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Friday, December 18, 2020

Last week, on December 8, US-based software company Red Hat announced plans to shift their focus away from CentOS in favour of CentOS stream.

Started in 2004, CentOS has been a free-of-cost free/libre open source software which provided binary-code compatibility with Red Hat Enterprise Linux (RHEL) — Red Hat’s GNU General Public Licensed paid operating system. Gregory Kurtzer told Wikinews he started CAOS Linux around the time when Red Hat announced End of Life for their Red Hat Linux in favour of subscription-based Red Hat Enterprise Linux. CAOS was succeeded by CentOS when Rocky McGaugh, a developer of CAOS rebuilt the source code of RHEL to provide a monetarily free alternative. CentOS was absorbed into Red Hat in 2014, with Red Hat gaining the trademark rights of “CentOS”.

Red Hat also sponsors the development of the Fedora operating system. Until now, software development took place on Fedora, which was later adopted in RHEL, which the Red Hat maintained and provided support for, for those customers who had RHEL subscription. CentOS would then follow RHEL’s release cycle to provide the same features free of cost, but without the support.

Stream was announced in September 2019, just two months after Red Hat was acquired by IBM. CentOS Stream’s development cycle had new features added to it before the features became a part of RHEL. Stream receives more frequent updates, however, it does not follow RHEL’s release cycle.

With CentOS Stream, developments from the community and the Red Hat employees would take place beforehand on both Fedora, and Stream as a rolling release, before those features are absorbed into RHEL. CentOS followed the release cycle of RHEL and therefore it was a stable distribution. Features available in CentOS were tried and tested by Fedora, and then RHEL maintainers.

Red Hat’s Chief Technical Officer Chris Wright wrote in the announcement “CentOS Stream isn’t a replacement for CentOS Linux; rather, it’s a natural, inevitable next step intended to fulfill the project’s goal of furthering enterprise Linux innovation.” Since the announcement was made, many people expressed their anger on Internet Relay Chat (IRC), Reddit and CentOS project’s mailing list. CentOS 8’s End of Life (EOL) has been moved up from May 2029 to December 31, 2021, while CentOS 7 is expected to receive maintenance updates through June 2024, outliving CentOS 8.

Soon after Red Hat’s announcement, Kurtzer announced his intentions to develop Rocky Linux, to fill the role CentOS had been playing for so long. Kurtzer said Rocky Linux was named after Rocky McGaugh. “Thinking back to early CentOS days… My cofounder was Rocky McGaugh. He is no longer with us, so as a H/T [hat tip] to him, who never got to see the success that CentOS came to be, I introduce to you…Rocky Linux”, Kurtzer wrote. Wikinews discussed with Kurtzer the beginning of CentOS, and future of Rocky Linux.

While no formal date of release has been announced for Rocky Linux, Kurtzer said they are planning to release the CentOS replacement before the end of life of CentOS 8. Kurtzer also said Rocky Linux will run on both x86-64 and ARM-based processors, and CentOS users would be able to convert their OS to Rocky Linux just by running a single command.

Saying Rocky Linux is for the community, Kurtzer said he “take[s] the responsibility of ensuring that all decisions are in favor of the community and the project and free from corporate control” including his own company. Talking about the attention from the userbase Rocky Linux has received, Kurtzer said, “I have never seen an open community come together this fast and be this passionate about working together towards a common goal.”

Tuesday, September 6, 2005

In a press release issued Saturday, September 3rd, 2005, Democratic Senator Mary L. Landrieu of Louisiana claims that President Bush staged a photo opportunity, at the breached 17th Street levee, by having equipment quickly moved into the background during the event. Senator Landrieu says the equipment was dispersed elsewhere the next day, but did not provide details.

Landrieu says in her press release, ” … we witnessed a hastily prepared stage set for a Presidential photo opportunity; and the desperately needed resources we saw were this morning reduced to a single, lonely piece of equipment. The good and decent people of southeast Louisiana and the Gulf Coast — black and white, rich and poor, young and old — deserve far better from their national government …”

The President and Senator Landrieu toured the 17th Street levee on Friday, and held the photo-op. Senator Landrieu said she believed the repair effort was legitimate, at that time. Less than 24 hours later, she discovered only “one lonely crane” working on the site, while giving an aerial tour for ABC’s This Week with George Stephanopoulos. A video of her tearful comments, during that tour, has been circulating around the internet (WMV).

Senator Landrieu made no specific accusations about the photo-op during the ABC tour. However, neither does her press release describe any measures taken to verify that equipment was in-fact pulled from other projects for the purpose of the photo-op, nor where the equipment is now. The canal wall breach, near Hammond Highway, was later shown Sunday on CBS’ 60 Minutes with dump trucks and a power shovel building a single-lane pathway across the gap. The breach was closed Monday.

Senator Landrieu was herself criticized by Anderson Cooper (CNN) on Thursday, after she responded to a question by rattling off a list of “thank yous” to other politicians (WMV, transcript). Democratic pundits have excused such detachment as an attempt to gain more federal assistance during the tragedy. Senator Landrieu’s press release partially confirms this interpretation by attempting to simultaneously ask the president for more aid, while accusing him of misusing existing resources.

Although press reports mentioned the 17th Street Canal breach was blocked by the use of metal sheets, sandbags, and dumped fill, details were not available. On Wednesday September 7 it was reported that earlier metal girders, often used for retaining walls, had been hung down from the north side of the Hammond Highway bridge so as to form a metal wall which blocked the canal from the lake. After the breach had been closed, by sandbags and fill delivered by dump truck, the metal wall was opened to allow draining of the city through the canal.

Obviously placing the metal wall required an assortment of equipment which was no longer needed after it was in place. The wall was only visible from the bridge and most dry land as a few feet of metal along the bridge railing. It is not known if Senator Landrieu noticed this work of engineering, nor if she had been briefed as to what was being done.

However, photos of work at the site were later found which showed a lot of activity Sept 4, after Landrieu said the equipment was not there. However, the sheet piling wall in the photo was reported to have been completed September 2. Information of the schedule of similar work at the London Avenue breach has not been found.

Thursday, July 3, 2014

Ian Narev, the CEO of the Commonwealth Bank of Australia, this morning “unreservedly” apologised to clients who lost money in a scandal involving the bank’s financial planning services arm.

Last week, a Senate enquiry found financial advisers from the Commonwealth Bank had made high-risk investments of clients’ money without the clients’ permission, resulting in hundreds of millions of dollars lost. The Senate enquiry called for a Royal Commission into the bank, and the Australian Securities and Investments Commission (ASIC).

Mr Narev stated the bank’s performance in providing financial advice was “unacceptable”, and the bank was launching a scheme to compensate clients who lost money due to the planners’ actions.

In a statement Mr Narev said, “Poor advice provided by some of our advisers between 2003 and 2012 caused financial loss and distress and I am truly sorry for that. […] There have been changes in management, structure and culture. We have also invested in new systems, implemented new processes, enhanced adviser supervision and improved training.”

An investigation by Fairfax Media instigated the Senate inquiry into the Commonwealth Bank’s financial planning division and ASIC.

Whistleblower Jeff Morris, who reported the misconduct of the bank to ASIC six years ago, said in an article for The Sydney Morning Herald that neither the bank nor ASIC should be in control of the compensation program.

Thursday, December 18, 2008

A team of eight transplant surgeons in Cleveland Clinic in Ohio, USA, led by reconstructive surgeon Dr. Maria Siemionow, age 58, have successfully performed the first almost total face transplant in the US, and the fourth globally, on a woman so horribly disfigured due to trauma, that cost her an eye. Two weeks ago Dr. Siemionow, in a 23-hour marathon surgery, replaced 80 percent of her face, by transplanting or grafting bone, nerve, blood vessels, muscles and skin harvested from a female donor’s cadaver.

The Clinic surgeons, in Wednesday’s news conference, described the details of the transplant but upon request, the team did not publish her name, age and cause of injury nor the donor’s identity. The patient’s family desired the reason for her transplant to remain confidential. The Los Angeles Times reported that the patient “had no upper jaw, nose, cheeks or lower eyelids and was unable to eat, talk, smile, smell or breathe on her own.” The clinic’s dermatology and plastic surgery chair, Francis Papay, described the nine hours phase of the procedure: “We transferred the skin, all the facial muscles in the upper face and mid-face, the upper lip, all of the nose, most of the sinuses around the nose, the upper jaw including the teeth, the facial nerve.” Thereafter, another team spent three hours sewing the woman’s blood vessels to that of the donor’s face to restore blood circulation, making the graft a success.

The New York Times reported that “three partial face transplants have been performed since 2005, two in France and one in China, all using facial tissue from a dead donor with permission from their families.” “Only the forehead, upper eyelids, lower lip, lower teeth and jaw are hers, the rest of her face comes from a cadaver; she could not eat on her own or breathe without a hole in her windpipe. About 77 square inches of tissue were transplanted from the donor,” it further described the details of the medical marvel. The patient, however, must take lifetime immunosuppressive drugs, also called antirejection drugs, which do not guarantee success. The transplant team said that in case of failure, it would replace the part with a skin graft taken from her own body.

Dr. Bohdan Pomahac, a Brigham and Women’s Hospital surgeon praised the recent medical development. “There are patients who can benefit tremendously from this. It’s great that it happened,” he said.

Leading bioethicist Arthur Caplan of the University of Pennsylvania withheld judgment on the Cleveland transplant amid grave concerns on the post-operation results. “The biggest ethical problem is dealing with failure — if your face rejects. It would be a living hell. If your face is falling off and you can’t eat and you can’t breathe and you’re suffering in a terrible manner that can’t be reversed, you need to put on the table assistance in dying. There are patients who can benefit tremendously from this. It’s great that it happened,” he said.

Dr Alex Clarke, of the Royal Free Hospital had praised the Clinic for its contribution to medicine. “It is a real step forward for people who have severe disfigurement and this operation has been done by a team who have really prepared and worked towards this for a number of years. These transplants have proven that the technical difficulties can be overcome and psychologically the patients are doing well. They have all have reacted positively and have begun to do things they were not able to before. All the things people thought were barriers to this kind of operations have been overcome,” she said.

The first partial face transplant surgery on a living human was performed on Isabelle Dinoire on November 27 2005, when she was 38, by Professor Bernard Devauchelle, assisted by Professor Jean-Michel Dubernard in Amiens, France. Her Labrador dog mauled her in May 2005. A triangle of face tissue including the nose and mouth was taken from a brain-dead female donor and grafted onto the patient. Scientists elsewhere have performed scalp and ear transplants. However, the claim is the first for a mouth and nose transplant. Experts say the mouth and nose are the most difficult parts of the face to transplant.

In 2004, the same Cleveland Clinic, became the first institution to approve this surgery and test it on cadavers. In October 2006, surgeon Peter Butler at London‘s Royal Free Hospital in the UK was given permission by the NHS ethics board to carry out a full face transplant. His team will select four adult patients (children cannot be selected due to concerns over consent), with operations being carried out at six month intervals. In March 2008, the treatment of 30-year-old neurofibromatosis victim Pascal Coler of France ended after having received what his doctors call the worlds first successful full face transplant.

Ethical concerns, psychological impact, problems relating to immunosuppression and consequences of technical failure have prevented teams from performing face transplant operations in the past, even though it has been technically possible to carry out such procedures for years.

Mr Iain Hutchison, of Barts and the London Hospital, warned of several problems with face transplants, such as blood vessels in the donated tissue clotting and immunosuppressants failing or increasing the patient’s risk of cancer. He also pointed out ethical issues with the fact that the procedure requires a “beating heart donor”. The transplant is carried out while the donor is brain dead, but still alive by use of a ventilator.

According to Stephen Wigmore, chair of British Transplantation Society’s ethics committee, it is unknown to what extent facial expressions will function in the long term. He said that it is not certain whether a patient could be left worse off in the case of a face transplant failing.

Mr Michael Earley, a member of the Royal College of Surgeon‘s facial transplantation working party, commented that if successful, the transplant would be “a major breakthrough in facial reconstruction” and “a major step forward for the facially disfigured.”

In Wednesday’s conference, Siemionow said “we know that there are so many patients there in their homes where they are hiding from society because they are afraid to walk to the grocery stores, they are afraid to go the the street.” “Our patient was called names and was humiliated. We very much hope that for this very special group of patients there is a hope that someday they will be able to go comfortably from their houses and enjoy the things we take for granted,” she added.

In response to the medical breakthrough, a British medical group led by Royal Free Hospital’s lead surgeon Dr Peter Butler, said they will finish the world’s first full face transplant within a year. “We hope to make an announcement about a full-face operation in the next 12 months. This latest operation shows how facial transplantation can help a particular group of the most severely facially injured people. These are people who would otherwise live a terrible twilight life, shut away from public gaze,” he said.

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.

Saturday, October 31, 2009

A man has been given a prison sentence of nine years for the manslaughter of his wife in Hampshire, England. 40-year-old Sally Sinclair was head of business analysis for mobile phone provider Vodafone and had been killed in August 2008 in her home in the village of Amport, after admitting to her husband that she had had an affair. When her body was found in the kitchen of the house, it was discovered that she had suffered a partially severed head and at least 40 stab wounds. Winchester Crown Court had heard during the trial that the attack was partly witnessed by children.

Alisdair Sinclair, who is 48 years old and caused the attack, was cleared of charges of murder, but was sentenced to nine years in prison for charges of manslaughter. Judge Guy Boney QC has been quoted as saying: “Your wife did everything she could to support and help you and indulge your eccentricities, including spending £100,000 (US$164,470) on three cars of the same model you hardly ever used.

“She wanted to make the marriage work and save it from collapse. These efforts cost her her life. Sally Sinclair appears to have coped with, and tolerated, your behaviour over a long period. When she could not take any more of your behaviour you exploded in a frenzy of brutality in reaction to certain information you forced out of her.”

Speaking about the case, Detective Sergeant Sarah Simpson from Hampshire Constabulary said outside of the courtroom: “A successful career woman had her life tragically and prematurely cut short and her family now have to lead their lives without her. Nothing can ever compensate for that.”

Friday, September 7, 2012

London, England — On Wednesday, Wikinews interviewed Duncan Campbell, one of the creators of wheelchair rugby.

((Laura Hale)) You’re Duncan Campbell, and you’re the founder of…

Duncan Campbell: One of the founders of wheelchair rugby.

((Laura Hale)) And you’re from Canada, eh?

Duncan Campbell: Yes, I’m from Canada, eh! (laughter)

((Laura Hale)) Winnipeg?

Duncan Campbell: Winnipeg, Manitoba.

((Laura Hale)) You cheer for — what’s that NHL team?

Duncan Campbell: I cheer for the Jets!

((Laura Hale)) What sort of Canadian are you?

Duncan Campbell: A Winnipeg Jets fan! (laughter)

((Laura Hale)) I don’t know anything about ice hockey. I’m a Chicago Blackhawks fan.

((Hawkeye7)) Twenty five years ago…

Duncan Campbell: Thirty five years ago!

((Laura Hale)) They said twenty five in the stadium…

Duncan Campbell: I know better.

((Hawkeye7)) So it was 1977.

((Laura Hale)) You look very young.

Duncan Campbell: Thank you. We won’t get into how old I am.

((Hawkeye7)) So how did you invent the sport?

Duncan Campbell: I’ve told this story so many times. It was a bit of a fluke in a way, but there were five of us. We were all quadriplegic, that were involved in sport, and at that time we had the Canadian games for the physically disabled. So we were all involved in sports like table tennis or racing or swimming. All individual sports. And the only team sport that was available at that time was basketball, wheelchair basketball. But as quadriplegics, with hand dysfunction, a bit of arm dysfunction, if we played, we rode the bench. We’d never get into the big games or anything like that. So we were actually going to lift weights one night, and the volunteer who helped us couldn’t make it. So we went down to the gym and we started throwing things around, and we tried a few things, and we had a volleyball. We kind of thought: “Oh! This is not bad. This is a lot of fun.” And we came up with the idea in a night. Within one night.

((Hawkeye7)) So all wheelchair rugby players are quadriplegics?

Duncan Campbell: Yes. All wheelchair rugby players have to have a disability of some kind in all four limbs.

((Laura Hale)) When did the classification system for wheelchair rugby kick in?

Duncan Campbell: It kicked in right away because there was already a classification system in place for wheelchair basketball. We knew basketball had a classification system, and we very consciously wanted to make that all people with disabilities who were quadriplegics got to play. So if you make a classification system where the people with the most disability are worth more on the floor, and you create a system where there are only so many points on the floor, then the people with more disability have to play. And what that does is create strategy. It creates a role.

((Hawkeye7)) Was that copied off wheelchair basketball?

Duncan Campbell: To some degree, yes.

((Laura Hale)) I assume you’re barracking for Canada. Have they had any classification issues? That made you

Duncan Campbell: You know, I’m not going to… I can’t get into that in a major way in that there’s always classification issues. And if you ask someone from basketball, there’s classification issues. If you ask someone from swimming… There’s always classification issues. The classifiers have the worst job in the world, because nobody’s ever satisfied with what they do. But they do the best they can. They’re smart. They know what they’re doing. If the system needs to change, the athletes will, in some way, encourage it to change.

((Laura Hale)) Do you think the countries that have better classifiers… as someone with an Australian perspective they’re really good at classification, and don’t get theirs overturned, whereas the Americans by comparison have had a number of classification challenges coming in to these games that they’ve lost. Do you think that having better classifiers makes a team better able to compete at an international level?

Duncan Campbell: What it does is ensures that you practice the right way. Because you know the exact classifications of your players then you’re going to lineups out there that are appropriate and fit the classification. If your classifications are wrong then you may train for six months with a lineup that becomes invalid when that classification. So you want to have good classifiers, and you want to have good classes.

((Laura Hale)) When you started in 1977, I’ve seen pictures of the early wheelchairs. I assume that you were playing in your day chair?

Duncan Campbell: Yes, all the time. And we had no modifications. And day chairs at that time were folding chairs. They were Earjays or Stainless. That’s all the brands there were. The biggest change in the game has been wheelchairs.

((Laura Hale)) When did you retire?

Duncan Campbell: I never retired. Still play. I play locally. I play in the club level all the time.

((Laura Hale)) When did you get your first rugby wheelchair?

Duncan Campbell: Jesus, that’s hard for me to even think about. A long time ago. I would say maybe twenty years ago.

((Laura Hale)) Were you involved in creating a special chair, as Canadians were pushing the boundaries and creating the sport?

Duncan Campbell: To a degree. I think everybody was. Because you wanted the chair that fit you. Because they are all super designed to an individual. Because it allows you to push better, allows you to turn better. Allows you to use your chair in better ways on the court. Like you’ve noticed that the defensive chairs are lower and longer. That’s because the people that are usually in a defensive chair have a higher disability, which means they have less balance. So they sit lower, which means they can use their arms better, and longer so they can put screens out and set ticks for those high point players who are carrying the ball. It’s very much strategic.

((Hawkeye7)) I’d noticed that in wheelchair basketball the low point player actually gets more court time…

Duncan Campbell: …because that allows the high point player to play. And its the same in this game. Although in this game there’s two ways to go. You can go a high-low lineup, which is potentially two high point players and two very low point players, which is what Australia does right now with Ryley Batt and the new kid Chris Bond. They have two high point players, and two 0.5 point players. It makes a very interesting scenario for, say, the US, who use four mid-point players. In that situation, all four players can carry the ball; in the Australian situation, usually only two of them can carry the ball.

((Laura Hale)) Because we know you are going soon, the all-important question: can Canada beat the Australians tonight?

Duncan Campbell: Of course they are. (laughter)

((Laura Hale)) Because Australians love to gamble, what’s your line on Canada?

Duncan Campbell: It’s not a big line! I’m not putting a big line on it! (laughter) I’d say it’s probably 6–5.

((Hawkeye7)) Is your colour commentary for the Canadian broadcast?

Duncan Campbell: That was for the IPC. I did the GB–US game this morning. I do the Sweden–Australia game tomorrow at two. And then I’m doing the US–France game on the last day.

((Laura Hale)) Are you happy with the level of coverage the Canadians are providing your sport?

Duncan Campbell: No.

((Laura Hale)) Thank you for an honest answer.

Duncan Campbell: Paralympic Sports TV is their own entity. They webcast, but they’re not a Canadian entity. Our Canadian television is doing… can I swear?

((Laura Hale)) Yeah! Go ahead!

Duncan Campbell: No! (laughter) They’re only putting on an hour a day. A highlight package, which to me is…

((Hawkeye7)) It’s better than the US.

Duncan Campbell: Yes, I’ve heard it’s better than the US. At the same time, it’s crap. You have here [in Great Britain], they’ve got it on 18 hours a day, and it’s got good viewership. When are we going to learn in North America that viewership is out there for it? How many times do we have to demonstrate it? We had the Paralympics in Vancouver two years ago, the Winter Paralympics, and we had crappy coverage there. There was an actual outburst demand to put the opening ceremonies on TV because they weren’t going to do it. And they had to do it, because everybody complained. So they did it, but they only did it in BC, in our home province, where they were holding it. The closing ceremonies they broadcast nationally because the demand was so high. But they still haven’t changed their attitudes.

((Laura Hale)) I have one last question: what did it mean for you when they had a Canadian flag bearer who was a wheelchair rugby player?

Duncan Campbell: I recruited that guy. It was fantastic. I recruited him. Found him playing hockey. And that guy has put in so much time and effort into the game. He absolutely deserves it. No better player.

((Laura Hale)) Thank you!

((Hawkeye7)) Thank you! Much appreciated.