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Saturday, December 3, 2016

Peng Chang-kuei, a Chinese-born chef credited with creating the internationally popular dish General Tso’s chicken, was yesterday announced to have died by his son.

Chuck Peng told The Associated Press his father died of pneumonia in Taipei, Taiwan on Wednesday. The chef fled China to Taiwan in 1949 and invented the dish shortly thereafter. In the 1970s Peng opened a New York restaurant, which he claimed was a regular haunt of Henry Kissinger. Peng credited Kissinger with the dish’s popularity.

Peng conceived the famed dish, which is unknown in China, as unfried. Garlic and soy sauce provided flavour, as did chillies. Today the chicken is served across the US as fried chicken in a sweet, sticky sauce. The chillies remain, with broccoli also appearing. Peng named it after Zuo Zongtang from his native Hunan Province; Zongtang assisted in suppressing the 19th-century Taiping Rebellion.

Peng said the meal was invented for a US admiral visiting Taiwan. Over three days, Peng was contracted to produce several banquets, with not one repeated dish. After exhausting traditional chicken dishes Peng said he created what became General Tso’s chicken as an experiment.

In later years he ran Peng’s, a chain of Taiwanese restaurants. General Tso’s chicken also remained popular across the US. His son claimed he remained working in the kitchen until a few months before his death, at 97. In a documentary two years ago, shown photos of General Tso’s chicken served in the US in modern times, he remarked “This is all crazy nonsense.”

Running away from his farming family in Changsha, Peng trained under Cao Jingchen. He fled communist rule that followed the 1930s Japanese invasion. He fathered seven children, six of whom remain alive, from three marriages. Chuck Peng described his father as “very good to other people, [but] very hard on his family.” Peng Jr. spoke of a “very demanding” man who “thought other people’s cooking was no good.”

Two years ago the Taipei City Government awarded Peng an Outstanding Citizen award. Peng, then 95 and unstable, collected the award in person and delivered a speech in Mandarin Chinese.

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.

Tuesday, October 14, 2008

The San Diego, California suburb of Chula Vista has responded to the recent housing crisis with an aggressive blight control ordinance that compels lenders to maintain the appearance of vacant homes. As foreclosures increase both locally and throughout the United States, the one year old ordinance has become a model for other cities overwhelmed by the problem of abandoned homes that decay into neighborhood eyesores.

Chula Vista city code enforcement manager Doug Leeper told the San Diego Union Tribune that over 300 jurisdictions have contacted his office during the past year with inquiries about the city’s tough local ordinance. Coral Springs, Florida, and California towns Stockton, Santee, Riverside County, and Murietta have all modeled recently enacted anti-blight measures after Chula Vista’s. On Wednesday, 8 October, the Escondido City Council also voted to tighten local measures making lenders more accountable for maintenance of empty homes.

Under the Chula Vista ordinance lenders become legally responsible for upkeep as soon as a notice of mortgage default gets filed on a vacant dwelling, before actual ownership of the dwelling returns to the lender. Leeper regards that as “the cutting-edge part of our ordinance”. Chula Vista also requires prompt registration of vacant homes and applies stiff fines as high as US$1000 per day for failure to maintain a property. Since foreclosed properties are subject to frequent resale between mortgage brokers, city officials enforce the fines by sending notices to every name on title documents and placing a lien on the property, which prevents further resale until outstanding fines have been paid. In the year since the ordinance went into effect the city has applied $850,000 in fines and penalties, of which it has collected $200,000 to date. The city has collected an additional $77,000 in registration fees on vacant homes.

Jolie Houston, an attorney in San Jose, believes “Lenders will respond when it costs them less to maintain the property than to ignore local agency requirements.” Traditionally, local governments have resorted to addressing blight problems on abandoned properties with public funds, mowing overgrown lawns and performing other vital functions, then seeking repayment afterward. Chula Vista has moved that responsibility to an upfront obligation upon lenders.

As one of the fastest growing cities in the United States during recent years, Chula Vista saw 22.6% growth between 2000 and 2006, which brought the city’s population from 173,556 in the 2000 census to an estimated 212,756, according to the U.S. Census Bureau. Chula Vista placed among the nation’s 20 fastest growing cities in 2004. A large proportion of local homes were purchased during the recent housing boom using creative financing options that purchasers did not understand were beyond their means. Average home prices in San Diego County declined by 25% in the last year, which is the steepest drop on record. Many homeowners in the region currently owe more than their homes are worth and confront rising balloon payment mortgages that they had expected to afford by refinancing new equity that either vanished or never materialized. In August 2008, Chula Vista’s eastern 91913 zip code had the highest home mortgage default rate in the county with 154 filings and 94 foreclosures, an increase of 154% over one year previously. Regionally, the county saw 1,979 foreclosures in August.

Professionals from the real estate and mortgage industries object to Chula Vista’s response to the crisis for the additional burdens it places on their struggling finances. Said San Diego real estate agent Marc Carpenter, “that kind of measure will add additional costs to banks that have been hit really hard already and ultimately the cost will be transferred down to consumers and investors.” Yet city councils in many communities have been under pressure to do something about increasing numbers of vacant properties. Concentrations of abandoned and neglected homes can attract vandals who hasten the decline of struggling neighborhoods. Jolie Houston explained that city officials “can’t fix the lending problem, but they can try to prevent neighborhoods from becoming blighted.”

CEO Robert Klein of Safeguard, a property management firm, told the Union Tribune that his industry is having difficulty adapting to the rapidly changing local ordinances. “Every day we discover a new ordinance coming out of somewhere”, he complained. Dustin Hobbs, a spokesman from the California Association of Mortgage Bankers agreed that uneven local ordinances are likely to increase the costs of lending. Hobbs advised that local legislation is unnecessary due to California State Senate Bill 1137, which was recently approved to address blight. Yet according to Houston, the statewide measure falls short because it fails to address upkeep needs during the months between the time when foreclosure begins and when the lender takes title.

Friday, November 3, 2006

On November 13, Torontonians will be heading to the polls to vote for their ward’s councillor and for mayor. Among Toronto’s ridings is Don Valley West (Ward 26). Four candidates responded to Wikinews’ requests for an interview. This ward’s candidates include Muhammad Alam, Bahar Aminvaziri, Orhan Aybars, Michele Carroll-Smith, Mohamed Dhanani, Abdul Ingar, Geoff Kettel, Debbie Lechter, Natalie Maniates, John Masterson, John Parker, David Thomas, Csaba Vegh, and Fred Williams.

For more information on the election, read Toronto municipal election, 2006.

Friday, January 5, 2007

An ethical controversy has surged in the United States and elsewhere around nine-year-old Ashley X (her family name has not been released). The disabled girl was operated upon at the request of her parents, to prevent her from growing, menstruating and developing breasts. The parents, who wish to remain anonymous, explain their situation on a blog entitled The “Ashley Treatment”. There have been over 1000 reactions on the blog so far.

Ashley suffers a condition termed static encephalopathy with marked global developmental deficits of unknown etiology, which means brain damage of unknown cause leading to a kind of static condition. She can make sounds, move her arms and kick her legs, but she cannot change her position, eat, walk, talk etc. Many of these children are in poor health and die young, but Ashley is in good health. For all of these functions she depends on her caregivers. Most of the day she passes watching her surrounding, lying on a pillow. Her parents call her their “Pillow Angel”, “since she is so sweet and stays right where we place her—usually on a pillow.”

Ashley’s parents want to keep her at home and care for her themselves, and they want to guarantee their daughter’s quality of life. To this end, they say, Ashley underwent several surgical procedures and medical treatments during a period of three years. To attenuate her growth, Ashley was given high doses of the hormone estrogen. Ashley now measures 4ft 5 (1m 35cm) and weighs around 75 lbs (34 kg), which is below her expected length and weight. Her low body weight and size would improve her comfort, and at the same time facilitate the work of her caregivers.

Surgery to remove her uterus (a procedure called a hysterectomy) and breast buds were performed, so Ashley does not menstruate and will not develop breasts, both of which parents think only would cause her discomfort. Since high estrogen levels can cause menstrual bleeding and breast development, the surgery was also meant to limit these effects. She also underwent surgery to remove her appendix, because it would be difficult to diagnose appendicitis given Ashley’s low communication possibilities.

Monday, June 7, 2010

A suspect in a hit-and-run located in San Francisco, California, was arrested after hitting four cyclists and, two days later, lying to the police. Over the course of six minutes, the 39-year-old man hit four people with his car and then ran off when his car crashed into another vehicle and hit a pole. The investigators tracked down the man’s address with the evidence found in the car; however, as he had moved, they were unable to find him.

The suspect later told the police at Albany Police Station that his car was stolen, and after the police identified that as a lie, he was arrested. The police believes that the victims were deliberately targeted, although the motive remains a mystery. The suspect is currently in hospital for medical and psychological testing.

“I was only a block from my house and I saw something coming at me, from the corner of my eye. I managed to swing out of the way and avoid the full brunt of an impact,” said one of the victims, Rory Madden. “It doesn’t make any sense that anybody would do that, so whatever he has to say is not going to make sense.” The other three men were hospitalized, two in serious condition and one in fair condition.

The attack left bicycles crumpled and some cars damaged, one severely, according to San Francisco police spokeswoman, Lyn Tomkioka. “We’re just really glad that he’s been arrested,” she said. Mayor Gavin Newsom and the San Francisco Bicycle Coalition condemned the attack, stating that there are currently efforts to make San Francisco “one of the most bike-friendly cities in the country”.

Wednesday, September 7, 2005

Astronomers have discovered that Saturn’s D ring, the innermost of Saturn’s 15 rings, has grown dimmer in the past 25 years and sections have moved up to 125 miles inward toward the planet. This discovery was made after astronomers compiled results predominantly from the Voyager 2 spacecraft, which passed Saturn in 1981, and the Cassini-Huygens probe which entered Saturn’s orbit last year.

Other rings were found to be rotating slower than had previously been estimated with computer models. It was also discovered that the matter composing the rings is of far more widely varying temperatures than had been expected. Sections of Saturn’s F ring were also recognised as breaking apart and reforming, depending on the location of one of Saturn’s moons.

The rings, which are now iconic to Saturn, and known to be common to all Jovian planets in general, were first observed in 1610 by Galileo. The rings have recently become a subject of scientific interest to modern astronomers who believe they are similar in structure to the dust which orbited the Sun, in a similar pattern, and formed the planets some 4.5 billion years ago.

This, and other Cassini-related discoveries, were discussed at a meeting of the American Astronomical Society‘s division of planetary sciences on Monday.