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Friday, April 2, 2010

Jack Diesing Sr., former chairman of the College World Series has died at the age of 92. His son announced the cause of death as complications from Parkinson’s disease. Diesing was chairman of the series from 1963 until 2002.

Diesing helped the tournament become one of the most successful college events in the United States. He became chairman in 1963 after his boss at Brandies department store died and passed on his duties to Diesing, one of which was the chairman role.

Before taking the role the series had only made a profit in five of its fourteen years. Under Diesing’s leadership the series never made a loss. During his time as chairman he also negotiated a long term contract with the NCAA and lengthened the series from 5 to 10 games.

Diesing’s son, Jack Diesing Jr., released a statement on his fathers death saying “My dad will be missed by a lot of people, but he won’t be forgotten”. He continued to say that his goals were to make “Omaha a better community” and to secure the “CWS to mantain its legacy”.

At the time of his death Diesing was still chairman emeritus of College World Series of Omaha Inc., a non-profit organization that helped with the coordination of the series.

The time is 17:00 (UTC) on May 21st, 2006, and this is Audio Wikinews News Briefs.

Thursday, March 31, 2005

A tanker truck filled with 35 tons of liquid chlorine collided with another truck and crashed in China’s Jiangsu province on Wednesday, leaking its load, killing at least 28 and injuring hundreds. 10,000 villagers have been evacuated from the surrounding area along the Beijing–Shanghai expressway.

The driver left the scene of the accident in Huai’an city, but later in the day turned himself over to authorities in Nanjing, the provincial capital. The driver of the other truck died on the scene.

Vice mayor Lu Changsu told China’s Xinhua that the death toll may increase because three patients are still in critical condition. Lu said that 350 people remain hospitalized.

A cleanup crew is treating the accident site with a caustic soda. Area farmers are concerned that local farmland will be rendered infertile by the spill.

CPC Vice Premier Huang Ju asked the provincial Jiangsu government to “spare no efforts”, according to Xinhua.

Wednesday, June 28, 2006

According to initial estimates by New South Wales police and unions, 30,000 people have rallied at Blacktown Showground in Western Sydney to protest the federal government’s Workchoices workplace reforms. Organisers had expected around 15,000 protesters to attend.

The rally at Blacktown is one of many to be held around Australia today as part of a “National Day of Action” to “protect worker’s rights at work” according to unions.

The Blacktown rally saw masses of truck drivers, construction workers, teachers and police officers carrying banners and flags signalling their discontent at the federal government’s reforms.

Many of the workers were joined by their families, chanting to the federal government “Your workplace changes have to go.”

Speaking to protesters in Western Sydney, John Robertson, secretary of Unions New South Wales said the federal government had stripped away 100 years of worker’s rights.”These laws are direct attacks on hard-working Australians who are trying to pay off a home, provide for their kids’ futures and have a bit of economic security,” Mr Robertson said.

“It’s in the suburbs and regional Australia that the impact of these laws will be felt – stripping away job security, penalty rates, time with family and wage rates.”

The NSW Premier’s department has encouraged state government employees to attend the rallies to show their anger at the workplace reforms. As such, schools are mainly providing supervision today so parents can attend rallies, with many teachers also in attendance.

Employees of Australia Post, a company wholly owned by the federal government, have been warned that unauthorised absences will result in disciplinary action being taken.

Speaking earlier today, Federal Workplace Relations Minister, Kevin Andrews said he expected most workers would not join the protests. “The reality is that most people are not going to do it because they know that we have delivered, as a government, a period of relative prosperity in Australia,” said Mr Andrews.

“Part of the way we have done that has been to have the courage to engage in the reforms so we can meet the challenges of the future.”

Wednesday, May 19, 2010

The investigation into the plane crash that killed Polish President Lech Kaczy?ski has revealed that passengers were in the cockpit of the crashed plane.According to the head of the technical commission involved with investigating the crash, Alexei Morozov, the crew of the aircraft had been warned of limited visibility, although it has not been determined whether or not the crew’s decision to land had been influenced by the passengers on board. The cause of the crash has not been identified, although the possibility of an explosion or terrorist attack on board the aircraft has been ruled out.

Morozov also said that the crew on board the plane had not been properly trained for the flight, and had been assembled only a few days before the flight. He said that the crew “did not undergo regular simulated training, including the practice of co-ordination and emergency situations during flights.”

The overall leader of the investigation, Tatyana Anodina, confirmed that unauthorized people had been in the cockpit near the end of the flight, saying that “in the cockpit there were individuals who were not members of the crew.” One person had been identified, although their name has not been released. Anodina said that “[t]he voice of one of them has been identified exactly, the voice of the other, or the others, will require additional information from the Polish side.”

The investigation also found that the aircraft involved had been in normal operating condition; Anodina said that “[t]he engines were working up till the moment the plane collided with the ground.”

Thursday, June 3, 2010

A Claude Giroux goal 5:59 into the overtime period of play lifted the Philadelphia Flyers to a 4–3 victory over the Chicago Blackhawks in Game 3 of the 2010 Stanley Cup Finals Wednesday night in Philadelphia, Pennsylvania in the eastern United States. The Flyers victory cuts the Blackhawks’ series lead to 2–1.

Giroux’s goal came on a redirection off Matt Carle’s pass, squeezing the through the right arm and leg of Blackhawks goalie Antti Niemi.

“I tried to get a stick on it, and it just trickled in,” Giroux said. “Our line started playing well, so anytime your line’s going you just play better I think. The whole team just showed up tonight, and we really wanted that win.

“Desperation was the key word, I think. It’s almost do or die.”

Like the first two games, this one was decided by a one-goal margin, but was not as loose as the 6–5 Game 1 or tight as the 2–1 Game 2.

The Flyers hit first — converting on their first power play chance — when right-winger Danny Brière, who had been drifting deep in the offensive zone took a pass just in front of the net and put it past Niemi at the 14:58 mark of the first period. Leading up to the play, Blackhawk Marián Hossa has been sent to the penalty box for slashing, breaking the stick of a Flyers player. Scott Hartnell and Braydon Coburn provided assists on the play.

Chicago started the second period at a disadvantage after Dustin Byfuglien was sent off for roughing after a scuffle involving teammate Patrick Kane and Flyer Kimmo Timonen at the end of the first period. The Flyers could not take advantage as Mike Richards missed two great chances. The Blackhawks went right back down the ice and scored less than a minute after Byfuglien’s penalty expired, with a Duncan Keith shot from midway into the offensive zone at the 2:49 mark. Kane and Hossa had assists on the play.

A Dustin Byfuglien penalty for slashing at 9:31 led to a Flyers power play. In the power play, a Chris Pronger shot sent the arena into a frenzy as both the goal light and the arena horn went off, but the game officials did not award the goal to the Flyers. After a further 1:26 of game time, play finally stopped after an icing call. After a video review, officials awarded Philadelphia’s Scott Hartnell the goal.

After a stoppage in play, John Madden won the puck and passed it back to Brent Sopel, who shot a one-timer from the point into the far corner of the net to tie the game at the 17:52 mark of the second period.

The third period began with a goal-scoring flurry. With less than three minutes gone in the period, Kane scored a breakaway goal for Chicago at the 2:50 mark. Just 20 seconds later, Ville Leino collected a rebound off goalkeeper Niemi’s pad to tie the game. Jonathan Toews and Ben Eager collected assists on the Chicago goal, while Giroux collected the assist on Philadelphia’s goal. The goals were the only two of the third period and the game went to overtime.

At the 5:03 mark of the overtime period, a Flyers shot hit off the goal post and trickled down the line and before Niemi was able to secure the puck briefly. The arena staff blew the horn signaling a home goal before the puck was secured. A Flyers player managed to knock the puck into the back of the net, but upon video review, a no-goal was awarded with the game officials determining that the whistle signaling stoppage of play had been blown before the puck had been knocked loose. The respite for Chicago was brief as Giroux’s goal came just 56 seconds later.

Immediately after the game, Flyers captain Mike Richards told CBC Sports that the game-winning goal was a big relief to the team.

“We came out and played hard,” Richards said. “Both teams played extremely well and we were lucky to get the last goal.”

As for the goal that was called off in overtime, Richards said that the Flyers players did not really hear the whistle.

Niemi and Flyers counterpart Michael Leighton had 28 and 24 saves respectively.

Both teams had three power-play opportunities, all six of which occurred in the first two periods of play. Philadelphia was two for three in those chances while Chicago did not convert any.

Chicago and Philadelphia continue the best-of-seven series on Friday night at Philadelphia’s Wachovia Center. The Stanley Cup will determine the 2009–10 National Hockey League champion after the top 16 teams earned the right to compete in the postseason. The NHL has 30 teams in the United States and Canada and attracts many international players.

Tuesday, January 26, 2010

PRS for Music is the UK’s music royalty collection society tasked with working on behalf of copyright holders, specifically authors and music publishers. Founded in 1914, the PRS is a non-profit organisation with 350,000 UK businesses holding PRS licenses. The society works in conjunction with PPL which collects fees on behalf of the copyright holders of the actual recording.So, if a cover version of a song is played on UK radio, PRS collect a fee on behalf of the original writer and publisher, whilst PPL collect a fee on behalf of the record company of the cover. In a recent Wikinews interview, Paul Campbell, founder of Amazing Radio, an unsigned UK radio station, lambasted PRS for their “barmy standard contract” and their outdated equipment. That interview can be found here.

Wikinews reporter Tristan Thomas interviews PRS, following up on Campbell and others’ criticism as well as finding out about future plans.

((Wikinews)) Firstly, thank you for the time in doing this interview.

((WN)) Last year, you were involved in a high profile dispute with YouTube. Can you briefly explain to our audience what that was all about and the final outcome of it?

((PRS)) PRS for Music was the first collecting society in the world to license the YouTube service, meaning if music videos were watched online then our members – who created them – would receive a small royalty payment. When we went to renew the licence that YouTube held we couldn’t agree as to how much should be paid and exactly what should be covered within it. We believed that music had become a much larger part of the YouTube service and that YouTube/Google should reflect the increased use of our members’ creative talent in the amount they paid.

The great thing is that we kept talking to YouTube throughout the dispute and managed to reach an agreement in September which meant that the videos could be accessed again by UK YouTube users and that our 65,000 songwriter, composer and music publisher members would be paid.

((WN)) How many artists do you represent and how much did you collect during 2009 for them?

((PRS)) We represent 65,000 songwriters, composers and music publishers. We haven’t released our 2009 figures yet but in 2008 we collected over £600m for them. The main sources of revenue come from recorded media (CDs, DVDs etc), international use, public performance use and use in television, radio and online.

((WN)) Paul Campbell in a recent interview with us said the following:“PRS has a barmy standard contract for using their members’ music online. It requires us to pay them a fixed percentage of ALL revenue from that website – whether or not the revenue is derived from their members’ work. So if we had 100,000 songs from non-PRS artists on amazingtunes.com, and one song from a PRS artist, we’d have to pay them a percentage of the revenue from ALL 100,000 songs. I.e., we’d have to take money out of the pockets out of non-PRS artists to pay to PRS. That would be immoral.”How do you respond to that?

((PRS)) Anyone using music in a commercial way – such as a radio station – is required to obtain the permission of those that created the music. This could be numerous writers, publishers and a record label for each song, possibly in different countries around the world. By obtaining a PRS for Music and PPL licence in the UK you are ensuring you have those permissions for over 10million musical works. Obviously much of the music used on radio comes from non-UK writers who may not be members of PRS for Music. Radio and television stations give us almost 100% accurate reports of their music use through their own playlists; this data then enables organisations such as ours to work out who should be paid and how much. PRS for Music has 144 agreements in place with similar societies around the world, resulting in us representing almost 2 million writers worldwide. If French, American, Spanish, Australian or any other writer’s music is used we will pay the respective societies so they can pay their members.

Similarly a writer of musician may be ‘unsigned’ by that doesn’t mean that they shouldn’t earn from their music when it is used by others. Many bands, writers and performers are currently unsigned but by being members of PRS for Music they ensure that they can begin earning vital royalties that allow them to continue with their musical career.

((WN)) How does the PRS ensure that artists outside the UK are properly compensated when their music is used within the UK, such as Thai or Chinese restaurants paying their PRS dues and exclusively using music which is from outside Europe?

((PRS)) As mentioned before PRS for Music has agreements in place in over 90 countries around the world to ensure that when music is used the right creators are rewarded. The system – built up over the last century – works both ways and when UK music is used internationally, PRS for Music receives royalties from foreign societies so we can pay our members. In 2008 £139.8m was collected from UK music use abroad, with the UK being one of only a few net exporters of music in the world.

((WN)) There have been a few cases in which PRS have been forced to apologise, exemplified by the threat of prosecution and a fine towards “singing granny” Sandra Burt, a shelf-stacker who sung to herself whilst stacking shelves. How has PRS moved forward from these incidents in order to ensure they do not happen again?

((PRS)) If we have made mistakes we will of course put our hands up and say so. For example when we were approached about the Sandra Burt case – by a journalist incidentally and not Sandra – we did give out slightly incorrect advice, although the questions were a little ambiguous. Once we realised our mistake we contacted Sandra to explain that she wouldn’t need a licence to sing to her customers and offered our sincere apologies. As an organisation we are very quick to admit where we get things wrong and ensure they are put right. We’re proud of our record with our customers and currently have 350,000 businesses choosing to use music in the UK.

To put the complaints in context we have only have 1 for approximately every 5,000 customer contacts we make. This is an exceptionally low ratio and there are many firms who would be envious of a record like this. During 2009 our complaints fell by 50% and we appointed an independent ombudsmen who could handle any complaints if they were not resolved internally. As of January 2010 no complaints have needed to be passed on to the ombudsmen.

((WN)) How does the PRS work with musicians who are not signed to major labels, may make music available for download via their own websites or MySpace, and do not have the financial resources to protect their copyright?

((PRS)) Many of the PRS for Music membership is not signed to a major record label and we represent creators from all genres of music in the UK and abroad. By joining PRS for Music, which only costs £10 deferred to your first royalty payment, you ensure you can begin earning royalties whenever your music is played, performed or reproduced. We have worked hard to license such sites as YouTube, MySpace, Spotify and Sky Songs to name a selection to ensure our members can be rewarded when their work is used.

Our membership team also work hard to support our creators holding showcase events, offering advice of how to get their music used as well as legal and financial advice.

((WN)) Finally, what future plans do you have as an organisation in order to further protect and enhance your members work as new technologies emerge over the next few years?

((PRS)) PRS for Music will continue to be at the forefront of licensing new digital and online services to ensure creators are paid. We aim to get the balance right to ensure new products and music services can launch and develop, but that also they pay for the music they use.

The music industry is changing and the way we use music is continually changing (it always has) but we’ll still be at the forefront enabling people to use music whenever they want, and rewarding those that have created that music.

((WN)) Thank you for taking the time out for this interview. Good luck for 2010.