Category:June 10, 2010

Sunday, October 9, 2005

Canada’s federal government has announced a new program that plans to share unexpected budget surpluses with ordinary citizens. It should be introduced in Ottawa as early as Friday.

The Surplus Allocation Act would share any surplus equally between tax cuts, new spending and debt relief. It would not replace Canada’s $3 billion emergency fund. Under existing law any surplus is funneled completely into debt relief.

The benefit would come as an amount added on to the income tax returns of that year. It would then be added on to the amount a person can earn tax-free for each subsequent year.

Along with the new home heating oil rebate program are considered to be pre-election maneuvering from the liberals. Paul Martin has promised an election within 30 days of the Gomery Commission Report’s release. The report is expected in February.

Monday, December 24, 2007

The “NBA 2K8 Asia Championship” Taiwan Qualifier, organized by NBA Asia Corp. and sponsored by Microsoft Taiwan, was held on December 22 & 23. According to the organizer, Taiwan was chosen as the first on-site stage tournament because of some of the market share factor on the gaming industry and the gaming population.

In Taiwan’s qualifier, the organizer successively invited models from Catwalk Production House and two Taiwanese bands (Yummy, 2moro) for friendship matches with the public. With the entertainers’ participation, it attracted media and press in the entertainment industry.

On the other hand, to conjunct with sports and gaming, the organizer set the experience area with not only the Xbox 360 gaming console but also a shooting machine.

In this 2-day qualifier, due to some issues on the arrangement of the schedule, some registered gamers offered to quit the championship, but it didn’t take effect on the results of the single day champion, the 2-day champion, and overall champion. Finally, Yu-cheng Lin won the overall champion to participate in the Grand Final of the championship in South Korea on January 12, 2008.

According to the organizer, the Hong Kong qualifier will start on January 5 & 6, 2008 at Plaza Hollywood in Diamond Hill, Hong Kong.

Wednesday, December 27, 2017

On Sunday, vice-president of World Chess Federation (FIDE) Israel Gelfer told Reuters that visas for seven Israeli chess players “will not be issued” for a chess tournament in the Kingdom of Saudi Arabia (KSA). The 2017 King Salman Rapid and Blitz World Championships from December 26 to December 30 in Riyadh is to go ahead without any changes, the vice-president said.

Spokesperson of the Saudi Arabian embassy in the US Fatimah Baeshen tweeted, “Related to the purported politicization of the International Chess Tournament hosted by Riyadh: the Kingdom has allowed the participation of all citizens.The exception is whereby KSA has historically not had diplomatic ties with a specific country-thus has maintained its policy.”

Saudi Arabia does not recognise Israel. Despite their diplomatic tensions with Iran, Israel, and Qatar, FIDE tweeted they had “secured” visas for Qatari and Iranian chess players on Monday. In November, FIDE’s deputy president Georgios Makropoulos told Reuters they were “making a huge effort to ensure that all players get their visas”.

Speaking to Reuters, Israeli Chess Federation’s spokesperson Lior Aizenberg said, “The event is not a world championship if they prevent chess players from several countries from taking part […] Every chess player should have the right to participate in an event on the basis of professional criteria, regardless of their passports, their place of issue or the stamps they bear.”

Moshe Shalev of the Israel Chess Federation said they were “thinking about suing the World Chess Federation”.

About 180 chess players were to participate in the event. The total prize money of the tournament is US$2 million, with largest individual prize money about US$750 thousand.

In November, chess Grand Master Hikaru Nakamura tweeted, “To organize a chess tournament in a country where basic human rights aren’t valued is horrible. Chess is a game where all different sorts of people can come together, not a game in which people are divided because of their religion or country of origin.”

This is not the first time Israeli players have faced problems while playing in the Middle East nations. In October, Israeli judokas were not permitted to wear the Israeli flag or symbols, or bear the country’s name on their judo uniform for a judo grand slam in the United Arab Emirates. Israeli judokas had to compete without their national flag and the anthem of the International Judo Federation was played at the medal ceremony when Israeli athlete Tal Flicker won a gold medal.

Friday, July 29, 2011

Today sees the reopening of the National Museum of Scotland following a three-year renovation costing £47.4 million (US$ 77.3 million). Edinburgh’s Chambers Street was closed to traffic for the morning, with the 10am reopening by eleven-year-old Bryony Hare, who took her first steps in the museum, and won a competition organised by the local Evening News paper to be a VIP guest at the event. Prior to the opening, Wikinews toured the renovated museum, viewing the new galleries, and some of the 8,000 objects inside.

Dressed in Victorian attire, Scottish broadcaster Grant Stott acted as master of ceremonies over festivities starting shortly after 9am. The packed street cheered an animatronic Tyrannosaurus Rex created by Millenium FX; onlookers were entertained with a twenty-minute performance by the Mugenkyo Taiko Drummers on the steps of the museum; then, following Bryony Hare knocking three times on the original doors to ask that the museum be opened, the ceremony was heralded with a specially composed fanfare – played on a replica of the museum’s 2,000-year-old carnyx Celtic war-horn. During the fanfare, two abseilers unfurled white pennons down either side of the original entrance.

The completion of the opening to the public was marked with Chinese firecrackers, and fireworks, being set off on the museum roof. As the public crowded into the museum, the Mugenkyo Taiko Drummers resumed their performance; a street theatre group mingled with the large crowd, and the animatronic Tyrannosaurus Rex entertained the thinning crowd of onlookers in the centre of the street.

On Wednesday, the museum welcomed the world’s press for an in depth preview of the new visitor experience. Wikinews was represented by Brian McNeil, who is also Wikimedia UK’s interim liaison with Museum Galleries Scotland.

The new pavement-level Entrance Hall saw journalists mingle with curators. The director, Gordon Rintoul, introduced presentations by Gareth Hoskins and Ralph Applebaum, respective heads of the Architects and Building Design Team; and, the designers responsible for the rejuvenation of the museum.

Describing himself as a “local lad”, Hoskins reminisced about his grandfather regularly bringing him to the museum, and pushing all the buttons on the numerous interactive exhibits throughout the museum. Describing the nearly 150-year-old museum as having become “a little tired”, and a place “only visited on a rainy day”, he commented that many international visitors to Edinburgh did not realise that the building was a public space; explaining the focus was to improve access to the museum – hence the opening of street-level access – and, to “transform the complex”, focus on “opening up the building”, and “creating a number of new spaces […] that would improve facilities and really make this an experience for 21st century museum visitors”.

Hoskins explained that a “rabbit warren” of storage spaces were cleared out to provide street-level access to the museum; the floor in this “crypt-like” space being lowered by 1.5 metres to achieve this goal. Then Hoskins handed over to Applebaum, who expressed his delight to be present at the reopening.

Applebaum commented that one of his first encounters with the museum was seeing “struggling young mothers with two kids in strollers making their way up the steps”, expressing his pleasure at this being made a thing of the past. Applebaum explained that the Victorian age saw the opening of museums for public access, with the National Museum’s earlier incarnation being the “College Museum” – a “first window into this museum’s collection”.

The museum itself is physically connected to the University of Edinburgh’s old college via a bridge which allowed students to move between the two buildings.

Applebaum explained that the museum will, now redeveloped, be used as a social space, with gatherings held in the Grand Gallery, “turning the museum into a social convening space mixed with knowledge”. Continuing, he praised the collections, saying they are “cultural assets [… Scotland is] turning those into real cultural capital”, and the museum is, and museums in general are, providing a sense of “social pride”.

McNeil joined the yellow group on a guided tour round the museum with one of the staff. Climbing the stairs at the rear of the Entrance Hall, the foot of the Window on the World exhibit, the group gained a first chance to see the restored Grand Gallery. This space is flooded with light from the glass ceiling three floors above, supported by 40 cast-iron columns. As may disappoint some visitors, the fish ponds have been removed; these were not an original feature, but originally installed in the 1960s – supposedly to humidify the museum; and failing in this regard. But, several curators joked that they attracted attention as “the only thing that moved” in the museum.

The museum’s original architect was Captain Francis Fowke, also responsible for the design of London’s Royal Albert Hall; his design for the then-Industrial Museum apparently inspired by Joseph Paxton’s Crystal Palace.

The group moved from the Grand Gallery into the Discoveries Gallery to the south side of the museum. The old red staircase is gone, and the Millennium Clock stands to the right of a newly-installed escalator, giving easier access to the upper galleries than the original staircases at each end of the Grand Gallery. Two glass elevators have also been installed, flanking the opening into the Discoveries Gallery and, providing disabled access from top-to-bottom of the museum.

The National Museum of Scotland’s origins can be traced back to 1780 when the 11th Earl of Buchan, David Stuart Erskine, formed the Society of Antiquaries of Scotland; the Society being tasked with the collection and preservation of archaeological artefacts for Scotland. In 1858, control of this was passed to the government of the day and the National Museum of Antiquities of Scotland came into being. Items in the collection at that time were housed at various locations around the city.

On Wednesday, October 28, 1861, during a royal visit to Edinburgh by Queen Victoria, Prince-Consort Albert laid the foundation-stone for what was then intended to be the Industrial Museum. Nearly five years later, it was the second son of Victoria and Albert, Prince Alfred, the then-Duke of Edinburgh, who opened the building which was then known as the Scottish Museum of Science and Art. A full-page feature, published in the following Monday’s issue of The Scotsman covered the history leading up to the opening of the museum, those who had championed its establishment, the building of the collection which it was to house, and Edinburgh University’s donation of their Natural History collection to augment the exhibits put on public display.

Closed for a little over three years, today’s reopening of the museum is seen as the “centrepiece” of National Museums Scotland’s fifteen-year plan to dramatically improve accessibility and better present their collections. Sir Andrew Grossard, chair of the Board of Trustees, said: “The reopening of the National Museum of Scotland, on time and within budget is a tremendous achievement […] Our collections tell great stories about the world, how Scots saw that world, and the disproportionate impact they had upon it. The intellectual and collecting impact of the Scottish diaspora has been profound. It is an inspiring story which has captured the imagination of our many supporters who have helped us achieve our aspirations and to whom we are profoundly grateful.“

The extensive work, carried out with a view to expand publicly accessible space and display more of the museums collections, carried a £47.4 million pricetag. This was jointly funded with £16 million from the Scottish Government, and £17.8 million from the Heritage Lottery Fund. Further funds towards the work came from private sources and totalled £13.6 million. Subsequent development, as part of the longer-term £70 million “Masterplan”, is expected to be completed by 2020 and see an additional eleven galleries opened.

The funding by the Scottish Government can be seen as a ‘canny‘ investment; a report commissioned by National Museums Scotland, and produced by consultancy firm Biggar Economics, suggest the work carried out could be worth £58.1 million per year, compared with an estimated value to the economy of £48.8 prior to the 2008 closure. Visitor figures are expected to rise by over 20%; use of function facilities are predicted to increase, alongside other increases in local hospitality-sector spending.

Proudly commenting on the Scottish Government’s involvement Fiona Hyslop, Cabinet Secretary for Culture and External Affairs, described the reopening as, “one of the nation’s cultural highlights of 2011” and says the rejuvenated museum is, “[a] must-see attraction for local and international visitors alike“. Continuing to extol the museum’s virtues, Hyslop states that it “promotes the best of Scotland and our contributions to the world.“

So-far, the work carried out is estimated to have increased the public space within the museum complex by 50%. Street-level storage rooms, never before seen by the public, have been transformed into new exhibit space, and pavement-level access to the buildings provided which include a new set of visitor facilities. Architectural firm Gareth Hoskins have retained the original Grand Gallery – now the first floor of the museum – described as a “birdcage” structure and originally inspired by The Crystal Palace built in Hyde Park, London for the 1851 Great Exhibition.

The centrepiece in the Grand Gallery is the “Window on the World” exhibit, which stands around 20 metres tall and is currently one of the largest installations in any UK museum. This showcases numerous items from the museum’s collections, rising through four storeys in the centre of the museum. Alexander Hayward, the museums Keeper of Science and Technology, challenged attending journalists to imagine installing “teapots at thirty feet”.

The redeveloped museum includes the opening of sixteen brand new galleries. Housed within, are over 8,000 objects, only 20% of which have been previously seen.

The Window on the World rises through the four floors of the museum and contains over 800 objects. This includes a gyrocopter from the 1930s, the world’s largest scrimshaw – made from the jaws of a sperm whale which the University of Edinburgh requested for their collection, a number of Buddha figures, spearheads, antique tools, an old gramophone and record, a selection of old local signage, and a girder from the doomed Tay Bridge.

The arrangement of galleries around the Grand Gallery’s “birdcage” structure is organised into themes across multiple floors. The World Cultures Galleries allow visitors to explore the culture of the entire planet; Living Lands explains the ways in which our natural environment influences the way we live our lives, and the beliefs that grow out of the places we live – from the Arctic cold of North America to Australia’s deserts.

The adjacent Patterns of Life gallery shows objects ranging from the everyday, to the unusual from all over the world. The functions different objects serve at different periods in peoples’ lives are explored, and complement the contents of the Living Lands gallery.

Performance & Lives houses musical instruments from around the world, alongside masks and costumes; both rooted in long-established traditions and rituals, this displayed alongside contemporary items showing the interpretation of tradition by contemporary artists and instrument-creators.

The museum proudly bills the Facing the Sea gallery as the only one in the UK which is specifically based on the cultures of the South Pacific. It explores the rich diversity of the communities in the region, how the sea shapes the islanders’ lives – describing how their lives are shaped as much by the sea as the land.

Both the Facing the Sea and Performance & Lives galleries are on the second floor, next to the new exhibition shop and foyer which leads to one of the new exhibition galleries, expected to house the visiting Amazing Mummies exhibit in February, coming from Leiden in the Netherlands.

The Inspired by Nature, Artistic Legacies, and Traditions in Sculpture galleries take up most of the east side of the upper floor of the museum. The latter of these shows the sculptors from diverse cultures have, through history, explored the possibilities in expressing oneself using metal, wood, or stone. The Inspired by Nature gallery shows how many artists, including contemporary ones, draw their influence from the world around us – often commenting on our own human impact on that natural world.

Contrastingly, the Artistic Legacies gallery compares more traditional art and the work of modern artists. The displayed exhibits attempt to show how people, in creating specific art objects, attempt to illustrate the human spirit, the cultures they are familiar with, and the imaginative input of the objects’ creators.

The easternmost side of the museum, adjacent to Edinburgh University’s Old College, will bring back memories for many regular visitors to the museum; but, with an extensive array of new items. The museum’s dedicated taxidermy staff have produced a wide variety of fresh examples from the natural world.

At ground level, the Animal World and Wildlife Panorama’s most imposing exhibit is probably the lifesize reproduction of a Tyrannosaurus Rex skeleton. This rubs shoulders with other examples from around the world, including one of a pair of elephants. The on-display elephant could not be removed whilst renovation work was underway, and lurked in a corner of the gallery as work went on around it.

Above, in the Animal Senses gallery, are examples of how we experience the world through our senses, and contrasting examples of wildly differing senses, or extremes of such, present in the natural world. This gallery also has giant screens, suspended in the free space, which show footage ranging from the most tranquil and peaceful life in the sea to the tooth-and-claw bloody savagery of nature.

The Survival gallery gives visitors a look into the ever-ongoing nature of evolution; the causes of some species dying out while others thrive, and the ability of any species to adapt as a method of avoiding extinction.

Earth in Space puts our place in the universe in perspective. Housing Europe’s oldest surviving Astrolabe, dating from the eleventh century, this gallery gives an opportunity to see the technology invented to allow us to look into the big questions about what lies beyond Earth, and probe the origins of the universe and life.

In contrast, the Restless Earth gallery shows examples of the rocks and minerals formed through geological processes here on earth. The continual processes of the planet are explored alongside their impact on human life. An impressive collection of geological specimens are complemented with educational multimedia presentations.

Beyond working on new galleries, and the main redevelopment, the transformation team have revamped galleries that will be familiar to regular past visitors to the museum.

Formerly known as the Ivy Wu Gallery of East Asian Art, the Looking East gallery showcases National Museums Scotland’s extensive collection of Korean, Chinese, and Japanese material. The gallery’s creation was originally sponsored by Sir Gordon Wu, and named after his wife Ivy. It contains items from the last dynasty, the Manchu, and examples of traditional ceramic work. Japan is represented through artefacts from ordinary people’s lives, expositions on the role of the Samurai, and early trade with the West. Korean objects also show the country’s ceramic work, clothing, and traditional accessories used, and worn, by the indigenous people.

The Ancient Egypt gallery has always been a favourite of visitors to the museum. A great many of the exhibits in this space were returned to Scotland from late 19th century excavations; and, are arranged to take visitors through the rituals, and objects associated with, life, death, and the afterlife, as viewed from an Egyptian perspective.

The Art and Industry and European Styles galleries, respectively, show how designs are arrived at and turned into manufactured objects, and the evolution of European style – financed and sponsored by a wide range of artists and patrons. A large number of the objects on display, often purchased or commissioned, by Scots, are now on display for the first time ever.

Shaping our World encourages visitors to take a fresh look at technological objects developed over the last 200 years, many of which are so integrated into our lives that they are taken for granted. Radio, transportation, and modern medicines are covered, with a retrospective on the people who developed many of the items we rely on daily.

What was known as the Museum of Scotland, a modern addition to the classical Victorian-era museum, is now known as the Scottish Galleries following the renovation of the main building.

This dedicated newer wing to the now-integrated National Museum of Scotland covers the history of Scotland from a time before there were people living in the country. The geological timescale is covered in the Beginnings gallery, showing continents arranging themselves into what people today see as familiar outlines on modern-day maps.

Just next door, the history of the earliest occupants of Scotland are on display; hunters and gatherers from around 4,000 B.C give way to farmers in the Early People exhibits.

The Kingdom of the Scots follows Scotland becoming a recognisable nation, and a kingdom ruled over by the Stewart dynasty. Moving closer to modern-times, the Scotland Transformed gallery looks at the country’s history post-union in 1707.

Industry and Empire showcases Scotland’s significant place in the world as a source of heavy engineering work in the form of rail engineering and shipbuilding – key components in the building of the British Empire. Naturally, whisky was another globally-recognised export introduced to the world during empire-building.

Lastly, Scotland: A Changing Nation collects less-tangible items, including personal accounts, from the country’s journey through the 20th century; the social history of Scots, and progress towards being a multicultural nation, is explored through heavy use of multimedia exhibits.

Wednesday, January 18, 2006File:Greenpeace Vessels Esperanza and Arctic Sun.jpg

Anti-whaling protesters have joined forces across Australia, Canada, Germany, New Zealand, and the U.S.A calling for an end to the killing of whales for meat by Japan. Greenpeace organised the international day of action as it continued its efforts to disrupt the hunting of minke whales by the Japanese whaling fleet currently in the Southern Ocean.

The day of action was being marked to protest the actions of the fleet which protesters believe violate the 1986 International Whaling Commission (IWC) global ban on commercial whaling. Japan’s JARPA Japanese Whale Research Program was allowed to operate under a Special Permit in the Antarctic according to Article VIII of the International Convention for the Regulation of Whaling. In its JARPA-2 plan, Japan plans to double its annual scientific research catch of Minke whales to 935, and to add 10 Fin whales to its quota. The International Fund for Animal Welfare states that over the next two years, Japan plans to kill 50 endangered Humpback whales and an additional 40 fin whales.

Friday, May 8, 2009

Thomas Sam, 42, and his wife Manju Sam, 36, from Sydney, Australia, are undergoing trial for manslaughter by gross negligence for the death of their nine-month-old child, Gloria. She died from infection caused by severe eczema after they shunned effective conventional medical treatments for homeopathy, a form of alternative medicine that has been described as pseudoscience. Articles in peer-reviewed academic journals including Social Science & Medicine have characterized homeopathy as a form of quackery.

Gloria developed severe eczema at the age of four months and the parents were advised to send the child to a skin specialist. Thomas Sam, a practising homeopath, instead decided to treat his daughter himself. His daughter’s condition deteriorated, to the point that the baby spent all her energy battling the infections caused by the constant breaking of the skin, leading to severe malnutrition and, eventually, her death. By the end, Gloria’s eczema was so severe that her skin broke every time her parents changed her clothes or nappy, and in the words of the Crown prosecutor, Mark Tedeschi, QC, “Gloria spent a lot of the last five months of her life crying, irritable, scratching and the only thing that gave her solace was to suck on her mother’s breast.” Gloria also became unable to move her legs.

Mr. Tedeschi also told the court that, over the last five months of her life, “Gloria’s eczema played a devastating role in her overall health and it is asserted by the Crown that both her parents knew this and discussed it with each other.” However, despite their child’s severe illness, and her lack of improvement, the Sams continued to shun conventional medical treatment, instead seeking help from other homeopaths and naturopaths. Gloria temporarily improved during the rare times they used conventional treatments, but they soon dropped them in favour of homeopathy, and she consistently worsened.

Allegedly, Thomas’ sister pleaded with him to send Gloria to a conventional medical doctor, but he replied “I am not able to do that”. The parents are also accused of putting their social life ahead of their child, taking her on a trip to India and leaving her to servants while embarking on a busy social schedule, and giving her homeopathic drops instead of using the prescription creams they had been given.

Gloria was finally taken to the emergency department shortly before her death. By this time, “her skin was weeping, her body malnourished and her corneas melting”, according to the Sydney Morning Herald.

Speaking in the parents’ defense, Tom Molomby, SC, said that, as the parents came from India, where homeopathy is in common use, they should be declared not guilty due to cultural differences.

Homeopathy is a form of alternative medicine which treats patients with massively diluted forms of substances that, if given to a healthy person undiluted, would cause symptoms similar to the disease. Typical treatments take the dilutions, with ritualised shaking between each step of the dilution, past the level where any molecules of the original substance are likely to remain; for homeopathic treatments to work, basic well-understood concepts in chemistry and physics would have to be wrong. There is no evidence that homeopathy is more effective than placebo for any condition.

Tuesday, June 7, 2011

Jai McDowall, a Scottish man who works as an assistant to disabled individuals and performs a singing act, has been declared as the winner of the fifth series of televised talent competition Britain’s Got Talent, broadcast on ITV1 in the United Kingdom. The final took place on Saturday night. As the winner of the show, McDowall will receive a prize of £100,000 (US$164,270, €112,252), as well being able to participate at the Royal Variety Performance – which will be attended by British Royal Family senior members – later this year.

In the final, McDowall – who lives in the South Ayrshire village of Tarbolton – had sung To Where You Are, which was originally performed by Josh Groban. McDowall’s victory was calculated via a public telephone voting system. The number of votes he received was a margin of under three per cent greater than the act who achieved second place: a 12-year-old male singer named Ronan Parke. According to BBC News Online, Parke had been considered the most likely act to win this series by bookmakers. A short time after his victory was announced, McDowall commented that he was feeling “absolutely amazing, fantastic…it’s so much more, absolutely so much more”. When interviewed afterwards, Parke said he “loved it, thank you to everyone who voted. Congratulations, Jai.” Simon Cowell acknowledged “there was going to be a shock result” and that McDowall “wasn’t one of the favourites coming in but tonight we could feel he nailed the song. He came in believing that he could win and I think he’s a worthy winner.” Meanwhile, on-air, judge Amanda Holden admitted that she “really, really wanted Ronan to win.”

The finale consisted of one programme featuring the finalists performing, which was broadcast from 1900 – 2100 BST (1800 – 2000 UTC) and a second programme, announcing the positions of the finalists; the latter was broadcast later in the night, from 2130 – 2200 BST (2030 – 2100 UTC). The programme also featured performances from two guests. Jackie Evancho, who achieved second place in the fifth season of America’s Got Talent, performed Nessun dorma on the first programme. US singer-songwriter Nicole Scherzinger, scheduled to appear as a judge on The X Factor (U.S.), appeared in the second show and performed Right There, the latest single to be released from her.

In the run-up to the final, five semi-finals were broadcast live on ITV1 each night from Monday to Friday. A total of 41 acts appeared between them. British stand-up comedian Michael McIntyre and American actor David Hasselhoff made their debut appearances on the show’s panel, alongside British actress Amanda Holden, who has judged for all the series so far, and British music executive Simon Cowell, who only judged for the semi-finals and the final.

Earlier in the week, an unidentified Internet blogger, who stated that they were an employee of music corporation Sony Music UK, claimed that the programme had been unfairly pre-arranged due to Parke allegedly being familiar with Cowell and Syco for two years, already having a record contract, as well as prior arrangements being made for his appearance, including his clothing, hairstyle and behaviour. Parke achieved the largest number of public votes in the semi-final he appeared in on Monday, allowing him to earn his place in Saturday’s final.

On the fifth Britain’s Got Talent semi-final on Friday, Cowell addressed these allegations and publicly denied them, stating: “There has been an allegation made in the papers – not in the papers actually, on the internet by somebody – that Ronan Parke had a previous recording contract with my record label, that I’d met him beforehand, both of which are complete and utter lies. The first time I met Ronan was the first time he appeared on this show. He entered the show of his own accord. He’s 12 years old. This is a deliberate smear campaign.”

In a statement, Syco – a British entertainment company which Cowell is the chief executive officer of – responded by claiming that “[t]here is no truth in this story whatsoever. Ronan first came to Syco/Sony’s attention when he entered this year’s competition. Syco/Sony Music will not hesitate to take whatever legal action is appropriate to prevent further publication of these unfounded allegations.” The Metropolitan Police Service have also reported that “[a]n allegation of malicious communications was made to Kensington and Chelsea police on Thursday 2 June” and that “[t]he allegation is being considered.” In an interview with BBC Radio Norfolk, Maggie Parke – Ronan’s mother – called the allegations “laughable” as there “couldn’t be further from the truth”. “There’s no foundation in it whatsoever,” said Maggie.

In the final, Parke performed a cover of the Kelly Clarkson song Because of You and placed second in the contest, behind McDowall. However, British tabloid newspaper News of the World has reported the intentions of Sony Music Entertainment to provide a record contract for the 12-year-old singer, allegedly valued at £1,000,000 (US$1,641,681, €1,123,711). Speaking to the paper, a source familiar with Cowell commented: “We are not going to let malicious claims about Ronan impact his entire career. That would not be fair. The fact is, he is a little star. He’s like our Justin Bieber. He launched his career on the internet. He is self-made.” Musical manager Jonathan Shalit claimed that Parke “will be the most successful BGT winner ever, bigger than Bieber. I’d take him to Hollywood, straight to Disney.” A source related to Britain’s Got Talent cited the aforementioned fix allegations for Parke’s failure to win the series, mentioning: “Sadly, the result had nothing to do with Ronan’s talent. A lot of people believed the completely false smears on the internet and wanted to punish Simon as a result. The public are against him at the moment. This was their revenge.”

A London-based act named New Bounce achieved third place in the competition. Their act consists of four male singers: Mitchell, aged 16, 12-year-old MJ, Kuan, aged 13 and James, aged 12. In the final, the group performed a cover of the Bill Withers song Ain’t No Sunshine. Simon Cowell subsequently compared their potential to that of JLS, who have achieved number 1 on music charts, claiming that “[t]his is a group that would work in the real world”.

Other acts who appeared in the final included Michael Collings, who is also a singer and plays a guitar for his act. Razy Gogonea performed a form of breakdancing known as body-popping. James Hobley was also an act who danced, performing contemporary dance routines. Steven Hall was another dancer, albeit one who performed for comedic effect, dancing to the sounds of various famous pop music tracks and lip-syncing the lyrics. Les Gibson performed a comedy act involving him making impressions of various celebrities, with Cowell, McIntyre and Hasselhoff amongst them, as well as Ant & Dec, who host the programme. Paul Gbegbaje and Jean Martyn were both musical acts, with the former playing the piano and the latter using an organ to make music. Gbegbaje played piano music which he had composed himself, while Martyn performed a medley of songs, amongst which was the John Travolta and Olivia Newton-John song You’re the One That I Want. Martyn sang along to the song but was not clearly audible due to the absence of a microphone during her performance. She later explained that her performance had been previously rehearsed without the singing included.

Below is a table addressing the rank the finalists of the fifth series of Britain’s Got Talent achieved in Saturday’s final.