Tuesday, November 16, 2010

China’s Xinhua News Agency said Tuesday that at least 53 people were killed in Shanghai during a deadly fire. The blaze, which occurred on Monday at 2:15 p.m. CST (0615 UTC), consumed a 28-story high-rise apartment building in the city’s Jing’an District.

The building was being renovated at the time of the fire, and was home to over 150 families. At least 100 victims have been admitted to area hospitals, although some later died. Most survivors were not seriously injured, but needed treatment for smoke inhalation. Firefighters were still looking for survivors and over 70 were still hospitalized on the morning after the fire.

The fire was the worst in recent Shanghai history and took over 100 fire engines more than four hours to contain. Strong winds blew heavy smoke into the air, hampering rescue efforts by helicopters. The smoke was seen by witnesses around 15 kilometres (9.3 miles) away from the high-rise. The fire was largely extinguished by 6:30 p.m. local time (1000 UTC), allowing fire and rescue officials to enter the building.

The apartment building, built in the late 1990s, was home to mainly retired teachers. Some residents climbed down the scaffolding to escape, while others called for help but were unable to flee the blaze. “I saw at least four or five people hanging onto the scaffolding which covers the building, screaming for help,” said Li Qubo, who was working near the high-rise.

The cause of the fire has not yet been determined, but local residents said fire safety regulations were not strict, and workers often tossed used cigarettes into the building’s hallways. Qiu Jingshu, a 38-year-old worker who was outside the 18th floor when the fire struck, said he saw sparks from welding being done on an adjacent building fly over onto the high-rise. The sparks lit up foam on the scaffolding around the apartment, according to Qiu. “We had tried to put out the blaze, but the fire was so big and spread so quickly that we could barely escape ourselves,” he said. Crews were said to have been installing insulation at the time of the fire, and witnesses saw construction materials on fire before the building was overtaken by flames.

Two nearby buildings were evacuated, and their residents were temporarily sent to local hotels, and a school. Meng Jianzhu, China’s Minister of Public Security, said that an investigation would determine who was responsible for the fire, so they could be punished accordingly. Meng said that a team had been formed under China’s State Council to look into the disaster.

A similar incident occurred in Beijing early last year. In February 2009, the illegal use of fireworks caused a fire that gutted a 34-story building under construction at the time.

Shanghai has a population of about 20 million, housed mainly in high-rise apartments. Many buildings in the city are under construction or being renovated.

Saturday, January 6, 2007

Jonny Reid, co-driver for the A1GP New Zealand team, today made history by driving the fastest over the 48-year-old Auckland Harbour Bridge, New Zealand, legally.

Mr Reid managed to drive the New Zealand’s A1GP car, Black Beauty at speeds over 160km/h seven times over the bridge. The New Zealand police had trouble using their speed radar guns to see how fast Mr Reid was going because of how low Black Beauty is, and the only time the police managed to clock Mr Reid was when he slowed down to 160km/h.

Black Beauty, like all the other A1 Grand Prix cars, is powered by a V8 engine, 3.4 litres and has a top speed of 300km/h. During the record attempt, it managed to get to 160km/h from zero in under three seconds.

The stunt was to promote the upcoming A1GP sixth round at Taupo in a couple of weeks, which Mr Reid will be racing because of his two wins at Indonesia, instead of other co-driver, Matt Halliday.

Mr Reid performed the record on the clipon lanes of the bridge which were closed at Christmas because the lanes were being resurfaced. The lanes will be open this Monday, January 8.

Mr Reid said the surface at the top of the bridge hadn’t been swept so it was quite slippery. “It was mega slippery at the top but we always knew that would be the situation and it was just great to show the public a little bit of what we were about.” However he also said that “It was fully under control.”

Mr Reid said the buzz from doing that, especially with the help from police, was huge. “I absolutely thrived on it. It was a very unique experience which you don’t come across every day. It was mega, it really was.”

Mr Reid assures everyone that the speeds he will be reaching in Taupo will be much, much faster than what he achieved today.

Once Mr Reid had finished crossing the bridge seven times, he finished with a few doughnuts.

Two cars were involved in a nose to tail crash on one of the northbound lanes trying to watch the action.

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.

Friday, November 3, 2006

On November 13, Torontoians will be heading to the polls to vote for their ward’s councillor and for mayor. Among Toronto’s ridings is Eglinton—Lawrence (Ward 16). Two candidates responded to Wikinews’ requests for an interview. This ward’s candidates include Steven Bosnick, Charm Darby, Albert Pantaleo, Yigal Rifkind, Karen Stintz (incumbent), and Steve Watt.

For more information on the election, read Toronto municipal election, 2006.