Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Monday, August 17, 2009

Earlier this month, over 150 delegates from cultural institutions, government and the online community gathered at the Australian War Memorial in Canberra over one and a half days for the first GLAM-WIKI conference. The conference brought together representatives from the GLAM sector, comprising galleries, libraries, archives and museums, politicians, and members of the Wikimedia community (who edit the online encyclopedia Wikipedia and its sister sites), to enter into a dialogue regarding ways the three areas can work collaboratively to preserve and promote cultural collections online.

Highlights from the conference included keynote speeches by Wikimedia Foundation Chief Program Officer Jennifer Riggs and Senator Kate Lundy, as well as a panel discussion on the political pressures involved in improving and disseminating GLAM organisations’ online collections featuring Senator Lundy as well as Senator Scott Ludlam, ACT Legislative Assembly shadow minister Alistair Coe, Government 2.0 Taskforce member Seb Chan, Adjunct Director to the Digital Library of the National Library of New Zealand Paul Reynolds and Kylie Johnson, the New Media Advisor for the Department of the Environment, Water, Heritage and the Arts. Sessions focused on ways the Wikimedia and GLAM communities could better work together to further their missions of preserving, curating and sharing cultural knowledge, with streams examining the topics of legal and technical barriers, and the impact on business and education.

Two case studies were presented at the conference, the first being the Powerhouse Museum’s experimental release of some of their photographic collection to Flickr Commons, and the second the collaboration between the German Wikimedia chapter and German Federal Archives to release their collection to Wikimedia Commons. While these and other projects were examined as successful forays into open content, the recent legal action between the United Kingdom’s National Portrait Gallery and a Wikimedian was raised in most sessions as an example of such efforts having negative consequences.

Delegates at the conference engaged in heated discussion both on- and offline, with the #GLAM-WIKI tag on Twitter generating over 500 tweets during the course of the first day. Overall, feedback from participants was strongly positive over both the event and its plans for the future.

Liam Wyatt, the Vice President of the Australian Wikimedia Chapter and organiser of the event, was impressed by the turnout. According to Wyatt, “at 170 registrations it is one of the largest Wikimedia events ever, after [international Wikimedia conference] Wikimania, and to be able to offer that for no attendance fee is testament to the support we received from our partners – most especially the WMF … There are many proposals and discussions that are now starting up as a result of the event and, rightly, these may take quite some time to bear fruit. However, what I think we have achieved immediately is to take the heat out of the debate between the cultural sector and the Wikimedia community.”

Jennifer Riggs was similarly impressed by the dialogue that came as a result of the conference. “It’s gone terrifically, really. People have had the opportunity to be really frank about the concerns that they have.”

Tuesday, January 19, 2010

A Scottish woman who set out before Christmas to purchase a turkey finally made it home on Monday, after being cut off by snow for a month. Kay Ure left the Lighthouse Keeper’s cottage on Cape Wrath, at the very northwest tip of Great Britain, in December. She was heading to Inverness on a shopping trip.

However on her return journey heavy snow and ice prevented her husband, John, from travelling the last 11 miles to pick her up. She was forced to wait a month in a friend’s caravan, before the weather improved and the couple could finally be reunited.

They were separated not just for Christmas and New Year, but also for Mr Ure’s 58th birthday. With no fresh supplies, he was reduced to celebrating with a tin of baked beans. He also ran out of coal, and had to feed the couple’s six springer spaniels on emergency army rations.

“It’s the first time we’ve been separated”, said Mr Ure in December. “We’ve been snowed in here for three weeks before, so we are well used to it and it’s quite nice to get a bit of peace and quiet.”

Sunday, November 11, 2007

Boston-based singer-songwriter Antje Duvekot has made a name for herself in the folk music world with powerful ballads of heartbreak and longing for a deeper spirituality, but coming up empty-handed. Below is David Shankbone’s interview with the folk chanteuse.

David Shankbone: Tell me about your new album.

Antje Duvekot: It’s called Big Dream Boulevard and it’s the first studio album I made. It’s not so new; I made it in May of 2006. It’s produced by Séamus Egan, who is the leader of a fairly renowned band named Solas.

DS: You mentioned you used to explore more dark themes in your work, but that lately you are exploring lighter fare. What themes are you exploring on this album?

AD: In the future I am hoping for more light themes. I feel like I have worked through a lot of the darkness, and personally I feel like I’m ready to write a batch of lighter songs, but that’s just how I’m feeling right now. My last record, Big Dream Boulevard, was a pretty heavy record and that was not intentional. I write what is on my mind.

DS: What were you going through that made it so dark?

AD: The record is drawn from my whole writing career, so it’s old and new songs as well. I wasn’t going through anything in particular because it was spanning a wide time period. I think it’s fair to say that over all I turn to music in times of trouble and need as a therapeutic tool to get me through sadness. That’s why I tend to turn to music. So my songs tend to be a little darker, because that’s where I tend to go for solace. So themes like personal struggle with relationships and existential issues.

DS: What personal relationships do you struggle with?

AD: A lot of my songs are about dating and relationship troubles. That’s one category. But a lot of my songs are about existential questions because I struggle with what to believe in.

DS: Do you believe in a higher power?

AD: I’m sort of an atheist who wishes I could believe something.

DS: What do you believe?

AD: It’s undefined. I think I’m spiritual in music, which is my outlet, but I just can’t get on board with an organized religion. Not even Unitarianism. I do miss something like that in my life, though.

DS: Why do you miss having religion in your life?

AD: I think every human being craves a feeling that there is a higher purpose. It’s a need for me. A lot of my songs express that struggle.

DS: Does the idea that our lives on Earth may be all that there is unsettle you?

AD: Yes, sure. I think there’s more. I’m always seeking things of beauty, and my art reflects the search for that.

DS: You had said in an interview that your family wasn’t particularly supportive of your career path, but you are also saying they were atheists who weren’t curious about the things you are curious about. It sounds like you were a hothouse flower.

AD: Yes. I think what went with my parents’ atheism was a distrust of the arts as frivolous and extraneous. They were very pragmatic.

DS: They almost sound Soviet Communist.

AD: Yeah, a little bit [Laughs]. They had an austere way of living, and my wanting to pursue music as a career was the last straw.

DS: What’s your relationship with them now?

AD: I don’t actually speak to my mother and stepfather.

DS: Why?

AD: A lot of reasons, but when I was about 21 I was fairly certain I wanted to go the music path and they said, “Fine, then go!”

DS: That’s the reason you don’t speak with them?

AD: That’s the main. “Go ahead, do what you want, and have a nice life.” So the music thing cost the relationship with my parents, although I think there may have been some other things that have done it.

DS: That must be a difficult thing to contend with, that a career would be the basis for a relationship.

AD:Yes, it’s strange, but my love of music is perhaps stronger for it because of the sacrifices I have made for it early on. I had to fight.

DS: Would you say in your previous work some of your conflict of dating would have been birthed from how your relationship with your family? How do you see the arc of your work?

AD: My songs are sort of therapy for me, so you can trace my personal progress through them [Laughs]. I think there is some improvement. I wrote my first love song the other day, so I think I’m getting the hang of what relationships are all about. I’m ever grateful for music for being there for me when things weren’t going so well.

DS: Has the Iraq War affected you as an artist?

AD: Not directly, but I do have a few songs that are political. One about George Bush and the hypocrisy, but it’s very indirect; you wouldn’t know it was about George Bush.

DS: How has it affected you personally?

AD: I feel sad about it. People say my music is sad, but it’s a therapeutic thing so the war affects me.

DS: The struggle to be original in art is innate. When you are coming up with an idea for a song and then you all of a sudden stumble across it having been done somewhere else, how do you not allow that to squelch your creative impulse and drive to continue on.

AD: That’s a good question. I started writing in a vacuum just for myself and I didn’t have a lot of feedback, and I thought that what I’m saying has been said so many times before. Then my songs got out there and people told me, ‘You say it so originally’ and I thought ‘Really?!’ The way I say it, to me, sounds completely trite because it’s the way I would say it and it doesn’t sound special at all. Once my record came out I got some amount of positive reviews that made me think I have something original, which in turn made me have writer’s block to keep that thing that I didn’t even know I had. So now I’m struggling with that, trying to maintain my voice. Right now I feel a little dried-out creatively.

DS: When I interviewed Augusten Burroughs he told me that when he was in advertising he completely shut himself off from the yearly ad books that would come out of the best ads that year, because he wanted to be fresh and not poisoned by other ideas; whereas a band called The Raveonettes said they don’t try to be original they just do what they like and are upfront about their influences. Where do you fall in that spectrum?

AD: Probably more towards Augusten Burroughs because when I first started writing it was more in a vacuum, but I think everyone has their own way. You can’t not be influenced by your experience in life.

DS: Who would you say are some of your biggest influences in the last year. Who have you discovered that has influenced you the most?

AD: Influence is kind of a strong word because I don’t think I’m taking after these people. I’ve been moved by this girl named Anais Mitchell. She’s a singer-songwriter from Vermont who is really unique. She’s just got signed to Righteous Babe Records. Patty Griffin just moves me deeply.

DS: You moved out of New York because you had some difficulty with the music scene here?

AD: I feel it is a little tougher to make it here than in Boston if you are truly acoustic folk lyric driven. I find that audiences in New York like a certain amount of bling and glamor to their performances. A little more edge, a little cooler. I felt for me Boston was the most conducive environment.

DS: Do you feel home up in Boston?

AD:I do, and part of that is the great folk community.

DS: Why do you think Boston has such a well-developed folk scene?

AD: It’s always historically been a folk hub. There’s a lot of awesome folk stations like WUMB and WERS. Legendary folk clubs, like Club Passim. Those have stayed in tact since the sixties.

DS: Is there anything culturally about Boston that makes it more conducive to folk?

AD: Once you have a buzz, the buzz creates more buzz. Some people hear there’s a folk scene in Boston, and then other people move there, so the scene feeds itself and becomes a successful scene. It’s on-going.

DS: Do you have a favorite curse word?

AD: [Giggles] Cunt. [Giggles]

DS: Really?! You are the first woman I have met who likes that word!

AD: Oh, really? I’ll use it in a traffic situation. Road rage. [Laughs]

DS: Do you find yourself more inspired by man-made creations, including people and ideas, or nature-made creations?

AD: I love nature, but it is limited. It is what it is, and doesn’t include the human imagination that can go so much further than nature.

DS: What are some man made things that inspire you?

AD: New York City as a whole is just an amazing city. People are so creative and it is the hub of personal creativity, just in the way people express themselves on a daily basis.

DS: Do you think you will return?

In theory I will return one day if I have money, but in theory you need money to enjoy yourself.

DS: What trait do you deplore in yourself?

AD: Like anyone, I think laziness. I’m a bit a hard on myself, but there’s always more I can do. As a touring singer-songwriter I work hard, but sometimes I forget because I get to sleep in and my job is not conventional, and sometimes I think ‘Oh, I don’t even have a job, how lazy I am!’ [Laughs] Then, of course, there are times I’m touring my ass off and I work hard as well. It comes in shifts. There are times there is so much free time I have to structure my own days, and that’s a challenge.

DS: When is the last time you achieved a goal and were disappointed by it and thought, “Is that all there is?” Something you wanted to obtain, you obtained it, and it wasn’t nearly as fulfilling as you thought it would be.

AD: I was just thinking about the whole dream of becoming a musician. I want to maybe do a research project about people’s dreams and how they feel about them after they come true. It’s really interesting. They change a lot. When I was 17 I saw Ani Difranco on stage and I wanted to do that, and now I’m doing it. Now I think about Ani very differently. I wonder how long it took her to drive here, she must be tired; I’m thinking of all the pragmatic things that go on behind the scenes. The backside of a dream you never consider when you’re dreaming it. To some extent, having my dream fulfilled hasn’t been a let-down, but it’s changed. It’s more realistic.

DS: What is a new goal?

AD: Balance. Trying to grow my career enough to make sure it doesn’t consume me. It’s hard to balance a touring career because there is no structure to your life. I’m trying to take this dream and make it work as a job.

DS: How challenging is it to obtain that in the folk world?

AD: There’s not a lot of money in the folk world. In generally right now I think people’s numbers are down and only a few people can make a living at it. It’s pretty competitive. I’m doing okay, but there’s no huge riches in it so I’m trying to think of my future and maintain a balance in it.

DS: Do you think of doing something less folk-oriented to give your career a push?

Not really, I’ve done that a little bit by trying to approach the major labels, but that was when the major labels were dying so I came in at a bad time for that. I found that when it comes to do it yourself, the folk world is the best place to make money because as soon as you go major you are paying a band.

DS: More money more problems.

AD: More money, more investing. It’s a hard question.

DS: What things did you encounter doing a studio album that you had not foreseen?

AD: Giving up control is hard when you have a producer. His vision, sometimes, is something you can’t understand and have to trust sometimes. See how it comes out. That was hard for me, because up until now I have been such a do it yourself, writing my own songs, recording them myself.

DS: What is your most treasured possession?

AD: I’d like to say my guitar, but I’m still looking for a good one. I have this little latex glove. [Laughs] It’s a long story—

DS: Please! Do tell!

AD: When I was in college I had a romantic friend named David, he was kind of my first love. We were young and found this latex glove in a parking lot. We though, “Oh, this is a nice glove, we’ll name him Duncan.”

DS: You found a latex glove in a parking lot and you decided to take it?

AD: Yeah [Laughs]. He became the symbol of our friendship. He’s disgusting at this point, he’s falling apart. But David and I are still friends and we’ll pass him back and forth to each other every three years or so when we’ve forgotten his existence. David surprised me at a show in Philly. He gave Duncan to the sound man who brought it back stage, and now I have Duncan. So he’s kind of special to me.

DS: If you could choose how you die, how would you choose?

AD: Not freezing to death, and not in an airplane, because I’m afraid of flying. Painlessly, like most people. In my sleep when I’m so old and senile I don’t know what hit me. I’d like to get real old.

DS: Would you be an older woman with long hair or short hair?

AD: I guess short hair, because long hair looks a little witchy on old people.

DS: Who are you supporting for President?

AD: I’m torn between Obama and Hillary. Someone who is going to win, so I guess Hillary.

DS: You don’t think Obama would have a chance of winning?

AD: I don’t know. If he did, I would support Barack. I don’t really care; either of those would make me happy.

DS: What trait do you value most in your friends?

AD: Kindness.

DS: What trait do you deplore in other people?

AD: Arrogance. Showiness.

DS: Where else are you going on tour?

AD: Alaska in a few days. Fairbanks, Anchorage and all over the place. I’m a little nervous because I will be driving by myself and I have this vision that if I get hit by a moose then I could freeze to death.

DS: And you have to fly up there!

AD: Yeah, and I hate flying as well—so I’m really scared! [Laughs]

DS: Is there a big folk scene in Alaska?

AD: No, but I hear people are grateful if anyone makes it up there, especially in the winter. I think they are hungry for any kind of entertainment, no matter the quality. [Laughs] Someone came to us! I actually played there in June in this town called Seldovia, that has 300 people, and all 300 people came to my gig, so the next day I was so famous! Everyone knew me, the gas station attendant, everyone. It was surreal.

DS: So you had that sense of what Ani DiFranco must feel.

AD: Yeah! I was Paul McCartney. I thought this was what it must be like to be Bruce Springsteen, like I can’t even buy a stick of gum without being recognized.

DS: Did you like that?

AD: I think it would be awful to be that famous because you have moments when you just don’t feel like engaging.

Thursday, April 7, 2011

Late last month, the American Civil Liberties Union (ACLU) and Electronic Frontier Foundation (EFF) filed objections to the United States Government’s ‘secret’ attempts to obtain Twitter account information relating to WikiLeaks. The ACLU and EFF cite First and Fourth amendment issues as overriding reasons to overturn government attempts to keep their investigation secret; and, that with Birgitta Jonsdottir being an Icelandic Parliamentarian, the issue has serious international implications.

The case, titled “In the Matter of the 2703(d) Order Relating to Twitter Accounts: Wikileaks, Rop_G, IOERROR; and BirgittaJ“, has been in the EFF’s sights since late last year when they became aware of the US government’s attempts to investigate WikiLeaks-related communications using the popular microblogging service.

The key objective of this US government investigation is to obtain data for the prosecution of Bradley Manning, alleged to have supplied classified data to WikiLeaks. In addition to Manning’s Twitter account, and that of WikiLeaks (@wikileaks), the following three accounts are subject to the order: @ioerror, @birgittaj, and @rop_g. These, respectively, belong to Jacob Apelbaum, Birgitta Jonsdottir, and Rop Gonggrijp.

Birgitta is not the only non-US citizen with their Twitter account targeted by the US Government; Gonggrijp, a Dutch ‘ex-hacker’-turned-security-expert, was one of the founders of XS4ALL – the first Internet Service Provider in the Netherlands available to the public. He has worked on a mobile phone that can encrypt conversations, and proven that electronic voting systems can readily be hacked.

In early March, a Virginia magistrate judge ruled that the government could have the sought records, and neither the targeted users, or the public, could see documents submitted to justify data being passed to the government. The data sought is as follows:

1. Personal contact information, including addresses
2. Financial data, including credit card or bank account numbers
3. Twitter account activity information, including the “date, time, length, and method of connections” plus the “source and destination Internet Protocol address(es)”
4. Direct Message (DM) information, including the email addresses and IP addresses of everyone with whom the Parties have exchanged DMs

The order demands disclosure of absolutely all such data from November 1, 2009 for the targeted accounts.

The ACLU and EFF are not only challenging this, but demanding that all submissions made by the US government to justify the Twitter disclosure are made public, plus details of any other such cases which have been processed in secret.

Bradley Manning, at the time a specialist from Maryland enlisted with the United States Army’s 2nd Brigade, 10th Mountain Division, was arrested in June last year in connection with the leaking of classified combat video to WikiLeaks.

The leaked video footage, taken from a US helicopter gunship, showed the deaths of Reuters staff Saeed Chmagh and Namir Noor-Eldeen during a U.S. assault in Baghdad, Iraq. The wire agency unsuccessfully attempted to get the footage released via a Freedom of Information Act request in 2007.

When WikiLeaks released the video footage it directly contradicted the official line taken by the U.S. Army asserting that the deaths of the two Reuters staff were “collateral damage” in an attack on Iraqi insurgents. The radio chatter associated with the AH-64 Apache video indicated the helicopter crews had mistakenly identified the journalists’ equipment as weaponry.

The US government also claims Manning is linked to CableGate; the passing of around a quarter of a million classified diplomatic cables to WikiLeaks. Manning has been in detention since July last year; in December allegations of torture were made to the United Nations High Commissioner for Human Rights regarding the conditions under which he was and is being detained.

Reports last month that he must now sleep naked and attend role call at the U.S. Marine facility in Quantico in the same state, raised further concern over his detention conditions. Philip J. Crowley, at-the-time a State Department spokesman, remarked on this whilst speaking at Massachusetts Institute of Technology; describing the current treatment of Manning as “ridiculous and counterproductive and stupid”, Crowley was, as a consequence, put in the position of having to tender his resignation to Secretary of State Hillary Clinton.

Despite his native Australia finding, in December last year, that Assange’s WikiLeaks had not committed any criminal offences in their jurisdiction, the U.S. government has continued to make ongoing operations very difficult for the whistleblower website.

The result of the Australian Federal Police investigation left the country’s Prime Minister, Julia Gillard, having to retract a statement that WikiLeaks had acted “illegally”; instead, she characterised the site’s actions as “grossly irresponsible”.

Even with Australia finding no illegal activity on the part of WikiLeaks, and with founder Julian Assange facing extradition to Sweden, U.S. pressure sought to hobble WikiLeaks financially.

Based on a State Department letter, online payments site PayPal suspended WikiLeaks account in December. Their action was swiftly followed by Visa Europe and Mastercard ceasing to handle payments for WikiLeaks.

The online processing company, Datacell, threatened the two credit card giants with legal action over this. However, avenues of funding for the site were further curtailed when both Amazon.com and Swiss bank PostFinance joined the financial boycott of WikiLeaks.

Assange continues, to this day, to argue that his extradition to Sweden for questioning on alleged sexual offences is being orchestrated by the U.S. in an effort to discredit him, and thus WikiLeaks.

Wikinews consulted an IT and cryptography expert from the Belgian university which developed the current Advanced Encryption Standard; explaining modern communications, he stated: “Cryptography has developed to such a level that intercepting communications is no longer cost effective. That is, if any user uses the correct default settings, and makes sure that he/she is really connecting to Twitter it is highly unlikely that even the NSA can break the cryptography for a protocol such as SSL/TLS (used for https).”

Qualifying this, he commented that “the vulnerable parts of the communication are the end points.” To make his point, he cited the following quote from Gene Spafford: “Using encryption on the Internet is the equivalent of arranging an armored car to deliver credit card information from someone living in a cardboard box to someone living on a park bench.“

Continuing, the Katholieke Universiteit Leuven (KUL) expert explained:

“In the first place, the weak point is Twitter itself; the US government can go and ask for the data; companies such as Twitter and Google will typically store quite some information on their users, including IP addresses (it is known that Google deletes the last byte of the IP address after a few weeks, but it is not too hard for a motivated opponent to find out what this byte was).“

“In the second place, this is the computer of the user: by exploiting system weaknesses (with viruses, Trojan horses or backdoors in the operating system) a highly motivated opponent can enter your machine and record your keystrokes plus everything that is happening (e.g. the FBI is known to do this with the so-called Magic Lantern software). Such software is also commercially available, e.g. for a company to monitor its employees.“

“It would also be possible for a higly motivated opponent to play “man-in-the-middle”; that means that instead of having a secure connection to Twitter.com, you have a secure connection to the attacker’s server, who impersonates Twitter’s and then relays your information to Twitter. This requires tricks such as spoofing DNS (this is getting harder with DNSsec), or misleading the user (e.g. the user clicks on a link and connects to tw!tter.com or Twitter.c0m, which look very similar in a URL window as Twitter.com). It is clear that the US government is capable of using these kind of tricks; e.g., a company has been linked to the US government that was recognized as legitimate signer in the major browsers, so it would not be too large for them to sign a legitimate certificate for such a spoofing webserver; this means that the probability that a user would detect a problem would be very low.“

“As for traffic analysis (finding out who you are talking to rather than finding out what you are telling to whom), NSA and GCHQ are known to have access to lots of traffic (part of this is obtained via the UK-USA agreement). Even if one uses strong encryption, it is feasible for them to log the IP addresses and email addresses of all the parties you are connecting to. If necessary, they can even make routers re-route your traffic to their servers. In addition, the European Data Retention directive forces all operators to store such traffic data.“

“Whether other companies would have complied with such requests: this is very hard to tell. I believe however that it is very plausible that companies such as Google, Skype or Facebook would comply with such requests if they came from a government.“

“In summary: unless you go through great lengths to log through to several computers in multiple countries, you work in a clean virtual machine, you use private browser settings (don’t accept cookies, no plugins for Firefox, etc.) and use tools such as Tor, it is rather easy for any service provider to identify you.“

“Finally: I prefer not to be quoted on any sentences in which I make statements on the capabilities or actions of any particular government.“

Wikinews also consulted French IT security researcher Stevens Le Blond on the issues surrounding the case, and the state-of-the-art in monitoring, and analysing, communications online. Le Blond, currently presenting a research paper on attacks on Tor to USENIX audiences in North America, responded via email:

Were the US Government to obtain the sought data, it would seem reasonable the NSA would handle further investigation. How would you expect them to exploit the data and expand on what they receive from Twitter?

• Le Blond: My understanding is that the DOJ is requesting the following information: 1) Connection records and session times 2) IP addresses 3) e-mail addresses 4) banking info

By requesting 1) and 2) for Birgitta and other people involved with WikiLeaks (WL) since 2009, one could derive 2 main [pieces of] information.

First, he could tell the mobility of these people. Recent research in networking shows that you can map an IP address into a geographic location with a median error of 600 meters. So by looking at changes of IP addresses in time for a Twitter user, one could tell (or at least speculate about) where that person has been.

Second, by correlating locations of different people involved with WL in time, one could possibly derive their interactions and maybe even their level of involvement with WL. Whether it is possible to derive this information from 1) and 2) depends on how this people use Twitter. For example, do they log on Twitter often enough, long enough, and from enough places?

My research indicates that this is the case for other Internet services but I cannot tell whether it is the case for Twitter.

Note that even though IP logging, as done by Twitter, is similar to the logging done by GSM [mobile phone] operators, the major difference seems to be that Twitter is subject to US regulation, no matter the citizenship of its users. I find this rather disturbing.

Using 3), one could search for Birgitta on other Internet services, such as social networks, to find more information on her (e.g., hidden accounts). Recent research on privacy shows that people tend to use the same e-mail address to register an account on different social networks (even when they don’t want these accounts to be linked together). Obviously, one could then issue subpoenas for these accounts as well.

I do not have the expertise to comment on what could be done with 4).

((WN)) As I believe Jonsdottir to be involved in the Icelandic Modern Media Initiative (IMMI), what are the wider implications beyond the “WikiLeaks witchhunt”?

• Le Blond: Personal data can be used to discredit, especially if the data is not public.

Having been alerted to the ongoing case through a joint press release by the ACLU and EFF, Wikinews sought clarification on the primary issues which the two non-profits saw as particularly important in challenging the U.S. Government over the ‘secret’ court orders. Rebecca Jeschke, Media Relations Director for the EFF, explained in more detail the points crucial to them, responding to a few questions from Wikinews on the case:

((WN)) As a worse-case, what precedents would be considered if this went to the Supreme Court?

• Rebecca Jeschke: It’s extremely hard to know at this stage if this would go to the Supreme Court, and if it did, what would be at issue. However, some of the interesting questions about this case center on the rights of people around the world when they use US Internet services. This case questions the limits of US law enforcement, which may turn out to be very different from the limits in other countries.

((WN)) Since this is clearly a politicised attack on free speech with most chilling potential repercussions for the press, whistleblowers, and by-and-large anyone the relevant U.S. Government departments objects to the actions of, what action do you believe should be taken to protect free speech rights?

• Jeschke: We believe that, except in very rare circumstances, the government should not be permitted to obtain information about individuals’ private Internet communications in secret. We also believe that Internet companies should, whenever possible, take steps to ensure their customers are notified about requests for information and have the opportunity to respond.

((WN)) Twitter via the web, in my experience, tends to use https:// connections. Are you aware of any possibility of the government cracking such connections? (I’m not up to date on the crypto arms race).

• Jeschke: You don’t need to crack https, per se, to compromise its security. See this piece about fraudulent https certificates:

Iranian hackers obtain fraudulent https — EFF website.

((WN)) And, do you believe that far, far more websites should – by default – employ https:// connections to protect people’s privacy?

• Jeschke: We absolutely think that more websites should employ https! Here is a guide for site operators: (See external links, Ed.)

Finally, Wikinews approached the Icelandic politician, and WikiLeaks supporter, who has made this specific case a landmark in how the U.S. Government handles dealings with – supposedly – friendly governments and their elected representatives. A number of questions were posed, seeking the Icelandic Parliamentarian’s views:

((WN)) How did you feel when you were notified the US Government wanted your Twitter account, and message, details? Were you shocked?

• Birgitta Jonsdottir: I felt angry but not shocked. I was expecting something like this to happen because of my involvement with WikiLeaks. My first reaction was to tweet about it.

((WN)) What do you believe is their reasoning in selecting you as a ‘target’?

• Jonsdottir: It is quite clear to me that USA authorities are after Julian Assange and will use any means possible to get even with him. I think I am simply a pawn in a much larger context. I did of course both act as a spokesperson for WikiLeaks in relation to the Apache video and briefly for WikiLeaks, and I put my name to the video as a co-producer. I have not participated in any illegal activity and thus being a target doesn’t make me lose any sleep.

((WN)) Are you concerned that, as a Member of Parliament involved in the Icelandic Modern Media Initiative (IMMI), the US attempt to obtain your Twitter data is interfering with planned Icelandic government policy?

• Jonsdottir: No

((WN)) In an earlier New York Times (NYT) article, you’re indicating there is nothing they can obtain about you that bothers you; but, how do you react to them wanting to know everyone you talk to?

• Jonsdottir: It bothers me and according to top computer scientists the government should be required to obtain a search warrant to get our IP addresses from Twitter. I am, though, happy I am among the people DOJ is casting their nets around because of my parliamentary immunity; I have a greater protection then many other users and can use that immunity to raise the issue of lack of rights for those that use social media.

((WN)) The same NYT article describes you as a WikiLeaks supporter; is this still the case? What attracts you to their ‘radical transparency’?

• Jonsdottir: I support the concept of WikiLeaks. While we don’t have a culture of protection for sources and whistleblowers we need sites like WikiLeaks. Plus, I think it is important to give WikiLeaks credit for raising awareness about in how bad shape freedom of information and expression is in our world and it is eroding at an alarming rate because of the fact that legal firms for corporations and corrupt politicians have understood the borderless nature of the legalities of the information flow online – we who feel it is important that people have access to information that should remain in the public domain need to step up our fight for those rights. WikiLeaks has played an important role in that context.I don’t support radical transparency – I understand that some things need to remain secret. It is the process of making things secret that needs to be both more transparent and in better consensus with nations.

((WN)) How do you think the Icelandic government would have reacted if it were tens of thousands of their diplomatic communications being leaked?

• Jonsdottir: I am not sure – A lot of our dirty laundry has been aired via the USA cables – our diplomatic communications with USA were leaked in those cables, so far they have not stirred much debate nor shock. It is unlikely for tens of thousands of cables to leak from Iceland since we dont have the same influence or size as the USA, nor do we have a military.

((WN)) Your ambassador in the US has spoken to the Obama administration. Can you discuss any feedback from that? Do you have your party’s, and government’s, backing in challenging the ordered Twitter data release?

• Jonsdottir: I have not had any feedback from that meeting, I did however receive a message from the DOJ via the USA ambassador in Iceland. The message stated three things: 1. I am free to travel to the USA. 2. If I would do so, I would not be a subject of involuntary interrogation. 3. I am not under criminal investigation. If this is indeed the reality I wonder why they are insisting on getting my personal details from Twitter. I want to stress that I understand the reasoning of trying to get to Assange through me, but I find it unacceptable since there is no foundation for criminal investigation against him. If WikiLeaks goes down, all the other media partners should go down at the same time. They all served similar roles. The way I see it is that WikiLeaks acted as the senior editor of material leaked to them. They could not by any means be considered a source. The source is the person that leaks the material to WikiLeaks. I am not sure if the media in our world understands how much is at stake for already shaky industry if WikiLeaks will carry on carrying the brunt of the attacks. I think it would be powerful if all the medias that have had access to WikiLeaks material would band together for their defence.

((WN)) Wikinews consulted a Belgian IT security expert who said it was most likely companies such as Facebook, Microsoft, and Google, would have complied with similar court orders *without advising the ‘targets*’. Does that disturb you?

• Jonsdottir: This does disturb me for various reasons. The most obvious is that my emails are hosted at google/gmail and my search profile. I dont have anything to hide but it is important to note that many of the people that interact with me as a MP via both facebook and my various email accounts don’t always realize that there is no protection for them if they do so via those channels. I often get sensitive personal letters sent to me at facebook and gmail. In general most people are not aware of how little rights they have as users of social media. It is those of uttermost importance that those sites will create the legal disclaimers and agreements that state the most obvious rights we lose when we sign up to their services.

((WN)) Has there been any backlash within Iceland against US-based internet services in light of this? Do you expect such, or any increase in anti-American sentiments?

• Jonsdottir: No, none what so ever. I dont think there is much anti-American sentiments in Iceland and I dont think this case will increase it. However I think it is important for everyone who does not live in the USA and uses social services to note that according to the ruling in my case, they dont have any protection of the 1st and 4th amendment, that only apply to USA citizens. Perhaps the legalities in relation to the borderless reality we live in online need to be upgraded in order for people to feel safe with using social media if it is hosted in the USA. Market tends to bend to simple rules.

((WN)) Does this make you more, or less, determined to see the IMMI succeed?

• Jonsdottir: More. People have to realize that if we dont have freedom of information online we won’t have it offline. We have to wake up to the fact that our rights to access information that should be in the public domain is eroding while at the same time our rights as citizens online have now been undermined and we are only seen as consumers with consumers rights and in some cases our rights are less than of a product. This development needs to change and change fast before it is too late.

The U.S. Government continues to have issues internationally as a result of material passed to WikiLeaks, and subsequently published.

Within the past week, Ecuador has effectively declared the U.S. ambassador Heather Hodges persona-non-grata over corruption allegations brought to light in leaked cables. Asking the veteran diplomat to leave “as soon as possible”, the country may become the third in South America with no ambassadorial presence. Both Venezuela and Bolivia have no resident U.S. ambassador due to the two left-wing administrations believing the ejected diplomats were working with the opposition.

The U.S. State Department has cautioned Ecuador that a failure to speedily normalise diplomatic relations may jeapordise ongoing trade talks.

The United Kingdom is expected to press the Obama administration over the continuing detention of 23-year-old Manning, who also holds UK citizenship. British lawmakers are to discuss his ongoing detention conditions before again approaching the U.S. with their concerns that his solitary confinement, and treatment therein, is not acceptable.

The 22 charges brought against Manning are currently on hold whilst his fitness to stand trial is assessed.

Thursday, January 14, 2010

Countries and organizations from around the world are sending aid and help to victims of the devastating 7.0 magnitude earthquake that struck Haiti on Tuesday, damaging many buildings. The death toll is currently unknown, but estimated to run into the tens of thousands of people.

US president Barack Obama said in a press conference that “I’ve directed my administration to launch a swift, coordinated and aggressive effort to save lives and support the recovery in Haiti.”

Obama announced that aid from the US armed forces was coming to Haiti, noting, “Several Coast Guard cutters are already there providing everything from basic services like water, to vital technical support for this massive logistical operation.”

Obama continued: “[…] today, I’m also announcing an immediate investment of $100 million to support our relief efforts. This will mean more of the life-saving equipment, food, water and medicine that will be needed. This investment will grow over the coming year as we embark on the long-term recovery from this unimaginable tragedy.”

Obama said that the US would forge partnerships with Haitian people and Haitian-Americans, along with United Nations peacekeepers. He closed by saying, “To the people of Haiti, we say clearly, and with conviction, you will not be forsaken; you will not be forgotten. In this, your hour of greatest need, America stands with you. The world stands with you.”

The UN Secretary-General, Ban Ki-moon said that $10 million is being released from the international organization’s central emergency response fund.

Meanwhile, the UN’s World Food Programme (WFP), which already has an existing operation in the country, is beginning to distribute high energy biscuits which require no preparation before eating. On top of that, the WFP is airlifting 86 metric tons of food from their emergency hub in El Salvador.

A spokesperson for the WFP said, “In a normal day the World Food Programme will be feeding one or two million people in Haiti — and now we need to do even more, because the people have lost everything.”

China is also pledging aid to the country, despite the lack of official diplomatic ties between the two countries. Haiti recognizes the Republic of China, better known as Taiwan. Nevertheless, China has sent a 60 member search and rescue team to Haiti and the Chinese Red Cross is donating one million dollars in emergency aid.

Chinese Foreign Ministry spokesperson Jiang Yu said her country expresses sympathy to the Haitian government and people. Jiang says the Chinese foreign minister has sent a telegram of condolence to his Haitian counterparts.

An 80 member team from the United Kingdom of search and rescue specialists has arrived in Haiti to help in efforts there. British Prime Minister Gordon Brown said in a joint press conference with Toaiseach of Ireland Brian Cowen that the team has arrived in the country. He also announced that the government is pledging to match the UN’s US$10 million (£6.1 million).

Brown said, “It is a tragedy beyond imagination and there is a deep sense of loss felt by the whole of the British and Irish people about the tragedy that individual families in Haiti are experiencing at the moment. We send our message of sympathy and support to the people of Haiti at this most difficult of times.”

He added, “Where men, women and children are suffering under the heaviest of burdens, that place must, for that moment, become the centre of our world’s attention, the world’s compassion and the world’s humanitarian help.”

France is also sending aid to the French-speaking country, which at one time was a colony of France known as Saint-Domingue. France is sending two planes with rescuers and aid. Civil safety authorities in France are sending a team of 130 members consisting of rescuers, trained rescue dogs, doctors and nurses along with 12,000 tons of aid and rescue supplies.

Israel is sending rescue forces in two El Al planes carrying a 121-member delegation that includes 40 doctors, five search-and-rescue teams, and an army rescue squad. The IDF medical teams are preparing to spend two weeks in Haiti.

Spain has pledged $4.3 million (€3 million) in aid money and has 150 tons of aid ready to be delivered.

South Africa is sending a team of search and rescue specialists to Haiti in response to the devastating earthquake on Tuesday. It is the first of several teams being sent by a local civic group.

The head of South Africa’s Gift of the Givers Foundation, Emtiaz Sooliman, says his group is sending up to three teams of search and rescue specialists to Haiti to help victims of the earthquake and hopefully save some lives.

“These are people who have worked with building collapses, urban search and rescue and some of them have been involved in responding to previous earthquakes so they are highly skilled,” he said.

Sooliman says a second team is to depart as soon as he can book a flight for it.

Friday, April 3, 2009

Quiznos, a fast food restaurant chain that specializes in selling submarine sandwiches, has aired a controversial television commercial, with an extended version only appearing in the late-night lineups. The commercial is a promotion for the company’s new sandwich, the ‘Toasty Torpedo’. Bob Sassone, a writer for TVSquad.com, argues that it is homosexually themed and compares it to pornography.

The commercial begins with a toaster oven talking to Scott, a Quiznos sandwich maker, in a male voice. “Scott, I want you to do something,” says the toaster to Scott. As he takes a bite of a Torpedo and appears to look in the direction of his genitals, Scott says to the toaster, “[sic] not doing that again. That burned.” The toaster replies, “We both enjoyed that.”

Later in the commercial, the toaster asks Scott to make one of the sandwiches and says the price of it is “sexy” and then “sexier.” Scott grins and does so. The toaster then asks Scott to “stick it in me”. The sandwich just happens to be 12 inches long, giving the appearance of a special relationship between Scott and the toaster oven.

Quiznos published a press release on March 24 announcing the new line of sandwiches. They stated that their price of US$4 helps to ease the economic pinch. In a statement to Wikinews Quiznos stated that their commercials are within the company’s character and they were designed to get people talking.

“We developed our new ads to be consistent with the Quiznos brand and to get people excited about our new Toasty Torpedoes. Some of the ads are edgy and provocative, but they’re well within the confines of the Quiznos brand character,” said Rebecca Steinfort, chief marketing officer for Quiznos to Wikinews.

“Since Quiznos has a broad range of consumers that eat at its more than 4,500 restaurants nationwide, we tailor our commercials to be relevant and appeal to our diverse customers – all of whom are watching different kinds of programming. The new ads are fun and entertaining, and the edginess and innuendo of the ads are designed to get people talking about our new Toasty Torpedoes, and that’s exactly what we want: people to talk and taste our new sandwiches,” added Steinfort.

Bob Sassone a writer for TVSquad.com, one of the Internet’s top television weblogs, compared the commercial to a pornography film.

“The new Quizno’s commercial is probably the closest we’ll get to a gay porn flick in a mainstream sub shop ad,” Sassone wrote.

In 2007, the company made another controversial commercial. It featured people on the street eating samples of a Quiznos ‘Prime Rib Dinner’ sandwich. They promoted it as having a lot of “meat” and near the end it featured two women eating a sandwich saying, “It’s not lacking any meat. And that’s what real women need”.

“Nevertheless, Quiznos remains committed to providing its customers with high-quality ingredients at everyday lower prices, all with excellent service. As such, we encourage consumers to give feedback on the commercials to our corporate marketing department through the website,” said Steinfort.

Sunday, April 19, 2009

In Kabul between 100 to 200 women protested the Shia Family Law and were met by a mob of 800 counterdemonstrators who were mainly men and Shia clergy. Many women were prevented from attending the protest by male family members and were denied entry to board buses by public transportation employees.

The Shia Family Law was passed for the 3 to 6 million Shia Muslims who reside in Afghanistan. Under the law, women must not refuse the husband’s sexual demands, women must comply to intercourse every four days unless sick, women may not gain employment or receive education without their husband’s permission, wives leaving home must do so with male escort or with permission and they must dress up and wear cosmetics according to the husband’s desires. Refusal to do any of these would be illegal for the woman and can be enforced — the husband may stop feeding her.

“If a woman says no, the man has the right not to feed her,” said Ayatollah Mohammed Asif Mohseni, Shia cleric.

The protest began outside Mohseni’s Khatam Al Nabi mosque and School of the Last Protest, and continued 2 miles (3.2 km) onward to parliament where they delivered a petition to repeal the law. Mohseni, a leading Shiite cleric in Afghanistan, was instrumental in implementing the new law.

“This law is against Islam and it’s against women. It’s against the people of Afghanistan.” said Sima Ghani, an organiser for the women’s protest, “Women have God-given rights. But these men are claiming those rights in the name of culture. It is against everything God has ever given us.”

Women attending Khatam-ul-Nabieen Shia University marched in a separate protest in favour of the Law. The University, which is attached to the Shia mosque, also receives funding from Mohseni.

Counterdemonstrators chanted “Slaves of the Christians”, “Down with the Christians. Down with the apostates”, “Death to the enemies of Islam!”, “We want Islamic law!”, “death to America”, and “Death to the slaves of the Christians!”, and picked up stones and threw them at the women protestors. One man yelled out to the female protestors, “You are a dog! You are not a Shiite woman!” Men shouted “Get out of here, you whores! Get out!” as female protestors were disembarking from a bus.

The Marefat School had windows broken and doors torn down. Teachers were attacked and stoned by counter protestors who believed Aziz Royesh, the headmaster, had assisted the women’s protest.

The United Nations has reported that women have received death threats if they defy the new law. Sitara Achakza, a Woman’s rights activist and member of Kandahar’s provincial council, was murdered at her home on Sunday, April 12 by Taliban gunmen.

Another woman protestor, Masuma Hasani, said “I am concerned about my future with this law. We want our rights. We don’t want women to just be used.”

“Go home if your mothers and fathers are Muslims. These people will beat you if you stay,” yelled out a Shia cleric.

Women carried banners reading “We want dignity in the law” and “Islam is justice”. Women who participated in the hazardous and rare protest defied customs; some wore jeans, others uncovered their faces.

“We think those who oppose this law in fact oppose the Koran. This law does not approve rape, it is rather about loyalty of wife to husband and husband to wife. Rape is what you can see in the West, where men don’t feel responsibility for their wives and leave them to go with several men.” said Nesa Naseri, counterprotestor and a female student of Sharia Studies.

“Whenever a man wants sex, we cannot refuse. It means a woman is a kind of property, to be used by the man in any way that he wants,” said Fatima Husseini, 26, a female protestor.

The law has had separate interpretations because at one point during the rally both sides chanted “We want honour and dignity for women”, and “Allah Akbar,” or God is great.

Politically it has been said that Afghan President Hamid Karzai signed the legislation as an appeasement to the Shiite religious clerics in the face of the presidential re-elections in August.

The Taliban who ruled Afghanistan for five years ending in 2001 imposed similar laws, when the burqa was imposed for women’s wear and women were required to obtain permission from a male relative to exit the house.

Whereas the Afghan Constitution legally upholds sexual equality, and Afghanistan at one time signed the Universal Declaration of Human Rights, it also upholds its constitutional prerogative to place Islamic beliefs ahead of all other practices.

Karzai has asked the Justice Department to review the law, and the legal enforcement of the law shall be placed on hold. Homayun Hamidzada, a spokesman for Karzai, says the law is not legally binding until it is published in the government register which means it can be modified.

Hamidzada said, “We have no doubt that whatever comes out of this process will be consistent with the rights provided for in the Constitution — equality and the protection of women.”

“We Afghans don’t want a bunch of NATO commanders and foreign ministers telling us what to do,” said Mohammed Hussein Jafaari, a cleric.

Mariam Sajadi said “We don’t want foreigners interfering in our lives. They are the enemy of Afghanistan.”

“We must trust Allah, instead of listening to the Western countries and the European countries who come here to meddle and interfere.” said Sayed Sajat of the counter protest.

“Afghan women have raised their voices and they proved this isn’t what the international community is imposing on Afghanistan, these are the demands of Afghan women,” said Sabrina Saqeb a protest organiser and MP.

Friday, February 2, 2007

An advertising campaign for shows on Adult Swim, a programming block on Cartoon Network, which is owned by Turner Broadcasting, gave local and federal law-enforcement a scare when devices were discovered on eight different bridges and roads.

The U.S. city of Boston was snarled in traffic jams January 31 as police investigated devices with flashing lights representing a cartoon character were placed around bridges and other areas throughout the city.

Different governmental agencies were brought in to help deal with the problem, which was later found to be no threat, as described by Boston Police Department spokesperson Eddy Chrispin. A bomb squad was deployed under supervision of the FBI, Boston police, the US Coast Guard, and different federal agencies.

The advertising campaign, for the widely popular program Aqua Teen Hunger Force, featuring characters from that series, was in place for two to three weeks in Boston, New York, Los Angeles, Chicago, and many other major US cities.

Two people have been arrested for alleged participation in this incident.

Turner Broadcasting Systems hired New York marketing firm Interference Inc. which in turn hired individuals in the various cities to place the devices promoting the cartoon’s fifth season, scheduled for a February 23 premiere. Road and rail traffic was disrupted by police as they investigated and removed the devices.

The mostly flat devices resemble two-foot-square Lite-Brites with batteries attached to the bottom and visible wires.

G4TV has dubbed the incident “Aquagate” on its broadcast of Attack of the Show segment The Feed.

It is not known why the devices took police several weeks to notice, nor why the devices were believed to be dangerous.