Friday, April 29, 2005

The world’s most expensive hotel-casino ever has opened in Las Vegas, Nevada. The casino, which was designed and built over a period of five years, cost US$2.7 billion to construct. The hotel stands nearly fifty stories above the Las Vegas valley, with a 180-foot tall mountain in front of the main entrance.

Numerous lavish touches contributed to the high expense of the development. The sign in front of the Wynn property has an unusual mechanical design, with a large piece containing the Wynn logo, which can move vertically up or down as different announcements are presented.

“I think it’s going to start a shift of power. It’s been the south for a long time. Things will start moving to the north because of Wynn Las Vegas, Sheldon Adelson with the expansion of the Venetian, the New Frontier — that whole area will become the new hot area of Las Vegas for the next decade or so,” gaming expert Anthony Curtis told Las Vegas KLAS TV.

As the property opened to the public, developer Steve Wynn greeted visitors at the front entrance.

“It’s always fascinating to watch people enter the thing and get their first moment after we open the doors,” Wynn told the Las Vegas Review-Journal.

Analysts are not too concerned about the cost of the Wynn development. Wynn paid off the cost of The Mirage hotel-casino in 18 months, much earlier than the planned seven years for which the debt had been scheduled for repayment.

“If you remember the opening of The Mirage in 1989, Wynn needed to make a nut of $1 million a day. Everyone thought he was nuts; ‘couldn’t be done,’ they all said,” Las Vegas history department Chairman Hal Rothman told the Las Vegas Review-Journal.

Wynn sold his interest in Mirage Resorts to MGM Grand (which became MGM Mirage and is now run by Kirk Kerkorian) for US$6.4 billion back in 2000, then turned around and purchased the property for the Wynn hotel-casino for US$275 million. The property was previously the home of the Desert Inn.

The hotel has 2,359 rooms, and a few hundred deluxe suites and “parlors” for high rollers. The casino has 1,960 slot machines and 137 table games on a 111,000 square foot casino floor. A Ferrari–Maserati dealership and the Le Reve stage show, featuring a million gallon water tank, round out the expensive offerings.

A round of golf will go for US$500 on the elaborate golf course located behind the main building.

All of these specifications add up to a record construction cost of over one million US dollars per room. Other expensive Las Vegas properties cost a fraction of the price, such as the Bellagio, which cost half the price at US$533,000 per room. The most expensive hotel property in the world was previously the Grand Wailea Resort in Maui, Hawaii, which cost US$775,000 per room.

“Yes, (Wynn) may be in over his head, but then he has found ways to survive before,” Las Vegas professor Bill Thompson told the Las Vegas Review-Journal.

Several of Wynn’s largest competitors spoke with admiration of the property and looked forward to its impact on Las Vegas.

“I’ve never understood the hand-wringing about something new, especially in Las Vegas and Atlantic City,” Harrah’s Chairman and CEO Gary Loveman told the Las Vegas Review-Journal.

Other casino bosses from the Mandalay and the MGM Mirage had positive comments as well, hoping to pick up some new business from the development.

“It’s a positive in terms of bringing more visitors,” Mandalay Resort Group President and CEO Glenn Schaeffer told the Las Vegas Review-Journal.

“Steve will build a great property and bring new people to town. If we’re doing what we’re supposed to be doing, then we’ll pick up some of that business also,” MGM Mirage Chairman and CEO Terry Lanni told the Las Vegas Review-Journal.

Thousands of visitors gathered for hours in front of the property before it opened. Security guards had to monitor the number of visitors entering the building.

“I think it’s spectacular,” David Schwartz, coordinator of the Gaming Studies Research Center at the University of Nevada Las Vegas told Reuters.

“People were pushing and shoving,” Las Vegan Kathie Anderson told Associated Press.

“There is nobody in the world who creates such entertaining and beautiful casinos,” British billionaire Richard Branson told Associated Press from the casino floor. “I would say every other casino must be nervous. He’s lifted the bar dramatically,” Branson said.

“This would be hard to top,” Las Vegan Marlene DeMarco told Reuters.

Monday, June 21, 2010

Sweden’s first royal wedding since 1976 took place Saturday when Crown Princess Victoria, 32, married her long-time boyfriend and former personal trainer, Daniel Westling, 36. The ceremony took place at Stockholm Cathedral.

Over 1,200 guests, including many rulers, politicians, royals and other dignitaries from across the world, attended the wedding, which cost an estimated 20 million Swedish kronor. Victoria wore a wedding dress with five-metre long train designed by Pär Engsheden. She wore the same crown that her mother, Queen Silvia, wore on her wedding day 34 years previously, also on June 19. Victoria’s father, King Carl XVI Gustaf, walked Victoria down the aisle, which was deemed untraditional by many. In Sweden, the bride and groom usually walk down the aisle together, emphasising the country’s views on equality. Victoria met with Daniel half-way to the altar, where they exchanged brief kisses, and, to the sounds of the wedding march, made their way to the the silver altar. She was followed by ten bridesmaids. The couple both had tears in their eyes as they said their vows, and apart from fumbling when they exchanged rings, the ceremony went smoothly.

Following the ceremony, the couple headed a fast-paced procession through central Stockholm on a horse-drawn carriage, flanked by police and security. Up to 500,000 people are thought to have lined the streets. They then boarded the Vasaorden, the same royal barge Victoria’s parents used in their wedding, and traveled through Stockholm’s waters, accompanied by flyover of 18 fighter jets near the end of the procession. A wedding banquet followed in the in the Hall of State of the Royal Palace.

Controversy has surrounded the engagement and wedding between the Crown Princess and Westling, a “commoner”. Victoria met Westling as she was recovering from bulemia in 2002. He owned a chain of gymnasiums and was brought in to help bring Victoria back to full health. Westling was raised in a middle-class family in Ockelbo, in central Sweden. His father managed a social services centre, and his mother worked in a post office. When the relationship was made public, Westling was mocked as an outsider and the king was reportedly horrified at the thought of his daughter marrying a “commoner”, even though he did so when he married Silvia. Last year, Westling underwent transplant surgery for a congenital kidney disorder. The Swedish public have been assured that he will be able to have children and that his illness will not be passed on to his offspring.

Westling underwent years of training to prepare for his new role in the royal family, including lessons in etiquette, elocution, and multi-lingual small talk; and a makeover that saw his hair being cropped short, and his plain-looking glasses and clothes being replaced by designer-wear.

Upon marrying the Crown Princess, Westling took his wife’s ducal title and is granted the style “His Royal Highness”. He is now known as HRH Prince Daniel, Duke of Västergötland. He also has his own coat-of-arms and monogram. When Victoria assumes the throne and becomes Queen, Daniel will not become King, but assume a supportive role, similar to that of Prince Phillip, the husband of the United Kingdom’s Queen Elizabeth II.

Friday, May 16, 2008

Controversy has arisen over the reported presence of blue asbestos on the MV Freewinds, a cruise ship owned by the Church of Scientology. According to the Saint Martin newspaper The Daily Herald and the shipping news journal Lloyd’s List, the Freewinds was sealed in April and local public health officials on the Caribbean island of Curaçao where the ship is docked began an investigation into the presence of asbestos dust on the ship. Former Scientologist Lawrence Woodcraft supervised work on the ship in 1987, and attested to the presence of blue asbestos on the Freewinds in an affidavit posted to the Internet in 2001. Woodcraft, a licensed architect by profession, gave a statement to Wikinews and commented on the recent events.

According to The Daily Herald, the Freewinds was in the process of being renovated by the Curaçao Drydock Company. The article states that samples taken from paneling in the ship were sent to the Netherlands, where an analysis revealed that they “contained significant levels of blue asbestos”. An employee of the Curaçao Drydock Company told Radar Online in an April 30 article that the Freewinds has been docked and sealed, and confirmed that an article about asbestos ran in the local paper.

Lloyd’s List reported that work on the interior of the Freewinds was suspended on April 27 after health inspectors found traces of blue asbestos on the ship. According to Lloyd’s List, Frank Esser, Curaçao Drydock Company’s interim director, joined Curaçao’s head of the department of labor affairs Christiene van der Biezen along with the head of the local health department Tico Ras and two inspectors in an April 25 inspection of the ship. “We are sending someone so that they can tell us what happened, where it came from, since when it has been there,” said Panama Maritime Authority’s director of merchant marine Alfonso Castillero in a statement to Lloyd’s List.

The Church of Scientology purchased the ship, then known as the Bohème, in 1987, through an organization called Flag Ship Trust. After being renovated and refitted, it was put into service in June 1988. The ship is used by the Church of Scientology for advanced Scientology training in “Operating Thetan” levels, as well as for spiritual retreats for its members. Curaçao has been the ship’s homeport since it was purchased by the Church of Scientology.

According to his 2001 statement, Lawrence Woodcraft had been an architect in London, England since 1975, and joined Scientology’s elite “Sea Organization” (Sea Org) in 1986. He wrote that he was asked by the Sea Org to work on the Freewinds in 1987, and during his work on the ship “noticed a powdery blue fibrous substance approximately 1 ½” thick between the paint and the steel wall,” which he believed to be asbestos. He also discovered what he thought was blue asbestos in other parts of the ship, and reported his findings to Church of Scientology executives. Woodcraft discussed his experiences in a 2001 interview published online by the Lisa McPherson Trust, a now-defunct organization which was critical of the Church of Scientology.

Church of Scientology spokeswoman Karin Pouw responded to Radar Online about the asbestos reports, in an email published in an article in Radar on May 1. “The Freewinds regularly inspects the air quality on board and always meets or exceeds US standards,” said Pouw. She stated that two inspections performed in April “confirmed that the air quality is safe,” and asserted that the inspections revealed the Freewinds satisfies standards set by the United States Occupational Safety and Health Administration and the U.S. Clean Air Act.

Pouw told Radar that “The Freewinds will be completing its refit on schedule.” The Church of Scientology-affiliated organization Citizens Commission on Human Rights (CCHR) had been planning a cruise aboard the Freewinds scheduled for May 8, but according to Radar an individual who called the booking number for the cruise received a message that the cruise had been delayed due to ongoing work on the ship. Citing an article in the Netherlands Antilles newspaper Amigoe, Radar reported on May 6 that a team from the United States and supervised by an independent bureau from the Netherlands traveled to Curaçao in order to remove asbestos from the Freewinds.

“I stand by everything I wrote in my 2001 affidavit,” said Lawrence Woodcraft in an exclusive statement given to Wikinews. Woodcraft went on to state: “I would also comment that if the Church of Scientology claims to have removed the blue asbestos, I just don’t see how, it’s everywhere. You would first have to remove all the pipes, plumbing, a/c ducts, electrical wiring etc. etc. just a maze of stuff. Also panelling as well, basically strip the ship back to a steel hull. Also blue asbestos is sprayed onto the outer walls and then covered in paint. It’s in every nook and cranny.”

Many Scientologist celebrities have spent time aboard the Freewinds, including Tom Cruise, Katie Holmes, John Travolta, Kelly Preston, Chick Corea, Lisa Marie Presley, Catherine Bell, Kate Ceberano, and Juliette Lewis. Now magazine reported that Tom Cruise has been urged to seek medical attention regarding potential asbestos exposure, however a representative for Cruise stated he has “absolutely no knowledge” of the recent asbestos controversy. Cruise, Holmes, Travolta and Preston have celebrated birthdays and other events on the Freewinds.

In a May 15 statement to the United Kingdom daily newspaper Metro, a representative for the Church of Scientology said that “There is not now and never has been a situation of asbestos exposure on the Freewinds.” The Asbestos and Mesothelioma Center notes that agencies have recommended anyone who has spent time on the Freewinds consult with their physician to determine if possible asbestos exposure may have affected their health.

Raw blue asbestos is the most hazardous form of asbestos, and has been banned in the United Kingdom since 1970. Blue asbestos fibers are very narrow and thus easily inhaled, and are a major cause of mesothelioma. Mesothelioma is a form of cancer which can develop in the lining of the lungs and chest cavity, the lining of the abdominal cavity, or the pericardium sac surrounding the heart. The cancer is incurable, and can manifest over 40 years after the initial exposure to asbestos.

“This is the most dangerous type of asbestos because the fibres are smaller than the white asbestos and can penetrate the lung more easily,” said toxicologist Dr. Chris Coggins in a statement published in OK! Magazine. Dr. Coggins went on to note that “Once diagnosed with mesothelioma, the victim has six months to a year to live. It gradually reduces lung function until the victim is no longer able to breathe and dies.”

Wednesday, November 1, 2006

The third and last bidder for Singapore’s Sentosa Integrated Resort (IR) project, Eighth Wonder, submitted its development plan yesterday: a SGD 5.5 billion(USD 3.52 billion) eco-friendly casino known as “Harry’s Island”.

Harry’s Island will boast 10 luxury, family-oriented hotels, a tree house with family suites, and a 7,500-seat Caldera theater which will feature nightly spectacular shows.

Eighth Wonder says it wants to make Harry’s Island a world-class, must-see tourist destination and has roped-in several big names in its tender. If selected, the resort will have spas and health centers run by health guru Deepak Chopra, Vera Wang hotels with access to her entire wedding collection, and a soccer academy with Brazilian soccer icon Pele giving his input.

Harry’s Island will create around 15,000 jobs, including 5000 in the food and beverage industry.

The company believes it can recover its investments by 2015 by generating over $5.6 billion in five years; it hopes to bring nearly 15 million visitors annually by 2014.

The Sentosa IR project is the second of two IR tenders offered by the Singapore Government: the first was located in Marina Bay.

The Singapore government is expected to announce the winner in December.

Thursday, September 27, 2007

John Vanderslice has recently learned to enjoy America again. The singer-songwriter, who National Public Radio called “one of the most imaginative, prolific and consistently rewarding artists making music today,” found it through an unlikely source: his French girlfriend. “For the first time in my life I wouldn’t say I was defending the country but I was in this very strange position…”

Since breaking off from San Francisco local legends, mk Ultra, Vanderslice has produced six critically-acclaimed albums. His most recent, Emerald City, was released July 24th. Titled after the nickname given to the American-occupied Green Zone in Baghdad, it chronicles a world on the verge of imminent collapse under the weight of its own paranoia and loneliness. David Shankbone recently went to the Bowery Ballroom and spoke with Vanderslice about music, photography, touring and what makes a depressed liberal angry.

DS: How is the tour going?

JV: Great! I was just on the Wiki page for Inland Empire, and there is a great synopsis on the film. What’s on there is the best thing I have read about that film. The tour has been great. The thing with touring: say you are on vacation…let’s say you are doing an intense vacation. I went to Thailand alone, and there’s a part of you that just wants to go home. I don’t know what it is. I like to be home, but on tour there is a free floating anxiety that says: Go Home. Go Home.

DS: Anywhere, or just outside of the country?

JV: Anywhere. I want to be home in San Francisco, and I really do love being on tour, but there is almost like a homing beacon inside of me that is beeping and it creates a certain amount of anxiety.

DS: I can relate: You and I have moved around a lot, and we have a lot in common. Pranks, for one. David Bowie is another.

JV: Yeah, I saw that you like David Bowie on your MySpace.

DS: When I was in college I listened to him nonstop. Do you have a favorite album of his?

JV: I loved all the things from early to late seventies. Hunky Dory to Low to “Heroes” to Lodger. Low changed my life. The second I got was Hunky Dory, and the third was Diamond Dogs, which is a very underrated album. Then I got Ziggy Stardust and I was like, wow, this is important…this means something. There was tons of music I discovered in the seventh and eighth grade that I discovered, but I don’t love, respect and relate to it as much as I do Bowie. Especially Low…I was just on a panel with Steve Albini about how it has had a lot of impact.

DS: You said seventh and eighth grade. Were you always listening to people like Bowie or bands like the Velvets, or did you have an Eddie Murphy My Girl Wants to Party All the Time phase?

JV: The thing for me that was the uncool music, I had an older brother who was really into prog music, so it was like Gentle Giant and Yes and King Crimson and Genesis. All the new Genesis that was happening at the time was mind-blowing. Phil Collins‘s solo record…we had every single solo record, like the Mike Rutherford solo record.

DS: Do you shun that music now or is it still a part of you?

JV: Oh no, I appreciate all music. I’m an anti-snob. Last night when I was going to sleep I was watching Ocean’s Thirteen on my computer. It’s not like I always need to watch some super-fragmented, fucked-up art movie like Inland Empire. It’s part of how I relate to the audience. We end every night by going out into the audience and playing acoustically, directly, right in front of the audience, six inches away—that is part of my philosophy.

DS: Do you think New York or San Francisco suffers from artistic elitism more?

JV: I think because of the Internet that there is less and less elitism; everyone is into some little superstar on YouTube and everyone can now appreciate now Justin Timberlake. There is no need for factions. There is too much information, and I think the idea has broken down that some people…I mean, when was the last time you met someone who was into ska, or into punk, and they dressed the part? I don’t meet those people anymore.

DS: Everything is fusion now, like cuisine. It’s hard to find a purely French or purely Vietnamese restaurant.

JV: Exactly! When I was in high school there were factions. I remember the guys who listened to Black Flag. They looked the part! Like they were in theater.

DS: You still find some emos.

JV: Yes, I believe it. But even emo kids, compared to their older brethren, are so open-minded. I opened up for Sunny Day Real Estate and Pedro the Lion, and I did not find their fans to be the cliquish people that I feared, because I was never playing or marketed in the emo genre. I would say it’s because of the Internet.

DS: You could clearly create music that is more mainstream pop and be successful with it, but you choose a lot of very personal and political themes for your music. Are you ever tempted to put out a studio album geared toward the charts just to make some cash?

JV: I would say no. I’m definitely a capitalist, I was an econ major and I have no problem with making money, but I made a pact with myself very early on that I was only going to release music that was true to the voices and harmonic things I heard inside of me—that were honestly inside me—and I have never broken that pact. We just pulled two new songs from Emerald City because I didn’t feel they were exactly what I wanted to have on a record. Maybe I’m too stubborn or not capable of it, but I don’t think…part of the equation for me: this is a low stakes game, making indie music. Relative to the world, with the people I grew up with and where they are now and how much money they make. The money in indie music is a low stakes game from a financial perspective. So the one thing you can have as an indie artist is credibility, and when you burn your credibility, you are done, man. You can not recover from that. These years I have been true to myself, that’s all I have.

DS: Do you think Spoon burned their indie credibility for allowing their music to be used in commercials and by making more studio-oriented albums? They are one of my favorite bands, but they have come a long way from A Series of Sneaks and Girls Can Tell.

JV: They have, but no, I don’t think they’ve lost their credibility at all. I know those guys so well, and Brit and Jim are doing exactly the music they want to do. Brit owns his own studio, and they completely control their means of production, and they are very insulated by being on Merge, and I think their new album—and I bought Telephono when it came out—is as good as anything they have done.

DS: Do you think letting your music be used on commercials does not bring the credibility problem it once did? That used to be the line of demarcation–the whole Sting thing–that if you did commercials you sold out.

JV: Five years ago I would have said that it would have bothered me. It doesn’t bother me anymore. The thing is that bands have shrinking options for revenue streams, and sync deals and licensing, it’s like, man, you better be open to that idea. I remember when Spike Lee said, ‘Yeah, I did these Nike commercials, but it allowed me to do these other films that I wanted to make,’ and in some ways there is an article that Of Montreal and Spoon and other bands that have done sync deals have actually insulated themselves further from the difficulties of being a successful independent band, because they have had some income come in that have allowed them to stay put on labels where they are not being pushed around by anyone.

The ultimate problem—sort of like the only philosophical problem is suicide—the only philosophical problem is whether to be assigned to a major label because you are then going to have so much editorial input that it is probably going to really hurt what you are doing.

DS: Do you believe the only philosophical question is whether to commit suicide?

JV: Absolutely. I think the rest is internal chatter and if I logged and tried to counter the internal chatter I have inside my own brain there is no way I could match that.

DS: When you see artists like Pete Doherty or Amy Winehouse out on 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 their music?

JV: The thing for me is they are profound iconic figures for me, and I don’t even know their music. I don’t know Winehouse or Doherty’s music, I just know that they are acting a very crucial, mythic part in our culture, and they might be doing it unknowingly.

DS: Glorification of drugs? The rock lifestyle?

JV: More like an out-of-control Id, completely unregulated personal relationships to the world in general. It’s not just drugs, it’s everything. It’s arguing and scratching people’s faces and driving on the wrong side of the road. Those are just the infractions that land them in jail. I think it might be unknowing, but in some ways they are beautiful figures for going that far off the deep end.

DS: As tragic figures?

JV: Yeah, as totally tragic figures. I appreciate that. I take no pleasure in saying that, but I also believe they are important. The figures that go outside—let’s say GG Allin or Penderetsky in the world of classical music—people who are so far outside of the normal boundaries of behavior and communication, it in some way enlarges the size of your landscape, and it’s beautiful. I know it sounds weird to say that, but it is.

DS: They are examples, as well. I recently covered for Wikinews the Iranian President speaking at Columbia and a student named Matt Glick told me that he supported the Iranian President speaking so that he could protest him, that if we don’t give a platform and voice for people, how can we say that they are wrong? I think it’s almost the same thing; they are beautiful as examples of how living a certain way can destroy you, and to look at them and say, “Don’t be that.”

JV: Absolutely, and let me tell you where I’m coming from. I don’t do drugs, I drink maybe three or four times a year. I don’t have any problematic relationship to drugs because there has been a history around me, like probably any musician or creative person, of just blinding array of drug abuse and problems. For me, I am a little bit of a control freak and I don’t have those issues. I just shut those doors. But I also understand and I am very sympathetic to someone who does not shut that door, but goes into that room and stays.

DS: Is it a problem for you to work with people who are using drugs?

JV: I would never work with them. It is a very selfish decision to make and usually those people are total energy vampires and they will take everything they can get from you. Again, this is all in theory…I love that stuff in theory. If Amy Winehouse was my girlfriend, I would probably not be very happy.

DS: Your latest CD is Emerald City and that is an allusion to the compound that we created in Baghdad. How has the current political client affected you in terms of your music?

JV: In some ways, both Pixel Revolt and Emerald City were born out of a recharged and re-energized position of my being….I was so beaten down after the 2000 election and after 9/11 and then the invasion of Iraq, Afghanistan; I was so depleted as a person after all that stuff happened, that I had to write my way out of it. I really had to write political songs because for me it is a way of making sense and processing what is going on. The question I’m asked all the time is do I think is a responsibility of people to write politically and I always say, My God, no. if you’re Morrissey, then you write Morrissey stuff. If you are Dan Bejar and Destroyer, then you are Dan Bejar and you are a fucking genius. Write about whatever it is you want to write about. But to get out of that hole I had to write about that.

DS: There are two times I felt deeply connected to New York City, and that was 9/11 and the re-election of George Bush. The depression of the city was palpable during both. I was in law school during the Iraq War, and then when Hurricane Katrina hit, we watched our countrymen debate the logic of rebuilding one of our most culturally significant cities, as we were funding almost without question the destruction of another country to then rebuild it, which seems less and less likely. Do you find it is difficult to enjoy living in America when you see all of these sorts of things going on, and the sort of arguments we have amongst ourselves as a people?

JV: I would say yes, absolutely, but one thing changed that was very strange: I fell in love with a French girl and the genesis of Emerald City was going through this visa process to get her into the country, which was through the State Department. In the middle of process we had her visa reviewed and everything shifted over to Homeland Security. All of my complicated feelings about this country became even more dour and complicated, because here was Homeland Security mailing me letters and all involved in my love life, and they were grilling my girlfriend in Paris and they were grilling me, and we couldn’t travel because she had a pending visa. In some strange ways the thing that changed everything was that we finally got the visa accepted and she came here. Now she is a Parisian girl, and it goes without saying that she despises America, and she would never have considered moving to America. So she moves here and is asking me almost breathlessly, How can you allow this to happen—

DS: –you, John Vanderslice, how can you allow this—

JV: –Me! Yes! So for the first time in my life I wouldn’t say I was defending the country but I was in this very strange position of saying, Listen, not that many people vote and the churches run fucking everything here, man. It’s like if you take out the evangelical Christian you have basically a progressive western European country. That’s all there is to it. But these people don’t vote, poor people don’t vote, there’s a complicated equation of extreme corruption and voter fraud here, and I found myself trying to rattle of all the reasons to her why I am personally not responsible, and it put me in a very interesting position. And then Sarkozy got elected in France and I watched her go through the same horrific thing that we’ve gone through here, and Sarkozy is a nut, man. This guy is a nut.

DS: But he doesn’t compare to George Bush or Dick Cheney. He’s almost a liberal by American standards.

JV: No, because their President doesn’t have much power. It’s interesting because he is a WAPO right-wing and he was very close to Le Pen and he was a card-carrying straight-up Nazi. I view Sarkozy as somewhat of a far-right candidate, especially in the context of French politics. He is dismantling everything. It’s all changing. The school system, the remnants of the socialized medical care system. The thing is he doesn’t have the foreign policy power that Bush does. Bush and Cheney have unprecedented amounts of power, and black budgets…I mean, come on, we’re spending half a trillion dollars in Iraq, and that’s just the money accounted for.

DS: What’s the reaction to you and your music when you play off the coasts?

JV: I would say good…

DS: Have you ever been Dixiechicked?

JV: No! I want to be! I would love to be, because then that means I’m really part of some fiery debate, but I would say there’s a lot of depressed in every single town. You can say Salt Lake City, you can look at what we consider to be conservative cities, and when you play those towns, man, the kids that come out are more or less on the same page and politically active because they are fish out of water.

DS: Depression breeds apathy, and your music seems geared toward anger, trying to wake people from their apathy. Your music is not maudlin and sad, but seems to be an attempt to awaken a spirit, with a self-reflective bent.

JV: That’s the trick. I would say that honestly, when Katrina happened, I thought, “okay, this is a trick to make people so crazy and so angry that they can’t even think. If you were in a community and basically were in a more or less quasi-police state surveillance society with no accountability, where we are pouring untold billions into our infrastructure to protect outside threats against via terrorism, or whatever, and then a natural disaster happens and there is no response. There is an empty response. There is all these ships off the shore that were just out there, just waiting, and nobody came. Michael Brown. It is one of the most insane things I have ever seen in my life.

DS: Is there a feeling in San Francisco that if an earthquake struck, you all would be on your own?

JV: Yes, of course. Part of what happened in New Orleans is that it was a Catholic city, it was a city of sin, it was a black city. And San Francisco? Bush wouldn’t even visit California in the beginning because his numbers were so low. Before Schwarzenegger definitely. I’m totally afraid of the earthquake, and I think everyone is out there. America is in the worst of both worlds: a laissez-fare economy and then the Grover Norquist anti-tax, starve the government until it turns into nothing more than a Argentinian-style government where there are these super rich invisible elite who own everything and there’s no distribution of wealth and nothing that resembles the New Deal, twentieth century embracing of human rights and equality, war against poverty, all of these things. They are trying to kill all that stuff. So, in some ways, it is the worst of both worlds because they are pushing us towards that, and on the same side they have put in a Supreme Court that is so right wing and so fanatically opposed to upholding civil rights, whether it be for foreign fighters…I mean, we are going to see movement with abortion, Miranda rights and stuff that is going to come up on the Court. We’ve tortured so many people who have had no intelligence value that you have to start to look at torture as a symbolic and almost ritualized behavior; you have this…

DS: Organ failure. That’s our baseline…

JV: Yeah, and you have to wonder about how we were torturing people to do nothing more than to send the darkest signal to the world to say, Listen, we are so fucking weird that if you cross the line with us, we are going to be at war with your religion, with your government, and we are going to destroy you.

DS: I interviewed Congressman Tom Tancredo, who is running for President, and he feels we should use as a deterrent against Islam the bombing of the Muslim holy cities of Mecca and Medina.

JV: You would radicalize the very few people who have not been radicalized, yet, by our actions and beliefs. We know what we’ve done out there, and we are going to paying for this for a long time. When Hezbollah was bombing Israel in that border excursion last year, the Hezbollah fighters were writing the names of battles they fought with the Jews in the Seventh Century on their helmets. This shit is never forgotten.

DS: You read a lot of the stuff that is written about you on blogs and on the Internet. Do you ever respond?

JV: No, and I would say that I read stuff that tends to be . I’ve done interviews that have been solely about film and photography. For some reason hearing myself talk about music, and maybe because I have been talking about it for so long, it’s snoozeville. Most interviews I do are very regimented and they tend to follow a certain line. I understand. If I was them, it’s a 200 word piece and I may have never played that town, in Des Moines or something. But, in general, it’s like…my band mates ask why don’t I read the weeklies when I’m in town, and Google my name. It would be really like looking yourself in the mirror. When you look at yourself in the mirror you are just error-correcting. There must be some sort of hall of mirrors thing that happens when you are completely involved in the Internet conversation about your music, and in some ways I think that I’m very innocently making music, because I don’t make music in any way that has to do with the response to that music. I don’t believe that the response to the music has anything to do with it. This is something I got from John Cage and Marcel Duchamp, I think the perception of the artwork, in some ways, has nothing to do with the artwork, and I think that is a beautiful, glorious and flattering thing to say to the perceiver, the viewer of that artwork. I’ve spent a lot of time looking at Paul Klee‘s drawings, lithographs, watercolors and paintings and when I read his diaries I’m not sure how much of a correlation there is between what his color schemes are denoting and what he is saying and what I am getting out of it. I’m not sure that it matters. Inland Empire is a great example. Lynch basically says, I don’t want to talk about it because I’m going to close doors for the viewer. It’s up to you. It’s not that it’s a riddle or a puzzle. You know how much of your own experience you are putting into the digestion of your own art. That’s not to say that that guy arranges notes in an interesting way, and sings in an interesting way and arranges words in an interesting way, but often, if someone says they really like my music, what I want to say is, That’s cool you focused your attention on that thing, but it does not make me go home and say, Wow, you’re great. My ego is not involved in it.

DS: Often people assume an artist makes an achievement, say wins a Tony or a Grammy or even a Cable Ace Award and people think the artist must feel this lasting sense of accomplishment, but it doesn’t typically happen that way, does it? Often there is some time of elation and satisfaction, but almost immediately the artist is being asked, “Okay, what’s the next thing? What’s next?” and there is an internal pressure to move beyond that achievement and not focus on it.

JV: Oh yeah, exactly. There’s a moment of relief when a mastered record gets back, and then I swear to you that ten minutes after that point I feel there are bigger fish to fry. I grew up listening to classical music, and there is something inside of me that says, Okay, I’ve made six records. Whoop-dee-doo. I grew up listening to Gustav Mahler, and I will never, ever approach what he did.

DS: Do you try?

JV: I love Mahler, but no, his music is too expansive and intellectual, and it’s realized harmonically and compositionally in a way that is five languages beyond me. And that’s okay. I’m very happy to do what I do. How can anyone be so jazzed about making a record when you are up against, shit, five thousand records a week—

DS: —but a lot of it’s crap—

JV: —a lot of it’s crap, but a lot of it is really, really good and doesn’t get the attention it deserves. A lot of it is very good. I’m shocked at some of the stuff I hear. I listen to a lot of music and I am mailed a lot of CDs, and I’m on the web all the time.

DS: I’ve done a lot of photography for Wikipedia and the genesis of it was an attempt to pin down reality, to try to understand a world that I felt had fallen out of my grasp of understanding, because I felt I had no sense of what this world was about anymore. For that, my work is very encyclopedic, and it fit well with Wikipedia. What was the reason you began investing time and effort into photography?

JV: It came from trying to making sense of touring. Touring is incredibly fast and there is so much compressed imagery that comes to you, whether it is the window in the van, or like now, when we are whisking through the Northeast in seven days. Let me tell you, I see a lot of really close people in those seven days. We move a lot, and there is a lot of input coming in. The shows are tremendous and, it is emotionally so overwhelming that you can not log it. You can not keep a file of it. It’s almost like if I take photos while I am doing this, it slows it down or stops it momentarily and orders it. It has made touring less of a blur; concretizes these times. I go back and develop the film, and when I look at the tour I remember things in a very different way. It coalesces. Let’s say I take on fucking photo in Athens, Georgia. That’s really intense. And I tend to take a photo of someone I like, or photos of people I really admire and like.

DS: What bands are working with your studio, Tiny Telephone?

JV: Death Cab for Cutie is going to come back and track their next record there. Right now there is a band called Hello Central that is in there, and they are really good. They’re from L.A. Maids of State was just in there and w:Deerhoof was just in there. Book of Knotts is coming in soon. That will be cool because I think they are going to have Beck sing on a tune. That will be really cool. There’s this band called Jordan from Paris that is starting this week.

DS: Do they approach you, or do you approach them?

JV I would say they approach me. It’s generally word of mouth. We never advertise and it’s very cheap, below market. It’s analog. There’s this self-fulfilling thing that when you’re booked, you stay booked. More bands come in, and they know about it and they keep the business going that way. But it’s totally word of mouth.

Wednesday, October 22, 2008

Monday saw the latest edition of the vetted version of Wikipedia, which is aimed at educational use, go quietly online. The extensively revised version covers over five thousand topics, targeting the eight to seventeen years age group. Partnerships with the Shuttleworth Foundation and the Hole in the Wall project will see it distributed in South Africa and India as well as copies being available globally via the offices of SOS Children UK’s umbrella organisation, SOS Kinderdorf worldwide.

First launched in 2006 as a 4,000 article edition, the extract of Wikipedia has employed hi-tech distribution methods, as well as offering a website version which has steadily climbed up in ranking to above other reviewed Wikipedia rivals and copies; the 2007 version was available on the BitTorrent peer to peer network to keep distribution costs down and was equivalent to a fifteen-volume printed encyclopedia. Monday’s release is compared to a twenty-volume print edition.

Key to the process for selecting articles is the English National Curriculum and similar educational standards around the world. The initial vision was to bring this wealth of knowledge to schools where access to the Internet was poor or unavailable, but copies of Wikipedia for Schools can be found on many first world school intranets and web servers. Among the compelling reasons to adopt the project are the vetting and additional study materials which overcome the oft-publicised concerns many educators have with the million article plus Wikipedia that anyone can edit.

In today’s press release announcing the launch, Wikimedia Foundation Executive Director Sue Gardner expressed delight at seeing the project bring out a new version, “Our goal is to make Wikipedia accessible to as many people as possible around the world, and SOS Children is a great partner that helps us make that happen. Wikipedia is released under a free content license so that individuals and institutions can easily adapt, reuse and customize its content: we encourage others, like SOS Children, to do exactly that.”

Running 192 schools in the developing world, SOS Children sees Wikipedia for Schools as a key piece in fulfilling the educational aspect of their mission. SOS Children’s Chairwoman, Mary Cockcroft gave us an introduction and, a Wikipedia administrator himself, the charity’s CEO Andrew Cates spoke to Wikinews at length about the project.

You are part of SOS-Kinderdorf International, can you explain a little about how this works in terms of distributing funds raised in the UK and involving UK citizens in work outside the country?

Mary Cockcroft: SOS Children[‘s Villages] is a “club” of member charities in 130 countries helping orphans and vulnerable children. The club elects SOS-Kinderdorf International as secretary. SOS is a large organisation whose members in aggregate turned over $1bn in 2007, and whose projects include owning and running 192 schools and family-based care for 70,000 children. However much of these funds are raised locally, with for example the member charities in each of India, Pakistan and South Africa raise considerably more funds in their own country than SOS UK does from the UK. Nonetheless SOS Children UK principally raises funds to finance projects in the developing world, and has only financially small projects in the UK (such as the Schools Wikipedia, which is very low cost because of extensive use of volunteers). This year we expect about 80% of our UK income will leave the UK for overseas SOS associations, and some of the remaining 20% will pay for project oversight. We do not spend money in the UK on Direct Mail or TV advertising. Our UK office is involved in overseeing projects we finance and a small number of high-skilled volunteers from the UK help overseas. However around 98% of SOS staff worldwide are local nationals, as are most volunteers.

((WN)) How much work does the UK charity actually carry out within the home country? Are there failings within the government system for orphans and other needy children that you feel obliged to remedy?

MC: We are deeply unhappy about the situation of children in out-of-home care in the UK. However our care model of 168 hour-a-week resident mothers does not fit with the UK philosophy for children without parental care. Internationally SOS always has a policy of sharing best practice and we are working to improve understanding of our way of working, which appears to us to have far better outcomes than the existing one in the UK. Ultimately though the legal responsibility for these children lies with government and we cannot remedy anything without their invitation.

((WN)) Who first came up with the idea of doing a vetted Wikipedia extract? What was the impetus? Was it more for the developing world than first world?

Andrew Cates: I honestly cannot remember who first suggested it, but it came from somewhere in the Wikipedia community rather than from the charity. The original product was very much pitched at the developing world where the Internet is only available if at all over an expensive phone line. I worked in West Africa 1993-1996 and I know well at how thirsty for knowledge people are and how ingenious they will be in overcoming technical obstacles if the need for infrastructure is removed.

((WN)) In reading past year’s announcements there’s some pride in the project being picked up and used in the first world, was this expected or a pleasant surprise?

AC: It was a pleasant surprise. I don’t think we had realised what the barriers schools faced in using the main Wikipedia were. It isn’t just pupils posting material about teachers or meeting strangers: the “Random Article” button on every page could potentially deliver an article on hardcore porn. We had already started when discussion broke on banning Wikipedia from classrooms and I am sure we benefited from it.

((WN)) Can you give an outline of the selection and vetting process? Is it primarily Wikipedians working on this, or are people from the educational establishment brought in?

AC: It was a long and painful process, even with a really good database system. Articles were taken into the proposal funnel from three main sources: direct proposals for inclusion from Wikipedians, lists which came from the Release Version team and proposals drawn up from working through National Curriculum subjects by SOS volunteers. In a few cases where we felt articles were missing we asked the community to write them (e.g. Portal:Early Modern Britain, which is a curriculum subject, was kindly written just for us): These “proposals” were then looked at by mainly SOS volunteers (some onwiki, some offline). Our offices are in the middle of Cambridge and we get high quality volunteers, who skim read each article and then compared two versions from the article history by credible WP editors a significant period apart (this picks up most graffiti vandalism which runs at about 3% of articles). Once they had identified a “best” version they marked any sections or text strings for deletion (sections which were just a list of links to other articles not included, empty sections, sex scandals etc). A substantial sample of each volunteers work was then doubled checked for quality by one of two office staff (of whom I was one). We then have a script which does some automated removals and clean ups. Once we had a selection we posted it to relevant wikiprojects and a few “experts” and got any extra steers.

((WN)) Will you be making use of BitTorrent for distribution again this year? Was it a success in 2007?

AC: BitTorrent was a bit disappointing in that it got us the only substantial criticisms we received online. A lot of people find it too much effort to use. However for the period we offered a straight http: download we had huge problems with spiders eating vast bandwidth (the file is 3.5G: a few thousand rogue spider downloads and it starts to hurt). As per last year therefore our main two channels will be free download by BitTorrent and mailing the DVDs free all over the world. At a pinch we will (as before) put straight copies up for individuals who cannot get it any other way, and we have some copies on memory sticks for on distributors.

((WN)) Is it your opinion that the UK Government should be encouraging the adoption of projects like this as mainstream educational resources?

AC: Clearly yes. We have had a very enthusiastic reaction from schools and the teaching community. We think every school should have an intranet copy. We expect the Government to catch on in a few years. That is not to say that Wikipedia is as good as resources developed by teachers for teachers such as lesson plans etc. but it is a fantastic resource.

((WN)) You’re a Wikipedia administrator, all too often a thankless task. What prompted you to get involved in the first place? What are the most notable highs and lows of your involvement with the project?

AC: Funnily the thing I have found most amazing about Wikipedia is not widely discussed, which is the effect of Wikipedia policies on new editors. I have seen countless extreme POV new editors, who come in and try to get their opinions included slowly learn not only that there are other opinions to consider but that elements of their own opinion which are not well founded. Watching someone arrive often (on pages on religions for example) full of condemnation for others, gradually become understanding and diplomatic is one of the biggest buzzes there is. The downside though is where correcting things which are wrong is too painfully slow because you need to find sources. I was a post-doc at Cambridge University in combustion and I know the article on Bunsen burners has several really significant errors concerning the flame structure and flow structure. But sadly I cannot correct it because I am still looking around for a reliable source.

((WN)) Do you believe schools should encourage students to get involved contributing to the editable version of Wikipedia? Does SOS Children encourage those who are multilingual to work on non-English versions?

AC: I think older students have a lot to learn from becoming involved in editing Wikipedia.

((WN)) To close, is there anything you’d like to add to encourage use of Wikipedia for Schools, or to persuade educators to gain a better understanding of Wikipedia?

AC: I would encourage people to feed back to the project online or via the charity. The Wikipedia community set out to help educate the world and are broadly incredibly well motivated to help. As soon as we understand what can be done to improve things people are already on the task.

((WN)) Thank you for your time.

Tuesday, October 4, 2005

Dr. Stephen Schoenthaler, a Professor of Criminal Justice at the California State University in Stanislaus, has long argued that there is a link between a healthy diet and decreased aggressive behaviour, as well as with increased IQ and school performance.

Dr. Schoenthaler is well-known for a youth detention center study where violations of house rules fell by 37% when vending machines were removed and the cafeteria replaced canned food by fresh alternatives. He summarizes his findings by saying that “Having a bad diet right now is a better predictor of future violence than past violent behaviour.” In a very large test, Schoenthaler directed a study in meals at 803 New York City schools, in low-income neighbourhoods, finding that the number of students passing final exams increased by 16%.

Critics have questioned some of Dr. Schoenthaler findings, due to the lack of placebo control groups. However, more recent work by Dr. Bernard Gesch, a physiologist at the University of Oxford, has placed some of the work on a more scientific footing. Dr. Gesch found that nutrition supplements produced a 26% drop in violations of prison rules over a placebo, and a 37% decrease in violent offences. The Netherlands has embarked on a wider scale dietary research program in 14 prisons.

The short term behaviour consequences of ingesting sugar are well understood: an initial burst on energy, followed a sugar low in which your body produces adrenalin, which makes you irritable and explosive. However, Schoenthaler and Gesch suggest that there are long term impacts over and above the short term consequences of blood sugar variations.

Friday, October 12, 2007

Turkish officials have expressed outrage over a United States congressional resolution labeling the Ottoman Empire‘s World War I era killings of up to 1.5 million Armenians as “genocide”. The Turkish government has warned that the resolution threatens its strategic partnership with the U.S.

The resolution, passed 27-21 by the U.S. House Committee on Foreign Affairs on Wednesday, states that “[t]he Armenian Genocide was conceived and carried out by the Ottoman Empire from 1915 to 1923, resulting in the deportation of nearly 2,000,000 Armenians, of whom 1,500,000 men, women, and children were killed”. The resolution calls on the President ” to ensure that the foreign policy of the United States reflects appropriate understanding and sensitivity concerning issues related to human rights, ethnic cleansing, and genocide documented in the United States record relating to the Armenian Genocide.”

The World War I era killings, commonly referred to as the Armenian Genocide, have been recognized as genocide by 22 countries, including France, Russia, Venezuela, Argentina, and Canada. The killings have also been officially labeled as “genocide” by 40 of the 50 U.S. states. Turkey acknowledges that Armenians were killed, but calls it a massacre rather than an organized campaign of genocide.

On Thursday the Turkish government released a statement saying that “It is unacceptable that the Turkish nation should be accused of a crime that it never committed in its history.” “We still hope that the House of Representatives will have enough good sense not to take this resolution further,” the statement added. A statement on the Turkish Foreign Ministry web site said that the resolution “will not only endanger relations with a friendly and allied nation but will also jeopardize a strategic partnership that has been cultivated for generations.”

On Thursday, Turkey recalled its U.S. ambassador Nabi Sensoy, and warned of further repercussions. “Yesterday some in Congress wanted to play hardball,” said Turkish foreign policy adviser Egemen Bagis. “I can assure you Turkey knows how to play hardball.”

White House spokesman Scott Stanzel said he was “disappointed” by the vote. While acknowledging that “[w]e understand the feelings that people have about the tragic suffering of the Armenian people,” Stanzel warned that “Turkey is playing a critical role in the war on terror and this action is problematic for everything we’re trying to do in the Middle East and would cause great harm to our efforts.” U.S. President George W. Bush had lobbied against the resolution, saying that it would damage relations between the U.S. and Turkey.

House of Representatives speaker Nancy Pelosi said the resolution will go forward for a vote in the House despite Turkish opposition. “As long as there is genocide, there is a need to speak out against it,” Pelosi said.