Wednesday, March 25, 2009

A New Jersey state senator has filed a lawsuit seeking to overturn a federal law banning sports betting in 46 states.

State Sen. Raymond Lesniak, a Democrat representing portions of Union County, filed the suit Monday, arguing the 17-year-old law is unconstitutional because it treats four states differently than the other states.

Under the law, sports betting is prohibited in all states except Delaware, Oregon, Montana and Nevada, although only the latter two currently allow wagering.

“This federal law deprives the State of New Jersey of over $100 million of yearly revenues, as well as depriving our casinos, racetracks and Internet operators of over $500 million in gross income,” Lesniak said in a statement to the press.

The 39-page lawsuit is believed to be the first challenge to the Professional and Amateur Sports Protection Act of 1992. New Jersey missed a 1994 deadline that would have allowed it to join the other states when the law was implemented.

Atlantic City officials and their political allies have argued allowing sports betting would give all the states a new source of revenue needed in the face of a staggering recession.

New Jersey Governor Jon Corzine was not involved with the lawsuit, but he said legalizing sports betting would help Atlantic City and said it was “worth pursuing”.

Legalizing sports betting in New Jersey could bring the state more than $50 million in annual tax revenue, according to officials from the Interactive Media Entertainment & Gaming Inc., a Washington, D.C.-based consultant for the electronic gaming industry, which joined Lesniak as a plaintiff in the lawsuit.

“This is about more than revenue,” said Joe Brennan Jr., chairman of Interactive Media Entertainment. “It’s about jobs and economic activity.”According to 1999 study, $380 billion in illegal sports betting occurs in the state each year.

New Jersey, in particular, is facing a difficult budget season, and the Atlantic City casinos are in what the Associated Press called a “financial meltdown”. Eleven of the city’s casinos suffered their biggest revenue decline in 30 years last month.

Delaware is reported to be considering regulating sports betting, which New Jersey backers of the lawsuit said adds a sense of urgency to the issue.

“We cannot afford to be naive about illegal sports betting,” New Jersey State Sen. Jeff Van Drew said in a statement to the press. “It’s happening right now, and is funding other criminal enterprises which are far more dangerous.”

The New Jersey Thoroughbred Horsemen’s Association, the Thoroughbred Breeders Association of New Jersey and the Standardbred Breeders & Owners Association of New Jersey were also listed as plaintiffs in the lawsuit.

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.

Saturday, May 5, 2007

A lawsuit filed by a former employee of Kentucky Baptist Homes for Children (now Sunrise Children’s Services) and four other tax-payers, has shed light on the possibility of religious coercion by the organization. The lawsuit challenges the faith-based agency’s eligibility for state funds.

Specifically, interviews of children conducted by the state of Kentucky have revealed complaints from some of the children. Mainly, children who said they were Catholic, Pentecostal, Jehovah’s Witnesses or atheist voiced complaints in the interviews.

“They tried to more [or] less force me to become a Christian,” said one child in an exit interview. “I just felt I was being pressured into giving up my religion.”

Another child reported s/he was “not allowed to choose when or when not to attend a religious service,” per the interview, and was told “‘to do’ some type of Bible study during that time or get consequences.”

Both the Commonwealth of Kentucky and Sunrise say there is a strict policy against proselytizing in the program and that it does not prevent children from practising their individual faiths.

They also stress that these complaints number merely a “handful” among the approximately 1,500 children that are served by the faith-based agency.

“If a child says, ‘I don’t want to go to the Baptist church,’ then the child does not go,” Jonathan Goldberg, the state’s attorney, said. Some children might have mistankenly believed they were forced to go, he added.

The plaintiffs are seeking to have the interviews unsealed, at least in the cases where the child is now 18 years of age or older. The state and Sunrise argue they need to be kept confidential.

The lawsuit originated with Alicia Pedreira, who was fired in 2000. She alleges her firing was direct result of Sunrise (then Kentucky Baptist Homes for Children) finding out she is a lesbian.

Sunrise Children’s Services provides residential programs and foster care homes for children that have suffered abuse or neglect. Since 2001, Kentucky has paid Sunrise US$61 million to provide the services for children who would otherwise be in direct state custody.

In 2001, the state did find cause for action against one of Sunrise’s homes to fix “a coercive religious environment” where staff members confirmed that church attendance was required.

With accusations of undue pressure by a Christian agency funded by the state, the Sunrise case bears some similitude to the lawsuit against Iowa for paying Chuck Colson’s evangelical agency to run part of its prison.

Last June, U.S. District Judge Robert W. Pratt strongly reprimanded and ruled against Iowa’s use of a Christian social service agency to administer its prison. Judge Pratt stated: “For all practical purposes, the state has literally established an Evangelical Christian congregation within the walls of one of its penal institutions… There are no adequate safeguards present, nor could there be, to ensure that state funds are not being directly spent to indoctrinate Iowa inmates.”

The Iowa ruling is pending appeal.

Critics point to both of these cases as failures of George W. Bush’s faith-based services initiative. The program is often seen as conflicting with the tradition of separation of church and state in the United States.

Tuesday, September 28, 2010

A man wearing a ski mask and carrying an assault rifle apparently killed himself in the library of the University of Texas in Austin, Texas earlier today.

The university was placed under lockdown and all classes were canceled as a result of the incident. Nobody else was hurt, but police are still looking for a possible second gunman. Art Acevedo, the chief of Austin police, said that officials are also considering the possibility of explosives left by the suspect. Armored vehicles were seen moving around the campus in response to the event, as well as {{w|SWAT team|SWAT teams}, bomb-sniffing dogs, and police helicopters. An ambulance was seen around 9:00 a.m. CDT (1400 UTC) at the University of Texas’ Perry-Castaneda library.

The school’s website included a notice this morning, which read: “The person involved in this morning’s shooting on campus has been confirmed dead on the sixth floor of the Perry-Castaneda Library from an apparent self-inflicted gunshot wound. Law enforcement are searching for a second suspect. If you are off campus, STAY AWAY. If you are on campus, lock doors, do not leave your building.” The gunman was reportedly killed by a self-inflicted gunshot wound, and no shots had been fired by law enforcement officials.

The shooter has not yet been identified, and the reason behind the incident is not yet known. Witnesses described the man as wearing a dark suit and ski mask, and carrying an assault rifle. Randall Wilhite, a professor at the university, said that he heard gunshots while going to class and saw the suspect heading toward the library just after 8:00 a.m. CDT (1300 UTC). The gunman appeared to be firing shots randomly. “When I pulled up in my car, he stood right in front of me and didn’t stop running but turned in my direction, fired three shots into the ground to the left of my car and kept running,” said Wilhite. The gunman had the chance to shoot students, added Wilhite, but he did not appear to be targeting them.

The school, which has around 50,000 students, sent out an alert around that time warning students to stay where they were. Robby Reeb, a senior at the school, said that “a guy sprinted past me screaming, ‘There’s a guy with a gun.’ I looked up and saw a man in a ski mask, wearing a suit, and carrying an assault rifle. And I called 911.”

Police said that the gun used in the shooting was an AK-47, and that they were examining two different crime scenes: where the shots were fired outside, and where the gunman was found dead in the library. Police would not say whether he was attending the university. Chief Acevado said that there were “reports of a second suspect that was wearing a beanie with a long rifle, wearing blue jeans and a black top” that “may or may not be a white male.”

Several hours after the lockdown began, police allowed students to leave the university’s campus, although nobody is still allowed to enter.

The school was also the site of a shooting spree on August 1, 1966, in which university student Charles Whitman fatally shot fourteen to sixteen people and wounded another 32 before being himself killed by law enforcement authorities; reports of the exact death toll are inconsistent. Whitman, a former U.S. Marine, shot students from the observation platform of the school’s tower. That event was the deadliest school shooting in the United States until the 2007 Virginia Tech massacre.

Thursday, June 22, 2006

The Interacademy Panel on International Issues (IAP), a global network of the world’s science academies, has released a statement urging parents and teachers to provide children with ‘the facts about the origin and evolution of life on Earth’. The statement is signed by 67 of the 92 member academies of the organisation, and notes that in some schools around the world, “testable theories” about evolution are being “concealed, denied or confused by theories not testable by science”.

The statement presents four “evidence-based facts” that no scientific evidence has ever contradicted. These include the Earth being approximately 4.5 billion years old, life on Earth being at least 2.5 billion years old, and commonalities in all living organisms indicating a common primordial origin based on the process of photosynthetic organisms.

The news follows developments, mainly in the United States, where there is a concerted effort to include the teaching of ‘intelligent design‘ (ID), a theory which claims that complex biological features indicate that the presence of an intelligent ‘designer’ in schools. Opponents of this movement argue that it doesn’t qualify as a scientific theory, and is simply a disguise for creationist beliefs. In the US, where the separation of church and state is mandated by constitutional law, efforts to include ID in school syllabi were quashed by the courts, as the teaching of religion in schools is against the Establishment clause of the constitution of the United States. Despite this, George Bush has in the past remarked that he believes intelligent design should be taught in schools. The President has not shown any sign of plans to personally intervene in the legal debate however.

In December 2005, following legal case between the parents and the school district of Dover (Pennsylvania, USA), the judge decided that intelligent design was a religious view, and that it was unlawful to teach it as an alternative to evolution within the classroom. The IAP statement suggests that the science academies believe that ID is still being taught within some schools, however.

A Gallup poll conducted in May concluded that 46 percent of Americans believe that God created man in his present form sometime in the past 10,000 years, with 13 percent believing mankind evolved with no divine intervention and 36 percent saying that mankind developed over millions of years from lesser life forms, but with God guiding the process.

The IAP statement acknowledges limitations in current understanding, but argues that the process of science allows it to be open-ended and subject to correction and expansion as new understanding emerges.

Tuesday, August 15, 2006

A Japanese tanker has spilled an estimated 4,500 tonnes (1.4 million gallons) of crude oil in the eastern Indian Ocean, after colliding with a cargo ship, which it was trying to assist, the tanker’s owners report.

A statement released by Mitsui O.S.K. Lines, Ltd, the owners of the tanker, Bright Artemis said that the tanker was attempting to rescue the crew of the distressed Singapore-registered cargo ship, Amar, when the two vessels came in contact about 470 km (290 miles) west of the Great Nicobar Island in the Indian Ocean at 1:00 p.m., (3:00 p.m. JST) on Monday. The collision opened a gash 1 meter in height and 5 meters in length on the single-hulled tanker’s starboard side, spilling its crude oil cargo. The statement said that the spill has been contained, the crew of the Amar are safe on board another rescue vessel and no other injuries have been reported.

The tanker reported the location of the incident as 5’46″N, 89’04″E and the cargo ship Amar was on fire when the incident happened, said the statement. It added that oil has been transferred from the damaged tanks to other tanks, the tanker is proceeding east at a reduced speed and that the Maritime Port Authority of Singapore and the Indian Coast Guard have been informed of the incident.

The Bright Armetis was manned by a crew of 23 including Croatians, Filipinos and a Canadian and was carrying close to 250,000 tonnes of crude oil from the Persian gulf to Japan, according to the company.

Indian Coast Guard officials told Reuters news agency that the spill lies outside India’s exclusive economic zone and that they are watching the situation closely.

Bloomberg reports that shares of Mitsui O.S.K. Lines Ltd. fell as much as 4.3% upon news of the event. Mitsui is Japan’s second-largest shipping company.