Friday, October 26, 2007

The United States Federal Emergency Management Agency (FEMA) is under fire after the agency held a fake press conference with fake news reporters in regards to individuals affected by the California wildfires and the assistance they could receive.

The agency called a press conference on Tuesday, giving the press only 15 minutes to show up. When many did not, FEMA brought in agency officials to pose as fake reporters and ask questions. The option for reporters to call into the conference was also available, but the ones who did call in only got to listen to the press conference, and could not ask questions. No reporters were actually present during the conference, parts of which were carried live on Fox News and MSNBC.

During the briefing, FEMA employees asked Deputy Administrator Harvey Johnson a series of what The New York Times called “decidedly friendly questions” such as “What type of commodities are you pledging to California?”, “What lessons learned from Katrina have been applied?” and “Are you happy with FEMA’s response so far?”. The briefing followed the format of a press conference, with FEMA’s press secretary at one point cautioning that he would allow just “two more questions”, then calling later for a “last question”. Officials who posed as fake reporters included the deputy director of public affairs Cindy Taylor and Director of External Affairs John “Pat” Philbin.

White House officials said that they do not condone FEMA’s actions and also state that they had no idea that the conference was taking place.

“FEMA has issued an apology, saying that they had an error in judgment when they were attempting to get out a lot of information to reporters, who were asking for answers to a variety of questions in regard to the wildfires in California. It’s not something I would have condoned. And they — I’m sure — will not do it again,” said Dana Perino, the White House’s press secretary in a statement.

FEMA apologizes for the mishap and says that their intentions were only to get the information to the citizens of California.

“[The purpose was] to get information out as soon as possible, and in trying to do so we made an error in judgment. Our intent was to provide useful information and be responsive to the many questions we have received. We can and must do better,” said Harvey E. Johnson, the agency’s vice administrator. “The real story — how well the response and recovery elements are working in this disaster — should not be lost because of how we tried to meet the needs of the media in distributing facts,” a FEMA statement said.

FEMA is currently deciding whether or not any officials should face punishment for the incident. One of the officials responsible, Pat Philbin, is going on to be the new head of public relations for the Office of the Director of National Intelligence.

This is not the first time that the Bush administration has come under fire for planting reporters at press conferences. In February of 2005, White House reporter Jeff Gannon was accused of being planted to ask softball questions to President Bush. FEMA itself had earlier undergone criticism during Hurricane Katrina for using disaster workers for public relations in 2005.

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.

Thursday, October 21, 2010

The new British coalition government has warned local authorities in the United Kingdom not to provide tax breaks to branches of the Church of Scientology. After an investigation by The Guardian newspaper revealed that several local authorities have granted Scientology tax breaks worth over a million pounds, Secretary of State for Communities and Local Government Eric Pickles intervened to urge councils to end the practice.

Pickles noted in a statement that Scientology was not officially recognised in the UK as a religion or a registered charity and was not eligible for tax relief. Pickles commented, “I do not believe the majority of the public would want their own council to be giving special tax breaks to such a controversial organisation.”

The minister’s intervention followed the disclosure by The Guardian that at least four local authorities have given Scientology lucrative tax discounts on branches in their areas. These included:

• The City of London Corporation, which gave an 80% tax exemption worth £1.3 million to the flagship Scientology centre in the City of London. The corporation justified the exemption on the basis that Scientology could be considered to be a charity either for the advancement of religion “or other purposes beneficial to the community”. It said that it feared being sued by the organisation if it discontinued the exemption.

• Westminster City Council granted 80% rates relief to the Scientology Celebrity Centre in the Bayswater district of London. This saved Scientology £165,303 over the past ten years, though as of July 2010 the centre is no longer in use. The council determined that Scientology was a “non-registered charity” that is “beneficial to the community”.

• Birmingham City Council awarded the Church of Scientology Religious Education College an 80% tax discount on the grounds that the property was an educational institution.

• The City of Sunderland gave the Church of Scientology’s branch in the city tax relief worth £30,000 over five years.

Camden London Borough Council refused to disclose whether and how much tax relief had been granted to the Scientology branch in the London Borough of Camden. Other local authorities, including Manchester City Council and Mid Sussex District Council, said that they charged Scientology the full commercial rate.

In response to The Guardian report, Eric Pickles issued a statement saying that Scientology should not receive privileged tax status and did not deserve to do so, “Tolerance and freedom of expression are important British values, but this does not mean that the likes of Church of Scientology deserve favoured tax treatment over and above other business premises. The Church of Scientology is not a registered charity, since the Charity Commission has ruled that it does not provide a public benefit. Nor are its premises a recognised place of worship. Councils may award charitable relief. They should take into consideration the Charity Commission’s rulings when weighing up whether to do so. I do not believe the majority of the public would want their own council to be giving special tax breaks to such a controversial organisation.”

The controversy was the latest in a series of disputes involving Scientology’s tax status in the UK. Scientology is not officially recognised as a religion. The Charity Commission for England and Wales rejected an application in 1999 by Scientology for charitable status, ruling that its activities did not meet the “public benefit” test. However, in 2000 Scientology obtained exemption from Value Added Tax (VAT) on the grounds that its services were educational and non-profitable. It successfully sued HM Revenue and Customs for the return of £8 million in overpaid VAT.

A spokesman for the Church of Scientology told The Guardian, “Scientology is very popular with those who have visited our churches, met with Scientologists and observed or utilised our numerous community activities that effectively address drug abuse, illiteracy, declining moral values, human rights violations, criminality and more. Local council authorities, government bodies in this country and many others, and the European court of human rights have all recognised the religious nature of Scientology or the fact that Scientologists are actively helping those in their communities as a direct reflection of their religious beliefs.”

Birmingham City Council told the local Sunday Mercury newspaper, “We have noted Mr Pickles’ comments and will take them on board.”

Friday, June 2, 2006

Scottish police have arrested a man and a woman after finding Britain’s largest ever stash of Gamma-butyrolactone. The man in charge of the operation, Graeme Pearson, director of the Scottish Crime and Drug Enforcement Agency, called the find “the most significant discovery of the drug in the UK.”

Denise Caron MacPherson, 45, and Hanan Rabin, 53, have been charged with exporting the drug, also known as GHB, to the United States between 19 April and 24 May. The news of the Scottish factory comes as a US study found drug use was involved in two-thirds of sex attacks, while 5 per cent were given an actual “date rape” drug.

Graham Rhodes for The Roofie Foundation, a helpline for victims of drug rape, said: “I am very relieved this has been recovered as in the wrong hands it is very dangerous. Not only is it used to spike the drinks of people to rape them but it’s also used to assault and rob people.”

Used by ravers, robbers and bodybuilders, the base chemical (gamma-hydroxybutyrate) was taken during a raid on a house and business in West Lothian. The haul would have been put on the United States illicit drug market and sold for fun and more sinister purposes.

In its non-powder form GHB is barely detectable: clear and having no smell it can be particularly potent with a few drops mixed into an alcoholic drink. Once a sufficient amount of the salty liquid has been ingested the victim can be knocked out within an hour.

While GHB is known both as “liquid ecstasy” and the date rapist’s “Plan A”, the versatile compound is also used by body builders instead of anabolic steroids, by dieters and as a sleeping aid.

In Britain, GHB is a “Class C” drug which means making it, holding it and selling it is punishable with up to two years in prison. The effects of rape, for which the drug is reportedly used, can last a lifetime. Jane Cumming, from support group Crisis, said she received an average of 4 calls a week from people claiming to be victims of date rape.

The pair, who were caught in Livingston, were accused of distributing the drug in Scotland from MacPherson’s house around the same time as they were exporting to the United States, while MacPherson was also charged with Cannabis possession.

Saturday, July 25, 2020

The following is the second edition of a monthly series chronicling the 2020 United States presidential election. It features original material compiled throughout the previous month after an overview of the month’s biggest stories.

This month’s spotlight on the campaign trail includes interviews with the vice presidential nominees of the Prohibition Party, Reform Party, and the Life and Liberty Party.

Tuesday, October 26, 2010

The Group of 20 (G20) of the world’s leading developed and developing countries’ finance ministers agreed on Saturday to pursue a plan that would avoid dangerous currency devaluations and would also would attempt to reduce trade imbalances. The plan was introduced by the United States, and the G20 meeting was held in South Korea.

The plan was announced amid rising worries of a “currency war” that would lead to devalued currencies in order to get an export advantage and would damage the global economy. “Our cooperation is essential. We are all committed to play our part in achieving strong, sustainable and balanced growth in a collaborative and coordinated way,” a statement released by the G20 said.

On the topic of trade imbalances, the G-20 stated that “excessive imbalances” would be “assessed against indicative guidelines to be agreed.” This statement was weaker than a commitment proposed by United States Treasury Secretary Timothy Geithner, which would keep trade imbalances “below a specified share” of GDP for the next few years. This proposal was met with strong opposition from export-based economies such as Japan, whose Finance Minister Yoshihiko Noda argued that specific targets were “unrealistic”, but approved of unspecific “guidelines”. He added: “There are many perspectives on the current account issue. Every country has a different situation when it comes to surpluses and deficits. So we need to study this carefully.”

The United States said that they will continue to push for numerical targets and specific time frames at next month’s South Korean summit, where the heads of state of the G20 will convene. “If the world is going to be able to grow at a strong, sustainable pace in the future . . . then we need to work to achieve more balance in the pattern of global growth as we recover from the crisis,” US Treasury Secretary Geithner declared. The finance ministers also set China on the track to floating its currency more, and overhauling the International Monetary Fund (IMF) to give more representation to developing powers such as China and India.

The G20 was created in 1999, includes both developed and developing countries, and represents 85% of the world’s economy. The G20’s heads of state will meet in Seoul, South Korea, next month.

Saturday, April 24, 2010

Zarein Ahmedzay, a man from New York, has pleaded guilty to conspiring to blow up subway trains in New York City along with two other men, in a plea entered in federal court in the city. He admitted to having flown to Pakistan in the summer of 2008 with two friends, one of whom has plead guilty, for training with al-Qaeda, where they met al-Qaeda leaders and offered their assistance in fighting US troops in Afghanistan. They were instead ordered to plan suicide-bombings in New York City similar to the 2005 London subway bombings.

The three men, Ahmedzay, Najibullah Zazi, and Adis Medunjanin, began planning their attack in time for Ramadan in September 2009, but their attack was foiled when Zazi’s car was stopped entering New York City. Zazi had been testing the bombs in Denver, Colorado and was bringing them back to New York City. Ahmedzay plead guilty to conspiracy to use a weapon of mass of destruction against people in the United States; conspiracy to commit murder; and providing material support to a foreign rebel organization. He is expected to be sentenced in late July, and faces a maximum sentence of life in prison.

While Admedzay’s defense attorney, Michael Marinaccio, declined to comment on whether his client was cooperating with the investigation, he did say that by pleading guilty to the charges, “[t]here’s a potential benefit to him.” Admedzay originally plead not guilty along with Medunjanin. Medunjanin’s attorney Robert Gottlieb said Friday that Medunjanin intended to go to trial. “This case is much different as it pertains to Mr. Medunjanin,” said Gottlieb.

In a written statement, United States Attorney General Eric Holder said the plot “makes clear we face a continued threat from al-Qaeda and its affiliates overseas. With three guilty pleas already and the investigation continuing, this prosecution underscores the importance of using every tool we have available to both disrupt plots against our nation and hold suspected terrorists accountable.”

The leaders who ordered them to plan the suicide-bombings, Saleh al-Somali, head of international operations for al-Qaeda, and Rashid Rauf, a key operative, were both killed in the past year in the Waziristan region of Pakistan by drone attacks.