John Vanderslice plays New York City: Wikinews interview

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John Vanderslice plays New York City: Wikinews interview

Thursday, September 27, 2007

John Vanderslice has recently learned to enjoy America again. The singer-songwriter, who National Public Radio called “one of the most imaginative, prolific and consistently rewarding artists making music today,” found it through an unlikely source: his French girlfriend. “For the first time in my life I wouldn’t say I was defending the country but I was in this very strange position…”

Since breaking off from San Francisco local legends, mk Ultra, Vanderslice has produced six critically-acclaimed albums. His most recent, Emerald City, was released July 24th. Titled after the nickname given to the American-occupied Green Zone in Baghdad, it chronicles a world on the verge of imminent collapse under the weight of its own paranoia and loneliness. David Shankbone recently went to the Bowery Ballroom and spoke with Vanderslice about music, photography, touring and what makes a depressed liberal angry.


DS: How is the tour going?

JV: Great! I was just on the Wiki page for Inland Empire, and there is a great synopsis on the film. What’s on there is the best thing I have read about that film. The tour has been great. The thing with touring: say you are on vacation…let’s say you are doing an intense vacation. I went to Thailand alone, and there’s a part of you that just wants to go home. I don’t know what it is. I like to be home, but on tour there is a free floating anxiety that says: Go Home. Go Home.

DS: Anywhere, or just outside of the country?

JV: Anywhere. I want to be home in San Francisco, and I really do love being on tour, but there is almost like a homing beacon inside of me that is beeping and it creates a certain amount of anxiety.

DS: I can relate: You and I have moved around a lot, and we have a lot in common. Pranks, for one. David Bowie is another.

JV: Yeah, I saw that you like David Bowie on your MySpace.

DS: When I was in college I listened to him nonstop. Do you have a favorite album of his?

JV: I loved all the things from early to late seventies. Hunky Dory to Low to “Heroes” to Lodger. Low changed my life. The second I got was Hunky Dory, and the third was Diamond Dogs, which is a very underrated album. Then I got Ziggy Stardust and I was like, wow, this is important…this means something. There was tons of music I discovered in the seventh and eighth grade that I discovered, but I don’t love, respect and relate to it as much as I do Bowie. Especially Low…I was just on a panel with Steve Albini about how it has had a lot of impact.

DS: You said seventh and eighth grade. Were you always listening to people like Bowie or bands like the Velvets, or did you have an Eddie Murphy My Girl Wants to Party All the Time phase?

JV: The thing for me that was the uncool music, I had an older brother who was really into prog music, so it was like Gentle Giant and Yes and King Crimson and Genesis. All the new Genesis that was happening at the time was mind-blowing. Phil Collins‘s solo record…we had every single solo record, like the Mike Rutherford solo record.

DS: Do you shun that music now or is it still a part of you?

JV: Oh no, I appreciate all music. I’m an anti-snob. Last night when I was going to sleep I was watching Ocean’s Thirteen on my computer. It’s not like I always need to watch some super-fragmented, fucked-up art movie like Inland Empire. It’s part of how I relate to the audience. We end every night by going out into the audience and playing acoustically, directly, right in front of the audience, six inches away—that is part of my philosophy.

DS: Do you think New York or San Francisco suffers from artistic elitism more?

JV: I think because of the Internet that there is less and less elitism; everyone is into some little superstar on YouTube and everyone can now appreciate now Justin Timberlake. There is no need for factions. There is too much information, and I think the idea has broken down that some people…I mean, when was the last time you met someone who was into ska, or into punk, and they dressed the part? I don’t meet those people anymore.

DS: Everything is fusion now, like cuisine. It’s hard to find a purely French or purely Vietnamese restaurant.

JV: Exactly! When I was in high school there were factions. I remember the guys who listened to Black Flag. They looked the part! Like they were in theater.

DS: You still find some emos.

JV: Yes, I believe it. But even emo kids, compared to their older brethren, are so open-minded. I opened up for Sunny Day Real Estate and Pedro the Lion, and I did not find their fans to be the cliquish people that I feared, because I was never playing or marketed in the emo genre. I would say it’s because of the Internet.

DS: You could clearly create music that is more mainstream pop and be successful with it, but you choose a lot of very personal and political themes for your music. Are you ever tempted to put out a studio album geared toward the charts just to make some cash?

JV: I would say no. I’m definitely a capitalist, I was an econ major and I have no problem with making money, but I made a pact with myself very early on that I was only going to release music that was true to the voices and harmonic things I heard inside of me—that were honestly inside me—and I have never broken that pact. We just pulled two new songs from Emerald City because I didn’t feel they were exactly what I wanted to have on a record. Maybe I’m too stubborn or not capable of it, but I don’t think…part of the equation for me: this is a low stakes game, making indie music. Relative to the world, with the people I grew up with and where they are now and how much money they make. The money in indie music is a low stakes game from a financial perspective. So the one thing you can have as an indie artist is credibility, and when you burn your credibility, you are done, man. You can not recover from that. These years I have been true to myself, that’s all I have.

DS: Do you think Spoon burned their indie credibility for allowing their music to be used in commercials and by making more studio-oriented albums? They are one of my favorite bands, but they have come a long way from A Series of Sneaks and Girls Can Tell.

JV: They have, but no, I don’t think they’ve lost their credibility at all. I know those guys so well, and Brit and Jim are doing exactly the music they want to do. Brit owns his own studio, and they completely control their means of production, and they are very insulated by being on Merge, and I think their new album—and I bought Telephono when it came out—is as good as anything they have done.

DS: Do you think letting your music be used on commercials does not bring the credibility problem it once did? That used to be the line of demarcation–the whole Sting thing–that if you did commercials you sold out.

JV: Five years ago I would have said that it would have bothered me. It doesn’t bother me anymore. The thing is that bands have shrinking options for revenue streams, and sync deals and licensing, it’s like, man, you better be open to that idea. I remember when Spike Lee said, ‘Yeah, I did these Nike commercials, but it allowed me to do these other films that I wanted to make,’ and in some ways there is an article that Of Montreal and Spoon and other bands that have done sync deals have actually insulated themselves further from the difficulties of being a successful independent band, because they have had some income come in that have allowed them to stay put on labels where they are not being pushed around by anyone.
The ultimate problem—sort of like the only philosophical problem is suicide—the only philosophical problem is whether to be assigned to a major label because you are then going to have so much editorial input that it is probably going to really hurt what you are doing.

DS: Do you believe the only philosophical question is whether to commit suicide?

JV: Absolutely. I think the rest is internal chatter and if I logged and tried to counter the internal chatter I have inside my own brain there is no way I could match that.

DS: When you see artists like Pete Doherty or Amy Winehouse out on 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 their music?

JV: The thing for me is they are profound iconic figures for me, and I don’t even know their music. I don’t know Winehouse or Doherty’s music, I just know that they are acting a very crucial, mythic part in our culture, and they might be doing it unknowingly.

DS: Glorification of drugs? The rock lifestyle?

JV: More like an out-of-control Id, completely unregulated personal relationships to the world in general. It’s not just drugs, it’s everything. It’s arguing and scratching people’s faces and driving on the wrong side of the road. Those are just the infractions that land them in jail. I think it might be unknowing, but in some ways they are beautiful figures for going that far off the deep end.

DS: As tragic figures?

JV: Yeah, as totally tragic figures. I appreciate that. I take no pleasure in saying that, but I also believe they are important. The figures that go outside—let’s say GG Allin or Penderetsky in the world of classical music—people who are so far outside of the normal boundaries of behavior and communication, it in some way enlarges the size of your landscape, and it’s beautiful. I know it sounds weird to say that, but it is.

DS: They are examples, as well. I recently covered for Wikinews the Iranian President speaking at Columbia and a student named Matt Glick told me that he supported the Iranian President speaking so that he could protest him, that if we don’t give a platform and voice for people, how can we say that they are wrong? I think it’s almost the same thing; they are beautiful as examples of how living a certain way can destroy you, and to look at them and say, “Don’t be that.”

JV: Absolutely, and let me tell you where I’m coming from. I don’t do drugs, I drink maybe three or four times a year. I don’t have any problematic relationship to drugs because there has been a history around me, like probably any musician or creative person, of just blinding array of drug abuse and problems. For me, I am a little bit of a control freak and I don’t have those issues. I just shut those doors. But I also understand and I am very sympathetic to someone who does not shut that door, but goes into that room and stays.

DS: Is it a problem for you to work with people who are using drugs?

JV: I would never work with them. It is a very selfish decision to make and usually those people are total energy vampires and they will take everything they can get from you. Again, this is all in theory…I love that stuff in theory. If Amy Winehouse was my girlfriend, I would probably not be very happy.

DS: Your latest CD is Emerald City and that is an allusion to the compound that we created in Baghdad. How has the current political client affected you in terms of your music?

JV: In some ways, both Pixel Revolt and Emerald City were born out of a recharged and re-energized position of my being….I was so beaten down after the 2000 election and after 9/11 and then the invasion of Iraq, Afghanistan; I was so depleted as a person after all that stuff happened, that I had to write my way out of it. I really had to write political songs because for me it is a way of making sense and processing what is going on. The question I’m asked all the time is do I think is a responsibility of people to write politically and I always say, My God, no. if you’re Morrissey, then you write Morrissey stuff. If you are Dan Bejar and Destroyer, then you are Dan Bejar and you are a fucking genius. Write about whatever it is you want to write about. But to get out of that hole I had to write about that.

DS: There are two times I felt deeply connected to New York City, and that was 9/11 and the re-election of George Bush. The depression of the city was palpable during both. I was in law school during the Iraq War, and then when Hurricane Katrina hit, we watched our countrymen debate the logic of rebuilding one of our most culturally significant cities, as we were funding almost without question the destruction of another country to then rebuild it, which seems less and less likely. Do you find it is difficult to enjoy living in America when you see all of these sorts of things going on, and the sort of arguments we have amongst ourselves as a people?

JV: I would say yes, absolutely, but one thing changed that was very strange: I fell in love with a French girl and the genesis of Emerald City was going through this visa process to get her into the country, which was through the State Department. In the middle of process we had her visa reviewed and everything shifted over to Homeland Security. All of my complicated feelings about this country became even more dour and complicated, because here was Homeland Security mailing me letters and all involved in my love life, and they were grilling my girlfriend in Paris and they were grilling me, and we couldn’t travel because she had a pending visa. In some strange ways the thing that changed everything was that we finally got the visa accepted and she came here. Now she is a Parisian girl, and it goes without saying that she despises America, and she would never have considered moving to America. So she moves here and is asking me almost breathlessly, How can you allow this to happen

DS: –you, John Vanderslice, how can you allow this—

JV: –Me! Yes! So for the first time in my life I wouldn’t say I was defending the country but I was in this very strange position of saying, Listen, not that many people vote and the churches run fucking everything here, man. It’s like if you take out the evangelical Christian you have basically a progressive western European country. That’s all there is to it. But these people don’t vote, poor people don’t vote, there’s a complicated equation of extreme corruption and voter fraud here, and I found myself trying to rattle of all the reasons to her why I am personally not responsible, and it put me in a very interesting position. And then Sarkozy got elected in France and I watched her go through the same horrific thing that we’ve gone through here, and Sarkozy is a nut, man. This guy is a nut.

DS: But he doesn’t compare to George Bush or Dick Cheney. He’s almost a liberal by American standards.

JV: No, because their President doesn’t have much power. It’s interesting because he is a WAPO right-wing and he was very close to Le Pen and he was a card-carrying straight-up Nazi. I view Sarkozy as somewhat of a far-right candidate, especially in the context of French politics. He is dismantling everything. It’s all changing. The school system, the remnants of the socialized medical care system. The thing is he doesn’t have the foreign policy power that Bush does. Bush and Cheney have unprecedented amounts of power, and black budgets…I mean, come on, we’re spending half a trillion dollars in Iraq, and that’s just the money accounted for.

DS: What’s the reaction to you and your music when you play off the coasts?

JV: I would say good…

DS: Have you ever been Dixiechicked?

JV: No! I want to be! I would love to be, because then that means I’m really part of some fiery debate, but I would say there’s a lot of depressed in every single town. You can say Salt Lake City, you can look at what we consider to be conservative cities, and when you play those towns, man, the kids that come out are more or less on the same page and politically active because they are fish out of water.

DS: Depression breeds apathy, and your music seems geared toward anger, trying to wake people from their apathy. Your music is not maudlin and sad, but seems to be an attempt to awaken a spirit, with a self-reflective bent.

JV: That’s the trick. I would say that honestly, when Katrina happened, I thought, “okay, this is a trick to make people so crazy and so angry that they can’t even think. If you were in a community and basically were in a more or less quasi-police state surveillance society with no accountability, where we are pouring untold billions into our infrastructure to protect outside threats against via terrorism, or whatever, and then a natural disaster happens and there is no response. There is an empty response. There is all these ships off the shore that were just out there, just waiting, and nobody came. Michael Brown. It is one of the most insane things I have ever seen in my life.

DS: Is there a feeling in San Francisco that if an earthquake struck, you all would be on your own?

JV: Yes, of course. Part of what happened in New Orleans is that it was a Catholic city, it was a city of sin, it was a black city. And San Francisco? Bush wouldn’t even visit California in the beginning because his numbers were so low. Before Schwarzenegger definitely. I’m totally afraid of the earthquake, and I think everyone is out there. America is in the worst of both worlds: a laissez-fare economy and then the Grover Norquist anti-tax, starve the government until it turns into nothing more than a Argentinian-style government where there are these super rich invisible elite who own everything and there’s no distribution of wealth and nothing that resembles the New Deal, twentieth century embracing of human rights and equality, war against poverty, all of these things. They are trying to kill all that stuff. So, in some ways, it is the worst of both worlds because they are pushing us towards that, and on the same side they have put in a Supreme Court that is so right wing and so fanatically opposed to upholding civil rights, whether it be for foreign fighters…I mean, we are going to see movement with abortion, Miranda rights and stuff that is going to come up on the Court. We’ve tortured so many people who have had no intelligence value that you have to start to look at torture as a symbolic and almost ritualized behavior; you have this…

DS: Organ failure. That’s our baseline…

JV: Yeah, and you have to wonder about how we were torturing people to do nothing more than to send the darkest signal to the world to say, Listen, we are so fucking weird that if you cross the line with us, we are going to be at war with your religion, with your government, and we are going to destroy you.

DS: I interviewed Congressman Tom Tancredo, who is running for President, and he feels we should use as a deterrent against Islam the bombing of the Muslim holy cities of Mecca and Medina.

JV: You would radicalize the very few people who have not been radicalized, yet, by our actions and beliefs. We know what we’ve done out there, and we are going to paying for this for a long time. When Hezbollah was bombing Israel in that border excursion last year, the Hezbollah fighters were writing the names of battles they fought with the Jews in the Seventh Century on their helmets. This shit is never forgotten.

DS: You read a lot of the stuff that is written about you on blogs and on the Internet. Do you ever respond?

JV: No, and I would say that I read stuff that tends to be . I’ve done interviews that have been solely about film and photography. For some reason hearing myself talk about music, and maybe because I have been talking about it for so long, it’s snoozeville. Most interviews I do are very regimented and they tend to follow a certain line. I understand. If I was them, it’s a 200 word piece and I may have never played that town, in Des Moines or something. But, in general, it’s like…my band mates ask why don’t I read the weeklies when I’m in town, and Google my name. It would be really like looking yourself in the mirror. When you look at yourself in the mirror you are just error-correcting. There must be some sort of hall of mirrors thing that happens when you are completely involved in the Internet conversation about your music, and in some ways I think that I’m very innocently making music, because I don’t make music in any way that has to do with the response to that music. I don’t believe that the response to the music has anything to do with it. This is something I got from John Cage and Marcel Duchamp, I think the perception of the artwork, in some ways, has nothing to do with the artwork, and I think that is a beautiful, glorious and flattering thing to say to the perceiver, the viewer of that artwork. I’ve spent a lot of time looking at Paul Klee‘s drawings, lithographs, watercolors and paintings and when I read his diaries I’m not sure how much of a correlation there is between what his color schemes are denoting and what he is saying and what I am getting out of it. I’m not sure that it matters. Inland Empire is a great example. Lynch basically says, I don’t want to talk about it because I’m going to close doors for the viewer. It’s up to you. It’s not that it’s a riddle or a puzzle. You know how much of your own experience you are putting into the digestion of your own art. That’s not to say that that guy arranges notes in an interesting way, and sings in an interesting way and arranges words in an interesting way, but often, if someone says they really like my music, what I want to say is, That’s cool you focused your attention on that thing, but it does not make me go home and say, Wow, you’re great. My ego is not involved in it.

DS: Often people assume an artist makes an achievement, say wins a Tony or a Grammy or even a Cable Ace Award and people think the artist must feel this lasting sense of accomplishment, but it doesn’t typically happen that way, does it? Often there is some time of elation and satisfaction, but almost immediately the artist is being asked, “Okay, what’s the next thing? What’s next?” and there is an internal pressure to move beyond that achievement and not focus on it.

JV: Oh yeah, exactly. There’s a moment of relief when a mastered record gets back, and then I swear to you that ten minutes after that point I feel there are bigger fish to fry. I grew up listening to classical music, and there is something inside of me that says, Okay, I’ve made six records. Whoop-dee-doo. I grew up listening to Gustav Mahler, and I will never, ever approach what he did.

DS: Do you try?

JV: I love Mahler, but no, his music is too expansive and intellectual, and it’s realized harmonically and compositionally in a way that is five languages beyond me. And that’s okay. I’m very happy to do what I do. How can anyone be so jazzed about making a record when you are up against, shit, five thousand records a week—

DS: —but a lot of it’s crap—

JV: —a lot of it’s crap, but a lot of it is really, really good and doesn’t get the attention it deserves. A lot of it is very good. I’m shocked at some of the stuff I hear. I listen to a lot of music and I am mailed a lot of CDs, and I’m on the web all the time.

DS: I’ve done a lot of photography for Wikipedia and the genesis of it was an attempt to pin down reality, to try to understand a world that I felt had fallen out of my grasp of understanding, because I felt I had no sense of what this world was about anymore. For that, my work is very encyclopedic, and it fit well with Wikipedia. What was the reason you began investing time and effort into photography?

JV: It came from trying to making sense of touring. Touring is incredibly fast and there is so much compressed imagery that comes to you, whether it is the window in the van, or like now, when we are whisking through the Northeast in seven days. Let me tell you, I see a lot of really close people in those seven days. We move a lot, and there is a lot of input coming in. The shows are tremendous and, it is emotionally so overwhelming that you can not log it. You can not keep a file of it. It’s almost like if I take photos while I am doing this, it slows it down or stops it momentarily and orders it. It has made touring less of a blur; concretizes these times. I go back and develop the film, and when I look at the tour I remember things in a very different way. It coalesces. Let’s say I take on fucking photo in Athens, Georgia. That’s really intense. And I tend to take a photo of someone I like, or photos of people I really admire and like.

DS: What bands are working with your studio, Tiny Telephone?

JV: Death Cab for Cutie is going to come back and track their next record there. Right now there is a band called Hello Central that is in there, and they are really good. They’re from L.A. Maids of State was just in there and w:Deerhoof was just in there. Book of Knotts is coming in soon. That will be cool because I think they are going to have Beck sing on a tune. That will be really cool. There’s this band called Jordan from Paris that is starting this week.

DS: Do they approach you, or do you approach them?

JV I would say they approach me. It’s generally word of mouth. We never advertise and it’s very cheap, below market. It’s analog. There’s this self-fulfilling thing that when you’re booked, you stay booked. More bands come in, and they know about it and they keep the business going that way. But it’s totally word of mouth.
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Four dead, more than a million in U.S. without power after Pacific Northwest storm

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Four dead, more than a million in U.S. without power after Pacific Northwest storm

Friday, December 15, 2006

High winds and heavy rains have left 4 people dead, and much of the Seattle, Washington area is without electrical power. A number of large trees have been downed and heavy rains have caused minor flooding in many areas of the city. According to first-hand reports as many as 1 million people and several large organizations such as Microsoft are without power this morning.

Flood, storm, and strong wind watches were in effect last night as a rare thunderstorm system moved into the Pacific Northwest region, hitting areas from Seattle to Portland with high winds and heavy rains. Interstate 5 through Seattle was closed at its intersection with Mercer Street due to standing water. The State Route 520 floating bridge, a major conduit across Lake Washington to the technology-rich Eastside was closed and its drawspan opened to protect it from storm damage well into Friday. Local roads throughout the region were strewn with debris, especially evergreen branches and leaves. Authorities advised people to stay off the roads.

Four deaths were reported in connection with the storm as of Friday. A Seattle woman died in the basement of her home after floodwaters caused the basement door to close and jam shut. Two others died in outlying areas after tall Northwest evergreens fell on their vehicles, and a man in Grays Harbor, near the Pacific coast, died in his sleep after a tree fell on his mobile home. KOMO news reported a caller saying a 100-foot evergreen had fallen into his house.

Downed trees and high winds also brought down powerlines throughout Western Washington. Seattle City Light, the municipal electric utility for the city, reported a peak of 175,000 customers without power, most in the north and south ends of the city, as well as the east edge of town and the Green Lake area.

Puget Sound Energy, the electric utility for much of the Seattle metro area, reported 700,000 customers (over 66%) without power, with the area around Seattle the worst hit. PSE, which had already enlisted additional powerline workers from neighboring states, did not send crews out until mid Friday morning due to continued high winds. Estimates for power restoration were anywhere from a few days to over a week. Island County, at the mouth of Puget Sound, was completely without power.

Schools in Seattle and throughout its suburbs were closed Friday, many due to power outages. The city of Mercer Island, connected to the mainland only by Interstate 90, is reportedly inaccessible.

The Seattle Post-Intelligencer failed to print due to power failures at the printing facility, which had redundant power feeds from both the Seattle utility as well as PSE. It is the first time in 70 years that the paper has not been printed. The Seattle Times, a competing paper under a joint operating agreement, managed to print only 13,000 copies of its regular circulation of over 200,000. The papers located alternate facilities to print a reduced version of their Saturday editions, and their joint Sunday issue was also expected to be reduced.

At Sea-Tac Airport, three terminals were shut down overnight due to the storm. Concourse A and the South Satellite terminal lost power, and a blown-out window caused Concourse C to also close. All terminals were back in working order by midday Friday. Many flights were delayed or cancelled. Likewise, in Oregon, Portland International Airport reported at least 40 flights cancelled. At Seattle’s Boeing Field, winds flipped a private plane over, colliding with another plane.

The Seattle Seahawks vs. San Francisco 49ers football game was delayed 15 minutes. A pre-game power surge temporarily took the Qwest Field’s video displays offline. The gridiron was plagued by standing water, as the stadium’s loudspeakers played “Who’ll Stop The Rain?” shortly before kickoff.

Thursday night’s storm comes after a previous regional storm in the Seattle area earlier in the week, in which trees in a few Seattle suburbs fell onto roads, powerlines, and two school buses. In those incidents no one was hurt, and there were a few spotty power outages.

This is the second serious storm to hit the Northwest since Thanksgiving, In late November, record-setting snowfall had a similar disabling effect on the region.

 This story has updates See Emergency declared in US state of Washington, eight additional casualties, many still without power 
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Astronomer tells Wikinews about discovery of closest black hole known so far

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Astronomer tells Wikinews about discovery of closest black hole known so far

Friday, May 22, 2020

A study published in journal Astronomy & Astrophysics last month reported astronomers from the European Southern Observatory (ESO) and elsewhere discovered a black hole in the Telescopium constellation. The study stated the black hole is about 1010 ± 195 light years (310 ± 60 parsec) away from the Solar System, meaning it is the nearest known black hole from the Earth. The nearest previously known black hole — V616 Mon — the study noted was usually estimated at more than 3000 light years away.

The black hole described in the study is located in the HR 6819 stellar system of Telescopium constellation, making it the first system visible to the naked eye to contain a black hole. HR 6819 contains two stars, and they are visible from the Southern Hemisphere. The astronomers started observing the system in 1999. Initially, they thought it was just a binary system, consisting of two stars. However, upon examination, the researchers concluded there was a third unseen object in the system. One of the two stars in the HR 6819 system is close to the black hole and orbits the black hole in just 40.333 ± 0.004 days.

This newly discovered black hole does not have an accretion disk. A black hole forms an accretion disk when a significant amount of matter orbits the black hole, as depicted in the image. Accretion disks often emit electromagnetic radiation. Since this black hole does not have an accretion disk, researchers had to rely on the gravitational effect of the black hole on the nearby star in order to discover it.

Researchers used the binary mass function to conclude the black hole had a mass of at least 4.2 M? (Solar masses; 1 Solar mass = mass of the Sun). Its companion star, which orbits the black hole in about 40 days, is classified as a B3 III star. The outer star is classified as a Be star. Be stars rotate very quickly around their axes. Since the outer star rotates so rapidly, the star is not exactly spherical, but instead oblate, bulged at its equator, forming a gas disk around the equator.

The research suggested HR 6819 was very similar to another system LB-1. The HR 6819 system is estimated to be between 15–75 million years old (myr). The inner star has estimated mass of at least 6.3 ± 0.7 M?. Using the mass and the speed at which the inner star rotates, the researchers concluded the black hole had an estimated mass of 5.0 ± 0.4 M?. Researcher and co-author of the study Thomas Rivinius told Wikinews the inner star and the black hole are closer than the Sun and the Earth (1au; 150 million km; 93 million miles).

The researchers dedicated the paper to Stanislav Štefl, one of the fellow researchers who died in a car accident in 2014 in Santiago, Chile.

Wikinews caught up with Thomas Rivinius to discuss about this discovery.

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The Evolution Of Furniture Style

The Evolution of Furniture Style

by

Louisa Coan

Furniture is a collective noun that groups objects like beds, chairs, tables, cupboards, etc. These objects help humans in their day-to-day activities of eating, sleeping, writing, storing things, etc. Furniture is used by people to render convenience and safety.

Furniture can be made of materials like plastic, wood, stone, and metal. The furniture in a home is usually reflective of the local culture and practices and the weather and the climatic conditions that are prevalent locally. People started using furniture ever since man stopped roaming around and settled in a place, and set up a house to continue living. This necessitated the requirement for storing objects.

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The design and material used for furniture has evolved through the different periods. The Neolithic period had its own furniture in the form of wall paintings. It was also marked by the use stone furniture. Stone seats, tables, and cupboards were common. The Middle Ages sported furniture made of oak wood. The furniture was carved, ornamental, gilded with gold, and heavy.

The type of furniture also differed from place to place depending on the wood and other raw material available. American furniture primarily used walnut wood or the cherry wood. The Asian countries used a lot of furniture with bamboo and teak, Heavy lacquers were also used in Chinese design furniture.

Modern furniture is built with a whole range of new materials including laminated ply-woods, plastic, and metal. The designs have also changed according to the necessity of space, cost, and environment. Contemporary designs use straight lines and materials like steel for office and home furniture. Powder coated aluminum extrusions are also used for lightweight furniture.

Luxury furniture sports leather coverings and upholstered sofa sets. Premium glass is used to manufacture tables and other decorative pieces. There are different design aspects that go into the design and manufacture of office furniture, home furniture, etc. Eco-friendly materials like terracotta and bamboo are used in plenty in the manufacture of modern furniture.

Specialized design attention is paid to furniture that adorns kitchens and bathrooms. Stylized and utility cabinets are designed especially for modern kitchens to sport themed looks. Marble and granite stones are increasingly being used for table and countertops for ease of maintenance and long life. The costs of material used for the making of furniture have increased because of the demand and availability. There are consultants whose services are available to help an individual choose the right kind of furniture suited to his/her requirement and budget.

Louisa Coan is writing on behave of Design Spree, who are a stylish furniture outlet in New Jersey near Philadelphia and Bucks County and offer

Furniture Stores New Jersey

and

Furniture Bucks County

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The Evolution of Furniture Style

Manitoba volunteers go to war against Red River flooding

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Manitoba volunteers go to war against Red River flooding
April 28th, 2021 in Uncategorized | No Comments

Monday, April 6, 2009

Over 1,600 volunteers registered to help build approximately 65,000 of the 500,000 sandbags to create dikes 20.5 feet (6.2 meters) high to protect the City of Winnipeg, Manitoba in the war against the Red River of the North flood.

700 volunteers answered at the rural municipality of St. Andrews alone. Once sandbags are filled for West St. Paul, St. Andrews, and Selkirk, then frozen culverts must be cleared.

The height of the river is expected to be Thursday, and predictions are that it will be less than Flood of the Century of 1997. There is no precipitation in the forecast, and snow in the province should be melted by the end of the week.

“The fear right now is we have to get that ice out of the river. The Amphibex [Excavators] are still working and breaking the ice apart, and everyday we buy with the warm weather and the current, it is thinning the ice down a bit, so when it does start to move, the better chance it’ll move right out into the lake,” said Paul Guyder, the emergency coordinator for the RMs of St. Andrews and St. Clements.

“I feel that we’ve done everything humanly possible to get ready,” said Gary Doer, Premier of Manitoba, “But … there are fallibilities with human behaviour. We can take every preventative measure as human beings possible and we can still get Mother Nature proving again she is superior.”

Communities with ring diking will partially or fully close their dikes at the beginning of the week. Provincial officials are considering opening the Red River Floodway gates around mid-week before ice is fully melted.

Ice jams could cause flooding within the city, however opening the gates could spare neighbourhood flooding when the river rises to the estimated 6.3 meters (20.7 feet) height. The province does have back up plans for dealing with ice jams within the city if they do occur. The unpredictability of ice jams and the ensuing water level rise may cause neighbourhood flooding. The city is raising dikes where the river has jammed with ice in the past such as on tight curves and past bridges. Likewise there are excavators and backhoes positioned at these points.

Vulnerable neighbourhoods on the river banks have been reinforced with sandbag dikes at vulnerable areas from the massive volunteer effort over the weekend. Guyader feels no more extra volunteers are needed, however volunteers are still being asked to leave their names and number in case of unpredicted need. Existing personnel will assess roads, and help with clean up.

Approximately 400 of the 800 people who evacuated the Roseau River Anishinabe First Nation have returned to their homes.

Former Premier, Dufferin Roblin, brought forward the floodway as a protection for Winnipeg residents and economy following the 1950 Red River Flood. The Red River floodway, “Duff’s Ditch” was finally finished in 1968, and its floodway gates have been opened 20 times saving Winnipeg from an estimated CA$10 billion in damages. The floodway expansion began in 2005 at a price of $665 million.

Polish and Chinese experts have come to survey the Red River Floodway, and Dennis Walaker, mayor of Fargo, North Dakota recognises the need for Red River flood defences down river. “Every town that you drive by from the Canadian line up to Winnipeg is either elevated or ring-diked,” said Walaker.

Retrieved from “https://en.wikinews.org/w/index.php?title=Manitoba_volunteers_go_to_war_against_Red_River_flooding&oldid=804210”

Saturn moon Enceladus may have salty ocean

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Saturn moon Enceladus may have salty ocean
April 28th, 2021 in Uncategorized | No Comments

Thursday, June 23, 2011

NASA’s Cassini–Huygens spacecraft has discovered evidence for a large-scale saltwater reservoir beneath the icy crust of Saturn’s moon Enceladus. The data came from the spacecraft’s direct analysis of salt-rich ice grains close to the jets ejected from the moon. The study has been published in this week’s edition of the journal Nature.

Data from Cassini’s cosmic dust analyzer show the grains expelled from fissures, known as tiger stripes, are relatively small and usually low in salt far away from the moon. Closer to the moon’s surface, Cassini found that relatively large grains rich with sodium and potassium dominate the plumes. The salt-rich particles have an “ocean-like” composition and indicate that most, if not all, of the expelled ice and water vapor comes from the evaporation of liquid salt-water. When water freezes, the salt is squeezed out, leaving pure water ice behind.

Cassini’s ultraviolet imaging spectrograph also recently obtained complementary results that support the presence of a subsurface ocean. A team of Cassini researchers led by Candice Hansen of the Planetary Science Institute in Tucson, Arizona, measured gas shooting out of distinct jets originating in the moon’s south polar region at five to eight times the speed of sound, several times faster than previously measured. These observations of distinct jets, from a 2010 flyby, are consistent with results showing a difference in composition of ice grains close to the moon’s surface and those that made it out to the E ring, the outermost ring that gets its material primarily from Enceladean jets. If the plumes emanated from ice, they should have very little salt in them.

“There currently is no plausible way to produce a steady outflow of salt-rich grains from solid ice across all the tiger stripes other than salt water under Enceladus’s icy surface,” said Frank Postberg, a Cassini team scientist at the University of Heidelberg in Germany.

The data suggests a layer of water between the moon’s rocky core and its icy mantle, possibly as deep as about 50 miles (80 kilometers) beneath the surface. As this water washes against the rocks, it dissolves salt compounds and rises through fractures in the overlying ice to form reserves nearer the surface. If the outermost layer cracks open, the decrease in pressure from these reserves to space causes a plume to shoot out. Roughly 400 pounds (200 kilograms) of water vapor is lost every second in the plumes, with smaller amounts being lost as ice grains. The team calculates the water reserves must have large evaporating surfaces, or they would freeze easily and stop the plumes.

“We imagine that between the ice and the ice core there is an ocean of depth and this is somehow connected to the surface reservoir,” added Postberg.

The Cassini mission discovered Enceladus’ water-vapor and ice jets in 2005. In 2009, scientists working with the cosmic dust analyzer examined some sodium salts found in ice grains of Saturn’s E ring but the link to subsurface salt water was not definitive. The new paper analyzes three Enceladus flybys in 2008 and 2009 with the same instrument, focusing on the composition of freshly ejected plume grains. In 2008, Cassini discovered a high “density of volatile gases, water vapor, carbon dioxide and carbon monoxide, as well as organic materials, some 20 times denser than expected” in geysers erupting from the moon. The icy particles hit the detector target at speeds between 15,000 and 39,000 MPH (23,000 and 63,000 KPH), vaporizing instantly. Electrical fields inside the cosmic dust analyzer separated the various constituents of the impact cloud.

“Enceladus has got warmth, water and organic chemicals, some of the essential building blocks needed for life,” said Dennis Matson in 2008, Cassini project scientist at NASA’s Jet Propulsion Laboratory in Pasadena, California.

“This finding is a crucial new piece of evidence showing that environmental conditions favorable to the emergence of life can be sustained on icy bodies orbiting gas giant planets,” said Nicolas Altobelli, the European Space Agency’s project scientist for Cassini.

“If there is water in such an unexpected place, it leaves possibility for the rest of the universe,” said Postberg.

Retrieved from “https://en.wikinews.org/w/index.php?title=Saturn_moon_Enceladus_may_have_salty_ocean&oldid=4453704”

Signs It’s Time For Single Hung Window Replacement In St Paul

April 27th, 2021 in Dinnerware | No Comments

byadmin

The right residential windows can make all the difference when it comes to security, energy-efficiency, and aesthetic appeal. Single hung windows are a popular choice for any home, as they offer a traditional aesthetic in addition to a high degree of home security, but even well-constructed single hung windows can’t last forever. Read on to find out about a few common signs that it’s time for Single Hung Window Replacement in St Paul.

Difficult to Open and Close

As with any windows, single hung windows should always be easy for any inhabitants to open and close from the inside. Unfortunately, older windows often have issues with their balance mechanisms, causing windows to slam shut without any warning at all. This can pose a serious safety hazard to the household’s inhabitants and their guests, so it’s best to have these older, faulty windows replaced with new ones as soon as possible.

Frequent Condensation

No matter what type of windows a house features, there should never be condensation or fog in between panes of glass. This moisture accumulation is usually caused by a failing window seal, and without that seal, windows can’t operate at optimum energy efficiency. Failing seals don’t always lead to noticeable condensation, though, so homeowners may also want to keep an eye out for a white film on their glass, which usually indicates that calcium deposits are building up due to excess condensation.

Energy Inefficiency

While modern windows are designed to provide a highly efficient heat barrier, often featuring double or triple-paned glass for maximum energy efficiency, older single hung windows were not as effective as their modern equivalents. Any homeowner with windows that are more than a few years old might want to consider calling a professional for Single Hung Window Replacement in St Paul to discover whether replacing their windows might help them lower their monthly heating and cooling bills.

Learn More Today

Know it’s time for new windows, but not sure how to get started? There is one local company that can help. Learn more about us online, check out the current specials and available financing, or call to schedule a free consultation today.

Explicit Canadian workplace safety ads pulled from TV due to Christmas season

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Explicit Canadian workplace safety ads pulled from TV due to Christmas season
April 27th, 2021 in Uncategorized | No Comments

Thursday, December 13, 2007

Controversial and explicit Canadian workplace safety ads have been pulled from television, and paper ads from some bus shelters for the Christmas season. However, the ads will return to air in January.

“It’s totally erroneous to suggest we’re pulling anything,” chairman of the Workplace Safety and Information Board of Ontario, Steve Mahoney said. “Our plan from Day 1 was to stop the ads around the middle of December when most of the advertising that’s in the media is focused on Christmas and purchasing gifts. We just didn’t want to be competing with all that stuff.”

In one of the TV ads a woman accidentally slips on grease on the floor and a large steaming pot falls onto her face, and she starts screaming to death. The ads end with the message “There really are no accidents”.

A paper ads shows a construction worker who is in a pool of blood with a forklift operation manual stuck in his chest. Another with a man who is slit by a “Danger” sign with his leg stuck in a machine. They show the messages: “Lack of training can kill” and the other “Ignoring safety procedures can kill”.

“The critics amount to about 25 per cent rating, and I’m delighted they’re upset about the ads because I wouldn’t want anyone to enjoy watching them.”

The videos have been viewed more than 70,000 times on the Board’s website and are gaining large amounts of views on YouTube.

The transit authorities of Hamilton and Mississauga will show modified advertisements. The transit authority of Guelph will show the ads in bus shelters, but the transit authority of Windsor will not because of the graphic nature.

“We’re not against workplace safety, but this is too graphic,” said Caroline Postma, chair of the Transit Windsor board.

Mississauga city councillour Carolyn Parrish said: “My son-in-law was telling me that they shouldn’t be on in prime time because when [my grandson] watches them he just about bursts into tear. Now he follows his mom around the kitchen to make sure she doesn’t spill grease. And he’s only four. There’s too much of a chance that … people are really badly affected by it, and can’t really do anything about it anyway.” She suggested the ads only be aired to workers with the jobs shown in the commercials.

Mahoney changed the earlier promise to air the ads only after 8:00pm to after 9:00pm at last nights meeting with Mississauga city council.

Mahoney said the commercials and paper ads are not “too graphic at all”. And they are “absolutely appropriate and they’re doing what they’re intended to do, they’re creating what I call a water cooler topic of conversation.”

Ninety-eight Canadian workers so far have been killed on the job this year.

Retrieved from “https://en.wikinews.org/w/index.php?title=Explicit_Canadian_workplace_safety_ads_pulled_from_TV_due_to_Christmas_season&oldid=2566051”

Category:Education

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Category:Education
April 27th, 2021 in Uncategorized | No Comments

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Ontario Votes 2007: Interview with NDP candidate Glenn Crowe, Bramalea-Gore-Malton

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Ontario Votes 2007: Interview with NDP candidate Glenn Crowe, Bramalea-Gore-Malton
April 26th, 2021 in Uncategorized | No Comments

Thursday, October 4, 2007

Glenn Crowe is running for the NDP in the Ontario provincial election, in the Bramalea-Gore-Malton riding. Wikinews’ Nick Moreau interviewed him regarding his values, his experience, and his campaign.

Crowe did not reply to various questions asked.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.

Retrieved from “https://en.wikinews.org/w/index.php?title=Ontario_Votes_2007:_Interview_with_NDP_candidate_Glenn_Crowe,_Bramalea-Gore-Malton&oldid=704112”