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Monday, January 7, 2008

Christopher Lee McCuin, 25, from Tyler, Texas in the United States has been arrested after police found him possibly preparing to eat the body parts of his dead girlfriend, Jana Shearer aged 21. He was also charged with stabbing his ex-wife’s boyfriend, William Veasley, 42.

According to reports, Shearer’s mother was told by McCuin to “look in the garage” where she discovered the mutilated body of her daughter. She then flagged down a police officer on the road.

McCuin called 911 after the mother left the house. According to reports, he told the dispatcher that he was boiling Shearer’s body parts and preparing to eat them. When police got to his home, they discovered one of Shearer’s ears boiling in a pot, and an unnamed piece of her flesh on the kitchen table, with silverware placed beside it. The rest of her body had several “chunks” missing from it, according to the Tyler Morning Telegraph quoting Sheriff J.B. Smith of the Smith County Sheriff’s Department.

Police later found out that McCuin had stabbed his ex-wife’s boyfriend, and also broke into Tyler Custom Openings, a local business, sometime on Friday or Saturday. He started by going to Shearer’s home on Friday January 4 to have a discussion with her, but she was never seen alive again. Before stabbing Veasley, he beat Shearer “with a blunt object, multiple times” to death. On Saturday morning, he arrived at his ex-wife’s home and fought with Veasley, stabbing him. He is currently in critical condition at a local hospital.

McCuin then broke into the Tyler Custom Openings and then went to his mother’s house where he took her to his home to show her what he had done. Although McCuin was inside the house when police arrived, he was able to escape and was chased for a short distance before being caught again.

McCuin is currently being held on a US$2,000,000 bail at Smith County jail.

[edit]

Tuesday, September 6, 2005

In a press release issued Saturday, September 3rd, 2005, Democratic Senator Mary L. Landrieu of Louisiana claims that President Bush staged a photo opportunity, at the breached 17th Street levee, by having equipment quickly moved into the background during the event. Senator Landrieu says the equipment was dispersed elsewhere the next day, but did not provide details.

Landrieu says in her press release, ” … we witnessed a hastily prepared stage set for a Presidential photo opportunity; and the desperately needed resources we saw were this morning reduced to a single, lonely piece of equipment. The good and decent people of southeast Louisiana and the Gulf Coast — black and white, rich and poor, young and old — deserve far better from their national government …”

The President and Senator Landrieu toured the 17th Street levee on Friday, and held the photo-op. Senator Landrieu said she believed the repair effort was legitimate, at that time. Less than 24 hours later, she discovered only “one lonely crane” working on the site, while giving an aerial tour for ABC’s This Week with George Stephanopoulos. A video of her tearful comments, during that tour, has been circulating around the internet (WMV).

Senator Landrieu made no specific accusations about the photo-op during the ABC tour. However, neither does her press release describe any measures taken to verify that equipment was in-fact pulled from other projects for the purpose of the photo-op, nor where the equipment is now. The canal wall breach, near Hammond Highway, was later shown Sunday on CBS’ 60 Minutes with dump trucks and a power shovel building a single-lane pathway across the gap. The breach was closed Monday.

Senator Landrieu was herself criticized by Anderson Cooper (CNN) on Thursday, after she responded to a question by rattling off a list of “thank yous” to other politicians (WMV, transcript). Democratic pundits have excused such detachment as an attempt to gain more federal assistance during the tragedy. Senator Landrieu’s press release partially confirms this interpretation by attempting to simultaneously ask the president for more aid, while accusing him of misusing existing resources.

Although press reports mentioned the 17th Street Canal breach was blocked by the use of metal sheets, sandbags, and dumped fill, details were not available. On Wednesday September 7 it was reported that earlier metal girders, often used for retaining walls, had been hung down from the north side of the Hammond Highway bridge so as to form a metal wall which blocked the canal from the lake. After the breach had been closed, by sandbags and fill delivered by dump truck, the metal wall was opened to allow draining of the city through the canal.

Obviously placing the metal wall required an assortment of equipment which was no longer needed after it was in place. The wall was only visible from the bridge and most dry land as a few feet of metal along the bridge railing. It is not known if Senator Landrieu noticed this work of engineering, nor if she had been briefed as to what was being done.

However, photos of work at the site were later found which showed a lot of activity Sept 4, after Landrieu said the equipment was not there. However, the sheet piling wall in the photo was reported to have been completed September 2. Information of the schedule of similar work at the London Avenue breach has not been found.

Tuesday, April 27, 2021

On Saturday, the Indonesian Navy announced its submarine KRI Nanggala 402, which had lost contact early morning 4:30 am local time on Wednesday, had sunk and cracked off in the Bali Strait during a training exercise. The Navy also declared the submarine’s crew of 53 dead, and said the wreckage was found.

According to Air Marshall Hadi Tjahjanto, pictures received were of the parts of the submarine such as the rear vertical rudder, anchors, outer pressure body, and embossed dive rudder.

The Navy stated on Saturday, the submarine was now considered sunk, not merely missing, having previously said that the oxygen supply would have run out by Saturday morning.

Per reports, items were found from the submarine that included a bottle of grease, prayer mats and a piece of metal pipe. The ones found near the last location of the submarine were parts of the submarine itself, and would not have gotten out unless there was water pressure, Tjahjanto said.

Tjahjanto also said there was an oil spill in the area and the debris were indications the submarine had a leakage due to diving too deep, or released the oil while rising to the surface.

The search team focused on determining the exact location of the submarine, but authorities warned it would be hard to do any salvage operation because of the deep waters.

The Singapore Navy’s MV Swift Rescue submarine rescue ship helped in the effort and deployed a robot which took the images. Other countries including Malaysia, the United States, India and Australia aided search for potential rescue. KRI Rigel, an Indonesian ship, scanned the area where the submarine was presumed to have sunk using multi-beam sonar and a magnetometer.

According to military chief Yudo Margono, the scan determined the submarine to be at a depth of 850 metres. According to Al Jazeera, it was well below its survivable limit of 500 metres. “The cracks happened gradually in some parts when it went down”, Margono said.

See the discussion page for instructions on adding schools to this list and for an alphabetically arranged listing of schools.

Due to the damage by Hurricane Katrina and subsequent flooding, a number of colleges and universities in the New Orleans metropolitan area will not be able to hold classes for the fall 2005 semester. It is estimated that 75,000 to 100,000 students have been displaced. [1]. In response, institutions across the United States and Canada are offering late registration for displaced students so that their academic progress is not unduly delayed. Some are offering free or reduced admission to displaced students. At some universities, especially state universities, this offer is limited to residents of the area.

Wednesday, June 16, 2021

In early May, Wikinews extended an invitation to Vitaly Filipchenko, an independent candidate in the 2021 New York City mayoral election, set to take place November 2nd, alongside other candidates. Filipchenko answered some questions about his policies and campaign during a phone interview.

Filipchenko, registered on the New York City Campaign Finance Board as Vitaly A. Filipchenko, is the first Russian candidate for New York City mayor, being born in Tomsk, Siberia in 1973, according to news agency Sputnik. He has since naturalised as a United States citizen. According to the web site, Filipchenko has been educated in road construction and maintenance and owns a moving services company; he describes himself on his web site as a “small business owner”. On his web site’s platform page, he says that “[m]y English may not be perfect – but my platform is.”

Incumbent Democrat mayor Bill de Blasio, who won re-election in the 2017 New York City mayoral election by 66.5%, cannot run for a third term under term limits. As of April 28, 22 candidates are currently running, the majority of whom are also Democrats. Ahead of the June Democratic primary for New York City mayor, a poll conducted May 23 and 24 by WPIX and Emerson College of 12 Democratic candidates with a margin of error of 3.2 per cent has former commissioner for the New York City Department of Sanitation Kathryn Garcia and Borough President of Brooklyn Eric Adams leading with 21.1% and 20.1%, respectively.

Saturday, October 6, 2007

Few artists ever penetrate the subconscious level of American culture the way RuPaul Andre Charles did with the 1993 album Supermodel of the World. It was groundbreaking not only because in the midst of the Grunge phenomenon did Charles have a dance hit on MTV, but because he did it as RuPaul, formerly known as Starbooty, a supermodel drag queen with a message: love everyone. A duet with Elton John, an endorsement deal with MAC cosmetics, an eponymous talk show on VH-1 and roles in film propelled RuPaul into the new millennium.

In July, RuPaul’s movie Starrbooty began playing at film festivals and it is set to be released on DVD October 31st. Wikinews reporter David Shankbone recently spoke with RuPaul by telephone in Los Angeles, where she is to appear on stage for DIVAS Simply Singing!, a benefit for HIV-AIDS.

DS: How are you doing?

RP: Everything is great. I just settled into my new hotel room in downtown Los Angeles. I have never stayed downtown, so I wanted to try it out. L.A. is one of those traditional big cities where nobody goes downtown, but they are trying to change that.

DS: How do you like Los Angeles?

RP: I love L.A. I’m from San Diego, and I lived here for six years. It took me four years to fall in love with it and then those last two years I had fallen head over heels in love with it. Where are you from?

DS: Me? I’m from all over. I have lived in 17 cities, six states and three countries.

RP: Where were you when you were 15?

DS: Georgia, in a small town at the bottom of Fulton County called Palmetto.

RP: When I was in Georgia I went to South Fulton Technical School. The last high school I ever went to was…actually, I don’t remember the name of it.

DS: Do you miss Atlanta?

RP: I miss the Atlanta that I lived in. That Atlanta is long gone. It’s like a childhood friend who underwent head to toe plastic surgery and who I don’t recognize anymore. It’s not that I don’t like it; I do like it. It’s just not the Atlanta that I grew up with. It looks different because it went through that boomtown phase and so it has been transient. What made Georgia Georgia to me is gone. The last time I stayed in a hotel there my room was overlooking a construction site, and I realized the building that was torn down was a building that I had seen get built. And it had been torn down to build a new building. It was something you don’t expect to see in your lifetime.

DS: What did that signify to you?

RP: What it showed me is that the mentality in Atlanta is that much of their history means nothing. For so many years they did a good job preserving. Don’t get me wrong, I’m not a preservationist. It’s just an interesting observation.

DS: In 2004 when you released your third album, Red Hot, it received a good deal of play in the clubs and on dance radio, but very little press coverage. On your blog you discussed how you felt betrayed by the entertainment industry and, in particular, the gay press. What happened?

RP: Well, betrayed might be the wrong word. ‘Betrayed’ alludes to an idea that there was some kind of a promise made to me, and there never was. More so, I was disappointed. I don’t feel like it was a betrayal. Nobody promises anything in show business and you understand that from day one.

But, I don’t know what happened. It seemed I couldn’t get press on my album unless I was willing to play into the role that the mainstream press has assigned to gay people, which is as servants of straight ideals.

DS: Do you mean as court jesters?

RP: Not court jesters, because that also plays into that mentality. We as humans find it easy to categorize people so that we know how to feel comfortable with them; so that we don’t feel threatened. If someone falls outside of that categorization, we feel threatened and we search our psyche to put them into a category that we feel comfortable with. The mainstream media and the gay press find it hard to accept me as…just…

DS: Everything you are?

RP: Everything that I am.

DS: It seems like years ago, and my recollection might be fuzzy, but it seems like I read a mainstream media piece that talked about how you wanted to break out of the RuPaul ‘character’ and be seen as more than just RuPaul.

RP: Well, RuPaul is my real name and that’s who I am and who I have always been. There’s the product RuPaul that I have sold in business. Does the product feel like it’s been put into a box? Could you be more clear? It’s a hard question to answer.

DS: That you wanted to be seen as more than just RuPaul the drag queen, but also for the man and versatile artist that you are.

RP: That’s not on target. What other people think of me is not my business. What I do is what I do. How people see me doesn’t change what I decide to do. I don’t choose projects so people don’t see me as one thing or another. I choose projects that excite me. I think the problem is that people refuse to understand what drag is outside of their own belief system. A friend of mine recently did the Oprah show about transgendered youth. It was obvious that we, as a culture, have a hard time trying to understand the difference between a drag queen, transsexual, and a transgender, yet we find it very easy to know the difference between the American baseball league and the National baseball league, when they are both so similar. We’ll learn the difference to that. One of my hobbies is to research and go underneath ideas to discover why certain ones stay in place while others do not. Like Adam and Eve, which is a flimsy fairytale story, yet it is something that people believe; what, exactly, keeps it in place?

DS: What keeps people from knowing the difference between what is real and important, and what is not?

RP: Our belief systems. If you are a Christian then your belief system doesn’t allow for transgender or any of those things, and you then are going to have a vested interest in not understanding that. Why? Because if one peg in your belief system doesn’t work or doesn’t fit, the whole thing will crumble. So some people won’t understand the difference between a transvestite and transsexual. They will not understand that no matter how hard you force them to because it will mean deconstructing their whole belief system. If they understand Adam and Eve is a parable or fairytale, they then have to rethink their entire belief system.

As to me being seen as whatever, I was more likely commenting on the phenomenon of our culture. I am creative, and I am all of those things you mention, and doing one thing out there and people seeing it, it doesn’t matter if people know all that about me or not.

DS: Recently I interviewed Natasha Khan of the band Bat for Lashes, and she is considered by many to be one of the real up-and-coming artists in music today. Her band was up for the Mercury Prize in England. When I asked her where she drew inspiration from, she mentioned what really got her recently was the 1960’s and 70’s psychedelic drag queen performance art, such as seen in Jack Smith and the Destruction of Atlantis, The Cockettes and Paris Is Burning. What do you think when you hear an artist in her twenties looking to that era of drag performance art for inspiration?

RP: The first thing I think of when I hear that is that young kids are always looking for the ‘rock and roll’ answer to give. It’s very clever to give that answer. She’s asked that a lot: “Where do you get your inspiration?” And what she gave you is the best sound bite she could; it’s a really a good sound bite. I don’t know about Jack Smith and the Destruction of Atlantis, but I know about The Cockettes and Paris Is Burning. What I think about when I hear that is there are all these art school kids and when they get an understanding of how the press works, and how your sound bite will affect the interview, they go for the best.

DS: You think her answer was contrived?

RP: I think all answers are really contrived. Everything is contrived; the whole world is an illusion. Coming up and seeing kids dressed in Goth or hip hop clothes, when you go beneath all that, you have to ask: what is that really? You understand they are affected, pretentious. There’s nothing wrong with that, but it’s how we see things. I love Paris Is Burning.

DS: Has the Iraq War affected you at all?

RP: Absolutely. It’s not good, I don’t like it, and it makes me want to enjoy this moment a lot more and be very appreciative. Like when I’m on a hike in a canyon and it smells good and there aren’t bombs dropping.

DS: Do you think there is a lot of apathy in the culture?

RP: There’s apathy, and there’s a lot of anti-depressants and that probably lends a big contribution to the apathy. We have iPods and GPS systems and all these things to distract us.

DS: Do you ever work the current political culture into your art?

RP: No, I don’t. Every time I bat my eyelashes it’s a political statement. The drag I come from has always been a critique of our society, so the act is defiant in and of itself in a patriarchal society such as ours. It’s an act of treason.

DS: What do you think of young performance artists working in drag today?

RP: I don’t know of any. I don’t know of any. Because the gay culture is obsessed with everything straight and femininity has been under attack for so many years, there aren’t any up and coming drag artists. Gay culture isn’t paying attention to it, and straight people don’t either. There aren’t any drag clubs to go to in New York. I see more drag clubs in Los Angeles than in New York, which is so odd because L.A. has never been about club culture.

DS: Michael Musto told me something that was opposite of what you said. He said he felt that the younger gays, the ones who are up-and-coming, are over the body fascism and more willing to embrace their feminine sides.

RP: I think they are redefining what femininity is, but I still think there is a lot of negativity associated with true femininity. Do boys wear eyeliner and dress in skinny jeans now? Yes, they do. But it’s still a heavily patriarchal culture and you never see two men in Star magazine, or the Queer Eye guys at a premiere, the way you see Ellen and her girlfriend—where they are all, ‘Oh, look how cute’—without a negative connotation to it. There is a definite prejudice towards men who use femininity as part of their palette; their emotional palette, their physical palette. Is that changing? It’s changing in ways that don’t advance the cause of femininity. I’m not talking frilly-laced pink things or Hello Kitty stuff. I’m talking about goddess energy, intuition and feelings. That is still under attack, and it has gotten worse. That’s why you wouldn’t get someone covering the RuPaul album, or why they say people aren’t tuning into the Katie Couric show. Sure, they can say ‘Oh, RuPaul’s album sucks’ and ‘Katie Couric is awful’; but that’s not really true. It’s about what our culture finds important, and what’s important are things that support patriarchal power. The only feminine thing supported in this struggle is Pamela Anderson and Jessica Simpson, things that support our patriarchal culture.