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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.

Saturday, March 4, 2006

Buffalo, New York —The Common Council requested on Tuesday that a picture be found on what many thought was the site of a previous hotel.

The Proposed Elmwood Village Hotel would be placed on the intersection of Elmwood and Forest. It was suspected by residents and business owners in the area that hotel once stood in the same spot.

The Elmwood Village hotel is a proposed development by Savarino Construction Services Corp. In order for the project to proceed, at least five buildings (1119-1121 Elmwood) would need to be demolished. All five houses are currently occupied by businesses and residents.

After some research, a freelance journalist writing for Wikinews was able to determine that there was never a hotel on the proposed Elmwood Village Hotel site. However; there was a temporary hotel located on the northeast corner of Elmwood and Forest.

Buffalo was the host of the Pan-American Exposition from May 1 until November 2, 1901. It was a fair designed to feature the latest in technology, including electricity. There was a midway, athletic events, and had African, Eskimo, and Mexican villages. However; what is likely the most famous event that took place at the exposition was the assassination of then President William McKinley on September 6, 1901. He was shot by Leon Czolgosz just outside the Temple of Music and died eight days later while in the home of John Milburn on Delaware Avenue in Buffalo. Just a short time later, Theodore Roosevelt was inaugurated on September 14, 1901 at the Wilcox House on Delaware Avenue in Buffalo. Nearly eight million people attended the exposition.

During that time several hotels and rooming houses were built around the exposition including The Elmwood at 717 Elmwood, the Hotel Elmhurst at Forest and Lincoln Parkway, Hotel Gibbs 1005-1021 Elmwood, the R. Palmerton Merritt at 441 Forest and The Norman at 422 Forest. None of these hotels or rooming houses exist today.

Probably the most famous hotel that was built during the exposition was the Statler’s Pan-American Hotel built by Ellsworth Milton Statler A freelance journalist writing for Wikinews has obtained the only known reproduction photo of the hotel [pictured at the top]. The hotel stood on the northeast corner of Elmwood and Forest Avenues in Buffalo, had 2,100 sleeping rooms and accommodations for 5,000. At the time, the Statler was the largest hotel [based on the number of rooms] ever constructed. It was also the largest temporary hotel. It was three stories high, plastered on the inside, made mostly of wood and was covered with ornamental staff on the outside, which made it semi-fireproof. Every room was an outside room and was well lighted and ventilated. It was located within one block of the exposition’s main entrance.

The Statler was built for only one thing, the exposition. Work began in 1900 and finished just before the beginning of the exposition. When the exposition ended in November, the hotel was taken down.

Maps from 1894 show that there was no hotel, let alone any buildings or houses on the intersection. However; research did show that the homes 1119-1121 Elmwood, the buildings that would be demolished to build the Elmwood Village Hotel, were built sometime before 1915 but were not on the intersection prior to 1902.

Based on research conducted at the Buffalo Historical Society, it was concluded that between the years of 1890 and 1902, no other major hotel existed in the area. In fact, research had shown that almost every hotel built in the area, existed only during the time of the exposition.

Research also indicated a hotel or a rooming house at 1089 Elmwood around 1901-1903. The only known name of the hotel was the John C. Hill Hotel. The hotel was in the house now called the Atwater House. The house was the first house to be built on the east side of the block.

The Atwater House is currently vacant and owner Pano Georgiadis wants to demolish it to expand his restaurant. The house was built by 1894 and the original owner and builder of the house is currently unknown. Its earliest known occupant was Edward Atwater who in 1862 founded the oil refinery company of Atwater & Hawes in Buffalo. The site of this company was recently uncovered in the Canal District during an archeological dig.

At the moment, current research does not show any connection between the two men.

The exposition was a commercial failure and what profit Statler did make on the hotel, went to build another temporary hotel for the 1904 St. Louis Exhibition. That hotel was successful and the profit made from it was used to build the first permanent Statler Hotel at 107 Delaware Avenue in Buffalo. The hotel is no longer in operation, but small offices are currently operating in parts of the building.

Wednesday, January 16, 2008

Yesterday at 6:00 UTC at 60° S 78° E , a Japanese whaling ship detained two Sea Shepherd Conservation Society activists in the Southern Ocean. Japan’s Institute of Cetacean Research (IRC) deny Sea Shepherd claims that they have been abused. The Japanese government has assured the Australian Government the release of the men.

According to the conservation agency Sea Shepherd, Australian Benjamin Potts, 28, a helicopter assistant, and Briton Giles Lane, an engine room worker, were detained on board a Yushin Maru No. 2 after delivering a letter asking the ship to exit Antarctic waters .

Captain Paul Watson of the Sea Shepherd’s vessel, Steve Irwin, said that the Japanese “tried to throw them overboard, then they tied them to a bulkhead and were beating them”.

He alleged that the men were tied to the radar masts before being brought below deck after which the men were not seen. Sea Shepherd’s international director, Jonny Vasic, claimed that they were “basically strapped by the arms with zip-ties and tied with rope around their chests” for 2½ to three hours.

The captain said he was surprised as he expected Japanese whale ships to treated his men more decently.

“We are concerned but I know the Australian and British governments are in touch with the Japanese government.”

Sea Shepherd said it has photographic evidence that the whalers were abusing the men.

However, the Japanese ship refuted the allegations.

“Any accusations that we have tied them up or assaulted them are completely untrue,” Director-general of the IRC Minoru Morimoto said in the press release, “It is illegal to board another country’s vessels on the high seas.”

Detaining the activists was the “only way”, he said. “You couldn’t have them running around the deck not knowing what they’re going to do.”

He said that the activists were making attempts to entangle the screw and were throwing bottles of butyric acid, as rancid butter, onto the deck of the vessel before boarding the vessel. Mr Watson has confirmed this and said that they were to act as a stink bomb but their actions were still peaceful.

Hideki Moronuki, the chief of the whaling section of The Fisheries Agency of Japan, claimed that “nobody took violent action against the two illegal intruders”.

Mr. Moronuki said that they were treated “very, very humanely” and were provided with “a warm, delicious hot meal”, “[a] warm, nice bath” and “[a] nice bed with clean white sheets”.

Australian foreign minister Stephen Smith said that the Japanese government promised him the release of the men late yesterday night.

“Late last night I was advised the Japanese had agreed to this and they had instructed the relevant whaling ship to return the men to the Steve Irwin,” he told ABC radio.

Mr. Moronuki said the “two illegal intruders” will not be released by the vessel’s captain until “Paul Watson has accepted the conditions of the safety of the Japanese vessel”. He said he knew nothing of the comments that the Japanese government agreeing to release the men.

Mr. Watson said the Japanese were “[holding] hostages and make demands” and were acting like “a terrorist organisation”. A press release said Sea Shepherd “will not negotiate with poachers and demands that the Japanese whalers release Benjamin Potts and Giles Lane as soon as possible”.

Mr. Watson said he would not send a zodiac to collect the men as requested in an email because it “endangers the life of the crew, to put them out in these waters in a small boat, 10 miles out of view”.

On Sky TV, IRC spokesman Glenn Inwood said Sea Shepherd were “not answering phone calls or emails at this stage” to take advantage of “fair amount of media coverage” but they were “still making attempts to contact them”.

An Australian Federal Police spokeswoman said that Sea Shepherd made a police report at around 7:00 UTC.

Wednesday, July 5, 2017

Former Chelsea and England’s football captain John Terry signed a one-year contract with Aston Villa on a free transfer, the club announced on Monday. In April, the 36-year-old defender announced his desire to leave his boyhood club, Chelsea, after his contract ended with the London-based club.

John Terry joined the Blues 22 years ago, and made his professional debut against Aston Villa in 1998. Since then, Terry has won fifteen trophies making 717 appearances for Chelsea. The only players who made more appearances for Chelsea were Ron Harris and Peter Bonetti. He has won the Premier League and FA Cup five times, EFL (English Football League) Cup thrice, and one each of UEFA Champions League and Europa League. Terry led Chelsea to the Premier League title in his final season.

Terry said he did not want to play against Chelsea, and hence joined Aston Villa, who are in the EFL Championship, the second tier of English football. He said, “The mental side of playing against Chelsea was too much to get over for me. I was there for 22 years at the football club. I am very proud of that but this is a new chapter in my life and career.”

After signing the contract, Terry said, “My thoughts are 100% here and the ambition is to get us back to the Premier League. It’s a huge club.” Terry has been assigned jersey number 26, the number he wore on his back in his entire professional career. His contract with Chelsea expired on Friday.

Tuesday, April 14, 2020

In February 2017, the Iranian Chess Federation announced two teenage chess players, Dorsa Derakhshani and her younger brother Borna Derakhshani, were banned from representing the national team. The federation announced their decision although Dorsa Derakhshani had previously decided and informed the chess federation she did not wish to play for Iran.

Dorsa Derakhshani is currently 21 years old and holds the International Master (IM) as well as Woman Grand Master (WGM) titles. Her brother, Borna, plays for the English Federation and holds the FIDE Master title.

Dorsa Derakhshani was banned since she did not wear a hijab, an Islamic headscarf, while competing at the Tradewise Gibraltar Chess Festival in January 2017. Under the laws of Islamic Republic of Iran, hijab is a mandatory dress code. Her brother Borna Deraskhsani was banned for playing against Israeli Grand Master (GM) Alexander Huzman at the same tournament. Iran does not recognise the existence of Israel, and previously, Irani athletes have avoided playing against Israeli athletes.

Mehrdad Pahlavanzadeh, the president of the country’s chess federation, explained the decision to ban the players saying, “As a first step, these two will be denied entry to all tournaments taking place in Iran and in the name of Iran, they will no longer be allowed the opportunity to be present on the national team.” ^{((fa))Farsi language: ?????? ????? ?? ??? ??? ?? ??? ????? ?? ?? ???? ???????? ?? ?? ????? ? ?? ??? ????? ?????? ??????? ????? ??????? ? ???? ???? ???? ?? ??? ??? ?? ??????? ????.} He further stated, “Unfortunately, something that should not have happened has happened and our national interest is paramount and we have reported this position to the Ministry of Sports.” ^{((fa))Farsi language: ????????? ?????? ?? ????? ????????? ?????? ??? ? ????? ??? ?? ?? ?? ???? ?????? ???? ? ?? ??? ???? ?? ?? ????? ???? ?? ????? ?????.}

IM Dorsa Derakhshani, who currently studies at Saint Louis University in the United States and plays for the United States Chess Federation, discussed her chess career, time in Iran and the 2017 controversy, and her life in Saint Louis with a Wikinews correspondent.

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Saturday, October 22, 2005

New Paltz, New York — More than 350 U.S. students took part in a demonstration Friday outside the SUNY New Paltz Student Union Building where student leaders used a bullhorn from the rooftop to rally the gathering on the concourse below. University police dispersed student leaders from the roof which was followed by more than 100 students storming the Haggerty Administration Building (HAB).

During the 2004–2005 academic year, students lobbied for a $10 million renovation project for their Student Union Building, which has not been renovated since its construction more than 30 years ago.

HAB spokesman Eric Gullickson said that the supplemental appropriation for the project is the largest in the history of the college and that the six-member advisory committee includes three students but that; “the Student Association, which was offered the first seat on this committee, declined the opportunity,” Gullickson said.

Student leaders, including Student Body President R.J. Partington III and Student Senate ChairJustin Holmes, who played a role in organizing this demonstration, testified during the Spring 2005 semester before the New York State Assembly Committee on Higher Education, eventually winning the renovation project. Holmes says that Gullickson’s assertions are; “an out-and-out lie. The SA was never offered such a seat. We were offered 1 seat on a seven seat committee, with the administration selecting the other six members.”

The major arguments for a capital project on the Student Union Building were that it:

• did not accommodate organizations and organization office needs
• lacked crucial technology for student mobilization
• was built for a student population less than half the size of 2005, and
• was one of the longest standing Student Unions in the SUNY system which had not undergone a renovation

During the Fall 2005 semester the HAB claimed that it would oversee the renovation project, citing the need for a larger lobby and bookstore.

The Kingston Daily Freeman reported:

The crystallizing issue for the demonstration was the upcoming $10 million renovation of the Student Union building. The renovation, scheduled to begin in about two years, will be the first major change to the building since it was built 34 years ago, according to college spokesman Eric Gullickson, who said the supplemental appropriation for the project in the state budget is the largest in the college’s history.

Gullickson also said that a six-member committee had been formed to guide the design process, but student leaders, including Partington, were told that the proposed committee would be seven members, including four non-students and two students who were appointed by the HAB.

“No matter the size and makeup of the HAB’s so-called renovation committee, it has nothing to do with the actual renovation process, which will be administered by a student committee, with input from other parties of course considered,” responded Holmes.

During the Fall 2005 semester, Student Body President R.J. Partington III attempted to negotiate with Administrators, including HAB President Steven G. Poskanzer, over the project.

The HAB refused to concede to student demands.

At this point, the Student Senate passed legislation proclaiming that the project would be overseen by a committee where students constitute a majority, and Partington announced that he “did not recognize and would not sit on” any committee that did not meet the needs of students.

Vice President of Acacdemic Affairs & Governance, Stephanie Adika said, “If the HAB won’t even listen to us about our own building, how are they going to listen to us about all the other problems the students have with SUNY New Paltz.”

Sunday, January 13, 2013

The United States Federal Aviation Administration (FAA) ordered a review Friday into the design and manufacture of the Boeing 787 Dreamliner, following five incidents in five days involving the aircraft and two Japanese airlines.

On Monday, an electrical fire broke out aboard a Japan Airlines 787 at Boston’s Logan International Airport, when a battery pack which powers the auxiliary power unit, for when the plane is on the ground, caught fire. The fire was discovered by maintenance workers after passengers and crew disembarked following their flight from Tokyo’s Narita Airport.

The next day, a separate Japan Airlines 787, also at Logan International Airport, heading to Tokyo, suffered a fuel leak that spilled around 40 gallons, which was spotted by the crew of the aircraft taxiing behind them. “That Japan Air may know it, but they’ve got fuel or something spilling out the outboard left wing. Quite a bit,” said the pilot of aircraft behind them on local air traffic control frequencies.

Wednesday, in Japan, an All Nippon Airways 787, the launch customer for the aircraft, cancelled a flight after a brake problem was reported.

Earlier Friday, two All Nippon Airways suffered separate incidents in Japan. An oil leak was noticed in the engine after one aircraft had landed in Miyazaki, coming from Tokyo’s Haneda Airport. Another flight, flying between Haneda Airport and Matsuyama said the pilot’s side window in the cockpit suffered a crack.

The FAA in a statement said “In light of a series of recent events, the FAA will conduct a comprehensive review of the Boeing 787 critical systems, including the design, manufacture and assembly.” Further adding, “The purpose of the review is to validate the work conducted during the certification process and further ensure that the aircraft meets the FAA’s high level of safety.”

According to the statement, “The review will also examine how the electrical and mechanical systems interact with each other.” The Boeing 787 relies more on electrical, as opposed to mechanical, systems than past aircraft from the manufacturer including having electronics operate hydraulic pumps and using electric brakes. Large portions of the plane’s structure use lightweight carbon fiber composite instead of more traditional metal airframe.

U.S. Transportation Secretary Ray LaHood said, “The safety of the traveling public is our top priority […] This review will help us look at the root causes and do everything we can to safeguard against similar events in the future.”

“We are confident that the aircraft is safe. But we need to have a complete understanding of what is happening,” said newly sworn-in FAA Administrator Michael P. Huerta. “We are conducting the review to further ensure that the aircraft meets our high safety standards.”

Boeing released a statement saying, “[The company] is confident in the design and performance of the 787. It is a safe and efficient airplane. The airplane has logged 50,000 hours of flight and there are more than 150 flights occurring daily.”