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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.

Thursday, January 24, 2013

A group of researchers published a paper about their discovery of a new species of Madagascar mermaid skink lizards last December. The species is the fourth forelimbs-only terrestrial tetrapods species known to science, and the first one which also has no fingers on the forelimbs.

The species was collected at Marosely, Boriziny (French: Port-Bergé), Sofia Region, Madagascar. The Sirenoscincus mobydick name is after the existing parent genus, and a sperm whale from the 1851 novel Moby-Dick by Herman Melville.

This week, Wikinews interviewed one of the researchers, French zoologist Aurélien Miralles, about the research.

((Wikinews)) What caused your initial interest in Madagascar lizards?

Aurélien Miralles: Well, I would say that since I am a child I am fascinated by the biodiversity of tropical countries, and more especially by reptiles. I did a PhD on the evolution and systematics of skink lizards from South America. Then, I get a Humboldt grant to do a postdoc in Germany, at the Miguel Vences Lab, in order to study Malagasy skinks. Madagascar being a fabulous hotspot for reptiles (and not only for reptiles actually), it was a very nice opportunity. Professor Vences proposed me to associate our complementary fields of expertise: he is expert in herpetology for Madagascar, and I am expert in skinks lizards (family Scincidae). It was a very fruitful experience, and many other results have still to [be] published.

((WN)) How was the new species discovered?

AM: By a very funny coincidence actually. In 2010, I went to Madagascar for a long trip through the south of the island, in the semi-arid bush for collecting lizards and snakes samples. Then, during the last days, just before coming back to Germany, I have visited by coincidence the zoological collection of the University of Antananarivo. In that place, I found an old jar of ethanol with two weird little specimens previously collected by a student who didn’t realize it was something new. Being expert on skinks, I immediately recognised it was something very probably new, very different from all the other known species.

((WN)) What does “Sirenoscincus” stand for?

AM: I am not the author of the genus name Sirenoscincus. This genus name was already existing. It has been described by Sakata and Hikida (two Japanese herpetologists). “Sireno” means mermaid. “Scincus” means skinks, a group of little lizards on which I am particularly focusing my studies. So, Sirenoscinus means “mermaid skink”, in reference to [the] fact it has forelimbs but no hindlimbs.

((WN)) How deep underground do the lizards live?

AM: Hard to answer this question because nothing is known on the ecology of this species. But more reasonably, we can hypothesize, by comparison to similar species of skinks, that it is probably living just under the sand surface, [a] few centimeters deep, probably no more, or below [a] rock, leaf litter, or piece of dead wood.

((WN)) What do the lizards eat?

AM: Again, by analogy, I would say most likely small invertebrates (insects, larvae, worms etc…).

((WN)) What equipment was used during the research?

AM: Classic equipment (microscope) and also a state-of-the-art device: a micro CT-scan. It is a big device producing [a] 3D picture of the internal structure without damaging the specimen. It is actually very similar to the scanner used in human medicine, but this one is specially designed for small specimens. Otherwise, I am currently studying the DNA of this species and closely related species in order to determine its phylogenetic position compared to other species with legs, in order to learn more about the evolutionary phenomena leading to limb loss.

((WN)) There are several news sources that have a photo of the species. Is it a photo as seen in a CT-scan?

AM: No, this picture showing a whitish specimen on a black background is not a CT-scan. It is a normal photograph of the collection specimen preserved in alcohol (the one that was in the jar). You can see the complete of picture (including CT-scan 3D radiography, drawing…) in the original scientific publication.

((WN)) Do you know when the newly discovered mermaid skink species was put into the jar? Do you have its photo (of the jar)?

AM: No, I have no picture of the jar. The specimen has been collected in November 2004.

((WN)) What were the roles of the people involved in the research? What activity was most time-consuming?

AM: As first investigator, I did most of the work…and the longest part of the work was to examine closely related species in order to do comparisons…and also to check the complete bibliography related to this topic and to write the paper.

Mrs Anjeriniaina is the student who […] collected the specimen a couple of years ago.

Mrs Hipsley and Mr Müller learnt me how to use the CT-scan, and helped me concerning some point relative to internal morphology. Mr Vences helped me as supervisors. Additionally, all of them have corrected the article, and gave me many relevant advices and corrections, thus improving the quality and the reliability of the paper.

((WN)) Did you get in touch with an external entity to get the new species officially recognised?

AM: No. In zoology, it is only needed to publish the description of a new species (and to give it a name) in a scientific journal, and to designate a holotype specimen (= specimen that will be the official reference for this species), to get this new species “officially” recognised by the scientific community. That does not mean that this new species is “correct” (it might be invalidated by subsequent counter-studies), but that means that this discovery and the new name of [the] species are officially existing.

((WN)) Are there any further plans on exploring the species habitat and lifestyle?

AM: No, not really for the time being, because ecology is not our field of expertise. But other studies (including molecular studies) are currently in progress, in order to focus on the phylogenetic position and the evolution of this species.

Sunday, December 19, 2004

CRAIG, Alaska –Rachelle Waterman, (aka Rachelle Ann Monica Waterman and “smchyrocky”), a 16-year-old girl from Craig, Alaska, USA, has been charged with the first degree murder of her mother.

The case has rapidly received a wide following on the Internet, partly because Waterman kept a public record of her thoughts and activities on LiveJournal, a popular blogging service. The last entry, which has since been removed from public view, was posted on November 18, 2004 and read:

Just to let everyone know, my mother was murdered.

A diverse group of users, both friends and strangers, have posted over 5,000 comments on the journal, positive and negative, transforming the case into an Internet phenomenon. Every entry since March 2004 has apparently now been deleted or hidden, but a ZIP archive of the entire weblog, from before the entries were deleted, is available on Deadly Blogging.

Waterman was a tenth-grade honor (A-average) student in her second year at Craig High School. She was also a member of the Academic Decathlon team (ACDC) and sang in the choir, a profile that has left many people questioning her involvement in the killing and asking what motive there might be. At the time police say the killing occurred, Rachelle Waterman was apparently playing in a volleyball tournament in Anchorage, Alaska.

Apart from the online diary Rachelle kept, the case is also unusual because matricide committed by female minors is extremely rare.

The Waterman family is a locally prominent, middle-upper class family. Born on August 26, 1988, Rachelle showed an interest in acting, computers, movies and music, and was an honor roll student, involved in many extra-curricular activities, including choir, volleyball, and the decathlon team – advancing to upper levels and winning prizes in almost every endeavor. Her mother, Lauri, was a teachers’ aide and served on the board of the Little League and the town library. Rachelle Waterman’s 60-year-old father, Carl “Doc” Waterman, is a real estate agent and serves as president of the Craig School Board. Rachelle’s older brother, Geoffrey, lives out of town and is a student at Tacoma College.

Waterman and her alleged accomplices, Jason Arrant and Brian Radel, both 24 years old, are accused of murdering and conspiring to murder Waterman’s 48-year-old mother, Lauri Waterman.

Reportedly, Arrant dropped Radel off near the Waterman home shortly after 12:00 a.m. Sunday, November 13, 2004 (local time) where Radel proceeded to kidnap Lauri Waterman, force her into a minivan owned by the Waterman family, and kill her with a blunt object.

Arrant and Radel then allegedly met at Forest Service Road 3012 at about 2:30 a.m., and Arrant followed Radel to its dead end, where Radel had driven the Waterman’s van.

Arrant then allegedly watched as Radel doused the body and van with gasoline and then used a roll of paper towels to set it on fire, in an attempt to destroy the evidence.

Alaska State Police Lt. Rodney Dial has stated that a hunter discovered Lauri Waterman’s body and her burnt-out van, while driving on Forest Service Road 3012, a remote logging road, early in the afternoon of Sunday November 142004.

On Saturday, November 202004, Alaska State Police Trooper Robert Claus stated:

On Saturday, November 20, 2004, Rachelle appeared in Craig District Court, dressed in an orange CCJF jumpsuit, for arraignment on the charges. Waterman and her alleged co-conspirators, Jason Arrant, and Brian Radel, faced a 10-count indictment, listing 26 felonies.

The Fairbanks Daily News-Miner reported that, “the complaint against Rachelle Waterman relied on statements by all three co-defendants. The complaint says the girl told one of the suspects when she and her father would be out of town.”

A report in The Ketchikan Daily News stated that, “The first seven counts of the indictment allege that all three defendants committed the crimes of conspiracy to commit first-degree murder; first-degree murder; second-degree murder; kidnapping; first-degree burglary; first-degree vehicle theft and tampering with physical evidence.” Other charges were made against Arrant and Radel. The same report went on to state, “Trooper Robert Claus, Klawock resident Jan Bush and Deputy State Medical Examiner Susan Klingler testified before the grand jury.”

Magistrate Kay Clark presided over the arraignment and set bail at $150,000. Clark also appointed a public defender to represent Rachelle, who was sent to the Juneau Department of Corrections facility.

Judge Patricia Collins, of the Juneau Superior Court, has been assigned to run the trial for the case. Judge Collins originally set a date of February 3, 2005 for the trial, but, at an arraignment that week, the trial was rescheduled for August 22. According to court officials, another postponement is likely.

Rachelle Waterman’s court-appointed attorney for the trial is Assistant Public Advocate Steven Wells. Assistant District Attorney Daniel Schally is assigned to prosecute the case.

No motive for the crime has been suggested. Readers are closely scrutinizing Rachelle’s online journal for clues.

As early as February 24th of 2004, she posted the following:

Numerous readers have pointed to Rachelle’s negative comments concerning her mother’s wishes to send her to a “fat farm” to lose weight.

In another incident, her mother grounded her (restricted her to home) for receiving an 89% score on a test. Rachelle posted these comments to her journal in response to this situation (verbatim spelling):

Other readers have pointed to the title of Rachelle’s journal, “My Crappy Life (The Inside Look of an Insane Person)”, and her negative description of her hometown as “Hell, Alaska, United States”:

Rachelle posted the following poem to her journal on August 24, 2004, with an indication that she was depressed:

She also had a strong desire not to be at home:

and even posted an “Ode to Suicide” under the following post:

Finally, the weekend before Rachelle left on a trip, during which time her mother was allegedly killed, she noted in her second-to-last entry, “I had a migraine from about 9am-6pm”.

Rachelle Waterman is currently incarcerated at the Lemon Creek correctional facility, in Alaska. She signed an agreement to be placed into the general population. Corrections Deputy Commissioner Portia Parker indicated that Waterman “is an adult in the eyes of the law.”

Alaska law places persons charged with first-degree murder at the age of 16 or older in the adult court system, and most of the records concerning this case are open to the public for inspection.

One of the last entries in Rachelle’s journal wonders whether anyone is reading her comments (verbatim spelling):

Although Waterman has not yet been convicted, sociologists and forensic psychologists are beginning to study her journal and the circumstances of her writing it. (The police have seized her computer and are examining the contents of its hard drive for evidence.)

LiveJournal has subsequently restricted the viewing of her journal.

When interviewed by Alaskan television station KTUU about the nature of online journals, (in late November, 2004) forensic psychologist Susan LaGrande commented that “[i]t’s such an anonymous vehicle that you can be whoever or say whatever you want. You don’t have all the responsibilities that are inherent in a face-to-face real, legitimate relationship.

This same report pointed out that Rachelle Waterman had mentioned suicide in her online journal.

Criminologist Susan Magestro was interviewed by KTUU on the subject of juvenile crime, in late November, 2004, after Waterman became the second teenager within two months to be accused of murdering her own parent. She stated that “I think that we’re starting to see more violence with kids who are younger, and the behaviors that they’re exhibiting are more aggressive and more violent.” Magestro also opined that “we’ve got a lot more fetal alcohol and drug children who are growing up, and they don’t understand the consequences of some of their actions.” (There is no indication that Waterman was a so-called “fetal alcohol” or “drug” child.)

KTUU reported that Magestro “…blames violent movies, TV shows and videogames for desensitizing young people, making them unable to understand the consequences — or even the reality — of their actions.”

Although Waterman has been waived into the adult justice system due to the nature of the crime, the Governor of Alaska, Frank Murkowski, has proposed increasing the number of personnel assigned to the juvenile justice system.

A compilation of brief news reports for Monday, June 4, 2007.

MediaCorp Radio in Singapore has been fined 15,000 Singaporean dollars (US$9,800) over an on-air stunt in March in which female guests on a radio show were asked to remove their brassieres, and pose for video that was to be posted on the station’s website and on YouTube.

The Media Development Authority said the radio show’s hosts made improper and sexually suggestive remarks about “how fast the bras were removed, as well as the color, design and cup size of the bras, and the size of the girls’ breasts.”

Sources

• AP. “Fine for Singapore radio bra stunt” — CNN, June 4, 2007
• Sapa-AFP. “Station fined for bra contest” — Independent Online (South Africa), June 4, 2007

Researchers at University of Malaya say they have developed an erectile dysfunction cure from walnut extract.

“It takes about an hour for the effects to set in and it will last for about four hours,” said Professor Dr. Kim Kah Hwi of the Faculty of Medicine Physiology.

So far, 40 volunteers have tried the Viagra alternative, called “N-Hanz”, with positive results, Kim said. To make one pill, it takes about 3.3 kilograms (about 7 pounds) of walnuts.

Sources

• Royce Cheah. “Researchers produce Viagra alternative from walnuts” — The Star (Malaysia), June 3, 2007
• “Walnut pills rival Viagra” — Herald Sun, June 4, 2007

An 8-year-old Indonesian boy died after being attacked on Saturday by a Komodo Dragon at Komodo National Park on Komodo.

The boy was attacked while making a toilet stop in a bush, a park official said. “The dragon bit his waist, tossed him and dragged him. His right leg was badly scratched,” park spokesman Heru Rudiharto said. The boy then bled to death.

Attacks by Dragons on humans are rare, though the reptiles, which can grow to a length of 3 meters (9 feet), regularly kill such prey as pigs and small deer. Komodo Dragons are an endangered and protected species, and about 2,000 of them live in the wild, mainly on Komodo and nearby Rinca island.

Sources

• AP. “Indonesian boy killed in Komodo dragon attack” — CNN, June 4, 2007
• Fred Attewill. “Boy killed in dragon attack” — Guardian Unlimited, June 4, 2007

[edit]

Wednesday, August 17, 2005

Anti-virus software publisher Symantec has reported that outbreaks of two varieties of worm are imminent following system failures on two unnamed major corporate networks in the United Kingdom. After receiving several eyewitness accounts from on-site personnel this reporter noted similarities to the MSBlast worm which made headline news two years ago (on the 16th of July 2003) after causing massive outages.

The worms are limited to Microsoft Windows products based on the NT architecture such as Windows 2000 or Windows XP, exploiting administrator services applets which shut a computer down when a certain service fails. The worms cause these “administrator services” to fail, provoking the computer into shutting down immediately.

Microsoft has announced that a critical update is available for all users, evenfor those who use pirated versions of Windows.

Chrysler, Kraft Foods and many other US corporations are feeling the brunt of the attack as the US was in the middle of the work day when new more virulent variants emerged.

Sunday, February 22, 2009

According to ornithologists, a rare Philippines buttonquail feared to have gone extinct was recently documented alive by a cameraman inadvertently filming a local market, right before it was sold and headed for the cooking pot. Scientists had suspected the species—listed as “data deficient” on the 2008 International Union for Conservation of Nature’s Red List Category—was extinct.

Last month, native bird trappers snared and successfully caught the Luzon Buttonquail (Turnix worcesteri or Worcester’s buttonquail) in Dalton Pass, a cold and wind-swept bird passageway in the Caraballo Mountains, in Nueva Vizcaya, located between Cordillera Central and Sierra Madre mountain ranges, in Northern Luzon.

The rare species, previously known to birders only through drawings based on dead museum specimens collected several decades ago, was identified in a documentary filmed in the Philippines called Bye-Bye Birdie.

British birder and WBCP member Desmond Allen was watching a January 26 DVD-video of a documentary, Bye-Bye Birdie, when he recognized the bird in a still image of the credits that lasted less than a second. Allen created a screenshot, which was photographed by their birder-companion, Arnel Telesforo, also a WBCP member,in Nueva Vizcaya’s poultry market, before it was cooked and eaten.

i-Witness: The GMA Documentaries, a Philippine documentary news and public affairs television show aired by GMA Network, had incorporated Telesforo’s photographs and video footage of the live bird in the documentary, that was created by the TV crew led by Mr Howie Severino. The Philippine Network had not realized what they filmed until Allen had informed the crew of interesting discovery.

Mr Severino and the crew were at that time, in Dalton Pass to film “akik”, the traditional practice of trapping wild birds with nets by first attracting them with bright lights on moonless nights. “I’m shocked. I don’t know of any other photos of this. No bird watchers have ever given convincing reports that they have seen it at all… This is an exciting discovery,” said Allen.

The Luzon Buttonquail was only known through an illustration in the authoritative book by Robert S. Kennedy, et al, A Guide to the Birds of the Philippines. This birders “bible” includes a drawing based on the skins of dead specimens collected a century ago, whereas the otherwise comprehensive image bank of the Oriental Bird Club does not contain a single image of the Worcester’s Buttonquail.

“With the photograph and the promise of more sightings in the wild, we can see the living bill, the eye color, the feathers, rather than just the mushed-up museum skin,” exclaimed Allen, who has been birdwatching for fifty years, fifteen in the Philippines, and has an extensive collection of bird calls on his ipod. He has also spotted the Oriental (or Manchurian) Bush Warbler, another rare bird which he has not seen in the Philippines.

“We are ecstatic that this rarely seen species was photographed by accident. It may be the only photo of this poorly known bird. But I also feel sad that the locals do not value the biodiversity around them and that this bird was sold for only P10 and headed for the cooking pot,” Wild Bird Club of the Philippines (WBCP) president Mike Lu said. “Much more has to be done in creating conservation awareness and local consciousness about our unique threatened bird fauna. This should be an easy task for the local governments assisted by the DENR. What if this was the last of its species?” Lu added.

“This is a very important finding. Once you don’t see a bird species in a generation, you start to wonder if it’s extinct, and for this bird species we simply do not know its status at all,” said Arne Jensen, a Danish ornithologist and biodiversity expert, and WBCP Records Committee head.

According to the WBCP, the Worcester’s buttonquail was first described based on specimens bought in Quinta Market in Quiapo, Manila in 1902, and was named after Dean Conant Worcester.

Since then just a few single specimens have been photographed and filmed from Nueva Vizcaya and Benguet, and lately, in 2007, from Mountain Province by the Field Museum of Natural History in Chicago, Illinois.

Dean Conant Worcester, D.Sc., F.R.G.S. was an American zoologist, public official, and authority on the Philippines, born at Thetford, Vermont, and educated at the University of Michigan (A.B., 1889).

From 1899 to 1901 he was a member of the United States Philippine Commission; thenceforth until 1913 he served as secretary of the interior for the Philippine Insular Government. In 1910, he founded the Philippine General Hospital, which has become the hospital for the poor and the sick.

In October, 2004, at the request of Mr Moises Butic, Lamut CENR Officer, Mr Jon Hornbuckle, of Grove Road, Sheffield, has conducted a short investigation into bird-trapping in Ifugao, Mountain Province, Banaue Mount Polis, Sagada and Dalton Pass, in Nueva Vizcaya.

“Prices ranged from 100 pesos for a Fruit-Dove to 300 pesos for a Metallic Pigeon. Other species that are caught from time to time include Flame-breasted Fruit-Dove and Luzon Bleeding-heart; on one occasion, around 50 of the latter were trapped! All other trapped birds are eaten,” said Hornbuckle. “The main trapping season is November to February. Birds are caught at the lights using butterfly-catching type nets. Quails and Buttonquails were more often shot in the fields at this time, rather than caught, and occasionally included the rare Luzon (Worcester’s) Buttonquail, which is only known from dead specimens, and is a threatened bird species reported from Dalton Pass,” he added.

In August, 1929, Richard C. McGregor and Leon L. Gardner of the Cooper Ornithological Society compiled a book entitled Philippine Bird Traps. The authors described the Luzon Buttonquail as “very rare,” having only encountered it twice, once in August and once in September.

“They are caught with a scoop net from the back of a carabao. Filipino hunters snared them, baiting with branches of artificial red peppers made of sealing wax,” wrote McGregor and Leon L. Gardner. “The various ingenious and effectual devices used by Filipinos for bird-trapping include [the] ‘Teepee Trap’ which consists of a conical tepee, woven of split bamboo and rattan about 3 feet high and 3 feet across at the base, with a fairly narrow entrance. ‘Spring Snares’ were also used, where a slip noose fastened to a strongly bent bamboo or other elastic branch, which is released by a trigger, which is usually the perch of the trap,” their book explained.

A passage from the bird-trap book, which explains why Filipinos had eaten these endangered bird species, goes as follows:

A global review of threatened species by the International Union for Conservation of Nature (IUCN) indicates drastic decline of animal and plant life. This includes a quarter of all mammals, one out of eight birds, one out of three amphibians and 70 percent of plants.

The report, Red List of Threatened Species, is published by IUCN every year. Additionally, a global assessment of the health of the world’s species is released once in four years. The data is compiled by 1,700 experts from 130 countries. The key findings of the report were announced at the World Conservation Congress held in Barcelona, Spain.

The survey includes 44,838 species of wild fauna and flora, out of which 16,928 species are threatened with extinction. Among the threatened, 3,246 are tagged critically endangered, the highest category of threat. Another 4,770 species are endangered and 8,912 vulnerable to extinction.

Environmental scientists say they have concrete evidence that the planet is undergoing the “largest mass extinction in 65 million years”. Leading environmental scientist Professor Norman Myers says the Earth is experiencing its “Sixth Extinction.”

Scientists forecast that up to five million species will be lost this century. “We are well into the opening phase of a mass extinction of species. There are about 10 million species on earth. If we carry on as we are, we could lose half of all those 10 million species,” Myers said.

Scientists are warning that by the end of this century, the planet could lose up to half its species, and that these extinctions will alter not only biological diversity but also the evolutionary processes itself. They state that human activities have brought our planet to the point of biotic crisis.

In 1993, Harvard biologist E.O. Wilson estimated that the planet is losing 30,000 species per year – around three species per hour. Some biologists have begun to feel that the biodiversity crisis dubbed the “Sixth Extinction” is even more severe, and more imminent, than Wilson had expected.

The Luzon Buttonquail (Turnix worcesteri) is a species of bird in the Turnicidae family. It is endemic to the island of Luzon in the Philippines, where it is known from just six localities thereof. Its natural habitat is subtropical or tropical high-altitude grassland, in the highlands of the Cordillera Central, although records are from 150-1,250 m, and the possibility that it frequents forested (non-grassland) habitats cannot be discounted.

The buttonquails or hemipodes are a small family of birds which resemble, but are unrelated to, the true quails. They inhabit warm grasslands in Asia, Africa, and Australia. They are assumed to be intra-island migrants, and breed somewhere in northern Luzon in April-June and that at least some birds disperse southwards in the period July-March.

These Turnicidae are small, drab, running birds, which avoid flying. The female is the more brightly coloured of the sexes, and initiates courtship. Unusually, the buttonquails are polyandrous, with the females circulating among several males and expelling rival females from her territory. Both sexes cooperate in building a nest in the earth, but only the male incubates the eggs and tends the young.

Called “Pugo” (quail) by natives, these birds inhabit rice paddies and scrub lands near farm areas because of the abundance of seeds and insects that they feed on regularly. These birds are characterized by their black heads with white spots, a brown or fawn colored body and yellow legs on males and the females are brown with white and black spots.

These birds are very secretive, choosing to make small path ways through the rice fields, which unfortunately leads to their deaths as well, they are hunted by children and young men by means of setting spring traps along their usual path ways.

Buttonquails are a notoriously cryptic and unobtrusive family of birds, and the species could conceivably occur in reasonable numbers somewhere. They are included in the 2008 IUCN Red List Category (as evaluated by BirdLife International IUCN Red List of Threatened Species). They are also considered as Vulnerable species by IUCN and BirdLife International, since these species is judged to have a ten percent chance of going extinct in the next one hundred years.

Thursday, December 27, 2007

Israel has announced two new housing projects in East Jerusalem and the West Bank, continuing to expand its settlements. Officials have stated that a bill to be approved by parliament this week, would set aside $25 million for the expansion of development projects in Har Homa and Maale Adumim. The bill would create 500 apartments in the Har Homa area and another 240 in Maale Adumim.

Last month, both Palestinian leader Mahmoud Abbas and Israeli Prime Minister Ehud Olmert signed a statement of “joint understanding” at the 2007 Annapolis Conference in Maryland. This signalled the first peace agreement between the two parties in more than seven years.

However, many fear that settlement expansions will cause tension amid new peace agreements.

Palestinian negotiator Saeb Erekat said, “This is a totally destructive policy. Every day we hear a new settlement expansion plan – this cannot be tolerated.”

However, Rafi Eitan, Israeli Minister for Jerusalem Affairs offered a different stance.

“Har Homa is an integral part of Jerusalem and Israel will not stop building there. It is Israel’s duty to provide its citizens with a place to live.”

Earlier this month, United States Secretary of State Condoleezza Rice took a critical stance on the passage of another bill outlining the construction of 307 apartment units in Har Homa, saying that the expansion would “not help build confidence for peace talks.”

Israel annexed East Jerusalem after the 1967 Six-Day War.

Monday, June 7, 2010

An acrobatic group known by the name of Spelbound has been declared as the winner of Britain’s Got Talent 2010, a televised variety talent show competition broadcast on ITV in the United Kingdom. As the winning act of the show, Spelbound have won £100,000 (US$144,580, €120,313, A$175,079) and a place at The Royal Variety Performance, an annual gala evening that is attended by senior members of the British Royal Family.

In no particular order, the top three acts were revealed to be two dancers known by their stage name of Twist and Pulse, gymnastic group Spelbound and Kieran Gaffney, whose act involves playing on the drum kit. After Kieran Gaffney was revealed to be in third place, Anthony McPartlin, who hosts Britain’s Got Talent with Declan Donnelly, said to Kieran: “Well done Kieran. Kieran, you’re a star, you came back, you got all the way to the final. I know you’ve loved this. You’ve loved this, haven’t you?” In response to this, Kieran Gaffney stated: “Thank you very much. Thank you, everyone for supporting me. Thank you.”

Shortly afterwards, on the episode that was broadcast live on ITV1 on Saturday, Anthony announced: “After tens of thousands of auditons, five semi-finals and an amazing final, this…this is it. One of you is about to walk away with £100,000 and a place at this year’s Royal Variety Performance. The winner of Britain’s Got Talent 2010 is…Spelbound!” Glen Murphy from Twist and Pulse commented about finishing in second place, stating: “Yeah, it’s amazing. I can’t even believe it. I can’t believe it at all.”

Alex Uttley, a 24-year-old member of Spelbound, commented on the gymnastic group’s victory, commenting: “Oh, my god. This is unbelieveable. We just want to say thank you to everyone out there. It just shows that all our hard work has paid off.” One of the coaches of Spelbound, named Neil Griffiths, stated about Spelbound: “Oh, they’ve worked so hard over the last few weeks. Um, since the semi-final, we…we really had to pull out the stops to try and up the game. They’ve not known they’ve worked in the gym from six in the morning till twelve…twelve o’clock of the night. I couldn’t have asked for more. Um, it’s a team of coaches. I don’t take all the credit myself. There’s, uh, two people up there that know who they are who’ve been fantastic.”

Spelbound consists of 24-year-old Alex Uttley, Nicholas Illingworth, aged 24, Adam Buckingham, aged 21, 20-year-old Adam McAssey, 19-year-old Douglas Fordyce, 18-year-old Edward Upcott, 18-year-old Leighanne Cowler, 17-year-old Katie Axten, 17-year-old Lauren Kemp, 15-year-old Jonathan Stranks, Abigail Ralph, aged 15, 13-year-old Hollianne Wood and Amy Mackenzie, aged 12. Bookmakers had previously predicted that Spelbound would be the most likely act to become the winner of the series.

The running order for the final started with Twist and Pulse. The second act to perform was Liam McNally, a 14-year-old singer. The running order subsequently continued with 40-year-old impressionist Paul Burling, singer Christopher Stone, aged 28, Tina & Chandi, a woman and dog dancing act, Connected, a five-piece singing group, Kieran Gaffney, aged 12, 22-year-old Tobias Mead, a dancer, 80-year-old singer Janey Cutler and Spelbound in that particular order.

Earlier on in the final, Britain’s Got Talent judge Amanda Holden has stated to Spelbound: “We are hosting the 2012 Olympics and I think ‘what a brilliant opening act’.” Fellow judge Piers Morgan also commented that “[t]he purpose of this show is to identify hidden great British talent. You are that act.” After Spelbound won in the final, another judge, named Simon Cowell, stated that “the right boys and girls won on the night” and that he could “only say on live TV that that was one of the most astonishing things I have ever seen. Seriously.”

Thursday, December 18, 2008

A team of eight transplant surgeons in Cleveland Clinic in Ohio, USA, led by reconstructive surgeon Dr. Maria Siemionow, age 58, have successfully performed the first almost total face transplant in the US, and the fourth globally, on a woman so horribly disfigured due to trauma, that cost her an eye. Two weeks ago Dr. Siemionow, in a 23-hour marathon surgery, replaced 80 percent of her face, by transplanting or grafting bone, nerve, blood vessels, muscles and skin harvested from a female donor’s cadaver.

The Clinic surgeons, in Wednesday’s news conference, described the details of the transplant but upon request, the team did not publish her name, age and cause of injury nor the donor’s identity. The patient’s family desired the reason for her transplant to remain confidential. The Los Angeles Times reported that the patient “had no upper jaw, nose, cheeks or lower eyelids and was unable to eat, talk, smile, smell or breathe on her own.” The clinic’s dermatology and plastic surgery chair, Francis Papay, described the nine hours phase of the procedure: “We transferred the skin, all the facial muscles in the upper face and mid-face, the upper lip, all of the nose, most of the sinuses around the nose, the upper jaw including the teeth, the facial nerve.” Thereafter, another team spent three hours sewing the woman’s blood vessels to that of the donor’s face to restore blood circulation, making the graft a success.

The New York Times reported that “three partial face transplants have been performed since 2005, two in France and one in China, all using facial tissue from a dead donor with permission from their families.” “Only the forehead, upper eyelids, lower lip, lower teeth and jaw are hers, the rest of her face comes from a cadaver; she could not eat on her own or breathe without a hole in her windpipe. About 77 square inches of tissue were transplanted from the donor,” it further described the details of the medical marvel. The patient, however, must take lifetime immunosuppressive drugs, also called antirejection drugs, which do not guarantee success. The transplant team said that in case of failure, it would replace the part with a skin graft taken from her own body.

Dr. Bohdan Pomahac, a Brigham and Women’s Hospital surgeon praised the recent medical development. “There are patients who can benefit tremendously from this. It’s great that it happened,” he said.

Leading bioethicist Arthur Caplan of the University of Pennsylvania withheld judgment on the Cleveland transplant amid grave concerns on the post-operation results. “The biggest ethical problem is dealing with failure — if your face rejects. It would be a living hell. If your face is falling off and you can’t eat and you can’t breathe and you’re suffering in a terrible manner that can’t be reversed, you need to put on the table assistance in dying. There are patients who can benefit tremendously from this. It’s great that it happened,” he said.

Dr Alex Clarke, of the Royal Free Hospital had praised the Clinic for its contribution to medicine. “It is a real step forward for people who have severe disfigurement and this operation has been done by a team who have really prepared and worked towards this for a number of years. These transplants have proven that the technical difficulties can be overcome and psychologically the patients are doing well. They have all have reacted positively and have begun to do things they were not able to before. All the things people thought were barriers to this kind of operations have been overcome,” she said.

The first partial face transplant surgery on a living human was performed on Isabelle Dinoire on November 27 2005, when she was 38, by Professor Bernard Devauchelle, assisted by Professor Jean-Michel Dubernard in Amiens, France. Her Labrador dog mauled her in May 2005. A triangle of face tissue including the nose and mouth was taken from a brain-dead female donor and grafted onto the patient. Scientists elsewhere have performed scalp and ear transplants. However, the claim is the first for a mouth and nose transplant. Experts say the mouth and nose are the most difficult parts of the face to transplant.

In 2004, the same Cleveland Clinic, became the first institution to approve this surgery and test it on cadavers. In October 2006, surgeon Peter Butler at London‘s Royal Free Hospital in the UK was given permission by the NHS ethics board to carry out a full face transplant. His team will select four adult patients (children cannot be selected due to concerns over consent), with operations being carried out at six month intervals. In March 2008, the treatment of 30-year-old neurofibromatosis victim Pascal Coler of France ended after having received what his doctors call the worlds first successful full face transplant.

Ethical concerns, psychological impact, problems relating to immunosuppression and consequences of technical failure have prevented teams from performing face transplant operations in the past, even though it has been technically possible to carry out such procedures for years.

Mr Iain Hutchison, of Barts and the London Hospital, warned of several problems with face transplants, such as blood vessels in the donated tissue clotting and immunosuppressants failing or increasing the patient’s risk of cancer. He also pointed out ethical issues with the fact that the procedure requires a “beating heart donor”. The transplant is carried out while the donor is brain dead, but still alive by use of a ventilator.

According to Stephen Wigmore, chair of British Transplantation Society’s ethics committee, it is unknown to what extent facial expressions will function in the long term. He said that it is not certain whether a patient could be left worse off in the case of a face transplant failing.

Mr Michael Earley, a member of the Royal College of Surgeon‘s facial transplantation working party, commented that if successful, the transplant would be “a major breakthrough in facial reconstruction” and “a major step forward for the facially disfigured.”

In Wednesday’s conference, Siemionow said “we know that there are so many patients there in their homes where they are hiding from society because they are afraid to walk to the grocery stores, they are afraid to go the the street.” “Our patient was called names and was humiliated. We very much hope that for this very special group of patients there is a hope that someday they will be able to go comfortably from their houses and enjoy the things we take for granted,” she added.

In response to the medical breakthrough, a British medical group led by Royal Free Hospital’s lead surgeon Dr Peter Butler, said they will finish the world’s first full face transplant within a year. “We hope to make an announcement about a full-face operation in the next 12 months. This latest operation shows how facial transplantation can help a particular group of the most severely facially injured people. These are people who would otherwise live a terrible twilight life, shut away from public gaze,” he said.