Thursday, March 31, 2016

Businessman Rocky De La Fuente took some time to speak with Wikinews about his campaign for the U.S. Democratic Party’s 2016 presidential nomination.

The 61-year-old De La Fuente resides in San Diego, California, grew up in Tijuana, and owns multiple businesses and properties throughout the world. Since getting his start in the automobile industry, De La Fuente has branched out into the banking and real estate markets. Despite not having held or sought political office previously, he has been involved in politics, serving as the first-ever Hispanic superdelegate to the 1992 Democratic National Convention.

De La Fuente entered the 2016 presidential race last October largely due to his dissatisfaction with Republican front-runner Donald Trump. He argues he is a more accomplished businessman than Trump, and attacks Trump as “a clown,” “a joke,” “dangerous,” and “in the same category as Hitler.” Nevertheless, De La Fuente’s business background begets comparisons with Trump. The Alaskan Midnight Sun blog described him as the Democrats’ “own Donald Trump.”

While receiving only minimal media coverage, he has campaigned actively, and according to the latest Federal Election Commission filing, loaned almost US$ 4 million of his own money to the campaign. He has qualified for 48 primary and caucus ballots, but has not yet obtained any delegates to the 2016 Democratic National Convention. Thus far, according to the count at The Green Papers, De La Fuente has received 35,406 votes, or 0.23% of the total votes cast. He leads among the many lesser-known candidates but trails both Senator Bernie Sanders who has received nearly 6.5 million votes and front-runner Hillary Clinton who has just shy of 9 million votes.

With Wikinews reporter William S. Saturn?, De La Fuente discusses his personal background, his positions on political issues, his current campaign for president, and his political future.

Wednesday, April 18, 2007

In France, voting has traditionally been a low-tech experience: voters isolate themselves in a booth, put a pre-printed sheet of paper indicating their candidate of choice into an envelope. After officials verify the voter’s identity, the voter drops the envelope into the ballot box and signs the voting roll. French electoral law rather strictly codifies the proceedings. Since 1988, ballot boxes must be transparent so that voters and observers can witness that no envelopes are present at the start of the vote and that no envelopes are added except those of the duly counted and authorized voters. Candidates can send representatives to witness every part of the process. In the evening, votes are counted by volunteers under heavy supervision, following specific procedures.

In the past, voting machines, though authorized by law, were scarce. But this year, during presidential elections (the first round was April 22, the second is on May 6), the country is shaken by controversy about the machines intended to count about 1.5 million votes.

As in the United States, there is a group of academic computer scientists that oppose voting machines. They argue that voting machines replace a public, easily understandable counting process, where large-scale fraud would entail large-scale corruption, by an opaque process where votes are counted by machines that voters have to blindly trust. Voting machines have to be approved by the Ministry of the Interior, but this approval is based on confidential reports by private companies. Opponents to the machines point out that the Ministry was long held by Nicolas Sarkozy, who happens to be the leading candidate. Opponents also list a number of weaknesses and discrepancies that have occurred in other countries using voting machines.

All main political parties except UMP, Mr Sarkozy’s ruling party, oppose the voting machines. Some citizens have filed for court injunctions against the voting machines. Opponents have given detailed instructions that voting witnesses should check whether the machines correspond exactly to an approved type, including software versions, and fulfill all legal conditions. In a sign of the frenzy over the issue, on April 12 the Ministry of the Interior issued a last-minute authorization for a specific model (hardware, firmware). The stakes are high: votes on unapproved machines should be canceled by the Constitutional Council for the official count.

The opposition has crystallized on the Paris suburb of Issy-les-Moulineaux. Issy’s mayor, André Santini is a well-known technophile; his city organizes a “World E-Gov Forum”. Here too, last minute fixes are at work. The machines delivered to the city are of a yet-to-be-approved type. The manufacturer, the American company ES&S voting systems, is now delivering older 2005 machines. Le Monde reports that other municipalities have already replaced their recent machines by an older, approved, model.

Proponents of the machines, such as the French company France Élection, claim they are being defamed and dispute the competence of their critics. Elected officials supporting the machines claim the machines save on paper, time, and the need to find volunteers to count votes.

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

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

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Monday, October 1, 2007

Tyler Currie is running as an Progressive Conservative candidate in the Ontario provincial election, in the riding of Trinity-Spadina. Wikinews’ Nick Moreau interviewed him regarding his values, his experience, and his campaign.

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

Thursday, January 27, 2005

PORTO ALEGRE-RS, Brazil —The fifth World Social Forum (WSF) has kicked off in Porto Alegre, Rio Grande do Sul state, Brazil. The Forum is back in its original home, Porto Alegre, after last year being held in Mumbai, India. The event was opened January 26, 2005 and it is scheduled to continue until January 31.

The World Social Forum is an annual meeting organized by left organizations, mainly from Brazil. It discuss strategies to fight back against the neo-liberalism, capitalism and imperialism. According to the organizers “The World Social Forum is an open meeting place where groups and movements of civil society opposed to neo-liberalism and a world dominated by capital or by any form of imperialism, but engaged in building a planetary society centred on the human person, come together to pursue their thinking, to debate ideas democratically, for formulate proposals, share their experiences freely and network for effective action.”

Just under 6000 different groups and organizations will participate in the six day event which joins discussions, protests and festivals.

Both the Brazilian president Luiz Inácio Lula da Silva and Venezuelan president Hugo Chávez are to be guests at the forum; however the reception of the two leaders is set to be quite different. Da Silva (commonly referred to as Lula) has faced criticism from the leftists set to make up the majority of participants at the forum due to the allegedly weak results of the government social politics and the way the government conducts the Economy. This is in stark contrast to the reception that he received at the 2003 forum (also in Porto Alegre), where he was hailed as a hero.

Hugo Chávez on the other hand is set to receive a warmer welcome for enforcing a 2001 law allowing for the expropriation of idle agricultural land from large estates. However, the government of Venezuela has also received criticism for what some feel to be intimidation of journalists and other anti-democratic acts.

This year the event has been tarnished by the Brazilian journalist Políbio Braga, who alleges illicit negotiations between the World Social Forum and GP Equipamentos Elétricos Ltd, a Brazilian company contracted to work on the infrastructure for the forum. He also accuses the Brazilian government of trying to stop the police investigation into the matter.

In 2006 the forum is scheduled to be held in Venezuela and/or simultaneously in different cities around the world.

Friday, September 9, 2005

New Orleans, Louisiana —After Category 4 storm Hurricane Katrina slammed into New Orleans, on the night before August 29, 2005, several flood control constructions failed. Much of the city flooded through the openings. One of these was the flood wall forming one side of the 17th Street Canal, near Lake Pontchartrain. The U.S. Army Corps of Engineers (USACE) is the primary agency for engineering support during such emergencies. A USACE team was assessing the situation in New Orleans on the 29th, water flow was stopped September 2nd, and the breach was closed on September 5th.

Thursday, March 18, 2010

Nigeria’s acting president, Goodluck Jonathan, has announced the dissolution of the country’s cabinet.

In a statement after a cabinet meeting, Nigeria’s information minister, Dora Akunyili, said that “the acting president of the Federal Republic of Nigeria, Goodluck Jonathan, dissolved the Federal Executive Council [cabinet].” In the same statement, Akunyili said that Jonathan had provided no reason for the move, although analysts said that it was due to the impediment of the cabinet to Jonathan’s efforts to put his own mark on the office.

According to Akunyili, the move would not lead to a power vacuum, as the permanent secretaries will step up to take the positions vacated. Jonathan had taken over the role of acting president in February after President Umaru Yar’Adua temporarily stepped down due to sickness, and the cabinet had been entirely appointed by Yar’Adua.

In Akunyili’s statement, she said that an official statement from Jonathan as to the future of the cabinet would be released soon. Additionally, at some time in the future, Jonathan will submit to the National Assembly a list of his submissions for the next incarnation of the cabinet.

In a statement released from the president’s office, a spokesman said that it was “the prerogative of the president to change the cabinet whenever he feels the need to inject new blood, reinvigorate the cabinet and give it a new focus.” According to another, unnamed, government official, the cabinet had become paralyzed by infighting, impeding attempts of governance on major issues.

Yar’Adua has recently returned to Nigeria after being treated for a heart ailment in Saudi Arabia, but has made no public appearances. As a reflection of his impaired condition, Nigeria’s election next year has been brought forward three months, and the ruling People’s Democratic Party, of which both Yar’Adua and Jonathan belong to, has announced that its candidate in those elections will be a Muslim, preventing Jonathan, a Christian, from running. The decision follows a tradition of alternating between Muslim and Christian candidates, allowing each two four-year terms.

Saturday, July 21, 2012

Homebush Bay, New South Wales —Last night, the Australia men’s national wheelchair basketball team beat Japan 80–49 in their final game of pool play at the Rollers & Gliders World Challenge taking place at at the Sport Centre at the Sydney Olympic Park and are through to the first place match.

The contrast between the two teams was seen in their wheels: almost every Australian player had a four wheeled chair that gave them increased stability while every single Japanese player had three wheels, which gave them great maneuverability. Japan played the aggressor throughout the match, with several players aggressively blocking with wheelchair on wheelchair contact. Both sides were loud, chanting defense, defense, defense when their side was on that side of the court.

The first quarter was closely fought, with Japan racking up 5 by 5:54 left in the first. They successfully took a lead of 17–16 by the end of the first quarter. They were unable to hold the lead, with Australia holding a 40–24 lead at the end of the first half. Australia’s lead at the end of the third was 61–34. While Japan increased their total points in the fourth quarter, they failed to defend against Australia who continued to answer back basket for basket for the game to end 80–49.

Australia plays in the first place match later today. Their London Paralympic campaign starts on August 30 against South Africa.