WhatsApp blocks accounts of at least seven Gaza Strip journalists RSF_en IsraelMiddle East – North Africa Organisation RSF asks ICC prosecutor to say whether Israeli airstrikes on media in Gaza constitute war crimes June 3, 2021 Find out more Help by sharing this information News Receive email alerts The following day, 15 June 2004, Qusini was working in Nablus, covering an Israeli Army incursion into the town (photo). He was among a group of around a dozen journalists who were covering a military operation around a building. The soldiers used loudhailers to insult them and threatened to destroy their equipment unless they left the area. Qusini protested and asked to see the order that it was a “closed military zone”. An angry officer called for his arrest and he was bundled into an Israeli jeep and his jacket was ripped off and used to blindfold him. His colleagues only secured his release on the condition that they all immediately left the area.In a previous letter to Israeli Defence Minister Shaul Mofaz, Reporters Without Borders called for an “impartial, swift and rigorous” investigation into the shooting of Agence France-Presse photographer Mahmoud Hams, 25, who was wounded on 5 May 2004 in the Gaza Strip. The organisation has so far received no response. IsraelMiddle East – North Africa Reporters Without Borders has written to Israeli Defence Minister Shaul Mofaz to protest at a string of violent attacks by the Israeli Army against Palestinian journalists in the Nablus area between 10-15 June 2004. Reuters photographer Abed Qusini was threatened with arrest. June 21, 2004 – Updated on January 20, 2016 Reporters Without Borders condemns a string of violent attacks against Palestinian journalists News News Follow the news on Israel Palestinian photographer Jaafar Ishtayeh, working for Agence France-Presse (AFP), was slightly injured in the back by a tear gas canister in al-Zawiyeh village on 13 June. He was taken to hospital and discharged after treatment but was unable to resume work for several days.Associated Press (AP) photographer, Nasser Ishtayeh, was also in al-Zawiyeh during the demonstrations. He arrived there after waiting more than an hour at a military checkpoint and was threatened by soldiers. He reported that one of them said to him, “Watch out, we have already injured two of your friends. You better take care if you don’t want to be the third”.Photographer Abed Qusini of the British Reuters news agency narrowly avoided arrest on the same day in the same village. He said he was with a group of Palestinian journalists and filming, when a soldier ordered his arrest on the grounds that the area had been declared a “closed military zone”. Qusini, who speaks Hebrew, asked to see the written order and to photograph it to show to Reuters that all journalists were banned from the area.One soldier and then a second grabbed his wrists and tried to seize his equipment. He struggled and tried to use his mobile phone to call for help. An officer then ordered his arrest and two soldiers attached his hand to their vehicle with plastic handcuffs. Fifteen minutes later he was freed but threatened with further arrest unless he immediately left the scene. to go further Israel now holding 13 Palestinian journalists Reporters Without Borders today protested to Israeli Defence Minister, Shaul Mofaz, about a string of violent attacks by the Israeli Army against Palestinian journalists in the northern town of Nablus on the West Bank between 10-15 June 2004.”The methods the Israeli Army uses to hamper the international media from covering its clashes with Palestinians over the construction of its security fence are unacceptable,” the international press freedom organisation said.”The army last week resorted to intimidation and threats and fired tear gas canisters directly at journalists, injuring two of them. It is evident that during operations, the Israeli Army systematically obstructs the work of Palestinian journalists. They are also heedless of their safety, taking unsufficient precautions to avoid injuring these civilians, who have to be there in order to report on the situation,” it added.Palestinian photographer Alaa Badarneh of the European Press Agency (EPA) went to al-Zawiyeh village, around 30 kms south of Nablus on 10 June to cover local Palestinian protests against the building of the security fence. He described how soldiers broke up the demonstration with tear gas. One soldier around 40 metres away targeted him, firing a tear gas canister directly at his legs.Badarneh was picked up at the scene in a private car and after going through several Israeli roadblocks he reached Nablus hospital where he was kept under observation for the day. He had been clearly identifiable as a journalist, wearing a fluorescent jacket marked “PRESS”. News May 28, 2021 Find out more May 16, 2021 Find out more
WATCH: “Everyone is fighting so hard to get on” – Pat Ryan on competitive camogie squads by Alan [email protected] up for the weekly Limerick Post newsletter Sign Up “WHAT we are proposing to do is safe”.That was the message from Irish Water to local councillors this week when the company explained its plans to run a pilot orthophosphate treatment programme in Limerick.Irish Water officials briefed public representatives this Monday on their plans to reduce lead levels in the city’s drinking water supply. A proposed pilot programme in partnership with the Council, will see an orthophosphate treatment plant added at Limerick City Water Treatment Plant.The programme has the approval of the Health Service Authority (HSE) and Environmental Protection Agency (EPA).According to Irish Water, orthophosphate is a food grade product, normally used in the food and beverage industry, and is safe for human consumption. They claim there is 500 times more phosphorus in a glass of milk than there is in a glass of water that has had the chemical added to it.Irish Water also makes out that the average person takes in between 1,000 and 2,000 milligrammes of phosphorus daily, and the amount which would relate to water treated with orthophosphate would be three milligrammes.Head of asset management at Irish Water, Jerry Grant, maintains that orthophosphate treatment addresses the public health objective in reducing the level of lead dissolved into water passing through lead pipework.“By doing so, it’s possible to reduce lead consumptions levels in a safe way and I would like to reassure people in Limerick that what we are proposing to do is safe. This is not a new method of reducing lead levels. It is, in fact, already being done in many countries for many years,” Mr Grant explained.“One other key element of this pilot programme is to study the environmental effect of its introduction in Ireland. Our expectation, based on the experience in other countries, is that orthophosphate treatment will continue as a mitigation measure for as long as lead pipes remain in properties.“Limerick was chosen as the pilot project because of the high level of properties with lead service pipes and also because the waste water is not discharged into an inland fresh water river or waterway”, he said. Previous articleInformation evening on proposed N21 Adare Western Approach Improvement SchemeNext articleMayor welcomes international students to LIT Alan Jacqueshttp://www.limerickpost.ie WhatsApp Linkedin Advertisement NewsLocal NewsIrish Water claims that Limerick pipe treatment chemical is safeBy Alan Jacques – September 11, 2015 822 Print RELATED ARTICLESMORE FROM AUTHOR Limerick’s National Camogie League double header to be streamed live TAGSEnvironmental Protection Agency (EPA)Health Service Authority (HSE)Irish Waterlimerick Email Facebook Limerick Artist ‘Willzee’ releases new Music Video – “A Dream of Peace” Predictions on the future of learning discussed at Limerick Lifelong Learning Festival Twitter Vanishing Ireland podcast documenting interviews with people over 70’s, looking for volunteers to share their stories Limerick Ladies National Football League opener to be streamed live
The Village Bakery in Melmerby is an organic operation in every sense of the word. Producing a wide range of bakery products, including wheat, gluten and dairy-free organic ranges, its commitment to standards and innovative branding won over the judges at last year’s Baking Industry Awards, which saw it take home The Organic Award, sponsored by Asda.Based in Cumbria, and owned by family business Bells of Lazonby, the bakery sources inspiration for its recipes from across the globe. Marketing manager Lindsay Kilifin explains that a lot of its older flagship products have interesting stories behind them. “For example our rye bread is made from a sourdough recipe that our founder, Andrew Whitley brought back from Russia over 20 years ago.” The Village Bakery was founded in 1976 by Whitley, a former BBC Russian correspondent, who until a few years ago still helped out with new product development.Kilifin says the business isn’t just about organics; it’s much more than that. Sustainability, healthy living, nutrition and minimal processing are all important aspects of the business, which also bakes all its products in a wood-fired oven, using renewable energy. “We tried to highlight what makes The Village Bakery different, and how it goes the extra mile in everything that it does,” says Kilifin, regarding the business’s approach to its application. She explains that being organic isn’t always the easiest thing, and sourcing the right quality ingredients can sometimes cause problems, but continuing the values on which the business was founded is key.”Nothing is compromised,” she says. “We’re very particular about the ingredients that go into our foods and our bakery products. We only use the finest of ingredients and it becomes more difficult when you look at the products which are not just organic, but are also gluten, wheat and dairy-free too – that’s when the difficulties really kick in.” Other challenges have included developing products with sufficient shelf life for distribution to supermarkets.It believes ’natural good taste’ is the key to success, and it uses natural processes, artisan methods and minimal additives in its products. In fact the only additive it uses is baking powder in some cakes. Its breads are produced in the belief that ’time equals flavour’, employing artisan methods of slow fermentation. “We won’t use certain ingredients, even if they’re likely to be a great seller, if it compromises our values. For example we don’t want to use unnecessary sugar, so we sweeten products using fruit juice, for example apple juice, and date syrup. We don’t plough sugar into what we do – even if sometimes it would be easier.” It also aims to use ingredients which cater for most special dietary needs.Its products are all accredited by the Soil Association and it also conducts frequent reviews of its suppliers to ensure the quality is upheld and that improvements are made as the market evolves and the availability of ingredients improves.In the year leading up to the awards, one of its biggest achievements was launching its breads in compostable bags, says Kilifin, which it believes was an industry first. It rebranded its organic range back in 2006, before doing the same for its free-from ranges in June 2008. “It’s given the brand a bit of personality, an injection of colour and a focus on our brand values, as well as helping to build more of a rapport with our customers, in terms of who we are, what we do, why we do it and why we go to the lengths that we do,” she explains.The bakery also worked on a number of initiatives to improve the accessibility of its products, for example by widening its distribution and increasing its branded presence.Its Village Bakery breads are now stocked in major multiples including Asda, Tesco, Sainsbury’s and Waitrose and in a number of health food and organic retailers across the UK, such as Planet Organic and Fresh and Wild. Approximately 50% of its branded turnover is from the independent sector.In its application to Asda’s Organic Award, the bakery said it believed its growth is down to a focus on its brand values (organic, sustainability, healthy living, honest and ethical – and simply better), the fact that its innovations are very much in line with consumer and retailer trends, and also its focus on growth markets.”The Organic Award was a new award last year, and there hadn’t been one like it before. We felt The Village Bakery fitted the criteria perfectly. It had its name written all over it,” says Kilifin.As always with these things, it’s still a big shock when you win, she explains. “I think the judges felt we were different and that we worked hard at maintaining what we’re about. It’s always a total surprise when you win and we didn’t expect it, but we’re really, really proud of it. It’s an honour for the brand.”The awards night was attended by Kilifin, as well as MD of Bells of Lazonby, Michael Bell, wife Susan and its HR manager, Julie Kemp, who was a finalist in the Achievement in Bakery Training category.Looking to the future, Kilifin says that despite the tough economic climate, the business is still climbing. “Being an organic brand especially, it is tough – it’s no walk in the park, but we’re still developing. We’ve just launched two new breads into Waitrose, under The Village Bakery brand.”The Village Bakery knows the fact that a product is organic is not always enough in itself for the product to sell. As the company puts it, its focus is on the wider picture surrounding the organics issue, and an attempt to encompass healthy living and sustainability as extensively as possible in all that it does.—-=== View from the awards night ===== Michael Bell, MD, Bells of Lazonby ==”The awards evening was fantastic last year. It was absolutely spot on. I know times are hard for everybody, but actually it’s a great occasion to celebrate all that is good in our bakery industry, from the very big to the very little and everyone in between. It’s a good networking night as well.”== How did it feel when you were announced as winners? ==”Well I’ve always wanted to lift up the FA Cup, and I’m delighted for the business to win a Baking Industry Award – it’s up there alongside it; it’s fantastic. Everyone likes to be associated with success. Winning the award doesn’t put thousands of pounds into your bank account, but it’s you being judged by your peers in the industry and it’s great to get a pat on the back from those who know.”== Why do you feel you won? ==”We’d be complacent for thinking we knew why we’d won, but we try very hard to look beyond just being organic. Consumers are wanting more than organic ingredients, and want to believe in the brand behind the products.”
This is one in a series of profiles showcasing some of Harvard’s stellar graduates.Many Harvard students have interests that bridge the seemingly disparate fields of art and science. Many fewer combine them in a joint concentration. Among those, Maille Radford ’17 has accomplished a first in Harvard history: earning joint degrees in chemistry and history of art and architecture.Radford already has experience in art conservation, a field that unites her two disciplines. In a senior-year internship in the Straus Center for Conservation and Technical Studies at the Harvard Art Museums, she took samples and analyzed objects made from a variety of materials. Radford applied what she learned to her thesis on the evolution, use, reception, and degradation of plastics in modern art.“Being able to work in conservation for the first time, I’ve realized how my studies over the past four years may apply to studying art and artists’ materials,” Radford said. “It’s an incredible opportunity and has made me look at artwork differently.”Radford grew up in Dallas, and when she and her sister were young, they visited museums every Friday. In high school, she interned at the Kimbell Art Museum in nearby Fort Worth. Her curiosity about conservation science was further piqued by a family friend who worked as a paper conservator at the Metropolitan Museum of Art in New York.At Harvard, Radford declared a chemistry concentration — but her love for art didn’t fade. So she approached Gregory Tucci, director of undergraduate studies in chemistry and senior lecturer on chemistry and chemical biology, to ask if she could pursue a joint concentration.“This had never been done before, so at first I was thinking the answer was going to be: ‘no way,’” recalled Tucci. “But by the end of our conversation, it was clear that she was a very special person and that, actually, she must do this.”Doing this was not easy. Radford had to build her own academic plan of study in order to prove she could graduate in four years. And given the sheer number of courses required by each discipline, she had little time to study subjects beyond her fields. She said she would anyway have used the time to take history of art and architecture classes.That Radford earned her joint degree on time was “not surprising” to Tucci. “Maille’s someone who gets everything done, and she gets it done to the absolute highest standards,” he said.Benjamin Buchloh, the Andrew W. Mellon Professor of Modern Art and Radford’s history of art and architecture adviser, echoed Tucci. “Maille was more than capable and qualified to do this,” he said, adding that Radford’s interdisciplinary thesis, which incorporated analysis of Richard Hamilton’s use of plastic in “The Solomon R. Guggenheim” reliefs (1965–66), was “quite outstanding.”The pinnacle of Radford’s unique academic itinerary was her Straus Center internship. Her joint concentration required that the two disciplines be addressed in a single thesis; one place where she could conduct research to this end was right under her nose. The Straus Center was founded to encourage the intersection of conservation, conservation science, and curatorial practice.“There’s an artificial divide between the humanities and the sciences,” said Narayan Khandekar, the Straus Center’s director. “But it’s not often you find people who are willing to take risks to bridge that divide. I’m really happy Maille was able to do it.”The Straus Center rarely accepts undergraduate interns because of the rigorous advanced-level work required in conservation labs. But Khandekar said he could tell Radford possessed the knowledge and skills, along with the enthusiasm.She worked closely with Georgina Rayner, the Andrew W. Mellon Postdoctoral Fellow in Conservation Science, to contribute to a comprehensive survey of the plastics collection at the Harvard Art Museums. Radford said it was exhilarating — if also intimidating — to observe the extraction of samples from works she had studied in class, such as Russian sculptor Naum Gabo’s “Construction in Space with Balance on Two Points” (circa 1925–26) and to work directly with other objects such as Jim Dine’s prints portfolio “A Tool Box” (1966). With Rayner’s oversight, Radford analyzed these objects using specialized equipment, such as the FTIR (Fourier transform infrared spectrometer).Katherine Eremin, the Straus Center’s Patricia Cornwell Senior Conservation Scientist, assisted Radford with the analysis and identification of pigments in Islamic manuscripts from the collection of Villa I Tatti, home to the Harvard University Center for Italian Renaissance Studies, in Florence, Italy. The works are part of the exhibition “A New Light on Bernard Berenson: Persian Paintings from Villa I Tatti” (May 20–Aug. 13).“You learn fine-motor skills and analytical techniques in the lab, but actually applying them to the artworks is very different,” Radford said.Radford spent two days a week in the Straus Center as an intern, but her involvement with the Harvard Art Museums goes back to her first days on campus. As a member of its Student Board since spring 2014, Radford helped connect the campus community and her fellow Dunster House residents with the museums. The group organized House Teas, Student Late Nights, and other popular events held in the museums.“They say it’s the students’ museum, and it’s really felt that way, based on all the chances the Student Board has had to meet with the director, curatorial staff, and others who work here,” Radford said. “It was meaningful to see how much the student perspective is valued.”Graduation means leaving behind Harvard’s artworks and laboratories, but not the world of museums. With a prestigious Marshall Scholarship, Radford will pursue graduate degrees in curatorial studies and art history, hoping to determine whether she’ll pursue a career as a curator, a conservation scientist, or something in between.“I’m so appreciative that I have this background,” Radford said, “because it has helped me understand the potential of analyzing artwork.”
View Comments Could Jerry Herman and Michael Stewart’s Mack & Mabel return to the Great White Way? As they say, time heals everything. According to The New York Post, the Chichester Festival Theatre production, which is currently playing through September 5, plans to transfer to the West End and maybe cross the pond to Broadway next season.The production, directed by Jonathan Church, stars Olivier winner Michael Ball and rising star Rebecca LaChance, who made her Broadway debut last year as the Carole King understudy in Beautiful. The new staging features an adapted book by Stewart’s sister, Francine Pascal, who is the author of the Sweet Valley High series.The show, which premiered on Broadway in 1974, follows the relationship between silent film director Mark Sennett and his star Mabel Normand. The score features such tunes as “I Won’t Send Roses” and “Time Heals Everything.” Though the original production closed in the fall of 1974 after 66 performances, it was nominated for eight Tony Awards in 1975, including Best Musical and nods for its stars Robert Preston and Bernadette Peters.Take a look at Ball, LaChance and the rest of the Mack & Mabel cast in action below.
Sign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York Suffolk County police homicide detectives are investigating a shooting that killed a 23-year-old man outside a house in Shirley Friday night, police said. The victim, Jamar Lamar, of Shirley, was transported in a private vehicle to Brookhaven Memorial Hospital Medical Center in East Patchogue, where he was pronounced dead, police said. Police responded to Auborn Avenue at 11:30 p.m. after a 911 caller reported gunshots, police said. Police did not say how many shots were fired. Detectives are asking anyone with information on the shooting to call the Homicide Squad at 631-854-6394 or Crime Stoppers at 1-800-220-TIPS.