Thursday, August 4, 2011

The small African nation of Swaziland will receive a financial bailout from neighbouring South Africa. The South African government agreed to a loan of 2.4 billion rand ($350 million) after several organisations including the International Monetary Fund (IMF) rejected King Mswati III’s request for a bailout.

King Mswati III released a statement about the bailout saying, “We are thankful and also appreciate the assistance we have received from South Africa. This shows that they are good neighbours.” He added “But it must be stressed that this is not a gift but a loan, which naturally should be repaid. This is why every Swazi must play his or her role by working hard wherever he is to ensure that the country gets back to its feet the soonest.”

The King has been criticized for living with 13 wives in luxury while the majority of his country lives in poverty.

Despite the South African government’s agreement, the bailout has been met with some concern. The opposition in South Africa said that the government should reject the loan as Swaziland is an “undemocratic state”. However, the government has said that the bailout would bring stability to the state and surrounding region.

The loan is expected to help Swaziland, which is going through a financial crisis. The nation has reportedly been unable to pay some of its civil servants and could not afford antiretroviral drugs to treat HIV. Swaziland has the highest rate of HIV infection in the world.

Earlier this year, the country saw a wave of protests and demonstrations related to the economic situation.

Thursday, September 27, 2007

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

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

DS: How is the tour going?

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

DS: Anywhere, or just outside of the country?

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

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

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

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

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

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

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

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

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

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

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

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

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

DS: You still find some emos.

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

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

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

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

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

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

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

The ultimate problem—sort of like the only philosophical problem is suicide—the only philosophical problem is whether to be assigned to a major label because you are then going to have so much editorial input that it is probably going to really hurt what you are doing.

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

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

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

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

DS: Glorification of drugs? The rock lifestyle?

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

DS: As tragic figures?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JV: I would say good…

DS: Have you ever been Dixiechicked?

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

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

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

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

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

DS: Organ failure. That’s our baseline…

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

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

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

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

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

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

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

DS: Do you try?

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

DS: —but a lot of it’s crap—

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

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

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

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

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

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

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

Saturday, February 26, 2011

The Space Shuttle Discovery, flying the STS-133 mission, has successfully rendezvoused and docked with the International Space Station (ISS) today at 18:14 UTC for what is scheduled to be the final time in its career.

Discovery is delivering six astronauts to the orbiting outpost, as well as station parts and supplies including the Permanent Multipurpose Module Leonardo, the ExPRESS Logistics Carrier-4 and Robonaut2, the first dexterous humanoid robot in space.

The docking, Discovery’s 13th and final scheduled docking, occurred two minutes ahead of schedule, having been originally scheduled for 19:16 GMT today.

The hatch between the space shuttle and the ISS was opened at 20:16 UTC, after which the crew members of Expedition 26 welcomed the crew of STS-133 aboard the station. The crew then participated in a safety briefing with Expedition 26 commander Scott Kelly, while Shuttle Flight Director Bryan Lunney took part in a mission status briefing on the ground which began at 20:50 UTC.

Later on today, crew members Nicole Stott and Michael Barratt are scheduled to move the ExPRESS Logistics Carrier-4 from the payload bay using the shuttle’s robotic arm to the station’s own robot arm for placement on the exterior of the orbital laboratory.

There was a delay in the docking mechanism’s ability to make a seal between the two spacecraft during docking operations, so activities occurring later on in the day, including the transfer of ELC-4, may be delayed. This was primarily because of a mis-alignment between the docking systems of the shuttle and station due to gravitational effects. The entire delay took up approximately 40 minutes.

During Discovery’s approach to the station earlier on today, the crew of Expedition 26 took pictures of the shuttle’s underside from the station’s windows in order to assist in analysis of the heat shield of the spacecraft.

NASA officials are debating whether or not to extend the mission an additional day for a photo shoot of the International Space Station, as it is currently host to six docked spacecraft from the United States, Russia, Europe, and Japan. A decision regarding this possibility is expected on Tuesday.

STS-133 is Space Shuttle Discovery’s 39th and final scheduled mission into space and the program’s 35th mission to the ISS, as well as the 133rd in the entire Shuttle Program. There are two flights remaining before the retirement of the fleet that are still in planning: STS-134 and STS-135.

Saturday, March 28, 2009

Fourteen have died and four more have been injured after a bus and a truck collided near Moscow, Russia. The bus caught fire in the accident.

“According to our latest information, 14 people died — the driver of the truck and 13 people on the bus,” said a spokeswoman for the Emergency Ministry. The crash occurred in Petushinsky, a district 100 kilometres (60 miles) to Moscow’s east.

The crash occurred on the Moscow-Nizhny Novgorod-Ufa highway, and the death toll may yet rise as the burnt-out wreckage makes identifications difficult. The death toll has already been revised from 25. A criminal investigation has been launched regarding possible violations of traffic laws.

It is unclear where the vehicles were going. Reports suggest both were headed towards Moscow. It is thought that the truck left its lane and crossed into the path of the bus.

Thursday, September 2, 2010

It has emerged that the 33 Chilean miners trapped underground after the mine they were working in collapsed could be brought to the surface in a shorter time than was initially feared. While officials publicly announced that the men would not be brought to the surface until Christmas, sources inside technical meetings have revealed that they could in fact be on the surface by early November. The news comes as families were allowed to speak by radio-telephone to their trapped loved ones on Sunday. Over the weekend, video images filmed by the miners emerged showing the miners playing dominoes at a table and singing the Chilean national anthem. The miners also used the camera to send video messages to their families on the surface, saying that they regularly broke into tears, but were feeling better having received food and water.

The grainy nightvision images, filmed on a high definition camcorder that was sent down a small shaft to the mine, show the men in good spirits, chanting “long live Chile, and long live the miners.” They are unshaven and stripped to the waist because of the heat underground, and are seen wearing white clinical trousers that have been designed to keep them dry. Giving a guided tour of the area they are occupying, Mario Sepúlveda, one of the miners, explains they have a “little cup to brush our teeth”, and a place where they pray each day. “We have everything organized,” he tells the camera. Gesturing to the table in the center of the room, he says that “we meet here every day. We plan, we have assemblies here every day so that all the decisions we make are based on the thoughts of all 33.” Another unidentified miner asks to rescuers, “get us out of here soon, please.” A thermometer is shown in the video, reading 29.5C (85F).

As the film continues, it becomes evident that the miners have stuck a poster of a topless woman on the wall. The miners appear shy, and one man puts his hand to his face, presumably dazzled by the light mounted on the cameraman’s helmet. One miner sent a message to his family. “Be calm”, he says. “We’re going to get out of here. And we thank you from the bottom of our hearts for your efforts.” Another said that the miners are “sure that there are people here in Chile that are big people, that are powerful people, that are intelligent people, and they have the technology and they will all work together to get us out of here.” Speaking to the camera, one says: “we have had the great fortune that trapped in this mine there are good, professional people. We have electricians, we have mechanics, we have machine operators and we will let you know that while you are working to rescue us on the surface, we are down here ready to help you too.” It has been reported that Mario Gómez, 63, has become the group’s “spiritual leader”, having worked in the mines for over fifty years. He has requested that materials to build a shrine be sent down to the cavern.

Upon seeing the video in a private screening, family members, who are living in a small village of tents at the entrance to the San José copper-gold mine—which they have named Camp Hope—were elated. “He’s skinny, bearded and it was painful to see him with his head hanging down, but I am so happy to see him alive”, said Ruth Contreras, the mother of Carlos Bravo, who is trapped in the mine. The video, of which only a small portion has been released to the public, shows the miners, many of them wearing helmets, cracking jokes and thanking the rescuers for their continued efforts. The supplies are being sent to the men through a small shaft only twelve centimeters wide, and a laboratory has been set up with the purpose of designing collapsible cots and miniature sandwiches, which can be sent down such a narrow space.

CNN reported on Friday that “officials are splitting the men into two shifts so one group sleeps while the other works or has leisure time .. On average, each man has lost 22 pounds (10 kilograms) since they became trapped three weeks ago, and dehydration remains a threat. But a survey of the men indicates that at least nine miners are still too overweight to fit through the proposed rescue shaft. Initially, the miners survived by draining water from a water-cooled piece of equipment. To stay hydrated in the 90-degree mine, each miner must drink eight or nine pints of water per day.”

But while there are jubilant celebrations on the surface that the miners are alive, officials are now nervous that the miners could become depressed, trapped in a dark room the size of a small apartment. Chilean health minister Jaime Mañalich said that, on the video, he saw the telltale signs of depression. “They are more isolated, they don’t want to be on the screen, they are not eating well”, he said. “I would say depression is the correct word.” He said that doctors who had watched the video had observed the men suffering from “severe dermatological problems.” Dr. Rodrigo Figueroa, head of the trauma, stress and disaster unit at the Catholic University in Santiago, Chile, explained that “following the euphoria of being discovered, the normal psychological reaction would be for the men to collapse in a combination of fatigue and stress … People who are trained for emergencies – like these miners – tend to minimize their own needs or to ignore them. When it is time to ask for help, they don’t.” NASA has advised emergency workers that entertaining the miners would be a good idea. They are to be sent a television system complete with taped football matches. Another dilemma facing Mañalich is whether the miners should be permitted to smoke underground. While nicotine gum has been delivered to the miners, sending down cigarettes is a plan that has not been ruled out.

With the news that drilling of the main rescue tunnel was expected to begin on Monday, officials have informed the media that they hope to have the miners out of the mine by Christmas—but sources with access to technical meetings have suggested that the miners could actually be rescued by the first week of November. A news report described the rescue plan—”the main focus is a machine that bores straight down to 688m and creates a chimney-type duct that could be used to haul the miners out one by one in a rescue basket. A second drilling operation will attempt to intercept a mining tunnel at a depth of roughly 350m. The miners would then have to make their way through several miles of dark, muddy tunnels and meet the rescue drill at roughly the halfway point of their current depth of 688m.” Iván Viveros Aranas, a Chilean policeman working at Camp Hope, told reporters that Chile “has shown a unity regardless of religion or social class. You see people arriving here just to volunteer, they have no relation at all to these families.”

But over the weekend, The New York Times reported that the “miners who have astonished the world with their discipline a half-mile underground will have to aid their own escape — clearing 3,000 to 4,000 tons of rock that will fall as the rescue hole is drilled, the engineer in charge of drilling said Sunday … The work will require about a half-dozen men working in shifts 24 hours a day.” Andrés Sougarret, a senior engineer involved in operating the drill said that “the miners are going to have to take out all that material as it falls.”

The families of those trapped were allowed to speak to them by radio-telephone on Sunday—a possibility that brought reassurance both the miners and those on the surface. The Intendant of the Atacama Region, Ximena Matas, said that there had been “moments of great emotion.” She continued to say that the families “listened with great interest and they both felt and realized that the men are well. This has been a very important moment, which no doubt strengthens their [the miners’] morale.” The phone line is thought to be quite temperamental, but it is hoped that soon, those in the mine and those in Camp Hope will be able to talk every day. “To hear his voice was a balm to my heart … He is aware that the rescue is not going to happen today, that it will take some time. He asked us to stay calm as everything is going to be OK … He sounded relaxed and since it was so short I didn’t manage to ask anything. Twenty seconds was nothing”, said said Jessica Cortés, who spoke to her husband Víctor Zamora, who was not even a miner, but a vehicle mechanic. “He went in that day because a vehicle had broken down inside the mine … At first they told us he had been crushed [to death].”

Esteban Rojas sent up a letter from inside the mine, proposing to his long-time partner Jessica Yáñez, 43. While they have officially been married for 25 years, their wedding was a civil service—but Rojas has now promised to have a church ceremony which is customary in Chile. “Please keep praying that we get out of this alive. And when I do get out, we will buy a dress and get married,” the letter read. Yáñez told a newspaper that she thought he was never going to ask her. “We have talked about it before, but he never asked me … He knows that however long it takes, I’ll wait for him, because with him I’ve been through good and bad.”