Emiliano Sala and his pilot David Ibbotson were apparently exposed to extremely dangerous levels of carbon monoxide.According to Sky Sports News, the levels that were discovered in the toxicology report from the autopsy carried out on Sala’s body.The report showed that the levels were so high, that it could have caused, a heart attack, seizure or unconsciousness.The plane that Sala was on from France to England, after completing his transfer from Nantes to Cardiff City, disappeared over the British Channel.After three days of search and rescue, efforts were abandoned. Through private funds, his family continued the search and the plane was eventually discovered.Only Sala’s body has ever been recovered. But it is assumed that the pilot was exposed to the same crippling and life-threatening carbon monoxide levels the footballer was.In a document published by the Air Accident Investigation Branch (AAIB) they said:“Tests on the striker’s body found enough evidence of the harmful gas to cause a heart attack, seizure or unconsciousness.”“It is likely that Mr. Ibbotson was also affected to some extent by exposure to carbon monoxide.”“The gas can reduce or inhibit a pilot’s ability to fly an aircraft depending on the level of that exposure.”“Work is also continuing to investigate pertinent operational, technical, organisational and human factors which might have contributed to the accident.”AAIB responds to Sala’s family request to recover the plane’s wreckage Manuel R. Medina – August 14, 2019 The Air Accidents Investigation Branch says they already explained their decision not to recover the plane’s wreckage to Sala’s family and the pilot’s.Emiliano Sala’s family released the following statement after the report:“That dangerously high levels of carbon monoxide have been found in Emiliano’s body raises many questions for the family.”“How he died will be determined at the inquest in due course. The family believes that a detailed technical examination of the plane is necessary.”“The family and the public need to know how the carbon monoxide was able to enter the cabin. Future air safety rests on knowing as much as possible on this issue.”“Emiliano’s family call on the AAIB to salvage the wreckage of the plane without further delay.”Cardiff City issued the following statement:“CCFC is concerned at the AAIB’s latest report which once again highlights that the aircraft used for Emiliano Sala was not appropriate.”“We continue to believe that those who were instrumental in arranging its usage are held to account for this tragedy.”Argentine footballer Sala signed for Cardiff City from French club Nantes for £15m on January 18. It was a record transfer fee for the Welsh side.SOUTHAMPTON, ENGLAND – FEBRUARY 09: Cardiff City players have a yellow Daffodil and the name Emiliano Sala on their playing shirts in memory of their player who died in a plane crash during the Premier League match between Southampton FC and Cardiff City at St Mary’s Stadium on February 09, 2019 in Southampton, United Kingdom. (Photo by Christopher Lee/Getty Images)
From the Winter 2019 issue of Pop-Up Magazine in Los Angeles | (@popupmagazine)“Filmmakers have their film festivals, photographers have gallery events and writers have readings, but we wondered, what would happen if we smashed all of that stuff together? What would happen if we made a live magazine?”After the initial launch of Pop-Up Magazine, McGray detailed how the program grew and changed form as he and his team experimented with mixing mediums and integrating new sensory activations that readers could typically never experience when interacting with the print or digital platforms.In later issues of the show, the team experimented with the incorporation of smell and taste during integral parts of the story, including giving each attendee a cassette tape of political poetry and slides with the preserved scent of a flower that has been extinct for over 100 years and no living person has smelled before.“Before my friends and I started all of this, I thought I knew what a magazine was,” said McGray. “In part because I didn’t think that hard about it. Now in the last five years I’ve thought a lot about it, and now I have no idea what all a magazine might be, and I really like that.” The experimentation of mixing mediums didn’t end there for McGray and his team though. Returning to the more traditional medium, print, The California Sunday Magazine was born as a way to tell more international long-form stories in ways that established magazines might not be able to do. Following what he calls “their experimental roots,” the semi-monthly magazine went off book in February 2018 to give breathing room to a story on American farming that ended up spanning 20,000 words, 56 pages and ultimately became the brand’s most read story of the year.The publication’s first-ever SIP ended up being dedicated to sound, something McGray said might not be the most obvious topic choice for print, but by incorporating scannable sonic footnotes throughout the issue, readers were able to listen to music, interviews and more while reading the text. The magazine also debuted an all-photography issue, that was later expanded into an art gallery in New York.“It’s been kind of magical to see all of these things come together in a way that can really only happen in magazines,” he said. magCulture founder Jeremy LeslieNEW YORK—During the second annual ModMag NYC summit last week, organized by the London-based magazine shop and creative studio magCulture, creatives from across the industry attempted to answer one question: What is a magazine?Founder Jeremy Leslie led off the day by stating that he is open-minded about what makes a magazine, especially in this day and age with all of the “contemporary concepts” that have been brought to the market. And the first speaker, Douglas McGray, co-founder and editor-in-chief of The California Sunday Magazine and Pop-Up Magazine, spoke to that point by detailing the process of experimenting with new mediums that led to the creation of Pop-Up, a live, performance-based magazine. Mixing mediumsMcGray said that while he was developing a story for “This American Life,” after spending years working with magazine media, he realized that telling stories through audio was really similar to the way he had been telling stories already—it was just with a different set of tools that he didn’t necessarily know how to use. He also realized that because storytellers from across the different mediums of film, radio, writing and photography all shared a similar skillset of producing magazine-like content, he “started thinking about the world of people who make stories,” and the events they have that celebrate their crafts. Integrating design across platformsWhile nearly all of the speakers at ModMag came from publications that currently produce print editions—aside from Glamour, which closed its regular print product in November after nearly 80 years—a common thread throughout the presentations was finding ways to break away from the traditional format that people think of when they think of a magazine, whether by integrating an established design from print into digital platforms or finding ways to differentiate the print product itself from predecessors and competitors. For Veronica Ditting, creative director of The Gentlewoman, keeping design stripped back to the studs was the best course of action for her team to take when creating the first few issues of the biannual magazine. Once she decided on a no-nonsense approach to design, Ditting said the publication was able to build itself up into the identifiable brand that it has since become. Now on issue no. 19, Ditting explained that the focus can fluctuate between fashion and design, but the formula for creating the book has all but solidified, and the pared down graphic design is what helps it stand out in a crowded space. Similarly in the women’s lifestyle genre, the biggest goal for Condé Nast creative director Nathalie Kirsheh, who was tasked with taking Glamour to a digital-first brand, was keeping the established brand alive and true to itself online, even before she knew that the regular print edition would be shuttered. To do this, Kirsheh said her goal was to create a symbiosis between print and digital, which was important because the print staff had been solely focused on the development of the print product for so long. She began leading exercises in finding ways for the print content to come even more alive off the page, and creating a new logo that would be more distinguishable on the online platforms. When Kirsheh and her team learned that Glamour would be ending its regular print issue, she was on set doing a cover shoot with singer Halsey. In that moment, she said they had to adjust the shoot to ensure that the end product would work just as well as a digital cover instead of print. Thinking in terms of digital only, she continued that it was necessary for the creative team to “stretch the limitations of our digital platform, which is a unified, sort of set thing at Condé Nast, so we had to find the tricks to work around it.” Additionally, because all of the creative teams at Condé are in the same group, aside from Wired and The New Yorker, she said she was able to learn from other brands who had gone digital-first before Glamour and pick up the necessary tools that allowed them to integrate print designs and aesthetics into the digital strategy.The difficulties and differences of print and digital designElsewhere at Condé, The New Yorker’s creative director Nicholas Blechman said that there was a similar disparity between the print and digital editors and it was on his team to keep the peace by ensuring the design was consistent, yet suited to each platform. “Most revenue comes from our print magazine, then again, most of our views are online, so it’s a riddle that every publisher and designer I think faces,” he said.When discussing the iconic cartoons that have been a part of the magazine since its launch in 1925, Blechman said that “these have to live online, so I have to look at not only what it’s going to look like in the structure of the magazine, but how it’s going to live on your phone and on the screen.”He continued that in print however, there are certain illustrations, or what he refers to as “spots,” that only exist on that platform in order to fill space and keep the “intrinsic identity” that the magazine is known for on each page. Coming in the form of flowers, tiny household objects and even mimes, he explained that they are completely useless to the telling of the story and are unnecessary online since they have the tendency to clutter that space. And while Blechman said that The New Yorker’s digital edition is performing relatively well, he and his team are constantly trying to keep up with the changing consumer habits that are a result of the technological disruption in the industry. He continued that his job is to make the digital versions of stories appear coherent with the brand’s design style guide, but that becomes difficult because elements like the headline typeface, which appears best with shorter titles used frequently in print, becomes bulky for headlines that are optimized for SEO. “At one point, five or six years ago, the internet was awesome and was easy to fix and tweak and put stories out. But at some point it became this unruly beast,” he says. “It’s all evolving; it’s all changing very fast and changing for all publications. Everyone is looking to everyone else to see how they’ve negotiated the difference between these two different mediums and it’s kind of fascinating.” Additionally, photos in the book that are given sometimes full spreads because of their importance to the story or ability to convey emotion, are often cut in size or cropped down altogether because it interferes with readability, and it won’t look the same on any digital platform as it does in print. And though this is something that Blechman said is a pet peeve of his photo editor, it becomes exponentially more difficult to regulate because of the number of people involved with producing the content that lives online. “When I think of the internet, I can’t help but think that it’s this machine that takes a magazine and just spits it out and repackages it in so many different mediums and formats,” he continued. And while it’s difficult to maintain the unity of the design across all of the apps and Apple News and Apple News + and social media, for Blechman, the bright side of the internet is that it allows for the freedom to give life to the stories and the art in a way that print never could.
United Nations chief Antonio Guterres’ reference to the guarantee system being unsustainable in his latest report on Cyprus was particularly important, government spokesman Nicos Christodoulides said on Monday, in an attempt to counter mounting criticism over Turkey walking away blameless for the failure in the Conference on Cyprus last July.An advance copy of the UN secretary-general’s report on its Cyprus good offices mission was leaked over the weekend.Speaking to state radio, Christodoulides dismissed the claim that the government has failed to expose Turkey as the intransigent party in the Cyprus peace talks, arguing that Guterres was never expected to assign blame to anyone for two reasons.“Firstly, he didn’t have the role of arbiter in the talks, but of facilitator,” the spokesman said.“Second, he wanted to keep the prospect of reviving the process alive.”Still, he added, it was “particularly positive” that the report argued against the existing guarantee system in Cyprus.“For the first time, the report records the UNSG’s approach that the guarantee system is unsustainable,” Christodoulides said.“He wants to send the message that, while much has been accomplished, the last and hardest mile in the negotiation must still be overcome, and he remains at the disposal of the sides to continue the effort in the near future.”On the criticism that Guterres spoke of a “historic opportunity missed” and blamed the failure on the “lack of trust” between the sides, Christodoulides insisted that the party that showed mistrust was Turkey.“We came very close to a solution to the Cyprus problem, and in the end it was not possible to come to an agreement because of the differences of the two sides in the chapter of security and guarantees,” he said.“There is not much else to say when the whole world has heard Turkish and Turkish Cypriot officials insist on maintaining the system the UNSG deemed unsustainable.”In remarks following a National Council session later on Monday, main opposition Akel leader Andros Kyprianou claimed the party’s warnings over the international community’s reaction to the failed talks were vindicated by the report.“I am sorry to say that, at least to our knowledge, there seems to be no reaction by anyone in the international community – and this, in our view, is linked to what really happened at Crans-Montana,” Kyprianou said, suggesting that the foreign diplomats blamed the Greek Cypriot side for the collapse of the talks.“This report fully confirms what we have said since the talks failed, for which we have been mocked.”It is obvious, he added, that Guterres believes that the reason for the failure was a lack of political will “not from Turkey, as we claim, but from the two communities”.“What the UNSG said in his report was that the guarantor powers went there committed to working for a deal,” Kyprianou said.“And his view was clear – no intervention rights, no guarantor rights, from Day One. So we must wonder why we were unable to either utilise this view or expose Turkey for what Mr Anastasiades says it insisted on.”In a news conference, Akel-backed presidential candidate Stavros Malas accused the government of lying through omission.“Things didn’t happen the way Nicos Anastasiades said – that much is clear,” Malas said.“Responsibility for the revival of the talks is assigned to the two sides in Cyprus. Instead of being asked to answer for its intransigence, Turkey is fully exonerated.”According to Malas, Anastasiades failed because, for months, he has been “sitting on the fence, aiming to win the far-right vote”.“He gives the impression that he doesn’t know what he wants and what he is doing,” Malas said.“He is exhibiting erratic behaviour.”Arguing that the Greek Cypriot side’s power lies in international law, Malas said “we must stay focused on what the United Nations are asking for – to resume the talks from where they left off”.You May LikeDr. Marty ProPower Plus Supplement3 Dangerous Foods People Feed Their Dogs (Without Realizing It)Dr. Marty ProPower Plus SupplementUndoPopularEverythingColorado Mom Adopted Two Children, Months Later She Learned Who They Really ArePopularEverythingUndoYahoo SearchThese SUVs Are The Cream Of The Crop. Research Best Compact SUV CarYahoo SearchUndo Concern over falling tourism numbersUndoTurkish Cypriot actions in Varosha ‘a clear violation’ of UN resolutions, Nicosia saysUndoOur View: Argaka mukhtar should not act as if he owns the beachUndoby Taboolaby Taboola