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Here's What Might Happen to Your Student Loans in Trump's America

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Anti-student debt protesters at Washington University in St. Louis before a debate held at the school between Donald Trump and Hillary Clinton. Photo by Paul J. Richards/AFP/Getty Images

Lauren doesn't answer the phone if she doesn't recognize the number. The loan collectors call her at least twice a day, seeking payment for the $22,000 she took out to attend a public university in Florida. When they can't get a hold of her, they try her at the various dance studios where she teaches and gigs. Though she needs to get a master's to achieve her dream of working as an arts administrator, the thought of going into even more debt makes her sick to her stomach. Her mother, who served as guarantor for the loans, also gets these calls, and so does the 27-year-old's grandfather in Connecticut. So while Lauren's interest continues to pile up, she sticks to freelancing and ignoring her phone.

"They didn't call on Thanksgiving," she told me, "which I thought was really nice."

But lately Lauren, who supported Bernie Sanders during the election, has been given a surprising glimmer of hope in President-elect Donald Trump. Back in October, he proposed an uncharacteristically specific plan for dealing with the debt crisis. He said that slew of repayment plans created under executive order by Barack Obama should be consolidated into one, which would cap payments at 12.5 percent of a borrower's income, and that loan balances should be erased after 15 years of on-time payments as opposed to 20.

That would help people who have massive amounts of debt like Lauren. Right now, the two main reasons that she ignores her debt is that she fails to see the point in even trying to pay back a gigantic amount on such a measly income, and that she can't navigate the slew of plans that currently exist to make her payments more affordable. And she isn't alone––the Wall Street Journal reported in April that more than 40 percent of borrowers aren't making any payments at all, which can result in the government garnishing their wages. What's more, the people who participate in the programs tend to be people with lots more debt than Lauren has––and typically much higher income––who are therefore less likely to need the help.

But a report released on Wednesday found the current repayment plans will end up costing the government at least $74 billion in erased debt, more than previously found. And the moderately progressive plan proposed by Trump will likely cost the government even more according to Andy Josuweit, who runs the site Student Loan Hero.

"I don't expect this plan to pass with a conservative Congress, if Trump does decide to pursue the plan as he originally described it," he told me. "However, given that some of the other plans that Trump outlined in his campaign have already seen significant changes––the changes to his plans for the Affordable Care Act, for example––it's entirely possible that his student loan plan will change as well."

Trump's agenda isn't the only one that matters. It also makes sense to look at a handful of bills going through a Republican-controlled Congress, according to another expert named Sean Feeney. He's the vice mayor of a small town in Ohio who became fascinated with student debt after graduating college in 2005––right around the time Sallie Mae lobbied to strip bankruptcy protection from student loans.

"Realizing that it was a law that caused this issue caused me to get involved in politics," he told me. "If a law can cause it, a law can fix it."

Now he keeps a running list of such potential laws on his site Student Loan Tracker. And although only 37 of the 2,076 student loan bills proposed in the past year have passed, Feeney says that student debt is something that the GOP is newly eager to tackle, possibly because they've realized that broke young people can't do things like buy houses.

"I'm a Democrat, and no fan of Trump's election, and the Republican track record on education is atrocious, so I can see why some are not optimistic about alleviating the student loan crisis over the next four years," he told me. "But student loans are one of the rare nonpartisan issues out there, and there is pending legislation to address it in a manner that Republicans can understand, which is tax breaks."

Feeney's referring to HR 1713, which amends the IRS code to give tax breaks to employers who make minimum $50 a month payments toward their employees' student debt, and was referred to the House Committee on Ways and Means last year.

He's also eager to see what happens with a bill that would restore the ability for people to discharge their loans when they file for bankruptcy. He claims it's more likely to pass now than ever, given that Trump himself has benefited from filing for bankruptcy multiple times and that the man just appointed to commerce secretary, Wilbert Ross, is referred to as the "king of bankruptcy."

All of these possibilities could help Lauren. Under Trump's proposed plan, her federal loan payment would likely go down from $250 to something she considers more manageable. The average debt balance of people in income-based repayment plans right now is around $67,000, which also means she has relatively little debt compared to her peers. People with small-ish amounts of debt would benefit the most from having an employer that makes payments toward their debt, because theoretically their employers could be giving them the entire monthly payment rather than just part of a larger payment.

But while all of this sounds pretty good, Feeney suggested that people not get too excited. A lot can change in the amount of time it takes to achieve debt forgiveness, no matter who is in the White House.

"There are gonna be a whole circus of politicians who will come and go in that amount of time," he said. "The number of variables we're dealing with in 15 or 20 years, it's unrealistic to speculate whether we'll come out ahead or not."

Follow Allie Conti on Twitter.


Toronto Teens Are Snapchatting ‘Fight Club’-Style Assault Videos

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Photo via flikr user Ville Hyvönen

Look, (most) kids do dumb shit.

I may be projecting a bit here but it's amazing that anyone can get out of their teen years without being seriously maimed, killed or put behind bars. The latest news from the "look at these dumb-as-hell tiny humans" beat comes from Scarborough where three teens were just charged with assault.

The teens, among other students at Sir Wilfrid Laurier C.I., are accused of making "Fight Club"-style videos which they apparently call Friday Night Fights. Const. Allyson Douglas-Cook with Toronto Police told CTV that the incidents came to their attention after a kid was jumped by six others last week.

"Apparently a group of students basically attacked (the victim) which caused him to require medical treatment, while others allegedly stood on and recorded the incident," she said. Toronto Police are actively looking for evidence of these videos.

This is not something you should strive to do kiddos. Go read a book or something.

The kids are reportedly sharing the videos with each other on Snapchat—for those of you not in the know, Snapchat videos are permanently deleted after 24 hours. While school yard fights are as old as, well, school yards, the use of social media always gives parents something new to worry about.

This is hardly the first case of this, teen-made Fight Club-style videos have popped up in Sacramento, New Jersey, New York and so on and so forth. Many say that social media and sites like World Star Hip-Hop are breeding copycats but in reality, fights have been on the interweb for years now.

The Toronto Star talked to a student of that school who told a harrowing story of being surrounded by 20 kids, getting sucker punched by one of them and then getting beat on by the rest of the crew.

He said he expects to see it show up on Snapchat soon.

It's all really rather unpleasant but let's get one thing straight here dummies. If it is a group of students attacking another student, like CTV reported, it is not a fight it's an assault and a pretty cowardly assault at that.

So call it, like, Friday Night Jumpings or some shit.

Follow Mack Lamoureux on Twitter

Pablo Larraín on 'Jackie,''Neruda,' and Making Biopics That Don't Suck

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Director Pablo Larraín's Jackie and Neruda focus on specific moments in the lives of their titular protagonists: former first lady Jacqueline Kennedy's time during and after President John F. Kennedy's assassination, and Nobel Prize-winning poet and communist Pablo Neruda's persecution at the hands of former president Gabriel González Videla following the latter's ban of the Communist Party of Chile.

With a convincing Natalie Portman handling the title role, Jackie centers on Kennedy's time as the first lady, creating a close, complex portrait of the famously calm and studiously regal woman shouldering an entire nation's pain and sorrow.

Luis Gnecco as Pablo Neruda in 'Neruda.' Photo courtesy of the Orchard

Neruda is organized a bit more loosely, incorporating various scenes from the Communist poet's political life as he flees agents of President González Videla. The film follows the dogged Inspector Peluchonneau (Gael García Bernal) as he hunts Neruda (Chilean actor Luis Gnecco) in a classic protagonist-versus-antagonist tale. The Spanish-language film unfolds into a literary thriller of sorts, as the persecuted becomes the pursuer.

I spoke with the 40-year-old Santiago-native Larraín in October, in a Midtown Manhattan hotel. We talked about the differences between working in Latin America versus the United States and the spirit and motivation of his two iconic characters as they fight to maintain control over how the world sees them.

VICE: Is there a big difference between working with Chilean/Latin American actors and North Americans?
Pablo Larraín: It's the same problem, and the challenge of the film is always the same. There's always an actor in crisis, creating a character who's at risk. For me, what was most difficult—more than working in one language or another—was to make a film about a feminine character for the first time. I had to connect with a sensibility that was new to me. It was a marvelous experience.

Did you learn anything new about Jackie Kennedy Onassis while making this film?
I also didn't know much about her before making the film—I thought she was preoccupied with fashion and her look. But once I got closer, I realized she had an impressive education and potent sophistication. She's a woman who spoke four languages, had a nose for politics that very few people have, and wielded a very particular power in horrendous circumstances. As a character, she's someone who captivated me very much during the process, and Natalie portrayed that.

Director Pablo Larraín on the set of 'Jackie'

What do you mean by a "nose for politics"?
The capacity of understanding how to communicate certain things. I think female politicians maneuver in public by how they communicate, and she had a facility, a talent, an elegance, and a particular perspective to communicate certain messages that seemed relevant to her. Of course, she protected and organized JFK's legacy—and the interesting and paradoxical thing is that by making and assembling the legacy, it transformed him into a legend and her into an icon.

Whose legacy is it in the end?
That's the paradox. She worked to protect him, his legacy, and his image in history, and doing so transformed him into a legend. But without realizing it, she transformed herself into an icon and, somehow, into a mannequin.

Natalie Portman as Jacqueline Kennedy in 'Jackie.' Photo courtesy of Fox Searchlight

The two films are also biographies, but they're also notbiographies, in the sense in which everything begins at birth.
I'm not much of a fan of biopics. I don't think these films are biopics. They're approximations of a specific sensibility—a moment of crisis in which someone is transformed by their surroundings, has to confront it, and in the end can lecture the person they once were. These are people that, filtered through the unique elements of film, are filled with the arbitrary and the fictional.

I went to see Jackie with my wife, who is North American, and she said what Natalie coach, Tanya Blumstein. I only intervened once while we were filming, not in preparation.

The second dimension is about studying the character's pain. How she puts the entire country on her shoulders and moves forward and makes sure that things continue to function. It's the "great mother" story. She absorbs not only her own pain but also the pain of the whole world. She's capable of catharsis in public. The film proposes at this moment more of a secret glimpse into her life, and this secret, when it's revealed, is interesting, because in the end I believe that the films that interest me are those made from three elements: anger, curiosity, and love.

Follow Camilo Salas on Twitter.

Jackie will be released in theaters December 2 and Neruda will be released December 9.

Translated from the Spanish by Lee Klein.

Meet the Few Tourists Who Still Go to This Egyptian Resort Despite the Shadow of Terrorism

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This article was originally published on VICE Netherlands.

Introduction by Kees van Unen

In the year after Russian passenger plane Metrojet flight 9268 was brought down by the Islamic State a few hours after taking off in Sharm El Sheik, the once immensely popular Egyptian seaside resort became deserted. Western airlines in Europe suspended their flights to Sharm, which meant that resorts remained vacant, beaches were empty, and souvenir shops went bankrupt.

More than a year after the attack on October 31, 2015, most European countries' central governments still advise their subjects not to go to Sharm El Sheikh. Like the UK's Foreign and Commonwealth Office, which advises "against all but essential travel by air to or from Sharm el Sheikh." However, most countries in Europe have resumed their flights to Sharm—only the UK and Russia have still banned them.

Photographer Sanne Zurné visited Sharm to see what kind of tourists do find their way to the beaches and resorts. She found a handful of them there, all of whom were pretty happy about the huge number of available beach chairs, and mostly just worried about applying enough sunscreen.

Lena and Mara from Ukraine

Lena: I've been coming here with my daughter for years, but it's different now. The resort we're staying at is empty. Last night there were three other guests at the buffet. It's a bit boring, but there are upsides—we have the entire place to ourselves and only pay half. We're from Ukraine, where there's an actual war going on. Here, there definitely isn't. I'm enjoying it as long as I can—the tourists will come back, and it'll all be like before. Either that, or the town goes bankrupt. Then we'll have to find somewhere else to go on vacation.

Susi from Austria

Susi: My boyfriend is Egyptian, so I come to Sharm three times a year to see him. One airplane being brought down isn't going to stop me. There's a risk, of course, but it seems just as big in Europe or Turkey. Every time I come here the city is in a worse state. There's no money. My boyfriend owns a souvenir shop, so he keeps hoping it will all be OK soon. I'm trying to do my part; I have about 200 sunglasses at home that I bought here.

Kevin and Jan from Germany

Jan: We originally wanted to go to Malta, but that was too expensive.
Kevin: We also considered going to Turkey, but thought that might be more dangerous.
Jan: Our parents are worried and want us to register at the embassy, but we don't really see the point. We mostly think it's just really annoying to be the only tourists, because everyone here wants to sell their shit to us.

Giorgo and Paula from Italy

Paula: We come and stay here every winter. We have an apartment in the city center, and every now and then we stay in a resort for a week to celebrate and enjoy a bit of luxury. At the moment, we're staying in a beautiful resort by the sea. Since there's practically no one here, we have the entire beach to ourselves.
Giorgo: We've been coming here for years, so we understand the situation. We know everything's fine here—the press has just been very negative about it. If you ask me, not flying here isn't a matter of security, but of politics.

Alan and Christine from the United Kingdom

Christine: People at home think we've lost our minds, but we're not afraid. The chance of something actually happening is very small.
Alan: The only problem is that it's hard to reach Sharm these days. British airlines don't fly here directly anymore, so now we have a layover in Cairo. It's a good thing we're retired and have all the time in the world. We've been coming here for 14 years, and we love it. We also came during the revolution, and everything was fine back then, too. And we get around by public bus services, which is so much fun.
Christine: I think that's where the real danger lies; there are a lot of traffic accidents here in Egypt.
Alan: And the weather. You have to be careful not to get dehydrated.

Morenyta from Italy

Morenyta: Terrorists? Where? In Italy, we have the Mafia—I don't really see the difference. I've been coming to this place for six years, and I always travel by myself. Nothing has ever happened to me. I'm at the beach at 9 in the morning every day. I cover myself in sun oil and spend all day in the sun. It's great. I could do that in Italy, but the sun is guaranteed here. Plus, I'm looking for an Egyptian boyfriend. I don't mean a toy boy who's only after me for the money—I mean real love. It's hard to find that in Egypt as a Western woman, but I'm not giving up.

Bintou from the United States

Bintou: It has always been a dream of mine to see the pyramids. Today is my 20th birthday, so in a way this journey is my birthday present. When I decided I wanted to go, I wasn't worried at all, but then people at home started warning me, talking about possible dangers. As soon as I booked the flight, though, I let it go. Now that I'm here I can see there's nothing to worry about. I do call my parents twice a day—I still have to convince them that I'm safe here.

Igor from Russia

Igor: This place is paradise for someone from Russia. It's warm, exotic, and cheap. I came here with a colleague, and we just added another week to our vacation. My family at home is a little worried about me—the plane attack really scared Russians. But it's politics, too. Putin wants to keep Russian tourists in Russia because I think there's a lot of money invested in Crimea and Sochi as vacation destinations. Because of all those economic interests, I think it will probably take a while before Russian airlines fly to Sharm again. Not me—I'm coming back as soon as possible.

Katrina from Ukraine

Katrina: My boyfriend and I wanted a beach vacation. Sharm El Sheikh seemed like fun, and it's really cheap right now. I work at a travel agency, so I could assess the situation pretty well. The crash happened almost a year ago and nothing like it has happened here since. There are still direct flights between Ukraine and Sharm El Sheikh, so I don't see the problem. I'm not scared; I'm from an actual war zone.


The VICE Morning Bulletin

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Everything you need to know about the world this morning, curated by VICE.

Photo by Chip Somodevilla/Getty Images

US News

White House Wants Women to Register for Draft
The Obama administration has asserted its support for women joining the selective service system at 18 as men do. While actual military service would still be voluntary, National Security Council spokesman Ned Price said the change would remove "old barriers."—NBC News

Trump Picks James 'Mad Dog' Mattis as Defense Secretary
President-elect Donald Trump announced he is picking the retired Marine Corps general James Mattis as secretary of defense at a rally in Cincinnati, Ohio, as part of his thank you tour. In a speech, Trump referred to Mattis, an outspoken critic of the nuclear deal with Iran, by his nickname "Mad Dog."—CBS

Trump Team Files Objection Against Michigan Recount
Lawyers for President-elect Donald Trump have asked Michigan officials to deny Jill Stein's request for a recount in the state. Trump's lawyers say recounting votes by hand could not be done in time for the Electoral College to cast its votes on December 19, and referred to Stein's application as "insulting."—USA Today

VA Dentist in Wisconsin May Have Infected 600 Veterans
As many as 600 veterans could be at risk of Hepatitis B, Hepatitis C, or HIV because a dentist defied proper instrument-cleaning procedures, according to a local official. The VA will test the 592 veterans treated by the dentist for any possible infections.—Miami Herald

International News

French President Hollande Will Not Run for Second Term
François Hollande surprised many in France by announcing that he will not seek a second term as president. The politician has long struggled with very low approval ratings since succeeding Nicolas Sarkozy, and his decision to walk away now could allow another Socialist candidate to mount a viable challenge to conservative frontrunner François Fillon in 2017.—BBC News

UN Apologizes for Cholera Outbreak on Haiti
UN Secretary-General Ban Ki-moon has apologized to the Haitian people for failing to prevent a cholera outbreak that killed at least 10,000 people in the aftermath of the 2010 earthquake. The UN had previously rejected the idea that cholera was introduced by infected Nepalese peacekeepers.—CNN

Indonesian Muslims Rally Against Governor Accused of Blasphemy
At least 150,000 Muslims gathered in Indonesian capital Jakarta to demand the city's Christian governor, currently being prosecuted for blasphemy, be jailed. Governor Basuki Tjahaja Purnama is accused of insulting Islam by criticizing how opponents referred to the Qur'an.—Al Jazeera

South Korea and Japan Announce New Sanctions on North Korea
On top of new UN sanctions over the ostracized country's nuclear missile testing program, North Korea is getting slapped with new punishments from South Korea and Japan. South Korea announced it will blacklist senior North Korean officials, while Japan said it will ban any ship that has called at North Korean ports.—Reuters

Everything Else

Rosenberg Sons Plead for Presidential Pardon from Obama
The sons of convicted spies Ethel and Julius Rosenberg, executed in 1953, have appealed to President Obama to exonerate their mother before leaving the White House. Robert and Michael Meeropol said there is enough evidence to "acknowledge the injustice."—The Washington Post

Former NFL Star Shot Dead in Louisiana
Joe McKnight, former running back with the New York Jets and Kansas City Chiefs, was killed in an apparent road rage incident in a New Orleans suburb. McKnight was shot by 54-year-old Ronald Gasser, according to the local police sheriff.—AP

Shkreli Snubs Australian Teens Who Replicated Daraprim
Martin Shkreli has dismissed the success of school kids in Sydney, Australia, who were apparently able to recreate his anti-parasitic drug Daraprim at around $2 a dose. Boasting about his "cook game," Shkreli tweeted: "Highest yield, best purity, most scale."—VICE

Run the Jewels Release New Song, Album Details
Details of Killer Mike and El-P's third project together have been revealed: The RTJ3 album will be out January 13 and feature Danny Brown and Kamasi Washington. One of the album's tracks, "Legend Has It," has already been released.—Noisey

Buzz Aldrin Reportedly in Stable Condition After South Pole Evacuation
Former astronaut Buzz Aldrin, 86, is said to be in stable condition after he was evacuated from the South Pole after falling ill. Tour company White Desert removed the national icon to McMurdo Station, where US Antarctic Program doctors are caring for him.—Motherboard

Psychology Professors Say They've Discovered the Biggest Liars
A new study by professors at Curtin University in Australia purports to reveal the groups most likely to tell lies: low-educated, antisocial, house-renting men, and wealthy, antisocial, home-owning women. Women over 70 were found to tell the fewest lies.—Broadly

Is Justin Bieber the Next Michael Jackson?

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It doesn't take much effort to be the King of Pop these days. Just look at Justin Bieber.

During last night's Desus & Mero, the Kid Mero and Desus Nice played a clip of Bieber dancing. Instead of giving it his all, the beloved pop star looked mad faded as he apathetically half-assed the routine. But hey, it seems to be working. His net worth is off the charts. Yes, in Bieberland, flashing your abs is the same as moonwalking. Life is unfair, isn't it?

You can watch all of this week's episodes of Desus & Mero for free online now, and be sure to catch new episodes weeknights at 11 PM on VICELAND.

I Went to the Bad Sex Awards and They Were Posher and Meaner Than You Could Even Imagine

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A room full of posh people making wanking signs to the winning author. (All photos via the Megan Nolan)

In 1993 Auberon Waugh, then the editor of the Literary Review, established the Bad Sex in Fiction award, aiming to "draw attention to poorly written, perfunctory or redundant passages of sexual description in modern fiction". The idea was to highlight a few of the year's more excruciating examples, and for everyone else to have a titter at the whole spectacle. Every year since then, hacks, authors, and assorted people who look like they could buy and sell you if they could be bothered have come together to celebrate the awards and get drunk.

The ceremony is held in the members-only In & Out club to award the prize to the lucky author, though many recipients of the dubious honour choose not to accept in person. Morrissey abstained last year after his win with for this amazingsegment from his memoir, which reads as though written by someone who has never seen a human body: "At this, Eliza and Ezra rolled together into one giggling snowball of full-figured copulation, screaming and shouting as they playfully bit and pulled at each other in a dangerous and clamorous rollercoaster coil of sexually violent rotation with Eliza's breasts barrel-rolled across Ezra's howling mouth and the pained frenzy of his bulbous salutation extenuating his excitement as it whacked and smacked its way into every muscle of Eliza's body except for the otherwise central zone."

I've noticed an increasing number of writers I admire denouncing the awards, not so much on moral grounds but to avoid the embarrassment. The award is indicative of nothing so much as public schoolboy sniggering, they say; they are prudish and epitomise a peculiarly English inability to tolerate frank discussion of sex. This was a view I largely agreed with until this year, which, coincidentally, was the first year I was invited to the party. I decided to go along with an open mind and see if, as claimed by various editors of Literary Review, the prize was not designed with the intention of bullying writers, but serves as merely another kind of criticism.

Going to literary parties – like having sex with men and working for the Guardian – is one of those things I desperately wanted to do when I was younger but have grave qualms about now. I always think the free drinks will tide me over, but the overwhelming presence of rich white men giving you side eye is a real buzz kill. And of course there are only so many parties of this kind you can go to and still deny your own complicity – one day you wake up and you are the rich white men.

I considered this at the awards last night, having wandered away from the fray and found myself in a room with a rhino head mounted on the wall. A tiny woman with a frazzled platinum wig wandered in and looked up at it too.

"Is it real?" she asked.

"I was just trying to work that out," I said.

"Marvellous, just marvellous," she murmured, trailing back out towards the champagne.

The awards are held in, without doubt, the most fascist-looking building I have ever set foot in – a naval and military club filled with terrifying portraits of men I can only assume murdered ceaselessly throughout their long and illustrious careers. Mounted animal heads are dotted here and there, alongside the weapons used to kill them. It's beautiful as well; one of those places, like good restaurants, that make you realise rich people really are a different species.

Before the awards begin, a presenter tells us that the very room we're in is where Ribbentrop once made fun of Hitler's moustache. The crowd chuckles wryly – and wryly is how they will continue to chuckle throughout the evening – and behind me an American woman legitimately says the word "Huzzah!". Between this and the extremely strong gin, everything is beginning to feel vaguely surreal.

I look around me at the crowd, who are without doubt the poshest people I have ever been allowed near. Men with bombastic David Lynch-esque white hair and pink trousers abound. Rachel Johnson is there. I talk to a civil servant who is really enjoying his work in the new Brexit department. He really likes Rachel Johnson. I am not quite sure how to respond to this and wander off to get more drinks.

Then the awards begin, which basically consists of the nominated passages being read aloud in a camp fashion."Well that's not really fair," I think to myself when the line, "She was a virgin" gets a big laugh. "She was a virgin' isn't funny written down. All writing would sound farcical if you read it like that, with a big arched eyebrow drawn over it.

That's not to say the nominated pieces are necessarily good, or unworthy of being laughed at. One in particular, which solemnly describes a woman who likes to put chilli on her lover's dick before fucking him, has me guffawing guiltily away with everyone else.

"Is this mean?" I wonder. "Am I being mean?" It doesn't feel mean to me in that moment, it feels quite natural to laugh at someone being so earnest about something ridiculous. What occurs to me then is that the idea of highlighting bad writing is not the problem; it's just that there's no reason we should stop at sex. Where are the awards for the Worst Sensitive Young Man Portrayal? Or Worst Coming of Age Cliches? Any objections I have with these awards is not based in the belief that writers should be treated more kindly, but that we should all be roundly mocked more often for our terrible ideas and lazy prose, and that needn't necessarily take place in protected buildings in central London.

It's only at the end, when the prize itself is awarded, that I feel really dirty. The presenter, who is for some reason by this point the man who plays Lucius Malfoy in the Harry Potter films, announces that it goes to the Italian author, poet and translator Erri De Luca. De Luca's nominated passage is from his novel the Day Before Happiness: "My prick was a plank stuck to her stomach. With a swerve of her hips, she turned me over and I was on top of her. She opened her legs, pulled up her dress and, holding my hips over her, pushed my prick against her opening. I was her plaything, which she moved around. Our sexes were ready, poised in expectation, barely touching each other: ballet dancers hovering en pointe."

The presenter tells us all to make a rude gesture so that he can film it and email it to De Luca, who hasn't attended. I cringe behind a woman who is enthusiastically making a wanking gesture as the camera pans around, dying at the thought of anyone at all seeing me in this frankly insane display. It's not that I imagine De Luca would mind – nobody could be truly offended by this, only baffled.

I don't believe the awards are intended to be bullying, or are mean spirited. They're just deeply strange, deeply archaic. There is something about the combination of rather dated Private Eye-style ironic criticism and the eye watering poshness of the event which makes them so. Are they malevolent? Only in the way that all gatherings of predominantly white and male and wealthy parts of the culture industry are, which is to say very. But their intent is not. I don't disbelieve that the judges are people who love literature and would like it to be better.

@mmegannnolan

More stuff like this:

A Brief Overanalysis of Morrissey's Nightmarish Vision of Sex

We Asked a Dominatrix to Review Some of this Year's Worst Sex Writing

Meet the British Sex Worker Standing as an MP in This Year's General Election

Watch the Insanely Violent and Bloody Trailer for ‘The Belko Experiment’

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I actually kind of love the premise of these Saw-like horror films. I think we're all curious how we'd react under extreme duress or if a disfigured doll named Zig Zag or whatever showed up one day, stuck a metal rat cage over our heads and asked, "do you want to play a game?" This one focuses on a group of corporate Americans mysteriously trapped in their office and forced to start killing each other for survival. The trailer is pretty fucking bloody in the best way.

The Belko Experiment
I know that the premise of The Belko Experiment is supposed to force us all into some kind of painful moral dilemma about the true worth of an individual's life but, come on. I think we all know what we'd do in this situation. Sorry Steve from sales, it's for the greater good!

The Last Face
Sure, some people called this Sean Penn-directed war-torn romance, "the worst movie at Cannes" and one of the only comments on Rotten Tomatoes is, "this movie should not exist," but that doesn't mean you shouldn't see it. It's hard not to feel a little sad for Sean Penn in 2016. Charlize Theron did a very public French exit on their relationship, he narc'ed out El Chapo and now his latest directorial stint has been widely panned. But I don't know, watch the trailer for yourself, and if you do what I did and play INOJ's "I Want to Be Your Lady, Baby" over the actual dialogue, it's actually pretty good. And anyway, 2016 has been hard on a lot of people so here's to Sean Penn's comeback in 2017 and hopefully, another inappropriate May-December romance to lift his weary spirits.

Big Little Lies
Damn HBO. Everything about this trailer is perfect, the sunset-hued veneer of Monterrey, the white wine-soaked misery of upper middle class moms, the building tension and the inevitable explosion of privileged rage. Plus you know Laura Dern, Nicole Kidman and Reese Witherspoon are going to act the shit out of this. What's not to love?

The Mummy
This is a tease trailer for a franchise reboot that began with an unwatchable movie starring the caveman from Encino Man. OK sure.

The Shack
Ugh fine! I really didn't want to talk about this movie but it's everywhere. I don't know why anyone would want to watch a mashup of The Lovely Bones and What Dreams May Come with a Tim McGraw-helmed soundtrack starring actual Tim McGraw, but here it is. I guess the shack is a metaphor for life? I don't know, but Octavia Spencer you need a better agent.

Eloise
I've never seen American Horror Story but I assume it's this only with Lady Gaga.

Follow Amil on Twitter.


How Immigrants Are Leading the Fight for British Workers' Rights and Pay

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A Deliveroo rider on strike (Photo: Jonathan Brady PA Wire/PA Images)

"Management tried to make a saving by cutting the staff welfare budget. They decided to cut our coffees. We took a really small issue, which pissed a lot of Italian people off – because, y'know, Italians really love their coffee – and managed to get better staff food. I'm talking like smoked salmon for breakfast. Stuff that our guests could eat! And then on top of that we managed to change the shoe policy. People were working up to 15 hours a day, running around. There had been instances where our feet had been bleeding. We had to wear trainers. Now we get to choose the shoes that we have to wear. And generally the atmosphere at work is brilliant – managers have to be nice to us."

As a wave of post-Brexit migrant-hate washes over us like a burst sewer, the tale of the bloody-socked Italians whose savage caffeine withdrawal symptoms meant they wouldn't take any shit should become a parable. We could all do with some smoked salmon in these times.

It was told by a hospitality worker, who preferred to remain anonymous, on Saturday at a conference in Willesden to mark 40 years since the Grunwick dispute. That was when East African Asian women working in film processing factories went on strike for two years between 1976 and 1978 following a dispute over union recognition. The "strikers in saris" were joined by thousands of trade unionists, who filled the small residential streets of North West London to join mass pickets and fight with the police. This made a change compared to other disputes by black and Asian workers in the 1970s, which were met with indifference or even hostility from unions.

It's something that needs to be remembered today, with racism on the rise and the Conservative Party and UKIP warning that immigrants are after your job. A racist brand of old Toryism is back, but it's not just those nasty old Tories being nasty old Tories that we should worry about.

Tuesday's Times carried an interview with Labour MP Dan Jarvis that takes place in a pie and mash shop in Essex – I guess we're supposed to infer that he is an ordinaryhardworkingfamilyman who doesn't like foreign muck like korma and kebabs. "It is clear to me that the Ukip fox is in the Labour henhouse," he said, "and we have got to make a decision about what we want to do about that fox."

On Wednesday, after Paul Nuttall became Ukip leader, Labour's Frank Field warned that many voters will see him as a man "on the right page at the right time" – a "gamechanger" who could attack Labour's northern heartlands. And at a meeting of Progress this week – a grouping on the right of the Labour Party – Stephen Kinnock MP said, "We must move away from multiculturalism and towards assimilation. We must stand for one group: The British People."

"It's about culture, identity and family and so on," said Field.

To be kind, the racist right is leading the conversation. To be blunt, Labour's centrists are sounding increasingly racist themselves. Culture. Identity. The British People.

Even the Labour left is questioning its support for free movement. Clive Lewis MP – much loved by Corbynistas – recently said: "We have to acknowledge that free movement of labour hasn't worked for a lot of people." That echoed a recent speech by TUC leader Len McCluskey, who said, "We can no longer sit like the three wise monkeys, seeing no problem, hearing no problem and speaking of no problem."

Hotel workers in London protesting (Photo: Simon Childs)

To be clear, the "problem" he was talking about was "working people's concerns" about immigration, rather than immigration per se – but those guys are coming at the conversation all wrong. Because of all the bullshit spoken in 2016, some of the worst has to be the idea that immigrants are fucking over British workers. As anyone who has been keeping an eye on bouts of workers vs. dickhead bosses will know: immigrants are on the frontline in the Battle of British Work.

Take probably the highest profile strike of the year after the Junior Doctors – the Deliveroo strike. Riders were protesting an attempt to put them on £3.75 per delivery, rather than a guaranteed hourly pay rate. Their picket of the company HQ was characterised by its not-whiteness and diversity of accents. Impromptu meetings had to be translated to take account of people from different countries. Within a week strikers had won concessions from their managers, sending shock-waves through the "gig economy".

Then there are the hotel workers who have been protesting against their appalling conditions. The union Unite's hotel workers' branch has many members who would probably take evening classes in English if they could afford it and weren't exhausted from over-work.

And as far as examples to capture the public imagination go, a single mum from Ecuador taking on one of Britain's richest pariahs isn't a bad one. That's the position that Susanna Benavides finds herself in, squaring up to Sir Philip "BHS destroyer" Green. She used to be a cleaner at Topshop via their contractor Britannia Service Group, but got the sack. Her trade union, United Voices of the World (UVW), is claiming that she was sacked for her campaigning activities in favour of a living wage. She told the Grunwick conference that "we had contracts that didn't reflect our working reality", and so she helped organise her colleagues to fight for "dignity". VICE understands that UVW is planning to take Britannia to an employment tribunal.

When I asked Topshop to comment, a spokesperson said, "All cleaners in Topshop stores are employed by Britannia Services Group and not by Topshop. Topshop is unaware of and unable to comment on any legal proceedings brought by Britannia's employees. Topshop requires all of its suppliers to pay legally compliant wages. Topshop values and appreciates all staff working for the Topshop business."

A spokesperson from Britannia told me, "No one has been dismissed for any union activity. One individual was dismissed due to contravening her contract of employment... We have other members of UVW working in that store who have been there for many years and are still in that store." The spokesperson also pointed out that they pay more than the National Living Wage (as distinct from the London Living Wage that the Living Wage Foundation campaigns for).

Back at the Grunwick conference, Susanna told the audience, "I'm not going to give up the fight and I'm going to carry on." She was applauded in two waves. The first: people who speak Spanish. The second: people who don't and had to wait for Petros Elia, who was translating to the room. Petros is the general secretary of UVW, which organises almost exclusively among migrant workers. I caught up with him on the phone after the meeting, and he said the case shows "how delicate the labour market is", because thanks to Susanna, "one of the largest retail empires in the world is shaking in its boots".

"I think the most impressive, inspiring and hard fought campaigns have been those led by migrant workers," he continued. To make his point, he listed all of the recent workers' struggles he could think of that have been led by – or largely made up of – migrants, off the top of his head. Let's take a deep breath, because here they all are: SOAS, Senate House, Birkbeck, London School of Hygiene and Tropical Medicine, Kings College London, St George's University, the Barbican, Sotheby's auction house, Withers LLP, 100 Wood Street, LSE, John Lewis, Topshop.

"Quite a healthy list," he said.

That's off the top of one guy's head, and mostly carried out by two small, independent unions, the UVW and the IWGB. There are many more examples – the strike by impoverished NHS cleaning workers with the GMB union working for mega corporation Aramark, for instance.

Some of them could reverberate not only by vital inspiration, but precedent in employment law. In October, Uber drivers – and I think I've had an Uber driver with a British accent exactly once – with the GMB union won a court case to be recognised as workers with workers' rights, rather than thousands and thousands of individual entrepreneurs trying to make good.

Nigel Mackay from the employment law team at Leigh Day solicitors, which represented the drivers, explained the significance of the case: "Basically, what it means is that any company that's mislabelling workers as self employed contractors probably won't be able to get away it. Often migrants are scapegoated for that, but companies are often acting outside of the law in order to keep down wages." So one in the eye for the algorithmic overlords finding innovative new ways to fuck people over. "You can argue that what they're doing is helping non-migrant workers. They're taking on these struggles and these are rights that everyone is entitled to," said Nigel.

As watching the VICE film Undercover Migrant will make you aware of, there are a lot of bosses rubbing their hands at the prospect of getting someone to do work paid in chicken (literally). The problem isn't totally illusory. Olivier Vardakoulias, a Senior Economist with the New Economics Foundation, told me that because of immigration, "In the short term you may have some pressure on wages in particular professions. If you have a lot of inflow of migrants into particular professions that will put some pressure on wages."

But, he said, "We're talking about really small numbers... Down the line, in the medium term what you have is more people and more jobs in the economy as a whole." He said the real problems are de-industrialisation, low productivity and a focus on jobs that don't deliver good wages.

That being the case, why is the British left not harping on about those things? Why is it wasting time performing mental gymnastics about their sort-of support, sort-of jettisoning of people who might want to come here to make a better life for themselves?

The impact of migrants on wages has been "completely overblown", said Olivier. He pointed out that the actual threat to wages comes from the demise of trade unions. Even the IMF, not renowned for wearing Che Guevara T-shirts around the office or having Crass tattoos, have published papers saying saying pretty much that.

WATCH: 'Undercover Migrant'

The Grunwick strike was great for race relations in the UK. Local Irish people bought tea and snacks to the pickets, and black and white people braved police batons together. But the dispute ended in failure. The strikers demands were not met, union support waned and they ended their action two years after it started. Jayaben Desai, one of the leaders of the strike, attributed this partly to the established trade unions. Concrete support from them was "like honey on the elbow", she said. "You can smell it, you can see it, but you can never taste it."

Writing at the time of the Grunwick dispute, Ambalavaner Sivanandan – the director of the Institute of Race Relations – questioned why the unions were supporting Asian workers when they had failed to do so previously. He concluded that they were worried that rowdy Asian workers left outside traditional trade unions could actually win wage increases. This could "blow a hole, however small, in the Social Contract". The Social Contract was an agreement between the Labour government and the unions designed to control inflation: in return for some union-friendly laws, they wouldn't ask for big pay rises. The Asian workers needed to be brought into line with the Social Contract. To do that, "it is necessary to unionise the Asian strikers. To unionise a black workforce, it is first necessary to take a stand against racial discrimination." It was, said Sivanandan, "not a 'change of heart', but a change of tactics – to ordain, legitimise and continue the joint strategies of the state and union leaders against the working class – through the Social Contract."

Today, the context is different, but the opportunism is the same. The labour movement, or at least some of its leadership, is still prevaricating on the question for expediency's sake. It's enough to make you wonder if migrants should actually hope for support from union leaders wedded to a Labour Party full of Frank Fields and Dan Jarvises. (To give them their due, Labour's Shadow Home Secretary Diane Abbott has angrily rejected Dan Jarvis's suggestions.)

If "the problem" the left has to face up to is the concerns of working people about immigration, a good start would be to stop talking about migrants like they're some sort of inert gas that capitalists pump into the economy to asphyxiate workers' rights. Migrants are, in fact, human beings who are just as capable as anyone else as getting pissed off at bad pay and crappy conditions and fighting to change them. While the TUC leadership seems capable mainly of organising symbolic marches, and Labour MPs give navel-gazing speeches about how to placate racists, migrants are fighting the battles that are defining the British workplace.

Migrants are not a threat to British workers, but they are a threat to the government. They're also showing British workers' useless representatives up. They don't deserve to be sold out by the left. If anything, an ungrateful left doesn't deserve immigrants.

Update: An earlier version of this article incorrectly stated that Dan Jarvis's constituency is in Essex. In fact he merely ate pie there in the company of a Times journalist. He is the MP for Barnsley Central.

@SimonChilds13

More from VICE:

It's 'Living Wage Week' and Workers Are Still Fighting for an incredibly Basic Level of Pay

Why Deliveroo Riders Are Protesting in London

Meet the Topshop Cleaners Fighting for the London Living Wage

How a Kid from Canada’s Hardest Oil Town Became one of Toronto’s Best Drag Queens

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All photos by Matthew Burditt

When I walk into the cafe Sean Parsons is already sitting in the corner, sipping at a cappuccino and looking at his phone. He's wearing a comfy sweater and his hair is tied up in a lazy bun. If it weren't for his beard I'm not sure I would have recognized him at all. He would have blended in with the customers, just another artistic type getting caffeinated. As I make my way over to the table I try and match Parsons' casual clothes and unassuming demeanor with his alter ego, the gender-defying drag act Beardoncé.

I first encountered Beardoncé at Hey Girl Hey, a queer hip-hop party in Toronto's west end, where the performer was shaking-ass in a barely there onesie and lip-synching to Rhianna's Work with perfect choreography. The hyper femme moves were offset by an onslaught of body and facial hair. No one in the room could look away.

"I love that I can perform both the Rhianna and the Drake parts," Parsons says about the performance. He then spends the next forty-five minutes telling me how a nerdy theatre kid in Canada's hardest oil town became Toronto's most fabulous drag queen.

Parsons was born to a single-parent household in Fort McMurray, Alberta. Growing up he was one of a handful of non-white kids in his elementary school. "When I think back on Fort Mac there are a lot of positives. People think the city is composed entirely of red necks and oil sands, but there is a lot of beauty there too. I spent most of my childhood years adventuring in the boreal forests and playing in streams, but naturally things became more complicated as I got older."

Entering high school offered a new set of challenges for the performer: gym class was a nightmare to be avoided at all costs, Parsons' all female peer group caught the ire of a handful of boys, and while other kids started pairing off romantically the idea of coming out in Fort McMurray seemed insane.

"At that point I don't think I had even admitted to myself that I was gay. I was single through all of high school, and I understood the implications involved if I was to come out, not only to my peers, but to myself. For instance: A few years ago a group of people in Fort Mac decided to throw a small Pride celebration. They found a local bar, made a Facebook event, and flew a rainbow flag outside. Within hours the flag had been torn down and set on fire in the parking lot. That's not to say that the entire city shares that hatred, but the reality is that it exists. Then and now. Needless to say Beardoncé will not be making her hometown debut anytime soon."

Parsons sought refuge in student council and his school's drama program. Playing characters allowed him to express feelings he otherwise had to hide. His natural talents and outgoing nature caught the attention of well-meaning teachers, who fostered his abilities, and praised his talents. Unfortunately the success also garnered more unwanted attention.

"One night in grade eleven I was walking home with two of my girlfriends and these guys from my school recognized me. They started following us, shouting names. We tried to ignore them and take a shortcut through the park. We walked faster but they kept getting closer. By the point I tried to run it was already too late. One of the guys grabbed me by the collar and head-butted me as hard as he could. There was blood running down my face and he busted my front tooth. When I got home I told my mom that I didn't know who the guys were, but it's not true. I knew who it was. I still know. That's the crazy part about being a victim, especially at a young age, you feel so much shame and fear that you almost believe the perpetrator. You want to protect yourself by protecting them. I still have never told my mom that I know who he is, and so does she."

It became clear to Parsons that he needed to leave Fort Mac, but he continued to work in community theatre and study Performing Arts at Keyano College while dreaming of a life outside of Alberta. The push Parsons needed came at age nineteen when a supportive teacher urged him to apply to Sheridan College's musical theatre program in Ontario, where he studied briefly, before eventually completing the Musical Theatre program at Capilano University in Vancouver. Parsons loved his life in the theatre, but he felt limited in the type of work he was being offered.

"As a person of color and a gay man there are only so many roles that feel right. I grew weary of playing straight or alternately playing super femme and being somewhat tokenized. Eventually I decided it was no longer creatively fulfilling, I wasn't getting paid and I wasn't sure there was a place in the theatre world for me. I had almost walked away entirely when I found drag."

After playing a number of femme characters and mastering his high heeled walk, Parsons was encouraged to perform in a huge drag competition at Vancouver's Colbalt bar. While he hesitated at first, the performer eventually put together a cheap ensemble with cutoff jean shorts and an informal routine to a Janet Jackson deep cut. While his moves were tight and his outfit was tiny, it was the decision to keep thing au natural that won over the audience and started taking things to the next level.

"Drag allowed me to be as femme as I want. It allowed me to explore the femininity that was inside me that I had obviously never been able to do with theatre, or at least not the way that I wanted to. There is something about drag as a performance art that is so immediate. That night I didn't want to be too pretty. I wanted to perform something a little dark and a little dirty and I went out and just did my thing. People just went crazy. They just fucking loved it. Afterwards people were coming up and advocating the beard and the hairy chest. The judges that night said that if I wanted to take this seriously I should shave, but it was obvious that people wanted me hairy."

While Parsons didn't win the competition, he did started getting booked at constant gigs across the city. The performances led to more performances. When the entertainer made the move across country to Toronto he was quickly embraced by city's queer community, being shown the ropes by the informal anarchist drag group The House of Filth. The ability to finally express himself freely in a city and community that accepted him has Parsons the ability to grow in a way he didn't think was possible.

"Beardoncé is this super feminine character, but I love that I can go to the masculine, and people can go there with me. I love blurring that gender line. I think that's what resonates with people. It's what is resonating now. This is a time where pro-nouns and gender are so relevant. That was the direction I was going in from day one and now more than ever it's important to keep pushing in that direction. It's sexy and it's powerful."

Follow Graham on Twitter.

What It's Like Being Canada's First Hijab-Wearing News Anchor

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Photo via Dan Lauckner

It's not everyday a new hire at CityNews Toronto makes headlines worldwide. Following her debut on the station last week, Ginella Massa appeared in publications from The Hollywood Reporter to The Times of Israel as Canada's first hijab wearing news anchor.

While Ginella's accomplishment might be new for viewers here in Canada and a novelty to some—it's a goal she's been working towards for most of her professional life. Beginning in 2010, Massa has worked behind the camera as a producer and journalist for newsrooms all over Canada before appearing on CityNews.

As Islamophobia gains popularity in Canada, it's clear Ginella's had to work twice as hard to become the first of her kind as a television reporter. As a hijab wearing woman in media myself, I spoke to Ginella about her experiences as a Muslim in the newsroom and what it means to be the "first."

VICE: When I heard that you are an anchor and that you're going to be on TV I was so thrilled. As a writer myself and someone who wears a hijab it's amazing to see that representation. Were you trying to be the first hijab wearing news anchor?
Ginella Massa: I was just trying to be a reporter. I always had an interest in broadcast media in general. As a kid I thought maybe I'd go into radio because I thought it doesn't matter what I look like. My mom was the one who encouraged me and said, "If you want to be on TV go for it. Just because it hasn't been done before, doesn't mean you can't do it." So I studied communications at York University and I did the broadcast program at Seneca and that's when I got a taste of what it could be like in that field. We had a studio there and we did stories and I realized I loved it and wanted to pursue it. I worked as a producer and writer for three or four years before I became an on-air reporter.

From my own experience, and I don't know if it's the same for you, it's hard to show you're interested in a multitude of things that have nothing to do with wearing a hijab. When I started off writing, I was sort of pigeonholed as an identity-based writer. What's that like for you?
I didn't want to be pigeonholed into being a writer or writing about Muslim issues. Obviously that colours my experience and how I see the world, but also I want to hear other people's experiences and stories. I want to be the vessel to tell a story. It does creep in, in that the stories that I pitch come from my community because those are the stories that I'm hearing and the networks I'm tapped into, so I do like to tell those kinds of stories among others.

As someone with your identity do you want to shine a light on being a Muslim or Muslim women with this position?
In a big way, me just being in the room says a lot about Muslim women and what they can do and what they can be. I don't have to be talking about religion or Islam. By me being there reading the news with my hijab it's saying a lot. I think my focus at the end of the day is to be the best journalist I can be and hope that it tells people about what Muslim women can be and do.

I do feel similarly. A lot of times, I'm the only visible Muslim woman in a work setting and I fear it means I'm the only representation a lot of people have.

You get caught in between that because you feel an obligation to be a voice for a group that isn't often heard from but at the same time you don't want that to be the only thing you're identified as. It's hard to find that balance.

What do you do to keep that balance? When you want to speak for yourself but know you'll be a type of representation to a lot of people.
A lot of it too is trying to empower folks in my community to make their voices heard. Like saying, if you have a story or an issue—pitch it to a newspaper or outlet. We often suffer in silence and say the mainstream media isn't talking about xyz. And I say, have you sent an email? Have you offered yourself up to talk to media? And the answer's often no, so I think a big part of it too is not being the only person who's telling those stories but encouraging other people to take up that space, and take that right to have their stories heard because they're a part of this society as well.

Photo via Facebook

Do you feel also maybe for some people they don't see it as an option? A lot of people do mention they felt they didn't have that option.
Of course. Growing up I didn't see anyone who looked like me on TV and that tells you about where you do or don't belong or what positions will and won't be available to you. Look at me, I put a limitation on myself because I said "Oh I won't go into radio because TV is not a place for people like me." So we do put those limitations on ourselves. So I think being out there and being visible can sometimes change your perception as to what you can achieve because someone else has done it.

What were other factors that made you realize, "I will do this regardless of any stereotype or assumption." Was there community support?
My first internship was a factor. When I first started in the industry, it was surprising to me how few people of colour there were working the newsrooms that I worked in. I started to be tapped as a resource by my manager. It was a time where there were a lot of discussion about where religion fit in society, the Quebec charter of values was something that was being talked about. I would start to be looked to as someone who was connected to those communities. People would say, "What do you think about this? What are people saying about this?" And I would give my opinion or insight. This was just an example of how important it is to have this diversity in our newsrooms because it meant tapping into different communities and experiences and networks. If we really want to tell stories of our societies, our newsroom has to look like those societies. Not just in front of the camera but behind the scenes as well because we all bring those experiences to our story meetings we exchange ideas, we challenge each other because we have different experiences and different opinions.

You went really international with this story, how has the feedback been? Has there been a lot of negativity?
For the most part it has been really positive and encouraging. It's crazy how international it's gone. The more exposure I get the more hate I'm exposed to and it's still in the minority in the sense that the most stuff I receive is positive. It is hard to read the negative stuff because it's really hateful. As much as there's not a lot of it it can hit the hardest and feel the loudest. I try not to read comments but you can't ignore Twitter. Sometimes I just have to laugh because it's so ridiculous. The hate comes from people who've never watched my work, they just hate how I look. I'll happily take criticism of my work, but if it's just to say get that hijab off my TV screen they can just change the channel.

You are first, does that come with a pressure or weight? You are representing a community to people whether you like it or not.
For me, I've tried hard to be the best journalist I can be and I use that as a measuring stick as my goal. I feel like if I'm doing that, that should be my focus. So I try not to let that pressure get to me about what people are doing. I just have to be true to myself and my decisions and do my best as a journalist.

What would you say to people who do ask for guidance?
It's a really hard industry to be in right now. It's not glamorous, it means working crappy hours, it means working weekends and evenings and not having a social life. You have to really love it and want to do it for the right reasons. You have to be willing to work really hard to stand out and ask tough questions. It's not easy, it's not gonna be handed to you and for me I had to work twice as hard.

Are there any instances where people have been really unfair to you?
Any time I do a story that has to do with the Muslim issue I do take notice. It's not to do with me but more the issue and that has to do with Islamophobia and racism. I think those comments would be there even if I wasn't the one telling the story. In the past, I had a colleague tell me "I don't think a woman in a hijab is ever gonna report on TV because it's just too distracting." I don't think he was malicious, I don't think he knew my aspirations at the time (I was a producer then)—he was just saying it as a comment. He was making an observation and it's that kind of attitude I worried about. A lot of times people won't say it to your face but you worry that's what they're thinking. So, at the same time I'm here, I did it and the sky didn't fall.

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Your Local Health Clinic Probably Needs More Help Than Planned Parenthood

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Photo via Flickr user Sarah Mirk

When most Americans think of abortion, they think of Planned Parenthood. Its visibility and national infrastructure make it a target for destruction or defunding, but also for support: Since Election Day, Planned Parenthood has received more than 260,000 donations.

In reality, though, 60 to 80 percent of abortions in the United States are performed by independent providers, according to the most recent data from the Guttmacher Institute. Those providers potentially face just as difficult a road ahead under a Trump administration, but often get skipped over for donations since they don't have the brand recognition of Planned Parenthood.

Planned Parenthood affiliates and independent clinics suffer alike from general restrictions on abortion—independent clinics arguably more so, because many of them lack the large infrastructure that Planned Parenthood provides its local affiliates. But if direct attacks on Planned Parenthood were ever to curtail its operations, independent clinics would be left to fill in the gaps.

"That would make it harder on people seeking abortions. They might have to travel farther, or spend more money, and it would be a huge strain on organizations that don't have the same kind of support," said Jennifer Thibodeau of Abortion Care Network, an association of independent providers founded in 2008. "It's really necessary that every clinic that's open stay open. Defending Planned Parenthood is important, and so is realizing that two-thirds of abortions are performed by independent providers. Without those clinics, there really is no meaningful access to abortion."

Organizational structures of independent providers vary widely from individual doctors, to small local clinics, to multi-state chains. They also vary in terms of the services and procedures on offer: Some provide only abortion and family-planning services, while others also provide STI testing, cancer screenings, general healthcare, and trans health care. Some offer an even broader spectrum of care, including full prenatal services, which are not available at most Planned Parenthood affiliates.

Some "indies" are nonprofits, but even those with a for-profit model aren't making much money. Targeted regulation of abortion provider (TRAP) laws—the blanket term for laws that impose medically unnecessary requirements on abortion clinics—have made them more expensive to operate than ever before. Clinics tend to serve large numbers of uninsured or underinsured patients, and even those with private insurance are often without abortion coverage. Many clinics reduce the cost of services for people who can't afford them. Even when a patient is insured, some private insurance companies choose not to cover abortion, and some states—like North Dakota—prohibit all private insurance coverage of abortion.

In 2014, 31 percent of abortion patients had private insurance, but 61 percent of those with insurance had to pay out of pocket for the procedure. Thirty-five percent were enrolled in Medicaid, but because the Hyde amendment prevents federal funds from being used to cover abortion in most cases, Medicaid only covers abortions in the 17 states that have chosen to pay for it themselves.

"Many independent clinics sprung up in the early days after Roe v. Wade. It was about women helping women, wanting to provide abortion services and take them out of the hospital setting, make it more independent, more personal," Tammi Kromenaker, director of Red River Women's Clinic in Fargo, North Dakota, told me.

Red River is the only abortion provider in North Dakota and also serves parts of South Dakota and northwestern Minnesota. (There are no Planned Parenthoods in North Dakota.) North Dakota is among the states with the tightest abortion restrictions in the country—a 24-hour waiting period, consent of both parents for minors, a rule that only physicians can perform abortions (when the procedures can be just as safely performed by nurse practitioners, certified nurse midwives, and physician assistants), state-mandated counseling that discourages abortion, a law that requires doctors to have admitting privileges at nearby hospitals, a ban on abortion after 20 weeks, and more. In 2013, the state made national headlines by enacting a ban on abortions after six weeks, the most restrictive abortion law passed since Roe v. Wade. The law was later overturned by a federal court, but was exactly the kind of direct challenge to Roe that many expect under a Donald Trump presidency.

"Many of our providers are working in the most hostile states politically, dealing with constant challenges, whether those are legislative or come from protesters," Thibodeau told me.

After aggressive abortion restrictions passed in North Dakota in 2007, 2009, 2011, and 2013 (the state legislature meets only every other year), Red River got a reprieve in 2015, when no new abortion restrictions were introduced. Kromenaker credits this to the fact that North Dakota's two most vocal anti-abortion legislators had lost reelection campaigns in 2014 and were replaced by pro-choice officials. A 2014 ballot measure that would have granted fetuses legal personhood also failed dramatically, by a margin of 64 percent to 36 percent.

"We had been considering some proactive legislation, but after the election results, both locally and nationally, that's clearly not going to happen. We lost some important allies in the legislature," said Kromenaker. She expects that the 2017 legislative session will bring new restrictions that Red River will have to fight in court.

"Without those clinics, there really is no meaningful access to abortion." — Jennifer Thibodeau

Kim Chiz, executive director of Allentown Women's Center in Bethlehem, Pennsylvania, says that her clinic used to sell birth-control pills at a low cash price to make them more accessible. "We hardly sell them anymore because so many people now have contraceptive coverage. Going forward, I expect we might see a greater need to offer contraceptives if that contraceptive mandate is changed," she told me.

Patients will rely on independent clinics for more than birth control if changes to the Affordable Care Act—which Donald Trump has promised to repeal—cause them to lose health insurance. "Reproductive health clinics provide the only care that some women get all year," said Thibodeau.

Pennsylvania's current governor, Democrat Tom Wolf, has said he will veto any legislation further limiting abortion access in Pennsylvania. But there is still a chance that legislators could override his veto. This year, Pennsylvania lawmakers have considered a bill that would ban abortion after 20 weeks. Abortion is currently legal in Pennsylvania up until 24 weeks.

"We have a pregnancy-loss program here, and many patients in that program have a wanted pregnancy, but don't find out until 17 to 19 weeks that their fetus has a severe abnormality. We typically see them between 18 and 22 weeks," Chiz told me. "That decision should not be legislated. It should be between them and their healthcare provider."

As for all abortion providers, safety is a primary concern. "One of our doctors has a protester who shows up at his house once a week. We have protesters here almost daily, and a handful that are really difficult. They make racist, homophobic, and transphobic comments to my staff, and comments about people's weight. They even impersonate our escorts," said Chiz, describing one protester who wears a vest similar to those of the clinic escorts and waits in the parking lot with a clipboard.

Chiz and Kromenaker have both seen an increase in interest from volunteers since the election, though they have also encountered some confusion regarding the fact that they are not Planned Parenthood affiliates. While clinics that follow a for-profit model do not accept donations, they do work with local abortion funds to help patients who cannot afford their procedures. They also rely on volunteers to be clinic escorts and to help with community outreach work.

"Sometimes protesters yell at me, 'Go get a real job! Go somewhere where you can help people!" said Chiz. "Well, there's no more profound way I could help people. This is as real as life gets."

Follow Garnet Henderson on Twitter.

Mass Shootings Have Killed More People in 2016 Than a Dozen Infamous Serial Killers

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Over the past seven days, America witnessed nine mass shootings that left six dead and 42 wounded. These attacks bring the US mass shooting body count so far in 2016 to 372 dead and 1,425 injured. That means about as many people have been killed in American mass shootings so far this year as were killed by a dozen of America's most prolific serial killers over their bloody careers, going by the number of murders they copped to or have been widely linked with.

That list includes some notorious characters: Gary Ridgeway, the "Green River Killer," who was linked to 49 murders but boasted of at least 70. Patrick Kearney, the "Freeway Killer," who confessed at one point to 35 killings but was suspected of others; Paul John Knowles, the "Casanova Killer," who copped to at least 35 murders; John Wayne Gacy, the "Clown Killer," who was linked to 33 victims; Ted Bundy, the "Lady Killer" who confessed to 30 murders, although he was suspected of more; Dean Corll, the "Candy Man," who murdered at least 28 teens; Wayne Williams, the "Atlanta Child Murderer," currently linked to the death of 27 known homicide victims—although at times suspected of more killings; Juan Vallejo Corona, the "Machete Murderer," who killed at least 25 people; Ronald Dominique, the "Bayou Stranger," who killed at least 23 people; Earle Nelson, the "Dark Stranger" or "Gorilla Killer," who murdered at least 23 individuals; Larry Eyler, the "Highway Killer," who is currently linked to at least 22 murders; and Jeffrey Dahmer, the "Cannibal Killer," who murdered at least 17 people.

Meanwhile, Europe suffered zero mass shootings over the same period of time, leaving the continent's mass shooting toll so far this year steady at 46 dead and 158 injured.

The bulk of this week's American mass shootings were routine by national standards of violence and drew limited local attention: At about 4:30 PM on Friday, a street shooting in New Orleans injured four. At about 2:15 AM on Saturday, a shooting on a house party in Chicago killed one and injured five. Just under 24 hours later, a rolling shooting between at least two cars in Kansas City, Missouri, injured six. Then at about 12:30 AM on Monday morning, a drive-by on a house party in Wilmington, California, left four injured. At 6:15 PM that night, a street shooting in San Pedro, California, injured four more. At about 6 PM on Wednesday, a street shooting in Baltimore killed two and injured four. And at about 2:30 AM Thursday, a shooting in a Clearlake Oaks, California, home left one dead and three injured.

One shooting, at about 3 AM Monday in Palmview, Texas, unfolded in an unusual arc: A grocery store employee, reportedly beset by paranoia, shot into the window of his break room, apparently intending to scare those inside he thought were out to get him. Instead he killed one and injured three of his fellow employees. The shooter fled, but soon called the police, surrendered peacefully, and told the authorities where to find the gun he had discarded. It was a quick and painless resolution to a bloody crime, and an unusually detailed and human story showing the ease with which mass shootings can unfold almost accidentally. But this too drew only limited regional attention.

The only attack that drew significant, widespread, and sustained media attention this week was a shooting at about 1:30 AM Sunday within a crowd on Bourbon Street in the touristic French Quarter of New Orleans, which killed one and injured nine. Reportedly sparked by an argument between two individuals, the motives for the shooting were similar to many others. But the number of victims, and the coverage, was heightened due to the crowds attending festivities for the Bayou Classic, a traditional Thanksgiving weekend football game.

Check out our interview with Slavoj Zizek, where the left-wing thinker explains his flirtation with supporting Donald Trump.

It makes sense that Americans glaze over most mass shootings. Often couched within the context of local disputes or bouts of brief rage, they seem isolated and banal. But when you think about their acceptance versus the fearful space in the American psyche occupied by serial killers, the relative invisibility of mass shootings, like most that occurred this week, starts to seem incoherent.

Murders are always tragic, but often get brushed off as isolated incidents—until patterns emerge that seem to link them to at least one sinister, unknown, lurking individual. Yet often serial killers murder over the space of months or years. Mass shootings, on the other hand, are constant events. Many of them are carried out by individuals who, as murder clearance rates nationwide attest, may well never be caught and could maim and kill many others over their own careers. They are far more prevalent and, to the average citizen, more dangerous than any serial killer. But because they lack the lurid storyline of a twisted sicko with compelling quirks and graphic rituals, this in many ways more horrific and commonplace form of mass brutality flies under the radar for most of the public.

Just as in the case of the escalated attention paid to an isolated holiday shooting, like this week's in New Orleans or last week's in Louisville, Kentucky, this goes to show how much fear and attention is won by a compelling narrative of perverted norms and evil actors. This fixation on serial killers and ignorance of mass shootings may make sense within the context of the human affinity for stories and bogeymen. But we have to start according the overall, constant, grinding epidemics of large-scale gun violence in this nation the same rapt attention and reactive zeal that we do to a cannibal killer or a highway strangler. Until then, America will effectively be distracted by dramatic villains who aren't even the ones responsible for what amounts to an ongoing national bloodbath.

Follow Mark Hay on Twitter.

Westworld: The Movies, Books, and Video Games That Influenced 'Westworld'

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"Are you serious?—do you really believe a machine thinks?" This is the opening of Ambrose Bierce's 1899 short story "Moxon's Master," about a chess-playing robot who murders its master. While written more than 100 years ago, Bierce's story contains some of the core elements of robot fiction—debates about what makes consciousness, egotistical inventors, and deadly robot rebellions—that are still used today in HBO's hit drama Westworld. As a show that takes place in a robotic amusement park, Westworld is a story about stories, and as such it's deeply conscious of the genres that it operates in. The show comments both on how stories engage fans—"They come back because of the subtleties, the details," theme-park mastermind Dr. Ford (Anthony Hopkins) says—and consciously plays with the genres of science fiction and Westerns that the show inhabits.

Westworld's season finale airs this Sunday, but if you are itching to read, watch, or play in similar worlds, here are some works that you should check out:

'Blade Runner,' adapted from Philip K. Dick's novel 'Do Androids Dream of Electric Sheep?' Photo courtesy of Warner Brothers

Books

In addition to Bierce's "Moxon's Master," one of the most important early depictions of robots is weird horror master E.T A. Hoffmann's "The Sandman." Published even earlier, in 1816, the story features people falling in love with an automaton (a sort of early robot) as well as plenty of horror and twists. The story is so powerfully unnerving that Sigmund Freud discussed it at length in his essay "The Uncanny."

Philip K. Dick's entire catalog is invested in how technology affects our sense of reality, consciousness, and freedom, so almost any of his books could be mentioned here. But the obvious influence is Do Androids Dream of Electric Sheep?, the influential 1968 novel about a bounty hunter who retires android "replicants" who are almost indistinguishable from humans. Like Westworld, Dick's novel (and Ridley Scott's film adaptation, Blade Runner) wants to you to question what it is that makes us human and what it means that we are so inhuman to other beings.

Another book that fans of the show should read is How to Live Safely in a Science Fictional Universe by Charles Yu. Yu's novel about a time-travel technician searching for his father shares Westworld's interest in memories and meta-fictional commentary on the nature of genre and stories. It also shares a writer, as Yu works on the show and co-wrote one of the best episodes, "Trace Decay" (that's the episode where Maeve hilariously rewrites the action of the park after her brain upgrade).

In addition to being a science fiction show, Westworld is a blood-soaked Western, and there's no more influential work of violent Western than Cormac McCarthy's Blood Meridian. There's nothing sci-fi about McCarthy's horrifying (if gorgeously written) examination of American violence, but it is so gruesome and uncompromising, it makes Dr. Ford's bloody Wyatt narrative look like a children's cartoon.

A screenshot from 'Red Dead Redemption'

Video Games

The actual park of Westworld functions like a role-playing game. The guests interact mostly with "non-player characters" in pre-written scripts who send them on side quests and other adventures. As such, it isn't a surprise that open-ended video games like Grand Theft Auto and Skyrim are some of the biggest influences on the show. Probably the two biggest ones, though, are Bioshock and Red Dead Redemption.

Red Dead Redemption is a bloody 2010 Western game where you play a gunslinger in a world of murderous gangs, brothels, and beautiful vistas. Like the park in the show, this game is open-world and players can travel wherever and do whatever they want. If you wish that you yourself could visit Westworld, playing Red Dead Redemption is probably as close as you can get.

The creators have also said that the Bioshock series—specifically, Bioshock Infinite, which takes place in a floating steampunk city—was an influence. Series co-creator Jonathan Nolan called the games "the most literate and thoughtful pieces of entertainment that I've seen in the last ten years." The series has mostly been inspiring in an indirect way, though. At that same Comic Con panel, Nolan talked about the sad fate of the game's AI characters in a way that clearly influenced the Westworld's focus on the tragic lives of the robot characters who are thoughtlessly murdered every day by the guests:

"I was Ken Levine, the designer of those games, talking about the non-player characters—Elizabeth, specifically, in BioShock Infinite. In a scene, I think I had just run through and shot everyone and kept going. And he was talking about how much craft had gone into all the conversations that the non-player characters had, and all their dreams and aspirations. And I just thought, Oh, isn't that tragic? Isn't that sad? And the player just ignores it all. The bastards."

Films and TV

Westworld itself is a reboot of Michael Crichton's 1973 movie of the same name. The original, written and directed by Crichton (it was his feature film debut), is more comedic and straightforward, but also features an amusement park for rich people to shoot and fuck robots... that goes horribly awry. The film is worth watching for Yul Brynner's rampaging robot gunslinger alone ("It was my best role," Stephen Malkmus sings from the point-of-view of Brynner in the song "Jo Jo's Jacket"). Crichton, of course, recycled this conceit for the more famous Jurassic Park, which is another obvious influence.

Last year's Ex Machina shares a lot of DNA with Westworld, and is a must-watch for any fans of the show. Both feature conceited inventors who create near-perfect humanoid robots, but insist on keeping them under their control. Ex Machina is also as gorgeous and moody as anything Westworld has done.

A scene from 'Ex Machina.' Photo courtesy of Universal Pictures

Westworld recently revealed that one of its main characters was secretly a robot. The move was shocking to some, but no show holds a candle to Battlestar Galactica in the secret robot reveal front (for better or worse). The 2004 show, itself a reboot of a 1970s show of the same name, takes place in a future where realistic robots called Cylons are at war with the last remnants of the human race. Not all of Battlestar Galactica's many mysteries and twists fully succeed, but the show features plenty of brilliant moments and, like Westworld, is invested in the consequences of creating artificial life and the moral choices that life forces on the characters.

As an HBO Western, Westworld has a lot of the look and feel of Deadwood. Both shows also feature a mostly lawless frontier where people can create a new identity for themselves. Deadwood sometimes gets overlooked in favor of two other HBO shows that overlapped it: The Sopranos and The Wire. However, David Milch's profanity-filled Western easily holds up alongside those rightfully acclaimed shows.

Sunday's finale will bring Westworld's excellent first season to a close, but these movies, books, and video games can help tide you over until season two airs next year.

Follow Lincoln Michel on Twitter.

THUMP Mix: Austra

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Ahead of the Toronto outfit's upcoming LP, Katie Stelmanis shares an hour of Mexican rancheras, European club beats, and Canadian indigenous music.

The Chief Historian of the AIDS Crisis Explains How to Survive a Trump Administration

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You can't talk about the history of HIV and AIDS without talking about the history of ACT UP. Formed in the mid 1980s, as HIV ravaged LGBTQ communities across the country, the group was perhaps more influential than any other in bringing the crisis to light through the sheer force of its activism.

At a time when little was understood about the virus and politicians, the media, and the rest of the United States refused to acknowledge or dedicate time and research dollars to the thousands who lay dying or dead, ACT UP (or the AIDS Coalition to Unleash Power) worked to jar the country from its complacency—marching in the streets, occupying the lobbies of pharmaceutical companies, and slowly working its way into the halls of power, becoming policy makers and medical experts when nobody else would help.

David France, a gay journalist who lived through the HIV crisis of the 1980s and 1990s, made a documentary about ACT UP's activism in 2012, and this week released a book on the same topic. Both are called How to Survive a Plague. As the title suggests, neither are a mere history—part of France's intent is to offer activists and politicians a roadmap and guide modeled after ACT UP. I spoke to him about the book, the history of HIV in the US, and what we can learn today as an anti-science, anti-LGBT administration takes over the White House.

This interview has been edited for length and clarity.

VICE: Your book was years in the making—how did you get the idea for it?
David France: I started the book and the film project in 2008; the genesis of the project was an article I wrote for New York Magazine about one of the real heroes of the AIDS epidemic—a very young doctor who had moved into St. Vincent's, New York's main AIDS hospital, right at the epicenter of the epidemic, and had risen to take over AIDS care there. He was one of the top doctors and researchers in the world on the subject. I bumped into him in 2008 and discovered that he was no longer employed by any hospital, addicted to drugs, HIV positive, facing multiple felony charges, and I just wondered what the hell happened. How could somebody who had been so pivotal have fallen like that? I started to take measure of the weight of having worked and lived through and survived that period, and after the article, I felt compelled to begin a larger mission to try to figure out what we can learn from the experiences of people who went through that time.

Can you talk about that emotional toll more? What mental state did the crisis put people in?
It really is hard to describe what it's like to feel like you and everybody you know is going to die and that no one will care. In that first five years or six years of the epidemic, it was as likely as not that if you came down with AIDS, your parents would disown you, your church would disown you, you would lose your job. It was commonplace to be turned away from hospitals. And none of this was being covered by the mainstream media, so we all felt terrified and forsaken in ways that are hard to convey to people who weren't there.

Anti-gay protestors in New York City in 1982. Photo by David Wojnarowicz, courtesy of Penguin Random House

It sounds like so much of that fear was not only the infection but the stigma of being shunned from the rest of society for having it.
Absolutely. And we knew that nobody was even trying to find a treatment. Six years into the epidemic, there wasn't even an experimental drug out to take after thousands and thousands of deaths. It took six years before the president even mentioned a word about it—after 20,000 American deaths. It was really unfathomable that this was happening in America, in a modern era, that your government didn't care if you lived and healthcare institutions didn't give a shit. You go to a hospital, they wouldn't bring you food. It was a dark, dark period.

Many remember ACT UP as a rah-rah, on the streets organization, but you were also talking to corporations about drug development, to politicians about policy. Can you talk about working inside the system versus outside of it?
ACT UP did a lot behind-the-scenes. We had 147 chapters at our peak, so they had occasion to make themselves known in cities across the world. I think most people thought of ACT UP protests as carnivals of diffuse rage, and little more—blocking traffic, closing the Golden Gate Bridge for hours, many thought that all had no purpose. But it was all by design, and they were practicing shock troops AIDS activism, where those protests wedged open the doors of power and allowed us to talk to the right people about housing, insurance, IV drug use policies and politics.

And then there was the development of this small, elite brigade of mostly people with HIV and AIDS, none of whom had any formal scientific training, who turned to the literature and textbooks and trained themselves in principles of virology, immunology, and biology. They became experts in the fields and developed unusual, innovative ideas about what was going wrong with drug trials. They were rejected at first, but those people out on the streets kept the doors open, and ultimately they were recognized for the contributions they brought to the research effort and were invited to participate alongside the researchers themselves.

Do you think activists today can learn from that approach?
Nobody knows what we're going to be confronting with this new administration yet. We know it's either going to be hideous or catastrophic. We know that he's appointing anti-science advocates. We know that much of what has been accomplished and put into place through liberal activism over the past 30, 40, 50 years is at risk, and it's going to take clever activism and nimble opposition to keep that from happening. I don't know about yours, but my inbox is full of people inviting me to meetings to talk about planning and getting ready, and I know that that's happening all over the country. People are trying to prepare, build an organizational structure and a strategy to allow them to respond to this presidency.

Is passing on history, as in writing this book, an important part of knowing how to respond in crisis times like these?
We have to create those stories and pass those stories along. What we're left with is a lot of the literature that was written in the middle of the plague, which is all wonderful and powerful, but it's literature about what the virus did to America, not what activism did to the virus. That's the story I wanted to tell—the story about how people responded and what they did and how doing what they did made a difference. How did they gain power? How did they infiltrate these hostile environments and hostile systems and turn them around? What did they leave behind? What legacy did they leave behind? That legacy is a blueprint for how to do it in the future. That's the story I wanted to tell.

Follow Peter Moskowitz on Twitter.

Life Inside: What I Saw Tracking Down the Mentally Ill in Jail

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This story was published in collaboration with the Marshall Project.

I received the phone message early one morning from an older woman with a soft voice and a slight Southern accent. She sounded desperate.

"Please find my grandson, Marion*," she said. "He is schizophrenic; he is anemic and has fits. I don't know where he is at the jail."

The woman provided a last name and birth date, and that was it.

My job as a clinician for the Los Angeles County Sheriff's Department Mental Evaluation Team was to identify and locate the mentally ill inmates who represented at least 20 percent of the population, get them out of the dorms filled with their more violent peers, and take them by patrol car to Tower One, the mental health facility. I evaluated each of these inmates prior to extraction, contacted any available family, collected available data on their prior psychiatric history, and wrote recommendations for the psychiatrist who would, at some point, see them.

But very few of my referrals were like this one—from the inmate's family member—since the seriously mentally ill are often homeless. Instead, it was normally my routine to scan the jail database looking for young inmates who had been picked up for minor charges (trespassing, public nuisance, etc.), because this was most typical of the mentally ill population.

I also received messages under my door, pleas from inmates who needed help.

Other times, I could immediately spot them when I walked into a crowded dorm: they were always thin, disheveled, and were either standing rigidly against a wall or moving around in an agitated manner. Their numbers were overwhelming, and our team saw as many of them as we possibly could, but it was never enough.

The day I received that phone message, my partner was out sick, so I was on my own. I looked Marion up in the database: He was 19, had been picked up on a trespassing charge, and had already waited in jail for two months for a court appearance and a public defender.

I arrived at the jail and on the third floor found 345—the large dorm where Marion was supposed to be housed.

I walked onto a metal catwalk that had tiny cells on each side. Inmates were crammed into the cells, with no room to move around. Some came to the bars and watched me, others slept, and a few called out to me for help.**

Suddenly, two inmates, heavily tattooed and muscular, cornered me and began to demand action on their cases. The men wanted a psychiatric diagnosis to help them get "diversion" and believed I was the one who could do that. My heart started to pound, but the cell boss, the leader of the inmates, said, "Déjala en paz/déjala tranquila" and they went away.

Finally, I came to cell No. 12, where I expected to find Marion. The inmates were loud, restless. and irritable, barely able to restrain themselves. I had to yell Marion's name out.

No one came to the bars.

Eventually, one of the inmates pointed to a lower bunk on the right side of the cell. Someone was under the bunk.

A deputy came down the row and asked me what I was going to do, and I explained the situation. He'd assisted me before, and was one of the officers who appreciated that I was taking the "dings," as they called mentally ill inmates, out of their territory. He smiled, put one hand on his weapon, and opened the bars.

The seven inmates inside stepped back. I went over to the bunk and crouched down. It was dark and damp underneath, but I could see a bundle of bedding — and a long foot with yellowed nails, covered with flies, protruding from underneath the pile.

My breath caught in my throat. The stench of old urine was overwhelming.

Check out our new documentary about the silent HIV crisis sweeping through the South.

I asked the inmates to ease the body out from there, and they pulled at him by his feet; he was limp and heavy, but they managed to spread him out on the floor.

This must be Marion: a very tall, emaciated boy who was covered with sores and unconscious. Although he was African-American, his skin was a shade of yellow I had never seen before, and he was barely breathing. His thin chest rose and fell in an uneven rhythm, and red-tinged fluid seeped from his swollen lips.

The other inmates moved away quickly and the deputy immediately got on his radio for an emergency extraction. Several officers arrived, placed Marion's inert body on a stretcher, and wheeled him out to be transferred to the jail ward of the Los Angeles Hospital.

For mentally ill inmates like Marion, delusions, hallucinations, and paranoia can make incarceration even more brutal. Some are even jailed without being charged, because they are waiting until a mental evaluation can be performed and there are no psychiatric hospital beds available. Others are simply lost in the system after having been transferred from dorm to dorm, jail to jail—because that's the protocol to keep the population from forming gang-related alliances.

But with Marion, it was obvious that he was in an even more desperate condition.

Back at the office, I spoke with his grandmother, Ruby, for over an hour. Her voice was strained with tears, and at several points, she had to take a deep breath to calm herself. She told me she had applied to become Marion's guardian when her daughter failed to care for him. He had come from a violent, abusive home, where he had been sexually and emotionally abused since early childhood, she claimed.

Ruby said that when he was finally able to leave the house and go to a clinic, she had been informed that he had many developmental disabilities and emotional scars. At age seven, he was a diagnosed schizophrenic with PTSD.

He was a sweet and passive boy, she added, but had never spoken more than a few words and communicated mostly through facial expressions and gestures. He became confused and hid or ran when he heard loud voices or noises; she had spent many hours looking for him on the streets of South Central Los Angeles, only to find him crouching in a doorway or hiding in an alley.

But despite all that, on numerous occasions, the police arrested Marion, handcuffed him, and booked him into jail on charges of trespassing or resisting an officer.

Now, after this jail stint, he was in the intensive-care unit, connected to dozens of tubes and wires. The doctors hesitated to give me a prognosis, but warned that if he became conscious, his brain would be profoundly damaged.

The terrible truth is that people like Marion feel the same pain as everyone else. Each time they cycle through the jail system, they spiral toward a condition of having no hope at all.

Margaret Altman is a semi-retired clinician with three decades of experience in the mental-health field. She was a mental health evaluator for the Los Angeles County Sheriff's Department, in addition to positions at UCLA, USC, and elsewhere. Currently, she consults with the families of mentally ill prisoners, writes on the subject of forensic mental health, and manages a small practice.

*The writer has withheld the full name of her client to protect confidentiality.

**The LA County Sheriff's Department did not respond to requests for comment.

Illustration by Dola Sun

How Baltimore's Dirt Bike Riders Make a Living

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On tonight's episode of PAYDAY, VICE heads to Baltimore to understand the financial lives of a stunt bike rider, an illegal tattoo artist, a hookah business owner, and a photographer and find out how the city's racial divide influences spending and saving decisions.

Watch the clip above and catch episodes of PAYDAY every Friday at 9 PM on VICELAND.

This Guy Is Walking Across America Barefoot to Protest Climate Change

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All photos courtesy of Mark Baumer

Mark Baumer is walking across the United States barefoot, but this isn't his first rodeo. He's already walked the length of the country once before—though that time, he wore shoes. This time, he's walking to "save the earth," and to raise money for the environmentalist group FANG Collective, which resists the natural gas industry in Rhode Island and contributes to other causes like the protestors at Standing Rock. At press time, Baumer had raised a little more than $3,000.

Baumer does not step aside for cars. He will, however, move over for trucks. ("They'll really mess you up.") He's a vegan, so dinner can be difficult—once he bought a can of corn at a gas station. For Thanksgiving dinner, he ate a bag of cashews. Along the way, people have tried to give him so many shoes that he says he could have filled three bags with them, had he accepted the offers. He's been walking for two months now, and his bare feet are doing just fine.

I caught up with Baumer as he trekked down Pennsylvania's Interstate 70. Our phone call was interrupted twice by concerned citizens and once by a cop, all of whom seemed bewildered to see a pedestrian walking barefoot on the side of the road.

This interview has been edited for length and clarity.

Baumer's feet after his 46th day of walking barefoot

VICE: Where are you right now?
Mark Baumer: I'm near Washington, Pennsylvania, an hour south of Pittsburgh.

What made you decide to walk across America barefoot?
In 2010, I did a cross-country walk with shoes on. I wanted to do this walk for a cause and use the attention to generate money for something good. Every time another news report comes out about the dangers of climate change, I feel like I need to do something, I need to act. I always hear that this is the most important crisis of our time—but you look around, and people aren't freaking out. If this was a war, people would be rationing. Look at World War II: People were mobilized almost immediately.

Early this year, I found out that I had won a poetry fellowship for the state of Rhode Island, so I decided to take an unpaid leave from work and use the money from the fellowship to cover being out here. And that allows me to give all the money I raise to the FANG Collective, which feels nice.

How'd you get into environmentalism?
After grad school, I started working at an environmental nonprofit. I had always liked the idea of saving the environment, but I hadn't ever really done anything, and I started to learn about all the different things that are wreaking havoc on the earth. I think the first big one was these plastic islands in the ocean.

Horrifying. They're bigger than Texas now, right?
Yeah. So when I learned that, I was like, I'm never buying plastic again! I started looking at every aspect of my life: Why do I do things this way? Is there anything I can do better? A big one for me was just giving up animal products. It's kind of a weird game. The more you play, the better you get.

At some point, I realized that I and everyone I know could live perfectly and have zero carbon footprints—but if we don't get corporations and big businesses to change, then it's all pointless. So that's why I wanted to try and do something big like this, are like, "How dare you?!" But I've barely ever seen anyone else walking or riding their bikes, so the fact that for one second out of a driver's day they can't deal with someone walking along is really insane. Something weird happens when you're in a car. I feel like your mentality changes. You're blocked off from the world, and you're like, ONLY I MATTER. ONLY WHERE I'M GOING MATTERS.

I did have one eye-opening experience. This guy drove to the end of his driveway and hopped out of his truck and said, "Get over here." I walked over, explained what I was doing, and he said, "This road is so dangerous. My brother died on this road; someone ran him over, hit and run." Even when people get angry, something in their past is triggering it. We all have these human experiences that dictate how we react to everything.

Do you think people wonder if you're deranged?
Either that or they're worried about me walking barefoot and aren't comfortable stopping next to the big shoeless man on the side of the road.

I've had people yell things, but I don't think it's anything abnormal. I'm definitely in a really privileged position to be a white male doing this; mostly people will give me the benefit of the doubt once they stop to talk to me. A week ago, someone offered me a pair of shoes and then friended me on Facebook and wrote a post about meeting me. At the end of the post, she wrote something like, "So to all you people who were scared for yourselves, this guy's just trying to do his thing"—I guess people had been posting about the "barefoot man" walking through town. It's weird knowing that those posts are out there. But now I get all kinds of people in Pennsylvania adding me on Facebook. And I look at their profiles, and there's no way I would ever be in touch with these people otherwise. These are the people who everyone's blaming for voting for Trump. I'm reaching people that maybe would have never been exposed to ideas of climate change.


The Photographer Who Documented the Merry Pranksters Before 'The Electric Kool-Aid Acid Test'

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All photos courtesy of Taschen

At the center of two of the 1960s' greatest exports—New Journalism and drug culture—lies Tom Wolfe's first book, The Electric Kool-Aid Acid Test, and there it has lain, unmoved for some 48 years. Experimental in structure and style, eye-opening in its early accounts of LSD usage, the 1968 book was one of the first non-musical documentations of the hippie movement that accurately reflected its disdain for convention. It was simultaneously of and about the subculture.

The words themselves are enough to transport us to squalid Haight-Ashbury squats and the rows of the manically-decorated bus occupied by Ken Kesey's Merry Pranksters. But in pulling out all of the stops, a new repress of the book has added layers of depth in a way no film adaptation or making-of documentary could capture. Taschen's new collector's edition (out now through Taschen) combines Wolfe's words with the photographs of Ted Streshinsky, who accompanied the author on his first trip to San Francisco, and Lawrence Schiller, who partially inspired the book with his photo coverage of the acid scene for LIFE magazine.

Packaged in a fittingly-trippy sleeve adorned with the most iconic photo from Schiller's 1966 LIFE story (thanks, Wayne Coyne!), the new pressing also includes facsimiles of Wolfe's original manuscript, concert posters, and Kesey's arrest records. A trade edition is on its way next year, but for now, it's limited to 1,968 copies, making it feel like the text equivalent to a vinyl junkie's wet dream.

This Electric Kool-Aid Acid Test edition is the second in a series of imaginative represses spearheaded by Schiller. Aiming to "bring together the great New Journalism and the great photojournalism of the second half of the 20th Century," he's already overseen an edition of Gay Talese's famed essay "Frank Sinatra Has a Cold" that includes Phil Stern's photos of the singer, and is now working on combining James Baldwin's The Fire Next Time with Steve Schapiro's photos from the Civil Rights movement.

Schiller clearly has a passion for this revolutionary era of journalism, but The Electric Kool-Aid Acid Test holds special significance for him. Not only is it the only book in the series of represses to contain his photos, but Schiller also says that reading it changed his life, with Wolfe's unique approach opening a world of possibilities in his young, hungry mind.

Soon after Acid Test's release, Schiller pivoted from photojournalism to writing and/or collaborating on books, and eventually films, based on extensive interviews he'd accrued from stories on Lee Harvey Oswald, Lenny Bruce, the Manson murders, and others. Although successful in his first profession, it wasn't until his second act that his work began winning Pulitzers (for Norman Mailer's The Executioner's Song) and Emmys (for four of his made-for-TV films or miniseries). Without Wolfe's complete shattering of journalistic conventions in this book, it's doubtful that Schiller would have ever considered a career change. VICE spoke with Schiller over the phone to learn more about his involvement with the original book, its fancy new repress, and how Tom Wolfe rocked his world. The following interview has been edited for clarity and length.

The multicolored Merry Pranksters' modified 1939 International Harvester school bus, nicknamed "Further." San Francisco, 1966. Photo by Ted Streshinsky, Photographic Archive, Bancroft Library, UC Berkeley

VICE: So your role in the original creation of the book was basically inspiring Tom Wolfe, or at least being his first source.
Lawrence Schiller: He's said that seeing my original LIFE magazine essay inspired him to expand his original idea for New York magazine—which was to do a story on Ken Kesey getting out of jail—into a greater book that covered the entire acid scene.

At that time, he didn't understand the full range or horizon of the acid experience. In my original essay, I didn't cover the Merry Pranksters on the road. I didn't cover Haight-Ashbury in San Francisco. But I did cover Timothy Leary's trial in Texas, and did a book with Dick Alpert and Sidney Cohen. I think I showed Tom another side of the picture.

Are there any of your photos in here that were never published, in LIFE or otherwise?
Yes, many of them. Whether a picture was published or not, what's more important is that this is the full essay. You now really get the full picture of what I call "set and setting." You really visually understand the context in which the author, Tom Wolfe in this case, wrote his extraordinary piece, first for New York magazine, and then for the book.

The Acid Test Graduation, Halloween night, 1966, held at the Merry Pranksters' warehouse/headquarters on Harriet Street in San Francisco's Skid Row area. Photo by Ted Streshinsky © 2016 The Estate of Ted Streshinsky

What was the curation process like? Who was involved?
The concept of the series was mine, and I worked very closely with executing it. Being a photojournalist myself, I have a very strong hand in the photography that goes into it. The editor, who's the same for the whole series, is Nina Wiener, and she's really responsible for recommending excerpts to the author, and determining how that excerpt should be integrated and broken down with the photography. Her forte is really marrying the photography with the text. It's not an easy job, you don't just throw pictures together. So she works with Taschen in that area, and then as the book comes down, I review everything. I'm responsible for retouching every photograph in the book—I'm still doing that, only because of my love for photography, rather than just turning it over to a technician.

The repress feels pretty exhaustive, but do you feel like there's any more material surrounding the book that's yet to be uncovered?
I don't think so, at least not in terms of Tom's work and Ted's accompanying photos, which made up the original project. Of course, you could gain added perspective by reading Kesey, Leary, Ginsberg, or Hunter S. Thompson's Hells Angels book—any of the works by the various authors and artists who are either characters in the book or just mentioned in passing.

Hollywood Acid Test, February 25, 1966. Photo by Lawrence Schiller © Polaris Communications Inc.

Your photos in particular use some techniques—strobe lighting, blurred movement—that attempt to simulate psychedelic experiences.
It's funny, I showed those photos to Leary and he said, "Well Larry, until you take acid yourself, that's what you'll think the experience is like, but it's really not about that." It's a photographic device in which I try to heighten the visual experience to say that the acid experience is heightened also. Photographers use techniques to try to explain what the experience is. It's like shooting sports and using slow shutter speeds, blurring the action to try to give the feeling of speed and movement.

You're mentioned briefly in The Electric Kool-Aid Acid Test, when you come in to shoot those strobe photos. But from your new introduction in the repress, it sounds like you were either unaware of the book being written or not in touch with Tom at the time.
I was unaware that he was writing a full book, because when he called to interview me, he was still writing the New York magazine article. I didn't know that he was expanding it—by that time, I was already onto other assignments all around the world.

What was your initial reaction to the book when it first came out?
My first impression of the book had nothing to do with Tom, but something totally to do with me. I'm dyslexic, I can't spell, and I can't read very well. But I didn't know that I was dyslexic at a young age. Not until I was around 50 did the word "dyslexia" even exist.

I was always tape recording interviews, and I always had a desire to write. Every photo assignment I had, I was doing long interviews, 10-15 hours worth. When I saw, perused, and read some of The Electric Kool-Aid Acid Test, all of the sudden I realized, for the first time as a young photojournalist, that a writer didn't have to be at every goddamn location to write a great book, and that a writer only had to have a small piece of the experience if he had the ability to include his own look at things.

A week after I saw what Tom had done, I went out and hired Albert Goldman to write Ladies and Gentlemen—Lenny Bruce! I had already interviewed everybody work could be expressed by using the creativity of other writers, who could contribute their ideas on the subject.

I'm not exaggerating, I interviewed 150 people for some of my stories. And I would spend six months just doing interviews, sometimes I didn't even have a camera with me. I was always using a tape recorder, and now my archives consist of 1,800 boxes in storage, and that's how I was able to provide Mailer with everything that produced the Pulitzer Prize-winning book The Executioner's Song, and I went on to direct the film.

A first-timer in the throes of a bad trip. "I experienced the desire to die, but not actual death," she later said, "very strongly the desire to rip my skin off and pull my hair out and pull my face off." Photo by Lawrence Schiller © 2016 Polaris Communications Inc.

I see similarities in the way you describe your approach and Tom's style of reporting. Both seem very reliant on immersing yourself in the story, not just fading into the background and observing.
You always have to figure out your way in. Maybe I had one or two rough weeks—I never wrote about this, but I actually got arrested doing the story.

In Hollywood, I was photographing a young lady tripping in a supermarket, and she almost had a full blown psychosis—it was really horrible. She calmed down, I got her out of the emergency room, and I discovered that she was from Scarsdale, New York. I asked her if she wanted to go home, and she said "yes." So I bought us both airplane tickets, took her home, and I drove out Scarsdale with her. I knock on the front door, her mother opens the door, and I realize this young lady had been a runaway. She hugged and kissed her father and went inside, and I just sat on the front porch.

About five or ten minutes later, two police cars pull up and arrest me. Her parents thought I was responsible for their daughter running away! It took me an hour at the jail to prove that I was a LIFE magazine photographer—they had to call the photo editor of the magazine. Finally I was released, but it's funny, sometimes you submerge yourself so deep in the story that you become part of it.

See more photos from the repress below. And order the collector's edition of "The Electric Kool-Aid Acid Test," out now via Taschen.

Follow Patrick on Twitter.

Me and My Shadow, Hollywood Acid Test, 1966.Photo by Lawrence Schiller © 2016 Polaris Communications Inc.

Dr. Timothy Leary photographed in San Francisco, 1966. Photographs by Lawrence Schiller © 2016 Polaris Communications Inc.

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