Friday, May 25, 2007

Protesters in the Central Western New South Wales city of Bathurst gave Australian Prime Minister John Howard a cold reception as he arrived for a Liberal Party luncheon in the city.

Around 200 unionists and university students gathered to protest the Howard government’s new industrial relations regime called Workchoices, the lack of funding for higher education and the introduction of Voluntary Student Unionism.

Protesters claimed that the Howard government had ignored rural and regional Australia. Daniel Walton, the community campaign co-ordinator for Macquarie Your Rights at Work told Wikinews that Mr Howard was only interested in Bathurst after it had been moved to a marginal seat.

“In the 11 years Howard has been Prime Minister not once has he visited Bathurst”, he said.

“Now Bathurst is in the seat of Macquarie, which is seen as a marginal electorate, Mr Howard is suddenly interested in the city”.

The strongly blue-collar cities of Bathurst and Lithgow were relocated to the Macquarie electorate, previously considered a safe Liberal seat after an electorate redistribution.

Mr Howard was in Bathurst campaigning for the re-election of Kerry Bartlett and was a special guest at an invite-only Liberal Party fundraiser costing AUD$95 per person. The luncheon was attended by 400 members of Bathurst’s business community.

Unionists responded by offering a $0.95 “worker’s lunch” across the street.

Before the luncheon, Mr Howard held a community morning tea at the Mount Panorama motor racing circuit, promising funding of $10 million to investigate planning, engineering and environmental issues surrounding the construction of an expressway over the Blue Mountains following the Bells Line of Road route. Mr Howard said this funding was contingent upon the NSW government matching the federal government’s contribution and would be available under Auslink II from 2009.

Prior to the Prime Minister’s arrival at the luncheon, protesters called those attending the luncheon “Chumps”, booing at and calling MP Kerry Bartlett a “loser” when he walked outside. Unionists also chanted slogans such as “Workers united, we’ll never be defeated” and “Johnie Howard is a twerp, he wants to take our rights at work”.

As Howard arrived at the luncheon, protesters held up their placards and turned their backs on Mr Howard, claiming to be doing the same as his government had done to ordinary workers.

Michael Foggarty from the Public Service Association said while big business could afford luxuries such as a $95 lunch, workers were struggling.

“They might be able to afford $95 for lunch, but when you have workers on as low as $13 an hour that is a lot of money, ordinary workers are struggling under Workchoices”, he told Wikinews.

Mr Foggarty added that rising interest rates and petrol prices were having an impact on working families.

Giving a speech at the luncheon, Mr Howard said those wishing to dismantle the government’s industrial relations reforms were rolling back a “major economic reform”. Mr Howard said both Workchoices and the removal of unfair dismissal laws had reduced unemployment and generated prosperity.

Thursday, November 16, 2006

Currently, there are blackouts, heavy rain, and high winds in British Columbia. Over 220,000 BC Hydro customers have no power. Buildings have already collapsed and trees have been knowed down. Five Vancouver rivers were in danger of flooding, which rain fell at 10 mm an hour for more than six hours at midday.

The steel frame of a four-storey building under construction in Vancouver collapsed. Construction workers escaped injury, luckily they were on a coffee break at the time of the incident. The steel frame crushed cars in a parking lot and missed a truck driver.

Citizens had to evacuate a subdivision of 30 homes. The winds smashed trees into houses in West Vancouver.

“We have some real fears here with electrical problems,” said Captain Rob Jones Cook of the Vancouver Fire Department. “This is impinging on electrical poles and lamp standards. We also have hydro bus lines running down two sides of the building.” The Vancouver Fire Department says they have no idea as to why the building collapsed.

Winds are gusting at more than 100 kilometres an hour (62 mph) in some areas and rainfall amounts of 50 to 130 millimetres.

According BC Hydro spokeswoman Elisha Moreno, the hardest-hit areas are Vancouver, Surrey, Langley, Abbotsford and Mission, B.C. “We’re trying to be optimistic and hoping it’s by end of day today, but there may very well be customers that are into the early-morning hours before restoration,” Moreno said.

Extensive ferry cancellations, road closures, and massive power outages are in effect until the storm ends.

The RCMP have advised people to stay home and off the highway.

The same heavy weather has also affected nearby Washington State, USA.

Monday, June 25, 2007

Buffalo, New York —At least four families have been left homeless after a fire ripped through an apartment in a four-apartment building at 630-632 Plymouth Avenue in Buffalo, New York. One person had to jump out of a second floor window to get to safety and one firefighter was injured while fighting the blaze.

At approximately 4:30 p.m. (Eastern time) firefighters were called to the building after initial calls reported that an oven had caught on fire after grease had spilled in Apt. #4. When firefighters arrived, Apt. #4 was completely engulfed in flames.

“When [the firefighters] arrived, one person was trapped on the second floor, but jumped out of a window to the neighbors second floor porch. The fire started in a kitchen oven, maybe by grease, but an investigation is being conducted,” said Buffalo Fire Department Chief Joe Fahey.

“One firefighter was injured,” added Fahey. Catalano, the injured firefighter, and whose first name is not known, received a small cut under his left eye, but did not require hospitalization and was treated at the scene by paramedics.

It is estimated that there is at least “US$100,000 in damage. $60,000 damage to the building and $40,000 to the contents,” said Fahey. At least three floors and two apartments were severely damaged by the fire.

All of the building’s occupants made it out safely, and none were injured. Arson is not believed to be the cause.

Thursday, July 3, 2014

Ian Narev, the CEO of the Commonwealth Bank of Australia, this morning “unreservedly” apologised to clients who lost money in a scandal involving the bank’s financial planning services arm.

Last week, a Senate enquiry found financial advisers from the Commonwealth Bank had made high-risk investments of clients’ money without the clients’ permission, resulting in hundreds of millions of dollars lost. The Senate enquiry called for a Royal Commission into the bank, and the Australian Securities and Investments Commission (ASIC).

Mr Narev stated the bank’s performance in providing financial advice was “unacceptable”, and the bank was launching a scheme to compensate clients who lost money due to the planners’ actions.

In a statement Mr Narev said, “Poor advice provided by some of our advisers between 2003 and 2012 caused financial loss and distress and I am truly sorry for that. […] There have been changes in management, structure and culture. We have also invested in new systems, implemented new processes, enhanced adviser supervision and improved training.”

An investigation by Fairfax Media instigated the Senate inquiry into the Commonwealth Bank’s financial planning division and ASIC.

Whistleblower Jeff Morris, who reported the misconduct of the bank to ASIC six years ago, said in an article for The Sydney Morning Herald that neither the bank nor ASIC should be in control of the compensation program.

Saturday, October 6, 2007

Few artists ever penetrate the subconscious level of American culture the way RuPaul Andre Charles did with the 1993 album Supermodel of the World. It was groundbreaking not only because in the midst of the Grunge phenomenon did Charles have a dance hit on MTV, but because he did it as RuPaul, formerly known as Starbooty, a supermodel drag queen with a message: love everyone. A duet with Elton John, an endorsement deal with MAC cosmetics, an eponymous talk show on VH-1 and roles in film propelled RuPaul into the new millennium.

In July, RuPaul’s movie Starrbooty began playing at film festivals and it is set to be released on DVD October 31st. Wikinews reporter David Shankbone recently spoke with RuPaul by telephone in Los Angeles, where she is to appear on stage for DIVAS Simply Singing!, a benefit for HIV-AIDS.

DS: How are you doing?

RP: Everything is great. I just settled into my new hotel room in downtown Los Angeles. I have never stayed downtown, so I wanted to try it out. L.A. is one of those traditional big cities where nobody goes downtown, but they are trying to change that.

DS: How do you like Los Angeles?

RP: I love L.A. I’m from San Diego, and I lived here for six years. It took me four years to fall in love with it and then those last two years I had fallen head over heels in love with it. Where are you from?

DS: Me? I’m from all over. I have lived in 17 cities, six states and three countries.

RP: Where were you when you were 15?

DS: Georgia, in a small town at the bottom of Fulton County called Palmetto.

RP: When I was in Georgia I went to South Fulton Technical School. The last high school I ever went to was…actually, I don’t remember the name of it.

DS: Do you miss Atlanta?

RP: I miss the Atlanta that I lived in. That Atlanta is long gone. It’s like a childhood friend who underwent head to toe plastic surgery and who I don’t recognize anymore. It’s not that I don’t like it; I do like it. It’s just not the Atlanta that I grew up with. It looks different because it went through that boomtown phase and so it has been transient. What made Georgia Georgia to me is gone. The last time I stayed in a hotel there my room was overlooking a construction site, and I realized the building that was torn down was a building that I had seen get built. And it had been torn down to build a new building. It was something you don’t expect to see in your lifetime.

DS: What did that signify to you?

RP: What it showed me is that the mentality in Atlanta is that much of their history means nothing. For so many years they did a good job preserving. Don’t get me wrong, I’m not a preservationist. It’s just an interesting observation.

DS: In 2004 when you released your third album, Red Hot, it received a good deal of play in the clubs and on dance radio, but very little press coverage. On your blog you discussed how you felt betrayed by the entertainment industry and, in particular, the gay press. What happened?

RP: Well, betrayed might be the wrong word. ‘Betrayed’ alludes to an idea that there was some kind of a promise made to me, and there never was. More so, I was disappointed. I don’t feel like it was a betrayal. Nobody promises anything in show business and you understand that from day one.

But, I don’t know what happened. It seemed I couldn’t get press on my album unless I was willing to play into the role that the mainstream press has assigned to gay people, which is as servants of straight ideals.

DS: Do you mean as court jesters?

RP: Not court jesters, because that also plays into that mentality. We as humans find it easy to categorize people so that we know how to feel comfortable with them; so that we don’t feel threatened. If someone falls outside of that categorization, we feel threatened and we search our psyche to put them into a category that we feel comfortable with. The mainstream media and the gay press find it hard to accept me as…just…

DS: Everything you are?

RP: Everything that I am.

DS: It seems like years ago, and my recollection might be fuzzy, but it seems like I read a mainstream media piece that talked about how you wanted to break out of the RuPaul ‘character’ and be seen as more than just RuPaul.

RP: Well, RuPaul is my real name and that’s who I am and who I have always been. There’s the product RuPaul that I have sold in business. Does the product feel like it’s been put into a box? Could you be more clear? It’s a hard question to answer.

DS: That you wanted to be seen as more than just RuPaul the drag queen, but also for the man and versatile artist that you are.

RP: That’s not on target. What other people think of me is not my business. What I do is what I do. How people see me doesn’t change what I decide to do. I don’t choose projects so people don’t see me as one thing or another. I choose projects that excite me. I think the problem is that people refuse to understand what drag is outside of their own belief system. A friend of mine recently did the Oprah show about transgendered youth. It was obvious that we, as a culture, have a hard time trying to understand the difference between a drag queen, transsexual, and a transgender, yet we find it very easy to know the difference between the American baseball league and the National baseball league, when they are both so similar. We’ll learn the difference to that. One of my hobbies is to research and go underneath ideas to discover why certain ones stay in place while others do not. Like Adam and Eve, which is a flimsy fairytale story, yet it is something that people believe; what, exactly, keeps it in place?

DS: What keeps people from knowing the difference between what is real and important, and what is not?

RP: Our belief systems. If you are a Christian then your belief system doesn’t allow for transgender or any of those things, and you then are going to have a vested interest in not understanding that. Why? Because if one peg in your belief system doesn’t work or doesn’t fit, the whole thing will crumble. So some people won’t understand the difference between a transvestite and transsexual. They will not understand that no matter how hard you force them to because it will mean deconstructing their whole belief system. If they understand Adam and Eve is a parable or fairytale, they then have to rethink their entire belief system.

As to me being seen as whatever, I was more likely commenting on the phenomenon of our culture. I am creative, and I am all of those things you mention, and doing one thing out there and people seeing it, it doesn’t matter if people know all that about me or not.

DS: Recently I interviewed Natasha Khan of the band Bat for Lashes, and she is considered by many to be one of the real up-and-coming artists in music today. Her band was up for the Mercury Prize in England. When I asked her where she drew inspiration from, she mentioned what really got her recently was the 1960’s and 70’s psychedelic drag queen performance art, such as seen in Jack Smith and the Destruction of Atlantis, The Cockettes and Paris Is Burning. What do you think when you hear an artist in her twenties looking to that era of drag performance art for inspiration?

RP: The first thing I think of when I hear that is that young kids are always looking for the ‘rock and roll’ answer to give. It’s very clever to give that answer. She’s asked that a lot: “Where do you get your inspiration?” And what she gave you is the best sound bite she could; it’s a really a good sound bite. I don’t know about Jack Smith and the Destruction of Atlantis, but I know about The Cockettes and Paris Is Burning. What I think about when I hear that is there are all these art school kids and when they get an understanding of how the press works, and how your sound bite will affect the interview, they go for the best.

DS: You think her answer was contrived?

RP: I think all answers are really contrived. Everything is contrived; the whole world is an illusion. Coming up and seeing kids dressed in Goth or hip hop clothes, when you go beneath all that, you have to ask: what is that really? You understand they are affected, pretentious. There’s nothing wrong with that, but it’s how we see things. I love Paris Is Burning.

DS: Has the Iraq War affected you at all?

RP: Absolutely. It’s not good, I don’t like it, and it makes me want to enjoy this moment a lot more and be very appreciative. Like when I’m on a hike in a canyon and it smells good and there aren’t bombs dropping.

DS: Do you think there is a lot of apathy in the culture?

RP: There’s apathy, and there’s a lot of anti-depressants and that probably lends a big contribution to the apathy. We have iPods and GPS systems and all these things to distract us.

DS: Do you ever work the current political culture into your art?

RP: No, I don’t. Every time I bat my eyelashes it’s a political statement. The drag I come from has always been a critique of our society, so the act is defiant in and of itself in a patriarchal society such as ours. It’s an act of treason.

DS: What do you think of young performance artists working in drag today?

RP: I don’t know of any. I don’t know of any. Because the gay culture is obsessed with everything straight and femininity has been under attack for so many years, there aren’t any up and coming drag artists. Gay culture isn’t paying attention to it, and straight people don’t either. There aren’t any drag clubs to go to in New York. I see more drag clubs in Los Angeles than in New York, which is so odd because L.A. has never been about club culture.

DS: Michael Musto told me something that was opposite of what you said. He said he felt that the younger gays, the ones who are up-and-coming, are over the body fascism and more willing to embrace their feminine sides.

RP: I think they are redefining what femininity is, but I still think there is a lot of negativity associated with true femininity. Do boys wear eyeliner and dress in skinny jeans now? Yes, they do. But it’s still a heavily patriarchal culture and you never see two men in Star magazine, or the Queer Eye guys at a premiere, the way you see Ellen and her girlfriend—where they are all, ‘Oh, look how cute’—without a negative connotation to it. There is a definite prejudice towards men who use femininity as part of their palette; their emotional palette, their physical palette. Is that changing? It’s changing in ways that don’t advance the cause of femininity. I’m not talking frilly-laced pink things or Hello Kitty stuff. I’m talking about goddess energy, intuition and feelings. That is still under attack, and it has gotten worse. That’s why you wouldn’t get someone covering the RuPaul album, or why they say people aren’t tuning into the Katie Couric show. Sure, they can say ‘Oh, RuPaul’s album sucks’ and ‘Katie Couric is awful’; but that’s not really true. It’s about what our culture finds important, and what’s important are things that support patriarchal power. The only feminine thing supported in this struggle is Pamela Anderson and Jessica Simpson, things that support our patriarchal culture.

Monday, November 2, 2020

The following is the sixth and final edition of a monthly series chronicling the 2020 United States presidential election. It features original material compiled throughout the previous month after an overview of the month’s biggest stories.

This month’s spotlight on the campaign trail: the Free and Equal Elections Foundation holds two presidential debates, three candidates who did not participate in those debates give their final pleas to voters, and three political pundits give their predictions on the outcome of the election.

Thursday, June 14, 2007

A number of reports confirm that Michael Moore’s forthcoming documentary has been leaked onto Peer-to-peer networks. This is the second pre-release leak in a month of a film from Lionsgate Studios.

The movie, SiCKO contrasts the U.S. healthcare system with that of several other countries and includes a trip to Cuba for which Moore is being investigated. The investigation by the Office of Foreign Assets Control within the United States Department of the Treasury is looking into whether Moore has violated United States embargo against Cuba, which has been in effect since 1962 and codified in 1992.

Moore has, according to agency reports, stored a copy of the original film in Canada as a result of the Federal investigation by the Treasury department. His concern is that an attempt may be made to confiscate the section of the film shot in Cuba.

According to Associated Press, David Boies, attorney for Michael Moore, believes the targeting of Moore for his unauthorised trip to Cuba may be the result of the criticism of the current administration in such films as Fahrenheit 9/11.

Tuesday Moore was seen at two pre-release screenings of the movie in Sacramento, California. His audiences were a group of politicians and a number of nurses, each attending their own screening.

The movie opens with a cold statistic that approximately 45 million Americans are without healthcare insurance. It continues by giving examples of people with healthcare insurance who have been denied all or part of their treatment for technical reasons. As well as getting thousands of responses from people who had problems with their insurance he received information from people working inside Health maintenance organizations and ex-employees who claim the system is set up to provide the minimum care and the maximum profit to the company.

The segment of the film that triggered the Federal investigation is his trip to Cuba with a number of people who relate their experiences with healthcare. Among these are several volunteer workers who worked at ground zero following the September 11 attacks on the World Trade Center. These people claim to have been refused aid from the fund set up for 9/11 workers and were thus unable to afford their required treatment. After an attempt to obtain treatment at Guantanamo Bay detention facility – which Moore described as the only place on U.S. soil where there is “socialised medicine” – they seek out a hospital in Havana. All are checked and treated free of charge. One woman discovers that an inhaler for her respiratory problems costs approximately five cents in Cuba compared to 120 dollars in the U.S.

Health insurance companies, speaking through their trade group America’s Health Insurance Plans (AHIP), are critical of the film, which calls for healthcare similar to that of Canada, France, or the UK. “We need a uniquely American solution in which the public and private sectors work together to make sure that everyone has high-quality, affordable healthcare,” said Karen Ignagni, president of AHIP, on Wednesday.

The film is scheduled for wide release in the U.S. and Canada on June 29, 2007.