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See the discussion page for instructions on adding schools to this list.Tuesday, September 13, 2005

NAICU has created a list of colleges and universities accepting and/or offering assistance to displace faculty members. [1]Wednesday, September 7, 2005

This list is taken from Colleges offering admission to displaced New Orleans students, and is intended to make searching easier for faculty, graduate, and professional students.

In addition to the list below, the Association of American Law Schools has compiled a list of law schools offering assistance to displaced students. [2] As conditions vary by college, interested parties should contact the Office of Admissions at the school in question for specific requirements and up-to-date details.

The Association of American Medical Colleges is coordinating alternatives for medical students and residents displaced by Hurricane Katrina. [3]

ResCross.net is acting as a central interactive hub for establishing research support in times of emergency. With so many scientists affected by Hurricane Katrina, ResCross is currently focused on providing information to identify sources of emergency support as quickly as possible. [4]

With so many scientists affected by Hurricane Katrina, ResCross is currently focused on providing information to identify sources of emergency support as quickly as possible.

Physics undergraduates, grad students, faculty and high school teachers can be matched up with housing and jobs at universities, schools and industry. [5] From the American Association of Physics Teachers, the Society of Physics Students, the American Institute of Physics and the American Physical Society.

If you are seeking or providing assistance, please use this site to find information on research support, available lab space/supplies, resources, guidelines and most importantly to communicate with fellow researchers.

The following is a partial list, sorted by location.

Alabama |Alaska |Arizona |Arkansas |California |Colorado |Connecticut |Delaware |District of Columbia |Florida |Georgia |Hawaii |Idaho |Illinois |Indiana |Iowa |Kansas |Kentucky |Louisiana |Maine |Maryland |Massachusetts |Michigan |Minnesota |Mississippi |Missouri |Montana |Nebraska |Nevada |New Hampshire |New Jersey |New Mexico |New York |North Carolina |North Dakota |Ohio |Oklahoma |Oregon |Pennsylvania |Rhode Island |South Carolina |South Dakota |Tennessee |Texas |Utah |Vermont |Virginia |Washington |West Virginia |Wisconsin |Wyoming |Canada

Monday, February 29, 2016

Yesterday Leonardo DiCaprio won his first Oscar, for Best Actor, at the 88th Academy Awards. The award ended DiCaprio’s long wait for an Academy Award — he was first nominated in 1993 and won on his sixth nomination, for his role in The Revenant, which also won Best Cinematography and Best Director.

In his acceptance speech, DiCaprio described The Revenant as “about man’s relationship to the natural world”, and spoke of underprivileged people affected adversely by human activities on nature. He also said “Our production needed to move to the southern tip of this planet just to be able to find snow”. He concluded saying “I thank you all for this amazing award tonight. Let us not take this planet for granted. I do not take tonight for granted. Thank you so very much.”

DiCaprio was previously nominated for his work in The Wolf of Wall Street, for Best Actor and Best Picture; Blood Diamond, for Best Actor; The Aviator, Best Actor; and What’s Eating Gilbert Grape, for Best Supporting Actor.

Kate Winslet, who co-starred with DiCaprio in Titanic, was nominated for Best Supporting Actress for Steve Jobs, but lost to Swedish actress Alicia Vikander for her role in The Danish Girl. Brie Larson collected Best Actress for her performance in Room.

Mad Max: Fury Road had ten nominations and won six of them: Best Costume Design, Film Editing, Makeup and Hairstyling, Production Design, Sound Editing, and Sound Mixing. Ex Machina won the award for Best Visual Effects. Spotlight won the Best Picture award, and Sam Smith’s song Writing’s on the Wall won Best Original Song for Spectre ahead of the Grammy-winning song Earned It by Canadian singer The Weeknd.

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.

Sunday, July 5, 2009

The United Kingdom’s Serious Fraud Office is to launch an investigation into the collapse of car manufacturer MG Rover. The move follows the conclusion of a four-year enquiry started immediately after the firm became insolvent.

The group of four who owned MG Rover — John Towers, Nick Stephenson, Peter Beale and John Edwards — have been accused of asset stripping. The quartet, known as the Phoenix Four, paid a symbolic £10 (approximately €15) for Rover in 2000. At that time the company received an interest-free loan from former owner BMW for £427 million (approximately €700 million) and came with a large amount of unsold stock.

Between then and Rover’s April 2005 bankruptcy, by which time there were unpaid debts of £1 billion (approximately €1.5 billion), the Phoenix Four had removed an estimated £40 million worth of assets including pensions and salaries. An enquiry was launched by ministers that was expected to take a year, but the final report was not delivered to business secretary Lord Mandelson until three weeks ago.

The government used taxpayer’s money to fund a £6 million loan to MG Rover and attempted to negotiate a deal with a Chinese company, but these efforts failed. MG Rover’s collapse caused the loss of an estimated 15,000 jobs, including with various suppliers. A former MG Rover factory does still build a small number of MG sports cars in Longbridge by Shanghai Automotive Industry Corporation, who bought most of the designs.

The Phoenix Four released a statement criticising the criminal investigation. “There has never been any suggestion of improper conduct by the directors and this was confirmed in a report by the administrators PWC six months after they took over the running of the company. Four years on, any suggestion [of] another further investigation is frankly ridiculous and smacks of kicking this issue into the long grass. If the government has been so concerned to get to the heart of the matter why has it flatly refused more than 30 requests under the Freedom of Information Act which would have revealed correspondence and documents the directors believe would have shed some light on the government’s role in the affair?”

Saturday, March 10, 2012

The Kenyan government has dismissed 25,000 striking health workers, mostly nurses, citing failure to heed government orders to recommence work and concern for the welfare of hospital patients. Speaking on behalf of the government, Alfred Mutua stated the workers were dismissed “illegally striking” and “[defying] the directive … to report back to work”, which he called “unethical”. The government asks that “[a]ll qualified health professionals, who are unemployed and/or retired have been advised to report to their nearest health facility for interviews and deployment”, Mutua stated.

The workers, who had been on strike for four days, were wishing to have improvements made to their wages, working conditions, and allowances. The strikes have caused a significant number of Kenyan hospitals to cease operations. According to Kenya Health Professionals Society spokesperson Alex Orina, the average monthly wage plus allowances for health workers in Kenya is KSh25,000 (£193, US$302 or €230) approximately. With an increasing number of reports of patients neglected in hospitals emerging, two trade unions met with the Kenyan government yesterday and negotitated a return to work, although a significant proportion of demonstrators defied the agreement, The Guardian reported.

Orina told Reuters the dismissals were “cat-and-mouse games, you cannot sack an entire workforce. It is a ploy to get us to rush back to work, but our strike continues until our demands are met”. Frederick Omiah, a member of the same society, believed the government’s actions would “make an already delicate and volatile situation worse”, expressing concern that demonstrations may continue in the capital Nairobi, amongst other locations. Kenya Medical Practitioners, Pharmacists and Dentists Union chairperson Dr. Victor Ng’ani described government actions as “reckless”.

Mutua said the health workers were “no longer employees of the government” and had been eliminated from the payroll. While Ng’ani told the BBC of difficulties with finding other workers as skilled and experienced, Mutua reportedly stated that this would not be an issue. “We have over 100,000 to 200,000 health professionals looking for work today,” Mutua commented. “There will be a lag of a day or two … but it is better than letting people die on the floor, at the gate, or suffer in pain”.

Friday, July 17, 2009Following similar threats by workers at New Fabris and Nortel, workers at JLG in Tonneins, France, threatened to blow up several platform cranes. The JLG factory announced in April 2009 that it will fire 53 of its 163 workers by the end of 2009, while the remaining 110 jobs will not be secure over the next 2 years.

JLG Tonneins was acquired in 2006 with its parent JLG Industries, a maker of aerial work platforms, by the U.S.-based Oshkosh Corporation. Despite being hugely profitable in the past, production has been much reduced since 2008 with the contraction of the construction industry and lower demand for its products. Despite excellent past results the new American management demanded sweeping cuts at the company.

In the view of locals, “the company’s actions are a disgrace given the expensive perks, such as official cars, for its corporate fat cats, compared to the sacrifice, silence, and dignity demanded by the company of those it has made redundant.”

The management offered severance pay of € 3,000 (US $4,200), however the workers demanded a severance package commensurate with “the wealth that their labor has generated.” Worker’s delegates requested a “supra-legal” payment of € 30,000, on Thursday 16 of July the management responded with a counter offer of € 16,000. On Thursday night the worker’s actions secured the € 30,000 settlement initially demanded.

Saturday, June 25, 2005

Seven months after suspicions were first raised, United States Agriculture Secretary Mike Johanns confirmed that a second American cow has tested positive for BSE (also known as ‘mad cow disease’), as determined by a lab in Weybridge, England. The department believes that this cow was born in the United States.

The delay in confirmation followed two conflicting test results from last November. The “Western blot” test, which is a more sophisticated test, could have helped reach a final determination, but the U.S. refused to perform it in November. The department’s inspector general, Phyllis Fong, ordered the Western blot test in June without advising Johanns and by the time Johanns found out about it, the testing was under way.

Johanns was annoyed that the round of testing which confirmed “Mad Cow” had been ordered without him being consulted first.”I was asked by the Senate and the president to operate the department,” Johanns said. “I believe, in this area, very clearly, the secretary should be consulted, whoever the secretary is, before testing is undertaken. From my standpoint, I believe I was put there to operate the department and was very disappointed.”

A senior research associate with Consumers Union, Michael Hansen, said USDA officials “almost sound like some Keystone Kops.”

Johanns reassured Americans that they should not be afraid of eating beef, saying: “This animal was blocked from entering the food supply because of the firewalls we have in place. Americans have every reason to continue to be confident in the safety of our beef.”

On June 17, the Associated Press reported: “American cattle are eating chicken litter, cattle blood and restaurant leftovers that could help transmit mad cow disease — a gap in the U.S. defense that the Bush administration promised to close nearly 18 months ago.”

John Stauber, co-author of “Mad Cow USA: Could the Nightmare Happen Here?” said: “Once the cameras were turned off and the media coverage dissipated, then it’s been business as usual, no real reform, just keep feeding slaughterhouse waste. The entire U.S. policy is designed to protect the livestock industry’s access to slaughterhouse waste as cheap feed.”

Critics of the U.S. testing regimen said the fumbles this time increase their concerns about America’s screening process.

“How can we be sure they were really negative?” Craig Culp, a spokesman for the Center for Food Safety asked; “After all, (here is a cow that was) negative in November that is positive in June.”

The companies which render slaughter waste say new restrictions are not warranted. “We process about 50 billion pounds of product annually — in visual terms, that is a convoy of semi trucks, four lanes wide, running from New York to L.A. every year,” said Jim Hodges, president of the American Meat Institute Foundation.