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Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these 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 with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

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.

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.

Saturday, February 25, 2012

Syrian forces have been shelling the Baba Amr district of Homs, Syria for almost a month. Civilians and journalists are amongst the dead, and Wikinews spoke to a local citizen journalist, attracting attention both from the world’s media and from the Syrian Armed Forces. According to Wikinews’ source, much of Homs is without water, and a city facing starvation.

Syrian forces began a ground assault on Homs February 4, using troops, and bombarding the city with tanks and artillery. To this day, the bombardment continues. Soldiers frequently clash with anti-government protesters, and ‘freedom fighters’ of the Free Syrian Army in violent, often deadly encounters. In the Baba Amr district of the city, “Omar” [for his safety, we only use his first name, Ed.], a citizen journalist with the Homs Media Center, created an account on the Bambuser website where users can stream live footage from PCs or mobile phones. He then pointed a camera out of his home, overlooking the city, and began broadcasting footage live on the Internet.

The violent, often deadly, events following may have, indirectly, resulted from this action. Journalists discussed in this article put their lives in jeopardy to give the world a record of events; in some cases, dying doing so. But, their deaths may not have been accidental; evidence suggests possible intentional targeting by Syrian government forces.

Omar usually began broadcasting just before sunrise. At 5:18 a.m. (EET) in Homs on February 9, Omar started his live broadcast; the sky still dark, with only a few lights flickering around the area. Sporadic gun and rocket fire between Syrian forces and the Free Syrian Army audible on the live feed. By sunrise, gun battles had ceased, the city silent except for the occasional rooster welcoming the morning sun. As daylight broke tanks inside the city, and artillery on its outskirts, began shelling buildings and other targets. Throughout the morning, rocket fire and tank shelling could be heard getting closer and closer to Omar’s position.

At approximately 07:40 EET, nearly two-and-a-half hours into the broadcast, the camera’s microphone records the audio of the brief, but distinct, ‘whistle’ of a rocket or shell as it sails through the air. It strikes close to the camera’s position, causing it to wobble an shake, nearly tipping over; smoke obscures the camera’s view, debris falling onto it whilst sounds of parts of nearby buildings collapsing are heard.

The camera continues to film, apparently undamaged. Omar’s house isn’t so lucky, suffering a direct hit from a rocket. Out of the camera’s view, people inside the house begin to scream. Less than two minutes later, a second rocket strikes the house just above and behind the camera’s position; again, causing it to shake. The sun casts the rising smoke’s shadow on the house next door as more debris hits the camera. Further screams are heard as rubble collapses around people inside. Those inside, running and shouting, now make up most of the broadcast audio; some begin to pray, whilst others bring round a car to carry out the injured or dead. Moments later another rocket is fired, residents screaming warnings to each other of another possible incoming strike. An explosion is heard, and smoke can be seen rising, center-right of the camera shot, from the rocket striking nearby.

A few minutes later, two men are seen coming out onto their balcony and looking in the direction of the house that was just hit. They talk, looking and pointing in the direction of Omar’s house, with the sound of gunfire in the area. At 07:50, they go back inside and out of sight.

Three minutes later a rocket is fired, striking that house, exactly where the two men were standing. It is unknown if they were killed or injured in the attack, but according to Omar the attacks around his home left five dead, three women and two men; Omar himself survives unscathed.

Despite the deaths in the February 9 attack, Omar kept his camera rolling whenever awake; but, that was about to change.

February 15 was a relatively quiet morning but, as sunrise gave way to the daylight, rockets began hitting targets in the city for the eleventh consecutive day. Shortly before 08:00 EET, a small plume of black smoke appears, left side of the live broadcast, an oil pipeline having sustained its first direct hit. Moments later, a second strike on the pipeline is in-shot, also to the left of the camera’s view. The acrid smoke from this strike quickly begins to grow.

Shortly after the second hit on the pipeline Omar enters the room, moving the camera to show both strikes. Twin plumes of thick black smoke are now visible rising in the distance. Omar states the oil pipeline sustained damage from an attack by Syrian military aircraft. From a United States Department of State satellite photo taken after the bombing, the pipeline is seen near a densely populated area of the city, with farmland lying to the west. The smoke from the pipeline fire blankets nearly all of the populated area, to the east, in range of the photo.

After repositioning the camera, Omar decided to leave his house to undertake some field work; a fortuitous move as Omar stated on his Twitter stream, “after we left the house” a rocket made a direct hit on it, leaving a hole in one of the sides. There were no injuries in the attack, the building being unoccupied at the time.

With sunset closing in and the pipeline still ablaze, Omar turned off his camera, not just for the night — indefinitely. Omar now believes he is in too much danger to broadcast further, tweeting: “[I] really am confused […] am worried to turn the live camera on. It’s become very dangerous.” Omar has since left his home.

Crucial as some of the live footage may be at getting pictures of bloodshed inside Syria out; for now, much of the output which ended up hosted on Bambuser has dried up. On February 17, the Syrian government blocked access to the website and its mobile phone application. Despite government action, some isolated examples of live footage continue making their way out of Syria, mainly from mobile phones.

Bambuser speculate that Syrian authorities’ move to block access may be a result of Omar’s live footage showing the oil pipeline fire on Feburary 15. That footage was rebroadcast on several major news networks, including CNN, BBC News, Al Jazeera and Sky News.

“We believe this footage was the trigger for the Syrian government to block access to bambuser.com and disable the possibility to broadcast live video with mobile phones on Syrian 3G,” said a Bambuser statement on their website. Bambuser has been blocked previously in other countries. Access to the site was blocked by Egypt in January 2011, during their revolution. Bahrain blocked the site six months ago, and it remains blocked to this day.

Bambuser’s statement continues: “Not only have we helped them get their message out, but they also say it means much in terms of morale for everyone in this situation. They [The Syrian people] know the world is watching, sharing and it gives them hope. No matter where in the world there is unrest, we at Bambuser always do our best to support and help observers”.

Omar is not alone in being at-risk; on February 18 a funeral for three men, shot and killed by Syrian forces during an anti-government protest the prior day, was being held in the central Mezzeh district of Damascus.

Over fifteen thousand people, including women and children, filled the streets paying their respects. After a prayer, during which mourners remained completely silent, the procession turned into a mass-protest. With mourners-turned-protesters marching down the streets, the sky over Damascus darkened and snow began falling. With the change of weather appearing to embolden the protesters, their chants grew louder.

Shortly thereafter, Syrian forces surrounded the front of the march, and opening fire with live rounds and tear gas. Panicked people quickly scattered, turning the once-peaceful march into a stampede. At least one was shot and killed. Dozens of others sustained injuries. This was the first time Syrian forces opened fire on protesters in central Mezzeh.Those people are just a small fraction of those who have been killed or injured since the uprisings began. It is estimated that from five thousand to upwards of seven thousand people have been killed since January of last year. As a result, on February 20, the International Committee of the Red Cross (ICRC) announced it was attempting to negotiate a cease fire by all parties “to facilitate swift Syrian Arab Red Crescent and ICRC access to the people in need.”

The ICRC wants troops to halt their attacks in cities that have seen the most fighting in order to deliver care packages. Bijan Farnoudi, a spokesman for the Red Cross, said discussions include “several possibilities” in which the packages can be delivered. Though the organization has been delivering food and supplies to as many cities and citizens as possible, heavy fighting in areas such as the Baba Amr district of Homs has made it increasingly difficult for aid to be delivered. Even while the Red Cross worked to negotiate a cease fire, reports out of Homs on February 20 said Syrian forces were amassing troops and tanks outside the city in preparation for an all-out ground invasion. According to Omar, the shellings continued, but on February 24, the Red Cross announced it was allowed to begin evacuating injured women and children from the city.

On February 21, a member of the Homs Media Center was killed by a rocket as Syrian forces continued their bombardment of the city for an eighteenth straight day. Rami al-Sayed was reported to have been severely injured by a rocket while attempting to evacuate individuals to a makeshift hospital, during what activists call the worst day of bombardment since Syrian forces began their attack on the city on February 4. According to Bambuser, he and three others were inside a car when it was hit by a mortar, immediately killing the others. Sayed bled to death at the hospital.

Sayed was a videographer “crucial in getting the truth out through his videos posted on the Internet. We will really miss him, especially the medical team who relied on him to document all the civilian injuries and deaths on video,” said Omar in an interview with CNN. Sayed also was one of the men affiliated with the account ‘syriapioneer’ on Bambuser. Like Omar, he would broadcast live footage of the events on the ground in Homs. Bambuser published the last known message sent out to friends and family: “Babaamr is facing a genocide right now. I will never forgive you for your silence. You all have just give us your words but we need actions. However our hearts will always be with those who risk their life for our freedom. … In a few hours there will be NO place called BabaAmr and I expect this will be my last message and no one will forgive you who talked but didn’t act.” Sayed, 26, had a daughter of 18 months. In December, a citizen-journalist cousin of Sayed’s, Basil al-Sayed, was also killed. In a statement to Wikinews Omar described Sayed as “my best friend” and they both have worked as citizen journalists for about “10 months”, around the beginning of the uprisings.

The killings didn’t end there. Another two journalists were killed February 22, whilst at the Homs Media Center. Marie Colvin, a Sunday Times journalist, and award winning French photographer Rémi Ochlik, were killed when rockets hit the center. At least two others were injured in the attack, French journalist Edith Bouvier and British photographer Paul Conroy.

The Syrian government denies involvement, saying their deaths were “absolutely not” caused “by Syrian armies.” The following day Bouvier made a video plea to Syrian forces that she be allowed to leave Homs to seek medical attention. Conroy stated, despite leg wounds, he was “OK.”

Omar was in a Skype conversation with a friend at the media center when the attack took place. He recorded the call’s audio using a web camera and posted the video on YouTube; sounds of explosions and possible gunfire can be heard throughout. Reports strongly suggest the media center attack was deliberate; radio communications between Syrian government forces indicate orders to attack the building — whilst making it appear individuals died caught in a gun battle with terrorists.

It is because of situations such as that on February 16, the United Nations General Assembly (UN GA) voted, “[…] overwhelmingly to call on both the government and allied forces and armed groups to stop all violence or reprisals immediately.” The UN GA press release expressed grave concern at the Syria’s deteriorating situation and, “[…] condemned a raft of violations carried out by the authorities, such as the use of force against civilians, the killing and persecution of protesters and journalists, and sexual violence and ill-treatment, including against children.”

Calling on Syria to abide obligations under international law, the UN GA “[…] demanded that the Government, in line with the 2 November 2011 Action Plan of the League of Arab States, and its decisions of 22 January and 12 February 2012, without delay, stop all violence and protect its people, release all those detained during the unrest, withdraw all armed forces from cities and towns, guarantee peaceful demonstrations and allow unhindered access for Arab League monitors and international media.”

137 nations voted for the General Assembly’s resolution, twelve opposed and 17 abstained. As with many UN GA resolutions, the findings and conclusions are non-binding.

Earlier, on February 4, the United Nations Security Council failed to pass resolution S/2012/77, supporting Arab League actions pursuing peace in Syria. This resolution was vetoed by Security Council members China and Russia.

The Arab League’s goal, according to their report on Syria, “is to protect Syrian citizens through the commitment of the Syrian government to stop acts of violence, release detainees and withdraw all military presence from cities like Homs, and an end to violence in Syria.” The League noted Homs, Dera‘a, Idlib, and Hama as the cities primarily affected by such incidents. The report claims all such incidents were caused by “armed groups” or “entities not mentioned in the protocol [report].”

Despite the League’s claim, live footage broadcast more than a month after the report was filed suggests the opposite as tanks continued to bombard cities like Homs. The League, in their report, go on to say Syrians “believe the crisis should be resolved peacefully through Arab mediation alone, without international intervention. Doing so would allow them to live in peace and complete the reform process and bring about the change they desire.”

Omar disagrees with the League’s conclusion that Syrians do not want international intervention. He believes if “the world” doesn’t act soon, many more will die from starvation. Medical supplies have not been making their way to makeshift hospitals and food is scarce. Much of the city is without water and Syrian forces continue their assault on the city. In a statement to Wikinews on Wednesday, Omar said “if they stay like this [the world] just watching us, people will die not because of the shelling, they will die because of starvation. We are surrounded. There is no food, no water and no medical supplies. If the world doesn’t do anything we will die from starvation. In the coming days I can see a massacre from starving.”