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.

Monday, June 21, 2010

Sweden’s first royal wedding since 1976 took place Saturday when Crown Princess Victoria, 32, married her long-time boyfriend and former personal trainer, Daniel Westling, 36. The ceremony took place at Stockholm Cathedral.

Over 1,200 guests, including many rulers, politicians, royals and other dignitaries from across the world, attended the wedding, which cost an estimated 20 million Swedish kronor. Victoria wore a wedding dress with five-metre long train designed by Pär Engsheden. She wore the same crown that her mother, Queen Silvia, wore on her wedding day 34 years previously, also on June 19. Victoria’s father, King Carl XVI Gustaf, walked Victoria down the aisle, which was deemed untraditional by many. In Sweden, the bride and groom usually walk down the aisle together, emphasising the country’s views on equality. Victoria met with Daniel half-way to the altar, where they exchanged brief kisses, and, to the sounds of the wedding march, made their way to the the silver altar. She was followed by ten bridesmaids. The couple both had tears in their eyes as they said their vows, and apart from fumbling when they exchanged rings, the ceremony went smoothly.

Following the ceremony, the couple headed a fast-paced procession through central Stockholm on a horse-drawn carriage, flanked by police and security. Up to 500,000 people are thought to have lined the streets. They then boarded the Vasaorden, the same royal barge Victoria’s parents used in their wedding, and traveled through Stockholm’s waters, accompanied by flyover of 18 fighter jets near the end of the procession. A wedding banquet followed in the in the Hall of State of the Royal Palace.

Controversy has surrounded the engagement and wedding between the Crown Princess and Westling, a “commoner”. Victoria met Westling as she was recovering from bulemia in 2002. He owned a chain of gymnasiums and was brought in to help bring Victoria back to full health. Westling was raised in a middle-class family in Ockelbo, in central Sweden. His father managed a social services centre, and his mother worked in a post office. When the relationship was made public, Westling was mocked as an outsider and the king was reportedly horrified at the thought of his daughter marrying a “commoner”, even though he did so when he married Silvia. Last year, Westling underwent transplant surgery for a congenital kidney disorder. The Swedish public have been assured that he will be able to have children and that his illness will not be passed on to his offspring.

Westling underwent years of training to prepare for his new role in the royal family, including lessons in etiquette, elocution, and multi-lingual small talk; and a makeover that saw his hair being cropped short, and his plain-looking glasses and clothes being replaced by designer-wear.

Upon marrying the Crown Princess, Westling took his wife’s ducal title and is granted the style “His Royal Highness”. He is now known as HRH Prince Daniel, Duke of Västergötland. He also has his own coat-of-arms and monogram. When Victoria assumes the throne and becomes Queen, Daniel will not become King, but assume a supportive role, similar to that of Prince Phillip, the husband of the United Kingdom’s Queen Elizabeth II.

Tuesday, August 16, 2011

A new law which seeks to utilise reusable energy and minimise cost impact on consumers is under development in Japan. The new law, which would be effective from July 1 next year, would seek to reduce Japan’s dependency on nuclear power.

The new legislation would urge power utilities to cut costs by purchasing renewable energy from outside companies and private businesses. Japan’s decision has been referred to as opening the door on renewable energy, which currently only contributes to six percent of Japan’s energy sources.

Politicians have amended the bill, allowing the revised bill to pass through parliament later this month. Prime Minister Naoto Kan who is pushing for the bill to be passed in return for his resignation, has stated that the ‘feed-in-tariff on renewable energy will be set at a fixed price so that utilities are limited to purchasing electricity from renewable power generators. Kan hopes that this will encourage more business and private corporate partners to enter into the renewable energy market.

“As a medium-term revolutionary energy and environmental strategy, we have decided to start a thorough review of nuclear power policy and draw a roadmap for a reduction of the dependence on nuclear power” Mr Kan said.

Large companies are concerned about the new legislation as it will continue to affect profit margins which are low due to power shortages and high priced exports. The bill was changed to reduce the surcharge for large power companies after complaints from the Japanese steel industry. If the scheme is launched then consumers will face an increase on electricity bills as utilities can pass their costs onto end-users. Despite the governments promise to cap the surcharge for the next ten years, there is no reference to it in the revised bill.

Lawmakers hope that by adding a provision requiring utilities to streamline their operations, the impact on consumers will be minimized.

A third party group will be set up within the under the Agency for National Resources and Energy to ensure that the setting of fixed prices are fair and just.

Tuesday, October 7, 2008

A thief in Bristol, United Kingdom, has been prosecuted due to incriminating evidence in the form of a tattoo on his neck with his name and date of birth that was captured by police CCTV, when he was in the process of stealing a Satellite navigation system in a car planted by police to find criminals.

Aarron Evans, the thief, today pleaded guilty to charges of theft at Bristol Magistrates’ Court. He is aged 21 and he is illiterate and has no fixed address.

The sentence was for seven months imprisonment.

Ian Wylie, who is police superintendent for the Bristol district commented on the incident. “Criminals won’t be tolerated in Bristol and we will keep catching them and bringing them before the courts,” he said. “We get such excellent images from these cameras that there is often, and never more so than in this case, no doubt who the criminal is and what they are doing. When faced with such evidence, there is no other way to go than ‘guilty’.”

“The photographs don’t just lead us to the person breaking into the car either. Further police work has also led us on many occasions to the handlers of the stolen property and people the car criminal is working with. We have also received information from members of the public through Crimestoppers where they have reported stolen property being sold on the streets, door-to-door or in local pubs,” Wylie continued. “The covert car has been a magnificent asset to the teams working to reduce car crime happening and those arresting car criminals. “

“We will continue to play our part but members of the public can still help us in reducing the opportunity for thieves; don’t leave valuables on display in your vehicle and, better still; take them out of the car completely.”

Monday, January 1, 2007

More bombs went off just after midnight (0500 GMT) on New Year’s Day in Bangkok, injuring eight people near a shopping mall where hours before a New Year’s Eve countdown was cancelled due to a string of six bombings earlier in the evening.

The first bomb exploded at a seafood restaurant on the Saen Saeb Canal near Pratunam Pier just seconds after midnight.

Three foreigners and two Thais were injured. One of the foreigners had her legs amputated by the blast, according to television and local newspaper reports. The foreign tourists were having dinner at the restaurant.

Police said the bomb was hidden in a tire at the pier.

A second bomb exploded in a telephone booth near a pedestrian bridge at CentralWorld, where thousands of people had gathered earlier in the evening for a countdown party and had been urged by authorities to leave the area and go home. Several foreigners were injured and rushed to hospitals.

Another bomb was found and disposed of without incident at Suan Lum Night Bazaar, another late-night venue for tourists.

A possible bomb was investigated at Buddy Bar, a popular music venue on Khaosan Road. It turned out to be a false report. Police had earlier closed the venue and other bars on the street frequented by backpackers, urging people to return to their hotels and guesthouses.

Earlier in the evening, bombs had gone off at six locations across the city, from about 6:00 p.m. to 7:30 p.m. Twenty-five people were injured and three later died at hospitals from their injuries. The biggest toll was at Victory Monument, where 17 people were injured, two of them dying from their injuries. Other targets were a police booth at Saphan Kwai intersection, where two people were injured, and a market in Khlong Toei, where three people were injured, one fatally. At Seacon Square shopping mall, a bomb was found in a trash can inside the mall and taken to the parking lot, where it exploded without injuring anyone. Police booths on Sukhumvit Soi 62 and in suburban Nonthaburi were also hit, but there were no injuries.

After the bombings, Bangkok Governor Apirak Kosayothin had ordered the cancellation of the countdown celebrations at Central World and Sanam Luang and other smaller ones.

“Due to several bomb explosions in Bangkok and for the sake of peace and security, I would ask all of you to return to your homes now,” Apirak told a crowd of around 5,000 people at CentralWorld. Most of the crowd dispersed quickly and calmly.

Army Commander-in-Chief General Sonthi Boonyaratglin ordered soldiers deployed around the capital. Security was intensified on the Metro and Skytrain rail systems. The Skytrain cancelled plans to run all night and closed at midnight as usual. Department stores closed early.

Prime Minister Surayud Chulanont visited victims at a local hospital. He appeared on television looking tense, telling reporters he didn’t know who was responsible for the attacks.

Surayud was appointed premier after a coup d’état on September 19 in which the military led by Sonthi ousted prime minister Thaksin Shinawatra.

The Nation newspaper quoted a “security source” as saying “the old power clique” was behind the bombing.

However, there is also the ongoing violence by Muslim separatists in the South Thailand insurgency, which has left 1,900 people dead since 2004.

Sunday, March 29, 2009

A New Jersey congressman says restrictions on federal stimulus money are hurting gaming destinations like Atlantic City, and he is seeking to repeal a provision banning the use of funds for casinos or other gaming establishments.

“The demonization of gaming destinations such as Las Vegas and Atlantic City for business travel is wrong, wrong, wrong,” U.S. Rep Frank LoBiondo said Friday during a press conference in front of Boardwalk Hall in Atlantic City.

The $787 billion federal stimulus bill passed in February specifically prohibits casinos from applying for funds for infrastructure improvements and other similar projects. LoBiondo said Atlantic City is losing millions of dollars in business as a result of that provision.

Casinos’ revenues dropped 19.2 percent in February 2009 month compared to February 2008, according to the New Jersey Casino Control Commission. LoBiondo said $160 million worth of business and 120,000 visitors have chosen other cities for their tourism plans due to the stimulus bill, according to Atlantic City Convention Center figures.

The administration also recently determined other groups like nonprofit organizations and local governments may not spend their stimulus money at casino properties. State officials said the rules are damaging a major pillar of the New Jersey economy.

“Are those jobs somehow less important or less meaningful than those in the manufacturing, retail or financial industries?” said Ken Calemmo, chairman-elect of the Greater Atlantic City Chamber.

Anti-gambling officials said the stimulus law does not prohibit casinos from taking advantage of tax breaks, and Atlantic City officials should not complain about the stimulus bill because the city is too reliant on an unreliable revenue stream.

“There isn’t a state, including New Jersey or Nevada, that could gamble themselves rich, any more than an individual could gamble themselves rich,” said Tom Grey, field director for StopPredatoryGambling.org. “They should’ve diversified (the economy) instead of chasing their loss.”

But Joe Kelly, chamber president, said 35,000 people work at New Jersey casinos, and thousands more around the state work for outside vendors that depend on casinos for their business.

“It is not just an Atlantic County issue. It is not just a Cape May issue,” Kelly said. “There’s purchasing done by every county.”

LoBiondo is working to repeal the provision with U.S. Rep Shelly Berkley, co-chair of the Congressional Gaming Cascus, and has reached out to Senate Majority Leader Harry Reid, who has a history of representing the interests of the gaming industry.

Monday, February 18, 2013

Venezuela’s government has opened a granite processing plant in the state of Bolívar, with the intention of providing about 25% of the granite required nationwide.

Ricardo Menéndez, vice president of the Productive Economic Area, said Venezuelan President Hugo Chávez has yearned for the creation of this project to empower Venezuelan construction. Granito Bolívar is reportedly the most modern Venezuelan granite plant, not consuming community water or electricity, and is also the largest, with a daily capacity to supply enough material for use in construction of about 820 houses.

Menéndez said, “These granite blocks are the natural resources of our country, are the wealth we have as a country and often [some] simply decided to remove this richness from our country and take them to other countries” ^{((es))Spanish language: ?Esos bloques de granito son la riquezas naturales de nuestro país, son las riquezas que tenemos como patria y que muchas veces sencillamente esas riquezas decidieron sacarlas de nuestro territorio nacional y llevarlas a otros países}.

According to Menéndez, with the help of a state plan, Venezuela intends to exploit its 40,000 million cubic meters or more of granite reserves, generating a set of factories. “[T]he central theme is that these plants, all these factories, are for the construction of socialism; that means using our potential, develop the value chain within the country and of course that yields benefits from the point of view of the production system’s organization…. [Granito] Bolívar is not only the vision that historically we had of exposing richness, but the industries, basic industries we have, that level of our workers in the basic industries and in addition the development of the potential we have in the state” ^{((es))Spanish language: ?el tema central es que estas plantas todas estas fábricas son para la construcción del socialismo, eso significa utilizar nuestras potencialidades, dessarrollar la cadena de valor dentro del país y por supuesto que eso genere beneficios desde el punto de vista de la organización del sistema productivo … Bolívar no solamente es la visión que históricamente se tuvo de exponer las riquezas, sino que son las empresas, las empresas básicas que tenemos, ese nivel de nuestros trabajadores de la empresas básicas y adicionalmente el desarrollo del potencial que tenemos en el estado}.

For the construction of the plant, supplied by 23 quarries, the government of Bolívar provided about 30 million bolívares (US$4.7 million) and the national government €2.3 million (US$3 million). Bolívar reportedly has reserves of about 40,000 million tons of red, black, pink and white granite, sufficient for domestic demand for 200 years.

Sunday, November 4, 2007

Australian federal member of Calare, Peter Andren died on Saturday after a short battle with pancreatic cancer. He was aged 61.

Mr Andren who had held the seat since being elected in 1996 had previously announced his intention to run for the senate after his electorate was changed for the 2007 federal election. After Mr Andren was diagnosed with cancer in July, he announced that he would be retiring from politics at the election.

Mr Andren’s 1996 campaign platform was based upon retaining services in regional Australia, particularly banking, health and telecommunications. Over the next 11 years, Mr Andren’s primary vote grew and at the 2001 and 2004 elections was elected without preferences, achieving a majority primary vote.

In 2001, Mr Andren disagreed with his electorate on refugees. The electorate supported the government’s tough stance but Mr Andren could not support the government’s border protection measures. Following this, a vicious letter-box campaign rose up saying “you might like Peter Andren … but you won’t like what he’s got to say about keeping our borders safe”.

Fellow NSW independent member, Tony Windsor said Mr Andren’s stance on asylum seekers was just one sign of his compassion and strong belief in human rights.

Mr Windsor described Mr Andren as the “conscience” of parliament. “Peter Andren was a true representative of the people of the Calare electorate, a man of the highest integrity and the conscience of the Parliament,” he said.

“He was subjected to vitriol from time to time within the Parliament over issues, but if he believed in something he stuck to it. He didn’t compromise and I think that’s a lasting legacy that Peter will leave.”

Prime Minister John Howard said despite having a difference of opinion with Mr Andren on many issues, he had a lot of respect for him.

“I respected his skills as a local member,” he said.

“Mr Andren and I frequently disagreed on major issues and he made no bones about that and I made no bones about it either but that didn’t stop me respecting him and acknowledging the tremendous work he did for his electorate.”

Labor leader Kevin Rudd described Mr Andren as a true independent.

“Peter Andren will be a great loss to the Australian parliament,” he said.

“He was a man of principle, a man of commitment, a man who was an absolute independent.”

Leader of the Greens, Bob Brown said Mr Andren was an example of how a politician should be.

“He was an exemplar of representative politics for his electorate and the people of Calare kept returning him with a bigger and bigger majority,” he said.

“[If] anybody ever asks me how a politician should be, I am going to say, ‘Look at the record of Peter Andren'”

“He was a great Australian representative and he is a great loss to this country.”

During his political career, Mr Andren fought the sale of Telstra, introduced a bill to allow MPs to opt-out of their generous superannuation schemes, opposed the Iraq war and campaigned on environmental issues.

Mr Andren was born at Gulargambone, near Dubbo in Western NSW in 1946. Before he entered politics Mr Andren worked as a teacher before moving into journalism. Mr Andren worked as a news producer in Sydney for the Seven and Nine networks, before moving back to regional NSW where he worked as the news editor for both Radio 2GZ and Prime Television.

Mr Andren is survived by his partner and two sons.