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Monday, September 2, 2013

Radiation at Japan’s damaged Fukushima Nuclear Power Plant yesterday spiked to lethal levels around a leaking tank. Today the national Nuclear Regulation Authority (NRA) said contaminated water may be pumped into the sea.

Tanks holding contaminated water at the site continue to leak; operator Tokyo Electric Power Company (TEPCO) says up to 300 metric tons may have leaked from one tank alone. Radiation at that tank soared to 1,800 millisieverts per hour yesterday, a rate lethal to an exposed human in about four hours. Japanese law says nuclear workers cannot be exposed to more than 50 millisieverts in a year.

TEPCO says other locations at the plant have readings of 70–230 millisieverts per hour. Waste water totalling more than 300,000 tons has already been collected at the site; more is being stored at a rate of 400 tons per day. An unknown quantity of radioactive groundwater is flowing into the sea.

NRA boss Shinichi Tanaka told a press conference today that stored water may be pumped into the Pacific after treatment to reduce contamination to within legal limits. “I’m afraid that it is unavoidable to dump or release the water into the sea,” he said, adding “careless management” was being applied to the water by TEPCO.

TEPCO first noticed a leak at the now-deadly tank in July but said it was minor and the NRA gave it a level one “anomaly” rating on the seven-part international scale. Last week that was raised to “serious incident”, level three, after TEPCO said up to 300 tons of water had leaked. The exact amount is unknown as there is no gauge to measure levels inside the tank and TEPCO staff had said water levels in the tank had remained constant.

Last week levels under the tank, where lost water is thought to have seeped into the ground, stood at 100 millisieverts per hour, and another at the facility had a level of 70 millisieverts per hour. TEPCO found another leak yesterday in a pipe between coolant tanks. Highly radioactive material was dripping out, but TEPCO says the leak is now fixed. Monitoring at the site has been increased since the original leak’s discovery two weeks ago.

Around 1,000 tanks are used to store water from the power plant’s coolant system, which was contaminated when three reactors melted down after a tsunami in March 2011. Around 160,000 people were evacuated in the worst nuclear disaster since 1986. Tanaka said “The situation at Fukushima is changing everyday… The accident has yet to be settled down.”

The new radiation involves beta rays, TEPCO said, which can be stopped with a sheet of metal. Water treatment has extracted caesium from the tanks but other radioactive elements remain. TEPCO’s equipment to remove other contamination is out of action due to filter corrosion after a few months of operating, but the government has demanded it be returned to service this month.

None of the tanks have monitoring equipment and TEPCO’s initial procedure involved two employees manually checking each tank over a two-hour period. Since the tank was found to be leaking the total monitoring staff has increased from ten to 60, and patrols are carried out four times a day instead of twice a day.

Prosecutors brought criminal charges against TEPCO and government officials including then-Prime Minister Naoto Kan for their handling of the crisis formed after the tsunami. Daily newspaper Sankei Shimbun today claimed all charges, brought after local residents complained, were to be dropped. Sankei Shimbun suggests a formal announcement may come within days.

Kansai Electric Power today began shutting down one of only two reactors still generating power in Japan, reactor #3 at Oi Nuclear Power Plant, for mandatory inspection. The other, Oi’s reactor #4, is to be permanently switched off this month. When the accident began nuclear energy supplied a third of Japan’s power requirements, but in the aftermath of Fukushima the nation has switched to fossil fuels.

Wednesday, October 12, 2005

USA — A US government report was issued Wednesday predicting the rise of heating bills due to colder temperatures and impacts Hurricanes Rita and Katrina had on the nation’s energy production.

Local forecasters predict that most of the US will have a warmer-than-expected winter this year. However, households that heat their homes by gas can expect to pay 29.8% more in heating bills. In the case of colder-than-expected weather, an increase of 66% in household heating costs is likely. In typical weather, prices will rise about 47.6%. Households that use electricity can expect a rise of about 5% from last year. NOAA‘s 2005-2006 U.S. Winter Outlook calls for warmer-than-normal temperatures across much of the central and western United States, including Alaska and Hawaii. The Midwest, the Southern Californian coast and the East Coast have equal chances of warmer, cooler or near-normal temperatures this winter.

Around one third of the US crude oil and one fifth of the natural gas outputs in Mexico still remain closed due to hurricane-related damage. Seven oil refineries remain offline.

The Energy Information Administration predicts that the price of oil will rise to around $64 per barrel (42 gallons or 158.97 litres) in 2006, with $58 being the average for this year.

Sunday, September 30, 2007

Evan Wolfson, the founder of the modern gay marriage movement, tells the waiter he would like an iced decaf and “the usual.” Wolfson, one of Time Magazine’s Most Influential People in the World, is a man who unflinchingly knows what he wants and stays his course, whether it be in his choice of restaurant or in his choice of battle. And others always know when they see Evan coming what it is that he wants.

Since his time at Harvard Law School when he wrote a paper on the topic, what Wolfson wants is the right for gay people to marry. The issue gained national prominence in 1993 when the Hawaii Supreme Court held in Baehr v. Lewin that the government had to show a reason for the denial of the freedom to marry, not just deny marriage licenses to the plaintiff gay couples. Wolfson was co-counsel in the historic 1996 Hawaii trial in which he argued that the government does not have a sufficient reason for excluding same-sex couples from marriage. In 1999, Wolfson contributed to Baker v. Vermont, the case that led to the creation of civil unions; advised the lead attorneys in Goodridge v. Department of Public Health, the case that led to same-sex marriage in Massachusetts; and since 2003, when he founded the primary umbrella organization coordinating the efforts to win marriage for gay people, Freedom to Marry, Wolfson has played a role in every marriage equality case in the United States. He is the movement’s founder and leader, and his focus remains square on winning that right. “For years,” said Matt Foreman, executive director of the National Gay and Lesbian Task Force, “many of us were saying to him, ‘We’re not ready. The country’s not ready. And, by the way, you’re crazy.'”

When I make a statement to him about his devoting his life to gay marriage, he corrects me: “I’ve played a part in cases that span the entire spectrum of eliminating gay people’s exclusions and limitations on who gay people are, and I’ve also written on immigration and economic justice, and I have worked on cases involving race discrimination in jury selection and women’s inequality. I don’t think one has to pick one of these things; they work together.”

Indeed, he has. Wolfson was lead counsel before the Supreme Court in Boy Scouts of America v. Dale, the case arguing against the expulsion of gay scoutmasters. As an intrepid young assistant district attorney in Brooklyn, Wolfson worked on People v. Liberta to end the exemption that allowed women to be raped by their husbands legally, a right in New York State as early as 1984. And he helped end the practice of choosing jurors based upon their race.

Wolfson’s entire career has been at the center of the most explosive legal and cultural issues of the last 30 years in the United States, and his influence has been profound. David Shankbone sat down with him to discuss some of the recent decisions affecting gay marriage, gender in marriage and reactions in the gay community to his fight for their rights.

Monday, March 15, 2010

An undercover investigation by Naperville, Illinois law enforcement has led to the arrest last Thursday of four people allegedly involved in prostitution. The stings came after police received tips that people were using websites like Craigslist and Backpage.com to sell sexual performances in Naperville hotels. 

Patricia H. Scoleri of Naperville was arrested after an unidentified neighbor observed consistently suspicious activity at Scoleri’s home. Traffic was unusually heavy and consisted mostly of luxury cars in an otherwise quiet, middle-class neighborhood. Also, the visitors were mainly middle-aged men, and an odd string of lavender-colored lights were hung on the front window.

Police say Scoleri worked alone. She was arrested at 2 p.m. local time (2000 UTC) and is charged with violation of anti-prostitution laws, anti-cannabis laws, and the Massage Licensing Act. She apparently has four children, but the Illinois Department of Children and Family Services has neither contacted her nor received a police report on her.

The second sting occurred at 5:30 p.m the same day (2330 UTC) and resulted in the arrest of Chicago resident Tonya M. Adams. She is charged with prostitution and driving without a license. Another sting about an hour later resulted in the arrests of Jessica M. Walley, a Skokie resident, and Mark A. Williams, a self-admitted Schaumburg gang member. “Walley was charged with prostitution and unlawful possession of cannabis. Williams was charged with pimping, obstructing a peace officer, driving with a suspended license and driving without insurance,” reports WBBM News Radio 780.

All four suspects are free, having paid the required ten percent of their $1,000 bail. They may face additional charges related to crack cocaine discovered during the police investigation. Arraignment is scheduled for next month at the DuPage County Circuit Courthouse in Wheaton.

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.

Tuesday, December 18, 2007

Wikinews reporter David Shankbone is currently, courtesy of the Israeli government and friends, visiting Israel. This is a first-hand account of his experiences and may — as a result — not fully comply with Wikinews’ neutrality policy. Please note this is a journalism experiment for Wikinews and put constructive criticism on the collaboration page.

At 70 miles per hour halfway to Kennedy Airport the scent of alcohol filled the back of the cab when the driver turned around and said, “There is no traffic. It is good. Quick.” It was fitting. Up to that point I sat staring out the window thinking about all the warnings my family and friends gave me about taking care of my safety in Israel. Although I have traveled a good deal and never found a place I visited to be as it was depicted in the American media–Cuba is nothing like it is portrayed–the intonations to steer clear of pizza parlors and buses weighed on me. “Whatever you do, David, don’t go to Gaza or take a bus! Don’t. Go. To. Gaza,” my mother said several times, “Just, you know, there’s a war going on over there. If you see anyone praying to Allah and sweating, run!”

Until the cab driver turned around and smiled through his boozy breath, my mind had raced with thoughts of my life ending head bowed on Al-Jazeera, surrounded by gunmen forcing me to denounce my country. I thought about Gay Talese, desperate to go to Iraq, who told me he would tell “the bastards” to “go ahead, make my day” because he would die doing what he loved: working on a story. Strangely, I found solace in my drunken driver to distract me from these thoughts, and instead I thought about Carolyn Doran, the former Wikimedia COO who has caused a firestorm for the foundation when they hired her unaware that not only is she a quadruple-convicted drunk driver, but that she also shot a boyfriend.

My flight from Kennedy to Tel Aviv had the hallmarks of a caricatured bad flight: Despite my request for an aisle, I found myself in a center seat. To my right was a morbidly obese woman in a purple beret breast-feeding her baby. In the seat to my left was another infant in a baby seat, and to his left was his mother holding yet a third baby in her lap. When I woke two of the babies were suspended from the wall in what looked like airplane baby crib trampolines. Surprisingly, it was one of the better 11 hour flights I have had. All three babies slept through the entire trip and when I woke from one nap I found myself lying against what felt like memory foam, but turned out to be the obese woman, whose largess had spilled over our hapless arm rest and into my seat. It was…not unpleasant.

Upon arrival at our hotel in Tel Aviv we were given exactly ten minutes to shower and change before we had to leave to have dinner with Dr. Yossi Vardi–the father of Israeli invention, as he is known. Jimmy Wales had introduced me to him over e-mail, and I had done my research on the man who funded and sold the ICQ network. On the bus over there Stacy Perman and David Saranga spoke about how Israel is trying to brand itself today. In particular, Perman, who writes for Businessweek, mentioned a spread in Maxim Magazine that Saranga, who is in charge of media relations for the Israeli consulate in New York, was responsible for arranging. Its theme was “The Women of the Israeli Army” and featured buxom, beautiful scantily-clad Israeli girls from the armed forces. It rubbed Perman the wrong way. “The spread seemed so Lowest Common Denominator to me. What was the thinking behind that?” asked Stacy.

Saranga had no apologies for appealing to the male libido in his never-ending drive to sell Israel. “Look, I would love for Maxim’s 2.5 million readers to pick up that magazine and read about Israeli technology and our wonderful culture here. But in truth, they are not so interested in that. When we approached Maxim they asked why they should do it; after all, there are beautiful women every where. Why Israeli beautiful women? We said, ‘But Israel is the only army where women are actually fighting alongside the men.’ So they did it. Not with guns and ammunition, but just the…beautiful women of the Israeli army. When we tested how that piece worked, we found it was very, very successful.”

But what is success? The issue, Saranga explained, is Israel has an image problem. Saranga is one of the key people in the Israeli Foreign Ministry working to create a new brand name for the holy land. Indeed, one scheduled dinner for the journalists on this trip is hosted by Ido Aharoni, whose title is Head of Israel Brand Management Team. A country’s brand name is what this trip is all about. More accurately, about rebranding.

When people think of Israel, Saranga explained, they think the same things my friends and family think: it is dangerous, it is a place where you may be blown up. It is difficult to find in the American media stories that travel outside of Israeli-Palestinian-Lebanese conflict narrative. The effect, according to Saranga, has been that people do not want to come to Israel. It is too dangerous and even if safety is not an issue, it does not look like a fun place to go. According to the test research the Israeli government has conducted, people see Israel as a place that is deeply religious–it is, after all, a Jewish state–and besides holy sites such as the Temple Mount and retracing the steps of Jesus Christ, most secular American thrill seekers think there is little for them to do.

In reality, Israel is a multi-dimensional and pluralistic society with a large Arab—the majority of whom identify themselves as Palestinian—population in one of the most stable democracies in the Middle East. This trip, however, is mostly modeled to show the technology journalists what is by any measure one of the most thriving centers of innovation in the world. What we won’t see is Israel’s Arab side. When I suggested to Saranga that I would like to venture to the Jaffa Market, Tel Aviv’s thriving Arab bazaar, he looked at me perplexed, “Why would you want to go there?!” When I replied that it would be a good place to look for things to buy people back home, he still did not see why I would choose to go there. It was only when I mentioned it would also be good for photography–another purpose for this trip–did he say, “Well, that’s true. I suppose it has color.”

At dinner Dr. Yossi Vardi discussed the future of Israeli technology and pointed out that after California and Boston, Israel attracts the highest amount of venture capital incubator dollars in the world. After his speech, he turned to me with what the standard complaints I hear about Wikipedia; namely, that it is not always accurate and it is arbitrary in how it decides what is notable (in particular, the article on a product he is financing, Fring, has been deleted five times, he said, despite being a market leader). “How do you decide what is right and what is notable?” asked Vardi.

It was the same question raised by the Haaretz reporter when he interviewed me later that night for an article about my trip. With both Vardi and Haaretz I brought up the on-going Santa Claus battle on Wikipedia, in which I was heavily involved. Several editors do not want us to point out that Santa Claus is not real (think of the children!) or, absent outright supporting the myth, that we should hide he is made up. The problem is that Wikipedia is not responsible for supporting cultural myths, but to explain them.

“But I believe in Santa Claus” replied Vardi. “Who are you to say he is not real?” It is a question that was raised in the Santa talk page discussion, and a difficult challenge to answer. And like the pro-Santa editors on the Santa Claus discussion, Vardi asked “What about God? Can you say that God does not exist?” But are Santa and God really the same beyond an academic philosophical discussion, I replied. God is typically taught to explain aspects of the world around us that we can not explain ourselves through our knowledge and technology. Santa, on the other hand, is a story parents know to be false. They tell their children to believe in something and then make an elaborate effort to support something they know is not true (milk and cookies consumed; gifts given by Santa; Father Christmas tracked on the Air Force website). Eventually, the time comes when parents reveal to their children that he never existed; it was them all along eating those cookies.

“But perception,” Dr. Vardi responded, “is reality. So who are you to say? It is the question of the tree falling in the woods and whether anyone hears it.” I responded that to take knowledge to such academic and philosophical realms is fine for spirited dinner conversation, but useless when trying to engage in practical pursuits. “After all, Dr. Vardi, how would you ever solve an engineering problem if all it takes for reality to be formed is to believe something to be true? You must come across many people who believe fervently that products they are developing will be successful; do you invest based upon their beliefs? The question is always whether a tree falling makes a sound. The question is never framed as, ‘Has the tree fallen?’ It’s a given.”

Cnaan Liphshiz, the Haaretz reporter, relayed similar concerns about Wikipedia as Vardi, although less philosophical. Are we a reliable source of information? “The short answer is no,” I said. He looked at me surprised “The problem with such a question is not whether Wikipedia is reliable, but is any one source of information reliable? Studies continually show that Wikipedia is reliable at redacting information and presenting what others say to be true. But are our sources right? No person should rely upon one source for anything. They should seek several sources to form an opinion. Does Wikipedia do a better job of presenting several opinions than The New York Times or Fox News? Yes, I believe they do.”

My presence on this trip, I offered Haaretz, raised the interesting question that Web 2.0 presents: how did the Israeli foreign ministry decide on David Shankbone to report for Wikinews and Wikipedia on this trip? 25% of the answer lies in my accreditation with Wikinews and that I am able to be an original source of reporting. But 75% of the reason rests upon my contributions to Wikimedia projects, which made me stand out over other contributors. Between my photography and my interviews, I have done high profile projects on Wikipedia and its sister projects. So can other commoners like me take off to Israel when we make worthwhile contributions to high-profile Web 2.0 sites like Wikipedia? Maybe. The challenge for firms, governments and organizations today is to figure out who amongst a morass of disparate and sometimes bizarre user names can actually produce substantive work. The answer is that those who want to contribute information to the public sphere need to expend time to find who out there in Web 2.0 is worth contacting, and whether people in Web 2.0 can even do anything for them. This is the same advice I gave the Rubenstein Public Relations company (who manages PR for the Tribeca Film Festival), which is how the Israelis found me.

On a trip like this, what are the Israelis’ goals for Wikimedia? For David Saranga, it goes back to the rebranding of Israel. They simply want people to highlight aspects of their country that do not involve the Israeli-Palestinian conflict. Hence, we are here to look at Israel’s technology sector in a head-spinning array of meetings. This made Wikipedia and Wikinews, influential sources of information that attempt to present the world as it is, an attractive option. “The fact is, there is so much going on in Israel today that nobody knows about because the media does not write stories about Israel outside of the conflict,” said Saranga. The opportunity to have someone from the Internet’s major encyclopedia visit the Weizmann Institute, the Technion and some of the holy sites was golden for them. Just don’t go to the Arab parts and whatever you do, don’t go to Gaza.

Monday, July 3, 2006

New Jersey —Numerous non-essential state services have ceased operation indefinitely from July 1. These include road work, the New Jersey Lottery, and the Motor Vehicle Commission, with Atlantic City casinos and racetracks (which require state monitoring) and public beaches and parks closing from July 5.

As a result of Article VIII, Section II, paragraph 2 of the New Jersey State Constitution, the state is required to determine all debts for “as far as can be ascertained or reasonably foreseen” and provide for them in a single budget act. As the 2005-2006 Fiscal Year for the state ended with June 31 and the 2006-2007 budget has not passed the state is blocked from expending any money, also by VIII, II, 2. The current ascertainment shows the state ending up in the red by 4.5 billion USD.

The main cause of the problem is a furious deadlock between the Democratic majority is the New Jersey General Assembly, the lower house of the New Jersey Legislature, which is given the power of starting the budget, and the Democratic Governor of New Jersey Jon Corzine. The main concern is Corzine’s plan to raise taxes, such as the sales tax. The Assembly majority dislikes this and some in the New Jersey Senate, which has the power to block the budget, also disagree with his measure.

Originally the racetracks were to close with the state lottery, however a court order has kept them running past the 4th. The casinos attempted to get a similar exemption, but that was definitively rejected by the New Jersey Supreme Court. “Critical” services like the New Jersey State Police, the state’s prisons, and hospitals will continue to operate without funding. All non-essential employees of the state were given leave from July 1 on.

All 12 casinos in Atlantic City locked their doors for the first time in the 28-year history of legalized gambling in New Jersey. Casino inspectors, who are state employees, are no longer working. While the casino floor is shut down, many casinos have remained open for hotel, restaurant, and entertainment business.

Members of both houses of the Legislature have been kept in the capital, Trenton, to help a speedy passage.

A similar situation occurred in Minnesota exactly one year ago as the Legislature failed to pass the budget before they were forced to adjourn by a hard-wired date in the state constitution.