Saturday, September 13, 2008

Some McCain fliers give wrong ballot mailing info

MADISON, Wis. - The Wisconsin board that oversees elections is fielding complaints that Republican presidential nominee John McCain's campaign is sending out a mailing that includes an application for an absentee ballot -- but in some cases the address is wrong.

Democrat Beverly Jambois of Middleton got one of the fliers addressed to her husband Robert, a lawyer for the state Transportation Department. They're registered to vote in Middleton, but the absentee ballot application was addressed to the Madison city clerk's office.

"They're trying to knock me off the rolls," she said. "I can't tell you how upsetting it is to me. This is how you win elections? By disenfranchising other voters?"

Kyle Richmond, a spokesman for the Government Accountability Board, said there have been 10 complaints in the past two days from those who got the McCain flier. The board's staff is investigating, he said.

Absentee ballots may only be used in the locality where the person is registered to vote, he said.

Mark Jefferson, executive director of the state Republican Party, denied there was any intent to prevent people from voting. The wrong absentee ballot applications were the result of incorrect information in databases used for the mailing, he said.

"You do the best with the lists you have, and no list is perfect," Jefferson said. "There is certainly no type of suppression effort going on."

He said the mailing was directed to hundreds of thousands of voters.

Local clerks now are processing absentee voting applications. The absentee ballots aren't sent until about four weeks before the election.

------

Information from: Wisconsin State Journal, http://www.madison.com/wsj

Sunday, September 07, 2008

Text tattoos gaining popularity

Sunday, September 7, 2008

A poet with a laptop walks into a bar.

He orders a beer and begins scrolling Web sites of "literary tattoos."

He sees a man's back entirely inscribed with the first page of "Fight Club." The tattoo looks fresh, red and painful. He sees a woman holding aside her hair to show the nape of her neck, where this line by e.e. cummings - "be of love a little more careful than of anything" - appears on her freckled flesh. Then, with a sharp shock, he stops scrolling. He has come upon his own words, inked on skin.

Many living writers might have just this experience, including Bay Area poet Robert Hass, the UC Berkeley professor of English, winner of this year's National Book Award and Pulitzer Prize for poetry, and former poet laureate of the United States.

On the Web site Contrariwise.org, this line from Hass' poem "Meditation at Lagunitas" appears in blue script on a young woman's arm: "Longing, we say, because desire is full of endless distances."

San Francisco is a creative crucible for tattooing, piercing and other body art. It was North Beach visionary V. Vale, of RE/Search Publications, who named the trend in his 1989 book, "Modern Primitives," which the editors of the avant-garde North Beach publishing house called "an anthropological inquiry into a contemporary social enigma - the increasingly popular revival of ancient human decoration practices."

Since then, tattoos have emerged from the underground. In fact, they're mainstream. The styles are ever-evolving and, in recent years, "script" or text tattoos have gained in popularity.

"I've noticed more and more people with a bit of Dickinson or Kafka or Nietzsche somewhere on their bodies," said San Francisco poet Kim Addonizio. "It's natural that writers and literary readers would be drawn to commemorating some bit of language that has moved or changed them - or that maps a direction they want to go."

She co-edited the 2002 book "Dorothy Parker's Elbow: Tattoos on Writers, Writers on Tattoos," a collection of work by Ray Bradbury, Sylvia Plath, Herman Melville, Flannery O'Connor, William T. Vollmann and others. (The title refers to a tiny star on Parker's arm.)

Message art form

Internationally known San Francisco tattoo artist and historian Lyle Tuttle attests to the popularity of "script or written-word" tattoos. It makes sense. "Tattooing is a message art form," said Tuttle, who once inked a 135-line poem on a chest. "Tattoos are exterior decorations for interior feeling."

A case in point is Beth Loster, 24, a San Francisco writer and waitress who was a student at UC Berkeley when she met a young man who said, "Hey, we have tattoos in the same font."

The text of her tattoo - "clad in the panoply of love" - came from "Science & Health" by Mary Baker Eddy. "I like the way the written word looks on the body," she said. "And that phrase made me feel safe." His tattoo, also in a "typewriter" typeface, was in Latin. (She can't recall the translation.)

The text of Loster's next tattoo was written by that young man, who had become her boyfriend. Before leaving for South America, where he was going to study, he left a note on her refrigerator that began, "this is on account of my loving you forever." That phrase - in the form of a tattoo - offered her comfort when he was killed in a car accident in Brazil.

"After he passed away, I got it for him," Loster said. The typeface is from one of the vintage manual typewriters she collects: "I typed it up and brought it in."

Several years have passed, and she is asked about it nearly every day. "I talk about his death more than I would normally," she said. "But that's good. It reminds me that something good happened and something bad happened and, somehow, it's all OK."

Acknowledging personal history is also the motivation behind the tattoos of Jon Woo, 29, manager of a sports shoe shop in San Francisco.

Growing up in Pittsburgh, he got his first tattoo - of his last name, in Chinese, on his left shoulder - when he was 17.

"At the time, tattoos weren't as widely accepted," he said. "I've watched the progression as tattoos have gone from taboo-esque to mainstream."

The one that sparks the most comment is a line on his arm, "As long as the world is turning and spinning, we're going to be dizzy and we're going to make mistakes," by comic and author Mel Brooks.

"I have tripped and fallen and picked myself up so many times," Woo said, explaining the tattoo's significance. "I wanted to get it somewhere where I could see it and others could see it."

"It's a statement to everybody, about my life, about everybody's life. People respect it," he added. "They read it and say, 'That's so true,' and it is."

Michaela Healy, 22, a cook in San Francisco, has been fascinated with tattoos since she was 10 years old, growing up in Encinitas, in San Diego County. That's when her older sister brought over a friend who had a tattoo of a huge tiki god on his shoulder. "I saw him the day he got it," she said.

Teenage tattoo

Before her 18th birthday, she got her own first tattoo - the name of her favorite band, the ska band No Doubt - on her upper back.

Since then, she's gotten others, but the one that stands out artistically is a color rendering of the cover of her favorite comic serial, "Strangers in Paradise," with art by Terry Moore.

"The cover tells the whole story of the book," Healy said. "Sex, drugs, government conspiracy, struggling with sexuality, mercenaries, assassins and, ultimately, love."

She doesn't mind being asked about her tattoos, which happens often. "That's OK," she said. "It's half the reason I have them. This is the art that I've chosen to put out there."

Illustrations from beloved books can have emotional power beyond words, as Ken Samuels, 44, a San Francisco bookseller, will attest.

On both arms, he has tattoos of illustrations from his favorite children's books, including Max from "Where the Wild Things Are," Harold from "Harold and the Purple Crayon," Peter from "The Snowy Day," Thelonious Monk from "Mysterious Thelonious" and Ferdinand the Bull.

"These books made me love reading," he said. "I loved the characters' persistence and creativity in the face of difficulties and their ultimately successful journeys home."

Samuels didn't get his first tattoo until he was in his mid-30s. "I became reacquainted with these books when my nephews were little boys," he said, "and I got the tattoos in tribute to them and their future journeys into the world."

Whether they inscribe themselves with words or illustrations, a good portion of San Francisco artists, book lovers and wordsmiths are likely to continue to find personal expression in tattoos.

Poet Addonizio - who has five tattoos, but no text yet - is discerning. She is taking her time.

"As soon as I find the right words," she said, "they'll be inked somewhere on my skin."

E-mail Heidi Benson at hbenson@sfchronicle.com.

http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/09/07/LV3R12BBQD.DTL

This article appeared on page E - 1 of the San Francisco Chronicle

Monday, September 01, 2008

Pets on a bad diet can develop behaviour problems, says top vet leading Jamie Oliver-style crusade

By Daily Mail Reporter
Last updated at 12:31 PM on 31st August 2008

Pet owners are putting their animals' lives at risk by giving them food packed with additives and chemicals, according to a new campaign.

TV's Vets in Practice Joe Inglis heads the Campaign for Real Pet Food, which starts tomorrow, to do for dog food what Jamie Oliver did for school dinners.

It is to highlight that the effect of a poor diet on children such as obesity, food allergies and hyperactivity is also a problem for family pets.

Joe Inglis

Joe Inglis, who is launching a campaign to improve pets' food, with his dog Jack in Hyde Park, London

Mr Inglis, who also looked after the animals on Blue Peter for four years, wants the law to force pet food manufacturers to list detailed ingredients on packaging so owners know what they are giving pets.

He said: 'I passionately believe that pets deserve good quality, natural food - and pet owners deserve openness and honesty from pet food manufacturers.

'As a practising vet I know that diet is the number one factor in pets health, and pet owners really need to understand what is in their pets foods if they are going to feed them healthily.

jamie oliver

TV chef Jamie Oliver started a revolution for better school food

'This campaign can make a real difference, and by changing the way people think about their pets diets, we can help to make all of our pets healthier and happier.'

The campaign is being backed by high-profile supporters including Dragons Den entrepreneur Deborah Meaden, fashion designer Bruce Oldfield and Little Britain actor Anthony Head.

Ms Meaden, who has 23 pets, told the Independent on Sunday: 'With so much emphasis on 'we are what we eat', it's about time we knew exactly what we were feeding our pets, too.'

There are 7.3 million dogs and 7.2 million cats in the UK and the pet food market is worth 1.6 billion a year to manufacturers.

But European laws do not require pet food manufacturers to declare what is actually in their products.

That leaves vague generic terms such as 'meat and animal derivatives', 'cereals', 'derivatives of vegetable origin' and 'EC permitted additives.'

Some pets have dietary intolerances and allergies to certain proteins so campaigners say it is important these are specified in the ingredients so owners can avoid them.

Also protein used in pet food, another cause of dietary upsets, changes from batch to batch depending on the price of the different ingredients.

Dog trainer and behaviourist Carolyn Menteith, who has over 20 years experience and is also supporting the campaign, said: 'Even those owners who know that they should be feeding their dogs healthily, naturally and appropriately, often struggle to decipher the ingredients list of most dog foods.

'In order for owners to make the best choices for their dogs, food labelling needs to be as transparent as we are now demanding from our own food, so that people can clearly see what they are putting in their dog's bowl.'

The campaign says meat and animal derivatives could mean chicken, rabbit, fish or game and many people would not be comfortable feeding these ingredients to their pets.

Some proteins, such as chicken and fish, are better for pets as they are easier to digest and produce fewer waste products than others, such as beef.

In the same way, the term EC permitted additives covers a list of around 4,000 chemicals with the potential to harm animals eating them.

Artificial colours such as E102 (tartrazine), E110 (sunset yellow) and others have been shown to cause hyperactivity in children and have recently been banned for human consumption by the Food Standard Agency.

It is highly likely that this effect is also seen in pets.

By using the term EC Permitted Additives manufacturers can hide the exact additives they use, so it is impossible for a pet owner to make an informed decision about the food.

A spokesperson for the campaign said: 'If manufacturers are so confident about the additives they use, and their effects, why don't they name them rather than use this woolly general term?

'The Campaign for Real Pet Food wants to help pet owners, understand what is really in their pets food, highlighting that pet food ingredient lists should be open, honest and understandable.'

But a spokesperson for the Pet Food Manufacturers' Association told the Independent on Sunday there was no evidence pet food caused behavioural problems in animals.

She said: 'The use of additives in pet food is strictly regulated by the EU. The authorisation process is rigorous and food/pet food additives are regularly reviewed to ensure safety.

'There is no peer-reviewed scientific evidence currently available, or that we are aware of, to suggest a link between behaviouiral problems in pets and additives in pet food.'

Mr Inglis plans to run a trial with a group of 30 hearing dogs for the deaf later this year.

He will fed half on a natural diet during their training over several months and half will be given food with additives. Their behaviour and performance will then be assessed.

120 years of notoriety: Was Jack the Ripper a Londoner with 20 wives who fled to Australia?

By Richard Shears
Last updated at 9:55 PM on 31st August 2008

You don't know Jack: The jury is still out, but new evidence points to Walter Thomas Porriott as the serial killer

You don't know Jack: The jury is still out, but new evidence points to Walter Thomas Porriott as the serial killer

The only clue to the possible sinister identity of the body lying six feet under is a headstone carrying the grainy image of a caped figure raising a dagger.

But it is in this Australian plot, with the epitaph merely reading 'Bessie, died 25th June 1957 and her husband', that some historians believe the body of Jack the Ripper lies.

As the 120th anniversary of the first of the five prostitute murders by Jack in London's Whitechapel was remembered today, experts said it was possible that the man in the grave in Toowong Cemetery, in the west of Brisbane, is none other than the notorious killer.

'Ripperologists' believe Jack the Ripper was actually Walter Thomas Porriott, also known to police as Andrew John Gibson.

Porriott, who had lived in London when all five murders were committed before he sailed to Australia - after which the murders stopped - had a colourful background.

A convicted killer, imposter and fraudster, who had no less than 20 wives, he was buried amid family shame beneath his faithful last wife Eliza Bessie Porriott in 1952 on a hill with views of Brisbane.

Many Ripper fanatics continue to debate the true identity of Jack the Ripper and some are convinced there is strong evidence implicating Porriott in the string of prostitute murders.

The habitual bigamist, who broke many hearts, also tricked banks out of large sums of money.

But he managed to create confusion about his background, so that by the time he died - when he was believed to be in his 80s - he was officially recorded to be aged 59.

Porriott's Sydney-based great grandson, Steven Wilson, claimed in 1997 that he had little doubt his relative was the notorious serial killer who stalked prostitutes in the fog-shrouded streets of old London in 1888.

But his suggestion made little headway until this weekend, when it was taken up with enthusiasm by Australian newspapers.

The killer has captured the imaginatrion of the public ever since his rampage, and was named the worst Briton of the last 1,000 years in a recent BBC poll

The killer has captured the imaginatrion of the public ever since his rampage, and was named the worst Briton of the last 1,000 years in a recent BBC poll

Brisbane historian Paul Tully admitted while evidence is 'sketchy,' the possibility of Porriott being the killer could not be ruled out.

Exhuming the grave for DNA testing would be 'inappropriate' he said - and forensic scientists have no way of searching for DNA on any of Jack the Ripper's victims.

Enlarge Cat-and-mouse: The killer taunted 19th century police with a series of letters, which gave details of the killings and claimed they would continue

Cat-and-mouse: The killer taunted 19th century police with a series of letters, which gave details of the killings and claimed they would continue

'It is possible we might still find out one day who Jack the Ripper was, but it's equally possible that no-one will ever know,' said Mr Tully.

Historians admit that the only link with Porriott and Jack is the fact that he was in London when the murders occurred and the killings stopped when he sailed to Australia.

His reputation as a crook added to suspicion along with that mysterious, faded etching on the grave of a man with a dagger.

He was also sent to jail for causing the death of a patient by negligence when he was posing as a doctor.

There have been hundreds of theories about the identity of Jack the Ripper, among the strongest suspects being surgeon's son Montague Druitt, Polish Jew Aaron Kosminksi and Russian doctor Michael Ostrog.

Queen Victoria's grandson, Prince Albert Edward Victor, was also named as a Ripper suspect.

Crime novelist Patricia Cornwell claimed in her book Portrait of a Killer that German-born artist Walter Sickert was the Ripper, based largely on what she saw as misogyny in his art and her belief that the taunting letters claiming to be from the killer were written by him.

Sickert is not considered a serious suspect by most who study the case, and strong evidence shows he was in France at the time of most of the Ripper murders.

Foetuses found in King Tutankhamun's tomb 'were his twin daughters', says expert

Two foetuses found in the tomb of Tutankhamun are very likely to have been twins and the children of the teenage Pharaoh, according to an expert.

Professor Robert Connolly is an anatomist working with the Egyptian authorities to analyse the mummified remains of Tutankhamun and the two stillborn children.

He will discuss his new findings at the Pharmacy and Medicine in Ancient Egypt Conference at the University of Manchester today.

Enlarge king tut

One of the mummified foetuses (right) found in the Pharaoh's tomb alongside golden treasures

Professor Connolly said: 'The two foetuses in the tomb of Tutankhamun could be twins despite their very different size and thus fit better as a single pregnancy for his young wife. This increases the likelihood of them being Tutankhamen's children.

'I studied one of the mummies, the larger one, back in 1979, determined the blood group data from this baby mummy and compared it with my 1969 blood grouping of Tutankhamun. The results confirmed that this larger foetus could indeed be the daughter of Tutankhamun.

'Now we believe that they are twins and they were both his children.'

Tutankhamun, born in 1341 BC, died less than a decade after taking the throne at the age of eight or nine.

His significance stems from his rejection of religious innovations introduced by his predecessor Akenhaten, who tried to compel Egyptians to worship the god Aten.

The boy king's family lineage has long been a source of mystery among experts.

British archaeologist Howard Carter found the mummified foetuses when he discovered the Pharaoh's tomb in 1922.

Many scholars believe their mother to be Ankhesenamun, the young pharaoh's only known wife. However, some scientists have suggested the foetuses may have been placed in King Tut's tomb to allow him to 'live as a newborn in the afterlife'.

More than 100 delegates from ten countries, including the Director of the Cultural Bureau of the Egyptian Embassy in the UK and researchers from Egypt s Conservation of Medicinal Plants project in Sinai and the British Museum, are attending the conference.

The conference, the first international conference aiming to bring together the two elements of ancient Egyptian healthcare practises: pharmacy and medicine, will also hear how 70 per cent of the pharmaceutical ingredients used in medicines by the ancient Egyptians are still being used today.

Professors Rosalie David s team and Professor Mohamed Demerdash have studied prescriptions written on papyrus, diagnosing and treating ailments.

Professor David said: 'Our work shows that the ancient Egyptians preceded the Greeks in developing Pharmacy. These were not magic spells but pharmaceutical products some of which are still in use in modern times.'

Other keynote speakers will discuss surviving craniofacial trauma, cerebral palsy, dentistry and diet in ancient Egypt.

Sunday, August 24, 2008

Marley statue unveiled in Serbia

Bob Marley statue
A Jamaican musician celebrates the statue's unveiling

A statue of late reggae legend Bob Marley has been unveiled in a small Serbian village during a rock festival as a token of peace in the Balkans.

Musicians from Croatia and Serbia were joined by rock fans for the midnight ceremony in Banatski Sokolac.

Organisers said Marley, who died in 1981, "promoted peace and tolerance in his music".

Serbia recently erected a statue of iconic film character Rocky, while Mostar in Bosnia has one of Bruce Lee.

Jinxed

Another Serbian village put up a statue to actor Johnny Weissmuller, best known for his depiction of Tarzan.

Serbian musician Jovan Matic and veteran Croatian rock star Dado Topic took the covers off the Marley statue at the Rock Village event.

It depicts him holding a guitar, with his fist raised in a defiant pose.

Organisers claim that the Marley statue, which was created by Croatian artist Davor Dukic, is the first monument in Europe to the Jamaican-born star.

Bosnia's bronze statue of Bruce Lee, erected in 2005, was seen as a symbol against ethnic divisions deepened by the country's fierce civil war in the 1990s.

The Serbian village of Zitiste put up a statue to Rocky - played by Sylvester Stallone - last year in a bid to shake off a run of bad luck.

A series of floods and landslides had led some people to believe the village was jinxed.

Actor Dies in Motorbike Accident



The late Lee Eon
By Cathy Rose A. Garcia
Staff Reporter

Lee Eon, a model-turned-actor who starred in the popular MBC drama ``Coffee Prince,'' died in a motorcycle accident at dawn Thursday, Yonhap News reported.

Lee, whose real name is Park Sang-min, was on his way home after attending a party celebrating the end of his KBS drama ``Choi Kang Chil-woo'' (Mighty Chil-woo). He was riding his motorcycle when he hit a railing of the elevated roadway in Hannam-dong, Yongsan at around 2 a.m.

The 27-year old actor died on the spot and was taken to Soonchunhyang University Hospital in Hannam-dong, Seoul. The police have not yet determined if Lee was drunk when he got into the motorcycle accident.

Lee gained fame last year for his role as a dim-witted but loveable Min-yeop in ``Coffee Prince.''

When he was in elementary school, Lee started participating in ssireum or traditional Korean wrestling. He proved to be an excellent athlete and won gold medals at Korean national ssireum competitions in 1997 and 1998.

However, as a freshman in university, Lee saw model Cha Seung-won on TV and decided to become a model. He worked hard to lose 30 kilos in order to gain the slim physique of a model. He made his debut in a fashion show in Busan in 1999.

With his good looks, Lee soon became a sought-after model, appearing in numerous fashion shows, including the Seoul Fashion Artists Association Collection. He also branched out into acting in dramas, which led to his role in ``Coffee Prince.''

cathy@koreatimes.co.kr

Saturday, August 16, 2008

Argentina and Uruguay's tango row

Carlos Gardel
For many Argentineans Carlos Gardel embodies the soul of tango
Relations between Argentina and its much smaller neighbour, Uruguay, have been strained for some time in a dispute over a pulp paper mill built on the river that separates the two countries.

But as Daniel Schweimler recently discovered, a much more serious dispute has emerged that strikes at the very heart and soul of both nations' national identity.

One of the great Argentine icons, alongside footballer Diego Maradona and the former first lady, Eva Peron, is the tango singer, Carlos Gardel.

Pictures of him with his slicked-backed hair and perfectly tailored suits adorn many Argentine bars and restaurants and you will often hear his songs played by Buenos Aires taxi drivers on the all-tango radio stations.

He was an early playboy, an international superstar who came to a tragic and premature end in a plane crash in Colombia in 1935. Gardel is to Argentina what Frank Sinatra is to the United States or Edith Piaf is to France.

Carlos Gardel's 'birthplace' and museum in Tacuarembo, northern Uruguay
A copy of Gardel's birth certificate states he was born in Tacuarembo

So while driving through northern Uruguay recently, I had to take a second look when I saw a sign pointing to Carlos Gardel's birthplace and museum.

How cheeky can you get? It is like Canadians saying that Sinatra was not really born in Hoboken, New Jersey, but in Moose Jaw, Saskatchewan.

Or the British claiming that Edith Piaf really hailed from Basingstoke in southern England.

Gardel is as Argentinean as a big lump of juicy steak being barbequed by gauchos out on the pampas. But not according to the Uruguayans, and they have the evidence to prove it - or so they say.

Tango is not just a style of music and dance - it is the beat to which both nations evolved from their immigrant roots

The museum, playing strains of some of his famously dramatic songs, displays a copy of his birth certificate stating very clearly that he was born in Tacuarembo in northern Uruguay.

It tells, in graphic detail, the story of how Carlos Gardel - the Uruguayan tango star, came to be. His father was a local landowner, Carlos Escayola.

When his first wife died, he married her younger sister. But while married to her, had an affair and fathered a child with the third sister, Maria Lelia Oliva, aged just 13.

To avoid scandal the son, young Carlos, was given to a visiting French cabaret dancer - Berta Gardes who Escayola, just for good measure, also had an affair with. She took the boy back to Toulouse and two or three years later emigrated to Argentina.

Record player at Carlos Gardel museum in Uruguay
Gardel died in an airplane crash in 1935 at the height of his career

The Argentine version is that Gardel was born in France but was brought to Argentina as a young boy where, as a resident of Buenos Aires and Montevideo, he rose to become an Argentinean, not a Uruguayan, tango legend.

"Who cares where he was born?" I hear you ask. "Just listen to the music and watch where you flick that tango heel."

But this dispute goes to the heart of Argentine and Uruguayan national identity.

Tango is not just a style of music and dance - it is the beat to which both nations evolved from their immigrant roots. It matters.

There is a commission in the town of Tacuarembo dedicated to proving that Gardel was Uruguayan.

Four years ago an Argentine judge refused a Uruguayan request to have Gardel's remains disinterred for DNA testing to prove links with alleged Uruguayan relatives.

And now an Argentine study group has sent a delegation to Uruguay with evidence that Gardel was not born there. They want the issue discussed in the Uruguayan Parliament.

Shady past

Tango was born at the end of the 19th Century in the brothels and bars of Buenos Aires when men, in simulated knife fights, danced with other men.

map

Because of those roots, tango was for a long time associated with sleaze - and it was in this world that Carlos Gardel grew up - a notorious womaniser who, it has been strongly rumoured but never proved, served a prison sentence before he became famous.

Because of this shady past, Gardel was decidedly ambiguous when questioned about his early years. One Argentine theory is that he made up his Uruguayan background to confuse his identity and cover up his prison record.

And how could a man, ask the Argentineans, who sang with such passion about his beloved Buenos Aires, be Uruguayan?

Looking at photographs of Gardel, with his cheeky smile and trilby hat set at a rakish angle, I cannot help but think that he deliberately sowed the seeds of this controversy.

And, more than 70 years after his tragic demise, is quietly relishing the debate, wherever it is that tango singers go when they die.

From Our Own Correspondent was broadcast on Saturday, 16 August, 2008 at 1130 BST on BBC Radio 4. Please check the programme schedules for World Service transmission times.

Rare pictures from WWI POW camp show the birth of sausages in Japan

Karl Jahn, right, and another man are seen cutting pork in this picture. (Photo courtesy of Kasumigaura-shi Kyodo Shiryokan)
Karl Jahn, right, and another man are seen cutting pork in this picture. (Photo courtesy of Kasumigaura-shi Kyodo Shiryokan)

CHIBA -- Rare pictures of German prisoners of war from World War I showing the Japanese how to produce sausages have been discovered.

Takashi Chiba, 37, a museum curator at the Kasumigaura-shi Kyodo Shiryokan in Ibaraki Prefecture, found the pictures in June while he was researching Yoshifusa Iida, a Japanese government official who was said to have spread sausage manufacturing methods across Japan.

The 10 pictures from 1918 show German soldiers, who were detained at the Narashino prison camp in then Ninomiya (present-day Narashino) in Chiba Prefecture, butchering pigs and smoking pork to make sausages.

The pictures are in possession of Sachio Yano, 82, who worked at an experimental livestock institute in the city of Chiba run by the former Japanese ministry of agriculture and commerce.

Chiba learned of the pictures while studying about Iida (1876-1976), a ministry engineer. Yano was given the pictures when the institute moved to Kukizaki (present-day Tsukuba) in Ibaraki Prefecture in 1980.

From descriptions in a book authored by Iida, the pictures were probably taken in February 1918, and they also show Iida himself.

"I asked sausage makers at the prison to make sausages. It happened just as I was devoting myself to producing processed meat products experimentally," according to the book.

"The sausage makers were Karl Jahn and other meat processors. They showed us how to make 12 types of sausages."

Iida later passed down the sausage making method to meat processors across the nation, heralding the spread of sausages in Japan.

"The authentic German art (of sausage making) is pictured, and the photos are precious and significant in that they recorded the beginning of sausage making in Japan," said Norio Hotta, president of Banshu Ham Corp. in Himeji, Hyogo Prefecture. Hotta is an expert in the history of meat processing in Japan.

(Mainichi Japan) August 16, 2008

With a rusty old saw like this, a Victorian surgeon could amputate your leg in 30 seconds flat. One snag - they hadn't invented anaesthetic

By Richard Hollingham
Last updated at 9:29 PM on 15th August 2008

legsaw

'Time me, gentlemen!' It's just after midday on a late spring day in 1842 and the wooden viewing galleries that surround the operating room of University College Hospital, London, are packed.

Sir Robert Liston, the foremost surgeon of his age, and a man whose temper is as sharp as his chiselled features, is about to begin work.

The assembled crowd of anxious medical students dutifully check their pocket watches, as two of Liston's surgical assistants - 'dressers' as they are called - take firm hold of the struggling patient's shoulders.

The fully conscious man, already racked with pain from the badly broken leg he suffered by falling between a train and the platform at nearby King's Cross, looks in total horror at the collection of knives, saws and needles that lie alongside him.

Liston clamps his left hand across the patient's thigh, picks up his favourite knife and in one rapid movement makes his incision.

A dresser immediately tightens a tourniquet to stem the blood.

As the patient screams with pain, Liston puts the knife away and grabs the saw.

With an assistant exposing the bone, Liston begins to cut.

Suddenly, the nervous student who has been volunteered to steady the injured leg realises he is supporting its full weight. With a shudder he drops the severed limb into a waiting box of sawdust.

Liston, however, is still busy, tying off the main artery of the thigh with a reef knot and then tying off other smaller blood vessels, at one point even holding the thread in his mouth. As the tourniquet is loosened, the flesh is stitched.

The operation is over. And it has taken just 30 seconds.

For all the agonies he has just suffered, this patient is lucky. Liston is a fine surgeon and, by nature, a man of tidy habits who makes sure his staff keep his operating room reasonably clean.

As a result - although Liston is unaware the two things are related - only about one in ten of his patients dies after their operations. Nearby, at St Bartholomew's Hospital, the death rate is one in four.

Surgery may have come a long way by the mid-19th century but, as the mortality rates showed, it still had an awful long way to go.

It was no accident of design that Liston's operating room was located next door to the hospital's mortuary.

And yet, as the dressers wipe down the operating table with a rag in preparation for the next patient, surgery is about to enter a period of radical transformation - 20 years of astonishing progress that will turn it from something that, at times, still seemed little better than butchery into the beginning of the modern surgical era. And Liston is to play a key role.

By the time he set out on his surgical career, two of the four major barriers to successful surgery had long been overcome, thanks to the tireless work of pioneers who litter the pages of surgical history.

Those crucial breakthroughs had come courtesy of men like Andreas Vesalius, a Flemish medical student who in 1536 stole the rotting corpse of an executed criminal from a gibbet to further his studies that, many dissections later, were to lay the foundations for modern human anatomy.

Surgeons have to know how the body works and, thanks to men like Vesalius, they finally did. Then there was Ambroise Pare, a barber surgeon (traditionally, barbers would carry out basic surgery - often on injured soldiers) from Paris.

Having been appointed a battlefield surgeon to the French infantry he was appalled, not just by the terrible injuries he was asked to treat after the siege of Turin in 1537, but also by the horrific suffering of the wounded soldiers, both before and after treatment.

Many simply bled to death, while others either died of shock or were left in terrible pain after their treatment. Bleeding wounds were either cauterised with a hot iron or had boiling oil poured into them.

victorian surgery

Ordeal: Inside a Victorian surgery

There had to be a better way, thought Pare, who, despite his lack of proper medical training - a shortcoming all too typical of the barber surgeons of the 16th century - was a compassionate and diligent man.

What he came up with was simple: a device known as the crow's beak that could be clamped across an artery to block the flow of blood.

It was the first surgical clamp and, along with subsequent progress in the tying and stitching of individual blood vessels, heralded the removal of the second barrier - the control of blood loss - to successful surgery.

But after these 16th-century breakthroughs, there had been relatively little progress for 300 years, as Liston's whimpering, traumatised patient would probably attest.

Small wonder then, despite the prowess of men like Liston, surgery still had nothing like the social standing of medicine.

Physicians, despite still being wedded to blood-letting, leeches and baths of 'herbs and sheep heads', were men of real status; surgeons, by comparison, many of whom still took pride in operating in their bloodstained frock coats, were seen as part-showmen, part-butchers.

However, that was about to change. The next major obstacle - the control of pain - was about to be overcome and, in 1846, Liston was to lead the way.

The patient was Frederick Churchill, a butler whose right knee had been causing problems for years. All sorts of cures had been tried; none had succeeded. Now, after brutal investigations and painful infections, amputation was the only option. This amputation, however, was to be different.

Liston enters and, as ever, the operating room falls quiet. But, for once, Liston departs from his normal script. 'We are going to try a Yankee dodge today, gentlemen, for making men insensible.'

A rubber tube is held to Churchill's mouth and he is told to breathe through it for two to three minutes. Eventually, he becomes still and quiet. A handkerchief laced with some drops is placed over his face. Liston begins.

Robert Liston

Pioneer: Engraving of surgeon Sir Robert Liston

As ever, the students check their pocket watches. With the patient unconscious, the amputation takes just 25 seconds.

A few minutes later, Churchill, who has not uttered a single groan during the procedure, begins to come round: 'When are you going to begin?' he asks, prompting peals of laughter from the gallery.

Ether, the discovery of an American dentist, William Morton, has become the first surgical anaesthetic. Unfortunately, Liston would not live to see the full potential of anaesthetics. He died in a sailing accident less than a year later.

It soon became clear, however, that ether was not quite the pain-relieving panacea once thought. It irritated the mouth and lungs, caused vomiting in some patients and, most alarmingly, given that operating rooms were still lit by gaslight, was highly inflammable.

James Simpson, a young professor of midwifery at Edinburgh University and a former pupil of Liston's, was determined to find an alternative. He spent the summer of 1847 trying out every chemical he could lay his hands on, mixing them, drinking them, sniffing them.

Then, one day, he tried a new chemical that had been suggested by a Liverpool chemist - chloroform. He woke up on the floor.

Having successfully tried it out on some dinner party guests, it was just four days later that he used it on a patient, a young woman facing a potentially painful forceps delivery.

It was a resounding success - with mother and baby both surviving the birth - and Simpson had used it 50 times within a week.

Ether may have been an American discovery but the use of chloroform was better - and it was Scottish.

Simpson became a national hero and was given a state funeral when he died in 1870. And by then surgery had taken another big step forward.

In 1865, Joseph Lister was walking the wards of his Glasgow hospital. For the Essex-born professor of surgery, it was a horrible experience.

As the nurses removed the sheets so he could examine his patients' wounds, time after time the sickly stench of putrefying flesh would pervade the room.

Thanks to the improvements in anatomy, blood loss and, anaesthesia, patients would arrive at the hospital, confident of feeling little pain and of making a full recovery.

Two weeks later, however, most of them would be dead, having succumbed to gangrene, fevers or blood poisoning.

No wonder that surgeons, like Lister, another former pupil of Liston's, would operate only as a last resort.

The source of these infections was unknown, many blaming it on bad air, some sort of so-called 'miasma'. But the Glasgow hospital was new; with well-spaced beds and light, airy wards.

Still Lister's patients became infected, and still they died. Until this problem was solved, surgery could go no further.


tools

Tools of the trade: A Victorian surgeon's implements


Any limb with a complex fracture (where the broken bone has pierced the skin) usually had to be amputated as almost without exception infection would set in, while cutting into the abdomen to remove an appendix or operate on the organs was completely out of the question.

Lister, who also studied science more as a gentlemanly hobby than as an aide to his profession, was determined to find the answer and he did so when a colleague, a professor of chemistry, pointed him in the direction of the work of the French chemist Louis Pasteur.

Pasteur had sterilised a flask of broth by boiling it. He plugged the top with cotton wool to allow the passage of air but nothing else.

After a few days, the broth remained sterile. It was only when the cotton wool was removed that the broth became putrid.

Pasteur had proved that it was something in the air, not the air itself, that caused a substance to rot.

He called them germs; today we'd call them micro-organisms.

Lister's breakthrough was to realise that it was these germs that were also killing his patients. But how to get rid of them?

Pasteur had sterilised his experiments by heat but that clearly wouldn't work for human beings. Lister started experimenting with chemicals but without success.
The answer came from an unlikely source: sewage.

A hundred miles south in Carlisle, the authorities were trying a new sewage treatment to rid the city's drains and cesspools of their terrible smell.

The compound they found worked best was carbolic acid, made from coal tar.

Lister reasoned that what killed germs in sewage might also destroy germs in wounds, so, in the best traditions of surgery, he decided to try out his new 'antiseptic' principle on a patient.

James Greenlees was an 11-year-old boy who had been run over by a cart and had a compound fracture of his left leg, with the broken bone piercing the skin to leave an open wound of significant size.

Until now, although the leg would have been set, the open wound would inevitably have become infected and amputation would be the end result. But Lister wanted to try out his new ideas.

The leg was reset and splinted, only this time the wound was covered in lint soaked in carbolic acid.

Four days later, by which time infection had normally set in, the lint was removed and the wound, to Lister's delight and astonishment, was found to be perfectly clean.

Six weeks later, the splints are removed and James walks home. Surgery will never be the same again and nor, with cleanliness and carbolic acid gradually becoming the norm, are hospital death rates.

All the key components were now in place. By the end of the 19th century, surgeons had a better understanding of human anatomy, they could stem blood loss and, through anaesthesia, they were able to control pain.

Thanks to Lister, they could now even operate without causing infection. Modern surgery had begun.

Over the next century, surgical progress would be astonishing; with anaesthetics and sterile conditions giving surgeons access first to the abdomen, then the heart and finally the brain.

There would be many setbacks and sadly many patients would still die as new techniques were tried out and perfected. Even today, surgery remains a risky business.

But, as our understanding of the rejection process has improved, organ transplants have become almost commonplace, limited only by the supply of donor organs.

Forty years ago, we all marvelled at the first heart transplant carried out by the South African surgeon, Christiaan Barnard; now we agonise over the ethics of carrying out the first face transplant.

Surgically, it's possible but if and when the first one is carried out, it will only be - as all modern surgery is - thanks to the extraordinary work of those Victorian pioneers.

Extracted from Blood And Guts: A History Of Surgery by Richard Hollingham (BBC Books, £18.99). © Richard Hollingham, 2008. To order a copy of the book for £17.09 (p&p free), call 0845 155 0720.

Madagascar's dance with the dead

To outsiders dancing with the corpse of a dead loved one, years after their demise, might seem ghoulish. But as Jonny Hogg reports, to the people of Madagascar, it is a ritual of respect for their departed ancestors.

Turning of the Bones in Madagascar
Turning of the Bones is a centuries old ritual

The band, a cacophonous near harmony of tattered trumpets and elderly clarinets, has been has been playing for hours now.

The hilltop is crowded. The entire community has come to this spot, some distance from the village of Vatolaivy.

People talk and smile, many are drunk, most are dancing and a little distance away from the tomb two entrepreneurial women have set up a stall selling cigarettes and frozen yoghurt.

But it is the tomb itself that is the centre of attention.

Indeed it is for the occupants of the low, flat brick structure that these festivities are taking place.

Masons chip away, unsealing the small stone door.

Finally, the sepulchre is open. I am invited to enter with Roger, whose family are buried here.

Inside the air is dry, with a strong, almost spiced, graveyard scent.

On either side of the room are stone beds, and on them lie the bodies of Roger's parents and his grandparents, wrapped in yellowing cloth.

Turning of the Bones

He stands proudly amongst his ancestors, introducing me to them almost formally, patting each corpse lightly to identify it.

I emerge once more into the harsh sunlight. Behind me, one by one and with great care, the bodies are carried out of the tomb and laid upon the ground, cradled gently by their relatives.

The rest of the village crowd around, spectators to this piece of family theatre.

At last even the band comes to a stumbling halt. A sort of silence descends.

One girl is holding her dead mother in her arms. She makes no noise but tears stream down her face.

Map of Madagascar

This is the Malagasy tradition of famadihana, or the Turning of the Bones.

It is unique to the Indian Ocean island, a ritual carried out for centuries that may have had its roots in the culture and traditions of South East Asia, some 6,000km (3,728 miles) away, from whence Madagascar was first colonised.

For many outsiders the practice, which involves exhuming dead relatives, rewrapping them in fresh grave clothes and dancing with them around the tomb, can seem almost impossibly strange, ghoulish even.

But for the Malagasy, for whom ancestral worship remains important, it is an essential way of maintaining ties with the dead.

Jean Pierre, a family member, told me why famadihana mattered.

"It's important because it's our way of respecting the dead," he told me. "It is also a chance for the whole family, from across the country, to come together."

'Act of love'

Anthropologist Professor Maurice Bloch, who has studied the ritual, says this idea of reunion, between the dead and the living and also the family land, is key.

Turning of the Bones in Madagascar
The ceremony is also a chance for a family reunion
It is an evocation of being together again, a transformation of sorts so that the dead can experience once more the joys of life. But, most importantly he says, at its heart, famadihana is an act of love.

But some oppose the practice. Certain urbanised Malagasy find the idea outdated and strange in the 21st Century.

There have also been clashes with Christianity. Early missionaries to the country tried to stop it and today increasing numbers of evangelical Christians are turning away from famadihana.

Perhaps surprisingly though, the Roman Catholic Church, the largest in the country, no longer opposes it.

For his part Jean Pierre stressed that in any case it is not a religious ceremony, but a tradition.

Tears to laughter

Back outside the tomb the family begins to tenderly rewrap the bodies with fresh cloth, called lambas, bought at great expense.

The mood lightens and the band strikes up once more.

The corpses are lifted onto shoulders, and with much laughing and jostling they are half carried, half danced around the tomb.

Every few steps with a whoop, the bearers lift them even higher.

I notice the girl who had been crying earlier is smiling and joking with the rest.

This is another transformation and another purpose of famadihana. To convert, almost forcibly, by the requirements of the ritual, grief into happiness.

From Our Own Correspondent will be broadcast on Saturday, 16 August, 2008 at 1130 BST on BBC Radio 4. Please check the programme schedules for World Service transmission times.

The cousins go home after a week of romping

Ajax, Dodger, Grindel & Stinger



Friday, August 01, 2008