<div class=Iran’s morality police crack down on un-Islamic dress
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Iran’s morality police crack down on un-Islamic dress

Wednesday, April 25, 2007

The Iranian police forces have faced criticism from Ayatollah Hashemi Shahrudi, the head of the judiciary who was appointed by Grand Ayatollah Ali Khamenei, for their re-invigorated campaign to do away with un-Islamic dress.

Ayatollah Shahroudi proclaimed, “Tough measures on social problems will backfire and have counter-productive effects.” Others have, of course, made it clear that un-Islamic dress can lead to moral corruption, engender innumerable vices, and hurt the Islamic character of the nation.

Some believe that no one had any issue with the creation of an Islamic atmosphere. The core of the matter revolves around the implementation of the Islamic dress code; additionally, heavy-handed measures should be shunned. For instance, Mehdi Ahmadi, information head of Tehran’s police, told Al Jazeera: “Some citizens may complain about the way the law is being enforced but they all agree with the plan itself.”

According to one student, “You simply can’t tell people what to wear. They don’t understand that use of force only brings hatred towards them, not love.” Nevertheless, Hojatoll-Islam Mostafa Pour-Mohammadi, Iran’s interior minister who is in charge of policing, prognosticated positive feedback from the populace when he said, “People are unhappy with the social and moral status of the society. They expect that the fight against social insecurity be properly implemented.” Thus, Hujjat al-Islam Pour-Mohammadi re-iterated the necessity of proper implementation and methodology towards the restoration of morality in the Islamic Republic. Islamic officials and religious people affirm that this is indispensable to promote righteousness, curb sin, and bring open sinners to justice.

Following the Islamic Revolution in 1979, hijab became mandatory in Iran for every woman including foreigners after over 98% of citizens voted for an Islamic government. Women may face caning up to 74 strokes for failing to observe hijab. In this recent crackdown, the authorities have arrested many citizens throughout the country. Not only have women been taken into custody for their hair being uncovered on their foreheads and tight clothes that show body shapes, For men they need to cover from knee to their waist as according to Sharia. Even a foreign journalist was detained because the photograph on her press card was indecent.

It has not been clear whence the directive for the re-newed clampdown emanated. Some have blamed Mahmoud Ahmadinejad while Gholam Hossein Elham, the government spokesman, stated to reporters, “The police work as agents of the judiciary to confront crimes. The government as an executive body does not interfere in the affairs of the judiciary.” The following pre-election speech seems to corroborate this latter statement:

In reality, is the problem of our people the shape of the hair of our children? Let our children arrange their hair any way they wish. It doesn’t concern me and you. Let you and me overhaul the basic problems of the nation. The government should fix the economy of the nation and improve its atmosphere…[It should] better psychological security and support the people. People have variegated tastes. As if now the arch obstacle of our nation is the arrangement of our kids’ hair and the government disallowing them <He chuckles>. Is this the government’s responsibility? Is this the people’s merit? In actuality, this is the denigration of our people. Why do you underestimate and belittle the people? It is the real issue of our nation that one of our daughters donned a certain dress? Is this the issue of our nation and the problem of our nation?
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<div class=On the campaign trail in the USA, October 2016
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On the campaign trail in the USA, October 2016

Sunday, November 6, 2016

The following is the sixth and final edition of a monthly series chronicling the U.S. 2016 presidential election. It features original material compiled throughout the previous month after an overview of the month’s biggest stories.

In this month’s edition on the campaign trail: the Free & Equal Foundation holds a presidential debate with three little-known candidates; three additional candidates give their final pleas to voters; and past Wikinews interviewees provide their electoral predictions ahead of the November 8 election.

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<div class=Nigeria allies join fight against Boko Haram
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Nigeria allies join fight against Boko Haram

Monday, March 9, 2015

Military forces from Chad and Niger yesterday engaged Boko Haram militants within the borders of Nigeria. This follows African Union endorsement on Friday of the creation of an 8,000-plus strong regional force to combat the threat posed by the militant group.

Along with Cameroon, both Chad and Niger have previously engaged Boko Haram forces who have crossed their borders from the territory they hold in northern Nigeria. While all three countries have previously aided Nigeria against Boko Haram, the new attacks are Niger’s first push into foreign territory.

The new attacks against Boko Haram follow its leader pledging allegiance on Saturday to Islamic State, as other groups have done. A Nigerian military spokesman, speaking to the BBC, dismissed this as a “plea for help”; Nigerian spokesmen cited recent military defeats inflicted upon Boko Haram as the reason for the militants’ announcement.

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The Roles Of A Certified Instructor}

The Roles Of A Certified Instructor}

The Roles of a Certified Instructor

by

Madhur RajpalIf you are looking for an opportunity to manage your stress you can consider hatha yoga. However, many of the people benefit a great deal from other styles of yoga- it is all about their personal preferences. The main components of most yoga classes are the poses and breathing.

The yoga poses, also called postures offer a series of movements that are designed to increase flexibility and strength. Controlled breathing is also an important aspect of yoga. Breath in yoga signifies an individual’s vital energy. If you are looking for the best result consider enrolling with a certified yoga teacher training. The roles of a certified instructor include:

Work the room

Great instructors have the ability of working the room. Furthermore, they possess the necessary skills required to feel the room and thus making every individual they come into contact with to feel special. They effortlessly feel the environment around them.

Whether it is a subtle touch or calling out a name, they have the ability to connect with their student, creating a personal touch. As they work the room, they have the ability to make anyone to feel better. They have a sixth-sense while communicating with other people, including strangers to achieve desirable results.

Personalize the training

A certified yogi instructor has a trademark- a signature closing, a signature sequence or a signature use of phrases. Whatever it is, it should be authentic and unique; the instructor needs to own it.

The instructor should have more than a posture and idea. It is pretty amazing when the trainer takes a posture or idea that seems complex and breaks it down to make it accessible. They do this in a way that is unique and authentic to the learners.

Generating a warm atmosphere

It can prove challenging training in a new class, even for a seasoned yogi. However, a great instructor will be able to spot first-timers and go out of their way to make the learners feel comfortable. Learners are assured of receiving smiles regularly to urge them to keep persisting. Therefore, at the yoga retreat you are assured of receiving the right attitude that is critical in achieving the right postures and breathing.

Offer a detailed approach to training

Regular practice of yoga have the capacity of getting you to greater heights. A great instructor will play an important role in getting the learners to heights they had not imagined they would get to.

You will learn to perform most of the postures while embracing the worldviews of the power that derived from breathing. They transform you into an efficient practitioner and enabling you to get to another level of practice.

Several studies have revealed practicing yoga helps to cut anxiety and stress. Furthermore, it has the ability of enhancing the practitioner’s mood and sense of well-being. The breathing techniques help to calm the mind.

Yoga is recommended because it brings awareness as well as the ability to stay calm. Stress in an individual’s life can be reduced significantly. Through meditation, the practitioner develops an inner peace. It can be relied upon as a self- healing tool that helps to get the practitioner into perfect shape. Therefore, anyone regardless of their age, religion and health circumstances can practice yoga.

Readers can also go to our website and find beneficial information about

yoga alliance teacher training

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yoga retreat Himalayas

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Article Source:

eArticlesOnline.com}

<div class=2008 Taste of Taiwan Cuisine: A complex to redefine Taiwan’s MICE industry
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2008 Taste of Taiwan Cuisine: A complex to redefine Taiwan’s MICE industry

Saturday, July 5, 2008

Ever since the Taste of Taiwan Cuisine, a complex to promote the MICE (meeting, incentive travel, conference, and exhibition) and cultural industries in Taiwan exclusively in June, made its initiation at 2006, the tourism ratio from foreigners were progressively increased in this complex event.

To bring up the MICE industry, Taiwan External Trade Development Council (TAITRA), the event organizer, arranged several key events including Taipei Trade Shows, travel packages, views, and conferences for international businesspeople. This effectively redefined the MICE industry in Taiwan during the event.

As the 2008 WiMAX Expo Taipei and COMPUTEX Taipei jointly showcased in the Taipei World Trade Center Hall 1 – 3, Taipei International Convention Center, and TWTC Nangang, the potential of ICT industry in Taiwan were demonstrated to drive more discussions between international businesspeople during the show hours and conferences.

Products related to current incidents including energy-efficiency, environmental-friendly, and low-prices were highly respected from industrial businesspeople. In addition to several forums and seminars, topical issues including environment and energy-saving were also mentioned during the shows.

Apart from seminars and trade shows, since the TWTC Nangang was launched on March 13, the venue brought opportunities for several industries. As the government claimed to promote the MICE industry positively, Taiwan will keep its stable position on international sourcing center in Asia with more trade shows expanded to TWTC Nangang.

Culinary, historical ancestry, natural views, and country images, are key factors to demonstrate the culture of a nation. Different from them, the creativity and innovations showcased another style in its [cultural] industry.

A good example was the organization of three theme shows for food and packaging industries – “Food Taipei”, “Foodtech Taipei”, and “Taipei Pack”, a collective with different cultures from twenty-seven countries including United States, South Korea, Canada, Japan, Sri Lanka, Austria, Philippines, Chile, Malaysia, Spain, Fiji, Poland, and six nations from Africa.

Not only the shows, the TAITRA also provided several special coupon cards for international businesspeople to discount in several local department stores, hotels, tourism views, and gourmet stores to rise up the tourism industry.

Although the tourism industry was firmly prosper as trade shows went smoothly, but when a great shows took place at Taipei World Trade Center, it still exposed a major problem on transportation although Walter Yeh, Vice President of TAITRA, ever emphasized to improve this critical issue in a press conference.

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<div class=Heatwave sweeps USA, many struggling to keep cool
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Heatwave sweeps USA, many struggling to keep cool

Tuesday, July 18, 2006

Temperatures as high as 111°F (48°C) have hit the United States today, a continuation of Monday’s triple-digit (Fahrenheit) record highs in some areas.

High energy costs have many elderly and low income citizens keeping the air conditioning off, fixed incomes being blamed in many cases. In response to this, cities such as Chicago and New York have turned some public facilities into “cooling areas” for the duration. Buildings being converted include homeless shelters, senior centers, libraries and shopping malls. State agencies are urging anyone experiencing heat related symptoms to get to one of these places as soon as possible.

Early reports are attributing at least three dead from heat related complications in Philadelphia, Arkansas, and Indiana

The National Weather Service has issued Red Flag warnings for six states, warning that the heat could easily lead to forest fires. Much of the northeast corridor and central plains states have been issued heat warnings.

Relief is in sight for the northeast, with storms bringing cooler weather from the Ohio Valley through New England; however the central part of the US won’t see a break in the heat until the weekend.

Retrieved from “https://en.wikinews.org/w/index.php?title=Heatwave_sweeps_USA,_many_struggling_to_keep_cool&oldid=4528521”
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When Looking For Used Auto Dealers In Tucson

When Looking For Used Auto Dealers In Tucson

byAlma Abell

When you are looking to purchase a used car, you are looking for that one automobile that is the perfect option for you. Unlike when you buy from the new lot, where one model is the same as the others on the lot, things get more complex when it comes to the used car lot. There could be two cars of the same make and/or model sitting next to each other on the lot; while they may look similar, there may be different issues with the engine, and with the interior of the car. With this in mind, you can’t just buy a car because it is a certain brand, at least not based solely on that basic information. You need to take the time to look deeply into each car that you consider when you are visiting Used Auto Dealers in Tucson. It’s not just about the way that the car outwardly looks; it is about what it will give you over time.

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

The best way to get information on a specific car that you are looking at on the used car lot is to ask for it. It is incredibly easy to get a full history on each car that you are considering, and Used Auto Dealers in Tucson should be able to get it for you in a matter of minutes when you ask for it. This information will cover any work that has been done on the car, as well as any damage that may be well covered up. In addition, you need to give the car a thorough visual inspection, and take it out for an intensive test drive.

While you need to pay more attention to the individual car than the make and model, the name on the front of the car does mean something. Toyota is known for producing great new cars that end up becoming great used cars down the road. Because you want a car that was built for the long term, Used Toyotas in Tucson from a place like Craycroft Auto Sales should be an option that you are going to want to consider in your search.

<div class=Israeli PM Ariel Sharon briefly opens eyes
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Israeli PM Ariel Sharon briefly opens eyes

Monday, January 16, 2006

Israeli media is reporting that Prime Minister Ariel Sharon opened his eyes for the first time since he suffered a major stroke on January 4, 2006.

However, hospital officials said the reports were generated by the Sharon family’s “impression of eyelid movement, whose medical significance is unclear.”

“He was listening to a tape of his grandson and you could see tears in his eyes for a matter of seconds before he closed them again,” a doctor treating Sharon told AFP news agency on condition of anonymity.

Army Radio, citing unidentified close associates of Sharon, say the Prime Minister could “recognize people around him.”

However, hospital officials state that it is “too early to tell whether the development represented a significant improvement or was just a temporary reflex.”

Sharon had undergone a tracheotomy on Sunday to help with his breathing and to help prevent infection from his respirator tube.

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<div class=John Vanderslice plays New York City: Wikinews interview
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John Vanderslice plays New York City: Wikinews interview

Thursday, September 27, 2007

John Vanderslice has recently learned to enjoy America again. The singer-songwriter, who National Public Radio called “one of the most imaginative, prolific and consistently rewarding artists making music today,” found it through an unlikely source: his French girlfriend. “For the first time in my life I wouldn’t say I was defending the country but I was in this very strange position…”

Since breaking off from San Francisco local legends, mk Ultra, Vanderslice has produced six critically-acclaimed albums. His most recent, Emerald City, was released July 24th. Titled after the nickname given to the American-occupied Green Zone in Baghdad, it chronicles a world on the verge of imminent collapse under the weight of its own paranoia and loneliness. David Shankbone recently went to the Bowery Ballroom and spoke with Vanderslice about music, photography, touring and what makes a depressed liberal angry.


DS: How is the tour going?

JV: Great! I was just on the Wiki page for Inland Empire, and there is a great synopsis on the film. What’s on there is the best thing I have read about that film. The tour has been great. The thing with touring: say you are on vacation…let’s say you are doing an intense vacation. I went to Thailand alone, and there’s a part of you that just wants to go home. I don’t know what it is. I like to be home, but on tour there is a free floating anxiety that says: Go Home. Go Home.

DS: Anywhere, or just outside of the country?

JV: Anywhere. I want to be home in San Francisco, and I really do love being on tour, but there is almost like a homing beacon inside of me that is beeping and it creates a certain amount of anxiety.

DS: I can relate: You and I have moved around a lot, and we have a lot in common. Pranks, for one. David Bowie is another.

JV: Yeah, I saw that you like David Bowie on your MySpace.

DS: When I was in college I listened to him nonstop. Do you have a favorite album of his?

JV: I loved all the things from early to late seventies. Hunky Dory to Low to “Heroes” to Lodger. Low changed my life. The second I got was Hunky Dory, and the third was Diamond Dogs, which is a very underrated album. Then I got Ziggy Stardust and I was like, wow, this is important…this means something. There was tons of music I discovered in the seventh and eighth grade that I discovered, but I don’t love, respect and relate to it as much as I do Bowie. Especially Low…I was just on a panel with Steve Albini about how it has had a lot of impact.

DS: You said seventh and eighth grade. Were you always listening to people like Bowie or bands like the Velvets, or did you have an Eddie Murphy My Girl Wants to Party All the Time phase?

JV: The thing for me that was the uncool music, I had an older brother who was really into prog music, so it was like Gentle Giant and Yes and King Crimson and Genesis. All the new Genesis that was happening at the time was mind-blowing. Phil Collins‘s solo record…we had every single solo record, like the Mike Rutherford solo record.

DS: Do you shun that music now or is it still a part of you?

JV: Oh no, I appreciate all music. I’m an anti-snob. Last night when I was going to sleep I was watching Ocean’s Thirteen on my computer. It’s not like I always need to watch some super-fragmented, fucked-up art movie like Inland Empire. It’s part of how I relate to the audience. We end every night by going out into the audience and playing acoustically, directly, right in front of the audience, six inches away—that is part of my philosophy.

DS: Do you think New York or San Francisco suffers from artistic elitism more?

JV: I think because of the Internet that there is less and less elitism; everyone is into some little superstar on YouTube and everyone can now appreciate now Justin Timberlake. There is no need for factions. There is too much information, and I think the idea has broken down that some people…I mean, when was the last time you met someone who was into ska, or into punk, and they dressed the part? I don’t meet those people anymore.

DS: Everything is fusion now, like cuisine. It’s hard to find a purely French or purely Vietnamese restaurant.

JV: Exactly! When I was in high school there were factions. I remember the guys who listened to Black Flag. They looked the part! Like they were in theater.

DS: You still find some emos.

JV: Yes, I believe it. But even emo kids, compared to their older brethren, are so open-minded. I opened up for Sunny Day Real Estate and Pedro the Lion, and I did not find their fans to be the cliquish people that I feared, because I was never playing or marketed in the emo genre. I would say it’s because of the Internet.

DS: You could clearly create music that is more mainstream pop and be successful with it, but you choose a lot of very personal and political themes for your music. Are you ever tempted to put out a studio album geared toward the charts just to make some cash?

JV: I would say no. I’m definitely a capitalist, I was an econ major and I have no problem with making money, but I made a pact with myself very early on that I was only going to release music that was true to the voices and harmonic things I heard inside of me—that were honestly inside me—and I have never broken that pact. We just pulled two new songs from Emerald City because I didn’t feel they were exactly what I wanted to have on a record. Maybe I’m too stubborn or not capable of it, but I don’t think…part of the equation for me: this is a low stakes game, making indie music. Relative to the world, with the people I grew up with and where they are now and how much money they make. The money in indie music is a low stakes game from a financial perspective. So the one thing you can have as an indie artist is credibility, and when you burn your credibility, you are done, man. You can not recover from that. These years I have been true to myself, that’s all I have.

DS: Do you think Spoon burned their indie credibility for allowing their music to be used in commercials and by making more studio-oriented albums? They are one of my favorite bands, but they have come a long way from A Series of Sneaks and Girls Can Tell.

JV: They have, but no, I don’t think they’ve lost their credibility at all. I know those guys so well, and Brit and Jim are doing exactly the music they want to do. Brit owns his own studio, and they completely control their means of production, and they are very insulated by being on Merge, and I think their new album—and I bought Telephono when it came out—is as good as anything they have done.

DS: Do you think letting your music be used on commercials does not bring the credibility problem it once did? That used to be the line of demarcation–the whole Sting thing–that if you did commercials you sold out.

JV: Five years ago I would have said that it would have bothered me. It doesn’t bother me anymore. The thing is that bands have shrinking options for revenue streams, and sync deals and licensing, it’s like, man, you better be open to that idea. I remember when Spike Lee said, ‘Yeah, I did these Nike commercials, but it allowed me to do these other films that I wanted to make,’ and in some ways there is an article that Of Montreal and Spoon and other bands that have done sync deals have actually insulated themselves further from the difficulties of being a successful independent band, because they have had some income come in that have allowed them to stay put on labels where they are not being pushed around by anyone.
The ultimate problem—sort of like the only philosophical problem is suicide—the only philosophical problem is whether to be assigned to a major label because you are then going to have so much editorial input that it is probably going to really hurt what you are doing.

DS: Do you believe the only philosophical question is whether to commit suicide?

JV: Absolutely. I think the rest is internal chatter and if I logged and tried to counter the internal chatter I have inside my own brain there is no way I could match that.

DS: When you see artists like Pete Doherty or Amy Winehouse out on suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and their music?

JV: The thing for me is they are profound iconic figures for me, and I don’t even know their music. I don’t know Winehouse or Doherty’s music, I just know that they are acting a very crucial, mythic part in our culture, and they might be doing it unknowingly.

DS: Glorification of drugs? The rock lifestyle?

JV: More like an out-of-control Id, completely unregulated personal relationships to the world in general. It’s not just drugs, it’s everything. It’s arguing and scratching people’s faces and driving on the wrong side of the road. Those are just the infractions that land them in jail. I think it might be unknowing, but in some ways they are beautiful figures for going that far off the deep end.

DS: As tragic figures?

JV: Yeah, as totally tragic figures. I appreciate that. I take no pleasure in saying that, but I also believe they are important. The figures that go outside—let’s say GG Allin or Penderetsky in the world of classical music—people who are so far outside of the normal boundaries of behavior and communication, it in some way enlarges the size of your landscape, and it’s beautiful. I know it sounds weird to say that, but it is.

DS: They are examples, as well. I recently covered for Wikinews the Iranian President speaking at Columbia and a student named Matt Glick told me that he supported the Iranian President speaking so that he could protest him, that if we don’t give a platform and voice for people, how can we say that they are wrong? I think it’s almost the same thing; they are beautiful as examples of how living a certain way can destroy you, and to look at them and say, “Don’t be that.”

JV: Absolutely, and let me tell you where I’m coming from. I don’t do drugs, I drink maybe three or four times a year. I don’t have any problematic relationship to drugs because there has been a history around me, like probably any musician or creative person, of just blinding array of drug abuse and problems. For me, I am a little bit of a control freak and I don’t have those issues. I just shut those doors. But I also understand and I am very sympathetic to someone who does not shut that door, but goes into that room and stays.

DS: Is it a problem for you to work with people who are using drugs?

JV: I would never work with them. It is a very selfish decision to make and usually those people are total energy vampires and they will take everything they can get from you. Again, this is all in theory…I love that stuff in theory. If Amy Winehouse was my girlfriend, I would probably not be very happy.

DS: Your latest CD is Emerald City and that is an allusion to the compound that we created in Baghdad. How has the current political client affected you in terms of your music?

JV: In some ways, both Pixel Revolt and Emerald City were born out of a recharged and re-energized position of my being….I was so beaten down after the 2000 election and after 9/11 and then the invasion of Iraq, Afghanistan; I was so depleted as a person after all that stuff happened, that I had to write my way out of it. I really had to write political songs because for me it is a way of making sense and processing what is going on. The question I’m asked all the time is do I think is a responsibility of people to write politically and I always say, My God, no. if you’re Morrissey, then you write Morrissey stuff. If you are Dan Bejar and Destroyer, then you are Dan Bejar and you are a fucking genius. Write about whatever it is you want to write about. But to get out of that hole I had to write about that.

DS: There are two times I felt deeply connected to New York City, and that was 9/11 and the re-election of George Bush. The depression of the city was palpable during both. I was in law school during the Iraq War, and then when Hurricane Katrina hit, we watched our countrymen debate the logic of rebuilding one of our most culturally significant cities, as we were funding almost without question the destruction of another country to then rebuild it, which seems less and less likely. Do you find it is difficult to enjoy living in America when you see all of these sorts of things going on, and the sort of arguments we have amongst ourselves as a people?

JV: I would say yes, absolutely, but one thing changed that was very strange: I fell in love with a French girl and the genesis of Emerald City was going through this visa process to get her into the country, which was through the State Department. In the middle of process we had her visa reviewed and everything shifted over to Homeland Security. All of my complicated feelings about this country became even more dour and complicated, because here was Homeland Security mailing me letters and all involved in my love life, and they were grilling my girlfriend in Paris and they were grilling me, and we couldn’t travel because she had a pending visa. In some strange ways the thing that changed everything was that we finally got the visa accepted and she came here. Now she is a Parisian girl, and it goes without saying that she despises America, and she would never have considered moving to America. So she moves here and is asking me almost breathlessly, How can you allow this to happen

DS: –you, John Vanderslice, how can you allow this—

JV: –Me! Yes! So for the first time in my life I wouldn’t say I was defending the country but I was in this very strange position of saying, Listen, not that many people vote and the churches run fucking everything here, man. It’s like if you take out the evangelical Christian you have basically a progressive western European country. That’s all there is to it. But these people don’t vote, poor people don’t vote, there’s a complicated equation of extreme corruption and voter fraud here, and I found myself trying to rattle of all the reasons to her why I am personally not responsible, and it put me in a very interesting position. And then Sarkozy got elected in France and I watched her go through the same horrific thing that we’ve gone through here, and Sarkozy is a nut, man. This guy is a nut.

DS: But he doesn’t compare to George Bush or Dick Cheney. He’s almost a liberal by American standards.

JV: No, because their President doesn’t have much power. It’s interesting because he is a WAPO right-wing and he was very close to Le Pen and he was a card-carrying straight-up Nazi. I view Sarkozy as somewhat of a far-right candidate, especially in the context of French politics. He is dismantling everything. It’s all changing. The school system, the remnants of the socialized medical care system. The thing is he doesn’t have the foreign policy power that Bush does. Bush and Cheney have unprecedented amounts of power, and black budgets…I mean, come on, we’re spending half a trillion dollars in Iraq, and that’s just the money accounted for.

DS: What’s the reaction to you and your music when you play off the coasts?

JV: I would say good…

DS: Have you ever been Dixiechicked?

JV: No! I want to be! I would love to be, because then that means I’m really part of some fiery debate, but I would say there’s a lot of depressed in every single town. You can say Salt Lake City, you can look at what we consider to be conservative cities, and when you play those towns, man, the kids that come out are more or less on the same page and politically active because they are fish out of water.

DS: Depression breeds apathy, and your music seems geared toward anger, trying to wake people from their apathy. Your music is not maudlin and sad, but seems to be an attempt to awaken a spirit, with a self-reflective bent.

JV: That’s the trick. I would say that honestly, when Katrina happened, I thought, “okay, this is a trick to make people so crazy and so angry that they can’t even think. If you were in a community and basically were in a more or less quasi-police state surveillance society with no accountability, where we are pouring untold billions into our infrastructure to protect outside threats against via terrorism, or whatever, and then a natural disaster happens and there is no response. There is an empty response. There is all these ships off the shore that were just out there, just waiting, and nobody came. Michael Brown. It is one of the most insane things I have ever seen in my life.

DS: Is there a feeling in San Francisco that if an earthquake struck, you all would be on your own?

JV: Yes, of course. Part of what happened in New Orleans is that it was a Catholic city, it was a city of sin, it was a black city. And San Francisco? Bush wouldn’t even visit California in the beginning because his numbers were so low. Before Schwarzenegger definitely. I’m totally afraid of the earthquake, and I think everyone is out there. America is in the worst of both worlds: a laissez-fare economy and then the Grover Norquist anti-tax, starve the government until it turns into nothing more than a Argentinian-style government where there are these super rich invisible elite who own everything and there’s no distribution of wealth and nothing that resembles the New Deal, twentieth century embracing of human rights and equality, war against poverty, all of these things. They are trying to kill all that stuff. So, in some ways, it is the worst of both worlds because they are pushing us towards that, and on the same side they have put in a Supreme Court that is so right wing and so fanatically opposed to upholding civil rights, whether it be for foreign fighters…I mean, we are going to see movement with abortion, Miranda rights and stuff that is going to come up on the Court. We’ve tortured so many people who have had no intelligence value that you have to start to look at torture as a symbolic and almost ritualized behavior; you have this…

DS: Organ failure. That’s our baseline…

JV: Yeah, and you have to wonder about how we were torturing people to do nothing more than to send the darkest signal to the world to say, Listen, we are so fucking weird that if you cross the line with us, we are going to be at war with your religion, with your government, and we are going to destroy you.

DS: I interviewed Congressman Tom Tancredo, who is running for President, and he feels we should use as a deterrent against Islam the bombing of the Muslim holy cities of Mecca and Medina.

JV: You would radicalize the very few people who have not been radicalized, yet, by our actions and beliefs. We know what we’ve done out there, and we are going to paying for this for a long time. When Hezbollah was bombing Israel in that border excursion last year, the Hezbollah fighters were writing the names of battles they fought with the Jews in the Seventh Century on their helmets. This shit is never forgotten.

DS: You read a lot of the stuff that is written about you on blogs and on the Internet. Do you ever respond?

JV: No, and I would say that I read stuff that tends to be . I’ve done interviews that have been solely about film and photography. For some reason hearing myself talk about music, and maybe because I have been talking about it for so long, it’s snoozeville. Most interviews I do are very regimented and they tend to follow a certain line. I understand. If I was them, it’s a 200 word piece and I may have never played that town, in Des Moines or something. But, in general, it’s like…my band mates ask why don’t I read the weeklies when I’m in town, and Google my name. It would be really like looking yourself in the mirror. When you look at yourself in the mirror you are just error-correcting. There must be some sort of hall of mirrors thing that happens when you are completely involved in the Internet conversation about your music, and in some ways I think that I’m very innocently making music, because I don’t make music in any way that has to do with the response to that music. I don’t believe that the response to the music has anything to do with it. This is something I got from John Cage and Marcel Duchamp, I think the perception of the artwork, in some ways, has nothing to do with the artwork, and I think that is a beautiful, glorious and flattering thing to say to the perceiver, the viewer of that artwork. I’ve spent a lot of time looking at Paul Klee‘s drawings, lithographs, watercolors and paintings and when I read his diaries I’m not sure how much of a correlation there is between what his color schemes are denoting and what he is saying and what I am getting out of it. I’m not sure that it matters. Inland Empire is a great example. Lynch basically says, I don’t want to talk about it because I’m going to close doors for the viewer. It’s up to you. It’s not that it’s a riddle or a puzzle. You know how much of your own experience you are putting into the digestion of your own art. That’s not to say that that guy arranges notes in an interesting way, and sings in an interesting way and arranges words in an interesting way, but often, if someone says they really like my music, what I want to say is, That’s cool you focused your attention on that thing, but it does not make me go home and say, Wow, you’re great. My ego is not involved in it.

DS: Often people assume an artist makes an achievement, say wins a Tony or a Grammy or even a Cable Ace Award and people think the artist must feel this lasting sense of accomplishment, but it doesn’t typically happen that way, does it? Often there is some time of elation and satisfaction, but almost immediately the artist is being asked, “Okay, what’s the next thing? What’s next?” and there is an internal pressure to move beyond that achievement and not focus on it.

JV: Oh yeah, exactly. There’s a moment of relief when a mastered record gets back, and then I swear to you that ten minutes after that point I feel there are bigger fish to fry. I grew up listening to classical music, and there is something inside of me that says, Okay, I’ve made six records. Whoop-dee-doo. I grew up listening to Gustav Mahler, and I will never, ever approach what he did.

DS: Do you try?

JV: I love Mahler, but no, his music is too expansive and intellectual, and it’s realized harmonically and compositionally in a way that is five languages beyond me. And that’s okay. I’m very happy to do what I do. How can anyone be so jazzed about making a record when you are up against, shit, five thousand records a week—

DS: —but a lot of it’s crap—

JV: —a lot of it’s crap, but a lot of it is really, really good and doesn’t get the attention it deserves. A lot of it is very good. I’m shocked at some of the stuff I hear. I listen to a lot of music and I am mailed a lot of CDs, and I’m on the web all the time.

DS: I’ve done a lot of photography for Wikipedia and the genesis of it was an attempt to pin down reality, to try to understand a world that I felt had fallen out of my grasp of understanding, because I felt I had no sense of what this world was about anymore. For that, my work is very encyclopedic, and it fit well with Wikipedia. What was the reason you began investing time and effort into photography?

JV: It came from trying to making sense of touring. Touring is incredibly fast and there is so much compressed imagery that comes to you, whether it is the window in the van, or like now, when we are whisking through the Northeast in seven days. Let me tell you, I see a lot of really close people in those seven days. We move a lot, and there is a lot of input coming in. The shows are tremendous and, it is emotionally so overwhelming that you can not log it. You can not keep a file of it. It’s almost like if I take photos while I am doing this, it slows it down or stops it momentarily and orders it. It has made touring less of a blur; concretizes these times. I go back and develop the film, and when I look at the tour I remember things in a very different way. It coalesces. Let’s say I take on fucking photo in Athens, Georgia. That’s really intense. And I tend to take a photo of someone I like, or photos of people I really admire and like.

DS: What bands are working with your studio, Tiny Telephone?

JV: Death Cab for Cutie is going to come back and track their next record there. Right now there is a band called Hello Central that is in there, and they are really good. They’re from L.A. Maids of State was just in there and w:Deerhoof was just in there. Book of Knotts is coming in soon. That will be cool because I think they are going to have Beck sing on a tune. That will be really cool. There’s this band called Jordan from Paris that is starting this week.

DS: Do they approach you, or do you approach them?

JV I would say they approach me. It’s generally word of mouth. We never advertise and it’s very cheap, below market. It’s analog. There’s this self-fulfilling thing that when you’re booked, you stay booked. More bands come in, and they know about it and they keep the business going that way. But it’s totally word of mouth.
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Learn How To Evaluate A Seller’s Asking Price

Learn How To Evaluate A Seller’s Asking Price

By Tony Seruga, Yolanda Seruga, And Yolanda Bishop Of Maverick Real Estate Investments Inc.

Let’s face it. Not every property’s listed asking price is really what the property is worth. In fact, the asking price for a property can be dependent upon multiple issues, none of which are truly related to current market value.

Evaluating an owner’s asking price is crucial to your investment.

There are many investment strategies in commercial real estate, and different players in the industry look for different characteristics of a property, including asking price. For the majority of people in commercial real estate, they are looking for a fair, good deal with a property that is marketed at retail or just below retail. They are not usually willing to purchase a property for more than it is worth (of course, there are exceptions).

I understand there are people who will purchase a property because they are so in love with it, that it does not matter what it is really worth. They will pay whatever they need to in order to get the property they have their heart and mind set on.

There are other people in commercial real estate who look for properties that are far below retail value. Whatever the investment strategy, you must be able to evaluate a seller’s asking price and find out how it relates to the property’s true market value. This is the only way a commercial real estate player can decide if the property is worth paying a certain amount, dependent upon their investment strategy and goals.

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

The seller can set the asking price at whatever he or she wants. There are no laws or rules that must be followed when setting an asking price for a property. In fact, there are numerous strategies for pricing a property that can be related to motivation, negotiation, emotional investment in a property, and so many others; the list is infinite.

Let’s first look at some possible seller strategies for pricing a property so we understand how pricing can be dependent upon so many issues.

The seller could have an idea in his or her head as to what the property is worth, and, without any consultation, pick a price out of thin air. Or they could look at comps (comparable sales) of properties that have sold near the property to determine a fair market value. They can then price the property higher or lower, depending on how motivated the seller really is.

If there are no comps to compare properties, the seller may have to judge a property’s worth based on a different type of property, property that sold a long time ago, and adjust for appreciation, or even look at neighboring, comparable cities that could indicate what the property is actually worth.

A truly fair seller could get appraisals done by a few different people, and take the average of the values. Keep in mind, however, appraisals can be very expensive and are at best a guesstimate as to what a property is worth. Unfortunately, appraisers can be swayed to appraise higher or lower if there is any sort of personal interest of the appraiser, or possibly a relationship between the seller and appraiser. Of course, this is ill-advised, but justifying an appraised value to a certain dictated number is easier than one thinks.

A seller could price a property much higher than the current market value in hopes that someone will actually pay that much, or leave a lot of wiggle room for negotiations. Other sellers may simply price a property so low they literally just want the property off their hands.

As you can see, the asking price for a property can be a conundrum. Now that we understand just a few of the many possible pricing strategies, let’s look at how you can evaluate the seller’s asking price, so you can purchase properties in alignment with your own investment strategies and goals.

The best way to evaluate a seller’s asking price is to blatantly ask the broker, agent, or seller, how the price was determined, and to give supporting evidence. You may find yourself in a situation where the broker has a pile of comps, perhaps an appraisal, and supporting documentation as to why the property is priced at what it is. If you find yourself in this situation, beyond validating and verifying the supporting documents, you will very easily be able to evaluate if the asking price is above, at, or below market value. This is the easiest situation in which to find yourself.

Unfortunately, although this previous example is how every property should be presented to a buyer, it is not always realistic. You may have to ask the broker for comps and do the research yourself in order to evaluate the seller’s asking price. You will need to determine motivation by asking the broker why the owner is selling. You will need to compare land values similar to and close to the subject property. You may even need to speak to the city, engineers, and other builders, developers or investors in the area who know the land value better than you do.

If the property is in your own community, then, as a real estate insider, you should know your commercial real estate market inside and out. However, if you are searching in an unfamiliar area, you will need to request the services of other commercial real estate players.

If you do decide that the seller’s asking price is in alignment with your investment strategy and goals, and you put the property under contract, the next step would be to get an appraisal done by an independent party that has no interest in the subject property whatsoever, in order to validate your assumptions. This appraisal, after all, will be similar to a bank’s appraisal and help to determine how much money can be loaned on the project. The closer you are to the bank’s appraisal, the better shape you will be in to meet project costs, debt service and make your desired profit.

Knowing what a property is really worth and evaluating the seller’s asking price are two major ways that you can approach making a sound and final decision regarding an investment. Always have supporting and verified documentation for the subject property so you know exactly what you are getting and for what price.

About the Author: Tony Seruga, Yolanda Seruga and Yolanda Bishop of maverickrei.com specialize in commercial and investment real estate. As of May, 2006, they and their partners are managing over $600 million dollars worth of new projects.

Source: isnare.com

Permanent Link: isnare.com/?aid=64424&ca=Real+Estate