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Former Saturday Night Live actress Victoria Jackson has unleashed an internet tirade about the hit TV series Glee , calling a recent kiss between gay characters “sickening.” Besides “shoving the gay thing down our throats, they made a mockery of Christians – again!” she writes in the conservative WorldNetDaily.com . She…

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Dear Jeremy: share your advice

• I’m paid less than a new starter I am training • How can I distance myself from a nuisance client? At the start of each week, we publish the problems that will feature in this Saturday’s Dear Jeremy advice column in the Guardian Work supplement, so readers can offer their own advice and suggestions. We then print the best of your comments alongside Jeremy’s own insights. Here are this week’s dilemmas – what are your thoughts? Problem one: I’m paid less than a new starter I am training I have been in my job for about three years, for a company that is currently making a profit.

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When is a price rise chicken feed?

The prices of chicken feed and chicken are increasing, but the sums don’t seem to add up. Felicity Lawrence investigates If you buy free range chicken at Sainsbury’s you may have noticed a price rise recently. Up from around £4.19 a kilo in December for a whole bird to £4.75 a kilo this week, according to the farmers who produce them and monitor retail prices. Chickens are fed on grain and the price has been rocketing, so no surprise that they suddenly cost more – rather a lot more, in fact, with that 14% hike which works out at roughly 87p more for an average size bird. But now here’s a mystery. The farmers who actually produce the chickens say they have had a cut in how much they are paid imposed on them retrospectively. They say that in February the large processor that supplies Sainsbury’s with free range birds, 2 Sisters Food Group (which pays the feed costs) told them that it was paying them 6p per bird less for chickens that they began farming in mid-December and which have already been sold to customers in the shops. The company also insisted that this new lower rate is what they will be paid from now on. The farmers calculate that the commodity price spikes translate into an increase in the cost of feed to the processing company of 27p per bird. They say too that they have been told by Sainsbury that the supermarket has already increased what it pays to the processor to take into account its rising feed costs. So what’s going on? And if costs are up by around 27p per bird why are consumers being charged an extra 87p per bird? I asked 2 Sisters for their version of this price war: “Rising commodity prices have created challenges through all parts of the protein supply chain. In addressing these challenges we have sought some temporary support from all our partners and growers. We have received this support in the vast majority of cases and we will address any outstanding issues through continued dialogue,” its spokesman Peter King told me. It declined to discuss any terms between it and the retailers it. Retail margins are commercially sensitive and Sainsbury simply said: “We know that current high feed prices are putting pressure on farmers’ costs of production, which is why we’ve increased the price we pay to our poultry suppliers. We remain committed to offering our customers the best quality food at competitive prices in this challenging economic climate.” The farmers involved are a cooperative of 47 poultry producers in the West Country and three of the group have now lodged claims in court to try to get back the money they say they are owed by 2 Sisters. “This is an illegal retrospective breaking of contractual commitments on payments for birds already shipped to supermarkets and purchased by customers,” their chairman Bob Shipley said. Their real fear is that what 2 Sisters calls “temporary support” farming families may end up having to call bankruptcy. Food & drink Food Felicity Lawrence guardian.co.uk

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In the latest battle between China and Google, the company is charging the government with interfering with Gmail at the heart of a mounting “Jasmine Revolution.” Users are having increasing trouble sending Gmails and with other services linked to the operation, according to Google. Following the Japanese earthquake tsunami disaster…

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Recession threatens trouble at mills

After escaping demolition in the 1980s, Victorian textile mills are once again facing an uncertain future, say conservationists The cathedrals of the north, with their evocative roll call of names such as Black Dyke, Titanic and Goitside, are at risk again from recession, according to conservationists and historians. The economic squeeze is reviving fears last allayed two decades ago that the UK’s heritage of Victorian textile mills is under renewed threat from the ball-and-chain and bulldozer. Success stories such as Saltaire near Bradford, one of the country’s biggest buildings which is now a world heritage site ranking beside Stonehenge, disguise a wider, much bleaker picture. A report highlights more than 50 architecturally important mills in Bradford alone that face an uncertain future. “Wander for 10 minutes in any direction in one of England’s northern cities, and you’ll find a mill in trouble,” said Nigel Grizzard, a Leeds-based historian and organiser of Our Northern Mills, which has monitored the situation since the last crisis in the 1980s. “Many people have a rosy belief that the problem has been solved, but the reality is that hundreds of buildings are in serious difficulty.” The crisis follows the stalling of the market for housing conversions, which put a premium on the sturdy buildings – stone in Yorkshire and brick in Lancashire – as characterful urban housing. Small and medium-sized firms using former wool and cotton mills as “business clusters” with communal facilities are also feeling the pinch, as well as the cost of maintenance and restrictions caused by listing as architecturally or historically important. In Greater Manchester the textile firm Leigh Spinners, which has diversified over a century from cotton and carpets to making synthetic grass for football pitches, has been seeking a buyer for 18 months for its Grade II* listed, 3.4-hectare (8.5-acre) mill to move to somewhere more modern. The company’s managing director, Peter Horrocks, said the firm, and its 40 staff, were “trapped” in the vast premises, which English Heritage considers one of the finest of its kind in the north-west. He appealed to the government to relax laws on adapting mills, including limited demolition of unwanted space. The sheer size of the buildings means that even successful complexes such as Saltaire, or Dean Clough in Halifax, which was once the largest carpet-making factory in the world, have room for new tenants. “Most of them could find you 100,000 sq ft if you were looking for space,” said Grizzard. “But for all the problems of recession, that’s the way we should be going. These are amazing buildings, built in a time of cheap materials and labour to a level of quality that we can seldom match today.” A conference hosted last week by Our Northern Mills at Saltaire heard details of a series of thriving conversions, including the local Victoria mill, whose worsted production system– from newly sheared sheep fleeces arriving on the top floor to high-quality suits emerging from the bottom one – now houses 440 flats. The complex has grown through seven years and £80m-worth of conversion and new-build, financed by a steady increase in residents from 200 in 2006 to more than 600 today. “It’s a fantastic place, as is Saltaire,” said Grizzard. “So are the lofts and apartments which Urban Splash is making at Manningham mills,” (another behemoth of a building whose silk and velvet products were rated the finest in the UK in Victorian times). “Potential development is still there, but needs a hand from a thorough survey of mills at risk. We’ve got to raise the profile of these truly important buildings.” At Leigh, English Heritage is hoping to broker talks between Leigh Spinners and developers with a track record of conversions. Although large-scale schemes may be on hold until better economic times, a spokeswoman said that grants for repairs were likely to be available and feasibility studies could be funded by a local heritage trust – a model that has triggered rescues elsewhere. Revival may also be helped by concern over threats to green belts around the UK’s urban areas. Most mills are on urban “brownfield” land, which local authorities and central government are targeting as the best place for new retail parks and homes. Frances Armitage-Smith, a Manchester architect with specialist experience of mills, said: “These buildings have already demonstrated their adaptability over time. Mill space is commonly rented out cheaply as warehousing, but could support more beneficial new uses cost effectively, especially as building land in many northern cities is now at a premium because developers have been land-banking during the recession.” Our Northern Mills is planning a larger conference and workshop later this year, supplemented by a TV documentary and online campaign. The last major renaissance for northern mills, following a crisis in the 1980s when even Saltaire and Dean Clough were in danger of demolition, began when entrepreneurs moved in at the nadir of the property slump. One in danger – Bradford Conditioning House – is an ornate monument to the city’s textile heyday, built by a special act of parliament in 1887 to test wool for diseases such as anthrax. The only one in the UK, its scientific status was marked by ornately carved sandstone and fine ironwork, but it was declared redundant and closed by the city council in 1990. Since then, a succession of conversion schemes have stalled or foundered, including headquarters for the regional Revenue & Customs and a retail village. The condition of the unique complex, which included a Moth Room to study insect infestation and a Light Room to check colour fastness, is causing increasing concern. One saved mill – Redbrick Mill in Batley, West Yorkshire – was a rundown complex two decades ago, left over from the “shoddy and mungo” industries, the Cinderella of the textile industry in which rags and scrap cloth were pulped and reformed.. A rescue in 1999 by the entrepreneur Steven Battye, who failed the 11-plus but went on to found the Skopos design firm, saw conversion to a retail centre whose designer outlets and stores, including Heals and Conran, still have locals blinking. Battye, who died last year, said optimism was the key. “We took a building worth practically nothing and turned it into a magnet for all kinds of firms who would otherwise not be in this part of West Yorkshire.” Heritage Regeneration Communities Conservation Martin Wainwright guardian.co.uk

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Recession threatens trouble at mills

After escaping demolition in the 1980s, Victorian textile mills are once again facing an uncertain future, say conservationists The cathedrals of the north, with their evocative roll call of names such as Black Dyke, Titanic and Goitside, are at risk again from recession, according to conservationists and historians. The economic squeeze is reviving fears last allayed two decades ago that the UK’s heritage of Victorian textile mills is under renewed threat from the ball-and-chain and bulldozer. Success stories such as Saltaire near Bradford, one of the country’s biggest buildings which is now a world heritage site ranking beside Stonehenge, disguise a wider, much bleaker picture. A report highlights more than 50 architecturally important mills in Bradford alone that face an uncertain future. “Wander for 10 minutes in any direction in one of England’s northern cities, and you’ll find a mill in trouble,” said Nigel Grizzard, a Leeds-based historian and organiser of Our Northern Mills, which has monitored the situation since the last crisis in the 1980s. “Many people have a rosy belief that the problem has been solved, but the reality is that hundreds of buildings are in serious difficulty.” The crisis follows the stalling of the market for housing conversions, which put a premium on the sturdy buildings – stone in Yorkshire and brick in Lancashire – as characterful urban housing. Small and medium-sized firms using former wool and cotton mills as “business clusters” with communal facilities are also feeling the pinch, as well as the cost of maintenance and restrictions caused by listing as architecturally or historically important. In Greater Manchester the textile firm Leigh Spinners, which has diversified over a century from cotton and carpets to making synthetic grass for football pitches, has been seeking a buyer for 18 months for its Grade II* listed, 3.4-hectare (8.5-acre) mill to move to somewhere more modern. The company’s managing director, Peter Horrocks, said the firm, and its 40 staff, were “trapped” in the vast premises, which English Heritage considers one of the finest of its kind in the north-west. He appealed to the government to relax laws on adapting mills, including limited demolition of unwanted space. The sheer size of the buildings means that even successful complexes such as Saltaire, or Dean Clough in Halifax, which was once the largest carpet-making factory in the world, have room for new tenants. “Most of them could find you 100,000 sq ft if you were looking for space,” said Grizzard. “But for all the problems of recession, that’s the way we should be going. These are amazing buildings, built in a time of cheap materials and labour to a level of quality that we can seldom match today.” A conference hosted last week by Our Northern Mills at Saltaire heard details of a series of thriving conversions, including the local Victoria mill, whose worsted production system– from newly sheared sheep fleeces arriving on the top floor to high-quality suits emerging from the bottom one – now houses 440 flats. The complex has grown through seven years and £80m-worth of conversion and new-build, financed by a steady increase in residents from 200 in 2006 to more than 600 today. “It’s a fantastic place, as is Saltaire,” said Grizzard. “So are the lofts and apartments which Urban Splash is making at Manningham mills,” (another behemoth of a building whose silk and velvet products were rated the finest in the UK in Victorian times). “Potential development is still there, but needs a hand from a thorough survey of mills at risk. We’ve got to raise the profile of these truly important buildings.” At Leigh, English Heritage is hoping to broker talks between Leigh Spinners and developers with a track record of conversions. Although large-scale schemes may be on hold until better economic times, a spokeswoman said that grants for repairs were likely to be available and feasibility studies could be funded by a local heritage trust – a model that has triggered rescues elsewhere. Revival may also be helped by concern over threats to green belts around the UK’s urban areas. Most mills are on urban “brownfield” land, which local authorities and central government are targeting as the best place for new retail parks and homes. Frances Armitage-Smith, a Manchester architect with specialist experience of mills, said: “These buildings have already demonstrated their adaptability over time. Mill space is commonly rented out cheaply as warehousing, but could support more beneficial new uses cost effectively, especially as building land in many northern cities is now at a premium because developers have been land-banking during the recession.” Our Northern Mills is planning a larger conference and workshop later this year, supplemented by a TV documentary and online campaign. The last major renaissance for northern mills, following a crisis in the 1980s when even Saltaire and Dean Clough were in danger of demolition, began when entrepreneurs moved in at the nadir of the property slump. One in danger – Bradford Conditioning House – is an ornate monument to the city’s textile heyday, built by a special act of parliament in 1887 to test wool for diseases such as anthrax. The only one in the UK, its scientific status was marked by ornately carved sandstone and fine ironwork, but it was declared redundant and closed by the city council in 1990. Since then, a succession of conversion schemes have stalled or foundered, including headquarters for the regional Revenue & Customs and a retail village. The condition of the unique complex, which included a Moth Room to study insect infestation and a Light Room to check colour fastness, is causing increasing concern. One saved mill – Redbrick Mill in Batley, West Yorkshire – was a rundown complex two decades ago, left over from the “shoddy and mungo” industries, the Cinderella of the textile industry in which rags and scrap cloth were pulped and reformed.. A rescue in 1999 by the entrepreneur Steven Battye, who failed the 11-plus but went on to found the Skopos design firm, saw conversion to a retail centre whose designer outlets and stores, including Heals and Conran, still have locals blinking. Battye, who died last year, said optimism was the key. “We took a building worth practically nothing and turned it into a magnet for all kinds of firms who would otherwise not be in this part of West Yorkshire.” Heritage Regeneration Communities Conservation Martin Wainwright guardian.co.uk

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Filesharing curbs face court delay

Plans to restrict illegal filesharing could be delayed for at least a year as measures are battled out in high court Government plans to curb illegal filesharing could be delayed for at least a year as its most contentious measures are battled out in the high court. The UK’s two biggest internet service providers, BT and TalkTalk, will on Wednesday challenge the Digital Economy Act in a judicial review, on the basis that its proposals to tackle illicit filesharing infringe users’ “basic rights and freedoms” and received insufficient parliamentary scrutiny . The two companies together have 8.4m subscribers, and have repeatedly expressed opposition to elements of the act. The high court is expected to rule on whether the challenge can go ahead on Friday. If it agrees, the process of review could take until spring 2012, delaying implementation of the act even further, while content companies assert that illicit filesharing is costing UK businesses £400m annually in lost sales. The act was due to come into force in January, but has been delayed by a series of regulatory hurdles and now by the legal challenge. The outcome of the challenge is “critical” to the future of the act, a senior television executive told the Guardian. TV companies are increasingly concerned at the volume of their content being swapped over filesharing networks. Under the act, rights holders will collect data about people believed to be downloading film and music from filesharing sites. Internet providers will then match the rights holders’ data against their customer database and send warning letters to those accused. Repeat copyright infringers could have their internet access slowed or even blocked under secondary measures in the act. However, this second phase is understood to be about 18 months away from being considered as part of the measures. “Since the DEA passed into law there has been a considerable amount of work to do to implement the mass notification system,” said a spokesman for the Department for Culture, Media and Sport. “Secondary legislation setting out how the system will be paid for and how it will work has to be passed by parliament. Ofcom also has to set up an appeals process.” Jeremy Hunt, the culture secretary, last month passed one of the act’s most contentious measures – blocking access to websites accused of enabling filesharing – to Ofcom to review whether it is workable. The communications regulator is expected to report back in the summer. Copyright owners, largely represented by the Motion Picture Association and the British Phonographic Industry, support the act’s attempt to crack down on piracy but have become discouraged at its protracted and slow progress. The act’s cost-sharing arrangements also burden film and music bodies with 75% of the costs of the “mass notification system”, with internet providers footing 25% of the bill. Film bodies are more interested in forcing internet providers to block access to allegedly infringing sites , and are understood to have drawn up a blacklist list of around 90 so-called “cyberlocker” sites. The high court’s judicial review judgment is likely to be appealed by whichever side loses, further delaying its implementation. “The impact of online copyright infringement on the creative industries is huge,” said Christine Payne, general secretary of the creative industries trade union Equity. “The DEA is the result of many years of discussion between government, industry and trade unions to try to provide a framework to legislate against online copyright infringement. We believe we had no choice to intervene to give the government support for this case.” • To contact the MediaGuardian news desk email editor@mediaguardian.co.uk or phone 020 3353 3857. For all other inquiries please call the main Guardian switchboard on 020 3353 2000. • If you are writing a comment for publication, please mark clearly “for publication”. Filesharing Digital media Internet Computing Media law Josh Halliday guardian.co.uk

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Filesharing curbs face court delay

Plans to restrict illegal filesharing could be delayed for at least a year as measures are battled out in high court Government plans to curb illegal filesharing could be delayed for at least a year as its most contentious measures are battled out in the high court. The UK’s two biggest internet service providers, BT and TalkTalk, will on Wednesday challenge the Digital Economy Act in a judicial review, on the basis that its proposals to tackle illicit filesharing infringe users’ “basic rights and freedoms” and received insufficient parliamentary scrutiny . The two companies together have 8.4m subscribers, and have repeatedly expressed opposition to elements of the act. The high court is expected to rule on whether the challenge can go ahead on Friday. If it agrees, the process of review could take until spring 2012, delaying implementation of the act even further, while content companies assert that illicit filesharing is costing UK businesses £400m annually in lost sales. The act was due to come into force in January, but has been delayed by a series of regulatory hurdles and now by the legal challenge. The outcome of the challenge is “critical” to the future of the act, a senior television executive told the Guardian. TV companies are increasingly concerned at the volume of their content being swapped over filesharing networks. Under the act, rights holders will collect data about people believed to be downloading film and music from filesharing sites. Internet providers will then match the rights holders’ data against their customer database and send warning letters to those accused. Repeat copyright infringers could have their internet access slowed or even blocked under secondary measures in the act. However, this second phase is understood to be about 18 months away from being considered as part of the measures. “Since the DEA passed into law there has been a considerable amount of work to do to implement the mass notification system,” said a spokesman for the Department for Culture, Media and Sport. “Secondary legislation setting out how the system will be paid for and how it will work has to be passed by parliament. Ofcom also has to set up an appeals process.” Jeremy Hunt, the culture secretary, last month passed one of the act’s most contentious measures – blocking access to websites accused of enabling filesharing – to Ofcom to review whether it is workable. The communications regulator is expected to report back in the summer. Copyright owners, largely represented by the Motion Picture Association and the British Phonographic Industry, support the act’s attempt to crack down on piracy but have become discouraged at its protracted and slow progress. The act’s cost-sharing arrangements also burden film and music bodies with 75% of the costs of the “mass notification system”, with internet providers footing 25% of the bill. Film bodies are more interested in forcing internet providers to block access to allegedly infringing sites , and are understood to have drawn up a blacklist list of around 90 so-called “cyberlocker” sites. The high court’s judicial review judgment is likely to be appealed by whichever side loses, further delaying its implementation. “The impact of online copyright infringement on the creative industries is huge,” said Christine Payne, general secretary of the creative industries trade union Equity. “The DEA is the result of many years of discussion between government, industry and trade unions to try to provide a framework to legislate against online copyright infringement. We believe we had no choice to intervene to give the government support for this case.” • To contact the MediaGuardian news desk email editor@mediaguardian.co.uk or phone 020 3353 3857. For all other inquiries please call the main Guardian switchboard on 020 3353 2000. • If you are writing a comment for publication, please mark clearly “for publication”. Filesharing Digital media Internet Computing Media law Josh Halliday guardian.co.uk

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Pentagon Papers spiller Daniel Ellsberg and some 34 other activists were busted yesterday at a rally protesting the treatment of suspected WikiLeaker Bradley Manning. Hundreds packed the demonstration outside the Quantico marine base in Virginia, where Manning is being held in solitary confinement. Protesters were arrested when they refused to…

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Julian Fellowes brings Titanic to ITV

Downton Abbey writer to retell story of the sinking of liner in a six-part, seven-hour mini-series Downton Abbey writer Julian Fellowes’s next ITV drama is to be a mini-series about the sinking of the Titanic. Fellowes, who hit on a successful, Oscar-winning formula of interweaving the lives of upper and lower classes in the movie Gosford Park and repeated it for last year’s ITV1 hit Downton Abbey, will take a similar approach in retelling the story of the sinking of the Titanic on 14 April 1912. ITV promised that viewers will be “taken on a heart-wrenching journey through Titanic’s last hours, as the drama reveals which of the characters they have come to know so well will survive … and who does not”. “Interweaving multi-arc action, mystery and romantic plotlines and featuring fictional and historical characters, Titanic will focus on different characters ranging from steerage passengers to upper class guests,” the broadcaster said. “Each point of view will culminate in a cliffhanger as the ship begins to founder, building to an explosive conclusion which draws together each of the stories.” The sinking of the Titanic was a key plot point in Downton Abbey, with the heir to the title of Earl of Grantham going down on the “unsinkable” liner in the first episode, bringing the much-debated “entail” into play. Filming will begin on the six-part, seven-hour mini-series in Hungary in the spring and the drama has already been snapped up by foreign broadcasters including ABC in the US and Channel Seven in Australia. Maria Kyriacou, managing director at ITV Studios Global Entertainment, said: “The fantastic pedigree of the production talent behind this major series has generated huge interest from our global broadcast clients and we are very pleased to announce these new partners today. Providing a vividly different experience of the ship’s last hours alongside a definitive snapshot of what was a unique and uncertain moment in history.” Titanic is a UK/Hungary/Canada co-production and will be produced by Nigel Stafford-Clark and Chris Thompson. The executive producers are Simon Vaughan (Lookout Point), Kate Bartlett (ITV), Jennifer Kawaja, Julia Sereny (both Sienna Films), Howard Ellis and Adam Goodman (Mid Atlantic Films), and David Collins (Samson Films). •

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