Saturday, October 11, 2008

Relations between Iceland and the United Kingdom are deteriorating after the two nations fell out over the current financial crisis. When Iceland nationalised first Landsbanki and then Kaupthing Bank the Financial Services Authority only took on domestic assets, leaving British customers with subsidiary banks out of pocket. While Britain feels Iceland should also pay out to their citizens, Iceland blame the UK for triggering the crisis by using the Anti-terrorism, Crime and Security Act 2001 to freeze the UK assets of Icelandic banks.

UK Prime Minister Gordon Brown says Iceland should pay out up to €20,887 (£16,448) of UK investors’ money in the banks, particularly Icesave, an online company owned by Landsbanki which had around 300,000 accounts owned by UK customers. It will cost an estimated 2.4 billion pounds to compensate them, and it looks likely the UK will foot that bill.

Alistair Darling, the U.K. Chancellor of the Exchequer, has said that individuals with accounts will see their money again but other accounts are not guaranteed – leaving governmental, corporate and charitable deposits at risk of being lost. UK local authorities could lose £799 million.

“The prime minister made clear the behavior of the Icelandic authorities had been unacceptable, and we had found it very difficult to get information from them,” said Michael Ellam, a spokesperson for Brown. A delegation has been sent to Reykjavik from the UK to try and solve the dispute amicably.

However, fears that the crisis may escalate have led to the pound becoming heavily devalued. The pound hit its lowest level for five years versus the US dollar after Brown threatened to freeze the assets of all Icelandic companies in the UK, which employ around 100,000 people.

The last time the two nations had a dispute, dubbed the Cod Wars, was in the 1970s. Iceland declared an exclusive fishing zone and began to cut the nets of British trawlers entering the area. That dispute came to a head in 1976 when a UK naval vessel with nuclear arms rammed an Icelandic ship that had been cutting nets. After this a compromise was reached to allow a limited number of British ships in the area.

Thursday, July 17, 2008

A man shot and killed a Broward County Sheriff’s Office police dog in Miami Beach after a two-county chase in Florida early Thursday morning.

The shooter, Delvin Lewis, 27, was firing shots at his girlfriend during a domestic dispute in Oakland Park. When police arrived, the suspect got into his car and fled, engaging roughly 20 cruisers in a 30-mile chase which ended near Mount Sinai Medical Center’s emergency room in Miami Beach. An exchange of gunfire followed in which Lewis reportedly killed the dog. ER doctors tried to save the animal but it was too late.

The shooter was also struck and has been taken to Jackson Memorial Hospital where he remains with no life threatening injuries.

According to a Mount Sinai spokeswoman hospital facilities are now accessible after the authorities locked down the area for three hours following the shooting.

Lewis has been arrested 26 times by Florida authorities including one in July 2003 in which he injured a police dog striking him repeatedly on the head with a cellphone.The suspect has been charged with aggravated assault with a motor vehicle on a law enforcement officer, aggravated fleeing and eluding, resisting an officer with violence and principal in the death of a police dog.

Hitting a police dog is a third-degree felony punishable by up to five years in jail, while killing a police officer is a capital offense which can lead to the death penalty.

Miami-Dade Police Department is handling the investigation which involves Broward Sheriff Office and Miami Beach police.

Lewis has been in and out of jail since 2000 and had been arrested for domestic battery in 2000 and 2004, when he beat a pregnant woman.

The dog, whose name was Oozi, was a 7-1/2 years old Belgian Malinois assigned to BSO’s Cooper City district. He was trained in narcotics and helped in hundreds of arrests in his career, including 35 this year.

Oozi and his partner, Deputy Gerald Wengert, were named BSO’s Employees of the month in May for their role in the apprehension of three burglary suspects.

Saturday, June 2, 2012

Phoenix, Arizona — Last weekend, Phoenix fans of comics, science fiction, horror, fantasy, cos-play, anime and manga, Society for Creative Anachronism, and more, marked a milestone as the city held its tenth annual Phoenix Comicon at the Phoenix Convention Center. The event — which is entirely the work of more than 700 volunteers according to coordinator Colin Aprill — generated around US$5 million for the “Valley of the Sun” during its four-day run. Wikinews was there.

As one unknown source from the crowd was overheard saying, “It’s all about the fans.” Descending into the hall by escalator gave a sense of the scale to the creativity in the center. Fans could be seen scattering about in a flurry of motion on their way from one event to another and producing their own spectacle, most in costume, on their way.

This year the four-day convention in the Valley was estimated to set a new attendance record as 30,000 visitors showed. Most were clothed in costumes that transformed themselves into Batmans, creeper box heads, furries, Lady and Knight couple, pirates, pixies, Star Trek officers, Star Wars’ Empire troopers, Superwomen, and zombies. One of the most common activities at Comicon was people taking photos of each other while they took turns posing or snapping shots.

The Camp family stopped intermittently to have their photos taken by others. The Camps were led by eldest brother Jim “Batman” Camp. He attended Comicon with his sister Tina “Good Witch” Camp, who brought her daughter Katie “Super Woman.” Sibling Tony Camp, who attended with his daughter Stella “Bat Girl,” was said to be “the instigator” behind the family’s turnout at Comicon. “You get to be dressed up and can act goofy, and you don’t feel weird because everybody is dressing up, too,” said Tony about the family-friendly event.

The exhibit hall was filled with artists and merchants selling comic books, trinkets, memorabilia, wares and keepsakes. Amidst the shoppers, the photo opportunities continued to attract the most attention. For all the star-studded autograph booths and an artist alley with famed comic book artists, the most fun was simply enjoying the presence of other fans in costume.

The Thirteenth Floor Haunted House took advantage of the photo-op activity by supplying monsters “Nemesis” and “Collosus” for more of this activity. Manager Tim Pugsley says the company owns five out of the top 1300 haunted houses in the United States. The monsters’ human counterparts remained anonymous on purpose. “The characters don’t get ruined that way,” said a handler.

Montana E. had his picture taken with “Nemesis” by friend Joey Deihl, while Eddie Deleon and young Raquel Munguia posed with “Collosus.”

Fans also gathered Saturday for a flash mob event, in which people danced or acted to Michael Jackson’s mega-hit song “Thriller”. An entertainment group calling themselves “The Zombie Chicks” attended the flash mob and then later drifted in trance through the exhibitor hall of the convention center. “We’re here for the performance, not for the stuff,” said Tori Hoganson, who pointed like a bored consumer at the trinkets in a stall. She was careful to use as few words as possible to speak her mind out of character before going back mindfully to her mindless performance. She was accompanied by her friends, who in human form are known as Emmalaine Wright and Lyle Yanak. The group was watched closely and held at bay by “The Keeper” Ben Fondren, who lurked nearby as a faceless shadow.

The fans also turned out to see big stars, like William Shatner, who portrayed Captain Kirk in the original Star Trek series; LeVar Burton, who is synonymous with the ship’s engineer Geordi La Forge in Star Trek: The Next Generation; or Jon Bernthal, who was the sometimes hero and sometimes anti-hero Shane Walsh in the TV series The Waking Dead.

Father and son John and David Phelps, who are both Star Trek fans, attended the event together and were excited to see Shatner. “He can be funny, but he’s also fun to laugh at,” said John Phelps with a smile. His son David liked to laugh at Shatner when the artist attempted to sing. Shatner has had an alternative “tongue-in-cheek” career singing hits such as “Common People” on the 2004 album Has Been.

Hunter Lewis got Jon Bernthal’s autograph, which came penned with the message, “I F@&#’in hate Zombies.” Zombies were the main source of the angst that bedeviled characters in his hit TV show. Hunter’s friends Justin Rose, Ryan Scola and Taylor Fagen also met with Bernthal in the autograph line. This was just one of many examples of how friends and family were bonding and sharing together in the spectacle throughout the convention center.

There were also breakout sessions for classes, performances, gaming, and crafts. Nyki Robertson Crosby, a.k.a. “Lady Thunder,” who is the matriarch of one of the largest houses for the Society for Creative Anachronism in the Phoenix area, sponsored a class on creating a “Basic T-shirt Tunic” so that anyone who wanted to attend an S.C.A. event in costume could fit in with a minimal investment in time, effort and money. She said the secret is to create a costume that could be one someone would wear between 600–1600 A.D. “We’re the Society of Creative Anachronism and not the Society of Creative Accuracy,” Robertson Crosby said.

The Phoenix Comicon was carnivalesque in its look and feel. And it spread well beyond the convention center as knights and Wonderland characters and more walked the streets of Phoenix and lunched and dined with the “civilians”. The civilians were the ones who kept asking, “What’s going on?”

They may have been “out of towners” visiting the “Valley of the Sun” between May 24–27, because after ten years, Phoenix now has an established tradition.

This year’s largest Comicon is to be Comic-Con International San Diego 2012, July 12–15 in California.

Monday, May 14, 2007

Buffalo, New York —A massive warehouse complex of at least 5 buildings caught on fire in Buffalo, New York on 111 Tonawanda Street, sending a plume of thick, jet black colored smoke into the air that could be seen as far away as 40 miles.

As of 6:40 a.m., the fire was under control, and firefighters were attempting to stop it from spreading, but could not get to the center of the fire because of severe amounts of debris. Later in the morning, the fire was extinguished.

“The fire is mostly under debris at this point. It’s under control, but it’s under some debris. We really can’t get to it. We’re just going to have to keep on pouring water on it so it doesn’t spread,” said Thomas Ashe, the fire chief for the North Buffalo based fire division who also added that at one point, at least 125 firefighters were on the scene battling the blaze. One suffered minor injures and was able to take himself to the hospital to seek medical attention.

Shortly after 8:00 p.m. as many as 3 explosions rocked the warehouse sending large mushroom clouds of thick black smoke into the air. After the third explosion, heat could be felt more than 100 feet away. The fire started in the front, one story building then quickly spread to three others, but fire fighters managed to stop the flames from spreading onto the 3 story building all the way at the back.

According to a Buffalo Police officer, who wished not to be named, the fire began at about 7:00 p.m. [Eastern time], starting as a one alarm fire. By 8:00 p.m., three fire companies were on the scene battling the blaze. Police also say that a smaller fire was reported in the same building on Saturday night, which caused little damage.

At the start of the fire, traffic was backed up nearly 4 miles on the 198 expressway going west toward the 190 Interstate and police had to shut down the Tonawanda street exit because the road is too close to the fire.

At one point, traffic on the 198 was moving so slow, at least a dozen people were seen getting out of their cars and walking down the expressway to watch the fire. That prompted as many as 10 police cars to be dispatched to the scene to force individuals back into their cars and close off one of the 2 lanes on the westbound side.

One woman, who wished not to be named as she is close to the owner of the warehouse, said the building is filled with “classic cars, forklifts, and money” and that owner “does not have insurance” coverage on the property. The building is not considered abandoned, but firefighters said that it is vacant.

Officials in Fort Erie, Ontario were also swamped with calls to fire departments when the wind blew the smoke over the Niagra River and into Canada.

It is not known what caused the fire, but a car is suspected to have caught on fire and there are reports from police and hazmat crews, that there were also large barrels of diesel fuel being stored in one building. Firefighters say the cause of the blaze is being treated as “suspicious.” The ATF is investigating the fire and will bring dogs in to search the debris.

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.

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.

Monday, June 7, 2010

An acrobatic group known by the name of Spelbound has been declared as the winner of Britain’s Got Talent 2010, a televised variety talent show competition broadcast on ITV in the United Kingdom. As the winning act of the show, Spelbound have won £100,000 (US$144,580, €120,313, A$175,079) and a place at The Royal Variety Performance, an annual gala evening that is attended by senior members of the British Royal Family.

In no particular order, the top three acts were revealed to be two dancers known by their stage name of Twist and Pulse, gymnastic group Spelbound and Kieran Gaffney, whose act involves playing on the drum kit. After Kieran Gaffney was revealed to be in third place, Anthony McPartlin, who hosts Britain’s Got Talent with Declan Donnelly, said to Kieran: “Well done Kieran. Kieran, you’re a star, you came back, you got all the way to the final. I know you’ve loved this. You’ve loved this, haven’t you?” In response to this, Kieran Gaffney stated: “Thank you very much. Thank you, everyone for supporting me. Thank you.”

Shortly afterwards, on the episode that was broadcast live on ITV1 on Saturday, Anthony announced: “After tens of thousands of auditons, five semi-finals and an amazing final, this…this is it. One of you is about to walk away with £100,000 and a place at this year’s Royal Variety Performance. The winner of Britain’s Got Talent 2010 is…Spelbound!” Glen Murphy from Twist and Pulse commented about finishing in second place, stating: “Yeah, it’s amazing. I can’t even believe it. I can’t believe it at all.”

Alex Uttley, a 24-year-old member of Spelbound, commented on the gymnastic group’s victory, commenting: “Oh, my god. This is unbelieveable. We just want to say thank you to everyone out there. It just shows that all our hard work has paid off.” One of the coaches of Spelbound, named Neil Griffiths, stated about Spelbound: “Oh, they’ve worked so hard over the last few weeks. Um, since the semi-final, we…we really had to pull out the stops to try and up the game. They’ve not known they’ve worked in the gym from six in the morning till twelve…twelve o’clock of the night. I couldn’t have asked for more. Um, it’s a team of coaches. I don’t take all the credit myself. There’s, uh, two people up there that know who they are who’ve been fantastic.”

Spelbound consists of 24-year-old Alex Uttley, Nicholas Illingworth, aged 24, Adam Buckingham, aged 21, 20-year-old Adam McAssey, 19-year-old Douglas Fordyce, 18-year-old Edward Upcott, 18-year-old Leighanne Cowler, 17-year-old Katie Axten, 17-year-old Lauren Kemp, 15-year-old Jonathan Stranks, Abigail Ralph, aged 15, 13-year-old Hollianne Wood and Amy Mackenzie, aged 12. Bookmakers had previously predicted that Spelbound would be the most likely act to become the winner of the series.

The running order for the final started with Twist and Pulse. The second act to perform was Liam McNally, a 14-year-old singer. The running order subsequently continued with 40-year-old impressionist Paul Burling, singer Christopher Stone, aged 28, Tina & Chandi, a woman and dog dancing act, Connected, a five-piece singing group, Kieran Gaffney, aged 12, 22-year-old Tobias Mead, a dancer, 80-year-old singer Janey Cutler and Spelbound in that particular order.

Earlier on in the final, Britain’s Got Talent judge Amanda Holden has stated to Spelbound: “We are hosting the 2012 Olympics and I think ‘what a brilliant opening act’.” Fellow judge Piers Morgan also commented that “[t]he purpose of this show is to identify hidden great British talent. You are that act.” After Spelbound won in the final, another judge, named Simon Cowell, stated that “the right boys and girls won on the night” and that he could “only say on live TV that that was one of the most astonishing things I have ever seen. Seriously.”