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Friday, February 12, 2010

British fashion designer Alexander McQueen has died at the age of 40. He was found dead inside his residence in London, England yesterday.

The Metropolitan Police said they are not treating the death as suspicious. A spokesperson for the police force said, “[w]e were called by London Ambulance Service at about 10.20am this morning to reports of a man found dead at an address in Green Street, W1. He is believed to be 40 years old and from London. Next of kin have been informed, however we await formal identification before releasing the name of the deceased.” According to reports, McQueen committed suicide by hanging, however this has not been confirmed.

Between the years of 1996 and 2003, McQueen received Fashion Designer of the Year four times. He was also given a CBE by Queen Elizabeth II in 2003. The fashion designer had a new selection of clothing, entitled “McQ”, that was expected to be shown on Thursday; the show has now been cancelled. Alexander’s mother Joyce died earlier this month. In response to this, McQueen placed a message on his Twitter page which said “RIP mumxxxxxxxxxxxxxxxxxxxxxxxxxxx.” Isabella Blow, who assisted in making McQueen famous, killed herself in 2007.

Yesterday, a statement was released from McQueen’s company headquarters stating “On behalf of Lee McQueen’s family, Alexander McQueen today announces the tragic news that Lee McQueen, the founder and designer of the Alexander McQueen brand, has been found dead at his home. At this stage it is inappropriate to comment on this tragic news beyond saying that we are devastated and are sharing a sense of shock and grief with Lee’s family. Lee’s family has asked for privacy in order to come to terms with this terrible news and we hope the media will respect this.”

Saturday, October 6, 2007

Few artists ever penetrate the subconscious level of American culture the way RuPaul Andre Charles did with the 1993 album Supermodel of the World. It was groundbreaking not only because in the midst of the Grunge phenomenon did Charles have a dance hit on MTV, but because he did it as RuPaul, formerly known as Starbooty, a supermodel drag queen with a message: love everyone. A duet with Elton John, an endorsement deal with MAC cosmetics, an eponymous talk show on VH-1 and roles in film propelled RuPaul into the new millennium.

In July, RuPaul’s movie Starrbooty began playing at film festivals and it is set to be released on DVD October 31st. Wikinews reporter David Shankbone recently spoke with RuPaul by telephone in Los Angeles, where she is to appear on stage for DIVAS Simply Singing!, a benefit for HIV-AIDS.

DS: How are you doing?

RP: Everything is great. I just settled into my new hotel room in downtown Los Angeles. I have never stayed downtown, so I wanted to try it out. L.A. is one of those traditional big cities where nobody goes downtown, but they are trying to change that.

DS: How do you like Los Angeles?

RP: I love L.A. I’m from San Diego, and I lived here for six years. It took me four years to fall in love with it and then those last two years I had fallen head over heels in love with it. Where are you from?

DS: Me? I’m from all over. I have lived in 17 cities, six states and three countries.

RP: Where were you when you were 15?

DS: Georgia, in a small town at the bottom of Fulton County called Palmetto.

RP: When I was in Georgia I went to South Fulton Technical School. The last high school I ever went to was…actually, I don’t remember the name of it.

DS: Do you miss Atlanta?

RP: I miss the Atlanta that I lived in. That Atlanta is long gone. It’s like a childhood friend who underwent head to toe plastic surgery and who I don’t recognize anymore. It’s not that I don’t like it; I do like it. It’s just not the Atlanta that I grew up with. It looks different because it went through that boomtown phase and so it has been transient. What made Georgia Georgia to me is gone. The last time I stayed in a hotel there my room was overlooking a construction site, and I realized the building that was torn down was a building that I had seen get built. And it had been torn down to build a new building. It was something you don’t expect to see in your lifetime.

DS: What did that signify to you?

RP: What it showed me is that the mentality in Atlanta is that much of their history means nothing. For so many years they did a good job preserving. Don’t get me wrong, I’m not a preservationist. It’s just an interesting observation.

DS: In 2004 when you released your third album, Red Hot, it received a good deal of play in the clubs and on dance radio, but very little press coverage. On your blog you discussed how you felt betrayed by the entertainment industry and, in particular, the gay press. What happened?

RP: Well, betrayed might be the wrong word. ‘Betrayed’ alludes to an idea that there was some kind of a promise made to me, and there never was. More so, I was disappointed. I don’t feel like it was a betrayal. Nobody promises anything in show business and you understand that from day one.

But, I don’t know what happened. It seemed I couldn’t get press on my album unless I was willing to play into the role that the mainstream press has assigned to gay people, which is as servants of straight ideals.

DS: Do you mean as court jesters?

RP: Not court jesters, because that also plays into that mentality. We as humans find it easy to categorize people so that we know how to feel comfortable with them; so that we don’t feel threatened. If someone falls outside of that categorization, we feel threatened and we search our psyche to put them into a category that we feel comfortable with. The mainstream media and the gay press find it hard to accept me as…just…

DS: Everything you are?

RP: Everything that I am.

DS: It seems like years ago, and my recollection might be fuzzy, but it seems like I read a mainstream media piece that talked about how you wanted to break out of the RuPaul ‘character’ and be seen as more than just RuPaul.

RP: Well, RuPaul is my real name and that’s who I am and who I have always been. There’s the product RuPaul that I have sold in business. Does the product feel like it’s been put into a box? Could you be more clear? It’s a hard question to answer.

DS: That you wanted to be seen as more than just RuPaul the drag queen, but also for the man and versatile artist that you are.

RP: That’s not on target. What other people think of me is not my business. What I do is what I do. How people see me doesn’t change what I decide to do. I don’t choose projects so people don’t see me as one thing or another. I choose projects that excite me. I think the problem is that people refuse to understand what drag is outside of their own belief system. A friend of mine recently did the Oprah show about transgendered youth. It was obvious that we, as a culture, have a hard time trying to understand the difference between a drag queen, transsexual, and a transgender, yet we find it very easy to know the difference between the American baseball league and the National baseball league, when they are both so similar. We’ll learn the difference to that. One of my hobbies is to research and go underneath ideas to discover why certain ones stay in place while others do not. Like Adam and Eve, which is a flimsy fairytale story, yet it is something that people believe; what, exactly, keeps it in place?

DS: What keeps people from knowing the difference between what is real and important, and what is not?

RP: Our belief systems. If you are a Christian then your belief system doesn’t allow for transgender or any of those things, and you then are going to have a vested interest in not understanding that. Why? Because if one peg in your belief system doesn’t work or doesn’t fit, the whole thing will crumble. So some people won’t understand the difference between a transvestite and transsexual. They will not understand that no matter how hard you force them to because it will mean deconstructing their whole belief system. If they understand Adam and Eve is a parable or fairytale, they then have to rethink their entire belief system.

As to me being seen as whatever, I was more likely commenting on the phenomenon of our culture. I am creative, and I am all of those things you mention, and doing one thing out there and people seeing it, it doesn’t matter if people know all that about me or not.

DS: Recently I interviewed Natasha Khan of the band Bat for Lashes, and she is considered by many to be one of the real up-and-coming artists in music today. Her band was up for the Mercury Prize in England. When I asked her where she drew inspiration from, she mentioned what really got her recently was the 1960’s and 70’s psychedelic drag queen performance art, such as seen in Jack Smith and the Destruction of Atlantis, The Cockettes and Paris Is Burning. What do you think when you hear an artist in her twenties looking to that era of drag performance art for inspiration?

RP: The first thing I think of when I hear that is that young kids are always looking for the ‘rock and roll’ answer to give. It’s very clever to give that answer. She’s asked that a lot: “Where do you get your inspiration?” And what she gave you is the best sound bite she could; it’s a really a good sound bite. I don’t know about Jack Smith and the Destruction of Atlantis, but I know about The Cockettes and Paris Is Burning. What I think about when I hear that is there are all these art school kids and when they get an understanding of how the press works, and how your sound bite will affect the interview, they go for the best.

DS: You think her answer was contrived?

RP: I think all answers are really contrived. Everything is contrived; the whole world is an illusion. Coming up and seeing kids dressed in Goth or hip hop clothes, when you go beneath all that, you have to ask: what is that really? You understand they are affected, pretentious. There’s nothing wrong with that, but it’s how we see things. I love Paris Is Burning.

DS: Has the Iraq War affected you at all?

RP: Absolutely. It’s not good, I don’t like it, and it makes me want to enjoy this moment a lot more and be very appreciative. Like when I’m on a hike in a canyon and it smells good and there aren’t bombs dropping.

DS: Do you think there is a lot of apathy in the culture?

RP: There’s apathy, and there’s a lot of anti-depressants and that probably lends a big contribution to the apathy. We have iPods and GPS systems and all these things to distract us.

DS: Do you ever work the current political culture into your art?

RP: No, I don’t. Every time I bat my eyelashes it’s a political statement. The drag I come from has always been a critique of our society, so the act is defiant in and of itself in a patriarchal society such as ours. It’s an act of treason.

DS: What do you think of young performance artists working in drag today?

RP: I don’t know of any. I don’t know of any. Because the gay culture is obsessed with everything straight and femininity has been under attack for so many years, there aren’t any up and coming drag artists. Gay culture isn’t paying attention to it, and straight people don’t either. There aren’t any drag clubs to go to in New York. I see more drag clubs in Los Angeles than in New York, which is so odd because L.A. has never been about club culture.

DS: Michael Musto told me something that was opposite of what you said. He said he felt that the younger gays, the ones who are up-and-coming, are over the body fascism and more willing to embrace their feminine sides.

RP: I think they are redefining what femininity is, but I still think there is a lot of negativity associated with true femininity. Do boys wear eyeliner and dress in skinny jeans now? Yes, they do. But it’s still a heavily patriarchal culture and you never see two men in Star magazine, or the Queer Eye guys at a premiere, the way you see Ellen and her girlfriend—where they are all, ‘Oh, look how cute’—without a negative connotation to it. There is a definite prejudice towards men who use femininity as part of their palette; their emotional palette, their physical palette. Is that changing? It’s changing in ways that don’t advance the cause of femininity. I’m not talking frilly-laced pink things or Hello Kitty stuff. I’m talking about goddess energy, intuition and feelings. That is still under attack, and it has gotten worse. That’s why you wouldn’t get someone covering the RuPaul album, or why they say people aren’t tuning into the Katie Couric show. Sure, they can say ‘Oh, RuPaul’s album sucks’ and ‘Katie Couric is awful’; but that’s not really true. It’s about what our culture finds important, and what’s important are things that support patriarchal power. The only feminine thing supported in this struggle is Pamela Anderson and Jessica Simpson, things that support our patriarchal culture.

Sunday, March 14, 2010

Two people in the Canadian Rocky Mountains were killed yesterday in an avalanche that struck an informal meeting of 200 snowmobilers. 30 others were hurt, and nineteen people were treated and released at a hospital.

According to reports, the incident occurred on Boulder Mountain near Revelstoke, British Columbia on Saturday at 15.30 local time; officials believe several more people may be trapped beneath the rubble.

“The Canadian Avalanche Centre [CAC] based in Revelstoke has had a warning for the last three weeks expressing extreme caution in the backcountry,” commented Revelstoke mayor David Raven, who noted that the gathering had not been authorised. “A fresh snowfall overnight exacerbated that warning. I know people have been cautioned again and again,” he said to CTV Newsnet. The CAC reports that there were ten avalanches in the vicinity since Friday.

Local police conducted a room-to-room search of a nearby hotel to establish whether anybody with the group was missing. Meanwhile, rescue teams dispatched helicopters to the mountain to see if it was safe to launch a more thorough ground search.

Tuesday, August 31, 2010

Every September, the Apple iPod is redesigned. Last year saw the release of the iPod Nano 5th generation, bringing a video camera and a large range of colours to the Nano for the first time. But as Apple again prepares to unveil a redesigned product, the company has released their quarterly sales figures—and revealed that they have sold only 9m iPods for the quarter to June—the lowest number of sales since 2006, leading industry anylists to ponder whether the world’s most successful music device is in decline.

Such a drop in sales is not a problem for Apple, since the iPhone 4 and the iPad are selling in high numbers. But the number of people buying digital music players are concerning the music industry. Charles Arthur, technology editor of The Guardian, wrote that the decline in sales of MP3 players was a “problem” for record companies, saying that “digital music sales are only growing as fast as those of Apple’s devices – and as the stand-alone digital music player starts to die off, people may lose interest in buying songs from digital stores. The music industry had looked to the iPod to drive people to buy music in download form, whether from Apple’s iTunes music store, eMusic, Napster or from newer competitors such as Amazon.”

Mark Mulligan, a music and digital media analyst at Forrester Research, said in an interview that “at a time where we’re asking if digital is a replacement for the CD, as the CD was for vinyl, we should be starting to see a hockey-stick growth in download sales. Instead, we’re seeing a curve resembling that of a niche technology.” Alex Jacob, a spokesperson for the International Federation of the Phonographic Industry, which represents the worldwide music industry, agreed that there had been a fall in digital sales of music. “The digital download market is still growing,” they said. “But the percentage is less than a few years ago, though it’s now coming from a higher base.” Figures released earlier this year, Arthur wrote, “show that while CD sales fell by 12.7%, losing $1.6bn (£1bn)in value, digital downloads only grew by 9.2%, gaining less than $400m in value.”

Expectations that CDs would, in time, become extinct, replaced by digital downloads, have not come to light, Jacob confirmed. “Across the board, in terms of growth, digital isn’t making up for the fall in CD sales, though it is in certain countries, including the UK,” he said. Anylising the situation, Arthur suggested that “as iPod sales slow, digital music sales, which have been yoked to the device, are likely to slow too. The iPod has been the key driver: the IFPI’s figures show no appreciable digital download sales until 2004, the year Apple launched its iTunes music store internationally (it launched it in the US in April 2003). Since then, international digital music sales have climbed steadily, exactly in line with the total sales of iPods and iPhones.”

Nick Farrell, a TechEYE journalist, stated that the reason for the decline in music sales could be attributed to record companies’ continued reliance on Steve Jobs, CEO of Apple, saying that they had considered him the “industry’s saviour”, and by having this mindset had forgotten “that the iPod is only for those who want their music on the run. What they should have been doing is working out how to get high quality music onto other formats, perhaps even HiFi before the iPlod fad died out.”

When Jobs negotiated a deal with record labels to ensure every track was sold for 99 cents, they considered this unimportant—the iPod was not a major source of revenue for the company. However, near the end of 2004, there was a boom in sales of the iPod, and the iTunes store suddenly began raking in more and more money. The record companies were irritated, now wanting to charge different amounts for old and new songs, and popular and less popular songs. “But there was no alternative outlet with which to threaten Apple, which gained an effective monopoly over the digital music player market, achieving a share of more than 70%” wrote Arthur. Some did attempt to challenge the iTunes store, but still none have succeeded. “Apple is now the largest single retailer of music in the US by volume, with a 25% share.”

The iTunes store now sells television shows and films, and the company has recently launced iBooks, a new e-book store. The App Store is hugely successful, with Apple earning $410m in two years soley from Apps, sales of which they get 30%. In two years, 5bn apps have been downloaded—while in seven years, 10bn songs have been purchased. Mulligan thinks that there is a reason for this—the quality of apps simply does not match up to a piece of music. “You can download a song from iTunes to your iPhone or iPad, but at the moment music in that form doesn’t play to the strengths of the device. Just playing a track isn’t enough.”

Adam Liversage, a spokesperson of the British Phonographic Industry, which represents the major UK record labels, notes that the rise of streaming services such as Spotify may be a culprit in the fall in music sales. Revenues from such companies added up to $800m in 2009. Arthur feels that “again, it doesn’t make up for the fall in CD sales, but increasingly it looks like nothing ever will; that the record business’s richest years are behind it. Yet there are still rays of hope. If Apple – and every other mobile phone maker – are moving to an app-based economy, where you pay to download games or timetables, why shouldn’t recording artists do the same?”

Well, apparently they are. British singer Peter Gabriel has released a ‘Full Moon Club’ app, which is updated every month with a new song. Arthur also notes that “the Canadian rock band Rush has an app, and the industrial rock band Nine Inch Nails, led by Trent Reznor – who has been critical of the music industry for bureaucracy and inertia – released the band’s first app in April 2009.” It is thought that such a system will be an effective method to reduce online piracy—”apps tend to be tied to a particular handset or buyer, making them more difficult to pirate than a CD”, he says—and in the music industry, piracy is a very big problem. In 2008, the International Federation of the Phonographic Industry estimated that 95% of downloads were illegitimate. If musicians can increase sales and decrease piracy, Robert says, it can only be a good thing.

“It’s early days for apps in the music business, but we are seeing labels and artists experimenting with it,” Jacob said. “You could see that apps could have a premium offering, or behind-the-scenes footage, or special offers on tickets. But I think it’s a bit premature to predict the death of the album.” Robert concluded by saying that it could be “premature to predict the death of the iPod just yet too – but it’s unlikely that even Steve Jobs will be able to produce anything that will revive it. And that means that little more than five years after the music industry thought it had found a saviour in the little device, it is having to look around again for a new stepping stone to growth – if, that is, one exists.”

Tuesday, May 16, 2006

The state’s teachers and schools chief Jack O’Connell have settled their lawsuit against Gov. Arnold Schwarzenegger and, as a result, billions of dollars in school funding O’Connell and the teachers claimed the governor misappropriated during the state’s fiscal crisis will be returned to the schools.

“The restoration of funding to California school districts is very positive news,” New Haven schools Superintendent Pat Jaurequi told the James Logan Courier.

“This is a day for celebration in schools throughout California. When this lawsuit was filed, I promised that I would fight up and down the state until the funding owed to our schools was restored,” O’Connell, the state superintendent of Public Instruction, said in a statement last week. “I also promised I would give the Governor credit for doing the right thing if he restored this critical funding. Today, I want to thank Governor Schwarzenegger for working with the education community to invest wisely in our schools — the best investment we can make in California’s future.”

“This is a good thing for our schools and community colleges throughout California,” said Barbara E. Kerr, president of the California Teachers Association, one of the parties to the lawsuit. “Having all the money owed to our schools under Proposition 98 and the governor’s agreement of 2004 restored to our students is the news we’ve been waiting for.

In a statement regarding the settlement, Schwarzenegger said, “I am pleased to announce a resolution that will put the dispute regarding Proposition 98 funding behind us and allow us to invest an additional $3 billion in schools in a way that best helps our students.”

Proposition 98 is an amendment to the state Constitution, passed in 1988, that established a minimum funding level or guarantee for K-12 education and community colleges. O’Connell and the California Teachers Association sued Schwarzenegger and the director for the California Department of Finance last summer after when they diverted billions of dollars earmarked for the schools under Prop. 98 to overcome budget deficits that were crippling California, violating an agreement made with educators the previous year.

The agreement restores funding Proposition 98 funding that was due, but not provided in the 2004-05 and 2005-06 fiscal years. The Governor’s May Budget Revision will include $2 billion and language that provides an additional $3 billion to be paid in installments between fiscal year 2006-07 and fiscal year 2013-14, or until paid in full.

In addition to the settlement funds, Schwarzenegger’s “May Budget Revision,” announced last week, also directs billions more of the state’s money to schools. Schwarzenegger said bulging state coffers, filled by unexpected tax revenues, allowed him to budget an extra 8.1 billion for schools, for a total of $55.1 billion-an over 17% overall funding increase from 2004-2005.

The settlement and the new budget figures “will allow us to make good on the debts to schools created through the recent lean years and to make important new investments in public education,” said O’Connell.

Schwarzenegger had some ideas about how the money should be spent. “For K-12 schools, I propose that we concentrate these funds to improve instruction in schools with low academic achievement. We should direct the funds to the classroom level for such things as lowering class size, attracting and supporting quality school leadership and fully credentialed and experienced teachers, supporting greater involvement of parents, providing more counselors in high schools, and increasing quality professional development, instructional materials, improved instruction and accountability.” he said.

Although pleased by the outcome of the lawsuit, Jaurequi was cautious about predicting its effect in New Haven “ It is significant to note that two-thirds of the new funding is one-time in nature and is not an ongoing revenue stream,” she said.

“Although the budget process is far from over and we will likely differ on some of his budget priorities, I am happy to thank Governor Schwarzenegger for working with the education community to invest in public education,” said O’Connell, who’s been embroiled in controversy and litigation over the California High School Exit Exam in recent weeks.

“I am particularly pleased to see that the Governor has increased funding to expand remediation programs for students who are struggling to pass the California High School Exit Exam, and to pay for new summer and evening administrations of the Exam,” said O’Connell, who wrote the law requiring the exam when he was a state legislator in 1998, “ I also applaud the increase in funding to expand and improve student nutrition programs giving more students the opportunity to make healthier food choices on campus. In addition, I am very happy to see additional funding for high school counselors. Our state currently has the lowest ratio of counselors to students in the nation. This is a statistic we need to improve upon”.

This article is based on Settlement Returns Billions to California Schools’ Budgets by Patrick Hannigan of The James Logan Courier, which has a copyright policy compatible with our CC-BY 2.5. Specifically “Creative Commons 2.5 Share-Alike license“

Wednesday, October 31, 2007

Canadian Finance Minister Jim Flaherty announced a five-year program that could reduce taxes by a total C$60 billion.

The planned tax reduction measures include:

• Low-end personal income tax rates would be reduced from 15.5% to 15%, taking retroactive effect to the start of 2007;
• The basic personal exemption, the amount at which income is taxable, is raised from C$8,929 to C$9,600, also backdated to January 2007;
• Business tax rates are expected regularly drop from the current 20.5% to 15% in 2012;
• The Goods and Services Tax that applies to most purchases would be reduced from 6% to 5% as 2008 begins. This rate was previously reduced from 7% July 2006, shortly after Prime Minister Stephen Harper took office.

These measures will be brought before the House of Commons in Ottawa on Wednesday as a confidence motion. In Canada’s minority government situation, opposition parties could defeat these measures and likely prompt an election. However, opposition leader Stéphane Dion has expressed an unwillingness to defeat the government on this matter.

Sunday, October 17, 2010

Yannis Dalianides, a Greek film director who worked on over 60 movies, has died at the age of 87. Dalianides died after spending a month in hospital. He was known as the “godfather” of the Greek musical and the “Gentle Knight of Popular Cinema”.

Born in 1923, Dalianides was placed in a children’s home until he was adopted. He made his first appearance in children’s theatre at the age of 10. He studied at the Drama School of the Thessaloniki Conservatory, before moving to Vienna and studying dance. Dalianides tried choreography before turning to cinema.

After appearing as an actor he directed his first film in 1959, titled, Mousitsa (The Temptress). He continued to have success with films such as Some Like It Cold, Downhill, and Training Old Man Yorgis. From 1961 to 1977, Dalianides worked exclusively for the Fino’s Film Company. Dalianides is credited with the introduction of the musical into Greece but preferred the term “musical comedy”.

Dalianides worked into his seventies. His last project was Mikres Amarties, a television series made in 1999. Dalianides funeral will take place on Monday; he will be buried at Athens’ First Cemetery.