Saturday, April 30, 2005

The British Food Standards Agency (FSA) has announced a recall of foods containing banned dyes which increase the risk of cancer. The food products were sold at the Tesco, Waitrose, and Somerfield supermarkets.

A Bristol company called “Barts Spices” found the illegal Para Red substance in their Barts Ground Paprika, which was sold in 48g and 46g jars with a “Co-op” label. The batch codes on the affected products are 5032 and 5089 (expiration Dec 2007), and 5075 (expiration February 2007).

Tesco also found that their 130g package of BBQ rice cakes (expiration November and December 2005) contained both Para Red and Sudan I.

“It would be very prudent to assume that it could be a genotoxic carcinogen,” FSA scientific advisers told reporters.

“As a company committed to supplying only the very finest quality food ingredients, we took the immediate decision to withdraw our ground paprika spice from all outlets selling the product and advertised a product recall in the national press,” a Barts Spices spokesman said in a statement.

Sudan I is only authorized for industrial use to colorize petroleum products, such as shoe polish. Para Red and Sudan I are banned under the British Colours in Food Regulations of 1995.

Britain last went through a major food recall in February, when Worcester Sauce was found to contain chili powder dyed with Sudan 1.

Tuesday, November 13, 2007

A top US commander said yesterday that the United States is not planning a preemptive attack on Iran despite increasing rhetoric from Washington, D.C. The United States Secretary of State Condoleezza Rice also denied that an attack was imminent, stating that there is no Congressional authorization for military action against Iran.

The denials came as The Observer ran a report saying that US personnel involved in interrogating insurgents in Iraq are under “huge” pressure to find evidence against Iran. It quoted Micah Brose, a privately contracted interrogator working for the US military there, as saying that information on Iran is “gold”.

“They push a lot for us to establish a link with Iran”, Brose claimed in the interview, adding that “it feels a lot like, if you get something and Iran’s not involved, it’s a let down.” He further claimed that people have said to him that “they’re really pushing the Iran thing.” Brose denied being asked to manufacture evidence, but stated that “if a detainee wants to tell me what I want to hear so he can get out of jail … you know what I’m saying.”

The US has in the past been accused of using exaggerated and fabricated evidence to build its case against Iraq prior to the war.

The article by the British based newspaper said most military intelligence officers refused to comment but that one said “The message is, ‘Got to find a link with Iran, got to find a link with Iran.’ It’s sickening.”

On Monday, Admiral William J. Fallon, the commanding officer of United States Central Command which is responsible for the Middle East, East Africa and Central Asia, speaking in Financial Times, said that a strike against Iran is “not in the offing.”

“None of this is helped by the continuing stories that just keep going around and around and around that any day now there will be another war which is just not where we want to go,” Fallon continued. “Getting Iranian behavior to change and finding ways to get them to come to their senses and do that is the real objective. Attacking them as a means to get to that spot strikes me as being not the first choice in my book.” Despite saying this, he refused to rule out a strike against Iran in the future.

Meanwhile, US Secretary of State Condoleezza Rice was on ABC‘s This Week on Sunday, saying that a Senate resolution designating Iran’s Islamic Revolutionary Guard as a terrorist organization does not authorize military action.

“There is nothing in this particular resolution that would suggest that from our point of view. And, clearly, the president has also made very clear that he’s on a diplomatic path where Iran comes into focus,” Rice said.

“This resolution is saying that there needs to be strong measures taken against Iran, which we have definitely done,” Rice continued. “And if the Iranians suspend their enrichment and reprocessing, I’m prepared to meet my counterpart anyplace, anytime, anywhere. So the question isn’t why will we not talk to Tehran. The question is, why will Tehran not talk to us?”

Senator Hillary Clinton, who is running for President, voted for the resolution. She has said that the resolution could not be used to justify war, but rather it seeks to escalate diplomatic efforts. “We wish to emphasize that no congressional authority exists for unilateral military action against Iran,” she said in an open letter on November 1, 2007.

Last week, former Foreign Minister of Germany, Joschka Fischer said that he was worried that the upcoming US Presidential election could heighten tensions between the US and Iran. He found particularly worrisome a statement by Presidential candidate Rudy Giuliani in October that “If I am President of the United States, I guarantee you, we will never find out what they will do if they get nuclear weapons, because they are not going to get a nuclear weapon … the military option is not off the table.”

Thursday, December 1, 2011

Today saw Edinburgh’s Scottish National Portrait Gallery reopen following a two-and-a-half-year, £17.6m (US$27.4m) refurbishment. Conversion of office and storage areas sees 60% more space available for displays, and the world’s first purpose-built portrait space is redefining what a portrait gallery should contain; amongst the displays are photographs of the Scottish landscape—portraits of the country itself.

First opened in 1889, Sir Robert Rowand Anderson’s red sandstone building was gifted to the nation by John Ritchie Findlay, then-owner of The Scotsman newspaper and, a well-known philanthropist. The original cost of construction between 1885 and 1890 is estimated at over 70,000 pounds sterling. Up until 1954, the building also housed the Society of Antiquaries of Scotland who moved to the National Museum of Scotland buildings on Chambers Street. The society’s original meeting table now sits in the public part of the portrait gallery’s library, stared down on by an array of busts and phrenological artefacts.

Wikinewsie Brian McNeil, with other members of the press, received a guided tour of the gallery last Monday from Deputy Director Nicola Kalinsky. What Kalinsky described as an introduction to the gallery that previously took around 40 minutes, now takes in excess of an hour-and-a-half; with little in the way of questions asked, a more inquisitive tour group could readily take well over two hours to be guided round the seventeen exhibitions currently housed in the gallery.

A substantial amount of the 60% additional exhibition space is readily apparent on the ground floor. On your left as you enter the gallery is the newly-fitted giant glass elevator, and the “Hot Scots” photographic portrait gallery. This exhibit is intended to show well-known Scottish faces, and will change over time as people fall out of favour, and others take their place. A substantial number of the people now being highlighted are current, and recent, cast members from the BBC’s Doctor Who series.

The new elevator (left) is the most visible change to improve disabled access to the gallery. Prior to the renovation work, access was only ‘on request’ through staff using a wooden ramp to allow wheelchair access. The entire Queen Street front of the building is reworked with sloping access in addition to the original steps. Whilst a lift was previously available within the gallery, it was only large enough for two people; when used for a wheelchair, it was so cramped that any disabled person’s helper had to go up or down separately from them.

The gallery expects that the renovation work will see visitor numbers double from before the 2009 closure to around 300,000 each year. As with many of Edinburgh’s museums and galleries, access is free to the public.

The expected significant increase in numbers has seen them working closely with the National Museum of Scotland, which was itself reopened earlier this year after extensive refurbishment work; improved access for wheelchair users also makes it far easier for mothers with baby buggies to access the gallery – prompting more thought on issues as seemingly small as nappy-changing – as Patricia Convery, the gallery’s Head of Press, told Wikinews, a great deal of thought went into the practicalities of increased visitor numbers, and what is needed to ensure as many visitors as possible have a good experience at the gallery.

Press access to the gallery on Monday was from around 11:30am, with refreshments and an opportunity to catch some of the staff in the Grand Hall before a brief welcoming introduction to the refurbished gallery given by John Leighton, director of the National Galleries of Scotland. Centre-stage in the Grand Hall is a statue of Robert Burns built with funds raised from around the British Empire and intended for his memorial situated on Edinburgh’s Calton Hill.

The ambulatories surrounding the Grand Hall give the space a cathedral-like feel, with numerous busts – predominantly of Scottish figures – looking in on the tiled floor. The east corner holds a plaque commemorating the gallery’s reopening, next to a far more ornate memorial to John Ritchie Findlay, who not only funded and commissioned the building’s construction, but masterminded all aspects of the then-new home for the national collection.

Split into two groups, members of the press toured with gallery Director James Holloway, and Nicola Kalinsky, Deputy Director. Wikinews’ McNeil joined Kalinsky’s group, first visiting The Contemporary Scotland Gallery. This ground-floor gallery currently houses two exhibits, first being the Hot Scots display of photographic portraits of well-known Scottish figures from film, television, and music. Centre-stage in this exhibit is the newly-acquired Albert Watson portrait of Sir Sean Connery. James McAvoy, Armando Iannucci, playwright John Byrne, and Dr Who actress Karen Gillan also feature in the 18-photograph display.

The second exhibit in the Contemporary gallery, flanked by the new educational facilities, is the Missing exhibit. This is a video installation by Graham Fagen, and deals with the issue of missing persons. The installation was first shown during the National Theatre of Scotland’s staging of Andrew O’Hagan’s play, The Missing. Amongst the images displayed in Fagen’s video exhibit are clips from the deprived Sighthill and Wester-Hailes areas of Edinburgh, including footage of empty play-areas and footbridges across larger roads that sub-divide the areas.

With the only other facilities on the ground floor being the education suite, reception/information desk, cafe and the gallery’s shop, Wikinews’ McNeil proceeded with the rest of Kalinsky’s tour group to the top floor of the gallery, all easily fitting into the large glass hydraulic elevator.

The top (2nd) floor of the building is now divided into ten galleries, with the larger spaces having had lowered, false ceilings removed, and adjustable ceiling blinds installed to allow a degree of control over the amount of natural light let in. The architects and building contractors responsible for the renovation work were required, for one side of the building, to recreate previously-removed skylights by duplicating those they refurbished on the other. Kalinsky, at one point, highlighted a constructed-from-scratch new sandstone door frame; indistinguishable from the building’s original fittings, she remarked that the building workers had taken “a real interest” in the vision for the gallery.

The tour group were first shown the Citizens of the World gallery, currently hosting an 18th century Enlightenment-themed display which focuses on the works of David Hume and Allan Ramsay. Alongside the most significant 18th century items from the National Portrait Gallery’s collection, are some of the 133 new loans for the opening displays. For previous visitors to the gallery, one other notable change is underfoot; previously carpeted, the original parquet floors of the museum have been polished and varnished, and there is little to indicate it is over 120 years since the flooring was originally laid.

Throughout many of the upper-floor displays, the gallery has placed more light-sensitive works in wall-mounted cabinets and pull-out drawers. Akin to rummaging through the drawers and cupboards of a strange house, a wealth of items – many previously never displayed – are now accessible by the public. Commenting on the larger, featured oils, Deputy Director Kalinsky stressed that centuries-old portraits displayed in the naturally-lit upper exhibitions had not been restored for the opening; focus groups touring the gallery during the renovation had queried this, and the visibly bright colours are actually the consequence of displaying the works in natural light, not costly and risky restoration of the paintings.

There are four other large galleries on the top floor. Reformation to Revolution is an exhibition covering the transition from an absolute Catholic monarchy through to the 1688 revolution. Items on-display include some of the Scottish National Portrait Gallery’s most famous items – including Mary Queen of Scots and The Execution of Charles I. The portrait-based depiction of this historical age is complemented with prints, medals, and miniatures from the period.

Imagining Power is a Jacobite-themed exhibition, one which looks at the sometime-romanticised Stuart dynasty. The Gallery owns the most extensive collection of such material in the world; the portraiture that includes Flora MacDonald and Prince Charles Edward Stuart is complemented by glassware from the period which is on-loan from the Drambuie Liqueur Company which Kalinsky remarked upon as the only way Scots from the period could celebrate the deposed monarchy – toasting The King over the Water in appropriately engraved glasses.

On the other side of the upper floor, the two main naturally-lit exhibitions are The Age of Improvement, and Playing for Scotland. The first of these looks at societal changes through the 18th and 19th centuries, including Nasmyth’s 1787 portrait of the young Robert Burns and – well-known to past visitors to the portrait gallery – Raeburn’s 1822 depiction of Sir Walter Scott. These are complemented with some of the National Gallery’s collection of landscapes and earliest scenes from Scottish industry.

Playing for Scotland takes a look at the development of modern sports in the 19th century; migration from countryside to cities dramatically increased participation in sporting activities, and standardised rules were laid down for many modern sports. This exhibition covers Scotland’s four national sports – curling, shinty, golf, and bowls – and includes some interesting photographic images, such as those of early strong-men, which show how more leisure time increased people’s involvement in sporting activities.

Next to the Reformation to Revolution gallery is A Survey of Scotland. Largely composed of works on-loan from the National Library of Scotland, this showcase of John Slezer’s work which led to the 1693 publication of Theatrum Scotiae also includes some of the important early landscape paintings in the national collection.

The work of Scotland’s first portrait painter, the Aberdeen-born George Jamesone, takes up the other of the smaller exhibits on the east side of the refurbished building. As the first-ever dedicated display of Jamesone’s work, his imaginary heroic portraits of Robert the Bruce and Sir William Wallace are included.

On the west side of the building, the two smaller galleries currently house the Close Encounters and Out of the Shadow exhibits. Close Encounters is an extensive collection of the Glasgow slums photographic work of Thomas Annan. Few people are visible in the black and white images of the slums, making what were squalid conditions appear more romantic than the actual conditions of living in them.

The Out of the Shadow exhibit takes a look at the role of women in 19th century Scotland, showing them moving forward and becoming more recognisable individuals. The exceptions to the rules of the time, known for their work as writers and artists, as-opposed to the perceived role of primary duties as wives and mothers, are showcased. Previously constrained to the domestic sphere and only featuring in portraits alongside men, those on-display are some of the people who laid the groundwork for the Suffrage movement.

The first floor of the newly-reopened building has four exhibits on one side, with the library and photographic gallery on the other. The wood-lined library was moved, in its entirety, from elsewhere in the building and is divided into two parts. In the main public part, the original table from the Society of Antiquaries sits centred and surrounded by glass-fronted cabinets of reference books. Visible, but closed to public access, is the research area. Apart from a slight smell of wood glue, there was little to indicate to the tour group that the entire room had been moved from elsewhere in the building.

The War at Sea exhibit, a collaboration with the Imperial War Museum, showcases the work of official war artist John Lavery. His paintings are on-display, complemented by photographs of the women who worked in British factories throughout the First World War. Just visible from the windows of this gallery is the Firth of Forth where much of the naval action in the war took place. Situated in the corner of the room is a remote-controlled ‘periscope’ which allows visitors a clearer view of the Forth as-seen from the roof of the building.

Sir Patrick Geddes, best-known for his work on urban planning, is cited as one of the key influencers of the Scottish Renaissance Movement which serves as a starting point for The Modern Scot exhibit. A new look at the visual aspects of the movement, and a renewal of Scottish Nationalist culture that began between the two World Wars, continuing into the late 20th century, sees works by William McCance, William Johnstone, and notable modernists on display.

Migration Stories is a mainly photographic exhibit, prominently featuring family portraits from the country’s 30,000-strong Pakistani community, and exploring migration into and out of Scotland. The gallery’s intent is to change the exhibit over time, taking a look at a range of aspects of Scottish identity and the influence on that from migration. In addition to the striking portraits of notable Scots-Pakistani family groups, Fragments of Love – by Pakistani-born filmmaker Sana Bilgrami – and Isabella T. McNair’s visual narration of a Scottish teacher in Lahore are currently on-display.

The adjacent Pioneers of Science exhibit has Ken Currie’s 2002 Three Oncologists as its most dramatic item. Focussing on Scotland’s reputation as a centre of scientific innovation, the model for James Clerk Maxwell’s statue in the city’s George Street sits alongside photographs from the Roslin Institute and a death mask of Dolly the sheep. Deputy Director Kalinsky, commented that Dolly had been an incredibly spoilt animal, often given sweets, and this was evident from her teeth when the death mask was taken.

Now open daily from 10am to 5pm, and with more of their collection visible than ever before, the Scottish National Portrait Gallery will change some of the smaller current exhibits after 12 to 18 months on display. The ground-floor information desk has available five mini-guides, or ‘trails’, which are thematic guides to specific display items. These are: The Secret Nature trail, The Catwalk Collection trail, The Situations Vacant trail, The Best Wee Nation & The World trail, and The Fur Coat an’ Nae Knickers Trail.

Monday, May 21, 2012

Bruce, Canberra — This past week, an overstocked Australian Opals, the women’s national basketball team, prepared for the 2012 Olympic Games in London with a weeklong training camp at the Australian Institute of Sport (AIS) to be used to help narrow the nineteen member Opals squad down to the twelve that go to the Games, and provide players who rarely play together an extended period of time to play together in order to improve on court dynamics.

Camp started on Sunday, with players arriving from hometowns around Australia including Cairns, MacKay, Gladstone, Brisbane, Adelaide, and Melbourne.

The defending champions, the United States women’s national basketball team, are perceived as the Australian Opals’ main competitors. In the last three Olympic Games the Opals got silver medals. In each of these cases the United States got first place. Coach Carrie Graf said “thinking about the US too soon in inappropriate”, “Our focus is first and foremost, game by game winning our pool”. Amongst the Australian Opals’ competitors in the pool are Brazil, Russia, and Great Britain. Carrie Graf said Great Britain “will put up a fight on home turf” but there is a “world class [AIS] facility” and “world class medical support staff” supporting the team.

Australian Opal player Penny Taylor recently suffered injury from a torn anterior cruciate ligament, meaning she cannot play Olympics this year. In regards to the situation player Lauren Jackson, who is going into her fourth Olympics, said “you would never wish that upon anybody.” She says as a team they have to “move on, move through that” and “come together” to pick up their offence and defense. Despite the loss of one of their key players she says “we definitely have the talent there” and the team is all “on the same page.” She feels “pretty confident” and speaks of “very exciting” times ahead. Jenna O’Hea is going into her first Olympics with the team. She is still “pinching” herself and says she is taking it “day by day”.

A typical day at the camp might start with a 7.00am – 8.30am breakfast at the AIS Dining hall, before one and a half or two hours of court, gym, or swimming training. The middle of each day might consist of media meetings, medical checks, team meetings, and time to practise shooting. Around 12.00pm, the players meet to eat lunch and recover from the morning. The afternoon typically consists of more training, and some scrimmage games. Players usually finish around 7.00pm for dinner, and perhaps a massage.

The nineteen players in attendance this week at training camp were Suzy Batkovic, Abby Bishop, Elizabeth Cambage, Rohanee Cox, Cayla Francis, Kristi Harrower, Laura Hodges, Natalie Hurst, Lauren Jackson, Rachel Jarry, Kathleen MacLeod, Jenna O’Hea, Samantha Richards, Jennifer Screen, Belinda Snell, Marianna Tolo, Kristen Veal, Carly Wilson, and Hanna Zavecz. Basketball Australia has named fifteen players that are to attend the second phase of the camp: Suzy Batkovic, Abby Bishop, Elizabeth Cambage, Kristi Harrower, Laura Hodges, Lauren Jackson, Rachel Jarry, Kathleen MacLeod, Jenna O’Hea, Erin Phillips, Samantha Richards, Jennifer Screen, Belinda Snell, Marianna Tolo, and Hanna Zavecz.

Friday, November 14, 2008

Raouf Amin el-Araby, a 52-year-old Egyptian doctor who has been serving the Saudi Royal family for 20 years, was convicted of malpractice. Egyptian newspapers reported that he was accused of driving a Saudi princess “to addiction”, reportedly after treating a Saudi princess with painkillers.

Initially sentenced to 7 years and 700 lashes, he has been sentenced to 15 years and 1500 lashes, 70 a week, after making an appeal.

Family members, friends and colleagues gathered in outrage and grief outside the headquarters of Egypt’s doctors union, calling upon King Abdullah to pardon Raouf. “1,500 lashes is unprecedented in the history of Islam,” read one banner carried by protesters. “Who is responsible for the humiliation of our doctors abroad?” read another.

The Egyptian Organization for Human Rights (EOHR) and the foreign minister are working hard to find a way to return Raouf home quickly. Hafez Abu Saeda, the director of EOHR, stated that the princess was prescribed the same medication that she was receiving in the United States, “so it is obvious that the doctor was not at fault for her addiction.”

Abu Saeda was astonished that the judge doubled the sentence and the lashes after the appeal. It is tantamount, he said, to penalizing Amin for asserting his right of appeal. “When you appeal against a sentencing it is the rule that it cannot go higher, but in Saudi Arabia it appears anything is possible,” said Saeda.

Protests in Egypt have driven the Egyptian foreign ministry to seek a solution, partly out of concern that negative repercussions may damage relations between Cairo and Riyadh.

A human rights lawyer said that he was given the first 70 lashes last week and he will get 70 more this week.

Thursday, October 22, 2020

2020 Melbourne Lord Mayor candidate Wayne Tseng answered some questions about his campaign for the upcoming election from Wikinews. The Lord Mayor election in the Australian city is scheduled to take place this week.

Tseng runs a firm called eTranslate, which helps software developers to make the software available to the users. In the candidate’s questionnaire, Tseng said eTranslate had led to him working with all three tiers of the government. He previously belonged to the Australian Liberal Party, but has left since then, to run for mayorship as an independent candidate.

Tseng is of Chinese descent, having moved to Australia with his parents from Vietnam. Graduated in Brisbane, Tseng received his PhD in Melbourne and has been living in the city, he told Wikinews. Tseng also formed Chinese Precinct Chamber of Commerce, an organisation responsible for many “community bond building initiatives”, the Lord Mayor candidate told Wikinews.

Tseng discussed his plans for leading Melbourne, recovering from COVID-19, and “Democracy 2.0” to ensure concerns of minorities in the city were also heard. Tseng also focused on the importance of the multi-culture aspect and talked about making Melbourne the capital of the aboriginals. Tseng also explained why he thinks Melbourne is poised to be a world city by 2030.

Tseng’s deputy Lord Mayor candidate Gricol Yang is a Commercial Banker and works for ANZ Banking Group.

Currently, Sally Capp is the Lord Mayor of Melbourne, the Victorian capital. Capp was elected as an interim Lord Mayor in mid-2018 after the former Lord Mayor Robert Doyle resigned from his position after sexual assault allegations. Doyle served as the Lord Mayor of Melbourne for almost a decade since 2008.

Saturday, January 17, 2009

The US Secret Service has released the first photos Wednesday of the new presidential limousine that will transport Barack Obama down Pennsylvania Avenue next Tuesday as part of the 56th Presidential inaugural parade after he is sworn in at the Capitol. The First Limo – the 2009 Cadillac Presidential Limousine – will replace President Bush’s Cadillac DTS Presidential Limousine that rolled out in 2004.

Nicknamed “The Beast”, the hulking machine is a new model year 2009, modified limousine. According to General Motors, the new “2009 Cadillac Presidential Limousine” is the first not to carry a specific model name. The Obama Mobile was introduced on January 14 with noticeably different styling borrowed from the Cadillac Escalade and STS, while the suspension is most likely related to the Chevrolet Kodiak medium-duty truck.

Mr. David Caldwell of General Motors has revealed that the sleek black car would include a hand-crafted interior and “state of the art electronics.” The car’s high-tech security features include five-inch-thick (12.7-centimeter-thick) bombproof glass, tough-as-nails tires, and a sealed interior that’s invulnerable to chemical attack. The armoured limousine has been heavily modified to withstand potential attacks by weapons or bombs. The San Francisco Chronicle puts it in a proper perspective noting, “a half-inch of transparent armor is enough to stop a .44 Magnum round at point-blank range; at a thickness of 1 1/4 to 1 1/2 inches, the same material can withstand higher-velocity bullets fired from military assault rifles.”

According to spy photographer, Brenda Priddy, and General Motors, the limousine, which has the intricate, dual-textured grille, is also equipped with standard Goodyear Regional RHS truck tires in a 285/70R19.5 size, on 19.5-inch wheels. The rims have a run-flat device (manufactured by Hutchinson Industries). Xenon headlights from the Escalade are installed in the front, while the rear has some STS part. The doors are at least 20 centimeters (8 inches) thick. It carries the US flag on the front fenders and an embroidered Seal of the President of the United States is affixed to several panels in the back.

According to the US Secret Service, the vehicle would be a “valuable asset” in providing the President with the highest level of protection. “Although many of the vehicle’s security enhancements cannot be discussed, it is safe to say that this car’s security and coded communications systems make it the most technologically advanced protection vehicle in the world,” Nicholas Trotta, Assistant Director for the Office of Protective Operations said in a statement. The new limousine is the responsibility of White House Transportation Agency.

The Presidential State Car is the official state car used by the President of the United States. It is informally known as “Cadillac One”. The current Presidential State Car is a 2005 hand-crafted, armored, and stretched DTS (DeVille Touring Sedan) built on a GM four-wheel drive platform. It was first used on the second inauguration parade of George W. Bush in 2005. But the version to be used by President Obama uses a GMC Topkick chassis, while maintaining the Cadillac exterior.

The President of the United States travels in one of two armoured Cadillac limousines based upon the normal sedan, the Cadillac DTS, with heavy customisation. Lincoln cars have also been used in the past, most notably by President John F Kennedy. The current limousines were custom-built by O’Gara, Hess and Eisenhart, founded in Fairfield, Ohio in 1942. It specializes in armouring limousines for presidents and heads of state.

President William McKinley was the first US president to ride in an automobile. However, it was President Theodore Roosevelt who rode on the first government-owned car, a white Stanley Steamer. Roosevelt’s successor, William Howard Taft, was the first president to use a presidential state car that was permanently stored in the White House garage.

Meanwhile, Obama’s 2005 Chrysler 300C Hemi was auctioned on eBay with a starting bid of $100,000 and a buy-it-now price of $1,000,000. It has less than 21,000 miles on it and is in like-new condition. He leased the car in 2004 and traded it for a Ford Escape Hybrid in 2007. The car was sold to Tim O’Boyle.