavy record and that was not intentional. I write what is on my mind.

DS: What were you going through that made it so dark?

AD: The record is drawn from my whole writing career, so it’s old and new songs as well. I wasn’t going through anything in particular because it was spanning a wide time period. I think it’s fair to say that over all I turn to music in times of trouble and need as a therapeutic tool to get me through sadness. That’s why I tend to turn to music. So my songs tend to be a little darker, because that’s where I tend to go for solace. So themes like personal struggle with relationships and existential issues.

DS: What personal relationships do you struggle with?

AD: A lot of my songs are about dating and relationship troubles. That’s one category. But a lot of my songs are about existential questions because I struggle with what to believe in.

DS: Do you believe in a higher power?

AD: I’m sort of an atheist who wishes I could believe something.

DS: What do you believe?

AD: It’s undefined. I think I’m spiritual in music, which is my outlet, but I just can’t get on board with an organized religion. Not even Unitarianism. I do miss something like that in my life, though.

DS: Why do you miss having religion in your life?

AD: I think every human being craves a feeling that there is a higher purpose. It’s a need for me. A lot of my songs express that struggle.

DS: Does the idea that our lives on Earth may be all that there is unsettle you?

AD: Yes, sure. I think there’s more. I’m always seeking things of beauty, and my art reflects the search for that.

DS: You had said in an interview that your family wasn’t particularly supportive of your career path, but you are also saying they were atheists who weren’t curious about the things you are curious about. It sounds like you were a hothouse flower.

AD: Yes. I think what went with my parents’ atheism was a distrust of the arts as frivolous and extraneous. They were very pragmatic.

DS: They almost sound Soviet Communist.

AD: Yeah, a little bit [Laughs]. They had an austere way of living, and my wanting to pursue music as a career was the last straw.

DS: What’s your relationship with them now?

AD: I don’t actually speak to my mother and stepfather.

DS: Why?

AD: A lot of reasons, but when I was about 21 I was fairly certain I wanted to go the music path and they said, “Fine, then go!”

DS: That’s the reason you don’t speak with them?

AD: That’s the main. “Go ahead, do what you want, and have a nice life.” So the music thing cost the relationship with my parents, although I think there may have been some other things that have done it.

DS: That must be a difficult thing to contend with, that a career would be the basis for a relationship.

AD:Yes, it’s strange, but my love of music is perhaps stronger for it because of the sacrifices I have made for it early on. I had to fight.

DS: Would you say in your previous work some of your conflict of dating would have been birthed from how your relationship with your family? How do you see the arc of your work?

AD: My songs are sort of therapy for me, so you can trace my personal progress through them [Laughs]. I think there is some improvement. I wrote my first love song the other day, so I think I’m getting the hang of what relationships are all about. I’m ever grateful for music for being there for me when things weren’t going so well.

DS: Has the Iraq War affected you as an artist?

AD: Not directly, but I do have a few songs that are political. One about George Bush and the hypocrisy, but it’s very indirect; you wouldn’t know it was about George Bush.

DS: How has it affected you personally?

AD: I feel sad about it. People say my music is sad, but it’s a therapeutic thing so the war affects me.

DS: The struggle to be original in art is innate. When you are coming up with an idea for a song and then you all of a sudden stumble across it having been done somewhere else, how do you not allow that to squelch your creative impulse and drive to continue on.

AD: That’s a good question. I started writing in a vacuum just for myself and I didn’t have a lot of feedback, and I thought that what I’m saying has been said so many times before. Then my songs got out there and people told me, ‘You say it so originally’ and I thought ‘Really?!’ The way I say it, to me, sounds completely trite because it’s the way I would say it and it doesn’t sound special at all. Once my record came out I got some amount of positive reviews that made me think I have something original, which in turn made me have writer’s block to keep that thing that I didn’t even know I had. So now I’m struggling with that, trying to maintain my voice. Right now I feel a little dried-out creatively.

DS: When I interviewed Augusten Burroughs he told me that when he was in advertising he completely shut himself off from the yearly ad books that would come out of the best ads that year, because he wanted to be fresh and not poisoned by other ideas; whereas a band called The Raveonettes said they don’t try to be original they just do what they like and are upfront about their influences. Where do you fall in that spectrum?

AD: Probably more towards Augusten Burroughs because when I first started writing it was more in a vacuum, but I think everyone has their own way. You can’t not be influenced by your experience in life.

DS: Who would you say are some of your biggest influences in the last year. Who have you discovered that has influenced you the most?

AD: Influence is kind of a strong word because I don’t think I’m taking after these people. I’ve been moved by this girl named Anais Mitchell. She’s a singer-songwriter from Vermont who is really unique. She’s just got signed to Righteous Babe Records. Patty Griffin just moves me deeply.

DS: You moved out of New York because you had some difficulty with the music scene here?

AD: I feel it is a little tougher to make it here than in Boston if you are truly acoustic folk lyric driven. I find that audiences in New York like a certain amount of bling and glamor to their performances. A little more edge, a little cooler. I felt for me Boston was the most conducive environment.

DS: Do you feel home up in Boston?

AD:I do, and part of that is the great folk community.

DS: Why do you think Boston has such a well-developed folk scene?

AD: It’s always historically been a folk hub. There’s a lot of awesome folk stations like WUMB and WERS. Legendary folk clubs, like Club Passim. Those have stayed in tact since the sixties.

DS: Is there anything culturally about Boston that makes it more conducive to folk?

AD: Once you have a buzz, the buzz creates more buzz. Some people hear there’s a folk scene in Boston, and then other people move there, so the scene feeds itself and becomes a successful scene. It’s on-going.

DS: Do you have a favorite curse word?

AD: [Giggles] Cunt. [Giggles]

DS: Really?! You are the first woman I have met who likes that word!

AD: Oh, really? I’ll use it in a traffic situation. Road rage. [Laughs]

DS: Do you find yourself more inspired by man-made creations, including people and ideas, or nature-made creations?

AD: I love nature, but it is limited. It is what it is, and doesn’t include the human imagination that can go so much further than nature.

DS: What are some man made things that inspire you?

AD: New York City as a whole is just an amazing city. People are so creative and it is the hub of personal creativity, just in the way people express themselves on a daily basis.

DS: Do you think you will return?

In theory I will return one day if I have money, but in theory you need money to enjoy yourself.

DS: What trait do you deplore in yourself?

AD: Like anyone, I think laziness. I’m a bit a hard on myself, but there’s always more I can do. As a touring singer-songwriter I work hard, but sometimes I forget because I get to sleep in and my job is not conventional, and sometimes I think ‘Oh, I don’t even have a job, how lazy I am!’ [Laughs] Then, of course, there are times I’m touring my ass off and I work hard as well. It comes in shifts. There are times there is so much free time I have to structure my own days, and that’s a challenge.

DS: When is the last time you achieved a goal and were disappointed by it and thought, “Is that all there is?” Something you wanted to obtain, you obtained it, and it wasn’t nearly as fulfilling as you thought it would be.

AD: I was just thinking about the whole dream of becoming a musician. I want to maybe do a research project about people’s dreams and how they feel about them after they come true. It’s really interesting. They change a lot. When I was 17 I saw Ani Difranco on stage and I wanted to do that, and now I’m doing it. Now I think about Ani very differently. I wonder how long it took her to drive here, she must be tired; I’m thinking of all the pragmatic things that go on behind the scenes. The backside of a dream you never consider when you’re dreaming it. To some extent, having my dream fulfilled hasn’t been a let-down, but it’s changed. It’s more realistic.

DS: What is a new goal?

AD: Balance. Trying to grow my career enough to make sure it doesn’t consume me. It’s hard to balance a touring career because there is no structure to your life. I’m trying to take this dream and make it work as a job.

DS: How challenging is it to obtain that in the folk world?

AD: There’s not a lot of money in the folk world. In generally right now I think people’s numbers are down and only a few people can make a living at it. It’s pretty competitive. I’m doing okay, but there’s no huge riches in it so I’m trying to think of my future and maintain a balance in it.

DS: Do you think of doing something less folk-oriented to give your career a push?

Not really, I’ve done that a little bit by trying to approach the major labels, but that was when the major labels were dying so I came in at a bad time for that. I found that when it comes to do it yourself, the folk world is the best place to make money because as soon as you go major you are paying a band.

DS: More money more problems.

AD: More money, more investing. It’s a hard question.

DS: What things did you encounter doing a studio album that you had not foreseen?

AD: Giving up control is hard when you have a producer. His vision, sometimes, is something you can’t understand and have to trust sometimes. See how it comes out. That was hard for me, because up until now I have been such a do it yourself, writing my own songs, recording them myself.

DS: What is your most treasured possession?

AD: I’d like to say my guitar, but I’m still looking for a good one. I have this little latex glove. [Laughs] It’s a long story—

DS: Please! Do tell!

AD: When I was in college I had a romantic friend named David, he was kind of my first love. We were young and found this latex glove in a parking lot. We though, “Oh, this is a nice glove, we’ll name him Duncan.”

DS: You found a latex glove in a parking lot and you decided to take it?

AD: Yeah [Laughs]. He became the symbol of our friendship. He’s disgusting at this point, he’s falling apart. But David and I are still friends and we’ll pass him back and forth to each other every three years or so when we’ve forgotten his existence. David surprised me at a show in Philly. He gave Duncan to the sound man who brought it back stage, and now I have Duncan. So he’s kind of special to me.

DS: If you could choose how you die, how would you choose?

AD: Not freezing to death, and not in an airplane, because I’m afraid of flying. Painlessly, like most people. In my sleep when I’m so old and senile I don’t know what hit me. I’d like to get real old.

DS: Would you be an older woman with long hair or short hair?

AD: I guess short hair, because long hair looks a little witchy on old people.

DS: Who are you supporting for President?

AD: I’m torn between Obama and Hillary. Someone who is going to win, so I guess Hillary.

DS: You don’t think Obama would have a chance of winning?

AD: I don’t know. If he did, I would support Barack. I don’t really care; either of those would make me happy.

DS: What trait do you value most in your friends?

AD: Kindness.

DS: What trait do you deplore in other people?

AD: Arrogance. Showiness.

DS: Where else are you going on tour?

AD: Alaska in a few days. Fairbanks, Anchorage and all over the place. I’m a little nervous because I will be driving by myself and I have this vision that if I get hit by a moose then I could freeze to death.

DS: And you have to fly up there!

AD: Yeah, and I hate flying as well—so I’m really scared! [Laughs]

DS: Is there a big folk scene in Alaska?

AD: No, but I hear people are grateful if anyone makes it up there, especially in the winter. I think they are hungry for any kind of entertainment, no matter the quality. [Laughs] Someone came to us! I actually played there in June in this town called Seldovia, that has 300 people, and all 300 people came to my gig, so the next day I was so famous! Everyone knew me, the gas station attendant, everyone. It was surreal.

DS: So you had that sense of what Ani DiFranco must feel.

AD: Yeah! I was Paul McCartney. I thought this was what it must be like to be Bruce Springsteen, like I can’t even buy a stick of gum without being recognized.

DS: Did you like that?

AD: I think it would be awful to be that famous because you have moments when you just don’t feel like engaging.

Saturday, April 30, 2005

A chemical part of the saliva of a poisonous lizard, the Gila monster, has become an integral partner in the control of Type 2 diabetes. The U.S. Food and Drug Administration has approved its use for people who have not achieved adequate control of their diabetes with oral medications.

Byetta, or exenatide, is produced by Amylin Pharmaceuticals. It is injected before eating morning and evening meals as part of a combination treatment with oral drugs. The FDA said it could be approved as a stand-alone treatment if the drug companies can support such use with data.

Eli Lilly & Co. was the development partner in creation of the drug.

“With Byetta’s demonstrated effects on blood sugar and its safety profile, physicians and patients now have a new approach to fight the growing diabetes epidemic,” said Sidney Taurel, CEO of Lilly.

Friday, September 29, 2006

Diamond Brownridge, a 5-year old girl from Chicago, Illinois, has died after a visit to the dentist. Children’s Memorial Hospital officials say that the girl was rushed to the hospital when she never woke up after being sedated for a dental procedure. She had been in a coma, on life support, since being admitted to the hospital early in the weekend.

“She passed very peacefully and beautifully,” said the hospital in a statement that the family issued.

Ommettress Travis, the mother of the girl, was asked not to remain inside the room while dentists were operating on the girl to repair two cavities and to have at least two caps replaced. Travis says after thirty minutes she was asked to come back in and found Brownridge not breathing, in the dentist chair.

Hicham Riba, a specialist and professional in anesthesia, who was also licensed, was the dentist in charge of the procedure.

“My family and I are so sad. May God bless Diamond and her family. Every time you have a tragedy like this, you pray more. I don’t think I will ever go back to a normal life after an experience like this,” Riba said in a statement on Wednesday, September 28.

According to the family, the girl had been given at least a triple dose of medicine that sedated her. Those drugs include: nitrous oxide gas, a single dose of an “oral agent” and an IV.

A judge has ordered that all equipment and materials used during the operation be protected and examined. The girl’s medical records have also been ordered to be examined.

There is no word on whether or not any charges will be filed against Riba or any of the dentist’s staff.

Saturday, January 30, 2010

Honda have issued a recall for 646,000 cars around the world due to a potential fault that could cause a fire. The recall involves the ‘Jazz’ range of cars, which is known by its alternative name, Fit, in some countries.

	water intrusion into the power window switch housing may in some instances cause a short circuit

Three incidents involving the problem, caused by a defective master switch, have been reported worldwide, two in the US and one in South Africa. In September 2009, Vanilla Nurse, a two-year old girl, was sleeping in one of the models, when the hatchback in Cape Town caught fire. Following the accident, Honda “launched an extensive investigation to determine the cause of the incident,” according to a statement issued today. Although they could not isolate the cause of the fire, “the investigation has shown that water intrusion into the power window switch housing may in some instances cause a short circuit, which in exceptional circumstances may lead to potential damages”.

Just 10% of cars are expected to need new switches. The remainder will need a waterproof skirt in order to keep water out.

Rival Toyota was forced to recall vehicles on Thursday, citing floor mats that may stick accelerator pedals to the floor. There are fears that Toyota may have to widen their recall to cover up to eight million cars.

[edit]

Thursday, June 4, 2009

In a New York press conference at 16:15 UTC, June 1st, Fritz Henderson, the Chief Executive Officer of General Motors, which filed for bankruptcy and Chapter 11 protection from its creditors earlier today, outlined a plan for what he called a “New GM”.

Speaking to the press under safe harbor provisions of U.S. law, Henderson described the events of today as a “defining moment” in the history of General Motors. Speaking to the public he said that “The GM that let you down is history,” and described a “New GM” that he expected to result from the bankruptcy process.

Henderson stated that he envisioned the bankruptcy process would take between 60 and 90 days. He stressed several times his view that the process would be one that is executed quickly, saying that not just a sense of urgency but “pure unadulterated speed” was his expectation of the process. He emphasized that “GM remains open for business” during the bankruptcy period, continuing to sell and to support its products, and that day one motions had been filed in the bankruptcy court in order to allow this.

Regarding the bankruptcy process he said, “We will do it right. And we will do it once.”

He stated that the plan for General Motors had the support of the United Auto Workers union, the Canadian Auto Workers union, the GM VEBA, and a majority of the unsecured bondholders of GM. He also mentioned that GM had already received €1.5 million in bridge financing from the German government.

In response to questions about the possibility of the United States federal government, a majority shareholder in the restructured company, dictating future product development and strategy, such as the sale of more fuel-efficient and green vehicles; he first observed that the federal government had already stated to him that it had “no real interest in running our business” and that he expected that still to be his job. Of the specific hypothetical scenario where the management of GM wants to make one type of car, because it thinks that it is the right thing for the business, and the U.S. government wants to make another type of car, he stated that “I don’t think it’s going to happen.” Expanding on that point he stated that he expected the “New GM” to focus upon “highly fuel-efficient and green technology”, and that operating both in accordance with U.S. environmental laws and in response to customer demand would naturally result in the New GM producing the types of vehicles that the U.S. government would encourage.

The “New GM” he also expected to focus on “four core brands”, and will size its dealership to match that. He stated that GM would offer a “deferred termination” package to dealers, to allow them to cease dealing in GM vehicles in a managed and gradual way.

He stated that the bankruptcy filings did not cover General Motors’ businesses in Latin America, Europe and the Middle East, and Asia and the Pacific. Of GM’s profitable ventures in China, specifically, he stated that they were “a critical part of the New GM”. In response to questions of whether the New GM would import cars from China to the U.S., he stated the formative company’s core principle that “We build where we sell” applied in both directions, with GM building in China to sell in China and building in the U.S. to sell in the U.S., stating that this shortened supply chains.

He declined to predict when the New GM would return to profitability, stating that the goal was rather to lower the break-even EBIT point for the company. He also declined to speculate upon when the U.S. government would sell its stake in the company, saying that that was a question “better addressed to the U.S. Treasury”, and merely saying that he expected it to be “years, not months” when the U.S. Treasury felt it would give “the right return for taxpayers.”

Friday, April 11, 2008

Since the AutoTronics Taipei was held from 2006, companies from electronic and automobile-related industries steadily made their stages and a good complementary in this trade show.

Before the first holding in 2006, because of the establishment of Car Electronics Pavilion in 2005 TAITRONICS Autumn (Taipei International Electronic Autumn Show), it (the pavilion) ever became a hot topic in these 2 industries. And eventually, Yulon Group recruited their sub-companies grouping their own pavilion to showcase automobile parts, accessories, and applications.

Currently, automobile navigation, mobile entertainment, and road safety, were included in modern automotive devices. But in a keynote speech of TARC Pavilion, Jamie Hsu (Consultant of Ministry of Economic Affairs of the Republic of the China) pointed out several threats and opportunities on the automotive industry, his words also echoed a notable quote by Yi-cheng Liu (Chairman of Taiwan Transportation Vehicle Manufacturers’ Association): “The automobile industry shouldn’t be monopolized by a company or its own industry. If this industry want to be grown up, it [the industry] should do more optimizations and transformations with the other related industries like IT and electronic.”

Although some participants like Renesas, Fujitsu, MiTAC, TomTom NV, and Agilent ever participated in Taipei IT Month, CeBIT, or Computex Taipei, but there were varied comments for participation on Computex 2008.

	Computex 2008 will do a significant growth, of course. But we [Aglient] still consider to cooperate with Intel in a forum rather than showcasing in Computex.

	We [the MiTAC Group] will appoint different sub-companies to participate in different trade shows by different industries. That’s why we showcase the same products in different shows by different sub-companies.

Renesas Technology, a participant of Computex 2007, won’t showcase in Computex 2008, but Fujitsu and TomTom both declared to participate in the 2008 Taipei IT Month.

Generally in the automobile industry, progressively conformed by the other industries, its success should depend on collaborations between different and similar industries because “not any company can do any monopoly in any industry” even though the automobile industry will become a “trillion industry” not only in Taiwan.