themovingsale.net

Saturday, July 23, 2005

International controversy erupted after Iranian officials executed two gay teenagers who were originally reported to be convicted of homosexuality, however later reports released by the Iranian government after international furor claimed the conviction was for the rape of a 13-year-old boy. The two were hanged July 19.

Only the age of one of the two executed teens was officially released to the public. He was 18 year old Ayaz Marhoni. The other, Mahmoud Asgari, according to the Iranian Student’s News Agency (ISNA) was aged 17, but other news agencies have reported the teenager’s age as 16. In the original report by the ISNA it was said that the two were found having sex together when they were both 16. It also reported that they were held and beaten for fourteen months before the execution.

The UK-based gay rights group, Outrage! claims the report issued later by the government of Iran is a “smokescreen” to justify killing homosexuals. And one media outlet, Direland, has blasted the media holdings of Rupert Murdoch that includes Fox News Channel and The Times newspaper for publishing the subsequent Iranian government issued allegation of rape as matter of fact without mention of the previous stories before international condemnation bearing no such accusations.

According to Iranian newspapers, the two boys were given 228 lashes for their other convictions of theft, disrupting public order and public drinking before they were hanged in Edalat (“Justice” in English) Square in the Iranian city of Mashhad. The executioners, fearing reprisals, wore masks and anti-riot forces were mobilized to prevent outbreaks of public protests.

Photos of the execution released by Iranian Students News Agency showed the two teens crying in the truck driving them to the gallows in Justice Square, located in the northeastern region of the country.

Iran has been under fire by international human rights groups for executing teenagers in the past, including the 2004 execution of Atefeh Rajabi, a 16-year-old girl convicted of having sex before marriage. Medical reports, not allowed in the court, had stated that she was mentally ill.

Like many other Islamic countries, Iran enforces the religious sharia law, which allows for the execution of children, including girls aged nine or older and boys 15 and older.

Iranian officials have complained that the media has emphasized the teens’ ages. Deputy Ali Asgari said, “Whatever sentence is decreed by an Islamic penal system must be approved, unless proven otherwise… Instead of paying tribute to the action of the judiciary, the media are mentioning the age of the hanged criminals and creating a commotion that harms the interests of the state… Even if certain websites made a reference to their age, journalists should not pursue this. These individuals were corrupt. Their sentence was carried out with the approval of the judiciary and it served them right.”

Both teens were convicted by Court No. 19 under sharia law. The teens are identified only as “M.A.” and “A.M.” Those found having homosexual sex in Iran may face death by either hanging, stoning, cutting in half by a sword, or dropping from a tall building or cliff.

An ISNA report said the couple acknowledged having sexual relations with each other but said they were unaware of laws against homosexuality.

Another report, by Iran In Focus, claimed that the two were hanged not for gay sex, but rather for sexually assaulting a thirteen year old boy at knife point. Neither the original Iranian Student’s News Agency nor an additional report from the National Council of Resistance of Iran had this allegation, said the United Kingdom based Outrage. Direland Press has noted that the accusation of rape in reports came days after international outrage and detailed reports by other Iranian news agencies. They suggest the recent report is a ploy of the Iranian government to justify its actions.

“The allegation of sexual assault may either be a trumped-up charge to undermine public sympathy for the youths — a frequent tactic by the Islamist regime in Iran — or it may be that the 13-year-old was a willing participant but that Iranian law … deems that no person of that age is capable of sexual consent and that therefore any sexual contact is automatically deemed in law to be a sex assault,” said OutRage!’s Peter Tatchell.

“This is just the latest barbarity by the Islamo-fascists in Iran,” Tatchell remarked. “The entire country is a gigantic prison, with Islamic rule sustained by detention without trial, torture and state-sanctioned murder.”

Tatchell told reporters that according to Iranian human rights activists, more than 4,000 lesbians and gay men have been executed in Iran since the ayatollahs seized power in 1979. He said an estimated 100,000 Iranians have been executed in Iran since that time.

Reports also indicated that three other gay Iranian teenagers are reportedly being hunted by police, but they are said to have gone into hiding.

OutRage! requested the international community see Iran “as a pariah state” and to “break off diplomatic relations, impose trade sanctions, and give practical support to the democratic and left opposition inside Iran.”

The United Kingdom has a policy of constructive engagement with Iran, as does France and Germany, primarily directed at the resolution of the Iranian nuclear crisis.

European Union officials have been holding a human rights dialogue with Tehran, but last year the report by Human Rights Watch said that violations had increased since 2000.

In the Unites States, the Human Rights Campaign has called for U.S. Secretary of State Condoleezza Rice to condemn the executions.

Friday, November 13, 2009

Wikinews interviewed author Marc Headley about his new book Blown for Good, and asked him about life inside the international headquarters of Scientology known as “Gold Base“, located in Gilman Hot Springs near Hemet, California. Headley joined the organization at age seven when his mother became a member, and worked at Scientology’s international management headquarters for several years before leaving in 2005.

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.

Thursday, November 22, 2007

On Tuesday, the press and members of the National Turkey Federation gathered in large numbers at the White House’s Rose Garden in the United States to witness an annual Thanksgiving tradition in the U.S., a presidential pardon of two Thanksgiving turkeys.

Every year, a U.S. President gives a pardon to two turkeys, saving them from being put on a dinner table somewhere in America. This year, President George W. Bush pardoned two turkeys named May and Flower, who were both chosen for the pardon by the citizens of the U.S.

“Each of you is taking part in a tradition that goes back to the days of Harry Truman. And to paraphrase Harry today, we have a message for our two feathered friends: You cannot take the heat — and you’re definitely going to stay out of the kitchen. I thank everybody who voted online to choose the names for our guests of honor. And I’m pleased to announce the winning names [May and Flower]. [These names are] certainly better than the names the vice president suggested, which was Lunch and Dinner,” Bush said jokingly.

After receiving the pardons, the turkeys got a special ride in a three-car motorcade to Dulles Airport, which included an array of lights, sirens and police motorcycles. From there, both turkeys were flown to Orlando, Florida on a plane dubbed United Turkey One where they were the Grand Marshalls for today’s Thanksgiving Day parade in Walt Disney World. Both turkeys received a welcome which included a red carpet, and free passes to the park.

“So now I have a task, and that is to grant a full presidential pardon to May and Flower. They’ll be shortly flown to Disney World, where they will serve as Honorary Grand Marshals for the Thanksgiving Day Parade. I hope that honor doesn’t go to their head. May they live the rest of their lives in blissful gobbling. And may all Americans enjoy a holiday full of love and peace. God bless you all,” added Bush.

Tuesday, February 20, 2007

In big cities, finding land for new parks is less of an expedition than an all-out land-rights battle with property owners. But some cities across the U.S. have found a slightly easier way to add to their greenspace. By utilizing the state’s air rights to the space above freeways that run below at ground level, cities can acquire 5 or 10 acres of parkspace essentially for free, such Freeway Park which occupies 5.5 acres above a freeway in downtown Seattle.

Of course, this free “land” is actually nothing more than open air above a freeway, requiring cities to pay the high construction costs of capping the roadway with land.

Such projects are currently being planned in St. Louis, Cincinnati, Dallas and San Diego. A recent article in Governing Magazine looks at more than two dozen highway deck parks that have been built or are under construction in the U.S. The article finds that even though the price of constructing parks on top of freeways can rise upwards of $500 per square foot, property values and local development boom once they are completed.

Monday, December 3, 2007

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

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

Saturday, December 30, 2006

Around 9:00 a.m. local time (0800 UTC) today, an explosion occurred at Barajas International Airport, in Madrid, Spain.

A car bomb exploded in the Level-D Parking Garage of the recently completed Terminal 4. A Spanish official declared that the police first received a telephone call warning them about the bomb, and then a second call with the type of vehicle. The second caller claimed the attack for the Basque nationalist group ETA. Thanks to the telephone call, the police could evacuate most of the area. One man is reported missing after the explosion, and 26 people including two police officers were reported to be injured in the blast. The terminal sustained serious damage, and the situation in the airport became chaotic on one of the busiest days of the year.

Arnaldo Otegi, spokesman of ETA’s political wing Batasuna, did not condemn the attack, but said the peace talks are not interrupted by the explosion. The Spanish Interior Minister Alfredo Perez Rubalcaba condemned the attack, saying that it “breaks nine months without violence on the part of ETA, which breaks the permanent ceasefire.” Only in June, the Spanish President José Luis Rodríguez Zapatero announced peace talks with ETA. But tonight, Zapatero ordered the suspension of all dialogue, because “with violence, there can be no kind of dialogue.”