good-buy-site.com

Friday, August 18, 2006

Web.com, a web-hosting and online services company, has released its second quarter financial results and associated statements – and it’s clear that the company has experienced both the ups and downs of executing on its goals.

On the upside, the company achieved an industry-first achievement of securing a non-exclusive license agreement with Hostopia.com Inc. last month. The agreement granted Hostopia rights to two of Web.com’s patents over five years on a non-transferable basis. The specific licensed patents were U.S. Patent numbers 5,680,152 and 6,789,103 and broadly cover methods for website building and web hosting control panels. Importantly for revenues, the license agreement states that Hostopia will pay Web.com a royalty equal to 10% of their gross U.S. retail revenues for five years.

On the downside, the company failed to deliver on the expected and announced acquisition of Houston-based WebSource Media – a business offering “easy and affordable built-to-order websites”. The announced acquisiton was to have added about $9 million in annual revenue to Web.com.

However, according to published reports from Web.com, the company filed to rescind its acquisition of WebSource media just about one month after the announcement. This action was taken after the Federal Trade Commission filed a sealed action in the United States District Court for the Southern District of Texas against WebSource Media, L.L.C. and its members – alleging unfair and deceptive acts and business practices prior to the acquisition.

In a press release issued by Web.com, President and CEO Jeff Stibel discussed the effects of the rescinded acquisition on the second quarter resutls, “Web.com continued to drive subscriber growth across its core website and web services plans by refining our sales and marketing efforts and working closely with strategic distribution partners. While we had unfortunate news about an acquisition we made during the quarter, the company has moved on and is working on further solidifying its position as a leader in the industry.”

On the financial side of the report, Web.com reported that total revenues for the quarter were $12.1 million, down from $12.3 million in the first quarter of 2006. The second quarter marked the last quarter of recognizing Verizon revenues (a deal that was initially cancelled in December 2004 and terminated in the second quarter of 2006).

On the organic customer acquisition side of the equation, the company reported that net subscribers totaled approximately 148,000 for the quarter, down from approximately 149,000 in the first quarter of 2006. The reduction in the second quarter as compared to the first quarter includes the loss of approximately 3,200 Verizon subscribers. Excluding the loss of Verizon subscribers, the company added approximately 1,600 subscribers in the quarter.

Friday, October 26, 2007

Matthew Locke, an Australian special forces soldier with the Special Air Service Regiment (SAS) has been shot and killed while taking part in a 300-man special operatives attack against the Taliban in Afghanistan. The death, Australia’s third combat soldier death since the Vietnam War, is the second to occur in October.

The soldier, believed to be employed in Perth, Australia in the State of Western Australia and married with an unknown amount of children, was immediately lifted from the scene by the aero-medical helicopter evacuation team and was pronounced dead early this morning after suffering critical wounds throughout his chest. It is reported that he had received “high bravery honors” just before the battle.

Air Chief Marshal Angus Houston was quoted saying fine details of the operation, which took place in the Or?zg?n Province, would not be released as it would “aid the Taliban [and] … add to the dangers already facing our special operations troops.”

“The soldier’s mates reacted to the incident by extracting the soldier from further danger and providing immediate first aid. Their courage under fire and their determination to help a fallen mate is to be commended,” added Houston who also stated that no other soldiers were injured or wounded during the fighting.

Saturday, June 2, 2007

Thirty-five square kilometers, or 13.5135755 square miles, or 3,500 hectares or 8,648.68835 acres.

However you figure it, it’s a sizeable chunk of land.

And it’s missing from Cambodia on the website for the Association of Southeast Asian Nations, or ASEAN, a 10-member regional body of which Cambodia is a member.

The apparent rounding down of Cambodia’s territory, 181,035 square kilometers, on the ASEAN website, has some Cambodian lawmakers up in arms.

Parliamentarian Keo Remy, a member of the opposition Sam Rainsy Party, is calling for the ASEAN website to be blocked by Cambodia’s Ministry of Posts and Telecommunications if the number is not corrected.

“We know that Cambodia has border disputes with its neighbors, and Khmer citizens are paying attention on these issues. We cannot accept such incorrect points. The most important thing is that the government should close this web site,” Keo was quoted as saying by the Khmer-language daily newspaper Kampuchea Thmey.

Though Keo acknowledged the error could be an honest, if careless, mistake, he said it could mean something more sinister – that ASEAN is trying to undermine Cambodia’s sovereignty, and that perhaps ASEAN is working for neighboring nations. It could even be treasonous, he said.

“If it was intentional and perpetrated by a Cambodian, this is treason. It is like not knowing your own parents,” Keo was quoted as saying by Deutsche Presse-Agentur.

Other lawmakers also called on the Cambodian government to take action.

“The royal government must react urgently, especially the Ministry of Foreign Affairs and International Cooperation,” Monh Saphan, a Funcinpec parliamentarian was quoted as saying by Kampuchea Thmey. “The website [must] be corrected, because it affects the territorial integrity of the Kingdom of Cambodia.”

And non-governmental organization leaders weighed in.

“The state’s figure is more important and appropriate than figures of other organizations. Therefore, we should urge the government to check this issue,” Seng Theary, executive director of the Center for Social Development, told Kampucha Thmey. “We also wonder where ASEAN got this figure.”

Kek Galabru, president of the Cambodian League for the Promotion and Defense of Human Rights, said that incorrect figure is most likely a mistake, but said the government should investigate it. “Otherwise a small problem might turn into a bigger issue,” she said.

Government spokesman and Information Minister Khieu Kanharith said he would investigate, and called for cooler heads in the meantime.

Border disputes are a hot-button political issue in Cambodia, which has some long-standing unresolved boundary conflicts with neighbors Thailand and Vietnam.

Cambodia joined ASEAN in 1999, the last country to gain admittance to the regional geo-political and economic body for Southeast Asia. It was founded in 1967 by Indonesia, Malaysia, the Philippines, Singapore and Thailand. Other members are Brunei, Laos, Myanmar and Vietnam.

Sunday, December 5, 2010

The controversial plan to raise university tuition fees in England and Wales will be voted on in the House of Commons on Thursday, December 9. The policy has been the cause of protests across the United Kingdom by students, some of which have turned violent. It has also been a source of considerable criticism and political difficulties for the Liberal Democrats and has raised questions as to the long-term viability of the Coalition government.

The new policy on tuition fees will allow universities to double the current tuition fees from £3,290 per year to around £6,000 per year, as well as allowing some universities to get special approval from the Office For Fair Access (OFFA) to raise their fees to £9,000 per year. If passed, the new fee structure will apply starting in the academic year of 2012/2013. The vote on Thursday will only be on the fee rise, with other matters being voted on in the new year following publication of a new higher education white paper.

In addition to increasing fees, the policy will increase the payment threshold at which payment is made. It is currently set at £15,000 and will rise to £21,000, but the interest rate will also rise. It is currently 1.5% but will now vary from between 0% and 3% plus inflation (using the Retail Price Index).

The fee increase follows the publication of an independent review by Lord Browne, former chief executive of BP, a process started by Peter Mandelson, the former Business Secretary. Before the election, two main options were mooted for funding reform in higher education: either an increase in tuition fees or a graduate tax. The Browne Review endorsed the former and the findings of the Review form the basis of the government’s policy. The graduate tax was supported by the Liberal Democrats before the election, and in the Labour leadership elections it was supported by Ed Balls and the winner of the leadership election, Ed Milliband.

Conservative members of the Coalition intend to vote for the reform, and the Labour opposition have been vociferous critics of the rise in fees, despite the previous government’s introduction of top-up fees. The Liberal Democratic members of the Coalition have been left in a politically difficult position regarding the fee hike and have been target of much criticism from protesters. Liberal Democrats have opposed the rise in tuition fees: their party manifesto included a commitment to ending tuition fees within six years, and many signed a pledge organised by the National Union of Students to not vote for any increase in tuition fees.

The Coalition agreement allows Liberal Democrats to opt to abstain on votes for a number of policies including tuition fees. Many Liberal Democrats are expected to abstain, and a few MPs have stated that they will vote against it including former party leader Sir Menzies Campbell, and the recently elected party president Tim Farron, as well as a number of Liberal Democrat back-benchers. Liberal Democrat party leaders have said that they will act collectively, but the BBC have said senior Liberal Democrats have admitted in private that government whips will not be able to force all Liberal Democrats to vote for the policy.

On Tuesday, the Liberal Democrats parliamentary party will meet in the Commons to decide on their collective position. If all ministers decide to vote for the policy, it will probably pass, but if only cabinet ministers (and maybe parliamentary private secretaries) vote for the policy, there is considerable risk of it not passing. If the Coalition does not manage to get the policy through Parliament, it will fuel doubts about the continued effectiveness and viability of the government.

How deputy prime minister Nick Clegg and business secretary Vince Cable vote has been of considerable controversy. Although under the Coalition agreement, they are allowed to abstain, suggestions of doing so have prompted criticism. It was suggested last week that Cable may abstain even though as business secretary he is directly responsible for higher education policy, and has been heavily involved in designing the proposals. Cable has said that Liberal Democrat support of the tuition fee changes has allowed them to push it in a more “progressive” direction.

Cable has now decided that he will vote for the policy, and argues that the policy has “a lot of protection for students from low income backgrounds and graduates who have a low income or take time out for family”. He also believes “there’s common consensus that the system we’ve devised is a progressive one”.

“Dr Cable has performed so many U-turns over the issue of university funding that he is spinning on his heels,” said National Union of Students president Aaron Porter. “That may stand him in good stead with the Strictly Come Dancing judges but the electorate will see it differently.”

Former deputy prime minister John Prescott joked on Twitter that “On tuition fees we’ve noticed Vince Cable’s remarkable transformation in the last few weeks from stalling to Mr In Between”—a reference to a previous attack Prescott made on Gordon Brown as having transformed from “Stalin to Mr Bean”.

On Question Time this week, Liberal Democrat treasury secretary Danny Alexander also confirmed he is prepared to vote for the policy but delegated the question to the meeting of Liberal Democrats on Tuesday.

The politics of the tuition fee debate may also affect the by-election taking place in Oldham East and Saddleworth following the removal of Phil Woolas, where Liberal Democrat and Conservative candidates will both be standing for the first by-election following the formation of the Coalition government.

Opposition to the policy has become the focus for a large number of protests across the country by both current university students, many school pupils and political allies of the student movement.

On November 10, between 30,000 and 52,000 protesters from across Britain marched through central London in a demonstration organised by the National Union of Students and the University and College Union, which represents teachers and lecturers in further and higher education. At the November 10 protest, a number of people occupied Millbank Tower, an office block which houses the Conservative Party. Fifty people were arrested and fourteen were injured. NUS president Aaron Porter condemned the attack and said it was caused by “those who are here to cause trouble”, and that the actions of a “minority of idiots” shouldn’t “undermine 50,000 who came to make a peaceful protest”.

Following the November 10 march, other protests have taken place across the country including an occupation at the University of Manchester, a sit-in at the John Owens Building in Manchester, and a demonstration at the University of Cambridge. A protest was also run outside the offices of The Guardian where Nick Clegg—who was giving a lecture inside the building—was executed in effigy while students protested “Nick Clegg, shame on you, shame on you for turning blue” (blue is the colour of the Conservative Party).

On November 24, a large number of protests took place across the country including a mass walk-out from universities and schools organised on Facebook, numerous university occupations, and demonstrations in Manchester, Cambridge, Birmingham, Leeds, Brighton and Cardiff, and a well-publicised occupation of University College London.

In London, a protest was planned to march down Whitehall to Parliament, but police held protesters in Trafalgar Square until they eventually broke free and ran around in a game of “cat and mouse” along the side streets around Charing Cross Road, Covent Garden and Picadilly Circus.

Simon Hardy from the National Campaign Against Fees and Cuts described the police response including the controversial ‘kettling’ of protesters as “absolutely outrageous”. Green MP Caroline Lucas raised the police response including the use of kettling in the House of Commons and stated that it was “neither proportionate, nor, indeed, effective”.

On November 30, protests continued in London culminating in 146 arrests of protesters in Trafalgar Square, and protests in Cardiff, Cambridge, Newcastle, Bath, Leeds, Sheffield, Edinburgh, Liverpool, Belfast, Brighton, Manchester and Bristol. Protesters in Sheffield attempted to invade and occupy Nick Clegg’s constituency office. Occupations of university buildings started or continued at University College London, Newcastle University, Cambridge University and Nottingham University, as well as council buildings in Oxford and Birmingham.

A “day of action” is being planned on December 8, the day before the Commons vote, by the National Union of Students.

[edit]

Friday, April 11, 2008

Wikinews held an exclusive interview with Jeremy Hanke, editor of MicroFilmmaker Magazine. The magazine, which is free to read online, was started as a resource for the low budget moviemaker and features book, independent film, equipment and software reviews as well as articles on film distribution, special effects and lighting.

He says that one of the goals of the magazine is to “connect low-budget filmmakers via a feeling of community, as many…..often compete so viciously against one another in film festivals for coveted “shots” with Hollywood, that they can quickly forget their similarities.”

When asked if films made on a shoestring budget can really compete with those made for millions of dollars, he replied, “no…yes…and absolutely. Allow me to explain.” And so he does in the interview below.

Tuesday, January 26, 2010

The mystery of the location of a viewpoint used by English painter John Constable has been solved, after nearly 200 years. The Stour Valley and Dedham Church was painted in Suffolk, England, between 1814 and 1815, but changes to the landscape meant that the spot he chose was not known, despite the best efforts of historians and art experts.

Now the puzzle has been answered. Martin Atkinson, who works for the National Trust as property manager for East Suffolk, used clues from the painting and looked at old maps to track down the viewpoint. Trees had grown, a hedgerow had been planted and boundaries had moved or disappeared, but Atkinson eventually worked out where Constable had stood. He said, “When I discovered that I had worked out the location where Constable painted this particular masterpiece, I couldn’t believe it. All the pieces of the jigsaw finally fitted together.”

Atkinson used an 1817 map of East Bergholt, where Constable grew up, as a reference point, but found that the view would have changed not long after the painting was completed. “The foreground didn’t fit at all, it was quite unusual as we know Constable painted it in the open air so he would have been standing in the scene. The hedgerow in his work no longer exists and there’s another hedgerow that runs across the scene today which wasn’t there. When you stand on the road on which he would have stood, and use the oak tree as a reference point, you see the same view. It’s great to see where an old master stood – and be inspired by the same view,” he said.

Suffolk, where Constable painted many of his finest paintings, is often called “Constable country”. Most, but not all, of the locations that Constable depicted are known. The picture is now housed in the Museum of Fine Arts, Boston, Massachusetts.

Thursday, May 31, 2007

A semi-tractor carrying 9,000 gallons (34,000 litres) of liquid butane overturned at the weekend on the United States highway 50 east of Salida, Colorado, rupturing the tank and spilling its contents.

The road was closed to traffic for 20 hours during one of the busiest times of the year, and traffic rerouted along a three-hour diversion route.

Colorado State Patrol reports state the driver, Roger Meely, 62, was hauling a pressurised tank full of butane when he lost control and crashed near Mile Marker 228. Colorado State Patrol Sgt. William Holt described the accident, “He lost control of the vehicle in the curves, veered across the lanes and rolled it.” Meely was treated and released from the Heart of the Rockies hospital in Salida after the crash, but escaped serious injury.

The truck rolled at about 6:50 p.m. six miles from Salida, prompting closure of the highway. Although the driver escaped unharmed, 10-15 homes and an unknown number of campsites along the Arkansas River were evacuated as fumes began to drift downstream towards the town of Swissvale. Rafters were ordered away from the area, but Hazmat crews were able to prevent butane from contaminating the river.

Emergency workers were forced to allow the butane to vent itself through the night. Capt. Jack Cowert of the Colorado State Patrol said, “I would say those of us on scene were surprised it didn’t explode.”

In total, the following organisations responded: the Colorado State Patrol Hazardous Materials Unit, South Arkansas Fire Protection District, Howard Volunteer Fire Department, Arkansas Valley Ambulance, Chaffee County Emergency Services, Alpine Towing and the Colorado Department of Transportation.

An attempt was made at 9:00 a.m. Monday to right the tanker and tow it away, but in the process of securing it to the tow truck it slipped and a dolly axle buckled, further lengthening the delay.

The road was not reopened until 3:10 p.m. Monday. Sheila Johnson, a flagger working for Alpine Towing, later said of the commuters affected that they were mostly understanding, saying of them, “For the most part people were pretty good about the road being closed,”.

Holt blamed the driver for the accident, saying he “will be cited for something,” and that “anytime a crash like this happens, the driver either wasn’t paying attention or he was driving too fast.” It was later determined that the driver’s excessive speed was to blame. He was ultimately charged over the incident.

The incident sparked a full review evaluating the emergency response, which included about ten agencies.

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.