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, March 31, 2011

United States President Barack Obama revealed Tuesday that he is considering supplying arms to Libyan rebels, among other things. Obama was quoted as saying, “if we [USA] wanted to get weapons into Libya, we probably could.”

During an interview with NBC News, Obama disclosed he is, “not ruling it out. But I’m also not ruling it in. We’re still making an assessment partly about what Gaddafi’s forces are going to be doing.” Obama also informed that he would be willing to negotiate a deal with Gaddafi; however, one clause would involve Gadaffi resigning from the leadership post.

Obama does not believe it is time for formal negotiations yet as he does not think Gaddafi has reached the point where he needs a quick way out.

Also mentioned in the interview was the strategy being used in Libya. “What we’ve also done is put Gaddafi back on his heels — at this point. In addition to maintaining a no-fly zone, protecting civilian populations, we also have political tools, diplomatic tools, sanctions, freezing his assets, all of which continue to tighten the noose.”

Obama reiterated that same view on ABC News saying in an interview, “I think what we’re seeing is that the circle around Gaddafi understands that the noose is tightening, that their days are probably numbered, and they are going to have to think through what their next steps are.”

Meanwhile, in an interview with CBS News, Obama said of the rebels leaders that U.S. officials have met with are “[F]ully vetted, so we have a clear sense of who they are, and so far they’re saying the right things, and most of them are professionals, lawyers, doctors, people who appear to be credible.”

This comes after the NATO supreme commander, Admiral James G. Stavridis said there were “flickers” of al-Qaeda and Hezbollah in Libya. In response, Obama said on CBS, “[T]hat doesn’t mean that all the people, among all the people who opposed Qaddafi, there might not be elements that are unfriendly to the United States and our interests. That’s why I think it’s important for us not to jump in with both feet.”

As for the rebels themselves, Mahmoud Shammam, a spokesman for the rebels told the New York Times, “We ask for political support more than arms, but if we have both, that would be good.”

Saturday, April 17, 2010

Journalist, counselor, painter, and US 2012 Presidential candidate Joe Schriner of Cleveland, Ohio took some time to discuss his campaign with Wikinews in an interview.

Schriner previously ran for president in 2000, 2004, and 2008, but failed to gain much traction in the races. He announced his candidacy for the 2012 race immediately following the 2008 election. Schriner refers to himself as the “Average Joe” candidate, and advocates a pro-life and pro-environmentalist platform. He has been the subject of numerous newspaper articles, and has published public policy papers exploring solutions to American issues.

Wikinews reporter William Saturn? talks with Schriner and discusses his campaign.

Sunday, April 24, 2011

An investigation by the United States Coast Guard has concluded the largest oil spill in the history of the petroleum industry was partly the result of a “poor safety culture” aboard the Deepwater Horizon oil rig. The April 2010 explosion aboard the rig, which is located in the Gulf of Mexico, triggered a disaster that led to widespread environmental damage.

The report squarely blames Transocean, which managed the Deepwater Horizon, for being largely responsible for the explosion that claimed eleven lives. The rig had “serious safety management system failures and a poor safety culture,” the report says. Transocean fiercely rejected allegations that crews aboard the rig were badly trained and equipment was poorly maintained.

A slapdash safety environment on Deepwater Horizon would mean equipment was not mended or replaced if it meant losing valuable hours of drilling, the Coast Guard found. Electrical equipment believed to have caused a spark that ignited flammable gas was described as being in “bad condition” and “seriously corroded.” The report found that other deficiencies—improperly assembled gas detectors and emergency equipment; audible alarms switched off because of nuisance false warnings; complacency with fire drills; and poor preparation for dealing with a well blowout—all contributed to the disaster.

Transocean attacked the report’s conclusions and suggested the Coast Guard may have played a role in the disaster. A spokesperson for the company said Deepwater Horizon had been inspected by Coast Guard officials only months before the explosion, officials who said it complied with safety standards. “We strongly disagree with—and documentary evidence in the Coast Guard’s possession refutes—key findings in this report,” the company said.

This week, Deepwater Horizon owner BP launched legal action against Transocean. It also filed a lawsuit against Halliburton, the company that cemented the well, and Cameron, which manufactured the rig’s failed blowout preventer. BP is reportedly seeking to claim US$40 billion in damages, and alleges it has taken a massive financial hit and loss of reputation. In a statement, BP said it filed the lawsuits “to ensure that all parties … are appropriately held accountable for their roles in contributing to the Deepwater Horizon accident”.

In the lawsuit against Transocean, BP claims the company missed signs that a disaster was imminent and that it “materially breached its contractual duties in its actions and inactions leading to the loss of well control, the explosion and the loss of life and injuries onboard the Deepwater Horizon, as well as the resulting oil spill.” Halliburton, BP alleges, was riddled with “improper conduct, errors and omissions, including fraud and concealment” which led to the disaster, and continues to refuse to cooperate with investigators.

Transocean dismissed the lawsuit as “desperate” and “unconscionable,” and announced a countersuit against BP, which it claims was responsible for the disaster “through a series of cost-saving decisions that increased risk, in some cases severely.” Halliburton and Cameron, which is also countersuing, announced they would defend themselves against BP’s allegations.

U.S. President Barack Obama marked the anniversary of the explosion by conceding that although “progress” has been made to ensure the safety of deep water drilling rigs, “the job isn’t done.” Obama’s comments came less than a week after leading experts raised serious questions over the security of deep water drilling as the U.S. government approves more exploration without improving safety measures.

Charles Perrow, a professor at Yale University, said the oil industry “is ill prepared at the least” to deal with another oil spill, despite repeated assurances from the industry and the government, which insists lessons have been learned from the Deepwater Horizon disaster. “I have seen no evidence that they have marshaled containment efforts that are sufficient to deal with another major spill,” he said. “Even if everybody tries very hard, there is going to be an accident caused by cost-cutting and pressure on workers. These are moneymaking machines and they make money by pushing things to the limit.”

However, politicians have insisted they are doing all they can to help clean the coast of oil. “Cleanup efforts in some places are still ongoing, and the full scale of the damage done to our state has yet to be calculated, but the good news is that most all of our fishing waters are back open again,” said Louisiana Governor Bobby Jindal at a press conference. “All of us here today want the entire nation to get the message that Louisiana is making another historic comeback.”

Gulf Coast residents, activists and relatives of the crewmen who were killed in the explosion paused this week for the anniversary of the oil spill’s beginning. A helicopter took the victims’ families from New Orleans to over the site where the rig stood, where it circled. “It was just a little emotional, seeing where they were,” said one victim’s mother. Remembrance services and candlelight vigils were held in the Gulf Coast region, which continues to suffer from the fallout of the catastrophe. The families have expressed anger at BP, who they say is being unfair and slow in paying out compensation from a $20 billion fund.

The area is still heavily affected by the disaster and reconstruction of the seafood industry that once thrived is slow. While tourists are beginning to return to the region, many are angry at BP and the Obama administration over how they handled the disaster. All the fishing waters in the area have now opened again, but people who live in the area remain dissatisfied. “I don’t see any daylight at the end of this tunnel,” one fisherwoman said. “I don’t see any hope at all. We thought we’d see hope after a year, but there’s nothing.”

Monday, June 9, 2008

Apple Computer today launched a 3G version of its iPhone device. Steve Jobs, the Apple Chief Executive Officer, announced the development at a developers’ conference, where he promoted the iPhone by saying that, “just one year after launching the iPhone, we’re launching the new iPhone 3G that is twice as fast at half the price.”

Apple has claimed that the 3G iPhone will provide internet access at double the speed of the internet access provided by the previous versions.

The price for the iPhone has also been reduced to $199 in the US, with prices in other countries equal or below that of within the US.

For several months there has been speculation among Apple fans about the launch of a 3G iPhone.

Wednesday, March 25, 2009

A New Jersey state senator has filed a lawsuit seeking to overturn a federal law banning sports betting in 46 states.

State Sen. Raymond Lesniak, a Democrat representing portions of Union County, filed the suit Monday, arguing the 17-year-old law is unconstitutional because it treats four states differently than the other states.

Under the law, sports betting is prohibited in all states except Delaware, Oregon, Montana and Nevada, although only the latter two currently allow wagering.

“This federal law deprives the State of New Jersey of over $100 million of yearly revenues, as well as depriving our casinos, racetracks and Internet operators of over $500 million in gross income,” Lesniak said in a statement to the press.

The 39-page lawsuit is believed to be the first challenge to the Professional and Amateur Sports Protection Act of 1992. New Jersey missed a 1994 deadline that would have allowed it to join the other states when the law was implemented.

Atlantic City officials and their political allies have argued allowing sports betting would give all the states a new source of revenue needed in the face of a staggering recession.

New Jersey Governor Jon Corzine was not involved with the lawsuit, but he said legalizing sports betting would help Atlantic City and said it was “worth pursuing”.

Legalizing sports betting in New Jersey could bring the state more than $50 million in annual tax revenue, according to officials from the Interactive Media Entertainment & Gaming Inc., a Washington, D.C.-based consultant for the electronic gaming industry, which joined Lesniak as a plaintiff in the lawsuit.

“This is about more than revenue,” said Joe Brennan Jr., chairman of Interactive Media Entertainment. “It’s about jobs and economic activity.”According to 1999 study, $380 billion in illegal sports betting occurs in the state each year.

New Jersey, in particular, is facing a difficult budget season, and the Atlantic City casinos are in what the Associated Press called a “financial meltdown”. Eleven of the city’s casinos suffered their biggest revenue decline in 30 years last month.

Delaware is reported to be considering regulating sports betting, which New Jersey backers of the lawsuit said adds a sense of urgency to the issue.

“We cannot afford to be naive about illegal sports betting,” New Jersey State Sen. Jeff Van Drew said in a statement to the press. “It’s happening right now, and is funding other criminal enterprises which are far more dangerous.”

The New Jersey Thoroughbred Horsemen’s Association, the Thoroughbred Breeders Association of New Jersey and the Standardbred Breeders & Owners Association of New Jersey were also listed as plaintiffs in the lawsuit.

Thursday, February 5, 2009

The English Football Association (FA) has complained after broadcaster ITV cut away to an advertisement just before a winning goal in a match.

The match, an FA Cup Merseyside derby between Everton F.C. and Liverpool F.C., was in extra time after 118 minutes without a goal when ITV’s automated advertisement server, designed for use only during ordinary programming, began playing out commercials. During this time, Everton’s Dan Gosling scored the winning goal. In some regions the system returned to the match just before the goal, but viewers in the south of England saw only the celebrations after the goal.

Michael Grade, executive chairman of ITV, admitted to ITN that the broadcast had been a shambles and said that “yellow or red cards” would go to those responsible once it was established how it happened. ITV has received over 1,000 complaints. ITV has previously had issues with FA Cup coverage. The Histon F.C.—Leeds United A.F.C. game managed to include swearing from Leeds fans and scenes of a naked player, whilst heavy rain marred picture quality.

The FA’s statement on this issue said “It is obviously very disappointing that viewers and fans did not see the only goal of last night’s FA Cup replay between Everton and Liverpool. Clearly we are seeking a full explanation from ITV as to why this happened. It is important that lessons are learned and that this does not happen again”.