Online smear campaign against Samia Al-Aghbari,Bushra al-Maqtari and Tawakkol Karman

first_imgNews April 19, 2011 – Updated on January 20, 2016 Online smear campaign against Samia Al-Aghbari,Bushra al-Maqtari and Tawakkol Karman The journalists and activists Samia Al-Aghbari, Bushra al-Maqtari and Tawakkol Karman were the targets of an online smear campaign. RSF_en center_img Organisation Help by sharing this informationlast_img

Magazine editor receives death threat

first_img June 1, 2021 Find out more Mass international solidarity campaign launched in support of Maria Ressa News Help by sharing this information News News Reporters Without Borders today voiced great concern about a death threat received by Glenda Gloria, the editor of the Manila-based magazine Newsbreak, and it called on the head of the police, Gen. Arturo C. Lomibao, to order an investigation and ensure she is protected.”In the current political context, it is essential for the press to be able to work without being targeted by threats, intimidation or censorship, and it is the duty of the police to protect threatened journalists,” the organisation said.The threat against Gloria took the form of a funeral wreath that arrived at her home on 2 August. On a ribbon attached to the flowers there were words of condolences signed, “From your loyal friends.” The wreath was sent by a man aged about 30 who drove a black car.Newsbreak said it is taking the threat seriously and believed it was linked to its investigative reporting.Gloria reported in the 4 July issue that the army’s intelligence service was the leading suspect in a case of telephone tapping that has shaken President Gloria Macapagal Arroyo’s government. Newsbreak has often reported about corruption and abuse of authority, including cases in which the president herself has allegedly been involved.Five journalists have been killed since the start of the year in the Philippines in connection with their work. August 5, 2005 – Updated on January 20, 2016 Magazine editor receives death threat RSF_en February 16, 2021 Find out more to go furthercenter_img PhilippinesAsia – Pacific Receive email alerts News Philippines: RSF and the #HoldTheLine Coalition welcome reprieve for Maria Ressa, demand all other charges and cases be dropped PhilippinesAsia – Pacific Organisation Follow the news on Philippines Filipina journalist still held although court dismissed case eleven days ago May 3, 2021 Find out morelast_img read more

Break down forces second Zumwalt destroyer to return to port

first_imgBack to overview,Home naval-today Second Zumwalt destroyer aborts builder’s trials due to electrical problems December 12, 2017 View post tag: Zumwalt-Class Share this article Electrical issues forced the US Navy’s second Zumwalt-class destroyer Michael Monsoor (DDG-1001) to abort builder’s trials just one day after leaving the shipyard.The future USS Michael Monsoor got underway from the General Dynamics Bath Iron Works site on December 4 but was forced to return on December 5 after experiencing problems with the electrical systems.The problems were caused by a harmonic filter aboard the ship, USNI News reported. According to the US Naval Sea Systems Command, the filters are used to prevent power fluctuations from damaging electrical equipment.The US Navy said the filter issues would not affect Michael Monsoor’s delivery time table.The lead ship in the class, USS Zumwalt, also experienced issues during its testing phase. Delivery was delayed because of the testing of the ship’s complicated Integrated Power System (IPS) which is distributing 1000 volts of direct current across the ship and is being installed on all three destroyers in the class.Additionally, Zumwalt experienced two engineering problems en route to its homeport in San Diego. In April 2017, the US Navy announced that problems with Zumwalt’s lube oil chillers were resolved. View post tag: USS Michael Monsoorcenter_img View post tag: US Navy View post tag: GDBIW Authorities Second Zumwalt destroyer aborts builder’s trials due to electrical problemslast_img read more

Industrial comment

first_imgTo access this article REGISTER NOWWould you like print copies, app and digital replica access too? SUBSCRIBE for as little as £5 per week. Would you like to read more?Register for free to finish this article.Sign up now for the following benefits:Four FREE articles of your choice per monthBreaking news, comment and analysis from industry experts as it happensChoose from our portfolio of email newsletterslast_img

Liberty 100, Super Nationals shows next for Deery Series

first_imgWEST LIBERTY, Iowa – A pair of $3,000 to win features for Deery Brothers Summer Series drivers are on the Saturday, Sept. 5 card during West Liberty Raceway’s Ready Mix Liberty 100 Weekend.IMCA Late Model tour points will be awarded for the first of those 50-lap features. The regular Deery purse will be paid at both.Qualifying for the Late Models, as well as Xtreme Motor Sports IMCA Modifieds, IMCA Sunoco Stock Cars, Karl Chevrolet Northern SportMods and Mach-1 Sport Compacts starts on Friday, Sept. 4.Also scheduled on opening night is the $1,000 to win 20-lap Ideal Ready Mix Iron Man Challenge, open to all Deery Series drivers with perfect attendance this season and former Deery champions.Pit gates open at 4:30 p.m. and the grandstand opens at 5:30 p.m. on Friday. Racing follows 6:30 p.m. hot laps. Spectator admission is $15 for adults and $10 for students ages 13-18.On Saturday, gates open at 2:30 p.m., the grandstand opens at 4 p.m. and racing follows 6 p.m. hot laps. Admission to the grandstand is $25 for adults and $20 for students.Kids 12 and under get in free when accompanying a paid adult and pit passes are $30 each night.Defending series champion and current point leader Justin Kay has won three of the last four, and four of the last six Deery events held at West Liberty.More information about the Liberty 100 Weekend is available by calling 563 744-3620 and at the www.simmonspromotionsinc.com website.The Deery Series takes top billing on Labor Day, when the IMCA Speedway Motors Super Nationals fueled by Casey’s opens at Boone Speedway.Winner of the Monday, Sept. 7 feature earns $3,000 plus a Weekly Racing Bonus of as much as $1,500.Pit gates open at 9 a.m., heat races are at 2 p.m. and the main event will start at approximately 9 p.m. Grandstand admission is $20 and pit passes are $30.The two-time defending Super Nationals champion is Jeff Aikey of Cedar Falls.Qualifying events for Hobby Stocks and Northern SportMods are also on the Monday program at Boone.Final Deery Series events of the season are Sept. 18 and 19 during the Yankee Dirt Track Classic at Farley Speedway. The Friday night main event pays $3,000 to win while top prize on Saturday is $7,500.Deery Brothers Summer Series top 20 point standings – 1. Justin Kay, Wheatland, 664; 2. Andy Nezworski, Buffalo, 638; 3. Jeff Aikey, Cedar Falls, 606; 4. Scott Fitzpatrick, Wheatland, 580; 5. Joe Zrostlik, Long Grove, 555; 6. Tyler Droste, Waterloo, 523; 7. Ryan Dolan, Lisbon, 522; 8. Todd Malmstrom, Silvis, Ill., 491; 9. John Emerson, Waterloo, 470; 10. Darrel DeFrance, Marshalltown, 407; 11. Jeremy Grady, Story City, 403; 12. Tyler Bruening, Decorah, 391; 13. Charlie McKenna, Clear Lake, 390; 14. Ray Guss, Milan, Ill., 352; 15. Andy Eckrich, Oxford, 343; 16. Joel Callahan, Dubuque, 318; 17. Jason Rauen, Farley, 292; 18. Richie Gustin, Gilman, 274; 19. Kyle Hinrichs, Swisher, 240; 20. Brian Harris, Davenport, 238.last_img read more

Magogo, Sseninde to attend 2019 CAF Awards in Hurghada

first_imgCAF big prize. PHOTO via @CAF_OnlineKampala, Uganda | THE INDEPENDENT | The President of the Federation of Uganda Football Associations (FUFA), Moses Hassim Magogo will be one of the invited guests to grace the 2019 CAF Awards taking place on Tuesday night in Egypt.It will be the first time Magogo attends a CAF function after serving a two months FIFA suspension related to the resale of 2014 tickets. The suspension ended on December 10th, 2019.Magogo who is also an executive member of the Confederation of African Football (CAF) will attend the ceremony at the Albatros Citadel Sahl Hasheesh, Hurghada together with ex-Ugandan international Jean Sseninde. The former England based professional and now involved with women football has also been invited by CAF.All CAF executive members led by the President Ahmad Ahmad and all 54 Presidents of Football Federations in Africa are expected to grace the ceremony. The event will celebrate African footballers and officials who have distinguished themselves during 2019.There will also be several new award categories in recognition of exceptional contributions to African football and inspiring individuals. Four-time winner of the African Player of the Year Award Samuel Eto’o Fils as host of the ceremony.The reigning African Player of the Year Mohamed Salah (Egypt) and his teammate at Liverpool in England Sadio Mane (Senegal) and Algeria’s Riyad Mehrez (Manchester City) have been shortlisted for the top Award.Uganda Cranes goalkeeper Denis Onyango and other players from the Council of East and Central African Football Associations (CECAFA) region who had been shortlisted earlier did not make the final list.Shortlists for different categoriesAfrican Football of the Year– Mohamed Salah (Egypt/Liverpool)– Riyad Mehrez (Algeria/Manchester City)– Sadio Mané (Senegal/ Liverpool)African Women’s Player of the Year– Ajara Nchout (Cameroon/Vålerenga)– Asisat Oshoala (Nigeria/FC Barcelona)– Thembi Kgatlana (South Africa/Beijing BG Phoenix)African Women’s National Team of the Year– South Africa–  Nigeria–  CameroonAfrican Men’s National Team of the Year – Algeria–  Senegal–  MadagascarAfrican Women’s Coach of the Year– Alain Djeumfa (Cameroon)– Desiree Ellis (South Africa)– Thomas Dennerby (Nigeria)African Youth Player of the Year– Achraf Hakimi (Morocco/Borussia Dortmund)– Samuel Chukwueze (Nigeria/Villarreal)– Victor Osimhen (Nigeria/Lille OSC)Africa’s Men’s Coach of the Year– Aliou Cissé (Senegal National Team)– Djamel Belmadi (Algeria National Team) – Moïne Chaâbani  (Espérance Sportive de Tunis)African Inter clubs Player of the Year– Tarek Hamed (Egypt/Zamalek)– Youcef Belaili (Algeria/Espérance Sportive de Tunis/Al Ahli KSA)– Anice Badri (Tunisia/Espérance Sportive de Tunis)*****URNShare on: WhatsApplast_img read more

Local Biotech Firm Claims to Produce COVID Vaccines Faster, Cheaper

first_img“I mean people are talking about if they are lucky they can make a billion doses in a year,” he adds. “In a week, we can pump out 1.5 billion doses of an antigen, which is the most active component that goes into making a vaccine. It’s a critical component.”Dyadic is working with labs and scientists worldwide on the project.The way it works is those labs share their vaccine gene sequence, which Dyadic places into its hyper-productivity C1 cells.The cells are grown in commercial fermenters, in order to produce the antigen quickly.Data so far indicates that C1 will be effective in vaccine production, according to Emalfarb.While the typical turnaround time for other methods is about 50 days,  Emalfarb says commercial fermenters can mass-produce batches of C1 in just 10 to 14 days. Mark Emalfarb, founder and CEO of Dyadic International, which is headquartered in Jupiter, tells West Palm Beach television station WPEC his staff is capable of producing one-billion doses per month.Emalfarb explains that he has spent the last two-and-a-half decades engineering a fungal cell, nicknamed C1, which is now being used in industrial biotech.He goes on to say that it is being further developed to help eventually mass-produce vaccines and drugs in larger quantities at a more affordable cost.“It’s very unique and the hyper-productivity came from a serendipitous mutation,” he says. “This is something that happened by accident, kind of like penicillin.”In addition, Emalfarb believes the technology, which has FDA GRAS approval for food and feed and has already been successfully tested on animals, could lead to mass production of a coronavirus vaccine. A South Florida-based biotech company says it has the science to mass-produce COVID-19 vaccines more quickly and cost effectively than anyone else, when they become available.last_img read more

Interview: The Director and The Producer Behind “Man on Fire”

first_imgIn 2014, a preacher in Grand Saline, Texas self-immolated to protest racism in his town. We talked with the filmmakers who captured his story.All images via Joel Fendelman.At this year’s Slamdance Film Festival in Park City, Utah, Man on Fire debuted as an official documentary feature. This film tells  the story of Charles Moore, the Texas preacher who set himself on fire to protest the dark history of racism in his town. We sat down with director Joel Fendelman and producer James Chase Sanchez to talk about the challenges of capturing this story and what motivated them to bring it to the world.PremiumBeat: Joel, tell me what drew your interest to this project?Joel Fendelman: At the time I was working towards my MFA degree in the Radio, Television, Film program at the University of Texas, Austin. Chase and I had a mutual friend Kristen Lacefield who told me about Chase’s research and the story of Charles Moore. I was immediately taken back by the extreme act and that I had never heard about it. In fact, I had just arrived in Austin about a month after Charles self-immolated in Grand Saline. I remember especially at that moment having larger existential questions about purpose and my responsibility to social justice in society. And more specifically that I wasn’t doing enough. Whether it was going to a protest march or giving a few bucks to homeless person, it always felt like just enough to stave off the guilt. And here was a preacher who spent his whole life on a mission for social justice and felt that he had not done enough. So I was floored and in awe of this preacher who sacrificed his life in such a horrific manner for a social justice cause. So it attracted me on a deep personal level but also as in everything it wasn’t so black and white. There were many questions I had about Charles, about this town, about his choice. I knew immediately that this could be a good opportunity to explore these questions in a documentary that I would use as my final thesis project.PB: Chase, tell us a bit about the research Joel mentioned. What were you working on, and why?James Chase Sanchez: So I am an academic, and at the time of Moore’s self-immolation, I was in graduate school at Texas Christian University studying racial rhetorics (how people talk about race). On June 23, 2014, Moore self-immolated, and I started collecting news stories and talking with news organizations about this story to get it to the public. I went to my dissertation advisor and told him about Moore, and he suggested it should be my entire dissertation project. I framed my dissertation by talking about the recent uptick in self-immolations globally and then moving into the racial perceptions and folklore in Grand Saline. So by the time Joel got in touch with me about possibly making this documentary, I was already 2/3 through my project and had already interviewed 25 people.I knew almost immediately when Moore self-immolated that if I ever had a story I needed to tell in my life this was it because I was raised in Grand Saline, and the racism that Moore wrote about was a racism I saw in the early-2000s. When his story didn’t make national news, I was upset because I couldn’t understand how something so powerful, something so visceral, didn’t get as much attention as self-immolations that take place in other parts of the world, like Tunisia and Tibet. So I jumped into my dissertation wanting to do justice by Moore, at least in an academic sense, and by extension, I believe this documentary does him justice, too.PB: What gear did you use while shooting, and how big was your crew? Were there particular equipment challenges that you think were unique to this project?JF: The documentary portion of the film was shot using a Sony A7sII with vintage Zeiss Contax lenses. In fact most of the footage was filmed using the 28mm. I used a Sony A6300 B camera for interviews and Ikan DS-1 gimbal for the floating shots. There were three of us: I ran camera, Chase did the interviews, and most of the location audio was done by Rodd Simonsen — with a few pick-up days by others when he couldn’t make it.For the reenactment section, it was a full narrative-like crew. There were probably about 15-20 people over the three-day filming, and we used a Panasonic Varicam LT with Cooke mini S4 lenses.One equipment challenge I had during interviews was that the A6300 B camera would overheat after about 20 minutes when filming in 4k. There were many times when I had stop the interview and cool off the camera. We eventually just ended up filming in 2k with that camera to avoid the overheating issue.During the reenactment filming we brought on Big Dog Pyro to handle the pyrotechnics — who were fantastic to work with. We had a particular shot where we wanted the flames to encroach into the frame from either side. It was a challenge to figure where to position the camera and the flame bars. We ended up putting our cinematographer on the floor with the camera and the flame bars right above him and covering him with flame retardant blankets and filming at 240fps.PB: Chase, I understand you faced some production challenges on this project. Particularly social challenges. Can you tell us about that? Did it ultimately benefit or damage the project?JCS: Yes, since I grew up in the town, I found there to be some social challenges with the film. One of the first challenges is that there were many people who did not want to talk to me because they believed I had a liberal agenda I wanted to spread. I am an academic who studies race and rhetoric, and I have some radical thoughts when it comes to racial issues in America that I talk about publicly. Some town members believed the film was going to be used as propaganda against the town—that we would be claiming the town is racist and all the people in it are racist. So on that end, there were many people who would have been great to interview because they had some deep knowledge and stories about the town, but they chose not to share them with us. Also, I had a few friends who actually wanted to talk but felt they would be chastised by the town if they spoke, which is unfortunate. These challenges came to the forefront during our last trip to town, when we were asked not to attend the football game because it would be “better for us.” We were unsure if someone actually feared for our safety or if they just did not want us to attend the game.Also, during this time, we learned from some prominent citizens in town that there were some people meeting and discussing our project and if they should speak with us or not. I am not sure if Joel agrees or not, but I felt that there were some people who spoke with us because they spoke with other people in town and got “permission” (in one way or another) to be interviewed. I think that was one of the challenges. I mostly felt people were honest with us on camera, but in some of the interviews, I had to press some people who I thought might be spinning stories.Overall, I would say that my relationship to the town actually helped the project. I believe if outsiders came to town and tried to make this documentary, most of the town would have not responded. Michael Hall, the author of the “Man on Fire” article in Texas Monthly, which was one of the inspirations of the documentary, told me that he had a hard time getting anyone in town to discuss race with him. So while there were many people who did not speak because they knew me and believed we had an agenda, I still think my presence did make some people feel more comfortable because why would a former citizen who mostly enjoyed his adolescent years in town launch into a full-on assault of the town? I think we did a good job alleviating these problems by describing the nuance we were shooting for in the film, and I believe the final product is something that reflects this nuance.PB: Joel, do you want to weigh in?JF: It was interesting for me to observe Chase interacting with the townspeople, many who he had connection to directly or through family or friends. It was always a question whether the person knew Chase’s politics and if so how they felt about it. And then myself being a Jewish city boy, I was curious how that would come off. But interestingly enough, no one ever really asked. I’d say barring the experiences that Chase mentioned and some controversy on social media at the end, all the interviewees were pretty friendly and forthcoming. I did have a concern about how people would discuss race with us on camera and whether we could get anyone to really talk about it — similar to Michael Hall’s challenge. But the beauty of cinema in contrast to a written article is that the camera captures so much. So even when someone doesn’t want to answer a question or brushes it off, the visual act of not saying something can speak volumes. It kind of goes in line with the saying that a picture speaks a thousand words.PB: Joel, you mentioned that you shot the documentary using vintage lenses, and we’re seeing more and more of this trend in the industry. As a cinematographer, what were you hoping to bring to your project with the particular load-out you carried on location?JF: There are a number of reasons I decided to go with the vintage lenses. Firstly, digital can be very sharp and sterile, so any way that we can add character and slightly soften the edge of the digital image the better — unless one is going for the sharp, sterile look. Secondly, you can get pretty high-quality lenses for relatively cheap, at least compared to what a new lens of similar quality might cost.As far as the equipment that I decided to use, it was based around a combination of price, aesthetic, and size. I love the look that the DSLRs are able to bring in such a small, reasonably priced package. At that point the Sony A7sII mirrorless camera had recently come out and was carrying a good reputation with quality and incredible low light capabilities. So it seemed like a good fit for this film because we wanted to be as low-key as possible and use natural light whenever available. It also allowed me to use the Ikan gimbal to create these very high-production-value, Steadicam-like shots for a fraction of the cost.PB: Man on Fire was an official selection this year at Slamdance. What was your experience with the festival, and where can we look to watch the film?JCS: Well, this was my first time at a film festival, so I was mesmerized by everything. Park City was full of people attending Sundance and Slamdance, and it was exciting to see so many creative people coming together to share their work with the world. For Slamdance especially, the mantra is “for filmmakers by filmmakers,” and you see that encompassed in the fabric of the festival. So many great independent filmmakers converged at this one festival, and the experience was very communal in nature. I was so happy to be a part of this project and to be able to experience this festival.We have a few forthcoming screenings: we are screening at the Big Sky Film Festival in Missoula, Montana on February 17th, and we will also be in the San Luis Obispo Film Festival in March. We also have two upcoming school screenings at the Liberty Hall in Tyler, TX on February 28th at 6:00pm and at Texas Christian University on March 1st at 7:00pm. Finally, we will be a part of the PBS Independent Lens series either this fall or next spring.JF: Let me add that one of the key motivating factors for us making this film was to use it as a vehicle for discussion and reflection. We have a link on our website, where you can request to host a screening and have us attend. So even if the film isn’t as of now scheduled to come to your town, it can be…Looking for more filmmaking interviews? Check these out.Interview: How the Editor Behind I, Tonya Recreated HistoryInterview: How This Oscar Nom Edited Downsizing While Directing His First FeatureExclusive Interview: The Secrets Behind RED Sensors and ResolutionInterview: Reality T.V. Sound Mixer Matthew HughesA Conversation with the DP of The Confession TapesInterested in more on working with vintage lenses? Read our previous coverage.Using Vintage Film Lenses on Micro 4/3 CamerasExplore the Ultimate Vintage Lens LibraryWorking with Vintage Lenses on Modern CamerasShould You Use Vintage Lenses on Your Next Project?What Do Filmmakers Mean When They Refer to the Cooke Look?last_img read more

Barrick Gold takes writedown on Peruvian mine beats expected adjusted earnings

first_imgTORONTO – Barrick Gold Corp. has reported a net loss of US$412 million for the third quarter, well below the US$99 million in net income expected by analysts, after taking a US$405 million impairment charge at a Peruvian mine.The Toronto-based company took the writedown at Lagunas Norte after results from a study on a type of ore treatment led it to shelving the treatment option.Adjusted net earnings for the quarter ending Sept. 30, however, amounted to US$89 million or eight cents per share, above the US$62.7 million or five cents per share expected by analysts, according to Thomson Reuters Eikon.The company reported a net loss of US$11 million for the third quarter last year, and an adjusted net income of US$200 million.Third quarter revenue totalled US$1.84 billion, in line with analyst expectations, but down from the US$2 billion it pulled in for the same quarter last year.In September, the company announced a proposed C$7.9-billion takeover of Randgold Resources that would firmly return its status as the world’s largest gold mining company.Companies in this story: (TSX:ABX)last_img read more

Fertilizer plant in Jorf Lasfar, dedicated entirely to Africa, Terrab

first_imgBamako – Upon the instructions of King Mohammed IV, the Moroccan Phosphates Company (OCP) will shortly launch, in Jorf Lasfar, a fertilizer plant dedicated entirely to the African Market, announced, Wednesday in Bamako, Mostapha Terrab, CEO of OCP group. This unit, to cost some $ 600 million, was announced by Terrab during the Moroccan-Malian economic high-level forum, held in Bamako as part of the visit of  King Mohammed VI in Mali.The plant’s production, conducted by the OCP, amounts to one million tons of fertilizers per year, and will be exported exclusively to Africa, Terrab added. King Mohammed VI, insisted that the production of the plant be exported exclusively to Africa, he said.The King began on Tuesday an official visit to the Republic of Mali, the first leg of an African tour that will take the Sovereign to Côte d’ Ivoire, Guinea, and Gabon.last_img read more