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July 27, 2006

Mexican presidential candidate Andres Manuel Lopez Obrador, who lost the vote count to his rival Felipe Calderon by 0.57%, declared victory in the elections and vowed that he and his supporters will continue protesting. “I am already president,” he said in a television interview “I won the presidential election. I am president of Mexico by the will of the majority of Mexicans.”

Protests in favour of Obrador have grown increasingly confrontational. This week, protestors marched in front of the Mexican stock exchange, blockading the entrance. Obrador is expected to announce a campaign of civil disobedience at a rally in central Mexico City on Sunday. He and his supporters are pressuring Mexico’s Federal Electoral Tribunal to issue a recount of every vote cast in the election.

Presidential Candidate Obrador believes that President Vicente Fox and Presidential Candidate Calderon are responsible for what he believes to be election fraud.

Calderon has rejected Obrador’s call for a recount, saying that the election was fair.

Friday, July 29, 2011

Today sees the reopening of the National Museum of Scotland following a three-year renovation costing £47.4 million (US$ 77.3 million). Edinburgh’s Chambers Street was closed to traffic for the morning, with the 10am reopening by eleven-year-old Bryony Hare, who took her first steps in the museum, and won a competition organised by the local Evening News paper to be a VIP guest at the event. Prior to the opening, Wikinews toured the renovated museum, viewing the new galleries, and some of the 8,000 objects inside.

Dressed in Victorian attire, Scottish broadcaster Grant Stott acted as master of ceremonies over festivities starting shortly after 9am. The packed street cheered an animatronic Tyrannosaurus Rex created by Millenium FX; onlookers were entertained with a twenty-minute performance by the Mugenkyo Taiko Drummers on the steps of the museum; then, following Bryony Hare knocking three times on the original doors to ask that the museum be opened, the ceremony was heralded with a specially composed fanfare – played on a replica of the museum’s 2,000-year-old carnyx Celtic war-horn. During the fanfare, two abseilers unfurled white pennons down either side of the original entrance.

The completion of the opening to the public was marked with Chinese firecrackers, and fireworks, being set off on the museum roof. As the public crowded into the museum, the Mugenkyo Taiko Drummers resumed their performance; a street theatre group mingled with the large crowd, and the animatronic Tyrannosaurus Rex entertained the thinning crowd of onlookers in the centre of the street.

On Wednesday, the museum welcomed the world’s press for an in depth preview of the new visitor experience. Wikinews was represented by Brian McNeil, who is also Wikimedia UK’s interim liaison with Museum Galleries Scotland.

The new pavement-level Entrance Hall saw journalists mingle with curators. The director, Gordon Rintoul, introduced presentations by Gareth Hoskins and Ralph Applebaum, respective heads of the Architects and Building Design Team; and, the designers responsible for the rejuvenation of the museum.

Describing himself as a “local lad”, Hoskins reminisced about his grandfather regularly bringing him to the museum, and pushing all the buttons on the numerous interactive exhibits throughout the museum. Describing the nearly 150-year-old museum as having become “a little tired”, and a place “only visited on a rainy day”, he commented that many international visitors to Edinburgh did not realise that the building was a public space; explaining the focus was to improve access to the museum – hence the opening of street-level access – and, to “transform the complex”, focus on “opening up the building”, and “creating a number of new spaces […] that would improve facilities and really make this an experience for 21st century museum visitors”.

Hoskins explained that a “rabbit warren” of storage spaces were cleared out to provide street-level access to the museum; the floor in this “crypt-like” space being lowered by 1.5 metres to achieve this goal. Then Hoskins handed over to Applebaum, who expressed his delight to be present at the reopening.

Applebaum commented that one of his first encounters with the museum was seeing “struggling young mothers with two kids in strollers making their way up the steps”, expressing his pleasure at this being made a thing of the past. Applebaum explained that the Victorian age saw the opening of museums for public access, with the National Museum’s earlier incarnation being the “College Museum” – a “first window into this museum’s collection”.

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The museum itself is physically connected to the University of Edinburgh’s old college via a bridge which allowed students to move between the two buildings.

Applebaum explained that the museum will, now redeveloped, be used as a social space, with gatherings held in the Grand Gallery, “turning the museum into a social convening space mixed with knowledge”. Continuing, he praised the collections, saying they are “cultural assets [… Scotland is] turning those into real cultural capital”, and the museum is, and museums in general are, providing a sense of “social pride”.

McNeil joined the yellow group on a guided tour round the museum with one of the staff. Climbing the stairs at the rear of the Entrance Hall, the foot of the Window on the World exhibit, the group gained a first chance to see the restored Grand Gallery. This space is flooded with light from the glass ceiling three floors above, supported by 40 cast-iron columns. As may disappoint some visitors, the fish ponds have been removed; these were not an original feature, but originally installed in the 1960s – supposedly to humidify the museum; and failing in this regard. But, several curators joked that they attracted attention as “the only thing that moved” in the museum.

The museum’s original architect was Captain Francis Fowke, also responsible for the design of London’s Royal Albert Hall; his design for the then-Industrial Museum apparently inspired by Joseph Paxton’s Crystal Palace.

The group moved from the Grand Gallery into the Discoveries Gallery to the south side of the museum. The old red staircase is gone, and the Millennium Clock stands to the right of a newly-installed escalator, giving easier access to the upper galleries than the original staircases at each end of the Grand Gallery. Two glass elevators have also been installed, flanking the opening into the Discoveries Gallery and, providing disabled access from top-to-bottom of the museum.

The National Museum of Scotland’s origins can be traced back to 1780 when the 11th Earl of Buchan, David Stuart Erskine, formed the Society of Antiquaries of Scotland; the Society being tasked with the collection and preservation of archaeological artefacts for Scotland. In 1858, control of this was passed to the government of the day and the National Museum of Antiquities of Scotland came into being. Items in the collection at that time were housed at various locations around the city.

On Wednesday, October 28, 1861, during a royal visit to Edinburgh by Queen Victoria, Prince-Consort Albert laid the foundation-stone for what was then intended to be the Industrial Museum. Nearly five years later, it was the second son of Victoria and Albert, Prince Alfred, the then-Duke of Edinburgh, who opened the building which was then known as the Scottish Museum of Science and Art. A full-page feature, published in the following Monday’s issue of The Scotsman covered the history leading up to the opening of the museum, those who had championed its establishment, the building of the collection which it was to house, and Edinburgh University’s donation of their Natural History collection to augment the exhibits put on public display.

Selection of views of the Grand Gallery Image: Brian McNeil.

Closed for a little over three years, today’s reopening of the museum is seen as the “centrepiece” of National Museums Scotland’s fifteen-year plan to dramatically improve accessibility and better present their collections. Sir Andrew Grossard, chair of the Board of Trustees, said: “The reopening of the National Museum of Scotland, on time and within budget is a tremendous achievement […] Our collections tell great stories about the world, how Scots saw that world, and the disproportionate impact they had upon it. The intellectual and collecting impact of the Scottish diaspora has been profound. It is an inspiring story which has captured the imagination of our many supporters who have helped us achieve our aspirations and to whom we are profoundly grateful.“

The extensive work, carried out with a view to expand publicly accessible space and display more of the museums collections, carried a £47.4 million pricetag. This was jointly funded with £16 million from the Scottish Government, and £17.8 million from the Heritage Lottery Fund. Further funds towards the work came from private sources and totalled £13.6 million. Subsequent development, as part of the longer-term £70 million “Masterplan”, is expected to be completed by 2020 and see an additional eleven galleries opened.

The funding by the Scottish Government can be seen as a ‘canny‘ investment; a report commissioned by National Museums Scotland, and produced by consultancy firm Biggar Economics, suggest the work carried out could be worth £58.1 million per year, compared with an estimated value to the economy of £48.8 prior to the 2008 closure. Visitor figures are expected to rise by over 20%; use of function facilities are predicted to increase, alongside other increases in local hospitality-sector spending.

Proudly commenting on the Scottish Government’s involvement Fiona Hyslop, Cabinet Secretary for Culture and External Affairs, described the reopening as, “one of the nation’s cultural highlights of 2011” and says the rejuvenated museum is, “[a] must-see attraction for local and international visitors alike“. Continuing to extol the museum’s virtues, Hyslop states that it “promotes the best of Scotland and our contributions to the world.“

So-far, the work carried out is estimated to have increased the public space within the museum complex by 50%. Street-level storage rooms, never before seen by the public, have been transformed into new exhibit space, and pavement-level access to the buildings provided which include a new set of visitor facilities. Architectural firm Gareth Hoskins have retained the original Grand Gallery – now the first floor of the museum – described as a “birdcage” structure and originally inspired by The Crystal Palace built in Hyde Park, London for the 1851 Great Exhibition.

The centrepiece in the Grand Gallery is the “Window on the World” exhibit, which stands around 20 metres tall and is currently one of the largest installations in any UK museum. This showcases numerous items from the museum’s collections, rising through four storeys in the centre of the museum. Alexander Hayward, the museums Keeper of Science and Technology, challenged attending journalists to imagine installing “teapots at thirty feet”.

The redeveloped museum includes the opening of sixteen brand new galleries. Housed within, are over 8,000 objects, only 20% of which have been previously seen.

Ground floor
First floor
Second floor
Top floor

The Window on the World rises through the four floors of the museum and contains over 800 objects. This includes a gyrocopter from the 1930s, the world’s largest scrimshaw – made from the jaws of a sperm whale which the University of Edinburgh requested for their collection, a number of Buddha figures, spearheads, antique tools, an old gramophone and record, a selection of old local signage, and a girder from the doomed Tay Bridge.

The arrangement of galleries around the Grand Gallery’s “birdcage” structure is organised into themes across multiple floors. The World Cultures Galleries allow visitors to explore the culture of the entire planet; Living Lands explains the ways in which our natural environment influences the way we live our lives, and the beliefs that grow out of the places we live – from the Arctic cold of North America to Australia’s deserts.

The adjacent Patterns of Life gallery shows objects ranging from the everyday, to the unusual from all over the world. The functions different objects serve at different periods in peoples’ lives are explored, and complement the contents of the Living Lands gallery.

Performance & Lives houses musical instruments from around the world, alongside masks and costumes; both rooted in long-established traditions and rituals, this displayed alongside contemporary items showing the interpretation of tradition by contemporary artists and instrument-creators.

The museum proudly bills the Facing the Sea gallery as the only one in the UK which is specifically based on the cultures of the South Pacific. It explores the rich diversity of the communities in the region, how the sea shapes the islanders’ lives – describing how their lives are shaped as much by the sea as the land.

Both the Facing the Sea and Performance & Lives galleries are on the second floor, next to the new exhibition shop and foyer which leads to one of the new exhibition galleries, expected to house the visiting Amazing Mummies exhibit in February, coming from Leiden in the Netherlands.

The Inspired by Nature, Artistic Legacies, and Traditions in Sculpture galleries take up most of the east side of the upper floor of the museum. The latter of these shows the sculptors from diverse cultures have, through history, explored the possibilities in expressing oneself using metal, wood, or stone. The Inspired by Nature gallery shows how many artists, including contemporary ones, draw their influence from the world around us – often commenting on our own human impact on that natural world.

Contrastingly, the Artistic Legacies gallery compares more traditional art and the work of modern artists. The displayed exhibits attempt to show how people, in creating specific art objects, attempt to illustrate the human spirit, the cultures they are familiar with, and the imaginative input of the objects’ creators.

The easternmost side of the museum, adjacent to Edinburgh University’s Old College, will bring back memories for many regular visitors to the museum; but, with an extensive array of new items. The museum’s dedicated taxidermy staff have produced a wide variety of fresh examples from the natural world.

At ground level, the Animal World and Wildlife Panorama’s most imposing exhibit is probably the lifesize reproduction of a Tyrannosaurus Rex skeleton. This rubs shoulders with other examples from around the world, including one of a pair of elephants. The on-display elephant could not be removed whilst renovation work was underway, and lurked in a corner of the gallery as work went on around it.

Above, in the Animal Senses gallery, are examples of how we experience the world through our senses, and contrasting examples of wildly differing senses, or extremes of such, present in the natural world. This gallery also has giant screens, suspended in the free space, which show footage ranging from the most tranquil and peaceful life in the sea to the tooth-and-claw bloody savagery of nature.

The Survival gallery gives visitors a look into the ever-ongoing nature of evolution; the causes of some species dying out while others thrive, and the ability of any species to adapt as a method of avoiding extinction.

Earth in Space puts our place in the universe in perspective. Housing Europe’s oldest surviving Astrolabe, dating from the eleventh century, this gallery gives an opportunity to see the technology invented to allow us to look into the big questions about what lies beyond Earth, and probe the origins of the universe and life.

In contrast, the Restless Earth gallery shows examples of the rocks and minerals formed through geological processes here on earth. The continual processes of the planet are explored alongside their impact on human life. An impressive collection of geological specimens are complemented with educational multimedia presentations.

Beyond working on new galleries, and the main redevelopment, the transformation team have revamped galleries that will be familiar to regular past visitors to the museum.

Formerly known as the Ivy Wu Gallery of East Asian Art, the Looking East gallery showcases National Museums Scotland’s extensive collection of Korean, Chinese, and Japanese material. The gallery’s creation was originally sponsored by Sir Gordon Wu, and named after his wife Ivy. It contains items from the last dynasty, the Manchu, and examples of traditional ceramic work. Japan is represented through artefacts from ordinary people’s lives, expositions on the role of the Samurai, and early trade with the West. Korean objects also show the country’s ceramic work, clothing, and traditional accessories used, and worn, by the indigenous people.

The Ancient Egypt gallery has always been a favourite of visitors to the museum. A great many of the exhibits in this space were returned to Scotland from late 19th century excavations; and, are arranged to take visitors through the rituals, and objects associated with, life, death, and the afterlife, as viewed from an Egyptian perspective.

The Art and Industry and European Styles galleries, respectively, show how designs are arrived at and turned into manufactured objects, and the evolution of European style – financed and sponsored by a wide range of artists and patrons. A large number of the objects on display, often purchased or commissioned, by Scots, are now on display for the first time ever.

Shaping our World encourages visitors to take a fresh look at technological objects developed over the last 200 years, many of which are so integrated into our lives that they are taken for granted. Radio, transportation, and modern medicines are covered, with a retrospective on the people who developed many of the items we rely on daily.

What was known as the Museum of Scotland, a modern addition to the classical Victorian-era museum, is now known as the Scottish Galleries following the renovation of the main building.

This dedicated newer wing to the now-integrated National Museum of Scotland covers the history of Scotland from a time before there were people living in the country. The geological timescale is covered in the Beginnings gallery, showing continents arranging themselves into what people today see as familiar outlines on modern-day maps.

Just next door, the history of the earliest occupants of Scotland are on display; hunters and gatherers from around 4,000 B.C give way to farmers in the Early People exhibits.

The Kingdom of the Scots follows Scotland becoming a recognisable nation, and a kingdom ruled over by the Stewart dynasty. Moving closer to modern-times, the Scotland Transformed gallery looks at the country’s history post-union in 1707.

Industry and Empire showcases Scotland’s significant place in the world as a source of heavy engineering work in the form of rail engineering and shipbuilding – key components in the building of the British Empire. Naturally, whisky was another globally-recognised export introduced to the world during empire-building.

Lastly, Scotland: A Changing Nation collects less-tangible items, including personal accounts, from the country’s journey through the 20th century; the social history of Scots, and progress towards being a multicultural nation, is explored through heavy use of multimedia exhibits.

Friday, April 29, 2011

Prince William of Wales, the second in line to the British throne, and Kate Middleton will today be married at Westminster Abbey in London. Thousands of people are expected to line the streets of the city as the couple travel through the capital to the Abbey, and then back to Buckingham Palace, and millions are thought to be planning to watch the event on television around the world. Wikinews will be following the royal wedding as it happens on this live blog; you will be able to contact us with your thoughts throughout the day on the comments page, on our Twitter page, or on Facebook.

Update: 6:25 A.M. (UTC)

Good morning and welcome to live updates of the royal wedding of Prince William of Wales and Kate Middleton. Wikinews will be following the events throughout the day and you can contact us with your opinions as the wedding progresses either on our website, or on Twitter or Facebook. The wedding service will begin later this morning, and William and Kate's family will be in attendance at the Abbey. After the service the royal couple will travel to Buckingham Palace for the wedding reception, and the bride, groom, and both their families including Elizabeth II, will appear on the balcony.

600,000 people are expected to be in London today to celebrate the marriage, and it is thought many millions will watch it around the world on television. Several hundred people have been camping along the route the couple will take in a hope of seeing the newlyweds. 1,900 people have been invited to attend the ceremony inside the Abbey, including 50 foreign state heads. Kate yesterday took part in a final rehearsal with the best man, Prince Harry, and the pageboys and bridesmaids, yesterday, which William did not attend. William and Kate last night said in a message in the wedding programme that they had been “incredibly moved” by the support for their marriage. The message said,

“We are both so delighted that you are able to join us in celebrating what we hope will be one of the happiest days of our lives. The affection shown to us by so many people during our engagement has been incredibly moving, and has touched us both deeply. We would like to take this opportunity to thank everyone most sincerely for their kindness.”

Rail companies have said they expect 400,000 people to travel to the capital by train this morning, but insist they will be able to handle the significantly increased passenger numbers. Thousands of international journalists have also come to London, and will be reporting from specially constructed news studios around the capital. Police officials at Scotland Yard raided numerous properties—occupied, it was reported, by squatters—yesterday because of the wedding, but MPs seized on the raids as “disproportionate”. The weather in London is expected to begin as cloudy and dry, and brighten throughout the morning. Forecasters have warned of a 30 percent risk of rain at the time when William and Kate leave the Abbey after the ceremony, and an even greater risk of heavy showers towards the end of the day.

Update: 6:40 A.M. (UTC)

One of the biggest questions around the Abbey right now is what dress Kate will be wearing. It'll only be revealed when she leaves her hotel near Buckingham Palace later this morning—9:51 UTC to be precise—but there have already been some interesting developments. British newspaper The Telegraph has reports that a woman, disguised by a large headpiece, jumped out of her car and into the hotel yesterday evening—their are suspicions she might be the designer. She was apparently wearing several clothes favoured by Sarah Burton, the late Alexander McQueen's creative director. During the ceremony, Kate will pledge to "love, comfort, honour and keep" her husband, but not to "obey" him.

Counterterrorism police are reportedly now carrying out their final checks before the festivities get underway. Three people were arrested in Brockley, London, last night over allegations they were planning to behead effigies on the streets of London today. A guillotine was allegedly seized in a raid; the suspects remain in custody this morning. The Metropolitan Police said they had been detained on “suspicion of conspiracy to cause a public nuisance and breach of the peace”. A spokesperson for the force said they were believed to be “planning to attend the royal wedding.”

Update: 7:10 A.M. (UTC)

We're just getting some breaking news from Buckingham Palace. After the wedding, William will be given the titles Duke of Cambridge, Earl of Strathearn and Baron Carrickfergus; Kate will become the Duchess of Cambridge, Countess of Strathearn and Baroness Carrickfergus.

Update: 7:50 A.M. (UTC)

Crowds are continuing to gather in London as the guests begin to arrive at the Abbey, and television images are now coming from inside the building in Westminister for the first time since it was transformed for the wedding. A red carpet now runs from the entrance to the alter and it is lined with field maple trees—it is understood Kate wanted to link the service with nature.

For a bit of background, here’s the story so far. William was educated at Eton, and Kate at Marlborough College, during which time Princess Diana—William’s mother—was killed in a car crash in Paris, while William was aged 15. The couple met at University of St Andrews, and moved in with each other in a flat on a quiet street. In 2004, the pair were pictured skiing in Switzerland, before their first kiss in public two years later. But in 2007, the couple split—William began training as an Army officer and it was thought the pressures of royal life began to strain the pair. “It’s a surprise, because it had seemed very stable and very steady,” BBC journalist Nicholas Witchell reported at the time. But several months later, they were back together again.

Last year, William was posted as a search and rescue helicopter pilot in Anglesey, Wales, and Kate joined him on the island, before their engagement was announced in November. “We are both very, very happy,” William said, and Middleton said marriage into the Royal Family was a “daunting prospect,” but, she added, “hopefully I’ll take it in my stride.” And today, they are to be married. The preparations have been continuing for weeks, and the armed forces have been practicing maneuvers they will be performing on London’s streets this morning, as is shown in the images below.

The armed forces prepare for the royal wedding in London. Image: John Pannell.

Update: 9:00 A.M. (UTC)

1,900 guests will be in the Abbey for the ceremony today, including Prime Minister David Cameron and his wife Samantha Cameron, along with other senior British politicians including William Hague, Nick Clegg, and George Osborne. The opposition leader Ed Miliband has also been invited. Senior defence officials, representatives from 50 countries—including Denmark, Greece, Malaysia, Spain, Abu Dhabi, Australia and New Zealand—have also been invited. Celebrities including David Beckham and Victoria Beckham, Rowan Atkinson, Ian Thorpe and Gareth Thomas, will also be in attendance.

But not all those who were invited are going to be attending the wedding. The Syrian ambassador’s invitation was withdrawn this week as the government in the country continues to crack down on a popular uprising, and many protesters are reported to have been killed by official forces. Sami Khiyami said he was “embarrassed” by the decision but understood it. He said the withdrawal of the invite would not damage relations between Britain and Syria. “I find it a bit embarrassing but I don’t consider it a matter that would jeopardise any ongoing relations and discussions with the British government,” he said. “If it wasn’t for the importance of the event I wouldn’t have thought of it.”

The Bahraini crown prince voluntarily declined his invitation to the wedding earlier this week amid criticism over the government’s crackdown on protesters in the country. Salman bin Hamad Al-Khalifa said he had reached his “considered decision” with “deep regret”. Human rights groups had demanded he not attend the event after government forces killed scores of demonstrators. “The invitations are a massive misjudgement by the monarch,” one human rights campaigner, Peter Tatchell, said. “They show the Queen is out of touch with the humanitarian values of modern, liberal Britain. She’s putting royalty before human rights. The guest list displays a shocking insensitivity to the suffering of people who have been persecuted.”

Update: 9:30 A.M. (UTC)

William, accompanied by Prince Harry, has arrived at Westminster Abbey flanked by police guards. They were driven from Clarence House to the Abbey in Westminster to cheers from the crowds lining the route, many of whom were waving the Union Flag. William, dressed in the red uniform of Colonel in the Irish Guards arrived at the venue for the ceremony to the tolling of the bells in celebration. The Middleton family—not including the bride—are now on their way to the Abbey in a car escorted by a police motorcycle guard. Carole Middleton, the bride's mother, is reported to be wearing a sky blue dress designed by Catherine Walker. Members of the royal family are now travelling from Buckingham Palace in minivans, which are now heading up the Pall Mall towards the Abbey.

Update: 9:50 A.M. (UTC)

Elizabeth II, dressed in yellow, is now being driven to the Abbey to cheers from the crowds lining the streets. Kate Middleton is expected to leave her hotel in London in a few minutes. In some news just coming through the wires, Wikinews understands a suspicious vehicle has been found near the hotel where Kate is preparing for the wedding. Hundreds of members of the public were evacuated from the area and the road was closed. One police officer said: "We think the car might contain a bomb". We'll have more on this as we get it.

Update: 10:07 A.M. (UTC)

Kate Middleton has arrived at Westminster Abbey in a dress which we are now able to confirm was designed by Sarah Burton. She is now walking down the aisle, hand-in-hand with her father, followed closely by the bridesmaids and pageboys. William and Harry are stood at the front.

Update: 10:20 A.M. (UTC)

William and Kate are now saying their wedding vows. The Archbishop of Canterbury, Rowan Williams, asked if anyone knew of any lawful reason why they should not be married, and there was silence. Kate lifted her wedding veil as she reached the altar; according to one report William told her: "You look beautiful."

Update: 10:23 A.M. (UTC)

The Archbishop pronounces them man and wife.

Update: 10:33 A.M. (UTC)

The choir is now singing a piece composed especially for this wedding by John Rutter. Kate's brother, James Middleton, has just given a reading in a clear, strong voice. "Live in harmony with one another; do not be haughty, but associate with the lowly," he read. During the reading William and Kate continued to smile at one and other.

Update: 10:53 A.M. (UTC)

The ceremony is continuing, and the congregation are now singing "Jerusalem". After an address from the Bishop of London, the choir sung a piece by Paul Mealor, who has said the piece was inspired by "the sixth century Christian hymn that was normally sung at the service for the washing of the feet on Maundy Thursday." They then read the Lord's prayer.

Update: 11:10 A.M. (UTC)

Having signed the legal documents which confirm their marriage, the couple walk up the aisle, hand-in-hand, and outside to the open-topped carriage which will take them to Buckingham Palace.

Update: 11:17 A.M. (UTC)

Escorted by members of the household cavalry, the newlyweds travel through the streets of London on the 1902 State Landau. The crowds cheer a and wave the Union Flag as the couple pass down Whitehall. Despite fears, the rain appears to have held off and the day remains sunny.

Update: 11:29 A.M. (UTC)

William and Kate have arrived at Buckingham Palace where they will have official photographs taken before they emerge onto the balcony in approximately one hour.

Update: 11:44 A.M. (UTC)

A journalist who was inside the Abbey as the wedding took place has described the service as "very joyous". He said,

“It went extremely well, lots of colour and scarlet uniforms and a spirited service from the Bishop of London. The thing that struck me was the change in the life of Kate Middleton and her parents. Some of her expressions during the services seem to show she knew this, the nervousness. There was a great sense of relief afterwards.”

Update: 12:23 P.M. (UTC)

Thousands of people are now heading down the Pall Mall for Buckingham Palace, where Kate and William will emerge onto the balcony in about five minutes.

Update: 12:28 P.M. (UTC)

William and Kate step onto the famous balcony for the first time as a married couple to a crowd of thousands—and make the famous kiss. They are followed by Elizabeth II, and other members of the royal family and the Middleton family, onto the balcony. Down below, the onlookers wave Union Flags and cheer the newlyweds.

Update: 12:49 P.M. (UTC)

A Lancaster bomber, flanked by a Hawker Hurricane and a Supermarine Spitfire, have flown over Buckingham Palace in a tribute to the Battle of Britain. They were quickly followed by two Eurofighter Typhoon fighters and two Panavia Tornado.

Update: 01:02 P.M. (UTC)

Kate's dress was one of the most anticipated parts of the wedding, and everyone watching was kept in the dark until the last minute. As she stepped from the car and into the Abbey, it was announced that the designer was Sarah Burton, who worked as the creative director for the late Alexander McQueen. In a statement this afternoon, she said,

“It has been the experience of a lifetime to work with Catherine Middleton to create her wedding dress, and I have enjoyed every moment of it. It was such an incredible honour to be asked, and I am so proud of what we and the Alexander McQueen team have created. I am delighted that the dress represents the best of British craftsmanship.”

Burton had continuously denied that she was the dress designer—until today. It was made at Hampton Court, and as Kate travelled from her hotel to the Abbey, the dress attracted much criticism, and it has already been praised by fashion designers. Burton added:

“Catherine looked absolutely stunning today, and the team at Alexander McQueen are very proud of what we have created. The dress was just one component of a spectacular day, and I do not think it is appropriate to comment any further beyond saying that I personally am very grateful and honoured to have been given the opportunity to work on this project.”

Update: 01:30 P.M. (UTC)

Elizabeth II is now hosting a lunch reception at Buckingham Palace, where 10,000 canapes will be served alongside the wedding cake—which has been kept just as secret as the dress. It has now emerged it is made up of 17 individual fruit cakes, which form eight tiers. Decorated with white icing and cream, it boasts more than 900 individually iced flowers. Guests have also begun to describe the wedding. "Like everybody in England I wish them all the very best," said George Tupou V, the king of Tonga, who was in the Abbey during the ceremony. "I think this wedding marks a page in England's ancient and distinguished history. It's a glorious day for England, I think."

Update: 02:07 P.M. (UTC)

We now have a bit more on that bomb threat near the hotel where Kate was staying. Police initially cordoned off an area near the hotel after finding a suspicious vehicle, and a hundreds of people—from members of the public to journalists and photographers—were evacuated. "Clear the area immediately for your own safety," police officers shouted at the crowd. Two minutes after the area was cordoned off the dog squad arrived. One police source confirmed there were fears the vehicle, a blue Volkswagen estate, was a car bomb. Ten minutes later, officers removed the blockades, and allowed people back into the area. There's been no word yet from the Metropolitan Police as to what happened, and whether the car posed any threat to the public. We'll bring you any official statement as soon as we get it.

Paddy Harverson, the official spokesperson for the royal couple, has said that although the two will appear in public over the next few months, Kate will need to adjust to life in the family. “Prince William is taking the lead on this and he has said that he wants Catherine to be given the time and space to grow into the role,” he said. Meanwhile, the mood seems to be dampening on the Pall Mall—which, it turns out—might not have been the best place to see the kiss on the balcony. Much of the crowd appears to blame it on police crowd control tactics, who put up barriers in poorly chosen locations. “We might as well see it in a pub,” said one woman. “We’ll just have to imbibe the atmosphere.”

Update: 03:00 P.M. (UTC)

William and Kate have left Buckingham Palace in an old Aston Martin, with the numberplate JU5T WED. William—is unexpectedly driving himself and his new wife—with no security staff in the vehicle. As the car left the gates for Clarence House, just down the road, a Royal Air Force Sea King helicopter—similar to the aircraft William flies as his job as a search and rescue pilot—flew overhead. The Metropolitan Police are now estimating as many as one million people were in London today to see the wedding procession.

Update: 03:29 P.M. (UTC)

There's been some intense debate on the comments page over why the wedding should be such a major event. One reader said they would "never understand the world's obsession with these affairs" when armed forces servicemen and servicewomen were "dying around the globe, and we are all swooning over some tart's dress." One commenter said British taxpayers should not be forced to pay for the "lavish" event:

“Hundreds of thousands of people flocking to London today? That should help prop up the British economy… maybe that would offset the costs of such an unnecessarily lavish event?”

Another reader said the coverage had gone too far. “Don’t get me wrong,” they said, “I understand that the wedding of any head-of-state (or equivalent) will make the news, but this week long non-stop coverage is simply insane.” If you have something to say about the wedding, please do get in touch and join the debate on the comments page, or on our Twitter page or Facebook.

Update: 04:04 P.M. (UTC)

David Cameron, the Prime Minister, has given his thoughts on the ceremony, which he attended with his wife Samantha. Singing the hymn "Jerusalem", he said, it felt like "the roof was going to lift off—there's no greater country and better place to be than right here, right now". He added, "Although it was a grand occasion, that was a family wedding moment. It was incredibly intimate and moving."

Update: 04:26 P.M. (UTC)

A man was detained earlier under the terrorism act today and then later released without charge after being spotted by police taking what one report described as "suspicious photographs" on Whitehall. It is understood he was taking photographs of police officers and transport locations, and was subsequently arrested. Two horses of the cavalry also went awry today after their riders fell off. Although one of the horses returned to its trailer at the cavalry base, the other ran wild before being stopped by a police officer. Meanwhile, we've managed to get a photograph of William and Kate standing on the balcony at Buckingham Palace, flanked by the royal family on the right and Kate's family on the left.

Update: 05:45 P.M. (UTC)

Approximately 300 close family and friends of the newlywed royal couple will be arriving at Buckingham Palace later this evening for a private party. For the members of the public partying and celebrating across the country, they can keep on going for three days because Monday is the May day bank holiday. Meanwhile, a verger has been caught cartwheeling down the aisle at Westminster Abbey after the guests had left; a spokesperson for the Abbey told reporters he would not be getting into any trouble, and said he "was very pleased the service had gone according to plan, and was expressing his exuberance".

That’s it for our coverage of the celebrations today. Thanks to all those who joined the debate on our comments page; it looks like the debate over monarchic societies may continue for a while yet. To all those who followed our coverage today, we also thank you. Goodnight.

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Thursday, May 18, 2006

In his first speech since being sworn in as the country’s leader, Italian Prime Minister Romano Prodi says the US-led invasion of Iraq had been a mistake. He says his new government will propose the withdrawal of Italy’s 3000 troops from Iraq.

“We consider the war in Iraq and the occupation of the country a grave error,” Mr Prodi told Italian Parliament this week. “It has not resolved, but complicated the situation of security. It is the intention of this government to propose to Parliament the return of our troops from Iraq.” His speech resulted in jeers from Italy’s centre right parties.

Mr Prodi said his government intends to continue “good relations” with Washington. He did not give a date for a withdrawal, saying a “technical timeframe” would have to be agreed with all sides involved. Italy’s centre-left parties opposed the US-led invasion of Iraq three years ago.

Mr Prodi said his government will remain on the front lines in the war against terror and would participate in anti-terror operations if they were sanctioned by international organizations, such as the United Nations. “We are convinced participants in the war against terrorism, even militarily, when it is legitimized by an international organization to which we belong.” he said.

Former Prime Minister Silvio Berlusconi was defeated in a tight election to Prodi’s centre-left bloc in April this year. As opposition leader, Prodi has always opposed the war in Iraq. Berlusconi sent 3,000 troops to Iraq in 2003. The move was widely opposed by the Italian public.

Although troops were already expected to return home by the end of 2006, Prodi did not give an exact timeframe for the withdrawal. He said it would only happen in consultation with Iraqi authorities.

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.

Wednesday, October 3, 2007

Kristen Monster is running for the Family Coalition Party in the Ontario provincial election, in the Willowdale riding. Wikinews’ Nick Moreau interviewed her regarding her values, her experience, and her campaign.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.

Saturday, December 3, 2016

Peng Chang-kuei, a Chinese-born chef credited with creating the internationally popular dish General Tso’s chicken, was yesterday announced to have died by his son.

Chuck Peng told The Associated Press his father died of pneumonia in Taipei, Taiwan on Wednesday. The chef fled China to Taiwan in 1949 and invented the dish shortly thereafter. In the 1970s Peng opened a New York restaurant, which he claimed was a regular haunt of Henry Kissinger. Peng credited Kissinger with the dish’s popularity.

Peng conceived the famed dish, which is unknown in China, as unfried. Garlic and soy sauce provided flavour, as did chillies. Today the chicken is served across the US as fried chicken in a sweet, sticky sauce. The chillies remain, with broccoli also appearing. Peng named it after Zuo Zongtang from his native Hunan Province; Zongtang assisted in suppressing the 19th-century Taiping Rebellion.

Peng said the meal was invented for a US admiral visiting Taiwan. Over three days, Peng was contracted to produce several banquets, with not one repeated dish. After exhausting traditional chicken dishes Peng said he created what became General Tso’s chicken as an experiment.

In later years he ran Peng’s, a chain of Taiwanese restaurants. General Tso’s chicken also remained popular across the US. His son claimed he remained working in the kitchen until a few months before his death, at 97. In a documentary two years ago, shown photos of General Tso’s chicken served in the US in modern times, he remarked “This is all crazy nonsense.”

Running away from his farming family in Changsha, Peng trained under Cao Jingchen. He fled communist rule that followed the 1930s Japanese invasion. He fathered seven children, six of whom remain alive, from three marriages. Chuck Peng described his father as “very good to other people, [but] very hard on his family.” Peng Jr. spoke of a “very demanding” man who “thought other people’s cooking was no good.”

Two years ago the Taipei City Government awarded Peng an Outstanding Citizen award. Peng, then 95 and unstable, collected the award in person and delivered a speech in Mandarin Chinese.

Obrador declares himself President, plans protests

Custom And Versatile Kitchen Cabinets In Pittsburgh

National Museum of Scotland reopens after three-year redevelopment

Prince William marries Kate Middleton—live updates

News briefs:June 4, 2010

[edit]

Choosing A Deductible For Home Insurance In Harrisburg Pa

New Italian government proposes withdrawal of troops from Iraq

John Vanderslice plays New York City: Wikinews interview

Ontario Votes 2007: Interview with Family Coalition Party candidate Kristen Monster, Willowdale

Chinese chef Peng Chang-kuei’s death announced

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