Sunday, January 27, 2008

Viktor Schreckengost, the father of industrial design and creator of the Jazz Bowl, an iconic piece of Jazz Age art designed for Eleanor Roosevelt during his association with Cowan Pottery died yesterday. He was 101.

Schreckengost was born on June 26, 1906 in Sebring, Ohio, United States.

Schreckengost’s peers included the far more famous designers Raymond Loewy and Norman Bel Geddes.

In 2000, the Cleveland Museum of Art curated the first ever retrospective of Schreckengost’s work. Stunning in scope, the exhibition included sculpture, pottery, dinnerware, drawings, and paintings.

This is the category for jewellery. Refresh this list to see the latest articles. 8 April 2014: Scottish artist Alan Davie dies at age 93 12 August 2011: Three killed amongst Birmingham, England riots 13 July 2011: 21 people killed and 113 reported injured in three blasts in Mumbai 4 July 2011: Hidden treasure worth billions of dollars discovered in Indian temple 26 November 2010: Bernie Ecclestone attacked outside London headquarters; no arrests made 6 September 2009: Man charged with attempted murder in £40 million London jewel heist 13 August 2009: British gemstone expert killed by mob in Voi, Kenya 11 August 2009: Thieves steal £40 million from London jeweller 31 May 2009: Thief steals over €6 million worth of jewels from Paris store 18 March 2009: Madoff prosecutors want assets from wife and children see older articles?Category:Jewellery

From Wikinews, the free news source you can write. Sister projects Commons Wikipedia Wikisource Wiktionary

Friday, September 7, 2012

London, England — On Wednesday, Wikinews interviewed Duncan Campbell, one of the creators of wheelchair rugby.

((Laura Hale)) You’re Duncan Campbell, and you’re the founder of…

Duncan Campbell: One of the founders of wheelchair rugby.

((Laura Hale)) And you’re from Canada, eh?

Duncan Campbell: Yes, I’m from Canada, eh! (laughter)

((Laura Hale)) Winnipeg?

Duncan Campbell: Winnipeg, Manitoba.

((Laura Hale)) You cheer for — what’s that NHL team?

Duncan Campbell: I cheer for the Jets!

((Laura Hale)) What sort of Canadian are you?

Duncan Campbell: A Winnipeg Jets fan! (laughter)

((Laura Hale)) I don’t know anything about ice hockey. I’m a Chicago Blackhawks fan.

((Hawkeye7)) Twenty five years ago…

Duncan Campbell: Thirty five years ago!

((Laura Hale)) They said twenty five in the stadium…

Duncan Campbell: I know better.

((Hawkeye7)) So it was 1977.

((Laura Hale)) You look very young.

Duncan Campbell: Thank you. We won’t get into how old I am.

((Hawkeye7)) So how did you invent the sport?

Duncan Campbell: I’ve told this story so many times. It was a bit of a fluke in a way, but there were five of us. We were all quadriplegic, that were involved in sport, and at that time we had the Canadian games for the physically disabled. So we were all involved in sports like table tennis or racing or swimming. All individual sports. And the only team sport that was available at that time was basketball, wheelchair basketball. But as quadriplegics, with hand dysfunction, a bit of arm dysfunction, if we played, we rode the bench. We’d never get into the big games or anything like that. So we were actually going to lift weights one night, and the volunteer who helped us couldn’t make it. So we went down to the gym and we started throwing things around, and we tried a few things, and we had a volleyball. We kind of thought: “Oh! This is not bad. This is a lot of fun.” And we came up with the idea in a night. Within one night.

((Hawkeye7)) So all wheelchair rugby players are quadriplegics?

Duncan Campbell: Yes. All wheelchair rugby players have to have a disability of some kind in all four limbs.

((Laura Hale)) When did the classification system for wheelchair rugby kick in?

Duncan Campbell: It kicked in right away because there was already a classification system in place for wheelchair basketball. We knew basketball had a classification system, and we very consciously wanted to make that all people with disabilities who were quadriplegics got to play. So if you make a classification system where the people with the most disability are worth more on the floor, and you create a system where there are only so many points on the floor, then the people with more disability have to play. And what that does is create strategy. It creates a role.

((Hawkeye7)) Was that copied off wheelchair basketball?

Duncan Campbell: To some degree, yes.

((Laura Hale)) I assume you’re barracking for Canada. Have they had any classification issues? That made you

Duncan Campbell: You know, I’m not going to… I can’t get into that in a major way in that there’s always classification issues. And if you ask someone from basketball, there’s classification issues. If you ask someone from swimming… There’s always classification issues. The classifiers have the worst job in the world, because nobody’s ever satisfied with what they do. But they do the best they can. They’re smart. They know what they’re doing. If the system needs to change, the athletes will, in some way, encourage it to change.

((Laura Hale)) Do you think the countries that have better classifiers… as someone with an Australian perspective they’re really good at classification, and don’t get theirs overturned, whereas the Americans by comparison have had a number of classification challenges coming in to these games that they’ve lost. Do you think that having better classifiers makes a team better able to compete at an international level?

Duncan Campbell: What it does is ensures that you practice the right way. Because you know the exact classifications of your players then you’re going to lineups out there that are appropriate and fit the classification. If your classifications are wrong then you may train for six months with a lineup that becomes invalid when that classification. So you want to have good classifiers, and you want to have good classes.

((Laura Hale)) When you started in 1977, I’ve seen pictures of the early wheelchairs. I assume that you were playing in your day chair?

Duncan Campbell: Yes, all the time. And we had no modifications. And day chairs at that time were folding chairs. They were Earjays or Stainless. That’s all the brands there were. The biggest change in the game has been wheelchairs.

((Laura Hale)) When did you retire?

Duncan Campbell: I never retired. Still play. I play locally. I play in the club level all the time.

((Laura Hale)) When did you get your first rugby wheelchair?

Duncan Campbell: Jesus, that’s hard for me to even think about. A long time ago. I would say maybe twenty years ago.

((Laura Hale)) Were you involved in creating a special chair, as Canadians were pushing the boundaries and creating the sport?

Duncan Campbell: To a degree. I think everybody was. Because you wanted the chair that fit you. Because they are all super designed to an individual. Because it allows you to push better, allows you to turn better. Allows you to use your chair in better ways on the court. Like you’ve noticed that the defensive chairs are lower and longer. That’s because the people that are usually in a defensive chair have a higher disability, which means they have less balance. So they sit lower, which means they can use their arms better, and longer so they can put screens out and set ticks for those high point players who are carrying the ball. It’s very much strategic.

((Hawkeye7)) I’d noticed that in wheelchair basketball the low point player actually gets more court time…

Duncan Campbell: …because that allows the high point player to play. And its the same in this game. Although in this game there’s two ways to go. You can go a high-low lineup, which is potentially two high point players and two very low point players, which is what Australia does right now with Ryley Batt and the new kid Chris Bond. They have two high point players, and two 0.5 point players. It makes a very interesting scenario for, say, the US, who use four mid-point players. In that situation, all four players can carry the ball; in the Australian situation, usually only two of them can carry the ball.

((Laura Hale)) Because we know you are going soon, the all-important question: can Canada beat the Australians tonight?

Duncan Campbell: Of course they are. (laughter)

((Laura Hale)) Because Australians love to gamble, what’s your line on Canada?

Duncan Campbell: It’s not a big line! I’m not putting a big line on it! (laughter) I’d say it’s probably 6–5.

((Hawkeye7)) Is your colour commentary for the Canadian broadcast?

Duncan Campbell: That was for the IPC. I did the GB–US game this morning. I do the Sweden–Australia game tomorrow at two. And then I’m doing the US–France game on the last day.

((Laura Hale)) Are you happy with the level of coverage the Canadians are providing your sport?

Duncan Campbell: No.

((Laura Hale)) Thank you for an honest answer.

Duncan Campbell: Paralympic Sports TV is their own entity. They webcast, but they’re not a Canadian entity. Our Canadian television is doing… can I swear?

((Laura Hale)) Yeah! Go ahead!

Duncan Campbell: No! (laughter) They’re only putting on an hour a day. A highlight package, which to me is…

((Hawkeye7)) It’s better than the US.

Duncan Campbell: Yes, I’ve heard it’s better than the US. At the same time, it’s crap. You have here [in Great Britain], they’ve got it on 18 hours a day, and it’s got good viewership. When are we going to learn in North America that viewership is out there for it? How many times do we have to demonstrate it? We had the Paralympics in Vancouver two years ago, the Winter Paralympics, and we had crappy coverage there. There was an actual outburst demand to put the opening ceremonies on TV because they weren’t going to do it. And they had to do it, because everybody complained. So they did it, but they only did it in BC, in our home province, where they were holding it. The closing ceremonies they broadcast nationally because the demand was so high. But they still haven’t changed their attitudes.

((Laura Hale)) I have one last question: what did it mean for you when they had a Canadian flag bearer who was a wheelchair rugby player?

Duncan Campbell: I recruited that guy. It was fantastic. I recruited him. Found him playing hockey. And that guy has put in so much time and effort into the game. He absolutely deserves it. No better player.

((Laura Hale)) Thank you!

((Hawkeye7)) Thank you! Much appreciated.

Friday, October 17, 2008

The long-lost tomb of Marcus Nonius Macrinus, the inspiration of the character Maximus Decimus Meridius in Ridley Scott‘s popular film ‘Gladiator‘, was discovered off the ancient Via Flaminia road in Rome this Thursday.

Pieces of the tomb first began to emerge from the ground during construction for a residential complex along the Tiber River’s banks.

The archaeological finding was “the most important ancient Roman monument to come to light for 20 or 30 years”, said Daniela Rossi, who was a top member of the effort in finding the tomb. The Superintendent of Archaeology in Rome, Angelo Bottini, described the tomb as “a monument of great beauty”.

Cristiano Ranieri led the effort along with other archaeologists, who are still working hard to fully uncover the site. The team hopes to find the sarcophagus of the ancient hero among the sprawling tomb.

Marble columns fifteen meters wide, inscriptions, decorations, writings and other priceless treasures have been preserved thanks to an ancient flood from the Tiber River.

The massive tomb details the life of the ancient gladiator through ten inscriptions, whose history differed greatly from the movie’s version. The two had only shared being close friends and generals of the Roman emperor Marcus Aurelius. The historical version of the character had lived on to become wealthy and famous, while the character played by Russell Crowe had a tragic ending.

Plans are underway to turn the area into the Via Flaminia Archaeological Park, with the tomb as the central attraction.

Saturday, September 10, 2016

A cube of ice, weighing about ten tons (about 9000 kg) and measuring 80 inches (2m) per side, is melting in Seattle, Washington’s Occidental Park. The temporary art installation, set up yesterday morning, “showcases the stages of the natural water cycle as the ice shifts from opaque to translucent”, the artists said.

The project is part of the Seattle Design Festival, and was designed by Olson Kundig Architects’ Clay Anderson, Noah Conlay, Jarri Hasnain, Gregory Nakata, and Mark Olthoff. Crews began assembling blocks yesterday morning and had stacked all 64 blocks in place by 8:00 am.

It is not certain how long the 64 blocks of ice that make up the cube will take to melt, and discovering how the process unfolds is part of the intent. Olson Kundig contacted University of Washington meteorologist Cliff Mass to try to estimate the time it would take to melt, which Mass called “not a trivial calculation”. He said the variables included how much sun warms the block, in turn dependent on cloud cover; condensation on the block’s surface, thus variables like humidity, temperature, and wind; and heat conduction, both from the ground and from the surrounding air.

The installation inspired photographers at The Seattle Times, and under the hashtag #ok_icecube at Instagram and Twitter.

March 23, 2005

Ottawa says it will allow the harvest of 320,000 young seals this year, prompting a backlash from international environmental activists who call for a boycott of the Canadian fisheries products.

The seal hunt is an annual event on the ice floes off the east coast of Canada where the seal nurseries give birth. This year’s hunt begins March 29, and lasts for two months.

The government reports the harp seal population is large and healthy. “The harp seal herd – the most important seal herd for this industry – is estimated at around five million animals, nearly the highest level ever recorded, and almost triple what it was in the 1970s,” a Department of Fisheries and Oceans statement said. Large scale hunts will continue to be allowed until the harp seal population drops below four million.

Environmental activists protest and observe the hunt annually, but this year’s larger number of seals has brought a bigger response. Observers are already in the hunt area, and officials said if too many show up they will be prevented from interfering with the hunt. The annual protests, and the publication of photos of the hunt, are a public relations problem for Canada.

Protests were held in 50 cities around the world last week, and activists say they would press consumers and restaurants to avoid Canadian fish for at least the duration of the hunt.

“We’re going to be encouraging consumers to enter into dialogue with their grocery stores and their restaurants and say ‘Please don’t serve Canadian seafood’ or ‘I won’t buy Canadian seafood until this hunt is over’,” said Pat Ragan of the Humane Society of the United States [HSUS] to Reuters.

The International Fund for Animal Welfare sponsored two independent veterinary teams to observe the 2001 hunt which concluded the animals are often (42% of the time) killed in an inhumane manner and not in accordance with Canada’s own laws.

Thursday, May 1, 2008

A 2-minute siren wail which began in Israel at 10 a.m. Thursday marked the beginning of Yom HaShoah, the country’s Holocaust Remembrance Day. Israelis across the nation paused their daily activities for a moment of silence in memory of the six million Jews murdered by Nazis in the Holocaust during World War II. Drivers turned off their vehicles and stood at attention in the middle of the road, and pedestrians stopped and bowed their heads. Names of victims were read aloud in the Knesset, the legislature of Israel.

Individuals laid wreaths at a memorial for the Warsaw Ghetto uprising at Yad Vashem, Israel’s official memorial to Jewish victims of the Holocaust. National ceremonies began at Yad Vashem on Wednesday evening, with the lighting of a flame by a Holocaust survivor. In all six torches were lit, in memory of the six million Jews who died during the Holocaust. Approximately 270,000 survivors of the Holocaust live in Israel today, 80,000 of whom survived Nazi death camps.

Entertainment venues, theaters, and movie cinemas closed shop at sundown Wednesday. Television stations and radio programming focused on memorial of the Holocaust. Memorial events end at sunset on Thursday, and will be followed one week later by the 60th anniversary of the declaration of independence of Israel in 1948, known as Yom Ha’atzmaut.

	A leader who plans mass destruction, together with weapons of mass destruction. What would have been left of our world?

Shimon Peres, Israel’s President, spoke at Yad Vashem, and compared the potential danger which Israel says is posed by Iran’s nuclear program, to that faced by Jews during the Holocaust. “In history, it is forbidden to be late,” said Peres, saying that the world reacted too late to Adolf Hitler and Nazi Germany. “My heart shudders when I recall that there was a possibility that Hitler could acquire nuclear weapons. A leader who plans mass destruction, together with weapons of mass destruction. What would have been left of our world?” asked Peres. Aides later stated that Peres was referring to Iran.

Israel’s Prime Minister Ehud Olmert also referred to Iran in his remarks at Yad Vashem. “You wish to deny the right of existence of the Jewish state, and you are wrong to believe that the Jewish state was created only due to the Holocaust. The Holocaust only underscored the necessity of its creation and the horrible price that the Jewish people had to pay for the lack of existence of a state that can shelter them,” said Olmert. Other speakers at Yad Vashem emphasized the importance of the Israel Defense Forces, Israel’s military forces, to prevent tragedies such as the Holocaust in the future.

	We have learned our lesson and we take very seriously the threats of state leaders who call for the destruction of Israel.

Lieutenant General Gabi Ashkenazi, military chief of staff of Israel, led an annual march of Jewish youths, Poles and survivors at Auschwitz-Birkenau in Poland, in a memorial ceremony called The March of the Living. Auschwitz-Birkenau operated as a Nazi death camp during the Holocaust. 12,000 people gathered from 52 countries to take part in the memorial ceremony. The largest march took place in 2005, and former Israeli Prime Minister Ariel Sharon joined with 20,000 people. “… in these days, as we celebrate 60 years of independence, the fact that an independent Jewish state exists is not something to be taken for granted. Even today, we hear the horrible sounds of those who call for the destruction of the state of Israel. Even today we are forced to continue and fight for our right to have a national home in a safe place for the Jewish people in their own land. We have learned our lesson and we take very seriously the threats of state leaders who call for the destruction of Israel,” said Ashkenazi.

Hamas television Thursday suggested that the Holocaust was organized by Jews to wipe out the disabled among their own people to prepare for the creation of a Jewish state. “The Israeli Holocaust – the whole thing was a joke, and part of the perfect show that (Zionist leader and future Israeli prime minister) Ben Gurion put on,” said head of the Palestinian Centre for Strategic Research Amin Dabur, according to Jerusalem-based Palestinian Media Watch. Dabur said that the “young energetic and able” went to Israel, and that those who were disabled were sent “so there would be a Holocaust”.

Though Iran has said that its nuclear program is peaceful in nature, the United States, Israel, and other countries believe it is attempting to construct nuclear weapons. In speeches Iran’s President Mahmoud Ahmadinejad has said that the Jewish state should be destroyed. Ahmadinejad has called the Holocaust “a myth”. Tehran hosted a revisionist Holocaust conference in 2006, which provoked international criticism. Tel Aviv University published a study on Monday saying that acts of anti-Semitism in 2007 increased by about seven percent over 2006.

Sunday, November 11, 2007

Boston-based singer-songwriter Antje Duvekot has made a name for herself in the folk music world with powerful ballads of heartbreak and longing for a deeper spirituality, but coming up empty-handed. Below is David Shankbone’s interview with the folk chanteuse.

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David Shankbone: Tell me about your new album.

Antje Duvekot: It’s called Big Dream Boulevard and it’s the first studio album I made. It’s not so new; I made it in May of 2006. It’s produced by Séamus Egan, who is the leader of a fairly renowned band named Solas.

DS: You mentioned you used to explore more dark themes in your work, but that lately you are exploring lighter fare. What themes are you exploring on this album?

AD: In the future I am hoping for more light themes. I feel like I have worked through a lot of the darkness, and personally I feel like I’m ready to write a batch of lighter songs, but that’s just how I’m feeling right now. My last record, Big Dream Boulevard, was a pretty heavy record and that was not intentional. I write what is on my mind.

DS: What were you going through that made it so dark?

AD: The record is drawn from my whole writing career, so it’s old and new songs as well. I wasn’t going through anything in particular because it was spanning a wide time period. I think it’s fair to say that over all I turn to music in times of trouble and need as a therapeutic tool to get me through sadness. That’s why I tend to turn to music. So my songs tend to be a little darker, because that’s where I tend to go for solace. So themes like personal struggle with relationships and existential issues.

DS: What personal relationships do you struggle with?

AD: A lot of my songs are about dating and relationship troubles. That’s one category. But a lot of my songs are about existential questions because I struggle with what to believe in.

DS: Do you believe in a higher power?

AD: I’m sort of an atheist who wishes I could believe something.

DS: What do you believe?

AD: It’s undefined. I think I’m spiritual in music, which is my outlet, but I just can’t get on board with an organized religion. Not even Unitarianism. I do miss something like that in my life, though.

DS: Why do you miss having religion in your life?

AD: I think every human being craves a feeling that there is a higher purpose. It’s a need for me. A lot of my songs express that struggle.

DS: Does the idea that our lives on Earth may be all that there is unsettle you?

AD: Yes, sure. I think there’s more. I’m always seeking things of beauty, and my art reflects the search for that.

DS: You had said in an interview that your family wasn’t particularly supportive of your career path, but you are also saying they were atheists who weren’t curious about the things you are curious about. It sounds like you were a hothouse flower.

AD: Yes. I think what went with my parents’ atheism was a distrust of the arts as frivolous and extraneous. They were very pragmatic.

DS: They almost sound Soviet Communist.

AD: Yeah, a little bit [Laughs]. They had an austere way of living, and my wanting to pursue music as a career was the last straw.

DS: What’s your relationship with them now?

AD: I don’t actually speak to my mother and stepfather.

DS: Why?

AD: A lot of reasons, but when I was about 21 I was fairly certain I wanted to go the music path and they said, “Fine, then go!”

DS: That’s the reason you don’t speak with them?

AD: That’s the main. “Go ahead, do what you want, and have a nice life.” So the music thing cost the relationship with my parents, although I think there may have been some other things that have done it.

DS: That must be a difficult thing to contend with, that a career would be the basis for a relationship.

AD:Yes, it’s strange, but my love of music is perhaps stronger for it because of the sacrifices I have made for it early on. I had to fight.

DS: Would you say in your previous work some of your conflict of dating would have been birthed from how your relationship with your family? How do you see the arc of your work?

AD: My songs are sort of therapy for me, so you can trace my personal progress through them [Laughs]. I think there is some improvement. I wrote my first love song the other day, so I think I’m getting the hang of what relationships are all about. I’m ever grateful for music for being there for me when things weren’t going so well.

DS: Has the Iraq War affected you as an artist?

AD: Not directly, but I do have a few songs that are political. One about George Bush and the hypocrisy, but it’s very indirect; you wouldn’t know it was about George Bush.

DS: How has it affected you personally?

AD: I feel sad about it. People say my music is sad, but it’s a therapeutic thing so the war affects me.

DS: The struggle to be original in art is innate. When you are coming up with an idea for a song and then you all of a sudden stumble across it having been done somewhere else, how do you not allow that to squelch your creative impulse and drive to continue on.

AD: That’s a good question. I started writing in a vacuum just for myself and I didn’t have a lot of feedback, and I thought that what I’m saying has been said so many times before. Then my songs got out there and people told me, ‘You say it so originally’ and I thought ‘Really?!’ The way I say it, to me, sounds completely trite because it’s the way I would say it and it doesn’t sound special at all. Once my record came out I got some amount of positive reviews that made me think I have something original, which in turn made me have writer’s block to keep that thing that I didn’t even know I had. So now I’m struggling with that, trying to maintain my voice. Right now I feel a little dried-out creatively.

DS: When I interviewed Augusten Burroughs he told me that when he was in advertising he completely shut himself off from the yearly ad books that would come out of the best ads that year, because he wanted to be fresh and not poisoned by other ideas; whereas a band called The Raveonettes said they don’t try to be original they just do what they like and are upfront about their influences. Where do you fall in that spectrum?

AD: Probably more towards Augusten Burroughs because when I first started writing it was more in a vacuum, but I think everyone has their own way. You can’t not be influenced by your experience in life.

DS: Who would you say are some of your biggest influences in the last year. Who have you discovered that has influenced you the most?

AD: Influence is kind of a strong word because I don’t think I’m taking after these people. I’ve been moved by this girl named Anais Mitchell. She’s a singer-songwriter from Vermont who is really unique. She’s just got signed to Righteous Babe Records. Patty Griffin just moves me deeply.

DS: You moved out of New York because you had some difficulty with the music scene here?

AD: I feel it is a little tougher to make it here than in Boston if you are truly acoustic folk lyric driven. I find that audiences in New York like a certain amount of bling and glamor to their performances. A little more edge, a little cooler. I felt for me Boston was the most conducive environment.

DS: Do you feel home up in Boston?

AD:I do, and part of that is the great folk community.

DS: Why do you think Boston has such a well-developed folk scene?

AD: It’s always historically been a folk hub. There’s a lot of awesome folk stations like WUMB and WERS. Legendary folk clubs, like Club Passim. Those have stayed in tact since the sixties.

DS: Is there anything culturally about Boston that makes it more conducive to folk?

AD: Once you have a buzz, the buzz creates more buzz. Some people hear there’s a folk scene in Boston, and then other people move there, so the scene feeds itself and becomes a successful scene. It’s on-going.

DS: Do you have a favorite curse word?

AD: [Giggles] Cunt. [Giggles]

DS: Really?! You are the first woman I have met who likes that word!

AD: Oh, really? I’ll use it in a traffic situation. Road rage. [Laughs]

DS: Do you find yourself more inspired by man-made creations, including people and ideas, or nature-made creations?

AD: I love nature, but it is limited. It is what it is, and doesn’t include the human imagination that can go so much further than nature.

DS: What are some man made things that inspire you?

AD: New York City as a whole is just an amazing city. People are so creative and it is the hub of personal creativity, just in the way people express themselves on a daily basis.

DS: Do you think you will return?

In theory I will return one day if I have money, but in theory you need money to enjoy yourself.

DS: What trait do you deplore in yourself?

AD: Like anyone, I think laziness. I’m a bit a hard on myself, but there’s always more I can do. As a touring singer-songwriter I work hard, but sometimes I forget because I get to sleep in and my job is not conventional, and sometimes I think ‘Oh, I don’t even have a job, how lazy I am!’ [Laughs] Then, of course, there are times I’m touring my ass off and I work hard as well. It comes in shifts. There are times there is so much free time I have to structure my own days, and that’s a challenge.

DS: When is the last time you achieved a goal and were disappointed by it and thought, “Is that all there is?” Something you wanted to obtain, you obtained it, and it wasn’t nearly as fulfilling as you thought it would be.

AD: I was just thinking about the whole dream of becoming a musician. I want to maybe do a research project about people’s dreams and how they feel about them after they come true. It’s really interesting. They change a lot. When I was 17 I saw Ani Difranco on stage and I wanted to do that, and now I’m doing it. Now I think about Ani very differently. I wonder how long it took her to drive here, she must be tired; I’m thinking of all the pragmatic things that go on behind the scenes. The backside of a dream you never consider when you’re dreaming it. To some extent, having my dream fulfilled hasn’t been a let-down, but it’s changed. It’s more realistic.

DS: What is a new goal?

AD: Balance. Trying to grow my career enough to make sure it doesn’t consume me. It’s hard to balance a touring career because there is no structure to your life. I’m trying to take this dream and make it work as a job.

DS: How challenging is it to obtain that in the folk world?

AD: There’s not a lot of money in the folk world. In generally right now I think people’s numbers are down and only a few people can make a living at it. It’s pretty competitive. I’m doing okay, but there’s no huge riches in it so I’m trying to think of my future and maintain a balance in it.

DS: Do you think of doing something less folk-oriented to give your career a push?

Not really, I’ve done that a little bit by trying to approach the major labels, but that was when the major labels were dying so I came in at a bad time for that. I found that when it comes to do it yourself, the folk world is the best place to make money because as soon as you go major you are paying a band.

DS: More money more problems.

AD: More money, more investing. It’s a hard question.

DS: What things did you encounter doing a studio album that you had not foreseen?

AD: Giving up control is hard when you have a producer. His vision, sometimes, is something you can’t understand and have to trust sometimes. See how it comes out. That was hard for me, because up until now I have been such a do it yourself, writing my own songs, recording them myself.

DS: What is your most treasured possession?

AD: I’d like to say my guitar, but I’m still looking for a good one. I have this little latex glove. [Laughs] It’s a long story—

DS: Please! Do tell!

AD: When I was in college I had a romantic friend named David, he was kind of my first love. We were young and found this latex glove in a parking lot. We though, “Oh, this is a nice glove, we’ll name him Duncan.”

DS: You found a latex glove in a parking lot and you decided to take it?

AD: Yeah [Laughs]. He became the symbol of our friendship. He’s disgusting at this point, he’s falling apart. But David and I are still friends and we’ll pass him back and forth to each other every three years or so when we’ve forgotten his existence. David surprised me at a show in Philly. He gave Duncan to the sound man who brought it back stage, and now I have Duncan. So he’s kind of special to me.

DS: If you could choose how you die, how would you choose?

AD: Not freezing to death, and not in an airplane, because I’m afraid of flying. Painlessly, like most people. In my sleep when I’m so old and senile I don’t know what hit me. I’d like to get real old.

DS: Would you be an older woman with long hair or short hair?

AD: I guess short hair, because long hair looks a little witchy on old people.

DS: Who are you supporting for President?

AD: I’m torn between Obama and Hillary. Someone who is going to win, so I guess Hillary.

DS: You don’t think Obama would have a chance of winning?

AD: I don’t know. If he did, I would support Barack. I don’t really care; either of those would make me happy.

DS: What trait do you value most in your friends?

AD: Kindness.

DS: What trait do you deplore in other people?

AD: Arrogance. Showiness.

DS: Where else are you going on tour?

AD: Alaska in a few days. Fairbanks, Anchorage and all over the place. I’m a little nervous because I will be driving by myself and I have this vision that if I get hit by a moose then I could freeze to death.

DS: And you have to fly up there!

AD: Yeah, and I hate flying as well—so I’m really scared! [Laughs]

DS: Is there a big folk scene in Alaska?

AD: No, but I hear people are grateful if anyone makes it up there, especially in the winter. I think they are hungry for any kind of entertainment, no matter the quality. [Laughs] Someone came to us! I actually played there in June in this town called Seldovia, that has 300 people, and all 300 people came to my gig, so the next day I was so famous! Everyone knew me, the gas station attendant, everyone. It was surreal.

DS: So you had that sense of what Ani DiFranco must feel.

AD: Yeah! I was Paul McCartney. I thought this was what it must be like to be Bruce Springsteen, like I can’t even buy a stick of gum without being recognized.

DS: Did you like that?

AD: I think it would be awful to be that famous because you have moments when you just don’t feel like engaging.