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Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these 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 with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Saturday, October 19, 2013

Attorney Robert Sarvis, the Libertarian Party’s nominee for Governor of Virginia, answered five questions submitted via e-mail by accredited Wikinews reporter William Saturn.

Sarvis has garnered double digits in opinion polls for the 2013 Virginia gubernatorial election, an unusual feat for a third party candidate. The latest Newsmax/Zogby poll from late September placed him at 13 percent, 14 points behind Republican Party nominee Ken Cuccinelli, Virginia’s Attorney General, and 19 points behind Democratic Party nominee Terry McAuliffe, the former Democratic National Committee chairman, with 24 percent undecided. Whoever wins election on November 5, 2013, would replace outgoing governor Bob McDonnell.

On his campaign website, Sarvis notes he favors parental school choice through student vouchers, simplification of Virginia’s Tax Code, US Second Amendment — gun — rights, same-sex marriage, and reform of the state’s drug laws. With Wikinews, Sarvis discusses his background, views on McDonnell’s tenure, keys to campaign success, plan to implement his agenda, and the former Virginia governor he most admires.

Friday, January 27, 2006

On January 26, 2006, a massive boycott of dairy produce from Arla Foods started in Saudi Arabia over what is perceived as a Danish attack on Muslim values. The Saudi ambassador to Denmark has been recalled for consultations.

The Danish/Swedish dairy company Arla is facing a massive loss after a spreading boycott of its produce in Saudi Arabia. Four Saudi retail chains have already removed Arla products from the shelves. One retail chain has placed yellow warning tape (common fare for accidents and crime scenes) over Arla products. There have been cases reported of Arla delivery trucks being attacked by stones thrown from bystanders. Marianne Castenskiold, a senior consultant for Dansk Industri, expressed a fear that the boycott will spread to other countries in the region and have detrimental effects on other Danish products. Denmark is one of the leading exporters of agriculture in northern Europe, whose economy is heavily dependent on foreign trade and investment.

The boycott has been announced at Friday prayer services in Saudi mosques since January 20, 2006, obviously helping to foment popular support of the nation’s response to Denmark’s alleged ignorance of Muslim values. On at least one occasion, a delivery truck has been greeted by thrown stones.

The boycott is a response to the publication of an article in a major Danish newspaper, Jyllands-Posten. In its September 30, 2005 issue, the paper printed 12 drawings of the Muslim prophet Muhammed, as a response to previous news reports that the publisher of a forthcoming childrens’ book about the prophet had had difficulty in finding an illustrator, due to fear of extremist reactions; drawings of the prophet are prohibited by Islamic Law (see aniconism). In an attempt to start a debate over freedom of speech in Denmark, the newspaper printed 12 drawings of the prophet. Four of these were of a satirical nature, with one showing the prophet with a turban hiding a lit bomb.

The immediate reactions to the publication of the drawings included ambassadors from 12 Muslim countries demanding that the Danish Prime Minister, Anders Fogh Rasmussen, denounce the newspaper. Rasmussen rejected this demand, stating that “Danish freedom of speech does not allow the government to control what newspapers print”. He further noted that the only possible legal action against the newspaper would be one under the charge of blasphemy.

A debate ensued over the following months about freedom of speech and its value in relation to avoiding religious taboos. In mid-December 2005, a delegation from several Danish Muslim organizations went on a tour in several Middle-Eastern and Arabic countries, reportedly to gain sympathy for their point of view. Several reports state that during the tour the difficulties faced by Muslims in Denmark were grossly overstated.

Wednesday, February 7, 2018

At 3:45 p.m. Tuesday, Eastern Time (2045 UTC), the SpaceX Falcon Heavy rocket launched from Kennedy Space Center in Florida, United States. Its cargo: a US$100,000 Tesla sportscar, the personal property of SpaceX CEO Elon Musk, which he hopes will soon be in its own orbit around the Sun. This is the most powerful rocket since the Saturn V of Project Apollo was retired in 1970. The rocket is meant to follow a course called a Hohmann transfer orbit.

“It’ll be a really huge downer if it blows up,” Musk told the press the day before the launch, but went on to say, “If something goes wrong, hopefully it goes wrong far into the mission so we at least learn as much as possible along the way. I would consider it a win if it just clears the pad and doesn’t blow the pad to smithereens. That’s four million pounds of TNT equivalent so there’s probably not going to be much left if that thing lets loose on the pad.” The car was equipped with a fully space-suited dummy, cameras to monitor its trip into space, a copy of Douglas Adams’ Hitchhiker’s Guide to the Galaxy, and a radio blasting Space Oddity by David Bowie.

The Falcon Heavy has a total of 27 engines and stands 230 feet (70.1 m) tall. According to SpaceX, the Falcon Heavy uses three boosters, the same kind as the company’s smaller cargo rockets. After the rocket exited the Earth’s atmosphere, two of these boosters detached from the main body of the rocket and, in a first for space technology, were successfully guided back down to the landing pad about ten minutes after launch. The third was to have landed on a drone ship, but missed by around 100 yards (about 90 meters) and hit the ocean “at around 200 miles per hour,” according to Musk. The reusability of the boosters makes an enormous difference in the cost of the launch.

Even the relatively heavy-hauling U.S. Space Shuttle program, which was closed in 2013, did not rely on rockets as powerful as those used in Project Apollo, the program in which NASA, the U.S. Government space agency, sent manned missions to the Moon in the 1960’s and 70’s. Most recent space projects have focused on smaller, lighter machinery, such as Scaled Composites’ SpaceShipOne in 2004, which reached space after being carried part of the way by a carrier jet instead of launching from the ground. As of last week, the most powerful rocket in use was the Delta IV, operated by the United Space Alliance. It costs about US$435 million per launch, while SpaceX says the Falcon Heavy will cost US$90 million per launch.

NASA is also working on a heavy-duty rocket, the Space Launch System, but there have been delays.

Tuesday, February 26, 2008

The European Commission currently has proposals on the table to extend performers’ copyright terms. Described by Professor Martin Kretschmer as the “Beatles Extension Act”, the proposed measure would extend copyright from 50 to 95 years after recording. A vast number of classical tracks are at stake; the copyright on recordings from the fifties and early sixties is nearing its expiration date, after which it would normally enter the public domain or become ‘public property’. E.U. Commissioner for the Internal Market and Services Charlie McCreevy is proposing this extension, and if the other relevant Directorate Generales (Information Society, Consumers, Culture, Trade, Competition, etc.) agree with the proposal, it will be sent to the European Parliament.

Wikinews contacted Erik Josefsson, European Affairs Coordinator for the Electronic Frontier Foundation (E.F.F.), who invited us to Brussels, the heart of E.U. policy making, to discuss this new proposal and its implications. Expecting an office interview, we arrived to discover that the event was a party and meetup conveniently coinciding with FOSDEM 2008 (the Free and Open source Software Developers’ European Meeting). The meetup was in a sprawling city centre apartment festooned with E.F.F. flags and looked to be a party that would go on into the early hours of the morning with copious food and drink on tap. As more people showed up for the event it turned out that it was a truly international crowd, with guests from all over Europe.

Eddan Katz, the new International Affairs Director of the E.F.F., had come over from the U.S. to connect to the European E.F.F. network, and he gladly took part in our interview. Eddan Katz explained that the Electronic Frontier Foundation is “A non-profit organisation working to protect civil liberties and freedoms online. The E.F.F. has fought for information privacy rights online, in relation to both the government and companies who, with insufficient transparency, collect, aggregate and make abuse of information about individuals.” Another major focus of their advocacy is intellectual property, said Eddan: “The E.F.F. represents what would be the public interest, those parts of society that don’t have a concentration of power, that the private interests do have in terms of lobbying.”

Becky Hogge, Executive Director of the U.K.’s Open Rights Group (O.R.G.), joined our discussion as well. “The goals of the Open Rights Group are very simple: we speak up whenever we see civil, consumer or human rights being affected by the poor implementation or the poor regulation of new technologies,” Becky summarised. “In that sense, people call us -I mean the E.F.F. has been around, in internet years, since the beginning of time- but the Open Rights Group is often called the British E.F.F.“

Friday, September 14, 2007

The Kennedy Center announced that its 30th presentation of the Kennedy Center Honors would go to pianist Leon Fleisher, comedian Steve Martin, singer Diana Ross, director Martin Scorsese and musician Brian Wilson. The Center was opened to the public in 1971 and was envisioned as part of the National Cultural Center Act, which mandated that the independent, privately-funded institution would present a wide variety of both classical and contemporary performances, commission the creation of new artistic works, and undertake a variety of educational missions to increase awareness of the arts.

In a statement, Kennedy Center Chairman Stephen A. Schwarzman said that “with their extraordinary talent, creativity and perseverance, the five 2007 honorees have transformed the way we, as Americans, see, hear and feel the performing arts.”

Fleisher, 79, a member of the Peabody Institute‘s music faculty, is a pianist who lost use of his right hand in 1965 due to a neurological condition. He became an accomplished musician and conductor through the use of his left hand. At 67, he regained the use of his right hand. With the advent of Botox therapy, he was once more able to undertake two-hand performances in 2004, his first in four decades. “I’m very gratified by the fact that it’s an apolitical honor,” Fleisher said. “It is given by colleagues and professional people who are aware of what [an artist] has done, so it really is apolitical — and that much more of an honor.”

Martin, 62, a comedian who has written books and essays in addition to his acting and stand-up comedy career, rose to fame during his work on the American television program Saturday Night Live in the 1970’s. Schwarzman praised his work as that of a “renaissance comic whose talents wipe out the boundaries between artistic disciplines.” Martin responded to the honor saying, “I am grateful to the Kennedy Center for finally alleviating in me years of covetousness and trophy envy.”

Ross, 63, was a product of Detroit‘s Brewster-Douglass Projects when as a teeager she and friends Mary Wilson and Florence Ballardis formed The Supremes, a ground-breaking Motown act. She portrayed singer Billie Holiday in the 1972 film Lady Sings the Blues, which earned her an Oscar nomination and a Golden Globe award. “Diana Ross’ singular, instantly recognizable voice has spread romance and joy throughout the world,” said Schwarzman. Ross said she was “taken aback. It is a huge, huge honor and I am excited to be in this class of people.”

Scorsese, 64, is one of the most accomplished directors the United States ever produced, whose work includes Mean Streets, Taxi Driver, GoodFellas, Cape Fear, The Last Temptation of Christ and The Departed, for which he won a 2006 Academy Award for Best Director after being nominated eight times. Scorsese said, “I’m very honored to be receiving this recognition from the Kennedy Center and proud to be joining the company of the very distinguished individuals who have received this honor in years past.”

Wilson, 65, along with his brothers Dennis and Carl, formed the Beach Boys in 1961. They had a series of hits that included “Surfin’ U.S.A.” and “Wouldn’t It Be Nice.” Their 1966 album Pet Sounds is considered one of the most influential recordings in American music. “This is something so unexpected and I feel extremely fortunate to be in the company of such great artists,” said Wilson, who is currently on tour.

The Kennedy Center’s board of trustees is responsible for selecting honorees for “lifetime contributions to American culture through the performing arts.” Previous honorees, including Elton John and Steven Spielberg, also submitted recommendations. A wide variety of people were under consideration, including Emanuel Ax, Evgeny Kissin, Renee Fleming, Laurence Fishburne, Francis Ford Coppola, Melissa Etheridge and Kenny Chesney.

President Bush and first lady Laura Bush will attend the center’s presentation at its opera house on December 2, 2007, which will broadcast on December 26 on CBS.

Thursday, February 7, 2008

United Nations Secretary-General Ban Ki-moon has expressed concern about crises in Chad, Kenya, and the Sudan. The U.N. chief is recently back from Africa where he attended the African Union summit in Ethiopia and met with leaders in Kenya.

On rebel efforts to overthrow the government in Chad in recent days, the secretary-general welcomed an African Union initiative to have the leaders of Libya and the Democratic Republic of Congo mediate the crisis. He says the United Nations will do its utmost to help resolve the crisis, urging the Security Council to act swiftly to help bring an end to the violence.

“It has devastating consequences not only for the people of Chad and Darfurian refugees seeking shelter there, but also for Darfur itself,” said Ban.

Mr. Ban told reporters the situation in the neighboring Darfur region of Sudan is no less troubling. He says the deployment of the AU-U.N. peacekeeping force, known as UNAMID, must be sped up and urged member states to properly equip the troops.

“UNAMID still lacks required aviation and ground transportation – chiefly helicopters. Additional troops will not make up for this shortfall,” said Ban. “Those countries that called for intervention in Darfur are under special obligation to deliver on their promises.”

While at the AU summit, Mr. Ban says he discussed some of the outstanding issues affecting the deployment with Sudanese President Omar al-Bashir, and he expects the Status of Forces Agreement (SOFA) to be signed this week. But Mr. Ban remained vague on whether some of the agreement’s sticking points – such as night flights, land agreements, and advance notice of U.N. movements – had been settled.

On Kenya, Mr. Ban says he has been deeply engaged in the post-election crisis and told political leaders during his visit there that they bear particular responsibility for the future of Kenya.

“I stressed to all the Kenyan leaders the need to stop the unacceptable violence and killings, and to resolve their differences through dialogue and democratic process. I also appealed to all the political leaders to think beyond their individual interests or party lines and to look to the future of Kenya as one country,” he said.

Mr. Ban also met in Nairobi with his U.N. predecessor, Kofi Annan, who is leading the panel of eminent Africans trying to mediate the crisis, and said they discussed his roadmap for the talks.

Security of U.N. personnel in Africa and elsewhere has been high on the secretary-general’s agenda, especially in the wake of the December bombing in Algeria that killed 17 staff members. Mr. Ban announced that he is naming diplomat Lakhdar Brahimi to chair an independent panel on safety and security of U.N. personnel and premises. Brahimi is an Algerian, but Mr. Ban says he has no concerns about his fairness or objectivity in heading up the panel.