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Monday, February 27, 2006

Buffalo, New York —Wikinews was the first to tell you that the Elmwood Village Hotel development in Buffalo, New York was to undergo “significant changes”.

The Elmwood Village Hotel is a proposed project that would be placed at Elmwood and Forest Aves. in Buffalo. In order for the development to take place, at least five buildings that house both businesses and residents, must be demolished.

To confirm and to get more information about the changes, Wikinews interviewed Eva Hassett, Vice President of Savarino Construction Services Corporation, the development company in charge of building the hotel.

Wikinews: The hotel proposal is being redesigned. Could you comment on that? What changes are being made? Are they significant?

Eva Hassett: The hotel has been resized as a 72-room, four story building. This is 10% smaller in number of rooms and a full story lower. We are also redesigning the facades in a way that will minimize the mass – more of a vertical feeling than horizontal. Different materials, windows, details. The smaller size of the hotel also makes the number of on-site parking spaces more appropriate and hopefully represents less of a challenge to an already difficult parking situation.

WN: Will you still be going before the city’s planning board as scheduled on February 28? Same for the Common Council?

Hassett: We will be on the Planning Board agenda this Tuesday morning but I do not expect that the Board will vote on the item that morning. I think we will be mainly explaining the new design and hearing input/questions.

WN: Will there be anymore public meetings?

Hassett: We would be happy to do one more big public meeting. We will be talking to Forever Elmwood about that on Monday (February 27, 2006). We would like to see if there is support for the new design and we also want to honor the public’s request for another meeting. I am hopeful that meeting can take place the week of March 6th.

WN: Is Savarino considering Mr. Rocco Termini’s design/proposal? If no, do you (Savarino) support/oppose?

Hassett: We are hopeful that we can build the hotel as redesigned. We think it would be a great addition to the Elmwood Ave. area, a good way for out-of-towners to see what Buffalo offers and a big help to the businesses there.

WN: Are you considering more time for the community to make a judgment?

Hassett: As I mentioned above, we expect to have one more meeting to get public reaction to the new design, and I think the Planning Board may want an additional meeting to make their determination. We do however, have constraints that will limit the amount of extra time. We still think it is a great project for the City and Elmwood; and we still want it to be something that the community wants as well.

So far, the City of Buffalo’s City Planning Board is still scheduled to meet at 8:00 a.m. (Eastern) on February 28, 2006 followed by the Common Council meeting at 2:00 p.m. on the same day.

Images of the design are not yet available. “We are working on the renderings this weekend, but I will likely have some early in the week,” stated Hassett.

[edit]

Thursday, February 15, 2007

The year 2007 marks the meeting of the major representatives of the watch and jewelry industry at BaselWorld Show, Basel, Switzerland. The Show will take place in the period of April 12 – 19, 2007. The international event is to attract over 2000 companies from 45 countries and about 90,000 visitors.

At present day the luxury goods business holds quite strong positions in the world industry and is still developing at high rates due to appropriate economic climate. Thus, BaselWorld is perceived by watch and jewelry producers and their partners as favorable new grounds for their further development.

BaselWorld is organized annually by MCH Swiss Exhibition (Basel) Ltd with a purpose to provide new business opportunities for the participants who are expected to exhibit their latest products in the exhibition area of about 160,000 m2. Visitors come to BaselWorld to keep aware of the current trends of watch and jewelry making, while retailers and wholesalers discover new partners and strengthen their links with well-established ones.

The exhibition is divided into product sectors presented in the six exhibition halls, among them there are the Hall of Universe and the Hall of Elements. This year the management of the Show has taken care of updating and redecorating the design of the halls.

All the participants of the event will be able to expand their business contacts beyond the fair in the BaselWorld Village located nearby. The ‘village’ comprises special facilities for partners to discuss their matters in informal atmosphere.

Friday, July 7, 2017

On Wednesday, automobile company Volvo announced all of its cars to be released in 2019 onwards are to use some form of battery-powered engine, leaving conventional petrol-only vehicles altogether. The decision comes after Volvo announced in May their intent to cease production of diesel vehicles.

The chief executive of Volvo Cars, Håkan Samuelsson, said, “People increasingly demand electrified cars”. Volvo aims to release five new electric vehicle models between 2019 and 2021. While little has yet been revealed about them, the company has stated two of them are to be high-performance electric vehicles, branded as Polestars.

Other car models from 2019 may be plug-in hybrid or 48-volt “mild hybrid” systems. Audi and Mercedes-Benz are also releasing mild hybrid cars for the European market.

“This announcement marks the end of the solely combustion engine-powered car. Volvo Cars has stated that it plans to have sold a total of 1m electrified cars by 2025. When we said it we meant it. This is how we are going to do it,” Samuelsson said. Volvo is owned by Chinese automotive giant Geely, and China’s Ministry of Industry and Information Technology has said by 2025 they want new vehicle sales to be 20 percent “new energy vehicles”.

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.

Friday, August 4, 2006

New South Wales Police have arrested and charged a 39-year-old man from Warner’s Bay in Newcastle, on the NSW Central Coast after he allegedly stole jewelery from his employer and sold it on an Internet auction site.

According to police, the man stole over AU$100,000 worth of gold and diamond jewelery from a store where he worked and then sold them online. This is alleged to have occurred over a period of several months.

Police arrested the man at his workplace and found stolen items of jewelery at his home. Police charged the man with 34 counts of larceny as a servant or clerk.