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This Week in Racism: Nick Cannon Wore Whiteface and I Cried

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Photo via Instagram

Welcome to a White People Party Music edition of This Week in Racism. I’ll be ranking news stories on a scale of one to RACIST, with “one” being the least racist and “RACIST” being the most racist.

–I get a lot of shit for not "calling out black people for being racist." There's some notion that I'm biased and slant my coverage of racial issues toward an afro-centric perspective. Well, thanks to Nick Cannon, I can finally try to reverse that stigma. I got that "reverse racism hook-up" from my boy. In order to promote his idiotically titled new album, White People Party Music, Nick created a character called "Connor Smallnut" on Instagram this week. You see, Connor's white. Not only is he white, but he's also an over-the-top caricature of a white person. You've seen White Chicks, but are you ready for... White Dude?

Nick Cannon's really trying to shock the world, though he should realize that it's shocking enough to know that someone paid him to make music again. You already surprised me, man! Stop surprising me so much! I have a heart condition (and I also hate you)!

Shitty stereotype-based caricatures are almost always atrocious. Hardly anyone laughs at Mickey Rooney dressing up like a Chinese person in Breakfast at Tiffany's, mostly because it's not funny or clever. It's just a dude in a pair of fake teeth switching out L's for R's. I could do that (and I would at birthday parties if you paid me enough), and no one would think it's good, because it's not.

Nick responded to the criticism by saying he's just joking and he was inspired by Robert Downey Jr. in Tropic Thunder. Of course, Robert Downey Jr.'s character in Tropic Thunder was an explicitly mocking parody of the exact thing Nick Cannon did. Let's just say the one thing about this story that I'm not shocked about is that Nick Cannon doesn't understantd a joke. RACIST

–Last week, I mentioned ABC Family's highly questionable drama pilot titled Alice in Arabia. The show was to depict an American girl's adventures as a captive in Saudi Arabia. The script leaked online, and Arab advocacy groups lost their shit. This week, ABC Family wisely put the show to bed. The gave it some milk, a cookie, fluffed it's pillow, then smothered the show with the exact same pillow.  2

Photo via Flickr User Keith Allison

–Daniel Snyder, owner of the Washington "Redskins," has remained resolute in his disinterest in the protests of Native groups regarding the rather odious nickname his football team uses. He repeatedly restates his claim that he will never change the name of the team to anything that isn't horrible racist. Instead of just listening to the pleas of Native Americans, he's decided to throw some money at the problem by establishing a charity called the "Washington Redskins Original Americans Foundation."

From Daniel Snyder's letter announcing the new foundation:

"The mission of the Original Americans Foundation is to provide meaningful and measurable resources that provide genuine opportunities for Tribal communities. With open arms and determined minds, we will work as partners to begin to tackle the troubling realities facing so many tribes across our country. Our efforts will address the urgent challenges plaguing Indian country based on what Tribal leaders tell us they need most. We may have created this new organization, but the direction of the Foundation is truly theirs."

I absolutely can't fault the Redskins' organization for trying to reach out to the Native American community. It's a step in the right direction, and yet I can't help but be cynical about this specific gesture. The very people Daniel Snyder is trying to suck up to are the ones he's pissing off by resolutely standing by the Redskins name. At least he's trying though. 3

The Most Racist Tweets of the Week:

 


Assault Rifles for Christ

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All Photos by Giles Clarke

“The pacifists love to quote ‘Thou shalt not kill,’ while ignoring all the Bible verses approving of capital punishment,” wrote Pastor John Koletas, “Does that mean we should not kill mosquitoes? Termites? Bugs?”

The Pastor published a long list of scripture on his church’s website supporting his position—every word in boldface:

Exodus 15:3 - The LORD is a man of war. . .

Psalm 144:1 - Blessed be the LORD my strength, which teacheth my hands to war, and my fingers to fight.

Ezekiel 9:1 - . . . every man with his destroying weapon in his hand. 

The destroying weapon in the pastor’s hand last Sunday was an AR-15 assault rifle. It was the top prize of the church raffle he had organized. He thrust it aloft in the midst of a sermon, drawing a rhapsody of Amens from the congregants of Grace Baptist Church in Troy, New York.

“If someone wants to come into my house at three o’clock in the morning to kill or rape my wife and children,” he had stated earlier, “as far as I’m concerned they walked into the wrong house. God commands me to defend my family. That’s not the time to turn the other cheek.”

I remembered another time I had heard that phrase, “turn the other cheek.” Hitchhiking through Pennsylvania in my youth, I had been invited to supper by a Quaker couple. The husband told a parable about a Quaker family on the prairie whose house had been attacked by religious bigots. The believers knelt and prayed as their assailants tore their home down around them. When the demolition was complete, the now destitute family brought their tormentors water. They said, “You must be thirsty after all your hard labor.”

I traveled to Troy with British photographer Giles Clarke to enter Grace Baptist’s gun raffle, and to find out how one holy book could have such different interpretations.

Skyscrapers gave way to forests as Giles accelerated up the Hudson Valley out of Manhattan. 150 miles later, we crossed the river and curled down into the heart of Troy. It had once been a major industrial hub, second only to Pittsburgh for its iron production, but now, like its ancient Greek namesake, much of the place was abandoned. On our route to Grace Baptist, we passed five churches with plywood where stained-glass had once been.

The first man we met in Troy was a Jamaican named Terrence. He wore a chest full of chains and dangling medallions: a skull and crossbones, an Eyptian owl, several crucifixes, hands in prayer. He grinned big as he talked, exposing a row of silver teeth.

I asked if he was going to enter the AR-15 giveaway.

“I can’t get a gun license,” he explained, “because I’m mentally ill. They say schizophrenia.”

I asked if he heard voices and he answered, “Yes. Some good and some bad. I’ve heard God telling me to stay on the righteous path.”

The sidewalk in front of Grace Baptist was covered in thick ice that a team of men and women was working to clear. They had sledgehammers and shovels. I approached a young bearded man in spectacles and offered to help. His name was Daniel and he said he was expecting us.

The conversation quickly turned to soul-winning - Grace Baptist’s primary pursuit.

“It all boils down to: Where are you going to go when you die?” Daniel preached. “If you are trusting in anything other than Jesus Christ - church, work, being a good person - you’re trusting in something that doesn’t have the power to get you to heaven.”

The Grace Baptist congregation believes in a strict and literal interpretation of the Bible - the only source of truth. “I don’t base what I believe on my feelings. A man’s heart is desperately wicked above all things. I can’t trust in what I feel.”

And then the big question came, as it would again and again that weekend: “Have you been saved?” 

There was an urgency to the question that seemed out of place in this quietly rusting town. It was a question that obliterated all the dreary and mundane elements of life: shopping for groceries, brushing teeth, paying bills. To Daniel and his fellow soul-savers, Troy is a city at war and they are soldiers for Christ—heroically fighting the devil every day for the souls of mankind.

It was appropriate then, for these Christian soldiers to be led by a former Marine. Pastor Koletas approached with an outstretched hand and a broad, eye-creasing smile. Even though he now makesde his living as a court reporter, the Pastor’s handshake was still Marine standard issue: extra-firm. 

I wanted to know: Would Jesus ever use a gun?

The pastor thought a moment. “I don’t think so, because as God, he doesn’t need a gun. He can command anything and it would happen. But, all of his followers carried swords for three-and-a-half years, and not one time did he tell them to put those swords down. The only time that Jesus told Peter to put his sword back was at the very end. That was because Jesus came to die on the cross to pay for our sins and he did not want Peter to get in the way.”

“Why did Jesus want them to have swords?”

“For exactly what we need guns for—for personal protection and to protect our liberties… All you have to do is read 1984 to know what’s going on in this country.”

That night, Giles and I downed sake in a gaudy all-you-can-eat sushi bar with rainbow-flashing lights, neon flowers, and metallic wallpaper.

“I got saved today, man!” Giles the atheist exclaimed with a maniacal grin. 

“What happened?”

“Well, Rich back there in the church said, ‘Are you going to go to heaven or hell when you die?’”

“I said, ‘I don’t know where I’m going to go. I sin quite a lot actually.’”

“He said, ‘I can save you from going to hell right now.’”

“I go, ‘How long will it take?’”

“He goes, ‘Couple of minutes.’”

“I said, ‘I’m in!’”

The next morning, we were first in line to enter the raffle. Giles swore giddily that if he won the rifle he would stalk into VICE headquarters and shoot up the ceiling in celebration. I was tempted to write his name on my ticket too, just to increase the odds of seeing him do it.

As we waited for the event to begin I headed to the refreshments table for donuts and coffee. Wandering back through the crowd, I saw a women clutching a Ziploc bag full of shell-casings. She teared up as she explained that they were the last rounds her father had ever fired, during target practice before dying. I talked to Rich about his salvation—how he had led an empty, hedonistic life for ten years before accepting Christ. His rebirth had felt like layers of dead skin falling off. I chatted with a soft-spoken former Marine Sergeant about incorporating a literal interpretation of scripture into modern life. “The Bible says if your wife is unfaithful, she should be stoned,” he explained. “Obviously, the law says you can’t do that. How do you deal with that kind of question? I don’t have answers for that.”

Then, I heard music—tender, flowery voices singing, “Nothing but the blood of Jesus.” I sat in a pew and studied the scene before me. An American flag hung behind the altar. There was a simple wooden cross flanked by the words of the First and Second Amendments under which were donation baskets in the form of empty .50 caliber ammunition cans.

The guest speaker Dr. Bob Grey took to the podium first to a loud round of applause and shouts of Amen from the crowd of 150. The church held twice the number of parishioners as a typical Sunday. The Texan announced that he was in town promoting Rick Perry for president. He called the politician, “the greatest man I know!”

Grey warmed up the crowd with a joke about a man’s wife dying on a visit to the holy land. The man was asked whether he wanted to have his wife buried there or shipped home. He chose to have her shipped home, saying, “Last time they buried a guy in the holy land, he rose in three days, and I’m not taking any chances!” The audience ate it up.

There were a lot of jokes, but every joke was followed by a serious message, spoonfuls of sugar to help the medicine go down. “Hell is very real, my friends,” he reminded us. “There is evil in the world.”

At hour three, Pastor Koletas took to the podium again to offer us all salvation. “Have you accepted Jesus Christ as your Lord and Savior?” As the music swelled, a wave of parishioners surged up the aisles, throwing themselves down before the altar. I saw the Pastor step away from the podium, and I knew he was coming for me.

I had a vision of myself as a child standing in a field, waiting. I had believed with absolute certainty that if I stayed in that field long enough, God would speak to me. I think I even shouted, “I am here!” I waited for hours, as the sun set and the stars came out. I heard nothing. I saw nothing. I left that field and I never went back.

“Roc,” the Pastor called to me, hand outstretched, “would you like to be baptized just like Jesus was?”

I thought about the child I had been. If even for a moment, I wanted to feel what the Pastor felt, what Daniel felt, even what schizophrenic Terrence felt. I said, “Yes.”

Behind the altar, I stripped and donned a blue smock. A smiling woman gestured to a curtain. I passed through and stood before the congregation. The Pastor was waiting below in a blue pool, up to his chest in water. Like a fly fisherman, he wore waders over his suit and tie. Once again, Koletas extended his hand to me. The water was warm like a bath.

“Bend your knees,” he instructed. “Cross your arms.”

I felt his hand on my forehead. I felt the room swing back. I felt the water rush past my body. And that was all I felt.

I changed back into my suit. Rivulets of water trickled down my neck as I found my seat again. Everyone shook my hand and congratulated me the same way they would soon congratulate the winner of the AR-15.

When it was time for the raffle, Pastor Koletas announced that the church retained the right to disqualify any winner with questionable character.

“If your name is Hussein, or Karim, or Mohammad, you may not qualify! If you are friends with the missing link, you definitely won’t qualify!”

“However,” he continued, “if everyone at your wedding sat on the same side of the aisle, you may qualify! If your horse can count higher than you, you may qualify! If you think the last four words to the national anthem are, ‘Gentlemen, start your engines!’ you may qualify!

A young girl was selected to pick the winning ticket. Koletas read the name: Ron Stafford.

As the 42-year-old salesman from Schenectady strode up to receive his prize, the congregation stood and cheered. They were allied with what they believed to be the most powerful force in the universe—a mighty, yet intangible God who none of them had ever glimpsed. Every man, woman, and child was riveted by the sleek, black body of the gun held up before them: power they could see with their eyes and touch with their hands.

Roc’s new book, And, was released recently. You can find more information on his website.

The National's Matt Berninger and His Brother Taught Me How to Be a Brother

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Tom and Matt Berninger. Photo by Taylor Girouard

My house was overrun with people when I sat down to watch an advance copy of the National’s new documentary, Mistaken for Strangers. I live with five other people. At the time, someone’s boyfriend was staying over. So were two friends from back home in Oregon—one was sleeping on the couch, the other was holed up in my walk-in closet. None of them cared much about the National, their brooding indie rock, or the new documentary made by the ten-year-younger brother of the band's lead singer, Matt Berninger.

When I put the movie on in my living room, a few people were cooking dinner in the kitchen, another was writing his resume, and a pair was in the shower together. After 15 minutes, they had all sat down to watch. By the time Mistaken for Strangers was over, the couch was full—a half-cooked meal was on the stove, and the couple from the shower were wrapped in towels, air-drying next to me.

I sat down to watch the movie because I love the National. But the reason my roommates got sucked in was Tom—the movie’s director and Matt Berninger’s little brother. Nobody is as vulnerable and real as Tom—he puts on display all the embarrassing stuff that the rest of us spend our lives trying to hide.

While Matt was drinking wine on stage in front of packed stadiums over the past decade, Tom was still living with their parents in Ohio. While Matt was opening for President Obama, Tom was making low-budget slasher movies with his friends. While Matt released a string of critically-acclaimed albums, Tom wasn't even listening. He liked Judas Priest.

Matt made sporadic attempts to stay in touch—like late night phone calls from France—but the brothers lived in two separate worlds. In 2010, Matt wanted to reconnect, so he gave Tom a job on the band’s European tour. The little brother would be like a personal assistant to the band members. Tom told Matt he was going to film a documentary about the National. But he made himself the star.

I could relate to the two brothers—Matt left home for college when Tom was nine. My own little brother, Larkin, was ten when I moved to New York City. After I finished Mistaken for Strangers, I drunk-dialed Larkin in Oregon and asked if he wanted to skip a week of middle school and help me interview Tom and Matt.

Two days later, I picked Larkin up at the airport and we went to sit down with the Berninger brothers. They gave Larkin advice on staying in touch after the older brother leaves home, how to pick up high school girls, and the importance of not giving a fuck.

VICE: Larkin was ten when I left for college. Matt left when you were that age, Tom. Was that hard on you?
Tom: Honestly, I didn't even register it at first. I mean, I guess I was sad.

Matt: It was harder on me than it was on you.

In what way?
Before I moved away, Tom was always a close confidante—somebody that would listen to me. It was fun to have someone that just look up to me. And then I went off to college and I was a small fish, and Tom wasn't around.

The other four guys in the National are all brothers. They had each other. When the band started touring, I would call Tom from random places and be really depressed. I maybe missed him more than he missed me.

Tom: I would never call Matt. He would always call me. He'd be overseas, and I'd think it was so cool that he was calling me from France or something. Little did I know that he was on a month-long tour, playing in crowds of five or ten people. He had to talk to me to get his mind off of playing in front of nobody. To feel like he was home.

What's it like for brothers, reconnecting as adults?  
Tom: I think once Larkin hits 20, you'll realize how different you've both become. You'll get back together, but the differences will really start to show. Around that time, I became my own person. I started liking metal.

Matt: I tried to get him to listen to the Smiths, and I think he started listening to AC/DC to spite me.

How was it for you, Matt, to see Tom grow into his own person?
Matt: When I asked Tom to come on tour, I wanted him to be what he was back then—a guy that would listen to me pontificate and vent. But he wasn't that. He wasn't that little kid anymore. He was an adult. He swam through the world with a completely different stroke than I did.

There was a lot of tension. I was trying to make him more buttoned-up because I am more buttoned-up. But I learned that I had to stop trying to shape him. I stopped trying to get him to listen to the Smiths, and I started listening to AC/DC a little bit.

After a while, I realized—thank god—that Tom's got a different way of being in the world. Thank god he's more buttoned down. Thank god he's less like me than I wanted him to be.

Larkin is very smart, but he's also super quiet.
Matt:
That's the opposite of Tom. Tom's really loud and dumb.

Tom just doesn't give a fuck. Even in the movie, he's completely out there—completely himself, for better or for worse. Do you think that's a way Larkin should try to be?
Tom: My not giving a fuck is a fairly new discovery. It was in my late 20s, right before I started making this documentary, that I stopped caring. I stopped letting myself feel bad. I was suffering from a lot of depression. I was on all sorts of drugs—

Matt: [to Larkin] He means antidepressants.

Tom: Right, not the good drugs.

Matt: That's terrible.

I blame Larkin's impending drug issues completely on you.
Tom:
You guys are from Oregon—come on. Anyway, I just stopped caring about what people think of me. I made a mental note to stop feeling bad about myself. I still suffer from depression every day, but there was a shift—now I'm just going to act the way I want to act. I'm just going to say what I want to say.

I used to be afraid to fail. It paralyzed me. When I starting making this movie, I had a whole mess of footage. I didn't have a direction. But there was something there, and I refused to let myself feel bad. I turned the footage into something.


Matt and the author hugging their respective younger brothers. 

You have any advice for Larkin, Matt?
Matt: I don't think you should try to shape yourself into a different person. But conversely, you should push yourself to do things that you're nervous about. The biggest one is going up to the person you're attracted to and asking him or her out on a date. Honestly, that's the hardest thing in the world to do. Nobody's actually good at that. But you do it anyway. You have to do it anyway.

Larkin: OK.

Matt: Don't try to change yourself, but take chances. Don't worry about failing, or falling on your face. Don't be somebody you're not, but work hard and accept failure as another step forward.

You will get knocked down by a million things in the world, whether it's a girl in high school or a failed project. You'll get rejected nine times, but the tenth time you won't. And all those times you got knocked down helped you figure out how to stand up that tenth time.

Larkin: OK.

That's the brilliance of Mistaken for Strangers, Tom. You aren't afraid of showing your missteps or little failures. That vulnerability is what kept me so engrossed. It sucked in all my roommates, too. Even those that aren't fans of the band.
Matt: We've heard from a lot of therapists that the movie is being buzzed about in those circles. There's so many people that have so many insecurities, especially in relation to their family. This film is about all of that.

You're supposed to be 30 and know what you're doing. You're only 14, Larkin, but you might get to 30—or to my age, 43—and still feel lost. That's something about the film that I like. Everyone stays a little lost their whole lives.

You're not going to figure it all out. You're not going to put all the pieces together. But that's the fun of it.

Larkin: OK.

Tom: You will figure it out to a point, but there's still a giant unknown. That's just adulthood. I really found a voice with this film. It wasn't what I thought it was going to be. And it's scary—I still have to figure out what I'm going to do next. Becoming an adult is very weird.

Thanks for talking to us, guys. It's inspiring to see how your relationship as brothers has evolved as you've grown up, but you're still close.
Matt: Tom lives in my garage!

Tom: Hopefully not for much longer.

I'd love if Larkin moved in with me as an adult.
Matt: I'd rather have Larkin living with me, too. [Laughs]

We can trade. Larkin, you're going to live in Matt's house now.
Larkin: OK.

Follow River Donaghey on Twitter.

Mistaken for Strangers will be in theaters, On Demand, and on iTunes today. You can find theater listings and links to digital downloads at the official website.

If you are completely obsessed with the movie, and truly can't get enough, you can follow it on Twitter and Facebook for exclusive content and updates.

Relationship Advice from Fat Tony

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Photo by David Williams

I sat across from rapper Fat Tony in a small bedroom nestled in the back of a nearly empty house in Austin, Texas. The room was bare, except for a bunch of cardboard boxes overflowing with Huf T-shirts printed with images of pigs fucking in various karma sutra positions. I asked the Houston-born MC if he had any good relationship advice, because that's something rappers are great at. “No lie, like real shit, I was actually giving some earlier,” he said to me. He started telling me about a friend who was “interested in this girl’s friend, right? But he didn’t know the friend’s name and he didn’t know how to tell this girl, 'Hey I want you to bring your friend to this party tonight.'”

Tony knew what to do. He told his friend, "Man, I think you should just inquire if she’s bringing anyone at all. Just say, ‘Hey who are you going with?’ So it doesn’t seem like you’re reaching to try to get to her friend.” The strategy worked. “She was just like, 'Yeah I’m going with such-and-such.' And he was like, 'Perfect! I’ll see you there.' Pow-pow."

So Fat Tony is a quick-witted rapper and a matchmaker: He's released two solo albums, won the Best Underground Hip-Hop award from the Houston Press for the past three years, and is currently studying for a degree in communications from the University of Houston—but building serious, loving relationships might be his most practical talent. At the very least, it’s one thing he’s got over Kanye.   


Photo by Nash White

VICE: When’s the right time to write a song for a girl?
Fat Tony: Shit. I would save that for somebody who you really feeling something for. I would at least wait for a few fights, so you really have something to write about. Otherwise, it would just come off as trying to be all fake-ass Romeo singing-love songs-from-the-jump. And that would be lame. It’s like, Do you really feel this way? You don’t even know me yet. Maybe it’s different if it’s a real-ass song like, "Yo I just like you and I’m just getting to know you. I don’t know if I love you yet, but maybe I could." That might be a good song. She'd be like, Damn this fool is so honest.

Do you remember your first girlfriend?
Hell yeah, I was 14. I was a straight up, hard-core nerd in middle school. I was into the internet, into IRC, light-weight into animé, super into video games. Just whatever nerd shit was going on. Movie trivia, the music nerd trivia shit. I knew every producer, every studio, all that shit. So I wasn’t really tapping into girls the way I would later on in my life, but when I was 14 I met this Vietnamese girl and we hit it off because we were both super into nerding out on the internet. We spent a lot of our time either going to the movies, talking on the phone, or on AIM or some kind of weird chat thing.

But not in person?
We were only in person at the movies. I never went to her house. She never went to my house, but the movie theater was our one time to hold hands and kiss each other on the cheek.

Any making out?
We were not making out. I was so innocent. I was a good boy. Weed was bad. Drinking was bad. I was really into music and being my idea of cool and smart, but I wasn’t fucking around. Up until I first had sex, I hadn’t done shit. I hadn’t made out with anybody, never seen nobody naked, never done anything. I’m talking about period. I did it all in one shot. I was hyped on it and then when I did it, everything changed.

How’d it go down?
I was with this girl who was a little bit older than me. She was in college already and I was 17. She just put it on me. We were dating and we talked about how she had been experienced and I was like, "I haven’t really done it, but I’d like to. I read about it." She was like, "Alright, are you ready? Today we’re going to do it." I was like, "I’m ready, I’m going to fucking do it." My best friend back in high school gave me a condom and was like, "Yo man, this is for you." I took a shower when I got home from school and was thinking I’m about to fuck, I’m about to do it. When I did, it felt so natural. There is so much hype and nervousness built up being a teenager before you’re really intimate with somebody, but once I finally did it, it all went out the window. I had a whole new swag. I could rest at ease. I wasn't a virgin anymore, everything was going to be all right.

Were you anxious about your virginity?
Pretty much by the time a boy hits 12 he’s just trying to do everything he can to not be a virgin. I was probably one of the last few of my close friends that was a virgin—or so they say. You never know who’s telling the truth. I found out that a friend of mine who was always talking about how he had mad girls at different schools and was fucking and fingering girls is actually gay. He was like, "Yeah, I was lying about all that." You never really know, but as far as I knew back then, I was one of the last Mohicans in the virginity land.

What’s your ideal date?
For first dates, I want to do something a little bit different where the girl is surprising me. I’ve been on dates where girls want to go out of town or something on a whim, a little bit more than just dinner and a movie or the museum or whatever. I like the traditional stuff, but when that X-factor comes in, when that spice comes in, that’s when I’m like, Whoa, this might be a cool girl right here. When I’m knee deep in it, my ideal date is being in the comfort of our home and relaxing. That’s when I’m most at peace. I like doing the niceties like going to a nice party or restaurant where we dress up, but I feel like when y’all are not wearing makeup, in your regular clothes, in a comfortable zone—that’s when I really feel like, Yo, this is peace.

Let’s say you’ve been seeing someone for a while. How do you keep the relationship hot?
It should be pretty spicy the whole first year. The first six months is like a continuous series of firsts. First date, first time you saw his parents, first time meeting somebody’s friends... At that six-month point you’re like, OK, I kind of know this motherfucker. By a year, it’s like, I’m really getting into the groove of knowing who you are—the good, the bad, the ugly. But things to spice it up? I’m a big fan of traveling. So if I’m dating a girl for a while and I want to see if we can take it to that next level, I try to take us out of our comfort zone. Let’s not go to a restaurant or the movies. Let’s go to Alaska, let’s go to California, let’s go to Mexico, let’s go to Montreal. Just add a new environment and see a whole new side of the person. Everything is so subjective and particular that I think you really need a whole series of experiences to get to know somebody and that’s what keeps it interesting: Getting to know somebody. Being like, I don’t know what’s going to happen next—that’s exciting.

Have you taken any chicks on trips?
Hell yeah. Me and my girl go on mad shit. Even when we first started dating we went to California, we went to Austin a bunch of times.

Your girlfriend right now?
Yeah. We’ve been together mad long, like five years.

So you’re basically married.
Basically, yeah.

Do you want to get married?
I do for the legal reasons and the benefits and the tradition of it, but I personally don’t feel like I really need that type of validation for myself or us. That’s something that we both want to do for the legal benefits because the sentiment is already there. It’s just a nice way to celebrate it, but it’s not going to define us. I wouldn’t feel differently being with the same person for 20 years if we were married or not.

Any last essential Fat Tony advice?
Before you try to love somebody, you need to love yourself. Don’t try to be in a situation with somebody until your own situation is straight.

Follow Lauren on Twitter

Cry-Baby of the Week

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It's time, once again, to marvel at some idiots who don't know how to handle the world:

Cry-Baby #1: Caprock Academy

The incident: A girl shaved her head to support her friend with cancer. 

The appropriate response: Raising some money to donate to charity on her behalf or something.

The actual response: She was suspended from school.

Kamryn Renfro is a nine-year-old girl in Grand Junction, Colorado.

Her best friend, Delaney Clements, has for several years been battling neuroblastoma, a type of cancer that affects children. 

As a result of her cancer treatment, Delaney lost her hair—omething that she's not too psyched about. "People would sometimes call me a boy even though I was all dressed in pink," she told CBS News.

Because Kamryn didn't want her friend to "feel left out," she decided to shave her head too. 

"She was like, really excited, and she was jumping up and down that I did it," Kamryn told USA Today.

But the staff of Caprock Academy, the school that Kamryn attends, was not quite as excited. When Kamryn arrived for classes on Monday, she was told that her haircut violated the school's dress code was and turned away from her classes.

That evening, Kamryn's mother, Jamie Renfro, emailed the school explaining why Kamryn had shaved her head. But, she says, a member of the school's staff responded by phone, telling her that Kamryn would not be allowed to return to school until her hair had grown back.

As is often the case with these kinds of stories in which zero-tolerance policies trump common sense, the school changed its mind once the story received national attention. In a special meeting on Tuesday, the school's board of directors voted 3–1 to allow Kamryn to return to classes. Local news coverage of the meeting didn't specify what the fuck was wrong with the one person who voted against Kamryn's return. 

Cry-Baby #2: Walnut Grove Elementary School 

The incident: A woman consoled her autistic child, who was having a panic attack in class.

The appropriate response: Nothing. 

The actual response: She was arrested for trespassing on school property. 

Last Thursday, Niakea Williams (pictured above) received a call from a teacher at Walnut Grove Elementary School in Ferguson, Missouri.

The teacher told her that Michael, her autistic son, who is a student at the school, was panicking in one of his classes.  

Niakea rushed to the school.

As the staff there know Niakea, she was buzzed into the reception area upon arrival. 

"I saw a teacher, and she said, 'Ms. Williams, what's wrong?' I said, 'Something is wrong with Mikey,' and proceeded to go straight to my son," Niakea told KMOV St. Louis

Niakea says that she then went to her son's classroom, where she found him having a panic attack. She immediately started to console him. 

The school's principal then allegedly entered and told Niakea that she'd violated the school's visitor policy by not signing in at reception. "I didn't sign the book, but I had to check on my son," said Niakea.

Niakea says that she told the principal to bring her the sign-in book, but was told that the school had already called the police. According to Niakea, the principal knows who she is. She claims they'd even had a meeting the day before the incident. 

Calverton Police sent four officers to respond to the call, which was processed as an "unauthorized entry to a school." The school was also put on lockdown for 12 minutes.

"They escorted me away from my son, who already had emotional distress. Four officers told me to turn around and put my hands behind my back," said Niakea. 

Niakea was taken to the police station on trespassing charges and released shortly after. Speaking of the incident, she said, "I feel like today I got arrested for being a concerned parent of my child."

Which one of these schools is the bigger cry-baby? Cast your vote in this poll down here:

Previously: A school who suspended a girl for stopping another student from self-harming vs. a school who banned a bullied child from bringing his My Little Pony lunch bag to school

Winner: The self-harm school!!!

Follow Jamie on Twitter.

This Guy Runs the World’s #1 Tim Horton’s Fansite

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Screenshot of an actual post on Inside Timmie's. 
The internet is full of bizarre surprises that are so outlandish, they’re hard to take seriously. Think: Most WorldStarHipHop fight videos, or the website that inspired Eli Roth to make Hostel. A few weeks ago, we discovered something not nearly as dark, but certainly as hard to believe: a Tim Horton’s fansite called "Inside Timmie's," as if there is some kind of investigative reporting to be done within the ranks of Canada's most nationalistic coffee franchise. Inside Timmie's tackles hard-hitting topics related to Canada’s most insufferable "cloaked-in-the-flag" brand, complete with breathless reports on their new uniforms, and reports on whether or not your Crispy Chicken Sandwich is as crispy as their commercials claim they are. The blog generally sings the praises of a company that gave Canadians such glorious gifts as sandwiches that taste like cardbord with mayo on them, and cartoonishly atrocious coffee lids.

The site is full of the kind of earnestness that makes it hard to fathom that a real, live human is behind it (many of us at VICE Canada HQ suspected it was a clumsy attempt at subversive marketing), so we contacted the owner, Ian Hardy, to ask him why he chose to become the webmaster of a Timmie’s fan club, whether or not he’s on the Tim Ho’s payroll, and other important topics of conversation.

VICE: How are you?
Ian Hardy: I’m living the dream.

Let’s cut to the chase: Is this branded content?
What do you mean? It’s a website that I started because I love Tim Horton’s. Everything that I write is unique or I find it or I created it.

You decided to create this independent of Tim Horton’s?
Oh, yeah. But Tim Horton’s knows about it. And so does their PR agency, but they have no affiliation with it at all.

Why Timmie's? Is it something to do with the Canadiana aspect of the company?
Well, yeah. I started drinking Tim Horton’s a few years ago, maybe 10 or 15 years ago—with their steeped tea. I became really addicted to it. I’m not really sure what they put into it, but I keep going back. I think there’s something in that steeped tea that keeps me spending $1.60 every single day, so… I just keep on drinking and I enjoy it. And of course, as a proud Canadian, I like to support the company.

How and why do you think Tim Horton’s represents Canada?
I think Canadians have a deep cultural love for hockey and Tim Horton himself. The guy played for the Maple Leafs, the company started in Hamilton… there are deep, deep Canadian roots and connection to our culture. Hockey, Tim Horton's, the concept of taking the kids in the car to the hockey game... there’s a number of things that make Tim Horton’s really special and why Canadians love it so much.




What’s your day job?
I run other websites. One is MobileSyrup, which is a website dedicated to Canadian telecom and another one is a website called BetaKit. It’s a site on Canadian start-ups.

How much time a week do you devote to Inside Timmie’s?
Maybe an hour to two hours. It’s really just a hobby.

What do you friends think of it?
I kind of have some fun with it. Some of the reviews I do—like the most recent chicken burger, I take a measuring tape to it—so I try to have some real fun with it. My intention is not to make money off it, it’s more of a fun, creative outlet. But if they think it’s funny that I’m doing reviews of a muffin or a chicken sandwich, like who else would take a tape measure to measure the size or the weight of a chicken burger?

[Laughs] Do any of your friends think that it’s a little, uh, crazy?
I would think some of them do, but they know it’s all in good fun. It’s a lot of fun. It created an outlet that feeds my obsession.

Do you get fanmail?
I just really started it to be more devoted to it about two months ago when I rebranded the site, so now I do get a few emails a week. Some people come to me complaining about why Tim Horton’s took some things off the menu recently, so there’s a lot of good things and a lot of weird things that people send me. For example, some people were really upset about why Tim Horton’s stopped carrying gingerbread, or the way Tim Horton’s started cutting their sandwiches. Fascinating stuff, really. [Laughs]

What’s your favourite product other than the steeped tea?
The honey cruller. There’s actually honey in that thing.

What would you say is the coolest thing that’s ever happened inside a Tim Horton’s?
I’ve heard people have gotten their wedding pictures there, which is completely bonkers to me.

[Laughs] So do you draw the line somewhere.
Usually when people take wedding photos, they go to a nice flowerbed. These folks went to a Timmie's. It wouldn’t be my personal choice, even though I’m really addicted to it, mainly because my wife wouldn’t want it there… but… some people do. I’ve seen a Tim Horton’s tattoo, I’ve seen nail art. And the most obscure thing that I’ve ever seen, I’m not too sure why people don’t stop before they get to the door when they’re doing the drive-through. I keep posting these articles like, "Another car smashes into a Tim Horton's." I don’t understand it. I think I’ve written maybe four or five articles of cars smashing through the front doors of a Tim Horton’s.

What’s your favourite Tim Horton’s location? Where is it?
I live in Toronto’s Bloor West Village, but I go to the same one everyday. I don’t even need to speak to them, they know what I take. I go there, I get a steeped tea with two milks and two sugars, and a coffee for my wife.

Do you have any tips on winning Roll Up the Rim?
I don’t. I wish I did…but my record is like four for 44 now. And I’m counting.


@jordanisjoso

Nighttime of the City

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Illustrations by Domitille Collardey. Story © Robert Coover, published with permission.

Robert Coover is a brilliant fiction writer who's best known for the classic, The Public Burning. His new novel, The Brunist Day of Wrath, comes out April 1, and it's a sequel to his 1966 debut, The Origin of the Brunists. You may be wondering: Why did he wait so long to write a sequel? Is it possible to enjoy the new book without reading the old one? What's a Brunist? Relax, who cares, do whatever feels right, and read this new short story Robert just sent us.

She drifts through the bleak nighttime of the city like an image loosely astir in a sleeping head, disturbing its rest, destined for the violent surreality of dreams. She wears a belted black trench coat, a black silk scarf around her throat, a black felt hat with a wide pliable brim shadowing her face. Streetlamps mark her isolate passage, drawing her out of the velvety dark and casting her back into it, until, under one where she is expected to appear, she does not. Nor is the clocking of heels on wet pavement now heard. There are echoey calls and whistles, as from hungry men, but none are seen, nor is she. As if by a conjuring, a man wearing a black narrow-brimmed fedora now appears under the streetlamp that had been awaiting her arrival, his belted black trench coat not unlike hers, black silk tie and white collar at the throat. Somewhere there is a menacing rumble as of a train passing underfoot or overhead. As it fades away, the man withdraws a pack of cigarettes, taps one out, fits it between his lips, drops the pack back in his pocket, lights the cigarette inside cupped black-gloved hands. His sharp cruel features are briefly illuminated. Then, hands in pockets, cigarette dangling in the shadows beneath his hat brim, he slips into the dark space she was last seen entering. Distantly, a siren can be heard, rising, falling. She reappears, stepping into the damp light, then continues on into darkness, into the light of the next streetlamp, into darkness, light, gone again. A second man appears under the streetlamp toward which she had last been moving, dressed like the first. The soft muffled rumble, ominously coming and going. He cups his gloved hands, lights a cigarette, disappears into the shadowed space she last entered. Faint wail of a distant siren. After it fades to silence, she reappears, moving from streetlamp to streetlamp as before. The two men, thought dismissed, if they be they, have also returned, cigarettes burning beneath their hat brims, and they follow her at the distance of a lamp, visible, then lost to sight, as she is visible, lost to sight. She pauses under a lamp. They pause. There is a third man already standing under the next one, his face in shadows. He cups his gloved hands, lights a cigarette. The wings of his white collar gleam at the margins of his black silk tie like place markers. She turns back: The other two are silently watching her. She steps into the darkness. Hat brims lowered, they follow. There is something like a sighing wind, rising, falling, and the streetlamps brighten, dim again. Behind them in the darkness, nothing can be seen or heard, but for what might be the scurrying of vermin, the icy clicking of knife blades opening. But then a bottle shatters explosively against a brick wall, and there is suddenly a blazing light, revealing an alleyway heaped with headless corpses clothed in black. Not far away, tires are screeching, cars crashing, and something like screams that are not screams rip past and fade again. She rises impassively from the pile of bodies, and as the headless men also slowly rise, she reaches up as if to pull down a window blind. As her hand descends, darkness does as well. Silence.

She enters an elegant white-marble bar filled with men, some headless, some not, those with heads wearing black fedoras, lit cigarettes in the shadows beneath their brims. There are mutterings, the scratch of matches, clinking glasses, chairs scraping, all fading as she enters, a glacial silence falling. She crosses the white room under her broad-brimmed black hat, hands in trench-coat pockets, black heels ticktocking on the marble floor, toward a black-leather door at the other side. The men, those headless, those not, their white shirt collars crisp and gleaming, rise to follow her. She pauses at the door as the men gather menacingly around her; then she opens the door and steps into the next room, the men pushing through behind her. But only she arrives on the other side, a severe and solitary figure as before. It is a glossy white-marble bar much like the other one, with motionless men scattered about, some with heads, some without, faint barroom sounds fading away to a taut silence. Her measured tread on the marble floor fills the silence the way a heartbeat might resound in a hollow stone breast. A headless man rises to block her passage, two men with heads and hats, cigarettes aglow beneath the brims, a second headless man, a third. She passes through them as though they were not there to the black-leather door at the other side, where she pauses. The men crowd up around her, threateningly as before. She steps through to the next room; they step through. But only the men arrive on the other side. They stumble about in seeing and unseeing confusion, knocking over tables, chairs, each other. They turn back toward the door. She is standing there, just beyond the threshold in the room that they have left, scarved and hatted. She closes the door. They press against it, pounding on it silently or on each other as darkness descends.

She moves down a dark street lined by parked cars, her way lit only by the occasional streetlamp, each dropping a small puddle of wet light for her to step through. As she passes, headless men and others with heads in black fedoras step out of the parked cars and follow her in and out of the light of the lamps. She turns down an unlit alleyway, heels clocking hollowly, now little more than the shadow of a moving shadow, the men behind her jostling one another between the dark brick walls, their shirt collars eerily luminous. Where the alley opens out onto the lamplit street, she pauses. Behind her, the walls of the alley, grating harshly, slam together on her pursuers. She crosses the empty night street (distantly, sirens cry and fade away) to the next alley, followed by another lot of men in belted black with and without heads and hats, many emerging from parked cars, streaming in from all directions. This time, at the far end, she turns to watch impassively from under her wide soft hat brim as the brick walls crash shut.

In the docklands, they follow her out to the end of the pier, her heels thudding on the wet wood to guide them in the dark. Some of them are now pressed flat, looking like paper cutouts of men in belted trench coats, some of these with heads and hats, some also without. She steps silently aside. The headless ones, unseeing, both flat and full, tumble off the end of the pier, and those with heads, pushed along by the confused headless ones, tumble in, too. The water is soon filled with drowned men. The flat ones float on top along with bobbing fedoras, their bodies rippling rhythmically as the waves roll under them and softly lap the pier.

In the railyard, she crosses the tracks in total silence, the hatted and headless men following, the flat ones wrinkled and waterlogged, the full ones bloated, and they are crushed by a train roaring suddenly out of the night.

She stands in pale light against a brick wall as if pinned there, her face shadowed by the wide soft brim of her black hat, hands in her black trench-coat pockets. Somewhere, hungry men are growling and muttering. Her shadow darkens in contrast to the rapidly brightening wall. She steps out of the dazzling light as the men pursuing her step into it, and a large truck, horn blasting, tires screeching, crashes explosively into the wall, its own headlights extinguished by the impact, dark descending amid an invisible rain of falling brick and felt fedoras.

Everywhere there are men under streetlamps, stepping out of parked cars, those with heads lighting cigarettes, all of them roaming the docklands, moving in and out of bars, patrolling the railyards, and scurrying—seeing and unseeing—through the bleak labyrinthine streets of the night city. There is an occasional ominous rumble, underfoot or overhead, and the distant wail of sirens can be heard, the crumpling of crashing cars, the muffled kerwhumps of dull explosions. Also, from time to time, never far away, the echoey hammering of heels on pavement, which causes the men to pull up short, cock their ears if they have them, turn toward the clocking heels, then continue, redirected, when they stop. The men are headless or else they wear black fedoras, brims pulled down over lit cigarettes; they are wet and ripply if flat like cutout men or bloated if not, and all now carry silvery handguns in their black-gloved hands. Remotely, shots can be heard, the whine of ricocheting bullets. Sometimes a man falls clutching his chest, but after a moment rises again to continue his mazy pursuit. Drawn by the pulsating footsteps, the men converge upon a small barren lot from which lamped streets radiate damply in all directions. She appears out of the ubiquitous shadows, first in one of the wet streets, then another, the men firing upon her wherever and whenever she is seen. She appears in two streets at once, dually approaching the men in the empty lot, then three, five, eight, all of them. There is a rattle of gunfire in all directions, the glittery shattering of glass, the dull thuck of bullets striking bodies; she is fragmenting, disintegrating in all the streets, while the men—flat, full, hatted, headless—topple, one after another, surrendering their small measure of dignity to the black city streets. She walks, whole again, among their sad crumpled bodies, glass crunching underfoot; then, as the streetlamps brighten briefly, only to fade again, she disappears into the descending night. The men are all dead. No, they are not. They rise once more, step under streetlamps, light cigarettes in cupped black-gloved hands, tug their hat brims down if they have them, adjust their black silk ties in their gleaming shirt collars, cock their ears. In the silence, the clocking heels resume.

 

The VICE Podcast - Stop Sending Your T-Shirts to Africa

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This week on the VICE Podcast, Reihan Salam sits down Nigerian-American journalist Dayo Olopade to discuss her new book, The Bright Continent: Breaking Rules and Making Change in Modern Africa.


306 Academics Are Concerned About Canada’s Sex Work Laws

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Image of Valerie Scott, via Wikimedia Commons
Prostitution and sex trafficking are keeping headline writers in Canada busy these days (see: herehereherehere, and here).

This week, CBC has been on a sex trafficking news rampage, with broadcast and radio pieces, and a horde of online articles, including thisthis and this, to list only a few.

And on Tuesday, Conservative MP Joy Smith, a slavery abolitionist, fired back at National Post columnist John Ivison for suggesting that her recent report on prostitution laws, The Tipping Point, where she argues for a prohibition on purchasing sex, is seriously flawed and shouldn’t influence legislation.

Following the Supreme Court’s Bedford decision to strike down Canada’s anti-prostitution laws, the government has until the end of this year to craft new ones. And the debate over their future continues, with hundreds of academics from around the world urging the federal government to fully decriminalize sex work in Canada.

An open letter sent yesterday to Prime Minister Stephen Harper and opposition leaders, is signed by 306 academics who complain that the federal government is “considering the introduction of new legislation to criminalize the purchasing of sex,” which they say will harm sex workers and hinder efforts to combat sex trafficking.

“We are calling on the federal government to demonstrate leadership when addressing these challenging issues by promoting evidence-based laws and policies that protect the safety, health and human rights of sex workers,” the letter pleads.

Kate Shannon, director at the Gender and Sexual Health Initiative based in Vancouver, which sent and published the letter, told me she hopes this letter will “provide another voice in terms of the discussion and the need for ensuring that any changes don’t recreate the same harms that the current criminalized model in Canada has created over the last 20 years.”

Such harms are outlined in the letter, including “increased violence and abuse, stigma, HIV and inability to access critical social, health and legal protections.”

The academics, who hail from all over Canada to Macedonia to Brazil, vehemently oppose the so-called Nordic or Swedish model of prostitution laws, which target the buyers of sex, not those who sell it.

According to the letter, the Nordic model is “not scientifically grounded” and a “large body of scientific evidence from Canada, Sweden and Norway” demonstrates that criminal laws targeting the sex industry, including clients and third parties, violate sex workers’ basic human rights.

Shannon says the Supreme Court of Canada was “very clear in its decision that criminalization was increasing risks to violence, abuse, and other health and social harms to sex workers. And that’s really echoed in evidence that we’re seeing in Sweden and Norway. Norway found rates of violence increased after the implementation of criminalization of clients.”

Another signatory, Viviane Namaste, professor at Concordia’s Simone de Beauvoir Institute, told me “it’s so easy to slip into a moral framework when we talk, especially around sex” and the goal of the letter is to encourage a conversation around prostitution laws that is informed by evidence and not morality.

The letter’s signatories also worry that criminalization of the sex industry will be detrimental to the fight against sex trafficking in Canada. “We know that where sex work operates in a criminalized environment, sex workers as well as those who are trafficked, fear coming forward to report violence and abuse,” Shannon says.

She says that Nordic model advocates tend to conflate sex trafficking with sex work—“the consensual exchange of sex for money among consenting adults”—and this conflation “really pitches everyone as victims and as a result puts sex workers in a really vulnerable position to report violence and abuse.”

The letter points out that in the US, and increasingly in Canada, funds allocated to combat human trafficking are often misused on anti-prostitution enforcement efforts.

So what would decriminalization look like in Canada? Shannon says it would mean that criminal sanctions targeting sex workers and their clients would be removed, and that sex workers would have the same access to workplace health and safety protections found in any other job.

Beyond that, Canada ought to look Down Under for inspiration.

New Zealand made prostitution legal in 2003 and, according to the letter, research shows it did not result in an increased number of sex workers and that sex workers were “significantly more likely to report abuse to authorities.”

“New Zealand is actually a perfect example of decriminalization that we could certainly look to and adapt from,” Shannon says. “In terms of how quickly that will happen, we hope we can at least stop the train that’s moving forward towards the Nordic model.”        


@rp_browne

Are Canada and Russia in a New Cold War?

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With Harper agitating for sanctions on Russia, and a battle for arctic sovereignty looming, could this be the start of a new cold war? Photo via Facebook.
A top Russian deputy in the Duma says Canada is in a new “war without words” with Russia in a return of Cold-War era relations with the former Soviet Empire. As tempers flare between the two nations don’t be confused by one recent Global News report inferring Russian military aggression toward Canada: If you’re hoping to grab your hockey helmet and granddad’s rusty .22 to go guerilla in the woods because of some Red Dawn invasion—don’t expect a war anytime soon. The Crimean invasion of Ukraine shows Russia’s increasing disrespect for Western drawn borders doesn’t mean the Russians are about to start WWIII by fighting a NATO country like Canada, whose very safety implicates America’s own national security.

That being said, things are actually deteriorating between Canada and Russia in the diplomatic arena, which may threaten Canadian national interests down the road. Prime Minister Stephen Harper sanctioned members of Putin’s inner retinue and clamoured for Russia’s permanent ejection from the G8, with the ex-KGB agent responding with his own list of banned Canadian officials. Amidst the sabre rattling thousands of Russian troops are amassing along the Ukrainian border, poised for an invasion, while Polish fears of convenient Russian army “exercises” on the Kaliningrad border are growing.

One concern outside of Europe for Canada is its own, very real geopolitical conflict brewing with Russia over disputed Arctic borders and the race to carve up the natural resources under the ocean crust. One Kremlin insider is touting a list of Putin’s own “red lines” that, if crossed, would trigger a sharp response from the superpower. In an article in Vzglyad, Russian journalist Yevgeny Krutikov cites any further militarization of the Arctic by rival states intended to reduce Russia’s power, as one of those lines for Putin—and that’s a direct gesture to Canada and its powerful NATO allies. Canada has kicked the tires on beefing up its aging navy and expanding Arctic capabilities with stuff like stealth snowmobiles, but it’s nothing compared to Russian resolve. Ironically, while Putin condemns western militarization of the potentially resource rich Arctic, he’s buying super-sized icebreakers, 40 new naval vessels, new nuclear attack submarines, revamping his intercontinental ballistic missile system, and refurbishing old Soviet military bases on the Arctic coast. 

“We are seeing a much more assertive Russia. As soon as that was happening, Canada needed to be prepared for Russia to play hard ball,” says Rob Huebert, an Arctic expert at the University of Calgary. While Huebert thinks Russia has no interest in annexing land that isn’t theirs in the Arctic, they may begin to develop oil and gas along Arctic boundaries they consider their own, without international consultation. The other thing is what Huebert calls increased “securitization” of the Arctic to Cold War levels. In those days, NORAD bombers and anti-ballistic missile systems protected against possible warheads passing through Arctic airspace. “You’re going to see increased military activities in the Russian Arctic, which they can do, and they’ll be apologists about it and say: ‘Russia’s got the right to do it.’”   

Naturally the latest Crimean aggression is making critics wonder where Putin’s appetite for land will lead next, with the Arctic offering the most lucrative option: Estimates state there are currently 90 million barrels of oil sitting untapped in the North Pole, and almost 1,700 trillion cubic feet of natural gas. Like Ukraine, Canada could never pose a serious military threat to Russia. In fact, beyond plans to build a new refueling base in Nunavut for ships (which will only be manned in the summer months), there’s only a training facility housing 150 soldiers in the Arctic. In terms of Canadian Arctic sovereignty, Huebert says Canadians shouldn’t worry, but long-term, Canada needs to start doing “what we say we’re going to do,” or risk land integrity. That means actually building Arctic offshore patrol vessels and finally upgrading the F-18 fighter jets (that’s stalled because of the F-35 fiasco) for effective air patrols, things the Harper government has been promising since time immemorial.

Though Harper may be courting the Ukrainian-Canadian vote for the 2015 election, his tough talk with Russia on Crimea also builds the case for hesitant European allies’ that are dependant on Russian natural gas to think about the Canadian alternative. Although the infrastructure for transporting oil and gas in tankers across the Atlantic Ocean isn’t in place, Foreign Affairs Minister John Baird is touting Canada’s potential emerging market in Europe as the perfect substitute to Russian gas, and another reason to finish work on a west-east pipeline. Slovakia, Poland, Hungary and the Czech Republic have all urged the U.S. Congress to loosen restrictions on the the export of liquefied natural gas (LNG) to Europe to help wean Europe off of Russian LNG, a continual threat to energy security and autonomy in the region.

Whether Stephen Harper’s harsh words for Putin is a principled stance or political manoeuvring, you can’t underestimate the Russian leader. Besides lingering allegations of orchestrating the killing of the Polish Prime Minister and his staff, stealing a Super Bowl ring, and invading two countries, there’s legitimate precedence to believe Mr. Putin is capable of just about anything; so when it comes to the Arctic, Canada will have a front-row seat.


@bmakuch

French Teenagers Hate Each Other, and It's All Kim Kardashian's Fault

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Kim Kardashian is considered the ultimate role model for French Muslim girls who like dating black boys.

Paris is burning, and it's all Kim Kardashian's fault. OK, that's an overstatement, but the city's suburbs have been torn apart lately because of Arab French girls who happen to date black guys and the Arab French bigots who slut-shame them for doing so.

Since we are dealing with teenagers, the full extent of the issue is displayed on social media: Scrolling through Facemook—a sort of Facebook within Facebook, with more than 70,000 members—I stumbled upon countless offensive posts by groups with names such as "Anti beurette à khel" ("No to Arab girls dating black guys") and "Les beurettes utilisent l’Islam pour justifier leurs débauches" (Arab girls use Islam to justify their debauchery).

Clicking through the groups' pages, I realized this has evolved into a sort of modern-day witch hunt: Girls' photos, names, and even phone numbers are posted on the groups' "Timelines," often with humiliating captions. These girls are criticized for drifting away from Muslim traditions and for using something called the "Bilal excuse"—Bilal was the only black companion of the Prophet Muhammad.

 

Girl on the left: "Bilal was black, you racists." Girl on the right: "As long as he’s Muslim, we can suck his dick."

I called up my 32-year-old friend Haissam (whose name was changed to protect his identity), who works for a youth organization located in the northeastern suburbs of Paris. Naturally, he is quite upset to see young people fighting over such insanely inane matters.

VICE: Is this anger directed against Arab girls who are dating black guys a new phenomenon?
Haissam:
I don’t think I've ever come across anything like this. There has always been a rivalry between North African teenagers and black teenagers, but it was more like banter. We knew it wasn’t serious. Today, I see a lot of people insulting these girls.

What is their problem?
They are accusing those girls of wearing too much makeup, staying out late at night, drinking, smoking, and using Islam as an excuse to redeem themselves. They say that these girls go out with young black guys because they think North African boys are too narrow-minded and bossy. When Muslim girls are criticized by their older brothers for their behavior, they'll say things like "He may be black, but he is Muslim, so you can not judge us. Only Allah can judge us," and that makes the bigots even angrier.

Has celebrity culture affected that phenomenon in any way?
Yes. I often hear that these girls want mixed-race children because of celebrities like Angelina Jolie and Brad Pitt. It’s trendy to have a mixed-race family. I also hear that these girls are huge fans of Kim Kardashian, because she’s dating Kanye West, and black men are popular in France thanks to rap and hip hop. Once, a girl told me she thought they were “more stylish.”

Caption reads: "This is now the favorite spot of Arab girls. I don’t know how their brothers and their parents can accept this."

What is the situation like on a daily basis?
If an Arab girl walks with a black boy, they will be pointed at and called names. Some Arab teenage boys see this as a betrayal. A few years back, the problem was Arab girls who dated French boys; they were accused of doing that only to Westernize themselves. Now it’s even worse, though. As this phenomenon is growing, you get black guys fighting back and going around saying stuff like ”We’ll make all your sisters pregnant, and tomorrow Arab boys won’t exist any more.” You can read this all over internet.

I feel that these Facebook groups make the situation even worse.
Yes, social networks exacerbate this phenomenon. It's obvious that it's reached the point of obsession for some, when you see all those pictures of "girls who have betrayed their people" splattered on feeds and Timelines. In real life, where I work, I come across a lot of young people who are completely OK with this situation.

It also appears that at the moment this is a French phenomenon. I don't think it has reached the rest of the world yet. But I’m afraid this will change.

Caption reads: "Arab girls think it’s OK to smoke hookah with black guys because Bilal was black."

How did it get this bad?
Because of these Facebook groups. At the beginning it was a bunch of angry, misinformed kids or insane people. But as time passes, they are joined by more and more people, including girls who have a grudge against "these Arab girls who do not respect themselves and bring shame to the community."

I also see people advising guys not to fall into the trap of Arab girls who say they want to settle down.
Yeah, because they think that black guys leave the girls once they’re pregnant. The girls become single moms and are accused of hiding their bad reputation to attract Arab boys as if nothing had happened. Again, this is pretty much a fantasy. But it's a fantasy that fuels a lot of hatred.

And as suburban teenagers are divided, inequality persists and nobody wins. It's a shitty situation. I keep trying to make the young people I work with understand that, but they ignore me. "You don’t understand, this is super serious," they tell me.

Follow Emilie Laystary on Twitter.

Ramallah Is a Paradise

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Last year, I moved to the Palestinian city of Ramallah to work as a photographer for a newspaper. Coming from Brooklyn, I found the city to be equal parts friendly and odd. In my memories, the scents of Arabic coffee and sweet shisha smoke are mixed together with the stink of burning garbage and the sting of teargas from clashes at the nearby Kalandia checkpoint.

Ramallah has sat in the middle of an ongoing conflict for so long it's entwined with daily life. Swept up in the everyday bustle, sometimes I didn’t even notice it.

See more of Daniel's work here and here.

Does your town or city qualify for paradise status? Feel free to send your pitches to ukphotoblog@vice.com. Don't be shy.

Predictions Are Stupid, but Russia Is About to Invade Ukraine

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Predicting world events is hard. But barring a major change in the next 24 hours or so, I think we might, in theory, be close to—ah, screw it. Russian troops are about to march on the rest of Ukraine, and I'm going to tell you what's making me so sure(ish).

Women Can Stop Rape By Staying Sober According to Some Useless Lawyer

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Trigger warning for sexual assault

This week, one of my favourite radio hosts, Jian Ghomeshi, thought it prudent to host a segment debating rape culture. He devoted valuable airtime to a woman who has no idea what she’s talking about.

“Is the term accurate or just plain alarmist?” Jian wanted to know. Jian, I thought I knew thee! There’s no debate: we live in a culture where rape is far too common, and its perpetrators are carelessly excused far too often with “she was asking for it” type logic. Despite this, Jian’s guest didn’t seem to think discussing rape culture as a reality was warranted, and she proceeded to rattle off every rape myth in the book as fact.

In happier news, many women of colour have found a new role model in Lupita Nyong’o—but some spaced out white people still don’t quite get it.

And last week, I didn’t quite get it. I made a mistake while furiously writing about no makeup selfies. Keep scrolling to read my apology.

But first:

Women: Stop Getting Raped! Why Don’t You Try Going Out On A Date Instead?



Screenshot via.

It’s 10:03 a.m. A pot of strong coffee is brewing in my apartment, Radiohead’s Planet Telex wafts through the room, followed by Jian Ghomeshi’s lovely, velvety voice that he used to deliver a speech upholding rape culture.

Jian’s guest, Heather Mac Donald of the Manhattan Institute, came on Q to refute the widely cited stats that indicate one in four women will be sexually assaulted at some point in her lifetime. According to Heather, this metric represents “a fantastical claim,” and she scoffed at the notion that this stat is the primary evidence of rape culture on air.

“If there were, let’s say two rapes, actual rapes at the parking lot of a campus medical centre. There would be signs saying to women: stay away from that area at night.”

I ask the same thing of her as I did of Margaret Wente on International Women’s Day: Why does she want to deny the prevalence of sexual assault?

Mac Donald says if women don't want to get raped, we should stop getting so damn drunk all the time, taking our clothes off, and hopping in bed with men! If we don’t want to get raped, we should just try making men get dressed up in suits and give us flowers and take us out on dates instead!

Mac Donald, who dominated the vast majority of the conversation by hollering rape myths and praising the gospel of the patriarchy, said some truly hateful things on air the other day, and I’m shocked that Jian let her prattle on with so many loathsome comments for a full 20 minutes.

I want to be clear here, and say that Jian did try to step in, and he did begin his show the next day by being fully open to readers’ angry feedback, and by sharing their letters. He took responsibility for the effect the show had had—and I understand that journalists make mistakes. I made one last week (again, apology forthcoming). Jian did the right thing after the fact. But I still wish something had been done sooner to stop Mac Donald for saying so many hurtful things.

On Q, Mac Donald made an uncomfortably awful distinction between “rape” and “actual rape,” which is deeply problematic. First of all, this puts Mac Donald in a position of unjustified power that makes her the judge of what defines an actual rape—that takes the power away from the person who was raped in the first place.

It’s not on women to avoid having penises forcefully inserted into the orifices of their bodies. It’s on people who have penises to avoid shoving those appendages where they are not wanted. People with penises are not base beasts who can’t avoid raping.

I was always taught if you don’t know anything about a certain topic, either be quiet, or ask questions to learn more about said mysterious subject. For the sake of all that is holy, Mac Donald, what were you taught? Read something before you open your mouth. Read this piece on how it’s time to stop denying that rape culture exists, by Katie Heindl. Read this primer on rape culture for the naysayers from HuffPo. Or this piece by me, where I explain what rape culture is, after I was sexually assaulted many times throughout my teens and into my 20s. Or Christ, just Google “rape myths.”

On Jian’s show, the other panel participant was Lise Gotell, chair of the department of women’s and gender studies at the University of Alberta. She was way too Canadian about the whole debate, and actually apologized at one point for interrupting and correcting the monstrous Mac Donald. She politely explained that Mac Donald was dead wrong, that she was spouting rape myths, and needed to learn a thing or two about statistics. I loved what she had to say; she provided some much-needed sense to the conversation. I just wish she had been fiercer.

Mac Donald needed to be called out. She said if this “tsunami of sexual violence” on campuses were really an issue: “We would have seen a stampede to create and demand alternatives.” Some of those included private tutors and all-girls schooling.

Right, because most people have the money for private tutors, and the public purse can sustain a demand for gender-segregated schools! Smart idea, in a time when large chunks of mainstream society are finally coming around to the fact that gender-segregated washrooms are discriminatory.

There is no excuse to do so much flapping of one’s gums in order to accomplish little more than attempt to shame, blame, and humiliate women. The show was just full of what felt like supreme satire. I could not invent a more perfect misogynistic rant.

To sum up the sentiment that was aired that day, The charming Mac Donald also cited one (1987) study she found very faulty, because it stated that many women go onto have sex with their alleged rapist again. She said if someone comes into your window to rape you at knifepoint, “the idea that you’d have sex with him again is unthinkable!”

Most rapes take place at the hands of men already known to the women who are raped. So Mac Donald is totally inept: she at once claims that women are raped because they’re drunken strumpets, and should get themselves out of the public eye, safe at home—but then, that rapists will crawl right in your window, even if you are a good girl!

She contradicts herself. Two seconds later she says: “Women can stop it overnight, themselves, by not getting drunk… Until I see the proponents of this concept of rape culture sending an unambiguous message to all girls saying ‘do not get yourself drunk, because we want to protect you,’ I am not going to believe that they really are certain that this is rape.”

So there you have it. Stay at home, ladies, in your lumpiest, frumpiest sweater, under the covers, wearing a chastity belt to protect your precious pussy.

Careful How You Treat Lupita


Screenshot via.

I’ve been following the rise of Lupita Nyong’o’s career for the past while. I’ve briefly considered writing about her, but wasn’t quite sure what I wanted to say, or even if there was anything for me to say. Obviously, it’s stupid for me, as a white woman, to write a piece about what inspires black women. Aside from that, I also had a strange, creeping feeling about the particular way in which Lupita is discussed and lauded, but couldn’t quite put it into words or define exactly what it was that bothered me.

VICE Canada contributor Muna Mire then posted an article on Facebook, though, which basically says it all about the problems with the way Lupita is treated, namely by white America. “A Seat at the Table: Lupita Fever and American Pathology,” by Nyle Fort, was posted on Black Girl Dangerous, and it’s a must-read. A small excerpt for you:

“Lupita’s celebrity, not all that different from Obama’s presidency, is being lifted up by (white) liberal America as an example for black folk to follow and an exception for white liberals to manipulate. Lupita’s reported “beauty,” “eloquence,” and “professionalism” has less to do with her and more to do with a larger, mythological narrative of black progress vis-à-vis black exceptionalism. There is the idea that black people must be doing better since we have a black president and now a black Hollywood sensation. However, exceptions aren’t new, and nor are they sufficient.”

Exceptions aren’t new, and nor are they sufficient. Absolute perfection.

Mea Culpa Re. No Makeup Selfies



Screenshot via.

Well, I feel stupid. A socially conscious meme I bashed last week, namely, posting nude-faced selfies to raise awareness for breast cancer, has raised £8m in six days. Last week, I wrote that the selfies were silly and implied they wouldn’t raise money.

Well, they did raise money, and I was kind of an asshole, in retrospect. I’m sorry.

That said, I still don’t like the particular method of fundraising, as outlined in the other piece. I think the tactic serves to feminize and trivialize the cancer. Cancer isn’t cute, and the selfies make fundraising as much about the poster’s need for self-affirmation as it is about the cancer itself.

I’m not sorry for saying that, but I do apologize for ignorantly insinuating they wouldn’t raise money or be useful in any way.

@sarratch

In Defense of the American Bro

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Via Flickr user David Shankbone

There are certain villains of society whose relative merits no one will defend. Anyone standing up for child molesters, serial killers, or members of the Bush administration would be publicly pilloried, and justifiably so. But there is another group that seems to have been added to the list, and though he is without champion, it’s about time that someone stand up for him. This aggrieved class of human is none other than the American Bro.

Just last week on this here website, the American Bro was deemed “the worst guy ever” in a scathing attack that called into question not only his behavior but also his existence. This article paints the picture of a man who lives only to consume and impress, someone who wants to leave his mark on everything, not just the women whose tits he jizzes all over and the gutters that he vomits into after one too many craft beers, but on everything at every moment. He is loud and aggressive, not because he actually has something to say but because he wants to steal that moment—and your attention—for himself.

And what is so wrong with that? That is what men do. That is what men have always done. The problem is not the bro but the society in which he lives. This used to be a great country, a country that made things. America used to produce crops and clocks and cars. Who made all these things? Who ran the farms and worked union jobs in factories and provided for their children? Who were the bikers, cowboys, construction workers, and other Village People archetypes we prized? Men. They got to take this atavistic need to stamp a little bit of themselves onto everything and put it out there into the world. They made your cotton, soldered your TV sets, and tightened the bolts on the first space craft to make it to the moon. They not only manned the tanks that rid the world of Nazis, but they drove them too—a dozen men in uniform with their bodies pressed against one another fighting for freedom.

Now our only major exports are more episodes of Two and a Half Men and orange powdered cheese. What do you expect all these men to do? They’ve taken jobs in the financial sector where they shuttle bits of phantom money and units of “risk” back and forth and try to make more phantom money. This is how America creates wealth now. We don’t make things; we create illusions. And the bros do it for us. Since they are no longer creators and territory markers, they vent their aggression and brute strength in their social lives. They redirect their biological imperatives to letting their big dicks flop around in basketball shorts while they do squats at the gym, grunting so that everyone who isn’t looking at them knows that they are there.

Via Flickr user torbakhopper

Who is going to save this country from drowning in a sea of Chinese debt and high-fructose corn syrup? Not the mild-mannered hipsters obsessed with mustache wax and crafting artisanal honey in their urban sanctuaries. No, they only create small batches of things, trying to leverage their modesty as authenticity. Modesty did not cure polio. Authenticity didn’t win the Cold War. Honey isn’t going to get Putin out of Crimea.

That’s why we need our bros. They are the spirit of can-do American ingenuity. They are the chest-thumping alpha males who will keep other countries from trying to knock us off the top of our colonial heap. That’s why they’re doing so many bench presses. It’s because our supremacy rests squarely on their broad shoulders. They’re sculpting their obliques to look statuesque and formidable, to keep the scrawny Iranians and Pakistanis from fucking with all of these Captain Americas. 

And it’s silly to make fun of the bro’s wardrobe like that take-down article tries to. What is wrong with tank tops? If author John Saward spent as much time doing biceps curls as he did cowering behind his keyboard, he might have some tickets to the gun show himself. But he’s jealous, imagining these he-men flexing in their toothpaste-stained bathroom mirrors, running their wide hands over there undulating abs right before they take a #fitlife photo for Instagram. He wishes he could look like that instead of staring down as his pasty paunch.

The article also seems obsessed with bros’ johnsons. “To him, everything is a dick pic, a flex, a look-how-hard-I-get, a watch-me-fuck-the-universe,” it says. He is right, dick pics aren’t about the recipient—they’re about the sender. When these dudes fluff their meat up to make it more distinguished, they’re just trying to reclaim the tenuous masculinity that has been decimated in our culture. When they get fully hard and press their packages up against remote controls, shaving cream bottles, or Red Bull cans, it is a way to make themselves not more attractive to women but more appealing to themselves. Their very way of life is being threatened by these attacks, and if we can’t look at their throbbing cocks and tell them that they look wonderful and large and juicily appealing, we have failed a whole generation of our young men.

As the cultural tide seems to turn against them, the bros only have one another to turn to. They always travel in packs to insulate themselves from the naysayers. Or maybe it’s because the only company they can find that is as handsome as they are is their own. Yes, they totter down the street, their toned arms around each other’s shoulders as they drunkenly stumble from one destination to the next. They swat each other’s butts when they score anything—a basket, a sale at work, a hot new piece of ass. They shake hands and embrace one another with the left arm, wishing they could hold longer. Just wishing that, in our world, they could pull their fellow bro toward them, their gym-honed torsos, like two bodies in competing underwear ads, rubbing against each other, their heads close together, their mouths only inches apart from one another as they draw their heads back, staring into each other's eyes and wondering what might happen if just this once they leaned in and met their bro for a stubbly kiss as the last game of the NBA playoffs blared in the background of whatever sports bar they’ve been in all night.

Via Flickr user CAHairyBear

We need to support these men, our finest specimens. The ones whose asses bounce in their jock straps as they strut toward the shower in the locker room. The ones who jog shirtless through the park, the sweat cascading in rivulets into their sopping shorts. The ones who sit with their legs wide-open on the subway, calling attention from all quarters to the fleshy mass in their shorts that is just dying to be sucked. These are our champions, and we really should be championing them.

I’ve certainly done my part. One night, back in college, I was driving home with my bro friend Dave, who was majoring in econ and pussy pounding. He'd a bad night with one too many green Jell-O shots (green is always the worst color), and the girl he'd been getting handsy with had had the audacity to reject him. He had made a big scene about how it didn’t bother him, how he had bigger and hotter girls, and how he got as much ass as he could ever want. But in the car he was different. He was despondent, clearly lingering on his rejection. “You OK?” I asked. “Yeah, brah. You know, bitches,” he said. “Yeah,” I replied putting my hand on the knee of his jeans. I left it there a little too long, and when he looked at me, I didn’t know what to expect.

“Dude, will you do me a favor?” he asked. “Will you tickle my back?” He took off his white baseball cap and pulled his T-shirt over his head, his rippling muscles flexing and relaxing in astounding patterns as he bent over in the passenger’s seat. I rubbed the tips of my fingers across his smooth skin for what seemed like hours. Eventually he sat up, and I moved my hands. “Keep going,” he said, letting me cup the firm contours of his chest, the stiff prickles of his nipples, the trail of hair that led into his jeans. I rubbed everywhere, down onto the crotch of his jeans, which was now propped up with what those “bitches” didn’t want. I let my hands rest on the button of his jeans, unsure of how to proceed, thinking as much about his own pleasure as what was happening in my own jeans. I hovered there a minute, and he sat up straight in the chair, his head back and eyes closed, waiting to get what he wanted—no, what he deserved.

“What are you waiting for?” he said, remaining still. 

Man, there is nothing better than fucking a bro. 


How Would You Improve Internet Porn?

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(Photo by Isabelle Andarakis)

Porn isn't a hard sell. In fact, it's pretty much completely self-sustaining, in that there aren't many other avenues you take when you're planning to spend some time with yourself. And if you can think of anything else, there's probably already porn of it.  

It is a little harder to actually advertise it on posters and billboards, though, which is presumably why PornHub are running an online competition for a new creative director, getting the entire internet to pitch concepts for adverts at them and hiring whoever submitted the best one. At the moment, it's a bit of a mix between some good ideas and a dumping ground for visual puns involving hot dogs and donuts. 

I wanted to know how people in a half mile radius of me would handle the position of creative director at a big porn website, so I walked around and asked some of them. 

VICE: How can porn be improved?
Will, 27: I don’t think there's enough loving porn; there's a lot of violent porn and porn that people aren’t having a lot of fun with. God, I don’t know – that sounds pathetic. But Jesus – that sadness that fills my heart when I see in the sadness in everyone’s eyes.

Why do you think they look so sad?
Maybe that's purely my judgement. I guess the position they're put in? But I don't know – I’ve never shot porn; I’ve never been in that position. Maybe they feel completely empowered and happy to be where they are, but often I don’t get that impression.

So how would you combat that?
Maybe support amateurs. Get amateur couples who enjoy filming one another and like sharing that with people if they genuinely feel happy sharing that relationship in public. But there's so much porn. It'll be difficult to make a real change, as there's a niche for everything as much as there's a market for everything. So as much as I might want to see a loving couple make love beautifully, there will be someone who wants to see a girl fisted by eight guys. 

That's a very valid point. Are there any niches that you would champion if you were to, say, take control of a porn website?
I've certainly never gone online and been like, 'Why can't I find this thing?' Because it's remarkable what you can find. I’ve certainly gone online and thought, 'How the fuck is someone into this thing?' I guess I’d like to see less weird stuff – no donkeys, no one getting upset or hurt. I'll ask myself some questions about it tonight.

How can porn for women be improved?
Lucy, 19:
I think it should portray more accurate sexual relationships, and not some kind of warped view of what it should be like in the bedroom.

Can you give me an example?
I suppose violence. I think that too much violent pornography could lead to that being taken back to the bedroom, and end up in people having quite unrealistic views of sex. Also, I think that it can affect you much more if you're exposed to pornography from a young age. You grow up with a different view of relationships from what they actually are.

If you were the new creative director of a big porn site, what kind of videos would you focus on?
I don’t know – I’ve never really thought about it before. I think maybe something where women aren’t in such a demeaning position. Pornography is probably often aimed much more towards men. But I don’t know – I’m not really a pro.

Fair enough.

You're the new creative director of a huge porn site. What's your first move?
John, 27: It’s a difficult question to answer, but I would continue doing what's going on now and find ways to make it even better. I'd help the business grow using social media.

That's a sensible enough answer. What about the content?
I’m not a regular user – I don't watch porn that often.

OK. Anything you're not a big fan of?
Not particularly. There's usually a lot of advertising, but I understand that's how it's funded and stuff.

Yeah. How about introducing new stuff? Are there any niches that you feel don't get enough exposure?
Any niches? No, I think the internet covers most things.

What would you change about porn?
Jack, 24: Well, a lot of gay porn – and I'm sure other porn – is quite violent. A lot of people are into that stuff. I don’t personally like it at all – it gets a bit graphic with all the fists and bums and stuff like that. I’d never watch that.

So what changes would you make as the new creative director of a porn website?
Probably less of that and less of the old people and pooing – the gross stuff. I don’t know why that ever became a thing to sexually arouse anyone.

So you'd introduce a maximum age limit for performers?
Yeah, definitely. Old sweaty balls being thrown around the set is just so horrible to watch. Even if you just catch it at the side of the screen, it's a big turn off.

What are your personal porn watching habits?
I watch it alone. I’ve watched it maybe once or twice with somebody else. But yeah, usually very much alone.

Say you became the new creative director of a porn website, what would you do?
Anon:
Make it safer for women. Get reputable companies who use reputable models, and you don’t get any exploitation or dodgy dealings. I don’t know whether porn companies or producers would have to get some sort of accreditation. Is the industry regulated by authorities? Can the regulation be improved?

That's a good question. What about the more consumery stuff, rather than actually making porn?
Are we talking hardcore porn of softcore porn?

Whatever you want.
I guess there's the argument: "Should young people be exposed to pornography?" And if you paid for porn, would it not be better if they gave the user a little sneak preview so you can actually see whether it's the type of porn you'd actually like to see. There's one porn side that's actually a free porn side where you can access free videos.

I think there are a lot of those kind of sites.
Well, that obviously negates the need to pay for it. So maybe there are a lot of porn providers out there who are being screwed by the free providers. 

You land a job as the new creative director of a porn site – what do you spend your first day doing?
Daniel, 25: The biggest problem with most porn is that it's very unrealistic, and a lot of young people get completely the wrong idea about what's in store for them – which is usually difficult and awkward and clumsy, initially. For me, stuff that stuff is more real – stuff that isn’t staged. The plumber who ends up having sex with every woman in the house – it's ridiculous. Those terribly acted storylines leave me completely cold. If there's a new director coming in it’s difficult, because you can’t exactly say, "Get better actors," because that's not the point. And I’m an actor.

So what can you do? How would you improve porn for your consumers?
Place more emphasis on what comes before it. Those things are usually more exciting, just from my own sexual experience. Anything that comes before it is the real excitement, and anything after that is obviously fantastic. Make people invest in the romance of it all, I suppose. There's little romance in porn. There are a few things, like couples on their wedding nights, but it’s all bullshit. I'd try to make the people a little bit more realistic. Just a bloke and just a woman, rather than steriody, veiny monsters.

We Spoke to Political Pop Star Ruslana About Leading the Protests in Ukraine

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If you don’t know the Ukrainian pop star Ruslana Lyzhychko, you should. She’s known as the Britney Spears of Eastern Europe, except she doesn’t shave her head for attention, she leads political rallies, and she was recently a key figure in the Euromaidan protests in Kiev. She hyped the crowds by singing the national anthem every night, spending endless hours onstage and in camp sites, deflecting violence and calling upon international help. Michelle Obama recently honored the pop diva with the International Woman of Courage Award.

Don’t let this modern-day political pop star fool you, Ruslana is known to roll up on stage in leather outfits with orange flames bubbling in the background. Influenced by old-school Ukrainian folk music, the Carpathian Mountains' Hutsul traditions, and endless renditions of the Ukrainian anthem, she has a bold and wild stage presence. Today, she uses the mic as a walking symbol of unity for Ukraine’s past, presentm and future.

Next week, Ruslana will join Pussy Riot, Hillary Clinton, and Barbara Bush at the Women in the World summit in New York on April 3. So I called up the 40-year-old activist and singer to chat about music, bullets in Kiev, collaborations in China, and her thoughts on Crimea. 


Ruslana singing Ukraine's national anthem

VICE: You play many roles, but at heart, you are a musician. How does music change during turmoil? Does it go from love songs to more nationalistic songs?
Ruslana
: My music was changing because I was changing myself. I started my music career as romantic girl who was waiting for the spring. But I found the unique culture of the Carpathian Mountains and the Hutsul people who are living there. It was my new beginning as a folk singer. I never thought that it would be such a big success with Wild Dances all over the world. Ten years have passed since my win in the Eurovision Song Contest, but a few months of the Ukrainian revolution have changed me and all Ukrainians more than these ten years. I don’t feel ready to produce new albums or singles now. Today, I am person who would like to protect the Ukrainian image by public events and speeches. Today I am not ready to sing and dance, even if my dance is wild and brave.

Are you still playing music and touring with your band? Do you still hope to record a new album that revisits the ethnic motifs of Wild Dances?
Maybe I will restart my concerts in a few months. Today, I have a lot of international visits related to the situation in Ukraine. I have already visited Brussels, Strasbourg, Warsaw, Stockholm, Vienna, Berlin, Munich, and Washington, DC, and I have a chance to talk true about Ukraine and hope for international support. I will go to Paris in a few days, and after that I will visit New York to participate in the Women in the World summit. In the end of April, I will go to São Paulo and will give a speech at a TEDx event. And finally I have one more ceremony at the Atlantic Council in Washington. As you can see, my schedule is so hard now that I haven’t a possibility to perform as a singer.

Are there any traditional Ukrainian songs you really connect with?
Yes, I have a song called "Arkan." This is an ancient Hutsul dance in which people are whirling with a great speed. I feel a special energy when I am singing the melody of "Arkan," and I always ask people to dance and sing together with me.

How will the protests reflect your songwriting in the future?
I must note that Ruslana, before the protests and after the protests, is different. I changed, and my music will change as well as me. I can imagine my new singles as a march of Ukrainian victory and independence. A lot of people are sending their own songs about Ukraine to me. Maybe I really will record something patriotic. I have an idea to perform the same song in different languages as Ukrainian, Russian, English, German, French, even Chinese.  But it is only an idea.

I know you’ve been extremely busy in America with both Michelle Obama and John Kerry. Have you found the time to write or be creative?
Unfortunately, I have no time for music now, and I am very worried about it. Music is the main part of me, and I am coming short of it.

You’ve recorded with Missy Elliott and T-Pain. Do you have any collaborators in mind for the future?
Maybe I will record a music duet with some Chinese singers, because I would like to visit China in the summer and I’m really thinking about such collaboration.

How does it feel to represent your country at this moment, especially with the International Women of Courage award?
It's a great honor and responsibility for me to represent Ukraine in such a decisive moment. I understand that I must do my best for my country and Ukraine.

If you are the voice of Ukraine, do you think the same message can be delivered through both music and social movement?
I think that music is a connecting link for people anytime. We sing when we are happy and lucky, and we also sing when we are in trouble. But it’s important to understand that there is a very thin dividing line between our troubles. When people die from bullets, as we saw in the Maidan, it’s better to listen to the silence instead of music and try to join people by speeches and prayers.

Follow Nadja Sayej on Twitter.

'Go Down Death' Is a Frightening Mainline into the Subconscious

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An off-beat and beguiling journey into the dark corners of the mind, Go Down Death is something you haven’t seen before. It was shot on black-and-white Super 16mm and filmed in 14 days in an old abandoned paint factory in Greenpoint, Brooklyn. The film feels like it was beamed from another plane of existence. It's an ensemble piece that takes place entirely on constructed sets of decaying buildings that are inhabited by amputated soldiers, tone-deaf bar singers, child gravediggers, and shape-shifting doctors, all surrounded by an unseen, foreboding presence existing outside the frame.

It’s also the kind of rare filmmaking that sticks with you. I found myself recalling moments from the film—like the howling sound of the wind or a character muttering the line “Ghost haunt me, but I’ll haunt no one”—days after I’d seen it. Perhaps the film’s lasting quality can be attributed to its grim subject matter. There’s a lot of talk of death, disease, and the breakdown of the body. It's all very exposed and vulnerable. You’ll probably find yourself feeling those qualities after the credits roll.

I sat down with director Aaron Schimberg to discuss his debut film, which begins its theatrical run tonight at Spectacle Theater.

VICE: Tell me how the movie came about in the first place. What was going on in your life?
Aaron Schimberg:
It was partially inspired by a fever dream I had while on morphine following a fairly major surgery. The dream infringed on certain copyrights held by media conglomerates, so I had to remove certain details in order to transpose the material, which gave the film this kind of fractured, fragmented narrative.

Was this your first feature-length script?
No, I had written other scripts, but I thought they were too personal. This was something that was a little more mysterious to me. It was fragmented, and I was interested in withholding information. I think, in the end, it was also personal, but I was not totally aware of it at the time. It was difficult to write, and it was difficult to envision as a finished film, especially for a low budget.

How did you guys go about doing the actual production?
Because it’s ostensibly set in a small village, we thought about shooting Upstate, but the prospect of moving production there seemed impossible. We literally looked at 300 different warehouses and garages all around New York City, and they all wanted exorbitant amounts of money. We finally found a decent deal in Greenpoint. They gave us three weeks. One week to build everything and two weeks to shoot. And on the last day of shooting, we threw everything in the dumpster. Then we waited a week to get the final week's worth of footage back from the lab in LA, hoping that it came out. If it hadn't, we would've lost it, and we never would've had the means to rebuild the sets. But we got lucky, and it came out just fine.

Tell me about the musical elements in the film. You wrote all the lyrics to the songs that the characters sing, and a lot of the same lyrics are sung over and over.
I think that because we were creating a self-contained world. I wanted to write some songs that would function as folk songs from this particular world, as if it had this sort of pre-existing culture. People would be singing the same songs as if they were part of their heritage.

At times, the dialogue even reads like detached song lyrics. There’s scenes where characters are engaging in conversation but it feels like they aren’t really speaking to each other, almost like they're just talking to themselves.
We were using a lot of non-actors, so during rehearsals it was difficult for them to find a natural rhythm with the austere dialogue. But to me, all the dialogue could be tragic or funny.

I think you could potentially find the whole film funny.
I didn't want to make a movie that was just awash in misery. I wouldn't be offended if people were just laughing through the whole thing. In the initial cut, there were more outright comedic scenes in the film, but I removed them because I felt like they were hurting the scenes that were more subtly comic.

Is the final edit close to the original script? It seems like the kind of film where you could cut scenes but also reconfigure the order of scenes.
The final film resembles the initial version of the script. When we were editing, we had an eight-foot poster on our door with all the scenes written out, and we’d move them around. We’d edit for 12 hours a day for months on end. But Vanessa is an amazing editor. She wants a joke in everything. Every cut had to have a joke. To her, the film is hilarious. But she also went insane editing it. And she will kill you if you make her watch it again.

I don’t want to discuss the ending too much, but it’s almost impossible not to dance around it a little.
Let’s dance around it a little.

I think in the hands of a lesser filmmaker, the ending would've come across as too calculated, but given the atmosphere you’re able to evoke for the previous hour, I felt like I was in trusted hands and I stayed with it.
Part of the challenge was striking that balance between something that felt real and something that felt stylized. I didn't want my film to be referential. I didn't want it to look like The Cabinet of Dr. Caligari, but I didn't want to fool people into thinking it was real.

What’s interesting is reviewers keep using David Lynch’s Eraserhead as a reference point for your film, but I thought more of a kindred alignment was something like Inland Empire, where there’s these radical splits in the narrative threads.
And that movie is about trauma as well. To me, I thought of Go Down Death’s ending as a kind of trauma in and of itself. The world is a certain way, and then the world is a different way. And it’s a hard thing to accept in a film where you’re supposed to set the ground rules for what the reality of the film is. But life doesn’t necessarily work like that. You could wake up and some dramatic event changes your whole reality. And I think the ending is a cinematic illustration of that.

Personally, I took the ending as sort of a hopeful signifier of death and rebirth… Like, you may die, but there’s parts of you that are reborn or reincarnated centuries later.
[Laughs] That’s the most optimistic take I’ve heard so far. I welcome all interpretations. The film is designed so that anyone can project his or her own ideas onto it.

Well, there’s still plenty of negativity in the film. But what really stood out the most was that the whole thing felt like a very mature approach to death, especially for a first-time filmmaker. When you're young, there's an aura of invincibility with regard to your body, and then when you're older, things start to break down, and that wisdom doesn’t really come until you start to see it happening. The film is loaded with all these universal truths about what's actually going to happen to all of us…
As I mentioned, the initial dream I had for this film happened when I was in the hospital, when I was dealing with my mortality in a very real way. I’ve dealt with it throughout my whole life, really. I've spent a lot of my life at doctors, and I’ve cycled through depending on them and fearing them. I've had some close calls, and my body has failed me a few times. To me, the knowledge that I won’t live forever informs almost anything I do. I'm always aware of that. I've never felt very safe. [Laughs]

Go Down Death opens tonight in New York. Additional information and advance tickets can be found here. It will be released in additional markets in July by Factory 25.

Greg is a programmer at Spectacle. Follow him on Twitter

2013 Was a Big Year for Executions

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A protest for the abolition of the death penalty in Iran, San Francisco, June 2010 (image via)

I've got some good news and some bad news. The good news is that Amnesty International released its annual report on the death penalty on Wednesday and it shows that progress has been made in abolishing the punishment across the world. The bad news is that, on a more local level, a few nations (including Iran and Iraq) have caused a surge in execution numbers, resulting in a 15 percent increase over the 2012 tally.

According to the review, at least 778 people were put to death in 22 countries in 2013, and these numbers don’t even include China, which is said to have carried out more executions than the rest of the world put together. Of course, official statistics are notoriously flawed, which points to the real numbers far exceeding those acknowledged by governments. For example, Iran officially acknowledges having killed 369 people in 2013, but evidence of secret executions in the country suggests that the actual total is at least 704. The UN special rapporteur for human rights in Iran says that at least 176 Iranians have been put to death so far in 2014.

I called up Jan Wetzel, death penalty expert at Amnesty International, to find out more.

VICE: Which countries still issuing the death penalty are you most worried about?
Jan Wetzel:
I’m most worried about China where executions are treated as a state secret. They probably carried out executions in the thousands in the past year. We don’t know exactly how many, but it is certainly a totally different dimension. We try to follow media developments in China, local reports by local courts, but the overall picture is incomplete.

We are also very worried about Iran and Iraq, as we have seen a very strong spike in executions. The execution spree continues in both countries and we don’t see any changes to their internal politics. In comparison, Yemen—although they never executed in the same scale in recent years—is actually trying to reduce the number of executions. Yet in Iraq and Iran we don’t see anything that would actually mitigate the problem, we just see it getting worse.

I've heard there is a big problem with organ harvesting by death row inmates in China. Can you tell me more about that?
It is a huge problem. Interestingly, the Chinese Health Minister recently declared that this practice will be phased out by the middle of 2014. Again, this needs to be taken with a bit of caution. We have had similar announcements before and the practice still continued. But it is a good sign that a senior politician wants to tackle the problem and that, together with other changes implemented by the Chinese supreme court in the last year, we do see some progress, even if on a very low level. Chinese politicians have talked about wanting to reduce the number of executions, and there is even talk about abolition in the distant future.

It is speculated that North Koreans are being executed for acts of cannibalism. Does Amnesty have any further information?
A large part of the population in North Korea is close to starvation. This mainly refers to people trying to survive in prison camps and yes we have heard that, but again this is essentially second-hand information that we were not able to corroborate. We do, on the other hand, have reports of executions for activities against the Workers' Party; some reports of executions for watching banned South Korean soap operas usually in connection with other offenses, like smuggling such video material across the border from South Korea.

How many child offenders are currently on death row in the Middle East?
We are able to confirm that one young woman and two young men—who were under the age of 18 at the time the crime was committed—were executed in Saudi Arabia at the beginning of 2013. There are also reports that juvenile offenders were possibly executed in Iran and Yemen although we were unable to confirm their actual age due to the lack of birth certificates. So many judges go by literal superficial signs of puberty and facial hair to see whether the offender will be treated as an adult or not. There is a rule under UN law that basically says, when in doubt about the offender's age, the person should be treated as a juvenile offender, meaning that this person is protected from the death sentence.

You only hear reports about women being stoned to death. Is this a method of execution men are exempt from?
At present, in Iraq we are aware of 10 women being under the sentence of stoning. They have not been executed and one of them was actually released a couple of weeks ago, but women are more likely to get sentenced to stoning because the evidence is more easily collected. Stoning is the punishment for adultery, so if you are an unmarried pregnant woman the evidence is right there. It is much more difficult to prove that a man has committed adultery. Having said that, there was a man executed for adultery in Saudi Arabia, but he was not stoned.

Are representatives of the opposition in Iran being increasingly targeted since Hassan Rouhani came to power?
We do see an increased crackdown on political but also cultural activities by ethnic minority representatives. We've come across a growing number of executions of ethnic minority members under all sorts of shady pretences. Iranian law has a couple of capital crimes, like corruption on earth, which are very vaguely formulated and can essentially be used and abused against any form of political dissent. This just shows how national law can be used as a tool of political suppression. The vast majority of death sentences are actually given for drug crimes. Of course we know that this doesn’t work. Not only because the death penalty does not have any particular deterrent effect at all, but also because you end up catching the low-level drug mules.

Is the West turning a blind eye on the human rights situation in Iran in favor of the nuclear talks?
I’m hesitant to speculate, but it is fair to say that the death penalty has not been a priority on the agenda of western states as much as it might have been in previous years. I don’t want to say that there was any form of conscious trade-off, but I would say that the death penalty was possibly pushed down the priority agenda due to the nuclear talks.

How do you explain the peak in executions in Iraq?
The rising number of executions In Iraq has to be seen against the background of armed violence in the country and again that actually is a serious problem with huge casualties amongst civilians within the last year. Amnesty fully acknowledges this. What we don’t accept is the government's stance that the death penalty is a tool to counter terrorism.

They have stepped up the use of the death penalty, but the level of violence and number of casualties amongst civilians has also risen over the last couple of years. Plus, the criminal justice system is in such a terrible state that many people just get arrested whether or not they actually belong to one of these armed groups. Quite often confessions are beaten out of them and they get sentenced to death without a genuine review of their case or access to lawyers. We have similar issues in Saudi Arabia within the criminal justice system, although it is not quite as bad.

What does Amnesty make of the blood money practice?
The blood money practice allows a compensation payment to the family of the murder victim in exchange for the retraction of the death penalty. But in order to be able to participate in this system, you need to have funds yourself or access to funds in your home country. Quite often migrant workers sentenced to death are poor and have no chance in this regard.

Does corruption play a part in this blood money ordeal?
I don’t want to speculate, so I’m unable to comment on that. The blood system has too many errors of its own because it favors the wealthy. If other countries like Indonesia or the Philippines try to support the collection of these funds, then they are potentially working against the death penalty. So they resumed the death penalty in their own country but are actually working against it when it comes to their own nationals facing executions abroad. There is a bit of a mixed message here, which we find noteworthy.

On the whole the death penalty is on the wane. What is your outlook for the future in regards to those countries you are specifically worried about?
The countries still executing on a high level—China, Iran, Iraq, Saudi Arabia, to some extent the US, Somalia, Sudan—are becoming more and more isolated. I don’t see them actually stopping executions. On the contrary, numbers in Iran and Iraq might actually go up within the next few years. The US is slowly moving away from large-scale use of the death penalty, which is quite crucial. Other countries are currently pointing to the US and saying, "Look they still use the death penalty, so why shouldn’t we?" Last year we saw the state of Maryland abolishing it, this year New Hampshire may follow, and that would be the 19th abolition. Again you have this isolationist movement, with most executions having been carried out in just one state, Texas. The situation in the US is similar to other parts of world: Yes, the death penalty is legally still available, but the jurisdiction actually using it is becoming more and more isolated.

Guinea Bans Bat Meat to Stop the Spread of Ebola

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Guinea Bans Bat Meat to Stop the Spread of Ebola
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