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RuPaul speaks about society and the state of drag as performance art

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.
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The National Horse Of Mexico El Caballo Azteca

By Crystal A. Eikanger

A new breed of horse, known as the Azteca, is in demand in Mexico. It is the first breed to be developed in Mexico and was designed from the beginning to suit all that is required of a Mexican horse. The majority of horses in Mexico are descendants of Spanish horses, and the since the Spanish horse has always been preferred in Mexico, the Andalusian was the foundation for the new breed.

Several horsemen living in Mexico in the late 1960’s decided to re-create a horse that no longer existed. It was to be reminiscent of the horses originally brought to the New World by the Spanish Conquistadors; symbolic of Mexico; and, it was to have cow sense for working the cattle ranches of the charro (cowboy); and it was to be an accomplished performer in typical Mexican events such as fiestas, parades, and as a mount for the Rejonero in the bullfighting ring.

After several years of experimentation and research, a new breed of horse was created in Mexico in 1972 called the Azteca from Andalusians crossed with Quarter Horses and Criollo mares.

The worldwide Registry for Azteca horses is maintained by Asociacion Mexicana de Criadores de Caballos de Raza Azteca (AMCCRA or The Azteca Horse Association of Mexico). This is the only organization approved by the developers of the breed and by the Government of Mexico to register Azteca horses and to legally use the name “Azteca”. There are about 2000 Azteca horses currently living in North and South America, and Spain which have been approved by the International Azteca Horse Association. The AMCCRA and the Government of Mexico are continuing these efforts to refine the Azteca and to define the main contributions of each of the three founding breeds to the phenotype. It has acquired so much recognition that it has earned the title of the National Horse of Mexico.

The Mexican version is the original, but there is an American type that deviates from the Mexican in several ways, some of them subtle, some of them major. The main difference is that in the American Azteca, both Quarter Horse and Paint horses that can prove no more then 1/4 TB can be used for breeding the American Azteca. All American Quarter Horse Association (AQHA) and American Paint Horse Association (APHA) markings and colors are acceptable. The Mexican variety does not allow Paint, Appaloosa or albino. Additionally, the American Azteca allows only Andalusian and Quarter Horse crosses, while the original Mexican variety allows Criollo.

[youtube]http://www.youtube.com/watch?v=kn2AhshhISQ[/youtube]

The American Azteca Horse responds well to the different disciplines that require suspended and elevated gaits and to those that require a skillful working cow horse or western horse. The horse inherits its beauty, temperament, spirit and agility from their Andalusian genes. The Andalusian side also allows them to be incredibly athletic and smooth to ride with a naturally collected movement. The Azteca gets its strength and speed from the Quarter Horse side and has an outstanding ability to learn; is extremely easy to train; and once it learns something, it never forgets.

The American Azteca ranges from 14.2 to 16.0 hands but the original Mexican Azteca should be 14.1 to 15.2 hands (mares) and 14.2 to 15.3 hands (stallions). This height was established in consideration of the Aztec’s intended use in Charier. The head is medium sized with a straight, slightly convex or slightly concave profile with a broad forehead, expressive eyes and medium-sized ears. The neck is well muscled and slightly arched with a medium crest. A long flowing mane and a well set medium to low tail are often seen. The coat is silky and only solid colors are permissible by the Mexican registry.

It is important to note that two Azteca associations in the United States allow Paints into their registries, but the Mexican registry does not. These U.S. associations are not affiliated with Mexico’s Azteca breed association and have chosen to establish their own standards and breed development guidelines.

Azteca Horse Registry of America (AHRA) has registered over 450 American Azteca Horses since 1989. They feel that crossing the American Quarter Horse and the American Paint Horse back into its original Spanish gene pool by breeding it to the American Andalusian/Iberian/PRE/PSL correctly depicts the beginning of the Quarter Horse breed in early Southwest America.

The American Azteca Horse International Association (AAHIA) was formed in 2000 for registering and promoting American Azteca horses. The AAHIA takes into consideration the needs and marketing demands of American tastes, rather than the Mexican needs, or their market. The AAHIA feels that for the Azteca to be successful in the United States, the American people want a different type of horse than the type that is desired in Mexico. The American Azteca Horses will be modeled closely after the original Mexican standards, but with a little more diversity to fit the American market. So, since a horse cannot legally be called an Azteca unless it is inspected and approved by the Mexican association, they are calling their breed the American Azteca Horse, so as not to imply that these horses are Mexican bred or registered.

The American Azteca is a combination of 2 registered breeds: Andalusian (all lines of Spanish, Lusitano, and Spanish/Lusitano) and registered Quarter Horse or Paint. They do not recognize any other breeds. As of January 1, 2004, all American Azteca Horses being registered must have DNA analysis performed to confirm the parentage of both sides.

If a horse is also registered with the International Andalusian and Lusitano Horse Association (ALHA), the AAHIA will not accept the AQHA or APHA pedigree that is on the horse’s IALHA papers. However, they do accept the Andalusian side of the pedigree. For the AQHA or APHA side of the pedigree, they need either a copy of the original AQHA or APHA registration papers; or a copy of the pedigree officially prepared by the AQHA or APHA only. A minimum of 4 generations is also required. Additionally, you cannot register a horse with the AAHIA unless you are a full member of the AAHIA at the time of the registration.

Because of the Quarter Horse background a genetic condition known as Hyperkalemic Periodic Paralysis (HYPP) is possible, therefore any horse found to have the bloodlines of a horse called “Impressive #0767246” in their heritage, must have their horse tested for HYPP. Only horses with the result of N/N will be accepted for registration. HYPP is inherited as a dominant trait and is characterized by intermittent episodes of uncontrolled muscle tremors (shaking, trembling or twitching) or profound muscle weakness, and in severe cases, may lead to collapse and/or death.

With all these things going for it, the Azteca breed, whether Mexican or American, has a valuable place in the equine world.

About the Author: Crystal is a writer for

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Source:

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Lobby groups oppose plans for EU copyright extension

Tuesday, February 26, 2008

The European Commission currently has proposals on the table to extend performers’ copyright terms. Described by Professor Martin Kretschmer as the “Beatles Extension Act”, the proposed measure would extend copyright from 50 to 95 years after recording. A vast number of classical tracks are at stake; the copyright on recordings from the fifties and early sixties is nearing its expiration date, after which it would normally enter the public domain or become ‘public property’. E.U. Commissioner for the Internal Market and Services Charlie McCreevy is proposing this extension, and if the other relevant Directorate Generales (Information Society, Consumers, Culture, Trade, Competition, etc.) agree with the proposal, it will be sent to the European Parliament.

Wikinews contacted Erik Josefsson, European Affairs Coordinator for the Electronic Frontier Foundation (E.F.F.), who invited us to Brussels, the heart of E.U. policy making, to discuss this new proposal and its implications. Expecting an office interview, we arrived to discover that the event was a party and meetup conveniently coinciding with FOSDEM 2008 (the Free and Open source Software Developers’ European Meeting). The meetup was in a sprawling city centre apartment festooned with E.F.F. flags and looked to be a party that would go on into the early hours of the morning with copious food and drink on tap. As more people showed up for the event it turned out that it was a truly international crowd, with guests from all over Europe.

Eddan Katz, the new International Affairs Director of the E.F.F., had come over from the U.S. to connect to the European E.F.F. network, and he gladly took part in our interview. Eddan Katz explained that the Electronic Frontier Foundation is “A non-profit organisation working to protect civil liberties and freedoms online. The E.F.F. has fought for information privacy rights online, in relation to both the government and companies who, with insufficient transparency, collect, aggregate and make abuse of information about individuals.” Another major focus of their advocacy is intellectual property, said Eddan: “The E.F.F. represents what would be the public interest, those parts of society that don’t have a concentration of power, that the private interests do have in terms of lobbying.”

Becky Hogge, Executive Director of the U.K.’s Open Rights Group (O.R.G.), joined our discussion as well. “The goals of the Open Rights Group are very simple: we speak up whenever we see civil, consumer or human rights being affected by the poor implementation or the poor regulation of new technologies,” Becky summarised. “In that sense, people call us -I mean the E.F.F. has been around, in internet years, since the beginning of time- but the Open Rights Group is often called the British E.F.F.

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Former South African apartheid regime’s police minister repents

Monday, September 4, 2006

Adriaan Vlok, the former South African apartheid regime’s police minister, went to Reverend and director-general Frank Chikane’s church in Soweto on Sunday, the 3rd of September to repent. This follows his recent apology on the 3rd of August, 2006, which was described by some as “a miracle” that has had global impact.

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Qualities Of Good Orland Park Dentists

Qualities of Good Orland Park Dentists

by

oswaldmckisson

Orland Park dentists are known for being accommodating, knowledgeable, skilled, genuinely concerned about their patients oral health, and reasonable when it comes to seeking compensation. With such qualities, patients enjoy caring for their teeth, gums, cheeks, and tongue. Consider how the qualities of good Orland Park dentists might help you in choosing your dentist.

Good Orland Park dentists are also knowledgeable and skilled. They place a premium on furthering their dental knowledge. They see to it that they are updated on the best procedures and technologies to provide their patients with effective dental solutions. Also, they maintain a competitive level of manual dexterity to deliver successful results.

Aside from being caring and comforting, good Orland Park dentists are also empathic and effective communicators. They feel for their patients concerns and strive to provide honest and straightforward answers. They explain their patients conditions in a plain and concise manner, and clarify whatever inquiries their patients may have.

[youtube]http://www.youtube.com/watch?v=sGTAnXqn9Jc[/youtube]

Good

Orland Park dentists

are also genuinely concerned about their patients oral health. They do not hesitate to seek the help of other dentists when their patients need a second opinion or a procedure that they are not capable of performing. More importantly, they focus on prevention rather than on restoration. Although they perform restorative procedures, they greatly encourage their patients to value prevention of dental problems by helping them maintain a good set of oral health habits.

Finally, good

Orland Park dentists

seek realistic compensation for their services. They do not charge unreasonable prices for simple procedures; nor do they take advantage of the complexity of difficult or tedious procedures by charging too much. Although they are in a business, they equally value their patients resources and wellbeing.

Orland Park IL dentist

offer the best in the city as most of them are trained from nearby prestigious universities. Take time to find a dentist that is accommodating, knowledgeable, skilled, empathic, an effective communicator, genuinely concerned for your oral health, and reasonable when seeking compensation for the services s/he renders. The right dentist will always prioritize your oral health at a reasonable price and treat their patients equal.

If you have questions, please visit us at

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Economic policy makers conclude Washington meetings

Monday, April 14, 2008

This weekend, April 12–13, the joint Development Committee of the World Bank Group and the International Monetary Fund (IMF) held its annual Spring Meeting in Washington, D.C.

The Group of Seven (G7), which is comprised of the economic policy makers from the United States, United Kingdom, France, Germany, Italy, Canada, and Japan, held its annual meeting on Friday, April 11. This meeting, which rotates locations, was also held in Washington, D.C.

The Development Committee meeting ended on Sunday, with a call from the economic leaders for assistance to the countries which been adversely affected by rising food prices. Economic growth has slowed to its lowest rate in five years, while the rising costs of food and energy have not slowed.

Robert Zoellick, the president of the World Bank, said, “We have to put our money where our mouth is. Now. So that we can put food into hungry mouths. It’s as stark as that.” He called for US$500 million in emergency funds for the United Nations’s World Food Programme by May 1, 2008.

“All that has been done [in the past decade] can be undone very rapidly by the crisis coming from the increase in food prices,” said Dominique Strauss-Kahn, the managing director of the IMF.

“Children will be suffering from malnutrition, with consequences for all their lives,” he said. He cited the growing use of land for biofuels as contributing to rising food costs. In the end growing violence and civil unrest could be a result.

Strauss-Kahn further warned that eventually it could become “not only a humanitarian question,” but could also affect developed nations by leading to trade imbalances.

Specifically cited as a current example, was Haiti, where just this weekend, violence escalated resulting in the death of a United Nations peacekeeper and the ousting of Prime Minister Jacques-Édouard Alexis.

United States Secretary of the Treasury Henry Paulson cautioned that affected countries “need to resist the temptation of price controls and consumption subsidies that are generally not effective and efficient methods of protecting vulnerable groups.”

We have to put our money where our mouth is. Now. So that we can put food into hungry mouths. It’s as stark as that.

Price controls and subsidies “tend to create fiscal burdens and economic distortions while often providing aid to higher-income consumers or commercial interests other than the intended beneficiaries,” Paulson said.

In their Friday statement, the G7 said “there have been at times sharp fluctuations in major currencies, and we are concerned about their possible implications for economic and financial stability.” This marked the first time since the February 2004 meeting in Boca Raton, Florida, that the wording on foreign exchange has been altered.

The G7 presented a plan to strengthen regulation of capital markets. They urged financial firms to “fully” disclose their at-risk investments and improve capital reserves. While the G7 did not outline new monetary or fiscal policies, it did promise action “as appropriate.” The timetable for the plan is 100 days.

While action is unlikely in the short run, they are probably already considering a pre-emptive move in foreign exchange markets to slow the dollar’s decline.

The head of G7 Market Economics at Tullett Prebon, Lena Komileva, observed, “The implicit message is that the G7 is moving closer towards concerted action in the event that persistent volatility in the foreign exchange market presents new risk of systemic failure in the financial industry.”

“While action is unlikely in the short run, they are probably already considering a pre-emptive move in foreign exchange markets to slow the dollar’s decline,” added Komileva.

Economists at Goldman Sachs told their clients, “After a period where the possibility of G7 policy intervention seemed very remote, providing no counterweight to the dollar depreciation forces, we are moving towards a regime where G7 intervention is a more real possibility.”

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U.S. outlaws online gambling

Saturday, October 14, 2006

Over the weekend, millions of Americans faced the new ban of online gambling.

The legislation was attached by Rep. Bill Frist to the Port Security bill.

Many of the public companies that offer online gambling have been quick to react and give their outlooks on the legislature. Party Gaming and 888 among others have said that they will shut down all U.S. operations if President Bush signs the bill into law. This sent online gambling stocks tumbling with Party Gaming leading the way with a 55% decrease in market value.

The people involved are awaiting to see what happens over the next few weeks.

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Enchanting Music S Soul Jazz Music For All

Enchanting Music s Soul Jazz Music for All

by

Jessica Cruez

Nature has gifted us many things and one unique gift that is of sound and music. Empires are been called the greatest in the book of history because of its music and musicians. Melodious music has not only soothened the human-mind but also revives people from difficult diseases. Soulful Balads, Rock n roll, jazz; Pop songs are some of the few varieties in western music which today s young generation craves more and more for listening. However jazz music has an all-time high for every music-lover s right from the year 1895 of its inception to till date where it s an outstanding choice for everybody. Jazz music was first recorded in 1923 by King Oliver and His Creole Jazz Band. Jazz music is basically originated from United States of America with a blend of African & American fusion music. Jazz music has had a strong connection with the culture and people of New York City since its beginnings. By the time jazz had moved from New Orleans to the cities of the West and the Northeast, arguably some of the most important evolutions occurred in New York City, the jazz capital of the world. Newyork jazz has many facets to its popularity. They are as follows-

Enchanting Melodies created in unison by guitar, double bass and violin with intertwined notes which catches the nerve of the crowd.

[youtube]http://www.youtube.com/watch?v=0yr7FW1S5e0[/youtube]

Various Musicians playing their musical instrument in their free and unique style which delivers maximum positive-happy effect on the listening mass.

Style of Newyork Jazz definitely creates an exclusive musical note which enchants the music lovers, leaving a soothing effect when it is played in concerts, corporate parties, and clubs and on streets.

Similarly British jazz has the wide and in-depth influence of the great all Americana jazz. From the 1960s British jazz began to develop more individual characteristics and absorb a variety of influences, including British blues along with global and European music influences. A number of British musicians have gained international reputations, although this form of music has remained a minority interest within the UK itself, but now a days London jazz has started to regain its own identity and validates its mark on world music. The black U.K. players had their spin on jazz Afropean jazz some called it which reflected their own heritage, demonstrating strong connections to Jamaica as well as to Africa, for example. Herbie Hancock is currently the greatest influence on London jazz. Basically beside him artist like Brad Mehldau, Jack DeJohnette, and Esperanza Spalding has dominated the London jazz festival which had witnessed an eager global audience. Jazz music has cultivated a club audience worldwide.

Contemporary Jazz is essentially a mix of 1980 and 1990 jazz music which is again termed as smooth jazz. Basically instrumental contemporary jazz is usually formed with a heady fusion — often slickly produced, with an emphasis on rock and funk rhythms; b) pop-jazz, with its almost exclusive concentration on memorable melodies; c) smooth jazz, with its primary goal of creating pleasant, mellow textures; and d) crossover jazz and contemporary funk, with their blend of polished production and R&B influences. many current jazz icons including The Bad Plus, Terence Blanchard, Jason Moran, Ravi Coltrane, the Benevento-Russo Duo, Robert Glasper, Charlie Hunter, Brian Blade and the Fellowship Band, the Dirty Dozen Brass Band and Medeski Martin and Wood. Contemporary jazz gets its unique mark in the history of world music by performers predecessors and influences, including Herbie Hancock, Wayne Shorter and Wynton Marsalis. Jazz music has completed a long journey of innovation and reached a flattering position of the ever-green soothing music in today s era.

Jessica Cruez is the author of this article. She is an expert article writing and covers a lot of topics. She has been using New York Jazz , London Jazz for some time now. She shares her views on

New York Jazz

in order to help users know more about Jazz music. Get details about her writing skill from this post.

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British computer scientist’s new “nullity” idea provokes reaction from mathematicians

Monday, December 11, 2006

On December 7, BBC News reported a story about Dr James Anderson, a teacher in the Computer Science department at the University of Reading in the United Kingdom. In the report it was stated that Anderson had “solved a very important problem” that was 1200 years old, the problem of division by zero. According to the BBC, Anderson had created a new number, that he had named “nullity”, that lay outside of the real number line. Anderson terms this number a “transreal number”, and denotes it with the Greek letter ? {\displaystyle \Phi } . He had taught this number to pupils at Highdown School, in Emmer Green, Reading.

The BBC report provoked many reactions from mathematicians and others.

In reaction to the story, Mark C. Chu-Carroll, a computer scientist and researcher, posted a web log entry describing Anderson as an “idiot math teacher”, and describing the BBC’s story as “absolutely infuriating” and a story that “does an excellent job of demonstrating what total innumerate idiots reporters are”. Chu-Carroll stated that there was, in fact, no actual problem to be solved in the first place. “There is no number that meaningfully expresses the concept of what it means to divide by zero.”, he wrote, stating that all that Anderson had done was “assign a name to the concept of ‘not a number'”, something which was “not new” in that the IEEE floating-point standard, which describes how computers represent floating-point numbers, had included a concept of “not a number”, termed “NaN“, since 1985. Chu-Carroll further continued:

“Basically, he’s defined a non-solution to a non-problem. And by teaching it to his students, he’s doing them a great disservice. They’re going to leave his class believing that he’s a great genius who’s solved a supposed fundamental problem of math, and believing in this silly nullity thing as a valid mathematical concept.
“It’s not like there isn’t already enough stuff in basic math for kids to learn; there’s no excuse for taking advantage of a passive audience to shove this nonsense down their throats as an exercise in self-aggrandizement.
“To make matters worse, this idiot is a computer science professor! No one who’s studied CS should be able to get away with believing that re-inventing the concept of NaN is something noteworthy or profound; and no one who’s studied CS should think that defining meaningless values can somehow magically make invalid computations produce meaningful results. I’m ashamed for my field.”

There have been a wide range of other reactions from other people to the BBC news story. Comments range from the humorous and the ironic, such as the B1FF-style observation that “DIVIDION[sic] BY ZERO IS IMPOSSIBLE BECAUSE MY CALCULATOR SAYS SO AND IT IS THE TRUTH” and the Chuck Norris Fact that “Only Chuck Norris can divide by zero.” (to which another reader replied “Chuck Norris just looks at zero, and it divides itself.”); through vigourous defences of Dr Anderson, with several people quoting the lyrics to Ira Gershwin‘s song “They All Laughed (At Christopher Columbus)”; to detailed mathematical discussions of Anderson’s proposed axioms of transfinite numbers.

Several readers have commented that they consider this to have damaged the reputation of the Computer Science department, and even the reputation of the University of Reading as a whole. “By publishing his childish nonsense the BBC actively harms the reputation of Reading University.” wrote one reader. “Looking forward to seeing Reading University maths application plummit.” wrote another. “Ignore all research papers from the University of Reading.” wrote a third. “I’m not sure why you refer to Reading as a ‘university’. This is a place the BBC reports as closing down its physics department because it’s too hard. Lecturers at Reading should stick to folk dancing and knitting, leaving academic subjects to grown ups.” wrote a fourth. Steve Kramarsky lamented that Dr Anderson is not from the “University of ‘Rithmetic“.

Several readers criticised the journalists at the BBC who ran the story for not apparently contacting any mathematicians about Dr Anderson’s idea. “Journalists are meant to check facts, not just accept whatever they are told by a self-interested third party and publish it without question.” wrote one reader on the BBC’s web site. However, on Slashdot another reader countered “The report is from Berkshire local news. Berkshire! Do you really expect a local news team to have a maths specialist? Finding a newsworthy story in Berkshire probably isn’t that easy, so local journalists have to cover any piece of fluff that comes up. Your attitude to the journalist should be sympathy, not scorn.”

Ben Goldacre, author of the Bad Science column in The Guardian, wrote on his web log that “what is odd is a reporter, editor, producer, newsroom, team, cameraman, soundman, TV channel, web editor, web copy writer, and so on, all thinking it’s a good idea to cover a brilliant new scientific breakthrough whilst clearly knowing nothing about the context. Maths isn’t that hard, you could even make a call to a mathematician about it.”, continuing that “it’s all very well for the BBC to think they’re being balanced and clever getting Dr Anderson back in to answer queries about his theory on Tuesday, but that rather skips the issue, and shines the spotlight quite unfairly on him (he looks like a very alright bloke to me).”.

From reading comments on his own web log as well as elsewhere, Goldacre concluded that he thought that “a lot of people might feel it’s reporter Ben Moore, and the rest of his doubtless extensive team, the people who drove the story, who we’d want to see answering the questions from the mathematicians.”.

Andrej Bauer, a professional mathematician from Slovenia writing on the Bad Science web log, stated that “whoever reported on this failed to call a university professor to check whether it was really new. Any university professor would have told this reporter that there are many ways of dealing with division by zero, and that Mr. Anderson’s was just one of known ones.”

Ollie Williams, one of the BBC Radio Berkshire reporters who wrote the BBC story, initially stated that “It seems odd to me that his theory would get as far as television if it’s so easily blown out of the water by visitors to our site, so there must be something more to it.” and directly responded to criticisms of BBC journalism on several points on his web log.

He pointed out that people should remember that his target audience was local people in Berkshire with no mathematical knowledge, and that he was “not writing for a global audience of mathematicians”. “Some people have had a go at Dr Anderson for using simplified terminology too,” he continued, “but he knows we’re playing to a mainstream audience, and at the time we filmed him, he was showing his theory to a class of schoolchildren. Those circumstances were never going to breed an in-depth half-hour scientific discussion, and none of our regular readers would want that.”.

On the matter of fact checking, he replied that “if you only want us to report scientific news once it’s appeared, peer-reviewed, in a recognised journal, it’s going to be very dry, and it probably won’t be news.”, adding that “It’s not for the BBC to become a journal of mathematics — that’s the job of journals of mathematics. It’s for the BBC to provide lively science reporting that engages and involves people. And if you look at the original page, you’ll find a list as long as your arm of engaged and involved people.”.

Williams pointed out that “We did not present Dr Anderson’s theory as gospel, although with hindsight it could have been made clearer that this is very much a theory and by no means universally accepted. But we certainly weren’t shouting a mathematical revolution from the rooftops. Dr Anderson has, in one or two places, been chastised for coming to the media with his theory instead of his peers — a sure sign of a quack, boffin and/or crank according to one blogger. Actually, one of our reporters happened to meet him during a demonstration against the closure of the university’s physics department a couple of weeks ago, got chatting, and discovered Dr Anderson reckoned he was onto something. He certainly didn’t break the door down looking for media coverage.”.

Some commentators, at the BBC web page and at Slashdot, have attempted serious mathematical descriptions of what Anderson has done, and subjected it to analysis. One description was that Anderson has taken the field of real numbers and given it complete closure so that all six of the common arithmetic operators were surjective functions, resulting in “an object which is barely a commutative ring (with operators with tons of funky corner cases)” and no actual gain “in terms of new theorems or strong relation statements from the extra axioms he has to tack on”.

Jamie Sawyer, a mathematics undergraduate at the University of Warwick writing in the Warwick Maths Society discussion forum, describes what Anderson has done as deciding that R ? { ? ? , + ? } {\displaystyle \mathbb {R} \cup \lbrace -\infty ,+\infty \rbrace } , the so-called extended real number line, is “not good enough […] because of the wonderful issue of what 0 0 {\displaystyle {\frac {0}{0}}} is equal to” and therefore creating a number system R ? { ? ? , ? , + ? } {\displaystyle \mathbb {R} \cup \lbrace -\infty ,\Phi ,+\infty \rbrace } .

Andrej Bauer stated that Anderson’s axioms of transreal arithmetic “are far from being original. First, you can adjoin + ? {\displaystyle +\infty } and ? ? {\displaystyle -\infty } to obtain something called the extended real line. Then you can adjoin a bottom element to represent an undefined value. This is all standard and quite old. In fact, it is well known in domain theory, which deals with how to represent things we compute with, that adjoining just bottom to the reals is not a good idea. It is better to adjoin many so-called partial elements, which denote approximations to reals. Bottom is then just the trivial approximation which means something like ‘any real’ or ‘undefined real’.”

Commentators have pointed out that in the field of mathematical analysis, 0 0 {\displaystyle {\frac {0}{0}}} (which Anderson has defined axiomatically to be ? {\displaystyle \Phi } ) is the limit of several functions, each of which tends to a different value at its limit:

  • lim x ? 0 x 0 {\displaystyle \lim _{x\to 0}{\frac {x}{0}}} has two different limits, depending from whether x {\displaystyle x} approaches zero from a positive or from a negative direction.
  • lim x ? 0 0 x {\displaystyle \lim _{x\to 0}{\frac {0}{x}}} also has two different limits. (This is the argument that commentators gave. In fact, 0 x {\displaystyle {\frac {0}{x}}} has the value 0 {\displaystyle 0} for all x ? 0 {\displaystyle x\neq 0} , and thus only one limit. It is simply discontinuous for x = 0 {\displaystyle x=0} . However, that limit is different to the two limits for lim x ? 0 x 0 {\displaystyle \lim _{x\to 0}{\frac {x}{0}}} , supporting the commentators’ main point that the values of the various limits are all different.)
  • Whilst sin ? 0 = 0 {\displaystyle \sin 0=0} , the limit lim x ? 0 sin ? x x {\displaystyle \lim _{x\to 0}{\frac {\sin x}{x}}} can be shown to be 1, by expanding the sine function as an infinite Taylor series, dividing the series by x {\displaystyle x} , and then taking the limit of the result, which is 1.
  • Whilst 1 ? cos ? 0 = 0 {\displaystyle 1-\cos 0=0} , the limit lim x ? 0 1 ? cos ? x x {\displaystyle \lim _{x\to 0}{\frac {1-\cos x}{x}}} can be shown to be 0, by expanding the cosine function as an infinite Taylor series, dividing the series subtracted from 1 by x {\displaystyle x} , and then taking the limit of the result, which is 0.

Commentators have also noted l’Hôpital’s rule.

It has been pointed out that Anderson’s set of transreal numbers is not, unlike the set of real numbers, a mathematical field. Simon Tatham, author of PuTTY, stated that Anderson’s system “doesn’t even think about the field axioms: addition is no longer invertible, multiplication isn’t invertible on nullity or infinity (or zero, but that’s expected!). So if you’re working in the transreals or transrationals, you can’t do simple algebraic transformations such as cancelling x {\displaystyle x} and ? x {\displaystyle -x} when both occur in the same expression, because that transformation becomes invalid if x {\displaystyle x} is nullity or infinity. So even the simplest exercises of ordinary algebra spew off a constant stream of ‘unless x is nullity’ special cases which you have to deal with separately — in much the same way that the occasional division spews off an ‘unless x is zero’ special case, only much more often.”

Tatham stated that “It’s telling that this monstrosity has been dreamed up by a computer scientist: persistent error indicators and universal absorbing states can often be good computer science, but he’s stepped way outside his field of competence if he thinks that that also makes them good maths.”, continuing that Anderson has “also totally missed the point when he tries to compute things like 0 0 {\displaystyle 0^{0}} using his arithmetic. The reason why things like that are generally considered to be ill-defined is not because of a lack of facile ‘proofs’ showing them to have one value or another; it’s because of a surfeit of such ‘proofs’ all of which disagree! Adding another one does not (as he appears to believe) solve any problem at all.” (In other words: 0 0 {\displaystyle 0^{0}} is what is known in mathematical analysis as an indeterminate form.)

To many observers, it appears that Anderson has done nothing more than re-invent the idea of “NaN“, a special value that computers have been using in floating-point calculations to represent undefined results for over two decades. In the various international standards for computing, including the IEEE floating-point standard and IBM’s standard for decimal arithmetic, a division of any non-zero number by zero results in one of two special infinity values, “+Inf” or “-Inf”, the sign of the infinity determined by the signs of the two operands (Negative zero exists in floating-point representations.); and a division of zero by zero results in NaN.

Anderson himself denies that he has re-invented NaN, and in fact claims that there are problems with NaN that are not shared by nullity. According to Anderson, “mathematical arithmetic is sociologically invalid” and IEEE floating-point arithmetic, with NaN, is also faulty. In one of his papers on a “perspex machine” dealing with “The Axioms of Transreal Arithmetic” (Jamie Sawyer writes that he has “worries about something which appears to be named after a plastic” — “Perspex” being a trade name for polymethyl methacrylate in the U.K..) Anderson writes:

We cannot accept an arithmetic in which a number is not equal to itself (NaN != NaN), or in which there are three kinds of numbers: plain numbers, silent numbers, and signalling numbers; because, on writing such a number down, in daily discourse, we can not always distinguish which kind of number it is and, even if we adopt some notational convention to make the distinction clear, we cannot know how the signalling numbers are to be used in the absence of having the whole program and computer that computed them available. So whilst IEEE floating-point arithmetic is an improvement on real arithmetic, in so far as it is total, not partial, both arithmetics are invalid models of arithmetic.

In fact, the standard convention for distinguishing the two types of NaNs when writing them down can be seen in ISO/IEC 10967, another international standard for how computers deal with numbers, which uses “qNaN” for non-signalling (“quiet”) NaNs and “sNaN” for signalling NaNs. Anderson continues:

[NaN’s] semantics are not defined, except by a long list of special cases in the IEEE standard.

“In other words,” writes Scott Lamb, a BSc. in Computer Science from the University of Idaho, “they are defined, but he doesn’t like the definition.”.

The main difference between nullity and NaN, according to both Anderson and commentators, is that nullity compares equal to nullity, whereas NaN does not compare equal to NaN. Commentators have pointed out that in very short order this difference leads to contradictory results. They stated that it requires only a few lines of proof, for example, to demonstrate that in Anderson’s system of “transreal arithmetic” both 1 = 2 {\displaystyle 1=2} and 1 ? 2 {\displaystyle 1\neq 2} , after which, in one commentator’s words, one can “prove anything that you like”. In aiming to provide a complete system of arithmetic, by adding extra axioms defining the results of the division of zero by zero and of the consequent operations on that result, half as many again as the number of axioms of real-number arithmetic, Anderson has produced a self-contradictory system of arithmetic, in accordance with Gödel’s incompleteness theorems.

One reader-submitted comment appended to the BBC news article read “Step 1. Create solution 2. Create problem 3. PROFIT!”, an allusion to the business plan employed by the underpants gnomes of the comedy television series South Park. In fact, Anderson does plan to profit from nullity, having registered on the 27th of July, 2006 a private limited company named Transreal Computing Ltd, whose mission statement is “to develop hardware and software to bring you fast and safe computation that does not fail on division by zero” and to “promote education and training in transreal computing”. The company is currently “in the research and development phase prior to trading in hardware and software”.

In a presentation given to potential investors in his company at the ANGLE plc showcase on the 28th of November, 2006, held at the University of Reading, Anderson stated his aims for the company as being:

To investors, Anderson makes the following promises:

  • “I will help you develop a curriculum for transreal arithmetic if you want me to.”
  • “I will help you unify QED and gravitation if you want me to.”
  • “I will build a transreal supercomputer.”

He asks potential investors:

  • “How much would you pay to know that the engine in your ship, car, aeroplane, or heart pacemaker won’t just stop dead?”
  • “How much would you pay to know that your Government’s computer controlled military hardware won’t just stop or misfire?”

The current models of computer arithmetic are, in fact, already designed to allow programmers to write programs that will continue in the event of a division by zero. The IEEE’s Frequently Asked Questions document for the floating-point standard gives this reply to the question “Why doesn’t division by zero (or overflow, or underflow) stop the program or trigger an error?”:

“The [IEEE] 754 model encourages robust programs. It is intended not only for numerical analysts but also for spreadsheet users, database systems, or even coffee pots. The propagation rules for NaNs and infinities allow inconsequential exceptions to vanish. Similarly, gradual underflow maintains error properties over a precision’s range.
“When exceptional situations need attention, they can be examined immediately via traps or at a convenient time via status flags. Traps can be used to stop a program, but unrecoverable situations are extremely rare. Simply stopping a program is not an option for embedded systems or network agents. More often, traps log diagnostic information or substitute valid results.”

Simon Tatham stated that there is a basic problem with Anderson’s ideas, and thus with the idea of building a transreal supercomputer: “It’s a category error. The Anderson transrationals and transreals are theoretical algebraic structures, capable of representing arbitrarily big and arbitrarily precise numbers. So the question of their error-propagation semantics is totally meaningless: you don’t use them for down-and-dirty error-prone real computation, you use them for proving theorems. If you want to use this sort of thing in a computer, you have to think up some concrete representation of Anderson transfoos in bits and bytes, which will (if only by the limits of available memory) be unable to encompass the entire range of the structure. And the point at which you make this transition from theoretical abstract algebra to concrete bits and bytes is precisely where you should also be putting in error handling, because it’s where errors start to become possible. We define our theoretical algebraic structures to obey lots of axioms (like the field axioms, and total ordering) which make it possible to reason about them efficiently in the proving of theorems. We define our practical number representations in a computer to make it easy to detect errors. The Anderson transfoos are a consequence of fundamentally confusing the one with the other, and that by itself ought to be sufficient reason to hurl them aside with great force.”

Geomerics, a start-up company specializing in simulation software for physics and lighting and funded by ANGLE plc, had been asked to look into Anderson’s work by an unnamed client. Rich Wareham, a Senior Research and Development Engineer at Geomerics and a MEng. from the University of Cambridge, stated that Anderson’s system “might be a more interesting set of axioms for dealing with arithmetic exceptions but it isn’t the first attempt at just defining away the problem. Indeed it doesn’t fundamentally change anything. The reason computer programs crash when they divide by zero is not that the hardware can produce no result, merely that the programmer has not dealt with NaNs as they propagate through. Not dealing with nullities will similarly lead to program crashes.”

“Do the Anderson transrational semantics give any advantage over the IEEE ones?”, Wareham asked, answering “Well one assumes they have been thought out to be useful in themselves rather than to just propagate errors but I’m not sure that seeing a nullity pop out of your code would lead you to do anything other than what would happen if a NaN or Inf popped out, namely signal an error.”.

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New Zealand begins process to consider changing national flag design

Thursday, May 7, 2015

On Tuesday, the New Zealand government announced the start of a public process to suggest designs for a new national flag, and determine whether their citizens would prefer a different national flag over the current one.

The current New Zealand flag is partially based on the United Kingdom’s flag; the new one would be unique to New Zealand. The government’s Flag Consideration Project has planned a number of conferences and roadshows as part of this process, with the first meeting set to take place in Christchurch on May 16. According to the New Zealand Herald, Emeritus Professor John Burrows, the chairman of the project’s panel of twelve, said New Zealand’s flag has never before been open to public choice.

Professor Burrows also said resources and kits would be accessible for schools and communities, “For example, schools can run their own flag discussions and referendums to mirror the formal process as part of their own learning exercise”. People were encouraged to submit their designs online at www.flag.govt.nz and suggest what the flag should mean on www.standfor.co.nz. Names of participants would be engraved, at their option, on a flag pole monument to be built in the nation’s capital, Wellington.

New Zealand’s Prime Minister John Key said he believes redesigning the flag now has a “strong rationale”. Mr Key promoted the campaign for a unique New Zealand flag on Waitangi Day — February 6 — this year. Of the public process, he said, “In the end I’ll have one vote in each referendum just like every other New Zealander on the electoral roll”.

The New Zealand government intends to hold two referendums to reach a verdict on the flag, at an estimated cost of NZ$26 million, although a recent poll found only a quarter of citizens favoured changing the flag. This is a decrease from the year before, when it was forty percent. The first referendum is to be held from November 20 to December 11, selecting a single new flag design out of about four finalists. Voters would then choose between the new flag and their current flag early in 2016.

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