Monday, January 18, 2010

Japan Airlines (JAL), Asia’s largest airline, is expected to file for bankruptcy protection on Tuesday, bringing an end to months of speculation about the airline’s financial future, riddled by debt.

The bankruptcy filing, should it go ahead, is to be followed by a restructuring program, backed by the government, intended to trim down the airline, firing a third of its employees, and removing some routes from its schedule.

JAL stock has fallen by over ninety percent in the last few days, due to the financial uncertainty of the airline. Shares for JAL were trading as low as US$0.05 earlier today at the Tokyo stock exchange. The carrier’s estimated value is now $150 million, about the price of a single Boeing 787 jet.

Wednesday, April 25, 2012

A recent study by the United States Geological Survey (USGS) shows that the oil and gas industry are creating earthquakes. New information from the Midwest region of the United States points out that these man-made earthquakes are happening more frequently than expected. While more frequent earthquakes are less of a problem for regions like the Midwest, a geology professor from the University of Southern Indiana, Dr. Paul K. Doss, believes the disposal of wastewater from the hydraulic fracturing (or “fracking”) process used in extracting oil and gas has the possibility to pose potential problems for groundwater.

“We are taking this fluid that has a whole host of chemicals in it that are useful for fracking and putting it back into the Earth,” Doss said. “From a purely seismic perspective these are not big earthquakes that are going to cause damage or initiate, as far as we know, any larger kinds of earthquakes activity for Midwest. [The issue] is a water quality issue in terms of the ground water resources that we use.”

Hydraulic fracturing, or fracking, is a technique used by the oil and gas industries which inject highly pressurized water down into the Earth’s crust to break rock and extract natural gas. Most of the fluids used for fracking are proprietary, so information about what chemicals are used in the various fluids are unknown to the public and to create a competitive edge.

Last Monday four researchers from the University of New Brunswick released an editorial that sheds light on the potential risks that the current wastewater disposal system could have on the province’s water resources. The researchers share the concern that Dr. Doss has and have come out to say that they believe fracking should be stopped in the province until there is an environ­mentally safe way to dispose the waste wastewater.

“If groundwater becomes contamin­ated, it takes years to decades to try to clean up an aquifer system,” University of New Brunswick professor Tom Al said.

While the USGS group which conducted the study says it is unclear how the earthquake rates may be related to oil and gas production, they’ve made the correlation between the disposal of wastewater used in fracking and the recent upsurge in earthquakes. Because of the recent information surfacing that shows this connection between the disposal process and earthquakes, individual states in the United States are now passing laws regarding disposal wells.

“The problem is that we have never, as a human society, engineered a hole to go four miles down in the Earth’s crust that we have complete confidence that it won’t leak,” Doss said. “A perfect case-in-point is the Gulf of Mexico oil spill in 2010, that oil was being drilled at 18,000 feet but leaked at the surface. And that’s the concern because there’s no assurance that some of these unknown chemical cocktails won’t escape before it gets down to where they are trying to get rid of them.”

It was said in the study released by the New Brunswick University professors that if fracking wastewater would contaminate groundwater, that current conventional water treatment would not be sufficient enough to remove the high concentration of chemicals used in fracking. The researchers did find that the wastewater could be recycled, can also be disposed of at proper sites or even pumped further underground into saline aquifers.

The New Brunswick professors have come to the conclusion that current fracking methods used by companies, which use the water, should be replaced with carbon diox­ide or liquefied propane gas.

“You eliminate all the water-related issues that we’re raising, and that peo­ple have raised in general across North America,” Al said.

In New Brunswick liquefied propane gas has been used successfully in fracking some wells, but according to water specialist with the province’s Natural Resources De­partment Annie Daigle, it may not be the go-to solution for New Brunswick due its geological makeup.

“It has been used successfully by Corridor Resources here in New Bruns­wick for lower volume hydraulic frac­turing operations, but it is still a fairly new technology,” Daigle said.

The United States Environmental Protection Agency (EPA) is working with U.S. states to come up with guidelines to manage seismic risks due to wastewater. Under the Safe Drinking Water Act, the EPA is the organization that also deals with the policies for wells.

Oil wells, which are under regulation, pump out salt water known as brine, and after brine is pumped out of the ground it’s disposed of by being pumped back into the ground. The difference between pumping brine and the high pressurized fracking fluid back in the ground is the volume that it is disposed of.

“Brine has never caused this kind of earthquake activity,” Doss said. “[The whole oil and gas industry] has developed around the removal of natural gas by fracking techniques and has outpaced regulatory development. The regulation is tied to the ‘the run-of-the-mill’ disposal of waste, in other words the rush to produce this gas has occurred before regulatory agencies have had the opportunity to respond.”

According to the USGS study, the increase in injecting wastewater into the ground may explain the sixfold increase of earthquakes in the central part of the United States from 2000 – 2011. USGS researchers also found that in decades prior to 2000 seismic events that happened in the midsection of the U.S. averaged 21 annually, in 2009 it spiked to 50 and in 2011 seismic events hit 134.

“The incredible volumes and intense disposal of fracking fluids in concentrated areas is what’s new,” Doss said. “There is not a body of regulation in place to manage the how these fluids are disposed of.”

The study by the USGS was presented at the annual meeting of the Seismological Society of America on April 18, 2012.

Thursday, May 13, 2010

Wikinews reporter Iain Macdonald has performed an interview with Dr Isabella Margara, a London-based member of the Communist Party of Greece (KKE). In the interview Margara sets out the communist response to current events in Greece as well as discussing the viability of a communist economy for the nation. She also hit back at Petros Tzomakas, a member of another Greek far-left party which criticised KKE in a previous interview.

The interview comes amid tensions in cash-strapped Greece, where the government is introducing controversial austerity measures to try to ease the nation’s debt-problem. An international rescue package has been prepared by European Union member states and the International Monetary Fund – should Greece require a bailout; protests have been held against government attempts to manage the economic situation.

Friday, July 15, 2005

Torino and Messina are facing the risk of expulsion from Serie A because of fraud. Both clubs submitted false financial information to the Serie A management.

Covisoc, the body who must ratify that all clubs have the funds necessary to be registered for the new season, have found problems with both outfits.

As it stands now, they are not part of the Italian First Division but the pair have submitted an appeal on July 12 against the initial decision.

A final verdict on whether the clubs can compete in the top-flight next term is expected on July 15.

Numerous other clubs in lower Divisions are facing similar problems, with Perugia and Salernitana risking demotion from Serie B. A total of 20 clubs are in trouble in Serie C.

Wednesday, February 22, 2012

Crown Office are staying quiet about possible prosecutions after an inquiry found medical failures caused three deaths at NHS Lanarkshire.

In response to a specific question as to the possibility of prosecutions, a Crown Office spokesperson told Wikinews today that “The three deaths were fully investigated by the Procurator Fiscal and reported to Crown Counsel [laywers] to consider. Crown Counsel concluded that, given the facts and circumstances of the deaths, a Fatal Accident Inquiry (FAI) was the appropriate forum to consider the circumstances of the deaths.” It was further noted that “[a] FAI cannot make any findings of fault/blame against individuals.”

However, Crown Office did not specifically rule out prosecutions for offences such as cuplable homicide despite the spokesperson noting this was a direct response to such a question. They also declined to comment on National Health Service care as “it would not be appropriate to comment on the provision of NHS services” and entirely ignored questions about Crown Office satisfaction in the inquiry’s outcome and the length of time it took to reach a conclusion. The inquiry wrapped up last week but the deaths were in 2006.

Agnes Nicol, George Johnstone, and Andrew Ritchie died within a three-month period following keyhole surgery to remove their gall bladders.

Later expanded to look at all three deaths, the inquiry initially established to look into the case of Nicol, 50, who received surgery in late 2005. A surgeon at Wishaw General Hospital mistakenly cut her bile duct and her right hepatic artery. Whilst suturing her portal vein, her liver was left with 20% of its normal blood supply; the errors were not discovered until her transfer to liver specialists at Edinburgh’s Royal Infirmary.

By then, her liver was seriously damaged. She developed septicaemia, dying from multiple organ failure in March 2006.

Johnstone, 54, underwent the same procedure at Monklands District General Hospital on May 9, 2006. A consultant surgeon accidentally damaged, possibly severing, his bile duct. He died two days later in intensive care from the combined effects of multiple organ failure and a heart ailment.

Ritchie, 62, died in intensive care a week after an operation in June 2006. He died from intra abdominal haemorrhage caused by errors during the surgery.

Different surgeons were involved each time and the inquiry, under Sheriff Robert Dickson, found no evidence of poor training or inadequate experience. Dickson noted that in each case there was lack of action on a “growing body of evidence that there was something fundamentally wrong with the patient” and surgeons failed to contemplate their own actions as potentially responsible. He agreed with two professors that it may have been possible to save their lives “had the post-operative care been to the standard which they expected, and had there been a proper management plan which staff could have worked to” and noted that all the patients suffered from a lack of adequate medical notes being available after their surgery. He described the care as having “clear faults”.

NHS Lanarkshire apologised and said improvements had been made regarding “these types of cases” as well as with document management. Wikinews got in touch seeking details of the changes made but the health trust failed to respond.

Tuesday, March 22, 2005Starting from April 4, the Romanian Commercial Bank (Banca Comercial? Român?, or BCR), the country’s largest bank, will launch a smart card system for all its ATM network as well as its point-of-sale terminals in more than 5,000 stores across Romania. While the system will be enabled to work with these cards from April, the smart cards themselves will only be issued to account holders in the second half of the year.

Smart cards in a banking context are cards which contain information on a chip and can permit greater security and control of transactions. BCR is the first Romanian bank to use this technology.

Saturday, November 19, 2005

Supporters of convicted Australian drug trafficker, Van Nguyen, gathered outside the State Library in Melbourne yesterday to display thousands of messages of opposition to his death sentence.

Callers to talkback radio in Melbourne were overwhelmingly against the death penalty of Nguyen, who immediately admitted his guilt and has cooperated with authorities since being caught smuggling heroin into Singapore. Many called for a boycott of Singaporean products.

25-year-old Nguyen was arrested at Changi Airport in 2002 for carrying heroin and sentenced to death in March. Nguyen claims he carried the 396 grams of heroin strapped to his body in an attempt to pay off his brother Khoa’s $30,000 legal debts.

The Singapore government have announced they will execute Nguyen at dawn on December 2nd. Singapore President S. R. Nathan rejected Nguyen’s clemency four weeks ago. The Melbourne salesman was sentenced to death under Singapore law which determines a mandatory death sentence for anyone found guilty of possessing 15 grams of heroin or more.

Nguyen’s mother was informed on Thursday by registered mail from the Singapore prisons service of the execution date. The letter stated that she should start making funeral arrangements. She will get to see her son in the three days leading up to the execution.

Despite repeated pleas for clemency from many thousands of supporters; religious groups; human rights organisations; the Pope; and the Australian Government – including Prime Minister, John Howard – Singapore officials have said Nguyen’s execution is irreversible.

Mr Howard had argued that Nguyen should be spared, citing mitigating circumstances in his case which pointed to the fact that he was not a serial drug trafficker but had merely been trying to pay off his brother’s debts.

The Victorian Attorney-General, Rob Hulls, says the Singaporean Government has shown no compassion whatsoever in its treatment of Van Nguyen and his family.

“What’s happening is brutal, is inappropriate. I, and the Victorian Government, vehemently oppose the death penalty in any circumstances”, he told ABC Radio. “This is a young kid who has assisted the police all the way… In any other country, he would get a discount in relation to the penalty. But because there is a mandatory death penalty for drug offences in Singapore, this young man may well be executed. It is just grossly inappropriate.”

“Singapore maintains that capital punishment is a criminal justice issue; it is the sovereign right of every country to decide whether or not to include capital punishment within its criminal justice system,” a Foreign Ministry spokesman said.

Singapore argues that there was no international consensus that capital punishment should be abolished. At the most recent meeting of the UN Commission on Human Rights, 66 countries dissociated themselves from a resolution calling for the abolition of capital punishment.

Prime Minister Lee Hsien Loong affirmed Singapore’s position by saying that it has to “stand firm on drugs to protect its citizens from the scourge and to ensure the country does not become a conduit for the trafficking of illicit drugs.”

In reply to a letter appealing for clemency from his Australian counterpart Alexander Downer, Singapore Foreign Minister George Yeo said: “Mr Nguyen imported almost 400gm of pure heroin which would have supplied more than 26,000 doses to drug addicts.”

No one will be permitted to see Nguyen on the morning of his execution. His body will be released to his mother.

Saturday, June 9, 2007

The American National Transportation Safety Board has announced that it will make new airline safety recommendations. This comes a result of its investigation into the Comair Flight 5191 disaster, in which a Bombardier Canadair Regional Jet (CRJ) CRJ-100ER crashed whilst attempting take-off from the wrong runway at Blue Grass Airport, Lexington, killing 49 people and leaving just one survivor. The plane was unable to take off because that runway was too short.

The NTSB has now announced that, on July 26, the date on which the NTSB is to determine the probable cause of the accident, they will issue safety recommendations regarding methods of preventing a recurrence of the disaster.

One of the recommendations will concern developing and implementing a cockpit-based system that will inform pilots when they are in the wrong location. Another will involve rescheduling the workloads of Air Traffic Controllers to ensure they receive more sleep, a request they had previously made in April.

Regarding location warning systems, the FAA has pointed out that they have been working on methods of preventing runway incursions (in which a person, ground vehicle or another aircraft is on the runway when or where it should not be), to which the National Transportation Safety Board chairman Mark Rosenker responded “The FAA is doing a great job testing these systems. The question we have is, when will you finally implement that technology?” FAA Associate Administrator Margaret Gilligan responded by saying that they were currently looking at just such a system, adding “We do have airlines that have committed to put that technology on the flight deck once it’s approved”. The system referred to involves runway signal lights and is currently being tested at Dallas-Fort Worth International Airport.

The NTSB will also look at runway and taxiway markings and the ways they can confuse pilots, as this issue has been identified as a contributing factor in the accident. Rosenker said the NTSB was “very interested” in this area. 140 airports have unclear or confusing markings in the US, but it is not certain if Blue Grass Airport is one of them. However, the Air Line Pilots Association (ALPA) made a submission to the NTSB stating that they had found that the markings at Blue Grass Airport did not match those on the charts the pilots were using. ALPA went on to recommend greater standardisation of airport runway markings.

Blue Grass Airport responded yesterday by saying that there was nothing wrong with their runway markings, with spokesman Brian Ellestad saying “We have had numerous inspections before and after (the Comair crash) and have had no issues… FAA reiterates that we meet all requirements for signage, markings, lighting, runways and taxiways.”

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.

Saturday, February 2, 2008

At least 151 passengers and an unknown number of crew on board a Lloyd Aereo Boliviano (LAB) Boeing 727-200 have escaped after the aircraft crash landed in swampland in Bolivia.

Local airline LAB had been operating the chartered passenger flight from La Paz to Cobija on behalf of Transporte Aereo Militar (TAM) when poor weather conditions caused the jet to be diverted. LAB has recently been handling excess passengers for TAM as an unusually severe rainy season has washed away many roads across the nation.

A flight engineer said that during the flight the engines failed due to a mechanical problem. The plane came down in a swampy forest clearing approximately 2 miles (3.3km) from a runway at the new destination of Trinidad, 370 miles from the intended destination. Several passengers were injured in the accident, and all on board were taken to hospitals for checks. One pilot received a clavicle fracture.

The plane was severely damaged, with the New York Times reporting that photographs of the scene showed at least one wing of the aircraft to have separated from the fuselage.

Survivors confirmed this. Paolo Bravo, a Bolivian senator on board the plane, said to local radio network Erbol “We noticed the engines went out, and there was this calm… Then they told us, ‘Crash positions! crash positions!’ and it was just another two or three seconds before we hit… The plane fell, the wings broke off, but the fuselage was OK.”

Experts from the Auxiliary Aerial Navigation Service and an airport commented that it is possible that the soft mus in the area absorbed some of the impact forces, allowing the plane to be salvaged and returned to service. LAB’s operations chief Gustavo Viscarra made a statement saying “The crew members did not suffer any problem and there is no blood… The airplane has minimum damages, there is no structural damage, there was not any fire nor smoke. It was a forced landing planned by the pilot and it was not caused by our enterprise’s negligence nor lack of maintenance of our airplanes.”

Passenger numbers are unclear, with LAB reporting 151 and some media sources saying 155.

An investigation has been launched. It has been established that an undisclosed technical problem prevented the plane from departing for an hour.

Legal and financial difficulties have seen LAB suspend operations for almost a year, but the carrier has recently begun a limited return to charter services.