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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.

Tuesday, January 28, 2014

Evansville, Indiana, United States — This past week marked the opening night of an Andy Warhol exhibit at the University of Southern Indiana. USI’s art gallery, like 189 other educational galleries and museums around the country, is a recipient of a major Warhol donor program, and this program is cultivating new interest in Warhol’s photographic legacy. Wikinews reporters attended the opening and spoke to donors, exhibit organizers and patrons.

The USI art gallery celebrated the Thursday opening with its display of Warhol’s Polaroids, gelatin silver prints and several colored screen prints. USI’s exhibit, which is located in Evansville, Indiana, is to run from January 23 through March 9.

The McCutchan Art Center/Pace Galleries at USI bases its exhibit around roughly 100 Polaroids selected from its collection. The Polaroids were all donated by the Andy Warhol Photographic Legacy Program, according to Kristen Wilkins, assistant professor of photography and curator of the exhibit. The Andy Warhol Foundation for the Visual Arts made two donations to USI Art Collections, in 2007 and a second recently.

Kathryn Waters, director of the gallery, expressed interest in further donations from the foundation in the future.

Since 2007 the Andy Warhol Photographic Legacy Program has seeded university art galleries throughout the United States with over 28,000 Andy Warhol photographs and other artifacts. The program takes a decentralized approach to Warhol’s photography collection and encourages university art galleries to regularly disseminate and educate audiences about Warhol’s artistic vision, especially in the area of photography.

Wikinews provides additional video, audio and photographs so our readers may learn more.

Wilkins observed that the 2007 starting date of the donation program, which is part of the Andy Warhol Foundation for the Visual Arts, coincided with the 20th anniversary of Andy Warhol’s death in 1987. USI was not alone in receiving a donation.

K.C. Maurer, chief financial officer and treasurer at the Andy Warhol Foundation, said 500 institutions received the initial invitation and currently 190 universities have accepted one or more donations. Institutional recipients, said Mauer, are required to exhibit their donated Warhol photographs every ten years as one stipulation.

While USI is holding its exhibit, there are also Warhol Polaroid exhibits at the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York and an Edward Steichen and Andy Warhol exhibit at the Mary & Leigh Block Museum of Art at Northwestern University in Evanston, Illinois. All have received Polaroids from the foundation.

University exhibits can reach out and attract large audiences. For example, the Weatherspoon Art Museum at the University of North Carolina at Greensboro saw attendance levels reach 11,000 visitors when it exhibited its Warhol collection in 2010, according to curator Elaine Gustafon. That exhibit was part of a collaboration combining the collections from Duke University, located in Durham, North Carolina, and University of North Carolina at Chapel Hill, which also were recipients of donated items from the Andy Warhol Photographic Legacy Program.

Each collection donated by the Andy Warhol Photographic Legacy Program holds Polaroids of well-known celebrities. The successful UNC Greensboro exhibit included Polaroids of author Truman Capote and singer-songwriter Carly Simon.

“I think America’s obsession with celebrity culture is as strong today as it was when Warhol was living”, said Gustafon. “People are still intrigued by how stars live, dress and socialize, since it is so different from most people’s every day lives.”

Wilkins explained Warhol’s obsession with celebrities began when he first collected head shots as a kid and continued as a passion throughout his life. “He’s hanging out with the celebrities, and has kind of become the same sort of celebrity he was interested in documenting earlier in his career”, Wilkins said.

The exhibit at USI includes Polaroids of actor Dennis Hopper; musician Nick Rhodes of Duran Duran; publishers Jann Wenner of Rolling Stone Magazine and Carlo De Benedetti of Italy’s la Repubblica; disco club owner Steve Rubell of Studio 54; photographers Nat Finkelstein, Christopher Makos and Felice Quinto; and athletes Vitas Gerulaitis (tennis) and Jack Nicklaus (golf).

Wikinews observed the USI exhibit identifies and features Polaroids of fashion designer Halston, a former resident of Evansville.

University collections across the United States also include Polaroids of “unknowns” who have not yet had their fifteen minutes of fame. Cynthia Thompson, curator and director of exhibits at the University of Arkansas, Fayetteville, said, “These images serve as documentation of people in his every day life and art — one which many of us enjoy a glimpse into.”

Warhol was close to important touchstones of the 1960s, including art, music, consumer culture, fashion, and celebrity worship, which were all buzzwords and images Wikinews observed at USI’s opening exhibit.

He was also an influential figure in the pop art movement. “Pop art was about what popular American culture really thought was important”, Kathryn Waters said. “That’s why he did the Campbell Soup cans or the Marilyn pictures, these iconic products of American culture whether they be in film, video or actually products we consumed. So even back in the sixties, he was very aware of this part of our culture. Which as we all know in 2014, has only increased probably a thousand fold.”

“I think everybody knows Andy Warhol’s name, even non-art people, that’s a name they might know because he was such a personality”, Water said.

Hilary Braysmith, USI associate professor of art history, said, “I think his photography is equally influential as his graphic works, his more famous pictures of Marilyn. In terms of the evolution of photography and experimentation, like painting on them or the celebrity fascination, I think he was really ground-breaking in that regard.”

The Polaroid format is not what made Warhol famous, however, he is in the company of other well-known photographers who used the camera, such as Ansel Adams, Chuck Close, Walker Evans, Robert Mapplethorpe, and Helmut Newton.

Wilkins said, “[Warhol] liked the way photo booths and the Polaroid’s front flash looked”. She explained how Warhol’s adoption of the Polaroid camera revealed his process. According to Wilkins, Warhol was able to reproduce the Polaroid photograph and create an enlargement of it, which he then could use to commit the image to the silk screen medium by applying paint or manipulating them further. One of the silk screens exhibited at USI this time was the Annie Oakley screen print called “Cowboys and Indians” from 1987.

Wilkins also said Warhol was both an artist and a businessperson. “As a way to commercialize his work, he would make a blue Marilyn and a pink Marilyn and a yellow Marilyn, and then you could pick your favorite color and buy that. It was a very practical salesman approach to his work. He was very prolific but very business minded about that.”

“He wanted to be rich and famous and he made lots of choices to go that way”, Wilkins said.

Kiara Perkins, a second year USI art major, admitted she was willing to skip class Thursday night to attend the opening exhibit but then circumstances allowed for her to attend the exhibit. Why did she so badly want to attend? “It’s Warhol. He is a legend.”

For Kevin Allton, a USI instructor in English, Warhol was also a legend. He said, “Andy Warhol was the center of the Zeitgeist for the 20th century and everything since. He is a post-modern diety.”

Allton said he had only seen the Silver Clouds installation before in film. The Silver Clouds installation were silver balloons blown up with helium, and those balloons filled one of the smaller rooms in the gallery. “I thought that in real life it was really kind of magical,” Allton said. “I smacked them around.”

Elements of the Zeitgeist were also playfully recreated on USI’s opening night. In her opening remarks for attendees, Waters pointed out those features to attendees, noting the touches of the Warhol Factory, or the studio where he worked, that were present around them. She pointed to the refreshment table with Campbell’s Soup served with “electric” Kool Aid and tables adorned with colorful gumball “pills”. The music in the background was from such bands as The Velvet Underground.

The big hit of the evening, Wikinews observed from the long line, was the Polaroid-room where attendees could wear a Warhol-like wig or don crazy glasses and have their own Polaroid taken. The Polaroids were ready in an instant and immediately displayed at the entry of the exhibit. Exhibit goers then became part of the very exhibit they had wanted to attend. In fact, many people Wikinews observed took out their mobiles as they left for the evening and used their own phone cameras to make one further record of the moment — a photo of a photo. Perhaps they had learned an important lesson from the Warhol exhibit that cultural events like these were ripe for use and reuse. We might even call these exit instant snap shots, the self selfie.

Tuesday, April 11, 2006

Rapper Proof, born Deshaun Holton, was shot and killed on April 11, 2006, at approximately 4:30 a.m. EDT (0830 UTC) at the Triple C Club on 8 Mile Road in Detroit.

Proof was known for his work together with his good friend Eminem and his group D12.

Another man was shot shortly afterward, and was taken to St. John Hospital.

On April 12, 2006, Mario Etheridge, 28, of Detroit turned himself in to the police, having been named by several witnesses. Mario was allegedly a bouncer at the club. “Police said he is a cousin of Keith Bender Jr., the bouncer who was allegedly shot by Proof during the fight.” The fight that started inside the club was reported to be over a pool game. The argument was taken outside where, “A shot was fired in the air, Proof allegedly pistol-whipped Bender, knocked him to the ground and then shot him. Etheridge then allegedly opened fire on the rapper, striking him four times in the head and chest. One week later, Keith Bender Jr. died of his injuries on April 18, 2006.

Official Police reports are yet to determine the series of events which left Proof and Keith Bender, 35, deceased. Bender died 8 days later on April 18, 2006. Following Proof’s death, rapper Snoop Dogg called on fellow musicians to unite, describing the incident as “a loss to the hip-hop community”.

The tributes were led by fellow rapper The Game who was first to comment on the tragedy. The Game remembers how he and Proof became ‘real cool and real homies’ and that ‘Proof will always be remembered and I as well as the Black Wall Street family will keep his memory & his family in our prayers 1’. The second to comment on Proof was long time friend Royce da 5’9″ who was deeply saddened by the death of his good friend. Royce had been a friend of Proof for over 9 years and the two had recently reconciled. Royce echoed the music community, saying ‘He is such loss for the hip hop community…I hope that he will be remembered for the talented artist and great person that he was, and not the tragedy that he fell victim to’.

Eminem was the third to discuss Proof’s death days after his passing, clearly affected by the tragedy. Eminem described Proof as “funny, smart and charming” and said that he would be sorely missed and described him as “the heart and ambassador of Detroit hip-hop”. Eminem said that Proof was, and always will be, his best friend.

Tributes poured out of the UK with Vm2k6 leading the remembrance. Proof’s demise which was mainly overlooked by the UK media was documented and reflected by VM2k6 in which he calls Proof ‘fresh, talented and meaningful, a rarity in Hip Hop today’. He continues saying that Proof had ‘the greatest ability to transfer his experiences and most of all feelings into words’ and finished with the heartfelt line- ‘I guess its only in Death you really begin to shine’.

Several fan videos were released in tribute to Proof, including the hit “Good Die Young” music video which used D12’s 2004 single, which is currently one of the highest discussed and viewed videos on YouTube.com. Many other “slide show” flicks were created, which are appearing all over the internet. The “Good Die Young” clip was produced by RYKE Video Productions.

Proof stated how he wanted to be remembered in an interview with Sohh.com shortly after his album release; ‘I want people to say that I was a true artist’, ‘ That I did it best and stayed true to Hip Hop roots’ and ‘I’d want people to understand I did it for the love not for the charts.’

Friday, January 9, 2009

The Florida Gators defeated the Oklahoma Sooners by a score of 24 to 14 last night’s FedEx BCS National Championship Game to win the Division I title of the National Collegiate Athletic Association‘s American college football league. Florida, ranked Number 1 in the nation, were led by Heisman Trophy-winning quarterback Tim Tebow. “I promised the guys that I would go out and play with all my heart. I was so motivated tonight,” said Tebow. They were matched up against a Number 2 ranked Oklahoma team with a powerful offense, including this year’s Heisman Trophy winner, quarterback Sam Bradford. The game took place at a sold-out Dolphin Stadium in Miami, as a stadium record 78,468 fans attended the match.

Both team’s defensed dominated each others’ offenses in the first half, forcing a 7 to 7 score when halftime came against a Florida offense that averaged 54 points a game and an Oklahoma offense that averaged 40 points. In total, both team’s defenses had 4 interceptions, 2 for Florida and 2 for Oklahoma. Florida’s defense stopped Oklahoma twice during a goal line stand, stopping them on a fourth-down rush once, and a forced interception out of the hands of Oklahoma wide receiver Juaquin Iglesias by Florida’s Ahmad Black.

On the offensive side of the ball, Florida was led by Tebow. Although throwing 2 interceptions, Tebow completed 18 put of 30 passes for 2 touchdowns, as well as rushed 22 times for over 100 yards. Oklahoma quarterback Sam Bradford helped the Sooners offense through the air, completing 26 out of 41 passes for 256 yards and 2 passing touchdowns, but also throwing two interceptions. In the fourth quarter, Tebow completed a key 4-yard touchdown pass to wide receiver David Nelson, making the score 24 to 14 and putting the game out of reach for Oklahoma.

Some college fans believe that Florida did not rightly win the national championship, though. Fans of the Utah Utes believed that their undefeated team should have at least earned a spot in the game against Oklahoma or Florida’s one-loss teams. Fans of the USC Trojans and the Texas Longhorns also believed that the teams could have earned a spot in the game, due to their similar records. On the matter, Florida head coach Urban Meyer said “This is one of the best teams in college football history. Let someone else worry about all that. The Gators are No.1.”

On the game, Oklahoma head coach Bob Stoops commented “In the end, I’ll be glad to try again next year. If that’s the biggest burden I have to bear in my life, I’m a pretty lucky guy.” Tim Tebow, in a post-game interview, said “I was already motivated for a national championship game. But you know, there was some trash talking going on, and it just gets me going during the game.” In a losing effort, Sam Bradford commented “In the first half, we had opportunities that we didn’t take advantage of. In the second half, when we needed to make the plays, we just couldn’t do it.”

Tuesday, January 20, 2009

Today, the official ceremony ushering in Barack H. Obama II as the new president of the United States took place at the United States Capitol in Washington, D.C.. A 21-gun salute, as well as the playing of four ruffles and flourishes and “Hail to the Chief”, marked the moment he assumed power from his predecessor, George W. Bush.

Bush’s second term as President of the United States, which began on January 20, 2005, expired with the swearing-in of the 44th President of the United States, Barack Obama, at noon EST (UTC-5), under the provisions of the Twentieth Amendment to the United States Constitution.

Bush performed his final official act this morning, welcoming Barack Obama and Michelle to the White House for coffee before the swearing-in, shortly before 10am EST, and then accompanied them there by motorcade to attend the ceremony. Last week, Bush had made his farewells to the nation in a televised address, saying that the inauguration turns a page in race relations. “Obama’s story — his black father was from Kenya, his white mother from Kansas — represents “the enduring promise of our land,” said Bush.

Pope Benedict XVI on Tuesday called on Obama to seek “understanding, co-operation and peace” among nations. “I offer cordial good wishes, together with the assurance of my prayers that Almighty God will grant you unfailing wisdom and strength in the exercise of your high responsibilities,” the Pontiff said.

The National Mall gates at the inaugural ceremony opened early, with official introductions beginning around 11:30am EST. On the west front lawn of the U.S. Capitol, Senator Dianne Feinstein provided the call to order and welcoming remarks, shortly after followed by invocation by the Rev. Rick Warren and a musical performance by Aretha Franklin.

Vice President-elect Joseph R. Biden, Jr., a Democrat, who was elected Vice President in the 2008 presidential election, took his oath of office, succeeding Dick Cheney. Biden took his oath at 11:57am EST from Associate Justice John Paul Stevens.

Supreme Court Chief Justice John Glover Roberts, Jr. then administered the oath of office to Obama, under Article II, Section 1, Clause 8. “I do solemnly swear (or affirm) that I will faithfully execute the office of President of the United States, and will to the best of my ability, preserve, protect, and defend the Constitution of the United States. So help me God,” Obama swore, using the 1861 President Lincoln Inaugural Bible.

First Lady Michelle LaVaughn Robinson Obama and daughters Malia Ann and Sasha, Senate Majority Leader Harry Reid, and Speaker of the House Nancy Pelosi were among the record-setting crowd of over 2 million people, including more than a million people that filled the National Mall. Vice President Dick Cheney arrived in a wheelchair, having pulled a muscle in his back while moving, White House spokeswoman Dana Perino said.

Obama has decided to follow tradition and use his full name, including his middle name Hussein, regardless of its past and present use by detractors as an effort to slander his image. The advanced scheduled program stated that the inaugural address was to be delivered by “the President of the United States, The Honorable Barack H. Obama.”

The President delivered his inaugural address in front of Capitol Hill with the theme “A New Birth of Freedom,” commemorating the 200th anniversary of the birth of Abraham Lincoln, said Feinstein.

Obama focused on the restoration of public confidence and personal “responsibility,” reassuring recession-weary Americans they can rebound from hard times. He conveyed to the world his desire to fix a battered U.S. image overseas. He asked the nation to reject the “culture of anything goes” and to restore a national value system that honors responsibility and accountability. Elizabeth Alexander recited a poem, followed by the benediction by Rev. Joseph E. Lowery. The National Anthem was thereafter played by The United States Navy Band “Sea Chanters.”

Over 200 million viewers worldwide had watched inauguration videos and live streams provided online by a number of news organizations and online video broadcasting companies over the internet. The event was also available live to select iPhone users.

Following his speech, President Obama escorted former President George W. Bush at 12:53pm EST as they left for a departure ceremony. Bush lifted off, ending his 8 years as president, with Obama waving goodbye from the courtyard of the US Capitol.

At 2:35pm EST in the Capitol’s Statuary Hall, at the inaugural luncheon attended by Obama, it is reported that Ted Kennedy had a stroke. Paramedics arrived and took the senator to a hospital.

A parade extended for over two hours in the afternoon. It included 15,000 people, 240 horses, dozens of marching bands, two drum and bugle corps, and one mariachi band from Espanola, New Mexico.

Just after 4pm EST, Obama and his wife joined the celebrating crowds on Pennsylvania Avenue. After a short time waving to the masses, they returned to the Presidential Limousine, a 2009 Cadillac, which transported them to the White House. The First Limo has replaced President Bush’s Cadillac DTS Presidential Limousine that rolled out in 2004.

Mr and Mrs Obama plan to attend a total of ten official inaugural balls, including the Neighbourhood Ball, the Obama Home States (Illinois and Hawaii) Ball, the Biden Home States (Pennsylvania and Delaware) Ball and the Youth Ball. American R&B singer-songwriter Beyoncé has been planned to perform the first dance song. The Obamas will return to the White House, their new home, following the last ball.

Saturday, October 27, 2007

Gay Talese wants to go to Iraq. “It so happens there is someone that’s working on such a thing right now for me,” the 75-year-old legendary journalist and author told David Shankbone. “Even if I was on Al-Jazeera with a gun to my head, I wouldn’t be pleading with those bastards! I’d say, ‘Go ahead. Make my day.'”

Few reporters will ever reach the stature of Talese. His 1966 profile of Frank Sinatra, Frank Sinatra Has a Cold, was not only cited by The Economist as the greatest profile of Sinatra ever written, but is considered the greatest of any celebrity profile ever written. In the 70th anniversary issue of Esquire in October 2003, the editors declared the piece the “Best Story Esquire Ever Published.”

Talese helped create and define a new style of literary reporting called New Journalism. Talese himself told National Public Radio he rejects this label (“The term new journalism became very fashionable on college campuses in the 1970s and some of its practitioners tended to be a little loose with the facts. And that’s where I wanted to part company.”)

He is not bothered by the Bancrofts selling The Wall Street Journal—”It’s not like we should lament the passing of some noble dynasty!”—to Rupert Murdoch, but he is bothered by how the press supported and sold the Iraq War to the American people. “The press in Washington got us into this war as much as the people that are controlling it,” said Talese. “They took information that was second-hand information, and they went along with it.” He wants to see the Washington press corp disbanded and sent around the country to get back in touch with the people it covers; that the press should not be so focused on–and in bed with–the federal government.

Augusten Burroughs once said that writers are experience junkies, and Talese fits the bill. Talese–who has been married to Nan Talese (she edited James Frey‘s Million Little Piece) for fifty years–can be found at baseball games in Cuba or the gay bars of Beijing, wanting to see humanity in all its experience.

Below is Wikinews reporter David Shankbone’s interview with Gay Talese.

Friday, May 16, 2008

2008 The 27th Young Designers’ Exhibition, opened on May 15 at the Taipei World Trade Center and closes Sunday May 18. It features participation by 87 academic groups in Taiwan and 20 groups from United States, United Kingdom, Italy, Netherlands, New Zealand, and Australia to showcase various achievements in industrial design. It is recognized by the International Council of Societies of Industrial Design (ICSID) as the largest show of student creations.

Besides the several design competitions, sponsors like International Forum Design (iF), EPSON, MUJI (in Japanese: ????, Mujirushi Ry?hin), Tsann Kuen Trans-nation Group will showcase different solutions for the design, creative, and cultural industries. The show’s organizer, Taiwan Design Center, also designed several on-site events like “On-line Graduate Season Show”, “Career Match-up”, “Creative and Cultural Showcase and Performance”, “Seminars of YODEX 2008” to link the actual exhibition with the on-line exhibition.

Besides of the previously announced “Wow! Taiwan Design Award”, winners from “2008 Young Designers’ Competition” and “2008 YODEX Interior Design Competition” were announced on Saturday, May 17.

Sunday, January 13, 2019

On Saturday the customs officials of the Air Intelligence Unit at Chennai International Airport in India seized 24 kilograms of gold from two South Korean women. The gold was worth worth 80 million Indian rupees, the officials said. This reportedly was the first instance wherein two South Korean women have been found involved in smuggling gold into India.

The customs officials questioned the women at the exit of the arrival hall and found their replies evasive. As a result they searched them and found one kilogram pure gold bars in front and back pockets in their mini shorts under their skirts and pajamas. Each was carrying twelve bars. The officials seized the gold under the Customs Act 1962. The officials identified the women as Hanbyoul Jung and Eunyoung Kim, both 26 years old. The women were detained by the officials for further interrogation.

Customs officials had previously got information suggesting passengers would be smuggling the huge quantity of gold from Hong Kong into India. According to the officials, the two women arrived from Hong Kong on the flight number CX 631 provided by Cathay Pacific airlines.

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