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In the Margins: ​Soviet Prohibition and the Taste of Perfume

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Photo via Flickr user ​goucho74

"Drinking," the Prince said," is the joy of the Rus'. We cannot exist without that pleasure." ​Tale of Bygone Years 

As a teenager skipping school, I once drank a shot of cologne. It was cheap stuff called "Triumph" and it made me vomit, profusely and violently. But I had grown up with the tales of bohemian Russian immigrants, writers and artists who boasted of defeating the obstacles to inebriation by which the wicked Communists oppressed them, equating their theft of laboratory ethanol and consumption of perfume with the principled opposition of political dissidents. Getting wasted when Moscow's dictators didn't want them to was their victory of wits. I might have been born an American citizen, but it was my history, too.

My friends doubted that even Russians stomachs could handle "Triumph," and mine certainly couldn't. Despite practicing on cheap malt liquor, I was nurtured on fine American food, and couldn't hold down the cologne. Now I'm a bit more experienced with foreign substances, having spent two years as an intravenous addict who once had dope but no water to cook it up in, and so took a shot using Sunkist. Though terrified of death by carbonation, there was no harm done, and I strangely tasted citrus from inside my tongue. 

Prohibitions have odd consequences.

My uncle and his friends began nights out in Latvia—when it was still a Soviet republic—with a trip to the railway station and a pocketful of kopeck coins. The station featured a machine that would spray cologne for a low fee; some users put their mouths right to the nozzle and fed as many coins into it as they could handle. There was always a line. Older passersby chuckled, but no one found this shocking. It wasn't illegal, and there was nowhere to buy beer.

After winning themselves a country, the revolutionaries that once shared Europe's demimonde with pimps and smugglers rewrote their history. Stalin ​may have robbed a bank once, but those romantic days were over. The perfect Communist was depicted as a sober worker who spent his free time on self-improvement. In the posters that survive from those days, abstinence is clearly a virtue, along with exercise and study. The resemblance to Germany's ideal Aryans is uncanny. Totalitarian moralities, whether in China, Korea, or George Orwell's 1984,all share a common temperance. Sexless, temperate, driven and devoted—these fantasies of ideal "new people" invented by murderous regimes never took hold among the Russian population. But Stalin, for his part, was quite the realist; during World War II, 100 grams of vodka ​were issued to troops moments before an attack. (The red monarch himself ​reportedly preferred to drink Georgian wine.)

Over the four decades of Communist rule that followed Stalin's demise, campaigns to discourage Russians from drinking occasionally sprang up; they were usually poorly enforced and never successful. But alcohol shortages had the same effect as American Prohibition, with arguably worse consequences. Whereas we tend to think the US Prohibition years birthed the Mafia, in Russia the struggle for a drink united with the war against the state and encompassed a greater swath of the population. When seemingly normal people are extracting alcohol from industrial glue, it's safe to say the criminal has become mainstream.

The educated classes invented many table-side rituals to polish up this substance abuse. There are ways to pour a shot with respect or disdain, foods to chase certain beverages with. That was termed drinking "culturally," but things really got interesting when the water of life itself wasn't available.

A population of highly skilled and educated alcoholics tackled the problem. The engineers and chemists of the USSR derived alcohol with ingenuity and disregard for the stomach lining. Nostalgic for Soviet toothpaste, my uncle confirmed that the gunk contained ethanol, but swallowing an entire tube caused vomiting. So the toothpaste was spread on bread; eventually a crust dried and was removed. The alcohol-sopped slice could then be eaten. 

In the villages, fermenting pots of low-proof hooch stood in every hut.

The Russian cold provided other opportunities. Industrial chemicals, like solvents, were deadly to ingest. But if poured on steel chilled by the winter, all of the ingredients except for the ethanol would freeze into a ball, leaving pure alcohol for the lucky imbiber. Even machinery was used: A certain glue had an alcohol content, as well as poisonous binders. Inserting a drill into the can and running it for a while would separate the alcohol from the gluey mass which encrusted the bit. 

In the villages, fermenting pots of low-proof hooch stood in every hut. Sugar, yeast, water, and a barrel were enough to make an unpleasant beverage that the peasants drank. Many had learned the method in labor camps. At least in American prisons, grapefruit juice is used; Russians stole animal feed to ferment. Out in the provinces, when there was beer, they couldn't resist strengthening it. For a few extra kopecks, three sprays of insect repellent were added to your mug. I declined this offer myself as late as 1999, although no one around me did.

Russia was once ruled by lords in estates. Their manor houses all became museums after the Revolution, and each had a wunderkammer, or cabinet of curiosities. Filled with antiquities, relics, or natural curiosities, like double-headed snakes and malformed fetuses preserved in jars of alcohol, the 19th century fashion for these collections has insured that every local museum in Europe has one. But in Russia they are full of dry husks, as the pre-revolutionary alcohol preserving the rarities was all repurposed for the "caretakers' parties" by the 1970s.

Chocolates with a drop of liqueur inside were bought by the box and consumed in haste. Men with international reputations for scientific discoveries and accomplished doctors drank alcohol provided for the sterilization of laboratory tools with gusto. Many a retired nuclear physicist or hydro-engineer, once responsible for the construction of dams or missile silos, emigrated to enjoy an American retirement in the 90s. This allowed me to hear their nostalgic recollections of imbibing pure, experiment-grade ethanol. Of course, there was a method to this as well—after swallowing down firewater, never breathe before chasing it with some water. The alcohol dries out the throat instantly and breathing without re-moistening causes a brutal burning sensation.

The last official attempt at prohibition was a campaign initiated by Mikhail Gorbachev right before the breakup of the Soviet Union. He didn't ban vodka but made it hard to get by restricting ​hours of availability and supplies. In response, stills sprang up even in Moscow apartment buildings. Citizens often used a rubber glove to vent off the vapors, and the shimmering white hands in the windows were nicknamed "Gorbachev's Wave." Then the USSR fell apart and Russia's new leader, Boris Yeltsin, was an alcoholic himself who had no such puritan ideas.

Alcohol was the ​Soviet drug of choice because of a paucity of options. The common Russian pharmaceutical narcotic was ​Pantopon, an old derivative of opium rarely used outside the Third World. Access to it was restricted to the medical field. Some of the Central Asian former khanates and Tatar lands in the underpopulated east had traditional histories of poppy cultivation, and cannabis was well known in the three republics that straddle the Caucasus range of mountains, but there was very little distribution of drugs within the Soviet Union. Only with the wave of troops returning from Afghanistan in the 1980s did heroin make its debut. It seemed the Russians had to learn the lessons of Vietnam for themselves.

During the years when both the curtain and the ruble's value fell, a certain chaos took over the country. Rumors arriving with immigrants claimed that an injection of crow's blood got you high. Putin has the trains running on time, but clever Russians have made innovations of their own. ​Nicknamed "Krokodil" for its propensity to cause the skin to scale and rot at the injection sites, this relatively recent innovation is made from codeine and condemns its users to a single-digit life expectancy and reptilian appearance. But it's very cheap.

The lengths to which the Soviet people went for their booze is all too familiar to anyone who has ever faced addiction. While the intelligentsia made drinking classy by surrounding it with rigmarole and chasers—zakuski—they also turned to it from hopelessness. Soviet drinking was no celebration. Escape would be a better term, the same haven invoked by those looking to numb themselves in narcotics. In the West, to be a proper countercultural deviant, it was de rigeur to smoke grass. With this possibility unavailable to most Soviet youth, they turned to drink and fetishized it. Russian countercultural art—the songs, poetry and novellas of the 60s and 70s that many know by heart—enshrines drunkenness alongside derision for the Communist Party.

In America, desperate junkies are kept from infection by needle-exchange programs, while in Russia the population most at risk is unaware of the dangers.

By linking a legitimate movement against a monstrous state with a cultural acceptance for inebriation, the Russian people were very susceptible to addiction once stronger drugs than ethanol showed up. Ten years ago I witnessed a group of young heroin addicts share a steel and glass hypodermic needle of Soviet vintage. I refused a go with it. Before I could explain why, their teenage chief told me, "Don't worry, we all use it." The harsh lessons learned by the Western world's experience with HIV had passed him by. In America, desperate junkies are kept from infection by needle-exchange programs, while in Russia the population most at risk is ​unaware of the dangers.

Raised with tales of fighting the Soviet dragon while drinking the preserved marsupials from the town museum, I drank all through my youth. When I found a door to the shadows, I moved on to stronger things. It wasn't long before I paid a price. But this is America, the land of second acts. Having paid my debt to society and luckily preserved my health, I get to try again. Russia is not as forgiving. Those not killed by Krokodil are often hideously disfigured, often before even reaching their 20s. The inheritance of a substance-abusing zeitgeist has arguably made Russian culture its own enemy, one strong enough to convince a teenage Manhattanite to drink cologne.

Follow Daniel Genis on ​Twitter.


VICE Vs Video Games: The Importance of Aimlessness in Gaming

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One of the best ways to play Far Cry 4 is blindly. Don't look at the map—either on the menu screen or the miniature version that sits at the screen's bottom left. Just open the door, head on out and keep walking. You'll soon enough find something to occupy your time: a skirmish between forces you're loyal to and recruits from the royal army; a rampant rhinoceros wrecking a convoy; a glittering lake protecting its sunken secrets with a pair of all-teeth demon fish.

Or, y'know what's just as fun? Simply looking around. Or hanging out with elephants, or clambering over a hill just to see what's on the other side (it's usually something that wants to kill you).

Eventually you can switch to a story mission and flame some opium or interrupt the enigmatic Pagan Min's plans with a well-placed explosive device or two. But the most fun, for me, is to be had by just poking about the kingdom of Kyrat, a fictional corner of the Himalayas rendered with astonishingly absorbing realism by Ubisoft's talented environment artists. I'm more interested in what's behind its waterfalls and beneath its rocks than whose leadership the Golden Path rebel group should be following, and I'm much happier when left to my own devices, rather than when I stumble into missions, only to "fail" them when I didn't even want to participate.

I felt the same way when much younger. Growing up in a crack house, where retail copies of Amiga games were rather conspicuous by their absence (thanks dad; sorry, Ron Gilbert, Jon Hare, the Bitmap Brothers, et al), I never had the full packaging for The Secret of Monkey Island, so I couldn't pore over its atmospheric artwork, all skulls and ships and cutlasses, and a nervous-looking Guybrush Threepwood staring out at me. 

The first imagery I saw, once disc one of several was unceremoniously stuffed into the 500's drive, was the title screen's depiction, perhaps from an offshore crow's nest, of Melee Island, the setting for the game's first chapter, "the Three Trials." I knew what I wanted to do right then: Just poke around the place.

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Melee Island, as seen in the 2009 special edition

Of course, Monkey Island—25 years young in 2015—isn't an open-world affair like Far Cry 4. It's essentially a series of screens assembled into small environments—a town here, a fort there, a great big crack if that's what you're into—and linked by birds-eye-view maps, which you used to point a miniature Guybrush at his next destination. Not a lot on each map was actually accessible, but having them made the game's islands—Melee and, later, the titular Monkey—feel that much more physically present.

You couldn't just point your pirate wannabe at the horizon and see what he stumbled across, but you (I) definitely felt that these places were real. There was a world-building master class going on before pre-teen eyes, and the Caribbean had never been closer, even rendered with the 16-bit limitations of the time. (Indeed, to this day the closest I've come to such tropical climes is through gaming, most recently the comparably swashbuckling Assassin's Creed IV: Black Flag.)

Open-world adventures allow for the most productive poking about—to harvest pointless yet somehow fulfilling collectibles, encountered entirely by chance, as you amble about the hills of Skyrim, cruise the cobbles of Gran Soren or kick back to Non-Stop Pop and chase the setting sun as it kisses the San Andreas coast. 

Coming in 2015 is The Witcher 3: Wild Hunt, an action-role-player set in ​a world sure to make Skyrim seem as sizeable as a postage stamp. (OK, perhaps a large packet, in comparison to the van making the deliveries.) Like the recently released Dragon Age: Inquisition, it's a game engineered to appeal to those who just wish to wander, and that's what I'm most looking forward to doing—I mean, just look at how beautiful its landscape is.

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The Witcher 3: Wild Hunt gameplay footage (from August 2014)

Tighter spaces can also lead me away from the game's narrative. The movie-authentic environment assets of Alien: Isolation are mesmerizing in their detail. It's easy to be distracted by a monitor, by a helmet or something personal left behind by a long-since-gone inhabitant of Sevastopol Station—they probably buggered off to ​write nonsense on a wall somewhere—and completely forget about the instant-kill threat that shadows each step from one save point to the next. The way a light silently spins in its casing, a warning of something that's been and passed—distracting enough to leave the motion tracker unmonitored. Isolation's poking about necessitates caution, then—but I still play it to feel a part of its setting, rather than a character desperate to escape it.

BioShock Infinite's floating, failed utopia of Columbia is The Last of Us–like in its approach to world building: it's not a go-anywhere sandbox despite the suggested scale, the game funneling your progress down set pathways, ensuring your gun's sights are always pointing in the right direction. 

Yet, when I previewed the game ahead of speaking to series creator Ken Levine, I spent more time perusing the plant life in its Garden of New Eden, listening to its barbershop quartet take on " ​God Only Knows" and exploring each corner of its fairgrounds full of freaks. When Ken asked me about a particular sequence, I had to stare at him blankly—I'd only just reached ​the ball toss, so what came after that flash of extreme violence, I had no idea. I was too busy getting up close and personal with loaves of bread, to see how pixelated they were(n't), and chasing hummingbirds.

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BioShock Infinite's Columbia: a magical city, until the bullets begin to fly

But these experiences prove a damn sight more memorable than ones that are all guns, all glory—races through the enemy ranks, putting bodies down left, right and centre. The poke-about games are like the albums you need a few listens to really get—the ones where you have to look beyond what's most obviously asked of you to get the most from them. Like finding a flower from Flower in Journey by not walking your wanderer the way of the vista-dominating mountain, or going that extra (vertical) mile to reach the "secret garden" in Shadow of the Colossus, just because it's there. It's good that some developers hide perks in their games' furthest corners, but honestly, sometimes the journey there is enough. I enjoy taking Aiden Pearce to the edge of Watch Dogs' Chicago, just because.

I love these games because they offer me a break from the bullshit of the everyday, a place where there's always a problem to deal with – shooters and slashers and so on, button-mashers and headshot galleries, they're just different ways of fixing someone else's mess. And it's my love of just seeing, rather than necessarily doing, that's got me excited about a clutch of forthcoming open-world games (alongside all the potential of The Witcher 3) – Tequila Works' sumptuously styled Rime, The Chinese Room's Everybody's Gone to the Rapture and Rayman/Beyond Good & Evil creator Michel Ancel's ​Wild. No Man's Sky goes further still, offering a universe of possibilities that I, like many, can't wait to just exist in.

These games are exotic destinations rather than a list of tasks; their stories are present, but content to leave you to explore their peripheries. What they should offer that Far Cry 4 can't is prolonged periods of peace and quiet, and space for detached, digital meditation—for while I love the views, the sharp crackle of AK-47 fire doesn't half snap a man from his idling. 

Follow Mike Diver on ​Twitter.

Previously:

​Games That Scare the Shi​t Out of You Are Having a Renaissance

​'I Am Bread' I​s the Weirdest Video Game of 2014

More Bloodshed in Bahrain

The Suppliers of the NFL's Painkiller Addiction

Why Can't Men Be Feminists Too?

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Scottee. Image via ​Curtis Brown

This post originally appeared in VICE UK

I've spent my life being mistaken for a woman. It's probably got something to do with the Evan's blouses and femme demeanor, but I'm OK with that. I'd much prefer to be mistaken for a woman than a man.

On Friday, I went "up West" to get some plus-size tights for the weekend. I found a place with over-priced herbal tea and began to listen to Radio 4—I think this means I'm aspiring to be middle class nowadays. At a round 10 AM, I threw my Moroccan flat bread on to the reclaimed wood table and sighed through a discussion on Woman's Hour that asked: Can a man be a feminist?

See, the notion of questioning if a man could—or should—be a feminist is alien to me. From early on, my mom educated me on how women were having to fight tooth-and-nail for equality. I remember reading the cover of Fat is a Feminist Issue on her beside table around the same time Miss Fitzmorris told me I had to play trains with boys and take my hands off my hips. It stuck. 

I grew up in a home with domestic violence, and watching this play out every weekend meant I was full of femme rage before I even understood the concept of feminism. And, before Woman's Hour last Friday, I thought all feminists wanted men on board, too. Apparently not.

Feminism's answer to Katie Hopkins,  ​Karen Ingala Smith, was invited to the broadcasting house to join the debate. She believes feminism is about "the liberation of women from male oppression," and I agree. However, she argued, because "we socialize differently and have different experiences of the world, men can't be feminists."

I've spent all of my adult life surrounded by women, feeling alienated by masculinity. I am fully, inherently aware of the widespread, damaging effects of the patriarchy. I believe women should be on completely even footing, in every tributary of society, as men. How am exempt here

"Why would a group of power hand over that power to the oppressed group?" Smith continued. "If you get men involved in feminism you water down what feminism is." But the idea that only a woman can maintain the integrity and power of feminism is bullshit. Are only white people racist? Are only straight people homophobic? Are only men misogynists? No. 

The idea of feminism "belonging" to a chosen few marginalizes it. It's counter-productive. Smith's website has such rallying cries as: "Men have had eleven and a half thousand years to do something about sex inequality—if only a) you had wanted to and b) you weren't too busy enjoying the benefits. What's suddenly happened for you to want to get in on the act?"

I can't be responsible for the atrocities my birth gender has committed, but I can't help but feel like shame gets us nowhere. Activism gets us somewhere.

The more I listened, the more annoyed I became at such short-sightedness, but I'm glad I'm now exposed to it. Such a blinkered version of feminism is the sort that dictates what equality should look like—it's extremist. Like all marginalized groups, extremism is inevitable. But extremist equality is an oxymoron.

Smith @-ed me on Twitter to let me know that she'd quoted me in a Storify story called Feminist—It Isn't About Equality for Men. An ​interesting exchange ensued, the crux of which was that she "rejects" the "idea" that I'm a feminist.

Wanting to know how many of my followers shared Smith's opinion, I opened up the conversation. Artist Selina Thompson ​said that, while she understands where Smith is coming from, she believes it's important that "men don't derail or center debates on themselves," but that "equality is something we need to work on together." Another follower ​said: "I think some men end up speaking over female feminists, when they should be amplifying their voices," but that it's "entirely possible for men to be a supportive part of feminism."

Maybe my active approach to feminism is counterproductive, but I don't want to be someone who wears the badge and does nothing to contribute. I do not want to be any kind of poster boy for feminism—I just want to live in a world where women are equal.

The idea of not being welcome in the club doesn't frighten me. I understand why some feminists don't want me to be a card-carrier. I really do. All too often men center the argument in the comment boxes of articles on domestic abuse or rape, but it frustrates me to think that, because I was born with a penis, I'm automatically aligned with the male de-railers.

The painful truth is that, until men are fully onboard, gender or sex equality will not be reached. When I asked Smith to comment on why she rejects me as a feminist she responded with: "Sorry, Scott. Your schedule isn't mine. I'm making Yorkshire Puddings.‬"

It is, as ​one follower tweeted, quite a long way down the list of wider priorities for men to claim the right of being seen as feminists. This is something I completely agree with—as a feminist. The fight for gender equality is a huge, multifaceted task. It's something that requires action every second, minute and hour of the day. It requires deep, systemic changes that I may not see in my lifetime. 

Fighting over who should be allowed in the gang doesn't make you a better activist. Not when there's so much work to be done. 

Follow Scottee on ​Twitter

Greece Exploded in Riots This Weekend

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​Thessaloniki. Photo by Alexandros Avramidis

This article was first published on​ VICE Greece

​​On December 6,
 2008, police officer Epaminondas Korkoneas shot 15-year-old Alexandros Grigoropoulos in the Athenian district of Exarcheia. Grigoropoulos died in the arms of his friend Nikos Romanos and the shooting sparked a wave of violent riots in Athens that spread across the country. High school and university students took to the streets to protest police brutality, in what would be remembered as one of the most violent periods of citizen unrest in recent history.

Six years later, Romanos, (now a 21-year-old who last year received a 16-year-long sentence for rob​bing a bank in Velvento, Greece) is on his 28th day of a hunger strike to demand the chance to attend college.

Shadowed both by the anniversary of Grigoropoulos's murder and Romanos's hunger strike, this past Saturday in Greece brought memories of December 2008​ to life.

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Athens. Photo by Anna Stamou

The protests began early in the morning, as university and high school students gathered at the Propylaea of the University of Athens, where m ore than 7,000 policemen had been deployed. That first demonstration in Athens ended peacefully, in contrast to the marches in Patras and Thessaloniki, where police made several arrests and threw tear gas at the protesters.

The evening protest began shortly after 6 PM with crowds chanting, "Your Democracy stinks/ solidarity with Nikos Romanos."

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​​Athens. Photo by Alexandros Katsis

More than 10,000 people headed toward the Greek parliament, and shortly after 7:30 PM police and protesters clashed for the first time, just below Syntagma Square. A few shops and bus stops were hit, while a group of Syrian refugees—who have been ​holding a protest on the square since November—tried to find shelter.

It was around that time that the tear gassing began and the main mass of protesters was divided, with a bulk of them heading toward Exarcheia and others toward the university. Some remained in Omonoia, where the police deployed their water cannons. They also made mass arrests and threw tear gas into the subway station.

The clashes between police and protesters continued in Exarcheia, where the police also made use of the water canons. The cops then headed toward the building of the General Confederation of Greek Workers ( ​GSE​E) which has been under occupation for a few weeks. GSEE representatives reported that riot policemen attacked the entrance of the building, resulting in four injuries.

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Thessaloniki. Photo by Alexandros Avramidis

Overall, 296 people were detained by police in Athens—among them two journalists, who were released a short while later—and 43 were arrested. The tension continued until the early hours of the morning in Exarcheia. The police brought out their stun guns and tear gas cannisters while protesters threw stones and Molotov cocktails—some from the roofs of apartment buildings.

Throughout the day, crowds gathered at spot where Alexandros Grigoropoulos died to leave flowers and notes.

Marches were also held in many other Greek cities including Thessaloniki, Patra, Agrinio, Veria, Volos, Kalamata, and Chania. 

[body_image width='1200' height='799' path='images/content-images/2014/12/08/' crop='images/content-images-crops/2014/12/08/' filename='athens-thessaloniki-greece-protests-6-12-2014-nikos-romanos-alexandros-grigoropoulos-876-body-image-1418042249.jpg' id='9624']Thessaloniki. Photo bAlexandros Avramidis

In Thessaloniki, the protesters shouted slogans against the police and state oppression. Clashes broke out between police and demonstrators on Tsimiski Street and the front window of a store was set on fire, but it is uncertain whether the damage was caused by Molotov cocktails. Demonstrators rushed to the place to help customers and staff exit the building and put out the fire before it spread. Shortly afterward, riot police cut the march in two by attacking the crowd with tear gas.

Several arrests were made, and at least 11 people were taken to hospital with wounds and respiratory problems.

At 7:30 PM anarchists and other leftists prepared for a new march toward the center of the Thessaloniki. A small group of protesters clashed with undercover police officers and within seconds the city became a battlefield. Molotov cocktails and tear gas were exchanged, with many protesters fleeing to the rooftops of the surrounding buildings. According to official announcements by the police, a total of 35 people were detained and 17 were arrested—all for misdemeanors.

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​Athens. Photo by Alexandros Katsis

In Mytilini, students reported that police threw a female protester into the sea, arresting her after pulling her out. Demonstrations were also held in London, Istanbul, Copenhagen, Paris, Vienna, and Barcelona; some protesters chanted some variation of, "From Ferguson to Athens, no justice, no peace!"

Meanwhile, last night Nikos Romanos made his opposition to his family's decision to meet with Greek Prime Minister Antonis Samaras clear with a handwritten note. Romanos stated that he understands his parents' anguish but believes that the Prime Minister is trying to manipulate the situation to his advantage.

More photos of the protests below:

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​Thessaloniki. Photo by Alexandros Avramidis

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Thessaloniki. Photo by Alexandros Avramidis

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​Thessaloniki. Photo by Alexandros Avramidis


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​Athens. Photo by Alexandros Katsis

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​Athens. Photo by Alexandros Katsis

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​Athe ns. Photo by Alexandros Katsis

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​Athens. Photo by Alexandros Katsis

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​Athens. Photo by Alexandros Katsis


Comics: Megg, Mogg, & Owl: In the Red Light District

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Tampons Are Not a 'Luxury Product,' OK?

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Image via  ​FastilyClone

This post originally appeared on VICE UK​

Whether it's throbbing cramps, a heavy, Willy Wonka's waterfall–style flow, or the club classic that is bleeding through your nice new skirt, getting your period at work is never a good time.

This is why  ​Alice Bartlett, a 27-year-old web developer from London, set up ​​Tampon Club, which encourages women to provide each other with a communal stash of pads and tampons in the workplace.

Tampons have become pretty political in the UK. There's been a ​growing outcry against the fact that they're taxed as "luxury" items (womankind has not yet reached an advanced state of being to stop the whole primal, monthly womb-shedding thing), praise for the Indian man who ​found a cheap, effective way for women to make DIY sanitary pads, and more praise for companies that are perfuming their tampons. So now it's like you've walked through the corridors of your vagina spraying a bottle of Febreze, which is nice.

Anyway, there's nothing quite like the realization that your "time of the month" is unexpectedly here, squirming on top of a pile of toilet paper and wondering when you can waddle down the street like some kind of demented penguin to buy a box of Tampax. Here's why Bartlett—an altruistic goddess of compressed cotton wool and ultra wings—wants to make sure you're never caught out again. 

VICE: What inspired you to be such a benevolent "feminine hygiene" dispenser?
Alice BartlettI work in a big office that doesn't provide sanitary products in the toilets except for those machines that only take exact change. For about the first five months of working there I would frequently get to the toilet, realize I needed a tampon, and have to go back to my desk to get one or go buy some. Sometimes I'd be too busy to go back to my desk and just have to feel uncomfortable or use a toilet paper stop-gap until I had an opportunity to get back to my desk and then back to the toilet. I was thinking how undignified it was, and how much better it would be if I could legitimately keep my tampons in the toilets, when I realized that a communal tampon stash would solve the problem for me and any other disorganized slobs in the office. 

Was there a specific experience that made you think it was important?
As a teenager I remember my mum doing battle with her employer to get them to put tampons in the women's toilets—a mission that was met with much bafflement by her (male) seniors and was ultimately unsuccessful.

Well, we are talking about a luxury product here, Alice. Do you think periods are still shrouded with a weird, prudish stigma? 
Yes. I think there are two reasons: they're messy, and men don't have them.

Do you think men and male managers need to be informed about the importance of readily available sanitary products?
I think all managers need to be educated on this. It's not just the men. A lot of companies do provide free tampons and sanitary towels—Google, Twitter, Facebook, and Etsy all have them. These companies are also all less than 20 years old, which I think might be why they're ahead of the curve on this. I think a lot of men who are in the position to affect change in their organizations, to provide tampons free of charge to employees, simply haven't thought of it or can't be bothered to make it happen.

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Alice Bartlett

Don't you think it's foul that women are charged £1 for, like, two Tampax from those bathroom dispensers?
I really, really hate those bathroom dispensers. They take advantage of women that have no other choice, and they only take exact change, which means you need precisely two 20 pence pieces to get your tampons. Then you have to go ask someone, "Hey do you have 40p in exactly two twenty pence coins?" Ridiculous.

What do you think about VAT being charged on sanitary products? It's 2014. We're quite beyond the days of swaddling our gussets in cloths and hoping for the best.
Tax on sanitary products is currently ​5 percent, but incontinence products are currently taxed at 0 percent. This leads to an odd quirk whereby you can buy practically the same product (a sanitary towel or an incontinence pad), but, if it's for bleeding on instead of peeing on, it's going to cost you 5 percent more! I would like to see the tax rate dropped to 0 percent for sanitary products. 

What's the ultimate end goal of your project? Ideally this would be something done in every workplace across the country
Aside from me not having to carry tampons around with me at work anymore, it'll just be that tampons are available to women when they need them. 
I've tried to be straightforward and honest in the "branding," too—No twee design, no school-girl naughty-naughty euphemisms, just plain English. It's a basic human need. 

Follow Helen Nianias on ​Twitter


Screw the Math: University of Alabama Can Afford Football, So Why Is It Choosing Otherwise?

Looking at People Looking Up at the Freedom Tower

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These are photographs of people looking at the building formerly known as the Freedom Tower​, now officially called One World Trade Center. Although commercial tenants started moving in last month, most employees won't begin work there until January. So the people I photographed looking up are mostly tourists—people from other parts of the country and around the world—who stop to look up at the tower at a specific point near its base where the 9/11 Memorial's swamp white oak trees part. Early this fall I noticed a remarkable natural light condition—at this spot, figures are illuminated by the blinding light that reflects off the tower's slanted glass façade. Since then, I have spent weekends standing there with my camera, waiting for people to look up. I'm interested in the ways people look at the tower. 

All photos by​ Matthe​w Leifheit 

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Follow Matthew Leifheit on  ​Twitter or ​Instagram.

Mr. WizHard Wants to Change How the World Looks at Penises

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All photos courtesy of Mr. WizHard

The penis, according to Italian T-shirt brand Mr. WizHard, has a bad reputation. A millennia or so ago, everyone loved a good dick—potters etched them into their pots, sculptors carved them into their sculptures and, remember, it was generally a lot more normal for men to flop around bottomless, tilling the fields, or building homes out of clay, or fighting tigers in amphitheaters.

But somewhere along the line—presumably sometime after people stopped fighting tigers, but before they invented tractors—everything changed. Now, says the blurb on the ​(NSFW) Mr. WizHard website, a "big penis or an erected one is seen as a social threat and a menace to the order." To remedy this, the brand has released a line of T-shirts sporting both erect and flaccid dicks, hoping they will "recover the original meaning of the penis as a symbol of energy, beauty, and free expression."

Italian designer and visual researcher Davide Bazzerla is the founder of the Mr. WizHard range. I had a chat with him over Skype about how the T-shirts might help to reclaim some honor for the most maligned male body part. 

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Davide Bazzerla wearing one of the (censored) Mr. WizHard T-shirts

VICE:. Tell me about the reputation dicks have today. In the Mr. WizHard mission statement it says that "big or erected" penises are viewed as "a social threat and a menace."
Davide Bazzerla: Yes, and I hope that Mr. WizHard can change that image. This is something that's never been done before—exhibiting a penis in a sophisticated way, and not in a comic or jokey way, on a T-shirt. I can't really gauge reactions yet because the project's just started, but what's important to me is the experience of people looking at a T-shirt with a huge penis on the front.

Why's that important?
A beautiful penis is something that people should see—something that shouldn't be covered. The penis used to be seen as a symbol of fortune, of energy and of beauty. Why would we cover something beautiful? Especially if it's erect. I don't feel like an erect penis is pornographic if it's just standing there, not in action.

I noticed you've got designs of both flaccid and erect penises on the shirts—which state is the most attractive?
Erect. Because erect is energy, it's power, it's pleasure. I love all the good and positive things about an erect penis, like waking up in the morning with one—it's something that gives us the feeling that the day is going to start well. It's something positive, a morning wood.

What do you think has caused the shift in how penises are viewed?
I think religion has had a huge influence in changing moral customs. In ancient Rome, for example, they would keep huge statues of penises in the home because it was something to celebrate. So yes, after that I think religious customs turned the penis into something that's feared.

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One of the Mr. WizHard T-shirts (We've blurred it because obviously it's a picture of an erect penis, but you can see—and buy—the NSFW version ​here)

What do you think of the "free the nipple" movement on Instagram? I guess that's the most high profile parallel to what you're doing with Mr. WizHard.
I love nipples, and I see parallels between the two. Mr. WizHard has just started, but I could always explore different things in the future—nipples being one of them. I've started out with the fact that I'm a man and I'm attracted to the penis. But then I'm also attracted to boobs. And I also have nipples, too, of course. I've had them forever. So yes, I find them attractive, too.

Who do you picture wearing your shirts?
There's no one person in particular. I'd like to think that lots of different people would wear them, so then they would also get reactions from lots of different people. Of course, you'd probably have to be a bit of an exhibitionist, because you know people are going to start looking at you if you wear something like that.

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People wanting to provoke a reaction?
Provocation's not really my intention; I didn't create the project to shock people. The reason was because I have a lot of friends who are like, "I can't wear something like this," and I don't know why—it's something beautiful, something really elegant. Although, I suppose one problem is that, in our era, so much promotion is done on Instagram and Facebook, but you obviously can't really do that with Mr. WizHard. So I think the shirts are maybe to be experienced by friends who are really close to you, not the wider world.

Cool. Do you think this is the first of many Mr. WizHard collections?
This is the beginning of a new project. I need to see how the audience react to continue—not just from a business side, but from a creative side, because I want to take people along with me and I can't do that unless I know what they like. It's the beginning of a new experience.

Follow Jamie Clifton on ​Twitter.

A Midwestern Furry Convention Was Allegedly Attacked with Chlorine Gas This Weekend

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Things got weird in an unanticipated and frightening way for several thousand attendees of Midwest FurFest early Sunday morning when ​they were the targets of an allegedly intentional chlorine gas leak that could have turned deadly according to the, uh, fuzz.

Puns aside, the news is deeply troubling. The ​event is the ​second-biggest gathering of ​furries, the term for people who dress up in expensive animal costumes and role-play (sometimes sexually) as anthropomorphic critters.

Furries have long been a punching bag for the internet, and are a frequent target of ridicule on forums like Something Awful and image boards like 4Chan. But although the subculture is all too familiar with the concept of "fursecution," this is the first time they've ever been the target of an IRL attack on this scale.

The Midwest FurFest drew 4,600 attendees this year, which means a lot of people stood to be poisoned if the apparent attack were successful. Luckily, the leak was obvious due to the chemical's pungent odor, and attendees were evacuated from the Chicago-area Hyatt about 30 minutes after the leak was detected shortly after midnight. Chlorine exposure can cause symptoms ranging from blurry vision to a condition called acute lung injury, and in up to 1 percent of exposure cases, people die.

A ​hazmat team found the source of the gas in a hotel stairwell—a pile of powdered chlorine—and the incident sent 19 people, who were complaining of dizziness and other medical issues, to the hospital. (A police investigation into who put the chlorine there is ongoing.)

By 4:21 AM, the Rosemont Police Department gave the all-clear and allowed the furries to continue their party. " As we wake up today we want to continue to provide the best possible convention that we can, despite the trying circumstances," FurFest organizers said in a ​statement. "We ask you to continue to be patient, and remember that the volunteers who make Midwest FurFest happen intend to give 110 percent to make sure that the fun, friendship, and good times of Midwest FurFest 2014 overshadow last night's unfortunate incident."

The convention, which began on Thursday, has already featured events like "Explaining Furry to Your Parents" and "A New Introduction to Pawpaterring." It ends Monday night. Although they might not have slept much this weekend due to the evacuation, fuzzy-headed convention-goers can try to wrangle with the intricacies of "Furry Theory" in a group discussion today. Hopefully, they can make it to 10 PM for the final event, which now seems to have an inappropriate name: the Dead Dog Dance.

Follow Allie Conti on ​Twitter.

Britain's Free Art Schools Are Making Art Education Accessible Again

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Photos via Wikipedia Commons via  ​here​here, and ​here.

This post originally appeared in VICE UK

David Cameron has a neon Tracey Emin piece on his wall that reads, "More Passion." It's said to be worth £25,000 (about $39,000), which seems like quite a lot for something you might see in a Hoxton bar, but Cameron got it for free, because Emin donated it to Downing Street. That's not the only piece of art that Dave hasn't stumped up for.

Since 2010, when Cameron was elected, things have become pretty bleak from Britain's young artists. Arts council funding has been cut by ​30​ percent, making grants almost impossible to get hold of. Last year, benefits were withdrawn from most 18- to 24-year-olds who were not "in work, education or training." If you genuinely think that you can pursue your creativity comfortably and have a full-time "non-creative" ​jo​b to pay the rent, then you have obviously never tried to sit down and write after 12 hours on your feet waitressing. Then there's university: With art courses now charging colossal fees, the future of young, low-income, would-be artists doesn't look great. While some students have ​taken to the streets to protest about this, there has been a quieter, more gradual protest going on: the development of free art schools. 

I first heard that you could go to art school for free last week when a friend invited me to her final MA show and I asked her where it was that she studied. " The School of the Dam​ned" (SOTD) she told me, which sounded like a cross between a 1930s horror film and a dedicated ​Dave Vanian fan club. On the SOTD website, the "class of 2015" manifesto is pretty clear about it's position regarding money and education. "The School of The Damned is a course run by its students and supported by a growing circle of visiting lecturers and tutors," it reads. "The course aims to establish a new network of artists, academics and institutions, which not only advocates free education, but also demands a universal acknowledgment of education as a fundamental right." 

I got in contact with the organizers (the students themselves), who explained that the course was "started by a group of artists who couldn't afford to study on an MA, so set up their own initiative." Do they think free art schools are the way forward? "No. They are reactionary, a coping mechanism," they told me. "They are a temporary solution, which hopefully adds to the conversation that education should not be exploited by Conservatism. We believe you need people from many different backgrounds to create an exciting learning environment."

What SOTD alludes to, and what is perhaps the most devastating affect of the diminishing of arts institutions for monetary gain, is that groups of art students from identical backgrounds—where there is no social or economic mix—will hardly produce artwork that is sparkling with diversity or dynamism. Where's the progression in that? 

SOTD is not the only free art school to open its doors in recent years as a reaction against restrictive access to arts education. Open School East, which opened last year, is a free study program for emerging artists that's located in a former library in Hackney. Anna Colin, a curator who co-founded the program, told us, "Finding work in the art world was never easy, but in the current situation, who can realistically afford to go into major debt to find themselves in unpaid or precarious freelance positions?"

OSE was conceived to support emerging practitioners through, "free tuition, shared studio space and a critical environment in which to develop their practice," said Colin. "These days, students seem to be provided with less than when they were paying low fees, which is huge contradiction." 

I asked her if free art schools are a sustainable model. "Well, free art schools may be free to artists but someone has to pay for them to function," she said. "We often muse that if every aspiring artists invested £1,500 ($2,344) a year with ten others—instead of investing £9,000 ($14,000)—they could get themselves a sizable shared studio, and pay practicing artists to come and mentor them a couple of times of month. I seriously believe that unless radical changes are done to break down current barriers to higher education, the future for many practitioners will be non-accredited."

[body_image width='1016' height='591' path='images/content-images/2014/12/08/' crop='images/content-images-crops/2014/12/08/' filename='free-art-schools-daisy-jones-198-body-image-1418043528.png' id='9635']The Tracy Emin piece in 10 Downing Street. Photo ​via Department for Culture, Media and Sport. 

Free art schools aren't just a London phenomenon. Islington Mill Art Academy (IMAA), which was founded in 2007, is based in Manchester and describes itself as, "a peer-led experiment into alternative modes of art education. IMAA emphasises shared responsibility, and its nature changes with its membership, with each member bringing their own ideas and energy." 

Similarly, artist Ryan Gander outlined plans in a letter earlier this ​year to open a free art school in his hometown in Suffolk, called Fairfield In​ternational. He is even more vocal on the benefits of having students from poorer backgrounds included within the art world. "Once in a blue moon you come across an individual whose work astonishes you, usually signified by a slight jealous feeling in the pit of your stomach," he said. 

"These students are often—although this sounds like a romantic stereotype—from unprivileged backgrounds; northern town dwellers, broken families, working class terraces, uneducated, uncultured families. I'm sure it has less to do with understanding visual language and the history of contemporary art and more to do with the fact that out of these situations come strong characters who are self-reliant, resourceful and entrepreneurial." Of course, these are exactly the kind of people who are likely to be put off attending university if it means getting into debt.

Unless you're one of the lucky few to work with one of the dominant museums or galleries in London that generate tourism, t he message from the government is that you need to get off your lazy artsy arse and get a "​real job" (​bad luck if you live outside the capital). When we've got a government that wants young people to choose between poverty or debt and which cuts art funding, ultimately preventing low-income artists from being able to work, maybe free art schools represent a viable way forward. 

Follow Daisy Jones on ​Twitter.

Newfie Fishing and Fried Chicken

The Malformed, Forgotten Brain Collection of a Former 'Lunatic Asylum'

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Study No. 9: 3759-04-83 Down's Syndrome, 02/10/83 All images courtesy of Adam Voorhes and powerHouse Books

There's a unique collection of incredibly rare medical curiosities housed in the University of Texas at Austin: 100 deformed human brains resting in clear, glass jars of formaldehyde, their conditions cataloged on yellowing labels. They once belonged to patients at the Texas State Lunatic Asylum, known today by its far less dramatic name, the Austin State Hospital.

The original collection contained over 200 brains, but last week there were reports that half of these  mysteriously disappe​ared. While some headlines made it sound like 100 brains disappeared overnight, they actually went missing over a decade ago. In light of all the new attention, though, the university released a statement last Wednesday to say that back in 2002, UT officials threw out 40 to 60 specimens "in accordance with protocols concerning biological waste." 

The fates of the other organs that were not thrown out (but also aren't in the collection) are still unknown. That seems like a lot of brains to go missing, and apparently the university thinks so, too: Investigations are currently underway to learn what happened to the lost specimens.

The remaining 100 zombie snacks, however, reveal a wealth of information about neurological disorders and are the fascinating subjects of a new book by Austin-based photographer Adam V​oorhes and journalist Alex Hann​aford. Titled Malformed: Forgotten Brains of the Texas State Mental Hospital ​the hardcover is filled with detailed photographs of the brains and an essay exploring the history of the curious collection, which was largely neglected for years by both the medical community and the media. The images are the result of a weekend Voorhes and his wife spent at the University after learning about the brains in 2011. Wearing gloves and respirators to withstand the intense stench of formaldehyde, they captured each specimen with a large-format camera, revealing the beauty in the brains' distorted folds and abnormal sizes.

It's not every day that you come across a closet full of old, pickled brains, so I called Adam to learn more about the book and photos, the rare anatomical anomalies within the collection, and how the specimens may contribute to scientific research today.

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​Brain jar spread

VICE: It's odd that a bunch of malformed brains were quietly lying around for decades in a closet. How did you discover the collection?
Adam Vorhees: I was on assignment for Scientific American, and my wife and I were to photograph a normal human brain that had been donated. So we went to University of Texas and were talking to Tim Schallert, who owns the lab, and he says, "Hey, do you guys want to check out the brain collection?" So we go into a teaching lab, and there's a storage closet filled with cabinets that contained these jars stacked two-deep on the shelves, floor-to-ceiling, wall-to-wall, with human brains. It's the kind of thing you see in the movies.

He also pointed out that a lot of the brains are in decay. Some of the jars are cracked, the chemistry was old and clouded and needed to be replaced, and they didn't have the funds. So we decided to help pay for the chemistry if he were to give us access to the lab for a couple of days to visually preserve this collection.


Study No. 255 440-07-1975 Hydrocephalus internus et externus, 02/27/75 A buildup of fluid inside the skull and brain.

What compelled you to undertake the project? Do you have an interest in medical curiosities?
No, it was very much the mystery of it. It was a feeling of responsibility where I felt I could do something positive. The secondary thing is the sociology aspect, wanting to understand what these people's experiences were like. There were brains of people who had Down's syndrome. I was really confused by that. I grew up in the 80s, and my perception of it wouldn't be that a person [with Down's] would be in a mental hospital. Another thing is that decades ago, if somebody had a low IQ, they would be put into a school that is essentially a state-run ward, and it would kind of be a life sentence to a mental institution. So you had these people who had Down's syndrome who ended up in this collection for that reason. There's another brain with meningitis—it's an inflammation of the brain. It's not a mental illness. Why were they there? I wanted to know.

So how did 100 ancient brains end up apart from their owners, banished to jars for eternity?
The collection was amassed from the 1950s to the early 80s. Back then, if a person was in a state hospital, and they had a really low IQ, a degree of mental retardation, or some kind of brain disorder—and they passed away while they were in state care—there had to be a brain autopsy. So these were all patients at the Austin State Hospital, which was originally established in the late 1800s.

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Study No. 282 UNLABELED. Three dyed segments of brain used for teaching

Was there a reason why they were preserved in formaldehyde instead of getting tossed out after being studied?
I honestly have no idea. I think a lot of it has to do with disposal issues, but that's a really interesting question because the bodies were definitely taken care of. It is a relevant question, but what I've really been focusing on are questions like: What is so special about this collection? How is it scientifically relevant? What use is there to it?

So there weren't any documents accompanying the collection that offered any clues about it?
One of the things we wanted to do was uncover these medical records at the state hospital. They told us we had access to these records whenever we want. Well, somebody at this hospital had thrown them out. So all of this medical data that went with the collection was thrown away. Just gone. So that's why we don't know as much as I'd like to know about a lot of the brains.

What kind of place was the Texas State Mental Hospital? Some of the jars look like they just contain chunks of brains. Did doctors carry out procedures like lobotomies and psychosurgery?
In the late 1800s, it was incredibly progressive. It was all about rest for patients, giving them fresh air, room to exercise and breathe. It was a very forward-thinking place. And as you go forward in history, then you get into electroshock therapy, you get into heavily medicating patients, so that kind of stuff did happen. So these ups and downs in history. As far as lobotomies, I don't know whether that was or wasn't done.

In some of [the jars] where you see chunks, that would be where there was a brain hemorrhage or a tumor, and they would do a dissection of the brain. What was really strange is there were some jars that had bits of organ in them. Those [patients] typically had cysts in the brain. And when you have a disorder when cysts are growing in the brain, it typically grows on other organs. So the doctor was looking for cysts in organs in addition to the brain.

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Study No. 230: 752-141-1959 Mikrenkephalia, 10/16/59. This heart and brain, preserved together, had the consistency of jelly.

​What are some other deformities or diseases you observed?
You have incredibly rare brains. Somebody had a severe brain tumor, and they would have headaches, behavioral changes. You have brains with giant brain tumors that wouldn't happen now due to medical advancement. You have some rare disorders where the brain is completely smooth. That person probably wouldn't be able to talk. He would have seizures. Most of the brains have a buildup of cerebral fluid, which is another thing that wouldn't really happen today. The doctors now would put a little device at the base of the skull that would drain excess fluid. Here we see fluid building up in the inside or the outside of the brain, which would cause the brain to be incredibly large. It can cause the brain to be small. It can cause the brain to grow in a shape that isn't normal, and those were the ones that were wild. And then Alzheimer's—you have an incredible amount of decay in the brain tissue. And elderly brains, where the wrinkles are kind of shrunken and pulled apart more.

So what can we learn today about mental health from the brains?
It's pretty exciting. The brains in this collection wouldn't exist today because of the technologies and medication we have, so they can be used as a teaching tool. The response from the scientific community has been fantastic. A lot of pathologists have reached out, and they are very excited about the project. You have brains where people were medicated when they wouldn't be medicated today, and people can do comparisons of the tissue. You could compare people suffering from schizophrenia who didn't have any medications with people who do now. There's so much to it that's really valuable.

What's in the future for the brains? Will they be put on display?
After we started this project, UT got a rejuvenation of interest in this collection. They've decided to do MRI scans, and that would be a way to study the entire mass of the brain and could be something people could use anywhere to do a study. UT is building a new medical teaching facility, and they have plans to put them in a sort of museum there. They have a room at Harvard Medical where they have brains on display in a very tasteful manner. I think it would be exciting if UT had something along those lines.

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Study No. 331: ILLEGIBLE. Severe developmental anomaly of the brain, 01/06/78 

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​Brain shelf spread.

​Follow Claire Voon on ​Twitter.


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I Dug Up Peyote in the Mexican Desert

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In the fall of 2012, I set off from my apartment in Mexico City and traveled nine hours through rough terrain to the Chihuahuan Desert to illegally dig up and take peyote.

Growing up in Connecticut, I'd heard of the hallucinogen but not of anyone actually doing it. Back then, I wasn't even sure what it was. Though like many teens I'd explored most other psychedelics before graduating high school, peyote was the only one that still held an element of wonder in my mind.

So when my friend Luis mentioned he'd heard of a remote place in Mexico where people went to dig up the psychedelic cactus and trip in the desert, it seemed like a no-brainer.

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Range of wild peyote in Mexico in 2008. Map uploaded by Wikimedia User Xtabay

Peyote's scientific name is Lophophora williamsii. It grows underground, and only its crown is visible at the surface. Its strong, bitter taste keeps most animals from eating it, but the Huichol, an indigenous Mexican tribe, uses it as a sacrament and to induce hallucinations during religious rites.

The Huichol believe the cactus helps them gain healing skills and communicate with their gods, a ccording to Dr. Jay Fikes, a retired professor of anthropology at Yeditepe University, in Istanbul. As animists, they believe that all living things have a soul, so the peyote plant itself has a spirit and wisdom to impart.

But why does it get you high? Dr. John Halpern, assistant professor of Psychiatry at Harvard Medical School and probably the most notable doctor researching peyote today, said that the cactus "contains mescaline, which is a classical psychedelic ethylamine hallucinogen."

Peyote was first identified and studied by Western doctors in the late 1890s, but it was made illegal in the US in 1970 with the Comprehensive Drug Abuse Prevention and Control Act, which concluded that it serves no medicinal purpose. Under Mexican law, it's illegal for anyone other than the Huichol to dig up or possess it. But that hasn't stopped a tourist trade from springing up around the plant.

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Huichol Indian yarn painting by Jose Benitez Sanchez, based on a vision triggered by peyote. Photo via Flickr user Lynn (Gra​cie's mom)

Real de Catorce, which has long been the site of Huichol peyote rituals, has become the center of the psychedelic cactus trade and a pilgrimage destination for would-be psychonauts. Once a nearly abandoned silver mining town, Real de Catorce (usually just called "Real" and pronounced "ray- ahl") sits on a 9,000-foot plateau in northern San Luis Potosí state. Its population plummeted from 40,000 in the late 1800s (when silver mining was in its heyday) to fewer than 1,000 full-time residents after the silver crash of 1893.

The town offers never-ending desert views and Old West–style buildings both restored and abandoned. But few people come to Real to enjoy the scenery. They're here to trip balls on the local cactus. In recent years Real's unique tourism industry has been written up everywhere from NPR to National Geographic, and trade from the cactus eaters helps support the local cafés, hotels, and bars.

Real and peyote first began to gain worldwide recognition among druggie experimentalists after the publication of anthropologist, author, and New Age teacher Carlos Castaneda's The Teachings of Don Juan: A Yaqui Way of Knowledge in 1968.

In the book, Castaneda claims he studied with a Yaqui indian shaman who showed him how to use peyote to explore "a separate reality" and uncover truths about modern society and unhappiness. Included in his writings are fantastical tales about talking to coyotes, becoming a crow, and learning to fly. These fantastical stories have caused many mainstream scholars to dismiss his work, but they understandably piqued a lot of interest among people who really want to become crows and soar over the desert. 

Luis and I had our hearts set on checking it out. So a few days after he told me about all this, we hopped into his ten-year-old shitty white hatchback and hit the road to Real.

The last two hours of the trip required driving along the world's bumpiest, dustiest 17-mile-long cobblestone road at ten miles an hour to avoid fucking up the bottom of our car. So much dust rose from the road that we could barely see.

After that spine-jarring hell, we lined up and waited outside of a mile-and-a-half-long tunnel that can only accommodate one car at a time. That tunnel, called "Ogarrio," passes through a mountain and is the only way into Real by car.

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​Photo by Wikimedia user  Peter A. Mansf​eld

Real's main drag boasts a set of varied subcultures mixing and mingling on the dusty street. Old guys with gray beards and psychedelic theories rub shoulders with Mexican teenagers from the city on party weekends who take mescal shots with bros who got bored with the beach in Tulum. The visitors rent guesthouses in Real for a few days or take apartments and stay for months, trekking in and out of the desert to eat peyote with notions of being on a spiritual journey.

You can buy cactus from someone in town or try all sorts of peyote jellies, drinks, and salves that may or may not get you high. But the real point of a trip to Real is to go out into the desert and dig it up yourself.

The desert surrounding the town, especially in the Station 14 area, is where most of the peyote grows. It takes an hour by vehicle but is too steep of a descent for a normal car.

For $10, we caught a ride on a "willy," which looks like a Range Rover but functions like a bus. Eight passengers can fit inside and another eight on the roof. It's safer inside, but the view and breeze are better from the top. We rode on top and ooh'ed and ah'ed at the panoramic views and dead burros along the side of the dirt road.

On the trip, I talked to people who had been planning to visit this desert for years and had encyclopedic knowledge of peyote and the Huichol. There were also others (like me) who were in Mexico traveling, heard about the peyote in the desert, and thought they'd check it out.

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Real de Catorce. Photo by Flickr user robin​ robokow

The willy dropped us off and everyone scattered. So there we were, Luis and I alone in the Mexican desert, when we realized we didn't know what we were looking for.  We thought it would be obvious what to do once we got there, but that wasn't the case. We had no tools, no supplies, and no clue.

"Uh, do you know what peyote looks like?" I said.

"No, do you?" he replied.

"Nope," I said. "Is your phone working?"

"No. Shiiit," said Luis.

Since it's illegal for visitors to dig up peyote, the drivers won't give you any information—in fact, they pretend they have no idea why you might be schlepping out into the desert.

We wandered around for a while feeling stupid. Then we saw a big guy wearing mirrored sunglasses who was brushing the ground with some sticks. His  name was Leon, and he owned a hostel in Monterrey. He came out to the Chihuahuan Desert regularly to dig up peyote to sell to his guests. Like a true drug buddy, he gave us a tutorial on unearthing natural hallucinogens.

The young ones are about the size of a golf ball and may be five to ten years old. Mature ones are about the size of a baseball and may be up to 20 years old. The bigger cacti are easier to find, but the locals say that the smaller ones are more potent.

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​Peyote. Photo by Wikimedia user  Kauderwel​sch

At first, Leon was pointing peyote out everywhere while simply scanning the ground with his eyes. Luis and I were on our hands and knees and still didn't see anything. Once we found a crown, he showed us how to sweep away the dirt and loosen the cactus gently with a small knife. It isn't possible to dig these up with your hands since the ground is really hard and dry. Peyote is buried between one and three inches deep. When Leon lifted the cactus out of the dirt, he kept it in one piece and left the root intact so that the plant could regenerate. Once he removed the cactus, he recovered the root with soil. This was important because these cacti in Real are being harvested far faster than they can grow.

Leon told us not to peel it and clean it until we were ready to eat it because it dries out quickly. Once you peel it, the inside looks green, shiny, and wet with a color and texture similar to a green bell pepper.

After we removed the hard skin and rinsed the flesh with water, Leon prepared us by saying the taste was "way worse than shrooms." But after eating the first one, I didn't think it was that bad. Unlike magic mushrooms, it didn't smell or taste like shit. It just tasted bitter. However, it did give me the driest mouth of my life.

I ate the peyote on an empty stomach since I wanted to have the strongest experience possible. Leon said that, to have a great trip, you need to eat eight to a dozen "buttons." After choking back my dozen, I felt completely stuffed.

I knew I was tripping when I heard Luis or Leon speak and I had to think deeply about what they were saying and what to say back. Luckily, we weren't talking much. But everything was amplified. I was thirstier, the desert was hotter, and the ground was harder. It was easy for me to imagine how peyote could enhance a religious experience.

Dr. Halpern told me that the cactus "probably works similar to other hallucinogens. It is thought to affect a serotonin receptor called 5-HT2A, which is a partial agonist. That particular serotonin receptor has three switches: off, on, and on-with-psychedelic-effects. We believe that functionality is the necessary component for psychedelic experience. The half-life of that effect will last eight to 12 hours at a full dose, which is 400 milligrams of peyote that has a one to three percent mescaline content."

"On peyote, your emotions are raw," Dr. Fikes said. He recalled seeing a bull sacrificed during a religious ritual while on peyote and found himself actually unable to breathe.

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Chemical​ structure of mes​caline, the primary psychoactive compound in peyote. Image by Wikimedia user Cacy​cle

For six hours, the peyote came over me in waves.

At times I felt mildly sick but that could have been due to heat or dehydration as much as the peyote. When the feelings were strongest, I had the familiar mind-twitch I often associate with psychedelics. I thought I could hear the emptiness of the desert.

The first few hours took on a dreamy quality and I was unable to focus fully on anything. The later hours were more lucid and the the experience had no sharply defined start, peak, or end. I still felt the dreamy, drifting effects of it the next day.

The willy back to Real was nearly empty, so we laid down on the roof and stared at the sky while holding onto the rack. My body was super relaxed and I had no interest in talking. I felt like I was getting sunburned, but I didn't care to do anything about it. It was hard to focus on any one topic for more than a few minutes.

I hated when we got back to town and had to leave the good, chilled-out vibes we had on top of the truck. We exchanged info with Leon and he invited us to come stay at his hostel sometime soon. It sounded cool, but I knew we would never see him again.

After several hours of wandering around the ruins of Real, we decided we had come down to head back to Mexico City. We had dug up some extra peyote to bring back with us but, at some point, Luis—whose idea it was to come out to the desert and eat peyote in the first place—became concerned that we might get pulled over by the cops.

So he made me toss my last few buttons out the window. Religious experience or not, I guess peyote can make you a little bit paranoid too.

Follow Laurel Tuohy on ​Twitt​er.

A Land Dispute Led to Barricades Being Torn Down by First Nations in Ipperwash

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This barricade used to stretch across the beach with a locked gate. All photos by Colin Graf.​

Along the windswept Lake Huron shore, a new conflict is shaping up only a short distance from where First Nations protester Dudley George was shot and ​killed in 1995. Beachfront property owners have begun erecting makeshift barricades to keep vehicles off their property after a local native band removed barriers that had protected the three kilometers of beach from drivers.

Workers sent by the Kettle Point Band Council sparked the property owners' anger on Friday when, under the watchful eyes of police, they went in with backhoes to remove the municipal barricades. The band council claims that the route ​encompasses the band's "historical trails" and that the community wasn't consulted when the no-entry barriers were first erected over 40 years ago. Since the removal of the barricades, drivers have been traversing the open beach and, according to local cottage residents, disturbing the peace. Homeowner Mark Lindsay told VICE Saturday morning that through the day and most of the night, property owners had to listen to the sound of air horns as drivers paraded along the beach.

Kettle Point Chief Tom Bressette has been quoted as saying the action was taken to allow band members access to a travel route that would benefit both band members and visitors.

Lindsay rose early Saturday to erect barricades in an attempt by property owners to protest and reclaim the beach. Later that morning his handiwork resulted in a tangled mass of brush, driftwood, and an old picnic table, stretching to the water's edge precisely where his property deed says his land ends. Would-be beach drivers and homeowners exchanged angry words, he said, but his barricade is staying. "I can show this deed to the OPP if they want. If I have to go to jail today, I will, and I'll go tomorrow or the next day as well."

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Mark Lindsay's barricade.

Still, VICE watched several trucks drive around his barrier in the shallow water at lake's edge.

Ontario Provincial Police are investigating both the removal of the old barriers and Lindsay's makeshift barrier, said Const. Todd Monaghan. Several cruisers were driving around the area Saturday afternoon. The force's main interests are in maintaining the peace and ensuring public safety, Monaghan explained. He added that it's too early in the investigation to say if charges will be laid.

Residents are angry at what they claim is their private property being trespassed on by the trucks, and are also worried about the ecological consequences of the traffic. The beach land and sand dunes are often subject to erosion by storm winds and residents fear that with drivers speeding up and down the beach, the erosion process will be accelerated, said Lindsay. Pedestrians have always been allowed on the beach between the Kettle Point band lands and the area of the former Ipperwash Provincial Park claimed by the band, he explained. Even horse-riding has been allowed, he said.

The beachfront residents have had arguments with some drivers on the beach already, he said. "I informed one [native driver] if he wants to claim all Canada as his land he can go for it, but this is my property and he will have to go start somewhere else."

Residents are upset and frustrated because the OPP "stood by and did nothing" to stop the removal of the barricades, said Eugene Dorey, president of the Centre Ipperwash Community Association, which has helped local officials maintain the barriers for many years, he said. Property owners have to "take a stand," he said, supporting Lindsay's barrier building.

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Josephine Bedard waves a flag from her car.

The Kettle Point band "never surrendered the beach," said member Josephine Bedard, who drove down to the beach Saturday to wave an inverted Canadian flag in black-and-white from her truck window. "We like to get along with our neighbours," but local homeowners need to "get their paperwork straight" with the federal government so that they recognize native rights, she told the Star. Band members continue to face racist treatment from some non-native residents she said.

"Some people won't let things go from years ago," she said.

The band's actions "are certainly straining relations" with non-native residents, said local mayor Bill Weber. He added that he was "very disappointed" with the barricades' removal, which was done without consulting town officials. He fears it may set back efforts to improve relations between aboriginals and other residents in the Ipperwash area that have been years in the making. A "working group" with members from the band, the town, and the province have been meeting on matters of common interest for over six years, ever since the end of the Ipperwash Inquiry into the events that led to the death of Dudley George. Weber urges property owners to remain calm.

"We are neighbours. We have to get along," he said, but also added that removing the barricades "was not a neighbourly thing."

"Let's take some time and think things through." 

Weber hopes a meeting of the working group scheduled for next week will still take place as planned. 

​@GraficContent

Jim Saah Learned How to Use His Camera During the Height of DC Hardcore

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Ian MacKaye, Minor Threat

In the late 1970s and early-80s, punk was being reinvented in the dingy back-rooms of Washington, DC's Chinese restaurants. Photographer Jim Saah was there on the front line, dodging slam dancers and puddles of vomit to shoot local hardcore bands like Bad Brains, Minor Threat, and S.O.A, as well as those from further afield, like West Coasters Black Flag, who—in the early 80s—appointed DC native Henry Rollins (then an employee at Häagen-Dazs) as their frontman.

Saah's early photographs are featured in Salad Days, a new documentary about the city's hardcore scene. In it, we learn how Minor Threat/Fugazi's Ian MacKaye still gets prank calls about being straight edge at the age of 52, and how his brother, Alec MacKaye, once threw up right at Thurston Moore's feet.

I gave Saah a call to learn more about how he unwittingly documented one of America's most influential subcultures.

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Void

VICE: How did you start off photographing DC's hardcore scene?
Jim Saah: I discovered punk rock in 1980, or thereabouts, when I was 16, and quickly found out that people who made this music were in DC, right in my backyard. So I obviously sought it out and started going to every show I could possibly get to.

What are your earliest memories of those shows?
They had shows at all kinds of weird places: the back room of a Chinese restaurant, abandoned apartment stores... There were these hardcore matinees on Sunday afternoons, and those were just amazing. The community and the energy and the camaraderie were all just intoxicating.

What was it like for punks walking around the city when "punk beaters" were still a thing?
In the documentary the bands talk about rednecks pulling up in cars and jumping out and beating them up. A lot of those guys wouldn't take it; none of them were inherently fighters. Like Henry Rollins says in the movie, "I was not a fighter, I went to a private school, I was from the suburbs in the Upper North West. You learn how to throw a punch after a while." So they started kicking some ass back and they would travel in groups. You'd see people get in fights at shows and stuff.

The scene is known for giving birth to straight edge, but there was still plenty of drink and drugs at shows, right?
Yeah, people have a misconception because DC is known for the straight edge thing, but there were a bunch of people who would come to shows drunk, and people were smoking pot. 

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Faith

So were the straight edge kids always a minority at those shows?
They were a smaller group, definitely.

There's a shot of a crowd sitting on the floor watching a band, which you often see at Fugazi shows. Tell me about that.
I think that picture may have been taken in between bands. With the Fugazi shows, sometimes if people got too violent—kicking people and stuff—[the band] would yell at them and say, "Calm down." But people would dance at Fugazi shows. No one really sat down, except maybe for Rites of Spring, or some of the bands where they were trying to get away from the violence and stuff. They'd do shows early in the morning at, like, [the venue] Food for Thought, and people might sit and respectfully watch the band and purposely not slam dance and stuff. But that wasn't the case in the early days by a long shot.

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Ian MacKaye, Minor Threat

There's a shot of Ian MacKaye preaching to a crowd. How often did you see shows stop mid-song when people were slamming too hard?
Well, that was never with Minor Threat. With Fugazi it would happen fairly often; not every show, but maybe once every other show. There's a part in the movie where, in maybe 1990, they were really over the slam dance thing and [Fugazi guitarist] Guy [Picciotto] stops the show. They finish the song and he dives into the audience and grabs this guy who's jumping on everyone's head, and he's like, "Sit the fuck down. If you wanna kick people in the head, you can get on stage and kick me in the head."

Did those shows ever completely fall apart?
They would usually carry on. Sometimes they'd stop the show and yell at people and then just kick right back into it, and they would never really miss a beat.

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Ian MacKaye looking on at a Dead Kennedys show

Ian also appears at one of the Dead Kennedys shows you shot. He's in the background looking concerned while a guy is being held by the neck, his tongue hanging out. Did people view Ian as a policeman at shows?
I think Ian was just a fan. If it wasn't his show he didn't act like a bouncer or tell people not to do things. He'd just be on the side of the stage watching. If it was his show and he was playing, then yeah, he might. I mean, I can't speak for him, but that's my observation.

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Guy Picciotto, Fugazi

Tell me about the famous shot of Guy Picciotto—the one where his legs are spread out on stage.
That was at a show at the 9:30 Club, where he'd roll around and throw himself off things, and it looked like it hurt a lot of the time. Sometimes he'd fall into the drums and smash himself all over the drums or, like, pull the strings off his guitar on the ground. And that was just near the end of the show. I don't think he was hurt in that picture, but I do think he was spent, and there was a mic stand on the floor and all this stuff around—I thought it was an interesting choice to put on ​the cover of Repeater. Guy made fun of it himself when it came out; he would tell people, "My ass is on the cover." He might have been a little embarrassed, I don't know.

So the rest of the band approached you about using it for the cover of Repeater?
They specifically asked for that shot. They picked out all the shots. I would just send them things to look at because I photographed so many shows, and then Kurt Sayenga designed it. He did a fanzine and I did a fanzine, and we'd work together on things, so they asked me to send the shots to him.

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Black Flag

Henry Rollins gave you a really striking image in his sweaty little shorts. Was it intense shooting him and Black Flag?
He was always very intense. When I started going to shows he'd already left town to join Black Flag, so I would see him when he came back to play shows, and I knew him a little bit from beforehand. He was an intense individual back then. I interviewed him for my fanzine and he was just, like, glaring. I don't know if it was a persona—I wasn't really big pals with him before—but he'd just be squeezing a pool ball and staring while you were talking to him. 

And then the live show... everything was just full on: sweating and performing in little shorts that would be soaked, laying in the crowd... it was just kind of a visceral thing, with sweat and spit getting on each other, the loud music. It was very tense.

It seems like Black Flag fit perfectly into the DC scene, even though Henry was the only one who grew up there.
Yeah, he was in S.O.A and a couple other DC bands before he joined Black Flag. I guess some people think they might be from DC, but he did move out to Los Angeles to be in the band, I think.

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Henry Rollins, Black Flag

What do you think caused the downfall of the scene in the late 80s?
When Minor Threat broke up. They were my favorite band—and Faith. Most of the bands I was into in the early 80s had broken up. And then there was this new crop of bands like Rites of Spring and Beefeater and the "Revolution Summer"–era stuff. 

Part of that Revolution Summer thing was people taking back the scene—they wanted to play to smaller audiences and not have the violent knuckleheads come by and slam on everyone, and I was fine with that. Those bands enjoyed their quieter little scene, but none of them stuck around too long. Like, Rites of Spring were together for, like, nine months and never really played out of time, and Happy Go Licky and Beefeater would put out records posthumously and then go on to something else. So I think it was a combination.

It seems like most of the bands weren't so keen to promote the political causes that a lot of the gigs were in aid of. Was that another factor?
Brian Baker [of Minor Threat] and other people would say they were good causes, and they were into the politics of it, but it just became the driving force: Almost every show you ended up playing in DC at that point ended up being a [local activist collective] Positive Force show, and some people just wanted it to be about the music and not the politics. 

But then a lot of people were into the politics and were interested in the anti-Apartheid movement and the percussion protest that they did. So there were two camps: A whole bunch of kids who were involved in Positive Force, then there were other people who would just go because the band was playing and they'd be like, "Oh, I wish this guy would stop talking and let the bands play."

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Bruce Hellington, 9353

Thurston Moore said that the scene totally changed once kids got laid. Do you think that's true?
I thought the term he used—"pre-sexual"—was funny. Personally, one of the reasons I went to less shows in 1984 and 1985 was because that's right around the time I got a steady girlfriend. And when he said that, I was nodding my head knowingly. Because I was like, "Yeah, the scene changed for me when I started getting laid." Punk rock was great, but this other thing was kind of cool, too.

I guess that was maybe the beginning of the whole post-hardcore/emotional hardcore thing, where bands started writing songs about girls.
Right, exactly. So the scene did change musically in that regard. People started writing about things they felt, and I think that was just the nature of getting older. I think probably having relationships with women and men had something to do with it. I think it's true, what Thurston says. It's a good point.

You photographed all the major bands from the period—Minor Threat, Bad Brains, Fugazi, etc. Who gave you the most as a photographer?
I'd say, early on, Minor Threat was the band that I loved to photograph, because the band and the crowd were all totally into it. As far as energy and the band I was super psyched to photograph: Fugazi. You can tell by how many times I photographed them; I have thousands of pictures of them. And I never really tired of it because they would always deliver; they never had a setlist, so nothing was ever written. It was always different. 

Follow Oliver Lunn on ​Twitter

Bad Cop Blotter: ​What Killed Eric Garner, Racist Cops or Cigarette Taxes?

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The non-indictment of NYPD officer Daniel Pantaleo over the death of Eric Garner last week generated a backlash, to say the least. P​rotests erupted in several cities, particularly in New York. Unlike the lingering unknown that was the unfilmed death of Michael Brown, Garner's last moments of consciousness and his last hour of life were documented by a bystander, lending an extra dose of intensity to the unrest.

The video is so disturbing that folks staging "die-ins" and Georg​e W. Bush both came to nearly the same conclusion: Shouldn't there be some consequence for Pantaleo?

But let's not get too optimistic. The bipartisan (or tripartisan, if you want to include libertarians) conclusion that something went horribly wrong here is heartening, but limited. On the very day that the grand jury released their conclusion, some ​were already delicately dubious that conservatives might be using Garner's death as an excuse to talk about NYC's cigarette taxes, which led to his selling of loosies. That, lest we forget, was the NYPD's excuse for hassling Garner on the day they choked him.

Should conservatives use this tragic death to get on their soa​pboxes about the nanny state? If they want to, sure. But they also shouldn't ignore the racial disparities that run through the US justice system. A ProPublica investigation found that bla​ck males are 21 times more likely to be killed by police than white guys. The NYPD's stop and frisk program leans incredibl​y heavily on making the lives of black and Latino males miserable. A new Daily News rep​ort out Monday revealed that of 179 NYPD-involved deaths since 1999, where race was known 86 percent of the victims were black and Hispanic—and only 1 cop was convicted of any wrongdoing in those cases. 

At the same time, we shouldn't pretend Garner's death is about race and nothing else, if for no other reason than because racism is a lot harder to fix than laws. We can—and should—retrain police. We can—and should—have zero tolerance for explicitly racist officers. But if there's a legal excuse for a stop, be it firearms, drugs, or cheap cigarettes, cops are going to make that stop. And if they are allowed to, they are going to treat the noncompliance of a suspected cigarette-seller with the same zero tolerance that they would a suspected murderer. 

Laws like the ones against smoking pot on the street and bans on loose cigarettes are a cornerstone of broken win​dows policing. They are the engine that can propel racial profiling into deadly actions like the choking of Eric Garner. Maybe it's time we keep police under glass until real emergencies. At the very least, we need to abolish every damn law that criminalizes consensual behavior.

Now onto this week's bad cops:

-The National Tactical Officers Association (NTOA) acted fast to make sure that the multibillion-dollar 1033 program that passes surplus war goods to SWAT teams remained firmly in place in spite of President Obama and some half-assed congressional measures to abolish or limit it. In the face of whispers of reining in the Pentagon program, the N​TOA bombarded various congress members with goading emails. This is the kind of union that conservatives, liberals, and libertarians should all be extremely interested in defanging. (On the other hand, it seems that other law enforcement unions, such as the the Federal Law Enforcement Officers Association and the National Black Police Association, are open to certain reforms, which is nice.)

-VICE contributor Justin Glawe has a disturbin​g piece in the Daily Beast about the Chicago Police Department's lack of transparency or accountability in their firearms use. In the past year, there were 43 shootings by Chicago PD officers, and 13 fatalities. Glawe notes that "a Freedom of Information Act request for reports on all officer-involved shooting incidents in the past two years was denied by the department because it was deemed to be 'unduly burdensome.'"

-Last week in Phoenix, another unarmed black man was shot dead by police. Police say that Rumain Brisbon was in the middle of a drug deal when he was shot. His friends dispute this. Brisbon reportedly reached for something in his car, then repeatedly failed to comply with an officer's instructions. He ev​entually reportedly struggled with the unnamed officer over his gun. The officer fired because he thought he felt a gun on Brisbon—it turns out to have been a bottle of Oxycontin. 

Why were the police messing with Brisbon? An informant said he was selling drugs. Weed and a gun were found in his car. He had an arrest record, which included burglary. His friends say he had a medical marijuana card, which is yet to be confirmed. Drug war bullshit seems to be the only confirmed detail in this miserable story.

-The San Jose Police Department pu​r​chased 50 body cameras in 2012, and six officers were supposed to be the start of the pilot program. (In 2010, the department began purchasing and testing different models of cameras.) Yet since last years, the program has failed to get anywhere. Privacy concerns for the individual officers has been cited as an obstacle by the unions as they drag their feet. This is asinine. Public officials should not have privacy while they're at work—especially not cops.

-On Friday, Los Angeles Police Department officers shot and killed a man who may or may not have been holding a knife. The man reportedly had a 3-4 inch blade on him while he was shot. Other sources are saying ​it could have been a prop knife and that he was a well-known costumed performer who made money posing with tourists. Someone who witnessed the shooting and filmed the aftermath twee​ted that the "LAPD just murdered an unarmed man right in front of me." The knife the LAPD found had better have been heading for someone's throat in order to justify this shoot​ing.

-Mother Jones's David Corn has ​a haunting piece about witnessing a fatal police shooting of a homeless man carrying a rock. This was in the 1980s, before the age of internet outrage, back when the press was a lot more into tough on crime. Almost more shocking than Corn's account of the expendability of a homeless, seemingly mentally ill man is how disinterested both the police he spoke to, and the grand jury, turned out to be.

-The November 20 NYPD shooting of Akai Gurley was reportedly an accident, and the fact that rookie cop Peter Liang fired only one bullet makes that version of events somewhat credible. (Cops don't shoot only once if they believe a suspect is a danger—that is not how they are trained.) But according to the D​aily News, after Gurley was shot in a dark stairwell of a housing project, ​Liang went six and a half minutes without calling for medical aid and without even being in contact with dispatch. 

Instead, he apparently texted his police union rep (this is disputed). Meanwhile, Gurley's girlfriend got a neighbor to call 9-1-1. Liang and his partner Shaun Landau did not even realize the misfired bullet had hit someone, and they reported only an "accidental discharge." They also reportedly did not know the address of the housing project, and weren't even supposed to be searching inside. The Brooklyn DA has promised that the shooting will be investigated by a grand ​jury.

-On Friday, local prosecutors declined ​to press charges against a Seattle police officer who punched a handcuffed woman hard enough to break a bone in her eye. Back in June, Officer Adley Shepherd hit Miyekko Durden-Bosley after she kicked at him upon being placed in the patrol car for drunk and disorderly behavior. Shepard complained about the kick, but video of the incident remained inconclusive as to whether Durden-Bosley's foot even made contact. Shepard, a nine-year veteran of the force, was treated at the same hospital as Durden-Bosley, but he didn't have injuries. Durden-Bosley, on the other hand, was treated and then jailed for four days for assault on a police officer. (Those charges were dropped.) The local DA may be disinterested, but federal prosecutors are reportedly weighing civil rights violation charges against Shepard, who has been on paid leave since the incident.

-According to the Department of Justice (DOJ), the Cleveland Police Department has a lot more to answer for than even the recent fatal shooting of 12-year-old Tamir Rice by an officer who was seen as unfit fo​r d​uty and emotionally unstable at his previous policing job. No, the Cleveland PD has also done things like sho​ot a man in the chest over a traffic violation, then cuff him, then suspend the officer for only a day. The DOJ found s​ome 600 other questionable instances in its nearly two-year investigation of the department.

-Our Good Cop of the Week is Redditt Hudson, who spent five years with the St. Louis Metropolitan Police. Hudson enjoyed his work in some ways, but he eventually felt he had to retire due to the cavalcade of racism and excessive force he witnessed. ​Check out Hudon's piece descri​bing his experiences in the Washington Post. Hudson, by the way, now works with groups like the American Civil Liberties Union of Missouri and the NAACP. He was such a good cop, he had to quit his job. Other would-be good cops might consider his fine example.

Follow Lucy Steigerwald on ​Twitter.

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