Friday, June 8, 2012

President Vladimir Putin of Russia today signed a new law increasing the fines available against those involved in unlawful protests, overriding concerns from his human rights advisor and the Council of Europe.

The measure was proposed by ruling United Russia after May 7 protests coinciding with Putin’s third inauguration saw clashes between protestors and police, with 400 arrests. The United Russia-dominated State Duma voted 241–147 in favour earlier this week, ahead of a protest scheduled for Russia Day, June 12, in Moscow against Putin’s twelve-year rule.

The new legislation increases maximum fines for individuals involved in illegal protests from 100 rubles (US$3) to 10,000 rubles (US$300), but those breaching “the established rules of conduct” face fines of up to 20,000 rubles, up from a previous high of 1,000 rubles. Officials caught engaging in illegal demonstrations have had their maximum penalty increased from 50,000 to 600,000 rubles (upper equivalent: US$20,000).

Organisers of protests that result in injury or damage can be fined up to 300,000 rubles. Smaller violations can be dealt with by detention of up to fifteen days, and up to 200 hours of community service is available as an alternative sentence to a fine. Protestors are banned from concealing their faces and nobody with a criminal record may organise a protest.

Supporters say the bill is required for public safety. Putin explained protests “must be organized in such way that they inflict no damages to other citizens, who do not take part in them” and insisted authorities “should apply the new law in such a way that it does not limit the citizens’ right for expression over any issue of internal or external politics, including street marches, events and rallies”.

Dmitry Peskov, Putin’s spokesperson, said the law would be published in Saturday’s edition of the Rossiyskaya Gazeta; it takes effect instantly upon publication. He said the law matched similar legislation in other European nations. Irina Yarovaya, who leads the State Duma’s Security and Anti-Corruption Committee, agreed that health and safety was the law’s top priority.

Yarovaya noted the ‘youth’ of democracy in Russia, saying “We are only beginning to have the experience that other countries have been accumulating for decades and centuries.” She said Putin’s “political mission” is “protection of public security and national interests of the country”.

Putin says he investigated the laws of European Union members, and found “There is nothing in our law which would have been more tough than similar legislation in the countries I named,” which included Germany, France, Spain, and the United Kingdom. He today spoke of last year’s “mass riots, torched cars and robbed stores” in the UK.

The law has faced local and international criticism. Mikhail Fedotov, chairman of the Presidential Human Rights Council, urged Putin to veto the law and said much depended on enforcement, which he hoped to be “moderate”. The Council claims it breaches existing legislation including the constitution.

Igor Lebedev, a prominent Liberal Democrat, said Putin’s signature was “absolutely expected”. The Liberal Democrats opposed the bill. Yalboko leader Sergey Mitrokhin called the law “a ban on holding rallies and political actions” which he cannot organise protests against because “Now anyone can be punished with slave labor or a crazy fine. I can’t gather people for a rally knowing that they might be sent straight to the galleys from there”.

Mikhail Gorbachev, ex-President of the former USSR, characterised today’s signing as “a mistake” that could leave revisions necessary. Putin himself acknowledged the possibility; “Nothing we have is frozen solid. If we find out the MPs have missed something, that something must be laid out in a different way… we can approach the State Duma deputies, look at how the law is applied and ask them to make some corrections.”

Russia’s opposition says Putin’s true motivation is to provide a response to the planned June 12 rally against him, which stems from widespread claims of irregularities in this year’s Presidential election. Ilya Yashin, a leader of the movement, called the law “absolutely irresponsible policy” that would not deter protestors. “The authorities are fighting against the protests, instead of fighting against the injustice that is causing them,” said Yashin.

The Council of Europe’s Parliamentary Assembly also spoke out against the law. Putin, however, cautioned that “A society which permits rallies and marches must protect itself from radicalism”.

Tuesday, October 28, 2008

Acting teacher and director Milton Katselas died Friday at age 75, after suffering from heart failure at Cedars-Sinai Medical Center in Los Angeles, California. He began the Beverly Hills Playhouse in 1978 and taught acting classes there to noted actors including George Clooney and Gene Hackman. Katselas is survived by a sister and two brothers.

Katselas directed an off-Broadway production of Edward Albee‘s The Zoo Story, and received a Tony Award nomination for his 1969 direction of Butterflies are Free. Actress Blythe Danner won a Tony Award for her role in Butterflies are Free under Katselas’ direction. He moved to California to direct the film version of that play, and went on to direct films and television movies. Actress Eileen Heckart received an Academy Award for her role in the film version of Butterflies are Free.

Katselas directed the San Francisco and Los Angeles productions of the play P.S. Your Cat Is Dead! by playwright James Kirkwood, Jr. In his author’s notes in the publication of the script, Kirkwood acknowledged Katselas, and wrote that the plays were “directed with incredible energy and enthusiasm by Milton Katselas, to whom I am extremely indebted”.

Katselas directed the television movie Strangers: Story of a Mother and Daughter, and actress Bette Davis received an Emmy Award for her role in the movie. Katselas taught many famous actors including Michelle Pfeiffer, Richard Gere, Robert Duvall, Jack Lemmon, Al Pacino, Goldie Hawn, Christopher Walken, Burt Reynolds, George C. Scott, Elizabeth Taylor, Richard Burton, Alec Baldwin, and Patrick Swayze. Katselas was credited with being able to nurture actors with raw talent so that they could develop strong Hollywood careers. He utilized innovative techniques in his courses – one course called “Terrorist Theatre” had a simple premise: successfully get an acting role within six weeks or leave the course.

He grew up in Pittsburgh, Pennsylvania to parents who had immigrated from Greece, and graduated from Carnegie Mellon. He studied acting with Lee Strasberg in New York at the Actors Studio, and received advice from directors Joshua Logan and Elia Kazan.

Katselas was a prominent Scientologist, and a July 2007 profile on Katselas in The New York Times Magazine observed that some of his students stopped taking courses at the Beverly Hills Playhouse because they felt they had been pressured to join the Church of Scientology. According to the article, Katselas credited Scientology founder L. Ron Hubbard “for much of his success in life”, and one of his students works at Scientology’s Celebrity Centre. The article commented that some in Los Angeles view the Beverly Hills Playhouse as “a recruitment center for Scientology”.

Katselas met L. Ron Hubbard after moving to California, and began studying Scientology in 1965. The New York Times Magazine reported that he had reached the level of “Operating Thetan, Level 5, or O.T. V.” in 2007. According to The New York Times Magazine when Scientologists proceed up the “The Bridge to Total Freedom” they learn the story of Xenu, and that: “75 million years ago the evil alien Xenu solved galactic overpopulation by dumping 13.5 trillion beings in volcanoes on Earth, where they were vaporized, scattering their souls.” A Church of Scientology publication, Source, lists Katselas as reaching O.T. V. in 1989.

Though some actors felt pressured to join the Church of Scientology after taking courses at the Beverly Hills Playhouse, at least one individual felt Katselas was not active enough with the organization. Actress Jenna Elfman left the Beverly Hills Playhouse because she felt Katselas was not committed enough to Scientology. Katselas had previously directed Elfman in half of Visions and Lovers: Variations on a Theme, two one-act plays about relationships that he had written himself. In 1999 Katselas had planned to adapt the script of Visions and Lovers to a film version, and Elfman was set to reprise her role from the play. In an article in Variety about the project, Elfman commented on her experience working with Katselas: “He is brilliant, and knows me so well as a person and an actress that he gets the most out of me.”

Other prominent Scientologist actors who have studied under Katselas include Giovanni Ribisi, Jason Lee, and Leah Remini. According to Rolling Stone, Katselas also recruited actress Kelly Preston to Scientology. Actress Nancy Cartwright (the voice of Bart Simpson), told Scientology publication Celebrity that Katselas motivated her to get more active in Scientology, and she stated she took the organization’s “Purification Rundown” and her life “took off completely”.

Anne Archer was introduced to Scientology while studying at the Beverly Hills Playhouse, as was former Scientologist and now outspoken critic actor Jason Beghe. Beghe told Roger Friedman of FOX News in April 2008 that “He [Katselas] gets kickbacks”, and that he was brought to a Scientology center by fellow Beverly Hills Playhouse classmate Bodhi Elfman, Jenna Elfman’s husband. In a 1998 article for Buzz Magazine, Randye Hoder wrote “In his class, Katselas is careful not to label anything as a tenet of Scientology, but there is no question that the church’s influence seeps into the playhouse.”

Anne Archer’s husband and fellow Scientologist, producer Terry Jastrow, commented to The New York Times Magazine that Katselas changed the way he experiences life on a day-to-day basis: “I go out in the world and look at human behavior now. I see a woman or man interacting with a saleslady, and I see the artistry in it. Life is an endless unspooling of art, of acting, of painting, of architecture. And where did I learn that? From Milton.”

Actor Anthony Head of Buffy the Vampire Slayer spoke highly of Katselas in a 2002 interview with San Francisco Chronicle: “He’s this wonderfully intuitive teacher and his premise is basically: The only real barriers are the ones we put in front of ourselves. If you say, ‘My character wouldn’t do that’ — bollocks! Ultimately it’s you who wouldn’t say that. Who knows what your character might do.” In the acknowledgements of her 2004 autobiography Are You Hungry, Dear?: Life, Laughs, and Lasagna, actress Doris Roberts wrote: “I thank my friend and acting teacher, the incredible Milton Katselas, for his insights, wisdom, and inspiration, which have helped make me the actress that I am.”

Katselas authored two books: Dreams Into Action: Getting What You Want, first published in 1996 by Dove Books, and Acting Class: Take a Seat, which came out earlier this month. Dreams Into Action, a New York Times Bestseller, sought to modify motivational acting exercises to the field of business.

In an interview in the 2007 book Acting Teachers of America, Katselas commented on his experiences as an acting teacher over the years: “I have very special teachers here at the Beverly Hills Playhouse—some have been with me for over twenty-five years. I believe that to make a difference over the long haul, we need to train teachers. I really care about the craft of acting. It’s absolutely necessary to take the time and patience to really develop an actor.”

A compilation of brief news reports for Friday, February 6, 2009.

British television presenter and newspaper columnist Jeremy Clarkson has told journalists in Sydney, Australia, that UK Prime Minister Gordon Brown is a “one-eyed Scottish idiot”.

The remark caused outrage amongst Scottish Labour politicians with some calling for the BBC to sack him. Clarkson has since apologised.

Sources

• “Clarkson apologises for PM remark” — BBC News Online, February 6, 2009
• Deborah Summers. “Scottish politicians urge BBC to take Clarkson off air over Brown jibes” — The Guardian, February 6, 2009

U.S. Court of Appeals Judge Stephen Reinhardt has ruled that same-sex marriages must be treated the same as straight marriages by authorities when it comes to healthcare and benefits rights. He also said that the 1996 Defense of Marriage Act was unconstitutional.

The judge was ruling in a specific administrative dispute process, so the judgment does not set a wider precedent.

Sources

• Caitlin Millat. “Gay, Lesbian Couples Entitled to Straight Treatment: Judge” — MSNBC, February 6, 2009
• Carol J Williams. “Rulings on gay couples’ benefits question Defense of Marriage Act” — The Los Angeles Times, February 6, 2009

The troubled Royal Bank of Scotland, now 68% controlled by the UK government, has fired seven non-executive directors from the pre-credit crunch era.

The bank is about to report losses of £28 billion and has been under fire for plans to pay bonuses to the trading staff who generated them.

Sources

• “RBS wields axe in boardroom shake-up” — London Stock Exchange, February 6, 2009
• “RBS chairman in boardroom clear-out” — The Press Association, February 6, 2009

Baugur, the Icelandic retail giant, has failed to get bankruptcy protection from its creditors at home and has placed its British arm in administration.

The group, which owns or has stakes in a large number of British High Street famous names, is being pursued for the equivalent of £1 billion in Iceland by the recently nationalized Landsbanki.

Sources

• Julia Finch. “Baugur goes into administration” — The Guardian, February 6, 2009
• Marcus Leroux. “Baugur loses battle for control of UK retailers” — The Times, February 6, 2009

Sunday, November 11, 2007

Boston-based singer-songwriter Antje Duvekot has made a name for herself in the folk music world with powerful ballads of heartbreak and longing for a deeper spirituality, but coming up empty-handed. Below is David Shankbone’s interview with the folk chanteuse.

David Shankbone: Tell me about your new album.

Antje Duvekot: It’s called Big Dream Boulevard and it’s the first studio album I made. It’s not so new; I made it in May of 2006. It’s produced by Séamus Egan, who is the leader of a fairly renowned band named Solas.

DS: You mentioned you used to explore more dark themes in your work, but that lately you are exploring lighter fare. What themes are you exploring on this album?

AD: In the future I am hoping for more light themes. I feel like I have worked through a lot of the darkness, and personally I feel like I’m ready to write a batch of lighter songs, but that’s just how I’m feeling right now. My last record, Big Dream Boulevard, was a pretty heavy record and that was not intentional. I write what is on my mind.

DS: What were you going through that made it so dark?

AD: The record is drawn from my whole writing career, so it’s old and new songs as well. I wasn’t going through anything in particular because it was spanning a wide time period. I think it’s fair to say that over all I turn to music in times of trouble and need as a therapeutic tool to get me through sadness. That’s why I tend to turn to music. So my songs tend to be a little darker, because that’s where I tend to go for solace. So themes like personal struggle with relationships and existential issues.

DS: What personal relationships do you struggle with?

AD: A lot of my songs are about dating and relationship troubles. That’s one category. But a lot of my songs are about existential questions because I struggle with what to believe in.

DS: Do you believe in a higher power?

AD: I’m sort of an atheist who wishes I could believe something.

DS: What do you believe?

AD: It’s undefined. I think I’m spiritual in music, which is my outlet, but I just can’t get on board with an organized religion. Not even Unitarianism. I do miss something like that in my life, though.

DS: Why do you miss having religion in your life?

AD: I think every human being craves a feeling that there is a higher purpose. It’s a need for me. A lot of my songs express that struggle.

DS: Does the idea that our lives on Earth may be all that there is unsettle you?

AD: Yes, sure. I think there’s more. I’m always seeking things of beauty, and my art reflects the search for that.

DS: You had said in an interview that your family wasn’t particularly supportive of your career path, but you are also saying they were atheists who weren’t curious about the things you are curious about. It sounds like you were a hothouse flower.

AD: Yes. I think what went with my parents’ atheism was a distrust of the arts as frivolous and extraneous. They were very pragmatic.

DS: They almost sound Soviet Communist.

AD: Yeah, a little bit [Laughs]. They had an austere way of living, and my wanting to pursue music as a career was the last straw.

DS: What’s your relationship with them now?

AD: I don’t actually speak to my mother and stepfather.

DS: Why?

AD: A lot of reasons, but when I was about 21 I was fairly certain I wanted to go the music path and they said, “Fine, then go!”

DS: That’s the reason you don’t speak with them?

AD: That’s the main. “Go ahead, do what you want, and have a nice life.” So the music thing cost the relationship with my parents, although I think there may have been some other things that have done it.

DS: That must be a difficult thing to contend with, that a career would be the basis for a relationship.

AD:Yes, it’s strange, but my love of music is perhaps stronger for it because of the sacrifices I have made for it early on. I had to fight.

DS: Would you say in your previous work some of your conflict of dating would have been birthed from how your relationship with your family? How do you see the arc of your work?

AD: My songs are sort of therapy for me, so you can trace my personal progress through them [Laughs]. I think there is some improvement. I wrote my first love song the other day, so I think I’m getting the hang of what relationships are all about. I’m ever grateful for music for being there for me when things weren’t going so well.

DS: Has the Iraq War affected you as an artist?

AD: Not directly, but I do have a few songs that are political. One about George Bush and the hypocrisy, but it’s very indirect; you wouldn’t know it was about George Bush.

DS: How has it affected you personally?

AD: I feel sad about it. People say my music is sad, but it’s a therapeutic thing so the war affects me.

DS: The struggle to be original in art is innate. When you are coming up with an idea for a song and then you all of a sudden stumble across it having been done somewhere else, how do you not allow that to squelch your creative impulse and drive to continue on.

AD: That’s a good question. I started writing in a vacuum just for myself and I didn’t have a lot of feedback, and I thought that what I’m saying has been said so many times before. Then my songs got out there and people told me, ‘You say it so originally’ and I thought ‘Really?!’ The way I say it, to me, sounds completely trite because it’s the way I would say it and it doesn’t sound special at all. Once my record came out I got some amount of positive reviews that made me think I have something original, which in turn made me have writer’s block to keep that thing that I didn’t even know I had. So now I’m struggling with that, trying to maintain my voice. Right now I feel a little dried-out creatively.

DS: When I interviewed Augusten Burroughs he told me that when he was in advertising he completely shut himself off from the yearly ad books that would come out of the best ads that year, because he wanted to be fresh and not poisoned by other ideas; whereas a band called The Raveonettes said they don’t try to be original they just do what they like and are upfront about their influences. Where do you fall in that spectrum?

AD: Probably more towards Augusten Burroughs because when I first started writing it was more in a vacuum, but I think everyone has their own way. You can’t not be influenced by your experience in life.

DS: Who would you say are some of your biggest influences in the last year. Who have you discovered that has influenced you the most?

AD: Influence is kind of a strong word because I don’t think I’m taking after these people. I’ve been moved by this girl named Anais Mitchell. She’s a singer-songwriter from Vermont who is really unique. She’s just got signed to Righteous Babe Records. Patty Griffin just moves me deeply.

DS: You moved out of New York because you had some difficulty with the music scene here?

AD: I feel it is a little tougher to make it here than in Boston if you are truly acoustic folk lyric driven. I find that audiences in New York like a certain amount of bling and glamor to their performances. A little more edge, a little cooler. I felt for me Boston was the most conducive environment.

DS: Do you feel home up in Boston?

AD:I do, and part of that is the great folk community.

DS: Why do you think Boston has such a well-developed folk scene?

AD: It’s always historically been a folk hub. There’s a lot of awesome folk stations like WUMB and WERS. Legendary folk clubs, like Club Passim. Those have stayed in tact since the sixties.

DS: Is there anything culturally about Boston that makes it more conducive to folk?

AD: Once you have a buzz, the buzz creates more buzz. Some people hear there’s a folk scene in Boston, and then other people move there, so the scene feeds itself and becomes a successful scene. It’s on-going.

DS: Do you have a favorite curse word?

AD: [Giggles] Cunt. [Giggles]

DS: Really?! You are the first woman I have met who likes that word!

AD: Oh, really? I’ll use it in a traffic situation. Road rage. [Laughs]

DS: Do you find yourself more inspired by man-made creations, including people and ideas, or nature-made creations?

AD: I love nature, but it is limited. It is what it is, and doesn’t include the human imagination that can go so much further than nature.

DS: What are some man made things that inspire you?

AD: New York City as a whole is just an amazing city. People are so creative and it is the hub of personal creativity, just in the way people express themselves on a daily basis.

DS: Do you think you will return?

In theory I will return one day if I have money, but in theory you need money to enjoy yourself.

DS: What trait do you deplore in yourself?

AD: Like anyone, I think laziness. I’m a bit a hard on myself, but there’s always more I can do. As a touring singer-songwriter I work hard, but sometimes I forget because I get to sleep in and my job is not conventional, and sometimes I think ‘Oh, I don’t even have a job, how lazy I am!’ [Laughs] Then, of course, there are times I’m touring my ass off and I work hard as well. It comes in shifts. There are times there is so much free time I have to structure my own days, and that’s a challenge.

DS: When is the last time you achieved a goal and were disappointed by it and thought, “Is that all there is?” Something you wanted to obtain, you obtained it, and it wasn’t nearly as fulfilling as you thought it would be.

AD: I was just thinking about the whole dream of becoming a musician. I want to maybe do a research project about people’s dreams and how they feel about them after they come true. It’s really interesting. They change a lot. When I was 17 I saw Ani Difranco on stage and I wanted to do that, and now I’m doing it. Now I think about Ani very differently. I wonder how long it took her to drive here, she must be tired; I’m thinking of all the pragmatic things that go on behind the scenes. The backside of a dream you never consider when you’re dreaming it. To some extent, having my dream fulfilled hasn’t been a let-down, but it’s changed. It’s more realistic.

DS: What is a new goal?

AD: Balance. Trying to grow my career enough to make sure it doesn’t consume me. It’s hard to balance a touring career because there is no structure to your life. I’m trying to take this dream and make it work as a job.

DS: How challenging is it to obtain that in the folk world?

AD: There’s not a lot of money in the folk world. In generally right now I think people’s numbers are down and only a few people can make a living at it. It’s pretty competitive. I’m doing okay, but there’s no huge riches in it so I’m trying to think of my future and maintain a balance in it.

DS: Do you think of doing something less folk-oriented to give your career a push?

Not really, I’ve done that a little bit by trying to approach the major labels, but that was when the major labels were dying so I came in at a bad time for that. I found that when it comes to do it yourself, the folk world is the best place to make money because as soon as you go major you are paying a band.

DS: More money more problems.

AD: More money, more investing. It’s a hard question.

DS: What things did you encounter doing a studio album that you had not foreseen?

AD: Giving up control is hard when you have a producer. His vision, sometimes, is something you can’t understand and have to trust sometimes. See how it comes out. That was hard for me, because up until now I have been such a do it yourself, writing my own songs, recording them myself.

DS: What is your most treasured possession?

AD: I’d like to say my guitar, but I’m still looking for a good one. I have this little latex glove. [Laughs] It’s a long story—

DS: Please! Do tell!

AD: When I was in college I had a romantic friend named David, he was kind of my first love. We were young and found this latex glove in a parking lot. We though, “Oh, this is a nice glove, we’ll name him Duncan.”

DS: You found a latex glove in a parking lot and you decided to take it?

AD: Yeah [Laughs]. He became the symbol of our friendship. He’s disgusting at this point, he’s falling apart. But David and I are still friends and we’ll pass him back and forth to each other every three years or so when we’ve forgotten his existence. David surprised me at a show in Philly. He gave Duncan to the sound man who brought it back stage, and now I have Duncan. So he’s kind of special to me.

DS: If you could choose how you die, how would you choose?

AD: Not freezing to death, and not in an airplane, because I’m afraid of flying. Painlessly, like most people. In my sleep when I’m so old and senile I don’t know what hit me. I’d like to get real old.

DS: Would you be an older woman with long hair or short hair?

AD: I guess short hair, because long hair looks a little witchy on old people.

DS: Who are you supporting for President?

AD: I’m torn between Obama and Hillary. Someone who is going to win, so I guess Hillary.

DS: You don’t think Obama would have a chance of winning?

AD: I don’t know. If he did, I would support Barack. I don’t really care; either of those would make me happy.

DS: What trait do you value most in your friends?

AD: Kindness.

DS: What trait do you deplore in other people?

AD: Arrogance. Showiness.

DS: Where else are you going on tour?

AD: Alaska in a few days. Fairbanks, Anchorage and all over the place. I’m a little nervous because I will be driving by myself and I have this vision that if I get hit by a moose then I could freeze to death.

DS: And you have to fly up there!

AD: Yeah, and I hate flying as well—so I’m really scared! [Laughs]

DS: Is there a big folk scene in Alaska?

AD: No, but I hear people are grateful if anyone makes it up there, especially in the winter. I think they are hungry for any kind of entertainment, no matter the quality. [Laughs] Someone came to us! I actually played there in June in this town called Seldovia, that has 300 people, and all 300 people came to my gig, so the next day I was so famous! Everyone knew me, the gas station attendant, everyone. It was surreal.

DS: So you had that sense of what Ani DiFranco must feel.

AD: Yeah! I was Paul McCartney. I thought this was what it must be like to be Bruce Springsteen, like I can’t even buy a stick of gum without being recognized.

DS: Did you like that?

AD: I think it would be awful to be that famous because you have moments when you just don’t feel like engaging.

Wednesday, December 31, 2008

What would you tell your grandchildren about 2008 if they asked you about it in, let’s say, 20 years’ time? If the answer to a quiz question was 2008, what would the question be? The year that markets collapsed, or perhaps the year that Obama became US president? Or the year Heath Ledger died?

Let’s take a look at some of the important stories of 2008. Links to the original Wikinews articles are in all the titles.

Saturday, October 7, 2006

The city of Bratsk in Irkutsk Oblast, Russia, received a new turbine for its famous 4,500 megawatt hydroelectric plant founded in the mid-1950s on the Angara river. In future this new unit will cause an efficiency rise up to 255MW for each turbine.

Currently, the Bratsk Power Station operates 18 hydro-turbines, each with capacity of 250MW, produced by the Leningrad Metal Works (“LMZ”) in the 1960s. The plant is the second level of the Angara Hydroelectric Stations cascade. Since its full commissioning in 1967, the station was the world’s single biggest power producer until Canada’s Churchill Falls in 1971. Annually the station produces 22.6 billion kWh.

The precious 80 tonne cargo was transported to Pulkovo International airport of Saint-Petersburg where it was loaded on Antonov An-124-100 Ruslan to made all the way to Bratsk by air. On October 4, 2006 it landed in the Bratsk airport. In two days the unit 16 replacement arrived to the assemble place on the Angara river.

Sergey Emdin, CEO of IrkutskEnergo JSC, noted the press that the Bratsk plant reconstruction project includes not only the economical, but the ecological aspect by reducing carbon dioxide emission for 6 million tonnes for the period of 2008-2012.

In 2006 and 2007 the old plant is scheduled to receive two more working wheels – by one for each year respectively, and in 2008 and 2009 another four – by two for each year.

Tuesday, October 28, 2008

Acting teacher and director Milton Katselas died Friday at age 75, after suffering from heart failure at Cedars-Sinai Medical Center in Los Angeles, California. He began the Beverly Hills Playhouse in 1978 and taught acting classes there to noted actors including George Clooney and Gene Hackman. Katselas is survived by a sister and two brothers.

Katselas directed an off-Broadway production of Edward Albee‘s The Zoo Story, and received a Tony Award nomination for his 1969 direction of Butterflies are Free. Actress Blythe Danner won a Tony Award for her role in Butterflies are Free under Katselas’ direction. He moved to California to direct the film version of that play, and went on to direct films and television movies. Actress Eileen Heckart received an Academy Award for her role in the film version of Butterflies are Free.

Katselas directed the San Francisco and Los Angeles productions of the play P.S. Your Cat Is Dead! by playwright James Kirkwood, Jr. In his author’s notes in the publication of the script, Kirkwood acknowledged Katselas, and wrote that the plays were “directed with incredible energy and enthusiasm by Milton Katselas, to whom I am extremely indebted”.

Katselas directed the television movie Strangers: Story of a Mother and Daughter, and actress Bette Davis received an Emmy Award for her role in the movie. Katselas taught many famous actors including Michelle Pfeiffer, Richard Gere, Robert Duvall, Jack Lemmon, Al Pacino, Goldie Hawn, Christopher Walken, Burt Reynolds, George C. Scott, Elizabeth Taylor, Richard Burton, Alec Baldwin, and Patrick Swayze. Katselas was credited with being able to nurture actors with raw talent so that they could develop strong Hollywood careers. He utilized innovative techniques in his courses – one course called “Terrorist Theatre” had a simple premise: successfully get an acting role within six weeks or leave the course.

He grew up in Pittsburgh, Pennsylvania to parents who had immigrated from Greece, and graduated from Carnegie Mellon. He studied acting with Lee Strasberg in New York at the Actors Studio, and received advice from directors Joshua Logan and Elia Kazan.

Katselas was a prominent Scientologist, and a July 2007 profile on Katselas in The New York Times Magazine observed that some of his students stopped taking courses at the Beverly Hills Playhouse because they felt they had been pressured to join the Church of Scientology. According to the article, Katselas credited Scientology founder L. Ron Hubbard “for much of his success in life”, and one of his students works at Scientology’s Celebrity Centre. The article commented that some in Los Angeles view the Beverly Hills Playhouse as “a recruitment center for Scientology”.

Katselas met L. Ron Hubbard after moving to California, and began studying Scientology in 1965. The New York Times Magazine reported that he had reached the level of “Operating Thetan, Level 5, or O.T. V.” in 2007. According to The New York Times Magazine when Scientologists proceed up the “The Bridge to Total Freedom” they learn the story of Xenu, and that: “75 million years ago the evil alien Xenu solved galactic overpopulation by dumping 13.5 trillion beings in volcanoes on Earth, where they were vaporized, scattering their souls.” A Church of Scientology publication, Source, lists Katselas as reaching O.T. V. in 1989.

Though some actors felt pressured to join the Church of Scientology after taking courses at the Beverly Hills Playhouse, at least one individual felt Katselas was not active enough with the organization. Actress Jenna Elfman left the Beverly Hills Playhouse because she felt Katselas was not committed enough to Scientology. Katselas had previously directed Elfman in half of Visions and Lovers: Variations on a Theme, two one-act plays about relationships that he had written himself. In 1999 Katselas had planned to adapt the script of Visions and Lovers to a film version, and Elfman was set to reprise her role from the play. In an article in Variety about the project, Elfman commented on her experience working with Katselas: “He is brilliant, and knows me so well as a person and an actress that he gets the most out of me.”

Other prominent Scientologist actors who have studied under Katselas include Giovanni Ribisi, Jason Lee, and Leah Remini. According to Rolling Stone, Katselas also recruited actress Kelly Preston to Scientology. Actress Nancy Cartwright (the voice of Bart Simpson), told Scientology publication Celebrity that Katselas motivated her to get more active in Scientology, and she stated she took the organization’s “Purification Rundown” and her life “took off completely”.

Anne Archer was introduced to Scientology while studying at the Beverly Hills Playhouse, as was former Scientologist and now outspoken critic actor Jason Beghe. Beghe told Roger Friedman of FOX News in April 2008 that “He [Katselas] gets kickbacks”, and that he was brought to a Scientology center by fellow Beverly Hills Playhouse classmate Bodhi Elfman, Jenna Elfman’s husband. In a 1998 article for Buzz Magazine, Randye Hoder wrote “In his class, Katselas is careful not to label anything as a tenet of Scientology, but there is no question that the church’s influence seeps into the playhouse.”

Anne Archer’s husband and fellow Scientologist, producer Terry Jastrow, commented to The New York Times Magazine that Katselas changed the way he experiences life on a day-to-day basis: “I go out in the world and look at human behavior now. I see a woman or man interacting with a saleslady, and I see the artistry in it. Life is an endless unspooling of art, of acting, of painting, of architecture. And where did I learn that? From Milton.”

Actor Anthony Head of Buffy the Vampire Slayer spoke highly of Katselas in a 2002 interview with San Francisco Chronicle: “He’s this wonderfully intuitive teacher and his premise is basically: The only real barriers are the ones we put in front of ourselves. If you say, ‘My character wouldn’t do that’ — bollocks! Ultimately it’s you who wouldn’t say that. Who knows what your character might do.” In the acknowledgements of her 2004 autobiography Are You Hungry, Dear?: Life, Laughs, and Lasagna, actress Doris Roberts wrote: “I thank my friend and acting teacher, the incredible Milton Katselas, for his insights, wisdom, and inspiration, which have helped make me the actress that I am.”

Katselas authored two books: Dreams Into Action: Getting What You Want, first published in 1996 by Dove Books, and Acting Class: Take a Seat, which came out earlier this month. Dreams Into Action, a New York Times Bestseller, sought to modify motivational acting exercises to the field of business.

In an interview in the 2007 book Acting Teachers of America, Katselas commented on his experiences as an acting teacher over the years: “I have very special teachers here at the Beverly Hills Playhouse—some have been with me for over twenty-five years. I believe that to make a difference over the long haul, we need to train teachers. I really care about the craft of acting. It’s absolutely necessary to take the time and patience to really develop an actor.”

Friday, January 12, 2007

The iPhone only made its appearance as a prototype and there have been controversies aroused.

The dispute has come up between the manufacturer of the iPhone (which was resented on Wednesday for the first time) – Apple Inc. – and a leader in network and communication systems, based in San Jose – Cisco. The company claims to possess the trademark for iPhone, and moreover, that it sells devices under the same brand through one of its divisions.

This became the reason for Cisco to file a lawsuit against Apple Inc. so that the latter would stop selling the device.

Cisco states that it has received the trademark in 2000, when the company overtook Infogear Technology Corp., which took place in 1996.

The Vice President and general counsel of the company, Mark Chandler, explained that there was no doubt about the excitement of the new device from Apple, but they should not use a trademark, which belongs to Cisco.

The iPhone developed by Cisco is a device which allows users to make phone calls over the voice over Internet protocol (VoIP).