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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.

Saturday, February 6, 2021

On Wednesday, US country music artist Morgan Wallen was suspended from his recording contract by Big Loud Records indefinitely after he used the racial slur “nigger” in video leaked by TMZ. Wallen stated to TMZ, “I used an unacceptable and inappropriate racial slur that I wish I could take back. There are no excuses to use this type of language, ever. I want to sincerely apologise for using the word. I promise to do better.”

Republic Records, which also distributed Wallen’s music, stood by Big Loud’s decision, saying “such behavior will not be tolerated”. This decision followed the removal of Wallen’s music from some radio stations, including the largest radio station group in the United States, iHeartMedia. On Wednesday Morgan Wallen’s newly released album, entitled Dangerous: The Double Album, was at number 1 on the Billboard 200, having been at the number 1 position for three weeks.

Wallen also faced trouble on streaming services such as Spotify. On Wednesday, while his music remained available for streaming there, his songs were apparently removed from some official Spotify playlists, such as their 50 top Hot Country Songs playlist, as well as some of Apple Music’s country playlists.

Tuesday, April 5, 2005Terry Vo, the 10-year old Australian boy who had two hands and a foot reattached by surgeons after losing them in an accident, has had to have the foot re-amputated. He will be given a prosthetic foot in its place.

The operation to re-attach three limbs was thought to have been a first – but was ultimately unsuccessful, with the foot having died inside, and receiving insufficient blood supply following the surgery to reattach it.

“That would lead to the small muscles in the foot actually constricting, the toes bending over and a deformed …. foot that is sort of clawed over and doesn’t have good sensation,” said plastic surgeon, Mr Robert Love today, on Australia’s ABC Radio.

“Even if you can get all of that to survive, he [would be] worse off than having had an amputation.”

“What is very disappointing is that for the first two days after [the operation] the foot looked absolutely magnificent,” he said.

Terry’s hands were healing well, said the surgeon. The prosthetic foot would allow him to walk normally, since his knee was intact.

Friday, January 10, 2020

At about 15:30 local time (1430 UTC) on Tuesday a fire was reported in the “Kiss & Fly” section of a parking structure at Stavanger Airport, Sola in Norway. The structure has over 3000 parking spaces; reports said more than half of those were filled. The airport was quickly closed to air traffic.

It was initially reported the fire started in an electric vehicle, but news broadcaster NRK later reported the fire started in a recalled 2005 Opel Zafira. The car was recalled after a similar fire in Cork, Ireland in August last year, causing damage to about 60 cars. Police said they questioned the car’s owner.

The fire produced heavy smoke, and local officials said there was danger the building might collapse. Nils-Erik Haagenrud of Rogaland Fire and Rescue said late on Tuesday no personnel would be sent into the building. Rogaland Fire and Rescue requested support and equipment from other fire departments. The airport and nearby hotel were both evacuated and local police warned people in the general vicinity to stay inside and close exterior vents and windows. Through Tuesday evening the fire was reduced and the order for a fire extinguisher robot from Oslo Fire and Rescue was canceled.

The airport closure also led to Norwegian Prime Minister Erna Solberg being stranded after a visit to the Johan Sverdrup oil field. Solberg posted on Twitter asking for places to eat for the seven hour drive from Stavanger to the capital of Oslo.

Reports as of Wednesday said an estimated two to three hundred vehicles had been damaged or destroyed, but no humans had been hurt.

By about 22:00 local time (2100 UTC) on Tuesday the flames were under control. Local firefighters planned to continue to monitor the situation and work to prevent further damage. It was also discovered the structure was built without sprinklers. Stavanger Airport, Sola was to open on Wednesday morning, but returning to normal service was expected to take longer. Affected travelers were advised to contact their airlines for rebooking.

Friday, June 23, 2006

Matt Hanson aims to raise £1 million to fund the production of a feature-length film which would be distributed freely via the Internet under a Creative Commons licence, all funded through 50,000 people each donating £25 to the project, which he’s called ‘A Swarm of Angels‘.

No stranger to filmmaking, Matt has produced numerous digital short films, a series of books on digital filmmaking and set up the digital film festival onedotzero, now in its tenth year. He wants to finally make a feature length film, and decided that it was better to turn to the Internet for help and funding rather than plod through the usual ‘development hell‘.

“I wanted to put into practice what I’ve been preaching as a film futurist for ten years, and the technology and Internet infrastructure has just really caught up with that vision now for me to put it into practice.”

The process is inspired by the ‘web 2.0‘ movement, using social and collaborative communities on the Internet. Matt doesn’t see the funding as coming from donations, but as people paying a subscription to become part of a ‘Swarm’. “Rather than the ‘many producer’ model, this is more of an ^[sic] ‘smart consumer’ model … members can help implement and bring their expertise into play, and so become more actively involved in the production.”

The project hopes to use professional actors and crew, but use qualified members from the swarm as much as possible. The cast and the crew, including any volunteers that get chosen, would be paid for their work on the film, with Matt suggesting that this is “a great way for people to get into the industry”.

Those members not directly involved in making the film can still participate in the process by discussing ideas on a messageboard, and having a vote on certain crucial decisions such as which script gets chosen for production. Asked how he would balance his own creative direction with input from members, Matt said “my vision will lead the project forward and define the parameters, but the Swarm can influence that, and indeed offer improvements or insights I might not think of alone”.

“Remember filmmaking is always a team effort – whether you are Martin Scorsese, Stanley Kubrick or Jean Luc Godard, you promote people within the project that will complement and bring something extra to the vision of the film. Give it more life. With the Swarm we are making that process more democratic, and giving a wider range of people an opportunity to shine and have creative input.”

Members are promised a collector’s edition DVD of the end product and exclusive merchandise, but the main distribution of the film will be via the Internet, using ‘BitTorrent‘ and peer-to-peer networks. “Unlike many other filmmakers, I’m not wedded to cinema projection as the ‘be all and end all’ – I’m much more excited about people viewing remixed versions on their video iPods,” explains Matt.

The ‘remixing’ of the film will be possible thanks to it being distributed under a Creative Commons licence. Matt suggests that the ‘younger generation’ is more used to being involved with and interacting with entertainment, and points to remixes of the Star Wars films (eg ‘The Phantom Edit‘) as an example of these ‘mashups’. “At the end of the project I would love to have an event that showcased five wildly different versions of the film, different visions from people other than my definitive initial edit,” he suggests. The licence will be for non-commercial use only, however, and so commercial TV stations would still have to pay in order to screen the film.

The project is partly inspired by the success of ‘The Million Dollar Homepage‘, in which British student Alex Tew aimed to raise a million dollars to fund his university education, simply by selling advertising space on a single web page. The publicity surrounding the idea, coupled with the ‘viral’ effect of Internet users passing the page on, meant that he eventually managed to make himself the million dollars.

The success of these projects partly seems to depend on them being interesting and original enough to attract enough attention, and it’s often difficult to see how they could be repeated. Copy-cat versions of the million dollar homepage have so far failed to hugely take off. When asked about this idea, Matt responded “I already expect people to copy the model we are inventing with A Swarm of Angels – it’s a perfect way to create cult media, where the director gets more creative control and organically funds a project, and the fans of the project get more involvement within it. If the market gets too crowded with these projects though, then they’ll have to be packaged differently to stand out. But that’s what traditional film and media projects need to do anyway.”

Over 600 members have signed up to the ‘swarm’ so far, which Matt comments is already an early success, but 50,000 members in total will be needed in order to fully fund the £1 million budget. Matt suggests that getting to the next stage, of reaching 1,000 members, followed by the phase of getting 5,000 members, will be the hardest part, as after that the film will be more ‘tangible’. He expects to raise the full budget, but comments that if the fundraising stalls, “options will be presented by advisors and The Swarm, and based on some kind of consensus we’ll come up with the best option for moving forward.”

Traditionally, independent films are funded either through persuading wealthy individuals to invest, who sometimes are sometimes given ‘Executive Producer‘ credits, or through organisations like the UK Film Council, who award funds from the National Lottery. A tax credit for producers making small films in the UK was announced by the government in 2005, in a bid to give a boost to the UK independent film industry.

Matt says that the film will be “a thriller with soft science fiction elements”, which he says will suit his target audience. “But it will have an indie edginess to it, and be far more visually inventive than you would get with a ‘normal’ British independent feature.” Contributors to the project include artists The Kleptones, who will help with the soundtrack, comic book writer Warren Ellis and documentary filmmaker Grant Gee.

The Swarm of Angels project is online at aswarmofangels.com and costs £25 as an individual to become a member.

Sunday, September 13, 2009

K East Basin, a nuclear reactor basin in the Hanford Site in the northwestern United States, has been removed. Hanford, which was once one of the world’s largest nuclear production facilities as a component of the Manhattan Project, is now the site of the world’s largest environmental cleanup effort. The leak-prone K East Basin, which stored radioactive waste, was considered one of the site’s top environmental risks.

Removal of the basin, which was located 1,200 feet (370 m) from the Columbia River, will permit cleanup of contaminated soil along one of the river’s tributaries. The step was noted by a U.S. Department of Energy executive as a significant event in the protection of the river and of the million people who live downstream. It will also permit a reduction in the footprint of the cleanup project.

With a capacity of 1.2 million gallons (4.5 million litres), the basin once held 1,100 tons (998 metric tonnes) of spent nuclear fuel from the site’s nine plutonium production reactors; it also contained less radioactive sludge.

Contractor CH2M HILL Plateau Remediation’s removal of the basin, completed on Wednesday, September 9, followed the removal of its toxic contents in 2004 and 2007. Initially, the DOE and CH2M had intended to complete the removal by the end of July, but higher-than-anticipated levels of radiation delayed the project. Measures to protect workers delayed the project. In the past, the project has held annual public meetings; the day after the removal was complete, however Hanford’s top management invited workers to additional meetings September 17 and 18. These new meetings will not be open to the public or to the media.

A legal deadline calling for the removal of the basin by the end of September was met. CH2M will begin digging up the surrounding soil immediately; contaminants may include plutonium, uranium, cesium, strontium, cobalt, PCBs and/or chromium.

The time is 18:00 (UTC) on June 27th, 2006, and this is Audio Wikinews News Briefs.

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