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Calling Bullshit on the Internet's Islamophobic Memes

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Earlier this month over at VICE UK, Philip Kleinfeld debunked a bunch of the internet's most potent disinformation about Syrian refugees. But it turns out you can use the quick and dirty superimposition of images and text we call "memes" to disparage Muslims in general, not just Syrians.

So when former pediatric neurosurgeon turned v chill presidential candidate Ben Carson told Meet the Press on Sunday, "I would not advocate that we put a Muslim in charge of this nation. I absolutely would not agree with that," and then claimed that as a result of his comments money was being donated to his campaign coffers "so fast, it's hard to even keep up with it," we started wondering what's happening over on Islamophobic Facebook. Short answer: the quick and dirty superimposition of images and text we call "memes" used to disparage Muslims in general.

MUSLIM BROTHERHOOD MEMBERS ARE INFILTRATING THE GOVERNMENT

Image via TheCommonSenseShow.com

This little fact sheet of sorts was created in conjunction with a report published by the Investigative Project on Terrorism, a lobby group founded by discredited anti-islam pundit Steven Emerson. The article, by John Rossomando, is not in any way credible. It simply recites the claims of an admittedly unsourced, rumor-mongering Egyptian magazine story. There's no reason to assume there's a shred of truth to this.

Feminism Is Backsliding In Muslim Countries

Image via Facebook

As westerners, some of us assume all women who wear burqas or niqabs are "repressed." If you actually ask them about these outfits, some do call it "a kind of punishment," but others choose to wear them. Just the fact that they're worn doesn't mean women are disappearing.

There are about 49 "Lands of Islam," and that list includes countries where women have recently achieved a great deal. Gender equality is still a long way off in many of these places, but women recently surpassed men in terms of college enrollment in places like Kuwait, Qatar, United Arab Emirates, Palestine, Lebanon, Saudi Arabia, and Jordan. Meanwhile, women in Saudi Arabia are just now registering to vote for the first time in the lead-up to the 2015 election. Voting is a basic right to be sure, but the point is, it's an improvement.

The Muslim Conquest Was Worse Than the Crusades

The Crusades, a series of Christian war campaigns against Muslims during the middle ages, killed about three million people. But if that makes you feel bad, look at the image above and take solace in the fact that the concurrent Muslim Conquest was way worse, geographically speaking.

But in the long run, where seizing territory is concerned, Christianity wins. Nearly the entire New Worldincluding North and South Americawas settled by Christians, beginning with almost exclusively Christian aims that quickly turned before things got bloody. A map of the whole world color-coded by religion tells a very different story than the highly shareable map above does.

But if you limit your comparison to a small 200-year window in the history of Islam and Christianity, yes, the Muslim Conquest covered more area than the Crusades.

Muslim Doctrine Is Unconstitutional

This is one of the rare anti-Islam graphics on Facebook that actually uses Impact, also known as "the meme font." Then it ruins its status as one of the dankest of memes by using some lame mystery font to invite people to fact check it.

I'll save you some time: Yes, the Hadith and Quran forbid free speech and freedom of religion. They're religious texts. That's what religious texts do; they tell you what not to say, and that you're not allowed to have other religions.

For comparison, two of the Ten Commandments are "Thou shalt not take the name of the Lord thy God in vain," and "Thou shalt have no other gods before me." That means the Bible forbids freedom of speech and freedom of religion, too. Also, the whole stonings for small crimes thing prescribed by Leviticus doesn't jibe too well with the eighth amendment's ban on cruel and unusual punishment.

Only Muslims Hold Up Severed Heads

Yes, ISIS beheadings drew a lot of much-deserved disgust earlier this year, but posting something on Facebook implying that Islamic extremism holds some kind of monopoly on that particular method of execution is just plain stupid.

Beheadings by non-Muslims are happening on multiple continents. The ongoing strife in the Central African Republic, just to name one example, has involved local Christian militia members trying to quash Muslim uprisings that involved drafting child soldiers, so militia strategies as recently as last year included the beheading of children.

If you need an example you can actually see, look no further than Mexico, where you can watch (link is to a graphic beheading video) members of the Zetas drug cartel behead a member of a rival gang, and, yep, triumphantly hold up the head like a trophy.

Muslim Countries Aren't Taking in Refugees

The affluent Persian Gulf countries are catching shit here for not taking in any of the refugees fleeing the war in Syria. That's not because they're just dicks. Gulf countries like Saudi Arabia don't offer refugee status. They're chock full of Syrian people who fled the war, though. Saudi Arabia alone says it has taken in 2.5 million Syrians during the civil war, and the United Arab Emirates have taken in over 160,000 Syrians since 2012, according to The New York Times.

Ahmed the Clock Kid Is an Extremist

Above is an image that really is being passed around by right-wing bloggers in their diatribes against Ahmed the Clock Kid, and on Twitter. In case you haven't been following this story, Ahmed Mohamed is a 14-year-old kid in Irving, Texas who either (a) built a clock from scratch, and deserved an A+, or (b) made a clock out of existing clock parts to get a rise out of his overreacting teacher. He is not, as the above image would have you believe, a suicide bomber thirsting for the blood of innocent Americans.

Follow Mike Pearl on Twitter.


VICE Vs Video Games: Replaying ‘The Warriors’ as Rockstar’s Only Movie License Game Turns Ten

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All screens courtesy of Rockstar Games

The recent gathering of The Warriors fans at Coney Island, where the cast of the 1979 movie showed up to sign stuff for people who'd been waiting in lines for twice the length of the film itself, was, to quote VICE's coverage, "kinda bleak." People wore appropriately branded vests for the occasion, and it rained on them. A costume contest was cancelled. Sick of It All played. Sounds shit.

A substantially less-sucky celebration of Walter Hill's cult-acclaim slice of highly stylized violence was Rockstar Games' October 2005-released video game adaptation of the movie, the sole movie license game the company's ever developed (although it did co-publish 2001's The Italian Job). It's a curious project that came out between the company kicking off its Red Dead series and its much-celebrated school-set sandbox adventure Canis Canem Edit, or Bully in the States. Picture Rockstar's output in your mind now and it's hard to think beyond the Grand Theft Auto games and, perhaps, Red Dead Redemption. L.A. Noire, and Max Payne 3 had their qualities, too; but it's GTA and its cowboy analogue that dominate public affections.

The Warriors was a hit for Rockstar though, despite the years separating movie from game. As time's passed, appreciation of Hill's film has grown. Its story isn't muchmembers of the titular New York gang must make it back to their home turf of Coney Island after a city-wide summit at Pelham Bay Park goes disastrously southbut uniquely relatable/despicable characters and sharp cinematography have kept fresh viewers glued as the decades have passed. By 2005, the film had belatedly become as big a student must-see as Trainspotting was almost a decade earlier, and so the game version benefitted from heightened public awareness. Profits for Rockstar ultimately ran into the tens of millions (of dollars), a drop in the ocean of GTA revenues, but still: better to be well inside the black than caught short in the red, whatever the costs.

The critical response at the time was positive, too. "It might just be the best game adaptation of a film ever, in terms of capturing the mood of the original movie," wrote Game Informer. The mooddark and gritty, filthy to the touch, everything bathed in a synth-edged soundtrackcertainly does transfer well. But for much of The Warriors, the game, you're not actually following the events of the film it's based on, which in turn was adapted from a 1965 Sol Yurick novel of the same name (which actually drew its inspiration from the Ancient Greek story Anabasis, where a troop of mercenaries must march home from waging war in Persia).

Rockstar puts you in control of a number of the Warriors in the weeks and months ahead of the movie's dramatic opening sequence. Eventually the story catches up to the gang's against-all-odds run for home, but a solid two-thirds of the game is plot-expanding material, exploring the relationships between the Warriors and rival factions in the run-up to Cyrus's invitation to unite. Complete stages and you unlock playable flashback missions that go deeper into the formation of the Warriors themselves. It's open-world, but not: each stage is a small sandbox area with both main and bonus objectives to tick off, sometimes violent and sometimes as simple as burning over rival tags. OK, often violent. The Warriors is a game that doesn't shy away from bloodying itself up against broken bottles and shafts of wood torn from broken fence panels.

In 2005, disbarred American attorney Jack Thompson was waging a one-man war against the apparent evils that Rockstar and parent company Take-Two was putting in front of young gamers. He unsuccessfully filed several suits in an attempt to prevent or heavily restrict the releases of a handful of Grand Theft Auto titles, Manhunt 2 and Bully, or simply to squeeze a company-busting amount of cash from the studio. But The Warriors appeared to bypass his misfiring radar of controversy. Which to me, having gone back this week and replayed a decent chunk of the game, appears a little odd.

The Grand Theft Auto games can get violent, of course, but there's much more to them than law breaking in its many and varied forms. In comparison, The Warriors positively revels in destruction, in physical assaults and vandalism, mayhem, and mugging, from the very start. Within minutes you, initially as the character Rembrandt, are beating up homeless drunks as "training" for what you'll face later in the game/on the streets. You need money to buy cans of spray paint, and the quickest way to get it is to assault a passer-by, grapple them into a state of unconsciousness, toss them against a dumpster and steal their wallet. Alternatively, smash your way into jewelry stores and make off with the merchandise, or break car windows to unscrew car stereos.

Related: Watch VICE's film on Mr. Cherry, Japan's leading world record holder

The first hour of The Warriors teaches you these ropes, and kind of culminates in a blackout riot where members of other gangs mix it up with cops and storekeepers as trucks smoulder and windows shatter. (And some dude keeps on calling out for a seemingly very lost Maria. I don't know if she was ever found. Remember Maria, people, always.) Almost any NPCperhaps all of them, it's not like I triedcan be locked onto and attacked, from officers of the NYPD to the dude who sells you health bar-boosting "flash" (whatever it's meant to be, it's taken nasally). Combat is deeper than your standard button-masher, with a range of combos available via sequences on two face buttons, plus opponents can be grabbed for either pinning on the ground or pummeling in the face. If you're controlling one of the Warriors' senior members, commands can be issued to your gang, such as to wreak chaos, to attack everyone, to split or to simply follow the leader.

Once the basics are in place the game accelerates: more and more rivals are run into as the Warriors have to defend their reputation and protect their turf, which means wiping out a game-exclusive group, The Destroyers. And I don't just mean you disperse them: you beat the shit out of them, until bodies lie lifeless. Stealth sections become more frequent, too, as you creep up on enemies and chop them from behind to knock them out. The police presence only grows as the Warriors' rep does, so as greater challenges are faced, the law becomes more aggressive in its manner of protecting and serving. And it gets tough. The Warriors doesn't hold your hand like many modern equivalents do.

New on Motherboard: The First Trailer for 'The Angry Birds Movie' Makes No Sense

And it also doesn't make things all that easy, controls wise. Playing on a PS2 (the game also came out for the original Xbox and Sony's PSP handheld), I found the stick sensitivity incredibly twitchy compared to how these sort of games are geared nowadaysa lot of time was accidentally spent rubbing my controllable Warrior up against a wall, and camera movement is also feels unnecessarily twitchy. When tagging over rival graffiti, the game requires that you steer a cursor using the left stick, along a "W" shape (which varies from spot to spot). Granted, there's no obvious easy way to do this, but with paint cans lasting barely ten seconds at a time, a couple of mistakes per tagand it's easy to stray from the linecan really screw up bonus objectives in some levels. Checkpointing isn't brilliant either, and the autosave dumps you back at the beginning of any given stage, regardless of how much progress you made prior to having to switch your console off.

If the game can be fiddly though, to return to an earlier point, its presentation is top notch, even by modern standards. Atmospherically, The Warriors is great, and while it can look pretty muddy at times, textures rough about their edges to say the least, remember this is a PS2 gameby my reckoning, it's pushing the console pretty far versus something like San Andreas, which was frequently an ugly experience made bearable by, well, everything but its visuals. Radio broadcasts are full of period tunes, and the DJ reports on the incidents of the previous stage while the Warriors are hanging out at their safehouse. Plenty of the original cast returned to play their characters again, too, lending a greater connection between movie and game than almost any other licensed tie-in.

Roger Hill, who played Cyrus in the film, was not invited to participate though, and subsequently filed a lawsuit for quarter of a million dollars against Rockstar and Take-Two for use of his voice and image without permission. Take-Two responded by confirming their possession of a valid third-party license. It isn't clear from a spell of internet searching how the suit was settled, but Hill died in 2014.

Should you (come out to) play The Warriors, ten years on? If you're into investigating the lesser-known releases in the Rockstar catalogue, absolutely. It's easy to see how this is the work of the same studio that made GTA and Bully, while its linearity in comparison to those more traditional sandbox games, akin to how Max Payne 3 unfolded, ensures that the story remains the focus. And if you're a big fan of the movie, giving this the once-through is a no-brainer: It's the prequel that there never was and never will be on the silver screen. And much like the film, it's now crystallized as a single entity, as no sequel is likely to follow. Rockstar toyed with a spiritual follow-up, a game set in 1960s England called We Are the Mods, but that ultimately came to nothing.

The Liberty City of Grand Theft Auto IV was New York through a sardonic lens, the urban sprawl as a contorted cartoon, grey and grim but drawn in thick lines, detail lost in the need to deliver recognizable landmarks to an international crowd. The Warriors' New York, actually made by Rockstar's Toronto team, is equally gritty, but strangely feels realer than many a modern-day open-world game, its environments scarred by poverty, neighborhoods yet to become as gentrified as they are now. If this was out now, on a contemporary console, it'd be shiner, crisper, HD. Because of the PS2's graphical limitations, The Warriors is played in murk, constant shadow, making every block seem like a threat. The format suits the fiction, perfectly. Can you dig it? You really should, you know.

Follow Mike Diver on Twitter.

Post Mortem: Death Styles of the Rich and Famous: Stories From an Upper East Side Funeral Home

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The lives of the one percentthe richest of the richhave always been a subject of fascination for Americans. There's something oddly satisfying about peering into the sumptuous, sometimes hard-to-believe lifestyles of the ultra-wealthy. But what happens when they die?

In her newly released memoir Good Mourning, Elizabeth Meyer chronicles her career at an Upper East Side funeral home, serving clientele in the one percent. (Her publisher describes the book as "Gossip Girl meets Six Feet Under.") Meyer's father was a wealthy Manhattan lawyer who died from cancer while she was in college, and rather than leaving the funeral arrangements to older family members, she capitalized on her event-planning experience to plan his final send-off. Not long after, she decided to seek a career in death care.

In the book, Meyer speaks frankly about the challenges of working in the funeral industry, especially in a place geared toward lavish, expensive, and over-the-top funerals. Meyer's familiarity with Manhattan high society came in handy when interacting with the high-powered clientele, and she got a crash course in navigating some very tricky situations, like making final arrangements for a man with two widows who only found out about each other after he died.

I spoke with Meyer to see what it was like working in the place where John Lennon, Jackie Onassis, Heath Ledger, and Philip Seymour Hoffman all had their funerals.

VICE: Your first exposure to working with death was volunteering to plan your father's fairly high profile funeral while still in college. What was that like?
Elizabeth Meyer: I planned his funeral, yes. My dad died when I was a junior in college on spring break. It was jazz music going in, and rock-n-roll at the end. There was an after party and people came up to me and said, 'This is going to sound completely strange, and I can't believe these words are coming out of my mouth, but could you plan my funeral when the time comes?'

I wasn't fully lucid because it was a difficult time, but in the back of my mind I thought, 'Hold on. I want to be able to do this for people.' At first it didn't start as a business, but then I thought if these people want it, then surely others want it too.

Some people might be surprised to find out that the place you worked sold a $90,000 casket. And for one of the funerals you worked on, the total bill came out to $150,000. Was that one the most expensive?
I believe so. It's hard to keep track of numbers. I just remember constantly being in shock. The average funeral in America costs between $7,000 and $10,000. Even that, to me, is a lot of money. And multiplied tenfold? I think what always took me is the amount of money that was spent. Because if you say to someone they're going to spend $70,000, . If you have approval and you don't have anyone opposing it, then it's just a life stage.

Did you have families that requested a photographer?
We did, actually. We had a large international clientele. I was working before video conferencing was as easy as it is today. You couldn't Facetime a casket back then. A lot of Filipinos would take pictures for family that couldn't make it. It was just the last picture, and they would send it to family members. It was completely respectful. Why not? For me, it's a level of comfort with death that I'm game for.

Having worked in a high-end funeral home and also consulting with other funeral homes around the country, do you have any advice to give the general public?
Everybody should pre-arrange. And depending on what state you live in, you should pre-pay. If you live in New York state, it's one of the top three protected states. If you go about it correctly, it's a fabulous investment. Funerals can double in cost in ten years, and if you pre-pay you can lock in the price. I'm a big believer in pre-paying in New York, but I just warn people to make sure their money is safe. But definitely, get your wishes known. There is no harm in that whatsoever.

Follow Simon Davis on Twitter.

Comics: This Week's Comic from Anna Haifisch Outlines How to Treat an Artist Well

The VICE Guide to Right Now: Four Out of Ten Americans Want to Build a Wall Between the US and Canada

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Photo via the Game of Thrones Wiki

Read: What It Would Take for Donald Trump to Build the Great Wall of America

Illegal immigration scares the shit out of America. While alarge part of that fear is usually directed at Mexico, a pollreleased by Bloomberg on Thursday found that a growing number of US citizensdon't really trust our neighbors to the north, either.

In the survey, 41 percent of people questioned said we shouldbuild a "brick-and-mortar" wall between the US and Mexicoand while we're atit, put one up along the Canadian border, too. It's a line of logic that ScottWalker, who just bowed out of the Republican race for president, expressedinterest in before closing up his campaign on Monday.

JorgeRamos already did a pretty good job of unpacking why the idea of building aphysical wall along the US-Mexico border doesn't make any goddamn sense, and a US-Canada wall doesn't really, either. Customs and Border Protection estimatesthe cost of constructing such a wall at about $16 million per mile. At thatrate, it'd cost more than $60 billion to board up the 3,987 miles the US shareswith Canada.

Still, according to Bloomberg's survey, four in tenAmericans are prepared to do whatever it takes to keep foreigners from robbing us of our precious jobs, nomatter what end of the border they're pouring in from.

"If you cut off one, they're going to come in the otherway," a Trump supporter toldBloomberg. "It's desolate up there in some places on the Canadian borderand they've gotta do something up there to stop them from coming in."

This Group of Straight Men Is Swearing Off Women

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A MGTOW protester in Edmonton, Alberta. Screenshot via YouTube

All over the world, straight men are making the conscious decision not to be involved with women.

This isn't a decision in any sort of metaphorical sense. These men are literally cutting women out of their lives, completely. It's not a spiritual choicelike becoming ordained as a Catholic priestnor is it a socioeconomic problem, like Japan's herbivore men. It is more of an ideological celibacy, one that crosses both national borders and religious divides. And the basic reason is the slow crawl toward gender equality.

They are called Men Going Their Own Way (or MGTOW, pronounced "mig-tow") and they have a serious problem with feminism. To them, the feminist movement has all but ruined our society, and it just doesn't make sense to participate in the dating game because women have been, in their eyes, programmed to ruin a man's life. Around every corner they seem to see one-dimensional women who are just out to take their well-earned money and stick them with kids who aren't theirs.

Also false rape accusations: They are fucking terrified of those gosh-darn prevalent false rape accusations.

At first glance, it's easy to lump MGTOW in with typical Men's Rights Activists (MRAs) who also believe that female oppression is a myth and that it's actually males who are oppressedbut that's not the case. The two groups differ significantly in how they make sure those tricky, tricky women don't pull any of their devious tactics. While MRAs are out to fix the problem through action and activism, members of MGTOW hold self-preservation above all else, and because of this the majority of the community seems to have decided to bow out.

They've had enough, and they're taking their balls and going home.

I first came across this story while reporting on Edmonton, Alberta's Slut Walk earlier this year. There was a young-ish Canadian man protesting the event in a superhero/cheerleader costume, the initials MGTOW emblazoned across his chest. He held signs that said "Women are programmed to ruin men's lives" and "Feminism is a refuge for woman's not interesting to men because we don't need them! Femininity will be the price women pay for enjoying masculinity in men."

Since that time, the movement has exploded in westernized English-speaking countries such as the US, Canada, Australia, and the UK. According to MGTOW.com, the epicenter of men going their own way is Toronto because the center of the Canadian universe "is the worst city in the world if you are a man." The community has quietly flown under the radar of the public for some time now, only being publicized by right wing publication Breitbart, who deemed the movement the "Sexodous," and Info Wars, a website run by conspiracy theorist Alex Jones. (Both articles had a significant anti-feminist lean.)

An Infowars video on the subject

However, MGTOW isn't the revolutionary movement many of its followers hold it up to be, nor is it even a new concept. Throughout the ages, similar movements have popped up as pushback any time feminism managed a win. Communities similar to MGTOW and MRAs were around during the suffragist movement, when women began entering the workforce, and so on. In the 80s and 90s, the mythopoetic men's movement developed as a response to the second wave of feminism.

The cycle is a reactionary one.

Dr. Tristan Bridges is an Assistant Professor of Sociology at the College of Brockport and works with the scholarly journal Men, Masculinities, and Methodologies. Bridges's work deals in depth with gender issues specifically focused on masculinity. I asked him to explain MGTOW and the history of similar movements from a scholar's position.

"When we look at the historical record that's what it shows: Men start to get pissed off and want to talk about masculinity and change masculinity right after there has been some sort of transformation in femininity," Bridges said. "When these kinds of things come up, I think historians would say something significant has happened with respect to gender inequality that men are feeling their position of privilege as challenged and this is a cultural reaction that takes place after that happens."

There are numerous factors at play here and another major one possibly driving the movement is "gender vertigo." This is a concept put forward by Barbara Risman that deals with gender expectations and ties into the sense that we don't really know what it means to be masculine anymore.

But it's hard to listen to any concernsvalid or otherwisecoming from the "manosphere" when these groups employ such disrespectful and, at times, hateful rhetoric.

I don't know what it means to be masculine either, but I am pretty sure it doesn't involve five levels of excommunicating women from their lives.

Follow Mack Lamoureux on Twitter.

Buffy Sainte-Marie on Winning the Polaris Prize, Viet Cong, and Indigenous Activism

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Cover of Buffy Sainte-Marie's latest album, 'Power in the Blood'

It's 5 AM when Buffy Sainte-Marie picks up the phone at her home in Hawaii, but there's no semblance of fatigue in her voice: the 74-year-old folk legend and, as of this week, 2015 Polaris Prize victor dispenses sagely advice between bursts of kind laughter. Sainte-Marie, born on Piapot Cree First Nation in Saskatchewan, came up in the industry during the 60s alongside the likes of Bob Dylan, Joni Mitchell, and Neil Young, releasing her now-legendary It's My Way! in 1964. Since then, she's dropped another 20 albums, been blacklisted by the US government, been sampled by Kanye West (and then Young Thug), and become one of the most renowned First Nations activists in the world.

VICE: You've won many awards in your time. How does it feel to pick up the Polaris Prize?
Buffy Sainte-Marie: It's a big surprise, I'll tell you that! It's wonderful. I'm really thrilled. I have a lot of respect for the Polaris Prize for specific reasons. One of things that makes it so personally nice for me is that I had the time to listen to all of the other artists: I listened to the entire album for everybody. I got to hear some of the lesser cuts that might not get played on the radio. Full respect for all the different kinds of music that people are making in Canada.

Did any of the albums stand out to you most?
I had my own little shortlist: I couldn't narrow it down to one. I had no idea who was going to win: I didn't think it was going to be me. I liked Tobias Jesso Jr., I liked Jennifer Castle's album, I liked Caribou, and I really liked Viet Cong. And God bless them for changing their name, it's the smartest thing they could have done. If the name is distracting from the music, just change it. I had big hugs for them and congratulated them for the decision to change their name.

You were a very early pioneer of using electronics in your music. What's it like to hear artists like Caribou and Drake take these technologies to entirely new levels?
It's a dream come true for me. As you say, I've been into electronic music since the 60s: I made the first-ever totally electronic quadraphonic vocal album ever, called Illuminations. People really, really didn't understand it. But art students did. Electronic musicians did. There were people making electronic music back then: Jon Hassell and Brian Eno and Morton Subotnick. But audiences were not hearing it because the record companies and the market weren't really that interested in it so they weren't bringing it to people.

I think it's real important to acknowledge the role of a good record company. Especially True North in this regard because they got this album to people's ears. That's the biggest difference with this album: it's not as though it's better than Running for the Drum or Coincidence and Likely Stories, but they didn't get heard. They didn't have a record company really making it available to radio stations who then make it available to other people. The internet didn't used to be what it is now. Some people were afraid of electronic music. It's really nice. I'm glad. I think it's a wonderful medium that offers all kinds of avenues for creativity.


The name of the album, Power in the Blood, comes from an Alabama 3 title. Why did you decide to reference that album?
Well I'm a big fan of Alabama 3: they wrote the theme song for The Sopranos! when my mom was passing. I don't have any plans to stop being an artist. Artists just don't stop. I only go on the road when I think I have something to offer people, so I'll probably continue to come and go on the scene and not worry about it very much. Let somebody else do some of the work! Everybody who's got dreams in their hearts and issues that are bothering them: don't be afraid of it. Just keep on keeping on. We're all ripening every day.

The VICE Guide to Right Now: This Kentucky State Senator Is Suing Because He Can't Get Gifts from Lobbyists

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Official photo via Kentucky State Legislature

An elected official in Kentucky has filed a lawsuit against local campaign finance authorities, arguing that ethic laws that prevent him from receiving gifts violate his constitutional rights. The effort is headed up by Republican State Senator John Schickel, along with two Libertarian candidates for office.

Christopher Wiest, the attorney for the plaintiffs, told the Lexington Herald-Leader that the rules that prevent candidates for office from receiving campaign donations of more than $1,000, and from receiving gifts from lobbyists are "ridiculous."

"If you're a legislator and a lobbyist is your next-door neighbor, and he invites you over to his place for a Christmas party, you can't accept, because it might be considered a form of entertainment or a thing of value," Weist said, explaining the rationale behind the suit.

In theory, Schickel could attempt to get Kentucky's State Legislature, of which he's a member, on board with changing these ethics rules. However, Wiest told the Herald-Leader that Schickel "thinks he could get a bill through the Senate, but if it can't get through the House, why spend time spinning his wheels on it?" Instead, he's hoping to hammer it out in the courts.

Similarly, Citizens United vs. FEC was a lawsuit that began in a Washington DC district court before it became the famous Supreme Court case that overturned federal laws limiting campaign spending by nonprofit groups on the basis that such spending is free speech, and thus, protected by the First Amendment.

According to Schickel's court filing, free speech is also the basis for this lawsuit. "Senator Schickel, a retired law enforcement officer, who has a long and distinguished history of protecting Kentuckians, seeks to continue fulfilling his oath of office, upholding and protecting the US Constitution, and vindicating the First Amendment rights of himself and millions of other Kentuckians," the filing reads.

Follow Mike Pearl on Twitter.


UK Man Does Five Lines of Cocaine, Has a 40-Minute Wank In a Beer Garden, Is Arrested

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The pub in question. If any pub on earth has a more "a man was arrested here once for railing cocaine and very publicly having a wank about it" vibe, I would like to know about it. Photo via Robert Wade

This article originally appeared on VICE UK.

A Blackburn man appeared in court today after "performing a sex act" (a big wank) in a pub garden after snorting five lines of cocainea sex act he managed to keep up for 40 minutes, a sort of endurance wank, a long-distance marathon of a wank, the kind of wank Paula Radcliffe gets up in the middle of and takes a shit during. A big wank, basically. Police arrested him on the scene and he has a history of criminal indecency, and today he pleaded guilty to outraging public decency.

What is public decency? This constant lie that we are all in some way decent. I feel at one time or another we have all felt like a 35-year-old man, wanking in the wind, five lines into a session in a Blackburn beer garden. At one time or another: Do we not all just want the sweet release of a self-inflicted orgasm? Do we not all want to really rail some gak? Do we not all occasionally need to let our minds breathe, in a place where so little happens there may as well be nothing, in a large Lancashire town that is so featureless it is like diving deep into one's own mind, mediocrity close to meditation?

The man's name is Michael Brian Scotthis name is Michael Scott, like in the US Office (why has nobody on Tumblr done an appropriate GIF set of this yet?)and Blackburn magistrates today heard how he's sort of done stuff like this before. "He was in the beer garden of Clitheroe Kate's on Mincing Lane and people were constantly walking past," the prosecution, Catherine Allan, said. Then from Richard Prew, his defense, possibly the greatest court quote of all time: "He has been working as a forklift truck driver for the last two years and lives with his partner who sits at the back of court. She finds his behavior difficult to explain." She finds his behavior. Difficult to explain.

I've been thinking about Blackburn beer garden gak wanker a lot, and I've come to the conclusion: He is a self-expressionist of the highest order, Britain's greatest living artist. Has Banksy done anything close to being as subversive as giving himself a coke-fueled handy in a pub garden in Blackburn? He has not. Does anything say "Britain" more than the image of a tired forklift truck operator, coked out of his mind, emotionlessly wanking under a Thwaites-branded bench umbrella? We should put that on tourist pamphlets instead of a picture of the Queen. We should have had that instead of the Olympic opening ceremony.

On VICE Sports: The Weird and Wonderful Origins of Scottish Football Club Names

Anyway, seeing as he's previously served 32 weeks in prison for indecency, there's a decent chance he'll go to prison again, all while his partner tries to explain to her family and friends where he's gone. "Uh," she's saying, at her niece's christening. "Where's Michael? Ah... bitbit of a weird one. He's in prison for a gak wank." Godspeed to you, Blackburn beer garden gak wanker. God speed to you.

Follow Joel Golby on Twitter.

The VICE Guide to Right Now: Did Big Pharma Dickhead Martin Shkreli Offer to Pay His Ex-Girlfriend $10,000 to Go Down on Her?

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Screenshot via Katie's blog post

Read: We Asked an Expert How the Price of a Pill Could Go from $13.50 to $750 Overnight

Martin Shkreli became this week's most hated man on theinternet after his pharmaceutical company raised the price of Daraprimalife-saving drug that's been on the market since the early 1950sfrom $13.50 to$750 a pill overnight.

Since then, everyone from medical experts to presidential candidates have called him out,prompting Shkreli to backdown and promise to lower the price of Daraprim.

Now that Shkreli has thrust himself into the nationalspotlight, all sorts of nastydetails about his past are cropping upmost recently, that he allegedlyoffered to pay an ex-girlfriend $10,000 in exchange for her letting him eat her out.

"Freshman year of college I dated Martin Shkreli: unrepentant capitalist, quoter of Eminem lyrics, embodiment of douchebaggery," the girl wrote Tuesday on her blog, In Defense Of Getting Off, where she's been writing about sex since 2008.

In a post titled "10k," Katiewho's elected not to reveal her last nameexplains how Shkreli hit her up for sex more than five years after they'd broken up.

To prove Shkreli's messages are the real deal, Katie also posteda screenshotof an email (see above) he sent from his work account at Elea Capital Management, a hedgefund Shkreli ran in the mid 2000s.

How You May Indirectly Be Funding Child Slavery

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Kids forced to work in mica mines in India. Screen grab via Made In a Free World

Slavery Footprint is a site that asks the simple question, "How many slaves work for you?" The answer feels like it should be zeroafter all, nobody reading this owns another human being (I hope). But because of the vast network of supply chains that make up our ever-increasing global marketplace, it turns out that it's a pretty hard question to answer.

As a thought exercise, let's consider the sparkly stuff, like the paint on your car. A common way to make something sparkle is to infuse it with mineral called mica, explains Justin Dillon of Made In a Free World, an organization dedicated to promoting transparent and humane supply chains. "Anywhere between 50 and 60 percent of the world's mica," Dillon tells me, "comes from a region in India where it's mined by kids using prehistoric tools going down into rathole mines. They come out with sparkles on their face."

Dillon's not bullshittinglast year, it was revealed that at least 12 multinational companies had been purchasing mica that had been mined by children. And it quickly came out that those kids weren't exactly working in those mines because they were looking for an alternative to a paper route. "It's painful to see. I look at sparkles very differently now," Dillon says.

Modern-day slavery, Dillon explains, is "extreme poverty with the bottom dropped out." It means being a person who is forced to work in terrible conditions who doesn't have the privilege of stopping. "Anywhere where you don't have the structure around you to protect you and hold you at a basic level of justice," Dillon says, "the conditions are there for you to fall into slavery." According to data from Made In a Free World, over 29 million people could be considered "slaves" under that definition.

Fortunately, there are steps people can take to fight this new version of slavery. Namely, they can help to change the attitudes that make people complicit about the use of forced labor in the supply chains of products they use. Made in a Free World aims to bring awareness to forced labor in supply chains, not just among consumers, but among large corporations who have the power to alter purchasing decisions on a large scale. If enough massive corporations start buying from suppliers who enforce fair labor practices, maybe people can feel a little less bad about buying stuff, armed with the knowledge that they're doing so responsibly.


VICE: Give me an overview of Made in a Free World's mission.
Justin Dillon: We're trying to use the power of free markets to free people. That's our cute phrase Strip clubs are not sustainable.

Follow Drew Millard on Twitter.

'Empire' Holds Up a Funhouse Mirror to Our Frenetic Reality

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Empire is a lot of things. Melodramatic. Addictive. Moving.Stylish. Exceedingly well-viewed. But by no means is it subtle. For proof ofthis, look no further than the first scene of the first episode of the show'ssecond season, in which Cookie Lyon (Taraji P. Henson) is lowered onto aconcert stage in a cage while wearing a gorilla suit. She beats her chest,removing the gorilla mask to give a brief, impassioned speech to the crowd,protesting the mass incarceration of black men in America.

The concertmarketedas a "rally"is meant to benefit her husband, Lucious Lyon (Terrence Howard),who's been imprisoned for the murder of a guy named Bunkie, who just so happensto be Cookie's cousin. Lucious is guilty as hell, and Cookie and the rest ofLucious's family know he did it and hate him for it: two of his sons, Andre andHakeem, are the ones who snitched on him as revenge for handing thecompany to his middle son, Jamal. But Empire, the family's record label, is largerthan whatever conflicts they might have. It's the biggest hip-hop companyaround, and if it continues to thrive, whatever heinous crimes the Lyons mighthave committed to perpetuate it will be worth it. More than anything, theconcert is an opportunity to impress a white, lesbian investor played byMarissa Tomei, who can potentially help Cookie, Hakeem, and Andre wrest controlof Empire from Lucious and Jamal once and for all.

These quick shifts in personal politics and public opinion are ones that inform Empire's dramatic style. Characters and themes swerve and transform abruptly, just like our news cycle.

Ifthis sounds a bit confusing, it's only because Empire's bombastic storyline is a reflection of our ownover-the-top society. When Jamal tells Cookie backstage that Bill Clinton is inthe crowd and she responds, "He better be if he wants his wife to win," it's a timelymoment that mirrors our social and political landscape, one in which Clintonactively (if clumsily) courts black voters by doing the "nae nae" on the The EllenDeGeneres Show, and Donald Trump insults a notable Latino journalist only to see his ratings go up.

Screengrab via Fox

Mattersof social justice, race, and discussions around gender have become tweetable.Bernie Sanders was interrupted by activists claiming to represent Black LivesMatter one day; within a week he rolled out an extensive racism and racial justice platform on his website. Texas teenager Ahmed Mohamed cameto school, excited to show his teachers a homemade clock, only to be labeled aterrorist. Within a day, the public had rallied behind him, and now he's being invited to visit MIT. Same with the internet's reaction to theMinnesota dentist who shot Zimbabwean national icon Cecil the Lion, and the white Indiana poet whoused a Chinese pen name to get a previously rejected poem published. Thesequick shifts in personal politics and public opinion are ones that inform Empire's dramatic style. Characters andthemes swerve and transform abruptly, just like our news cycle.

Empire's pacing is fast and frenetic. New characters and story arcs are packed in tightly,exploding in front of us, only to disappear an episode later. Last season,Cookie was involved in the murder of a rival drug dealer, but the event seemedto get lost in the din of the show, only to surge into relevance in season two.A friend of mine worried that the show might "burn out" of storylines beforeits third season. But I'm not sure the show is concerned with burnout, as itignites a storm of memes, hashtags, and tweets during and after each episode.One of last season's most notable moments was a scene in which Cookie smacked her ass,saying, "This is an ass," after being turneddown by Lucious at a dinner. That GIF went viral, racking up thousands ofretweets, Instagram shares, and Tumblr notes, and was shared and reposted bymen, women, mothers, teens, and grandmothers alike. Cookie became her ownconversation. My own mother even called me to talk about the ass-smacking.

On Creators' Project: Everything We Know About the Art in 'Empire'

Cookie,and the show's writers, also don't care much about respectability politics,especially when related to black characters. Cookie's assistant mistakenlycalls Ferguson "Peterson" when talking to Don Lemon, while Jamal is annoyedby a flamboyant, gay singer who shows up to his office and performs on hisdesk. In true Empire style, theexistence of stereotype is acknowledged, but also complicated. In one scene,Cookie argues loudly over the phone in a cab; when the dark-skinned Indiandriver shakes his head in disapproval, she asks, "What are you shaking your head for? You're black, too!" It's a sobering piece of dialogue that allowsCookie a level of depth and agency to thwart the labels placed on her, and onthe show.

On VICE: Watch the Real 'Wolf of Wall Street':

Attimes, though, I wonder if the show is inviting humor that it is unaware of, atthe cost of the larger issues it attempts to address. Chris Rock as FrankGathers, a high-profile drug dealer whom Lucious reunites with in jail, seemslike an off-brand casting choice aimed more for name recognition. In anotherepisode, a corrupt prison guard played by Ludacris puts Lucious in solitaryconfinement, warning him that he could kill him in jail and no one would everknow what happened. Whether intentional or not, there was an eerie connectionmade to Sandra Bland, but the fact that it was Ludacris and Terrence Howardfacing off through a small slat in the cell makes the moment feel unearned inlight of the real-life tragedy the scene echoes.

Andso, we come back to the "Free Lucious" rally against mass incarceration, acomplicated moment in a show whose bread-and-butter is doing too much. Cookiepasses up talking to Don Lemon, who is seen as fake, to chat with Al Sharpton,who is seen as authentic. Jamal, Swizz Beatz, and another rapper perform a songabout freedom, while the crowd holds up signs with Lucious's face plastered onit. It's a clever cooptation of the current moment, one that may feel more"real" than the barrage of presidential hopefuls slinging insults andhalf-hearted truths and a county clerk hailed as a hero for blocking gay couples from being married, while a black teen is tackled by a police officer for jaywalking. We may, in fact, be living in whatfeels like a show, something stranger than reality. Empire is just a heightened version of that.

Follow Nijla on Twitter.

Empireairs on Wednesdays at 9 PM on Fox.

We Asked a Biologist If Plants Can Feel Pain

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Officials in the United States government have dusted off that old partisan debate about abortion and put it back in the spotlight. With yet another budget standoff looming, the government might shut down on October 1, and it all might come down to a difference of opinion about whether a cluster of cells has rights. And according to an article in June's Scientific American, we're only just beginning to learn exactly what a fetus can feel and when.

But you know what definitely can feel? Plants, at least according to biologist Daniel Chamovitz, dean of Life Sciences at Tel Aviv University in Israel, and author of the book What a Plant Knows.

We reached out to Chamovitz to find out if one of those things plants can feel is pain, because we figured if they could, that would really shake up the whole abortion debate, not to mention add a new dimension to veganism.



VICE: I'm looking at a video of a plant called mimosa pudica that can obviously feel. Someone touches it, and the leaves close up...
Daniel Chamovitz: I'm actually touching a mimosa as we talk.

It feels that, right?
It's feeling it. I would even use the word "aware," but it doesn't care. A leaf knows when it's been cut, and it will respond, but it's not getting a complex, like 'oh my god. What happens to me if this happens again?'

Is a mimosa different from other plants?
Mimosa, and also the venus flytrap have a specific organ for movement called a pulvinus. Other plants don't have that. But the way that a pulvinis reacts to touch is the same way that a branch reacts to touch at the molecular level.

Would it frustrate the plant if you kept it from moving?
What you can do is, there are certain drugshuman drugsthat you can put on a mimosa mountain it's going to be short with few branches, few leaves, and a thick trunk. If it stayed at the same height with the same number of branches, it would be blown over. So we know that plants actively respond to the wind by inhibiting vertical growth, and by increasing their girth. It's an active response. It's not like it's responding to damage. It's changing its own response in order to survive.


Can a plant learn?
Plants have memories. They store and recall information, but they won't go talk to their psychiatrist about it. The clearest example would be a venus flytrap. The way a venus flytrap closes is that it has these huge hairsfilamentsalong its big open lobe. It looks like two leaves, but it's one leaf. And when a bug comes along and catches two of those hairs, it'll close. If it only touches one, it won't. It touches one, keeps crawling, touches the second. If it touches it within 20 seconds, it'll close. If it's within 20 seconds, it's a big bug, and it's worth the energy to close. If it's a longer time, maybe it's two little things, and it's not worth the energy to close. It only wants to eat something that's big.

That's not really much of a memory, is it?
Short-term memory! Within several seconds, it's gone. That's what happens here. The first hair gets touched. It'll remember for 20 seconds; after that it forgets that it's been touched.

So, if I follow you, plants really do feel, not metaphorically, but really. They just can't feel pain. Right?
Plants don't have pain receptors. Plants have pressure receptors that allow them to know when they're being touched or movedmechanoreceptors. It's a specific nerve cell.

And to be clear, am I right that a plant knows it's being damaged?
You can definitely kill a plant, but it doesn't care.

Follow Mike Pearl on Twitter.

America Incarcerated: Prison Without Punishment

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Published in partnership with the Marshall Project

This article appears in VICE magazine's upcoming Prison Issue, which will go online Monday, October 5

Inmates attending a yoga class at Heidering prison, on the outskirts of Berlin. Photos by Julian Rder

Last year, Gregg Marcantel, the secretary of New Mexico's Corrections Department, voluntarily placed himself in solitary confinement for 48 hours. He was one of a rare few who could choose to do such a thing, and it was a very Gregg thing to dodramatic, physically demanding, good for a story. Since taking the job a few years before, Marcantel had worked to reduce the number of prisoners held in their cells for 23 hours a day, and he wanted to better understand what these prisoners actually experienced. He told a reporter, "There are just things sometimes that you gotta feel, you gotta taste, and you gotta hear, and you gotta smell."

The video footage of his two days in a 12-by-7-foot cell has an eerie intimacy. Wearing standard-issue yellow scrubs and a bright orange beanie, Marcantel, a former cop who resembles a bodybuilder, looms around the cell. He listens to the shouting and clanging outside his door, writes in a notebook, and picks at some rubbery breakfast meat. His face alternates between boredom and curiosity. He reads Night, the Holocaust memoir by Elie Wiesel, and a business book called Boundaries for Leaders.

The stunt was not Marcantel's only effort to address solitary confinement, though it was the most public. Working with the Vera Institute of Justice, a nonprofit organization based in New York, his staff was implementing a program called Restoration to Population, which would allow inmates affiliated with prison gangs to renounce their membership and earn their way out of solitary confinement through good behavior. Another program would allow inmates who had been held in solitary for their own protectioninformants and the young and weakto live together in regular housing. The number of New Mexico state prisoners in solitary dropped from 10.1 percent in late 2013 to 6.9 percent in June 2015.

This was a modest victory, and not a politically risky one: Curbing solitary is less likely to anger the public than, say, spending money to help inmates obtain college degrees. Marcantel was still criticized by progressives for opposing a statewide ban on solitary for those with mental illness. But in the glowing press coverageABC News called him the "ultimate undercover boss"Marcantel positioned himself as open-minded to reform while conservative enough to avoid being seen as soft on criminals.

Marcantel had a clever way of selling his plan to reduce solitary confinement: Instead of focusing on human rights, he talked about public safety. He told the Albuquerque Journal that when solitary is overused, "all you're doing now is creating a socially isolated human being that's going to go back to your neighborhood" and commit more crimes (one study found such prisoners are twice as likely to reoffend). "We've got to do everything we can to send people back better from prison than when they came."

The broader implication of Marcantel's pointthat prisons should take rehabilitation seriously in order to alleviate crime and protect the publichas become a primary talking point within our current moment of criminal justice reform, a moment in which journalists, politicians, and policy experts are trumpeting an unprecedented level of cooperation between the political left and right. In February 2015, the American Civil Liberties Union, the Center for American Progress, FreedomWorks, and Koch Industries announced they would collaborate to back the Coalition for Public Safety and lobby to reduce mandatory-minimum sentences, support alternatives to incarceration, and reduce the overall prison population.

The push for reform has many supporters, including fiscal conservatives who think incarcerating the nonviolent is a waste of money, Evangelicals who believe that overlong sentences rob people of a chance at redemption, libertarians who see a bloated criminal justice system as an example of government overreach, and progressives who talk about crime as the product of racial injustice and the decimation of welfare programs for the poor and the mentally ill. With such varied ideological backgrounds, finding a common language can be difficult, so the terminology tends toward the appealingly vague"smart on crime," "best practices," "evidence-based policies"though the goals generally circle around reducing the prison population and helping people who come out of prison to avoid returning.

One place that has managed to keep both incarceration and crime rates low is Western Europe. In 2013, the Vera Institute took a group of corrections officials to tour prisons in the Netherlands and Germany. They found that throughout the continent, sentences are significantly shorter than in the US, and the entire focus is on rehabilitating prisoners so they can return to society. Wardens are often professional psychologists and emphasize therapy over security. There are fewer than 100 prisoners for every 100,000 Germans, and more than 600 prisoners for every 100,000 Americans. Few Germans spend more than 15 years in prison.

While Germany's low crime rates cannot be directly credited to the country's therapy-driven prisons, researchers at Vera believed that learning about how these prisons work might help Americans improve their own. In other words, Germany might offer new ways of addressing the problems Marcantel had highlighted with his trip to solitary confinement a year before: How might treating prisoners differently ensure they would not commit crimes after getting out?

As Vera began planning a tour of German prisons, scheduled for June 2015, they invited Marcantel and other criminal justice leaders who had showed an interest in reform. Nicholas Turner, the institute's president, envisioned the weeklong excursion might function as a "summer camp," in which unlikely bonds would be formed to pave the way for political collaboration back in the US.

Accepting the invitation, Marcantel admitted he did not have a "real good sense of Germany." But he had traveled to Europe before and been struck by "how much more they know about America than I know about them." He chided his fellow Americans for their insularity. "Why do I need to know about you?" he said with a chuckle. "Everything spins around America!"

Members of the International Sentencing and Corrections Exchange gather outside Heidering, including Gregg Marcantel (center), secretary of New Mexico's Corrections Department.

On a Sunday morning this past June, the two dozen members of the International Sentencing and Corrections Exchange were drowsy from an overnight flight to Berlin. Along with Marcantel, Vera had invited the heads of the prison systems in Connecticut, Tennessee, and Washington, as well as two district attorneys, a former prisoner, an historian, a law professor, several policy analysts, and influential activists from the left and right.

Marcantel was animated during the introductions, which were held in a private room at a downtown restaurant, full of dark wood and brass lamps. Everyone listed the universities or agencies or think tanks or foundations they were representing. The academics used words like "carceral." Craig DeRoche, of the Evangelical organization Justice Fellowship, talked about where people's "hearts are." Marcantel was the first to crack a joke, opening coyly with, "Hi, my name is Gregg, and I'm an alcoholic."

Jeremy Travis, the president of the John Jay College of Criminal Justice at the City University of New York, explained how the German approach to incarceration may differ radically from the American approach today, but this had not always been the case. In the 1960s, incarceration rates in Europe and the US were broadly comparable, but then ours began to climb. From the 1970s through the 1990s, while Germany, Sweden, France, England, and their peers never saw their incarceration rates change by more than 50 percent in either direction, the US rate rose by roughly 300 percent.

For more stories on incarceration, watch our documentary 'Young Reoffenders':


"We're here because we've chosen to be here," Travis said. Congressional decisionschief among them the 1994 Violent Crime Control and Law Enforcement Act, often just called the "crime bill"encouraged states to pass their own laws to increase the number of people locked up: three-strikes laws, mandatory minimums, harsher drug laws, longer sentences, lower ages for criminal responsibility, more restrictions on parole. Crime had been on the rise, and after Michael Dukakis went down in flames following a 1988 ad about Willie Horton, which blamed a rape and murder on the candidate's liberal policies, Democrats were just as eager as Republicans to promote harsh sentencing laws. In those days, Travis was running the National Institute of Justice, a federal think tank, under President Clinton's appointment. "We funded all of you guys," he said, looking around the room at Americans from a dozen different states, "to go change your laws to keep people in prison longer."

Marcantel listened intently, hunched over in his chair and stroking his beard. His role in this story was more practical than political. After an early stint welding in the oil fields of his native Louisiana and a few years in the Marines, he spent most of his career as a police officer, chasing murderers and drug dealers around New Mexico. He used the imagined horrors of prison as leverage while he encouraged them to rat one another out. He still talks of these days with a boisterous nostalgiahe once chased a drug lord into Alabamabut admits he seldom thought about where these criminals ended up after he caught them. Like most people, he imagined such places as a distant hell.

Since 2011, when he was appointed New Mexico's corrections secretary, he has come to know that hell intimately. Prison rapes, a common threat among cops toward recalcitrant suspects, "ain't funny anymore." (In 2012, 14 percent of the women in one New Mexico facility reported they had been recently sexually assaulted.) Marcantel sees how the environment of most American prisons, with few educational programs, fails to keep the men and women they release from returning. In 2012, his department found that in New Mexico, "over half of inmates released from prison will be back within five years."

Every state has its own subplot in the recent American story of growing prison populations, its own sensational crimes, political dynamics, and policy justifications. In New Mexico, a riot in 1980 at the main state penitentiary, near Santa Fe, led to the deaths of 33 prisoners. It was the most violent takeover of a prison since the one at Attica Correctional Facility, in upstate New York, nine years earlier. Marcantel told others on the trip that this riot fueled a popular belief in his state that rehabilitation was a farce because prisoners were always ready to attack.

He had come on the trip in part because he disagreed. He knew that prisons could help transform criminals, and that he could, by running effective prisons, "take a bigger bite of crime than I ever did chasing and what he could do," Muhammad said.

"Where we're at in America is that we fancy the notion of rehabilitation. But what touches our feelings and our approach to managing the criminal justice system is really punishment."

In late July 2015, about a week after President Obama commuted the sentences of 46 nonviolent drug offenders, Marcantel announced that his department would hire a 40-year-old man named David Van Horn as a supervisor in the staff kitchen at one of the prisons. Van Horn had been released in May after serving 20 years for murder. It was Marcantel's first step in the development of a new transition program for former prisoners, and he said he hoped it would inspire businesses to take more risks in hiring such men and women.

A five-minute segment about the program on KRQE, a local news station, cut back and forth between Van Horn talking about how much he had changed and Marcantel saying, "He's coming back to the community, whether anybody likes it or not, and we're trying to work a better public safety policy."

The corrections union angrily noted that Van Horn would make $17 an hour, more than some prison guards. The son of the victimsan elderly married couple whom Van Horn had robbed in 1995 before setting their house on fire, killing the wife, and shooting two deputies as he escapedtold a reporter that he wished Van Horn would stay in prison forever.

It was a flicker of the political dynamic that still haunts reform efforts in the US. But for now, Marcantel's tasks were smaller: defending this hire of an ex-prisoner, finding a way to keep dropping the number of prisoners in solitary confinement, reviewing a program that allows some men to work outside the prison walls after one ran away from a job and set off a manhunt.

But having seen a radically different vision of how a country could manage those who had transgressed its laws, Marcantel now wanted his own country to think about what it was doing and why. He had seen that, historically and comparatively, it was not Germany but the US that was the anomaly. "Where we're at in America," he said, "if we're gonna be brutally honest, is that we fancy the notion of rehabilitation. But what touches our feelings and our approach to managing the criminal justice system is really punishment. We feel that. We know that."

For Marcantel, current reform efforts can only go so far without a deep rethinking of what prisons are for: "We've got to sit down as a country and say, 'What are the goals?' We've got to start from an authentic point."

Follow Maurice on Twitter.

How ‘National Lampoon’ Shaped the American Comedy Landscape, One Hitler Joke at a Time

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'National Lampoon.' Photo courtesy of Magnolia Pictures

The best line in Drunk Stoned Brilliant Dead, a new documentary detailing the pioneering days of the National Lampoon, is a widely distributed remark about the death of one of the magazine's co-founders, Douglas Kenney, who fell off a cliff in Hawaii in 1980 at the age of 33. Of unknown provenance (here it is attributed to Lampoon writer Chris Miller, but it also could have been Harold Ramis, or maybe even Saturday Night Live writer Michael O'Donoghue), it goes like this: "He probably fell while he was looking for a better place to jump." Short, steely, and acidly funny, that's as good an indicator as any of the nihilistic goofiness that was at the heart of what proved to be one of the great movements in American comedy.

Founded in 1969 by Harvard graduates Kenney, Henry Beard, and Robert Hoffman as a national spinoff to the ancient campus humor magazine Harvard Lampoon (which began in 1876), the first issue of National Lampoon arrived in the spring of 1970, gaining in popularity throughout the first half of the decade and peaking at a national circulation of a million copies in late 1974. (The last issue ran in November '98, but the magazine had been culturally dead since the mid 80s.) The Lampoon's legacy mainly consists now of the movies Animal House and National Lampoon's Vacation; the careers of Chevy Chase, John Belushi, Bill Murray, Ramis, and others associated with the early days of SNL; and a 1973 magazine cover of a dog with a gun to his head next to the words "If You Don't Buy This Magazine, We'll Kill This Dog."

"We analyzed it as the shift from Jewish humor, which is essentially defensive and a shield against the world, to Irish humor, which is a weapon and a sword. Our actual term for it back then was we have gone from 'Fuck me' to 'Fuck you.'"
P. J. O'Rourke

In its day, the Lampoon was genuinely boundary-pushing, for better and for worse, a killer of sacred cows in an era when there still sacred cows to kill. Their bits include "Canadathe Retarded Giant at your Doorstep"; a radio spot about torturing Ed Sullivan; a True Boys' Life magazine cover with a group of Boy Scouts happily circle-jerking around a campfire; a photo-narrative of an alt-history Hitler lookalike living happily on a tropical island in the Caribbean; a 69-cent stamp for feminine hygiene sprays; Eloise scrawling her name in trademark pink across the mirror of a seedy downtown bathroom; and a child's letter to Heinrich Himmler ("How do you get all those people in your oven? We can hardly get a roast pork in ours").

On MUNCHIES: Action Bronson's Baklava Milkshake Is True Romance

"Really good humoris saying the thing which is true which you would do anything to deny is true,"says a young P. J. O'Rourke in Drunk Stoned Brilliant Dead,who joined the magazine in 1971 before becoming editor-in-chief in the late 70s.That feels right, and was certainly a major part of the magazine's philosophical non-agenda. An effective parody tastes authentic, and even at itsnastiest the Lampoon was grounded ina sensibility that was as human as it was perverted. It's about finding theshared experiences that make up human connection, and the best of that todayThe Onion, Clickhole, Key & Peele, John Oliverare more polished continuations of the work that the Lampoon was doing 40 years ago.

"National Lampoon came out of a vein ofAmerican humor that hadn't been in the ascendant in 50 some years, which wasthe vicious vein," said O'Rourke, when I spoke to him last week over the phone."We analyzed it as the shift from Jewish humor, which is essentially defensiveand a shield against the world, to Irish humor, which is a weapon and a swordnotthat we were all Irish, and none of us were Jewish. Our actual term for it backthen was we have gone from 'Fuck me' to 'Fuck you.'"

Although the drivingforces behind that middle finger were founders Beard (who left the magazineshortly before he turned 30, taking a $2.8 million buyout in 1975), and Kenney,the head editors during the magazine's most critically and financiallysuccessful period, it's Kenney's narrative arc that frames the documentary andlends heft to the titular claims. He was notoriously troubled, and his excesseswere as well noted as his brilliancies. He contributed larger swathes of themagazine than any other writer and co-wrote Animal House and Caddyshack.He also loved cocaine and dropped acid, once abruptly fleeing Manhattan and theLampoon to Martha's Vineyard, wherehe spent months tripping and writing an unpublished novel called TeenageCommies from Outer Space.

On VICE: Comedian Andre Arruda Gets Hit by a Car:

In the late summerof 1980, Chevy Chase took Kenney to Kauai, Hawaii, in a gesture of mentalconvalescence, and the most poignant moment of the documentary occurs whenChase describes a practical joke he played on his friend. Here's the setup:Chase goes to Kenney's room (they're both staying on the 15th floor of a Hawaiianhotel) and tells him that he's depressed, he just can't take it anymore. ThenChase goes back to his own room, taking off his boots and placing them by theterrace before mimicking the sound of someone screaming as if falling, orjumping. He quickly hides before a panicked Kenney comes running in. "And for asecond he really actually looked."

Eventually Chase had to return to themainland for work, and for a short period Kenney's longtime partner KathrynWalker joined him before she also had to leave. They found Kenney's body onAugust 30, 1980, at the base of a 30-foot cliff called the Hanapepe Lookout.Chase told Rolling Stone that hefound in Kenney's hotel room, amidst a large pile of notes for jokes and movieideas, was a receipt with the line "These last few days were the happiest I'veever ignored" scribbled on the back.

Two months ago P. J.O'Rourke wrote a piece for The HollywoodReporter titled "How I Killed 'National Lampoon,'" prompted by therelease of Vacation, looselyaffiliated with the 1983 NationalLampoon's Vacation. (How exactly he offed the Lampoon he doesn't really say, except that he happened to be theone left in charge after all the talent left for Saturday Night Live or Hollywood.) I haven't seen Vacation, and I do not want to, ever;Richard Roeper wrote in the Chicago Sun-Times that "it's a vile, odious disaster populated withunlikable, dopey characters bumbling through mean-spirited set pieces that relyheavily on slapstick fight scenes, scatalogical sight gags, and serialvomiting." When the Lampoon was greatit was great, and there was an intelligence behind all the cock and cum humor thatwas outrageous and maybe offensive but also smarter than the outrageous andoffensive stuff that makes up every second of everyday life. Sad things can befunnydisgusting things can be funny toobut it's hard to find joke in thedumb, vapid, or sloppily repackaged.

Anyone who claims to understand "how" "comedy" "works" is probably lying, a fool, or both, and while I certainly wouldn't presume to know shit about what makes people laugh I will say this: There is some element of honesty to the stuff that is good and that endures. I doubt anyone at the Lampoon would ever admit to anything remotely as sentimental as that, but there's something indirectly genuine here, as if they had fallen into it while looking for whatever the next most incendiary and debased thing could be.

Cody Wiewandt is a writer living in New York.

Drunk Stoned Brilliant Dead opensin theaters today.


What the Story of the Billionaire Behind Pig-Gate Tells Us About British Politics

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UK Prime Minister David Cameron. Photo via Flickr user Steve Bowbrick

This article originally appeared on VICE UK.

It's the last day of the Daily Mail's serialization of what they're calling the "political book of the decade," Call Me Dave. After a week's worth of stories for the country's biggest newspaperand with no end in sight to the David-Cameron-fucking-a-dead-pig jokesI think it's remarkable that people are still buying it. Dark political secrets are supposedly being revealed about our overlords, without asking who the true overlord is herenamely the billionaire behind the book, Lord Ashcroft.

Lord Ashcroft's career says a lot more about the relationship between money, the Conservative Party, and how we are governed than any story about a penis and a pig's head. Even Ashcroft's co-author says that with the pig fucking story they were "merely reporting" what they were told by "a respected Tory MP who is a contemporary of David Cameron's at Oxford" without any judgement as to whether it is actually true.

Lord Ashcroft. Photo via Policy Exchange

I can "merely report" that at Conservative Headquarters, Ashcroft's nickname was Blofeld (from 1998-2001 he was party Treasurer and from 2005-2010 he was party Chairman). They thought of him as like a James Bond villain. He has a headquarters in a tropical paradiseBelize, a tax havenwhere he keeps two massive yachts and a private jet. He doesn't actually live in a fake volcano run by men in orange boiler suits on golf carts, but he does use his powersa.k.a. a very large bag of moneyto try and bend the world to his will.

Even at the surface of the current scandal it is openly said that Ashcroft has written a hatchet-job biography of Cameron because he is angry he couldn't buy a position as a minister. It's not a great context for a supposedly explosive political scandal.

That's before you ask how Ashcroft became a billionaire. Much of the press seems to be too trivial to mention that, but Ashcroft has threatened some of the journalists that are more serious about reporting with libel, and he's got the cash and lawyers to back it up.

Who really did something really outrageous in the back in 1980s? Dave with a pig? My vote goes for Lord Ashcroft. Back then his main business, Hawley Group, was heavily into contract cleaning. Behind the scenes, Ashcroft funded a political lobby to privatize the cleaning of schools and NHS hospitalsuntil that point were run by the public sector. The lobby group he funded, called PULSE (the "Public and Local Service Efficiency" Campaign) was set up in 1985 to persuade the public sector to contract out services like cleaning and catering. Ashcroft gave PULSE around 500,000 of donations to the Tories could give him a shortcut so that he could avoid the normal route to becoming a Minister, which usually involved arduous tasks such as actually getting elected. Cameron actually did offer him a job as a "Junior Whip" in the Foreign Office, but Ashcroft rejected it because he thought he'd bought a bigger job. Ashcroft says that he "regarded this as a declinable offer. It would have been better had Cameron offered me nothing at all." Ashcroft often argues that Cameron is not "modern" enough, but has an 18th century attitude towards buying a place in the government.

Cameron has been getting a press shellacking because of Ashcroft's book, but the real story is about how he didn't let Ashcroft buy a place in government. Whatever the reasons for that, he did the right thing for once. A book published by an angry multi-millionaire full of barely political smears tells us something about our political world, but not much about David Cameron.

I approached Lord Ashcroft for comment but did not get a response.

Follow Solomon Hughes on Twitter.

America Incarcerated: How One Man from the St. Louis Projects Got Out of Prison and Went Back Again

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VICE is exploring America's prison system in the week leading up to our special report with President Obama for HBO. Tune in Sunday, September 27, at 9 PM EST, to see his historic first-ever presidential visit to a federal prison.

Planning ahead made all the difference while I served my 25-year prison sentence, and especially when I was released. I earned university degrees and published books while inside, and earned an income, which meant I returned to society with enough money in the bankto launch a career. Within three weeks, I was an adjunctprofessor at San Francisco State University.

But most people who go through lengthy stays in the American prison system don't have the same fulfilling experience. Often, not long after they get out, people get dragged back in.

As a consequence of my outreach since rejoining society, formerlyincarcerated people frequently reach out to me seeking guidance. One of them was Larry, a 58-year old black man who had a more typical experience returning to the public after a lengthy prison stay.

Larry grew up in St. Louis's infamous housing projects,where crime was rampant. Lee Rainwater, a well-known sociologist, once deemed one of them, Pruitt-Igoe, "a human disaster area." Larry told me that crime in theprojects was simply a part of life for the thousands of black people who livedthere. That environment influenced his adolescence and early adult years.

He dropped out of school in the 11th grade andstarted getting into trouble. When Larry was in his mid 20s, a judgesentenced him to serve a ten-year prison term for selling marijuana.

While inside, Larry earned his GED and worked in the kitchen bakery.

"I wouldn't say that I learned nothin' about bakin' when Iwas in prison 'cause there wasn't nothin' to learn," Larry tells VICE. "All you did was pour a bigbag into a big pot. Then you'd add water and wait. That's how you cook inprison. Don't need to be no expert or have any kind a trainin."

Larry didn't seem to think his work in state prison wouldn't translateinto any type of employment opportunities upon release. But as he approached the end of his term, hequalified for work release. The concept of work release is available in somecriminal justice systems, such as Missouri's, but not in others. (Many people don't realize it, butour nation has 53 different criminal justice systemseach of the50 states has its own criminal code and justice system, the District ofColumbia maintains its own criminal justice system, the military has a criminaljustice system, and the federal government has a criminal justice system.)

Larry told me that when qualified inmates approached thefinal 18 months of their prison terms, they could qualify to have jobs outside the prison. Hewelcomed the opportunity because it would allow him to develop real-world workexperience while simultaneously allowing him to save resources he could use totransition into the regular world. During this period, Larry would line upalongside others on work release to leave the prison to board a bus, which delivered him and others to a turkey processing plant where they labored for eight hours each day. While on the job, Larry earned eight dollarsan hour.

"The money I earned during my final year in prison made ahuge difference," Larry told me over the phone. "When I got locked up, Ididn't have no money. When my time came to walk out, I had $8,000 in the bank.Besides that, I had a job."

Larry concluded his obligation to the Missouri prison systemin 1992 and continued working at the turkey plant for the next seven years.But steady employment ended for him in 1999, when federal authorities came knocking. After ajury convicted Larry for charges related to selling crack cocaine, a judgesentenced him to 30 years in prison.

I was confused. If he walked out of prison with$8,000 and a job, how did Larry get caught up in another crime?

"I just wasn't able to get out of poverty," he told me."When I was in prison, on work release, the money I was earning all went into asavings account. But as soon as I got out, I needed to use the money to startmy life. Needed to rent an apartment, buy clothesjust livin', man. Grown mancan't pay no bills on the kind of money I was earnin' from work."

Larry is free again, and hopes to stay that way.

At first, Larry advanced his career at the turkey plant. Bytransferring to different departments, he was able to move into a supervisoryrole, earning $13 per hour. He worked long shifts, starting at 5 AM and working until two each afternoon. Then he invested $1,500 of his savings into renting a storefront with his fiance, where they sold hats and casual clothing. But meager earnings alwayskept him living from one paycheck to the next, always too close to poverty.

"I used to go see a partner of mine, just hung out with him.He was making a little money selling drugs. I could see what he was doing. Iasked him about it. He told me what was goin' down and I just thought about it.Thought I had a plan. I knew people in St. Louis who would sell me cocaine at abetter price. One day, after bein' out of prison for 'bout three years, I hadenough of not havin' enough. I drove over to St. Louis and bought some cocainefrom someone I knew. I brought it back to Springfield and that was it. Mypartner sold it and gave me the profit. Real quick, I got addicted to the moneyand kept on doin' it."

Larry told me that he collected about $5,000 a month sellingdrugs on the side.

"I thought I had a plan, thinkin' that if I bought the drugsand gave them to a partner to sell, no one would ever catch me. But I didn'tplan on people tellin' on me. That was one thin' I didn't plan on." He laughed."Turns out my plan wasn't so good."

"When you reverted to selling drugs," I asked Larry, "didn'tyou have anxieties or fears about going back to prison?" Many former inmates whocontacted me told me that since they couldn't make ends meet in society, thethought of returning to prison didn't deter them.

"Like I said, I thought I had a plan and I thought I couldavoid bein' caught or sent back to prison," he replied. "But I was wrong. Jus' didn't thinkit through too good."

After serving 13 years, Larry benefited from a change insentencing laws, when President Barack Obama signed legislation that reduced sentences forpeople who had been convicted of selling crack. Previously, those who wereconvicted of selling crack cocaine were sentenced 100 times more severely thanpeople who were convicted of selling powder cocaine. The new law resulted inLarry's release in 2013.

Check out the moment President Obama meets with federal prison inmates as part of our upcoming HBO special on the criminal justice system.

I asked Larry about how his adjustment has gone since beingreleased from prison the second time.

"I'd say it was harder," he answered. "The feds don't offer no work-releaseprogram. I went to the halfway house. My brother hooked me up with a job at thesalvage yard makin' $8.50 per hour. Wasn't much, but least it was a job.Trouble was that rules required me to give 25 percent of my gross wages to thehalfway house. On a 40-hour week, I'd earn 'bout $340 before taxes. Right thenI'd have to give 25 percent, or $85 to the halfway house. I'd also have to paytaxes, pay the bus, and pay for livin'. Can't get no traction on that."

Larry has been free from prison for nearly three years now,but he still struggles. He's grateful to have a job cleaning exhaust systems,working all the hours that are available to him. He needs to work hard, hesays, because the job only pays $12 per hour.

"All I do is work now. Don't take no time off, sure 'nuff don't want be 'round no drug dealers. Just trying to get ahead and stay out oftrouble."

Follow Michael Santos on Twitter and check out his website here.

The Founder of a 'Club Drug Clinic' on the Dangers of the Stuff You Put Into Your Body Every Weekend

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Photo by Mattha Busby

Depending on you disposition, club drugsecstasy, speed, cocaine, MDMA, mephedronecan either be great night-extenders or tragic night-obliterators. Usually, it's as black and white as thatyou do some, you dance around a bit, you go to bed, you wake up feeling like shit. Sometimes, though, the drugs become a problem; you start to rely on them for a good time, and then you start to rely on them to get you through the day.

A couple of years ago we spoke to Dr. Owen Bowden-Jones, founder of London's Club Drug Clinica center dedicated to helping people with their club drug problemsabout what he was up against. Back then, the main drugs the clinic was dealing with were GBL, crystal meth, ketamine, and mephedrone, with a number of users injecting those last two. I caught up with Bowden-Jones recently to see what's changed since then.

VICE: Hi, Owen. How has club drug culture changed since you spoke to us in 2013?
Dr. Owen Bowden-Jones: Well, I can only speak for people I've seen at the clinic, but we're seeing a much more diverse group of people, including clubbers, students, psychonauts, men who have sex with men, people who've been in prison or in custody, and vulnerable groups, such as homeless populations. It seems that more diverse groups are trying these drugs and experiencing problems.

Why do you think that is?
I think it will be a range of factors. The drugs themselves remain easily available, cheap, potent, and, for a number of the non-psychoactive drugs, legal, and so they appeal to a variety of different groups for different reasons. Some users say they like the drugs because they don't show up on urine drug screening. If you are being regularly drug tested, that can be a real attraction. Some of our psychonauts say they enjoy trying lots of different chemicals to experience new effects, and some of our clubbers say they're just interested in trying the latest thing.

MDMA and ecstasy usage has gone up, as has the purity of those drugs in the UK. Do you think it's a positive thing that people are experimenting with more pure drugs?
It's difficult to say because, as with any commercial market, people want value for money, so they want to get the effect they're seeking for the best price possible, for the least harm. Some of the newer drugs may cause greater harm than MDMA, but it's complicated because plenty of MDMA is cut with other drugs. If you don't really know what you're taking, it's hard to know the risks. Without meaning to sound patronizing, taking any psychoactive drug involves some risk.

READ ON THUMP: We Spoke to an Academic Who's Spent 25 Years Researching Drugs in Clubs

There was a problem a couple of years ago with dealers selling PMA as MDMA, which caused a number of deaths. Is that still an issue?
Yeah, there were a few cases of users who thought they were taking MDMA, didn't really feel any effects after about half an hour and, being experienced MDMA users, said, "Well, it's obviously not very good quality, so let's take some more." What they didn't realize was they'd actually been taking PMA, which takes a lot longer to worktypically around an hour. So they essentially double-dosed themselves with PMA. Some users died because of the toxic effects of PMA in the amount they took. This is a pattern we often see at the clinic, with people taking a drug, expecting a particular effect, and then being surprised when they get something they didn't bargain for.

Have any drugs become particularly popular in the last year?
From about 2008, the big new drug was mephedrone, and that very rapidly gained a new market share. It probably made big inroads into the drug market because the quality of other drugs wasn't so good. At the time it was relatively pure and relatively cheap. What we haven't seen is a sort of son of mephedrone; there isn't another drug that's come along in the same way and taken a big slice of the market. That may happen, but it hasn't happened yet.

Of all the various club drugs, how badly does mephedrone rate in terms of how many issues people have when they come in?
Thinking about drug harm is complicated, because you need to think about the drug itself, then you need to think about the way the drug was taken, and then you need to think about the individual characteristics of the person using the drug. Mephedrone is a synthetic stimulant drug that can cause psychosis, severe agitation, and dependence.

Now, it's much more likely to do that if you take it by injection rather than taking it as powder. Some people are more susceptible to psychosis than others, and it's the same with addiction; some people are predisposed. What people want to think about is what their own individual risk might be. Do they have a family history of psychotic illness? Do they have a history of addiction? Have they gotten addicted to other drugs in the past?

The last time we spoke to you there was a lot of emphasis on ketamine, but since then there's been a bit of a K drought. How has that affected your day-to-day?
Two years ago we were seeing huge numbers of ketamine users, often experiencing very significant "ketamine bladder," some of them experiencing dependence. As ketamine has apparently disappeared off the streets, we have seen a big reduction in people coming to the clinic with ketamine problems. For the moment, it seems to have almost disappeared as a problem drug for us.

Related: 'The Hard Lives of Britain's Synthetic Marijuana Addicts,' our documentary about people addicted to synthetic cannabis.

Have synthetic cannabinoids been a big problem for you?
We do see quite a number of people who are trying some synthetic cannabis productsthings like Spiceand some of the problems have been surprisingly severe. We've seen people with psychosis and very disturbing paranoia. We've seen people get very agitated and being very impulsive and sometimes injuring themselves after smoking synthetic cannabinoids. One of the messages that seems to be emerging is that the synthetic cannabinoids appear to be much stronger and more harmful than regular cannabis.

Has anyone expressed why they decide to go for the synthetic cannabis over regular cannabis?
Again, it's about bang for your buck, because some of the synthetic cannabinoids are very strong and still relatively cheap, and so I think some people just think they're getting a lot of drugs for their money. The problem is, they're also getting a lot of harm for their moneywe're seeing increasing numbers of people coming to the clinic with problems around synthetic cannabinoids.

How has work changed for you personally since we last spoke?
What we've had to do over the last couple of years is learn a lot more about the different groups who are using these drugs, because it seems that more and more different groups are trying out club drugs to see what they're like, and we're seeing more people with harms. We're also seeing more people injecting their club drugs and we're seeing greater harms, so the sort of harms we now see related to club drugs are similar to the ones that we see in our traditional drug clinics.

Dependence, withdrawal, psychosis, depression, and anxiety are the problems we regularly see. The other thing we've done is we've got a group of experts together, including people who use these drugs, to help us write a set of clinical guidance, which is called Project Neptune. Many doctors and nurses still have very little idea about these drugs and the problems they cause. We're trying to make sure that health professionals in settings like A&E know enough about these drugs to be able to help.

It sounds like club drugs have gone from a bit of a flight of fancy to being more akin to things like heroin or crack cocaine.
Heroin and crack cocaine remain the most harmful drugs you can use, but these other drugs used to be called recreational drugs. What's clear is that some people are experiencing harms that are a long way from recreational. They're experiencing the sort of harms we'd expect to see with more traditional drugs.

Thanks, Owen.

Follow Joe Bish on Twitter.

The VICE Guide to Right Now: Speaker John Boehner Just Announced He'll Resign from Congress

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Photo via Flickr user Gage Skidmore

Read: Does America Really Have a Problem with Ghost Voters?

John Boehner, the Speaker of the US House of Representatives, announced during a Friday meeting with other Republicans that he would be resigning from Congress at the end of October. His departure comes during the middle of a heated battle over an attempt by conservatives to defund Planned Parenthood that threatens to shut down the federal government.

On VICE News: Pope Politely Sticks It to Congress in Historic Speech

Some more right-wing members of the GOP caucus have long had problems with Boehner, who they see as too willing to placate the Democrats. The Ohio-born politician came to power during the rise of the Tea Party in 2010, but his inability to get along with the angrier, anti-compromise elements in the GOP is emblematic of a larger rift within the party. In the past weeks, some Republicans have threatened to unseat him as Speaker, leading some observers to speculate that he could have asked the Democrats to help him retain power if his own party attempted to replace him.

But instead, a day after the Pope addressed Congressan event which the New York Times called "the fulfillment of a 20-year dream for Mr. Boehner"the Speaker announced he would simply be quitting.

Now that he doesn't have to worry about internal Republican politics, Boehner will most likely get together the votes needed to avoid a government shutdown while funding Planned Parenthood. House Majority Leader Kevin McCarthy will probably replace him.

On Thursday evening, Boehner told reporters from POLITCO and the Washington Post that there was nothing left for him to accomplish after the Pontiff's visit.

Follow Allie Conti on Twitter.

Talking to Comic Book Artist Adrian Tomine About Autobiography, Aging, and the Asian-American Experience

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Issue 2 of 'Optic Nerve.' All images courtesy of Adrian Tomine

In 1991, a teenage Adrian Tomine began self-publishing Optic Nerve, a semi-autobiographical comic series starring an affable cast of oddballs and misfits. The stories were short, steeped in realism, and drawn with elegance and subtletythe beginnings of what would become Tomine's trademark style.

The series soon gained a cult following, as readers responded to Tomine's channelling his own detachment and lack of social interaction into his work. By the fifth issue, he received a handwritten letter from Chris Oliveros, the then publisher of Canadian Independent comics powerhouse Drawn & Quarterly and, with Chris's help, Tomine's stories eventually reached a worldwide audience.

Like finding a box of old school memories or discovering a battered Nokia 3310 filled with forgotten text messages, Tomine's stories have an ability to transport you back to the social awkwardness, unrequited love, and emotional growing pains of your own adolescence.

His first collection, Sleepwalk, is charged with lonely, haunting short stories taken from Tomine's early Optic Nerve series. The most memorable charts the small acts of rebellion that are easy to indulge in during a banal summer job, as well as the sometimes depressing reality of people who are trapped in roles most people use merely as temporary employment.

The cover of 'Summer Blonde.'

Developing a harmless crush on an attractive person whom you regularly encounter is something most people are guilty of (girl from the caf with the stripy T-shirtwhere are you now?). In Tomine's second collection, Summer Blonde, the principal story explores how an unhealthy infatuation with a local shop assistant and neighbor's girlfriend snowballs as the desperation and neurosis of the central character takes hold. With grander themes and more refined, minimal artwork, this collection exploring the pain and loneliness of the modern urban existence was the moment Tomine's graphic novels truly hit the mainstream, earning widespread plaudits from the notoriously elitist book industry.

Tomine's third and most substantial release, Shortcomings, charts the tumultuous relationship of an Asian-American protagonist as he lusts after a bevy of seemingly unattainable white blondesmuch to the chagrin of his long-suffering girlfriend. The relationship unravels as his cynicism and wandering eye drives her to move to New York to find a new partner.

Tomine's latest release, Killing and Dying, is a collection of full-color tales of physical and emotional upheaval, creative ambition, and navigating the often-difficult realities of family life. I caught up with the cartoonist to talk about his newest release, his creative process, reaching middle age, and the fear of failure.

Tomine's latest release, 'Killing and Dying.'

"I didn't set out to make the book with any specific themes in mind, so I'm probably not the best person to answer this question," Tomine explains after I ask him to describe the concept behind his latest work. "To be honest, the whole writing process is kind of mysterious to me, and a lot of the best material is more surprising than strategic.

"But looking at the book now, it seems like there's a lot of stuff about parents and children, and I think there's some recurring anxiety about trying to be creative in some way, and maybe something about the positives and negatives of putting yourself out there into the public.

"But on a broader level, I think this book is the result of moving away from California after 30 years, and trying to capture certain moods and emotions that I associate with the places I used to live."

Indeed, much of Tomine's early works is concerned with the upheaval and fear of change. In Shortcomings, the emotional gulf between the two principal characters is reflected in a physical distance that ultimately destroys the relationship. Tomine's work often deals with the angst and uncertainty of growing up and finding a place in the world, as well as the fragility and complexity of relationships in your twenties.

Related: Watch VICE Talks Film with the Directors of the Austrian Horror Film 'Goodnight Mommy'

I wondered about how having a family of his own affected the stories he chooses to write: "When I found out my wife was pregnant, I made a conscious choice to work on short storiesrather than a graphic novelbecause I sensed that my working life was about to get very unpredictable," he replies.

"Having kids also forced me to become a lot more focused and disciplined in my work habits, basically 'clocking in' the minute they were out of the house rather than waiting for inspiration to strike."

With each new release, Tomine seems to push himself in terms of the scale and intent of his stories, weaving longer narratives with greater complexity and emotional depth. I wondered if he considered Killing and Dying to be his most ambitious work to date. "Sometimes just answering email or getting the laundry done feels very ambitious when I'm home with both my daughters," he says. "So while I hope I never actually utter the phrase, 'This is my most ambitious work to date,' I will say that I'm kind of amazed that I ever finished this book at all."

Reminiscent of a sprawling, open-ended Linklater film, I've always thought Tomine's collections feel a lot like a series of snapshots of a certain period in a character's life, typically without a conventional resolution. Tomine disagreed with my interpretation: "If anything, I honestly try to tell stories as clearly as possible. Look at the end of Hortisculpture. When I finished that story, I was like, 'Now no one can say that I intentionally avoid resolution,' but what do I know?"


From 'Killing and Dying'

"I feel like all my characters are just weird stand-ins for myself," Tomine explained as we discussed a mutual admiration for the honesty of autobiographical comics from artists like Dan Clowes and Joe Matt. I wondered how many of his contemporary characters were still based predominantly on himself: "To varying degrees, all of my stories are somehow autobiographical. But not having to explain which parts are made up and which parts are taken directly from my life frees me up quite a bit. But I'm totally with you... autobiographical comics are great, and I wish there were more. Where are you, Joe Matt?"

With so much of his life, personal failings and experiences laid bare within his work, I asked Tomine if he still feels nervous at the release of a new collection, despite his accomplished career: "Of course. I feel like I'm constantly on the verge of just calling it quits and getting a respectable job because I'm too weak to handle criticism or failure.

"But that's been going on for 20 years now, so maybe that's like my security blanket. It's actually very comforting to know that there's a lot of other things I could do with my life that would probably be more anonymous and also more lucrative."

Throughout Tomine's work, his stories explore many pertinent issues, particularly those surrounding mental health and his own experiences of racism as an Asian American. Some of the narratives inKilling and Dying confront serious issues around family and mortality, yet Tomine argues that too much emphasis is put on the importance of focussing on serious issues: "At this point, I think there's a sense that the best 'graphic storytelling' always tackles big, important issues, and I don't think that's necessarily the case."

Indeed, the simplicity, subtlety, and purity of Tomine's writing are part of the reason for its success. It's easy to identify with any number of his characters as they struggle to connect and build healthy social relationships in an increasingly disconnected world. After reading Killing and Dying, it seems that even as we age, it never gets any easier.

Killing and Dying will be released on October 6 in North America and the UK by Drawn & Quarterly and Faber & Faber respectively.

Follow Joseph Marczynski on Twitter.



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