Monday, October 15, 2007

Sam Brownback is perplexed. The U.S. Senator from Kansas and Presidential candidate is a Republican whose politics—he is against marriage for gay people, he is against abortion, and he has a clean image in a party tainted by scandal—should speak favorably to the party’s base. But it has not. “I’m baffled by that myself,” Senator Brownback told Wikinews reporter David Shankbone. “We haven’t been able to raise money.”

A recent poll in Iowa has put him in eighth place, with 2% supporting his campaign. “If we don’t finish fourth or better in Iowa…we’ll pull out.”

Senator Brownback’s relationship with God infuses almost every answer you find below. Although he doesn’t feel “competent” to explain why God would dislike gays, he does feel strongly that allowing two men or two women to enter into the union of marriage will destroy it for heterosexuals. Pointing to the research of Stanley Kurtz at the Hoover Institution, Brownback asserts that Northern Europeans have “taken the sacredness out of the institution.”

In the interview, Senator Brownback discusses the tug-and-pull that befalls him when his constituents show up at his office and say, “Look, I’m a conservative, but we need this bridge, we need this subsidy, we need this hospital.” Brownback feels this spending system needs to be changed; however, when it comes to energy policy, Brownback is there for his constituents. David Shankbone asked the Kansas Senator, a supporter of cellulosic ethanol, why he doesn’t support the lowering of tariffs on sugar since sugar ethanol delivers 8 times the energy output of cellulosic ethanol. Brazil, in particular, has become energy independent because of its sugar ethanol program. It’s cheaper to produce, and there is vastly more bang for the buck in sugar fuel than in corn fuel; an entire country no longer needs to import oil because of it. Federal tariffs currently make sugar ethanol too expensive in the United States. “You’re going to kill the ethanol industry here just as it gets going,” was Senator Brownback’s response. However, there is a debate over whether the process to make corn ethanol uses more energy than the ethanol itself produces.

Below is David Shankbone’s interview with Senator Sam Brownback.

Tuesday, March 30, 2021

Ivory Search, a WordPress plugin with over 60,000 active installations was found Sunday to have a security vulnerability that would allow attackers to perform damaging actions on websites that use the plugin. The vulnerability, known as reflected cross-site scripting (XSS) allows the execution of malicious JavaScript code by an unauthenticated attacker due to the lack of proper validation of user input in the plugin. Ivory Search versions 4.6 and below were found to be vulnerable to this issue by Jinson Varghese Behanan, a security researcher who immediately contacted the plugin’s development team who released a patch on March 30, 2021, fixing the bug in version 4.6.1. As of April 4, only 35% of the websites using the plugin have updated to the latest version. Considering the security risk, it is highly recommended that all the websites update to the latest version of Ivory Search.

Based on a technical analysis of the changes made by the team at WPScan, a free WordPress vulnerability management service, the Search Forms page of the plugin had not properly sanitised the “tab” parameter before printing it out in the page, leading to reflected XSS when opening a maliciously=crafted URL as a high privilege user such as a WordPress admin or editor. In order to exploit this, the knowledge of a search form ID is required. Behanan reported no active exploitation has been traced thus far.

WordPress is a popular free content management system used by over 40% of the top 10 million websites on the internet. It has been one of the primary targets for attackers who have continued to exploit vulnerabilities found in third party plugins and themes to perform malicious actions. When applications are vulnerable to XSS, an attacker gains the ability to execute malicious JavaScript code which can lead to website redirection, theft of session cookies, website defacement, etc. As a result, XSS has been listed as one of the Open Web Application Security Project’s Top 10 vulnerabilities. With JavaScript being the most commonly used client-side scripting language, website developers have used it to control how a website interacts with the users visiting it.

A vulnerability like XSS arises when a developer fails to properly validate user input fields on the website. This enables an attacker to insert malicious JavaScript code into these fields which are then executed by the browser as legitimate code and thus allows the attacker to perform damaging actions. For example, an attacker can exploit the XSS vulnerability to steal a session cookie, the unique token a website uses to recognise a logged-in user’s identity as they browse from page to page. If an attacker gains access to a user’s session cookie for a particular website, they will be able to access the logged-in session of that user without requiring to enter the username and password. Similarly, XSS can be used to insert JavaScript code that redirects the website to a malicious page or insert forms into the website with the purpose of baiting end users to enter their username and password which will then get sent to the attacker.

[edit]

Saturday, October 6, 2007

Few artists ever penetrate the subconscious level of American culture the way RuPaul Andre Charles did with the 1993 album Supermodel of the World. It was groundbreaking not only because in the midst of the Grunge phenomenon did Charles have a dance hit on MTV, but because he did it as RuPaul, formerly known as Starbooty, a supermodel drag queen with a message: love everyone. A duet with Elton John, an endorsement deal with MAC cosmetics, an eponymous talk show on VH-1 and roles in film propelled RuPaul into the new millennium.

In July, RuPaul’s movie Starrbooty began playing at film festivals and it is set to be released on DVD October 31st. Wikinews reporter David Shankbone recently spoke with RuPaul by telephone in Los Angeles, where she is to appear on stage for DIVAS Simply Singing!, a benefit for HIV-AIDS.

DS: How are you doing?

RP: Everything is great. I just settled into my new hotel room in downtown Los Angeles. I have never stayed downtown, so I wanted to try it out. L.A. is one of those traditional big cities where nobody goes downtown, but they are trying to change that.

DS: How do you like Los Angeles?

RP: I love L.A. I’m from San Diego, and I lived here for six years. It took me four years to fall in love with it and then those last two years I had fallen head over heels in love with it. Where are you from?

DS: Me? I’m from all over. I have lived in 17 cities, six states and three countries.

RP: Where were you when you were 15?

DS: Georgia, in a small town at the bottom of Fulton County called Palmetto.

RP: When I was in Georgia I went to South Fulton Technical School. The last high school I ever went to was…actually, I don’t remember the name of it.

DS: Do you miss Atlanta?

RP: I miss the Atlanta that I lived in. That Atlanta is long gone. It’s like a childhood friend who underwent head to toe plastic surgery and who I don’t recognize anymore. It’s not that I don’t like it; I do like it. It’s just not the Atlanta that I grew up with. It looks different because it went through that boomtown phase and so it has been transient. What made Georgia Georgia to me is gone. The last time I stayed in a hotel there my room was overlooking a construction site, and I realized the building that was torn down was a building that I had seen get built. And it had been torn down to build a new building. It was something you don’t expect to see in your lifetime.

DS: What did that signify to you?

RP: What it showed me is that the mentality in Atlanta is that much of their history means nothing. For so many years they did a good job preserving. Don’t get me wrong, I’m not a preservationist. It’s just an interesting observation.

DS: In 2004 when you released your third album, Red Hot, it received a good deal of play in the clubs and on dance radio, but very little press coverage. On your blog you discussed how you felt betrayed by the entertainment industry and, in particular, the gay press. What happened?

RP: Well, betrayed might be the wrong word. ‘Betrayed’ alludes to an idea that there was some kind of a promise made to me, and there never was. More so, I was disappointed. I don’t feel like it was a betrayal. Nobody promises anything in show business and you understand that from day one.

But, I don’t know what happened. It seemed I couldn’t get press on my album unless I was willing to play into the role that the mainstream press has assigned to gay people, which is as servants of straight ideals.

DS: Do you mean as court jesters?

RP: Not court jesters, because that also plays into that mentality. We as humans find it easy to categorize people so that we know how to feel comfortable with them; so that we don’t feel threatened. If someone falls outside of that categorization, we feel threatened and we search our psyche to put them into a category that we feel comfortable with. The mainstream media and the gay press find it hard to accept me as…just…

DS: Everything you are?

RP: Everything that I am.

DS: It seems like years ago, and my recollection might be fuzzy, but it seems like I read a mainstream media piece that talked about how you wanted to break out of the RuPaul ‘character’ and be seen as more than just RuPaul.

RP: Well, RuPaul is my real name and that’s who I am and who I have always been. There’s the product RuPaul that I have sold in business. Does the product feel like it’s been put into a box? Could you be more clear? It’s a hard question to answer.

DS: That you wanted to be seen as more than just RuPaul the drag queen, but also for the man and versatile artist that you are.

RP: That’s not on target. What other people think of me is not my business. What I do is what I do. How people see me doesn’t change what I decide to do. I don’t choose projects so people don’t see me as one thing or another. I choose projects that excite me. I think the problem is that people refuse to understand what drag is outside of their own belief system. A friend of mine recently did the Oprah show about transgendered youth. It was obvious that we, as a culture, have a hard time trying to understand the difference between a drag queen, transsexual, and a transgender, yet we find it very easy to know the difference between the American baseball league and the National baseball league, when they are both so similar. We’ll learn the difference to that. One of my hobbies is to research and go underneath ideas to discover why certain ones stay in place while others do not. Like Adam and Eve, which is a flimsy fairytale story, yet it is something that people believe; what, exactly, keeps it in place?

DS: What keeps people from knowing the difference between what is real and important, and what is not?

RP: Our belief systems. If you are a Christian then your belief system doesn’t allow for transgender or any of those things, and you then are going to have a vested interest in not understanding that. Why? Because if one peg in your belief system doesn’t work or doesn’t fit, the whole thing will crumble. So some people won’t understand the difference between a transvestite and transsexual. They will not understand that no matter how hard you force them to because it will mean deconstructing their whole belief system. If they understand Adam and Eve is a parable or fairytale, they then have to rethink their entire belief system.

As to me being seen as whatever, I was more likely commenting on the phenomenon of our culture. I am creative, and I am all of those things you mention, and doing one thing out there and people seeing it, it doesn’t matter if people know all that about me or not.

DS: Recently I interviewed Natasha Khan of the band Bat for Lashes, and she is considered by many to be one of the real up-and-coming artists in music today. Her band was up for the Mercury Prize in England. When I asked her where she drew inspiration from, she mentioned what really got her recently was the 1960’s and 70’s psychedelic drag queen performance art, such as seen in Jack Smith and the Destruction of Atlantis, The Cockettes and Paris Is Burning. What do you think when you hear an artist in her twenties looking to that era of drag performance art for inspiration?

RP: The first thing I think of when I hear that is that young kids are always looking for the ‘rock and roll’ answer to give. It’s very clever to give that answer. She’s asked that a lot: “Where do you get your inspiration?” And what she gave you is the best sound bite she could; it’s a really a good sound bite. I don’t know about Jack Smith and the Destruction of Atlantis, but I know about The Cockettes and Paris Is Burning. What I think about when I hear that is there are all these art school kids and when they get an understanding of how the press works, and how your sound bite will affect the interview, they go for the best.

DS: You think her answer was contrived?

RP: I think all answers are really contrived. Everything is contrived; the whole world is an illusion. Coming up and seeing kids dressed in Goth or hip hop clothes, when you go beneath all that, you have to ask: what is that really? You understand they are affected, pretentious. There’s nothing wrong with that, but it’s how we see things. I love Paris Is Burning.

DS: Has the Iraq War affected you at all?

RP: Absolutely. It’s not good, I don’t like it, and it makes me want to enjoy this moment a lot more and be very appreciative. Like when I’m on a hike in a canyon and it smells good and there aren’t bombs dropping.

DS: Do you think there is a lot of apathy in the culture?

RP: There’s apathy, and there’s a lot of anti-depressants and that probably lends a big contribution to the apathy. We have iPods and GPS systems and all these things to distract us.

DS: Do you ever work the current political culture into your art?

RP: No, I don’t. Every time I bat my eyelashes it’s a political statement. The drag I come from has always been a critique of our society, so the act is defiant in and of itself in a patriarchal society such as ours. It’s an act of treason.

DS: What do you think of young performance artists working in drag today?

RP: I don’t know of any. I don’t know of any. Because the gay culture is obsessed with everything straight and femininity has been under attack for so many years, there aren’t any up and coming drag artists. Gay culture isn’t paying attention to it, and straight people don’t either. There aren’t any drag clubs to go to in New York. I see more drag clubs in Los Angeles than in New York, which is so odd because L.A. has never been about club culture.

DS: Michael Musto told me something that was opposite of what you said. He said he felt that the younger gays, the ones who are up-and-coming, are over the body fascism and more willing to embrace their feminine sides.

RP: I think they are redefining what femininity is, but I still think there is a lot of negativity associated with true femininity. Do boys wear eyeliner and dress in skinny jeans now? Yes, they do. But it’s still a heavily patriarchal culture and you never see two men in Star magazine, or the Queer Eye guys at a premiere, the way you see Ellen and her girlfriend—where they are all, ‘Oh, look how cute’—without a negative connotation to it. There is a definite prejudice towards men who use femininity as part of their palette; their emotional palette, their physical palette. Is that changing? It’s changing in ways that don’t advance the cause of femininity. I’m not talking frilly-laced pink things or Hello Kitty stuff. I’m talking about goddess energy, intuition and feelings. That is still under attack, and it has gotten worse. That’s why you wouldn’t get someone covering the RuPaul album, or why they say people aren’t tuning into the Katie Couric show. Sure, they can say ‘Oh, RuPaul’s album sucks’ and ‘Katie Couric is awful’; but that’s not really true. It’s about what our culture finds important, and what’s important are things that support patriarchal power. The only feminine thing supported in this struggle is Pamela Anderson and Jessica Simpson, things that support our patriarchal culture.

Thursday, January 14, 2010

Wikinews interviewed author Nancy Many about her book My Billion Year Contract, and asked her about life working in the elite Scientology group known as the “Sea Org“. Many joined Scientology in the early 1970s, and after leaving in 1996 she later testified against the organization. Published in October, Many’s book has gone on to become one of the top selling new books on Scientology at Amazon.com.

Thursday, June 1, 2006

If you’ve always wanted to live in a world populated by elves, dwarves and wizards, you don’t need to pay for a World of Warcraft subscription or buy the Special Extended DVD Trilogy Edition of The Lord of the Rings just yet. You could instead give Battle for Wesnoth a try — an open source turn-based strategy game in a fantasy setting. For the practically minded, “open-source” means that the code which the game is made of is available to anyone who wishes to use, redistribute or change it. It was created by volunteers and can be freely shared. Even the multiplayer online part of the game is free (no ads or spyware either).

But Wesnoth, as it is often abbreviated, is notable not only because it is free. While its graphics are simple by modern standards, the sheer number of units and scenarios that are available for the game is staggering. This is where the “open source” philosophy comes truly into play: anyone can contribute art or new campaigns. As of May 2006, the forum where users can share and discuss their own art contained over 25,000 messages. Most of this art is made available under the same open source terms as the game itself.

Battle for Wesnoth lets you command armies of units such as archers, swordmen, mages and gryphons during the course of a campaign consisting of multiple missions. Typically, your mission is to defeat an enemy leader, but some scenarios let you liberate a prisoner, find a lost artifact, traverse dangerous territories, and so on. Your best units can be taken from one mission to the next, “levelling up” in the process. Even units of the same type vary in their abilities, making the tactical use of the right unit at the right time very important.

The game is reminiscent of turn-based strategy classics such as Heroes of Might and Magic or Warlords. Throughout each campaign, the player is informed of the progress of the story. For instance, in the “Heir to the Throne” campaign, the player follows the story of Prince Konrad, who must reclaim the throne of Wesnoth from an evil queen.

The game was originally designed by David White, who is still the project’s lead developer. We exchanged e-mails with David about the state of open source gaming, the future of Wesnoth, and the collaborative aspects of game development.

David, thanks for taking our questions. Open source games suffer from the problem that very few people have all the abilities needed to make a good game: programming, graphics, story development, sound effects, music, and so on. When you started Battle for Wesnoth, how did you deal with this?

Not very well. 🙂

Version 0.1 of Wesnoth was developed entirely by me, and it was ugly. It had awful graphics, and no sound or music at all.

I think the best way to deal with the problem is to make an early version of the game which showcases the desired gameplay. Then, people with the appropriate skills who like the game will contribute. This worked out well with Wesnoth, anyhow, as I soon attracted a fine artist, Francisco Munoz, and once the graphics were decent, more people started wanting to help.

I noticed that the forum allows anyone to submit art for the game. How important have contributions from ordinary players been for development?

Well, as with almost any free software project, contributions from users have been very important. In the area of art, this is definitely so, though making a substantial contribution of art generally requires a reasonable amount of skill, so the number of people who can contribute art is somewhat limited.

This has meant that the number of people who contribute art is much smaller than, say, the number of people who contribute bug reports or feature requests. Still, there are plenty of good pixel artists out there, and we have had many good contributions from our community.

Also, within the game itself, it’s possible to directly download new campaigns from the Internet, many of which have been created by players. Do you think that, in essence, we are seeing the beginnings of applying “wiki” principles to game development?

On one hand, I see the ability to directly download new campaigns as a mild convenience — it wouldn’t be much more difficult for the user to, for instance, go to a web page and download campaigns.

On the other hand, it does blur the line between ‘developer created content’ and ‘user created content’ and so, like a Wiki, makes it much easier for any user to contribute to the game.

I think that for an Open Source game, making it as easy as possible for users to contribute content is a key way to help make the game succeed. We have tried hard to do this in Wesnoth. I don’t think that with something dynamic like a game, it’s quite as easy to make absolutely anyone be able to edit it or contribute as easily as they can in a Wiki, but we have tried to make it as easy as possible.

How do you moderate user-submitted content? Are there scenarios or graphics you have rejected because they crossed a line — sexual content, excessive violence, etc.?

Well, there are basically three levels of content acceptance:

1. ‘Official’: content can be accepted into the game itself — the content will reside in our SVN repository, and will be in the tarballs released by developers.
2. ‘Campaign Server’: Content can be allowed on the campaign server (the server which users can connect to in-game to download more content).
3. ‘Disallowed’: Finally, content can be disallowed on the campaign server, which means that the creator could only distribute it using their own channels (for instance, having a web site people could download it from).

Content only makes it to (1) if the developers happen to like it very much. We don’t have any firm rules as to what is allowed and disallowed, and a campaign that has short-comings from the developer’s point of view might still be allowed if it is exceptional in other areas. As an example of this, the campaign ‘Under the Burning Suns’ contained explicit references to religion. To avoid controversy, we wanted to avoid references to religion in Wesnoth. However, recognizing the exceptional quality of the campaign, we decided to accept it into the official version of Wesnoth in spite of this one aspect we didn’t like.

Artwork containing nudity has also been a controversial point in the past, as has violence (particularly explicit depiction of blood). We generally take the point of view that we will review each item as it comes, rather than making blanket rules.

With regard to whether we allow things onto the campaign server, (2), our general policy is that to be allowed onto the campaign server, the content need only be licensed under the GPL. However, we reserve the right to remove content that we consider to be distasteful in any way. Fortunately, our content submitters are generally very reasonable, and we haven’t had to exercise this right.

Our aim is to keep Wesnoth appropriate for users of any age and background — of course, it contains some level of violence, but this is not depicted very explicitly, and only parents who do not want to expose their children to animated violence of any level need be concerned. For this reason, we also do not allow expletives on our forums or IRC channels.

How do you feel about games like “Second Life”, where players trade user-generated content for money?

I’ve never understood the appeal of games like that. I don’t enjoy cheating in games, and to me buying items with real money seems like cheating — except worse, since it actually costs money.

What changes to the game or gameplay do you anticipate in the coming months and years?

Well, we’ve avoided making many gameplay changes at all, since very early on in Wesnoth’s development. Wesnoth is meant to be a simple game, with simple gameplay, and ‘changing’ gameplay will probably lead to it being more complex. We want to keep it simple.

Changes will probably focus on improving existing features, and making the engine a little more customizable. Enhancing the multiplayer component is big on the list — we’ve progressively added more and more features on the server. We also want to add more graphical enhancement. For instance, a particle system to allow various combat effects.

If you had unlimited resources at your disposal to improve the game, what would you change about it?

Wesnoth was always designed to be a simple game, with simple goals. It has exceeded all the expectations I originally had for it. There is still some ‘polishing’ work going on, but really I don’t think there is too much I would dramatically change.

Probably the largest thing I can name is a much better AI than we currently have. I’m pretty happy with the AI developed for Wesnoth — I think it’s much better than AIs for most commercial games — but it could be better. That’s the only area of Wesnoth that I think could really be very dramatically improved.

I am pretty happy with our in-game graphics. Some people compare our graphics to modern commercial games, and think our graphics are laughably poor. We often get comments that our graphics are around the same quality as those seen in SNES or Genesis games, or PC games from a decade ago. (These people should try playing a strategy game on the SNES/Genesis/PC from this long ago; Wesnoth’s graphics are much better).

I am very happy with our graphics overall. I think our artists have done an excellent job of making the game look attractive without detracting from functionality. Adding 3D graphics, or changing the style of the 2D graphics would only be wasted effort in my mind — I think we’ve achieved a great balance of making the game easy and clear, while making it look good.

With unlimited resources, I would like some more storyline/cutscene images, and a nice new title screen, but these are relatively small concerns I think.

There are some enhancements to multiplayer I would like added — multiplayer campaigns is a long-time feature request. As are more options and features on the multiplayer server.

Overall though, if I had ‘unlimited resources’, I’d much rather develop an entirely new game. We don’t have enough good Open Source games — it’s a waste to pour all the resources we have into one. 🙂

Wesnoth has dwarves with guns, World of Warcraft has gnomes and goblins with explosives and flying machines — where do you, personally, define the limits of the fantasy genre? Are there scenarios playing in a steampunk world, or ones with modern technology? Would you allow those?

Actually we have Dwarves with ‘Thundersticks’ 🙂 — mysterious weapons that make a loud sound and do lots of damage, but are clumsy and unreliable. The developers do not comment on whether or not these ‘thundersticks’ are or are not like ‘guns’ on earth. We like to keep Wesnoth slightly mysterious, and leave some things up to the player’s interpretation, rather than spell it out.

We once used to have dragoons with pistols, and other weapons like that, but we made a very intentional decision to remove them.

I don’t like categorizing things into ‘genres’. Many people debate whether Wesnoth is an ‘RPG’, or ‘strategy game’, etc. I think the debate of what genre something is in is largely irrelevant.

We do have a vision for what the world of Wesnoth is like though — and Wesnoth is a world of ancient-era weaponry, with a little magic. Of Elves and Dwarves and Orcs. Very much inspired by Tolkien. I actually originally chose this setting because my focus was on technical excellence — writing a good, solid engine — not on creating a new fantasy world. I decided to stick with a very well-known, proven theme, figuring I couldn’t go wrong with it.

We probably wouldn’t allow anything that departs dramatically from the world we’ve made into the official version of the game, but we’d be happy to have it on our campaign server. The main attempt at a ‘total modification’ of Wesnoth is a project known as Spacenoth, which has a sci-fi/futuristic theme.

At this time though, there is no release of this project. I hope they do well though.

How do you feel about turn-based games like “Heroes of Might and Magic” with their massive army-building and resource management? Do you think there’s going to be an open source equivalent of this type of game soon?

I haven’t played Heroes of Might and Magic very much. The few times I have played it, I thought it was boring to be honest. I don’t like the type of game where one marches armies around a ‘large map’ and then must ‘zoom in’ to a different ‘battle field’ every time a battle takes place. I find games like that to take far too long, and tend to become tedious.

I would prefer a civilization or perhaps colonization type game. FreeCiv is nice, though it’s close to being a clone of Civilization II. I’d like an original game that had the same sort of theme as civilization, but with new and innovative rules.

Every online game and community is also a social space. Have you met interesting people through Wesnoth whom you would not have met otherwise? Are there other stories you can tell from the community — have there been real world meetups, chat rooms, etc.?

I’ve come into contact with lots of very interesting people through Wesnoth, and have learned a great deal from them. The Wesnoth developers — many of whom are from Europe — used the LSM conference in France in 2004 as an opportunity to meet each other. Nekeme, an organization dedicated to developing and promotion Free games was kind enough to sponsor two developers to go. Unfortunately, I was not able to attend, but the developers who did had a very nice time.

We have several IRC channels on irc.freenode.net, and the most popular ones — #wesnoth and #wesnoth-dev are usually fairly busy with both discussion about Wesnoth, and friendly discussion of other topics.

Also, the developers have tried to make a habit of playing “co-operative multiplayer” games against the AI. During these games, we use the in-game chat facility to get to know each other better, and discuss improvements to the game.

Are there other open source games that have personally impressed you, or that you enjoy playing?

I’m afraid I haven’t played many. I like RPGs, and I know lots of people love NetHack and similar games, but I much prefer party-based and generally more storyline-oriented RPGs.

FreeCiv is pretty well-done, though I am happy to play commercial games, and so I think Civilization 3 and Civilization 4 are both technically superior in virtually every regard. I think that’s an inevitable problem when you make an Open Source game a straight clone of a commercial game.

Probably the most promising Open Source game I’ve seen is GalaxyMage, but it still has a long way to go.

Honestly, I don’t play that many games. I like playing commercial RPGs, usually console-based, with my wife, and I occasionally like playing the commercial Civilization series. To play an Open Source game, it’d have to be very good, and appeal to my tastes, and I haven’t found any Open Source games like that, sadly.

Friday, March 31, 2006

More than 48 million gallons (180 million L) of untreated sewage that flowed into the ocean from a sewer spill on Friday, March 24, have forced city officials in Honolulu, Hawaii, United States, to post signs warning tourists on Waikiki Beach to stay out of the water.

A 42-inch pressurized sewer line in Waikiki cracked on Friday, March 24, sending untreated sewage into the Ala Wai Canal on the inland (mauka) side of Waikiki. Engineers believe that heavy rains since February 19 overwhelmed the sewer line, which was constructed in 1965.

City officials say that they had no alternative but to pump the raw sewage into the Ala Wai Canal, which empties just west of Waikiki, to prevent the wastewater from backing up into homes and hotels. Repair crews worked around the clock to fix the sewer break. The spill was finally stopped on Thursday.

At first, tides and winds took the sewage spill out to sea, but southerly winds sent the sewage back toward Waikiki Beach, forcing city officials to take action. Signs were posted on beaches on the west side of Waikiki. Bacteria tests taken on the 29th showed levels of bacteria from three to sixty times acceptable levels.

Health officials will continue to test bacteria levels daily, but there is no estimate as to when the contamination will dissipate; warning signs may be in place for as long as several months.

Friday, September 22, 2006

The upcoming 2006 Mississauga municipal election, to be held November 13, features an array of candidates looking to represent their wards in city council.

Wikinews contributor Nicholas Moreau has contacted as many candidates as possible, including Tony Ciufo, asking them to answer common questions sent in an email. There is no incumbent in the newly created ward; the sixteen resident competing for the position are Shah Rukh Alam, John Briers, Jamie Dookie, Dale D’Souza, Prag Euclid, Adnan Hashmi, Elias Hazineh, Jack Janiak, Fasal Javaid, Craig Lawrence, Sue M. McFadden, Patrick Mendes, Barbara Polis, Graziano Roti, Ali Tahmourpour, and Scott Wilson.