Wednesday, January 18, 2006

London, UK — The Vodafone GPRS (General Packet Radio Service) Mobile Data Network within the UK was off the air for several hours, but Vodafone staff were unable to supply any details as to how or why this had happened. The incident seems to have originated within Southern England, but spread “nationwide” within a short period.

Customers were therefore unable to access data services for a protracted period, including WAP browsing from mobile phones, email from personal devices like Blackberries and Windows Mobile Messengers, and full access over data cards from laptops.

Some criticism has been levelled at the company for failing to provide an easy source of information on the problem, with the only realistic option being to queue for a response from a call centre, as no information could be found on their public-facing website. This practice, whilst far from unique to Vodafone within the telecommunications industry, contrasts poorly with the common practice for most ISPs (Internet Service Providers), who conventionally provide a “system status” page on their website.

Friday, October 17, 2008

Muslim Somali workers at a meat packing plant in Grand Island, Nebraska wanted to pray. Their colleagues from Latin America wanted to work. A dispute over the company’s break schedule led to formal discrimination claims, mass job walk-offs and public protests by both sides last month, and a reported 200 firings.

Tensions at the plant began after a Federal government raid in December 2006 removed 200 undocumented workers. An equal number of employees quit shortly afterward. Altogether, six government immigration raids at meat packing plants of Brazilian-owned JBS Swift & Co. had removed 1,200 employees from the company’s work force, which caused substantial production problems. Management at the Nebraska plant responded by hiring approximately 400 Somali immigrants who resided in the United States legally as political refugees. Stricter Federal enforcement of immigration laws has had a significant impact on the meat packing industry because few native-born Americans are willing to work in its low-wage factories. Employers advertise to immigrant communities and after the immigration crackdowns the company turned to the Somali community, which was unlikely to be targeted for deportation.

Many of the new Somali workers were observant Muslims who wanted to practice the traditional religious prayer schedule, and few spoke English. The existing union contract had been negotiated before Muslims became a significant part of the factory work force, when religious needs had not been an issue, and break times were assigned according to a rigid schedule to ensure continuous production and prevent workers from working too long without a break. The sharp knives the meat packers wield for their job pose a substantial risk of accidental injury.

At first the Somali workers prayed during scheduled breaks and visits to the rest room. A few Somalis were fired for “illegal breaks” they had spent praying. Rima Kapitan, a lawyer who represents the Muslim meat packers of Grand Island, told USA Today, “they shouldn’t be forced to choose between their job and their religion.” The Somalis offered to let their employer deduct pay for time at prayer, but supervisors considered it unworkable to lose the labor of hundreds of people simultaneously, even if the interruptions lasted less than five minutes.

Plant worker Fidencio Sandoval, a naturalized United States citizen who was born in Mexico, had polite reservations. “I kind of admire all the effort they make to follow that religion, but sometimes you have to adapt to the workplace.” An immigrant from El Salvador was less sympathetic. “They used to go to the bathroom,” said José Amaya, “but actually they’re praying and the rest of us have to do their work.” Raul A. García, a 73-year-old Mexican meat packer, told The New York Times, “The Latino is very humble, but they [the Somalis] are arrogant… They act like the United States owes them.”

Differences of opinion arose over whether the prayers, which are a religious obligation five times a day for practicing Muslims and vary in exact time according the position of the sun, constitute a reasonable accommodation or an undue burden upon non-Muslim coworkers. Abdifatah Warsame, a Somali meat packer, told The New York Times that “Latinos were sometimes saying, ‘Don’t pray, don’t pray’”.

As the Muslim holy month of Ramadan approached during 2007 the Somalis requested time off for religious reasons. Observant Muslims fast throughout daylight hours during Ramadan. Management refused, believing it would affect the production line. Dozens of Somali workers quit their jobs temporarily in protest. Negotiations between the Somali workers and management broke down in October 2007. Some of the fired Somalis filed religious discrimination complaints with the U.S. Equal Employment Opportunity Commission.

Problems resurfaced after September 10, 2008 when Somali workers approached plant general manager Dennis Sydow with a request to start their dinner half an hour before the usual schedule in order to break their Ramadan fast closer to sundown. Sydow refused due to concern the request would slow production and burden non-Muslim workers. During the same month a Somali woman complained that a plant supervisor had kicked her while she was praying. The union investigated the charge and the supervisor responded that he had not seen her while she bent in prayer and had only kicked the cardboard that was underneath her.

Somali workers walked out on strike September 15 and protested at Grand Island City Hall, asking for prayer time. The following day the union brokered a compromise with plant management to move the dinner break by 15 minutes. Plant scheduling rules would have reduced the work day by 15 minutes with resulting loss in pay for the hourly workers.

A Somali worker, Abdalla Omar, told the press “We had complaints from the whites, Hispanics and [Christian] Sudanese“. False rumors spread about further cuts to the work day and preferential concessions to the Somalis. Over 1,000 non-Somalis staged a counterprotest on September 17. Union and management returned to the original dinner schedule. Substantial numbers of Somali workers left the plant afterward and either quit or were fired as a result. Sources differ as to the number of Somalis who still work at the plant: The New York Times reports union leadership as saying 300 remain, while Somali community leaders assert the number is closer to 100.

The EEOC has sent staff to determine whether treatment of Somali workers has been in compliance with the The Civil Rights Act of 1964. Under the law, employers must make reasonable accommodation for religious practices, but the law grants exceptions if religious practice places substantial hardship on an employer’s business.

Doug Schult, the JBS Swift manager in charge of labor relations, expressed frustration at the inability to resolve the problem, which had surfaced in a Colorado plant as well as the Nebraska plant. He told The Wall Street Journal that his office had spent months trying to understand and comply with new EEOC guidelines in light of conflicting pressures. Local union chapter president Daniel O. Hoppes of United Food and Commercial Workers worries that similar problems could continue to arise at the plant. “Right now, this is a real kindling box”.

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.

Friday, February 18, 2011

On Tuesday, the 2011 BRIT Awards were presented from The O2 Arena in London, England. This is the first time that the awards ceremony has been hosted from this venue; previously, the regular location for the show was the Earls Court Exhibition Centre, which is also located in London.

The BRIT Awards, presented by the British Phonographic Industry, is an annual ceremony that awards music artists for excellence in music. The BRIT Awards started in 1980; this year’s event is the 31st BRIT Awards. ITV1 broadcasted this year’s programme from 2000-2200 UTC, with British actor and presenter James Corden hosting it.

The ITV1 programme contained performances from various artists, many of which had been nominated for BRIT Awards. The performers and the performances are displayed below but are not in chronological order. They are as follows:

• Take That – Kidz
• Adele – Someone Like You
• Rihanna – Only Girl (In the World) / S&M / What’s My Name?
• Mumford & Sons – Timshel
• Plan B – She Said / Prayin’
• Tinie Tempah, Eric Turner and Labrinth – Written in the Stars / Miami 2 Ibiza / Pass Out
• Arcade Fire – Ready To Start
• Cee Lo Green and Paloma Faith – Forget You

British rapper Tinie Tempah was nominated for most awards than any other artist, with ‘Best British Album’ and ‘Best British Male’ included amongst his four nominations. He was given two BRIT awards – one for ‘Best British Single’, which was Pass Out, and the second for ‘Best British Breakthrough Act’. Upon receiving what would turn out to be his first award of two, Tinie Tempah proclaimed: “I want to big up God and my family for sticking by me when times are hard.” Canadian indie rock group Arcade Fire were also successful in achieving two BRIT Awards, one for ‘Best International Group’ and the other for ‘Best International Album’; their album is entitled The Suburbs.

Dermot O’Leary presented an award to British pop group Take That for ‘Best British Group’, the first time the group have ever achieved such an award. While the group received the award, member Mark Owen looked at Robbie Williams, who had recently rejoined Take That, and said: “Can I say thanks for coming back mate. Appreciate it. It’s a real pleasure for the five of us to be up here.” The group had a second nomination for ‘Best British Album’ but were unsuccessful in winning the award.

Cee Lo Green, a member of the group Gnarls Barkley, received one BRIT Award for ‘Best International Male’. In his acceptance speech, he commented: “I’m so excited. Thank you so much for this honour. Such a pleasant surprise.” Cee Lo was also nominated for ‘Best International Album’ but failed to achieve the award.

Roger Daltrey, lead singer of English rock group The Who, humourously commented that “[i]t’s good to see the British music industry still has enough money for a good booze up” before giving the award for ‘Best British Album’ to Mumford & Sons for their album, entitled Sigh No More. Marcus Mumford, of the group, said that “[t]his is very bizarre, very strange. Thank you very much indeed. We are very honoured, very humbled.”

Mark Ronson and Ellie Goulding awarded the ‘Critics’ Choice’ to English singer-songwriter Jessie J. Backstage, Jessie J – who is currently at number one in the UK Singles Chart with her song Price Tag, featuring American rapper B.o.B – remarked that “[p]op stands for popular. I want to be a pop icon and take Britain across the world.”

Plan B, another British rapper, achieved the award for ‘Best British Male’. “There’s a lot of people I could be thanking right now, I wanna thank them all together,” he said during his acceptance speech. Having expressed thanks to various family members, friends, his record labels and the people he had worked with, he concluded his speech with the line: “Thank you, everybody. That’s all.”

Earlier in February 2011, Markus Dravs was given the BRIT Award for ‘Best British Producer’ by Chris Martin, a member of the group Coldplay; Dravs is co-producing a fifth album for the group at present. Dravs was nominated for his work in relation to Arcade Fire album The Suburbs and Mumford & Sons album Sigh No More. “You could hear it in the lyrics and in the commitment in the demos,” he commented. “I really wanted to get involved and see if I could help make the record.”

During the BRIT Awards programme on Tuesday, Cheryl Cole presented the ‘Best International Female’, which was won by Rihanna. The Barbadian pop and R&B singer exclaimed during her acceptance speech: “Britain, I love you! This is so exciting. I want to thank everybody at my label, Mercury […] all my fans here. You guys are the best! I love you so much. This is…this is big. It doesn’t get much bigger than the BRITs, so I love you guys. Thank you so much. This means a lot. I’m the only girl in the world!”

The award for ‘Best International Breakthrough Act’ was given to Justin Bieber, a Canadian pop music / R&B singer. Upon accepting the award, Bieber commented: “I want to thank all my fans over here. You guys are amazing. I want to thank the label over here”. Laura Marling was subsequently awarded ‘Best British Female’. After being presented with the award by Boy George, Marling said: “Thank you. My name’s Laura and there you go, mum. That’s for you and thank you very much to Adam and Laura and everyone at Virgin. This is really weird.”

Shortly after the broadcast of the main programme, performances became available to purchase via iTunes. The The BRIT Trust will receive all of the downloads’ profits as a donation.

Below, all of the recipients of the awards on Tuesday night are available to view in a list, which is not presented in chronological order.

• Best British Male – Plan B
• Best British Female – Laura Marling
• Best British Group – Take That
• Best British Single – Tinie Tempah – Pass Out
• Best British Album – Mumford & Sons – Sigh No More
• Best British Producer – Markus Dravs
• Best British Breakthrough Act – Tinie Tempah
• Best International Male – Cee Lo Green
• Best International Female – Rihanna
• Best International Group – Arcade Fire
• Best International Album – Arcade Fire – The Suburbs
• Best International Breakthrough Act – Justin Bieber
• Critics’ Choice – Jessie J

Below is an image gallery displaying library photographs of some of the acts who appeared at the BRIT Awards 2011:

On Wednesday, the news emerged that the BRIT Awards 2011 gained approximately 4.8 million viewers, the smallest viewing figures the show has experienced for five years. The ratings of the ceremony were beaten by the last episode of Big Fat Gypsy Weddings in the series, broadcast on Channel 4 from 2100–2200 UTC on Tuesday; the viewing figures stood at approximately 6.5 million viewers. Holby City, broadcast on BBC One, also attracted more viewers than the BRIT Awards 2011. The programme, which was shown from 2000-2100 UTC, received approximately 5.8 million viewers.

[edit]

Tuesday, July 1, 2008

According to Polish radio station, RMF FM, almost half a million Polish z?oty (almost US$ 235,000) vanished from the bank account of Lech Wa??sa, a former President of Poland and the original leader of Solidarno?? (Solidarity). The case is already under investigation by the public prosecutor in Gda?sk.

The radio station identified the suspect as a former employee of Millennium Bank and the son of a former co-worker of Wa??sa. The Prokuratura alleges that Micha? L. stole about 870,000 z?oty (about US$408,000) from two bank accounts, one of which belongs to Wa??sa. The bank has already returned all the money.

Lech Wa??sa downplayed the situation. “I have all the money I had. I can show you I haven’t lost even a grosz“, he said in a interview with RMF FM.

Monday, May 14, 2007

Buffalo, New York —A massive warehouse complex of at least 5 buildings caught on fire in Buffalo, New York on 111 Tonawanda Street, sending a plume of thick, jet black colored smoke into the air that could be seen as far away as 40 miles.

As of 6:40 a.m., the fire was under control, and firefighters were attempting to stop it from spreading, but could not get to the center of the fire because of severe amounts of debris. Later in the morning, the fire was extinguished.

“The fire is mostly under debris at this point. It’s under control, but it’s under some debris. We really can’t get to it. We’re just going to have to keep on pouring water on it so it doesn’t spread,” said Thomas Ashe, the fire chief for the North Buffalo based fire division who also added that at one point, at least 125 firefighters were on the scene battling the blaze. One suffered minor injures and was able to take himself to the hospital to seek medical attention.

Shortly after 8:00 p.m. as many as 3 explosions rocked the warehouse sending large mushroom clouds of thick black smoke into the air. After the third explosion, heat could be felt more than 100 feet away. The fire started in the front, one story building then quickly spread to three others, but fire fighters managed to stop the flames from spreading onto the 3 story building all the way at the back.

According to a Buffalo Police officer, who wished not to be named, the fire began at about 7:00 p.m. [Eastern time], starting as a one alarm fire. By 8:00 p.m., three fire companies were on the scene battling the blaze. Police also say that a smaller fire was reported in the same building on Saturday night, which caused little damage.

At the start of the fire, traffic was backed up nearly 4 miles on the 198 expressway going west toward the 190 Interstate and police had to shut down the Tonawanda street exit because the road is too close to the fire.

At one point, traffic on the 198 was moving so slow, at least a dozen people were seen getting out of their cars and walking down the expressway to watch the fire. That prompted as many as 10 police cars to be dispatched to the scene to force individuals back into their cars and close off one of the 2 lanes on the westbound side.

One woman, who wished not to be named as she is close to the owner of the warehouse, said the building is filled with “classic cars, forklifts, and money” and that owner “does not have insurance” coverage on the property. The building is not considered abandoned, but firefighters said that it is vacant.

Officials in Fort Erie, Ontario were also swamped with calls to fire departments when the wind blew the smoke over the Niagra River and into Canada.

It is not known what caused the fire, but a car is suspected to have caught on fire and there are reports from police and hazmat crews, that there were also large barrels of diesel fuel being stored in one building. Firefighters say the cause of the blaze is being treated as “suspicious.” The ATF is investigating the fire and will bring dogs in to search the debris.

Wednesday, May 11, 2016

Comply or Die, the racehorse who won the 2008 Grand National has died at the age of 17. His death was announced by his former trainer, David Pipe. He died over at the weekend in Gloucestershire, where he had been staying with jockey Timmy Murphy. He was cremated on Monday and his ashes will return to Murphy.

Murphy was the jockey in the saddle when Comply or Die won the 2008 Grand National. Speaking to the Press Association, he spoke about the horse’s death. He said, “He was part of the furniture at home so it’s very sad. He gave me the greatest day of my career, obviously that can never be taken away. He paraded at Cheltenham and Aintree and was getting ready to do some dressage in the summer. I’m not actually sure how he died, to be honest, but it wasn’t nice to come home to. He was cremated on Monday. He was a happy horse and he was also very clever.”

During his racing career he made £798,809 in prize-money after winning a total of eight races.

The 2008 Grand National victory was his greatest achievement and he almost matched it when he came second place in 2009. He retired in 2011 but remained active, often being paraded at race grounds such as Aintree and Cheltenham. He also participated in some hunting activities. Pipe said, “Since his retirement he had been a lead-horse at Timmy Murphy’s establishment before trying his hand at dressage, a discipline in which he had proven very successful”.

Tributes have been paid to Comply or Die on social media by horse racing fans with several tweeting their appreciation and memories.