One month on, Pakistan's torment worsens

A month after devastating floods first brought havoc to Pakistan, thousands of people were still fleeing surging water yesterday as the Indus broke its banks close to a historic city in the country's south.

Officials said water had breached the river's defences close to Thatta and had also flooded a second canal that feeds from the Indus. Yesterday evening, officials estimated that the 20ft breach in the levee, which happened early in the morning, could cause flooding in the outskirts of the city by nightfall.

Most of the 200,000-strong population of Thatta, 75 miles south-east of Karachi, have already left the city, camping out by the sides of roads or trying to move to cities out of the flood zone. Hundreds of families were taking shelter in an ancient Muslim graveyard and in a nearby Hindu temple.
Up to a million people have been forced to flee their homes in the past 48 hours. With so many needing help and so little relief reaching the southern parts of Sindh province, scores of people blocked a road in Thatta to demand more assistance. They complained that the scant supplies available were usually thrown from the backs of trucks, resulting in crowds of people fighting among themselves for food and water.

"The people who come here to give us food treat us like beggars," an 80-year-old woman called Karima (who has just one name) told Associated Press. "They just throw the food. It is humiliating."

Another woman, Geeta Bai, 32, sitting outside an ancient Hindu temple, added: "I am fasting and praying for the flood to recede as it has snatched husbands from wives, sons and daughters from parents, brothers from sisters and sisters from brothers."

The floods began in the mountainous north-west of the country four weeks ago with the onset of annual monsoon rains. Ceaseless torrential downpours created flooding the likes of which had never been seen before. Then, as the water slowly began receding in the north-west, the floods moved southwards, enveloping large areas of Punjab, Sindh and Balochistan provinces. Aid organisations have estimated that around eight million people are now in need of emergency assistance and hundreds of thousands who need food, water and medicine are accessible only by air.

Of particular concern to the aid organisations are children, who are more vulnerable than adults to waterborne diseases and whose needs are often overlooked during emergencies.

"We fear the deadly synergy of waterborne diseases, including diarrhoea, dehydration and malnutrition," a senior official with Unicef, Karen Allen, said in a statement. Another UN official said if nothing was done an estimated 72,000 children in flood-affected areas and suffering severe malnutrition would be at high risk of death.

Having evacuated those homes that are at highest risk of flooding, the most pressing needs are to provide people with emergency supplies and shelter. But aid organisations say that with the lives of up to 17 million people affected, the authorities must also urgently start reconstructing homes, schools and infrastructure.

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Glenn Beck speaking on the steps of the Lincoln Memorial. Photograph: Jim Lo Scalzo/EPA

Tens of thousands descended on Washington today for one of the biggest culture clashes in decades – one that pitted an almost exclusively white crowd against one that was predominantly African-American. Both claimed the legacy of Martin Luther King.

The biggest crowd was for a rightwing rally supported by the Fox Television host and author Glenn Beck, Sarah Palin and Tea Party activists, who gathered at the Lincoln Memorial, where King delivered his "I have a dream" speech 47 years ago to the day.

Beck estimated that the crowd, the biggest show of strength by Tea Party activists this year, numbered in the hundreds of thousands, many of whom had travelled long distances. He claimed he had been unaware when he organised the rally that it coincided with the King anniversary, but insisted that the civil rights leader was an inspiration for all Americans and not any one section of the community.

The other rally, held hours later, was a more traditional event, supported mainly by African-Americans, marching through Washington to mark the anniversary of King's speech. Many of those on the march accused Beck of hypocrisy and of stirring up the black community.

One of the marchers, Chicago student Brendan Yukins, 18, said of the Beck rally: "It is really insulting… the Tea Party always makes a big deal of being open to everyone, but when you look at the crowd it is white, over-45s."

Beck, conscious that so many of these events are judged on the numbers of those attending, looked out on a crowd that stretched from the Lincoln Memorial all the way up the Mall to the Washington Memorial, and put the figure at more than 450,000.

Even if the final tally is lower, the crowd was still substantial and a tribute to his drawing power. The rally had no specific agenda, billing itself as "restoring honour" to the US and rekindling what Beck and other speakers saw as the spirit of the American Revolution – family values, low taxation and cutting the federal deficit.

He told the crowd, in a speech peppered with references to God: "For too long, this country has wandered in darkness, and we have wandered in darkness in periods from the beginning.

"We have had moments of brilliance and moments of darkness. But this country has spent far too long worried about scars and thinking about the scars and concentrating on the scars. Today, we are going to concentrate on the good things in America, the things that we have accomplished – and the things that we can do tomorrow."

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The number of "single-use" plastic bags given to customers by leading UK supermarkets has fallen for the fourth year in a row.

The total has dropped from 10.6 billion in 2006 to 6.1 billion in the year to May, a reduction of 43 per cent, the British Retail Consortium (BRC) said. That compares with a reduction of 37 per cent in the year to May 2009. Over the same period the total weight of material used has more than halved.

The BRC said the figures were "a ringing endorsement" of the voluntary approach taken by supermarkets at a time when sales volumes increased by more than 6 per cent.

To forestall the threat of legislation or a government-imposed bag charge at the checkout, seven of the big stores have made two successive agreements to cut back on plastic bag use. The stores involved are Asda, the Co-operative Group (now incorporating Somerfield), Marks &  Spencer, Sainsbury's, Tesco and Waitrose.

There is no formally agreed a new target, but bag use is still being monitored by the Waste and Resources Action Programme (Wrap). The figure for supermarket distribution of all carrier bags, including reusable bags, has also continued to decline, and the new numbers for 2009/10 show a decline of 41 per cent over 2006 against 35 per cent in 2008/9. But in one accounting measure, a spot-check analysis of bag use during the month of May, the number of single-use bags had increased compared with last year.

In May 2009 the one-month figure was 48 per cent below that of 2006 – just missing the 50 per cent target the supermarkets had set themselves, and so prominently publicised. But this year the "snapshot" May figure for single-use bags was only 45 per cent below that for 2006, suggesting that momentum may be falling.

In general, though, the figures are very positive. "This is a tremendous achievement by supermarkets, customers and staff, especially as between 2006 and 2009 the amount of goods sold by participating retailers grew by over 6 per cent," the BRC Director-General, Stephen Robertson said.

"The sustained reduction shows that customers are permanently adopting the habit of reusing their bags. The continuous decrease in total annual bag use demonstrates the voluntary approach continues to make good progress."

He added: "The reduction in bag use is great news, but it's the halving of the total weight of single-use carrier bags which shows retailers really scoring on the crucial issue of reducing environmental impact. Retailers are working hard on a range of other environmental measures, such as reducing food waste, reducing and redesigning packaging, as well as providing customers with recycling information through the on-pack recycling label."

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Look away Eurosceptics. Those meddling Brussels bureaucrats have let you down again and are not going to ban the sale of eggs by the dozen.

To the disappointment of red-top newspapers and irate contributors to talk radio, the European Union confirmed yesterday that MEPs had not voted to do away with a cherished feature of Great British life.

In an emergency statement, the European Parliament said: "Selling eggs by the dozen will not be illegal under the terms of the amendments adopted to EU food labelling proposals. Labels will still be able to indicate the number of items in a pack – whether it's eggs, bread rolls or fish fingers."
While dismaying EU critics who had pounced on reports suggesting it was banning common-sense labelling, the news will put at rest the minds of shoppers facing the spectre of having to guess how many food items were in cartons containing a dozen or half a dozen eggs.

The Great Egg Scare – which had echoes of the hysteria that greeted Edwina Currie's remarks in 1988 that most British egg production was infected with salmonella – began with an exclusive in The Mail on Sunday.

On Sunday its front-page story was headlined: "EU to ban selling eggs by the dozen: Shopkeepers' fury as they are told all food must be weighed and sold by the kilo."

The story began: "British shoppers are to be banned from buying eggs by the dozen under new regulations approved by the European Parliament. For the first time, eggs and other products such as oranges and bread rolls will be sold by weight instead of by the number contained in a packet."

According to the paper, MEPs had ended a British opt-out from EU rules forbiding the selling of goods by quantity, meaning that instead of packaging telling shoppers a box contains six eggs, it would show the weight the eggs in grams.

Promising a fight-back from the Food Standards Agency, the paper reported: "It could be the first test of David Cameron's pre-Election promise to stand up for Britain's interests in the EU."

The Federation of Bakers warned, though, that it might be too late to save the sale of "six bread rolls".

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When you have a little time on your hands, there is nothing nicer than to be in a kitchen surrounded by eggs, flour, sugar and butter: four ingredients that with a little mixing produce a glorious, sweet-smelling piece of joy.

I decided to write about cakes this week as it is my youngest daughter's birthday – I promised to make her one she could take to school. Both these chocolate and blood-orange cakes have three layers – sponges look nice when piled high; for the coconut cake, the third sponge decorates the top.

On another note, we are into Fairtrade Fortnight and I've donated a cake to the cause of the Big Swap, trying to encourage residents to swap to Fairtrade ingredients. Please give it a try where you are too.

Chocolate cake

550g/19oz self-raising flour
550g/19oz caster sugar
550g/19oz very soft butter
4 tsp baking powder
2 tsp vanilla extract
10 eggs
4 tbsp milk
4 tbsp dark cocoa powder and a little boiling water

For the icing

500g/1lb cream cheese at room temperature
200g/7oz icing sugar

Heat the oven to 200C/400F/Gas6. Mix the first seven ingredients together in a food processor; you may have to do this in two batches. Put the cocoa powder into a bowl and add enough boiling water to make a loose paste. Stir this into the cake mix.

Butter and flour three 20cm spring-form cake tins and divide the cake batter evenly between all three. Put the tins on the middle shelf, or bake one after the other if your oven is too small to hold all three. Bake for 20 minutes, then remove and allow to cool to room temperature.

To make the icing, put the cream cheese in a bowl and sift the icing sugar over the top, then beat well to combine. Divide the icing into three, leaving just a little to ice the sides of the cake, and spread generously over one side of each cake. Pile on top of each other and ice the sides.

Grate a little good-quality dark chocolate over the top and place in the fridge to let the icing set.

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It's a baking hot afternoon in New York and I'm standing in line at TKTS, commonly known as "the half-price ticket booth" in Times Square, crossing my fingers that the theatre ticket I am after will be a) available and b) offered at a price that is at least vaguely near the half-price mark. TKTS hovers close to the trading-on-false-pretences boundary, as its discounts are usually more like 20 per cent, but a discount is a discount, and I have guiltily taken the afternoon off in order to wait here, patiently, among the tourists and the flashing neon lights, for a few hours.

If I told you that I'd already seen the play in question – Red, by John Logan – three times in London, would you think I was mad? You might if I told you that the combined ticket price of those three trips (£78) still wouldn't quite add up to how much a single ticket for its Broadway incarnation – same play, same cast – costs ($126 and a $4.50 fee, or £82).

But I loved the play and am curious to see it again in New York, the city in which it is set, and in which I currently live. Eventually, I reach the front of the queue and am offered a mid-range seat for $95 – more than my weekly household grocery budget. Biting the bullet and banishing the sickening thought that the top-price seat at London's Donmar Warehouse, where the play originated, cost £26, I hand over the money and head for the Golden Theater on 45th Street.
Welcome to New York, one of the cultural capitals of the world; a culture funded overwhelmingly by philanthropy and private sponsorship and presumably, therefore, the sort of model Jeremy Hunt had in mind when he recently announced his intention to slash the UK culture budget by up to 50 per cent, asking the arts world to lean more on individual and corporate donors. Supposing this were possible, what would this new funding model really mean for Britain's culture? New York is the ideal city from which to explore the question of what happens to the arts when private money runs the show.

In New York there are 36 Broadway theatres, 370 non-profit theatres, 95 orchestras, 330 dance companies, and 1,000-odd galleries and museums, although it's hard to keep exact track. As with so many other things in the city, whatever you're seeking you can probably find it, but you have to be able to pay for it.

Art here is eye-wateringly, and often prohibitively, expensive. In London this summer you can see the finest musicians in the world for £5 at the Proms; plays that will end up on Broadway for £10 at the National Theatre; an opera at Covent Garden for the same; and your pick of world-class museums and galleries for free.

In New York, the average Broadway ticket is $120; a trip to the Metropolitan Opera will realistically set you back between $100 and $250 unless you can afford to take time off work to queue for a "rush" ticket; most museums and galleries, even those extravagantly endowed by beneficent individuals, will charge you an admission fee of $20.

When Lee Hall's The Pitmen Painters opens in New York later this year, a pair of premium seats will cost more than the weekly wages of some of the staff at Newcastle's Live Theatre, where the play was first staged in 2007.

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The next time Craig Bellamy dares to venture outside his house he will discover that he's wrong – not every living being in his city is so enthralled with Cardiff's biggest hero. His manager Dave Jones confessed that his horse is partial to taking his morning constitutional "right outside Craig's front gate".

It was a surreal admission after an afternoon straight out of the Bluebirds' most extraordinary fantasy. The story goes like this. A few years ago, Jones put in an offer on the most sought-after property in St Brides, the exclusive village just outside the capital. Yet he was gazumped. By a certain Mr Bellamy.

"I had to move to the other side of the hill," said the feisty Liverpudlian, who is keen on equestrianism. "So since then, I raise my Union Jack, take my horse out for a trot, and make sure he goes right outside Craig's front gate."

So much for the tale doing the rounds that Jones lives next door to Bellamy, or that the pair negotiated the summer's most staggering deal over the back wall. But then, Cardiff believe there are plenty of myths swirling around the 12-month loan. The one they are most bemused about is that which says some unwritten rule is being broken by Manchester City paying the bulk of Bellamy's £90,000-a-week salary. "Erm, that's how loans invariably work when players go to clubs lower down the divisions," Jones said.

He is right, they do. But what has shocked many is the scale of the Sheikh Mansour subsidy. And the 31-year-old's performance against Doncaster – and his 35-yard free-kick belter, in particular – will only cause the tongues to wag ever more furiously.

Not that Bellamy is worried. He has his own problems. While Cardiff used to be his haven, now it is threatening to turn into his prison. "Playing for my hometown club is a dream come true," he said. "But I've had a bit of a shock. This was the one place where I always felt I had a private life, where I could go out and not be bothered. I didn't have that in London, Manchester, Glasgow... but I had it here. Not this last week. I haven't left home other than to go training, and I never thought that would happen here. I've got to adjust to living here. But when you're surrounded by your own people it doesn't half help."

It would be nice to assure Bellamy it will now calm down after all the hype of his debut; yet it would also be misleading. For the continued mayhem he only has himself to blame after a stunning display, during which he first had to conquer his nerves before the unequal Doncaster resistance.

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They are not quite gone with the wind, but the dresses that the actress Vivien Leigh wore as Scarlett O'Hara in the Old South movie classic are well on their way to falling apart. Curators at a museum in Texas are appealing for $30,000 (£19,000) to restore them.

The effort is beginning only four years from the 75th anniversary of Gone With The Wind, still one of the best-loved treasures of American cinema and the winner of no fewer than eight Academy Awards. But when it comes to the gowns Ms O'Hara sported, it remains to be seen if anyone gives a damn.

The Harry Ransom Centre at the University of Texas says that it is planning to bring five of the dresses back to their original glory, including the sweeping number in green velvet that a desperate O'Hara makes herself from curtains in her home. Also waiting for a little love and tender care is the wedding dress worn when she marries Charles Hamilton, the man, of course, who wasn't her real love.

It has been a hectic few decades for the costumes, which for a long time were carted back and forth between assorted theatres and museums around the world, including the Metropolitan Museum of Art in New York, to be shown off to movie fans. All this travelling, however, has taken its toll on them. "The costumes are in fragile condition and cannot currently be exhibited," the centre said in a statement.

The museum in Austin acquired them in the mid-1980s from the collection of the late David Selznick, the producer of the 1939 classic, which starred Clark Gable as Rhett Butler. The plan is once again to loan the restored dresses to other museums to exhibit around the world.

The principal problem with Scarlett's home-made gown is its weight. The sheer bulk of velvet used to make it is pulling the seams apart. She wears the dress three times in the film, including the scene where she visits Rhett Butler in jail to beg him for money, and when she walks through the streets of Atlanta with Mammy, played by Hattie McDaniel.

"These dresses have been under a lot of stress. Film costumes weren't meant to last, they are only meant to last through the duration of filming," the museum's spokeswoman, Jill Morena, said. "There are areas where the fabric has been worn through, fragile seams and other problems."

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Roy Hodgson said last night that Liverpool were considering an appeal against the red card for Joe Cole, who was described as "devastated" by his manager for his first-half dismissal on his debut in the 1-1 draw with Arsenal.

Cole was given the first red card of his professional career for a challenge in first-half injury-time on the Arsenal defender Laurent Koscielny, who was himself dismissed late in the game for a second booking. Cole caught Koscielny with a studs-up boot before sweeping in with his other leg.

With Cole facing a three-match suspension, Hodgson said the club would take advice on whether to appeal. "It will be a big loss for us," he said. "I think we will look at the video again and try to find out from refereeing experts whether we have a case. I don't want to make a frivolous appeal. But Joe Cole has an unblemished record; he has never been sent off before and he has had very few yellow cards."

Hodgson said that rather than slide into Koscielny, the player had tried to slide into a position where he could block the defender's clearance up the line. "I would argue that Joe Cole is not the kind of person who goes into 'blood-curdling tackles' as I have heard it described by someone," Hodgson said. "We will look at it again and we might just be fortunate for an appeal to go in our favour.

"Joe is devastated by the decision [by referee Martin Atkinson]. It was his debut for Liverpool in a fantastic atmosphere. He was desperate to do well and he is not playing at the top of his game yet. He put us in a difficult position, at 0-0 with 10 men you give the advantage to the opposition."

Even Arsene Wenger was prepared to admit that Cole was "usually a fair player". He said: "He is not one I would record as someone who tries to hurt people. That is not his style. Maybe he was a bit rash in this tackle. He [Cole] kicked him 'accidentally well'. He [Koscielny] took a big kick on his shin and fortunately his shin pad has protected him. When they took him off the pitch, the physio said that the leg could be broken."

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Emma Bridgewater always knew that her now iconic British pottery company, which this month celebrates its 25th anniversary, was going to be a success. “If you think, oh I’ll have a little, tiny craft pottery, then that’s what you get. You don’t grow by accident,” she told me breezily over the phone last week. The idea came about while she was looking for cups and saucers for her mother’s kitchen and found nothing suitable. “The china was full of irrelevant formal stuff whereas her kitchen was resolutely informal,” she explains. Her mother, who was left permanently brain-damaged by a horse-riding accident in 1991, has been her biggest inspiration. “There wasn’t a question of a set of anything and that was and is my constant reference. Her style is my touchstone for the style of the business. That’s been absolutely crucial to the success.”

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Emma Bridgewater pottery is made by hand by a team of 150 skilled workers based at the Emma Bridgewater factory in Stoke-on-Trent. The team produces over 5,000 pieces of pottery a day and it is the largest company to make all of it by hand in Britain. Each piece takes four days to make and every spot, star or design, created personally by Emma and her husband Matthew Rice, has been hand painted onto the item to ensure that each one is unique.

“Stoke really hit me between the eyes,” says Emma, “I was really interested in the industrial heritage.” Her business is one of the few British businesses that has kept production in Britain and this, fumes Emma, “makes me hot with rage.” Today, she tells me, there are around 7,000 employed in the ceramics industry, whereas before there were tens of thousands. “Once the rush started, they couldn’t get out fast enough.” Was it a cost issue? No, says Emma pityingly. “It was the failure of will, nerve, spine – absolutely hopeless!”

She is adamant that you should work with the craftsmen that live up the road from you. “These people have great skills, which really need preserving. It’s absolutely daft to assume that the first thing you should do is get on an airoplane and fly half way round the world.”

Her determination to keep production in Britain has made Emma Bridgewater, its factory and the skill of its workers stand out as a beacon of light in an industry which has increasingly sold out to manufacturers in the Far East. But it hasn’t always been easy and the company’s success can be attributed to Emma’s mettle – her own will, nerve and spine, if you like – and her ability to make tough decisions. A key part of this, she explains, has been keeping a foot outside Stoke. “It’s very tempting to consolidate the whole thing there. We did for a bit and it was deathly. It shouldn’t be production led. You’ve got to make the production do what the customer wants. That is so bloody vital. You need to keep your marketing hat on in a commercial office elsewhere, so you can make those hard decisions. The factory is a function of the business; it is not the driver.”

While Emma has clearly got the brains (and the balls) for business, a lot of it, she says, is down to luck. “I don’t claim enormous cleverness. I’ve never had the capital to invest in cup- making machines or robots that make plates. We took the line, let’s invest in people, let’s incentivize them to multi-skill across the factory, so that when things are tight, or we get a run on something, we can move people around.” It’s a formula that has clearly worked with the business now turning over close to £8 million – quite a growth since the first order of £600 came in all those years ago.

She is surprisingly humble about this success, getting quite choked up when she tells me how The Potteries Museum and Art Gallery of Stoke-on-Trent is honouring her 25th year in business with a retrospective – an endorsement she says “makes me feel quite peculiar” – and how a Royal visit to the factory earlier in the year “swept all of us up – it’s so glamourous that business of all the police escorts, uniforms, flashing lights and people waving flags. It was lovely.” The business itself is marking its 25th anniversary with a number of specially designed products, which can be found on its website.

But where lies the future for Emma Bridgewater? When I first started, she says, I assumed that, like many 80s businesses, I would build it up and sell it on – “I really set myself the challenge of doing it quicker and for more money than my dad had. I went through a stage of thinking, oh we’ll call it Bridgewater, we’ll step back from it, take the ‘Emma’ out of it and depersonalise it, but if you’re all the time mentally preparing for what we call ‘the event’, you’re thinking in totally the wrong way, which isn’t healthy for a business. I’ve done a complete about turn.”

So what do her children think about picking up the mantle? I would never force it on them, she says, but points out, “they might be grateful for the opportunity.” In the meantime though (“I’m only in my 40s”) Emma is staying at the helm - as the last 25 years have proven: you can’t take the Emma out of Emma Bridgewater.

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