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Sunday, January 13, 2008

Recipients of 2007’s Darwin Awards were announced last week, representing the stories of people who are killed or otherwise rendered sterile after committing an “astounding misapplication of judgement.”

One of this year’s top winners was “What Goes Up Must Come Down” which received an 8.0 rating and 8929 votes. The tale concerns a couple in South Carolina who died in hospital after being discovered naked and critically injured on a roadway. Authorities discovered the couple’s clothing on a rooftop and concluded that they fell from that location when they engaged “in the act of procreation”.

Tied for a top score of 8.0 with 4212 votes was “The Enema Within”, an account of a Texas man who absorbed alcohol by means of enema because his throat condition made swallowing painful. After consuming 3 litres of sherry in this manner, he died overnight from alcohol poisoning after attaining a deadly blood alcohol level of 0.47%.

A runner-up story, “Support Group”, featured three incidents where scrap metal thieves ended their lives after removing metal supports under heavy objects.

According to the Darwin Awards website, the winners were announced a week later than normal “because Wendy became obsessed with finger loop braiding”.

Monday, March 12, 2007

24 of 26 Swiss Cantons rejected the proposal for a single health insurance system, in which premiums would be based on income and wealth. The vote on Sunday was the latest in a series of attempts to cut rising costs and ease the financial burden on citizens.

Around 71% of voters rejected the reform. Turnout was at about 46%, slightly above the Swiss average.

As expected, voters in the main German-speaking part of the country turned down the planned reform, which was supported by the centre-left but opposed by the centre-right as well as the business community, parliament and the government.

Opposition in the French and Italian speaking regions was less pronounced. The cantons Jura and Neuchâtel in the French speaking regions voted in favor of the proposed reforms.

Health insurance premiums are higher in southern and western Swiss cantons than in German-speaking areas.

The Swiss Interior Minister Pascal Couchepin said an important part of the Swiss Population appeared to be opposed to “a revolution” in health insurance but he said that he wanted current reforms currently under discussion in the Swiss Parliament to go ahead. He called on all sides, especially health insurers and the cantonal authorities, to make efforts to reduce spending on health insurance and aim for a greater cost efficiency. Currently Switzerland has 87 private insurers providing mandatory basic health care coverage for Swiss residents under a 1996 law. But costs have sky-rocketed. Over 100,000 people are not covered by health insurance due to non payment.

Opponents to the initiative argued that a single insurance system would lead to complacency and create a two-tier system, in which the wealthy would be the only ones available to afford to have additional private insurance coverage.

Supporters of the initiative said a single health insurer would increase the system’s efficiency and allow for annual savings of at least 300 million Swiss Francs (about $245 million) in administrative costs. Currently, the funding system is unbalanced, since many clients on low incomes use state subsidies to pay their premiums, according to the Green Party and the Social Democrats.

The initiative to unite all the insurance companies and introduce premiums based on wealth and income was the most recent in a series of attempts over the past ten years to reduce the public spending on health care. A proposal, similar to this recent proposal, to modify the funding system of the health insurance companies was rejected by 73% of voters in 2003.

Switzerland has the most expensive health system in Europe. Switzerland’s expenditure on health care was 11.6% in 2005, in front of Germany and France but behind the United States.

Monday, June 7, 2010

The MTR Corporation, the only railway company in Hong Kong since the rail merge in 2007, has loosened their rules. The corporation proposed the new modifications, then transferred the proposal to the Legislative Council, and will be effective from September 2010.

The new set of rules allow ‘non-disruptive’ use of profanity in private conversations, and the punishment for inflammatory use of expletives is lowered from a fine of HK$5000 to HK$2000. The new set of rules have also excluded the regulation against wandering in MTR premises, as well as the rule against attempting to eat or drink.

Democratic Party member James To has expressed his concerns about a new rule that outlaws the display of promotional material. According to To, the wearing of Tiananmen Square Incident-related T-shirts or acting the Goddess of Democracy may breach the new MTR rules.

He also deems two other regulations, namely the prohibition of distracting MTR staff members and photography and video-recording in the train carriages, ‘unreasonable’.

Unionist Li Fung-ying is also confused whether chewing gum was considered food. MTR head of operations Choi Tak-tsan replied that only what is regarded as food counts. They had not yet discussed on this matter, said Choi, and will soon. Li is also concerned about the rule which prohibits the entering of the first-class carriage without buying a ticket. Her main concern is whether the passenger will be allowed to buy the ticket rather than being fined HK$500.

Wong Kwok-hing believes that the MTR corporation should call upon more effort to advertise a more ‘civilised’ and ‘polite’ way of taking the train. Jeffrey Lam thinks that the new rules do not do enough to restrict shouting. MTR replied that anyone who shouts in the train can be advised to leave the train or even prosecuted.

Tuesday, January 26, 2010

The health department in Guizhou province, China has ordered three batches of milk products to be removed from sale after the discovery they contain melamine. In 2008 six children were killed by milk contaminated with the chemical and 300,000 fell ill.

The department has suspended all sales from the three companies involved. Last November, two men were executed for their roles in selling milk tainted with the chemical, which was largely distributed by Samlu Corp, a company that has since been liquidised. The executed convicts mixed up batches totalling hundreds of tonnes of melamine-tainted milk, and were among 21 people successfuly prosecuted over the contamination. Chinese dairy products were withdrawn around the world.

The latest finds have gone unreported for nearly a year before a provincial news service reported on the tainted products from Shandong Zibo Lusaier Dairy Co., Liaoning Tieling Wuzhou Food Co. and Laoting Kaida Refrigeration Plant. This was then picked up today by China Daily, meaning it has only now come to the world’s attention. No specifics are available other than that popsicles are involved.

Early 2009 would place the discoveries and recalls shortly after the government anounced a crackdown on malpractice in the dairy industry. Recently, two other reports have emerged of tainted milk being discovered elsewhere in China, including Shanghai.

It is uncertain why this is only now becoming public knowledge, althought the Shanghai case was said to be complicated by crossing provincial borders. There, reports emerged on New Year’s Eve although the actual news dated back to April.

After the 2008 milk scandal new food safety legislation was passed. These new laws made room for more vigourous testing and stronger recall arrangements. The government made it clear that coverups were intolerable. At the time, 22 companies were indentified as being involved in melamine-contamination in milk.

Two dairies recently named in state media as behind more recent incidents were on that original list, including Laoting Kaida and Shanghai Panda Dairy Co. Media reports suggest that the newer problem may have been that milk containing melimine that was never destroyed from the original discovery was then repackaged.

The companies involved have stated that they bought in raw milk without realising it contained the poisonous chemical. China Daily quoted an official as saying the same thing. It also stated an ex-dairy industry official had said that it was probable that further milk containing illegally high levels of the substance remained available to the Chinese consumer.

News organisations have tried contacting the companies involved and authorities in Guizhou province but with little success. This trend was bucked by the Agence France-Presse, who reached Guizhou’s health department, only to be told the reports were not correct.

Melamine has a high nitrogen content which can make watered-down milk seem to contain extra protein. It is intended for use in manufacturing industries, in products such as concrete, plastic and fertiliser. Large quantities can cause kidney stones and kidney failure.

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Friday, May 6, 2005

At 21:00 UTC yesterday, the polls closed in the United Kingdom general election. With only a handful of seats left to declare, Labour reached the 324 seats necessary to form a majority in the House of Commons, with the result in Corby at 03:28 UTC.

The Conservative Party remains the Opposition party, with the Liberal Democrats being the third largest party in the House of Commons.

Both the Labour victory and the reduced majority were widely predicted by opinion polls before the election. The BBC/ITV exit poll predicted Tony Blair a majority of 66 seats, which continued to be forecast as the final result as declarations were made. Some early results in the north-east indicated a bigger swing away from Labour than the opinion polls had been suggesting, but later results confirmed the survey.

Overall, there has been no clear swing in votes between the parties. Many seats have seen large swings, but in many different directions, with perhaps the national swing of 5% from Conservative to Liberal Democrat being the most dramatic with many much larger local swings.

The new Labour government has been elected with the lowest proportion of the popular vote ever – just 35.2%. However, the Tories only gained 32.3% barely more than the last election in 2001. The biggest winners in terms of popular vote were the Liberal Democrats led by Charles Kennedy, who secured 22.1% of the vote. With 645 of 646 seats declared so far, this has given the Liberal Democrats another 11 seats in Parliament, but the Conservatives have gained another 33 seats. Labour have lost 47.

As a result, Tony Blair is forecast to be governing with a majority of 66 in the new Parliament. However, on some major issues such as university fees and anti-terror laws, many Labour MPs have voted against their leadership. With a greatly reduced majority, Tony Blair may be forced to water down many more controversial policies in order to guarantee their passage through the House of Commons. Speaking on BBC News, commentator David Dimbleby pointed out the uncertainty of such possibilities, and noted that a majority of 66 was larger than the 43 seat majority won by Margaret Thatcher in the United Kingdom general election, 1979.

One surprise vote was the election of ex-Labour member George Galloway in Bethnal Green & Bow, in East London. The area has a very high number of Muslims in it, and Galloway moved from his home in Scotland in order to gain their anti-war support. He ousted Britain’s only second female black MP, Oona King, in the process.

Robert Kilroy-Silk, the ex-talkshow host who was sacked from the BBC after writing racist newspaper articles, only came fourth in his election in Erewash in the East Midlands. His party, Veritas, which fielded 65 candidates across the country, stood for withdrawing from the European Union and blocking immigration.

Turnout in the general election is 60%, up 2% on 2001.

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, July 27, 2005

First leg of the second qualifications round of UEFA Champions League is now over. Second leg games will be played on August 2 and August 3.

The biggest surprise of the leg is probably Artmedia Bratislava’s (also known as Artmedia Petrzalka) easy victory over Glasgow Celtic of 5 – 0. According to IFFHS’ ratings, Celtic is 43rd on the list, while Slovakians are on position 200. [1]

RSC Anderlacht secured an almost certain victory in the second round, as they won 5 – 0 at home against PFC Neftchi.

Another clear favorite is Liverpool, which beat Kaunas in an away game yesterday with a final result of 1 – 3. Kaunas will have to score at least three goals at Anfield next week to stay in game.

Anorthosis made the same result against Trabzonspor, but at home, which can still give Turks realistic hope to make it up next week.

Dudelange lost at home to Rapid Vienna with 1 – 6. Strikers were on a goaling spree in the first ten minutes of the game, leaving Rapid with a steady advantage of 1 – 3. Akagündüz scored his second goal of the game in 16′ for Rapid. Two more goals in the second half secured an easy home game for the Austrians.

Partizan Belgrade managed to beat Moldavian Sheriff at home, with 1 – 0, but the organized fans among 15,000 present at the stadium did not cheer for their team. Fans were protesting against the club management, as they banned any banners from the stadium. Most fans only chanted “Management out!” every few minutes.

Partizan’s stadium has a capacity of 32,710 seats, but last season games avaraged only about 2000 spectators in domestic matches. There is a long standing conflict between Partizan’s fans and the managament, as fans accuse the club leadership of manipulation of club’s funds and favoring certain fan groups.

Friday, October 24, 2008

On August 21, the Polish weekly Przekrój published an advertisement for Dan-Mark exercise books, bearing the logo of 4fun.tv, a Polish music/interactive TV station. Part of the advertisement contained a definition of the word “exercise book”. The wording looked familiar, and Wikinews consulted Wikipedia, the collaborative online encyclopedia.

Upon seeing the Wikipedia definition, it appeared that the entry quoted in the promotional material was identical to the initial two paragraphs of the relevant Wikipedia entry.

Freelance reporters for the Polish Wikinews decided to find out the reason for such a similarity and whether either of the texts (the advertisement’s or Wikipedia’s) might be a case of copyright violation.

The reporters contacted a Jaros?aw Janas, Creative Director of 4fun.tv., where the ad appeared. His reply included the following claim:

Copyright on text does not last for fifty years as claimed by Janas, but for 70 years after the death of the author.

To investigate the authenticity of the above claims, Wikinews asked the main author of the two paragraphs in question, Wikipedian Julo, about the sources used to write the entry. He confirmed that he had written the text in question, and not copied it from an encyclopedic publication as claimed by Jana.

It is therefore impossible that both Julo and the people responsible for the exercise book advertisement have used the same uncopyrighted encyclopedia, thus coincidentally creating identical texts. The reporters also noted that the first draft of the introduction to the article was written by WaldemarWolskiHuta (February 2006). Afterward the text had undergone some modifications by Julo (September 2006), as well as Picus viridis and Beno (March 2008). However, the text presented in the press promotional material, which – according to 4fun.tv – came from an old-print encyclopedia is identical to the Wikipedia entry after the changes mentioned above had been made. Julo added that he was still alive, together with the other authors of the article in question who constituted the group of the copyright co-holders. This naturally led to a conclusion that neither 50 nor 70 years could have passed since their death. He left 4fun.tv’s actions with a comment that although the contents he and the other Wikimedians had made public and free, they are far from making them available in any “free style”, but under a specified license.

In follow up messages to Jaros?aw Janas, Wikinews reporters confronted the creative director over his seemingly inaccurate claims.

Wikinews was told in a reply that 4fun.tv would ignore the claims unless they see permission from the author of the original content to investigate this story. They were also informed that further e-mails without any specifics sent by the reporter would be qualified as spam. 4fun.tv’s creative director further added that he found the reporter’s picture on the Internet and asked how the person would feel if this picture was to appear on billboards or press releases that advertised the TV station.

Wikipedia does allow copying of its content under certain conditions. The encyclopedia’s content is released under the GNU Free Documentation License, which means that it can be copied, modified, and used commercially and non-commercially – under the conditions that the license’s text is included with the copied content and the five main authors are mentioned. If a part of the article is used, like in the example quoted in this news story, a “right to quote”, recognized by Polish law, may be used. In such a case it suffices to mention the source of the text (Polish Wikipedia) and the author of the excerpt. 4fun.tv met none of these conditions, meaning that copyright has been violated.

Over a year ago Polish Wikinews reported on a similar problem, regarding the use of free-licensed photographs. Since that time such “borrowings” have become less frequent, however photos are still being used in discordance with the license. Journalists have gotten used to citing sources, e.g. Wikipedia, although licensing conditions require attributing the actual author, not the source. So instead of attributing John Doe for his contribution, agencies like Polska Agencja Prasowa (Polish Press Agency) are attributing the source, Wikipedia.

In early September 2008 a similar situation occurred in relation to the Polish edition of Wiktionary. Gazeta Wyborcza, a Polish daily, published an IKEA advertisement, on the opening page of which an almost word-for-word Wiktionary entry was placed; additionally the advertisement used the characteristic MediaWiki layout. The reference to the external source used was missing.

In April 2008, an example of an Australian professor was cited; the scientist, in a reply to a news story, quoted a Wikipedia definition almost word-for-word. The same professor condemned the use of Wikipedia in his previous press appearances.

In 2005 Wikipedia material was discovered in the German weekly magazine Der Spiegel, which acknowledged its fault and published appropriate apologies in place of the article in the online edition.

Frontline magazine in 2007 was found using an image from Wikipedia without proper credit. When pointed out the magazine acknowledged the failing and a correction was promptly given in the subsequent issue.