Sunday, July 15, 2007

A judge in the province of Ontario, Canada dismissed marijuana possession charges against a Toronto man, ruling that Canada’s laws governing possession are unconstitutional.

The unidentified defendant, 29, had been charged with possession after police had found him carrying 3.5 grams of marijuana.

Since July 30, 2001, Canada has allowed a medical exemption for the possession and growing of marijuana, under Health Canada‘s Marijuana Medical Access Regulations. The regulations describe eligible persons as those “suffering from grave and debilitating illnesses.” Canada contracts a company, Prairie Plant Systems, to cultivate and package seeds and/or dried marijuana for shipping of a monthly supply to eligible patients. A packet of 30 seeds costs CA$20, plus taxes. Dried marijuana costs patients CA$150 for 30 grams (slightly more than one ounce).

The defendant in the legal case was not suffering from an illness and was not in need of an exemption from the possession laws. The man put forth a defence that questioned the legality of the medical exemption since it was only a regulation, not a law. He argued that all possession laws, therefore, should be struck down.

The judge presiding over the case, Howard Borenstein, agreed with the argument. “The government told the public not to worry about access to marijuana,” said Judge Borenstein. “They have a policy but not law. In my view that is unconstitutional.”

The defendant’s lawyer, Brian McAllister, felt that the ruling may have significant consequences for possession laws throughout the province. “Obviously, there’s thousands of people that get charged with this offence every year,” said McAllister. He suggested that Ontario residents can cite the new ruling as a defence for possession charges. “That’s probably why the government will likely appeal the decision,” he said.

Judge Borenstein will make his ruling official in two weeks time. Prosecutors in the case have said that they will appeal the decision soon.

In related news, a Liberal senator from the province of British Columbia, Larry Campbell, said Wednesday that the federal government should decriminalize marijuana and “tax the hell out of it,”. He said the government should use the revenue for health care priorities. Sales should be controlled by government, he stated, in the same way that alcohol is sold. He noted that organized crime is pulling in large profits on the growing and sale of the drug.

Senator Campbell also suggested that too many resources are placed on the criminal prosecution of people for possession of small amounts of marijuana. “This is not a drug that causes criminality,” he said. “People are getting criminal records for essentially nothing.”

A recent UN survey, the 2007 World Drug Report, has determined that marijuana use in Canada is the highest among developed nations. Some 16.8 percent of Canadians between the ages of 15 and 64 used marijuana in 2004, compared to 12.6 percent of Americans, 8.7 percent for Britain, 8.6 percent for France, 6.9 percent for Germany, and 0.1 percent of Japanese.

York University law professor Alan Young, said the report’s numbers may be skewed higher for Canadians due to the willingness of Canadians to discuss the issue. “It’s become a large part of youth culture in Canada, and more importantly, 50 percent of marijuana smokers are over the age of 30,” he said. “So it’s really gone to all age groups, all class groups. There’s no question about it that there is less stigma in Canada.”

Only four other countries ranked ahead of Canada on marijuana use: Papua New Guinea, Micronesia, Ghana, and Zambia.

The UN data for harder drugs such as amphetamines and ecstasy showed relatively low use among Canadians.

Tuesday, August 3, 2010

NASA is scrambling to solidify plans to fix the broken down cooling systems on the International Space Station during two spacewalks, currently planned for Friday and Monday. The systems broke down late Saturday July 31, triggering alarms that woke the six astronauts (three Russian and three American) currently onboard the station. NASA’s flight controller said the astronauts are not in any danger, but that science experiments are on hold until the problem can be fixed.

The first spacewalk is set to begin Friday at 6:55 a.m. EDT, NASA officials said. The two planned spacewalks will be conducted by astronauts Douglas Wheelock and Tracy Caldwell Dyson. They will replace an ammonia pump module, which shut down Saturday. The pump’s failure prompted the astronauts to shut down several other systems as well. The spare pump had been delivered to the station in July 2006, during STS-121.

Normally, major repair spacewalks take weeks of preparation. An unrelated spacewalk had already been planned for this Thursday, which would have been conducted by Wheelock and Dyson, so the space suits and equipment are ready to go. NASA decided late Monday evening that the spacewalk would be postponed to Friday to allow for more preparation.

In October 2010 the space station is expected to break the record for the longest continuously inhabited space station, a record currently held by Mir.

Monday, February 21, 2005

Los Angeles, California —A simple saliva test can predict whether children will get cavities, how many cavities they will get and which teeth are most vulnerable.

Developed by researchers at the University of Southern California in Los Angeles, the test quantifies the genetic component of tooth decay, spotting the risk when something can be done about it.

“When we apply this to young children, it allows us to predict what might be their future caries history—the number of cavities that they’ll get by, say, their late 20s or early 30s,” says researcher Paul Denny.

Called the Caries Assessment and Risk Evaluation (CARE) test, the test measures the relative proportions in saliva of different types of sugar chains called oligosaccharides. The same sugar chains are present on tooth surfaces.

The effect of sugar chains on teeth’s resistance to disease is analogous to the effect of “good” and “bad” cholesterol on blood vessels. “Good” sugar chains tend to repel bacteria that cause cavities while “bad” allow bacteria to bond to teeth and start the decay process. Unlike cholesterol, however, sugar chain makeup in humans is 100% genetically determined.

Denny and colleagues have found that the sugar chain makeup in saliva can predict a child’s future cavity history to plus or minus one cavity with greater than 98% confidence.

The findings suggest that in developed areas of the modern era genes play a more significant role in tooth decay than in former times or third world nations where gross malnutrition and negligent oral hygiene held the greatest impact on dental health.

[edit]

Sunday, October 7, 2007

Shona Bracken is running for the Communist Party in the Ontario provincial election in Toronto—Danforth. Wikinews interviewed her regarding her values, her experience, and her campaign.

Thursday, April 14, 2005

An exhausted Charles Kennedy returned to the election campaign to launch a twenty page Liberal Democrat manifesto targeted at disaffected Labour voters, promising a fairer tax system and withdrawal from Iraq.

Entitled The Real Alternative the manifesto pledges to reduce the lowest rate of income tax, but increase the rate on those earning over £100,000 to 50%. The party would also scrap the unpopular local council tax in favour of a new local income tax. The manifesto also promises to remove hidden “stealth taxes”.

Under this system the party claims the poorest 15 million (25%) of people in Britain would be better off, and the middle 50% would be paying no extra tax.

The manifesto promised to scrap the controversial university tuition fees, increase services for pensioners and add £100 a month to the state pension, and train 21,000 new primary school teachers and 10,000 new police. A Lib Dem government would make eye and dental checks free, and reduce the cost of prescription medicine.

The Liberal Democrats were the only one of the three largest parliamentary parties to have consistently voted against the Iraq war, and the manifesto has promised an exit strategy with a phased withdrawal of Britain’s 8,000 troops still in the country.

“We reject a foreign policy based on ‘my ally right or wrong’,” Kennedy said. “And we say that war should always be a last resort.”

Kennedy, who became a father on Tuesday, admitted he’d had little sleep before the manifesto launch, and stumbled while answering questions on the proposed tax system.

Thursday, November 8, 2007

India is the latest of the countries where the One Laptop Per Child (OLPC) experiment has started. Children from the village of Khairat were given the opportunity to learn how to use the XO laptop. During the last year XO was distributed to children from Arahuay in Peru, Ban Samkha in Thailand, Cardal in Uruguay and Galadima in Nigeria. The OLPC team are, in their reports on the startup of the trials, delighted with how the laptop has improved access to information and ability to carry out educational activities. Thailand’s The Nation has praised the project, describing the children as “enthusiastic” and keen to attend school with their laptops.

Recent good news for the project sees Uruguay having ordered 100,000 of the machines which are to be given to children aged six to twelve. Should all go according to plan a further 300,000 machines will be purchased by 2009 to give one to every child in the country. As the first to order, Uruguay chose the OLPC XO laptop over its rival from Intel, the Classmate PC. In parallel with the delivery of the laptops network connectivity will be provided to schools involved in the project.

The remainder of this article is based on Carla G. Munroy’s Khairat Chronicle, which is available from the OLPC Wiki. Additional sources are listed at the end.

Wednesday, December 21, 2011

Former Salt Lake City mayor and human rights activist Rocky Anderson took some time to discuss his 2012 U.S. presidential campaign and the newly-created Justice Party with Wikinews reporter William S. Saturn.

Anderson served as mayor of Salt Lake City for eight years (2000–2008) as a member of the Democratic Party. During his tenure, he enacted proposals to reduce the city’s carbon emissions, reformed its criminal justice system, and positioned it as a leading sanctuary for refugees. After leaving office, Anderson grew critical of the Democratic Party’s failure to push for impeachment against President George W. Bush, and for not reversing policies on torture, taxes, and defense spending. He left the party earlier this year and announced that he would form a Third party.

Anderson officially established the Justice Party last week during a press conference in Washington D.C.. He proclaimed “We the people are powerful enough to end the perverse government-to-the-highest-bidder system sustained by the two dominant parties…We are here today for the sake of justice — social justice, environmental justice and economic justice.” The party promotes campaign finance reform and is attempting to appeal to the Occupy Wall Street movement. It is currently working on ballot access efforts, and will hold a Founding Convention in February 2012 in Salt Lake City.

Among other issues, Anderson discussed climate change, health care, education, and civil liberties. He detailed his successes as mayor of Salt Lake City, stressed the importance of executive experience, and expressed his views on President Barack Obama and some of the Republican Party presidential candidates. He spoke in depth about former Massachusetts governor Mitt Romney, with whom he worked during the 2002 Winter Olympics, and fellow Utahan, former governor and U.S. ambassador to China Jon Huntsman, Jr..

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.

Tuesday, August 2, 2005

Massey Energy Co., the fourth largest coal producer in the U.S., filed a federal lawsuit against the Governor of West Virginia, Joe Manchin.

Massey’s CEO Don Blankenship alleged that Gov. Manchin acted in retaliation against the company’s coal mining operations because the company spent $650,000 in an advertising campaign to defeat the governor sponsored pension bond proposal. The $5.5 billion bond proposal, intended to shore up the state’s sagging pension plan, was defeated in a special election held in June.

The Massey lawsuit, filed last Tuesday on July 26 in the U.S. District Court in the W.V. southern district, was referred to by Gov. Manchin as having less to do with the bond proposal than with the newly increased state “severance tax” on coal. Nearly 40 million tons of coal production will be subject to the 56-cent tax.

According to Blankenship, that tax amounts to $22.4 million in additional costs for the company, but he denied the increase has anything to do with the lawsuit.

The company reported profits that almost tripled during the second quarter compared to a year ago. Of the company’s rosy earnings picture, Blankenship urged states to “show some frugality” by not placing tax burdens on coal to solve state budget shortfalls. He said his company is “playing a role” because there was no need for the bond sale and the state can afford to make payments into the pension system.

Blankenship acknowledged during a conference call the now-rescinded June 30 permit by the W.V. Department of Environment Protection (DEP). At issue was the department’s permit for mining operations near the Marsh Fork Elementary School, in Sundial, W.V. The school rests at the base of a mountain selected by Massey for “Mountain Top Removal” (MTR) mining techniques. Along with the mining equipment, a coal preparation plant and a sludge pond were established on the mountain. Protest groups, mainly the Coal River Mountain Watch and Mountain Justice Summer, presented a list of demands to Massey officials that included shutting down the preparation plant, ceasing all MTR mining above the Marsh Fork Elementary School, and abandoning plans for a second coal silo near the school. They also ask that the Marsh Fork school be cleaned up or relocated. The state permit for a second coal storage silo was rescinded by the DEP the same day Massey filed the Manchin lawsuit.

Gov. Manchin in June said that Blankenship could expect tougher state scrutiny of his business affairs since the Massey media campaign against the pension bond proposal. “I think that is justified now, since Don has jumped in there with his personal wealth trying to direct public policy,” he said at an appearance at an American Electric Power event in Putnam County.