Thursday, May 27, 2010

A US Coast Guard official said today that BP’s latest effort to plug the Gulf of Mexico oil spill has been successful in slowing the amount of oil leaking from the well.

The official, Admiral Thad Allen, said that the procedure, known as a “top kill” operation, has been able to block some of the leaking oil at the source, the top of the damaged well. The operation involves pumping material into the well to plug the leak before cement is used to permanently seal the leak. Allen said the operation has “been able to force mud down and not allow any hydrocarbons to come up.”

BP hasn’t confirmed the success of the top kill operation, saying only that the “operation is proceeding as we planned it,” and that there had been no major incidents thus far. Although the possibility of failure is still present, experts say that the longer the procedure continues, the less likely it will be that anything goes wrong.

The procedure began yesterday afternoon, after diagnostics on the damaged equipment on the ocean’s surface indicated that it could withstand the added pressure of the mud being pumped into the well. Although engineers involved with the operation wore concerned that the pressure of the mud might not be able to overcome that of the oil, that has thus far not been the case.

Separately, a group of US scientists announced new estimates of how much oil was flowing from the well, ranging from 12,000 to 25,000 barrels a day, far higher than BP’s original estimate of 5,000 barrels a day, a figure which BP warned was possibly inaccurate.

In a press conference Thursday afternoon, US president Barack Obama also announced new measures in response to the spill, which include:

• Suspending off-shore test drilling for six months
• Extending the moratorium on issuing drilling permits for an additional six months
• Cancelling the sale of leases for off-shore drilling.

In statements, Obama criticized the “scandalously close relationship” between government officials and oil companies in the past, saying that the Mineral Management Service, which is the agency responsible for monitoring off-shore drilling, had been corrupt for years.

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, October 1, 2011

Last week, Nature Genetics carried twin studies into the genetics of bipolar disorder and schizophrenia. This special report examines the month’s research into the illnesses in detail, with Wikinews obtaining comment from experts based in Australia, the United States, and the United Kingdom ahead of the U.S. Mental Illness Awareness Week, which starts tomorrow.

Eleven genetic regions were identified; seven of these were for schizophrenia and five of those were hitherto undiscovered. The parallel studies, conducted separately, examined more than 50,000 people worldwide and identified two genetic loci associated with both diseases.

Little is known about the two illnesses, each of which affects around 1% of people and is treated with strong medication. Bipolar sufferers experience extremes of mood – depression and mania, hence the previous name “manic depression” for the illness. Schizophrenia is associated with hearing voices, chaotic thoughts, and paranoia. There is no known cure.

The latest research examined both the healthy and the afflicted, using computers to scan genomes. Inheritance was thought to be a factor from prior knowledge of the diseases as a familial trait, but the original desire had been to isolate a single faulty gene. Instead it has become apparent that the genetic factors are many; in the case of schizophrenia, at most around 30% of the genetic components are thought to have been identified.

The University of Chicago’s Pablo Gejman, a lead researcher on the schizophrenia study, explained to Wikinews in a telephone interview from Buenos Aires, Argentina that “One of the goals of genetic research is to find druggable targets” – to “find treatments at the root of the problem”.

Whilst noting that there is no guarantee the genetic code identified is druggable, Gejman named calcium-activated neurochemical channels in the brain as candidates for new drugs. The channels were linked to schizophrenia in the study.

Gejman explained that a genetic locus called mir137 “suggests an abnormality of gene regulation.” The diseases are so poorly understood that it is uncertain if they are in fact two components of a single spectrum, or even each comprised of multiple illnesses.

The new and “provocative data” gathered showed the significant loci identified were “not part of the pre-existent hypothesis.” Calling this “interesting”, Gejman added that the team found no evidence that dopamine receptors are involved; current drug treatments target dopamine receptors. The findings are “not related to anything we thought we knew [about schizophrenia],” he told our correspondent.

Quizzed about the possibility variations in the genetic factors involved in expressing the diseases explained the variation seen in symptoms, Gejman was uncertain. “We will have the answer, probably, only when we sequence the whole [human] genome.” He notes that the relationship between genotype and phenotype is unclear, and that “We know very little of the genetic architecture of schizophrenia and” other disorders.At the time the results were published, participating scientist Professor Rodney Scott from the University of Newcastle in Australia said “The strength of this research is in the numbers. The findings are robust and give us a lot of statistical power to identify the genetic determinants of schizophrenia.” Scott told Wikinews that “If any single centre tried to undertake such a study, it would require millions of pounds. Since it was a collection of data from across the world the costs were spread. In this era of financial difficulty it will become increasingly difficult to secure funding for this type of project even though the pay-offs will be significant.”

Gejman expressed similar sentiment. “The research budget is not growing, which makes [funding] difficult,” he said, though he felt the cost “is not prohibitive because of the benefits.” “I think that it was money well invested” and “very well spent for the future,” he said, adding that organisations in Europe and the US were aware of the importance of such research.

Gejman also agreed on reliability – the study is “Very reliable because of the sample size; that should provide robust results… [we] have worked with a much larger sample than before.” Scott told us it was “a highly reliable study” that has the potential to lead to new treatments “in the long run”.

Another point was the two genetic loci identified as common to both – how much support do they lend to the notion the diseases are linked? “Until more information is available it is really only suggestive,” says Scott. “Strong enough to say there may be potentially a common pathway that bifurcates to give rise to two diseases.”

“It is an excellent demonstration,” said Gejman “because you have the same chains that are common to both disorders, in fact not just the same chains but also the same alleles.” He stressed uncertainty in how strong the relationship was, however.

Scott said examining how the variation of genetic factors may translate into varied symptoms being expressed “certainly is a good target for future research”; “It is not known how many genetic factors contribute to either of these diseases but it is likely that not all are necessary to trigger disease.” “New questions will always arise from any major study,” he told our reporter. “Certainly, new questions about bipolar and schizophrenia are now able to be formulated on the basis of the results presented in the two reports.”

These weren’t the only studies to look at the two diseases together in September. The British Medical Journal carried research by a team from the University of Oxford and King’s College London that examined mortality rates in England for schizophrenia and bipolar sufferers. They found both groups continued to suffer higher mortality rates than the general population – whilst these included suicides, three quarters of deaths were down to ailments such a s heart conditions. General death rates dropped from 1999 to 2006, but sufferers below 65 saw their death rate remain stable – and the over-65 saw theirs increase.

“By 2006, the excess risk in these groups had risk to twice the rate of the general population, whereas prior to that it had only been 1.6 times the risk, so it increased by almost 40%,” said Dr Uy Hoang of Oxford. The study looked at every discharged inpatient with a diagnosis of either condition in England in the relevant time.

Hoang said at the time of the research’s release that doctors should devote attention to predicting and preventing physical illness associated with mental disorders. His study comes at a time when the UK has launched a “no health without mental health” strategy which does attempt to screen for physical illnesses coinciding with mental illnesses. The government aims to reduce the death rate of those with mental disorders.

Rodney Scott described this research result to Wikinews as “Possibly” connected to genetic association with other hereditary ailments, such as cardiovascular disease; he told us another possibility is that “The continued raised mortality rates may be associated with the diseases themselves.”

“We believe the NHS [National Health Service] and Department of Health need to do more to support research and service development for people with bipolar disorder,” Wikinews was told by Suzanne Hudson, Chief Executive of London-based British charity MDF The Bipolar Organisation. “The provision of specialist services for bipolar is very limited in the UK and the demand for our services is unprecedented.”

“A genetic test for bipolar would be a useful tool but the science and ethics are very complex,” Hudson told us, referring to the Nature Genetics genetic study. “Just because someone has ‘bipolar genes’ does not mean they might go on to develop it. Family studies of bipolar show that this is a likely outcome of genetics research in this area. Even if it were possible to accurately predict bipolar in this way, questions about how you treat that person are difficult. For example do you start medication that is not necessary at that point in time?”

“Current treatment is not satisfactory” because it does not always work and has “side effects,” Gejman told us. Robert Whitaker, a US medical journalist and book author, told an audience in New Zealand at the end of August that evidence suggests antidepressant drugs may make children and teenagers worse – “You see many become worse and end up with a more severe diagnosis, like bipolar illness,” and the suicide risk may increase.

Whitaker blames commercial interests. “The adult market appeared saturated, and so they began eying children and teenagers. Prior to this, few children and youth were seen as suffering from major depression, and so few were prescribed anti-depressants.”

One possible alternative, raised by a connection between depressive illness and inflammation, is aspirin and similar compounds. “The link between inflammation and mood disorders has been known for sometime and the use of aspirin and other drugs in depression is now becoming more common in the literature,” Hudson says. “Any new treatments for bipolar, which is a very complex and co-morbid illness, has to be a good thing.”

Professor Dr. Michael Berk, chairman of psychiatry at Australia’s Deakin University, recently gave a talk to just this effect. Speaking at this year’s Congress of the European College of Neuropsychopharmacology, held this past month, he also highlighted statins as a treatment. Recognising the link to physical ailments, he told an interviewer “The brain does not exist in isolation, and we need to understand that pathways similar to those that underpin risks for cardiovascular disorders, stroke, and osteoporosis might also underpin the risk for psychiatric disorders, and that other treatments might be helpful.”

Berk also touched upon speed of diagnosis and treatment; “Early interventions can potentially improve the outcome” of bipolar sufferers, he told his audience. MDF The Bipolar Organisation claim an average of ten years is possible before a person is diagnosed. “This clearly is an issue, if we believe that earlier diagnosis and treatment facilitate better outcomes,” Berk told Wikinews. Though he questions the effectiveness of currently-used drugs on advanced bipolar cases, he does not go so far as to say drugs are actively harmful. He told us “it appears that our best treatments work best earlier in the illness course; and that seems to apply to psychotherapy and pharmacotherapy.”

Berk has already performed research using statins which suggests they can form a treatment. He now seeks funding for research involving aspirin. On funding, he tells Wikinews “psychiatric disorders comprise between 16% and 22% of the burden of disability (depending on who measures it), attracts^[sic] just over 6% of the clinical budget at least in Australia and 3% of the research budget. Research as a discretionary spending item is at great risk.”

Berk’s research, in the past, has been funded by companies including GlaxoSmithKline. Hudson told Wikinews this did not concern her charity; in fact, they welcomed it. “We believe it is important pharmaceutical companies continue to invest in the development of new medications for bipolar. This is how it works in all other health specialities and mental health should be no different.”

“There is a need for greater education for mental health professionals and GPs [general practitioners] about bipolar [in the UK],” she told us. “As the national bipolar charity we receive many, many calls and requests from GPs and other health professionals for our leaflets and information sheets which is fantastic. We very much welcome opportunities to work together for the benefit of individuals affected by bipolar.”

Wikinews contacted the UK’s National Institute for Clinical Excellence (NICE) to discuss issues raised in this article, including future treatments, genetic screening, and mortality rates. NICE did not respond.

Might statins and/or aspirin improve treatment – might they be cheaper, perhaps, or safer? “This is an area of research promise,” says Berk, “however it is too early to make any clinical treatment claims; [all] we can say is that this needs to be studied in properly designed trials capable of giving a more definitive answer.” And what of possible explanations for the increased mortality rate observed in England? Should researchers look at whether bipolar influences more than just the brain, or if it is linked to other genetic conditions?

“For sure,” he told us. “There is new evidence that similar pathways contribute to the risk for both medical and psychiatric illness, both in terms of lifestyle factors, and biomarkers of risk.”