duminică, 21 iunie 2015

After Criticism From Taylor Swift, Apple Will Pay Royalties in Trial Period



When Taylor Swift speaks, even the most powerful company in the world listens.


Less than 24 hours after Ms. Swift complained publicly that Apple was not planning to pay royalties during a three-month trial period of its new streaming music service, the company changed course, and confirmed that it will pay its full royalty rates for music during the free trial.


“When I woke up this morning and read Taylor’s note, it really solidified that we need to make a change,” Eddy Cue, Apple’s senior vice president of Internet software and services, said in an interview late Sunday.


In a letter posted Sunday morning to her Tumblr page, called “To Apple, Love Taylor,” Ms. Swift addressed a situation that had begun to send shock waves through the music industry: Apple, which has announced a subscription streaming service to compete with Spotify, Rhapsody and Deezer, was not going to pay royalties during the trial period.


Ms. Swift, who last year pulled her music from Spotify in another dispute over royalties, called Apple’s policy “shocking, disappointing and completely unlike this historically progressive company.”


“We don’t ask you for free iPhones,” she added. “Please don’t ask us to provide you with our music for no compensation.”


Ms. Swift had framed her letter as an explanation for why she was withholding her latest album, “1989,” from Apple’s new service. But she said that she was also speaking for other musicians who were afraid to speak up about the issue, and her comments found wide support in the music world. On Twitter, Elvis Costello called Ms. Swift’s note “a note from our future President.”


Apple’s new service, called Apple Music, is set to become available worldwide on June 30. Besides its longstanding iTunes download store, it will include a $10 streaming subscription plan, a free Internet radio station and a media platform that will let artists upload songs, videos and other content for fans. Unlike Spotify, which lets customers listen free or pay monthly fees to eliminate ads, Apple’s subscription feature will have no permanent free level.


Apple’s arrival in streaming music has been much anticipated by the music industry, but its plan not to pay royalties during its trial period drew complaints from independent music groups around the world, saying that the company’s terms were unfair.


But the criticism from Ms. Swift — perhaps the biggest star in pop today — was a damaging public-relations misstep for Apple on the eve of its big new product release.


Mr. Cue, the Apple executive in charge of iTunes and Apple’s new music service, said that he had spoken to Ms. Swift on Sunday. “I did let her know that we heard her concerns and made the change,” he said.


Early Monday, after Apple’s change was announced, Ms. Swift tweeted: “I am elated and relieved. Thank you for your words of support today. They listened to us.”


Mr. Cue said the company’s original plan was to pay a slightly higher royalty rate — at least 71.5 percent of the money it collects from sales, as opposed to the industry standard of about 70 percent — in exchange for the free trial.


But many record executives, particularly at small labels where margins are thin, had described a frightening scenario in which income from important new albums that came out during the free period would not only lose out on crucial download income, but also get nothing from Apple’s new streaming feature.


Mr. Cue said that Apple will now pay royalties to both record companies and music publishers for the use of music during the trial period. He declined to specify how much money that might cost the company, which is the biggest retailer of music.


Ms. Swift has long been outspoken on economic issues for musicians. In a piece in The Wall Street Journal last year, she wrote: “Valuable things should be paid for. It’s my opinion that music should not be free.”




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After Criticism From Taylor Swift, Apple Will Pay Royalties in Trial Period



When Taylor Swift speaks, even the most powerful company in the world listens.


Less than 24 hours after Ms. Swift complained publicly that Apple was not planning to pay royalties during a three-month trial period of its new streaming music service, the company changed course, and confirmed that it will pay its full royalty rates for music during the free trial.


“When I woke up this morning and read Taylor’s note, it really solidified that we need to make a change,” Eddy Cue, Apple’s senior vice president of Internet software and services, said in an interview late Sunday.


In a letter posted Sunday morning to her Tumblr page, called “To Apple, Love Taylor,” Ms. Swift addressed a situation that had begun to send shock waves through the music industry: Apple, which has announced a subscription streaming service to compete with Spotify, Rhapsody and Deezer, was not going to pay royalties during the trial period.


Ms. Swift, who last year pulled her music from Spotify in another dispute over royalties, called Apple’s policy “shocking, disappointing and completely unlike this historically progressive company.”


“We don’t ask you for free iPhones,” she added. “Please don’t ask us to provide you with our music for no compensation.”


Ms. Swift had framed her letter as an explanation for why she was withholding her latest album, “1989,” from Apple’s new service. But she said that she was also speaking for other musicians who were afraid to speak up about the issue, and her comments found wide support in the music world. On Twitter, Elvis Costello called Ms. Swift’s note “a note from our future President.”


Apple’s new service, called Apple Music, is set to become available worldwide on June 30. Besides its longstanding iTunes download store, it will include a $10 streaming subscription plan, a free Internet radio station and a media platform that will let artists upload songs, videos and other content for fans. Unlike Spotify, which lets customers listen free or pay monthly fees to eliminate ads, Apple’s subscription feature will have no permanent free level.


Apple’s arrival in streaming music has been much anticipated by the music industry, but its plan not to pay royalties during its trial period drew complaints from independent music groups around the world, saying that the company’s terms were unfair.


But the criticism from Ms. Swift — perhaps the biggest star in pop today — was a damaging public-relations misstep for Apple on the eve of its big new product release.


Mr. Cue, the Apple executive in charge of iTunes and Apple’s new music service, said that he had spoken to Ms. Swift on Sunday. “I did let her know that we heard her concerns and made the change,” he said.


Early Monday, after Apple’s change was announced, Ms. Swift tweeted: “I am elated and relieved. Thank you for your words of support today. They listened to us.”


Mr. Cue said the company’s original plan was to pay a slightly higher royalty rate — at least 71.5 percent of the money it collects from sales, as opposed to the industry standard of about 70 percent — in exchange for the free trial.


But many record executives, particularly at small labels where margins are thin, had described a frightening scenario in which income from important new albums that came out during the free period would not only lose out on crucial download income, but also get nothing from Apple’s new streaming feature.


Mr. Cue said that Apple will now pay royalties to both record companies and music publishers for the use of music during the trial period. He declined to specify how much money that might cost the company, which is the biggest retailer of music.


Ms. Swift has long been outspoken on economic issues for musicians. In a piece in The Wall Street Journal last year, she wrote: “Valuable things should be paid for. It’s my opinion that music should not be free.”




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The lost nation of Ruthenia: A journey through no man's land



Thanks to a pair of imperial implosions at either end of the 20th century, and, oddly, the 2005 Eurovision Song Contest, I am in theory allowed to cross this frontier with only a British passport. But the Hungarian frontier guard wearing a jaunty blue beret tells me I need something else: a lift.


My travelling life has been frequently interrupted by officials ordering me not to hitch-hike, so to be instructed to thumb a ride over the border by a man in uniform feels weird. It also goes against the first law of international hitch-hiking: no sane driver will take you across a frontier. At best your presence will slow down their bureaucratic process, at worse you will turn out to be a drug smuggler and they will be incarcerated. But the smart young man is insistent: walking over the bridge is forbidden, so pedestrians must thumb a ride.


The location of this no man’s land is a bridge across the Tisza river, marking the natural boundary where Hungary’s great plain expires and the Carpathian mountains start to rise to the north-east. To the north-west, the hills of Slovakia ripple north towards the Polish border. This pretty patchwork of farmland and forest seems to comprise peripheral offcuts from of a quartet of nations untidily sewn together, with the seams being international frontiers. Unstitch the centuries, though, and this was a single entity: Ruthenia, no relation to the fictional kingdom of Ruritania.


The culture of the community, known as the Rusyn people, has survived the ethnic tsunamis that swept through Eastern Europe. Their little-known homeland is a newly accessible and richly rewarding region to explore, even if you are one car short of a border crossing,


The southern gateway is Hungary’s second city, Debrecen. Each morning at 11, the normal hush of the airport is disturbed by the arrival of a flight from Luton. A couple of hours from Bedfordshire deposits you in a small, friendly city. Like so many cities that endured four decades of domination by Moscow, Debrecen is taking its time to wake up and make up for the waste of the communist era. Which makes it an easy place for the Western tourist to enjoy. You touch down in good time to inspect the Great Church and then have a Great Lunch, feasting on fresh local produce at prices so low that they seem to belong to a lost age.


Once you leave town, the pace of life, and trains, slows almost to a halt – giving time to try to pronounce the names of the drowsy towns through which you trundle. Nyirbator, Mateszalka and Vasarosnameny look more like unpleasant medical conditions than stations, but they lead to the tiny village of Takos. In the softening sunshine of long June afternoon, you discover a way of life that scarcely seems compatible with 21st-century Europe. A straggle of cottages, shaded by ancient trees, gathers around a village green. At its heart is the symbol of Ruthenia: an elegant wooden Calvinist church, built in 1766 with such exquisite care that it has earned the nickname "the barefoot Notre-Dame".


Outside, it resembles a child’s drawing of a church made real, its timbers stained by the centuries. Inside, it is a miraculous work of folk art, decorated with wooden ceiling panels that glorify God with exquisitely inscribed flowers. The keeper of the key said she was happy to unlock the adjacent belltower, on one condition: "No bing-bong!" The Rusyn style is to have the bells in a separate building, constructed entirely of wood – with no metal nails, because these signify the suffering of Christ on the cross. As I climbed merrily on high, the craftsmanship was impressive, the aroma of wood, incense and flowers heavenly.


The Ruthenian wooden church in the village of TakosThe Ruthenian wooden church in the village of Takos (Simon Calder) Back on the border, a whiff of cigarette smoke heralds the arrival of another prospective emigrant: Roland, a chain-smoking Ukrainian. He confirms that it is standard practice here to exit the European Union by hitch-hiking. The steel bridge across the Tisza river looks broad enough to handle a platoon of pedestrians – or a convoy of Soviet tanks. In 1956, indeed, the T-54s rolled into from the USSR to Hungary across this very bridge, to flatten the first big Eastern European uprising against the Kremlin’s domination.


Across the river stands Chop, a town that has changed sides more often than Harry Redknapp, the football manager. A century ago it was Austro-Hungarian; the 1920 Treaty of Trianon carve-up assigned Chop to newly created Czechoslovakia. In 1938 Hitler handed the region to Hungary, where it endured the Second World War. In 1945, the geo-political poker game known as the Yalta Conference awarded Chop to the Soviet Union, where it stayed until the USSR dissolved in 1991, and the fledgling democracy of Ukraine bloomed.


I first visited Ukraine in 2003. Old bureaucracy died hard, so I had to take a wad of postal orders to the Ukrainian Consulate to secure a visa. But the following year, Ukraine won the Eurovision Song Contest, and with it the right to host the event in 2005. Faced with the inevitable surge of contestants, media and fans, the government in Kiev opened its borders to visa-free travel – and, a decade later, Eurovisitors are still the winners.


A van stops. It is almost completely full of bin-bags containing plastic sandals, but they yield enough for us to clamber aboard.


"Border Control is performed by Natalia Koshulyuk, 2K-0789," announces the sign at the Ukrainian frontier post. Neither the human cargo nor the goods within the van seem to surprise Ms Koshulyuk. She makes an unflattering double-take of the passport photo of the driver’s companion – "Is this really you?", her expression asks. Then we enter the largest country entirely in Europe.


Ukraine's Carpathian MountainsUkraine’s Carpathian Mountains (Alamy) With the radio playing "That’s the Way I Like It," the driver takes us the 24km to the city of Uzhgorod, the closest that Ruthenia has to a capital. Its big day was on 15 March 1939, when Carpatho-Ukraine – the approximate core of Ruthenia – declared itself an independent republic. Sadly, by teatime on the same day the Hungarian army had moved in with Hitler’s blessing. After the war it became part of the Soviet Union, under the control of Stalin.


As Roland and I clamber out in the car park of the Intourist Hotel, I’m back in the USSR. In case you were not able to enjoy an Intourist holiday, you should know that this organisation was the main provider of travel for foreigners within the Soviet Union. Whichever part of that blessed land they happened to be exploring, from Minsk to Vladivostok, Western travellers were billeted in identical grey monoliths that proclaimed themselves to be Intourist Hotels. Dowdy, soulless and smelling faintly of decay – and that was just us guests. Inside the lobby in 2015, little has changed, but out on the streets Uzhgorod has become a bright, friendly city that has much to enjoy.


I haven’t checked the claim that the riverside avenue of linden trees is the longest in Europe, but I can confirm that lunch in its shade is a delight. The castle is a proper old Ruritanian ruin, and just beneath it the Pid Zankom "museum café" serves strong, bitter coffee among the remnants from Ukraine’s unhappy affair with Russia.


Opposite a handsome Greek-Catholic church stands the tourist office. I tell Victoria, the lady who runs it, that I need to get across the border to Slovakia. That exit from Ukraine also has a no-pedestrians rule, she says. But try this tour guide …


When I arrive for our 5.30pm meeting, Miron is waiting with a smile and a surprise. "My real job is in insurance. I am a tour guide for a hobby, because I love Transcarpathia" – the region separated from the rest of Ukraine by the mighty Carpathian range, and spilling into Slovakia. Miron, both affable and expert, talks as he drives. Uzhgorod was formerly known as Ungvar, and gave Hungary its name. The city survived the Second World War because the Red Army passed to the north and the clouds created by the local climate kept the bombers away. Between the wars, there was no frontier here, as Uzhgorod was part of Czechoslovakia.


We speed over the border because he has an EU passport; the Hungarian government gives them to Ukrainians such as Miron so long as they can demonstrate proficiency at the language.


The alphabet reverts from Cyrillic to Roman as we enter Slovakia, but we remain in Ruthenia, with the same lilting meadows punctuated by tiny churches. This is a land of fleeting glimpses, which might have pleased the most celebrated member of the Ruthenian diaspora. Andy Warhol has been famous for much more than 15 minutes – but inconveniently for the region’s world image, never actually visited his homeland. The Pop artist was born in Pittsburgh of Ruthenian parents in 1928. He was besotted with New York, Hollywood and the Beatles, not with his roots. Nevertheless, the town of Medzilaborce, near the Polish border and close to where his ancestors lived, did not let this obstruct a plan to create an enthralling Andy Warhol Museum within a Soviet-era building.


As shocking as the artist’s blond hair, the collection transports you from rural Eastern European to a 1960s Manhattan loft, through familiar Warhol images and an enriching muddle of memorabilia.


Warhol used to claim "I come from nowhere," and a history of the Ruthenians is called The People from Nowhere. But look closely, and their culture is still here, there and everywhere.


Getting there


The two main gateways to the Ruthenia region are Debrecen in Hungary and Kosice in Slovakia. Both are served from Luton by Wizz Air (0911 752 2257; wizzair.com), which has also opened a new link this month from Doncaster to Kosice.


Getting around


Public transport is slow but cheap: the two-hour, 70-mile Hungarian Railways trip from Debrecen to the Ukrainian border at Zahony costs 2,200 forints (£5).The German Railways website, bahn.de, has comprehensive online schedules for Hungary, Slovakia and Ukraine (note that the westernmost city is termed "Ujgorod").


Between Uzhgorod and Kosice, a ticket on Eurobus (eurobus.sk) costs €6.70 for the 3 hour, 30 minute trip.


Taxis are cheap by UK standards, so suitable for long-distance journeys.


Money


While the euro is accepted in all three countries, it is the official currency only in Slovakia. Bureaux de change with competitive rates are plentiful in the Ukrainian city of Uzhgorod, and in Debrecen in Hungary.


More information


Miron Kabai, tour guide: 00 38 050 372 2107; mkabay@ukr.net





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BP Portrait Award: How today's painters concentrate on depicting loved ones rather than famous faces



This year the award attracted an unprecedented number of entries (2,748) from 92 countries, whittled down to a final choice of 55. The large international intake was encouraged perhaps by the fact that the initial submission could now be by JPEG.


The winning entry, Annabelle and Guy by Israeli artist Matan Ben Cnaan, is a worthy choice, and it’s the first time an Israeli artist has won. Cnann has chosen to portray his friend Guy, his daughter and his dog posed in the scouring light of Israel’s landscape. His inspiration is the Biblical story of Jephthah who led the Israelites into battle against the Ammonites, vowing that if they won he would sacrifice the first thing that would greet him on his return. He believed it would be his dog, but had to fulfil his promise by sacrificing his daughter. While it is not a political story it becomes one here, filled with pathos. Guy’s powerful face is uncompromising as he sits between his daughter and their dog, squinting into the relentless sun. 


J. by Eleana AntonakiJ. by Eleana Antonaki
Second prize Michael Gaskell is home-grown, coming from Leicester. He has participated in the BP Award five times, coming second on three previous occasions. His portrait of his niece Eliza in the style of the 15th-century artist Hans Memling stands out from its peers with its references to Old Master painters.


The third prize goes to Spanish artist Borja Buces Renard who also has chosen to paint his family. My Mother and My Brother on a Sunday Evening is an intimate portrait of his family ranged on a sofa celebrating their regular meetings on a Sunday. There is power in this work as well as an absence as the image dissolves towards the outside edges of the canvas. Renard’s father was ill (he died shortly after the paintings completion). He claims he does not want to be known as just a portrait painter, but he is a great one.


This is only one of a strong showing of Spanish entries – there are eight in all, third only to the UK and US. There is an authority and scrupulousness in these Spanish painters, an unflinching honesty in works like Natalia by Jorge Abbad- Jaime. I also liked another family grouping, Family Portrait painted by Salvador Antúnez del Cerro. It is seasoned with pathos as his grandmother, the only seated member, posed complete with comfy looking track shoes, died shortly after the work was complete.


'Eliza' by Michael Gaskell‘Eliza’ by Michael Gaskell
Jordan Sokol, initially from the US but now living in Spain, painted his friend Tenold who agreed to sit in exchange for a place to stay as he came to Madrid to visit the Prado to study their masterpieces. The Old Masters’ influence has rubbed off in this painting that glows with inner light.


The award for BP Young artist was given to the American artist Eleana Antonaki for her striking portrait of fellow artist Julie Laenkholm. Posed within an architectural space she is one of the artists who has truly placed her sitter within an architectural context.


The BP travel award goes to French artist Magali Cazo whose entry Savageonne is one of the most overtly contemporary in feel, with its reductionist confrontational style.


Setting plays an important part in many of the works. British artist Nancy Fletcher was commissioned to paint Hamish and Sophie Forsyth having met them at a previous BP Portrait Award. She stayed with them, observing their habits and encouraged them to choose their surrounding objects in the style of British Portraiture. Their choice says much of them personally. Sophie Forsyth is surrounded  by photographs of her young family, while Hamish is pictured reading a financial paper surrounded by a few choice cabbages.


The only Romanian artist from the fertile artistic breeding ground of Cluj, Dragoş Bădiţă, chose to paint his long distance girlfriend from above. She is enclosed in a red room eating a simple meal of Chinese soup on the floor. He draws his inspiration, he says, from the simplicity of Japanese woodblocks.


‘My Mother and My Brother on a Sunday Evening’ by Borja Buces Renard‘My Mother and My Brother on a Sunday Evening’ by Borja Buces Renard
Family and selflessness appears in many of the portraits, as does friendship. Milan Ivanic in The History Men: Dr Thomas Rohkrämer and Dr Kay Schiller shows his two friends engaged in conversation. One is pensive, listening to the other in animated conversation putting his views forward. Ivanic was born in 1947 and studied in Prague before eventually settling in the UK. He says they were talking in German and “I couldn’t follow the conversation: what I could do was to draw them, and respond to the intensity of the conversation”. Painted in the heightened colours of Kokoschka and Soutine, this painter is identifiable from his place of birth and his time, and none the worse for that.


My own father collected self-portraits, mainly of unknown artists and when he died my sister and I were left with more than 300 to deal with (we gave them to the Princeton University Library). I remember growing up with them hung from floor to ceiling in the den or television room, their faces a mystery to me, their achievements largely unknown. There is something about the self-portrait that often brings out the best in a painter and several on view here chart both the process and the life of a creative artist.


The sole Turkish artist in this show, Murat Tezcan Demirbas, lays clean the tortured anguish of the artistic process in Ordeal. Sitting on the floor surrounded by paints, pencils and an alarm clock, he shows the detritus of creation, with the clock suggesting the slowness of time passing or the threat of impending deadlines of shows or entries to contests.


Read more: Artist takes balloon animals to the next level
Artist finally puts a face to name of Mrs Judas Iscariot
Unseen painting of woman who broke Lucian Freud’s heart

Another more disturbing self-portrait by Irish artist Ian Cumberland, Sink or Swim, comes from, he says, a low period of his life. I might perhaps having looked at this work put the artist on suicide watch. The artist himself says he sees the danger in the work itself. “I see it as a wake up call to try and change the things you have control over”. Both of these works, like many self-portraits give us an insight into the life of the creator and they are two of the most striking images in the show.


This carefully installed exhibition is a great introduction to portraiture in the rest of the National Portrait Gallery. I am sure with its insightful labels and fun children’s pack it will be a popular one.


My one quibble is that despite its insistence on quality the award continues to brand itself with BP. We need some new ethical sponsors now to go with powerful works like these. 


‘The BP Portrait Award 2015’ continues at the National Portrait Gallery, London WC2 (020 7306 0055) to 20 September





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Few Echo Pope’s Environment Plea in Sunday Sermons



On the first Sunday after Pope Francis issued a landmark document on the environment, Roman Catholics attending Mass in Kenya, France, Mexico, Peru and the United States said they were thankful that he was using his pulpit to address climate change, pollution and global inequality.


But few priests or bishops — other than in parts of Latin America — used their own pulpits on Sunday to pass on the pope’s message, according to parish visits, interviews with Catholic leaders and reports from Catholics after Mass. Despite the urgent call to action in Francis’ document and the international attention it received, it will take some time to know whether Catholic clergy are familiar or comfortable enough with its themes to preach them to the faithful.


It traditionally takes months for papal teaching documents, known as encyclicals, to be read, understood and disseminated. And this one, “Laudato Si’,” or “Praise Be to You: On Care for Our Common Home,” is long, nearly 200 pages, and intricately weaves spiritual and moral teachings with economic, scientific and political analysis. It includes a forceful denunciation of a global economic system that the pope says plunders the resources of the poor for the benefit of the rich, leaving the poor to disproportionately suffer the consequences, including the effects of climate change.


“There has not been that much awareness among parish priests of climate change,” said the Rev. Aris Sison, a spokesman for the Diocese of Cubao in Manila, the Philippines capital. “The Holy Father has now made a clear connection between the environment and morality. He has given us a whole new way of thinking about the environment.”


Word that Francis was to release a major encyclical on the environment, expanding the church’s long tradition of teaching on pressing contemporary social issues, emerged months ago. So some priests were primed to preach on it.


“Here in Peru, we see that the glaciers are disappearing,” the Rev. Alberto Mercado said in his homily to about 400 congregants during the 11:30 a.m. Mass at St. Joseph the Worker Church in Lima. “Sometimes, I travel in the bus and I see people polluting and throwing their garbage on the road. Small things also accumulate and the pope himself says that this world is becoming an ‘immense pile of filth.’ ”


“Pope Francis makes this call on us in a paternal way,” he said to the church, “and shows us that we are disfiguring the Lord’s gift of creation.”


Father Mercado said in an interview that he had downloaded “Laudato Si’ ” from the Internet when it was released last Thursday, printed it out, looked at summaries of the most important points and researched a variety of perspectives by environmentalists.


Many parishioners in the Peruvian capital applauded the pope and their priest after Mass for speaking to real concerns they have.


“We are running out of clean water and people throw garbage out on the street,” said Isabel Torres, 49, a nutritionist. “I’m worried about how people will feed themselves.”


Octavio Mogollón, 75, a retired mechanic, agreed and added: “I hope the pope isn’t just referring to the people’s actions, but also to the big corporations and mining companies who are also destroying the planet, so, he should tell them to their faces that what they are also doing is wrong.”


In fact, the encyclical does indict corporations and mining companies that exploit natural resources and leave behind denuded, polluted landscapes. But it also has a message that the earth belongs to all, and everyone is responsible for its care.


In Mexico City, the Rev. Francisco Zamarrón focused on this point in his homily during the crowded noon Mass at Saint Rosa of Lima, a Dominican parish in the central neighborhood of Condesa.


“The pope wants us to modify our actions that are doing harm. He asks us to do simple things that aren’t foreign to us,” said Father Zamarrón, such as not wasting water, and recycling paper and plastic. “We have to build this reflection, this awareness that we are responsible for our actions.”


But in some parishes in Mumbai, Lagos and Rome; the pope’s hometown Buenos Aires, Argentina, and Santiago, Chile; Rhode Island and North Carolina, the encyclical went unmentioned during Sunday Mass.


In Nairobi, the Kenyan capital, churchgoers walked down rutted roads littered with trash and drove from homes with manicured lawns dressed in their finest clothes to attend a special Mass at St. Joseph Mukasa Catholic Church where Cardinal John Njue confirmed dozens of children. He did not mention Francis’ encyclical on the environment in his homily, speaking instead about faith and human dignity, and the need to not be afraid despite the recent attacks by militant groups like the Shabab and the Islamic State.


Outside the church, Patrick Kariuki, 30, said he had heard of and appreciated the pope’s message on climate change. “It is a big issue,” said Mr. Kariuki. “We’re currently experiencing it. You see, these days we can’t even predict the seasons.


“Something urgent needs to be done,” he said. “You can see it all over the place — a lot of trees have been cut and companies are polluting everywhere.”


The pope’s encyclical makes just such connections between climate change, corporate pollution and deforestation, whether by logging companies or rural villagers who cut down trees for firewood. It says that everything God created — from plants and animals to human embryos to coral reefs — is interconnected and worthy of preservation.


Soon enough, priests in many countries will receive guides from their bishops conferences with suggestions on how to teach the encyclical in their parishes. A guide by the United States Conference of Catholic Bishops is already online.


The encyclical was mentioned only briefly by a priest celebrating one of the Masses at Notre-Dame de la Garde basilica in Marseille, a 19th century neo-Byzantine church that sits atop a hill and has sweeping views of the city and the sea. As they admired the view, four Dominican sisters from the Saint-Pierre-des-Canons abbey in Aurons said they hoped that the encyclical would push politicians to act to prevent climate change.


“For us, the encyclical is very important,” said Sister Solange. She pointed to the small gift shop next to the basilica. “We wanted to buy a hard copy of it, but it isn’t available yet!”




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Introducing Summer of Science





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UK needs over one million new engineers and technicians, says Royal Academy of Engineering



That is why 23 June will see the second annual National Women in Engineering Day (NWED), organised to focus attention on the wide-ranging career opportunities available to girls and help instil a passion for engineering in future generations of women.


Analysis by the Royal Academy of Engineering suggests we will need more than a million new engineers and technicians by 2020. This will require a doubling of the current number of annual engineering graduates and apprentices.


The UK has the lowest proportion of women in engineering in Europe, according to recent research published by the campaign group Wise. Inspiring girls to pursue a career in engineering is imperative if we are to tackle the looming crisis, leading industry figures including Professor Dame Ann Dowling, president of the Royal Academy of Engineering, and the inventor Sir James Dyson have argued.


NWED is the brainchild of Dawn Bonfield, president of the Women’s Engineering Society (WES). She saw the organisation’s 95th anniversary last year as an opportunity to celebrate the work that women do in engineering and to encourage more girls to enter the profession. The inaugural event – which coincided with the first day of Wimbledon and the group stage of the World Cup – exceeded expectations with the hashtag #NWED trending above both sporting events on Twitter, the materials engineer said.


WES is determined to combat the unconscious biases of many parents and teachers that can discourage girls from pursuing a career in engineering, and hopes that initiatives such as NWED will help achieve this.


While great efforts are being made to address the tremendous skills shortage and encourage young people into engineering, it is mainly boys who are being targeted, said Ms Bonfield, who believes there is not enough being done to appeal to girls and show them it is a viable career option.


“Because it’s so traditionally acceptable for boys to go into the profession, they are pushed down that route by schools, parents, society – the pathway will open up easily.


“But with girls, parents and teachers will often say, ‘engineering’s not really for girls, what about something else?’ Pathways close, barriers are put in the way. They won’t identify with a career in engineering.”


It is crucial to encourage girls to study Stem (science, technology, engineering and mathematics) subjects and present them with accessible female role models, said  Ms Bonfield.


Equally, it is important to make people aware of the benefits of a diverse workforce, not just for the purposes of inclusion and equality or to plug the skills gap but because it will result in better decision making and, almost certainly, a superior product.


Nayera Aslam, 30, a chartered civil engineer from Birmingham, agreed it is “critical” that industry leaders take steps to create greater diversity in their workforces.


A senior consultant in the transportation sector of the design and engineering firm Aecom, Ms Aslam’s interest in engineering was first ignited with the opening of the Channel Tunnel in 1994.


Read more: Dyson donates £12m for new engineering school
New university aims to attract women into engineering
If engineering is hot, will it expand for new recruits?

“The idea of travelling by train through a tunnel under water as far as France seemed incredible to my young mind. I wanted to find out how this technical feat was possible and whether I could do something similar,” Ms Aslam said.


“Civil engineering touches every aspect of our lives. From roads and bridges to sewers and water-treatment systems, civil engineers have designed so much of what we depend on day to day,” she added.


“Greater diversity is critical. Engineering is all about problem solving. Creativity, ingenuity and lateral thinking are essential skills.


“The greater the diversity – whether in terms of gender, race or background – the better the outcome, I find. We are all the product of our personal and cultural experiences, and we can draw on these diverse backgrounds to be more innovative in solving complex, technical challenges.”


The director: ‘diversity is essential’


Selma Hunter, 50, is director of the engineering firm Doosan Babcock


I’ve been working in engineering for nearly 30 years and I never considered it not to be an option.


It was only after I was working in the industry that I realised it was unusual.


We need to learn to excite girls in chemistry, physics and maths classes. There has been a tremendous amount of progress, but it takes a bit of time. Having more female role models would make a career in engineering more attractive to girls.


There are so many things you can do with an engineering degree. Having a diverse range of people creating a specific product is essential because you’re solving problems. If you’ve got diversity, you’ve got a better chance of solving the problem.


When you have diversity in your leadership team, it’s far more likely this will be reflected in the wider workforce. The diversity of applicants I get is tremendous. Peers in the industry I’ve spoken to don’t always get that.


My message to all young women considering engineering would be to go for it.”


The manager: ‘we don’t just wear dirty overalls’


Nicola Park, 41, from  Worcester, is an industrial gases engineering manager at Air Products


I first read about chemical engineering when I was picking my GCSEs. I liked science and maths and the link between pure science and applying it really appealed to me.


My company sells industrial gases, such as oxygen for hospitals and helium for MRI scanners. I have a team of 100 project managers, engineers, maintenance managers and technicians and am responsible for four garage workshops and two cryogenic equipment workshops, alongside our refinery services group.


I think engineering is perceived as a job where you carry a spanner and wear dirty overalls. Whilst I do have a hard hat, overalls and safety boots when I am on site, I also spend time in the office and meeting customers.


It is a male-dominated industry, but the only thing preventing our success is having the self-confidence to say we can do the job and do it really well.


The networker: ‘I’m so much more confident now’


Software engineer Dr Sue Black, 53, from London, is founder of BCSWomen, the largest UK membership organisation for women working in computing


Engineering is about understanding how things work and making them function better. You can apply that to so many different things.


I left school and home at 16. I got married and had three kids by the time I was 23. After I got a divorce, I was living in a council flat.


I did maths at night school and applied to London’s South Bank University to do computing studies. I liked it so much I decided to do a PhD in software engineering.


I love technology and I’m trying to get other people excited about it.


In my computing class there were 83 people and eight of us were women but I was always encouraged as a woman while I was studying.


Going to conferences made me nervous, though. There were often five women to 95 men; I’d introduce myself and people would ignore me.


About 20 years ago I was invited to a women-in-science conference, which was about 98 women to two men. It was so different – it was buzzing. I set up the first UK online network for women in tech, BCSWomen, shortly after. I’m so much more confident now.”





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