Tuesday, January 3, 2017

The Hollywood sign in Los Angeles, California was modified to read “Hollyweed” on Sunday. Security camera footage shows the perpetrator was dressed all in black, said Sergeant Robert Payan.

Christopher Garcia, a spokesperson of the Los Angeles Police Department, said the suspected male offender is being investigated for trespassing rather than vandalism. The sign was not physically damaged; the modification was done using black tarpaulins decorated with signs of peace and heart to alter the “O” to read lowercase “e”.

Betsy Isroelit, a Hollywood Sign Trust spokesperson said, “There was obviously recent legislation in California that may have inspired people. But to me, it looks more like a New Year’s Eve prank.” On November 9, legislators voted in favor of a ballot for legalising recreational use of marijuana in California for the age group of 21 and above.

Previously, on January 1, 1976, Daniel Finegood had vandalised the sign using curtains in a similar manner to read “Hollyweed”. As a college student, Finegood had modified the sign for an assignment in art class. Finegood, in 1990, had modified the sign again, signifying a political issue, modifying the sign to read “Oil War” to protest the Persian Gulf War.

The sign was vandalised in 1992 before the US presidential election. Supporters of presidential election candidate Ross Perot altered the sign to read “Perotwood”.

The law legalising recreational marijuana is due to come into effect in 2018.

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.

Wednesday, May 11, 2016

Comply or Die, the racehorse who won the 2008 Grand National has died at the age of 17. His death was announced by his former trainer, David Pipe. He died over at the weekend in Gloucestershire, where he had been staying with jockey Timmy Murphy. He was cremated on Monday and his ashes will return to Murphy.

Murphy was the jockey in the saddle when Comply or Die won the 2008 Grand National. Speaking to the Press Association, he spoke about the horse’s death. He said, “He was part of the furniture at home so it’s very sad. He gave me the greatest day of my career, obviously that can never be taken away. He paraded at Cheltenham and Aintree and was getting ready to do some dressage in the summer. I’m not actually sure how he died, to be honest, but it wasn’t nice to come home to. He was cremated on Monday. He was a happy horse and he was also very clever.”

During his racing career he made £798,809 in prize-money after winning a total of eight races.

The 2008 Grand National victory was his greatest achievement and he almost matched it when he came second place in 2009. He retired in 2011 but remained active, often being paraded at race grounds such as Aintree and Cheltenham. He also participated in some hunting activities. Pipe said, “Since his retirement he had been a lead-horse at Timmy Murphy’s establishment before trying his hand at dressage, a discipline in which he had proven very successful”.

Tributes have been paid to Comply or Die on social media by horse racing fans with several tweeting their appreciation and memories.

Tuesday, June 1, 2010

Relics dated back to the Qing Dynasty were found under civil servants’ quarters at the Rua de D. Belchior Caneiro adjacent to The Ruins of St. Paul in Macau by archaeological teams at the Chinese Academy of Social Sciences.

Since St Paul’s College is believed to have been located under those quarters, the Macau government will demolish them in order to cope with the experts’ findings at the Ruins of St. Paul. The two blocks closer to the Ruins of St. Paul were demolished in March to make room for the archaeological project.

The relics included Chinese-styled porcelain tiles, eave tiles, potteries and iron artillery shells. Furthermore, a part of an ancient wall is found at a nearby construction site.

The walls are confirmed as parts of the Ruins of St. Paul as it does match the maps of it dated back to 1760, 1886, and 1912. By examining the walls, it is proved that the wall was constructed of at least five layers of stone, with layers of blue bricks on top of them, as well as rammed earth each measuring at least ten centimeters thick.

The remaining two buildings will be demolished next week for further investigation.

Saturday, January 14, 2017

At 1:30 a.m. on Thursday morning the United States Senate voted to include the repeal of the Affordable Care Act, better known as Obamacare, as part of a budget blueprint. This procedural measure allows most of Obamacare to be repealed by a simple majority rather than the usual requirement of 60 out of the senate’s 100 votes and effectively prevents the use of filibuster.

“We’re working with legislative leaders at this very moment to begin to craft legislation that will repeal the most corrosive elements of Obamacare — the individual mandate, the taxes, the penalties — but at the same time, moving separate legislation that will allow us to introduce the kind of reforms in American health care that’ll lower the cost of health insurance without growing the size of government,” said Vice President-elect Mike Pence.

Democratic Senator Maria Cantwell of Washington had a different view, going so far as to call this “stealing health care from Americans.”

The filibuster is a last-ditch tactic in which parties opposed to a certain motion refuse to relinquish the floor until their opponents give in or compromise.

Although the 51-48 vote was mostly along party lines, some Republicans have expressed uncertainty about repealing Obamacare before a replacement system is worked out. Although president-elect Donald Trump has called for a “repeal and replace” plan, saying that a new health care system would be enacted “almost simultaneously,” many in government and the press have expressed doubts about whether this would actually happen.

Senator Susan Collins of Maine said she would like to at least see a well-constructed plan before voting and Senator Johnny Isakson of Georgia said repealing Obamacare without replacing it was “unacceptable.” These concerns were shared by members of the House of Representatives. “We need to be voting for a replacement plan at the same time that we vote for repeal,” added Representative Mark Meadows of North Carolina. Representative Tom MacArthur of New Jersey agreed, saying, “We’re loading a gun here. I want to know where it’s pointed before we start the process.”

Anna Merlan of Jezebel and Anthony Taylor of the Associated Press dismiss Trump’s timeline as “impossible” given the complicated nature of U.S. congressional workings. Senator Collins agreed, saying “I don’t see any possibility of our being able to come up with a comprehensive reform bill that would replace Obamacare by the end of this month. I just don’t see that as being feasible.”

The Affordable Care Act, which is often cited as a key accomplishment of the Obama administration, has had a mixed reputation, and many conservatives believe a market-based health care system would be more flexible and efficient and less costly, and many believe that the Affordable Care Act only passed because of Obama’s later discredited pledge that no one who liked their current health plan would have to switch. Matt O’Brien of The Washington Post claims a large tax cut that would result for the wealthiest 1% of citizens if Obamacare funds were not converted to other purposes, estimated at about $32,820 annually per person by the Tax Policy Center, is also a significant motive.

Republican Senators set a date of January 27 to repeal Obamacare, according to NBC News. House Majority Leader Kevin McCarthy of California says legislation repealing Obamacare and replacing it could ready by late February. According to Democratic Senator Bernie Sanders, as many as 30 million people could lose their health insurance if the ACA is repealed.

Sunday, October 1, 2006

Mumbai Police Commissioner A N Roy confirmed today that investigations had revealed the involvement of the militant group Lashkar-e-Toiba and the (banned) Students Islamic Movement of India (SIMI) in the 11 July 2006 bombing of the city’s commuter rail network. He also stated that the attacks had been masterminded by Pakistan’s Inter-Services Intelligence (ISI) and carried out by Pakistani and Indian nationals.

Fifteen people, twelve of whom were directly involved in the execution of the bombings are in custody, eleven of them are Pakistani citizens.

The conspiracy to carry out the attacks, which killed 190 people, was hatched in the vicinity of Mumbai, by militants who were trained in Bahwalpur, Pakistan. The Pakistani bombers entered India in batches, some through the porous Indo-Nepal border, others via Bangladesh and some through Gujarat. They then reached Mumbai around May 25, and were sheltered in Malad and Bandra by Faizal Sheikh. Kamaluddin Ansari and Ehtasham Siddiqui, (General Secretary of SIMI, Maharashtra) were also involved in the conspiracy.

The RDX explosive used in the blasts was brought from Pakistan by a man called Ehsanullah, while the ammonium nitrate was procured locally. The explosives were assembled in Chembur by Mumbai resident Mohammad Ali, between 8 and 10 July. On the day of the attacks, the bombs (each containing 2 – 2.5 kg of RDX and 3.5 – 4 kg of ammonium nitrate) were concealed in eight pressure cookers and transported to the railway stations in taxis.

From there two member teams of bombers placed the explosives on the trains and detonated them using quartz timers. One of the militants, Saleem, a native of Lahore, could not (as was the plan) get off the train before the explosives went off, as a result of which he perished in the blast between Khar and Bandra. Of the seven Indian suspects, four (Faizal Sheikh, Kamaluddin Ansari, Ehtashan Siddiqui and Naved) have been apprehended, while a search is on for the other three.

Mr. Roy described the bombings as a “professional, precise and well-planned”. The first clue his department got was a phone call made from Navi Mumbai to a place on the Indo-Nepal border. Based on this information Kamaluddin Ansari was arrested in from Madhubani, Bihar. Narco-analysis of the other suspects revealed that they were trained in Pakistan and also helped tie up other loose ends in the case. Faizal Sheikh also revealed that he had received Rs. 60,00,000 from Pakistan in the last few years. Police also recovered 26,000 Riyals, given to him by Rizwan Devra, an ISI operative living in Dubai, from Faizal’s house.

Pakistan’s Minister of State for Information, Tariq Azim, denied the role of the ISI in the bombings, saying that his country “rejected” the accusation, and that India should provide Pakistan with “any information if they have it”. “Such allegations only give benefit to the real culprits, who escape arrest,” he said.

Thursday, April 3, 2008

A 39-nation coalition in Africa passed a declaration on Tuesday to ban cluster bombs in a nearly unanimous vote. The gathering in Lukasa, Zambia was the first meeting of the Cluster Munition Coalition (CMC) in Africa.

“Africa is ready for Dublin,” summarised Zambian delegate Robert Mtonga, referring to the upcoming May 19-30 meeting in Ireland to discuss a global ban on the weapons. “Too often Africa’s voice is pushed to the margins in international decision-making. But in banning cluster bombs worldwide, a common African voice will speak volumes and win the day”.

Mtonga was critical of South Africa, the lone voice against Monday’s decision and the continent’s largest producer and stockpiler of cluster bombs, and called on the country to destroy its munitions and join the coalition to outlaw their use. Egypt, the only other African nation to produce the controversial weapons, voiced support for the ban.

“Strong political will” was credited with the resolution, by CMC co-ordinator Thomas Nash in recognising the drive “to stop the proliferation of this outdated weapon”.

In a released statement the CMC said that 19 African countries, including South Africa, have endorsed the Wellington Declaration. The Wellington Declaration is the basis for the upcoming negotiations at the Dublin Diplomatic Conference in Ireland in May.

While countries such as Germany and the United Kingdom have tabled the idea of a “transition period” during which time cluster bombs would remain a legitimate weapon of war, the African delegation was resolutely against the idea, calling for an immediate ban.

Cluster munitions are dropped from aircraft, opening in mid-air and releasing a large number of smaller explosives over a wide area. Writer Theodora Williams stated that their use usually results in “…the death and maiming of thousands of innocent civilians”.

There are currently 13 African nations that possess cluster bombs although Uganda has recently announced they are destroying their stockpiles. The weapons have been used in eight African conflicts in the past 35 years. In addition to Ethiopia, Morocco, Nigeria and the Sudan, other nations known to have used the weapons are the former Yugoslavia, Eritrea, France, Israel, the Netherlands, Russia, Saudi Arabia, Sudan, Tajikistan, the United Kingdom and the United States.

According to the San Francisco Chronicle, the United States, China, Russia, and Israel have resisted any ban on cluster bombs, arguing that they can be used in self-defense. The San Francisco Chronicle reported that the United States has lobbied allies to create loopholes in the upcoming Oslo treaty, to allow for the use of cluster bombs. Reuters reported that a U.S. official had stated that cluster bombs should not be banned if they are used responsibly in state conflicts.

In October 2007, Uganda became the first African country to state it would destroy its cluster bomb stockpiles. Uganda has announced a pan-African meeting to take place after the Dublin meeting, which would seek to garner support for the signing of a treaty in Oslo set to take place in December 2008. The weapons have been used in eight African conflicts in the past 35 years.

The CMC is an international network composed of over 250 civil society organizations in 60 countries, with the stated aim of protecting civilians from cluster munitions. Members of the CMC have been working to complete an international treaty to ban cluster munitions by 2008.

At the February CMC committee meeting in New Zealand, only 82 of the 122 nations present endorsed a draft ban on the production, usage or storage of cluster bombs.