Tuesday, February 27, 2018

On Saturday, William Luckey, also known as Bud Luckey, US animator who designed Pixar Animation Studios’ Toy Story character Sheriff Woody, died in a hospital in Newton, Connecticut; his son Andy Luckey announced the death via a Facebook post. Bud Luckey was 83 years old.

Luckey was born in Billings, Montana on July 28, 1934. He was known for animating counting songs for Sesame Street in collaboration with music of Turk Murphy and lyrics by Donald Hadley. In 1992, Luckey joined Pixar. “He was the fifth animator hired here at Pixar”, Pixar’s animating chief John Lasseter once noted.

He designed Sheriff Woody for Pixar’s first feature film Toy Story which was released in 1995. He also voiced Rick Dicker in Pixar’s 2004 movie The Incredibles and Chuckles the Clown in 2010’s Toy Story 3. Luckey had also designed characters for other Pixar movies including A Bug’s Life, Monsters, Inc. and Cars. He also voiced Eeyore, the donkey, in 2011’s Disney movie Winnie the Pooh.

In 2004, Bud Luckey was nominated for an Academy Award for Boundin’, a short film he wrote, directed, narrated, and sang. He received the Annie Award for that five-minute short. Luckey retired as an animator in 2008, but kept working as a voice artist until 2014.

Pixar’s official Twitter handle tweeted: “Thank you, Bud Luckey, to infinity and beyond. (July 28, 1934 – February 24, 2018)”. Lee Unkrich, director of Toy Story 3 and Coco, tweeted, “So sad to hear that Bud Luckey passed away today. He voiced Chuckles in Toy Story 3, but that was the least of his many amazing accomplishments. A tweet is not sufficient to sing his praises.”

A compilation of brief news reports for Thursday, April 26, 2007.

The Dow Jones Industrial Average closed at an all time record high of 13,089.89. The Dow climbed 1.05% [135.95 points] at its closing bell.

On February 27, the Dow had a record for the worst day since 2001 and plunged over 400.00 points by the closing bell, after the stock exchanges in Asia had a steep loss on the same day.

Sources

• Vikas Bajaj. “Run on Wall Street Sends Dow Above 13,000” — New York Times, April 26, 2007
• Ellis Mnyandu. “Dow closes over 13,000” — Reuters, April 25, 2007

A group of around 30 or 40 anarchists launched an attack against a police station in Exarchia, a busy district in central Athens, in Greece. Meanwhile, another 70 hooded individuals launched other attacks. They set fire to vehicles, politician’s offices at the Kolonaki area and various bank departments in Exarhia. Greek Riot police responded with tear gas, while the fight between anarchists and the police still takes place in streets around the University of Athens. It is believed that the youths launched the attack in order to demonstrate their support to prisoners who started an uprising in three major prisons. Another demonstration takes place in Thessaloniki, but without any clashes, so far.

Sources

• “Incendiary Attacks” — Elliniki Radiofonia Tileorasi, April 26, 2007
• AP. “Suspected anarchists burn cars outside Athens police station” — International Herald Tribune, April 26, 2007

The United States Senate today passed a spending bill that sets a target date of March 31, 2008 for a complete pull-out of United States forces from Iraq. The House of Representatives has already passed a similar measure. The bill also includes US$100 billion for the continuing operations in Iraq and Afghanistan.

US President George W. Bush “will veto this legislation,” said White House spokesperson Dana Perino. “The president is determined to win in Iraq. The bill they sent us today is mission defeated.”

Related news

• “Wikinews Shorts: March 27, 2007” — Wikinews, March 27, 2007

Sources

• “Congress backs Iraq pull-out plan” — BBC News Online, April 26, 2007
• Richard Cowan. “Congress challenges Bush to veto pullout” — Reuters, April 26, 2007

Colombia was faced with a nationwide electricity outage at 10:15 a.m. local time today. Traffic chaos and people trapped in elevators has been reported. Hospitals and airports continued operations, using their own backup generators.

Speaking on local radio, President Alvaro Uribe said, “It appears to have affected all of the country.”

“The blackout was caused by a failure at an energy substation in northern Bogota. We do not know what type of failure it was,” Manuel Maiguashca, vice minister of energy and mines, told reporters. Speculation that the outage was caused by left wing rebels was dismissed by officials.

Sources

• Reuters. “Countrywide blackout hits Colombia” — Globe and Mail, April 26, 2007
• “Nationwide blackout hits Colombia” — BBC News Online, April 26, 2007

Wednesday, September 17, 2008

The Federal Reserve took over American International Group (AIG) on Tuesday in an US$85 billion loan, in exchange for a 79.9% stake in the company.

A press release issued Tuesday stated that “the Board determined that, in current circumstances, a disorderly failure of AIG could add to already significant levels of financial market fragility and lead to substantially higher borrowing costs, reduced household wealth, and materially weaker economic performance.”

The deal allows AIG to draw up to US$85 billion in loans over the next 24 months to shore up the orderly sale of various divisions of the company without further interruption to the economy. In exchange, the Federal Reserve will have a 79.9% equity stake, primarily in the form of equity participation notes. The loan carries an interest rate of LIBOR plus 850 points. Should AIG fail, the loan is covered completely by company assets. Should AIG recover however, taxpayers could potentially recover large profits.

This news comes on the heels of the Federal Reserve refusing to bail out Lehman Brothers, forcing the company to file for bankruptcy on Monday after Bank of America(BoA) and Barclays PLC pulled out of negotiations over the weekend. The fact that AIG has thousands of divisions engaged in business across the globe sets them apart from the recent problems with other banks. AIG was built up over the last several years via the buyouts and mergers of many companies around the world, offering AIG’s stockholders a diverse base of income which allowed it to steadily increase profits.

It is this interconnectedness that had the Federal Reserve worried. Should AIG collapse, it could set off a global chain reaction in multiple markets. In an interview with the New York Times, former Treasury official Roger Altman said, “It’s the interconnectedness and the fear of the unknown. The prospect of the world’s largest insurer failing, together with the interconnectedness and the uncertainty about the collateral damage — that’s why it’s scaring people so much.”

While AIG, like many other banks, found itself embroiled in the middle of the sub-mortgage lending crisis, AIG has also been struggling to deal with controversies in other complex financial instruments such as credit default swaps. These markets have been exploding for several years, but due to lack of regulation by the government, recent reversals have seen AIG’s stock value tumble by over 90 percent in the last year.

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.

Wednesday, December 7, 2005

Australian researchers say they have scientifically proven that stress causes sickness. The Garvan Institute in Sydney has discovered that a hormone, known as neuropeptide Y (NPY) is released into the body during times of stress. Their findings show the hormone can stop the immune system from functioning properly.

“Neuropeptide Y is one of those hormones that gets unregulated or released from neurones when stressful situations occur…it’s known for example that it regulates blood pressure and heart rates so your heart rate goes up but it hasn’t been known that it actually can affect immune cells as well,” said Professor Herbert Herzog, one of the researchers.

Herzog feels it is good to finally have proof of something people have suspected for so long.

“Now we have proven without doubt that there is a direct link and that stress can weaken the immune system and that makes you more vulnerable when you for example have a cold or flu and even in the more serious situations such as cancer can be enhanced in these situations,” said Herzog.

The Garvan Institute study centres on two key events that enable the human body to recognise foreign substances and control invaders. When our body encounters a pathogen (bacteria and viruses), the immune cells retain and interrogate suspects. Their activation is made possible by NPY. These cells then return to the lymph nodes, which are found all over the body, with information about the foreign invaders. The lymph nodes are where decisions about defence are made.

“Most of us expect to come down with a cold or other illness when we are under pressure, but until now we have mostly had circumstantial evidence for a link between the brain and the immune system,” said lead Garvan researcher, associate Professor Fabienne Mackay. “During periods of stress, nerves release a lot of NPY and it gets into the bloodstream, where it directly impacts on the cells in the immune system that look out for and destroy pathogens (bacteria and viruses) in the body.”

In the case of bacteria and viruses, TH1 cells are part of the attack team that is sent out on the ‘search and destroy’ mission. But when their job is done they need to be turned ‘off’ and the immune system reset. The same hormone, NPY, that activates the sentry cells now prompts the TH1 cells to slow down and die.

“Under normal conditions, circulating immune cells produce small amounts of NPY, which enables the immune cells on sentry duty and the TH1 immune cells to operate – it’s a yin and yang kind of situation. But too much NPY means that the TH1 attack is prevented despite the foreign invaders being identified – and this is what happens during stress,” added McKay.

The impact of stress on the body has been observed in athletes. Ph. D researcher at the University of Queensland, Luke Spence, together with the Australian Institute of Sport, studied elite and recreational athletes over five months.

They found elite athletes were more susceptible to respiratory diseases under stress.

“A lot of elite athletes put themselves through vast amounts of physical stress in their training, but also their emotional, psychological stress of feeling the pressure of Australia on their shoulders, wanting to compete and wanting to do their best,” said Spence.

It’s not just athletes who are prone to stress. Pressures at work and at home may cause emotional and mental stress that can be equally damaging. Almost a third of all work absenteeism in Australia is due to illness, costing employers over $10 billion a year.

“I think it has a huge impact for the work force and also for employers – if their employees are constantly stressed, constantly under pressure, they are more likely to get sick,” Spence said.

Further research could lead to the development of new drugs which may inhibit the action of the neuropeptide Y hormone.

Herzog warns people to minimise stress before it becomes a problem.

“Relaxation methods like yoga will help you to prevent that but there will still be people out there that are not responding to that and treatment by interfering with the system will be important,” he said. “There’s obviously some time until such a treatment will be available but this is something we will definitely work towards.”

The Garvan research will be published in the Journal of Experimental Medicine, Volume 202, No. 11.