Men isolated to mimic Mars flight

Monday, June 7, 2010

Following a similar experiment in 2009, six men entered an enclosed room in Moscow last Thursday to simulate a flight to Mars. The Mars-500 team consist of a Chinese man, a Frenchman, an Italian, and three Russians. Only the Chinese man, Wang Yue, is a trained astronaut. The six waved goodbye, crying “see you in 520 days’ time!”.

According to Wang, not being able to see their families and friends was one of the greatest challenges, although e-mail is allowed during the experiment. Both Wang and the Frenchman, Romain Charles, expressed pride to be part of this experiment. Wang said, “it will be trying for all of us. We cannot see our family, we cannot see our friends, but I think it is all a glorious time in our lives.”

The joint-effort project is being organised by the Russian Institute for Biomedical Problems (IBMP) and the European Space Agency; the goal is to study physical and psychological effects on would-be astronauts. All six men speak reasonable English; however, as Russian is another primary language for the simulated trip, Russian crew member Sukhrob Kamolov said body language will be used should they fail to understand one another.

Food for the volunteers will be rationed as it would in a real Mars mission. All supplies were supplied by China and loaded into the ‘simulated spacecraft’ prior to the beginning of the experiment. For backup, China is sending three mission support staff to Russia.

No women are included in the crew, excluding issues relating to a mixed-sex crew from the study. During a similar experiment in 1999, a woman complained that the captain attempted to kiss her.

Following 250 days of “travelling” to Mars, the group will split. Three will stay in the “spacecraft”, the other three going to the surface of “Mars”. Only two will actually leave the “spacecraft” to study the surface of “Mars”. After a month, the group will go through the return journey simulation, a 240 day trip. The men will follow a strict timetable, with 8 hours each of sleep, work, and leisure each day.

Wednesday, August 3, 2005

Two researchers at the University of California, Riverside have found a gene coding for a silk protein used by female spiders to construct their egg cases. The research confirms that the silk protein used for the egg case is different than that used in spider webs. Spider silks are renowned for their superior material properties, being among the toughest known naturalfibers. The researchers’ findings may lead to new applications of spider silks for novelhigh-tech materials. The researchers, Jessica Garb and Cheryl Hayashi, published their findings in the Proceedings of the National Academy of Sciences on August 1, in the early edition of the journal.

Until now, the sequence of the silk protein used to construct the egg case was unknown. The team characterized the egg case silk protein from multiple spider species and found within a species its gene was composed of nearly identical, repeating sequences. The repeat units were also similar across species that diverged more than 125 million years ago. Their findings suggest that the egg case silk gene has been undergoing what is known as concerted evolution where mutations in one part of the gene “spread” to other parts of the same gene, creating a highly repetitive gene sequence.

“The protein of the egg-case fibers has a different function altogether from that of the other silks such as dragline or capture silks,” Garb said. “Egg-case silk has to last a long time and therefore must be durable under a wide variety of conditions, from freezing to very high temperatures. It needs to be strong enough to protect the eggs from threats such as predators, parasites and molds.”

Although the egg case silk protein is extremely different, its gene sequence shares certain features in common with all other spider silk genes. According to Garb, this discovery confirms that spider silk genes comprise what is known as a “gene family“. This means that silk genes first evolved with spiders approximately 400 million years ago and subsequently evolved into different genes specifically used for different functions, such as genes for spider webs or genes for egg cases (Gatesy et al. 2001). The researchers also suggest that there are many more silk genes that remain unknown, particularly as there are more than 37,000 known species of spiders, and silk genes sequences have been described from only a few species.

According to the team, this unknown diversity of silk genes may not only be important for understanding spider evolution but also for the development of genetically modified fibers. “Collectively, spider silks are some of the toughest natural fibers known,” Hayashi said. “Imagine a fabric made from such a substance? It would be incredibly strong, flexible and ultimately, biodegradable.”

Tuesday, July 14, 2009

British conductor Sir Edward Downes and his wife Joan took their lives at a Swiss assisted suicide clinic on Friday, July 10, 2009, according to a statement from their family. Lady Downes, 74, was afflicted with terminal cancer, and Sir Edward, 85, was nearly blind with increasing hearing difficulties. These disabilities had forced him to give up conducting. Having no religious beliefs, the couple decided against holding a funeral.

The statement read, “After 54 happy years together, they decided to end their own lives rather than continue to struggle with serious health problems. They died peacefully, and under circumstances of their own choosing, with the help of the Swiss organisation, Dignitas, in Zurich.”

Many who knew the couple as friends said that Sir Edward was not terminally ill, but wanted to die with his wife, who he had been with for more than 50 years.

Sir Edward Downes’s children, in an interview with The London Evening Standard, said they escorted their parents to Zurich, and on that Friday, they watched in tears as their parents consumed “a small quantity of clear liquid,” and then proceeded to lie down together, holding hands.

“Within a couple of minutes they were asleep, and died within 10 minutes,” said their 41 year old son, Caractacus Downes.

Sir Edward was well respected in the operatic and orchestral worlds and was particularly noted for his performances of British and Russian music and of Verdi, conducting 25 of the composer’s 28 operas. He had a long association with the Royal Opera House, where he conducted for more than 50 seasons in succession. This did not stop him from refusing to conduct a series of performances of Verdi’s Nabucco there as he was “out of sympathy” with the adventurous production. His approach to conducting was similarly conservative. He wrote “The duty of a conductor should be to present… a faithful and accurate account of the composer’s music as he wrote it, disregarding any subsequent ‘interpretations’, ‘meanings’, or political agendas that may have been attached to it by others.”

It was on Friday, 28 September, 1973, that Sir Edward conducted the opening public performance at the Sydney Opera House, a staging of Prokofiev’s War and Peace by Opera Australia, of which he was musical director. Downes also served as chief conductor of the Netherlands Radio Orchestra and principal conductor of the BBC Philharmonic.

The family reported that Lady Downes “started her career as a ballet dancer and subsequently worked as a choreographer and TV producer, before dedicating the last years of her life to working as our father’s personal assistant.”

The Metropolitan Police have announced that Greenwich CID are investigating the circumstances of the couple’s deaths. Assisting a suicide is illegal in the United Kingdom.

Over 100 people who wished to die have made the journey from Britain to Switzerland to take advantage of the clinical services that Dignitas offers. British police have investigated many of the resulting deaths, but no family member has yet been prosecuted for helping relatives negotiate with Dignitas and travel to Switzerland. Debbie Purdy, a woman with multiple sclerosis, attempted last year to obtain a ruling from the English High Court that family members would not be prosecuted for helping someone use the service, and in particular that her husband would not be charged should she decide to use Dignitas in future. The court refused as it believed that such clarification is the responsibility of parliament and not the judiciary.

Last week the House of Lords rejected a proposal by former Lord Chancellor Lord Falconer to allow people to help someone with a terminal illness travel to a country where assisted suicide is legal.

Tuesday, November 20, 2007

Last night HBO premiered I Am An Animal: The Story of Ingrid Newkirk and PETA. Since its inception, People for the Ethical Treatment of Animals (PETA) has made headlines and raised eyebrows. They are almost single-handedly responsible for the movement against animal testing and their efforts have raised the suffering animals experience in a broad spectrum of consumer goods production and food processing into a cause célèbre.

PETA first made headlines in the Silver Spring monkeys case, when Alex Pacheco, then a student at George Washington University, volunteered at a lab run by Edward Taub, who was testing neuroplasticity on live monkeys. Taub had cut sensory ganglia that supplied nerves to the monkeys’ fingers, hands, arms, legs; with some of the monkeys, he had severed the entire spinal column. He then tried to force the monkeys to use their limbs by exposing them to persistent electric shock, prolonged physical restraint of an intact arm or leg, and by withholding food. With footage obtained by Pacheco, Taub was convicted of six counts of animal cruelty—largely as a result of the monkeys’ reported living conditions—making them “the most famous lab animals in history,” according to psychiatrist Norman Doidge. Taub’s conviction was later overturned on appeal and the monkeys were eventually euthanized.

PETA was born.

In the subsequent decades they ran the Stop Huntingdon Animal Cruelty against Europe’s largest animal-testing facility (footage showed staff punching beagle puppies in the face, shouting at them, and simulating sex acts while taking blood samples); against Covance, the United State’s largest importer of primates for laboratory research (evidence was found that they were dissecting monkeys at its Vienna, Virginia laboratory while the animals were still alive); against General Motors for using live animals in crash tests; against L’Oreal for testing cosmetics on animals; against the use of fur for fashion and fur farms; against Smithfield Foods for torturing Butterball turkeys; and against fast food chains, most recently against KFC through the launch of their website kentuckyfriedcruelty.com.

They have launched campaigns and engaged in stunts that are designed for media attention. In 1996, PETA activists famously threw a dead raccoon onto the table of Anna Wintour, the fur supporting editor-in-chief of Vogue, while she was dining at the Four Seasons in New York, and left bloody paw prints and the words “Fur Hag” on the steps of her home. They ran a campaign entitled Holocaust on your Plate that consisted of eight 60-square-foot panels, each juxtaposing images of the Holocaust with images of factory farming. Photographs of concentration camp inmates in wooden bunks were shown next to photographs of caged chickens, and piled bodies of Holocaust victims next to a pile of pig carcasses. In 2003 in Jerusalem, after a donkey was loaded with explosives and blown up in a terrorist attack, Newkirk sent a letter to then-PLO leader Yasser Arafat to keep animals out of the conflict. As the film shows, they also took over Jean-Paul Gaultier‘s Paris boutique and smeared blood on the windows to protest his use of fur in his clothing.

The group’s tactics have been criticized. Co-founder Pacheco, who is no longer with PETA, called them “stupid human tricks.” Some feminists criticize their campaigns featuring the Lettuce Ladies and “I’d Rather Go Naked Than Wear Fur” ads as objectifying women. Of their Holocaust on a Plate campaign, Anti-Defamation League Chairman Abraham Foxman said “The effort by PETA to compare the deliberate systematic murder of millions of Jews to the issue of animal rights is abhorrent.” (Newkirk later issued an apology for any hurt it caused). Perhaps most controversial amongst politicians, the public and even other animal rights organizations is PETA’s refusal to condemn the actions of the Animal Liberation Front, which in January 2005 was named as a terrorist threat by the United States Department of Homeland Security.

David Shankbone attended the pre-release screening of I Am An Animal at HBO’s offices in New York City on November 12, and the following day he sat down with Ingrid Newkirk to discuss her perspectives on PETA, animal rights, her responses to criticism lodged against her and to discuss her on-going life’s work to raise human awareness of animal suffering. Below is her interview.

Wednesday, January 9, 2019

Planetary scientist Vlada Stamenkovi? of the NASA Jet Propulsion Laboratory and colleagues have developed a new chemical model of how oxygen dissolves in Martian conditions, which raises the possibility of oxygen-rich brines; enough, the work suggests, to support simple animals such as sponges. The model was published in Nature on October 22. Wikinews caught up with him in an email interview to find out more about his team’s research and their plans for the future.

The atmosphere of Mars is far too thin for humans to breathe or for lungs like ours to extract any oxygen at all. It has on average only around 0.6% of the pressure of Earth’s atmosphere, and this is mainly carbon dioxide; only 0.145% of the thin Martian atmosphere is oxygen. The new model indicated these minute traces of oxygen should be able to enter salty seeps of water on or near the planet’s surface at levels high enough to support life forms comparable to Earth’s microbes, possibly even simple sponges. Some life forms can survive without oxygen, but oxygen permits more energy-intensive metabolism. Almost all complex multicellular life on Earth depends on oxygen.

“We were absolutely flabbergasted […] I went back to recalculate everything like five different times to make sure it’s a real thing,” Stamenkovi? told National Geographic.

“Our work is calling for a complete revision for how we think about the potential for life on Mars, and the work oxygen can do,” he told Scientific American, “implying that if life ever existed on Mars it might have been breathing oxygen”.

Stamenkovi? et al cite research from 2014 showing some simple sponges can survive with only 0.002 moles of oxygen per cubic meter (0.064 mg per liter). Some microbes that need oxygen can survive with as little as a millionth of a mole per cubic meter (0.000032 mg per liter). In their model, they found there can be enough oxygen for microbes throughout Mars, and enough for simple sponges in oases near the poles.

In 2014, also suggesting multicellular life could exist on Mars, de Vera et al, using the facilities at the German Aerospace Center (DLR), studied some lichens, including Pleopsidium chlorophanum, which can grow high up in Antarctic mountain ranges. They showed those lichens can also survive and even grow in Mars simulation chambers. The lichens can do this because their algal component is able to produce the oxygen needed by the fungal component. Stamenkovi? et al’s research provides a way for oxygen to get into the Martian brines without algae or photosynthesis.

Stamenkovi? et al found oxygen levels throughout Mars would be high enough for the least demanding aerobic (oxygen-using) microbes, for all the brines they considered, and all the methods of calculation. They published a detailed map^[3] of the distributions of solubility for calcium perchlorates for their more optimistic calculations, which they reckoned were closer to the true case, with and without supercooling. The lowest concentrations were shown in the tropical southern uplands. Brine in regions poleward of about 67.5° to the north and about 72.5° to the south could have oxygen concentrations high enough for simple sponges. Closer to the poles, concentrations could go higher, approaching levels typical of sea water on Earth, 0.2 moles per cubic meter (6.4 mg per liter), for calcium perchlorates. On Earth, worms and clams that live in the muddy sea beds require 1 mg per liter, bottom feeders such as crabs and oysters 3 mg per liter, and spawning migratory fish 6 mg per liter, all within 0.2 moles per cubic meter, 6.4 mg per liter.

((Wikinews)) Does your paper’s value of up to 0.2 moles of oxygen per cubic meter, the same as Earth’s sea water, mean that there could potentially be life on Mars as active as our sea worms or even fish?

Stamenkovi?: Mars is such a different place than the Earth and we still need to do so much more work before we can even start to speculate.

Stamenkovi? et al studied magnesium and calcium perchlorates, common on Mars. They found the highest oxygen concentrations occur when the water is colder, which happens most in polar regions.

((WN)) The temperatures for the highest levels of oxygen are really low, -133 °C, so, is the idea that this oxygen would be retained when the brines warm up to more habitable temperatures during the day or seasonally? Or would the oxygen be lost as it warms up? Or — is the idea that it has to be some exotic biochemistry that works only at ultra low temperatures like Dirk Schulze-Makuch’s life based on hydrogen peroxide and perchlorates internal to the cells as antifreeze?

Stamenkovi?: The options are both: first, cool oxygen-rich environments do not need to be habitats. They could be reservoirs packed with a necessary nutrient that can be accessed from a deeper and warmer region. Second, the major reason for limiting life at low temperature is ice nucleation, which would not occur in the type of brines that we study.

Stamenkovi? et al’s paper is theoretical and is based on a simplified general circulation model of the Mars atmosphere — it ignores distinctions of seasons and the day / night cycle. Stamenkovi?’s team combined it with a chemical model of how oxygen would dissolve in the brines and used this to predict oxygen levels in such brines at various locations on Mars.

When asked about plans for a future model that might include seasonal timescales, Stamenkovi? told Wikinews, “Yes, we are now exploring the kinetics part and want to see what happens on shorter timescales.”

Stamenkovi? et al’s model also takes account of the tilt of the Mars axis, which varies much more than Earth’s does.

Wikinews asked Stamenkovi? if he had any ideas about whether and how sponges could survive through times when the tilt was higher and less oxygen would be available:

((WN)) I notice from your figure^[4] that there is enough oxygen for sponges only at tilts of about 45 degrees or less. Do you have any thoughts about how sponges could survive periods of time in the distant past when the Mars axial tilt exceeds 45 degrees, for instance, might there be subsurface oxygen-rich oases in caves that recolonize the surface? Also what is the exact figure for the tilt at which oxygen levels sufficient for sponges become possible? (It looks like about 45 degrees from the figure but the paper doesn’t seem to give a figure for this.)

Stamenkovi?: 45 deg is approx. the correct degree. We were also tempted to speculate about this temporal driver but realized that we still know so little about the potential for life on Mars/principles of life that anything related to this question would be pure speculation, unfortunately.

((WN)) How quickly would the oxygen get into the brines — did you investigate the timescale?

Stamenkovi?: No, we did not yet study the dynamics. We first needed to show that the potential is there. We are now studying the timescales and processes.

((WN)) Could the brines that Nilton Renno and his teams simulated, forming on salt/ice interfaces within minutes in Mars simulation conditions, get oxygenated in the process of formation? If not, how long would it take for them to get oxygenated to levels sufficient for aerobic microbes? For instance could the Phoenix leg droplets have taken up enough oxygen for aerobic respiration by microbes?

Stamenkovi?: Just like the answer above. Dynamics is still to be explored. (But this is a really good question ?).

Wikinews also asked Stamenkovi? how their research is linked to the recent discovery of possible large subglacial lake below the Martian South Pole found through radar mapping.

((WN)) Some news stories coupled your research with the subglacial lakes announcement earlier this year. Could the oxygen get through ice into layers of brines such as the possible subglacial lakes at a depth of 1.5 km?

Stamenkovi?: There are other ways to create oxygen. Radiolysis of water molecules into hydrogen and oxygen can liberate oxygen in the deep and that O₂ could be dissolved in deep groundwater. The radiolytic power for this would come from radionuclides naturally contained in rocks, something we observe in diverse regions on Earth.

((WN)) And I’d also like to know about your experiment you want to send to Mars to help with the search for these oxygenated brines.

Stamenkovi?: We are now developing at “NASA/JPL-California Institute of Technology” a small tool, called TH2OR (Transmissive H2O Reconnaissance) that might one day fly with a yet-to-be-determined mission. It will use low frequency sounding techniques, capable of detecting groundwater at depths down to ideally a few km under the Martian surface, thanks to the high electric conductivity of only slightly salty water and Faraday’s law of induction. Most likely, such a small and affordable instrument could be placed stationary on the planet’s surface or be carried passively or actively on mobile surface assets; TH2OR might be also used in combination with existing orbiting assets to increase its sounding depth. Next to determining the depth of groundwater, we should also be able to estimate its salinity and indirectly its potential chemistry, which is critical information for astrobiology and ISRU (in situ resource utilization).

((WN)) Does your TH2OR use TDEM like the Mars 94 mission — and will it use natural ULF sources such as solar wind, diurnal variations in ionosphere heating and lightning?

Stamenkovi?: The physical principle it uses is the same and this has been used for groundwater detection on the Earth for many decades; it’s Faraday’s law of induction in media that are electrically conducting (as slightly saline water is).

Stamenkovi?: However, we will focus on creating our own signal as we do not know whether the EM fields needed for such measurements exist on Mars. However, we will also account for the possibility of already existing fields.

Thursday, October 6, 2005Romania has been chosen to host the Junior Eurovision Song Contest in 2006, according to a press release by the country’s government-funded broadcaster, TVR. According to the network, the Junior Eurovision will be held in Bucharest in November 2006, where it will be organised in a venue with a capacity of more than 6,000 seats. Romania’s successful bid has been confirmed by Svante Stockselius from the European Broadcasting Union.

The three countries shortlisted for the Junior Eurovision 2006 were Romania, Croatia, and the Netherlands. On October 4, however, it was announced that TVR had won the bidding process and the event would be held in Romania. The Junior Eurovision 2006 is the first Eurovision event to be held in Romania, and comes after Romania’s best ever result in the Eurovision Song Contest 2005, where it was ranked third.

The event will be co-financed by TVR and the European Broadcasting Union, with approximately 3.4 million Romanian lei (€1 million) being funded by the EBU.

The Junior Eurovision Song Contest was founded in 2003 and is open to constentants from across Europe ranging from eight to fifteen years of age. The 2005 event will be held on November 26 in Hasselt, Belgium, and will be attended by contestants from 17 countries, including Romania.

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.