Wednesday, September 29, 2010

Joseph Cerniglia, a chef who had appeared on Gordon Ramsay’s television show Kitchen Nightmares, has commited suicide. Cerniglia was the owner of Italian restaurant Campania. He jumped off a bridge into the Hudson river on the New York–New Jersey border. At the time of filming in 2007, Cerniglia owed suppliers $80,000.

Officials reported that 39-year-old Cerniglia had jumped off of the George Washington Bridge into the Hudson. His death has officially been ruled as suicide. His body was retrieved from the river after reports of a man jumping off of the bridge.

Ramsay released a statement to the Press Association saying “I was fortunate to spend time with Joe during the first season of Kitchen Nightmares. Joe was a brilliant chef, and our thoughts go out to his family, friends and staff.”

Cerniglia told Ramsay about his personal debt when he came to the restaurant in 2007. He said “I am financially in trouble. The debt of the restaurant alone is overwhelming. My personal debt — wife, kids, mortgage — that’s a lot of debt”.

Tuesday, December 22, 2015

Yesterday, three people, all of whom had previous criminal arrests, appeared in court in Edmonton, Alberta, Canada, accused of first degree murder; they allegedly killed two Mac’s convenience store clerks during robberies at two different stores on Friday.

According to police, the victims were alone in their respective stores when the gunmen arrived. The clerks were shot dead, both within a short period of time, and the suspects left with a small amount of money. Karanpal Bhandu, one of the victims, was taken to hospital and died, while another, Ricky Cenabre, was found dead in the store’s storage room.

One 13-year-old boy briefly appeared in court yesterday, crying during the proceedings. His name cannot be disclosed. The next hearing in his case is set for January 4 next year. The boy has previously been charged with illegally carrying weapons, including nunchucks and bear spray, and robbery.

Another man accused, 27-year-old Colton Steinhauer, is supposed to appear again in court on January 11. He has allegedly violated his probation orders, and has been convicted of multiple crimes, including assault causing bodily harm.

The third man, 24-year-old Laylin Delorme, has repeatedly been convicted of crimes in recent years. For assault with a weapon he received six month prison sentences twice, once in 2010 and once in 2014, losing his right to own firearms. He has also previously been jailed for two years after being convicted of possessing drugs for trafficking. Delorme has previously posted images featuring firearms onto social media, including one captioned “ski mask on I’m coming for your ice, bare face I’m coming for your life”; Steinhauer has also posted similar posts onto his social media accounts. Delorme is also expected to appear in court on January 11.

Edmonton Police Chief Rod Knecht said the murders were “absolutely unnecessary”, “gratuitous”, and “evil.”

Wednesday, December 15, 2010

The Metropolitan Police Service has confirmed that a police officer and a police community support officer were stabbed in the west of London, England. The officers were stabbed at a bus stop in the Ealing Broadway region of the city about 1505 UTC while examining bus tickets. The man stabbed the two in an attempt to evade arrest.

The pair were subsequently transported to hospital by ambulance. The police community support officer was seriously injured, having been stabbed in the arms. However, he was not thought to have suffered life-threatening injuries. The police officer was stabbed in the neck. His injuries were considered life-threatening.

The alleged attacker, a 30-year-old male, was arrested at the scene of the attack. According to reports, he was wanted by the police for recall to prison. When it became clear that he was going to be arrested, he drew a knife and stabbed the two.

Koon Midam, a witness to this incident, commented: “The man was asked to show a valid ticket and went into a violent rage. Very quickly the problem escalated as he drew his knife and made a few quick slashes. It was more of a shock for the first few moments and then there were the cries, the Pc dropping to the floor and the man lashing out again.”

Another male witness described the events. “I could see two policemen sprinting to the back of a police car to retrieve a green first aid kit,” he said. “They rushed back to assist a policeman who had blood on him. I then noticed another policeman who was walking slowly and then collapsed on the pavement. His arm fell to his side. As I drove away I also noticed a number of policemen pinning a man to the ground. He was shouting. What disturbed me most of all was the amount of blood on the pavement, it was clear that someone was very seriously injured.”

Boris Johnson, Mayor of London, has uploaded a message to the social networking website Twitter regarding this incident. In the tweet, Johnson states: “Shocked by the stabbing of a police officer & a PCSO in Ealing. No place for this on the streets of London”.

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Thursday, September 19, 2013

File:CyanogenMod Cid.svg

The developers of CyanogenMod, an open source free Android-based operating system for smartphones, announced yesterday their incorporation following a successful venture capital campaign which netted the open-source project a US$7 million nest egg, and plan to roll out a simple installation app on Google Play for their Android firmware.

Android runs nearly 80% of new mobile devices; CyanogenMod operates on at least 7 or 8 million of those. CyanogenMod replaces the read-only-memory image in android devices which have been ‘rooted’ —control acquired of the device’s superuser account— allowing continuing development for, and backporting abilities of new generations of the operating system to, older devices.

Investor Mitch Lasky wrote on his blog “We believe that CM is poised to become one of the largest mobile operating systems in the world.” Benchmark Capital and Redpoint Ventures are part of the capital providers to form Cyanogen Inc.

“The only limitation we have right now is with the number of engineers and designers we currently have. As we hire more people and build this company, we’ll be able to work on so many cool things”, said Koushik ‘koush’ Dutta, who took questions alongside Steve ‘cyanogen’ Kondik and team social media manager Abhisek “ciwrl” Devkota in a Reddit Ask Me Anything event shortly after making the announcement on the CyanogenMod blog. The team of 17, including Boost co-founder Kirt McMaster as CEO, are in Palo Alto, California and Seattle.

Kondik says Cyanogen mod is named after him. “I’m terrible with names, so I just slapped ‘mod’ onto the end of my handle and ran with it”, he explained in the incorporation announcement.

An early question raised in the Reddit event concerned profit-making: “Monetization isn’t an immediate concern and our investors […] feel the same”, said Dutta, adding “Creating disruption in a multibilion dollar market is enough to make any investor raise their eyebrow.” This means CyanogenMod would continue to be free. Follow questions asked if the company was planning to release their own model of android device. “We certainly couldn’t take on the monumental task of building/testing hardware [right now]. Hardware would be one of many potential very long term paths we could take”, said Dutta.

The firm’s first announced step is to improve the process of installing the software on owner’s devices, which Kondik described as “hideous”. A new installer app is planned to be released “in the coming weeks” on Google Play. The installer app will not require rooting the device, instead installing by simply clicking a button.

A further step, broadly described without any details, is a project with an unnamed original equipment manufacturer (OEM). “We have a least one OEM partnership in the works, there will be an announcement next week regarding our plans there”, said Kondik. The team mentioned OEM licensing several times during the Q&A session on Reddit.

In addition to these corporate steps, there were questions regarding the roadmap for development of the ROM, which already has improvements regarding privacy and security over the native android loader. With “plenty of things in the product pipeline already” Dutta lists additional security features, AirPlay mirroring, screen recording, and Voice+ as upcoming. The mood throughout the event was jovial, with humourous questions such as “can you guys PLEASE release a CM build for my toaster? I’m not sure what model it is, but it’s white and I got it at Savers.” Kondik promised “Ship it to me and I’ll duct tape a G1 running CM to it”. Dutta said his “10 of your favorite lines of source code” are “The ones that worked when they shouldn’t have.”