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Sunday, December 24, 2006

A unanimously passed United Nations Security Council resolution imposing sanctions on Iran has been dismissed by Iranian president Mahmoud Ahmadinejad as a “piece of paper.” Ahmadinejad said that it is in “the best interest of the West” to have a “nuclear Iran” and that Iran will not stop enriching uranium.

“It is a piece of torn paper … by which they aim to scare Iranians … It is in the Westerners’ interests to live with a nuclear Iran,” said Ahmadinejad.

Ahmadinejad also goes on to say that anyone who “backs” the U.N. resolution will “soon regret” their acts. He also added that in “February, Iranians will celebrate” the nation becoming a nuclear power.

“This resolution will not harm Iran and those who backed it will soon regret their superficial act. Iranians are neither worried nor uncomfortable with the resolution … we will celebrate our atomic achievements in February,” added Ahmadinejad.

On December 23, 2006, the U.N. stated that the resolution is “determined to give effect to its unmet 31 July demand that Iran suspend all uranium enrichment-related and reprocessing activities. The Security Council today imposed sanctions on that country [Iran], blocking the import or export of sensitive nuclear material and equipment and freezing the financial assets of persons or entities supporting its proliferation sensitive nuclear activities or the development of nuclear-weapon delivery systems,” reported the press release on the U.N.’s website.

The U.N. also said that Iran must suspend all uranium enrichment and that the sanction would be lifted if the country complies with the U.N..

“Unanimously adopting resolution 1737 (2006) under Article 41 of the Charter’s Chapter VII, the Council decided that Iran should, without further delay, suspend the following proliferation sensitive nuclear activities: all enrichment-related and reprocessing activities, including research and development; and work on all heavy-water related projects, including the construction of a research reactor moderated by heavy water. The halt to those activities would be verified by the International Atomic Energy Agency (IAEA).”

The U.N. also stated that “specifically, all States [countries] should prevent the supply, sale or transfer, for the use by or benefit of Iran, of related equipment and technology, if the State determined that such items would contribute to enrichment-related, reprocessing or heavy-water related activities, or to the development of nuclear weapon delivery systems. The Council decided it would terminate the measures if Iran fully complied with its obligations, or adopt additional ones and possible further decisions if the country did not.”

Iran also said that beginning on “Sunday morning, we [Iran] will begin activities at Natanz” which has “3,000 centrifuges” which they “will drive them with full speed” in response to the U.N.’s resolution.

“From Sunday morning, we will begin activities at Natanz, the site of 3,000-centrifuge machines, and we will drive it with full speed. It will be our immediate response to the resolution,” said Ali Larijani, the top nuclear negotiator for Iran.

The U.N. will review the resolution and Iran’s activities in 60 days.

Friday, September 28, 2007

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

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

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

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

DS: Do you have any favorite books?

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

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

NK: I haven’t seen it yet!

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

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

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

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

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

NK: I don’t think I’m very good…

DS: You look cool with it!

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

DS: Do you design your own clothes?

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

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

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

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

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

DS: —as are you—

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

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

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

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

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

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

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

DS: Is it always pine trees that you see?

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

DS: What things in nature inspire you?

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

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

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

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

NK: Oh. My. God.

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

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

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

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

DS: How are you received in the Pakistani community?

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

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

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

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

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

Friday, January 12, 2007

The iPhone only made its appearance as a prototype and there have been controversies aroused.

The dispute has come up between the manufacturer of the iPhone (which was presented on Wednesday for the first time) — Apple Inc. — and a leader in network and communication systems, based in San Jose — Cisco. The company claims to possess the trademark for iPhone, and moreover, that it sells devices under the same brand through one of its divisions.

This became the reason for Cisco to file a lawsuit against Apple Inc. so that the latter would stop selling the device.

Cisco states that it has received the trademark in 2000, when the company overtook Infogear Technology Corp., which took place in 1996.

The Vice President and general counsel of the company, Mark Chandler, explained that there was no doubt about the excitement of the new device from Apple, but they should not use a trademark, which belongs to Cisco.

The iPhone developed by Cisco is a device which allows users to make phone calls over the voice over Internet protocol (VoIP).

Sunday, November 25, 2007

Despite the hopes of many University of Wisconsin-Madison (UW) students, The Onion was not named after their student center. “People always ask questions about where the name The Onion came from,” said President Sean Mills in an interview with David Shankbone, “and when I recently asked Tim Keck, who was one of the founders, he told me the name—I’ve never heard this story about ‘see you at the un-yun’—he said it was literally that his Uncle said he should call it The Onion when he saw him and Chris Johnson eating an onion sandwich. They had literally just cut up the onion and put it on bread.” According to Editorial Manager Chet Clem, their food budget was so low when they started the paper that they were down to white bread and onions.

Long before The Daily Show and The Colbert Report, Heck and Johnson envisioned a publication that would parody the news—and news reporting—when they were students at UW in 1988. Since its inception, The Onion has become a veritable news parody empire, with a print edition, a website that drew 5,000,000 unique visitors in the month of October, personal ads, a 24 hour news network, podcasts, and a recently launched world atlas called Our Dumb World. Al Gore and General Tommy Franks casually rattle off their favorite headlines (Gore’s was when The Onion reported he and Tipper were having the best sex of their lives after his 2000 Electoral College defeat). Many of their writers have gone on to wield great influence on Jon Stewart and Stephen Colbert‘s news parody shows.

And we are sorry to break the news to all you amateur headline writers: your submissions do not even get read.

Below is David Shankbone’s interview with Chet Clem and Sean Mills about the news empire that has become The Onion.

Sunday, June 28, 2020

Last month, a study conducted by archæologist Dr. Naomi Martisius and other researchers concluded Neanderthals living in Europe tens of thousands of years ago were more sophisticated than previously thought. The now-extinct species used to carefully select bones from a particular animal species to manufacture their bone tools, the research showed. The research was published on May 8 in Nature’s Scientific Reports journal.

Dr Martisius and her team used five bone tools discovered from Neanderthals’ sites in southwest France for this research. Four of these bone tools were found in a site called Abri Peyrony and the other one was from Pech-de-l’Azé I. These tools were just a few centimetres in size and were about 50 thousand years old, Dr Martisius told Wikinews. Microscopy analysis of these bone tools called lissoirs (smoothers) suggested Neanderthals used these tools for working animal skin to leathers.

The study stated the fauna of the sites were primarily medium-sized ungulates such as reindeer, in one layer nearly 90%. Despite the overabundance of medium-sized ungulates, Neanderthals used ribs of large bovids for making lissoirs. Dr Martisius told Wikinews this was likely due to the physical characteristics of the bovid ribs, which were “thicker” and “stronger” as compared to the “thin and flimsy ribs” of reindeers. In order to check the origins of the bone tools, the researchers used a technology called non-destructive Zooarchæology by Mass Spectrometry (ZooMS).

Instead of damaging the bone artefacts in order to discover its origins, the researchers collected collagen from the plastic containers in which these artefacts were kept. Collagen is a type of protein. These bone artefacts were kept in plastic containers: some were kept for about five years, some for just a few months. During this time, the collagen proteins from bone tools were stuck to the walls of its plastic containers. The collagen samples collected from the walls of the containers are broken into smaller molecules called peptides by using a chemical enzyme called trypsin.

After the trypsin has broken collagen fibres into peptides, it is analysed using a technology called Matrix-assisted laser desorption/ionization (MALDI) Time-of-Flight mass spectrometer (ToF MS). The assisting matrix is a coloured compound. The acidic peptide is combined with the matrix, vapourised, and peptides are released. Some of them are positively-charged particles which travel across a vacuum tube in an electric field. Depending on the weight of the peptides, these molecules reach the end of the vacuum tube at different instances of time, forming a spectrum. These graphs are like unique fingerprints of a species: they are different for different species of animals. Looking at the database of such graphs, taxonomic identifications of the collagen proteins came be made.

All four bone tools from Abri Peyrony gave positive results and showed that the bones were made from large bovids, even though reindeer were more abundant during that time. One of the advantages of using bovid ribs over reindeer’s thin ribs was the bovid ribs would be more resistant to breaking during flexion, Dr Martisius said.

Dr Martisius said such non-destructive ZooMS analysis was previously conducted, but for tools no older than a few centuries. She said such an analysis had never been previously conducted for artefacts so ancient.

Wikinews caught up with Dr Martisius to discuss this research in-depth.

Monday, October 15, 2007

Sam Brownback is perplexed. The U.S. Senator from Kansas and Presidential candidate is a Republican whose politics—he is against marriage for gay people, he is against abortion, and he has a clean image in a party tainted by scandal—should speak favorably to the party’s base. But it has not. “I’m baffled by that myself,” Senator Brownback told Wikinews reporter David Shankbone. “We haven’t been able to raise money.”

A recent poll in Iowa has put him in eighth place, with 2% supporting his campaign. “If we don’t finish fourth or better in Iowa…we’ll pull out.”

Senator Brownback’s relationship with God infuses almost every answer you find below. Although he doesn’t feel “competent” to explain why God would dislike gays, he does feel strongly that allowing two men or two women to enter into the union of marriage will destroy it for heterosexuals. Pointing to the research of Stanley Kurtz at the Hoover Institution, Brownback asserts that Northern Europeans have “taken the sacredness out of the institution.”

In the interview, Senator Brownback discusses the tug-and-pull that befalls him when his constituents show up at his office and say, “Look, I’m a conservative, but we need this bridge, we need this subsidy, we need this hospital.” Brownback feels this spending system needs to be changed; however, when it comes to energy policy, Brownback is there for his constituents. David Shankbone asked the Kansas Senator, a supporter of cellulosic ethanol, why he doesn’t support the lowering of tariffs on sugar since sugar ethanol delivers 8 times the energy output of cellulosic ethanol. Brazil, in particular, has become energy independent because of its sugar ethanol program. It’s cheaper to produce, and there is vastly more bang for the buck in sugar fuel than in corn fuel; an entire country no longer needs to import oil because of it. Federal tariffs currently make sugar ethanol too expensive in the United States. “You’re going to kill the ethanol industry here just as it gets going,” was Senator Brownback’s response. However, there is a debate over whether the process to make corn ethanol uses more energy than the ethanol itself produces.

Below is David Shankbone’s interview with Senator Sam Brownback.

Friday, July 27, 2007

Actress Claire Danes appeared Wednesday in Toronto on the television series MuchOnDemand, to promote her new film, Stardust.

Danes appears in the fantasy epic Stardust opposite Michelle Pfeiffer, Robert DeNiro, and Sienna Miller. The film is based on Neil Gaiman‘s novel of the same name. Danes plays a striking girl named Yvaine, who is a fallen star. Pfeiffer, DeNiro, and Charlie Cox are all pursuing her.

Best known as Angela Chase in the 1994 television series My So-Called Life and Juliet in Baz Luhrmann‘s 1996 film William Shakespeare’s Romeo + Juliet. She began stepping back into the spotlight a few years ago, with lead roles in The Hours, Stage Beauty, Shopgirl, and The Family Stone.

This September, Danes will hit Broadway for the first time, as Eliza Doolittle in a revival of Pygmalion, also known as My Fair Lady. She will soon be seen in another film, The Flock, opposite Richard Gere.

MuchOnDemand is a long-running program MuchMusic, Canada’s primary music channel. The program airs every weekday at 5 p.m. ET, as an hour-long per broadcast viewer interactive television program.