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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.

Saturday, May 9, 2009

The five largest United States banks need a total of US$74.6 billion in extra funds to increase their cash reserves, according to so-called “stress tests” conducted by regulators to determine whether the banks have enough capital to survive the ongoing recession.

“Our hope with today’s actions is that banks are going to be able to get back to the business of banking,” said Timothy Geithner, the US Treasury Secretary.

The results of the stress-test determined that Bank of America was the bank most at risk, needing $33.9 billion. Wells Fargo will require an additional $13.7 billion, while GMAC needs $11.5 billion.

Seven other banks failed the “stress test”, including: Citigroup, Morgan Stanley, Regions Financial, SunTrust Banks, KeyCorp, Fifth Third Bancorp, and PNC Financial Services.

Nine other banks that underwent stress tests, such as Goldman Sachs, JPMorgan Chase, Bank of New York Mellon, MetLife, American Express, State Street, BB&T, US Bancorp and Capital One Financial, were found to have enough capital in case the recession deepens.

Those banks that need extra money will be set a June 8 deadline to draw up their plans to raise the additional capital and have regulators approve them.

Monday, February 15, 2010

Belgian authorities have confirmed that at least eighteen people died in a head-on collision between two passenger trains in the suburbs of Brussels. Other reports suggest that the death toll could be as high as 25. More than 125 passengers are reported injured, 11 of them “very seriously”. Rescuers were still trying to free bodies from the wreckage of the trains more than eight hours after the crash, which occurred in snowy conditions at 08:28 local time (0728 UTC) near the station of Buizingen in the municipality of Halle, about 15 kilometres southwest of the Belgian capital.

One of the trains involved was travelling from Quiévrain to Liège, while the other was travelling from Leuven to Braine-le-Comte. The collision saw the first two carriages of one train being forced upwards into the air over the first carriage of the second train. Eyewitnesses described the collision as “brutal”, with passengers being thrown “violently” around the carriages.

Television footage showed the two smashed locomotives forced up in the air, with passenger cars strewn over a wide area and dazed survivors wandering at the crash site. Train speed at the time of the crash was not immediately known. There are reports that one of the trains ran a stop signal.

Initial reports suggest that the Leuven–Braine-le-Comte train was on the wrong line. It is not known if the train went through a red signal or if there was a problem with the signalling. A “well informed source” quoted by French-language daily Le Soir suggested that there might have been an electrical failure in the signalling system.

The collision occurred on one of the main access lines to Brussels-South station, about 14 kilometres (9 miles) from the Belgian capital. It caused “major damage” to overhead power cables, especially on the Brussels–Mons and Brussels–Tournai lines, and high speed rail services between Brussels and France and the UK have been suspended. Thalys services were temporarily halted due to the accident, with four of its trains in the region being diverted to alternative stations. Thalys services between Brussels and Cologne have now resumed, but services to Amsterdam and Paris are still suspended.

One passenger on board, Christian Wampach, described conditions on board the train, “It was a nightmare. We were thrown about for about 15 seconds. There were a number of people injured in my car but I think all the dead were in the first car.” Wampach was in the third car.

Another passenger, Patricia Lallemand, said, “When we came out we saw dead bodies lying next to the tracks, some mutilated.”

Monday, June 23, 2008

2008 COMPUTEX Taipei, the largest trade fair since its inception in 1982, featured several seminars and forums, expansions on show spaces to TWTC Nangang, great transformations for theme pavilions, and WiMAX Taipei Expo, mainly promoted by Taipei Computer Association (TCA). Besides of ICT industry, “design” progressively became the critical factor for the future of the other industries. To promote innovative “Made In Taiwan” products, pavilions from “Best Choice of COMPUTEX”, “Taiwan Excellence Awards”, and newly-set “Design and Innovation (d & i) Award of COMPUTEX”, demonstrated the power of Taiwan’s designs in 2008 COMPUTEX Taipei.

Saturday, March 15, 2008

A Delta II rocket launched at 06:10 GMT this morning, with the GPS IIR-19 navigation satellite. The spacecraft, which forms part of the US Air Force’s NAVSTAR Global Positioning System, has been successfully delivered into a Medium Earth orbit.

The rocket flew in the 7925-9.5 configuration, with 9 GEM-40 solid-rocket boosters, an Extra Extended Long Tank Thor first stage, a Delta-K second stage, a Star 48B third stage, and a 9.5 ft (2.9m) diameter payload fairing. Launch was conducted by United Launch Alliance (ULA).

GPS IIR-19, also known as IIM-6 and SVN-48, will be placed in plane A, slot 4, replacing the GPS IIA-15 satellite. IIA-15 was launched in September 1992, and has been operating for over twice its design life. This was the 135^th launch of the Delta II, and the twelfth orbital launch of 2008.

Sunday, February 6, 2011

New safety procedures are to be implemented after an American Airlines Boeing 777 came close to colliding with two U.S. Air Force C-17 Globemaster III aircraft off the coast of New York, United States, last month. Radar data indicates the aircraft came within 1 miles (2 km) of each other before the flight crew of the Boeing 777 took evasive action as an alarm sounded in the cockpit of the jet.

An aviation official, speaking on condition of anonymity, said the traffic collision avoidance system alarm which sounded in the cockpit of the passenger jet, which had 259 people aboard, “may be what saved the day,” since C-17 cargo aircraft are not highly manoeuvrable. Investigators have reportedly found the aircraft would have collided head-on.

The National Transportation Safety Board has launched a “major investigation” into the incident, and confirmed there were no injuries in the incident. The Federal Aviation Administration, the government department responsible for aviation in the U.S., said in a statement air traffic controllers are “reviewing a variety of procedures including the handling of formation flights, aircraft near sector boundaries.”